Class _EiA^tiU Book v- ANALYSIS OF THE PRINCIPLES OF (2- RHETORICAL DELIVERY AS APPLIED IN READING AND SPEAKING. BY EBENEZER PORTER, D. D. Bartlet Professor of Sacred Rhetoric in Theol. Seminary, Andover. ANDOVER : Vf- PUBLISHED BY MARK NEWMAN ; HILLIARD, GRAY, & CO. BOSTON; AND J. LEAVITT, 182, BROADWAY, NEWYORK. Flagg & Gonld....printers. 1827. I .A DISTRICT OF MASSACHUSETTS, to wit •, District Clerk's Office. Be it remembered, that on the fifteenth day of March, A. D. 18-27, in the fifty first year of the Independence of the United States of America, Mark Newman, of the said district, has deposited in thi6 office the title of a book, the right whereof he claims as proprietor, in the words following, to wit. — " Analysis of the principles of Rhetorical Delivery, as applied in Reading and Speaking. By Ebenezer Porter, D. D. Bartlet Professor of Sacred Rhetoric in the Theological Seminary, Andover." In conformity to the Act of the Congress of the United States, entitled, " An Act for the encouragement of Learning, by securing the copies of maps, charts and books, to the authors and proprietors of such copies, during the times therein mentioned:" and also to an Act entitled, " An Act supplementary to an Act, entitled, An Act for the encouragement of learning, by securing the copies of maps, charts and books, to the proprietors of such copies during the times therein mentioned ; and extending the benefits thereof to the arts of designing, engraving and etching historical and other prints." T r»uv w nAvr« \ Clerk of the District JOHN W. V*Vte,\ ofMas£ackusetts . Aft PREFACE. Delivery is but a part of rhetoric ; and rhetoric, in the common acceptation of the term, is but a part of the business in which I am called to give instruction. The great purpose of my office is, to teach young men, who are preparing for the sacred ministry, how to preach the gospel. In pursuance of this purpose, it became my du- ty to give a course of lectures on eloquence generally, and more particularly on style ; and another course on preaching, including the history of the pulpit, the struc- ture and chief characteristics of sermons, and the person- al qualities requisite in the Christian preacher. Besides the study demanded in traversing a field so important, and so unfrequented, at least in this country ; the necessity of combining individual with classical instruction in this de- partment, makes its labors more than sufficient to engross the time of one man. In these circumstances, it may seem strange that I should turn aside from higher duties, to publish a book, more adapted to the earlier stages of education than to that which is directly preparatory to the ministry. The truth is, that I have been gradually and almost unavoida- bly drawn into this measure. As an instructor of theological students, my attention was, many years ago, called to some prevalent defects in delivery. These I ascribed chiefly to early habits, con- tracted in the schools ; and to the want of adequate pre- cepts in books on reading and speaking. The worst PREFACE. faults iii elocution, originate in want of feeling. But when these faults become confirmed, no degree of feeling will fully counteract their influence without the aid of an- alysis, and patient effort to understand and correct them. Still, in this process of correction, there is danger of run- ning into formality of manner, by withdrawing the atten- tion from that in which the soul of eloquence consists, — emotion. For the purpose of guarding against this ten- dency, and at the same time of accomplishing the ends at which Walker aims, in his Elements of Elocution, I have much desired to see a manual for students, free both from the obscurity and the extreme particularity of his system. In the winter of 1821 during a necessary absence from the Theological Seminary, on account of health, I addressed to the students a number of letters on elocu- tion. The plan of these letters* required them to em- brace all the subjects included in this publication, and be- sides these, the following ; — the importance to a preach- er of a good delivery ; necessity of earnestness in his manner; causes which influence his intellectual and mor- al habits ; the influence of personal piety on the preach- er's eloquence ; circumstances of the age, which are un- favorable, and those which are favorable to the cultiva- tion of eloquence ; the utility of preparatory exercises, with hints of advice relative to these ; preservation of lungs, and the mistakes that are often fatal to this organ in public speakers ; pronunciation as restricted to single words ; and management of voice in public prayer. One of these papers, that on inflections, was since committed to the press ; and, though not intended to be * Some of them I have since thrown into Lectures, with enlargement. PREFACE. published, yet, having been circulated to a considerable extent, some respectable individuals requested that I would enlarge and reprint this pamphlet, and others, that I would publish a book, for the use of Colleges, and of students generally who are forming their habits of elocution. In this wish the Rhetorical Society in the Theological Sem- inary united ; and their committee addressed letters to several of the Presidents of Colleges and to other gentle- men, to ascertain whether such a publication was deem- ed necessary, by those who are most interested in the sub- ject. In reply to this enquiry, a concurrent opinion was expressed, that our Seminaries of learning greatly need a work on Elocution, different in many respects from any thing hitherto published ; and a concurrent wish that I should proceed in the preparation of such a work, was also expressed, though with different degrees of interest by different gentlemen. I have been the more ready to engage in this under- taking, from the conviction that, whatever aid it may ren- der to Instructors of our Academical Seminaries, and whatever useful influence it may have on the pupils of these Seminaries, will be a clear gain in my own official duties, in respect to such of these pupils as may afterward come under my instruction. The fewer bad habits are carried from elementary schools to the college, and from the college to professional studies, the easier, at each stage, becomes the progress of improvement. And the more deeply the spirit of improvement in Elocution takes hold of young men, in our literary institutions, the greater will be their annual contribution of eloquent men for the pul- pit, as well as for secular professions. The fifteen years in which I have been connected with a Theological Sem- VI PREFACE. inary, which receives its members from all the Colleges, have enabled me to observe, as I have done with much satisfaction, a gradual and growing advance, in our edu- cated young men, as to the spirit of delivery. This ad- vance has been especially obvious since several of these Colleges have had able Professors of Rhetoric and Ora- tory, a department of instruction in which it is presumed none of them can much longer remain deficient, consis- tently with the claims of public opinion. Had I been fully aware of the labor it w T ould require to select the examples, and apply the notation, in the first part of the Exercises, I should have been deterred from the undertaking. With much pleasure I acknowledge my obligations to Mr. George Howe and Mr. Samuel C. Jackson, for the important assistance they have rendered, especially in correcting the press, and selecting pieces for the second part of the Exercises. This assistance has been the more necessary on account of my infirm health, and the urgency of official duties. I only add two remarks here. One is, that I consid- er this little book as an txperiment, on a subject environ- ed with difficulty, both from the inadequate attention it has hitherto received, in our systems of education, and from the prevalence of conflicting tastes respecting it. The other is, that, having transferred all pecuniary concern in this publication to the Rhetorical Society abovemention- ed, I have no personal interest in its success, beyond the hope that it may, in some degree, promote the purposes to which my life is devoted. Theological Seminary, Andover. March. 1827. DIRECTIONS TO TEACHERS. To those who may use this book, I have thought it pro- per to make the following preparatory suggestions. 1. In a large number of those who are to be taught reading and speaking, the first difficulty to be encountered arises from bad habits previously contracted. The most ready way to overcome these, is to go directly into the anal- ysis of vocal sounds, as they occur in conversation. But to change a settled habit, even in trifles, often requires perse- verance for a long time ; of course it is not the work of a moment to transform a heavy, uniform manner of delivery, in- to one that is easy, discriminating, and forcible. This is to be accomplished, not by a few irresolute, partial attempts ; but by a steadiness of purpose and of effort, corresponding with the importance of the end to be achieved. Nor should it seem strange if in this process of transformation, the sub- ject of it should at first appear somewhat artificial and con- strained in manner. More or less of this inconvenience is unavoidable in all important changes of habit. The young pupil in chirography never can become an elegant penman, till his bad habit of holding his pen is broken up ; though for a time the change may make him write worse than be- fore. In respect to Elocution, as well as every other art, the case may be in some measure similar. But let the new manner become so familiar, as to have in its favour the ad- vantages of habit, and the difficulty ceases. 2. The pupil should learn the distinction of inflections by reading the familiar examples under one rule, occasion- ally turning to the Exercises, when more examples are ne- VIII DIRECTIONS TO TEACHERS. cessary ; and the Teacher's voice should set him right whenever he makes a mistake. In the same manner he should go through all the rules successively. If he acquires the habit of giving too great or to little extent to his slides of voice, he should be carefully corrected, according to the suggestions given, p. 43, 50, 51, and 88. — After getting the command of the voice, the great point to be steadily kept in view, is to apply the principles of emphasis and inflection, just as nature and sentiment demand. In respect to those principles of modulation in which the power of delivery so essentially consists, we should always remember too, that, as no theory of the passions can teach a man to be pathetic, so no description that can be given of the inflection, em- phasis, and tones which accompany emotion, can impart this emotion, or be a substitute for it. No adequate des- cription indeed can be given of the nameless and ever vary- ing shades of expression, which real pathos gives to the voice. Precepts here are only subsidiary helps to genius and sensibility. 3. Previous attention should be given to any example or exercise, before it is read to the Teacher. At the time of reading, the student should generally go through, with- out interruption ; and then the Teacher should explain any fault, and correct it by the example of his own voice, re- quiring the parts to be repeated. It would be useful often to enquire why such a modification of voice occurs, in such a place, and how a change of structure would vary the in- flection, stress, &c. When the examples are short, as in all the former part of the work, reference may easily be made to any sentence ; and in most of the long examples, the lines are numbered, on the left hand of the page, to fa- cilitate the reference, after a passage has been read. 4. When any portion of the Exercises is committed to memory for declamation, it should be perfectly committed, DIRECTIONS TO TEACHERS. before it is spoken ; as any labor of recollection is certainly fatal to freedom, and variety, and force in speaking. In general, it were well that the same piece should be subse- quently once or more repeated, with a view to adopt the suggestions of the Instructer. The selected pieces are short, because, for the purpose of improvement in elocution, a piece of four or five minutes is better than one of fifteen. And more advance may be made in managing the voice and countenance by speaking, several times, a short speech, though an old one, like that of Brutus on the death of Cae- sar, (if it is done with due care each time to correct what was amiss,) than in speaking many long pieees, however spirited or new, which are but half committed, and in the delivery of which all scope of feeling and adaptation of man- ner, are frustrated by labor of memory. The attempt to speak with this indolent, halting preparation, is in all res- pects worse than nothing. o KEY OF INFLECTION. - denotes monotone. ' rising inflection. ( 00 ) v falling inflection. ( ) <-> circumflex. ( 00 ) (•) (id KEY OF MODULATION. (°) high. high and loud. low. low and loud. slow. rhetorical pause. CONTENTS. Page. CHAP. I. Reading : its connexion with speaking ... 13 Correct reading 14 Rhetorical reading » 15 Difficulties from the genius of written language ib. All directions subsidiary to expression of feeling 18 CHAP. II. Articulation . 20 Sect. 1. Importance of a good articulation ib. Sect. 2. Causes of defective articulation 23 Difficulty of many consonant sounds .... 25 Immediate succession of similar sounds ... 27 Influence of accent 28 Tendency to slide over unaccented vowels . . 29 Cautions . 30 Impediments 32 CHAP. III. Tones and Inflections 34 Sect. 1. Tones considered as a language of emotion . . ib. Sect. 2. Utility of systematic attention to Tones and In- flections 35 Sect. 3. Description of Inflections . 42 Sect. 4. Classification of Inflections 45 Rule I. Influence of disjunctive or on Inflection ... 47 Rule II. Of the Direct Question and its Answer . . . ib. Rule III. Of Negation opposed to Affirmation .... 49 Rule IV. Of the Pause of Suspension 51 Rule V. Of the influence of Tender Emotion on the voice 54 Rule VI. Of the Penultimate Pause 55 Rule VII. Of the Indirect Question and its Answer . . 56 Rule VIII. The language of Authority and of Surprise . 57 Rule IX. Emphatic succession of particulars .... 60 Rule X. Emphatic Repetition 62 Rule XI. Final Pause 63 Rule XII. The Circumflex 65 CHAP. IV. Accent 66 CHAP. V. Emphasis 69 XII CONTENTS. Sect. 1. Emphatic Stress 71 Absolute Emphatic Stress 76 Antithetic or Relative Emphatic Stress ... 78 Sect. 2. Emphatic Inflection 80 Emphatic Clause 88 Double Emphasis 91 CHAP. VI. Modulation 92 Sect. 1. Faults of Modulation ib. Monotony ib. Mechanical Variety 93 Sect. 2. Remedies 95 The spirit of Emphasis to be cultivated . . . ib. A habit of discrimination as to Tones & Inflection 99 Sect. 3. Pitch of voice. 103 Sect. 4. Quantity 106 Strength of voice important to a public speaker 107 Depends on good organs of speech . . 108 And on the proper exercise of these organs 109 Directions for preserving and strengthening them ] 10 Rate of utterance 112 Sect. 5. Rhetorical Pause 114 Sect. 6. Compass of voice 118 Sect. 7. Transition 120 Sect. 8. Expression 125 Sect. 9. Representation 128 Sect. 10. The Reading of Poetry 133 Remarks on the reading of Psalms and Hymns in the pulpit 138 CHAP. VII. Rhetorical Action 144 PART I. Principles of Rhetorical Action x. 146 Sect. 1. Action as significant from nature ib. Expression of countenance ib. Attitude and mien 148 Sect. 2. Action considered as significant from custom . 151 PART II. Faults of Rhetorical Action . . . . . .152 Sources of these, viz. personal defects, diffi- dence, imitation ib. Mismanagement of the eye and of attitude . 155 CONTENTS. XIII Gesture may want appropriateness and discri- mination 158 May be too constant, or violent, or complex, or uniform 160 Mechanical variety 162 EXERCISES. PART I. Remarks and Directions 167 EXERCISES ON ARTICULATION. Exercises 1, 2, 3 _. 169 EXERCISES ON INFLECTION. Exercise 4. Disjunctive or 170 5. Direct Question &c . . 171 6. Conjunctive or 174 7. Negation opposed to Affirmation . . . . . ib. 8. Comparison and Contrast 176 9. Pause of Suspension 180 10. Tender Emotion 187 12. Indirect Question &c. . 189 ■ ■ 13. Language of Authority, Surprise, &c . . . .193 ' 14. Emphatic Succession &c 199 15. Emphatic Repetition ......... 203 EXERCISES ON EMPHASIS. Exercise 19, 20, 21, 22. Absolute and Relative stress, and Emphatic Inflection ... ..... 205 — — 23. Difference between common and intensive In- flection ' 226 EXERCISES ON MODULATION. Exercise 24. Compass of Voice 227 25. Transition 232 The Power of Eloquence ib. Hohenlinden 234 Hamlet's Soliloquy 235 Battle of Waterloo 236 Negro's Complaint .......... 238 CONTENTS. Marco Bozzaris 240 Extract from Paradise Lost . 242 Exercise 26. Expression 243 Judah's Speech to Joseph ib. Joseph disclosing himself 244 Death of a friend 246 The Sabbath ib. Burial of Sir John Moore 248 Eve lamenting the loss of Paradise 249 Soliloquy of Hamlet's Uncle 250 27. Representation 251 Examples from the Bible ib. The siege of Calais 256 Extract from a sermon of R. Robinson . . . 253 28. Devotional Poetry 259 Extracts from the Psalms and Hymns of Watts 260 Missionary Hymn 266 EXERCISES. PART II. FAMILIAR PIECES. Hamlet's instruction to Players 267 The dead Mother 268 The Temptation 269 Partiality of Authors 270 What is Time? .271 Ruth and Naomi 272 Influence of Education, Constitution, &c. in forming Character ib. Death of Absalom 274 Hamlet and Horatio 275 An idea of faith impressed on a Child 278 Conversation 279 Conversation ib. Lady Percy to her Husband 281 The exercise of the Memory in learning not Sufficient . . 282 Report of an adjudged Case 283 Fitz James and Roderick Dhu 284 CONTENTS. Address to the Mummy 285 Othello and Iago 287 Macduff 289 William Tell 290 Nathan's Parable 295 Harmony among Brethren .... * ib. Harley's Death 297 To-Morrow - 299 SECULAR ELOaUENCE. The Perfect Orator 301 Character of True Eloquence 302 The Pilgrims ib. The Progress of Poesy 305 Darkness . 306 The Slave Trade . . . . 308 Dream of Clarence 310 Moral Sublimity 312 Character of Brutus 313 Conclusion of Webster's Plymouth Discourse 315 Address to the Patriots of the Revolution 316 Brutus' Speech 317 Chatham's Speech 318 Specimen of the Eloquence of James Otis 320 Pitt's Reply to Walpole 322 Speech of Mr. Griffin against Cheetham 324 Thunderstorm 326 Slavery 327 Irruption of Hyder Ali 328 Apostrophe to Sleep 330 Vanity of Power and Misery of Kings . . • ib. Reproof of the Irish Bishops 331 Speech on the Greek Revolution 333 Character of Hamilton 334 State of the French Republic 336 Cicero for Cluentius 338 Extract from Demosthenes 340 Brougham's Speech on the Speech of the Duke of York . . 342 Dangers which beset the literature of the age 344 Tribute to Henry Kirk White 346 XTI CONTENTS. SACRED ELOQUENCE. Defence of Pulpit Eloquence 347 The Blind Preacher 350 Joel 2: 1 — 11 352 2 Samuel 1: 17—27 353 Revelation 354 Daniel 9: 3—19 355 Success of the Gospel 356 The events of Providence promotive of the end of Missions . 358 The Hatefulness of War 359 The Preservation of the Church 36 L Obligations to the Pilgrims 363 A Future State 364 Present facilities for Evangelizing the world Compared with those of Primitive times 365 Civilization Merely ineffectual to Convert the World . . . 367 The forebodings of heathen approaching death 369 The efficacy of the Cross 370 The Fall of Niagara 373 Reform in Morals ib. Universal spread of the Bible 375 Isaiah 13: 14: 1—23 378 Eternity of God 383 Epitaph on Mrs. Mason t>85 Skepticism . ib. The Atheist 387 Duelling v .... 388 Character of the Puritans 390 An enlightened Ministry . 393 Prayer 394 Gray's Elegy 395 Obligation to the heathen 397 Infatuation of men with regard to things of time .... 399 Death of Hamilton 401 The Crucifixion 402 CHAPTER I. HEADING. ITS CONNEXION WITH SPEAKING. Delivery, in the most general sense, is the commu- nication of our thoughts to others, by oral language* The importance of this, in professions where it is the chief in- strument by which one mind acts on others, is so obvious as to have given currency to the maxim, that an indiffer- ent composition well delivered, is better received in any popular assembly, than a superior one, delivered badly. In no point is public sentiment more united than in this, that the usefulness of one whose main business is public speaking, depends greatly on an impressive elocution. This taste is not peculiar to the learned or the ignorant ; it is the taste of all men. But the importance of the subject, is by no means limited to public speakers. In this country, where lite- rary institutions of every kind are springing up ; and where the advantages of education are open to all, no one is qualified to hold a respectable rank in well-bred society, who is unable at least to read, in an interesting manner, the works of others. They who regard this as 2 14 READING. a polite accomplishment merely, forget to how many pur- poses of business, of rational entertainment, and of reli- gious duty, the talent may be applied. Of the multitudes who are not called to speak in public, including the whole of one sex, and all but comparatively a few of the other, there is no one to whom the art of reading in a graceful and impressive manner, may not be of great value. Besides, as the prevalent faults of public speakers arise chiefly from early habits contracted in reading, the correction of those faults should begin by learning to read well. Reading then, like style, may be considered as of two sorts, the correct, and the rhetorical. Correct reading respects merely the sense of what is read. When performed audibly, for the benefit of others, it is still only the same sort of process which one performs silently, for his own benefit, when he casts his eye along the page, to ascertain the meaning of its author. The chief purpose of the correct reader is to be intelligible ; and this requires an accurate perception of grammatical relation in the structure of sentences ; a due regard to accent and pauses, to strength of voice, and clearness of utterance. This manner is generally adopted in reading plain, unimpassioned style, such as that which we find to a considerable extent in those Psalms of David, and Pro- verbs of Solomon, where the sentences are short, without emphasis. It often prevails too in the reading of narra- tive, and of public documents in legislative and judicial transactions. The character and purpose of a composi- tion may be such, that it would be as preposterous to read it with tones of emotion, as it would to announce a pro- READING. 15 position in grammar or geometry, in the language of me- taphor. But though merely the correct manner, suits many purposes of reading, it is dry and inanimate, and is the lowest department in the province of delivery. Still the great majority, not to say of respectable men, but of bookish men, go nothing beyond this in their attainments or attempts. Rhetorical reading has a higher object, and calls into action higher powers. It is not applicable to a composi- tion destitute of emotion, for it supposes feeling. It does not barely express the thoughts of an author, but express- es them with the force, variety, and beauty, which feel- ing demands. And just here it is that the most stubborn difficulty in elocution meets us ; — a difficulty arising from the genius of written language. The value of the graphic art consists in its being a medium for the acquisition of knowledge, and for the communication of it. In the former case, I refer to the use we make of language in silent reading. The facility with which this is done depends on our acquaintance with the characters of which w T ords are formed ; the meaning of words, singly ; and the principles which govern their combination in sentences. Our eye may glance over a. page in our own tongue, so as to perceive all its meaning, in the same time that would be employed on a short sen- tence of a language, which we are oniy beginning to learn. But in silent reading, though the eye perceives at a look the, form and meaning of words, it cannot perceive the meaning of sentences, without including also grammatical relation. Hence points or pauses are indispensable in the graphic art, as designed merely for the eye. We 16 READING. may take as an example the celebrated response of the Oracle ; Ibis ct redibis nunquam peribis iu bello- The eye has no means of judging whether the meaning is, you shall never return, or you shall never perish, unless a pause is inserted before or after nunquam, to determine with which verb it is grammatically connected. So far the principles of written language go ; — they embrace words and pauses, and here stop. But the mo- ment we come to transform this written language into oral, by reading aloud, a new set of principles come in with their claims, for which the arts of writing and of printing have made no provision. Here the reader be- comes a speaker, and is required to mark with his voice the degrees of emphatic stress, and all the varieties of pitch, quantity of sound, and rate of utterance which sen- timent demands. But he is trammelled with the narrow- ness of language as presented to the eye. He has been accustomed to regard words and pauses only, and all the movements of his voice are adjusted accordingly. You may tell him that he has a tone, but he knows not what you mean. Tell him to be natural, — to be in earnest, and you have given him an excellent direction indeed, but how to apply it to the case in hand, is the difficulty. He is more rapid perhaps, or more loud, for this admoni- tion, but under the dominion of inveterate habit, he goes on with his tone still. To the above defect in the art of printing, let another fact be added, that a great proportion of language, as it appears in books, neither demands nor admits any variety of tones and emphasis ; and another still, that, in most READING. 17 men, habits of voice, once established, cannot be changed without great and persevering efforts ; and it will not seem strange that the number of good readers is so small, even among educated and professional men. British writers have constantly complained of the dull, formal manner in which the Liturgy and the sacred Scriptures are read in their churches. And often, in the pulpits of this country, the reading of the Bible is apparently so destitute, not of feeling and devotion merely, but of all just discrimination, as to remind one of the question put by Philip to the no- bleman of Ethiopia ; " Understandest thou what thou readest ?" When we consider the extent to which these faults prevail in rhetorical reading, and the correspondent faults which of course prevail in public speaking, it is time that this greatly neglected subject should receive its due share of attention, amid the general advances in other depart- ments of literature and taste. Now, if there could at once spring up in our country a supply of teachers, competent, as living models, to reg- ulate the tones of boys, in the forming age, — nothing more would be needed. But, to a great extent, these teachers are to be themselves formed. And to produce the transformation which the case demands, some attempt seems necessary to go to the root of the evil, by incorpo- rating the principles of spoken language with the written. Not that such a change should be attempted in respect to books generally ; but in books of elocution, designed for this single purpose, visible marks may be employed, suf- ficient to designate the chief points of established corres- pondence between sentiment and voice. These princi- IS READING. pies being well settled in the mind of the pupil, may be spontaneously applied, where no such marks are used. But as this subject is to be resumed under the head of inflections, I drop it here, with a remark or two in pas- sing. Be it remembered then, that all directions as to man- agement of the voice, must be regarded as subsidiary to expression of feeling, or they are worse than useless. ' Emotion is the thing. One flash of passion on the cheek, one beam of feeling from the eye, one thrilling note of sensibility from the tongue, — have a thousand times more value than any exemplification of mere rules, where feeling is absent.'