The guttural, or throat, quality is the harsh, grating, rasping utterance to which the voice tends in the expression of hatred, contempt, revenge, and loathing. It is often combined with aspirated quality in the expression of extreme impatience or disgust, intense rage, and extreme contempt.

Oh, that the slave had forty thousand lives,
My great revenge had stomach for them all.

You shall die, base dog! and that before
Yon cloud has passed over the sun!

Signior Antonio, many a time and óft,
On the Rialto you have rated me
About my moneys and my úsances;

Still have I bórne it with a patient shrúg,
For sufferance is the badge of all our tribe:
You call me misbeliever, cût-throat, dôg,
And spit upon my Jewish gàberdine,

And all for use of that which is mine dwn.
Well, then, it now appears, you need mý help.
Go to, thèn; you come to me, and you say,
"Shylock, we would have moneys;" you say sò;
You, that did void your rheum upon my beard,
And foot me as you spurn a stranger cur
Over your threshold; môneys is your sùit.
What should I say to you? Should I not say,
"Hath a dog money? is it possible

A cur can lend thrée thousand dúcats?" or
Shall I bend low, and in a bondman's key,
With bated breath, and whispering humbleness,

Say this:

Fair sír, you spát on me on Wednesday lást;
You spurned me such a day; another time
You called me-dog; and for these courtesies
I'll lend you thus much-mòneys."

V. THE FALSETTO.

The falsetto is the thin, sharp, high-pitched tone produced when the voice breaks, or gets above its natural compass. It is used by men when they imitate the voices of women and children. It is the tone suitable for the expression of old age, sickness, feebleness, pain, and helpless terror.

1. "My child! my child!" with sobs and tears,
She shrieked upon his callous ears.

2. Billy—where are you, Billy, I say? Come, Billy, come home to your best of mothers!"

3. And even Tiny Tim, excited by the two young Cratchits, beat on the table with the handle of his knife, and feebly cried, "Hurrah!"

4. Mr. Orator Puff had two tones in his voice,

The one squeaking thus, and the other down so; In each sentence he uttered he gave you your choice; For one half was B alt, and the rest G below. Oh! oh! Orator Puff,

One voice for an orator's surely enough!

"Oh! save!" he exclaimed, in his he-and-she tones, "Help me out! help me out! I have broken my bones!" "Help you out!" said a stranger, who passed, "what a bother!

Why, there's two of you there; can't you help one another?"

Oh! oh! Orator Puff,

One voice for an orator's surely enough!

When the voice slides through the interval of a semitone only, it gives the plaintive tones expressive of sadness, grief, or pathetic entreaty. If the inflection runs through the interval of a tone and a half—a minor third in music—it becomes more plaintive, and marks a stronger degree of pathos or sadness; and when the inflection extends into the minor fifth, it denotes still stronger pathetic feeling.

The semitone, then, is the plaintive tone in reading, corresponding to the minor key in music. It should be used delicately, for, in excess, it runs into the whine, or becomes the affectation of cant.

SEMITONE DRILL.

1. Sound the vocals, ā, ē, ī, ō, ū, three times, on the interval between C and C sharp; then on the minor third; then on the minor fifth.

2. Count from one to twenty on the same notes as above.

EXAMPLES OF SEMITONE.

1. O come in life, or come in death,

O lost my love, Elizabeth.

2. For I am poor and miserably old.

3. How many hired servants of my father's have bread enough and to spare, and I perish with hunger! I will arise and go to my father and will say to him,

"Father, I have sinned against heaven and before thee, and am no more worthy to be called thy son: make me as one of thy hired servants!"

4. MY CHILD.

I can not make him dead!
His fair sunshiny head

Is ever bounding round my study chàir;
Yet, when my eyes, now dim

With tears, I turn to him,

The vision vánishes, he is not there!

I walk my parlor floor,

And, through the open door,
I hear a footfall on the chamber stàir;
I'm stepping toward the hall

To give the boy a cáll;

And then bethink me that he is not there!

5. HIAWATHA.

O the long and dreary Winter!

O the cold and cruel Winter!

Ever thicker, thicker, thicker
Froze the ice on lake and river;
Ever deeper, deeper, deeper

Fell the snow o'er all the landscape,
Fell the covering snow, and drifted
Through the forest, round the village.
O the famine and the fever!
O the wasting of the famine!
O the blasting of the fever!
O the wailing of the children!
O the anguish of the women!

All the earth was sick and famished;
Hungry was the air around them,

Hungry was the sky above them,

PIERPONT.

And the hungry stars in heaven

Like the eyes of wolves glared at them!

"Give your children food, O Father!
Give us food, or we must perish!
Give me food for Minnehaha,
For my dying Minnehaha!"
Through the far-resounding forest,
Through the forest vast and vacant
Rang that cry of desolation;
But there came no other answer
Than the echo of his crying,
Than the echo of the woodlands,
66 Minnehaha! Minnehaha!"

6. BABIE BELL.

It came upon us by degrees,

We saw its shadow ere it fell,
The knowledge that our God had sent
His messenger for Babie Bell.

LONGFELLOW.

We shuddered with unlanguaged pain, And all our thoughts ran into tears, Like sunshine into rain.

We cried aloud in our belief,
"Oh, smite us gently, gently, God!
Teach us to bend and kiss the rod,

And perfect grow through grief."
Ah, how we loved her, God can tell;
Her heart was folded deep in ours;
Our hearts are broken, Babie Bell.

7. MACBETH.

To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death.

ALDRICH

SHAKESPEARE.