REVISED EDITION AMERICAN BOOK COMPANY NEW YORK: CINCINNATI CHICAGO University of California Berkeley PHILIP WHALEN COLLECTION THE PETER AND ROSELL HARVEY MEMORIAL FUND ECLECTIC EDUCATIONAL SERIES. FIFTH ECLECTIC READER. REVISED EDITION. NEW YORK : CINCINNATI : CHICAGO AMERICAN BOOK COMPANY Copyright, 1879, by VAN ANTWERP, BRAGG & Co. Copyright, 1896, by AMERICAN BOOK COMPANY. Copyright, 1907 and 1920, by H. H. VAIL. M'O. REV STM KG. K.P. 199 PREFACE. THE plan of the revision of M C GUFFEY'S FIFTH READER is the same as that pursued in the other books of the REVISED SERIES. The book has been considerably en- larged, but the new pieces have been added or substituted only aftei the most careful consideration, and where the advantages to be derived were assured. It has been the object to obtain as wide a range of lead- ing authors as possible, to present the best specimens of style, to insure interest in the subjects, to impart valuable information, and to exert a decided and healthful moral in- fluence. Thus the essential characteristics of M C GUFFEY'S READERS have been carefully kept intact. The preliminary exercises have been retained, and are amply sufficient for drill in articulation, inflection, etc. The additional exercises on these subjects, formerly inserted between the lessons, have been omitted to make room for other valuable features of the REVISED SERIES. A full understanding of the text is necessary in order to read it properly. As all the books of reference required for this purpose are not within the reach of the majority of pupils, full explanatory notes have been given, which, it is believed, will add greatly not only to the interest of the reading lessons, but also to their usefulness from an instructive point of view. (iii) iv PREFACE. The definitions of the more difficult words have been given, as formerly ; and the pronunciation has been indi- cated by diacritical marks, in conformity with the preced- ing books of the REVISED SERIES. Particular attention is invited to the notices of authors. Comparatively few pupils have the opportunity of making a separate study of English and American literature, and the carefully prepared notices in the REVISED SERIES are designed, therefore, to supply as much information in re- gard to the leading authors as is possible in the necessarily limited space assigned. The publishers have desired to illustrate MCGUFFEY'S READERS in a manner worthy of the text and of the high favor in which they are held throughout the United States. The most celebrated designers and engravers of the country have been employed for this purpose. It has been the privilege of the publishers to submit the REVISED SERIES to numerous eminent educators in all parts of the country. To the careful reviews and criti- cisms of these gentlemen is due, in a large measure, the present form of M C GUFFEY'S READERS. The value of these criticisms, coming from practical sources of the high- est authority, can not well be overestimated, and the pub- lishers take this occasion to express their thanks and their indebtedness to all who have thus kindly assisted them in this work. Especial acknowledgment is due to Messrs. Houghton, Osgood & Co. for their permission to make liberal selec- tions from their copyright editions of many of the foremost American authors whose works they publish. CONTENTS. INTRODUCTORY MATTER. SUBJECT. PAS* I. PRELIMINARY REMARKS . .. . *- * . * II. ARTICULATION . . . .-. . < . . . .-'*.. III. INFLECTIONS . . . . ---.-. . . 15 IV. ACCENT . . . . - , . ... . 26 V. EMPHASIS . . . . . * . . . 27 VI. MODULATION . . . . . . . ... 30 VTI. POETIC PAUSES ... * . . . , * . . 33 EXERCISES . . . . 34 SELECTIONS IN PROSE AND POETRY. TITLE. AUTHOR. PAG 1. The Good Reader 39 2. The Bluebell . . . . 43 3. The Gentle Hand . ... . . T.S.Arthur. 44 4. The Grandfather . ... . C. G. Eastman. 49 5. A Boy on a Farm C. D. Warner. 60 6. The Singing Lesson . . . . Jean Ingelow. 52 7. Do not Meddle . ..... . . .54 8. Work . . . . . . . Eliza Cook. 59 9. The Maniac ... . . . . . .60 10. Robin Redbreast . . . . . W. Allingham. 62 11. The Fish I Did n't Catch Whittier. 63 12. It Snows Mrs. S. J. Hale. 67 13. Respect for the Sabbath Rewarded 69 14. The Sands b' Dee . . . . . Charles Kingsley. 71 15. Select Paragraphs . . ... . . . Bible. 