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“'Tis Cæsar's sword has made Rome's Senate little,
“Lady Clara Vere de Vere,
There stands a spectre in your hall:
You changed a wholesome heart to gall.
To make him trust his modest worth,
LADY CLARA VERE DE VERE. --- Tennyson.
"The Downward Third has an expression similar to that of the fifth, but of more moderate degree. Dignity of vocal character, like that of personal gesture, consists not only in the slowness of time, and the restraint of effort, but in a limitation within the widest range of movement. As there is most composure in an interrogation by the use of a third, so the expression of surprise and admiration by a downward interval, is most subdued and dignified when heard on the falling third."
As the rising third is used for emphasis alone, independently of its interrogative import, so the falling third may be employed without expressing surprise or command, merely for varying the effect of intonation.
Examples s« Lords and Commons of England ! consider what nation it is whereof ye are, and whereof ye are the governors; a nation not slow and dull, but of a quick, ingenious and piercing spirit; acute to invent, subtile and sinewy to discourse, not beneath the reach of any point that human capacity can soar to. . . . Methinks I see in my mind a noble and puissant nation rousing herself like a strong man after sleep, and shaking her invincible locks; methinks I see her as an eagle mewing her mighty youth, and kindling her undazzled eyes at the full mid-day beam; purging and unscaling her long-abused sight at the fountain itself of heavenly radiance; while the whole noise of timorous and flocking birds, with those also that love the twilight, flutter about, amazed at what she means." -AREOPAGITICA.-Milton.
“People do not see the strange things which pass them every Jay. The romance of real life’ is only one to the romantic spirit. And then they set up for critics instead of pupils ; as if the artist's business was not just to see what they cannot see
to open their eyes to the harmonies and the discords, the miracles and the absurdities, which seem to them one uniform gray fog of commonplaces.” — Kingsley.
“No man can learn what he has not preparation for learning, however near to his eyes is the object. A chemist may tell his most precious secrets to a carpenter, and he shall be never the wiser, — the secrets he would not utter to a chemist for an estate. God screens us evermore from premature ideas. Our eyes are holden that we cannot see things that stare us in the face, until the hour arrives when the mind is ripened; then we behold them, and the time when we saw them not is like a dream.
There are graces in the demeanor of a polished and noble person that are lost upon the eye of a churl. These are like the stars whose light has not yet reached us." Emerson.
“ Live while you live, the epicure would say,
6. The truth in God's breast
That light would want its evidence,
CHRISTMAS-EVE.—Robert Browning. “Here's the garden she walked across,
Arm in my arm, such a short while since:
Hinders the hinges and makes them wince!
As back with that murmur the wicket swung;
To feed and forget it the leaves among.
“ This flower she stopped at, finger on lip,
Stooped over, in doubt, as settling its claim ; Till she gave me, with pride to make no slip,
Its soft meandering Spanish name. What a name! was it love, or praise,
Speech half-asleep, or song half-awake? I must learn Spanish, one of these days, Only for that slow sweet name's sake.
GARDEN FANCIES. — Ibid.
“ The slender acacia would not shake
One long. milk-bloom on the tree;
As the pimpernel dozed on the lea ;
Knowing your promise to me;
Garden Song, in MAUD. --Tennyson. “ Thou, too, sail on, O Ship of State !
O Union, strong and great!
We know what Master laid thy keel,
“ Fear not each sudden sound and shock;
'Tis of the wave and not the rock;
THE BUILDING OF THE SHIP. - Longfellow.
The Interval of the Second is the basis of the diatonic melody; in correct and agreeable elocution, it is more used than any other, being appropriate to those parts of discourse which convey the plain thoughts of the speaker, as contradistinguished from the feelings and emphatic sentiments which call for wider intervals and other forms of expression.
“The simple rise and fall of the second, and perhaps its wave, when used for plain narration, or for the mere statement of an unexcited idea, is the only intonated voice of man that does not spring from a passionate, or, in some degree, an earnest condition of his mind. If we listen to his ignorance, doubt, selfishness, arrogance, and injustice, we hear the vivid forms of vocal expression, proceeding from these and related passions. Thus we have the rising intervals of the fifth and octave, for interrogatives, not of wisdom but of envious curiosity; the downward third, fifth, and octave, for dogmatic or tyrannical command; waves for the surprise of ignorance, the snarling of ill-humor, and the curling voice, along with the curling lip of contempt; the piercing height of pitch for the scream of terror; the semitone, for the peevish whine of discontent, and for the puling cant of the hypocrite and the krave, who cover, beneath the voice of kindness, the designs of their craft. Then listen to him on those rare occasions, when he forgets himself and his passions, and has to utter a simple idea, or plainly to narrate; and you will hear the second, the least obtrusive interval of the scale, in the admirable harmony of nature, made the simple sign of the unexcited sentiment of her wisdom and truth.” Rush.
Examples. “If we were to analyze the philosophy which Coleridge employed in his judgment on books, and by which he may be said to have made criticism a precious department of literature,-raising it into a higher and purer region than was ever approached by the contracted and shallow dogmatism of the earlier school of critics, - it would, I think, he proved that he differed from them in nothing more than this, that he cast aside the wilfulness and self-assurance of the mere reasoning faculties; his marvellous powers were wedded to a childlike humility and a womanly confidingness, and thus his spirit found an avenue, closed to feeble and less docile intellects, into the deep places of the souls of mighty poets: his genius as a critic rose to its majestic height, not only by its inborn manly strength, but because, with woman-like faith, it first bowed beneath the law of obedience and love." — Henry Reed.
“Our purity of taste is best tested by its universality, for if we can only admire this thing or that, we may be sure that our cause for liking is of a finite or false nature. But if we can perceive beauty in everything of God's doing, we may agree that we have reached the true perception of its universal laws. Hence false taste may be known by its fastidiousness, by its demands of pomp, splendor, and unusual combination, by its enjoyment only of particular styles and modes of things, and by its pride also, for it is forever meddling, mending, accumulating, and self-exalting; its eye is always upon itself, and it tests all things around it by the way they fit it. But true taste is forever growing, learning, reading, worshipping, laying its hand upon its mouth because it is astonished, casting its shoes from off its feet because it finds all ground holy, lamenting over itself, and testing itself by the way it fits things.”Ruskin.
A picture, however admirable the painter's art, and wonderful his power, requires of the spectator a surrender of himself, in due proportion with the miracle which has been wrought. Let the canvas glow as it may, you must look with the eye of faith, or its highest excellence escapes you.
There is always the necessity of helping out the painter's art with your own resources of sensibility and imagination. Not that these qualities really add anything to what the master has effected ; but they must be put so entirely under his control, and work along with him to such an extent, that, in a different mood, when you are cold and critical, instead of sympathetic,