EXAMPLES.1. No man can rise above the infirmities of naˊture, unless he is assisˊted by God.ˋ2. To acquire knowˊledge is the duty of man.3. Shame being lostˊ, all virtue is lost.4. Fathˊers, Senators of Romeˊ, arbiters of naˊtions, to you I fly for refuge.5. Poor were the expectations of the modˊest, the virˊtuousˊ, and the goodˊ, if the reward of their labors were expected only from man.6. An honest manˊ, (as the poet has saidˊ,) is the noblest work of God.
EXAMPLES.
1. No man can rise above the infirmities of naˊture, unless he is assisˊted by God.ˋ
2. To acquire knowˊledge is the duty of man.
3. Shame being lostˊ, all virtue is lost.
4. Fathˊers, Senators of Romeˊ, arbiters of naˊtions, to you I fly for refuge.
5. Poor were the expectations of the modˊest, the virˊtuousˊ, and the goodˊ, if the reward of their labors were expected only from man.
6. An honest manˊ, (as the poet has saidˊ,) is the noblest work of God.
II. At the end of a sentence, and in all places where the sense is complete, thefalling inflectionshould be used.
EXAMPLES.1. Peace will soon be estabˋlished; confidence will come with peaceˋ; capˋital will follow conˋfidence; employment will increase with capˋital; educationˊ will be diffuˊsed, and virtue will grow with educaˋtion.2. It is of the last importance to season the passions of a child with devoˋtion; which seldom dies in a mind that has received an early tincˋture of it.3. Temˊperance, by fortifying the mind and bodˊy, leads to hapˋpiness.4. Sincerity is to speak as we thinkˋ, to do as we pretend and professˋ, to perform and make good what we promˋise, and really to be what we appearˋ to be.5. The consequences of intemperance are disgraceˋ, povˋerty, disease, and premature deathˋ.6. I could not treat a dogˋ ill. Unkindness seldom produces other than evil effectsˋ.
EXAMPLES.
1. Peace will soon be estabˋlished; confidence will come with peaceˋ; capˋital will follow conˋfidence; employment will increase with capˋital; educationˊ will be diffuˊsed, and virtue will grow with educaˋtion.
2. It is of the last importance to season the passions of a child with devoˋtion; which seldom dies in a mind that has received an early tincˋture of it.
3. Temˊperance, by fortifying the mind and bodˊy, leads to hapˋpiness.
4. Sincerity is to speak as we thinkˋ, to do as we pretend and professˋ, to perform and make good what we promˋise, and really to be what we appearˋ to be.
5. The consequences of intemperance are disgraceˋ, povˋerty, disease, and premature deathˋ.
6. I could not treat a dogˋ ill. Unkindness seldom produces other than evil effectsˋ.
III. When a question is asked by an interrogative word, the word which asks the question, as well as all other important words in the question, takes thefalling inflection.
EXAMPLES.1. Whatˋ will you do in the day of visitaˋtion?2. Whereˋby shall I knowˋ this? Howˋ shall the manifestaˋtion be madeˋ?3. Whoˋ do men say that I amˋ? Whomˋ do they represent me to beˋ?4. Whoˋ is here so braveˋ that he would be a bondˋman?5. Whatˋ have I doneˋ that you should give me this cruel treatmentˋ?6. Whyˋ bendest thou in stormˋ; whyˋ lower thy headˋ?
EXAMPLES.
1. Whatˋ will you do in the day of visitaˋtion?
2. Whereˋby shall I knowˋ this? Howˋ shall the manifestaˋtion be madeˋ?
3. Whoˋ do men say that I amˋ? Whomˋ do they represent me to beˋ?
4. Whoˋ is here so braveˋ that he would be a bondˋman?
5. Whatˋ have I doneˋ that you should give me this cruel treatmentˋ?
6. Whyˋ bendest thou in stormˋ; whyˋ lower thy headˋ?
IV. When a question is asked commencing with a verb, the previous rule is reversed, and all the important words in the question, particularly the last, take therising inflection.
EXAMPLES.1. Is the windˊ blowˊing? Is the sunˊ shinˊing? Is it rainˊing? Is it snowˊing?2. Do I loveˊ? dost thou loveˊ? do we loveˊ?3. Are you coldˊ? Is he poorˊ? Is she vainˊ?4. Has he not involˊved himself by his improvˊidence?5. Has that poorˊ man been cheatˊed? has his povˊerty been no protecˊtion?
EXAMPLES.
1. Is the windˊ blowˊing? Is the sunˊ shinˊing? Is it rainˊing? Is it snowˊing?
2. Do I loveˊ? dost thou loveˊ? do we loveˊ?
3. Are you coldˊ? Is he poorˊ? Is she vainˊ?
4. Has he not involˊved himself by his improvˊidence?
5. Has that poorˊ man been cheatˊed? has his povˊerty been no protecˊtion?
Exception.—When the question defies contradiction, and is only interrogatory in form, being really an assertion, the falling inflection is used: as—
6. Are not the happy rareˋ? Are not the good the most hapˋpy?7. Does he not possessˋ this world’s goodsˋ as if he possessed them notˋ?8. How fewˋ can we find whose activˋity has not been misappliedˋ?
6. Are not the happy rareˋ? Are not the good the most hapˋpy?
7. Does he not possessˋ this world’s goodsˋ as if he possessed them notˋ?
8. How fewˋ can we find whose activˋity has not been misappliedˋ?
V.—Words that are contrasted with one another have opposite inflections; and answers have, generally, opposite inflections to the questions.
EXAMPLES.1. We see the moteˋ in anothˊer’s eye, but cannot discern the beamˊ in our ownˋ.2. He strikes othˊers but hurts himselfˋ.3. We should judge by the heartˋ rather than the headˊ.4. Did he act justˋly or unjustˊly? He acted justˊly, not unjustˋly.5. Did he say trueˋ or untrueˊ. He said trueˊ, not untrueˋ.6. I am more inclined to be gladˋ than sorˊry, to loveˋ than to hateˊ, to make friendsˋ than to deserve foesˊ, to be a good friendˊ than a bad enemyˋ.
EXAMPLES.
