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MELODY IN SPEECH: 
 
 A BOOK OF . i V ( I |, ; ■ 
 
 s < , 
 
 PRINCIPLE, PRECEPT, AND PRACTICE 
 
 INFLECTION AND EMPHASIS. 
 
 ROBERT R. RAYMOND, A.M., 
 
 'RINCIPAI, OF THE BOSTON SCHOOL OF ORATORY, AND FOKMERLY PROFESSOR 
 
 OF THE ENGLISH LANGUAGE AND LITEKATURE IN THE 
 
 BROOKLYN POLYTECHNIC INSTITUTE, 
 
 Edited and Published after his death, 
 by R. IV. Raymond. 
 
 NEW YORK, 
 1893. 
 
Copyright, 18S0, 
 Br ROBERT E. RAYMOND, 
 
 AND 1893, 
 
 By EOSSITER W. RAYMOND. 
 
EDITOR'S INTEODUCTION. 
 
 The first edition of this little manual was printed by 
 my father in 1880 for private use in his work at the 
 Boston School of Oratory, of which he was then Prin- 
 cipal. His intention was to perfect and enlarge it in 
 the light of class-room experience, and only after this 
 process should have been completed, to permit its 
 actual publication. After his death, many memoranda 
 for such a revision were found among his papers; but 
 it seemed impracticable for any other hand than his 
 own to carry out the plan he had formed. 
 
 Meanwhile, all remaining copies of the original pri- 
 vate edition were eagerly purchased by his former 
 pupils, who testified so warmly of the usefulness and 
 value of the book in their work as teachers, as to in- 
 duce, at last, the preparation of the jDresent edition, for 
 the purpose of meeting the continuing and earnest de- 
 mand. 
 
 In this edition, the changes of substance and arrange- 
 ment indicated in my father's manuscript notes have 
 been incorporated; and in accordance with his ex- 
 pressed preference the examples for practice have been 
 distributed, instead of being grouped together at the 
 end. 
 
 I have been indebted, for careful reading of proofs, 
 for critical assistance and for valuable additional ma- 
 terial" to Miss Blandina Conant, a life-long friend and 
 an intelligent pupil of my father. 
 
 R. AV. Raymond. 
 
 Bkooklyn, Mav, 1893. 
 
 (1) 
 
PEEFATORY NOTE. 
 
 TO THE FIRST EDITION. 
 
 The following treatise (if it may assume so preten- 
 tious a name) is simply the result of a want felt by its 
 author and compiler, in common with every teacher 
 who has methods of his own, of a text-book which shall 
 serve the daily uses of his school-room. Though prob- 
 ably the precursor of a more comprehensive work, em- 
 bracing the entire field of elocution, it deals with only 
 a single department of the subject, but that — being at 
 once fundamental and cardinal — the most important of 
 all. For surely it can matter little to a fine delivery, 
 whatever perfection of tone the voice may inherit by 
 nature or attain to by art, whatever marvels of force or 
 precision of utterance, nay, whatever refinements of 
 feeling or intuitions of expression, may be present, if 
 there be lacking a mastery of those vocal inflections by 
 which Nature conveys the true sense of spoken passages, 
 and that emphasis by which she defines the relative 
 importance of associated words. 
 
 The treatment of these subjects which is here pre- 
 sented, lays no special claim to originality. There has 
 been free use, in its construction, of all the material 
 furnished by the thought and labor of others ; neverthe- 
 less, it is the outcome of much experience in the trial 
 of methods, and is believed to possess some resultant 
 merits of its own. In particular, the presentation of 
 
 (3) 
 
4 PREFA TOR Y NOTE. 
 
 emphasis as a discriminating inflection merely, and as 
 a waving slide rather than a downward pressure of the 
 voice, to be marked by the grave accent, while it claims 
 to be a true statement of the natural fact, has proved 
 the best antidote to that stilted, artificial delivery 
 which has always reflected discredit on the teaching of 
 elocution. 
 
 The little work has been, of necessity, produced in 
 haste, and under the pressure of many and various 
 duties. That the author is aware of its probable errors 
 and obvious deficiencies appears in the fact that it is 
 not given to the public, but merely thrown out as a 
 first draft (so to speak), that it may be subjected to 
 friendly criticism, and corrected and improved by 
 further experiment and reflection. The discussion has 
 been given with studied conciseness ; and it is hoped 
 that the vindication of the principles here presented 
 may be found in their statement. It is well, perhaps, 
 to credit the pupil with some intelligence ; and whatever 
 there lacks in this regard to the understanding of the 
 text will have to be supplied by the teacher. For, 
 however in other respects its promise may exceed its 
 performance, one thing it certainly does not assume to 
 furnish ; to wit, that very unlikely article, " Elocution 
 without a Master." 
 
TABLE OF CONTENTS. 
 
 PAGE 
 
 Editoe's Introduction, 1 
 
 . Pbepatory Note to the First Edition 3 
 
 Chapter I. Introductory 9 
 
 Chapter II. Upward Inflections — The Bend, . . 16 
 Examples for Practice : 
 
 Intermediato Pauses 19 
 
 Declaratives with Parts closely connected, for which the 
 
 Bend is not required, 21 
 
 Semi-Interrogative and Semi-Exclamatory sentences, in- 
 volving the use of the Bend, 22 
 
 Compact Sentences in wliich the Bend is used, ... 23 
 Compact Sentences requiring the Bend, although the Cor- 
 relative Terms are not both expressed, .... 25 
 Compellatives delivered with the Bend, .... 27 
 Compellatives with Falling Slide, as following strong Em- 
 phasis, . , 27 
 
 Compellatives with Falling Slide, because repeated in or- 
 der to be heard, 28 
 
 Compellatives repeated with Rising Slide 28 ' 
 
 Parenthesis, delivered with the Bend, .... 28 
 
 Indefinite Interrogatives in Parenthesis, .... 29 
 
 Chapter III. Upward Inflections — The Eising Slide, . 30 
 Examples foe Practice : 
 
 Definite Interrogatives with Eising Slide, . . . 32 
 Definite Interrogatives with Circumstance included in the 
 
 Eising Slide ' 34 
 
 Definite Interrogatives, the length of which modifies the 
 
 Eising Slide, 34 
 
 Several Definite Interrogatives requiring Successive Eising 
 
 Slide 36 
 
 Definite Interrogatives, Slide reversed, .... 39 
 
 Definite Interrogatives, Falling Slide, 39 
 
 Definite Interrogatives, Series, . . .... 40 
 
 (5) 
 
6 TA BLE OF CONTENTS. 
 
 FAOE 
 
 Chapter IV. Downward Inflections— The Falling Slide, 41 
 Examples foe Peactice : 
 
 Indefinito Interrogatives with Falling Slide, ... 44 
 Indefinite Interrogatives, the length of which modifies the 
 
 Falling Slide, 45 
 
 Several Indefinite Interrogatives requiring Sunoessive 
 
 Falling Slide 46 
 
 Interrogatives vfith Or Disjunctive, 49 
 
 Interrogatives with Or Conjunctive i50 
 
 Chapter V. Downward Inflections — The Closes, . . 51 
 
 Perfect Close, . . 51 
 
 Partial Close, .52 
 
 Examples for Practice : 
 
 Declanitive Sentences ending with the Perfect Close, . 53 
 
 Declaratives, Waving Slide, 54 
 
 Declaratives, Bend or Partial Close, ... .54 
 
 Declaratives, Bend 54 
 
 Loose Sentences, given with the Partial and the Perfect 
 
 Close, 55 
 
 Loose Sentences, Gradual Fall 55 
 
 Semi-Interrogative and Semi-Exclamatory, Declarative 
 
 Parts, given with the Partial Close, .... 57 
 
 Parenthesis, Partial or Perfect Close, 59 
 
 Chapter VI. Combined Inflections— Wave of Accent and 
 
 Waving Slide 60 
 
 The Wave of Accent, 60 
 
 The Waving Slide, 61 
 
 Examples for Practice : 
 
 Indirect Interrogatives 6a 
 
 Indirect Interrogatives, Series, . . . .63 
 
 Indirect Interrogatives, Falling or Waving Slide, . . 64 
 
 Exclamatory Sentences, Declarative 04 
 
 Exclamatory Ssntenccs, Definite Interrogative, . . 65 
 Exclamatory Sentences, Indefinite Interrogative, . . 66 
 Exclamatory Sentences, Indirect Interrogative, . . 67 
 Chapter VII. Combined Inflections— The Wave of Em- 
 phasis, ' 67 
 
 Concentration of Emphasis .74 
 
 Efiect of Emphasis on other Inflections, ... .77 
 
 Examples foe Practice : 
 
 The New Idea, ... .... 78 
 
 Emphasis repeated, to iuteusify, . . . 79 
 
TABLE OP CONTENTS. 7 
 
 PAGE 
 
 Examples foe Pkactice ( ConthiHed) : 
 Mere Reiteiatiori, ... ... .80 
 
 Emphatic Wave, its limitations, ... .82 
 
 Emphasis with Falling Slide at, or just preceding, Partial 
 
 or Perfect Close 82 
 
 Strong Emphasis, Falling Slide, 83 
 
 Emphasis denoting Comparison, 84 
 
 Emphasis preceded by Intensive Particilc 85 
 
 Concentration of Emphasis, Series ; Empliasis deferred, . 86 
 Concentration of Emphasis, Eestrictivo Expressions; Ad- 
 juncts, 83 
 
 Concentration of Emphasis, Eestrictive Relative Clauses, . 88 
 
 Concentration of Emphasis, Extended Logical Subject, . 89 
 
 Concentration of Emphasis, Complicated Antithesis, . 90 
 
 Chaptee VIII. Graded Variations of Pitch, ... 91 
 Examples fok Pkactice : 
 
 Graded Rise, increasing interest, ... 94 
 
 Graded Rise, Solemnity and Sublimity, . . 97 
 
 Graded Pall, Climax, .... 99 
 
 Graded Fall, Sentiment expressed, 99 
 Parenthesis, . . ... .100 
 
 Parenthetical Expression 100 
 
 Miscellaneous Examples fob Ehetoeical and Elocd- 
 
 TIONAEY Analysis . . 102 
 
 Appendix, • . 115 
 
 Class-Talk, , 116 
 
 Examples foe Peactice, witli Notes and Comments given 
 by Prof. Raymond to his Pupils : 
 
 Unwritten Music, 121 
 
 The Battle of Blenheim 125 
 
 Each and All, 128 
 
 A Greyport Legend, 131 
 
 The Rising in 1776 133 
 
 Midnight Mass for the Dying Year, . . . 138- 
 
 Alexander's Feast 141 
 
 Herv6Eiel, 147 
 
MELODY IN SPEECH. 
 
CHAPTER I. 
 
 INTRODUCTORY. 
 
 Elocution teaches the effective expression of thought 
 and feeling by voice and gesture. 
 
 Oratory (which may be held for the purpose of this 
 statement to include the art of the actor and the 
 reader) presents three requirements, all essential, though 
 contributory in different proportions, to its full perfec- 
 tion. 
 
 1. The speaker must be heard. Without this, the 
 rest is useless. 
 
 2. He must be understood. The hearer must receive 
 the thought which his propositions are intended to 
 convey. Without this, it can scarcely be said that he 
 is heard. 
 
 3. He must bo felt. The hearer must be made to 
 recognize the mood of passion, conviction, earnestness, 
 mirth, etc., in which the proposition thus understood is 
 advanced by the speaker. The aim of the orator may 
 be to communicate his own state of mind, and to pro- 
 duce a corresponding belief or purpose. The means of 
 effecting this object, so far as they reside in effective 
 utterance, belong to the art of Elocution. 
 
 The mechanical department of this art comprises the 
 culture of the voice, artistic respiration, articulation, 
 pronunciation, gesture, and all the external conditions 
 which conduce to effective expression. 
 
 Intellectual elocution is the art of expressing thought 
 and feeling effectively in the use of languaa;e. It may 
 
 (9) 
 
10 MEL OD Y IN SPEECH. 
 
 be considered under three fundamental distinctions, 
 viz. : — 
 
 (1) Of pitch (or high and low), treated under 
 Melody; (2) of force (or loud and soft), treated under 
 Dyimm-ics ; (3) of time (or fast and slow), treated under 
 Rate and Rhythm. To these may be added a fourth gou- 
 sideration, of Tone-Quality, h^Ving reference to the vari- 
 ous coloring which the voice assumes to express dif- 
 ferent kinds of emotion. 
 
 Melody, to which this manual is confined, comprises 
 inflection and emphasis. The latter, however, will be 
 treated as essentially a branch of the general subject 
 of inflection. They are here mentioned separately, in 
 deference to the popular understanding {See Observa- 
 tion 1, p. 69). 
 
 Dynamics treats of stress, and (by the rule of oppo- 
 sites) pauses and punctuation. 
 
 Rate and Rhythm refer, — the former, to the positive 
 degree of rapidity in utterance ; the latter, to that rela- 
 tion of syllables to each other in respect to time, by 
 which a measured and harmonious flow is given to 
 spoken language. 
 
 Tone-Quality includes a consideration of all vocal 
 characteristics as intrinsically adapted to express emo- 
 tion, and is particularly important in every form of 
 dramatic personation. 
 
 The following definitions of rhetorical terms used in 
 this book are given for the practical convenience of 
 students, and not as expressing a complete or peculiar . 
 grammatical system : 
 
 I. A sentence is a combination of words expressing 
 an idea completely ; as, " Truth is eternal." 
 
 II. Every sentence consists of a subject and a pre- 
 dicate. 
 
INTR OD UCrOR Y. 11 
 
 The subject is that of which something is affirmed. 
 In the above example, " Truth " is the subject. 
 
 The predicate is that which is affirmed of the subject. 
 In the example, " is eternal " is the predicate. 
 
 III. There are two kinds of subjects, grammatical 
 and logical. 
 
 The grammatical subject is the simple subject without 
 limiting terms ; as, " The man who hesitates is lost." 
 
 Here " man " is the grammatical subject. 
 
 The logical subject comprises the grammatical sub- 
 ject, together with all the qualifying words. In tlie 
 above example, " The man who hesitates " is the logical 
 subject. 
 
 IV. Sentences may contain adjuncts, phrases, and 
 clauses. 
 
 An adjunct consists of a preposition and the words 
 that it governs. In the expression, " The history of the 
 American Revolvlion," the worus in Italics are tlie ad- 
 junct of " history." 
 
 A phrase is a brief combination of words having no 
 connection with the sentence, either in construction or 
 sense, but conveying a separate idea; as, "In short." 
 " On the contrary." " To confess the truth." 
 
 A clause is a part of a sentence incomplete in itself, 
 and generally asserting some additional circumstance 
 of the leading proposition. 
 
 V. There are several kinds of clauses, but only four 
 are referred to in this treatise ; viz., relative, participial, 
 adverbial, and adjective. 
 
 A relative clause is one which begins with a relative 
 pronoun ; as, " Man, who is born of a woman, is of few 
 days." 
 
 A participial clause is one which begins with a par- 
 ticiple ; as, " He, being dead, yet speaketh." 
 
1 2 MEL ODY IN SPEECH. 
 
 An adverbial clause is one which performs the office 
 of an adverb, expressing time, place, or manner; as, 
 " Far away in the distance, a light appeared." 
 
 An adjective clause is one that performs the office of 
 an adjective; as, "Awkward in his person, James was 
 ill qualified to command respect." 
 
 VI. When a relative clause restricts the general sense 
 of the antecedent to a particular sense, it is called re- 
 strictive; as, " Those who sleep late lose the best part of 
 the day." But, as it is obvious that sentences in which 
 the relative may be supplied are subject to the same 
 rule as those in which it is expressed, participial and 
 adjective (which may be converted into relative) clauses 
 may also be restrictive; as, " A man tormented by a guilty 
 conscience cannot be happy." "A man eager to learn 
 will apply himself to study." 
 
 Note. — Adverbial clauses and adjuncts may also be restrictive; 
 as, "He came when I lejst expected him." '' A bird in the hand is worth 
 two in the biish." 
 
 VII. Sentences are divided, in respect to signification, 
 into declarative, interrogative, and exclamatory. 
 
 A declarative sentence is one that declares something; 
 as, " God reigns." 
 
 An interrogative sentence is one that asks a question; 
 as, " What is truth ? " " Art thou that prophet ? " 
 
 An exclamatory sentence is one that conveys an 
 abrupt or earnest expression of emotion. It has some- 
 times a declarative, and sometimes an interrogative, 
 form; as, "Our brethren are already in the field!" 
 " Can it be possible ! " 
 
 Note.— Sentences which are partly declarative and partly inter- 
 rogative or exclamatory are called semi-interrogative or semi-ex- 
 clamatory ; as, "He said unto Simon, 'Seest thon this woman?'" 
 "And he said, ' O my son Absalom ! My son ! my son !'" 
 
INTBODUCTOBY. 13 
 
 VIII. Interrogative sentences are either direct or in- 
 direct. 
 
 The former are interrogative in form as well as mean- 
 ing, and are further divided into definite and indefinite. 
 
 Definite interrogatives are those which must be defi- 
 nitely answered by yes or no, or the equivalents of those 
 words ; as, " Will you go to-day ? " 
 
 Indefinite interrogatives arc such as cannot be an- 
 swered by yes or no; as, "Why will you go to-day? " 
 They are so called because they require an indefinite 
 answer ; that is, one that cannot be known beforehand. 
 
 Indirect interrogative sentences have the declarative 
 form with an interrogative meaning ; as, " You are not 
 angry, sure ? " * 
 
 Note. — These seem always to imply .1 question immediately fol- 
 lowing, unexpressed; as, "They were gone on your arrival [were 
 they]?" "Hedid notsharein the unhappy transaction [did he]?" 
 
 IX. With regard to their structure, sentences are 
 divided into simple and compound. 
 
 Simple sentences are such as express but one proposi- 
 tion ; as, " Birds sing." " The storm has passed away." 
 
 Compound sentences express or imply more than 
 one proposition ; as, " The boys study, and the girls play. 
 The boys and girls study. The boys study and play." 
 
 Note. — As almost all the principles of elocution which apply to 
 compound, are involved in the delivery of simple, sentences, it has 
 not been thoiiglit necessary in this work to make special reference to 
 tiie former. 
 
 X. The structure of sentences is also distinguished 
 into periodic, loose, and compact. 
 
 A periodic sentence is composed of parts mutually 
 dependent in construction. It is so called because such 
 a sentence, when completed, presents a rounded form. 
 
1 4 3IEL OD r IN SPEECH. 
 
 A loose sentence is comi)osed of two or more sen- 
 tences loosely put together, 
 
 Obsekvation. — The following example may illustrate both these 
 forms : " Afterwards we came to anchor, and they put me on shore, 
 where I was welcomed by all my friends, who received me with the 
 greatest kindness." This is n loose sentence, being composed of 
 four distinct sentences with four Fubjects and four correspondent 
 verbs. It may be moulded into the periodic form, with a single 
 subject, I, and a single stem-sentence, with its dependent clauses, 
 thus : " Having come to anchor, I was put on shore, where I was 
 welcomed by all my friends, and received with the greatest kindness." 
 
 The compact sentence consists of parts beginning 
 with correlative words expressed or understood; as, 
 " Though the man was intellectually rich, yet he was 
 morally poor." [Though] " A professed Catholic, [yet] 
 he imprisoned the pope." 
 
 Note. — Correlative words are such as express reciprocal rela- 
 tions ; as, though — yet, such — as, if — then, cither — o', etc. 
 
 XI. Compellatives are words or phrases of address; 
 as, " Fellow-citizens ! " " Ye blind leaders of the blind ! " 
 " Princes, potentates, and powers ! " 
 
 XII. A circumstance is a part of a sentence required 
 by the sense, but not necessary to the construction. It 
 may be either at the beginning, middle, or end of the 
 sentence ; as, '' On the other hand, there are some who 
 deny the very existence of the Deity." " Far be it from 
 me," cried Demetrius, "to lay so heavy a charge upon 
 him." "Hug not this delusion to your breast, I 'pray 
 you." 
 
 XIII. A parenthesis is a part of a sentence which is 
 not essential either to its sense or its construction; as, 
 "The rocks (hard-hearted varlets!) melted not into 
 tears." 
 
INTRODUCTORY. 15 
 
 * 
 
 XIV. A series is a succession of two or more words, 
 phrases, or clauses, joined in construction ; as, " The 
 hermit's life is calm, devotional, and contemplative." 
 " God's love watcheth over all, provideth for .all, maketh 
 wise adaptations for all." 
 
 XV. Antithesis is the juxtaposition of contrasted ex- 
 pressions, for the purpose of heightening their effect; 
 as, "Though grave, yet trifling; zealous, yet untrue." 
 "Flattery brings friends; truth brings foes." 
 
 Melody in speech is the art of employing and com- 
 bining inflections. 
 
 Inflection* is that variation of the voice in reading or 
 speaking which consists in rising or falling in respect 
 to pitch.f 
 
 The inflections must be either upward or downward; 
 or else a combination of these. 
 
 The upward inflections are the bend and the rising 
 slide. 
 
 The downward inflections are the falling slide, the 
 partial close, and the perfect close. 
 
 Note. — For all ordinary purposes of marking the upward and 
 downward inflections, tlie usual grave and acnte accents will te siif- 
 fficjent. No others will be used in this book. 
 
 The combination of these appears in the waving slide, 
 the wave of accent, and the wave of emphasis. 
 
 Note. — For directions for marking the wave of emphasis, see p. — . 
 
 * Latin, infiectei'e: to bend, to turn from a direct line or course. 
 
 t Key^ in elocution, has a meaning not essentially different from that 
 which pertains to it in music. It is the prevaU^lng tone ; that which you hear 
 in the reading of one iu an adjoining room, when you cannot distinguish 
 the words. 
 
 Pitch is used rather as a point of elevation, relatively, in a scries or scale 
 of tones. 
 
16 MELODY IN SPEECH. 
 
 CHAPTER II. 
 
 UPWARD INFLECTIONS — THE BEND. 
 
 The bend is a slight upward turn of the voice, indi- 
 cating primarily a pause of imperfect sense ; as, " If 
 there be any consolation in Christ', any comfort of love', 
 any fellowship of the spirit', any bowels and mercies', 
 fulfill ye my joy." " The trials of wandering and 
 exile', of the ocean, the wilderness, and the savage foe', 
 were the final assurances of success." 
 
 Note. — The bend is deferred from "wandering" to "e.^ile". 
 "Ocean," "wilderness,'' "savage foe,'' are all in apposition with 
 "wandering and exile". If there were a bend on each member of 
 the series, there would be no proper grouping. Instead of llie bend, 
 there is a slight suspension of the voice after " ocean " and " wilder- 
 ness ". 
 
 The bend is marked with the acute accent. 
 
 The bend is employed : — 
 
 a. In the intermediate pauses of declarative sentences 
 (vii, p. 12); as, "Virtue' is the condition of happiness." 
 "In the autumn of 1873' the war had closed v;ith 
 glory." 
 
 Observation. — When, however, the parts of a sentence are 
 closely connected, the divisions are marked by a mere suspension of 
 voice, without the upward bend ; a;;, "To the perusal of tlie autliors 
 of the second class I shall now proceed." "The prayers of David 
 the son of Jesse are ended." (Xo bend at "class" and "David.") 
 A great deal of general effect in reading, especially in point of 
 melody, depends on nice discrimination in this particular. 
 
 The bend is used also : — 
 
UPWARD INFLECTIONS— THE BEND. 17 
 
 b. At the end of the declarative part of a semi-inter- 
 rogative or semi-exclamntory sentence, when this part 
 precedes the rest ; as, " And he said', ' Is your father 
 well, the old man of whom ye spake? ' " " They said, 
 therefore, unto him', ' Who art thou?'" "They will 
 cry in the last accents of despair', ' Oh for a Washing- 
 ton, an Adams, or a Jefferson ! ' " 
 
 KoTE. — 1. If (he declarative part is very short, a pause may be 
 used instead of a bend ; as, " I ask, — Wliat liave we effected by this 
 measure ? " 
 
 2. In a semi-interrogatory or senii-exclamatory sentence, tiie in- 
 terrogative or exclamatory jiortion takes its own proper inflection 
 [See CHAPS, lit AND iv), as if it stood alone; and where it pre- 
 cedes, that inflection is communicated to the following declarative 
 portion, which becomes a circumstance (xii, p. 14), by virtue of its 
 position. For example, " 'Art thou there?' cried he'." " Who art 
 thou^ ? I inquired^" When, on the other hand, the declarative por- 
 tion precedes, the purliul close, instead of the bend, is employed {See 
 CHAP. V, 071 the Partial Glose, p. 52). 
 
 Again, the bend is employed : — 
 
 c. To terminate the first part, and all the members of 
 the first part, of a compact sentence (x, p. 13) ; as, " If 
 you know that the object is good', then seek it." 
 " Neither hath this man sinned', nor his parents." 
 
 Observation 1. — This is equally true, whether the correlative 
 terms (Note, p. 14) are expressed or not; a?, "[Though] u, pro- 
 fessed Catholic', [yet] he imprisoned the pope." " As they have 
 won an honorable station among independent states', [so] it becomes 
 an imperative duty to treat them as such.'' 
 
 Observation 2. — When the clauses of a compact sentence are in- 
 verted in order, the inflections proper to the direct order are regained ; 
 as, " Unless I am greatly mistaken', the report is untrue." " The 
 report is untrue, unless I am greatly mistaken'." 
 
 Again, the bend is employed : — 
 
 d. At compellatives (xi, p. 14), whether occurring at 
 
18 MELODY IN SPEECH. 
 
 the beginning, middle, or end of a sentence ; as, " Gen- 
 tlemen', I rise to address you on one of the most inter- 
 esting subjects that can engage the human mind." " I 
 perceive, conscript fathers', that every look, that every 
 eye, is fixed on me." " How now, foolish rheum'? " 
 
 To this rule there are several exceptions. Thus, com- 
 pellatives take the falling slide (See chap, iv) : — 
 
 (1) When they follow a very strong emphasis; as, 
 "Get thee behind me, Satan^ ! " " Hence ! home ! you 
 idle creatures^ ! " 
 
 (2) When they are repeated for the purpose of being 
 heard; as, "Mr. Speaker'! Mr. SpeakerM " "Hero'! 
 Why, cousin Hero' ! Uncle' 1 Senior Benedick' I " 
 
 Note. — Implied, as well as actual, repetition may be expressed 
 by the falling slide. Thus, in the illustration, " Hero " is repeated, 
 while "Uncle" and "Senior Benedick" are delivered as if they, 
 too, liad been repeated. 
 
 Observation. — But when compellatives are repeated for any other 
 purpose, the bend is magnified into the rising slide (See chap, iii) ; 
 as, "O my son Absalom'! my son, my son Absalom' ! " 
 
 Again, compellatives take the falling slide : — 
 
 (3) When they begin a letter, or a formal address ; as, 
 " General' ! your orders have been obeyed." " Romans, 
 countrymen, and lovers'!" " Mr. John G.Robertson, 
 Sir'." 
 
 Note. — In punishing a child you say — ''Go into the closet, 
 JohnnyM" If the bend is used after "Johnny," it makes the latter 
 word a circumslatice merely, and not a rebuke. 
 
 Finally, the bend is employed : — 
 
 e. At a parenthesis, when following a part of a sen- 
 tence making imperfect sense ; as, " We hold, you know, 
 (and rightly too') that all government is, or ought to be, 
 made for the benefit of the people." {See chap, v, on 
 the Partial Close, p. 53.) 
 
UPWARD INFLECTIONS— THE BEND. 19 
 
 Note.— As a parenthesis has no individuality, it takes its color- 
 ing from what precedes. 
 
 Observation 1.— Indefinite inlerrogatives (vm, p. 13) in paren- 
 thesis follow this rule, take the rising or the falling slide, according 
 to the degree of emphasis required ; as, with bend : " And what 
 (why ask me') is to save us from these abuses ? " ; with rising slide : 
 '• I wished (why should I deny it'?) that it had been my case instead 
 of my sister's " ; with falling slide : " Lend it not as to thy friend, 
 (for when did friendship take a breed of barren metal of his friend^ ?), 
 but lend it rather to thine enemy." 
 
 Observation 2. — How the bend and other inflections are modi- 
 fied by the intervention of emphasis will appear when we come to 
 consider that subject. [See chap, vii, on the Effect of Emphasis on 
 Other Inflections, p. 77.) 
 
 Examples foe Practice in the Use of the Bend. 
 Intermediate Pauses. 
 
 Ignorance is the mother of error. 
 
 One ounce of gold is worth fifteen ounces of silver. 
 
 That interesting history he did not read. 
 
 At the bottom of the garden ran a little rivulet. 
 
 With his conduct last evening I was not pleased. 
 
 In the prodigious efforts of a veteran army, beneath 
 the dazzling splendors of their array, there is something 
 revolting to a reflecting mind. 
 
 I shook myself, turned away, and tried to persuade 
 myself that I had not been dreaming. 
 
 The Faust of Goethe, tired of the barrier round of 
 earthly knowledge, calls magic to his aid. 
 
 Perhaps the greatest master of English prose in the 
 present century, not excepting even Macaulay, is Thomas 
 De Quincey. 
 
 In the midst of this widespread ruin, among totter- 
 ing columns and falling edifices, one fabric alone stood 
 erect, and braved the storm. 
 
20 MELOD r IN SPEECH. 
 
 You may be assured, gentlemen, of my continued 
 regard. 
 
 So long as sun, moon, and planets were supposed to 
 be angels ; so long as the sword of Orion was not a 
 metaphor, but a fact, and the groups of stars which in- 
 laid the floor of heaven were the glittering trophies of 
 the loves and wars of the Pantheon,— so long there was 
 no science of a'stronomy. 
 
 To give to the noblest thoughts the noblest expres- 
 sion ; to penetrate the souls of men, and make them 
 feel as if they were new creatures, conscious of new 
 powers and loftier purposes; to make truth and justice, 
 wisdom and virtue, patriotism and religion, holier and 
 more majestic things than men had ever dreamed them 
 to be before ; to delight as well as to convince ; to charm, 
 to win, to arouse, to calm, to warn, to enlighten, and to 
 persuade, — this is the function of the orator. 
 
 The sick, untended then, 
 Languished in the dark shade, and died afar from men. 
 
 His native hills that rise in happier climep, 
 The grot that heard liis song of other time.-i, 
 His cottage liome, liis bark of slender sail, 
 His glassy lake, and broomwood-blossomed vale, 
 Bush on his thoughts. 
 
 Should such a man, too fond to rule alone, 
 Bear, like the Turk, no brother near tlie throne. 
 View him with scornful, yet with jealous eves, 
 And hale for arts that caused himself to rise ; 
 Damn with faint praise, assent witli civil leer. 
 And without sneering teach the rest to sneer ; 
 Willing to wound, and yet afraid to strike, 
 Just hint a fault, and hesitate dislike ; 
 Alike reserved to blame, or to commend, 
 A tim'rous foe, and a suspicious friend ; 
 Breading even fool.o, by flatterers besieged. 
 
UPWARD INFLECTIONS— THB BEND. 21 
 
 And so obliging, that he ne'er obliged ; 
 Like Onto, give his little vsenale laws, 
 And sit attentive to his own applause; 
 While wits and templars every sentence raise, 
 And wonder with a foolish face of praise, — 
 Who but mnst laugh, if such a man there be? 
 Who would not weep, if Atticus were he ? 
 
