แ

"Silence! you

well to his soldiers, on the eve of a battle.
thirty voices!" roars Mirabeau to a knot of opposers around
the tribune. "I'd sell the shirt off my back to support the
war!" cries Lord Chatham; and again: "Conquer the Amer-
icans! I might as well think of driving them before me
with this crutch!" "I know" says Kossuth, speaking of the
march of intelligence, "that the light has spread, and that
even the bayonets think." "You may shake me if you please,"
said a little Yankee constable to a stout, burly culprit whom
he had come to arrest and who threatened violence, “but
recollect, if you do it, you don't shake a chap of five-feet-
six; you've got to shake the whole State of Massachusetts!”
When a Hoosier was asked by a Yankee how much he
weighed," Well," said he, "commonly I weigh about one
hundred and eighty; but when I'm mad I weigh a ton!"
"Were I to die at this moment," wrote Nelson, after the
battle of the Nile, "more frigates would be found written.
on my heart." The "Don't give up the ship!" of our mem-
orable sea-captain stirs the heart like the sound of a trum-
pet. Had he exhorted the men to fight to the last gasp in
defense of their imperiled liberties, their altars, and the
glory of America, the words might have been historic, but
they never would have been quoted vernacularly.-Mathews,
"Words; their Use and Abuse."

He said, and on the rampart heights arrayed
His trusty warriors, few, but undismayed;
Firm-paced and slow, a horrid front they form,
Still as the breeze, but dreadful as the storm!
Low, murmuring sounds along their banners fly,
REVENGE OF DEATH!-the watchword and reply;
Then pealed the notes, omnipotent to charm,
And the loud tocsin tolled their last alarm!

ELEMENTS OF EMPHASIS IN COMBINATION.

140. As determined by the special import of individual words:

Pauses should be made after, before or For utterances con- (where it is possible), with prolonged quan

ceived of as

tive.

self-interest-
affirmative, posi-

Moderate.

Long.

Falling.

Least.

Loud, or else abrupt.

Full.

ing,

tity, on all words that introduce into the general sense importance, information or peculiarity. Some of the same words should be emphasized also by slides; some (with or without slides) by stress, and most of them by a change in volume. In acquiring the use of these elements, learn first to pause, then to inflect, then to use special force; last of all study stress and volume.

a. He causes a banner | to be erected, the charge to be sounded. He seizes | a buckler || from one of his private | men,- | puts | himself at the head of his broken | troops,darts into the thick of the battle,- | rescues his legions, and overthrows || the enemy.

b. If he pretend to claím the charge is trúe, you sáy?

And you, do you pretend it is not true?

Ahâ, and yôu,—so you pretend it is nôt true! Why should you so pretend? The charge ìs true. c. Why stand we here idle? What is it that gentlemen wish? what would they have?

I know not what course ôthers may take, but, as for me, give me liberty, or give me death!

d. MEDIAN. Oh that this lovely vale were mine!
Tremulous. Pity the sorrows of a poor old man.
Thorough. Gone to be married? Gone to
swear a peace?

Compound. Oh, death, where is thy sting?
Oh, grave, where is thy victory?
TERMINAL. Oh horror! horror!
Tongue nor heart can name thee!
INITIAL. You common cry of curs,
breath I hate.

horror!

whose

e. Roll on your ball, baby, roll it on.
Roll on your hoop, my boy, roll it on.
Roll on the cask, the cart is ready for it.
Roll on, thou deep and dark blue ocean, roll.

VOLUME, i.

FORCE, ind.

PITCH, ind.

TIME, ind.

ELEMENTS OF EMPHASIS IN COMBINATION.

that are

As determined by the general spirit of phrases and passages: Movement becomes slower in all phrases For states of mind representing what moves slowly, or introduces into the general sense importance, information or peculiarity; and faster in those representing what moves fast, or expressing what is comparatively valueless, known, acknowledged, forestalled or repetitious in statement or sequence. In some of the same phrases are also changes in melody and key; and in some (with or without changes in melody and key) in force and also in quality.

meas. judgm't.

Movement. Light, gay, lively and un

Fast.

controlled.

Intermediate, placid.

Serious, grave, dignified

and self-determined.

Moderate.

energy.

General Force.

Natural.

Slow.

Unvaried.

Low.

Suppressed.

a. On with the dance! let joy be unconfined.
To chase the glowing hours with flying feet;
But hark!-that.. sound breaks in once more,
And nearer, clearer, deadlier than before!
Arm! Arm! it is!-it is!-the cannon's opening
roar !

b. Be we men, and suffer such dishonor?

Ì have known deeper wrongs; I that speak to ye,
I had a brother once-a gracious boy,
Full of all gentleness, of calmest hope,
Of sweet and quiet joy.

c. Thou hast said in thine heart, I will ascend
into heaven. I will be like the Most High; yet
thou shalt be brought down to hell, and worms
shall consume thy body.

d. Last eve, in Beauty's circle, proudly gay,
The midnight brought the signal-sound of strife;
The morn, the marshalling in arms; the day,
Battle's magnificently stern array!

The thunder-clouds close o'er it, which when
rent

The earth is covered thick with heaped and pent,

Rider and horse,-friend,-foe,-in one red burial blent!

e. PURE.

I see Queen Mab has been with you. Aspirate. I see what

RECAPITULATION OF REPRESENTATIVE COMBINATIONS.