Produced by David Garcia, Tonya Allen, Charles Franks, and the Distributed Proofreaders SANDERS' UNION FOURTH READER: EMBRACING A FULL EXPOSITION OF THE PRINCIPLES OF RHETORICAL READING; WITH NUMEROUS EXERCISES FOR PRACTICE, BOTH IN PROSE AND POETRY, VARIOUS IN STYLE, AND CAREFULLY ADAPTED TO THE PURPOSES OF TEACHING IN SCHOOLS OF EVERY GRADE. BY CHARLES W. SANDERS, A.M. PREFACE. THIS FOURTH READER is designed to pass the pupil from the comparatively easy ground occupied by the THIRD to the more difficult course embraced in THE UNION FIFTH READER, which is next higher in the series. It is, therefore, carefully graded to this intermediate position. In one sense, however, it is the most important in the set; since the great mass of pupils, in our common schools, are drawn away from scholastic pursuits long before the proper time for entering upon any course of reading more advanced than that which is here presented. This consideration has had its full weight in the preparation of the following pages. Every exercise will be found to bear the impress of that special adaptation to the purposes of teaching, without which no book of this kind can fully perform the office which it assumes. The labor expended in this direction, though all unseen by the casual observer, has been neither light nor brief. It can be duly appreciated by none but the experienced teacher. All words in the exercises, requiring explanation, have been arranged, as regular lessons in spelling and definition. In these definitions, however, it must be kept in mind, that no attempt has been made to give _all the meanings of which a word is susceptible, but that only which it bears in the particular place in the exercise where it is found._ There is a special educational advantage in thus leading the mind of the pupil definitely to fix upon the _precise import_ of a word, in some particular use or application of it. All proper names occurring in the text, and at all likely to embarrass the learner, have been explained in brief, comprehensive notes. These notes involve many matters, Geographical, Biographical, and Historical, which are not a little interesting in themselves, aside from the special purpose subserved by them in the present connection. All this has been done, and more, in order to secure that kind of interest in the exercises which comes of reading what is clearly understood; and because no perfect reading is possible, where the reader himself fails to perceive the meaning of what he reads. In the selection and adaptation of the pieces, the highest aim has been to make and to leave the best moral impression; and this, not by dull and formal teachings, but by the pleasanter, and, therefore, more powerful, means of incidental and unexpected suggestion. Admonition is then most likely to be heeded, when it comes through the channel of events and circumstances. The direct and ostensible aim of the book, however, has been kept steadily in view; which is to furnish the best possible exercises for practice in Rhetorical reading. To this end, the greatest variety of style and sentiment has been sought. There is scarcely a tone or modulation, of which the human voice is capable, that finds not here some piece adapted precisely to its best expression. There is not an inflection, however delicate, not an emphasis, however slight, however strong, that does not here meet with something fitted well for its amplest illustration. No tenderness of pathos, no earnestness of thought, no play of wit, no burst of passion, is there, perhaps, of which the accomplished teacher of Elocution may not find the proper style of expression in these pages, and, consequently, the best examples for the illustration of his art. The book, thus briefly described, is, therefore, given to the public with the same confidence that has hitherto inspired the author in similar efforts, and with the hope that it may reach even a higher measure of usefulness than that attained by any of its predecessors, in the long line of works which he has prepared for the use of schools. NEW YORK, April, 1863. CONTENTS. PART FIRST. ELOCUTION. SECTION I.