1. We see the moteˋ in anothˊer’s eye, but cannot discern the beamˊ in our ownˋ.
2. He strikes othˊers but hurts himselfˋ.
3. We should judge by the heartˋ rather than the headˊ.
4. Did he act justˋly or unjustˊly? He acted justˊly, not unjustˋly.
5. Did he say trueˋ or untrueˊ. He said trueˊ, not untrueˋ.
6. I am more inclined to be gladˋ than sorˊry, to loveˋ than to hateˊ, to make friendsˋ than to deserve foesˊ, to be a good friendˊ than a bad enemyˋ.
VI.—When words express pity, joy, or grief, they take therising inflection; and in all language expressive of tender emotion therising inflectionpredominates.
EXAMPLES.1. Ohˊ dearˊ me. Oh genˊtle sleepˊ, nature’s soft nurseˊ.2. Piˊty, kindˊ gentlemen, friendsˊ of humanityˊ.3. Ohˊ, my lordˊ, let me speak a word in thy earˊ.4. I am thy fathˊer—oh, my sonˊ! my sonˊ!5. Poor Maˊry. How my heartˊ bled to see her angˊuish, when she looked upon her departed childˊ.6. Ohˊ that I knewˊ how I could consoleˊ her, how I could bring peaceˊ to her mind.ˋ
EXAMPLES.
1. Ohˊ dearˊ me. Oh genˊtle sleepˊ, nature’s soft nurseˊ.
2. Piˊty, kindˊ gentlemen, friendsˊ of humanityˊ.
3. Ohˊ, my lordˊ, let me speak a word in thy earˊ.
4. I am thy fathˊer—oh, my sonˊ! my sonˊ!
5. Poor Maˊry. How my heartˊ bled to see her angˊuish, when she looked upon her departed childˊ.
6. Ohˊ that I knewˊ how I could consoleˊ her, how I could bring peaceˊ to her mind.ˋ
VII.—When words express denunciation, reproach,violent passion, or dignified emotion, they take the falling inflection.
EXAMPLES.1. You wrong me evˋery way—you wrongˋ me, Brutus.2. Revengeˋ,revengeˋ, Timotheus cries.3. Let no man dareˋ speak ill of my departed fatherˋ.4. Oh wretched manˋ. Oh unhapˋpy sinner.5. Wretchˋ that I amˋ, whereˋ shall I goˋ?6. Avauntˋ and quit my sightˋ. Let the earth hideˋ thee. Begoneˋ!7. What a splendid piece of workˋmanship is manˋ.8. Behold the child of purˋity arrayed in her inˋnocence.9. Oh, dearˋest to my soulˋ—now goneˋ, alasˋ, from my sight. Woeˋ is me, that my sojourning is prolongˋed.
EXAMPLES.
1. You wrong me evˋery way—you wrongˋ me, Brutus.
2. Revengeˋ,revengeˋ, Timotheus cries.
3. Let no man dareˋ speak ill of my departed fatherˋ.
4. Oh wretched manˋ. Oh unhapˋpy sinner.
5. Wretchˋ that I amˋ, whereˋ shall I goˋ?
6. Avauntˋ and quit my sightˋ. Let the earth hideˋ thee. Begoneˋ!
7. What a splendid piece of workˋmanship is manˋ.
8. Behold the child of purˋity arrayed in her inˋnocence.
9. Oh, dearˋest to my soulˋ—now goneˋ, alasˋ, from my sight. Woeˋ is me, that my sojourning is prolongˋed.
VIII.—In a commencing series, of three or four numbers, the last number or numbers of the series, and in a concluding series, the last but one, generally takes therising inflection, and all the other take thefalling inflection.
EXAMPLES.1. Honorˋ, virˋtue, and truthˊ, distinguish himˋ.2. He is distinguished by honˋor, virˊtue, and truthˋ.3. Haˋtreds, dissenˋtions, disˋcords, and warsˊ are produced by ambiˋtion.4. You have a friend who will pityˋ, supportˋ, defendˊ, and relieveˋ you.5. The wind and rain are oˋver; calm is the morn of dayˋ; the clouds are divided in heavˊen; over the green hills flies the inconstant sunˋ.6. A true friend unbosoms freeˋly, advises justˋly, assists readˋily, takes all paˊtiently, and continues a friend unchangeˋably.7. A good disposiˋtion, virtuous princiˋples, a liberal educaˋtion,and industrious habˊits, are passports to happiness and honˋor.8. Hapˋpiness and honorˊ are the reward of a good disˋposition, virtuous prinˋciples, a liberal educaˊtion, and industrious habˋits.9. If you look about youˊ, and consider the lives of othˊers as well as your ownˋ; if you think how few are bornˋ with honˊor, and how many dieˊ without nameˊ or childˋren; how little beautyˋ we seeˊ, and how few friendsˊ we hearˋ of; how many diseasesˊ and how much povˋerty there is in the worldˊ, you will admireˊ, instead of repinˋing at God’s provˋidence.
EXAMPLES.
1. Honorˋ, virˋtue, and truthˊ, distinguish himˋ.
2. He is distinguished by honˋor, virˊtue, and truthˋ.
3. Haˋtreds, dissenˋtions, disˋcords, and warsˊ are produced by ambiˋtion.
4. You have a friend who will pityˋ, supportˋ, defendˊ, and relieveˋ you.
5. The wind and rain are oˋver; calm is the morn of dayˋ; the clouds are divided in heavˊen; over the green hills flies the inconstant sunˋ.
6. A true friend unbosoms freeˋly, advises justˋly, assists readˋily, takes all paˊtiently, and continues a friend unchangeˋably.
7. A good disposiˋtion, virtuous princiˋples, a liberal educaˋtion,and industrious habˊits, are passports to happiness and honˋor.
8. Hapˋpiness and honorˊ are the reward of a good disˋposition, virtuous prinˋciples, a liberal educaˊtion, and industrious habˋits.
9. If you look about youˊ, and consider the lives of othˊers as well as your ownˋ; if you think how few are bornˋ with honˊor, and how many dieˊ without nameˊ or childˋren; how little beautyˋ we seeˊ, and how few friendsˊ we hearˋ of; how many diseasesˊ and how much povˋerty there is in the worldˊ, you will admireˊ, instead of repinˋing at God’s provˋidence.
In a circumflex the voice is made to bend so that it falls and rises, or rises and falls, during the utterance of a single sound. Circumflex inflection is used in expression of bitter irony or reproach.
