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:

"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, Marco Bozzaris. 143. Repetition of idea generally, whether verbal, or equivalent, is appropriately enforced by emphasis :

'Whence comest thou? what would'st thou ? thy name?
Why speak'st not? Speak, man: what's thy name?

Coriolanus, iv. 5.

'As trees and plants necessarily arise from seeds, so are you, Antony, the seed of this most calamitous war. You mourn, O Romans! that three of your armies have been slaughtered-they were slaughtered by Antony; you lament the loss of your most illustrious citizensthey were torn from you by Antony: the authority of this order is deeply wounded-it is wounded by Antony: in short, all the calamities we have ever since beheld (and what calamities have we not beheld?) have been, if we reason rightly, entirely owing to Antony. As Helen was the curse of Troy, so the bane, the misery, the destruction of this state-is Antony.'-Cicero.

'Can parliament be so dead to its dignity and duty, as to give its support to measures thus obtruded and forced upon it? Measures, my Lords, which have reduced this late flourishing empire to scorn and contempt.'-CHATHAM.

'On, on, you noblest English,

Whose blood is fet from fathers of war-proof!

Fathers that, like so many Alexanders,

Have in these parts from morn till even fought

And sheathed their swords for lack of argument.'-Henry V. iii. 1.

'If 't be so,

For Banquo's issue have I filed my mind;

For them the gracious Duncan have I murdered;

Put rancours in the vessels of my peace
Only for them; and mine eternal jewel
Given to the common enemy of man,

To make them kings, the seed of Banquo kings.'-Macbeth, iii. 1.

ENERGY.

144. By Energy is meant the degree of loudness or softness with which a clause, or sentence, is read. Its appropriate application to the varying states of mind and circumstances of the speaker will conduce to variety and energy of style, the sound thus becoming an echo to the sense:

'Soft is the strain when Zephyr gently blows,

And the smooth stream in smoother numbers flows;

But when loud surges lash the sounding shore,

The hoarse rough verse should like the torrent roar.'-POPE.

The several degrees of Energy are denoted by words borrowed from the language of music. They are generally abbreviated, as in the following table:

A gradual increase of loudness is expressed by the

word crescendo, or the sign <.

A gradual decrease of loudness is expressed by the word diminuendo, or by the sign >.

An explosive or abrupt utterance, in which successive syllables have a short pointed expression, and are so distinctly sounded that they seem as if separated by small interruptions, is denoted by the word staccato, when the expression is spread over a whole clause, or when limited to a few words, by points or dots (111・・・) placed over the emphasized syllables.

A sustained or evenly blended movement of the voice, the contrary of the short, interrupted expression of staccato, is denoted by the word sostenuto.

Passages for practice on the several degrees of Energy will be found in the Appendix (VIII.).

TIME.

145. Time in reading depends upon :

1. The Quantity, or duration, of individual syllables.

2. The rate, or pace at which a succession of sounds is produced, and

3. Pause, or measure of silence.

Thus a syllable is said to have either a long or a short quantity; a clause, or sentence, to be delivered at either a slow or quick rate; while intervening pauses vary in length according to the form or meaning of the sen

tence.

QUANTITY.

146. Quantity determines the character of a syllable, as long, short, or neutral, by regarding its power of being prolonged in pronunciation.

The student must bear in mind that the 'length' of English syllables is determined by quite other laws than those employed by Classical Prosodians.

147. A syllable is long when terminated by a vowel or vocal consonant (go, fear, orb, home, these, bold).

148. A syllable is short when, containing no vocal consonants, it is terminated by an explosive aspirate consonant (cat, top, pipe, apt).

149. A syllable is neutral when, terminated by an explosive aspirate consonant, it contains one or more vocal consonants (tract, bit, bank, great), or, when terminated by a sustained aspirate consonant, with or without preceding vocal consonants (if, fife, mists, strength, cease, face, grief).

OBS.-When a deliberate delivery is required, the prolongation must be made on long syllables. Any attempt to extend those which, from their construction, are necessarily short or neutral, will result in an offensive drawl and a violation of correct pronunciation.

RATE.

150. Rate.-Musicians employ five terms to denote the different degrees of pace or movement. The application of these degrees to the differences of Rate in Elocution will be seen by a glance at the following table. In our arrangement, we have endeavoured to indicate the mental states and other conditions with which in delivery the different degrees of rate are associated.

A slackening of the rate is designated by the term ritardando.

A quickening of the rate, by accelerando.

Passages for practice on the different degrees of Rate will be found in the Appendix (VIII.).

PAUSE.

151. By Pause is meant a total cessation of the voice during a perceptible space of time. Pause varies in (a) Position, (b) Duration.

Every member of a sentence, however made up of grammatical parts, is in meaning indivisible; and in delivery should be regarded as one word of so many syllables, between which no pause whatever should take place. Thus the phrase 'a man on horseback' is one oratorical word, the grammatical parts of which are articulated in unbroken succession, and fall upon the ear with the same singleness of impression as the polysyllabic word 'procrastination.' So too the-man-thathath-not-music-in-his-soul is in rhetoric, as it is in analysis, the subject of the sentence in which it occurs. This principle is advocated by Mr. Smart in his Introduction to Grammar on its True Basis.' 'Parts of speech,' he tells us, 'as fast as they are put together, lose the extent of meaning they had while separate, and fuse themselves, so to speak, into each other's meaning, thus becoming one expression for the one special meaning intended to be conveyed. In saying fine weather, I no longer mean anything fine, but only fine weather; I no longer mean weather of any kind, but only weather that is fine.'

To be more explicit, let us put together the two separate ideas, old and man. Till we put them together, we