--ARTICULATION ELEMENTARY SOUNDS OF THE LETTERS SUBSTITUTES FOR THE VOWEL ELEMENTS SUBSTITUTES FOR THE CONSONANT ELEMENTS ERRORS IN ARTICULATION COMBINATIONS OF CONSONANTS EXAMPLES TO ILLUSTRATE INDISTINCT ARTICULATION MISCELLANEOUS EXAMPLES SECTION II--ACCENT AND EMPHASIS EXAMPLES OF PRIMARY AND SECONDARY ACCENT EXAMPLES OF INTENSIVE EMPHASIS EXAMPLES OF ABSOLUTE EMPHASIS EXAMPLES OF ANTITHETIC EMPHASIS SECTION III.--INFLECTIONS MONOTONE RISING AND FALLING INFLECTIONS RULES FOR THE USE OF INFLECTIONS THE CIRCUMFLEX SECTION IV.--MODULATION PITCH OF VOICE QUANTITY RULES FOR QUANTITY QUALITY RULES FOR QUALITY NOTATION IN MODULATION EXAMPLES FOR EXERCISE IN MODULATION SECTION V.--THE RHETORICAL PAUSE PART SECOND. 1. TRUE HEROISM, _Adapted. Osborne_ 2. YOU AND I, _Charles Mackay_ 3. LIFE'S WORK 4. THE YOUNG CAPTIVES 5. MY MOTHER'S LAST KISS, _Mrs. E. Oakes Smith_ 6. THE DEAD CHILD'S FORD, _Mrs. E. Oakes Smith_ 7. LAME AND LAZY--_A Fable_ 8. FAITHFULNESS IN LITTLE THINGS, _Adapted, Eliza A. Chase_ 9. THE AMERICAN BOY 10. THE SAILOR BOY'S SONG 11. CHASE OF THE PET FAWN, _Adapted. Miss Cooper_ 12. KINDNESS 13. CARELESS WORDS 14. WEBSTER AND THE WOODCHUCK, _Adapted. Boston Traveler_ 15. DO IT YOURSELF 16. BETTER LATE THAN NEVER 17. THE ADOPTED CHILD, _Mrs. Hemans_ 18. THE OLD EAGLE TREE, _Rev. John Todd_ 19. THE LIGHT OF KNOWLEDGE, _Elihu Burritt_ 20. NIGHT'S LESSONS, _L.H. Sigourney_ 21. NATURE'S TEACHINGS, _Chambers' Journal_ 22. SOWING AND HARVESTING, _Anon._ 23. A THRILLING INCIDENT, _Adapted. Anon._ 24. THE TRUTHFUL KING 25. WHEN SHALL I ANSWER, NO, _J.N. McElligott_ 26. TO MASTER ROBERT AND JOHN, _Davis_ 27. WHANG, THE MILLER, _Goldsmith_ 28. CHIMNEY-SWALLOWS, _Henry Ward Beecher_ 29. THE DOUBTING HEART, _Adelaide Procter_ 30. THE COMING OF WINTER, _T.B. Read_ 31. CHILD TIRED OF PLAY, _N.P. Willis_ 32. THE RESCUE, _By a Sea Captain_ 33. ROBERT BRUCE AND THE SCOTCH WOMAN 34. ROBERT BRUCE AND THE SPIDER, _Bernard Barton_ 35. WEALTH AND FASHION 36. MY FIRST JACK-KNIFE 37. THE PINE-TREE SHILLINGS, _Nathaniel Hawthorne_ 38. HIAWATHA'S HUNTING, _Longfellow_ 39. DESPERATE ENCOUNTER WITH A PANTHER, _Bk. of Adventures_ 40. THE POWER OF HABIT, _John B. Gough_ 41. THE DRUNKARD'S DAUGHTER 42. THE TWO YOUNG TRAVELERS, _Adapted. Merry's Museum_ 43. HIGHER! 44. LABOR, _Caroline F. Orne_ 45. THE AMBITIOUS APPRENTICE 46. SO WAS FRANKLIN, _Anon._ 47. NOW AND THEN, _Jane Taylor_ 48. AN INGENIOUS STRATAGEM, _Days of Washington_ 49. FRANCES SLOCUM, THE YOUNG CAPTIVE, _B.J. Lossing_ 50. THE RAIN-DROPS, _Delia Louise Colton_ 51. SMALL THINGS, _F. Bennoch_ 52. MURDERER'S CREEK, _James K. Paulding_ 53. NAPOLEON'S ARMY CROSSING THE ALPS, _Adapted. Anon._ 54. WHERE THERE'S A WILL THERE'S A WAY, _Eliza Cook_ 55. "I CAN" 56. NOW, TO-DAY, _Adelaide A. Procter_ 57. CAPTURE OF MAJOR ANDRE 58. BENEDICT ARNOLD 59. BEHIND TIME, _Freeman Hunt_ 60. HOW HAPPY I'LL BE 61. THE SWORD OF BUNKER HILL, _William R. Wallace_ 62. BIBLE LEGEND OF THE WISSAHIKON, _Lippard_ 63. ADVICE TO THE YOUNG, _E.H. Chapin_ 64. THE INTREPID YOUTH 65. THE FOUR MISFORTUNES, _John G. Saxe_ 66. MRS. CREDULOUS AND THE