The FALLING INFLECTION is a downward turn, or slide of the voice, used in reading or speaking; as,
\ò
\i
\n
What are you \g?
In the falling inflection, the voice should not sink below the general pitch; but in the rising inflection, it is raised above it.
The two inflections may be illustrated by the following diagrams:
1.
\m
y, \p \p
l/ \r \r
t/ \u \ú
n/ \d \d
e/ \e \e
d/ \n \n
ú/ \t \t
r/ \l \l
Did he act p/ or \y? He acted \y.
2.
\n
y, \w \w
l/ \i \i
g/ \l \l
n/ \l \l
i/ \i \í
l/ \n \n
l/ \g \g
í/ \l \l
Did they go w/ or \y? They went \y.
3.
e/
h/
g/
í/
If the flight of Dryden is h/ Pope continues longer on the
r,
e/
t/
h/
\w g/
\ì í/
\n r/
\g. If the blaze of Dryden's fire is b/ the heat of Pope's is
\c
\ò
\n
\s
\t
\a
\n
more regular and \t.
4.
Is virtue lost′? Is martial ardor dead′?
Is there no heart where worth and valor dwell′?
No patriot WALLACE′? No undaunted TELL′?
Yes`, Freedom, yes`! thy sons, a noble band,
Around thy banner, firm, exulting stand`.
REMARK.—The same degree of inflection is not, at all times, used, or indicated by the notation. The due degree to be employed, depends on the nature of what is to be expressed. For example; if a person, under great excitement, asks another:
s
e
n
r
a
Are you in e the degree of inflection would be much greater,
t?
s
e
n
r
a
than if he playfully asks: Are you in e The former
inflection may be called intensive, the latter, common.
RULES FOR THE USE OF INFLECTIONS.
Direct questions, or those which may be answered by yes or no, usually take the rising inflection; but their answers, generally, the falling.
- Will you meet me at the depot′? Yes`; or, I will`.
- Did you intend to visit Boston′? No`; or, I did not`.
- Can you explain this difficult sentence′? Yes`; I can.
- Are they willing to remain at home′? They are`.
- Is this a time for imbecility and inaction′? By no means`.
- King Agrippa, believest thou the prophets′? I know that thou believest`.
- Were the tribes of this country, when first discovered, making any progress in arts and civilization′? By no means`.
-
To purchase heaven has gold the power′?
Can gold remove the mortal hour′?
In life, can love be bought with gold′?
Are friendship's pleasures to be sold′?
No`; all that's worth a wish, a thought,
Fair virtue gives unbribed, unbought.
- What would content you`? Talents′? No`. Enterprise′? No`. Courage′? No`. Reputation'? No`. Virtue′? No`. The man whom you would select, should possess not one, but all of these`.
NOTE I.—When the direct question becomes an appeal, and the reply to it is anticipated, it takes the intense falling inflection.
- Is` he not a bold and eloquent speaker`?
- Can` such inconsistent measures be adopted`?
- Did` you ever hear of such cruel barbarities`?
- Is this reason`? Is` it law`? Is it humanity`?
- Was` not the gentleman's argument conclusive`?
Indirect questions, or those which can not be answered by yes or no, usually take the falling inflection, and their answers the same.
- How far did you travel yesterday`? Forty miles`.
- Which of you brought this beautiful bouquet`? Julia`.
- Where do you intend to spend the summer`? At Saratoga`.
- When will Charles graduate at college`? Next year`.
- What is one of the most delightful emotions of the heart`? Gratitude`.
NOTE I.—When the indirect question is one asking a repetition of what was not, at first, understood, it takes the rising inflection.
-
When do you expect to return? Next week.
When did you say′? Next week. - Where did you say William had gone′? To New York.
NOTE II.—Answers to questions, whether direct or indirect, when expressive of indifference, take the rising inflection, or the circumflex.
- Did you admire his discourse? Not much′.
- Which way shall we walk? I am not particular′.
- Can Henry go with us? If he chooses′.
- What color do you prefer? I have no particular choice′.
NOTE III.—In some instances, direct questions become indirect by a change of the inflection from the rising to the falling.
- Will you come to-morrow′ or next day′? Yes.
- Will you come to-morrow,′ or next day`? I will come to-morrow.
REMARK.—The first question asks if the person addressed will come within the two days, and may be answered by yes or no; but the second asks on which of the two days he will come, and it can not be thus answered.
RULE III.
When questions are connected by the conjunction or, the first requires the rising, and the second, the falling inflection.
