Wakes with his God!" THE PAUPER'S DEATH-BED. - Mrs. Southey. Expulsive Orotund. Expulsive orotund appropriately belongs to earnest and vehement declamation, to impassioned emotion—and therefore to any language uttered in the form of shouting. Examples. "Sink or swim, live or die, survive or perish, I give my hand and my heart to this vote! It is true, indeed, that, in the beginning, we aimed not at independence. But there is a Divinity which shapes our ends. The injustice of England has driven us to arms; and, blinded to her own interest for our good, she has obstinately persisted, till independence is now within our grasp. We have but to reach forth to it, and it is ours. Why, then, should we defer the Declaration? Is any man so weak as now to hope for a reconciliation with England, which shall leave either safety to the country and its liberties, or safety to his own life, and his own honor? Are not you, Sir, who sit in that chair, is not he, our venerable colleague near you,—are not both already proscribed and predestined objects of punishment and of vengeance? Cut off from all hope of royal clemency, what are you, what can you be, while the power of England remains, but outlaws?" -- Supposed SPEECH OF JOHN ADAMS.— Webster. "The war is actually begun! The next gale that sweeps from the North will bring to our ear the sound of clashing arms! Our brethren are already in the field! Why stand we here idle? What is it that Gentlemen wish? What would they have? Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take; but as for me, give me liberty, or give me death!" Patrick Henry. "Ye crags and peaks, I'm with you once again! I hold to you the hands you first beheld, To show they are still free. Methinks I hear A spirit in your echoes answer me, And bid your tenant welcome to his home How high you lift your heads into the sky! How huge you are! how mighty, and how free! Ye are the things that tower, that shine,-whose smile I'm with you once again! - I call to you - To show they are still free. I rush to you As though I could embrace you!" "I scorn you that ye wail, Who use your petty griefs for pedestals Of what ye were forsooth, and what ye are; "For, O ye heavens, ye are my witnesses, 6 Lucifer-soft as Michael!' While serene White angels in your niches, I repent,— I cry cry dashing out the hands of wail, And exultation of a woe sustained Because provoked and chosen.” Lucifer's Curse, in DRAMA OF EXILE.-Mrs. Browning. Explosive Orotund. Explosive orotund is the language of intense passion: it is heard when the violence of emotion is beyond the control of the will, evidencing a sudden ecstasy of terror, anger, or any other form of overpowering excitement. Being heard only in the extremes of abrupt emotion, it admits of no gradations. Examples. "Arm! Arm! it is-it is-the cannon's opening roar !" CHILDE HAROLD.- Byron. "Liberty! Freedom! Tyranny is dead! - Run hence! proclaim, cry it about the streets!" Cinna, in JULIUS CESAR. "Some to the common pulpits! and cry out Liberty, freedom, and enfranchisement!". - Cassius. Ibid. "Up! comrades up!-in Rokeby's halls Ne'er be it said our courage falls!" - ROKEBY.- Scott. "Now Spirits of the Brave, who roam "I tore them from their bonds; and cried aloud, Constance, in KING JOHN. "I am not mad. I would to heaven I were! For then 't is like I should forget myself; O, if I could, what grief should I forget!"— Ibid. "Alas, what need you be so boisterous-rough? I will not struggle, I will stand stone-still. I will not stir, nor wince, nor speak a word, Thrust but these men away, and I'll forgive you, Arthur, in KING JOHN. To arms! they come! the Greek! the Greek!' Strike for the green graves of your sires; God, and your native land!" MARCO BOZZARIS. - Fitz Greene Halleck. ASPIRATION. Aspiration is used in the absence of vocal sound; it is an expulsion of the breath, more or less strong, the words being spoken in a whisper. It may be applied to syllables of every variety of time, to all modes of stress, and to all intervals of intonation. Its use is to unite with the other functions of the voice, to give increased intensity to the utterance of the various emotions. It gives an air of mystery; it expresses excessive earnestness, contempt, scorn, rage, wonder, incomprehensibility. In connection with the semitone, it gives intensity to the plaintiveness of distress; and when the tremulous movement is superadded to the aspirated semitone, it will mark the deepest shade of sadness and grief within the limits of crying. Examples. "The red rose cries, She is near, she is near;' And the white rose weeps, She is late;' The larkspur listens, I hear, I hear;' And the lily whispers, I wait." Garden Song, in MAUD. - Tennyson. "Ah! then and there was hurrying to and fro, "And there was mounting in hot haste: the steed And swiftly forming in the ranks of war; |