FORTUNE-TELLER 67. FAITH, HOPE, AND CHARITY--_An Allegory_ 68. NOT TO MYSELF ALONE, _S.W. Partridge_ 69. THE WORLD WOULD BE THE BETTER FOR IT, _W.H. Cobb_ 70. SELECT PROVERBS OF SOLOMON, _Bible_ 71. WINTER BEAUTY, _Henry Ward Beecher_ 72. FROSTED TREES 73. THE MOUNTAINS OF LIFE, _James G. Clark_ 74. IMAGINARY EVILS, _Chas. Swain_ 75. SIR WALTER AND THE LION, _A. Walchner_ 76. CHOICE EXTRACTS I. WHAT REALLY BENEFITS US. II. GOD'S LOVE. III. LIFE-WORK. IV. HUMILITY. V. BENEFITS OF ADVERSITY. VI. OUR MOUNTAIN HOMES. VII. MAKE A BEGINNING. VIII. INFLUENCE. IX. PLEASURE IN ACQUIRING KNOWLEDGE. X. WHAT IS FAME? XI. CULTIVATED INTELLECT. XII. GOD'S WORKS ATTEST HIS GREATNESS. 77. CAPTURE OF THE WHALE 78. LEAVES FROM AN AERONAUT, _Willis Gaylord Clark_ 79. THE DAPPLE MARE, _John G. Saxe_ 80. A LEAP FOR LIFE, _George P. Morris_ 81. THE INDIAN BRIDE'S REVENGE, _Adapted. L.M. Stowell_ 82. A MOTHER'S LOVE, _Albert Barnes_ 83. THE LIFE-BOOK, _Home Journal_ 84. ODE ON SOLITUDE, _Pope_ 85. GETTING THE RIGHT START, _J.G. Holland_ 86. THE PRESUMPTION OF YOUTH, _Rollin_ 87. SONG OF THE AMERICAN EAGLE 88 THE ARMY OF REFORM, _Sarah Jane Lippincott_ 89. LAST CRUISE OF THE MONITOR, _Adapted. Grenville M. Weeks_ 90. DUTIES AND RESPONSIBILITIES OF WOMEN, _Gail Hamilton_ 91. SCENE FROM WILLIAM TELL, _J. Sheridan Knowles_ 92. THE RICH MAN AND THE POOR MAN, _Khemnitzer_ 93. GRANDEUR OF THE OCEAN, _Walter Colton_ 94. A BURIAL AT SEA, _Walter Colton_ 95. THE TREASURES OF THE DEEP, _Mrs. Hemans_ 96. THE BRIDGE OF SIGHS, _Thomas Hood_ 97. A REQUIEM 98. VISIT TO MOUNT VERNON, _A.C. Ritchie_ 99. LA FAYETTE, _Charles Sprague_ 100. THE MYSTIC WEAVER, _Rev. Dr. Harbaugh_ 101. WORK AWAY, _Harpers' Magazine_ 102. QUEEN ISABELLA'S RESOLVE, _Vinet_ 103. DISCOVERY OF THE NEW WORLD, _Lamartine_ 104. THE RETURN OF COLUMBUS, _Vinet_ 105. TWO HUNDRED YEARS AGO, _Grenville Mellen_ 106. PRESS ON, _Park Benjamin_ 107. THE THREE FORMS OF NATURE, _From the French of Michelet_ 108. THE WHALE AND THE WHALER, _From the French of Michelet_ 109. RIENZI'S ADDRESS TO THE ROMANS, _Miss Mitford_ 110. SONG OF THE FORGE 111. CHOICE EXTRACTS I. SWIFTNESS OF TIME. II. THE SHIP OF STATE. III. THE TRUE HERO. IV. HEART ESSENTIAL TO GENIUS. V. EDUCATION. VI. VANITY OF WEALTH. VII. CONSOLATION OF THE GOSPEL. VIII. THE LIGHT OF HOPE. IX. PAMPERING THE BODY AND STARVING THE SOUL. 112. WE ALL DO FADE AS A LEAF, _Gail Hamilton_ 113. TEACHINGS OF NATURE, _Pollok_ 114. PASSING UNDER THE ROD, _Mary S.B. Dana_ 115. THE PETULANT MAN, _Osborne_ 116. THE BRAHMIN AND THE ROGUES, _Versified by J.N. McElligott_ 117. LIVING WITHIN OUR MEANS, _S.W. Partridge_ 118. GRANDEUR OF THE UNIVERSE, _O.M. Mitchel_ 119. "WHOM HAVE I IN HEAVEN BUT THEE?", _Pamelia S. Vining_ 120. THE MEMORY OF WASHINGTON, _Kossuth_ 121. THE LOST ONE'S LAMENT EXPLANATION OF THE PAUSES. . The Period is the longest pause--a full stop. It marks the end of a sentence, and shows the sense complete; as, The sky is blue`. Pause the time of counting _six_, and let the voice fall. ? The Interrogation is used at the end of a question; as, Is the sky blue'? If the question can be answered by _yes_ or _no_, the voice rises; if not, it falls; as, Where is your map`;? Pause the time of counting _six_. ! The Exclamation denotes wonder, surprise, pain, or joy; as, O'! what a sweet rose`! Pause the time of counting _one_, after a single word, and let the voice rise; but after a complete sentence, pause the time of counting _six_, and let the voice fall. : The Colon is a pause shorter than the Period; as, The sky is clear`: the sun shines. Pause the time of counting _four_, and let the voice