 Declaratives with Parts Closely Connected^ for which the 
 Bend is not Required. 
 
 Among the most remarkable of its attributes is jus- 
 tice. 
 
 The surest evidence of Robert Hall's greatness is the 
 very fact of his celebrity. 
 
 Suddenly the sound of the signal gun broke the still- 
 ness of the night. 
 
 We will endeavor to refute, now, his third argument. 
 
 He ceased, and we both fell into a revery. 
 
 And Abraham stretched forth his hand, and took the 
 knife to slay his son. 
 
 Caesar, who would not wait the conclusion of the con- 
 sul's speech, generously replied, that he came into Italy, 
 not to injure the liberties of Rome and its citizens, but 
 to restore them. 
 
 The dying Englishman, pouring his medicine which 
 has paid twenty-two per cent., makes his will on an 
 eight-pound stamp, and expires in the arms of an 
 apothecary who has paid a license of a hundred pounds 
 for the privilege of putting him to death. 
 
 And still, in memory's twilight bowers, 
 The spirits of departed hours. 
 With mellowing tints, portray 
 The blossoms of life's vernal flowers 
 Forever fallen away. 
 
22 MEL OD Y IN SPEECH. 
 
 All niglit the dreadless angel, unpursued 
 
 Through heaven's wide champaign, held his way, till morn, 
 
 Waked by the circling honrs, with rosy hand 
 
 Unbarred the gates of light. 
 
 The hills, 
 Eock-ribbed, and ancient as the snn, the vales, 
 Stretching in pensive quietness between, 
 The venerable woods, rivers that move 
 In majesty, and the complaining brooks 
 That make the meadows green, and, poured round all. 
 Old Ocean's gray and melancholy waste. 
 Are but the solemn decorations all 
 Of the great tomb of man. 
 
 Semi-Interrogative and Semi- Exclamatory Sentences, 
 Involving the Use of the Bend. 
 
 And first I ask, What is that country '? what is this 
 golden prize- for which we are to contend? 
 
 Then Peter said unto him, Lord, speakest thou this 
 parable unto us, or unto all ? 
 
 At the end of the very next century, if she proceeds 
 as she seems to promise, what a wondrous spectacle may 
 she not exhibit ! 
 
 And they cried out the more, saying, Have mercy on 
 us! 
 
 During the conversation he was silent; but I heard 
 him, as he went out, saying to a man with whom he was 
 walking, " And so he died without making, after all, a 
 confession of his many crimes ? " 
 
 If ye, then, being evil, know how to give good gifts 
 unto your children, how much more shall your heavenly 
 Father give the Holy Spirit to them that ask him ? 
 
 O Jerusalem, Jerusalem, thou that killest the prophets, 
 and stonest them that are sent unto thee, how often 
 would I have gathered thy children together, even as a 
 
UP WA R D I NFL EGTIONS— THE BEND. 23 
 
 hen gathereth her chickens under her wings, and ye 
 would not ! 
 
 They could not behold the workings of the heart, the 
 quivering lips, the trickling tears, the loud yet tremu- 
 lous joys of the millions whom the vote of this night 
 would forever save from the cruelty of corrupted power ; 
 but was not the true enjoyment of their benevolence 
 increased by the blessing being conferred unseen? 
 
 When a government forbids its citizens, under pain 
 of death, to receive any pension or largess from the 
 hands of foreigners, how gentle and easy is that law to 
 those who, for the sake of their fatherland and liberty, 
 \w)uld, of their own accord, abstain from so unworthy 
 an act ! but, on the contrary, how harsh and oppressive 
 does it appear to those who care for nothing but their 
 selfish gains ! 
 
 They leave their crimes for history to scan, 
 AnJ ask, with busy scorn, Was this the man ? 
 
 Once npon a raw and gusty day, 
 " The troubled Tiber chafing with its shores, 
 Caesar says to me, Darest thou, Cassias, now 
 Leap in with me into this angry flood, 
 And swim to yonder point? 
 
 Auspicious Hope ! in thy sweet garden grow 
 Wreaths for each toil, a charm for every woe : 
 Won by tlieir sweets, in Nature's languid hour 
 Tlie way-worn pilgrim seeks thy summer bower ; 
 There, as the wild bee murmurs on the wing, 
 What peaceful dreama thy handmaid spirits bring ! 
 
 Compact Sentences, in lohich the Bend is Used. 
 
 I neither love, nor fear thee. 
 
 If he, then I. 
 
 If he confessed it, then forgive him. 
 
24 MEL OD Y IN SPEECH. 
 
 When he rose, every sound was hushed. 
 
 I had rather be a doorkeeper in the house of my God 
 than dwell in the tents of wickedness. 
 
 Trained and instructed, strengthened by wise disci- 
 pline, and guided by pure principle, it ripens into an 
 intelligence a little lower than the angels. 
 
 Although the fig-tree shall not blossom, neither shall 
 fruit be in the vines ; the labor of the olive shall fail, and 
 the fields shall yield no meat ; the flock shall be cut off 
 from the fold, and there shall be jio herd in the stalls: 
 yet I will rejoice in the Lord, I will joy in the God of 
 my salvation. 
 
 Where you see a man meeting obstacles and removing 
 them, struggling with difficulties and overcoming them, 
 and still pressing forward under every discouragement, 
 self-denying and self-relying, there you see a man who 
 will probably rise in the world. 
 
 As the middle, and the fairest, and the most conspicu- 
 ous places in cities, are usually chosen for the erection 
 of statues and monuments dedicated to the memory of 
 worthy men who have nobly deserved of their country ; 
 so should we in the heart and centre of our soul, in the 
 best and highest apartment thereof, in the places most 
 exposed to ordinary observation, and most secure from 
 worldly care, erect lively representations and lasting 
 memorials of divine bounty. 
 
 As pants the liart for cooling streams, 
 
 When heated in the cliase; 
 So longs my sonl, O God, for thee, 
 
 And thy refresliing grace. 
 
 Where yon old trees bend o'er a place of graves, 
 And solemn shade a chapel's sad remains ; 
 Where yon scathed poplar throngli ihe window waves, 
 And, twining round, the hoary arch sustains; 
 
UPWARD INFLECTIONS-THE BEND. 25 
 
 There oft at dawn, as one forgot behind, 
 "Who longs to follow, yet unknowing wliere. 
 Some hoary shepherd, o'er his staff' reclined, 
 Pores on the graves, and sighs a brolien prayer. 
 
 When thy surges no longer shall roll, 
 And that firmament's length is drawn back like a scroll, 
 Then, then, shall the spirit that sighs by thee now 
 Be more mighty, more lasting, more chainless than thou. 
 
 Compact Sentences, Requiring the Bend, although the 
 Correlative Terms are not both Expressed. 
 
 Because I live, ye shall live also. 
 
 We know that we have passed from death unto life, 
 because we love the brethren. 
 
 You may skim the surface of science, or fathom its 
 depths. 
 
 Genius, intellect, imagination, taste, and sensibility, 
 must be baptized into religion, or they will never know, 
 and never make known, their real glory and immortal 
 power. 
 
 Had our forefathers failed on that day of trial which 
 we now celebrate ; had their votes and their resolves 
 ended in the breath in which they began ; had the 
 rebels laid down their arms as they were commanded, 
 and the military stores which had been frugally treas- 
 ured up for the crisis been, without resistance, de- 
 stroyed : then the Revolution had been at an end, or, 
 rather, it had never been begun. 
 
 A royalist, a republican, and an emperor ; a Mahom- 
 medan, a Catholic, and a patron of the synagogue; a 
 subaltern and a sovereign; a traitor and a tyrant; a 
 Christian and an infidel : he was, through all his vicissi- 
 tudes, the same stern, impatient, inflexible original, the 
 same mysterious, incomprehensible self, — the man with- 
 out a model and without a shadow. 
 
26 MELODY IN SPEECH. 
 
 When the great Earl of Chatham first made his ap- 
 pearance in the House of Commons, and began to aston- 
 ish and transport the British Parliament and British 
 nation by the boldness, the force and range of his 
 thoughts, and the celestial fire and pathos of his elo- 
 quence, it is well known that the minister Walpole and 
 his brother Horace, from motives very easily under- 
 stood, exerted all their wit, all their oratory, all their 
 acquirements of every description, sustained and en- 
 forced by the unfeeling insolence of office, to heave a 
 mountain on his gigantic genius, and hide it from the 
 world. 
 
 When he breatlies his rnaster-lay 
 Of Alloway's witcli-haunled wall, 
 
 All passions in our frames of clay 
 Come thronging at his call. 
 
 When to the common rest that crowns our days, 
 
 Called in the noon of life, the good man goes' ; 
 
 Or, full of years and ripe in wisdom, lays 
 
 His silver temples in their last repose' ; 
 
 When o'er the buds of youth the death-wind blows, 
 
 And blights the fairest'; when our bitterest tears 
 
 Stream, as the eyes of all that loved us close; 
 
 We think on what they were, and leave the coming years. 
 
 When thoughts 
 Of the last bitter hour come like a blight 
 Over thy spirit, and sad images 
 Of the stern agony, and shroud, and pall. 
 And breathless darkness, and the narrow house. 
 Make thee to shudder, and grow sick at heart ; 
 Go forth under the open sky and list 
 To nature's teachings. 
 
 Had'st thou but shook thy head, or made a pause. 
 When I spake darkly what I purposed ; 
 Or turned an eye of doubt upon my face. 
 
UPWARD INFLECTIONS— THE BEND. 27 
 
 And bid me tell my tale in express words : 
 
 Deep shame had struck me dumb, made me break off, 
 
 And those thy fears might have wrought fears in me. 
 
 Compellatives Delivei'ed with the Bend. 
 
 The heavens and earth, Lord ! proclaim thy bound- 
 less power. 
 
 blessed spirit, freed from earth, rejoice ! 
 
 This, men of Athens ! my duty prompted me to 
 represent to you on this occasion. 
 
 Sir, the declaration will inspire the people with in- 
 creased courage. 
 
 Yes, land of liberty, thy children have no cause to 
 blush for thee. 
 
 Haughty lord ! 
 Think not I stoop to deprecate your wrath. 
 
 For heaven's sake, Hubert, let me not be bound ! 
 
 For your sake, jewel, 
 I am glad at soul I have no other child. 
 
 Departed spirits of the mighty dead ! 
 Ye that at Marathon and Leuctra bled ! 
 Friends of the world ! restore yonr swords to man, 
 Fight in his sacred cause, and lead the van ! 
 
 Oompellatives, with Falling Slide, as Following Strong 
 Emphasis. 
 
 Charge, Chester, charge ! On, Stanley, onl 
 
 Down, soothless insulter ! I trust not the tale. 
 
 Why tempt ye me, ye hypocrites ! 
 
 Stand ! the ground's your own, my braves ! 
 
 How could ye do this, ye slaves and miserable panders of tyranny ! 
 
28 MEL ODY IN SPEECH. 
 
 Tlien melt, ye elements! that formed in vain 
 This troubled pulse and visionary brain; 
 Fade, ye wild flowers ! memorial of my doom ; 
 And sink, ye stars 1 that light me to the tomb ! 
 
 Compellatives with Fallivg Slide, Because Repeated in Order 
 to be Heard. 
 
 Mr. Speaker! Mr. Speaker! 
 
 Lord ! Lord ! open unto us. 
 
 Hamlet. Hold off thy hand! 
 King. Pluck them asunder ! 
 Queen. Hamlet ! Hamlet ! 
 
 Lysander! what! removed? Lysander ! lord! 
 What, out of hearing? gone? no sound, no word?' 
 
 O mother, mother, do not jest 
 On such a theme an this. 
 
 Compellatives Repeated with Rising Slide. 
 
 Jerusalem I Jerusalem ! thou that killest the proph- 
 ets, and stonest them that are sent unto thee, etc. 
 
 Oh ! Raimond ! Eaimond I 
 If it should be that I have wronged thee, say 
 Thou dost forgive me. 
 
 O mother ! mother 1 mother ! 
 How strange it seems to me ! 
 
 O Cromwell, Cromwell, 
 Had I but served ray God with half the zeal 
 I served my King, he would not in mine age 
 Have left me naked to my enemies. 
 
 Parenthesis, Delivered with the Bend. 
 
 He had not been there (as I was informed by those 
 who lived in the neighborhood, and were acquainted 
 with him) since the j'ear 1706. 
 
UPWARD INFLECTIONS— THE BEND.. 29 
 
 Should liberty continue to be abused in this country 
 as it has been for some time past (and though dema- 
 gogues may not admit, yet sensible and observing men 
 will not deny that it has been), the people will seek re- 
 lief in despotism or in emigration. 
 
 Know ye not, brethren (for I speak to them that 
 know the law), how that the law hath dominion over a 
 man as long as he liveth ? 
 
 Could he possibly have committed this crime (I am 
 sure he could not), which, as all will acknowledge, is at 
 variance with the character he has borne, and the whole 
 tenor of his life ? 
 
 And what now (I ask you) is to save us from the 
 abuse of all this power?' 
 
 She had managed this matter so well (oh ! she was the 
 most artful of women !) that my father's heart was gone 
 before I suspected it was in danger. 
 
 It was represented by an analogy (oh ! how inade- 
 quate !) which was borrowed from the religion of 
 paganism. 
 
 Indefinite Interrogatives in Parenthesis. 
 
 Sir, to borrow the words of one of your own poets, 
 whose academic sojourn was in the next college to that 
 in which we are now assembled, (and in what language 
 but that of Milton can I hope to do justice to Bacon and 
 Newton ?) if their star should ever for a period go down, 
 it must be to rise again with new splendor. 
 
 I am so ill at present (an illness of my own procuring 
 last night: who is perfect?) that nothing but your very 
 great kindness could make me write. 
 
 While they wish to please (and why should they not 
 wish it ?) they disdain dishonorable means. 
 
 God hath a special indignation against pride above 
 
30 MEL ODY IN SPEECH. 
 
 all other sins ; and he will cross our endeavors, not 
 because they are evil, (what hurt could thfire be in lay- 
 ing one brick on another; or rearing a Babel more than 
 any other editice?) but because this business is proudly 
 undertaken. 
 
 Perhaps (for who can guess the effects of chance ?) 
 Here Hunt may box, or Mahomet may dance. 
 
 CHAPTER III. 
 
 UPWARD IXFLECTIOXS — THE RISIXG SLIDE. 
 
 The rising slide carries the voice upward through a 
 succession of tones ; as, " Does God uniformly work in 
 one way' ? " " Is this a dagger that I see before me, the 
 handle towards my hand'? " 
 
 Note. — a. The voice is carried gradually upward through a whole 
 clause or serftence. 
 
 6. In this volume the acute accent is employed to mark both the 
 rising slide and the bend. The pupil must distinguish between them 
 by considering the principles involved. Systematic exercises on 
 vowels, etc., are recommended to train the ear to nice discriminations 
 in inflection. 
 
 c. A clause that is inverted, often takes the rising inflection, when, 
 if the sentence were logically arranged, it would naturally take the 
 partial close. 
 
 The rising slide is used : — 
 
 In the delivery of definite interrogative sentences 
 (viii, p. 13), the voice continuing to rise from the begin- 
 ning to the end of the sentence ; as, " Would you wish 
 to ruin yourself in public opinion, merely to gratify 
 your resentment' ? " {See chap, iv, on the Falling Slide, 
 Note, p. 43.) 
 
UPWARD INFLECTIONS-THE RISING SLIDE. 31 
 
 Observation 1.— When a circumstance (xii, p. 14) follows the 
 interrogative, in close connection with it, the slide is continned to 
 the end of the circumstance; as, "'Am I my brother's keeper?' said 
 the unhappy man'." 
 
 Note.— This is because the circumstance takes its coloring from what pre- 
 cedes. 
 
 Observation 2. — When the interrogative is unusually long, the 
 rising slide is confined to the beginning and the end of the sentence, 
 the intermediate part being delivered in a level tone; as, "Hast 
 thou not known, hast thou not heard, that the everlasting God, the 
 Lord, the Creator of the ends of the eiirth, fainteth not, neither is 
 
 ^^^^■■y-" (^. ?) 
 
 Observation 3. — When a sentence consists of several interroga- 
 tions, more or less closely bound together, the parts should be deliv- 
 ered successively with the rising slide, each part a little higher than 
 that which precedes it; as, "Was it not, evidently, that he might 
 communicate happiness ? and does not this design appear conspicuous 
 on the open face of nature ? " 
 
 Note. — The reader must judse whether the series consists of independent 
 interrogatives, or constitutes a single sentence in several parts. Ordinary 
 punctuation is not an unerring guide. 
 
 There are several exceptions to the rule. Thus, the 
 definite interrogative may take a downward inflec- 
 tion {See CHAP, iv) when repeated : — 
 
 a. For more distinct understanding; as, "'Did you 
 see him there'? ' ' Sir' ? ' ' Did you see him there'"? ' " 
 
 h. As a rejoinder to an evasive reply ; as, '" ' Wilt thou 
 be lord of all the world' ? ' ' What sayst thou' ? '* ' Wilt 
 thou be lord of the whole world'? That's twice.' " 
 
 c. For greater emphasis ; as, " ' Will you deny it' ? 
 
 * For explanation of this reversal of the slide of an indefinite interroga- 
 tive, see Chap. IV, exceptions to the rule, c. p. 43. Here we have an im- 
 plied repetition; as though the question had been asked before, with , the 
 appropriate falling inflection. 
 
32 MELODY IN SPEECH. 
 
 Will you deny it' ? ' said he, repeating the question in 
 a louder and more emphatic tone." 
 
 This includes also a peculiar case presented by dec- 
 larations put for emphasis in interrogative form ; as, 
 " Didn't we have a good time'? " 
 
 Again, the falling slide is used with a definite inter- 
 rogative : — 
 
 When it is the last of a series of interrogatives, with 
 or without intermediate answers; as, " Is he honest'? 
 Is he faithful'? Is he capable'?" 
 
 Note. — Such a series involves the idea of climax. 
 
 Finally, the falling slide is used with a definite inter- 
 rogative : — 
 
 When the latter is stated or quoted ; as, " The ques- 
 tion is, will you go'?" " He asked me, ' Shall you go 
 to-day'?'" 
 
 KOTE. — For the rising slide with conipellalives, see Observation, 
 p. 18 ; with indefinite interrogatives, see e, p. 18, Observation 1, p. 
 19, and exceptions to the rule, p. 42. 
 
 Examples for Practice in the Use of the Rising 
 Slide. 
 
 Definite Interrogatives with Rising Slide. 
 
 Did Paul make a worse preacher for being brought up 
 at the feet of Gamaliel ? 
 
 Has any one called on you this morning, to invite 
 you to the musical entertainment at the Odeon ? 
 
 Did not even-handed justice, ere long, commend the 
 poisoned chalice to their own lips ? 
 
 Are the palaces of kings to bo regarded with more in- 
 terest than the humbler roofs that shelter millions of 
 human beings? 
 
 Is the celestial fire which glowed in their hearts for- 
 
UJPWARD INFLE0TI0N8-THE RISING SLIDE. 33 
 
 ever quenched, and nought but ashes left to mingle with 
 the earth, and be blown around the world? 
 
 Could not this man, who opened the eyes of the 
 blind, have caused that even this man should not have 
 died? 
 
 Is it not remarkable that the same temper of weather 
 which raises this general warmth of animals should 
 cover the trees with leaves, and the fields with grass, 
 for their security and concealment, and produce such 
 infinite swarms of insects for the support and sustenance 
 of their respective broods ? 
 
 Are all the feelings of ancestry, posterity, and fellow- 
 citizenship ; all the charm, veneration, and love bound 
 up in the name of country ; the delight, the enthusiasm 
 with which we seek out, after the lapse of generations 
 and ages, the traces of our fathers' bravery and wisdom, 
 — are these all a legal fiction ? 
 
 Does prodigal Autumn to our age deny 
 
 The plenty that onoe swelled beneath his sober eye? 
 
 Dids't thou not hear the pother o'er thy head, 
 When the great Persian conqueror, Cambyses, 
 
 Marched armies o'er thy tomb with thundering tread, 
 O'erthrcw Osiris, Orus, Apis, Isi?,— 
 
 And sliook the Pyramids with fear and woiider 
 When the gigantic Memnon fell asunder ? 
 Will a man play tricks, will he indulge 
 
 A silly, fond conceit of his fair form 
 
 And just proportion, fashionable mien, 
 
 And pretty face, in presence of his God ? 
 
 Canst thon with impious obloquy condemn 
 The just decrees of God, pronounced and swo'rn, 
 That to his only Son, by right endued 
 With regal sceptre, every soul in heaven 
 Shall bend (he knee, and, in that honor due. 
 Confess him rightful King? 
 3 
 
34 MELOD Y IN SPEECH. 
 
 Definite Interrogatives with Circumstance Included in the 
 Rising Slide. 
 
 Do you dread death in my company? he cried to the 
 anxious sailors, when the ice on the coast of Holland 
 had almost crushed the boat that was bearing him to 
 the shore. 
 
 Do you know Mr. Brown ? said Arthur to his friend 
 one morning at breakfast. 
 
 Will you lend me a thousand francs ? said he, sud- 
 denly turning to the sculptor. 
 
 Isn't your brother riding that horse a little rashly ? 
 Reginald said to John Fletcher in the hunting field one 
 day. 
 
 Definite Interrogatives, the Length of which Modifies the 
 Rising Slide. 
 
 Is it then possible that we can be indifferent, that we 
 can delay preparation for another state, that we can 
 hesitate to embrace the proffers of grace, when death is 
 an event that may occur at any moment, when it may 
 occur now while I am speaking from this sacred desk? 
 
 Can we believe a thinking being that is in a perpetual 
 progress of improvement, and travelling on from perfec- 
 tion to perfection, after just having looked abroad into 
 the works of his Creator, and made a few discoveries of 
 his infinite goodness, wisdom, and power, must perish 
 at his first setting out, and in the very beginning of his 
 inquiries ? 
 
 Should we not think it very unreasonable, if he 
 should, in this case, persist in discrediting the testimony 
 even of a single man whose veracity he had no reason 
 to suspect ; and, much more, if he should persist in op- 
 position to the concurrent and continually increasing 
 testimony of numbers ? 
 
UPWARD INFLECTIONS— THE RISING SLIDE. 35 
 
 Is it possible, that from a beginning so feeble, so frail, 
 so worthy not so much of admiration as of pity, there 
 has gone forth a progress so steady, a growth so wonder- 
 ful, an expansion so ample, a reality so important, a 
 promise, yet to be fulfilled, so glorious ? 
 
 Is it because the natural resistance of things, and the 
 various mutations of time, hinder our government, or 
 any scheme of government, from being any more than 
 a sort of approximation to the right, is it therefore that 
 the colonies are to recede from it infinitely ? 
 
 With the eye of the enthusiast do you often gaze at the 
 triumphs of the arts, and will you do nothing to rescue 
 their choicest relics from worse than vandal barbarism ? 
 
 Could thirst of vengeance and desire of fame 
 Excite the female breast with martial flame ; 
 And shall not love's diviner power inspire 
 More hardy virtue and more generous fire? 
 
 Will he seek to dazzle me with tropes 
 As with the diamond on his lily hand, 
 And play his brilliant parts before my eyes. 
 When I am hungry for the bread of life ? 
 
 Will he quench the ray 
 Infused by his own forming smile at first, 
 And leave a work so fair all blighted and accursed 7 
 Say, shall they feel the vessel reel. 
 When to the battery's deadly peal 
 The crashing broadside makes reply ? 
 
 Is aught so fair 
 As virtuous friendship; as the honored roof 
 Whither from highest heaven immortal love 
 His torch ethereal and his golden bow 
 Propitious brings, and there a temple holds 
 To whose unspotted service gladly vowed 
 The social band of parent, brother, child, 
 With smiles and sweet discourse and gentle deeds 
 Adore his power 1 
 
36 MEL ODT IN SPEECH. 
 
 Several Definite Interrogatives Requiring Successive 
 Rising Slide. 
 
 Was it to be wondered at that a people so circum-. 
 stanced should search for the cause and source of all 
 their calamities ; or was it to be wondered at that they 
 should find them in the arbitrary interpretations of 
 their constitution, and in the prodigal and corrupt ad- 
 ministration of their revenues ? 
 
 Had not a paltry unconstitutional tax, neither in 
 amount nor in principal to be named with the taxes of 
 France, just put the continent of America in a flame ; 
 and was it possible that the young officers of the French 
 army should come back to their native land from the 
 war of political emancipation waged on this conti- 
 nent, and sit down contented under the old abuses at 
 home? 
 
 Shall we permit this curiously compacted body poli- 
 tic, the nicest adjustment of human wisdom, to go to 
 pieces ? Will we blast this beautiful symmetric form, 
 paralyze this powerful arm of public strength, smite 
 with imbecility this great national intellect ? 
 
 Is the being, who, surveying nature, recognizes to a 
 certain extent the great scheme of the universe, but who 
 sees infinitely more which he does not comprehend, and 
 which he ardently desires to know, — is he to perish like 
 a mere brute, all his knowledge useless, all his most 
 earnest wishes ungratified ? 
 
 Can that within man which reasons like his immortal 
 Creator, which sees and acknowledges his wisdom, and 
 approves of his designs, be mortal like the rest? Is it 
 probable, nay, is it possible, that what can thus com- 
 prehend the operations of an immortal agent is not itself 
 immortal ? 
 
 And is not moral greatness superior to this? Is not 
 
UPWABD INFLECTIONS— THE BISINO SLIDE. 37 
 
 a crown of glory around brows that never die better 
 than a diadem of gold upon a fieshless skull ? Is not a 
 name written with the finger of God in the book of life 
 better than a name written over the shrine of our bones 
 with rubies ? 
 
 Is this the genuine fruit of the pious care of our ances- 
 tors for the security and propagation of religion and 
 good manners to the latest posterity? is this at last the 
 reward of their munificence? or does this conduct cor- 
 respond with the views, or with the just expectations 
 and demands, of your friends and your country ? 
 
 But is that enough to say ? Is there no danger that 
 it may do that brave and unfortunate people some 
 harm ? Is there no danger that such a course of action 
 as is proposed here might give rise to unfounded hopes 
 in Hungary, or increase, perhaps, their sufferings, by 
 irritating those who govern them ? 
 
 Have you never stood by the seaside at night, and 
 heard the pebbles sing, and the waves chant God's glo- 
 ries ? Or have you never risen from your couch, and 
 thrown up the window and listened there? And have 
 you not fancied that you heard the harp of God play- 
 ing in heaven ? Did you not conceive that yon stars, 
 that those eyes of God, looking down on you, were also 
 mouths of song — that every star was singing God's 
 glory, singing, as it shone, its mighty Maker and his 
 well-deserved praise ? 
 
 Do not you, and did not they, feel that this life can- 
 not be man's only abiding place ? that this spirit cannot 
 pass upon the hasty and uncertain waves of time to an 
 eternal nothing? that the restless, irrepressible, and un- 
 satisfied leapings of the heart and the affections after 
 that which is higher and beyond all that surrounds us, 
 demand that we should credit something which belongs 
 
38 ^fEL ODY IN SPEECH. 
 
 not to the passing hour? that all the economy of 
 nature, the beauty of the earth, the brilliancy of the 
 stars, the glory of the lights of the day and the night, 
 the forms of human strength and loveliness, cannot be 
 taken from us, and pass forever from our sight and 
 our enjoyment ? that there must be a continued, a pro- 
 longed existence, where the eye shall sec, the ear hear, 
 beauty fade not, the affections of the heart be not 
 blasted, and the glorious panoply of Nature be spread 
 out forever ? 
 
 Hai? Nature in her calm, majestic march, 
 l<"altered with age at last; does the bright sun 
 Grow dim in heaven ; or in their far blue arch 
 Sparkle the crowd of stars, when day ia done, 
 Less brightly ? 
 
 Must I thus leave thee. Paradise? thus leave 
 Thee, native soil, these happy walks and shades, 
 Fit haunt of gods? 
 
 Heard ye those loud, contending waves, 
 Tliat shook Cecropia's pillared state ? 
 Saw ye the mighty from their graves 
 Look up, and tremble at her fate? 
 Can the deep statesman skilled in great design 
 Protect but for a day precarious breath ? 
 Or Ihe tuned follower of the sacred Nine 
 Soothe with his melody insatiate death ? 
 Has silence pressed her seal upon his lips ? 
 Does adamantine faith invest his heart ? 
 Will ho not bend beneath a tyrant's frown ? 
 Will he not melt before ambition's Are ? 
 Will he not soften in a friend's embrace 7 
 Or flow dissolving in a woman's tears? 
 Are these the pompous tidings ye proclaim, 
 Lights of the world, and demigods of fame? 
 Is this your triumph, this your proud applause. 
 Children of Truth, and champions of her cause? 
 
UPWARD INFLECTIONS— THE RISING SLIDE. 39 
 
 For this halli Science searclietl on weary wing, 
 
 By shore and sea, each mute and living thing? 
 
 Launched with Iberia's pilot from the steep, 
 
 To worlds unknown, and isles beyond the deep ? 
 
 Or round the cope her living chariot driven, 
 
 And wheeled in triumph througli the signs of lieaven? 
 
 Hark ! heard you not those hoofs of dreadful note ? 
 Sounds not the clang of conflict on the heath ? 
 Saw ye not whom the reeking sabre smote, 
 Nor saved your brethren ere they sank beneath 
 Tyrants and tyrants' slaves ? 
 
 Is the lance broken, is the shield decayed, 
 
 The warrior's arm unstrung, his heart dismayed ? 
 
 Shall no high spirit of descendant worth 
 
 Arise to lead the sons of Islam forth ; 
 
 To guard the regions where our fathers' blood 
 
 Hath bathed each plain, and mingled with each flood; 
 
 Wliere long their dust hath blended with the soil 
 
 Won by their swords, made fertile by their toil ? 
 
 Definite Interrogaiivcs, Slide Reversed. 
 
 Peters, fearful that his companion might overlook 
 some of the happy hits of the different personages on 
 the stage, soon electrified the audience by exclaiming, 
 without turning his head, in a suppressed and emphatic 
 voice, when particularly pleased, " Austin, d'ye hear 
 that?" and again, after a little while, "Austin, d'ye 
 hear that?" 
 
 Has the gentleman done? Has he completely done? 
 He was unparliamentary from the beginning to the 
 end of his speech. 
 
 Definite Interrogatives, Falling Slide. 
 
 Countess. Ilowe'er I charge thee. 
 
 As Heaven shall work in me for thine avail. 
 To tell me truly. 
 
40 MELOD Y IN SPEECH. 
 
 Helena. Good madam, pardon me ! 
 Countess. Do you love my son ? 
 Helena. Your pardon, noble mistress. 
 Countess. Love you my son ? 
 Helena. Do yoa not love him, madam ? 
 
 Definite Interrogatives, Series. 
 
 Do you know me, sir? Am I Dromio? 
 
 Am 1 your man ? Am I myself? 
 
 Are all apostles ? Are all prophets ? Are all teach- 
 ers ? Are all workers of miracles ? Have all the gifts 
 of healing? Do all speak with tongues? Do all in- 
 terpret ? 
 
 Shylock. Three thousand ducats: well. 
 
