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with scorn, hate, affirmation, exclamation, interrogation, as desired. For the analysis of these tones the pupil is referred to the division dealing with each.

§ 1. THE OROTUND VOICE.

This is the symbol of sublimity. Longinus says, that "the mind is elevated by it (sublimity) and so sensibly affected as to swell in transport and inward pride as if what is only heard or read, were its own invention." Now this is exactly the action of the voice in expressing a sense of sublimity; it swells— that is, it increases in volume, roundness, power, at each impulse; there is no explosiveness, but a gradual increase of force on each word and we will borrow the character used in music to describe a similar effect, as the sign of the "orotund "-namely, the "crescendo" <.

The grand, the magnificent, etc., creating kindred emotions in the mind, call also for the "orotund," in giving that feeling expression; and in describing these emotions, a greater or lesser degree of the orotund is required according to the force of motive power. In practising the exercises illustrative of this principle of intonation, the pupil will use the base voice, and on the principal words in the passage give the orotund as marked; each word begins with a certain degree of force, but that force is slowly increased, and pauses in its volume (but does not decrease) after each impulse. A close acquaintance with the meanings, and shades of meaning, in words sometimes used synonymously, will be the best director in deciding the degrees of

the orotund required in different cases; that which is "great" requires a lesser degree than that which is grand; that which is simply "grand," less than the "sublime,” etc. I quote briefly from Crabbe's Synonymes as an assistance to younger pupils in discriminating the "tones" requisite: "Great simply designates extent; grand includes likewise the idea of excellence and superiority. A great undertaking characterizes only the extent of the undertaking; a grand undertaking bespeaks its superior excellence. Grand and sublime are both superior to great; but the former marks the dimension of greatness, the latter, from the Latin sublimis, designates that of height. A scene may be either grand or sublime: it is grand, as it fills the imagination with its immensity; it is sublime, as it elevates the imagination beyond the surrounding and less important objects. There is something grand in the sight of a vast army moving forward as it were by one impulse; there is something peculiarly sublime in the sight of huge mountains and craggy cliffs of ice shaped into various fantastic forms. Grand may be said either of the works of art or nature. The Egyptian pyramids or the ocean are both grand objects; a tempestuous ocean is a sublime object. 'Grand' is sometimes applied to the mind; sublime is applied both to the thoughts and the expressions. There is a 'grandeur' of conception in the writings of Milton; there is a 'sublimity' in the inspired writings, which far surpass all human productions."

As an example of the orotund see these lines from Julius Caesar, Act 1, Sc. 3:

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Here is one of many instances from "Antony and Cleopatra":

Cleo. I dream'd, there was an emperor Antony;O, such another sleep, that I might see

But such another man!

Dol. If it might please you,

Cleo. His face was as the heavens; and therein stuck

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A sun, and moon; which kept their course, and lighted The little O, the earth.

Dol. Most sovereign creature,

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Cleo. His legs bestrid the ocean: his rear'd arm

Crested the world: his voice was propertied

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As all the tuned spheres, and that to friends;

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But when he meant to quail and shake the orb,
He was as rattling thunder.

-Act 5, Sc. 3.

The psychological positives and negatives are not incompatible with this or any other intonation: the inflections, indicating the positive and negative frames of mind, merely carry the required intonation in an upward or downward direction, according to necessity. The following is from King Lear, Act 4, Sc. 5:

Edg. Come on, sir; here's the place:-stand still.—
How fearful

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And dizzy 'tis, to cast one eyes so low !

The crows and choughs, that wing the midway air,

mod.*

Shew scarce so gross-as beetles; half way

down

Hangs one that gathers samphire,-dreadful trade! Methinks, he seems no bigger-than his head:

mod.

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The fishermen, that walk upon the beach,

mod.

Appear-like mice; and yon' tall anchoring bark,

mod.

mod.

Diminish'd to her cock; her cock, a―buoy,

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Almost too small for sight: The murmuring surge, That on the unnumber'd idle pebbles chafes,

mod.

Cannot be heard so high:-I'll look no more;
Lest my brain turn, and the deficient sight
Topple down headlong.

The greater objects naturally take the orotund, the lesser a modulated tone, akin to their littleness; the great height is admirably delineated by the similitudes employed; the distances are pictured by the swell of the voice on each "subject," and its sudden fall to a much modified key on the comparisons.

Hamlet, Act 3, Sc. 1:—

"Majesty

Dies not alone, but—like a gulf doth draw
What's near it with it. It's a massy wheel

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Fixed on the summit of the highest mount;

mod.

To whose huge spokes ten thousand-lesser things
Are mortised and adjoined; which, when it falls,

* Moderate the tone.

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moderate the tone.

Each-small annexment, petty consequence,

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Attends the boist'rous ruin."

In practising this exercise, be careful to increase the volume of tone on the words marked with the "crescendo"

The following example is from Henry Kirke White:

"Yea, He doth come, the mighty champion comes,

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Whose potent spear shall give thee thy death wound, Shall crush the conqueror of conquerors,

And desolate stern desolation's lord;

Lo where He cometh ! the Messiah comes !

The King! the Comforter! the Christ! He comes To burst the bonds of death and overturn

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The power of time]."

In the following exercise the pupil will perceive an example of the "parenthesis," and also of the intonation employed in describing the beautiful-the diminuendo:

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That homage should be paid to the most High.
There is a temple,—one not made with hands-
The vaulted firmament; far in the woods,
Almost beyond the sound of city chime,
At intervals heard through the breezeless air;
When not the limberest leaf is seen to move

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(Save where the linnet lights upon the spray),

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