fall. ; The Semicolon is a pause shorter than the Colon; as, The rose is fair`; but it soon fades. Pause the time of counting _two_, and let the voice fall. Sometimes the voice should rise, as the sense may require. , The Comma is the shortest pause; as, Jane goes to school', and learns to read. Pause the time of counting _one_, and keep the voice up. -- The Dash denotes a sudden pause or change of subject; as, I saw him--but what a sight! When the dash is used after any other pause, the time of that pause is doubled. * * * * * EXPLANATION OF OTHER MARKS. ' The Apostrophe has the form of the comma. It denotes the possessive case; as, John's book; also, that one or more letters have been left out of a word; as, lov'd for loved. " " The Quotation includes a passage that is taken from some other author or speaker; as, John said: "See my kite." ( ) The Parenthesis includes words not properly a part of the main sentence; as, I like these people (who would not?) very much. The words within the parenthesis should be read in a lower tone of voice. [ ] The Brackets inclose words that serve to explain the preceding word or sentence; as, James [the truthful boy] went home. ^ The Caret shows where words are to be put in that have been omitted by mistake; as, Live ^in peace. (..) The Diaresis is placed over the latter of two vowels, to show that they belong to two distinct syllables; as, aerial. - The Hyphen is used to connect compound words; as, Well-doing; or the parts of a word separated at the end of a line. [Index] The Index points to something special or remarkable; as, => Important News! *** .... or ---- The Ellipsis shows that certain words or letters have been purposely omitted; as, K**g, k..g, or k--g, for king. [Paragraph] The Paragraph denotes the beginning of a new subject. It is chiefly used in the Bible; as, [Paragraph] The same day came to him, etc. [Section] The Section is used to divide a book or chapter into parts; as, [Section]45. * [Obelisk] [Double Dagger] The Asterisk, the Obelisk, the Double Dagger, and sometimes other marks, [Footnote: For instance: the Section mark, [Section], and the Parallel, ||.] refer to notes in the margin. 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 [Paragraph] 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.[Obelisk] 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.---- [Index] Washington feared and hon- 14 ored God. 15 [S] Section, [/=] Double Dagger, and || Parallel, are also used 16 for reference to the margin. * * * * * * Proverbs xix. 5 and 9. [Obelisk] 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. * * * * * 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.--1 A as in _A_pe. 2.--2 A " _A_rm. 3.--3 A " _A_ll. 4.--4 A " _A_t. 5.--5 A " C_a_re. 6.--6 A " _A_sk. 7.--1 E " _E_ve. 8.--2 E " _E_nd. 9.--1 I " _I_ce. 10.--2 I " _I_t. 11.--1 O " _O_ld. 12.--2 O " D_o_. 13.--3 O " _O_x. 14.--1 U " _U_se. 15.--2 U " _U_p. 16.--3 U " P_u_ll. 17.--OI " O_i_l. 18.--OU " O_u_t. CONSONANT SOUNDS. SUB-TONICS. 19.--B as in _B_at. 20.--D " _D_un. 21.--G " _G_un. 22.--J " _J_et. 23.--L " _L_et. 24.--M " _M_an. 25.--N " _N_ot. 26.--R " _R_un. 27.--V " _V_ent. 28.--W " _W_ent. 29.--Y " _Y_es. 30.--1 Z " _Z_eal. 31.--2 Z " A_z_ure. 32.--NG " Si_ng_. 33.--TH " _Th_y. A-TONICS. 34.--F as in _F_it. 35.--H " _H_at. 36.--K " _K_id. 36.--P " _P_it. 38.--S " _S_in. 39.--T " _T_op. 40.--CH " _Ch_at. 41.--SH " _Sh_un. 42.--TH " _Th_in. 43.--WH " _Wh_en. 