NOTE I.-The direct address, or call, not emphatic, or expressive of strong feelings, receives the rising inflection, on the principle of the pause of suspension.

EXAMPLES.

1. Peter, standing up with the eleven, lifted up his voice, and said unto them, Ye' men of Jude'a, and all ye' that dwell at Jeru'salem, be this known unto you, and hearken unto my word.

2. Ye living flow'ers that skirt the eternal frost'!
Ye wild goats', sporting round the eagle's nest'!
Ye ea'gles, play'mates of the mountain storm'!
Ye light'nings, the dread ar'rows of the clouds'!
Ye signs' and won'ders of the el'ements!

Utter forth GOD`, and fill the hills' with praise! 3. No! though the orbs of heaven expire,

Thine, Free'dom, is a quenchless fire.

NOTE II. In some instances of a pause of suspension, the sense requires an intense falling inflection.

EXAMPLE.

The moderate use of ardent spirits, if it does not lead to drunkenness, will prove injurious to both the mental and physical faculties.

REMARK. In the foregoing example, if the rising inflection is given on the word drunkenness, the sense will be perverted, and an absurdity be expressed. But if the falling inflection is employed instead, the sense will be appropriate.

NOTE III-Frequently the sense may be complete so far as the words employed are concerned, yet the use of the rising inflection, may indicate an incompletion, and the mind be led to expect some additional remark.

EXAMPLE.

Reason, eloquence, and every art which ever has been studied among mankind, may be abus'ed, and may prove dan'gerous in the hands of bad men'; but it would be perfectly childish to contend that, upon that account, they ought to be abolished.

NOTE IV.-Though the use of the rising inflection when the sense is incomplete, leads the mind to anticipate something to follow, it does not, consequently, hold true that the falling in

What inflection does the direct address receive? Why? What inflection is sometimes required by a pause of suspension? What may the rising inflection generally denote, in cases where the sense is complete? Does a completion of sense always require the falling inflection ?

flection is always proper where the sense is complete, or its use denotes a completion. The rising inflection is often used where the sense is complete. Thus, if one simply states the proposition, "By in'dustry, we obtain wealth,"—the rising is given on industry, and the falling on wealth. But if it is desired to enforce the truth, and one says, "By in'dustry, we obtain wealth"",-the inflections are reversed. This change is caused by the emphasis falling on industry instead of wealth. RULE V..

Expressions of tender emotion, as of grief, or kindness, commonly incline the voice to the rising inflection.

EXAMPLES.

1. And the king was much moved, and went up to the chamber over the gate, and wept; and as he went, thus he said, O' my son Ab'salom! my son', my son Ab'salom! Would God' I had died for thee', O' Ab'salom, my son', my son'!

2. My moth'er! at that holy name',

Within my bosom there's a gush

Of feeling, which no time can tame',-
A feeling which for years of fame',

I would not,-could not crush'!

3. He bleeds'! he falls'! his death-bed is the field'!
His dirge the trump'et, and his bier the shield' !
His closing eyes the beam of valor speak',
The flush of ardor lingers on his cheek';
Serene he lifts to heaven those closing eyes',
Then for his country breathes a pray'er-and dies!
Oh'! ever hallowed be his verdant grave'!
There let the laurel spread, the cypress wave'!
Thou, lovely Spring'! bestow', to grace his tomb',
Thy sweetest fra'grance, and thy earliest bloom';
There let the tears of heaven descend in balm',
'There let the poet consecrate his palm'!
Let honor, pity, bless the holy ground',

And shades of sainted heroes watch around'!
'Twas thus, while Glory rung his thrilling knell',
Thy chief,* O Thebes', at Mantinea fell;

What inflection do expressions of tender emotions receive?

* EPAMINONDAS, a celebrated general of the Theban army, who was killed in the battle at Mantinea, just as his army had achieved the victory.

Smiled', undismayed within the arms of death',
While Victory, weep'ing nigh, received his breath!
4. The chord', the harp's full chord' is hush'ed,
The voice' hath died away,

Where mu'sic, like sweet waters, gush ́ed,
But yes'terday.

The wakening note' the breeze-like swell',
The full o'er-spreading tone',

1

The sounds that sighed-" Farewell', farewell'!"
Are gone all gone'!

5. Me let the tender of'fice long engage',

To rock the cradle of reposing age';

With lenient arts' extend a moth'er's breath',

Make languor smile', and smooth the bed of death';
Explore the thought', explain the asking eye',

And keep at least one pa'rent from the sky'.

NOTE I. The emotions of the mind may be divided into two general classes;—the tender and the strong. The former, as grief, joy, kindness, &c., are not expressed in a strong emphatic manner; the latter, pertaining to the sterner feelings of our nature, as anger, revenge, hatred, &c., are thus expressed, and incline the voice to the falling inflection, according to Rule VII.

