X 
 
REASONABLE ELOCUTION 
 
 TEXT-BOOK 
 
 FOB 
 
 SCHOOLS, COLLEGES, CLERGYMEN, LAWYERS, 
 ACTORS, ETC. 
 
 BY 
 
 MRS. P. TAVERNER GRAHAM. 
 
 A. S. BARNES AND COMPANY, 
 
 NEW YORK AND CHICAGO. 
 
Entered according to Act of Congress, in the year 1874, by 
 
 A. S. BARNES & CO., 
 In the Office of the Librarian of Congress, at Washington. 
 
 C \\ 
 
INTRODUCTION. 
 
 THAT the Art of Reading will "come naturally" is 
 a common fallacy, with which we almost con- 
 stantly delude ourselves. Even if it were true, it would 
 offer little encouragement to those who appreciate the 
 beauty and importance of the art ; for some method of 
 reading is always taught, and as this is extremely likely 
 to be radically wrong, all chance of attaining a strictly 
 natural style of reading is destroyed at an early period 
 of the pupil's career by errors of instruction and the con- 
 tagion of bad example. 
 
 In point of fact, however, Elocution is both a science 
 and an art resting on positive laws, founded in the 
 nature of things ; and, as in the case of any other art or 
 science, these laws never come by nature, but must be 
 mastered by study and practice. The master must have 
 spent hours and days in careful research and patient delin- 
 eation of the most insignificant natural points ; he must 
 have familiarized himself with all science that bears even 
 remotely on his art; otherwise he exposes himself to the 
 danger of introducing incongruities into his work, and 
 of committing blunders, which will be apparent at once 
 to the trained observer. Sculptors, for instance, are 
 obliged to study anatomy, in order to avoid the mistakes 
 they would perpetrate were they ignorant of the distri- 
 
4 INTRODUCTION. 
 
 bution of the bones and muscles, their movements and 
 attachments in the human frame. But even this is not 
 enough ; if the sculptor be unfamiliar with the theory of 
 " equilibrium," he may spoil his work by representing 
 the perpendicular from the centre of gravity as falling 
 unnaturally. And the necessity for scientific knowledge 
 in the painter is even more evident ; it is the disregard of 
 linear, and the lack of all aerial perspective, that consti- 
 tutes the absurdity of Chinese pictures ; yet perspective 
 rests on strictly natural laws which science alone can 
 interpret. 
 
 The artistic effects produced by an elocutionist, an 
 orator, or an actor, represent purely objective and sub- 
 jective phenomena ; and they can be true representations 
 only in so far as they conform to the natural laws of 
 these phenomena. Before they can thus conform, the 
 delineator of human feelings and passions must under- 
 stand what are the laws and under what conditionsHhey 
 vary. For this reason, the study of psychology is of 
 the utmost importance to the elocutionist ; it will enable 
 him to indicate by his inflections of voice, by intonation 
 and by emphasis, his mental attitude toward certain 
 thoughts and sentiments without digression to explain it ; 
 and this is nearly the whole art of Elocution. 
 
 Every clergyman, orator, and actor, possesses at least 
 a stock of empirical generalizations which guide him in 
 his exposition of the matter in hand ; but to have a gen- 
 eral idea only of what we are to do and of how we are to 
 express ourselves under given circumstances, is not suf- 
 ficient ; such meagre knowledge will not enable us to 
 delineate different shades of thought or various and com- 
 plex emotions. It is this sort of vague impression or 
 rather, quite definite ignorance that gives us that large 
 
INTRODUCTION. 5 
 
 class of persons who render all its passions with extreme 
 violence, and after exhausting themselves (and their au- 
 dience) imagine that they have done all that " elocution " 
 can do. These persons are not confined to the stage ; 
 we have them in the pulpit, at the bar, in Congress, on 
 the rostrum. They of the pulpit will declaim on the 
 attributes of the Almighty, or the happiness of those 
 who have found that peace which the Saviour promised, 
 in as forcible tones, as fast " time," and with as energetic 
 gesticulations, as they employ in denunciations of the 
 shiner, or in depicting the sufferings of the lost. The 
 lawyer who affects this style of delivery will throw as 
 much emphasis into a description of the clothes his client 
 wore on the night of the assault as into his execration of 
 the assailant's villainy. And there is another description 
 of public speaker, who has a fine voice, and who employs 
 his full deep tones alike on all he utters, the deep- 
 est emotions, the simplest narrative, the most violent 
 passions. He has a particular fondness for the " semi- 
 tone," that plaintive minor key, symbolical of grief or 
 melancholy. He reads the psalms of praise with the sad 
 half tones that belong to penitence ; making the volun- 
 tary and joyful offering of thanksgiving a lugubrious 
 task which he feels very melancholy (for so his tone 
 indicates) in performing. He uses emotional tones on 
 sentences or sentiments that indicate emotion in no 
 degree ; or if he employs tones which have a natural 
 relation to the ideas expressed, his reading will as fre- 
 quently verge on the burlesque as on the grand ; for 
 " burlesque " is simply an inversion of natural laws as 
 when trivial or absurd sentiments are delivered in heroic 
 tones and with impressive emphasis. When little or no 
 emotion exists in idea, tones that are full and sonorous 
 
6 INTRODUCTION. 
 
 should be used but sparingly, or not at all ; as feeling 
 rises they may be employed more freely, and only in 
 their intensity where the climax of passion is reached. 
 
 Many people object to any special study of elocution 
 for the reason that they do not expect to become profes- 
 sional readers or public speakers. Would they object to 
 the study of literature because they cannot hope to 
 become authors ? Or to that of music because they 
 would never dream of becoming a Beethoven, Mozart, or 
 Gluck ? Or to that of astronomy or any of the sciences 
 because they can never aspire to the position of a Her- 
 schel or a Humboldt ? Who most keenly enjoys a fine 
 picture ? Certainly he who has the most extended knowl- 
 edge of what the picture represents of those facts in 
 nature or in life which he finds delineated therein, and 
 on the accuracy of which he can pronounce. Why is it 
 that the person of cultivated mind takes so much more 
 pleasure in a noble poem than does one who is ignorant ? 
 Is it not because a wider acquaintance with the subject, 
 and the ability to compare its beauties with those charms 
 similar, and yet different, possessed by other poems, 
 causes him to see in the work many things of which the 
 uneducated one is ignorant ? So with elocution. A 
 knowledge of it not only enables us to interpret thought 
 and emotions to others, but assists us very greatly in 
 understanding them ourselves. The person who can 
 read well is, even as a listener, very different from him 
 who can not. 
 
 Still another fallacy, far too current even among intel- 
 ligent people, is the idea that those who display the 
 higher elocutionary accomplishments possess a " genius " 
 which it would be vain to endeavor to acquire the cul- 
 tivation of which is beyond the reach of art. Such ideas 
 
INTRODUCTION. 7 
 
 are born of ignorance ; for so thinks the savage of the 
 simplest computation in arithmetic, or the untutored 
 boor of the wonders of the magic lantern. A thorough 
 knowledge of the principles of any art will enable a de- 
 termined student to approach perfection in it. If he 
 possesses these principles in elocution, he may on them 
 found his own style of reading or speaking, which may 
 be natural and excellent, and yet very different from his 
 neighbor's founded on the same principle. 
 
 The more important of these principles I shall en- 
 deavor to make plain in the following chapters. It will 
 be observed that I do this rather by examples, and exer- 
 cises, and illustrations, than by exposition. To the mere 
 reader this will perhaps seem cumbrous, and even per- 
 plexing ; but teacjiers will understand full well that it 
 is the only efficient method of impressing new facts on 
 the minds of the young, or of converting theoretical 
 into practical knowledge. 
 
 F. T. G. 
 
ABSTRACT OF CONTENTS. 
 
 IN this little work I have endeavored to supply to 
 teachers, their pupils, and other persons, a long-felt 
 need of an Elocutionary Text-book, founded on philo- 
 sophical principles. Principals of schools and others have 
 frequently said to me, " Why do you not publish a book 
 which shall embrace the principles you teach, and various 
 exercises illustrative of those principles ?" I decided 
 that a brief work, with the natural laws of Time, Tone, 
 and Emphasis explained, and their truth proved, would 
 answer the general purpose better than the sort of book 
 I had at first contemplated writing. The first division in 
 " Reasonable Elocution " explains the necessity for, and 
 the ease with which the speaking and reading voice can 
 be cultivated ; the manner of so doing, and exercises for 
 the purpose ; the plan being very similar to that used 
 for the singing voice, the difference being that sentences 
 are used for scales instead of " sea " or " do, re, mi," etc., 
 and that they are spoken on regularly ascending and 
 descending scales, designed for increasing the flexibility 
 and compass of the speaking voice. Exercises for dis- 
 tinct utterance are also included in this division. 
 
 The division on " Time " is explanatory of the mental 
 valuation of thoughts and sentiments by the changes in 
 the "Time" of rendering. The natural management of 
 
10 ABSTKACT OP CONTENTS. 
 
 parentheses, similes, quotations, metaphors, the mar- 
 velous, parables, etc., is through changes in Time ; the 
 philosophy of the principle which governs these changes, 
 and their propriety proved. Illustrations of the different ' 
 principles. 
 
 EMPHASIS. 
 
 Its philosophy, and practical execution. Errors in 
 emphasis common among scholars. Natural laws which 
 should guide us in emphasis. 
 
 The " Emphatic Clause " is a new fact or idea, now 
 presented for the first time it should be ascertained 
 without additional particular. The "Unemphatic 
 Clause " presents no new idea ; it may be of repetition, 
 of sequence, of anticipation, etc., etc. Examples. 
 
 Emphatic Word. When the root idea is a wordy that 
 word is emphatic. Emphasis, by "massing" several 
 words, presenting one and the same idea. Examples. 
 
 Clauses unemphatic through having been mentally 
 projected. Examples. 
 
 Emphasis by transfer when there are repeated words. 
 Examples. 
 
 A repeated word, having a new signification, has all 
 the logical power of a new word. Examples. 
 
 Psychological positives and negatives. Inflections of 
 voice indicate positive or negative attitudes of mind 
 with regard to thoughts. The mental stand-point, from 
 which we regard certain ideas or sentiments, gathered 
 by auditors from the sort of inflections we employ. The 
 main purpose of the speaker should be indicated by true 
 inflections. Examples. 
 
 Lectures, sermons, etc., are rendered obscur * _~~~ 
 
ABSTEACT OF CONTENTS. 11 
 
 fused through inattention to this obvious law of nature. 
 Examples from the parables, etc. 
 
 The " wave " of the voice, ^ ^ ^ ^, or vacillating 
 inflection, mark the episode, the illustration ; they 
 indicate a departure from the main track of thought. 
 They are produced through the mind's vacillating be- 
 tween the illustration and the subject illustrated ; the 
 return to the main thought is naturally marked by a 
 return to the usual upward ^ and downward \ inflec- 
 tions. Examples. 
 
 i 
 ANTAGONISM OF GRAMMATICAL FOEMS. 
 
 Analysis of Interrogation : 
 
 1. The "interrogative form" is antagonistic to the 
 spirit when requiring to be read with the downward in- 
 flection, being assertive in meaning. Examples. 
 
 Sentences in part declarative, in part interrogative. 
 
 2. The " conditional form " is opposed to the " spirit," 
 and requires to be read with the downward \, when the 
 thought is absolute. 
 
 3. The " imperative form " is opposed to the " spirit," 
 when requiring to be read with the upward inflection, 
 the thought being conditional, uncertain. Examples. 
 
 MELODY. 
 
 As applied to the reading of poetry. Faults against 
 melody. 
 
 Common defects to be avoided : 
 
 1. Similarity of " rhythmical accent." 
 
 2. "ending." 
 
 3. " by pause. 
 These are subdivided. Examples. 
 
ABSTRACT OF CONTENTS. 
 
 TONES OF THE EMOTIONS. 
 
 The symbol of sublimity, the grand, the majestic, etc., 
 the " Orotund." Examples. 
 
 The symbol of love, tenderness, affection, the Dimin- 
 uendo, ir== . Imperceptible vanish. Illustrations. 
 
 Symbol of sorrow, grief, penitence, etc., the Semi- 
 tone. Examples. 
 
 Symbol of anger, wrath, etc., abrupt force. Exer- 
 cise for giving strength, volume, dignity to the voice. 
 Exercise on abrupt force, the skillful execution of 
 which (abrupt force) is one of the highest vocal attain- 
 ments, and becomes a security against injury to the 
 throat in speaking. 
 
 Symbols of aversion, praise, joy, sarcasm, etc. The 
 Aspirate symbol of earnestness, hate, etc. Exercises 
 for each 
 
 GESTURE. 
 
 Natural principles for each gesture. Grace how ex- 
 pressed. Energy where and when employed. Affirma- 
 tive, negative, rejection, propulsion, pointing, elevation 
 or depression, deferention, description, extended, literal 
 gestures. Appropriate passages on which to exercise 
 each. 
 
CONTENTS. 
 
 CHAPTER I. 
 
 PAGE 
 
 CULTIVATION OF THE VOICE. 1st Scale, 3d Scale, 3d Scale, 
 4th Scale, 5th Scale 15 
 
 CHAPTER II. 
 TIME. Parenthesis, Simile, Quotation, Metaphor, Marvellous. 28 
 
 CHAPTER III. 
 
 EMPHASIS. Parables, Massing, Transfer, Mental Projection, 
 Antagonism of Grammatical Forms 65 
 
 CHAPTER IV. 
 
 INFLECTION. Psychological Positives and Negatives, The 
 Wave of the Voice 88 
 
 CHAPTER V. 
 
 THE TONES OF THE EMOTIONS. Sorrow, Symbol of Joy, 
 Surprise, Sublimity, etc., etc 125 
 
 CHAPTER VI. 
 GESTURE. Grace, Energy, etc., etc 168 
 
 CHAPTER VII. 
 MISCELLANEOUS EXAMPLES. . 204 
 
OHAPTEE I. 
 CULTIVATION OF TKE V VO!C. 
 
 fT^HE speaking or reading voice is capable of im- 
 -*- provement in the same proportion as the singing 
 voice ; and we can all appreciate the degree of excel- 
 lence attained by our " prime donne," our tenors and 
 bassos. We may also compare the same voice in its 
 uncultivated state with the pitch of perfection to 
 which culture has brought it, and involuntarily exclaim 
 with the poet: "This was beautiful, but this is 
 Beauty ; this was strong, but this is Strength ; this 
 was perfect, this is Perfection." 
 
 To express the various emotions, the contrasts fre- 
 quently portrayed in a poem, to read a character from 
 a play, or to personate in one reading or recitation 
 several characters, requires a command of tones, a 
 pliancy of voice, seldom in the power of those who 
 have daily practice only on the limited range of notes, 
 called into play by the every day interchange of 
 thought, the question and the answer of ordinary life ; 
 and these can be attained only by the most careful 
 and comprehensive vocal culture, in accordance with 
 principles which we shall try to make plain in the 
 progress of this book. 
 
 To cultivate the voice we must acquire 
 
16 CULTIVATION OF THE VOICE. 
 
 1. Flexibility, which consists of a smooth and easy 
 gliding from one note to another. 
 
 2. A good "range" or "compass," so that the 
 voice may with ease run up to a very high note, or 
 
 ', fcafe, witho'ilt: &Pi$ or straining, a very deep, round, 
 resonant tone'. ' ! f , t 
 
 /SS$x taproy^d .quality of voice, which can only 
 be obtained through culture. f 
 
 In the exercises which follow, all the practice that is 
 necessary for the acquirement of these objects can be 
 obtained; but they must be faithfully studied and 
 practised no merely theoretical knowledge is of the 
 slightest service here. The various illustrative pas- 
 sages are selected on the following principles, which 
 must be borne in mind in order to understand this and 
 the immediately succeeding lessons : 
 
 1. When practice is desired on a " scale " in which 
 the voice may slide though a whole tone to the next in 
 order, lines are chosen in which the quantity is capa- 
 ble of indefinite prolongation a vowel, or vowels, 
 being contained in each syllable. 
 
 2. To compel the voice to rise by " steps " instead of 
 the gliding movement, lines are selected for the pre- 
 dominance of their sounding consonants. 
 
 3. For practice on the "semitonic" movement, 
 lines in which the sentiments of regret, pity, or grief 
 are predominant, will be best adapted for giving us 
 power and ease in the expression of those emotions. 
 
CULTIVATION OF THE VOICE. 17 
 
 FIRST SCALE. % 
 
 The first scale is for practice on whole notes ; the 
 " range " neither so high nor so low that beginners 
 will find difficulty in taking it. 
 
 Claudia. Is this the monument of Leonato ? 
 Attendant. It is, my lord. 
 Claud. (Reads from a scroll.) 
 
 Done to death by slanderous tongues^ 
 
 Was the Hero that here lies : 
 Death, in guerdon of her wrongs 
 
 Gives her fame, which never dies; 
 So the life that died with shame, 
 Lives in death with glorious fame, 
 
 Hang thou there upon the tomb, 
 
 (affixing it) 
 Praising her when lam dumb. 
 
 Much Ado about Nothing. 
 
 Commencing where Claudio reads from a scroll, 
 " Done to death," recite those three words on a high 
 brilliant key on one tone. Then throwing the voice 
 quite five tones lower, pronounce the same words 
 again, in fuller, rounder tones ; then, throwing the 
 voice as low as possible, beginning with the word 
 "Done," rise gradually until the word "dies" has 
 been pronounced ; give the word " So " on the same 
 " tone," then gradually descend. 
 
 As in the harp the vibrations are more numerous 
 on the shorter strings, fewer and longer on the longer 
 strings, in the " speaking voice " there is greater acute- 
 ness and more vibrations on the higher tones, and 
 
18 CULTIVATION OF THE VOICE. 
 
 greater gravity and fewer vibrations on the lower 
 tones. 
 
 The following arrangement will assist the pupil in 
 the practice of this scale : 
 
 dies 4 So the 
 
 never life 
 
 which that 
 
 fame died 
 
 her with 
 
 1 Done to death ! gives shame 
 
 wrongs lives 
 
 of her in death 
 
 in guerdon with 
 
 Death glorious 
 
 lies fame 
 
 here hang 
 
 that thou 
 
 Hero 2 Done to death there 
 
 the upon 
 
 was the tomb 
 
 tongues praising 
 
 sland'rous her 
 
 by when 
 
 death I 
 
 to am 
 
 3 Done dumb. 
 
 Bear in mind that the voice is not to be unnaturally 
 strained. After sufficient practice the voice may be 
 able to rise or fall only the fourth of a tone above or 
 below what was formerly its power ; yet that is some- 
 thing gained, and must be acquired by long practice, 
 never by forcing. 
 
 There are some defects in the practice of scales, into 
 
CULTIVATION OF THE VOICE. 19 
 
 which the beginner may be betrayed, if he be not cau- 
 tious, and which, on being warned, the keen, critical 
 or sensitive ear will carefully avoid. 
 
 1. In ascending the scale do not " economize " by 
 rising a few tones, then falling or going back a little ; 
 then ascending again a short distance, only to retro- 
 grade once more after a few seconds ; this false mode of 
 practising we may exemplify in the following manner : 
 
 of, etc. 
 
 Death by 
 
 This fault is usually committed by people with a con- 
 scious inability to rise to a very high pitch. 
 
 2. Listen attentively to your own voice in ascend- 
 ing, and make sure that you are doing so gradually 
 and regularly. Do not, through inadvertence, allow 
 the voice to skip a note or two ; this mistake is made 
 by people of defective "ear" those of whom we 
 speak as not having a " good ear " for music. The 
 same care should be observed in descending the scale, 
 as an involuntary " skip " may be made through inat- 
 tention. When this fault is committed, the pupil will 
 find that, before a sentence of his scale has been pro- 
 nounced, he has reached the highest tone of which his 
 voice is capable, and vice versa in the descent. 
 
20 
 
 CULTIVATION OF THE VOICE. 
 
 J^The uniformity of De- 
 T scent being similarly 
 gf marred. 
 
 An illustration of preced- 
 ing scale, as recited after due 
 " practice." 
 
 Done to death 
 
 Done to death 
 
CULTIVATION OF THE VOICE. 21 
 
 with 
 ^ shame 
 ^ lives 
 ^ in death 
 ^ with glo- 
 ^ rious fame. 
 ^ Hang 
 
 ^ there 
 \f upon 
 ^ the tomb 
 ^ Praising 
 ^her 
 7^ when 
 
 ^ am 
 ip dumb. 
 
 In this scale, dwell on the vowel sounds ; you will 
 then carry the voice almost without breakage by the 
 gliding movement from tone to tone throughout. 
 
 SECOND SCALE. 
 
 The same directions for practice are to be followed 
 here as in previous scale ; for certain voices this may 
 be found an easier scale for practice at first than the 
 precedii^. A voice that with difficulty takes the 
 
22 CULTIVATION OF THE VOICE. 
 
 upper notes, had better begin with the second scale ; 
 but after a certain facility has been attained with the 
 first, those having a deficiency in deep notes had bet- 
 ter give especial attention to this one. 
 
 Puck. How now, spirit : whither wander you ? 
 Fairy. Over hill, over dale, 
 
 Thorough bush, thorough brier, 
 Over park, over pale, 
 
 Thorough flood, thorough fire, 
 I do wander every where, 
 Swifter than the moones sphere. 
 
 Midsummer NlgMs Dream. 
 
 Recite the first line on a high brilliant tone ; allow- 
 ing the voice to fall a tone on the last syllable of 
 " wander," and again a " tone " on " you," in order to 
 form a pleasing cadence. 
 
 How now spirit whither wan- 
 
 Low now spirit 
 
 d?r 
 
 you. 
 
 Commencing " Over hill " on the ordinary conversa- 
 tional key, rise gradually until you have pronounced 
 the word "fire;" give "I" on the same tone as 
 "fire," then descend, each succeeding tone being 
 deeper, fuller, and longer than the last, until at the 
 word "sphere," the lowest tone in the compass of 
 the voice is reached. 
 
 The same precautions as to the avoidance of certain 
 faults in practice apply to this as to the first sqale. 
 
CULTIVATION OF THE VOICE. 23 
 
 sphere 
 
 On the descent the voice should have attained a 
 point in its compass quite five tones lower than the 
 note on which " over" was given. 
 
 THIRD SCALE. 
 
 I now introduce a passage to be employed, first as a 
 scale, then as an exercise for obtaining distinctness of 
 utterance. As a scale, the voice rises, not by the 
 gliding movement, but by " steps," giving all the con- 
 sonants great prominence. As an exercise on " Dis- 
 tinctness," read the lines in a natural manner, but 
 dwell on each vowel, and give all the consonants great 
 force and prominence, especially " C " having the 
 sound of "K," K," "T," "P," "D." 
 
24 CULTIVATION OF THE VOICE. 
 
 " The raging rocks, 
 With shivering shocks, 
 Shall break the locks, 
 
 Of prison-gates : 
 And Phibbus' car 
 Shall shine from far, 
 And make and mar 
 
 The foolish fates." 
 
 Midsummer Nigh&s Dream. 
 
 FOURTH SCALE. 
 
 The arrangement is similar to Scale 2. The range 
 of voice, however, is both higher and lower than in 
 that scale. The voice should have had ample prac- 
 tice on the preceding exercises before this one is 
 attempted. 
 
 Titania. Come, now a roundel, and a fairy song ; 
 Then, for the third part of a minute, hence ; 
 Some to kill cankers in the musk-rose buds ; 
 Some, war with rear-mice for their leathern wings, 
 
CULTIVATION OF THE VOICE. 
 
 To make my small elves coats ; and some, keep back 
 The clamorous owl, that nightly hoots, and wonders 
 At our quaint spirits : Sing me now asleep ; 
 Then to your offices, and let me rest. 
 
 Midsummer Night's Dream. 
 
 Practice this scale many times before attempting 
 any force ; giving the whole attention to acquiring a 
 " true " ascent and descent. 
 
 Come now a round - el and a fair- ( 
 
 coats 
 elves 
 
 song 
 
 7 m And 
 
 to make * some 
 
 wings ^ keep 
 leathern 
 
 their 
 
 'back 
 Lthe 
 
 L clam'rous 
 
26 CULTIVATION OF THE VOICE. 
 
 EXERCISE FOR PRACTICE OF DlSTINCT UTTERANCE. 
 
 The following passage embraces the quality of in- 
 tensity of expression which requires a certain degree 
 of the "Aspirate." 
 
 Calaban. As wicked dew as e'er my mother brush'd 
 With raven's feather from unwholesome fen, 
 Drop on you both ! a south-west blow on ye, 
 And blister you all o'er ! 
 
 Prospero. For this, be sure, to-night thou shalt have 
 
 cramps, 
 
 Side-stitches that shall pen thy breath up ; urchins 
 Shall, for that vast of night that they may work, 
 All exercise on thee : thou shalt be pinch'd 
 As thick as honey-combs, each pinch more stinging 
 Than bees that made them. 
 
 The Tempest. 
 * 
 
 Give Calaban a deep, guttural voice, sounding each 
 consonant very forcibly. When Prospero speaks, his 
 words call for the aspirate combined with great stress 
 on the consonant, to give his speech the degree of 
 earnestness and energy its sentiments call for. 
 
 In their proper place the u Symbols " of the differ- 
 ent " Emotions " will be given and described. In pas- 
 sages appropriated simply for " Cultivation of Yoice," 
 but little mention will be made of these symbols. 
 
CULTIVATION OF THE VOICE. 
 
 27 
 
 FIFTH SCALE. 
 
 1 To the deep ! 
 
 3 Down 
 
 r 
 
 J cloudy 
 Jthe 
 J through 
 ^ of sleep 
 the shades 
 Through 
 
 4 Down 
 
 Down! 
 
 Down. 
 
OHAPTEE II. 
 
 TIME. 
 
 ONE of the most important means for interpret- 
 ing an author correctly is varied "time" in 
 utterance. The longer or shorter duration of time 
 occupied in the rendering of sentences, expresses the 
 mental valuation of such sentences ; and the relative 
 changes in "time," the relative importance of the 
 various passages. The relationship of groups of 
 clauses, also, is indicated " by time." The train of 
 literal thought which is interrupted by a metaphor, is 
 depicted as such by a difference in the "time" be- 
 tween literal and metaphorical, symbolizing the natu- 
 ral " break " in the thought. 
 
 That you are describing a miracle, the accomplish- 
 ment of prophecy, the marvellous, etc., etc., is indi- 
 cated by the particular " time " in which you read. A 
 parable is a figurative illustration in which the direct 
 or literal meaning is not the real or principal one ; it 
 is designed to point an important truth with greater 
 vividness ; then, as the illustration is not so important 
 as that which it illustrates as a whole, it is read faster 
 than that which it images, and the " important truth " 
 which it points that is, the teaching is read in slower 
 time than the main text. 
 
TIME. 29 
 
 Students in elocution are frequently told (and they 
 gather the same impression from books on the subject) 
 " that the parenthesis is read in faster time than the 
 rest of the sentence." That this is a gross mistake as 
 to certain kinds of parentheses, I will proceed to show. 
 
 Paul, an apostle, (not of men, neither by man, but by 
 Jesus Christ, and God the Father, who raised him from 
 the dead ;) 
 
 And all the brethren which are with me, unto the 
 churches of Galatia. Gal. 1 : 6. 
 
 Is the fact that Paul and the brethren with him 
 speak unto the churches of Galatia, of more import- 
 ance, than the fact that Paul is " not of men, neither 
 by man, but by Jesus Christ, and God the Father, who 
 raised him from the dead ? " " Certainly not," you 
 say, " it is of less importance than the parenthesis." 
 In that case, do you convey your mental valuation of 
 the important parenthesis by reading it in faster time 
 than the main text ? You do not ; but by reading it 
 in much " slower " time than the lines immediately 
 preceding and succeeding it, you at once indicate the 
 mental value with which you regard it, or in other 
 words, its superiority in importance to the main text. 
 Another example : 
 
 7 But contrariwise, when they saw that the gospel of 
 the uncircumcision was committed unto me, as the gospel 
 of the circumcision was unto Peter ; 
 
 8 (For he that wrought effectually in Peter to the 
 apostleship of the circumcision, the same was mighty in 
 me toward the Gentiles :) 
 
30 TIME. 
 
 9 And when James, Cephas, and John, who seemed to 
 be pillars, perceived the grace that was given unto me, 
 they gave to me and Barnabas the right hands of fellow- 
 ship ; that we should go unto the heathen, and they unto 
 the circumcision. Gal. 2 : 5, 79. 
 
 That the same mighty God was as effectual in Paul, 
 as in Peter, being manifestly of greater importance 
 than the main text, the 8th v. will be properly " valued" 
 by a rendering in " slower time." 
 
 And here is a still more forcible example : 
 
 4 But God, who is rich in mercy, for his great love 
 wherewith he loved us, 
 
 5 Even when we were dead in sins, hath quickened us 
 together with Christ, (by grace ye are saved ;) 
 
 6 And hath raised us up together, and made us sit to- 
 gether in heavenly places in Christ Jesus : Ephes., ch. 2. 
 
 The beautiful parenthesis, " By grace ye are saved," 
 has its full meaning and value given, when read twice 
 as slowly as the main text. The practice that many 
 have, of reading the parenthesis in faster time, would 
 in this case argue an absolute making light, or little, 
 of the " saving grace." 
 
 The rule, then, as regards the duration of " time " 
 in rendering the parenthesis is : " The parenthesis is 
 read in slower time, when superior, and faster, when 
 inferior, in importance to the main text. 
 
 In the subjoined example we have two parentheses ; 
 the first, "Whereto the rather shall his day's hard 
 journey soundly invite him," being inferior, requires 
 the faster time. 
 
TIME. 31 
 
 The second, "When we have marked with blood 
 those sleepy two of his own chamber, and used their 
 very daggers " is superior to the rest of the passage, 
 and consequently is read in slower time. 
 
 Macbeth. If we should-fail, 
 
 Lady Mad). We fail ! 
 
 But screw your courage to the sticking-place, 
 And well not fail. When Duncan is asleep, 
 (Whereto the rather shall his day's hard journey 
 Soundly invite him,) his two chamberlains 
 Will I with wine and wassel so convince, 
 That memory, the warder of the brain, 
 Shall be a fume, and the receipt of reason 
 A limbeck only. When hi swinish sleep 
 Then* drenched natures lie, as in a death, 
 What cannot you and I perform upon 
 The unguarded Duncan ? what not put upon 
 His spongy officers, who shall bear the guilt 
 Of our great quell ? 
 
 Macb. Bring forth men-children only ! 
 For thy undaunted metal should compose 
 Nothing but males. Will it not be received, 
 (When we have mark'd with blood those sleepy two 
 Of his own chamber, and used their very daggers,) 
 That they have done't ? 
 
 Towards the end of Hamlet's long speech at the 
 conclusion of Act 2, Sc. 2, occurs the lines 
 
 " The spirit that I have seen 
 May be a devil ; (and the devil hath power 
 To assume a pleasing shape) : yea, and perhaps 
 
32 TIME. 
 
 Out of my weakness, and my melancholy, 
 (As he is very potent with such spirits) 
 Abuses me to damn me." 
 
 Both parentheses are inferior to the main text, being 
 merely reflections and repetitions of a fact or facts that 
 are patent to all the devil having power to assume a 
 pleasing shape being no new fact to us nor to Hamlet ; 
 and that "he is very potent" conveys no new idea. 
 In each case, if read twice as fast as the lines preced- 
 ing and succeeding them, the relative value of these 
 inferior parentheses compared with the more import- 
 ant main text is shown at once. 
 
 In this passage from one of the " Ingoldsby Legends," 
 the meaning would be extremely obscure were it not 
 for the necessary changes in " time" : 
 
 " 4 You may fancy King Charles at some court fancy ball 
 
 2 (The date we may fix in sixteen sixty-six, 
 
 In the room built by Inigo Jones at Whitehall, 
 
 Whence his father the martyr 8 (as such mourned by all 
 
 Who in his wept the laws' and the monarchy's fall) 
 
 2 Stepped out to exchange regal robes for a pall) 
 
 4 You may fancy King Charles, I say, stopping the brawl 
 
 As burst on his sight the old church of St. Paul, 
 
 By the light of its flames now beginning to crawl 
 
 From basement to buttress and topping its wall." 
 
 The peculiarity here is a parenthesis within a paren- 
 thesis ; the whole of the longer one, with the exception 
 of the one contained, being inferior, while the interpo- 
 lation is superior to the preceding and succeeding lines. 
 To mark the relative value of main text and the infe- 
 
TIME. 33 
 
 rior and superior parentheses, I have placed the figures 
 " 4," " 2," " 8 " in their respective places. No. 4 indi- 
 cates the ordinary time in which the passage is begun ; 
 No. 2, at the beginning of the inferior parenthesis, 
 where the time should be twice as fast ; No. 8, at the 
 commencement of the slow parenthesis, which indicates 
 that it should be given twice as slowly as the lines 
 read in " ordinary " or " 4 " time. 
 
 As to the manner of reading in " slow" or in " fast" 
 time, there is an " unnatural" and a " natural" method ; 
 the first-named, which we wish, of course, to avoid, is 
 commonly that of making pauses between words, for 
 the purpose of attaining to a " slowness" in the render- 
 ing. This is a mistake ; it is not what we do naturally 
 when we speak slowly. The " natural " method of 
 speaking slowly is by dwelling on the vowel sounds in 
 words for a longer or shorter interval as may be neces- 
 sary. 
 
 1. THE SIMILE. 
 
 In what kind of " time " should the " simile " be 
 read ? We employ " similes," in writing or speaking, 
 for giving to the mind's eye a picture, a resemblance, 
 of the thought or object described. "We indicate the 
 attitude offnind toward that described, by the sort of 
 comparison we make. In a word, we express either 
 " approbation " or disapprobation of the thoughts or 
 objects spoken of, when making use of that which we 
 term a "likeness" of the thought or object. In read- 
 ing, as we give that "comparison" in slower or in 
 faster time than the main text, do we express either 
 
34: TIME. 
 
 approbation or disapprobation. Not only so, but a 
 simile should be isolated by a pause before the word 
 introducing the comparison, and another pause at the 
 conclusion ; for the simile is a picture of the thought, 
 and a picture should be entire presented on one 
 piece of canvas not the girl dipping her pitcher 
 represented on one side of the room, and the well 
 from which she draws her water, on another. "Word- 
 painting, like color-painting, must present a thought 
 complete. 
 
 Sometimes a number of similes follow one another, 
 to each of which the thought or object is compared ; 
 but each one is a picture in itself, and should be pre- 
 sented as such by isolating it from the main text ; 
 yet, by a delicate attention to time, the various similes 
 can be presented, as a series of pictures referring to a 
 special thought are in an art-gallery ; they should be 
 read carefully, and in quick and close proximity, yet 
 kept distinct from each other. 
 
