APPLICATIONS OF THE MARKS USED IN WRITING.

LINE
1 My Young Friends´, never tell a falsehood`; but always
2 speak the truth`; this is pleasing to your Maker.
3 Do you read His holy word—the Bible´? O! remem-
4 ber, that He has there said: "He that speaketh lies, shall
5 not escape: he shall perish."* Remember, too, that the
6 All-seeing God knows all that we say or do.
7 ¶ Tho' wisdom's voice is seldom heard in k--g's
8 palaces,—there have been wise kings, (e.g. Solomon,) who
9 were lov'd and obey'd by their subjects.†
10 Here, [i.e. in the U.S.,] we can not boast of our kings,
11 princes, lords, &c.; yet we have had a PRESIDENT, who,
12 in true greatness, surpass'ed them all; viz., the great
13 WASHINGTON.—— ⇒ Washington feared and hon-
14 ored God.
15 § Section, ‡ Double Dagger, and || Parallel, are also used
16 for reference to the margin.

* Proverbs xix. 5 and 9. † 1 Kings.

PART FIRST.
ELOCUTION.

Elocution is the art of delivering written or extemporaneous composition with force, propriety, and ease.

It deals, therefore, with words, not only as individuals, but as members of a sentence, and parts of a connected discourse: including every thing necessary to the just expression of the sense. Accordingly, it demands, in a special manner, attention to the following particulars; viz., ARTICULATION, ACCENT, EMPHASIS, INFLECTION, MODULATION, and PAUSES.

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SECTION I.
ARTICULATION.

Articulation is the art of uttering distinctly and justly the letters and syllables constituting a word.

It deals, therefore, with the elements of words, just as elocution deals with the elements of sentences: the one securing the true enunciation of each letter, or combination of letters, the other giving to each word, or combination of words, such a delivery as best expresses the meaning of the author. It is the basis of all good reading, and should be carefully practiced by the learner.

ELEMENTARY SOUNDS OF THE LETTERS.

VOWEL SOUNDS.
TONICS.

Element.		Power.
1.—¹A	as in	Ape.
2.—²A	"	Arm.
3.—³A	"	All.
4.—⁴A	"	At.
5.—⁵A	"	Care.
6.—⁶A	"	Ask.
7.—¹E	"	Eve.
8.—²E	"	End.
9.—¹I	"	Ice.
10.—²I	"	It.
11.—¹O	"	Old.
12.—²O	"	Do.
13.—³O	"	Ox.
14.—¹U	"	Use.
15.—²U	"	Up.
16.—³U	"	Pull.
17.—OI	"	Oil.
18.—OU	"	Out.
CONSONANT SOUNDS.
SUB-TONICS.

19.—B	as in	Bat.
20.—D	"	Dun.
21.—G	"	Gun.
22.—J	"	Jet.
23.—L	"	Let.
24.—M	"	Man.
25.—N	"	Not.
26.—R	"	Run.
27.—V	"	Vent.
28.—W	"	Went.
29.—Y	"	Yes.
30.—¹Z	"	Zeal.
31.—²Z	"	Azure.
32.—NG	"	Sing.
33.—TH	"	Thy.
A-TONICS.

34.—F	as in	Fit.
35.—H	"	Hat.
36.—K	"	Kid.
36.—P	"	Pit.
38.—S	"	Sin.
39.—T	"	Top.
40.—CH	"	Chat.
41.—SH	"	Shun.
42.—TH	"	Thin.
43.—WH	"	When.

21: Soft G is equivalent to J; soft C to S, and hard C and Q to K. X is equivalent to K and S, as in box, or to G and Z as in exalt.

42: WH is pronounced as if the H preceded W, otherwise it would be pronounced W hen. R should be slightly trilled before a vowel. For further instructions, see Sanders and Merrill's Elementary and Elocutionary Chart.

SUBSTITUTES FOR THE VOWEL ELEMENTS.

For Long A.

ai as in sail.
au " gauge.
ay " lay.
ea " great.
ei " deign.
ey " they.

For Flat A.

au as in daunt.
ea " heart.
ua " guard.

For Broad A.

au as in pause.
aw " law.
eo " George.
oa " groat.
o " horn.
ou " sought.

For Short A.

ai as in plaid.
ua " guaranty.

For Intermediate A.

ai as in hair.
ea " bear.
e " where.
ei " their.

For Long E.

ea as in weak.
ei " seize.
eo " people.
ey " key.
ie " brief.
i " pique.

For Short E.

a as in any.
ai " said.
ay " says.
ea " dead.
ei " heifer.
eo " leopard.
ie " friend.
ue " guess.
u " bury.

For Long I.

ai as in aisle.
ei " sleight.
ey " eye.
ie " die.
oi " choir.
ui " guide.
uy " buy.
y " try.

For Short I.

e as in English.
ee " been.
ie " sieve.
o " women.
u " busy.
ui " build.
y " symbol.

For Long O.

au as in hautboy.
eau " beau.
eo " yeoman.
ew " sew.
oa " boat.
oe " hoe.
ou " soul.
ow " flow.

For Long Slender O.

oe as in shoe.
ou " soup.

For Short O.

a as in was.
ou " hough.
ow " knowledge.

For Long U.

eau as in beauty.
eu " feud.
ew " dew.
ieu " adieu.
ou " your.
ue " cue.
ui " suit.

For Short U.

e as in her.
i " sir.
oe " does.
o " love.
ou " young.

For Short Slender U.

o as in wolf.
ou " would.

For the Diphthong OI.

oy as in joy.

For the Diphthong OU.

ow as in now.

There is no pure Triphthongal sound in the language. Buoy is equivalent to bwoy. U being a consonant.

SUBSTITUTES FOR THE CONSONANT ELEMENTS.

gh as in laugh.
ph " sphere.

g " gem.

c " can.
ch " chord.
gh " hough.
q " quit.

c " cent.

d " faced.
phth " phthisic.

f " of.
ph " Stephen.

i " valiant.

¹Z.

c " suffice.
s " was.
x " Xerxes.

²Z.

s " treasure.
z " azure.
si " fusion.
zi " glazier.

NG.

n " conch.

SH.

ce " ocean.
ci " social.
ch " chaise.
si " pension.
s " sure.
ss " issue.
ti " notion.

CH.

ti " fustian.

B, D, G, H, L, M, N, P, and R, have no substitutes.