EXAMPLES.1. They offer us their protecˋtion. Yĕs, sŭch protection as vŭltures give to lămbs—covering and devouring themˋ.2. Gone to be mărried! gone to swĕar a pĕace! gone to be frĭends!3. He dâres not touch a hâir of Catalineˋ.4. I may do what I shall be sorˋry for. You hâve done what you shoûld be sorˋry for.5. So this is yŏu. How glăd I am to meet so trŭe a friend.
EXAMPLES.
1. They offer us their protecˋtion. Yĕs, sŭch protection as vŭltures give to lămbs—covering and devouring themˋ.
2. Gone to be mărried! gone to swĕar a pĕace! gone to be frĭends!
3. He dâres not touch a hâir of Catalineˋ.
4. I may do what I shall be sorˋry for. You hâve done what you shoûld be sorˋry for.
5. So this is yŏu. How glăd I am to meet so trŭe a friend.
In a monotone the voice neither rises nor falls during the utterance of a succession of words. It is generally used in pronouncing grand and solemn passages.
EXAMPLES.1.The bell strikes one.Wetake no note of time but from its loss. To give it, then,a tongue is wise in man. As if an angel spoke, I feel the solemn sound. If heard aright, itis theknell of my departed hours.2. Who would fardells bear,To groan and sweat under a weary life,But that the dread of something after deathThat undiscovered country from whose bourneNo traveler returns,—puzzles the willAnd makes usrather bear the ills we haveThanfly to others which we know not of.3. I flew towards her; my arms were already unclosed to clasp her, when, suddenly,her figure changed—her face grew pale—a stream of blood gushed from her bosom. ’Twas Evelina.4. Thecloud-capped towers, thegorgeous palaces,Thesolemn temples, the great globeˊ itselfˋ—Yea,all which it inherit shall dissolve,And,like the baseless fabric of a vision,Leaveˊ not a wreck behindˋ.
EXAMPLES.
1.The bell strikes one.Wetake no note of time but from its loss. To give it, then,a tongue is wise in man. As if an angel spoke, I feel the solemn sound. If heard aright, itis theknell of my departed hours.
2. Who would fardells bear,To groan and sweat under a weary life,But that the dread of something after deathThat undiscovered country from whose bourneNo traveler returns,—puzzles the willAnd makes usrather bear the ills we haveThanfly to others which we know not of.
2. Who would fardells bear,To groan and sweat under a weary life,But that the dread of something after deathThat undiscovered country from whose bourneNo traveler returns,—puzzles the willAnd makes usrather bear the ills we haveThanfly to others which we know not of.
2. Who would fardells bear,To groan and sweat under a weary life,But that the dread of something after deathThat undiscovered country from whose bourneNo traveler returns,—puzzles the willAnd makes usrather bear the ills we haveThanfly to others which we know not of.
2. Who would fardells bear,
To groan and sweat under a weary life,
But that the dread of something after death
That undiscovered country from whose bourne
No traveler returns,—puzzles the will
And makes usrather bear the ills we have
Thanfly to others which we know not of.
3. I flew towards her; my arms were already unclosed to clasp her, when, suddenly,her figure changed—her face grew pale—a stream of blood gushed from her bosom. ’Twas Evelina.
4. Thecloud-capped towers, thegorgeous palaces,Thesolemn temples, the great globeˊ itselfˋ—Yea,all which it inherit shall dissolve,And,like the baseless fabric of a vision,Leaveˊ not a wreck behindˋ.
4. Thecloud-capped towers, thegorgeous palaces,Thesolemn temples, the great globeˊ itselfˋ—Yea,all which it inherit shall dissolve,And,like the baseless fabric of a vision,Leaveˊ not a wreck behindˋ.
4. Thecloud-capped towers, thegorgeous palaces,Thesolemn temples, the great globeˊ itselfˋ—Yea,all which it inherit shall dissolve,And,like the baseless fabric of a vision,Leaveˊ not a wreck behindˋ.
4. Thecloud-capped towers, thegorgeous palaces,
Thesolemn temples, the great globeˊ itselfˋ—
Yea,all which it inherit shall dissolve,
And,like the baseless fabric of a vision,
Leaveˊ not a wreck behindˋ.
A parenthesis is an explanatory clause introduced into a sentence. Parenthesis might be omitted in reading without injuring the grammatical construction of the sentence. The tone employed in reading parenthetical clauses, should, generally, be lower than that in which the other parts of the sentence are read. The monotoneis most suitable for parenthesis, but when inflections are used, as they sometimes are in short clauses, the inflection should be the same as that used at the pause immediately preceding the parenthesis, which is generally therising inflection.
EXAMPLES.1. Rememˊber (continued she with a sighˊ) your dearˊ absent friendˋ.2. Know then, this truthˊ, (enough for man to knowˊ,)Virtue aloneˋ is happiness belowˋ.3. Nothing can be greatˊ the contemplation of which is not greatˋ (says Longinusˋ).4. On the one handˊ, are the divine approbaˊtion and immorˋtal honˋor; on the othˊer, (remember and bewareˊ,) are the stings of conˋscience and endless inˋfamy.5. Genˊtlemen, if I make out this case by evˊidence, (and if I do not, forget every thing you have heard, and reproach me for having abused your honest feelˊings,) I have established a claim for damˊages that has no parallel in the annals of fashionable intrigueˋ.
EXAMPLES.
1. Rememˊber (continued she with a sighˊ) your dearˊ absent friendˋ.
2. Know then, this truthˊ, (enough for man to knowˊ,)Virtue aloneˋ is happiness belowˋ.
2. Know then, this truthˊ, (enough for man to knowˊ,)Virtue aloneˋ is happiness belowˋ.
2. Know then, this truthˊ, (enough for man to knowˊ,)Virtue aloneˋ is happiness belowˋ.
2. Know then, this truthˊ, (enough for man to knowˊ,)
Virtue aloneˋ is happiness belowˋ.
3. Nothing can be greatˊ the contemplation of which is not greatˋ (says Longinusˋ).
4. On the one handˊ, are the divine approbaˊtion and immorˋtal honˋor; on the othˊer, (remember and bewareˊ,) are the stings of conˋscience and endless inˋfamy.
5. Genˊtlemen, if I make out this case by evˊidence, (and if I do not, forget every thing you have heard, and reproach me for having abused your honest feelˊings,) I have established a claim for damˊages that has no parallel in the annals of fashionable intrigueˋ.