 The aesthetic principle of time, as applied to elocu- 
 tion, is this : naturally r , in giving expression to 
 thoughts of approbation, of importance, of superiority, 
 etc., etc., taste directs us to speak in slower time; 
 we all do this, most of us not noticing that we do so. 
 The same rule of taste which compels the iRower time 
 in these cases, requires faster time when describing 
 thoughts the opposite of these disapprobation, unim- 
 portance, inferiority, etc. 
 
 Some persons make it a rule to read the " simile " 
 in slower time indiscriminately. This is an error, as 
 an illustration will show : " Though I speak with the 
 
TIME. 35 
 
 tongues of men and of angels, and have not charity, I 
 am become as sounding brass or a tinkling cymbal." 
 1 Cor. 13 : 1. Observe, that by reading this simile 
 in slower time than the main text, the ear is misled 
 into dwelling upon the importance of the " sounding 
 brass and tinkling cymbal ;" you would indicate, as it 
 were, approbation, instead of the disapprobation, 
 which is plainly the writer's intention. By isolating 
 the simile, by reading it as a unit throughout, and in 
 time twice as fast as the remainder of the passage, you 
 convey the author's disapprobation of those who are 
 as " sounding brass," etc., through lack of charity. 
 
 Superficial readers, having made themselves familiar 
 with this principle of time, must not be betrayed into 
 reading in slower time certain similes, simply because 
 of those similes being beautiful in themselves, when 
 they are compared to the subject merely to show dis- 
 approbation, as in Hosea 13 : 3 : 
 
 " Therefore they shall be fas the morning cloud! and tea 
 the early dew that passeth awayl." 
 
 After Israel's sins he is to \>v punished by passing 
 away as quickly as the morning cloud or the early 
 dew ; but careless readers are apt to glance only at 
 the beauty of the " morning cloud," the sweetness of 
 the " early dew," not regarding the reason for making 
 the comparison, which is that Israel's course shall be 
 as short, as fleeting as they. The disapprobation is 
 immediately indicated by the -faster time in which both 
 similes should be read. The remainder of the com- 
 parisons in the same verse 
 
36 TIME. 
 
 " As the chaff that is driven with the whirlwind out of 
 the floor, and [as the smoke out of the chimney! " 
 
 are, it is at once perceived, disapprobatory. 
 
 Hosea 14 : 5, 6, Y, furnish similes of approbation, 
 and immediately does the beautiful rendering of them 
 in " slow " time portray the mercy that God is now 
 disposed to show to Israel : 
 
 " I will be [as the dew! unto Israel, he shall grow [as 
 the lily] and cast forth his roots fas Lebanon!. His 
 branches shall spread, and his beauty shall be [as the_ 
 olive tree,!" etc., etc. 
 
 In Psalm 1:3: 
 
 "And he shall be [like a tree planted by the rivers of 
 water, that bringeth forth his fruit in his season! ; his 
 leaf also shall [not wither! ; and whatsoever he doeth 
 shall prosper." 
 
 That he who practices " goodness " shall be rewarded 
 is intimated by the slow time of the simile, before the 
 hearer's understanding grasps the meaning of the 
 words. In verse 4 an opposite result is attained by 
 the rapidity of rendering : 
 
 " 4 The ungodly are not so, but are [ g like the chaff which 
 the wind driveth away! 
 
 In Proverbs 1:9 the usual introductory " as " or 
 " like," before the simile, is understood ; so that the 
 distinct pause comes directly before the simile itself: 
 
TIME. 37 
 
 "For they shall be tan ornament of grace unto thy 
 head! and [chains about thy neck]." 
 
 The comparative littleness of all earthly things in the 
 eyes of God is in the same manner expressed by the 
 change to fast time : 
 
 " Behold the nations are fas a drop of a bucket! ; and are 
 counted fas the small dust of the balance! ; behold he 
 taketh up the isles [as a very little thing]." Isaiah 40:15. 
 
 A simile which is used in describing that which we 
 admire, is naturally given in slower time than the 
 remainder of the text; those also that picture the 
 grand, k the sublime, the majestic, the solemn, the 
 beautiful, the holy, love (in the better sense), etc. In 
 each case this slowness intimates approbation. Sim- 
 iles portraying their opposites, dislike, the despicable, 
 the tawdry, the ridiculous, the mean, the superficial, 
 the hideous, the ugly, the unholy, sensuality, etc., 
 require the faster time, which indicates disapprobation 
 even before the peculiar meaning of the words has 
 penetrated to the brain of the hearer at all. In each 
 case the writer's (or supposed speaker's) purpose is 
 understood to be depicted, pointing out his approba- 
 tion or disapprobation, not yours. 
 
 It is evident from the preceding exposition that 
 these changes in time cannot be too highly valued. 
 In listening to the reading of others, we have no 
 leisure for examining the author's special meaning ; 
 the memory may retrace its steps but for a fleeting 
 instant. Poetry gives us constant inversions of 
 phrases and sentences, and for depicting the relation- 
 
38 TIME. 
 
 ship of words or sentences thus treated, a uniformly 
 slow or fast time would be entirely inadequate. Judi- 
 cious pauses on the part of the reader, and again the 
 careful connection of lines or sentences, are required 
 to give the author's meaning. 
 
 Wolsey, the " bright and shining light," finds that 
 he is to be extinguished as suddenly as is the " bright 
 exhalation in the evening ;" his deprecation of such 
 ending, and the ignominy attendant, are fitly de- 
 scribed by the rapid " time " in which the simile is 
 spoken. 
 
 Nay, then, farewell ! 
 
 I have touch'd the highest point of all my greatness ; 
 And, from that full meridian of my glory, 
 I haste now to my setting : I shall fall 
 [Like a bright exhalation in the evening], 
 And no man see me more. Henry VIII. 
 
 "As rolls a thousand waves to a rock, so Swaran's 
 host came on ; as meets a rock a thousand waves, so 
 Inisfail met Swaran." Fingal, Book I. 
 
 The second simile is of approbation plainly the 
 slow time will show that unimpregnable nature of the 
 stand of Inisfail ; and the faster time on the first com- 
 parison portrays the impotent fury of Swaran's host. 
 
 The music was Qike the memory of joys that are 
 pasti pleasant and mournful to the soul. Ossian. 
 
 The simile is given with approbation. 
 
 Queen. What, is my Richard both in shape and mind 
 Transf orm'd, and weaken'd ? Hath Bolingbroke 
 
TIME. 39 
 
 Deposed thine intellect ? Hath he been in thy heart ? 
 
 [The lion, dying, thrusteth forth his paw, 
 
 And wounds the earth, if nothing else, with rage 
 
 To be o'erpower'd ;] and wilt thou, pupil-like, 
 
 Take thy correction mildly ? kiss the rod ; 
 
 And fawn on rage with base humility 
 
 Which art a lion, and a king of beasts ? 
 
 Richard II. 
 
 The queen's approbation of the lion's daring effort 
 at revenge, though impotent, is indicated by the slow- 
 ness of time in which we give the sentence as far as 
 " o'erpowered ;" then, her disapprobation of Richard's 
 " kissing the rod " is shown by rapidity. A principle 
 of intonation is particularly exemplified here. It is 
 explained under the section, " Inflections of Voice." 
 
 " Sorrow (like a cloud on the sun! shades the soul of 
 Dessamoor." < 
 
 If the image describes that which is disagreeable or 
 irksome, as it does in this instance, faster time is re- 
 quired in rendering it. 
 
 In the following the simile is not beautiful, but it 
 describes exactly the bitter medicine which carries 
 health with it, and consequently something that is 
 good for us : 
 
 " Sweet are the uses of adversity, which, 
 [Like the toad ugly and venomous, 
 Wears yet a precious jewel in his headL" 
 
 In Richard IT, Act 1, Scene 4, the similes are of 
 
TIME. 
 
 approbation, though at a casual glance one might 
 suppose the contrary : 
 
 Gard. They are ; and Bolingbroke 
 Hath seized the wasteful king. Oh ! what pity is it, 
 That he had not so trimm'd and dress'd his land, 
 [As we this garden ? We at time of year 
 Do wound the bark, the skin of our fruit-trees ; 
 Lest, being over-proud with sap and blood, 
 -With too much riches it confound itself ] : 
 Had he done so to great and growing men, 
 They might have lived to bear, and he to taste 
 Their fruits of duty. [All superfluous branches 
 We lop away, that bearing boughs may live :3 
 Had he done so, himself had borne the crown, 
 Which waste of idle hours hath quite thrown down. 
 
 A simile of approbation. In this (as in the preced- 
 ing example) is illustrated the principle of " Inflec- 
 tion " I have mentioned. 
 
 As the bright stars and milky way, 
 Showed by the night, are hid by day, 
 So we in that accomplished mind 
 (Helped by the night) new graces find, 
 Which by the splendor of her view 
 Dazzled before, we never knew. 
 
 Waller. 
 
 Vio. A blank, my lord. She never told her love, 
 But let concealment, [like a worm i' the budl, 
 Feed on her damask cheek : she pined in thought ; 
 And, with a green and yellow melancholy, 
 
TIME. 41 
 
 She sat like Patience on a monument!, 
 Smiling at grief. Was not this love, indeed ? 
 We men may say more, swear more : but, indeed, 
 Our shows are more than will ; for still we prove 
 Much in our vows, but little in our love. 
 
 Twelfth Night. 
 
 Both similes here require the faster time. 
 
 In the next example the simile begins at " Even," 
 and ends at " tongue ;" it should be read as a unit, 
 and the spirit of the passage requires "fast" time. 
 
 North. How doth my son, and brother ? 
 Thou tremblest ; and the whiteness in thy cheek 
 Is apter than thy tongue to tell thy errand. 
 Even such a man, so faint, so spiritless, 
 So dull, so dead in look, so wo-begone, 
 Drew Priam's curtain in the dead of night, 
 And would have told him, half his Troy was burn'd ; 
 But Priam found the fire, ere he his tongue, 
 And I my Percy's death, ere thou report'st it. 
 This thou wouldst say, " Your son did thus, and thus ; 
 Tour brother, thus ; so fought the noble Douglas;" 
 Stopping my greedy ear with their bold deeds : 
 But in the end, to stop mine ear indeed, 
 Thou hast a sigh to blow away this praise, 
 Ending with brother, son, and all are dead. 
 
 Part 2, Henry IV. 
 
 In this, Iliad xx. 569, the " Hero " is greatly elevated 
 by the comparison ; slow time is appropriate. 
 
42 TIME. 
 
 " CAs when a flame the winding valley fills, 
 And runs on crackling shrubs between the hills, 
 Then o'er the stubble, up the mountain flies, 
 Fires the high woods and blazes to the skies, 
 This way and that the spreading torrent roars] ; 
 So sweeps the hero through the washed shores. 
 Around him, wide, immense destruction pours, 
 And earth is deluged with the sanguine showers." 
 
 In the lines that follow, the simile gives us an idea 
 of the grandeur of Hector's valor. Slowness of time 
 is then necessary for correct interpretation. 
 
 " Thus breathing death in terrible array, 
 
 The close compacted legions urged their way; 
 
 Fierce they drove on, impatient to destroy; 
 
 Troy charged the first, and Hector first of Troy. 
 
 [As from some mountain's craggy forehead torn, 
 
 A rock's round fragment flies; with fury borne 
 
 (Which from the stubborn stone a torrent rends) 
 
 Precipitate the pond'rous mass descends; 
 
 From steep to steep the rolling ruin bounds, 
 
 At every shock the crackling wood resounds ! 
 
 Still gathering force, it smokes; and urged amain, 
 
 Whirls, leaps, and thunders down impetuous to the plain; 
 
 There stops! so Hector. Their whole force he proved; 
 
 Resistless when he raged; and when he stopt, unmoved." 
 
 The " ridiculous " is pointed out by the faster time 
 in which this comparison is read : 
 
 " Helas ! 1'amour m'a pris 
 [Comme le chat fait la sourisV 
 
TIME. 43 
 
 In Longfellow's charming poem Evangeline, are 
 found numerous fine examples. I append a few : 
 
 The murmuring pines and the hemlocks 
 Bearded with moss, and with garments green, indistinct 
 
 hi the twilight 
 
 Stand [like druids of old, with voices sad and prophetic!, 
 Stand [like harpers hoar with beards that rest on their 
 
 bosoms!, 
 Loud from its rocky caverns the deep- voiced neighboring 
 
 ocean 
 
 Speaks, and in accents disconsolate answers the wail of 
 the forest. 
 
 * * * * Men whose lives glided on [like rivers 
 that water the woodlands! * * * * Scattered, 
 [like dust and leaves!, etc. * * * * When she had 
 passed it seemed [like the ceasing of exquisite music! 
 
 * * * * Sweet was her breath [as the breath of 
 kine that feed in the meadows! * * * * Stalworth 
 and stately in form was the man of seventy winters ; 
 Hearty and hale was he, [an oak that is covered with 
 snowflakes!. * * * * Bent, [like a laboring oar that 
 toils in the surf of the ocean!, Bent, (but not broken) by 
 age was the form of the notary public ; * * * * 
 Silently one by one, in the infinite meadows of heaven, 
 Blossomed the lovely stars [the forget-me-nots of the 
 angels!. * * * * And as she gazed from the win- 
 dow, she saw serenely the moon pass forth from the folds 
 of a cloud, and one star follow her footsteps [as out of 
 Abraham's tent young Ishmael wandered with Hagarl t 
 
 ******* 
 
 "Prisoners now I declare you; for such is his Majesty's 
 pleasure ! 
 
44: TIME. 
 
 [As when the air is serene in the sultry solstice of sum- 
 mer 
 
 Suddenly gathers a storm, and the deadly sling of the 
 hailstones 
 
 Beats down the farmer's corn in the field and shatters his 
 windows, 
 
 Hiding the sun and strewing the ground with thatch 
 from the house-roofs; 
 
 Bellowing fly the herds, and seek to break their inclo- 
 suresl ; 
 
 So on the hearts of the people descended the words of the 
 speakers." 
 
 For practising the rendering of the simile I would 
 specially recommend Shelley's " Skylark," Milton's 
 " Paradise Lost," Book I, 331 ; Book IV, 178 ; Book 
 III, 540 ; Book IY, 797, and many other passages from 
 the same poem. Longfellow's " Evangeline " may be 
 studied from the beginning to the end for this practice. 
 Many of the psalms afford excellent illustrations. In 
 some of Willis's sacred poems the reader may find 
 charming examples of the "simile"; I will mention 
 " Jairus' daughter," " The Leper," and " Absalom" as 
 being among the best for the purpose. 
 
 2. THE QUOTATION. 
 
 "When the quotation is superior in importance to the 
 main text, we give it in slower " time" ; if it is inferior 
 to that going before, and coming after, we read it more 
 rapidly. The quotation is, of course, always faster 
 when intended for " disparagement," whether superior 
 to the main text or not. Whether the quotation be 
 
TIME. 45 
 
 directly illustrative, or only indirectly, it is marked by 
 change in time (and a corresponding change of voice, 
 or tone). 
 
 To illustrate, take the following from the second 
 chapter of Matthew : 
 
 1 Now when Jesus was born in Bethlehem of Judea in 
 the days of Herod the king, behold, there came wise men 
 from the east to Jerusalem, 
 
 2 Saying, "Where is he that is born King of the 
 Jews ? for we have seen his star in the east, and are 
 come to worship him." 
 
 3 When Herod the king had heard these things, he 
 was troubled, and all Jerusalem with him. 
 
 4 And when he had gathered all the chief priests and 
 scribes of the people together, he demanded of them 
 " where Christ should be born." 
 
 5 And they said unto him, " In Bethlehem of Judea : 
 for thus it is written by the prophet," 
 
 6 " And thou Bethlehem, in the land of Juda, art not 
 the least among the princes of Juda : for out of thee 
 shall come a Governor, that shall rule my people Israel." 
 
 7 Then Herod, when he had privily called the wise 
 men, enquired of them diligently "what time the star 
 appeared." 
 
 8 And he sent them to Bethlehem, and said, " Go and 
 search diligently for the young child ; and when ye have 
 found him, bring me word again, that I may come and 
 worship him also." 
 
 A " retarded time " is natural in describing the mar- 
 velous. See section on Wonder, etc. 
 
*t> TIME. 
 
 9 When they had heard the king, they departed ; and, 
 lo, the star, which they saw in the east, went before them, 
 till it came and stood over where the young child was. 
 
 10 When they saw the star, they rejoiced with exceed- 
 ing great joy. 
 
 11 And when they were come into the house, they saw 
 the young child with Mary his mother, and fell down, 
 and worshipped him : and when they had opened their 
 treasures, they presented unto him gifts ; gold, and 
 frankincense, and myrrh. 
 
 12 And being warned of God in a dream that they 
 should not return to Herod, they departed into their own 
 country another way. 
 
 13 And when they were departed, behold, the angel of 
 the Lord appeareth to Joseph in a dream, saying, " Arise, 
 and take the young child and his mother, and flee into 
 Egypt, and be thou there until I bring thee word : for 
 Herod will seek the young child to destroy him." 
 
 14 When he arose, he took the young child and his 
 mother by night, and departed into Egypt : 
 
 15 And was there until the death of Herod : that it 
 might be fulfilled which was spoken of the Lord by the 
 prophet, saying, " Out of Egypt have I called my son." 
 
 16 Then Herod, when he saw that he was mocked of 
 the wise men, was exceeding wroth, and sent forth, and 
 slew all the children that were in Bethlehem, and in all 
 the coasts thereof, from two years old and under, accord- 
 ing to the time which he had diligently enquired of the 
 wise men. 
 
 17 Then was fulfilled that which was spoken by 
 Jeremy the prophet, saying, 
 
 18 " In Rama was there a voice heard, lamentation, 
 
TIME. 47 
 
 and weeping, and great mourning, Rachel weeping for 
 her children, and would not be comforted, because they 
 are not. 
 
 19 But when Herod was dead, behold, an angel of the 
 Lord appeareth in a dream to Joseph in Egypt, 
 
 20 Saying, " Arise, and take the young child and his 
 mother, and go into the land of Israel : for they are 
 dead which sought the young child's life." 
 
 21 And he arose, and took the young child and his 
 mother, and came into the land of Israel 
 
 22 But when he heard that Archelaus did reign in 
 Judea in the room of his father Herod, he was afraid to 
 go thither : (notwithstanding, being warned of God in 
 a dream,) he turned aside into the parts of Galilee. 
 
 23 And he came and dwelt in a city called Nazareth : 
 that it might be fulfilled which was spoken by the pro- 
 phets, " He shall be called a Nazarene." 
 
 The quotation in this chapter (both direct and indi- 
 rect) I have marked with inverted commas ; they are 
 all superior quotations, with the exception of those 
 from Herod,, whose motives in asking certain ques- 
 tions and in giving certain commands it is natural to 
 disparage ; these latter are rendered in faster time. 
 
 Many persons do not distinguish at all between the 
 ordinary time of the main text and that of the quota- 
 tion. I have heard people read these verses who 
 seemed to regard the fact of John's unfashionable 
 preference for a "garment of camel's hair and a 
 leathern girdle," of equal importance with that which 
 he preached : " Repent ye, for the kingdom of heaven 
 is at hand ; for this is he that was spoken of by the 
 
48 TIME. 
 
 prophet Esaias, saying, l The voice of one crying in the 
 wilderness, Prepare ye the way of the Lord, make his 
 paths straight.' " That John should be contented with 
 plain " locusts " and u wild honey " they would appear 
 to regard with as much astonishment (as far as any 
 change in time is concerned), as the miraculous open- 
 ing of the heavens and the " Spirit of God " descend- 
 ing like a dove upon Jesus, when John baptized him. 
 
 See the reading of the " marvellous " chapter. 
 
 In James 1 : 13 occurs the supposed quotation " I 
 am tempted of God," which James certainly intends 
 to disparage ; his intention is effectually indicated by 
 a change to fast time when reading it. Pupils will 
 please remember, that the change in " time " must be 
 distinguished by a change of " voice " : 
 
 13 Let no man say when he is tempted, " I am tempted 
 of God ": for God cannot be tempted with evil, neither 
 tempteth he any man. 
 
 In the third verse of the second chapter of James 
 there are two quotations ; the first is superior there 
 can be no objection to courtesy shown to the rich nor 
 to any one ; James disparages the contempt shown to 
 the poor, by those who say to them, " Stand thou 
 there, or sit here under my footstool " : 
 
 3 And ye have respect to him that weareth the gay 
 clothing, and say unto him, " Sit thou here in a good 
 place ; " and say to the poor, " Stand thou there, or sit 
 here under my footstool." 
 
 We find a superior quotation in Rev. 22 : 6, 7 ; 
 
TIME. 49 
 
 reading also the first line of the eighth to show the 
 change to ordinary time. 
 
 6 And he said unto me, " These sayings are faithful 
 and true : and the Lord God of the holy prophets sent 
 his angel to shew unto his servants the things which must 
 shortly be done. 
 
 7 " Behold, I come quickly : blessed is he that keepeth 
 the sayings of the prophecy of this book." 
 
 8 And I John saw these things, and heard them. 
 
 In Matt., ch. 4, there are examples of " fast " and 
 " slow " quotations ; the pupil should be required to 
 read these verses, marking very carefully the change 
 of time on each quotation, and the subsequent return 
 to the main text ; not forgetting that a change in time 
 necessitates a change of tone : 
 
 1 Then was Jesus led up of the spirit into the wilder- 
 ness to be tempted of the devil. 
 
 2 And when he had fasted forty days and forty nights, 
 he was afterward an hungered. 
 
 Disparagement. Fast Time. 
 
 3 And when the tempter came to him, he said, " If 
 thou be the Son of God, command that these stones be 
 made bread." 
 
 Superior Quo. Slow Time. 
 
 4 But he answered and said, " It is written, Man shah 1 
 not live by bread alone, but by every word that proceed- 
 eth out of the mouth of God." 
 
 5 Then the devil taketh him up into the holy city, and 
 eetteth him on a pinnacle of the temple. 
 
 3 
 
50 TIME. 
 
 Disparagement. Fast Time. 
 
 6 And saith unto him, " If thou be the Son of God, 
 cast thyself down : for it is written, He shall give his 
 angels charge concerning thee : and in their hands they 
 shall bear thee up, lest at any time thou dash thy foot 
 against a stone." 
 
 Superior Quo. Slow Time. 
 
 7 Jesus said unto him, "It is is written again, Thou 
 shalt not tempt the Lord thy God." 
 
 8 Again, the devil taketh him up into an exceeding 
 high mountain, and sheweth him all the kiDgdoms of the 
 world, and the glory of them ; 
 
 Disparagement. Fast Time. 
 
 9 And saith unto him, " All these things will I give 
 thee, if thou wilt fall down and worship me." 
 
 Superior Quo. Slow Time. 
 
 10 Then saith Jesus unto him, " Get thee hence, Satan : 
 for it is written, Thou shalt worship the Lord thy God, 
 and him only shalt thou serve." 
 
 11 Then the devil leaveth him, and, behold, angels came 
 and ministered unto him. 
 
 Matt, 7 : 4, a quotation of disparagement : 
 
 4 Or how wilt thou say to thy brother, " Let me pull 
 the mote out of thine eye " ; and, behold, a beam is in 
 thine own eye ? 
 
 A quotation of disparagement. Ex., Matt., ch. 6. 
 31 Therefore take no thought, saying, " What shall we 
 
TIME. 51 
 
 eat ? or, What shall we drink ? or, Wherewithal shall 
 we be clothed ? " 
 
 32 ( For after all these things do the Gentiles seek : ) for 
 your heavenly Father knoweth that ye have need of all 
 these things. 
 
 Matt. 7 : 22, 23, displays examples of each, the first 
 of disparagement, the second of superiority : 
 
 22 Many will say to me in that day, "Lord, Lord, have 
 we not prophesied in thy name ? and in thy name have 
 cast out devils ? and in thy name done many wonderful 
 works ? " 
 
 23 And then will I profess unto them, " I never knew 
 you ; depart from me, ye that work iniquity." 
 
 In Matt., ch. 8, we have the beautiful story of the Cen- 
 turion. How truly do we mark the simple faith in 
 Jesus' almighty power by the slow rendering of the 
 quotation in the sixth verse ! and again, the Centu- 
 rion's admirable humility (that virtue so dear to 
 Jesus), by reading in slow time the quotation of the 
 eighth verse. Then is the Lord's approbation of such 
 faith and humility properly depicted to the mind's 
 eye, by the slow time given to the quotations from the 
 tenth and thirteenth verses : 
 
 5 And when Jesus was entered into Caper'naum, there 
 came unto him a centurion, beseeching him, 
 
 6 And saying, Lord, my servant lieth at home sick of 
 the palsy, grievously tormented. 
 
 7 And Jesus saith unto him, " I will come and heal 
 him." 
 
52 TIME 
 
 8 The centurion answered and said, " Lord, I am not 
 worthy that thou shouldest come under my roof : but 
 speak the word only, and my servant shall be healed." 
 
 ********* 
 
 10 When Jesus heard it, he marvelled, and said to them 
 that followed, " Verily I say unto you, I have not found 
 so great faith, no, not in Israel." 
 
 ********* 
 
 13 And Jesus said unto the centurion, " Go thy way ; 
 and as thou hast believed so be it done unto thee." And 
 his servant was healed in the selfsame hour. 
 
 It is necessary in each case to mark the change in 
 " time " by reading a few words or lines preceding the 
 quotation, and also a few words or lines coming after 
 it. For practising the " time " of quotations, paren- 
 thesis, similes, etc., this observance is indispensable. 
 
 In the annexed examples, Matt., ch. 12, the Evan- 
 gelist quotes the Pharisees disparagingly : 
 
 10 And, behold, there was a man which had his hand 
 withered. And they asked him, saying, "Is it lawful 
 to heal on the sabbath days ? " that they might accuse 
 him. 
 
 11 And he said unto them, "What man shall there be 
 among you, that shall have one sheep, and if it fall into 
 a pit on the sabbath day, will he not lay hold on it, and 
 lift it out ? 
 
 12 "How much then is a man better than a sheep? 
 Wherefore it is lawful to do well on the sabbath days." 
 
 13 Then saith he to the man, " Stretch forth thine 
 hand." And he stretched it forth ; and it was restored 
 whole, like as the other. 
 
TIME. 53 
 
 In the eleventh verse the " wave of the voice " a 
 natural principle explained under the heading, " In- 
 flections of Yoice " is illustrated. Briefly, I will say, 
 in passing, that these vacillating inflections answer to 
 inental vacillations, the mind vacillating between the 
 illustration and the object or subject it illustrates. 
 In this case the illustration begins with the words, 
 " What man shall there be among you," etc., ending 
 with " lift it out " ; the truth to which the illustration 
 points being that " it is lawful to do good on the sab- 
 bath day." The direction of the " wave " may be thus 
 illustrated : ^ ^ ^ ^ ^ ^. The "wave," you 
 perceive, has not the force of the circumflex, >_, ^ 
 nor the directness and energy of the upward and 
 downward inflections, ' \. 
 
 3.-THE METAPHOR. 
 
 A metaphor is the application of a word in some 
 other than its ordinary use, on account of some re- 
 semblance between the functions of the two objects ; 
 thus, the President is said to be the " head " of the 
 Eepublic because the head is the chief part of the 
 body. The metaphor differs from the simile in form 
 only ; substantially they are the same. In the simile, 
 the two subjects that which is spoken of, and that to 
 which it is compared are quite distinct in expression 
 as well as in thought ; in the metaphor the two sub- 
 jects are not distinct in form ; the literal is carried 
 directly into the metaphorical ; yet, as there is neces- 
 sarily a " break " in the thought between the literal 
 and the metaphorical, and as we wish to read thoughts, 
 
54: TIME. 
 
 not forms, or words only, there should be a correspond- 
 ing " break" in the expression or rendering of the 
 thought. 
 
 For instance, in the third chapter of Habakkuk, 
 sixth verse : 
 
 " He stood and measured the earth : he beheld and 
 drove asunder the nations : and the everlasting mount- 
 ains were scattered, the perpetual hills did bow : his 
 ways are everlasting." 
 
 " He stood " is or may be taken literally, but that 
 literally he measured the earth with a "measure" 
 would be absurd; "measured," then, is used in a 
 metaphorical sense ; the break in the " thought " is 
 after the word stood, as the metaphor then begins. 
 
 He beheld a break in thought and drove asun- 
 der the nations ; and the everlasting mountains break 
 in thought were scattered; the perpetual hills 
 thought did bow : " his ways are everlasting " this 
 last is, of course, all literal, and as such should be ren- 
 dered. 
 
 " Then the moon shall be confounded, and the sun 
 ashamed when the Lord of Hosts shall reign in Mount 
 Zion, and in Jerusalem, and before his Ancients glori- 
 ously." Isaiah 24 : 23. 
 
 After pronouncing the words, "Then the moon 
 shall be," the mind reflects for an instant, in order to 
 grasp a metaphorical image, which shall most keenly 
 present the moon's change in appearance ; no feeling 
 presents a greater change in the human countenance 
 
TIME. 55 
 
 than that of being utterly confounded, so that the 
 mind instantly seizes upon a word which at once 
 describes change of appearance in the animate object, 
 and applies it to the inanimate. In the next line, in 
 like manner, the predicted alteration in the sun's face 
 is ascribed to " shame," an emotion which creates a 
 marked difference of appearance in sentient beings, 
 and so will most aptly describe the change in the 
 sun. 
 
 In the following lines from the first part of Henry 
 IY., Act 5, Sc. 9, Prince Henry assumes that glory and 
 honor are a garland of flowers : 
 
 Hotspur. Nor shall it, Harry, for the hour is come 
 To end the one of us. And 'would to God, 
 Thy name in arms were now as great as mine ! 
 Prince Henry. I'll make it greater, ere I part from 
 
 thee ; 
 
 And all the budding honours on thy crest 
 I'll crop, to make a garland for my head. 
 
 In the next from " Cymbeline," Act 3, Sc. 3, the 
 break in the thought is after "I," in the sixth line. 
 A man who had acquired great reputation and honors 
 is supposed to be a tree loaded with fruit : 
 
 Belarim. O boys, this story the world, 
 May read in me : my body's marked 
 With Roman swords ; and my report was once 
 First with the best of note : Cymbeline loved me ; 
 And when a soldier was the theme, my name 
 Was not far off : Then was I, as a tree, 
 
56 TIME. 
 
 Whose boughs did bend with fruit : but in one night 
 A storm, or robbery, call it what you will, 
 Shook down my mellow hangings, nay, my leaves, 
 And left me bare to weather." 
 
 In Eichard II., Act 1, Sc. 2, the first break in the 
 thought is after the word " were " when the mind 
 seizes upon the metaphorical idea of Edward's being a 
 tree, and his sons seven fair branches, one of which 
 has been cut down and his leaves all withered, etc., 
 etc. The pause then comes after the word " were." 
 
 Duch. Finds brotherhood in thee no sharper spur? 
 Hath love in thy old blood no living fire ? 
 Edward's seven sons, whereof thyself art one, 
 Were as seven phials of his sacred blood, 
 Or seven fair branches springing from one root ; 
 Some of those seven are dried by nature's course, 
 Some of those branches by the destinies cut : 
 But Thomas, my dear lord, my life, my Gloster, 
 One phial full of Edward's sacred blood, 
 One flourishing branch of his most royal root, 
 Is crack'd, and all the precious liquor spilt ; 
 Is hack'd down, and his summer leaves all faded, 
 By envy's hand, and murder's bloody axe. 
 
 In the following illustration the mind is first occu- 
 pied with the metaphor " There is a tide," by which 
 he intends depicting the fortunate turning-point of 
 man's career ; a pause, and then the literal " in the 
 affairs of men" (a break in the thought, which, of 
 course, requires a pause) ; then the metaphor is again 
 
TIME. 57 
 
 taken up and held uninterruptedly to the close ; human 
 life is here supposed to be a " voyage at sea." 
 
 JSru. Under your pardon. You must note beside, 
 That we have tried the utmost of our friends, 
 Our legions are brim-ful, our cause is ripe : 
 The enemy increaseth every day ; 
 We, at the height, are ready to decline. 
 There is a tide in the affairs of men, 
 Which, taken at the flood, leads on to fortune ; 
 Omitted, all the voyage of then- life 
 Is bound in shallows, and in miseries. 
 On such a full sea are we now afloat ; 
 And we must take the current when it serves, 
 Or lose our ventures. 
 
 Julius Ccesar, Act 4, Sc. 3. 
 
 The next is from Fingal; I have placed a little 
 dash between the literal and metaphorical to mark the 
 pause. 
 
 " Blessed be thy soul, thou king of shells ! said Swaran 
 of the dark-brown shield. In peace thou art the gale of 
 spring ; in war the mountain storm. Take now my 
 hand in friendship, thou noble king of Morven !" 
 
 In the following lines the literal thought stops after 
 " state of man"; the metaphor is then carried on, until 
 the word "falls" has been pronounced, when the 
 thought breaks, and the literal is resumed on " as I 
 do." 
 
 Wol. So farewell to the little good you bear me. 
 Farewell, a long farewell, to all my greatness ! 
 
58 
 
 TIME. 
 
 This is the state of man ; to-day he puts forth 
 The tender leaves of hope, to-morrow blossoms, 
 And bears his blushing honors thick upon him : 
 The third day, comes a frost, a killing frost ; 
 And (when he thinks, good easy man, full surely 
 His greatness is a ripening) nips his root, 
 And then he falls, as I do. I have ventured, 
 Like little wanton boys that swim on bladders, 
 This many summers in a sea of glory ; 
 But far beyond my depth : my high-blown pride 
 At length broke under me ; and now has left me, 
 Weary, and old with service, to the mercy 
 Of a rude stream, that must for ever hide me. 
 Vain pomp, and glory of this world, I hate ye ; 
 I feel my heart new opened : O, how wretched 
 Is that poor man, that hangs on princes' favors I 
 There is, betwixt that smile we would aspire to, 
 That sweet aspect of princes, and their ruin, 
 More pangs and fears than wars or women have ; 
 And when he falls, he falls like Lucifer), 
 Never to hope again. 
 
 Henry VIIL 
 
 4._ WONDER. THE MARVELLOUS. 
 
 These we express by retarded time. If the reader 
 will take the trouble to notice the " time " in which 
 those around him speak when under the influence of 
 wonder, or in relating that which they consider a mar- 
 vel, he will perceive that this is a natural law. If 
 this be so, as it undoubtedly is, then is it natural and 
 proper to read all passages of this nature, miraculous 
 occurrences, fulfillment of prophecy, etc., etc., in 
 
TIME. 59 
 
 " time " which, as the reader or speaker goes on, be- 
 comes slower, and jet slower. 
 
