When Ajax strives some rock's vast weight to throw, Thou laid'st down and slept'st. I saw a saw, saw six sleek, slim, saplings. Only think, I thrust three thousand thistles through the thick of my thumb. And there the finest streams through tangled fore,ts stray. The wolf's long howl on Ululaska's shore. Each on his rock transfixed, the sport of racking whirlwinds. He authoritatively and peremptorily forbade all intercommunication between those extraordinarily intractable individuals. N. B.-I would impress it especially upon the teacher, that the Jest way to secure a distinct and forcible articulation is to give the pupil a daily exercise of spelling by sound, that is, enunciating every elementary sound in a word by itself, and then the word as a whole. OF EXPRESSION. Articulation and Pronunciation treat of the mechanical and material agencies of Elocution; the soul lies in expression. Of this we shall treat under seven particulars - Emphasis, Inflection, Pitch, Force, Tone, Movement, and Pause. The mechanical part of Elocution, consisting in the proper use and discipline of the material organs for the pronunciation of articulate sounds, requires mere force of will and patient practice; it is an admirable discipline for both. The more elevated and moral part of Elocution that evanescent and indescribable, but most magic power of expression. requires the high cultivation of feeling, the imagination, and tender and powerful sympathies of the soul. It is thus that Elocution becomes a noble means of discipline and cultivation for the whole man. The secret here is to surrender the mind wholly to the impu.se of nature, forgetful of self in the feeling and thought of the moment, and truly reflecting in the attitude and gesture, as in a glass, the sentiment and meaning of the language. But here the student of oratory must, for the most part, "minister unto himself;" the teacher can do little else than criticise, and direct him generally in nature's path. I proceed to give a brief analysis of each of the elements of expression. EMPHASIS. Emphasis is a certain force of utterance expended upon a single word, to call attention thereto, and mark special significancy. It is indefinite in its nature and amount, varying according to the strength of significancy and the character of the subject; but for the sake of clearness we shall mark three degrees, and indicate the lowest by italics, the next by SMALL CAPITALS, and the highest by LARGE CAPITALS. The significancy and sense of reading depends chiefly upon the emphasis. Take, for instance, the simple phrase, Will you go to town to-morrow? You may vary the sense in six different ways by emphasis, thus: 1. Will you go to town to-morrow? 2. Will you go to town to-morrow? Emphasis will infallibly result in reading or speaking, if there is a clear apprehension of the sense of what is read or spoken, and a strong desire to produce an impression on the hearer: hence the rule that will supersede all other rules in the attain ment of this, as well as all other points of expression, is this— strive ever for concentration of thought and lively feelings in reading or in speaking. This is the beginning and the end of all instruction. Let any child that can read take up a book that it can feel and understand, and it neither will nor can avoid putting emphasis on words, according to its interest in, and apprehension of, the subject matter. The only way that a teacher can promote these in a pupil is by example. He must be a good reader and speaker himself, else it is "the blind leading the blind." All emphasis is one of three kinds-Demonstrative, Antithetic, and Cumulative. The first points the attention to some particular thought iu preference to all others. The second points out a distinction, opposition or antithesis between two thoughts. The third raises the attention to the highest pitch by accumu. lating power and significancy on a single word by repetition. EXAMPLES IN DEMONSTRATIVE EMPHASIS. Let kings that fear forgive; blows and revenge for me. 'Twas base and poor; unworthy of a man To forge a scroll, so villainous and loose. But I did not call him to order, wHY? because the limited talents of some, render it IMPOSSIBLE for them to be severe and parliamentary, at the same time. Let that PLEBEIAN talk, it is not my trade. But here I stand for right, for ROMAN right. How came he to the brink of that river? how dared he cross it? He should have perished upon the brink e'er he had crossed it. I defy the honorable gentleman, I defy the whole phalanx. EXAMPLES IN ANTITHETIC EMPHASIS. What is done cannot be undone. There is a material difference between giving and forgiving. He must increase, but I must decrease. This is the main point-not progress everywhere, but some where. I did not say an elder soldier, but a better. Homer was the better genius; Virgil the better artist. EXAMPLES IN CUMULATIVE EMPHASIS. To arms! TO ARMS! TO ARMS! My first argument for the adoption of this measure is, th INFLECTION. Inflection, is the variation of the pitch of the voice f key-note, or the ordinary governing tone used in spea reading on any occasion. All persons have a key-note, vailing sound in their conversation, which arises chief the character of their voice, as base, treble, alto, soprane Every subject has also its appropriate key-note or pitc ble to the subject matter, the person speaking, and the o This must be determined by each for himself In reading or speaking the voice is constantly varie this prevailing note, and with more or less rapidity chang the lowest to the highest compass of its tones. The life of good speaking depends much upon the c and variety of inflection. Clear thought and strong feeling put the right inflec the power of the student, as they do every other p expression; for then he places himself under the inspira nature, the only guide in the noble art of Elocution. Observe that every syllable has its own note, and it is except in a style called the monotone, or in feeble and mon reading, that the same tone ought to occur twice in suc This gives that charming variety to the voice in good sp without which it would pall upon the ear. Every poly word, every clause, and every sentence, has a highest lowest tone in it; and the rising to the one and the fa the other constitutes inflection. One is called the ris other the falling inflection. In a single word (a polys the accented syllable commands the highest note in the Emphasis will run the vowel sound of a monosyllable several notes of the scale, otherwise it has but one tone. Ex. How', dare you say so! In clauses and sentences the rising and falling inflexi according to the sense and character of the sentime degree of it is a matter entirely indefinite, but depen the strength of the feeling. As a general rule, the voice rises to the highest pitch, in a clause, on the accented syllable of the emphatic word; but it is at the end of clauses and sentences that the inflection is most marked and can be best described. For this purpose I shall give a few general principles for the guidance of the student in inflexion. The falling inflection occurs 1. At the end of a sentence where the sense is complete and affirmative or negative. Ex. The wind and rain are over'. I say it is not so'. 2. At the end of a clause, in language of Command, Remonstrance, Denunciation, Reproach. Terror, Awe, or any vehement emotion accompanied with strong affirmation. Ex.-Down', cried Mar, your lances DOWN', &c. Angels and ministers of grace', defend us'. The rising inflection occurs 1. At the end of a sentence interrogative and where it can be answered by yes or no. Ex. Canst thou minister to a mind diseased'? 2. At the end of a clause, where the sense is incomplete and where the sentence is not strongly affirmative, when Expectation, Concession, Inquiring Wonder, or Indignant Surprise is expressed, or Contemptuous Slight is implied, or where the subject matter is treated as unimportant or trifling. Er. Of all the fields fertilized with carnage. What, am I braved'? Is it possible' ? There is no terror in your threats', Cassius'. I don't care much', it is of no consequence'. In certain styles of expression the voice takes a waving inflection between high and low pitch, with a rapid transition. This occurs in Irony, Sarcasm, Scorn, Derision; and may be given on a single word or a phrase. |