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NOTE II. The direct address, when emphatic, or expressive of denunciation,-emphatic exclamations,-contemptuous language of any kind,-take the falling inflection, according to this Rule.

EXAMPLES.

1. O ye hypocrites! Ye can discern the face of the sky'; but can yo not discern the signs of the times?

2. Woe' unto you, Scribes and Pharisees, hypocrites! for ye make. clean the outside of the cup and of the platter, but within they are full of extortion and excess'.

3. Fire! murder! thieves'! my gold! my iron chest! They will break in, and rob' my iron chest!

4. This is proud free'dom! Now my soul may cast,

.

In generous scorn', her mantle of dissembling

To earth' forever! And it is such joy',

As if a captive from his dull, cold cell`,

Might soar at once, on chartered wing, to range
The realms of starr'd infinity! Away'!

Vain mockery of a bridal wreath'! The hour,

For which stern pa'tience ne'er kept watch in vain,

Is come; and I may give my bursting heart

Full' and indignant scope. Now, Er'ibert!
Believe' in retribution! What! proud man!

Prince', ruler, con`queror! didst thou deem Heaven slept?
Or that the unseen, immortal ministers,

Ranging the world, to note e'en purposed crime,
In burning characters, had laid aside
Their everlasting attributes for thee?

O blind security !-He, in whose dread hand'
The lightnings vi'brate, holds them back, until
The tram'pler of this goodly earth, hath reached
His pyramid-hight of power; that so his fall
May, with more fear'ful oracles, make pale'
Man's crowned oppress`ors!

RULE VIII.

An emphatic succession of particulars, and emphatic repetition, require the falling inflection.

EXAMPLES.

1. The splendor of the firmament the verdure of the earth, the varied color of the flowers which fill the air with frag`rance, and the music of those artless voices which mingle on every tree,-all' conspire to captivate our hearts', and to swell' them with the most rapturous delight.

What is said of emphatic address, exclamations, &c.? What is Rule VIII?

2. Beware' what earth calls happiness; beware'
All joys' but joys' that never can expire.
3. Not in a closed and bounded atmosphere,
Does life put forth its noblest and its best`;
'Tis from the mount'ain's top that we look forth,
And see how small the world' is at our feet;
There the free winds' sweep with unfettered wing';
There the sun rises first', and flings' the last,
The purple glo`ries of the summer eve;
There does the Ea'gle build her mighty nest';
And there the snow` stains not its pu`rity.
When we descend-the va'por ga'thers round,
And the path' nar`rows; small and worthless things
Obstruct' our way; and in ourselves, we feel

4.

The strong compulsion of their influence.

We grow like those, with whom we daily blend'.

The tear',

The groan, the knell, the pall`, the bier',

And all we know', or dream', or fear'
Of ag'ony, are thine..

5. There is a certain untroubled seren'ity in truth' and just'ice,-there is a felt and native dig`nity in hon`or,—there is a quiet and secure rest`ing-place in gentleness and humility,—there is, we shall not say a proud', but at least a triumph`ant complacency in all the virtues of self-command,—there is a cheer'fulness to the spirit in the temperance of the Dod`y, there is in pu`rity such a peace as well as transparent beauty and loveliness, that it is like breathing in the third heav`ens instead of this world's gross and troubled atmosphere, when under the guard'ianship of strictest delicacy, the heart becomes that hallowed abode, in which no wrong or tainted imagination is permitted to dwell.

NOTE 1.-As before stated, emphasis inclines the voice to the falling inflection, corresponding with it in intensity. To fix the mind definitely on the several particulars of a succession, each is expressed with a strong emphasis, and consequently with the falling inflection. For a like reason, as a repetition requires an increase in emphasis, it therefore receives the falling inflection, although the rising inflection may have been used in the expression when first uttered.

NOTE II. The inflections, like the emphasis, increase in intensity on each succeeding particular, or repetition, being more intense on the last than the first.

What influence has emphasis on inflection? What is said of the intensity of inflection on a repetition or succession of particulars?

NOTE III. The passages, to which this Rule refers, are similar, in numerous instances, to those coming under Rule IV., pertaining to the pause of suspension; and it may often be difficult to determine which reading is preferable. Whichever is the more applicable, will depend on the degree of emphasis required; if a slight degree, the rising inflection, agreeably to Rule IV.; if an intense, the falling should be employed, agreeably to this Rule.

CIRCUMFLEX.-RULE FOR ITS USE.

RULE IX.

