gan upon. It may be represented by the mark of the acute accent

The Falling Inflection turns the voice downward, causing it to end on a lower note than it commenced upon; and may be represented by the mark of the grave accent`.

The Circumflex is the union of the two inflections upon the same syllable. When it commences with the rising infection, it is called the Rising Circumflex, and is marked thus; when with the falling, it is called the Falling Circumflex, and is represented thus ^.

Use of the Monotone.

Rule 8.-The Monotone may be used with good effect in grave and elevated descriptions, and in the expression of emotions of sublimity and reverence, as in the following passage from Milton.

High on a throne of royal state, which für
Outshone the wealth of Ormus, or of Ind,
Or where the gorgeous east, with richest hand
Showers on her kings barburic, pearl and gold,
Satan exalted sat!

Or in the following from one of Sheridan's speeches.

The hour is not far distant when an awful knell shall tell you that the unburied remains of your revered patriot are passing to that sepulchral home, where your kingsyour heroes-your sages and your poets lie.

Use of both Inflections.

Rule 9.-The direct question, admitting the answer yes or no, requires the Rising,

and the answer, the Falling Inflection. The following are examples.

Was it done in anger? Nò.

Did you not speak to it? My lord, I did.
A'rmed, say you? Armed, my lord.

From top to toe? My lord, from head to foot.
Then saw you not his fáce? O yès, my lord.

Rule 10.-When the interrogation affects two objects taken disjunctively, the former has the Rising, and the latter the Falling Inflection. Also when negation is opposed to affirmation, the former has the Rising, and the latter the Falling Inflection. As in the following examples.

Will you go to-dúy, or to-morrow?

Are you toiling for fame, or for fòrtune?

Are they affluent, or indigent?

Choose not evil, but good companions.
Seek not for amúsement, but for wisdom.
Pray not for wealth, but for health.

Rising Inflection.

Rule 11.-The Rising Inflection is required in periodic sentences, consisting of several members, in which the sense is not complete, or the meaning is suspended till the close. The same is the case with emotions of grief, compassion, love and reverence. The following are examples.

Ye who listen with credulity to the whispers of fancy, and pursue with eagerness the phantoms of hope; who expect that age will perform the promises of youth, and that the deficiencies of the present day will be supplied by the morrow; attend to the history of Rasselas, prince of Abyssinia.

But not to mé returns

Dáy, or the sweet approach of év❜n or mórn,
Or sight of vernal bloom, or summer's rose,
But clouds instead, &c.

Falling Inflection.

Rule 12.-The Falling Inflection is required in uttering language of terror, indignation, authority and contempt; also in a repetition of emphatic words, or succession of particulars, and in the final pause: as in the following examples.

Back to thy punishment, false fugitive.

Charge, Chester, charge! òn, Stanley, on!

He who cannot persuade himself to withdraw from society, must be content to pay a tribute of his time to a multitude of tyrants; to the loiterer, who makes appointments he never keeps to the consulter, who asks advice he never takes-to the boaster, who blusters only to be praised to the projèctor, whose happiness is only to entertain his friends with expectations which all but himself know to be vain-to the economist, who tells of bargains and settlements-to the politician, who predicts the fate of battles and breach of alliances-to the ùsurer, who compares the different funds-and to the talker who talks only because he loves talking.

The Circumflex.

Rule 13.-The Circumflex is employed where the language is sneering, hypothetical or ironical.

B*

To die-to sleep-no more.

He is more knàve, than fool.

Tell them too, we seek no change, least of all such change as they would bring us.

Fling down your sceptres-take the rod and axe,
And make the mûrder as you make the lûw.

Trûitor! I go-but I return.

Yet this is Rôme! That sits on her seven hills, And from her throne of beauty rules the world. Yet we are Romans.

Is she honest?

Honest, my lord? Aye, hônest for aught I know.

RULES FOR MANAGING THE VOICE.

Rule 14.-Begin gently.

Let the tone of voice, in reading and speaking, be natural and easy.

Rule 15.-Increase the force of the voice, so that it may be heard by the most distant person in the room. But do not be boisterous: a clear articulation and moderate force of voice will be sufficient.

Rule 16.-If the voice should have imperceptibly become too loud, begin the next sentence with a lower tone.

Rule 17.-Vary the voice according to the nature of the subject; the solemn, the serious, the vehement, the familiar, the gay, the humorous, or the ironical.

RULES FOR READING VERSE.

Wherever a sentence, or a member of a sentence, would necessarily require the falling inflection in prose, it ought always to have the same inflection in poetry.

The dawn is overcast, the morning lowers,
And heavily in clouds brings on the day
The great, the important day,

Big with the fate of Cato and of Rome.

The word Rome should have the falling inflection: On the contrary, if the word Rome has the rising inflection, the whole will have a disagreeable whining tone.

Wherever, in prose, the member or sentence would necessarily require the rising inflection, this inflection must always be adopted in verse.

Rule 18.-As the exact tone of the passion, or emotion, which verse excites, is not at first easy to hit, it will be proper always to begin a poem in a simple and almost prosaic style, and so proceed till we are warmed with the subject, and feel the emotion we wish to express.

Rule 19.-Almost every verse admits of a pause in or near the middle of the line, which is called the cæsura; this must be carefully observed in reading verse, or much of the distinctness, and almost all the harmony will be lost. Thus :