5. By the use of the rising inflection on "pauper" the раз sage is made to mean, that if he should become a papr. he would amass wealth- -a solecism in terms. But if an intense falling inflection is employed on the same word, the sense is obvious and natural.

ILLUSTRATION.

Falling Inflections.

1. Man was designed for action`.

2. An hour passed on, the Turk awoke`;

That bright dream was his last`.

3. Read this declaration at the head of the army'. Send it to the public halls; proclaim it there. Let them hear it who heard the first roar of the enemies cannon'.

4. Charge! Chester, charge! on! Stanley, on` !

EXAMPLES OF THE RISING AND FALLING INFLECTIONS.

1. The voice must rise', then fall`.

2. Did you say high', or low.

3. Are the people virtuous', or vicious`

CIRCUMFLEX.

1. A certain kind of emphasis, that unites the rising and falling inflections on one word or syllable, is called circumflex.

2. This is a very peculiar and important modification of the voice, and holds a high rank in reading and oratory, in conse quence of its great significance and power. Its officework is to express doubt, contrast, supposition, contempt, reproof, and irony. When used in the language of irony, it has the pecu liar property of reversing the meaning of words to which it is applied.

3. For example, should a person haughtily refuse you a favor, and should you reply in a reproving spirit-"Sir, you are wondrous condescending," you would unite the inflections in such a manner, on 66 wondrous" and condescending," as to make those words imply very disobliging. This, then, is circumflex. used for the expression of irony.

ILLUSTRATIONS.

1. I may go to-morrow, though I cannot go to-day.

2. Why, sir, you were paid to fight against Darius, not to r vile him.

3. But you are very wise men, and deeply learned in the truth; we are weak, contemptible, měan persons.

4. If you said sô, then I said sô.

5. Charming house! and chărming lady of the house! ha! ha! ha! 6. They boast they come but to improve our stăte, enlarge our thoughts, and free us from the yoke of error.

7. They follow an adventurer whom they fear, we serve a monarch whom we love, a God whom we adore.

MONOTONE.

1. The monotone in Elocution is the continuation of speaking, with little or no variation of pitch.

2. Nature has given it an exalted place in oratory, and when properly applied it is beautiful and effective. It has great force and dignity when used in the delivery of solemn, sublime, and devotional sentiments. Its appropriate and effective use implies a high oratorical accomplishment. But in ordinary conversation, or in colloquial reading, its use is as improper as would be the dinner-horn for church-music. casionally a sentence or paragraph that even requires the application of the monotone.

There is orly o sublime deliverv

Properly userl, it

may be compared to a wave of the ocean, moving in majesty, and rolling its solemn, unvarying murmur upon the shore.

ILLUSTRATIONS.

1. O thōu that rõllest abōve, rõūnd as the shield of my fathers Whence are thy beams, O sun, thy everlasting light.

2. Mark the stōrm, as it nearer comes and rolls its awful burden on the wind.

3. Great ōcean, that rōlled the wild profound, etērnal bāss in nature's anthem.

4. He lōōketh on the earth and it trembleth; he toucheth the hills and they smōke. The everlasting mōūntains were scattered, and the perpetual hills did bōw.

5. High ōn a thrōne of rōyal stāte, which fār
Outshōne the wealth of Ormus and of Ind;
Or where the gorgeous east with richest hand,
Shōwers on her kings barbāric pearls and gōld,
Sātan exalted sāt.

EMPHASIS.

1. Emphasis is that peculiar stress of voice given to a word or words in a sentence, in order to express the energy and meaning of the writer or speaker.

2. It is an impulsive agent and representative of meaning as well as the distinguishing characteristic of a good reader or speaker. The little child and the adult talker use it with elo quent effect, while the reader often totally disregards it. The cause of the difference seems to be, that talkers generally give expression from the heart, and readers, too often, from the mouth only.

3. Emphasis is of two kinds, Absolute and Relative. It is absolute when given on account of the importance of the word

itself; but relative, when two or more words in a sentence, expressed or understood, are placed in contrast.

4. Emphatic clauses are those in which every word is em phatic.

EXAMPLES.

Absolute Emphasis.

1. He buys, he sells, he STEALS, he KILLS for gold.

2. I WARN you do not DARE to insult me thus, thou slave, thou WRETCH, thou COWARD! I will not endure this, never, NEVER, NEVER!

3. Has the gentleman done? has he COMPLETELY done?

4. RISE, fellow men, 'tis ROME demands your help.
5. We must fight; I repeat it, sir, WE MUST FIGHT!

Relative Emphasis.

1. We were born to live, as well as die.

2. The sun sets in the west, not in the east.

3. We must cultivate the voice for reading, as well as singing.

3. If-ROME - MUST FALL, heaven and earth will witness that we are innocent.

QUANTITY.

1. Quantity consists in giving voice, swell, and prolongation to vocal elements in enunciation.

2. It bears the same relation to Elocution as to vocal music, giving great beauty and dignity to expression. Fullness and quantity of voice should be given to the expression and delivery of dignified, solemn, grand, and devout sentiments.

3. In exercising upon the following examples in quantity, let the student fully inflate his lungs, and then give fullness and length of sound to each word in italics. The difference in quantity in the two following lines will be very apparent from the nature of the sentiment:

O come, father, come quickly; let us run.
Roll on, thou deep, and dark blue ocean.

ILLUSTRATIONS.

1. O happiness, our being's end and aim.

2. Green be thy fields, sweet isle of the ocean.

3. Hail, holy light! We praise thee, O Lord.

4. O thou that rollest above. The deep sea moans.

5. Roll on, ye dark brown years.

6. On the cold cheek of death, smiles and roses are blending. And beauty immortal awakes from the tomb.

7. Ye clouds, that gorgeously repose around the setting sun, Have ye a home for those whose earthly race is run?

8. And I heard many angels round the Throne, crying with a loud voice, holy! holy! holy ! evermore.

MODULATION.

1. Modulation means a variation of the pitch of the voice, in reading and speaking.

2. The importance of cultivation in this department will be fully appreciated by all who have had the misfortune to listen to those who read or speak "right on," without variation of

tone or manner.

3. There is not a more important requisite, in the range of vocal delivery, than Modulation; notning gives stronger proof that the reader or speaker is master of his art; nothing con tributes more to the pleasure of an audience. A well regu