* The benefit of analysis and precept is, to aid the teacher in making the pupil conscious of his own faults, as a prerequisite to their correction. The object is to unfetter the soul, and set it free to act. In doing this a notation for the eye, designed to regulate the voice in a few obvious particulars, may be of much advantage : otherwise why shall we not dismiss punctua- tion too from books, and depend wholly on the teacher for pauses, as well as tones ? The reasonable prejudice which some intelligent men have felt against any system of notation, arises from the preposterous extent to which it has been carried by a few popular teachers, and especially by their humble imitators. A judicious medium is what we want. Five characters in music, and six vowels in writing, enter into an infinitude of combinations in melody and language. So the elemen- tary modifications of voice in speaking are few, and easily * Knowles. READING. 19 understood ; and to mark them, so far as distinction i? useful, does not require a tenth part of the rules, which some have thought necessary. The intellectual and moral qualities indispensable to form an orator, are brought into view in the following pa- ges, no farther than they modify delivery. The parts of external oratory, as voice, look, and gesture, are only in- struments by which the soul acts ; — when the inspiration of soul is absent, these instruments cannot produce elo- quence. A treatise on delivery then, must presuppose the existence of genius, mental discipline, and elevation of moral sentiment ; — though a distinct consideration of these belongs to rhetoric, as a branch of intellectual and Christian philosophy. The parts of delivery, to be considered in their order, are, — articulation, inflection, accent and empha- sis, MODULATION, AND ACTION. I premise here, once for all, that I employ terms ac- cording to the best modern use, with as little as possible of technical abstractness. Elocution, which anciently em- braced style and the whole art of rhetoric, now signifies manner of delivery, whether of our own thoughts or those of others. Pronunciation, which anciently signified the whole of delivery, is now equivalent to orthoepy, or the proper utterance of single words. It were easy, by a critical disquisition, to trace out the etymological affinities of all these terms, and to teach the pupil a distinction be- tween an orator, and an eloquent man, between articula- tion, and distinct enunciation of words &e ; but instead of the scientific air adopted in some works on elocution, it seems to me that the better because the simpler course is 20 READING. to use words as they will be most readily understood by men of reading and taste. In this view I have chosen to make the head of Mod- ulation so generic, as to include pitch, quantity, rate, rhe- torical pause, transition, expression, and representation. CHAP. II. ARTICULATION. Graiis dedit ore rotundo Musa loqui.- Sect. 1. Importance of a good articulation. On whatever subject, and for whatever purpose, a man speaks to his fellow men, they will never listen to him with interest, unless they can hear what he says ; and that without effort. If his utterance is rapid and indis- tinct, no weight of his sentiments, no strength or smooth- ness of voice, no excellence of modulation, emphasis, or cadence, will enable him to speak so as to be heard with pleasure. For his own sake too, the public speaker should feel the importance of a clear articulation. With- out this the necessary apprehension that his voice may not reach distant hearers, will lead to elevation of pitch, and increase of quantity ; till he gradually forms a habit of vociferation, at the expense of all interesting variety, if not, (as in too many cases it has turned out,) with the ARTICULATION. 21 sacrifice of lungs and life. Every one who is accustom- ed to converse with partially deaf persons, knows how much more easily they hear a moderate voice with clear articulation, than one that is loud, but rapid and indistinct. In addressing a public assembly, the same advantage at- tends a voice of inferior strength, which marks the proper distinction of letters and syllables. For these reasons the ancients regarded articulation as the first requisite in delivery ; — without which indeed, all other acquisitions are vain. On this account Cicero says,* the Catuli were esteemed the best speakers of the Latin language ; their tones being sweet, and their syllables ut- tered without effort, in a voice neither feeble nor clamor- ous. So fastidious was the Roman ear, even among the uneducated, that the same orator says, " in repetition of a verse, the whole theatre was in an uproar, if there hap- pened to be one syllable too many or too few. Not that the crowd had any notion of numbers ; nor could they tell what it was which gave the offence, nor in what re- spect it was a fault." It was not because the fire of gen- ius was wanting in the youthful orator of Athens, that his audience repeatedly met his first efforts in speaking, with hisses ; but it was on account of his feeble, hurried, stam- mering utterance. To correct these faults it was that he betook himself to speaking amid the sound of dashing waves, the effort of walking up hill, and the inconvenience of holding pebbles in his mouth ; that he might acquire a body to his voice, and a habit of distinct and deliberate utterance. * De Officiisj Lib. I, 22 ARTICULATION. It lias been well said, that a good articulation is to the ear, what a fair hand-writing, or a fair type is to the eye. Who has not felt the perplexity of supplying a word, torn away by the seal of a letter ; or a dozen syllables of a book, in as many lines, cut off by the carelessness of a binder? The same inconvenience is felt from a similar omission in spoken language ; with this additional disad- vantage, that we are not at liberty to stop and spell out the meaning by construction. I have heard a preacher with a good voice, in addressing his hearers with the ex- hortation, " repent, and return to the Lord," — utter dis- tinctly but three syllables, namely pent, — turn, — Lord. Who would excuse the printer, that should mutilate this sentence in the same manner ? When a man reads La- tin or Greek, we expect him to utter nouns, pronouns, and even particles, so that their several syllables, especial- ly those denoting grammatical inflections, may be heard distinctly. Let one noun in a sentence be spoken so that the ear cannot perceive whether it is in the nominative, or accusative, or vocative, or ablative ; or one verb, so as to leave it uncertain to what mood or tense it belongs, and the sense of the whole sentence is ruined. But in the English language, abounding as it does with particles, harsh syllables, and compound words, both the necessity and the difficulty of a perfect utterance are greater still. Our thousands of prefix and suffix syllables, auxiliaries, and little words which mark grammatical con- nexion, render bad articulation a fatal defect in delivery. One example may illustrate my meaning. A man of in- distinct utterance reads this sentence ; " the magistrates ought to prove a declaration so publicly made." When ARTICULATION. 23 I perceive that his habit is to strike only the accented syl- lable clearly, sliding over others, I do not know whether it is meant that they ought to prove the declaration, or to approve it, or reprove it, — for in either case he would speak only the syllable prove. Nor do I know, whether the magistrates ought to do it, or the magistrate sought to do it. A respectable modern writer on delivery says ; " In just articulation, the words are not to be hurried over ; nor precipitated syllable over syllable; nor as it were melted together into a mass of confusion. They should be neither abridged, nor prolonged ; nor swallowed, nor forced ; they should not be trailed, nor drawled, nor let to slip out carelessly, so as to drop unfinished. They are to be delivered out from the lips as beautiful coins newly issued from the mint, deeply and accurately impressed, perfectly finished, neatly struck by the proper organs, distinct, in due succession, and of due weight."* Sect. 2. Causes of defective articulation. This arises from bad organs, or bad habits, or sounds of difficult utterance. Every one knows how the loss of a tooth, or a contu- sion on the lip, affects the formation of oral sounds. When there is an essential fault in the structure of the mouth ; when the tongue is disproportionate in length or width, or sluggish in its movements ; or the palate is too high or too low ; or the teeth badly set or decayed, art may dimiaish, but cannot fully remove the difficulty. In nine cases out of ten, however, imperfect articula- * Austin's Chironomia, 24 ARTICULATION. tion comes not so much from bad organs as from the abuse of good ones. Sheridan says ; " In several north- ern counties of England, there are scarce any of the in- habitants who can pronounce the letter R at all. Yet it would be strange to suppose that all those people should have been so unfortunately distinguished from other na- tives of this island, as to be born with any peculiar defect in their organs, when this matter is so plainly to be ac- counted for upon the principle of imitation and habit." Though provincialisms are fewer in this country than in most others, a similar incapacity is witnessed, in families or districts more or less extensive, to speak certain letters or syllables, which are elsewhere spoken with perfect ease. The same fact extends to different nations. There are some sounds of the English language, as the nice distinc- tion between d and t, and between the two aspirated sounds of th, that adult natives of France and Germany cannot learn to pronounce. Some sounds in their langua- ges are equally difficult to us ; but this implies no original difference of vocal organs. And surely no defect in these need be supposed, to account for stubborn imperfections in the utterance of those who from infancy have been un- der the influence of vulgar example. Besides the mischief that comes from early imitation, the animal and intellectual temperament doubtless has some connexion with this subject. A sluggish action of the mind imparts a correspondent character to the action of the vocal organs, and makes speech only a succession of indolent, half- formed sounds, more resembling the mut- tering of a dream than the clear articulation, which w T e ought to expect in one who knows what he is sayins ARTICULATION. 25 Excess of vivacity, on the other hand, or excess of sen- sibility, often produce a hasty, confused utterance. Del- icacy speaks in a timid, feeble voice ; and the fault of indistinctness is often aggravated in a bashful child, by the indiscreet chidings of his teacher, designed to push him into greater speed in spelling out his early lessons ; while he has little familiarity with the form and sound, and less with the meaning of words. The way is now prepared to notice some of those dif- ficulties in articulation, which arise from the sounds to be spoken. The first and chief difficulty lies in the fact that arti- culation consists essentially in the consonant sounds, and that many of these are difficult of utterance. My limits do not allow me to illustrate this by a minute analysis of the elements of speech. It is evident to the slightest ob- servation that the open vowels are uttered with ease and strength. On these, public criers swell their notes to so great a compass. On these too, the loudest notes of mu- sic are formed. Hence the great skill which is requisite to distinct articulation in music ; for the stream of voice, which flows so easily on the vowels and half vowels, is in- terrupted by the occurrence of a harsh consonant ; and not only the sound, but the breath, is entirely stopped by a mute. In singing, for example, any syllable which ends with p, k, d, or t, all the sound must be uttered on the preceding vowel ; for when the organs come to the prop- er position for speaking the mute, the voice instantly ceases. Let any experienced singer, carefully try the experiment of speaking, in the notes of a slow tune, these Ifoes ; — ■> 3 26 ARTICULATION. With earnest longings of the mind, My God, to thee I look. Each syllable should be spoken by itself, with a pause after it. In this way it will appear that where the sylla- ble ends with a consonant, especially a mute, the stream of sound is emitted on the preceding vowel, but is broken off when the consonant is finished. This is the case with the syllables mind, God, look ; the moment the organs come into a position to speak d or k they are shut, so as to stop both sound and breath. But in the syllables my, to, thee, I, — the closing vowel sounds are perfectly formed at once, and may be continued indefinitely, without any change of the organs. The common mode of singing, h> deed, is but a mere succession of musical notes, or open vowel sounds, varying in pitch, with little attempt to arti- culate the consonant sounds. This explains what has sometimes been thought a mystery, that stammering persons find little difficulty in reading poetry, and none in singing ;* whereas they stop at once in speaking, when they come to certain consonants. Any one who would practically understand this subject, should recol- lect that the distinction between human speech, and the inarticulate sounds of brutes, lies not in the vowels, but in the consonants ; and that in a defective utterance of these, bad articulation primarily consists. flGf^The reader is apprised that the marginal numbers beginning at this place, direct to correspondent numbers in the Exercises.] To avoid confusion in the body of the work, but few examples for illustration are inserted. Any * This is partly owing also to a deliberate, metrical movement, ARTICULATION. 27 principle that requires special attention and practice is marked with figures on the left hand, and the same fig- ures in the Exercises point to examples which should be practised with a view to the more perfect understanding of the principle. 1.] A second difficulty arises from the immediate suc- cession of the same or similar sounds. The poet who un- derstood the principles of euphony in language better than any other English writer, has exemplified this in translat- ing a line of Homer respecting the stone of Sisyphus, where the recurrence of the aspirates and vowels is de- signed to represent difficulty. Up the high hill he h eaves a huge round stone. In another case he purposely produces a heavy movement, by the collision of open vowels ; Tho oft the ear the open vowels tire. Every scholar knows that the Greeks adopted many changes in the combination of syllables to render their language euphonic, by avoiding such collisions.* But a greater difficulty still is occasioned by the im- mediate recurrence of the same consonant sound, without the intervention of a vowel or a pause. The following are examples ; " For Chrises sake." " The hosts still stood." " The battle tests srill." The illustration will be more intelligible from examples in which bad articulation affects the sense. Wastes and deserts ;— Waste sand deserts. To obtain either ; — To obtain neither. * On this account they wrote -izavx tleyov for nctvxa tXtyov, a(f ov for otto ov ; Kayo) for it at eyo) ; dtdwxcv uvtco for dtdowf avrco &c. 28 ARTICULATION. His cry moved me ; — His crime moved me. He could pay nobody ; — He could pain nobody. Two successive sounds are to be formed here, with the organs in the same position ; so that, without a pause between, only one of the single sounds is spoken ; and the difficulty is much increased when sense or grammati- cal relation forbids such a pause ; as between the simple nominative and the verb, the verb and its object, the ad- jective and its substantive. In the last example, "he eould pain nobody," — grammar forbids a pause between pain and nobody, while orthoepy demands one. But change the structure so as to render a pause proper after pain, and the difficulty vanishes; — thus, "Though he endured great pain, nobody pitied him." 2.] A third difficulty arises from the influence of ac- cent. The importance which this stress attaches to syl- lables on which it falls requires them to be spoken in a more full and deliberate manner than others. Hence, if the recurrence of this stress is too close, it occasions heav- iness in utterance ; if too remote, indistinctness. An ex- ample of the former kind, we have from the poet before mentioned ; And ten low words oft creep in one dull line. This too is an additional reason for the difficult utter- ance of the line lately quoted from the same writer ; Up the high hill he heaves a huge round stone. The poet compels us, in spite of metrical harmony, to lay an accent on each syllable. But the remoteness of accent in other cases involves a greater difficulty still ; because the intervening syllables ARTICULATION. 29 are liable to be spoken with a rapidity inconsistent with distinctness, especially if they abound with jarring conso- nants. When such close and harsh consonants come to- gether, in immediate succession, and without accent, the trial of the organs is severe. Combinations of this kind we have in the words communicatively, authoritatively, terrestrial, reasonableness, disinterestedness. And the case is worse still where we preposterously throw back the accent so as to be followed by four or five syllables, as Walker directs in these words, receptacle, peremptorily , acceptableness. While these combinations almost defy the best organs of speech, no one finds any difficulty in uttering words combined with a due proportion of liquids, and a happy arrangement of vowels and accents. Not so when swift Camilla scours the plain, Flies o'er the unboading corn, and skims along the main. The euphony of the Italian, in which it is distinguish- ed from all other languages, consists chiefly in its freedom from harsh consonants.* 3.] A fourth difficulty arises from a tendency of the organs to slide over unaccented vowels. Walker says, " Where vowels are under the accent, the prince and the lowest of the people, with very few exceptions, pronounce them in the same manner : but the unaccented vowels, in the mouth of the former, have a distinct, open sound ; while the latter often totally sink them, or change them into some other sound." There is a large class of words beginning with^re and pro, in which this distinction sel- * Even the flowing Greek has such unseemly junction of consonants as to make nQOGcp&eyxxlY.og, ^uMO^i^av domain XGi'/.XCttlV. 3* 30 ARTICULATION. dom fails to appear. In prevent, prevail, predict, a bad articulation sinks e of the first syllable so as to make pr- vent, pr-vail, pr-dict. The case is the same with o in proceed, profane, promote ; spoken pr-ceed, &ic. So e is confounded with short u in event, omit, he. spoken uvvent, ummit. In the same manner u is transformed into e, as in populous, regular, singular, educate, &ic. spoken pop-e- Jous, reg-e-lar, ed-e-cate. A smart percussion of the tongue, with a little rest on the consonant before v, so as to make it quite distinct, would remove the difficulty. The same sort of defect, it may be added, often ap- pears in the indistinct utterance of consonants ending syl- lables ; thus in attempt, attention, effect, o/*-fence, the consonant of the first syllable is suppressed. To the foregoing remarks, it may be proper to add three cautions. The first is, in aiming to acquire a distinct articulation, take care not to form one that is measured and mechani- cal. Something of preciseness is very apt to appear at first, when we attempt to correct the above faults ; but practice and perseverance will enable us to combine ease and fluency with clearness of utterance. The child in passing from his spelling manner, is ambitions to become a swift reader, and thus falls into a confusion of organs that is to be cured only by retracing the steps which pro- duced it. The remedy, however, is no better than the fault if it runs into a scan-ning, pe-dan-tic for-mal-i-ty, giving undue stress to particles and unaccented syllables ; thus, " He is the man of all the world whom I rejoice to meet." Perhaps there is something in the technical for- malities of language attached to the bar, which inclines ARTICULATION. 31 some speakers of that profession, to this fault. In the pulpit, there is sometimes an artificial solemnity, which produces a drawling, measured articulation, of a still more exceptionable kind. In some parts of our country, inhabited by descend- ants of foreigners, especially the Dutch, there is a preva- lent habit of sinking the sound of e or i in words where English usage preserves it, as in rebel, chapel, Latin, — spoken reVl, chapel, Lafn. In other cases, where English usage suppresses the vowel, the same persons speak it with marked distinctness, or turn it into u ; as etfn, op' i n > heatfn, — pronounced ev-un, op-un, heav-un. The second caution is, — let the close of sentences be spoken clearly ; with sufficient strength, and on the proper pitch, to bring out the meaning completely. No part of a sentence is so important as the close, both in respect to sense and harmony. The third caution is, — ascertain your own defects of articulation, by the aid of some friend, and then devote a short time statedly and daily, to correct them. It is im- possible, without a resolute experiment, to know how much the habit of reading aloud, besides all its other ad- vantages, may do for a public speaker in giving distinctness to his delivery.* At first, this exercise should be in the hearing of a second person, who may stop the reader, and * A friend of mine, a respectable lawyer, informed me that, in a court which he usually attended, there was often much difficulty to hear what was spoken at the bar, and from the bench. One of the judges, however, a man of slender health, and somewhat ad- vanced in age, was heard with perfect ease in every part of the court room, whenever he spoke. So observable was this difference between him and others, that the fact was mentioned to him as a 32 ARTICULATION. point out, at the moment, the fault to be corrected. For some time the rate of utterance should be slower than usu- al, and directed to the single point of distinctness, dismiss- ing all regard to the sense of words, lest this lead him to forget his object. To make sure of this end, if he can- not do it otherwise, he may pronounce the words of a common vocabulary. At any rate, let him make a list of such words, and combinations as he has found most diffi- culty to his organs, and repeat them as a set exercise. If he has been accustomed to say omnip-e-tent, pop-e-lous, pr-mote, pr-vent, let him learn to speak the unaccented vowels properly. IMPEDIMENTS. As directly connected with articulation, a few remarks on impediments seem to be necessary. Stammering may doubtless exist from such causes, and to such degree as to be insurmountable ; though in most cases, a complete remedy is attainable by the early use of proper means. They who have given most attention to this defect, sup- pose that it should generally be ascribed to some infelici- ty of nervous temperament. When this is the cause, ea- gernesss of emotion, fear of strangers, surprise, anxiety, — any thing that produces a sudden rush of spirits, will communicate a spasmodic action to the organs of speech. The process of cure in such a case, must begin with such attention to bodily health, as will give firmness to the ner- subject of curiosity. The judge explained it by saying, that his vocal powers, which were originally quite imperfect, had acquired clearness and strength by the long continued habit of reading aloud, for about half an hour, every day. ARTICULATION. 33 vous system, and produce a calm, clear, and regular ac- tion of the mind. With this preparation, it is best not to put the stam- merer at first to the hardest task of his organs, but to be- gin at a distance, and come to the difficulty by regular approaches. The course that has been pursued, with perfect success, by one respectable teacher, is this. The pupil is to begin with reading verse ; the more simple and regular, the better : — he is to mark the feet distinctly with his voice, and beat time with his hand or toe to the movement. From verse of this regular structure, he may proceed to that which is less uniform in metrical order ; then to prose, of the elevated and poetic kind ; then to common prose ; and then by degrees to the difficult com- binations at which he had been accustomed to stammer. In repeating certain words there may be an obstinate struggle of the organs ; as in the attempt to pronounce parable, the p may be spoken again and again, while the remainder of the word does not follow. In such a case, the advice of the celebrated Dr. Darwin was, that the stammerer should, in a strong voice, eight or ten times, repeat the word, without the initial letter, or with an as- pirate before it ; as arable, harable ; and then speak it softly, with the initial letter p,— parable. This should be practised for weeks or months, upon every word, where the difficulty of utterance chiefly occurs. CHAP. III. TONES AND INFLECTIONS. The former of these terms is more comprehensive than the latter, embracing, in its most extensive sense, all sounds of the human voice. In a more restricted and proper sense, we mean by tones those sounds which stand connected with some rhetorical principle of language. In a few cases passion is expressed by tones which have no inflection ; but more commonly inflection is what gives significance to tones. Except a few general remarks here, no consideration of tones seems necessary, distinct from the subjects of the following chapters, especially Modulation. Sect. 1. Tones considered as a language of emotion. Sight has commonly been considered as the most active of all our senses. As a source of emotion, we de- rive impressions more various, and in some respects more vivid, from this sense, than from any other. Yet the class of tender emotions, such as grief and pity, are probably excited more strongly by the ear than the eye. Whether any reason can be assigned for this or not, the fact seems unquestionable. A groan or shriek utter- ed by the human voice, is not only more intelligible than words, but more instantly awakens our sensibility than any signs of distress, that are presented to the sight. Our TONES AND INFLECTIONS. 