same marks when used to-day in our works on elocution. Dr. Schmidt, in the "Rythmic and Metric of the Classic Languages," says: "It is easy to see that a Greek verse can and must be pronounced throughout with the prose accents, and that this can be done without any conflict arising between the prose accents and the quantity of syllables and their ictus in poetry. The following verse, therefore, may be read:

"Here, as it happens, the high tone and the ictus coincide in the first measures, but not in the fifth and sixth. But in English, as before remarked, the high tone is almost always joined to the ictus.

verse is accented in reading as follows:

The following

"Hail to the chief who in triumph ad

- van · ces.

In this way there arises a regularity in the succession of the high and low tones which very closely resembles singing." As Schmidt says truly, in modern verse, because it is read, not chanted, the ictus and the high tone are connected more invariably than in the ancient verse. For this reason the ictus or stress, when given at the beginning or end of the line, must indicate very nearly the same thing as the high tone when used at these places. What the former indicates was shown when treating of stress and the measures. What the latter indicates is to be shown now. Those who choose to compare the two

results will find that, practically, they agree, and so, while considering accent as related to pitch, will derive a confirmation of the truth of the principles unfolded when considering it as related to force.

Let us take up, then, the different kinds of accent already mentioned as necessitating the rising and falling movements of the voice. The accent accompanying terminal measure, in which the high tone ends but does not begin the line, and corresponding to the rising inflection, according to elocutionary principles, must emphatically open the channel of thought, as if to speed it forward, producing thus an anticipative effect. Accents accompanying initial measure, in which the high tone begins but does not end the line, and corresponding to the downward inflection, must emphatically close the channel of thought, producing thus a conclusive effect. Now contrast the following. Is it not a fact that the rising movements have a constant tendency to sweep the thought along with their current, and the falling to check it? This is rising:

Though my back I should rub
On Diogenes' tub,

How my fancy could prance

In a dance of romance.

Over hill, over dale,

-Life of Napoleon: Scott.

Thorough bush, thorough brier,

Over park, over pale,

Thorough flood, thorough fire.

-Midsummer Night's Dream, ii., 1: Shakespear.

Past cannon they dashed,

Past cannon that flashed,

Past cannon that crashed

Through their columns in vain.

-A Charge: Anon.

And these are falling:

Down they tear, man and horse,
Down in their awful course;
Trampling with bloody heel
Over the crashing steel,—
All their eyes forward bent,
Rushed the Black Regiment.

-The Black Regiment: Boker.

Cannon to right of them,

Cannon to left of them,

Cannon in front of them

Volley'd and thundered.

-Charge of the Light Brigade: Tennyson.

These, again, are rising:

Oh, young Lochinvar is come out of the west,
Through all the wide border his steed was the best.

-Lochinvar: Scott.

I sprang to the stirrup, and Joris, and he,

I galloped, Dirk galloped, we galloped all three.

-How They Brought the Good News: Browning.

Buried and cold when my heart stills her motion,
Green be thy fields, sweetest isle of the ocean.

-Exile of Erin: Campbell.

The hard earth whereon she passes,
With the thymy-scented grasses.

And all hearts do pray, "God love her."

-A Portrait: Mrs. Browning.

The two effects under consideration may not be apparent to the reader in all of these quotations; but if we turn to the stronger methods of securing the same endthose corresponding to the rising and falling circumflex,none probably will fail to recognize them. Notice, in the

following, how the effect of the rising movement is increased when an accented syllable at the end of one line is followed immediately by an accent at the beginning of the next line:

Comrades, leave me here a little, while as yet 't is early morn;

Leave me here; and when you want me, sound upon the bugle-horn. -Locksley Hall: Tennyson.

In the same way, the checking effect of the falling movement is stronger when an unaccented syllable at the end of one line is followed by another unaccented syllable at the beginning of the next; e. g.:

With deep affection
And recollection,

I often think of

Those Shandon bells;

Whose sounds so wild would,

In the days of childhood,

Fling round my cradle

Their magic spells.

-The Bells of Shandon: F. Mahony.

But the rhythm corresponding to the rising inflection, besides emphatically opening the channel of thought, as if to speed its current onward, should also, according to the principles of elocution, have the effect of representing anticipation, hope. Look at this:

When ends life's transient dream,
When death's cold sullen stream

Shall o'er me roll,

Blest Saviour, then in love,

Fear and distrust remove,

O bear me safe above,

A ransomed soul.

-Hymn: Palmer.

And that corresponding to the falling inflection should