 Bassanio. Ay, sir, for three months. 
 
 Shy. For three months : well. 
 
 Bass. For the which, as I told you, 
 Antonio shall be bound. 
 
 Shy. Antonio shall become bound : well. 
 
 Bass. May you stead me ? Will you pleasure me? 
 Shall I know yovir answer? 
 
 Leonato, stand I here ? Is this the prince ? Is this 
 the prince's brother? Is this face Hero's? Are our 
 eyes our own ? 
 
 Fie, fie on all tired jades, on all mad masters, and on 
 all foul ways. Was ever man so beaten ? Was ever 
 man so rayed ? Was ever man so weary ? 
 
 Art thou bound to a wife ? Seek not to be loosed. 
 Art thou loosed from a wife? Seek not a wife. 
 
TtlE FALLING SLIDE. 41 
 
 CHAPTER IV. 
 
 DOWNWARD INFLECTIONS — THE FALLING SLIDE. 
 
 As the rising slide has a tendency to connect, so the 
 falling slide has a tendency to separate, ideas. Dynam- 
 ically considered, it is the strongest of all the inflections. 
 More intense pathos may be expressed by the rising 
 slide. 
 
 The falling slide carries the voice downward through 
 a succession of tones. 
 
 Note. — The voice is carried gradually downward through a whole 
 clause or sentence. 
 
 The falling slide is marked with the grave accent. 
 
 It is used in the delivery of indefinite interrogative 
 sentences (viii, p. 13), the voice rising until the emphatic 
 word, and then continuing to fall to the close of the 
 sentence ;* as, " Where is the man who has not his 
 wrong tendencies to lament^?" "When was it that 
 Rome attracted more strongly the admiration of man- 
 kind, and impressed the deepest sentiment of fear on 
 the hearts of her enemies^ ? " 
 
 Obskrvation 1. — A. circumstance following an indefinite inter- 
 rogative is delivered with a con tinuation of the falling slide, the cir- ' 
 
 * This direction, like i ts counterpart, for tlie delivery of definite interroga- 
 tives (CHAP. Ill, on the Eisirig Slide, p. 30), is very general, and subject to 
 many modifications, particularly under the influence of emphasis. (Chap. 
 VII, on the Effect oj Emphasis on Other Inflections, p. 77.) It is merely intended 
 to discourage those aimless fluctuations of the voice which so "easily beset" 
 the reader in the delivery of long sentences, and to enjoin upon him to fix 
 in his mind at the very outset the pitch at which ho shall issue at the close, 
 and steadily work toward it. 
 
42 MELOD Y IN SPEECH. 
 
 cnmstance taking its coloring from wlint precedes ; as, " ' WIio was 
 it?' said the uniiappy man to hia friend''." 
 
 OsaERVATiON 2. — When the indefinite interrogative is too lon'j 
 for a continiions downward slide, it must lie delivered with that slitlo 
 at the beginning and at the end, the intermediate part being given 
 in a level tone; as, " VVIiat reflecting American does not acknowledge 
 the incalculable advantages derived to this land out of the deep founda- 
 tions of civil, intellectnal, and moral truth ^n . > 
 
 fnini which we have drawn in England?" 
 
 Observation 3. — When an indefinite interrogative consists of 
 several parts, especially if they are themselves interrogatives, sepa- 
 rate, but related to each other, these parts should be successively de- 
 livered in a slightly lower tone unto the end ; as, " What are we to 
 look for when you shall be no longer hackneyed in the ways of men, 
 when ritualism shall have completed the (v^ 
 obduration of your heart, and when expe- ^'^'^^^ i>^ 
 rience shall have improved you in all the ^^*\?) 
 
 arts of guile?" 
 
 Observation 4. — When an interrogative sentence is composed 
 of two contrasted parts separated by the conjunction or, the former 
 should be delivered with the rising, and the latter with the falling, 
 slide ; as, " Art thou he that should come,' or do we look for 
 another''?" 
 
 Observation 5. — Such sentences must be carefully discriminated 
 from those, apparently similar, the parts of which are not contrasted, 
 and in which the or is used conjunctively ; '' Is a candle brought to 
 be put under a bushel', or imder a bed' ? " " Do men gather grapes 
 of thorns', or figs of thistles' ? " 
 
 There are several exceptions to the rule. Thus: — 
 The indefinite interrogative may be delivered with the 
 rising slide : — 
 
 When repeated : — 
 
 a. In order to obtain a more distinct answer; as, 
 "'When will you have my picture done'?' 'Next 
 week.' ' When will you have my picture done' ? ' ' Next 
 week.' " " What is he' ? What' ? Touch-paper, to be 
 sure ! " 
 
THE FALLING SLIDE. 43 
 
 6. With inquiry, surprise, or scorn, preparatory to 
 reply ; as, " ' Hark you, fellow ! whom do you live 
 with'? ' ' Whom do I live with' ? With my mistress, 
 to be sure.'" '"What's the matter'?' 'What's the 
 matter' ? Here be four of us have taken a thousand 
 pounds this morning.' " 
 
 Note. — The sentences " Whom do I live with' ? " etc., are given 
 willi something lilce the waving slide (see chap, vi, p. Gl), as tliey 
 resemble in character the indirect interrogative, (vm, p. 13.) 
 
 Again, the rising slide may be used with an indefinite 
 interrogative : — 
 
 c. When there is great intensity in the question, im- 
 plying a repetition of what has been asked before ; as, 
 '"Well, then, away goes old Jack to the hospital.' 
 ' What's that you say' ? ' " 
 
 Note. — In this instance and others like it, the rising slide may be 
 supposed to indicdte an ellipsis, the full form of the sentence being 
 definite. Thus, "What'?" or " What's that you say'?" may be 
 the equivalent of " Will you repeat what you say ? " or '■ Do I hear 
 correctly what you say ? " 
 
 Finally, the rising slide is used with an indefinite 
 interrogative : — 
 
 In parenthesis, except when marked by strong em- 
 phasis (See CHAP. II, e, p. 18, and Observation 1, p. 
 19). 
 
 Observation. —The rising and falling inflections should be bal- 
 anced as much as possible, when this can be done without affecting 
 the sense. A succession of falling inflections especially, is injurious 
 to melody. 
 
 Note.— For the falling slide with corapellatives see p. 18 ; with 
 indefinite interrogatives in parenthesis see Oesekvation 1, p. 19; 
 with definite interrogatives see exceptions to the rule, p. 31 ; with 
 indirect interrogatives see Obsekvations 1 and 2, p. CI. 
 
44 MELODY IN SPEECH. 
 
 Examples for Practice in the Use of the Falling 
 Slide. 
 
 Indefinite Interrogatives, with Falling Slide. , 
 
 Who can say for how many centuries, safe in their 
 undiscovered fastnesses, . they had decked their war- 
 chiefs with the feathers of the eagle's tail, and listened 
 to the counsels of their beloved old men? 
 
 Who can doubt, that'in the sacred desk, or at the bar, 
 the man who speaks well will enjoy a larger share of 
 reputation, and be more useful to his fellow-creatures, 
 than the divine or the lawyer of equal learning and in- 
 tegrity, but unblest with the talent of oratory ? 
 
 Who that reads the concentrated sense and melodious 
 versification of Dryden and Pope does not perceive in 
 them the disciples of the old school, whose genius was 
 inflamed by the heroic verse, the terse satire, and the 
 playful wit, of antiquity ? 
 
 Who will ever forget, that, in that eventful struggle 
 which severed this mighty empire from the British 
 crown, there was not heard throughout our continent, 
 in arms, a voice which spoke louder for the rights of 
 America than that of Burke or Chatham, within the 
 walls of the British Parliament, and at the foot of the 
 British throne ? 
 
 What could have been his motive for pursuing the 
 conduct he did on that occasion, when his obligations 
 to act differently were numerous and solemn ? 
 
 But what to tliein tlie sculptor's art, 
 His funeral columns, wreaths, and urns ? 
 
 And who that walks where men of ancient days 
 Have wrought with godlike arm the deeds of praise, 
 Feels not the spirit of the place control, 
 Exalt, and agitate his hiborin:' soul ? 
 
THE FALLING SLIDE. 45 
 
 Why wonldst thoii, but for some felonious end, 
 
 In thy dark lantern thus close np the stars 
 
 That Nature hung in heaven, and filled their lamps 
 
 With everlasting oil, to give due light 
 
 To the misled and lonely traveller? 
 
 Who that then 
 Had seen those listening warrior-men, 
 With their swords grasped, their eyes of flame 
 Turned on their chief, could doubt the shame, 
 The indignant shame, with which they thrill 
 To hear those shouts, and yet stand still? 
 
 Indefinite Interrogatives, the Length of which Modifies 
 the Falling Slide. 
 
 Why did they not, in the next breath, by way of 
 crowning the climax of their vanity, bid the magnificent 
 fire-ball to descend from its exalted and appropriate 
 region, and perform its splendid tour along the surface 
 of the earth ? 
 
 Who can tell how much of his good or ill success in 
 life, how much of the favor or disregard with which he 
 himself has been treated, may have depended upon that 
 skill or deficiency in grammar of which he must have 
 afforded certain and constant evidence ? 
 
 What time can suffice for the contemplation and wor- 
 ship of that glorious, immortal, and eternal Being, 
 among the works of whose stupendous creation those 
 numberless luminaries which we may here behold 
 spangling in the sky may possibly appear but as a few 
 atoms, opposed to the whole earth which we inhabit? 
 
 Who can look upon the heights of Brooklyn without 
 fancying, that, as he gazes, the spires and streets fade 
 from his view, while in their stead stern and anxious 
 faces rise through the misty air, and amid them the 
 majestic form of Washington, with a smile of triumph 
 
46 MELODY IN SPEECH. 
 
 just lighting for a moment his care-worn features, at the 
 thought of the prize he htis snatched from the grasp of 
 a proud and exulting enemy ? 
 
 Why 
 Should we, in the world's riper years, neglect 
 God's ancient sanctuaries, and adore 
 Only among the crowd, and under roofs 
 That our frail hands have raised ? 
 
 And who was she, in virgin prime, 
 
 And May of womanhood. 
 
 Whose roses hero, unplucked by time. 
 
 In shadowy tints have stood, 
 
 While many a Winter's withering blast 
 
 Hath o'er the dark cold chamber past. 
 
 In which her once resplendent form 
 
 Slumbers to dust beneath the storm ? 
 
 What can be worse 
 Than to dwell here, driven out from bliss, condemned 
 In this abhorred deep to utter woe, 
 Where pain of unextinguishable fire 
 Must exercise us without hope of end; 
 The vassals of liis anger, when the scourge 
 Inexorable, and the torturing hour 
 Call us to penance ? 
 
 Several Indefinite Interrogatives Requiring Successive 
 Falling Slide. 
 
 Why should we suspend our resistance, why should 
 we submit to an authority like this, if we have the right 
 and superior force on our side? 
 
 Why recur to any presumption for the purpose of 
 bringing the question to a settlement, when, upon this 
 very topic, we are favored with an authoritative mes- 
 sage from God ; when an actual embassy has come from 
 him, and that on the express errand of reconciliation ; 
 
THE FALLING SLIDE. 47 
 
 when the records of this embassy have been collected 
 into a volume within the reach of all who will stretch 
 forth their hand to it ; when the obvious expedient of 
 consulting the record is before us ? 
 
 Why was the French Revolution so bloody and de- 
 structive; why was our revolution of 1641 compara- 
 tively mild ; why was our revolution of 1688 milder 
 still; why was the American Revolution, considered as 
 an internal movement, the mildest of all ? 
 
 Where can you find such an assemblage of high vir- 
 tues and of great events, as concurred at the death of 
 Christ? where so many testimonials given to the dignity 
 of the dying person by earth and heaven ? 
 
 What fellowship hath righteousness with unright- 
 eousness ? and what communion hath light with dark- 
 ness? and what concord hath Christ with Belial? or 
 what part hath he that believeth with an infidel ? and 
 what agreement hath the temple of God with idols? 
 
 What was it that moved and held us, the three hun- 
 dred reckless, childish boys, who feared the doctor with 
 all our hearts, and very little besides in heaven or earth; 
 who thought more of our sets in the school than of the 
 church of Christ, and put the traditions of Rugby and 
 the public opinion of boys in our daily life above the 
 laws of God ? 
 
 Who is he, so ignorant of the history of liberty, at 
 home and abroad : who is he, yet dwelling in his con- 
 templations among the middle ages ; who is he, from 
 whose bosom all original infusion of American spirit 
 has become so entirely evaporated and exhaled, as that 
 he shall put into the mouth of the President of the 
 United States the doctrine that the defence of liberty 
 naturally results to executive power, and is its peculiar 
 duty ? Who is he, that, generous and confiding towards 
 
48 MELODY IS SPEECH. 
 
 power where it is most dangerous, and jealous only of 
 those who can restrain it; who is he, that, reversing the 
 order of the State, and upheaving tlie base, would poise 
 the pyramid of the political system upon its apex ? 
 Who is he, that, overlooking with contempt the guar- 
 dianship of the representatives of the people, and with 
 equal contempt the higher guardianship of the people 
 themselves ; who is he that declares to us, through the 
 President's lips, that the security for freedom rests in 
 Executive Authority ? Who is he that belies the blood, 
 and libels the fame, of his own ancestors by declaring 
 that they, with solemnity of form and force of manner, 
 have invoked the Executive Power to come to the pro- 
 tection of liberty ? Who is he that thus charges them 
 with the insanity, or the recklessness, of putting the 
 lamb beneath the lion's paw? 
 
 Wherefore rejoice? wliat conquest brings he home? 
 
 What tributaries follow him to Rome 
 
 To grace in captive bonds his chariot-wheels ? 
 
 Why should I mingle in Fashion's full herd? 
 Why crouch to her leaders, or cringe to her rules 1 
 Why bend to the proud, or applaud the absurd? 
 Why search for delight in the friendship of fools? 
 
 Why did Woisey, near the sleeps of fate. 
 
 On weak foundations raise the enormous weight? 
 
 Why, but to sink beneath misfortune's blow 
 
 With louder ruin to the gulf below ? 
 
 What gave great Villiers to the assassin's knife. 
 
 And fixed disease on Harley's closing life ? 
 
 What murdered Wentworth, and what exiled Hyde, 
 
 By kings protected and to kings allied ? 
 
 Who in such a night will dare 
 
 To tempt the wilderness? 
 And who 'mid thunder-peals can hear 
 
 Our signal of distress? 
 
THE FALLING SLIDE. 49 
 
 Why is the crowd so great to-day ; 
 And why do the people shout "Huzza!" 
 And why is yonder felon given 
 Alone to feed the birds of heaven ? 
 
 What need we any spur but our own cause 
 To prick us to redress ; what other bond 
 Than secret Romans that have spoke the word, 
 And will not palter; and what other oath 
 Than honesty to honesty engaged 
 That this shall be, or we will fall for it ? 
 
 Interrogaiives, with Or Di^unctive. 
 
 Was it fancy, or was it fact? 
 
 Is it lawful to give tribute to Ceesar, or not ? 
 
 Shall I release unto you Barabbas, or Jesus ? 
 
 Do you question me as an honest man should do, for 
 my simple, true judgment? or would you have me 
 speak after my custom as a professed tyrant of the sex? 
 
 Is there nothing that whispers to that right honor- 
 able gentleman, that the crisis is too big, that the times 
 are too gigantic, to be ruled by the little hackneyed and 
 everyday means of ordinary corruption ; or are we to 
 believe that he has within himself a conscious feeling 
 that disqualifies him from rebuking the ill-timed sel- 
 fishness of his new allies ? 
 
 Was it a wailing bird of the gloom, 
 
 Which shrieks on the Iiouse of woe all night; 
 
 Or a shivering fiend that flew to a tomb? 
 
 Wilt thou fly 
 With laughing Autumn to the Atlantic isles, 
 And range with him the Hesperian fields, and see, 
 Where'er his fingers touch the fruitful grain, 
 The branches shoot with gold ; where'er his step 
 Marks the glad soil, the tender clusters grow 
 With purple ripeness, and invest each hill 
 As with the blushes of the evening sky; 
 4 
 
60 MELODY IN SPEECU. 
 
 Or wilt thoM rather stoop thy vagrant plume, 
 Where, gliding tlirongh his daughter's lionored shades, 
 The smooth Peneus from his glassy flood 
 Reflects purpureal Tempe's pleasant scene? 
 
 Interrogatives, vnth Or Conjunctive. 
 
 Of what use is salt, if it has lost its savor ; or of what 
 use is the sword-blade, if it does not cut? 
 
 When saw we thee an-hungered, and fed thee; or 
 thirsty, and gave thee drink ? 
 
 Canst thou bind the unicorn with his band in the 
 furrow? or will he harrow the valleys after thee? Wilt 
 thou trust him because his strength is great? or wilt 
 thou leave thy labor to him ? Gavest thou the goodly 
 wings unto the peacocks ? or wings and feathers unto 
 the ostrich ? Canst thou draw out leviathan with an 
 hook? or his tongue with a cord which thou lettest 
 down? 
 
 But should these credulous infidels, after all, be in 
 the right, and this pretended revelation be all a fable ; 
 from believing it, what harm could ensue? Would it 
 render princes more tyrannical, or subjects more un- 
 governable, the rich more insolent, or the poor more 
 disorderly? Would it make worse parents, or chil- 
 dren ; husbands, or wives; masters, or servants? friends, 
 or neighbors ? Or, would it not make men more virtu- 
 ous, and, consequently, more happy, in every situation? 
 
THE CLOSES. 51 
 
 CHAPTER V. 
 
 DOWNWARD INFLECTIONS— THE CLOSES. 
 
 The closes are two, the iperfed and the partial. 
 
 The ■perfect close is a fall of the voice to the funda- 
 mental (or kej') note, at the end of a sentence. 
 
 It needs no mark but the period. 
 
 The partial close (marked with the grave accent) is a 
 fall of the voice to a point a little above that note, pre- 
 paratory to the perfect close. Following are examples 
 of both in connection : " The faults opposed to the sub- 
 lime are chiefly two\ the frigid and the bombast." 
 "Before closing this, I wish to make one observation^; 
 I shall make it once for all." 
 
 PERFECT CLOSE. 
 
 The perfect close is used at the end of declarative 
 sentences ; as, " I have told you the truth." " You live 
 my friends, in an extraordinary age." 
 
 Note. — The closes come on words, the falling slide embraces a 
 whole clause or sentence. 
 
 Imperative sentences are declarations, and follow the 
 same rule ; as, " Drink, pretty creature, drink ! " " Give 
 me liberty or give me death ! " " Bring forth the 
 horse." 
 
 Note. — Upon the last word of a sentence making complete sensBj 
 the voice should rise slightly before it falls; as, "The earth is 
 round;" unless the special importance of a preceding word makes 
 the perfect close a part of the wave of emphasis; as, ''Old men are 
 not always wise men." 
 
 The exceptions to this rule are only apparent. For: — 
 
52 MELODY IN SPEECH. 
 
 (1) A sentence declarative in form may be really an 
 indirect interrogative, which requires the waving slide. 
 "You could not foresee the reception you met with. 
 No." (See chap, vi, Observation 2, p. 61.) 
 
 ( 2) A declarative sentence which has apparently come 
 to a close, may be so connected in sense with what fol- 
 lows as to be incorrectly punctuated with the period, 
 and require to be delivered with the bend if there is 
 near connection ; with the partial close if the connec- 
 tion is slight. The following examples consist each 
 of two sentences, which are really one. The first divi- 
 sion in each should be followed by the semicolon in- 
 stead of the period. The first example is "really a 
 compact sentence (see chap, ii, c. Observation 1, p. 17) : 
 [Though] "I admit that the evidence of this man's 
 guilt must ensure his condemnation'. Yet we are to 
 consider, and consider well, what we shall do with him 
 after condemnation." " It seemed impossible that any 
 one of the innumerable keys could fit ii. churlish strong- 
 box or a prison door\ Store-houses of good things, 
 rooms where there were fires, books, gossip and cheer- 
 ing laughter — these were their sphere of action." 
 
 (3) A declarative sentence apparently complete may 
 have a related sequel expressed or understood, and may, 
 therefore, take a rising inflection ; as, " I should know 
 that form'." Supply " because its proportions are fa- 
 miliar." ''Mr. C. That was not necessary to make out 
 the libel. Judge B. Pretty near it, though'." That is, 
 pretty near it, though not absolutely. 
 
 Partial Close. 
 The partial close is used ; — 
 
 (1) At the end of every part of a loose sentence (x, p. 
 13) except the last, which terminates, of course, with the 
 
THE CLOSES. 53 
 
 perfect close; as, "Christianity came prepared for a 
 gradual \vork\— to perform its labor as sunshine and 
 moisture perform theirs', to bring its ideas to perfection 
 among men, as the seed is brought forthto the harvest." 
 
 Observation 1.— These parts should be delivered with a gradual 
 fall of the voice, looking toward the final close, except where the 
 sentence is too long, in which case the middle part may be deliv- 
 ered in a tone nearly level, and the decadence confined to the first 
 and the last. 
 
 Observation 2. — When the declarative part of a semi-interroga- 
 tive or semi-exclamatory (vii, p. 12, Note) sentence forms with the 
 rest a loose sentence, it terminates with the partial close, instead of 
 the bend; as, "We are at the point of a century from the birth of 
 Washington^ ; and what a century it has been ! " (See chap, ii, b. 
 Note 2, p. 17.) Where a noun or phrase standing by itself for the 
 sake of emphasis, has no grammatical connection with the semi- 
 interrogative or semi-exclamatory part, it is followed also by the 
 partial close ; as, " The boy'', oh where was he ? " " The baptism of 
 John^ : was it from heaven, or of men ?" 
 
 (2) A parenthesis following a sentence, or a part of 
 a sentence, making perfect sense, takes the partial or 
 perfect close; as, " That man went to sea (and who could 
 blame him'?), but he never came back." " I will there- 
 fore chastise him, and release him (for of necessity he 
 must release one of them at the feast)." 
 
 Examples for Peactice in the Use of the Closes. 
 Declarative Sentences, Ending with the Perfect Close. 
 
 I am fearfully and wonderfully made. 
 
 The outward, material world is the shadow of the 
 spiritual. 
 
 A hardy, honest peasantry are the glory of an agricul- 
 tural country. 
 
 Universities are a notable, respectable product of the 
 modern ages. 
 
54 MEL ODY IN SPEECH. 
 
 The details of Mr. Clay's life have been eloquently- 
 given by the accomplished orator of the day. 
 
 Declaratives, Waving Slide. 
 
 Father, give mo the portion of goods that falleth 
 to me. 
 
 Surely, the Lord is in this place. 
 
 They will reverence my son. 
 
 It is surely extraordinary that she should have 
 alarmed me so much about your health, and sent me 
 such precise instructions to take care of it. 
 
 You [surely] know the history of this man's enter- 
 prises : how his doings and observations were among 
 the veriest outcasts of humanity ; how he descended 
 into prison-houses, and there made himself familiar 
 with all that could revolt or terrify in the exhibition 
 of our fallen nature ; how, for this purpose, he made 
 the tour of Europe. 
 
 Declaratives, Bend or Partial Close. 
 
 We should not bestow our faculties on a multitude 
 of small and unimportant affairs. This is to waste 
 them, without benefit to ourselves or to mankind. We 
 should employ them in the pursuit of some great and 
 good end. 
 
 If the means were in themselves bad, you would not 
 say that the end justified them. Or if the means were 
 good, you would not say that they justified all the results 
 that might flow from them. 
 
 Declaratives, Bend. 
 
 Amanda. He saw her and gave the letter. 
 Maria. Well.* 
 
 * That is, Well', what then ? 
 
THE CLOSES. , 55 
 
 A. And when he got his answer, he returned. 
 
 31. Well. 
 
 A. And finding no one, came to me. 
 
 M. Well. 
 
 A. Well; well; what means this well? 
 
 31. It means tell me all. 
 
 It is easy to awaken generous sentiments in privacy ; 
 to despise death when there is no danger; to glow with 
 benevolence when there is nothing to be given. 
 
 'Tis pitiful 
 To court a grin, when you slionld woo a soul ; 
 To break a jest, when pity should inspire 
 Pathetic exhortation ; and to address 
 The skittish fancy with facetious tales. 
 When sent with God's commission to the heart. 
 
 By Jupiter, 
 Were I the wearer of Antonius' beard, 
 I would not shave' t to-day. 
 
 Pity me, Charmian ; 
 But do not speak to me. 
 
 Loose Sentences, given luith the Partial and the Perfect Close. 
 
 I speak as to wise men : judge ye what I say. 
 
 Receive us : we have wronged no man, we have cor- 
 rupted no man. 
 
 History, as it has been written, is the genealogy of 
 princes ; the field-book of conquerors. 
 
 Loose Sentences, Gradual Fall. 
 
 It is the glory of the world that He who formed it, 
 dwelt on it; of the air, that He breathed in it; of the 
 sun, that it shone on Him ; of the ground, that it bore 
 Him ; of the sea, that He walked on it; of the elements, 
 
56 MELODY IN SPEECH. 
 
 that they nourished Him ; of the waters, that they re- 
 freshed Him ; of us men, that He lived and died among 
 us, yea, that He lived and died for us ; that He assumed 
 our flesh and blood, and carried it to the highest 
 heavens, where it shines as the eternal ornament and 
 wonder of the creation of God. 
 
 Time would fail us to recount the measures by which 
 the way was prepared for the Revolution : the stamp act; 
 its repeal, with the declaration of right to tax America ; 
 the landing of troops in Boston, beneath the babtery of 
 fourteen vessels of war, lying broadside to the town, 
 with springs on their cables, their guns loaded and 
 matches smoking ; the repeated insults, and finally the 
 massacre of the fifth of March, resulting from this mili- 
 tary occupation, and the Boston Port Bill, by which the 
 final catastrophe was hurried on. 
 
 Contrasted faults through all his manners reign . 
 Thongh poor, Inxurious; tliongh submissive, vain* 
 Though grave, yet trifling; zealous, yet untrue; 
 And e'en in penance, planning sins anew. 
 
 He who felt the wrong, and had the might, 
 His own avenger, girt himself to slay : 
 Beside the path tiie iinburied carcass lay : 
 The shepherd by the fountain of the glen. 
 Fled, while the robber swept his flocks away, 
 And slew his babes. 
 
 To him who in the love of nature holds 
 Communion with her visible forms, she speaks 
 A various language : for his gayer hours 
 She has a voice of gladness, and a smile 
 And eloquence of beauty ; and she glides " 
 Into his darker musings witli a mild 
 And healing sympathy, that steals away 
 Their sharpness ere he is aware. 
 
THE CLOSES. 57 
 
 In rustic solitude 'tis sweet 
 
 The earliest flowers of spring ti> greet;* 
 
 The violet from its tomb ; 
 
 The strawberry, creeping at your feet; 
 
 The sorrel's simple bloom. 
 Peace to the jnst man's memory ; let it grow 
 Greener with years, and blossom throngli the flight 
 Of ages: let the mimic canvas show 
 His calm, benevolent features; let the light 
 Stream on his deeds of love, that shunned the sight 
 Of all but heaven; and in the book of fame 
 The glorious record of his virtues write. 
 And hold it up to men, and bid them claim 
 A palm like his, and catch from biin the hallowed flame. 
 Those ages have no memory, but they left 
 A record in the desert: columns strown 
 On the waste sands, and statues fallen and cleft, 
 Heaped like a host in battle overthrown ;. 
 Vast ruins, where the mountain's ri.bs of stone 
 Were hewn into a city; streets that fpread 
 In the dark earth, where never breath lias blown 
 Of heaven's sweet air, nor foot of man dares tread 
 The long and perilous ways; the cities of the dead. 
 
 Semi-InterrogaMve and Semi- Exclamatory, Declarative 
 Part, given tvith the Partial Close. 
 
 Praise and thanksgiving are the most delightful busi- 
 ness of heaven ; and God grant that they maj be our 
 greatest delight, our most frequent employment on 
 earth ! 
 
 The whole force of this Titanic villany came down 
 with a terrific crash upon your ranks, who had so little 
 agency in nurturing it ; and what wonder if some should 
 have been swept away by the avalanche ! 
 
 He would take, however, if they pleased, the other 
 
 * This clause might have heen more closely connected with the following 
 clauses, had not the author preferred to dwell on each picture. 
 
58 MELOD r IN SPEECH. 
 
 alternative: he would suppose every man charged in 
 the estimate really employed, and that it was necessary 
 to keep eighty thousand on the defensive, that three 
 thousand might be brought into the field : need there 
 anything else be urged to prove the ruinous tendency 
 of the American war ? 
 
 He did not mean absolutely to say, that so many 
 were actually in the service ; perhaps not a tenth part 
 of them could be produced; but the account of them 
 was to be seen on the table ; and what language could 
 properly describe the fraudulent conduct of ministers 
 in imposing so grievous a burden on the people without 
 necessity ? 
 
 He sacrificed everything he had in the world : what 
 could we ask more ? 
 
 He who maims my person affects that which medicine 
 may remedy ; but what herb has sovereignty over the 
 wound of slander? He who ridicules my poverty, or 
 reproaches my profession, upbraids me with that which 
 industry may retrieve, and integrity may rectify ; but 
 what riches shall redeem the bankrupt fame ? 
 
 Suppose that, out of compliment to the mockers of 
 missionary zeal, we relinquished its highest, and, indeed, 
 its identifying object; suppose we confined our efforts 
 exclusively to civilization, and consented to send the 
 plough and the loom instead of the cross ; and admit- 
 ting that, upon this reduced scale of operation, we were 
 as successful as could be desired, till we had even raised 
 the man of the woods into the man of the city, and ele- 
 vated the savage into the sage, — what, I ask, have we 
 effected, viewing man, as, with the New Testament in 
 our hands, we must view him in the whole range of his 
 existence ? 
 
 So thought Palmyra ; where is she ! 
 
THE CLOSES. 59 
 
 Hard lot of man, to toil for the reward 
 
 Of virtue, and yet lose; but wherefore hard? 
 
 He clothes the lily, feeds the dove; 
 
 The meanest insect feels his care : 
 And shall jiot man confess his love — 
 
 Man, his offspring and his heir? 
 
 Ye call these red-browed brelliren 
 
 The insects of an hour, 
 Crushed like the noteless worm amidst 
 
 The regions of their power; 
 Ye drive them from their fathers' lands ; 
 
 Ye break of faith tlie seal : 
 But can ye from the court of Heaven 
 
 Exclude their last appeal ? 
 
 It was the pleasant harveat-time 
 When cellar-bins are closely stowed, 
 And garrets bend beneath their load. 
 And the old swallow-haunted barns — 
 Brown-gabled, long, and full of seams 
 Through which the moted sunlight streams- 
 Are filled with summer's ripened stores, 
 Its odorous grass and barley sheaves, 
 From their low scaffolds to Iheir eaves.* 
 
 Parenthesis, Partial or Perfect Close. 
 
 The next night we were introduced at the Prince of 
 Craon's assembly (he has the chief power in the Grand 
 Duke's absence). 
 
 Let the bishop be one that ruleth well his own house : 
 having his children in subjection: (for if a rnan know 
 not how to rule his own house, how shall he take care 
 of the church of God ?) not a novice, lest being lifted 
 up with pride he fall into condemnation of the devil. 
 