72 16. The Corn Song . . . . . . . Whittier. 74 17. The Venomous Worm ... . John Russell. 77 18. The Festal Board . . . 78 19. How to Tell Bad News . 81 Yi CONTENTS. TITLE. AUTHOR. PAOB 20. The Battle of Blenheim ...'... Southey. 82 21. I Pity Them 85 22. An Elegy on Madam Blaize .... Goldsmith. 87 23. King Charles II. and William Penn . Mason L. Weems. 88 24. What I Live For 91 25. The Righteous Never Forsaken 92 26. Ahou Ben Adhem Leigh Hunt. 95 27. Lucy Forrester John Wilson. 96 28. The Reaper and the Flowers .... Longfellow. 101 29. The Town Pump Hawthorne. 103 30. Good Night Peter Parley. 108 31. An Old-fashioned Girl .... Louisa M. Alcott. 110 32. My Mother's Hands 113 33. The Discontented Pendulum .... Jane Taylor. 114 34. The Death of the Flowers . Bryant. 117 36. The Thunderstorm Irving. 119 36. April Day Mrs. C. A. Southey. 121 37. The Tea Rose 123 38. The Cataract of Lodore Southey. 128 39. The Bobolink Irving. 132 40. Robert of Lincoln Bryant. 135 41. Rebellion in Massachusetts State Prison J. T. Buckingham. 138 42. Faithless Nelly Gray Hood. 143 43. The Generous Russian Peasant . . Nikolai Karamzin. 146 44. Forty Years Ago 148 45. Mrs. Caudle's Lecture .... Douglas Jerrold. 151 46. The Village Blacksmith Longfellow. 154 47. The Relief of Lucknow . . . . "London Times." 156 48. The Snowstorm Thomson. 159 49. Behind Time 161 60. The Old Sampler .... Mrs. M. E. Songster. 163 '51. The Goodness of God Bible. 167 '52. My Mother 170 63. The Hour of Prayer . . . Mrs. F. D. Hemans. 171 54. The Will 172 65. The Nose and the Eyes Cowper. 176 56. An Iceberg L. L. Noble 177 67. About Quail W. P. Hawe&. 180 58. The Blue and the Gray F. M. Finch. 183 69. The Machinist's Return . . Washington "Capital." 186 60. Make Way for Liberty . . . James Montgomery. 189 61. The English Skylark Elihu Burritt. 193 62. How Sleep the Brave .... William Collins. 195 63. The Rainbow John Keble. 196 CONTENTS. Vll TITLB. AUTHOR. PAO* 64. Supposed Speech of John Adams . Daniel Webster, 196 65. The Rising T. B. Read. 200 66. Control your Temper .... Dr. John Todd. 204 67. William Tell Sheridan Knowles. 207 68. William Tell Sheridan Knowles. 216 69. The Crazy Engineer 221 70. The Heritage Lowell. 228 71. No Excellence without Labor . . . William Wirt. 230 72. The Old House Clock 232 73. The Examination D.P.Thompson. 234 74. The Isle of Long Ago B. F. Taylor. 239 75. The Boston Massacre Bancroft. 241 76. Death of the Beautiful .... Mrs. E. L. Follen. 245 77. Snow Falling J. J. Piatt. 246 78. Squeers's Method Dickens. 247 79. The Gift of Empty Hands . . Mrs. S. M. B. Piatt, 252 80. Capturing the Wild Horse Irving. 253 81. Sowing and Reaping . . . Adelaide Anne Procter. 258 82. Taking Comfort Whittier. 259 83. Calling the Roll Shepherd. 262 84. Turtle Soup C. F. Briggs. 263 85. The Best Kind of Revenge 266 86. The Soldier of the Rhine . . Mrs. C. E. S. Norton. 269 87. The Winged Worshipers . . . Charles Sprague. 271 88. The Peevish Wife .... Maria Edgeworth. 273 89. The Rainy Day Longfellow. 276 90. Break, Break, Break Tennyson. 277 91. Transportation and Planting of Seeds . H. D. Thoreau. 278 92. Spring Again Mrs. Celia Thaxter. 282 93. Religion the only Basis of Society William E. Channing. 284 94. Rock Me to Sleep .... Mrs. E. A. Allen. 286 95. Man and the Inferior Animals . . . Jane Taylor. 288 96. The Blind Men and the Elephant . . J. G. Saxe. 290 97. A Home Scene D. G. Mitchell. 292 98. The Light of Other Days Moore. 295 99. A Chase in the English Channel .... Cooper. 296 100. Burial of Sir John Moore . . . Charles Wolfe. 301 101. Little Victories Harriet Martineau. 302 102. The Character of a Happy Life . . Sir Henry Wotton. 308 103. The Art of Discouragement .... Arthur Helps. 309 104. The Mariner's Dream .... William Dimond. 312 105. The Passenger Pigeon Audubon. 315 106. The Country Life . . . . R. H. Stoddard. 319 107. The Virginians Thackeray 321 Viii CONTENTS. TITLE. ATTTHOR. PAQB 108. Minot's Ledge . . . . Fitz-James O'Brien. 326 109. Hamlet . . . . . . - . . Shakespeare. 328 110. Dissertation on Roast Pig . . . . Charles Lamb. 333 111. A Pen Picture . . . . . William Black. 338 112. The Great Voices C. T. Brooks. 342 113. A Picture of Human Life . . . Samuel Johnson. 343 114. A Summer Longing .... George Arnold. 348 115. Fate Bret Harte. 