35 sympathy in the sufferings of irrational animals, is increas- ed in the same way. The violent contortions of the fish, in the pangs of death, being expressed without the aid of vocal organs, very faintly excite our compassion, compar- ed with the plaintive bleatings of an expiring lamb. And a still stronger distinction seems to prevail among brutes themselves. For while the passion of fear in them, is as- sociated chiefly with objects of sight, that of pity is awak- ened, almost exclusively, by the sense of hearing. The cry of distress from a suffering animal, instinctively calls around him his fellows of the same species, though this cry is an unknown tongue to animals of any other class. At the same time his own species, if he utters no cries, while they see him in excruciating agony, manifest no sympathy in his sufferings. Without enquiring minutely into the philosophy of vo- cal tones, as being signs of emotion, we must take the fact for granted that they are so. And no man surely will question the importance of this language in oratory, when he sees that it is understood by mere children ; and that even his horse or his dog distinguish perfectly those sounds of his voice which express his anger or his appro- bation. Sect. 2. Utility of systematic attention to tones and in- flections. Analysis of vocal inflections bears the same relation to oratory, that the tuning of an instrument does to music. The rudest performer in this latter art knows, that his first business is to regulate the instrument he uses, when it is so deranged as to produce no perfect notes, or to produce 36 TONES AND INFLECTIONS. others than those which he intends. The voice is the speaker's instrument, which by neglect or mismanage- ment is often so out of tune as not to obey the will of him who uses it. To cure bad habits is the first and hardest task in elocution. Among instructors of children scarce- ly one in fifty thinks of carrying his precepts beyond cor- rectness in uttering words, and a mechanical attention to pauses. So that the child who speaks the words of a sentence distinctly and fluently, and " minds the stops," as it is called, is without scruple, pronounced a good reader. Hence, among the multitude who consider themselves as good readers, there are so few who give by their voice that just expression of sentiment, which constitutes the spirit and soul of delivery. The unseemly tones which are contracted in child- hood, are often so deeply fixed, as not easily to yield to the dictates of a manly intellect, and a cultivated taste, in after life. These habits are acquired, almost unavoida- bly by children, in consequence of their being accustomed to read what they do not understand. The man who should prepare a school-book, containing proper lessons for beginners in the art of reading, with familiar directions for managing the voice, would probably do a greater ser- vice to the interests of elocution, than has yet been done by the most elaborate works on the subject, in the Eng- lish language.* The tones of the common school are of- * Since this remark was made in my pamphlet on Inflections, several small works, well adapted to the purpose abovementioned have been published ; and one is now in press, entitled Lesson? in Declamation, by Mr. Russell of Boston, concerning the utility of which high expectations are justified by the skill of the Author, as a Teacher of Elocution. TONES AND INFLECTIONS. 37 ten retained and confirmed at the college, and thence, (with some distinguished exceptions,) are carried in all their strength to the bar, and especially to the pulpit. This fault is by no means peculiar to America ; it prevails certainly not less in the schools and universities of Eng- land and Scotland, than in our own. But what is the remedy ! It has often been said, the only good canon of elocution is, — " enter into the spirit of what you utter." If we were to have but one direction, doubtless this should be the one. Doubtless it is better than all others to prevent the formation of bad habits ; — and better than any other alone, as a remedy for such hab- its ; but when these are formed, it is by no means suffi- cient of itself for their cure. To do what is right, with un- perverted faculties, is ten times easier than to undo what is wrong. How often do w r e see men of fine understand- ing and delicate sensibility, who utter their thoughts in conversation, with all the varied intonations which senti- ment requires ; but the moment they come to read or speak in a formal manner, adopt a set of artificial tones utterly repugnant to the spirit of a just elocution. Shall w T e say that such men do not understand what they speak in public, as well as what they speak in conversation ? Plainly the difference arises from a perverse habit, which prevails over them in one case, and not in the other. Many instances of this sort I have known, where a man has been fully sensible of something very wrong in his tones, but has not been able to see exactly what the fault is ; and after a few indefinite and unsuccessful efforts at amendment, has quietly concluded to go on in the old way. So he must conclude, so long as good sense and emo- 4 38 TONES AND INFLECTIONS. tion are not an equal match for bad habits, without a knowledge of those elementary principles, by which the needed remedy is to be applied. Skill in vocal inflections, it is granted, cannot of itself make an orator. Nor can skill in words. Who does not know that with an ample stock of words at command, a man may be little more than a chattering animal ? Yet who can be an orator without words ? We have seen that a man, with no defects of intellect or of sensibility, may have great faults in the management of his voice as a speaker. These perhaps he acquired in childhood, just as he learned to speak at all, or to speak English rather than French, — by imitation. His tones both of passion and of articulation, are derived from an instinctive corres- pondence between the ear and voice. If he had been born deaf, he would have possessed neither. Now in what way shall he break up his bad habits, without so much attention to the analysis of speaking sounds, that he can in some good degree distinguish those which differ, and imitate those which he would wish to adopt or avoid ? How shall he correct a tone, while he cannot understand why it needs correction, because he chooses to remain ig- norant of the only language in which the fault can possi- bly be described ? Let him study and accustom himself to apply a few elementary principles, and then he may at least be able to understand what are the defects of his own intonations. I do not say that this attainment may be made with equal facility, or to an equal extent, by all men. But to an important extent it may be made by everyone ; and that with a moderate share of the effort demanded by most other valuable acquisitions ; I might say with one TONES AND INFLECTIONS. 39 half the time and attention that are requisite to attain skill in music. It may be doubted, however, by some, whether any theory of vocal inflections, to be studied and applied by the pupil, must not tend to perplex rather than facilitate delivery. The same doubt may as well be extended to every department of practical knowledge. To think of the rules of syntax, every sentence we speak, or of the rules of orthography and style, every time we take up our pen to write, would indeed be perplexing. The remedy prescribed by common sense in all such cases, is, not to discard correct theories, but to make them so familiar as to govern our practice spontaneously, and without reflec- tion. But if one has already the perfect management of his voice, of what service, it is said, are theoretic principles to him ? Of very little certainly ; just as rules of syntax would be needless to him, who could write and speak cor- rectly without them. But the number of those who sup- pose themselves to be of this description, is doubtless much larger than of those who really are so. And be- sides, this reasoning hardly applies to those who are des- tined for literary professions. A mere peasant may speak a sentence of good English, and do it with proper empha- sis and inflections ; while he is a stranger to all the prin- ciples of grammar, and of elocution. But a scholar should aim at something more. The question as to voice, is, are there any settled principles in elocution ? When a skilful teacher has read to his pupils a sentence for their imitation, is there any reason why he should have read it as he did f — or why he or they should read it again in the same man- 40 TONES AND INFLECTIONS. ner ? Can that reason be made intelligible ? Doubtless it may, if it is founded on any stated law of delivery. The pupils then, need not rest in a servile imitation of their teacher's manner, but arc entitled to ask why his empha- sis, or inflection, or cadence was so, and not otherwise ; and then they may be able to transfer the same principles to other cases. Then too one skilful teacher, by means of such intelligible analysis, may assist other teachers, whose capacity is equal to his own, but whose experience has been less than his. For myself, I must say, that af- ter all I had read of Garrick, I had no distinct conception of his manner in delivering any given passage, till I saw Walker's description of his inflections in the grand and ter- rible adjuration of Macbeth. [See Exercises.] If Quinc- tillian had given me the same precise information respect- ing the turns of Cicero's voice in some interesting passage of his orations, it would be no small gratification of my curiosity. Now, While every tyro has known for centuries, that the verb has a stated, grammatical relation to its nomina- tive, and while certain tones have occurred in as stated a relation to certain sentiments of the mind ; it is but a short time since the tones of articulate language have been considered as capable of any useful classification. Sev- eral years of childhood are particularly devoted to acquire a correct orthography and accentuation ; and to promote a knowledge of these and of syntax, rules have been fram- ed with great care. But what valuable directions have our elementary books contained as to the management of the voice in reading ? — an art which lies at the bottom of all good delivery. Here our embryo orators, on their TONES AND INFLECTIONS. 41 way to the bar, the senate, and the pulpit, are turned off with a few meagre rules, and are expected to become ac- complished speakers, without having ever learned to read a common passage, in a graceful and impressive manner. Fifty years ago the general direction given by teachers in reading was, that in every sort of sentence the voice should be kept up in a rising tone till the regular cadence is formed, at the close. This was exactly adapted to ruin all variety and force, and to produce a set of reading tones completely at variance with those of conversation and speaking. The more particular directions as to voice, for- merly given in books for learners, are the three following ; that a parenthesis requires a quick and weak pronuncia- tion ; — that the voice should rise at the end of an inter- rogative sentence, — and fall at the end of one that is de- clarative. The first is true without exception ; — the second, only in that sort of question which is answered by yes or no ; and the third is true with the exception of all cases where emphasis carries the voice to a high note at the close of a sentence. So that, among the endless vari- eties of modification which the voice assumes in speaking, but one was accurately marked before the time of Walker. To his labors, imperfect as a first effort of the kind neces- sarily must be, the world will ultimately acknowledge great obligations. Such, however, is the intrinsic diffi- culty of representing sounds, by symbols adapted to the eye, that no precepts on this subject can be made com- pletely intelligible, without the aid of exemplification by the teacher's voice. The ear too is an organ, which in different men, possesses various degrees of sensibility and accuracy in discriminating sounds ; though it may acquire 4* TONES AND INFLECTIONS. a good degree of skill in speaking tones, without skill in music, as appears from the case of Walker himself. Sect. 3. Description of Inflections. The absolute modifications of the voice in speaking are four ; namely, monotone, rising inflection, and cir- cumflex. The first may be marked to the eye by a hor- izontal line, thus, ( ~ ) the second thus, (') the third thus, (^) the fourth thus, ( ^ ). The monotone is a sameness of sound on successive syllables, which resembles that produced by repeated strokes on a bell. Perhaps this is never carried so far as to amount to perfect sameness ; but it often approach- es this point so as to be both irksome and ludicrous. Still, more or less of this quality belongs to grave deliv- ery, especially in elevated description, or where emotions of sublimity or reverence are expressed. Any one would be shocked, for example, at an address to Jehovah, utter- ed with the sprightly and varied tones of conversation. The following lines have often been given as a good ex- ample of the dignity and force attending the monotone when properly used. High on a throne of royal state, which far Outshone the wealth of Ormns or of Inde ; „ Or where the gorgeous East, with richest hand, Shdw'rs, on her kings barbaric, pearl and gold, Satan exalted sat. The rising inflection turns the voice upward, or ends higher than it begins. It is heard invariably in the direct question ; as, Will you go toddy ? The falling inflection turns the voice downwards, or TONES AND INFLECTIONS. 43 ends lower than it begins. It is heard in the answer to a question ; as, Nd ; I shall go tomdrrow. As the whole doctrine of inflections depends on these two simple slides of the voice, one more explanation seems necessary as to the degree in which each is applied under different circumstances. In most cases where the rising slide is used, it is only a gentle turn of the voice upwards, one or two notes. In cases of emotion, as in the spirited, direct question, the slide may pass through five or eight notes. The former may be called the com- mon rising inflection, the latter the intensive. Just the same distinction exists in the falling inflection. Many, not aware of this difference, have carried Walker's princi- ples to an extreme. In the question, uttered with sur- prise, " Are you going to-day ?" the slide is intensive. But in the following case, it is common, " as fame is but breath, as riches are transitory, and life itself is uncertain^ so we should seek a better portion" To carry the rising slide in the latter case, as far as in the former, is a great fault, though not an uncommon one. The circumflex is a union of the two inflections, some- times on one syllable, and sometimes on several. Walker's first example extends it to three syllables, though his de- scription limits it to one. It begins with the falling and ends with the rising slide. This turn of the voice is not so of- ten used, nor so easily distinguished as the two simple slides just mentioned ; though it occurs, if I mistake not, especially in familiar language, much oftener than Walker seems to suppose. In many cases where it is used, there is something conditional in the thought ; as, / may go to- morrow, though I cannot go today. Irony or scorn is 44 TONES AND INFLECTIONS. also expressed by it ; as, " They tell us to be moderate ; but they, they are to revel in profusion." On the words marked in these examples, there is a significant twisting of the voice downwards and then upwards, without which the sense is not expressed.* As to Mr. Walker's remarks on another circumflex, which he calls the falling, I must doubt the accuracy ei- ther of his ear or my own ; for in his examples I can- not distinguish it from the falling slide, modified perhaps by circumstances, but having nothing of that distinctive character, which belongs to the circumflex just described. In mimickry and burlesque, I can perceive a falling cir- cumflex, in a few cases, but it is applicable I think very rarely, if ever, in grave delivery. Besides these absolute modifications of voice, there are others which may be called relative, and which may be classed under the four heads of pitch, quantity, rate, and quality. These may be represented thus ; H»j&£ Entity. |*# Rate, {J** •"*J5&H As these relative modifications of voice assume almost an endless variety according to sentiment and emotion in a speaker, they belong to the chapter on modulation. * We may take an example, which gives these three inflections of voice successively ; though perhaps it will hardly be intelligible to a mere beginner. The abrupt clause in Hamlet's soliloquy,—;. To die, to sleep, no more, is commonly read with the falling slide on each word, thus ; to die, to sleep no more, expressing no sense, or a false one ; as if Hamlet meant, " When I die, I shall no more sleep." But place the rising inflection on die, the falling on sleep, and the circumflex on no more, and you have this sense ; "To die ? — what is it? — no terrible event ; — it is merely falling asleep :" — thus, to die, — to sleep, — no more. Some skilful readers give the rising slide to the last clause, turning it into a question or exclama- tion ; — no more .' — " is this all ?" But the circumflex seems better to represent the desperate hardihood with which Hamlet was reas- oning himself into a contempt of death. TONES AND INFLECTIONS. 45 Sect. 4. Classification of Inflections. This is the point on which, most of all, Walker is defec- tive. The conviction that he was treating a difficult subject, led him into the very common mistake of attempting to make his meaning plain by prolixity of remark, and mul- tiplicity of rules. One error of this respectable writer is, that he attempts to carry the application of his principles too far. To think of reducing to exact system all the in- flections to be employed in the delivery of plain language, where there is no emotion, and no emphasis, is idle in- deed. Many who have attempted to follow the theory to this extreme, perplexed with the endless list of rules which it occasions, have become discouraged. Whereas the theory is of no use except in reference to. the rhetori- cal principles of language, where tones express sentiment. And even in passages of this sort, the significant inflec- tions belong only to a few words, which, being properly spoken, determine of necessity the manner of speaking the rest;* The maxim, that '-'• there cannot be too much of a good thing," has led some to multiply marks of in- flection on unimportant words ; just as others, in their zeal for emphasis, have multiplied Italic words in a page, till all discrimination is confounded. Another fault of Walker is, that the elements of speak- ing tones are not presented in any intelligible method ; but are so promiscuously intermingled throughout his work, as to give it the character of obscurity. The view of these elements to which he devotes about a hundred * This I endeavor to illustrate in the discussion of Emphasis and Modulation, 46 TONES AND INFLECTIONS. and fifty pages, after he enters on inflections, I here at- tempt to comprise in a short compass. In order to ren- der the new classification which I have given intelligible, I have chosen exmples chiefly from colloquial language ; because the tones of conversation ought to be the basis of delivery, and because these only are at once recognised by the ear. Being conformed to nature, they are instinct- tively right ; so that scarcely a man in a million uses ar- tificial tones in conversation. And this one fact, I remark in passing, furnishes a standing canon to the learner in el- ocution. In contending with any bad habit of voice, let him break up the sentence on which the difficulty occurs, and throw it, if possible, into the colloquial form. Let him observe in himself and others, the turns of voice which occur in speaking, familiarly and earnestly, on com- mon occasions. Good taste will then enable him to trans- fer to public delivery the same turns of voice, adapting them, as he must of necessity, to the elevation of his subject. The examples set down under each rule, should be repeated by the student in the hearing of some competent judge, till he is master of that one point, before he pro- ceeds to another. If more examples, in the first instance, are found necessary to this purpose, they may be sought in the exercises. As the difficulty of the learner at first is to distinguish the two chief inflections, and as the best method of doing this is by comparing them together, the following classifi- cation begins with cases in which the two are statedly found in the same connexion; and then extends to cases in which they are used separately ; the whole being mark- ed in a continued series of rules, for convenient reference. TONES AND INFLECTIONS. 47 BOTH INFLECTIONS TOGETHER. 4] Rule I. When the disjunctive or connects words or clauses, it has the rising inflection before, and the fall- ing after it. examples. Shall I come to you with a rod— or in love ? Art thou he that should come, — or look we for another ? The baptism of John, was it from heaven, — or of men ? Will you go — or stay ? Will you ride — or walk ? Will you go today — or tomorrow ? Did you see him, — or his brother ? Did he travel for health, — or pleasure ? Did he resemble his father, — or his mother ? Is this book yours, — or mine ? 5] Rule II. The direct question, or that which ad- mits the answer of yes or no, has the rising inflection, and the answer has the falling. examples. Are they Hebrews ? So am T. Are they 'Israelites ? So am "t. Are they the seed of 'Abraham ? So am "I. Are they ministers of Christ ? I am more. [Paul.] Did you not speak to it ? My lord, I did. Hold you the watch to-night ? We do, my lord. 'ArmM, say you ? \ArmM, my lord. From top to toe ? My lord, from head to foot. Then saw you not his face ? O yes, my lord. What, look'd he frowningly ? A countenance more in sorrow than in anger. Pale ? STay, very pale. Shak. Hamlet. 48 TONES AND INFLECTIONS. 6] Note 1. This sort of question ends with the ri- sing slide, whether the answer follows it or not. But it is not true as Mr. Walker has seemed to suppose, that every question beginning with a verb is of this sort. If I wish to know whether my friend will go on a journey with- in two days, I say perhaps, " Will you go today or tomor- . row ?" He may answer, " yes," — because my rising in- flection on both words implies that I used the or between them conjunctively. But if I had used it disjunctively, it must have had the rising slide before it, and the falling after ; and then the question is, not whether he will go within two days, but on which of the two ; — thus, " Will you go toddy — or tombrrowV The whole question, in this case, though it begins with a verb, cannot admit the answer yes or no, and of course cannot end with the ri- sing slide. The very general habit of elocution which gives this slide to a question beginning with a verb, is superseded by the stronger principle of emphatic contrast in Rule 1st. Thus the disciples said to Christ, " Is it lawful to give tribute to Caesar or not ? Shall we give or shall we not give ?" Pilate said to the Jews, " Shall I release unto you Barabbas, or Jesus ?" Let the rising slide be given on both names, in this latter case, and the answer might indeed be yes or no, but the sense is perverted, by mak- ing these, two names for the same person ;. just as in the following, " Was this becoming in Zoroaster, or the Phi- losopher of the Magi ?" Such an example may help to satisfy those who doubt the significance of inflection. Note 2. When Exclamation becomes a question, it demands the rising slide ; as, " How, you say, are we to T0NE9 AND INFLECTIONS. 49 accomplish it ? How accomplish it ! Certainly not by fearing to attempt it." 7] Rule III. When negation is opposed to affir- mation, the former has the rising, and the latter the falling inflection. EXAMPLES. 1 did not say a better soldier, — but an elder. Study, not for amusement, — but for improvement. Aim not to show knowledge, — but to acquire it. He was esteemed, not for wealth, — but for wisdom. He will not come today,^-hut tomorrow. He did not act wisely, -but unwisely. He did not call me, — but you. He did not say pride, — but pnde. Negation alone, not opposed to affirmation, does not by any means always take the rising inflection, as Mr. Knowles supposes. The simple particle no, when under the emphasis, with the intensive, falling slide, is one of the strongest monosyllables in the language. But when negative and affirmative clauses come into opposition, I think of no exception to the rule but that mentioned un- der emphatic succession, Rule IX. Note 2. 8] Note 1 . This rule, like the two preceding, is founded on the influence which antithetic sense has on the voice. The same change of inflections we find in comparison ; as, K He is more knave than fool." M A countenance more in sorrow than in anger. 1 ' So in the following case of simple contrast, where, in each couplet of antithetic terms, the former word has the rising inflection. 5 50 TONES AND INFLECTIONS. Here regard to virtue opposes insensibility to shame ; purity, to pollution ; integrity, to injustice ; virtue, to villany ; resolution, to rage ; regularity, to riot. The struggle lies between wealth and want ; the dignity, and degeneracy of reason ; the force, and the phrenzy of the soul ; between well grounded hope, and widely extended despair. Note 2. The reader should be apprised here, that the falling slide, being often connected with strong em- phasis, and beginning on a high and spirited note, is lia- ble to be mistaken, by those little acquainted with the sub- ject, for the rising slide. If one is in doubt which of the two he has employed, on a particular word, let him re- peat both together, by forming a question according to Rule I. with the disjunctive or ; — thus, " Did 1 say go, — or go ?" Or let him take each example under Rule I. and according to Rule II. form an answ T er echoing the first emphatic word, but changing the inflection ; thus, " Will you go, — or stay ? I shall gd" " Will you ride, or walk ? I shall ride." This will give the contrary slides on the same word. But as some may be unable still to distinguish the falling slide, confounding it, as just mentioned, with the rising inflection, or, on the other hand, with the cadence ; I observe that the difficulty lies in two things. One is, that the slide is not begun so high, and the other, that it is not carried through so many notes, as it ought to be. I explain this by a diagram, thus : TONES AND INFLECTIONS. 51 It is sufficiently exact to say, that in reading this pro- perly, the syllables without slide may be spoken on one key or monotone. From this key go slides upwards to its highest note, and from the same high note stay slides downwards to the key ; and go does the same, in the an- swer to the question. In the second example, the case is entirely similar. But the difficulty with the inexpert reader is, that he strikes the downward slide, not above the key, but on it, and then slides downward, just as in a cadence. The faulty manner may be represented thus : Will you go to- &*" or to-^ I shall go to-^, The other part of the difficulty in distinguishing the fall- ing inflection from the opposite, arises from its want of sufficient extent. Sometimes indeed the voice is merely dropped to a low note, without any slide at all. The best remedy is, to take a sentence with some emphatic word, on which the intensive falling slide is proper, and protract that slide, in a drawling manner, from a high note to a low one. This will make its distinction from the rising slide very obvious. Harmony and emphasis make some exceptions to se- veral of these rules, which the brevity of my plan com- pels me to pass by without notice. RISING INFLECTION. 