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8.

Clasping the standard to his heart,

He raised one dying peal,

That rang as if a trumpet blew,—

'Olea for Castile!'

-George H. Boker-Count Candespina's Standard.

What's he that wishes so?

My cousin Westmoreland? No, my fair cousin:
If we are marked to die, we are enow

To do our country loss; and if to live,

The fewer men, the greater share of honor.

God's will! I pray thee, wish not one man more.
By Jove, I am not covetous of gold;

Nor care I who doth feed upon my cost;

It yearns me not if men my garments wear;
Such outward things dwell not in my desires:
But, if it be a sin to covet honor,

I am the most offending soul alive.

No, 'faith, my coz, wish not a man from England:
God's peace! I would not lose so great an honor
As one man more, methinks, would share from me,
For the best hope I have. O, do not wish one more!
Rather proclaim it, Westmoreland, through my host,
That he that hath no stomach for this fight,
Let him depart; his passport shall be made,
And crowns for convoy put into his purse:
We would not die in that man's company
That fears his fellowship to die with us.
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand o' tiptoe when this day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbors,
And say, 'To-morrow is Saint Crispian.'

Then will he strip his sleeve, and show his scars,
And say, 'These wounds I had on Crispin's day.'
Old men forget; yet all shall be forgot,

But he'll remember, with advantages,

What feats he did that day. Then shall our names,

Familiar in his mouth as household words,-
Harry the King, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloster,
Be in their flowing cups freshly remembered.
This story shall the good man teach his son,
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remembered;
We few, we happy few, we band of brothers:
For he, to-day that sheds his blood with me,
Shall be my brother: be he ne'er so vile,

This day shall gentle his condition:

And gentlemen in England, now abed,

Shall think themselves accursed they were not here,
And hold their manhoods cheap, whiles any speaks
That fought with us upon Saint Crispin's day.

-Shakespeare-King Henry V.

TREMOR; TREMULOUS, OR INTERMITTENT STRESS.

Tremor is a rapid wavering, or trembling, pitch variation of the voice, pervading the syllabic concrete; which, although it strikes the ear as a syllabic unit, is made up of minute points, or tittles, each a concrete, rippling out in close succession. Tremor is not in reality a distinct and independent stress, but a collateral or auxiliary form, heard in association with the other stresses, added to, blending with, and coloring them; so that we have Median Stress, with Tremor; Final Stress, with Tremor, etc.

Tremor is a sign of weakness, abandon, and lack of control, whether caused by pain, exhaustion, sickness, or age; or by excess of emotion, as of joy, anger, grief, anxiety, longing, fondness, etc.

The ordinary Tremor is produced by rapid alterations in the tension of the vocal bands. The shuddering, shivering Tremor of horror, disgust, and physical cold, is due to the spasmodic action of the diaphragm, in addition to the action of the bands.

Each tremulous impulse, or tittle, is a brief concrete, having its own radical and vanish, and its own rising or falling inflection.

If the concrete and discrete movements of the tittles are upon minor intervals, the plaintive Tremor of weeping, sorrow, sympathy, or penitence is heard; if the interval of the tittles is diatonic, we hear the mirthless suggestion or mockery of a laugh; and if the concretes have the interval of third, fourth, or fifth, and the syllabic units are separated by the discrete interval of second or wider major step, we hear the laughing Tremor of gaiety, banter, joy, triumph, pleasure, glee, or delight.

The radical pitch succession of the tremor tittles, as united in the syllabic impulse, produces the syllabic inflections that belong to speech,-slides and waves, rising and falling.

1.

EXAMPLES OF TREMOR.

Final and Median Stress, with Plaintive Tremor.

2.

Ah! then and there was hurrying to and fro,
And gathering tears, and tremblings of distress,
And cheeks all pale, which, but an hour ago,
Blushed at the praise of their own loveliness.
And there were sudden partings, such as press
The life from out young hearts, and choking sighs
Which ne'er might be repeated: who could guess,
If ever more should meet those mutual eyes,
Since upon night so sweet such awful morn could rise?
-Byron-Childe Harold.

Bright Radical and Springing Median Stress, with Joyous Tremor.

Last, came Joy's ecstatic trial.

He, with viny crown, advancing,

First to the lively pipe his hand addressed;
But soon he saw the brisk, awakening viol,

Whose sweet, entrancing voice he loved the best.
They would have thought, who heard the strain,
They saw, in Tempe's vale, her native maids,
Amid the festal-sounding shades,

To some unwearied minstrel dancing;
While, as his flying fingers kissed the strings,
Love framed with Mirth a gay, fantastic round
(Loose were her tresses seen, her zone unbound);
And he, amid his frolic play,

As if he would the charming air repay,
Shook thousand odors from his dewy wings!
-Collins-Ode on the Passions.

3.

Idem.

4.

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With the blue crystal at your lip!

O happy crew!

My heart with you

Sails and sails, and sings anew!

T. Buchanan Read-Drifting.

Idem. Laughing Utterance at intervals.

Oh! then I see!-Queen Mab hath been with you!

She comes,

In shape no bigger than an agate stone

On the forefinger of an alderman,

Drawn by a team of little atomies,

Over men's noses, as they lie asleep:

Her wagon-spokes made of long spinners' legs;

The cover, of the wings of grasshoppers;

The traces, of the smallest spider's web;

5.

The collar, of the moonshine's watery beams;
Her whip, of cricket's bone; her lash, of film;
Her wagoner, a small, gray-coated gnat.
Her chariot is an empty hazel-nut,
Made by the joiner squirrel, or old grub,
Time out o' mind the fairies' coachmakers.

And in this state, she gallops, night by night,

Through lovers' brains, and then they dream of love:
O'er courtiers' knees, who dream on courtesies straight:
O'er lawyers' fingers, who straight dream on fees:
O'er ladies' lips, who straight on kisses dream:
Sometime she gallops o'er a courtier's nose,
And then dreams he of smelling out a suit:
And sometime comes she with a tithe-pig's tail,
Tickling a parson's nose, as 'a lies asleep;
Then dreams he of another benefice.
Sometime she driveth o'er a soldier's neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five fathom deep; and then anon
Drums in his ear,-at which he starts, and wakes;
And, being thus frighted, swears a prayer or two,
And sleeps again.

-Shakespeare-Romeo and Juliet.

Dark Orotund and Oral Qualities; Chromatic Inflection and Melody; Strong Tremor of Grief.

Alas! my noble boy! that thou shouldst die!
Thou who wert made so beautifully fair!
That Death should settle in that glorious eye,
And leave his stillness in this clustering hair!
How could he mark thee for the silent tomb,
My proud boy, Absalom?

Cold is thy brow, my son, and I am chill,

As to my bosom I have tried to press thee.

How was I wont to feel my pulses thrill

Like a rich harp-string, yearning to caress thee,
And hear thy sweet 'My father!' from these dumb
And cold lips, Absalom.

-N. P. Willis-Absalom.

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