_THE ILLUSTRATED PROGRESSIVE SERIES._
THE
FOURTH PROGRESSIVE READER.
CAREFULLY
ARRANGED FOR THE USE OF SCHOOLS.
NEW YORK:
P. O’SHEA, PUBLISHER;
27 BARCLAY STREET.
1871.
Entered according to Act of Congress, in the year 1871,
By P. O’SHEA,
In the office of the Librarian of Congress, at Washington.
PREFACE.
The selections for the FOURTH PROGRESSIVE READER have been made with
great care, and, if the judgment of some of our most accomplished
teachers may be trusted, with becoming discrimination.
Lessons have been selected that are interesting to the young, and that
convey, each, an instructive moral in such a way as to impress itself
deeply on the mind of the pupil. They have also been selected and
arranged with a view to affording the best possible exercises in reading.
New selections have been made from several distinguished writers. Those
from Archbishop Spalding, Father Lacordaire, Doctor Newman, Miss Hoffman,
and Brother Philippe, are in every respect excellent.
Short biographical sketches have been appended of the different authors
from whose works selections, have been made. In making those selections
care has been taken to furnish examples of the various styles of
composition, and in doing this whatever could be found most interesting
and instructive was sought for; whilst every thing dull, frivolous, or
at all tinctured with erroneous views or principles has been rigidly
excluded.
The Lessons are a grade higher than those of the THIRD READER, but
nothing supposed to be above the capacity or intelligence of children who
have read through the preceding books of the Series has been introduced.
The instructions on articulation, emphasis, and inflection, will be found
to be moderately full and very clear and intelligible.
CONTENTS.
INTRODUCTION. PAGE.
Pronunciation 15
Articulation 16
Accent 19
Time 20
Emphasis 22
Inflection 34
Circumflex Inflection—Monotone 39
Parenthesis and Parenthetical Clauses 40
Tone—Expression and Energy 42
On Reading of Verse 45
Rests in Verse 48
READING LESSONS.
PROSE.
LESSON.
1. Teaching and Character of Jesus Christ _Chateaubriand_, 52
3. The Devoted Son and the Generous Stranger _Brother Philippe_, 55
4. The Christian Mother _Mary I. Hoffman_, 60
6. The Two Roads 66
9. The Young Shepherd _Fenelon_, 72
10. The Same.—_Continued_ 75
12. The Broken Heart _Irving_, 79
13. Little Victories 84
14. The Same.—_Continued_ 86
16. The Widow of the Pine Cottage 91
19. The Bobolink _Irving_, 97
20. The Same.—_Continued_ 99
22. Portrait of a Virtuous and Accomplished Woman _Fenelon_, 102
24. The Avaricious Miller _Goldsmith_, 105
25. The Death of the Little Scholar _Dickens_, 108
28. The Monk of St. Francis _Sterne_, 115
29. My Mother’s Grave _Brownson_, 118
30. Good Counsel 120
32. Reproof to an Affected Speaker _La Bruyere_, 125
35. Our Miseries Often Our Fault _Blair_, 129
37. Influence of Religion on the Tyrolese _Alison_, 133
40. Behind Time _Freeman Hunt_, 138
43. A Storm at Sea _Archbishop Hughes_, 145
44. The Atmosphere 150
46. Discretion _Addison_, 154
47. Stability of Character _Alison_, 156
52. Death of Little Nell _Dickens_, 167
53. Sorrow for the Dead _Irving_, 171
54. Isabella the Catholic, Queen of Spain _Prescott_, 174
59. The Charmed Serpent _Chateaubriand_, 183
60. My Rosary _Sir Humphrey Davy_, 185
61. The Indians _Story_, 187
63. The Friars and the Knight _Digby_, 191
66. Patriotism and Christianity _Chateaubriand_, 196
67. Best Kind of Revenge _Chambers_, 199
68. Queen Elizabeth of Hungary _Montalembert_, 201
70. The Presumption of Youth _Rollin_, 210
73. A Picture of Human Life _Johnson_, 216
75. On the Waste of Time _Franklin_, 223
77. Dialogue with the Gout _Franklin_, 227
79. Edward the Confessor _Lingard_, 232
82. Washington and Bonaparte Compared _Chateaubriand_, 238
83. Character of Franklin _Brougham_, 242
87. The Roman Pontiffs _Archbishop Spalding_, 249
88. Labor and Genius _Sydney Smith_, 251
91. A Curtain Lecture of Mrs. Caudle _Jerrold_, 259
94. God Gave to His Church Charity _Lacordaire_, 270
96. George Washington _Dwight_, 273
97. Conduct of La Fayette in the American Revolution _J. Q. Adams_, 276
99. Sir Thomas Moore _Henry Giles_, 282
101. The Religion of Catholics _Dr. Doyle_, 287
103. Speech of Logan, Chief of the Mingoes _Jefferson_, 293
105. Character of the Irish Peasantry _Barrington_, 296
109. Voluntary Confession of Sin _Lacordaire_, 310
POETRY.
LESSON.
2. Little at First, but Great at Last 53
5. Woodman, Spare that Tree _Morris_, 64
7. The Laborers 68
8. The Boy _Willis_, 70
11. Old Times _Gerald Griffin_, 78
15. Our Titles 90
17. A Psalm of Life _Longfellow_, 95
18. Let Virtue be Your Aim 96
21. Who is My Neighbor? 101
23. The work of To-day _Charles Mackay_, 104
26. God, the True Source of Consolation _Thomas Moore_, 112
27. The Martyrdom of St. Agnes _De Vere_, 113
31. The Sister of Charity _Gerald Griffin_, 122
33. My Birthday _Thomas Moore_, 126
34. Labor _Frances Osgood_, 127
36. True Patriotism _Sir William Jones_, 132
38. Hymn of the Mountaineers _Mrs. Hemans_, 135
39. Exhortation to Prayer 136
41. Evil Influence of Skepticism _Campbell_, 141
42. David’s Lament for Absalom _Willis_, 143
45. The Cherwell Water Lily _Faber_, 152
THE YEAR OF SORROW—IRELAND—1849.