1. Does he study for amusement′, or improvement`?
2. Was he esteemed for his wealth′, or for his wisdom`?
3. Sink′ or swim`, live′ or die`, survive′ or perish`, I give my hand and heart to this vote.
WEBSTER.
4. Is it lawful to do good on the Sabbath-days′, or to do evil`? to save life′, or to kill`?
5. Was it an act of moral courage′, or cowardice`, for Cato to fall on his sword`?
RULE IV. Antithetic terms or clauses usually take opposite inflections; generally, the former has the rising, and the latter the falling inflection.
1. If you seek to make one rich, study not to increase his stores′ but to diminish his desires`.
2.
They have mouths′,—but they speak not`:
Eyes have they′,—but they see not`:
They have ears′,—but they hear not`:
Noses have they′,—but they smell not`:
They have hands′,—but they handle not`:
Feet have they′,—but they walk not`.
BIBLE.
NOTE I.—When one of the antithetic clauses is a negative, and the other an affirmative, generally the negative has the rising, and the affirmative the falling inflection.
1. I said an elder soldier` not a better′.
2. His acts deserve punishment` rather than commiseration′.
3. This is no time for a tribunal of justice′, but for showing mercy`; not for accusation′, but for philanthropy`; not for trial′, but for pardon`; not for sentence and execution′, but for compassion and kindness`.
RULE V. The Pause of Suspension, denoting that the sense is incomplete, usually has the rising inflection.
1. Although the fig tree shall not blossom′, neither shall fruit be in the vine′; the labor of the olive shall fail′, and the fields shall yield no meat′; the flocks shall be cut off from the fold′, and there shall be no herd in the stalls′; yet will I rejoice in the Lord`, I will joy in the God of my salvation`.
BIBLE.
NOTE I.—The ordinary direct address, not accompanied with strong emphasis, takes the rising inflection, on the principle of the pause of suspension.
1. Men′, brethren′, and fathers′, hear ye my defense which I make now unto you.
BIBLE.
2.
Ye living flowers′, that skirt the eternal
frost′!
Ye wild goats′, sporting round the eagle's
nest′!
Ye eagles′, playmates of the mountain
storm′!
Ye lightnings′, the dread arrows of the
clouds′!
Ye signs′ and wonders′ of the
elements′!
Utter forth GOD`, and fill the hills with praise`!
COLERIDGE.
NOTE II.—In some instances of a pause of suspension, the sense requires an intense falling inflection.
1. The prodigal, if he does not become a pauper`, will, at least, have but little to bestow on others.
REMARK.—If the rising inflection is given on pauper, the sense would be perverted, and the passage made to mean, that, in order to be able to bestow on others, it is necessary that he should become a pauper.
RULE VI. Expressions of tenderness, as of grief, or kindness, commonly incline the voice to the rising inflection.
1.
Oh! shall it be forever′?
With grief my heart is swelling′,
From thee′,—from thee′,—to sever′.
2. O my son Absalom′! my son′, my son Absalom'! Would God I had died for thee′, Absalom′, my son′, my son′!
BIBLE.
RULE VII. The Penultimate Pause, or the last but one, of a passage, is usually preceded by the rising inflection.
1. Diligence`, industry`, and proper improvement of time′, are material duties of the young`.
2. These through faith subdued kingdoms`, wrought righteous-ness`, obtained promises`, stopped the mouths of lions`, quenched the violence of fire`, escaped the edge of the sword`, out of weakness were made strong`, waxed valiant in fight′, turned to flight the armies of the aliens`.
REMARK.—The rising inflection is employed at the penultimate pause in order to promote variety, since the voice generally falls at the end of a sentence.
RULE VIII. Expressions of strong emotion, as of anger or surprise, and also the language of authority and reproach, are expressed with the falling inflection.
1. On YOU`, and on your CHILDREN`, be the peril of the innocent blood which shall be shed this day`.
2. What a piece of workmanship is MAN`! How noble in REASON`! How infinite in FACULTIES`!
3. O FOOLS`! and slow of heart to believe all that the prophets have written concerning me`!
BIBLE.
4. HENCE`, HOME`, you idle creatures`, GET YOU HOME`, YOU BLOCKS`, YOU STONES`, YOU WORSE THAN USELESS THINGS`!
5. Avaunt`! and quit my sight`! let the earth hide thee`! Thy bones are marrowless`; thou hast no speculation in thine eyes which thou dost glare` with.
SHAKSPEARE.
6.
Strike`, as I would have struck the tyrants`!