9] Rule IV. The pause of suspension, denoting that the sense is unfinished, requires the rising inflection. This rule embraces several particulars, more espe- cially applying to sentences of the periodic structure, %% INFLECTIONS RISING. which consist of several members, but form no complete sense before the close. It is a first principle of articulate language, that in such a case, the voice should be kept suspended, to denote continuation of sense. The following are some of the cases to which the rule applies. 1. Sentences beginning with a conditional particle or clause ; as, " If some of the branches be broken off, and thou, being a wild olive-tree, wert grafted in among them, and with them partakest of the root and fatness of the olive-tr£e ; boast not against the branch- es. 1 ' " As face answereth to face in water, so the heart of man to man. 1 ' In what Walker calls the ' inverted period,' the last member, though not essential to give meaning to what precedes, yet follows so closely as not to allow the voice to fall till it is pronounced. 2. The case absolute ; as, " His father dy'ing, and no heir being left except himself, he succeeded to the estate. 11 " The question having been fully dis- cussed, and all objections completely refuted, the decision was unanimous. 1 ' 3. The infinitive mood with its adjuncts, used as a nominative case ; as, M To smile on those whom we should censure, and to counte- nance those who are guilty of bad actions, is to be guilty our- selves. 1 ' " To be pure in heart, to be pious and benevolent, con- stitutes human happiness. 1 ' 4. The vocative * case without strong emphasis, when it is a respectful call to attention, expresses no sense com- * I u?e this term as better suiting my purpose than that of our grammarians, — nominative independent. INFLECTIONS RISING. 53 pleted, and comes under the inflection of the suspending pause ; as, Men, brethren, and fathers, — hearken." " Friends, Romans, countrymen ! — lend me your ears." 5. The parenthesis com monly requires the same in- flection at the close, while the rest of it is often to be spoken in the monotone. As an interjected clause, it suspends the sense of the sentence, and for that reason only, is pronounced in a quicker and lower voice, the hear- er being supposed to wait with some impatience for the main thought, while this interjected clause is uttered ; as, " Know ye not, brethren, (for I speak to them that know the liw.) that the law hath dominion over a man as long as he liveth ?" The most common exceptions in this case, occur in rhetorical dialogue, where narrative and ad- dress are mingled, and represented by one voice, and where there is frequent change of emphasis. The same sort of exception may apply to the general principle of this rule whenever one voice is to represent two persons, thus ; If a brother or sister be naked, and destitute of daily food, and one of you say unto them, Depart in peace, be ye warmed and fill- ed ; notwithstanding ye give them not those things which are need- ful to the body ; what doth it profit? Here the sense is entirely suspended to the close, and yet the clause introduced as the language of another, re- quires the falling slide. Another exception, resting on still stronger ground, occurs where an antithetic clause requires the intensive falling slide on some chief word to denote the true mean- ing; as in the following example, — "The man who is in 5* 54 INFLECTIONS RISING. the daily use of ardent spirits, if he does not become a drunkard, is in danger of losing his health and character." In this periodic sentence, the meaning is not formed till the close ; and yet the falling slide must be given at the end of the second member, or the sense is subverted; for the rising slide on drunkard implies that his becom- ing such is the only way to preserve health and character. In the foregoing rule, together with the VI. and IX. is comprised all that I think important in about thirty rules of Walker. 10] Rule V. The rising slide is used to express tender emotion. Grief, compassion, and delicate affection, soften the soul, and are uttered in words, invariably with correspond- ing qualities of voice. The passion and the appropriate signs by which it is expressed, are so universally conjoin- ed, that they cannot be separated. It would shock the sensibility of any one to hear a mother describe the death of her child, with the same intonations which belong to joy or anger. And equally absurd would it be for a general to assume the tones of grief, in giving his commands at the head of an army. Hence the vocative case, when it expresses either af- fection or delicate respect, takes the rising slide ; as, u Jesus saith unto her, Mary." " Jesus saith unto him, Thom- as.'" " Sir, I perceive that thou art a prophet." -— " Sirs., what must I do to be saved ?" This inflection prevails in the reverential language of prayer. The same slide prevails in pathetic poetry. Take an example from Milton's lamentation for the loss of sight. Thus with the year, Seasons return °, but not to me returns INFLECTIONS RISING. 55 Day, or the sweet approach of ev'n or morn, Or sight of vernal bloom, or summer's rose, Or flocks, or herds, or human face divine ; But cloud instead, and ever during 1 dark Surround me Another example may be seen in the beautiful little poem of Cowper, on the receipt of his mother's picture : My mother! when I learn'd that thou wast dead, Say, wast thou conscious of the tears 1 shed ? Hover'd thy spirit o'er thy sorrowing son, Wretch even then, life's journey just begun? I hear'd the bell toll'd on thy burial day, 1 say the hearse, that bore thee slow away, And, turning from my nurs'ry window, drew A long, long sigh, and wept a last adieu. In both these examples the voice preserves the rising slide, till, in the former we come to the last member, be- ginning with the disjunctive but, — where it takes the fall- ing slide on cloud and dark. In the latter the slide does not change till the cadence requires it, on the last word, adieu. 11] Rule VI. The rising slide is commonly used at the last pause but one in a sentence. The reason is, that the ear expects the voice to fall when the sense is finished ; and therefore it should rise for the sake of vari- ety and harmony, on the pause that precedes the cadence. —Ex. " The minor longs to be at age, then to be a man of business, then to make up an estate, then to arrive at honors, then to retire.'* u Our lives, says Seneca, are spent either in doing nothing at all, or in doing nothing to the purpose, or in doing nothing that we oiisrht to do." 50 INFLECTIONS FALLING. FALLING INFLECTION. The general principle suggested under Rule V, is to be borne in mind here. In the various classes of exam- ples under the falling inflection, the reader will perceive the prevailing characteristic of decision and force. So instinctively does bold and strong passion express itself by this turn of voice, that, just so far as the falling slide becomes intensive, it denotes emphatic force. The VIII. IX. and X. rules will illustrate this remark. 12] Rule VII. The indirect question, or that which is not answered by yes or no, has the falling inflection ; and its answer has the same. This sort of question begins with interrogative pronouns and adverbs. Thus Cicero bears down his adversary, by the combined force of interrogation and emphatic se- ries. This is an open, honourable challenge to you. Why are you silent ? Why do you prevaricate ? I insist upon this point ; I urge you to it ; press it ; require it ; nay, I demand it of you. So in his oration for Ligarius ; What, Tubero, did that naked sword of yours mean, in the bat- tle of Pharsalia ? At whose breast was its point aimed ? What was the meaning of your arms, your spirit, your eyes, your hands, your ardour of soul ? In conversation there are a few cases where the indi- rect question has the rising slide ; as when one partially hears some remark, and familiarly asks ; What is that ? Who is that ? The answer to the indirect question, according to the INFLECTIONS — FALLING. 57 general rule, has the falling slide ; though at the expense of harmony ; as, Who say the people that I am ? They answering said, John the Baptist; but some say, Ellas; and others say that one of the old prophets is risen again. — Where is boasting then ? It is excluded. — Who first seduced them to that foul revolt? The infernal serpent. The want of distinction in elementary books, between that sort of question which turns the voice upward, and that which turns it downward, must have been felt by eve- ry teacher even of children. This distinction is scarcely noticed by the ancients. Augustin, in remarking on the false sense sometimes given to a passage of Scripture by false pronunciation, says, The ancients called that ques- tion interrogation, which is answered by yes or no ; and that percontation, which admits of other answers.* Quinc- tillian, however, says the two terms were used indiffer- ently. 13] Rule V1H. The language 6f authority and ot surprise, is commonly uttered with the falling inflection. Bold and strong passion so much inclines the voice to this slide, that in most of the cases hereafter to be specified, emphatic force is denoted by it. 1 . The imperative mood, as used to express the com- mands of a superior, denotes that energy of thought which usually requires the falling slide. Thus Milton supposes Gabriel to speak, at the head of his radiant files : * He gives an example from Paul, with the pronunciation which he proposes : — " post percontationem, Quis accusabit adversus elec- tos Dei ? illud quod sequitur sono interrogantis enuntietur, Deus qui just ificat ? ut tacite respondeatur, JVon. Ft item percontemur, Quis est qui condemnat ? rursus interrogemus, Christus Jesus, qui moriuus est ? &c. ut ubique tacite respondeatur, JVow." De Doctrina Christiana, Lib. Ill Cap, 3. 53 INFLECTIONS FALLING. Uzziel ! half these draw off and coast the south, With strictest watch ; these other, wheel the north. — — Ithuriel and Zephon ! with winged speed Search through this garden ; leave unsearched no nook. This evening from the sun's decline arrivM Who tells of some infernal spirit seen, Ilitherward bent : — Such where ye find, seize fast, and hither bring. Thus in the battle of Rokeby, young Redmond ad- dressed his soldiers ; *Up comrades ! up ! — in Rokeby's halls Ne'er be it said our courage falls. No language surpasses the English, in the spirit and vivacity of its imperative mode, and vocative case. These often are found together in the same address ; and when combined with emphasis, separately or united, they have the falling slide, and great strength. 2. Denunciation and reprehension, on the same princi- ple, commonly require the falling inflection ; as, Wo unto you, Pharisees ! for ye love the uppermost seats in the synagogues. Wo unto you, lawyers ! for ye have taken away the key of knowledge. But God said unto him, thou fool ! — this night thy soul shall be required of thee. But Jesus said, Why tempt ye me, ye hypocrites ! Paul said to Elymas, O full of all subtlety, and all mischief ! Thou child of the Devil, —thou enemy of all righteousness ! In the beginning of Shakspeare's Julius Cesar. Marul- lus, a patriotic Roman, rinding in the streets some peas- ants, who were keeping holiday, for Cesar's triumph over the liberties of his country, accosted them in this indignant strain ; Hence ! — home, you idle creatures, get you home. You blocks, you stones ! You worse than senseless things ! INFLECTIONS FALLING. 59 This would be tame indeed, should we place the un- emphatic, rising slide on these terms of reproach, thus : You blocks, you stones, you worse than senseless things ! The strong reprehension of our Saviour, addressed to the tempter, would lose much of its meaning, if uttered with the gentle, rising slide, thus ; Get thee behind me, Sa- tan. But it becomes very significant, with the emphatic downward inflection ; Get thee behind me, — Satan. 3. Exclamation, when it does not express tender emotion, nor ask a question, inclines to adopt the falling slide. Terror expresses itself in this way. Thus the ap- pearance of the ghost in Hamlet produces the exclama- tion : Mngels ! and ministers of grace, — defend us.* Exclamation, denoting surprise, or reverence, or dis- tress, — or a combination of these different emotions, gen- erally adopts the falling slide, modified indeed by the de- gree of emotion. For this reason I suppose that Mary, weeping at the sepulchre, when she perceived that the person whom she had mistaken for the gardener, was the risen Saviour himself, exclaimed with the tone of rever- ence and surprise, — Rabbdni ! And the same inflexion probably was used by the leprous men when they cried Jesus, Master ! have mercy on us; instead of the collo- * The city watch is startled, not so much by the ivords of dis- tress that echo through the stillness of midnight, as by the tones that denote the reality of that distress ; — " help !--murder !— help !" The man whose own house is in flames, cries, " fire ! — fire V it is only from the truant boy in the streets that we hear the careless exclamation, "fire, fire." GO INFLECTIONS FALLING. quial tone JZsus, Mister, which is commonly used in reading this passage, and which expresses nothing of the distress and earnestness which prompted this cry. These examples are distinguished from the vocative case, when it merely calls to attention, or denotes affection. 14] Rule IX. Emphatic succession of particulars requires the falling slide.* The reason is, that a distinc- tive utterance is necessary to fix the attention on each particular. The figure asyndeton, or omission of copula- tives, especially when it respects clauses, and not single words, belongs to this class ; as, Go and tell John what things ye have seen and heard ; — the blind see, the lame walk, the lepers are cleansed, the deaf hear, the dead are raised, to the poor the gospel is preached. — Charity suffereth long-, and is kind ; charity envieth not ; charity vaunteth not itself; is not puffed up; doth not behave itself unseemly; seeketh not her own ; is not easily provoked ; thinketh no evil. — Thrice was I beaten with rods ; once was I stoned ; thrice I suf- fered shipwreck ; a night and a day have I been in the deep. In each of these examples, all the pauses, except the last but one, (for the sake of harmony,) require the down- ward slide. The polysyndeton, requiring a still more de- liberate pronunciation, adopts the same slide ; as, Thou shalt love the Lord thy God, with all thy heart, mind, and and with all thy soul, and with all thy strength, and with all thy thy neighbor as thyself. Note ] . When the principle of emphatic series in- * The loose sentence, though it does not strictly belong to this rule, commonly coincides with it ; because in the appended mem- ber or members, marked by the semicolon or colon, a complete sense, at each of these pauses, is so far expressed as generally to admit the falling- slide. INFLECTIONS PALLING. 61 terferes with that of the suspending slide, one or the oth- er prevails, according to the nature of the case. When the structure is hypothetical, and yet the sense is such, and so far formed as to admit emphasis, the falling slide prevails, thus : And though I have the gift of prophecy, and understand all mysteries, and all knowledge ; and though I have all faith, so that I could remove mountains, and have not charity, I am no- thing. But when the series begins a sentence, and each particu- lar hangs on something still to come, for its sense, there is so little emphasis that the rising slide, denoting suspen- sion, is required ; thus, — The pains of getting, the fear of losing, and the inability of en- joying his wealth, have made the miser a mark of satire, in all ages. Note 2. The principle of emphatic series, may form an exception to Rule III. as, We are troubled on every side, yet not distressed ; perplexed, but not in despair ; persecuted, but not forsaken ; cast down, but not destroyed.* Note 3. Emphatic succession of particulars grows intensive as it goes on ; that is, on each succeeding em- phatic word, the slide has more stress, and a higher note, than on the preceding ; thus, — * All Walker's rules of inflection «ts to a series of single ivords, when unemphatic, are in my opinion, worse than useless. No rule of harmonic inflection, that is independent of sentiment, can be established without too much risk of an artificial habit, unless it be this one, that the voice should rise at the last pause before the ca- dence ; and even this may be superseded by emphasis. 6 62 INFLECTIONS FALLING. I tell you, though X^, though all the XJf though an an- should declare the truth of it, I could not be- The rising slide, on the contrary, as it occurs in an emphatic series of direct questions, rises higher on each particular, as it proceeds. 15] Rule X. Emphatic repetition requires the fall- ing slide. Whatever inflection is given to a word in the first in- stance, when that word is repeated with stress, it demands the falling slide. Thus in Julius Caesar, Cassius says; You wrong me every way, you wrong me, Brutus. The word wrong is slightly emphatic, with the falling slide, in the first clause ; but in the second, it requires a double or triple force of voice, with the same slide on a higher note, to express the meaning strongly. But the principle of this rule is more apparent still, when the re- peated word changes its inflection. Thus I ask one at a distance, Are you going to Boston ? If he tells me that he did not hear my question, I repeat it with the other slide, Are you going to Boston ?* * In colloquial language, the point I am illustrating is quite familiar to every ear. The teacher calls a pupil by name in the rising inflection, and not being heard, repeats the call in the fall- ing. The answer to such a call, if it is a mere response, is " Sir ;" — if it expresses doubt, it is «' Sir.^ A question that is not under- stood, is repeated with a louder voice and a change of slide : " Is this your book? Is this your book £»' Little children, with their first elements of speech, make this distinction perfectly. INFLECTIONS FALLING. 63 I cannot forbear to say here, though the remark be- longs to style more than to delivery, that while it is the province of dulness to repeat the same thoughts or words, from mere carelessness ; there is scarcely a more vivid figure of rhetoric than repetition, when it springs from genius and emotion. But as the finest strains of music derive increase of spirit and effect from repetition, so in delivery, increase of emotion, demands a correspondent stress and inflection of voice. For this reason, the com- mon method of reading our Saviour's parable of the wise and the foolish builder, with the rising slide on both parts, is much less impressive than that which adopts the falling slide with increase of stress on the series of particulars as repeated. Whosoever heareth these sayings of mine, and doeth them, I will liken him unto a wise man which built his house upon a rock : and the rains descended, and the floods came, and the winds blew, and beat upon that house, and it fell not, — for it was founded upon a rock. And every one that heareth these sayings of mine, and doeth them not, shall be likened unto a foolish man, that built his house upon the sand : and the rain descended, and the floods came, and the winds blew, and beat upon that house, and it fell ; — and great was the fall of it. 16] Rule XI. The final pause requires the falling slide. That dropping of the voice which denotes the sense to be finished, is so commonly expected by the ear, that the worst readers make a cadence of some sort, at the close of a sentence. In respect to this, some general faults may be guarded against, though it is not possible to tell in absolute terms what a good cadence is; because, in different circumstances, it is modified by different prin- ciples of elocution. The most common fault in the ca- G4 INFLECTIONS RISING. dence of bad speakers, consists in dropping the voice too uniformly to the same note. The next consists in drop- ping it too much. The next, in dropping it too far from the end of the sentence, or beginning the cadence too soon ; and another still consists in that feeble and indis- tinct manner of closing sentences, which is common to men unskilled in managing the voice. We should take care also to mark the difference between that downward turn of the voice which occurs at the falling slide in the middle of a sentence, and that which occurs at the close. The latter is made on a lower note, and if emphasis is ab- sent, with less spirit than the former ; As, " This heaven- ly benefactor claims, not the homage of our lips, but of our hearts ; and who can doubt that he is entitled to the homage of our hearts." Here the word hearts has the same slide in the middle of the sentence as at the close. Though it has a much lower note in the latter case than in the former. It must be observed too that the final pause does not always require a cadence. When the strong emphasis with the falling slide comes near the end of a sentence, it turns the voice upward at the close; as, "If we have no regard to our own character, we ought to have some regard to the character of others" " You were paid to jftght against Alexander, not to rail at him." This is a departure from a general rule of elocution ; but it is only one case among many, in which emphasis asserts its su- premacy over any other principle that interferes with its claims. Indeed, any one who has given but little attention to this point, would be surprised to observe accurately. CIRCUMFLEX. 65 how often sentences are closed, in conversation, without any proper cadence ; the voice being carried to a high note, on the last word, sometimes with the falling, and sometimes with the rising slide. CIRCUMFLEX. 17] Rule. XII. The circumflex occurs chiefly where the language is hypothetical. The most common use of it is to express indefinitely or conditionally some idea that is contrasted with another idea expressed or understood, to which the falling slide belongs ; thus ; — Hume said he would go twenty miles, to hear TVhiteficld preach. The contrast suggested by the circumflex here is ; though he would take no pains to hear a common preacher. You ask a physician concern- ing your friend who is dangerousty sick, and receive this reply. — He is better. The circumflex denotes only a partial, doubtful amendment, and implies But he is still dangerously sick. The same turn of Voice occurs in the following example, on the word importunity. Though he will not rise and give him, because he is his friend, yet because of his importunity he will rise and give him as many as he needeth. This circumflex, when indistinct, coincides nearly with the rising slide ; when distinct, it denotes qualified affirmation instead of that which is positive as marked by the falling slide. This hint suggests a much more perfect rule than that of Walker, by which to ascertain the proper slide under the emphasis ; but it is not the proper place here to elucidate this point. 6* CHAP. IV. ACCENT. 18] Accent is a stress laid on particular syllables* to promote harmony and distinctness of articulation. The syllable on which accent shall be placed, is deter- mined by custom ; and that without any regard to the meaning of words, except in these few cases. First, where the same word in form, has a different sense, according to the seat of the accent. This may be the case while the word continues to be the same part of speech, as desert, (a wilderness) desert', (merit) — to conjure, (to use magic) to conjure, (to entreat). Or the accent may distinguish between the same word used as a noun or an adjective ; as com'pact, (an agreement) compact', (close) min'ute, (of time) minute', (small). Or it may distinguish the noun from the verb, thus : Abstract to abstract' ex'port to export' coin'pound to compound' ex'tract to extract' com'press to compress' im'port to import' con'cert to concert' in'cense to incense' con 7 duct to conduct' in'sult to insult' con'fine to confine' ob'ject to object' con'tract to contract' pres'ent to present' con'trast to contrast' proj'ect to project' con'vert to convert' reb'el to rebel' con'vict to convict' tor'ment to torment' digest to digestf trans'port to transporl ACCENT. 67 The province of emphasis is so much more important than that of accent that the customary seat of the latter is transposed in any case where the claims of emphasis re- quire it. This takes place chiefly in words which have a partial sameness in form, but are contrasted in sense. EXAMPLES. He must increase, but I must decrease. This corruptible must put on incorruption ; and this mortal must put on immortality. What fellowship hath righteousness with -unrighteousness ? Consider well what you hare done, and what you have left Undone. He that ascended is the same as he that descended. The difference in this case, is no less than betwixt decency and indecency ; betwixt reZigion and irreligion. In the sui/ableness or -unsuitableness, the proportion or dispro- portion of the affection to the object which excites it, consists the propriety or impropriety of the consequent action.* With those considerations respecting accent which belong especially to the grammarian, we have no con- cern. As connected with articulation, the influence of accent was briefly discussed, [2] page 28. As connect- ed with inflection, an additional remark seems necessary here. The accented syllable of a word is always uttered with a louder note than the rest. When this syllable has the rising inflection, the slide continues upward till the word is finished ; so that when several syllables of a word follow the accent, they rise to 'a higher note than that which is accented ; and when the accented syllable is the * In this last example, the latter accented word in each of the couplets, perhaps would be more exactly marked with the circum- flex ; the same case occurs often, as in p. 64, last paragraph. 69 ACCENT. last in a word, it is also the highest. But when the ac- cented syllable has the falling slide, it is ahv'ays struck with a higher note than any other syllable in that word. The reader may easily understand this remark by turning to the example, page 50, at the bottom ; and then framing for himself other examples, with an accent in the middle of a long word ; as, Did he dare to propose such interrogatories ? Here the slide which begins on rog continues to rise on the three following syllables ; whereas in the question, Will you go toddy? the same slide terminates with the syllable on which it begins. But no example can be framed with the falling inflection, (the cadence only ex- cepted,) in which the accented syllable, where the slide begins, is not higher than any other syllable before or af- ter it.