UC-NRLF *B 307 &7 y ■%. J? ANALYSIS OP THE PRINCIPLES OF RHETORICAL DELIVERY AS APPLIED IN READING AND SPEAKING. BY EBENEZER PORTER, D. D. President of the Theological Seminary, Andover. — Author of the "Rhetorical Reader," etc. FIFTH EDITION. ANDOVER: PUBLISHED BY FLAGG, GOULD AND NEWMAN. NEW YORK: J. LEATITT, 182, BROADWAY 1833. Entered according to act of Congress, in the year 1831, by FLAGG AND GOULD, in the Clerk's Office of the District Court of Massachusetts. ■ HJCAHJ IN BfeBf ADVERTISEMENT TO THE FIFTH EDITION. The author of this work originally considered it as an ex- periment on public opinion respecting a department of in- struction, in which diversities of tastes have had more scope for exercise than in almost any other. His best hopes there- fore have been far exceeded by the speedy demand for a fourth edition, and now again for a fifth, and by other une- quivocal marks of favor with which the publication has been generally received. This edition is reprinted, page for page from the fourth, with only the correction of typo- graphical and other small errors, which were occasioned by mistake. The peculiar character of the book is such that breaking up its identity as to order of references, would render it impossible for all the editions to be advantageously used, by the same class. It has for some time been the Author's intention to forego this consideration, for the sake of making some changes on several points, similar to those he has adopted in a later and smaller work, entitled the Rhe- torical Reader. But the fourth edition being unexpected- ly exhausted, the call for a fifth to be in market immedi- ately, allowed no time for the above changes. Should an- other edition be called for, the improvements just alluded to will be incorporated, and any others, which may render the work more valuable. IV ADVERTISEMENT. In the foregoing editions of this work, the Author an- nounced his purpose, in compliance with repeated requests from different quarters, to prepare a smaller work on the same general principles, for the use of Academies and High Schools. This purpose he has accomplished, in the recent publication of the Rhetorical Reader, mention- ed above. Should this latter work be found to render the same aid to an important department of education in Acad- emies, which respectable Instructors of Colleges profess to have derived from the Analysis, as a Class-Book for their pupils, the Author will consider his labors of this sort as closed ; except that, as a proper sequel to both, he may probably compile a separate collection of Biblical Exer- cises, of about 150 pages, with a rhetorical notation. This sequel will have reference, not merely to the in- struction of the young, but primarily to parents and preach- ers of the gospel, who ought so to read the Bible, in fami- lies or public assemblies, as to make the manner of reading a commentary on the sense. Theological Seminary, Andover, Oct. 1833. PREFACE, Delivery is but a part of rhetoric ; and rhetoric, in the common acceptation of the term, is but apart of the business in which I am called to give instruction. The great pur- pose of my office is, to teach young men, who are prepar- ing for the sacred ministry, how to preach the gospel. In pursuance of this purpose, it became my duty to give a course of lectures on eloquence generally, and more partic- ularly on style ; and another course on preaching, includ- ing the history of the pulpit, and the structure and chief characteristics of sermons, and the personal qualities re- quisite in the Christian preacher. Besides the study de- manded in traversing a field so important, and so unfre- quent, at least in this country ; the necessity of combin- ing individual with classical instruction in this department, makes its labors more than sufficient to engross the time of one man. In these circumstances, it may seem strange that I should turn aside from higher duties, to publish a book, more adapt- ed to the earlier stages of education than to that which is directly preparatory to the ministry. The truth is, that I have been gradually and almost unavoidably drawn into this measure. As an instructor of theological students, my attention was, many years ago, called to some prevalent defects in de- livery. These I ascribed chiefly to early habits, contracted in the schools ; and to the want of adequate precepts in books on reading and speaking. The worst faults in elocu- tion, originate in want of feeling. But when these faults be- come confirmed, no degree of feeling will fully counteract their influence, without the aid of analysis, and patient ef- fort to understand and correct them. Still, in this process of correction, there is danger of running into formality of manner, by withdrawing the attention from that in which the soul of eloquence consists, — emotion. For the purpose of guarding against this tendency, and at the same time of accomplishing the ends at which Walker aims, in his Ele- 1* VI PREFACE. ments of Elocution, I have much desired to see a manual for students, free both from the obscurity and the extreme particularity of his system. In the winter of 1821, during a necessary absence from the Theological Seminary, on account of health, I address- ed to the students a number of letters on elocution. The plan of these letters* required them to embrace all the sub- jects included in this publication, and besides these, the fol- lowing ; — the importance to a preacher of a good delivery ; necessity of earnestness in his manner; causes which influ- ence his intellectual and moral habits ; the influence of per- sonal piety on the preacher's eloquence ; circumstances of the age, which are unfavorable, and those which are favor- able to the cultivation of eloquence ; the utility of prepara- tory exercises, with hints of advice relative to these ; pre- servation of lungs, and the mistakes that are often fatal to this organ in public speakers ; pronunciation as restricted to single words ; and management of voice in public prayer. One of these papers, that on inflections, was since com- mitted to the press ; and though not intended to be pub- lished, yet having been circulated to a considerable extent, some respectable individuals requested that I would enlarge and reprint this pamphlet ; and others, that I would pub- lish a book, for the use of Colleges, and of students gene- rally who are forming their habits of elocution. In this wish the Rhetorical Society in the Theological Seminary united ; and their committee addressed letters to several of the Presidents of Colleges, and to other gentlemen, to as- certain whether such a publication was deemed necessary, by those who are most interested in the subject. In reply to this inquiry, a concurrent opinion was expressed, that our Seminaries of learning greatly need a work on Elocution, different in many respects from any thing hitherto publish- ed ; and a concurrent wish that I should proceed in the preparation of such a work, was also expressed, though with differenl degrees of interest by different gentlemen. I have been the more ready to engage in this undertaking, from the conviction that, whatever aid it may render to In- structors of our Academical Seminaries, and whatever use * Bom of them I have eince thrown into Lectures, with enlargement. PREFACE. VII ful influence it may have on the pupils of these Seminaries, will be a clear gain in my own official duties, in respect to such of these pupils as may afterward come under my in- struction. The fewer bad habits are carried from elemen- tary schools to the college, and from the college to profes- sional studies, the easier, at each stage, becomes the pro- gress of improvement. And the more deeply the spirit of improvement in Elocution takes hold of young men, in our literary institutions, the greater will be their annual contri- bution of eloquent men for the pulpit, as well as for secular professions. The fifteen years in which I have been con- nected with a Theological Seminary, which receives its members from all the Colleges, have enabled me to observe, as I have done with much satisfaction, a gradual and grow- ing advance, in our educated young men, as to the spirit of delivery. This advance has been especially obvious since several of these Colleges have had able Professors of Rhet- oric and Oratory, a department of instruction in which it is presumed none of them can much longer remain deficient, consistently with the claims of public opinion. Had I been fully aware of the labor it would require to select the examples, and apply the notation, in the first part of the Exercises, I should have been deterred from the un- dertaking. With much pleasure I acknowledge my obli- gations to Mr George Howe and Mr Samuel C. Jackson, for the important assistance they have rendered, especially in correcting the press, and selecting pieces for the second part of the Exercises. The assistance has been the more necessary on account of my infirm health, and the urgency of official duties. I add only two remarks here. One is, that I consider this little book as an experiment, on a subject environed with difficulty, both from the inadequate attention it has hitherto received, in our systems of education, and from the prevalence of conflicting tastes respecting it. The other is, that, having transferred all pecuniary concern in this pub- lication to the Rhetorical Society abovementioned, I have no personal interest in its success, beyond the hope that it may, in some degree, promote the purposes to which my life is devoted. DIRECTIONS TO TEACHERS. To those who may use this book, I have thought it pro- per to make the following preparatory suggestions. 1. In a larger number of those who are to be taught reading and speaking, the first difficulty to be encountered arises from bad habits previously contracted. The most ready way to overcome these, is to go directly into the anal- ysis of vocal sounds, as they occur in conversation. But to change a settled habit, even in trifles, often requires per- severance for a long time ; of course it is not the work of a moment, to transform a heavy, uniform manner of delivery, into one that is easy, discriminating, and forcible. This is to be accomplished, not by a few irresolute, partial attempts, but by a steadiness of purpose and of effort, corresponding with the importance of the end to be achieved. Nor should it seem strange if, in this process of transformation, the sub- ject of it should at first appear somewhat artificial and con- strained in manner. More or less of this inconvenience is unavoidable, in all important changes of habit. The young pupil in chirography never can become an elegant penman, till his bad habit of holding his pen is broken up ; though for a time the change may make him write worse than be- fore. In respect to Elocution, as well as every other art, the case may be in some measure similar. But let the new manner become so familiar, as to have in its favor the ad- vantages of habit, and the difficulty ceases. '2. The pupil should learn the distinction of inflections, by reading the familiar examples under one rule, occasion- ally turning to the Exercises, when more examples are ne- DIRECTIONS TO TEACHERS. IX cessary ; and the Teacher's voice should set him right whenever he makes a mistake. In the same manner, he should go through all the rules successively. If he acquires the habit of giving too great or too little extent to his slides of voice, he should be carefully corrected, according to the suggestions given, p. 43, 50, 51, and 88. — After getting the command of the voice, the great point to be steadily kept in view, is to apply the principles of emphasis and inflection, just as nature and sentiment demand. In respect to those principles of modulation, in which the power of delivery so essentially consists, we should always remember too, that, as no theory of the passions can teach a man to be pathetic, so no description that can be given of the inflection, em- phasis, and tones, which accompany emotion, can impart this emotion, or be a substitute for it. No adequate des- cription indeed can be given of the nameless and ever vary- ing shades of expression, which real pathos gives to the voice. Precepts here are only subsidiary helps to genius and sensibility. 3. Previous attention should be given to any example or exercise, before it is read to the Teacher. At the time of reading, the student should generally go through, with- out interruption; and then the Teacher should explain any fault, and correct it by the example of his own voice, re- quiring the parts to be repeated. It would be useful often to inquire why such a modification of voice occurs, in such a place, and how a change of structure would vary the in- flection, stress, &c. When the examples are short, as in all the former part of the work, reference may easily be made to any sentence ; and in the long examples, the lines are numbered, on the left hand of the page, to facilitate the reference, after a passage has been read. 4. When any portion of the Exercises is committed to DIRECTIONS TO TEACHERS. memory for declamation, it should be perfectly committed, before it is spoken ; as any labor of recollection is certainly fatal to freedom, and variety, and force in speaking. In general, it were well that the same piece should be subse- quently once or more repeated, with a view to adopt the suggestions of the Instructor. The selected pieces are short, because, for the purpose of improvement in elocution, a piece of four or five minutes is better than one of fifteen. And more advance may be made, in managing the voice and countenance, by speaking, several times, a short speech, though an old one, like that of Brutus on the death of Cae- sar, (if it is done with due care each time to correct what was amiss,) than in speaking many long pieces, however spirited or new, which are but half committed, and in the delivery of which all scope of feeling and adaptation of manner, are frustrated by labor of memory. The attempt to speak with this indolent, halting preparation, is in all respects worse than nothing. KEY OF RHETORICAL NOTATION. Key of Inflection. - denotes monotone. • rising inflection. * falling inflection. yj circumflex. Key of Modulation. (°) higt. (°°) high and loud. o ) low. 00 ) low and loud. • • ) slow. = ) quick. — ) plaintive. || ) rhetorical pause <^ ) increase. ]> ) decrease. I CONTENTS. CHAP. CHAP. Sect, Sect. CHAP. Sect. Sect. Sect. Sect. Rule Rule Rule Rule Rule Rule Rule Rule Rule Rule Rule Rule Page I. Reading : its connection with speaking . . 13 Correct reading 14 Rhetorical reading 15 Difficulties from the genius of written language 15 All directions subsidiary to expression of feeling 18 II. Articulation 20 1. Importance of a good articulation . . .20 2. Causes of defective articulation . . . .23 Difficulty of many consonant sounds . . .25 Immediate succession of similar sounds . . 27 Influence of accent . - 28 Tendency to slide over unaccented vowels . 29 Cautions 30 Impediments .32 III. Tones and Inflections 34 1. Tones considered as a language of emotion . 34 2. Utility of systematic attention to Tones and In- flections 35 3. Description of Inflections 42 4. Classification of Inflections . . . .45 I. Influence of disjunctive or on Inflection . . 47 II. Of the Direct Question and its Answer . . 47 III. Of Negation opposed to Affirmation . . .49 IV. Of the Pause of Suspension . . . .51 V. Of the influence of Tender Emotion on the voice 54 VI. Of the Penultimate Pause ..... 55 VII. Of the Indirect Question and its Answer . . 56 VIII. The language of Authority and of Surprise . 57 IX. Emphatic succession of particulars . . .60 X. Emphatic Repetition . . . . .62 -XI. Final Pause 63 XII. The Circumflex .65 XII CONTENTS. CHAP. IV. CHAP. V. Sect. 1. Sect. 2. CHAP. VI. Sect. 1 . Sect. 2. Sect. 3. Sect. 4. Sect. 5. Srct. 6. Sect. 7. Sect. 8. Sect. 9. Sect. 10. CHAP. VII PART I. Sect. 1. Sect. 2. PART II Accent GG Emphasis 69 Emphatic Stress ... .... 71 Absolute Emphatic Stress 76 Antithetic or Relative Emphatic Stress . . 78 Emphatic Inflection 80 Emphatic Clause 88 Double Emphasis ...... 91 Modulation ...*... 92 Faults of Modulation 92 Monotony 92 Mechanical Variety 93 Remedies 95 The spirit of Emphasis to be cultivated . . 95 A habit of discrimination as to Tones and Inflection 99 Pitch of voice 103 Quantity 10G Strength of voice important to a public speaker 107 Depends on good organs of speech . . 108 And on the proper exercise of these organs 109 Directions for preserving and strengthening them 110 Rate of utterance 112 Rhetorical Pause' 114 Compass of Voice 118 Transition 120 Expression 125 Representation 128 The Reading of Poetry 133 Remarks on the reading of Psalms and Hymns in the pulpit 138 Rhetorical Action 144 Principles of Rhetorical Action . . . .146 Action as significant from nature .... 146 Expression of countenance 146 Attitude and mien 148 Action considered as significant from custom . 151 Faults of Rhetorical Action . . . . .152 Sources of these, viz personal defects, diffidence, imitation 152 Mismanagement of the eye and of attitude . 155 CONTENTS. XIII Gesture may want appropriateness and discrimination 158 May be too constant, or violent, or complex or uniform ICO Mechanical variety 1G2 EXERCISES. PART I. Remarks and Directions EXERCISES ON ARTICULATION. Exercises 1, 2, 3 EXERCISES ON INFLECTION. Exercise 4. Disjunctive or 5. Direct Question &c. . 6. Conjunctive or . 7. Negation opposed to affirmation 8. Comparison and Contrast . 9. Pause of Suspension . 10. Tender Emotion . 12. Indirect Question &c. 13. Language of Authority, Surprise, 14. Emphatic Succession &c. . 15. Emphatic Repetition . EXERCISES ON EMPHASIS. Exercise 19, 20, 21, 22. Absolute and Relative stress, and Em- phatic Inflection &c 167 169 170 171 174 ib. 176 180 187 189 193 199 203 205 23. Difference between common & Intensive Inflection 226 EXERCISES ON MODULATION. Exercise 24. Compass of voice 227 25. Transition 232 The power of Eloquence ib. Hohenlinden 234 Hamlet's Soliloquy 235 Battle of Waterloo 236 Negro's Complaint 238 Marco Bozzaris 240 Extract from Paradise Lost . . . . 242 1 XIV CONTENTS- Exercise 26. Expression 243 Judah's Speech to Joseph ib. Joseph disclosing himself 244 Death of a friend 246 The Sabbath ib. Burial of Sir John Moore 248 Eve lamenting the loss of Paradise . . . 249 Soliloquy of Hamlet's Uncle .... 250 27. Representation 251 Examples from the Bible ib. The siege of Calais 256 Extract from a sermon of R. Robinson . . 258 28. Devotional poetry 259 Extracts from the Psalms and Hymns of Watts . 260 Missionary Hymn 266 EXERCISES. PART II. FAMILIAR PIECES. Hamlet's instruction to Players . . . Shakspeare. 267 The dead Mother Anon. 268 The Temptation 269 Partiality of Authors Cecil. 270 What is Time ? Marsden. 271 Ruth, and Naomi Cecil. 272 Influence of Education, Constitution, &c. on Character Cecil, ib. Death of Absalom Hamlet and Horatio Shakspeare. 275 An idea of Faith impressed on a Child . . . Cecil. 278 Conversation Cowper. 279 Conversation Cowper. ib. Lady Percy to her Husband .... Shakspeare. 281 Exercise of tho Memory in learning not sufficient Campbell. 282 Casabianca Mrs. Hemans. 283 Fitz James and Roderick Dhu .... W. Scott. 284 Address to the Mummy 285 Othello and Iago Shakspeare. 287 CONTENTS. XV Macduff Ibid. 289 William Tell 290 Nathan's Parable 295 Harmony among Brethren . . . . . Percival. ib. Harley's Death Mackenzie. 297 To-Morrow . . . Cotton. 299 SECULAR ELOQUENCE. The perfect Orator Sheridan. 301 Character of True Eloquence Webster. 302 The Pilgrims Everett, ib. The Progress of Poesy Gray. 305 Darkness Byron. 306 The Slave Trade Webster. 308 Dream of Clarence Shakspeare. 310 Moral Sublimity Ames. 312 Character of Brutus 313 Conclusion of Webster's Plymouth Discourse . . . 315 Address to the Patriots of the Revolution . . Webster. 316 Brutus' Speech Shakspeare. 317 Chatham's Speech 318 Specimen of the Eloquence of James Otis .... 320 Pitt's Reply to Walpole 322 Speech of Mr. Griffin against Cheetham .... 324 Thunder Storm 326 Slavery Cowper. 327 Irruption of Hyder Ali Burke. 328 Apostrophe to Sleep Shakspeare. 330 Vanity of Power and Misery of Kings .... Ibid. ib. Reproof of the Irish Bishops Grattan. 331 Speech on the Greek Revolution .... Webster. 333 Character of Hamilton Ames. 334 State of the French Republic Grattan. 336 Cicero for Cluentius 338 Extract from Demosthenes 340 Brougham's Speech on the Speech of the Duke of York . 342 Dangers which beset the Literature of the Age . . Story. 344 Tribute to Henry Kirke White Byron. 346 XVI CONTENTS. SACRED ELOQUENCE. Defence of Pulpit Eloquence Anon. The Blind Preacher Wirt. Joel 2: 1—11 2 Samuel 1 : 17—27 Revelation Cowper. Daniel 9 : 3—19 Success of the Gospel Wayland. Events of Providence promotive of the end of Missions James. The hatefulness of War Chalmers. The Preservation of the Church .... Mason. Obligations to the Pilgrims .... Whelpley. A future State Thompson. Present facilities for evangelizing the World compared with those of the Primitive times .... Beechcr. Civilization merely, ineffectual to convert the World James. The Forebodings of Heathen approaching Death . Ibid. The Efficacy of the Cross The Fall of Niagara ^Reform in Morals Universal Spread of the Bible Isaiah 13 : 14 : 1—23 Eternity of God Epitaph on Mrs Mason Skepticism The Atheist Duelling .... Character of the Puritans An enlightened Ministry Prayer .... Gray's Elegy . Obligation to the Heathen Infatuation of Men with regard Death of Hamilton . The Crucifixion to Things ofTime Ibid. Brainerd. Beecher. Maxwell. Greenwood. Campbell. Foster. Beecher. Edin. Rev. Ckmmmg. Jcrcm. Taylor. Griffin. Kirwmi. Bossrtet. 347 350 352 353 354 35G 358 359 3G1 3C3 3G4 366 3C7 369 370 373 ib. 375 378 ib. 388 390 394 CHAPTER I. READING. ITS CONNEXION WITH SPEAKING. Delivery, in the most general sense, is the commu- nication of our thoughts to others, by oral language. The importance of this, in professions where it is the chief in- strument by which one mind acts on others, is so obvious as to have given currency to the maxim, that an indiffer- ent composition well delivered, is better received in any popular assembly, than a superior one^ delivered badly. In no point is public sentiment more united than in this, that the usefulness of one whose main business is public speaking, depends greatly on an impressive elocution. This taste is not peculiar to the learned or the ignorant ; it is the taste of all men. But the importance of the subject, is by no means limited to public speakers. In this country, where lite- rary institutions of every kind are springing up ; and where the advantages of education are open to all, no one is qualified to hold a respectable rank in well-bred society, who is unable at least to read, in an interesting manner, the works of others. They who regaid this as 2 14 READING. a polite accomplishment merely, forget to how many pur- ports of- business, of rational entertainment, and of reli- gious duty, the talent may be applied. Of the multitudes who are not called to speak in public, including the whole of one sex, and all but comparatively a few of the other, there is no one to whom the art of reading in a graceful and impressive manner, may not be of great value. Besides, as the prevalent faults of public speakers arise chiefly from early habits contracted in reading, the correction of those faults should begin by learning to read well. Reading then, like style, may be considered as of two sorts, the correct, and the rhetorical. Correct reading respects merely the sense of what is read. When performed audibly, for the benefit of others, it is still only the same sort of process which one performs silently, for his own benefit, when he casts his eye along the page, to ascertain the meaning of its author. The chief purpose of the correct reader is to be intelligible; and this requires an accurate perception of grammatical relation in the structure of sentences ; a due regard to accent and pauses, to strength of voice, and clearness of utterance. This manner is generally adopted in reading plain, unimpassioned style, such as that which we find to a considerable extent in those Psalms of David, and Pro- verbs of Solomon, where the sentences are short, without emphasis. It often prevails too in the reading of narra- tive, and of public documents in legislative and judicial transactions. The character and purpose of a composi- tion may be such, that it would be as preposterous to read it with tones of emotion, as it would to announce a pro- READING. 1 5 position in grammar or geometry, in the language of met- aphor. But though merely the correct manner, suits many purposes of reading, it is dry and inanimate, and is the lowest department in the province of delivery. Still the great majority, not to say of respectable men, but of bookish men, go nothing beyond this in their attainments or attempts. Rhetorical reading has a higher object, and calls into action higher powers. It is not applicable to a composi- tion destitute of emotion, for it supposes feeling. It does not barely express the thoughts of an author, but express- es them with the force, variety, and beauty, which feel- ing demands. And just here it is that the most stubborn difficulty in elocution meets us ; — a difficulty arising from the genius of written language. The value of the graphic art consists in its fefeing a medium for the acquisition of knowledge, and for the communication of it. In the former case, I refer to the use we make of language in silent reading. The facility with which this is done depends on our acquaintance with the characters of which words are formed ; the meaning of words, singly ; and the principles which govern their combination in sentences. Our eye may glance over a page in our own tongue, so as perceive all its meaning, in the same time that would be employed on a short sen- tence of a language, which we are only beginning to learn. But in silent reading, though the eye perceives at a look the form and meaning of words, it cannot perceive the meaning of sentences, without including also grammatical relation. Hence points or pauses are indispensable in the graphic art, as designed merely for the eye. We 16 READING. may take as an example the celebrated response of the Oracle ; Ibis et redibis nunquam peribis in belle*. The eye has no means of judging whether the meaning is, you shall never return, or you shall never perish, unless a pause is inserted before or after nunquam, to determine with which verb it is grammatically connected. So far the principles of written language go ; — they embrace words and pauses, and here stop. But the mo- ment we come to transform this written language into oral, by reading aloud, a new set of principles come in with their claims, for which the arts of writing and of printing have made no provision. Here the reader be- comes a speaker, and is required to mark with his voice the degrees of emphatic stress, and all the varieties of pitch, quantity of sound, and rate of utterance which sen- timent demands. But he is trammelled with the narrow- ness of language as presented to the eye. He has been accustomed to regard words and pauses only, and all the moveTnents of his voice are adjusted accordingly. You may tell him that he has a tone, but he knows not what you mean. Tell him to to be natural, — to be in earnest, and you have given him an excellent direction indeed, but how to apply it to the case in hand, is the difficulty. He is more rapid perhaps, or more loud, for this admoni- tion, but under the dominion of inveterate habit, he goes on with his tone still. To the above defect in the art of printing, let another fact be added, that a great proportion of language, as it appears in books, neither demands nor admits any vanity of tones and emphasis ; and another still, that, in most READING. 17 men, habits of voice, once established, cannot be changed without great and persevering efforts ; and it will not seem strange that the number of good readers is so small, even among educated and professional men. British writers have constantly complained of the dull, formal manner in which the Liturgy and the sacred Scriptures are read in their churches. And often, in the pulpits of this country, the reading of the Bible is apparently so destitute, not of feeling and devotion merely, but of all just discrimination, as to remind one of the question put by Philip to the no- bleman of Ethiopia ; " Understandest thou what thou readest?" When we consider the extent to which these faults prevail in rhetorical reading, and the correspondent faults which of course prevail in public speaking, it is time that this greatly neglected subject should receive its due share of attention, amid the general advances in other depart- ments of literature and taste. Now, if there could at once spring up in our country a supply of teachers, competent, as living models, to reg- ulate the tones of boys, in the forming age, — nothing more would be needed. But, to a great extent, these teachers are to be themselves formed. And to produce the transformation which the case demands, some attempt seems necessary to go to the root of the evil, by incorpo- rating the principles of spoken language with the written. Not that such a change should be attempted in respect to books generally ; but in books of elocution, designed for this single purpose, visible marks may be employed, suf- ficient to designate the chief points of established corres- pondence between sentiment and voice. These princi- 2* 18 READING. pies being well settled in the mind of the pupil, may be spontaneously applied, where no such marks are used. But as this subject is to be resumed under the head of inflections, I drop it here, with a remark or two in passing. Be it remembered then, that all directions as to man- agement of the voice, must be regarded as subsidiary to expression of feeling, or they are worse than useless. 1 Emotion is the thing. One flash of passion on the cheek, one beam of feeling from the eye, one thrilling note of sensibility from the tongue, — have a thousand times more value than any exemplification of mere rules, where feeling is absent.'* The benefit of analysis and precept is, to aid the teacher in making the pupil con- scious of his own faults, as a prerequisite to their correc- tion. The object is to unfetter the soul, and set it free to act. In doing this, a notation for the eye, designed to reg- ulate the voice in a few obvious particulars, may be of much advantage : otherwise why shall we not dismiss punctuation too from books, and depend wholly on the teacher for pauses, as well as tones ? The reasonable prejudice which some intelligent men have felt against any system of notation, arises from the preposterous extent to which it has been carried by a few popular teachers, and especially by their humble imitators. A judicious medium is what we want. Five characters in music, and six vowels in writing, enter into an infinitude of combinations in melody and language. So the elemen- tary modifications of voice in speaking are few, and easily * Knowles. READING. 19 understood ; and to mark them, so far as distinction is useful, does not require a tenth part of the rules, which some have thought necessary. The intellectual and moral qualities indispensable to form an orator, are brought into view in the following pages, no farther than they modify delivery. The parts of external oratory, as voice, look, and gesture, are only in- struments by which the soul acts ; — when the inspiration of soul is absent, these instruments cannot produce elo- quence. A treatise on delivery then, must presuppose the existence of genius, mental discipline, and elevation of moral sentiment ; — though a distinct consideration of these belongs to rhetoric, as a branch of intellectual and Christian philosophy. The parts of delivery, to be considered in their order, are, — articulation, inflection, accent and empha- sis, modulation and action. I premise here, once for all, that I employ terms ac- cording to the best modern use, with as little as possible of technical abstractness. Elocution, which anciently em- braced style, and the whole art of rhetoric, now signifies manner of delivery, whether of our own thoughts or those of others. Pronunciation, which anciently signified the whole of delivery, is now equivalent to orthoepy, or the proper utterance of single words. It were easy, by a critical disquisition, to trace out the etymological affinities of all these terms, and to teach the pupil a distinction be- tween an orator, and an eloquent man, between articula- tion, and distinct enunciation of words &c ; but instead of the scientific air adopted in some works on elocution, it seems to me that the better, because the simpler course, is 20 READING. to use words as they will be most readily understood by men of reading and taste. In this view I have chosen to make the head of Mod- ulation so generic, as to include pitch, quantity, rate, rhe- torical pause, transition, expression, and representation. CHAPTER II. ARTICULATION. Musa loqui. •Graiis dedit ore rotundo Sect. I. Importance of a good articulation. On whatever subject, and for whatever purpose, a man speaks to his fellow men, they will never listen to him with interest, unless they can hear what he says ; and that without effort. If his utterance is rapid and indis- tinct, no weight of his sentiments, no strength or smooth- ness of voice, no excellence of modulation, emphasis, or cadence, will enable him to speak so as to be heard with pleasure. For his own sake loo, the public speaker should feel the importance of a clear articulation. With- out this, the necessary apprehension that his voice may not reach distant hearers, will lead to elevation of pitch, and increase of quantity ; till he gradually forms a habit of vociferation, at the expense of all interesting variety, if not, (as in too many cases it has turned out,) with the ARTICULATION. 21 sacrifice of lungs and life. Every one who is accustom- ed to converse with partially deaf persons, knows how much more easily they hear a moderate voice with clear articulation, than one that is loud, but rapid and indis- tinct. In addressing a public assembly, the same advan- tage attends a voice of inferior strength, which marks the proper distinction of letters and syllables. For these reasons the ancients regarded articulation as the first requisite in delivery ;— without which indeed, all other acquisitions are vain. On this account, Cicero says,* the Catuli were esteemed the best speakers of the Latin language ; their tones being sweet, and their syllables ut- tered without effort, in a voice neither feeble nor clamor- ous. So fastidious was the Roman ear, even among the uneducated, that the same orator says, " in repetition of a verse, the whole theatre was in an uproar, if there hap- pened to be one syllable too many or too few. Not that the crowd had any notion of numbers ; nor could they tell what it was which gave the offence, nor in what re- spect it was a fault." It was not because the fire of ge- nius was wanting in the youthful orator of Athens, that his audience repeatedly met his first efforts in speaking, with hisses ; but it was on account of his feeble, hurried, stam- mering utterance. To correct these faults, it was that he betook himself to speaking amid the sound of dashing waves, the effort of walking up hill, and the inconvenience of holding pebbles in his mouth ; that he might acquire a body to his voice, and a habit of distinct and deliberate utterance. * De Officiis, Lib, I. 22 ARTICULATION. It has been well said, that a good articulation is to the ear, what a fair hand-writing, or a fair type is to the eye. Who has not felt the perplexity of supplying a word, torn away by the seal of a letter ; or a dozen syllables of a book, in as many lines, cut off by the carelessness of a binder ? The same inconvenience is felt from a similar omission in spoken language ; with this additional disad- vantage, that we are not at liberty to stop and spell out the meaning by construction. I have heard a preacher with a good voice, in addressing his hearers with the ex- hortation, "repent, and return to the Lord," — utter dis- tinctly but three syllables, namely, pent, — (urn, — Lord. Who would excuse the printer, that should mutilate this sentence in the same manner? When a man reads Latin or Greek, we expect him to utter nouns, pronouns, and even particles, so that their several syllables, especially those denoting grammatical inflections, may be heard distinctly. Let one noun in a sentence be spoken so that the ear cannot perceive whether it is in the nominative, or accusative, or vocative, or ablative ; or one verb, so as to leave it uncertain to what mood or tense it belongs, and the sense of the whole sentence is ruined. But in the English language, abounding as it does with particles, harsh syllables, and compound words, both the necessity and the difficulty of a perfect utterance are greater still. Our thousands of prefix and suffix syllables, auxiliaries, and little words which mark grammatical con- nexion, render bad articulation a fatal defect in delivery. One example may illustrate my meaning. A man of in- distinct utterance reads this sentence ; " The magistrates ought to prove a declaration so publicly made." When ARTICULATION. 23 I perceive that his habit is to strike only the accented syl- lable clearly, sliding over others, I do not know whether it is meant that they ought to prove the declaration, or to approve it, or reprove it, — for in either case he would speak only the syllable prove. Nor do I know, whether the magistrates ought to do it, or the magistrate sought to do it. A respectable modern writer on delivery says; "In just articulation, the words are not to be hurried over ; nor precipitated syllable over syllable ; nor as it were melted together into a mass of confusion. They should be neither abridged nor prolonged ; nor swallowed, nor forced ; they should not be trailed, nor drawled, nor let to slip out carelessly, so as to drop unfinished. They are to be delivered out from the lips as beautiful coins newly issued from the mint, deeply and accurately impressed, perfectly finished, neatly struck by the proper organs, distinct, in due succession, and of due weight."* Sect. 2. Causes of defective articulation. This arises from bad organs, or bad habits, or sounds of difficult utterance. Every one knows how the loss of a tooth, or a contu- sion on the lip, affects the formation of oral sounds. When there is an essential fault in the structure of the mouth ; when the tongue is disproportionate in length or width, or sluggish in its movements ; or the palate is too high or too low; or the teeth badly set or decayed, art may diminish, but cannot fully remove the difficulty. In nine cases out of ten, however, imperfect articula- * Austin's Chironomia. 24 ARTICULATION. tion comes not so much from bad organs as from the abuse of good ones. Sheridan says ; " In several north- ern counties of England, there are scarce any of the in- habitants who can pronounce the letter R at all. Yet it would be strange to suppose that all those people should have been so unfortunately distinguished from other na- tives of this island, as to be born with any peculiar defect in their organs, when this matter is so plainly to be ac- counted for upon the principle of imitation and habit. n Though provincialisms are fewer in this country than in most others, a similar incapacity is witnessed, in families or districts more or less extensive, to speak certain letters or syllables, which are elsewhere spoken with perfect ease. The same fact extends to different nations. There are some sounds of the English language, as the nice distinc- tion between d and f, and between the two aspirated sounds of th, that adult natives of France and Germany cannot learn to pronounce. Some sounds in their langua- ges are equally difficult to us ; but this implies no original difference of vocal organs. And surely no defect in these need be supposed, to account for stubborn imperfections in the utterance of those who from infancy have been un- der the influence of vulgar example. Besides the mischief that comes from early imitation, the animal and intellectual temperament doubtless has some connexion with this subject. A sluggish action of the mind imparts a correspondent character to the action of the vocal organs, and makes speech only a succession of indolent, half-formed sounds, more resembling the mut- tering of a dream, than the clear articulation, which we ought to expect in one who knows what he is saying. ARTICULATION. ~<> Excess of vivacity, on the other hand, or excess of sen- sibility, often produces a hasty, confused utterance. Del- icacy speaks in a timid, feeble voice ; and the fault of indistinctness is often aggravated in a bashful child, by the indiscreet chidings of his teacher, desigued to push him into greater speed in spelling out his early lessons ; while he has little familiarity with the form and sound, and less with the meaning of words. The way is now prepared to notice some of those dif- ficulties in articulation, which arise from the sounds to be spoken. The first and chief difficulty lies in the fact that arti- culation consists essentially in the consonant sounds, and that many of these are difficult of utterance. My limits do not allow me to illustrate this by a minute analysis of the elements of speech. It is evident to the slightest ob- servation that the open vowels are uttered with ease and strength. On these, public criers swell their notes to so great a compass. On these too, the loudest notes of mu- sic are formed. Hence the great skill which is requisite to distinct articulation in music ; for the stream of voice, which flows so easily on the vowels and half vowels, is in- terrupted by the occurrence of a harsh consonant; and not only the sound, but the breath, is entirely stopped by a mute. In singing, for example, any syllable which ends with p, &, d, or /, all the sound must be uttered on the preceding vowel ; for when the organs come to the prop- er position for speaking the mute, the voice instantly ceases. Let any experienced singer, carefully try the experiment of speaking, in the notes of a slow tune, these lines ; — 3 26 ARTICULATION. With earnest longings of the mind, My God, to thee I look. Each syllable should be spoken by itself, with a pause after it. In this way it will appear that where the sylla- ble ends with a consonant, especially a mute, the stream of sound is emitted on the preceding vowel, but is broken off when the consonant is finished. This is the case with the syllables mind, God, look ; the moment the organs come into a position to speak d or Jc, they are shut, so as to stop both sound and breath. But in the syllables my, to, thee, I, — the closing vowel sounds are perfectly formed at once, and may be continued indefinitely, without any change of the organs. The common mode of singing, in- deed, is but a mere succession of musical notes, or open vowel sounds, varying in pitch, with little attempt to arti- culate the consonant sounds. This explains what has sometimes been thought a mystery, that stammering per- sons find little difficulty in reading poetry, and none in singing 5* whereas they stop at once in speaking, when they come to certain consonants. Any one who would practically understand this subject, should recollect that the distinction between human speech, and the inarticu- late sounds of brutes, lies not in the vowels, but in the consonants; and that in a defective utterance of these, bad articulation primarily consists. (XJ* [The reader is apprised that the marginal numbers beginning at this place, direct to correspondent numbers in the Exercises. To avoid confusion in the body of the work, but few examples for illustration are inserted. Any * This is partly owing also to a deliberate, metrical movement. ARTICULATION. 27 principle that requires special attention and practice, rs marked with figures on the left hand, and the same fig- ures in the Exercises point to examples which should be practised with a view to the more perfect understanding of the principle.] 1.] A second difficulty arises from the immediate sue- cession of the same or similar sounds. The poet who un- derstood the principles of euphony in language better than any other English writer, has exemplified this in translat- ing a line of Homer respecting the stone of Sisyphus, where the recurrence of the aspirates and vowels is de- signed to represent difficulty. Up the high hiU he Aeaves a huge round stone. In another case he purposely produces a heavy movement, by the collision of open vowels ; The' oft the ear tho open vowels tire. Every scholar knows that the Greeks adopted many changes in the combination of syllables to render their language euphonic, by avoiding such collisions.* But a greater difficulty still is occasioned by the im- mediate recurrence of the same consonant sound, without the intervention of a vowel or a pause. The following are examples; "For Christ's sake." "The hosts st\\\ stood." " The battle lasts trill." The illustration will be more intelligible from examples in which bad articulation affects the sense. Wastes and deserts ; — Waste sand deserts. To obtain either; — To obtain neither. * On this account they wrote ndvz tltyov for ndvra I'Xsyov ; dtp 01 for aTto ov ; xayoj for xac tyo) ; didtoxev avr<$ for Stdojxs ulro^ &c 2S ARTICULATION. His cry moved me ; — His crime moved me. He could pay nobody ; — He could pain nobody. Two successive sounds are to be formed here, with the organs in the same position ; so that, without a pause between, only one of the single sounds is spoken ; and the difficulty is much increased when sense or grammati- cal relation forbids such a pause ; as between the simple nominative and the verb, the verb and its object, the ad- jective and its substantive. In the last example, " he could pain nobody," — grammar forbids a pause between pain and nobody, while orthoepy demands one. But change the structure so as to render a pause proper after pain, and the difficulty vanishes; — thus, "Though he endured great pain, nobody pitied him." 2.] A third difficulty arises from the influence of ac- cent. The importance which this stress attaches to syl- lables on which it falls, requires them to be spoken m a more full and deliberate manner than others. Hence, if the recurrence of this stress is too close, it occasions heav- iness in utterance ; if too remote, indistinctness. An ex- ample of the former kind, we have from the poet before mentioned ; And ten low words oft creep in one dull tine. This too is an additional reason for the difficult utter- ance of the line lately quoted from the same writer ; Up the high hill he heaves a huge round stone. The poet compels us, in spite of metrical harmony, to lay an accent on each syllable. But the remoteness of accent in other cases involves a greater difficulty still ; because the intervening syllables ARTICULATION. 29 are liable to be spoken with a rapidity inconsistent with distinctness, especially if they abound with jarring conso- nants. When such close and harsh consonants come to- gether in immediate succession, and without accent, the trial of the organs is severe. Combinations of this kind we have in the words communicatively, authoritatively, terrestrial, reasonableness, disinterestedness. And the case is worse still where we preposterously throw back the accent so as to be followed by four or five syllables, as Walker directs in these words rtceptable, peremptorily , atceptableness. While these combinations almost defy the best organs of speech, no one finds any difficulty in uttering words combined with a due proportion of liquids, and a happy arrangement of vowels and accents. Not so when swift Camilla scours the plain, Flies o'er the unbending corn, and skims along the main. The euphony of the Italian, in which it is distinguish- ed from all other languages, consists chiefly in its freedom from harsh consonants.* 3.] A fourth difficulty arises from a tendency of the organs to slide over unaccented vowels. Walker says, " Where vowels are under the accent, the prince and the lowest of the people, with very few exceptions, pronounce them in the same manner : but the unaccented vowels, in the mouth of the former, have a distinct, open sound ; while the latter often totally sink them, or change them into some other sound." There is a large class of words beginning with pre and pro, in which this distinction sel- * Even the flowing Greek has such unseemly junction of conso- nants as to make 7rQOocfd , ayartn6t } Kaxo/iTtfavdojuaij xaxxcietv. 8* 30 ARTICULATION. dom fails to appear. In prevent, prevail, predict, a bad articulation sinks e of the first syllable so as to make pr- vent, pr-vail, pr-dict. The case is the same with o in proceed, profane, promote ; spoken pr-ceed, he. So c is confounded with short u in event, omit, he. spoken uvvent, vmmit. In the same manner u is transformed into e, as in populous, regular, singular, educate, he. spoken pop-e- lous, reg-e-lar, ed-e-cate. A smart percussion of the tongue, with a little rest on the consonant before u, so as to make it quite distinct, would remove the difficulty. The same sort of defect, it may be added, often ap- pears in the indistinct utterance of consonants ending syl- lables ; thus in attempt, attention, e/"-fect, o/"-fence, the consonant of the first syllable is suppressed. To the foregoing remarks, it may be proper to add three cautions. The first is, in aiming to acquire a distinct articulation, take care not to form one that is measured and mechani- cal. Something of preciseness is very apt to appear at first, when we attempt to correct the above faults ; but practice and perseverance will enable us to combine ease and fluency with clearness of utterance. The child in passing from his spelling manner, is ambitious to become a swift reader, and thus falls into a confusion of organs that is to be cured only by retracing the steps which pro- duced it. The remedy, however, is no better than the fault, if it runs into a scan-ning, pc-dan-tic for-mal-i-ty, giving undue stress to particles and unaccented syllables ; thus, "He is the man q/' all the world whom I rejoice to meet. Perhaps there* is something in the technical for- malities of language attached to the bar, which inclines ARTICULATION. 31 some speakers of that profession to this fault. In the pulpit, there is sometimes an artificial solemnity, which produces a drawling, measured articulation, of a still more exceptionable kind. In some parts of our country, inhabited by descend- ants of foreigners, especially the Dutch, there is a preva- lent habit of sinking the sound of e or i in words where English usage preserves it, as in rebel, chapel, Latin, — spoken reb'l, chap'l, L&t'n. In other cases, where Eng- lish usage suppresses the vowel, the same persons speak it with marked distinctness, or turn it into u ; as ev'n, op'n, heaven, pronounced ev-un, op-un, heav-un. The second caution is, — let the close of sentences be spoken clearly; with sufficient strength, and on the proper pitch, to bring out the meaning completely. No part of a sentence is so important as the close, both in respect to sense and harmony. The third caution is, — ascertain your own defects of articulation, by the aid of some friend, and then devote a short time statedly and daily, to correct them. It is im- possible, without a resolute experiment, to know how much the habit of reading aloud, besides all its other ad- vantages, may do for a public speaker in giving distinctness to his delivery.