These examples, as do several other preceding ones, with those, too, which follow, illustrate various modes of emphasis, besides the particular ones under which they fall.

Am I to renounce those habits now forevér? And at the beck of whom'?—I should rather say of WHAT' ?—half a minister, half a monkey', a 'prentice politician', and a master coxcomb.

Not inferior to this was the wisdom of him who resolved to shear the wolf. What', shear a wolf! Have you considered the resistancé, the difficulty', the danger of the attempt'? "Nò," says the madman', "I have considered nothing but the right' man has a right of dominion over the beasts of the forest', and therefore I WILL shear the wolf'."

If we mean not basely to abandon the noble struggle in which we have been so long engaged, and which we have pledged ourselves never to abandon' until the glorious object of our contest shall be obtained', we must FIGHT!-I repeat it, sir, we must FIGHT! An appeal to arms^, and to the God of hosts', is all that is left us.

Large was his bounty', and his soul sincere :
Heaven did a recompense as largely send.
He gave to mis'ry' àll he had',-

—a tear;

He gained from hèavén-'twas all he wished'—a friend'. Hush! be still! do you not hear the sound of approaching footsteps'?

VI. Emphasis is sometimes produced by a pause after the emphatical word or phrase, and it sometimes, but more rarely, has a pause before it.

Emphasis, in general, has a pause following it, and such a pause adds to its force.

I shall denote the emphatical pause by a perpendicular stroke thus'.

EXAMPLES.

He did not strike the tyrant from hatred" or ambition. His motives' were admitted to be good; but was not the action', nevertheless, bad?

There are tears' for his love, joy" for his fòrtune', hònór' for his vàlor', and death" for his ambition.

Can parliament be so dead to their dignity and duty' as to give their support to measures thus obtruded' and forced upon them',-measures' which have reduced this late flourishing empire to scorn and contempt?

In vain the noisy crowd',
Like billows fierce and loud',
Against thine empire ràge and rōar;
In vain with angry spite'
The surly nations fight',

And dash' like waves' against the shore.
Let' floods and nations rage',
And all their power engage;
Lèt' swelling tides assault the sky`;
The terrors of thy frown'

Shall beat their madness down`-
Thy throne' forever' stands sécùre.

Of all the faculties which are disordered in dreaming, that which is called mèmory' seems as curiously and profoundly affected as any.

VII. Emphasis is sometimes produced by prolonging the utterance of a syllable, word, or phrase.

This kind of emphasis I shall denote by a horizontal line placed over the emphatic word or passage, as in case of mono

tone.

EXAMPLES.

Shame, shame, on all such cowards.

It is now necessary to instruct the throne in the language of truth. But yesterday, and England might have stood against the world: now' nōne so pōōr to do her reverence. No man

more highly esteems and honors the English troops than I dò. I know their virtues' and their valor. I know they can achieve any thing but impossibilities; and I know that the conquest of English America is an impossibility. You cannot, my lords', you cannot conquer America. If I were an Amèrican', as I am an Englishmán, while a foreign troop remained in my country', I nèvér wōūld lay down mỹ ārms-nēvēr’—nēvēr— nêvēr'.

Socrates' died like a philosopher', but Jēsūs Christ' like ȧ Gōd.
Ye stubborn oaks' and stately pines',

Bend your high branchés and adorè;
Praise him, ye beásts, in different' strains^-
The lamb must bleat', the lion' rōar.

Birds', ye must make his praise your theme ·
Naturé demands a song from yōu^;

While the dumb fish' that cut the stream'
Leap up', and mean" his praises too.

Wide' as his vast dominion lies'

Make the Creator's name be known;
LOUD as his thunder' SHOUT^ his praisé,
And sound' it lofty' as his thrōne.
Jēhōvāh^!—'tis a glōrioūs wōrd^;

O may it dwell on every' tongue^;
But saints, who best have known the Lord,
Are bound to raise the noblest song^.

It should be borne in mind that several of these modes of emphasis may be united in one word or phrase, and that seldom any one of them is used alone. Thus, a pause will most generally accompany every other mode, as has been already observed, and the inversion of a slide or cadence may be united with an elevation or depression of the voice, while a greater intenseness given to a slide in order to make a word emphatical may be combined with the rising or falling of the voice, and with a slower or more rapid movement of it.

The object of emphasis, as intimated first, is to gain the attention of the hearer to some particular thought or sentiment, that it may strike his mind with more force or vividness than it would have done without some attempt of the kind. When the general current, tone, or manner of the voice is suddenly interrupted or varied, it is at once noticed by the hearer, and his attention is turned to what is said. This interruption or variation becomes emphasis, and we hence see why it is that emphasis so much consists in contrast-not contrast of thoughts merely, as some would have us believe, but contrast of manner in expressing them. Thoughts may be, indeed, and often are, contrasted with each other, and they may be, and often are, the foundation of emphasis, so that there would be no emphasis in such case without the contrast; but still this contrast of thoughts is not emphasis, for the latter is a mode of utterance, nor does it always imply a contrast in the thoughts or things to which it has reference, for these may be in themselves sufficiently important to demand attention without a comparison with other objects.