The most common faults in ARTICULATION are

I. The suppression of a syllable; as,

cab'n for cab-in.
cap'n " cap-tain.
barr'l " bar-rel.
ev'ry " ev-e-ry.
hist'ry " his-to-ry
reg'lar " reg-u-lar.
sev'ral " sev-er-al.
rhet'ric " rhet-o-ric.
mem'ry " mem-o-ry.
jub'lee " ju-bi-lee.
trav'ler " trav-el-er.
fam'ly " fam-i-ly.
vent'late " ven-ti-late.
des'late " des-o-late.
prob'ble " prob-a-ble.
par-tic'lar " par-tic-u-lar.

II. The omission of any sound properly belonging to a word; as,

read-in for read-ing.
swif-ly " swift-ly.
com-mans " com-mands.
wam-er " warm-er.
um-ble " hum-ble.
ap-py " hap-py.
con-sis " con-sists.
fa-t'l " fa-tal.
pr'-tect " pro-tect.
b'low " be-low.
p'r-vade " per-vade.
srink-in " shrink-ing.
th'if-ty " thrif-ty.
as-ter-is " as-ter-isk.
gov-er-ment " gov-ern-ment.
Feb-u-ary " Feb-ru-a-ry.

III. The substitution of one sound for another; as,

uf-ford for af-ford.
wil-ler " wil-low.
sock-it " sock-et.
fear-luss " fear-less.
cul-ter " cult-ure.
prod-ux " prod-ucts.
judg-munt " judg-ment.
chil-drin " chil-dren.
mod-ist " mod-est.
up-prove " ap-prove.
win-e-gar " vin-e-gar.
sep-e-rate " sep-a-rate.
temp-er-it " tem-per-ate.
croc-er-dile " croc-o-dile.
tub-ac-cur " to-bac-co.
com-prum-ise " com-pro-mise.

IV. Produce the sounds denoted by the following combinations of consonants:—

Let the pupil first produce the sound of the letters, and then the word or words in which they occur. Be careful to give a clear and distinct enunciation to every letter.

Bd, as in rob'd; bdst, prob'dst; bl, bl and, able; bld, hum-bl'd; bldst, troubl'dst; blst, troubl'st; blz, crumbles; br, brand; bz, ribs.
Ch, as in church; cht, fetch'd.
Dj, as in edge; djd, hedg'd; dl, bridle; dld, riddl'd; dlst, handl'st; dlz, bundles; dn, hard'n; dr, drove; dth, width; dths, breadths; dz, odds.
Fl, as in flame; fld, rifl'd; flst, stifl'st; flx, rifles; fr, from; fs, quaffs, laughs; fst, laugh'st, quaff'st; ft, raft; fts, wafts; ftst, grft'st.
Gd, as in begg'd; gdst, bragg'dst; gl, glide; gld, struggl'd; gldst, haggl'dst; gist, strangl'st; glz, mingles; gr, grove; gst, begg'st; gz, figs.
Kl, as in uncle, ankle; kld, trickl'd; kldst, truckl'dst; klst, chuckl'st; klz, wrinkles; kn, black'n; knd, reck'n'd; kndst, reck'n'dst; knst, black'n'st; knz, reck'ns; kr, crank; ks, checks; kt, act.
Lb, as in bulb; lbd, bulb'd; lbs, bulbs; lch, filch; lcht, belch'd; ld, hold; ldst, fold'st; ldz, holds; lf, self; lfs, gulfs; lj, bulge; lk, elk; lks, silks; lkt, milk'd; lkts, mulcts; lm, elm; lmd, whelm'd; lmz, films; ln, fall'n; lp, help; lps, scalps; lpst, help'st; ls, false; lst, call'st; lt, melt; lth, health; lths, stealths; lts, colts; lv, delve; lvd, shelv'd; lvz, elves; lz, halls.
Md, as in doom'd; mf, triumph; mp, hemp; mpt, tempt; mpts, attempts; mst, entomb'st; mz, tombs.
Nch, as in bench; ncht, pinch'd; nd, and; ndst, end'st; ndz, ends; ng, sung; ngd, banged; ngth, length; ngz, songs; nj, range; njd, rang'd; nk, ink; nks, ranks; nkst, thank'st; nst, wine'd; nt, sent; nts, rents; ntst, went'st; nz, runs.
Pl, as in plume; pld, rippl'd; plst, rippl'st; plz, apples; pr, prince; ps, sips; pst, rapp'st; pt, ripp'd.
Rb, as in herb; rch, search; rcht, church'd; rbd, orbd; rbdst, barb'dst; rbst, disturb'st; rbz, orbs; rd, hard; rdst, heard'st; rdz, words; rf, turf; rft, scarfd; rg, burg; rgz, burgs; rj, dirge; rjd, urg'd; rk, ark; rks, arks; rkst, work'st; rkt, dirk'd; rktst, embark'dst; rl, girl; rld, world; rldst, hurld'st; rlst, whirl'st; rlz, hurls; rm, arm; rmd, arm'd; rmdst, harm'dst; rmst, arm'st; rmz, charms; rn, turn; rnd, turn'd; rndst, earn'dst; rnst, learn'st; rnz, urns; rp, carp; rps, harps; rpt, warp'd; rs, verse; rsh, harsh; rst, first; rsts, bursts; rt, dart; rth, earth; rths, births; rts, marts; rtst, dart'st; rv, curve; rvd, nerv'd; rvdst, curv'dst; rvst, swerv'st; rvz, nerves; rz, errs.
Sh, as in ship; sht, hush'd; sk, scan, skip; sks, tusks; skst, frisk'st; skt, risk'd; sl, slow; sld, nestl'd; slz, westles; sm, smile; sn, snag; sp, sport; sps, lisps; spt, clasp'd; st, stag; str, strike; sts, rests; sw, swing.
Th, as in thine, thin; thd, breath'd; thr, three; thst, breath'st; thw, thwack; thz, writhes; tl, title; tld, settl'd; tldst, settl'dst; tlst,settl'st; tlz, nettles; tr, truuk; ts, fits; tw, twirl.
Vd, as in curv'd; vdst, liv'dst; vl, driv'l; vld, grov'l'd; vldst, grov'l'dst; vlst, driv'l'st; un, driv'n; vst, liv'st; vz, lives.
Wh, as in when, where.
Zd, as in mus'd; zl, dazzle; zld, muzzl'd; zldst, dazzl'dst; zlst, dazzl'st; zlz, muzzles; zm, spasm; zmz, chasms; zn, ris'n; znd, reas'n'd; znz, pris'nz; zndst, impris'n'dst.

V. Avoid blending the termination of one word with the beginning of another, or suppressing the final letter or letters of one word, when the next word commences with a similar sound.

EXAMPLES.

His small eyes instead of His small lies.
She keeps pies " She keeps spies.
His hour is up " His sour is sup.
Dry the widow's tears " Dry the widow steers.
Your eyes and ears " Your rise sand dears.
He had two small eggs " He had two small legs.
Bring some ice cream " Bring some mice scream.
Let all men praise Him " Let tall men pray sim.
He was killed in war " He was skilled in war.
Water, air, and earth " Water rare rand dearth.
Come and see me once more " Come mand see me one smore.

