2. When words or clauses are antithetic in meaning, and emphatic in character, the falling circumflex inflection should be used on the positive or absolute member, and the rising on the negative or relative.

EMOTIONAL USES OF THE CIRCUMFLEX INFLECTION

1. Whenever it is designed to make any passage ironical, an emphatic prolonged circumflex inflection should be given to the words in which the irony is meant to be conveyed.

2. All passages that express scorn, contempt, or reproach, take emphatic prolonged circumflexes on the principal words, the keys in which the voice is pitched varying according to the dominant emotion.

When a question is followed by words closely connected with it, the end of the passage takes a rising inflection, as, "Am I my brother's keeper?" said the unhappy man.

EXAMPLES

1. This was unnatural. The rest is in order. They have found their punishment in their success. Laws overturned; tribunals subverted; industry without vigor; commerce expiring; the revenue unpaid, yet the people impoverished; a church pillaged, and a state not relieved; civil and military anarchy made the constitution of the kingdom; everything human and divine sacrificed to the idol of public credit, and national bankruptcy the consequence; and to crown all, the paper securities of new, precarious, tottering power, the discredited paper securities of impoverished fraud, and beggared rapine, held out as a currency for the support of an empire, in lieu of the two great recognized species that represent the lasting conventional credit of mankind, which disappeared and hid themselves in the earth from whence they came, when the principle of property, whose creatures and representatives they are, was systematically subverted. BURKE.

2. If then the power of speech is a gift as great as any that can be named, if the origin of language is by many philosophers even considered to be nothing short of divine,-if by means of words the secrets of the heart are brought to light, pain of soul is relieved, hidden grief is carried off, sympathy conveyed, counsel imparted, experience recorded, and wisdom perpetuated,—if by great authors the many are drawn up into unity, national character is fixed, a people speaks, the past and the future, the East and the West are brought into communication with each other,— if such men are, in a word, the spokesmen and prophets of the human family,-it will not answer to make light of Literature or to neglect its study; rather we may be sure that, in proportion as we master it in whatever language, and imbibe its spirit, we shall ourselves become in our own measure the ministers of like benefits to others, be they many or few, be they in the obscurer or the more distinguished walks of life,—who are united to us by social ties, and are within the sphere of our personal influence. CARDINAL NEWMAN.

3. When I look upon the tombs of the great, every emotion of envy dies in me; when I read the epitaphs of the beautiful, every inordinate desire goes out; when I meet with the grief of parents upon a tombstone, my heart melts with compassion; when I see the tomb of the parents themselves, I consider the vanity of grieving for those whom we must quickly follow. When I see kings lying by those who deposed them, when I consider rival wits placed side by side, or the holy men that divided the world with their contests and disputes, I reflect with sorrow and astonishment on the little competitions, factions, and debates of mankind. When I read the several dates of the tombs, of some that died yesterday, and some six hundred years ago, I consider that great day when we shall all of us be contemporaries, and make our appearance together.

"The Spectator."

ADDISON.

4. Take heed that ye do not your alms before men, to be seen of them: otherwise ye have no reward of your Father which is in heaven. Therefore when thou doest thine alms, do not sound a trumpet before thee, as the hypocrites do in the synagogs

and in the streets, that they may have glory of men. Verily I say unto you, They have their reward. But when thou doest alms, let not thy left hand know what thy right hand doeth: that thine alms may be in secret: and thy Father which seeth in secret himself shall reward thee openly. And when thou prayest, thou shalt not be as the hypocrites are: for they love to pray standing in the synagogs and in the corners of the streets, that they may be seen of men. Verily I say unto you, They have their reward. But thou, when thou prayest, enter into thy closet, and when thou hast shut thy door, pray to thy Father which is in secret; and thy Father which seeth in secret shall reward thee openly. But when ye pray, use not vain repetitions, as the heathen do: for they think that they shall be heard for their much speaking. Be not ye therefore like unto them: for your Father knoweth what things ye have need of, before ye ask him. "St. Matthew 6, 1-8." THE BIBLE.

5. Observe, however, I do not mean by excluding direct exertion of the intellect from ideas of beauty, to assert that beauty has no effect upon nor connection with the intellect. All our moral feelings are so inwoven with our intellectual powers, that we cannot affect the one without in some degree addressing the other; and in all high ideas of beauty, it is more than probable that much of the pleasure depends on delicate and untraceable perceptions of fitness, propriety, and relation, which are purely intellectual, and through which we arrive at our noblest ideas of what is commonly and rightly called "intellectual beauty." But there is yet no immediate exertion of the intellect; that is to say, if a person receiving even the noblest ideas of simple beauty be asked why he likes the object exciting them, he will not be able to give any distinct reason, nor to trace in his mind any formed thought, to which he can appeal as a source of pleasure. He will say that the thing gratifies, fills, hallows, exalts his mind, but he will not be able to say why, or how. If he can, and if he can show that he perceives in the object any expression of distinct thought, he has received more than an idea of beauty-it is an idea of relation.

"Modern Painters."

RUSKIN.

CHAPTER IX

PICTURING

This is the image-making faculty. The ability to call to mind vivid and varied pictures, appropriate to the thought, is a powerful element in good speaking. What the speaker sees in his imagination is likely to be shared by his auditors. This is well described by Dr. Conwell when he says:

"Oh! the power of words! With them we sway men's minds at will. Let me call your attention to the sea. The Sea! Close your eyes and look at it as you saw it last summer. Think of its waves away, away out yonder-see that ripple of white running along on the crest of the nearer one-see it now as it sheens and advances in wreaths of delicate foam almost to your feet, and then rolls playfully back in beautiful sheets to be lost in the next incoming tide. See the old mast out there and the sails that dot the horizon. You see them all now! Why? Words -only words!”

To test what you really saw in reading the foregoing, answer questions like the following: Did you see the sea? What color was it? How high were the waves? Was there any breeze? Was it day or night? Did you see any boats? How many? Sailboats or otherwise? How far away were they? Where were you?

"Home! Now you think of your old homestead. Let me go through it with you as you roam about the dear old familiar scenes. Tell me where your mother sat and where your father used to read the paper. Show me the place where your sister

played and where you studied in those dear old days. You see it all again! Why? I have uttered one word. A word-only

a word!"

Did you see the old home? Was it indoors? Describe it. Did you see your mother? Describe her. Describe your father and sister. What more did you see?

The image-making faculty can be surprisingly developed by such aids as endeavoring to see pictures of what one reads, to describe it orally to another, to write about it in one's own words. The aim should be to secure vivid impressions. For practise write from memory a description of a storm, a landscape, a battle, the sky at night, a fire.

EXAMPLES

1. Old Wardle led the way to a pretty large sheet of ice; and, the fat boy and Mr. Weller having shoveled and swept away the snow which had fallen on it during the night, Mr. Bob Sawyer adjusted his skates with a dexterity which to Mr. Winkle was perfectly marvelous, and described circles with his left leg, and cut figures of eight, and inscribed upon the ice, without once stopping for breath, a great many other pleasant and astonishing devices, to the excessive satisfaction of Mr. Pickwick, Mr. Tupman, and the ladies; which reached a pitch of positive enthusiasm when old Wardle and Benjamin Allen, assisted by the aforesaid Bob Sawyer, performed some mystic evolutions which they called a reel.

"Pickwick Papers."

DICKENS.

2. I had occasion, a few weeks since, to take the early train from Providence to Boston; and for this purpose rose at two o'clock in the morning. Everything around was wrapt in darkness and hushed in silence, broken only by what seemed at that hour the unearthly clank and rush of the train. It was a mild,