When a whole phrase is emphatical, it is quite a common fault with readers to emphasize only a single word, or a part of the phrase. For example:

Rise', kindling with the orient beam;

Lēt Cāl`vāry's hill' inspire the theme.

Many would emphasize only the word Calvary in the last line; thus, "Let Càlvary's' hill inspire the theme." This reading would rather intimate that persons might possibly allow

some other hill to inspire the theme, and that they were cautioned against it. The hill of Calvary, or Calvary's hill, is the prominent thing held up to view, and all the words which convey that thing to the mind should be made prominent together. Some might read the passage thus, "Let Calvary's hill' inspire the theme," emphasizing the word hill. The latter reading would convey an intimation that the theme might be inspired with something belonging to Calvary besides its hill. "Is man possessed of talents adequate to the great occasion"?" Here great occasion constitutes but one expression of that to which adequate relates, and both words should therefore partake of the emphasis in reading. Place now an emphasis on great, and no where else, and make the passage to be read thus-"Is man possessed of talents adequate to the great occasion'?" The answer might be, Yès, adequate to the great occasion, but not to the little one.

"Is this the man that made the earth to tremble-that shook kingdoms?" Place the emphasis on man, and no other word, and the question would be implied, or was it some one else? Emphasize made only, and the sense would be, is this the màn that made the earth to tremble, or did it tremble of itself? Emphasize tremble, and no other word, and the question would have reference to the trembling of the earth, and nothing else. Pass over all the first members of the sentence without emphasis, and then emphasize shook, and nothing more; the intimation would be that this man shook kingdoms and did nothing farther to them. Now lay an emphasis on the two words shook kingdoms exclusively, and it would be implied that the shaking of kingdoms was his regular business. The fact is, all the words in this passage refer to one complex idea, and this idea is a bold, prominent, and striking_one. All the words, therefore, in the passage, if we except the mere connectives, are emphatical, and are to be so uttered. The passage is a taunting exultation over the once haughty and tyrannical king of Babylon, beheld by the prophet stripped of his power in the world of spirits, and reduced to a level with the meanest of those whom he had once oppressed and despised. Here, too, the prophet indulges in solemn irony over the prostrate monarch, by referring him back to a condition so different from that in which he was now fixed. Every thing in this reference should be appropriately emphatic. The whole should be read with a slow movement of voice, and with a solemn air. I have marked the passage for reading as follows :-"Is this^ the man' that made the earth to tremble'-that shook kingdoms' ?"

The following rule may be deduced from the remarks on the foregoing examples :

RULE.

All the words which are employed to express an idea, thought, or thing deserving particular notice, are to be read emphatically, and not a part of them only.

What has been already said is sufficient to show that emphasis has a connection with the true meaning of a passage, and greatly affects it. To show this more fully, I will produce two more examples, the simplicity of which is calculated to command our attention.

"Will you ride my horse?" Here are but five words, and the question seems to be a very simple one. Let us see, now, in how many ways the sense may be varied by a variation of emphasis both in regard to its mode and its position. First, lay the emphasis on will alone, by using the intensive rising slide-" Will you ride my horsé?" This form intimates that your doing so would give me pleasure, and at the same time I had doubted whether you would wish to ride the animal. "Will you ride my horse'?"-The secondary downward slide is now placed on will, the rest being as before; this presses the question of your being willing to ride. Next, circumflex the same word on a note lower than the key-" Will you ride my horse'?" Do it if you think bèst, or I think you will not, is implied, along with some degree of scorn. In the next place, lay the emphasis on you, with the intensive upward slide, thus-" Will you ride my horsé ?" I had not thought it, though I am glad if it is so, is the implication. With the downward intensive slide on you, thus, "Will yoù ride my horse'?" the meaning is, will you, or will somebody else, ride him. With the same word dropped below the key, and circumflexed, "Will you ride my horse'?" scorn and contempt are expressed, with an implied threat that you will not ride the horse. In the third place, take the word ride, and emphasize that with the intensive upward slide above the key, thus"Will you ride my horsé ?" The question so put implies ineredulity on my part whether you will ride him or not, with the further intimation, that, if you will, the act will be kindly accepted. Read the same word with the intensive downward slide, thus-" Will you ride my horsé ?" The further question is implied, or what will you do with him? will you carry him, or drive him, or what'? Read now the same word with the circumflex, and below the key-" Will you ride my horse' ?"