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 s_ai_l. _au_ " g_au_ge. _ay_ " l_ay_. _ea_ " gr_ea_t. _ei_ " d_ei_gn. _ey_ " th_ey_. For Flat A. _au_ as in d_au_nt. _ea_ " h_ea_rt. _ua_ " g_ua_rd. For Broad A. _au_ as in p_au_se. _aw_ " l_a_w. _eo_ " G_eo_rge. _oa_ " gr_oa_t. _o_ " h_o_rn. _ou_ " s_ou_ght. For Short A. _ai_ as in pl_ai_d. _ua_ " g_ua_ranty. For Intermediate A. _ai_ as in h_ai_r. _ea_ " b_ea_r. _e_ " wh_e_re. _ei_ " th_ei_r. For Long E. _ea_ as in w_ea_k. _ei_ " s_ei_ze. _eo_ " p_eo_ple. _ey_ " k_ey_. _ie_ " br_ie_f. _i_ " p_i_que. For Short E. _a_ as in _a_ny. _ai_ " s_ai_d. _ay_ " s_ay_s. _ea_ " d_ea_d. _ei_ " h_ei_fer. _eo_ " l_eo_pard. _ie_ " fr_ie_nd. _ue_ " g_ue_ss. _u_ " b_u_ry. For Long I. _ai_ as in _ai_sle. _ei_ " sl_ei_ght. _ey_ " _ey_e. _ie_ " d_ie_. _oi_ " ch_oi_r. _ui_ " g_ui_de. _uy_ " b_uy_. _y_ " tr_y_. For Short I. _e_ as in _E_nglish. _ee_ " b_ee_n. _ie_ " s_ie_ve. _o_ " w_o_men. _u_ " b_u_sy. _ui_ " b_ui_ld. _y_ " s_y_mbol. For Long O. _au_ as in h_au_tboy. _eau_ " b_eau_. _eo_ " y_eo_man. _ew_ " s_ew_. _oa_ " b_oa_t. _oe_ " h_oe_. _ou_ " s_ou_l. _ow_ " fl_o_w. For Long Slender O. _oe_ as in sh_oe_. _ou_ " s_ou_p. For Short O. _a_ as in w_a_s. _ou_ " h_ou_gh. _ow_ " kn_ow_ledge. For Long U. _eau_ as in b_eau_ty. _eu_ " f_eu_d. _ew_ " d_ew_. _ieu_ " ad_ieu_. _ou_ " y_ou_r. _ue_ " c_ue_. _ui_ " s_ui_t. For Short U. _e_ as in h_e_r. _i_ " s_i_r. _oe_ " d_oe_s. _o_ " l_o_ve. _ou_ " y_ou_ng. For Short Slender U. _o_ as in w_o_lf. _ou_ " w_ou_ld. For the Diphthong OI. _oy_ as in j_oy_. For the Diphthong OU. _ow_ as in n_ow_. There is no pure Triphthongal sound in the language. _Buoy_ is equivalent to _bwoy_. _U_ being a consonant. SUBSTITUTES FOR THE CONSONANT ELEMENTS. F. _gh_ as in lau_gh_. _ph_ " s_ph_ere. J. _g_ " _g_em. K. _c_ " _c_an. _ch_ " _ch_ord. _gh_ " hou_gh_. _q_ " _q_uit. S. _c_ " _c_ent. T. _d_ " face_d_. _phth_ " _phth_isic. V. _f_ " o_f_. _ph_ " Ste_ph_en. Y. _i_ " val_i_ant. 1 Z. _c_ " suffi_c_e. _s_ " wa_s_. _x_ " _X_erxes. 2 Z. _s_ " trea_s_ure. _z_ " a_z_ure. _si_ " fu_si_on. _zi_ " gla_zi_er. NG. _n_ " co_n_ch. SH. _ce_ " o_ce_an. _ci_ " so_ci_al. _ch_ " _ch_aise. _si_ " pen_si_on. _s_ " _s_ure. _ss_ " i_ss_ue. _ti_ " no_ti_on. CH. _ti_ " fus_ti_an. 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-_i_n. cap'n " cap-_tai_n. barr'l " bar-r_e_l. ev'ry " ev-_e_-ry. hist'ry " his-t_o_-ry reg'lar " reg-_u_-lar. sev'ral " sev-_e_r-al. rhet'ric " rhet-_o_-ric. mem'ry " mem-_o_-ry. jub'lee " ju-b_i_-lee. trav'ler " trav-_e_l-er. fam'ly " fam-_i_-ly. vent'late " ven-t_i_-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-in_g_. swif-ly " swif_t_-ly. com-mans " com-man_d_s. wam-er " wa_r_m-er. um-ble " _h_um-ble. ap-py " _h_ap-py. con-sis " con-sis_t_s. fa-t'l " fa-tal. pr'-tect " pr_o_-tect. b'low " b_e_-low. p'r-vade " p_e_r-vade. srink-in " s_h_rink-in_g_. th'if-ty " th_r_if-ty. as-ter-is " as-ter-is_k_. gov-er-ment " gov-er_n_-ment. Feb-u-ary " Feb-_r_u-a-ry. III. _The substitution of one sound for another; as,_ _uf_-ford for _a_f-ford. wil-l_e_r " wil-lo_w_. sock-_i_t " sock-_et_. fear-l_u_ss " fear-l_e_ss. cul-t_e_r " cult-_u_re. prod-u_x_ " prod-u_cts_. judg-m_u_nt " judg-m_e_nt. chil-dr_i_n " chil-dr_e_n. mod-_i_st " mod-_e_st. _u_p-prove " _a_p-prove. _w_in-e-gar " _v_in-e-gar. sep-_e_-rate " sep-_a_-rate. temp-er-_i_t " tem-per-_a_te. croc-_e_r-dile " croc-_o_-dile. t_u_b-ac-c_u_r " t_o_-bac-c_o_. com-pr_u_m-ise " com-pr_o_-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. 1. _Bd_, as in ro_b'd_; _bdst_, pro_b'dst_; _bl_, _bl_ and, a_bl_e; _bld_, hum-_bl'd; bldst_, trou_bl'dst_; _blst_, trou_bl'st; blz_, crum_bles; br_, _br_and; _bz_, ri_bs_. 2. _Ch_, as in _ch_ur_ch; cht_, fet_ch'd_. 