MAN. No, none at all.

CHRISTIAN. Why, the Son of the Blessed is very pitiful.

MAN. I have crucified him to myself afresh; I have despised his person; I have despised his righteousness; I have counted his blood an unholy thing; I have done despite to the spirit of grace: therefore I shut myself out of all the promises, and there now remains to me nothing but threatenings, dreadful threatenings, fearful threatenings, of certain judgment and fiery indignation which shall devour me as an adversary.

CHRISTIAN. For what did you bring yourself into this condition?

MAN. For the lusts, pleasures, and profits of this world, in the enjoyment of which I did then promise myself much delight; but now every one of those things also bites me and gnaws me like a burning

worm.

CHRISTIAN. But canst thou not now repent and turn?

MAN. God hath denied me repentance. His word gives me no encouragement to believe; yea, himself hath shut me up in this iron cage, nor can all the men in the world let me out! O Eternity! Eternity! How shall I grapple with the misery that I must meet with in eternity? Then said the Interpreter to Christian, "Let this man's misery be remembered by thee, and be an everlasting caution to thee."

'Well," said Christian, "this is fearful! God help me to watch and be sober, and to pray that I may shun the cause of this man's misery." BUNYAN.

SURPRISE is usually loud, high, quick and slow alternately, aspirated, of expulsive initial stress, small volume, long slides. Thus Horatio tells Hamlet of the apparition of the latter's deceased father :—

HOR. My lord, I think I saw him yesternight.

HAM. Saw! Who?

HOR. My lord, the king, your father.

HAM. The king, my father?

For God's love, let me hear!

But where was this?

HOR. My lord, upon the platform where we watched.

HAM. Did you not speak to it?

HOR.

HAM. 'Tis very strange.

My lord, I did.

HOR. As I do live, my honored lord, 't is true;

And we did think it writ down in our duty

To let you know of it.

HAM. Indeed, indeed, sirs, but this troubles me.
Hold you the watch to-night?

HOR. We do, my lord.

HAM. Armed, say you?

HOR. Armed, my lord.

SHAKESPEARE.

WONDER is usually of moderate force, sometimes loud; moderate pitch; irregular movement, slow and sometimes quick; aspirated quality, sometimes nearly pure; expulsive initial stress; long slides; small volume, sometimes moderate or large, it being more or less proportioned to the supposed magnitude of the thing wondered at. Thus Alonzo, Gonzalo, Sebastian, Antonio, and others, hearing supernatural music and seeing unearthly shapes, express their amazement :

ALON. What harmony is this? My good friends, hark!
GON. Marvellous sweet music!

ALON. Give us kind keepers, Heavens! What were these?
SEBAS. A living drollery! Now I will believe

That there are unicorns; that in Arabia

There is one tree, the phoenix' throne; one phoenix
At this hour reigning there.

ANT.

I'll believe both;

And what does else want credit, come to me,
And I'll be sworn 't is true.

SHAKESPEARE.

The foregoing quotations afford tolerable illustrations of the different emotions considered separately. Oftener, however, the feelings are more or less mingled. In such cases the resulting vocal expression may partake of the leading characteristics of all. Usually one ingredient predominates, and this will give the chief tone or color to the compound. (See on this subject Professor Mark Bailey's remarks in his introductory treatise in Hillard's Sixth Reader, pages lxxiv, lxxv; also his admirable analysis on pages lxxv-lxxix of the same.) From the foregoing we deduce the following directions for elocutionary analysis :

1. Ascertain the prevailing tone or spirit of the piece, and adhere to it, adapting the elements of vocal expression to it wherever you perceive no cause for deviation.

2. Ascertain the deviations from the general character of the piece, and adapt the elements of vocal expression to the spirit. of the individual sentences and words. Be careful, where mental states or acts are blended, to give each its due representation.

We subjoin for illustration the following commencement of an examination of the stanzas preliminary to Milton's "Hymn on the Morning of Christ's Nativity," as showing a method of elocutionary analysis. (See "Masterpieces in English Literature," 1st volume, pp. 192, 193.)

This is the month, and this the happy morn,
Wherein the Son of Heaven's Eternal King,
Of wedded Maid and Virgin Mother born,
Our great redemption from above did bring;
For so the holy sages once did sing,

That he our deadly forfeit should release,
And with his Father work us a perpetual peace.

That glorious form, that light insufferable,
And that far-beaming blaze of majesty,

Wherewith he wont at Heaven's high council-table
To sit the midst of Trinal Unity,

He laid aside; and here, with us to be,

Forsook the courts of everlasting day,

And chose with us a darksome house of mortal clay.

Hast thou no verse, no hymn, or solemn strain,

To welcome him to this his new abode,

Now, while the heaven, by the sun's team untrod,

Hath took no print of the approaching light,

And all the spangled host keep watch in squadrons bright?

See how, from far, upon the eastern road,
The star-led wizards haste with odors sweet!
O, run, prevent them with thy humble ode,
And lay it lowly at his blessed feet!

Have thou the honor first thy Lord to greet,

And join thy voice unto the angel choir

From out his secret altar touched with hallowed fire!

The prevailing tone of this piece is serious. Hence it must, for the most part, be read with moderate force, somewhat slowly, in a rather low pitch, with slightly median stress, pure quality, moderate volume, and moderate slides.

The first stanza, beginning, "This is the month," has joy as well as seriousness. Joy predominates. Hence it should be read with rather loud force, rather brisk movement, rather high pitch, very pure quality, rather full volume, decided median stress, rather long slides.

The next stanza, beginning, "That glorious form," has, in the first four lines, deep admiration blending equally reverence and love. Hence those lines should be read with moderate force, moderate pitch, rather slow movement, very pure quality, rather large volume, full median stress, moderate slides.

The next three lines, beginning, “He laid aside,” have tenderness combined with reverence; tenderness preponderating in the first two, and reverence in the last. Hence to be read with slight force, slow movement, moderate pitch, median stress, very pure quality, moderate volume, short slides. Read it aloud. Proceed in this manner with the analysis of every stanza.

The voice is the most perfect expression of the soul. Sweetness, purity, integrity, earnestness, delicacy, - these, in the lapse of time and with judicious training of the vocal organs, will come to characterize spontaneously the commonest utterance of their possessor, and impart a charm that mere art can never attain. There have been elocutionists that have labored in vain for scores of years to perfect their voices.

In their public efforts they may have been apparently successful; yet in the unguarded moments of conversation, there has often been a marked and painful lack of these outward signs of inward beauty. So true is the maxim of the ancient rhetoricians, "None but a good man can be a perfect orator."

GESTURE IN ELOCUTION.

BEFORE proceeding to treat specifically of gesture, it seems appropriate to say a word of attitude and of facial expression.

A stooping form, with round shoulders and sunken chest, conveys the impression of weakness, discouragement, cowardice, or excessive humility. Such a posture may be appropriate enough in some circumstances; as in uttering the following: -

Pity the sorrows of a poor old man,

Whose trembling limbs have brought him to your door;
Whose days are dwindled to the shortest span.

O, give relief, and Heaven will bless your store.