48. Spring _Aubrey De Vere_, 160
49. Summer 162
50. Autumn 164
51. Winter 165
55. Palestine. (Altered from Whittier.) 178
56. Love of Country and of Home _Montgomery_, 180
57. The Heavenly Rest 181
58. Love of Country _Scott_, 182
62. Indian Names _Sigourney_, 190
64. Where There’s a Will, There’s a Way _Eliza Cook_, 193
65. Now, To-day _Adelaide A. Proctor_, 195
69. William Tell _Knowles_, 203
71. Mary Magdalen _Callanan_, 214
72. The Wexford Massacre 215
74. The Doubting Heart _Adelaide A. Proctor_, 222
76. The Reaper Death _Longfellow_, 226
78. The Death of the Flowers _William Cullen Bryant_, 230
80. The Coming of Winter _T. B. Read_, 235
81. The Sister of Charity _Williams_, 236
84. The Last Minstrel _Scott_, 246
85. The Minstrel Boy _Thomas Moore_, 247
86. Army Hymn _O. W. Holmes_, 248
89. The Dying Girl _Williams_, 255
90. The Angelus Bell _Campion_, 257
92. The Song of the Shirt _Hood_, 263
93. Bernardo del Carpio _Mrs. Hemans_, 266
95. Union and Liberty _O. W. Holmes_, 272
98. Paul Revere’s Ride _Longfellow_, 278
100. The Battle Field _Bryant_, 285
102. A Birthday Offering _Dr. Newman_, 290
104. God is Everywhere 294
106. Advice to a Young Critic _Pope_, 300
108. Elegy Written in a Country Church-yard _Gray_, 305
TABLE OF VOWEL SOUNDS.
This table is designed for an exercise upon the vowel elements. These
should be pronounced alone as well as in combination with the words given
as examples. Let the class first pronounce the table in order, thus:
A long, Fate, ā; A short, Fat, ă, &c.; then pronounce the column of
elements alone.
NAME. EXAMPLE. ELEMENT.
A long Fāte ā
A short Făt ă
A Italian Fär ä
A broad Fâll â
E long Mēte ē
E short Mĕt ĕ
I long Pīne ī
I short Pĭn ĭ
O long Nōte ō
O short Nŏt ŏ
O long and close Môve ô
U long Tūbe ū
U short Tŭb ŭ
U middle or obtuse Fûll û
U short and obtuse Für ü
OI and OY Böĭl öĭ
OU and OW Böûnd öû
EQUIVALENTS.
E short and obtuse, like ü in Für Hër ë
I like E long Machîne î
I short and obtuse, like ü in Für Sïr ï
O like A broad Nôr ô
O like U short Sō̇n ō̇
U like O in Move Rūle ū
Y like I long Tȳpe ȳ
Y like I short Sy̆mbol y̆
Y short and obtuse, like ü in Für Mÿrtle ÿ
EW like U long Now̄ ew̄
TABLE OF CONSONANT SOUNDS.
This table should be treated by the class in the same manner as the
table of vowel sounds. The sound of a consonant may be ascertained by
pronouncing a word containing it in a slow and forcible manner.
VOCAL CONSONANTS are those uttered with a slight degree of vocality, but
less than that of a vowel. They are formed with a vibration of the vocal
chords.
ASPIRATE CONSONANTS are those in which the pure breath alone is heard.
They are formed without any vibration of the vocal chords.
NAME. EXAMPLE. ELEMENT.
VOCAL CONSONANTS.[1]
B Babe b
D Did d
G hard Gag g
J Joy j
L Lull l
M Maim m
N Nun n
NG Sing ng
R (trilled) Rap r
R (untrilled) Nor r
TH soft Thine th
V Valve v
W Wine w
Y Yes y
Z Zeal z
ZH (or Z) Azure zh
ASPIRATE CONSONANTS.
CH Church ch
F Fife f
H[2] Hold h
K Kirk k
P Pipe p
T Tent t
S Seal s
SH Shine sh
TH sharp Thin th
EQUIVALENTS.
C soft, like s Çease ç
C hard, like k Cake c
Ch hard, like k Chasm ch
Ch soft, like sh Çhaise çh
G soft, like j Giant g
Ph like f Seraph ph
S soft, like z Muse ṣ
S like zh Vision s
Q like k Coquette q
X like ks Tax x
X like gz Exalt z̧
Q has the sound of _k_, and is always followed by _u_, which, in this
position, commonly has the sound of _w_, but is sometimes silent.
WH is an aspirated _w_, pronounced as if written _hw_.
[1] Sometimes called Subvocals, or Subtonics.
[2] H sounded before a vowel, is an expulsion of the breath after the
organs are in a position to sound the vowel.
EXERCISES ON THE VOWEL SOUNDS.
In pronouncing the words in the following exercises, special attention
should be given to the precise sound of the letters italicized. The
sounds of the letters in Italics are the same as the sound of the vowel
at the head of the paragraph.
Exercises upon tables of words like the following are valuable, not only
for developing vocal power, but as one of the best methods of correcting
habitual errors in pronunciation.
=a=, long, as in _fāte_.—F_a_me, bl_a_me, s_a_il, c_a_mbric,
n_a_ture, _a_ncient, p_a_tron, m_a_tron.
=a=, short, as in f_ă_t.—B_a_t, m_a_t, b_a_d, h_a_d, c_a_n,
c_a_nnon, s_a_nd, f_a_ncy, m_a_rry, h_a_ve.
=a=, Italian, as in f_ä_r.—_A_re, b_a_r, st_a_r, guit_a_r,
m_a_rt, al_a_rm, p_a_rchment, f_a_ther, h_ea_rt, h_ea_rth,
g_ua_rd, d_au_nt, h_au_nt.
=a=, broad, as in _fâll_; and _o_, as in _nör_.—B_a_ll, c_a_ll,
t_a_ll, n_o_r, f_o_rm, st_o_rm, c_o_rn, s_a_lt, _ou_ght,
f_ou_ght, n_ou_ght.
=a=, as in _fàre_; and _e_, as in _thêre_.—D_a_re, r_a_re,
p_a_ir, _a_ir, sh_a_re, sn_a_re, wh_e_re, h_e_ir, st_a_re, p_a_re.
=a=, as in _fā̇st_.—Bl_a_st, ch_a_nce, l_a_nce, tr_a_nce,
br_a_nch, gr_a_sp, gr_a_ft, gr_a_nt, gr_a_ss, p_a_ss, cl_a_ss.
=e=, long, as in _mēte_; and _i_, as in _marîne_.—B_e_, sh_e_,
th_e_me, sc_e_ne, mar_i_ne, p_i_que, k_e_y, f_ie_nd, gr_ie_ve,
tr_ea_ty, C_æ_sar, crit_i_que, rel_i_ef, bel_i_ef, l_ea_f,
q_uay_, l_e_nient, inh_e_rent.