NOTE.—By an indistinct Articulation the sense of a passage is often liable to be perverted.

EXAMPLES.

Will he attempt to conceal his acts?
Will he attempt to conceal his sacks?
The man had oars to row her over.
The man had doors to row her rover.
Can there be an aim more lofty?
Can there be a name more lofty?
The judges ought to arrest the culprits.
The judges sought to arrest the culprits.
His ire burned when she told him her age.
His sire burned when she told him her rage.
He was awed at the works of labor and art.
He was sawed at the works of labor an dart.
He was trained in the religion of his fathers.
He was strained in the religion of his fathers.

MISCELLANEOUS EXAMPLES.

Bravely o'er the boisterous billows,
His gallant bark was borne.
Can craven cowards expect to conquer the country?
Click, click, goes the clock; clack, clack, goes the mill.
Did you desire to hear his dark and doleful dreams?
"Firm-paced and slow, a horrid front they form,
Still as the breeze; but dreadful as the storm."
The flaming fire flashed fearfully in his face.
The glassy glaciers gleamed in glowing light.
How high his honors heaved his haughty head!
He drew long, legible lines along the lovely landscape.
Masses of immense magnitude move majestically through the vast empire of the solar system.
Round the rough and rugged rocks the ragged rascal ran.
The stripling stranger strayed straight toward the struggling stream.
She uttered a sharp, shrill shriek, and then shrunk from the shriveled form that slumbered in the shroud.
For fear of offending the frightful fugitive, the vile vagabond ventured to vilify the venerable veteran.
Amidst the mists, with angry boasts,
He thrusts his fists against the posts,
And still insists he sees the ghosts.
Peter Prangle, the prickly prangly pear picker, picked three pecks of prickly prangly pears, from the prangly pear trees, on the pleasant prairies.
Theophilus Thistle, the successful thistle sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb; now, if Theophilus Thistle, the successful thistle sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb, see that thou, in sifting a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thy thumb. Success to the successful thistle sifter.
We travel sea and soil; we pry, we prowl;
We progress, and we prog from pole to pole.

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SECTION II.
ACCENT AND EMPHASIS.

ACCENT and EMPHASIS both indicate some special stress of voice.

Accent is that stress of voice by which one syllable of a word is made more prominent than others; EMPHASIS is that stress of voice by which one or more words of a sentence are distinguished above the rest.

ACCENT.

The accented syllable is sometimes designated thus: (′); as, com-mand′-ment.

NOTE I.—Words of more than two syllables generally have two or more of them accented.

The more forcible stress of voice, is called the Primary Accent; and the less forcible, the Secondary Accent.

EXAMPLES OF PRIMARY AND SECONDARY ACCENT.

In the following examples the Primary Accent is designated by double accentual marks, thus:

Ed″-u-cate′, ed′-u-ca″-tion, mul″-ti-ply′, mul′-ti-pli-ca″-tion, sat″-is-fy′, sat′-is-fac″-tion, com′-pre-hend″, com′-pre-hen″-sion, rec′-om-mend″, rec′-om-mend-a″-tion, mo″-ment-a′-ry, com-mun″-ni-cate′, com′-pli-ment″-al, in-dem′-ni-fi-ca″-tion, ex′-tem-po-ra″-ne-ous, coun′-ter-rev′-o-lu″-tion-a-ry.

NOTE II.—The change of accent on the same word often changes its meaning.

EXAMPLES.

col′-league, a partner.
col-league′, to unite with.
con′-duct, behavior.
con-duct′, to lead.
des′-cant, a song or tune.
des-cant′, to comment.
ob′-ject, ultimate purpose.
ob-ject′, to oppose.
in′-ter-dict, a prohibition.
in-ter-dict′, to forbid.
o′ver-throw, ruin; defeat.
o-ver-throw′, to throw down.

NOTE III.—Emphatic words are often printed in Italics. When, however, different degrees of emphasis are to be denoted, the higher degrees are designated by the use of Capitals, LARGER or SMALLER, according to the degree of intensity.

EXAMPLES.

Our motto shall be, our country, OUR WHOLE COUNTRY, and NOTHING BUT OUR COUNTRY.
Thou Child of Joy! SHOUT round me: let me HEAR thy shouts, thou happy Shepherd Boy!
Freedom calls you! quick, be ready,
Think of what your sires have done;
Onward, ONWARD! strong and steady,
Drive the tyrant to his den;
ON, and let the watchword be,
Country, HOME, and LIBERTY.

NOTE IV.—Emphasis, as before intimated, varies in degrees of intensity.

EXAMPLES OF INTENSIVE EMPHASIS.

He shook the fragment of his blade,
And shouted: "VICTORY!
Charge, Chester, CHARGE! On, Stanley, ON!"
A month! O, for a single WEEK! I as not for years', though an AGE were too little for the much I have to do.
Now for the FIGHT! now for the CANNON PEAL!
ONWARD! through blood, and toil, and cloud, and fire!
Glorious—the SHOUT, the SHOCK, the CRASH of STEEL,
The VOLLEY'S ROLL, the ROCKET'S BLAZING SPIRE!
Hear, O HEAVENS! and give ear, O EARTH!

NOTE V.—Emphasis sometimes changes the seat of accent from its ordinary position.

EXAMPLES.

There is a difference between pos′sibility and prob′ability.
And behold, the angels of God as′cending and de′scending on it.
For this corruptible must put on in′corruption, and this mortal must
put on im′mortality.
Does his conduct deserve ap′probation or rep′robation?

NOTE VI.—There are two kinds of Emphasis:—Absolute and Antithetic. ABSOLUTE EMPHASIS is used to designate the important words of a sentence, without any direct reference to other words.

EXAMPLES OF ABSOLUTE EMPHASIS.

Oh, speak to passion's raging tide,
Speak and say: "PEACE, BE STILL!"

2. The UNION, it MUST and SHALL BE PRESERVED!

HUSH! breathe it not aloud,
The wild winds must not hear it! Yet, again,
I tell thee—WE ARE FREE!

KNOWLES.

4. When my country shall take her place among the nations of the earth, THEN and not TILL then, let my epitaph be written.

EMMETT.

5. If you are MEN, follow ME! STRIKE DOWN yon guard, and gain the mountain passes.

OH! shame on us, countrymen, SHAME on us ALL,
If we CRINGE to so dastard a race.

