and should see a poor boy, greatly troubled because he had no skates, and should lend him mine, I should feel happier for it." Now if you say this sentence over carefully, you will see that each of the statements in it has the rising inflection until you come to the statement, "I should feel happier for it." This is the main statement, and requires the falling inflection.

If after making a statement, you add another that weakens it, the last statement is spoken with the rising slide. If I say, "Alice is an admirable girl, but she is careless," the last statement weakens the other,-Alice is not so admirable a girl as if she were not careless. The last statement must therefore be spoken with the rising inflection.

Sometimes we use both inflections on the same sound, one following the other. This is called the Circumflex. When the first part of the sound is given with the falling inflection and the last part with the rising, it is called the rising circumflex; when the rising inflection comes first and the falling last, it is called the falling circumflex. Suppose a boy, seeing a very large flock of sheep, should say, "There are a hundred sheep!" Another, knowing more about the number, might answer, A hundred sheep! There are at least a thousand." The word "hundred" on being repeated, would have the rising circumflex. Repeat this sentence a great many times until you get full control of the rising circumflex.

66

A boy may think another boy better treated than himself, and say ironically, "I am only a good-for-nothing, but John is perfect." "I" and "John " require the rising circumflex, and "good-for-nothing" and "perfect" require the falling circumflex.

You will notice that the circumflexes are never used in statements that are entirely straightforward. There is always something understood that is not said. In the case about the sheep, when the boy repeats the words, "A hundred sheep," he says them in such a way as to make them mean that there are many more than a hundred. Say "A hundred sheep" with the rising circumflex on "hundred," and think what the meaning is. Try also "John is perfect," giving "John" the rising circumflex, and "perfect" the falling. Would a person speaking in this way mean just what the words seem to mean? In using the circumflexes, then, something is meant that is not expressed by the words.

ANALYTICAL FOURTH READER.

EXAMPLES FOR ELOCUTIONARY DRILL.

We now wish to apply the principles and rules which we have been learning, and for that purpose the pupil is requested to study carefully the following pieces, and the explanations that are placed before them.

The first is the song of the Skaters. It is full of joy and spirit. In reading it, you are to imagine yourself on the ice with the laughing, shouting company. Say "Hurrah! Hurrah!" just as you would if you were throwing up your hat and shouting out of doors. You must use great force, high pitch, and rapid speed. Look back to the explanations and see what these things mean. Be careful, too, about the inflections and the emphases. Study what is said about them in the explanations, and then find out what words in the piece require emphasis, and what inflections the different sentences require.

With what inflection should you say "Hurrah"?

I. THE SKATERS.

LUELLA CLARK.

1. Hurrah! Hurrah! Who cares for the cold?

Winds are rough, but skaters are bold.
Winds may blow, for skaters know,

As over the ice so swift they go,

Winds cannot worry them-let them blow.

2. There are Tom, John, Harry, and Isidore,
Jessie and Jane, and a dozen more—
Tasks all done-away we run—
And, of all forms of frolic and fun,

There's nothing like skating, under the sun.

3. Then away, away, o'er the crystal floor;
Away, away, from the reedy shore,
Out of sight, like the flashing light,
Curving neither to left nor right-
Away, on our trusty steel so bright.

4. Here's the good old moon, with a kindly smileBless her round face, so friendly the while!

We bravely dare the frosty air,

And, so glad and gay, we glide away

Over the floor of the beautiful bay,

Far from the shore, away, away.

II. THE SLEIGHING SONG.

EMILY H. MILLER.

(This piece is much like the preceding, and the same rules apply to it.)

1. Away! away! the track is white,
The stars are shining clear to-night,
The winter winds are sleeping;
The moon above the steeple tall,
A silver crescent, over all,
Her silent watch is keeping.

2. Away! away! our hearts are gay,
And need not breathe, by night or day,
A sigh for summer pleasure;

The merry bells ring gayly out,
Our lips keep time with song and shout,
And laugh in happy measure.

3. Away! away! across the plain

We sweep as sea-birds skim the main,
Our pulses gayly leaping ;

The stars are bright, the track is white,
There's joy in ev'ry heart to-night,

While winter winds are sleeping.

The next selection is very different from the other two. It requires soft tones and medium pitch, and must be spoken slowly. Some of the inflections require particular care. For instance, "love," in the second line, requires the falling inflection, and "fear" the rising. Study the explanations, page 28, and see whether this is in agreement with them. You will notice that a positive declaration is made about "love," but about "fear" there is a kind of denial. All the commands or entreaties must have the falling inflection. How many of these are there? Point them out. You also need to use clear tones, or pure quality, in reading this piece, because the sentiments expressed are beautiful and good.

III.-SPEAK GENTLY.

ANONYMOUS.

1. Speak gently; it is better far
To rule by love than fear :
Speak gently; let no harsh words mar
The good we might do here.

2. Speak gently to the little child;
Its love be sure to gain ;

Teach it in accents soft and mild:
It may not long remain.

3. Speak gently to the aged one;

Grieve not the care-worn heart;
The sands of life are nearly run:
Let such in peace depart.