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A little practice, it is believed, will give the reader a perfect command of his voice in all the degrees of tone from the lowest to the highest notes to which the voice can be raised.

ACCENT. Accent is a stress of voice given to a particular syllable to distinguish it from others in the same word; as in the word a-tone'-ment, the stress is laid on the second syllable. Accent is, in a measure, dependent on emphasis, and is transposed where the claims of emphasis require it; as when words occur, which have a partial sameness in form, but are contrasted in sense; as,

Neither jústice nor injustice.
Neither hónor nor dishonor.
He must increase but I must decrease.
He that ascended is the same as he that dèscended
Neither láusul nor unlawful.
Neither worthy nor unworthy.

EMPHASIS. Emphasis is a stress of voice laid on particular words in a sentence, to distinguish them from others, and convey their meaning in the best man. ner; as, “ You were not sent here to play, but to study.The learner will perceive that the words play and study are pronounced with more force than the rest of the sentence, and are therefore termed the emphatical words.

A word, on which the meaning of a sentence is suspended, or placed in contrast, or in opposition to other words, is always emphatical.

As to the degree or intensity of force that the reader or-speaker should give to important words in a sentence, no particular rules can be given. He must enter into the spirit of what he readsfeel the sentiment expressed, and he will seldom fail in giving each word its proper force, or emphatic stress. Emphasis is ever associated with thought and emotion ; and he who would become eminent as a reader, or speaker, must remember that the “soul of eloquence is foeling."

I do not request your attention, but demand it.
It is not so difficult to talk well, as to live well.
Prosperity gains friends, adversity tries them.

'Tis hard to say, if greater want of skill
Appear in uriting or in judging ill.
Angels! and ministers of grace,-defend us.
I come to bury Cæsar, not to praise him.

A METHOD OF MARKING THE DIFFERENT FORCES OF WORDS. Various methods have been devised to mark the different forces of words in sentences, in such a manner as to convey a clear idea of the pronunciation. The most simple and practical method is to unite the unaccented words to those that are accented, as if they were syllables of them. This classification naturally divides a sentence into just so many portions, as it contains accents; as in the following sentence:

Prosperity I gains friends | and adversity | tries them. When there is no uncommon emphasis in a sentence, we can pronounce it with more or fewer accents, without materially affecting the sense. The

following sentence may be pronounced in four portions, or in ten, without
any injury to the sense of it.

Pitchuponthátcourseoflife / whichisthemostexcellent andcustom | will

Pitch | uponthát | course of lifewhichisthemòst | éxcellent | andcus-
tom / willmakeit | themóst | delightful.

Some place the bliss ( in action / some , in ease.

Those call it pleasure and contentment, these.
The following extract from the poems of Ossian is inserted as scored
by Dr. Rush:

And is the son of Semo fallen? | Mournful are Tura's walls. / Sorrow
dwells at Dunscai. | Thy spouse is left alone in her youth. The son of
thy love is alone! | 'He shall come to Bragela, | and ask why she weeps ?

| He shall lift his eyes to the wall, / and see his father's sword. | Whose
sword is that? | he will say. | The soul of his mother is sad. I'Who is
that, I like the hart of the desert, | in the murmur of his course ? | His
eyes look wildly round | in search of his friend. | Conal | son of Colgar, |
where hast thou been | when the mighty fell? | Did the seas of Cogorma
roll round thee? | Was the wind of the south in thy sails ? | The mighty
have fallen in battle, , and thou wast pot there. | Let none tell it in Sel-
ma, i nor in Morven's woody land. | Fingal will be sad, ) and the sons
of the desert | mourn.


