3. It is natural for man to indulge in the illusions of hope.

4. It is my living sentiment.

5 Shakspeare was the greatest tragic writer.

6. Charity suffereth long, and is kind.

II. POSITIVENESS, CONFIDENCE, DETERMINATION, ETC. Falling Inflection, Third, Fifth, and Octave.

1 The war must go on.

2. On such occasions I will place myself on the extreme boundary of my right, and bid defiance to the arm that would push me from it.

3. We shall not fail.

4. I am commissioned of heaven to perform this work.

5. It is my living sentiment, and, by the blessing of God, it shall be my dying sentiment, independence now and independence forever. 6. I cannot, my lords; I will not join in misfortune and disgrace. 7. Forward the Light Brigade.

8. Thy threats, thy mercies, I defy! And give thee in thy teeth the lie!

III. ANSWER TO QUESTIONS.

Falling Inflection, Third, Fifth, and Octave.

1. What would content you?

Talent? No. Enterprise? No.

Courage? No. Virtue? No. The men whom you would select should possess, not one, but all of these.

2. Are they Hebrews? So am I. Are they Israelites? So am I. Are they the seed of Abraham? So am I. Are they ministers of Christ? I am more.

3. Can honor sc a leg? No. Or an arm? No. Or take away the grief of a wound? No. Honor hath no skill in surgery, then? No. What is honor? A word. What is that word honor? All Who hath it? He that died on Wednesday. Doth he feel it? No. Doth he hear it? No. Is it insensible, then? Yes, to the dead.

But will it not live with the living? No. Why? Detraction will not suffer it.

4. With whom may Napoleon be compared? With Diogenes in acuteness of intellect, with Cæsar in ambition, and with Alexander in

arms.

Was it ambition that induced Regulus to return to Carthage? No; but love of country, and respect for truth.

Wherein did Chatham surpass Burke? Not in argument, nor in the sublimity of his thoughts, nor yet in the richness and splendor of his diction, but in personal weight of character, and in the exterior graces and expressive power of the orator.

IV. INDEFINITE QUESTIONS.

Falling Inflection, Third, Fifth, and Octave.

1. Why reason ye these things in your hearts?

2. Who is here so base that he would be a bondman? 3. Why doth this man thus speak blasphemies?

4. What shall we do to inherit eternal life?

5. From whence hath this man these things?

6. Who hath warned you to flee from the wrath to come?

7. To what shall I liken the men of this generation

8. Can no support be offered? Can no encouragement be given? 9. But where is the iron-bound prisoner? Where?

Ah! what is that flame which now bursts on his eye?

10. Who covered the earth with such a pleasing variety of fruits and flowers? Who gave them their delightful fragrance, and painted them with such exquisite colors? Who causeth the same water to whiten in the lily and blush in the rose? Do not these things prove the existence of a power infinitely superior to that of any finite being?

V. EMPHATIC WORDS.

Falling Inflection, Fifth and Octave.

1. If we fail it can be no worse with us.

2. I'd rather be a dog, and bay the moon, than such a Roman

3. I dare accusation. I defy the honorable gentieman

4. All this? Ay, and more.

No element of utterance is more important in giving significance to speech than inflection.

It constitutes that part of modulation which renders expression addressed to the understanding intelligible.

In the reading and recitation of verse it is the proper management of the inflections that prevent monotony on the one hand, and chanting on the other.

"So important is a just mixture of inflections that the moment they are neglected our pronunciation becomes forceless and monotonous. If the sense of a sentence require the voice to adopt the rising inflection on any particular word, either in the middle or at the end of the phrase, variety and harmony demand the falling inflection on one of the preceding words; and, on the other hand, if emphasis, harmony, or a completion of sense, require the falling inflection on any word, the word immediately preceding almost always demands the rising inflection, so that these inflections of voice are in an order nearly alternate."

SECTION XLIV.

CIRCUM FLE X.

The circumflex is a combination of the two inflections on the same syllable or word. Sometimes the upward movement comes first, and sometimes the downward. Often more than two inflections are combined on the same word, so that a great variety of waves are possible in speech. Dr. Rush has actually enumerated one hundred and eighty varieties. An extended discussion of these would be of little practical advantage to the general student.

A few illustrations must suffice.

The Circumflex is employed chiefly in the expression of irony, sarcasm, sneer, drollery, etc.

EXAMPLES.

1. The atrocious crime of being a young man, which, with so much spirit and decency the gentleman has charged upon me, I shall neither attempt to palliate nor deny.

2. A second Daniel, a Daniel, Jew!

Now, infidel, I have thee on the hip.
A Daniel, still I say; a second Daniel!

I thank thee, Jew, for teaching me that word.

3. Hath a dog money? Is it possible

A cur can lend three thousand ducats?

4. Yet this is Rome, and we are Romans.

5. Yet Brutus says he was ambitious;

And Brutus is an honorable man.

6. Has the gentleman done? Has he completely done?

The Circumflex is one of the most impressive elements of expression in the whole range of vocal effect.

Mockery, raillery, irony, and sarcasm cannot be given without it.

An intelligent and discriminating use of this element is indispensable, however, to its right effect.

Adopted too frequently and expressed too pointedly, it offends the ear.

SECTION XLV.

CADENCE.

Cadence is that lowering of the voice at the close of the sentence, which indicates that the sense is complete. This is done by dropping the voice on the last three

syllables, either in the discrete or concrete movement, at least three full tones lower than that which prevailed in the body of the sentence.

The note to which the cadence falls, and the space through which it descends, will depend on the emotion and the sentiment.

In strong emotion the cadence is both abrupt and low, in gentle emotion it is gradual and moderate, while on unemotional thought it is slight.

No element of utterance more demands the watchful attention of the living teacher, or is more difficult for the pupil to acquire from books, than that of cadence. Practice the following sentences with different degrees of cadence.

EXAMPLES.

1. I love it, I love it, and cannot tear

My soul from my mother's old arm-chair!

2. When the evening comes with its beautiful smile,

And our eyes are closing to slumber awhile,

May that "Greenwood" of soul be in sight!

3. The sorrow for the dead is the only sorrow from which we refuse to be divorced.

4. We'll all meet again in the morning.

5. In teaching me the way to live,

It taught me how to die.

6. He sinks into thy depths with bubbling groan,

Without a grave, unknelled, uncoffined, and unknown.

7 Be armed with courage against thyself, against thy passions, and against flatterers.

8. The true American patriot is ever a worshiper.

Perfect command of Cadence is a rare accomplishment. It is one of the distinguishing marks of excellence in the cultivated reader.