The expressionssaid I,continued he,so to speak,then,except,nevertheless,therefore,yet,notwithstanding, etc., are read in a lower tone, like parenthesis, and with thefalling inflection, as:
Justice,said heˋ, will carry it.Though he was rich,yetˋ, for our sakes he became poor.Though deep,yet clearˋ; though gentle,yetˋnot dull.I love every one of them,exceptˋthe old crone.He was,so to speakˋ, the lion of the tribe.
Justice,said heˋ, will carry it.Though he was rich,yetˋ, for our sakes he became poor.Though deep,yet clearˋ; though gentle,yetˋnot dull.I love every one of them,exceptˋthe old crone.He was,so to speakˋ, the lion of the tribe.
Justice,said heˋ, will carry it.Though he was rich,yetˋ, for our sakes he became poor.Though deep,yet clearˋ; though gentle,yetˋnot dull.I love every one of them,exceptˋthe old crone.He was,so to speakˋ, the lion of the tribe.
Justice,said heˋ, will carry it.
Though he was rich,yetˋ, for our sakes he became poor.
Though deep,yet clearˋ; though gentle,yetˋnot dull.
I love every one of them,exceptˋthe old crone.
He was,so to speakˋ, the lion of the tribe.
Tone differs from accent and emphasis, but may be said to be nearly allied to inflection. Tone is not confined to words, but to whole passages, and is intended to convey to the minds of the hearers the passions and feelings which are supposed to have influenced the writer or speaker.
Nothing can contribute more to beautiful and expressive reading than the use of the tones most suitable to the matter read. Nor is the correct language of emotion, the appropriate sound with which certain passages should be uttered, of very difficult attainment. The smallest child finds tones to express its various feelings, and there can be no great difficulty in the reader’s ascertaining the emotions under which the author spoke or wrote, and making his tones such as give best expression to those emotions.
But in this, as in other matters, there should be moderation. Every thing artificial and theatrical should, in reading ordinary compositions, be avoided. We recommend Murray’s rule to the learner: “In reading, let your tones of expression be borrowed from those of common speech, but, in some degree, more faintly characterized. Let those tones which signify any disagreeable passion of the mind be more faint than those which indicate agreeable emotion; and, on all occasions, preserve yourselves from being so far affected with the subject as to be able to proceed through it with an easy and masterly manner, which has its good effects in this as well as in every other art.”
The following observations on Expression and Energy are taken from Vandenhoff’s “Plain System of Elocution:”
“Expression is the modulating or regulating the organ of the voice to tones of gentleness or force, according to the natureand degree of feeling, or passion, expressed in words. Expression is the natural language of emotion. It is, in Elocution, to a certain extent, a vocal imitation of passion. But this must be done without “aggravating the voice” (as Bottom has it.) It is a grace which requires the nicest management; and cannot be achieved but with the best cultivation ofearandvoice; in order to catch and re-echo the tones of the heart to the ears and hearts of others.
“Expression, therefore, is a refinement on Intonation: they go hand in hand: we cannot think of the one without the other. Intonation gives the voice volume and power; expression uses and adopts it to the feeling of the moment.
“Energy is intimately allied to the two preceding graces of Elocution; to which it adds force, intensity, and earnestness. As Expression is variety of Intonation, Energy may be called theEmphasis of Expression.
“It is the life, the soul, the animating spirit. Without it, the speaker may be correct, and even agreeable, by a due observance of rule; but if he lackenergy, he will be listened to without interest; his voice will fall powerless on the ear, and neither “awake the senses,” nor “stir the blood.”
“Energy, it is true, depends somewhat on individual temperament and constitution. But even where natural or physical energy is deficient, anenergetic mannermay be acquired by practice and exercise under judicious direction; just as the muscular powers may be improved, and bodily vigor increased, even in a feeble frame, under a course of training and well-regulated exercise.
“Even in narration, what force, what reality can be given to a description by a speaker who, as it were, throws himself into the scene, and by the vivacity and energy of his delivery brings the action graphically before your eyes, hurries you into the heat of it, and makes you feel as if personally engaged in what is so stirringly related to you as in that beautiful description,in Shakspeare’sHenry IV., of the gallant Prince Henry and his comrades armed for battle:
“All furnish’d, all in arms,Glitt’ring in golden coats like images;As full of spirit as the month of May,And gorgeous as the sun at midsummer;Wanton as youthful goats, wild as young bulls.I saw young Harry,—with his beaver on,His cuises on his thighs, gallantly arm’d,—Rise from the ground like feathered Mercury,And vaulted with such ease into his seat,As if an angel dropp’d down from the clouds,To turn and wind a fiery Pegasus,And witch the world with noble horsemanship!
“All furnish’d, all in arms,Glitt’ring in golden coats like images;As full of spirit as the month of May,And gorgeous as the sun at midsummer;Wanton as youthful goats, wild as young bulls.I saw young Harry,—with his beaver on,His cuises on his thighs, gallantly arm’d,—Rise from the ground like feathered Mercury,And vaulted with such ease into his seat,As if an angel dropp’d down from the clouds,To turn and wind a fiery Pegasus,And witch the world with noble horsemanship!
“All furnish’d, all in arms,Glitt’ring in golden coats like images;As full of spirit as the month of May,And gorgeous as the sun at midsummer;Wanton as youthful goats, wild as young bulls.I saw young Harry,—with his beaver on,His cuises on his thighs, gallantly arm’d,—Rise from the ground like feathered Mercury,And vaulted with such ease into his seat,As if an angel dropp’d down from the clouds,To turn and wind a fiery Pegasus,And witch the world with noble horsemanship!
“All furnish’d, all in arms,
Glitt’ring in golden coats like images;
As full of spirit as the month of May,
And gorgeous as the sun at midsummer;
Wanton as youthful goats, wild as young bulls.
I saw young Harry,—with his beaver on,
His cuises on his thighs, gallantly arm’d,—
Rise from the ground like feathered Mercury,
And vaulted with such ease into his seat,
As if an angel dropp’d down from the clouds,
To turn and wind a fiery Pegasus,
And witch the world with noble horsemanship!
“Unless this description, full of poetic imagination and coloring as it is, be delivered with warmth,energy, and a tone of enthusiasm, it will fall very short of its due impression; and thus the poet will be deprived, by the speaker’s coldness, of the full appreciation, by the hearer, of the exquisite beauty of the picture.