 . Take the following example of " wonder " from 
 Matt. 9 : 8 ; I have given the seven preceding verses 
 because of their containing illustrations of the quo- 
 tation, given slowly, and with disparagement. The 
 retarded time begins with the 8th verse, the intervals 
 of time between the words becoming longer and longer. 
 When a passage has been selected for practice of the 
 " retarded time," the student will graduate the inter- 
 vals most carefully ; and accustom himself to express- 
 ing a greater or lesser degree of wonder, according to 
 the time in which he commences the passage ; and the 
 degree of wonder to be expressed should determine 
 that. 
 
 1 And he entered into a ship, and passed over, and 
 came into his own city. 
 
 2 And, behold, they brought to him a man sick of the 
 palsy, lying on a bed : and Jesus seing their faith said 
 unto the sick of the palsy : "Son, be of good cheer; thy 
 sins be forgiven thee." 
 
 9 3 And, behold, certain of the scribes said within them- 
 selves, " This man blasphemeth." 
 
 4 And Jesus knowing their thoughts said, " Wherefore 
 think ye evil in your hearts ? " 
 
 5 For whether is easier, to say, " Thy sins be forgiven 
 thee ;" or to say, "Arise, and walk?" 
 
 6 But that ye may know that the Son of man hath 
 power on earth to forgive sins, (then saith he to the sick 
 of the palsy,) " Arise, take up thy bed, and go unto thine 
 house." 
 
60 TIME. 
 
 7 And he arose, and departed to his house. 
 
 8 But when the multitudes saw it, they marvelled, and 
 glorified God, which had given such power unto men. 
 
 The next illustration records a miracle ; it is from 
 the same chapter ; in the 25th verse the miraculous 
 occurrence is related : 
 
 23 And when Jesus came into the ruler's house, and 
 saw the minstrels and the people making a noise, 
 
 24 He said unto them, "Give place : for the maid is 
 not dead, but sleepeth." And they laughed him to scorn. 
 
 Retarded Time. 
 
 25 But when the people were put forth, he went in, 
 and took her by the hand, and the maid arose. 
 
 26 And the fame hereof went abroad into all that land. 
 
 In the first ten verses of the 37th chapter of Ezekiel, 
 we have fulfillment of prophecy. In the 3d, 4th, and 
 5th verses there are examples of the slow quotation : 
 
 Ordinary Time. 
 
 1 The hand of the Lord was upon me, and carried me 
 out in the Spirit of the Lord, and set me down in the 
 midst of the valley which was full of bones, 
 
 2 And caused me to pass by them round about : and, 
 behold, there were very many in the open valley ; and, 
 lo, they were very dry. 
 
 Slow Quotation. 
 
 3 And he said unto me : " Son of man, can these bones 
 live ? " And I answered, " O Lord God, thou knowest." 
 
TIME. 61 
 
 4 Again he said unto me, " Prophesy upon these bones, 
 and say unto them, O ye dry bones, hear the word of the 
 Lord." 
 
 Slow Quotation. 
 
 5 Thus saith the Lord God unto these bones : " Be- 
 hold, I will cause breath to enter into you, and ye shall 
 live : 
 
 6 And I will lay sinews upon you, and will bring up 
 flesh upon you, and cover you with skin, and put breath 
 in you, and ye shall live ; and ye shall know that I am 
 the Lord." 
 
 Retarded Time. 
 
 7 So I prophesied as I was commanded : II and as I 
 prophesied, there was a noise, and behold a shaking, and 
 the bones came together, bone to his bone. 
 
 8 And when I beheld, lo, the sinews and the flesh 
 came up upon them, and the skin covered them above : 
 Hbut there was no breath in them. 
 
 Ordinary Time. 
 
 9 Then said he unto me, Prophesy unto the wind, 
 prophesy, son of man, and say to the wind, Thus saith 
 the Lord God : " Come from the four winds, O breath, 
 and breathe upon these slain, that they may live." 
 
 Retarded Time. 
 
 10 So I prophesied as he commanded me, Hand the 
 breath came into them, and they lived, and stood up 
 upon their feet, an exceeding great army. 
 
 I have placed a short perpendicular mark at the be- 
 ginning of the lines requiring the retarded time ; also 
 at the points where ordinary time is resumed. 
 
62 TIME. 
 
 5. PARABLES. 
 
 The parable should, as a whole, be read in faster 
 time than the main text, as it is an illustration, and 
 not of so much importance as the subject it illustrates. 
 That which is of greater moment is the teaching or 
 moral that the parable is intended to point ; and the 
 teaching, consequently, must be rendered very much 
 more slowly than either main text or parable. 
 
 I append an example from St. Luke. 
 
 12 He said therefore, A certain nobleman went into 
 a far country to receive for himself a kingdom, and to 
 return. 
 
 13 And he called his ten servants, and delivered them 
 ten pounds, and said unto them, Occupy till I come. 
 
 14 But his citizens hated him, and sent a message after 
 him, saying, We will not have this man to reign over us. 
 
 15 And it came to pass, that when he was returned, 
 having received the kingdom, then he commanded these 
 
 ^-^ / N 
 
 servants to be called unto him, to whom he had given 
 the money, that he might know how much every man had 
 gained by trading. 
 
 16 Then came the first, saying, Lord, thy pound hath 
 gained ten pounds. 
 
 17 And he said unto him, Well, thou good servant : 
 because thou hast been faithful in a very little, have thou 
 authority over ten cities. 
 
 18 And the second came, saying, Lord, thy pound hath 
 gained five pounds. 
 
TIME. 63 
 
 19 And he said likewise to him, Be thou also over five 
 cities. 
 
 20 And another came, saying, Lord, behold, here is 
 thy pound, which I have kept laid up in a napkin : 
 
 21 For I feared thee, because thou art an austere man : 
 
 ^ / x ' S~^ y-S 
 
 thou takest up that thou layedst not down, and reapest 
 
 ^^ > v ^-'\ 
 that thou didst not sow. 
 
 22 And he saith unto him, " Out of thine own mouth 
 will I judge thee, thou wicked servant. Thou knewest 
 
 that I was an austere man, taking up that I laid not 
 
 ^ s-^ ^ \ 
 
 down, and reaping that I did not sow : 
 
 23 Wherefore then gavest not thou my money into 
 the bank, that at my coming I might have required mine 
 own with usury ? 
 
 24 And he said unto them that stood by, " Take from 
 him the pound, and give it to him that hath ten pounds." 
 
 25 (And they said unto him, Lord, he hath ten pounds.) 
 
 Teaching. 
 
 26 For I say unto you, That unto every one which 
 hath shall be given; and from him that hath not, even 
 that he hath shall be taken away from him. 
 
 For a second illustration I give the parable of " The 
 sower and the seed," from Matthew, chap. 13 : 
 
 1 The same day went Jesus out of the house, and sat 
 by the sea-side. 
 
 2 And great multitudes were gathered together unto 
 him, so that he went into a ship and sat; and the whole 
 multitude stood on the shore. 
 
64 TIME. 
 
 3 And he spake many things unto them in parables, 
 
 s *-' x-x , s 
 
 saying, Behold, a sower went forth to sow; 
 
 \^s _. ^^ 
 
 4 And when he sowed, some seeds fell by the way 
 side, and the fowls came and devoured them up: 
 
 5 Some fell upon stony places, where they had not 
 ^ ^ \ sT ^^~" ^ 
 
 much earth: and forthwith they sprung up, because they 
 
 %S ** X /*"" N S ** |X *^^; 
 
 had no deepness of earth: 
 
 6 And when the sun was up, they were scorched; and 
 
 N -' ^ ^-^ \ 
 
 because they had no root, they withered away. 
 
 i^ -^ ^^ 
 
 7 And some fell among thorns ; and the thorns sprung 
 
 >**s 
 
 up, and choked them: 
 
 8 But other fell into good ground, and brought forth 
 fruit, some an hundredfold, some sixtyf old, some thirty- 
 fok 
 
 Teaching -"Now the 'seed' is the word of God," 
 etc. 
 
CHAPTER III. 
 
 EM PHASIS. 
 
 1. ITS PHILOSOPHY AND PRACTICAL 
 EXECUTION. 
 
 dynamic or creative acts of the mind 
 result in the vocal phenomena which we call " em- 
 phasis." A new idea or fact, one now presented for the 
 first time, constitutes the emphatic word or words. The 
 dominant idea in a passage is the fact which requires 
 prominence. These successive new facts (or ideas) 
 form as it were a chain ; each emphatic word or clause 
 forms a " link " of different pattern or weight perhaps, 
 but wrought into one connected and harmonious 
 whole. As the missing or losing of one of its links 
 would be fatal to the perfection of the chain, so the 
 suppression of even one of the emphatic words or 
 clauses in a sentence is most detrimental to its force 
 and clearness. It follows from this that the " unem- 
 phatic clause " must be that which presents no new or 
 dominant fact or thought ; and although these unem- 
 phatic clauses occur very frequently, their features are 
 so plainly marked as always to give us fair warning 
 not to give them undue prominence ; this latter being 
 a fault which is the cause of apparent " weakness " in 
 
66 EMPHASIS. 
 
 many passages, that properly rendered would carry- 
 great weight with them. 
 
 The " characteristics " that mark the " unernphatic 
 clause " are principally these 1. Repetition 2. An- 
 ticipation / 3. Sequence / 4. Subordination / 5. Knowl- 
 edge beforehand. 
 
 Repetition of an idea that has already been pre- 
 sented is illustrated in the 1st, 2d, 3d, 4th, and llth 
 verses of the 5th chapter of Daniel. 
 
 1 Belshazzar the king made a great feast to a thousand 
 of his lords, and drank wine before the thousand. 
 
 2 Belshazzar, while he tasted the wine, commanded 
 to bring the golden and silver vessels which his father 
 Nebuchadnezzar had taken out of the temple which was 
 in Jerusalem; that the king and his princes, his wives 
 and his concubines, might drink therein. 
 
 3 Then they brought the golden vessels that were 
 taken out of the temple of the house of God which was 
 at Jerusalem; and the king and his princes, his wives and 
 his concubines, drank in them. 
 
 4 They drank wine, and praised the gods of gold, and 
 of silver, of brass, of iron, of wood, and of stone. 
 
 " Belshazzar" is the first emphatic word; "the king" 
 is a repetition of Belshazzar; it is therefore unem- 
 phatic ; also, on pronouncing " Belshazzar " we antici- 
 pate that it is the king of that name of whom we are 
 speaking, consequently "the king" is unemphatic 
 through " anticipation" as well as " repetition"; " great 
 feast " is the next new fact stated, and is consequently 
 emphatic ; " to a thousand of his lords " is a clause un- 
 
EMPHASIS. 67 
 
 emphatic through both anticipation and sequence ; for, 
 if the king made a great feast, we anticipate that it 
 was for a great number; it is unemphatic through 
 sequence, for as a natural consequence of the prepara- 
 tion of a " great feast " many are expected to partake, 
 and the exact number, whether 999 or a thousand, is 
 not of the slightest importance ; " drank wine " is the 
 next new fact, and " before the thousand " is unem- 
 phatic through " repetition " of an idea that has al- 
 ready been presented. 
 
 The student will proceed in like manner when ana- 
 lyzing the succeeding verses. In the 2d verse the new 
 facts are " Belshazzar "" commanded to bring the 
 golden and silver vessels " " which his father " " had 
 taken out of the temple "; and in the last part of the 
 verse the various nouns " king," " princes," " wives," 
 "concubines " merely represent the pronominal " they," 
 so that after emphasizing " king " the rest are unem- 
 phatic through repetition, anticipation, or sequence. 
 " Therein " is the next emphatic word ; " drank " being 
 a repeated fact, the new idea being that the company 
 should drink "from, " these sacred vessels. " While 
 he tasted the wine " is unemphatic through " repeti- 
 tion"; "Nebuchadnezzar," a repetition of "father"; 
 " which was in Jerusalem," unemphatic through " se- 
 quence" and through "knowledge beforehand" (we 
 know that the sacred vessels were in the temple there). 
 
 In the third verse the only new ideas are conveyed 
 in the words "brought" and "drank," each telling of 
 an accomplished fact ; the remainder of the verse is 
 plainly unemphatic through " repetition." 
 
68 
 
 EMPHASIS. 
 
 " And praised the gods of gold," is the only new 
 fact stated in the fourth verse. After drinking from 
 the sacred vessels (which we have heard they did), 
 they commit idolatry ; that fact is stated by empha- 
 sizing " and praised the gods of gold /" we anticipate 
 that they did not confine themselves to one particular 
 metal, and we conclude, as a natural consequence of 
 their falling into idolatry, and praising the gods of 
 gold, that they praised those of silver, etc., also. 
 
 A peculiarity which commands our attention in 
 the fifth verse, is the concentration of the new fact in 
 a single word : 
 
 5 In the same hour came forth fingers of a man's 
 hand, and wrote over against the candlestick upon the 
 plaster of the wall of the king's palace : and the king 
 saw the part of the hand that wrote. 
 
 The ideas thus outlined are, first, the " time" by em- 
 phasizing "same" (this identical time); next, the 
 object " fingers " (not fingers of this or that man or 
 supernatural being); then the action "wrote," not 
 the particular spot on which they wrote ; we antici- 
 pate that they wrote somewhere within full view; 
 the wonder being in supernatural writing, not in the 
 particular angle of wall chosen to receive it. There 
 is nothing new in the candlestick or wall, but only in 
 the marvelous fact that strange fingers appeared writ- 
 ing mysterious words. Lastly, the king " saw " ; 
 emphasis on this word implies not only the king's 
 actual perceiving what was done, but also the effect it 
 had upon him ; that of alarm, or interest, as the case 
 
EMPHASIS. 69 
 
 may be. The unemphatic clauses " of a man's hand " 
 and " over against a candlestick upon the plaster of 
 the wall of the king's palace," are so through both 
 sequence and anticipation. To emphasize " the part 
 of the hand that wrote" would be incorrect, first 
 through "repetition" (that was the only part that 
 appeared), then these words are simply equivalent 
 to the pronoun " it "; and so much of this kind of 
 repetition abounds that we might designate this de- 
 scription of unemphatic clause, " Pronominal repeti- 
 tion." 
 In the eleventh verse of this chapter 
 
 There is a man in thy kingdom, in whom is the spirit 
 of the holy gods ; and in the days of thy father light and 
 understanding and wisdom, like the wisdom of the gods, 
 was found in him ; whom the king Nebuchadnezzar thy 
 father, the king, I say, thy father, made master of the 
 magicians, astrologers, Chaldeans, and soothsayers ; 
 
 occurs an example of words or clauses unemphatic 
 through "subordination," the rule being that when 
 two words, etc., in connection are each repeated, it is 
 for the purpose of making each emphatic in turn, and 
 that the second word is subordinate to the first in the 
 first place, and the first word is subordinate to the 
 second word in the second place. In this example, 
 " king " is first emphatic (Nebuchadnezzar is a repeti- 
 tion of king), and father is subordinate to king; then, 
 in the second place, " father " is emphatic, and king 
 is subordinate. 
 
70 EMPHASIS. 
 
 " When should a repeated word be emphasized ?" 
 ""When it has a new signification." 
 
 We have, in the previous examples, dealt with sen- 
 tences in which the repeated word has given us no 
 new idea, but we meet with it where it has a new 
 meaning ; in such cases it has all the logical power of 
 a new word. Some illustrations will be the best ex- 
 planation of 'this natural principle : 
 
 For he that is entered into his rest, he also hath ceased 
 from tfiis own] works, as God did from his. Hebrews 
 4 : 10. 
 
 " His own," in the second line, is massed and em- 
 phatic, " his " referring to man ; the last " his " is also 
 given with force, because of its different meaning it 
 refers to God. 
 
 In 1 Cor. 15 : 21 
 
 " For since by man came death, by man came also the 
 resurrection of the dead " 
 
 the repeated word " man," signifying the Son of God, 
 requires as much, emphasis as does the first man, re- 
 ferring to Adam ; though with regard to the first man 
 (Adam) ^we have the negative attitude of mind (>"), 
 and the " positive " (\) as to Christ. 
 
 The following example is from 1 Kings, ch. 18 : 
 
 6 So they divided the land between them to pass 
 throughout it : Ahab went one way by himself, and 
 Obadiah went another way by himself. 
 
 Although the repeated word " himself" has a new sig- 
 
EMPHASIS. 71 
 
 nification, the first referring to Ahab, the second to 
 Obadiah, both requiring emphasis; the "ear" is 
 so nice in its distinctions that where there is a 
 possibility of " transfer " it will detect it, and in this 
 instance, after the usual emphasis has been given to 
 the first of these words, with tbe stress upon the last 
 syllable " self," in giving the repeated emphasis to the 
 second word, the transfer of the " stress " to " him " is 
 both easy and natural. 
 
 In the following example the same transfer of stress 
 indicates that the first "(W0m>me" is passive, the 
 second u overcome " active : 
 
 Be not overcome of evil, but overcome evil with good. 
 Romans 12 : 21. 
 
 Day unto day uttereth speech, and night unto night 
 sheweth knowledge. Psalm 19 : 2. 
 
 The second " day " should be as emphatic as the first 
 " day " ; it is not the same but a different day that is 
 meant. So with the word " night" each is emphatic 
 for the same reason. 
 
 2. MASSING. 
 
 This is a deeply interesting feature of emphasis ; it 
 consists of an accumulation of successive particulars, 
 words or clauses, which should be given as a unit with 
 one impetus. There are many and varied instances, 
 in which the employment of massing is necessary, and 
 although these may require somewhat different modes 
 of execution, all have their mental origin as a " unit," 
 
72 EMPHASIS. 
 
 and the delivery should indicate this singleness of 
 feature which characterizes them. Thus in one case 
 it may be an abstract quality or idea, as the omni- 
 science of God : 
 
 For the [word of God! [is quick, and powerful, and 
 sharper than any two-edged sword, piercing even to the 
 dividing asunder of soul and spirit, and of the joints and 
 marrow, and is a discerner of the thoughts and intents 
 of the hearth 
 
 Neither is there any creature that is not manifest in 
 his sight ; but all things tare naked and opened unto the 
 eyes of him with whom we have to do!. Hebrews 4 : 
 12, 13. 
 
 Or of " universality" : 
 
 And his fame went throughout all Syria ; and they 
 brought unto him [all sick people that were taken with 
 divers diseases and torments, and those which were pos- 
 sessed with devils, and those which were lunatick, and 
 those that had the palsy] ; and he healed them. Matt. 
 4 :21. 
 
 These examples are marked by placing a small 
 bracket just above the beginning of the first word in- 
 troducing the massed clauses, and another at their 
 termination. 
 
 Massed words or clauses may be of " identity," as 
 found in various parts of the fifth chapter of Daniel : 
 
 "[Peoples, nations, and languages!." 
 
 " [Light, understanding, and wisdom!." 
 
 " [Astrologers, Chaldeans, and soothsay ersV 
 
EMPHASIS. 73 
 
 "Then was king Belshazzar greatly troubled: Cand 
 his countenance was changed in him, and his lords were 
 astonished!." 
 
 Ezekiel 22 : 20 : 
 
 19 Therefore thus saith the Lord God: As I live, 
 surely mine oath that he hath despised, and my covenant 
 that he hath broken, even it will I recompense upon his 
 own head. 
 
 20 CAnd I will spread my net upon him, and he shall 
 be taken in my snare, and I will bring him to Babylon, 
 and will plead with him there for his trespass that he 
 hath trespassed against me. 
 
 21 And all his fugitives with all his bands shall fall 
 by the sword, and they that remain shall be scattered 
 toward all winds:! and ye shall know that I the Lord 
 have spoken it. 
 
 The several particulars mentioned from the begin- 
 ning of the 20th verse through the word " winds " in 
 the 21st verse, all refer to the " recompense," are in 
 fact the recompense ; they should then be read as one 
 idea, and not as several. 
 
 In Ezekiel 18 : 20, 1 see a similar example of mass- 
 ing the several clauses, beginning " the son shall not 
 bear, etc.," all referring to the fact that each is account- 
 able for his own sins : 
 
 The soul that sinneth, it shall die. [The son shall not 
 bear the iniquity of the father, neither shall the father 
 bear the iniquity of the son: the righteousness of the 
 righteous shall be upon him, and the wickedness of the 
 wicked shall be upon him.] 
 
74r EMPHASIS. 
 
 In Luke 24 : 25 
 
 " Then he said unto them, " O fools, and [slow of heart 
 to believe^ all the prophets have spoken " 
 
 the meaning is indicated by massing the words, "slow 
 of heart to believe " and giving them with the negative 
 inflection of voice, which shows disapproval; the 
 words are massed, because they convey but one idea. 
 
 3. EMPHASES BY TRANSFER. 
 
 When a word is repeated, " transfer " the emphasis 
 to another word. This is a natural process whenever 
 the sense will admit of it, and it does admit of it when- 
 ever the repeated word gives the same meaning as its 
 predecessor. 
 
 12 Forasmuch fas an excellent spirit, and knowledge, 
 and understanding, interpreting of dreams, and shewing 
 of hard sentences, and dissolving of doubts,! were found 
 in the same Daniel, whom the king named Belteshazzar: 
 now let Daniel be called, and he will shew the interpre- 
 tation. 
 
 13 Then was Daniel brought in before the king. And 
 the king spake and said unto Daniel, Art thou that 
 Daniel, which art of the children of the captivity of 
 Judah, whom the king my father brought out of Jewry ? 
 
 14 I have even heard of thee, that the spirit of the 
 gods is in thee, and that light and understanding and ex- 
 cellent wisdom is found in thee. 
 
 15 And now the wise men, the astrologers, have been 
 
EMPHASIS. 75 
 
 brought in before me, that they should read this writing, 
 and make known unto me the interpretation thereof: 
 but they could not shew the interpretation of the 
 thing: 
 
 16 And I have heard of thee, that thou canst make 
 interpretations, and dissolve doubts: now if thou canst 
 read the writing, and make known to me the interpreta- 
 tion thereof, thou shalt be clothed with scarlet, and have 
 a chain of gold about thy neck, and shalt be the third 
 ruler in the kingdom. 
 
 17 Then Daniel answered and said before the king, 
 Let thy gifts be to thyself, and give thy rewards to an- 
 other; yet I will read the writing unto the king, and 
 make known to him the interpretation. 
 
 18 O thou king, the most high God gave Nebuchad- 
 nezzar thy father a kingdom, and majesty, and glory, 
 and honour: 
 
 19 And for the majesty that he gave him, all people, 
 nations, and languages, trembled and feared before him: 
 whom he would he slew; and whom he would he kept 
 alive; and whom he would he set up; and whom he 
 would he put down. 
 
 Let us analyze the above verses (from Daniel, eh. 5), 
 not confining ourselves to the examples of " transfer " 
 only, but taking all that are involved in each verse, 
 beginning with the 12th. " Forasmuch as an excel- 
 lent spirit, and knowledge, and understanding, inter- 
 preting of dreams, and shewing of hard sentences, and 
 dissolving of doubts," all refer to one thought, that of 
 surpassing wisdom ; the several clauses should there- 
 fore be presented as a unit, that is> without any special 
 
76 EMPHASIS. 
 
 pausing between them. "Were found in the same 
 Daniel " is a clause unemphatic through anticipation. 
 ""Whom the king named Belteshazzar " is an unim- 
 portant parenthesis. As Daniel has been spoken of 
 all along, instead of repeating the emphasis upon 
 Daniel in the next clause, transfer it to " called" 
 which conveys to us the next new thought, and from 
 " interpretation," which we have had before, to " he." 
 " Brought in " is the first new fact in the 13th verse ; 
 " spake " is next emphatic ; " and said unto Daniel," 
 unemphatic through repetition. Now follows a sen- 
 tence in the interrogative form, but the spirit of which 
 is certainly assertive, as the king's subsequent words 
 prove ; for he goes on to say, " I have even heard of 
 thee that the Spirit of the gods^ (massed), is in thee, and 
 that light, and understanding, and excellent wisdom 
 is found in thee." - (It will be correct either to mass 
 these last, or to consider that the idea is fully given in 
 the word " Light," and that the other qualities are un- 
 emphatic through Sequence.} The sentence spoken of 
 as being assertive, though interrogative in form, is 
 treated of #t length in the section on Antagonism of 
 Grammatical Forms. " Is found in thee " is unem- 
 phatic through "anticipation." In the 15th verse, 
 " And now the wise men " (emphatic) ; " the astrolo- 
 gers " (unemphatic through repetition) ; " read " (em- 
 phatic). " Interpretation " is the next new fact, (to 
 Daniel, for Daniel has not known of this before, and 
 although it is not new to those who have been present 
 all the time, it is new to Daniel.) The next new idea 
 is contained in the negative ; and that word alone re- 
 
EMPHASIS. 77 
 
 quires emphasis " But they could NOT show the inter- 
 pretation of the thing." 16th verse "And I have 
 heard of thee that thou (transfer the emphasis from 
 thee to thou) canst make interpretations, and dissolve 
 doubts (unemphatic through repetition) ; now if thou 
 canst (transfer the emphasis from thou to canst) read 
 the writing and make known to me the interpretation 
 thereof (unemphatic through repetition), thou shalt be 
 clothed (unemphatic through Sequence) with scarlet 
 (a new fact, an honor, therefore emphatic), and have a 
 chain of gold (emphatic, the new fact, the honor) 
 about thy neck (unemphatic through Anticipation), 
 and shalt be the third ruler (emphatic) in the king- 
 dom " (unemphatic through sequence or anticipation). 
 
 Vlih verse. "Then Daniel answered" (emphatic) 
 " and said before the king " (unemphatic through repe- 
 tition). " Thyself," " another," " read," and " known " 
 are the remaining emphatic words in the slow quota* 
 tion as far as the end of the verse ; this quotation is, 
 however, continued in the following verses. 
 
 ~L8th verse. " O thou king, the most high God gave 
 Nebuchadnezzar (emphatic) thy father" (unemphatic 
 through both repetition and anticipation). "King- 
 dom," "majesty," "glory," "honor," are each em- 
 phatic in turn, as they are each different, and the gift 
 of one of these does not presuppose any of the others. 
 This may be called the converse of massing. 
 
 19A verse. The first line is unemphatic as far as 
 " people." " Nations and languages " must either be 
 massed with people or be considered unemphatic, be- 
 cause they repeat the idea given in the word " peo- 
 
78 EMPHASIS. 
 
 pie "; " trembled " is the next emphatic word ; " feared " 
 is unemphatic through anticipation ; if they trembled, 
 we anticipate that fear was the emotional cause. Now 
 we have a certain amount of repetition, and admitting 
 that "transfer" is pleasing for the variety it imparts, 
 we will find better reasons for its employ in the fol- 
 lowing lines. 
 
 " Whom he would he slew." Slew should be em- 
 phatic, and in tone negative (that is, with the rising 
 inflection) ; and the next new fact is conveyed in the 
 word "alive" which is emphatic, and in tone positive 
 (or with the falling inflection of voice reasons given 
 under the section, Positive and Negative Inflections). 
 Transfer the emphasis to "whom" for this reason: 
 whomsoever the person was, no matter how poor or 
 lowly, he was able to elevate him ; transfer the em- 
 phasis, therefore, from " whom " to " would" for the 
 reason that it was immaterial to him how high or 
 mighty a man might be, if he willed it or would, he 
 could put him down. 
 
 In Isaiah 55 : 1, we find an example of transfer ; the 
 " new idea " is found in a new word and not in the 
 repeated words, of which there are a great many. The 
 words requiring emphasis are " thirsteth," " come," 
 "waters," "money," "buy," "wine," "without," and 
 "price": 
 
 Ho, every one that thirsteth) come ye to the waters, 
 and he that hath no money / come ye, buy, and eat ; yea, 
 come, buy wine and milk without money and without 
 
 price. 
 
EMPHASIS. 79 
 
 The new thoughts in the following example are 
 made prominent by transferring the emphasis as indi- 
 cated: 
 
 8 For though I made you sorry with a letter, I do 
 not repent, though I did repent : for I perceive that the 
 same epistle hath made you sorry, though it were but for 
 a season. 
 
 9 Now I rejoice, (not that ye were made sorry,) but 
 that ye sorrowed to repentance : for ye were made sorry 
 after a godly manner, that ye might receive damage by 
 us in nothing. 
 
 10 For godly sorrow worketh [repentance to salvation^ 
 not to be repented of : but the [sorrow of the world] 
 worketh death. 
 
 11 [For behold this selfsame thing, that ye sorrowed 
 after a godly sortf, what carefulness it wrought in you, 
 yea, what clearing of yourselves, yea, what indignation, 
 yea, what fear, yea, what vehement desire, yea, what 
 zeal, yea, what revenge ! In all things ye have approved 
 yourselves to be clear in this matter. 
 
 12 Wherefore, though I wrote unto you, I did it not 
 for his cause that had done the wrong, nor for ms cause 
 that Buffered wrong, but that our care for you in the 
 sight of God might appear unto you. 2 Cor., ch. 7. 
 
 The massed clauses are enclosed (partially) by small 
 brackets ; the negative attitude of mind with regard 
 to certain thoughts by the negative inflection (>) 
 
80 EMPHASIS. 
 
 above the words so regarded, whether they be em- 
 phatic or not, and the positive attitude of mind as 
 indicated by placing the positive or downward inflec- 
 tion (\) over certain other words expressive of 
 thoughts of a positive nature. All words that are 
 emphatic are in italics. 
 
 " In the -beginning was the word, and the word was 
 with God, and the word was God." 
 
 In John 1:1, the dominant thought (Christ's di- 
 vinity) is brought out clearly and concisely by empha- 
 sizing first " beginning " ; the first thought being that 
 Christ always was. Transfer the emphasis to " God" 
 to show that Christ was not only from the beginning 
 but that he was always God ; and now transfer the 
 emphasis to " Word" which brings to the mind's eye 
 forcibly that the Word was not only with God but 
 that the WOKD was God ; do not emphasize " was " 
 the weakly false emphasis that many give by that 
 you not only suppress the dominant idea that the 
 " Word" was God, but raise in the mind unnecessary 
 doubts, as " He was, but is He now ? and will He 
 be ? " exploring little byroads in the analysis that are 
 irrelevant, and forsaking the broad road where lies the 
 dominant thought. A good rule to follow, in order 
 to avoid such divergence, is this : Read " ideas " in- 
 stead of " words." 
 
 In 1 Kings 18 : 21 
 
 "If the Lord be God follow him, but if Baal then fol- 
 low him " 
 
EMPHASIS. 81 
 
 we have both " follow " and " him " repeated. What 
 is the speaker's own belief? Why, that the "Lord" 
 is God ; then his positive attitude of mind as regards 
 the Lord, requires the positive inflection of voice (\) 
 on that word ; it is the first new thought, and requires 
 emphasis in consequence. " Follow " is the next new 
 idea ; then transfer the force to " Baal" whom the 
 speaker does not believe to be God, so holds a nega- 
 tive attitude of mind with regard to him, which he 
 shows by the negative inflection of voice ; afterwards 
 comes the word "him" to which the emphasis is 
 transferred. 
 
 In the following example from Matt. 10 : 34 
 
 " Think not that I am come to send peace on earth : I 
 came not to send peace, but a sword" 
 
 the new thought is made prominent by emphasiz- 
 ing "peace " ; the idea next put forward is contained 
 in the word which conveys the idea of what he did 
 come for, viz., to send a " sword "; the mental atti- 
 tude is indicated by the inflections as placed. The 
 transfer is from " peace " to " sword." 
 
 Referring to the parable 'of the "Prodigal Son," we 
 find that " he " has been applied to the prodigal until 
 we reach the word " citizen" which is emphatic, but 
 "he" has been transferred from "younger son "to 
 " citizen " we find when we glance at the " he " which 
 follows citizen ; then should the emphasis be trans- 
 ferred also. 
 
EMPHASIS. 
 
 And when he had spent all, there arose a mighty fam- 
 ine in that land ; and he began to be in want. 
 
 And he went and joined himself to a citizen of that 
 country ; and he sent him into his fields to feed swine. 
 15 : 14, 15. 
 
 An excellent example of transfer is found in He- 
 brews 2 : 6, 8 : 
 
 6 But one in a certain place testified, saying, What is 
 man, that thou art mindful of him ? or the son of man, 
 
 that thou visitest him ? 
 
 ****** 
 
 8 Thou hast put all things in subjection under his feet. 
 For in that he put all in subjection under him, he left 
 nothing that is not put under him. But now we see not 
 yet all things put under him. 
 
 "We have here a " slow quotation "; the emphasis is 
 first on "man," then upon "mindful"; then trans- 
 fer the force to " son," and finally to " visitest." By 
 transferring the force in this way, in the eighth verse, 
 each new thought is brought out in sharp and perfect 
 outline a word more or a word less than is absolutely 
 necessary in the emphasis renders the idea you wish 
 to define obscure. The thoughts in this verse are 
 clearly brought out by emphasizing successively " sub- 
 jection," " all," " nothing," " see." Ideas are thus put 
 forward without explanation and embellishment. 
 
 The rule in this matter of transfer is : In all repe- 
 titions of the same word, in an identical sense, transfer 
 the emphasis to another word. 
 
EMPHASIS. 83 
 
 4. MENTAL PROJECTION. 
 
 When in the utterance of one clause the mind is 
 already engaged with the succeeding one, the process 
 is termed " mental projection "; and the latter clause 
 is denominated " a clause unemphatic through mental 
 projection "; because in the act of uttering the first 
 clause the mind is employed with what is to follow, 
 and persons listening surmise instantaneously what is 
 to come. As an illustration in Julius Caesar, Act 1, 
 Sc. 2, Cassius says : 
 
 " What is there in this same Caesar," etc. 
 
 " Write them together, yours is as fair a name, 
 Sound them it doth become the mouth as well, 
 Weigh them it is as heavy ; conjure with them 
 Brutus will start a spirit as soon as Caesar." 
 
 Cassius, in uttering " Write them together," must be 
 thinking of what he is next to say, and the mind of 
 his auditor naturally reverts to the implied sequence, 
 that one name looks as well as the other. So with 
 the succeeding clauses : when Cassius says, " Sound 
 them," the next words are immediately mentally pro- 
 jected; when he says, "Weigh them," you know 
 what will follow. And that there is no more of magic 
 in one name than in the other you conceive the 
 instant that Cassius says, "Conjure with them." 
 These clauses then are unemphatic through having 
 been mentally projected before they were uttered in 
 so many words. 
 
