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thunder, rough, shriek, ripple, sigh, cackle, weary, jar, click, clash, clink, tick, clang, rumble, clatter, boom, tinkle, bang, flutter, dash, grumble, clack, growl, clap, croak, roar, hiss, shiver, chirp, rustle, twitter, patter, linger, whizz, buzz, murmur, splash, chuckle, crash.

Pope, by introducing words of this nature, artfully imitates the sound made by a bowstring in delivering

an arrow.

The string let fly,

Twang'd short and sharp like the shrill swallows cry.

In his translation of the Iliad he imitates the felling of trees thus:

Loud sounds the axe, redoubling strokes on strokes,
On all sides round the forest hurls her oaks
Headlong. Deep echoing groan the thickets brown,
Then rustling, crackling, crashing thunder down.

Pope again says,

When the tide rushes from her rumbling caves
The rough rock roars; tumultuous boil the waves.

The efforts of a dull author are thus suggested by the same poet:

Just writes to make his barreness appear,

And strains from hard-bound brains eight lines a year.

Shakespeare says very delicately of queen Mab,

She comes

In shape not bigger than agate stone....
Drawn by a team of little atomies:....
Her whip of criket bone, the lash of film.

ys again,

The shard-borne beetle with his drowsy hums
Hath rung night's yawning peal.

ffect which certain words, in the foregoing s. produce, must be attributed to their vowel onant colors. Certain sounds are expressive in emotions. Sad strains of music will affect an "ecstacy of woe" akin to that awakened by tic recitation of a pathetic poem.

an says, "There is one particular set of sounds d in groans, another in murmurs of pleasure use. It is clear that by the use of syllables or From the one set or the other, the mind of the may be affected through suggestion of the reemotion, and the author's meaning as contained ords greatly strengthend and intensified."

the thought is lively and sparkling, hard consod heavy vowels will be in the minority; but onsonants and light vowels will be scarce when ght is more serious and vigorous.

ty subjects usually depress the voice and are -d in words containing fuller vowel colors. This ason we find it easier to pronounce some words others in a high pitch; e. g., toll, ring. ssor Tolman gave a very elaborate classification and consonant colors in the March number of over Review, 1887. The vowels at the bottom ale, 00 (wood, pull), (gore), 00 (gloom), aw tc., he says "are peculiarly fitted to express -y, awe, horror, and deep grief, also slowness of and extreme or oppressive greatness of size." wels he has at the top of the scale, I (little), ĕ

(met), a (mat), etc., are used especially in words expressing uncontrollable joy and delight, excessive gayety, triviality, rapid movement, delicacy, and physical littleness.”

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The surd mutes, p, k, t, express boldness, precipitation, unexpectedness, vigor, determination, explosive passion, and forcible and startling effects of all kinds. They must be the initial consonants of accented syllables to have their full expressional value." "Z and zh are rich, pleasant colors, as in easy, luxurious azure, pleasure. L and r smooth, especially 1, express above all others softness, smoothness, lingering love and longing."

We must never hope to find whole poems strongly colored. Nor would such monotony be desirable. Only the emphatic parts receive appropriate tints. One word may give life and hue to a whole sentence. We should imitate the authors and not distribute light and shadetoo heavily.

Complete control of Tone Color is necessary for the production of artistic results.

"When loud surges lash the distant shore

The hoarse rough verse should like the torrent roar."

How much more effective will not "the hoarse rough verse" be if delivered in a concordant voice!

"Soft is the strain when zephyr gently blows

And the smooth stream in smoother numbers flows.

And so should the voice flow in soft, persuasive tones hancing and impressing the author's beauties.

GENERAL EXAMPLES.

From The Temple of Fame.

D'er the wide prospect as I gazed around,
Sudden I heard a wild promiscuous sound,
Like broken thunders that at a distance roar,
Or billows murmuring on the hollow shore.
Then gazing up, a glorious pile beheld,

Whose tow'ring summit ambient clouds concealed.
High on a rock of ice the structure lay.
Steep its ascent, and slipp'ry was the way;

The wondrous rock like Parian marble shone,
And seemed, to distant sight, of solid stone.

Pope.

From Hell. Canto IX.

nd now there came o'er the perturbed waves
-ud-crashing, terrible, as if of a wind

petuous, from conflicting vapours sprung,
at 'gainst some forest driving all its might
ucks off the branches, beats them down and hurls
ar; then onward passing proudly sweeps

whirlwind rage, while beasts and shepherds fly.

Cary's Dante.

From Midsummer Night's Dream. Act 11.

Fairies' Song.

I. Fai. You spotted snakes, with double tongue Thorny hedge-hogs, be not seen,

Newts, and blind-worms, do no wrong;

Come not near our fairy queen.

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Philomel with melo

Sing now your

Lulla, lullla, lullaby

rhythmical motions in nature. The undulatory fields of grain before the harvest; the graceful swaying of leafy boughs in summer's welcome breezes; the rippling of singing rivulets over the hardy pebbles: the playful waves chasing one another toward the strand, will arouse pleasurable emotions in the most insensible.

The rhythm of nature derives its beauty from the recurrence of like motions at measured intervals of space or time. "The wave swells and then sinks, making a crest and a hollow, visible to the eye. A succession of crests and hollows forms a rhythm." Rhythm, therefore, in poetry is the harmonious result of stressed syllables at regular intervals. It is not necessary to chant the words or to fall into "sing-song," the false gallop of verse," to bring out this rhythm. If we read true poetry, the rhythm and meaning will always accord. If we read doggerel or "splay-foot verse, "we may read it for the jingle, as sense does not enter largely into such pieces. The poet's choice of mere is not arbitraHe must suit the metre to the thought.

ry.

Examples.

Oh, lost, for ever lost-no more
Shall Vesper light our dewy way
Along the rocks of Crissa's shore,
To hymn the fading fires of day.

or,

Moore.

My brother's breast was warm with truth,
Was bright with honor's purest ray:
He was the dearest, gentlest youth-
Ah, why then was he torn away?

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