 * It is proper to give the second, third, seventli and eighth lines with the 
 rising slide, but the effect is better ivith the partial close. 
 
60 MELODY IN SPEECH. 
 
 The air was mild as summer, all corn was off the 
 ground, and the skylarks were singing aloud (by the 
 way, I saw not one at Keswick, perhaps because the 
 place abounds in birds of prey). 
 
 A certain man was sick, named Lazarus, of Bethany, 
 the town of Mary and her sister Martha. (It was that 
 Mary who anointed the Lord with ointment, and wiped 
 his feet with her hair, whose brother Lazarus was sick.) 
 Therefore his sisters sent unto him, saying, " Lord, be- 
 hold, he whom thou lovest is sick." 
 
 Know, then, this truth (enough for man to know) :* 
 Virtue alone is happiness below. 
 
 Slie was one 
 Fit for the model of a statuary 
 (A race of mere impostors when all's done: 
 I've seen much finer women, ripe and real, 
 Than all the nonsense of their stone ideal). 
 
 CHAPTER VL 
 
 COMBIKED INFLECTIONS — WAVE OP ACCENT AND WAVING 
 SLIDE. 
 
 The Wave of Accent. 
 
 Accentual waves are those slight undulations of the 
 voice in ordinary reading and speaking which result 
 from the greater pressure applied to a particular sylla- 
 ble, distinguishing it from others in the same word. 
 They may be readily detected b^^ the ear in any sentence 
 
 * The bend is proper after this parenthesis, as it docs not make complete 
 sense, but the partial close makes it more emphatic. 
 
WA VE OF ACCENT AND WA VING SLIDE. 61 
 
 delivered without emphasis ; for instance, " Yet because 
 
 of his importunity, he will arise and give 
 
 him as many as he needeth." s^--^ --^.^ >-^ ) 
 
 Observation. — This unemphatic delivery with accentual waves 
 is, in most of the books, confounded with monotone, which is only 
 attained by the suppression of the accents ; as in the line, " The wind 
 howled dismally round the old pile." 
 
 The Waving Slide. 
 
 The waving slide is a sweep of the voice which carries 
 it above the level of the sentence, causes it 
 to descend again to or below the level, and (^-\_x) 
 brings it back to or above the level. 
 
 It is used in the delivery of indirect interrogatives 
 (viii, p. 13) ; as, " He did not deny his share in the un- 
 happy transaction'?" "You are not angry, sure'?" 
 {See CHAP. VII, ]E^ect of Em-phasis on Other Inflections : — 
 on Waving Slide, p. 78.) 
 
 Note. — Even though a sentence contains an indirect interroga- 
 tive, the voice will fall, if there is a strong' emphasis; as, "You are 
 not going^ ? " 
 
 Observation 1. — In a series of indirect interrogatives, the last 
 and sometimes all but the first, are delivered with the falling slide; 
 as, Captain. "Give it here, my honest fellowi" Bowling. "You 
 will inke it'?" Capt. "To be sure I will." Sowl. "And will 
 smoAe it^?"- Capt. "That I will." Bowl. "And will not think 
 of giving me anything in return fqr it^." 
 
 NOTi;.— With the first question you are not quite certain how it will be re- 
 ceived. By the answer you are made more sure, still more by the successive 
 answers ; falling inflections will, therefore, be the proper ones. 
 
 Observation 2. — -Many indirect interrogatives may be delivered 
 either with the falling or the waving slide, according to whether the 
 interrogative or declarative predominates in the question, both 
 equally admitting of the little supplementary question underjtood 
 which seems to characterize and account for this form of interroga- 
 
62 MELODY IN SPEECH. 
 
 live (viil, Note, p. 13); as, "Rosaliml is your love's name^?" 
 '■ Yes, just." (" Is it?" understood.) " He would not receive you, 
 then^ ? " (" Did you say ? " understood.) 
 
 Note.— The falling slide should heused if the answer is almost certain; 
 the more doubt, or pretence of doubt, there Is, the greater necessity for the 
 waving slide. • 
 
 Observation 3. — A circumstance following an indirect interroga- 
 tive is delivered with the same slide; a-s, "'Then you never knew 
 the history of the young man?' said the other to him." 
 
 General Remark. — Exclamatory sentences (vii, p. 
 12) are subject to all the rules, with their exceptions, 
 which affect their corresponding declarative or interrog- 
 ative sentences. The exclamation point merely shows 
 that there is emotion, intensity, or abruptness in the 
 sentence. This rule is to be understood merely of 
 inflection: the peculiar emotion to be infused into 
 the several examples is another matter. 
 
 Examples for Practice in the Use of the Waving 
 Slide. 
 
 Indirect Interrogatives. 
 
 They were gone on your arrival ? 
 
 Give me that hand of yours to kiss ? 
 
 You will convey my message ? 
 
 Surely, sir, I have seen you before ? 
 
 He went to Europe after you saw him on that occa- 
 sion ? 
 
 He admitted the validity of the deed when you pro- 
 duced it? 
 
 And the younger ^aid unto his father, Father, give 
 me the portion of goods that falleth to me ? 
 
 And she said, Truth, Lord, yet the dogs eat of the 
 crumbs which fall from their master's table? 
 
WAVE OF ACCENT AND WAVING SLIDE. 63 
 
 Grant me permission to go there this once? 
 
 Mother, let me stay at home with you to-day? 
 
 Whence that doubt? exclaimed Morton. You do 
 not suppose the statements entirely unfounded ? 
 
 Hard state of things that one may believe one's fears, 
 but cannot rely upon one's hopes ? 
 
 How is this, my father ? 
 You are not angry, sure? what have I done? 
 
 Indirect Interrogatives, Series. 
 
 My dear, you have some pretty beads there ? 
 
 Yes, papa. 
 
 And you seem to be vastly pleased with them ? 
 
 Doctor. You are not a glutton, sir ? 
 
 Patient. God forbid, sir! I'm one of the plainest 
 men living in the west. 
 
 Doctor. Then perhaps you are a drunkard ? 
 
 Doctor. You take a little pudding, then ? 
 
 Patient. Yes- 
 Doctor. And afterwards some cheese ? 
 
 Patient. Yes. 
 
 Doctor. You west-country people generally take a 
 glass of Highland whiskey after dinner? 
 
 Patient. Yes, we do. 
 
 Rosalind. You say, if I bring in your Rosalind, 
 You will bestow her on Orlando here ? [^To the Duke.] 
 
 Duke. That would I, had I kingdoms to give with 
 her. 
 
 Rosalind. And you say you will have her when I 
 bring her ? [To Orlando.] 
 
 Orlando. That would I, were I of all kingdoms king. 
 
 Rosalind. You say you'll marry me, if I be willing ? 
 
 [To Phebe.] 
 
64 MELODY ly SPEECH. 
 
 Phebe. That would I, should I ilie the hour after. 
 
 Rosalind. You say that you'll have Phebe, if she 
 will? [ToSilvius.] 
 
 Silvius. Though to have her and death were both 
 one thing. 
 
 Indirect Interrogatives, Falling or Waving Slide. 
 
 Honor hath no skill in surgery, then ? 
 To strike your toe with a, tight shoo on, then, rather 
 disturbs your equanimity, my good friend ? 
 
 A nobleman sleepc here to-night; see that 
 
 All is in order in the damask chamber; 
 
 Keep up the stove ; I will myself to the cellar; 
 
 And Madame Idenstein 
 
 Shall furnish forth the bed apparel ; for 
 
 To say the trntli, they are marvellous scant of this 
 
 Within the palace precincts since his Highness 
 
 Left it some dozen years ago ; and then, 
 
 His Excellency will sup, doubtless ? 
 
 Exclamatory Sentences. 
 Declarative. 
 
 Our brethren are already in the field ! 
 
 How pleasing is the prospect ! 
 
 Woe to those who have spilled this precious blood ! 
 
 There goes one who belonged to the army of Italy ! 
 
 The next gale that sweeps from the north may bring 
 to our ears the clash of resounding arms ! 
 
 My own flesh and blood to rebel 1 
 
 Illustrious as are your merits, yet far, oh! very far- 
 distant be the day when any inscription shall bear your 
 name or any tongue pronounce its eulogy ! 
 
 Ah ! that deceit should steal such gentle shapes, 
 And with a visor hide deep vice 1 
 
WA VE OF ACCENT AND WA VING SLIDE. 65 
 
 O impotent estate of human life, 
 Where hope and fear maintain eternal strife; 
 Where fleeting joy does lasting doubt inspire, 
 And most we question what we most admire ! 
 
 Strike till the last armed foe expires ; 
 Strike for your altars and your fires ; 
 Strike for the green graves of your sires, 
 God, and your native land ! 
 
 O liberty' ! heaven's choice prerogative !* 
 True bond of law ! thou social soul of property ! 
 Thou breath of reason ! life of life itself! 
 For thee the valiant bled. O sacred liberty ! 
 
 Definite Interrogative. 
 
 Are you mad ! 
 
 Has it come to this ! 
 
 I am charged with being an emissary of France : an 
 emissary of France ! f 
 
 Sell my country's independence to France! and for 
 what? 
 
 Gracious God ! shall the horrors which surround the 
 informer, the ferocity of his countenance and the terrors 
 of his voice, cast such a wide and appalling influence 
 that none dare approach and save the victim which he 
 marks for ignominy and death ! 
 
 What ! might Rome then have been taken, if these 
 men who were at our gates had not wanted courage for 
 the attempt! Rome taken whilst I was consul! 
 
 * These are ali compellatives, and would naturally be given with the bend. 
 If strongly emphasized, and thereby made exclamatory, they should be 
 given with the falling inflection ; if close connection is desired, with the 
 rising inflection. 
 
 t If read as simple declaratives, the falling slide should be used in both 
 clauses. If the last clause is given as a definite interrogative, it should rise 
 ("You don't moan to say an emissary of France, do you?") ; if as an excla- 
 mation, it should fall, unless intenser emotion is to be expressed, when the 
 rising slide should be used. 
 
 5 
 
66 MELODY IN SPEECH. 
 
 Mr. H. And why were they overworked, pray? 
 
 Stew. To carry water, sir. 
 
 Mr. U. To carry water ! And what were they carry- 
 ing water for? 
 
 Stew. Sure, sir, to put out the fire. 
 
 Mr.H. Fire! What fire? 
 
 Stew. Oh, sir, your father's house is burned down to 
 the ground. 
 
 Mr. H. My father's house burned down !, And how 
 came it set on fire? 
 
 Stew. I think, sir, it must have been the torches. 
 
 Mr. H. Torches ! What torches ? 
 
 Stew. At your mother's funeral. 
 
 Mr. H. My mother dead ! 
 
 Look upon my boy as though 1 guessed it; 
 Guessed the trial thou would'st have me make ; 
 Guessed it instinctively ! 
 
 Indefinite Interrogative. 
 
 How wretched the condition of that infatuated man! 
 
 How different would our lot have been this day, both 
 as men and citizens, had the Revolution failed of suc- 
 cess? 
 
 How precious must that liberty be, which could 
 prompt a great people to suffer their native prince to 
 wander in exile ; which could move them to resist every 
 attempt to replace him on the throne ! 
 
 What landscapes I read in the primrose's looks, 
 And what pictures of pebbled and minnowy brooks, 
 In the vetches that tangled their shore! 
 
 Wlio ever thought, 
 In such a homely piece of stuff, to see 
 The mighty senate's tool ! 
 
THE WAVE OF EMPHASIS. 67 
 
 But oh ! liow altered was its sprightlier tone, 
 When Cheerfulness, a nymph of healthiest hue, 
 Iter bow across her shoulder flung, 
 Her buskins }i;enimed with morning dew, 
 Blew an inspiring air, that dell and thicket rung ! 
 
 What affections the violet awakes ! 
 What loved little islands, twice seen in their lakes, 
 Can the wild water-lily restore I 
 
 Indirect Interrogative. 
 
 Surely they were indignant at this treatment : surely 
 the air rings with reproaches upon a man who has thus 
 made them stake their reputation upon a falsehood, and 
 then gives them little less than the lie direct to their 
 assertions ! 
 
 You would not have me make a trial of my skill upon 
 my child ! 
 
 Sure they lie 
 That say thou cam'st a secret spy ! 
 
 Thou wear a lion's hide ! doff it for shame. 
 And hang a calf-skin on those recreant limbs ! 
 
 We undertook to mediate for the queen. 
 
 To mediate for the queen ? — You undertook ? — 
 
 Wherein concerned it you ? 
 
 CHAPTER VII. 
 
 COMBINED INFLECTIONS— THE WAVE OP EMPHASIS. 
 
 Emphasis is an inflection used in the delivery of a 
 word or words, to discriminate the idea it contains from 
 all related ideas, expressed or understood. 
 
68 MEL OD Y IN SPEECH. 
 
 NoTE.-T-Just as when walking on a plain, if you come to a hill, it 
 arrests your attention, so when the voice is lifted on an emphatic word, 
 attention is called to the latter. 
 
 To illustrate : "The animal you seels a horse." In 
 this sentence, horse is emphasized to exclude the idea 
 of any other animal ; that is, it is not a cow or a dog. 
 " It is a hay horse ; " that is, it is not a black or a gray 
 horse, etc. 
 
 Note. — To tell whether to discriminate or not the pupil may ask 
 questions. This will generally show whether a simple statement is re- 
 quired in answer or an afiirmative against a negative (expressed 
 or implied) ; as, " Is that Mr. wSmith ? " " Yes, it is Mr. Smith " (sim- 
 ple statement). " Is that Mr. Smith? " " No, it is Mr. Brown " (dis- 
 crimination). Mere enumeration requires no emphasis; as, "Do you 
 see anything over there?" " Yes, I see a horse, a carriage, a dog, 
 etc." But, "Do you see that woodpile?" "No, it isn't a woodpile, it 
 is a haystack," 
 
 As already implied, this discrimination is sometimes 
 openly expressed, in which case the relation is suffi- 
 ciently plain ; for example, " He is the propitiation for 
 our sins ; not for ours only, but also for the sins of the 
 whole world." "The fault, dear Brutus, is not in our 
 stars, but in ourselves, that we are underlings." " You 
 were paid to fight against Alexander, not to rail at 
 him." 
 
 But the same affirmation, as against an implied nega- 
 tive, may be detected in every case of emphasis. For 
 instance, " Hence ! (not linger here) home ! (not loiter 
 about the streets) you idle creatures ! Get you home ! " 
 "Whose is this image and superscription? They say 
 unto him, Caesar's." (Not somebody's else.) Petruchio. 
 " I say it is the moon that shines so bright." (Not the 
 sun.) Katharine. " I know it is the sun that shines so 
 bright." (Not the moon.) 
 
THE WAVE OF EMPHASIS. 69 
 
 Observation 1. — The enforcing function of empliasis is less im- 
 portant than the discriminating function. The latter is essential. 
 There can be no true emphasis without it. Hence emphasis is here 
 treated as inflection, not stress. Stress, that is to say, mere force of 
 utterance, is not true emphasis, — a principle, the disregard of which 
 on the stage, the platform, and the pulpit, has given rise to the preva- 
 lent vice of yelling and mouthing false inflections and substituting 
 indiscriminate noise for the intelligent and delicate distinctions which 
 could be conveyed by genuine emphasis. The best cure, or beginning 
 of cure, for such abuse is tlie view here taken of the emphatic waves 
 of inflection. Stress and retarded rate are not essential to emphasis, 
 though they naturally accompany it. The discriminating office is in 
 the emphatic wave exclusively ; which, indeed, itself implies an in- 
 crease of stress and a retardation of time, both intensified by the in- 
 stinctive desire of the speaker to distinguish by every means the 
 important word. The inquirer may easily assure himself by experi- 
 ment that a word can be emphasized by inflection without increase 
 of stress, while no access of force can emphasize, in the absence of 
 the discriminating inflection. 
 
 Obsebvation 2. — The emphatic word may be louder, may be 
 slower than the rest of the sentence, but this is not essential. That 
 which makes the emphasis is (critically, technically speaking) injkc- 
 tian. 
 
 Obsebvatiox 3. — Pupils are often puzzled by feeling that the 
 voice goes up even when the rule is to turn down. This is because 
 the voice does go up (if the inflection is given correctly) before it 
 turns down. 
 
 The waving inflection of emphasis culminates on a 
 syllable of the emphatic word, and is limited in extent 
 to the division of sense to which that word, belongs. In 
 character it is like the waving slide ; but its office is 
 different. 
 
 Emphasis thus falling on a syllable may change the 
 scat of accent; as, "I did not ascend, I descended." 
 But this is only when a syllable is to be discriminated. 
 Ordinarily the emphasis culminates on the normally 
 accented syllable of the emphatic word. 
 
70 MEL ODY IN SPEECH. 
 
 As it is the office of emphasis to discriminate the 
 idea contained in a certain word from all other ideas 
 related to it, it follows that this discrimination, once 
 made, need not (as a general rule) be repeated. The 
 succeeding sentence or clause presents an advanced 
 thought, which, in its turn, needs discrimination; and 
 we are led to the principle, that the emphasis must fall 
 upon the word that contains the new idea: hence; 
 
 Emphasis must not be repeated on the same word or 
 idea occurring in the samB connection. 
 
 To illustrate: in the sentence, "The Queen of the 
 South came from the uttermost parts of the earth to 
 hear the wisdom of Solomon, and, behold, a greater than 
 Solomon is here," — it would be a fault to emphasize the 
 word " Solomon " a second time : in the last clause a 
 new idea is introduced in the word " greater," which 
 takes the emphasis. 
 
 To this rule there are several exceptions. Thus : — 
 
 (1) When the emphatic word is repeated, for the 
 purpose of making it more emphatic, the emphasis 
 is repeated, but generally distinguished by a higher or 
 lower emphatic wave ; as, " They tell us to be moderate; 
 but they, they are to revel in profusion." "Arm 1 Arm ! 
 it ts— it IS the cannon's opening roar! " 
 
 (2) Sometimes emphasis is repeated for the purpose 
 of increasing its force by mere reiteration ; as, " I should 
 say sincerity, a deep, great, genuine sincerity, is the first 
 characteristic of all men any way heroic." 
 
 Note.— a. Slating a thing over again in exactly the same tone and 
 pitch, stamps it on the mind. When the same wave is repeE.ted with 
 exactly the same vocal effect, it implies in the speaker calm power 
 perfect self-control. But if a mother should say to her bov, "Now 
 if yon do that again I shall whip you ! " then on a still higher em- 
 phatic wave, "Mind, I shall whip you!" this would show excit&. 
 ment, passion, but not real power. 
 
THE WAVE OF EMPHASIS. 71 
 
 b. There should be a pause before (lie second emphasis, to draw 
 attention parlicnlarly to the thought. 
 
 (3) Sometimes the repented word is used in a new 
 sense, and actually requires a discriminating emphasis; 
 as, "A fool with JHc/gfcs, among fools, a. judge." 
 
 (4) Emphasis, like any other inflection, may be re- 
 peated to indicate apposition of words or phrases; that 
 is, the terms in apposition receive similar inflections ; 
 as, " A hoop of gold, a paltry ring ! " 
 
 (5) Cumulative emphasis (the form in which the dis- 
 criminating function is least, and the enforcing function 
 greatest) involves repetition ; as, '' I tell j'ou, I— will — 
 not — do — iV 
 
 The wave of emphasis, in declarative or declarative 
 exclamatory sentences, begins at the first pause* jjre- 
 ceding the emphatic word, and extends to the first pause 
 succeeding it, unless another emphasis intervene; in 
 which case the new emphasis follows the same law, and 
 the process continues until a pause, either of perfect or 
 imperfect sense, is reached; as, "The Americans may 
 become faithful friends of the English, but subjects, 
 never." 
 
 In illustrating this example, let the following diagrams 
 represent the three emphatic waves : — 
 
 The first, beginning with the sentence, gradually rises 
 to the emphatic word "friends": here it culminates, 
 and descends to the first pause, at the word " English", 
 
 * "Pause," in this connection, is to be considered quite independently of 
 pwnctxujUon. 
 
72 MELODY IN SPEECH. 
 
 where it turns upward, coinciding with the bend (which 
 is due at that point). The second follows the same pro- 
 cess, though more briefly, with the words " but sub- 
 jects". The third is dev.eloped entirely on the single 
 word " never", turning downward, however, partly to 
 give greater intensity to the emphasis (b, p. 74), and 
 partly to coincide with the perfect close (a, p. 74). The 
 differerit degrees of eminence in these different waves 
 will also be remarked ; the rise of the sweep being less 
 and less unto the end. 
 
 As instances of the intervention of a second emphasis 
 between the emphatic word and the succeeding pause, 
 take the threat of Cassius to Brutus, and the retort of 
 the latter, in Shakespeare's "Julius Ctesar ": — 
 
 higher 
 1 2 
 
 "I may do that I shall be sorry for." 
 lower 
 ' 1 2 
 
 " You have done that you shuuld be sorry for." 
 
 Note. — Let the pupil here practice the wave, first siippretsing the 
 second emphasis, and afterwards supplying it. 
 
 Observation 1. — It follows from this limitation of the wave of 
 emphasis, that when the emphatic word is very near tlie pause, pre- 
 ceding or succeeding, the adjacent portion of the wave will be very 
 short,*' sometimes so much so, that its waving character will be 
 scarcely perceptible; as, "Other misfortunes may be borne, or their 
 effects overcome."' " Though he will not rise and give him because 
 he is his/jienc7, yet, because of his importunity, he will rise and give 
 him as many as he needelh." 
 
 Observatiox 2. — \yheu the emphatic word is immediately pre- 
 ceded and followed by a pause, the wave is developed on that word 
 alone; as, "NeeessiU/ is the mother of invention." "War' is the law 
 of violence; peace', the law of love." "Still, it may be well for 
 some proud men to remember," etc. 
 
 * If the pupil doubts whether an emphatic word has the curved form, he- 
 cause the curve is very short, let him drawl it out, and he wi'.l find that It 
 makes a sweep. 
 
THE WAVE OF EMPHASIS. 73 
 
 Observation 3. — The subject, especially wlien it consists of a 
 single word in the beginning of a sentence, should, as a rule, be sep- 
 arated from its verb by a slight pause. 
 
 To this rule there are several exceptions. Thus : — 
 
 (1) When the emphasis falls on the last, or nearly the 
 last, word of the division, followed by a circumstance, 
 the wave is developed on the circumstance, notwith- 
 standing the pause ; as, " But youth, sir, is not my only 
 crime." "Wait, gushing life, oh, wait my love's re- 
 turn ! " " Had you been placed in similar circum- 
 stances, you would have felt it too, perhaps." When 
 one or more circumstances precede the emphasis, the 
 wave includes them, notwithstanding the punctuation • 
 as, " It is then, Sir, upon the principle of this measure — 
 that we are at issue." 
 
 (2) In sentences having correlative parts, with the 
 logical order of the parts reversed, when the last, or 
 nearly the last, word of the first part is emphasized, 
 the wave is developed on both parts, notwithstanding 
 the pause ; * as, 
 
 " No sleep till morn, when youth and,pleaaure meet. 
 To chase the glowing hours with flying feet." 
 
 (3) The emphatic wave is sometimes arrested at its 
 culminating point, and developed in the falling slide. 
 
 This occurs in the following cases:— 
 
 * Prof. Raymond was not sure that this rule applies in every case, He told 
 the class that the following statement is probably correct :— 
 
 "If the reversion of parts obliterates the rhetorical pause, the rule will 
 apply, but not if the pause is retained. 
 The rule applies in the two following examples :— 
 Logical order,—' If I go to-morrow, you can go.' 
 Logical order reversed,—' You can go if I go to-morrow.' 
 The rule does not apply in the two following examples :— 
 Logical order, — ' Though a professed Catholic, he imprisoned the pope.' 
 Logical order rever.sed,— He imprisoned the pope, though a professed 
 Catholic' "— B. C, 
 
74 MEL on r m speech. 
 
 a. When the emphasis falls upon a word at or just 
 preceding partial or perfect close ; as, '' Delicacy leans 
 movo to feeling ; correctness, more to reason and judg- 
 ment." " If the gentleman provoke war, he shall have 
 war." " In this respect, sir, I have a great advantage 
 over the honorable gentleman." 
 
 b. When the emphasis is very strong (so strong that 
 it carries down with it all that follows) ; as, " It is not 
 true that he played the traitor to his country in the hour 
 of trial." " I say it is the moon that shines so bright." 
 
 c. When the emphatic word represents an object used 
 in illustration or comparison, with like, as, and other 
 similar words; as, "Charity, like the sun\ brightens 
 every object on which it shines." " She sat, lil^e patience 
 on a monument'', smiling at grief." 
 
 d. When the emphatic word is preceded by an inten- 
 sive particle, expressed or understood; as, "Though 
 they lost the esteem of the world, though their nearest 
 and dearest relatives forsook them, nay, though even 
 the sanctity of life was invaded, yet they held to their 
 faith unshaken." " If they had wealth, if they had 
 [even] a competency, many think they could be happy." 
 
 e. When the emphatic word is the last of a series ; as, 
 
 " Tell thou the silent sky, 
 And lell the stars, and tell yon rising sun, 
 Earth, wilh her thousand voices, praises God." 
 
 Note. — For purposes of marking, the usual underscoring of the 
 emphatic word is sufficient to show the culmination of the wave, 
 while the acute or grave accent at the end will indicate its limit, 
 and its upward or downward development. 
 
 CONCENTRATION OP EMPHASIS. 
 
 One of the most common faults in reading is the 
 multiplication of emphasis. As the office of this inflec- 
 
THE WA VE OF EilPHASTS. 75 
 
 tion is to discriminate, it follgws, that the more words 
 there are that receive this mark, the less discrimination 
 there will be ; and we are driven to the i)aradoxical con- 
 clusion that a sentence over-emphasized to make it 
 strong must be thereby Aveakened. Not every word to 
 which this distinction belongs in theory should receive 
 it in practice. It will be found to conduce both to 
 strength and euphony to. confine the emphasis to as few 
 words as possible in the sentence — if it may be, even to 
 a single word. 
 
 Note. — Even if tliera are other emphases in the sentence, tlie 
 strong emphasis can almost always be concentrated upon one word. 
 
 Among the expedients by which this end may be at- 
 tained are the following : — 
 
 (1) In a series (xiv, p. 15) consisting of two or more 
 words or phrases connected together, and equally em- 
 phatic in theory, the emphasis is deferred till the last; 
 as, " When or where I saw it, I am unable to say." " Its 
 tidings, whether of peace or woe, are the same to the 
 poor, the ignorant, and the weak, as to the rich, the wise, 
 and the powerful." 
 
 (2) When the emphatic word has a direct bearing on 
 an expression immediately following, the emphasis is 
 carried forward to some point in that expression. 
 
 Such an expression may be : — 
 
 a. An inseparable adjunct (iv, p. 11 ; vi, Note, p. 12) ; as, 
 " The highest art of the mind is to possess itself with 
 tranquility in danger." The emphasis is theoretically 
 on " tranquility," but is deferred to " danger," because 
 of the close connection. 
 
 b. A restrictive clause (vi, p. 12)*; as, " He who loves 
 
 * It does not matter very much which word in a restrictive clause is empha- 
 sized ; it should he the one that contains the special idea. 
 
76 MELODY IN SPEECH. 
 
 the bristle of bayonets only sees in their glitter what be- 
 forehand he felt in his heart." " A man eager to learn 
 will apply himself to study." " Poets are by no means 
 wingless angels, fed with ambrosia plucked from Olym- 
 pus, or manna rained down from heaven- " 
 
 c. The latter part of an extended logical subject (iii, 
 p. 11); as, "To mourn deeply for the death of another 
 loosens from myself the petty desire of life." 
 
 The increase of force and melody by the deferring of 
 emphasis, is further illustrated in the treatment of com- 
 plicated antithesis. 
 
 We have observed that all emphasis implies contrast 
 of assertion with negation ; but sometimes one emphasis 
 is contrasted with another. This occurs in the rhetori- 
 cal figure called antithesis (xv, p. 15), from which this 
 species of emphasis derives its name. 
 
 Sometimes this contrast lies between single terms ; as, 
 " We must take heed not only to what we say, but to 
 what we do." 
 
 Sometimes two sets of contrasted terms are involved; 
 as, " Without ^^•ere fightings, within were fears." 
 
 Sometimes the contrast is triple, and even quadruple. 
 The following is an example of the former : — 
 
 " He raised a mortal to the skies; 
 She drew an angel down." 
 
 To mark all these contrasts with the voice would pro- 
 duce a rude and jerky effect. This may be avoided by 
 suppressing some of the earlier emphases, or rather by 
 deferring them until they are retrospectively suggested 
 by the words emphasized in the latter portion of the sen- 
 tence. For example : — 
 
 " Persecution is not vrrong because it is cruel, but cruel 
 because it is wrong." If we defer the emphasis which 
 
THE WAVE OF EMPHASIS. 77 
 
 theoretically falls upon the word "wrong" in the first 
 member, we relieve the sentence in point of euphony; 
 and we recover the emphasis again when it is inferen- 
 tially suggested by the corresponding words in the 
 second member. Again : — 
 
 " Weeping thou sat'st while all around thee smiled." 
 
 The same ends are attained by deferring the emphasis 
 on " thou " in the first part. Once more : — 
 
 " The difference between a madman and a fool is that 
 the former reasons justly from false data, and the latter 
 erroneously from just data." Defer the emphasis on 
 " former " and "justly." 
 
 Note. — a. Both parts of a contrast should not be suppressed. 
 6. The first member is the one to be suppressed. 
 
 c. Earely more than three members should be emphasized. 
 
 d. If there are three antitheses, the emphasis should come gener- 
 ally on the last of each set. 
 
 EFFECT OF EMPHASIS ON OTHER INFLECTIONS. 
 
 It may be generally remarked that the influence of a 
 strong emphasis is supreme in the sentence. It domi- 
 nates all other inflections, and subordinates all rules to 
 its imperative demands, even the rule of accent; as, 
 " He must increase, but I must decrease." 
 
 The following are some of the specific modifications 
 which it causes : — 
 
 (1) Of the bend :— 
 
 When emphasis occurs on a word, or j ust before a word, 
 which should be delivered with the bend, that inflection 
 coincides with the upward turn of the emphatic wave; 
 as, " Though deep', yet clear^." 
 " Rather be good' than seem to be\" 
 
78 3IEL OD Y IN SPEECH. 
 
 (2) Of the rising slide: — 
 
 The effect of emphasis on the rising slide is to create 
 a slight dip in the general direction of the voice ; as, 
 " Believe yc that I am able to do this? " (^— -v_> ?) 
 
 (3) Of the falling slide :— 
 
 Emphasis interrupts the falling slide by a momentary 
 rise, which is followed by a continuation of the descent 
 to the close, unless another emphasis intervene; as, 
 "Who touched me?" "By what authority doest thou 
 these things ; or who gave thee this authority ? " 
 
 '^ 
 
 
 
 (4) Of the waving slide : — 
 
 This inflection, which is used in indirect interroga- 
 tives, is the same in vocal effect as the wave of empha- 
 sis : it culminates on the accented syllable of the em- 
 phatic word, and is limited to the division of sense in 
 which that word is comprised ; as, " You saio him after 
 the event occurred'?" 
 
