selves very expressive: besides which a ready use of them enables a speaker to avoid the monotony of a constant or too frequent rise in his emphatic words. This is a very common fault of delivery.

The falling slide marks exclusive emphasis. It insulates a word from the rest of the sentence, and sets it in a more prominent and imposing point of view than any other modification of pitch. It expresses strong conviction-is required in positive assertion, in denunciation, in the expression of indignation, and indignant resolve, and is peculiarly proper in all cases where solemnity is combined with emphasis. The intensity of the downward slide differs in the various forms of an octave a fifth and a third, concrete and discrete.

The following example will show the downward slide of the voice, in different degrees of intensity. The first word marked in italics is to be made a downward third-the next may be a fifth, and the climax may be completed upon the word "there," by the most intense form of the downward slide, that of an octave.

"If I ascend into Heaven thou art there; if I make my bed in Hell, behold thou art there; if I take the wings of the morning and dwell in the uttermost parts of the sea, ev-en there, shall thy hand lead me and thy right hand shall hold me."

It will be necessary first to elevate the voice upon the word "there," in order to carry the slide low enough to exhibit its intensest form.

Emphasis of the downward concrete fifth. "I am the resurrection and the life."

"And Nathan said unto David, Thou art the man,"

Discrete. Army of fiends fit body to fit head.

Sarcasm can always be expressed upon a succession of short syllables by alternate rising and falling radical fifths combined with stress. Where it becomes necessary to express a sneer and the syllables are too short for the slide of the unequal wave, the discrete fifths fulfil its office, as they do in this last example. Let the first "fit" descend a fifth in radical pitch below "body," and "head" a fifth below the second "fit," and the effect we contemplate will be produced.

Falling concrete third.

"I am amazed, yes my

Lords, I am amazed at his Grace's speech."

"He that believeth in me,

Discrete falling third. though he were dead, yet shall he live." "Believest thou this?" The "this" descends a third for emphasis, and ends with a rising slide.

"Ye know not what ye worship, We know what we worship."

The following is an example of variety in emphasis. The syllables intended to be specified are in italics. 1. Are they He-brews? So am I.

2. Are they Is-raelites? So am I.

3. Are they the seed of Ab-raham? So am I. 4. Are they Ministers of Christ? I am more. Let No. 1 rise both discretely and concretely. 2 fall discretely and rise concretely.

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3 fall concretely a third.

4 rise higher than the last discretely, and fall

concretely with stress.

Emphasis of waves. Waves are used only where quantity is required with marked emphasis.

Equal direct wave of the third.

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Upon the watery plain the wrecks are all thy deed.

Equal direct wave of the fifth.

"My sect thou seest." Paradise Lost, book 6, l. 147. Whoever will turn to the passage, will find that the exulting triumph is best expressed, by the long drawn time of this emphatic wave.

The unequal direct waves are marked in italics, in the following passage.

"National pride, independence of our country-these we are told by the minister, are only vul-gar topics, fitted for the meridian of the mob; but utterly un-worthy the consideration of this house, or of the ma-tured understanding of the noble lord who condescends to instruct it." Plunket.

"Hadst thou alleged to thy deserted host this cause of flight, thou surely hadst not come sole fugitive."

Emphasis of the tremor. The tremor expresses exultation, admiration, joy, rapture, when united with other intervals than the semitone. When combined with the semitone, it increases its effect.

EXAMPLES.

"Thou glo-rious mirror where the Almighty's form Glasses itself in tempests."

"Now give the Hautboy's breath, he comes, he comes."

"And where is the bosom friend, dearer than all." This last example requires the semitone.

"Shook thousand odors from his dewy wings."

Emphasis of Aspiration.

EXAMPLES.

Brutus. Peace, peace, you durst not so have tempted him. Cassius. I durst not!

Guttural Emphasis. An example may be found in the reply of Pierre to Jaffier.

"Whence these chains?

Whence the vile death, which I may meet this moment?
Whence this dishonor, but from thee, thou false one?

Emphasis of the semitone.

EXAMPLE.

"For I was as it were a Child of thee." Eloc. p. 282, se ct. 8.

"Exercise and temperance, strengthen even an indiff-erent constitution."

This example shows a high note on the emphatic syllable, with a downward slide, and some little increase of percussive stress.

EXAMPLE 2.

"You were paid to fight against Alexander, not to rail at him."

The antithesis is effected by a high note, downward slide, and percussive stress, on the first syllable, and a

high note, long quantity, and downward slide, on the second.

EXAMPLE 3.

"He raised a mort-al to the skies;

She drew an ang-el down.”

High note, with quantity and stress on the first syllable; rise of note, with downward slide upon the next; high note, with quantity on the next; intense downward slide on "she;" rise of note with quantity and downward slide on ang;" intense downward slide on "down."

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Rise of note upon the "is," of a fifth, downward slide of the same, with extended quantity, and swell or median

stress.

EXAMPLE 5.

"The tempt-er, ere the ac-cu-ser of mankind."

High note, downward slide, and percussive stress, on the short syllable "tempt;" long quantity on the "cu."

EXAMPLE 6.

I had rather be the first man in that vill-age, than the sec-ond in Rome.

High note on "first," with simple downward slide; high note, deep downward slide, with stress, on "vil ;" low note, with stress on "sec;" downward slide on "Rome."

EXAMPLE 7.

A day, an hour, of virtuous liberty, is worth a whole e-ter-nity of bondage.