Strike deep as my curse`! Strike`, and but once`!
ID.
RULE IX. An emphatic succession of particulars, and emphatic repetition, require the falling inflection.
1.
All joys but joys that never can expire`.
2. A great mind`, a great heart`, a great orator`, a great career`, have been consigned to history`.
BUTLER.
REMARK.—The stress of voice on each successive particular, or repetition, should gradually be increased as the subject advances.
The CIRCUMFLEX is a union of the two inflections on the same word, beginning either with the falling and ending with the rising, or with the rising and ending with the falling; as, If he goes to ____ I shall go to ____.
The circumflex is mainly employed in the language of irony, and in expressing ideas implying some condition, either expressed or understood.
1. Yoû, a beardless yoûth, pretend to teach a British gêneral.
2. What! shear a wôlf? a prowling wôlf?
3.
My father's trâde? Why, blockhead, are you mâd?
My father, sir, did never stoop so low,—
Hê was a gentleman, I'd have you know.
4. What! confer a crôwn on the author of the public calâmities?
5. But yoû are very wise men, and deeply learned in the truth; wê are wêak, contêmptible, mêan persons.
6. They pretend they come to imprôve our stâte, enlârge our thôughts, and freê us from êrror.
7. But yoûth, it seems, is not my ônly crime; I have been accused of acting a theatrical part.
8. And this man has become a gôd and Cassius a wrêtched creature.
SECTION IV.
MODULATION.
MODULATION implies those variations of the voice, heard in reading or speaking, which are prompted by the feelings and emotions that the subject inspires.
TONE '- Or close the wall up with our English dead!
MIDDLE .- In peace, there's nothing so becomes a man,
TONE '- As modest stillness and humility;
.- But when the blast of war blows in our ears,
SHORT | Then imitate the action of the tiger;
AND + Stiffen the sinews, summon up the blood,
QUICK '- Disguise fair nature with hard-favored rage.
.- On, ON, you noblest English,
HIGH | Whose blood is fetched from fathers of war-proof!
AND + Fathers, that, like so many Alexanders,
LOUD | Have, in these parts, from morn till even fought,
'- And sheathed their swords for lack of argument.
QUICK .- I see you stand like greyhounds in the slips,
AND | Straining upon the start. The game's afoot;
VERY + Follow your spirits, and, upon this charge,
LOUD '- CRY—HEAVEN FOR HARRY! ENGLAND! AND ST. GEORGE!
SHAKSPEARE.
REMARK.—To read the foregoing example in one dull, monotonous tone of voice, without regard to the sentiment expressed, would render the passage extremely insipid and lifeless. But by a proper modulation of the voice, it infuses into the mind of the reader or hearer the most animating and exciting emotions.
The voice is modulated in three different ways. First, it is varied in PITCH; that is, from high to low tones, and the reverse. Secondly, it is varied in QUANTITY, or in loudness or volume of sound. Thirdly, it is varied in QUALITY, or in the kind of sound expressed.
PITCH OF VOICE.
Pitch of voice has reference to its degree of elevation.
Every person, in reading or speaking, assumes a certain pitch, which may be either high or low, according to circumstances, and which has a governing influence on the variations of the voice, above and below it. This degree of elevation is usually called the KEY NOTE.
As an exercise in varying the voice in pitch, the practice of uttering a sentence on the several degrees of elevation, as represented in the following scale, will be found beneficial. First, utter the musical syllables, then the vowel sound, and lastly, the proposed sentence,—ascending and descending.
7. si # i in die. Virtue alone survives.
-------6.--la--#--o-in-do.---Virtue alone survives.------
5. sol # o in no. Virtue alone survives.
-----4.--fa--#--a-in-at.---Virtue alone survives.--------
3. mi # a-in ate. Virtue alone survives.
---2.--re--#--a-in-far.--Virtue alone survives.----------
1. do # a in all. Virtue alone survives
Although the voice is capable of as many variations in speaking, as are marked on the musical scale, yet for all the purposes of ordinary elocution, it will be sufficiently exact if we make but three degrees of variation, viz., the Low, the Middle, and the High.
1. THE LOW PITCH is that which falls below the usual speaking key, and is employed in expressing emotions of sublimity, awe, and reverence.
Nor eye, nor list'ning ear, an object finds;
Creation sleeps. 'Tis as the general pulse
Of life stood still, and Nature made a pause.—
An awful pause! prophetic of her end.
YOUNG.
2. THE MIDDLE PITCH is that usually employed in common conversation, and in expressing unimpassioned thought and moderate emotion.