84 EMPHASIS. 
 
 Another example of the "clause unemphatic 
 through mental projection " we take from Matt. 5 : 34, 
 35, 36 : 
 
 33 Again, ye have heard that it hath been said by 
 them of old time, " Thou shalt not forswear thyself, but 
 shalt perform unto the Lord thine oaths :" 
 
 34 But I say unto you, Swear not at all ; neither by 
 heaven ; for it is God's throne : 
 
 35 Nor by the earth ; for it is his footstool : neither 
 by Jerusalem ; for it is the city of the great King. 
 
 36 Neither shalt thou swear by thy head, because thou 
 canst not make one hair white or black. 
 
 The 33d verse contains a quotation rendered with 
 disparagement; then comes the slower time on 
 "Swear not at all; neither by heaven," and while 
 uttering the words " neither by heaven " the mind is 
 naturally employed in thinking of the reason for not 
 swearing by heaven both speaker's and listener's 
 minds revert at once to the sanctity of heaven as being 
 the reason ; then has the clause, " for it is God's throne," 
 been mentally projected, while pronouncing the words 
 ." neither by heaven." The 35th and 36th verses are 
 analyzed in exactly the same manner : " Nor by the 
 earth " (emphatic) ; " for it is his footstool " (unem- 
 phatic through mental projection) : " neither by Jeru- 
 salem" (emphatic); "for it is the city of the great 
 King" (mentally projected). "Neither shalt thou 
 swear by thy head " (emphatic), " because thou canst 
 not make one hair white or black" (mentally pro- 
 jected). 
 
EMPHASIS. 85 
 
 The next example, besides the clauses unemphatic 
 through mental projection, embraces a quotation of 
 disparagement, and one that is approbatory : 
 
 43 Ye have heard that it hath been said, Thou shalt 
 love thy neighbour, and hate thine enemy. 
 
 44 But I say unto you, Love your enemies, bless them 
 that curse you, do good to them that hate you, and pray 
 for them which despitefully use you, and persecute you ; 
 
 45 That ye may be the children of your Father which 
 is in heaven. 
 
 In uttering the words that immediately follow the 
 .quotation of disparagement, "But I say unto you, 
 Love," the mind at once flies to the opposite of the 
 maxims inculcated in the quotation of disparagement ; 
 love what then ? " your enemies," " bless (emphatic) 
 them that curse you. " (unemphatic, mentally project- 
 ed), " do good (emphatic) to them that hate you " (un- 
 emphatic, m. p.), " and pray (emphatic) for them 
 which despitefully use you, and persecute you " (un- 
 em.). " That ye may be the children of your Father 
 which is in heaven " (emphatic). 
 Another example is found in Matt. 7 : 7, 8 : 
 
 7 Ask, and it shall be given you; seek, and ye shall 
 find; knock, and it shall be opened unto you: 
 
 8 For every one that asketh receiveth; and he that 
 seeketh findeth; and to him that knocketh it shall be 
 opened. 
 
 The emphatic words (or new facts stated) being 
 
86 EMPHASIS. 
 
 " ask," " seek," " knock "; the other clauses in that 
 verse are mentally projected by each of those words 
 successively. "Receiveth," "findeth," "it shall be 
 opened" (in the 8th verse) are mentally projected 
 by the clauses that immediately precede them. 
 
 The next examples are from the 24th and 25th 
 verses of Matt. 7 : 
 
 24 * * * I will liken him unto a wise man 
 which built his house upon a rock : 
 
 25 And the rain descended, and the floods came, and 
 the winds blew, and beat upon that house, 
 
 is an example of massing, the several clauses present- 
 ing one and the same idea that of violent assault 
 from the elements ; and in the utterance of that idea, 
 th6 faculties must necessarily be engaged with the con- 
 sequences of such an attack upon the house with so 
 sure a foundation; then is mentally projected the 
 clause, "arid it fell not, for it was founded upon a 
 rock." 
 
 In Romans 12 : 19, we find an example of the slow 
 quotation ; it is given here because of its fitness in 
 introducing the 20th verse containing clauses mentally 
 projected, they being "feed him," and "give him 
 drink." The break in the thought between the literal 
 and metaphorical occurs after the word " shalt," the 
 metaphor then begins.* 
 
 * This metaphor is supposed to be taken from the melting of 
 metals, by covering the ore with burning coals; the meaning, 
 " In so doing, thou wilt mollify thine enemy and bring him to feel 
 kindly," etc. 
 
EMPHASIS. 87 
 
 19 Dearly beloved, avenge not yourselves, but rather 
 give place unto wrath: for it is written, Vengeance is 
 mine; I will repay, saith the Lord. 
 
 20 Therefore if thine enemy hunger, feed him; if he 
 thirst, give him drink: for in so doing thou shalt heap 
 coals of fire on his head. 
 
CHAPTEE IV. 
 INFLECTION. 
 
 \ 
 
 1. GENERAL PRINCIPLES. 
 
 INFLECTIONS of voice indicate the true place 
 and standpoint of each thought ; the mental atti- 
 tude regarding certain facts or ideas ; the negative or 
 positive light in which the mind views them. * 
 
 Headings, lectures, sermons, etc., are frequently 
 rendered confused and obscure through ignorance of 
 this important principle ; sometimes an opposite mean- 
 ing from the one intended is first indicated by the 
 voice, and then accepted by the mind. So unerring 
 is the human ear in detecting meaning, even shades 
 of meaning, by tones when they are natural (or true), 
 that, without having caught the words, or been pres- 
 ent to observe looks or gestures, people say, " from the 
 sounds I judged that some one was angry;" or "that 
 there was a quarrel, or that some one was advocating 
 a certain measure " or " course of conduct," or from 
 their voices I surmised that one was mercilessly con- 
 demning, the other was imploring leniency, or pardon, 
 or grace, or whatnot." Why are we not as instanta- 
 neously convinced of the lecturer's or reader's inten- 
 tion ? Why is not the preacher's meaning equally evi- 
 
INFLECTION. 89 
 
 dent ? It is because few of these people have studied 
 what they and all of us do naturally under given cir- 
 cumstances, or conditions of feeling ; they have never 
 observed the natural process of interpreting certain 
 attitudes of the mind, consequently have no fixed prin- 
 ciples on which to base their manner of interpreting 
 any given idea. 
 
 The positive and negative inflections of voice are 
 antithetic, but these inflections, psychologically ap- 
 plied, cover a far wider area of " thought " than has 
 ever been accorded to antithesis. The " positive atti- 
 tude " is indicated by the downward inflection (V) or 
 circumflex (^), which last is a combination of the up- 
 ward (>") and downward (\) inflections. The " nega- 
 tive attitude " is expressed by the upward inflection 
 (.S) or circumflex (^\ which is a combination of the 
 downward (\) and upward (/) inflections. Jf any 
 one will observe closely the inflections of voice 
 that others use in an unstudied, unpremeditated 
 way, he will perceive that what the speaker wishes 
 to endorse, or to advocate, etc., will be spoken in 
 positive tones ; that is, the voice takes a downward 
 turn on each of the principal words in such advo- 
 cated thought or idea. Beginning on a certain key 
 (in pronouncing the word to be rendered positively), 
 the voice travels in an inclined direction down- 
 ward, and the word is finished on a lower key 
 than the one on which it was commenced. Does 
 the speaker desire to describe certain facts as un- 
 favorable, certain ideas as injurious, etc., his voice 
 will naturally rise (s) on the principal words; by 
 
90 INFLECTION. 
 
 which upward turn of voice he indicates the " negative 
 attitude " of mind. 
 
 The reader will bear in mind that the rule for his 
 guidance in this matter is that The main purpose 
 of the speaker (or supposed speaker), or author, is al- 
 ways positive. The inflections of voice must be suffi- 
 ciently marked to express the negative and positive 
 intentions. 
 
 A few examples of words, the signification of which 
 is invariable, arranged in. their respective classes of 
 positives and negatives, may be useful. The few here 
 mentioned are intended to serve merely as a guide : 
 
 Positive \. Negative ^. 
 
 Certain. Uncertain. 
 
 Good. Bad. 
 
 Present. Past. 
 
 Right. Wrong. 
 
 Benefit. Injury. 
 
 Favorable. Unfavorable. 
 
 Absolute. Conditional. 
 
 Peace. War. 
 
 Plenty. Famine. 
 
 Sunshine. Storm. 
 
 If it be the author's or the speaker's purpose to advo- 
 cate or endorse any thought, feeling, or fact, which as a 
 general thing would be viewed from a negative stand- 
 point, then has the mental attitude towards that 
 thought or fact become " positive," and should be ren- 
 dered with the downward inflection (x). When it is 
 the speaker's intention to denounce wrong or evil, his 
 
INFLECTION. 91 
 
 words of denouncement take the positive inflection of 
 voice. 
 
 The circumflex ^ ^ is of service when the ordinary 
 inflections (^ ^) are not considered powerful enough 
 to express the required degree of positive or negative 
 force. 
 
 We give some examples illustrative of these prin- 
 ciples. From Julius Caesar, Act 3, Scene 2 : 
 
 / s N -' 
 
 I come to bury Caesar, not to praise him." 
 
 ^ ^ ***i ^ / s 
 
 " The evil that men do, lives after them ; the good is 
 oft interred with their bones." 
 
 " Evil " is strongly negative ; that it should be remem- 
 bered of its perpetrators is no more than they deserve 
 positive. "Good" positive is forgotten; a sub- 
 ject of regret, therefore negative ; the downward turn 
 
 of voice, indicated after the negative circumflex on 
 ^^ \ 
 
 " bones," merely points to the natural cadence or fall 
 of the voice at the termination of the sentence. 
 
 " Sink or swim, live or die, survive or perish, I give my 
 hand and my heart to this vote." 
 
 **-s 
 
 " Think not that I am come to send peace on earth : I 
 come not to send peace but a swore?." Matt. 10 : 34. 
 
 ANALYSIS. Peace, as a general thing, is viewed 
 positively ; it is under most' circumstances preferable 
 to the sword ; yet here the speaker endorses " war," 
 
92 
 
 INFLECTION. 
 
 and this is indicated by rendering " sword " with the 
 positive inflection. 
 
 Macbeth, Act 2, Scene 3 : 
 
 Macb. Who can be wise, amazed, temperate, and 
 furious, 
 
 V^ -j/r **~* ^s >v 
 
 Loyal and neutral, tin a moment! ? No man : 
 
 ANALYSIS. If he were amazed and furious at sight 
 of Duncan's murder, how could you expect him to be 
 at the same time wise and temperate, the antipodes of 
 the former moods ? If he were loyal to Duncan, how 
 could he be expected to take a neutral course ! 
 
 2 Cor. 3 : 5, 6 : 
 
 5 ^ot that we are sufficient of ourselves to Uhink any 
 
 ^- ^*\ 
 
 thing] as of ourselves ; but our sufficiency is of God ; 
 
 6 Who also hath made us table ministers! of the new 
 
 ^ ^ s -' "x. 
 
 testament ; not of the letter, but of the spirit : for the 
 
 s ' v ' ^ / s 
 
 letter killeth, but the spirit giveth life. 
 
 ANALYSIS. That we may value our abilities (think 
 any thing positive), but, not as originating in our- 
 selves, but in God. "Who also hath made us able 
 ministers " (pos.), " not of the letter (neg.) but of the 
 spirit " (pos.), not of preaching only, but of practice, 
 not of the mere words, but of the thoughts contained 
 " letter killeth (neg.), spirit giveth life " (pos.). 
 
 Our next example is from York's speech, when, 
 after being taken prisoner, he is railed at by Queen 
 
. INFLECTION. 93 
 
 Margaret ; these lines occur in the last portion of his 
 answer to her. Hatred and anger are the dominant 
 passions ; the tones which indicate those passions will 
 be found described under the section, " Symbols of the 
 Passions" 
 
 York. * * * 
 
 Pos. 'Tis beauty, that doth oft make women proud ; 
 
 x -" ^ 
 
 NEG. But God, he knows, thy share thereof is small ; 
 
 Pos. 'Tis virtue, that doth make them most admired ; 
 NEG. The contrary doth make thee wonder' d at ; 
 
 Pos. 'Tis government, that makes them seem divine ; 
 
 T>* ^ >*" ^ \ 
 
 NEG. The want thereof makes thee abominable ; 
 
 N ' s~**. 
 
 NEG. Thou art as opposite to every good, (Pos.) 
 
 NEG. As the antipodes are unto us, (Pos.) 
 
 ^ /-^ 
 
 NEG. Or as the south to the septentrion. (Pos.) 
 
 NEG. O {tiger* s heart!, wrapped in a woman's hide; (Pos.) 
 NEG. How couldst thou drain the life-blood of the cmld ; 
 To bid the father wipe his eyes withal, 
 And yet be seen to wear a woman's face ? (Pos.) 
 Pos. Women are soft, mild, pitiful, and. flexible ; 
 
 NEG. Thou stern, obdurate, flinty, rough, remorseless. 
 ****** 
 
 King Henry VI, Part 3. 
 
 The positive and negative intentions are so plainly 
 indicated in the preceding lines that a more lengthy 
 analysis will be unnecessary. 
 
 Isabella. " O it is excellent to have a ^giant's strength!, 
 but it is tyrannous to use it like a giapt ! " 
 
94 INFLECTION. 
 
 " Great men may jest with saints : 'tis wit in them ; 
 but in the &#s,foul profanation." Measure for Measure. 
 
 In the following lines from Tennyson, the author's 
 meaning is admirably delineated by correct manage- 
 ment of the positive and negative inflections ; al- 
 though the sentences are in the interrogative form, 
 they are not so in thought : 
 
 " Do we indeed desire the dead 
 Should still be near us at our side ? " 
 
 The speaker evidently doubts the desire, consequently 
 views the idea from a negative standpoint; in the 
 next: 
 
 " Is there no baseness we would hide, 
 No inner vileness that we dread ? " 
 
 It is as evident that the mental attitude is positive, 
 for it is virtually a declaration that because of our 
 baseness and inner vileness we do not desire the dead 
 to be at our side, so should be rendered thus : 
 
 " Do we indeed desire the dead 
 Should still be near us at our side ? 
 Is there no baseness we would hide, 
 No inner vileness that we dread ? " 
 
 "Tell us. ye dead! 
 ^ \ \ \ 
 
 Will none of ye disclose the^dreadful secret, 
 
 What it is ye are and we are like to be ? " 
 This last sentence, or verse is what is called a " declar- 
 
INFLECTION. 95 
 
 ative negative," the speaker's thought is that he 
 would like the dead to disclose what it is they are and 
 we are like to be (positive), but that his conviction is 
 
 S_ X 
 
 that " none " (neg.) will ever do so. 
 
 2. FLUCTUATING INFLECTIONS. 
 
 Great interest attends the study of the simple rising 
 and falling inflection, also their combination the cir- 
 cumflex x-*s >^, over which we have just passed. On 
 turning to the one now presented for our contempla- 
 tion, the student cannot fail to be delighted with the 
 accuracy of the interpretation, and the promptitude 
 with which it indicates the mind's departure to a new 
 idea, or its divergence from the main track of thought. 
 By the proper application of the fluctuating inflection 
 or " wave," the author's meaning is as clearly evolved 
 as are the different elements in a chemical analysis ; 
 yet this delicate instrument (if we may so term it) for 
 conveying " meaning " is seldom or never used by the 
 readers or speakers we are accustomed to hear, unless 
 they extemporize, and then " nature " (if the artificial 
 has not supplanted her) will prompt its due employ- 
 ment. 
 
 The " wave " is characteristic of the " illustration "; 
 the " comparison " the " episode "; it enables the Us- 
 tener to apprehend that the reader (or speaker) is inci- 
 dentally departing from his main purpose or topic, 
 and its cessation indicates a return to the main track 
 of thought. 
 
 Observe that the " wave " ^ ^ is nothing like so 
 
96 INFLECTION. 
 
 pronounced as the circumflex which we use in strong 
 psychological positives and negatives ; the wave ^ ^ 
 is as potent in its effects, but of far more delicate 
 calibre. Without this " fluctuating wave " certain por- 
 tions of the 12th and 14th chapters of the 1st of Co- 
 rinthians sound precisely as if the language were that 
 of a phrenologist or a professor of physiology address- 
 ing a class of students. For example : 
 
 1 Now concerning [spiritual gifts!, brethren, I would 
 not have you ignorant. 
 
 2 Ye know that ye were Gentiles, carried away unto 
 these dumb idols, even as ye were led. 
 
 3 Wherefore I give you to understand, that no man 
 speaking by the [Spirit of God! calleth Jesus accursed: 
 and that no man can say that Jesus is the Lord, but by 
 the Holy Ghost. 
 
 4 ISTow there are ^diversities of gifts'^, but the [same 
 Spirit!. 
 
 5 And there are ^differences of administrations^, but 
 the [same Lord]. 
 
 6 And there are ^diversities of operations^, but it is the 
 ^same God which worketh all in all!. 
 
 7 But the [manifestation of the Spirit! is given to 
 every man to profit withal. 
 
 8 For to one is given (by the Spirit) the [word of wis- 
 dom\ ; to another the [word of knowledge^ by the [same 
 Spirit! ; 
 
 9 To another [faitfd by the same Spirit; to another 
 the [gifts of healing] by the same Spirit; 
 
 10 To another the [working of miracles! ; to another 
 [prophecy^ ; to another [discerning of spirits! \ to another 
 
INFLECTION. 97 
 
 [divers kinds of tongues! ; to another the [interpretation 
 of tongues^ : 
 
 11 But all these tworketh that one and the self-same 
 Spirit!, dividing to every man severally as he iml. 
 
 >*X /-s " /-^ -*+S -^ 
 
 12 For as the body is one, and hath many members, 
 
 ***s N-X **~s 
 
 and all the members of that one body, being many, are 
 one body: so ofeo is Christ. 
 
 13 For by [one Spirit^ are we all baptized into [one 
 
 >v *'*"> 
 
 body, whether we be Jews or Gentiles, whether we be 
 bond or free ; and have been all made to drink into tone 
 Spiritl. 
 
 ^ x" X. 
 
 14 For the body is not one member, but many, 
 
 15 If the foot shall say, " Because I am not the hand, 
 
 I am not of the body"; & it therefore not of the body ? 
 ^^s/**** **~' 
 
 16 And if the ear shall say, Because I am not the eye, 
 
 I am not of the body; is it therefore not of the body? 
 
 17 If the whole body were an eYe, where were the 
 hearing? If the whole were hearing, where were the 
 smelling ? 
 
 18 But s now hath God set the members every one of 
 them in the body, as it has pleased him. 
 
 ^^ ^s 
 
 19 And if they were all one member, where were the 
 body? 
 
 ^ ^-^ -^'x-sV^'x-s ,^ >* ^ 
 
 20 But now are they many members, yet but one body. 
 
 21 And the eye cannot say unto the hand, " I have no 
 need of thee:" nor again the head to the feet, "I have no 
 need of you." 
 
 22 Nay, much more those members of the body, which 
 seem to be more feeble, are necessary : 
 
 5 
 
98 INFLECTION.. 
 
 23 And those members of the body, which we think 
 to be less honourable, upon these we bestow more abun- 
 dant honour; and our uncomely parts have more abun- 
 dant comeliness. 
 
 24 For our comely parts have no need: but God hath 
 tempered the body together, having given more abundant 
 honour to that part which lacked: 
 
 25 That there should be no schism in the body; but 
 that the members should have the [same care one for an- 
 other!. 
 
 ^ .X*' ^^ 
 
 26 And whether [one member suffer], all the members 
 suffer with it; or tone member be honoured], all the mem- 
 bers rejoice with it. 
 
 27 Now ye are the [body of Christ], and members in 
 particular. 
 
 28 And God hath set some in the church, first apos- 
 tles, secondarily prophets, thirdly teachers, after that mir- 
 acles, then [gifts of healings^, helps, governments, ^-diver- 
 sities of tongues^. 
 
 ^ \ *?'-' "-' x. 
 
 29 Are all apostles ? are all prophets ? are all teach- 
 
 ^ \ v,. 
 
 ers ? are all workers of miracles ? 
 
 N_X ^ 
 
 30 Have all the [gifts of healing] ? do aU speak with 
 tongues ? do all interpret ? 
 
 31 But covet earnestly the best gifts: and yet shew I 
 unto you a more excellent way. 
 
 When the illustration begins, 12th verse, the mind 
 diverges from the main thought, and those upward 
 and downward turns of voice which we denominate 
 the " wave " instantly telegraph the fact to the listener. 
 
INFLECTION. 99 
 
 In verse 28 we have the " converse " of massing, these 
 various gifts being pointed out to us by St. Paul as 
 different jn themselves, yet requiring the recipients to 
 act in unison, and as helpers one to another. 
 
 For our next example we take the 14th chapter of 
 Corinthians for analysis. The student will remember 
 that what is desirable is the positive idea ; that which 
 is preferable as in the example before us; the gift of 
 prophecy is preferred to other spiritual gifts, because 
 of the greater benefit to man which it promises ; so 
 that " following after charity," and the desire of " spi- 
 ritual gifts," are negative goods compared with the 
 positive one of " prophecy." The illustration occur- 
 ring in the 7th verse requires the " wave "; in the 8th 
 verse the " wave," or " double wave," as it is given on 
 the principal words, indicates the illustration at once, 
 showing that the trumpet and its sounds is not the 
 subject under discussion, but that you make use of it 
 in portraying the value of the gift of " prophecy." 
 The " wave " is executed in about half the time usu- 
 ally, that we employ for the circumflex x-s >^ ; its 
 process, however, is the same viz. : in the upward 
 wave the inflection makes a slight descent and ascent 
 ^ ; in the downward wave ^, the directions of tone 
 are reversed a slight ascent and descent marks its 
 course : 
 
 1 Follow after charity, and desire spiritual gifts, but 
 rather that ye may prophesy. 
 
 2 For he that speaketh in an [unknown tongue] speak- 
 
100 INFLECTION. 
 
 eth not unto men, but unto God: for no man understand- 
 eth him; howbeit in the spirit he speaketh mysteries. 
 
 3 But he that prophesieth speaketh unto men to ^edifi- 
 cation^ and exhortation, and comfort! 
 
 4 He that speaketh in an [unknown tongue] edifieth 
 himself; but he that prophesieth edifieth the church. 
 
 5 I would that ye all spake with tongues, but rather 
 that ye prophesied: for greater is he that prophesieth 
 than he that [speaketh with tongues! (except he inter- 
 pret), that the church may receive edifying. 
 
 6 Now, brethren, if I come unto you [speaking with 
 tongues^, what shah 1 I profit you, except I shall speak to 
 you either by revelation, or by knowledge, or by prophe- 
 sying, or by doctrine f 
 
 7 And even things without life giving sound, whether 
 pipe or harp, except they give a distinction in the sounds, 
 how shall it be known what is piped or harped ? 
 
 8 For if the trumpet give an uncertain sound, who 
 
 N^ /^* S ' < "" N 
 
 shall prepare him to the battle ? 
 
 9 So likewise ye, except ye utter by the tongue words 
 easy to be understood, how shall it be known what is 
 
 \^^* 
 
 spoken ; for ye shall speak into the air. 
 
 10 There are, it may be, so many kinds of voices in 
 the world, and none of them is without signification. 
 
 11 Therefore if I know not the meaning of the voice, 
 
 s-*- \ 
 
 I shall be unto him that speaketh a barbarian, and he 
 that speaketh shall be a barbarian unto me. 
 
 12 Even so ye, forasmuch as ye are [zealous of spiritual 
 
INFLECTION. 
 
 161 
 
 gifts!, seek that ye may excel to tbe f edifying 'of- the 
 churcfd. 
 
 13 Wherefore let him that speaketh in an unknown 
 tongue pray that he may interpret. 
 
 14 For if I pray in an unknown tongue, my ^spirit 
 \ \ ****' "^v 
 
 prayethl, but my understanding is unfruitful. 
 
 15 What is it then ? I will pray with the spirit, and 
 I will pray with the understanding also : I will sing with 
 the spirit, and I will sing with the understanding also. 
 
 16 Else when thou shalt bless with the spirit, how 
 
 shall he that occupieth the [room of the unlearned! say 
 
 Vfc. ^^ 
 
 Amen at thy giving of thanks, seeing he understandeth 
 
 not what thou sayest ? 
 
 17 For thou verily givest thanks well, but the other is 
 not edified. 
 
 In the third chapter of James, the subject of the 1st 
 and 2d verses is the perfection which a man has 
 reached who can control his tongue. The illustration 
 of the 3d verse requires the " wave " ^ ^ to point it 
 as an elucidation of the subject, and not as the subject 
 itself; else, with the upward and downward inflections 
 of voice which belong to the subject, the language 
 would be presented to us as that of a horsetamer ; 
 that of the 4th verse as that of a shipbuilder. In the 
 5th verse the subject is the " tongue," and a " little 
 fire " is the illustration ; yet if the " little fire " be dis- 
 cussed with the ^ \ inflections of voice we use in di- 
 lating on the " subject," we are as likely to lead our 
 hearers into giving " the fire " the prominent consid- 
 eration which the subject only should receive : 
 
INFLECTION. 
 
 1 My Iff fethreii, be not many masters, knowing that we 
 shall receive the greater condemnation. 
 
 2 For in [many things! we offend all. If Cany man! 
 offend not in word, the same is a [perfect man], and able 
 
 also to ^bridle the whole body). 
 
 <"* . *~' / *~ N 
 
 3 Behold, we put bits in the horses' mouths, that they 
 
 S^ ^-s s~^ **-S /-^ 
 
 may obey us; and we turn about their whole body. 
 
 4 Behold also the ships, which, though they be so 
 
 "-^ ^ \^ ^ ^ ^ 
 
 great, and are driven of fierce winds, yet are they turned 
 
 about with a very small helm, whithersoever the gover- 
 
 ?~* ^ 
 nor listeth. 
 
 5 Even so [the tongue! is a [little member!, and boast- 
 
 "v ^v "^ 
 
 eth great things. Behold, how {great a matter! a little 
 fire kindleth ! 
 
 6 And the tongue is a fire, a [world of iniquity! ; so is 
 the tongue among our members, that it defileth the whole 
 body, and tsetteth on /?re! the course of nature; and it is 
 
 ^^ "X. 
 
 set on fire of hell. 
 
 ^^ s* s 
 
 7 For every kind of [beasts, and of birds, and of ser- 
 pents, and of things in the sea!, is tamed, and hath been 
 tamed of mankind: 
 
 8 But the tongue can no man tame ; it is an unruly 
 ^ s* ^ \ 
 
 evil, full of deadly poison. 
 
 9 Therewith bless we God, even the Father; and there- 
 with curse we men, which are made after the similitude 
 of God. 
 
 10 Out of the same mouth proceedeth [blessing and 
 ^^ \ ^ 
 
 cursing!. My brethren, these things ought not so to be. 
 
INFLECTION. 103 
 
 11 Doth a fountain send forth at the same place sweet 
 
 x^ \ 
 
 water and bitter ? 
 
 See also Mrs. Browning's poem " The cry of the 
 children ": 
 
 " The young lambs are playing in the meadows," etc. 
 " But the young, young children, O my brothers ! " 
 
 the latter being the subject, the first is the illustration. 
 The following example is from the 18th chapter of 
 Luke : 
 
 1 And he spake a parable unto them to [this md\ that 
 
 \ ^ ^ \ 
 
 men ought always to pray, and not to faint; 
 
 2 Saying, There was in a city a judge, which feared 
 not God, neither regarded man : 
 
 3 And there was a widow in that city; and she came 
 
 /~*> v *-' ^^ x-sN^ 
 
 unto him, saying, " Avenge me of mine adversary" 
 
 X.X 
 
 4 And he would not for a while: but afterward he said 
 within himself, " Though I fear not God, nor regard man; 
 
 ^ ^^.^^ ^ x-^ 
 
 5 Yet because this widow troubleth me, I will avenge 
 
 ^ s-^., >^ < ^_, -^^ 
 
 her, lest by her [continual coming] she weary me." 
 * ^ 
 
 6 And the Lord said, "Hear what the unjust judge 
 saith." 
 
 7 And shall not God avenge his [own elect!, which 
 [cry day and nightf unto him, though he bear long with 
 them? 
 
 8 I tell you that he will avenge them speedily. Never- 
 theless when the Son of man cometh, shall he find faith 
 [on the earth! ? 
 
104: INFLECTION. 
 
 9 And he spake this parable unto certain which trusted 
 
 ^ ^ -< 
 
 in themselves that they were righteous, and despised 
 
 others: 
 
 N^ /-*X ^-^ XX \ 
 
 10 Two men went up into the \temple to pray}; the 
 one a Pharisee and the other a publican. 
 
 11 The Pharisee stood and prayed thus with himself, 
 
 " God, I thank thee, that I am not as other men are, ex- 
 
 ^ *f ^ ^ 
 
 tortkmers, unjust, adulterers, or even as this publican. 
 
 12 I fast twice in the week, I~~give tithes of all that I 
 
 13 And the publican, standing afar off, would not lift 
 up so much as this eyesl unto heaven, but smote upon his 
 breast, saying, " God be merciful to me a sinner." 
 
 14 I tell you, this man went down to his house justi- 
 fied rather than the other: for every one that lexalteth 
 
 .x* ^^ ' 
 
 himself! shall be abased / and he that humbleth himself 
 
 shall be exalted. 
 
 15 And they brought unto him also infants, that he 
 would touch them : but when his disciples saw it, they 
 rebuked them. 
 
 16 But Jesus called them unto him, and said, " ^Suffer 
 little children to come unto me, and [forbid them not] : 
 for of such is the [kingdom of GodJ. 
 
 17 Verily I say unto you, "Whosoever shall not re- 
 ceive the [kingdom of God! as a little child shall in no 
 
 >f \ < 
 
 wise enter therein. 
 
 18 And a certain ruler asked him, saying, "Good 
 Master, what shall I do to inherit eternal life ? " 
 
INFLECTION. 105 
 
 19 And Jesus said unto him, " Why callest thou me 
 good ? none is good, save one, that is, God. 
 
 20 " Thou knowest the commandments, Do not commit 
 adultery, Do not kill, Do not steal, Do not bear false 
 witness, Honour thy father and thy mother." 
 
 21 And he said, "All these have I kept from my 
 youth up." 
 
 22 Now when Jesus heard these things, he said unto 
 him, Yet lackest thou one thing sell all that thou hast, 
 and distribute unto the poor, and thou shalt have [treas- 
 ure in heaven! : and [come, follow mel. 
 
 1st verse. Psy. positives and negatives. 
 
 2d. Illustration, The. 
 
 3d. Illustration, " slow quotation " also. 
 
 4th. Illustration, and quotation of disparagement. 
 
 6th, 7th, 8th. Slow quotation and psychological 
 positives and negatives. 
 
 9th. Psy. positives and negatives. 
 
 10th. The illustration. 
 
 llth, 12th. Psy. pos. and neg., quotation of dis- 
 paragement. 
 
 13th. Psy. positives and negatives, slow quotation. 
 
 14th. The teaching. 
 
 15th, 16th, 17th. Psy. positives and negatives, and 
 slow quotation. 
 
 18th, 19th, 20th, 21st, 22d. Psy. positives and nega- 
 tives, quotations. 
 
 This speech of Bassanio's, from the " casket scene/' 
 in the Merchant of Venice, affords an excellent exam- 
 ple of psychological positives and negatives : 
 
106 INFLECTION. 
 
 > ' \ X" 
 
 Bass. So may the outward shows be least them- 
 
 i^^ 
 selves : 
 
 The world is still deceived with ornament. 
 In law, what plea so tainted and corrupt, 
 But, being seasoned with a gracious voice, 
 Obscures the [show of evil! ? In religion, 
 
 -X" "^ V. 
 
 What tdanmed error!, but some sober brow, 
 Will bless it, and approve it with a text, 
 Hiding the grossness with [fair ornament! ? 
 There is no vice so simple, but assumes 
 Some [mark of virtue! on his outward parts. 
 How many cowards, whose hearts are all as false 
 As [stairs of sand!, wear yet upon their chins 
 
 The [beards of Hercules^, and frowning Mars ; 
 
 ^ -^ ^. . *N 
 
 Who, inward search'd, have livers white as milk r 
 
 And these assume but valour's excrement, 
 
 To render them redoubted. Look on beauty, 
 
 And you shall see 'tis purchased by the weight ; 
 
 Which therein works a [miracle in nature!, 
 
 Making them lightest that wear most of it : 
 
 So are those [crisped snaky golden locks!, 
 
 Which make such wanton gambols with the wind, 
 
 v-x ^ \ 
 
 Upon supposed fairness, often known 
 
 To be the dowry of a second nead, 
 
 *\ ^ \ 
 
 The scull that bred them, in the sepulchre. 
 
 Thus ornament is but the Cgimed shore! 
 
 ^ s -'\ \ >v 
 
 To a most dangerous sea ; the [beauteous scarf! 
 
 ^ ^ ^ 
 Veiling an Indian beauty ; in a word 
 
 The seeming truth which cunning times put on 
 
INFLECTION. 107 
 
 To entrap the wisest. Therefore, thou gaudy gold, 
 
 S" s^ ^-^ 
 
 (Hard food for Midas,) I will none of thee : 
 Nor none of thee, thou pale and common drudge 
 'Tween man and man : but thou, thou meagre lead, 
 Which rather threat'nest, than doth promise aught, 
 
 v ' "X. 
 
 Thy plainness moves me more than eloquence, 
 And here choose I : Joy be the consequence I 
 
 * From lowest place where virtuous things proceed, 
 The place is dignified by the doer's deed : 
 Where great additions swell and virtue none, 
 
 v^ ' \ 
 
 It is a dropsied honour : [good aland 
 
 ^^ 
 
 Is good without a name, vileness is so : (also vile) 
 
 The property by what it is should go, 
 
 Not by the title. She is young, wise, fair, 
 
 In these to nature she's immediate heir ; 
 
 And these breed honour: that is honours scorn, 
 
 Which challenges itself as honour born 
 
 (And is not like the sire). Honours best thrive 
 
 When rather from our acts we them derive 
 
 ^~s \ X^ 
 
 Than our f oregoers : the mere word a slave 
 Debauched on every tomb ; on every grave 
 
 A lying trophy, and (as oft) is dumb 
 
 ^ -^ ^^ 
 
 Where dust and damned oblivion is the tomb 
 
 Of honoured bones indeed." 
 
 ^ 
 
 Lear. * * The usurer hangs the 
 
 cozener. 
 Through tatter'd clothes small vices do appear; 
 
108 INFLECTION. 
 
 Robes, and f urr'd gowns hide all. Plate sin with gold, 
 
 \ \ \ ^ 
 
 And the strong lance of justice hurtless breaks : 
 
 Arm it in rags, a pigmy's straw doth pierce it. 
 None does offend, none, I say, none ; I'll able 'em : 
 
 Take that of me, my friend, who have the power 
 
 ^^ "^x. 
 To seal the accuser's lips. Get thee glass eyes ; 
 
 ^^' 
 And, Qike a scurvy politician^, seem 
 
 To see the things thou dost not. 
 
