ACCENT.

110. By Accent we mean the stress of the voice on a certain syllable of a word which has more than one syllable. In writing we show this stress by a mark, thus ( ́); as, expletive, muse'um, con-tra-dict'. The following words are accented on the first syllable: Ex'qui-site, mis'chievous, ve'hement; the following on the second: Contrib'ute, horizon, sonoʻrous; the following on the third: Comprehend', privateer', violin'. Some words have more than one syllable ac-cent'ed; as, in'di-vis'i-bil′i-ty.

111. Several words, which are spelled alike as nouns and verbs, and appear the same when written or printed, are distinguished by a difference of accent. Thus we say a perfume, to per-fume'; a pres'ent, to pre-sent'; an accent, to ac-cent'; a reb'el, to re-bel'; an in'crease, to in-crease'; a record, to record'; an in'sult, to in-sult', &c. Let the accents be properly marked in the words of the following sentences:

Let us look up again at this immense concave above us, where sparkle the countless stars. If it be solid, who is the architect? Who is it that has fastened in it, at regular distances, such grand and luminous bodies? Who makes this vaulted sky to turn round us so regularly?

True eloquence must exist in the man, in the subject, and in the occasion. Affected passion, intense expression, the pomp of declamation, all may aspire after it; they cannot reach it. It comes, if it come at all, like the outbreaking of a fountain from the earth, or the bursting forth of volcanic fires, with spontaneous, original, native force.

SILENT LETTERS.

112. Remember that certain letters are silent, or unsounded, in certain words. Thus the b in doubt, climb, limb, subtle, &c., is unsounded. So is the c in indict, victuals, &c.; the d in Wednesday; the g in gnaw; the h in heir, honest, hour; the k in knife; the 7 in half, should; the n in hymn; the p in empty; the s in island; the t in often, pestle, &c. &c.

EMPHASIS, PAUSE, ETC.

113. Emphasis is a variation of the voice, either by stress or pause, applied to one or more words in a sentence, to indicate distinction, or enforce the meaning. The words in Italic in the following sentence should be emphasized : "I do not ask, I demand your attention." The learner should avoid multiplying unnecessary emphatic words; as the effect is thereby weakened when there is occasion for it.

114. We have seen that, in every word, except monosyl

lables, there is one syllable, and sometimes more, upon which the voice falls more strongly than on the rest; and this syllable is called the ac-cent'ed syllable. Just so, in every sentence, there is one word at least, and sometimes more, that requires a particular stress of the voice, and this stress is called the emphasis. The sense of a sentence often depends on the right placing of the emphasis. Thus, in the sentence, "Did you give him a ripe orange?" the direct meaning may be taken in seven different ways, according as the emphasis is bestowed on the seven .words separately.

115. Pauses are suspensions of the voice in reading or speaking. Remember that slight pauses must often be made at places where there are no punctuation-marks. Thus: "The general that commanded the army was slain." In this sentence there should be a slight pause after army, although there is no punctuation-mark. Have constant regard to the meaning of what

you read.

Emphasis requires a transposition of accent when two words which have a sameness in part of their formation are opposed to each other in sense; as, "What is done cannot be undone. Thought and language act and react upon each other."

INFLECTION, ETC.

116. Inflection has reference to the change of tone suitable for the expression of certain ideas and passions. Try the question, "Was it John, or was it James?" When distinction is implied, it will be perceived that there is a very decided difference in the tone. That tone which we give to the former name is the rising inflection; that which we give to the latter is the falling inflection.

It should be explained to pupils that one of the principal circumstances to be regarded, in first attending to the speaking voice, is its power of conveying by one single percussion, independently of articulation, an idea of continuation or completion.

It may be readily made apparent to the young that every conversation exhibits the distinction between the rising and falling inflection; that, in every part of a discourse, the upward or downward slide of the voice suggests, either that the speaker has not finished the sentence, or that he has entirely concluded the period.

The middle falling inflection signifies that a portion of meaning is formed, but that something more is to be added. The middle rising inflection prepares the ear for the cadence, or entire conclusion. The extreme falling inflection implies that the sentence is complete.

117. The rising inflection is that tone of the voice which we give to what is incomplete, or suspended; as, "Did he say

For the sake of

No?" It is the tone of doubt and entreaty. convenience, we will mark this inflection precisely as we do an accented syllable, thus ( ́). This mark is called the acute

accent.

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118. Direct questions, or those commencing with a verb, and which can be grammatically answered by a simple yes or no, generally take the rising inflection; as, Will you ride? "Can he read?" By the tone of the voice we indicate to the person whom we interrogate that we are wholly in a state of suspense, and that a simple yes or no will terminate it.

The peculiar emotion with which the question is put is, however, the true guide to the inflection. A direct question to which the answer is anticipated takes the falling inflection; as, "Is not that a beautiful sunset'?" A direct question made emphatic by passion may also take the falling inflection.

119. Where the words saying or said, exclaiming or exclaimed, asking or asked, replying or replied, or words similar in effect, occur, followed by what is said or asked, the voice must generally take the rising inflection, and there must be about the same pause after it that there is after a colon; as, Ringing the bell, he said, 'Give me my hat.' "He passed out of the room, exclaiming', 'I will have no more to do with you!''

