Chapter 3

RULE XI.--A parenthesis should be read more rapidly and in a lower key than the rest of the sentence, and should terminate with the same inflection that next precedes it. If, however, it is complicated, or emphatic, or disconnected from the main subject, the inflections must be governed by the same rules as in the other cases.

REMARK.--A smooth and expressive reading of a parenthesis is difficult of acquisition, and can be secured only by careful and persistent training.

EXAMPLES. (30)

1. God is my witness' (whom I serve with my spirit, in the gospel of his Son'), that, without ceasing, I make mention of you always in my prayers; making request' (if, by any means, now at length, I might have a prosperous journey by the will of God'), to come unto you.

2. When he had entered the room three paces, he stood still; and laying his left hand upon his breast' (a slender, white staff with which he journeyed being in his right'), he introduced himself with a little story of his convent.

3. If you, AEschines, in particular, were persuaded' (and it was no particular affection for me, that prompted you to give up the hopes, the appliances, the honors, which attended the course I then advised; but the superior force of truth, and your utter inability to point any course more eligible') if this was the case, I say, is it not highly cruel and unjust to arraign these measures now, when you could not then propose a better?

4. As the hour of conflict drew near' (and this was a conflict to be dreaded even by him'), he began to waver, and to abate much of his boasting.

CIRCUMFLEX. (31)

RULE XII.--The circumflex is used to express irony, sarcasm, hypothesis, or contrast.

NOTE.--For the reason that the circumflex always suggests a double or doubtful meaning, it is appropriate for the purposes expressed in the rule. It is, also, frequently used in sportive language; jokes and puns are commonly given with this inflection.

EXAMPLES. (31)

1. Man never is, but always to be, blest.

2. They follow an adventurer whom they fear; we serve a monarch whom we love. They boast, they come but to improve our state, enlarge our thoughts, and free us from the yoke of error. Yes, they will give enlightened freedom to our minds, who are themselves the slaves of passion, avarice, and pride. They offer us their protection: yes, such protection as vultures give to lambs, covering and devouring them.

MONOTONE. (32)

RULE XIII.--The use of the monotone is confined chiefly to grave and solemn subjects. When carefully and properly employed, it gives great dignity to delivery.

EXAMPLES. (32)

1. The unbeliever! one who can gaze upon the sun, and moon, and stars, and upon the unfading and imperishable sky, spread out so magnificently above him, and say, "All this is the work of chance!"

2. God walketh upon the ocean. Brilliantly The glassy waters mirror back his smiles; The surging billows, and the gamboling storms Come crouching to his feet.

3. I hail thee, as in gorgeous robes, Blooming thou leav'st the chambers of the east, Crowned with a gemmed tiara thick embossed With studs of living light.

4. High on a throne of royal state, which far Outshone the wealth of Ormus and of Ind, Or where the gorgeous east, with richest hand Showers on her kings barbaric pearl and gold, Satan exalted sat.

5. His broad expanded wings Lay calm and motionless upon the air, As if he floated there without their aid, By the sole act of his unlorded will.

6. In dim eclipse, disastrous twilight sheds On half the nations, and with fear of change Perplexes monarchs.

III. ACCENT AND EMPHASIS. (33)

ACCENT.

That syllable in a word which is uttered more forcibly than the others, is said to be accented, and is marked thus, ('); as the italicized syllables in the following words:

morn'ing. pos'si-ble. ty'rant. re-cum'bent. pro-cure'. ex-or'bi-tant, de-bate'. com-pre-hen'sive.

Common usage alone determines upon what syllable the accent should be placed, and to the lexicographer it belongs, to ascertain and record its decision on this point.

In some few cases, we can trace the reasons for common usage in this respect. In words which are used as different parts of speech, or which have different meanings, the distinction is sometimes denoted by changing the accent.

EXAMPLES. (33)

sub'ject sub-ject' pres'ent pre-sent' ab'sent ab-sent' cem'ent ce-ment' con'jure con-jure'

There is another case, in which we discover the reason for changing the accent, and that is, when it is required by emphasis, as in the following:

EXAMPLES. (33)

1. His abil'ity or in'ability to perform the act materially varies the case. 2. This corrup'tion must put on in'corruption.