=e=, short, as in _mĕt_.—B_e_d, br_ea_d, d_e_bt, _e_ngine,
t_e_pid, g_e_t, y_e_s, ch_e_st, _e_gg, k_e_ttle.
=i=, long, as in _pīne_; and _y_, as in _bȳ_.—Sm_i_le, m_i_le,
v_i_ne, fl_y_, t_y_pe, def_y_, sk_y_, k_i_nd, fl_i_ght, all_y_,
appl_y_, t_i_ny.
=i=, short, as in _pĭn_; and _y_, as in _my̆th_.—D_i_n, r_i_ng,
wh_i_p, sk_i_p, l_y_ric, serv_i_le, ag_i_le, c_y_gnet, c_y_nic,
c_y_linder.
=o=, long, as in _nōte_.—H_o_me, d_o_me, gl_o_ry, v_o_cal,
m_o_re, g_o_re.
=o=, short, as in _nŏt_.—M_o_b, r_o_b, s_o_b, d_o_t, g_o_t.
=o=, long and close, as in _môve_; and _u_, as in
_rū̇le_.—Pr_o_ve, m_oo_d, l_o_se, r_u_le, tr_u_e, r_u_in,
dr_u_id, m_oo_n, r_oo_t.
=u=, long, as in _tūbe_; and _ew_, as in _new̄_.—T_u_ne, f_u_se,
c_u_re, l_u_re, d_u_ty, c_u_rate, f_ew_, p_ew_.
=u=, short, as in _tŭb_; and _o_, as in _sō̇n_.—J_u_st, m_u_st,
t_u_n, f_u_n, h_u_g, r_u_g, d_o_ve, d_oe_s, r_ou_gh, s_o_n, t_o_n.
=u=, middle, as in _fûll_.—B_u_sh, p_u_sh, b_u_tcher, c_u_shion,
p_u_ss.
=u=, short and obtuse, as in _für_; _e_, as in _hër_; _i_, as
in _fïr_; and _y_, as in _mÿrrh_.—B_u_rn, m_u_rmur, f_u_rther,
h_e_rd, f_e_rn, p_e_rson, m_e_rge, m_e_rcy, s_i_r, b_i_rd,
v_i_rtue, d_i_rk, d_i_rt, m_i_rth, m_y_rrh, m_y_rtle, s_y_rtis.
=oi=, as in _vöĭce_; and _oy_, as in _böy̆_.—B_oi_l, c_oi_l,
c_oy_, t_oy_, v_oi_d, c_oi_n, j_oi_nt, j_oi_st, p_oi_se, n_oi_se,
empl_oy_, rej_oi_ce, av_oi_d, app_oi_nt, embr_oi_l, f_oi_ble,
_oy_ster.
=ou=, as in _söûnd_; and _ow_, as in _nöŵ_.—P_ou_nd, pr_ou_d,
br_ow_n, v_ow_, end_ow_, n_ou_n, t_ow_n, d_ou_bt, dev_ou_t,
pl_ou_gh, tr_ou_t, gr_ou_nd, sh_ou_t, v_ow_el, th_ou_, ar_ou_nd.
INTRODUCTION.
It can not be too often, or too emphatically, impressed on the minds of
those who desire to read well, that they must study to acquire the same
easy, graceful, and natural tone and manner in reading, which persons
of education and taste use in speaking. It is important, therefore, to
observe closely the manner of those who read and speak well.
But, of course, no one can be taught to read well until he has learned
to articulate distinctly and pronounce his words correctly. He must also
pay due attention to TIME, INFLECTION and EMPHASIS. The following rules
and exercises, taken from the best sources, will be found very useful.
They are made as simple and plain as possible, but are at the same time
moderately full.
PRONUNCIATION.
Pronunciation is good when all the letters and syllables in every word,
are uttered with due force and proper fullness of sound. To pronunciation
belong _articulation_ and _accent_.
A correct _articulation_ requires that every vowel, and, of course,
every syllable in a word, be uttered with fulness and distinctness.
A correct _accentuation_ requires that a peculiar stress be laid on one
or more syllables of a word, and, of course, that the other syllables be
pronounced with less stress, or force. In most words it is sufficient to
accent one syllable. In monosyllables there can be no accent, as if _one_
syllable were pronounced with force, there would be _no_ syllable left to
be passed over lightly.
ARTICULATION.
DIRECTIONS AND EXERCISES.
I. Avoid suppressing any syllable or part of a syllable.
Do not say:
fat-t’l for fa-tal
met’l ” met-al
cap’n ” cap-tain
firm’ment ” firm-a-ment
reg’lar ” reg-u-lar
trav’ler ” trav-el-er
des’late ” des-o-late
bar-r’l ” bar-rel
ev’ry ” ev-e-ry
his-t’ry ” his-to-ry
sev’ral ” sev-e-ral
b’lief ” be-lief
flut’ring ” flut-ter-ing
mem’ry ” mem-o-ry
par-tic’lar ” par-tic-u-lar
read-in’ ” read-ing
writin’ ” writ-ing
speak-in’ ” speak-ing
walk-in’ ” wal-king
mor-nin’ ” morn-ing
sli-din’ ” slid-ing
shavin’ ” sha-ving
laughin’ ” laugh-ing
fight-in’ ” fight-ing
com-man’s ” com-mands
con-si’s ” con-sists
gov-er’-ment ” gov-ern-ment
Feb’-u-ary ” Feb-ru-ary
an’ ” and
groun’ ” ground
boun’ ” bound
wa’m-er ” warm-er
ha’m-less ” harm-less
II. Avoid substituting one sound for another. Do not say:
vir-too or vir-tshoo for vir-tue (yu)
lec-ter or lec-tshoor ” lec-ture (yūr)
ed-i-cate or ed-ju-cate ” ed-u-cate (yu)
fea-tur or fea-tshoor ” feat-ure (yūr)
mois-ter or mois-tshoor ” mois-ture (yūr)
mix-ter or mix-tsher ” mix-ture (yūr)
ves-ter or ves-tshure ” ves-ture (yūr)
stat-er or stat-chur ” stat-ure (yūr)
as-soom or as-shoom ” as-sume (yume)
pur-soot or pur-shoot ” pur-suit (yute)
chil-drin or child-er-en ” child-ren
fear-luss or fear-liss ” fear-less
win-e-gar ” vin-e-gar
con-clood ” con-clude (yude)