The Circumflex is mainly employed in the language of irony, and in expressing ideas implying some condition, either expressed or understood.

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EXAMPLES.

Go to-you are a child,

Infirm of feeling and of purpose, blown
About by every breath, shook by a sigh,

And melted by a tear,--a precious judge.

2. The rich man doeth wrong, and yet threateneth withal; the poor' is wronged, and he must entreat also.

3. Queen. You have your father much offended.

Hamlet.You have your father much offended.

4. Virtue is not a mere sensation, but everlasting truth'.

NOTE I.-In the fourth example, by the use of the circumflex on the word “sensătion,” a positive idea is implied, which is expressed with the falling inflection in what follows. If one says, "That is a good book," it is implied by the circumflex, that another is better. But if the falling is used instead, a positive idea is expressed.

MONOTONE. -RULE FOR ITS USE.

The Monotone is employed in expressing emotions of sublimity, reverence, and awe; or in reading passages of lofty description.

In certain passages, how may we determine whether the rising or falling inflection is preferable? What is the Rule for the use of the Circumflex? What, for the Monotone?

EXAMPLES.

1. O thou whose fiat lulls the storm asleep!
Thōu, at whōse nōd subsides the rolling deep!
Whōse awful word restrains the whirlwind's force,
And stays the thunder in its vengeful course!
Fountain of life! Omnipotent Suprême!
Robed in perfection! crowned in glōry's bēam!
O send on earth Thy consecrated dōve,
To bear the sacred ōlive from above;
Restore again the blest, the halcyōn time,
The festal harmony of nature's prime!
2. Sound on, thōu dārk ünslumbering sea!
My dirge is in thỹ mōan;

My spirit finds response in thēē,

To its own ceaseless cry-" Alōne, alōne!”
Yēt send me back one other word,

Ye tōnes that never cease!

Oh! let your secret caves be stirr'd,

And say, dark wätērs! will yë give me peace?

3. Yē gölden lämps of heaven, farewell, with all your feeble light,
Farewell, thōu ēver-changing moon, pâle emprēss of the night;
And thōu, refulgent ōrb of day, in brighter flames arrayed,
My soul which springs beyond thy sphere, no more demands thy āid.
Ye stars are but the shining dust of my divine abode,

The pavement of thōse heavenly courts, where I shall reign with GōD. NOTE 1.-The monotone is often employed in reading passages, on which it is especially desired to fix the attention. By a departure from the ordinary style of reading, to that of the monotone, a passage is rendered peculiarly expressive.

1.

EXAMPLES.

Let Thy word control

The earthquakes of that universe—the soul;

Pervade the depths of passion-speak once more
The mighty mandate, guard of every shore,
"Here shall thy wāves be stayed.”

2. Yet should we mourn thee in thy blest abode,

But for that thought,-" It is the will of God!"

3. If, immortal in its thoughts, the soul

Shall live in Heaven, and spurn the tomb's control,
Angels shall re-transcribe with pens of fire,

For what purpose is the Monotone sometimes employed?

Thy forms of Nature's terror, love, and ire.

Thy copied words of God—when death-strūck sūns expire. 4. Thou that didst bow the billow's pride

Thy mandate to fulfill!

O, speak to passion's raging tide,
Speak, and say, “Peace, bē still!”

LESSON VII.

MODULATION.

1. MODULATION implies those variations of voice, heard in reading and animated conversation, which are prompted by the feelings and emotions that the subject inspires.

EXAMPLE.

God said "Let there be light!"
Grim darkness felt his might,

And fled away;

Then startled seas and mountains cold

Shone forth, all bright in blue and gold,
And cried-""TIS DAY! 'TIS DAY!"

"HAIL! HOLY LIGHT!" exclaimed

The thunderous cloud that flamed
O'er daisies white;

And lo! the rose, in crimson dressed,

Leaned sweetly on the lily's breast;

And blushing, murmured-" LIGHT!"

2. The voice is modulated in three different ways.

First, it

is varied in PITCH; that is, up and down,—from high to low tones. Second, it is varied in QUANTITY, or in loudness, or volThird, it is varied in QUALITY, or in the kind

ume, of sound.

of sound expressed.

3. The importance of skill in this department of Elocution, must be obvious to any one who considers how tedious it is to listen even for a short time to one who "speaks right on" in one uniform style, regardless of those variations in his voice, which are suggested by the sentiments uttered.

What is Modulation? In how many different ways is the voice modulated?

*Audubon, the celebrated Ornithologist.

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