 % 3. ANTAGONISM OF GRAMMATICAL 
 FORMS. 
 
 We frequently meet with sentences whose form is 
 antagonistic to their spirit, or meaning. Superficial 
 readers are misled by what immediately meets the 
 eye (the construction of the sentence) into rendering 
 it with a meaning, spirit, or inflection of voice in ac- 
 cordance with the form. Even careful readers will 
 commit similar errors from the force of long habit, or 
 from false inflections caught from unreflective teach- 
 ers ; the first of these, the result of mannerisms incul- 
 cated in early youth ; unwittingly, most likely. They 
 do not read that which meets the understanding, but 
 that which arrests the eye only ; else a sentence, inter- 
 rogative in form but assertive in meaning, they would 
 read assertively, and not interrogatively, as nine 
 readers out of ten do. 
 
 Take an example from Isaiah 40 : 24 : 
 
 " Have ye not known ? have ye not heard ? Hath it not 
 
INFLECTION. 109 
 
 been told you from the beginning f have ye not under- 
 stood from the foundation of the earth ? " 
 
 These clauses are interrogative in form, but decidedly 
 assertive in spirit, as the reader will at once perceive ; 
 then shall we follow the form in our inflections of 
 voice, or the evident meaning ? the " thought," you 
 will say " certainly." In that case the downward or 
 positive inflection is required on the principal words 
 as marked. 
 Henry YIII declarative-interrogative : 
 
 Q. Kaih. Have I lived thus long (let me speak 
 
 myself, 
 
 Since virtue finds no friends,) a wue, a true one ? 
 A woman (I dare say, without vain-glory,) 
 Never yet branded with suspicion ? 
 Have I with all my full affections 
 Still met the king ? loved him next Heaven ? obey'd 
 him? 
 
 ^ '. ^ 
 
 Been, out of fondness, superstitious to him ? 
 Almost forgot my prayers to content him ? 
 And am I thus rewarded ? 'tis not well, lords. 
 Bring me a constant woman to her husband ; 
 One, that ne'er dream'd a joy beyond his pleasure ; 
 And to that woman, when she has done most, 
 Yet will I add, an honour, a great patience. 
 
 As another instance see Macbeth, Act 1, Sc. 7 : 
 
 Macb. " Will it not be received, 
 When we have marked with blood those sleepy two 
 
110 
 
 INFLECTION. 
 
 Of his own chamber, and used [their very 
 That they have done 't ? " 
 
 Macbeth is not here seeking for information, he is 
 asserting. 
 
 Look also in the same play for another example 
 Act 1, Sc. 3 : 
 
 " Who can be wise, amazed," etc. 
 In Hebrews 2:5: 
 
 " For unto the angels hath he not put in subjection 
 the [world to cornel, whereof we speak f " 
 
 The next is plainly assertive, although interrogative 
 in form ; the upward inflection ^ should on no ac- 
 count be used at the termination of these clauses. It 
 is not what we do in " nature" and those who profess 
 to understand the " art " of reading should scrupulously 
 avoid such an error. James 2 : 4, 5 : 
 
 N^ 
 
 " Are ye not then partial in yourselves, and are be- 
 come judges of fevil thought si ? " 
 
 This thought is viewed from a negative attitude of 
 mind, and requires the negative circumflex, but the 
 cadence or fall of the voice at the termination of the 
 word " thoughts " indicates all that is necessary of the 
 meaning. 5th verse : 
 
 " Hearken^ my beloved brethren, hath not God chosen 
 the {poor of this world! rich in faith, and \heirs of the 
 
INFLECTION. Ill 
 
 kingdom! which he hath promised to them that love 
 Mm?" 
 
 The 6th and 7th verses give us examples of the declar- 
 ative-negative in thought : 
 
 ^ \ >^ 
 
 6 But ye have despised the poor. Do not rich men 
 ^ ^ \ 
 
 oppress you, and draw you before the ^judgment seatsi ? " 
 
 7 Do not they blaspheme that ^worthy name] by the 
 which ye are called? 
 
 From Henry YIII a declarative-negative : 
 
 Wol. Most gracious sir, 
 In humblest manner I require your highness, 
 That it shall please you to declare, in hearing 
 Of all these ears, (for where I am robb'd and bound, 
 
 There must I be unloosed ; although not there 
 
 / \ ^ 
 
 At once and fully satisfied.) whether ever I 
 
 ^ ^ ^ \ 
 
 Did broach this business to your highness ; or 
 
 Laid any scruple in your way, which might 
 Induce you to the question on'tl* or ever 
 Have to you, but with thanks to God for such 
 A royal lady, spake one the least word, might 
 
 Be to the prejudice of her present state, 
 
 ^-^ * \ \ 
 
 Or touch of her good person ? 
 
 In the following instance the spirit is assertive, the 
 form interrogative ; the clauses are partly positive in 
 meaning, and partly negative : 
 
 6 Is not this the fast that I have chosen? To loose 
 
112 INFLECTION. 
 
 the [bonds of wickedness^, to undo the [heavy burdens^ 
 and to let [the oppressed] go free, and that ye break 
 every yoke ? 
 
 7 Is it not to [deal thy bread] to the hungry, and that 
 thou bring [the poori that are cast out, to thy house f 
 When thou seest the naked, that thou cover him, and 
 that thou thide not thyselfl from thine own flesh f Isa. 
 58 : 6, 7. 
 
 From previous explanations the student will- readily 
 perceive the reasons for giving certain words in these 
 verses the positive character certain others the nega- 
 tive ; for " massing " certain words conveying but one 
 thought, for using the stronger circumflex instead of 
 the " inflection " on different words. 
 
 In Antony and Cleopatra, Cleopatra says to Pro- 
 culeius : 
 
 " Know, sir, that I 
 
 Will not wait pinioned at your master's court, 
 Nor once be chastised with the sober eye 
 Of [dull OctaviaX Shall they hoist me up, 
 And show me to the [shouting varletry 
 Of censuring Rome] ? Rather a ^ditch in Egypt! 
 Be [gentle graved unto me." 
 
 "Rush, in his Division on Interrogative Sentences, 
 says : " The repulsive indignation of this question can- 
 not be fully painted without the fullest measure of 
 interrogative coloring." I maintain that a higher 
 principle determines the inflection of voice in this 
 instance. Strong " negation" is the main thought in 
 
INFLECTION. 113 
 
 Cleopatra's mind ; she is not interrogating Proculeius 
 as to whether she " shall be hoisted up and shown," 
 etc., etc. The sentence is a grammatical interrogative 
 in form, but a decided declarative-negative in mean- 
 ing a " psychological negative " and as these always 
 take the upward inflection ^ (or circumflex ^, ac- 
 cording to the strength of negation), this sentence 
 should be rendered as I have marked it ; Cleopatra's 
 meaning being, " They shall never hoist me up," etc. 
 From Julius Caesar, Act 4, Sc. 2 : 
 
 Brut. " Juclge me, ye gods ! wrong I mine enemies ? 
 
 ^ ^ ^ ^ ^ N ' "s. 
 
 And. if not so, how should I wrong my brother ? " 
 
 If I do not wrong mine enemies which might in 
 
 some sense be excusable how can it be possible that 
 
 ^^ -^ 
 
 I should wrong my brother ? 
 Antony over the body of Caesar : 
 
 " He hath brought many captives home to Rome, 
 
 Whose ransoms did the general coffers fill. 
 
 ^ v ^ 
 
 Did this in Caesar seem ambitious ? 
 
 ****** 
 
 You all did see that on the Lupercal 
 I thrice presented him a ^kingly crowril, 
 
 N^ \ S^ ^^ \ 
 
 Which he did thrice refuse ! was this ambition ? " 
 
 The student will observe that the downward inflec- 
 tion v. just above the termination of a word, indicates 
 not the attitude of mind with regard to the thought 
 the word conveys, but the "falling cadence," which is 
 
 - 
 
114: INFLECTION. 
 
 sometimes natural at the end of a sentence, and merely 
 marks the close, especially in non-interrogatives. In 
 " negative " sentences this falling cadence is preceded 
 by the negative inflection ' or circumflex ^. 
 From Macbeth ; 
 
 Witches. Seek to know no more ! 
 
 Macbeth. I will be satisfied. Deny me this, 
 And an eternal curse fall on you. Let me know 
 "Why sinks that caldron, and what noise is this ? 
 
 An "imperative" is always understood unless ex- 
 pressed, as in the preceding case, " Let me know." 
 
 The following example is a " declarative-negative." 
 The writer means that God never said to an angel, 
 " Thon art my son," etc. Hebrews, ch. 1 : 
 
 5 For unto which of the angels said he at any time, 
 
 N^ V^ \ ^ N,,/ "^ 
 
 " Thou art my Son. this day have I begotten thee ? " and 
 
 V' " ' x *- 
 
 again, " I will be to him a Father, and he shall be to me 
 
 ^^ "X. 
 
 a son." 
 
 13 But to which of the angels said he at any time. 
 
 X^ X^ ^s 
 
 " Sit on my right hand until I make thine enemies thy 
 footstool?" 
 
 The form of this sentence is antagonistic to its spirit ; 
 it is also a " psychological negative." 
 
 14 Are they not all ^ministering spirits^, sent forth to 
 minister for them who shall be theirs of salvation^ ? " 
 
INFLECTION. 115 
 
 In Romans 4:9: 
 
 " Cometh this blessedness then upon the circumcision 
 only, or upon the uncircumdsion also ? For we say that 
 faith was reckoned to Abraham for righteousness." 
 
 There are other examples in the same chapter. 
 2 Corin. 11 : 22: 
 
 Are they Hebrews ? (Interrogative in form, assertive 
 in meaning.) So am I. Are they Israelites f so am L 
 Are they the seed of Abraham f so am I. 
 
 Prov. 24:12: 
 
 " If thou sayest, * Behold, we knew it not ; ' doth not 
 he that pondereth the heart consider it ? And he that 
 keepeth thy soul doth not he know it ? and shall not he 
 render every man according to his works?" 
 
 Matthew 11 : 2, 3: 
 
 2 Now when John had heard in the prison the works 
 of Christ, he sent two of his disciples. 
 
 3 And said unto him, Art thou he that should come, 
 ^ ^ ^ -^-> ' \ 
 
 or do we look for another ? 
 
 The first part of this latter sentence is plainly asser- 
 tive the last is negative in spirit, as marked. 
 
 There are sentences that are partly interrogative, 
 partly declarative, as this King Richard III, Gloster 
 to Clarence: 
 
 " Brother, good day ! what means this armed guard 
 That waits upon your grace ? " 
 
116 INFLECTION. . 
 
 These declarative-interrogative sentences are from 
 Hamlet, Act 1, Sc. 1. (Enter ghost.) 
 
 Bernardo. Looks it not like the "king f 
 Mark it, Horatio. * ^ * * * * 
 Horatio. What art thou that usurpest this time of 
 
 night, 
 
 Together with that fair and warlike form, 
 In which the majesty of buried Denmark 
 Did sometimes march? by heaven, I charge thee, 
 
 speak. 
 
 Marcellus. "Tis gone, and will not answer. 
 Her. How now, Horatio ? You tremble, and look 
 
 pale : 
 
 Is not this something more than fantasy f 
 Mar. Is it not like the king ? 
 
 Later in the play where Hamlet is speaking to Po- 
 lonius 
 
 My lord, you played once hi the University you say ? 
 * * * * 
 
 You could for a need study a speech of some dozen or 
 sixteen lines which I would set down and insist on\ ? 
 
 At the battle-field near Barnet where Warwick is 
 brought wounded, the first words he says abound with 
 this sort of examples. Some of the sentences are in 
 part declarative, in part interrogative. 
 
 War. Ah, who is nigh ? come to me, friend or foe, 
 And tell me, who is victor, York or Warwick ? 
 
INFLECTION. 117 
 
 '**' >\ \ *X 
 
 Why asK I tliat ? my [mangled body] shews, 
 
 [My blood, my [want of strength!, my sick heart shews,] 
 
 That I must tyield my body] to the earth, 
 
 And by my fall, the conquest of my foe. 
 
 Thus yields the cedar to the axtfs edge, 
 
 Whose arms gave shelter to the [princely eagl$ 9 
 
 Under whose shade the tramping liord slept: 
 
 Whose [top-branch! overpeer'd Jove's spreading tree, 
 
 And kept low shrubs from winter's powerful wind. 
 
 These eyes that now are dimm'd with death's black 
 
 Have been [as piercing as the mid-day sun!, 
 
 To search the [secret treasons! of the world: 
 
 The ^wrinkles hi my brow!, now fill'd with blood, 
 
 Were liken'd oft to [kingly sepulchres^ ; 
 
 For who lived king, but ./could [dig his gravel ? 
 
 And who durst smile, when Warwick bent his brow ? 
 
 \ > ' ^V^ 
 
 Lo, now my glory smear'd in dust and blood ! 
 
 My parks, my walks, my manors that I had, 
 
 Even now forsake me; and of all my lands, 
 
 Is nothing left me but my ^body's length! ! 
 
 Why, what is pomp, rule, reign, but earth and dust f 
 
 And, live we how we can, yet die we must. 
 
 A declarative sentence with an interrogative mean- 
 ing should be read with the upward intonation. 
 
 2. THE CONDITIONAL FOEM. 
 
 It is antagonistic to the meaning when requiring to 
 be read with the downward inflection, the spirit of the 
 
118 INFLECTION. 
 
 thought being assertive, absolute, not conditional. As 
 an example : 
 
 "If then God does," 
 
 " If it has been proven beyond dispute," etc., etc. 
 
 In these verses the spirit of the thought is assertive, 
 the form conditional : 
 
 ^^ \ 
 
 10 For if, when we were enemies, we were reconciled 
 
 to God by the [death of his Son], much more, being recon- 
 ciled, we shall be saved by his life. 
 
 ******* 
 
 ^ ^ S ^ ^r 
 
 17 For if by one man's offence death reigned by one ; 
 much more they which receive [abundance of grace and 
 of the gift of righteousness] shall reign in life by one, 
 Jesus Christ. Jfomtms, chap. 5. 
 
 This sentence is in the conditional form, but is as- 
 sertive in meaning : 
 
 ~^^ "^ 
 
 " If God be merciful to the sinner, why need he de- 
 ^ \ 
 spair?" 
 
 The following is an example of conditional form 
 with absolute meaning : 
 
 " if virtue is in itself so lovely, surely then it is its 
 own reward." 
 The conditional form assertive in spirit : 
 
 " If then God so clothe the grass, which is to-day in 
 the field, and to-morrow is cast into the oven; how much 
 more will he clothe you, O ye of little faith." 
 
INFLECTION. 119 
 
 3. THE IMPEKATIVE FOKM. 
 
 It is antagonistic with the meaning when requiring 
 to be read with the upward inflection, the thought 
 being conditional, contingent, or uncertain. 
 
 OtheUo, Act 3, Sc. 3 : 
 
 "Villain, be sure thou prove my love is false: 
 Be sure of it; give me the ocular proof; 
 
 ****** 
 
 Or, by the worth of mine eternal soul, 
 \ \ \ 
 
 Thou hadst better have been born a dog 
 
 Than answer my [waked wratfv. 
 
 ****** 
 
 Make me to see it, or (at the least) so prove it, 
 T^hat the probation bear no hinge nor loop 
 To hang a doubt on: or woe upon thy hie ! 
 
 Here the thought is " conditional "; Othello does not 
 desire that lago should "prove" his "love" is false; 
 on the contrary, the Moor hopes that the other may 
 not be able to do so ; he is positive enough in his 
 meaning in the next line quoted " Or by the worth," 
 etc. Then we have again the "imperative" in form, 
 but conditional in thought, on the lines : " Make me to 
 see it " (the meaning being, " Unless you can make me 
 to see it "), if you cannot so prove it, that the proba- 
 tion bear no hinge nor loop to hang a doubt on), woe 
 upon thy hie "; this last being positive. 
 
120 INFLECTION. 
 
 The next is imperative in form, but conditional in 
 meaning : 
 
 " Prove to me that person has never done wrong, and 
 I will declare to you that he is worthy of your praise." 
 
 This is imperative in form only : 
 
 Prove to me, that you know your lessons for to-mor- 
 row, and I will believe you. 
 
 Example of imperative form with conditional mean- 
 ing: 
 
 Write on both sides of a sheet, and I will throw your 
 manuscript into the fire. 
 
 4. MELODY, AS APPLIED TO THE 
 READING OF POETRY. 
 
 John Longmuir, A.M., LL.D., in his " Walker and 
 Webster combined," tells us that Melody, ^., is " an 
 agreeable succession of sounds by a single voice, and 
 thus differing from harmony, which consists in the 
 accordance of different sounds." Now my experience 
 tells me that most persons who read poetry aloud, do 
 not endeavor to produce an " agreeable succession of 
 sounds "; they attend rather to the symmetrical rela- 
 tion between the duration of "time" and that of 
 "sound," and (mark this, for herein lies the great 
 defect) to the PERIODICAL return of the same effect ; 
 they fairly struggle to give us a " harmony," when all 
 that we ask for is a simple, pleasing, natural " mel- 
 ody." I emphasize the word " nature," for anything 
 
MELODY. 121 
 
 falser to nature than the sing-song manner of render- 
 ing poetry that many affect, even public readers, can- 
 not possibly be conceived. That people of known 
 culture should, in the expression of poetry, make more 
 prominent the " rhythm " than the " thoughts " in a 
 poem is simply astonishing. Yet it is matter of expe- 
 rience that many of them make a mere nursery jingle 
 of the noblest and sweetest productions of the poets. 
 
 What is poetry ? " Poetry is the language of the 
 imagination ; poetry is only the highest eloquence of 
 passion ; the most vivid form of expression that can 
 be given to our conception of any thing, whether 
 pleasurable or painful, mean or dignified, delightful or 
 distressing. It is the perfect coincidence of the image 
 and the words with the feeling we have, and of which 
 we cannot get rid, in any other way, that gives an in- 
 stant satisfaction to the thought. This is equally the 
 origin of wit and fancy, of comedy and tragedy, of the 
 sublime and pathetic." Poetry, then, does not con- 
 sist of rhythmical changes in tone and time, but it is 
 the language which most eloquently and vividly con- 
 veys the expression of the passions. Then should the 
 delivery of poetry (as well as prose) be distinguished 
 by the varied tones appropriate to different pas- 
 sions ; the " time " in which the successive thoughts 
 are given, depends on our mental valuation of those 
 thoughts, and in my lesson on Time the student will 
 find the necessary principles for guidance in this mat- 
 ter ; the emphasis should be controlled by philosophi- 
 cal principles, and we should by no means allow our 
 appreciation of rhythm to betray us into false em- 
 6 
 
122 MELODY. 
 
 phasis, by causing us to give a corresponding stress on 
 Buccessive lines without any logical reason for so 
 doing. It remains for me to point out some of the 
 principal errors, into which readers of poetry com- 
 monly fall. 
 
 1. SlMILAEITY OF RHYTHMICAL ACCENT. 
 
 This mistake is referred to above ; it is a propensity 
 for emphasizing words at a given spot in each succes- 
 sive line ; as if, in the first verse of Shelley's " Sensi- 
 tive Plant," I were deluded by my sense of rhythm 
 into giving it in this manner : 
 
 1 A sensitive plant in a garden grew, 
 And the young winds fed it with silver dew, 
 And it opened its fan-like leaves to the light, 
 And closed them beneath the kisses of night. 
 
 2. SlMILAEITY OF ENDING EACH LlNE. 
 
 This fault in "ending" may be commifted by 
 either "stress," or "tone," or a "fall of voice"; the 
 first of these three would be 
 
 "A sensitive plant in a garden grew, 
 And the young winds fed it with silver dew? etc. 
 
 The second, by "tone": 
 
 A sensitive plant in a garden grew, 
 
 And the young winds fed it with silver dew, etc., 
 
 the upward inflection (or any other) being systemati- 
 cally given on each concluding word. The " fall of 
 
MELODY. 123 
 
 voice " is a peculiar downward cadence given on each 
 concluding word. 
 
 3. SmiLAETTY BY PAUSE. 
 
 This is dividing the lines into equal parts by paus- 
 ing at stated periods ; as if the second verse of the 
 same poem were to be read : 
 
 2 And the spring arose on the garden fair, 
 Like the spirit of love felt everywhere ; 
 And each flower and herb on earth's dark breast 
 Rose from the dreams of its wintry rest. 
 
 The remainder of this poem may be practised by 
 the pupil, his special care being to avoid the defects 
 against which he is here warned. 
 
 For testing whether one has already formed these 
 habits of false rendering, the choice should be given 
 to poems whose measured lines and pronounced 
 rhymes make them peculiarly liable to defective treat- 
 ment. Of these, familiar to us all, I would suggest 
 the "Bridge of Sighs," the "Psalm of Life," the 
 " May Queen," " Resignation," John Gilpin," Gray's 
 " Elegy," and Herrick's " To Daffodils," which last I 
 append : 
 
 Fair Daffodils, we weep to see 
 
 You haste away so soon, 
 As yet the early rising sun 
 
 Has not attained his noon. 
 Stay, stay, 
 
124: MELODY. 
 
 Until the hasting day 
 
 Has run 
 
 But to the even-song ; 
 And, having prayed together, we 
 
 Will go with you along. 
 
 We have short time to stay as you, 
 
 We have as short a spring ; 
 As quick a growth to meet decay, 
 
 As you, or any thing ; 
 We die 
 
 As your hours do, and dry 
 Away, 
 
 Like to the summer's rain ; 
 Or as the pearls of morning dew, 
 
 Ne'er to be found again. 
 
OHAPTEE V. 
 
 THE TONES OF THE EMOTIONS. 
 
 DIFFEBENT emotions and passions are expressed 
 by different intonations of voice. I will not 
 enlarge here upon the lamentable prevalence of false 
 intonations, but we may say that if persons really 
 desirous of cultivating the art of elocution, would but 
 notice the people around them when under the in- 
 fluence of different passions, they would very soon 
 become familiar with the vocal expression natural to 
 the various emotions ; they would soon discover that 
 in nature we never describe the tender, the affection- 
 ate, the beautiful, in semitones ; nor deliver sublime 
 passages with abrupt force (which is natural to " rage " 
 and kindred passions). These errors are specified 
 because of their being most common among false 
 intonations. The observant student will find that 
 force, abruptness, time, and pitch are employed in 
 various degrees in giving expression to every emotion 
 that has possession of the mind ; he will also perceive 
 that there are some occasions on which soft and tender 
 intonations would be utterly ridiculous; and others 
 again on which force would cause the sentiment to 
 appear disgusting bombast. That state of mind which 
 indicates mere " thought" narratives or descriptions, 
 
126 THE TONES OF THE EMOTIONS. 
 
 which represent things as they are in themselves, 
 without reference to our relationship to them, require 
 an intonation which is unemotional ; that which we 
 call the didactic, or simply intellectual. Force of 
 voice is employed in the expression of rage, wrath, 
 danger, horror; and force combined with the aspirate 
 gives us astonishment, exultation, or surprise accord- 
 ing to the degrees of aspiration and force used. Ab- 
 rupt force gives us a greater degree of rage, wrath, 
 anger, or impatience ; then with less force, much less, 
 and equal abruptness, we have mirth and raillery. 
 All sentiments that embrace the idea of deliberation 
 we give in lengthened intonations, as sorrow, grief, 
 respect, veneration, dignity, apathy, contrition. I 
 speak of this here, as these passions in their expression 
 are opposed to those more violent emotions, which will 
 not bear repression, but take instant relief in " abrupt 
 force." The quality of voice in anger and in impera- 
 tive authority is " loud "; in grief, modesty, commise- 
 ration, " soft "; secresy is " whispered "; hate is " as- 
 pirated." We hear the " head voice " in the whine 
 of peevishness ; in the querulous, in the high tremulous 
 pitch of mirth, in the piercing scream of terror ; we 
 hear the head voice in all of these, but they are dis- 
 tinguished from each other by the different degrees 
 of force, of time, and of emphasis or stress, that are 
 also employed in conjunction with it. 
 
 A softened modulation of voice is required by hu- 
 mility, modesty, shame, doubt, irresolution, apathy, 
 fatigue, caution, tranquillity these on whole tones 
 generally, and with different degrees of time and 
 
THE TONES OF THE EMOTIONS. 127 
 
 stress ; the same degree of gravity in combination with 
 the semitone gives us sorrow, pity, grief. 
 
 Take, for example, a few lines that are capable of 
 being given with different meanings, according to the 
 intonation employed. These spoken by Constance in 
 King John will serve the purpose : 
 
 Const. Gone to be married ! gone to swear a peace ! 
 False blood to false blood join'd ! gone to be friends ! 
 Shall Lewis have Blanch ? and Blanch those provinces ? 
 It is not so. 
 
 Deliver this passage on varied semitones, with the 
 vowels all pronounced in slow time, and you have 
 " sorrow." The relative acuteness or gravity of the 
 semitones used on this passage is indicated by the fol- 
 lowing arrangement : 
 
 6 and Blanch those provinces 1 
 5 Shall Lewis have Blanch? 
 4 gone to be friends 1 
 2 gone to swear a peace ! 
 1 Gone to be married ! 
 
 3 False blood to false blood join'd I 7 It is not so ! 
 
 Now pronounce the lines on whole tones but with 
 the voice skipping about up and down the scale ad 
 libitum, but not with regularity, neither reaching a 
 very high nor a very low key ; literally tripping about 
 among the notes within a reasonable compass, like 
 this for instance : 
 
128 THE TONES OF THE EMOTIONS. 
 
 8 friends? 
 7 gone to be 
 6 a peace ? 
 4 married! 
 
 2 to 5 gone to swear 
 
 Gone 3 be 
 
 11 Blanch? 
 9 Shall Lewis 
 
 10 have 12 and Blanch those 15 ces? 17 ia 
 
 14 in- 16 It 
 
 13 prov- 18 not so. 
 
 The vowel sounds are all pronounced in quick 
 time ; they are not dwelt upon as in sorrow, but are 
 sounded, and instantly the voice skips to another 
 word now we have the intonation of joy. 
 
 To render the passage with "anger" "abrupt 
 force" is used, the vowel sounds are "exploded" 
 rather than spoken, the chest voice is to be employed 
 here, and with great force ; the voice does not rise to 
 so high a key as in joy, nor fall to so low a key as 
 in sorrow ; yet avoid the " monotone," which is the 
 symbol of a very different passion. 
 
 Now give the lines with surprise; in portraying 
 this emotion the voice will travel through several 
 whole tones on almost every word ; the time is slow 
 in unmixed surprise, but the leading feature of sur- 
 prise is the "partial aspirate"; the words being 
 partly spoken, partly breathed forth. * 
 
 This little example may be given with sarcasm, 
 
THE TONES OF THE EMOTIONS. 129 
 
 with scorn, hate, affirmation, exclamation, interroga- 
 tion, as desired. For the analysis of these tones the 
 pupil is referred to the division dealing with each. 
 
 1. THE OROTUND VOICE. 
 
 This is the symbol of sublimity. Longinus says, 
 that " the mind is elevated by it (sublimity) and so 
 sensibly affected as to swell in transport and inward 
 pride as if what is only heard or read, were its own 
 invention." Now this is exactly the action of the 
 voice in expressing a sense of sublimity ; it swells 
 that is, it increases in volume, roundness, power, at 
 each impulse ; there is no explosiveness, but a gradual 
 increase of force on each word ;* and we will borrow 
 the character used in music to describe a. similar 
 effect, as the sign of the "orotund" namely, the 
 " crescendo " <. 
 
 The grand, the magnificent, etc., creating kindred 
 emotions in the mind, call also for the " orotund," in 
 giving that feeling expression ; and in describing these 
 emotions, a greater or lesser degree of the orotund is 
 required according to the force of motive power. In 
 practising the exercises illustrative of this principle of 
 intonation, the pupil will use the base voice, and on 
 the principal words in the passage give the orotund as 
 marked ; each word begins with a certain degree of 
 force, but that force is slowly increased, and pauses in 
 its volume (but does not decrease) after each impulse. 
 A close acquaintance with the meanings, and shades 
 of meaning, in words sometimes used synonymously, 
 will be the best director in deciding the degrees of 
 
130 THE TONES OF THE EMOTIONS. 
 
 the orotund required in different cases ; that which is 
 "great" requires a lesser degree than that which is 
 grand; that which is simply "grand," less than the' 
 " sublime," etc. I quote briefly from Crabbers Syno- 
 nymes as an assistance to younger pupils in discrimi- 
 nating the " tones " requisite : " Great simply desig- 
 nates extent ; grand includes likewise the idea of ex- 
 cellence and superiority. A great undertaking cha- 
 racterizes only the extent of the undertaking ; a grand 
 undertaking bespeaks its superior excellence. Grand 
 and sublime are both superior to great; but the 
 former marks the dimension of greatness, the latter, 
 from the Latin sublimis, designates that of height. 
 A scene may be eithgfr grand or sublime : it is grand, 
 as it fills the imagination with its immensity; it is 
 sublime, as it elevates the imagination beyond the sur- 
 rounding and less important objects. There is some- 
 thing grand in the sight of a vast army moving for- 
 ward as it were by one impulse ; there is something 
 peculiarly sublime in the sight of huge mountains and 
 craggy cliifs of ice shaped into various fantastic forms. 
 Grand may be said either of the works of art or 
 nature. The Egyptian pyramids or the ocean are 
 both grand objects ; a tempestuous ocean is a sublime 
 object. ' Grand ' is sometimes applied to the mind ; 
 sublime is applied both to the thoughts and the ex- 
 pressions. There is a < grandeur ' of conception in the 
 writings of Milton ; there is a ' sublimity* in the inspired 
 writings, which far surpass all human productions." 
 
 As an example of the orotund see these lines from 
 Julius Ocesar, Act 1, Sc. 3 : 
 
THE TONES OF THE EMOTIONS. 131 
 
 He doth bestride the narrow world 
 Like a Colossus ; and we petty men 
 Walk under his huge legs. 
 
 Here is one of many instances from " Antony and 
 Cleopatra ": 
 
 Cleo. I dream'd, there was an emperor Antony; 
 O, such another sleep, that I might see 
 But such another man ! 
 
 Dol. If it might please you, 
 
 Cleo. His face was as the heavens; and therein stuck 
 A sun, and moon; which kept their course, and lighted 
 The little O, the earth. 
 
 Dol. Most sovereign creature, 
 
 Cleo. His legs bestrid the ocean: his rear'd arm 
 Crested the world: his voice was propertied 
 As all the tuned spheres, and that to friends; 
 But when he meant to quail and shake the orb, 
 
 He was as rattling thunder. 
 
 Act 5, Sc. 3. 
 
 The psychological positives and negatives are not 
 incompatible with this or any other intonation : the 
 inflections, indicating the positive and negative frames 
 of mind, merely carry the required intonation in an 
 upward or downward direction, according to necessity. 
 
 The following is from King Lear, Act 4, So. 5 : 
 
 Edg. Come on, sir; here's the place: stand still. 
 
 How fearful 
 And dizzy 'tis, to cast one eyes so low ! 
 
132 THE TONES OF THE EMOTIONS. 
 
 The crows and choughs, that wing the midway air, 
 
 mod* 
 
 Shew scarce so gross as beetles; half way down 
 Hangs one that gathers samphire, dreadful trade ! 
 
 mod. 
 
 Methinks, he seems no bigger than his head: 
 The fishermen, that walk upon the beach, 
 
 mod. <: <. t < 
 
 Appear like mice; and yon' tall anchoring bark, 
 
 mod. -=z mod. 
 
 Diminish'd to her cock; her cock, a buoy, 
 
 Almost too small for sight: The murmuring surge, 
 That on the unnumber'd idle pebbles chafes, 
 
 mod. 
 
 Cannot be heard so high: I'll look no more; 
 Lest my brain turn, and the deficient sight 
 Topple down headlong. 
 
 The greater objects naturally take the orotund, the 
 lesser a modulated tone, akin to their littleness ; the 
 great height is admirably delineated by the similitudes 
 employed; the distances are pictured by the swell 
 of the voice on each " subject," and its sudden faU to 
 a much modified key on the comparisons. 
 
 Hamlet, Act 3, 80. 1 : 
 
 " Majesty 
 
 Dies not alone, but like a gulf doth draw 
 What's near it with it. It's a massy wheel 
 
 Fixed on the summit of the highest mount ; 
 
 -=c -=z =c -=c mod. 
 
 To whose huge spokes ten thousand lesser things 
 Are mortised and adjoined; which, when it falls, 
 
 * Moderate the tone. 
 
TUB TONES OF THE EMOTIONS. 133 
 
 moderate the tone. 
 
 Each small annexment, petty consequence, 
 Attends the boist'rous ruin." 
 
 In practising this exercise, be careful to increase the 
 volume of tone on the words marked with the " cres- 
 cendo " <. 
 
 The following example is from Henry Kirke White : 
 
 " Yea, He doth come, the mighty champion comes, 
 Whose potent spear shall give thee thy death wound, 
 Shall crush the conqueror of conquerors, 
 And desolate stern desolation's lord; 
 Lo where He cometh ! the Messiah conies ! 
 The King ! the Comforter ! the Christ ! He comes 
 To burst the bonds of death and overturn 
 The [power of time]." 
 
 In the following exercise the pupil will perceive an 
 example of the " parenthesis," and also of the intona- 
 tion employed in describing the beautiful the dimin- 
 uendo : 
 
 " It is not only hi the sacred fane 
 That homage should be paid to the most High. 
 There is a temple, one not made with hands 
 The vaulted firmament; far hi the woods, 
 Almost beyond the sound of city chime, 
 At intervals heard through the breezeless air; 
 When not the limberest leaf is seen to move 
 (Save where the linnet lights upon the spray), 
 
134: THE TONES OF THE EMOTIONS. 
 
 When not a flow'ret bends its little stalk 
 (Save where the bee alights upon the bloom), 
 There, rapt in gratitude, in joy, and love, 
 The man of God will pass the Sabbath noon; 
 Silence his praise, his disembodied thoughts 
 Loosed from the [load of words!, will high ascend 
 Beyond the empyrean." 
 
 The Worship of God in the Solitude of the 
 Woods. JAMES GKAHAME, 1765-1811. 
 