* At first, this exercise should be in the hearing of a second person, who may stop the reader, and * A friend of mine, a respectable lawyer, informed me that, in a court which he usually attended, there was often much difficulty to hear what was spoken at the bar, and from the bench. One of the judges, however, a man of slender health, and somewhat ad- vanced in age, was heard with perfect ease in every part of the court room, whenever he spoke. So observable was the difference between him and others, that the fact was mentioned to him as a 32 ARTICULATION. point out, at the moment, the fault to be corrected. For some time the rate of utterance should be slower than usu- al, and directed to the single point of distinctness, dismiss- ing all regard to the sense of words, lest this lead him to forget the object. To make sure of this end, if he can- not do it otherwise, he may pronounce the words of a common vocabulary. At any rate, let him make a list of such words and combinations as he has found most diffi- cult to his organs, and repeat them as a set exercise. If he has been accustomed to say omnip-e-tent, pop-e-lous, pr-mote, pr-vent, let him learn to speak the unaccented vowels properly. IMPEDIMENTS. As directly connected with articulation, a few remarks on impediments seem to be necessary. Stammering may doubtless exist from such causes, and to such degree as to be insurmountable ; though in most cases, a complete remedy is attainable by the early use of proper means. They who have given most attention to this defect, sup- pose that it should generally be ascribed to some infelici- ty of nervous temperament. When this is the cause, ea- gerness of emotion, fear of strangers, surprise, anxiety, — any thing that produces a sudden rush of spirits, will communicate a spasmodic action to the organs of speech. The process of cure in such a case, must begin with such attention to bodily health, as will give firmness to the subject of curiosity. The judge explained it by saying, that his vocal powers, which wcro originally quite imperfect, had acquired clearntss ind strength by the long continued habit of reading aloud, for about half an hour, every day. ARTICULATION. 33 nervous system, and produce a calm, clear, and regular action of the mind. With this preparation, it is best not to put the stam- merer at first to the hardest task of his organs, but to be- gin at a distance, and come to the difficulty by regular approaches. The course that has been pursued, with perfect success, by one respectable teacher, is this. The pupil is to begin with reading verse ; the more simple and regular, the better : — he is to mark the feet distinctly with his voice, and beat time with his hand or toe to the movement. From verse of this regular structure, he may proceed to that which is less uniform in metrical order ; then to prose, of the elevated and poetic kind ; then to common prose ; and then by degrees to the difficult com- binations at which he had been accustomed to stammer. In repeating certain words there may be an obstinate struggle of the organs ; as in the attempt to pronounce parable, the p may be spoken again and again, while the remainder of the word does not follow. In such a case the advice of the celebrated Dr. Darwin was, that the stammerer should, in a strong voice, eight or ten times, repeat the word, without the initial letter, or with an asr pirate before it ; as arable, harab.le ; and then speak it softly, with the initial letter p,— parable. This should be practised for weeks or months, upon every word, where the difficulty of utterance chieflv occurs, CHAP. III. TONES AND INFLECTIONS. The former of these terms is more comprehensive than the latter, embracing, in its most extensive sense, all sounds of the human voice. In a more restricted and proper sense, we mean by tones those sounds which stand connected with some rhetorical principle of language. In a few cases passion is expressed by tones which have no inflection ; but more commonly inflection is what gives significance to tones. Except a few general remarks here, no consideration of tones seems necessary, distinct from the subject of the following chapters, especially Modulation. Sect. 1. Tones considered as a language of emotion. Sight has commonly been considered as the most active of all our senses. As a source of emotion, we de- rive impressions more various, and in some respects more vivid, from this sense, than from any other. Yet the class of tender emotions, such as grief and pity, are probably excited more strongly by the ear than the eye. Whether any reason can be assigned for this or not, the fact seems unquestionable. A groan or shriek utter- ed by the human voice, is not only more intelligible than words, but more instantly awakens our sensibility than any signs of distress, that are presented to the sight. Our TONES AND INFLECTIONS. 35 sympathy in the sufferings of irrational animals, is increas- ed in the same way. The violent contortions of the fish, in the pangs of death, being exhibited without the aid of vocal organs, very faintly excite our compassion, compar- ed with the plaintive bleatings of an expiring lamb. And a still stronger distinction seems to prevail among brutes themselves. For while the passion of fear in them is as- sociated chiefly with objects of sight, that of pity is awak- ened, almost exclusively, by the sense of hearing. The cry of distress from a suffering animal, instinctively calls around him his fellows of the same species, though this cry is an unknown tongue to animals of any other class. At the same lime his own species, if he utters no cries, while they see him in excruciating agony, manifest no sympathy in his sufferings. Without inquiring minutely into the philosophy of vo- cal tones, as being signs of emotion, we must take the fact for granted that they are so. And no man surely will question the importance of this language in oratory, when he sees that it is understood by mere children ; and that even his horse or his dog distinguish perfectly those sounds of his voice which express his anger or his appro- bation. Sect. 2. Utility of systematic attention to tones and in- flections. Analysis of vocal inflections bears the same relation to oratory, that the tuning of an instrument does to music. The rudest performer in this latter art knows, that his first business is to regulate the instrument he uses, when it is so deranged as to produce no perfect notes, or to produce 36 TONES AND INFLECTIONS. others than those which he intends. The voice is the speaker's instrument, which by neglect or mismanage- ment is often so out of tune as not to obey the will of him who uses it. To cure bad habits is the first and hardest task in elocution. Among instructors of children scarcely one in fifty thinks of carrying his precepts beyond cor- rectness in uttering words, and a mechanical attention to pauses. So that the child who speaks the words of a sentence distinctly and fluently, and " minds the stops," as it is called, is, without scruple, pronounced a good reader. Hence, among the multitude who consider themselves as good readers, there are so few who give by their voice that just expression of sentiment, which constitutes the spirit and soul of delivery. The unseemly tones, which are contracted in child- hood, are often so deeply fixed, as not easily to yield to the dictates, of a manly intellect, and a cultivated taste, in after life. These habits are acquired almost unavoida- bly by children, in consequence of their being accustomed to read what they do not understand. The man who should prepare a school-book, containing proper lessons for beginners in the art of reading, with familiar directions for managing the voice, would probably do a greater ser- vice to the interests of elocution, than has yet been done by the most elaborate works on the subject, in the Eng- lish language.* The tones of the common school are of- • Since this remark was mado in my pamphlet on Inflection, fleveral small works, well adapted to the purpose above-mentioned, bare been published ; and one has been lately issued, entitled Les- eonsin Declamation, by Mr. Russell of Boston, concerning the utility of which high expectations arc justified by the skill of the author, as a Teacher of Elocution. TONES AND INFLECTIONS. 37 ten retained and confirmed at the college, and thence, (with some distinguished exceptions,) are carried in all their strength to the bar, and especially to the pulpit. This fault is by no means peculiar to America ; it prevails certainly not less in the schools and universities of Eng- land and Scotland, than in our own. But what is the remedy ? It has often been said, the only good canon of elocution is, — " enter into the spirit of what you utter." If we were to have but one direction, doubtless this should be the one. Doubtless it is better than all others to prevent the formation of bad habits ; — and better than any other alone, as a remedy for such hab- its ; but when these are formed, it is by no means suffi- cient of itself for their cure. To do what is right, with un- perverted faculties, is ten times easier than to undo what is wrong. How often do we see men of fine understand- ing and delicate sensibility, who utter their thoughts in conversation, with all the varied intonations which senti- ment requires ; but who, the moment they come to read or speak in a formal manner, adopt a set of artificial tones utterly repugnant to the spirit of a just elocution. Shall we say that such men do not understand what they speak in public, as well as what they speak in conversation ? Plainly the difference arises from a perverse habit, which prevails over them in one case, and not in the other. Many instances of this sort I have known, where a man has been fully sensible of something very wrong in his tones, but has not been able to see exactly what the fault is ; and after a few indefinite and unsuccessful efforts at amendment, has quietly concluded to go on in the old way. So he must conclude, so long as good sense and emo- 4 38 TONES AND INFLECTIONS. tion are not an equal match for bad habits, without a knowledge of those elementary principles, by which the needed remedy is to be applied. Skill in vocal inflections, it is granted, cannot of itself make an orator. Nor can skill in words. Who does not know that with an ample stock of words at command, a man may be little more than a chattering animal ? Yet who can be an orator without words . ? We have seen that a man, with no defects of intellect or of sensibility, may have great faults in the management of his voice as a speaker. These perhaps he acquired in childhood, just as he learned to speak at all, or to speak English rather than French, — by imitation. His tones both of passion and of articulation, are derived from an instinctive corres- pondence between the ear and voice. If he had been born deaf, he would have possessed neither. Now in what way shall he break up his bad habits, without so much attention to the analysis of speaking sounds, that he can in some good degree distinguish those which differ, and imitate those which he would wish to adopt or avoid ? How shall he correct a tone, while he cannot understand why it needs correction, because he chooses to remain ig- norant of the only language in which the fault can possi- bly be described ? Let him study and accustom himself to apply a few elementary principles, and then he may at least be able to understand what are the defects of his own intonations. I do not say that this attainment may be made with equal facility, or to an equal extent, by all men. But to an important extent it may be made by every one : and that with a moderate share of the effort demanded by most other valuable acquisitions ; I might say with one TONES AND INFLECTIONS. 39 half the time and attention that are requisite to attain skill in music. It may be doubted, however, by some, whether any theory of vocal inflections, to be studied and applied by the pupil, must not tend to perplex rather than to facilitate delivery. The same doubt may as well be extended to every department of practical knowledge. To think of the rules of syntax, every sentence we speak, or of the rules of orthography and style, every time we take up our pen to write, would indeed be perplexing. The remedy prescribed by common sense in all such cases, is, not to discard correct theories, but to make them so familiar as to govern our practice spontaneously, and without reflec- tion. But if one has already the perfect management of his voice, of what service, it is said, are theoretic principles to him f Of very little, certainly ; just as rules of syntax would be needless to him, who could write and speak cor- rectly without them. But the number of those who sup- pose themselves to be of this description, is doubtless much larger, than of those who really are so. And be- sides, this reasoning hardly applies to those who are des- tined for literary professions. A mere peasant may speak a sentence of good English, and doit with proper empha- sis and inflections ; while he is a stranger to all the prin- ciples of grammar, and of elocution. But a scholar should aim at something more. The question as to voice, is, are there any settled principles in elocution ? When a skilful teacher has read to his pupils a sentence for their imitation, is there any reason why he should have read it as he did ? — or why he or they should read it again in the same man- 40 TONES AND INFLECTIONS. ner ? Can that reason be made intelligible? Doubtless it may, if it is founded on any stated law of delivery. The pupils then, need not rest in a servile imitation of their teacher's manner, but are entitled to ask why his empha- sis, or inflection, or cadence was so, and not otherwise : and then they may be able to transfer the same principles to other cases. Then too one skilful teacher, by means of such intelligible analysis, may assist other teachers, whose capacity is equal to his own, but whose experience has been less than his. For myself, I must say, that af- ter all I had read of Garrick, I had no distinct conception of his manner in delivering any given passage, till I saw Walker's description of his inflections in the grand and ter- rible adjuration of Macbeth. [See Ex. p. 202.] if Quinc- tilian had given me the same precise information respect- ing the turns of Cicero's voice, in some interesting passage of his orations, it would be no small gratification of my curiosity. Now, while every tyro has known for centuries, that the verb has a stated, grammatical relation to its nomina- tive, and while certain tones have occurred in as stated a relation to certain sentiments of the mind ; it is but a short time since the tones of articulate language have been considered as capable of any useful classification. Seve- ral years of childhood are particularly devoted to acquire a correct orthography and accentuation ; and to promote a knowledge of these and of syntax, rules have been fram- ed with great care. But what valuable directions have our elementary books contained as to the management of the voice in reading ? — an art which lies at the bottom of all good delivery. Here our embryo orators, on their TONES AND INFLECTIONS. 41 way to the bar, the senate, and the pulpit, are turned off with a few meagre rules, and are expected to become ac- complished speakers, without having ever learned to read a common passage, in a graceful ^nd impressive manner. Fifty years ago the general direction >given by teachers in reading was, that in every sort of sentence the voice should be kept up in a rising tone till the regular cadence is formed, at the close. This was exactly adapted to ruin all variety and force, and to produce a set of reading tones completely at variance with those of conversation and speaking. The more particular directions as to voice, for- merly given in books for learners, were the three following : that a parenthesis requires a quick and weak pronuncia- tion ; — that the voice should rise at the end of an inter- rogative sentence, — and fall at the end of one that is de- clarative. The first is true without exception ; — the second, only in that sort of question which is answered by yes or no ; and the third is true with the exception of all cases where emphasis carries the voice to a high note at the close of a sentence. So that, among the endless vari- eties of modification which the voice assumes in speaking, but one was accurately marked before the time of Walker. To his labors, imperfect as a first effort of the kind neces- sarily must be, the world will ultimately acknowledge great obligations. Such, however, is the intrinsic diffi- culty of representing sounds, by symbols adapted to the eye, that no precepts on this subject can be made com- pletely intelligible, without the aid of exemplification by the teacher's voice. The ear too is an organ, which in different men, posessess various degrees of sensibility and accuracy in discriminating sounds ; though it mav acquire 4* 42 TONES AND INFLECTIONS. a good degree of skill in speaking tones, without skill in music, as appears from the case of Walker himself. Sect. 3. Description of Inflections. The absolute modifications of the voice in speaking are four ; namely, monotone, rising inflection, falling in- flection, and circumflex. The first may be marked to the eye by a horizontal line, thus, (-) the second thus, (') the third thus, ( v ) the fourth thus, (-). The monotone is a sameness of sound on successive syllables, which resembles that produced by repeated strokes on a bell. Perhaps this is never carried so far as to amount to perfect sameness ; but it often approach- es this point, so as to be both irksome and ludicrous. Still, more or less of this quality belongs to grave deliv- ery, especially in elevated description, or where emotions of sublimity or reverence are expressed. Any one would be shocked, for example, at an address to Jehovah, utter- ed with the sprightly and varied tones of conversation. The following lines have often been given as a good ex- ample of the dignity and force attending the monotone when properly used. High on a throne of royal state, which far Outshone the wealth ofOrmus or of Ind ; Or where the gorgeous East, with richest hand, Shdw'rs on her kings barbaric, pearl and gold, Satan exalted sat. The rising inflection turns the voice upward, or ends higher than it begins. It is heard invariably in the direct question ; as, Will you go to day ? The falling inflection turns the voice downwards, or ends lower than it begins. It is heard in the answer to a question ; as, No ; I shall go to-morrow. TONES AND INFLECTIONS. 43 As the whole doctrine of inflections depends on these two simple slides of the voice, one more explanation seems necessary, as to the degree in which each is applied, under different circumstances. In most cases where the rising slide is used, it is only a gentle turn of the voice upward, one or two notes. In cases of emotion, as in the spirited, direct question, the slide may pass through five or eight notes. The former may be called the com- mon rising inflection, the latter the intensive. Just the same distinction exists in the falling inflection. Many, not aware of this difference, have carried Walker's princi- ples to an extreme. In the question, uttered with sur- prise, " Are you going to-day ?" the slide is intensive. But in the following case, it is common, " as fame is but breath, as riches are transitory, and life itself is uncertain, so we should seek a better portion." To carry the rising slide in the latter case, as far as in the former, is a great fault, though not an uncommon one. See p. S8 and 226. The circumflex is a union of the two inflections, some- times on one syllable, and sometimes on several. Walker's first example extends it to three syllables, though his de- scription limits it to one. It begins with the falling and ends with the rising slide. This turn of the voice is not so of- ten used, nor so easily distinguished as the two simple slides just mentioned ; though it occurs, if I mistake not, especially in familiar language, much oftener than Walker seems to suppose. In many cases where it is used, there is something conditional in the thought ; as, I may go to- morrow, though I cannot go to-day. Irony or scorn is also expressed by it ; as " They tell us to be moderate ; but they, they, are to revel in profusion." On the words marked in these examples, there is a significant twisting 44 TONES AND INFLECTIONS. of the voice downwards and then upwards, without which the sense is not expressed.* As to Mr. Walker's remarks on another circumflex, which he calls the falling, 1 must doubt the accuracy ei- ther of his ear or my own ; for in his examples I can- not distinguish it from the falling slide, modified perhaps by circumstances, but having nothing of that distinctive character, which belongs to the circumflex just described. In mimickry and burlesque, I can perceive a falling cir- cumflex, in a few cases, but it is applicable I think very rarely, if ever, in grave delivery. f Besides these absolute modifications of voice, there are others which may be called relative, and which may be classed under the four heads of pitch, quantity, rate, and quality. These may be presented thus ; As these relative modifications of voice assume almost an endless variety, according to sentiment and emotion in a speaker, they belong to the chapter on modulation. * We may take an example, which gives these three inflections of voice successively ; though perhaps it will hardly he intelligible to a mere beginner. The abrupt clauso in Hamlet's soliloquy, — To die, to sleep, no more, is commonly read with the falling slide on each word, thus; to d\c,to slbep no more, expressing no sense, or a false one ; as if Hamlet meant, " When I die, I shall no more elecp." But place the rising inflection on die, the falling 00 and the circumflex on no more, and you have this sense : " To die ? — what is it? — no terrible event; — it is merely falling asleep:" — thus, to die, — to stfep—nomorc. Some skilful readers gure the ris- ing slide to the last clause, turning it into a question or exclama- tion; — nomrire! — " is this all ?" But tho circumflex seems better to represent the desperato hardihood with which Hamlet was rea- soning himself into a contempt of death. t lam aware that some, whose opinion I greatly respect, think Wtlker to be right on this point. Doubtless they moan something by falling circumflex, of which I have been ablo to gain no distinct apprehension, except as stated above. - TONES AND INFLECTIONS. 45 Sect. 4. Classification of Inflections. This is the point on which, most of all, Walker is defect- ive. The conviction that he was treating a difficult subject, led him into the very common mistake of attempting to make his meaning plain by prolixity of remark, and mul- tiplicity of rules. One error of this respectable writer is, that he attempts to carry the application of his principles too far. To think of reducing to exact system all the in- flections to be employed in the delivery of plain language, where there is no emotion, and no emphasis, is idle in- deed. Many who have attempted to follow the theory to this extreme, perplexed with the endless list of rules which it occasions, have become discouraged. Whereas the theory is of no use except in reference to the rhetori- cal principles of language, where tones express sentiment. And even in passages of this sort, the significant inflec- tions belong only to a few words, which being properly spoken, determine of necessity the manner of speaking the rest.* The maxim, that " there cannot be too much of a good thing," has led some to multiply marks of in- flection on unimportant words ; just as others, in their zeal for emphasis, have multiplied Italic words in a page, till all discrimination is confounded. Another fault of Walker is, that the elements of speak- ing tones are not presented in any intelligible method ; but are so promiscuously intermingled throughout his work, as to give it the character of obscurity. The view of these elements to which he devotes about a hundred * This I endeavor to illustrate in the discussion of Emphasis and Modulation. 46 TONES AND INFLECTIONS. and fifty pages, after he enters on inflections, I here at- tempt to comprise in a short compass. In order to ren- der the new classification which I have given intelligible, I have chosen examples chiefly from colloquial language ; because the tones of conversation ought to be the basis of delivery, and because these only are at once recognised by the ear. Being conformed to nature, they are instinct- ively right ; so that scarcely a man in a million uses ar- tificial tones in conversation. And this one fact, I remark in passing, furnishes a standing canon to the learner in el- ocution. In contending with any bad habit of voice, let him break up the sentence on which the difficulty occurs, and throw it, if possible, into the colloquial form. Let him observe in himself and others, the turns of voice which occur in speaking, familiarly and earnestly, on com- mon occasions. Good taste will then enable him to trans- fer to public delivery the same turns of voice, adapting them, as he must of necessity, to the elevation of his subject. The examples set down under each rule, should be repeated by the student, in the hearing of some competent judge, till he is master of that one point, before he pro- ceeds to another. If more examples, in the first instance are found necessary to this purpose, they may be sought in the exercises. As the difficulty of the learner at first is, to distinguish the two chief inflections, and as the best method of doing this, is by comparing them together, the following classi- fication begins with cases in which the two are statedly found in the same connexion ; and then extends to cases in which they are used separately ; the whole being mark- ed in a continued scries of rules, for convenient reference. TONES AND INFLECTIONS. 47 BOTH INFLECTIONS TOGETHER. 4] Rule I. When the disjunctive or connects words or clauses, it has the rising inflection before, and the fall- ing after it. examples. Shall I come to you with a rod — or in love ? Art thou he that should come, — or look we for another? The baptism of John, was it from heaven, — or of men? Will you go — or stay ? Will you ride — or walk ? Will you go to-day — or to-morrow? Did you see him — or his brother ? Did he travel for health, — or pleasure ? Did he resemble his father, — or his mother ? Is this book yours, — or mine ? 5] Rule II. The direct question, or that which ad- mits the answer of yes or no, has the rising inflection, and the answer has the falling. EXAMPLES. Are they Hebrews ? So am*I. Are they 'Israelites ? So am 'I. Are they the seed of 'Abraham ? So am 'I. Arc they ministers of Christ? I am more. (Paul.) Did you not speak to it ? My lord, I did. Hold you the watch to-night? We do, my lord. 'Arm'd, say you ? 'Arm'd, my lord. From top to toe ? My lord, from head to foot. Then saw you not his face ? O yes, my lord. What, look'd he frowningly ? A countenance more in sdrrow than in anger. Pile ? Nay, very pale. Shak. Hamlet. 48 TONES AND INFLECTIONS. 6] Note 1. This sort of question ends with the ris- ing slide, whether the answer follows it or not. But it is not true, as Mr. Walker has seemed to suppose, that every question beginning with a verb is of this sort. If I wish to know whether my friend will go on a journey with- in two days, I say perhaps, " Will you go to-day or to-mor- row f" He may answer, " yes," — because my rising in- flection on both words implies that I used the or between them conjunctively. But if I had used it disjunctively, it must have had the rising slide before it, and the falling after ; and then the question is, not whether he will go within two days, but on which of the two ; — thus, " Will you go to-day — or to-mbrrow V The whole question, in this case, though it begins with a verb, cannot admit the answer yes or no, and of course cannot end with the ris- ing slide. The very general habit of elocution which gives this slide to a question beginning with a verb, is superseded by the stronger principle of emphatic contrast in Rule 1st. Thus the disciples said to Christ, " Is it lawful to give tribute to Caesar or not ? Shall we give or shall we not give ?" Pilate said to the Jews, " Shall I release unto you Barabbas, or Jesus ?" Let the rising slide be given on both names, in this latter case, and the answer might indeed be yes or no, but the sense is perverted, by mak- ing these, two names for the same person ; just as in the following, " Was this becoming in Zoroaster, or the Phi- losopher of the Magi?" Such an example may help to satisfy those who doubt the significance of Inflection. Note 2. When Exclamation becomes a question, it demands the rising slide ; as, " How, you say, are we to TONES AND INFLECTIONS. 49 accomplish it ? How accomplish it ! Certainly not by fearing to attempt it." 7] Rule III. When negation is opposed to affirm- ation, the former has the rising, and the latter the falling inflection. EXAMPLES. I did not say a better soldier, — but an hlder. Study not for amusement, — but for imprdvement. Aim not to shdw knowledge, — but to acquire it. He was esteemed, not for wialth,— but for wisdom. He will not come to-ddy> — but to-mdrrow. He did not act wisely, but unwisely. He did not call m6 } — but you. He did not say pride, — but pride. Negation alone, not opposed to affirmation, does not by any means always take the rising inflection, as Mr. Knowles supposes. The simple particle no, when under the emphasis, with the intensive, falling slide, is one of the strongest monosyllables in the language. But when negative and affirmative clauses come into opposition, I think of no exception to the rule but that mentioned un- der emphatic succession, Rule IX. Note 2. 8] Note 1. This rule, like the two preceding, is founded on the influence which- antithetic sense has on the voice. The same change of inflections we find in comparison ; as, " He is more knave than fool." " A countenance more in sorrow than in anger." So in the following case of simple contrast, where, in each couplet of antithetic terms, the former word has the rising inflection. 5 50 TONES AND INFLECTIONS. Here regard to virtue opposes insensibility to shiune '; purity to pollution; integrity to injustice; virtue to villany; resolution to rage ; regularity to riot. The struggle lies between wealth and want; the dignity and degeneracy of reason ; the force and the phrenzy of the soul; between well grounded hope and widely ex- tended despair. Note 2. The reader should be apprised here, that the falling slide, being often connected with strong em- phasis, and beginning on a high and spirited note, is lia- ble to be mistaken, by those little acquainted with the sub- ject, for the rising slide. If one is in doubt which of the two he has employed, on a particular word, let him re- peat both together, by forming a question according to Rule I. with the disjunctive or ; — thus, "Did I say go, — or go*?" Or let him take each example under Rule I., and according to Rule II. form an answer echoing the first emphatic word, but changing the inflection ; thus, " Will you go, — or sidy ? I shall gd." " Will you ride, or walk? I shall ride." This will give the contrary slides on the same word. But as some may be unable still to distinguish the falling slide, confounding it, as just mentioned, with the rising inflection, or, on the other hand, with the cadence ; I observe that the difficulty lies in two things. One is, that the slide is not begun so high, and the other, that it is not carried through so many notes, as it ought to be. I explain this by a diagram, thus: Will you gy^**^^?/ I shall V ■*©. Will you go to -^ or to-" °t J I shall go to TONES AND INFLECTIONS. 51 It is sufficiently exact to say, that in reading this prop- erly, the syllables without slide may be spoken on one key or monotone. From this key go slides upwards to its highest note, and from the same high note stay slides downwards to the key ; and go does the same, in the an- swer to the question. In the second example, the case is entirely similar. But the difficulty with the inexpert reader is, that he strikes the downward slide, not above the key, but on it, and then slides downward, just as in a cadence. The faulty manner may be represented thus : Will you go to- b-* or to- <> I shall go to- ^ The other part of the difficulty in distinguishing the fall- ing inflection from the opposite, arises from its want of sufficient extent. Sometimes indeed the voice is merely dropped to a low note, without any slide at all. The best remedy is, to take a sentence with some emphatic word, on which the intensive falling slide is proper, and protract that slide, in a drawling manner, from a high note to a low one. This will make its distinction from the rising slide very obvious. Harmony and emphasis make some exceptions to sev- eral of these rules, which the brevity of my plan com- pels me to pass by without notice. RISING INFLECTION. 9] Rule IV. The pause of suspension, denoting that the sense is unfinished, requires the rising inflection. This rule embraces several particulars more espe- cially applying to sentences of the periodic structure, 52 INFLECTIONS RISING. which consists of several members, but form no complete sense before the close. It is a first principle of articulate language, that in such a case, the voice should be kept suspended, to denote continuation of sense. The following are some of the cases to which the rule applies. 1. Sentences beginning with a conditional particle or clause; as, " If some of the branches be broken off, and thou, being a wild olive-tree, wert grafted in among them, and with them partakest of the root and fatness of the olive-tree ; boast not against the branch- es." " As face answereth to face in water, so the heart of man to man." In what Walker calls the ' inverted period,' the last member, though not essential to give meaning to what precedes, yet follows so closely as not to allow the voice to fall till it is pronounced. 2. The case absolute ; as, " His father dying, and no heir being left except himself, he succeeded to the estate." " The question having been fully dis- cussed, and all objections completely refuted, the decision was unan- imous." 3. The infinitive mood with its adjuncts, used as a nominative case ; as, "To smile on those whom we should censure, and to counte- nance those who are guilty of bad actions, is to be guilty ourselves." " To be puro in heart, to be pious and benevolent, constitutes human happiness." 4. The vocative* case without strong emphasis, when it is a respectful call to attention, expresses no sense com- * I use this term as better suiting my purpose than that of our grammarians, — nominative independent. INFLECTIONS RISING. 53 pleted, and comes under the inflection of the suspending pause ; as, " Men, brethren, and fathers, — hearken." " Friends, Romans, countrymen ! — lend me your ears." 5. The parenthesis commonly requires the same in- flection at its close, while the- rest of it is often to be spoken in the monotone. As an interjected clause, it suspends the sense of the sentence, and for that reason only, is pronounced in a quicker and lower voice, the hear- er being supposed to wait with some impatience for the main thought, while this interjected clause is uttered ; as, Know ye not, brethren, [for I speak to them thai know the law,) that the law hath dominion over a man as long as he Uveth ?" The most common exceptions, in this case, occur in rhetorical dialogue, where narrative and address are mingled, and represented by one voice, and where there is frequent change of emphasis. The same sort of exception may apply to the general principle of this rule, whenever one voice is to represent two persons, thus : If a brother or sister be naked, and destitute of daily food, and one of you say unto them, Depart in peace, be ye warmed and fill- ed; notwithstanding ye give them not those things which are need- ful to the body : what doth it profit? Here the sense is entirely suspended to the close, and yet the clause introduced as the language of another, requires the falling slide. Another exception, resting on still stronger ground, occurs where an antithetic clause requires the intensive falling slide on some chief word to denote the true mean- ing ; as in the following example, — " The man who is in the daily use of ardent spirit, if he does not become a 5* 54 INFLECTIONS RISING. drunkard, is in danger of losing his health and character." In this periodic sentence, the meaning is not formed till the close ; and yet the falling slide must be given at the end of the second member, or the sense is subverted; for the rising slide on drunkard would imply that his becom- ing such, is the only way to preserve health and character. In the foregoing rule, together with the VI. and IX. is comprised all that 1 think important in about thirty rules of Walker. 1 0] Rule V. Tender emotion generally inclines the voice to the rising slide.* Grief, compassion, and delicate affection, soften the soul, and are uttered in words, invariably with correspond- ing qualities of voice. The passion and the appropriate signs by which it is expressed, are so universally conjoin- ed, that they cannot be separated. It would shock the sensibility of any one to hear a mother describe the death of her child, with the same intonations which belong to joy or anger. And equally absurd would it be for a general to assume the tones of grief, in giving his commands at the head of an army. Hence the vocative case, when it expresses either af- fection or delicate respect, takes the rising slide ; as, 11 Jesus saith unto licr, Mary." u Jesus saitli unto him, Thom- as." " Sir, I perceive that thou art a prophet. 1 ' — " Sirs, what must ] do to he saved ?" This inflection prevails in the reverential language of prayer. The same slide prevails in pathetic poetry. Take an example from Milton's lamentation for the loss of sight. * In t lie tlrsi edition, this rule wag expressed too strongly to coincide with the author's meaning, as explained in other parts of the work. It is corrected here al the suggestion of a friend. INFLECTIONS RISING. 55 __ * Thus with the year Seasons return ; but not to me returns Day, or the sweet approach of ev'n or morn, Or sight of vernal bloom, or summer's rose, Or flocks, or herds, or human face divine ; But cloud instead, and ever-during dark Surround me Another example may be seen in the beautiful little poem of Cowper, on the receipt of his mother's picture : My mother ! when I learn'd that thou wast dead, Say, wast thou conscious of the tears I shed ? Hover'd thy spirit o'er thy sorrowing son, Wretch even then, life's journey just begun ? I hear'd the bell toll'd on thy burial day, I saw the hearse, that bore thee slow away, And, turning from my nurs'ry window, drew A long, long sigh, and wept a last adieu. In both these examples the voice preserves the rising slide, till, in the former we come to the last member, be- ginning with the disjunctive but, — where it takes the fall- ing slide on cloud and dark. In the latter the slide does not change till the cadence requires it, on the last word, adieu. 11] Rule VI. The rising slide is commonly used at the last pause but one in a sentence. The reason is, that the ear expects the voice to fall when the sense is finished ; and therefore it should rise for the sake of vari- ety and harmony, on the pause that precedes the cadence. — Ex. u The minor longs to be at age, then to be a man of business, then to make up an estate, then to arrive at honors, then to retire." " Our lives, (says Seneca,) are spent either in doing nothing at all, or in doing nothing to the purpose, or in doing nothing that we ought to do. 56 INFLECTIONS — FALLING. FALLING INFLECTION. The general principle suggested under Rule V, is to be borne in mind here. In the various classes of exam- ples under the falling inflection, the reader will perceive the prevailing characteristic of decision and force. So instinctively does bold and strong passion express itself by this turn of voice, that, just so far as the falling slide becomes intensive, it denotes emphatic force. The VIII. IX. and X. rules will illustrate this remark. 12] Rule VII. The indirect question, or that which is not answered by yes or no, has the falling inflection ; and its answer has the same. This sort of question begins with interrogative pro- nouns and adverbs. Thus Cicero bears down his adver- sary by the combined force of interrogation and emphatic series. This is an open, honorable challenge to you. Why are you silent? Why do you prevaricate? I insist upon this pomt; I urge you to it ; press it ; require it ; nay, I demand it of you. So in his oration for Ligarius ; What,Tubero, did that naked sword of yours mean, in the bat- tle of Pharsalia? At whose breast was its point aimed ? What was the meaning of your arms, your spirit, your eyes, your hinds, your ardor of soul ? In conversation there are a few cases where the indi- rect question has the rising slide ; as when one partially hears some remark, and familiarly asks; What is tic IV ho is that ? The answer to the indirect question, according to the INFLECTONS FALLING. 57 general rule, has the falling slide ; though at the expense of harmony ; as, Who say the people that I am ? They answering said, John the Baptist ; but some say, Ellas ; and others say that one of the old prdphets is risen again. — Where is boasting then? It is excluded. — Who first seduced them to that foul revolt ? The infernal strpent. The want of distinction in elementary books, between that sort of question which turns the voice upward, and that which turns it downward, must have been felt by eve- ry teacher even of children. This distinction is scarcely noticed by the ancients. Augustine, in remarking on the false sense sometimes given to a passage of Scripture by false pronunciation, says, The ancients called that ques- tion interrogation, which is answered by yes or no ; and that percontation, which admits of other answers.* Quinc- tilian, however, says the two terms were used indiffer- ently. 13] Rule VIII. The language of authority and of surprise, is commonly uttered with the falling inflection. Bold and strong passion so much inclines the voice to this slide, that in most of the cases hereafter to be speci- fied, emphatic force is denoted by it. 1 . The imperative mood, as used to express the com- mands of a superior, denotes that energy of thought which usually requires the falling slide. Thus Milton supposes Gabriel to speak, at the head of his radiant files. * He gives an example from Paul, wilh the pronunciation which he proposes ; — u post percontationem, Quis accusahit advcrsus electos Dei? iilud quod sequitur sono interrogantis enuntietur, Dcus qui justificat? ut tacitc respondeatur, JVon. Et item percontemur, Quis est qui condemnat ? rursus interrogemus, Christus Je&as, qui mortuus est ? etc. ut ubique tacitc respondeatur, jYon." Be Doctrina Christiana, Lib. HI. Cap. 3. 58 INFLECTION FALLING. Uzziel ! Half these draw off and coast the south, With strictest watch ; these other, wheel the north. — — Ithuriel and Zephon ! with wing'd speed Search through this garden ; leave unsearch'd no nook. This evening from the sun's decline arriv'd Who tells of some infernal spirit seen, Hilherward bent : — Such where ye find, seize fast, and hither bring. Thus in the battle of Rokeby, young Redmond ad- dressed his soldiers : 'Up, comrades ! up — in Rokeby's halls Ne'er be it said our courage falls. No language surpasses the English, in the spirit and vivacity of its imperative mood, and vocative case. These often are found together in the same address ; and when combined with emphasis, separately or united, they have the falling slide, and great strength. 2. Denunciation and reprehension, on the same prin- ple, commonly require the falling inflection; as, Wo unto you, Pharisees ! for ye love the uppermost seats in the synagogues. W6 unto you, lawyers ! for ye have taken away the key of knowledge. But God said unto him, thou fool ! — this night thy s6ul shall be required of thee. But Jesus said, Why tempt yo me, ye hypocrites? Paul said to Elymas, O full of all subtlety, and all mischief! Thou child of the Devil, — thou enemy of all righteousness ! Iii the beginning of Shakspeare's Julius Caesar, Marul- lus, a patriotic Roman, finding in the streets some peas- ants, who were keeping holiday, for Csesar's triumph over the liberties of his country, accosted them in this indig- nant strain ; Hence ! — home, you idle creatures, get you homo. You blocks, you stones ! You worse than senseless things ! INFLECTIONS FALLING. 59 This would be tame indeed, should we place the un- emphatic, rising slide on these terms of reproach, thus : You blocks, you stones, you worse than senseless things ! The strong reprehension of our Saviour, addressed to the tempter, would lose much of its meaning, if uttered with the gentle, rising slide, thus ; Get the behind me, Sa- tan. But it becomes very significant, with the emphatic downward inflection ; Get thee behind me, — Satan. 3. Exclamation, when it does not express tender emotion, nor ask a question, inclines to adopt the falling slide. Terror expresses itself in this way. Thus the ap- pearance of the ghost in Hamlet produces the exclama- tion : 'Angels ! and ministers of grace, — defend us.* Exclamation, denoting surprise, or reverence, or dis- tress, — or a combination of these different emotions, gene- rally adopts the falling slide, modified indeed by the de- gree of emotion. For this reason I suppose that Mary, weeping at the sepulchre, when she perceived that the person whom she had mistaken for the gardener, was the risen Savior himself, exclaimed with the tone of reve- rence and surprise, — Rabbdni ! And the same inflection probably was used by the leprous men when they cried Jesus, Master ! have mercy on us ; instead of the collo- * The city watch is startled, not so much by the words of distress that echo through the stillness of midnight, as by the tones that de- note the reality of that distress ; — " help ! — murder, — help ! — " The man whose own house is in flames, cries, fire ! — fire !" It is only from the truant boy in the streets that we hear the careless exclama- tion, " fire, fire." CO INFLECTION FALLING. quial tone Jesus, Master, which is commonly used in reading the passage, and which expressess nothing of the distress and earnestness which prompted this cry. These examples are distinguished from the vocative case, when it merely calls to attention or denotes affection. 14] Rule IX. Emphatic succession of particulars requires the falling slide.* The reason is, that a distinc- tive utterance is necessary to Cik the attention on each particular. The figure asyndeton, or omission of copula- tives, especially when it respects clauses, and not single words, belongs to this class; as, Go and tell John what things ye have seen and heard; the blind see, the lame walk, the lepers are cleansed, the deaf hear, the dead are raised, to the poor the gospel is preached. — Charity suflereth long, and is kind ; charity envieth not; charity vaunteth not itself; is not puffed up; doth not behave itself unseemly : seek- eth not her own ; is not easily provoked ; thinketh no evil. — Thrice was I beaten with rods ; once was I stoned ; thrice I suffered ship- wreck ; a night and a day have I been in the deep. In each of these examples, all the pauses except the last but one, (for the sake of harmony,) require the down- ward slide. The polysyndeton, requiring a still more de- liberate pronunciation, adopts the same slide ; as, Thou shalt love the Lord thy God, with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind, and thy neighbor as thyself. Note 1. When the principle of emphatic series in- * Tht loeie sentence, though it does not strictly belong to this rule, commonly coincide* with it; because in the appended member or members, marked by the semicolon or colon, n complete ouch of these pauses, is so far expressed as generally to admit the fullinor slide. INFLECTIONS FALLING. 61 terferes with that of the suspending slide, one or the oth- er prevails, according to the nature of the case. When the structure is hypothetical, and yet the sense is such, and so far formed as to admit emphasis, the falling slide prevails, thus : And though I have the gift of prophecy, and understand all mysteries, and all knowledge ; and though I have all faith, so that I could remove mountains, and have not charity, I am noth- ing. But when the series begins a sentence, and each particu- lar hangs on sometlring still to come, for its sense, there is so little emphasis that the rising slide, denoting suspen- sion, is required; thus, — The pains of g6tting, the fear of losing, and 1 the inability of en- joying his wealth, have made the miser a mark of satire, in all ages. Note 2. The principle of emphatic series, may form an exception to Rule III. as, We are troubled on every side, yet not distressed ; perplexed, but not in despair; persecuted, but not forsaken; cast down, but not destroyed.* Note 3. Emphatic succession of particulars grows intensive as it goes on; that is, on each succeeding em- phatic word, the slide has more stress, and a higher note, than on the preceding ; thus, — * All Walker's rules of inflections as to a series of single words, wben unemphatic, are in my opinion, worse than useless. No rule of harmonic inflection, that is independent of sentiment, can be established without too much risk of an artificial habit, unless it be this one, that the voice should rise at the last pause before the ca- dence ; and even this may be superseded by emphasis. 6 62 INFLECTIONS FALLING. I tell you, though \* though all the "^ though an an- gel from l '&i) should declare the truth of it, I could not believe it. The rising slide, on the contrary, as it occurs in an emphatic series of direct questions, rises higher on each particular, as it proceeds. 1 5] Rule X. Emphatic repetition requires the fall- ing slide. Whatever inflection is given to a word, in the first in- stance, when that word is repeated with stress, it demands the falling slide. Thus in Julius Caesar, Cassius says; You wrong me every way, you torbng me, Brutus. The word wrong is slightly emphatic, with the falling slide, in the first clause ; but in the second, it requires a double or triple force of voice, with the same slide on a higher note, to express the meaning strongly. But the principle of this rule is more apparent still, when the re- peated word changes its inflection. Thus I ask one at a distance, Are you going to Boston ? If he tells me that he did not hear my question, I repeat it with the other slide, Are you going to Boston ?* * In colloquial language, the point I am illustrating is quite familiar to every ear. The teacher calls a pupil by namo in tho rising inflection, and not being heard, repeats the call in the fall- ing. The answer to such a call, if it is a mere response, is " Sir ;" — if it expresses doubt, it is " Sir." A question that is not under- stood is repeated with a louder voice and a change of slide : " Is this your hdok? Is this your hook? Littlo children, with their first elements of speech, make this distinction perfectly. INFLECTIONS RISING. 63 I cannot forbear to say here, though the remark be- longs to style more than to delivery, that while it is the province of dulness to repeat the same thoughts or words, from mere carelessness ; there is scarcely a more vivid figure of rhetoric than repetition, when it springs from genius and emotion. But as the finest strains of music derive increase of spirit and effect from repetition, so in delivery, increase of emotion demands a correspondent stress and inflection of voice. For this reason, the com- mon method of reading our Saviour's parable of the wise and the foolish builder, with the rising slide on both parts, is much less impressive than that which adopts the falling slide with increase of stress on the series of particulars as repeated. Whosoever heareth these sayings of mine, and doeth them, I will liken him unto a wise man which built his house upon a rock : and the rain descended, and the floods came, and the winds blew, and beat upon that house, and it fell not, — for it was founded upon a rock. And every one that heareth these sayings of mine, and doeth them not, shall be likened unto a foolish man, that built his house upon the sand : and the rain descended, and the floods came, and the winds blew, and beat upon that house, and it fell ; — and great was the fall of it. 16] Rule XI. The final pause requires the falling slide. That dropping of the voice which denotes the sense to be finished, is so commonly expected by the ear, that the worst readers make a cadence of some sort at the close of a sentence. In respect to this, some general faults may be guarded against, though it is not possible to tell in absolute terms what a good cadence is ; because, in different circumstances, it is modified by different prin- 64 INFLECTIONS RISING. ciples of elocution. The most common fault in the ca- dence of bad speakers, consists in dropping the voice too uniformly to the same note. The next consists in drop- ping it too much. The next, in dropping it too far from the end of the sentence, or beginning the cadence too soon ; and another still consists in that feeble and indis- tinct manner of closing sentences, which is common to men unskilled in managing the voice. We should take care also to mark the difference between that downward turn of the voice which occurs at the falling slide in the middle of a sentence, and that which occurs at the close. The latter is made on a lower note, and if emphasis is absent, with less spirit than the former ; As, " This heavenly benefactor claims, not the homage of our lips, but of our hearts : and who can doubt that he is entitled to the homage of our he&rts." Here the word hearts has the same slide in the middle of the sentence as at the close. Though it has a much lower note in the latter case than in the former. It must be observed too that the final pause does not always require a cadence. When the strong emphasis with the falling slide comes near the end of a sentence, it turns the voice upward at the close ; as, " If we have no regard to our own character, we ought to have some regard to the character of Others." " You were paid to fight against Alexander, not to rail at him." This is a departure from a general rule of elocution ; but it is only one case among many, in which emphasis asserts its su- premacy over any other principle that interferes with its claims. Indeed, any one who has given but little attention to this point, would be surprised to observe accurately, CIRCUMFLEX. 