7. This doctrine never was received; it NEVER CAN, by any POSSIBILITY, BE RECEIVED; and, if admitted at ALL, it must be by THE TOTAL SUBVERSION OF LIBERTY!

8. Are you Christians, and, by upholding duelists, will you deluge the land with blood, and fill it with widows and orphans.

BEECHER.

9. LIBERTY and UNION, NOW and FOREVER, ONE and INSEPARABLE.

WEBSTER.

10. Treason! cried the speaker; treason, TREASON, TREASON, reechoed from every part of the house.

11. The war is inevitable,—and LET IT COME! I repeat it, Sir,—LET IT COME!

PATRICK HENRY.

12.

Be we men,
And suffer such dishonor? MEN, and wash not
The stain away in BLOOD?

MISS MITFORD.

13.

O SACRED FORMS! how proud you look!
How high you lift your heads into the sky!
How huge you are! how mighty and how free!

KNOWLES.

14. I shall know but one country. The ends I aim at, shall be "My COUNTRY'S, my GOD'S, and TRUTH'S."

WEBSTER.

NOTE VII.—ANTITHETIC EMPHASIS is that which is founded on the contrast of one word or clause with another.

EXAMPLES OF ANTITHETIC EMPHASIS.

1. The faults of others should always remind us of our own.

2. He desired to protect his friend, not to injure him.

But yesterday, the word of Caesar might
Have stood against the world; now lies he there,
And none so poor to do him reverence.

SHAKESPEARE.

4. A good name is rather to be chosen than great riches.

BIBLE.

5. We can do nothing against the truth; but for the truth.

BIBLE.

6. He that is slow to anger, is better than the mighty; and he that ruleth his spirit, than he that taketh a city.

BIBLE.

NOTE VIII.—The following examples contain two or more sets of Antitheses.

1. Just men are only free, the rest are slaves.

2. Beauty is like the flower of spring; virtue is like the stars of heaven.

Truth crushed to earth shall rise again,
The eternal years of God are hers;
But error, wounded, writhes in pain,
And dies amid her worshipers.

BRYANT.

4. A false balance is abomination to the Lord; but a just weight is his delight.

BIBLE.

5. A friend can not be known in prosperity; and an enemy can not be hidden in adversity.

6. It is my living sentiment, and, by the blessing of God, it shall be my dying sentiment: INDEPENDENCE NOW, and INDEPENDENCE FOREVER.

WEBSTER.

7. We live in deeds, not years,—in thoughts, not breaths,—in feelings, not in figures on a dial. We should count time by heart throbs. He most lives, who THINKS THE MOST,—FEELS THE NOBLEST,—ACTS THE BEST.

8. You have done the mischief, and I bear the blame.

9. The wise man is happy when he gains his own approbation; the fool when he gains that of others.

10. We must hold them as we hold the rest of mankind—enemies in war,—in peace, friends.

JEFFERSON.

NOTE IX.—The sense of a passage is varied by changing the place of the emphasis.

EXAMPLES.

1. Has James seen his brother to-day? No; but Charles has.

2. Has James seen his brother to-day? No; but he has heard from him.

3. Has James seen his brother to-day? No; but he saw yours.

4. Has James seen his brother to-day? No; but he has seen his sister.

5. Has James seen his brother to-day? No; but he saw him yesterday.

REMARK.—To determine the emphatic words of a sentence, as well as the degree and kind of emphasis to be employed, the reader must be governed wholly by the sentiment to be expressed. The idea is sometimes entertained that emphasis consists merely in loudness of tone. But it should be borne in mind that the most intense emphasis may often be effectively expressed, even by a whisper.

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SECTION III.
INFLECTIONS.

INFLECTIONS are turns or slides of the voice, made in reading or speaking; as; Will you go to New [Transcriber's Note: Two missing lines in printing, page 25 in original.] or to [Transcriber's Note: Remainder of paragraph is missing.]

All the various sounds of the human voice may be comprehended under the general appellation of tones. The principal modifications of these tones are the MONOTONE, the RISING INFLECTION, the FALLING INFLECTION, and the CIRCUMFLEX.

The Horizontal Line (—) denotes the Monotone.
The Rising Slide (/) denotes the Rising Inflection.
The Falling Slide (\) denotes the Falling Inflection.
The Curve (\_/) denotes the Circumflex.

The MONOTONE is that sameness of sound, which arises from repeating the several words or syllables of a passage in one and the same general tone.

REMARK.—The Monotone is employed with admirable effect in the delivery of a passage that is solemn or sublime.

EXAMPLES.

1. O thou that rollest above, round as the shield of my fathers: whence are thy beams, O sun, thy everlasting light?

OSSIAN.

'Tis midnight's holy hour, and silence now
Is brooding, like a gentle spirit, o'er
The still and pulseless world. Hark! on the winds
The bells' deep tones are swelling; 'tis the knell
Of the departed year.

PRENTICE.

3. God came from Teman, and the Holy One from Mount Paran. Selah. His glory covered the heavens, and the earth was full of His praise.

4. Before Him went the pestilence, and burning coals went forth at His feet. He stood and measured the earth: He beheld, and drove asunder the nations; and the everlasting mountains were scattered, the perpetual hills did bow: His ways are everlasting.

BIBLE.

5. The heavens declare the glory of God, and the firmament showeth His handy work. Day unto day uttereth speech, and night unto night showeth knowledge. There is no speech nor language, where their voice is not heard.

ID.

How brief is life! how passing brief!
How brief its joys and cares!
It seems to be in league with time,
And leaves us unawares.

The thunder rolls: be hushed the prostrate world,
While cloud to cloud returns the solemn hymn.

THOMSON.

REMARK.—The inappropriate use of the monotone,—a fault into which young people naturally fall,—is a very grave and obstinate error. It is always tedious, and often even ridiculous. It should be studiously avoided.

The RISING INFLECTION is an upward turn, or slide of the voice, used in reading or speaking; as,

s?
n/
o/
s/
s/
é/
Are you prepared to recite your l/

The FALLING INFLECTION is a downward turn, or slide of the voice, used in reading or speaking; as,

\d
\ò
\i
\n
What are you \g?

In the falling inflection, the voice should not sink below the general pitch; but in the rising inflection, it is raised above it.

The two inflections may be illustrated by the following diagrams:

\ì
\m
y, \p \p
l/ \r \r
t/ \u \ú
n/ \d \d
e/ \e \e
d/ \n \n
ú/ \t \t
r/ \l \l
Did he act p/ or \y? He acted \y.