 This passage from Othello gives us an excellent 
 exercise on the "orotund": 
 
 " Like to the Pontic sea, 
 Whose icy current and compulsive course 
 Ne'er feels retiring ebb but keeps due on 
 To the Propontic and the Hellespont, 
 Even so my murderous* thoughts with violent pace 
 Shall ne'er look back, ne'er ebb to humble love, 
 Till that a capable and wide revenge 
 
 Swallow them up." 
 
 Othello, Act3, Sc.3. 
 
 % 2. ABRUPT FORCE. 
 
 This is the sign of anger, wrath, danger, etc. Pub- 
 lic speakers of all sorts, clergymen, actors, orators, etc., 
 almost all suffer sooner or later, when ignorant of the 
 
 * TMs word is substituted for " bloody," which is the true read- 
 ing. 
 
THE TONES OF TIIE EMOTIONS. 135 
 
 correct mode of using " abrupt force." They strain 
 their voices to such an extent in passionate utterance, 
 that very soon the voice " breaks," or inflammatory 
 and other affections of the bronchise are induced 
 which soon incapacitate the unfortunates for public 
 speaking of any kind. Their mistake is in endeavor- 
 ing to give abrupt force with the throat and head 
 voices, instead of the chest voice, which should be used 
 the same as in the orotund. For the cultivation of 
 this particular intonation, instead of the " swell " of 
 the " orotund," the word is " exploded " with equal 
 force at one impulse ; the vowels are all short, given 
 instantaneously, and each consonant rendered with in- 
 tensity if I may so express it. 
 
 If in the exercise which follows the pupil wills that 
 his voice come from the lowest part of the chest, and 
 that each word be expelled with one sudden heaving 
 of the diaphragm, he will find that he has at his com- 
 mand a quality of voice for expressing passion, which 
 he may use ad libitum and for almost any length of 
 time, without feeling fatigue, and with no danger of 
 tearing " passion to tatters to very rags to split the 
 ears of the groundlings." 
 
 The queen says : 
 
 " By heaven ! I will acquaint his majesty 
 Of those gross taunts I often have received ! " 
 
 Exercise : (Vowels all abrupt like this: "Wh ? at? 
 threat you me," etc.) 
 
 Gloster. What ? threat you me with telling of the 
 king ? 
 
136 THE TONES OF THE EMOTIONS. 
 
 Tell him, and spare not: look, what I have said 
 I will avouch, in presence of the king: 
 Ere you were queen, aye, or your husband king, 
 I was a pack horse in his great affairs. 
 A weeder-out of his proud adversaries, 
 A liberal rewarder of his friends; 
 In all which time, you and your husband 
 Grey, were factious for the house of Lancaster 
 And Rivers ! so were you ! 
 A nourish, trumpets; strike alarum, drums ! 
 * * * * Strike, I say!" 
 
 Richard III., Act 1, Sc. 3. 
 
 Exercise : 
 
 " Ruin seize thee, ruthless king ! 
 Confusion on thy banners wait; 
 Though fanned by conquest's crimson wing, 
 They mock the air with idle state. 
 Helm nor hauberk's twisted mail, 
 Nor e'en thy virtues, tyrant, shall avail 
 To save thy secret soul from nightly fears, 
 From Cambria's curse, from Cambria's tears ! " 
 
 The Bard. THOMAS GEAY. 
 
 The following is an xercise for the practice of ab- 
 rupt force ; but it is of equal importance in the exer- 
 cise it gives us for the recovery of the voice on a low 
 key, after reaching a climax on a high key. The first 
 sentence as far as " fiend " is pronounced on a low key 
 with mere force (not abrupt) ; then on a higher key, 
 with abrupt force, as far as " anything "; then recover 
 the voice on a low key at " that's due," rising higher 
 
THE TONES OF THE EMOTIONS. 137 
 
 and higher until " come " has been pronounced. Now 
 recover the low key at " O," rise higher and higher, 
 recover the low key at " some " (giving the next two 
 words on the same key), raise the voice slightly at 
 " thou," reaching gradually the highest point of the 
 " chest voice "; after the word " amend " recover the 
 low key; raise it again at "I am," etc. ; recover low 
 key at "villain-like"; raise the key somewhat on 
 " lesser," thence descend gradually to a very low tone, 
 at which finish. 
 
 Post. Ay, so thou dost, 
 
 (Coming forward.) 
 
 Italian fiend ! Ah me, most credulous fool, 
 Egregious murderer, thief, any thing 
 That's due to all the villain's past, in being. 
 To come ! O, give me cord, or knife, or poison, 
 Some upright justicer ! Thou, king, send out 
 For torturers ingenious; it is I 
 That all the abhorred things of the earth amend, 
 By being worse than they. I am Posthumus, 
 That kill'd thy daughter: villain-like, I lie; 
 That caused a lesser villain than myself, 
 A sacrilegious thief, to do't. 
 
 3. CLIMAX. 
 
 This means " ascent "; it is a figure in rhetoric in 
 which a sentence rises as it were step by step ; or a 
 series of sentences or particulars rise in importance or 
 dignity to the close, and the voice must correspond 
 with this upward progress and increased power by 
 
138 THE TONES OF THE EMOTIONS. 
 
 rising in " pitch " and in " force." " Caesura," as ap- 
 plied here, means " the pause " which we make in 
 reading, in order to call attention to, and to give 
 weight to the clause immediately following. 
 
 I append several examples for the practice of " cli- 
 max." After a climax has been reached on any sen- 
 tence or series of sentences, the voice resumes on a 
 very much lower key. 
 
 " A hungry, lean-faced villain, 
 A mere anatomy, a mountebank, 
 A thread-bare juggler and a "fortune-teller": 
 A needy, hollow-eyed, sharp-looking wretch, 
 
 climax. 
 
 A [living dead-man^ : this pernicious slave 
 Forsooth took on him fas a conjuror!, 
 And gazing hi mine eyes, feeling my pulse, 
 And with no face, as 'twere outfacing me, 
 Cries out (ccesura) I was possessed ! " 
 
 " And I, forsooth, in love ! I, that have been love's 
 
 whip, 
 A critic; nay, a night-watch constable; 
 
 climax. 
 
 A domineering pedant o'er the boy, 
 Than whom no mortal so magnificent ! 
 This wimpled,* whining, purblind, wayward boy; 
 This [senior-junior!, [giant-dwarf! Dan Cupid, 
 Regent of love-rhymes, lord of folded arms, 
 The anointed sovereign of sighs and groans, 
 Liege of all loiterers and malcontents, 
 Dread prince of plackets, f king of codpieces, 
 
 * Hooded. f Petticoats. 
 
THE TONES OP THE EMOTIONS. 139 
 
 Sole imperator and great general 
 
 climax. 
 
 Of trotting paritors. O my little heart (caesura) 
 
 And I to be a corporal of his field, 
 
 And wear his colors like a tumbler's hoop. 
 
 climax. 
 
 What I ! I love ! I sue ! I seek a wife ! 
 
 A woman that is [like a German clockl, (sim. disap.} 
 
 Still a repairing; ever out of frame, 
 
 And never going right, being a watch, (caesura) 
 
 But being watch'd that it may still go right." 
 
 The word "climax" is introduced in the proper 
 places in these exercises, also the " caesura "; the first, 
 after the series, or when the climax has been reached ; 
 the second, before the sentence to which you wish to 
 lend " weight." " Cadence " is that fall of the voice 
 which indicates the approaching end of a sentence or 
 passage. 
 
 S" ^ ^ sf "*^ ^climax. >^ 
 
 " Sink or swim, live or die, survive or perish, I give 
 
 my hand and my heart to this vote. 
 
 (liaise the pitch.) Read this declaration at the head of 
 the army, and every sword shall be drawn from its scab- 
 bard and the solemn vow uttered to maintain it (caesura) 
 or to perish on the bed of honor. Let them hear it, 
 who heard the first roar of the enemies' cannon. Let 
 them see it, who saw their brothers and their sons fall 
 on the field of Bunker-hill and in the streets of Lexington 
 
 climax. \ >^ 
 
 and Concord, (caesura} and the very walls shall cry 
 out for its support. 
 
 I leave off as I began, that, live-or die, survive or perish, 
 (caesura) I am for the declaration." 
 
14:0 THE TONES OF THE EMOTIONS. 
 
 4. FORCE. 
 
 The practice of simple force adds to the voice dig- 
 nity and volume. This admirable roundness of tone 
 is opposed to the disagreeable squeak and repulsive 
 nasal twang characteristic of many. Force differs 
 from " abrupt force " merely in its slow, deliberate 
 utterance, when compared with " the explosiveness " 
 of the latter. 
 
 Give with the bass voice the following exercise, in- 
 creasing the force at the points indicated by ff, 
 
 f/f,f/ff- 
 
 Macbeth, Act 3, Sc. 5 : 
 
 f What man dare, I dare: 
 
 Approach thou like the rugged Russian bear, 
 The arm'd rhinoceros or the hyrcan tiger; 
 Take any shape but that, and my firm nerves 
 Shall never tremble, ff Or, be alive again, 
 And dare me to the desert with thy sword; 
 If trembling I inhibit thee, protest me 
 The baby of a girl, fff Hence, horrible shadow ! 
 ffff Unreal mockery, hence ! 
 
 3. THE DIMINUENDO. 
 
 The diminuendo >~ is the symbol of affection, ten- 
 derness, beauty, and love. This tone is commenced 
 with a certain degree of volume at each impulse, but 
 gradually vanishes away to inaudibility. The fault 
 with most readers and reciters is that they have no 
 
THE TONES OF THE EMOTIONS. 141 
 
 knowledge of the operation of nature on the human 
 voice, when it gives utterance to thoughts of " love," 
 or to descriptions of the " beautiful." These superfi- 
 cial students select the semitone (usually), as being the 
 nearest approach to the tone of which they are in 
 quest, and the consequence is that some of the sweet- 
 est and tenderest passages in the language, the most 
 vivid descriptions of the beautiful, the impassioned 
 eloquence of love all are given with a lugubrious in- 
 tonation, absurd in the extreme. The semitone is the 
 symbol of sorrow, as has been observed before ; and in 
 portraying grief and the like, the minor keys, pecu- 
 liarly characteristic of the " plaintive," are employed. 
 Listen to your friend's raptures on a lovely starlight 
 or moonlight night ; to his description of a charming 
 landscape which he has just enjoyed ; if you could be 
 the third party to a love-scene ! note how each impulse 
 of the voice is commenced with a fullness of voice, a 
 roundness of intonation, which gradually dies away, 
 but at no period of the impulse merges into a half 
 tone. 
 
 By an " impulse " I desire to indicate the amount of 
 intonation employed on one word generally one effort 
 of the voice ; and the vanishing movement is made on a 
 whole tone not on a half tone ; a term which happily 
 expresses this intonation is the "imperceptible van- 
 ish." The pupil must exercise taste and judgment in 
 the use of this tone, giving it on the principal words 
 only in the sentence, and the degree of power must be 
 determined by the depth or the earnestness of the 
 words. 
 
14:2 THE TONES OF THE EMOTIONS. 
 
 Here follow some exercises on the diminuendo ==*. 
 
 Ingoldsby : 
 
 O sweet and beautiful is night 
 
 When the silver moon is high, 
 
 And countless stars, like clustering gems, 
 
 Hang sparkling in the sky ; 
 
 While the balmy breath of the summer breeze 
 
 Comes whispering down the glen, \ 
 
 And one fond voice alone is heard, 
 
 O Night is lovely then. 
 
 Twelfth Night, Act 1, Sc. 1 
 
 If music be the food of love, play on, 
 Give me excess of it ; that surfeiting, 
 The appetite may sicken and so die 
 That strain again ; it had a dying fall : 
 O it came o'er my ear like the sweet south, 
 That breathes upon a bank of violets, 
 Stealing and giving odor. 
 
 The contemplation of the " beautiful," whether sen- 
 sibly or mentally, tends to fill the beholder with 
 pleasure ; and this delight is shown in the countenance, 
 so that a smiling or pleased expression of face (which 
 it is so easy to assume) will materially aid the reader 
 in giving the vocal expression. 
 
 The diminuendo requires moderate force at the be- 
 ginning of each word, which you desire to mark by 
 it; that moderate force should gradually become less 
 
THE TONES OF THE EMOTIONS. 143 
 
 and less, until at the termination of the word it 
 has vanished into inaudibility, or has become a 
 mere point of sound. Perhaps this little illustration 
 will convey a better idea of my meaning to some 
 minds: OOOOOOO. Pronounce the word "oh" with 
 lessening degrees of force ; prolonging the word, but 
 not repeating it on each impulse 1 ; then practise the 
 intonation on a higher key, using the same word, 
 "oh," "OOOOOOO"; now practise it on a lower; 
 then change freely about from one key to another. 
 
 The next exercise is a very easy example of the 
 vanishing movement, and pupils who find any diffi- 
 culty in acquiring it, would do well to practise with 
 this before taking the two that have been already 
 given : 
 
 " In such an hour are told the hermit's beads ; 
 
 With the white sail the seaman's hymn floats by : 
 Peace be with all ! whatever their varying creeds, 
 With all that send up holy thoughts on high ! 
 Come to me, my boy by Guadalquiver's vines, 
 By every stream of Spain, as day declines, 
 Man's prayers are mingled in the sky." 
 
 Mrs. Hemans. 
 
 " Lament of Mary Queen of Scots, at the approach 
 of Spring": 
 
 " My son, my son, may kinder stars 
 
 Upon thy fortune shine ; 
 And may those pleasures gild thy reign, 
 
144 THE TONES OF THE EMOTIONS. 
 
 That ne'er wad blink on mine. 
 God keep thee frae thy mother's faes ; 
 
 Or turn their hearts to thee : 
 And where thou meetst thy [mother's friend^, 
 
 Remember him for me." 
 
 Burns. 
 
 A beautiful bit of word-painting from "Sella's 
 Fairy Slippers": 
 
 "My friend 
 
 Named the strange growths, the pretty coralline ; 
 The dulse with crimson leaves, and streaming far, 
 Sea-thong and sea-lace. Here the tangle spread 
 Its broad thick fronds, with pleasant bowers beneath ; 
 And oft we trod a waste of pearly sands 
 Spotted with rosy shells, and thence looked in 
 At caverns of the sea whose rock-roofed halls 
 Lay in blue twilight." 
 
 William Cullen Bryant. 
 
 In the following the degree of pleasurable thought 
 increases at each verse so should the diminuendo be 
 more and more marked : 
 
 There are some hearts Qike wells green-mossed and deep] 
 
 As ever summer saw ; 
 And cool their water is yea, cool and sweet ; 
 
 But you must come to draw. 
 They hoard not, yet they rest in calm content, 
 
 And not unsought will give ; 
 They can be quiet with their wealth unspent, 
 
 So self-contained they live. 
 
THE TONES OF THE EMOTIONS. 145 
 
 And there are some [like springs that bubbling burstf, 
 
 To follow dusty ways, 
 And run with offered cup to quench his thirst 
 
 Where the tired traveler strays ; 
 That never ask the meadows if they want 
 
 What is their joy to give ; 
 Unasked their lives to other life they grant, 
 
 So self -bestowed they live ! 
 
 And One is Qike the ocean, deep and wide! ; 
 
 Wherein all waters fall 
 That girdles the broad earth, and draws the tide, 
 
 Feeding and bearing all. 
 That broods the mists, and sends the clouds abroad, 
 
 That takes again to give ; 
 Even the great and loving heart of God, 
 
 Whereby all Love doth live. 
 
 Living Waters, by Caroline Spencer. 
 
 In this example from " Byron " the " imperceptible 
 vanish " should be employed on almost every word to 
 depict the sweetness : 
 
 * * 'Tis sweet to hear, 
 At midnight on the blue and moonlit deep, 
 The song and oar of Adria's gondolier, 
 By distance mellowed, o'er the waters sweep ; 
 'Tis sweet to see the evening stars appear ; 
 'Tis sweet to listen, as the night- winds creep 
 From leaf to leaf ; 'tis sweet to view on high 
 The rain-bow, based on ocean, span the sky. 
 7 
 
14:6 THE TONES OF THE EMOTIONS. 
 
 * * 'Tis sweet to be awakened by the lark, 
 Or lulled by falling waters ; sweet the hum 
 Of bees, the [voice of girls!, the [song of birds], 
 The [lisp of children], and their earliest words. 
 
 In these lines no touch of the "semitone" must be 
 given, but strictly the " diminuendo," to give a cor- 
 rect interpretation of the sentiment, in which " sor- 
 row " takes no part : 
 
 " How beautiful is night ! 
 A dewy freshness fills the silent air, 
 No mist obscures, nor cloud, nor speck, nor stain, 
 
 Breaks the serene of Heaven : 
 In full-orb'd glory yonder moon divine 
 
 Rolls through the dark blue .depths. 
 
 Beneath her steady ray 
 
 The desert circle spreads 
 Like the round ocean, girdled with the sky." 
 
 6. THE SEMITONE. - 
 
 This is the symbol of sorrow and grief, but from 
 these spring other emotions, which are expressed by 
 the semitone in a greater or a lesser degree, according 
 to their intensity or the contrary ; some of .these are 
 penitence, condolence, compassion, mercy, commisera- 
 tion, pity. When sorrow for evils endured, or ex- 
 pected, are at the foundation of fatigue, pain, or sup- 
 plication, then are these emotions depicted by the 
 semitone. In "sorrow" the "time" is slow; and 
 
THE TONES OF THE EMOTIONS. 147 
 
 this " slow time " is naturally secured by dwelling on 
 the vowel sounds in the words, and not by "pauses " 
 between the words. Then the " key " should be now 
 high, now low, as taste and judgment direct. Some 
 persons succeed in giving the semitone, but they do 
 not portray " sorrow " when they speak in a single, 
 monotonous whine. Yary the semitone, let it be now 
 grave, now acute, and so on. If the pupil's ear is not 
 sufficiently familiar with the difference between tones 
 and "half tones," they should be sounded on the 
 piano, and the class made to accompany with their 
 voices. They should ascend and descend on whole 
 tones, then on half tones, and eventually they should 
 be required to pronounce with the pianist a " broken " 
 melody tones and half tones being given at irregular 
 distances. Practice first with this intonation the pas- 
 sage from King John, given in the first part of this 
 division ; then take the following as an exercise. The 
 second line requires a higher key than the first line, 
 and the third line a lower key than either ; the fourth 
 line may perhaps be given at about the same altitude 
 as the first. For the second verse vary the arrange- 
 ment of keys as you please, being careful to keep 
 within the bounds of good taste. 
 
 Few and short were the prayers we said, 
 
 And we spoke not a word of sorrow ; 
 But we steadfastly gazed on the face that was dead, 
 
 And we bitterly thought of the morrow. 
 
 We thought as we hollowed his narrow bed, 
 And smoothed down his lonely pillow, 
 
148 THE TONES OF THE EMOTIONS. 
 
 That the foe and the stranger would tread o'er his 
 
 head, 
 
 And we far away on the billow. 
 Burial of Sir John More, ly JZev. Chas. Wolfe. 
 
 A sad reflection, from the " Nevermore," by Dante 
 Gabriel Eossetti : 
 
 " Look in my face ; my name is [Might-have-been! ; 
 I am also called" No-more," " Too-late," " FareweU "; 
 Unto thine ear, I hold the dead sea-shell 
 Cast up, thy life's foam-fretted feet between ; 
 Unto thine eyes, the glass where that is seen 
 Which had Life's form, and Love's, but by my spell, 
 Is now a shaken shadow intolerable, 
 Of ultimate things unuttered, the frail screen." 
 
 These two verses, from Mrs. Browning's " Bertha in 
 the Lane," require a plaintive minor key, with a slight 
 occasional touch of the diminuendo : 
 
 " And, dear Bertha, let me keep , 
 
 On my hand this little ring, 
 Which at nights, when others sleep, 
 
 I can still see glittering ; 
 Let me wear it out of sight, 
 In the grave, where it will light 
 All the dark up, day and night. 
 
 " On that grave drop not a tear ! 
 
 Else, though fathom-deep the place, 
 Through the woollen shroud I wear 
 I shall feel it on my face. 
 
THE TONES OF THE EMOTIONS. 149 
 
 Rather smile there, blessed one ; 
 Thinking of me in the sun, 
 Or forget me, smiling on ! " 
 
 This pathetic morceau, from. Robert Buchanan's 
 " Little Ned," requires semitones, but not a great va- 
 riety of them ; the range should be limited as in re- 
 pressed grief: 
 
 * * And one cold day in winter time, when 
 
 mother 
 
 Had gone away into the snow, and we 
 Sat close for warmth and cuddled one another ; 
 He put his little head upon my knee, 
 And went to sleep, and would not stir a limb, 
 But looked quite strange and old ; 
 And when I shook him, kissed him, spoke to him, 
 He smiled ; and grew so cold. 
 Then I was frightened and cried out, and none 
 Could hear me ; while I sat and nursed his head 
 Watching the whitened window, while the sun 
 Peeped in upon his face and made it red, 
 And I began to sob, till mother came, 
 Knelt down, and screamed, and named the good God's 
 
 name, 
 
 And told me he was dead. 
 
 And when she put his night-gown on, and weeping 
 Placed him among the rags upon his bed, 
 I thought that brother Ned was only sleeping, 
 And took his little hand and felt no fear. 
 But when the place grew gray and cold and drear, 
 And the round moon over the roofs came creeping, 
 And put a silver shade 
 
150 THE TONES OF THE EMOTIONS. 
 
 All round the chilly bed where he was laid, 
 I cried, and was afraid." 
 
 Here are two verses from the poem which relates 
 "Little Gretchen's" wanderings on "New Year's 
 eve": 
 
 ****** 
 
 " And she remembered her of tales her mother used to 
 tell, 
 
 And of the cradle-songs she sang, when summer's twi- 
 light fell; 
 
 Of good men, and of angels, and of the Holy Child, 
 
 Who was cradled in a manger, when winter was most 
 wild; 
 
 Who was poor, and cold, and hungry, and desolate, 
 and lone; 
 
 And she thought the song had told, he was ever with 
 his own; 
 
 And all the poor and hungry, and forsaken ones are 
 his, 
 
 * How good of him to look on me in such a place as 
 
 this!' 
 ****** 
 
 In her scant and tattered garments, with her back 
 
 against the wall, 
 
 She sitteth cold and rigid; she answers to no call. 
 They have lifted her up fearfully, they shuddered as 
 
 they said, 
 
 ' It was a bitter, bitter night ! the child is frozen dead.' 
 The angels sang their greeting for one more redeemed 
 
 from sin; 
 Men said, 'It was a bitter night: would no one let her 
 
 in? 5 
 
THE TONES OF THE EMOTIONS. 151 
 
 And they shivered as they spoke of her, and sighed. 
 
 They could not see 
 How much of happiness there was after that misery." 
 
 7,-JOY. 
 
 The joyous intonation is characterized by a light, 
 quick " skipping " of the voice, up and down the scale ; 
 not reaching a very high nor a very low key, unless 
 the emotion is excessive ; the greater the degree of 
 joy, the greater the range of voice, and the faster the 
 time in changing from one key to another. The 
 words are pronounced on whole tones v but the 
 voice skips about up and down the scale, but not with 
 regularity tripping about among the notes within a 
 reasonable compass. The vowel sounds are all pro- 
 nounced in quick time ; they are not dwelt upon as in 
 sorrow. If a mere " pleasure " is taken in the thoughts 
 expressed, the intonation is the same, but the range of 
 notes is contracted, and the " time " slower than in ex- 
 cessive joy. In the following exercise we have simply 
 pleasure in the thoughts conveyed; occasionally the 
 diminuendo is required : 
 
 " On her white breast, a sparkling cross she wore, 
 Which Jews might kiss, and infidels adore. 
 Her lively looks a sprightly mind disclose, 
 Quick as her eyes, and as unfix'd as those: 
 Favors to none, to all she smiles extends; 
 Oft she rejects, but never once offends. 
 Bright as the sun, her eyes the gazers strike, 
 And like the sun, they shine on all alike. 
 
152 THE TONES OF THE EMOTIONS. 
 
 Yet graceful ease, and sweetness void of pride, 
 Might hide her faults, if belles had faults to hide; 
 If to her share some female errors fall, 
 Look on her face and you'll forget them all. 
 
 Rape of the Lock. 
 
 The next is of the same order, but the " dimin- 
 uendo " is more prominent than in the preceding ex- 
 ample : 
 
 " O the pleasing, pleasing anguish, 
 When we love, and when we languish ! 
 
 Wishes rising, 
 
 Thoughts surprising, 
 
 Pleasure courting, 
 
 Charms transporting, 
 
 Fancy viewing, 
 
 Joys ensuing, 
 O the pleasing, pleasing anguish." 
 
 Rosamond, Act 1, Sc. 2. 
 
 A verse or two from S. H. Dana's " Pleasure-boat " 
 will give good practice for the joyous intonation. 
 
 Come, hoist the sail, the furl let go ! 
 
 They're seated side by side; 
 Wave chases wave in pleasant flow; 
 
 The bay is fair and wide. 
 
 The ripples lightly tap the boat, 
 
 Loose ! Give her to the wind ! 
 She shoots ahead; they're all afloat; 
 
 The strand is far behind. 
 
THE TONES OP THE EMOTIONS. 153 
 
 Careening to the wind, they reach, 
 
 With laugh and call, the shore. 
 They've left their footprints on the beach, 
 
 But them, I hear no more. 
 
 8. THE ASPIRATE. 
 
 This is the symbol of hate, secrecy, surprise, with 
 different modifications of tone for each ; that is, the 
 aspirate is the special characteristic of each, but it 
 alone would by no means constitute the expression of 
 the emotion. Hate is expressed usually on one of the 
 lowest keys given with force, and employs also the 
 guttural vibration ; these, with a strong degree of the 
 aspirate, depicts the passion. Secrecy takes more of 
 the aspirate, and less vocal force, and is delivered on a 
 higher key than hate. Surprise takes much less of the 
 aspirate than the preceding ; it is given on a higher 
 key also: if the emotion is pleasurable, the voice 
 travels in an upward direction through several keys 
 at each impulse ; if the surprise be disagreeable, the 
 voice travels on a downward direction through several 
 keys at each impulse. 
 
 Earnestness, intensity, horror, and curiosity are all 
 marked by the aspirate. The pupil on reflection will 
 perceive that the passions spoken of first, " hate," etc., 
 or their primal causes, are in one way or another at 
 the foundation of earnestness, intensity, and so on; 
 that they are all akin branches of the same family ; 
 for hate is the foundation of horror ; a desire, or ex- 
 pectation of surprise, is at the root of curiosity. Self- 
 
154: THE TONES OF THE EMOTIONS. 
 
 love, in some form or other, is the basis both of hate 
 and of earnestness ; and in intensity the feeling that 
 produces the intense expression is so important to us, 
 that nature feels that common vocal utterance is in- 
 adequate to express the feeling (and here self-love may 
 be at work again), so she endeavors to add strength to 
 her enunciation by the aspirate. 
 
 As an exercise for the practice of the aspirate in 
 hate, take the following from the Merchant of Venice, 
 Act 3, Sc. 1 : 
 
 Shy. To bait fish withal: if it will feed nothing else, 
 it will feed my revenge. He hath disgraced 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 mine enemies ; and 
 what's his reason ? I am a Jew. Hath not a Jew eyes ? 
 hath not a Jew hands, organs, dimensions, senses, affec- 
 tions, passions ? fed with the same food, hurt with the 
 same weapons, subject to the same diseases, healed by 
 the same means, warmed and cooled by the same winter 
 and summer, as a Christian is ? if you prick us, do we 
 not bleed ? if you tickle us, do we not laugh ? if you poi- 
 son us, do we not die ? and if you wrong us, shall we not 
 revenge ? if we are like you in the rest, we will resemble 
 you in that. If a Jew wrong a Christian, what is his 
 humility ? revenge ; if a Christian wrong a Jew, what 
 should his sufferance be by Christian example ? why, re- 
 Venge. The villainy you teach me, I will execute ; and 
 it shall go hard, but I will better the instruction. 
 
 The prevailing passion in this speech is hatej the 
 
THE TONES OF THE EMOTIONS. 155 
 
 incerrogatives are so in form merely ; they are assertive 
 in spirit ; there are points at which a climax is reached 
 the mod and the circumstances requiring it are 
 explained under the section "Climax." Contempt, 
 scorn, and the sneer, all take more or less of the aspi- 
 rate ; but it is not their chief characteristic. 
 
 In the next example the words underlined with a 
 running mark ~~~~ require the aspirate ; and as an 
 exercise I would advise the aspirate to be given very 
 strongly ; not but that it might be correct to read the 
 lines with less of the " aspirate," but it is the culture 
 of that particular quality of tone that we want, and 
 skilful surgeons usually cut beyond the wound to make 
 the cure complete : 
 
 Enter Marcius. 
 
 Com. Who*s yonder, 
 
 That does appear as he were flay'd ? O gods ! 
 He has the stamp of Marcius; and I have 
 Before-time seen him thus. 
 
 Mar. Come I too late > 
 
 Com. The shepherd knows not thunder from a tabor 
 More than I know the sound of Marcius' tongue 
 From every meaner man's. 
 
 Mar. Come I too late > 
 
 ^^^^s*s*s^s^.*s*s*>**>**s*s^ ^^ ^^ Xw Xw 
 
 Com. Ay, if you come not in the blood of others, 
 But mantled in your own. 
 
 Coriolanus, Act 1, Sc. 6. 
 
 This from King John is a fine exercise : 
 
156 THE TONES OF THE EMOTIONS. 
 
 " If thou didst but consent 
 
 To this most cruel act do but despair, 
 
 And if thou wantst a cord, the smallest thread 
 
 Will serve to strangle thee, a rush will be a beam, 
 
 To hang thee on ; or wouldst thou drown thyself, 
 
 (JfasTtime.) 
 
 Put but a little water in a spoon, 
 
 And it shall be as all the ocean, 
 Enough to stifle such a villain up ! 
 I do suspect thee very grievously, 
 
 Aspirate intensity : 
 
 But see how swift advance and shift 
 Trees behind trees row by row. 
 How cleft by cleft, rocks bend and lift 
 Their frowning foreheads as we go ! 
 The giant snouted crags ho ! ho ! 
 How they snort, and how they blow. 
 
 Faust. 
 
 9. PRAISE. 
 
 Let us mark the differences between the intonations 
 of "joy" and of "praise. J> In joy the voice skips 
 about from one tone to another; the movement is 
 discrete. In " praise " the voice moves steadily and 
 concretely through several tones at each impulse, and 
 the word is finished on a higher key (several keys 
 rather) than the one on which it was commenced. 
 These kind of " notes " will give an idea of the intona- 
 tion of joy : 
 
THE TONES OF THE EMOTIONS. 159 
 
 ing-kindness : according unto the multitude of thy tender 
 mercies blot out my transgressions. 
 
 2 Wash me thoroughly from mine iniquity, and 
 cleanse me from my sin. 
 
 3 For I acknowledge my transgressions : and my sin 
 is ever before me. 
 
 4 Against thee, thee only, have I sinned, and done 
 this evil in thy sight : that thou mightest be justified 
 when thou speakest, and be clear when thou judgest. 
 
 5 Behold, I was shapen in iniquity ; and in sin did my 
 mother conceive me. 
 
 6 Behold, thou desirest truth in the inward parts : and 
 in the hidden part thou shalt make me to know wisdom. 
 
 7 Purge me with hyssop, and I shall be clean : wash 
 me, and I shall be whiter than snow. 
 
 8 Make me to hear joy and gladness ; that the bones 
 which thou hast broken may rejoice. 
 
 9 Hide thy face from my sins, and blot out all mine 
 iniquities. 
 
 10 Create in me a clean heart, O God ; and renew a 
 right spirit within me. 
 
 11 Cast me not away from thy presence ; and take not 
 thy Holy Spirit from me. 
 
 12 Restore unto me the joy of thy salvation ; and up- 
 hold me with thy free Spirit. 
 
 13 Then will I teach transgressors thy ways ; and sin- 
 ners shall be converted unto thee. 
 
 14 Deliver me from bloodguiltiness, O God, thou God 
 of my salvation : and my tongue shall sing aloud of thy 
 righteousness. 
 
 15 O Lord, open thou my lips ; and my mouth shall 
 shew forth thy praise. 
 
160 THE TONES OF THE EMOTIONS. 
 
 16 For thou desirest not sacrifice ; else would I give 
 it : thou delightest not in burnt offering. 
 
 IT The sacrifices of God are a broken spirit : a broken 
 and a contrite heart, O God, thou wilt not despise. 
 
 18 Do good in thy good pleasure unto Zion : build 
 thou the walls of Jerasalem. 
 
 Didactic : 
 
 19 Then shalt thou be pleased with the sacrifices of 
 righteousness, with burnt offering and whole burnt offer- 
 ing : then shall they offer bullocks upon thine altar. 
 
 The didactic verses in the 148th Psalm are the fifth 
 and sixth. These verses should be brought in con- 
 trast with the rest to make the distinction obvious. 
 
 1O. SARCASM. 
 
 When we are in earnest we use upward ^ and 
 downward \ inflections ; in " sarcasm," on the con- 
 trary, we do not mean our words just as they are / 
 the sarcastic expression is obtained by a combination 
 of the upward ' and downward \ inflections, which 
 will give us the circumflex ^, and the downward \ 
 and upward ^, which will give us the circumflex ^ ; 
 and these circumflexes alternated and adjoined will 
 give the " sarcastic " expression or intonation to our 
 words, ^ ^ '"x.x ^^^^' 
 
 Example from Cowper on " Conversation": 
 
 * * * Vociferated logic kills me quite, 
 A noisy man is always in the right, 
 'Tis the most asinine employ on earth 
 
THE TONES OF THE EMOTIONS. 161 
 
 To hear them tell of parentage and birth, 
 And echo conversations dull and dry, 
 Embellished with "he said" and "so 
 
 I pity bashful men who feel the pain 
 
 Of fancied scorn and undeserved disdain, 
 
 And bear the marks upon a blushing face 
 
 Of needless shame, and self-imposed disgrace. 
 
 Our sensibilities are s(Tacute, 
 
 The fear of [being silenti, makes us mute. 
 
 True modesty is a discerning grace, 
 
 And only blushes in the proper place ; 
 
 But counterfeit is blind, and skulks through fear, 
 
 Where 'tis a shame to be ashamed to appear ; 
 
 Humility the parent of the first, 
 
 *+mf~** X ^ X ' 
 
 The last by vanity produced and nursed. 
 
 ****** 
 We next inquire, but softly and by stealth, 
 Like conservators of the public health, 
 Of epidemic throats, if such there are, 
 
 ^,'~^ *^^r ^ *+fS ~**^ 
 
 And coughs and rheums and phthisics and catarrh. 
 