65 how often sentences are closed, in conversation, without any proper cadence ; the voice being carried to a high note, on the last word, sometimes with the falling, and sometimes with the rising slide. CIRCUMFLEX. 17] Rule XII. The circumflex occurs chiefly where the language is either hypothetical or ironical. The most common use of it is to express indefinitely or conditionally some idea that is contrasted with another idea expressed or understood, to which the falling slide belongs ; thus; — Hume said he would go twenty miles, to hear Whitfield preach. The contrast suggested by the circumflex here is ; though he would take no pains to hear a common preacher. You ask a physician concern- ing your friend who is dangerously sick, and receive this reply. — He is better. The circumflex denotes only a partial, doubtful amendment, and implies But he is still dangerously sick. The same turn of voice occurs in the following example, on the word importunity. Though he will not rise and give him because he is his friend, yet because of his importunity he will rise and give him as many as he needeth. This circumflex, when indistinct, coincides nearly with the rising slide ; when distinct, it denotes qualified af- firmation instead of that which is positive as marked by the falling slide. This hint suggests a much more perfect rule than that of Walker, by which to ascertain the proper slide under the emphasis. See Emphatic Inflection, pp. 80—88. 6* CHAP. IV, ACCENT. 18] Accent is a stress laid on particular syllables, to promote harmony and distinctness of articulation. The syllable on which accent shall be placed, is determined by custom ; and that without any regard to the meaning of words, except in these few cases. First, where the same word in form, has a different sense, according to the seat of the accent. This may be the case while the word continues to be the same part of speech, as, des'ert, (a wilderness) desert', (merit) — to conjure, (to use magic) to conjure', (to entreat). Or the accent may distinguish between the same word used as a noun or an adjective ; as, com'pact, (an agreement) compact', (close) min'ute, (of time) minute', (small). Or it may distinguish the noun from the verb, thus : Abstract to abstract' ex'port to export' com'pound to compound' ex'tract to extract' com'press to compress' im'port to import' con'cert to concert' in'cense to incense' con'duct to conduct' in'sult to insult' con'fine to confine' object to object' con'tract to contract' prcs'ont to present' con'trast to contrast' project to project' con'vert to convert' reb'el to rebel' con'vict to convict' tor'ment to torment' di'gett to digest' trans'port to transport' ACCENT. 67 The province of emphasis is so much more important than that of accent, that the customary seat of the latter is transposed in any case where the claims of emphasis re- quire it. This takes place chiefly in words which have a partial sameness in form, but are contrasted in sense. exampj.es. He must increase, but I must decrease. This corruptible must put on incorruption ; and this mortal must put on immortality. What fellowship hath nV/tileousness with unrighteousness ? Consider well what you have dune, and what you have left un- done. He that ascended is the same as he that descended. The difference in this case, is no less than betwixt ddcency and indecency; betwixt religion and irreligion. In the suitableness or imsuitableness, the proportion or dispro- portion of the affection to the object which excites it, consists the propriety or impropriety of the consequent action.* With those considerations respecting accent which belong especially to the grammarian, we have no con- cern. As connected with articulation, the influence of accent was briefly discussed, [2] page 28. As connect- ed with inflection, an additional remark seems necessary here. The accented syllable of a word is always uttered with a louder note than the rest. When the syllable has the rising inflection, the slide continues upward till the word is finished ; so that when several syllables of a word follow the accent, they rise to a higher note than that which is accented ; and when the accented syllable is the * In this last example, the latter accented word in each of the couplets, perhaps would be more exactly marked with the circum- flex ; the same case occurs often, as in p. G4, last paragraph. 68 ACCENT. last in a word, it is also the highest. But when the ac- cented syllable has the falling slide, it is always struck with a higher note than any other syllable in that word. The reader may easily understand this remark by turning to the example, page 50, at the bottom ; and then fram- ing for himself other examples, with an accent in the mid- dle of a long word ; as, Did he dare to propose such interrdo-atories ? Here the slide which begins on rog continues to rise on the three following syllables ; whereas in the question, Will you go to day ? the same slide terminates with the syllables on which it begins. But no example can be framed with the falling inflection, (the cadence only ex- cepted,) in which the accented syllable, where the slide begins, is not higher than any other syllable before or af- ter it.* This remark furnishes another opportunity to correct the very common mistake of those who think the falling inflection to consist in a sudden dropping of the voice, whereas it consists in sliding it down, and that from a high note, whenever there is intensive stress. * I dwell a little on the above distinction, because, in my opin- ion, Walker, and Ewing after him, have stated it incorrectly. CHAP. V EMPHASIS. One elementary principle which has been more than once suggested already, respecting management of the voice, deserves to be repeated here, because of its direct bearing on the subject of this chapter and the next. No useful purpose can be answered by attempting to establish any system of inflections in reading and speak- ing, except so far as these inflections do actually accom- pany, in good speakers, the spontaneous expression of sentiment and emotion. We say, without any scruple, that certain feelings of the speaker are commonly ex- pressed with certain modifications of voice. These mod- ifications we can describe in a manner not difficult to be understood. But here a serious obstacle meets us. The pupil is told how emotion speaks in a given case, and then he attemps to do the same thing without emotion. But great as this difficulty is, it is not peculiar to any one mode of instruction ; it attends every system of elocution that can be devised. Take, for example, the standing canon, be natural, which for ages has been thought the only adequate direction in delivery. This maxim is just ; it is simple ; it is easily repeated by a teacher ; — but who does not know that it has been repeated a thousand times without any practical advantage ? What is it to be natu- ral*? It is so to speak that the modifications of voice 70 EMPHASIS. shall be such as feeling demands. But here is the same obstacle as before ; — the pupil attempts to be natural in speaking, and fails, just because he attempts to do what feeling demands, without feeling. This intrinsic difficul- ty accompanies every theory on this subject, even when no perverted habits of voice are to be encountered, and much more where such habits exist. The only remedy to be relied on is that which I have briefly urged in an- other place. The Teacher, who would give his pupils a just emphasis and modulation, must unceasingly impress on them the importance of entering with feeling into the sentiments which they are to utter. Emphasis is governed by the laws of sentiment, be- ing inseparably associated with thought and emotion. It is the most important principle, by which elocution is re- lated to the operations of mind. Hence when it stands ppposed to the claims of custom or of harmony, these al- ways give way to its supremacy. The accent which cus- tom attaches to a word, emphasis may supersede ; as we have seen under the foregoing article. Custom requires a cadence at the final pause, but emphasis often turns the voice upward at the end of a sentence ; as, You were paid to J)ght against Alexander, not to rail at him. See [1 G] p. C4. Harmony requires the voice to rise at the pause before the cadence ; whereas emphasis sometimes prescribes the falling slide at this pause, to enforce the sense ; as, Better to reign in htll, than serve in hdarcn. Now I presume that every one, who is at all accus- tomed to accurate observation on this subject, must be EMPHATIC STRESS. 71 sensible how very little this grand principle is regarded in forming our earliest habits of elocution ; and therefore how hopeless are all efforts to correct what is wrong in these habits, without a just knowledge of emphasis. What then is emphasis ? Without staying to assign reasons why I am dissatisfied with definitions heretofore given by respectable writers, the following is offered as more complete, in my opinion, than others which 1 have seen. Emphasis is a distinctive utterance of words, which are especially significant, ivith such a degree and kind of stress, as conveys their meaning in the best manner. According to this definition, I would include the whole subject under emphatic stress and emphatic inflection. 19] Sect. 1. — Emphatic Stress. This consists chiefly in the loudness of the note, but includes also the time in which important words are utter- ed. Both these are commonly united ; but the latter, since it will require some notice when I come to speak of rate and emphatic pause, may be dismissed here, as to its separate consideration, with a single remark. A good reader or speaker, when he utters a word on which the meaning of a sentence is suspended, spontaneously dwells on that word, or gives it more time, according to the in- tensity of its meaning. The significance and weight which he thus attaches to words that are important, is a very different thing from the abrupt and jerking empha- sis, which is often witnessed in a bad delivery. Bearing this fact in mind, we may proceed to consider, more par- ticularly, why emphatic stress belongs to some words, and not to others. 72 EMPHATIC STRESS. The indefinite description which was formerly given of emphasis, as ' a stress laid on one or more words to distinguish them from others,' was attended with a corres- pondent confusion in practice. In some books of elocu- tion, more than half the words were printed in Italics, and regarded as equally emphatical. To remedy so great a fault, Walker proposed his threefold classification of words, * as pronounced with emphatic force, accented force, or unaccented force.' The first he considered as belonging to words of a peculiar significance ; the second to nouns, verbs, &ic. — the third to connectives and particles. But these distinctions, after all, leave a very plain subject in obscurity ; for it is enough to say that emphatic force is to be governed solely by sense ; and that the word, to whatever part of speech it belongs, which renders but lit- tle aid in forming the sense, should be passed over with but little stress of voice. It is indeed generally true that a subordinate rank belongs to particles, and to all those words which merely express some circumstance of a thought. And when a word of this sort is raised above its relative importance, by an undue stress in pronuncia- tion, we perceive a violence done to other words of more significance ; and we hardly admit even the metrical ac- cent of poetry to be any excuse for so obvious an offence against propriety. One example of this sort we have in the common manner of reading this couplet of Watts — Show pity, Lord, O Lord, forgivo, Let* repenting rubel live. The stress upon «, in the second line, shows the absence of just discrimination in the reader.* " 1 beg leave to ask hero, if it shows want of taste in the reader, in such u case, to sacrifice the sense to the syllabic accent of po- EMPHATIC STRESS. 73 But to show that emphasis attaches itself not to the part of speech, but to the meaning of a word, let one of these little words become important in sense, and then it demands a correspondent stress of voice. We have an example in the two following sentences, ending with the particle so. In one it is used incidentally, and is barely to be spoken distinctly. In the other it is the chief word, and must be spoken forcibly. " And Saul said unto Michal, why hast thou deceived me so ?" "Then said the high priest, are these things so V Another example may show how a change of stress on a particle changes the entire sense of a sentence. In the narrative of Paul's voyage from Troas to Jerusalem, it is said, " Paul had determined to sail by Ephesus." This sentence, with a moderate stress on Ephesus, im- plies that the Apostle meant to stop there ; just as a com- mon phrase, "the ship is going to Holland by Liverpool," — implies that she will touch at the latter place. Now what was the fact in the case of Paul ? The etry, why is it, that, in tho sister art of music, as applied to metri- cal psalmody, no practical distinction is made between accent and emphasis ? On the contrary, a choir is so trained in psalmody, as not to reflect whether one word has more meaning than another, but whether its relative 'position requires strong or feeble utterance. Thus a full volume of sound is poured out on a. preposition, for ex- ample, just because it happens to coincide with a musical note at the beginning of a bar. Illustrations of this are so many .that they may be taken almost at random. In the Hymn beginning, God of the morning, at whose voice,, the musical accent, in many tunes would recur four times during the line, and two of these on prepositions. But is there no philos- ophy and rhetoric in music ? Is the spirit of this divine art to be rigidly tied down by mere rules of harmony and metrical stress ? Music is but an elegant and charming species of elocution. And, important as accent is, it should never contravene the laws of sen- timent in the former, more than in the latter art. 7 74 EMPHATIC STRESS. historian says, " he hasted to be at Jerusalem, on the day of Pentecost." Therefore he could not afford the time it would require to visit his dear friends, the Ephesian church, and he chose to pursue his voyage without see- ing them. But can the words be made to express this sense ? Perfectly ; — and that with only an increase of stress on one particle. " Paul had determined to sail by Ephesus." Another example shows us a succession of small words raised to importance, by becoming peculiarly significant. In Shakspeare's Merchant of Venice, Bassanio had re- ceived a ring from his wife, with the strongest protestation that it should never part from his finger ; but, in a mo- ment of generous gratitude for the preservation of his friend's life, he forgot this promise, and gave the ring to the officer to whose kind interposition he ascribed that deliverance. With great mortification at the act, he after- wards made the following apology to his wife, an unem- phatic pronunciation of which leaves it scarcely intelligi- ble ; while distinct emphasis on a few small words gi it precision and vivacity, thus : If you did know to whom I gave the ring, If you did know for whom I gave the ring, And would conceive for what f gavo the ring, And how unwillingly I left, the ring, When nought would bo accepted but the ring, You would abate the strength of your displeasure. In the case that follows, too, we see how the meaning of a sentence often depends on the manner in Which we utter but one word. " One of the servants of the high priest, (being his kinsman whose ear Peter cut oil',) saith. EMPHATIC STRESS. 75 did not I see thee in the garden with him . ? " Now if we utter this, as most readers do, with a stress on kinsman, and a short pause after it, we make the sentence affirm that the man whose ear Peter cut off was kinsman to the high priest, which was not the fact. But a stress upon his, makes this servant, kinsman to another man, who receiv- ed the wound. One more example ma}* suffice, on this point. When our Savior said to Peter ; — " Lovest thou me more than these ?" — he probably referred to the confident professions of his own attachment to Christ, which the apostle had presumed would remain unshaken, though that of his breth- ren should fail ; but which profession he had wofully vio- lated in the hour of trial. If this is the spirit of the ques- tion, it is a tender but severe admonition, which would be expressed by emphasis, thus ; " Lovest thou me, more than these ?" that is, more than thy brethren love me ? But respectable interpreters have supposed the ques- tion to refer to Peter's affection merely, and to contrast two objects of that affection ; and this would change the emphasis thus ; — " Lovest thou me more than these V — that is, more than thou lovest thy brethren ? These illustrations show that the principle of emphat- ic stress is perfectly simple ; and that it falls on a partic- ular word, not chiefly because that word belongs to one or another class in grammar, but because, in the present case, it is important in sense. To designate the words that are thus important, by the action of the voice in em- phasis, is just what the etymological import of this term implies, namely, to show, to point out, to make manifest. But farther to elucidate a subject, that has been treat- 76 EMPHATIC STRESS. ed with much obscurity, emphatic stress may be distin- guished into that which is absolute, and that which is an- tithetic or relative. 20] 1. Absolute emphatic stress. Walker, and others who have been implicitly guided by his authority, without examination, lay down the broad position, that emphasis always implies antithesis ; and that it can never be proper to give emphatic stress to a word, unless it stands opposed to something in sense. Accord- ingly, to find the emphasis in a sentence, the direction given is, to take the word we suppose to be emphatical, and try if it will admit of those words being supplied, which antithesis would demand ; and if the words thus supplied agree with the meaning of the writer, the em- phasis is laid properly, — otherwise, improperly. EXAMPLE. Exercise and temperance strengthen even an indifferent consti- ution. The emphatic word here suggests, as the antithetic clause to be supplied ; — not merely a good constitution ; and this accords with the meaning of the writer. Now the error of these treatises is, that what in truth is only one important ground of emphasis, is made the sole and the universal ground. Indeed, if it were admit- ted that there is no emphasis without antithesis, it would by no means follow, (as I shall show under emphatic in- flection,) that all cases of opposition in thought are to be analyzed in the mode above proposed. But the princi- ple assumed cannot be admitted ; for to say that there is EMPHATIC STRESS. 77 no absolute emphasis, is to say that a thought is never im- portant, considered by itself; or that the figure of con- trast is the only way in which a thought can be express- ed with force. The theory which supposes this, is too narrow to correspond with the philosophy of elocution. Emphasis is the soul of delivery, because it is the most discriminating mark of emotion. Contrast is among the sources of emotion : and the kind of contrast really in- tended by Walker and others, namely, that of affirmation and negation, it is peculiarly the province of emphasis to designate. But this is not the whole of its province. There are other sources, besides antithetic relation, from which the mind receives strong and vivid impressions, which it is the office of vocal language to express. Thus exclamation, apostrophe, and bold figures in general, de- noting high emotion, demand a correspondent force in pronunciation ;. and that too in many cases where the em- phatic force laid on a word is absolute, because the thought expressed by that word is forcible of itself, without any aid from contrast. Of this the reader may be satisfied by turning to [13] p. 57, and noting such examples as these : x Up ! comrades, — hp ! Wo unto you, Pharisees ! Hence ! — hdme, you idle creatures — x Angels ! and ministers of grace, — defend us.* * The following anecdote of Whitefield, which is probably fa- miliar to most readers, contains an illustration altogether to my purpose. It is a passage repeated by Hume, from the close of a sermon which he heard from that preacher. " After a solemn pause, Mr. Whitefield thus addressed his numerous audience : ' The attendant angel is just about to leave the threshold, and ascend to* 7* 78 RELATIVE STRESS. Now, in such a case, we may speculate on the em- phatic force of the exclamation, and 'try if the sense will admit some antithetic clause to be supplied ;' but it is mere trifling. The truth is, when strong passion speaks, it speaks strongly, and, if no untoward habit intervenes, speaks with just that degree and kind of stress which the passion itself demands. 21] 2. Antithetic or relative stress. Though we cannot consider opposition in sense as the exclusive ground of strong emphasis, it is doubtless a more common one than any other. The principle on which the stress depends in this case, will be evident from a few examples. Study, not so much to show knowledge, as to acquire it. He that cannot bear a jest, should not make one. It is not so easy to hide one's faults, as to mend them. We think less of the injuries we do, than of those we suffer. It is not so difficult to talk well, as to live well. We must take heed not only to what we say, but to what we do. In these short sentences the antithetic words, requir- ing emphatic force, are so obvious that they can hard- ly be mistaken by any one. When the antithetic terms in a sentence are both expressed, the mind instantly per- heaven. And shall ho ascend, and not bear with him tho news of ono sinnc r, among all this multitude, reclaimed from tho error of his ways ?' Then he stamped with his foot, lifted up his hands and eyes to heaven, and with gushing tears, cried aloud, — ' Stop, Ga- briel ! stoj>, Gabriel ! stop, cro you enter the sacred portals, and yet carry with you the news of one sinner converted to God.' " The high emotion of the speaker in this case, ami the powers of utter- ance with which that emotion was expressed, melted the assembly into t€ RELATIVE STRESS. 79 ceives the opposition between them, and the voice as readily marks the proper distinction. But when only one of these terms is expressed, the other is to be made out by reflection ; and in proportion to the ease or difficulty with which this antithetic relation is perceived by the mind, the emphatic sense is more or less vivid. On this principle, when a word expresses one part of a contrast, while it only suggests the other, that word must be spok- en with force adapted to its peculiar office ; and this is the very case where the power of emphasis rises to its highest point. This part of the subject too may be ren- dered more intelligible by a few examples. Shakspeare's Julius Caesar furnishes several which are sufficiently appropriate. In the scene betwixt Brutus and Cassius, the latter says, I that deny'd thoe gold, will give my heart. Here the antithetic terms gold and heart, being both ex- pressed, a common emphatic stress on these makes the sense obvious. But in the following case only one part of the antithesis is expressed. Brutus says, You wrong'd yourself, to write in such a case. The strong emphasis on yourself, implies that Cassius thought himself injured by some other person. Accord- ingly w T e see in the preceding sentence his charge against Brutus. — " you have wrong'd me." You have done that you should be sorry for. With a slight stress upon sorry, this implies that he had done wrong : but suggests nothing of the antithetic mean- ing, denoted by the true emphasis, thus, You have done that you should be sorry for. 80 II'HATIC INFLECTION. This emphasis on the former word implies, " Not only are you liable to do wrong, but you have done so al- ready ;" on the latter it implies, " though you are not sorry, you ought to be sorry." This was precisely the meaning of Brutus, for he replied to a threat of Cassius, " I may do that I shall be sorry for." One more example from the same source. Marullus, alluding to the reverence in which Pompey had been held, says, And when you saw his chariot but appear, Have you not made a universal shout ? Lay a stress now on his in the first line, and you make a contrast betwixt the emotion felt in seeing other chariots, and in seeing Pompey's. Lay the stress on chariot, and it is not implied that there was any other besides his in Rome ; for then the antithesis suggested is, the sight, not of his person merely, but of the vehicle in which he rode, produced a shout. 22] Sect. 2. — Emphatic Inflection. Thus far our view of emphasis has been limited to the degree of stress, with which emphatic words are spoken. But this is only a part of the subject. The kind of stress is not less important to the sense than the degree. Let any one glance his eye over the examples of the forego- ing pages, and he will seo that strong emphasis demands, in all cases, an appropriate inflection ; and that to change this inflection perverts the sense. This will be perceived at once in the following case, " We must take heed not only to what we say, but to what we dd." By changing EMPHATIC INFLECTION. 81 this slide, and laying the falling on say, and the rising on do, every ear must feel that violence is done to the meaning. So in this case, The fault, dear Brutus, is not in our stars, But in ourselves, that we are underlings, the rising inflection or circumflex on stars and the falling inflection on ourselves is so indispensable, that no reader of the least taste would mistake the one for the other. The fact in these instances however is, that wrong inflec- tion confounds the true sense, rather than expresses a false one. Let us then take an example or two in which the whole meaning of a sentence depends on the inflection given to a single word. Buchanan, while at the Univer- sity, said, in a letter to Christian friend, In the retirement of a cdllcge, I am unable to suppress evil thoughts-. Here the emphatic downward slide being given to college, expresses die true sense, namely, " How difficult must it be to keep my heart from evil thoughts amid the tempta- tions of the world ; when 1 cannot do this even in the re- tirement of a college But lay the circumflex on col- lege, thus ; " In the retirement of a College, I cannot sup- press evil thoughts ;" and you transform the meaning to this, " 1 cannot suppress evil thoughts here, in retirement, though I might perhaps do it amid the temptations of the world." In the Fair Penitent, Horatio says, 1 would not turn aside from my least pleasure, Though all thij force were arm'd to bar my way. The circumflex on thy implies sneer and scorn. " I might 82 EMPHATIC INFLECTION. turn aside for respectable opposition, but not for such as thine." But the falling slide on thy turns contempt into compliment. " I would not turn aside even for thy force, great as it is." One more question remains to be answered ; how shall we know when an emphatic word demands the ris- ing, and when the falling inflection . ? A brief reply to this inquiry seems indispensable, before we drop this part of the subject. On this point, the " grand distinction" of Walker, as he calls it, is ; — " The falling inflection affirms something in the emphasis, and denies what is opposed to it in the antithesis ; while the emphasis with the rising inflection, affirms something in the emphasis, without denying what is opposed to it in the antithesis. I have always considered it a great infelicity that the many excellent remarks of this writer on emphatic infleo tion, are so destitute of intelligible classification. On his theory, which makes antithesis essential to emphasis, uni- versally, and antithesis too by affirmation and negation, — the amount of more than twenty pages, designed to illus- trate the above position, is simply this ; — When affirmation is opposed to negation, — the emphatic word or clause which affirms, has the falling inflection, and that which denies, the rising. This is so plainly an elementary prin- ciple of vocal inflection, as I have shown [7] p. 49, that it requires no farther remark, except this one, that the case here supposed implies strong, positive affirmation. But the ingenious writer above named perceived that there was still something to be explained about a part of this subject; and therefore extended his canon concern- EMPHATIC INFLECTION. 83 ing the emphasis with the ?ising inflection hy saying, " that it affirms something in the emphasis without denying what is opposed to it in the antithesis." That the illustration of this point should be dark to his readers is not strange, since it evidently was so to himself. The first step he takes is to give an example, which unfortunately contra- dicts the theory it was designed to establish. 'Tvvas base and poor, unworthy of a man, To forge a scroll so villanous and loose. His commentary on this emphasis is — "Unworthy of man, though not unworthy of a brute." In repeating this, most certainly I both affirm and deny. I affirm that a certain act is unworthy of a man, and deny that it is un- worthy of a brute. What then becomes of the rule just stated . ? Besides, if the rising emphatic inflection affirms on one side, without denying on the other, what becomes of the antithesis ? — and what becomes of the broad position, that without antithesis there can be no emphasis ? The truth is that this position being erroneous, the " intrica- cies of distinction" resulting from it are needless. One who is familiar with the simple rules of inflection, can sel- dom mistake as to the proper slide on an emphatic word. The voice instinctively accompanies emphatic, positive affirmation with the falling slide, and the antithetic nega- tion with the rising. But there is a large class of sentences, in which qual- ified affirmation demands the rising turn of voice, often where an antithetic object is suggested or expressed hypo- theiicaUy. Having seen no satisfactory explanation of the 84 EMPHATIC INFLECTION. rising emphasis which occurs in such cases, I will briefly suggest my own thoughts on this point. And it should be premised that it is not the simple rising slide, but the circumflex, which desfgnates this sort of emphasis. The two, indeed, as I have said before, may fall on shades of thought so nearly the same, that it is immaterial which is used ; while in other cases the office of the circumflex is so peculiar as to make it quite perceptible to an ear of any discrimination. In examples like the following ; We should seek to mbnd our faults, not hide them. You were paid to f\ght against Alexander, not to rail at him ; it has been usual to mark the rising emphasis with the simple slide upwards ; whereas in unaffected conversation the twist of the circumflex is generally heard in such cases. With this preliminary remark, I proceed to say, that the plain distinction between the rising and the falling emphasis, when antithetic relation is expressed or sug- gested, is, the falling denotes positive affirmation, or enun- ciation of a thought with energy ; the rising either ex- presses negation, or qualified and conditional affirmation. In the latter case the antithetic object, if there is one, may be suggested ironically, or hypothetically, or comparative- ly ; thus — Ironically ; They tell us to be moderate ; but th?y, thfy are to revel in profu- sion. Hypothetically ; If men see our faults, they will talk among themselves, though w« refuse to let thorn talk to iis. I see thou hast loarn'd to rail. EMPHATIC INFLECTION. 85 In this latter example, the hypothetical affirmation re- quires the circumflex on the emphasis, while the indefi- nite antithesis is not expressed, as in the preceding exam- ple, but suggested ; " Thou hast learn'd to rail, if thou hast not learn'd any thing better than this." Comparatively ; Satan The t&mpter, ere the accuser of mankind. The beggar was blind as well as lame. He is more knave than fool. Ceesar deserved blame more than fame. Now if any one chooses to ask the reason why these me- phatic inflections occur in this order, he may see it per- haps by a bare inspection of the foregoing examples to- gether. In such a connexion of two correlate words, whether in contrast or comparison, the most prominent of the twojn sense, that in which the essence of the thought lies, commonly has the strong, falling emphasis ; and that which expresses something subordinate or circumstantial, has the rising. The same rising or circumflex emphasis prevails where the thought is conditional, or something is implied or insinuated, rather than strongly expressed. Negative clauses perhaps so generally fall into this class of inflections because they are so often only explanatory of the main thought. As the foregoing remarks have been confined chiefly to the inflection of relative emphasis, the reader may ex- pect me to dwell a little on the same point, as connected with absolute emphasis. Here the examples to be adduced will be a farther 8 8G EMPHATIC INFLECTION. refutation of the theory which restricts emphasis wholly to antithesis by affirmation and denial. If this theory were correct, there would be no emphatic stress nor in- flection in the following cases ; 1. Of apposition ; Simon, Son ofJdnas, — lovest thou me ? To affirm this, is to contradict Pdul, the Apdstle. In the multiplied cases of this sort, where two names are used for the same person, surely the ground of em- phasis on both, is not opposition in sense. 2. Of the indirect question and its answer. Who first seduced them to that foul revolt ? The infernal s&rpcnt. — Where is bdasting then ? — It is excluded. Here again the emphasis is absolute. 3. Of the direct question and its answer. In Shakspeare's Julius Caesar, the indignant Marullus thus chides the citizens for their blind adoration of Caesar ; O you hard hearts, you cruel men of Rome ! Knew ye not Pdmpeyf So afterwards, — And do you now strew flowers in his way, That comes in triumph over Pompey's bldod? Again,— Are they Hebrews ? — So am V. Shall Rome bo taken, while I am Cdnsul T—N6. In both sorts of question, there is indeed what may properly be termed contrast ; and in the direct question, this contrast between question and answer is marked by EMPHATIC INFLECTION. 87 opposite inflection. But this is a case that does not at all come within Mr. Walker's rule, — " That the falling inflec- tion affirms something in the emphasis, and denies what is opposed to it in the antithesis ; and the rising affirms without such denial." Let this rule be tried by the fore- going examples, and it will be apparent that no antithesis by affirmation and denial can be made out in any of them, except by an effort of fancy. Take that one ending, — " Knew ye not Pompey V and instead of puzzling the mind to discover what is affirmed in the rising emphasis, and what is not denied in a supposed antithesis, how much easier is it to say, — the case falls under that general law of interrogative inflection, which always inclines the voice upward. But these illustrations need not be extended. Tho amount is, that generally the weaker emphasis, where there is tender, or conditional, or partial enunciation of thought, requires the voice to rise ; while the strong em- phasis, where the thought is bold, and the language posi- tive, adopts the falling slide except where some counter- acting principle occurs, as in the interrogative inflection just mentioned. Emphatic inflection varies according to those general laws of the voice which I have endeavored to describe at some length, Chap. III. p. 42 — 65. For these varieties we may assign good reasons, in some ca- ses ; while in others we must stop with the fact, that such are the settled usages of elocution ; and in others still, we can only say such are the instinctive principles of vocal intonation,* In all such cases, explanation becomes ob- * A technical sense of this word, seems indispensable. 88 EMPHATIC INFLECTION. scurity, if carried out of its proper limits. Beyond these I can no more tell why sorrow or supplication incline the voice to the rising slide, while indignation or command in- cline it to the falling, than I can tell why one emotion flashes in the eye, and another vents itself in tears. Nor is it reasonable to demand such explanations on this sub- ject, as are not expected on any other. The logician rests in his consciousness and his experience as the basis of ar- gument ; and philosophy no more requires or allows us to push our inquiries beyond first principles or facts, in el- ocution, than in logic. 23] In closing these remarks on emphatic inflection, the reader should be reminded that the distinction sug- gested, p. 43, between the common and the intensive in- flection, applies to every part of the subject. As empha- sis varies with sentiment in degrees of strength, it requires a correspondent difference in the force, the elevation of note, and the extent of slide, which distinguish important words. 24] Emphatic Clause, Before I dismiss the article of emphasis, one or two points should have some notice, because they belong to the general subject, though not distinctly classed under the foregoing heads. It will be readily perceived that the stress proper to be laid on any single word, to denote its importance, de- pends much on the comparative stress with which other words in the same sentence are pronounced. A whis- per, if it is soft or strong, according to sense, may be as truly discriminating as the loudest tones. The voice EMPHATIC CLAUSE. 89 should be disciplined to this distinction, in order to avoid the common fault, which confounds vociferation with em- phatic expression. Many, to become forcible speakers, utter the current words of a sentence in so loud a tone, that the whole seems a mere continuity of strong articu- late sounds ; or if emphatic stress is attempted on partic- ular words, it is done with such violence as to offend against all propriety. This is the declamatory manner. The power of emphasis, when it belongs to single words, depends on concentration. To extend it through a sen- tence, is to destroy it. But there are cases in which more than common stress belongs to several words in succession, forming an emphatic clause. This is sometimes called general em- phasis. In some cases of this sort, the several syllables have nearly equal stress : thus ; Heaven and earth will witness, If— Rome — must— fall,— that we are innocent. In uttering this emphatic clause, the voice drops its pitch, and proceeds nearly in a grave, deliberate monotone. In other cases, such a clause is to be distinguished from the rest of the sentence, by a general increase of force ; and yet its words retain a relative difference among themselves, in quantity, stress, and inflection. This ap- pears in the indignant reply of the youthful Pitt, to his aged accuser in debate ; But youth, it seems, is not my only crime ; I have been accus- ed, — of acting a theatrical part. And afterwards, arraigning the ministry, he said, As to the present gentlemen, — I cannot give them my eonfi- 8* 90 EMPHATIC CLAUSE. dence. Pardon me, gentlemen, — confidence is a plant of slow growth. In both these cases the emphatic thought belongs to the whole clause, as marked, requiring a grave under-tone ; but one word in each must have more stress than the rest, and a note somewhat higher. The want of proper distinctions as to the emphatic clause, occasioned, if I mistake not, the difference of opin- ion between Garrick and Johnson respecting the seat of em- phasis in the ninth commandment ; " Thou shalt not bear false witness against thy neighbor." Garrick laid the stress on shalt, to express the authority of the precept ; Johnson on not, to express its negative character. But clearly both are wrong, for in neither of these respects is this command to be distinguished from others with which it is connect- ed. And if we place the stress on false or on neighbor, still an antithetic relation is suggested, which does not ac- cord with the design of the precept. Now let it be ob- served, that here is a series of precepts forbidding certain sins against man, our neighbor. Each of these is intro- duced with the prohibitory phrase, " thou shalt not," and then comes the thing forbidden ; in the sixth, kill ; — in the eighth, steal ; — in the ninth, "bear false witness" This shows the point of emphatic discrimination. In the latter case, the stress falls not on a single word, but on a clause, the last word of this clause, however, in the present case, demanding more stress than either of the others. One more example may make this last remark still plainer. Suppose Paul to have said merely, " I came not to baptize, but to preach" The contrast expressed EMPHATIC CLAUSE. 91 limits the emphasis to two words. But take the whole sentence as it is in Paul's language, " I came not to bap- tize, but to preach the gospel;" — and you have a con- trast between an emphatic word, and an emphatic clause. And though the sense is just as before, you must change the stress in this clause from preach to gospel, or you ut- ter nonsense. If you retain the stress on preach, the par- aphrase is " I came not to baptize the gospel, but to preach the gospel." DOUBLE E3IPHASIS. This is always grounded on antithetic relation, ex- pressed in pairs of contrasted objects. It will be suffi- ciently illustrated by a very few examples. The young are slaves to novelty, the old to custom. And why beholdest thou the mote that is in thy brother's eye, but considerest not the beam that is in thine own eye ? There is but one remark, which is important to be made in this case. In such a reduplication of emphasis, its highest effect is not to be expected. In attempting to give the utmost significance to each of the terms standing in close succession, we are in danger of diminishing the amount of meaning expressed by the whole. The only rule that can be adopted is so to adjust the stress and in- flection of voice on the different terms as shall most clear- ly, and yet most agreeably convey the sense of the entire passage. CHAP. VI. MODULATION. I use this term in the largest sense, as a convenient one to denote that variety in managing the voice which ap- pears in the delivery of a good speaker.* This includes a number of distinct topics, which may perhaps with suf- ficient exactness be brought together in one chapter. Sect. 1. — Faults of Modulation. 1. Monotony. The remark has been made in a former page, that the monotone, employed with skill, in pronouncing a sim- ile, or occasionally an elevated or forcible thought, may have great rhetorical effect. Its propriety in such a case, is felt instinctively ; just as other movements of the voice are felt to be proper, when they are prompted by genius and emotion. But the thing I mean to condemn has no * Though I admire precision in language, I must hero again express my dissent from all needless distinctions on a subject so practical as this. Wright in his Elocution considers tunc as equiv- alent to variety, harmony, cadence ; and tone, as equivalent to strength and compass ; and criticises Sheridan for making no such distinction. But surely no distinction and no definition of terms is as good as one too loose to be of any valuo. Technical terms eve- ry art and science must havo ; but modern taste has very properly dispensed with a large proportion of thoso terms, which make the technical nomenclature of ancient rhetoric a greater burden to mem- ory than the acquisition of a new language. FAULTS OF MODULATION 7 . 93 such qualities to give it vivacity. It is that dull repetition of sounds, on the same pitch, and with the same quantity, which the hearers are ready to ascribe, (and commonly with justice,) to the want of spirit in the speaker. They easily excuse themselves for feeling no interest in what he says, when apparently he feels none himself. Want of variety is fatal to vivacity and interest in delivery, on the same principle that it is so in all other cases. Let the poet be confined to one undeviating succes- sion of syllables and of rhyme, and who would be en- chanted with his numbers ? Let the painter be con- fined to one color, and where is the magic of his art ? What gives its charm to the landscape ? — What gives life to the countenance, and language to the eye, as represent- ed on the canvass ? Not such a use of colors as fits the character of a post or ceiling, all white, or all red ; but such a blending of colors as gives the variety of life and intelligence. The same difference exists between a heavy, uniform movement of the voice, and that which corresponds with real emotion. In music a succession of perfect concords, especially on the same note, would be intolerable. 2. Mechanical variety. An unskilful reader perhaps is resolved to avoid mo- notony. In attempting to do this, he may fall into other habits, scarcely less offensive to the ear, and not at all more consistent with the principles of a just elocution. In uttering a sentence, he may think nothing more is neces- sary, than to employ the greatest possible number of notes ; and thus his chief aim is to leap from one extreme to an- 04 FAULTS OF MODULATION. other of his voice. In a short time, this attempt at varie- ty becomes a regular return of similar notes, at stated in- tervals. Another defect, of the same sort, arises from an at- tempt to produce variety by a frequent change of stress. The man is disgusted with the plodding uniformity that measures out syllables and words, as a dragoon does his steps. He aims therefore at an emphatic manner, which shall give a much greater quantity of sound to some words than to others. But here too the only advantage gained is, that he exchanges an absolute for a relative sameness; for the favorite stress returns periodically, without regard to sense. There is still another kind of this uniform variety, which is extremely common at our public schools and colleges, and from them is carried into the different de- partments of public speaking. It consists in the habit of striking a sentence at the beginning, with a high and full voice, which becomes gradually weaker and lower, as the sentence proceeds, especially if it has much length, till it is closed perhaps with one quarter of the impulse with which it commenced. Then the speaker, at the beginning of a new sentence, inflates his lungs, and pours out a full volume of sound for a few words, sliding downward again, as on an inclined plane, to a feeble close. Besides the effort at variety, which often produces this fault, it is in- creased in many cases, by that labor of lungs, and that unskilfulness in managing the breath, which attends want of custom in speaking. The man who has this habit, (and not a few have it, as any one would perceive, who should place himself just within hearing distance of twen- MODULATION. REMEDIES. 95 ty public speakers, successively,) should spare no pains to overcome it, as a deadly foe to vivacity and effect in delivery. Sect. 2. — Remedies. The measures primarily to be adopted in regard to these habits, will be suggested here, while others that have an important bearing on the subject will come into view in the following sections. To find an adequate remedy for any of the above de- fects in modulation, we must enter into the elementary principles of delivery. As the meaning of what we read or speak, is supposed continually to vary, that elocution which best conforms to sense, will possess the greatest variety. 1. The most indispensable attainment then, towards the cure of bad habits in managing the voice, is the spirit of emphasis. Suppose a student of elocution to have a scholastic tone, or some other of the faults mentioned above ; — teach him emphasis, and you have taken the most direct way to remove the defect. It is difficult to give a particular illustration of my meaning, except by the living voice ; but the experiment is worthy of a trial, to see if the faulty manner cannot be represented to the eye. Read the following passage from the Spectator;* recol- lecting, at the beginning of each sentence, to strike the words in the largest type, with a high and full voice, grad- ually sinking away in pitch and quantity, as the type di- minishes, to the close. • No. 411. 96 MODULATION. REMEDIES. EXAMPLE. OUR SIGHT IS THE MOST PERFECT, AND MOST DE- LIGHTFUL, OF ALL OUR SENSES. IT FILLS THE MIND WITH THE LARGEST VARIETY OF IDEAS, CONVERSES WITH ITS OBJECTS AT THE GREATEST DISTANCE, AND CON- TINUES THE LONGEST IN ACTION, WITHOUT BEING TIRED OR SATIATED WITH ITS PKOPER ENJOYMENTS. THE SENSE OF FEELING CAN INDEED GIVE US A NOTION OF EXTENSION, SHAPE, AND ALL OTHER IDEAS THAT ENTER AT THE EYE, except colors. AT THE SAME TIME, IT IS VERY MUCH CONFINED IN ITS OPERATIONS, TO THE NUMBER, BULK, AND DISTANCE OF ITS PARTICULAR OBJECTS. If Rhetoric had a term, something like the diminuendo of musicians, it might help to designate the fault here rep- resented, consisting in the habit of striking sentences witli a high and strong note, for a few words, and then falling away into a feeble close. ]f you succeed in understanding the above illustration, then vary the trial on the same example, with a view to another fault, the periodic stress and tone. Take care to speak the words printed in small capitals with a note sensibly higher and stronger than the rest, dropping the voice immediately after these elevated words, into an un- dulating tone, on the following syllables, — thus ; Our sight is the most perfect, and most delightful of all our Borises. It fills the mind with the largest vakietv of ideas, con- verses with its objects at the greatest distanco, and continues the longest in action without being tired or satiated with its proper enjoyments. The sense of feeling can indoed give us a notion of extension, shape, and all other ideas that enter at the eye, ex- MODULATION. REMEDIES. 97 cept colors. At the same time, it is very much confined in its operations, to the number, bulk and distance of its particular ob- jects.* It is necessary now to give this same passage once more, so distinguishing the chief words, by the Italic char- acter, as to exhibit the true pronunciation. Our sight is the most p6rfect and most delightful of all our sen- ses. It fills the mind with the largest variety of ideas ; converses with its objects at the greatest distance ; and continues the longest in action, without being tired or satiated with its proper enjoy- ments. The sense of feeling can indeed give us a notion of exten- sion, shape, and all other ideas that enter at the eye, except colors. At the same time it is very much confined in its operations, to the number, bulk, and distance of its particular objects. Only two or three of the words as here marked require intensive emphasis, and that not of the highest kind ; and yet the student will perceive that a discriminating stress on the words thus marked, will regulate the voice, of course, as to all the rest; and so render a scholastic tone impossible. * Walker's ear, though in cases of emphatic inflection very dis- criminating, seems in other cases to have been perverted by his the- ory of harmonic inflection, as appears from his manner of pronounc- ing the following couplet, which nearly coincides with the tone I am condemning. A brave man struggling in the storms of fate, And greatly falling, with a falling state. I am aware that it is difficult to represent this scholastic tone by any description to the eye. One who is acquainted .with music may readily analyze any unseemly tone by examining the intervals of the notes above and below the key note of the sentence, in the few syllables to which the tone is confined. This analysis would give a precision to his knowledge of the subject, that would be valuable in practice. The hint may be sufficient to those who have skill and patience for such inquiries; and to others, any ex- tended explanations would be useless. 