EXAMPLES. A dèsert. Where is boasting then? It is excluded. Your's. RULE 8. The language of authority, surprise, denunciation, exclamation and terror, in most cases require a very slight falling inflection. EXAMPLES. How shocking must thy summons be, O dèath! RULE 9. An emphatic succession of particulars; an emphatic repetition, and the final pause, require the falling slide. (Except as see Rule 6th.) EXAMPLES. Thrice was I beaten with ròds; once was I stoned; thrice I suffered shipwreck; a night and a day have I been in the deep. You wrong me every way, you wròng me, Brutus. The sentence is passed; you are condemned to die. RULE 10. An emphatic succession, becoming more and more intensive, requires an increasing stress of voice, both in the upward and downward slides. EXAMPLES. I tell you, though from heaven, you, though all the world, though an angel should declare the truth of it, I could not believe it. Sliding from a tone above the key to one below: The testimony was given not by narrative, but by interrogatories, Sliding from the key upward to the close: Did he dare to propose such interrog atories? RULE 11. Every sentence naturally closes with a fall of the voice; but this natural cadence is frequently overruled by such other inflections as are indispensable to the sense. ill. EXAMPLES. Children should treat their parents kindly, not treat them You were paid to fight Alexander, not to ráil at him. If we have no regard to our own character, we ought to have some regard to the character others. NOTE. The common faults against which teachers should guard their pupils in the final cadence are, 1st. Such a uniformity as becomes monotonous; and 2d. Beginning the cadence too soon and sliding it down gradually. THE CIRCUMFLEX. DEFINITION. Circumflex is a slight undulation of sound by which we combine the falling and rising slide, in uttering a syllable or word. It is a delicate inflection of peculiar significance. RULE 1. The circumflex is mainly confined to hypothetical and ironical language, or such as implies contrast. EXAMPLES. Shall they be blameless, while we are condemned? The sun is up; but sleep on, take your rest. They tell us to be moderate; but they, they are to revel in profusion. And the High Priest said, are these things so? DEFINITION. .. EMPHASIS. 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." NOTE. Changing the emphatic words changes the sense. Did EXAMPLES. you give an apple to Tom? Did you give an apple to Tom? Did you give an apple to Tom? Did you give an apple to Tom? No, Sam gave it to him. RULE 1. That word which marks the import of the expression must be spoken emphatically. EXAMPLES. Study not so much to show knowledge, as to acquire it. It is not so difficult to talk well, as to live well. The wise man is happy, when he gains his own approbation; the fool, when he gains that of others. The mind that would be happy must be great. I that deny thee gold, will give my heart. RULE 2. Strong emphasis always requires corresponding intensity of inflections. EXAMPLES. The fault, dear, Brutus is not in our stárs, but in ourselves. Dare you approach that foe? We must take heed not only what we say, but what we dò. It is not only possible, but probable. RULE 3. The utterance of a succession of emphatic words, or an emphatic clause, must be deliberate; while the degree of stress, with the intensity of inflections, must be governed by the sense. EXAMPLES. They have beaten us, openly, uncondemned, being Romans, and have cast us into prison, and now, do they thrust us out privily? The young are slaves to novelty, the old to custom. Heaven and Earth shall witness, IFROME-MUST-FALL-that we are innocent. · NOTE. To know when the emphatic word takes the rising, and when the falling slide, see Rules under inflections. MODULATION. DEFINITION. Modulation is judiciously applying all those significant inflections of the voice, which constitute the main excellencies of utterance in the accomplished reader and speaker. RULE 1. In addition to the foregoing instructions on the inflections, a clear perception of the sentiments uttered, and the emotions implied in the language, are indispensable guides to a correct modulation of the voice. RULE 2. The pitch of the voice, and the volumes of sound, must not only be regulated by the spirit and import of the language, but with reference also to the occasion, place, and circumstances. NOTE. The voice has three pitches: the high, in calling aloud; the low, a little above a whisper; and the middle, or conversational voice. Each admits of various degrees, more or less intensive. RULE 3. The pitch of the voice must be such as to give the most natural range of slide, above and below the key tone. MONOTONE. DEFINITION. Monotone is a sameness of sound on suc cessive syllables or words. RULE 1. Monotone is seldom allowable except in grave description, where emotions of sublimity or deep reverence are to be expressed. EXAMPLE. He bowed the heavens also, and came down, and darkness was under his feet. And I saw a great white throne and Him that sat on it, from whose face the earth and the heaven fled away and there was found no place for them. RULE 2. The monotone requires a deliberate, grave and dignified emphasis. EXAMPLES. And I saw the dead, small and great, stand before God; and the books were opened. RHETORICAL PAUSES. DEFINITION. Rhetorical pause is a suspension of voice where grammatical punctuation does not require it. EXAMPLES. Industry is the guardian of innocence. NOTE. Rhetorical pauses are known by the emphatic words. The stress of voice and length of pause must be governed by the impressiveness of the thought to be imparted. OF READING POETRY. RULE 1. The metrical accent and grammatical pauses in poetry must be so managed as to preserve the sense, without impairing the harmony of composition. RULE 2. When the sentiment is delicate, or the language plaintive, the inflection must be soft and sympathetic. EXAMPLES. Yes-my native land! I love thee; Can I leave thee, Far in heathen lands to dwell? RULE 3. When the thought is sublime, the language bold and energetic, the utterance and inflections must correspond in character. EXAMPLES. ADDRESS TO MONT BLANC. Thou kingly spirit thron'd among the hills, Earth, with her thousand voices, praises God. |