What was it, fellow citizens, which gave to Lafayette his spotless fame? The love of liberty. What has consecrated his memory in the hearts of good men? The love of liberty. What nerved his youthful arm with strength, and inspired him, in the morning of his days, with sagacity and counsel? The living love of liberty. To what did he sacrifice power, and rank, and country, and freedom itself? To the love of liberty protected by law. . . . Listen, Americans, to the lesson which seems borne to us on the very air we breathe while we perform these dutiful rites. Ye winds, that wafted the pilgrims to the land of promise, fan in their children's hearts the love of freedom! Blood which our fathers shed, cry from the ground-echoing arches of this renowned hall, whisper back the voices of other days-glorious Washington! break the long silence of that votive canvas; speak, speak, marble lips; teach us the love of liberty protected by law! "Eulogy on Lafayette." EDWARD EVERETT.

5. A poor old king, with sorrow for my crown,
Throned upon straw, and mantled with the wind.
For pity my own tears have made me blind,
That I might never see my children's frown;
And maybe madness, like a friend, has thrown
A folded fillet over my dark mind,

So that unkindly speech may sound for kind:
Albeit I know not; I am childish grown,
And have not gold to purchase wit withal
I, that have once maintained most royal state
very bankrupt now, that may not call

A

My child, my child! all beggared, save in tears Wherewith I daily weep an old man's fate; Foolish, and blind, and overcome with years. "King Lear."

6. The quality of mercy is not strain'd;

It droppeth as the gentle rain from heaven
Upon the place beneath; it is twice blest;
It blesseth him that gives, and him that takes;
'Tis mightiest in the mightiest; it becomes
The throned monarch better than his crown;

HOOD.

His scepter shows the force of temporal power,
The attribute to awe and majesty,

Wherein doth sit the dread and fear of kings;
But mercy is above this scept'red sway,

It is enthroned in the hearts of kings;

It is an attribute to God himself;

And earthly power doth then show likest God's
When mercy seasons justice.

"The Merchant of Venice."

SHAKESPEARE.

7. Any material object which can give us pleasure in the simple contemplation of its outward qualities without any direct and definite exertion of the intellect, I call in some way, or in some degree, beautiful. Why we receive pleasure from some forms and colors, and not from others, is no more to be asked or answered than why we like sugar and dislike wormwood. The utmost subtilty of investigation will only lead us to ultimate instincts and principles of human nature, for which no farther reason can be given than the simple will of the Deity that we should be so created.

"Modern Painters."

RUSKIN.

8. If to do were as easy as to know what were good to do, chapels had been churches, and poor men's cottages princes' palaces. It is a good divine that follows his own instructions; I can easier teach twenty what were good to be done than to be one of the twenty to follow mine own teaching.

"The Merchant of Venice."

INFLECTION

SHAKESPEARE.

Inflection or slide of the voice indicates the tendency or direction of a speaker's mind. When the tendency is to anticipate, suspend, contrast, or hold the thought open, the voice naturally takes a rising inflection. When the tendency is to emphasize or complete a thought, the voice takes a falling inflection. The possession of "a musical ear" is of

decided advantage in producing correct inflections. The cure for monotone and sing-song delivery lies chiefly in the proper use of this modulation.

1

Mrs. J. W. Shoemaker says: "Inflections show contrast. They tell the facts. Length of slides shows the importance of the facts. Straight slides show directness of purpose. Waves show beauty and sympathy. Broken slides show weakness and uncertainty. Zigzag or continuous wave movements represent sarcasm, irony, scorn and duplicity." The following rules are taken from Professor Plumptre's King's College Lectures:2

USES OF INFLECTION

LOGICAL USES OF THE RISING INFLECTION

1. So long as the meaning of a clause or sentence is incomplete or kept suspended, the rising inflection is to be used.

2. All clauses or sentences that are negative in structure take the rising inflection.

3. Clauses or sentences that express doubt or contingency take the rising inflection.

4. Sentences that are interrogative in character, and to which a simple affirmative or negative can be returned as an answer, end with the rising inflection.

EMOTIONAL USES OF THE RISING INFLECTION

1. When a sentence is in the nature of an appeal, it takes a general rising inflection throughout its delivery, and the key of the voice is usually more or less high in pitch; but

1 Mrs. J. W. Shoemaker, Advanced Elocution, p. 36.

2 Charles John Plumptre, King's College Lectures, pp. 120, 146.

in sad and solemn appeals the pitch of the inflection is always low.

2. Sentences that convey supplication or prayer take a general rising inflection throughout their delivery, the key of the voice varying from a low one, if the prayer is very solemn in character, to one more or less high, if the supplication is simply pathetic in its nature.

3. All sentences that express joy, love, friendship, hope, and in general all the more pleasurable and amiable emotions, partake of a rising inflection, and the voice is usually pitched in keys more or less high; tho where great tenderness, pity or pathos mingles with the affection, the voice is often modulated into a low, soft, minor key, as it has been termed in elocution.

4. Sentences that express wonder, amazement, or surprise take an extreme degree of the rising inflection, and the voice is usually pitched in very high keys, unless awe, dread, or terror mingles with the emotion, when keys more or less low in pitch prevail.

LOGICAL USES OF THE FALLING INFLECTION

1. As soon as the meaning of a sentence, or clause of a sentence, is logically complete, then the falling inflection must be employed.

2. Inasmuch as a falling inflection always suggests to the mind a certain degree of completeness of meaning, it may be usefully employed in those sentences which consist of several clauses, conveying imperfect sense, and independent of each other's meaning, for the purpose of keeping the several clauses separate and distinct from each other.

3. Where a sentence is interrogative in its character, and one to which a simple affirmative or negative cannot be re

turned as an answer, but something definite in expression must be given instead, such sentence requires at its close the falling inflection.

EMOTIONAL USES OF THE FALLING INFLECTION

1. Where it is desired to convey the impression of solemn affirmation or strong conviction of the truth of what we say, emphatic falling inflections on the principal words, even tho the sentence may be negative in form of construction, produce the desired effect; and the keys in which the inflections are pitched are in general low.

2. Sentences that express command, reprehension, or authority, take emphatic falling inflections, and the range of the voice in pitch is usually from the middle to lower keys.

3. It may be said as a general principle that all the sterner, harsher, and more vindictive passions, such as anger, hatred, detestation, etc., take the most extreme degree of the emphatic falling inflection, and the voice, for the most part loud in power, is pitched in the lower keys.

4. In sentences that express gloom, dejection, melancholy, and similar distressing emotions, falling inflections predominate, and the voice is pitched in keys more or less low, and the time is slow.

LOGICAL USES OF THE CIRCUMFLEX INFLECTION

1. When any word is introduced which suggests an antithesis without openly expressing it, such word should have emphatic force, and be pronounced with a circumflex inflection. An affirmative or positive clause takes a falling, and a negative or contingent clause a rising circumflex on the words suggesting an antithesis.