* This remark furnishes another opportunity to correct the very common mistake of those who think the falling inflection to consist in a sudden dropping of the voice, whereas it consists in sliding it down, and that from a high note, whenever there is intensive stress. * I dwell a little on the above distinction, because, in my opin- ion, Walker, and Ewing after him, have stated it incorrectly. CHAP. V. EMPHASIS. One elementary principle which has been more than once suggested already, respecting management of the voice, deserves to be repeated here, because of its direct bearing on the subject of this chapter and the next. No useful purpose can be answered by attempting to establish any system of inflections in reading and speak- ing, except so far as these inflections do actually accom- pany, in good speakers, the spontaneous expression of sentiment and emotion. We say without any scruple, that certain feelings of the speaker are commonly ex- pressed with certain modifications of voice. These mod- ifications we can describe in a manner not difficult to be understood. But here a serious obstacle meets us. The pupil is told how emotion speaks in a given case, and then he attempts to do the same thing without emotion. But great as this difficulty is, it is not peculiar to any one mode of instruction 5 it attends every system of elocution that can be devised. Take, for example, the standing canon, be natural, which for ages has been thought the ouly adequate direction in delivery. This maxim is just ; it is simple ; it is easily repeated by a teacher ; — -but who does not know that it has been repeated a thousand times without any practical advantage f What is it to be natu- ral ? It is so to speak that the modifications of voice. 70 EMPHASIS. shall be such as feeling demands. But here is the same obstacle as before ; — the pupil attempts to be natural in speaking, and fails, just because he attempts to do what feeling demands, without feeling. This intrinsic difficul- ty accompanies every theory on this subject, even when no perverted habits of voice are to be encountered, and much more where such habits exist. The only remedy to be relied on is that which I have briefly urged in an- other place. The Teacher, who would give his pupils a just emphasis and modulation, must unceasingly impress on them the importance of entering with feeling into the sentiments which they are to utter. Emphasis is governed by the laws of sentiment, be- ing inseparably associated with thought and emotion. It is the most important principle, by which elocution is re- lated to the operations of mind. Hence when it stands opposed to the claims of custom or of harmony, these al- ways give way to its supremacy. The accent which cus- tom attaches to a word, emphasis may supersede ; as we have seen under the foregoing article. Custom requires a cadence at the final pause, but emphasis often turns the voice upward at the end of a sentence ; as, You was paid to fight against Alexander, not to rail at him. see [16] p. 64. Harmony requires the voice to rise at the pause before the cadence ; whereas emphasis sometimes prescribes the falling slide at this pause, to enforce the sense ; as, Better to reign in fteZZ, than serve in heaven. Now I presume that every one who is at all accus- tomed to accurate observation on this subject, must be EMPHATIC STRESS. 71 sensible how very little this grand principle is regarded in forming our earliest habits of elocution ; and therefore how hopeless are all efforts to correct what is wrong in these habits, without a just knowledge of emphasis. What then is emphasis ? Without staying to assign reasons why I am dissatisfied with definitions heretofore given by respectable writers, the following is offered as more complete, in my opinion, than others which I have seen. Emphasis is a distinctive utterance of words which are especially significant, with such a degree and kind of stress, as conveys their meaning in the best manner. According to this definition, I would include the whole subject under emphatic stress and emphatic inflection. 19] Sect. 1. — Emphatic Stress. This consists chiefly in the loudness of the note, but includes also the time in which important words are utter- ed. Both these are commonly united ; but the latter, since it will require some notice when I come to speak of rate and emphatic pause, may be dismissed here, as to its separate consideration, with a single remark. A good reader or speaker, when he utters a word on which the meaning of a sentence is suspended, spontaneously dwells on that word, or gives it more time, according to the in- tensity of its meaning. The significance and weight which he thus attaches to words that are important, is a very different thing from the abrupt and jerking empha- sis, which is often witnessed in a bad delivery. Bearing this fact in mind, we may proceed to consider, more par- ticularly why emphatic stress belongs to some words, and not to others. 72 EMPHATIC STRESS. The indefinite description which was formerly given of emphasis, as ' a stress laid on one or more words to distinguish them from others,' was attended with a corres- pondent confusion in practice. In some books of elocu- tion more than half the words were printed in Italics, and regarded as equally emphatical. To remedy so great a fault Walker proposed his threefold classification of words, i as pronounced with emphatic force, accented force, or unaccented force.' The first he considered as belonging to words of peculiar significance ; the second to nouns, verbs, &c. — the third to connectives and particles. But these distinctions, after all, leave a very plain subject in obscurity ; for it is enough to say that emphatic force is to be governed solely by sense ; and that the word, to whatever part of speech it belongs, which renders but lit- tle aid in forming the sense, should be passed over with but little stress of voice. It is indeed generally true that a subordinate rank belongs to particles and to all those words which merely express some circumstance of a thought. And when a word of this sort is raised above its relative importance by an undue stress in pronuncia- tion, we perceive a violence done to other w T ords of more significance ; and we hardly admit even the metrical ac- cent of poetry to be any excuse for so obvious an offence against propriety. One example of this sort we have in the common manner of reading this couplet of Watts — Show pity, Lord, O Lord, forgive, Let a repenting rebel live. This stress upon a, in the second line, shows the absence of just discrimination in the reader.* * I beg leave to ask here, if it shows want of taste in the reader, in such a case, to sacrifice the sense to the syllabic accent of po- EMPHATIC STRESS. 7J But to show that emphasis attaches itself not to the part of speech, but to the meaning of a word, let one of these little words become important in sense, and then it demands a correspondent stress of voice. We have an example in the two following sentences, ending with the particle so. In one it is used incidentally, and is barely to be spoken distinctly. In the other it is the chief word, and must be spoken forcibly. " And Saul said unto Michal, why hast thou deceived me so ?" " Then said the high priest, are these things so ?" Another example may show how a change of stress on a particle changes the entire sense of a sentence. In the narrative of Paul's voyage from Troas to Jerusalem, it is said, " Paul had determined to sail by Ephesus." This sentence, with a moderate stress on Ephesus, im- plies that the Apostle meant to stop there ; just as a com- mon phrase, " the ship is going to Holland by Liverpool," — implies that she will touch at the latter place. Now what was the fact in the case of Paul ? The etry, why is it, that, in the sister art of music, as applied to metri- cal psalmody, no practical distinction is made between accent and emphasis ? On the contrary, a choir is so trained in psalmody, as not to reflect whether one word has more meaning than another, but whether its relative position requires strong or feeble utterance. Thus a full volume of sound is poured out on a preposition, for ex- ample, just because it happens to coincide with a musical note at the beginning of a bar. Illustrations of this are so many that they may be taken almost at random. In the Hymn beginning, God of the morning, at whose voice, the musical accent, in many tunes would recur four times during the line, and two of these on prepositions. But is there no philos- ophy and rhetoric in music ? Is the spirit of this divine art to be rigidly tied down by mere rules of harmony and metrical stress ? Music is but an elegant and charming species of elocution. And, important as accent is, it should never contravene the laws of sen- timent in the former, more than in the latter art. 7 74 EMPHATIC STRESS. historian says, " he hasted to be at Jerusalem, on the day of Pentecost." Therefore he could not afford the time it would require to visit his dear friends, the Ephesian church, and he chose to pursue his voyage without see- ing them. But can the words be made to express this sense ? Perfectly ; — and that with only an increase of stress on one particle. " Paul had determined to sail by Ephesus." Another example shows us a succession of small words raised to importance, by becoming peculiarly significant. In Shakspeare's Merchant of Venice, Bassanio had re- ceived a ring from his wife, with the strongest protestation that it should never part from his finger ; but, in a mo- ment of generous gratitude for the preservation of his friend's life, he forgot this promise, and gave the ring to the officer to whose kind interposition he ascribed that deliverance. With great mortification at the act, he after- wards made the following apology to his wife, an unem- phatic pronunciation of which leaves it scarcely intelligi- ble ; while distinct emphasis on a few small words gives it precision and vivacity, thus : If you did knew 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, When nought would he accepted but the ring, You would abate toe strength of your displeasure. In the case that follows too, we see how the meaning of a sentence often depends on the manner in which we utter one short word. " One of the servants of the high priest, (being his kinsman whose ear Peter cut off,) saith, EMPHATIC STRESS. 75 did not I see thee in the garden with him ?" Now if we utter this as most readers do, with a stress on kinsman, and a short pause after it, we make the sentence affirm that the man whose ear Peter cut off was kinsman to the high priest, which was not the fact. But a stress upon Ms, makes this servant, kinsman to another man, who receiv- ed the wound. One more example may suffice, on this point. When our Saviour said to Peter ; — " Lovest thou me more than these ?" — he probably referred to the confident professions of his own attachment to Christ, which this apostle had presumed would remain unshaken, though that of his breth- ren should fail ; but which professions he had wofully vio- lated in the hour of trial. If this is the spirit of the ques- tion, it is a tender but severe admonition, which would be expressed by emphasis, thus ; " Lovest thou me, more than these ?" that is, more than thy brethren love me ? But respectable interpreters have supposed the ques- tion to refer to Peter's affection merely, and to contrast two objects of that affection ; and this would change the emphasis thus ; — " Lovest thou me more than these $" — that is, more than thou lovest thy brethren ? These illustrations show that the principle of emphat- ic stress is perfectly simple ; and that it falls on a partic- ular word, not chiefly because that word belongs to one or another class in grammar, but because, in the present case, it is important in sense. To designate the words that are thus important, by the action of the voice in em- phasis, is just what the etymological import of this term implies, namely, to show, to point out, to make manifest. But farther to elucidate a subject, that has been treat- 70 EMPHATIC STRESS. ed with much obscurity, emphatic stress may be distin- guished into that which is absolute, and that which is an- tithetic or relative. 20] 1. Absolute emphatic stress. Walker, and others who have been implicitly guided by his authority, without examination, lay down the broad position, that emphasis always implies antithesis ; and that it can never be proper to give emphatic stress to a word, unless it stands opposed to something in sense. Accor- dingly, to find the emphasis in a sentence, the direction given is, to take the word we suppose to be emphatical, and try if it will admit of those words being supplied, which antithesis would demand ; and if the words thus supplied, agree with the meaning of the writer, the em- phasis is laid properly, — otherwise, improperly. EXAMPLE. Exercise and temperance strengthen even an indifferent consti- tution. The emphatic word here suggests, as the antithetic clause to be supplied ; — not merely a good constitution ; and this accords with the meaning of the writer. Now the error of these treatises is, that what in truth is only one important ground of emphasis, is made the sole, and the universal ground. Indeed, if it were admit- ted that there is no emphasis without antithesis, it would by no means follow, (as I shall show under emphatic in- flection,) that all cases of opposition in thought are to be analysed in the mode above proposed. But the princi- ple assumed cannot be admitted ; for to say that there is EMPHATIC STRESS. 77 no absolute emphasis, is to say that a thought is never im- portant, considered by itself; or that the figure of con- trast is the only way in which a thought can be express- ed with force. The theory which supposes this, is too narrow to correspond with the philosophy of elocution. Emphasis is the soul of delivery, because it is the most discriminating mark of emotion. Contrast is among the sources of emotion : and the kind of contrast really in- tended by Walker and others, namely, that of affirmation and negation, it is peculiarly the province of emphasis to designate. But this is not the whole of its province. There are other sources, besides antithetic relation, from which the mind receives strong and vivid impressions, which it is the office of vocal language to express. Thus exclamation, apostrophe, and bold figures in general, de- noting high emotion, demand a correspondent force in pronunciation ; and that too in many cases where the em- phatic force laid on a word is absolute, because the thought expressed by that word is forcible of itself, without any aid from contrast. Of this the reader may be satisfied by turning to [13] p. 57, and noting such examples as these : *Up ! comrades, — up ! — Wo unto you, Pharisees ! — Hence ! — home, you idle creatures, — •Angels ! and ministers of grace, — defend us.* • The following anecdote of Whitefield, which is probably fa- miliar to most readers, contains an illustration altogether to my purpose. It is a passage repeated by Hume, from the close of a sermon which he heard from that preacher. " After a solemn pause, Mr. Whitefield thus addressed his numerous audience : l The attendant angel is just about to leave the threshold, and ascend to 7* 78 RELATIVE STRESS. Now, in such a case, we may speculate on the em- phatic force of the exclamation, and ' try if the sense will admit some antithetic clause to be supplied ;' but it is mere trifling. The truth is, when strong passion speaks, it speaks strongly, and, if no untoward habit intervenes, speaks with just that degree and kind of stress which the passion itself demands. 21] 2. Antithetic or relative stress. Though we cannot consider opposition in sense as the exclusive ground of strong emphasis, it is doubtless a more common one than any other. The principle on which the stress depends in this case, will be evident from a few examples. Study, not so much to show knowledge as to acquire it. He that cannot bear a jest, should not make one. It is not so easy to hide one's faults, as to mend them. We think less of the injuries we do, than of those we suffer. It is not so difficult to talk well, as to live well. We must take heed not only to what we say, but to what we do. In these short sentences the antithetic words, requir- ing emphatic force, are so obvious that they can hard- ly be mistaken by any one. When the antithetic terms in a sentence, are both expressed, the mind instantly per- heaven. And shall he ascend, and not bear with him the news of one sinner, among- all this multitude, reclaimed from the error of his ways ?' Then he stamped with his foot, lifted up his hands and eyes to heaven, and with gushing tears, cried aloud, — ' Stop, Ga- briel ! stop, Gabriel ! stop, ere you enter the sacred portals, and yet carry with you the news of one sinner converted to God.' " The high emotion of the speaker in this case, and the powers of utterance with which that emotion was expressed, melted the as- sembly into tears. RELATIVE STRESS. 79 ceives the opposition between them, and the voice as readily marks the proper distinction. But when only one of these terms is expressed, the other is to be made out by reflection ; and in proportion to the ease or difficulty with which this antithetic relation is perceived by the mind, the emphatic sense is more or less vivid. On this principle, when a word expresses one part of a contrast, while it only suggests the other, that word must he spok- en with a force adapted to its peculiar office ; and this is the very case where the power of emphasis rises to its highest point. This part of the subject too may be ren- dered more intelligible by a few examples. Shakspeare's Julius Caesar furnishes several which are sufficiently appropriate. In the scene betwixt Bru- tus and Cassius, the latter says, I that deny'd thee gold, will give my heart. Here the antithetic terms gold and heart, being both ex- pressed, a common emphatic stress on these makes the sense obvious. But in the following case, only one part of the antithesis is expressed. Brutus says, You wrong'd yourself, to write in such a case. The strong emphasis on yourself, implies that Cassius thought himself injured by some other person. Accord- ingly we see in the preceding sentence his charge against Brutus, — " you have wronged me." Again, Brutus says to Cassius, You have done that you should be sorry for. With a slight stress upon sorry, this implies that he had done wrong ; but suggests nothing of the antithetic mean- ing denoted by the true emphasis, thus, You have done that you should be sorry for. 80 EMPHATIC INFLECTION. This emphasis on the former word implies, " Not only are you liable to do wrong, but you have done so alrea- dy ;" on the latter it implies, " though you are not softy, you ought to be sorry." This was precisely the mean- ing of Brutus, for he replied to a threat of Cassius," I may do that I shall be sorry for." One more example from the same source. Marul- lus, alluding to the reverence in which Pompey had been held, says, And when you saw his chariot but appear, Have you not made an universal shout ? Lay a stress now on his in the first line, and you make a contrast betwixt the emotion felt in seeing other chariots, and in seeing Pompeyh. Lay the stress on chariot, and it is not implied that there was any other besides his in Rome ; for then the antithesis suggested is, the sight, not of his person merely, but of the vehicle in which he rode, produced a shout. 22] Sect. 2. — Emphatic Inflection. Thus far our view of emphasis has been limited to the degree of stress with which emphatic words are spoken. But this is only a part of the subject. The kind of stress is not less important to the sense than the degree. Let any one glance his eye over the examples of the forego- ing pages, and he will see that strong emphasis demands, in all cases, an appropriate inflection ; and that to change this inflection perverts the sense. This will be perceived at once in the following case, " We must take heed not on- ly to what we say, but to what we do." By changing EMPHATIC INFLECTION. SI ! this slide, and laying the falling on say and the rising on do, every ear must feel that violence is done to the meaning. i So in this case, The fault, dear Brutus, is not in our stars ; But in ourselves, that we are underlings ; the rising inflection or circumflex on stars and the falling inflection on ourselves is so indispensable, that no reader of the least taste would mistake the one for the other. The fact in these instances however is, that wrong inflec- tion confounds the true sense, rather than expresses a false one. Let us then take an example or too in which the whole meaning of a sentence depends on the inflection given to a single word. Buchanan while at the Univer- | sity, said, in a letter to a Christian friend, In the retirement of a college, I am unable to suppress evil thoughts. Here the emphatic downward slide being given to college, expresses the true sense, namely, " How difficult must it be to keep my heart from evil thoughts amid the tempta- tions of the world, when I cannot do this even in the re- tirement of a college." But lay the circumflex on col- lege, thus ; " In the retirement of a college, I cannot sup- press evil thoughts ;" and you transform the meaning to this, " I cannot suppress evil thoughts here, in retirement, though I might perhaps do it amid the temptations of the world." In the fair penitent Horatio says, I would not turn aside from my least pleasure, Though all thy force were aimed to bar my way. The circumflex on thy implies sneer and scorn. " I might 82 EMPHATIC INFLECTION. turn aside for respectable opposition, but not for such as thine." But the falling slide on thy turns contempt into compliment. " I would not turn aside even for thy force, great as it is." One more question remains to be answered ; how shall we know when an emphatic word demands the ris- ing, and when the falling inflection? A brief reply to this inquiry seems indispensable, before we drop this part of the subject. On this point, the " grand distinction" of Walker, as he calls it, is ; — " The falling inflection affirms something in the emphasis, and denies what is opposed to it in the antithesis ; while the emphasis with the rising inflection, affirms something in the emphasis, without denying what is opposed to it in the antithesis." I have always considered it a great infelicity that the many excellent remarks of this writer on emphatic inflec- tion, are so destitute of intelligible classification. On his theory which makes antithesis essential to emphasis, uni- versally, and antithesis too by affirmation and negation, — the amount of more than twenty pages, designed to illus- trate the above position is simply this ; — When affirmation is opposed to negation, — the emphatic word or clause which affirms, has the falling inflection, and that which denies, the rising. This is so plainly an elementary prin- ciple of vocal inflection, as I have shown [7] p. 49, that it requires no farther remark, except this one, that the case here supposed implies strong, positive affirmation. But the ingenious writer above named perceived that there was still something to be explained about a part of this subject ; and therefore extended his canon concern- EMPHATIC INFLECTION. 83 ing the emphasis with the rising inflection by saying, " that it affirms something in the emphasis without denying what is opposed to it in the antithesis." That the illustration of this point should be dark to his readers is not strange, since it evidently was so to himself. The first step he takes is to give an example, which unfortunately contra- dicts the theory it was designed to establish. 'Twas base and poor, unworthy of a man, To forge a scroll so villanous and loose. His commentary on this emphasis is — " Unworthy of a man, though not unworthy of a brute." In repeating this, most certainly I both affirm and deny. I affirm that a certain act is unworthy of a man, and deny that it is un- worthy of a brute. What then becomes of the rule just stated ? Besides, if the rising emphatic inflection affirms on one side, without denying on the other, what becomes of the antithesis ? — and w T hat becomes of the broad position, that without antithesis there can be no emphasis ? The truth is that this position being erroneous, the " intrica- cies of distinction" resulting from it are needless. One who is familiar with the simple rules of inflection, can sel- dom mistake as to the proper slide on an emphatic word. The voice instinctively accompanies emphatic, positive affirmation with the falling slide, and the antithetic nega- tion with the rising. But there is a large class of sentences, in which qual- ified affirmation demands the rising turn of voice, often where an antithetic object is suggested or expressed hypo- thetically. Having seen no satisfactory explanation of the S4 EMPHATIC INFLECTION. rising emphasis which occurs in such cases, I will briefly suggest my own thoughts on this point. And it should be premised that it is not the simple rising slide, but the circumflex, which designates this sort of emphasis. The two indeed, as I have said before, may fall on shades of thought so nearly the same, that it is immaterial which is used ; while in other cases the office of the circumflex is so peculiar as to make it quite perceptible to an ear of any discrimination. In examples like the following, We should seek to mend our faults, not to hide them. You were paid to fight against Alexander, not to rail at him ; it has been usual to mark the rising emphasis, with the simple slide upward ; whereas in unaffected conversation, the twist of the circumflex is generally heard, in such ca- ses. With this preliminary remark, I proceed to say, that the plain distinction between the rising and the falling em- phasis, when antithetic relation is expressed or suggested, is, the falling denotes positive affirmation, or enunciation of a thought with energy ; the rising either expresses ne- gation, or qualified and conditional affirmation. In the latter case the antithetic object, if there is one, may be suggested ironically, or hypothetically, or comparatively ; thus — Ironically ; They tell its to be moderate ; but they, they are to revel in pro- fusion. Hypothetically ; If men see our faults, they will talk among themselves, though we refuse to let them talk to us. I see thou hast learnM to rati. EMPHATIC INFLECTION. 85 In this latter example, the hypothetical affirmation re- quires the circumflex on the emphasis, while the indefi- nite antithesis is not expressed, as in the preceding exam- ple, but suggested ; " Thou hast learn'd to rail, if thou hast not learn'd any thing better than this." Comparatively ; Satan The tempter, ere the accuser of mankind. The beggar was blind as well as lame. He is more knave than fool. Caesar deserved blame more than fame. Now if any one chooses to ask the reason why these em- phatic inflections occur in this order, he may see it per- haps by a bare inspection of the foregoing examples to- gether. In such a connexion of two correlate words, whether in contrast or comparison, the most prominent of the two in sense, that in which the essence of the thought lies, commonly has the strong, falling emphasis ; and that which expresses something subordinate or circumstantial, has the rising. The same rising or circumflex emphasis prevails where the thought is conditional, or something is implied or insinuated, rather than strongly expressed. Negative clauses perhaps so generally fall into this class of inflections because they are so often only explanatory of the main thought. As the foregoing remarks have been confined chiefly to the inflection of relative emphasis, the reader may ex- pect me to dwell a little on the same point, as connected with absolute emphasis. Here the examples to be adduced will be a farther 8 86 EMPHATIC INFLECTION. refutation of the theory which restricts emphasis wholly to antithesis by affirmation and denial. If this theory were correct, there would be no emphatic stress nor in- flection in the following cases ; 1 . Of apposition ; •Simon, Son of Jdnas, — -lovest thou rae ? To affirm this, is to contradict Paul, the Apostle. In the multiplied cases of this sort, where two names are used for the same person, surely the ground of em- phasis on both, is not opposition in sense. 