“But the force of his elocution must be greatly increased, and the expression must be changed, become impassioned, and raised almost tofierceness, to produce the full effect ofHotspur’sheroic and inspiring answer: which breaths the highest enthusiasm of confident and daring valor, undaunted resolution, and impatient thirst of glory.
“It must therefore be marked with all theenergythat the reader can command.
HOTSPUR’S EAGERNESS FOR BATTLE.Let them come!They come like sacrifices in their trim,And to the fire-eyed maid of smoky war,All hot, and bleeding, will we offer them!The mailed Mars shall on his altar sitUp to the ears in blood. I am on fire,To hear this rich reprisal is so nigh,And yet not ours! Come, let me take my horse,Which is to bear me like a thunderboltAgainst the bosom of the Prince of Wales:Harry to Harry shall, hot horse to horse,Meet, and ne’er part till one drop down a corse!
HOTSPUR’S EAGERNESS FOR BATTLE.Let them come!They come like sacrifices in their trim,And to the fire-eyed maid of smoky war,All hot, and bleeding, will we offer them!The mailed Mars shall on his altar sitUp to the ears in blood. I am on fire,To hear this rich reprisal is so nigh,And yet not ours! Come, let me take my horse,Which is to bear me like a thunderboltAgainst the bosom of the Prince of Wales:Harry to Harry shall, hot horse to horse,Meet, and ne’er part till one drop down a corse!
HOTSPUR’S EAGERNESS FOR BATTLE.
HOTSPUR’S EAGERNESS FOR BATTLE.
Let them come!They come like sacrifices in their trim,And to the fire-eyed maid of smoky war,All hot, and bleeding, will we offer them!The mailed Mars shall on his altar sitUp to the ears in blood. I am on fire,To hear this rich reprisal is so nigh,And yet not ours! Come, let me take my horse,Which is to bear me like a thunderboltAgainst the bosom of the Prince of Wales:Harry to Harry shall, hot horse to horse,Meet, and ne’er part till one drop down a corse!
Let them come!
They come like sacrifices in their trim,
And to the fire-eyed maid of smoky war,
All hot, and bleeding, will we offer them!
The mailed Mars shall on his altar sit
Up to the ears in blood. I am on fire,
To hear this rich reprisal is so nigh,
And yet not ours! Come, let me take my horse,
Which is to bear me like a thunderbolt
Against the bosom of the Prince of Wales:
Harry to Harry shall, hot horse to horse,
Meet, and ne’er part till one drop down a corse!
“Thus we see that Intonation, Energy, and Expression are kindred graces: united and embodied in full force and with just discrimination, they reach the climax of the power of Elocution, the acmé of its art—Passion.
“In conclusion, I take leave to add, that I shall indeed feel proud if this feeble attempt of mine may have the effect of awaking the reader’s interest, exciting, and in some degree aiding him in the cultivation of an art, on which the Orator’s success so much depends.”
The following remarks on reading verse are by the same writer:
“In the reading of verse, we must observe
1. Time and rhythm.
2. Melody and cadence.
“1. Bytime, I mean the regulation of the pulsation and movement of sound by the voice, to the regulated metrical accentuation (or rhythm), and construction of the verse.
“Time and rhythm are therefore inseparable and mutually dependent: one belongs to the Poet, the other to the Elocutionist.
“English verse consists of the arrangement at regular intervals of accented andunaccented—or, heavy and light—syllables. This regular arrangement makes therhythmof theverse: the number of syllables employed in a line makes themetreof the verse.
“Now if, in reading verse, we do notregularlymark the pulsation of the accented syllables,—according to their arrangement in the rhythm—at due intervals of sound, we shall break the rhythm by readingout of time.
“For example, in the Ode of Dryden, on Cecilia’s Day, occurs this couplet; which I now mark according to theregularrhythmical division and accentuation.
On theˊ | bare earthˊ | exposedˊ | he liesˊ |With notˊ | a friendˊ | to closeˊ | his eyesˊ.
On theˊ | bare earthˊ | exposedˊ | he liesˊ |With notˊ | a friendˊ | to closeˊ | his eyesˊ.
On theˊ | bare earthˊ | exposedˊ | he liesˊ |With notˊ | a friendˊ | to closeˊ | his eyesˊ.
On theˊ | bare earthˊ | exposedˊ | he liesˊ |
With notˊ | a friendˊ | to closeˊ | his eyesˊ.
“But to read the first line of the couplet thus, (accentingtheand not accentingbare) would be to sacrifice all the force of the line, in order to produce an unmeaningsing-songby equipulsation of sound.
“We must, therefore, by art, reconcile the strength of the line with the music of the verse; and thus divide and accent it in delivery.
On the bareˊ | earthˊ | exposedˊ | he liesˊ.
On the bareˊ | earthˊ | exposedˊ | he liesˊ.
On the bareˊ | earthˊ | exposedˊ | he liesˊ.
On the bareˊ | earthˊ | exposedˊ | he liesˊ.
“Sometimes the poet himself will, purposely, break the regularity of his rhythm for expression and effect; the Elocutionist, in such cases, must aid that effect by marking andtimingthe pulsation of sound accordingly. As in the following lines from Pope:
1.Smoothˊ flow the waves, the zephyrs gently play.2.Wideˊ and more wide the floating rings advance,Fillˊ all the wat’ry plain,and to the margin dance.3. Amphion there the loud creating lyreStrikesˊ, and behold a sudden Thebes aspire!4.Fameˊ sits aloft, and points them out their course.5.Brightˊ as the sun, her eyes the gazers strike.6.Allˊ are but parts of one stupendous whole,Whose body Nature is, and God the soul;That chang’d through all, and yet is all the same,Greatˊ in the earth, as in the ethereal frame,Warmsˊ in the sun,refreshesin the breeze,Glowsˊ in the stars, andblossomsin the trees,Livesˊ thro’ all life,extendsthrough all extent,Spreadsˊ undivided,operatesunspent,Breathesˊ in our soul,informsour mortal part, &c.
1.Smoothˊ flow the waves, the zephyrs gently play.2.Wideˊ and more wide the floating rings advance,Fillˊ all the wat’ry plain,and to the margin dance.3. Amphion there the loud creating lyreStrikesˊ, and behold a sudden Thebes aspire!4.Fameˊ sits aloft, and points them out their course.5.Brightˊ as the sun, her eyes the gazers strike.6.Allˊ are but parts of one stupendous whole,Whose body Nature is, and God the soul;That chang’d through all, and yet is all the same,Greatˊ in the earth, as in the ethereal frame,Warmsˊ in the sun,refreshesin the breeze,Glowsˊ in the stars, andblossomsin the trees,Livesˊ thro’ all life,extendsthrough all extent,Spreadsˊ undivided,operatesunspent,Breathesˊ in our soul,informsour mortal part, &c.