1. It was early in a summer morning, when the air was cool, the earth moist, the whole face of the creation fresh and gay, that I lately walked in a beautiful flower garden, and, at once, regaled the senses and indulged the fancy.
HERVEY.
2.
As he gayly played with his new-bought toy,
And a merry laugh went echoing forth,
From a bosom filled with joyous mirth.
3. THE HIGH PITCH is that which rises above the usual speaking key, and is used in expressing joyous and elevated feelings.
Let the watchword be "ASPIRE!"
Noble Christian youth;
Whatsoe'er be God's behest,
Try to do that duty best,
In the strength of Truth.
M.F. TUPPER.
QUANTITY.
QUANTITY is two-fold;—consisting in FULLNESS or VOLUME of sound, as soft or loud; and in TIME, as slow or quick. The former has reference to STRESS; the latter, to MOVEMENT.
The degrees of variation in quantity are numerous, varying from a slight, soft whisper to a vehement shout. But for all practical purposes, they may be considered as three, the same as in pitch;—the soft, the middle, and the loud.
For exercise in quantity, let the pupil read any sentence, as,
first in a slight, soft tone, and then repeat it, gradually increasing in quantity to the full extent of the voice. Also, let him read it first very slowly, and then repeat it, gradually increasing the movement. In doing this, he should be careful not to vary the pitch.
In like manner, let him repeat any vowel sound, or all of them, and also inversely. Thus:
[Illustration]
[Transcriber's Note: The illustration is a row of the letter
"O," increasing in size across the page, followed by a row of
the letter "O" decreasing in size. The presumed intent is to
convey loudness.]
REMARK.—Quantity is often mistaken for Pitch. But it should be borne in mind that quantity has reference to loudness or volume of sound, and pitch to the elevation or depression of a tone. The difference may be distinguished by the slight and heavy strokes on a bell;—both of which produce sounds alike in pitch; but they differ in quantity or loudness, in proportion as the strokes are light or heavy.
RULES FOR QUANTITY.
1. SOFT, OR SUBDUED TONES, are those which range from a whisper to a complete vocality, and are used to express fear, caution, secrecy, solemnity, and all tender emotions.
1.
Her breathing soft and low,
As in her breast the wave of life
Kept heaving to and fro.
HOOD.
2.
Lay her to rest;
Place the turf lightly,
On her young breast.
D.E. GOODMAN.
3.
And sighed for pity as it answered,—"No."
2. A MIDDLE TONE, or medium loudness of voice, is employed in reading narrative, descriptive, or didactic sentences.
Her thousand bright and gushing rills,
Her sunshine and her storms;
Her rough and rugged rocks that rear
Their hoary heads high in the air,
In wild fantastic forms.
3. A LOUD TONE, or fullness and stress of voice, is used in expressing violent passions and vehement emotions.
1.
Will ye give it up to slaves?
Will ye look for greener graves?
Hope ye mercy still?
What's the mercy despots feel?
Hear it in that battle-peal,—
Read it on yon bristling steel,
Ask it—ye who will!
PIERPONT.
2.
Sends back the reply: "INDEPENDENCE or DEATH!"
QUALITY.
QUALITY has reference to the kind of sound uttered.
Two sounds may be alike in quantity and pitch, yet differ in quality. The sounds produced on the clarinet and flute may agree in pitch and quantity, yet be unlike in quality. The same is true in regard to the tones of the voice of two individuals. This difference is occasioned mainly by the different positions of the vocal organs.
The qualities of voice mostly used in reading or speaking, and which should receive the highest degree of culture, are the Pure Tone, the Orotund, the Aspirated, and the Guttural.
RULES FOR QUALITY.
1. THE PURE TONE is a clear, smooth, sonorous flow of sound, usually accompanied with the middle pitch of voice, and is adapted to express emotions of joy, cheerfulness, love, and tranquillity.
Attendant on the spring,
Now heaven repairs thy vernal seat,
And woods thy welcome sing.
2. THE OROTUND is a full, deep, round, and pure tone of voice, peculiarly adapted in expressing sublime and pathetic emotions.
Ancient of Days! Thou speakest from above:
Almighty! trembling, like a timid child,
I hear thy awful voice. Alarmed—afraid—
I see the flashes of thy lightning wild,
And in the very grave would hide my head.
3. THE ASPIRATED TONE of voice is not a pure, vocal sound, but rather a forcible breathing utterance, and is used to express amazement, fear, terror, anger, revenge, remorse, and fervent emotions.