349 116. The Bible the Best of Classics . . . T. S. Grimke". 350 117. My Mother's Bible G. P. Morris. 351 LIST OF ILLUSTRATIONS. SUBJECT. ABTIST. PAOB The Good Reader H. F. Farny. 39 The Fish I Did n't Catch H. F. Farny. 65 The Corn Song E. K. Foote. 76 I Pity Them W. L. Sheppard. 86 The Town Pump . Howard Pyle. 105 Good Night J. A. Knapp. 109 The Tea Rose ...... C. S. Reinhart. 124 Forty Years Ago H. Fenn. 149 The Old Sampler . . . ..... Mary Hallock Foote. 165 The Old Sampler Mary Hallock Foote. 166 About Quail. . . . .. . Alexander Pope. 181 The Crazy Engineer H. F. Farny. 222 Squeers's Method . * . '. . . . Howard Pyle. 249 Turtle Soup . -. . . . .' . W. L. Sheppard. 264 Hamlet . . Alfred Fredericks. 330 INTRODUCTION. I. PRELIMINARY REMARKS. THE great object to be accomplished in reading, as a rhetorical exercise, is to convey to the hearer, fully and clearly, the ideas and feelings of the writer. In order to do this, it is necessary that a selection should be carefully studied by the pupil before he attempts to read it. In accordance with this view, a preliminary rule of importance is the following : RULE I. Before attempting to read a lesson, the learner should make himself fully acquainted with the subject as treated of in that lesson, and endeavor to make the thought and feeling and sentiments of the writer his own. REMARK. When he has thus identified himself with the author, he has the substance of all rules in his own mind. It is by going to nature that we find rules. The child or the savage orator never mistakes in inflection or emphasis or modulation. The best speakers and readers are those who follow the impulse of nature, or most closely imitate it as observed in others. II. ARTICULATION. Articulation is the utterance of the elementary sounds of a language, and of their combinations. An Elementary Sound is a simple, distinct sound made by the organs of speech. The Elementary Sounds of the English language are divided into Foco/s, Subvocals, and Aspirates. 10 ECLECTIC SERIES. ELEMENTARY SOUNDS. VOCALS. Vocals are sounds which consist of pure tone only. A diphthong is a union of two vocals, commencing with one and ending with the other. DIRECTION. Put the lips, teeth, tongue, and palate in their proper position ; pronounce the word in the chart for- cibly, and with the falling inflection, several times in succes- sion; then drop the sub vocal or aspirate sounds which pre- cede or follow the vocal, and repeat the vocals alone. TABLE OF VOCALS. Long Vocals. as in hate. 5, as 5 in err. " hare. J, " pine. ** far. 6, " no. " pass. u, " tube. " fall. u, " burn. " eve. 00, " eool. e, a, as in mat. 8, " met. I, " It. Short Vocals. 6, as in hot. u, us. 06, " book. Diphthongs. oi, oy, as in oil, boy. | ou, ow, as in out, now. REMARK 1. In this table, the short sounds, except G, are nearly or quite the same in quality as certain of the long sounds. The difference consists chiefly in quantity. REMARK 2. The vocals are often represented by other letters or com- binations of letters than those used in the table ; for instance, a is rep- resented by ai in hail, by ea in steak, etc. REMARK 3. As a general rule, the long vocals and the diphthongs should be articulated with a full, clear utterance ; but the short vocals have a sharp, distinct, and almost explosive utterance. FIFTH READER. 11 SUBVOCALS AND ASPIRATES. Subvocals are those sounds in which the vocalized breath is more or less obstructed. Aspirates consist of breath only, modified by the vocal organs. Words ending with subvocal sounds should be selected for practice on the subvocals ; words beginning or ending with aspirate sounds may be used for practice on the aspirates. Pronounce these words forcibly and distinctly several times in succession ; then drop the other sounds, and repeat the subvocals and aspirates alone. Let the class repeat the words and elements at first in concert, then separately. TABLE OF SUBVOCALS AND ASPIRATES. Svbvocals. b, as in babe. d, " bad. g, " nag- j, judge. v, " move. a, " with. z, " buzz. z, azure (azh'ure). REMARK. These sixteen sounds make eight pairs of cognates. In ar- ticulating the aspirates, the vocal organs are put in the position required in the articulation of the corresponding subvocals ; but the breath is ex- pelled with some force without the utterance of any vocal sound. The oupil should first verify this by experiment, and then practice on these cognates. The following subvocals and aspirates have no cognates. Aspirates. p, as in r^p. t, " at. k, " book. ch, " rich. f, " life. th, " Smith. s, " hiss. sh, " rush. 1, as in mill. m, " rim. n, " run. ng, " sing. SUBVOCALS. r, as in rule, r, " car. w, *' win. y, " yet ASPIRATES. h, as in hat. rh, as in whSn. 12 ECLECTIC SERIES. SUBSTITUTES. Substitutes are characters used to represent sounds ordi- narily represented by other characters. TABLE OF SUBSTITUTES. a for 6, as in what. y for I, as in hymn. " a, " there. 