\ù
\n
y, \w \w
l/ \i \i
g/ \l \l
n/ \l \l
i/ \i \í
l/ \n \n
l/ \g \g
í/ \l \l
Did they go w/ or \y? They went \y.

r,
e/
h/
g/
í/
If the flight of Dryden is h/ Pope continues longer on the
r,
e/
t/
h/
\w g/
\ì í/
\n r/
\g. If the blaze of Dryden's fire is b/ the heat of Pope's is
\c
\ò
\n
\s
\t
\a
\n
more regular and \t.

Is honor's lofty soul forever fled′?
Is virtue lost′? Is martial ardor dead′?
Is there no heart where worth and valor dwell′?
No patriot WALLACE′? No undaunted TELL′?
Yes`, Freedom, yes`! thy sons, a noble band,
Around thy banner, firm, exulting stand`.

REMARK.—The same degree of inflection is not, at all times, used, or indicated by the notation. The due degree to be employed, depends on the nature of what is to be expressed. For example; if a person, under great excitement, asks another:

t?
s
e
n
r
a
Are you in e the degree of inflection would be much greater,
t?
s
e
n
r
a
than if he playfully asks: Are you in e The former
inflection may be called intensive, the latter, common.

RULES FOR THE USE OF INFLECTIONS.

RULE I.

Direct questions, or those which may be answered by yes or no, usually take the rising inflection; but their answers, generally, the falling.

EXAMPLES.

Will you meet me at the depot′? Yes`; or, I will`.
Did you intend to visit Boston′? No`; or, I did not`.
Can you explain this difficult sentence′? Yes`; I can.
Are they willing to remain at home′? They are`.
Is this a time for imbecility and inaction′? By no means`.
King Agrippa, believest thou the prophets′? I know that thou believest`.
Were the tribes of this country, when first discovered, making any progress in arts and civilization′? By no means`.
To purchase heaven has gold the power′?
Can gold remove the mortal hour′?
In life, can love be bought with gold′?
Are friendship's pleasures to be sold′?
No`; all that's worth a wish, a thought,
Fair virtue gives unbribed, unbought.
What would content you`? Talents′? No`. Enterprise′? No`. Courage′? No`. Reputation'? No`. Virtue′? No`. The man whom you would select, should possess not one, but all of these`.

NOTE I.—When the direct question becomes an appeal, and the reply to it is anticipated, it takes the intense falling inflection.

EXAMPLES.

Is` he not a bold and eloquent speaker`?
Can` such inconsistent measures be adopted`?
Did` you ever hear of such cruel barbarities`?
Is this reason`? Is` it law`? Is it humanity`?
Was` not the gentleman's argument conclusive`?

RULE II.

Indirect questions, or those which can not be answered by yes or no, usually take the falling inflection, and their answers the same.

How far did you travel yesterday`? Forty miles`.
Which of you brought this beautiful bouquet`? Julia`.
Where do you intend to spend the summer`? At Saratoga`.
When will Charles graduate at college`? Next year`.
What is one of the most delightful emotions of the heart`? Gratitude`.

NOTE I.—When the indirect question is one asking a repetition of what was not, at first, understood, it takes the rising inflection.

EXAMPLES.

When do you expect to return? Next week.
When did you say′? Next week.
Where did you say William had gone′? To New York.

NOTE II.—Answers to questions, whether direct or indirect, when expressive of indifference, take the rising inflection, or the circumflex.

EXAMPLES.

Did you admire his discourse? Not much′.
Which way shall we walk? I am not particular′.
Can Henry go with us? If he chooses′.
What color do you prefer? I have no particular choice′.

NOTE III.—In some instances, direct questions become indirect by a change of the inflection from the rising to the falling.

EXAMPLES.

Will you come to-morrow′ or next day′? Yes.
Will you come to-morrow,′ or next day`? I will come to-morrow.

REMARK.—The first question asks if the person addressed will come within the two days, and may be answered by yes or no; but the second asks on which of the two days he will come, and it can not be thus answered.

RULE III.

When questions are connected by the conjunction or, the first requires the rising, and the second, the falling inflection.

EXAMPLES.

1. Does he study for amusement′, or improvement`?

2. Was he esteemed for his wealth′, or for his wisdom`?

3. Sink′ or swim`, live′ or die`, survive′ or perish`, I give my hand and heart to this vote.

WEBSTER.

4. Is it lawful to do good on the Sabbath-days′, or to do evil`? to save life′, or to kill`?

5. Was it an act of moral courage′, or cowardice`, for Cato to fall on his sword`?

RULE IV. Antithetic terms or clauses usually take opposite inflections; generally, the former has the rising, and the latter the falling inflection.

EXAMPLES.

1. If you seek to make one rich, study not to increase his stores′ but to diminish his desires`.

2.
They have mouths′,—but they speak not`:
Eyes have they′,—but they see not`:
They have ears′,—but they hear not`:
Noses have they′,—but they smell not`:
They have hands′,—but they handle not`:
Feet have they′,—but they walk not`.

BIBLE.

NOTE I.—When one of the antithetic clauses is a negative, and the other an affirmative, generally the negative has the rising, and the affirmative the falling inflection.

EXAMPLES.

1. I said an elder soldier` not a better′.

2. His acts deserve punishment` rather than commiseration′.

3. This is no time for a tribunal of justice′, but for showing mercy`; not for accusation′, but for philanthropy`; not for trial′, but for pardon`; not for sentence and execution′, but for compassion and kindness`.

RULE V. The Pause of Suspension, denoting that the sense is incomplete, usually has the rising inflection.

EXAMPLES.

1. Although the fig tree shall not blossom′, neither shall fruit be in the vine′; the labor of the olive shall fail′, and the fields shall yield no meat′; the flocks shall be cut off from the fold′, and there shall be no herd in the stalls′; yet will I rejoice in the Lord`, I will joy in the God of my salvation`.

BIBLE.

NOTE I.—The ordinary direct address, not accompanied with strong emphasis, takes the rising inflection, on the principle of the pause of suspension.

EXAMPLES.

1. Men′, brethren′, and fathers′, hear ye my defense which I make now unto you.

BIBLE.

2.
Ye living flowers′, that skirt the eternal frost′!
Ye wild goats′, sporting round the eagle's nest′!
Ye eagles′, playmates of the mountain storm′!
Ye lightnings′, the dread arrows of the clouds′!
Ye signs′ and wonders′ of the elements′!
Utter forth GOD`, and fill the hills with praise`!

COLERIDGE.

NOTE II.—In some instances of a pause of suspension, the sense requires an intense falling inflection.

EXAMPLE.

1. The prodigal, if he does not become a pauper`, will, at least, have but little to bestow on others.

REMARK.—If the rising inflection is given on pauper, the sense would be perverted, and the passage made to mean, that, in order to be able to bestow on others, it is necessary that he should become a pauper.

RULE VI. Expressions of tenderness, as of grief, or kindness, commonly incline the voice to the rising inflection.

