Discrete. Army of fiends, fit body to fit head.

Sarcasm can always be expressed upon a succession of short syllables by alternate rising and falling radical fifths combined with stress. Where it becomes necessary to express a sneer and the syllables are too short for the slide of the unequal wave, the discrete fifths fulfil its office, as they do in this last example. Let the first "fit" descend a fifth in radical pitch below "body," and "head" a fifth below the second "fit," and the effect we contemplate will be produced.

Falling concrete third. "I am amazed, yes my Lords, I am amazed at his Grace's speech."

Discrete falling third. "He that believeth in me, though he were dead yet shall he live." "Believest thou this?" The "this" descends a third for emphasis, and ends with a rising slide.

"Ye know not what ye worship, We know what we worship."

The following is an example of variety in emphasis. The syllables intended to be specified are in italics. 1. Are they He-brews? So am I.

2. Are they Is-raelites? So am I.

3. Are they the seed of Ab-raham? So am I. 4. Are they Ministers of Christ? I am more. Let No. 1 rise both discretely and concretely. 2 fall discretely and rise concretely.

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3 fall concretely a third.

4 rise higher than the last discretely, and fall concretely with stress.

Emphasis of waves.

Waves are used only where

quantity is required with marked emphasis.

Equal direct wave of the third.

"Upon the watery plain the wrecks are all thy deed." Equal direct wave of the fifth.

My sect thou seest." Paradise Lost, book 6, l. 147.

Whoever will turn to the passage, will find that the exulting triumph is best expressed, by the long drawn time of this emphatic wave.

The unequal direct waves are marked in italics, in the following passage.

"National pride, independence of our country-these we are told by the minister, are only vul-gar topics, fitted for the meridian of the mob; but utterly un-worthy the consideration of this house, or of the ma-tured understanding of the noble lord who condescends to instruct it." Plunket.

"Hadst thou alleged to thy deserted host this cause of flight, thou surely hadst not come sole fugitive.”

Emphasis of the tremor. The tremor expresses exultation, admiration, joy, rapture, when united with other intervals than the semitone. When combined with the semitone, it increases its effect.

EXAMPLES.

"Thou glo-rious mirror where the Almighty's form
Glasses itself in tempests."

"Now give the Hautboy's breath, he comes, he comes."

"And where is the bosom friend dearer than all.”

This last example requires the semitone. "Shook thousand odors from his dewy wings."

Emphasis of Aspiration.

EXAMPLES.

Brutus. Peace, peace, you durst not so have tempted him.

Cassius. I durst not!

Guttural Emphasis. An example may be found in the reply of Pierre to Jaffier.

"Whence these chains?

Whence the vile death, which I may meet this moment?
Whence this dishonor, but from thee, thou false one?

Emphasis of the semitone.

EXAMPLE.

"You wrong me every way, you wrong me, Brutus.*

A SERIES OF ADDITIONAL EXAMPLES OF EMPHASIS, WITH

SHORT EXPLANATIONS OF THE PRINCIPAL ELEMENTS

EMPLOYED. THE EMPHATIC SYLLABLES, ARE IN
ITALICS.

EXAMPLE. 1.

"Exercise and temperance strengthen even an indiff-erent constitution."

This example shows a high note on the emphatic syllable with a downward slide, and some little increase of percussive stress.

EXAMPLE 2.

"You were paid to fight against Alexander, not to rail at him."

* This example is given by Dr. Rush.

The antithesis is effected by a high note, downward slide, and percussive stress, on the first syllable, and a high note, long quantity, and downward slide, on the second.

EXAMPLE. 3.

"He raised a mort-tal to the skies;
She drew an ang-el down."

High note, with quantity and stress on the first syllable; rise of note, with downward slide upon the next; high note, with quantity on the next; intense downward slide on "she;" rise of note with quantity and downward slide on "ang;" intense downward slide on " down."

EXAMPLE 4.

"Seems, madam?

Nay it is, I know not seems."

Rise of note upon the "is," of a fifth, downward slide. of the same, with extended quantity, and swell or median

stress.

EXAMPLE. 5.

"The tempt-er, ere the ac-cu-ser of mankind."

High note, downward slide, and percussive stress, on the short syllable "tempt;" long quantity on the "cu."

EXAMPLE 6.

I had rather be the first man in that vill-age, than the sec-ond in Rome.

High note on "first," with simple downward slide; high note, deep downward slide, with stress, on "vil ;" low note, with stress on "sec;" downward slide on "Rome."

EXAMPLE 7.

A day, an hour, of virtuous liberty, is worth a whole e-ter-nity of bondage.

High note on " hour," with strong percussion, and deep downward slide; a rise of note, with deep downward slide, and median swell on "ter.”

EXAMPLE 8.

"I would not turn aside from my least pleasure,
Though all thy force were armed to bar my way."

High note on the "thy," with extended quantity and inverted equal wave, of the second.

EXAMPLE 9.

"Tis base, and poor, unworthy of a man,
To forge a scroll, so villainous and base,
And mark it with a noble lady's name.

"Man," has a high note, with inverted equal wave of the third.

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EXAMPLE 10.

'Tis well, we'll try the temper of your heart.

Try," has a high note, deep downward slide, with median stress.

EXAMPLE 11.

You are my hus-band's friend, the friend of Alt-amont.

High note on "hus," with simple downward slide, and some stress; the same on "Alt." A deep downward slide, would entirely change the meaning.

These examples are taken from Walker's Elocution. It was my business to describe the elements employed upon them.