'Animated or joyous' pieces should have 'fast time,' lively, springing median stress,' 'pure quality,' 'long slides,' 'high pitch,' and 'loud force.'

Joyous example.

"You must wake and call me early, call me early, mother dear, To-morrow'll be the happiest time of all the glad New-Year; Of all the glad New-Year, mother, the maddest, merriest day ; For I'm to be Queen o' the May, mother, I'm to be Queen o' the May.

"I sleep so sound all night, mother, that I shall never wake, If you do not call me loud when the day begins to break: But I must gather knots of flowers, and buds and garlands

gay,

For I'm to be Queen o' the May, mother, I'm to be Queen o' the May."

'Subdued or pathetic' pieces should have 'soft force,' 'short (or minor) slides,' 'slow time,' gentle 'median stress,' 'pure quality,' 'high pitch,' and less than 'moderate volume.'

Subdued or pathetic example.

"If you're waking, call me early, call me early, mother dear, For I would see the sun rise upon the glad New-Year. It is the last New-Year that I shall ever see,

Then you may lay me low i' the mould, and think no more of me.

"To-night I saw the sun set! he set and left behind The good old year, the dear old time, and all my peace of mind, And the New-Year's coming up, mother, but I shall never see The blossom on the blackthorn, the leaf upon the tree."

'Grave' pieces should have 'low pitch,' 'slow time,' with 'long quantity and pauses,' 'full volume,' 'soft force,' and 'short slides' also smooth stress' and 'pure quality' when the ideas are reverential or solemn merely — but more or less

'abrupt stress' and 'aspirated quality' when characterized by fear or aversion, as in 'dread,' 'awe,' and 'horror.'

Come to the mother, when she feels

For the first time her first-born's breath;
Come when the blessed seals

That close the pestilence are broke,
And crowded cities wail its stroke;
Come in Consumption's ghastly form,
The earthquake shock, the ocean storm,
Come when the heart beats high and warm
With banquet-song and dance and wine, -
And thou art terrible! the tear,

The groan,

the knell, -the pall, — the bier,

And all we know, or dream, or fear,

Of agony are thine.”

'Noble' pieces should have full-swelling volume' and 'median stress,' with 'long quantity' and 'long slides,' 'loud force,' 'pure quality,' and 'middle pitch.'

Noble example.

"But to the hero, when his sword

Has won the battle for the free,

Thy voice sounds like a prophet's word,
And in its hollow tones are heard
The thanks of millions yet to be.
Bozzaris! with the storied Brave
Greece nurtured in her glory's time,
Rest thee there is no prouder grave,
Even in her own proud clime.

We tell thy doom without a sigh;

For thou art Freedom's now and Fame's, -
One of the few, the immortal names,

That were not born to die!"

Both 'ludicrous' and 'sarcastic' pieces should have long circumflex slides' and 'compound' abrupt stress,' 'long quantity and pauses' on the emphatic words; but punning and raillery, when good-natured, should have a 'higher pitch,' 'faster time,' and 'purer quality' than belongs to sarcasm, which should have the middle pitch,' aspirated quality,' and rather 'slow time.' With both kinds the 'force' changes from 'moderate' to louder with the boldness of the spirit.

In the following example the part of Sir Peter Teazle should be read with strongly aspirated quality' and 'abrupt stress,' while the half-laughing raillery of Lady T. should have the 'pure quality' and 'tremulous stress' mingled with the 'compound,' and 'higher pitch,' and 'less volume.'

Ludicrous or sarcastic example.

"SIR PETER. Very well, ma'am, very wellis to have no influence, no authority?

so a husband

LADY T. Authority! No, to be sure: if you wanted authority over me, you should have adopted me, and not married me; I am sure you were old enough.

SIR P. Old enough!ay, there it is. Well, well. Lady Teazle, though my life may be made unhappy by your temper, I'll not be ruined by your extravagance.

LADY T. My extravagance! Sir Peter, am I to blame because flowers are dear in cold weather? You should find fault with the climate, and not with me. For my part, I'm sure, I wish it was spring all the year round, and that roses grew under our feet!

SIR P. Zounds! madam - if you had been born to this, I shouldn't wonder at your talking thus; but you forget what your situation was when I married you.

LADY T. No, no, I don't; 'twas a very disagreeable one, or I should never have married you. Sir Peter! would you

have me be out of the fashion?

SIR P. The fashion, indeed! What had you to do with the fashion before you married me?

LADY T. For my part, I should think you would like to have your wife thought a woman of taste.

SIR P. Ay, there again taste. Zounds! madam, you had no taste when you married me!

LADY T. That's very true, indeed, Sir Peter; and after having married you I should never pretend to taste again, I allow. But now, Sir Peter, since we have finished our daily jangle, I presume I may go to my engagement at Lady Sneerwell's.

SIR P. Ay, there's another precious circumstance — a charming set of acquaintance you have made there."

Example of bitter irony and sarcasm closing with the impassioned kind.

"I speak not to you, Mr. Renwick, of your own outcast condition ; — perhaps you delight in the perils of martyrdom : I speak not to those around us, who, in their persons, their substance, and their families, have endured the torture, poverty, and irremediable dishonor. They may be meek and hallowed men, willing to endure; and as for my wife what was she to you? Ye cannot be greatly disturbed that she is in her grave. No, ye are quiet, calm, prudent persons; it would be a most indiscreet thing of you, you who have suffered no wrongs yourselves, to stir on her account.

“In truth, friends, Mr. Renwick is quite right. This feeling of indignation against our oppressors is a most imprudent thing. If we desire to enjoy our own contempt, to deserve the derision of men, and to merit the abhorrence of Heaven, let us yield ourselves to all that Charles Stuart and his sect require. We can do nothing better, nothing so meritorious, nothing by which we can so reasonably hope for punishment here and condemnation hereafter. But if there is one man at this meeting, — I am speaking not of shapes and forms, but of feelings, - if there is one here that feels as men were wont to feel, he will draw his sword, and say with me, Woe to the house of Stuart ! woe to the oppressors!"

6

Impassioned' pieces, such as the last of the example above and the following, should have very loud force,' 'very long slides,' 'very abrupt stress.' Time accelerating as the passion cumulates, from 'moderate' to 'faster,' with very long quantity' on the emphatic words, middle and higher pitch' and quality' (where the passion is not malignant), only slightly 'aspirated.'

66 6

Impassioned example.

"My castles are my king's alone,
From turret to foundation stone;

The hand of Douglas is his own,

And never shall in friendly grasp
The hand of such as Marmion clasp!'
Burned Marmion's swarthy cheek like fire,
And shook his very frame for ire,

And This to me!' he said;

'An't were not for thy hoary beard,

Such hand as Marmion's had not spared

To cleave the Douglas' head!

And, Douglas, more I tell thee here
E'en in thy pitch of pride,

Here, in thy hold, thy vassals near,

I tell thee, thou'rt defied!
And if thou saidst I am not peer
Το any lord in Scotland here,
Lowland or Highland, far or near,

Lord Angus, thou hast lied!'

On the earl's cheek the flush of rage

O'ercame the ashen hue of age;

Fierce he broke forth: 'And dar'st thou, then,

To beard the lion in his den,

The Douglas in his hall?

And hop'st thou hence unscathed to go ?

No! by Saint Bride of Bothwell, no!

Up drawbridge, groom! What, warder, ho!
Let the portcullis fall!'