III. Avoid adding to, or taking from the sound of the word.
Do not say:
wil-ler for wil-low
fel-ler ” fel-low
win-der ” win-dow
wid-er ” wid-ow
pil-ler ” pil-low
hol-ler ” hol-low
fol-ler ” fol-low
Ma-ri-ar ” Ma-ri-a
Sav-an-ar ” Sav-an-ah
tub-ac-cur ” to-bac-co
croc-er-dile ” croc-o-dile
hold ” old
hart ” art
high ” eye
griev-ious (yus) ” griev-ous
hein-ious ” hein-ous
wen ” when
ware ” where
witch ” which
all ” hall
appy ” happy
wile ” while
wit ” whit
wine ” whine
wey ” whey
wit ” whit
ay ” hay
elp ” help
aft ” haft
ose ” hose
ire ” higher
wist ” whist
wy ” why
IV. Avoid pronouncing words alike which are not _precisely_ alike. Do not
say:
ac-cess for ex-cess
fish-er ” fis-sure
al-tar ” al-ter
gent-le ” gen-tile
mare ” may-or
e-lis-ion ” e-ly-sian
bar-on ” bar-ren
e-merge ” im-merge
em-i-grant ” imˊ-mi-grant
im-pos-tor ” im-pos-ture
ac-cede ” ex-ceed
e-lic-it ” il-lic-it
af-fect ” ef-fect
can-did ” cand-ied
ap-pos-ite ” op-pos-ite
as-sist-ance ” as-sist-ants
cease ” seize
cauf ” cough
cen-sus ” sen-ses
cents ” sense.
[See exercises on these and similar words in the author’s “Columbian
Spelling Book.”]
V. Avoid blending the end of a word with the beginning of the next. Do
not confound—
A _nice_ house, with An _ice_ house.
False _sights_, ” False _heights_.
The darkest _hour_, ” The darkest _tower_.
It strikes with an _awe_, ” It strikes with a _naw_.
My heart was _awed_, ” My heart was _sawed_.
A _notion_ of sweetness, ” An _ocean_ of sweetness.
There was a great _error_, ” There was a great _terror_.
My _brothers ought_ to go, ” My _brother sought_ to go.
He walked in _fields of ice_, ” He walked in _fields of vice_.
Wastes _and_ deserts, ” Waste _sand_ deserts.
Look on this _spot_, ” Look on this _pot_.
Goodness _centers_ in the heart, ” Goodness _enters_ in the heart.
Luxurious _soil_, ” Luxurious _oil_.
Chaste _stars_, ” Chased _tars_.
Such a _notion_ exists, ” Such an _ocean_ exists.
To obtain _either_, ” To obtain _neither_.
His _cry_ moved me, ” His _crime_ moved me.
The same _arrow_, ” The same _marrow_.
ACCENT.
The remarks on _Accentuation_ in the third book of this series have
already familiarized the learner with the uses of accent. He has learned
how accent determines the pronunciation of words, and how it shows, in
many cases, the sounds of the vowels. He has also learned, that many
words are differently accented, and, of course, differently pronounced,
when used as nouns, from the manner in which they are accented and
pronounced, when used as verbs.
We shall not repeat what we have there explained; but we will here
inform the pupil, that while all words of more than one syllable have
one accented syllable, almost all words of more than three syllables
have two accented syllables. These two syllables are not accented with
equal force, and this makes necessary the terms _Primary Accent_, and
_Secondary Accent_.
Where two syllables are accented in the same word, that which has the
greater amount of stress laid upon it, receives the primary accent
(generally marked ˝), and that which has the less amount of stress laid
upon it, receives the secondary accent (generally marked ˊ or ˋ).
EXAMPLES.
edˊ-u-ca˝-tion
recˊ-o-mend˝
vo-cab˝-u-larˊ-y
resˊ-o-lu˝-tion
amˊ-bi-gu˝-i-ty
adˊ-mon-i˝-tion
tem˝-po-raˊ-ry
mo˝-ment-aˊ-ry
inˊ-de-pend˝-ence
conˊ-ver-sa˝-tion
satˊ-is-fac˝-tion
mat˝-ri-moˊ-ny
conˊ-se-quen˝-tial
rĕˊ-sur-rec˝-tion
morˊ-ti-fi-ca˝-tion
Observing the proper position of the accent, and paying particular
attention to it, is indispensable for good reading. Those who fail to
do so, always read with a drawling, monotonous tone, and cannot please
their hearers. There is no precision in their pronunciation, and there
can be no clearness in their enunciation. (See the “Columbian Spelling
Book,” page 105, where the nature and uses of accents are treated of at
considerable length.)
TIME.
The second requisite of good reading is, that due regard be paid to
TIME: if the reader hurries on without making the necessary pauses, the
pronunciation is not only indistinct, but the sense is often altogether
lost; and if he hesitates, making pauses where none should be made, and
reads without animation or spirit, the sense is equally injured, or made
difficult to ascertain, and the reading is of that drawling kind to which
it is so tiresome to listen.
Those who desire to become good readers, then, must pay due attention to
the pauses which should be made. Pauses are of two kinds, Grammatical
Pauses, which are marked by characters, and Rhetorical Pauses, which are
not marked by characters, but which the sense of what you read, requires
to be made. We shall first speak of the GRAMMATICAL PAUSES; they are—
The Comma (marked) ,
” Semicolon ” ;
” Colon ” :
” Period ” .
” Interrogation ” ?
” Exclamation ” !
The Parenthesis () is used to inclose some word or words which are not
essential to the structure of the sentence; and the Dash (—) is used to
denote a sudden breaking or turning off in the discourse or sentence.
When any of these points is met with in reading, there must be a pause of
greater or less duration. You should stop at the comma about as long as
you would be saying a word, or while you can draw breath; at the others
you should stop a little longer, but there can be no proper time fixed
upon; the sense and requirements of the sentence or clause must always
determine. It is usual to stop longer at each subsequent pause marked in
the table, than at the preceding one; thus, longer at the semicolon than
the comma, longer at the colon than the semicolon, and so on. This cannot
be given as an invariable rule, however, due attention to the sense of
the passage read being the best possible, indeed, the only way in which
the proper duration of the pause can be determined.
RHETORICAL PAUSES are such as the sense requires, though not marked by
characters. It will be at once perceived, that the proper making of them
is much more difficult to the young reader, than those of which we have
just spoken; and yet, if he desires to read with grace and elegance, he
cannot dispense with them. We do not think that very young learners will
be benefited much by studying rules for making rhetorical pauses, (they
can be made to understand their proper use and place more readily by a
competent teacher,) but we give a few of the most useful and simple.
