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[The figures refer to the rules indicated by them.] Can he exalt his thoughts to any thing great and noble who only believes that, after a Flort turn on the stage of this world, he is to sink into oblivion, and to lose his consciousness forever'?1

How can he exalt his thoughts to any thing great and noble who only believes that, after a short turn on the stage of this world, he is to sink into oblivion, and to lose his consciousness forever 23

b. Where amid the dark clouds of pagan philosophy, can he show us so clear a prospect of a future state', the immortality of the soul', the resurrection of the dead', and the general judgment', 8 as in St. Paul's First Epistle to the Corinthians'?

Can he show us, any where, amid the dark clouds of pagan philosophy, so clear a prospect of a future state', the immortality of the soul', the resurrection of the dead', and the general judgment', as in St. Paul's First Epistle to the Corinthians'? (Rule VIII., Note.)

Shall we, in your person, crown the author of the public calamities', or shall we destroy liim'95

a. To advise the ignorant', 8 relieve the needy, '& comfort the afflicted', are duties that fall in our way almost every day of our lives.

a. The miser is more industrious than the saint. The pains of getting',8 the fear of losing',& and the inability of enjoying his wealth', have been the mark of satire in all ages.

a. The descriptive part of this allegory is likewise very strong, and full of sublime ideas. The figure of Death',8 the regal crown upon his head', his menace to Satan',8 his advancing to the combat', 8 the outcry at his birth', are circumstances too notable to be passed over in silence, and extremely suitable to this king of terrors. --Addison's description of Milton's Figure of Death.

b. Life consists not of a series of illustrious actions' or elegant enjoyments';5 the greater part of our time passes in compliance with necessities', in the performance of daily duties', in the removal of small inconveniences', in the procurement of petty pleasures.JOHNSON.

c. The ill-natured man, though but of equal parts with the good-natured man, gives himself a larger field to expatiate' in; he exposes those failings in human nature whiclı the other would cast a veill over; laughs at vices which the other either excuses or conceals'; falls indifferently upon friends or enemies'; exposes the person who has obliged' him; and, in short', sticks at nothing that may establish his character of a wit.—Specta. tor, No. 169.

When the proud steed shall know why man restrains
His fiery course, or drives him o'er the plains';
When the dull ox, why now he treads the clod,
Is now a victim, and now Egypt's god':

Then shall man's pride and dullness comprehend
d. His actions', passions', being's' use and end':
d. Why doing', suffering', check'd', impell'd and why

This hour a slave', the next a deity'. As no faculty of the mind is capable of more improvement than the memory', 2 so none is in more danger of decay by disuse!

Is the goodness' or wisdom'5 of the Divine Being more manifest in this his proceeding3173

Is the power' or greatness' of the Divine Being manifest in this his proceedings'? (Rule V., Note II.)

Whither shall I turn'93 Wretch that I am'!2 to what place shall I betake' myself ?3 Shall I go to the Capitol' ?1 Alas! it is overflowed with my brother's blood! Or shall I

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a. a. a. These are exampless of commencing series.

b. This contains an example of a concluding series, in which all the particulars, except the Inst but one, have the falling inflection.

c. This contains an example of a concluding series, in which all the particulars have the falling inflection, because the concluding member 'has a pause with the rising inflec. tion before the end.

d. d. Examples of the concluding series. Observe in this extract numerous examples of the pause of suspen-ion, in which the voice preserves a monotone.

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retire to my house 95a Yet there I behold my mother plunged in misery, weeping and despairing!

Virtue is of intrinsic value and good desert, and of indispensable obligation; not the creature of will', but necessary and immutable';6 not local or temporary', but of equal extent and antiquity with the divine mind';6 not a mode of sensation', but everlasting truth';6 not dependent on power', but the guide of all power'. Virtue is the foundation of honor and esteem', and the source of all beauty', order', and happiness' in nature'.

Though gentle', yet not dull': Strong', without rage'; without o'erflowing', full. 6_DENHAM. But, waiving all other circumstances, let us balance the real situation of the opposing parties ; from that we can form a true notion how very low our enemies are reduced. Here, regard to virtue' opposes insensibility to shame' ;6 purity', pollution'; integrity', injustice"; virtue', villainy ;6 resolution', rage'; dignity', defilement'; regularity', riot! On one side are ranged equity', temperance', courage', prudence', and every virtue'; on the other', iniquity', luxury, cowardice', rashness', with every vice! Lastly', the struggle lies between wealth'

and want'; the dignity' and degeneracy of reason ; the force' and the phrensy' of the soul; between well-grounded hope' and widely-extended despair! In such a strife,8 in such a struggle as this', 8 even though the zeal of men were wanting', must not the immortal gods give such shining virtues the superiority over so great and such complicated vices' ?1 Certainly: 1---CICERO's Oration against CatiLINE.

b. Vice is a monster of so frightful mien',

As to be hated' needs but to be seen!
b. Yet seen too oft', familiar with her face',
c. We first endure', then pity', then embrace!!