 (5) Of the closes: — 
 
 When emphasis coincides with the partial or the per- 
 fect close, or occurs upon a word just preceding them, 
 the wave is converted into a falling slide ; as, " Nor is 
 he willing to stop there\" "Art may diminish', but can- 
 not remove the difBculty\" 
 
 Examples for Practice in the Use of the Wave 
 OP Emphasis. 
 
 The New Idea. 
 
 This fellow doth not cast out devils, but by Beel- 
 zebub, the prince of devils. 
 
THE WAVE OF EMPHASIS. 79 
 
 To die ; — to sleep ; — 
 To sleep ! perchance to dream !— Ay, tliere's the rub ; 
 For in that sleep of death what dreams may come, 
 When we have shuffled off this mortal coil, 
 Mr.st give us pause. 
 
 Portia. A quarrel, ho, already? What's the matter? 
 Orutlano. About a hoop of gold, n paltry ring 
 
 That she did give me. . . . 
 Porti'i. You were to blame, I must be plain with you. 
 
 I gave my love a ring, etc. . . . 
 Bassanio. Why, I were best to cut my left hand off 
 
 And swear I lost the ring defending it. [^sirfe.] 
 Graliano. My lord Bassanio gave his ring away 
 
 Unto the judge, etc. . . . 
 Portia. What ring gave you, my lord ? 
 
 . I will ne'er come in your bed 
 Until I see the ring. 
 
 Bassanio. Sweet Portia, 
 
 If you did know to whom I gave the ring, 
 
 If you did know for whom I gave the ring, 
 
 And would conceive for what I gave the ring. 
 
 And how unwillingly I left the ring. 
 
 Where nought would be accepted but the ring. 
 
 You would abate the strength of your displeasure. 
 
 Emphasis repeated, to Intensify. 
 
 We must fight ! I repeat it, sir, we must fight ! 
 
 Jesus therefore said unto them, " Whom seek ye ? " 
 They answered him, "Jesus of Nazareth." . . . Then 
 asked he them again, '"Whom seek ye?" And they 
 said, "Jesus of Nazareth." 
 
 " He my master ! He my master ! " he continued in 
 louder tones, with his finger still pointed, and retreating 
 backward, while his air and manner indicated the in- 
 tensest abhorrence. " He my master ! " he a third time 
 
80 MEL OD Y IN SPEECH. 
 
 cried, raising his voice to a higher key, while he re- 
 treated backward to the very lobby. 
 
 the grave! the grave! it buries every error, covers 
 every defect, extinguishes every resentment. 
 
 Hold ! hold ! you .wound me ! 
 
 So much the worse — 'tis lost! 'tis lost! — Heaven is 
 to me the severest part of hell. 
 
 Blow, blow, thou winter wind ! 
 
 Freeze, freeze, thou bilter sky ! 
 
 Arm ! way for remorse ! arm ! arm ! 
 Free way for vengeance ! 
 
 Down, slave ! before the governor. 
 Down, down ! and beg for mercy. 
 
 Hand and voice, 
 Awake ! awake ! and thou, my heart. 
 A wake ! 
 
 Come back, come back, Horatius ! 
 Loud cried the Fathers, all ; 
 Back, Lartius ! back, Herminius ! 
 Back, ere the ruin fall ! 
 
 O Swede.s ! Swedes ! 
 
 Are ye men, and will ye suffer this ? 
 
 Perjury, perjury, in the highest degree, 
 Murder, stern murder, in the direst degree, 
 Throng to the bar, crying all, Ouilty ! rjuilly I 
 
 Mere Reiteration. 
 
 Newton was a Christian ! Newton, whose mind burst 
 forth from the fetters cast by nature upon our finite 
 conceptions; Newton, whose science was truth, and 
 the foundation of whose knowledge of it was philoso- 
 phy; Newton, who carried the line and rule to the 
 
THE WAVE OF EMPHASIS. 81 
 
 utmost barriers of creation, and explored the principles 
 by which, no donbt, all created matter is held together 
 and exists. 
 
 If a man were present now at the field of slaughter, 
 and were to inquire for what they were fighting, " Fight- 
 ing ! " would be the answer; "they are not fighting; 
 they are pausing." Why is that man expiring? why 
 is that other writhing with agony? what means this im- 
 placable fury? The answer must be, "You are quite 
 wrong, sir; you deceive yourself: they are not fighting; 
 do not disturb them ; they are merely pausing! This 
 man is not expiring with agony ; that man is not dead ; 
 he is only pausing." 
 
 It is this accursed American war that has led us, step 
 by step, into all our present misfortunes and national 
 disgraces. What was the cause of our wasting forty 
 millions of money, and sixty thousand lives? The 
 American war ! What was it that produced the French 
 rescript, and a French war? The American war! What 
 was it that produced the Spanish manifesto, and the 
 Spanish war? The American war ! What was it that 
 armed forty thousand men in Ireland with the argu- 
 ments carried on the points of forty thousand bayo- 
 nets ? The American war ! For what are we about to 
 incur an additional debt of twelve or fourteen millions? 
 This accursed, cruel, diabolical American war ! 
 
 What was it, fellow-citizens, which gave to our Lafay- 
 ette his spotless fame? The love of liberty. What 
 has consecrated his memory in the hearts of good 
 meri? The love of liberty. What nerved his youth- 
 ful arm with strength, and inspired him, in the morn- 
 ing of his days, with sagacity and counsel? The living 
 love of liberty. 
 
 6 
 
82 MEL ODY IN SPEECH. 
 
 Emphatic Wave, its Limitations. 
 
 You wronged yourself, to write in such a case. 
 
 You have done that you should be sorry for. fin this 
 and the three following examples, note the intervention 
 of another emphasis between the emphatic word and 
 the pause.] 
 
 And why beholdest thou the mote that is in thy 
 brother's eye, but considerest not the beam that is in 
 thine own eye? 
 
 The good man loves himself too well to lose an estate 
 by gaming, and his neighbor too well to win one. 
 
 Matches and overmatches ! Those terms are more 
 applicable elsewhere than here, and fitter for other 
 assemblies than this. 
 
 . When I took occasion, Mr. President, ten days ago, to 
 throw out some ideas with respect to the policy of the 
 government in relation to the public lands, nothing cer- 
 tainly could have been further from my thoughts, than 
 that I should be compelled to throw myself again upon 
 the indulgence of the Senate. 
 
 No! I'm surprised at that; 
 Where I come from, it is the common chat. 
 
 And do yoii now put on your best attire? 
 And do you now cull out a lioliday ? 
 And do you now strew flowers in his way 
 That comes in triumph over Pompey's blood ? 
 
 Blaze, with your serried columns! 
 I will not bend the knee ! 
 
 Emphasis with Falling Slide; at, or just preceding. Partial 
 or Perfect Close. 
 
 Philosophy makes us wiser, Christianity makes us 
 better, men. 
 
THi: WA VE OF EMPHASIS. 83 
 
 Christians have cast away the spirit, in settling the 
 precise dignity, of their Master. 
 
 Every country Avhere man is struggling to recover 
 his birthright, has lost a benefactor, a patron, in La- 
 fayette. 
 
 Force decided all things. 
 
 The value of the graphic art consists in its being a 
 medium for the acquisition of knowledge, and for the 
 comtnunication of it. 
 
 When the chief priests and Pharisees had heard his 
 parables, they perceived that he spake of them. 
 
 Sprung from a line of kings, a throne is my natural 
 seat ; but I strive, too, that it shall be, while I sit upon 
 it, an honored, unpolluted seat. 
 
 A flslier's joy is to destroy — thine office is to .save. 
 
 Yes, Cassius! and from hencefortli, 
 
 When you are over-earnest with your Brutus, 
 
 He'll think your mother chides, and leave you so. 
 
 Strong Emphasis, Falling Slide. 
 
 Which now of these three, thinkest thou, was neighbor 
 unto him that fell among thieves? 
 
 Infected be the air whereon they ride ! 
 
 Accursed be the tongue that tells me so ! 
 
 Discord, discord is the ruin of this city ! The eternal 
 disputes between the senate and the people are the sole 
 cause of our misfortunes. 
 
 But I hear it rung continually in my ears, " The pre- 
 amble ! What will become of the preamble, if you re- 
 peal this tax ? " 
 
 Thou shalt live so beset, so hemmed in, so watched, 
 by the vigilant guards I have placed around thee, that 
 thou shalt not stir a foot against the republic without 
 
84 MEL OB Y IN SPEECH. 
 
 my knowledge. There shall be eyes to detect thy 
 slightest movement, and ears to catch thy wariest whis- 
 per. Thou shalt be seen and heard when thou dost not 
 dream of a witness near. 
 
 Then, patriotism is eloquent: then, self-devotion is 
 eloquent. The clear conception, outrunning the deduc- 
 tions of logic, the high purpose, the firm resolve, the 
 dauntless spirit, speaking on the tongue, beaming from 
 the eye, informing every feature, and urging the whole 
 man onward, right onward to his object, — this, this is 
 eloquence; or rather, it is something greater and higher 
 than all eloquence: it is action, noble, sublime, god- 
 like action. 
 
 Have the walls ears? Great Jove ! I wish they had; 
 And tongues too, to bear witness to my oath 
 And tell it to all Eome. 
 
 Hear me, bold heart I the whole gross blood of Borne 
 Could not atone my wrongs ! 
 
 And if thou said'st I am not peer 
 To any lord in Scotland here. 
 Lowland or Highland, far or near. 
 Lord Angus, thou hast lied. 
 
 Emphasis, Denoting Comparison. 
 
 Man cometh forth as a flower, and is cut down. 
 
 Milton was, like Dante, a statesman and a lover; and, 
 likfr Dante, he had been unfortunate in ambition and in 
 love. 
 
 But whereunto shall I liken this generation? It is 
 like unto children sitting in the markets, and calling 
 unto their fellows. 
 
 He that prays to God with an angry, that is, with a 
 troubled and discomposed spirit, is like hira that retires 
 
THE WA VE OF EMPHASIS. 85 
 
 into a battle to meditate, and sets up his closet in the 
 outquarters of an army, aiyl chooses a frontier garrison 
 to be wise in. 
 
 All of them shall wax old like a garment ; as a ves- 
 ture shalt thou change them, and they shall be changed. 
 
 The appearance of them is as the appearance of 
 horses ; and as horsemen, so shall they run. Like the 
 noise of chariots on the tops of mountains shall they 
 leap, like the noise of a flame of fire that devoureth the 
 stubble, as a strong people set in battle array. 
 
 'Tis heaven's commanding trumpet long and loud, 
 Like Sinai's thunder pealing from the cloud. 
 
 So the struck eagle stretched upon the plain, 
 No more through rolling clouds to soar again, 
 Viewed his own feather on the fatal dart, 
 And winged the shaft that quivered in his heart. 
 
 Emphasis, Preceded by Intensive Particle. 
 
 It is an impression which we cannot rid ourselves of 
 if we would, when sitting by the body of a friend, that 
 he has still a consciousness of our presence. 
 
 Even after the whole trial had ended. Sir Francis 
 proclaimed aloud to his constituents that all the minis- 
 ters ought to be hanged. 
 
 Even if the country itself should suffer, he declared 
 that his feelings as a patriot must give way to his pro- 
 fessional obligations. 
 
 Though he slay me, yet will I trust in him. 
 
 Though hand join in hand, yet shall not the wicked 
 go unpunished. 
 
 Though I look old, yet I am strong and lusty ; 
 For in ray youth I never did apply 
 Hot and rebellions liquors in my blood. 
 
86 MEL OD Y IN SPEECH. 
 
 Though homely be liis garb, though coarse his fare, 
 And though he live unnoticed by the crowd ; 
 Still, spite of fashion's fools, the honest man 
 Is yet the highest noble of the land ! 
 
 Though you untie the winds, and let thena fight 
 
 Against the churches; though the yeasty waves' 
 
 Confound and swallow navigation up ; 
 
 Though bladed corn be lodged, and trees blown down ; 
 
 Though castles topple on their warders' heads ; 
 
 Though palaces and pyramids do slope 
 
 Their heads to their foundations, though the treasure 
 
 Of Nature's germens tumble all together 
 
 Even till destruction sicken, answer me. 
 
 Had it pleased heaven 
 To try me with affliction ; had they rained 
 All kinds of sores and shames on my bare head. 
 Steeped me in poverty to the very lips, 
 Given to captivity me and my utmost hopes, 
 I should have found in some part of my soul- 
 A drop of patience. 
 
 Concentration of Emphasis. 
 Series, Emphasis Deferred. 
 
 Property, character, reputation, everything was sacri- 
 ficed. 
 
 Toils, sufferings, wounds, and death, was the price 
 of our liberty. 
 
 His hopes, his happiness, his life, hung upon the 
 words that fell from those lips. 
 
 While the Union lasts, we have high, exciting, grati- 
 fying prospects spread out before us. 
 
 Their own cares, their own labors, their own counsels, 
 their own blood, contrived all, achieved all, bore all, 
 sealed all. 
 
 Joy, grief, fear, anger, pity, scorn, hate, jealousy, and 
 love, stamp assumed distinction upon the player. 
 
THE WA VM OP EMPHASIS. 87 
 
 Neither blindness, nor gout, nor age, nor penury, nor 
 domestic afflictions, nor political disappointments, nor 
 abuse, nor proscription, nor neglect, had power to dis- 
 turb his sedate and majestic patience. 
 
 The verdant lawn, the shady grove, the variegated 
 landscape, the boundless ocean and the starry firma- 
 ment, all tend to inspire us with the love of nature and 
 of nature's God. 
 
 I told him, I warned him, I advised him, I implored 
 him to act with you, near you, through you, under you. 
 
 Charity beareth all things, believeth all things, hopeth 
 all things, endureth all things. 
 
 The greatest, wisest, meanest of mankind. 
 
 Then will I doom thee, when no man is to be found, 
 so lost to reason, so depraved, so like thyself, that he 
 will not admit the sentence was deserved. 
 
 Proceed, plot, conspire, as thou wilt ; there is nothing 
 thou canst contrive, propose, attempt, which I shall not 
 promptly be made aware of. 
 
 For I am persuaded that neither death nor life, nor 
 angels, nor principalities nor powers, nor things present 
 nor things to come, nor height nor depth, nor any other 
 creature, shall be able to separate us from the love of 
 God, which is in Christ Jesus our Lord. 
 
 Days, months, years, and ages shall circle away. 
 And still the vast waters above thee shall roll. 
 
 Love, transport, madness, anger, scorn, despair, 
 And all the passions, all the soul is there. 
 
 The tear. 
 The groan, the knell, the pall, the bier. 
 And all we know, or dream, or fear 
 Of agony, are thine. 
 
 Thus was I, sleeping, by a brother's hand. 
 
 Of life, of crown, of queen, at once despatched. 
 
88 MELOVY IN SPEECH. 
 
 Restrictive Expressions ; Adjuncts. 
 
 The loss of reputation for good management, is, in 
 this case, to be traced to a little circumstance. 
 
 If he were learning to play on the flute for public ex- 
 hibition, what hours and days would he spend in giving 
 facility to his fingers, and attaining the power of the 
 sweetest and most impressive execution. 
 
 The evil that men do lives after them ; 
 The good is oft interred with their bones. 
 
 I've had wrongs 
 To stir a fever in the blood of age. 
 
 A violet by a mossy stone, 
 
 Half hidden from the eye; 
 Fair as a star, when only one 
 
 Is shining in the sky. 
 
 Then saw in death his eyelids close, 
 Calmly as to a night's repose. 
 Like flowers at set of sun. 
 
 Restrictive Relative Clauses. 
 
 The love that survives the tomb is one of the noblest 
 attributes of the soul. 
 
 Genius is not a faculty of the mind separate from all 
 the rest. 
 
 Every good man must love the country in which he 
 was born. 
 
 A government directing itself resolutely and steadily 
 to the general good, becomes a minister of virtue. 
 
 The day we celebrate is one of the proudest in our 
 national history. 
 
 The Lydians, the Persians, and the Arabians, that 
 wished to leave the army, are at liberty to do so. 
 
THE WA VE OF EMPHASIS. 89 
 
 We call tliee Lord of Day, and thou dost give 
 
 To earth the fire that animates her crust, 
 And wakens all the forms that move and live. 
 
 They also serve, who only stand and wait. 
 
 The glorious angel who was keeping 
 The gales of light beheld her weeping. 
 
 Year after year beheld the silent toil 
 That spread his lustrous coil. 
 
 O blows that smite ! O hurts that pierce 
 
 This shrinking heart of mine ! 
 What are ye but the Master's tools. 
 
 Forming a work divine ? 
 
 O hope that crumbles at my feet ! 
 
 O joy that mocks and flies ! 
 What are ye but the clogs that bind 
 
 My spirit from the skies ? 
 
 He woke to die midst flame and smoke. 
 And shout, and groan, and sabre-stroke, 
 And death-shots falling thick and fast 
 Like forest pines before the blast, 
 Or lightnings from the mountain cloud. 
 
 Extended Logical Subject. 
 
 The success with which Rousseau passed, coarse and 
 selfish as he was, for a man of deep and tender feeling, 
 appears to have been a signal for a procession of writers* 
 to withdraw the public attention from their own trans- 
 gressions. 
 
 That the memories of those most justly venerable and 
 dear should throng round us with a new vitality, as life's 
 evening draws on, is scarcely reconcilable with the sup- 
 
 * As Rousseau was a famous writer, the emphasis falls on " procession," 
 not on its adjunct, "of writers." 
 
90 MELOD r IN SPEE'GM. 
 
 position that the spirits of which sucli remembrances 
 are the most precious possession is itself on the point 
 of expiring forever. 
 
 The miracles that Moses performed may have con- 
 vinced Pharaoh, but, at first, they humbled not his 
 pride. 
 
 He who stands on etiquette, merely shows his own 
 littleness. 
 
 To become conversant with a single department of 
 literature only, has a tendency to make our views narrow, 
 and our impressions incorrect. 
 
 Thy ambition, 
 Thou scarlet sin, robbed tliis bewailing land 
 Of noble Buckingham, my father-in-law ; 
 The heads of all thy brother cardinals, 
 With thee and all thy best parts bound together, 
 Weighed not a hair of his. 
 
 Where simply to feel that we breatlie, that we live, 
 Is worth the best joys that life elsewhere can give. 
 
 Complicated Antithesis. 
 
 The wise shall inherit glory ; but shame shall be the 
 portion of fools. 
 
 When reason is against man, he will be against 
 reason. 
 
 Words are the counters of wise men, and the money 
 of fools. 
 
 I do not live that I may eat ; I eat that I may live. 
 
 Business sweetens pleasure, as labor sweetens rest. 
 
 On the one side, all was alacrity and courage; on the 
 other, all was timidity and indecision. 
 
 The wise man is happy when he gains his own ap- 
 probation; the fool, when he gains the applause of 
 others. 
 
GRADED VARIATIONS OF PITCH. 91 
 
 I that denied thee gold, will give my heart. 
 A good man loves himself too well to lose an estate 
 by gaming ; and his neighbor too well to win one. 
 
 Cass. I may do that I shall be sorry for. 
 
 Brut. You have done that yoii should be sorry for. 
 
 Oh, it is excellent 
 To have a giant's strength ; but it is tyrannous 
 To use it like a giant. 
 
 CHAPTER VIII. 
 
 GEADED VARIATIONS OF PITCH. 
 
 Hitherto we have been treating of inflections; that is 
 to say, such variations of the voice upon the scale as 
 consist of concrete slides, and bends which mark 
 pauses, and begin and end upon a single word. But 
 the subject of melody in speech cannot be completely 
 presented without referring to another class of varia- 
 tions in pitch according to which the voice ascends or 
 descends by grades, consisting of clauses, sometimes 
 words and sometimes entire sentences ; and that with- 
 out reference to the inflections which may more inti- 
 mately belong to them. 
 
 Such variations occur in the following instances : — 
 
 1. The voice rises by grades: — 
 
 a. When the succession of clauses or sentences im- 
 plies an increasing interest of any sort; as, "All that I 
 have, all that I am, and all that I hope, in this life, I am 
 now ready here to stake upon it." 
 
92 MELODY IN SPEECH. 
 
 "Awake, Sir King, the gates unspar! 
 Rise ui), and ride both fast and far! 
 The eea flows over bolt and bar!" 
 
 Observation. — If the emotion gains in exdlement, tlie voice rises, 
 if \a force, it descends, in pitch. Change of pitch from medium to 
 higher and liigher, or to lower and lower, always shows a change in 
 the feeling of the spealier, either greater intensity or greater /orcf. 
 
 b. In passages of solemnity and sublimity, apostro- 
 phes to the Deity (as in the opening sentences of 
 prayers), to mountains and other grand objects, earnest 
 oratorical appeals, etc.; as, "Lord, thou hast been our 
 dwelling-place in all generations. Before the mountains 
 were brought forth, or ever thou hadst formed the earth 
 and the world, even from everlasting to everlasting, thou 
 art God." 
 
 " O thou Eternal One ! whose presence bright 
 All space doth occupy, all motion guide, 
 Unchanged tlirongh time's all-devastating Higlit, 
 Thou only God ! There is no God beside." 
 
 Note. — In the above quatrain, and in passages of similar type, 
 the clauses rise successively in pitch about half a semitone* (the 
 ascent being on the last word in each clause, which gives the pitch 
 for the one succeeding), until a natural climax is reached, when the 
 descent begins, and continues to the close. Following is an imper- 
 fect representation of the process by t.^pographical arrangement: — 
 
 * Gardiner, in his " Music of Nature," gives us a vivid description of the 
 opening sentence of a prayer by the Rev. Edward Irving, tlie celebrated 
 Scotch divine: " His voice is that of a sonorous basso ; In manner he is slow 
 and reverential. His prayer, commencing with the words, — 
 
 Almigbtj aiid most merciful Father; in whom we live,iuuve, and have our being, 
 
 reminded me of that slow and solemn strain of deep holding notes, 
 gradually ascending, which describes the rising of the moon in Haydn's 
 'Creation.' " 
 
GRADED VARIATIONS OP PITCH. 93 
 
 O thou Eternal One ! whose presence 
 
 guide; 
 All space doth occupy, all motion 
 
 flight; 
 Unchanged through time's all-devastating 
 only 
 Thou 
 
 God ! no God 
 
 There is 
 
 beside. 
 2. The voice descends by grades : — 
 a. After such a climax of an ascending series as is 
 described in the foregoing rule ; as, 
 
 "Tlie cloud-capped towers, the gorgeous palaces, 
 The solemn temples, the great globe itself, 
 Yea, all which it inherit, shall dissolve, 
 And like tills unsubstantial pageant, faded, — 
 Leave not a rack behind." 
 
 Note. — The first part of the passage rises, the second part (begin- 
 ning with "shall dissolve") descends in pitch. 
 
 6. When climax is to be made by lowering the tone; 
 as, " What ! to attribute the sacred sanction of God and 
 Nature to the massacres of the Indian scalping-knife ! — 
 to the cannibal, torturing, murdering, devouring, drink- 
 ing the blood of his mangled victims ! " 
 
 c. When anything in the sentiment expressed requires 
 a descending tone ; as, 
 
 "And didst tliou visit him no more? 
 
 Thou didst, thou didst, my daughter dear; 
 The waters laid thee at his door 
 
 Ere yet the early dawn was clear. 
 Thy pretty bairns in fast embrace, 
 The lifted sun shone on thy face, 
 Down drifted to thy dwelling-place." 
 
94 MELODY IN SPEECH. 
 
 d. In parentheses, to indicate that the parenthetic 
 clause is not a necessary part of the sentence ; as, 
 
 " If there's a power above us 
 (And tliat there is all Nature cries aloud 
 Through all her works), he must delight in virtue." 
 
 Note. — That part of the sentence which precedes the parenthesis, 
 should be a little stronger in tone lo suggest the difference between 
 it and the parenthesis. 
 
 To this rule there is one exception. Thus : — 
 Sometimes, under the influence of emotion, the pa- 
 renthesis is given on a higher level ; as, 
 
 " And more I tell thee, haughty peer, 
 Ev'n in thy pitch of pride : 
 Here in thy hold, thy vassals near — 
 (Nay, never look upon your lord, 
 And lay your hand upon your sword !) 
 I tell thee, thou'rt defied." 
 
 Observation. — This depression of the pitch, in -a. degree some- 
 what less decided, is used also in subordinate clauses, and phrases of 
 circumstance or description, thrown in between the parts of the lead- 
 ing clauses to qualify the assertion. These, (hough set ofFby commas 
 only, are really parenthetic in their character, and should be distin- 
 guished from the leading member more or less according 10 the degree 
 of interruption they occasion to the construction and flow of the sen- 
 tence; as, "I have known few authors, and many instances have 
 fallen in my way, who did not read their own compositions exactly as 
 they would those of another.'' Here the clause "and many in- 
 stances have fallen in my way," is connected with what precedes, not 
 in construction, but by a shade of thought — out of the many I have 
 known, there were but few, etc. 
 
 Examples for Practice in the Use of Pitch. 
 Graded Rise, Increasing Interest. 
 Here I stand for impeachment or trial ! I dare accu- 
 sation ! I defy the honorable gentleman ! I defy the 
 
ORADED VARIATIONS OF PITCH. 95 
 
 government I I defy their whole phalanx ! Let them 
 come forth ! I tell the ministers I will neither give them 
 quarter, nor take it! 
 
 We bid you welcome to this pleasant land of the 
 fathers. We bid you welcome to the healthful sides and 
 the verdant fields of New England. We greet your 
 accession to the great inheritance which we have en- 
 joyed. We welcome you to the blessings of good gov- 
 ernment and religious liberty. 
 
 I would invoke those who fill the seats of justice, and 
 all who minister at her altar, that they execute the 
 wholesome and necessary severity of the law. I invoke 
 the ministers of our religion, that they proclaim its de- 
 nunciation of these crimes, and add its solemn sanc- 
 tions to the authority of human laws. If the pulpit be 
 silent, whenever or wherever there may be a sinner, 
 bloody with this guilt, within the hearing of its voice, 
 the pulpit is false to its trust. 
 
 I see the smoke of the furnaces where manacles and 
 fetters are still forged for human limbs. I see the vis- 
 ages of those who by stealth and at midnight labor in 
 this work of hell, foul and dark, as may become the 
 artificers of such instruments of misery and torture. 
 
 Are they Hebrews ? So am I. Are they Israelites ? 
 So am I. Are they of the seed of Abraham ? So am 
 I. Are they ministers of Christ? (I speak as one 
 beside himself) I more. 
 
 Up drawbridge, grooms ! Wliat warder, ho ! 
 Let tlie portcullis fall 1 
 
 Call the watch ! call the watch I 
 " Ho ! the starboard watch ahoy I " 
 
 Forward, the light brigade! 
 Charge for the gnns ! 
 
96 MELODY IN SPEECH. 
 
 So light to the croup the fair lady he swung, 
 So light to the saddle before her he sprung. 
 
 KoU on, thou deep and darlc blue ocean — roll I 
 Ten thousand fleets sweep over thee in vain. 
 
 But here I stand and scolF you ! here I fling 
 Hatred and full defiance in your face ! 
 
 If it be .\rthur — Ho ! what, ho ! 
 Up spear ! out arrow I Bend the bow ! 
 Forth after Arthur, on the foe ! 
 
 Now fall on the foe like a tempest of flame 1 
 
 Strike down the false banner whose triumph were shame I 
 
 Strike, strike for the true flag, for freedom and fame ! 
 
 " To arms ! to arms ! to arms ! " they cry ; 
 
 "Grasp the shield and draw the sword ; 
 
 Lead us to Philippi's lord ; 
 Let us conquer him or die !" 
 
 " The olde sea-wall (he cried) is downe; 
 
 The-rising tide comes on apace, 
 And boats adrift in yonder towne 
 
 Go sailing uppe the market-place." 
 
 The wind, one morning, sprang up from sleep, 
 Saying, " Now for a frolic 1 now for a leap ! 
 Now for a madcap, galloping chase I 
 I'll make a commotion in every place!" 
 
 I see you stand like greyhounds in the slips, 
 Straining upon the start. The game's afoot; 
 Follow your spirits, and upon this charge, 
 Cry, — Heaven for Harry! England ! and St. George ! 
 
 Pull, pull in your lassos, and bridle to steed, 
 And speed, if ever for life you would speed ; 
 And ride for your lives, for your lives you must ride, 
 For the plain is aflame, the prairie on fire. 
 
 And there was mounting in hot haste ; the steed, 
 The mustering squadron, and the clattering car 
 
 Went pouring forward with impetuous speed. 
 And swiftly forming in the ranks of war. 
 
GRADED VARIATIONS OF PITCH. 97 
 
 O ye loud waves I and O ye forests high ! 
 
 And O ye clouds that far above me soared ! 
 Thou rising sun ! thou blue rejoicing sky ! 
 
 Yea, every thing that is, and vfill be free! 
 Bear witness for me, whereso'er ye be, 
 
 Willi what deep worship I have still adored 
 The spirit of divinest liberty ! 
 
 lo, they come, they come, 
 
 Garlands for every shrine, 
 Strilce lyres to greet them home, 
 
 Bring roses, pour ye wine ! 
 
 Swell, swell the Dorian flnle 
 
 Through the bine triumphal sky, 
 
 Let the cithern's tone sabite 
 The sons of victory ! 
 
 She starts, — she moves, — she seems to feel 
 
 The thrill of life along her keel, 
 
 And spurning with her foot the ground, 
 
 With one exulting, joyous bound, 
 
 She leaps into the Ocean's arms. 
 
 Graded Rise, Solemnity and Sublimity . 
 
 There was silence, and I heard a voice saying, Shall 
 mortal man be more just than God ? Shall a man be 
 more pure than his Maker? 
 
 And thou, sole Ruler among the children of men, to 
 whom the shields of the earth belong, "gird on thy 
 sword, thou most BTighty : " go forth with our hosts in 
 the day of battle ! Impart, in addition to their heredi- 
 tary valor, that confidence of success which springs 
 from thy presence ! Pour into their hearts the spirit of 
 departed heroes! Inspire them with thine own; and, 
 while led by thine hand and fighting under thy ban- 
 ners, open thou their eyes to behold in every valley and 
 in every plain what the prophet beheld by the same 
 
 7 
 
98 MELOD Y IN SPEECH. 
 
 illumination, — chariots of fire and horses of fire! 
 " Then shall the strong man be as tow, and the maker 
 of it as a spark; and they shall both burn together, and 
 none shall quench them." 
 
 When all thy merciep, O my God, 
 
 My rising soul surveys. 
 Transported with the view, I'm lost 
 
 In wonder, love and praise. 
 
 Rise, like a cloud of incense, from the earth ! 
 Thou kingly spirit, throned among the hills, 
 Thou dread ambassador from earth to heaven, 
 Great hierarch ! tell thon the silent sky, 
 And tell the stars, and tell yon rising sun, 
 Earth, with her thousand voices, praises God. 
 
 O sacred forms, how proud you look ! 
 How high you lift your heads into the sky 1 
 How huge you are, how mighty, and how free ! 
 Ye are the things that tower, that shine; whose smile 
 Makes glad — who.se frown is terrible ; whose forms, 
 Robed or unrobed, do all the impress wear 
 Of awe divine. 
 
 Father of earth and heaven ! I call thy name ! 
 
 Round me the smoke and shout of battle roll 1 
 My eye.s are dazzled with the rustling flame ; 
 
 Father, sustain an untried soldier's soul. 
 