 Here is another example of sarcasm from Merchant 
 of Venice, Act 1, Sc. 3 : 
 
 Shy. Signior Antonio, many a time and oft, 
 In the Rialto you have rated me 
 About my monies, and my usances : 
 Still have I borne it with a patient shrug ; 
 For sufferance is the badge of all our tribe: 
 You call me misbeliever, cut-throat dog, 
 
* ( 
 
 II 
 
 162 THE TONES OF THE EMOTIONS. 
 
 s-' / ~ s 
 
 And spit upon my Jewish gaberdine, 
 
 s*x""' s ' *^w 
 
 And all for use of that which is mine own. 
 Well, then, it now appears, you need my help : 
 Go to then ; you come to me, and you say, 
 " Shy lock, we would have monies "; You say so : 
 You, that did void your rheum upon my beard, 
 And foot me, as you spurn a stranger cur 
 Over your threshold ; monies is your suit. 
 What should I say to you ? Should I not say, 
 Hath a dog money ? is it possible, 
 
 / ^ S >w' <^^ '~^**S *~/~^ 
 
 A cur can lend three thousand ducats ; or 
 Shall I bend low, and in a bondman's key, 
 With 'bated breath, and whispering humbleness, 
 Say this, 
 
 Fair sir, you spit on me on Wednesday last, 
 ^/-> '->,_, 
 
 You spurn'd me such a day ; another time 
 You call'd me dog ; and for these courtesies 
 I'll lend you thus much monies. 
 
 Shylock does not mean the words "just as they 
 stand "; he. means, in fact, that be should say the op- 
 posite of " Fair sir," etc., and by combining the cir- 
 cumflexes we have exactly the intonation of sar- 
 casm. 
 
 Scorn takes the double circumflex, but with more 
 force than sarcasm, and a considerable measure of the 
 " aspirate " as when Lady Macbeth says : 
 
 " My hands are of your colour ! 
 But I shame to wear a heart so white ! " 
 
 The "sneer" is also given with the double circumflex, 
 
THE TONES OF THE EMOTIONS. 163 
 
 but without force, and only a slightly aspirated tone ; 
 as when in the same play Lady M. says : 
 
 1 "What beast was't then, 
 That made you break this enterprise to me ? 
 When you durst do it, then you were a man : 
 And, to be more than what you were, you would 
 Be so much more the man." 
 
 As she goes on farther in the same speech, the sneer 
 merges into " anger," which requires abrupt force to 
 give it due expression. Irony is neither so bitter nor 
 so strong as sarcasm, so that the "ironical," which 
 usually expresses censure in the language of praise, 
 takes the undulations of tone peculiar to sarcasm ; but 
 these tones belie the words and pleased expression of 
 face. Irony takes less " force " than sarcasm. The 
 " wave " of the voice is less in " contempt," but the 
 aspirate is infinitely more powerful. 
 
 The following is an illustration of varied intona- 
 tions, scorn, contempt and sarcasm being the princi- 
 pal ; from Julius Ccesar, Act I, Sc. 2 : 
 
 (Flourish and shout.") 
 
 Bru. What means this shouting ? I do fear, the 
 people 
 
 Choose Caesar for their king. 
 Cos. Ay, do you fear it ? 
 
 Then must I think you would not have it so. 
 Bru. I would not, Cassius ; yet I love him well: 
 
 But wherefore do you hold me here so long ? 
 
 What is it that you would impart to me ? 
 
 If it be aught toward the general good, 
 
164 THE TONES OF THE EMOTIONS. 
 
 Set honour in one eye, and death i' the other, 
 And I will look on both indifferently : 
 For, let the gods so speed me, as I love 
 The name of honour more than I fear death. 
 
 Cas. I know that virtue to be in you, Brutus, 
 As well as I do know your outward favour. 
 Well, [honour^ is the subject of my story. 
 I cannot tell, what you and other men 
 Think of this life ; but, for my single self, 
 I had as lief not be, as live to be 
 In awe of such a thing as I myself, 
 ./was born as free as Ccesar; so were you: 
 We both have fed as well ; and we can both 
 Endure the winter's cold, as well as he. 
 For once, upon a raw and gusty day, 
 The troubled Tiber chafing with her shores, 
 Caesar said to me, Dar'st thou, Cassius, now 
 Leap in with me into this angry flood, 
 And swim to yonder point ? Upon the word, 
 Accouter'd as I was, I plunged in, 
 And bade him follow : so, indeed, he did. 
 The torrent roar'd ; and we did buffet it 
 With lusty sinews ; throwing it aside 
 And stemming it with hearts of controversy. 
 But ere we could arrive the point proposed, 
 Caesar cried, Help me, Cassius, or I sink 
 I, as JEneas, our great ancestor, 
 Did from the flames of Troy upon his shoulder 
 
 The old Anchises bear, so, from the waves of Tiber 
 
 /f - >-' x\ ^ ^ 
 
 Did I the tired Caesar : And this man 
 
 Is now become fa godl ; and Cassius is 
 
THE TONES OF THE EMOTIONS. 165 
 
 A wretched creature, and must bend his body, 
 If Caesar carelessly but nod on him. 
 He had a fever when he was in Spain, 
 And, when the fit was on him, I did mark 
 
 <: ^ "< ' ^. 
 How he did shake : 'tis true, this god did shake : 
 
 His coward lips did from their colour fly ; 
 
 And that same eye, whose bend doth awe the world, 
 
 ^^ s^ \ 
 
 Did lose his lustre : I did hear him groan : 
 
 Ay, and that tongue of his, that bade the Romans 
 
 Mark him, and write his speeches in their books, 
 
 Alas ! it cried, [Give me some drink, Titiniusl, 
 
 As a sick girl. Ye gods, it doth amaze me, 
 
 A man of such a feeble temper should 
 
 So get the start of the majestic world, 
 
 And bear the palm alone. (Shout. Flourish.) 
 
 JBru. Another general shout ! 
 I do believe, that these applauses are 
 For some new honours that are heap'd on Caesar. 
 
 Cos. Why, man, he doth bestride the narrow world, 
 
 Like a Colossus ; and we petty men 
 Walk under his huge legs, and peep about 
 To find ourselves dishonourable graves. 
 Men at some time are masters of their fates : 
 The fault, dear Brutus, is not in our stars, 
 But in ourselves, that we are uuderlings. 
 Brutus, and Caesar : What should be in that Caesar ? 
 Why should that name be sounded more than yours ? 
 Write them together, yours is as fair a name ; 
 Sound them, it doth become the mouth as well ; 
 Weigh them, it is as heavy ; conjure with them, 
 Brutus will start a spirit as soon as Caesar. (Shout.) 
 
166 THE TONES OF THE EMOTIONS. 
 
 Now in the names of all the gods at once, 
 
 Upon what meat doth this our Caesar feed, 
 
 That he is grown so great ? Age thou art ashamed 
 
 Rome, thou hast lost the breed of noble bloods ! 
 
 When went there by an age, since the great flood, 
 
 But it was famed with more than with one man ? 
 
 When could they say, till now, that talk'd of Rome, 
 
 -X" ^-^ \ 
 
 That her wide walks encompass'd but Cone man] ? 
 Now is it Rome indeed, and room enough, 
 When there is in it but one only man. 
 
 ! you and I have heard our fathers say, 
 
 There was a Brutus once, that would have brook'd 
 
 The eternal devil to keep his state in Rome, 
 
 v "^ 
 
 As easily as a king. 
 
 JBru. That you do love me, T am nothing jealous ; 
 What you would work me to, I have some aim : 
 How I have thought of this, and of these times, 
 
 1 shall recount hereafter; for this present, 
 
 I would not, so with love I might entreat you, 
 Be any farther moved. What you have said, 
 I will consider ; -.what you have to say, 
 I will with patience hear : and find a time 
 Both meet to hear, and answer, such high things, 
 Till then, my noble friend, chew upon this ; 
 
 ^* 
 
 Brutus had rather be a villager, 
 Then to repute himself a son of Rome 
 
 Under these hard conditions as this time 
 
 v ~' > v 
 Is like to lay upon us. 
 
 Cas. I am glad that my weak words 
 Have struck but thus much shew of fire from Brutus. 
 
THE TONES OF THE EMOTIONS. 167 
 
 11. THE THROAT VOICE. 
 
 This is the sign of execration, disgust, aversion. 
 This guttural intonation is caused by a drawing back 
 of the tongue, and a closing of the pharynx, produ- 
 cing those harsh vibrations which are heard in the ex- 
 pression of the above-named emotions. In practising 
 the exercises given for the acquirement of facility in 
 rendering passages which need the throat voice, the 
 student will give great prominence to all the conso- 
 nants ; especially " c " (having the sound of "k"), " r," 
 "t,"and"d." 
 
 Examples : 
 
 You common cry of curs ! whose breath I hate, 
 As reek o' the rotten fens, whose loves I prize 
 As the dead carcases of unburied men 
 That do corrupt my air, I banish you ; 
 And here remain, with your uncertainty ! 
 
 Coriolanw. 
 
OHAPTEE VI. 
 
 GESTURE. 
 
 "YTTTTH the Eomans "Actio" comprised the 
 * V general delivery, or what is now called Elocu- 
 tion; " EloGutio" the choice of words or diction. 
 Dr. Blair translates " Actio " as delivery. 
 It has been erroneously said that " Gestures should 
 
 words in the minds of his audience. Therefore I 
 would enforce upon students of elocution the neces- 
 sity of practising gesture. The involuntary gestures 
 which they afterwards make, in excitement perhaps, 
 will often be very different from those which they 
 have practised, yet even these will have been immeas- 
 urably improved. 
 
 The movement should as a usual thing proceed from 
 the superior part of the body that is, from the 
 shoulder, not the elbow ; from the thigh, not 'the knee ; 
 
GESTURES. 169 
 
 from the knuckle, not the finger-joint ; else the ges- 
 tures will be extremely awkward, angular, and un- 
 graceful. 
 
 Generally, voice, features and limbs should simulta- 
 neously express the same passion and thought. In 
 ill-suppressed feeling, etc., however, the gestures will 
 precede the voice. 
 
 Decision of action is more important than grace. 
 The most ungraceful action, if decided, will be more 
 effective than the most graceful without decision. 
 Study repose. Observe the manner in which passions 
 and emotions are expressed in real life. When you 
 attempt to express any passion by gesture, inspire your- 
 self with that secondary kind of feeling, which the ima- 
 gination is capable of exciting, and then follow feel- 
 ing with this observance, that you " o'erstep not the 
 modesty of nature." 
 
 The language of gesture is not confined to the more 
 vehement passions. Upon every subject and occasion 
 on which we speak, some kind of " feeling " accom- 
 panies the words, and this feeling has always its ap- 
 propriate gesture. I would advise my readers to ob- 
 serve the attitudes and actions in paintings and sculp- 
 ture ; also those of actors and orators. Practice atti- 
 tudes and actions by themselves without words just 
 as a vocalist studies vocal expression apart from songs, 
 or a danseuse, steps and figures apart from the dance, 
 of which they form a part. Cicero says, that " those 
 who have learned at the Palaestra are distinguished, 
 even in other exercises, by their grace and agility; 
 they who have learned to dance elegantly are also 
 8 
 
170 GESTURE. 
 
 easily distinguished in all their motions from the 
 untaught, even when they are not dancing. And the 
 gesture also of the well-instructed speaker, even in its 
 most trivial movements, is altogether different from 
 neglected rudeness. 
 
 In all the parts of general discourse that turn upon 
 mere reasoning, or when precision in stating mere 
 doctrinal arguments is necessary, the simply intellec- 
 tual style of gesture and delivery may be used. Pro- 
 priety is the essence of real oratorical grace. 
 
 If vehemence be used in trifles, solemnity upon 
 commonplace, pathos where there is nothing interest- 
 ing, or dignity displayed where there is none in the 
 sentiment, the result is affectation, which will impose 
 only upon the ignorant ; on the thoughtful mind the 
 effect is such as the profligate produces when he 
 descants on piety, or the coward on valor. 
 
 Abrupt, short and angular actions, if they bear the 
 stamp of truth, are proper, as those of an old man 
 under irritation ; and, if ill applied, the most flowing 
 and beautiful motions, the finest transitions of gesture, 
 will become indecorous or offensive. In writing, even 
 an appropriate term must not be used too frequently, 
 and in this art the same action must not be too fre- 
 quent. Aim at variety. 
 
 Gestures may be divided into intentional and unin- 
 tentional, natural and artificial movements. A third 
 class of gestures are termed " complex." 
 
 1. Natural or unintentional movements; as, a 
 change of color produced by shame, or trembling oc- 
 casioned by fear. 
 
GESTURE. 171 
 
 2. Intentional or artificial gestures ; as, the finger 
 on the lips to enjoin silence, the figure drawn upward 
 in pride, the arm extended in authority. 
 
 3. Complex gestures formed by the combination of 
 simple gestures ; as, in " terror," the person will seek 
 to escape the cause of fear should it be a lion, by the 
 foot extended to run, the hands held out to avoid ob- 
 stacles which might impede, the head turned back to 
 watch if the animal be in pursuit. 
 
 SIMPLE INTENTIONAL OR ARTIFICIAL 
 GESTURES. 
 
 THE HEAD. 
 
 To hang down the head implies " shame." 
 
 To hold it up, "valor," "pride." 
 
 To toss it back, " disagreement." 
 
 A forward inclination, " bashfulness." 
 
 A forward nod, " assent." 
 
 The head avertec? " antipathy," horror." 
 
 The head leans forward in earnest attention. 
 
 THE EYES 
 
 Weep in " sorrow." 
 Burn or flash in " anger." 
 Are downcast or turned away in " displeasure." 
 Raised in " prayer " and " supplication." 
 Look on vacancy in " thought." 
 Are cast about in different directions in " doubt " or 
 " mental trouble." 
 
172 GESTURE. 
 
 THE ARMS 
 
 Are spread, extended or elevated in " admiration." 
 
 Held forward, when " imploring." 
 
 They drop suddenly in " disappointment " or " de- 
 spair." 
 
 An arm is held straight before the person in 
 "authority." 
 
 THE HANDS. 
 
 The hand on the head denotes " suffering." 
 The hand on the eyes, " confusion." 
 The hand on the lips desires " silence." 
 The hand on the breast indicates " hope," and also 
 appeals to conscience. 
 
 The hand waved or shaken, "joy" and "disdain." 
 
 The hands are clasped in "prayer." 
 
 The hands descend with palm down in " blessing." 
 
 The hands are wrung in " affliction." 
 
 The hands held forward, palm up, in " friendship." 
 
 THE BODY. 
 
 An upright carriage denotes " courage." 
 Held backward, " self-importance." 
 Inclined forward, " compassion," " courtesy." 
 Bent, "reverence." 
 Prostrated in " extreme humility." 
 
 THE LIMBS. 
 
 In an immovable position, " determination." 
 Knees bent in " timidity." 
 
GESTURE. 173 
 
 When moved uneasily, " mental disturbance." 
 
 They advance in " expectation." 
 
 Ketire in fear." 
 
 Start in "fright." 
 
 Stamp in " rage." 
 
 Kneel in " prayer." 
 
 COMPLEX GESTURES. 
 
 TERROR. 
 
 The first impulse of one who suffers under this pas- 
 sion is to avoid or fly from the object feared. Sup- 
 pose it to be a rattlesnake, on which he has almost 
 trodden : he starts back, and looks downward. If 
 the danger is in the distance, the figure should be 
 represented looking forward, not starting backward, 
 but slowly retiring, as if taking time to decide upon a 
 plan of action. 
 
 AVERSION. 
 
 The hand (vertical) is turned back towards the face ; 
 the eyes and head are eagerly directed to the object 
 for an instant, the feet take a step forward ; suddenly 
 the head is averted, the arms are extended toward the 
 object, hands vertical, feet retired. 
 
 HORROR 
 
 is a combination of the two passions, whose signs have 
 just been described. It transfixes the person, render- 
 ing him incapable of a retreat ; the eyes are riveted 
 on the object; the arm is extended, hand vertical; 
 trembling seizes the body. 
 
174 GESTUEE. 
 
 ADMIRATION. 
 
 If of natural objects that are pleasing, the hands are 
 held across each other, vertical palms across the 
 breast (curve lines), and are then moved slowly out- 
 ward, face smiling ; if the emotion is aroused by un- 
 looked-for or wonderful circumstances, the arms are 
 suddenly elevated, palms supine ; eyes and face are 
 turned upwards at the same moment. 
 
 LISTENING, 
 
 which is eager for quick and sure information, pre- 
 sents a keen glance of the eye in the direction of the 
 sounds ; if nothing is revealed the ear is turned to 
 the point of interest, the eye bent on space this is 
 instantaneous; the hand and arm are held vertical 
 and extended, in a contrary direction, as if to keep off 
 anything or anybody from interfering to drown the 
 sounds. If the sounds proceed from different places, 
 the arms are elevated, and the head moves from side 
 to side rapidly if alarmed, slowly if pleased ; the rea- 
 son being that when pleased we leave one sound to 
 attend to another with regret ; if frightened, we can- 
 not endure to dwell long on the sounds that occasion 
 the emotion. 
 
 YENEEATION 
 
 bows the head, casts down the eyes, crosses the hands 
 on the breast, movements slow. Awe is supposed to 
 deprive one of the power of quick volition. 
 
GESTURE. 175 
 
 DEPRECATION, 
 
 when extreme, sinks on one knee, clasps the hands 
 tightly, throws the head back between the shoulders, 
 and looks eagerly into the face of the one implored. 
 
 SHAME 
 
 sinks on one knee, covering the eyes with the hands ; 
 if not so extreme, hangs the head. 
 
 RESIGNATION 
 
 falls on the knee, crosses the arms on the breast, looks 
 up towards heaven slowly. 
 
 DESPERATE RESIGNATION. 
 
 The body upright, the head thrown back, the eyes 
 fixed, the arms folded. 
 
 AN APPEAL TO HEAVEN. 
 
 First place the right hand on the breast, then ele- 
 vate the left arm palm upwards, the eyes look for- 
 ward, then up to heaven. 
 
 AN APPEAL TO CONSCIENCE. 
 
 The right hand is placed on the breast, the left arm 
 falls to the side, the eyes look steadily at the person 
 addressed. 
 
 GRIEF. 
 
 When the news of unexpected affliction is heard, 
 the eyes are covered with the right hand, to shut out 
 
176 GESTURE. 
 
 the " sight " which the speaker calls up, a step for- 
 ward, the psychological impulse being to escape from 
 the trouble, which thought, causes involuntary move- 
 ment in an opposite direction ; the left hand is thrown 
 back, the mental impulse being " I can bear no more," 
 and occasions the corresponding physical action, of 
 putting back or away from one. 
 
 ATTENTION, 
 
 when deeply interested, places the finger on the lips ; 
 the body takes a forward inclination ; quiet is urged 
 with the other hand. 
 
 SUDDEN PAIN, 
 
 whether mental or physical, places the palm of the 
 hand on the forehead, throws the body backward; 
 these actions are accompanied by a long quick step in 
 the same direction. 
 
 EEFLECTION 
 
 holds the chin with the right hand, the left supports 
 the elbow. Sometimes the back of the hands are 
 placed on the waist, arms akimbo. 
 
 PEIDE, 
 
 in excess, elevates the head, straightens the figure, and 
 places the elbow nearly forward akimbo. 
 
 There are three great classes of gesture (comic ges- 
 ticulations would make a fourth) : 
 1. The Heroic. 
 This accompanies descriptions of the majestic ; the 
 
GESTURE. 177 
 
 utterance of noble or sublime thoughts ; wherever the 
 orotund quality of voice is appropriately applied ; one 
 who exercises this class of gesture in perfection should 
 possess every natural and cultivated ability. 
 
 2. The Oratorical. 
 
 Precision, energy, and variety distinguish the ges- 
 tures of a great orator ; they are of more importance 
 to him than "grace," for, while the latter is seldom 
 absent in the actions of an accomplished speaker, the 
 former are of vital necessity. Gestures of this class 
 are employed in the delivery of sermons, lectures, ar- 
 guments, speeches. 
 
 3. The Conversational. 
 
 This is employed in what is called " light comedy," 
 dialogues, colloquies, in polite society, etc. Variety, 
 grace, and simplicity are the characteristics of this 
 class, and the movements are more lightly executed 
 than those of the two classes discussed above. 
 
 ORDERS OF THE FIRST CLASS. 
 
 1. Grandeur. The arm and hand are swept 
 through space with majesty and freedom ; the centre 
 of motion is the shoulder ; the actions should be on a 
 large scale, and commence with a graceful sweep, or 
 curve line; the changes should be made without 
 effort, and other movements or inclinations of the 
 body or limbs should harmonize with the main action ; 
 the limbs should move with moderately long steps, 
 with firmness and power. 
 
 The opposite of "grandeur " is indicated by abrupt, 
 
178 GESTURE. 
 
 constrained gesture, stiffness of the joints, and a fixed 
 attitude of the body, uncertain movements, and short 
 steps. 
 
 2. Fearlessness. A thorough confidence in and 
 knowledge of one's power, will venture any action or 
 attitude, which will be striking in effect, however 
 novel. Unexpected situations and changes create 
 wonder and pleasure by their newness and grace, and 
 so enforce the thoughts they represent with marked 
 success. 
 
 The antithesis of "fearlessness" is "timidity," 
 which desires but does not act boldly, is dubious as to 
 its capabilities, and hesitating. 
 
 ORDERS OF THE SECOND CLASS. 
 
 1. Precision requires exactness of action, neatness. 
 Like distinctness in utterance, gestures should be 
 cleanly cut, and used at the precise moment with the 
 identical word which calls for them. 
 
 The opposite would be indecision, vague or confused 
 gestures employed indiscriminately ; they serve rather 
 to render doubtful the speaker's meaning, instead of 
 giving point to his words. 
 
 2. Energy requires firmness, decided, straight, 
 direct lines. The emphasis is greatly aided by ener- 
 getic gesture. 
 
 The opposite is weakness and uncertainty. 
 
 3. Variety is easily acquired by those who have a 
 facility in adapting fitting and different gestures to 
 each thought and position. The study of " variety " 
 
GESTURE. 179 
 
 will banish the tendency to frequent repetition of fav- 
 orite gestures. 
 
 The opposite is monotony, which is as fatal to ges- 
 ture as to intonation. 
 
 ORDERS OF THE THIRD CLASS. 
 
 1. Variety. The same as described previously. 
 
 2. /Simplicity in gesture appears the natural result 
 of the situation or feelings expressed ; it neither ex- 
 ceeds, nor falls below the just limit of the sentiment. 
 
 Its opposite is " aftectation." 
 
 3. Grace is natural to some, and may be acquired 
 by the many through practice. Sufficient practice on 
 the flowing curve-lines of grace give a confidence in 
 one's ability, which gives to self-possessed dignity 
 beautiful, agreeable gestures. 
 
 The practice of graceful gestures is confined to 
 those exhibited in the best models of painting and 
 sculpture, and in accordance with correct taste. 
 
 The opposites are ungainliness, vulgarity, brusque- 
 ness. 
 
 4. Propriety in gesture is the judicious use of those 
 actions best adapted to illustrate the thought. It 
 arises from the just perception, the proper weighing, 
 and careful timing of the action, which is neither too 
 much abridged, nor too floridly displayed. 
 
 The antithesis or negative of propriety is impropri- 
 ety, contrary gestures. 
 
 In conversational gesture the elbow instead of the 
 shoulder becomes the centre of motion. The action is 
 
180 GESTUKE. 
 
 made short and sharp by the hand, the fingers and 
 wrist, instead of the long, flowing lines which the arm 
 executes in heroic gesture. 
 
 NATURAL PRINCIPLES IN GESTURE. 
 
 Grace is expressed by " relaxation " curves, " curve^ 
 lines." In the balcony scene between Romeo and 
 Juliet, these graceful curve-lines, whether of the finger, 
 the hand, the arm, the inclination of the body, are 
 used throughout ; therefore I insert this scene for prac- 
 tice of gestures of this description ; the pupils should 
 take alternate sentences, or rather speeches, and while 
 delivering them slowly, be required to make appro- 
 priate graceful gestures, which are all to be made up 
 of " curves." 
 
 Act 2, Scene 2. 
 
 Borneo. " He jests at scars that never felt a wound, 
 
 (Juliet appears above at a window.) 
 But soft, what light through yonder window breaks ! 
 It is the east, and Juliet is the sun ! 
 Arise, fair sun, and kill the envious moon, 
 Who is already sick and pale with grief, 
 That thou her maid art far more fair than she : 
 Be not her maid, since she is envious ; 
 Her vestal livery is but sick and green, 
 And none but fools do wear it ; cast it off. 
 It is my lady ; O, it is my love. 
 O, that she knew she were ! 
 She speaks, yet she says nothing ; What of that ? 
 Her eye discourses, I will answer it. 
 
t GESTURE. 181 
 
 I am too bold, 'tis not to me she speaks : 
 Two of the fairest stars in all the heaven, 
 Having some business, do entreat her eyes 
 To twinkle in their spheres till they return. 
 What if her eyes were there, they in her head ? 
 The brightness of her cheek would shame those stars, 
 As daylight doth a lamp ; her eye in heaven 
 Would through the airy region stream so bright, 
 That birds would sing, and think it were not night. 
 See how she leans her cheek upon her hand ! 
 O, that I were a glove upon that hand, 
 That I might touch that cheek ! 
 
 Jul. Ah me ! 
 
 Horn. She speaks : 
 
 O, speak again, bright angel ! for thou art 
 As glorious to this night, being o'er my head, 
 As is a winged messenger of heaven 
 Unto the white-upturned wond'ring eyes 
 Of mortals, that fall back to gaze on him, 
 When he bestrides the lazy-pacing clouds, 
 And sails upon the bosom of the air. 
 
 Jul. O Romeo, Romeo ! wherefore art thou Romeo ? 
 Deny thy father, and refuse thy name : 
 Or, if thou wilt not, be but sworn my love, 
 And I'll no longer be a Capulet. 
 
 Horn. Shall I hear more, or shall I speak at this? 
 
 (Aside.) 
 
 Jul. 'Tis but thy name, that is my enemy ; 
 Thou art thyself, though not a Montague. 
 What's Montague ? it is nor hand, nor foot, 
 Nor arm, nor face, nor any other part 
 Belonging to a man. O, be some other name ! 
 What's in a name ? that, which we call a rose, 
 
182 GESTURE. 
 
 By any other name would smell as sweet ; 
 So Romeo would, where he not Romeo call'd, 
 Retain that dear perfection which he owes, 
 Without that title : Romeo, doff thy name ; 
 And for that name, which is no part of thee, 
 Take all myself. 
 
 Horn. I take thee at thy word : 
 Call me but love, and I'll be new baptized ! 
 Henceforth I never will be Romeo. 
 
 Jul. What man art thou, that, thus besereen'd in 
 
 night, 
 So stumblest on my counsel ? 
 
 Rom. By a name 
 
 I know not how to tell thee who I am : 
 My name, dear saint, is hateful to myself, 
 Because it is an enemy to thee ; 
 Had I it written, I would tear the word. 
 
 Jul. My ears have not yet drunk a hundred words 
 Of that tongue's utterance, yet I know the sound : 
 Art thou not Romeo, and a Montague ? 
 
 Rom. Neither, fair saint, if either thee dislike. 
 
 Jul. How earnest thou hither ? tell me, and where- 
 fore? 
 
 The orchard walls are high, and hard to climb ; 
 And the place death, considering who thou art, 
 If any of my kinsmen find thee here. 
 
 Rom. With love's light wings did I o'er-perch these 
 
 walls : 
 
 For stony limits cannot hold love out : 
 And what love can do, that dares love attempt ; 
 Therefore thy kinsmen are no let to me. 
 
 Jul. If they do see thee, they will murder thee. 
 
 Rom. Alack ! there lies more peril in thine eye, 
 
GESTURE. 183 
 
 Than twenty of their swords ; look thou but sweet, 
 And I am proof against their enmity. 
 
 Jul. I would not for the world they saw thee here. 
 
 Horn. I have night's cloak to hide me from their 
 
 sight ; 
 
 And, but thou love me, let them find me here : 
 My life was better ended by their hate, 
 Than death prorogued, wanting of thy love. 
 
 Jul. By whose direction found'st thou out this place ? 
 
 Horn. By love, who first did prompt me to inquire ; 
 He lent me counsel, and I lent him eyes. 
 I am no pilot ; yet wert thou as far 
 As that vast shore wash'd with the farthest sea, 
 I would adventure for such merchandise. 
 
 Jul. Thou know'st the mask of night is on my face ; 
 Else would a maiden blush bepaint my cheek, 
 For that which thou hast heard me speak to-night 
 Fain would I dwell on form, fain, fain deny 
 What I have spoke ; but farewell compliment ! 
 Dost love me ? I know, thou wilt say Ay ; 
 And I will take thy word : yet, if thou swear'st 
 Thou mayst prove false ; at lovers' perjuries, 
 They say, Jove laughs. O gentle Romeo, 
 If thou dost love, pronounce it faithfully : 
 Or if thou think'st I am too quickly won, 
 I'll frown and be perverse, and say thee nay, 
 So thou wilt woo ; but, else, not for the world. 
 In truth, fair Montague, I am too fond ; 
 And therefore thou mayst think my haviour light : 
 But trust me, gentleman, I'll prove more true 
 Than those that have more cunning to be strange. 
 I should have been more strange, I must confess, 
 But that thou overheard'st, ere I was ware, 
 
184 GESTURE. 
 
 My true love's passion : therefore pardon me ; 
 And not impute this yielding to light love, 
 Which the dark night hath so discovered. 
 
 Horn. Lady, by yonder blessed moon I swear, 
 That tips with silver all these fruit-tree tops, 
 
 Jul. O, swear not by the moon, the inconstant moon, 
 That monthly changes in her circled orb, 
 Lest that thy love prove likewise variable. 
 
 Horn. What shall I swear by? 
 
 Jul. Do not swear at all ; 
 Or, if thou wilt, swear by thy gracious self, 
 Which is the god of my idolatry, 
 And I'll believe thee. 
 
 Mom. If my heart's dear love 
 
 Jul. Well, do not swear : although I joy in thee, 
 I have no joy of this contract to-night : 
 It is too rash, too unadvised, too sudden ; 
 Too like the lightning, which doth cease to be, 
 Ere one can say It lightens. Sweet, good night ! 
 This bud of love, by summer's ripening breath, 
 May prove a beauteous flower when next we meet. 
 Good night, good night ! as sweet repose and rest 
 Come to thy heart, as that within my breast ! 
 
 Mom. O, wilt thou leave me so unsatisfied ? 
 
 Jul. What satisfaction canst thou have to-night ? 
 
 Mom. The exchange of thy love's faithful vow for 
 mine. 
 
 Jul. I gave thee mine before thou didst request it : 
 And yet I would it were to give again. 
 
 Mom. Wouldst thou withdraw it ? for what pur- 
 pose, love? 
 
 Jul. But to be frank, and give it thee again. 
 And yet I wish but for the thing I have : 
 
GESTURE. 185 
 
 My bounty is as boundless as the sea, 
 My love as deep ; the more I give to thee, 
 The more I have, for both are infinite. 
 
 (Nurse calls within!) 
 
 I hear some noise within : Dear love, adieu ! 
 Anon, good nurse ! Sweet Montague, be true. 
 Stay, but a little, I will come again. 
 
 Energy is expressed by tenseness; straight direct 
 lines. 
 
 Seat. Sweet Hero ! she is wronged, she is slandered, 
 she is undone. 
 
 Bene. Beat 
 
 Beat. Princes and counties ! Surely, a princely testi- 
 mony, a goodly count-confect ; a sweet gallant, surely ! 
 O, that I were a man for his sake ! or that I had any 
 friend would be a man for my sake ! But manhood is 
 melted into courtesies, valor into compliment, and men 
 are only turned into tongue, and trim ones too : he is 
 now as valiant as Hercules, that only tells a lie, and 
 swears it. I cannot be a man with wishing, therefore I 
 will die a woman with grieving. 
 
 Much Ado about Nothing, Act 4, Sc. 1. 
 
 Beatrice uses here the straight lines natural in ex- 
 pressing energetic thought; curve-lines would belie 
 the emotion with which Beatrice is filled, when 
 warmly taking the part of her friend Hero. 
 
 Affirmative. In these gestures the hand is supine 
 (or palm uppermost) ; if the facts or thoughts affirmed 
 be of the " graceful " order (sentiments that express 
 tenderness, affection, beauty of thought), curve-lines 
 
186 GESTURE. 
 
 are employed, if the thoughts be " energetic," as in 
 manifestations of pride, anger, excessive joy, etc., etc., 
 these curves give place to straight lines ; for the first 
 order, I give a passage from the Merchant of Venice, 
 as an examplification ; Portia's speech ; in Shylock's 
 reply, gestures of the second order are employed, and 
 in Bassanio eagerness in tendering the ducats; the 
 same straight lines are necessary ; in the concluding 
 lines from Portia " negative " gestures are predomi- 
 nant. 
 
 For. The quality of mercy is not strain'd ; 
 It droppeth, as the gentle rain from heaven, 
 Upon the place beneath ; it is twice bless'd, 
 It blesseth him that gives, and him that takes. 
 'Tis mightiest in the mightiest : it becomes 
 The throned monarch better than his crown ; 
 His sceptre shews the force of temporal power, 
 The attribute to awe and majesty, 
 Wherein doth sit the dread and fear of kings ; 
 But mercy is above this sceptred sway, 
 It is enthroned in the hearts of kings, 
 It is an attribute to God himself ; 
 And earthly power doth then shew likest God's 
 When mercy seasons justice. Therefore, Jew, 
 Though justice be thy plea, consider this,- 
 That in the course of justice, none of us 
 Should see salvation : we do pray for mercy ; 
 And that same prayer doth teach us all to render 
 The deeds of mercy. I have spoke thus much 
 To mitigate the justice of thy plea ; 
 Which if thou follow, this strict court of Venice 
 Must needs give sentence 'gainst the merchant there. 
 
GESTTJKE. 187 
 
 Shy. My deeds upon my head ! I crave the law, 
 The penalty and forfeit of my bond. 
 
 Por. Is he not able to discharge the money ? 
 
 J2ass. Yes, here I tender it for him in the court ; 
 Yea, twice the sum : if that will not suffice, 
 I will be bound to pay it ten times o'er, 
 On forfeit of my hands, my head, my heart , 
 If this will not suffice, it must appear, 
 That malice bears down truth. And I beseech you, 
 Wrest once the law to your authority : 
 To do a great right, do a little wrong ; 
 And curb this cruel devil of his will. 
 
 for. It must not be ; there is no power in Venice 
 Can alter a decree established ; 
 'Twill be recorded for a precedent : 
 And many an error, by the same example, 
 Will rush into the state : it cannot be. 
 