The lights burn blue. It is now dead midnight;
Cold, fearful drops stand on my trembling flesh.
4. THE GUTTURAL QUALITY is a deep, aspirated tone of voice, used to express aversion, hatred, loathing, and contempt.
HATE is a feeble word:
I loathe, ABHOR, my very soul
With strong disgust is stirred,
Whene'er I see, or hear, or tell,
Of the dark beverage of hell.
NOTATION IN MODULATION.
| (o) | high. |
| (oo) | high and loud. |
| (o) | low. |
| (oo) | low and loud. |
| (=) | quick. |
| ('') | short and quick. |
| (sl.) | slow. |
| (p.) | soft. |
| (pp.) | very soft. |
| (f.) | loud. |
| (ff.) | very loud. |
| (pl.) | plaintive. |
| (<) | increase. |
| (>) | decrease. |
| (p.) | Soft is the strain when zephyr gently blows, |
| And the smooth stream in smoother numbers flows; | |
| (f.) | But when loud surges lash the sounding shore, |
| The hoarse rough verse should like the torrent roar. | |
| (sl.) | When Ajax strives some rock's vast weight to throw, |
| The line, too, labors, and the words move slow: | |
| (=) | Not so, when swift Camilla scours the plain, |
| Flies o'er the unbending corn, and skims along the main. |
POPE.
| (o=) | Go ring the bells and fire the guns, |
| And fling the starry banner out; | |
| (ff.) | Shout "FREEDOM" till your lisping ones |
| Give back the cradle shout. |
WHITTIER.
| (pl.) | "And now, farewell! 'Tis hard to give thee up, |
| With death so like a gentle slumber on thee!— | |
| And thy dark sin!—oh! I could drink the cup | |
| If from this woe its bitterness had won thee. | |
| May God have called thee, like a wanderer, home, | |
| My lost boy, Absalom!" |
WILLIS.
| (sl.) | The sun hath set in folded clouds,— |
| Its twilight rays are gone, | |
| (o) | And, gathered in the shades of night, |
| The storm is rolling on. | |
| (pl.) | Alas! how ill that bursting storm |
| (>) | The fainting spirit braves, |
| (p.) | When they,—the lovely and the lost,— |
| (pl.) | Are gone to early graves! |
| (o) | On! onward still! o'er the land he sweeps, |
| (>) | With wreck, and ruin, and rush, and roar, |
| Nor stops to look back | |
| On his dreary track | |
| ('') | But speeds to the spoils before. |
MISS J.H. LEWIS.
From every battle-field of the revolution—from Lexington and Bunker Hill—from Saratoga and Yorktown—from the fields of Entaw—from the cane-brakes that sheltered the men of Marion—the repeated, long-prolonged echoes came up—(f.) "THE UNION: IT MUST BE PRESERVED" (<) From every valley in our land—from every cabin on the pleasant mountain sides—from the ships at our wharves—from the tents of the hunter in our westernmost prairies—from the living minds of the living millions of American freemen—from the thickly coming glories of futurity—the shout went up, like the sound of many waters, (ff.) "THE UNION: IT MUST BE PRESERVED."
BANCROFT.
| (p.) | Hark! |
| (sl.) | Along the vales and mountains of the earth |
| (o) | There is a deep, portentous murmuring, |
| (=) | Like the swift rush of subterranean streams, |
| Or like the mingled sounds of earth and air, | |
| When the fierce tempest, with sonorous wing, | |
| Heaves his deep folds upon the rushing winds, | |
| (<) | And hurries onward, with his night of clouds, |
| Against the eternal mountains. 'Tis the voice | |
| Of infant FREEDOM,—and her stirring call | |
| Is heard and answered in a thousand tones | |
| (<) | From every hill-top of her western home; |
| And lo! it breaks across old Ocean's flood,— | |
| (oo) | And "FREEDOM! FREEDOM!" is the answering shout |
| Of nations, starting from the spell of years. |
G.D. PRENTICE.
| (<) | The thunders hushed,— |
| The trembling lightning fled away in fear,— | |
| (p.) | The foam-capt surges sunk to quiet rest,— |
| The raging winds grew still,— | |
| (pp.) | There was a calm. |
| (o,o,) | "Quick! Man the boat!" (=) Away they spring |
| The stranger ship to aid, | |
| (f.) | And loud their hailing voices ring, |
| As rapid speed they made. |
| (p) | Hush! lightly tread! still tranquilly she sleeps; |
| I've watched, suspending e'en my breath, in fear | |
| To break the heavenly spell. (pp.) Move silently. | |
| Can it be? | |
| Matter immortal? and shall spirit die? | |
| Above the nobler, shall less nobler rise? | |
| (<) | Shall man alone, for whom all else revives, |
| No resurrection know? (o<) Shall man alone, | |
| Imperial man! be sown in barren ground, | |
| Less privileged than grain, on which he feeds? |
YOUNG.
