of the rising inflection, in the above example, makes the assertion merely a concession in regard to the treatment of the dog; but, at the same time, there is an insinuation that other animals, and even servants and companions, would not be treated properly.

230. This principle may be more fully illustrated by the following example:

Hamlet, thou hast thy father much offended.

Madam, you have my father much offended.

231. Here it will be seen that the emphasis with the falling inflection on the word "you," makes the meaning of the speaker positive with regard to himself. It is not I', but you', &c.; but, at the same time, it will be seen that the emphasis with the rising inflection on the word "you," although it would equally mark the speaker's meaning with regard to his mother, would leave the meaning with regard to himself doubtful, and it would imply that her charge against him might possibly be true.

232. The difference between the rising and falling inflections, in the above cases, is that the falling denies the antithesis, and the rising only insinuates a denial.

233. It remains now to take notice of another important distinction between the emphatic inflections. Under some circumstances, the emphasis with the falling inflection implies respect, and may be used very successfully in expressing a compliment in a delicate and indirect manner; while the emphasis with the rising inflection implies contempt, or sneer.

Which my soul hath uncontrolled pursued,

I would not turn aside from my least pleasure,

Though all thy force were armed to bar my way

235. By placing the emphasis on the words "thy force," it is apparent that the allusion is to the force of others; and if the falling inflection be laid on thy," the very nighest compliment will be paid; for it will be merely saying, in an indirect manner, "I would not turn aside from my least pleasure, not only though the common force should oppose me, but even thy force, great as it is, and wisely directed as it may be, were armed to bar my way."

236. On the other hand, if the word "thy" were read with the rising inflection, it would imply that the speaker conceded that possibly he might be restrained by the force of others who were superior; but that the "force" of the person to whom he spoke, was too insignificant to control him.

237. One great feature of significant reading, probably the greatest, is the distinguishing of primary information from what is preunderstood, from what is secondary. The subjects of discourse go along with the mind continually; and it is a point of the utmost importance, that a reader should make a distinction between the words and phrases which refer to the subject under consideration, and those words and phrases which bring the hearer acquainted with something new. This suggestion may be illustrated by the following passages:

And on thy blade and dudgeon gouts of blood,
Which was not so before.

239. In the above example, the phrase "gouts of blood" represents a new and striking appearance, and should be read with emphatic force; while the other portion of the clause is merely of a secondary nature, and should be read with a very slight degree of

stress.

240. On Linden, when the sun was low,
All bloodless lay the untrodden snow,

And dark as winter was the flow

Of Iser rolling rapidly.

But Linden saw another sight.

241. It will be perceived that the word "another” brings a new idea to our notice, and should be read with emphatic force. The other words in the same sentence are of a secondary nature, and should be read with a comparatively light stress, as they refer to the subject in the preceding stanza, where a scene is described; that is, Linden had already seen one sight, but now a very different sight is the subject to be considered.

242.

Horatio. Two nights together had these gentlemen,
Marcellus and Bernardo, on their watch,

In the dead waist and middle of the night,
Been thus encountered. A figure like your father,
Armed at point, exactly, cap-à-pié,

Appears before them, and, with solemn march,
Goes slow and stately by them. Thrice he walked
By their oppressed and fear-surprised eyes,

Within his truncheon's length; whilst they, distilled
Almost to jelly with the act of fear,

Stand dumb, and speak not to him. This to me,

In dreadful secrecy, impart they did;

And I with them, the third night, kept the watch;
Where, as they had delivered, both in time,
Form of the thing, each word made true and good,

The apparition comes. I knew your father:-
:-
These hands are not more like.

Hamlet. But where was this?

Horatio. My lord, upon the platform where we watched
Hamlet. Did you not speak to it?

243. Here it will be seen that the word "you" is of primary importance; and the words "not speak to it," are merely of a secondary nature, as they refer to a subject in the preceding sentence; for Horatio had already said to Hamlet, "Marcellus and Bernardo, distilled almost to jelly with the act of fear, stand dumb and speak not" to the ghost. Hence it is obvious that the question, so far as the mere act of speaking is concerned, is of secondary importance, and should be read with a comparatively slight degree of force. The particular information sought, is, whether "you," meaning Horatio, spoke or not.

of

244. In concluding the remarks on the emphasis sense, it is best to call the attention of the learner to the fact, that its office is sometimes to determine the meaning of a passage in reference to something presupposed as general knowledge. This may be illustrated by the following well-known lines:

245. Of man's first disobedience, and the fruit
Of that forbidden tree, whose mortal taste
Brought death into the world and all our woe,
Sing, heavenly Muse!

246. Supposing, in reference to the above passage, that originally other beings beside man had disobeyed the commands of the Almighty, and that the circumstance was well known; then the word "man's," in the first line, would receive the emphasis, and the line would read thus,

Of man's first disobedience, and the fruit —

247. But supposing that mankind had transgressed in a peculiar manner more than once, and this was a notorious fact, then the emphasis would fall on the word "first," and the line would be read thus,

Of man's first disobedience, and the fruit

248. Again; admitting the fact, that death was an unheard-of punishment, brought upon man in consequence of his disobedience, then the word "death" would receive the emphasis, and the line would be read thus,

Brought death into the world

249. On the supposition that it was well known that there was such an evil as death in other regions, though the place of man's abode had been free from it till the time of his transgression, then the emphasis would fall on the word "world," and the line would be read thus,

Brought death into the world

250. If none of the senses above pointed out be precisely the true one, then the meaning of the above lines is no other than what is suggested by their simple construction, and no word can receive an emphasis such as has just been described.

251. The office of emphasis in determining the meaning of a passage, according to the principle just described, may be further illustrated by the following passage:

252. I have often lamented, and hinted my sorrow in several speculations, that the art of painting is so little made use of to the