SECONDARY ACCENT. (34)

In words of more than two syllables, there is often a second accent given, but more slight than the principal one, and this is called the secondary accent; as, em"igra'tion, rep"artee', where the principal accent is marked ('), and the secondary, ("); so, also, this accent is obvious, in nav"iga'tion, com"prehen'sion, plau"sibil'ity, etc. The whole subject, however, properly belongs to dictionaries and spelling books.

EMPHASIS. (34)

Emphasis consists in uttering a word or phrase in such a manner as to give it force and energy, and to draw the attention of the hearer particularly to the idea expressed.

This is most frequently accomplished by an increased stress of voice laid upon the word or phrase. Sometimes, though more rarely, the same object is effected by an unusual lowering of the voice, even to a whisper, and not unfrequently by a pause before the emphatic word.

The inflections are often made subsidiary to this object. To give emphasis to a word, the inflection is changed or increased in force or extent. When the rising inflection is ordinarily used, the word, when emphatic, frequently takes the falling inflection; and sometimes, also, the falling inflection is changed into the rising inflection, for the same purpose.

Emphatic words are often denoted by being written in italics, in SMALL CAPITALS, or in CAPITALS.

Much care is necessary to train the pupil to give clear and expressive emphasis, and at the same time to avoid an unpleasant "jerky" movement of the voice.

ABSOLUTE EMPHASIS. (35)

Where the emphasis is independent of any contrast or comparison with other words or ideas, it is called absolute emphasis.

EXAMPLES. (35)

1. We praise thee, O God; we acknowledge thee to be the Lord.

2. Roll on, thou deep and dark blue Ocean--roll!

3. Arm, warriors, arm!

4. You know that you are Brutus, that speak this, Or, by the gods, this speech were else your last.

5. Hamlet. Saw, who? Horatio. The king, your father. Hamlet. The king, my father?

6. Strike--till the last armed foe expires; Strike--for your altars and your fires; Strike--for the green graves of your sites; God, and your native land!

RELATIVE EMPHASIS. (35)

Where there is antithesis, either expressed or implied, the emphasis is called relative.

EXAMPLES. (35)

1. We can do nothing against the truth, but for the truth.

2. But I am describing your condition, rather than my own.

3. I fear not death, and shall I then fear thee?

4. Hunting men, and not beasts, shall be his game.

5. He is the propitiation for our sins; and not for ours only, but for the sins of the whole world.

6. It may moderate and restrain, but it was not designed to banish gladness from the heart of man.

In the following examples, there are two sets of antitheses in the same sentence.

7. To err is human, to forgive, divine.

8. John was punished; William, rewarded.

9. Without were fightings, within were fears.

10. Business sweetens pleasure, as labor sweetens rest.

11. Justice appropriates rewards to merit, and punishments to crime.

12. On the one side, all was alacrity and courage; on the other, all was timidity and indecision.

13. The wise man is happy when he gains his own approbation; the fool, when he gains the applause of others.

14. His care was to polish the country by art, as he had protected it by arms.

In the following examples, the relative emphasis is applied to three sets of antithetic words.

15. The difference between a madman and a fool is, that the former reasons justly from false data; and the latter, erroneously from just data.

16. He raised a mortal to the skies, She drew an angel down.

Sometimes the antithesis is implied, as in the following instances.

17. The spirit of the white man's heaven, Forbids not thee to weep.

18. I shall enter on no encomiums upon Massachusetts.

EMPHASIS AND ACCENT. (37)

When words, which are the same in part of their formation, are contrasted, the emphasis is expressed by accenting the syllables in which they differ. See Accent, page 33.

EXAMPLES. (37)

1. What is the difference between probability and possibility?

2. Learn to unlearn what you have learned amiss.

3. John attends regularly. William, irregularly.

4. There is a great difference between giving and forgiving.

5. The conduct of Antoninus was characterized by justice and humanity; that of Nero, by injustice and inhumanity.

6. The conduct of the former is deserving of approbation, while that of the latter merits the severest reprobation.

EMPHASIS AND INFLECTION. (37)

Emphasis sometimes changes the inflection from the rising to the falling, or from the falling to the rising. For instances of the former change, see Rule II, and Exception 1 to Rule IV. In the first three following examples, the inflection is changed from the rising to the falling inflection; in the last three, it is changed from the falling to the rising, by the influence of emphasis.

