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What words are exempt from the operation of this rule ?
When should ed be abbreviated?

How should h be aspirated when preceded by w?
How should my and you
be sounded?

Which is the only effectual way to acquire a correct pronuncia

tion?

CHAPTER II, OF PAUSES.

How many pauses are there in good reading?
What is the duration of these pauses respectively?
What is the reader in making them chiefly to depend on?
What will guide him safely in making them?

CHAPTER III. OF EMPHASIS,

What is emphasis?

What is it analogous to?

How should emphatic words, clauses, and sentences be pro

nounced ?

How many forms of emphasis are there?

How are these made?

What is pitch?

What is stress of voice?

Illustrate their difference in the words most and annoy,

What is long quantity?

How should emphasis of this kind be pronounced?

Give examples.

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In what sort of pieces is this kind of emphasis beautiful and effective?

What is a monotone?

What is a depressed monotone?

Give an example of this kind of emphasis.
What is the fourth way of making emphasis?
What are the uses of these pauses?

Give examples of this kind of emphasis.
What is the fifth way of making emphasis?
Give examples.

Which are the more common forms of emphasis?
What kind of emphasis should be used chiefly in solemn and
dignified compositions?

What does the beauty and force of reading principally consist

in ?

What is the design of emphasis?

Where is its seat in the first instance?

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How can the seat of emphasis in the second instance be ascertained?

How should emphasis be made when it occurs frequently? How may we acquire correctness and facility in the use of emphasis ?

CHAPTER IV. OF MODULATION.

What is modulation?
What does it comprehend?
In what respect may pitch be considered?
What is its body or stress?

What is its slide or terminating movement?
Give examples of their slide.
What is the diatonic scale?
How many notes has it?
How many tones?
How many semi-tones ?

Does this scale embrace the whole compass of the human voice?

What is the first rule for using the inflections.

The 2d, the 3d, the 4th, the 5th, the 6th, the 7th, the 8th, the 9th, the 10th, the 11th, the 12th, the 13th.

What influence has the note of admiration on inflection?
What is a circumfiex?

What does it resemble ?

How many circumflexes are there?
How is the rising circumflex formed?
Give an example.

How is the falling circumflex formed?
Give an example.

In what is this movement of the voice employed?

Give examples.

SECTION II. Of Rhythmus.

What is rhythmus ?
What is a foot?

What does a foot begin with?

When should a rest be used at the beginning of a foot?

When at the end of one?

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What are the benefits of rhythmical reading?
Give examples of rhythmical reading,

SECTION III. Of Quality.

What is quality?
Give the examples.

SECTION IV. Of Time.

What does time refer to?

Considered in relation to letters what is it called?

What in relation to whole
Give an example of slow time-of quick time.

passages?

SECTION V. Of Abruptness.

What does abruptness signify?

What does it resemble?

In what kind of words does it occur?

How is the movement of unimpassioned conversation formed? How a simple interrogation?

How a stronger interrogation?

How a still stronger interrogation?

How is the positive and mandatory tone formed?

How is this tone increased?

Ask a question rising to the third-to the fifth-to the octave. Reverse this movement in the positive or mandatory tone.

How do you form an emphasis of pitch?

How do you increase it?

Give examples.

How is the parenthetical modulation formed?

Give an example.

How are anger and rage expressed?

How are contempt and rage?

How scorn?

How revenge?
How pity?

How love?
How grief and sorrow?
How melancholy?

How fear with earnestness?

How terror?

How despair? How despair mingled with rage? What does style signify?

CHAPTER V. OF STYLE.

What does it comprehend?

What should be the manner of the reader?
How should he feel?

How should he be guided in his reading?
How should he pronounce the exordium ?
How the statement ?

How the discussion?

How the peroration?

What should each species of composition have in its delivery?
How should the colloquial be pronounced?
How the purely narrative or didactic?
How the argumentative ?

How the hortatory or declamatory?
How the pathetic?

How the dramatic ?

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How the humorous?

What does the reading of poetry require ?
What is long quantity.?

What is accentual stress?

Where does the cæsural pause occur?

Where the secondary pauses?

What is the rule for pausing at the end of the lines?

What is short quantity?

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N. B. The scholar should not only recite the rule, but also exemplify it in the reading.

OF ACTION.

Should there be any action in reading?
What in unimpassioned pieces?
What in private reading?
What in public recitations?
What should be the action of females ?
What of males ?

What are the principal characteristics of good action?
What is the best rule concerning action?

ON CULTIVATING THE VOICE.

Which is the most perfect voice?
How should you improve it?

What should we attend to in order to improve it?

What in the improvement of the voice should be our oracle and model?

Give examples of a low tone-of a high tone.

Beginning at the key note ascend to the third on the diatonic scale to the fifth-to the octave.

Sound all the notes ascending-descending.
Sound the semitone of the 3d-of the 7th.

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