NOTE II. The cause of the rising inflection in expressions of tender emotions, is the want of a strong and marked emphasis; for emphasis ever inclines the voice to the falling inflection,— the want of it has the opposite tendency, and inclines it to the rising inflection.

RULE VI.

The Penultimate Pause, or the last but one, of a passage, is usually preceded by the rising inflection.

EXAMPLES.

1. These through faith subdued king'doms, wrought right'eousness, obtained promises, stopped the mouths of li`ons, 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'.

2. Time is the greatest of tyrants. As we go on toward age, he taxes our health', our limbs', our fac`ulties, our strength', and our features.

How may the emotions of the mind be divided, and how expressed? What is the cause of the rising inflection in expressing tender emotion? To what does Rule VI. pertain ?

3. Discomposed thoughts`, agitated passions', and a ruffled tem'per, poison every pleasure of life.

NOTE 1. The rising inflection is given before the penultimate pause, in order to prevent too great a sameness, since the voice generally falls at the end of a passage.

NOTE II-If the words immediately preceding the penultimate pause, are emphatic, the Rule is departed from, and they receive the falling inflection, corresponding in intensity with the degree of emphasis.

EXAMPLES.

1. What I say unto you, I say unto all',-watch!

2. Man would not only be an unhappy, but a rude` and unfin`ished creature, were he conversant with none but his own make.

RULE VII.

Expressions of strong emotion, as of anger or surprise, and also the language of authority and reproach, are ex pressed with the falling inflection.

1.

EXAMPLES.

Throw years away ?

Throw em'pires, and be blame'less; mo'ments seize`,-
Heaven's' on their wing'!-A moment we may wish,
When worlds want wealth to buy. Bid' day' stand still,-
Bid' him drive back' his car, and re-import

The period past,―re-give' the given hour'.
O for yesterdays to come!

2. Come one, come all'!-This rock' shall fly
From its firm base', as soon as I.

3. Begone! run' to your homes, fall' on your knees, Pray' to the gods to intermit the plagues'

That needs must light on this ingrat`itude!

4. Hamlet.-An'gels and ministers of grace' defend' us!
King', Father, Royal Dane! O, an'swer me !
Let me not burst' in ignorance! but tell`,
Why thy canonized bones', hearsed in death,
Have burst their cerements! why the sep`ulcher,
Wherein we saw thee quietly in-urned',
Hath op'd his ponderous and marble jaws',
To cast thee up again! *

*

What is the Rule for the in

Why is the Penultimate Pause preceded by the rising inflection? In what instance is Rule VI. departed from? flection of expressions of strong emotions?

If thou didst ever thy dear fa'ther love!**
Brief let me be;→Sleeping within mine orchard
My custom always of the afternoon,
Upon my secure hour thy uncle stole,
With juice of cursed heb`enon in a vial,
And in the porches of mine ears did pour'
The leprous distill`ment.

* * * *

Thus was I sleeping, by a brother's hand,

Of life, of crown', of queen', at once dispatch'ed;-
Cut off even in the blossoms of my sin',
Unhousel'd disappointed, unanel'd;

No reckoning made, but sent to my account
With all my imperfections on my head.
Hamlet.-O, hor'rible! O, hor'rible! most horrible!
Ghost.-If thou hast nature in thee, bear' it not.

*

* * * Fare thee well at once!

The glow-worm shows the matin to be near,
And 'gins to pale his ineffectual fire;—
Adieu', adieu', adieu! Remember me.
Hamlet.-O all you host of heaven! O earth'!
* Hold', hold', my heart!

And you, my sin'ews, grow' not instant old,
But bear me stiffly up! Remember thee'?
Aye', thou poor ghost', while memory holds a seat
In this distracted globe. Remember thee?
Yea', from the table of my memory

I'll wipe away all trivial fond records',

All saws of books all forms', all press'ures past,
That youth and observation copied there';
And thy command`ment all alone shall live
Within the book and volume of my brain,
Unmixed with ba'ser matter. * *

O villain, villain, smiling villain!—
My tables -Meet it is, I set it down,-

That one may smile, and smile, and be a vil`lain!

NOTE 1.-The expressions of emotion, to which this Rule relates, are the reverse of those, to which Rule V. pertains. The feelings which are expressed with the falling inflection, agreeably to this Rule, are generally of a stern character, as anger, revenge, hatred, envy, and the like. They are marked by a strong emphasis in expression, which is the cause of the falling inflection.

In what do the emotions to which Rule VII. relates, differ from those to which Rule V. pertains? What is the cause of the difference in inflection?