1.Smoothˊ flow the waves, the zephyrs gently play.
1.Smoothˊ flow the waves, the zephyrs gently play.
2.Wideˊ and more wide the floating rings advance,Fillˊ all the wat’ry plain,and to the margin dance.
2.Wideˊ and more wide the floating rings advance,
Fillˊ all the wat’ry plain,and to the margin dance.
3. Amphion there the loud creating lyreStrikesˊ, and behold a sudden Thebes aspire!
3. Amphion there the loud creating lyre
Strikesˊ, and behold a sudden Thebes aspire!
4.Fameˊ sits aloft, and points them out their course.
4.Fameˊ sits aloft, and points them out their course.
5.Brightˊ as the sun, her eyes the gazers strike.
5.Brightˊ as the sun, her eyes the gazers strike.
6.Allˊ are but parts of one stupendous whole,Whose body Nature is, and God the soul;That chang’d through all, and yet is all the same,Greatˊ in the earth, as in the ethereal frame,Warmsˊ in the sun,refreshesin the breeze,Glowsˊ in the stars, andblossomsin the trees,Livesˊ thro’ all life,extendsthrough all extent,Spreadsˊ undivided,operatesunspent,Breathesˊ in our soul,informsour mortal part, &c.
6.Allˊ are but parts of one stupendous whole,
Whose body Nature is, and God the soul;
That chang’d through all, and yet is all the same,
Greatˊ in the earth, as in the ethereal frame,
Warmsˊ in the sun,refreshesin the breeze,
Glowsˊ in the stars, andblossomsin the trees,
Livesˊ thro’ all life,extendsthrough all extent,
Spreadsˊ undivided,operatesunspent,
Breathesˊ in our soul,informsour mortal part, &c.
“TheItalicisedwords indicate the departure from theregularrhythm in these lines; most of which commence with a heavy syllable, for force and effect. This the reader must mark by pulsation of voice,—a prolongation of sound, or a rest, on the commencing heavy syllable, with a lighter enunciation of the succeeding unaccented syllables.
“The occurrence of several successive unaccented syllables, lessening the due number of accents in any line, must be balanced by a short rest to supply the place of the deficient accent (as in the5th and6th lines of the6th example.) By these means the due time of the verse will be preserved, and its movement willecho, (as it were,) or, at all events, aid and strengthen the sense.
“The above verses will accordingly be read with the division and accentuation following:
1. Smoothˊ | flow the wavesˊ, | the zephˊyrs gent | ly playˊ.2. Wideˊ | and more wideˊ | the floatˊ | ing ringsˊ | advanceˊ,Fillˊ all | the watˊ | ’ry plainˊ, | and to the marˊ | gin danceˊ.3. Amphi on thereˊ | the loudˊ | creaˊ | ting lyreˊ |Strikesˊ, | and beholdˊ | a sudˊ | den Thebesˊ | aspireˊ!4. Fameˊ | sits aloftˊ, | and pointsˊ | them outˊ | their course.5. Brightˊ | as the sunˊ, | her eyesˊ | the gaˊ | zers strikeˊ.6. Allˊ | are but partsˊ | of oneˊ | stupenˊ | dous wholeˊ, |Whose bod | y Naˊ | ture isˊ, | and Godˊ | the soulˊ;That chang’dˊ | thro’ allˊ, | and yetˊ | in allˊ | the sameˊ, |Greatˊ | in the earthˊ, | as in | the etheˊ | real frameˊ, |Warmsˊ | in the sunˊ, | refreshˊ | es in the breezeˊ, |Glowsˊ | in the starsˊ, | and blosˊ | soms in the treesˊ, &c.
1. Smoothˊ | flow the wavesˊ, | the zephˊyrs gent | ly playˊ.2. Wideˊ | and more wideˊ | the floatˊ | ing ringsˊ | advanceˊ,Fillˊ all | the watˊ | ’ry plainˊ, | and to the marˊ | gin danceˊ.3. Amphi on thereˊ | the loudˊ | creaˊ | ting lyreˊ |Strikesˊ, | and beholdˊ | a sudˊ | den Thebesˊ | aspireˊ!4. Fameˊ | sits aloftˊ, | and pointsˊ | them outˊ | their course.5. Brightˊ | as the sunˊ, | her eyesˊ | the gaˊ | zers strikeˊ.6. Allˊ | are but partsˊ | of oneˊ | stupenˊ | dous wholeˊ, |Whose bod | y Naˊ | ture isˊ, | and Godˊ | the soulˊ;That chang’dˊ | thro’ allˊ, | and yetˊ | in allˊ | the sameˊ, |Greatˊ | in the earthˊ, | as in | the etheˊ | real frameˊ, |Warmsˊ | in the sunˊ, | refreshˊ | es in the breezeˊ, |Glowsˊ | in the starsˊ, | and blosˊ | soms in the treesˊ, &c.
1. Smoothˊ | flow the wavesˊ, | the zephˊyrs gent | ly playˊ.
1. Smoothˊ | flow the wavesˊ, | the zephˊyrs gent | ly playˊ.
2. Wideˊ | and more wideˊ | the floatˊ | ing ringsˊ | advanceˊ,Fillˊ all | the watˊ | ’ry plainˊ, | and to the marˊ | gin danceˊ.
2. Wideˊ | and more wideˊ | the floatˊ | ing ringsˊ | advanceˊ,
Fillˊ all | the watˊ | ’ry plainˊ, | and to the marˊ | gin danceˊ.
3. Amphi on thereˊ | the loudˊ | creaˊ | ting lyreˊ |Strikesˊ, | and beholdˊ | a sudˊ | den Thebesˊ | aspireˊ!
3. Amphi on thereˊ | the loudˊ | creaˊ | ting lyreˊ |
Strikesˊ, | and beholdˊ | a sudˊ | den Thebesˊ | aspireˊ!
