Those singing brooks! and shall their tones
Be never in mine ear?

And those dear voices, I could die
But only once to hear.

O mother, mother!"-MRS. CASE, Joan of Arc in Prison. (Expulsive.) Age.

"If they should fire on Pickens, let the colonel in command
Place me upon the ramparts with the flag-staff in my hand.
No odds how hot the cannon smoke, or how the shells may fly,
I'll hold the stars and stripes aloft, and hold them till I die."
BAYARD TAYLOR.

(Explosive.) Intense Grief and Supplication.

"O spare my child! my joy, my pride!

O give me back my boy!' she cried.

'My child, my child!' with sobs and tears,
She shrieked upon his calloused ears."-MACKAY.

Accent.*

Accent is superior force applied to one or more syllables of a word, to distinguish them from others in the same. word, as mu'sic al, con ver'ti bil'i ty. It is primary and secondary.

1. Primary when the force is greater upon one syllable than upon any other in the word, as cir'cum stances.

2. Secondary accent is force upon one or more syllables of long words, less strongly marked than the primary, as cir'cum stan'ces. The first syllable receives the primary and the third the secondary accent.

The position of accent often decides the meaning of a word, as in per'fume, per fume'. This belongs to a class of words that are used as nouns and as verbs. The nouns take the accent on the first, and the verbs on the last syllable.

Emphasis.

Emphasis is force upon one or more words, to distinguish them from other words in the same sentence.

Emphasis is of SENSE, absolute or antithetic; and of EMOTION, single or cumulative.

*See Stress, page 158.

Emphasis of sense brings out the meaning, and emphasis of emotion the feeling of the author.

1. It is absolute when used to express sense; as, Go now! "In all ages Love is the truth of life."-ROBERTSON.

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2. Antithetic when used on words in contrast and comparison; "I said an elder soldier, not a better." You may ride, but I shall walk.

3. Single emphasis of emotion is force upon single words to express strong feeling; as,

"RISE, fellow-men, our country yet remains!"

4. Cumulative emotional emphasis is superior force on a succession of words; as,

"HEAVEN for HARRY, ENGLAND, and ST. GEORGE!"

"The Union: it MUST and SHALL BE PRESERVED."

Force upon an entire phrase or sentence should be considered separately with regard to its increase or diminution, called climax and anticlimax.* The conditions are more or less in accordance with the following statements.

1. Force may be unchanged throughout an entire period. 2. It may increase to the end of a clause or sentence. 3. It may decrease to the end of a clause or sentence. 4. It may increase to the middle, and decrease to the end. 5. It may decrease to the middle, and increase to the end. 6. It may vary irregularly throughout the sentence. (Slow, with 1. "When Ajax strives some rock's vast weight to throw, even force.) The line too labors, and the words move slow."-POPE.

(<) 2. "In a clamorous appealing to the mercy of the fire,

In a mad expostulation with the deaf and frantic fire.”—POE.

(>) 3. "The loud wind dwindled to a whisper low,

:) 4. (><)

And sighed for pity as it answered 'No.'"-MACKAY.
"How the danger sinks | and swells,

By the sinking or the swelling
In the anger of the bells."-POE.

(<). 5. “If I were an American, while a foreign troop were landed in my country, I never would lay down my arms-NEVER, NEVER, never.' LORD CHATHAM.

(Irregular.) 6. "Keep yourself from opportunities, and God will keep you from sin. Idleness is the sepulchre of a living man."

* Volume is force and quantity combined. Full volume is made of much force, and long time or quantity.

TIME.

TIME is a measured portion of duration. In elocution, time is a measure of the speed of utterance. As a measure of speed of utterance, the duration or quantity of single sounds and rests, and the movement of successive sounds and rests, must be considered.

QUANTITY.

Quantity is the duration or length of single sounds and rests. Some sounds are naturally and necessarily longer than others; and while a few, both long and short, can be prolonged, others can not: hence they may be classed as immutable (those that can not be prolonged) and mutable (those that can be prolonged.) The latter, being capable of definite or of indefinite prolongation, have received the names "definite" and " indefinite" mutable elements.

1. The immutable elements of our language are the abrupts (see Table No. 7), p, t, k, b, d, g, which can not be prolonged.

2. The mutable elements are most strongly represented in the long vowel sounds, because they are capable of agreeable prolongation-(see Table No. 6)—ē, ā, ä, a, ō, ́ọ, ī, ù.

3. The definite mutable elements are the short vowels (see Table No. 6), 1, ě, ă, o, u, û, and continuants (Table No. 7), r, l, m, n, ng, w, y, h, wh, because, though capable of slight prolongation, it is seldom in good taste or agreeable to the ear to add to their usual length.

Examples.

(Immutable.) "Would you make men trustworthy? Trust them. Would you make them true? Believe them. We win by tenderness; we conquer by forgiveness." - ROB

ERTSON.

(Mutable.)

"Hail, holy Light! Offspring of heaven first-born,
Or of the eternal co-eternal beam,

May I express thee unblamed? Since God is light,
And never but in unapproached light

Dwelt from eternity, dwelt then in thee,

Bright effulgence of bright essence increate."-MILTON.

(Definite Mutable.)

"Up! comrades, up! in Rokeby's halls

Ne'er be it said our courage falls!"-SCOTT.

Rests or Pauses.

A pause is a suspension. In spoken or written language, pauses are signs of the divisions of discourse, and may be classed as vocal or oratorical, and as grammatical.

A vocal or oratorical pause is a suspension of voice for the purpose of obtaining breath, or to convey to the auditors the emotion or meaning of the speaker. They may, but often do not, coincide with grammatical pauses. Those vocal pauses that make plain the meaning of the author or speaker are called sentential; those that express his feelings are called emotional; and those necessary to metrical composition or verse are called rhythmical pauses.

Rules for the Use of Sentential and Emotional Pauses. A sentential or emotional pause should be made1. Before infinitive phrases.

prepositional phrases.
relative pronouns.

adjectives following their nouns.

the conclusion or closing half of a sentence.
an ellipsis, or in place of the omitted word.
a word or phrase of concentrated emphasis.

Examples.

1. (Infinitive Phrase.) It is noble | to say little and perform much.

2. (Prepositional Phrase.) Never measure other people's corn by your own bushel,

3. (Relative Pronoun.) He laughs best | who laughs last.