The clear blue eyes, the tender smile,
The sovereign sweetness, the gentle grace,
The woman's soul and the angel's face,

That are beaming on me all the while!

Orotund, high.

2. O joy to the people, and joy to the throne,
Còme to us, love us, and make us your own:
For Saxon or Dáne or Nórman wé,
Téuton or Cèlt, or whatéver we bé,

We are each àll Dàne in our welcome of thee,
Alexandra!

Idem, moderately high.

3. Oh! sing unto the Lord a new song; for he hath done marvellous things: his right hand and his holy arm hath gotten him the victory. Make a joyful noise unto the Lord, all the earth: make a loud noise, and rejoice, and sing praise. Sing unto the Lord with the harp; with the härp, and the voice of a psàlm.

Idem, low.

4. Of old hast thou laid the foundation of the earth; and the heavens are the wórk of thy hands. They shall pèrish, but thòu shalt endùre; yea, all of them shall wax òld like a garment; as a vèsture shalt thou change them, and they shall be changed: but thou art the same, and thy years shall have no end.

Idem, moderately high.

5. Oh divine, oh delightful legacy of a spotless reputa tion! Can there be conceived a more atrocious injury than to filch from its possessor this inestimable benefit; to rob society of its charm, and solitude of its solace; not only to outlaw life, but to attaint death, converting the very grave, the refuge of the sufferer, into the gate of infamy and of shame?

See, also, § 92: c; §§ 95, 108, 112, 218, 219, 222–225.

a. This stress corresponds to the swell in music, and characterizes successive words as well as single ones, giving to whole passages a gliding and graceful as distinguished from an abrupt and harsh effect. It is especially adapted for an address to the sympathies, but used too exclusively it may lead to what is termed mouthing. The monotonous chanting effect, sometimes called the pious tone, results largely from a habit of using a long loud median in cases

where terminal stress would be appropriate. In emphatic passages one should be careful to stop the sound when at its loudest."

103. Compound Stress, beginning like Initial and ending like Terminal ; and sometimes, in passages characterized by Terminal Stress, both beginning and ending like Terminal <<; and in each form beginning loud and ending loud, with its softest part in the middle, is used in its first form, X, for a combination of the ideas conveyed by Initial and Terminal Stress; i. e. when one wishes both to express and to impress his thoughts, also for vehement determination, or demonstrative astonishment or horror. In both of its forms it is used wherever there are long emphatic, especially circumflex, slides, both the beginning and the end of which it seems important to bring out with distinctness; therefore, usually upon words. expressing comparisons and contrasts, especially on those expressing irony, sarcasm and contemptuous mockery.

In the following extracts the Compound Stress falls on the words in italics.

Slightly aspirated orotund, sustained force.

1. Are you really prepared to determine, but not to hear, the mighty cause upon which hang a nation's hopes and fears? You are? Then beware of your decision! By all you hold most dèar,- by all the ties that bind every one of us to our common order and our common country, I solemnly adjùre you,-I warn you,-I implore you,-yea, on my bended knèes I supplicate you,―reject not this bill!

Idem.

2. You blocks, you stones, you worse than senseless things!
O you hard hearts! you cruel men of Rome!
Know you not Pómpey? many a tíme and óft
Have you climbed up to walls and battlements,
To towers and windows, yea to chimney-tops,
Your infants in your arms, and thére have săt
The livelong day with patient expectation,
To see great Pompey pass the streets of Rome;
And do you now put on your best attíre?
And do you now cull out a holiday?
And do you now strew flowers in his way
That comes to triumph over Pompey's blood?
Begone

Pure, high, sustained force, varied melody.

3.

66

The birds can fly, an' why can't I?

Must we give in," says he with a grin,

"That the bluebird an' phéebe are smarter'n we be?”

Pure, high, varied melody.

4. The meaning of Meek she never knew,

Idem.

But imagined the phrase had something to do
With "Moses," a peddling German Jew,
Who, like âll hawkers, the country through
Was a person of no position:

And it seemed to her exceedingly plain,
If the word was really known to pertain
To a vulgar German, it wasn't germāne,
To a lady of high condition!

5. Fal. I call thee coward! I'll see thee hanged ere I call thee coward; but I would give a thousand pound I could run as fast as thou canst. You are straight enough in the shoulders; you care not who sees your back. Call you that backing of your friends? A plague upon sûch backing!

Medium pitch, orotund and guttural.

