If the excess of energy comes from a slight degree of excitation, or from mere exuberance of spirit, as in laughing mirth, raillery, etc., we have b. Soft Abrupt Force, uttered usually with a high, discrete varied melody (§ 92: a) and pure quality. Now o'er a chair he gets a fall; now floundering forwards with a jerk, he bobs his nose against the wall; and now encouraged by a subtle fancy that they're near the door, he jumps behind it to explore, and breaks his shins against the scuttle; crying, at each disaster-" Drat it! Hang it! 'od rabbit it!" and "Rat it!" 108. Smooth Force is used when there is merely what might be termed an expansion of energy. If this is accompanied by a great degree of excitation or enthusiasm, as in referring to what is sublime, grand, powerful, etc., we have a. Loud Smooth Force. (See, also, §§ 111, 215, 218.) If there were no religion; if that vast sphere, out of which grow all the supereminent truths of the Bible, was a mere emptiness and void; yet, methinks, the very idea of Fatherland, the exceeding preciousness of the laws and liberties of a great people, would enkindle such a high and noble enthusiasm, that all baser feelings would be consumed! If there is only a slight degree of excitation and exhilaration, as in referring to what is beautiful, lovely, tender, etc., (see, also, §§ 109, 112, 116, 119), we have b. Soft Smooth Force. If I were now to dîe, 'Twere now to be most happy; for I fear (See, also, exercises in § 14: b.) Now let us consider how to produce these different kinds and degrees of Force: first, as determined by the modes of vocalizing. 109. Sustained Force. When one speaks forcibly on a high key, appropriate for light, gay, lively or uncontrolled states of mind, there is a tendency to run the tones together, as in singing, i. e. to sustain them. Although natural to a high key, the same kind of force can be used, especially after the voice has been cultivated, on a comparatively low key. Sustained force may be given in three different forms, determined by the different modes of breathing. 110. Explosive Form (interchanging in places with expulsive). This unites the effects of loud abrupt and loud smooth force; each tone, after the abrupt beginning, being prolonged, as in smooth force. In it we have usually initial, terminal, or compound stress, a high key and orotund quality. It is used for uncontrolled moods, in which the speaker, owing to the grandeur or importance of his thought, is carried away by excessive joy, rage or fear. Its most distinctive form is the tone of shouting. 1. Victory! victory! Their columns give way! prèss them while they waver, and the day is ours! 2. Hurrah! hurrah! a single field hath turned the chance of war! Hurràh! hurràh! for Ivry and King Henry of Na vàrre! 3. Come, brands, ho! fire-brands! - To Brutus'! to Cassius'!- burn all! Some to Decius' house, and some to Cas ca's; some to Ligarius'-away! 4. 5. "O, spare my child, my joy, my pride! O, give me back my child!" she cried: 66 My child! my child!" with sobs and tears, She shrieked upon his callous ears. "Come back, come back, Horatius!" 66 "Back, Lartius! back, Herminius! (See, also, § 104: 2, 3, 4; § 135: 1, 2; § 145: h.) 111. Expulsive Form (interchanging with explosive). This is loud smooth force, with predominating terminal stress, though it can be used with all kinds of stress, and a comparatively high key. It is sometimes called Declamatory Force, and is appropriate for moods that are uncontrolled, in the sense that the speaker seems to be carried away by his impetuosity or conception of the importance, grandeur, etc., of his theme. It is very effective in Oratory, especially when accompanied by full orotund volume; e. g. Predominating terminal stress. 1. All, all his victories should have rushed and crowded back upon his memory; Vimièra, Bàdajos, Salamanca, Albuèra, Toulouse, and, last of all, the greatest,-tèll me,for you were there,—I appeal to the gallant soldier before me, who bears, I know, a generous heart in an intrépid bréast,— tèll me, for you must needs remémber, on that day, when the destinies of mankind were trembling in the balance, while death fell in showers upon them; when the artillery of France, levelled with the precision of the most déadly scíence, played upon them; when her légions, incited by the voice, inspired by the example of their mighty leader, rushed again and again to the contest;-tèll me if, for an înstant, when to hesitate for an instant was to be lõst, the "aliens" blânched? Median stress. 