all the Roman stateliness. Homer's imagination is by much the most rich and cópious; Virgil's the most chaste and corrèct. The strength of the former lies, in his power of warming the fancy; that of the latter, in his power of touching the heart. Homer's style is more simple and ánimated; Virgil's more elegant and uniform. The first has, on many occasions, a sublimity to which the latter never attúins; but the làtter, in return, never sinks belów a certain degree of epic dignity, which cannot so clearly be pronounced of the former." Comparison and Contrast in Unequal Parts. "Better be Where the extinguished Spartans still are free, Phrases of Successive Emphatic Words. "The British army, traversing the Carnatic, after the desolation effected by Hyder Ali, beheld® nót òne living thùng, một óne màn, nòt óne wòman, nòt óne child, nòt óne four-footed béast, of any description whatever.' III.-"Arbitrary Emphasis." The form of utterance to which this designation may be applied, is that "expression," or significance, whether of loudness, pitch, 66 time,' ,"" melody," or other property of vocal effect, in consequence of which the sense, or the connexion and structure of the parts of a sentence, may be rendered apparent by modification of voice, applied extemporaneously, during the moment of reading, at the discretion and by the will of the reader, rather than in compliance with any general rule of feeling or of elocution. This "arbitrary emphasis greatly aided in its effect by a corresponding abatement or depression of voice, in clauses which precede or follow the word or phrase of" arbitrary emphasis," or which occur between two such words or is The preponderant member has the downward, — the weaker, the upward "slide." 2 In emphatic phrases, every word takes a distinct and opposite "slide." 3 The subjects of "slide," ("inflection,") "rhetorical" pause, emphasis, and the other grammatical and sentential parts of elocution, are discussed at greater length in the "Elocutionist." The present work is designed as a manual of elementary practice in orthophony, and is limited, chiefly, to examples and exercises. phrases. This "discharging" of "expression," as it may be termed, in reference to the analogous process of discharging ink or color from the surface of an object, will, of course, take place by a reduction, abatement, or depression, of one or all the elements of vocal effect. The "arbitrary emphasis " may, at the pleasure of the reader, heighten the "expression arising from "quality,' force, "melodial phrase," pitch, "slide," time," quantity, movement," &c.; so may the "reduction" of emphasis, diminish or subdue, or destroy any or all of these. 66 99 66 99.66 99 66 Arbitrary emphasis," and "reduction " may be employed where but a single parenthetic word intervenes to break the current of language; as in the sentence, "The sprout was carefully protected by a stratum, or layer, of leaves." The words "stratum " and " leaves " are, in this instance, pronounced with a slight additional force, an enlarged interval of "slide" and prolonged "quantity;" while the words" or layer" are reduced in force, shortened in "quantity," and levelled into "monotone," in the manner of parenthesis. The following example will exhibit the same effects more distinctly; as poetic language is naturally more expressive than prose. "On the other side, Incensed with indignation, Satan stood The arrangement of the words, in this sentence, throws the word "burned" into a parenthetic situation, in consequence of the grammatical connexion between the words "comet and "that." Το atone to the ear for this verbal dislocation, the word "comet takes on an additional force, a lower "slide," a longer "quantity" in its accented syllable, and a more descriptive swell of “ stress," than it would otherwise have. The line, "That fires," &c., is also read with a resuming force of expression, borrowed, as it were, from the style of voice in the word "comet;" while the word "burned," (which, as being a descriptive verb, must possess a degree of accent,) is rendered parenthetic in effect, by being thrown into "monotone, instead of a downward "slide," and by being somewhat reduced in force, and raised in pitch; while its descriptive power is retained by prolonged "quantity" and "median swell.” The following examples will illustrate the effect of "arbitrary emphasis" and "reduction," where a clause is to be partially parenthesized, so as to preserve the connexion of sense, on each side of it. "Say first, for Heaven, (hides nothing from thy view,) Nor the deep tract of hell.” 1 The crotchets of parenthesis are introduced here, not as belonging to the text, but as an ocular aid, with a view to suggest the proper style of reading, to the ear. "Thus while he spake, each passion (dimmed his face Thrice changed with pale,) ire, envy, and despair :” "There was a Brutus once that would have brooked (The eternal Devil to keep his state in Rome) As easily as a king." The student