and of words, on the recurring identical successive" radical and concrete," with full prolongation and ample "median

stress."

The following examples will serve to suggest others of similar character.

Devotional Awe and Reverence.

("Effusive orotund quality": "Subdued" force:

stress":"Very low pitch.")

"Median

*"Hōly! hōly! hōly! Lord God of Sabaoth!" "Bless the Lord, O my soul; and all that is within me, bless his holy name!

"Unto Thee I lift up mine ēyes, Ō Thōu that dwellest in the heavens !

Awe, Sublimity, Majesty, Power, Horror.

("Quality," force, "stress," and "pitch," as before.)

"And I beheld when he had opened the sixth seal, and lo! there was a great earthquake. And the sun became black as sackcloth of hair, and the moon became as blood; and the stars of heaven fell unto the earth, even as a figtree casteth her untimely figs, when she is shāken of a mighty wind. And the heaven departed as a scroll when it is rolled together; and every mountain and island were moved out of their plàces. †And the kings of the earth, and the great mēn, and the rich men, and the chief captains, and the mighty men, and every bōnd-man, and every free-man, hid themselves in the dens and in the rocks of the mountains; and said to the mountains and rocks, †'Fall on us, and hide us from the face of Him that sitteth on the throne, and from the wrath of the Làmb: † for the great day of his wrath is cōme; and who shall be able to stand?'"

* The "monotone" is usually distinguished by this horizontal mark. A deeper note commences at each of the places thus marked. The whole passage is a succession of "monotones."

Amazement and Terror.

("Aspirated pectoral quality":"Suppressed" force: "Median stress : "Very low pitch.")

"In thoughts from the visions of the night, when deep sleep falleth on men, †fear came upōn mē and trembling, which made all my bōnes to shake. Then a spirit passed before my face; † the hair of my flesh stood ùp. — It stood still; but I could not discern the form thereof. An image was befōre mine eyes; † there was silence; and I heard a voice saying, 'Shall mōrtal mān be mōre just than God? Shall a man be mōre pūre than his Máker?'"

Majesty and Grandeur.

("Orotund quality": "Moderate "force: "Median stress" : "Low pitch.")

"His form had not yet lost

All her original brightness, nor appeared
Less than archangel ruined, and the excess
Of glory obscured; as when the sun new risen
Looks through the horizontal misty air,
Shorn of his beams, or from behind the moon,
In dim eclipse, disastrous twilight shēds
On half the nations, and with fear of change
Perplexes monarchs.”

("Orotond quality

Sublimity and Splendor.

"Moderate" force: "Median stress
"Low pitch.")

"But yonder comes the powerful King of Day,
Rejoicing in the east. The lessening cloud,
The kindling azure, and the mountain's brow,
Illumed with fluid gold, his near approach
Betoken glad. Lō! now, apparent all,

+ See foot note on preceding page.

Aslant the dew-bright earth, and colored air,
He looks in boundless majesty abroad,

And sheds the shining day, that būrnished plays

On rocks, and hills, and towers, and wandering streams, High gleaming from afar."

Vastness, Sublimity, and Solemnity.

("Orotund quality": "Impassioned" force: "Median stress "Low pitch.")

"Thou glorious mirror! where the Almighty's form Glasses itself in tempests; in all time,

Calm or convulsed, in breeze, or gāle, or storm, Icing the pole, or in the torrid clime

Dark heaving;-boundless, endless, and sublime,The image of Eternity, the throne

Of the Invisible; even from out thy slime

The monsters of the deep are made; each zone
Obeys thee,-thou go'st forth, dread, fathomless, alone!"

"Poetic Monotone."

[The "poetic monotone" is, properly, the distinctive "second" which gives to the language of verse or of poetic prose, when not marked by emphatic or impassioned force, its peculiar melody, as contrasted with the "partial cadence" of "complete sense in clauses." The two faults commonly exemplified in passages such as the following, are, 1st, that of terminating a clause which forms complete sense, with a "partial cadence," — 2d, that of terminating it with the upward "slide" of the "third." Both these errors turn verse into prose, or render poetic language in prose, dry and inexpressive; as both these modes of voice are the appropriate language of fact, and not of feeling or melody.]

1.

("Pure tone":"Subdued" force : "Median stress " 66

pitch.")

"For mine is the lay that lightly floats, And mine are the murmuring dying notes,

: 'High

That fall as soft as snow on the sea,
And melt in the heart as ìnstantly."

2

("Pure tone": "Subdued" force: "Median stress": "Low pitch.")

"The winds of autumn came over the woods,

As the sun stole out from their sōlitudes;
The moss was white on the maple's trunk;
And dead from its arms the pale vine shrunk ;
And ripened the mellow fruit hũng; and red
Were the tree's withered leaves round it shed."

3.

(“Pure tone":"Moderate" force: "Median stress":

pitch.”)

"Deep in the wave is a coral grōve,

Where the purple mullet and gold-fish rove,
Where the sea-flower spreads its leaves of blue,
That never are wet with falling dew,

But in bright and changeful beauty shine
Far down in the green and glassy brìne."

4.

("Quality," force, "stress," and pitch, as before.)
"Still shall sweet summer, smiling, linger here,
And wasteful winter lightly o'er thee pass;
Bright dews of morning jewel thee, and all
The silent stars watch over thee at night;
The mountains clasp thee lovingly within
Their giant arms, and ever round thee bow
The everlasting forest."

"Poetic Monotone" in Descriptive Prose.

1.

("Quality," &c. as before.)

"Low

"In the calm spring evenings, what delightful hours the

cottager spends in his little garden! He is not without a feeling unuttered though it be - of the sweetness of spring, and the delights of the passing hour; for, as the shades of night fall darkly on the scene, he leans upon his spade, and lingers to breathe the odorous air, to hear the faint murmur of his wearied bees, now settling peaceably in their hive for the night, and the glad notes of birds, dying melodiously away in the inner woods."

2.

("Quality," &c. as before.)

"The thought is sweet to lay our bones within the bosom of our native soil. The verdure and the flowers I love, will brighten around my grave; the same trees whose pleasant murmurs cheered my living ears, will hang their cool shadows over my dust; and the eyes that met mine in the light of affection, will shed tears over the sod that covers me, keeping my memory green within their spirits."

"SEMITONIC OR CHROMATIC MELODY."

The uses of the musical scale, which occur, either in the natural and accustomed forms of speech, or the exercise of reading, have been, thus far in our analysis, of the character termed " diatonic." That is to say, the intervals, or the transitions, of voice, hitherto discussed in this chapter, have all been such as extend to at least the interval of a full tone, or occupy the entire space necessarily traversed, in passing from one note to another, at the relative distance of a whole tone. The term " diatonic " may therefore be applied to all the melodial functions of voice to which we have been attending; and the " diatonic melody" of a sentence may be briefly thus reviewed. — In the simple statement of fact or of thought, in unimpassioned narration, and in plain definition or description, the "current melody" of a sentence will consist of, 1st, the usual upward "concrete" produced by the "radical" and " ish of the elements of speech, traversing a tone, or occupying the interval of a "second"; 2d, an occasional down

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