Ideas are made clear and distinct in

I. By separation; as, when a subj about, it is made distinctive by no s selection from all other subjects. And be an independent idea; as, "Ours i ernment."

II. A more distinct view of an un opened up to us by a happy compariso it which is well known; as, "Like a children, so the LORD pitieth them that III. The most striking way of maki by contrasting it with its opposite; as with to seem, etc.

These distinctive points in clear think separate, and compare, and contrast thi ideas which should be distinguished by Thus from facts which all may verify

Principle of Logical An

New and distinctive ideas are emp

EXAMPLES.

1. "And it was the Sabbath day whe and opened his eyes."

That Jesus had made the clay and been stated in this ninth chapter of S and therefore is now well known. Tha "Sabbath' day is the only new, emphatic words should form but one group, and be word.

""T is a con

Devoutly to be wished."

If 'devoutly' only is emphasized, we ner of its being wished distinctive. as

other way. But Hamlet is speaking of the "sleep of which shall end his "heartache," etc. "Consummaconveys the same idea as end, and so is not new or dise. To be wished' is the distinctive idea (in contrast zot dreaded, understood).

"It argues, I think, a sweet and generous nature to have dship for forest trees."

aste for the cultivation of forest trees has been spoken ore, and is not new here. 'Nature' is not distinctive, rse, as that must be understood in any case. But ' and 'generous' (as distinctive from sour and selfish, tood) are emphatic.

'Suffer not yourselves to be BETRAYED` with a kiss.” kiss' alone is emphasized, we make Patrick Henry villing to be betrayed, only not for so paltry a price as But the great distinctive idea with him was not to be ed at all.

"Love thyself last; CHERISH those hearts that hate

injunction is to cherish (not to hate in return) those that hate thee. But if 'hate' alone is emphasized, it 'cherish to hate,' and makes Wolsey (King Henry Act iii. Sc. 2) say that we must not cherish those ove us, but only those who hate us.

, whether we intend it or not, we make an idea dise by emphasizing it. If, for instance, in reading the e of the Prodigal Son, we say : Bring forth the best and put it on him; and put a ring on his hand, and on his feet"; thoughtlessly emphasizing the last word h clause, we put in place of the gracious command of ther to give to the ragged, barefoot son "the best robe,” a ring," and "shoes," the absurd direction where to put as if the servants might put the shoes on his hands or head.

"The atrocious crime of being a young man."

man' is emphasized, (and it is a common fault to em e the last word of a sentence,) it changes the charge,

young woman.

7. "

My father should wear a broad This reading of the line in Whittier makes 'coat' distinctive, as if he had no broadcloth; but when Maud Muller is 1 have a 'coat' also of that costly kind, meaning, a broadcloth coat, in place of he has.

8. "He would dress me up in silks

If 'fine' is emphasized, it gives the fa silks now, but not so fine ones, instead o she would have silks in contrast with t which she now wears.

9. "And for him who sat by the chi
Dozing and grumbling o'er pipe
A manly form at her side she
And Joy was duty, and LOVE

In the first couplet, the ideas which des are emphatic, as marked. In the third is distinctive, by contrast, with him,' 'duty' and 'law' (however noble in the tinctive ideas in this ideal home she is dre she had been the Judge's bride, duty and lowed her, and she has little else than real home. But 'joy' and love' are th which she imagines would govern her i these alone should be emphasized.

10. "You have done that you should would be the natural reading of the line when we read what Cassius said in the t

"Do not presume too much upor may do that I shall be sorry

I

we learn that that' and 'sorry' ar distinctive ideas, in the reply of Brutus,

d'are the emphatic words, in contrast with 'may' and

; as,

"You have done that you

should be

sorry for."

"When that the poor have cried, Cæsar hath wept.”

ept,' the last word of the line and of the sentence, is apt falsely emphasized; but being the same as 'cried,' it is r new nor distinctive.

66

"O Judgment, thou art fled to brutish beasts,

And men have lost their reason!"

e 'reason' is the same in sense as 'judgment,' and ore should not be emphasized. Judgment is fled to - and men have lost it.

13. “Then saw in death his eyelids close

Calmly as to a night's repose."

distinctive idea is not 'repose,' as that is understood in bet's idea of death. The repose of death is compared ■ night's repose.

"Bless the Lord, O my soul, and forget not all his benefits:

o forgiveth all thine iniquities; who healeth all thy diseases."

iquities' and 'diseases' are assumed as understood. else could be forgiven or healed? These are not thereistinctive and emphatic, but should be read as the unac1 words of the group.

"Speak the speech, I pray you, as I` pronounced it to rippingly on the tongue; but if you mouth' it, as many ur players do, I had as lief the town-crier spoke my

e distinctive idea is, Speak the speech as 'I' (Hamlet) it to you. And this is made more distinctive by 'trip.Mouth' is in emphatic contrast to trippingly,' and -crier' an emphatic comparison.

ELEMENTS OF VOCAL EXP]

A EXPRESSION in Nature and in Ar kind of lights and shades, as of color, or For the lights and shades of expressi have the following elements:

1. FORCE, standard and emphatic, var and sense from moderate degree to the tones of the voice.

2. TIME, standard and emphatic, var moderate to fastest and slowest moveme from medium to longest and shortest quan

3. INFLECTIONS, simple and compoun falling through short, moderate, long, and of the speaking scale.

4. VOLUME, varying from medium to ness and thinness which respectively m speech.

5. STRESS, or smooth and abrupt empha degree with the more or less agreeable or ments read.

6. QUALITY, pure and aspirated, varyi what is pleasing or displeasing, from the c and joy to the half-whisper of fear and dre of secrecy and horror.

7. PITCH, with its natural key-note, vary and the emotion read, and its closely re the melody, modulation, and compass, u

cadence.

Here surely is no lack of means for if we have the will and wit to learn t PART II.