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13. LABORIOUS AND IMPETUOUS MOTION. With many a weary step and many a groan Up the high hill he heaves a huge round stone: The huge round stone, resulting with a bound, Thunders impetuous down, and smokes along the ground.
14. LANGUAGE COMPARED TO AN ORGAN. O, how our organ can speak with its many and wonderful
vòices ! Play on the soft lute of lóve, blow the loud trumpet of
1 Sing with the high sesquiáltro, or, drawing its full diapason, Shake all the air with the grand storm of its pedals and
15. BOISTEROUS AND GENTLE SOUNDS.
17. POWER OF THE ENGLISH LANGUAGE. Now clear, pure, hard, bright, and one by one, like to hail
stones, Short words fall from his lips fast as the first of a shower,Now in twofold column, Spondee, Iamb, and Trochee, Unbroke, firm-set, advance, retreat, trampling along Now with a sprightlier springiness, bounding in triplicate
syllables, Dance the elastic Dactylics in musical cadences on; Now, their voluminous coil intertangling like huge ana
condas, Roll overwhelmingly onward the sesquipedalian words.
STYLE. THE first and most natural use of the voice is in common
talks is the foremost accomplishment of a reader.
The test to be applied in reading the conversational style is this: Would a listener know whether you were reading or talking?
The narrative and descriptive styles are next in regard to fluency, and should be read as a person would tell a story with the design to make it interesting to his auditors.
The didactic style is more difficult, as there is constant danger of falling into dullness and monotony of manner. It must be read as if earnestly and sympathetically teaching truth to the hearers.
The style of public address varies with the nature of the occasion which gives rise to it, from a familiar and colloquial manner to a more formal and dignified utterance. It must be free from all mannerisms; and if circumstances demand loudness of voice, it must not be at the sacrifice of a sweet and agreeable quality.
The declamatory style is that of the orator on great public occasions. All the vocal effects are, so to speak, magnified. The tones are more full and powerful, the inflections more decisive, the manner more imposing than in ordinary utterance.
Dramatic and emotional expression require all the varied resources of which the voice is capable ;—“with this special observance, that you o'erstep not the modesty of nature.”
I. Conversational. 1. “A fine mòrning, Mr. Linkinwater,” said Nicholas, entering the office. “Àh!” replied Tim, “talk of the country, indeed ! What do you think of this now for a day,- ,-a Lòndon day,—éh?” — “It's a little clearer out of town,” said Nicholas. “Clearer?” echoed Tim Linkinwater, “you shall see it from my bed-room window.” “You shall see it from mine," replied Nicholas, with a smile. “Pooh! pooh!” said Tim Linkinwater, “don't tell mě. Country! Nonsense. What can you get in the country but new-laid eggs and flowers? I can buy new-laid eggs in Leadenhall market any morning before breakfast; and as to flowers, it's worth a run up stairs to smell my mignonette, or to see the double wallflower in the back-attic window, at No. 6, in the court.”
2. “But hårk! I hear him còming,
And mother's drawing the tèa;
Run to the dòor and see.”
The outside låtch was lifted,
A draft blew in the room;
And“ Ábner, fetch a bròcm.”
He stamped his feet in the entry,
And brushed his homespun clòthes. “Well, bóys." "Good-evening, Reuben,
What news to-night?" "It snows!"
3. “He has been very extràvagant.”—“Ah, sir, he has been very unfôrtunate, not extrăvagant.”—“Unfortunate! Åh, it's the same thing. Little odds, I fancy. For my part, I wonder how folks càn be unfortunate. I was never unfortunate. Nobody need be unfortunate, if they look after the main chănce. I always looked after the main chànce.”—“ He has had a large family to maintain.”—“Àh! màrried foolishly; no offence to you, ma'am. But when poor folks mărry poor folks, what are they to look for? you know. Besides, he was so foolishly fond of assisting others. If a friend was sick, or in jail, out came his purse, and then his creditors might go whistle. Now if he had married a woman with money, you know, why then. . ."
4. Bîngo, why, Bingo! hey, hèy—hère, sir, hère . .
He's gone and off, but he 'll be home before us;
II. Light Narrative.
A bigger boy spoke up to me so kind-like,
In this wheelbarrow.” So then I was blind-like
2. I had a piece of rich, sweet pùdding on my fork, when Miss Louisa Friendly begged to trouble me for part of a pigeon that stood near me. In my haste, scarce knowing what I did, I whipped the pudding into my mouth, hot as a burning còal! It was impossible to conceal my àgony; my eyes were starting from their sockets! At last, in spite of shame and resolution, I was obliged to dròp the cause of my torment on my plàte.
The mountain and the squirrel
Had a quàrrel,
And a sphére;
I'll not denỳ you make
Neither can you crack a nût.”
III. Narrative and Descriptive. 1. A friend called on Michael Àngelo, who was finishing a stàtue; some time afterwards he called again; the sculptor was still at his work; his friend, looking at the figure, exclaimed, “You have been idle since I saw you last.” “By nò means," replied the sculptor; “I have retouched this part and polished thàt; I have softened this féature and brought out this muscle; I have given more expression to this líp and more energy to this limb.” “Well, well,” said his friend,“ but all these are trịfles.” “It may be so," replied Angelo, “but recollect that trifles make perfection, and that perfection is no trifle."
2. At the conclusion of the American Revolution, Tor. Franklin, the English ambassador, and the French minister, Vergennes, di:.ing together at Versailles, a toàst from each was called for and agreed to.
The British minister began with : “George 'IÌI.—who, like the sun in his meridian, spreads a luster throughout and enlightens the world.”
The French minister followed with: “The illustrious Louis XVÌ.—who, like the moon, sheds his mild and benignant rays on and influences the glòbe.”
Our American Franklin then gave: “George Washington, Commander of the American Àrmy—who, like Joshua of old, commanded the sun and moon to stand still, and they obèyed him."
3. Patrick Henry, who gave the first impulse to the ball of the Revolution, introduced his celebrated resolution on the Stamp Act, in the Virginia House of Burgesses, in 1765. As he descanted on the tyranny of that obnoxious act, he exclaimed: “ Cæsar had his Brùtus; Charles the First his Cromwell; and George the Third”- “Trèason !" cried the Speaker; “Trèason! Trèason! Trèason!” re-echoed from every part of the hòuse. It was one of those trying moments which are decisive of chàracter; but Henry faltered not for an instant; and rising to a loftier attitude, and fixing on the Speaker an eye flashing with fire, continued,—“may profit by these examples : if this be treason, make the most of it."
1. We walked along the road and saw a white and hospitablelooking hòuse. The door stood open, and a young mother sat and wept over her dying child. A small boy was standing by