their best clothes for Sundays; the puny pedant, who finds one undiscovered quality in the polypus, or describes an unheeded process in the skeleton of a mole, and whose mind, like his microscope, perceives nature only in detail; the rhymer, who makes smooth verses, and paints to our imagination, when he should only speak to our hearts; all equally fancy themselves walking forward to immortality, and desire the crowd behind them to look on. The crowd takes them at their word Patriot, philosopher, and poet!' are shouted in their train. Where was there ever so much merit seen? no times so important as our own! ages, yet unborn, shall gaze with wonder and applause!' To such music the important pigmy moves forward, bustling and swelling, and aptly compared to a puddle in a storm.” 3. Didactic Style. [Absurdity and Impudence.] "Moderate "" ("Pure tone": force: 66 Unimpassioned radical stress": "Middle pitch": Varied "slides": Short pauses.) "If we would examine into the secret springs of action, in the impudent and the absurd, we shall find, though they bear a great resemblance in their behavior, that they move upon very different principles. The impudent are pressing, though they know they are disagreeable; the absurd are importunate, because they think they are acceptable: impudence is a vice, and absurdity a folly. Sir Francis Bacon talks very agreeably upon the subject of impudence. takes notice, that the Orator being asked, what was the first, second, and third requisite to make a fine speaker? still answered, Action. This, said he, is the very outward form of speaking; and yet it is what, with the generality, has more force than the most consummate abilities. Impudence is, to the rest of mankind, of the same use which action is to orators." He V.—"Brisk, Gay, or Quick Movement." 1. Narrative Style. [Lochinvar's exploit of carrying off Ellen of Netherby.] (Haste, Joy, Hurry." Expulsive and explosive orotund: "Impassioned" and shouting force: "Impassioned radical and median stress " : "High pitch”: Varied "slides": Extremely short pauses.) "One touch to her hand, and one word in her ear, – When they reached the hall door, and the charger stood near; So light to the croupe the fair lady he swung, So light to the saddle before her he sprung! 'She is won! we are gone, over bank, bush, and scaur; They'll have fleet steeds that follow,' quoth young Lochinvar. "There was mounting 'mong Græmes of the Netherby clan ; Forsters, Fenwicks, and Musgraves, they rode and they ran : There was racing, and chasing, on Cannobie Lee ; But the lost bride of Netherby ne'er did they see. — So daring in love, and so dauntless in war, Have ye e'er heard of gallant like young Lochinvar ?? 2.- Descriptive Style. [Repulse of the Archers: Battle of Beal an Dhuine.] (Haste, Fear, Alarm." Explosive orotund": "Impassioned" force: "Radical stress": "High pitch": Extremely short pauses.) "Forth from the pass in tumult driven, Like chaff before the winds of heaven, The archery appear; For life, for life their flight they ply; 3.- Bold Address. [The Gheber to his followers.] (Courage, Revenge." Explosive orotund, aspirated quality": "Impassioned" force: "Radical stress":"High pitch": Varied "slides": Short pauses.) "What! while our arms can wield these blades, Shall we die tamely? die alone? Without one victim to our shades, One Moslem heart, where, buried deep, 4.- Playful and Humorous Description. [Carnival Scenes in Venice.] (Mirth and Exhilaration. -" Pure tone":"Moderate" force: High pitch": Monotone : Ex "Radical stress": 66 tremely short pauses.) "And gaiety on restless tiptoe hovers, 5. Anger, Fierce and Stubborn Resolve. [Coriolanus, maddened against the Roman populace.] ("Aspirated quality": Intensely "impassioned" force: "Explosive radical and vanishing stress":"High pitch”: Downward "slide" of "fifth" and "octave." Extremely short pauses.) "Let them pull all about mine ears; present me VI.-"Rapid, or Quickest Movement." ("Aspirated quality": Impassioned force: "Radical " monotone: " Extremely "Away!-away! — and on we dash! Torrents less rapid and less rash. "Away, away, my steed and I, Upon the pinions of the wind, A trampling troop, I see them come! A thousand horse and none to ride! With flowing tail, and flying mane, Wide nostrils, never stretched by pain, And feet that iron never shod, And flanks unscarred by spur or rod, A thousand horse, the wild, the free,- Came thickly thundering on: They stop, they start they snuff the air, Approach, retire, wheel round and round, And backward to the forest fly, By instinct, from a human eye." ACCENT. I." Syllabic" Accent. The word "accent" has been usually considered as restricted to the designation of the comparative force of syllables, as they occur in the pronunciation of words. Dr. Rush, however, has, by the accustomed closeness and fidelity of his analysis, distinctly shown, that force is but one constituent, or form of accent; and that besides this mere comparative loudness, there are two other constituents of accent. 99 66 The modes of accent are determined as follows: 1st, "Immutable" syllables, those which are constituted by fixed "short quantities," are accented by "radical stress,' impassioned' "explosive" or 66 unimpassioned,” as the case may be, from the character of the utterance which marks the passage or the word in which such a syllable occurs. Thus, the word " victory," although consisting of three short syllables, has a decided and distinct accent on its first syllable, by means of "radical stress," whether we pronounce the word with impassioned expression," or merely according to the rule of orthoëpical accent. 2d, "Mutable" syllables, those which consist of "variable quantities," or such as admit of comparative prolongation, — may be accented by merely a louder sound, or greater force, pervading the given syllable, as compared with the others of the same word. Thus, the word “adjutant” having a sufficient prolongation on its first a, to render the “radical stress" unnecessary, as a dis |