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words which are Italicized, and it is presumed that its use in expressing the feelings of scorn, indignation, and contempt, will be sufficiently apparent.
"Cassius. Urge me no more; I shall forget myself Have mind upon your health: tempt me no further Brutus. Away, slight man.
Cas. Must I endure all this!
Bru. All this! Ay, more. Fret till your proud heart break
And make your bondmen tremble. Must I budge?
121. By the term force, in elocution, is meant that degree of energy with which words and phrases are uttered. The modifications of force do so affect the ear by their distinctive peculiarities, as to constitute a style of utterance, and should therefore be classed among the elements of expression. When skilfully applied, according to the varying demands of the sentiment, this element of expression infuses a life into the style, which arrests the attention and sways the feelings. 122. The terms loud, soft, and suppressed, or strong, feeble, and suppressed, are used to signify the variations of this attribute of the voice. Loudness of voice is appropriated to states of mind associated with energy of feeling, triumphant exultation, and violent passion, as may be perceived in the following extracts:
"Now strike the golden lyre again;
A louder yet, and yet a louder strain!
Break his bands of sleep asunder,
And rouse him like a rattling peal of thunder!
124. "If they rule, it shall be over our ashes and graves;
125. "The combat deepens. On, ye brave,
126. The expressions, "On, ye brave," "Wave Munich," "And charge," denote feelings of triumphant exultation; and the utterance of these feelings requires a due degree of loudness, an elevated pitch, extended quantity, median stress, and a well-regulated, tremulous movement. The tremulous movement should be applied mainly to the words "on" and "charge." This will enable the reader to impress ໍ the sentiment much more vividly than he could by omitting the tremulous movement.
127. Many sentiments depend entirely on loudness for their character; such as anger, danger, ferocity, and revenge; and others again depend chiefly upon it as they assume its character; such as joy, laughter, and astonishment, as in the following extracts :
128. "And longer had she sung - but, with a frown,
Revenge impatient rose.
He threw his blood-stained sword in thunder down,
The war-denouncing trumpet took,
And blew a blast so loud and dread,
Were ne'er prophetic sounds so full of woe.
129. "Tubal. Yes, other men have ill luck too. Antonio, as I heard in Genoa,
Shylock. What, what, what? Il luck? ill luck?
hath an argosy cast away, coming from Tripolis.
130. "But hark! - That heavy sound breaks in once more, As if the clouds its echo would repeat;
And nearer, clearer, deadlier than before!
Arm! arm! It is it is the cannons' opening roar
EEBLENESS OF VOICE.
31. Feebleness of voice is an element the reverse of the last. There are some states of the mind that are properly portrayed by feebleness of voice; and there are other conditions of the mind, akin to these, which are always manifested by feebleness or softness of voice. Of this class are modesty, caution, doubt, irresolution, resignation, and despondency, as may be seen in the following extracts:
132. "Wolsey. Why, how now, Cromwell? Cromwell. I have no power to speak, sir. Wol. What! amazed
At my misfortunes? Can thy spirit wonder
A great man should decline? Nay, ar.' you weep,
Crom. How does your grace ?
Wol. Why, well;
Never so truly happy, my good Cromwell.
I know myself now; and I feel within me
A peace above all earthly dignities,
A still and quiet conscience. The king has cured me,
A load would sink a navy-too much honor:
Too heavy for a man that hopes for heaven.
Crom. I am glad your grace has made that right use of it
Out of a fortitude of soul I feel,
To endure more miseries, and greater far,
Than my weak hearted enemies dare offer
133. "Cromwell, I did not think to shed a tear
In all my miseries; but thou hast forced me,
To silence envious tongues. Be just and fear not
Thy God's, and truth's. Then, if thou fall'st, O Cromwel.,
- Pr'ythee, lead me in.
To the last penny: 'tis the king's. My robe,
I dare now call mine own. O Cromwell, Cromwell,
134. "Would I had never trod this English earth,
135. "She looked down to blush, and she looked up to sigh,
136. There are some conditions of the mind demanding a highly intensive degree of force; and there are some emotions occasioned by alarm, terror, or fearful apprehensions, which at once excite the voice, and suppress the loudness of utterance.
137. When the force of feeling is such as to get the entire control of the speaker; when he would imbody and unbosom that which is most within him; when he would "wreak his thoughts upon expression," and throw his whole soul, heart, mind, passions, all that he seeks, knows, bears, and feels, into a few words; when his mind is in a state of perturbation, confusion, and perplexity, arising from the sudden conflict of violent passions; when his soul is overwhelmed in violent, tumultuous, and conflicting emotions; - then his language will necessarily partake of the perturbation of his mind, and incoherent hints, precipitate sallies, vehement exclamations, bold figures, laconic, abrupt, desultory expressions, will then be thrown out with such explosive energy, that the degree of aspiration must necessarily destroy that pure vocality, and partially suppress that intonation, which are the accompaniments of ordinary degrees of force, and the usual constituents of loudness. This may be fully exemplified in the reading of the following extracts.
132. "Banished from Rome! What's banished, but set free
Tried and convicted traitor!'- Who says this?
I have within my heart's hot cells shut up,
To leave you in your lazy dignities.
But here I stand and scoff you;-here I fling