Jane Taylor. 36

19. Battle of Lexington,

Weems. 39

20. Battle of Bunker's Hill,

Charles Botta. 41

21. Application,


22. The Shortness of Life,


23. The Faithful Greyhound,

M. Dwight. 48

24. Mortality,

Barbauld. 51

25. Immortality,

Barbauld. 52


76. Destruction of Jerusalem- concluded,


79. Address to the Sun,

Ossian. 160

81. Formation of Character,

J. Hawes, D. D. 162

82. On Happiness of Temper,

Goldsmith. 164

84. A Good Scholar,

85. Select Sentences,


86. Select Paragraphs,


87. Happiness is founded in rectitude of conduct,

Harris. 177

88. Virtue and Piety man's highest interest,

Harris. 178

89. Importance of Virtue,

Price. 179

90. The Folly of Inconsistent Expectations,

Aikin. 180

91. On the Beauties of the Psalms,

Horne, 182

98. On the Irresolution of Youth,

Goldsmith. 190

99. The Hero and the Sage,


100. The Blind Preacher,

Wirt. 194

101. Specimen of Welch Preaching, London Jewish Expositor. 196

102. Happiness,

Lacon. 199

107. The Dervis and the Two Merchants,

Lacon. 214

108. On the Present and Future State,

Addison. 215

113. The Just Judge,


114. On Happiness,

Sterne. 226

May. 168

115 On Sincerity,

Tillotson. 228
116 Story of Le Fevre,

Sterne. 230
119 Speech of a Scythian Ambassador to Alexander, Q. Curtius. 244
120 Diogenes at the Isthmian Games,

125 The Nature of True Eloquence,

D. Webster. 254
126 The Perfect Orator,

Sheridan. 254
127, Rolla's Address to the Peruvians,

Sheridan. 255
132. Character of William Pitt,

133. Character of the Puritans,

Edinburgh Review. 268
134. Character of Washington,

Phillips. 271
138. Address to the Patriots of the Revolution, D. Webster. 275
139. Specimen of the Eloquence of James Otis,

140. On Conciliation with America,

Burke. 278
141. Speech on the Question of War with England, Patrick Henry. 280
146. Hannibal to Scipio Africanus,

147. Scipio's Reply to Hannibal,

149. Brutus Speech on the Death of Cesar,

Shakspeare. 293

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112. Casabianca,

Mrs. Hemans.

121. Diversity in the Human Character,

Pope. 247

122. On the Pursuits of Mankind,

Pope. 249

Pope. 251

1A. Providence Vindicated in the Present State of Man,

Pope. 252

128. The Hermit,

Beattie. 256

129. The Marriner's Dream,

Dimond. 258

130. Alexander Selkirk,

Corper. 259

131. The Hermit,

Parnell. 261

135. Stanzas addressed to the Greeks,


136. Song of the Greeks, 1822,

Campbell. 273

137. Warren's Address to the American Soldiers, Pierpont. 275

142. On the Existence of a Deity,

Young. 283

143. To-morrow,

Cotton. 284

144. Vanity of Power and Misery of Kings, Shakspeare. 285

145. Darkness,

Byron. 286

148. Cassius instigating Brutus, Tragedy of Julius Česar. 291

150. Antony's Speech over the Body of Cesar, Shakspeare. 294

151. Othello's Apology for his Marriage, Tragedy of Othello. 296

152. Soliloquy of Hamlet on Death, Tragedy of Hamlet. 298

153. Cato's Soliloquy on the Immortality of the Soul, Trag. of Cato. 299

154. Speech of Catiline before the Roman Senate, Croly's Catiline. 300

155. The Rich Man and the Poor Man,

Khemnitzer. 301

156. Address to the Ocean,

Byron. 302

157. Wisdom,

Pollok. 304

158. The Inhumanity of Slavery,

Cowper. 305

159. The Cuckoo,

Logan. 306

160. The Star of Bethlehem,

J. G. Percival. 30%

161. The Last Man,

Campbell. 308

162. Picture of a Good Man,

Young. 310

163. Hymn on a Review of the Seasons,

Thomson. 311

164. Questions and Answers,

Montgomery. 313

165. On the death of Mrs. Mason,

Mason. 314

166. Ode from the 19th Psalm,

Addison. 315

167. Rest in Heaven,


168. The Star of Bethlehem,

H. K. White. 316

169. Address to Time,

Lord Byron. 317

170. Absalom,

Willis. 319

171. The Miami Mounds,

S. L. Fairfield. 322

172. On Time,

H K. White. 323

173. Jugurtha in Prison,

Rev. C. Wolfe. 325

174. Rienzi's Address to the Romans,

Miss Mitford. 328

175. Battle of Waterloo,

Lord Byron. 330

176. Power of Eloquence,

Cary. 331

177. Death of Marco Bozzaris,

Halleck, 333

178. Dream of Clarence,

Shakspeare. 335


36. Scene from the "Poor Gentleman,”.


37. Scene between Captain Tackle and Jack Bowlin,


103. William Tell,

Knowles. 201

117. Prince Henry and Falstaff,

Shakspeare, 237

118. Prince Arthur and Hubert,

Shakspeare. 241

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