may analyze for himself the effect of the "arbitrary emphasis" and "reduced expression," as indicated by the italics and the parenthesis. The slight, level, and rapid "expression," which takes place on clauses such as that included within crotchets, Dr. Rush has termed the " flight" of the voice, and the emphatic connecting 66 expression," the "emphatic tie." The effect of these modifications of voice will be rendered still more apparent by longer examples. "He stood, and called His legions, angel forms, who lay entranced The same mode of reading applies to all actual parentheses, or similar qualifying phrases, and their context; as in the following instances, from Scripture. “Therefore it is of faith, that it might be by grace; to the end the promise might be sure to all the seed: not to that only which is of the law, but to that also which is of the faith of Abraham, who is the father of us all, (as it is written, ‘I have made thee a father of many nations,') before him whom he believed, even God, who quickeneth the dead, and calleth those things which be not, as though they were.” "For as many as have sinned without law, shall also perish without law; and as many as have sinned in the law, shall be judged by the law, (for not the hearers of the law are just before God, but the doers of the law shall be justified; for when the Gentiles, which have not the law, do by nature the things contained in the law, these, having not the law, are a law unto themselves: which show the work of the law written in their hearts, their conscience also bearing witness, and their thoughts, the meanwhile, accusing, or else excusing one another;) in the day when God shall judge the secrets of men by Jesus Christ, according to my gospel." [ZANGA, RELATING THE ORIGIN OF HIS HATRED OF ALONZO.]-Young. ""T is twice three years since that great man, (Great let me call him, for he conquered me,) Made me the captive of his arm in fight. diah. "One day, (may that returning day be night, 66 [CORPORAL TRIM'S ELOQUENCE.] - Sterne. My young master in London is dead," said Oba "Here is sad news, Trim,"-'cried Susannah, wiping her eyes as Trim stepped into the kitchen, "master Bobby is dead." "I lament for him from my heart and my soul," said Trim, fetching a sigh,— "Poor creature !-poor boy!-poor gentleman!" "He was alive last Whitsuntide," said the coachman. "Whitsuntide! alas!" cried Trim, extending his right arm, and falling instantly into the same attitude in which he read the sermon, "What is Whitsuntide, Jonathan," (for that was the coachman's name,) "or Shrovetide, or any tide or time past, to this? Are we not here now?" continued the corporal, (striking the end of his stick perpendicularly upon the floor, so as to give an idea of health and stability,) “and are we not" (dropping his hat upon the ground) "gone! in a moment!"—It was infinitely striking! Susannah burst into 2 1 Phrases occurring between two dashes, are sometimes equivalent to a parenthesis in effect. 2 All intervening clauses and phrases, of whatever length, are read in the style of parenthesis. a flood of tears. -We are not stocks and stones:-Jonathan, Obadiah, the cookmaid, all melted.—The foolish fat scullion herself, who was scouring a fish-kettle upon her knees, was roused with it.-The whole kitchen crowded about the corporal. "Are we not here now,—and gone in a moment ? ” There was nothing in the sentence:-it was one of your self-evident truths we have the advantage of hearing every day; and if Trim had not trusted more to his hat than his head, he had made nothing at all of it. "Are we not here now?" continued the corporal, “ and are we not" (dropping his hat plump upon the ground,—and pausing before he pronounced the word) "gone! in a moment!"-The descent of the hat was as if a heavy lump of clay had been kneaded into the crown of it.—Nothing could have expressed the sentiment of mortality, of which it was the type and forerunner,-like it: his hand seemed to vanish from under it; it fell dead; the corporal's eye fixed upon it, as upon a corpse;-and Susannah burst into a flood of tears." 66 EXPRESSION." Emphasis, fully defined for the purposes of elocution, is prominent "expression," embodied in an accented syllable. It bears the same relation to "expression," in its full sense, that "syllabic accent" bears to "rhythmical accent." It may be restricted to a single word: "expression" applies, as in music, to the sequence of sounds, in connected and consecutive utterance, designed for the communication of feeling. 66 Expression," however, while it contains the same elements with emphasis, comprises a few more. It includes the effects arising from "quality," in all its forms, "pure," "aspirated," &c., and from the "effusive," "expulsive," and "explosive" modes of utterance; from force in all its gradations, from whispering to shouting; "stress," in its "radical," "median," "vanishing," "compound," and "thorough" forms; "tremor ;"" melody," "pitch," "slide," and "wave," |