3. _Dj_, as in e_dg_e; _djd_, he_dg'd; dl_, bri_dle; dld_, rid_dl'd; dlst_, han_dl'st_; _dlz_, bun_dles; dn_, har_d'n; dr_, _dr_ove; _dth_, wi_dth; dths_, brea_dths; dz_, o_dds_. 4. _Fl_, as in _fl_ame; _fld_, ri_fl'd_; _flst_, sti_fl'st_; _flx_, ri_fles_; _fr_, _fr_om; _fs_, qua_ffs_, lau_ghs_; _fst_, lau_gh'st_, qua_ff'st_; _ft_, ra_ft_; _fts_, wa_fts; ftst_, gr_ft'st_. 5. _Gd_, as in beg_g'd_; _gdst_, brag_g'dst; gl_, _gl_ide; _gld_, strug_gl'd; gldst_, hag_gl'dst; gist_, stran_gl'st; glz_, min_gles; gr, gr_ove; _gst_, beg_g'st; gz_, fi_gs_. 6. _Kl_, as in un_cle_, an_kle_; _kld_, trick_l'd; kldst_, truck_l'dst; klst_, chuc_kl'st; klz_, wrin_kles; kn_, blac_k'n; knd_, rec_k'n'd; kndst_, rec_k'n'dst; knst_, blac_k'n'st; knz_, rec_k'ns; kr, cr_ank; _ks_, chec_ks; kt_, a_ct_. 7. _Lb_, as in bu_lb_; _lbd_, bu_lb'd; lbs_, bu_lbs; lch_, fi_lch; lcht_, be_lch'd; ld_, ho_ld; ldst_, fo_ld'st; ldz_, ho_lds; lf_, se_lf; lfs_, gu_lfs; lj_, bu_lge; lk_, e_lk; lks_, si_lks; lkt_, mi_lk'd; lkts_, mu_lcts; lm_, e_lm; lmd_, whel_m'd; lmz_, fi_lms; ln_, fa_ll'n;_ _lp_, he_lp_; _lps_, sca_lps_; _lpst_, _help'st_; _ls_, fa_lse_; _lst_, ca_ll'st_; _lt_, me_lt_; _lth_, hea_lth_; _lths_, stea_lths_; _lts_, co_lts_; _lv_, de_lve_; _lvd_, she_lv'd_; _lvz_, el_ves_; _lz_, ha_lls_. 8. _Md_, as in doo_m'd_; _mf_, triu_mph_; _mp_, he_mp_; _mpt_, te_mpt_; _mpts_, atte_mpts_; _mst_, ento_mb'st_; _mz_, to_mbs_. 9. _Nch_, as in be_nch_; _ncht_, pi_nch'd_; _nd_, a_nd_; _ndst_, e_nd'st_; _ndz_, e_nds_; _ng_, su_ng_; _ngd_, ba_nged_; _ngth_, le_ngth_; _ngz_, so_ngs_; _nj_, ra_nge_; _njd_, ra_ng'd_; _nk_, i_nk_; _nks_, ra_nks_; _nkst_, tha_nk'st_; _nst_, wi_ne'd_; _nt_, se_nt_; _nts_, re_nts_; _ntst_, we_nt'st_; _nz_, ru_ns_. 10. _Pl_, as in _pl_ume; _pld_, rip_pl'd_; _plst_, rip_pl'st_; _plz_, ap_ples_; _pr_, _pr_ince; _ps_, si_ps_; _pst_, rap_p'st_; _pt_, rip_p'd_. 11. _Rb_, as in he_rb_; _rch_, sea_rch_; _rcht_, chu_rch'd_; _rbd_, o_rbd_; _rbdst_, ba_rb'dst_; _rbst_, distu_rb'st_; _rbz_, o_rbs_; _rd_, ha_rd_; _rdst_, hea_rd'st_; _rdz_, wo_rds_; _rf_, tu_rf_; _rft_, sca_rfd_; _rg_, bu_rg_; _rgz_, bu_rgs_; _rj_, di_rge_; _rjd_, u_rg'd_; _rk_, a_rk_; _rks_, a_rks_; _rkst_, wo_rk'st_; _rkt_, di_rk'd_; _rktst_, emba_rk'dst_; _rl_, gi_rl_; _rld_, wo_rld_; _rldst_, hu_rld'st_; _rlst_, whi_rl'st_; _rlz_, hu_rls_; _rm_, a_rm_; _rmd_, a_rm'd_; _rmdst_, ha_rm'dst_; _rmst_, a_rm'st_; _rmz_, cha_rms_; _rn_, tu_rn_; _rnd_, tu_rn'd_; _rndst_, ea_rn'dst_; _rnst_, lea_rn'st_; _rnz_, u_rns_; _rp_, ca_rp_; _rps_, ha_rps_; _rpt_, wa_rp'd_; _rs_, ve_rs_e; _rsh_, ha_rsh_; _rst_, fi_rst_; _rsts_, bu_rsts_; _rt_, da_rt_; _rth_, ea_rth_; _rths_, bi_rths_; _rts_, ma_rts_; _rtst_, da_rt'st_; _rv_, cu_rve_; _rvd_, ne_rv'd_; _rvdst_, cu_rv'dst_; _rvst_, swe_rv'st_; _rvz_, ne_rves_; _rz_, e_rrs_. 12. _Sh_, as in _sh_ip; _sht_, hu_sh'd_; _sk_, _sc_an, _sk_ip; _sks_, tu_sks_; _skst_, fri_sk'st_; _skt_, ri_sk'd_; _sl_, _sl_ow; _sld_, ne_stl'd_; _slz_, we_stles_; _sm_, _sm_ile; _sn_, _sn_ag; _sp_, _sp_ort; _sps_, li_sps_; _spt_, cla_sp'd_; _st_, _st_ag; _str_, _str_ike; _sts_, re_sts_; _sw_, _sw_ing. 13. _Th_, as in _th_ine, _th_in; _thd_, brea_th'd_; _thr_, _thr_ee; _thst_, brea_th'st_; _thw_, _thw_ack; _thz_, wri_thes_; _tl_, ti_tle_; _tld_, set_tl'd_; _tldst_, set_tl'dst_; _tlst_,set_tl'st_; _tlz_, net_tles_; _tr_, _tr_uuk; _ts_, fi_ts_; _tw_, _tw_irl. 14. _Vd_, as in cur_v'd_; _vdst_, li_v'dst_; _vl_, dri_v'l_; _vld_, gro_v'l'd_; _vldst_, gro_v'l'dst_; _vlst_, dri_v'l'st_; _un_, dri_v'n_; _vst_, li_v'st_; _vz_, li_ves_. 15. _Wh_, as in _wh_en, _wh_ere. 16. _Zd_, as in mu_s'd_; _zl_, daz_zle_; _zld_, muz_zl'd_; _zldst_, daz_zl'dst_; _zlst_, daz_zl'st_; _zlz_, muz_zles_; _zm_, spa_sm_; _zmz_, cha_sms_; _zn_, ri_s'n_; _znd_, rea_s'n'd_; _znz_, pri_s'nz_; _zndst_, impri_s'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. 