6. What's banished, but set free

From daily contact of the things I loathe?

"Tried and convicted trăitor! who says this?
Who'll prove it, at his pêril, on my head?

Bánished? I thank you for't!

It breaks my chain!

I held some slack allègiance till this hour,—
But now my sword's my ôwn.

See, also, §§ 211, 212, 213.

a. This stress is especially effective on a long slide made on a single syllable that ends a word; e. g. I supplicate you, I implore you.

The syllables that follow the inflection on supplicate prevent our using the Compound Stress on that (see § 45: b, c). It will be noticed, also, that the same principle sometimes prevents our using Compound Stress even where we have the circumflex (§ 45: c).

b. Used excessively, Compound Stress makes delivery seem sometimes snappish, and sometimes overdone, in the matter of emphasis.

104. Thorough Stress, a strong stress throughout the syllable, is sometimes described as a combination of Initial, Median and Terminal X, but, as given by a flexible

cultivated voice, it perhaps might better be described as a very strong form of Median Stress. In either case, it would begin and end loud, and indicate a combination of the ideas conveyed by Initial, Median and Terminal; i. e. positiveness, push and feeling, all together; therefore, rapturous triumph, vehement appeal, lofty command, indignant disdain or soul-stirring agony.

Moderately high aspirated orotund.

1.

The world recedes; it disappears!

Heaven opens on my eyes! my éars
With sounds seràphic ring:

Lènd, lend your wings! I mount! I fly!
O grave! whère is thy victory?

O death! where is thy sting?

High orotund, explosive sustained force.

2. Cheer answer chéer, and bear the cheer abòut.
Hurràh, hurràh, for the fiery fort is ours!
"Victory, victory, victory!"

Idem.

3. Forward, through blood and toil and cloud and fìre!
Glorious the shout, the shock, the crash of steel,
The volley's roll, the rocket's blasting spire!

They shake; like broken wàves their squares retire.
On them, hussars! Now give them rèin and hèel!

Idem.

4. Some to the common pulpits! and cry out "Liberty, freedom and enfranchisement!"

Low aspirated pectoral.

5. Poison be their drink;

Gall, worse than gall, the daintiest meat they taste;
Their sweetest shade, a grove of cypress trees;
Their sweetest prospects, murdering basilisks;
Their softest touch as smart as lizard's stings,
Their music frightful as the sèrpent's hìss,
And boding screech-owls make the concert full
With the foul terrors of dark-seated Hell.

As a rule, this stress needs to be more avoided than cultivated. Except when used with discrimination, its inflexibility, devoid of the graceful and delicate tones characterizing other forms of stress, renders it a disagreeable mannerism, suggesting, when employed on the stage, rudeness and vulgarity.

105. Tremulous Stress (so called) is hardly a form of stress, but a trembling movement of the voice produced in the throat, and characterizing a whole passage rather than the emphatic words in the passage. It indicates exhaustion, whether it come from age, sickness, weakness, or an excess of emotion, either of joy or of grief.

Pure, medium pitch.

1. Pity the sorrows of a poor old màn,

Whose trembling limbs have bórne him to your door. Pure, medium pitch, moderate time.

2. If you're waking, cáll me early, cáll me early, mother dear,

For I would see the sùn rise upon the glád New Year.
It is the last New Yéar that I shall ever see,

Then you may lay me low i' the moùld, and think
no more of me.

Oratund, medium pitch.

3. Have mercy upon me, O God, according to thy lovingkindness: according unto the multitude of thy tender mèrcies, blot out my transgressions! Wash me thoroughly from mine iniquity, and cleanse me from my sin. For I acknowledge my transgressions, and my sin is ever before me. Against thee, thee only, have I sinned, and done this evil in thy sight. Hìde thy fàce from my sìns, and blot òut all mine iniquities!

High, pure, aspirated, fast.

4. You must wake and call me early, call me early, mother dear;

To-morrow 'll be the happiest time of all the glad
New Year;

Of all the glad New Year, mother, the måddest, mèr-
riest day;

For I'm to be Queen o' the Mày, mother, I'm to be
Queen o’the May.

Orotund, rather low.

5. Còld is thy brow, my son! and I am chill, as to my bósom I have tried to prèss thee! How was I wont to féel my pulses thrill like a rích hàrpstring, yearning to carèss thee, and héar thy sweet "My father!" from those dumb and cold lips, Absalom!