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3. The words but, hence, standing at the beginning of a sentence denoting transition, require a pause after them.

EXAMPLE.

But, it remained for Charlie, to render the piece well.

4. The word that, when a conjunction or relative, the adverbs when and whence used in the same sense, and also the relative pronouns who, which, what, require a pause before them.

Other instances might be named where pauses would be useful; but it is unnecessary to multiply them. Good judgment will guide one in their use, and inform us when they will bring out the meaning of a passage.

INFLECTIONS.

Inflection is that movement of the voice which, by rising or falling, or by the combination of the two movements, making a circumflex, varies our style of address. The fault of most speakers is the abuse of the monotone; by appropriate inflections it is avoided.

RULES FOR THE USE OF INFLECTIONS.

1. The rising inflection is proper when questions may be answered by yes or no; also when there is doubt or uncertainty the falling, when questions are asked vehemently, or cannot be answered by yes or no.

EXAMPLES.

James,
are you doing right?

Ia

am not.

James, are you doing right?

EXCEPTION.

A request for the repetition of something not understood, or a careless reply, has the rising inflection.

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2. Questions, words, and clauses connected by or, and words and clauses contrasted, have the rising inflection.

EXAMPLES.

Will he go to town or remain at home? You can witness often, the effects of love and hatred, joy and grief.

3. Or, used conjunctively, the rising inflection is required both before and after it, and also in case of contrast, one side being affirmed and the other denied.

Can wealth,

EXAMPLES.

save a soul?

honor, or place My rule is not right, but yours.

4. Every complete sentence has the falling inflection.

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5. In the comparison and contrast of opposites, the first has the rising and the second the falling; though when one side of the contrast is affirmed and the other denied, the latter has the rising. Also familiar address,

and when there is a pause denoting incompleteness.

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If a man is dying, comfort him with religion, and

6. Emphatic words or passages generally have the falling inflection.

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7. When several particulars are enumerated on which something depends, or from their happening something will follow, the last but one has the rising and all the others the falling.

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THE COMPOUND INFLECTION, OR CIRCUMFLEX.

This inflection, perhaps the most expressive of them all, is used to express scorn, contempt, reproach, surprise, &c.

EXAMPLES.

To ask him for a favor! I scorn it. What! you, you insigthe guilty one,

nificant prevaricator. So you see now, you are

and

I am

the judge.

THE MONOTONE.

This regular movement of the voice, when judiciously used, is very expressive, and indispensable. In the rendering of solemn and sublime passages of poetry, it adds wonderful force and dignity.

EXAMPLES.

66 'High on a throne of royal state, which far outshone the wealth of Ormus or of Ind." 'Lord, thou hast been our

66

refuge from one generation to another," &c.

SPECIAL RULE.

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Suit the sound to the word. That is, do not, for instance, in reading the sublime passage from St. Paul, on the resurrection, "There is one glory of the sun, and another of the moon, and another of the stars pronounce each of the emphatic words in the same tone, but indicate you are speaking of the moon, of the sun, bright and glorious, of the glittering stars.

EMPHASIS.

Emphasis is the stress which is given to a word or words in a sentence, to distinguish them from the rest. An excess of it must be avoided. As Cicero judiciously observes, "A speaker must remit occasionally the vehemence of his actions, and not utter every passage with all the force of which he is capable: so as to set off the more strongly the emphatical parts: as the painter makes the figures stand out boldly by light and shades: there are always strong points, as they may be called, in every written piece, which must always be attended to. These hills and dales, mountains and precipices, cataract and gulf; always keep some resources, and never utter the weaker with all your energy; for if you do, there will be a failing in the strong points- the most pathetic parts."

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ABOUT APPLYING EMPHASIS.

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1. Study faithfully what you would render, and discover the emphatic word, for there is always some word or words of greater significance than the rest.

EXAMPLE.

WHAT and WHENCE art thou?

2. Pause somewhat before and after the emphatic word or words.

3. Keep under all other words in the sentence.

4. A repetition of emphatic words or phrases requires an increased force of utterance.

EXAMPLE.

You ruined my son. You, sir!

5. In the climax there is a gradual increase of emphatic force to the end.

EXAMPLE.

Decline, change, and Loss. The forming hand, the tombs, the very ASHES they contained, are ALL gone.

SPECIAL RULE.

In case of parenthesis, repetition, or explanation, the subdued tones are invariably used.

MODULATION AND THE QUALITY OF THE VOICE.

The modulation and tone of the voice are decided by the style of the composition to be rendered. The narrative, descriptive, serious, and passionate are all expressed differently. In the absence of arbitrary rules, à supply of common sense will teach the right expression of any sentiment. Where the passions are much involved, to render well, we must study nature. If we would assume the character of Shylock, take as a model a penurious, money-getting person of your acquaintance, and

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