3. Demonstrate with the voice the measure of a sin gle syllable. 4. One of two syllables. 5. One of three. 6. One of four. 7. One of five. 8. What is the greatest number of syllables which can be crowded into a measure? 9. How is rythmus defined? 10. What are the measures on which verse is based? 11. How is verse distinguished from prose' 12. What constitutes an agreeable rythm? 13. The student is required to score the first section of the apostrophe to the Queen of France, Elocutionist, page 12, and the three sections of Gray's Elegy, Elocutionist, page 260. RECITATION TWELFTH. EMPHASIS. HAVING now given an account of the elements of speech, which may be called the working materials of the reader and speaker, we proceed to show their application, in expressing in a forcible manner, the sentiments and emotions of the mind. Nothing will demonstrate more clearly, the importance of elementary investigation, than the fact, that all those powers of the voice which it has enabled us to record, are employed in emphasis: sometimes singly, but oftener in combination: for we must here observe, that though in describing the separate powers, we speak of them as such, yet in the expression of our sentiments, they are almost always combined. There is a natural tendency to crowd elements together when words are employed emphatically. They are, then, frequently, the symbols of our feelings, and the different functions of the voice are summoned, not in the order we have described them, but in every possible combination, in order to give utterance to those feelings. We shall speak, however, in the first place, of the effects of the different elements separately, in producing emphasis. Emphasis is that employment of the voice by which some syllables, and consequently the words which they constitute, or of which they make a part, are rendered specially impressive, by means of increased stress, peculiar quality of voice, quantity, or change of pitch, or by the combination of any two or more of these. We shall not, in this Recitation, discuss the application of emphasis, but only show the ways by which it is accomplished. A perception of the grammatical construction of a passage, of its special meaning, of the kind and amount of feeling it is intended to convey; in a word, of the relations of thought in the author's mind, are the circumstances which must regulate the application of emphasis to syllables, words, and portions of sentences. Precise rules cannot be laid down for this. We can only recommend a nice and rigid analysis of the import of what is read, in order that emphasis may be employed with cor rectness. Emphasis of radical stress-so denominated by Dr. Rush, Phil. Hum. Voice. It is effected by giving marked percussion to the utterance of those syllables which require its use. It expresses a variety of emotions, according to the tenor of the subject. It is appropriate to anger, wrath, rage; also to mirth, raillery, positiveness of conviction, confidence, exultation, joy, courage, authority, command, and to all states of violent feeling. A change in radical and concrete pitch, and short quantity, are generally required with this kind of emphasis. The following are examples. The syllables are italicised on which the percussion is most strongly made. EXAMPLE 1. "Whence and what art thou, ex-ecrable shape?" Milton. The speeches both of Satan and Death, are marked by a high degree of radical stress. page 341, sect. 7, 8, 9. See Elocutionist, 66 EXAMPLE 2. And reck-onest thou thyself with spirits of heaven, hell doomed? Sir, I, in the most express terms, deny the competency of parliament to do this act." In this example, the voice adopts a falling slide, to increase the positiveness and antithetic expression of the syllable "comp," and thus adds to its emphasis. The following sentence will show a series of emphatic words, each requiring very marked percussion. "Back to thy pun-ishment False fu-gitive, and to thy speed add wings." The rise of a radical fifth, upon the word "back," the fall of a fifth on "punishment," a rise again through the same interval on "false," and another falling fifth on “fugitive," will greatly enhance the emphatic character of the words above cited. The word "add," should have a high note with downward slide. Examples of emphasis will of course, if read with proper expression, generally display a combination of elements. For purposes of illustration, we must refer, in the respective examples, to such as are found prominently marked. But we shall mention in each case, the most obvious combinations; because this method, if not the most philosophical, will prove the most instructive to the student. Where strong percussion is employed to emphasise a word or words, the emphasis is often enhanced by a high note, and a downward slide. EXAMPLE 1. I tell you, that if, circumstanced as you are, you pass this act, it will be a nullity, and that no man in Ireland will be bound to obey it. Elocutionist, page 6. The rise in the note, makes a more lively picture, especially as contrasted with the intense downward slide : these with percussion, emphasise a short syllable very powerfully; but there is more of authoritative dignity in a lower pitch, that is, in simple percussion, without rise of note. EXAMPLE. Sir, I thank administration for this measure. The confidence here expressed, will be diminished by a rise of note upon the word "thank.” The following extract, from Collins' Ode, if read dramatically, will exhibit the radical stress upon the emphatic syllables. Last came Joy's extatic trial. He, with viny crown advancing, First to the lively pipe his hand addressed; As if he would the charming air repay, Shook thousand odours from his dewy wings. Emphasis of median force, or median stress. In this emphasis, as has been already stated, the force |