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If courage intrinsically consists in the defiance of dan-ger and pain', the life of the In-dian is a continual exhibition of it'. I had a dream', which was not all a DREAM'. Un-ea-sy lies the head that wears a crówn'.

I rhyme for smiles', and not for tears.

Remarks. A correct enunciation of these examples, will show the happy effect of emphasis in controlling the inflections and modulations of the voice, and of increasing the beauty and harmony of language. This will be particularly illustrated by a proper application of the circumflex movement on the words "died," "pain," the second "dream," "crown," and "tears.”

The Sense of a passage, dependant on emphasis.

There can be but few who have not observed, that the meaning of a sentence often depends on the appropriate or inappropriate application of emphatick force.

Example.-Do you ride to town to-day'? Do you ride to town to-day'? Do you ride to town to-day'? Do you ride to town to-day'?

Remarks.-The four different answers suggested by a change in the place of the emphasis, according to the italicised words in this example, are too familiar to need illustration.

If I say, "He can plead as well as any lawyer'," placing the emphasis on any, the assertion clearly implies, that the person spoken of, is a lawyer; but if I transpose the emphatick stress, and say, "He can plead as well as any law-yer'," the inferential meaning is, that the person referred to, is not a lawyer. Example. He discourses as religiously as any Methodist preacher'.

He discourses as religiously as any Meth-odist preacher'. He discourses as religiously as any Methodist preach-er'. Remarks.-The first of these readings, implies that the person referred to, is a Methodist preacher, the second, that he is a preacher, but not a Methodist preacher; the third, that he is a Methodist, but not a preacher.

Examples.-A crow is a large black bird'.

A crow is a large black bird'.

I saw a horse-fly through the window'.

I saw a horse-fly through the window'.

Since the world began', has it not been heard', that a man opened the eyes of one that was born blind'.

Since the world began', has it not been heard', that a mân opened the eyes of one that was born blind'.

Remarks. By looking at the connexion of this last passage, as it is presented on page 215, one will readily perceive, that, according to this last reading of it, that is, by laying the stress on "man," it implies, that he who had been restored to sight, at the time he made this unanswerable reply to the unbelieving Jews, himself considered Christ to be more than man, and that he wished to intimate to them this belief; whereas, he was only attempting to prove to them that Christ was not a sinner, for he did not yet know who or what Jesus was. Again, a correct enunciation of this sentence requires the emphatick stress to fall on "blind,” on account of which, though the word closes a negative sentence, it takes the falling inflection, or, rather, the direct unequal wave, but, by laying the stress on “man,” we naturally take it off of "blind," and thereby change its inflection to a rising.

Examples of this description, might be indefinitely multiplied; but these few are doubtless sufficient to call the attention of the learner particularly to this subject, and, it is hoped, to impress upon him its importance.

The author is not unaware that many will differ from him on certain points of elocution, particularly those intricate and delicate ones which regard some of the peculiar inflections and waves of the voice, (especially when under the influence of emphatick force,) as well as in regard to the various degrees and qualities of emphatick stress. It has been already hinted, that, although most things pertaining to this subject, may be regulated by fixed principles and rules, yet, on some points, we have no better standard to go by than good taste-a standard so loosely seated, that it is liable to be much jostled about, according to the judgment, and fancy, and caprice of the respective individuals who lay their hands on it. But the most fruitful

ground of objection to the author's views, he apprehends, will arise out of a misconception of them, or, at least, an unskilful or erroneous application of many of his directions. Doubtless many a one who will take exceptions to his directions for reading particular words or passages, would readily coincide with him, and approve of his taste and manner, were they to hear him enunciate those examples. But, be this as it may, he wishes it to be distinctly understood, that, in matters of taste, as well as in those higher endowments of the mind which pertain to the judgment, he by no means considers himself infallible.

EXERCISES.

The young are slaves to nov-elty', the old', to cus-tom'.
Con-fidence is a plant of slow growth'.

To improve the golden moment of oppor-tu-nity', and catch the good that is with-in our reach', is the great art of life'. In order to know a man', we should observe how he gains his object', rather than how he los-es it'.

That an author's work is the mirror of his mind', is a position that has led to very er-ro-neous con-clu-sions'. If the devil him-self were to write a book', it would be in praise of virtue'; because the good would purchase it for use', and the bad, for osten-ta-tion'.