9 98 MODULATION. REMEDIES. But as no word in the foregoing passage is strongly emphatic, my meaning may be more evident from an ex- ample or two, where a discriminating stress on a single word, determines the manner in which the following words are to be spoken. Take this couplet from Pope, and read it first with the metrical accent and tone, thus ; What the weak head, with strongest bias rules, Is pride, the never failing vice of fools. Now let it be observed that in these lines there is really but one emphatic word, namely pride. If we mark this with the strong emphasis, and the falling inflection, the following words will of necessity be spoken as they should be, dropping a note or two below the key note of the sentence,* and proceeding nearly on a monotone to the end ; — thus ; — What the weak head, with strongest bias rules, •St Is the never failing vice of fools. Another example may help to render this more intel- ligible. Murt we the author of the public culum x Or must we des the author of the public calamities ? * By key note, I mean the prevailing note, that which you hear when a man reads aloud in another room, while you cannot distin- guish any words that he utters. MODULATION. REMEDIES. 99 In pronouncing these examples, which I trust need not be further explained, some trifling diversities might doubtless be observed in different readers of equal taste. But if the proper sound is given to the emphatic words, all the rest must be spoken essentially as here described. It follows that the most direct means of curing artificial tones, is to acquire a correct emphasis. But, — 2. In order to this, another attainment seems indis- pensable, namely, some good degree of discrimination as to vocal tones and inflections. This has been more than once adverted to in the foregoing pages ; but it is intro- duced here as inseparably connected with a just modula- tion. That correct emphasis, which is the best remedy for perverted habits of voice, is not always a spontaneous attendant on good sense and emotion. Its efficacy is of- ten frustrated by the strength of those habits which it might overcome, if there were sufficient knowledge of the sub- ject to apply the remedy. There is something of the ludicrous in the attempt to imitate unseemly tones in speaking ; and those who are unpractised in it, generally feel reluctant to make the at- tempt at first, especially in the presence of others. For the same reason they are reluctant to have their own faul- ty manner in reading a sentence imitated, or to repeat again and again their own attempts to correct it. And some who can imitate a sound immediately after hearing it from another voice, suppose this to be the only way in which it can be done. But let a thousand persons, who understand the English language, repeat the familiar ques- tion, " Do you expect to go, or stay V — And will not ev- ery one of the thousand give the same turn of voice on 100 MODULATION. REMEDIES. the words in Italics ? Where is the difficulty then of placing such marks on these turns of voice, that they may he transferred to any other word ? This simple prin- ciple suggested to Walker his notation of sounds for the eye ; and incomplete as it is, something of the kind is so necessary to the student of elocution, that without it, the aid of a living teacher cannot supply the defect. And in most cases, nothing is wanting to derive advantage from such a theory but a little patience and perseverance in its application.* * A few years since, I desired a young gentleman to take tho fol- lowing sentence ; " I tell you, though you, though all the world, though an angel from heaven, should declare the truth of it, I could not believo it;" — and read it to me in four different ways, which I described to him in writing, without making with my voice any of the sounds which I wished him to represent. My directions wero these ; 1. Read it with the monotone. 2. Without any slide on the emphatic words, raise them one- note above the key tone of the sentenco, and read the rest in the monotone. 3. Give the emphatic words tho rising slido through three or four notes above the key, and end with the common cadence. 4. Givo the same words the falling slide, with increaso of force as you proceed ; beginning tho slide, on you one noto above the key, that on world two, and that on hcaccn three. — The young gontleman, without having acquired, so far as I knew, any uncom- mon skill in vocal inflections, at tho appointed time repeated the passage according to my directions, and almost exactly in the man- ner I had intended. The last mode of reading is that which I des- cribed at page 02; and tho other three modes I may leave without farther elucidation to those who have the curiosity to engage in such an exercise. The second mode, it will bo seen, is nno species of what is often called the conventicle tone ; and another sort of this cant, would bo represented by reading all the words in monotone ex- cept the parts in tho following specimen printed in Italic, which should be raised two notos above the key. " I tell you though you, though all the world, though an angel from heaven, should declare the truth of it, I could not beliove it." Such an exercise might well seem trifling in a man of elevated views, were it not impor- tant to bring his voico under discipline, by analysing its powers, and that for tho purpose of correcting his own faults in modulation. MODULATION. REMEDIES. 101 It was my intention to remark,, at more length than my limits in this place will allow, on^ the benMii winch \& public speaker may derive from acquaintance with vocal music. The want of this does by no means imply a cor- respondent deficiency in elocution. There have^been or- ators who had no skill in music. And constant observation shows that a man may be a fine singer, and yet be no orator. Vocal organs and skill, of the first order, he may possess, and yet have neither the strength nor furniture of intel- lect, nor the high moral sensibility, which eloquence de- mands. As a speaker, he may fail too in modulation of voice, so as not even to read well. But while all this is admitted, we must say of this good singer and bad read- er, what we cannot always say of another man, — he is utterly without excuse. With discriminating ear, and perfect command of his voice, why has he a bad modula- tion in delivery ? His talent is hid in a napkin ; — he is too slothful to use a gift of his Creator, which in posses- sion of anothei\man, might be an invaluable treasure. Par- adox as it may seem, it is only the plain statement of a well known fact, to say, that many a man, while devoting ten years to studies preparatory to professional life, delib- erately looks forward to his main business, as one in which his success and usefulness must depend on his talent in speaking, — yet takes no pains to speak well ! Perhaps of these ten years, he does not employ one entire week in all, to acquire this talent, without which all other acquisi- tions, are, to his purposes, comparatively useless ! Without any enthusiastic estimate of the collateral ad- vantages which the student of oratory might derive from musical skill, it may be said that the same strength, dis- 9* 102 MODULATION. REMEDIES. : t!nctne9s,'smcbthu#ss, and flexibility of voice, which mu- ;sjc;bbth-/et|Oire*s and 'promotes, are directly subservient to 'the purposes* *6? 'elocution. And at least so much practi- cal knowledge of music, as readily to mark with the ear and voice, the difference between high and low, strong and feeble notes, greatly facilitates that analysis of speak- ing tones, which enables one to understand his own faults and to make such a sound, in a given case, as he wishes to make. I might add here, that I am not advancing any new theory on this subject. Quinctilian devotes a chapter to the connexion between eloquence and music ; and advi- ses the young orator to study this latter art, as an impor- tant auxiliary in the care and management of his voice. And a spirited French writer, speaking of bad tones in the pulpit, says, " I much wish that young preachers would not neglect any means of forming their voice and improv- ing their ear ; for which purpose, the knowledge and prac- tice of vocal music, would be very useful to them." There are indeed weighty reasons, not applicable to other men, why they who are devoted to the sacred of- fice should cultivate an acquaintance with this sacred fine art. It elevates and sanctifies the taste of a Christian scholar. It prepares the minister of the gospel to employ an influence in regulating the taste of others ; an influence, that shall be salutary, and becoming his office, or at 1< not pernicious, in regard to the style of music that is adapted to public devotion. Till Christian pastors be- come generally better qualified to exert such an influence, it will not he strange if this department of public worship shall continue in the hands of authors, and teachers, and PITCH OF VOICE. 103 performers, who will so conduct its solemn services as to extinguish rather than inspire devotional feeling. Besides, the minister who knows nothing of the science of adapta- tion, as applied to music and poetry, will often select hymns so unpoetical that they cannot possibly be sung with discrimination and spirit ; or perhaps a hymn, that is full of inspiration, he will read with so little feeling, that it will almost of course be sung in a manner equally inani- mate. Sect. 3. — Pitch of Voice. This is a relative modification of voice ; by which we mean that high or low note, which prevails in speaking, and which has a governing influence upon the whole scale of notes employed. In every man's voice, this governing note varies with circumstances, but it is sufficiently exact to consider it as threefold ; the upper pitch, used in call- ing to one at a distance ; the middle, used in conversa- tion : and the lower, used in cadence, or in a grave, em- phatic under key. Exertion of voice on the first, exposes it to break ; and on the last, renders articulation thick and difficult, and leaves no room for compass below the pitch. The middle key, or that which we spontaneously adopt in earnest conversation, allows the greatest variety and ener- gy in public speaking, though this will be raised a little by the excitement of addressing an assembly. To speak on a pitch much above that of animated conversation, fatigues and injures the lungs ; though this, of all mistakes, is the one into which weak lungs are most likely to fall. The speaker then, by his own experiment, or, (if he wants the 104 PITCH OF VOICE. requisite skill,) by the aid of some friend should ascertain the middle key of his own voice, and make that the basis of his delivery. Whether this is high or low, compared with that of another man, is not essential, provided it be not in extreme. Among the first secular orators of Brit- ain, some have spoken on the grave bass-key ; while Pitt's voice, it is said, was a full tenor, and Fox's a tre- ble. The voice that is on a bass-key, if clear and well ton- ed, has some advantages in point of dignity. But a high tone, uttered with the same effort of lungs, is more audi- ble than a low one. Without referring to other proofs of this, the fact just now mentioned is sufficient, that we spontaneously raise our key in calling to one at a dis- tance ; for the simple reason that we instinctively know he will be more likely to hear us in a high note than a low one. So universal is this instinct, that we may ob- serve it in very little children, and even in the call and response of the parent bird and her young, and in most brute animals that have voice. The same principle doubt- less explains another fact, recently alluded to, that feeble lungs are inclined to a high pitch ; this being the effort of weakness, to make up what it lacks in power, by eleva- tion of key ; an effort which succeeds perfectly for a few words, but produces intolerable fatigue by being continu- ed. The influence of emotion on the voice, is also among the philosophical considerations pertaining to this subject. A man under strong intellectual excitement, walks with a firmer and quicker step than when he is cool ; and the same excitement which braces the muscles, and gives en- PITCH OF VOICE. 105 ergy to the movements of the body, has a correspondent effect on the movements of the voice. Earnestness in common conversation assumes a higher note, as it pro- ceeds, though the person addressed is at no greater dis- tance than before. A practical corollary from these suggestions is, that the public speaker should avoid a high pitch, at the begin- ning of his discourse, lest he rise, with the increase of in- terest, to painful and unmanageable elevation. Through disregard of this caution, some preachers, of warm tem- perament, sacrifice all command of their voice, as they be- come animated, and rather scream than speak. Blair lays it down as a useful rule, in order to be well heard — " To fix our eye on some of the most distant persons in the assembly, and to consider ourselves as speaking to them." But to apply this rule to the outset of a discourse, would probably lead nine out of ten, among unpractised speakers, to err by adopting too high a pitch. Walker, on the other hand, advises to commence — " as though addressing the persons who are nearest to us." This might lead to an opposite extreme ; and the safest gener- al course perhaps, is to adapt the pitch to hearers at a me- dium distance. Hearers are apt to be impatient, if a speaker compels them to listen ; though they more readily tolerate this fault at the beginning, than in any other part of a discourse. The preacher is certainly without excuse who utters his text in so low a voice as not to be understood, and the special necessity for avoiding this, is probably a sufficient reason for the good old practice of naming the text twice. But for a few sentences of the exordium, where the sen- 106 QUANTITY. timent commonly requires composure and simplicity, it is better to be scarcely audible, than to shun this inconve- nience by running into vociferation. The proper means of avoiding both extremes, is to learn the distinction between force and elevation ; and to acquire the power of swelling the voice on a low note. This introduces our next topic of consideration. Sect. A. — Quantity. This term I use not in the restricted sense of gram- marians and prosodists, but as including both the fullness of tone, and the time, in which words and sentences are uttered. With this explanation I hope I may be permit- ted to use the term in a sense somewhat peculiar, without touching the endless discussion it has awakened in anoth- er department. In theory, perhaps every one can easily understand, that a sound may be either loud or soft, on the same note. The only difference, for example, betwixt the sound pro- duced by a heavy stroke and a gentle one, on the same bell, is in the quantity or momentum. This distinction as applied to music, is perfectly familiar to all acquainted with that art. As applied to elocution, however, it is not so easily made ; for it is a common thing for speakers to confound high sounds with loud, and low with soft. Hence we often hear it remarked of one that he speaks in a low voice, when the meaning is, a feeble one ; and perhaps if he were told that he is not loud enough, he would instantly raise his key, instead of merely increasing his quantity on the same note. But skill in modulation QUANTITY. 1 07 requires, that these distinctions should be practically un- derstood. And if any one, who has given no attention to this point, thinks it too easy to demand attention, he may be better satisfied by a single experiment. Let him take this line of Shakspeare, O, you hard hearts, you cruel men of Rome ! and read it first in a voice barely audible. Then let him read it again and again, on the same pitch, doubling his quantity or impulse of sound, at each repetition, and he will find that it requires great care and management to do this, without raising his voice to a higher note. As it is a prime requisite in a public speaker, that he be heard with ease and pleasure, the importance of his being able to swell his voice to a loud and full sound, with- out raising his pitch, must be apparent. As a general rule, that voice is loud enough, which perfectly fills the place where we speak ; or, in other words, which perfect- ly reaches the hearers, with a reserve of strength to en- force a passage, in which sentiment demands peculiar en- ergy. The inconvenience of a feeble voice in a public speaker is great. He will either fail to be heard at all, or will be heard with so much difficulty, that his auditors are sub- jected to the drudgery of a laborious listening to spell out his meaning. Besides, there are circumstances, of no uncommon oc- currence, by which this inconvenience is specially aggra- vated. Among these may be mentioned the injudicious structure of buildings, the chief design of which is adap- tation to public speaking, such as legislative and judicial 1 08 QUANTITY. halls, and Christian churches. The purpose of these buildings is sometimes nearly frustrated hy immoderate size ; by extreme height of the ceiling ; and in churches particularly, by the multiplication of ill-formed arches, so constructed as to return a strong broken echo, — by the bad arrangement of galleries, and the sounding-board, adjusted close to the speaker's head. Sometimes too, even the secular orator, and muchof- tener the preacher, is called to speak in the open air ; or on the other extreme, to speak in a private apartment, so crowded as hardly to admit of free respiration. In such cases the common disadvantages of a feeble voice are much increased. If the inquiry be made, on what does strength of voice depend ? — I answer, First, it depends primarily on perfect organs of speech. As it is important for the professed speaker to know some- thing of these wonderful organs, with the preservation and use of which he is so much concerned, a brief enumera- tion of them may be proper here. Of these, the lungs have the first place. Mere vigor in this organ, is not of course attended with vocal power, but the latter cannot exist without the former. Other things being equal, he who has the best conformation of chest, and the most forcible action of lungs, will have the strongest voice. Fishes, and those insects that have no lungs, have no voice. Next is the trachea, that elastic tube, by which air pass- es to and from the lungs ; to the length of which in some birds, is ascribed the uncommon power of their voice. At the upper end of this, is the larynx, a cartilaginous box, QUANTITY. 109 of the most delicate, vibratoiy power, so suspended by muscles as to be easily elevated or depressed. The glottis is a small aperture, (at the top of the larynx,) by the di- latation or contraction of which, sound becomes more acute or more grave. To secure this aperture from injury, while food passes over it to the stomach, it is closed by a perfect valve, called the epiglottis. These are organs of sound, but not of speech, without the aid of others adapted to articulation, — namely, the tongue, the palate, the nostrils, the lips and teeth. My limits do not allow me to examine minutely the wonderful adaptation of these latter organs to their end, nor the mode of their action in forming articulate sounds. Such an ex- amination is unnecessary to one who has patience to make it himself, — and to others, it would be useless. Secondly, next to the importance of good organs, in giving strength of voice, is the proper exercise of these or- gans. The habit of speaking gave to the utterance of Garrick so wonderful an energy, that even his under key w T as distinctly audible to ten thousand people. In the same way the French missionary Bridaine brought his vocal powers to such strength, as to be easily heard by ten thou- sand persons, in the open air ; and twice this number of lis- tening auditors were sometimes addressed by Whitefield. The capacity of the lungs to bear the effort of speaking with a full impulse, depends much on their being accus- tomed to it. If I were to give directions to the student, as to the means of strengthening his voice by exercise, they would be such as these. (1) Whenever you use your voice on common occa- sions, vse as much voice, as propriety will permit. The 10 110 QUANTITY. restriction here intended must be applied by common sense. (2) Read aloud, as a stated exercise. [See 3. p. 31.] This was a daily practice of the first statesmen and gen- erals of Rome, even in the midst of campaigns, and public emergencies; and it was by such a habit of reading and declamation in private, that the sons of these men were trained to a bold and commanding oratory. An erect, and commonly a standing posture, in such exercises, gives the fullest expansion to the chest and lungs. (3) In public speaking, avoid all improper efforts of the lungs. These arise chiefly from speaking on too high a key, a fault noticed above ; from extreme anxiety to accommodate delivery to hearers who are partially deaf; and from attempts to go through a long discourse, with such a degree of hoarseness as greatly augments the labor of the lungs. Thirdly, to preserve the lungs, and give strength to the vocal powers, it is necessary to avoid those habits by which public speakers are often injured ; — such as, (1 ) Bad attitudes of study, especially of writing, which cramp the chest and obstruct the vital functions. (2) Late preparations, by which the effort of public delivery immediately succeeds the exhaustion of intense and long continued study. (3) Full meals immediately before, and stimulating drinks immediately before or after speaking. (4) Inhaling cold air by conversation, and sudden change of temperature, when the lungs are heated by speaking. There is one general precaution, I may add, that QUANTITY. Ill comprises and in some measure supersedes all others on this subject, namely, that strength of the vocal powers is to be promoted only by sustaining the general vigor of the constitution. The fatal prevalence of pulmonary disease, among literary men, especially ministers of the gospel, is commonly ascribed to their peculiar labors in public speaking. But with much more reason might it be as- cribed, chiefly, to their habits as men of study. The gen- eral intelligence and spirit of the age render high acquisi- tions and efforts indispensable, in order to distinguished use- fulness. Years of preparatory study, devoted to intense reading and thought, often impair the tone of health, so that the superaddition of professional exertions soon fin- ishes the work of prostration. The young preacher, of ardent feelings, is eminently in danger of falling an early victim to the combined influence of these causes. Be- sides the weekly composition of sermons, a labor that has no parallel in any other profession, an accumulation of pastoral duties, new, and vast in importance, presses him down from day to day, till he sinks, under this load of du- ties, into the grave ; or drags on the precarious existence of an invalid, with broken lungs, and emaciated frame. Now the case is summed up in a few words. The public speaker needs a powerful voice. The quantity of voice which he can employ, at least, can employ with safe- ty, depends on his strength of lungs ; and this again de- pends on a sound state of general health. If he neglects this, all other precautions will be useless."* * The foregoing suggestions on strength of voice, are only an out: line of the more particular and extended illustration given to this part of the subject in my Lectures on Delivery. 1 12 QUANTITY. So much for this part of rhetorical modulation, in which a just quantity requires, that the impulse or momentum of voice be accommodated to sentiment, from the whisper of the fire-side, designed only for one hearer, to the thun- der of Bridaine, addressing his ten thousand. But besides strong and feeble tones, as belonging to quantity, it includes also a proper regard to lime. This respects single words, clauses and sentences. No varie- ty of tones could produce the thrilling effects of music, if every note were a semibreve. So in elocution, if every word and syllable were uttered with the same length, the uniformity would be as intolerable as the worst monotony. This is illustrated in the line, which Pope framed purpose- ly, to represent a heavy movement ; — And ten low words oft creep in one dull line. The quantity demanded on each of these monosyllabic words, renders fluency in pronunciation quite impractica- ble. On the other hand, in a line of poetry, which has a regular return of accent on every second or third syllable, we find a metrical pronunciation, so spontaneously adopt- ed, as often to require much caution, not to sacrifice sense to harmony. Some, I am aware, maintain the theory that prose, in order to be well delivered, must be reduced, mentally at least, into feet. But he must be little less than a magician, who can break into the measure of pros- ody such a sentence as this ; — " The Trinity is a mystery which we unhesitatingly believe the truth of, and with hu- mility adore the depth of." The easy flow of delivery requires that particles, and subordinate syllables, should be touched as lightly as is (QUANTITY. 113 consistent with distinctness ; while both sentiment and harmony demand, that the voice should throw an increase of quantity upon important words by resting on them, or by swell and protraction of sound, or both. Thus while pitch relates only to the variety of notes, as high or low, that of quantity is twofold ; namely, the variety of impulse, as loud or soft, and the variety of time, as quick or slow. The martial music of the drum has no change of notes, as to tune, being dependent wholly on quantity ; and there- fore has much less vivacity than the fife which combines the varieties of tune and impulse, as well as time. The amount of all these remarks is, that he whose voice ha- bitually prolongs short syllables, and such words as and, from, to, the, he. must be a heavy speaker. But time in elocution, has a larger application than that which respects words and clauses, 1 mean that which respects the general rate of delivery. In this case, it is not practicable, as in music, nor perhaps desirable, to es- tablish a fixed standard, to which every reader or speak- er shall conform. The habits of different men may differ considerably in rate of utterance, without being chargea- ble with fault. But 1 refer rather to the difference which emotion will produce, in the rate of the same individual. I have 'said before, that those passions whicli quicken or retard a man's step in walking, will produce a similar ef- fect on his voice in speaking. Narration is equable and flowing ; vehemence, firm and accelerated ; anger and joy, rapid. Whereas dignity, authority, sublimity, awe, — assume deeper tones, and a slower movement. Ac- cordingly we sometimes hear a good reader or speaker, when there is some sudden turn of thought, check himself 10* 114 RHETORICAL PAUSE. in the full current of utterance, and give indescribable power to a sentence, or part of a sentence, by dropping his voice, and adopting a slow, full pronunciation. Sect. 5. — Rhetorical Pause. This has a very intimate relation to the subject of the foregoing section. As quantity in music, may consist partly of rests, so it is in elocution. A suspension of the voice, of proper length, and at proper intervals, is so in- dispensable, that, without this, sentiment cannot be expres- sed impressively, nor even intelligibly, by oral language. In delivery indeed, these suspensions of sound are ac- companied by other and surer marks of their signifi- cance, than mere time ; as the whole doctrine of vocal in- flections implies. They are combined with appropriate notes of the voice, which declare at the instant, whether the sense is to be continued in the same sentence ; — when the sentence is declarative, and when interrogative; when it is finished ; and in general, whether it expresses sim- ple thought, or thought modified by emotion. According- ly, rhetorical punctuation has a (ew marks of its own, as the point of interrogation, and of admiration, the parenthe- sis, and the hyphen, all of which denote no grammatical relation, and have no established length. And there is no good reason, if such marks are used at all, why they should not be rendered more adequate to their purpose. The interrogative mark, for example, is used to de- note, not length of pause, but appropriate modification of voice, at the end of a question. But it happens that this one mark, as now used, represents two things, that are RHETORICAL PAUSE. 115 exactly contrary to each other. When the child is taught, as he still is in many schools, to raise his voice in finish- ing a question, he finds it easy to do so in a case like this, — " Will you go to-day ?"—-" Are they Hebrews V But when he comes to the indirect question, not answered by yes, or no, his instinct rebels against the rule, and he spon- taneously reads with the falling slide, — " Why are you silent? Why do you prevaricateV Now, in this latter case, if the usual mark of interrogation were inverted (<;) when its office is to turn the voice downward, it would be discriminating and significant of its design. Nor would this discrimination require rhetorical skill in a printer. It would give him far less difficulty, than to learn the gram- matical use of the semicolon. The same remarks apply to the note of exclamation. As to the adjustment of pauses, to allow the speaker opportunity for drawing his breath, the difficulty seems to have been much overrated by writers and teachers. From my own experience and observation, 1 am inclined to think that no directions are needed on this point, and that the surest way to make even the youngest pupil breathe at the proper time, is to let him alone. For the sake of those who feel any apprehension on this subject, it may be proper to say, that the opportuni- ties for taking breath in the common current of delivery, are much more frequent than one might suppose, who has not attended to this matter. There is no grammatical re- lation of words so close, as utterly to refuse a pause be- tween them, except the article and noun, the preposition and noun, and the adjective and noun in their natural or- der. « 116 RHETORICAL PAUSE. Supposing the student to be already familiar with the common doctrine of punctuation, it is not my design to discuss ii here ; nor even to dwell upon the distinction be- tween grammatical and rhetorical pauses. All that is necessary, is to remark distinctly, that visible punctuation cannot be regarded as a perfect guide to quantity, any more than to inflections. Often the voice must rest where no pause is allowed in grammar; especially does this hap- pen, when the speaker would fix attention on a single word, that stands as immediate nominative to a verb. A few examples may make this evident. Industry is tho guardian of innocence. Prosperity gains friends, adversity tries them. Some place the bliss in action, some in ease ; Those call it pleasure, and contentment these. Mirth I consider as an act, cheerfulness as a habit of the mind. Mirth is short and transient, cheerfulness fixed and permanent. Mirth is like a flash of lightning, that glitters for a moment ; cheer- fulness keeps up a kind of day-light in the mind. Here the words in Italic take no visible pause after them, without violence to grammatical relation. But the ear demands a pause after each of these words, which no good reader will fail to observe. The same principle extends to the* length of pauses. The comma, when it simply marks grammatical relation, is very short, as " He took with him Peter, and James, and John, his disciples." But when the comma is used in language of emotion, though it is the same pause to the eye, it may suspend the voice much longer than in the RHETORICAL PAUSE. 117 former case ; as in the solemn and deliberate call to at- tention ; — " Men, brethren, and fathers, hearken."* This leads me to the chief point, which I had in view under this head, the emphatic pause. Garrick employed this on the stage, and Whitefield in the pulpit, with great effect. It occurs sometimes before, but commonly after a striking thought is uttered, which the speaker thus presents to the hearers, as worthy of special attention, and which he seems confidently to expect, will command as- sent, and be fixed in the memory, by a moment of unin- terrupted reflection. More commonly such a thought as admits the emphatic pause, drops the voice to a grave under-key, in the manner described at the close of the last article. Sometimes it breaks out in the figure of in- terrogation, with a higher note, and the eye fixed on some single hearer. To produce its proper effect, it must spring from such reality of feeling as defies all cold imita- tion ; and this feeling never fails to produce, while the voice is suspended on the emphatic pause, a correspon- dent significance of expression in the countenance. There is still another pause, so important in delivery, as to deserve a brief notice ; I mean that with which a * The rhetorical pause is as appropriate in music as in elocution. In this respect a skilful composer always conforms to sentiment, in a set piece. In metrical psalmody, though this adaptation cannot be made by the writer of tho tune, it ought to be made ill some good degree, by the performers. Instead of a tame subserviency to arbitrary quantity, they may often, with powerful effect, insert or omit a pause, as sentiment demands. I have scarcely ever felt the influence of music more, than in one or two cases where the stanzas, being highly rhetorical, were divided only by a comma, and the choir spontaneously rushed over the musical pause at the end of the tune, and began it anew, from the impulse of emotion. See example, Watts, Book I, Hymn 3 : G and 7 — 8 and 9 stanzas, 118 RHETORICAL PAUSE. good speaker marks the close of a. paragraph, or division of a discourse. The attempt to keep up an assembly to one pitch of interest, and that by one unremitted strain of address, is a great mistake, though a very common one, as it respects both the composition and the delivery of a discourse. It results from principles with which every public speaker ought to be acquainted, that high excite- ment cannot be sustained for a long time. He who has skill enough to kindle in his hearers, the same glow which animates himself, while he exhibits some vivid argument or illustration, will suffer them to relax, when he has fin- ished that topic ; and will enter on a new one, with a more familiar tone of voice, and after such a pause, as prepares them to accompany him with renewed satisfaction. It may be remarked in passing, that when the voice has outrun itself, and reached too high a pitch, one of these paragraph-rests affords the best opportunity to re- sume the proper key. 24] Sect. G. — Compass of voice. It may be thought that what has been said already, concerning high and low notes, is sufficient, on this part of modulation. My remarks on pitch, however, related chiefly to the predominant note which one employs in a given case ; whereas I now refer to the range of notes, above and below this governing or natural key, which is required by a spirited and diversified delivery. Sometimes from inveterate habit, and sometimes from incapacity of the organs, the voice has a strong, clear bot- COMPASS OF VOICE. 119 torn, without any compass upwards. In other cases, it has a good top, but no compass below its key. Extreme instances to the contrary there may be, but commonly, I have no doubt that when a speaker uses only a note or two, above and below the key, it arises from habit, and not from organic defect. Few indeed have, or could by any means acquire, the versatility of vocal power, by which Whitefield could imitate the tones of the female or the in- fant voice, at one time, and at another, strike his hearers with awe, by the thundering note of his under key. Nor is this power essential to an interesting delivery. On the other hand, there are few, if any, who could not, by prop- er pains in cultivating the voice, give it all the compass which is requisite to grave and dignified oratory. As I cannot dwell on this point, it may be useful to say briefly, that when the voice of the young speaker is found to be wanting in compass, I would advise him, in the first place, to try an experiment, similar to that which was suggested, p. 107, for increasing strength or loudness of sound, without change of key. Suppose he takes the same line ; O, you hard hearts, you cruel men of Rome ! and reads it first on the lowest note, on which he can ar- ticulate. Then let him repeat it a note higher, and so on, till he reaches the highest note of his voice. His com- pass being ascertained, by such an experiment, on a few words, he may then practise reading passages of some length, on that part of his voice which he especially wish- es to improve ; taking care, in this more protracted exer- cise, not to pitch on the extreme note of his voice, either 120 TRANSITION. way, so far as to preclude some variety above or below, to correspond with natural delivery. In the second place, I would advise him to read pas- sages where the sentiment and style are specially adapted to the purpose he has in view. If he wishes to cultivate the bottom of his voice, selections from narrative or didac- tic composition may be made, which will allow him to be- gin a new sentence, in a note nearly as low, as that in which he finished the preceding. Or he may take passages of poetry, in which the simile occurs, a figure that generally requires a low and equable movement of voice. If he wishes to increase his compass on the higher notes, let him choose passages in which spirited emotion prevails ; especially such as have a succession of interrog- ative sentences. These will incline the voice, spontane- ously, to adopt those elevated tones on which he wishes to cultivate its strength. Instead of giving examples here to illustrate these principles, I refer the reader to Exercises, [24] where a few selections are made for this purpose. 25] Sect. 7. — Transition. By this I mean those sudden changes of voice which often occur in delivery. This article, and those which fol- low upon modulation, are chiefly intended to combine and apply the principles of the preceding sections. The whole object is, to elucidate that one, standing law of de- livery, that vocal tones should correspond, in variety, with sentiment ; in contradistinction from monotony, and from that variety which is either accidental or mechanical. In TRANSITION. 121 this spontaneous coincidence, by which the voice changes its elevation, rate, strength, he. in conformity with emo- tion, consists that excellence which is universally felt and admired, in the manner of a good speaker. To designate these changes, besides the rhetorical marks already employed to denote inflection, it will be necessary to adopt several new ones ; and the following may answer the purpose ; signifying that the voice is to be modified, in reading what follows the marks respec- tively thus : ( ° ) "igh. ( o ) low. (°°) high and loud. ( C o) l° vv and loud. ( •• ) slow. ( || ) rhetorical pause. ( — ) plaintive. In respect to the five first, when one of them occurs, it must be left to the reader's taste to determine how far its influence extends in what follows. In respect to this mark ( •• } it may be used to signify a considerable pro- traction of sound on that syllable, which precedes it, and then it will be inserted in the course of the line, without brackets. EXAMPLES. j Heaven and earth will witness, If Rome •• must •• fall •• that we are innocent. Thus these two, Imparadis'd in one another's arms, The happier Eden, shall enjoy -while I to hell •• am thrust. When the same mark is designed to signify that a pas- sage is to be uttered with a slow rate, it will be inserted thus ( •• ) where that passage begins, — the extent of its in- fluence being left to the reader's taste ; or it may be com- 11 122 TRANSITION. bined with another mark, thus, ( q ) which would signify low and slow. I beg leave to add, that as the utility of this notation may be doubted by some, and as I am not sanguine re- specting it myself, it is suggested only as an experiment, on a most difficult branch of elocution. If applied with judgment, it may be useful ; and it will at least be harm- less to those who choose to pass it by.* I proceed now to explain myself more fully on the subject of vocal transition, admonishing the reader, that, in the examples, and in the Exercises, a word in Italic has the common emphasis, while small capitals are occasion- ally used to denote a still more intensive stress. Any one' who has a good command of his voice, can use it with a higher or lower, a stronger or feebler note, at pleasure. This distinction is perfectly made, (as I have said before,) even by a child, in speaking to one who is near, and to one who is distant. In rhetorical reading, when we pass from simple narrative to direct address, especially when the address is to distant persons, a cor- respondent transition of voice is demanded. Many ex- amples of this sort may be found in the Paradise Lost, from which the following are selected : The cherubim, Forth issuing at the accustorn'd hour, stood amid To their night watches, in warlike parade, When Gabriel to his next in power thus spake : (°°) Uzziel ! |) half these draw off, and coast the south, With strictest watch ; — these other, || wheel the north Our circuit meets full west. 1 Since the first edition was published, I havo become satisfied that no part of the book is more adapted to bo useful than this. TRANSITION. 123 Every reader of taste will perceive, that the three last lines, in this case, must be spoken in a much bolder and higher voice than the preceding. Another fine example may be seen in the sublime description of Satan, which ends with a speech to his as- sociates, full of authority and reprehension. It is so long, that I shall give only parts of it, sufficient to show the transition. ( -)He scarce had ceas'd, when the superior fiend Was moving tow'rd the shore ; his pond'rous shield, Ethereal temper, massy, large, and round, Behind him cast ; the broad circumference Hung on his shoulders like the moon. -on the beach Of that inflamed sea he stood, || and call'd His legions, angel forms ; He call'd so loud that all the hollow deep Of hell •■ resounded. (°°) Princes,— Potentates, Wa'rriors ! || the flower of heaven, once yours, now Idst •• If such astonishment as this can seize Eternal spirits. Here again, where the thought changes, from descrip- tion to vehement address, to continue the voice in the simple tones of narrative, would be intolerably tame. It should rise to a higher and firmer utterance, on the pas- sage beginning with, " Princes, — Potentates" he. In these cases, the change required consists chiefly in key and quantity. But there are other cases, in which these may be included, while the change consists also in the qualities of the voice. 124 TRANSITION. It was remarked [10] p. 54, that tender emotions, such as pity and grief, incline the voice to gentle tones, and the rising slide ; while emotions of joy, sublimity, au- thority, &tc. conform the tones to their own character res- pectively. It is where this difference of emotion occurs in the same connexion, that the change I have mentioned in the quality of voice, is demanded, analogous to the difference between plaintive and spirited expression, or piano and forte, in music. To illustrate this I select two stanzas from a hymn of Watts, and two from a psalm ; one being pathetic and reverential, the other animated and lively. These stanzas I arrange alternately, so as to ex- hibit the alternation of voice required by sentiment.* (°) Alas ! and did my Savior bleed ? And did my Sovereign die ? Would he devote that sacred head. For such a worm as '1 ? (°°) Joy to the world ! — the Lord is come ! Let earth rcctive her King ; Let every heurt prepare him room, And heav'n and nature sing. (°) Was it for crimes that / had done, He groan 'd upon the tree ? Ama» zing pity ! grace unknown ! And love || beyond degree ! (°°) Jdy to the earth ! the Savior reigns ! Let men thtir songs employ ; While fields and flo6ds, rucks, bills, and plains. Repeat the sounding joy. * In the first and third, tho voice should be plaintive and soft, as well as high. EXPRESSION. 125 In the following example, we see Satan lamenting his loss of heaven, and then in the dignity of a fell despair, invoking the infernal world. In reading this, when the apostrophe changes, the voice should drop from the tones of lamentation which are high and soft, to those which are deep and strong, on the words, " Hail, horrors," &c. (°) Is this the region, this the soil, the cilme, Said then the lost archangel, this the seat, That we must change for heav'n ? This mournful gloom [| For that celestial light ? Farewell, happy fields, Where joy forever dwells. ( 00 ) Hail, horrors ! HaiL, Infernal world ! And thou, •• proj bundest hell, •• Receive thy new possessor ! one who brings A mind, not to be changed by place or time. 26] Sect. 8. — Expression. This term I use, in rather a limited sense, to denote the proper influence of reverential and pathetic sentiment on the voice. A partial illustration of this has been given in the foregoing section, but its importance calls for some additional remarks. There is a modification of voice, which accompanies awakened sensibility of soul, that is more easily felt than described ; and this constitutes the unction of delivery. Without this, thoughts that should impress, attract, or soothe the mind, often become repulsive. I have heard the language of our Lord, at the institution of the sacra- mental supper, read with just those falling slides on a high 11* 126 EXPRESSION. note, which belong to the careless, colloquial tones of familiar conversation, thus ; " Take, eat ; — this is my body." Even the Lord's prayer, I have sometimes beard read with the same irreverent familiarity of manner. This offence against propriety, becomes still more violent, when the sentiment is not only solemn but pathetic, requir that correspondent quality of voice, to which I have re- peatedly alluded. Should I attempt fully to explain the principles on which this pathetic quality of the voice depends, it would lead us into a somewhat extended view of the philosophy of emotion, as connected with modulation of speaking tones. A few remarks, however, must suffice. The fact cannot have escaped common observation, that sorrow, and its kindred passions, when carried to a high pitch, suspend the voice entirely. In a lower de- gree, they give it a slender and tremulous utterance. Thus Aaron, when informed that his two sons were smit- ten dead, by a stroke of divine vengeance, " held his peace." The emotions of his heart were too deep to find utterance in words. The highest passion of this sort, is expressed by silence; and when so far moderated, as to admit of words, it speaks only in abrupt fragments of sen- tences. Hence it is that all artificial imitation, in this case, is commonly so unlike the reality. It leads to met- aphors, to amplification and embellishment, in language, and to either vociferation or whining in utterance. Wiicre- as the real passion intended to be imitated, if it speaks at all, speaks without ornament, in few words, and in tones that are a perfect contrast to those of declamation. This dis- tinction arises from those laws of the human mind, by EXPRESSION. 127 which internal emotion is connected with its external signs. A groan or a shriek is instantly understood, as a language extorted by distress, a language which no art can counterfeit, and which conveys a meaning that words are utterly inadequate to express. The heart, that is burst- ing with grief, feels the sympathy that speaks in a silent grasp of the hand, in tears, or in gentle tones of voice ; while it is shocked at the cold commiseration that utters itself in many words, firmly and formally pronounced. If these views are correct, passion has its own appro- priate language; and this, so far as the voice is concern- ed, (for I cannot here consider looks and gesture,) is what I mean by expression. That this may be cultivated by the efforts of art, to some extent, is evident from the skill which actors have sometimes attained, in dramatic exhi- bition ; a skill to which one of the fraternity alluded, in his remark to a dignitary of the church, the cutting sever- ity of which consists in the truth it contains; " We speak of fictions as if they were realities ; you speak of realities as if they were fictions." But the dignity of real elo- quence, and peculiarly of sacred eloquence, disclaims all artifice ; and the sensibility which would be requisite to render imitation successful, would at the same time ren- der it needless ; for why should one aim to counterfeit that, of which he possesses the reality ? The fact however, is, that the indescribable power communicated to the voice by a delicate sensibility, espe- cially a Christian sensibility, it is quite beyond the reach of art to imitate. It depends on the vivid excitement of real feeling ; and, in Christian oratory, implies that ex- pansion and elevation of the soul, which arise only from 128 REPRESENTATION. a just feeling of religious truth. The man whose tempera- ment is so phlegmatic, that he cannot kindle with emotion, at least with such degree of emotion as will shew itself in his countenance and voice, may be useful in some depart- ments of learning, but the decision of his Creator is stamp- ed upon him, that he was not made for a public speak- er.* 27] Sect. 9. — Representation. This takes place when one voice personates two in- dividuals or more. It seems necessary to dwell a little on this branch of modulation, which has scarcely been noticed by writers on oratory. Every one must have ob- served how much more interesting is an exhibition of men, as living agents, than of things in the abstract. Now when the orator introduces another man as speaking, he either informs us what that man said, in the third person ; or presents him to us as spoken to, in the second person, and as speaking himself, in the first. So far as the prin- ciples of style are concerned, the difference between the two methods, in point of vivacity, is easily explained. The former is mere description, the latter is representation. A cold narrator would have said that Verres was guilty of flagrant cruelty, in scourging a man who declared himself to be a Roman citizen. But Cicero shows us the man " In regard to the preacher, these obstacles from mental tem- perament, are rendered more certainly fatal to success in delivery, if combined with a system of belief, or a state of religious feeling, go phlegmatic as to suppress, rather than awaken, his spiritual .en- ergies. REPRESENTATION. 