of emphasis in writing, as a change of type is in printing; the italic letter marking the slighter degrees of emphasis, and the capital the stronger. Good taste directs that these symbols which are addressed to the eye should rarely be used and thus it is left to the discrimination of the reader alone to determine the place of the emphasis, as well as the kind of emphasis to be employed.

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The object of emphasis being to distinguish some words from others for the purpose of giving them more importance in utterance, it is clear that whatever will serve to arrest the ear and fix the attention upon a word performs this office; and this may be done by the use of any of the following elements, explained in the last chapter;-to wit, Time, the various kinds of Stress, Pitch both concrete and discrete, the Waves, Force, and several of the modifications of Quality, as the term is applied to the voice. We proceed to give a few examples of these different kinds of emphasis, in the order in which the elements employed were introduced to the learner, in the last chapter. And here the fact must force itself upon the attention, that if emphasis can be given in so varied a manner, all apology for monotony in spirited delivery is at once removed. In no department of observation do we find that nature has lavished her gifts in greater profusion, than in furnishing the materials of an effective delivery.

I. TEMPORAL EMPHASIS.

The element of Time or Quantity, though never discon nected from all other elements which contribute to emphasis, is yet the predominant characteristic in the expression of serious dignity. It can be given only on syllables which admit of indefinite extension.

EXAMPLES.*

1. Roll on, thou deep and dark blue ocean-roll.

2. Nine times the space that measures day and night To mortal men, he with his horrid crew

3.

Lay vanquished.

For soon expect to feel

His thun-der on thy head, de-vour-ing fire.
Then who created thee lamenting learn,

When who can un-create thee thou shalt know.
So spake the seraph Abdiel, faithful found
Among the faithless, faithful on-ly he.

II. EMPHASIS OF STRESS.

Among the modes of distinguishing syllables are the different modes of stress; and these are varied both with the sentiment, and with the character of the syllable on which the stress is to be employed

EXAMPLES.

Radical Emphasis.-This form of Emphasis is suited to the expression of anger and all the violent emotions; and is the one usually employed in rapid utterance. The Radical is the only kind of stress which immutable syllables will bear, but it may be given on syllables of indefinite time.

1. The prison of his tyr-anny who reigns

3. The universal cry is-Let us march against Philip, let us fight for our lib-erties-let us con-quer or die!

*NOTE TO THE TEACHER.-In the exercises of this section, the learner should first be permitted to employ his own skill in execution. Afterwards he may read them with his teacher.

Median Emphasis.-This form of Emphasis is more dignified than the last, and is consequently well suited to the expression of lofty and sublime sentiments, and to the language of veneration and prayer. It can be given only on syllables of indefinite quantity.

1. Wonder not, sovereign Mistress, if perhaps Thou canst, who art sole wonder!

2. Oh swear not by the moon, the inconstant moon, That monthly chan-ges in her circling orb.

3. Hail, ho-ly light, offspring of Heaven first-born! Or of the Eternal co-eternal beam

May I express thee unblamed?

4. Spare thou those, O God, who confess their faults.-Res-tore thou them that are penitent.

Vanishing Emphasis.-This form of Emphasis usually expresses impatience, angry complaint, or some other modification of ill humor. It is especially adapted to hasty interrogation, and may be given on any but the immutable syllables. The tent scene between Brutus and Cassius furnishes numerous examples of this.

1. Brutus. Let me tell you, Cassius, you your-self

Are much condemned to have an itching palm;
To sell and mart your offices for gold

To undeservers.

Cassius. I an itching palm?

You know that you are Bru-tus that speak this,
Or, by the Gods, this speech were else your last.

Brutus. The name of Cassius honors this corruption,
And chas-tisement doth therefore hide his head.

2. Brutus. Must I give way and room to your rash choler? Shall I be frighted when a mad-man stares?

Cassius. O ye gods! ye gods! must I endure all this?

3. Hamlet. Saw who?

Horatio. My lord, the King, your father.

Hamlet. The King, my fa-ther?

Compound Emphasis.-This consists in an application of the compound stress to a syllable of indefinite time; and is the most forcible form of emphatic stress.-It is particu larly appropriate to the forcible expression of earnest or angry interrogation.

1. Arm, warriors, arm for fight.

2. Dost thou come here to whine?

To outface me by leaping in her grave?

III. EMPHASIS OF PITCH.

The melody of unimpassioned discourse consists of a succession of syllables, whose concrete movement is only through a single tone, the discrete movement from syllable to syllable being also through the same interval. This is called the Diatonic melody. Any deviation from this movement, like a slide or a skip through a third, fifth, or octave, on any syllable, would most obviously produce such a distinction as to answer the purpose of emphasis, and that whether this movement were upward or downward, whether concrete or discrete. As the rising and falling movements of the voice have different expressions, they will be treated separately.

1. EMPHASIS OF THE RISING INTERVALS.

The appropriate expression of the rising intervals is interrogation. This subject has been introduced to the learner in Sec. V, of Chap. I; and will be further discussed under the head of Expression. But beside the interrogative expression, the rising movements both of a third

and a fifth may be used for purposes of emphasis merely; while that of the octave probably always combines emphasis with the thorough interrogative intonation.-The slide through the wider intervals should be struck on a line below the current melody.

EXAMPLES.

Emphasis of the Rising Concrete Third.-This is the emphasis of simple interrogation; and is also employed to express the lower shades of emphatic distinction, as they occur in the diatonic melody.

1. Gavest thou the goodly wings to the pea-cocks? or wings and feathers unto the os-trich?

2. I love not man the less, but nature more,

From these our interviews.

3. Yet Bru-tus says he was ambitious.

Emphasis of the Rising Discrete Third.-This has the same expression with the concrete rise of a third, and is rarely used but on immutable syllables.

1. Canst thou draw out leviathan with a hook?

2. Which, if not vic-tory, is yet revenge.

3. Why then their loss deplore, that are not lost!
4. Why should that name be sounded more than yours?

Emphasis of the Rising Concrete and Discrete Fifth.— The examples which illustrate the two preceding forms may be used for illustration here, by adding to the energy with which they are pronounced. The intervals of the fifth are of more rare occurrence than the third. The foliowing additional examples must suffice.

Concrete.

1. Wouldst thou be King?