All who have been great and good with-out christianity', would have been much greater and better with it'.

The opinions prevalent in one age', as truths above the reach of controversy', are confuted and rejected in an-oth-er', and rise again to reception in re-mo-ter times'. Thus', on some subjects', the human mind is kept in mo-tion without prog-ress'. Thus', sometimes truth and er-rour', and sometimes contra-rieties of errour', take each other's place by reciprocal in-vasion'.

Jesus saith unto him', Thom-as', because thou hast seen me', thou hast be-lieve-d': blessed are they that have not seen me', and yet have believed'.

Simon', son of Jo-nas', lov-est thou me'?

Yea', Lord', thou know-est that I love thee'.

O', you hard hearts', you cruel men of Rome!!
Knew ye not Pom-pey/?

And do you now strew flowers in his way
Who comes in triumph over Pompey's blood'?
'Tis hard to say', if greater want of skill'
Appear in wri-ting', or in judg-ing', ill':
But, of the two', less dangerous is the offence'
To tire our pa-tience', than mis-lead our sense';
Some few in that', but num-bers err in this',
Ten cen-sure wrong for one who writes amiss':
A fool might once him-self alone expose';
Now', one in verse makes many more in prose'.
I conjure you by that which you pro-fess',
(Howe'er you came to know it',) an-swer me';
Though you untie the winds and let them fight
Against the church-es'; though the yesty waves
Confound and swallow navi-ga-tion up';

Though bladed corn be lodge-d, and trees blown down';

Though castles topple on their warder's heads';

Though palaces and pyramids do slope

Their heads to their foun-DA-tions'; though the treasures

Of nature's germins tumble alto-geth-er',

Even till des-truc-tion SICK-en'; an-swer me

To what I ask you'.

This last passage, the sublime and terrible adjuration of Macbeth to the witches, is marked agreeably to the direction of Mr. Walker, as in accordance with the manner of pronouncing it adopted by the inimitable Garrick, namely, to adopt the falling inflection at the close of each member except the last but one, and to give the inflection a degree of emphatick force, increasing in strength from the first member to the sixth. By such an enunciation, the whole climax will be most beautifully diversified, and its effect greatly heightened.

QUESTIONS.

Of what does chapter 4, treat?

By what terms are the various degrees of force expressed?

What powers of the voice are referred to by the terms high and low? Explain the difference of meaning between force and loudness?

What should be the first object of him who speaks or reads to others? How is this to be effected?

In order to be distinctly heard in reading, what pitch of the voice ought generally to be adopted?

What is said respecting a rhetorical pause?

Please to enunciate the examples which follow, agreeably to the directions given in the margin.

How may force be manifested at the beginning, middle, and end of syllables, &c.?

What is meant by the term Radical Stress?

Read the example-Edward's words to Warwick.

What is said of radical, and vanishing movement, on page 76?

What is denoted by Vanishing Stress?—What, by Compound Force?
What, by Median Force?-Can you illustrate it?

What is meant by Aspirate elements or letters?
Explain the aspirates in the poetick example.
What is Accent?-On what words does it fall?
Give examples of the secondary accent.
What is said of accent on long syllables?

What three circumstances sometimes transpose the accent on words?Read the examples which follow.

What is Emphasis?-Explain the difference between it and Accent. What is the general Rule by which to distinguish emphatick, from unemphatick, words?—Give examples.

Are emphatick words always the most important in sense?-Examples. Give examples in which one part of the antithesis is implied.

Is a phrase or member of a sentence ever antithetically employed with a single word?-Give examples.

What is the distinction between Simple and Compound Emphasis? Please to read the examples which follow, and explain them. What is the difference between Superiour and Inferiour Emphasis?— Give numerous examples, and illustrate them.

Please to illustrate the emphasis of Radical, Median, Vanishing, and Compound Stress, and also, emphasis of Quantity.

Illustrate some emphatick Inflections.

Are the inflections of the voice ever controlled by emphasis?-Illustrate by examples, some of the emphatick Waves.

Give examples in which the meaning depends on the emphasis.
What is the standard of accuracy in elocution?

Please to read the numerous examples which follow, and apply the rules for the emphasis and the inflections adopted.

It may be proper to remark, that, in answering these questions, as well as those in the foregoing chapters, the learner will be permitted (more or less, according to the discretion of the teacher) to make use

of the book.

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