Part 181 (2/2)
The harmonic pauses, or those which are peculiar to poetry, are of three kinds: the _final pause_, which marks the end of each line; the _caesural_ or _divisional pause_, which commonly divides the line near the middle; and the _minor rests_, or _demi-caesuras_, which often divide it still further
In the reading of poetry, these pauses ought to be observed, as well as those which have reference to the sense; for, to read verse exactly as if it were prose, will often rob it of what chiefly distinguishes it fro, or affected tone, ought to be carefully guarded against
ARTICLE III--OF INFLECTIONS
INFLECTIONS are those peculiar variations of the human voice, by which a continuous sound is made to pass froe of the voice fro_ or _upward_ inflection The passage of the voice fro_ or _doard_ inflection These two opposite inflections , ”Do you _?”
In general, questions thatinflection; while those which de inflection These slides of the voice are not co, or in our printed books; but, when there is occasion to note therave accent to the latter[475]
A union of these two inflections upon the same syllable, is called a _circumflex_, a _wave_, or a ”_circumflex inflection_” When the slide is first doard and then upward, it is called the _rising circuravo-acute circumflex_;” when first upward and then doard, it is denorave circumflex_” Of these complex inflections of the voice, the e sentences o _h~ard_ but I will _se_ the information”--”_o_! but he _pa~used_ upon the brink”
When a passage is read without any inflection, the words are uttered in what is called a _ruravely, on a perfect level
”Rising inflections are farinflections; the fore, while the latter are employed for the purposes of e inflections are often e inflections”--_Coiven nuulation of inflections; but most of these rules are better calculated to ood ones Those founded on the construction of sentences ht, perhaps, do credit to a _mechanic_, but they certainly do none to an _elocutionist_”--_Ib_, p 51
”The reader should bear in ivesinflection Hence it should never be employed merely for the sake of _variety_; but for _e inflection be used for the sake ofinflection would better express theof the author The _sense_ should, in _all_ cases, determine the direction of inflections”--_Ib_
_Cadence_ is a fall of the voice, which has reference not so h it enerally contrasted with emphasis,[476] and by some is reprehended as a fault
”Support your voice steadily and fir words of the sentence with force and vivacity, rather than with a languid cadence”--_Art of Speaking_, p 17 The pauses which L
Murray deno pause, he see theuished them at all For he not only teaches that the former may sometimes be used at the close of a sentence, and the latter so cadencepause must not be confounded with that fall of the voice, or _cadence_, hichis y than this habit The tones and inflections of the voice at the close of a sentence, ought to be diversified, according to the general nature of the discourse, and the particular construction andof the sentence”--_Murray's Gram_, 8vo, p 250; 12mo, p 200
ARTICLE IV--OF TONES
Tones are those s of the speaker They are what Sheridan denoe of emotions”
And it is of the uthtly adapted to the subject and to the occasion; for upon the or interesting in elocution
”How race of discourse, le consideration; that to al emotion, nature has adapted some peculiar tone of voice; insory, or rieved, in a tone that did not suit such ehed at”--_Blair's Rhet_, p 333
”The different passions of the mind must be expressed by different tones of the voice _Love_, by a soft, s, vehement, and elevated voice; _joy_, by a quick, sweet, and clear voice; _sorrow_, by a low, flexible, interrupted voice; _fear_, by a dejected, tree_, by a full, bold, and loud voice; and _perplexity_, by a grave and earnest voice In _exordiums_, the voice should be low, yet clear; in _narrations_, distinct; in _reasoning_, slow; in _persuasions_, strong: it should thunder in _anger_, soften in _sorrow_, tremble in _fear_, and melt in _love_”--_Hiley's Gram_, p 121
OBS--Walker observes, in his remarks on the nature of Accent and Quantity, ”As to the tones of the passions, which are so many and various, these, in the opinion of one of the best judges in the kingdom, are _qualities_ of sound, occasioned by certain vibrations of the organs of speech, independent _on_ [say _of_] high, low, loud, soft, quick, slow, forcible, or feeble: which last may not improperly be called different _quantities_ of sound”--_Walker's Key_, p 305
CHAPTER III--FIGURES
A Figure, in gra, formation, construction, or application, of words There are, accordingly, figures of Orthography, figures of Etyures are judiciously ethen and adorn expression They occur more frequently in poetry than in prose; and several of them are merely poetic licenses
SECTION I--FIGURES OF ORTHOGRAPHY