| (=) | Away! away to the mountain's brow, |
| Where the trees are gently waving; | |
| ('') | Away! away to the vale below, |
| Where the streams are gently laving. |
| An hour passed on;—the Turk awoke;— | |
| That bright dream was his last;— | |
| He woke—to hear his sentry's shriek, | |
| (oo) | "To ARMS! they come! (ff.) THE GREEK! THE GREEK!" |
| (pl.) | He woke to die, midst flame and smoke, |
| And shout, and groan, and sabre stroke, | |
| And death shots falling thick and fast | |
| As lightnings from the mountain cloud; | |
| And heard, with voice as trumpet loud, | |
| Bozzaris cheer his band;— | |
| (oo) | "Strike—till the last armed foe expires! |
| Strike—for your altars and your fires! | |
| Strike—for the green graves of your sires! | |
| God, and your native land!" |
HALLECK.
| He said, and on the rampart hights arrayed | |
| His trusty warriors, few, but undismayed; | |
| (sl) | Firm paced and slow, a horrid front they form, |
| (pp) | Still as the breeze, (oo) but dreadful as the storm! |
| (p.) | Low, murmuring sounds along their banners fly, |
| (ff.) | REVENGE, or DEATH!—the watchword and reply; |
| (oo) | Then pealed the notes, omnipotent to charm, |
| (f.) | And the loud tocsin tolled their last alarm! |
CAMPBELL.
(o') His speech was at first low toned and slow. Sometimes his voice would deepen, (oo) like the sound of distant thunder; and anon, ('') his flashes of wit and enthusiasm would light up the anxious faces of his hearers, (<) like the far-off lightning of a coming storm.
| (>) | Receding now, the dying numbers ring |
| (p.) | Fainter and fainter, down the rugged dell: |
| (pp.) | And now 'tis silent all—enchantress, fare thee well. |
| (=) | Oh, joy to the world! the hour is come, |
| When the nations to freedom awake, | |
| When the royalists stand agape and dumb, | |
| And monarchs with terror shake! | |
| Over the walls of majesty, | |
| "Upharsin" is writ in words of fire, | |
| And the eyes of the bondmen, wherever they be, | |
| Are lit with their wild desire. | |
| (<) | Soon, soon shall the thrones that blot the world, |
| Like the Orleans, into the dust be hurl'd, | |
| And the world roll on, like a hurricane's breath, | |
| Till the farthest nation hears what it saith.— | |
| (ff.) | "ARISE! ARISE! BE FREE!" |
T.B. READ.
| (p.o) | Tread softly—bow the head,— |
| In reverent silence bow,— | |
| No passing bell doth toll,— | |
| (pl.) | Yet an immortal soul |
| Is passing now. |
MRS. SOUTHEY.
(of.) SPEAK OUT, my friends; would you exchange it for the DEMON'S DRINK, (ff.) ALCOHOL? A shout, like the roar of a tempest, answered, (oo) NO!
| (oo) | The combat deepens! (ff.) ON! YE BRAVE! |
| (=) | Who rush to GLORY, (p.) or the GRAVE! |
| (ff.) | WAVE, Munich, all thy banners WAVE! |
| And CHARGE with all thy CHIVALRY! | |
| (pl.) | Ah! few shall part where many meet! |
| The snow shall be their winding sheet, | |
| And every turf beneath their feet | |
| (sl.o) | Shall be a soldier's sepulcher! |
CAMPBELL.
| (sl.) | At length, o'er Columbus slow consciousness breaks, |
| (oo) | "LAND! LAND!" cry the sailors; (ff.) "LAND! LAND!"—he awakes,— |
| ('') | He runs,—yes! behold it! it blesseth his sight! |
| THE LAND! O, dear spectacle! transport! delight! |
SECTION V.
THE RHETORICAL PAUSE.
RHETORICAL PAUSES are those which are frequently required by the voice in reading and speaking, although the construction of the passage admits of no grammatical point.
These pauses should be as manifest to the ear, as those which are indicated by the comma, semicolon, or other grammatical points, though not commonly denoted by any visible sign. In the following examples they are denoted thus, (||).