5 it s, " u 5ite. e " a, " freight. u k, u cap. i " e, " police. 9 h it sh, (t machine. I " e, sir. h it k, u haos. 6 " u, " son. g (( 1. (t age. o " 66, " to. n (t ng, u rink. " 66, " would. II z, u roge. " a, " drn. s " sh, 1 1 sure. " u, 44 wOrk. $ II gz, (t ejamlne. u 65, pull. gh 11 f, t( laugh. W " 66, ' rude. ph it f, u sylph. V *' i, my. qu it k, ( t pique. qu for kw, as in quick. FAULTS TO BE REMEDIED. DIRECTION. Give to each sound, to each syllable, and to each word its full, distinct, and appropriate utterance. For the purpose of avoiding the more common errors under this head, observe the following rules : RULE II. Avoid the omission of unaccented vowels. EXAMPLES. INCORRECT. CORRECT. Sep'rate for sep-a-rate. met-ric'l " met-ric-al. 'pear " ap-pear. com-p'tent " com-pe-tent. pr'cede ** pre-cede. 'ape-cial * es-pe-cial. INCORRECT. CORRECT. Ev'dent for ev-i-dent. ** mem-o-ry. " o-pin-ion. " pro-pose. " gran-'M-lar. mem'ry 'pin -ion pr'pose gran'lar par-tic' lar ** par-tic- w-lar. FIFTH READER. 13 KULE III. Avoid sounding incorrectly the unaccented vowels. EXAMPLES. INCORRECT. CORRECT. Sep-er-ate for sep-a-rate. met-ric-wl " met-ric-al. wp-pear " op-pear, com-per-tent " com-pe-tent. dum-mand " de-mand. ob-stur-nate " ob-sti-nate. INCORRECT. Mem-er-ry wp-pin-ion prwp-ose gran-ny-lar par-tic-e-lar ev-er-dent for mem-o-ry. " o-pin-ion. " pro-pose. " gran-u-lar. " par-tic-u-lar. " ev-i-dent. REMARK 1. In correcting errors of this kind in words of more than one syllable, it is very important to avoid a fault which is the natural consequence of an effort to articulate correctly. Thus, in endeavoring to sound correctly the a in met'ric-al, the pupil is very apt to say met-ric-al' ', accenting the last syllable instead of the first. REMARK 2. The teacher should bear it in mind that in correcting a fault there is always danger of erring in the opposite extreme. Properly speaking, there is no danger of learning to articulate too distinctly, but there is danger of making the obscure sounds too prominent, and of read- ing in a slow, measured, and unnatural manner. KULE IV. Utter distinctly the terminating subvocals and aspirates. EXAMPLES. INCORRECT. CORRECT. An* for and. ban* " band, moun' " mound, mor-nin' " morn-in^. des' " desk. INCORRECT. CORRECT. Mos' for mosque. near-es' wep' ob-jec' sub-jec' " near-es*. " wep*. " ob-jec*. " sub-jecf. REMARK 1. This omission is still more likely to occur when several consonants come together. EXAMPLES. INCORRECT. CORRECT. Thrus' for thruste. beace " beaste. thinks' " thinks*, weps' " INCORRECT. CORRECT. Harms' for harm's*, wrongs' " wrong's*, twinkles' " twinkl'ds*. black'ns " black'n'ds*. 14 ECLECTIC SERIES. REMARK 2. In all cases of this kind these sounds are omitted, in the first instance, merely because they are difficult, and require care and attention for their utterance, although after a while it becomes a habit. The only remedy is to devote that care and attention which may be neces- sary. There is no other difficulty, unless there should be a defect in the organs of speech, which is not often the case. RULE Y. Avoid blending syllables which belong to dif- ferent words. EXAMPLES. He ga-zdupon. He gazed upon. Here res tsis sed. Here rests his head. Whatris sis sname ? What is fas name ? For ranninsantush. For an instant Aush. Ther ris sa calm. There is a calm. For tho s^a tweep. For those that weep. God sglorou simage. God's glorious image. EXERCISES IN ARTICULATION. This exercise and similar ones will afford valuable aid in training the organs to a distinct articulation. Every vice fights against nature. Folly is never pleased with tVself . Pride, not nature, craves mucft. The little tattler tittered at the tempest. Titus takes the petulant outcasts. The covetous partner is destitute of fortune. No one of you knows where the sAoe pinches. What can not be cured must be endured. You can not catch old birds with c^aff. Never sport with the opinions of others. The lightnings flashed, the Sunders roared. His hand in mine was fondly clasped. They cuftivated shrubs and plants. He selected his texts with great care. His lips grow res^ess, and his smile is curZec? Aalf into scorn. Wisdom's ways are ways of joteasan/ness. FIFTH READER. 