129 writhing under the lash of the bloody Praetor, and exclaim- ing ; " I am a Roman citizen." A thousand examples are at hand, to show the differ- ence between telling us what was said by another man, and introducing that man to speak to us himself. "The wise men said that they had seen his star in the east, and had come to worship him," — is narrative. " We have seen his star in the east, and are come to worship him," is representation. " Jesus told Peter that he should deny him thrice," is narrative. " Jesus said, Peter, thou shalt deny me thrice," is representation. The difference be- tween these two modes of communication it is the prov- ince of taste to feel, but of criticism to explain. Let us then analyze a simple thought, as expressed in these two forms ; " Jesus inquired of Simon, the son of Jonas, whether he loved him." " Jesus said, Simon, Son of Jo- nas, lovest thou me ?" The difference in point of vivaci- ty is instantly perceived, but in what does this difference consist ? In two things. The first' manner throws verbs into past time, and pronouns into the third person, pro- ducing, in the latter especially, an indefiniteness of gram- matical relation, which is unfriendly to the clearness and vivacity of language. At the same time the energy aris- ing from the vocative case, from the figure of tense, and of interrogation, is sacrificed. As a principle of composi- tion, though commonly overlooked, this goes far to ex- plain the difference between the tame and the vivid in style. But the same difference is still more striking when analyzed by the principles of delivery. Transform an an- imated question into a mere statement of the fact, that 130 REPRESENTATION. such a question was asked, and all the intonations of voice are changed, so that you do not seem to hear a real per- son speaking, but are only told that he did speak. This change in expression of voice will be apparent in repeat- ing the two forms of the example last quoted. Doubtless most readers of the New Testament have felt the spirit with which the Evangelist relates an interview between the Jewish priests, and John the Baptist. Omitting the few clauses of narrative, it is a dialogue, thus ; Priests ; — Who art thou ? John ; — I am not the Christ. Priests ; — What then ? art thou Elfas ? John ; — I am not. Priests ; — Art thou that prophet ? John ; — No. Priests ; — Who art thou ? — that we may give an an- swer to them that sent us. What sayest thou of thyself? John ; — I am the voice of one crying in the wilder- ness, — Make straight the way of the Lord, as said the prophet Esaias. Priests ; — Why baprizest thou then, if thou be not that Christ, or Elfas, neither that prophet? John; — 1 baptize with water ; but there standeth one among you, whom ye know not ; &c. The reader will perceive by turning to the passage in the Evangelist John, 1: 19, — and repeating it as it stands there, that, not only must the same voice ask the questions, with a higher note, and give the answers, with a lower ; but also must distin- guish the intermingled clauses of narrative, from the dia- logue. Now all these thoughts might be intelligibly expressed REPRESENTATION. 131 in the language of description, by the very common pro- cess of changing the pronouns into the third person, and the verbs into the third person of the past tense, and, of course, transforming all the interlocutory tones, into those of narrative. But where would be the variety and spirit of the passage ? It would scarcely retain even a dull re- semblance of its present form. It is by just this sort of transformation, that reporters of debates in legislative bodies, so often contrive to divest a speech of half its interest, if they do not grossly obscure its meaning. As I wish to be understood, I will give a specimen of this kind, where the orator is described as proceeding thus ; " He said that the remarks of the hon- orable member, whether so intended by him or not, were of a very injurious character. If not aimed at him per- sonally, they were adapted to cast suspicion, at least, on his motives. And he asked if any gentleman, in his mo- ments of cool reflection, would blame him, if he stood forth, the guardian of his own reputation." Now let the narrator keep in his own province, and merely state the thing as it was, — and the difference is seen at once. The orator speaks in the first person ; " I say that the remarks of the honorable member, whether so intended by him or not, are of a very injurious charac- ter. If not aimed at me, personally, they are adapted to cast suspicion, at least, on my motives. And I ask, will any gentleman, in his moments of cool reflection, blame me, if I stand forth, the guardian of my own reputation ?" Here, if any one will analyze the language, in both cases, he will see that, in the former, verbs are accommodated to past time, and pronouns are all thrown into the third 132 REPRESENTATION. person, though belonging to different antecedents 5 and thus the reporter's pen spreads ambiguity and weakness over a thought, as the torpedo benumbs what it touches. So in sacred oratory, it is a common thing, that a pas- sage from the Bible, which would speak to the heart, with its own proper authority and energy, if the preacher had simply cited it as the word of God ; is transmuted into comparative insignificance, by the process of quotation. The reader will perceive, that the principle which I here aim to illustrate, though it belongs primarily to the philosophy of style, has a very extensive influence over every department of delivery. The man who feels the inspiration of true eloquence, will find some of his happiest resources in what I here call representation. He can break through the trammels of a tame, inanimate address. He can ask questions, and an- swer them ; can personate an accuser and a respondent ; can suppose himself accused or interrogated, and give his replies. He can call up the absent or the dead, and make them speak through his lips. The skill of represent- ing two or more persons, by appropriate management of language and voice, may properly be called rhetorical dia- logue. It was thus that the great orators of antiquity, and thus that Chrysostom and Massillon held their hearers in captivity. 1 will only add, that when a writer, in the act of com- position, finds himself perplexed with clashing pronouns of the third person ; — or when he is at a loss, whether part or the whole of a sentence, should or should not be dis- tinguished with a mark of interrogation, he should suspect in himself some aberration from the true principles of style. READING OF POETRY. 133 Sect. 10. — Reading of Poetry. Before we dismiss the general subject of this chapter, some remarks may be expected on proper management of the voice in the reading of verse. These remarks, however, must necessarily be so brief as to give only a few leading suggestions on this difficult branch of elocu- tion. I say difficult, because on the one hand, the genius of verse requires that it be pronounced with a fuller swell of the open vowels, and in a manner more melodious and flowing than prose. As the peculiar charms of poetry consist very much in delicacy of sentiment, and beauty of language, it were absurd to read it without regard to these characteristics. But on the other hand, to preserve the metrical flow of versification, and yet not impair the sense, is no easy attainment. The following general prin- ciples may be of use to the student. 1. In proportion as the sentiment of a passage is ele- vated, inspiring emotions of dignity or reverence, the voice has less variety of inflection, and is more inclined to the monotone. The grand and sublime in description, and in poetic simile; the language of adoration, and of supplica- tion, are universally distinguished, in the above respect, from familiar discourse. 2. When the sentiment of a passage is delicate and gentle, especially when it is plaintive, it inclines the voice to the rising inflection ; and for this reason, poetry oftener requires the rising inflection than prose : yet, 3. The rights of emphasis must be respected in po- etry. When the language of a passage is strong and dis- criminating, or familiarly descriptive, or colloquial, — the same modifications of voice are required as in prose. 12 134 READING OF POETRY. The emphatic stress and inflection, that must be intensive, in prose, to express a thought forcibly, are equally neces- sary in poetry. EXAMPLES. Say first, of God above, or man below, What can we reason, but from wTiat we kndio ? Is the great chain, that draws all to agree, And drawn, supports,— upheld by God or thee f Who thus define it, say they more or less Than this, — that happiness is happiness. Order is heaven's first law ; and this confest, Some are, and must be greater than the rest ; More rich, more w\se ; but who infers from hence, That such are happier , — shocks all common sense. But sometimes virtue starves, while vice is fed : What then ? — is the reward of virtue hriad f 4. The metrical accent of poetry is subordinate to sense, and to established usage in pronunciation. It is a general rule, that though the poet has violated this prin- ciple in arranging the syllables of his feet, still it should not be violated by the reader. That is a childish conform- ity to poetic measure, which we sometimes hear, as marked in the following examples. False eloquence, like the prismatic glass, Its gaudy colors spreads on every place. Again ; Their praise is still, the stylo is excellent ; The sense, they humbly take upon content. And worse still ; My soul ascends above the sky, And triumphs in her liberty. READING OF POETRY. 135 In most instances of this sort, where the metrical ac- cent would do violence to every ear of any refinement, the reader should not attempt to hide the fault of the po- et, by committing a greater one himself. There are some cases, however, in which the best way of obviating the difficulty, is to give both the metrical and the custom- ary accent ; or at least to do this so far, that neither shall be very conspicuous ; thus — Our supreme foe, in time may much relent. Of thrones and mighty seraphim prdstrdte — Encamp their legions, or with dbscure wing — I think of only two exceptions to these remarks on ac- cent. The first occurs where a distinguished poet has purposely violated harmony, to make the harshness of his line correspond with that of the thought. This Milton has effectually done, in the following example, by making the customary accent supersede the metrical. On a sudden open fly, With impetuous recoil, and jarring sound, The infernal doors \ and on their hinges grate, Harsh thunder. The other exception occurs, where a poet of the same order, without any apparent reason, has so derang- ed the customary accent, that to restore it in reading, would be a violation of euphony not to be endured ; thus — And as is duo With glory attributed to the high Creator ? Only to shine, yet scarce to contribute Each orb a glimpse of light. 136 READING OF POETRY. 5. The pauses of verse should be so managed, if pos- sible, as most fully to exhibit the sense, without sacrificing the harmony of the composition. No good reader can fail to observe the c&sural pause, occurring after the fourth syllable, in these flowing lines ! Warms in the sun || refreshes in the breeze, Glows in the stars || and blossoms in the trees. Yet no good reader would introduce the same pause, from regard to melody, where the sense utterly forbids it, as in this line ; I sit, with sad civility I read. While the ear then, in our heroic measure, commonly expects the caesura after the fourth syllable, it often de- mands its postponement to the sixth or seventh, and some- times rejects it altogether. But there is another poetical pause, namely, that which occurs at the end of the line, concerning which there has been more diversity of opinion and practice among respectable authors. The most competent judges have, indeed, very generally concurred in saying, that this pause should be observed, even in blank verse, except on the stage. Lowth, Johnson, Garrick, Kaimes, Blair, and Sheridan, were all of this opinion. Others, particularly Walker, have questioned the propriety of pausing at the end of the line, in blank verse, except where the same pause would be proper in prose. Now it seems clear to me that, (if there is any tolera- ble harmony in the measure,) even when the sense of one line runs closely into the next, the reader may, generally, mark the end of the line by a proper protraction and sus- READING OF POETRY. 137 pension of voice, on the closing syllable, — as in the fol- lowing notation ; Thus with the year •• Seasons return, but not to me returns •• Day || or the sweet approach of even or morn. And over them triumphant Death his dart-- Shook |[ but delayed to strike. -All air seemed then •• Conflicting fire ; long time in even scale The battle hung. -For now the thought Both of lost happiness and lasting pain •• Torments him. In none of these cases perhaps, would a printer insert a pause at the end of the line ; and yet there appears to be no difficulty in making one with the voice, by a mode- rate swell and protraction of sound. But there certainly are examples, and those not a {ew t in which the writers of blank verse have so amalgamated their lines by prosaic arrangement of pauses, that all attempts of the reader to distinguish these lines would be useless. Here, again,' as was said of misplaced accent, the reader must look to the sense, and let the poet be responsible for the want of musical versification. I add, in this place, a judicious remark of Walker, to whom, by the way, I am indebted for several of the fore- going illustrations. " The affectation," says he, " which most writers of blank verse have of extending the sense beyond the line, is followed by a similar affectation in the printer, who will often omit a pause at the end of a line 12* 138 READING OF POETRY. in verse, when he would have inserted one in prose ; and this affectation is still carried farther by the reader, who will run the sense of one line into another, where there is the least opportunity for doing it, in order to show that he is too sagacious to suppose that there is any conclusion in the sense, because the line concludes." In regard to rhyme, there can be no doubt that it should be so read, as to make the end of the line quite perceptible to the ear : otherwise the correspondent sound of the final syllables, in which rhyme consists, would be entirely lost. It is a strange species of trifling, therefore, which we sometimes witness in a man, who takes the trouble to adjust his rhymes, in a poetic composition, and then in reading or speaking, slurs them over with a pre- posterous hurry, and confounds them by an undiscriminat- ing utterance, so that they are necessarily unperceived by the hearers. G. I entirely concur with Walker in his remark that the vowels e and o, when apostrophized, in poetry, should be preserved in pronunciation. But they should bespok- en in a manner so slight and accelerated, as easily to coa- lesce with the following syllable. An example or two of this will require no explanation. But of the two, less dang'rous is the offence. Who durst defy th' Omnipotent to arms ? It was my intention, for the benefit of young preach- ers, to remark at some length, in this section, on the read- ing of Hymns in the pulpit. But as the foregoing obser- READING OF POETRY. 139 vations apply generally, to the reading of psalms and hymns, as well as other poetry ; it may be sufficient to give a few suggestions, on points which pertain especially to this interesting, and often very defective branch of Christian elocution. The chief object of sacred poetry as- connected with sacred music, is to inspire devotional feeling. For this purpose it has been, from the earliest ages, incorporated into the public worship of God, by his own appointment. Poetry written for the silent perusal of individuals, or adapted only to the instruction or amusement of the so- cial circle, though read unskilfully, suffers only a diminu- tion of interest, respecting a subject perhaps of momenta- ry concern. But poetry written expressly to aid the pub- lic devotions of Christians, and designed to be repeated, again and again, in their solemn assemblies, cannot be read unskilfully, without a serious loss of interest in the hearers respecting subjects in which their duty and hap- piness are involved. That discrimination of taste and sensibility, which feels the spirit of poetry, doubtless may be very defective in some men, even of elevated piety. Sometimes from this want of discrimination, and oftener still from inattention to the subject, arise the faults which I shall briefly notice. Perhaps the most comprehensive of these faults con- sists in the injudicious selection of the psalm or hymn to be read. Not a few of these compositions, in the best books that have been written or compiled, are merely nar- rative or didactic in subject, and destitute of all poetic spirit in execution. Even those of the seraphic Watts, surpassing, as they certainly do, all others in their general HO READING OF POETRY. merits, contain many passages, that are quite tolerable as to metre and rhyme, but destitute of the inspiration and soul of real poetry. There is besides, a very injurious tendency to fluctuation in our psalmody, arising from a fastidious demand for novelty, and a disposition in differ- ent Christian sects to have each its own psalm, as well as doctrine. Hence the psalms of David, as adapted by Watts to Christian worship, are in a great degree supplant- ed by various collections of hymns; and to accommodate a vagrant taste in music, many of these are hymns writ* ten in irregular and rapid measures, little suited to pro- mote the solemnity of devotional feeling. JVlany others, I know, are distinguished for pathos, and are eminently fit- ted to awaken Christian fervor, especially on account of their appropriateness to the occasions and the spirit of the age. At the same time, if I may be excused for turning aside so much as to introduce this topic, I would say, that preachers have injured the interests of psalmody by their general preference of hymns in public worship, to the psalms of the inspired poet, in the version of Watts. The strain of humble devotion, of deep penitence, of ele- vated praise, which prevails in these sacred songs, not- withstanding the defects attending the best metrical ver- sion of them which has been given to the church, ought to preserve them from falling into neglect. Some of these indeed, are too much wanting in dignity and poetic spirit, to be read in public ; but they are generally free from both the didactic and the fanciful character, of which we have so many examples in our collections of hymns. Next to want of skill in selection, is the fault of an READING OF POETRY. 141 undiscriminating, inanimate manner of reading. This consists in that measured, scanning attention to poetic ac- cent, and that undulating tone, by which the sense is made subordinate to sound. As this is a general fault in reading verse, no enlargement on it is necessary, except to add an example or two, marked according to the man- ner to be avoided. Here on my heart the burden lies, And past offences pain mine eyes. Lord, should thy judgments grow severe, I am condemn'd, but thou art clear. Thy blood can make me white as snow, No Jewish types could cleanse me so. This last stress on Jewish, though almost universally laid by readers, is an utter perversion of the sense, imply- ing that other types than Jewish might effect what they cannot. Another fault is a too prosaic manner. It is the op- posite of the foregoing, and consists in the disregard of poetic harmony. This I will exemplify only as it respects the pause at the end of the line. Come, let our voices join to raise A sacred song of solemn praise ; God is a sovereign king, rehearse His honors in exalted verse. Nor let our harden'd hearts renew The sins and plagues that Israel knew. Since they despise my rest, I swear Their feet shall never enter there. 142 READING OF POETRY. See other examples of the same sort in Watts, Psalm 96, Com. Metre, 4 and 5 verses : and Hymn 140, 2 Book, 1 verse. In cases of this sort, the reader, perhaps through af- fectation of sagacity, hastens over the end of the line, stopping just before and after it, when such stop is often quite as much against the rules of common punctuation, as to have made it at the end of the line. In the second example above, he would read thus, " Nor let our har- den'd hearts, — renew the sins, — and plagues, he. Another fault is the affectation of a rhetorical manner. It consists in want of simplicity. Perhaps the reader as- sumes a pompous or theatrical air, seeming to aim at the display of his oratorical powers. Or on the other hand, he repeats a stanza that is full of sublime or devotional sentiment, with the colloquial inflection of familiar prose. Both of these faults show, that the heart of the reader is not touched with that glow of religious feeling, which a Christian hymn ought to inspire. Indeed, so delicate and sacred is this thing, that all affectation of excellence, all effort that is apparently artificial, is intolerable. It is in this case, as it is in public prayer, and reading of the scriptures, a heart filled with reverence towards God, and warmed with the spirit of Christian devotion, is more ef- fectual than all things else, to govern aright the modula- tions of the voice. In regard to inflections in reading the stanzas of a hymn, I would suggest a caution against the very common practice of dropping the voice at the end of the second line, without regard to the connexion. Walker says that, *' With very few exceptions, it may be laid down as a rule, READING OF POETRY. 143 in reading a stanza, that the first line may end with the monotone, the second and third with the rising slide, and the last with the falling." The exceptions to this rule, or to any one that could be concisely expressed, 1 think are not " very few." When the continuity of sense through a stanza, is very close, the voice continues in the suspend- ing slide, much more than when long pauses intervene. The monotone, doubtless, should more frequently than is common, be heard at the end of a line. If some of the most rhetorical psalms were properly marked with a notation, especially so far as respects em- phasis, it might lead to a more discriminating manner in reading them. But instead of giving specimens to illus- trate my meaning here, the reader is referred to the ex- ercises, [28.] where some brief examples will be found. CHAP. VII. RHETORICAL ACTION. I use the term action, not for the whole of delivery, according to the most extensive sense given to it by the ancients ; nor yet in the most restricted modern sense, as equivalent to gesture merely ; but as including also atti- tudes, and expression of the countenance. While I shall have occasion often to refer to what has been taught in books on this subject, my chief design is to make such re- marks as have been suggested by my own observation and reflections. To what extent these remarks should be carried, in so small a treatise on delivery, is a point on which I have doubted ; and some perhaps may think that whatever is of practical importance might have been said in a briefer form. That action, which Cicero calls "sermo corporis," is an important part of oratory, is too evident to demand proof. If any one doubts this, let him ask himself, how does a great painter give reality and life to his portrait ? How do children speak . ? How do the dumb speak ? Action and attitude in these cases are the language of na- ture to express feeling and emotion. There are two extremes respecting this subject, each of which deserves a brief notice, in this place, as being at variance with common sense. RHETORICAL ACTION. 145 The first is, that which encumbers a speaker with so much technical regulation of his movements, as to mak e him an automaton. It is a great mistake to suppose that a young student, before he can commence his efforts in oratory, must commit to memory a system of rules re- specting gesticulation, just as arithmetical tables must be learned by the tyro in numbers. When a beginner in elo- cution shall be able to look at an assembly, without an un- manly flutter of spirits, and shall have acquired a good degree of ease, in the attitudes and motions of his body, then it will be time enough to rectify, one after another, the faults of his own manner, by attention to good mod- els, and correct principles of action. This I am persuad- ed should be attempted gradually, rather than all at once; for the transforming influence of practice, is essential to any useful application of precepts. And these precepts too, when given to an individual, I am fully satisfied, af- ter much observation, instead of being confined to minute directions respecting his own gesticulation, should espe- cially be adapted to instruct him in general principles. All attempts to regulate the attitudes and movements of his body, by diagrams and geometrical lines, without great skill in the teacher, will lead to an affected, mechanical manner. His habits are of prime importance. By these, good or bad, he must be governed in the act of speaking, for to think of his manner then will be the certain ruin of all simplicity. Let these habits be well formed, and be his own, so as to govern his movements spontaneously, and trust the rest to emotion. The other extreme to which I alluded, is that which condemns all precepts and all preparatory practice too, 13 146 RHETORICAL ACTION. as mischievous in their influence, because no one can learn to speak, till he comes into the real business of speaking, as his profession. On this I can make but one passing remark. Pre- paratory discipline of the faculties necessarily wants the stimulus of real business, in respect to every liberal art and valuable talent among men. Why then shall not such discipline be deemed useless in all other cases, as well as in elocution ? Why shall we not neglect to learn any thing, which relates to practical skill in a profession, till we actually enter on that profession ? I now proceed to offer my remarks on Rhetorical Ac- tion, dividing the subject into two parts. Part I. The principles of rhetorical action. The power of action consists wholly in its correspond- ence with thought and emotion ; and this correspondence arises either from nature or custom. Sect. 1. — Action as significant from nature. The body is the instrument of the soul, or the medi- um of expressing internal emotions, by external signs, The less these signs depend on the will, on usage, or on accident, the more uniform are they, and the more cer- tainly to be relied on. Expression of the countenance. The soul speaks most intelligibly, so far as visible signs are concerned, in those muscles which are the most RHETORICAL ACTION. 147 pliant and prompt to obey its dictates. These are the muscles of the face ; which spontaneously, and almost instantaneously respond to the impulse from within. An- ger, for example, shows itself in the contraction of the brow, the flash of the eye, the quivering of the lip, and the alternate paleness and crimson of the cheek. Terror is expressed by convulsive heaving of the bosom, and by hurried respiration and speech. Joy sparkles in the eye, — sorrow vents itself in tears. Now, why is it that these signs, invariably, and every where, are regarded as the stamp of reality I The rea- son is, they are not only the genuine language of emotion, but are independent of the will. A groan or shriek speaks to the ear, as the language of distress, with far more thrilling effect than words. Yet these may be counter- feited by art. Much more may common tones of voice be rendered loud or soft, high or low, at pleasure. But not so with the signs which emotion imprints on the face. Whether anger, fear, joy, — shall show themselves in the hue of my cheek, or the expression of my eye, depends not at all on my choice, any more than whether my heart shall beat, and my blood circulate. So unequivocal is this language of the passions, and so incapable of being applied to purposes of deception, that all men feel its force, instinctively and immediately. They know that the hand or the tongue, which obey the dictates of the will, may- deceive ; but the face cannot speak falsehood. I might add, that he whose soul is so destitute of emo- tion, as not to impart this expression to his countenance, or he whose acquired habits are so unfortunate, as to frus- trate this expression, whatever qualities he may possess besides, lacks one grand requisite to true eloquence. 148 RHETORICAL ACTION. If the visible signs of passion are thus invariable, so that even a child instinctively understands the smile or the frown of its nurse, it is probably no visionary theory which supposes a correspondence, to some extent, between the habits of the mind, and certain configurations in the fea- tures of the face. Every one knows the difference be- tween the cheerful aspect of innocence, the vivacity of intelligence, the charming languor of pity or grief, as im- printed on the countenance ; and the scowl of misanthro- py, the dark suspicion of guilt, the vacant stare of stupid- ity, or the haggard phrensy of despair. And it is reason- able to suppose that affections and intellectual habits, such as benevolence or malignity, cheerfulness or melancholy, deep thought or frivolity, must imprint themselves, just in proportion to their predominance, in distinct and perma- nent lines upon the face. Attitude and Mien. Here again, all distinctions, of any value, result from our knowledge of the influence which the mind has on the body. An erect attitude denotes majesty, activity, strength. It becomes the authority of a commander, the energy of a soldier in arms, and, in all cases, the dignity of conscious innocence. Adam and Eve, in the descrip- tion of Milton, on account of their noble shape and erect carriage, " seem'd lords of all." The leaning attitude, in its varieties of expression, may denote affection, re- spect, the earnestness of entreaty, the dignity of compo- sure, the listlessness of indifference, or the lassitude of disease. The air of a man too, including his general motion, RHETORICAL ACTION. 149 has its language. That peculiarity in the walk of differ- ent persons, which enables us to distinguish at a distance, one friend from another, does not of course make a cor- respondent description of character. But the meas- ured pace of the ploughman, the strut of the coxcomb, and the dignified gait of the military chief, we necessari- ly associate with a supposed difference of personal quali- ties and habits, in the individuals. Hence the queen of Olympus is represented in poetic fable, as claiming to be known by her stately carriage ; u divum incedo regina." And so Venus was known to her son, by the elegance of her motion ; " incessu patuit dea." In those parts of the body, which act frequently and visibly in the common offices of life, motion is more or less significant according to circumstances. A deaf man places his hand by his ear, in such a manner as partially to serve the purpose of a hearing trumpet. He opens his mouth, in the attitude of listening, because defective hearing is assisted by transmission of sound through a passage from the mouth to the ear. Joy approaching to rapture, gives a sparkling brillian- cy to the eye, and a sprightly activity to the limbs. We see this in a long absent child, springing to the arms of its parent; we see it in the beautiful narrative of the lame man, who had been miraculously healed, " walking, and leaping, and praising God." The head gently reclined, denotes grief or shame ; erect, — courage, firmness ; thrown back or shaken, — dis- sent; negation ; forwards — assent. The hand, raised and inverted, repels; more elevat- ed and extended, denotes surprise ; placed on the mouth, 13* 150 RHETORICAL ACTION. silence ; on the head, pain ; on the breast, affection, or an appeal to conscience; clenched, it signifies defiance. Both hands raised, with the palms united, express suppli- cation ; gently clasped, thankfulness ; wrung, agony. In most of these cases, action is significant because it is spontaneous and uniform. The mother who saw her son just shot dead, in Covent Garden, expressed her amazement by a motion of her hand, such as a thousand others would make probably without one exception, in similar circumstances. A Greek eulogist of Caesar says, " his right hand was mighty to command, which by its majestic power did quell the fierce audacity of barbarous men." " A man standing by the bed of an expiring friend, waving his hand with the palm outward, tells an officious nurse to stand back at a distance. Again the same hand beck- ons, with the palm inward, and the nurse flies to his assis- tance."* The Roman who held up the stump of his arm, from which the hand was lost in the service of his country, pleaded for his brother, with an eloquence sur- passing the power of words. And all the influence of the tribunes could not persuade the people to pass a vote of condemnation against Manlius, while he stood and si- lently stretched out his hand towards the Capitol, which his valor had saved. * Siddone. RHETORICAL ACTION. 151 Sect. 2. — Action considered as significant from custom. In this respect its meaning, like that of words, is arbi- trary, local and mutable. In Europe, respect is express- ed by uncovering the head ; in the East, by keeping it covered. In one country, the same thing is expressed by bowing, in another, by kneeling, in another, by prostration. The New-Zealander presses his nose against that of his friend, to denote what we express by a squeeze of the hand.* The European welcomes the return of a belov- ed object by an embrace ; — the Otaheitan signifies the same emotion by tearing his hair, and lacerating his body. On gestures of this description I shall say nothing more, except that they have very little concern with grave oratory. This allows nothing as becoming, that does not correspond with time and place, the age of the orator, and the elevation of the subject. It abjures mimicry and pantomime. The theatre admits of attitude and action, that would be altogether extravagant in the senate. The forum too, though much more restricted than the stage, al- lows a violence that would be unsuitable to the business of the sacred orator. Indeed, the dignity of eloquence can in no case condescend to histrionic levity. The comic actor may descend to minute imitation ; he may, for ex- ample, represent the fingers of the physician applied to the pulse of his patient, or of the musician to the strings of his instrument. But in the orator, all this is to be, as Quinctilian says, " longissime fugiendum." * Homer makes Glaucus and Diorned, two chiefs of the oppo- sing armies, shake hands, as a token of individual friendship. Iliad VI. 233. 152 RHETORICAL ACTION. Part II. — Faults of rhetorical action. Before I proceed to that cursory view of these which I propose to give, it may be useful to advert to the sour- ces from which they are derived. These are chiefly, per- sonal defects, diffidence, and imitation. Any considerable defect, original or accidental, in the conformation of the body, may injure the force or gracefulness of its movements. The walk of Achilles must have had more dignity, than the halting gait of Ther- sites. If Cicero had lost his right hand, or even the thumb or forefinger of that hand, though he would have been still the first orator of Rome, he would have been somewhat less than Cicero. Austin observes that short- ness of neck and of arms is unfavorable to oratorical ges- ture. But 1 am not aware that this remark is justified by facts, except so far as corpulence is unfriendly to agility and freedom of movement. Many defects in the action of public speakers, have their origin probably in an unmanly diffidence. When one, who has had no preparatory discipline in public speaking, rises to address a large assembly, he is appalled at the very aspect of his audience, and dares not stir a limb, lest he should commit some mistake. Before he surmounts this timidity, he is liable to fall under the do- minion of habits, from which he can never release himself. When, therefore, Walker says, " A speaker should use no more gesture than he can help," he must mean an ac- complished speaker, whose external powers spontaneously obey the impulse of his feelings. But it would be idle RHETORICAL ACTION. 153 to say that a prisoner, whose hands are pinioned by cords, should stir them no more than he can help. And it is no less idle to say this of a speaker, whose hands are pinion- ed by habit. Cut the cords that bind him, set his limbs at liberty to obey his inward emotions, and I readily ad- mit the justice of the principle. But when diffidence does not acquire such an ascendency as to suppress ac- tion, it may render it constrained and inappropriate, and in many ways frustrate its utility. The only other cause of the imperfections which I am about to notice, is imitation. This when combined with the one just mentioned, operates with an influence more powerful perhaps, than in any other case. Addison, in describing English oratory, says " We can talk of life and death in cold blood, and keep our temper, in a discourse that turns upon every thing that is dear to us." This censure he extends to the pulpit, the bar, and the senate. The fact he accounts for, partly by the charitable suppo- sition that the English are peculiarly modest ; while he allows us, if he does not oblige us, to ascribe it ultimately to a frigid national temperament. And yet, in this he seems hardly consistent ; for he adds, " Though our zeal breaks out in the finest tropes and figures, it is not able to stir a limb about us." But how can the external signs of emotion be thus in- congruous? A zeal that kindles the soul of a speaker, that bursts from his mouth in tropes, never fails to stir his limbs, unless some powerful, counteracting cause prevents. Now we have just seen that such a cause may exist, which, even in spite of emotion, will as effectually confine a man's hands, as if they were literally bound. And 154 RHETORICAL ACTION. what absurdity is there in supposing, that what was excess of modesty, in a few Englishmen of distinction, at some early period, was transferred to others, by imitation ; so that the want of gesture, of which Addison complains, be- came a national characteristic ? National habits result from individual, often by a process of ages, the effects of which are manifest, while the operation is unseen. And it is more philosophical to ascribe the fact on which I am remarking, to a public taste, formed and perpetuated by imitation, than to suppose, as is often done, a temperament singularly phlegmatic in a people, whose poets, and secu- lar orators, have unquestionably surpassed all their con- temporaries, in powers of imagination. But want of action is not the only fault that may spring from imitation. In the case of individuals, excess and awkwardness may arise from undue regard to some improper model. Cicero mentions an orator, who was distinguished for pathos, and a wry face ; and says that another who made him his pattern, imitated his distor- tion of features, but not his pathos. Special faults in one whom we mean to imitate, strike attention, because they commonly appear in the form of peculiarity. This, while it renders imitation more preposterous, renders it, at the same time, more obvious. The worst gesture of Hamil- ton has been transmitted by imitation, to this time ; and is used by some who never saw that great man, and who know nothing of his manner as a speaker. In this way, some peculiarity, that was perhaps accidental at first, may acquire ascendency in a college, and be transmitted from one generation to another of its students. In proceeding now to mention, with more particular- RHETORICAL ACTION. 155 ity, the faults of action, I shall follow the order of my previous remarks on countenance, attitude, and gesture. The eye is the only part of the face, that it falls with- in my design to notice here, both because this is the chief seat of expression, and because its significance is espe- cially liable to be frustrated by mismanagement. For rea- sons already mentioned, the intercourse of soul between speaker and hearers, is carried on more unequivocally through the eye, than in any other way. But if he neg- lects to look at them, and they in return neglect, (as they commonly will,) to look at him ; the mutual reaction of feeling through the countenance is lost ; and vocal lan- guage is all the medium of intercourse that remains.* The eye " bent on vacuity," as the artists call it, is the next most common defect, of this sort. The glass eye of a wax figure at once tells its own character. There may be in other respects, the proportion and complexion of a human face ; but that eye, the moment it is examin- ed, you perceive is nothing more, and, at best, it can be nothing more than a bungling counterfeit. So the eye of a speaker may be open, and yet not see ; at least there may be no discrimination, no meaning in its look. It * The reader will please to observe that, in the following pages, such remarks as apply solely or peculiarly to the ■pulpit, are given in the notes. It falls not within my design here, to inquire how far the preva- lent practice of reading sermons ought to be dispensed with. But it is plainly absurd to speak of expression in a preacher's eye, while it is fixed on a manuscript. Nearly the same infelicity, and on some accounts a greater one, attends the rapid, dodging cast of the eye from the notes to the hearers, and back again ; implying a servile dependence on what is written, even in repeating the most familiar declarations of the Bible. And this infelicity is still aggravated by such a position of the manuscript, as to require the eye to be turned directly downward in looking at it. 156 - RHETORICAL ACTION. does not look at any thing. There is in its expression, a generality, a vacuity, so to speak, that expresses nothing- To the same class belongs that indefinite sweep of the eye, which passes from one side to another of an assem- bly, resting no where ; and that tremulous, waving cast of the eye, and winking of the eyelid, which is in direct con- trast to an open, collected, manly expression of the face.* So fatal are these faults to the impression of delivery, that too much care cannot be taken to avoid them. Attitude I use, not in the theatrical sense of the word, (for this has no concern with oratory,) but as denoting the general positions of the body, which are becoming or oth- erwise in a speaker. In some few instances I have ob- served the head to be kept so erect, as to give the air of haughtiness. In others, it is dropped so low, that the man seems to be carelessly surveying his own person. In oth- ers it is reclined towards one shoulder, so as to give the appearance of languor or indolence. f As to the degree of motion that is proper for the body, it may be safely said, that while the fixedness of a post is an extreme, all violent tossing of the body from side to side, rising on the toes, or writhing of the shoulders and limbs, are not less unseemly. * Hero again the habit acquired by some preachers, from closely reading their sermons, is such, that when they raise their eye from the paper, they fix it on the floor of the aisle, or on a post or pannel, to avoid a direct look at their hearers. t There is often something characteristic in the air with which a preacher enters a church, ascends the pulpit, and rises in it to address an assembly. If he assumes the gracefulness of a fine gen- tleman, as if he wero practising the lessons of an assembly room, ev- ery hearer of discernment will see that his object is to exhibit him- RHETORICAL ACTION. 157 The remarks which come next to be made on gesture, are more various.* One principal fault which I have noticed in this, is want of appropriateness. By this I mean that it is not suffi- ciently adapted to circumstances. An address to an as- sembly of common men, admits a boldness of action, that would be unseemly in one delivered to a prince. f self, and will be offended at so gross a want of that seriousness which becomes his sacred office. In minor points, — what constitutes decorum depends not on philosophy nor accident, but on custom. From real or affected carelessness on such points, the preacher may fix on some trivial circumstance, that attention of his hearers, which should be devot- ed to greater things. He may do this, for example, by standing much too high, or too low in the pulpit; by rising, as in the act of commencing his sermon, before the singing is closed ; or delay- ing for so long an interval, as to excite apprehension that something has befallen him; by an awkward holding his Psalm book, or es- pecially his Bible, with one side hanging down or doubled back- wards ; — by drawing his hands behind him, or thrusting them into his clothes. In these things, as in all others, connected with the worship of God, it is the province of good sense to avoid peculiarity in trifles. * The prevailing taste in our own country, like that of England, has been to employ but little action in the pulpit. Whitefield, in the last century, broke through the trammels of custom, in a bold- ness and variety of action, bordering on that of the stage. But his gesture, like his elocution, was far from the declamatory. Hig hand had scarcely less authority than Csesar's ; and the movement even of his finger gave an electric thrill to the bosoms of his hear- ers. Massillon's action was less diversified, and less powerful, though more refined, as was the general character of his eloquence. t On this principle it is, that gesture is felt to bo so unseason- able in personating God, and in addresses made to him. When we introduce him as speaking to man, or when we speak of his adorablo perfections, or to him in prayer, the sentiments inspired demand composure and reverence of manner. Good taste then can never ap- prove the stretching upward of the hands at full length, in the man- ner of Whitefield, at the commencement of prayer; nor the frown- ing aspect and the repelling movement of the hand, with which ma- ny°utter the sentence of the final Judge, " Depart, ye cursed," &c. 14 158 RHETORICAL ACTION. More vivacity and variety is admissible in the action of a young speaker, than of one who is aged; and the same boldness of manner which is proper when the orator is kindled to a glowing fervor, in the close of a discourse, would be out of place at its commencement. Yet the same action is used by some speakers, in the exordium as in the conclusion — in cool argument to the understanding, as in impassioned appeals to the heart. Good sense will lead a man, as Quinctilian says, " To act as well as to speak in a different manner, to different persons, at different times, and on different subjects." Nearly of the same class is another kind of faults, arising from want of discrimination. Of this sort is that puerile imitation which consists in acting words, instead of thoughts. The declaimer can never utter the word heart, without laying his hand on his breast; nor speak of God or heaven, in the most incidental manner, without directing his eye and his gesture upwards. Let the same principle be carried out, in repeating the prophet's descrip- tion of true fasting ; " It is not for a man to bow down his head as a bulrush," &tc. — and every one would see that to conform the gesture to the words, is but childish mimicry. This false taste has been reprobated even on the stage, as in the following passage from Hamlet. — Why should the poor bo flatter'd ? No, let the candied tongue lick absurd pomp ; And crook the pregnant hinges of the knee, When thrift may follow fawning. -Givo me the man, That is not passion's slave.- RHETORICAL ACTION. 1 59 A certain actor, in repeating these lines, bent the knee, and kissed the hand, instead of assuming, as he ought, the firm attitude and indignant look, proper to express Hamlet's contempt for a cringing parasite. But it is still more absurd, in grave delivery, to regard mere phraseol- ogy instead of sentiment and emotion. There is no case in which this want of discrimination oftener occurs, than in a class of words denoting some- times numerical, and sometimes local extent, accompanied by the spreading of both hands ; the significance of this gesture being destroyed by misapplication. The follow- ing examples may illustrate my meaning. Exam. 1. " The goodness of God is the source of all our blessings." The declaimer, when he utters the word God, raises his eye and his right hand ; and when he utters the word all, extends both hands. Now the lat- ter action confounds two things, that are very distinct, num- ber and space. When I recount all the blessings of my life, they are very many ; but why should I spread my hands, to denote a multiplicity that is merely numerical and successive ? when the thought has no concern with lo- cal dimensions any more than in this case : "All the days of Methuselah were nine hundred and sixty years." Exam. 2. " All the actions of our lives will be brought into judgment." Here again, the thought is that of arith- metical succession, not of local extent; and if any gesture is demanded, it is not the spreading of both hands. Exam. 3. " I bring you glad tidings of great joy, which shall be to all people." Here the local extent which belongs to the thought, is properly expressed by action of both hands. 160 RHETORICAL ACTION. If there is language in action, it requires propriety and precision. The indiscriminate movement of the hands signifies nothing. Want of emphasis in this language is a great, but common fault. When the speaker, however, has an emphatic stroke of the hand, its effect is lost if that stroke does not accompany the emphasis of the voice ; that is, if it falls one syllable after the stress of voice, or if it is disproportionate in force to that stress, in the same degree its meaning is impaired. The direction of the hand too, in which the emphatic stroke terminates, is sig- nificant. The elevated termination suits high passion ; the horizontal, decision ; the downward, disapprobation. And any of these may denote definite designation of par- ticular objects. Another fault of action is excess. In some cases it is too constant. To enter on a discourse with passionate exclamations and high wrought figures, while the speaker and audience are both cool, is not more absurd than to begin with continual gesticulation. No man probably ev- er carried the language of action to so high a pitch as Gar- rick. Yet Dr. Gregory says of this great dramatic speak- er; " He used less action than any performer I ever saw ; but his action always had meaning; it always spoke. By being less than that of other actors, it had the greater force." But if constant action has too much levity, even for the stage, what shall we say of that man's taste, who, in speaking on a subject of serious importance, can scarce- ly utter a sentence without extending his hands. " Ne quid nimis."* * Fenelon says, — u Some time ago, 1 happened to fall asleep at a sermon j and when I awaked, the preacher was in a very violent RHETORICAL ACTION. 161 But action may be not merely too much; — it may be too violent. Such are the habits of some men, that they can never raise the hand, without stretching the arm at full length above the head, or in a horizontal sweep : or drawing it back, as if in the attitude of prostrating some giant at a stroke. But such a man seems to forget that gentleness, and tranquillity, and dignity, are attributes that prevail more than violence, in real oratory. The full stroke of the hand, with extended arm, should be reserv- ed for its own appropriate occasions. For common pur- poses, a smaller movement is sufficient, and even more expressive. The meaning of a gesture depends not on its compass. The tap of Caesar's finger was enough to awe a Senate. Action is often too complex. When there is want of precision, in the intellectual habits of the speaker, he adopts perhaps two or three gestures for one thought. In this way all simplicity is sacrificed ; for though the idea is complex, an attempt to exhibit each shade of meaning by the hand, is ridiculous. After one principal stroke, every appendage to this, commonly weakens its effect. Another fault of action, is too great uniformity. Like periodic tones and stress of voice, the same gesture recur- agitation,so that I fancied at first, he was pressing some important point of morality. But he was only giving notice, that on the Sun- day following, he would preach upon repentance. I was extreme- ly surprised to hear so indifferent a thing uttered with so much ve- hemence. The motion of the arm is proper, when the orator is very vehement ; but he ought not to move his arm in order to ap- ■pear vehement. Nay, there are many things that ought to be pro- nounced calmly, and without any motion.'* 14* 162 RHETORICAL ACTION. ring constantly, shows want of discriminating taste. " In all things," says Cicero, " repetition is the parent of satiety."