4. Fameˊ | sits aloftˊ, | and pointsˊ | them outˊ | their course.
4. Fameˊ | sits aloftˊ, | and pointsˊ | them outˊ | their course.
5. Brightˊ | as the sunˊ, | her eyesˊ | the gaˊ | zers strikeˊ.
5. Brightˊ | as the sunˊ, | her eyesˊ | the gaˊ | zers strikeˊ.
6. Allˊ | are but partsˊ | of oneˊ | stupenˊ | dous wholeˊ, |Whose bod | y Naˊ | ture isˊ, | and Godˊ | the soulˊ;That chang’dˊ | thro’ allˊ, | and yetˊ | in allˊ | the sameˊ, |Greatˊ | in the earthˊ, | as in | the etheˊ | real frameˊ, |Warmsˊ | in the sunˊ, | refreshˊ | es in the breezeˊ, |Glowsˊ | in the starsˊ, | and blosˊ | soms in the treesˊ, &c.
6. Allˊ | are but partsˊ | of oneˊ | stupenˊ | dous wholeˊ, |
Whose bod | y Naˊ | ture isˊ, | and Godˊ | the soulˊ;
That chang’dˊ | thro’ allˊ, | and yetˊ | in allˊ | the sameˊ, |
Greatˊ | in the earthˊ, | as in | the etheˊ | real frameˊ, |
Warmsˊ | in the sunˊ, | refreshˊ | es in the breezeˊ, |
Glowsˊ | in the starsˊ, | and blosˊ | soms in the treesˊ, &c.
“There is another point, which properly comes under the head oftime, in rhythmical reading, and the due observance of which is essential to the melody of verse: that is the rests or pauses peculiar to verse, viz.:
The Cæsural Rest, to divide the line; andThe Rest at the Closeof each line.
“The duration of each of these pauses or rests is equal to that of theshort rhetorical pause; subject, of course, to be increased by the pause of sense.
“‘The cæsural pause may fall,’ says Blair, ‘in heroic verse, after the fourth, the fifth, the sixth, or the seventh syllable.’
“The placing it is the poet’s business: it is the Elocutionist’s to mark it in delivery. But if its introduction would be absolutely repugnant to sense and just elocution, the poet must bear the fault, and his line lose some portion of its melody by the omission; for sense cannot be sacrificed to sound.
“The rest at the end of the line suggests itself, and must not be omitted: the sense will most frequently enforce it; when it does not, a rest must nevertheless be made by a suspension of voice at the end of each line, equal to the short pause in Elocution.
Achilles’ wrath, | to Greece the direful spring |Of woes unnumbered, | heav’nly goddess sing!
Achilles’ wrath, | to Greece the direful spring |Of woes unnumbered, | heav’nly goddess sing!
Achilles’ wrath, | to Greece the direful spring |Of woes unnumbered, | heav’nly goddess sing!
Achilles’ wrath, | to Greece the direful spring |
Of woes unnumbered, | heav’nly goddess sing!
“The following verses in heroic measure—that is, consisting of ten syllables to each line, the syllables being (with occasional variations, which are allowed) alternately light and heavy—I have marked with the cæsural pause and rest at the end of the line. Let the student read themaloud, marking these pauses, and duly observingtime,rhythm, andpoetical intonation.
The Temple of Fame.—Pope.Four faces had the dome, | and every face |Of various structure | but of equal grace!Four brazen gates | on columns lifted high, |Salute the different quarters | of the sky.Here fabled chiefs, | in darker ages born, |Or worthies old, | whom arms or arts adorn, |Who cities rais’d, | or tam’d a monstrous race, |The walls, | in venerable order, | grace:Heroes | in animated marble | frown, |And legislators seem | to speak in stone.Westward | a sumptuous frontispiece | appear’d |On Doric pillars | of white marble rear’d, |Crown’d with an architrave | of antique mould, |And sculpture rising | on the roughen’d gold.In shaggy spoils | here Theseus was beheld, |And Perseus, dreadful | with Minerva’s shield:There great Alcides, | stooping with his toil, |Rests on his club, | and holds th’ Hesperian spoil:Here Orpheus sings; | trees wooing to the sound, |Start from their roots, | and form a shade around:Amphion there | the loud creating lyre |Strikes, and behold | a sudden Thebes aspire!Cythæron’s echoes | answer to his call, |And half the mountain | rolls into a wall:There might ye see | the lengthening spires ascend, |The dome swell up, | the widening arches bend, |The growing towers | like exultations rise, |And the huge columns | heave into the skies.
The Temple of Fame.—Pope.Four faces had the dome, | and every face |Of various structure | but of equal grace!Four brazen gates | on columns lifted high, |Salute the different quarters | of the sky.Here fabled chiefs, | in darker ages born, |Or worthies old, | whom arms or arts adorn, |Who cities rais’d, | or tam’d a monstrous race, |The walls, | in venerable order, | grace:Heroes | in animated marble | frown, |And legislators seem | to speak in stone.Westward | a sumptuous frontispiece | appear’d |On Doric pillars | of white marble rear’d, |Crown’d with an architrave | of antique mould, |And sculpture rising | on the roughen’d gold.In shaggy spoils | here Theseus was beheld, |And Perseus, dreadful | with Minerva’s shield:There great Alcides, | stooping with his toil, |Rests on his club, | and holds th’ Hesperian spoil:Here Orpheus sings; | trees wooing to the sound, |Start from their roots, | and form a shade around:Amphion there | the loud creating lyre |Strikes, and behold | a sudden Thebes aspire!Cythæron’s echoes | answer to his call, |And half the mountain | rolls into a wall:There might ye see | the lengthening spires ascend, |The dome swell up, | the widening arches bend, |The growing towers | like exultations rise, |And the huge columns | heave into the skies.
The Temple of Fame.—Pope.
The Temple of Fame.—Pope.
Four faces had the dome, | and every face |Of various structure | but of equal grace!Four brazen gates | on columns lifted high, |Salute the different quarters | of the sky.Here fabled chiefs, | in darker ages born, |Or worthies old, | whom arms or arts adorn, |Who cities rais’d, | or tam’d a monstrous race, |The walls, | in venerable order, | grace:Heroes | in animated marble | frown, |And legislators seem | to speak in stone.Westward | a sumptuous frontispiece | appear’d |On Doric pillars | of white marble rear’d, |Crown’d with an architrave | of antique mould, |And sculpture rising | on the roughen’d gold.In shaggy spoils | here Theseus was beheld, |And Perseus, dreadful | with Minerva’s shield:There great Alcides, | stooping with his toil, |Rests on his club, | and holds th’ Hesperian spoil:Here Orpheus sings; | trees wooing to the sound, |Start from their roots, | and form a shade around:Amphion there | the loud creating lyre |Strikes, and behold | a sudden Thebes aspire!Cythæron’s echoes | answer to his call, |And half the mountain | rolls into a wall:There might ye see | the lengthening spires ascend, |The dome swell up, | the widening arches bend, |The growing towers | like exultations rise, |And the huge columns | heave into the skies.