1. Will he attempt to conceal hi_s acts?_ Will he attempt to conceal hi_s sacks?_ 2. The man ha_d o_ars to row he_r o_ver. The man ha_d d_oors to row he_r r_over. 3. Can there be a_n a_im more lofty? Can there be _a n_ame more lofty? 4. The judge_s o_ught to arrest the culprits. The judge_s s_ought to arrest the culprits. 5. Hi_s i_re burned when she told him he_r a_ge. Hi_s s_ire burned when she told him he_r r_age. 6. He wa_s a_wed at the works of labor a_nd a_rt. He wa_s s_awed at the works of labor a_n d_art. 7. He wa_s tr_ained in the religion of his fathers. He wa_s st_rained in the religion of his fathers. MISCELLANEOUS EXAMPLES. 1. _Br_avely o'er _th_e _b_oi_st_e_r_ous _b_i_ll_ow_s_, _H_is _g_a_ll_a_nt_ _b_a_rk_ _w_a_s_ _b_o_rn_e. 2. _C_a_n_ _cr_a_v_e_n_ _c_owa_rds_ e_x_pe_ct_ to _c_o_nq_ue_r_ _th_e _c_ou_ntr_y? 3. _Cl_i_ck_, _cl_i_ck_, _g_oe_s_ _th_e _cl_o_ck_; _cl_a_ck_, _cl_a_ck_, _g_oe_s_ _th_e _m_i_ll_. 4. _D_i_d_ _y_ou _d_esi_r_e to _h_ea_r_ _h_i_s_ _d_a_rk_ a_nd_ _d_o_l_e_f_u_l_ _dr_ea_ms_? 5. "_F_ir_m_-_p_a_c_e_d_ a_nd_ _sl_ow, a _h_o_rr_i_d_ _fr_o_nt_ _th_ey _form_, _St_i_ll_ a_s_ _th_e _br_ee_ze_; _b_u_t_ _dr_ea_df_u_l_ a_s_ _th_e _st_or_m_." 6. _Th_e _fl_a_m_i_ng_ _f_i_r_e _fl_a_sh_ed _f_ea_rf_u_ll_y i_n_ _h_i_s_ _f_a_c_e. 7. _Th_e _gl_a_ss_y _gl_a_ci_e_rs_ _gl_ea_m_e_d_ i_n_ _gl_owi_ng_ _l_igh_t_. 8. _H_ow _h_igh _h_i_s_ ho_n_o_rs_ _h_ea_v_e_d_ _h_i_s_ _h_augh_t_y _h_ea_d_! 9. _H_e _dr_ew _l_o_ng_, _l_e_g_i_bl_e _lin_e_s_ a_l_o_ng_ _th_e _l_ove_l_y _l_a_ndsc_a_p_e. 10. _M_a_ss_e_s_ of i_mm_e_ns_e _m_a_gn_i_t_u_d_e _m_o_v_e _m_a_j_e_st_i_c_a_ll_y _thr_ough _th_e _v_a_st_ e_mp_i_r_e of _th_e _s_o_l_a_r_ _s_y_st_e_m_. 11. _R_ou_nd_ _th_e _r_ou_gh_ a_nd_ _r_u_gg_e_d_ _r_o_cks_ _th_e _r_a_gg_e_d_ _r_a_sc_a_l_ _r_a_n_. 12. _Th_e _str_i_pl_i_ng_ _str_a_ng_e_r_ _str_aye_d_ _str_aigh_t_ _to_wa_rd_ _th_e _str_u_ggl_i_ng_ _str_ea_m_. 13. _Sh_e u_tt_e_r_e_d_ a _sh_a_rp_, _shr_i_ll_ _shr_ie_k_, a_nd_ _th_e_n_ _shr_u_nk_ _fr_o_m_ _th_e _shr_i_v_e_l_e_d_ _f_o_rm_ _th_a_t_ _sl_u_mb_e_r_e_d_ i_n_ _th_e _shr_ou_d_. 14. _F_or _f_ear o_f_ o_ff_ending _th_e _fr_ight_f_ul fugitive, _th_e _v_i_l_e _v_a_g_a_b_o_nd_ _v_e_nt_u_r_e_d_ _t_o _v_i_l_i_fy_ _th_e _v_e_n_e_r_a_bl_e _v_e_t_e_r_a_n_. 15. A_midst_ _th_e _m_i_sts_, _w_i_th_ a_ngr_y _b_oa_sts_, _H_e _thr_u_sts_ _h_i_s_ _f_i_sts_ a_g_ai_nst_ _th_e _p_o_sts_, A_nd_ _st_i_ll_ i_ns_i_sts_ _h_e _s_ee_s_ _th_e _g_ho_sts_. 16. Peter Prangle, the prickly prangly pear picker, picked three pecks of prickly prangly pears, from the prangly pear trees, on the pleasant prairies. 17. 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. 18. We travel _sea_ and _soil_; we _pry_, we _prowl_; We _progress_, and we _prog_ from _pole_ to _pole_. 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. 1. Our motto shall be, _our country_, OUR WHOLE COUNTRY, and NOTHING BUT OUR COUNTRY. 2. _Thou Child of Joy!_ SHOUT round me: let me HEAR _thy shouts, thou happy Shepherd Boy!_ 3. 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. 1. He shook the fragment of his blade, And shouted: "VICTORY! _Charge_, Chester, CHARGE! _On_, Stanley, ON!" 2. 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. 3. _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! 4. 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. 1. Oh, speak to passion's raging tide, _Speak_ and _say_: "PEACE, BE STILL!" 2. The UNION, it MUST and SHALL BE PRESERVED! 3. 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._ 6. 