general rule which can be given is, that we should endeavour to discover which words in a sentence are most intimately connected together, and which are less so, and to introduce our pauses accordingly. If we would read and speak well, we must pause on an average at every fifth or sixth word, or perhaps oftener; indeed it is much easier to say where a pause can not intervene, than where it can. The only words which seem too intimately connected to admit a pause between them, are,

1st. The article and substantive, or first modifying adjective or adverb in natural order.

2nd. The substantive and its adjective immediately preceding, or a single adjective following. 3rd. The adverb and the verb, or adjective, which it immediately precedes, or which it follows, if single.

4th. The preposition and its object.

5th. The verb and its object, if single, immediately following.

Were it only for the purpose of drawing the breath, the use of the pauses in reading would be sufficiently obvious. If we pronounce too many words in a breath, and neglect those intervals where we may pause the most conveniently, we shall often find ourselves obliged to pause, where the sense is not separable, and consequently shall weaken and obscure the composition. But if we take the opportunity of pausing, where the sense will admit of it, we shall never be obliged to

break in upon the sense, when we find ourselves under the necessity of pausing for want of breath.

This use of rhetorical pauses, as well as some others which will appear in the sequel, are so important, that for the old rule,

Learn to read slow; all other graces
Will follow in their proper places,

it may be well to substitute,

Attend to pause; all other graces
Will follow in their proper places.

CHAPTER II.

INFLECTION.-THE NECESSARY INFLECTIONS.

In order to understand what is meant by Inflection, it is necessary to attend to the distinction between musical and speaking sounds. Musical sounds are such as continue for a given time on one precise point of the musical scale, and leap, as it were, from one note to another, while speaking sounds, instead of dwelling on the note they begin with, slide either upwards or downwards to the neighbouring notes, without any perceptible rest on any; so that speaking and musical sounds are essentially distinct, the former being constantly in motion from the moment they commence, the latter being at rest for some given time in one precise note. Accordingly by inflection is meant the slide, whether upwards or downwards, with which each syllable is pronounced.

Inflection is independent of the pitch of the voice, and of the time in which the whole word is pronounced, as well as of the loudness or softness which may accompany any pitch. On whatever point of the musical scale the pronunciation of a syllable begins, and whether the time be quick or slow, or the tone loud or soft,

it necessarily slides either upwards or downwards. The degree in which it rises or falls may vary, according to the variety of passion, but it must do either one or the other; otherwise the sound would degenerate into monotone or song.

These slides or inflections, which the voice makes in pronouncing words, are two, the rising and the falling; and they may be marked thus, / the rising

the falling inflection.
S

In order to make these different inflections of the voice more easily apprehended, let us suppose that we have to pronounce the following

sentence:

Does Cæsar deserve fame or blame?

This sentence, it is presumed, will at first sight be pronounced with the proper inflections of voice, by every one who can read at all; and if the reader will but closely attend to the sound of the words fame and blame, he will have an example of the two inflections here spoken of; fame will have the rising, and blame the falling inflection. But to make this distinction still clearer, if, instead of pronouncing the word fame slightly, he give it a strong emphatic force, and let it drawl off the tongue for some time before the sound finishes, he will find it slide upwards and end in a rising tone. If he make the same experiment on the word blame, he will find the

sound slide downwards, and end in a falling tone; and this drawling pronunciation, though it lengthens the sounds beyond their proper duration, and carries them through more degrees of the musical scale, does not alter them essentially: the same inflections are preserved as in the common pronunciation, and the distinction, though not so perceptible, is as real in one mode of pronouncing as in the other. The best method, therefore, of ascertaining whether we make use of the inflection we intend, is to form the word into a question with the disjunctive or. Thus, in the following sentence,

A contented mind, and a good conscience, will make a man happy in all conditions.

In order to pronounce this sentence to the best advantage, it will be necessary to lay the falling inflection on the word mind, the rising on conscience, and the falling on all. If, therefore, I would know the falling inflection which I am to lay on mind, I must form the word into this question:

Is it mind or mind?

and the pronunciation of the last mind will be that which I must adopt. If I want to know the rising inflection on conscience, I must say,

Is it conscience or conscience?

and the first pronunciation is that which I must adopt. So, too, the falling inflection on all will be determined by saying,