* This barren sameness usually prevails, in a man's manner, just in proportion as it is ungraceful. Suppose, for example, that he is accustomed to raise his arm by a motion from the shoulder, without bending the elbow ; or that the elbow is bent to a right angle, and thrust out- ward ; or that it is drawn close to the side, so that the ac- tion is confined to the lower part of the arm and hand ; or that the hand is drawn to the left, by bending the wrist so far as tg give the appearance of constraint, or backwards so far as to contract the thumb and fingers ; — in all these cases, the motion is at once stiff and unvaried. The same thing is commonly true of all short, abrupt, and jerking movements. These remind you of the dry limb of a tree, forced into short and rigid vibrations by the wind ; and not of the luxuriant branch of the willow, gently and variously waving before the breeze. The ac- tion of the graceful speaker, is easy and flowing, as well as forcible. His hand describes curve lines, rather than right or acute angles ; and when its office is finished, in any case, it drops gently down at his side, instead of be- ing snatched away, as from the bite of a reptile. The ac- tion of young children is never deficient in grace or variety ; because it is not vitiated by diffidence, affectation, or habit. There is one more class of faults, which seems to arise from an attempt to shun such as I have just described, and which I cannot better designate, than by the phrase mechanical variety. * " When a preacher," says Roybaz, "has only one gesture, it will, necessarily, bo incorrect or insignificant : — a dull uniformity of action is the common delect of preachers." RHETORICAL ACTION. 163 This is analogous to that variety of tones, which is pro- duced by an effort to be various, without regard to sense. The diversity of notes, like those of the chiming clock, re- turns periodically, but is always the same diversity. So a speaker may have several gestures, which he repeats al- ways in the same successive order. The most common form of this artificial variety, consists in the alternate use of the right hand and the left. I have seen a preacher, who aimed to avoid sameness of action, in the course of a few sentences, extend first his right hand, then bis left, and then both. This order was continued through the discourse ; so that these three gestures, whatever might be the sentiment, returned, with nearly periodical exact- ness. Now whatever variety is attained in this way, is at best but a uniform variety; and is the more disgusting, in proportion as it is the more studied and artificial. But the question arises, does this charge always lie against the use of the left hand alone ? I answer, by no means. The almost universal precepts, however, in the in- stitutes of oratory, giving precedence to the right hand, are not without reason. It has been said, indeed, that the con- finement of the left hand in holding up the robe, was orig- inally the ground of this preference ; and that this is a reason which does not exist in modern times. But how did it happen that this service, denoting inferiority, came to be assigned to the left, rather than the right hand ? Doubtless because this accords with a general usage of men, through all time. When Joseph brought his two sons to be blessed by Jacob, the patriarch signified which was the object of special benediction, by placing the right hand on his head, and the left on the head of the other. 1 64 RHETORICAL ACTION. As a token of respect to his mother, Solomon gave her a seat on the right hand of his throne. In the same man- ner the righteous will be distinguished from the wicked, in the final judgment. Throughout the Bible, the right hand is spoken of as the emblem of honor, strength, au- thority, or victory. The common act of salutation is expressed by the right hand ; and hence its name dextra, from dt'xoficu to take, that is by the hand ; and hence, by figure, the En- glish word dextrous, denoting skill and agility. General custom has always given preference to the right hand, when only one is used, in the common officesof life. The sword of the warrior, the knife of the surgical operator, the pen of the author, belong to this hand. With us, to call a man left-handed is to call him awkward ; and it is a curious fact that the Sandwich Islanders use the same phrase to denote ignorance or unskilfulness. To give the left hand in salutation, denotes a careless familiarity and levity, never offered to a superior. To employ this in taking an oath, or in giving what is called the " right hand of fellowship," as a religious act, would be deemed rusticity or irreverent trifling. Now so long as this general usage exists, without in- quiring here into its origin, it is manifest that the left hand can never, without incongruity, assume precedence over the right, so as to perform alone the principal gesture, with the few exceptions mentioned below. To raise this hand, for example, as expressing authority; or to lay it on the breast, in an appeal to conscience, would be likely to ex- cite a smile. Though it often acts, with great significance, in conjunction with the right hand, the only cases, that I RHETORICAL ACTION. \65 recollect, where it can with propriety act alone, in the principal gesture, are these : First, when the left hand is spoken of in contradistinc- tion from the right ; " He shall set the sheep on his right hand, but the goats on his left." Secondly, when there is local allusion to some object on the left of the speaker. For example, if his face is to the north, and he points to the setting sun, it is better perhaps to do it with his left hand, than to turn his body, so as to make it con- venient to do it with his right. Thirdly, when two things are contrasted, though without local allusion, if the case requires that the one be marked by the action of the right hand, it is often best to mark the antithetic object with the left. But I would not magnify, by dwelling on it, a ques- tion of so small moment. It would have been despatched in a sentence or two, had it not seemed proper to show, that what some are disposed to call an arbitrary and groundless precept of ancient rhetoric, has its foundation in a general and instinctive feeling of propriety. Still I would say, that when a departure from this precept results, not from affectation, but from emotion, it is far better than any minute observance of propriety, which arises from a coldly correct and artificial habit. In finishing this chapter, the general remark may be made as applying to action, and indeed to the whole sub- ject of delivery, that many smaller blemishes are scarcely observed in a speaker, who is deeply interested in his sub- ject ; while the affectation of excellence is never excus- ed by judicious hearers. To be a first-rate orator, re- quires a combination of powers which few men possess ; 166 RHETORICAL ACTION. and no means of cultivation can ever confer these highest requisites for eloquence, on public speakers generally. But neither is it necessary to eminent usefulness, that these requisites should be possessed by all. Any man, who has good sense, and a warm heart, if his faculties for elocution are not essentially defective, and if he is patient and faithful in the discipline of these faculties, may ren- der himself an agreeable and impressive speaker. EXERCISES, PART I. DESIGNED TO ILLUSTRATE THE PRINCIPLES OF RHETORICAL DELIVERY. REMARKS AND DIRECTIONS. These Exercises are divided into two parts. The first part consists of selections, which are made expressly to illustrate the principles laid down in the foregoing ANALYSIS OF RHETORICAL DELIVERY. The classification of these selections is denoted, in each case, by the number, corresponding with the marginal figures in the Analysis. In using these exercises of the first part, the student may be assisted by the following remarks and directions. 1. When a principle is supposed to be already famil- iar, the illustrations will be few ; in cases of more difficul- ty, or more importance, they will be extended to greater length. 2. In these examples, a rhetorical notation is applied, to designate inflection, emphasis, and, in some instances, modulation. When a word has but a moderate stress, it will often be distinguished only by the mark of inflection ; 168 REMARKS AND DIRECTIONS. when the stress amounts to decided emphasis, it will be denoted by the Italic type ; and sometimes when strong- ly intensive, by small capitals. The reader is desired to remember too, that in passages taken from the Scriptures, Italic words are not used as in the English Bible, but simply to express emphasis. 3. This rhetorical notation is applied, only to cases in which my own judgment is pretty clear ; though, in many of these cases, I am aware that there is room for diversity of taste. Should this notation be found useful in practice, it may be more extensively applied, in a separate collec- tion of exercises. 4. The principle to be illustrated by any Exercise, should be carefully examined and well understood, in the first place ; and, until the student has become quite famil- iar with this praxis of the voice, he should not attempt to read an example, longer or shorter, without previous at- tention to it. 5. The reader will observe that only very short ex- amples can be expected to apply exclusively to a single principle. On account of the great labor and difficulty of selecting such examples, longer ones are often chosen, which include other principles besides the one specially in view. It will be deemed sufficient, in such cases, that there is an obvious relation to the point chiefly to be re- garded. Ex. 1,2.] EXERCISES ON ARTICULATION. 169 EXERCISES ON ARTICULATION. 1.] Page 27. Difficult articulation from immediate suc- cession of the same or similar sounds. 1. The youth hates study. 2. The wild beasts s/raggled through the vale. 3. The steadfast Granger in the foreste sprayed. 4. It was the finest street of the city. 5. When Aja# drives some rock's vast weight to throw. 6. It was the severest storm of the season, but the masts stood through the gale. 7. That tests ti\\ night. That test st\\\ night. 8. He can debate on either side of the question. > '• 5 i} He can debate on neither side of the question. ? i Who ever imagined such a notion to exist . ? ) 2.] Page 28. Difficult succession of consonants without accent. 1. He has taken leave of terrestrial trials and enjoy- ments, and is laid in the grave, the common receptacle and home of mortals. 2. Though this barbarous chief received us very cour- teously, and spoke to us very communicatively at the first interview, we soon lost our confidence in the disinterest- edness of his motives. 3. Though there could be no doubt as to the reason- ableness of our request, yet he saw fit peremptorily to re- 15 1T0 EXERCISES ON INFLECTION. [Ex. 3, 4. fuse it, and authoritatively to require that we should de- part from the country. As no alternative was left us, we unhesitatingly prepared to obey this arbitrary mandate. 3.] Page 29. Tendency to slide over unaccented vowels. The brief illustration of this at p. 30 is perhaps sufficient. EXERCISES ON INFLECTION. 4*] P a ge 47. The disjunctive (or) has the rising in- flection before, and the falling after it. 1. Then said Jesus unto them, I will ask you one thing ; Is it lawful on the sabbath-days to do good, or to do evil? to save life, or to destroy it ? 2. Whether we are hurt by a mad or a blind man, the pain is still the same. And with regard to those who are undone, it avails little whether it be by a man who deceives them, or by one who is himself deceived. 3. Has God forsaken the works of his own hands ? or does he always graciously preserve, and keep and guide them ? 4. Therefore, O, ye judges ! you are now to consid- er, whether it is more probable that the deceased was murdered by the man who inherits his estate, or by him, who inherits nothing but beggary by the same death. By the man who was raised from penury to plenty, or by him who was brought from happiness to misery. By him whom the lust of lucre has inflamed with the most invet- Ex. 5.] EXERCISES ON INFLECTION. 171 erate hatred against his own relations; or by- him whose life was such, that he never knew what gain was, but from the product of his own labors. By him, who, of all dealers in the trade of blood, was the most audacious ; or by him who was so little accustomed to the forum and trials, that he dreads not only the benches of a court, but the very town. In short, ye judges, what I think most to this point is, you are to consider whether it is most likely that an enemy, or a son, would be guilty of this murder. 5. As for the particular occasion of these [charity] schools, there cannot any offer more worthy a generous mind. Would you do a handsome thing without return ? — do it for an infant that is not sensible of the obligation.* Would you do it for the public good ? — do it for one who will be an honest artificer. Would you do it for the sake of heaven ? — give it for one who shall be instructed in the worship of him, for whose sake you gave it. 5.] Page 47. The direct question has the rising inflection, and the answer has the falling. 1. Will the Lord cast off forever? and will he be favorable no more ? Is his mercy clean gone forever ? doth his promise fail for evermore ? Hath God forgotten to be gracious ? hath he in anger shut up his tender mercies ? 2. Is not this the carpenter's son ? is not his mother called Mary? and his brethren, James, and Joses, and Simon, and Judas ? and his sisters, are they not all with us? 3. Are we intended for actors in the grand drama of * Disjunctive or le understood. 172 EXERCISES ON INFLECTION. [Ex. 5. eternity ? Are we candidates for the plaudit of the ra- tional creation . ? Are we formed to participate the su- preme beatitude in communicating happiness f Are we destined to co-operate with God in advancing the order and perfection of his works ? How sublime a creature then is man f 4. Can we believe a thinking being, that is in a per- petual progress of improvement, and travelling on from perfection to perfection, after having just looked abroad into the works of his creator, and made a few discoveries of his infinite goodness, wisdom, and power, must perish at his first setting out, and in the very beginning of his inquiries i The following are examples of both question and answer. 5. Who are the persons that are most apt to fall into peevishness and dejection — that are continually complain- ing of the world, and see nothing but wretchedness around them ? Are they those whom want compels to toil for their daily bread t — who have no treasure but the labor of their hands — who rise, with the rising sun, to expose them- selves to all the rigors of the seasons, unsheltered from the winter's cold, and unshaded from the summer's heat? No. The labors of such are the very blessings of their condition. G. What, then, what was Caesar's object . ? Do we se- lect extortioners, to enforce the laws of equity ? Do we make choice of profligates, to guard the morals of socie- ty F Do we depute atheists, to preside over the rites of relfgion ? I will not press the answer : I need not press the answer ; the premises of my argument render it un- EX. 5.] EXERCISES ON INFLECTION. 173 necessary. — What would content you ? Talent ? No ! Enterprise ? No ! Courage ? No ! Reputation ? No ! Virtue ? No ! The men whom you would select, should possess, not one, but all, of these. 7. Can the truth be discovered when the slaves of the prosecutor are brought as witnesses against the per- son accused ? Let us hear now what kind of an exami- nation this was. Call in Ruscio ; call in Casca. Did Clodius way-lay Mflo ? He did : Drag them instantly to execution. — He did not : Let them have their liberty. What can be more satisfactory than this method of exam- ination ? 8. Are you desirous that your talents and abilities may procure you respect ? Display them not ostentatiously to public view. Would you escape the envy which your riches might excite ? Let them not minister to pride, but adorn them with humility. — There is not an evil incident to human nature for which the gospel doth not provide a remedy. Are you ignorant of many things which it highly concerns you to know ? The gospel offers you instruction. Have you deviated from the path of duty ? The gospel offers you forgiveness. Do temptations sur- round you ? The gospel offers you the aid of heaven. Are you exposed to misery ? It consoles you. Are you subject to death ? It offers you immortality. 9. Oh how hast thou wilh jealousy infected The sweetness of affiance ! show men dutiful ? Why so didst thou : or seem they grave and learned ? Why so didst thou : come they of noble family ? Why so didst thou : seem they religious ? Why so didst thou. 15* 174 EXERCISES ON INFLECTION. [Ex. 6, 7. 6.] Page 48. When (or) is used conjunctively, it has the same inflection before and after it. In some sentences the disjunctive and the conjunctive use of or are so intermingled as to require careful attention to distinguish them. 1. Canst thou bind the unicorn with his band in the furrow f or will he harrow the valleys after thee ? Wilt thou trust him because his strength is great ? or wilt thou leave thy labour to him ? Gavest thou the goodly wings unto the peacocks? or wings and feathers unto the os- trich ? Canst thou draw out leviathan with a hook ? or his tongue with a cord which thou lettest down ? Canst thou put a hook into his nose ? or bore his jaw through with a thorn ? Wilt thou play with him as with a bird ? or wilt thou bind him for thy maidens ? Canst thou fill his skin with barbed frons ? or his head with fish spears ? 2. But should these credulous infidels after all be in the right, and this pretended revelation be all a fable ; from believing it what harm could ensue ? would it ren- der princes more tyrannical, or subjects more ungoverna- ble, the rich more insolent, or the poor more disorderly ? Would it make worse parents or chfldren, husbands, or wfves ; masters, or servants, frfends, or neighbours? or* would it not make men more virtuous, and, consequently, more happj^ in every situation ? 7.] Page 49. Negation opposed to ajfjinnation. 1. True charity is not a meteor, which occasionally * The last or is disjunctive. EX. 7.] EXERCISES ON INFLECTION. 175 glares ; but a luminary, which, in its orderly and regular course, dispenses a benignant influence. 2. The humble do not necessarily regard themselves as the unworthiest of all with whom they are acquainted ; but, while they acknowledge and admire in many, a de- gree of excellence which they have not attained, they perceive, even in those to whom they are in some respect superiors, much to praise, and much to imitate. 3. Think not, that the influence of devotion is confin- ed to the retirement of the closet and the assemblies of the saints. Imagine not, that, unconnected with the du- ties of life, it is suited only to those enraptured souls, whose feelings, perhaps, you deride as romantic and vis- ionary. It is the guardian of innocence — it is the instru- ment of virtue — it is a mean by which every good affec- tion may be formed and improved. 4. Caesar, who would not wait the conclusion of the consul's speech, generously replied, that he came into It- aly not to injure the liberties of Rome and its citizens, but to restore* them. 5. If any man sin, we have an advocate with the Father, Jesus Christ the righteous : and he is the propiti- ation for our sins ; and not for ours only, but also for the sins of the whole wdrld. 6. It is not the business of virtue to extirpate the af- fections of the mind, but to regulate them. 7. These things I say now, not to insult one who is fallen, but to render more secure those who stand ; not to irritate the hearts of the wounded, but to preserve those who are not yet wounded, in sound health ; not to sub- merge him who is tossed on the billows, but to instruct 176 EXERCISES ON INFLECTION. [E.X. ft those sailing before a propitious breeze, that they may not be plunged beneath the waves. 8. But this is no time for a tribunal of jdstice, but for showing mercy ; not for accusation, but for philanthropy • not for trial, but for pardon ; not for sentence and execu- tion, but compassion and kindness. 8.] Page 49. Comparison and contrast. 1. By honor and dishonor, by evil report and good report; as deceivers, and yet true ; as unknown, and yet well known ; as dying, and behold we live ; as chasten- ed, and not killed ; as sorrowful, yet always rejoicing ; as poor, yet making many rich ; as having nothing, and yet possessing all things. Be ye not unequally yoked together with unbelievers ; for what fellowship hath righteousness with unrighteous- ness ? and what communion hath light with darkness? and what concord hath Chrfst with Belial ? or what part hath he that believeth with an infidel ? 2. The house of the wicked shall be overthrown ; but the tabernacle of the upright shall flourish. There is a way which seemeth rfght unto a man ; but the end there- of are the ways of death. Even in laughter the heart is sorrowful ; and the end of that mirth is heaviness. A wise man feareth, and departeth from evil ; but the fool rageth, and is confident. The wicked is driven away in his wickedness ; but the righteous hath hope in his death. Righteousness exalteth a nation ; but sin is a reproach to any people. The king's favour is toward a wfse servant; but his wrath is against him that causeth shame. Ex. 8.] EXERCISES ON INFLECTION. 177 3. Between fame and true honor a distinction is to be made. The former, is a blind and noisy applause : the latter a more silent and internal homage. Fame floats on the breath of the multitude : honor rests on the judgment of the thinking. Fame may give praise, while it withholds esteem ; true honor implies esteem, mingled with respect. The one regards particular distinguished talents : the oth- er looks up to the whole character. 4. The most frightful disorders arose from the state of feudal anarchy. Force decided all things. Europe was one great field of battle, where the weak struggled for freedom, and the strong for dominion. The king was without power, and the nobles without principle. They were tyrants at home, and robbers abroad. Nothing re- mained to be a check upon ferocity and violence. 5. These two qualities, delicacy and correctness, mutually imply each other. No taste can be exquisitely delicate without being correct ; nor can be thoroughly correct without being delicate. But still a predominancy of one or other quality in the mixture is often visible. The power of delicacy is chiefly seen in discerning the true merit of a work ; the power of correctness, in re- jecting false pretensions to merit. Delicacy leans more to feeling ; correctness more to reason and judgment. The former is more the gift of nature ; the latter, more the product of culture and art. Among the ancient crit- ics, Longinus possessed most delicacy ; Aristotle, most correctness. Among the moderns, Mr. Addison is a high example of delicate taste ; Dean Swift, had he writ- ten on the subject of criticism, would perhaps have af- forded the example of a correct one. 178 EXERCISES ON INFLECTION. [Ex. 8. 6. Reason, eloquence, and every art which ever has been studied among mankind, may be abused, and may prove dangerous in the hands of bad men ; but it were perfectly childish to contend, that, upon this account, they ought to be abolished. 7. To Bourdaloue, the French critics attribute more solidity and close reasoning ; to Massillon, a more pleas- ing and engaging manner. Bourdaloue is indeed a great reasoner, and inculcates his doctrines with much zeal, pi- ety, and earnestness : but his style is verbose, lie is disa- greeably full of quotations from the Fathers, and he wants imagination. 8. Homer was the greater genius ; Virgil the better artist : in the one, we most admire the man ; in the oth- er, the work. Homer hurries us with a commanding im- petuosity ; Virgil leads us with an attractive majesty. Homer scatters with a generous profusion ; Virgil bestows with a careful magnificence. Homer, like the Nile, pours out his riches with a sudden overflow ; Virgil, like a river in its banks, with a constant stream. — And when we look upon their machines, Homer seems, like his own Jupiter in his terrors, shaking Olympus, scattering the lightnings, and firing the heavens ; Virgil, like the same power in his benevolence, counselling with the gods, laying plans for empires, and ordering his whole creation. 9. Dryden knew more of man in his general nature, and Pope in his local manners. The notions of Dryden were formed by comprehensive speculation, those of Pope by minute attention. There is more dignity in the knowl- edge of Dryden, and more certainty in that of Pope. Poetry was not the sole praise of either ; for both ex- Ex. 8.] EXERCISES ON INFLECTION. 179 celled likewise in prose : but Pope did not borrow his prose from his predecessor. The s tyle of Dry den is capricious and varied ; that of Pope is cautious and uni- form. Dryden obeys the motions of his own mind ; Pope constrains his mind to his own rules of composition. Dryden is sometimes vehement and rapid ; Pope is al- ways smooth, uniform, and gentle. Dryden's page is a natural field, rising into inequalities, and diversified by the varied exuberance of abundant vegetation ; Pope's is a velvet lawn, shaven by the scythe, and levelled by the .'oiler. — Dryden's performances were always hasty : either excited by some external occasion, or extorted by domestic necessity : he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought and all that he gave. The ..dilatory caution of Pope enabled him to condense his sentiments, to mul- tiply his images, and to accumulate all that study might produce, or chance might supply. If the flights of Dry- den, therefore, are hfgher, Pope continues longer on the wing.* If of Dryden's fire, the blaze is brighter ; of Pope's, the heat is more regular and constant. Dryden often surpasses expectation, and Pope never falls below it. Dryden is read with frequent astonishment, and Pope with perpetual delight. 10. Never before were so many opposing interests, passions, and principles, committed to such a decision. On one side an attachment to the ancient order of things, on the other a passionate desire of change ; a wish in some to perpetuate, in others to destroy every thing ; every abuse sacred in the eyes of the former, every foundation 180 EXERCISES ON INFLECTION. [Ex. 8, 9' attempted to be demolished by the latter ; a jealousy of power shrinking from the slightest innovation, pretensions to freedom pushed to madness and anarchy ; superstition in all its dotage, impiety in all its fury ; whatever, in short, could be found most discordant in the principles, or vio- lent in the passions of men, were the fearful ingredients which the hand of Divine justice selected to mingle in this furnace of wrath. 9.] Page 51. The pause of suspension requires the m- ing slide. In the Analysis, several kinds of sentences are classed, to which this rule applies. But as the principle is the same in all, no dis- tinction is necessary in the Exercises. 1. Now in the fifteenth year of the reign of Tiberius Caesar, Pontius PUate being governor of Judea, and Her- od being tetrarch of Galilee, and his brother Philip te- trarch of Iturea and of the region of Trachonftis, and Ly- sanias the tetrarch of Abilene, Annas and Caiaphas being the high priests, the word of God came unto John the son of Zacharias in the wilderness. 2. For if God spared not the angels that sinned, but cast them down to hell, and delivered them into chains of darkness, to be reserved unto judgment ; And spared not the old world, but saved Noah the eighth person, a preach- er of rfghteousness, bringing in the flood upon the world of the ungodly ; And turning the cities of Sodom and Gomorrah into ashes, condemned them with an overthrow, making them an ensample unto those that after should live ungodly ; And delivered just Lot, vexed with the filthy Ex. 9.] EXERCISES ON INFLECTION. 181 conversation of the wicked : (For that righteous man dwelling among them, in seeing and hearing, vexed his righteous soul from day to day with their unlawful deeds ;) The Lord knoweth how to deliver the godly out of temp- tations, and to reserve the unjust unto the day of judg- ment to be punished. 3. I am content to wave the argument I might draw from hence in favor of my client, whose destiny was so peculiar, that he could not secure his own safety, without securing yours and that of the republic at the same time. If he could not do it lawfully, there is no room for at- tempting his defence. But if reason teaches the learned, necessity the Barbarian, common custom all nations in general ; and if even nature itself instructs the brutes to defend their bodies, limbs, and lives, when attacked, by all possible methods ; you cannot pronounce this action criminal, without determining at the same time that who- ever falls into the hands of a highwayman, must of neces- sity perish either by his sword or your decisions. Had Milo been of this opinion, he would certainly have cho- sen to fall by the hand of Clodius, who had more than once, before this, made an attempt upon his life, rather than be executed by your order, because he had not tamely yielded himself a victim to his rage. But if none of you are of this opfnion, the proper question is, not whether Clodius was killed ? for that we grant : but whether justly or unjustly ? an inquiry of which many precedents are to be found. 4. Seeing then that the soul has many different facul- ties, or in other words, many different ways of acting ; that it can be intensely pleased or made happy by all 16 184 EXERCISES ON INFLECTION. [Ex. 9. by neglect, or fretting at disappointments, hath no leisure to attend to the necessity or reasonableness of a kindness desired, nor a taste for those pleasures which wait on be- neficence, which demand a calm and unpolluted heart to reTish them. .10. M I perfectly remember that when Calidius prose- cuted Q. Gallius for an attempt to poison hfm, and pre- tended that he had the plainest proofs of it, and could produce many letters, witnesses, informations, and other evidences to put the truth of his charge beyond a doubt, interspersing many sensible and ingenious remarks on the nature of the crime ; I remember," says Cicero, "that when it came to my turn to reply to him, after urging ev- ery argument which the case itself suggested, I insisted upon it as a material circumstance in favor of my clfent, that the prosecutor, while he charged him with a design against his life, and assured us that he had the most in- dubitable proof of it then in his hands, related his story with as much ease, and as much calmness and indiffer- ence, as i f nothing had happened." — "Would it have been possible," exclaimed Cicero, (addressing himself to Calfdius,) " that you should speak with this air of uncon- cern, unless the charge was purely an invention of your own ? — and, above all, that you, whose eloquence has of- ten vindicated the wrongs of other people with so much spirit, should speak so coolly of a crime which threaten- ed your lffe f" 1 1 . France and England may each of them have some reason to dread the increase of the naval and mili- tary power of the other ; but for either of them to en- vy the internal happiness and prosperity of the other, Ex. 9.] EXERCISES ON INFLECTION. 185 the cultivation of its lands, the advancement of its ma- ufactures, the increase of its commerce, the security and number of its ports and harbors, its proficiency in all the liberal arts and scfences, is surely beneath the dignity of two such great nations. 12. To acquire a thorough knowledge of our own hearts and characters, to restrain every irregular inclina- tion, — to subdue every rebellious passion, — to purify the motives of our conduct, — to form ourselves to that tem- perance which no pleasure can seduce, — to that meekness which no provocation can ruffle, — to that patience which no affliction can overwhelm, and that integrity which no interest can shake ; this is the task which is assigned to us, — a task which cannot be performed without the ut- most diligence and care. 13. The beauty of a plain, the greatness of a mountain, the ornament of a building, the expression of a. picture, the composition of a discourse, the conduct of a third person, the proportion of different quantities and num- bers, the various appearances which the great machine of the universe is perpetually exhibiting, the secret wheels and springs which produce them, all the general subjects of science and taste, are what we and our companions re- gard as having no peculiar relation to either of us. 14. Should such a man, too fond to rule alone, Bear, like the Turk, no brother near the throne, View him with scornful, yet with jealous eyes, And hate for arts that caus'd himself to rise ; 5 Damn with faint praise, assent with civil leer, And without sneering teach the rest to sneer j Willing to wound, and yet afraid to strike^ 16* 186 EXERCISES ON INFLECTION. [Ex. 9. Just hint a fault, and hesitate dislfke ; Alike reserv'd to blame, or to commend, A tim'rous foe, and a suspicious friend ; Dreading even fools, by Flatterers besieg'd, 10 And so obliging, that he ne'er oblfg'd ; Like Cato, give his little senate laws, And sit attentive to his own applause ; While Wits and Templars every sentence raise, And wonder with a foolish face of prafse — 15 Who but must laugh, if Such a man there be ? Who would not weep, jPAtticus were he ! 15. For these reasons, the senate and people of Ath- ens, (with die veneration to the gods, and heroes, and guardians of the Athenian city and territory, whose aid they now implore ; and with due attention to the virtue of their ancestors, to whom the general liberty of Greece was ever dearer than the particular interest of their own state) have resolved that a fleet of two hundred vessels shall be sent to sea, the admiral to cruise within the straits of Thermopylae. As to my own abilities in speaking, (for I shall admit this charge, although experience hath convinced me, that what is called the power of eloquence depends for the most part upon the hearers, and that the characters of public speakers are determined by the degree of favor which you vouchsafe to each,) if long practice, I say, hath given me any proficiency in speaking, you have ever found it devoted to my country.* • I have not thought it necessary to give examples of the cases in which emphasis requires the falling slide at the close of a paren- thesis. Ex. 10.] EXERCISES ON INFLECTION^ 187 Of the various exceptions which fall under the rule of suspend' ing inflection, the only one which needs additional exemplification, is that, where emphasis requires the intensive falling slide, to ex- press the true sense. See p. 53, bottom. In some cases of this sort, the omission of the falling slide only weakens the meaning ; in others it subverts it. 1 . If the population of this country were to remain stationary, a great increase of effort would be necessary to supply each family with a Bible ; how much more when this population is increasing every day. 2. The man who cherishes a strong ambition for pre- ferment, if he does not fall into adulation and servility, is in danger of losing all manly independence. 3. For if the mighty works which have been done in thee had been done in Sddom,* it would have remained unto this day. 10.] Page 54. Tender emotion inclines the voice to the rising slide. 1. And when Joseph came home, they brought him the present which was in their hand into the house, and bowed themselves to him to the earth. — And he asked them of their welfare, and said, Is your father well, the old man of whom ye spake ? Is he yet alive f — And they answered, thy servant our father is in good health, he is yet alive : and they bowed down their heads, and made obeisance. — And he lifted up his eyes, and saw his brother Benjamin, his mother's son, and said, Is this your younger brother, of whom ye spake unto me f And he said, God be gracious unto thee, my son. — And Joseph made haste ; for his bowels did yearn upon his brother : * Even in Sodom, is the paraphrase of this emphasis, and so in the two preceding examples. 186 EXERCISES ON INFLECTION. [Ex. 9. Just hint a fault, and hesitate dislfke ; Alike reserv'd to blame, or to commend, A tim'rous foe, and a suspicious friend ; Dreading even fools, by Flatterers besieg'd, 10 And so obliging, that he ne'er oblfg'd ; Like Cato, give his little senate laws, And sit attentive to his own applause ; While Wits and Templars every sentence raise, And wonder with a foolish face of prafse — 15 Who but must laugh, if Such a man there be ? Who would not weep, if'ATTicus were he ! 1 5. For these reasons, the senate and people of A'th- ens, (with due veneration to the gods, and heroes, and guardians of the Athenian city and territory, whose aid they now implore ; and with due attention to the virtue of their ancestors, to whom the general liberty of Greece was ever dearer than the particular interest of their own state) have resolved that a fleet of two hundred vessels shall be sent to sea, the admiral to cruise within the straits of Thermopylae. As to my own abilities in speaking, (for I shall admit this charge, although experience hath convinced me, that what is called the power of eloquence depends for the most part upon the hearers, and that the characters of public speakers are determined by the degree of favor which you vouchsafe to each,) if long practice, I say, hath given me any proficiency in speaking, you have ever found it devoted to my country.* * I have not thought it necessary to give examples of the cases in which emphasis requires the falling slide at the close of a paren- thesis. Ex. 10.] EXERCISES ON INFLECTION^ 187 Of the various exceptions which fall under the rule of suspend' ing inflection, the only one which needs additional exemplification, is that, where emphasis requires the intensive falling slide, to ex- press the true sense. See p. 53, bottom. In some cases of this sort, the omission of the falling slide only weakens the meaning ; in others it subverts it. 1 . If the population of this country were to remain stationary, a great increase of effort would be necessary to supply each family with a Bible ; how much more when this population is increasing every day. 2. The man who cherishes a strong ambition for pre- ferment, if he does not fall into adulation and servility, is in danger of losing all manly independence. 3. For if the mighty works which have been done in thee had been done in Sddom* it would have remained unto this day. 10.] Page 54. Tender emotion inclines the voice to the rising slide. 1. And when Joseph came home, they brought him the present which was in their hand into the house, and bowed themselves to him to the earth. — And he asked them of their welfare, and said, Is your father well, the old man of whom ye spake ? Is he yet alive ? — And they answered, thy servant our father is in good health, he is yet alive: and they bowed down their heads, and made obeisance. — And he lifted up his eyes, and saw his brother Benjamin, his mother's son, and said, Is this your younger brother, of whom ye spake unto me f And he said, God be gracious unto thee, my son. — And Joseph made haste ; for his bowels did yearn upon his brother : * Even in Sodom, is the paraphrase of this emphasis, and so in the two preceding examples. 188 ^XERCISES ON INFLECTION. [Ex. 10. and he sought where to weep ; and he entered into his chamber, and wept there. 2. Melhinks I see a fair and lovely chfld, Sitting compos'd upon his mother's knee, And reading with a low and lisping voice Some passage from the Sabbath ;* while the tears 5 Stand in his little eyes so softly blue, Till, quite o'ercome with pity, his white arms He twines around her neck, and hides his sighs Most infantine, within her gladden'd breast, Like a sweet lamb, half sportive, half afraid, 10 Nestling one moment 'neath its bleating dam. And now the happy mother kisses oft The tender-hearted child, lays down the book, And asks him if he doth remember still A stranger who once gave him, long ago, 15 A parting kiss, and blest his laughing eyes ; His sobs speak fond remembrance, and he weeps To think so kind and good a man should die. 3. Ye who have anxiously and fondly watched Beside a fading friend, unconscious still The cheek's bright crimson, lovely to the view, Like nightshade, with unwholesome beauty bloomed, 5 And that the sufferer's bright dilated eye, Like mouldering wood, owes to decay alone Its wond'rous lustre : — ye who still have hoped, Even in death's dread presence, but at length Have heard the summons, (O heart-freezing call !) 10 To pay the last sad duties, and to hear Upon the silent dwelling's narrow lid # Sabbath, — a poem. Ex. 11, 12.] EXERCISES ON INFLECTION. 189 The first earth thrown, (sound deadliest to the soul ! — For, strange delusion ! then, and then alone, Hope seems forever fled, and the dread pang 15 Of final separation to begin) — Ye who who have felt all tins — O pay my verse The mournful meed of sympathy, and own, Own with a sfgh, the sombre picture's just. 1 1 .] Page 55. This requires no additional illustration ; for unless emphasis forbids it, every good reader has so much regard to harmony, as to use the rising slide at the pause before the cadence. 12.] Page 56. The indirect question and its answer have the falling inflection . The interrogative mark is here inverted, to render it significant of its office, in distinction from the direct question, which turns the voice upward. The reason of this is so obvious, that I trust it will not be regarded, in a work like this, as an affectation of singularity in trifles. 1. The governor answered and said unto them, Whether of the twain will ye that I release unto you ^ They said, Barabbas. Pilate saith unto them, What shall I do then with Jesus, which is called Christ j They all say unto him, Let him be crucified. And the govern- or said, Why ; what evil hath he done <; But they cri- ed out out the more, saying, Let him be crucified. 2. Where now is the splendid robe of the consulate ^ Where are the brilliant torches ,: Where are the ap- plauses and dances, the feasts and entertainments ^ Where are the coronets and canopies J Where the huz- zas of the city, the compliments of the circus, and the 190 EXERCISES ON INFLECTION. [Ex. 12. flattering acclamations of the spectators j All these have perished. 3. I hold it to be an unquestionable position, that they who duly appreciate the blessings of liberty, revolt as much from the idea of exercising, as from that of enduring, op- pression. How far this was the case with the Romans, you may inquire of those nations that surrounded them. Ask them, ' What insolent guard paraded before their gates, and invested their strong holds f They will an- swer, ' A Roman legionary.' Demand of them, 'What greedy extortioner fattened by their poverty, and clothed himself by their nakedness f They will inform you, ' A Roman Quaestor.' Inquire of them, ' What imperious stranger issued to them his mandates of imprisonment or confiscation, of banishment or death f They will reply to you, ' A Roman Consul.' Question them, ' What haughty conqueror led through his city, their nobles and kings in chains; and exhibited their countrymen, by thousands, in gladiators' shows for the amusement of his fel- low citizens f They will tell you, ' A Roman General.' Require of them, ■ What tyrants imposed the heaviest yoke j — enforced the most rigorous exactions ,; — inflicted the most savage punishment, and showed the greatest gust for blood and torture f They will exclaim to you, The Roman people.' 4. Let us now consider the principal point, whether the place where they encountered was most favorable to Milo, or to Clodius. Were the affair to be presented only by painting, instead of being expressed by words, it would even then clearly appear which was the traitor, and which was free from all mischievous designs. When Ex.12.] EXERCISES ON INFLECTION. 191 the one was sitting in his chariot muffled up in his cloak, and his wife along with him ; which of these circum- stances was not a very great incumbrance £ the dress, the chariot, or the companion <: How could he be worse equipped for an engagement, when he was wrapt up in a cloak, embarrassed with a chariot, and almost fettered by his wife j Observe the other now, in the first place, sal- lying out on a sudden from his seat ; for what reason ^ — in the evening ; what urged him ; — late ; to what pur- pose, especially at that season j — He calls at Pompey's seat; with what view j To see Pompey ? He knew he was at Alsium. — To see his house ? He had been in it a thousand times — What then could be the reason of this loitering and shifting about <; He wanted to be upon the spot when Milo came up. 5. Wherefore cease we then ,; Say they who counsel war, we are decreed, Reserved, and destin'd, to eternal woe ; Whatever doing, what can we suffer more, 5 What can we suffer worse £ Is this then worst, Thus sitting, thus consulting, thus in arms ? What ! when we fled amain, pursued and struck With Heav'n's afflicting thunder, and besought The deep to shelter us — this Hell then seem'd 10 A refuge from those wounds: or when we lay Chain'd on the burning lake, — that sure was worse. What, if the breath, that kindled those grim fires, Awak'd, should blow them into sev'nfold rage, And plunge us in the flames j or from above 15 Should intermitted vengeance arm again 192 EXERCISES ON INFLECTION. [Ex. 12. His red right-hand to plague us ^ what if all Her stores were open'd, and this firmament Of Hell should spout her cataracts of fire, Impendent horrors, threat'ning hideous fall 20 One day upon our heads ! while we perhaps, Designing or exhorting glorious war, Caught in a fiery tempest, shall be hurl'd, Each on his rock transfix'd, the prey Of wrecking whirlwinds ; or forever sunk 25 Under yon boiling ocean, wrapt in chains ; There to converse with everlasting groans, Unrespited, unpitied, unrepriev'd, Ages of hopeless end ! This would be worse. 6. But, first, whom shall we send In search of this new world ^ whom shall we find Sufficient j who shall tempt with wand'ring feet The dark unbottom'd infinite abyss, 5 And through the palpable obscure find out His uncouth way, or spread his airy flight, Upborne with indefatigable wings, Over the vast abrupt, ere he arrive The happy isle <; what strength, what art, can then 15 Suffice, or what evasion bear him safe Through the strict senteries and stations thick Of Angels watching round j Here he had need All circumspection, and we now no less Choice in our suffrage ; for on whom we send 15 The weight of all, and our last hope, relies. Ex. 13.] EXERCISES ON INFLECTION. 193 1 3.] Page 57. Language of authority and of surprise commonly requires the falling inflection. Denuncia- tion, reprehension $*c. come under this head. 1. Go to the ant, thou sluggard ; consider her ways, and be wise : — which having no guide, overseer, or rul- er, provideth her meat in the summer, and gathereth her food in the harvest. How long wilt thou sleep, O sluggard ? when wilt thou arise out of thy sleep ? — Yet a little sleep, a little slumber, a little folding of the hands to sleep : — So shall thy poverty come as one that travelleth, and thy want as an armed man. 2. And when the king came in to see the guests, he saw there a man that had not on a wedding-garment : — And he saith unto him, friend, how earnest thou in hither, not having a wedding-garment? And he was speechless. — Then said the king to the servants, bind him, hand and foot, and take him away, and cast him into outer dark- ness : there shall be weeping and gnashing of teeth. 3. Then he which had received the one talent came, and said, Lord, 1 knew thee that thou art a hard man, reaping where thou hast not sown, and gathering where thou hast not strewed : — And I was afraid, and went and hid thy talent in the earth : lo, there thou hast that is thine. — His lord answered and said unto him, thou wick- ed and slothful servant, — thou knewest that I reap where I sowed not,* and gather where I have not strewed : — Thou oughtest therefore to have put my money to the * This clause uttered with a high note and the falling slide, expresses censure better with the common punctuation, than if it were marked with the interrogation. 17 l£4 EXERCISES ON INFLECTION. [Ex. 13. exchangers, and then at my coming I should have re- ceived mine own with usury. — Take therefore the talent from him, and give it unto him which hath ten talents. — And cast ye the unprofitable servant into outer darkness : there shall be weeping and gnashing of teeth. 4. Then began he to upbraid the cities wherein most of his mighty works were done, because they repented not. — Wo unto thee, Chorazin ! wo unto thee, Beth- saida ! for if the mighty works which were done in you had been done in Tyre and Sidon,* they would have re- pented long ago in sackcloth and ashes. — But I say unto you, It shall be more tolerable for Tyre and Sidon at the day of judgment than for you. — And thou, Capernaum, which art exalted unto heaven, shalt be brought down to hell ; for if the mighty works which have been done in thee, had been done in Sodom, it would have remained until this day. — But I say unto you, That it shall be more tolerable for the land of Sodom, in the day of judgment, than for thee. 5. Such, Sir, was once the disposition of a people, who now surround your throne with reproaches and com- plaints. Do justice to yourself. Banish from your mind those unworthy opinions, with which some interested per- sons have labored to possess you. Distrust the men who tell you that the English are naturally light and in- constant ; that they complain without a cause. With- draw your confidence equally from all parties ; from min- isters, favorites, and relations ; and let there be one mo- ment in your life, in which you have consulted your own understanding. * Even in Tyre and Sidon, is the paraphrase of the emphasis. Ex. 13.] EXERCISES ON INFLECTION. 195 6. You have done that, you should be sorry for. There is no terror, Cassius, in your threats ; For I am arm'd so strong in honesty, That they pass by me, as the idle wind, 5 Which I respect not. I did send to you For certain sums of gold, which you denied me ; — For I can raise no money by vile means ; — I had rather coin my heart, And drop my blood for drachmas, than to wring 10 From the hard hands of peasants their vile trash, By any indirection. I did send To you for gold to pay my legions, Which you denied me : Was that done like Cassius ? Should /have answer'd Caius Cassius so ? 15 When Marcus Brutus grows so covetous, To lock such rascal counters from his friends, Be ready, gods, with all your thunderbolts, Dvlsh him, to pieces ! 7. The war, that for a space did fail, Now trebly thundering swell'd the gale, And — Stanley ! was the cry : — A light on Marmion's visage spread, And fired his glazing eye : With dying hand, above his head, He shook the fragment of his blade, And shouted " Victory ! Charge, Chester, charge ! on, Stanley, on !" Were the last words of Marmion ! 8. So judge thou still, presumptuous, till the wrath, 196 EXERCISES ON INFLECTION. [Ex. 13. Which thou incurr'st by flying, meet thy flight, Sev'nfold, and scourge that wisdom back to Hell, Which taught thee yet no better, that no pain 5 Can equal anger infinite provok'd. But wherefore thou alone ? wherefore with thee Came not all Hell broke loose ? is pain to them Less pain, less to be fled ? or thou than they Less hardy to endure ? Courageous Chief! 10 The first in flight from pain ! — hadst thou alleged To thy deserted host this cause of flight, Thou surely hadst not come sole fugitive. 9. To whom the warrior Angel soon reply'd. To say, and straight unsay, pretending first Wise to fly pain, professing next the spy, Argues no leader, but a ITar, trac'd, 5 Satan ! — and couldst thou faithful add ? O name, O sacred name of faithfulness profan'd ! Faithful to whom ? to thy rebellious crew ? Army of Fiends ! — fit body to fit head ! Was this your discipline and faith engag'd, 10 Your military obedience, to dissolve Allegiance to th' acknowledg'd Pow'r supreme ? And thou, sly hypocrite, who now wouldst seem Patron of liberty, who more than thou Once fawn'd, and cnng'd, and servilely ador'd 15 HeavVs awful Monarch? wherefore, but in hope To dispossess him, and thyself to reign; But mark what I areed thee now ; — Avafint : Fly thither whence thou fled'st : if from this hour, Within these hallow'd limits thou appear, 20 Back to th' infernal pit I drag thee chained, £x. 13.] EXERCISES ON INFLECTION. 