EXAMPLES. (37)

1. If we have no regard for religion in youth', we ought to have respect for it in age.

2. If we have no regard for our own' character, we ought to regard the character of others.

3. If content can not remove' the disquietudes of life, it will, at least, alleviate them.

4. The sweetest melody and the most perfect harmony fall powerless upon the ear of one who is deaf',

5. It is useless to expatiate upon the beauties of nature to one who is blind',

6. And they that have believing masters, let them not despise them, because they are brethren'; but rather let them do them service.

EMPHATIC PHRASE. (38)

When it is desired to give to a phrase great force of expression, each word, and even the parts of a compound word, are independently emphasized.

EXAMPLES. (38)

1. Cassius. Must I endure all this? Brutus. All this!--Ay,--more. Fret, till your proud--heart--break.

2. What! weep you when you but behold Our Caesar's vesture wounded? Look ye here, Here is himself, marred, as you see, by traitors.

3. There was a time, my fellow-citizens, when the Lacedaemonians were sovereign masters, both by sea and by land; while this state had not one ship--no, NOT--ONE--WALL.

4. Shall I, the conqueror of Spain and Gaul; and not only of the Alpine nations, but of the Alps themselves; shall I compare myself with this HALF--YEAR--CAPTAIN?

5. You call me misbeliever--cutthroat--dog. Hath a dog--money? Is it possible-- A cur can lend three--thousand--ducats?

EMPHATIC PAUSE. (39)

A short pause is often made before or after, and sometimes both before and after, an emphatic word or phrase,--thus very much increasing the emphatic expression of the thought.

EXAMPLES. (39)

1. May one be pardoned, and retain--the offense? In the corrupted currents of this world, Offense's gilded hand may shove by--justice; And oft 'tis seen, the wicked prize itself Buys out the law: but 't is not so--above: There--is no shuffling: there--the action lies In its true nature.

2. He woke to hear his sentries shriek, "To arms! they come! the Greek! the Greek! He woke--to die--midst flame and smoke."

3. This--is no flattery: These--are counselors That feelingly persuade me what I am.

4. And this--our life, exempt from public haunt, Finds tongues--in tree, books--in the running brooks, Sermons--in stones, and--good in everything.

5. Heaven gave this Lyre, and thus decreed, Be thou a bruised--but not a broken--reed.

IV. INSTRUCTIONS FOR READING VERSE. (39)

INFLECTIONS.

In reading verse, the inflections should be nearly the same as in reading prose; the chief difference is, that in poetry, the monotone and rising inflection are more frequently used than in prose. The greatest difficulty in reading this species of composition, consists in giving it that measured flow which distinguishes it from prose, without falling into a chanting pronunciation.

If, at any time, the reader is in doubt as to the proper inflection, let him reduce the passage to earnest conversation, and pronounce it in the most familiar and prosaic manner, and thus he will generally use the proper inflection.

EXERCISES IN INFLECTION. (40)

1. Meanwhile the south wind rose, and with black wings Wide hovering', all the clouds together drove From under heaven': the hills to their supply', Vapor and exhalation dusk and moist Sent up amain': and now, the thickened sky Like a dark ceiling stood': down rushed the rain Impetuous', and continued till the earth No more was seen': the floating vessel swam Uplifted', and, secure with beake'd prow', Rode tilting o'er the waves'.

2. My friend', adown life's valley', hand in hand', With grateful change of grave and merry speech Or song', our hearts unlocking each to each', We'll journey onward to the silent land'; And when stern death shall loose that loving band, Taking in his cold hand, a hand of ours', The one shall strew the other's grave with flowers', Nor shall his heart a moment be unmanned'. My friend and brother'! if thou goest first', Wilt thou no more revisit me below'? Yea, when my heart seems happy causelessly', And swells', not dreaming why', my soul shall know That thou', unseen', art bending over me'.

3. Here rests his head upon the lap of earth', A youth, to fortune and to fame unknown'; Fair Science frowned not on his humble birth', And Melancholy marked him for her own'.