But where th' extreme of vice' was ne'er agreed':
Ask where's the north, at York 'tis on the Tweed':
No creature owns it in the first degree,
But thinks his neighbor further gone than he.
E'en those who dwell beneath its very zone',
Or never feel the rage', or never own':
What happier natives shrink at with affright',

The hard inhabitant contends is right:-POPE.
d. Shall burning Etna, if a sage requires,

Forget to thunder, and recall her fires' ?
On air or sea new motions be impress'd,
O blameless Bethel, to relieve thy breast' ?
When this loose mountain trembles from on high,
Shall gravitation cease, while you go by'?
Or some old temple, nodding to its fall,

For Chartres' head reserve the hanging wall' 1-POPE. I knew when seven justices could not make up a quarrel; but when the parties were met themselves, one of them thought but of an if: as if you said sõ, then I said sô;11 and they shook hands', and were sworn brothers'.-SHAKSPEARE.

This thy vaunt:
" Give death his due', the wretched', and the old";
- Let him not violate kind nature's laws',
"But own man born to live as well as die'."
Wretched and old thou givest him'; young and gay

He takes'; and plunder is a tyrant's joy. What, Tubero, did that naked swörde of yours mean in the battle of Pharsalia'? At whose breast' was its point aimed'? What was then the meaning of your arms', your spirit', your eyes', your hands', your ardor of soul'? What did you desire', what wish' for? I press the youth too much; he seems disturbed. Let me return to myself. I toð bore arms on the same side'.-CICERO.

What is time?
I asked a spirit lost'! but on the shriek
That pierced my soul!! I shudder while I speak-

a. The application of the Fifth Rule here will be very apparent if the preceding sentence (“Alas !" etc.) be stricken out.

b. b. The word mien, being emphatic, must have the falling inflection : so also oft. c. This line well illustrates the beauty of the rule relating to a concluding series. d. The pause of suspension in this extract denotes a sameness of voice, or monotone, wherever it is used.

e. The falling inflection throughout this example is nearly allied to the circumflex.


a. It cried, “A particle'-a speck'-& MITE'

Of endless years', duration infinite!"_MARSDEN.
The cloud-capp'd towers, the gorgeous palaces,

The solemn temples, the great globe itself,
b. Yea, all which it inherit', shall dissolve;

And, like the baseless fabric of a vision,
Leave not a rack behind.-SHAKSPEARE.

Parting day
Dies like the dolphin, whom each pang imbues

With a new color, as it gasps away,
c. The last still loveliest, till—-'tis gone and all is gray.
d. High on a throne of royal state, which far

Outshone the wealth of Ormus or of Ind;
Or where the gorgeous East, with richest hand,
Show'rs, on her kings barbaric, pearl and gold,
Satan exalted sat.-


O my soul's joy!!
If after every tempest come such calms',

May the winds blow till they have waken'd death'!
e. O joy'! thou welcome stranger'! twice three years

I have not felt thy vital beam'; but now
It warms my veins', and plays about my heart':
A fiery instinct lifts me from the ground,

And I could mount-
f. I am not mad'-I would to heaven I were'!

For then 'tis like I should forget myself':

Oh if I could, what grief should I forget!
g. That strain again!! it had a dying fall!!

Oh, it came o'er my ear like the sweet south,
That breathes upon a bank of violets,

Stealing and giving odor. The beauty of a plain', the greatness of a mountain', the ornaments of a building', the expression of a picture', the composition of a discourse', the conduct of a third person', the proportion of different quantities and numbers', the various appearances which the great machine of the universe is perpetually exhibiting', the secret wheels and springs which produce them', all the general subjects of science and taste', are what we and our companions regard as having no peculiar relation to either' of us.

To-morrow didst thou say'?

Methought I heard Horatio say to-morrow';
i. Go to', I will not hear' of it; to-morrow'!