15 O breeze, that waitst me on my way! jTAou boat's* of what should be thy sAame. Li/e's fitful fever over, he rests well. Cam* /Aou fill his skin with bar&et/ irons? From star to star the living Kghtoin<7sy?asA. And glittering crowns of j?ros*rate seraphim. TAat morning, thou that slumber'd'st not before. Habitual evils chancre not on a sudden. Thou waft'd'st the rickety skiffs over the cliffs. Thou reef'cTs* the haggled, shipwrecked sails. The hones* shepherd's catarrh. The heiress in her disAabi/Ze is humorous. The &rave chevalier behayes like a conservative. The luscious notion of champagne and precious sngal III. INFLECTIONS. Inflections are slides of the voice upward or downward. Of these, there are two : the rising inflection and the fatting inflection. The Rising Inflection is that in which the voice slides upward, and is marked thus ('); as, Did you walk 7 ? Did you **^ The Falling Inflection is that in which the voice slides downward, and is marked thus ( x )j as, I did not walk v . I did not Both inflections are exhibited in the following question: Did you walk 7 or ride^V **& or 16 ECLECTIC SERIES. In the following examples, the first member has the rising and the second member the falling inflection: EXAMPLES.* Is he sick/, or is he well N ? Did you say valor', or value v ? Did you say statute', or statue v ? Did he act properly 7 , or improperly v ? In the following examples, the inflections are used in a contrary order, the first member terminating with the falling and the second with the rising inflection: EXAMPLES. He is well\ not sick'. I said value\ not valor 7 . I said statue\ not statute'. He acted properly^, not improperly'. FALLING INFLECTIONS. RULE VI. The falling inflection is generally proper wherever the sense is complete. EXAMPLES. Truth is more wonderful than fictionV Men generally die as they live\ By industry we obtain wealth\ REMARK. Parti* of a sentence often make complete sense in them- selves, and in this case, unless qualified or restrained by the succeeding clause, or unless the contrary is indicated by some other principle, the falling inflection takes place according to the rule. * These questions and similar ones, with their answers, should be repeatedly pronounced with their proper inflections, until the distinction between the rising and falling inflection is well understood and easily made by the learner. He will b assisted in this by emphasizing strongly the word, which receives the inflection; thus, Did you BIDE/ or did you WALKS f FIFTH READER. 17 EXAMPLES. Truth is wonderful^, even more so than fiction*. Men generally die as they live\ and by their, actions we must judge of their character^. Exception. When a sentence concludes with a negative clause, or with a contrast or comparison (called also antithesis), the first member of which requires the falling inflection, it must close with the rising inflec- tion, (See Kule XI, and 2, Note.) EXAMPLES. No one desires to be thought a fool'. I come to bury N Caesar, not to praise' him. He lives in England\ not in France 7 . REMARK. In bearing testimony to the general character of a man we say: He is too honorable* to be guilty of a vile^ act. But if he is accused of some act of baseness, a contrast is at once insti- tuted between his character and the specified act, and we change the in- flections, and say : He is too honorable' to be guilty of such 7 an act. A man may say in general terms: I am too busy 7 for projects*. But if he is urged to embark in some particular enterprise, he will change the inflections, and say: 1 am too btisy^ for projects'. In such cases, as the falling inflection is required in the former part by the principle of contrast and emphasis (as will hereafter be more fully explained), the sentence necessarily closes with the rising inflection. Sometimes, also, emphasis alone seems to require the rising inflection on the concluding word. See exception to Rule VII. (S.