4. Large was his bounty', and his soul sincere', Heaven did a recompense as largely send'; He gave to misery (all he had) a tear', He gained from heaven' ('t was all he wished') a friend'.

5. No further seek his merits to disclose', Or draw his frailties from their dread abode'; (There they alike' in trembling hope repose',) The bosom of his Father, and his God'.

ACCENT AND EMPHASIS. (41)

In reading verse, every syllable must have the same accent, and every word the same emphasis as in prose; and whenever the melody or music of the verse would lead to an incorrect accent or emphasis, this must be disregarded.

If a poet has made his verse deficient in melody, this must not be remedied by the reader, at the expense of sense or the established rules of accent and quantity. Take the following:

EXAMPLE. (41)

O'er shields, and helms, and helme'd heads he rode, Of thrones, and mighty Seraphim prostrate

According to the metrical accent, the last word must be pronounced "pros-trate'." But according to the authorized pronunciation it is "pros'trate. Which shall yield, the poet or established usage? Certainly not the latter.

Some writers advise a compromise of the matter, and that the word should he pronounced without accenting either syllable. Sometimes this may be done, but where it is not practiced, the prosaic reading should be preserved.

In the following examples, the words and syllables which are improperly accented or emphasized in the poetry, are marked in italics. According to the principle stated above, the reader should avoid giving them that pronunciation which the correct rending of the poetry would require, but should read them as prose, except where he can throw off all accent and thus compromise the conflict between the poetic reading and the correct reading. That is, he must read the poetry wrong, in order to read the language right.

EXAMPLES. (42)

1. Ask of thy mother earth why oaks are made Taller and stronger than the weeds they shade.

2. Their praise is still, "the style is excellent," The sense they humbly take upon content.

3. False eloquence, like the prismatic glass, Its fairy colors spreads on every place.

4. To do aught good, never will be our task, But ever to do ill is our sole delight.

5. Of all the causes which combine to blind Man's erring judgment, and mislead the mind, What the weak head with strongest bias rules Is pride, the never-failing vice of fools.

6. Eye Nature's walks, shoot folly as it flies, And catch the manners living as they rise.

7. To whom then, first incensed, Adam replied, "Is this thy love, is this the recompense Of mine to thee, ungrateful Eve?"

8. We may, with more successful hope, resolve To wage, by force or guile, successful war, Irreconcilable to our grand foe, Who now triumphs, and in excess of joy Sole reigning holds the tyranny of Heaven.

9. Which, when Beelzebub perceived (than whom, Satan except, none higher sat), with grave Aspect, he rose, and in his rising seemed A pillar of state.

10. Thee, Sion, and the flowery brooks beneath, That wash thy hallowed feet, and warbling flow, Nightly I visit: nor sometimes forget, Those other two equaled with me in fate.

NOTE.--Although it would be necessary, in these examples, to violate the laws of accent or emphasis, to give perfect rhythm, yet a careful and well-trained reader will be able to observe these laws and still give the rhythm in such a manner that the defect will scarcely be noticed.

POETIC PAUSES. (43)

In order to make the measure of poetry perceptible to the ear, there should generally be a slight pause at the end of each line, even where the sense does not require it.

There is, also, in almost every line of poetry, a pause at or near its middle, which is called the caesura.

This should, however, never be so placed as to injure the sense of the passage. It is indeed reckoned a great beauty, where it naturally coincides with the pause required by the sense. The caesura, though generally placed near the middle, may be placed at other intervals.

There are sometimes, also, two additional pauses in each line, called demi-caesuras.

The caesura is marked (||), and the demi-caesura thus, (|), in the examples given.

There should be a marked accent upon the long syllable next preceding the caesura, and a slighter one upon that next before each of the demi-caesuras. When made too prominent, these pauses lead to a singsong style, which should be carefully avoided.

In the following examples, the caesura is marked in each line; the demi-caesura is not marked in every case.

