All's hushed as midnight yet.

Speak softly!

See'st thou here?

This is the mouth o' the cell: no noise! and enter."

4. Fear and Alarm.

(Forcible Half-Whisper: "Pectoral Quality.")

Alonzo, [who, with Gonzalo, is suddenly awakened by the intervention of Ariel, and finds the conspirators, Sebastian and Antonio, with their swords drawn.]

Sebastian. Whiles we stood here, securing your repose, Even now, we heard a hollow burst of bellowing Like bulls or rather lions: did it not wake you?

It struck mine ear most terribly.

Antonio. Oh! 't was a din to fright a monster's ear:

("Pure Tone" breaking into "Aspiration.")

Douglas, [soliloquizing in the wood.]

"Ye glorious stars! high heaven's resplendent host!

Hear and record my soul's unaltered wish :

Dead or alive, let me but be renowned !

May Heaven inspire some fierce gigantic Dane
To give a bold defiance to our host!
Before he speaks it out, I will accept:
Like Douglas conquer, or like Douglas die!

III. 66 EXPLOSIVE UTTERANCE."
("Guttural and Pectoral Quality.")
1. Hatred.

Shylock, [regarding Antonio.]

"How like a fawning publican he looks!

I hate him for he is a Christian;

But more, for that, in low simplicity,

He lends out money gratis, and brings down
The rate of usuance with us here in Venice.
If I can catch him once upon the hip,

I will feed fat the ancient grudge I bear him!
He hates our sacred nation; and he rails,
Even there where merchants most do congregate,
On me, my bargains, and my well-won thrift,
Which he calls interest. Cursed be my tribe,
If I forgive him!

2. Anger and Scorn.

("Pectoral Quality.")

[Moore's lines to the Neapolitans, on their failure in the attempt at a revolution.]

66

'Ay, down to the dust with them, slaves as they are! From this hour let the blood in their dastardly veins, That shrunk from the first touch of Liberty's war,

Be sucked out by tyrants, or stagnate in chains!

“On — on, like a cloud, through their beautiful vales, Ye locusts of tyranny! — blasting them o'er :

Fill

fill up their wide, sunny waters, ye soils

From each slave-mart in Europe, and poison their shore!

"May their fate be a mock-word! - May men of all lands Laugh out with a scorn that shall ring to the poles, When each sword that the cowards let fall from their hands, Shall be forged into fetters to enter their souls! "

3. Scorn and Abhorrence.

(“ Guttural and Pectoral Quality.”)

Masaniello, [in reply to the base suggestions of Genuino.] "I would that now

I could forget the monk who stands before me;

For he is like the accursed and crafty snake!

Hence! from my sight!

Go from my sight!

- Thou Satan, get behind me! I hate and I despise thee !

These were thy pious hopes, and I, forsooth,
Was in thy hands a pipe to play upon;

And at thy music my poor soul to death
Should dance before thee!

Thou standst at length before me undisguised,-
Of all earth's grovelling crew the most accursed.
Thou worm! thou viper! to thy native earth
Return! - Away! — Thou art too base for man
To tread upon. - Thou scum! thou reptile!

4. Revenge.

("Guttural and Pectoral Quality.")

Shylock, [referring to the pound of flesh, the penalty attached to Antonio's bond.] "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 my enemies. And what's his reason? I am a Jew! Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Is he not 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 summer and winter, as a Christian is? If you stab us, do we not bleed? If you tickle us, do we not laugh? If you poison 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, revenge. The villany you teach me, I will execute; and it shall go hard, but I will better the instruction."

5. Hatred, Rage, Horror.

("Guttural and Pectoral Quality: " fierce "aspiration.") Satan, [in soliloquy.]

"Be then his love accursed! since love or hate,

To me alike, it deals eternal woe.

Nay, cursed be thou! since against his thy will
Chose freely what it now so justly rues.
Me miserable! which way shall I fly
Infinite wrath and infinite despair?

Which way I fly is Hell, myself am Hell;
And, in the lowest deep, a lower deep,
Still threatening to devour me, opens wide,
To which the Hell I suffer seems a Heaven!"

6. Horror, Terror, and Alarm.

("Pectoral Quality.")

Macbeth, [to the ghost of Banquo.] “Avaunt! and quit my sight! Let the earth hide thee! Thy bones are marrowless, thy blood is cold:

Thou hast no speculation in those eyes

Which thou dost glare with!

"Hence horrible shadow !

Unreal mockery, hence!"

7. Fervor.

("Pectoral Quality: " extremely earnest, rapid, and agitated utterance.)

King Henry V, [on the eve of the battle of Agincourt.] "O God of battles! steel my soldiers' hearts!

Possess them not with fear: take from them now

The sense of reckoning, if the opposed numbers Pluck their hearts from them! - Not to-day, O Lord, Oh! not to-day, think not upon the fault

My father made in compassing the crown!

CHAPTER V.

FORCE.

A PRIMARY characteristic of utterance, as expressive of emotion, is the degree of its energy, or force. The effect of any feeling on sympathy, is naturally inferred from the degree of force with which the sound of the voice, in the utterance of that feeling, falls upon the ear of the hearer. The cause of this impression upon the mind, is, obviously, the law of organic sympathy, by which one part of the human frame naturally responds to another. A powerful emotion not only affects the heart and the lungs, and the other involuntary agents of life and of expression, but starts the expulsory muscles into voluntary action, and produces voice, the natural indication and language of feeling. The degree of force, therefore, in a vocal sound, is intuitively taken as the measure of the emotion which causes it. Except, only, those cases in which the force of feeling paralyzes, as it were, the organs of voice, and suggests the opposite measure of inference, by which a choked and struggling utterance, a suppressed or inarticulate voice, or even absolute silence, becomes the index to the heart.

The command of all degrees of force of voice, must evidently be essential to true and natural expression, whether in reading or speaking. Appropriate utterance ranges through all stages of vocal sound, from the whisper of fear and the murmur of repose, to the boldest swell of vehement declamation, and the shout of triumphant courage. But to give forth any one of these or the intermediate tones, with just and impressive effect, the organs must be disciplined by appropriate exercise and frequent practice. For every day's observation proves to us, that mere natural instinct and animal health, with all the aids of informing intellect, and inspiring emotion, and exciting circumstances, are not sufficient to produce the effects of eloquence, or even of adequate utterance.

The overwhelming power of undisciplined feeling, may not only impede but actually prevent the right action of the instruments of speech; and the novice who has fondly dreamed, in his closet, that nothing more is required for effective expression, than a genuine feeling, finds, to his dis