2. Of the indirect question and its answer. Who first seduced them to that foul revolt ? The infernal serpent.— Where is boasting then ? — It is excluded. Here again the emphasis is absolute. 3. Of the direct question and its answer. In Shakspeare's Julius Caesar, the indignant Marullus thus chides the citizens for their blind adoration of Caesar $ O you hard hearts, you cruel men of Rome ! Knew ye not P6mpey ? So afterwards, — And do you now strew flowers in his way, That comes in triumph over Pompey's bldod ? Again,— Are they Hebrews ?— So am J\ Shall Rome be taken, while I am Cdnsul ? — No. In both sorts of question, there is indeed what may properly be termed contrast ; and in the direct question, l his contrast between question and answer is marked by EMPHATIC INFLECTION. 87 opposite inflection. But this is a case that does not at all come within Mr. Walker's rule, — "That the falling inflec- tion affirms something in the emphasis, and denies what is opposed to it in the antithesis ; and the rising affirms without such denial." Let this rule be tried by the fore- going examples, and it will be apparent that no antithesis by affirmation and denial can be made out in any of them, except by an effort of fancy. Take that one ending, — " Know ye not Pompey ?" and instead of puzzling the mind to discover what is affirmed in this rising emphasis, and what is not denied in a supposed antithesis, how much easier is it to say, — the case falls under that general law of interrogative inflection, which always inclines the voice upward. But these illustrations need not be extended. The amount is, that generally the weaker emphasis, where there is tender, or conditional, or partial enunciation of thought, requires the voice to rise : while the strong em- phasis, where the thought is bold, and the language posi- tive, adopts the falling slide, except where some counter- acting principle occurs, as in the interrogative inflection just mentioned. Emphatic inflection varies according to those general laws of the voice which I have endeavored to describe at some length, Chap. III. p. 42 — 65. For these varieties we may assign good reasons, in some ca- ses ; while in others we must stop with the fact, that such are the settled usages of elocution ; and in others still, we can only say such are the instinctive principles of vocal intonation.* In all such cases, explanation becomes ob- * A technical sense of this word, seems indispensable. 88 EMPHATIC CLAUSE. scurity, if carried out of its proper limits. Beyond these, I can no more tell why sorrow or supplication incline the voice to the rising slide, while indignation or command in- cline it to the falling, than I can tell why one emotion flashes in the eye, and another vents itself in tears. Nor is it reasonable to demand such explanations on this sub- ject as are not expected on any other. The logician rests in his consciousness and his experience as the basis of ar- gument ; and philosophy no more requires or allows us to push our inquiries beyond first principles or facts, in el- ocution, than in logic. 23] In closing these remarks on emphatic inflection, the reader should be reminded that the distinction sug- gested p. 43, between the common and the intensive in- flection, applies to every part of the subject. As empha- sis varies with sentiment in degrees of strength, it requires a correspondent difference in the force, the elevation of note, and the extent of slide, which distinguish important words. 24] Emphatic Clause. Before I dismiss the article of emphasis, one or two points should have some notice, because they belong to the general subject, though not distinctly classed under the foregoing heads. It will be readily perceived that the stress proper to be laid on any single word, to denote its importance, de- pends much on the comparative stress with which other words in the same sentence are pronounced. A whis- per, if it is soft or strong according to sense, maybe as truly discriminating as the loudest tones. The voice EMPHATIC CLAUSE. 89 should be disciplined to this distinction, in order to avoid the common fault, which confounds vociferation with em- phatic expression. Many, to become forcible speakers, utter the current words of a sentence in so loud a tone, that the whole seems a mere continuity of strong, articu- late sounds; or if emphatic stress is attempted on partic- ular words, it is done with such violence as to offend against all propriety. This is the declamatory manner. The power of emphasis, when it belongs to single words, depends on concentration. To extend it through a sen- tence is to destroy it. But there are cases in which more than common stress belongs to several words in succession, forming an emphatic clause. This is sometimes called general em- phasis. In some cases of this sort, the several syllables have nearly equal stress : thus ; Heaven and earth will witness, If — Rome — must — fall, that we are innocent. In uttering this emphatic clause, the voice drops its pitch, and proceeds nearly in a grave, deliberate monotone. In other cases, such a clause is to be distinguished from the rest of the sentence, by a general increase of force ; and yet its words retain a relative difference among themselves, in quantity, stress, and inflection. This ap- pears in the indignant reply of the youthful Pitt, to his aged accuser in debate ; But youth, it seems, is not my only crime ; I have been accus- ed, — of acting a theatrical part. And afterwards, arraigning the ministry, he said, \s to the present gentlemen, — I cannot give them my confi- 90 EMPHATIC CLAUSE. deuce. Pardon me, gentlemen, — conjidtnct is a plant of slow growth. In both these cases the emphatic thought belongs to the whole clause, as marked, requiring a grave, under-tone ; but one word in each must have more stress than the rest, and a note somewhat higher. The want of proper distinctions as to the emphatic clause, occasioned, if I mistake not, the difference of opin- ion between Garrick and Johnson respecting the seat of em- phasis in the ninth commandment ; " Thou shalt not bear false witness against thy neighbor." Garrick laid the stress on shalt, to express the authority of the precept ; Johnson on not to express its negative character. But clearly both are wrong, for in neither of these respects is this command to be distinguished from others with which it is connect- ed. And if we place the stress on false or on neighbor. still an antithetic relation is suggested, which does not ac- cord with the design of the precept. Now let it be ob- served, that here is a series of precepts forbidding certain sins against man, our neighbor. Each of these is intro- duced with the prohibitory phrase, " thou shalt not," and then comes the thing forbidden ; in the sixth, kill; — in the eighth, steal; — in the ninth, " bear false witness." This shows the point, of emphatic discrimination. In the latter case, the stress falls not on a single word, but on a clause, the last word of this clause, however, in the present case, demanding more stress than either of the others. One more example may make this last remark still plainer. Suppose Paul to have said merely, " I came not to baptize, but to preach" The contrast expressed EMPHATIC CLAUSE. 91 limits the emphasis to two words. But take the whole sentence as it is in Paul's language , " I came not to bap- tize, but to preach the gospel ;" — and you have a con- trast between an emphatic word, and an emphatic clause. And though the sense is just as before, you must change the stress in this clause from preach, to gospel, or you ut- ter nonsense. If you retain the stress on preach, the par- aphrase is " I came not to baptize the gospel, but to preach the gospel." DOUBLE EMPHASIS. This is always grounded on antithetic relation, ex- pressed in pairs of contrasted objects. It will be suffi- ciently illustrated by a very few examples. The young are slaves to novelty, the old to custom. And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine ovm eye ? There is but one remark, which is important to be made in this case. In such a reduplication of emphasis, its highest effect is not to be expected. In attempting to give the utmost significance to each of the terms standing in close succession, we are in danger of diminishing the amount of meaning expressed by the whole. The only rule that can be adopted is so to adjust the stress and in- flection of voice on the different terms as shall most clear- ly, and yet most agreeably convey the sense of the entire passage. CHAP. VI. MODULATION. I use this term in the largest sense, as a convenient one to denote that variety in managing the voice, which ap- pears in the delivery of a good speaker.* This includes a number of distinct topics, which may perhaps with suf- ficient exactness be brought together in one chapter. Sect. 1. — Faults of Modulation. 1. Monotony. The remark has been made in a former page, that the monotone, employed with skill, in pronouncing a sim- ile, or occasionally an elevated or forcible thought, may have great rhetorical effect. Its propriety in such a case, is felt instinctively ; just as other movements of the voice are felt to be proper, when they are prompted by genius and emotion. But the thing I mean to condemn has no * Though \ admire precision in language, 1 must here again express my dissent from all needless distinctions on a subject so practical as this. Wright in his Elocution considers tune as equiv- alent to variety, harmony, cadence ; and tone, as equivalent to strength and compass ; and criticises Sheridan for making no such distinction. But surely no distinction and no definition of terms is as good as one too loose to be of any value. Technical terms eve- ry art and science must have ; but modern taste has very properly dispensed with a large proportion of those terms, which make the technical nomenclature of ancient rhetoric a greater burden to memory than the acquisition of a new language. FAULTS OF MODULATION. 93 such qualities to give it vivacity. It is that dull repetition of sounds, on the same pitch, and with the same quantity, which the hearers are ready to ascribe, (and commonly with justice,) to the want of spirit in the speaker. They easily excuse themselves for feeling no interest in what he says, when apparently he feels none himself. Want of variety is fatal to vivacity and interest in delivery, on the same principle that it is so in all other cases. Let the poet be confined to one undeviating succes- sion of syllables and of rhyme, and who would be en- chanted with his numbers f Let the painter be con- fined to one colour, and where is the magic of his art ? What gives its charm to the landscape ? — What gives life to the countenance, and language to the eye as represent- ed on the canvass ? Not such a use of colours as fits the character of a post or ceiling, all white, or all red ; but such a blending of colours as give the variety of life and intelligence. The same difference exists between a heavy, uniform movement of the voice, and that which corresponds with real emotion. In music a succession of perfect concords, especially on the same note, would be intolerable. 2. Mechanical variety. An unskilful reader perhaps is resolved to avoid mo- notony. In attempting to do this, he may fall into other habits, scarcely less offensive to the ear, and not at all more consistent with the principles of a just elocution. In uttering a sentence, he may think nothing more is neces- sary, than to employ the greatest possible number of notes ; and thus his chief aim is to leap from one extreme to an- D4 FAULTS OF MODULATION. other of his voice. In a short time, this attempt at variety becomes a regular return of similar notes, at stated inter- vals. Another defect, of the same sort, arises from an at- tempt to produce variety by a frequent change of stress. The man is disgusted with the plodding uniformity that measures out syllables and words, as a dragoon does his steps. He aims therefore at an emphatic manner, which shall give a much greater quantity of sound to some words than to others. But here too the only advantage gained is, that we exchange an absolute for a relative sameness ; for the favorite stress returns periodically, without regard to sense. There is still another kind of this uniform variety, which is extremely common at our public schools and colleges, and from them is carried into the different de- partments of public speaking. It consists in the habit of striking a sentence at the beginning, with a high and full voice, which becomes gradually weaker and lower, as the sentence proceeds, especially if it has much length, till it is closed perhaps with one quarter of the impulse with which it commenced. Then the speaker, at the beginning of a new sentence, inflates his lungs, and pours out a full volume of sound for a few words, sliding downward again, as on an inclined plane, to a feeble close. Besides the effort at variety, which often produces this fault, it is in- creased in many cases, by that labor of lungs, and that unskilfulness in managing the breath, which attends want of custom in speaking. The man who has this habit, (and not a few have it, as any one would perceive, who should place himself just within hearing distance of twen- MODULATION. REMEDIES. 95 ty public speakers, successively,) should spare no pains to overcome it, as a deadly foe to vivacity and effect in delivery. Sect. 2. — Remedies. The measures primarily to be adopted in regard to these habits, will be suggested here, while others that have an important bearing on the subject will come into view in the following sections. To find an adequate remedy for any of the above de- fects in modulation, we must enter into the elementary principles of delivery. As the meaning of what we read or speak is supposed continually to vary, that elocution which best conforms to sense, will possess the greatest variety. 1. The most indispensable attainment then, towards the cure of bad habits in managing the voice, is the spirit of emphasis. Suppose a student of elocution to have a scholastic tone, or some other of the faults mentioned above ; — teach him emphasis, and you have taken the most direct way to remove the defect. It is difficult to give a particular illustration of my meaning, except by the living voice ; but the experiment is worthy of a trial, to see if the faulty manner cannot be represented to the eye. Read the following passage from the Spectator ;* recol- lecting, at the beginning of each sentence, to strike the words in the largest type 5 with a high and full voice, grad- ually sinking away in pitch and quantity, as the type di- minishes, to the close. * No. 411. 00 MODULATION. REMEDIES. EXAMPLE. OUR SIGHT IS THE MOST PERFECT, AND MOST DE- LIGHTFUL, of all our senses. IT FILLS THE MIND WITH THE LARGEST VARIETY OF IDEAS, CONVERSES" WITH ITS OBJECTS AT THE GREATEST DISTANCE, AND CONTINUES THE LONGEST IN ACTION WITHOUT BEING TIRED OR SATIATED WITH its proper enjoyments. THE SENSE OF FEELING CAN IN- DEED GIVE US A NOTION OF EXTENSION, SHAPE, AND ALL OTHER IDEAS THAT ENTER AT THE EYE, EXCEPT COLOURS. AT THE SAME TIME, IT IS VERY MUCH CONFINED IN ITS OPERATIONS TO THE NUMBER, BULK, AND DISTANCE OF ITS PARTICULAR OB- JECTS. If Rhetoric had a term, something like the diminuendo of musicians, it might help to designate the fault here re- presented, consisting in the habit of striking sentences with a high and strong note, for a few words, and then falling away into a feeble close. If you succeed in understanding the above illustration, then vary the trial on the same example, with a view to another fault, the periodic stress and tone. Take care to speak the words printed in small capitals with a note sensibly higher and stronger than the rest, dropping the voice immediately after these elevated words, into an un- dulating tone, on the following syllables, — thus ; Our sight is the most perfect, and most delightful of all our senses. It fills the mind with the largest variety of ideas, con- verses with its objects at the greatest distance, and continues the longest in action without being tired or satiated with its propel enjoyments. The sense of feeling can indeed give us a notion of extension, shape, and all other ideas that enter at the eye ex- MODULATION. REMEDIES. 9? cept colours. At the same time, it is very much confined in its operations, to the number, bulk and distance of its particular ob- jects*. It is necessary now to give this same passage once more, so distinguishing the chief words by the Italic char- acter as to exhibit the true pronunciation. Our sight is the most perfect and most delightful of all our sen- ses. It fills the mind with the largest variety of ideas ; converses with its objects at the greatest distance ; and continues the longest in action, without being tired or satiated with its proper enjoy- ments. The sense of feeling can indeed give us a notion of exten- sion, shape, and all other ideas that enter at the eye, except colours. At the same time it is very much confined in its operations, to the number, bulk, and distance of its particular objects. Only two or three of the words as here marked require intensive emphasis, and that not of the highest kind ; and yet the student will perceive that a discriminating stress on the words thus marked, will regulate the voice, of course, as to all the rest ; and so render a scholastic tone impossible. * Walker's ear, though in cases of emphatic inflection, very dis- criminating, seems in other cases to have been perverted by his the- ory of harmonic inflection, as appears from his manner of pronoun- cing the following couplet, which nearly coincides with the tone I am condemning. A brave man struggling in the storms of fate, And greatly falling, with a falling state. I am aware that it is difficult to represent this scholastic tone by any description to the eye. One who is acquainted with music may readily analyse any unseemly tone, by examining the intervals of the notes above and below the key note of the sentence, in the few syllables to which the tone is confined. This analysis would give a precision to his knowledge of the subject, that would be valuable in practice. The hint may be sufficient to those who have skill and patience for such inquiries ; and to others, any ex- tended explanations would be useless. 9 98 MODULATION. REMEDIES. But as no word in the foregoing passage is strongly emphatic, my meaning may be more evident from an ex- ample or two, where a discriminating stress on a single word, determines the manner in which the following words are to be spoken. Take this couplet from Pope, and read it first with the metrical accent and tone, thus ; What the weak head, with strongest bias rules, Is pride, the never failing vice of fools. Now let it be observed that in these lines there is really but one emphatic word, namely pride, ii we mark this with the strong emphasis, and the falling inflection, the following words will of necessity be spoken as they should be, dropping a note or two below the key note of the sentence,* and proceeding nearly on a monotone to the end ; — thus ; — What the weak head, with strongest bias rules, Is ^ the never failing vice of fools. Another example may help to render this more intelli- gible. Must we the author of the public caldm x Or must we des ^ the author of the public calamities ? * By key note, I mean the prevailing note, that which you hear when a man reads aloud in another room, while you cannot dis- tinguish any words that he utters. MODULATION. REMEDIES. 99 In pronouncing these examples, which I trust need not be farther explained, some trifling diversities might doubtless be observed in different readers of equal taste. But if the proper sound is given to the emphatic words, all the rest must be spoken essentially as here described. It follows that the most direct means of curing artificial tones, is to acquire a correct emphasis. But. — 2. In order to this, another attainment seems indis- pensable, namely, some good degree of discrimination as to vocal tones and inflections. This has been more than once adverted to in the foregoing pages ; but it is intro- duced here as inseparably connected with a just modula- tion. That correct emphasis, which is the best remedy for perverted habits of voice, is not always a spontaneous attendant on good sense and emotion. Its efficacy is of- ten frustrated by the strength of those habits which it might overcome, if there were sufficient knowledge of the sub- ject to apply the remedy. There is something of the ludicrous in the attempt to imitate unseemly tones in speaking ; and those who are unpractised in it, generally feel reluctant to make the at- tempt at first, especially in the presence of others. For the same reason they are reluctant to have their own faul- ty manner in reading a sentence imitated, or to repeat again and again their own attempts to correct it. And some who can imitate a sound immediately after hearing it from another voice, suppose this to be the only way in which it can be done. But let a thousand persons who understand the English language, repeat the familiar ques- tion, " Do you expect to go, or stayV — And will not ev- ery one of the thousand give the same turn of voice on 100 MODULATION. REMEDIES. the words in Italics ? Where is the difficulty then of placing such a mark on these turns of voice, that they may be transferred to any other word ? This simple prin- ciple suggested to Walker his notation of sounds for the eye ; and incomplete as it is, something of the kind is so necessary to the student of elocution, that, without it, the aid of a living teacher cannot supply the defect. And in most cases, nothing is wanting to derive advantage from such a theory but a little patience and perseverance in its application.* * A few years since, I desired a young gentleman to take the fol- lowing sentence ; u I tell you though yuu, though all the world, though an angel from heaven, should declare the truth of it, I could not believe it ;" — and read it to me in four different ways, which I described to him in writing, without making with my voice any of the sounds which I wished him to represent. My directions were these ; 1. Read it with the monotone. 2. Without any slide on the emphatic words, raise them one note above the key tone of the sentence, and read the rest in the monotone. 3. Give the emphatic words the rising slide through three or four notes above the key, and end with the common oadence. 4. Give the same words the falling slide, with increase of force as you proceed ; beginning the slide on you one note above the key, that on world two, and that on heaven three. — The young gentleman, without having acquired, so far as I knew, any uncom- mon skill in vocal inflections, at the appointed time repeated the passage according to my directions, and almost exactly in the man- ner I had intended. The last mode of reading is that which I des- cribed at page 62 ; and the other three modes I may leave without farther elucidation to those who have the curiosity to engage in such an exercise. The second mode, it will be seen, is one species of what is often called the conventicle tone ; and another sort of this cant, would be represented by reading all the words in monotone, ex- cept the parts in the following specimen printed in Italic, which should be raised two notes above the key. " I tell you though you, though all the world, though an angel from heaven^ should declare the truth of it, I could not believe it." Such an exercise might well seem trifling in a man of elevated views, were it not impor- tant to bring his voice under discipline, by analysing its powers, and that for the purpose of correcting his own faults in modulation. MODULATION. REMEDIES. 101 It was my intention to remark, at more length than my limits in this place will allow, on the benefit which a public speaker may derive from acquaintance with vocal music. The want of this does by no means imply a cor- respondent deficiency in elocution. There have been or- ators who had no skill in music. And constant observation shows that a man may be a fine singer and yet be no orator. Vocal organs and skill, of the first order, he may possess, and yet have neither the strength nor furniture of intel- lect, nor the high moral sensibility which eloquence de- mands. As a speaker, he may fail too in modulation of voice, so as not even to read well. But while all this is admitted, we must say of this good singer and bad read- er, what w x e cannot always say of another man, — he is utterly without excuse. With discriminating ear, and perfect command of his voice, why has he a bad modula- tion in delivery ? — His talent is hid in a napkin ; — he is too slothful to use a gift of his Creator, which in posses- sion of another man, might be an invaluable treasure. Par- adox as it may seem, it is only the plain statement of a well known fact, to say, that many a man, while devoting ten years to studies preparatory to professional life, delib- erately looks forward to his main business, as one in which his success and usefulness must depend on his talent in speaking, — yet takes no pains to speak well ! Perhaps, of these ten years, he does not employ one entire week in all, to acquire this talent, without which all other acquisi- tions are, to his purposes, comparatively useless ! Without any enthusiastic estimate of the collateral ad- vantages which the student of oratory might derive from musical skill, it may be said that the same strength, dis* 9* 102 MODULATION. REMEDIES. tinctness, smoothness, and flexibility of voice, which mu- sic both requires and promotes, are directly subservient to the purposes of elocution. And at least so much practi- cal knowledge of music, as readily to mark with the ear and voice, the difference between high and low, strong and feeble notes, greatly facilitates that analysis of speak- ing tones, which enables one to understand his own faults, and to make such a sound, in a given case, as he wishes to make. I might add here, that I am not advancing any new- theory on this subject. Quinctilian devotes a chapter to the connexion between eloquence and music ; and advi- ses the young orator to study this latter art, as an impor- tant auxiliary in the care and management of his voice. And a spirited French w T riter, speaking of bad tones in the pulpit, says, " I much wish that young preachers would not neglect any means of forming their voice and improv- ing their ear ; for which purpose, the knowledge and prac- tice of vocal music, would be very useful to them." There are indeed weighty reasons, not applicable to other men, why they who are devoted to the sacred of- fice should cultivate an acquaintance with this sacred, fine art. It'elevates and sanctifies the taste of a Christian scholar. It prepares the minister of the gospel to employ an influence in regulating the taste of others ; an influence that shall be salutary, and becoming his office, or at least, not pernicious, in regard to the style of music that is adapted to public devotion. Till Christian pastors be- come generally better qualified to exert such an influence, it will not be strange if this department of public worship shall continue in the hands of authors, and teachers, and PITCH OF VOICE. 