Four faces had the dome, | and every face |
Of various structure | but of equal grace!
Four brazen gates | on columns lifted high, |
Salute the different quarters | of the sky.
Here fabled chiefs, | in darker ages born, |
Or worthies old, | whom arms or arts adorn, |
Who cities rais’d, | or tam’d a monstrous race, |
The walls, | in venerable order, | grace:
Heroes | in animated marble | frown, |
And legislators seem | to speak in stone.
Westward | a sumptuous frontispiece | appear’d |
On Doric pillars | of white marble rear’d, |
Crown’d with an architrave | of antique mould, |
And sculpture rising | on the roughen’d gold.
In shaggy spoils | here Theseus was beheld, |
And Perseus, dreadful | with Minerva’s shield:
There great Alcides, | stooping with his toil, |
Rests on his club, | and holds th’ Hesperian spoil:
Here Orpheus sings; | trees wooing to the sound, |
Start from their roots, | and form a shade around:
Amphion there | the loud creating lyre |
Strikes, and behold | a sudden Thebes aspire!
Cythæron’s echoes | answer to his call, |
And half the mountain | rolls into a wall:
There might ye see | the lengthening spires ascend, |
The dome swell up, | the widening arches bend, |
The growing towers | like exultations rise, |
And the huge columns | heave into the skies.
MelodyandCadencerequire that in reading poetry the inflections be more smooth, or less angular, than in prose. To make the inflections as sharp as they often are in ordinary composition, would interfere with that easy and graceful flow which is the chief charm of poetical composition. But while cadence adds much to the beauty of poetical expression, it must not be carried so far as to supersede the just inflection and emphasis which the sense demands. To do so, would be to give to the reading asing-songtone and sameness, both unmeaning and disagreeable. Melody may be said to relate to the whole verse in poetry; cadence applies only to the closing line or phrase.
[3]Pronouns used asantecedents, and alsorelatives, whentheir antecedents are not expressed, should obviously be pronounced with a certain degree of emphatic force; as, “Hethat runs may read.” “Whoseeks for glory often finds a grave.” “Whatman has done, man can do.”[4]The following is Mr. J. Sheridan Knowles’s account of emphasis:—“Emphasisis of two kinds, absolute and relative. Relative emphasis has always an antithesis expressed or implied: absolute emphasis takes place when the peculiar eminence of the thought is solely, singly considered.’Twas base and poor, unworthy of apeasant,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.Here we have an example of relative emphasis; for, if the thought were expressed at full, it would stand thus:—Unworthy not only of agentleman, but of apeasant.’Twas base and poor, unworthy of aman,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.Here we have an example of absolute emphasis; for, if the thought were expressed at full, it would stand thus:—Unworthy a being composed of such perfections as constitute a man.” Mr. Knowles adds: “I apprehend that, notwithstanding all that has been written on the subject, the true definition of emphasis remains still to be discovered.”[5]Singleemphasis, is when there isonepair of words opposed to each other in a sentence;Doubleemphasis, when there aretwopairs; andTreble, when there arethree.
[3]Pronouns used asantecedents, and alsorelatives, whentheir antecedents are not expressed, should obviously be pronounced with a certain degree of emphatic force; as, “Hethat runs may read.” “Whoseeks for glory often finds a grave.” “Whatman has done, man can do.”
[3]Pronouns used asantecedents, and alsorelatives, whentheir antecedents are not expressed, should obviously be pronounced with a certain degree of emphatic force; as, “Hethat runs may read.” “Whoseeks for glory often finds a grave.” “Whatman has done, man can do.”
[4]The following is Mr. J. Sheridan Knowles’s account of emphasis:—“Emphasisis of two kinds, absolute and relative. Relative emphasis has always an antithesis expressed or implied: absolute emphasis takes place when the peculiar eminence of the thought is solely, singly considered.’Twas base and poor, unworthy of apeasant,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.Here we have an example of relative emphasis; for, if the thought were expressed at full, it would stand thus:—Unworthy not only of agentleman, but of apeasant.’Twas base and poor, unworthy of aman,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.Here we have an example of absolute emphasis; for, if the thought were expressed at full, it would stand thus:—Unworthy a being composed of such perfections as constitute a man.” Mr. Knowles adds: “I apprehend that, notwithstanding all that has been written on the subject, the true definition of emphasis remains still to be discovered.”
[4]The following is Mr. J. Sheridan Knowles’s account of emphasis:—“Emphasisis of two kinds, absolute and relative. Relative emphasis has always an antithesis expressed or implied: absolute emphasis takes place when the peculiar eminence of the thought is solely, singly considered.
’Twas base and poor, unworthy of apeasant,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.
’Twas base and poor, unworthy of apeasant,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.
’Twas base and poor, unworthy of apeasant,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.
’Twas base and poor, unworthy of apeasant,
To forge a scroll so villainous and loose,
And mark it with a noble lady’s name.
Here we have an example of relative emphasis; for, if the thought were expressed at full, it would stand thus:—Unworthy not only of agentleman, but of apeasant.
’Twas base and poor, unworthy of aman,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.
’Twas base and poor, unworthy of aman,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.
’Twas base and poor, unworthy of aman,To forge a scroll so villainous and loose,And mark it with a noble lady’s name.
’Twas base and poor, unworthy of aman,
To forge a scroll so villainous and loose,
And mark it with a noble lady’s name.
Here we have an example of absolute emphasis; for, if the thought were expressed at full, it would stand thus:—Unworthy a being composed of such perfections as constitute a man.” Mr. Knowles adds: “I apprehend that, notwithstanding all that has been written on the subject, the true definition of emphasis remains still to be discovered.”
[5]Singleemphasis, is when there isonepair of words opposed to each other in a sentence;Doubleemphasis, when there aretwopairs; andTreble, when there arethree.
[5]Singleemphasis, is when there isonepair of words opposed to each other in a sentence;Doubleemphasis, when there aretwopairs; andTreble, when there arethree.