| loveth | righteousness | and | judgment |:||99| the earth is | full | of the goodness of the | || 6. By the Lord word of the Lord | and all the host were the heavens | made; of them by the | breath of his mouth 7. He gathereth the waters of the sea together as a heap |==|==|= be | layeth up the | depth | in store-houses |· |ga|a9|99|8. | 9 Let | all the earth fear the Lord ||| let all the in- | 1 habitants of the world stand in | awe of him |·|-~| 1 9. For he spake | and it was done |;|| and it | stood | fast |||99|99| he commanded what it is Didactic Style. Reflections in Westminster Abbey.—Addison. Though I am | always | serious, I do not know to be | melancholy |;|| and can | therefore take a view of | Nature | in her deep and |solemn | scenes, with the same pleasure as in her most gay and de- | lightful ones |.|99|99| By this means I can im- | prove myself with | those objects which | others con- | sider with | terror |.|99|99|| When I look upon the | tombs of the great |, | every e- | motion of | envy | dies in me |;| when I read the | epitaphs of the | beautiful |, |· out |;||when upon a tomb-stone |, | passion with com when I see the tomb of the parents Icon- | sider the | vanity of grieving them- | selves |,| for those a whom we must quickly | follow |:|99||99|when I see kings lying by | those who de- | posed them |, | when I con- | sider | rival | wits |, | placed || side by side, or the | holy | men | ≈ that di- | vided the | world with their | contests and dis- | putes | I re- | flect with sorrow and as- | tonishment |, | on the little compe- | titions |, | factions, and de bates | of man- | kind. read the several | dates of the | tombs, that died yesterday, and some When I of some six | hun dred years ago, I con- | sider | that | great | day | when we shall all of us raries, They be con- | tempo and | make our ap- | pearance to- | gether.' Oratorical Apostrophe. Anticipation.-Webster. are in the distant | regions of fu- | turiex-ist || only in the | all-cre- | of God |, |- who shall ty, they ating power stand | here, a hundred years | hence, to trace |, | through us, their de- | scent from the | Pilgrims |, | and to survey, as we have now sur- - Iveyed |, | the progress of their country |, | during the | lapse of a century |99|99|99|On the morning of that day, al- | though it will not dis- | turb | us | in our re- pose, the voice of | accla- | mation | and gratitude, com- | mencing on the | Rock | of Plymouth, shall be trans-mitted through | millions of the sons of the Pilgrims, till it lose itself in the murmur 99|99|99|99| of the Pa- | cific | seas Advance, ye | future | *gener- | ations | ! | || We would | hail you |, | as you | rise | in your long succession, | we now fill, and to istence, shall have where we passed |, | our | human du- | ration |.|| We | bid you | welcome land of the Fathers. to this |pleasant| We | bid you | wel * The initial half accent, in words analogous to the above, is assumed as the equivalent of a full accent;-the time of half accent being equal to that of accent, although the force is not. come to the healthful | skies, and the verdant | fields of New England |.|99|99| We❘ greet your ac- cession to the great in- | heritance which | we have enjoyed |.||| We welcome you | to the blessings of good government and religious liberty |.|99|99|We welcome you to the treasures of science, and the de- | lights of learning. We welcome you scendant sweets of do- | mestic | life, piness of kindred |, | dren |.|G|9 measurable blessings im- | mortal | hope light We to the tran to the | hap and | parents |, | and | chilwelcome you to the im- | the of rational ex-|istence, of Christi- | anity |, | and the | of ever-lasting | Truth |!' |||99| Emphasis, as properly defined by Dr. Rush, in his Philosophy of the Voice, and, indeed, as is implied in the very etymology of the term, is not a mere comparative force of accent only, but a concentration of several or of many expressive elements of vocal sound, upon one element or syllable. The comparative force does, no doubt, exist; but its use is to imbody and impress the effect of the rest. Thus, if we select, as an example, the reply of Death to Satan, Back to thy punishment! false fugitive,' we shall find that the first of the emphatic words, while it is intensely forcible, derives much * True rhythm extends itself not only from clause to clause, but from sentence to sentence, and from paragraph to paragraph, and even to the long quadruple pause which follows the close of a piece or discourse. One of the faults in elocution by which the pulpit is sometimes degraded, is the business-like dispatch with which the minister passes from the last word of his sermon to the formula that follows,-as if his purpose were to obliterate, as quickly as possible, the effect of his discourse. · Paragraph pauses are usually double the length of those of periods. Double paragraph pauses are the proper distinctions of the heads of discourse; and these ought to be doubled, if referred to as a definite measure. of its effect from 'explosive' utterance and radical stress,' from aspirated pectoral and guttural quality,' from 'low pitch,' falling inflection,' or 'downward slide,' and 'rapid movement,' or brief time;' and that if we subtract some or even any one of these properties, the exclamation sounds as if divested, more or less, of emphasis. Emphasis may be regarded as classed under the following designations: impassioned,' or 'absolute,' as in the above example, unimpassioned' or 'intellectual,' as in 'designation,' 'distinction,' or 'discrimination,' 'correspondence,' 'contrast,' and 'preference,' or 'choice.' Examples. Impassioned Emphasis. 'Wò is me! for I dwell among a people of unclean lips.' 'Grace! 'tis a charming sound' 'In the day that thou eatest thereof, thou shalt surely die.* Designation. joined in the text.' Unimpassioned Emphasis. The supreme love of God is the duty en Contrast. The former is a blind and noisy applause,— the latter, a more silent and intèrnal homage.' Correspondence. As ye sów, so shall ye rèap. As the hart panteth after the water brooks, so panteth my sóul after thee, O God!' Preference. Better is a dinner of herbs, where love is, than a stalled óx, and hatred therewith.'t EXERCISES IN 'EXPRESSION.' 'Expression,' in elocution, as in music, is the term used * Additional examples, in large numbers, may be selected from any or all of the preceding exercises which express strong emotion. More examples may be found for practice, in the exercises on 'inflection.' The emphasis will, in these cases, be found coincident with the accent indicating the slides of the voice. to indicate the effect of feeling, in utterance. Thus, the learner enunciates words without 'expression,' when endeavouring to read, and still labouring under the difficulty of combining the sounds of syllables: the finished reader gives 'expression,' or throws feeling into what he reads. 'Expression,' therefore, in elocution, implies the utterance of emotion in all its characteristic properties of 'quality' of voice, 'force,' 'stress,' 'pitch,' 'inflection,' 'melody,' 'movement,' 'time,' —or 'quantity,' 'rhythm,' and 'pause,'-'emphasis.' When 'expression' is regarded in consecutive passages, it is termed 'variation,' or, arbitrarily,-but not correctly,modulation.'* The following exercises should be assiduously practised, till every property of utterance, mentioned in each designation, is combined, in full effect, on its example. Awe. 'Pectoral Quality,' 'Aspirated' Utterance,† 'Suppressed' Force, 'Median Stress,' 'Lowest' Pitch, 'Monotone,' 'Slowest Movement,' Long Pauses. Stanza.-Translated by Bowring. 'Thou breathest ;-and the obedient storm is still: Less than the mote of morning's golden beam!' *The terms 'key' and 'modulation,' though in frequent use with reference to elocution, belong exclusively to music; as there are no correspondent facts, in speech and reading, to those which justify these designations in music. See Dr. Rush's just observations on this point. †The deep resonance of the voice in the chest, and an 'impure' or breathing quality of voice, in which we hear the whispering effect of the breath mingling, more or less, with the sounds which are uttered. |