 Or life, or death, whatever be the goal 
 That crowns or closes round this struggling hour, 
 
 Thou knowest, if ever from my spirit stole 
 One deeper prayer, t'was that no cloud might lower 
 On my young fame I — O hear! God of eternal power. 
 
 Now for the fight — now for the cannon peal ! — 
 
 Forward ! through blood and toil and cloud and fire ! 
 
 Glorious the shout, the shock, the crash of steel. 
 The volley's roll, the rocket's blasting spire ; 
 They shake — like broken waves their squares retire, — 
 
GRADED VARIATIONS OF PITCH. 99 
 
 On them huzzars!— Now give them rein and heel ; 
 
 Think of the orphaned child, the murdered sire :— 
 Earth cries for blood,— in thunder on them wheel ! 
 This hour to Europe's fate shall set the triumph seal I 
 
 Graded Fall, Climax. 
 
 It is a crime to put a Roman citizen in bonds ; it is 
 the height of guilt to scourge him ; little less than par- 
 ricide to put him to death : what name, then, shall I 
 give to the act of crucifying him ? 
 
 What a piece of work is man ! how noble in reason ! 
 how infinite in faculties! in form and moving how ex- 
 press and admirable ! in action how like an angel ! in 
 apprehension how like a God ! 
 
 For thou hast said in thine heart, I will ascend into 
 heaven ; I will exalt my throne above the stars of God ; 
 I will sit also upon the mount of the congregation, in 
 the sides of the north ; I will ascend above the heights 
 of the clouds ; I will be like the Most High ! * 
 
 If I were an American, as I am an Englishman, while 
 a foreign troop was landed in my country I never would 
 lay down my arms, never, never, never ! 
 
 Graded Fall, Sentiment Expressed. 
 
 The day is done, and the darkness 
 
 Falls from the wings of Night, 
 As a feather is wafted downward 
 
 From an eagle in his flight. 
 
 Ah, few shall part where many meet ! 
 
 The snow shall be their winding-sheet. 
 And every turf beneath their feet 
 
 Shall be a soldier's sepulchre. 
 
 * In the three foregoing examples the pitch rises through successive 
 clauses until the last, when the voice suddenly sinlts, to express the 
 climax. 
 
100 MELOD Y IN SPEEOH. 
 
 With many a weary step and many a groan 
 Up the high hill he heaves a huge round stone : 
 The hnge round stone, resulting with a bound, 
 Thunders impetuous down, and smokes along the ground. 
 
 No longer the joy of the sailor-boy's breast 
 Was heard in his wildly breathed numbers; 
 
 The sea-bird had flown to her wave-girdled nest, 
 The fisherman sunk to his slumbers. 
 
 Into the jaws of death, 
 Into the mouth of Hell, 
 Kode the six hundred. 
 
 Parenthesis. 
 
 Natural historians observe (for while I am in the 
 country I must fetch my allusions from' thence) that 
 only the male birds have voices. 
 
 I mention these instances, not to undervalue science 
 (it would be folly to attempt that; for science, when true 
 to its name, is true knowledge), but to show that its 
 name is sometimes wrongfully assumed. 
 
 Here, under leave of Brutus and the rest 
 (For Brutus is an honorable man ; 
 So are they all — all honorable men). 
 Come I to speak in Caesar's funeral. 
 
 Parenthetical Expressions. 
 
 If I have any genius, which I am sensible can bo but 
 very small; or any readiness in speaking, in which I do 
 not deny that I have been much conversant; or any skill 
 in oratory, from an acquaintance with the best arts, to 
 which I confess I have been always inclined ; no one has 
 a better right to demand of me the fruit of all these 
 things than this Aulus Licinius. 
 
 The fundamental principles of science, at least those 
 
GBADED VASIATIOjSIS OF PITCH. 101 
 
 that were abstract rather than, practical, were deposited, 
 during the Middle Ages, in the dead languages. 
 
 Whether the prime orb, 
 Incredible how svpift, had thither rolled 
 Diurnal, or this less voluble earth, 
 By shorter flight to th' East, had left him there. 
 
 She had a song of willow. 
 An old thing 'twas, but it expressed her fortune, 
 And she died singing it. 
 
 At midnight, in his guarded tent, 
 The Tnrk was dreaming of the hour 
 
 When Greece, her knee in suppliance bent. 
 Should tremble at his power. 
 
 How glorious once above thy height, 
 Till pride, and, worse, ambition threw me down, 
 Warring in heaven. 
 
102 MELOD Y IN SPEECH. 
 
 MISCELLANEOUS EXAMPLES 
 
 FOR EHETORICAL AND ELOCUTIONAKY ANALYSIS. 
 
 Then said Jesus unto them, I will ask you one thing; 
 Is it lawful on the sabbath days to do good, or to do 
 evil ? to save life, or to destroy it ? 
 
 Has God forsaken the works of his own hands ? or 
 does he always graciously preserve, and keep, and guide 
 them? 
 
 What, then, what was Caesar's object ? Do we select 
 extortioners to enforce the laws of equity ? Do we make 
 choice of profligates to guard the morals of society ? 
 Do we depute atheists to preside over the rites of reli- 
 gion? I will not press the answer ? 
 
 Because eloquence has been abused, because it has 
 served Antichrist, or rendered sin specious, is it there- 
 fore, less excellent in itself? Or is it for that reason, to 
 be rejected from the service of holiness? No ; let it be 
 employed in the service of God, and it is directed to its 
 noblest ends ; it answers the best of purposes ! 
 
 And, indeed, not to quit our own age, or our own 
 land, do we not see all around us the attractions of the 
 cross? What is it that guides and governs the tide of 
 religious popularity, whether it rolls in the channels of 
 the Establishment, or those of Dissent? Is it not this 
 which causes the mighty influx of the spring-tide in one 
 place ; and is it not the absence of it, which occasions 
 the dull retiring ebb in another ? 
 
 You, T. Attius, I know, had everywhere given it out, 
 that I was to defend my client, not from facts, not upon 
 
MISCELLANEOUS EXAMPLES. 103 
 
 the footing of innocence, but by taking advantage merely 
 of the law in his behalf. Have I done so ? I appeal to 
 yourself. Have I sought to cover him behind legal de- 
 fence only? On the contrary, have I not pleaded his 
 cause as if he had been a senator, liable by the Corne- 
 lian law to be capitally convicted ; and shown that 
 neither proof nor probable presumption lies against his 
 innocence ? 
 
 It may, in the next place, be asked, perhaps, suppos- 
 ing all this to bo true, what can we do ? Are we to go 
 to war ? Are we to interfere in the Greek cause, or any 
 other European cause ? Are we to endanger our pacific 
 relations? — No, certainly not. What, then, the ques- 
 tion recurs, remains for us? If we will not endanger 
 our own peace, if we will neither furnish armies, nor 
 navies, to the cause which we think the just one, what 
 is there within our power? 
 
 What! does the word come more powerfully from the 
 dignitary in purple and fine linen than it came from the 
 poor apostle with nothing but the spirit of the Lord on 
 his lips, and the glory of God standing on his right 
 hand ? What ! my lords, not cultivate barren land ; 
 not encourage the manufactures of your country ; not 
 relieve the poor of your flock, if the church is to be at 
 the expense thereby ? — Where shall we find this prin- 
 ciple? not in the Bible. 
 
 Who are the persons that are most apt to fall into 
 peevishness and dejection — that are continually com- 
 plaining of the world, and see nothing but wretched- 
 ness around them ? Are they those whom want com- 
 pels to toil for their daily bread ? — who have no treasure 
 but the labor of their hands — who rise with the rising 
 sun, to expose themselves to all the rigors of the seasons, 
 unsheltered from the winter's cold, and unshaded from 
 
104 MELOD Y IN SPEECH. 
 
 the summer's heat? No. The labors of such are the 
 very blessings of their condition. 
 
 Where were these guardians of the Constitution, these 
 vigilant sentinels of our rights and liberties, when this 
 law was passed? Were they asleep upon their post? 
 Where was the gentleman from New York, who has on 
 this debate, made such a noble stand in favor of the 
 Constitution : where was the Ajax Telamon of his 
 party ; or, to use his own more correct expression, the 
 faction to which he belongs; where was the hero with 
 his sevenfold shield, not of bull's hide, but of brass, 
 j)repared to prevent or to punish this Trojan rape, which 
 he now sees meditated upon the Constitution of his 
 country by a wicked faction : where was Hercules, that 
 he did not crush this den of robbers that broke into 
 the sanctuary of the Constitution ? Was he forgetful of 
 his duty ; were his nerves unstrung ; or was he the very 
 leader of the band that broke down these constitutional 
 ramparts? 
 
 By wliat title do you, Q. Naso, sit in that chair and 
 preside in this judgment? By what right, T. Attius, do 
 you accuse, or do I defend ? Whence all the solemnity 
 and pomp of judges, and clerks, and officers, of which 
 this house is full ? Does not all proceed from the law, 
 which regulates the whole department of the State; 
 which, as a common bond, holds its members together ; 
 and, like the soul within the body, actuates and directs 
 all the public functions ? On what ground, then, dare 
 you speak lightly of the law, or move that, in a crimi- 
 nal trial, judges should advance one step beyond what 
 it permits them to go? 
 
 Whither shall he go? Shall he dedicate himself to 
 the service of his country ? But will his country re- 
 ceive him ? Will she employ in her councils, or in her 
 
MISCELLANEOUS EXAMPLES. 105 
 
 armies, the man at whom the " slow unmoving finger 
 of scorn " is pointed ? Shall he betake himself to the 
 fireside? The story of his disgrace will enter his own 
 doors before him. And can he bear, think you, can he 
 bear the sympathizing agonies of a distressed wife? 
 Can he endure the formidable presence of scrutinizing, 
 sneering domestics ? Will his children receive instruc- 
 tion from the lips of a disgraced father? Gentlemen, 
 I am not ranging on fairy ground, I am telling the 
 plain story of my client's wrongs. By the ruthless 
 hand of malice his character has been wantonly massa- 
 cred; and he now appears before a jury of his country 
 for redress. 
 
 Will any man tell me that he has now confident 
 hopes of the Catholic question ? We are told that we 
 are not to try the question of the four hundred free- 
 holders on its own merits, but "that the measure is ex- 
 pedient, because it will insure the passing of the Catho- 
 lic Bill. This argument might have been used twenty- 
 four hours ago, but does any man believe after what 
 has passed, that the enactment of this measure will be 
 sure to carry the Catholic Bill ? Wliat earthly security 
 have I, that if I abandon my privileges and my duty 
 as a legislator, by voting for this measure in the dark, I 
 shall even have the supposed compensation for this 
 abandonment and betrayal of my duty, the passing of 
 the Catholic Bill ? I repeat, that this might have been 
 urged as an argument two or three days ago, but does 
 any man really believe now that the Catholic Bill will 
 pass ? Does any man believe that the ominous news 
 of this day, which has gone forth to England and Ire- 
 land, will not ring the knell of despair in the ears of the 
 Catholics ? 
 
 Yes, Athenians, I repeat it, you yourselves are the 
 
106 MELOD Y IN SPEECH. 
 
 contrivers of your own ruin. Lives there a man who 
 has confidence enough to deny it? Let him arise, and 
 assign, if he can, any other cause of the success and 
 prosperity of Philip — " But," you reply, "what Athens 
 may have lost in reputation abroad, she has gained in 
 splendor at home. Was there ever a greater appearance 
 of prosperity; a greater face of plenty? Is not the 
 city enlarged ? Are not the streets better paved, houses 
 repaired and beautified?" Away with such trifles! 
 Shall I bo paid with counters ? An old square new 
 vamped up ! a fountain ! an aqueduct ! are these acqui- 
 sitions to brag of? Cast your eye upon the magistrate 
 under whose ministry you boast these precious im- 
 provements. Behold the despicable creature, raised, all 
 at once, from dirt to opulence ; from the lowest obscu- 
 rity to the highest honors. Have not some of those 
 upstarts built private houses and seats, vying with 
 the most sumptuous of our public places ? And how 
 have their fortunes and their power increased, but 
 as tbe Commonwealth has been ruined and impover- 
 ished ? 
 
 Shut now the volume of history, and tell me, on any 
 principle of human probability, what shall be the fate 
 of this handful of adventurers. — Tell me, man of mili- 
 tary science, in how many months were they all swept 
 off by the thirty savage tribes enumerated within the 
 early limits of New England ? Tell me, politician, how 
 long did the sha'dow of a colony, on which your con- 
 ventions and treaties had not smiled, languish on the 
 distant coast ? Student of history, compare for me the 
 bafSed projects, the deserted settlements, the abandoned 
 adventures of other times, and find the parallel of this. 
 Was it the winter's storm, beating upon the houseless 
 heads of women and children ; was it hard labor and 
 
MISCELLANEOUS EXAMPLES. 107 
 
 spare meals ; — was it disease, — was it the tomahawk, — 
 was it the deep malady of a blighted hope, a ruined 
 enterprise, and a broken heart, aching in its last mo- 
 ments at the recollection of^the loved and left, beyond 
 the sea; was it some, or all of these united, that hurried 
 this forsaken company to their melancholy fate'? — And 
 is it possible, that neither of these causes, that not all 
 combined, were able to blast this bud of hope? — Is it 
 possible, that, from a beginning so feeble, so frail, so 
 worthy not so much of admiration as of pity, there has 
 gone forth a progress so steady, a growth so wonderful, 
 an expansion so ample, a reality so important, a pro- 
 mise, yet to be fulfilled, so glorious ? 
 
 Thou smilest ? Smile : 'tis better than to sigli. 
 
 Yon come to take your stand here, and behold 
 The Lady Anne pass from her coronation ? 
 
 But wherefore thon alone? wherefore with thee 
 Came not all hell broke loose? is pain to them 
 Less pain, less to be fled? or thou than they 
 Less hardy to endure ? 
 
 Macd. 
 
 How does mv wife? 
 
 Basse. 
 
 Why, well. ' 
 
 Macd. 
 
 And all my children ? 
 
 Eosse. 
 
 Well, too. 
 
 Macd. 
 
 The tyrant has not battered at their peace ? 
 
 Bos'e. 
 
 No ; they were well at peace when I did leave them. 
 
 Child. Father! father! 
 Why do you look so terribly upon me? 
 You will not hurt me? 
 
 Father. Hurt thee, darling ? no I 
 Has sorrow's violence so much of anger, 
 That it should fright my boy ? Come, dearest, come. 
 
 C. You are not angry tlien. 
 
 F. Too well I love you. 
 
108 MELODY IN SPEECH. 
 
 Did not great Julius bleed for justice's sake? 
 What villain touched his body, that did stab, 
 And not for justice? What, shall one of us, 
 That struck the foremost man of all this world, 
 But for supporting robbers — shall we now 
 Contaminate our fingers with base bribes, 
 And sell the mighty space of our large honors 
 For so much trash as may be grasp6d thus? 
 
 In vain they pushed inquiry to the birth 
 
 And spring-time of the world ; asked, Whence is man ? 
 
 Why formed at all ? and wherefore as he is? 
 
 Where must he find his Maker? with what rites 
 
 Adore him? Will he hear, accept, and bless? 
 
 Or does he sit regardless of his works? 
 
 Has man within him an immortal seed ? 
 
 Or does the tomb take all? If he survive 
 
 His ashes, where? 'and in what weal or woe? 
 
 Knots wo/thy of solution which alone 
 
 A Deity could solve. 
 
 And could'st thou faithful add? O name, 
 O sacred name of faithfulness profaned ! 
 Faithful to whom ? to thy rebellious crew ? 
 Army of Fiends ! — fit body to fit head ! 
 Was this your discipline and faith engaged, 
 Your military obedience, to dissolve 
 Allegiance to the acknowledged Power supreme? 
 And thou, sly hypocrite, who now would'st seem 
 Patron of liberty, who more thin thou 
 Once fawned, and cringed, and. servilely adored 
 Heaven's awful Monarch ? 
 
 What if this cursed hand 
 Were thicker than itself with brother's blood ; 
 Is there not rain enough in the sweet heavens 
 To wash it white as snow ? Whereto serves mercv. 
 But to confront the visage of oflTence? 
 And what's in prayer, but this twofold force. 
 To be forestalled, ere we come to fall. 
 Or pardoned being down ?— Then I'll look up ; 
 
MISCELLANEOUS EXAMPLES. 109 
 
 My fault is past. — But oh, what form of prayer 
 
 Can serve my turn ? " Forgive me my foul murder ? " 
 
 That cannot be ; since I am still possessed 
 
 Of those effects for which I did the murder, 
 
 My crown, mine own ambition, and my queen. 
 
 May one be pardoned, and retain the offence ? 
 
 O unexpected stroke, worse than of death I 
 Must I thus leave thee. Paradise? thus leave 
 Thee, native soil, these happy walks and shades. 
 Fit haunt of gods? where I had hoped to spend. 
 Quiet though sad, the respite of that day 
 That must be mortal to us both. O flowers, 
 That never will in other climate grow. 
 My early visitation, and my last 
 At even, which I bred up with tender liand 
 From the first opening bud, and gave ye names. 
 Who now shall rear you to the sun, or rank 
 Your tribes, and water from the ambrosial fount? 
 Thee lastly, nuptial bower, by me adorned 
 With what to sight or smell was sweet, from tliee 
 How shall I part, and whither wander down 
 Into a lower world, to this obscure 
 And wild? how shall we breathe in other air 
 Less pure, accustomed to immortal fruits? 
 
 O sleep, O gentle sleep. 
 
 Nature's soft nurse, how have I frighted thee, 
 
 That thou no more wilt weigh my eyelids down. 
 
 And steep my senses in forgetfulness? 
 
 Why rather, sleep, liest thou in smoky cribs. 
 
 Upon uneasy pallets stretching thee. 
 
 And hushed with buzzing night-flies to thy slumber. 
 
 Than in the perfumed chambers of the great, 
 
 Under the canopies of costly state, 
 
 And lulled with sounds of sweetest melody ? 
 
 O thou dull god, whyliest thou with the vile, 
 
 la loathsome beds, and leav'st the kingly couch 
 
 A watch-case, or a common 'larum bell ? 
 
 Wilt thou upon the high and giddy mast 
 
110 MEL OD T IN SPEECH. 
 
 Seal up the sliip boy's eyes, and rock his brains 
 In cradle of the rude imperious surge 
 And in the visitation of the winds, 
 Who take the ruffian billows by the top, 
 Curling their monstrous lieads, and hanging them 
 With deaf'ning clamors in the slippery clouds, 
 That with the hurly death itself awakes? 
 Canst thou, O partial sleep ! give tliy repose 
 To the wet sea boy, in an hour so rude. 
 And in the calmest and most stillest night. 
 With all appliances and means to boot. 
 Deny it to a King? 
 
 Earn. But where was this ? 
 
 Ilor. My lord, upon the platform where we watched. 
 
 Ham. Did you not speak to it ? 
 
 Hor, My lord, I did ; 
 But answer made it none. . . . 
 
 Ham. 'Tis very strange ! 
 
 Jior. As I do live, my honored lord, 'tis true ; 
 And we did think it writ down in our duty, 
 To let you know of it. 
 
 Ham. Indeed, indeed, sirs, but this troubles me. 
 Hold you tlie watch to-night? 
 
 Hor. We do, my lord. 
 
 Hum. Armed, say you ? 
 
 Hor. Armed, my lord. 
 
 Ham. From top to toe? 
 
 Hor. My lord, from head to foot. 
 
 Ham. Then saw you not his face ? 
 
 Hor. O yes, my lord ; he wore his beaver up. 
 
 Ham. What, looked he frowningly ? 
 
 Hor. A countenance more in sorrow than in anger. 
 
 Ham. Pale, or red ? 
 
 Hor. Nay, very pale. 
 
 Ham. And fixed his eyes upon you ? 
 
 Hor. Most constantly. 
 
 Ham. I would I had been there. 
 
 Hor. It would have much amazed yon. 
 
 Ham. Very like, very like : staid it long? 
 
MISCELLANEOUS EXAMPLES. HI 
 
 Hor. While one with moderate haste might tell a hundred. 
 Hum. His beard was grizzled? — no? 
 Hor. It was, as I have seen it in his life, 
 A sable silvered. 
 Ham. I'll watch to-night; perchance 'twill walk again. 
 
 Are these the pompons tidings ye proclaim, 
 Lights of the world, and demigods of fame ? 
 Is this jonr triumph, this your proud applause, 
 Children of Truth, and champions of her cause ? 
 For this hath Science searched, on weary vving, 
 By shore and sea, each- mute and living thing? 
 Launched with Iberia's pilot from the steep, 
 To worlds unknown, and isles beyond the deep? 
 Or round the cope lier living chariot driven. 
 And wheeled in triumph through the signs of heaven V 
 Oh, star-eyed Science! hasl;.thou wandered there 
 Tij waft us home the message of despair?^ 
 Then bind the palm, thy sage's brow to suit. 
 Of blasted leaf, and death-distilling fruit. 
 Ah, me ! tlie laui'elled wreath that murder rears, 
 Blood-nursed, and watered by the widow's tears, 
 Seems not so foul, so tainted, and so dread. 
 As waves the nightshade round the sceptic head. 
 What is the bigot's torch, the tyrant's chain ? 
 I smile on death, if heavenward hope remain. 
 But if the warring winds of nature's strife 
 Be all the faithless charter of my life. 
 If chance awaked, inexorable power ! 
 This pale and feverish being of an hour, 
 Doomed o'er the world's precarious scene to sweep, 
 Swift as the tempest travels o'er the deep. 
 To know delight but by her parting smile. 
 And toil, and wish, and weep a little while; 
 Then melt, ye elements, that formed in vain 
 This troubled pulse and visionary brain ! 
 Fade, ye wild flowers, memorials of my doom ! 
 And sink, ye stars that light me to the tomb ! 
 
APPENDIX. 
 
APPENDIX. 
 
 BY BLANDINA CONANT. 
 
 A FEW selections, in the reading of which the class at 
 the Boston School of Oratory was carefully drilled, are 
 given in this Appendix with the comments and words 
 of instruction by Professor Raymond, recorded in my 
 note-book at the time they were spoken in the class- 
 room. I reproduce them in the belief that they will 
 be as valuable and interesting to others as they were 
 to the members of the class. 
 
 The examples for practice are preceded by a few sen- 
 tences from Professor Kaymond's familiar talk in the 
 class-room, taken from my note-book, made when I was 
 one of his pupils. Would it were possible to reproduce 
 the varied expressions of his face, the musical beauty, 
 the sympathetic quality, the exquisite intonations of 
 his voice ! He was an ideal reader, and not less an ideal 
 teacher. The pupils so fortunate as to have shared his 
 instruction, will never cease to be grateful for the privi- 
 lege. With the deepest gratitude we recall his constant 
 kindness, and with delight we remember his quickness 
 of illustration, his appreciation of our difficulties, his 
 faithfulness, never overlooking a fault nor neglecting to 
 praise the slightest improvement. If sometimes he could 
 not repress irritation when a fine passage was hope- 
 lessly mangled, he mdde up for the reproof by in- 
 creased kindness and patience. 
 
 (115) 
 
116 MEL OB Y m SPEECH. 
 
 Class-Talk. 
 The value of the mechanical part of elocution is 
 merely to enable one to attain the highest end — the ex- 
 pression of feeling. If this is not accomplished, the 
 reader is like a man who fancies himself a violinist be- 
 cause he possesses a Stradivarius. 
 
 Mere stress of voice without shades of inflection, is 
 like a duck's foot in the mud; right inflection is like a 
 bird alighting on a branch, tetering and shaking the 
 sprays. 
 
 Colloquial inflections are to be given in poetry, but 
 poetry is not to be read as prose. A slight pause at the 
 end of each line should mark the rhyme. If it is 
 blank verse, there should be ii slight pause (or rather, 
 poise) of the voice at the end of each line. 
 
 Tone-color is essential to the true expression of poetry. 
 Without this, it speaks to the intellect only, not to the 
 heart. If there is word-painting, express this by the 
 tone, but do not exaggerate. Suggest rather than imi- 
 tate. Where elevation of thought is required, let it be 
 obtained by elevation oi feeling, giving tone-color — not 
 by loudness, swagger, or display of art. 
 
 In oratory, naturalness and simplicity should be pre- 
 served. Either through bad training or bad taste, few 
 orators are really good speakers. They mouth, empha- 
 size too much, swell and strut (with voice at least). An 
 orator should be careful to keep his voice within a 
 pleasant range. If it rises above or sinks below an 
 agreeable pitch the effect is bad. 
 
APPENDIX. 117 
 
 The law of contrast is of great importance in reading. 
 If you want to be especially strong anywhere, be very 
 quiet just before. In the opening of a speech, the audi- 
 ence should be prepared for what is to follow. There 
 is great power in reserved force. If you begin with great 
 force where there is no particular emphasis, you can 
 neither keep it up, nor give the just emphasis where 
 you desire it. 
 
 The power of silence is illustrated by the continual 
 low ringing of the bell in a mine — ting-a-ling, ting-a- 
 ling. Should the machinery be injured, a fire break 
 out, or other danger be discovered, the bell stops at 
 once, and every one seeks safety. Did the bell ring 
 only when there is danger, the workmen, distracted by 
 all the other noises of the mine, would not be likely to 
 notice it? So, if a clergyman finds his congregation 
 inattentive, a complete pause before some emphatic 
 thought will wake them all up. 
 
 Once while I was instructing a class of theological 
 students in reading the Scriptures, I became so indig- 
 nant at the slipshod, careless way in which they read, 
 that at last I could contain myself no longer. " Your 
 reading is perfectly disgraceful," I said. "You are all 
 intending to be clergymen. You profess to consider 
 this book as the inspired word of God, and yet you read 
 as if it were a task to be got through with anyhow, as 
 quickly as possible, so that you may come to the more 
 important parts of the service. No part is so important. 
 If the Bible were read as it should be — as if you be- 
 lieved it— there would be no infidels. To say nothing 
 of its being inspired, we have here a magnificent litera- 
 
1 18 MELOD Y IN SPEECH. 
 
 tare, lyrics, drama, oratory, history, ethics, prophecy. 
 Read as it ought to he, it would prove better instruc- 
 tion for your congregations than any sermons you could 
 give them.'' 
 
 As an example of how the Bible should be read, take 
 the passage from Isaiah xiv, 13, 14. There should be 
 a little formality in the opening of this selection and 
 in similar passages from the Bible, because they are 
 lofty chanting poetry. The delivery should be orotund, 
 removed in a measure from the conversational tone. 
 The whole coloring, so to speak, should be musical. 
 In the last clause the voice should be full of awe, ex- 
 pressing in this the feeling, not of the supposed speaker, 
 but of the prophet, who is horror-struck at the pre- 
 sumption of the king of Babylon. In simple passages 
 (as generally in the Gospels) the tone should be digni- 
 fied but simple. 
 
 To avoid artificial emphasis, it is well to practice a 
 pathetic passage in a purely intellectual tone until it 
 can be made perfectly natural. 
 
 Vibration in heart and voice may be produced me- 
 chanically by filling the chest full and letting the tone 
 out with a tremble. This will react on the emotion. 
 
 It is well often to change a poetical dramatic passage 
 into a purely prosaic one, and practice it thus till the 
 right intonations are obtained. 
 
 Many elocutionists have such a false standard of art 
 that they do a great deal more harm than good, and 
 prejudice sensible people against all training of the voice. 
 The way in which I once fell into a trap innocently set 
 for me illustrates the danger of this false standard. The 
 
APPENDIX. 119 
 
 teacher of elocution in a girls' school invited mo to 
 adjudge the prize for which her pupils had competed 
 during the year. One after another came forward and 
 read her selection, twisting and torturing the unhappy 
 author's meaning, each being more artificial, more con- 
 ventional than her predecessor. What a relief when 
 the last one called up, read hers in clear, sweet, simple 
 and natural tones. All having finished, the teacher 
 turned to me with a beaming face, "Well, Prof. Ray- 
 mond, to whom do you adjudge the prize ?" she a.sked. 
 " Oh," said I, " there can be no question as to that. Of 
 coiirse it is due to Miss Smith." The teacher's counte- 
 nance fell; she faltered out, "Miss Smith has just 
 entered the class. She is the only one not trained 
 by me." " Miss Smith's reading is so natural," I vent- 
 ured to say. " But art, you know, Prof. Raymond, art 
 should be our aim." " Oh, yes, art," said I, in despair.* 
 Then knowing that it would be unjust to exalt the un- 
 trained pupil over those whose months of careful drill- 
 ing had produced such deplorable results, I reversed 
 the decision with as good a grace as possible. 
 
 In all tricks of voice, like imitations of sounds, etc., 
 we risk being caught at it. If in doing this, we suit the 
 mood of the audience, which should, Jiowever, be affected 
 without knowing why, it is all right. Otherwise, close 
 imitation should be avoided. It is better, in any 
 case, to suggest sounds — the sighing of the wind, the ring- 
 ing of bells, etc., rather than to make the imitation too 
 obvious. 
 
 * It would give a false idea of Prof. Raymond's reading to suppose that 
 it was not art in the highest sense. He studied nature faithluUy, and his 
 artistic feeling idealized the interpretation of her lessons. 
 
120 MELOD Y IN SPEECH. 
 
 The definite article before a noun is a mark that the 
 following clause is restrictive; as, "The man who 
 laughs." The indefinite article shows, therefore, that 
 such a clause is not restrictive ; as, " a voice whose 
 burden was her name." 
 
 An aidde must often (as generally on the stage) be 
 given aloud. A hypocritical son is represented as say- 
 ing to deceive his father, " I wish to subscribe to the 
 orphan asylum," then to himself, " I guess that '11 fetch 
 the old man." This last sentence is, theoretically, 
 spoken in a whisper ; in reality, so that all can hear; but 
 the right coloring of an aside should be preserved. 
 
 In pathetic passages care must be taken not to get a 
 whining tone ; firm hold must be kejjt of all inflections. 
 Sadness cuts down the waves of emphasis, and a high 
 wave, therefore, injures the pathetic effect. 
 
 When there is a latent connection between what is 
 said and what is understood, the latter should be sug- 
 gested by the tone ; as, " it is hard to believe the world 
 is wicked ; [because] everything seems good and gentle." 
 
 A noun in apposition with another, generally takes 
 its color from the latter, rising if it rises, falling if it' 
 falls, emphasized if that is emphatic, etc. ; as, '' Where 
 is his son, the nimble-footed madcap. Prince of Wales f 
 
APPENDIX. 121 
 
 EXAMPLES FOE PEACTICE. 
 
 WITH KOTES AND COMMENTS GIVEN BY PHOF. RAYMOND 
 TO HIS PUPILS* 
 
 UNWRITTEN MUSIC. 
 
 BY N. P. WILLIS. 
 
 There is a melancholy music in autumn. The leaves 
 float sadly about with a look of jjeculiar desolation, 
 waving capriciously in the wind, and falling with a just 
 audible sound, that is a very sigh for its sadness. And 
 then, when the breeze is fresher, though the early 
 autumn months are mostly still, they are swept on 
 with cheerful rustle over the naked harvest-fields, and 
 about in the eddies of the blast; and though I have 
 sometimes, in the glow of exercise, felt my life securer 
 in the triumph of the brav-e contest, yet in the chill of 
 the evening, or when any sickness of the mind or body 
 was on me, the moaning of those withered leaves has 
 
 * In the following pieces, Italics are used to indicate various degrees of 
 emphasis, not as in every case calling for the full force of emphasis usually- 
 indicated by such type. Whore it is especially strong, attention is called to 
 the fact in the notes. Except in special cases, it has not been deemed nec- 
 essary to indicate the rising and falling inflections, or the different degrees 
 of pitch. Professor Eaymond having given ample rules for their use. 
 