EXAMPLES. (44)

1. Nature | to all things || fixed | the limits fit, And wisely | curbed || proud man's | pretending wit.

2. Then from his closing eyes || thy form shall part, And the last pang || shall tear thee from his heart.

3. Warms in the sun, || refreshes in the breeze, Glows in the stars, || and blossoms in the trees.

4. There is a land || of every land the pride, Beloved by Heaven || o'er all the world beside, Where brighter suns || dispense serener light, And milder moons || imparadise the night; Oh, thou shalt find, || howe'er thy footsteps roam, That land--thy country, || and that spot--thy home.

5. In slumbers | of midnight || the sailor | boy lay; His hammock | swung loose || at the sport | of the wind; But, watch-worn | and weary, || his cares | flew away, And visions | of happiness || danced | o'er his mind.

6. She said, | and struck; || deep entered | in her side The piercing steel, || with reeking purple dyed: Clogged | in the wound || the cruel | weapon stands, The spouting blood || came streaming o'er her hands. Her sad attendants || saw the deadly stroke, And with loud cries || the sounding palace shook.

SIMILE. (44)

Simile is the likening of anything to another object of a different class; it is a poetical or imaginative comparison.

A simile, in poetry, should usually he read in a lower key and more rapidly than other parts of the passage--somewhat as a parenthesis is read.

EXAMPLES. (45)

1. Part curb their fiery steeds, or shun the goal With rapid wheels, or fronted brigades form. As when, to warn proud cities, war appears, Waged in the troubled sky, and armies rush To battle in the clouds. Others with vast Typhoean rage more fell, Rend up both rocks and hills, and ride the air In whirlwind. Hell scarce holds the wild uproar. As when Alcides felt the envenomed robe, and tore, Through pain, up by the roots, Thessialian pines, And Lichas from the top of Oeta threw Into the Euboic sea.

2. Each at the head, Leveled his deadly aim; their fatal hands No second stroke intend; and such a frown Each cast at th' other, as when two black clouds, With heaven's artillery fraught, came rolling on Over the Caspian, there stand front to front, Hovering a space, till winds the signal blow To join the dark encounter, in mid-air: So frowned the mighty combatants.

3. Then pleased and thankful from the porch they go And, but the landlord, none had cause of woe: His cup was vanished; for, in secret guise, The younger guest purloined the glittering prize. As one who spies a serpent in his way, Glistening and basking in the summer ray, Disordered, stops to shun the danger near, Then walks with faintness on, and looks with fear,-- So seemed the sire, when, far upon the road, The shining spoil his wily partner showed.

V. THE VOICE. (46)

PITCH AND COMPASS.

The natural pitch of the voice is its keynote, or governing note. It is that on which the voice usually dwells, and to which it most frequently returns when wearied. It is also the pitch used in conversation, and the one which a reader or speaker naturally adopts--when he reads or speaks-- most easily and agreeably.

The compass of the voice is its range above and below this pitch. To avoid monotony in reading or speaking, the voice should rise above or fall below this keynote, but always with reference to the sense or character of that which is read or spoken. The proper natural pitch is that above and below which there is most room for variation.

To strengthen the voice and increase its compass, select a short sentence, repeat it several times in succession in as low a key as the voice can sound naturally; then rise one note higher, and practice on that key, then another, and so on, until the highest pitch of the voice has been reached. Next, reverse the process, until the lowest pitch has been reached.

EXAMPLES IN PITCH (46)

High Pitch.

NOTE.--Be careful to distinguish pitch from power in the following exercise. Speaking in the open air, at the very top of the voice, is an exercise admirably adapted to strengthen the voice and give it compass, and should be frequently practiced.

1. Charge'! Chester" charge'! On'! Stanley, on'!

2. A horse'! a horse'! my kingdom' for a horse'!

3. Jump far out', boy' into the wave'! Jump', or I fire'!

4. Run'! run'! run for your lives!

5. Fire'! fire'! fire'! Ring the bell'!

6. Gentlemen may cry peace'! peace'! but there is no peace!

7. Rouse' ye Romans! rouse' ye slaves'! Have ye brave sons'? Look in the next fierce brawl To see them die'. Have ye fair daughters'? Look To see them live, torn from your arms', distained', Dishonored', and if ye dare call for justice', Be answered by the lash'!

Medium Pitch. (47)

NOTE.--This is the pitch in which we converse. To strengthen it, we should read or speak in it as loud as possible, without rising to a higher key. To do this requires long-continued practice.