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120. The pause of suspension, in incomplete sentences, denoting that the sense is unfinished, generally takes the rising inflection; as, 66 The young', the healthy and the prosperous', should not presume on their advantages`. To choose the best among the good is one of the most hazardous attempts of criticism`." 121. The falling inflection is the tone of completeness and determination. We have indicated it in print by this mark (`), called the mark of the grave accent. Whenever the sense is complete, whether at the close or any other part of a sentence, the falling inflection should be employed; as, "Live well." "As you value the approbation of Heaven, or the esteem of the world, cultivate the love of truth; in all your proceedings be direct and consistent."

122. Indirect questions, or those commencing with an adverb or pronoun, and which cannot be grammatically answered by a simple yes or no, generally take the falling inflection; and so do the answers to such questions; as, "Where is he going?" "Which was the wiser man?"—"I

"I don't know`."

cannot say`."

If the question form an exclamation, it will sometimes require the rising inflection; as, "Where shall we go'?”. -"What shall we do'? "

When the indirect question is not understood, and a repetition is required, it takes the rising inflection; as, "Whose book is it?"-" Mine`.” — "Whose, did you say'?"

123. Exclamation declares the emotion of the speaker: the inflection at the concluding accent is either rising or falling, according to the signification of the member of the sentence to which it is subjoined.

Language of deep emotion, of authority, surprise, denunciation or terror, generally takes the falling inflection; as, "Me miserable!"-"What a piece of work is a man'!"

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When exclamatory sentences become questions, or are expressive of tender emotions, they usually take the rising inflection; as, 'They planted by your care'?"-O'! my son Absalom'!"

124. Words and clauses connected by the disjunctive or generally require the rising inflection before, and the falling after it; as, Shall we go or stay?"—"It was black or white, green or blue`, rough ́ or smooth`.". Do you seek wealth or virtue?" "Does Napoleon deserve praise or blame?"

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125. The circumflex is a combination of the two inflections. The falling, followed by the rising, may be indicated to the eye thus (^); the rising, followed by the falling, thus (V). These tones are used in ironical passages. We have examples of both in the following: "Hear him, my lord; he is wondrous condescênding."

126. Certain passages receive an impressive effect from the continuance of one tone through several words; this is called a Monotone, and may be indicated in print by the mark of the long vowel over words, thus (). The following passage should be delivered in the monotone : "O! when the last account 'twixt hēāvēn and earth cōmēs tō bē mādē, then shall this hand and sēāl wītnēss āgāīnst thēē tō thy cōndēmnātīōn."

127. A parenthesis, as it is a sentence within a sentence, must be kept as clear as possible from the principal sentence by a change of tone. Bear in mind that a parenthesis is not always signified to the eye by these marks (); the comma or dash is often used instead.

128. In poetry, words and phrases are sometimes inverted or changed from their usual order; and this is done to preserve the measure of a verse; as, "Farewell, ye waters blue!" "Thus spake the chief!" "Who taught thee the time to count?" &c. If we were writing prose, we should be more likely to say, "Farewell, ye blue waters!" "The chief spake thus ! " "Who taught thee to count the time?" &c.

TO TEACHERS.

Too much attention cannot be paid to accuracy of articulation at a time when the organs of speech are pliable, and the most lasting impressions are produced. The present work has been arranged with especial reference to this object. The Exercises on the elementary sounds and consonant combinations embrace all that will be necessary for the most thorough drilling. The small figures attached to words refer to the corresponding number of paragraphs in Part I.; and the Italicizing of certain letters in the reading exercises indicates that such letters come under the elementary sound c consonant combination in the paragraph in Part I. referred to.

Thus, should the last three letters in the word hosts (which bad readers will be apt to deprive of its t sound) be Italicized, and the number 100 be attached, the reference is to Paragraph 100 in Part I., where will be found the sound expressed by the combination sts, indicating that every letter must be distinctly sounded.

Remark that in the exercises on the consonant combinations, the combinations are first given separately in Italic letters, as the guide to the sounds in the words which follow as examples. Thus, the simple combination kt represents the true sound of cked in rocked as well as of ct in act. The terminating sounds in ants, ents, ess, ing, kts, lts, mts, sts, ldz, ndz, ow, also the sound of unaccented er and the element sh before r, should be carefully heeded; and where pupils slight these sounds in reading, they should be referred to the true sound in the Exercises of Part I.

The pupil should be made thoroughly to understand the significance of the marks of accent, quantity, &c. The Explanatory Index is not intended to supersede the use of a Dictionary, but rather to cultivate the habit among the young of looking out words in regard to the meaning or pronunciation of which they are doubtful.

The words given as exercises on the elementary sounds, beginning page 12, have been arranged in alphabetical order for convenience of reference. Frequent reference, for the verification of these sounds in doubtful words, as they may occur in reading, is recommended.

The posture of the pupil in reading should be carefully regulated. A stooping, ungraceful posture will impart its bad quality to his elocution. An upright, alert presentation of the whole body, a proper expansion of the chest, and throwing back of the shoulders, should be insisted on.

The regulation of the breathing should not pass unheeded. Be careful that no vicious tones, no nasal habit of utterance, no over-fast or over-precise mode of enunciation, pass unrebuked.