197 And seal thee so, as henceforth not to scorn The facile gates of Hell too slightly barr'd. Apostrophe and exclamation, as well as the imperative mode, when accompanied by emphasis, incline the voice to the falling inflection. 10. Oh ! deep-enchanting prelude to repose, The dawn of bliss, the twilight of our woes ! Yet half I hear the panting spirit sigh, It is a dread and awful thing to die ! 5 Mysterious worlds ! untravell'd by the sun, Where Time's far wandering tide has never run, From your unfathom'd shades, and viewless spheres, A warning comes, unheard by other ears — 'Tis heaven's commanding trumpet, long and loud, 10 Like Sinai's thunder, pealing from the cloud ! Daughter of Faith, awake ! arise ! illume The dread unknown, the chaos of the tomb ! Melt, and dispel, ye spectre doubts, that roll Cimmerian darkness on the parting soul ! 15 Fly, like the moon-eyed herald of dismay, Chased on his night-steed, by the star of day ! The strife is o'er ! — the pangs of nature close, And life's last rapture triumphs o'er her woes ! Hark ! as the spirit eyes, with eagle gaze, 20 The noon of heaven, undazzled by the blaze, On heavenly winds that waft her to the sky, Float the sweet tones of star-born melody ; Wild as the hallow'd anthem sent to hail Bethlehem's shepherds in the lonely vale, 25 When Jordan hush'd his waves, and midnight still Watch'd on the holy towers of Zion hill ! 17* 198 EXERCISES ON INFLECTION. [Ex. 13. 11. Piety has found Friends in the friends of science, and true prayer Has flow'd from lips wet with Casialian dews. Such was thy wisdom, Newton, child-like sage ! 5 Sagacious reader of the Works of God, And in his Word sagacious. Such too thine, Milton, whose genius had angelic wings, And fed on manna. And such thine, in whom Our British Themis gloried with just cause, 10 Immortal Hale! for deep discernment prais'd, And sound integrity, not more, than fam'd For sanctity of manners undeul'd. 12. These are thy glorious works, Parent of good, Almighty, thine this universal frame, Thus wondrous fair ; thyself how wondrous then ! Unspeakable, who sitt'st above these heav'ns 5 To us invisible, or dimly seen In these thy lowest works ; yet these declare Thy goodness beyond thought, and pow'r divine. Speak, ye who best can tell, ye sons of light, * Angels ; for ye behold him, and with songs 10 And choral symphonies, day without night, Circle his throne rejoicing ; ye in Heaven, On earth, join all ye creatures to extol Him first, him last, him midst, and without end. Fairest of stars, last in the train of night, 15 If better thou belong not to the dawn, Sure pledge of day, that crown'st the smiling morn With thy bright circlet, praise him in thy sphere, While day arises, that sweet hour of prime. EX. 14-] EXERCISES ON INFLECTION. 199 Thou Sun, of this great world both eye and soul, 20 Acknowledge him thy greater, sound his praise In thy eternal course, both when thou climb'st, And when high noon hast gain'd, and when thou fall'st. Moon, that now meet'st the orient Sun, now fly'st, With the fix'd stars, fix'd in their orb that flies, 25 And ye five other wand'ring Fires, that move In mystic dance, not without song, resound His praise, who out of darkness call'd up light. 'Air, and ye 'Elements, the eldest birth Of nature's womb, that in quaternion run 30 Perpetual circle, multiform, and mix, And nourish all things, let your ceaseless change Vary to our great Maker still new praise. His praise, ye Winds, that from four quarters blow, Breathe soft or loud ; and wave your tops, ye Pines, 35 With every plant, in sign of worship, wave. Fountains, and ye that warble as ye flow, Melodious murmurs, warbling tune his praise. Join voices all, ye living Souls ; ye Birds, That singing up to Heav'n gate ascend, 40 Bear on your wings, and in your notes his praise. 14.1 Page GO. Emphatic succession of particulars re- quires the falling slide. Note 3. page 61. should be examined before reading this class of Exercises. He answered and said unto them, He that soweth the good seed is the Son of man ; — the field is the world ; the good seed are the children of the kingdom : but the tares are the children of the wicked one ; — the enemy 200 EXERCISES ON INFLECTION. [E X . 14 that sowed them is the devil ; the harvest is the end of the world ; and the reapers are the angels. 2. For to one is given by the Spirit the word of w| s . dom ; to another, the word of knowledge, by the same Spirit ; — to another, faith, by the same Spirit ; to anoth- er, the gifts of healing, by the same Spirit; — to another, the working of miracles ; to another, prophecy ; to an- other, discerning of spirits ; to another, divers kinds of tongues ; to another, the interpretation of tongues. 3. Rejoice evermore, pray without ceasing : — in eve- ry thing give thanks : for this is the will of God in Christ Jesus concerning you. — Quench not the Spirit : — Despise not prophesyings. — Prove allthfngs ; hold fast that which is good. 4. As virtue is the most reasonable and genuine source of honour, we generally find in titles, an intima- tion of some particular merit, that should recommend men to the high stations which they possess. Holiness is as- cribed to the Pope ; majesty, to kings ; serenity, or mild- ness of temper, to princes ; excellence, or perfection, to ambassadors ; grace, to archbishops ; honour, to peers ; worship, or venerable behaviour, to magistrates ; and reverence, which is of the same import as the former, to the inferior clergy. 5. It pleases me to think that I, who know so small a portion of the works of the Creator, and with slow and painful steps, creep up and down on the surface of this globe, shall, ere long, shoot away with the swiftness of imagination ; trace out the hidden springs of nature's op- erations ; be able to keep pace with the heavenly bodies in the rapidity of their career ; be a spectator of the long Ex. 14.] EXERCISES ON INFLECTION. 201 chain of events in the natural and moral worlds ; visit the several apartments of creation ; know how they are fur- nished and how inhabited ; comprehend the order and measure, the magnitude and distances of those orbs, which, to us, seem disposed without any regular design, and set all in the same circle ; observe the dependence of the parts of each system ; and (if our minds are big enough) grasp the theory of the several systems upon one another, from whence results the harmony of the universe. 6. He who cannot persuade himself to withdraw from society, must be content to pay a tribute of his time to a multitude of tyrants ; to the loiterer, who makes appoint- ments he never keeps — to the consulter, who asks advice he never takes — to the boaster, who blusters only to be praised — to the complainer, who whines only to be pitied — to the projector, whose happiness is only to entertain his friends with expectations, which all but himself know to be vain — to the economist, who tells of bargains and settlements — to the politician, who predicts the fate of battles and breach of alliances — to the usurer, who com- pares the different funds — and to the talker, who talks only because he loves talking. 7. That a man, to whom he was, in great measure, beholden for his crown, and even for his life ; a man to whom, by every honor and favor, he had endeavor- ed to express his gratitude ; whose brother, the earl of Derby, was his own father-in-law ; to whom he had even committed the trust of his person, by creating him lord chamberlain ; that a man enjoying his full confidence and affection ; not actuated by any motive of discontent 202 EXERCISES ON INFLECTION. Ex. 14. or apprehension ; that this man should engage in a con- spiracy against him, he deemed absolutely false and in- credible. 8. I would fain ask one of those bigoted infidels, sup- posing all the great points of atheism, as the casual or eter- nal formation of the world, the materiality of a thinking substance, the mortality of the soul, the fortuitous organi- zation of the body, the motion and gravitation of matter, with the like particulars, were laid together, and formed into a kind of creed, according to the opinions of the most celebrated atheists ; I say, supposing such a creed as this were formed, and imposed upon any one people in the world, whether it would not require an infinitely greater measure of faith, than any set of articles which they so violently oppose. 9. I conjure you by that which you profe ss . (Howe'er vou come to know it,) answer me ; Though you untie the winds, and let them fight Against the churches ; though the yesty waves Confound and swallow navigation up; Though bladed corn be lodg'd, and trees blown down ; Though castles topple on their warders' heads ; Though palaces and pyramids do slope Their heads to their foundations ; though the treasure Of nature's germins tumble altogether, Ev'n till destruction sicken, answer me To what I ask you. This last example is the one which was promised at page 40, of the Analysis, to he inserted in the Exercises, as exhibiting by the notation something of Garrick's manner in pronouncing the pas- sago. To make this more intelligible, I add here Walker's remarks accompanying this example, which were alluded to at page 40. Ex. 15.] EXERCISES ON INFLECTION. 203 " By placing the falling inflection, without dropping the voice on each particular, and giving this inflection a degre of emphasis, increasing from the first member to the sixth, we shall find the whole climax wonderfully enforced and diversified : this was the method approved and practised by the inimitable Mr. Garrick ; and though it is possible that a very good actor may vary in some par- ticulars from the rule, and yet pronounce the whole agreeably, it may with confidence be asserted that no actor can pronounce this passage to so much advantage as by adopting the inflections laid down in this rule." 15.] Page 62. Emphatic repetition requires the falling inflection ; though the principle of the suspending slide, or of the interrogative, may form an exception. 1. And Abraham stretched forth his hand, and took the knife to slay his son. — And the angel of the Lord called unto him out of heaven, and said, 'Abraham, Abraham. And he said, Here am I. 2. And the king was much moved, and went up to the chamber, over the gate, and wept : and as he went, thus he said, O my son 'Absalom, my son, my son Ab- salom ! would God I had died for thee, O Absalom, my son, my son ! 3. O Jerusalem, Jerusalem, thou that killest the proph- ets, and stonest them which are sent unto thee, how of- ten would I have gathered thy children together, even as a hen gathereth her chickens under her wings, and ye would not ! 4. But the subject is too awful for irony. I will speak plainly and directly. Newton was a Christian ! N&wton, whose mind burst forth from the fetters cast by nature upon our finite conceptions — Newton, whose sci- ence was truth, and the foundation of whose knowledge of it was philosophy : not those visionary and arrogant 204 EXERCISES ON INFLECTION. [Ex. 15. presumptions, which too often usurp its name, but philos- ophy resting upon the basis of mathematics, which, like figures, cannot lie — Newton, who carried the line and rule to the utmost barriers of creation, and explored the principles by which, no doubt, all created matter is held together and exists. 5. To die, they say, is noble — as a soldier — But with such guides to point th' unerring road, Such able guides, such arms and discipline As I have had, my soul would sorely feel 5 The dreadful pang which keen reflections give, Should she in death's dark porch, while life was ebbing, Receive the judgment, and the vile reproach: — "Long hast thou wander'd in a stranger's land, A stranger to thyself and to thy God ; 10 The heavenly hills were oft within thy view, And oft the shepherd call'd thee to his flock, And call'd in vain. — A thousand monitors Bade thee return, and walk in wisdom's ways. The seasons, as they roll'd, bade thee return ; 15 The glorious sun, in his diurnal round, Beheld thy wandering, and bade thee return; The night, an emblem of the night of death, Bade thee return ; the rising mounds, Which told the traveller where the dead repose 20 In tenements of clay, bade thee return ; And at thy father's grave, the filial tear, Which dear remembrance gave, bade thee return, And dwell in Virtue's tents, on Zion's hill ! — Here thy career be stay'd, rebellious man ! Ex. 19-22.] EXERCISES ON EMPHASIS. 205 25 Long hast thou liv'd a cumberer of the ground. Millions are shipwreck'd on life's stormy coast, With all their charts on board, and powerful aid, Because their lofty pride disdain'd to learn Th' instructions of a pilot, and a God." 16, 17, 18.] Page 63 to 66. On Cadence, Circumflex, and Accent, no additional illustrations seem to be re- quired in the Exercises. 19, 20, 21, 22.] Page 71 to 80. It was necessary in the Analysis to examine and exemplify at some length, the difference between emphatic stress, and emphatic inflec- tion, and also between absolute and relative stress. The examples, however, illustrating these distinctions, must generally be taken from single sentences and claus- es. But as I wish here to introduce such passages as have considerable length, I have concluded to ar- range them all under the general head of Emphasis, leaving the reader to class particular instances of stress, and inflection, according to the principles laid down in the Analysis. 1 . He that planted the ear, shall he not Mar ? he that formed the eye, shall he not see ? — he that chastis- eth the heathen, shall not he correct ? he that teacheth man knowledge, shall he not know °l 2. The queen of the south shall rise up in the judg- ment with the men of this generation, and condemn them : for she came from the utmost parts of the earth, to hear the wisdom of Solomon : and behold, a greater than Sol- omon is here. — The men of Nineveh shall rise up in the 18 20G EXERCISES ON EMPHASIS. [Ex. 19-22. judgment with this generation, and shall condemn it : for they repented at the preaching of Jonas ; and behold, a greater than Jonas is here. 3. But when the Pharisees heard it, they said, This fellow doth not cast out devils, but by Beelzebub the prince of the devils. 2 And Jesus knew their thoughts, and said unto them, Every kingdom divided against itself, is brought to desolation ; and every city or house divided against it- self shall not stand. 3 And if Satan cast out Satan, he is divided against himself; how shall then his kingdom stand ? And if I by Beelzebub cast out devils, by whom do your children cast them out ? therefore they shall be your judges. But if I cast out devils by the Spirit of God, then the kingdom of God is come unto you. 4 Or else how can one enter into a strong man's house, and spoil his goods, except he first bind the strong man ? and then he will spoil his house. 4. And behold, a certain lawyer stood up, and tempt- ed him, saying, Master, what shall I do to inherit eternal life? 2 He said unto him, What is written in the law? how readest thou ? 3 And he answering said, Thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy strength, and with all thy mind ; and thy neighbor as thyself. 4 And he said unto him, Thou hast answered right : this do, and thou shalt live. — But he, willing to justify himself, said unto Jesus, And who is my neighbor ? 5 And Jesus answering, said, A certain man went down from Jerusalem to Jericho, and fell among thieves, which stripped him of his raiment, and wounded him, and departed, leaving him half dead. 6 And by chance there came down a certain priest that way ; Ex. 19-22.] EXERCISES ON ExMPHASIS. 207 and when he saw him, he passed by on the other side. — And likewise a Levite, when he was at the place, came and looked on him, and passed by on the other side. 7 But a certain Samaritan, as he journeyed, came where he was : and when he saw him, he had compassion on him, — and ivhit to him, and bound up his wounds, pouring in oil and wine, and set him on his own beast, and brought him to an inn, and took care of him. 8 And on the morrow, when he departed, he took out two pence, and gave them to the host, and said unto him, Take chre of him : and what- soever thou spendest more, when I come again, I will re- pay thee. 9 Which now of these three, thinkest thou, was neighbor unto him that fell among the thieves ?— And he said, He that shewed mercy on him. Then said Jesus unto him, Go, and do thou likewise. 5. As to those public works, so much the object of your ridicule, they, undoubtedly, demand a due share of honor and applause; but I rate them far beneath the great merit of my administration. It is not with stones nor bricks that 'I have fortified the cfty. It is not from works like these that '1 derive my reputation. Would you know my methods of fortifying ? Examine, and you will find them in the arms, the towns, the territories, the harbors I have secured ; the navies, the troops, the ar- mies I have raised. 6. For if you now pronounce, that, as my public conduct hath not been right, Ctesiphon must stand con- demned, it must be thought that yourselves have acted wrong, not that you owe your present state to the caprice of fortune. But it cannot bL Nd, my countrymen ! It cannot be you have acted wrong, in encountering danger 208 EXERCISES ON EMPHASIS. [Ex. 19-22. bravely, for the liberty and safety of all Greece, Nd ! By those generous souls of ancient times, who were ex- posed at Marathon ! By those who stood arrayed at Platta ! By those who encountered the Persian fleet at Salamis ! who fought at Jlrtemisium I By all those il- lustrious sons of Athens, whose remains lie deposited in the public monuments ! Ml of whom received the same honorable interment from their country : Not those only who prevailed, not those only who were victorious. And with reason. What was the part of gallant men they all performed ; their success was such as the Supreme Director of the world dispensed to each. 7. Like other tyrants, death delights to smite, What, smitten, most proclaims the pride of pow'r, And arbitrary nod. His joy supreme, To bid the wretch survive the fdrtunate ; 5 The feeble wrap the athUlic in his shroud : And weeping fathers build their children 's tomb : Me thine, Narcissa ! — What though short thy date ? Virtue, not rolling suns, the mind matures. That life is long, which answers life's great end. 10 The tree that bears no fruit, deserves no name; The man of wisdom, is the man of years. Narcissa's youth has lectur'd me thus far. And can her gaiety give counsel too . ? That, like the Jews' fam'd oracle of gems, 15 Sparkles instruction ; such as throws new light, And opens more the character of death ; 111 known to thee, Lorenzo ! This thy vaunt : " Give death his due, the wretched, and the old ; " Let him not violate kind nature's laws, Ex. 19-22.] EXERCISES ON EMPHASIS. 209 " But own man born to live as we]] as die" Wretched and old thou gWst him 5 young and gay- He takes; and plunder is a tyrant's joy. * Fortune, with youth and gaiety, conspir'd 5 To weave a triple wreath of happiness, (If happiness on earth,) to crown her brow ; And could death charge through such a shining shield f That shining shield invites the tyrant's spear, As if to damp our elevated aims, 10 And strongly preach humility to man. O how portentous is prosperity ! How, comet-like, it threatens, while it shines ! Few years but yield us proof of death's ambition, To cull his victims from the fairest fold, 15 And sheath his shafts in all the pride of life. When flooded with abundance, purpled o'er With recent honors, bloom'd with ev'ry bliss, Set up in ostentation, made the gaze, The gaudy centre, of the public eye, 20 When fortune thus has toss'd her child in air, Snatch'd from the covert of an humble state, How often have I seen him drbpp'd at once, Our morning's envy ! and our ev'ning's sigh ! Death loves a shining mark, a single blow ; 25 A blow, which, while it executes, alarms ; And startles thousands with a single fall. (°) As when some stately growth of oak or pine, Which nods aloft, and proudly spreads her shade, The sun's defiance, and the flock's defence ; * In this place, and in many others, the connexion of the authoi is broken in the selections, without notice. 18* 210 EXERCISES ON EMPHASIS. [Ex. 19-22. By the strong strokes of lab'ring hinds subdu'd, Loud groans her last, and rushing from her height, In cumb'rous ruin, thunders to the ground : The conscious forest trembles at the shock, 5 And hill, and stream, and distant dale resound.* Young, 8. Genius and art, ambition's boasted wings, Our boast but ill deserve. If these alone Assist our flight, fame 9 s flight is glory's fall. 10 .Heartf-merit wanting, mount we ne'er so high, Our height is but the gibbet of our name. A celebrated wretch when I behold, When I behold a genius bright, and base, Of tow'ring talents, and terrestial afms ; 15 Methinks I see, as thrown from her high sphere, The glorious fragments of a soul immortal, With rubbish mixt, and glittering in the dust. Struck at the splendid, melancholy sight, At once compassion soft, and envy rise 20 But wherefore envy f Talents angel-bright, If wanting worth, are shining instruments In false ambition's hand, to finish faults Illustrious, and give infamy renown. Great ill is an achievement of great pdw'is, 25 Plain sense but rarely leads us far astray. Means have no merit, if our bnd amiss. Hearts are proprietors of all applause. Right ends, and means, make wisdom : Worldly-wise Is but M//*-witted, at its highest praise. • In all the following Exercises, the sign of transition and other marks of Modulation are occasionally used. Ex. 19-22.] EXERCISES ON EMPHASIS. 211 Let genius then despair to make thee great ; Nor flatter station : What is station high ? 'Tis a proud mendicant : it boasts and begs ; It begs an alms of homage from the throng, 5 And oft the throng denies its charity. Monarchs and ministers, are awful names ; Whoever wear them, challenge our devoir. Religion, public order, both exact External homage, and a supple knee, 10 To beings pompously set up, to serve The meanest slave ; all more is merit's due, Her sacred and inviolable right, Nor ever paid the monarch, but the man. Our hearts ne'er bow but to superior wdrth ; 15 Nor ever fail of their allegiance there. Fools, indeed, drop the man in their account, And vote the mantle into majesty. Let the small savage boast his silver fur; His royal robe unborrow'd and unbought, 20 His burn, descending fairly from his sires. Shall man be proud to wear his livery, And souls in ermine scorn a soul without ? Can place or lessen us, or aggrandize ? Pygmies are pygmies still, though perch'd on "Alps ; 25 And pyramids are pyramids in vales. Each man makes his own stature, builds himself; Virtue alone outbuilds the pyramids ; Her monuments shall last when Egypt's fall. Thy bosom burns for pdw'r ; 30 What station charms thee ? I'll install thee there ; 'Tis thine. And art thou greater than before ? Then thou before wast something less than man. 212 EXERCISES ON EMPHASIS. [Ex. 1 9-22. Has thy new post betray'd thee into pride? That treach'rous pride betrays thy dignity ; That pride defames humanity, and calls The being mean, which staffs or strings can raise. 5 High ivdrth is elevated place : 'Tis more ; It makes the post stand candidate for thee ; Make more than monarchs, makes an honest man ; Though no exchequer it commands, lis wealth ; And though it wears no ribband, 'tis renown ; 10 Renown, that would not quit ihee, though disgrac'd, Nor leave thee pendant on a master's smile. Other ambition nature interdicts ; Nature proclaims it most absurd in man, By pointing at his origin, and end ; 15 Milk, and a swathe, at first his whole demand ; His whole domain, at last, a turf, or stone ; To whom, between, a wdrld may seem too small. Young. 9. Nothing can make it less than mad in man To put forth all his ardor, all his art, 20 And give his soul her full unbounded flight, But reaching Him, who gave her wings to fly. When blind ambition quite mistakes her road, And downward pores, for that which shines above, Substantial happiness, and true renown : 25 Then, like an idiot, gazing on the brook, We leap at stars, and fasten in the mud ; At glory grasp, and sink in infamy. Ambition ! pow'rful source of good and ill ! Thy strength in man, like length of wing in birds, 30 When disengag'd from earth, with greater ease Ex. 19-22.] EXERCISES ON EMPHASIS. 213 And swifter flight transports us to the skies ; By toys entangled, or in guilt bemir'd, It turns a curse ; it is our chain, and scourge, In this dark dungeon, where confin'd we lie, 5 Close grated by the sordid bars of sense ; All prospect of eternity shut out ; And, but for execution, ne'er set free. In spite of all the truths the muse has sung, Ne'er to be priz'd enough ! enough revolv'd ! 10 Are there who wrap the world so close about them, They see no farther than the clouds ? and dance On heedless vanity's fantastic toe ? Till, stumbling at a straw, in their career, Headlong they plunge, where end both dance and song. 15 Are there on earth, — (let me not call them men,) Who lodge a soul immortal in their breasts; Unconscious as the mountain of its ore ; Or rock, of its inestimable gem ? When rocks shall melt, and mountains vanish, these 20 Shall kndw their treasure ; treasure, then, no more. Are there, (still more amazing !) who resist The rising thought ? Who smother, in its birth, The glorious truth ! Who struggle to be brutes ? Who through this bosom-barrier burst their way, 25 And, with revers'd ambition, strive to sink ? Who labor downwards through th' opposing pow'r Of instinct, reason, and the world against theni, To dismal hopes, and shelter in the shock Of endless night ? night darker than the grave's ! 30 Who fight the proofs of immortality ? 214 EXERCISES ON EMPHASIS. [Ex. 19-22. With horrid zeal, and execrable arts, Work all their engines, level their black fires, To blot from man this attribute divine, (Than vital blood far dearer to the wise) 5 Blasphemers, and rank atheists to themselves ? Young. 10 Look nature through, 'tis revolution all : All change ; no death. Day follows night ; and night The dying day ; stars rise, and set, and rise 5 Earth takes th' example. See, the Summer gay, 10 With her green chaplet, and ambrosial flowers, Droops into pallid Autumn : Winter grey, Horrid with frost, and turbulent with storm, Blows Autumn, and his golden fruits, away ; — Then melts into the Spring : Soft Spring, with breath 15 Favonian, from warm chambers of the south, Recalls the first. All, to re-flourish, fades ; As in a wheel, all sinks, to re-ascend. Emblems of man, who passes, not expires. Look down on earth. — What seest thou ? Won- drous things ! 20 Terrestrial wonders, that eclipse the skies. What lengths of labor'd lands ! what loaded seas ! Loaded by man, for pleasure, wealth, or war! Seas, winds, and planets, into service brought, His art acknowledge, and promote his ends, 25 Nor can the eternal rocks his will withstand : What levell'd mountains ! and what lifted vales ! O'er vales and mountains, sumptuous cities swell, And gild our landscape with their glitt'ring spires. Some 'mid the wond'ring waves majestic rise ; Ex. 19-22.] EXERCISES ON EMPHASIS. 215 And Neptune holds a mirror to their charms. See, wide dominions ravish'd from the deep I The narrow'd deep with indignation foams. How the tall temples, as to meet their gods, 5 Ascend the skies ! the proud triumphal arch Shews us half heav'n beneath its ample bend. High thro' mid air, here streams are taught to flow : Whole rivers, there, laid by in basins, sleep. Here, plains turn oceans ; there, vast oceans join 10 Thro' kingdoms channel'd deep from shore to shore : And chang'd creation takes its face from man. Earth's disembowel'd ! measur'd are the skies ! Stars are delected in their deep recess! Creation widens ! vanquished nature yields ! 15 Her secrets are extorted ! art prevails ! What monument of genius, spirit, power ! Young. 11. The world's a prophecy of worlds to come ; And who, what God foretels, (who speaks in things, Still louder than in words,) shall dare deny . ? 20 If nature's arguments appear too weak, Turn a new leaf, and stronger read in man. If man sleeps on, untaught by what he sdes, Can he prove infidel to what he feels? Who reads his bosom, reads immortal life; 25 Or nature there, imposing on her sons, Has written fables : man was made a lie. Why discontent forever harbor'd there ? Incurable consumption of our peace ! Resolve me, why, the cottager and king, 30 He, whom sea-sever'd realms obey, and he 216 EXERCISES ON EMPHASIS. [Ex. 19-22. Who steals his whole dominion from the waste, Repelling winter blasts with mud and straw, Disquieted alike, draw sigh for sigh, In fate so distant, in complaint so near ? 5 Reason progressive, instinct is complete ; Swift instinct leaps ; slow reason feebly climbs. Brutes soon their zenith reach ; their little all Flows in at once ; in ages they no more Could know, or do, or covel, or enjoy. 10 Were man to live coeval with the sun, The patriarch pupil would be learning still ; Yet, dying, leaving his lesson half unlearnt: Men perish in advance, as if the sun Should set ere noon, in eastern oceans drown'd ; 15 To man, why, slepdame nature ! so severe ? W T hy thrown aside thy master-piece half wrought, While meaner efforts thy last hand enjoy ? Or, if abortively, poor man must dfe, Nor reach, what reach he might, why die in dread ? 20 Why curst with foresight? wise to misery? Why of his proud prerogative the prey ? Why less pre-eminent in rank, than pain ? His immortality alone can solve The darkest of enigmas, human hbpe ; 25 Of all the darkest, if at death we die. Hope, eager hope, th' assassin of our joy, All present blessings treading under foot, Is scarce a milder tyrant than despair. With no past toils content, still planning new, 30 Hope turns us o'er to death alone for ease. Possession, why more tasteless than pursuit ? Ex. 19-22.] EXERCISES ON EMPHASIS. 217 Why is a wish far dearer than a crown ? That wish accomplish'd, why, the grave of bliss . ? Because, in the great future, bury'd deep, Beyond our plans of empire and renown, 5 Lies all that man with ardor should pursue ; And HE who made him, bent him to the right. Why beats thy bosom with illustrious dreams Of self-exposure, laudable, and great ? Of gallant enterprise, and glorious death ? 10 Die for thy country ! — Thou romantic fool ! Seize, seize the plank thyself, and let her sink : Thy country ! what to Thee ? — The Godhead, what ? (I speak with awe !) though He should bid thee bleed ? If, with thy blood, thy final hope is spilt, 15 Nor can Omnipotence reward the blow ? Be deaf; preserve thy being; disobey. Since virtue's recompense is doubtful, here, If man dies wholly, well may we demand, Why is man suffer'd to be good in vain ? 20 Why to be good in vain, is man enjoin'd ? Why to be good in vain, is man betray'd ? Betray'd by traitors lodg'd in his own breast By sweet complacencies from virtue felt ? Why whispers nature lies on virtue's part ? 25 Or if blind instinct (which assumes the name Of sacred conscience) plays the fool in man, Why reason made accomplice in the cheat ? Why are the wisest loudest in her praise ? Can man by reason's beam be led astray ? 30 Or, at his peril, imitate his God . ? Since virtue sometimes ruins »s on earth, 19 218 EXERCISES ON EMPHASIS. [Ex. 19-22. Or both are true ; or, man survives the grave. Or own the soul immortal, or invert All order. Go, mock-majesty ! go, man ! And bow to thy superiors of the stall; 5 Through ev'ry scene of sense superior far : They graze the turf untill'd ; they drink the stream, No foreign clime they ransack for their robes : Nor brothers cite to the litigious bar ; Their good is good entire, unmlxt, unmarr'd ; 10 They find a paradise in ev'ry field, On boughs forbidden where no curses hang : Their ill no more than strikes the sense ; unstretch'd By previous dread, or murmur in the rear ; When the worst comes, it comes unfear'd ; one stroke 15 Begins, and ends, their woe: They die but once; Blest, incommunicable privilege ! for which Proud man, who rules the globe, and reads the stars, Philosopher, or hero, sighs in vain. Young. 12. He ceas'd ; and next him Moloch, scepter'd king, 20 Stood up ; the strongest and fiercest Spirit That fought in Heav'n, now fiercer in despair : His trust was with th' Eternal to be deem'cl Equal in strength, and rather than be less, Car'd not to be at all ; with that care lost 25 Went all his fear : of God, or Hell, or worse, He reck'd not, and these words thereafter spake. " My sentence is for open war ; of wiles, 5 More unexpert, I boast not ; them let those Contrive who need, or when they need, not now ; 30 For, while they sit contriving, shall the rest. Ex. 19-22.] EXERCISES ON EMPHASIS. 219 Millions that stand in arms, and, longing, wait The signal to ascend, sit lingering here Heav'n's fugitives, and for their dwelling-place Accept this dark opprobrious den of shame, 5 The prison of his tyranny who reigns By our delay ? Nd, let us rather choose, Arm'd with Hell-flames and fury, all at once, O'er Heav'n's high tow'rs to force resistless way, Turning our tortures into horrid arms, 10 Against the Torturer ; when to meet the noise Of his almighty engine he shall hear Infernal thunder, and for lightning, see Black fire and horrid shot with equal rage Among his Angels, and his throne itself, 15 Mix'd with Tartarean sulphur, and strange fire, His own invented torments. ( Q ) But perhaps The way seems difficult and steep, to scale With upright wing against a higher foe. Let such bethink them, if the sleepy drench 20 Of that forgetful lake benumb not still, That in our proper motion we ascend Up to our native seat : descent and fall To us is adverse. Who but felt of late, When the fierce foe hung on our broken rear, 25 Insulting, and pursued us through the deep, With what compulsion and laborious flight We sunk thus low ? Th' ascent is easy then ; Th' ev&nt is fear'd ; should we again provoke Our stronger, some worse way his wrath may find 30 To our destruction, if there be in Hell Fear to be worse destroy'd : what can be worse 220 EXERCISES ON EMPHASIS. [Ex. 1 9-22. Than to dwell hire, driv'n out from bliss, condemn'd In this abhorred deep to utter woe : Where pain of unextinguishable fire Must exercise us without hope of end 5 The vassels of his anger, when the scourge Inexorable, and the torturing hour, Call us to penance ? More destroy'd than thus, We should be quite abolish'd, and expire. What/ear we then ? what doubt we to incense 10 His utmost ire ? which, to the height enrag'd, Will either quite consume us, and reduce To nothing this essential, (happier far Than miserable, to have eternal being,) Or if our substance be indeed divine, 15 And cannot cease to be, we are at worst On this side nothing; and by proof we feel Our power sufficient to disturb his Heaven, And with perpetual inroads to alarm, Though inaccessible, his fatal throne ; 20 W T hich if not victory, is yet revenge." 13. I should be much for open war, O peers, As not behind in hate, if what was urg'd, Main reason to persuade immediate war, Did not dissuade me most, and seem to cast 25 Ominous conjecture on the whole success, — When he, who most excels in fact of arms, In what he counsels, and in what excels, Mistrustful, grounds his courage on despair, And utter dissolution, as the scope 30 Of all his aim, after some dire revenge. Ex. 19-22.] EXERCISES ON EMPHASIS. 221 First, what revenge ? The tow'rs of Heav'n are fill'd With armed watch, that render all access Impregnable ; oft on the bord'ring deep Encamp their legions, or, with obscure wing, 5 Scout far and wide into the realm of night, Scorning surprise. Or, could we break our way 'By force, and at our heels all hell should rise, With blackest insurrection, to confound HeavVs purest light, yet our great enemy, 10 All incorruptible, would on his throne Sit unpolluted, and th' ethereal mould, Incapable of stain, would soon expel Her mischief, and purge off the baser fire, Victorious. Thus repuls'd, our final hope 15 Is flit despair : we must exasperate Th' almighty Victor to spend all his rage, And that must end us, that must be our cure, To be no mdre : sad cure ; for who would lose, Though full of pain, this intellectual being, 20 Those thoughts that wander through eternity, To perish rather, swallow'd up and lost In the wide womb of uncreated night, Devoid of sense and motion ? and who knows, Let this be good, whether our angry foe 25 Can give it, or will ever ? how he can Is doubtful 5 that he never will is sure. Milton. 14. Aside the Devil turn'd For envy, yet with jealous leer malign Ey'd them askance, and to himself thus plain'd. 30 " Sight hateful, sight tormenting ! thus these two 19* 222 EXERCISES ON emphasis. [Ex. 19-22. Imparadis'd in one another's arms, The happier Eden, shall enjoy their fill Of bliss ; while I to Hell am thrust, Where neither joy nor love, but fierce desire, 5 (Amongst our other torments nor the least,) Still unfulfill'd, with pain of longing pines. Yet let me not forget what I have gain'd From their own mouths : all is not theirs it seems ; One fatal tree there stands of knowledge call'd, 10 Forbidden them to taste. Knowledge forbidden? Suspicious, reasonless ! Why should their Lord Envy them that ? Can it be sfn to know ? Can it be death ? and do they only stand By ignorance I is that their happy state, 15 The proof of their obedience and their faith r O fair foundation laid whereon to build Their ruin ! Hence I will excite their minds With more desire to know, and to reject Envious commands, invented with design 20 To keep them low whom knowledge might exalt, Equal with Gods : aspiring to be such, They taste and die ; what likelier can ensue ? But first with narrow search I must walk round This garden, and no corner leave unspied ; 25 A chance, but chance, may lead where I may meet Some wand'ring spi'rit of Heav'n, by fountain side, Or in thick shade retir'd from him to draw What further would be learn'd. Live while ye may, Yet happy pair ; enjoy, till I return, 30 Short pleasures, for long ivoes are to succeed." So saying, his proud step he scornfol turn'd, Ex. 19-22.] EXERCISES ON EMPHASIS. 223 But with sly circumspection, and began, Through wood, through waste, o'er hill, o'er dale, his roam. Milton, In the following speech, where an emphatic clause is in Italic, or has the mark of monotone, it requires a firm, full voice, and gen- erally a low note. 15 . Speech of Titus Quinctius to the Romans. Though I am not conscious, O Romans, of any crime by me committed, it is yet with the utmost shame and confusion that I appear in your assembly. You have seen it — posterity will know it ! — in the fourth consul- 5 ship of Titus Quinctius, the iEqui and Volsci, (scarce a match for the Hernici alone,) came in arms, to the very gates of Rome, — ( Q ) and went away unchastised ! The course of our manners, indeed, in the state of our af- fairs, have long been such, that I had no reason to pre- 10 sage much good : but, could I have imagined that so great an ignominy would have befallen me this year, I would, by banishment or death, (if all other means had failed,) have avoided the station I am now in. ( ) Whafi might Rome then have been taken, if these men who 15 were at our gates had not wanted courage for the at- tempt? — Rome taken, whilst I was consult — ( ) Of honors I had sufficient — of life enough — more than enough — I should have died in my third consulate. But who are they that our dastardly enemies thus de- 20 spise ? — the consuls, or ydu, Romans ? If we are in fault, depdse us, or punish us yet more severely. If you are to blame — may neither gods nor men punish your faults ! only may you repent ! — Nd, Romans, the confi- 224 EXERCISES ON emphasis. [Ex. 19-22. dence of our enemies is not owing to their courage, or 25 to their belief of your cowardice : they have been too often vanquished, not to know both themselves and you. (oo Discord, discord is the ruin of this city ! The eter- nal dispHtes, between the senate and the people, are the sole cause of our misfortunes. While we set no bounds 30 to our dominion, nor you to your Ifberty ; while you impatiently endure Patrician magistrates, and we Ple- beian; our enemies take heart, grow elated, and pre- sumptuous. (°) In the name of the immortal gods, what is it, Romans, you would have? You desired Tribunes; 35 for the sake of peace, we granted them. You were eager to have Decemvirs ; we consented to their cre- ation. You grew weary of these Decemvirs ; we oblig- ed them to abdicate. Your hatred pursued them when reduced to private men ; and we suffered you to put 40 to death, or banish, Patricians of the first rank in the republic. You insisted upon the restoration of the Tri- buneship ; we yielded ; we quietly saw Consuls of your own faction elected. You have the protection of your Tribunes, and the privilege of appeal ; the Patri- 45 ciansare subjected to the decrees of the Commons. Under pretence of equal and impartial laws, you have invaded our rights ; and we have suffered it, and we still suffer it. (°) When shall we see an end of dis- cord ? When shall we have one interest, and one 50 common country ? Victorious and triumphant, you show less temper than we under defeat. When you are to contend with (is, you can seize the Aventine hill, you can possess yourselves of the Mons Sacer. The enemy is at our gates — the JEsquiline is near Ex. 19.-22.] EXERCISES ON EMPHASIS. 225 55 being taken, — and nobody stirs to hinder it ! But against vs you are valiant, against us you can arm with diligence. Come on, then, besiege the senate-house, make a camp of the forum, fill the jails with our chief nobles, and when you have achieved these glorious 60 exploits, then, at last, sally out at the iEsquiline gate, with the same fierce spirits, against the enemy. Does your resolution fail you for this ? Go then, and behold from our walls your lands ravaged, your houses plun- dered and in flames, the whole country laid waste with 65 fire and sword. Have you any thing here to repafr these damages f Will the Tribunes make up your losses to you ? They will give you words as many as you please ; bring impeachments in abundance against the prime men in the state ; heap laws upon laws ; as- 70 sembltes you shall have without end ; but will any of you return the richer from those assemblies ? (o) Ex- tinguish, O Romans, these fatal divisions; generously break this cursed enchantment, which keeps you bu* ried in a scandalous inaction. Open your eyes, and 75 consider the management of those ambitious men, who, to make themselves powerful in their party, study noth- ing but how they may foment divisions in the common- wealth. — If you can but summon up your former cour- age, if you will now march out of Rome with your con- 80 suls, there is no punishment you can inflict, which I will not submit to, if 1 do not, in a few days, drive those pillagers out of our territory. This terror of war, with which you seem so grievously struck, shall quickly be removed from Rome to their own cities. 226 EXERCISES ON EMPHASIS. [Ex. 23] Page 88. Difference between the common and the intensive inflection. The difficulty to be avoided may be seen sufficiently in an ex- ample or two. There is a general tendency to make the slide of the voice as great in degree, when there is little stress, as when there is much ; whereas in the former case the 6lide should be gentle, and sometimes hardly perceptible. Common slide. To play with important truths ; to disturb the repose of established tenets ; to subtilize objections ; and elude proof, is too often the sport of youthful vanity, of which maturer experience commonly repents. Were the miser's repentance upon the neglect of a good bargain ; his sorrow for being over-reached ; his hope of improving a sum ; and his fear of falling into want ; directed to their proper objects, they would make so many Christian graces and virtues. Intensive slide. Consider, I beseech you, what was the part of a faithful citizen ? of a prudent, an active, and an honest minister? Was he not to secure Eubcea, as our defence against all attacks by sea ? Was he not to make Beotia our barrier on the midland side ? The cities bordering on Peloponnesus our bulwark on that quarter ? Was he not to attend with due precaution to the importation of corn, that this trade might be protected through all its progress up to our own harbors ? Was he not to cover those districts which we commanded, by seasonable de- tachments, as the Proconesus, the Chersonesus,and Ten- edos f To exert himself in the assembly for this pur- Ex. 24.] EXERCISES ON MODULATION. 227 pose, while with equal zeal he labored to gain others to our interest and alliance, as Byzantium, Abydus, and Eubofa f Was he not to cut off the best, and most im- portant resources of our enemies, and to supply those in which our country was defective ? — And all this you gain- ed by my counsels, and my administration. EXERCISES ON MODULATION. 24] Page 118. Compass of voice. To assist in cultivating the bottom of the voice, 1 have selected examples of sublime or solemn description, which admits of but little inflection; and some which contain the figure of simile. Where the mark for low note is inserted, the reader will take pains to keep down his voice, and to preserve it in nearly the grave monotone. 1. (o) He bowed the heavens also, and came down ; and darkness was under his feet. — And he rode upon a cherub, and did fly : yea, he did fly upon the wings of the wind. — He made darkness his secret place ; his pavil- ion round about him were dark waters and thick clouds of the skies. — At the brightness that was before him his thick clouds passed, hailstones and coals of fire. — The Lord also thundered in the heavens, and the Highest gave his voice ; hailstones and coals of fire. 2. ( ) And then shall appear the sign of the Son of Man in heaven : and then shall all the tribes of the earth mourn, and they shall see the Son of Man, coming in the clouds of heaven, with power and great glory. — And he shall send his angels, with a great sound of a trumpet, and they shall gather together his elect from the four winds, from one end of heaven to the other. 3. (o) And the heaven departed as a scroll, when it is rolled together; and every mountain and island were 228 EXERCISES ON MODULATION. [Ex. 24. moved out of their places. 2 And the kings of the earth, and the great men, and the rich men, and the chief cap- tains, and the mighty men, and every bond-man, and ev- ery free-man, hid themselves in the dens and in the rocks of the mountains ; 3 And said to the mountains and rocks, Fall on us, and hide us from the face of him that sitteth on the throne, and from the wrath of the Lamb : — For the great day of his wrath is come ; and who shall be able to stand ? 4. And I saw a great white throne, and him that sat on it, from whose face the earth and the heaven fled away ; and there was found no place for them. 5 And I saw the dead, small and great, stand before God ; and the books were opened : and another book was opened, which is the book of life : and the dead were judged out of those things which were written in the books, according to their works. 6 And the sea gave up the dead which were in it; and death and hell delivered up the dead which were in them : and they were judged every man according to their works. 4. 'Tis listening Fear and dumb Amazement all : When to the startled eye, the sudden glance Appears far south, eruptive through the cloud : And following slower, in explosion fast, 5 The Thunder raises his tremendous voice. At first heard solemn o'er the verge of heaven, The tempest growls ; ( ) but as it nearer comes, And rolls its awful burthen on the wind ; The lightnings flash a larger curve, and more 10 The noise astounds : till over head a sheet Of livid flame discloses wide ; then shuts And opens wider ; shuts and opens, still Expansive, wrapping ether in a blaze. Follows the loosened aggravated roar, 15 Enlarging, deep'ning, mingling, peal on peal Crush'd horrible, convulsing heaven and earth. Ex. 24.] EXERCISES ON MODULATION. 229 5. 'Twas then great Marlb'rough's mighty soul was prov'd, That in the shock of charging hosts unmov'd, Amidst confusion, horror and despair, Examin'd all the dreadful scenes of war ; In peaceful thought the field of death survey'd, To fainting squadrons sent the timely aid Inspir'd repuls'd battalions to engage, And taught the doubtful battle where to rage. ( So when an angel, by divine command, With rising tempests shakes a guilty land, (Such as of late o'er pale Britannia past,) Calm and serene he drives the furious blast ; And pleas'd th' Almighty's orders to perform, Rides on the whirlwind, and directs the storm. 6. Rous'd from his trance, he mounts with eyes aghast, When o'er the ship in undulation vast, A giant surge down rushes from on high, And fore and aft dissever'd ruins lie ; (o) As when, Britannia's empire to maintain, Great Hawke descends in thunder on the main, Around the brazen voice of battle roars, And fatal lightnings blast the hostile shores; Beneath the storm their shatter'd navies groan, The trembling deep recoils from zone to zone ; Thus the torn vessel felt the enormous stroke, The beams beneath the thund'ring deluge broke. 7. To whom in grief thus Abdiel stern replied. Reign thou in Hell, thy kingdom ; let me serve In heav'n God ever blest, and his divine Behests obey, worthiest to be obey'd ; 5 Yet chains in Hell, not realms expect: meanwhile From me, (return'd as erst thou saidst from flight,) This greeting on thy impious crest receive. 20 230 EXERCISES ON MODULATION. [Ex. 24, ( ) So saying, a noble siroke he lifted high, Which hung not, but so swift with tempest fell 10 On the proud crest of Satan, that no sight, For motion of swift thought, less could his shield, Such ruin intercept; ten paces huge He back recoil'd ; the tenth on bended knee His massy spear upstay'd ; as if on earth 15 Winds under ground, or waters forcing way, Sidelong had push'd a mountain from his seat, Half sunk with all his pines. Now storming fury rose, And clamor such as heard in heav'n till now 20 Was never ; arms on armor clashing, bray'd Horrible discord, and the madding wheels Of brazen chariots rag'd ; dire was the noise Of conflict ; over head the dismal hiss Of fiery darts in flaming vollies flew, 25 And flying, vaulted either host with fire. So under fiery cope together rush'd Both battles main, with ruinous assault And inextinguishable rage ; all Heaven 30 Resounded, and had Earth been then, all Earth Had to her centre shook. — — Long time in even scale The battle hung ; till Satan, who that day Prodigious pow'r had shown, and met in arms 35 No equal, ranging through the dire attack Of fighting Seraphim confus'd, at length Saw where the sword of Michael smote, and fell'd Squadrons at once ; with huge two-handed sway, Brandish'd aloft, the horrid edge came down 40 Wide wasting ; such destruction to withstand He hasted, and oppos'd the rocky orb Often fold adamant, his ample shield, A vast circumferance. At his approach The great Archangel from his warlike toil Surceas'd, and glad, as hoping here to end EX. 24.] EXERCISES ON MODULATION. 231 40 Intestine war in Heav'n, th' arch-foe subdu'd. Now vvav'd their fiery swords, and in the air Made horrid circles; two broad suns their shields Blaz'd opposite, while expectation stood In horror; from each hand with speed retired, 50 Where erst was thickest fight, the angelic throng, And left large fields, unsafe within the wind Of such commotion ; such as, to set forth Great things by small, if nature's concord broke, Among the constellations war were sprung, 55 Two planets rushing from aspect malign Of fiercest opposition in mid-sky Should combat, and their jarring spheres confound. Milton. The following examples are selected as a specimen of those pas- sages, which are most favourable to the cultivation of a top to the voice. In pronouncing these, the reader should aim to get up his voice to the highest note on which he can articulate with freedom and distinctness. See remarks page 120. If the student wishes for more examples of this kind, he is referred to EXERCISES [5], 8. Has a wise and good God furnished us with de- sires which have no correspondent objects, and raised expectations in our breasts, with no other view but to dis- appoint them ? — Are we to be for ever in search of hap- piness, without arriving at it, either in this world or the next? — Are we formed with a passionate longing for immortality, and yet destined to perish after this short period of existence? — Are we prompted to the noblest actions, and supported through life, under the severest hardships and most delicate temptations, by the hopes of a reward which is visionary and chimerical, by the ex- pectation of praises, of which it is utterly impossible for us ever to have the least knowledge or enjoyment ? 