1. _The rhetorical pause should be made after the subject, or
nominative, if it consists of several words_; as—To express this
connection | two marks are used. The love of riches | is not a
virtue. The experience of want | enhances the value of plenty.
2. _When the subject is an important word there should be a
rhetorical pause made after it_; as—Charity | like the sun |
brightens all its objects. Industry | is the foundation of
wealth. God | hath set him over us. Truth | never changes.
3. _The rhetorical pause should be made before and after clauses
and similes_; as—The hope | which we have | as an anchor of the
soul. And calm | as a slumber | they die. Hope | the balm of life
| hath soothed us. Virtue | like gold | bears to be tried.
4. _The rhetorical pause should be made after the objective in
sentences of inverted construction_; as—To my mother | give my
fond remembrance. On all sides | were carnage and death. On
Linden | when the sun was low. On this side of the grave | there
is no real happiness.
5. _A pause should generally be made before the relative
pronoun_; as—He | who fears God | may be trusted. I have faith |
that I may have life. I saw a man | who begged his bread. Nobody
loves him | who loves only himself. She gave me this book | which
I now hand to you.
6. _A pause should generally be made before and after clauses
introduced by prepositions_; as—It is below me | on his throne |
to sit. Work | without show | and without pomp | presides. They
spoke to me | of things | which I had seen | and of things |
which I had not seen. From law | arises security.
7. _A pause should be made before many of the conjunctions and
adverbs_; as—Honor | and shame | from no condition rise. I fought
not for | but against Cæsar. Hast so much wit | and mirth | and
spleen about thee. I stood among them | not of them. The region
| beyond the grave | is not a solitary land. I shall come |
whenever I can. Take heed | lest ye fall. Watch | and pray | lest
ye enter into temptation. Though he was learned | yet he was
modest.
EMPHASIS.
Emphasis is a peculiar stress laid on words for the purpose of
distinguishing them _from_, or contrasting them _with_ other words; also
for the purpose of drawing marked attention to any particular word.
EXAMPLES.
1. I spoke not _for_ | but _against_ Cæsar.
2. I did not say _here_ | but _there_.
3. You say | he is _honest_. There is not | a more _dishonest_
man | in town.
4. I care not | who is _in_ | or | who is _out_.
5. We have offended against the lord | _already_.
6. He | who cannot _bear_ a joke | should not _give_ a joke.
7. _Little_ minds | are _crushed_ by misfortune, when _great_
ones | _rise above_ it. _He_ raised a _mortal to_ the skies, |
_she_ drew an _angel down_.
8. Many mistake _love_ of virtue | for _virtue_.
Emphasis is sometimes laid only on particular syllables of a word; as—
1. What is _said_ | cannot be _un_said.
2. He will _decrease_ | but I will _in_crease.
3. There is seldom _convenience_ | without _in_convenience.
4. To _do_ | and to _un_do | are common things.
Emphasis is _slight_, _strong_, and _vehement_; as—
1. Let our motto be | _our country_, our WHOLE COUNTRY, and |
NOTHING BUT OUR COUNTRY.
2. My first argument | is, that _the people_ | _demand it_; my
second argument | is, that THE PEOPLE | DEMAND IT; my third
argument | is, that THE PEOPLE | DEMAND IT.
3. If I was an American | as I am an Englishman, I would _never_
lay down my arms—_never_, NEVER, NEVER.
4. The _union_, it SHALL | and MUST be _preserved_.
5. RISE | _arch of the ocean_, and _queen of the west_!
6. _Romeo_, ROMEO, _wherefore_ art thou _Romeo_?
The following admirable observations on EMPHASIS are worthy of attention.
“In every sentence, and clause of a sentence, there is one or more words
which require to be pronounced with a greater degree of force than
the other words. Without knowing and marking the _accented_ syllables
in words, we cannot give them their proper pronunciation; nor can we
bring out the full meaning of a sentence, unless we know and mark the
_emphatic_ words. The accented syllables of words we learn by imitating
the pronunciation of correct speakers; and by referring, in cases of
doubt, to a dictionary in which they are given. The emphatic words in a
sentence we can only learn by knowing their relative importance in it,
and the precise meaning which the writer of it intended each of them to
convey. In fact, if we know the meaning and drift of the sentence, we
shall have no difficulty in discovering the emphatic words. In all such
cases they are naturally and spontaneously suggested to us, just as they
are to persons uttering or speaking their own sentiments. For even the
most illiterate persons are sure, when uttering their own sentiments,
to lay the proper emphasis on their words; though they may, and very
often do, give them the wrong _accents_. If a laboring man, for example,
were to say, “It is a spade, and not a shovel that I want,” he would
be sure to pronounce the words “_spade_” and “_shovel_” with a greater
degree of force than the other words; because he wishes to draw the
particular attention of the person whom he addresses to the _ideas_ or
things which they represent. Had he merely said, “It is a spade I want,”
he would nevertheless have pronounced the word “_spade_” emphatically,
because he wished it to be particularly understood that it was a _spade_,
and not any other implement, such as a shovel, that he wanted. Should
he say, “Is the spade broken?” he would pronounce the word “_broken_”
emphatically; because his object is to obtain precise information on
that point. But if he should say, “Is it the spade that is broken?” he
will lay the emphasis on the word “_spade_,” and not upon “_broken_;”
because, understanding that there is some implement broken, he wishes
to be informed whether it is the _spade_. Again, should he say, “Is it
my spade that is broken?” he will lay the emphasis on the word “_my_”;
because he desires to know whether the spade that is broken is _his_ or
not. Should he ask, “Who broke the spade?” he will lay the emphasis on
the word “_who_;” because, being already aware that the spade is broken,
his object in making the inquiry is, to learn the name of the person who
broke it. And, lastly should he say, “How was the spade broken?” he will
make “_how_” the emphatic word; because, in this case, he wishes to be
informed of the manner or way in which the accident occurred.