 Negative. This is expressed by the hand prone (or 
 palm downward) ; if the negative be regretfully given, 
 or the reproof be gentle, the negative gestures will 
 partake more or less of the curved line, and the time 
 be slower in giving them ; but if the thoughts, which 
 prompt negative gestures, be awe-inspiring, the result 
 of horror, or of shame, etc., straight lines given in 
 rather faster time are necessary. I give an example 
 for practice from " Measure for Measure "; the first 
 lines as far as " pendent world " belonging to the first 
 of these orders ; and afterwards the action grows more 
 and more energetic and negative, except at the words 
 " is a paradise," where elevation of hands is required, 
 and strong negative on the last line : 
 
188 GESTURE. 
 
 Claud. Ay, but to die, and go we not know where ; 
 To lie in cold obstruction, and to rot ; 
 This sensible warm motion to become 
 A kneaded clod ; and the delighted spirit 
 To bathe in fiery floods, or to reside 
 In thrilling regions of thick-ribbed ice ; 
 To be imprison'd in the viewless winds. 
 And blown with restless violence round about 
 The pendent world ; or to be worse than worst 
 Of those, that lawless and uncertain thoughts 
 Imagine howling ! 'tis too horrible ! 
 The weariest and most loathed worldly life, 
 That age, ache, penury, and imprisonment 
 Can lay on nature, is a paradise 
 To what we fear of death. 
 
 Measure for Measure. 
 
 Acceptation. Here the hand or hands are supine, 
 the gestures direct but not energetic, they must not 
 lose a certain grace ; the lines being not too much 
 curved, nor yet too straight. 
 
 Ant. I have heard, 
 
 Your grace hath ta'en great pains to qualify 
 His rigorous course ; but since he stands obdurate, 
 And that no lawful means can carry me 
 Out of his envy's reach, I do oppose 
 My patience to his fury, and am arm'd 
 To suffer, with a quietness of spirit, 
 The very tyranny and rage of his. 
 
 Merchant of Venice. 
 
GESTURE. 189 
 
 This also from Antony and Cleopatra^ Act 2, Sc. 5 : 
 
 Re-enter IRAS, with a robe, crown, &c. 
 Cleo. Give me my robe, put on my crown ; I have 
 Immortal longings in me : Now no more 
 The juice of Egypt's grape shall moist this lip : 
 Yare, yare, good Iras ; quick. Methinks I hear 
 Antony call ; I see him rouse himself 
 To praise my noble act ; I hear him mock 
 The luck of Caesar, which the gods give men 
 To excuse their after wrath : Husband, I come : 
 Now to that name my courage prove my title ! 
 I am fire and air ; my other elements 
 I give to baser life. So, have you done ? 
 Come, then, and take the last warmth of my lips. 
 Farewell, kind Chanman ! Iras, long farewell ! 
 
 Common Gestures. These are most emphatic on 
 the horizontal line, but do not repeat the gesture on 
 the same emphasis. 
 
 Example from Julius Ccesar, Act 4, Sc. 1 : 
 
 Bru. No, not an oath : if not the face of men, 
 The sufferance of our souls, the time's abuse, 
 If these be motives weak, break off betimes, 
 And every man hence to his idle bed ; 
 So let high-sighted tyranny rage on, 
 Till each man drop by lottery. But if these, 
 As I am sure they do, bear fire enough 
 To kindle cowards, and to steel with valour 
 The melting spirits of women; then, countrymen, 
 What need we any spur, but our own cause, 
 
190 GESTUKE. 
 
 A declarative interrogative. 
 
 To prick us to redress ? what other bond. 
 \ \ 
 
 Than secret Romans, that have spoke the word, 
 And will not palter? and what other oath, 
 Than honesty to honesty engaged. 
 That this shall be, or we will fall for it ? 
 Swear priests, and cowards, and [men cautelousl, 
 Old feeble carrions, and [such suffering souls 
 
 That welcome wrongs^ ; unto bad causes swear 
 
 ^ .x" N "-'\ 
 
 Such creatures as men doubt : but do not stain 
 
 The even virtue of our enterprise, 
 
 Nor the insuppressive mettle of our spirits, 
 
 To think, that, or our cause, or our performance, 
 
 Did need an oath ; when every drop of blood, 
 
 That every Roman bears, and nobly bears, 
 
 Is guilty of a several bastardy, 
 
 If he do break the smallest particle 
 
 Of any promise that hath pass'd from him. 
 
 Rejection. Gestures which precede the words of 
 rejection are improper; these actions should imme- 
 diately follow the word. 
 
 Example : 
 
 P. Hen. I never thought to hear you speak again. 
 
 K. Hen. Thy wish was father, Harry, to that 
 
 thought ; 
 
 I stay too long by thee, I weary thee. 
 Dost thou so hunger for my empty chair, 
 
GESTURE. 191 
 
 That thou wilt needs invest thee with mine honours, 
 Before thy hour be ripe? O foolish youth^! 
 Thou seek'st the greatness that will overwhelm thee. 
 
 Henry IV, Part 2. 
 
 In this speech of Viola's from Twelfth Night most 
 of the gestures are those of rejection ; others are of 
 " negation," and the pupil will distribute his gestures 
 according to the sentiments expressed : 
 
 . I left no ring with her : What means this 
 
 lady? 
 
 Fortune forbid, my outside have not charm'd her ! 
 She made good view of me ; indeed, so much, 
 That, sure, methought, her eyes had lost her tongue, 
 For she did speak in starts distractedly. 
 She loves me, sure ; the cunning of her passion 
 Invites me in this churlish messenger. 
 None of my lord's ring ! why, he sent her none. 
 I am the man, If it be so, (as 'tis,) 
 Poor lady, she were better love a dream. 
 Disguise, I see, thou art a wickedness, 
 Wherein the pregnant enemy does much. 
 How easy is it for the proper-false 
 In women's waxen hearts to set their forms ! 
 Alas, our frailty is the cause, not we ; 
 For, such as we are made of, such we be ; 
 How will this f adge ? My master loves her dearly : 
 Anjl I, poor monster, fond as much on him ; 
 And she, mistaken, seems to dote on me : 
 What will become of this ? As I am man 
 My state is desperate for my master's love ; 
 As I am woman, now alas the day ! 
 
192 GESTURE. 
 
 What thriftless sighs shall poor Olivia breathe ? 
 
 time, thou must untangle this, not I ; 
 It is too hard a knot for me to untie. 
 
 Propulsion. Gestures of this class are used in de- 
 scribing the supernatural, when fear or horror are 
 accompanying emotions, also in fright of any real or 
 imaginary object. The hand or hands are vertical in 
 front of the breast, the fingers slightly separated, as 
 endeavoring to ward or keep off the object feared. 
 
 Examples : 
 
 Macb. Avaunt ! and quit my sight ! Let the earth 
 
 hide thee 1 
 
 Thy bones are marrowless, thy blood is cold ; 
 Thou hast no speculation in those eyes 
 Which thou dost glare with ! 
 
 Macbeth. 
 Brutus. ***** 
 
 1 think it is the weakness of mine eyes, 
 That shapes this monstrous apparition. 
 
 It comes upon me : Art thou any thing ? 
 Art thou some god, some angel, or some devil, 
 That makest my blood cold, and my hair to stare ? 
 Speak to me, what thou art. 
 Ghost. Thy evil spirit, Brutus. 
 
 Julius CcBsar. 
 
 Juliet frequently uses these " propulsive " gestures 
 throughout the sad scene in which she takes the poi- 
 son, and acts her " dismal part alone ": 
 
 La. Cap. Good night ! 
 Get thee to bed, and rest ; for thou hast need. 
 
GESTURE. 193 
 
 [Exeunt Lady Capulet and Nurse. 
 Jul. Farewell! God knows when we shall meet 
 
 again. 
 
 I have a faint cold fear thrills through my veins, 
 That almost freezes up the heat of life : 
 I'll call them back again to comfort me ; 
 Nurse ! What should she do here ? 
 My dismal scene I needs must act alone. 
 Come, phial. 
 
 What if this mixture do not work at all ? 
 Must I of force be married to the county? 
 No, no ; this shall forbid it : lie thou there. 
 
 [Laying down a dagger. 
 What if it be poison, which the friar 
 Subtly have minister'd to have me dead ; 
 Lest in this marriage he should be dishonour'd, 
 Because he married me before to Romeo. 
 I fear, it is : and yet, methinks, it should not, 
 For he hath still been tried a holy man : 
 I will not entertain so bad a thought. 
 How if, when I am laid into the tomb, 
 I wake before the time that Romeo 
 Come to redeem me ? there's a fearful point ! 
 Shall I not then be stifled in the vault, 
 To whose foul mouth no healthsome air breathes in, 
 And there die strangled ere my Romeo comes ? 
 Or, if I live, is it not very like 
 The horrible conceit of death and night, 
 Together with the terror of the place, 
 As in a vault, an ancient receptacle, 
 Where, for these many hundred years, the bones 
 Of all my buried ancestors are pack'd ; 
 Where bloody Tybalt, yet but green in earth, 
 
194 GESTDEE. 
 
 Lies fest'ring in his shroud ; where, as they say, 
 At some hours in the night spirits resort ; 
 Alack, alack ! is it not like, that I, 
 So early waking, what with loathsome smells ; 
 And shrieks like mandrakes torn out of the earth, 
 That living mortals, hearing them, run mad ; 
 O ! if I wake, shall I not be distraught, 
 Environed with all these hideous fears ? 
 And madly play with my forefathers' joints ? 
 And pluck the mangled Tybalt from his shroud ? 
 And, in his rage, with some great kinsman's bone, 
 As with a club, dash out my desperate brains ? 
 O, look ! methinks I see my cousin's ghost 
 Seeking out Romeo, that did spit his body 
 Upon a rapier's point : Stay, Tybalt, stay ! 
 Romeo, I come ! this do I drink to thee. 
 
 (jSJie throws herself upon the bed.) 
 
 Gestures of rejection should frequently be employed, 
 as if putting away from her the horrible images which 
 her own mind has conjured ; these horrors render her 
 nearly distraught with fear, and the hands occasion- 
 ally clasping the head, the seat of reason, will signify 
 the trouble that weighs there. 
 
 Pointing expresses individuality, or a special 
 thought or object ; if an object is indicated, real or 
 imaginary, the finger should be prone' if of a thought 
 the finger should be supine. If the -"thought" or 
 object be of the energetic order use a straight line ; 
 if of beauty or tenderness, etc., a curve line. 
 
 Here are two excellent examples from Macbeth. 
 On " innocent fiower " the gesture is on the curved 
 
GESTURE. 195 
 
 line, but the other objects indicated are of the " ener- 
 getic " : 
 
 Lady M. O, never 
 Shall sun that morrow see ! 
 Your face, my thane, is as a book, where men 
 May read strange matters. To beguile the time, 
 Look like the time : bear welcome in your eye, 
 Your hand, your tongue : look like the innocent flower, 
 But be the serpent under it. He that's coming 
 Must be provided for : and you shall ptit 
 This night's great business into my despatch ; 
 "Which shall to all our nights and days to come 
 Give solely sovereign sway and masterdom. 
 ****** 
 
 Por. The crow doth sing as sweetly as the lark, 
 When neither is attended ; and, I think, 
 The nightingale, if she should sing by day, 
 When every goose is cackling, would be thought 
 No better a musician than the wren. 
 How many things by season season'd are 
 To their right praise, and true perfection ! 
 Peace, hoa ! the moons sleeps with Endymion, 
 And would not be awaked ! (Music ceases. 
 
 Elevation of the hands expresses admiration and 
 kindred sentiments, also praise to the Deity, and ap- 
 peals to heaven. 
 
 Depression of the hands is expressive of sentiments 
 the reverse of those which require the hinds elevated : 
 aversion, scorn, repulsion are among them. Also de- 
 pression of the mind is so indicated. 
 
196 GESTURE. 
 
 Disgust and sorrow are also described by "de- 
 pressed " hands. 
 
 Description. In describing that which is disagree- 
 able or repulsive it is natural to employ the horizon- 
 tal line, but with the hand prone (or palm down) ; 
 but in picturing the agreeable, the beautiful, use the 
 horizontal line with the palm uppermost. Here is 
 an example of the first order, taken from King Eich- 
 ardll: 
 
 JET. Rich. No matter where ; of comfort no man 
 
 speak : 
 
 Let's talk of graves, of worms, and epitaphs ; 
 Make dust our paper, and with rainy eyes 
 Write sorrow on the bosom of the earth. 
 Let's choose executors, and talk of wills : 
 And yet not so, for what can we bequeath, 
 Save our deposed bodies to the ground ? 
 Our lands, our lives, and all are Bolingbroke's, 
 And nothing can we call our own, but death ! 
 And that small model of the barren earth, 
 Which serve as paste and cover to our bones. 
 For Heaven's sake, let us sit upon the ground, 
 And tell sad stories of the death of kings : 
 How some have been deposed, some slain in war ; 
 Some haunted by the ghosts they have deposed ; 
 Some poison'd by their wives, some sleeping kill'd : 
 All murder'd : For within the hollow crown, 
 That rounds the mortal temples of a king, 
 Keeps death his court : and there the antic sits, 
 Scoffing his state, and grinning at his pomp ; 
 Allowing him a breath, a little scene 
 
GESTURE. 197 
 
 To monarchize, be fear'd, and kill with looks ; 
 
 Infusing him with self and vain conceit, 
 
 As if this flesh, which walls about our life, 
 
 Wore brass impregnable, and, humour'd thus, 
 
 Comes at the last, and with a little pin 
 
 Bores through his castle wall, and farewell, king ! 
 
 Cover your heads, and mock not flesh and blood 
 
 With solemn reverence ; throw away respect, 
 
 Tradition, form, and ceremonious duty, 
 
 For you have but mistook me all this while ; 
 
 I live with bread like you, feel want, taste grief, 
 
 Need friends :-*Subjected thus, 
 
 How can you say to me I am a king ? 
 
 In the following speech of Antony's, he does not 
 always mean the words just as they are, consequently 
 the gestures are not meant just as they are given ; the 
 words ^re fair but the meaning is sarcastic; and nat- 
 urally the gestures will exhibit a corresponding fair- 
 ness, but a slight exaggeration of them will mark the 
 sarcastic expression; they are mostly then on the 
 " horizontal supine," somewhat exaggerated as I said 
 before : 
 
 Ant. Good friends, sweet friends, let me not stir 
 
 you up 
 
 To such a sudden flood of mutiny. 
 They, that have done this deed, are honourable ; 
 What private griefs they have, alas, I know not, 
 That made them do it ; they are wise and honourable. 
 And will, no doubt, with reasons answer you. 
 I come not, friends, to steal away your hearts ; 
 I am no orator, as Brutus is ; 
 
198 GESTURE. 
 
 But, as you know me all, a plain blunt man, 
 
 That love my friend : and that they know full well 
 
 That gave me public leave to speak of him. 
 
 For I have neither wit, nor words, nor worth, 
 
 Action, nor utterance, nor the power of speech, 
 
 To stir men's blood : I only speak right on ; 
 
 I tell you that, which you yourselves do know ; 
 
 Shew you sweet Cesar's wounds, poor, poor dumb 
 
 mouths, 
 
 And bid them speak for me : But were I Brutus, 
 And Brutus Antony, there were an Antony 
 Would ruffle up your spirits, and put a tongue 
 In every wound of Cassar, that should move 
 The stones of Rome to rise and mutiny. 
 
 Ccesar. 
 
 Of the second order of descriptive gesture is this 
 example from the Midsummer NigMs Dream the 
 " horizontal line " must be employed, with hands su- 
 pine: 
 
 Puck. My fairy lord, this must be done with haste, 
 For night's swift dragons cut the clouds full fast, 
 And yonder shines Aurora's harbinger ; 
 At whose approach, ghosts, wandering here and there, 
 Troop home to churchyards : damned spirits all, 
 That in cross-ways and floods have burial, 
 Already to their wormy beds are gone ; 
 For fear lest day should look their shames upon, 
 They wilfully themselves exile from light, 
 And must for aye consort with black-brow'd night. 
 
 Obe. But we are spirits of another sort : 
 I with the morning's love have oft made sport ; 
 
GESTURE. 190 
 
 And, like a forester, the groves may tread 
 Even till the eastern gate, all fiery red, 
 Opening on Neptune with far blessed beams, 
 Turns into yellow gold his salt-green streams. 
 But, notwithstanding, haste ; make no delay : 
 We may effect this business yet ere day. 
 
 [Exit Ober.] 
 
 ****** 
 Obe. That very time I saw, (but thou couldst not,) 
 Flying between the cold moon and the earth, 
 Cupid all arm'd : a certain aim he took 
 At a fair vestal, throned by the west ; 
 And loosed his love-shaft smartly from his bow, 
 As it should pierce a hundred thousand hearts ; 
 But I might see young Cupid's fiery shaft 
 Quench'd in the chaste beams of the wat'ry moon ; 
 And the imperial vot'ress passed on, 
 In maiden meditation, fancy free. 
 Yet mark'd I where the bolt of Cupid fell : 
 It fell upon a little western flower 
 Before, milk-white ; now, purple with love's wound, 
 And maidens call it, love-in-idleness. 
 Fetch me that flower ; the herb I shew'd thee once ; 
 The juice of it on sleeping eyelids laid, 
 Will make or man or woman madly dote 
 Upon the next live creature that it sees. 
 Fetch me this herb ; and be thou here again 
 Ere the leviathan can swim a league. 
 
 The action in the speeches of " Clarence's Dream," 
 in King Eichard III, is on the " horizontal prone," 
 and sometimes, where the feeling is intense, and Cla- 
 rence relates he dreamed he saw the murdered spirits 
 
200 GESTURE. 
 
 who reproached him, propulsion is required as in the 
 supernatural : 
 
 .BraJc. What was your dream my lord ? I pray you 
 
 tell me. 
 Clar. Methought that I had broken from the 
 
 Tower, 
 
 And was embark'd to cross to Burgundy ; 
 And, in my company, my brother Gloster ; 
 Who from my cabin tempted me to walk 
 Upon the hatches, thence we look'd toward England, 
 And cited up a thousand heavy times, 
 During the wars of York and Lancaster, 
 That had befallen us. As we paced along 
 Upon the giddy footing of the hatches, 
 Methought that Gloster stumbled ; and, in falling, 
 Struck me, that thought to stay him, overboard, 
 Into the tumbling billows of the main, 
 O Lord ! methought what pain it was to drown ! 
 What dreadful noise of water in mine ears ! 
 What sights of ugly death within mine eyes ! 
 Methought I saw a thousand fearful wrecks ; 
 A thousand men, that fishes gnaw'd upon ; 
 Wedges of gold, great anchors, heaps of pearl, 
 Inestimable stones, unvalued jewels, 
 All scattered in the bottom of the sea, 
 Some lay in dead men's skulls ; and in those holes 
 Where eyes did once inhabit, there were crept 
 (As 'twere in scorn of eyes) reflecting gems, 
 That woo'd the slimy bottom of the deep, 
 And mock'd the dead bones that lay scatter'd by. 
 
 BraJc. Had you such leisure in the time of death, 
 To gaze upon the secrets of the deep ? 
 
GESTURE. 201 
 
 Clar. Methought I had, and often did I strive 
 To yield the ghost ; but still the envious flood 
 Kept in my soul, and would not let it forth 
 To seek the empty, vast, and wand'ring air ; 
 But smother'd it within my panting bulk, 
 Which almost burst to belch it in the sea. 
 
 Brcik. Awaked you not with this sore agony ? 
 
 Clar. O no, my dream was lengthened after life ; 
 O, then began the tempest to my soul ! 
 I pass'd, methought, the melancholy flood, 
 With that grim ferryman which poets write of, 
 Unto the kingdom of perpetual night. 
 The first that there did greet my stranger soul, 
 Was my great; father-in-law, renowned Warwick ; 
 Who cried aloud, What scourge for perjury 
 Can this dark monarchy afford false Clarence f 
 And so he vanish'd : Then came wand'ring by 
 A shadow like an angel, with bright hair 
 Dabbled in blood : and he shriek'd out aloud, 
 Clarence is come, false, fleeting, perjured Clarence, 
 That stabVd me in the field of Tewksbury ; 
 Seize on him, furies, take him to your torments ! 
 With that, methought, a legion of foul fiends 
 Environ' d me, and howl'd in mine ears 
 Such hideous cries, that, with the very noise, 
 I trembling waked, and, for a season after, 
 Could not believe but that I was in hell ; 
 Such terrible impression made my dream. 
 
 BraJc. No marvel, lord, though it affrighted you ; 
 I am afraid, methinks, to hear you tell it. 
 
 Clar. O, Brakenbury, I have done these things 
 That now give evidence against my soul 
 For Edward's sake ; and see how he requites me ! 
 
202 GESTURE. 
 
 God ! if my deep prayers cannot appease thee, , 
 But thou wilt be avenged on my misdeeds, 
 
 Yet execute thy wrath on me alone : 
 
 O, spare my guiltless wife, and my poor children ! 
 
 1 pray thee, gentle keeper, stay by me ; 
 My soul is heavy, and I fain would sleep. 
 
 Extended hands are expressive of extent, of vast- 
 ness, of multiplicity. The hands should never be ex- 
 tended behind the person, nor the flat hand be shown. 
 
 "Round he throws his baleful eyes 
 That witnessed huge affliction and dismay, 
 Mixed with obdurate pride and steadfast hate, 
 At once as far as angels ken he views 
 The dismal situation waste and wild : 
 A dungeon horrible, on all sides round, 
 As one great furnace flamed ; yet from those flames 
 ISTo light, but rather darkness visible, 
 Served only to discover sights of woe, 
 Regions of sorrow ! doleful shades ! where peace 
 And rest can never dwell ! hope never comes 
 That comes to all : but torture without end 
 Still urges, and a fiery deluge fed 
 With ever-burning sulphur unconsumed ! 
 
 Deferention. The fingers are slightly separated 
 "as these flowers." An example from "Paradise 
 Lost," Book 4, line 689 : 
 
 "Thus talking, hand in hand alone they passed 
 On to their blissful bower : it was a place 
 Chosen by the sovereign when he framed 
 
GESTURE. 203 
 
 All things to man's delightful use ; the roof 
 
 Of thickest covert was inwoven shade 
 
 Laurel and myrtle ; and what higher grew, 
 
 Of firm and fragrant leaf : on either side 
 
 Acanthus, and each odorous bushy shrub, 
 
 Fenced up the verdant wall : each beauteous flower, 
 
 Iris all hues, roses, and jessamine, 
 
 Reared high their flourished heads between and wrought 
 
 Mosaic : underfoot the. violet, 
 
 Crocus, and hyacinth, with rich inlay, 
 
 Broidered the ground." 
 
OHAPTEE VII. 
 
 MISCELLANEOUS EXAMPLES. 
 
 TpMPHASIS: 
 
 Who [reverenced his conscience! as his king : 
 \ \ . x, *-*X 
 
 Whose glory was redressing human wrong, 
 
 Who spake no slander, no, nor listened to it, 
 Who loved one only and who clave to her. 
 
 Tennyson, 
 
 Psychological positives and negatives : 
 
 v" X. X. N* 
 
 Wblsey. Farewell, a long farewell, to all my great- 
 ness ! 
 
 This is the [state of man! : To-day he puts forth 
 The tender leaves of hope, to-morrow blossoms, 
 And bears his [blushing honors^ thick upon him : 
 
 ^s ^^ 
 
 The third day comes a frost, a killing frost ; 
 And when he thinks (good easy man) full surely 
 His greatness is a ripening nips his root, 
 
 -^X v -' 
 
 And then he falls, as I do. 
 
 Henry VIII., Act 3, Sc, 2. 
 
 Psy. pos. and neg. : 
 
MISCELLANEOUS EXAMPLES. 205 
 
 ^^ 
 
 Lady M. Infirm of purpose ! (Pos. and neg.) 
 Give me the daggers : the sleeping, and the dead, 
 
 ^^ \ 
 
 Are but as pictures ;* 'tis the eye of childhood, 
 
 That fears a painted devil. If he do bleed, (asp. as in 
 
 secrecy) 
 
 I'll gild the faces of the grooms withal, 
 For it must seem their guilt. 
 
 Macbeth. 
 
 Psy. pos. and neg. : 
 
 .X" >X ^-s \ 
 
 JPor. If to do were as easy as to know what were qood 
 
 -*^ \ ^ ^ ^ 
 
 to do, chapels had been churches, and poor men's cot- 
 tages, princes' palaces. It is a good divine that follows 
 his own instructions : I can easier teach twenty what 
 were good to be done, than be one of the twenty to fol- 
 low mine own teaching. The brain may devise laws for 
 
 ^ s* <s \ \ 
 
 the blood ; but a hot temper leaps over a cold decree : 
 
 such a hare is [madness the youtW, to skip o'er the 
 meshes of [good counsel the cripple! . But this reasoning 
 is not in the fashion to choose me a husband: O me, 
 
 the word choose ! I may neither choose whom I would 
 ^ ->J^ x^ 
 
 nor refuse whom I dislike ; so is the will of a living 
 
 daughter curb'd by the will of a dead father : Is it not 
 
 \ " ' N - x ' <s s. 
 
 hard, Nerissa, that I cannot choose one, nor refuse none ? 
 Merchant of Venice, Act 1, Sc. 2. 
 
 Here is an example from "Measure for Measure" 
 of the positive and negative attitudes of mind of the 
 
 * Simile in quick time. 
 
206 MISCELLANEOUS EXAMPLES. 
 
 speakers with regard to the thoughts they express. 
 The duke says, " Be absolute for death" make up 
 your mind to die, and then in either event, whether 
 death which it is natural to fear come, or life which is 
 sweet, you will be resigned : 
 
 Enter Duke, Claudio, and Provost. 
 
 ^/ \ 
 Duke. So, then you hope of pardon from lord An- 
 
 gelo? 
 Claud. The miserable have no other medicine, 
 
 But only \bop& : 
 
 \ J \ ^ ^^ 
 
 I have hope to live, and am prepared to die. 
 
 Duke. Be absolute for death ; either death, or lite, 
 
 Shall thereby be the sweeter. Reason thus with life, . 
 
 ^^ * 
 
 If I do lose thee, I do lose a thing 
 
 v-x. v '\ 
 
 That none but fools would keep : a ^breath} thou art, 
 
 (Servile to all the skyey influences,) 
 
 That dost this habitation, where thou keep'st, 
 
 Hourly afflict : merely, thou art death's fool ; 
 
 For him thou labor'st by thy flight to shun, 
 
 And yet runst toward him still : Thou art not Inoblel; - 
 
 For all the accommodations that thou bear'st. 
 
 s \ ^ ^- ^ 
 
 Are nursed by baseness : Thou art by no means valiant; 
 
 ^^ ^^ ^f 
 
 For thou dost fear the soft and tender fork 
 
 .^ v - xv x. \. "\. "V. 
 
 Of a poor worm : Thy best of rest is sleep, 
 And that thou oft provotfst / yet grossly fear'st 
 Thy death, which is no more. Thou art not thyself ; 
 For thou exist'st on many a thousand grains 
 That issue out of dust ; Happy thou art not ; 
 
MISCELLANEOUS EXAMPLES. 207 
 
 For what thou hast iiot, still thou striv'st to get ; 
 
 \ \ ^ \ ^ ^ \ 
 
 And what thou hast, forget'st. Thou art not certain; 
 
 For thy complexion shifts to strange effects, 
 After the moon : If thou art rich, thou art poor ; 
 For, [like an ass, whose back with ingots bowsl, 
 Thou bear'st thy heavy riches but a journey, 
 
 ^S- ^~* \ \ ^ 
 
 - And death unloads thee : Friend hast thou none / 
 For thine own bowels, which do call thee sire, 
 
 The mere effusion of thy proper loins, 
 ^^\ s~ ^, ^ 
 
 Do curse the gout, serpigo, and the rheum, 
 
 " ' \ \ 
 
 For ending thee no sooner : Thou hast nor youth, nor 
 
 age, 
 But, as it were, an [after-dinner's sleep], 
 
 ^-" \ X. X* 
 
 Dreaming on both for all thy blessed youth 
 
 Becomes as aged, and doth beg the arms 
 
 Of palsied eld ; and whe^n thou art old, and rich, 
 
 Thou hast neither heat, affection, limb, nor beauty, 
 
 \ ^^ 
 
 To make thy riches pleasant. What's yet in this, 
 
 That bears the name of life ? Yet in this life 
 
 ^ ^^ \ ^\ 
 
 Lie hid more thousand deaths : yet death we fear, 
 
 That makes these odds all even. 
 
 Claud. I humbly thank you. 
 \ \ / v '\ 
 
 To sue to live, I find, I seek to die ; 
 
 And seeking death, find life : Let it come on. 
 
 An exercise on varied intonations from " As you 
 like it": 
 
 Enter Rosalind, Celia, and Jacques. 
 Jaq. I pr'ythee, pretty youth, let me be better ac- 
 quainted with thee. 
 
208 MISCELLANEOUS EXAMPLES. 
 
 JRos. They say you are a melancholy fellow. 
 
 Jaq. I am so : I do love it better than laughing. 
 
 JRos. Those, that are in extremity of either, are abom- 
 inable fellows ; and betray themselves to every modern 
 censure, worse than drunkards. 
 
 Jaq. Why, 'tis good to be sad and say nothing. 
 
 JRos. Why, then 'tis good to be a post. 
 
 Jaq. I have neither the scholar's melancholy, which is 
 emulation ; nor the musician's, which is fantastical ; nor 
 the courtier's, which is proud ; nor the soldier's, which is 
 ambitious ; nor the lawyer's, which is politic ; nor the 
 lady's which is nice ; nor the lover's, which is all these : 
 but it is a melancholy of mine own, compounded of many 
 simples, extracted from many objects ; and, indeed, the 
 sundry contemplation of travels^in which my often rumi- 
 nation wraps me, is a most humorous sadness. 
 
 Hos. A traveler ! By my faith, you have great reason 
 to be sad : I fear, you have sold your own lands, to see 
 other men's ; then, to have seen much, and to have 
 nothing, is to have rich eyes and poor hands. 
 
 The practice of varied forms, simply in the requisi- 
 tion of the manner, will be the education of the ear, 
 both for the purposes of " accuracy " and " analysis." 
 
 The aspirate slightly given on " emulation " to de- 
 note eagerness, a dwelling on the vowel sounds in 
 "fantastical," mark the peculiarity. On the next 
 (proud), the <, which gives dignity, the frequent re- 
 sult of pride. Aspirate on " ambitious." Wave of 
 the voice on " politic," to mark the lawyer's insinua- 
 ting manner. Accent the consonants in " lady's " and 
 "nice," to mark precision, "nattyness." Strong em- 
 phasis to " all " is speaking of the lover's melancholy. 
 
MISCELLANEOUS EXAMPLES. 209 
 
 This exercise requires a subdued semitone, as the 
 sentiment is regretful and pleading ; it is from " As 
 you like it ": 
 
 " But whate'er you are 
 That in this desert inaccessible 
 (Under the shade of melancholy boughs) 
 
 _^S ^ ' s~^ s~^ ^^. 
 
 iose and neglect the ^creeping hours of time), 
 
 If ever you have looked on better days, 
 
 If ever been where bells have iknolled to churctt, 
 
 If ever sat at any good man's feast, 
 
 And know what 'tis to pity and be pitied, 
 
 Let gentleness my strong enforcement be." 
 
 The next requires a nearly similar intonation " In- 
 gratitude ": 
 
 Blow, blow, thou wintry wind, 
 Thou art not so unkind 
 
 As man's ingratitude ; 
 Thy tooth is not so keen, 
 Because thou art not seen, 
 
 Although thy Breath be rude. 
 
 , Freeze, freeze, thou bitter sky, 
 That dost not bite so nigh 
 
 As benefits forgot ; 
 Though thou the waters warp, 
 Thy sting is not so sharp 
 
 As friend remember'd not. 
 
 These lines are from " Aurora Leigh," Mrs. Brown- 
 ing ; they are an example of the slow parenthesis : 
 
210 MISCELLANEOUS EXAMPLES. 
 
 Of writing many books there is no end, 
 
 And I, who have written much in prose and verse, 
 
 /~*^ x*-x 
 
 For others' uses, will write now for mine, 
 Will write my story for my better self 
 (As when you paint your portrait for a friend, 
 Who keeps it in a drawer, and looks at it 
 Long after he has ceased to love you, just 
 To hold together what he was and is), 
 Will I, etc., etc. 
 
 The next gives us an example of transfer in em- 
 phasis : 
 
 A lean cheek, which you have not / a blue eye and 
 sunken, which (you have not) ; an unquestionable spirit, 
 which you have not ; a beard neglected, which you have 
 not : but I pardon you for that; for simply your having 
 
 in beard is a younger brother's revenue : then your 
 
 ^ \ -~ ' \ 
 
 hose should be ungartered, your bonnet unban ded, your 
 
 sleeve unbuttoned, your shoe untied, and everything 
 
 -^ \ ^-s 
 
 about you demonstrating a careless desolation. But you 
 are no such man, you are rather [point-device^ in your 
 
 acoutrements, as loving yourself, than being the lover of 
 
 "^ \ 
 any other ! 
 
 A clause unemphatic through repetition : 
 
 " The worst is not, 
 So long as we can say This is the worst." 
 
 Transfer in emphasis : 
 
 " But yet ! 
 I do not like but yet, it does allay 
 
MISCELLANEOUS EXAMPLES. 211 
 
 The good precedence ; fie upon but yet ; 
 But yet is a gaoler to bring forth 
 Some monstrous malefactor" 
 
 Contrast : 
 
 " Admire, exult, despise, laugh, weep, for here 
 There is such matter for all feeling : Man 1 
 Thou pendulum betwixt a smile and tear." 
 
 Psychological positives and negatives : 
 
 " How poor, how rich, how abject, how august, 
 How complicate, how wonderful is man ! 
 How passing wonder He who made him such ! 
 Who centered in our make such strange extreme, 
 From different natures marvellously mixt, 
 Connexion exquisite of distant worlds ! 
 Distinguish'd link in Beauty's endless chain ! 
 Midway from nothing to the Deity ! 
 A beam ethereal, sullied, and absorbed ; 
 Though sullied and dishonoured, still divine ! 
 Dim miniature of greatness absolute ! 
 An heir of glory ! a frail child of dust ! 
 Helpless immortal ! Insect infinite ! 
 A worm ! a god ! 
 
YB 01906 
 
 M41722 
 
 THE UNIVERSITY OF CALIFORNIA LIBRARY