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In the expiession of awe and sublimity the voice usually his a level movement from note to note, " like the repeated sounds of a deep-toned bell." This intonation in speaking is termed the monotone.
Slides occur on the most important words, thus determining the sense; and they also serve to give the proper melody to a sentence.
Words contrasted in meaning are contrasted in inflection.
No two successive slides should be alike in pitch.
I. Palling Inflections.
1. "To arms! to arms! to arms!" they cry;
"Grasp the shield and draw the sword;
2. If it be Arthur—Ho! what, ho!
Up spear! out arrow! Bend the bow!
3. Who's here so base that would be a bdndman? If any, speak; for him have I offended. Who's here so rude that would not be a Roman? If any, speak; for him have I offended. Who's here so vile that will not love his country? If any, speak; for him have I offended. I pause for a reply.
4. "Hence! home, you idle creatures, get you home.
You blocks, you stdnes, you worse than senseless things!
Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude."
5. Where are we? What city do we inhabit? Under what gdvernment do we live? Here, here, Conscript Fathers, mixed and mingled with us all—in the center of this most grave and venerable assembly—are men sitting, quietly plotting against my life, against all your lives; the life of every virtuous senator and citizen.
II. Rising Inflections.
2. Must I budge? Must I observe y6u? Must
3. Wouldst thou have that
Which thou esteem'st the 6rnament of life,
4. Ashamed to toil, art thou? Ashamed of thy dingy workshop and dusty labor-field; of thy hard hand, scarred with service more honorable than that of war; of thy soiled and weatherstained garments, on which mother Nature has embroidered, 'mid sun and rain, 'mid fire and steam, her own heraldic hdnors? Ashamed of these tokens and titles, and envious of the flaunting robes of imbecile idleness and vanity?
III. Rising and Falling Inflections.
1. Can honor set a leg? N6. Or an arm? No. Or take away the grief of a wound? N6. Honor hath no skill in surgery, then? N6. What is honor? A word. What is that word, honor? Air. Who hath it? He that died on Wednesday. Doth he feel it? N6. Doth he hear it? No. Is it insensible, then? Yes, to the dead. But will it not live with the living? N6. Why? Detraction will not suffer it.
2. What would content you? Talent? No! Enterprise? Nd! C6urage? No! Reputation? No! Virtue? N6! The men whom you would select should possess, not one, but all of these.
3. What is time?—the shadow on the dial,—the striking of the clock,—the running of the sand,—day and night,—summer and winter,—m6nths, years, centuries? These are but arbitrary and outward signs,—the measure of time, not time itself. Time is the life of the soul. If not this,—then tell me what Ls time?
5. Prince Henry. What's the matter?
Falstaff. What's the matter? Here be four of us have taken a thousand pounds this morning.
Prinze Henry. Where is it, Jack, where is it?
6. They tell us, sir, that we are weak,—-unable to c6pe with so formidable an adversary. But when shall we be stronger? Will it be the next week, or the next year? Will it be when we are totally disarmed, and when a British guard shall be stationed in every house? Shall we gather strength by irresolution and inaction? Shall we acquire the means of effectual resistance by lying supinely on our backs, and hugging the delusive phantom of hope, until our enemy shall have bound us hand and foot?—Sir, we are not weak, if we make a proper use of those means which the God of nature hath placed in our power.
IV. Minor Rising Inflections.
1. Give me three grains of c6rn, mother,
2. Oh! pardon me, thou bleeding piece of earth,
0 my lord, Must I then leave you? must I needs forego So good, so noble, and so true a master?
V Minor Falling Inflections.
2. 0! I have lost you ail!
Parents and home and friends.
3. The shepherd saunters list:—but why
VI. Circumflex Inflections.
But one sly maiden spake aside:
Or witched a churn or dairy-pan;
But she, forsooth, must charm a man!"
2. What should I say to you? Should I not say,
3. Do not tell me of laws; I am a savage! I value no laws. Talk of laws to the Englishman; there are laws in his country, and yet you see he did not regard them, for they could never allow him to kill his fellow-subject in time of peace, because he asked him to pay a debt. The English cannot be so brutal as to make.such things lawful.
4. Now, in building of chaises, I tell you what,
He, I wilrrant him,
2. The cloud-capped towers, the gorgeous palaces,
3. There was silence, and I heard a voice saying,
"Come to thy God in time,"
"Storm, whirlwind, billows past,
DIFFERENT QUALITIES OF VOICE.
PURE TONE is used in unimpassioned discourse; in the expression of light and agreeable emotions; and in sadness or grief.
Orotund is used to express whatever is grand, vast, or sublime. Aspirated quality expresses secrecy, fear, darkness, or moral impurity.
The Whisper has expressive power similar to that of the aspirated tone. It is seldom employed in reading or speaking, but it may be practiced a few moments at a time,as a discipline of the organs of speech.
I. Whispering1. 1. All heaven and earth are still,—though not in sleep, But breathless, as we grow when feeling most; And silent, as we stand in thoughts too deep.
2. I see the head of the enemy's column rising over the height. Our only safety is in the screen of this hedge. Keep close to it; be silent; and stoop as you run. For the boats! Forward!