BEADING AND ELOCUTION. 



127 



" I'itch." 

 [] " high ;" [o] " very high ;" [J " low " 



yery low." 



i 

 [8] " lively "(full tone) ; [fc] " plaintive " (semitone). 

 " Time." 

 [J" quick;" [] very quick;" [-] "slow;" [=] 

 low." "Streu."* 



[r. *.] "radical stress;" [m. .] "medial stress ;" [v..] 

 "vanishing stress;" [c. .] " compound stress ;" [tfi..] "thorough 

 stross;" [*.*.] "suppressed stress;" [<r.] "tremor;" [ef.t. 



tensive stress;" [wyul. *.] "expulsive stress;" [erpio. s. 

 " explosive stress." 



" Qualify." f 



[Ji.q.] " harsh quality ;" [tn. q.] " smooth quality ;" [0.3.] 

 " aspirated quality ;" [pu. <.] " pure tone ;" [p. 3.] " pectoral 

 quality;" [g. g.] "guttural quality;" [e.g.] "oral quality;" 

 [oro. g.] " orotund quality." 



" Combinations." 



[h. g. g.] "harsh guttural quality;" [sm.p.q.'] " smooth pec- 

 toral quality," etc. 



The above Key, though at first sight intricate, will occasion 

 no serious difficulty to students who have read attentively the 

 Sections on "Stress" and "Quality." The notation will be 

 found of great service, not only by suggesting appropriate " ex- 

 pression," which a young reader might otherwise overlook, but 

 by enabling the pupil to prepare for the exercise of reading or 

 declaiming, by previous study and practice. 



It is a humiliating fact that, in many schools, the sublimest 

 and most beautiful strains of poetry take, for example, Milton's 

 invocation, "Hail, holy Light!" are, from the neglect of 

 " expressive tone," called out in the same voice with which a 

 clerk repeats the number or the mark on a bale of goods, or 

 read with the "free and easy" modulation of a story told by 

 the fireside ; or, perhaps, with the pompous mouthing of the 

 juvenile hero of a " spouting club," with the languishing tone 

 of a sick person, or with the suppressed, half-whispering utter- 

 ance of a conscious culprit. 



The notation of " expression " has been adopted with a view 

 to the early formation of correct habit. 



RULES ON EXPRESSIVE TONE. 



Rule 1. The tones of anger, vexation, alarm, fear, and terror, 

 have an utterance "extremely loud, high, and quick," "abrupt," 

 and " explosive," or sometimes marked by " expulsive " and 

 by " vanishing " stress, an " aspirated," " harsh," and " gut- 

 tural " voice, and are characterised throughout by the " falling 

 inflection." 



Example of Anger. 



He hath disgrdeeA me, and hindered me of half a million ; laughed at 

 my losses, mocked at my gains, scorned my nation, Uncarted my bargains, 

 cooled my friends, heated mine enemies : and what's hie reason t I AM A 

 JE'W. Hath not a Jew {yes, hath not a Jew hdndt, organs, dimensions, 

 senses, affections, passions f fed with the same f6od, hurt with the same 

 weapons, subject to the same diseases, healed by the same rru'ans, warmed 

 and cooled by the same winter and summer as a CHKI'STIAN is? 



Vexation. 



Sdy you so 1 SA'T yon so P I say unto you again, you are a shallow, 

 cowardly hind, and you LI'E. Our plot is a good plot as ever was Mid ; 

 our friends true and co KSTANT ; a OO'OD PLOT, good friends, and full of 

 expectation -. an EXCELLENT plot, VE'RY good friends. What a FRO'STT- 

 SFIRITED rogue is this .' An I were now by this rascal, I could brain 

 him with his LADY'S FA'N. Oh .' I could DIVI'DK myself, and go to 

 BC'FFETS, for moving such a DISH of SKIMMED MI'LK with so honourable 

 an action / 



Alarm. 



Strike on the tinder, HO* ! 

 Give me a TA'PER ; cull up all my PE'OPLE t 



Get MO'RE tapers ; 

 Raise all my KI'NDRED ! 

 Call up my BROTHER ! 

 Some | O'NE way, some ANOTHER ! 



Get WE'APONS, HO' ! 

 And raise some special officers of night .' 



Fear. 



Oh/ SA'VS me, Hubert, SA'VE me: my eye* are (for, 

 Even with the fierce LO'OKS of these bloody men .' 