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. 3. 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_. 3. _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. 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. 2. '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. 6. 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. 7. 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/ e/ 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 \o \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: 1. \i \m y, \p \p l/ \r \r t/ \u \u n/ \d \d e/ \e \e d/ \n \n u/ \t \t r/ \l \l Did he act p/ or \y? He acted \y. 2. \u \n y, \w \w l/ \i \i g/ \l \l n/ \l \l i/ \i \i l/ \n \n l/ \g \g i/ \l \l Did they go w/ or \y? They went \y. 3. r, e/ h/ g/ i/ If the flight of Dryden is h/ Pope continues longer on the r, e/ t/ h/ \w g/ \i i/ \n r/ \g. If the blaze of Dryden's fire is b/ the heat of Pope's is \c \o \n \s \t \a \n more regular and \t. 4. 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. 1. Will you meet me at the depot'? Yes`; or, I will`. 2. Did you intend to visit Boston'? No`; or, I did not`. 3. Can you explain this difficult sentence'? Yes`; I can. 4. Are they willing to remain at home'? They are`. 5. Is this a time for imbecility and inaction'? By no means`. 6. King Agrippa, believest thou the prophets'? I know that thou believest`. 7. Were the tribes of this country, when first discovered, making any progress in arts and civilization'? By no means`. 8. 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. 9. 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. 1. _Is_` he not a bold and eloquent speaker`? 2. _Can_` such inconsistent measures be adopted`? 3. _Did_` you ever hear of such cruel barbarities`? 4. _Is_ this reason`? _Is_` it law`? _Is_ it humanity`? 5. _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. 1. How far did you travel yesterday`? Forty miles`. 2. Which of you brought this beautiful bouquet`? Julia`. 3. Where do you intend to spend the summer`? At Saratoga`. 4. When will Charles graduate at college`? Next year`. 5. 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. 1. When do you expect to return? Next week. When_ did you say'? Next week. 2. _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. 1. Did you admire his discourse? Not much'. 2. Which way shall we walk? I am not particular'. 3. Can Henry go with us? If he chooses'. 4. 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. 1. Will you come to-morrow' or next day'? Yes. 2. 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. 1. 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. 6. 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. 1. _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. You, a beardless youth, pretend to teach a British general. 2. What! shear a wolf? a prowling wolf? 3. My father's trade? ah, really, that's too bad! My father's trade? Why, blockhead, are you mad? My father, sir, did never stoop so low,-- He was a gentleman, I'd have you know. 4. What! confer a crown on the author of the public calamities? 5. But you are very wise men, and deeply learned in the truth; we are weak, contemptible, mean persons. 6. They pretend they come to improve our state, enlarge our thoughts, and free us from error. 7. But youth, it seems, is not my only crime; I have been accused of acting a theatrical part. 8. And this man has become a god and Cassius a wretched creature. 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
{'title': "Sanders' Union Fourth Reader by Charles W. Sanders", 'source': 'Project Gutenberg', 'lang': 'en'}