103 performers, who will so conduct its solemn services as to extinguish rather than inspire devotional feeling. Besides, the minister who knows nothing of the science of adapta- tion, as applied to music and poetry, will often select hymns so unpoetical that they cannot possibly be sung with discrimination and spirit ; or perhaps a hymn that is full of inspiration he will read with so little feeling, that it will almost of course be sung in a manner equally inani- mate. Sect. 3. — Pitch of Voice. This is a relative modification of voice ; by which we mean that high or low note, which prevails in speaking, and which has a governing influence upon the whole scale of notes employed. In every man's voice this governing note varies with circumstances, but it is sufficiently exact to consider it as threefold ; the upper pitch, used in call- ing to one at a distance ; the middle, used in conversa- tion ; and the lower, used in cadence, or in a grave, em- phatic under key. Exertion of voice on the first, exposes it to break ; and on the last, renders articulation thick and difficult, and leaves no room for compass below the pitch. The middle key, or that which we spontaneously adopt in earnest conversation, allows the greatest variety and ener- gy in public speaking, though this will be raised a little by the excitement of addressing an assembly. To speak on a pitch much above that of animated conversation, fatigues and injures the lungs ; though this, of all mistakes, is the one into which weak lungs are most likely to fall. The speaker then, by his own experiment, or, (if he wants the 104 PITCH OF VOICE. requisite skill,) by the aid of some friend, should ascertain the middle key of his own voice, and make that the basis of his delivery. Whether this is high or low compared with that of another man, is not essential, provided it be not in extreme. Among the first secular orators of Brit- ain, some have spoken on the grave, bass-key ; while Pitt's voice, it is said, was a full tenor, and Fox's a tre- ble. The voice that is on a bass-key, if clear and well ton- ed, has some advantages in point of dignity. But a high tone, uttered with the same effort of lungs, is more audi- ble than a low one. Without referring to other proofs of this, the fact just now mentioned is sufficient, that we spontaneously raise our key in calling to one at a dis- tance ; for the simple reason that we instinctively know he will be more likely to hear us in a high note than a low one. So universal is this instinct, that we may ob- serve it in very little children, and even in the call and response of the parent bird and her young, and in most brute animals that have voice. The same principle doubt- less explains another fact recently alluded to, that feeble lungs are inclined to a high pitch ; this being the effort of weakness, to make up what it lacks in power, by eleva- tion of key ; an effort which succeeds perfectly for a few words, but produces intolerable fatigue by being continu- ed. The influence of emotion on the voice, is also among the philosophical considerations pertaining to this subject. A man under strong intellectual excitement, walks with a firmer and quicker step than when he is cool ; and the same excitement which braces the muscles, and gives en- IWH PITCH OF VOICE. 105 ergy to the movements of the body, has a correspondent effect on the movements of the voice. Earnestness in common conversation assumes a higher note, as it pro- ceeds, though the person addressed is at no greater dis- tance than before. A practical corollary from these suggestions is, that the public speaker should avoid a high pitch, at the he- ginning of his discourse, lest he rise with the increase of in- terest to a painful and unmanageable elevation. Through disregard of this caution, some preachers, of warm tem- perament, sacrifice all command of their voice as they be- come animated, and rather scream than speak. Blair lays it down as a useful rule, in order to be well heard, — " To fix our eye on some of the most distant persons in the assembly, and to consider ourselves as speaking to them." But to apply this rule to the outset of a discourse, would probably lead nine out of ten, among unpractised speakers, to err by adopting too high a pitch. Walker, on the other hand, advises to commence, — " as though addressing the persons who are nearest to us." This might lead to an opposite extreme ; and the safest gener- al course perhaps is to adapt the pitch to hearers at a medium distance. Hearers are apt to be impatient, if a speaker compels them to listen ; though they more readily tolerate this fault at the beginning, than in any other part of a discourse. The preacher is certainly without excuse who utters his text in so low a voice as not to be understood, and the special necessity for avoiding this, is probably a sufficient reason for the good old practice of naming the text twice. But for a few sentences of the exordium, where the sen- 10G QUANTITY. timent commonly requires composure and simplicity, it is better to be scarcely audible, than to shun this inconve- nience by running into vociferation. The proper means of avoiding both extremes is to learn the distinction between force and elevation; and to acquire the power of swelling the voice on a low note. This introduces our next topic of consideration. Sect. 4. — Quantity. This term I use not in the restricted sense of gram- marians and prosodists, but as including both the fulness of tone, and the time in which words and sentences are uttered. With this explanation I hope I may be permit- ted to use the term in a sense somewhat peculiar, without touching the endless discussion it has awakened in anoth- er department. In theory, perhaps every one can easily understand, that a sound may be either loud or soft, on the same note. The only difference, for example, betwixt the sound pro- duced by a heavy stroke and a gentle one, on the same bell, is in the quantity or momentum. This distinction, as applied to music, is perfectly familiar to all acquainted with that art. As applied to elocution, however, it is not so easily made ; for it is a common thing for speakers to confound high sounds with loud, and low with soft. Hence we often hear it remarked of one that he speaks in a low voice, when the meaning is, a feeble one ; and perhaps if he were told that he is not loud enough, he would instantly raise his key, instead of merely increasing his quantity on the same note. But skill in modulation QUANTITY. 107 requires that these distinctions should be practically un- derstood. And if any one who has given no attention to this point, thinks it too easy to demand attention, he may be better satisfied by a single experiment. Let him take this line of Shakspeare, O, you hard hearts, you cruel men of Rome ! and read it first in a voice barely audible. Then let him read it again and again, on the same pitch, doubling his quantity or impulse of sound, at each repetition, and he will find that it requires great care and management to do this without raising his voice to a higher note. As it is a prime requisite in a public speaker, that he be heard with ease and pleasure, the importance of his being able to swell his voice to a loud and full sound, with- out raising his pitch, must be apparent. As a general rule, that voice is loud enough, which perfectly fills the place where we speak ; or, in other words, which perfect- ly reaches the hearers, with a reserve of strength to en- force a passage, in which sentiment demands peculiar en- ergy. The inconvenience of a feeble voice in a public speaker is great. He will either fail to be heard at all, or will be heard with so much difficulty, that his auditors are sub- jected to the drudgery of a laborious listening to spell out his meaning. Besides, there are circumstances, of no uncommon oc- currence, by which this inconvenience is specially aggra- vated. Among these may be mentioned the injudicious structure of buildings, the chief design of which is adap- tation to public speaking, such as legislative and judicial 108 QUANTITY. halls, and Christian churches. The purpose of these buildings is sometimes nearly frustrated by immoderate size ; by extreme height of the ceiling ; and in churches particularly, by the multiplication of ill-formed arches, so constructed as to return a strong broken echo, — by the bad arrangement of galleries, and the sounding-board, adjusted close to the speaker's head. Sometimes too, even the secular orator, and much of- tener the preacher, is called to speak in the open air ; or on the other extreme, to speak in a private apartment, so crowded as hardly to admit of free respiration. In such cases the common disadvantages of a feeble voice are much increased. If the inquiry be made, on what does strength of voice depend ? — I answer, First, it depends primarily on perfect organs of speech. As it is important for the professed speaker to know some- thing of these wonderful organs, with the preservation and use of which he is so much concerned, a brief enumera- tion of them may be proper here. Of these, the lungs have the first place. Mere vigor in this organ, is not of course attended with vocal power, but the latter cannot exist without the former. Other things being equal, he who has the best conformation of chest, and the most forcible action of lungs, will have the strongest voice. Fish, and those insects that have no lungs, have no voice. Next is the trachea, that elastic tube by which air pas- ses to and from the lungs ; to the length of which in some birds, is ascribed the uncommon power of their voice. At the upper end of this, is the larynx, a cartilaginous box, QUANTITY. 109 of the most delicate, vibratory power, so suspended by muscles as to be easily elevated or depressed. The glottis is a small aperture, (at the top of the larynx,) by the di- latation or contraction of which sound becomes more acute or more grave. To secure this aperture from injury, while food passes over it to the stomach, it is closed by a perfect valve, called the epiglottis. These are organs of sound, but not of speech, without the aid of others adapted to articulation, — namely, the tongue, the palate, the nostrils, the lips and teeth. My limits do not allow me to examine minutely the wonderful adaptation of these latter organs to their end, nor the mode of their action in forming articulate sounds. Such an ex- amination is unnecessary to one who has patience to make it himself, — and to others, it would be useless. Secondly, next to the importance of good organs, in giving strength of voice, is the proper exercise cf these or- gans. The habit of speaking gave to the utterance of Garrick so wonderful an energy, that even his under key was distinctly audible to ten thousand people. In the same way the French missionary Bridaine brought his vocal powers to such strength, as to be easily heard by ten thou- sand persons, in the open air ; and twice this number of lis- tening auditors were sometimes addressed by Whitefield. The capacity of the lungs to bear the effort of speaking with a full impulse, depends much on their being accus- tomed to it. If I were to give directions to the student, as to the means of strengthening his voice by exercise, they would be such as these. (1) Whenever you use your voice, on common occa- sions, use as much voice, as propriety will permit. The 10 110 QUANTITY. restriction here intended must be applied by common sense. (2) Read aloud, as a stated exercise. [See 3. p. 31.] This was a daily practice of the first statesmen and gener- als of Rome, even in the midst of campaigns, and public emergencies ; and it was by such a habit of reading and declamation in private, that the sons of these men were trained to a bold and commanding oratory. An erect, and commonly a standing posture, in such exercises, gives the fullest expansion to the chest and lungs. (3) In public speaking, avoid all improper efforts of the lungs. These arise chiefly from speaking on too high a key, a fault noticed above ; from extreme anxiety to accommodate delivery to hearers who are partially deaf; and from attempts to go through a long discourse, with such a degree of hoarseness as greatly augments the la- bor of the lungs. Thirdly, to preserve the lungs, and give strength to the vocal powers, it is necessary to avoid those habits by which public speakers are often injured ; — such as, (1) Bad attitudes of study, especially of writing, which cramp the chest and obstruct the vital functions. (2) Late preparations, by which the effort of public delivery immediately succeeds the exhaustion of intense and long continued study. (3) Full meals immediately before, and stimulating drinks immediately before or after speaking. (4) Inhaling cold air by conversation, and sudden change of temperature, when the lungs are heated by speaking. There is one general precaution, I may add, that QUANTITY. HI comprises and in some measure supersedes all others on this subject, namely, that strength of the vocal powers is to be promoted only by sustaining the general vigor of the constitution. The fatal prevalence of pulmonary disease, among literary men, especially ministers of the gospel, is commonly ascribed to their peculiar labors in public speaking. But with much more reason might it be as- cribed, chiefly, to their habits as men of study. The gen- eral intelligence and spirit of the age render high acquisi- tions and efforts indispensable, in order to distinguished use- fulness. Years of preparatory study, devoted to intense reading and thought, often impair tire tone of health, so that the superaddition of professional exertions soon fin- ishes the work of prostration. The young preacher, of ardent feelings, is eminently in danger of falling an early victim to the combined influence of these causes. Be- sides the weekly composition of sermons, a labor that has no parallel in any other profession, an accumulation of pastoral duties, new, and vast in importance, press him down from day to day, till he sinks, under this load of du- ties, into the grave ; or drags on the precarious existence of an invalid, with broken lungs, and emaciated frame. Now the case is summed up in a few words. The public speaker needs a powerful voice. The quantity of voice which he can employ, at least, can employ with safe- ty, depends on his strength of lungs ; and this again de- pends* on a sound state of general health. If he neglects this, all other precautions will be useless.* * The foregoing suggestions on strength of voice, are only an outline of the more particular and extended illustration given to this part of the subject in my Lectures on Delivery. / 112 QUANTITY. So much for this part of rhetorical modulation, in which a just quantity requires, that the impulse or momentum of voice be accommodated to sentiment, from the whisper of the fire-side, designed only for one hearer, to the thun- der of Bridaine, addressing his ten thousand. But besides strong and feeble tones, as belonging to quantity, it includes also a proper regard to time. This respects single words, clauses, and sentences. No varie- ty of tones could produce the thrilling effects of music, if every note were a semibreve. So in elocution, if every word and syllable were uttered with the same length, the uniformity would be as intolerable as the worst monotony. This is illustrated in the line which Pope framed purpose- ly to represent a heavy movement ; — And ten low words oft creep in one dull line. The quantity demanded on each of these monosyllabic words, renders fluency in pronunciation quite impractica- ble. On the other hand, in a line of poetry, which has a regular return of accent on every second or third syllable, we find a metrical pronunciation, so spontaneously adopt- ed, as often to require much caution, not to sacrifice sense to harmony. Some, I am aware, maintain the theory that prose, in order to be well delivered, must be reduced, mentally at least, into feet. But he must be litttle less than a magician, who can break into the measure of proso- dy such a sentence as this ; — " The Trinity is a mystery which we unhesitatingly believe the truth of, and with hu- mility adore the depth of." The easy flow of delivery requires that particles, and subordinate syllables, should be touched as lightly as is QUANTITY. 113 consistent with distinctness; while both sentiment and harmony demand, that the voice should throw an increase of quantity upon important words, by resting on them, or by swell and protraction of sound, or both. Tiius while pitch relates only to the variety of notes, as high or low, that of quantity is twofold ; namely, the variety of impulse, as loud or soft, and the variety of time, as quick or slow. The martial music of the drum has no change of notes, as to tune, being dependent wholly on quantity ; and there- fore has much less vivacity than the fife, which combines the varieties of tune, and impulse, as well as time. The amount of all these remarks is, that he whose voice ha- bitually prolongs short syllables, and such words as and, from, to, the, &ic. must be a heavy speaker. But time in elocution, has a larger application than that which respects words and clauses, I mean that which respects the general rate of delivery. In this case, it is not practicable, as in music, nor perhaps desirable, to es- tablish a fixed standard, to which every reader or speak- er shall conform. The habits of different men may differ considerably in rate of utterance, without being chargea- ble with fault. But 1 refer rather to the difference which emotion will produce, in the rate of the same individual. 1 have said before, that those passions which quicken or retard a man's step in walking, will produce a similar ef- fect on his voice in speaking. Narration is equable and flowing ; vehemence, firm and accelerated ; anger and joy, rapid. Whereas dignity, authority, sublimity, awe, — assume deeper tones, and a slower movement. Ac- cordingly we sometimes hear a good reader or speaker, when there is some sudden turn of thought, check himself in the full current of utterance, and give indescribable 10* 114 RHETORICAL PAUSE. power to a sentence, or part of a sentence, by dropping his voice, and adopting a slow, full pronunciation. Sect. 5. — Rhetorical Pause. This has a very intimate relation to the subject of the foregoing section. As quantity in music, may consist partly of rests, so it is in elocution. A suspension of the voice, of proper length, and at proper intervals, is so in- dispensable that, without this, sentiment cannot be expres- sed impressively, nor even intelligibly, by oral language. In delivery indeed, these suspensions of sound are ac- companied by other and surer marks of their signifi- cance, than mere time; as the whole doctrine of vocal in- flections implies. They are combined with appropriate notes of the voice, which declare at the instant, whether the sense is to be continued in the same sentence ; — when the sentence is declarative, and when interrogative ; when it is finished ; and in general, whether it expresses sim- ple thought, or thought modified by emotion. According- ly, rhetorical punctuation has a few marks of its own, as the point of interrogation, and of admiration, the parenthe- sis, and the hyphen, all of which denote no grammatical relation, and have no established length. And there is no good reason, if such marks are used at all, why they should not be rendered more adequate to their purpose. The interrogative mark, for example, is used to de- note, not length of pause, but appropriate modification of voice at the end of a question. But it happens that this one mark, as now used, represents two things, that are RHETORICAL PAUSE. 115 exactly contrary to each other. When the child is taught, as he still is in mauy schools, to raise his voice in finish- ing a question, he finds it easy to do so in a case like this, — " Will you go to-day f" — " Are they Hebrews V But when he comes to the indirect question, not answered by yes or no, his instinct rebels against the rule, and he spon- taneously reads, with the falling slide, — " Why are you silent'? Why do you prevaricate?" Now, in this latter case, if the usual mark of interrogation were inverted, ( He can debate on weather side of the question. ) 9. Who ever imagined such an ocean to exist ? Who ever imagined such a notion to exist I 2.] Page 28. Difficult succession of consonants without accent. 1. He has taken leave of terrestrial trials and enjoy- ments, and is laid in the grave, the common receptacle and home of mortals. 2. Though this barbarous chief received us very cour- teously, and spoke to us very communicatively at the first interview, we soon lost our confidence in the disinterest- edness of his motives. • • 3. Though there could be no doubt as to the reason- ableness of our request, yet he saw fit peremptorily to re- 15 170 EXERCISES ON INFLECTION. [Ex. 3, 4. fuse it, and authoritatively to require that we should de- part from the country. As no alternative was left us, we unhesitatingly prepared to obey this arbitrary mandate. 3.] Page 29. Tendency to slide over unaccented vowels. The brief illustration of this at p. 30 is perhaps sufficient. EXERCISES ON INFLECTION". 4.] Page 47. The disjunctive (or) has the rising in- flection before, and the falling after it. 1. Then said Jesus tinto 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 ? 2. Whether we are hurt by a mad or a blind man, the pain is still the same. And with regard to those who are undone, it avails little whether it be by a man who deceives them, or. by one who is himself deceived. 3. Has God -forsaken the works of his own hands ? or does he always graciously preserve, and keep and guide them ? 4. Therefore, O ye judges ! you are now to consid- er, whether it is more probable that the deceased was murdered by the man who inherits his estate, or by him, who inherits nothing but beggary by the same death. By the man who was. raised from penury to plenty, or by him who was brought from happiness to misery. By him whom the lust of lucre has inflamed with the most invet* Ex. 5.] EXERCISES ON INFLECTION. 171 erate' hatred against his own relations; or by him whose life was such, that he never knew what gain was but from the product of his own labours. By him, who, of all dealers in the trade of blood, was the most audacious ; or by him who was so little accustomed to the forum and trials, that he dreads not only the benches of a court, but the very town. In short, ye judges, .what I think most to this point is, you are to consider whether it is most likely that an enemy, or a son, would be guilty of this murder. 5. As for the particular occasion of these (charity) schools, there cannot any offer more worthy a generous mind. Would you do a handsome thing without return ? — do it for an infant that is not sensible of the obligation.* Would you do it for the public good ? — do it for one who will be an honest artificer. Would you do it for the sake of heaven ? — give it for one who shall be instructed in the worship of Him for whose sake you gave it. 5.] Page 47. The direct question has the rising inflec- tion, and the answer has the falling. 1. Will the Lord cast off for ever ? and will he be favourable no more . ? Is his mercy clean gone for ever ? doth his promise fail for evermore ? Hath God forgotten to be gracious ? hath he in anger shut up his tender mercies f 2. Is not this the carpenter's son ? is not his mother called Mary ? and his brethren, James, and Joses, and Simon, and Judas . ? and his sisters, are they not all with us ? 3. Are we intended for actors in the grand drama of . * Disjunctive or is understood. 172 EXERCISES ON INFLECTION. [Ex. 5. eternity? Are we candidates for the plaudit. of tire ra- tional creation ? Are we formed to participate the su- preme beatitude in communicating happiness? Are we destined to co-operate with God in advancing the order and perfection of his works ? How sublime a creature then is man ! ■ 4. Can we believe a thinking being, that is in a per- petual progress of improvements,, and travelling on from perfection to perfection, after having just looked abroad into the works of its creator, and made a (ew discoveries of his infinite goodness, wisdom, and power, must perish at her first setting out, and in the very beginning of her inquiries ? The following are examples of both question and answer, 5. Who are the persons -that are most apt to fall into peevishness and dejection — that are continually complain- ing of the world, and see nothing but wretchedness around them ? Are they those whom want compels to toil for their daily bread— who have no treasure but the labor of their hands—who rise with the rising sun to expose them- selves to all the rigors of the seasons, unsheltered from the winter's cold, and unshaded from the summer's heat ? No. The labors of such are the very blessings of their condition. 6. What, then, what was Caesar's object? Do we se- lect extortioners, to enforce the laws of. equity ? Do we make choice of profligates, to guard the morals of socfe- ty ? Do we depute atheists-, to preside over the rites of religion ? I will not press the answer : I need not press the answer ; the premises of my argument render it un- Ex.5.] EXERCISES ON INFLECTION. 173 necessary. — What would content you ? Talent ? No ! Enterprise ? No ! Courage ? No ! Reputation ? ' No ! Virtue ? No ! The men whom you would select, should possess, not one, but all of these. 7. Can the truth be discovered when the slaves of the prosecutor are brought as witnesses against the per- son accused ? Let us hear now what kind of an exami- nation this was. Call in Ruscio ; call in Casca. Did Clodius w r ay-lay Milo . ? He did : Drag them instantly to execution. — He did not : Let them have their liberty. What can be more satisfactory than this method of exam- ination ? 8. Are you desirous that your talents and abilities may procure you respect ? Display them not ostentatiously to public view. Would you escape the envy which your riches might excite ? Let them not minister to pride, but adorn them with humility. — There is not an evil incident to human nature for which- the gospel doth not provide a a remedy. Are you ignorant of many things which it highly concerns you to know f The gospel offers you instruction. Have you deviated from the path of duty ? The gospel offers you forgiveness. Do temptations sur- round you ? The gospel offers you the aid of heaven. Are you exposed to misery ? It consoles you. Are you subject to death ? I.t offers you immortality. 9. Oh how hast thou with jealousy infected The sweetness of affiance ! show men dutiful ? Why so didst thou : or seem they grave and learned ? Why so didst thou : come they of noble family ? Why so didst thou : seem they religious ? Why so didst thou : 15* 174 EXERCISES ON INFLECTION. [Ex. 6, 7. 6.] Page 48. When (or) is used conjunctively, it has the same inflection before and after it. In some sentences the disjunctive and the conjunctive use of or are so intermingled as to require careful attention to distinguish Ihem. 1. 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 labour to him ? Gavest thou the goodly wings unto the peacocks ? or wings and feathers unto the os- trich ? Canst thou draw out leviathan with a hook ? or his tongue with a cord which thou lettest down ? Canst thou put a hook into his nose ? or bore his jaw through with a thorn ? Wilt thou play with him as with a bird ? or wilt thou bind him for thy maidens ? Canst thou fill his skin with barbed irons ? Or his head with fish spears . ? 