-2.) 18 ECLECTIC SERIES. STRONG EMPHASIS. RULE VII. Language which demands strong emphasis generally requires the falling inflection. EXAMPLES. 1. Command or urgent entreaty ; as, Begone\ Run x to your houses, fali v upon your knees, Pray v to the Gods to intermit the plagues. O, save v me, Hubert^, save v me I My eyes are out Even with the fierce looks of these bloody men. 2. Exclamation, especially when indicating strong emo- tion; as, O, ye GodsM ye GodsM must I endure all this? Hark v ! Hark x I the horrid sound Hath raised up his head. For interrogatory exclamation, see Rule X, Remark. SERIES OF WORDS OR MEMBERS. 3. A series of words or members, whether in the begin- ning or middle of a sentence, if it does not conclude the sentence, is called a commencing series, and usually requires the rising inflection when not emphatic. EXAMPLES OF COMMENCING SERIES. Wine', beauty', music 7 , pomp', are poor expedients to heave off the load of an hour from the heir of eternity\ FIFTH READER. 19 I conjure you by that which you profess, (Howe'er you came to know it,) answer me; Though you untie the winds and let them fight Against the churches 7 ; though the yeasty waves Confound and swallow navigation' up; Though bladed corn be lodged, and trees blown down'} Though castles topple on their warders' heads / ; Though palaces and pyramids do slope Their heads to their foundations 7 ; though the treasures Of nature's germens tumble altogether 7 , Even till destruction sicken 7 ; answer me To what I ask x you. 4. A series of words or members which concludes a sentence is called a concluding series, and each member usu- ally has the falling inflection. EXAMPLE OF CONCLUDING SERIES. They, through faith, subdued kingdoms\ wrought righteous- \ obtained promises\ stopped the mouths of lions\ quenched the violence of fire\ escaped the edge of the sword x , out of weakness were made strong\ waxed valiant in fight\ turned to flight the armies of the aliens^. REMARK. When the emphasis on these words or mem- bers is not marked, they take the rising inflection, accord-, ing to Kule IX. EXAMPLES. They are the offspring of restlessness 7 , vanity 7 , and idleness^. Love 7 , hope 7 , and joy 7 took possession of his breast. 5. When words which naturally take the rising inflec- tion become emphatic by repetition or any other cause, they often take the falling inflection. 20 ECLECTIC SERIES. Exception to the Rule. While the tendency of emphasis is decidedly to the use of the falling inflection, sometimes a word to which the falling inflection naturally belongs changes this, when it is emphatic, for the rising inflection. EXAMPLES. Three thousand ducats x : 't is a good round sum 7 . It is useless to point out the beauties of nature to one who is Mind'. Here sum and blind, according to Rule VI, would take the falling inflec- tion, hut as they are emphatic, and the object of emphasis is to draw attention to the word emphasized, this is here accomplished in part by giving an unusual inflection. Some speakers would give these words the circumflex, but it would be the rising circumflex, so that the sound would still terminate with the rising inflection. RULE VIII. Questions which can not be answered by yes or no, together with their answers, generally require the falling inflection. EXAMPLES. Where has he gone v ? Ans. To New York\ What has he done v ? Ans. Nothing v . Who did this^? Ans. I know not\ When did he go x ? Ans. Yesterday^ REMARK. If these questions are repeated, the inflection is changed according to the principle stated under the Exception to Rule VII. Where did you say he had gone'? What has he done'? Who did this'? When did he go'? RISING INFLECTION. BULE IX. Where a pause is rendered proper by the meaning, and the sense is incomplete, the rising inflection. is generally required. FIFTH READER. 