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EXAMPLES.

If you said so, then I said so.

Let the gall'd jade wince, our withers are unwrung!

In all the above examples, there is a certain degree of jeering or irony conveyed; and it is in the ironical expression that these compound inflections, (with high pitch,) have the greatest power. An exceedingly good practice on these inflections is Marc Antony's speech to the populace, over the dead body of Cæsar; in which it will be perceived what effect may be added to the oft-repeated epithet, "honorable men," (which the orator ironically applies to Brutus and the rest,) by the adoption of these compound inflections. But, in the practice of this speech, remark that the irony is not immediately displayed by Marc Antony. He dares not, in the first instance, cast a doubt, by ironical expression, upon the motives of Brutus and the rest: and it is only when he feels that he is making a favorable impression upon the multitude, and "stealing away their hearts," that he ventures to unveil his thoughts, and to speak with irony, and finally in utter contempt, of the "honorable men who have stabb'd Cæsar." Bearing this hint in mind, the student may, at this point of his progress, exercise himself with advantage on that celebrated piece of oratory.*

2. PAUSE OF Force, or EXPRESSION.

Great expression and force may be imparted to an idea by the introduction of the short pause, with a suspension of the voice immediately before the word conveying the idea, or embodying emotion.

This pause, so introduced and suspending the sense, is called the Pause of Force.

* See Appendix.

Like the Emphasis of Force (with which it is frequently allied), it is arbitrary in its use, and depends on the will and judgment of the speaker for its employment.

RULE.

The pause of force or expression is made by arresting and suspending the voice, immediately before the word or member on which the speaker wishes to concentrate his power.

EXAMPLE.

In Marc Antony's apostrophe to Cæsar's body,-when Brutus and the rest, after the murder of Cæsar, having shaken hands with Antony in pledge of amity, have left him alone in the Senate house,―he exclaims,

Oh! pardon me,-thou bleeding piece of earth,——
That I am meek and gentle with these butchers!

The force and expression of this passage, in delivery, is wonderfully increased, if, besides the usual pauses, we introduce the pause of feeling beforewith the emphasis of force on-the word "butchers :" the passage will then be marked thus

Oh! pardon me thou piece of bleeding earth*
That I am meek and gentle with these butchers!

The effect of this is at once felt: it is as if the speaker paused to find a word strong enough for his feeling of abhorrence; and, at length, hitting on the

*The reading of the text of this line is received either "bleeding piece of earth," or "piece of bleeding earth :" the former appears to me the better reading.

word butcher, he pours it out with the force and expression of execration.

This pause arrests the attention of the hearer in an extraordinary manner; and therefore it may be used for that effect, before the word of particular force and importance in the most solemn and least-excited passages; as in Saint Paul,

And now abideth faith, hope, charity; these three: but the greatest of these is charity.

And in Portia's speech on mercy,

And earthly power doth then shew likestTM God's,
When mercy seasons justice.

In excited passages of highly-wrought feeling, it also gives the orator an opportunity of gathering full power of voice to concentrate it on the one word or phrase-as, in the well-known burst of Othello's passion :

If thou dost slander her, and torture me,

Never pray more!

Great power and expression may be added to the phrase "torture me," by the introduction of this pause, with the emphasis of force, on the words "torture me."

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The strength of the passage is further increased by the addition of the same pause before the words never pray more," in which case, the pause will be doubled in time; (as there is already a pause of sense required after torture me.)

The passage will then stand marked-with pause, inflection (of antithesis,) and emphasis of force.

If thou dost slander her, and torture me

Never pray more!

We shall presently see that the power of this passage may be still further augmented-under the force of

CUMULATIVE EMPHASIS.

The emphasis of sense goes to meaning only; the emphasis of force is expressive of intensity and energy. That expression is augmented by doubling the emphasis, and is brought to its climax of power, by applying it to several words in succession; which is called accumulated or Cumulative Emphasis.

This emphasis, when judiciously used, adds great power to passages of strength: but it must not be frequently employed, or it will lose its effect by the repetition, and give a disagreeable jerking to the delivery. It is introduced properly, to add increased force to climax,-either of powerful argument, or of highlywrought passion. In both these cases it crowns the excitement and energy of the speaker; it is the "topmost round" of the ladder, beyond which he cannot step. It should therefore be reserved for great occasions. Thus,

EXAMPLES.

1. In an important reply, in which the orator feels that he has triumphantly refuted the arguments of his opponent, he may, with effect, close the climax of his triumph with the cumulative emphasis of force:

I have thus shown, from the gentleman's own arguments, that the doctrine advanced by him is not at present received: -that it never was received: that it never can by any possibility be received: and that, admitted, it must be

by the total subversion of liberty itself!

2. Again, on the climax of intense passion, as in the former example of Othello's speech, read with cumulative emphasis, the articulation of the passage becomes almost syllabic, and it acquires tremendous power.

If thou dost slander her and torture me

Never pray more: abandon all remorse⚫

On horror's head horrors accumulate;

Do deeds to make heav'n weep, all earth amazed

For nothing canst thou to damnation add

Greater than this!

Such is the power of Cumulative Emphasis.

EXPRESSION of feeling and passion is achieved, not by inflection or emphasis, but by pitch of voice; which will be treated of in the next division.

END OF PART III. OF SECOND DIVISION.

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