2. 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 ren- der princes more tyrannical, or subjects more ungoverna- ble, the rich more insolent, or the poor more disorderly ? Would it make worse parents or children, husbands, or wives ; . masters, or servants, friends, or neighbours ? or would it not make men more virtuous, and, consequently, more happy in every situation ?* 7.] Page 49. Negation opposed to affirmation. 1. True charity is not a meteor, which occasionally * The last or is disjunctive. Ex.7.] EXERCISES ON INFLECTION. 175 glares ; but a luminary, which, in its orderly and regular course, dispenses a benignant influence. 2. The humble do not necessarily regard themselves as the un worthiest of all with whom they are acquainted ; but, while they acknowledge and admire in many, a de- gree of excellence which they have not attained, they perceive, even in those to whom they are in some respect superiors, much to praise, and much to imitate. 3. Think not, that the influence of devotion is confin- ed to the retirement of the closet and the assemblies of the saints. Imagine not, that, unconnected with the du- ties of life, it is suited only to those enraptured souls, whose feelings, perhaps, you deride as romantic and vis- ionary. It is the -guardian of innocence — it is the instru- ment of virtue — it is a mean by which every good affec- tion may be formed and improved. 4. Caesar, who would not wait the conclusion of the consul's speech, generously replied, that he came into It- aly not to injure' the liberties of Rome and its citizens, but to restore" them. 5. If any man sin, we have an advocate with the Father, Jesus Christ the righteous : and he is the propiti- ation for our sins ; and not for ours only, but also for the sins of the whole wdiid. 6. It is not. the business of virtue to extirpate the af- fections of the mind, but to regulate" them. 7. These things I say now, not to insult one who is fallen, but to render more secure those who stand ; not to irritate the hearts of the wounded, but to preserve those who are not yet wounded, in sound health ; not to sub- merge him who is tossed on the billows, but to instruct 176 EXERCISES ON INFLECTION. [Ex. S. those sailing before a propitious breeze, that they may not be plunged beneath the waves. 8. But this is no. time for a tribunal of justice, but for showing mercy ; not for accusation, but for philanthropy ; not for trial, but for pardon ; not for sentence and execu- tion, but for compassion and kindness. 8.] Page 49. Comparison and contrast. 1 . By honor and dishonor, by evil report and good report ; as deceivers, and yet true ; as unknown, and yet well known ; as dy'ing, and behold we live ; as chasten- ed, "and not killed ; as sorrowful, yet always rejoicing ; as poor, yet making many rich ; as having nothing, and yet possessing all things. Be ye not unequally yoked together with unbelievers : for what fellowship hath righteousness with unrighteous- ness ? and what communion hath light with darkness ? and what concord hath Christ with Belial f or what part hath he that believeth with an infidel ? 2. The .house of the wicked shall be overthrown ; but the tabernacle of the upright shall flourish. There is a way which seemeth right unto a man ; but the end there- of are the ways of death. Even in laughter the heart is sorrowful ; and the end of that mirth is heaviness. A wise man feareth, and departeth from evil ; but the fool rageth, and is confident. The wicked is driven away in his wickedness ; but the righteous hath hope in his death. Righteousness exalteth a nation ; but sin is a reproach to any people. The king's favour is toward a wise servant ; but his wrath is against him that causeth shame. Ex. 8.] EXERCISES ON INFLECTION. 177 3. Between fame and true honor a distinction is to be made. The former is a blind and noisy applause : the latter a more silent and internal homage. Fame floats on the breath of the multitude : honor rests on the judgment of the thinking. Fame may give praise, while it with- holds esteem ; true honor implies esteem, mingled with respect. The one regards particular distinguished tal- ents : the other looks up to the whole character. 4. The most frightful disorders arose from the state of feudal anarchy. Force decided all things. Europe was one great field of battle, where the weak struggled for freedom, and the strong for dominion. The king was without power, and the nobles without principle. They were tyrants at home, and robbers abroad. Nothing re- mained to be a check upon ferocity and violence. 5. These two qualities, delicacy and correctness, mutually imply each other. No taste can be exquisitely delicate without being correct ; nor can be thoroughly correct without being delicate. But still a predominancy of one or other quality in the mixture is often visible. The power of delicacy is chiefly seen in discerning the true merit of a work ; the power of correctness, in re- jecting false pretensions to merit. Delicacy leans more to feeling; correctness more to reason and judgment. The former is more the gift of nature ; the latter, more the product of culture and art. Among the ancient crit- ics, Longinus possessed most delicacy; Aristotle, most correctness. Among the moderns, Mr. Addison is a high example of delicate taste ; Dean Swift, had he writ-' ten on the subject of criticism, would perhaps have affor- ded the example of a correct one. 178 EXERCISES ON INFLECTION. [Ex. 8. 6. Reason, eloquence, and every art which ever has been studied among mankind, may be abused,, and may prove dangerous in the hands of bad men ; but it were perfectly childish to contend, that, upon this account, they ought to be abolished. 7. To Bourdaloue, the French critics attribute more solidity and close reasoning ; to Massillon, a more pleas- ing and engaging manner. Bourdaloue is indeed a great reasoner, and inculcates his doctrines with much zeal, pi- ety, and earnestness : but his style is verbose, he is disa- greeably full of quotations from the Fathers, and he wants imagination* 8. Homer was the greater genius ; Virgil the better artist : in the one, we most admire the man ; in the oth- er, the work. Homer hurries us with a commanding im- petuosity ; Virgil leads us with an attractive majesty. Homer scatters with a generous profusion ; Virgil bestows with a careful magnificence. Homer, like the Nile, pours out his riches with a sudden overflow ; Virgil, like a river in its banks, with a constant stream. — And when we look upon their machines, Homer seems, like his own Jupiter in his terrors, shaking Olympus, scattering the lightnings, and firing the heavens ; Virgil, like the same power in his benevolence, counselling with the gods, laying plans for empires, and ordering his whole creation. 9. Dryden knew more of man in his general nature, and Pope in his local manners. The notions of Dryden were formed by comprehensive speculation, those of Pope by minute attention. There is more dignity in the knowl- edge of Dry den, and more certainty in that of Pope. Poetry was not the sole praise of either $ for both ex- Ex.8.] EXERCISES ON INFLECTION. 179 celled likewise in prose : but Pope did not borrow his prose from his predecessor. The style of Dryden is capricious and varied ; that of Pope is cautious and uni- form. Dryden obeys the motions of his own mind ; Pope constrains his mind to his own rules of composition. Dryden is sometimes vehement and rapid ; Pope is al- ways smooth, uniform, and gentle. Dryden's page is a natural field, rising into inequalities, and diversified by the varied exuberance of abundant vegetation ; Pope's is a velvet lawn, shaven by the scythe, and levelled by the roller. Dryden's performances, were always hasty ; either excited by. some external occasion, or extorted by domestic necessity : he composed without consideration, and published without correction'. What his mind' could supply at call, or gather in one excursion, was all that he sought and all that he gave. The dilatory caution of Pope enabled him to condense his sentiments, to mul- tiply his images, and to accumulate all that study might produce, or chance might supply. If the flights of Dry- den, therefore, are higher, Pope continues longer on the wing. If of Dryden's fire, the blaze is brighter ; of Pope's the heat is more regular and constant. Dryden often surpasses expectation, and Pope never falls below it. Dryden is read with frequent astonishment, and Pope with perpetual delight. 10. Never before were so many opposing interests, passions, and principles, committed to such a decision. On one side an attachment to the ancient order' of things, on the other a passionate desire of change ; a wish in some to perpetuate, in others to destroy every thing ; every abuse sacred in the eyes of the former, every foundation 180 EXERCISES ON INFLECTION. [Ex. 8, 9. attempted to be demolished by the latter ; a jealousy of power shrinking from the slightest innovation, pretensions to freedom pushed to madness and anarchy; superstition in all its dotage, impiety in all its fury; whatever, in short, could be found most discordant in the- principles, or vio- lent in the passions of men, were the fearful ingredients which the hand of Divine justice selected to mingle in this furnace of wrath. 9.] Page 51. The pause of suspension requires the ris- ing slide. In the Analysis, several kinds of sentences are classed, to which this rule applies. But as the principle is the same in all, no dis- tinction is necessary in the Exercises. 1. Now in the fifteenth year of the reign of Tiberius C&sar, Pontius Pilate being governor of Judea, and Her- od being tetrarch of Galilee, and his brother Philip te- trarch of Iturea and of the region of Trachouitis, and Lysanias the tetrarch of Abilene, Annas and Caiaphas being the high priests, the word of God came unto John the son of Zacharias in the wilderness. 2. For if God spared not the angels that sinned, but cast them down to hell, and delivered them into chains of darkness, to be reserved unto judgment; And spared not the old world, but saved Noah the eighth person, a preach- er of righteousness, bringing in the flood upon the world of the ungodly ; And turning the cities of Sodom and Gomorrah into ashes, condemned them with an overthrow, making them an ensample unto those that after should live ungodly ; And delivered just Lot, vexed with the filthy Ex. 9.] EXERCISES ON INFLECTION. 181 conversation of the wicked : (For that righteous man dwelling' among them, in seeing and hearing, vexed his righteous soul from day to day with their unlawful deeds ;) The Lord knoweth how to deliver the godly out of temp- tations, and to reserve the unjust unto the day of judg- ment to be punished. 3. I am content to wave the argument I might draw from hence in favour of my client, whose destiny was so peculiar, that he could not secure his own safety, without securing yours and that of the republic at the same time. If he could not do it lawfully, there is no room for at- tempting his defence. But if reason teaches the learned, necessity the Barbarian, common custom all nations in general ; and if even nature itself instructs the brutes to defend their bodies, limbs, and lives when attacked, by all possible methods ; you cannot pronounce this action criminal, without determining at the same time that who- ever falls into the hands of a highwayman, must of neces- sity perish either by his sword or your decisions. Had Milo been of this opinion, he would certainly have cho- sen to fall by the hand of Clodius, who had more than once before this made an attempt upon his life, rather than be executed by your order, because he had not tamely yielded himself a victim to his rage. But if none of you are of this opinion, the proper question is, not whether Clodius was killed ? for that we grant : but whether justly or unjustly ; an inquiry of which many precedents are to be found. 4. Seeing then that the soul has many different facul- ties, or in other words, many different ways of acting ; that it can be intensely pleased or made happv by all 16 182 EXERCISES ON INFLECTION. [Ex. 9. these different faculties or ways of acting ; that it may be endowed with several latent faculties, which it is not at present in a condition to exert ; that we cannot believe the soul is endowed with any faculty which is of no use to it ; that whenever any one of these faculties is transcend- ency pleased, the soul is in a state of happiness ; and in the last place, considering that the happiness of another world is to be the happiness of the whole man ; who can question but that there is an infinite variety in those pleas- ures we are speaking of; and thpt this fulness of joy will be made up of all those pleasures which the nature of the soul is capable of receiving ? 5. When the gay and smiling aspect of things has be- gun to leave the passages to a man's heart thus thought- lessly unguarded ; when kind and caressing looks of eve- ry object without, that can flatter his senses, has conspired with the enemy within, to betray him and put him off his defence ; when music likewise hath lent her aid, and tri- ed her power upon the passions ; when the voice of sing- ing men, and the voice of singing women, with the sound of the viol and the lute, have broke in upon his soul, and in some tender notes have touched the secret springs of rapture, — that moment let us dissect and look into his heart ; — see how vain, how weak, how empty a thing k is! 6. Beside the ignorance of masters who teach the .first rudiments of reading, and the want of skill, or negli- gence in that article, of those who teach the learned lan- guages ; beside the erroneous manner, which the untu- tored pupils fall into, through the want of early attention in masters, to correct small faults in the beginning, which Ex. 9.] EXERCISES ON INFLECTION. 183 increase and gain strength with years ; beside bad habits contracted from imitation of particular persons, or the contagion of example, from a general prevalence, of a certain tone or chant in* reading or reciting, peculiar to each school, and regularly transmitted from one genera- tion of boys to another : beside all these, which are fruit- ful sources of vicious elocution, there is one fundamental error, in the method universally used in teaching to read, which at first gives a wrong bias, and leads us ever after blindfold from the right path, under the guidance of a false rule. 7. The bounding of Satan over the walls of paradise, his sitting in the shape of a cormorant upon the tree of life, which stood in the centre of it, and overtopped all the other trees in the garden ; his alighting among the herd of animals, which are so beautifully represented as playing about Adam and E ve ; together with his trans- forming himself into different shapes, in order to hear then- conversation, are circumstances, that give an agreeable surprise to the reader, and are devised with great art, to connect that series of adventures, in which the poet has engaged this artifice of fraud. 8. To find the nearest way from truth to truth ; or from purpose to effect : not to use more instruments where fewer will be sufficient ; not to move by wheels and lev- ers, what will give way to the naked hand, is the great proof of a healthful and vigorous mind, neither feeble with helpless ignorance nor overburdened with unwieldy knowl- edge. 9. A guilty or a discontented mind, a mind, ruffled by ill fortune, disconcerted by its own passions, soured 184 EXERCISES ON INFLECTION. [Ex. 9. by neglect, or fretting at disappointments, hath not leisure to attend to the necessity or reasonableness of a kindness desired, nor a taste for those pleasures which wait on be- neficence, which demand a calm and unpolluted heart to relish them. 10. "I perfectly remember, that when Calidius prose- cuted Q. Gallius for an attempt to poison him, and pre- tended that he had the plainest proofs of it, and eeuld produce many letters, witnesses, informations, and other evidences to put the truth of his charge beyond a doubt, interspersing many sensible and ingenious remarks on the nature of the crime ; I remember," says Cicero, " that when it came to my turn to reply to him, after urging ev- ery argument which the case itself suggested, I insisted upon it as a material circumstance in favour of my client, that the prosecutor, while he charged him with a design against his life, and assured us that he had the most in- dubitable proofs of it then in his hands, related his story with as much ease, and as much calmness and indiffer- ence, as if nothing had happened." — " Would it have been possible," exclaimed Cicero, (addressing himself to Calidius,) " that you should speak with this air of uncon- cern, unless the charge was purely an invention of your own ? — and, above all, that you, whose eloquence has of- ten vindicated the wrongs of other people with so much spirit, should speak so coolly of a crime which threaten- ed your life ?" 11. France and England may each of them have some reason to dread the increase of the naval and mili- tary power of the other ; but for either of them to en- vy the internal happiness and prosperity of the other, Ex. 9.] EXERCISES ON INFLECTION. 1S5 the cultivation of its lands, the advancement of its man- ufactures, the increase of its commerce, the security and number of its ports and harbors, its proficiency in all the liberal arts and sciences, is surely beneath the dignity of two such great nations. 12. To acquire a thorough knowledge of our own hearts and characters, to restrain every irregular inclina- tion, — to subdue every rebellious passion, — to purify the motives of our conduct, — to form ourselves to that tem- perance which no pleasure, can seduce, — to that meek- ness which no provocation can ruffle, — to that patience which no affliction can overwhelm, and that integrity which no interest can shake ; this is the task which is assigned to us, — a task which cannot be performed without the utmost diligence and care. 13. The beauty of a plain, the greatness of a mountain, the ornaments of a building, the expression of a picture, the composition of a discourse, the conduct of a third person, the proportions of different quantities and num- bers, the various appearances which the great machine of the universe is perpetually exhibiting, the secret wheels and springs which produce them, all the general subjects of science and taste, are what w T e and our companions re- gard as having no peculiar relation to either of us. 14. Should such a man, too fond to rule alone, Bear, like the Turk, no brother near the throne, View him with scornful, yet with jealous eyes, And hate for arts that caus'd himself to rise ; Damn with faint praise, assent with civil leer, And without sneering teach the rest to sneer ; Willing to wound, and yet afraid to strike, 16* 186 EXERCISES ON INFLECTION. [Ex. 9. Just hint a fault, and hesitate dislike ; Alike reserv'd to blame, or to commend, A tim'rous foe, and a suspicious friend; Dreading even fools, by Flatterers besieg'd, And so obliging, that he ne'er oblfg'd ; Like Cato, give his little senate 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 must laugh, if such a man there be ? Who would not weep, if \Atticus were he ! 15. For these reasons, the senate and people of A'th- ens, (with due veneration to the gods and heroes, and guardians of the Athenian city and territory, whose aid they now implore ; and with due attention to the virtue of their ancestors, to whom the general liberty of Greece was ever dearer than the particular interest of their own state) have resolved that a fleet of two hundred vessels shall be sent to sea, the admiral to cruise within the streights of Thermopylae. As to my own abilities in speaking (for I shall admit this charge, although experience hath convinced me, that what is called the power of eloquence depends for the most part upon the hearers, and that the characters of public speakers are determined by that degree of favour which you vouchsafe to each ;) if long practice, I say, hath given me any proficiency in speaking, you have ever found it devoted to my country.* * I have not thought it necessary to give examples of the cases in which emphasis requires the falling slide at the close of a pa- renthesis. Ex.10.] EXERCISES ON INFLECTION. 1ST Of the various exceptions which fall under the rule of suspend- ing inflection, the only one which needs additional exemplification, is that where emphasis requires the intensive falling slide, to ex- press the true sense. See p. 53, hottom. In some cases of this sort, the omission of the falling slide only weakens the meaning ; in others it subverts it. 1. If the population of this country were to remain stationary, a great increase of effort would be necessary to supply each family with a Bible ; how much more when this population is increasing every day. 2. The man who cherishes a strong ambition for pre- ferment, if he does not fall into adulation and servility, is in danger of losing all manly independence. 3. For if the mighty works which have been done in thee had been done in Sodom,* it would have remained unto this day. 10.] Page 54. The rising slide is used to express ten- der emotion. 1. And when Joseph came home, they brought him the present which was in their hand into the house, and bowed themselves to him to the earth. — And he asked « them of their welfare, and said, Is your father well, the old man of whom ye spake ? Is he yet alive ? — And they answered, thy servant our father is in good health, he is yet alive : and they bowed down their heads, and made obeisance. — And he lifted up his eyes, and saw his brother Benjamin, his mother's son, and said, Is this your younger brother, of whom ye spake unto me ! And he said, God be gracious unto thee, my" son. — And Joseph made haste ; for his bowels did yearn upon his brother : * Even in Sodom, is the paraphrase of this emphasis, and so in the two preceding examples. 188 EXERCISES ON INFLECTION. [Ex. 10. and he sought where to weep ; and he entered into his chamber, and wept there. 2. Methinks I see a fair and lovely child, Sitting compos'd upon his mother's knee, And reading with a low and lisping voice Some passage from the Sabbath ;* while the tears Stand in his little eyes so softly blue, Till, quite o'ercome with pity, his white arms He twines around her neck, and hides his sighs Most infantine, within her gladden'd breast, Like a sweet lamb, half sportive, half afraid, Nestling one moment 'neath its bleating dam. And now the happy mother kisses oft The tender-hearted child, lays down the book, And asks him if he doth remember still A stranger who once gave him, long ago, A parting kiss, and blest his laughing eyes ! His sobs speak fond remembrance, and he weeps To think so kind and good a man should die. 3. Ye who have anxiously and fondly watched "Beside a fading friend, unconscious still The cheek's bright crimson, lovely to the view, Like nightshade with unwholesome beauty bloomed, And that the sufferer's bright dilated eye, Like mouldering wood, owes to decay alone Its wondrous lustre : — ye who still have hoped, Even in death's dread presence, but at length Have heard the summons, (O heart-freezing call !) To pay the last sad duties, and to hear Upon the silent dwelling's narrow lid * Sabbath, — a poem. Ex. 11, 12.] EXERCISES ON INFLECTION. 189 The first earth thrown, (sound deadliest to the soul ! — For, strange delusion ! then, and then alone, Hope seems for ever fled, and the dread pang Of final separation to begfn) — Ye who have felt all this — O pay my verse The mournful meed of sympathy, and own, Own with a sigh, the sombre picture's just. 11.] Page 55. This requires no additional illustration ; for unless emphasis forbids it, every good reader has so much regard to harmony, as to use the rising slide at the pause before the cadence. 12.] Page 56. The indirect question and its answer have the falling inflection. The interrogative mark is here inverted, to render it significant of its office, in distinction from the direct question which turns the voice upward. The reason of this is so obvious, that I trust it will not be regarded, in a work like this, as an affectation of singular- ity in trifles. 1. The governor answered and said unto them, Whether of the twain will ye that I release unto you d * They said, Barabbas. Pilate saith unto them, What shall I do then with Jesus, which is called Christ j They all say unto him, Let him be crucified. And the gover- nor said, Why ; what evil hath he done <: But they cri- ed out the more saying, Let him be crucified. 2. Where now is the splendid robe of the consulate j Where are the brilliant torches ^ Where are the ap- plauses and dances, the feasts and entertainments j Where are the coronets and canopies j Where the huz- zas of the city, the compliments of the circus, and the 190 EXERCISES ON INFLECTION. [Ex. 21. flattering acclaimations of the spectators <; All these have perished. 3. I hold it to be an unquestionable position, that they who duly appreciate the blessings of liberty, revolt as much from the idea of exercising, as from that of enduring, op- pression. How far this was the case with the Romans, you may inquire of those nations that surrounded them. Ask them, ' What insolent guard paraded before their gates, and invested their strong holds f They will an- swer, * A Roman legionary.' Demand of them, ' What greedy extortioner fattened by their poverty, and clothed himself by their nakedness £ They will inform you, ' A Roman Quaestor.' Inquire of them, 'What imperious stranger issued to them his mandates of imprisonment or confiscation, of banishment or death £ They will reply to you, ' A Roman Consul.' Question them, ' What haughty conqueror led through his city, their nobles and kings in chains; and exhibited their countrymen, by thousands, in gladiators' shows for the amusement of his fel- low citizens j? They will tell you, * A Roman General.' Require of them, 'What tyrants imposed the heaviest yoke i — enforced the most rigorous exactions «;— inflicted the most savage punishments, and showed the greatest gust for blood and torture j' They will exclaim to you, The Roman people.' 4. Let us now consider the principal point, whether the place where they encountered was most favourable to Milo, or to Clodius. Were the affair to be represented only by painting, instead of being expressed by words, it would even then clearly appear which was the traitor, and which was free from all mischievous designs ; when Ex. 12.] EXERCISES ON INFLECTION. 191 the one was sitting in his chariot muffled up in his cloak, and his wife along with him. Which of these circum- stances was not a very great incumbrance <; the dress, the chariot, or the companion $ How could he be worse equipped for an engagement, when he was wrapt up in a cloak, embarrassed with a chariot and almost fettered by his wife <: Observe the other now, in the first place, sal- lying out on a sudden from his seat ; for what reason d * — in the evening ; what urged him j — late ; to what pur- pose, especially at that season J — He calls at Pompey's seat ; with what view j To see Pompey ? He knew he was at 'AJsium. — To see his house ? He had been in it a thousand times — What then could be the reason of this loitering and shifting about J He wanted to be upon the spot when Milo came up. 5. Wherefore cease we then ,* Say they who counsel war, we are decreed, Reserved, and destin'd, to eternal woe ; Whatever doing, what can we suffer more, What can we suffer worse