9. (°) "Whence and what art thou, execrable shape, That dar'st, though grim and terrible, advance Thy miscreated front athwart my way To yonder gates ? through them I mean to pass, 232 EXERCISES ON MODULATION. [Ex. 25. 5 That be assured, without leave ask'd of thee : Retire, or taste thy folly ; and learn by proof, Hell-born, not to contend with spi'rits of Heav'n." To whom the goblin full of wrath reply'd ; (°} "Art thou that traitor Angel, art thou he, 10 Who first broke peace in Heav'n and faith, till then Unbroken, and in proud rebellious arms Drew after him the third part of Heav'n's sons, Conjur'd against the High'est, for which both thou And they, outcast from God, are here condemn'd 15 To waste eternal days in woe and pain ? And reckon'st thou thyself with spi'rits of Heav'n, Hell-doom'd, and breath'st defiance here and scorn, Where /reign king, and, to enrage thee more, Thy king and lord ? Back to thy punishment, 20 False fugitive, and to thy speed add icings, Lest with a whip of scorpions I pursue Thy ling'ring, or with one stroke of this dart, Strange horrors seize thee, and pangs unfelt before." 25.] Page 120. Transition. The Exercises of the foregoing head were designed to accustom the voice to exertion on the extreme notes of its compass, high and low. The following Exercises under this head are intended to accustom the voice to those ofidden transitions which sentiment often requires, not only as to pilch, but also as to quantity, 1. The Power of Eloquence. AN ODE. 1 Heard ye those loud contending waves, That shook Cecropia's pillar'd state ? Saw ye the mighty from their graves Look up, and tremble at her fate? "Who shall calm the angry storm? Who the mighty task perform, And bid the raging tumult cease f See the son of Hermes rise : EX. 25.] EXERCISES ON MODULATION. 23J With syren tongue, and speaking eyes, Hush the noise, and sooth to peace ! 2 Lo ! from the regions of the North, The reddening storm of battle pows ; Rolls along the trembling earth, Fastens on the Olynthian towers. 3 (°) "Where rests the sword ? — where sleep the brave ? Awake ! Cecropia's ally save From the fury of the blast ; Burst the storm on Phocis' walls ; Rise ! or Greece for ever falls, Up 1 or Freedom breathes her last V ( ) The jarring States, obsequious now, View the Patriot's hand on high ; Thunder gathering on his brow, Lightning flashing from his eye ! Borne by the tide of words along, One voice, one mind, inspire the throng : ( O0 ) " To arms ! to arms ! to arms !" they cry. " Grasp the shield, and draw the sword, Lead us to Philippi's lord, Let us conquer him — or die !" ( ) Ah Eloquence ! thou wast undone ; Wast from thy native country driven. When Tyranny eclips'd the sun, And blotted out the stars of heaven. When Liberty from Greece withdrew, And o'er the Adriatic flew, To where the Tiber pours his urn, She struck the rude Tarpeian rock ; Sparks were kindled by the shock — Again thv fires began to burn ! 20* 234 EXERCISES ON MODULATION. [Ex. 25. 8 Now shining forth, thou mad'st compliant The Conscript Fathers to thy charms ; Rons'd the world-bestriding giant, Sinking fast in Slavery's arms ! 9 1 see thee stand by Freedom's fane, Pouring the persuasive strain, Giving vast conceptions birth : Hark ! I hear thy thunder's sound, Shake the Forum round and round — Shake the pillars of the earth ! 10 First-born of Liberty divine ! Put on Religion's bright array ; SpPak ! and the starless grave shall shine The portal of eternal day ! 1 1 Rise, kindling with the orient beam ; Let Calvary's hill inspire the theme ! Unfold the garments rolPd in blood ! O touch the soul, touch all her chords, With all the omnipotence of words, And point the way to Heaven — to God. Cary. 2. Hohenlinden.... Description of a Battle with Firearms. 1 ( )On Linden, when the sun was low, All bloodless lay the untrodden snow, And dark as winter, whs the flow Of lser, rolling rapidly. 2 But Linden saw another sight, When the drum beat at dead of night, Commanding fires of death to light The darkness of her scenery. 3 By torch and trumpet fast arrayed, Each warriour drew his battle blade. Ex. 25. EXERCISES ON MODULATION. 230 And furious every charger neighed, To join the dreadful revelry, 4 Then shook the hills with thunder riven, Then rushed the steeds to battle driven. And louder than the bolts of Heaven, Far flashed the red artillery. a And redder yet those fires shall glow, O.i Linden's hills of bloodstained snow ; And darker yet shall be the flow Of Iser rolling rapidly. G 'Tis morn, — but scarce yon lurid sun Can pierce the war clouds, rolling dun, While furious Frank and fiery Hun Shout in their sulph'rous canopy. 7 The combat deepens. (°°) On, ye brave, Who rush to glory, or the grave ! Wave, Munich, all thy banners wave ! And charge with all thy chivalry ! 8 (°) Ah ! few shall part where many meet l* The snow shall be their winding sheet, And every turf beneath their feet Shall be a soldier's sepulchre. Campbell. 3. Hamlet's Soliloquy. This is one of the most difficult things to read in the English language. No one should attempt it without entering into the sen- timent, by recurring to the story of Hamlet. The notation which I have given, however imperfect, may at least furnish the reader with some guide in the management of his voice. Want of dis- crimination, has been the common fault in reading this soliloquy. To be, or not to be ? .. that is the question. — Whether 'tis nobler in the mind, to suffer The slings and arrows of outrageous fortune, * Soft. 236 EXERCISES ON MODULATION. [E x . 25 Or to take arms against a sea of troubles, 5 And by opposing, end them ?■ — To die — to sleep — No more : — and, by a sleep, to say we end The heart-arch, and the thousand natural shocks That flesh is heir to ? — 'tis a consummation Devoutly to be wish'd. To die ; — to sleep ; — 10 To sleep ! perchance, to dream: — Ay, there's the rub; • • For id that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause. There's the respect, That makes calamity of so long life ; 15 For who would bear the whips and scorns of time,* The oppressor's wrong, the proud man's contumely, The pangs of despis'd love, the law's delay, The insolence of office, and the spurns That patient merit of the unworthy takes ; 20 When he himself might his quietus make With a bare bddkin 7 who would fardels bear, To groan and sweat under a weary life ? ( p ) But that the dread of something after death, That undiscover'd country, from whose bourne 25 No traveller returns, puzzles the will ; And makes us rather bear those ills we have, Than fly to others that we know not of. Thus conscience does make cowards of us all, — And thus the native hue of resolution 30 Is sicklied o'er with the pale cast of thought ; And enterprises of great pith and moment, With this regard their currents turn awry, And lose the name of action. 4. Battle of Waterloo. 1 There was a sound of revelry by night, And Belgium's capital had gathered then * The indignant feeling awakened in Hamlet by this enumera- tion of particulars, requires the voice gradually to rise on each, till it comes to the mark of transition. EX. 25-] EXERCISES ON MODULATION. 237 Her beauty and her chivalry, and bright The lamps shone o'er fair women and brave men: A thousand hearts beat happily ; and when Music arose with its voluptuous swell, Soft eyes looked love to eyes which spake again, And all went merry as a marriage-bell ; ( )But hush ! hark ! .. a deep sound strikes like a ris- ing knell ! Did ye not hear it ? — No ; 'twas but the wind, Or the car rattling o'er the stonny street : (°)On with the dance ! let joy be unconiined ; No sleep till morn, when youth and pleaure meet To chase the glowing hours with flying feet — ( c )But, hark !— that heavy sound breaks in once more, As if the clouds its echo would repeat. And nearer, clearer, deadlier than before ! (°°) \%rm ! arm ! it is — it is — the cannon's opening roar ! *Ah ! then and there was hurrying to and fro, And gathering tears, and tremblings of distress, And cheeks ail pale, which but an hour ago Blushed at the praise of their own loveliness : And there were sudden partings, such as press The life from out young hearts, and choking sighs Which ne'er might be repeated — who could guess If ever more should meet those mutual eyes, Since upon night so sweet such awful morn could rise ? And there was mounting in hot haste ; the steed, The mustering squadron, and the clattering car, Went pouring forward with impetuous speed, And swiftly forming in the ranks of war, And the deep thunder, peal on peal afar ; And near, the beat of the alarming drum Roused up the soldier ere the morning star ; Wliile thronged the citizens with terror dumb * Plaintive. 238 EXERCISES ON MODULATION. [Ex. 25 Or whispering with white lips — " The foe ! They come ! they come !" 5 *And Ardennes waves above them her green leaves, Dewy with nature's tear-drops, as they pass, Grieving, if aught inanimate e'er grieves, Over the unreturning brave, — alas ! Ere evening to be trodden like the grass, Which now beneath them, but above shall grow In its next verdue, when this fiery mass Of living valour, rolling on the foe, And burning with high hope, shall moulder cold and low. 6 Last noon beheld them full of lusty life, Last eve in beauty's circle proudly gay, The midnight brought the signal-sound of strife, The morn, the marshalling in arms, — the day, Battle's magnificently-stern array ! The thunder-clouds close o'er it, which when rent, The earth is covered thick with other clay, Which her own clay shall cover, heaped and pent, Rider and horse, — friend, foe, — in one red burial blent ! Byron. 5. Negj-o's Complaint. 1 Forced from home and all its pleasures, Afric's coast I left forlorn ; To increase a stranger's treasures, O'er the raging billows borne. Men from England bought and sold me, Paid my price in paltry gold ; But though slave they have enrolled me, Minds are never to be sold. 2 Still in thought as free as ever, What are England's rights, I ask, Me from my delights to sever, Me to torture, me to task . ? * I'luintiva. Ex. 25.] EXERCISES ON MODULATION. 239 Fleecy locks and black complexion Cannot forfeit Nature's claim ; Skins may differ, but affection Dwells in white and black the same. 3 Why did all-creating Nature Make the plant for which we toil ? Sighs must fan it, tears must water, Sweat of ours must dress the soil. Think, ye masters iron-hearted, Lolling at your jovial boards ; Think how many backs have smarted For the sweets your cane affords. 4 (°) Is there, as ye sometimes tell us, Is there one who reigns on high ? Has he bid you buy and sell us, Speaking from his throne, the sky ? Ask him, if your knotted scourges, Matches, blood-extorting screws, Are the means that duty urges Agents of his will to use r 5 (oo) Hark I he answers, — wild tornadoes, Strewing yonder sea with wrecks ; Wasting towns, plantations, meadows, Are the voice with which he speaks. He, foreseeing what vexations Afric's sons should undergo Fixed their tyrants' habitations Where his whirlwinds answer — no. 6 By our blood in Afric wasted, Ere our necks received the chain ; By the miseries that we tasted, Crossing in your barks the main ; By our sufferings since ye brought us To the man-degrading mart ; All, sustained by patience, taught us Only by a broken heart. 240 EXERCISES ON MODULATION. [Ex. 25. 7 Deem our nation brutes no longer, Till some reason ye shall find Worthier of regard, and stronger Than the color of our kind. Slaves of gold, whose sordid dealings Tarnish all your boasted powers, Prove that you have human feelings, Ere you proudly question durs ! Cowper. G. Marco Bozzaris, the Epaminondas of Modern Greece. [He fell in an attack upon the Turkish Camp, at Laspi, the site of the ancient Plataea, August 20, 1823, and expired in the moruen* of victory. His last words were — " To die for liberty is a pleasure, and not a pain."] 1 ( ) At midnight, in bis guarded tent, The Turk was dreaming of the hour, When Greece, her knee in suppliance bent, Should tremble at his power ; In dreams, through camp and court, he bore The trophies of a conqueror ; In dreams his song of triumph beard ; Then wore his monarch's signet ring, — Then press'd that monarch's throne, — a king : As wild his thoughts, and gay of wing, As Eden's garden bird. 2 An hour passed on — the Turk awoke ; That bright dream was his last ; He woke — to hear his sentry's shriek, (°) " To arms! they come ! the Greek ! tbe Greek F le woke — to die midst flame and smoke, And shout, and groan, and sabre-stroke, And death-shots falling thick arid fast As lightnings from the mountain cloud ; And beard, with voice as trumpet loud, Bozzaris cheer his band ; Ex. 25.] EXERCISES ON MODULATION. 241 (°°) " 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 !" 3 They fought — like brave men long, and well, They piled that ground with Moslem slain, They conquered — but Bozzaris fell, Bleeding at every vein. His few surviving comrades saw His smile, when rang their proud hurrah, And the red field was won ; Then saw in death his eyelids close Calmly, as to a night's repose, Like flowers at set of sun. 4 ( — ) Come to the bridal chamber, Death ! Come to the mother, when she feels, For the first time, her first-born's breath ; — Come when the blessed seals Which close the pestilence are broke, And crowded cities wail its stroke; Come in consumption's ghastly form, The earthquake shock, the ocean storm ; Come when the heart beats high and warm, With banquet-song, and dance, and wine, And thou art terrible : the tear, The groan, the knell, the pall, the bier, And all we know, or dream, or fear Of agony, are thine. 5 But to the hero, when his sword Has won the battle for the free, Thy voice sounds like a prophet's word, And in its hollow tones are heard The thanks of millions yet to be. Bozzaris ! with the storied brave 21 242 EXERCISES ON MODULATION. [Ex. 25. Greece nurtured in her glory's time, Rest thee — there is no prouder grave, Even in her own proud clime. We tell thy good without a sigh ; For thou art Freedom's now, and Fame's — One of the few, the immortal names, That were not born to die. Halleck. 7. (o) Now when fair morn orient in Heaven ap- pear'd, Up rose the victor-Angels, and to arms The matin trumpet sung : in arms they stood Of golden panoply, refulgent host, 5 Soon banded ; others from the dawning hills Look'd round, and scouts each coast light armed scour, Each quarter, to descry the distant foe, Where lodg'd, or whither fled, or if for fight, In motion or in halt : him soon they met 10 Under spread ensigns moving nigh, in slow But firm battalion ; back with speediest sail Zophiel, of Cherubim the swiftest wing, Came flying, and in mid air aloud thus cried ; (°°)' Arm, Warriors, arm for fight — the foe at hand, 15 Whom fled we thought, will save us long pursuit This day ; fear not his flight : so thick a cloud He comes, and settled in his face I see Sad resolution and secure ; let each His adamantine coat gird well, — and each 20 Fit well his helm, — gripe fast his orbed shield, Borne ev'n or high ; for this day will pour down, If 1 conjecture aught, no drizzling shower, But rattling storm of arrows barb'd with fire.' ( ) So warn'd he them, aware themselves, and soon 25 In order, quit of all impediment ; Instant, without disturb, they took the alarm, And onward move, embattled : when behold Not distant far, with heavy pace the loc, Ex. 26.] EXERCISES ON MODULATION. 243 Approaching, gross and huge, in hollow cube, 30 Training his devilish enginery, impal'd On every side with shadowing squadrons deep, To hide the fraud. At interview both stood A while ; hut suddenly at head appear'd Satan, and thus was heard commanding loud ; 35 (°°) ' Vanguard, to right and left the front unfold ; That all may see who hate us, how we seek Peace and composure, and with open breast Stand ready to receive them, if they like Our overture, and turn not back perverse.' Milton. 26] Page 125. Expression. The Exercises arranged in this class belong to the general head of the pathetic and delicate. As this has been partly anticipated under another head of the Exercises, and as the manner of execu- tion in this case depends wholly on emotion, there can be little as- sistance rendered by a notation. Before reading the pieces in this class, the remarks of the Analysis, p. 125 — 128 should be reviewed; and the mind should be prepared to feel the spirit of each piece, by entering fully into the circumstances of the case. 1. Genesis xliv. Judah's Speech to Joseph. 18 * Then Judah came near unto him, and said, O my lord, let thy servant, I pray thee, speak a word in my lord's ears, and let not thy anger burn against thy ser- vant : for thou art even as Pharaoh. — 19 My lord asked his servants, saying, Have ye a father, or a brother ? — 20 And we said unto my lord, We have a father, an old man, and a child of his old age, a little one : and his broth- er is dead, and he alone is left of his mother, and his fa- ther loveth him. — 21 And thou saidst unto thy servants, Bring him down unto me, that I may set mine eyes upon him. — 22 And we said unto my lord, The lad cannot * The reader is again desired to bear in mind that in extracts from the Bible, as well as other books, Italic words denote emphasis. 244 EXERCISES ON MODULATION. [Ex. 26. leave his father : for if lie should leave his father, his father would die. — 23 And thou saidst unto thy servants, Except your youngest brother come down with you, ye shall see my face no more. — 24 And it came to pass, when we came up unto thy servant my father, we told him the words of my lord. — 25 And our father said, Go again and buy us a little food. — 2G And we said, We cannot go down : if our youngest brother be with us, then will we go down ; for we may not see the man's face, ex- cept our youngest brother be with us. — 27 And thy ser- vant my father said unto us, Ye know that my wife bear me two sons : — 28 And the one went out from me, and I said, surely he is torn in pieces ; and I saw him not since : — 29 And if ye take this also from me, and mis- chief befall him, ye shall bring down my grey hairs with sorrow to the grave. — 30 Now therefore when I come to thy servant my father, and the lad be not with us ; (seeing that his life is bound up in the lad's life ;) — 31 It shall come to pass, when he seelh that the lad is not with us, that he will die : and thy servants shall bring down the grey heirs of thy servant our father with sorrow to the grave. — 32 For thy servant became surety for the lad unto my father, saying, If I bring him not unto thee, then I shall bear the blame to my father forever. — 33 Now therefore, I pray thee, let thy servant abide instead of the lad, a bond-man to my lord ; and let the lad go up with his brethren. — 34 For how shall I go up to my lather, and the lad be not with me ? lest peradventure 1 see the evil that shall come on my father. 2. Genesis xlv. Joseph discloses himself. 1. Then Joseph could not refrain himself before all them that stood by him ; and he cried, Cause every man to go out from me. And there stood no man with him while Joseph made himself known unto his brethren. — 2 And he wept aloud : and the Egyptians and the house of Pharaoh heard. — 3 And Joseph said unto his brethren, Ex. 26.] EXERCISES ON MODULATION. 245 I am Joseph; doth my father yet live ? And his breth- ren could not answer him ; for they were troubled at his presence. — 4 And Joseph said unto his brethren, Come near to me, I pray you : and they came near. And he said, I am Joseph your brother, whom ye sold into Egypt. 5 Now therefore be not grieved, nor angry with your- selves, that you sold me hither : for God did send me be- fore you to preserve life. 6 For these two years hath the famine been in the land : and yet there are five years, in the which there shall be neither earing nor harvest. 7 And God sent me before you, to preserve you a posterity in the earth, and to save your lives by a great deliverance. 8 So now it was not you that sent me hither, but God : and he hath made me a father to Pharaoh, and lord of all his house, and a ruler throughout all the land of Egypt. 9 Haste ye, and go up to my father, and say unto him, Thus saith thy son Joseph, God hath made me lord of all Egypt; come down unto me, tarry not : 10 And thou shalt dwell in the land of Goshen, and thou shalt be near unto me, thou, and thy children, and thy children's child- ren, and thy flocks, and thy herds, and all that thou hast : II And there will I nourish thee, (for yet there are five years of famine,) lest thou, and thy household, and all that thou hast come to poverty. 12 And behold, your eyes see, and the eyes of my brother Benjamin, that it is my mouth that speaketh unto you. 13 And ye shall tell my father of all my glory in Egypt, and of all that ye have seen; and ye shall haste, and bring down my father hither. 14 And he fell upon his brother Benjamin's neck, and wept; and Benjamin wept upon his neck. 15 Moreover, he kissed all his brethren, and wept upon them : and after that his brethren talked with him. 25 And they went up out of Egypt, and came into the land of Canaan unto Jacob their father, 26 And told him saying, Joseph is yet alive, and he is governor over all the land of Egypt. And Jacob's heart fainted, for he believed them not. 27 And they told him all the words 21* 246 EXERCISES ON MODULATION. [Ex. 26. of Joseph, which he had said unto them : and when he saw the waggons which Joseph had sent to carry him, the spirit of Jacob their father revived : 28 And Israel said, It is enough ; Joseph my son is yet alive : I will go and see him before I die. 3. The death of a friend. 1 I fain would sing : — but ah ! I strive in vain. Sighs from a breaking heart my voice confound, With trembling step, to join yon weeping train, I haste, where gleams funereal glare around, And, mix'd with shrieks of wo, the knells of death resound. 2 Adieu, ye lays, that Fancy's flowers adorn, The soft amusement of the vacant mind ! He sleeps in dust, and all the Muses mourn, He, whom each virtue fired, each grace refined, Friend, teacher, pattern, darling of mankind ! He sleeps in dust. Ah, how shall I pursue My theme ! To heart-consuming grief resign'd, Here on his recent grave I fix my view, And pour my bitter tears. Ye flowery lays, adieu ! 3 Art thou, my Gregory, forever fled ! And am I left to unavailing wo ! When fortune's storms assail this weary head, Where cares long since have shed untimely snow, Ah, now for comfort whither shall I go ! No more thy soothing voice my anguish cheers : Thy placid eyes with smiles no longer l;1ow, My hopes to cherish, and allay my fears. 'Tis meet that I should mourn : flow forth afresh my tears. Beat tie. 4. The Sabbath. How 67/7/ the morning of the hallowed day ! Mute is the voice of rural labor, hush'd Ex. 26.] EXERCISES ON MODULATION. 247 The ploughboy's whistle, and the milkmaid's song. The scythe lies glittering in the dewy wreath 5 Of tedded grass, mingled with fading flowers, That yester morn bloom'd waving in the breeze : The faintest sounds attract the ear, — the hum Of early bee, the trickling of the dew, The distant bleating, midway up the hill. 10 Calmness seems thron'd on yon unmoving cloud. To him who wanders o'er the upland leas, The blackbird's note comes mellower from the dale, And sweeter from the sky the gladsome lark Warbles his heav'n-tun'd song ; the lulling brook 15 Murmurs more gently down the deep-sunk glen ; While from yon lowly roof, whose curling smoke O'ermounts the mist, is heard, at intervals, The voice of psalms, the simple song of praise. With dove-like wings Peace o'er yon village broods : 20 The dizzying mill-wheel rests ; the anvil's din Has ceas'd ; all, all around is quietness. Less fearful on this day, the limping hare Stops, and looks back, and stops, and looks on man, Her deadliest foe ; — -the toil-worn horse set free, 25 Unheedful of the pasture, roams at large. And, as his stiff unwieldy bulk he rolls, His iron-arm'd hoofs gleam in the morning ray. But, chiefly, Man the day of rest enjoys. Hail, Sabbath ! thee I. hail, the poor man's day. 30 On other days, the man of toil is doom'd To eat his joyless bread, lonely, the ground Both seat and board, — screen'd from the winter's cold And summer's heat, by neighboring hedge or tree ; But on this day, embosom'd in his home, 35 He shares the frugal meal with those he loves ; With those he loves he shares the heartfelt joy Of giving thanks to God, — not thanks of form, A word and a grimace, but reverently, W T ith covered face and upward earnest eye. 248 EXERCISES ON MODULATION. [Ex. 2G. 40 Hail, Sabbath ! thee I hail, the poor man's day. The pale mechanic now has leave to breathe The morning air, pure from the city's smoke, As wandering slowly up the river's bank, He meditates on him whose power he marks 45 In each green tree that proudly spreads the bough, And in the tiny dew-bent flowers that bloom Around the roots ; and while he thus surveys With elevated joy each rural charm, He hopes, (yet fears presumption in the hope,) 50 That heaven may be one Sabbath without end. But now his steps a welcome sound recalls : Solemn, the knell from yonder ancient pile Fills all the air, inspiring joyful awe ; The throng moves slowly o'er the tomb-pav'd ground : 55 The aged man, the bowed down, the blind Led by the thoughtless boy, and he who breathes With pain, and eyes the new-made grave, well-pleas'd; These, mingled with the young, the gay, approach The house of God : these, spite of all their ills, GO A glow of gladness prove : with silent praise They enter in : a placid stillness reigns ; Until the man of God, worthy the name, Opens the book, and, with impressive voice, The weekly portion reads. Grahame. 5. The Burial of Sir John Moore. 1 ( — ) Not a drum was heard, not a funeral note, As his corse to the ramparts we hurried ; Not a soldier discharged his farewell shot O'er the grave where our Hero was buried. 2 We buried him darkly ; at dead of night, The sods with our bayonets turning, By the struggling moon-beams' misty light, And the lantern dimly burning. £x. 26.] Exercises on modul4tion. 249 3 No useless coffin enclosed his breast, Nor in sheet nor in shroud we wound him ; But he lay — like a warrior taking his rest — With his martial cloak around him ! A Few and short were the prayers we said, And we spoke not a word of sorrow ; But we steadfastly gazed on the face of the dead, And we bitterly thought of the morrow — 5 We thought — as we hollowed his narrow bed, And smoothed down his lonely pillow — How the foe and the stranger would tread o'er his head. And we far away on the billow ! 6 " Lightly they'll talk of the spirit that's gone, And o'er his cold ashes upbraid him ; But nothing he'll reck, if they let him sleep on In the grave where a Briton has laid him." 7 But half of our heavy task was done, When the clock toll'd the hour for retiring, And we heard the distant and random gun, That the foe was suddenly firing — 8 Slowly and sadly we laid him down, From the field of his fame fresh and gory ! We carved not a line, we raised not a stone, But we left him — alone with his glory ! 6. Eve lamenting the loss of Paradise. " O unexpected stroke, worse than of Death ! Must 1 thus leave thee, Paradise ? thus leave Thee, native soil, these happy walks and shades, Fit haunt of Gods? where I had hope to spend, 5 Quiet though sad, the respite of that day That must be mortal to us both. O flowers, That never will in other climate grow, My early visitation, and my last At ev'n, which I bred up with tender hand 250 EXERCISES ON MODULATION. [Ex. 26 10 From the first opening bud, and gave ye names, Who now shall rear ye to the sun, or rank Your tribes, and water from the ambrosial fount ? Thee lastly, nuptial bow'r, by me adorn'd With what to sight or smell was sweet, from thee 15 How shall 1 part, and whither wander down Into a lower world, to this obscure And wild ? how shall we breathe in other air Less pure, accustom'd to immortal fruits ?" 7. Soliloquy of Hamlet's Uncle, ( q )Oh ! my offence is rank, it smells to heaven ; It hath the primal, eldest curse upon't, A brother's murder ! — Pray I cannot, Though inclination be as sharp as 'twill, 5 My stronger guilt defeats my strong inteut : And like a man to double business bound, I stand in pause where I shall first begin, And both neglect. (°) What if this cursed hand Were thicker than itself with brother's blood ; 10 Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy, But to confront the visage of offence ? And what's in prayer, but this two -fold force, To be forestalled, ere we come to fall, 15 Or pardon'd being down ? — Then I'll look tip ; My fault is past. — But oh, what form of prayer Can serve my turn ? " Forgive me my foul murder !" That cannot be ; since I am still possess'd Of those effects for which 1 did the murder, 20 My crown, mine own ambition, and my queen. May one be pardon'd, and retain the offence ? In the corrupted currents of this world, Offence's gilded hand may shove by justice ; And oft 'tis seen, the wicked prize itself 25 Buys out the law : but 'tis not so above : There, is no shuffling ; there, the action lies Ex. 27.] EXERCISES ON MODULATION. 251 In his true nature ; and we ourselves compell'd, Even to the teeth and forehead of our faults, To give in evidence. — What then ? — what rests ? 30 Try what repentance can : what can it not . ? Yet what can it, when one cannot repent ? (o) O wretched state ! oh bosom, black as death ! Oh limed soul ; that, struggling to be free, Art more engag'd ! Help, angels ! make assay ! 35 Bow, stubborn knees ; and, heart, with strings of steel, Be soft as sinews of the new-born babe ! All may be well. 27.] Page 128. Representation. 1 . Matt. xiv. — 22 And straightway Jesus constrain- ed his disciples to get into a ship, and to go before him unto the other side, while he sent the multitudes away. 23 And when he had sent the multitudes away, he went up into a mountain apart to pray : and when the evening was come, he was there alone. 24 But the ship was now in the midst of the sea, tossed with waves : for the wind was contrary. 25 And in the fourth watch of the night Jesus went unto them, walking on the sea. 26 And when the disciples saw him walking on the sea, they were troubled, saying, It is a spirit; and they cried out for fear. 27 But straightway Jesus spake unto them, say- ing, Be of good cheer; it is I; be not afraid. 28 And Peter answered him and said, Lord, if it be thou, bid me come unto thee on the water. 29 And he said, Come. And when Peter was come down out of the ship, he walked on the water, to go to Jesus. 30 But when he saw the wind boisterous, he was afraid ; and beginning to sink, he cried, saying, Lord, save me. 31 And imme- diately Jesus stretched forth his hand, and caught him, and said unto him, O thou of little faith, wherefore didst thou ddubt ? 32 And when they were come into the ship, the wind ceased. 33 Then they that were in the ship came and worshipped him, saying, Of a truth thou art the Son of God. EXERCISES ON MODULATION. [Ex. 27. 2. Matt. xvii. — 14 And when they were come to the multitude, there came to him a certain man kneeling down to him, and saying, 15 Lord have mercy on my son ; for he is lunatic, and sore vexed, for oft-times he falleth into the fire^ and oft into the water. 16 And I brought him to thy disciples, and they could not cure him. 17 Then Jesus answered and said, O faithless and perverse generation, how long shall I be with you ? how long shall I suffer you f Bring him hither to m£. 18 And Jesus rebuked the devil, and he departed out of him : and the child was cured from that very hour. 19 Then came the disciples to Jesus apart, and said, Why could not ive cast him out ? 20 And Jesus said unto them, Because of your unbelief; for verily 1 say unto you, If ye have faith as a grain of mustard-seed, ye shall say unto this mduntain, Remove hence to yonder place; and it shall remove ; and nothing shall be impossible un- to you. 3. Matt, xviii. — 23 Therefore is the kingdom of heaven likened unto a certain king, which would take ac- count of his servants. 24 And when he had begun to reckon, one was brought unto him which owed him ten thousand talents. 25 But forasmuch as he had not to pay, his lord commanded him to be sold, and his wife and children, and all that he had, and payment to be made. 26 The servant therefore fell down and wor- shipped him, saying, Lord, have patience with me, and I will pay thee all. 27 Then the lord of that servant was moved with compassion, and loosed him, and forgave him the debt. 28 But the same servant went out, and found one of his fellow-servants, which owed him a hundred pence ; and he laid hands on him, and took him by the throat, saying, Pay me that thou owest. 29 And his fellow-servant fell down at his feet, and besought him, saying, Have patience with me, and I will pay thee all. 30 And he would not : but went and cast him into pris- on, till he should pay the debt. 31 So when his fel- Ex. 27.] EXERCISES ON MODULATION. 253 low-servants saw what was done, they were very sorry, and came and told unto their lord all that was done. 32 Then his lord, after that he had called him, said unto him, O thou wicked servant, I forgave thee all that debt, because thou desiredst me : 33 Shouldst not thou also have had compassion on thy fellow-servant, even as I had pity on thee ? 4. Matt. xx. — 25 But Jesus called them unto him, and said, Ye know that the princes of the Gentiles exer- cise dominion over them, and they that are great exer- cise authority upon them. 26 But it shall not be so among you : but whosoever will be great among you, let him be your minister ; 27 And whosoever will be chief among you, let him be your servant : 28 Even as the Son of Man came not to be ministered unto, but to min- ister, and to give his life a ransom for many. 29 And as they departed from Jericho, a great multitude followed him. 30 And behold, two blind men sitting by the way- side, when they heard that Jesus passed by, cried out, saying, Have mdrcy on us, O Lord, thou son of David. 31 And the multitude rebuked them, because they should hold their peace : but they cried the more, saying, Have mbrcy on us, O Lord, thou son of David. 32 And Jesus stood still, and called them, and said, What will ye that I shall do unto you ? 33 They say unto him, Lord, that our eyes may be opened. 34 So Jesus had compassion on them, and touched their eyes : and immediately their eyes received sight, and they followed him. 5. Matt. xxi. — 23 And when he was come into the temple, the chief priests and the elders of the people came unto him as he was teaching, and said, By what authority doest thou these things ? and who gave thee this authori- ty ? 24 And Jesus answered and said unto them, I also will ask you one thing, which if ye tell me, I in like wise will tell you by what authority I do these things. 25 The 22 254 EXERCISES ON MODULATION. [Ex. 27. baptism of John, whence was it ? from heaven, or of men ? And they reasoned with themselves, saying, If we shall say, From heaven ; he will say unto us, Why did ye not then believe him . ? 26 But if we shall say, Of men ; we fear the people : for all hold John as a prophet. 27 And they answered Jesus, and said, We cannot tell. And he said unto them, Neither tell I you by what au- thority I do these things. 28 But what think ye ? A certain man had two sons ; and he came to the first,- and said, Son, go work to-day in my vineyard. 29 He answered and said, I will not ; but afterwards he repented, and went. 30 And he came to the second, and said likewise. And he answered, I go, sir : and went not. 31 Whether of them twain did the will of his father ? They say unto him, Theirs*. Jesus saith unto them, Verily 1 say unto you, That the publicans and the harlots go into the kingdom of God before you. 6. Matt. xxv. — 31 When the Son of Man shall come in his glory, and all the holy angels with him, then shall he sit upon the throne of his glory : 32 And before him shall be gathered all nations : and he shall separate them one from another, as a shepherd divided) his sheep from the goats : 33 And he shall set the sheep on his right hand, but the goats on the left. 34 Then shall the King say unto them on his right hand, Cdme, ye blessed of my Father, inherit the kingdom prepared for you from the foundation of the world : 35 For I was an hungered, and ye gave me meat : I was thirsty, and ye gave mo drink : I was a stranger, and ye took me in : 3G Naked, and ye clothed me : I was sick, and ye visited me : 1 was in prison, and ye came unto me. 37 Then shall the righteous answer him, saying, Lord, when saw we thee an hungered, and fed thee? or thirsty, and gave thee drink ? 38 When saw we thee a stranger, and took thee in ? or naked, and clothed thee ? 39 Or when saw we thee sick, or in prison, and came unto thee I 40 And the King shall answer and say unto them, Verily, 1 say Ex. 27.] EXERCISES ON MODULATION. 255 unto you, Inasmuch as ye have done it unto one of the least of these my brethren, ye have done it unto mb. 41 Then shall he say also unto them on the left hand, Depart from me, ye cursed, into everlasting fire, prepar- ed for the devil and his angels: 42 For I was an hun- gered, and ye gave me no meat: I was thirsty, and ye gave me no drink : AS I was a stranger, and ye took me not In : naked, and ye clothed me not : sick, and in prison, and ye visited me not. 44 Then shall they also answer him, saying, Lord, when saw we thee an hunger- ed, or athirst, or a stranger, or naked, or sick, or in prison, and did not minister unto thee ? 45 Then shall he answer them, saying, Verily, I say unto you, Inasmuch as ye did it not to one of the least of these, ye did it not to me. 46 And these shall go away into everlasting pun- ishment : hut the righteous into life eternal. 7. Acts. xii. — 5 Peter therefore was kept in prison : but prayer was made without ceasing of the church unto God for him. 6 And when Herod would have brought him forth, the same night Peter was sleeping between two soldiers, bound with two chains ; and the keepers before the door kept the prison. 7 And behold, the an- gel of the Lord came upon him, and a light shined in the prison ; and he smote Peter on the side, and raised him up, saying, Arise up quickly. And his chains fell off from his hands. 8. And the angel said unto him, Gird thyself, and bind on thy sandals; and so he did. And he saith unto him, Cast thy garment about thee, and follow me. 9 And he went out, and followed him, and wist not that it was true which was done by the angel ; but thought he saw a vision. 10 When they were past the first and the second ward, they came unto the iron gate that lead- eth unto the city ; which opened to them of his own ac- cord : and they went out, and passed on through one street : and forthwith the angel departed from him. J 1 And when Peter was come to himself, he said, Now, I know of a surety, that the Lord hath sent his angel, and 256 EXERCISES ON MODULATION. [Ex. 27- hath delivered me out of the hand of Herod, and from all the expectation of the people of the Jews. 12 And when he had considered the thing, he came to the house of Mary the mother of John, whose surname was Mark ; where many were gathered together, praying. 13 And as Peter knocked at the door of the gate, a damsel came to hearken, named Rhoda. 14 And when she knew Pe- ter's voice, she opened not the gate for gladness, hut ran in, and told how Peter stood before the gate. 1 5 And they say unto her, Thou art mad. But she constantly affirmed that it was even so. Then said they, It is his angel. 1G But Peter continued knocking. And when they had opened the door, and saw him, they were as- tonished. 17 But he beckoning unto them with the hand to hold their peace, declared unto them how the Lord had brought him out of the prison. And he said, Go shew these things unto James, and to the brethren. And he departed, and went into another place. 8. The Seige of Calais. Edward III. after the battle of Crcssy, laid siege to Calais. He had fortified his camp in so impregnable a manner, that all the efforts of France proved ineffectual to raise the siege, or throw succors into the city. The command devolving upon Eustace St. Pierre, a man of mean birth, but of exalted virtue, he offered to capitulate with Edward, provided he permitted them to depart with life and liberty. Edward, to avoid the imputation of cru- elty, consented to spare the bulk of the plebeians, provid- ed they delivered up to him six of their principal citizens with halters about their necks, as victims of due atone- ment for that spirit of rebellion with which they bad in- flamed the vulgar. When his messenger, Sir Walter Manny, delivered the terms, consternation and pale dis- may were impressed on every countenance. To a long and dead silence, deep sighs and groans succeeded, till Eustace St. Pierre, getting up to a little eminence, thus addressed the assembly : — u My friends, we are brought Ex. 27.] EXERCISES ON MODULATION. 257 to great straits this day. We must either yield to the terras of our cruel and ensnaring conqueror, or give up our tender infants, our wives, and daughters, to the bloody and brutal lusts of the violating soldiers. Is there any expedient left, whereby we may avoid the guilt and infa- my of delivering up those who have suffered every mise- ry with you, on the one hand, or the desolation and hor- ror of a sacked city, on the other ? There is, my friends ; there is one expedient left ! a gracious, an excellent, a godlike expedient left ! Is there any here to whom vir- tue is dearer than life ? Let him offer himself an obla- tion for the safety of his people ! He shall not fail of a blessed approbation from that Power who offered up his only Son for the salvation of mankind." He spoke ; — but a universal silence ensued. Each man looked around for the example of that virtue and magnanimity which all wished to approve in themselves, though they wanted the resolution. At length St. Pierre resumed, " I doubt not but there are many here as ready, nay, more zealous of this martyrdom than I can be ; though the station to which I am raised by the captivity of Lord Vienne, im- parts a right to be the first in giving my life for your sakes. I give it freely; I give it cheerfully. Who comes next ? — "Your son," exclaimed a youth not yet come to ma- turity. — " Ah ! my child !" cried St. Pierre ; " I am then twice sacrificed. — But no ; I have rather begotten thee a second time. Thy years are kw, but full, my son. The victim of virtue has reached the utmost purpose and goal of mortality. Who next, my friends ? This is the hour of heroes," — "Your kinsman," cried John de Aire — " Your kinsman," cried James Wissant. — " Your kins- man," cried Peter Wissant. — " Ah !" exclaimed Sir Walter Mauny, bursting into tears, " why was not I a cit- izen of Calais . ? " The sixth victim was still wanting, but was quickly supplied by lot, from numbers who were now emulous of so ennobling an example. The keys of the city were then delivered to Sir Walter. He took the six prisoners into his custody ; then ordered the gates to be 22* 258 EXERCISES ON MODULATION. [Ex. 27. opened, and gave charge to his attendants to conduct the remaining citizens, with their families, through the camp of the English. Before they departed, however, they desired permission to take the last adieu of their deliver- ers. What a parting ! what a scene ! they crowded with their wives and children about St. Pierre and his fellow- prisoners. They embraced ; they clung around ; they fell prostrate before them: they groaned ; they wept aloud ; and the joint clamor of their mourning passed the gates of the city, and was heard throughout the English camp. 9. Extract from a Sermon of Robert Robinson. Col. ii. 8. — Beware lest any man spoil you through philosophy and vain deceit. " Beware lest any man spoil you" . . . What ! is it possible to spoil a Christian ? Indeed it is. A Chris- tian may spoil himself, as a beautiful complexion or a proper shape may be rendered disagreeable, by circum- stances of dress or uncleanliness ; he may be spoiled by other people, just as a straight child may be made crook- ed, by the negligence of his nurse ; or exactly as a sweet tempered youth may be made surly or insolent by a cru- el master. " Beware lest any man spoil you." Is it possible for whole societies of Christians to be spoiled ? Certainly it is. Nothing is easier. They may spoil one another, as in a family, the temper of one single person may spoil the peace of the whole ; or as in a school, one trifling or turbulent master may spoil the education and so the usefulness, through life, of two or three hundred pupils, successively committed to his injudicious treat- ment. All human constitutions, even the most excellent, have seeds of imperfections in them, some mixtures of folly which naturally tend to weaken and destroy ; and though this is not the case with the Christian religion it- self, which is the wisdom of God without any mixture of human folly ; yet even this pure religion, like the pure juice of the grape, falling into the hands of deprived men, may lie perverted, and whole societies may embrace Christianity thus perverted. Ex. 28.] EXERCISES ON MODULATION. 259 * i - — ' — ~- Beware lest any man spoil you through . . . what ? Idolatry, blasphemy, profligacy ? No. Christians are in very little danger from great crimes ; but beware lest any man spoil you through philosophy. What hath phi- losophy done, that the apostle should thus guard Chris- tians against it ? Did he not know that before his time, while mimics were idly amusing one part of the world, and heroes depopulating another, the peaceable sons of philosophy disturbed nobody, but either improved man- kind in their schools, or sat all calm and content in their cells ? Did he not observe that in his time Christianity was reputed folly, because it was taught and believed by unlettered people ; and that if philosophers could be pre- vailed on to teach it, it would have instantly acquired a character of wisdom ? Whether the common people had understood it or not, they would have reckoned it wise if philosophers had taught it. The apostle knew all this, and, far from courting the aid of learned men to secure credit to the Gospel, he guards Christians in the text against the future temptation of doing so. Had this cau- tion been given us by any of the other apostles, who had not had the advantage of a learned education, we might have supposed, they censured what they did not under- stand 5 but this comes from the disciple of Gamaliel.* 28.] Page 13S— 143. Devotional Poetry. The following selection of Psalms and Hymns, is designed only as a specimen of the notation, partially applied here, which might be more extensively applied to these compositions, when they unite the spirit of devotion with the elevated spirit of poetry. The confinement of the stanza makes it much more unfavorable than other verse, to freedom and variety in pronunciation. The reader is desired to keep in mind the distinction between intensive and common inflection, and to remember that the former occurs in this kind of poetry only where there is a direct question or strong emphasis. — In some cases only part of a Psalm or Hymn is taken. * The selections under this head are extended no farther here, because several of the familiar pieces in the second part of the Exercises are good examples of rep- resentation and rhetorical dialogue. 260 EXERCISES ON MODULATION. [Ex. 2S. 1. Psalm 17. l. m. 1 What sinners value, I resign ; Lord, 'tis enough that thou art mine : I shall behold thy blissful face, And stand complete in righteousness. 2 This life's a dream, an empty show ; But the bright world to which I go, Hath joys substantial and sincere; When shall I wake and find me there ? 3 O •• glorious hour ! O •• blest abode ! I shall be near, and like my God ; And flesh and sin no more control The sacred pleasures of the soul. 4 My flesh shall slumber in the ground, Till the last trumpet's joyful sound : Then burst the chains with sweet surprise, And in my Savior's image rise. Note : In some of the cases where the mark of monotone occurs, there is a little inflection, most commonly downwards. 2. Psalm 93. p. m. 1 The Lord Jehovah reigns, And royal state maintains, His head with awful glories crown'd ; Array'd in robes of light, Begirt with sovereign might, And rays of majesty around. 2 In vain the noisy crowd, Like billows fierce and loud, Against thine empire rage and roar; Jn vain with angry spite The surly nations fight, And dash •• like waves against the shore. 3 Lei floods and nations rage, And all their power engage; Let swelling tides assault the sky : Ex. 28.] EXERCISES ON MODULATION. 261 The terrors of thy frown Shall beat their madness down ; Thy throne forever •• stands on high. 3. Psalm 132. c. m. 1 Arise, O King of grace, arise, And enter to thy rest : Lo ! thy church waits with longing eyes, Thus to be own'd and blest. 2 Enter with all thy glorious train, Thy Spirit and thy word ; All that the ark did once contain, Could no such grace afford. 3 Here, mighty God, accept our vows ; Here let thy praise be spread ; Bless the provision of thy house, And fill thy poor with bread. 4 Here let the Son of David reign, Let God's anointed shine ; Justice and truth his court maintain, With love and power divine. 6 Here let him hold a lasting throne, And as his kingdom grows, Fresh honors shall adorn his crown, And shame confound his foes. 4. Psalm 135. c. m. 1 Great is the Lord, and works unknown Are his divine employ; But still his saints are near his throne, His treasure and his joy. 2 All power that gods or kings have claim'd Is found with him alone ; But heathen gods should ne'er be nam'd Where our Jehovah's known. 262 EXERCISES ON MODULATION. [Ex. 2i 3 Which of the stocks and stones they trust, Can give them showers of rain ? In vain they worship glitt'ring dust. And pray to gold in vain. 4 Ye nations, know the living God, Serve him with faitli and fear ; He makes the churches his abode, And claims your honors there. 5. Psalm 139. l. m. 1 My thoughts, before they are my own, Are to my God distinctly known ; He knows the words I mean to speak, Ere from my op'ning lips they break. 2 Ama •• zing knowledge, vast and great! What large extent ! what lofty height ! My soul, with all the powers I boast, Is in the boundless prospect •• lost. 3 Oh may these thoughts possess my breast, Where'er I rove, where'er I rest; Nor let my weaker passions dare •• Consent to sin, •• for God is there. 6. Psalm 14G. l. p. m. 1 I'll praise my Maker with my breath; And when my voice is lost in death, Praise shall employ my nobler powers: My days of praise shall ne'er he past, While life, and thought, and being last, Or immortality endures. 2 Why should I make a man my trust? Princes must die, and turn to dust: Vain is the help of flesh and blood ; Their breath departs, their pomp and pow'r, And thoughts all vanish in an hour ; Nor can they make their promise good. Ex. 2S.] EXERCISES ON MODULATION. 263 3 Happy the man whose hopes rely On Israel's God ; he made the sky, And earth, and seas, with all their train His truth forever stands secure ; He saves th' opprest, he feeds the poor ; And none shall find his promise vain. 7. Hymn 142, Book i. 1 Like sheep we went astray, And broke the fold of God ; Each wand'ring in a different way, But all the downward road. 2 How dreadful was the hour, When God our wand'rings laid, And did at once his vengeance pour Upon the Shepherd's head ! 3 How glorious was the grace, When Christ sustain'd the stroke ! His life and blood the Shepherd pays, A ransom for the flock. 8. Hymn 14, Book u. 1 Welcome, sweet day of rest, That saw the Lord arise ; Welcome to this reviving breast, And these rejoicing eyes ! 2 One day amidst the place Where my dear God hath been, Is sweeter than ten thousand days Of pleasurable sin. 3 My willing soul would stay In such a frame as this ; And sit and sing herself away To everlasting bliss. 264 exercises on modulation. [ex. 28. 9. Hymn 76, Book ii. 1 Hosanna to the Prince of light, That cloth'd himself in clay ; Enter'd the iron gates of dea th, And tore the bars away. 2 Death is no more the king of dread, Since our Immanuel rose ; He took the tyrant's sting away, And spoil'd our hellish foes. 3 Raise your devotion, .. mortal tongues, — To reach his blest abode : Sweet be the accents of your songs, To our incarnate