EXAMPLES.

Mother′,—I leave thy dwelling′;
Oh! shall it be forever′?
With grief my heart is swelling′,
From thee′,—from thee′,—to sever′.

2. O my son Absalom′! my son′, my son Absalom'! Would God I had died for thee′, Absalom′, my son′, my son′!

BIBLE.

RULE VII. The Penultimate Pause, or the last but one, of a passage, is usually preceded by the rising inflection.

EXAMPLES.

1. Diligence`, industry`, and proper improvement of time′, are material duties of the young`.

2. These through faith subdued kingdoms`, wrought righteous-ness`, obtained promises`, stopped the mouths of lions`, quenched the violence of fire`, escaped the edge of the sword`, out of weakness were made strong`, waxed valiant in fight′, turned to flight the armies of the aliens`.

REMARK.—The rising inflection is employed at the penultimate pause in order to promote variety, since the voice generally falls at the end of a sentence.

RULE VIII. Expressions of strong emotion, as of anger or surprise, and also the language of authority and reproach, are expressed with the falling inflection.

EXAMPLES.

1. On YOU`, and on your CHILDREN`, be the peril of the innocent blood which shall be shed this day`.

2. What a piece of workmanship is MAN`! How noble in REASON`! How infinite in FACULTIES`!

3. O FOOLS`! and slow of heart to believe all that the prophets have written concerning me`!

BIBLE.

4. HENCE`, HOME`, you idle creatures`, GET YOU HOME`, YOU BLOCKS`, YOU STONES`, YOU WORSE THAN USELESS THINGS`!

5. Avaunt`! and quit my sight`! let the earth hide thee`! Thy bones are marrowless`; thou hast no speculation in thine eyes which thou dost glare` with.

SHAKSPEARE.

Slave, do thy office`! Strike`, as I struck the foe`!
Strike`, as I would have struck the tyrants`!
Strike deep as my curse`! Strike`, and but once`!

ID.

RULE IX. An emphatic succession of particulars, and emphatic repetition, require the falling inflection.

EXAMPLES.

Beware` what earth calls happiness; BEWARE`
All joys but joys that never can expire`.

2. A great mind`, a great heart`, a great orator`, a great career`, have been consigned to history`.

BUTLER.

REMARK.—The stress of voice on each successive particular, or repetition, should gradually be increased as the subject advances.

The CIRCUMFLEX is a union of the two inflections on the same word, beginning either with the falling and ending with the rising, or with the rising and ending with the falling; as, If he goes to ____ I shall go to ____.

The circumflex is mainly employed in the language of irony, and in expressing ideas implying some condition, either expressed or understood.

EXAMPLES.

1. Yoû, a beardless yoûth, pretend to teach a British gêneral.

2. What! shear a wôlf? a prowling wôlf?

My father's trâde? ah, really, that's too bad!
My father's trâde? Why, blockhead, are you mâd?
My father, sir, did never stoop so low,—
Hê was a gentleman, I'd have you know.

4. What! confer a crôwn on the author of the public calâmities?

5. But yoû are very wise men, and deeply learned in the truth; wê are wêak, contêmptible, mêan persons.

6. They pretend they come to imprôve our stâte, enlârge our thôughts, and freê us from êrror.

7. But yoûth, it seems, is not my ônly crime; I have been accused of acting a theatrical part.

8. And this man has become a gôd and Cassius a wrêtched creature.

[!-- Marker --]

SECTION IV.
MODULATION.

MODULATION implies those variations of the voice, heard in reading or speaking, which are prompted by the feelings and emotions that the subject inspires.

EXAMPLES.

EXPRESSIVE OF COURAGE AND CHIVALROUS EXCITEMENT.

FULL .- Once more unto the breach, dear friends, once more,
TONE '- Or close the wall up with our English dead!
MIDDLE .- In peace, there's nothing so becomes a man,
TONE '- As modest stillness and humility;
.- But when the blast of war blows in our ears,
SHORT | Then imitate the action of the tiger;
AND + Stiffen the sinews, summon up the blood,
QUICK '- Disguise fair nature with hard-favored rage.
.- On, ON, you noblest English,
HIGH | Whose blood is fetched from fathers of war-proof!
AND + Fathers, that, like so many Alexanders,
LOUD | Have, in these parts, from morn till even fought,
'- And sheathed their swords for lack of argument.
QUICK .- I see you stand like greyhounds in the slips,
AND | Straining upon the start. The game's afoot;
VERY + Follow your spirits, and, upon this charge,
LOUD '- CRY—HEAVEN FOR HARRY! ENGLAND! AND ST. GEORGE!
SHAKSPEARE.

REMARK.—To read the foregoing example in one dull, monotonous tone of voice, without regard to the sentiment expressed, would render the passage extremely insipid and lifeless. But by a proper modulation of the voice, it infuses into the mind of the reader or hearer the most animating and exciting emotions.

The voice is modulated in three different ways. First, it is varied in PITCH; that is, from high to low tones, and the reverse. Secondly, it is varied in QUANTITY, or in loudness or volume of sound. Thirdly, it is varied in QUALITY, or in the kind of sound expressed.

PITCH OF VOICE.

Pitch of voice has reference to its degree of elevation.

Every person, in reading or speaking, assumes a certain pitch, which may be either high or low, according to circumstances, and which has a governing influence on the variations of the voice, above and below it. This degree of elevation is usually called the KEY NOTE.

As an exercise in varying the voice in pitch, the practice of uttering a sentence on the several degrees of elevation, as represented in the following scale, will be found beneficial. First, utter the musical syllables, then the vowel sound, and lastly, the proposed sentence,—ascending and descending.

---------8.--do--#--e-in-me.---Virtue alone survives.----
7. si # i in die. Virtue alone survives.
-------6.--la--#--o-in-do.---Virtue alone survives.------
5. sol # o in no. Virtue alone survives.
-----4.--fa--#--a-in-at.---Virtue alone survives.--------
3. mi # a-in ate. Virtue alone survives.
---2.--re--#--a-in-far.--Virtue alone survives.----------
1. do # a in all. Virtue alone survives

Although the voice is capable of as many variations in speaking, as are marked on the musical scale, yet for all the purposes of ordinary elocution, it will be sufficiently exact if we make but three degrees of variation, viz., the Low, the Middle, and the High.

1. THE LOW PITCH is that which falls below the usual speaking key, and is employed in expressing emotions of sublimity, awe, and reverence.

EXAMPLE.

Silence, how dead! darkness, how profound!
Nor eye, nor list'ning ear, an object finds;
Creation sleeps. 'Tis as the general pulse
Of life stood still, and Nature made a pause.—
An awful pause! prophetic of her end.

