1. If we have no regard for our own character, we ought, at least, to regard the characters of others. 2. The wicked flee when no man pursueth; but the righteous are bold as a lion. 3. Without were fightings; within were fears. 4. Faithful are the wounds of a friend; but the kisses of an enemy are deceitful. 20. Transferred Emphasis. When a word or clause that has been once emphasized is repeated soon after, the emphasis, unless there be some special reason for directing attention again to the same thought, is transferred to some other word or clause; e. g. 1. Jesus asked them, saying, What think ye of Christ,-whose son is he? They say unto him, The son of David. He saith unto them, How, then, doth David in spirit call him Lord? David, then, call him Lord, how is he his son? * * * If 2. How many hired servants of my father's have bread enough and to spare, and I perish with hunger! I will arise and go to my father, and will say unto him, Father, I have sinned. 3. He is the propitiation for our sins; and not for ours only, but for the sins of the whole world. Also John vii: 41, 42. a. But if the repeated word has a new import or refers to a different object, it may be emphasized; e. g. 1. And he began to be in want, and he went and joined himself to a citizen of that country, and he sent him into the fields to feed swine. 2. Then he said, I pray thee, therefore, father, that thou wouldst send him to my father's house. 21. As an association in sound is the best possible representation of an association in sense, we frequently find words and clauses that seem to introduce little into the general thought, which, nevertheless, must be emphasized, to indicate the relation that they hold to other words and clauses; hence a. Emphasis on Account of Association. Words or series of words associated with each other, either by being in apposition or by having similar grammatical relationships or general characteristics, are similarly emphasized. (See § 211: 5, 7, 12; § 215. 1. Thou speakest of great principles which we do not understand oxygen and hydrogen. 2. For who would bear the whips and scorns of time, When he himself might his quietus make 3. Holy intention is to the actions of a man that which the soul is to the body, or form to its matter, or the root to its tree, or the sun to the world, or the fountain to a river, or the base to a pillar; for without these the body is a dead trunk, the matter is sluggish, the tree is a block, the river is quickly dry, and the pillar rushes into flatness or ruin. Connected with this principle of association are the following: 22. Emphasis by Attraction. In order not to interfere with the general sense of the sentence in which they stand, words, or series of words, sometimes receive by attraction an emphasis appropriate only for some more important word with which they are associated. Thus, in the following, power receives the same emphasis as not. If it preceded not, it would be emphasized differently. 1. Sir, we are not weak if we make a proper use of such means as the God of Nature hath placed in our power. And hold and duty receive the same as exclaim, though the Duke would have uttered them differently. 2. Was Arthur Duke of Wellington in the house, and did he not start up and exclaim: "Hold! I have seen the aliens do their duty? 23. Emphasis by Personation or Representation. Words, or series of words, associated with a conception that may be represented by the tones of the voice, may receive an emphasis suggesting that which is mentioned; e. g. In quick time He flew by like a flash o' lightning. Representing character-" Well, Jo! What is the matter? Don't be frightened." "I thought," says Jo, who has started and is looking round,-"I thought I was in Tom-all-Alone's agin. An't there nobody here but you, Mr. Woodcot ?" 24. In reading the Bible, personation, in the sense of imitating the manner of the characters described, should not be carried too far. The reader should be in the attitude of a medium,— both receiving and imparting, both listening and causing others to listen. 25. Besides applying the above principles, in determining the appropriate emphasis to be used with any given word or phrase: a. Let one try to find out how he would utter the same if he were talking it, instead of declaiming it. b. Let one try the words supposed to be emphatic, then other words (without regard to the part of speech to which they belong), until satisfied that he has found the right emphasis for the right word. c. Let him remember that, with inexperienced speakers, the inspiration that comes from an audience affects favorably only force and volume (§§ 29, 30); the pauses and inflections, and, to some extent, movement and pitch (§§ 29, 30), it affects unfavorably; therefore, one should invariably determine upon these latter before the time for declaiming comes. ELEMENTS OF EMPHASIS, AS DERIVED FROM NATURAL RHYTHM AND ACCENTUATION. 