A Rhetorical Grammar: In which Improprieties in Reading and Speaking are Detected, and the True Sources of Elegant Pronunciation are Pointed Out : with a Complete Analysis of the Voice, Showing Its Specific Modifications, and how They May be Applied to Different Species of Sentences and the Several Figures of Rhetoric : to which are Added Outlines of Composition, Or Plain Rules for Writing Orations and Speaking Them in PublicCummings and Hilliard, 1822 - 383 páginas |
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Página ix
... Verse Of the Accent and Emphasis of Verse Page , 155 - 159 162 When the Poetical Accent is to be preserved , and when not How e and o , when apostrophised , are to be pronounced Of the Pause or Cæsura of Verse Of the Cadence of Verse ...
... Verse Of the Accent and Emphasis of Verse Page , 155 - 159 162 When the Poetical Accent is to be preserved , and when not How e and o , when apostrophised , are to be pronounced Of the Pause or Cæsura of Verse Of the Cadence of Verse ...
Página 85
... verses at Christmas ; and now , the town- crier , as Shakspeare calls him , sometimes gives us a specimen of the ... verse ; thus ( − ) . The grand description of the riches of Satan's throne , in the beginning of Milton's second ...
... verses at Christmas ; and now , the town- crier , as Shakspeare calls him , sometimes gives us a specimen of the ... verse ; thus ( − ) . The grand description of the riches of Satan's throne , in the beginning of Milton's second ...
Página 93
... verse . Many of Milton's similes , commenc- ing with the conjunction as , have the first member so enormously long , that the reader is often tempted to drop his voice before he comes to the member begin- ning with the conjunction so ...
... verse . Many of Milton's similes , commenc- ing with the conjunction as , have the first member so enormously long , that the reader is often tempted to drop his voice before he comes to the member begin- ning with the conjunction so ...
Página 159
... VERSE . On the Slides or Inflections of Verse . The first general rule for reading verse is , that we ought to give it that measured harmonious flow of sound which distinguishes it from prose , without fal- ling into a bombastic ...
... VERSE . On the Slides or Inflections of Verse . The first general rule for reading verse is , that we ought to give it that measured harmonious flow of sound which distinguishes it from prose , without fal- ling into a bombastic ...
Página 160
... verse re- quires the same inflections as prose , though less strong- ly marked , and more approaching to monotones . If , therefore , we are at a loss for the true inflection of voice on any word in poetry , let us reduce it to ear ...
... verse re- quires the same inflections as prose , though less strong- ly marked , and more approaching to monotones . If , therefore , we are at a loss for the true inflection of voice on any word in poetry , let us reduce it to ear ...
Índice
xi | |
17 | |
24 | |
30 | |
37 | |
47 | |
53 | |
65 | |
204 | |
210 | |
218 | |
233 | |
240 | |
247 | |
249 | |
256 | |
71 | |
79 | |
104 | |
130 | |
145 | |
155 | |
162 | |
169 | |
178 | |
184 | |
190 | |
198 | |
262 | |
276 | |
286 | |
292 | |
303 | |
314 | |
324 | |
333 | |
343 | |
351 | |
362 | |
370 | |
Palavras e frases frequentes
ablative absolute accent admit Anacoenosis arguments asyndeton attention beauty begins Cæsar cæsura called character Cicero circumflex Clodius comma common composition considered Demosthenes depends diphthong discourse distinct distinguished Elements of Elocution emphasis emphatic words endeavour example express falling inflection figure following sentence force former give higher tone honour Ibid idea inflection of voice instance interrogation interrogative words Julius Cæsar kind language latter likewise long pause loose sentence loud lower tone manner Mark Antony marked meaning Milo mind monotone nature necessary object observed orator ornament Paradise Lost particular passage passion perceive perfect sense period person phatical Pompey pronounced pronunciation proper punctuation question Quintilian reader reading reason requires rhetoric rising inflection rule says semicolon short pause slide sound speaker speaking Spect Spectator style syllable tence thing tion tone of voice variety verb verse virtue vowels whole writing
Passagens conhecidas
Página 226 - And when the sun begins to fling His flaring beams, me, Goddess, bring To arched walks of twilight groves, And shadows brown that Sylvan loves Of pine, or monumental oak, Where the rude axe with heaved stroke Was never heard the Nymphs to daunt, Or fright them from their hallowed haunt.
Página 176 - Vice is a monster of so frightful mien, As, to be hated, needs but to be seen ; Yet seen too oft, familiar with her face, We first endure, then pity, then embrace.
Página 43 - O thou that, with surpassing glory crowned, Look'st from thy sole dominion like the god Of this new World — at whose sight all the stars Hide their diminished heads — to thee I call, But with no friendly voice, and add thy name, 0 Sun, to tell thee how I hate thy beams, That bring to my remembrance from what state 1 fell, how glorious once above thy Sphere...
Página 172 - While from the bounded level of our mind Short views we take, nor see the lengths behind : But more...
Página 244 - Annual for me, the grape, the rose renew The juice nectareous, and the balmy dew; For me, the mine a thousand treasures brings; For me, health gushes from a thousand springs; Seas roll to waft me, suns to light me rise; My foot-stool earth, my canopy the skies.
Página 176 - All Nature is but art, unknown to thee All chance, direction, which thou canst not see; All discord, harmony not understood; All partial evil, universal good: And, spite of pride, in erring reason's spite, One truth is clear, Whatever is, is right.
Página 177 - When the proud steed shall know why man restrains His fiery course, or drives him o'er the plains ; When the dull ox, why now he breaks the clod, Is now a victim, and now Egypt's god : Then shall man's pride and dulness comprehend His actions', passions', being's use and end ; Why doing, suffering, check'd, impell'd; and why This hour a slave, the next a deity.
Página 169 - Hurled headlong flaming from the ethereal sky With hideous ruin and combustion down To bottomless perdition, there to dwell In adamantine* chains and penal fire, Who durst defy the Omnipotent to arms.
Página 242 - So cowardly ; and, but for these vile guns, He would himself have been a soldier.
Página 243 - tis true, this god did shake : His coward lips did from their colour fly, And that same eye whose bend doth awe the world Did lose his lustre : I did hear him groan : Ay, and that tongue of his that bade the Romans Mark him and write his speeches in their books, Alas, it cried ' Give me some drink, Titinius,