 As these selections are Intended for class drill, it has been thought advis- 
 able to subjoin to each paragraph or stanza the notes explanatory of its 
 meaning, of the inflections, etc., instead of placing such notes at the bottom 
 of the page. 
 
122 MELOD Y IN SPEECH. 
 
 pressed down my heart like a sorrow, and the cheerful 
 fire, and the voices of my many sisters, might scarce 
 remove it. 
 
 This sketch is an example of dainty poetical prose. It has no 
 great range of thought or sentiment, and is, therefore, an excel- 
 lent exercise for obtaining sweet and graceful effects by delicate 
 shades of expression — by fclight varying of tone and pitch, by sug- 
 gestion, not imitation, of musical sound. There are no strong em- 
 phases. The voice should not bear down on any of the words, nor 
 should it be elevated, bnt conversational in tone. The first two sen- 
 tences should express a pensive sentiment. In the third, the open- 
 ing clauses should be given more briskly and cheerfully ; in the last 
 two clauses, the pensive tone is resumed. Emphasis on the word 
 following " like," and similar terms of comparison, is generally 
 strong, as in "like a sorrow." 
 
 Then for the music of winter, I love to listen to the 
 falling of snow. It is an unobtrusive and sweet music. 
 You may temper your heart to the serenest mood by its 
 low murmur. It is that kind of music that only ob- 
 trudes upon your ear when your thoughts come lan- 
 guidly. You need not hear it, if your mind is not idle. 
 It realizes my dream of another world, where music is 
 intuitive, like a thought, and comes, only when it is 
 remembered. 
 
 The second sentence should be given in a delicate, graceful lone. 
 Emphasis falls on "music" in the third sentence, because of an 
 implied negative. Snow makes u very faint sound in falling. 
 One might insist that it has no sound, and be answered. " Yes, it 
 lias a,mus:c; you'll hear it if you'll listen to it." In the sixth sentence, 
 ilio clause, "you need not hear it," should be given a little faster 
 than what precedes or follows. In the last sentence, a very short 
 pause should follow "comes." 
 
 And the frost, too, has a melodious " ministry." You 
 will hear its crystals shoot in the dead of a clear night, 
 as if the moonbeams were splintering like arrows on the 
 
APPENDIX. 123 
 
 ground ; and you would listen to it the more earnestly, 
 thfit it is the going-on of one of the most cunning and 
 beautiful of nature's deep mysteries. I know nothing 
 so wonderful as the shooting of a crystal. God has hid- 
 den its principle as yet from the inquisitive eye of the 
 philosopher, and wc must be content to gaze on its ex- 
 quisite beauty, and listen in mute wonder to the noise 
 of its invisible workmanship. It is too_/i(ie a knowledge 
 for us. We shall comprehend it when wc know how 
 the morning stars sang together. 
 
 In the second sentence " on the gronnd " is an adjunct of " splint- 
 ering," not of "arrows," and, therefore, the emphasis is not deferred 
 from the latter. In the third sentence no emphasis falls on " crystal " 
 hecaiise its shooting has heen mentioned hefore. 
 
 You would hardly look for music in the dreariness 
 of early winter. But before the keener frosts set in, and 
 while the warm winds are yet stealing back occasion- 
 all)', like regrets of the departed summer, there will come 
 a soft rain or a heavy, misi, and, when the north 
 wind returns, there will be di-ops suspended, like ear- 
 ring jewels, between the filaments of the cedar-tcssels, 
 and in the feathery edges of the dark green hemlocks, 
 and, if the clearing-up is not followed by the heavy 
 loind, they will all be frozen in their places like well- 
 set gems. The next morning the warm sun comes out, 
 and by the middle of the warm, dazzling forenoon, 
 they are all loosened from the close touch which sus- 
 tained them, and they will drop at the lightest motion. 
 If you go along upon the soidh side of the wood at 
 that hour, you will hear music. The dry foliage of the 
 summer's shedding is scattered over the ground, and 
 the round, hard drops ring out clearly and distinctly, 
 as they are shaken down with the stirring of the breeze. 
 It is something like the running of deep and rapid 
 
124 MELODY IN SPEECH. 
 
 water, only more fitful and merrier; but, to one who 
 goes out in nature with his heart open, it is a pleasant 
 music, and, in contrast with the stern character of the 
 season, delightful. 
 
 In the second sentence " cedar-tassels " is followed by the bend, 
 the partial close comes on " hemlocks." A very short pause fol- 
 lows "places." In the fourth sentence, and in similar passages, 
 related words and phrases like "If you go along upon the south side 
 of the wood " are grouped together ; so with '■ at that hour." 
 
 Winter has many other sounds that give pleasure to 
 the seeker for hidden sweetness ; but they arc too rare 
 and accidental to be described distinctly. The brooks 
 have a sullen and muffled murmur under their frozen 
 surface ; the ice in the distant river heaves up with the 
 swell of the current, and falls again to the bank with a 
 prolonged echo; and the woodsman's axe rings cheer- 
 fully out from the bosom of the unrobed forest. These 
 are, at best, however, but melancholy sounds, and, like 
 air that meets the eye in that cheerless season, they but 
 drive in the heart upon itself. I believe it is ordered in 
 God's wisdom. We forget ourselves in the enticement 
 of the sweet summer. Its music and its loveliness win 
 away the senses that link up the affections, and we need 
 a hand to turn us back tenderly, and hide from us the 
 outward idols, in whose worship wo are forgetting the 
 high and more spiritual altars. 
 
 In the second sentence, the short pause which should follow 
 "brooks" gives more force to what comes after. With "heaves 
 up" and "swell" the reader should drag the voice and seem to 
 listen. In order to get the right inflections in this sentence, put it 
 into simple talk and practice it first as such; as: The murmur of 
 the brooks, the crashing of the ice in the river, even the ringing of 
 the woodsman's axe, are melancholy sounds; all that meets the car 
 is like all that meets the eye. 
 
 Let the fall of the voice on "eye" be as complete as if a period 
 followed. 
 
APPENDIX. 125 
 
 THE BATTLE OF BLENHEIM. 
 
 BY BOBEET SOUTHEY. 
 
 It was a Slimmer evening, 
 
 Old Kaspar's work was done, 
 And lie before his cottage-door, 
 
 Was sitting in the snn, 
 And by him sported on the green 
 His little grandchild, Wilhelmine. 
 
 The poem begins with a simple statement, and the voice therefore 
 falls at the end of the first two lines. 
 
 " Evening " is emphasized because in telling a story, the first thing 
 is to place the scene or set the time. 
 
 A slight emphasis may come on "by" in the fifth line. In the 
 last line, emphasis maybe deferred from "grandchild" to "Wil- 
 helmine." 
 
 She saw her brother Pelerhin 
 
 Eoll something large and round, 
 Which he beside the rivulet, 
 
 In playing there, had found ; 
 He came to ask what he had found, 
 That was so large and smooth and round. 
 
 " In playing there ' is parenthetical, and is given with the bend. 
 
 Old Knspar took it from the boy, 
 
 Who stood expectant by ; 
 And then the old man shook his head. 
 And with a natural sigh, 
 " 'Tis some poor fellow's skull," said he, 
 "Who fell in the great victory.'' 
 
 Everything in the tone and replies of the old man should show 
 his stupidity. In the third line the emphasis may be omitted on 
 " head." The fifth line may be given either with the falling or the 
 waving slide. Emphasis may be deferred from " skull " to '■ vic- 
 tory," but the effect would not be as good. 
 
126 MELODY m SPEECH. 
 
 " I find them in tlie ijarden, 
 
 For there 's many Iiere about ; 
 And often when 1 go to plough 
 
 The ploughshare turns them out; 
 For many thousand_mm," said lie, 
 " Were slain in that great victory." 
 
 The partial close should fall on "garden" in the first line, be- 
 cause of the strong inversion. The direct form would be as follows : 
 There 's many here about, and I find them in the garden. '■ Gar- 
 den" is emphasized because it is a statement telling exactly where. 
 The second line is given with the rising slide (or bend), because 
 what would naturally be the sequel is inverted. "Ploughshare," 
 in the fourth line, may be emphasized instead of " plough." "Thou- 
 sand," in the fifth line, is equivalent to many, and need not be 
 emphasized, as Kaspar did not probably intend to count the num- 
 bers. It is not necessary to emphasize "slain " in the last line (for 
 of course they were killed), but emphasis may be deferred to it from 
 "men." 
 
 "Now tell us what '(was all about," 
 Young Peterkin, he cries; 
 While little Wilhelmine looks up 
 With wonder-waal'mg eyes; 
 " Now tell us alt about the war, 
 And what they killed each other /or." 
 
 Strong emphasis falls on "about" in the first line. Emphasize 
 "Peterkin" and "Wilhelmine" inthesecond and third lines, because 
 they have not been mentioned for some time- In the fifth line it would 
 be proper to emphasize "about" instead of "all," as a child would 
 be very likely to repeat her brother's inflection, but the effect is 
 better to put the emphasis on "all" rather than on "about" or 
 " war," unless strong personation is desired. Wherever it is possi- 
 ble, put the emphasis, for variety, in diflferent parts of the sentence. 
 
 " It was the English," Kaspar cried, 
 " Who put the French to rout ; 
 But what they killed each other for, 
 
 I could not well make out. 
 But everybody said," quoth he, 
 "That 'twas :i famous victory." 
 
APPENDIX. 127 
 
 "Cried " in the first line is given with the bend, making a wave of 
 the sentence, with emphasis slight on " English" and in the second 
 line on "Frencli" (in antithesis with "English"). The second line 
 ends with the i)artial close. If preferred, theemphasis maybestrong 
 on " English " and " French," and the first line given with the falling 
 inflection. The emphasis is repeated on "for" in the third line, be- 
 cause Kaspar is replying to their question. The four last lines are 
 transposed. The related sequel is expressed in the third line. The 
 natural order would be as follows : Everybody said ,that 'twas u. 
 famous victory, but I could not well make out what they killed each 
 other for. 
 
 " My father lived at Blenheim then, 
 Yon little stream hard by ; 
 They burnt his dwelling to the ground, 
 
 And he was forced to/y ; 
 So, with his wife and child, he fled. 
 Nor had he where to rest his head." 
 
 The first line ends with the bend. There U slight emphasis on 
 " father." Empliasize strongly either " fly " in the fourth, or " fled " 
 in the fifth line, but not both. It would be correct to give the third 
 lino with the falling instead of the rising inflection, but the eflect of 
 so many falls in succession would be monotonous, so the statement 
 may be made less vigorous and be more closely connected with what 
 follows. The fifth line also may be given either with the rising or the 
 falling inflection. If the latter is preferred, omit the emphasis on 
 "fly'' and "child" and emphasize "fled." 
 
 "With fire and sword the country round 
 
 Was wasted, far and wide ; 
 And many a nursing mother then. 
 
 And new-born baby, died : 
 But things like that, you know, must be 
 At every famous victory.^' 
 
 " Be," in the fifth line, is very strongly emphasized ; it therefore 
 falls. The sixth line is given with the bend, the related sequel 
 "you know" being given in the fifth. 
 
 "They say it was a shocking sight 
 After the field was won ; 
 
128 MELODY IN SPEECH. 
 
 For many thousand bodies here 
 
 Lay rotting in the sun : 
 But things like that, you know, must be 
 After a famous victory " 
 
 The first line should be given with (he wave or the fall. Thesecond 
 line is given with the bend, the related sequel being expressed in 
 the third and fourth lines. The partial close is on "sun "in the 
 fourth line. The sixth line is given with the waving slide, the 
 related sequel "you know,'' which would naturally close the sen- 
 tence, being expressed in the fifth line. 
 
 " Great praise the Duke o( Marlbio' won, 
 
 And our good prince, Eur/ene.'' 
 " Wliy, 'tvfas a very wicked thing ! " 
 
 Said little Wilhelniine. 
 " Nay, nay, my little girl," quoth he, 
 "It was a, famous victory." 
 
 The partial close comes on "thing" in the third line, " wicked" 
 being strongly empliasized. 
 
 " And everybody praised the Duke 
 
 Who this great fight did win." 
 "And what good came of it at Itistl" 
 
 Quoth little Pelerkin. 
 " Why, that I cannot tell," said he, 
 " But 'twas a famous victory." 
 
 EACH AND ALL. 
 
 Br E. ^V. EMERSON. 
 
 Little thinks, in tlie field, yon red-cloaked cloum, 
 
 Of thee from the hill-top looking down ; 
 
 The heifer that lows in the upland/arm, 
 
 i^'ar-heard, lows not thine ear to charm ; 
 
 The sexton, tolling his bell at noon. 
 
 Deems not that great Napoleon 
 
 Stops his horse and lists with delight, 
 
 Whilst his yi/es sweep round yon Alpine Itcight ; 
 
APPENDIX. 129 
 
 Nor knowest thou what argument 
 Thy life to thy neighbor's creed has lent. 
 All are Deeded by each one ; 
 Nothing is fair or good alone. 
 
 If the meaning of the poet is not clear (o the pupil, pnt it into 
 the following form : How very dependent we are on each other. No 
 man stands alone. Every one exerts, unconsciously, an influence on 
 his neighbor f'or instance, that fellow in the turnip-field does not 
 su.spect me of watching him ; that heifer does not low to please me, 
 etc. nor do you know when you are doing a thing whether you are 
 helping or hindering some one else. 
 
 The first sentence is ii masked comTjact one, neither does the 
 clown, neither does the heifer, etc. The bend, therefore, comes at 
 the end of the second, fourth, and eighth lines. It would be proper 
 to put it after the fifth line also, but the partial close is better here, 
 because a number of upward inflections follow each other. The par- 
 tial close comes on " each one," in the eleventh line. '' Alone," in 
 the twelfth line, means tukem by itself. 
 
 I ihonght the sparrow's note from heaven. 
 Singing at dawn on the alder bough ; 
 I brought him home, in his nest at even ; 
 He sings the song, but it pleases not now, 
 For I did not bring home the river and ishj ; — 
 He sang to my ear — they sang to ray eije. 
 
 Separated from their natural surroundings, things lose their eflect. 
 Emphasis is strong on " sparrow," in the first line, because it is a 
 new illustration. In the fourth line, "now " is given with the bend 
 because of the related sequel in the fifth line—'' now," that is, with- 
 out proper surroundings, the song seems very ordinary. In the sixth 
 line, emphasis cannot be deferred from "He" to "they," because 
 the antithesis is so strong. 
 
 The delicate shells lay on the shore ; 
 The bubbles of the latest wave 
 Fresh pearls to their enamel gave ; 
 And the bellowing of the savage sea 
 Greeted their safe escape to me. 
 9 
 
1 30 MELOD Y IN SPEECH. 
 
 I wiped away the weeds and/oam, 
 
 I fetched my sea-born treasures home; 
 
 But the jioor, unsightly, noisome things 
 
 Had left their beauty on the shore, 
 
 With the sun, and the sand, and the wild uproar. 
 
 There is strong emphasis on "beauty" in the ninth line, very 
 slight on " shore." Defer emphasis in the last line from '' sun " and 
 "sand" to "uproar." These words form a series, that is, the scene 
 with all its surroundings. 
 
 The lover watched his graceful maid, 
 
 As 'mid the virgin train she strayed, 
 
 Nor knew her beauty's best attire 
 
 Was woven still by the snow-white choir. 
 
 At last she came to his hermitage. 
 
 Like the bird from the woodlands to the cage; — 
 
 The gay enchantment was undone , 
 
 A gentle wife, hat fairy none. 
 
 The partial close comes at the end of the second, fourth, fifth, and 
 sixth lines. If " hermitage," in the fifth line, were given with the 
 bend, the efiFect would be too trivial. The thought conveyed by the 
 third and fourth lines is, that all together was needed to make up 
 the pretty picture. 
 
 Then I said, " I covet triUli ; 
 
 Beauty is unripe childhood's cheat; 
 
 I leave it behind with the games o{ youth." — 
 
 As I spoke, beneath my feet 
 
 The ground-pine curled its pretty wreath, 
 
 Running over the club-moss burrs ; 
 
 I inhaled the violet's breath ; 
 
 Around me stood the oaks and firs ; 
 
 Pine-cones and acorns lay on the ground; 
 
 Over me soared the eternal sky ; 
 
 Full of light and of deity; 
 
 Again I saw, again I heard, 
 
 The rolling river, the morning bird ; — 
 
 Beauty through my senses stole; 
 
 I yielded myself to the perfect whole. 
 
APPENDIX. 131 
 
 The last twelve lines express the thought : I found tliut truth and 
 beauty are parts of one great, perfect whole. I breathed it, 1 felt it 
 through every pore. 
 
 The eleventh line is not restrictive, for the poet is not comparing 
 the bright sky with a dark and gloomy one. Give this line with a 
 full tone. The partial close may come at the end of the first, second, 
 sixth, seventh, eighth, ninth, tenth, thirteenth and fourteenth lines, 
 and the bend after "spoke" in the fourth, after "wreath" in the 
 fifth, and after "saw" in the twelfth line. But to avoid so many 
 falls at the end of the lines, the bend may come after " sky " in the 
 tenth line. Defer emphasis from "pine-cones" to "acorns" in the 
 ninth line. In the twelfth line, emphasis falls theoretically on 
 "Again," "saw," "again." It would be proper here and in the 
 next line to arrange the emphasis thus : " Again I saw, again I 
 heard the rolling river, the morning hird." The emphasis on " river " 
 may be omitted. It is proper to emphasize "beauty" and also 
 "stole" in the fourteenth line, and to suppress the emphasis on 
 "senses," but, to prevent too much repetition of falls at the end of 
 the linep, suppress the emphasis on "stole;" to avoid jerkines.i, that 
 on '' beauty," especially as this word has already been emphasized. 
 
 A GKEYPORT LEGEND, 1797. 
 
 BY BRET HAETE. 
 
 They ran through the streets of the seaport town, 
 
 They peered from the decks of the ships where they lay ; 
 The cold sea fog that came whitening down 
 Was never as cold or white as they. 
 '' Ho, Starbuck and Pickney and Tenterden ! 
 Run for your shallops, gather your men, 
 Scatter your boats on the lower hay." 
 
 Give the first two lines with spirit, the second in lower pitch, the 
 third and fourth slowly and in still lower pitch. Make the last three 
 lines dramatic; personating thorough seaman with loud voice, very 
 fast as if calling to a distance ; rise from the beginning of the third 
 line ; with each clause rise a little higher. Defer the bend from 
 "Starbuck " and "Picknev " to " Tenterden." 
 
132 MEL OD r IN SPEECH. 
 
 Good cause for fear I In the thick mid- day 
 
 The hulk that lay by the rotten pier, 
 Filled with children in happy play, 
 Parted its moorings and drifted clear. 
 Drifted clear beyond reach or call, — 
 Thirteen children there were in all, — 
 All adrijt in the lower bay I 
 Give this stanza in an intense, agitated tone. In the last five 
 lines there should be tre^nor in the voice. Prolong "clear" in 
 the fifth line. In the last line "all" should be given with the 
 bend ; the partial close comes on " adrift." The sixth line is paren- 
 thetical. 
 
 Said a hard-faced skipper, " God help us all 1 
 
 She will r-ot float till the turning tide/" 
 Said his wife, " my darling will hear my call, 
 Whether in sea or heaven she bide." 
 
 And slie lifted a quavering voice and high, 
 Wild and strange as a sea bird's cry, 
 Till they shuddered -anA wondered at her side. 
 
 Personate the skipper and his wife. In the first line, " God help 
 us all" should be given rapidly, almost like an ejaculation; the 
 second line should be given more despairingly, as it is an expression 
 of fear that the ship would sink before they could reach her. Willi 
 the fifth line rise in pitch ; with the next, still higher, suggesting 
 half-insanity. In the last line, descend iu pitch : give color of terror 
 and wonder. 
 
 The fog drove down on each laiaring crew, 
 
 Veiled each from each and the sky and shore; 
 There was not a sound but the breath they drew. 
 And the lap oi water and creak of oar ; 
 
 And they felt the breath of the downs, fresh blown 
 O'er leagues of clover and cold gray stone. 
 But not from the lips that had gone before. 
 
 In the second line " each," " sky," " shore," are all emphasized 
 because each idea is distinguished from the rest. The last line de- 
 scends in pitch; it should be given with the waving slide. The tone 
 should be soft and sad. 
 
APPENDIX. 133 
 
 They come no more. But tliey tell the tale 
 
 That, when fogs are thick on the harbor reef, 
 The mackerel-fishers shorten sail, 
 
 For the signal they know will bring relief, — 
 For the voices of children, still at play 
 In phantom hulk that drifts alway 
 Through channels whose waters never fail. 
 Give the last three lines with feeling, in a soft tone. 
 It is bnt a foolish shipman's tale, 
 A theme for a poet's idle page, 
 Bat still when the mists of doubt prevail. 
 And we lie becalmed by the shores of Age. 
 We hear from the misty troubled shore 
 The voice of the children gone before, 
 Drawing the soul to its anchorage. 
 In the sixth line, it is better not to defer emphasis from " children " 
 to the restrictive clause " gone before," because the first expresses 
 the most important thought in the poem. 
 
 THE EISING IN 1776. 
 
 BY T. BUCHANAN BEAD. 
 
 Out of the North the wild news came. 
 Far flashing on its wings ol flame, 
 Swift as the boreal light which flies 
 At midnight through the startled skies, 
 And there was tumult in the air, 
 
 There's shrill note, the drum's loud beat, 
 And through the wide land everywhere 
 
 The answering tread of hurrying feet ; 
 "While the first oath of Freedom's gun 
 Came on the blast from Lexington ; 
 And Concord, roused, no longer tame. 
 Forgot her old baptismal name, 
 Made bare her patriot arm of power 
 And swelled the discord of the hour. 
 There is no emphasis on " North " in the first line, there being no 
 discrimination as to where the news came from. No emphasis is 
 
134 MELOD Y m SPEECH. 
 
 needed on " news," as that something has been already said about 
 it is presupposed. The bend comes after the first line ; in the second, 
 "wings of flame" may refer to beacon-lights, that perhaps started 
 the news, or it may mean ovi[y swift as flame. With ''flame'' the 
 voice may fall, partly for variety, partly because monotony should 
 be avoided when depicting hurry or startled feeling. In the fourth 
 line, emphasis may be deferred to "skies," but the effect would not 
 be as good, a succession of falls here being monotonous. The fifth, 
 sixth, seventh and eighth lines should be lower in pitch ; there 
 should be a hush in the voice, as if to listen. The names of different 
 places, when used as in the tenth and eleventh lines, are not gener- 
 ally emphasized. In this case, liowever, emphasis may come on 
 "Concord," because of the antithesis (not a happy one, by the way, 
 between a place and a quality) with "discord" in the fourteenth 
 line, although it is better to defer it to the latter. If both words 
 were emphasized, the effect would be unpleasant to the ear. 
 
 Within its shade of elm and oak, 
 
 The church of Berkley Manor stood. 
 There Sunday found the rural folk, 
 And seme esteemed of gentle blood. 
 
 In vain their feet with loitering tread 
 Passed 'mid the graves where rank is naught; 
 All could not read the lesson taught 
 In that republic of the dead. 
 
 The last four lines express the thought that those of gentle blood 
 could not see the leveling tendency of the graveyard. "All" im- 
 plies that some (probably of the poor) could see this. Slight em- 
 phasis on " read," stronger on " all " in the seventh line. 
 
 How sweet the hour of Sabbath talk, 
 The vale with peace arid sunshine full 
 
 Where all the happy people walk, 
 Decked in their homespun flax and wool ! 
 Where youth's gay hats with blossoms bloom ; 
 
 And every maid with simple art. 
 
 Wears on her breast, like her own lieart, 
 A bud whose depths are all perfume; 
 
 While every garment's gentle stir 
 
 Is breathing rose and lavender. 
 
APPENDIX. 135 
 
 All through the third stanza keep the tones soft and gentle. The 
 partial close comes at the end of the first, fonrth, fifih and eighth 
 lines. Emphasis may fall on " bud," but it is betler to defer it to 
 "perfume." If emphasis falls on "garment's" in the ninth line, 
 it is because the poet has done speaking of the persons, and now 
 wants to say that their very clothes were fragrant. " Every gar- 
 ment" is perhaps only another way of saying, every girl. If so, 
 "garment" sliould not be emphasized. 
 
 The pastor came ; his snowy locks 
 
 llaltowed his brow of thought and care; 
 
 And calmly, as shepherds lead iheir flocks, 
 He led into the house of prayer. 
 
 The pastor I'ose: the prayer was strong ; 
 
 Tlie psalm was warrior David's song ; 
 
 The text, a few short words of might, — 
 "The Lord of hosts shall arm the right/" 
 
 There should be a good deal of vei-ve in this stanza. ,In the third 
 and fourth lines there is antithesis between "shepherds" and " He.'' 
 Emphasis may come on both, but it is better to defer it to the latter. 
 Very strong emphasis in the last line. 
 
 He spoke of wrongs too long endured, 
 Of sacred rights to be secured ; 
 Then from his patriot tongue of flame 
 The startling words for Freedom came. 
 The stirring sentences he spake 
 Compelled the heart to glow or quake, 
 And rising on his the"ae's broad wing. 
 
 And grasping in his nervous hand 
 
 The imaginary 6a(tfe-brand, 
 In face of death he dared to fling 
 Defiance to a tyrant kiag. 
 
 This stanza should be given with a great deal of spirit, all emphasis 
 should be strong. Emphasis might fall on both " wrongs" in the 
 first, and "rights" in the second line, but the effect would be jerky, 
 as it would be to emphasize both "endured" and ''secured." In 
 the tenth, strong emphasis should fall on '' death," and very strong 
 on " Defiance " in the eleventli line. The first two lines should both 
 
136 MELOD Y IN SPEECH. 
 
 end with llie partial close, each being a separate statement, or the 
 first line may rise; and being understood l)efore the second line. 
 The sixth line sliould also end with the partial close, the seventh 
 and ninth lines being given with the bend. The seventh, eighth 
 and ninth should rise by grades, in pitch. If it can be avoided, 
 never emphasize in the same place in two successive lines. 
 
 Even as he spoke, his frame renewed 
 In eloquence of attitude, 
 Kose, as it seemed, a shoulder higher; 
 Then swept his kindling glance of fire 
 From startled pew to breathless choir ; 
 When suddenly — his mantle wide 
 His hands impatient flung aside, 
 And, lo! he met their wondering eyes 
 Complete in all a warrior's guise. 
 
 Give tills stanza with great force ; " renewed in eloquence of atti- 
 tude" in the first and the second lines, is slightly parenthetical; it 
 should be given with the bend. The partial close should end the 
 third, fifth, and seventh lines, or, if preferred, the seventh may be 
 given with the bend, and the emphasis on "aside" omitted. 
 
 A moment — there was awful pause, — 
 When Berliley cried, " Cease, traitor I cease ! 
 God's temple is tlie house of peace .'" 
 
 The other shouted, "Nay, not so. 
 When Ond is with our righteous cause. 
 His holiest places then are ours, 
 His temples are our forts and lowers, 
 
 Tliat frown upon the tyrant/oe/ 
 In this, the dawn oi Freedom's day. 
 There is a time to fight and pray /" 
 
 Berkley's cry should be louder, and higher in pitch ; tlie pastor's 
 answer, lower; the repetition of "cease" shows increasing excite- 
 ment. Emphasis may fall also on "temple" in tlie third line. 
 In the sixth, "ours" should be strongly emphasized, "holiest" 
 slightly, or not at all. It is proper to let emphasis fall on " frown " 
 in the eighth line, but better to defer it to ''foe." In thotenth line it 
 may be suppressed on " fight" and "pray," " and " being emphasized 
 instead. 'Cease, traitor! cease I God's temple,'' etc, second and 
 
APPENDIX. 137 
 
 third lines, is the equivalent of the chur-h is no place for war, and 
 you are in it. 
 
 And now before the open door — 
 
 The warrior priest had ordered so — 
 The enlisting trumpet's sndden roar 
 Eang through the chapel, o'er and o'er ; 
 
 Its long reverberating blow 
 So loud and clear, it seemed the ear 
 Of dusty death must wake and hear. 
 And there the startling di-um and fife 
 Fired the living with fiercer life ; 
 While overhead, with wild increase, 
 P'orgetting its ancient toll of peace, 
 
 The great belt swung as ne'er before: 
 It seemed as it would never cease ; 
 And every word its ardor flung 
 From offits jubilant iron tongue 
 
 Was, War! War! War! 
 
 The second line is parenthetical, and should be lower in pitch. 
 Stress should come on "Hang" in the fourth line; here it is an in- 
 transitive verb ; you cannot say — rang a blow. In the seventh line, 
 give the color of death in the tone ; there is strong emphasis on 
 "living" in the ninth line. Give the eleventh line in a soft tone. 
 Prolong "great" in the twelfth ; "as ne'er before,'' should be lower 
 in pitch, and almost in monotone. " War ! War ! War !" in the last 
 line is an example of onomatopoeia; prolong the r in each. 
 
 " Who dares !" — this was the patriot's cry. 
 As striding from the desk he came, — 
 
 "Come out with me, in Freedom's name. 
 For her to live, for her to die?" 
 A hundred hands flung up repl)', 
 A hundred voices answered, /. 
 
 Strong emphasis falls on "dares" in the first, on "me" and 
 '■ Freedom" in the third line. The last part of the first and all of the 
 second line are parenthetical, and lower in pitch. The fourth line 
 contains a distinct antithesis — either to live for her, or to die for 
 her. Strong emphasis should fall on " hundred " in the fifth, and 
 on "voices" in the sixth line. "I" should be very strongly em- 
 phasized, and higher in pitch. 
 
138 MEL OD Y IN SPEECH. 
 
 MIDNIGHT MASS FOR THE DYING YEAR. 
 
 BY HENRY VV. LONGFELLOW. 
 
 Yes, tlie year is growing old. 
 
 And his eye is pale and bleared ; 
 Death with frosty hand and cold, 
 Plucks the old man by the beard, 
 Sorely, — sorely. 
 Throughout the poem use pure and simple tones. The inflections 
 are the same as in conversation, but the tone-color is given in pass- 
 ing through the poet's mind. Give the first line with tenderne-sf, 
 with elastic (one. It is proper to emphasize " beard " in the fourth 
 line, but better to keep the voice up on a level in order to come down 
 strongly on "sorely." The last line descends in pitch with each 
 word. Give them both with full tones. Repeat '-sorely" with 
 deep feeling, giving in both voice and face the expression of sore- 
 ness. 
 
