O and proudly stood she up! Her heart within her did not fail: He laugh'd a laugh of merry scorn: He turn'd and kiss'd her where she stood: "If you are not the heiress born, And I," said he, "the next in blood,— "If you are not the heiress born, And I," said he, "the lawful heir, We two will wed to-morrow morn, 2. Waves. A Wave is the union of two or more concretes. An Inflection which rises and falls with one continuous impulse forms a Wave, and the extent of this continuity marks its vitality, hence it belongs to the Vital division. There are several varieties of Waves, designated according to (1) the Number, (2) the Length, and (3) the Direction of the slides. The relation of the kinds of Waves to the Triune Nature is as follows: (1) As to Number, showing the continuance of vitality, there are three: Single, composed of one upward and one downward slide; Double, having three slides; and Continued, having more than three slides. All these are here illustrated in the Expulsive Form and Radical Stress, and are used merely to extend the quantity of an Inflection without overstepping the Degree of Pitch the sentiment demands. m N V ~ ՈՍ Аа W O, he's returned; and as pleasant as ever he was. (2) As to Length, there are two kinds of Waves: Equal, in which the Wave begins and ends on the same Degree of Pitch, expressing pleasurable, happy thoughts; and Unequal, in which the slides up and down are of unequal length, conveying disagreeable or ironical motives. Evidently the Equal and Unequal Waves represent the Emotive Nature. a. Equal Wave. When N V W W When can their glory fade? O, the wild charge they made! b. Unequal Wave. ก Has the gentleman done? Has he completely done? (3) As to Direction there are two varieties: Direct, which ends in a falling slide and is therefore conclusive in significance; and Inverted, which ends in an upward slide and is anticipative in meaning; both of which belong to the Mental division. a. Direct Wave. AAU ก Ben Hur turned the first goal, and the race was won. I'm sure I'm not more extravagant than a woman ought to be. vile Dare you think me capable of so vile a deed? (4) Vocal Culture of Waves. Give ē, oo, ä, and flee, do, arm, in a. A single, equal, direct wave. b. A single, equal, inverted wave. c. A single, unequal, direct wave. d. A single, unequal, inverted wave. e. A double, equal, direct wave. f. A double, equal, inverted wave. g. A double, unequal, direct wave. Selection for all kinds of Waves. NOTE. Waves may very properly be employed in the utterance of the underscored words in the following selection. The kinds of Waves to be used may be inferred from the discussion of the subject above. WIT AND REPARTEE OF BENEDICK AND BEATRICE, FROM "MUCH ADO ABOUT NOTHING" WILLIAM SHAKESPEARE Beatrice. I wonder that you will still be talking, Signior Benedick: nobody marks you. Benedick. What, my dear Lady Disdain! are you yet living? Beat. Is it possible disdain should die while she hath such meet food to feed it as Signior Benedick? Courtesy itself must convert to disdain, if you come in her presence. Bene. Then is courtesy a turncoat. But it is certain I am loved of all ladies, only you excepted: and I would I could find in my heart that I had not hard heart; for, truly, I love none. Beat. A dear happiness to women: they would else have been troubled with a pernicious suitor. I thank God and my cold blood, I am of your humour for that: I had rather hear my dog bark at a crow than a man swear he loves me. Bene. God keep your ladyship still in that mind! so some gentleman or other shall 'scape a predestinate scratched face. Beat. Scratching could not make it worse, an 'twere such a face as yours. Bene. Well, you are a rare parrot-teacher. Beat. A bird of my tongue is better than a beast of yours. Bene. I would my horse had the speed of your tongue, and so good a continuer. But keep your way, i' God's name; I have done. Beat. Will you not tell me who told you so? Bene. No, you shall pardon me. Beat. Nor will you not tell me who you are? Beat. That I was disdainful, and that I had my good wit out of the "Hundred Merry Tales": well, this was Signior Benedick that said so. Bene. What's he? Beat. I am sure you know him well enough. Bene. Not I, believe me. Beat. Did he never make you laugh? Bene. I pray you, what is he? Beat. Why, he is the prince's jester: a very dull fool; his only gift is in devising impossible slanders: none but libertines delight in him; and the commendation is not in his wit, but in his villainy; for he both pleases men and angers them, and then they laugh at him and beat him. I am sure he is in the fleet: I would he had boarded me. Bene. When I know the gentleman, I'll tell him what you say. Beat. Do, do: he'll but break a comparison or two on me; which, peradventure not mark'd or not laughed at, strikes him into melancholy; and then there's a partridge wing saved, for the fool will eat no supper that night. [Music.] We must follow the leaders. Bene. In every good thing. Beat. Nay, if they lead to any ill, I will leave them at the next turning. 3. Intervals. By Interval of Pitch is meant the distance between two points on the scale. It is the measure of the space covered by a note of speech whose Pitch value is ascertained, not by the time given to the note, but by the portion of the compass over which it passes. As the length of the Inflection used gives emotional coloring to the utterance, and as the Intervals vary with the intensity and character of the emotion, it is clear that this division of Pitch is responsive to the Emotive nature. the Semitone, There are five relative Intervals of Pitch, the Second, the Third, the Fifth, and the Octave. These are the intervals on the musical scale held by musicians to be the most agreeable and satisfying to the ear, and which are found to be used with hardly less uniformity by the skilled speaker. The blendings and shadings of these Intervals is one of the |