YOUNG.

2. THE MIDDLE PITCH is that usually employed in common conversation, and in expressing unimpassioned thought and moderate emotion.

EXAMPLES.

1. It was early in a summer morning, when the air was cool, the earth moist, the whole face of the creation fresh and gay, that I lately walked in a beautiful flower garden, and, at once, regaled the senses and indulged the fancy.

HERVEY.

"I love to live," said a prattling boy,
As he gayly played with his new-bought toy,
And a merry laugh went echoing forth,
From a bosom filled with joyous mirth.

3. THE HIGH PITCH is that which rises above the usual speaking key, and is used in expressing joyous and elevated feelings.

EXAMPLE.

Higher, higher, EVER HIGHER,—
Let the watchword be "ASPIRE!"
Noble Christian youth;
Whatsoe'er be God's behest,
Try to do that duty best,
In the strength of Truth.

M.F. TUPPER.

QUANTITY.

QUANTITY is two-fold;—consisting in FULLNESS or VOLUME of sound, as soft or loud; and in TIME, as slow or quick. The former has reference to STRESS; the latter, to MOVEMENT.

The degrees of variation in quantity are numerous, varying from a slight, soft whisper to a vehement shout. But for all practical purposes, they may be considered as three, the same as in pitch;—the soft, the middle, and the loud.

For exercise in quantity, let the pupil read any sentence, as,

"Beauty is a fading flower,"

first in a slight, soft tone, and then repeat it, gradually increasing in quantity to the full extent of the voice. Also, let him read it first very slowly, and then repeat it, gradually increasing the movement. In doing this, he should be careful not to vary the pitch.

In like manner, let him repeat any vowel sound, or all of them, and also inversely. Thus:

[Illustration]
[Transcriber's Note: The illustration is a row of the letter "O," increasing in size across the page, followed by a row of the letter "O" decreasing in size. The presumed intent is to convey loudness.]

REMARK.—Quantity is often mistaken for Pitch. But it should be borne in mind that quantity has reference to loudness or volume of sound, and pitch to the elevation or depression of a tone. The difference may be distinguished by the slight and heavy strokes on a bell;—both of which produce sounds alike in pitch; but they differ in quantity or loudness, in proportion as the strokes are light or heavy.

RULES FOR QUANTITY.

1. SOFT, OR SUBDUED TONES, are those which range from a whisper to a complete vocality, and are used to express fear, caution, secrecy, solemnity, and all tender emotions.

EXAMPLES.

We watched her breathing through the night,
Her breathing soft and low,
As in her breast the wave of life
Kept heaving to and fro.

HOOD.

Softly, peacefully,
Lay her to rest;
Place the turf lightly,
On her young breast.

D.E. GOODMAN.

The loud wind dwindled to a whisper low,
And sighed for pity as it answered,—"No."

2. A MIDDLE TONE, or medium loudness of voice, is employed in reading narrative, descriptive, or didactic sentences.

EXAMPLE.

I love my country's pine-clad hills,
Her thousand bright and gushing rills,
Her sunshine and her storms;
Her rough and rugged rocks that rear
Their hoary heads high in the air,
In wild fantastic forms.

3. A LOUD TONE, or fullness and stress of voice, is used in expressing violent passions and vehement emotions.

EXAMPLES.

STAND! the ground's your own, my braves,—
Will ye give it up to slaves?
Will ye look for greener graves?
Hope ye mercy still?
What's the mercy despots feel?
Hear it in that battle-peal,—
Read it on yon bristling steel,
Ask it—ye who will!

PIERPONT.

"HOLD!" Tyranny cries; but their resolute breath
Sends back the reply: "INDEPENDENCE or DEATH!"

QUALITY.

QUALITY has reference to the kind of sound uttered.

Two sounds may be alike in quantity and pitch, yet differ in quality. The sounds produced on the clarinet and flute may agree in pitch and quantity, yet be unlike in quality. The same is true in regard to the tones of the voice of two individuals. This difference is occasioned mainly by the different positions of the vocal organs.

The qualities of voice mostly used in reading or speaking, and which should receive the highest degree of culture, are the Pure Tone, the Orotund, the Aspirated, and the Guttural.

RULES FOR QUALITY.

1. THE PURE TONE is a clear, smooth, sonorous flow of sound, usually accompanied with the middle pitch of voice, and is adapted to express emotions of joy, cheerfulness, love, and tranquillity.

EXAMPLE.

Hail! beauteous stranger of the wood,
Attendant on the spring,
Now heaven repairs thy vernal seat,
And woods thy welcome sing.

2. THE OROTUND is a full, deep, round, and pure tone of voice, peculiarly adapted in expressing sublime and pathetic emotions.

EXAMPLE.

It thunders! Sons of dust, in reverence bow!
Ancient of Days! Thou speakest from above:
Almighty! trembling, like a timid child,
I hear thy awful voice. Alarmed—afraid—
I see the flashes of thy lightning wild,
And in the very grave would hide my head.

3. THE ASPIRATED TONE of voice is not a pure, vocal sound, but rather a forcible breathing utterance, and is used to express amazement, fear, terror, anger, revenge, remorse, and fervent emotions.

EXAMPLE.

Oh, coward conscience, how dost thou affright me!
The lights burn blue. It is now dead midnight;
Cold, fearful drops stand on my trembling flesh.

4. THE GUTTURAL QUALITY is a deep, aspirated tone of voice, used to express aversion, hatred, loathing, and contempt.

EXAMPLE.

Tell me I hate the bowl?
HATE is a feeble word:
I loathe, ABHOR, my very soul
With strong disgust is stirred,
Whene'er I see, or hear, or tell,
Of the dark beverage of hell.

[!-- Marker --]

NOTATION IN MODULATION.

(^o)	high.
(^oo)	high and loud.
(_o)	low.
(_oo)	low and loud.
(=)	quick.
('')	short and quick.
(sl.)	slow.
(p.)	soft.
(pp.)	very soft.
(f.)	loud.
(ff.)	very loud.
(pl.)	plaintive.
(<)	increase.
(>)	decrease.

EXAMPLES FOR EXERCISE IN MODULATION.


(p.)	Soft is the strain when zephyr gently blows,
	And the smooth stream in smoother numbers flows;
(f.)	But when loud surges lash the sounding shore,
	The hoarse rough verse should like the torrent roar.

(sl.)	When Ajax strives some rock's vast weight to throw,
	The line, too, labors, and the words move slow:
(=)	Not so, when swift Camilla scours the plain,
	Flies o'er the unbending corn, and skims along the main.

POPE.