 The leaves are falling, falling 
 
 Solemnly and slow ; 
 Caw, caw ! the rooks are calling, 
 It is a sound of woe, 
 A sound of woe ! 
 The first line is a mere statement, but should be given in a tender 
 tone. The second "falling" should rise in pitch. "Caw, caw," in 
 the third line, is an example of onomatopoeia ; it should be given in 
 monotone, high pitch, the second "caw" on a level with the first, 
 both very hard and unintellectual. It is proper to rise or fall in 
 pitch with the second "caw," but better to keep the voice on a level. 
 The crow sound should be imitated as closely as possible. Which- 
 ever tone (intellectual or the opposite) is chosen for the first "caw," 
 must be repeated with the second. The fourth line rises, the fifth 
 descends, in pitch. Prolong " woe " in both lines. Suggest the 
 sighing and wailing of the wind. Human sympathy now comes in. 
 The first "woe" should be given with the wave, the second with 
 the perfect close. 
 
 Through woods and mountain-passes, 
 
 The winds like anthems roll : 
 They are chanting solemn masses, 
 Singing, Pray for this poor soul I 
 Pray,— pray I 
 
APPENDIX. 139 
 
 Begin low. The three last lines should be given in a solemn 
 tone. In the fourth and fifth lines each "pray" should descend in 
 pitch. Give each clause after "singing" with the waving slide. 
 Eoll out like an organ. 
 
 The hooded clouds, like /nnrs, 
 
 Tell their beads in drops of rain, 
 And patter their doleful prayers ; 
 
 But their prayers are all in vain, 
 All in vain. 
 
 The partial close (because of strong emphasis) comes on " friars" 
 in the first, and on " prayers " in the third line. In the fourth line, 
 " all in vain " is given with the wave ; the perfect close comes on 
 " vain " in the fifth line. Both lines should be given with feeling. 
 
 There he stands in the foul weather. 
 
 The foolish, fond Old Year, 
 Crowned with wild flowers and with heather, 
 
 Like weak, despised Lear, 
 A king, — a king! 
 
 Throw out the voice. Give the stanza slowly, but with snap. 
 The fourth line ends with the partial close (on account of strong 
 emphasis). Give the first "king" in the fifth line with the bend ; 
 the perfect close comes on the second. Both should be given with 
 force. 
 
 Then comes the summer-Vike day, 
 
 Bids tlie old msCn rejoice ! 
 JJis joy/ his last/ Oh the old man gray 
 Lovelh her ever soft voice, 
 Gentle and low. 
 
 Use soft tones all through the stanza. The partial close comes on 
 "rejoice" in the second and on "joy" in the third line; the perfect 
 close on " last" in the third line. Give the same inflection to " soft " 
 in the fourth, and to "gentle" and "low" in the fifth line. 
 
 To the crimson woods he saitb, — 
 
 And the voice gentle and low 
 Of the soft air, like a daughter's breath, — 
 '' Pray do not mock me so! 
 Do not laugh at me !" 
 
1 40 MEL OD Y IN SPEECH. 
 
 The fourth and fifth lines shonld be given with the rising slide (to 
 express pathos). Rise in pitch in the fourth and again in the fifth 
 line. Imitate the querulous tones of an old man. 
 
 = And now tlie sweet day is dead ; 
 Cold in his arms it lies; 
 No slain from its brealli is spread 
 Over the glassy skies, 
 No mist or stain .' 
 
 Prolong " cold " in the second line ; the whole line should be 
 given in monotone. 
 
 Then, too, the Old Year dielli, 
 
 And the forests utter a moan, 
 Like the voice of one who crieth 
 
 In the wilderness alone, 
 " Vex not his ghost !" 
 
 Prolong "moan," but do not emphasize it, as this would interfere 
 with the suggestion of the moaning of the wind. Prolong "alone" 
 in the fourth, and "Vex " in the fifth line. Make the last line windy 
 and mysterious, a moan, not a loud cry, all in monotone, either in 
 high or low pitch, as preferred. 
 
 Then comes, with an awful roar, 
 
 Gathering and sounding on, 
 The storm-wind from Labrador, 
 
 The wind Euroclydon, 
 The storm-wind 1 
 
 Give this stanza with great force; increasing rapidity and inten- 
 sity through the first three lines, rising in pitch with each. Descend 
 in pitch with the last two, the last line very low. Prolong "storm- 
 wind" in the last line. The first three lines are givetl with the 
 bend ; tlie fourth ends with the parlial, the fifth with the perfect close. 
 
 Howl! howl! and from the forest 
 
 Sweep the red leaves away ! 
 Would the sins that thou abhorrest, 
 
 O soul ! could thus decay. 
 And be swept away ! 
 
APPENDIX. 141 
 
 Give the first "howl" in as low pitch as possible, the second, a 
 little higher (both with very strong emphasis). Any interjection 
 expressing greater feeling should rise in pitch. The rest of the line 
 should be lower in pitch. Give the second line witli great fervor, 
 the third, fourth and fiftli lines with pathos, in a softer tone. Eise 
 in pitch with the last two lines. End the second line with the per- 
 fect close ; give the last two with the rising slide, expressing pathos. 
 
 For there shall come a mightier blast ; 
 
 There shall be a darker day ; 
 And the stars, from heaven down cast, 
 Like red leaves be swept away ! 
 Kyrie, Eleyson ! 
 Christe, Eleyson ! 
 
 Give the first four lines with great force. Make the second line 
 lower, the third higher, and the fourth again lower in pitch. Eise 
 in pitch with the fifth, and still higher with the sixth line. End the 
 second line with the partial, tlie fourth line with the perfect, close. 
 Give thfe last two lines with the rising slide, and in a pleading tone. 
 Tlie wind takes the words up like an organ. They are a prayer also, 
 and express the natural voice of humanity. 
 
 " Kyrie, Eleyson," Lord, have mercy ! " Christe, Eleyson," Christ, 
 have mercy. Pronounce, Kerea Elison, Christa Elison. 
 
 ALEXANDER'S FEAST. 
 
 BY JOHN DEYDBN. 
 
 'Twas at the royal feast, for Persia won 
 By Philip's warlike son. 
 
 Aloft, in awful state. 
 
 The godlike hero sat 
 On his imperial throne. 
 
 His valiant peers were placed around. 
 
 Their brows with roses and with myrtles bound ; 
 
 So should desert in arms be crowned. 
 The lovely Thais, by his side. 
 Sat like a blooming Eastern bride, 
 In flower of youth and beauty's pride. 
 
142 MELGD r IN SPEECH. 
 
 Happy, liappy, happy pair ! 
 None but the brave, 
 None but the brave, 
 None but the brave deserres the fair. 
 
 Tiiere is a slight emphasis on "royal feast," a stronger one on " Per- 
 sia," in the first line. Begin to go straight down from ''Aloft" in the 
 third, to " tlirone " in the fifth line. Partial close comes on " throne," 
 because this sentence really forms with tiie next a loose sentence. 
 Partial close also on "bound" in the seventh, on "bride" (because 
 of the strong emphasis) in the tenth, and on "brave" (strongly em- 
 phasized) in the thirteenth line. In the eleventh line, "pride" is 
 slightly emphasized. Give the last four lines in a tone of exidla- 
 lion. In the twelfth line, rise in pitch with the second " happy," 
 descend with the third. In the next two lines, rise; in the last, 
 descend in pitch. 
 
 Timoiheua, placed on high 
 
 Amid the tuneful choir, 
 
 With flying fingers touched the lyre. 
 The trembling notes ascend the sky. 
 
 And heavenly jo!/s inspire. 
 The song began from Jove, 
 Who left his blissful seats above ; 
 Such is the power of mighty love. 
 A dragon's fiery form belied the god ; 
 Sublime on radiant spheres he rode, • 
 
 When he to fair Olympia pressed, 
 And stamped an image of himself, a sovereign of the world. 
 The listening crowd admire the lofty sound ; 
 A present deity ! they shout around ; 
 A ■present deity ! the vaulted roofs rebound. 
 
 With ravished ears 
 
 The monarch hears ; 
 
 Assumes the god, 
 
 AfTects to nod. 
 And seems to shake the spheres. 
 
 Who was, is understood before " placed on high " in the first line. 
 The bend on " Timotheus" in the first should be deferred to '' choir " 
 (end of the relative clause) in the second line. There is a strong 
 
APPENDIX. 143 
 
 emphasis on "Jove " in the sixth and on "love" in the eighth line, 
 stress on "Such," slight emphasis on " dragon," strong emphasis on 
 "belied" in the ninth line, and on " A present deity " in the four- 
 teenth and fifteenth lines. The first " A present deity " is loud, the 
 second is softer, like an echo. " They shout around," in the four- 
 teenth line, is merely a circumstance. There is a sliglit emphasis 
 on "roofs" in the fifteenth, and on ''god" in the eighteenth line. 
 The praise of Bacchus, tl>en, the sweet musician sung, 
 Of Bacchus, ever fair and ever young. 
 The jolly god in triumph comes ! 
 Sound the trumpets, beat the drums. 
 Flushed with a purple grace. 
 He shows his honest face. 
 
 Now, give tlie hautboys breath, he comes! he comes/ 
 Bacchus, ever fair and young, 
 Drinhing joys did first ordain. 
 Bacchus' blessings are a, ireaaure ; 
 Drinking is the soldier's pleasure; 
 Rich the treasure, 
 Sweet the pleasure ; 
 Sweet is pleasure after pain. 
 " Then " in the first line is merely a circumstance. In tlie seventh 
 line, give the first "Comes" in higher, and the second in still higher 
 pitch. There should be a short pause after "sweet " and after "is'' 
 in the last line ; give the line in a soft tone. 
 
 Soothed with the sound, the king grew vain, 
 Fought all his battles o'er again ; 
 And thrice he routed all his foes, and thrice he slew the slain. 
 Tlie master saw the madness rise, 
 His glowing cheeks, his ardent eyes ; 
 And while he heaven and earth defied, 
 Changed Iiis hand, and checked his pride, 
 He chose a mournful muse 
 Soft pity to infuse. 
 He sang Darius, great and good, 
 By too severe a fate, 
 Fallen, fallen, fallen, fallen. 
 Fallen from his high estate, 
 And weltering in his blood ; 
 
144 3IEL ODY IN SPEECH. 
 
 Deserted at his utmost need 
 By those his former bounty fed, 
 On the bare earth exposed he lies, 
 With not a friend to close his eyes. 
 
 IVith downcast look the joyless victor sat, 
 
 Revolving in his altered soul 
 
 The various turns of chance below ; 
 
 And now and then a sigh he stole, 
 
 And tears began to flow. 
 
 The sixth to the ninth lines form really a compact sentence, both 
 the sixth and seventh given with the bend. If a semicolon instead of 
 a comma, is preferred after " pride" in the seventh line, then should be 
 understood before "changed," and both "changed" and "checked" 
 emphasized slightly. Beginning with the tenth line, descend in pitch 
 by grades through the two following lines, the voice growing softer. 
 With the fifth "fallen" rise a little in pitch, and connect it with 
 what follows. Give the eighteenth line in a very soft tone. In the 
 twenty-first line "below " should be a little more strongly emphasized 
 than " chance." 
 
 The mighty master smiled, to see 
 That love was in the next degree ! 
 'Twas but a kindred sound to move, 
 Fot pity melts the mind to love. 
 
 Softly sweet in Lydian measures. 
 
 Soon he soothed his soul to pleasures. 
 
 War, he sung, is toil and trouble; 
 
 Honor, but an empty bubble; 
 
 Never ending, still beginning, 
 
 Fighting still, and still destroying. 
 
 If the world be worth thy winning. 
 Think, oh ! think it worth enjoying ! 
 
 Lovely Thais sits beside thee; 
 
 Take the good the gods provide thee. 
 The many rend the skies with loud applause; 
 So love was croimed, but music won the cause. 
 
 The prince, unable to conceal his pain. 
 
 Gazed on the fair 
 
 Who caused his care. 
 
APPENDIX. 145 
 
 And sighed and looked; siglied and looked ; 
 
 Sighed and looked ; and sighed again; 
 At length with love and wine at once oppressed, 
 The vanquished victor sunk upon her breast. 
 
 " Smiled " in the first line would take the bend if it were not too 
 closely connected with what follows ; it is very slightly emphasized. 
 The third line is given with the bend because the related sequel 
 follows. There is strong emphasis on "love" in the second, slight 
 on " love'' in the fourth line. From the fifth to the tenth line, vary j 
 the pitch. The clauses — " Never ending, still beginning. Fighting 
 still, and still destroying " form a series ; defer emphasis to tlio last. 
 Each of the first three is given with a slight bend. The eleventh 
 and twelfth lines form a compact sentence, then being understood 
 before " Think." In the sixteenth line, defer emphasis from " won " 
 to "cause." In the seventeenth, defer the bend from "prince" to 
 " pain " (end of descriptive clause). If "prince" had been strongly 
 emphasized, the bend would not have been deferred. In the twen 
 tieth and twenty-first lines, give each " sighed and looked " with the 
 bend. 
 
 Now strike the golden lyre aqain ; 
 A louder yet, and yet a louder strain : 
 Break his bands of sleep asunder, 
 And rouse him like a rattling peal of thunder. 
 Hark ! hark ! the horrid sound 
 Hath raised up his head, 
 As awaked from the dead, 
 And amazed he stares around. 
 Revenge! revenge! Timotheus cries ; 
 See the /lines arise ! 
 See the snakes that they rear, 
 How they hiss in their hair. 
 And the sparkles that flash from their eyes ! 
 Behold a ghastly band, 
 Each a torch in his hand ! 
 These are Grecian ghosts, that in battle were slain, 
 And unburied, remain. 
 Inglorious on the plain. 
 Give the vengeance due 
 To the valiant crew. 
 
 10 
 
146 MELODY IN SPEECH. 
 
 Behold how they toss Iheir torches on high ! 
 How they point to the Persian abodes, 
 And glittering temples of their hostile gods ! 
 The princes applaud with a, furious joy ; 
 And the king seized a. flambeau, with zeal to destroy ! 
 Thais led the way, 
 To light him to his prey ; 
 And like another Helen, fired another Troy. 
 Give the whole stanza with force. Vary the pitch to suit the sen- 
 timent. In the first two lines, rise from the beginning in pitch ; in 
 the next two, rise still more. In compound verbs, like break asunder 
 (third line), emphasize the last part. Stress falls on "rouse," in 
 the fourth line. The first "hark" (fifth line) is lower, the second 
 " hark " still lower in pitch. The fifth to the eighth lines should be 
 given very fast. In the ninth line, emphasize alike the first and the 
 second " revenge." In the tenth line, "arise" is slightly empha- 
 sized. Stress falls on " hiss," in the twelfth, and on " sparkles," 
 in the thirteenth line. Prolong the double s in "hiss;" defer the 
 emphasis from "sparkles" to " eyes." End the sixteenth line with 
 either the partial or the perfect close ; the first is easier here. As a 
 rule, except in loose sentences, use one or the other, according to the 
 variety rreeded in the sentence. In the twenty sixth line, "Thais" 
 is slightly, in the twenty-eighth, " Helen " is strongly emphasized. 
 Thus long ago. 
 
 Ere heaving bellows learned to blow, 
 While organs yet were mute, 
 Timoiheus, to his breathing flute 
 And sounding lyre. 
 Could swell the soul to rage, or kindle soft desire. 
 At last divine Cecilia can)e, 
 Inventress of the vocal frame. 
 The sweet enthusiast, from her sacred store 
 Enlarged the former narrow bounds, 
 And added length to tolcmn sounds, 
 With nature's mother-wit, and arts unknovm before. 
 Let old Timotheus yield the prize, 
 
 Or both divide the crown ; 
 He raised a mortal to the siies; 
 She drew an angel down. 
 
APPENDIX. 147 
 
 In Ihe first line, as is understood before " long ago," and so then 
 before " Tiraotheus " in the fourth, the first six lines forming a com- 
 pact sentence. In the thirteenth line, eitlier is understood before 
 " let old Timotheus," the last four lines forming also a compact sen- 
 tence. In the seventh line " Cecilia," and in the eighth, " vocal 
 frame," are strongly emphasized. In the twelfth line, defer em- 
 phasis from " mother-wit " to " unknown before " In tlie thirtec nth 
 line, emphasize either •' yield " or " prize." In the fourteenth line, 
 " both " is slightly, "divide" is strongly emphasized. In the fif- 
 teenth line, "skies" may 'be emphasized or not, as preferred. At 
 the end of the last line, to ihe earth is understood. There should be 
 a slight pause after " she " and after " angel," and also after " He" in 
 the preceding line. 
 
 HEEVE KIEL. 
 
 BY EOBEBT BROWNING. 
 
 On the sea and at the Hague, sixteen hundred ninety-two, 
 
 Did the English fight the French — woe to France 1 
 And, the thirty-first of May, helter-skelter through the blue. 
 Like a crowd of frightened porpoises a shoal of sharks pursue. 
 Came crowding ship on ship to St. Malo on the Ranee, 
 With the English fleet in view. 
 
 Browning's verselends itself generally to strong, but not much to soft 
 effects ; it often jars on tlie ear. In the first line, " sea '' and " Hogue " 
 are strongly emphasized. In the second line, " woe to France" is 
 lower in pitch ; prolong " woe." Give the last part of the third line 
 very fast. In this line, " blue," and in tlie next, " pursue," are given 
 with the bend ; only independent clauses beginning with like are 
 given with the falling slide. If this is preferred here instead of the 
 bend, make the clause '' Like a crowd," etc., independent. Do not 
 read it like a parenthesis. After " porpoises," which is understood. 
 There being a strong comparison, both "porpcises" and "sharks" 
 should be strongly emphasized. In the last line, " in view " should 
 be lower in pitch. 
 
 'Twas the squadron that escaped, with tlie victor in full chase, 
 First and foremost of the drove, in his great ship, Damfreville ; 
 Close on him fled (great and small). 
 Twenty-two good ships in all ; 
 
148 MELODY' IN SPEECH. 
 
 And they signaled to the place, 
 '■ Help the winners of a race ! 
 Get us guidance, give ns harbor, take us quicle — or quicker still, 
 Here's the English can and wilU" 
 
 The first two lines meun that Damfreville, in his great ship, was 
 first and foremost of the squadron that had escaped so far. In the 
 last three lines, sing out as from a distance. Begin with the tone 
 back in the month, letting it come forward as they draw near- In 
 reality, they no doubt used flags as signals, but it is proper, for dra- 
 matic eflfect, to represent them as calling out. "Or quicker still," in 
 the seventh line, and the whole of the last lino are lower in pitch. 
 
 Then the pilots of the place put out brisk and leapt on board ; 
 "Why, what hope or chance have ships like Ihese to pass?" 
 laughed they; 
 " Eocks to starioard, rocks to port, all the passage scarred and scored, 
 Shall the Formidable here with her twelve and eighty guns 
 Think to make the river-mouth by the sivgle narrow way, 
 
 Trust to enter where 'tis ticklish for a craft of twenty tons. 
 And with flow at full beside? 
 Now 'tis slackest ebb of tide. 
 Reach the mooring ! Eather say, 
 
 While rock stands or water runs, 
 Not a ship will leave the bay /" 
 
 In the first line, "and leapt on board," and "laughed they," in 
 the second line, are low in pitch. Before "Eocks to starboard" 
 (third line) wilh is understood. Make the pilots' tone very grufT. 
 In each of the fourth, fifth and sixth lines, rise a little in pitch. 
 Shall she IS ■aaAerstooA before "Trust to enter" (sixth line). The 
 seventh line is lower, the eighth is higher in pitch ; in the ninth 
 line, "Ecaoh the mooring" is lower. Suggest in the tone: Why 
 we never heard of such a thing. In the tenth line either rise or fall 
 as preferred. In the fourth line, " twelve and eighty guns," means 
 probably, that there were twelve large and eighty small ones. 
 
 Then was called a council straight; 
 
 Brief and bitter the debate ; 
 " Here's the English at our heels; would you have them take in tow 
 All that's left us of the fleet, linked together stern and bow. 
 
 For a prize to Plymouth Sound ? 
 
A PPENDIX. 149 
 
 Better run the ships aground T' 
 (Ended Damfreville his speech.) 
 
 " Not a minute more to wait ! 
 
 Let the captains all and each 
 Shove ashore, then blow up, burn the vessels on the beach ! 
 
 France must undergo her fate." 
 
 Let the tone be animated but conversational. Give the first line 
 fast. The second should be lower in pitch. " Bow " in the fourth line 
 should be pronounced as if rhyming with now. The fifth line should 
 descend in pitch. In the eighth, ninth and tenth lines, the toneshould 
 be louder, as if giving a command. The last line should be lower in 
 pitch, with the tone of I can't help it, intense, but simple and 
 conversational. The tenth line means go ashore, blow the vessels 
 up and bm-n them. "' Ashore" and "blowup," are given with the 
 bend, "beach," with the partial close. This is the correct way, but 
 if a climax is intended, or, for the sake of variety, the partial close 
 may come on ''ashore" and ''blowup." In the last line, a short 
 pause should follow " France." 
 
 " Give the word !" But no such word 
 
 Was ever spoke or heard ; 
 For up stood, for out stepped, for in struck, amid all these — 
 A captain f A lieutenant? A mate— first, second, third ? 
 
 No such man of mark, and meet 
 
 With his betters to compete ! 
 But a simple Breton sailor, pressed by Trouville for the fleet, 
 A poor coasting pUot he,^Herv6 Kiel the Croisickese. 
 
 " Give the word," in a tone of command. The second line and the 
 last part of the first, are lower in pitch, " heard " in the second line, 
 still lower. In the third line "up stood," etc., form a series. Give 
 the fourth line with the tone of: Well, what was it? '• A Lieutenant " 
 is higher in pitch, "first, second, third," are climateric, as if asking 
 a person to guess which it was. Do not give them deliberately, as 
 if they were the heads of a sermon. " Betters" in the fixth line is 
 slightly emphasized. 
 
 And " What mockery or malice have we here 1" cries Hervfe Kiel ; 
 
 " Are you mad, you Malouins ? Are you cowards.fools or rogues f 
 
 Talk to me of rocks and shoals, me who took the soundings, tell 
 
150 JIELOD Y IN SPEECH. 
 
 On my fingers every bank, every shallow, every swell, 
 'Twixt the ofEng here and Grgve, wiiere the river disembogues? 
 Are you bought by English gold ? Is it love the lying's for ? 
 Morn and eve, night and day, 
 Have I piloted your bay, 
 Entered free and anchored /as< at the foot of Solidor. 
 Burn the fleet and ruin France ! That were worse than fifty Hogues ! 
 Sirs, they know I speak the truth ! Sirs, helieve me there's a way ! 
 
 Give this stanza with the natural changes of the voice, not square 
 and hard. "Shoals" in the third line is'given with the partial 
 close or else with the bend ; the last part of the line rises in pitch. 
 "What mockery or malice," etc. (first line), is the same as ste/ 
 and nonsense. 'Talk to me of rocks and shoals," etc. (third line), 
 expresses / know the whole way minutely. The first part, of the 
 sixth line forms an antithesis with the la^t part. In the ninth line tlie 
 emphasis may be deferred from "fast" to "Solidor." Tlie tenth line 
 is lower in pitch, the first part of the eleventh is louder and higher, 
 the last part, a little lower in pitch. Avoid deep, hard inflection. 
 Give ''Sirs, believe me there's a way" in the tone of: They say there's 
 no way. I say there is ! 
 
 "Only let me lead the line. 
 Have the bigr/est ship to steer, 
 Get this Formidable clear, 
 Make the others follow mine, 
 And I lead them, most and least, by a passage I know well, 
 Might to Solidor, past Orh'e, 
 And there lay them safe and sound ; 
 
 And if one ship misbehave, 
 Keel so much as grate the ground, 
 Why, I've nothing but my Ife; here my head!" cries Herv^ Eiel. 
 
 "Line" in the first, "steer" in the second, and "clear" in 
 the third line, are given with the partial close; 'mine" in the 
 fourth, "well" in the fifth, and "Solidor" in the sixth, with the 
 bend. " Grfeve " in the sixth, and "life" and "head" in the last 
 line, are given with the partial close. Saj-, "Why, I've nothing 
 but my life," etc., in an indifferent, careless tone. 
 
APPENDIX. 151 
 
 Not a minute more to wait ! 
 
 "Steer us in, then, small and great! 
 Take the helm, lead the line, save the squadron !" cried its chief. 
 
 " Captains, give the sailor place! 
 He is admiral, in brief." 
 
 Still the North wind, by God's grace, 
 
 See the noble fellow's face 
 
 As the big ship, with a bound. 
 
 Clears the entry like a hound, 
 Keeps the passage as its inch of way were the wide sea's profound. 
 
 There was, is understood before " Not a minute " in the first line. 
 In the first, sixth, seventh, eighth, ninth and tenth lines, it is the poet 
 himself who speaks; in the second, third, fourth and fifth, it is Damfre- 
 ville. Though allowable, it is better to have no emphasis on " helm," 
 " line," or " squadron," since Herv^ Kiel had already said that he 
 would take the helm and lead the line, ai^d " most and least" implies 
 the squadron. Prolong "save" in the third line. The tone in the 
 fourth and first part of the fifth line should be louder, as if giving 
 the word of command. Make this phrase a little lower in pitch, and 
 the sixth line still lower. Give the seventh with spirit; raise the 
 voice to challenge attention and arouse enthusiasm. In the last line, 
 give strong emphasis to " inch," less strong to "sea's;" "were the 
 wide sea's profound " should be lower in jiitoh. Make the whole 
 of the tenth line strong. 
 
 See, safe through slioal and rock. 
 
 How they follow in a flock. 
 Nota ship that misbehave.^, not a keel that.grates the ground. 
 
 Not a spar that comes to grief ! 
 
 The peril, see, is past, 
 
 All are harbored to the last, 
 And just as Ilervfe Kiel hollas, " Anchor !" — sure as fate, 
 
 Up the English come, too late. 
 
 Give the first line fast. The second line expresses : See how they 
 follow, flocking after. In line third, the emphasizing ''not," both 
 times, implies just as he said. In the fourtli line, "spar" is em- 
 phasized, as it has Eot been mentioned before; "to the last," "sure 
 as fate," '' too late," in the last three lines are lower in pitch. " An- 
 
152 MEL OD Y IN SPEECH. 
 
 chor," in the seventh line, is higher. The seventh line is too mnch 
 like prose ; it can be scanned only in this way : " And just as Herv6 
 Eiel hollas 'Anchor!' " 
 
 So the storm subsides to ca',m; 
 They see the green trees wave 
 On the heights o'erlooking Grive; 
 Hearts that bled are stanched with balm. 
 " Just our rapture to enhance, 
 Let the English rake the bay, 
 Gnash their teeth and glare askance 
 As they cannonade away ! 
 'Neath rampired Solidor pleasant riding on the Ranee !" 
 Now hope succeeds despair on each captain's countenance ! 
 
 The fourth lineshould be given in a soft tone, and in lower pitch, 
 the fifth to the eighth lines should be higher and louder. In the 
 ninth line, after "pleasant riding," of a vessel at anchor is under- 
 stood. 
 
 Out burst all with one accord, 
 " This is Paradise for hell ! 
 Let France, let Prance's hing, 
 Thank the man that did tlie thing !" 
 What a shout, and all one vjord, 
 
 "Herv^Kiel!" 
 As he stepped in front once more. 
 Not a symptom of surprise 
 In the frank blue Breton eyes, 
 Jtist the same man as before. 
 
 In the fifth line, " what. a shout" should be lower in pitch. In 
 the sixth line, suggest the shouting of many voices at a distance. 
 The seventh line should be given with the bend, because it depends 
 on what follows. TAo-e was, is understood before "Not a symptom,'' 
 etc. (eighth line). 
 
 Then said Damfreville, " My friend, 
 I must speak out at the end, 
 
 Though I find the speaking hard ; 
 Praise is deeper than the lips; 
 You liave saved the king his ships. 
 You must name your own reward. 
 
APPENDIX. 158 
 
 ' Faith, our sun was near edipse I 
 Demand ■whaie'er you will, 
 France remains yonr debtor still. 
 Ask to lieart's content and have ! or my name's not Damfreville." 
 
 In the second line, " at the end " means at last. The partial close 
 should come on "hard," "lips" and "eclipse" in the third, fourth 
 and seventh lines. "Ships" and "will," in the fifth and eighth 
 lines, should be given with the bend. The fifth line should express 
 intense feeling. The sixth line should be lower in pitch, the seventh 
 higher and louder, the ninth lower. The first two clauses in the 
 tenth line should be louder and higher, the last lower in pitch. The 
 eighth and ninth lines express: Whatever you ask, you can't ask 
 enough. 
 
 Then a beam of fun outbroke 
 On the bearded mouth that spoke. 
 As the honest heart laughed through 
 Those frank eyes of Breton blue : 
 " Since I needs must say my say, 
 
 Since on board the duty's done, 
 And from Malo Eoads to Croisic Point, what is it but a run? — 
 Since 'tis ask and have, I may — 
 
 Since the others go ashore — 
 Come ! A good whole holiday ! 
 Leave to go and see my wife, whom I call the Belle Aurore!" 
 
 That he asked, and that he got — nothing more. 
 
 Give Herv^ Kiel's answer in the tone of an old sailor. The par- 
 tial clo.se should come on "blue," "holiday," "Belle Aurore" and 
 "got" in the fourth, tenth, eleventh and twelfth lines. "Say," 
 "done," "run," "may," "ashore" in the fifth, sixth, seventh, eighth 
 and ninth lines, and "asked" in the twelfth line, are given with 
 the bend. The seventh line is lower in pitch. " What is it but 
 a run" means Oh, it's not much, only a run: In the twelfth line, 
 "and that he got" should be lower in pitch; "nothing more," 
 still lower. 
 
 Name and deed, alike are lost ; 
 
 Not a pillar nor a post 
 
 In hig Croisic keeps alive the feat as it befell; 
 
154 MEL OD r IN SPEECH. 
 
 Not a head in white and black 
 
 On a single fishing-smack, 
 In memory of the man but for whom had gone to wrack 
 All tliat France saved from the fight whence England bore the - 
 bell. 
 
 In the first line, emphasis may be deferred from "name" and 
 "deed" to "alike." In the third line, "as it befell" should be 
 lower in pitch. In the last line, "bore the bell" means gained the 
 victory. There should be no emphasis here on "France," because 
 she is (.'!0 to speak) one of the principal personages in the poem, 
 and is kept in view throughout. 
 
 Go to Paris ; rank on rank 
 
 Search the heroes flung pell-mell 
 
 On the Louvre, face and flank ; 
 You shall look long enough ere yoa come to Herri Riel. 
 
 So, for better and for worse, 
 
 Ilerv^ Riel, accept my verse/ 
 
 In my verse, Herv6 Eiel, do thou once more 
 Save the squadron, honor France, love thy wife, the Belle Aurore! 
 
 Emphasis may be deferred from " heroes " in the second line to 
 "Louvre" in the next, or not, as preferred. In the third line, 
 "face and flank" should be lower in pitch. The fifth line should 
 be given in a soft tone, the sixth should be lower in pitch, tlie seventh 
 stronger in tone ; either emphasis or stress may fall on " once more," 
 but the latter is better. The last two lines mean again and again 
 rrpeat this noble act. The idea is clear enough, but not its expression. 
 In the last line, "Save the squadron" should be lower, "honor 
 France" higher, " love thy wife " lower, " the Belle Aurore" still 
 lower in pitch. It is better to let the emphasis fall on "wife" 
 rather than defer it to "Belle Aurore," and to bring in the latter as 
 an after thought following a long ellipsis.