2. Up with my banner on the wall,— Terminal stress. 3. Go home, if you dàre,-go home, if you càn, to your constituents, and tell them that you voted it down! Meet, if you dare, the appalling countenances of those who sent you here, and tell them that you shrank from the declaration of your own sèntiments- that, you cannot tell hów, but that some unknown dread, some indescribable apprehènsion, some indefinable dànger, affrighted you that the spectres of cîmeters, and crowns, and crêscents gleamed before you, and alarmed you; and that you suppressed all the noble feelings prompted by religion, by liberty, by national independence, and by humanity! (See, also, §§ 211-214, 218, 219, especially § 215.) 112. Effusive Form (interchanging with expulsive). This is soft smooth force. In it we have predominating median stress, a high or moderately high key, greatly varied concrete (§ 87) melody, and pure, though sometimes orotund quality. It is used for gay, light, lively, uncontrolled moods, that are gently agitated by experiences pleasurable or beautiful, as in exuberant humor, playful irony, banter, delight, exultation. 1. Oh, then, I see, Queen Mâb hath been with you. 2. You talk of pride! Oh! that you could turn your eyes toward the napes of your nêcks, and make but an interior survey of your good sêlves! 3. Away, away! for the stars are forth. And on the pure snows of the valley, 4. Hear the sledges with the bells, silver bells — What a world of mèrriment their melody foretells! How they tinkle, tinkle, tinkle, in the icy air of night! While the stars that oversprinkle all the heavens, seem to twinkle With a crystalline delight Keeping time, time, time, in a sort of runic rhyme, 113. Natural Force seems to be the most appropriate term by which to designate that large number of passages in which the tones, strictly speaking, are neither Sustained nor Suppressed, but in a condition between the two. Natural Force may also be given in three different forms. 114. Explosive Form (interchanging with expulsive). This is loud abrupt, commonly called vehement force (§§ 210-215). In it we have predominating initial, terminal and compound stress, and a comparatively low key, with orotund, aspirate and guttural quality. It passes easily and often into sustained force (example 2), when the indignation which it chiefly expresses is overbalanced by a consideration of the importance or grandeur of the subject. For additional illustrations of its use see §§ 211-215. 1. I do not rise to waste the night in wôrds; Let that plebêian talk; 'tis not mỹ trâde; In the following, natural force becomes sustained: 2. These abominable prínciples, and this more abóminable avówal of them, demánd the most decísive indignàtion. I call upon that ríght réverend and this most léarned Bénch to vindicate the relígion of their Gòd, —to defènd and support the justice of their country. I call upon the bishops to interpóse the unsúllied sanctity of their lawn, upon the judges to interpose the púrity of their èrmine, to save us from this pollution. 115. Expulsive Form (interchanging with explosive). This is loud smooth, ordinarily called earnest, force (classified as animated, §§ 216-219). In it we have predominating terminal, with some initial and median stress, a medium key, and pure or orotund quality. It passes often and easily into sustained force, when from merely serious and strong sentiments it passes to grand ones. For illustrations of its use see §§ 216-219, and poetry marked expulsive in §§ 221-225. You can mould opinion, you can create political power; you cannot think a good thought on this subject and communicate it to your neighbor, you cannot make these points topics of discussion in your social circles and more general meetings, without affecting, sensibly and speedily, the course which the government of your coûntry will pursue. 116. Effusive Form. This is soft smooth, ordinarily called moderate, force. It is used with all kinds of stress, a medium key, and pure quality, whenever there is no appearance of an effort to suppress the utterance. It characterizes ordinary, unimpassioned statements or descriptions (see § 226). Now comes the autumn of life-the season of the “ sere and yellow leaf." The suppleness and mobility of the limbs diminish, the senses are less acute, and the impressions of external objects are less remarked. The fibres of the body grow more rigid; the emotions of the mind are |