26. It is observed that, as a rule, the consecutive words of every language are uttered rhythmically; and this because every second or third syllable is accented. a. There is a physical reason for accentuation. On examining the action of the throat, it is found that the current of sound flows through the vocal passages just as blood pulses through the veins or water pours through the neck of a bottle, with what might be termed active and passive movements. If this physical requirement is disregarded, as is usually the case in stammering and stuttering, the ease of utterance is impeded. b. Natural Rhythm, as a rule, cannot be avoided in case words are uttered softly and quickly, as in ordinary conversation. When they are uttered loudly and slowly, as in most oratory, it is possible to disregard its requirements; but when this is done, the delivery that has no rhythm in it will not appear natural to those who hear it. Hence, in all forms of utterance that are artistic, we may perceive the results of an endeavor to represent nature in this regard. Not only the poet and musician arrange their clauses and melodies so that the prominent words, rhymes, swells and runs shall be rhythmical, but the orator, both as a rhetorician and elocutionist, must do the same. Rhythm, however, must always be made subservient to the sense. This can always be done, because 27. The requirements of rhythm and emphasis usually coincide. Rhythm is a result of regularly recurring accentuation. This makes prominent certain syllables, and in the act of doing so necessarily slights others. But emphasis does precisely the same thing. Simply by increasing, therefore, the degree of habitual accent on a given syllable we can render emphatic the word in which it occurs. In this way we may emphasize either one or all of the following words in italics: One-eighth of the whole population were colored slaves. In such cases the elements of accent, if discovered, will give us the elements of emphasis. The ordinary accent distinguishes the syllable on which it falls from those before and after it, by its being uttered in longer time, at a different pitch, with more force and greater volume. For definitions see § 29. The inference is, that the same elements will be present when, for the sake of emphasis, we make the accent extraordinary. 28. There are occasionally cases in which the requirements of rhythm and emphasis do not coincide. Here, as both are important, they must be made to coincide. a. When we try to make them do this, we find that time, pitch, force, and volume, furnish all the elements needed for the purpose. b. In the first of the following sentences, to have perfect rhythm, there needs to be an accented syllable after nature and character, and unaccented syllables both before and after high, so that high can be emphasized as well as most and God. Accordingly, to give the right emphasis and yet preserve the rhythm (i. e. have the vocalizing breath work in the right way), we need to fill up the time where these syllables should be, either by pausing after a word, as after nature, character, and most, or by dwelling upon it, as upon high; i. e. we need to read the whole in the same relative time as the second sentence in which no syllables are missing; e. g.* Nature, of it is often | said, re | veals the character Nature, as it is | often | said, re | veals the | character | too of the most high | God. the great and | mighty | God. c. Notice also the following:* 1. Thou | compassest my path, I and my lying down, and art ac- quainted with | all my ways. For there is not a word in my | tongue, | but lo, 10 | Lord, | thou knowest it | alto- | gether. ||| Thou hast be- | set me | be- | hind and be- | fòre,|and | laid thine | hand up- | on me. | knowledge is | too wonderful | for me: | it cannot at- | tain unto it. Such is high, I 2. At midnight, The Turk When | Greece, in his | guarded | tent, Should tremble In | dreams, | was dreaming of the | hour, ♥ | at his | power; through | camp and | court, he | bore 7| The trophies of a conqueror. | In | dreams, his | song of | triumph | heard; ♥|♥ Then wore his monarch's signet I ring, a | King;7|7| Then | press'd that ' monarch's | throne, || At | midnight, in the | forest- | shades, |♥ Boz- zaris ranged his | Suliote | band, || True as the | steel of their | tried | blades, | * In the rest of this book the bars indicate pauses, but here they are used as in music, and only the musical rests indicate pauses. |