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Example.—The Brigantines', even under a female leader', had force enough to burn the enemy's settlements', to storm their camps', and', if success had not introduced negligence and inactivity', they would have been able entirely to throw off the yoke': and shall not we', untouched', unsubdued', and struggling, not for the acquisition', but the continuance', of liberty', declare', at the very first onset', what kind of men Caledonia
has reserved for her defence'? .: Remark.—This last example is introduced for the purpose of illustraListing, in the interrogatory portion of it, not only, that where several e members succeed each other in which the sense is suspended, each must
be closed with the rising inflection and the suspending pause, but, also, that, whatever may be the length of a question commencing with a verb, it is important always to close it with the rising inflection.
1 In the production of Washington', it does really appear as if in nature was endeavouring to improve upon herselfı, and that all
the virtues of the ancient world', were but so many studies preparatory to the patriot of the new'. Individual instances', no doubt', there were';-splendid exemplifications of some single qualification'. Cesar was merciful'; Scipio was continent'; Hannibal was patient'; but it was left for Washington to blend all these great qualities in one', and', like the lovely masterpiece of the Grecian artist', to exhibit', in one glow of associated beauty', the pride of every model', and the perfection of every master'. As a conqueror', he was untainted with the crime of blood'; as a revolutionist', he was free from any stain of treason'; for aggression commenced the contest', and his country called him to the command'. Liberty unsheathed his sword', necessity stained', and victory returned it'.
Shall I', too', weep? Where', then!, is fortitude!?
And what is friendship but a nâmel?
A charm that lulls to sleep!?
But leaves the wretch to weep?
Nor yet for the ravage of winter I mourn';
Kind nature the embryo blossom will save'; But when shall spring visit the mouldering ûrn!?
Oh', when shall day dawn on the night of the gravel?
I have mused in a sorrowful mood'
Where the home of my forefathers stood'.
And lonely the dark raven's sheltering tree';
Where the hunter', and deer', and warriour trodel.
Of what does chapter 3, treat?
Pronounce the letters o, a, e, and u, and the words name, song, &c. in a very deliberate manner, and notice the vanish of the voice at the close of each as it dies away into silence.
What two circumstances in regard to this delicate vanish of the voice at the close of a sound, demand particular attention?
What part of an elementary sound is denoted by each of the terms radical and vanishing movement?
What name is given to the whole movement of the voice in exploding an elementary sound? 1 What is meant by the rising slide of a second?—Please to illustrate it
by experiment. i Please to illustrate the rising slide of a third, of a fifth, and of an octave; and explain each of these terms.
Illustrate the falling slide of a second, of a third, of a fifth, and of an octave; and explain each of these terms.
Now have the goodness to read, several times over, the examples on pages 78, 79, and 80, and describe the inflections adopted.
Repeat and explain Rule 1, without looking into the book.
Repeat Rule 5, and read the examples under it, and show how they illustrate the rule.
What are Exceptions 1, 2, and 3, to Rule 5? Have the goodness to illustrate them by examples. 1 Will you enunciate the Exercises under Exceptions 1 and 2, and ex| plain the application of the exception to the inflections of each ex
ample? | What is Rule 6?--Please to read and explain all the examples un, der it.
What is Rule 7?_Illustrate it by numerous examples.
What Exception is there to the principle contained in Exception second
Read and explain the numerous Exercises which follow Rule 7.
In pronouncing a succession of words, should the tones and modula.
Repeat and illustrate Note 2–also, the Observation under it.
How, according to the Observation, can the example under Note 3, be varied in its inflections?-Illustrate those variations.
Repeat and explain Note 4. .
Repeat and explain Note 7.–Also, Note 8.
On what foundation rests Mr. Walker's scheme for inflecting the various series of words?
Can you cite and explain some examples in which an improper in- te flection presents a wrong meaning? What is meant by a Circumflex or Wave? By what mark is it indicated? Define a Single, a Double, and a Continued Wave.
What is a Direct Equal Wave?-What, an Inverted Equal Wave What, an Unequal Wave?
Please to explain the difference between a Direct Unequal, and an Inverted Unequal Wave.
Illustrate each of these Waves by examples.
Can you illustrate these circumflex movements of the voice on the vowels a, o, ou, ee, ewo, &c.?
Give some examples in which a wave of the voice is proper on some particular words.
Please to read several of the examples under the head of "Promiscuous Exercises,” and explain the rules which apply to them.
FORCE. The terms loud and soft, strong and weak, are employed to express the various degrees of force.
Particular care should be taken not to confound these terms with high and low. The latter are properly applied to the tones, or, more accurately, notes, of the voice. A mistake of this sort, might, therefore, lead one, when he designs to increase the force of his voice, merely to raise it to a higher pitch; and thus, instead of producing the intended, louder and stronger sound, he would only give one more shrill.
The term force, as applied to the utterance of syllables and words, has a meaning distinct from the term loudness, and, also, from that peculiar stress which is denominated emphasis. Force is nearly synonymous with energy. Energy in delivery, may not only be given to single syllables, like accent, and to single words, like emphasis, but unlike accent and emphasis, it may be extended to whole sentences, and even to paragraphs.
In regard to a proper loudness of voice, the first object of every person who reads or speaks to others, doubtless should be, to make himself easily and distinctly heard by all to whom he addresses himself. To effect this, he must fill with his voice the space occupied by the auditory. The volume and power of voice necessary to fill a given space, depend much on a proper pitch, as well as on the force and loudness; but far more, still, (as heretofore intimated,) on a clear and distinct ar. ticulation. It is a great mistake to imagine, that in order to be easily heard, and clearly understood, by those in the remote parts of a large room, a speaker must raise his voice to a high