21 EXAMPLES. To endure slander and abuse with meekness 7 requires no or- dinary degree of self-command\ Night coming on', both armies retired from the field of battle\ As a dog returaeth to his vomit 7 , so a fool returneth to his folly\ REMARK. The person or object addressed, in ordinary conversation, under this head. EXAMPLES. Fathers 7 ! we once again are met in council. My lords 7 ! and gentlemen 7 ! we have arrived at an awful crisis. Age 7 ! thou art shamed. Rome 7 ! thou hast lost the breed of noble bloods! Exception. Where a word which, according to this rule, requires the rising inflection, becomes emphatic, it generally has the falling inflec- tion ; as, when a child addresses his father, he first says, Father' ! but if he repeats it emphatically, he changes the inflection, and says, Father I Father 1 ^ ! The falling inflection is also used in formal address ; as, Fellow- citizens x , Mr, President, etc. EXAMPLES. When we aim at a high standard, if we do not attaint it, we shall secure a high degree of excellence. Those who mingle with the vicious, if they do not become de- praved^, will lose all delicacy of feeling. EULE X. Questions which may be answered by yes or ?io, generally require the rising, and their answers the falling inflection. EXAMPLES. Has he arrived 7 ? Yes\ Will he return 7 ? No\ Does the law condemn him 7 ? It does not\ 22 ECLECTIC SERIES. Exception. If these questions are repeated emphatically, they take the falling inflection, according to Rule VII. EXAMPLES. Has he arrived v ? Will he return^? Does the law condemn him v ? REMARK. When a word or sentence is repeated as a kind of interroga- tory exclamation, the rising inflection is used according to the princi- ples of this rule. EXAMPLES. You ask, who would venture^ in such a cause ! Who would venture'? Rather say, who would not x venture all things for such an object! He is called the friend v of virtue. The friend' ! ay ! the en- thusiastic lover\ the devoted protector\ rather. So, also, when one receives unexpected information he exclaims, Ah' I indeed'! REMARK. In the above examples the words "venture," "friend," "ah," etc., may be considered as interrogatory exclamations, because if the sense were carried out it would be in the form of question ; as, " Do you ask who would venture'?" "Do you say that he is the friend' of virtue?" "Is it possible 7 ?" and thus they would receive the rising in- flection according to this rule. RISING AND FALLING INFLECTIONS. RULE XI. The different members of a sentence express- ing comparison, or contrast, or negation and affirmation, or where the parts are united by or used disjunctively, require different inflections; generally the rising inflection in the first member, and the falling inflection in the second mem- ber. This order is, however, sometimes inverted. 1. Comparison and contrast. This is also called antithesis. JflFTH READER. EXAMPLES. In all things approving ourselves as the ministers of God; by honor 7 , and dishonor^ ; by evil 7 report, and good x report ; as de- ceivers 7 , and yet true x ; as unknown 7 , and yet well N known; as dying 7 , and behold we live x ; as chastened 7 , and not killed v ; as sorrowful 7 , yet always rejoicing x ; as poor 7 , yet making many rich x ; as having nothing 7 , yet possessing all x things. Europe was one great battlefield, where the weak struggled for freedom 7 , and the strong for dominion^ The king was without power 7 , and the nobles without principled They were tyrants at home 7 , and robbers abroad v . 2. Negation and affirmation. EXAMPLES. He desired not to injure 7 his friend, but to protect^ him. We desire not your money 7 , but yourselves^. I did not say a better 7 soldier, but an elder v . If the affirmative clause comes first, the order of the inflections is inverted. EXAMPLES. He desired to protect^ his friend, not to injure 7 him. We desire yourselves^ not your money 7 . I said an elder x soldier, not a better 7 . The affirmative clause is sometimes understood. We desire not your money 7 . I di not say a better 7 soldier. The region beyond the grave is not a solitary 7 land. In most negative sentences standing alone, the corresponding affirma- tive is understood ; hence the following REMARK. Negative sentences, whether alone or connected with an affirmative clause, generally end with the rising inflection. ECLECTIC SERIES. If such sentences are repeated emphatically, they take the falling in- flection according to Rule VI. : EXAMPLES. We do noP desire your money. I did nof x say a better soldier. f 3. Or used