“It is obvious from what has been said, that if we understand the meaning
of what we read, in the same degree as a person understands the thoughts
which he utters, we shall, like him, naturally and spontaneously lay the
_emphasis_ on the proper words. It is equally obvious, that if we do not
understand the meaning of what we read, we shall either have to pronounce
all the words with the same degree of force—which would be absurd—or
to run the risk of perverting the meaning of the author, by laying the
emphasis on the wrong words. The following sentence will exemplify
this:—“O fools and slow of heart to believe all that the prophets have
written concerning me.” If we perceive that the intention of our Saviour
was to reproach his disciples for their _backwardness_ in believing, we
shall, in reading it, naturally lay the principal emphasis on the word
“_slow_.” But if we do not see that this was the object of the speaker,
the chances are we shall lay the emphasis on one of the other words, and
thus change or pervert the meaning. For example, if we lay the emphasis
on “_believe_,” it would imply that the disciples were reproached for
_believing_; if on “_all_,” then the inference would be that they might
have believed _some_ of the things which the prophets had written, but
that it was foolish in them to believe _all_. If we lay the emphasis on
“_prophets_,” it would imply that they might have believed _others_, but
that they were fools for believing the _prophets_; if on “_written_,”
the inference would be, that though they might have believed what the
prophets had _said_, it was foolish in them to believe what they had
_written_; and, finally, if we lay the emphasis on “_me_,” it would
imply that though they might have believed what the prophets had written
concerning _others_, yet they were fools for believing what they had
written concerning the _Saviour_.
Even in the most familiar sentences, illustrations of this may be found.
The simple question, for example: “Do you ride to town to-day?” may,
by varying the position of the emphasis, be made to suggest as many
different meanings as it contains words. If we lay the emphasis on
“_you_,” we wish to ascertain from the person addressed, whether it is
he or some other person that is to ride to town to-day; if on “_ride_,”
we mean to ask him whether he purposes to ride or walk; if on “_town_,”
our purpose is to inquire whether it is to the town or to the country he
means to ride; and, finally, if we make “_to-day_” the emphatic word, we
wish him to say whether it is to-day or to-morrow he intends to ride to
town. Even the preposition “_to_,” if made emphatic, would imply, though
obscurely, that we wished the person addressed to say whether he intended
to ride quite as far as the town, or only part of the way.
“We shall show, by a few illustrations, the power which EMPHASIS has over
accent when the sense or meaning requires it:—
1. He must _in_crease, but I must _de_crease.
2. Neither justice nor _in_justice has any thing to do with the
matter.
3. What is done cannot be _un_done.
4. Religion raises men above themselves, _ir_religion sinks them
below the brutes.
5. This corruptible must put on _in_corruption, and this mortal
must put on _im_mortality.
6. To me it was far from being an agreeable surprise; on the
contrary, it was a _dis_agreeable one.
7. Thought and language act and _re_act upon each other.
8. What fellowship hath righteousness with _un_righteousness? and
what communion hath light with darkness?
9. I shall always make nature, truth, and reason, the measures of
praise and _dis_praise.
10. A gentleman who was pressed by his friends to forgive his
daughter, who had married against his wishes, promised to do so,
but added, that he would have them remember that there was a
difference between giving and _for_giving.
“In the preceding, and in all similar cases, the position of the _accent_
is completely changed by the _emphasis_. The reason is obvious: the
speaker wishes to draw the special attention of the person addressed to
the contrasted parts of the words; and hence he pronounces those parts
or syllables _emphatically_, the effect of which is, in such cases, to
change the seat of the accent.
“This transposition of the accent takes place also in words which have a
sameness of termination, even though they may not be directly opposed in
sense; as in the following examples:—
1. Cataline was expert in all the arts of _sim_ulation and
_dis_simulation; covetous of what belonged to others, lavish of
his own.
2. In this species of composition, _plaus_ibility is more
essential than _prob_ability.
“From what has been said with regard to emphasis, we may draw the
following general conclusion: Whenever a person wishes to bring an _idea_
prominently or forcibly under the notice of the person or persons whom
he addresses, he will naturally and instinctively pronounce the _word_
which expresses it with a corresponding degree of _emphatic_ force.
The degree or intensity of the emphasis will, of course, depend upon
the importance of the idea to be expressed, the nature of the subject,
and the feelings or emotions of the speaker. In some cases it will be
_slight_, in others _strong_, and in others, _vehement_ or energetic; and
hence a good general division of emphasis, with regard to its intensity,
might be into three degrees, namely SLIGHT, STRONG, and VEHEMENT. Of
course, there must be a great diversity in the degrees of emphasis, from
the _slight_ to the _vehement_; but the general divisions which we have
suggested will be quite sufficient for practical purposes—and we have no
other in view.
“Though in all properly constructed sentences, every word is useful
and necessary, yet in every sentence the relative importance of the
words must be different. _Articles_, _Prepositions_, _Conjunctions_,
and _Auxiliary_ Verbs, for example, are less important in their
significations than the words which they introduce or connect—as _Nouns_,
_Verbs_, _Adjectives_, and _Adverbs_. And hence it may be laid down as
a general rule, that _the less important words in a sentence should be
pronounced with less of force and distinctness than the more important
words_. And this, as we have seen, we always do in SPEAKING; for it is
to the more important words that we naturally desire to draw the special
attention of the person or persons whom we address, and not to the
ancillary or subordinate words.
“It may also be observed that _Pronouns_, though important parts of
speech, should be classed, with regard to their pronunciation in a
sentence, with the less important words, as _Articles_, _Prepositions_,
and _Conjunctions_. The reason is obvious: no new idea is introduced by a
_Pronoun_. It stands for, or represents, a word which has been mentioned
before, and which is, consequently, already before the mind of the person
addressed. _Pronouns_, therefore, should be always pronounced without
emphasis, unless when some contrast or opposition is intended.[3] We
shall illustrate this by a familiar sentence or two:—
If John is there, I will thank yŏu to give hĭm this book—though,
perhaps, I should give it to _you_, and not to _him_. Yŏu are
right; it is to _me_ you should give it. _You_ think so, but _I_
think differently; and so, I am sure, does _he_.
“In the foregoing sentences, the pronouns printed in _Italic_ are
emphatical, because they are _antithetical_, or opposed to each other;
while the other pronouns in the same sentence should be pronounced
without emphasis, because no contrast or opposition is intended.
“In the same way, any of the less important parts of speech may become
emphatical; as—
I told you to bring me _the_ book, not _a_ book. You were told
to put the book _on_ the table—not _under_ it. It was _and_ I
said—not _or_.
