3. To sit up late at night', to use intoxicating drinks', and to indulge evil passions', are things not permitted in this school.

4. Consider (and may the consideration sink deep into your heart'!) the fatal consequences of a wicked life.

5. The sun being risen', and the discourse being ended', we resumed our march.

6. His adventures', his toils', his privations', his sufferings', his hair-breadth escapes', and his struggles for victory and liberty'; are all remembered.

6. The language of concession, politeness, admiration, entreaty, and tender emotions, usually requires the rising inflection.

EXAMPLES.

1. Your remark is true': the manners of this country have not all the desirable ease and freedom'. We are improving, however, in this respect.

2. My dear sir', we ought not to be discouraged at the fickleness of fortune'.

3. O noble friend'! Thy self-denial is wonderful' thy deeds of charity are innumerable'! Never will I forget thee'!

4. Then Judah came near unto him, and said', O my lord', let thy servant', I pray thee', speak a word in my lord's ears', and let not thine anger burn against thy servant', for thou art even as Pharaoh'.

5. O my son Absalom'! my son', my son Absalom'! Would God I had died for thee', Absalom', my son', my son'!

7. The end of a sentence that expresses completeness, conclusion, or result, usually requires the falling slide of termination, which commences on the general pitch and falls below it; as, The rose is beautiful

EXAMPLES.

1. That industrious scholar has finished his task.

2. The great end of society is to give free scope to the exertions of all.

3. The idea of right can never be effaced from the human

8. At each complete termination of thought, before the close of a sentence, the falling inflection is usually required; though, when several pauses occur, the last but one generally has the rising inflection.

EXAMPLES.

1. Every human being has the idea of duty'; and to unfold this idea, is the end for which life was given him.

2. The rocks crumble'; the trees fall; the leaves fade', and the grass withers.

3. The tears of the sufferers are already dried', their rage is hushed', their complaints are silenced', and they no longer claim our pity.

9. The language of command, rebuke, contempt, ex clamation, and terror, usually requires the falling inflection.

EXAMPLES.

1. Go to the ant', thou sluggard, consider her ways, and be wise'.

2. Awake! ye sons of Spain. Awake! Advance`!

3. If ye are men, follow me! Strike down yon guard',—gain the mountain passes',—and then do bloody work'.

4. Thou slave', thou wretch', thou coward! Away' from my sight!

5. Mercy on me! breathe it not aloud', the wild winds must not hear it, 'tis a foul murder'.

6. What a piece of work is man'! what a subject of contradiction! how noble'! how mean! the glory and the scandal of the universe'.

10. The last member of a commencing series, and the last but one of a concluding series, usually require the rising inflection; and all others the falling.

EXAMPLES.

1. In eloquence we see sublimity', beauty', genius', and power', in their noblest exercise'.

2. It is this depth, this weight', this elevation of principle this purity of motive', which makes them the admiration of the world'.

3. But the fruit of the Spirit is love', joy, peace', long-suffering', gentleness', goodness', faith', meekness', temperance'.

4. In most armies, the ranks are filled with the depraved', the desperate', the cruel', the bloody', and the rapacious'.

5. The youth longs to be at age', then to be a man of business', then to make up an estate', then to arrive at honors', and then to retire'.

11. Emphatic repetition, and the pointed enumeration of particulars, require the falling inflection.

The stress of voice should be gradually increased on each repetition, or succession of particulars. The preceding rule with regard to a commencing and a concluding series, should be duly observed.

EXAMPLES.

1. If I were an American, while a foreign troop was landed in my country, I never would lay down my arms-never` ! NEVER! NEVER!

2. His first cry was, God and liberty'. His second cry was, GOD AND LIBERTY'. His third cry was, GOD AND LIBERTY. 3. He aspired to be the highest'; above the people', above the laws, above his country', above surrounding nations'.

4. They, through faith, subdued kingdoms', wrought righteousness', obtained promises', stopped the mouth of lions, quenched the violence of fire', escaped the edge of the sword`, out of weakness were made strong', waxed valiant in fight', turned to flight the armies of the aliens'.

12. THE CIRCUMFLEX is used in language of irony, sarcasm, derision, condition, and contrast.

EXAMPLES.

1. He is a râre pattern of humanity.

2. That lûlled them as the north wind does the sea.

3. One may be wise, though he be poôr.

4. No doubt yě are the people, and wisdom will die with yoû

5. They tell ûs to be moderate; but thêy, they are to evel in profusion.

4. Is thy servant a dog, that he should do this great thing? 7. They will give us peace! Yes; such peace as the wolf gives to the lamb-the kite to the dove.

8. Talk to me of danger? Death and shame! Is not mŷ race as high, as ancient, and as proud as thine?

9. They follow an adventurer whom they fear, and obey a power which they hâte; wê serve a monarch whom we love,— a God whom we adôre.

10.

""Tis green, 'tis green, sir, I assure ye!"
"Green!" cries the other, in a fury;

"Why, sir, d'ye think I've lost my eyes?"

SECTION IV.-MODULATION.

MODULATION is the act of varying the voice in reading and speaking. Its general divisions are, PITCH, FORCE, QUALITY, and RATE.

The four general divisions, or modes of vocal sound, presented in this section, are properly the elements of Expression; as, by the combination of the different forms and varieties of these modes, Emphasis, Slur, Monotone, and other divisions of Expression are produced.

PITCH.

PITCH refers to the key-note of the voice-its general degree of elevation or depression, in reading and speaking. We mark three general distinctions of Pitch: HIGH, MODERATE, and Low.

1. HIGH PITCH is that which is heard in calling to a person at a distance. It is used in expressing elevated and joyous feelings and strong emotion; as,

1.

Go ring the bells, and fire the guns,

And fling the starry banners out;

Shout "Freedom!" till your lisping ones

Give back their cradle shout.

2. Ye crags and peaks, I'm with you once again!
I hold to you the hands you first beheld,
To show they still are free. Methinks I hear
A spirit in your echoes answer me,

3.

And bid your tenant welcome to his home
Again! O, sacred forms, how proud ye look
How high you lift your heads into the sky!
How huge you are! how mighty and how free!
Ye are the things that tower, that shine, whose smile
Makes glad, whose frown is terrible, whose forms,
Robed or unrobed, do all the impress wear
Of awe divine. Ye guards of liberty!
I'm with you once again!-I call to you
With all my voice! I hold my hands to you
To show they still are free. I rush to you,
As though I could embrace you!

First came renowned Warwick,
Who cried aloud, "What scourge for perjury
Can this dark monarchy afford false Clarence?"
And so he vanish'd. Then came wandering by
A shadow like an angel, with bright hair
Dabbled in blood; and he shriek'd out, aloud,-
"CLARENCE is come-false, fleeting, perjured Clarence;
SEIZE on him, ye furies, take him to your torments.”

2. MODERATE PITCH is that which is heard in common conversation. It is used in expressing ordinary thought and moderate emotion; as,

1. The morning itself, few people, inhabitants of cities, know any thing about. Among all our good people, not one in a thousand sees the sun rise once in a year. They know nothing of the morning. Their idea of it is, that it is that part of the day that comes along after a cup of coffee and a beef-steak, or a piece of toast.

2. The way to wealth, if you desire it, is as plain as the way to market. It depends chiefly on two words, in'dustry and fru