The pupil will observe that the intensity or earnestness of the question or assertion depends on the length of the slide.

4. Did he rún, or walk?

Does he pronounce correctly, or incorrectly?
He speaks correctly, not incorrectly.

What is done cannot be undone.
You should not say áll, but well.

There is a difference between give and forgive.
That we may die happily, we must live well.
To say the least, they have done wròng.
We procéed because we have begun.

Let the pupils simultaneously repeat this and the other tables; then individually, till they can execute and recognize the different slides.

CIRCUMFLEXES.

The voice, in nearly all emphasis, makes a compound movement, called the circumflex, which is a union of the two slides.

The rising circumflex begins with the falling and ends with the rising slide on the same syllable. The fall is seldom so great as the rise.

The falling circumflex begins with the rising d ends with the falling slide; but the fall is greater than the rise.

5. Table of Rising Circumflexes.

ă, e, i, o, u.

Let the pupil utter each very slowly, prolonging the sound, that he may notice the movement of his voice; then more rapidly. Let him do the same with the following

6. Table of Falling Circumflexes.

â, ê, î, ô, û.

7. In the following sentence, utter the question with a strong rising circumflex on you, and it will convey the sneer intended in the context. Irony in a question requires the rising circumflex.

To mediate for the queen? You undertook?

8. Prolong the circumflexes, and give them great rise and fall, and you will convey the irony intended.

O, but he paused upon the brink!

9. The following sentence requires the circumflexes to be uttered almost with laughter, as though the idea was too ridiculous to excite any other feeling.

We never tried to cope with James Ŏ, nô.

10. In the following, to give the surprise indicated in the context, a succession of words must be`emphasized by means of the rising circumflex.

What, Michael Cassio,

That came a-wooing with you?

11. Here is a fine instance of two on one word, conveying the irony most perfectly.

Hear him, my lord; he's wondrous condescending.

MONOTONE.

Monotone is a succession of words uttered on the same note, or nearly so; the slide, if any, being less than the one note usually employed in mere suspension.

Hail, hōly light, offspring of Heaven first born.

Let the pupil prolong the vowel sounds in the words indicated, taking care to keep them pure and in the same tone.

12. Table of Vowels.

ā, ē, i, ō, ū.

Let the pupil utter each of these, increasing in fulness of sound to the middle, and then decreasing, but on the same note. To aid him in doing this, let him observe that the sound of a ends in e; e ends in e; ends in e; o ends in oo; and that u ends with its own sound, but begins with e.

SEMITONE.

The slide of a half note or semitone is indicative of pity, sadness, sorrow, or a pleasing melancholy. Pity the sorrows of a poor old man.

My mother, when I heard that thou wast dead.

EMPHASIS.

Emphasis is giving peculiar utterance to some word or phrase, to develop more fully the sentiment of the author.

When both parts of an antithesis are expressed, the pupil will easily place the emphasis aright; but when one part is implied, great care must be taken to place the emphasis on the principal word, or the true idea will not be developed.

The functions of the voice only are now under consideration; therefore it is no part of our present plan to show how to find the idea, but how to express it when known.

To illustrate the importance of ascertaining from the context the antithesis implied, in order to give the true meaning, the following old examples will suffice.

O fools, and slow of heart to believe all that the prophets have written concerning me.

Place the emphasis on "prophets," and the antithesis would be other writers. This would imply that though others might be believed, the prophets could not.

Place the emphasis on "all," and the antithesis would be some; implying that they might believe some things that the prophets said, but it would be foolish to believe all.

Place the emphasis on "believe," and the meaning would be that they were fools for believing.

Place the emphasis on "slow," or rather on the phrase, "slow of heart," and the true meaning comes out that they are slow or backward in believing, &c.; hence their folly.

Observe the difference between the rising and falling slide on the emphatic word in the following sentence:

Charles would not harm a fly'!

Meaning that Charles would not hurt so small an insect, nor one so harmless, as a fly, at least, though he might be capable of injuring other animals not so gentle and innocent. The antithesis then is, noxious animals.

Charles would not harm a fly'!

Charles is here said to have great humanity and benevolence, because he would surely hurt no other animal, since he would not hurt so insignificant a creature as a fly- not even a fly. The antithesis is any animal superior to a fly.

A boy could do it.

Antithesis, man. That is, not only a man, but even a boy could do it.

How beautiful is nature in her wildest scenes!

Antithesis, placid. Not only in her calm, mild, gentle scenes, but even in her wildest scenes.

Our safety our lives depend on your fidelity.

Meaning not our safety alone, but our very lives.

I would not lose it for a load of dollars.

Antithesis, one dollar. That is, not for one dollar merely, but a load of dollars.

CLAUSAL EMPHASIS.

Clausal emphasis is giving peculiarity of utterance to the leading clause or clauses of a compound sentence, to make prominent the principal idea over the subordinate ones contained in the dependent clauses.

The leading clause should be uttered on a higher pitch, at a slower rate, with greater force, and stronger. verbal. emphasis than the subordinate clauses and phrases. This is very important in giving significance to reading. Take the following example:

To believe, for example, that there once were witches who made a cockle shell serve the purpose of a ship, and substituted a broomstick for a balloon, or that there still are fairies who hold their gambols at midnight among the romantic glens of Scotland, is quite a harmless superstition.

Here follows the leading clause by itself, that the pupil may observe it alone, without the subordinate clauses and phrases that modify it.

To believe that there once were witches, or that there still are fairies, is quite a harmless superstition.

Here again is the clause restored to its original place in the sentence, and printed in Italics.

To believe, for example, that there once were witches, who made a cockle shell serve the purpose of a ship, and substituted a broomstick for a ‍balloon, or that there still are fairies who hold their gambols at midnight among the romantic glens of Scotland, is quite a harmless superstition.

Let the pupil, according to the above directions, utter the words "to believe" with a higher pitch, slowly and forcibly; then the words "for example" on a lower pitch, at a more rapid rate, and with less force; then the words that are the object of the verb "to believe," viz.: "that there once were witches," with the same force, rate, and pitch as he used on "to believe;" then increase the rate, diminish the force, lower the pitch on "who made balloon;" then restore the voice to its former pitch, rate, and foree on 66 or that there still are fairies;" then lessen the force, lower the pitch, and increase the rate on “who hold