EXAMPLE.

o
my

soul's joy!
If after every tempest come such calms,
May the winds blow till they have wakened death!
And let the laboring bark climb hills of seas
Olympus high, and duck again as low
As hell's from heaven! If it were now to die,
'Twere now to be most happy, for I fear
My soul hath her content so absolute,
That not another comfort like to this
Succeeds in unknown fate.

ASTONISHMENT, ADMIRATION, AMAZEMENT. The dignified expression of these sentiments requires Long Quantity, a good degree of Force, and the Emphasis of the Downward Concrete, or of the Equal Direct Wave of the Third or Fifth combined with the Median Stress.

Mirthful Wonder, or Surprise, may require the Downward Octave, or the Equal Single Direct Wave of that interval; and as the utterance becomes more rapid, the Radical or Vanishing Stress is used.

Aspiration may be connected with the simple Downward Slides; though with the Waves it would express scorn, sneer, or contempt.

EXAMPLE.
Sir Richard, what think you ? Have you beheld,
Or have you read, or heard ? or could you think?
Or do

you

almost think, although you see,
That you do see ? Could thought, without this object,
Form such another ? This is the very top,
The height, the crest, or crest unto the crest
Of Murder's arms: This is the bloodiest shame,
The wildest savagery, the vilest stroke,
That ever wall-eyed Wrath, or starving Rage,
Presented to the tears of soft Remorse,

PLAINTIVE EXPRESSION, TENDERNESS.

The elements employed to express pathetic sentiments or tender emotion are few, but strongly marked. They are Softness of voice, Long Quantity, Slow Time and the Semitone, or the Direct and Inverted Waves of that interval, combined with the Median Stress.

The sentiments which require the Chromatic Intonation are various and widely different from each other. The difference however is marked by the language rather than the intonation. Among other sentiments which may be thus expressed are, Awe, Complaint, Contrition, Penitence, Petition, Submission, Supplication, Fondness, Love, Pity, Compassion, Commiseration, Condolence, Mercy, Grief, Lamentation, and Sorrow.

The simple rise and fall of the Semitone, or the Wave of that interval, is the most effective of the elements enůmerated above, for the expression of the tender and pathetic sentiments. The choice between the Simple Concrete and the Wave is determined by the degree of Dignity, in the sentiment expressed; and this may be still further enhanced by combining with the other elements the Partial Drift of the Monotone.

Many of the expressions which go under a common name, as Complaint and Supplication, vary essentially at different times in the degree of plaintiveness which they express. When this emotion is wanting, the Simple Concrete and the Wave of the Second are substituted for those of the Semitone; and on the contrary, when this emotion becomes painfully strong, the Tremor and Aspiration are added to the Semitone, on the emphatic words of Long Quantity. Further to heighten the effect, the clauses may terminate with the Rising Slide, or the Inverted Wave of the Semitone; and the Broken Melody may be employed.

In the case of plaintive Exclamation, or whenever Surprise or Positiveness are to be connected with the Chromatic Melody, the Unequal Direct Wave is employed, the first constituent being a Semitone.

EXAMPLES.

1. We have erred and strayed from thy ways, like lost sheep. We have done those things which we ought not to have done, and have left undone those things we ought to have done, and there is no health in us. But thou, O! Lord, have mercy upon us miserable offenders. Spare thou those, O! God, who confess their faults. Restore thou those who are penitent, according to thy promises declared unto mankind in Christ Jesus our Lord. And grant, O! most merciful Father, for his sake, that we may hereafter live a godly, righteous, and sober life, to the glory of thy holy name.

2. Ah, Richard! with the eyes of heavy mind,

I see thy glory like a shooting star,
Fall to the base earth, from the firmament!
Thy sun sets weeping in the lowly west,
Witnessing stornis to come, wo, and unrest ;
Thy friends are fled, to wait upon thy foes,

And crossly to thy good all fortune goes.
3. Seems, madam! nay, it is; I know not seems.

'Tis not alone my inky cloak, good mother,
Nor customary suits of solemn black,
Nor windy suspirations of forced breath ;
No, nor the fruitful river in the eye,
Nor the dejected 'havior of the visage,
Together with all forms, modes, shows of grief,
That can denote me truly: These indeed seem,
For they are actions that a man might play;
But I have that within, which passeth show;
These but the trappings, and the suits of wo.

4. Grief fills the room up of my absent child,

Lies in his bed, walks up and down with me;
Puts on his pretty looks, repeats his words,
Remembers me of all his gracious parts,
Stuffs out his vacant garments with his form ;
Then have I reason to be fond of grief.

5. My mother! when I learned that thou wast dead,

Say, wast thou conscious of the tears I shed ?
Hovered thy spirit o'er thy sorrowing son,
Wretch even then, life's journey just begun?
I heard the bell tolled on thy burial day,
I saw the hearse that bore thee slow away,
And, turning from my nursery window, drew
A long, long sigh, and wept a last adieu.

6. The laurel shoots when those have passed away,

Once rivals for its crown, the brave, the free;
The rose is flourishing o'er beauty's clay,
The myrtle blows when love has ceased to be,
Green waves the bay when song and bard have fled,
And all that round us blooms, is blooming o'er the dead.

7. Death found strange beauty on that polished brow,

And dashed it out. There was a tint of rose
On cheek and lip;-he touched the veins with ice
And the rose faded. Forth from those blue eyes
There spake a wishful tenderness-a doubt
Whether to grieve or sleep, which innocence
Alone may wear. With ruthless haste he bound
The silken fringes of those curtaining lids
For ever.

There has been a murnuring sound,
With which the babe would claim its mother's ear,
Charming her even to tears. The spoiler set
The seal of silence. But there beamed a smile
So fixed and holy from that cherub brow-
Death gazed, and left it there ;-he dared not steal
The signet-ring of heaven.

8. Sleep on-sleep on-above thy corse

The winds their Sabbath keep,-
The wave is round thee--and thy breast

Heaves with the heaving deep ;
O'er thee, mild eve her beauty flings,
And there the white gull lifts her wings ;
And the blue halcyon loves to lave
Her plumage in the holy wave.
Sleep on-thy corse is far away,

But love bewails thee yet,
For thee the heart-wrung sigh is breathed,

And lovely eyes are wet :-
And she, the young and beauteous bride,
Her thoughts are hovering by thy side:
As oft she turns to view with tears
The Eden of departed years.

9. The thoughts are strange that crowd into my brain,

While I gaze upward to thee.--It would seem
As though God poured thee from his hollow hand,
And spake in that loud voice which seemed to him
Who dwelt in Patmos, for his Saviour's sake,
The sound of many waters, and had bid
Thy flood to chronicle the ages back,
And notch his centuries in the eternal rock.

10. In this example the words in italics, to be read with dramatic effect, should receive the Tremor.

Forsake me not thus, Adam! Witness, Heaven,
What love sincere, and reverence in my heart
I bear thee, and unwitting have offended,
Unhappily deceived! Thy suppliant,
I beg and clasp thy knees; bereave me not,
Whereon I live, thy gentle looks, thy aid,
Thy counsel in this utterinost distress,
My only strength and stay. Forlorn of thee,
Whither shall I betake me, where subsist?