“From what has been said with regard to emphasis, it is evident that all
_antithetic_ or contrasted words are emphatic; and in fact, it is usual
to consider such words only as emphatic. Mr. Walker, and his followers,
for example, hold that in every case of emphasis there is an antithesis
expressed or implied; and that it never can be proper to give emphatic
force to a word unless it stands opposed in sense to some other word
expressed or understood.[4] But this is to take too narrow a view of
emphasis. There are other sources of it besides contrast or antithetic
relation. There may be _absolute_, as well as _antithetic_ emphasis. For
example, if the _idea_ to be communicated is of peculiar or paramount
importance in itself, the word expressing it should be pronounced with
a corresponding degree of emphatic force; and this a person speaking
his own sentiments will naturally do, particularly if he is under the
influence of passion or emotion. It is evident, too, that this kind of
emphasis may extend to _several words in succession_, and even to _whole
clauses of sentences_. This kind of emphasis Mr. Walker himself admits
under the head of “_General Emphasis_.” The following are examples:—
1. What men could do
Is done already: heaven and earth will witness,
_If Rome must fall_, that we are innocent.
2. There was a time, then, my fellow citizens, when the
Lacedæmonians were sovereign masters both by sea and land; when
their troops and forts surrounded the entire circuit of Attica;
when they possessed Eubœa, Tanagra, the whole Bœotian district,
Megara, Ægina, Cleone, and other islands; while this state had
not one ship—no, _not—one—wall_.
3. Or shall I—who was born I might almost say, but certainly
brought up, in the tent of my father—that most excellent
general!—shall I the conqueror of Spain and Gaul, and
not only of the Alpine nations, but what is greater yet,
of the Alps themselves—shall I compare myself with this
_half-year-captain_,—a captain—before whom, should one place the
two armies without their ensigns, I am persuaded he would not
know to which of them he is consul.
“It is usual to subdivide _Antithetic Emphasis_ into Single, Double, and
Treble Emphasis;[5] and to give rules for the proper pronunciation of
_emphatic_ words in each case. But the simple principles we have adopted
render all such rules superfluous; for in all cases of antithesis the
antithetic terms must be either expressed or understood; if they are
expressed, which is usually the case, there can be no difficulty with
regard to emphasis; for when the words which are opposed to each other
in the sentence are expressed in it, the mind instantly perceives the
opposition between them and the voice instinctively marks it in the
pronunciation. The following are examples:—
SINGLE EMPHASIS.
1. Study not so much to _show_ knowledge as to _acquire_ it.
2. He that cannot _bear_ a jest should not _make_ one.
3. We think less of the injuries we _do_, than of those we
_suffer_.
4. It is not so easy to _hide_ one’s faults, as to _mend_ them.
5. The fault, dear Brutus, is not in our _stars_,
But in _ourselves_, that we are underlings.
DOUBLE EMPHASIS.
1. To _err_ is _human_; to _forgive_, _divine_.
2. Custom is the _plague_ of _wise_ men, and the _idol_ of
_fools_.
3. The _prodigal_ robs his _heir_, the _miser_ robs _himself_.
4. The pleasures of the imagination are not so _gross_ as those
of _sense_, nor so _refined_ as those of the _understanding_.
5. Grief is the counter passion of joy. The _one_ arises from
_agreeable_, and the _other_ from _disagreeable_ events—the _one_
from _pleasure_, and the _other_ from _pain_—the _one_ from
_good_, and the _other_ from _evil_.
6. _One_ sun by _day_—by _night_ _ten thousand_ shine.
7. The foulest stain and scandal of our nature
Became its boast—_one_ murder makes a _villain_,
_Millions_ a _hero_.
TREBLE EMPHASIS.
1. _He_ raised a _mortal_ to the _skies_,
_She_ drew an _angel_ _down_.
2. A _friend_ cannot be _known_ in _prosperity_; and an _enemy_
cannot be _hidden_ in _adversity_.
3. The difference between a madman and a fool, is that the
_former_ reasons _justly_ from _false_ data; and the _latter_
_erroneously_ from _just_ data.
4. Flowers of rhetoric in sermons or serious discourses are like
the blue and red flowers in corn, _pleasing_ to _those_ who come
only for _amusement_, but _prejudicial_ to _him_ who would reap
the _profit_.
5. Had you rather Cæsar were _living_, and _die_ all _slaves_,
Than that Cæsar were _dead_, to _live_ all _freemen_?
“In such cases as the preceding, it is obvious that there can be no
difficulty with regard to EMPHASIS; because the words which are opposed
to each other in the sentence are expressed. But when only one of the
contrasted terms is expressed, as in the following examples, the careless
or injudicious reader is apt to overlook its _antithetic_ import, and
will consequently fail to give it the emphatic pronunciation which is
necessary to bring out the full meaning of the sentence.
1. A _child_ might understand it. [The antithesis implied or
suggested in this sentence is obviously—not merely a _man_ or a
person of _mature_ judgment, but even a _child_.]
2. Exercise and temperance will strengthen even an _indifferent_
constitution. [That is, not merely an _ordinary_ or _good_
constitution, but even an _indifferent_ one.]
3. _He_ that _runs_ may read. [That is, not merely a person who
walks, and who has therefore leisure to observe, but even _he_
that runs.]
4. We know the passions of men: we know how dangerous it is to
trust the _best_ of men with too much power. [That is, not merely
_bad_ or _ordinary_ men, but even the _best_ of men.]
5. _Tubal._ One of them showed me a ring which he had of your
daughter for a monkey.
_Shylock._ Out upon her! Thou torturest me, Tubal: it was my
turquoise,—I would not have given it for a _wilderness_ of
monkeys. [That is, so far from giving it for _one_ monkey, I
would not have given it for a _whole wilderness_ of monkeys.]
6. Can a _Roman_ senate long debate
Which of the two to choose, slavery or death!
[That is, _other_ senates may, but can a _Roman_ one?]
7. Curse not the king, no, not in thy _thought_. [That is, not
merely in _words_ or _audibly_, but even in thy _thought_.]
8. And think not to say among yourselves, We have Abraham to our
father: for I say unto you, That God is able of these _stones_
to raise up children unto Abraham. [That is, not merely from the
_seed_ or _descendants_ of Abraham, but even from these _stones_.]
9. By the faculty of a lively and picturesque imagination, a man
in a _dungeon_ is capable of entertaining himself with scenes
and landscapes, more beautiful than any that can be found in the
whole compass of nature. [That is, not only when he is _absent_
from beautiful scenes, but even in a _dungeon_.]
10. A man of a polite imagination is let in to a great many
pleasures that the vulgar are not capable of receiving; he can
converse with a _picture_, and find an agreeable companion in
a _statue_. [That is, he can converse even with a _picture_,
and find an agreeable companion even in a _statue_, which are
pleasures unknown to the vulgar or uneducated.]