'Tis a sharper, who stakes his penury'
Against thy plenty'; who takes thy ready cash,
And pays thee naught but wishes, hopes, and promises',

The currency of idiots'; injurious bankrupt,
i. That gulls the easy creditor. To-morrow'!


nary level.

a. This is an example of intensive emphasis, which rises into a climax at MITE.

b. This also requires a gradually rising pitch of the voice on each successive member to the acme of the passage; then, by a gradual descent, the voice should return to its ordi

c. Rhetorical pause of suspension. d. Rule XII., the monotone. e. e. Unexpected joy, which elevates the voice to the highest pitch. f. Extreme sorrow, which also raises the voice to a high pitch. In the second line the voice should fall partially; and in the third line it should be still lower, but very forcible.

g. Here is an example of pleasing melancholy, which adopts a slow pronunciation, and a soft, low tone. The last three lines should be spoken in a monotone.

These examples show that in exclamatory sentences the tone of the passion should regulate the tone of the voice.

h. The reader would also do well to consider the particulars in this series as emphatic, and read the whole as a concluding series.

i. i. Where exclamatory sentences have the character of direct questions, they receive the rising inflection. Rule X., Note.

It is a period nowhere to be found
In all the hoary registers of Time',
Unless perchance in the fool's calendár.
Wisdom disclaims the word, nor holds society
With those who own' it. No, my Horatio',
'Tis Fancy's child', and Folly' is its father';
Wrought of such stuff as dreams' are, and as baseless
As the fantastic visions of the evening.--COTTON.
The bell strikes one. We take no note of time
But from its loss : to give it then a tongue
Is wise in man. As if an angel spoke,
I feel the solemn sound. If heard aright,
It is the knell of my departed hours.
Where are they? With the years beyond the flood.
It is the signal that demands dispatch:
How much is to be done! My hopes and fears
Start up alarmed, and o'er life's narrow verge
Look down-on what'? A fathomless abyss !
A dread eternity'! how surely mine!
And can eternity belong to me,

Poor pensioner on the bounties of an hour' ?-YOUNG. a. There are tears' for his love'; joy' for his fortune'; honor' for his valor'; and death' for his ambition

a. There are tears for his love'; joy for his fortune'; honor for his valor'; and death for his ambition!

b. Do you think he will come to-day'?'

Do you think he will come to-day'? said John'.

Am I my brother's keeper' ? said the unhappy man'.
b. Where are you going!?

Where are you going'? said John'.
c. For Heaven's' sake, Hubert', let me not be bound'!

Nay', hear me, Hubert'! drive these men away',
And I will sit as quiet as a lamb';
I will not stir', nor wince', nor speak a word,
Nor look' upon the irons angrily';
Thrust but these men away', and I'll forgive you,

Whatever torment you do put me to'. Shylock. He hath disgraced' me, and hindered me of half a million'; laughed at my losses', mocked at my gains', scorned my nation', thwarted my bargains!, cooled my friends', heated mine enemies'; and what's his reason'? I am a Jew'! Hath not a Jew čyes'? hath not a Jew hånds', organs', diměnsions', sěnses', affections', påssions' ? fed with the same food', hurt with the same weapons', subject to the same diseases', heated by the same měans', warmed and cooled by the same winter and summer as a Christian is' ? if you prick us, do we not bleed' ? if you tîckle' us, do we not låugh'? if you poison us, do we not die' ? and if you wrông' us, shall we not revenge'? if we are like you in the rest', we will resemble you in that. If a Jew' wrong a Christian', what is his humility? revenge'; if a Christian' wrong a Jēw', what should his sûfferance' be by Christian example'? why, revenge'. The villainy you teach'me' I will execute'; and it shall go hard but I will better the instruction.

a. a. See Note to Rule VIII. Here are two different readings of the same passage, and each has its advocates. The first rendering supposes that the words were spoken with little or no depth of feeling; the second gives to them a considerable degree of intense feeling and emphatic solemnity. Those who agree as to the meaning will read the passage alike,

It is not, therefore, the principles of elocution that are at fault here, but the impossibility of knowing, in this as in thousands of other instances, what were the exact sentiments and emotions of the speaker. (See also p. 20.)

b. b. Not only has a direct question the risi slide, but a succeeding dependent circumstance takes the rising slide also. A dependent circumstance following an indirect question also takes the rising slide. The principle in both cases will be made apparent, as already explained, by restoring the natural order of the sentences. Thus:

John said',

do you think he will come to-day'?

John said', where are you going'? For the inflection after said," see Rule II.

c. This is spoken throughout in the tone of plaintive entreaty.

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LESSON 1.-GREEN RIVER. 1. When breezes are soft and skies are fair,

I steal an hour from study and care,
And hie me away to the woodland scene,
Where wanders the stream with waters of green,
As if the bright fringe of herbs on its brink
Had given their stain to the wave they drink;
And they, whose meadows it murmurs through,
Have named the stream from its own fair hue.

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