cannon; let them see it, who saw their brothers and their sons | fall on the field of Bunker Hill, and in the streets of Lexington and Concord, and the very wâlls | will cry out in its suppòrt.

20. FREEDOM.

WEBSTER.

Many years long gone, I took my stand by Frèedom, and where | in my earliest youth | my féet | were plánted, there | my manhood and my àge shall march. And for one, I am not ashamed of Freedom. I know her power. I rejoice | in her majesty. I wálk | beneath her banner. I glóry | in her strength. I have seen Fréedom in history, agáin and again; with mine own. eyes I have watched her agáin and agáin | struck dówn on a hundred chosen fields of battle.

I have seen her friends | fly from her; I have seen fóes gather round her; I have seen them | bind her to the stake; I have seen them give her ashes to the winds-regáthering them agáin that they might scatter them yet more widely; but when her foes | turned to exúlt, I have seen her again | meet them | fáce to fàce, respléndent in compléte stéel, and brandishing | in her strong right hand | a flaming swórd, réd with insufferable light.

And I take courage. The people | gather round her. The Genius of America | will at last | lead her sons to Freedom.

BAKER.

21.

PERORATION OF BUZFUZ :-BARDELL VS. PICKWICK.

[The following is an example of the bombastic style of ranting oratory, which is a burlesque of true art.]

Of this man I will say little. The subject presents but few attractions; and I, gentlemen, am not the man, nor are yoú, gèntlemen, the mèn, to delight in the contemplation of revolting heartlessness, and of systematic villany. I say systematic villany, gèntlemen; and when

I say systemátic villainy, let me tell the defendant Pickwick, if he be in coúrt, as I am informed he is, that it would have been more decent in him, more becoming, if he had stopped away. Let me tell him, fùrther, that a counsel, in the discharge of his dùty, is neither to be intímidated, nor búllied, nor put dòwn; and that any attempt to do either the one or the other will recoil on the head of the attémpter, be he plaintiff or be he defendant, be his name Pickwick, or Nóakes, or Stóakes, or Stíles, or Brówn, or Thompson.

But Pickwick, géntlemen, Pickwick, the ruthless destroyer of this domestic oasis in the desert of Goswell stréet,-Pickwick, who has choked up the well, and thrown ashes on the swárd,-Pickwick, who comes before you to-day with his heartless tomáto-sauce and warming-pans,-Pickwick, still rears his head with unblushing effróntery, and gazes without a sigh on the rùin he has made! Dàmages, gèntlemen, heavy damages, is the only púnishment with which you can visit hìm,—the only récompense you can award to my client! And for those dámages she now appeals to an enlightened, a highminded, a rìght-fèeling, a conscièntious, a dispàssionate, a sympathizing, a contemplative júry of her civilized countrymen!

DICKENS.

II. MEDIAN STRESS.

1. The median stress corresponds to the "swell" in music. It is strongest in the middle of a sound or a word. It is adapted to the expression of harmonious and poetic ideas.

2. "It is," says Russell, "the natural utterance of those emotions which allow the intermingling of reflection and sentiment with expression, and which purposely dwell on sound, as a means of enhancing their effect.

3. "This mode of stress is one of the most important

ing or of reading. pansive sound, the

in its effect on language, whether in the form of speakDestitute of its ennobling and exrecitation of poetry sinks into the style of dry prose, the language of devotion loses its sacredness, the tones of oratory lose their power over the heart.

4. "There is great danger, however, of this natural beauty of vocal expression being converted into a fault by being overdone. The habit recognized under the name of mouthing has an excessively increased and prolonged median swell for one of its chief characteristics. In this shape, it becomes a great deformity in utterance,— particularly when combined with what is no infrequent concomitant, the faulty mode of voice known as chanting or singing. Like sweetness among savors, this truly agreeable quality of sound becomes distasteful or disgusting when in the least degree excessive.

5. "The practice of median stress, therefore, requires very close attention. The spirit of poetry and the language of eloquence,-the highest effects of human utterance,-render it indispensable as an accomplishment in elocution. But a chaste and discriminating ear is requisite to decide the just degree of its extent.

6. "Median stress has the form of effusive utterance in sublime, solemn, and pathetic emotions: it becomes expulsive, in those which combine force with grandeur, as in admiration, courage, authoritative command, indignation, and similar feelings. But its effect is utterly incompatible with the abruptness of explosion. Its comparatively musical character adapts it, with special felicity of effect, to the melody of verse, and the natural swell of poetic expression."

7. Median stress requires a prolongation of vowel and liquid sounds; it is a contrast to the abruptness of the radical stress. It prevails in combination with "pure tone" and the "orotund."

MEDIAN STRESS DRILL.

1. Repeat, three times, the long vocals, ā, ē, ī, ō, ū: (1) With moderate force and effusive median stress. (2) With expulsive median stress. (3) With increased force and expulsive median stress.

2. In the same manner repeat, four times, the vocals, ē, ā, ä, a, ō, 0.

3. Count from one to twenty, with soft force and effusive median stress; with loud force and expulsive median stress.

4. Repeat, three times, the following words with expulsive median stress: all, call, ball, tall, hall, pall.

5. Repeat four times, in monotone, with full swell on the prolonged 1, the following: bēlls, bēlls, bēlls, bēlls, bells.

EXAMPLES OF MEDIAN STRESS.

1. Roll on, thou deep and dark blue ocean, roll! 2. Ye winds, ye unseen currents of the air, Softly ye played a few brief hours ago.

3. The curfew tolls the knell of parting day. 4. Hail! holy light, offspring of heaven, first-born.

5. The rivers, lakes, and ocean, all stood still.

6. Sweet Auburn! loveliest village of the plain.
7. Was it the chime of a tiny bell

That came so sweet to my dreaming ear?
Like the silvery tones of a fairy's shell

That he winds on the beach, so mellow and clear.

8. Ring out the old, ring in the new,
Ring, happy bells, across the snow.

9. O Lord, thou art clothed with honor and majesty. 10. And where her sweetest theme she chose,

A soft, responsive voice was heard at every close, And Hope, enchanted, smiled and waved her golden hair. 11. These are thy glorious works, parent of good,

Almighty! Thine this universal frame.

12. Then the angel threw up his glorious hands to the heaven of heavens, saying: "End is there none to the universe of God. Lo! also, there is no beginning." Peal out evermore,

13.

Peal as ye pealed of yore,

Brave old bells, on each Sabbath day.

14. I heard the bells on Christmas Day
Their old, familiar carols play,
And wild and sweet,

The words repeat

Of peace on earth, good-will to men!

15. Thou, too, sail on, O Ship of State!
Sail on, O Union, strong and great!

16. These struggling tides of life that seem
In wayward, aimless course to tend,
Are eddies of the mighty stream
That rolls to its appointed end.

17. From the wall into the sky,

From the roof along the spire:
Ah, the souls of those that die

Are but sunbeams lifted higher.

18. So shall our voice of sovereign choice
Swell the deep bass of duty done,

And strike the key of time to be,

BRYANT.

LONGFELLOW.

When God and man shall speak as one !

WHITTIER.