ad with soft force, we mean that general force which is to all the words. Emphatic Force, as when we say such a word is atic, we mean that it should be read with more than the ral force to give it special importance. e standard force varies with the general spirit of the . If that is unemotional, the general force is moderate; nest, it is loud; if subdued, it is soft. e emphatic force varies with the distinctive ideas. Principle for Force. etermine the standard force, for the unemphatic Is, by the general spirit of the piece. Give addil force to the emphatic ideas according to their relaimportance. . Three poets, in three distant ages born, The first in GRACEFULNESS of thought surpassed; ANALYSIS. he general spirit is unemotional. The standard force is efore moderate. The subject 'poets' is new and distinctand requires the first degree of emphasis (marked by es). The only distinctive word in the clause "in three nt ages born" is 'distant.' This word, being a subordiidea, is less emphatic than 'poets.' What is asserted England," is new and distinctive, and e line is emphatic except 'and' and 'did.' 'next,' and 'last' are distinctive, but less marked with the same italics. "Gracefulne more relative worth, and is also more dist fore should have the larger emphasis (ma 'Surpassed' needs no emphasis, as it may such famous poets as are here referred to, thing. 'Majesty' is of the same distinctiv fulness,' and 'both' has the united import and this is indicated by its larger capital 1 2. "I am charged with ambition. The I GLORY in its truth. Who ever achieve in letters, arts, or arms, who was NOT ambi not more ambitious than Cicero. It was b ALL GREATNESS is born of ambition. L a NOBLE one, and who shall blame it? 3. The plumage of the mocking-bird, t homeliest, has nothing gaudy or brilliant nothing else to recommend him, would scar notice; but his figure is well-proportioned SOME. The ease, elegance, and rapidity of animation of his eye, and the INTELLIGE listening, and laying up lessons from almo the feathered creation within his hearing, a ING, and mark the peculiarity of his genius 4. Portia. That light we see is burni How far that little candle throws his bea So shines a good deed in a naughty worl Nerissa. When the moon shone, we di Portia. So doth the greater glory di A substitute shines brightly as a king, Until a king be by, and then his state Empties itself, as doth an inland brook Into the main of waters. Music! hark Terissa. It is your music, madam, of the house. Methinks it sounds much sweeter than by day. nightingale, if she should sing by day, en every goose is cackling, would be thought better a musician than the wren. v many things by season seasoned are their right praise and true perfection! Shakespeare, Merchant of Venice Earnest Ideas.—Loud Force. The land y friends, our country must be FREE! all ours be HELPLESS, that has sons like US? od SAVE our NATIVE land, whoever pays ne ransom that redeems her! Now what wait we? or Alfred's word to move upon the foe? PON him, then! Now think ye on the things ou most do love! husbands and fathers on heir WIVES and CHILDREN; lovers on their BELOVED; nd ALL upon their COUNTRY! Knowles. Our Fatherland is in danger! Citizens! to arms! to Unless the whole nation rise up, as one man, to deitself, all the noble blood already shed is in vain; and, e ground where the ashes of our ancestors repose, the an knout will rule over an enslaved people! We have ng to rest our hopes upon but a righteous God and our strength. And if we do not put forth that strength, God also forsake us. Hungary's struggle is no longer our gle alone. It is the struggle of popular freedom against star of freedom over all. - Kossuth. Subdued Ideas. - Soft F 1. Little Nell was dead. No sleep so so free from trace of pain, so fair to look a creature FRESH from the hand of GOD, breath of life; not one who HAD lived a Her couch was dressed with here and the ries and green leaves, gathered in a spot s favor. When I die, put near me some the LIGHT, and had the SKY above it al her words.-Dickens. 2. I thought to pass away before, and y And in the fields all round I hear the blea How sadly, I remember, rose the morning To die before the snowdrop came, and no O sweet is the new violet, that comes ben And sweeter is the young lamb's voice to And sweet is all the land about, and all th And sweeter far is death than life to me t INFLECTIONS. When we assert anything earnestly, th continuously from a higher to a lower pi syllable; as, "Thou art the man.' A question earnestly, the voice slides up higher pitch, on the emphatic syllable; brother's keeper?" And when we contr a positive idea, we give both slides; as, "The fault, dear Brutus, is not in But in ourselves that we are un gain, when Cassius speaks in ridicule and sarcasm of he voice bends or waves upward on the negative, and rd on the positive emphasis; as, Poor man! I know he would not be a wolf, è peculiar slides and waves of the voice (heard only emphatic syllables) are the "INFLECTIONS," which e most distinctive part of emphasis and expression tion. By 'force' and 'time' alone we could not disa question from an assertion in tone, a negative from e idea, ridicule from praise. ANALYSIS OF THE INFLECTIONS. main use of speech is to assert something, and the ntence of the language is assertive; as, is love." e touch of nature makes the whole world kin.`” uch assertions naturally take the falling slide. in importance to the assertive is the interrogative , which asks others to assert something in answer; you tell me what I wish to know?" such questions naturally take the rising slide. these assertions and questions, these positive and e ideas, are other ideas, too well known to be asand too true to be questioned, which are merely 1, and therefore are naturally read with the suspense e marked, if at all, with the level sign, thus, in ion from the rising,, or the falling, "To every man upon this earth Death cometh soon or late-." ', I know the uncertainty of human affairs; but I see clearly, through this day's business.' |