disjunctively. Did he behave properly 7 , or improperly v ? Are they living 7 , or dead v ? Is he rich 7 , or poor v ? Does (rod, having made his creatures, take no further 7 care of them, or does he preserve and guide them v ? REMARK. Where or is used conjunctively, this rule does not apply ; as, Will the law of kindness 7 or of justice 7 justify such conduct 7 ? CIRCUMFLEX. The circumflex is a union of the rising and falling in- flections. Properly speaking, there are two of these, the one called the rising circumflex, in which the voice slides down and then up; and the other, the falling circumflex, in which the voice slides upward and then downward on the same vowel. They may both be denoted by the same mark, thus, (-*). The circumflex is used chiefly to indi- cate the emphasis of irony, of contrast, or of hypothesis. EXAMPLES. 1. Queen. Hamlet, you have your father much offended. Hamlet. Madam, y6u have my father much offended. 2. They offer us their protection. Yes\ such protection as vtiltures give to lambs, cdvering and devouring them. FIFTH READER. 25 3. I knew when seven justices could not make up a quarrel? but when the parties met themselves, one of them thought but of an if; as, If you said s6, then I said so ; O ho ! did you say so? So they shook hands and were sworn brothers. REMARKS. In the first example, the emphasis is that of contrast. The queen had poisoned her husband, of which she incorrectly supposed her son ignorant, and she blames him for treating his father-in-law with dis- respect. In his reply, Hamlet contrasts her deep crime with his own slight offense, and the circumflex upon " you " becomes proper. In the second example the emphasis is ironical. The Spaniards pre- tended that they would protect the Peruvians if they would submit to them, whereas it was evident that they merely desired to plunder and destroy them. Thus their protection is ironically called " such protection as vultures give to lambs," etc. In the third example, the word " so " is used hypothetical^ ; that is, it implies a condition or supposition. It will be observed that the rising circumflex is used in the first " so," and the falling, in the second, be- cause the first " so " must end with the rising inflection and the second with the falling inflection, according to previous rules. MONOTONE. When no word in a sentence receives an inflection, it is said to be read in a monotone; that is, in nearly the same tone throughout. This uniformity of tone is occa- sionally adopted, and is fitted to express solemnity or sublimity of idea, and sometimes intensity of feeling. It is used, also, when the whole sentence or phrase is em- phatic. In books of elocution, when it is marked at all, it is generally marked thus ( ), as in the lines follow- ing. EXAMPLES. Hence ! loathed melancholy ! Where brooding darkness spreads her jealous wings, And the night raven sings; There, under ebon shades and low-browed rocks, As ragged as thy locks, In deep Cimmerian darkness ever dwelL" 26 ECLECTIC SERIES. IV, ACCENT. In every word which contains more than one syllable, one of the syllables is pronounced with a somewhat greater stress of voice than the others. This syllable is said to be accented. The accented syllable is distinguished by this mark Q, the same which is used in inflections. EXAMPLES. Love'ly, re-turn', re-mem'ber, Con'stant, re-main', a-sun'der, Mem'ber, a-bide', a-ban'don, Win'dow, a-tone', rec-ol-lect', Ban'ner, a-lone', re-em-bark'. REMARK. In most cases custom is the only guide for placing the accent on one syllable rather than another. Sometimes, however, the same word is differently accented in order to mark its different meanings. EXAMPLES. Con'jure, to practice enchantments. Con-jure', to entreat. Gal'lant, brave. Gal-lanf, a gay fellow. Au f gust, a month. Au-gust', grand. REMARK. A number of words used sometimes as one part of speech, and sometimes as another, vary their accents irregularly. EXAMPLES. Pres'ent. the noun. I ^ , ,. ,. Pre-sent', the verb. Pres'ent, the adjective. | ,, I Corn-pact', the adjective. CWpact, the noun. _, * / | Corn-pact, the verb. In words of more than two syllables there is often a second accent given, but more slight than the principal one, and this is called the sec- ondary accent ; as, car'a-vari", rep // ar-