(o=)	Go ring the bells and fire the guns,
	And fling the starry banner out;
(ff.)	Shout "FREEDOM" till your lisping ones
	Give back the cradle shout.

WHITTIER.

(pl.)	"And now, farewell! 'Tis hard to give thee up,
	With death so like a gentle slumber on thee!—
	And thy dark sin!—oh! I could drink the cup
	If from this woe its bitterness had won thee.
	May God have called thee, like a wanderer, home,
	My lost boy, Absalom!"

WILLIS.

(sl.)	The sun hath set in folded clouds,—
	Its twilight rays are gone,
(o)	And, gathered in the shades of night,
	The storm is rolling on.
(pl.)	Alas! how ill that bursting storm
(>)	The fainting spirit braves,
(p.)	When they,—the lovely and the lost,—
(pl.)	Are gone to early graves!

(^o)	On! onward still! o'er the land he sweeps,
(>)	With wreck, and ruin, and rush, and roar,
	Nor stops to look back
	On his dreary track
('')	But speeds to the spoils before.

MISS J.H. LEWIS.

From every battle-field of the revolution—from Lexington and Bunker Hill—from Saratoga and Yorktown—from the fields of Entaw—from the cane-brakes that sheltered the men of Marion—the repeated, long-prolonged echoes came up—(f.) "THE UNION: IT MUST BE PRESERVED" (<) From every valley in our land—from every cabin on the pleasant mountain sides—from the ships at our wharves—from the tents of the hunter in our westernmost prairies—from the living minds of the living millions of American freemen—from the thickly coming glories of futurity—the shout went up, like the sound of many waters, (ff.) "THE UNION: IT MUST BE PRESERVED."

BANCROFT.

(p.)	Hark!
(sl.)	Along the vales and mountains of the earth
(_o)	There is a deep, portentous murmuring,
(=)	Like the swift rush of subterranean streams,
	Or like the mingled sounds of earth and air,
	When the fierce tempest, with sonorous wing,
	Heaves his deep folds upon the rushing winds,
(<)	And hurries onward, with his night of clouds,
	Against the eternal mountains. 'Tis the voice
	Of infant FREEDOM,—and her stirring call
	Is heard and answered in a thousand tones
(<)	From every hill-top of her western home;
	And lo! it breaks across old Ocean's flood,—
(^oo)	And "FREEDOM! FREEDOM!" is the answering shout
	Of nations, starting from the spell of years.

G.D. PRENTICE.

(<)	The thunders hushed,—
	The trembling lightning fled away in fear,—
(p.)	The foam-capt surges sunk to quiet rest,—
	The raging winds grew still,—
(pp.)	There was a calm.
(^o,^o,)	"Quick! Man the boat!" (=) Away they spring
	The stranger ship to aid,
(f.)	And loud their hailing voices ring,
	As rapid speed they made.

(p)	Hush! lightly tread! still tranquilly she sleeps;
	I've watched, suspending e'en my breath, in fear
	To break the heavenly spell. (pp.) Move silently.
	Can it be?
	Matter immortal? and shall spirit die?
	Above the nobler, shall less nobler rise?
(<)	Shall man alone, for whom all else revives,
	No resurrection know? (^o<) Shall man alone,
	Imperial man! be sown in barren ground,
	Less privileged than grain, on which he feeds?

YOUNG.

(=)	Away! away to the mountain's brow,
	Where the trees are gently waving;
('')	Away! away to the vale below,
	Where the streams are gently laving.

	An hour passed on;—the Turk awoke;—
	That bright dream was his last;—
	He woke—to hear his sentry's shriek,
(^oo)	"To ARMS! they come! (ff.) THE GREEK! THE GREEK!"
(pl.)	He woke to die, midst flame and smoke,
	And shout, and groan, and sabre stroke,
	And death shots falling thick and fast
	As lightnings from the mountain cloud;
	And heard, with voice as trumpet loud,
	Bozzaris cheer his band;—
(^oo)	"Strike—till the last armed foe expires!
	Strike—for your altars and your fires!
	Strike—for the green graves of your sires!
	God, and your native land!"

HALLECK.

	He said, and on the rampart hights arrayed
	His trusty warriors, few, but undismayed;
(sl)	Firm paced and slow, a horrid front they form,
(pp)	Still as the breeze, (_oo) but dreadful as the storm!
(p.)	Low, murmuring sounds along their banners fly,
(ff.)	REVENGE, or DEATH!—the watchword and reply;
(^oo)	Then pealed the notes, omnipotent to charm,
(f.)	And the loud tocsin tolled their last alarm!

CAMPBELL.

(_o') His speech was at first low toned and slow. Sometimes his voice would deepen, (_oo) like the sound of distant thunder; and anon, ('') his flashes of wit and enthusiasm would light up the anxious faces of his hearers, (<) like the far-off lightning of a coming storm.

(>)	Receding now, the dying numbers ring
(p.)	Fainter and fainter, down the rugged dell:
(pp.)	And now 'tis silent all—enchantress, fare thee well.

(=)	Oh, joy to the world! the hour is come,
	When the nations to freedom awake,
	When the royalists stand agape and dumb,
	And monarchs with terror shake!
	Over the walls of majesty,
	"Upharsin" is writ in words of fire,
	And the eyes of the bondmen, wherever they be,
	Are lit with their wild desire.
(<)	Soon, soon shall the thrones that blot the world,
	Like the Orleans, into the dust be hurl'd,
	And the world roll on, like a hurricane's breath,
	Till the farthest nation hears what it saith.—
(ff.)	"ARISE! ARISE! BE FREE!"

T.B. READ.

(p._o)	Tread softly—bow the head,—
	In reverent silence bow,—
	No passing bell doth toll,—
(pl.)	Yet an immortal soul
	Is passing now.

MRS. SOUTHEY.

(^o_f.) SPEAK OUT, my friends; would you exchange it for the DEMON'S DRINK, (ff.) ALCOHOL? A shout, like the roar of a tempest, answered, (^oo) NO!

(^oo)	The combat deepens! (ff.) ON! YE BRAVE!
(=)	Who rush to GLORY, (p.) or the GRAVE!
(ff.)	WAVE, Munich, all thy banners WAVE!
	And CHARGE with all thy CHIVALRY!
(pl.)	Ah! few shall part where many meet!
	The snow shall be their winding sheet,
	And every turf beneath their feet
(^sl._o)	Shall be a soldier's sepulcher!

CAMPBELL.

(sl.)	At length, o'er Columbus slow consciousness breaks,
(^oo)	"LAND! LAND!" cry the sailors; (ff.) "LAND! LAND!"—he awakes,—
('')	He runs,—yes! behold it! it blesseth his sight!
	THE LAND! O, dear spectacle! transport! delight!