ession! Peaceable secession ! Who is so foolish erybody's pardon) as to expect to see any such Why, what would be the result? Where is the

› drawn? What States are to secede? What is American? Where is the flag of the republic to Where is the eagle still to tower? or is he to 1 shrink, and fall to the ground? — Webster.

Positive Questions or Appeals.

he simple question (which may be answered by yes y, as we see in the last of the series above, take the r imperative spirit, and demand the falling slide.

Cassius. You wrong me every way; you wrong me, Brutus ;

I said an elder` soldier, not a better ́.

Did` I say

better?"

ppeal is positive. Cassius has no doubt, and our should have none.

Cassius. Most noble brother, you have done me wrong.

Brutus. Judge me, you gods! wrong I mine enemies`? ad, if not so, how should I wrong a brother?"

yon

Tell me, ye who tread the sods of sacred height, en dead? Can you not still see him, not pale and ́, the blood of his gallant heart pouring out of his wound', but moving resplendent over the field of with the rose of heaven upon his cheek, and the fire y` in his eye`?"

The Address.

positive respect is intended, the address takes the slide; as, "Mr. President," "Ladies and Gentle"Fellow-citizens`" ; and, like other ideas, the address atic only when first introduced. After that it needs

The familiar address, when unemph other opening words. "Friends, I co 'Gentlemen, you will please come to

When the address is meant to win emphatic rising slide; as, "Mr. Speake because it is really asking recognition in

The Emphatic Mond

The unemphatic suspense of voice rise of a tone, and occurs on nearly al except those of the cadence. But wh of rising equably through the interval radical pitch with lengthened quantity music, it is the EMPHATIC MONOTONE

There is no wider difference in hu between the indifferent suspense of voi

monotone.

Serious and Sacred Address shoul monotone.

1. "Lochiel-! Lochiel! beware of When the Lowlands shall meet

Note the difference between the fa Queen and the serious monotone of Ha 2. "Hamlet", you have your father

"Mother, you have my father m

Note also the marked change in the gal son, from the familiar "Father, g goods which falleth to me," to the prolo confession:

3. "Father, I have sinned against sight, and am no more worthy to be

4. "Our Father who art in heave name."

"Rock of Ages, cleft for me,

Let me hide myself in thee.”

COMPOUND OR CIRCUMFLEX SLIDES.

re in nature is the sympathy between sound and e marked than in the contrasted uses of the simple ound inflections of the human voice.

IMPLE INFLECTION is a direct, single, straight slide up the speaking scale; and it naturally expresses mple and direct, single and straightforward, in sense ; that is, sincerity, frankness, earnestness, upright

OMPOUND INFLECTION is an indirect, double, crooked, ng slide, which falls and rises, thus, ; or rises and s, ^; and it as naturally expresses what is indirect ated and double in meaning, irony, punning, sar at is crooked or suspicious in intent, what is said ncerity and earnestness, but in jest, and fooling, in derision, and scorn, in wit, or humor, or mimicry of urd dialect. The last part of this double slide is the nd rises on negative and falls on positive ideas, and ne slide accordingly the rising compound' or the compound.'

Authority! no^, to be sure! If you wanted authorme, you should have adopted^, not married me."

arullus. You, sir, what trade are you?

tizen. Truly, sir, in respect of a fine workman, I as you would say, a cobbler^.

But what trade art thou? Answer me directly`. Et. A trade, sir, that, I hope, I may use with a safe ce; which is, indeed, sir, a mender of bad soles^. What trade, thou knave? thou naughty knave, ade?

it. Nay, I beseech you, sir, be not out with me: ou be out, sir, I can mend you.

What meanest thou by that? Mend' me, thou saucy

ve, subdued, or pathetic, the standard time is

g the standard time for the unemphatic words, itional time to the emphatic ideas, according to ative importance.

QUANTITY AND PAUSES.

tic time has two forms. 1. That of actual sound, ty. 2. That of rest, or pause.

an emphatic idea is found in a word whose accented s long, give the emphatic time in quantity. When ble to be emphasized is short, give to it so much as good usage allows, and the residue in a pause after ; thus holding the attention of the mind on the idea all time demanded by the principle.

extraordinary emphasis of time is required, long ould be added to long quantity.

reat use of pauses is to group the words and ideas t to present the meaning to the eye and the ear. rammatical pauses are valuable helps, so far as they wisely. Yet in very emphatic sentences many uses than the printed ones are needed to give the ning; and in long unemphatic sentences the written hould be observed only when the omission would the sense. Hence the need to observe, in reading,

THE LOGICAL PAUSES.

he upright line indicate the extra pause needed to e sense; - one line for the standard time, and two for extra emphasis, and the half-line for any parenclause. Where the usual commas, semicolons, and sufficiently indicate the groups, no logical signs are

ced.

e emphatic sentence (page 36), — from Pitt's reply pole, - no less than six extra pauses are needed; e in the succeeding sentence of President Lincoln's; ut one pause of any kind is needed in the long verse ollows.