“It is obvious, that in each of the preceding examples there is an
antithesis implied or understood; and the only rule necessary in such
cases is, to pronounce the words which imply it with such a degree of
emphatic force as will best bring out the full meaning of the sentence.
And this every reader will naturally do, if he keeps in mind, and puts
into practice, the great and fundamental rule for GOOD READING, namely,
_Understand what you read, and read it as if you understood it._”
INFLECTION.
In speaking or reading, the voice must either rise or fall, if it do not
continue in the same uniform tone. This rising and falling, or upward and
downward sliding of the voice, is called INFLECTION.
When the voice rises, it is, of course, called the _rising inflection_,
and when it falls, the _falling inflection_.
When the voice, instead of either rising or falling, continues during the
utterance of several words in the same tone, it is called a _monotone_.
That falling of the tone which usually takes place at the end of a
sentence or paragraph is termed a _cadence_.
The voice sometimes rises and falls, or falls and rises, on the same word
or syllable. This is called a _circumflex_.
The inflections are generally marked thus:
Rising Inflection, (ˊ)
Falling Inflection, (ˋ)
Cadence, (ˋ)
Circumflex, (ˇ)
The following rules will assist the learner in determining the
inflections. They are as few and as simple as possible, and can be
understood with very little effort, particularly by the aid of a
competent teacher.
I. Whenever the voice must be suspended without the sense being complete,
the _rising inflection_ should be used.
EXAMPLES.
1. No man can rise above the infirmities of naˊture, unless he is
assisˊted by God.ˋ
2. To acquire knowˊledge is the duty of man.
3. Shame being lostˊ, all virtue is lost.
4. Fathˊers, Senators of Romeˊ, arbiters of naˊtions, to you I
fly for refuge.
5. Poor were the expectations of the modˊest, the virˊtuousˊ, and
the goodˊ, if the reward of their labors were expected only from
man.
6. An honest manˊ, (as the poet has saidˊ,) is the noblest work
of God.
II. At the end of a sentence, and in all places where the sense is
complete, the _falling inflection_ should be used.
EXAMPLES.
1. Peace will soon be estabˋlished; confidence will come with
peaceˋ; capˋital will follow conˋfidence; employment will
increase with capˋital; educationˊ will be diffuˊsed, and virtue
will grow with educaˋtion.
2. It is of the last importance to season the passions of a child
with devoˋtion; which seldom dies in a mind that has received an
early tincˋture of it.
3. Temˊperance, by fortifying the mind and bodˊy, leads to
hapˋpiness.
4. Sincerity is to speak as we thinkˋ, to do as we pretend and
professˋ, to perform and make good what we promˋise, and really
to be what we appearˋ to be.
5. The consequences of intemperance are disgraceˋ, povˋerty,
disease, and premature deathˋ.
6. I could not treat a dogˋ ill. Unkindness seldom produces other
than evil effectsˋ.
III. When a question is asked by an interrogative word, the word which
asks the question, as well as all other important words in the question,
takes the _falling inflection_.
EXAMPLES.
1. Whatˋ will you do in the day of visitaˋtion?
2. Whereˋby shall I knowˋ this? Howˋ shall the manifestaˋtion be
madeˋ?
3. Whoˋ do men say that I amˋ? Whomˋ do they represent me to beˋ?
4. Whoˋ is here so braveˋ that he would be a bondˋman?
5. Whatˋ have I doneˋ that you should give me this cruel
treatmentˋ?
6. Whyˋ bendest thou in stormˋ; whyˋ lower thy headˋ?
IV. When a question is asked commencing with a verb, the previous rule is
reversed, and all the important words in the question, particularly the
last, take the _rising inflection_.
EXAMPLES.
1. Is the windˊ blowˊing? Is the sunˊ shinˊing? Is it rainˊing?
Is it snowˊing?
2. Do I loveˊ? dost thou loveˊ? do we loveˊ?
3. Are you coldˊ? Is he poorˊ? Is she vainˊ?
4. Has he not involˊved himself by his improvˊidence?
5. Has that poorˊ man been cheatˊed? has his povˊerty been no
protecˊtion?
EXCEPTION.—_When the question defies contradiction, and is only
interrogatory in form, being really an assertion, the falling inflection
is used: as—_
6. Are not the happy rareˋ? Are not the good the most hapˋpy?
7. Does he not possessˋ this world’s goodsˋ as if he possessed
them notˋ?
8. How fewˋ can we find whose activˋity has not been misappliedˋ?
V.—Words that are contrasted with one another have opposite inflections;
and answers have, generally, opposite inflections to the questions.
EXAMPLES.
1. We see the moteˋ in anothˊer’s eye, but cannot discern the
beamˊ in our ownˋ.
2. He strikes othˊers but hurts himselfˋ.
3. We should judge by the heartˋ rather than the headˊ.
4. Did he act justˋly or unjustˊly? He acted justˊly, not
unjustˋly.
5. Did he say trueˋ or untrueˊ. He said trueˊ, not untrueˋ.
6. I am more inclined to be gladˋ than sorˊry, to loveˋ than
to hateˊ, to make friendsˋ than to deserve foesˊ, to be a good
friendˊ than a bad enemyˋ.
VI.—When words express pity, joy, or grief, they take the _rising
inflection_; and in all language expressive of tender emotion the _rising
inflection_ predominates.
EXAMPLES.
1. Ohˊ dearˊ me. Oh genˊtle sleepˊ, nature’s soft nurseˊ.
2. Piˊty, kindˊ gentlemen, friendsˊ of humanityˊ.
3. Ohˊ, my lordˊ, let me speak a word in thy earˊ.
4. I am thy fathˊer—oh, my sonˊ! my sonˊ!
5. Poor Maˊry. How my heartˊ bled to see her angˊuish, when she
looked upon her departed childˊ.
6. Ohˊ that I knewˊ how I could consoleˊ her, how I could bring
peaceˊ to her mind.ˋ
VII.—When words express denunciation, reproach, violent passion, or
dignified emotion, they take the falling inflection.
EXAMPLES.
1. You wrong me evˋery way—you wrongˋ me, Brutus.
2. Revengeˋ, _revengeˋ_, Timotheus cries.
3. Let no man dareˋ speak ill of my departed fatherˋ.
4. Oh wretched manˋ. Oh unhapˋpy sinner.