 Aids ! what need you be so boisterous r^ugh 7 

 I will not struggle, I will STA'ND | STO'SE | STI'LL. 



See Section IX., " Stress." 



t See Section I., " Quality.' 



For H'AVEJT take, ll*Ltrt I M nie Mt be M'cvot 



Nay, MK'A* me, Hater* ! dri* Uuw wUn way, 



And I will sit M </uit at a LVm; 



I will not <ir, nor wi'jicr. nor peak wo'ao. 



Nor LO OK j upon the irons 1 Jnjrrly , 



Thnut but U* nu'n atray, and 111 roMU* T 700, 



WJutUw torments you do pat me to. 



Terror. 



AWA-KX! AWA'KEI 



Rna the ALABC* ntxs MITBDEBI and TBEAflOH t 

 BA^IQCO. and DoiuuAt* ! MALCOLM ! AWA'KE I 

 KhaJte off this downy sUtp, death's counterfeit, 

 And look ou d.aih iUtl/.'-Ur! VT ! and *M 

 The great Wox't imay* .'-MA'LCOLX ! BA NQUO I 

 As from your ORA'VES ri*e up, and waft like iprilt*, 

 To countenance (hu horror/ 



Rule 2. Wonder and astonishment are expreMed by "load, 

 high, and slow utterance;" " vanishing strew," "aupirated" 

 and slightly "guttural " " quality ;" and prolonged "downward 

 slide." Astonishment exceeds wonder, in the degree of UMM 

 properties. 



Example of Wonder. 



What It'tT* spirit r 



See / how it look* about .' Believe me, sir. 

 It carries a brave form! but 't is a (pint .' 



I might call him 



A thing divine ; for nothing natural 

 I ever saw so nolk ! 



Astonishment. 



.Alonzo. What hdrmony is this /my yood friends, HA' EX ! 

 Gonzalo. Mdmltous sweet music 1 



Alon. Give us kind keepers, us AVEXS ! Wlutt wen ma t 

 Sebastian. A living drollery / Now will I believe 

 That there are unicorn* ; that, in Arabia, 

 There is one tree, the phoenix 1 flirone ; VM phornui ' 

 At this hour reigning there. 



Antonio. I'll believe both ; 



And what does else want credit, come to mi, 

 And 111 be sworn 't is TRU'E. 



Note. Amazement, when it does not go to the ntmnet 

 extreme, has a louder, but lower and slower utterance, than 

 astonishment; the other properties of voice are of the same 

 description as those expressed in astonishment, but increased in 



degree. 



Amazement. 



Gonralo. I' the name of something holy, sir, why stead you 

 In this strange stdre f 



[ ] Atonic. Oh ! it is MONSTXOCB ! VOVSTBOC* ! 



Methonght, the billows spoke, and told me of it ; 

 The WINDS did ring it to me ; and the TRU'XDBK, 

 That deep and dreadful organ-pipe, pronounced 

 The name of PROSPER ; it did bos* m j tritpass ! 

 Rule 3. Horror and extreme amazement hare a " softened " 

 "force," an extremely " low " note, and "alow" movement,* 

 " suppressed stress," a deep " aspirated pectoral quality," and 

 a prevailing " monotone." 



Example of Horror. 

 Now, o'er oue half the world 

 Nature stems di-ad ; and wicked dreams abuse 

 The curtained sleeper ; witchcraft celebrates 

 Pale Hecate's offerings ; and withered murder, 

 Alarumed by his sentinel, the wolf, 

 Whose howl's his witch, thus with hi* rttelthy pice, 

 With T&rquin's ravishing strides, towards his design 

 Jir.vcs like a ghoet. " 00 ] Thou sure and firm-set *arth 

 H*ar not my sWps which way they wlk, for fur 

 The vfry stones prite of my whereabouts, 

 And tike the present horror from the time, 

 Which n6w suits with it 



Extrrme Amatemfnt. 

 Oh ! answer me : 



Let me not bunt in Ignorance ! bat tell 

 Why thy canonized bones, hearsed in death. 

 Have bunt their eevonento ! why the sepulchre. 

 Wherein we siw the* quietly inuraed. 

 Hath oped his ponderous and marble JAWS. 

 To cist thee up again ! [] Wh*t may this mean, 

 That thou, dead cone, again, in complete sttel 

 RoTisifst thOs the gllmpees of the moon. 

 Miking night hideous ; and we ftols of oftrnre. 

 So horribly to shake oar disposition. 

 With thought, beyond the reaches of oar soafcf 



