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The management of the vowel sequences is truly wonderful and the rhymes carry the emotional words with a fine virtuosity. The Luck of Edenhall, a variation of a Scottish theme and also of the Biblical "Mene tekel," displays without sermonizing the greatest ethical vigor. It has far more dramatic energy than either Byron's or Heine's "Belshazzar" poems, with fully as much dismal foreboding.
*This is from a French word, meaning "to send," and is still often used for the last verse of a poem. It is, as it were, a "sending off." In reading this you must sound the final "e" in each word except when the next word begins with an "h" or with another vowel. You will then find it read easily and smoothly. AND now, lest you should say, "What, still more poetry!"
He recalled that Paris had seemed worth a mass, and considered a plenary retraction with a facsimile publication of the runes. But as he pondered this course the inexpediency of sacrificing so fair a theory to this mere brute fact seemed indisputable. He thought also of ascribing the doubled consonant and the modified vowel to the illiterate blundering of the spearman who chiselled the letters.
"It is written Köln, with the umlaut, or diæresis, over the vowel, which gives it a sound similar to, but not the same as, the e in the word met. It is the third city of Prussia, Berlin and Breslau alone being larger, and has a population of one hundred and twenty thousand. On the opposite bank of the Rhine is Deutz, with which Cologne is connected by an iron bridge and by a bridge of boats.
They come nearest to our own violets and cowslips the unsown beauty of our meadows to the hawthorn leaf and the high pinewood. I can forget all else that I have read, but it is difficult to forget these even when I will. I read them in English. I had the usual Latin and Greek instruction, but I read them in English deliberately. For the inflexion of the vowel I care nothing; I prize the idea.
A kind of wail, high, shrieking, strenuous, ending in a noise as of air escaping from a pipe; a torrent of barks such as no known beast could utter, subsiding into moans that chilled the blood; a guttural scream, broken by heavy sounds as if of water lapping on a rock at uncertain intervals; a human cry, human words, with unfamiliar vowel sounds, soon slipping into quiet these were among the horrors that assailed the ears of the voyagers in the Pendragon.
Miss Tucker added a superfluous r to some words, but then she made amends by dropping the final r where it was preceded by a broad vowel. If she said idear, she compounded for it by saying waw. She said lor for law, and dror for draw, but then she said cah for car. Some of our Americans are as free with the final r as the cockney is with his initial h.
The first particular is the important question of the rendering of the word "JEHOVAH." Here the Revisers have thought it advisable to follow the usage of the Authorised Version, and not to insert the word uniformly in place of "LORD" or "GOD," which words when printed in small capitals represent the words substituted by Jewish custom for the ineffable Name according to the vowel points by which it is distinguished.
In the middle range, ah is mingled particularly with oo, that the nose may be reached; further, the auxiliary vowel e is added to it, which guides the tone to the head cavities. In descending the attack must be more concentrated, as the tone is slowly directed toward the nose on oo or o, to the end of the figure. When oo, a, and e are auxiliary vowels, they need not be plainly pronounced.
All voices have two distinct color or character effects, the reed and the flute. These effects are the result of vowel forms, and of the predominating influence of high placing or of low resonance. When we desire brilliancy, the reed effect should predominate. When we desire dark color or more somber effects, the flute quality should prevail.
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