READING AND ELOCUTION.-XII. ANALYSIS OF THE VOICE (continued). VIII. CORRECT INFLECTIONS. "INFLECTION" in elocution signifies an upward or downward "slide" of voice, from the average, or level, of a sentence. There are two simple "inflections" or slides," the upward or "rising," and the downward or "falling." The former is usually marked by the acute accent [']; the latter, by the grave accent [] The union of these two inflections, on the same syllable, is called the "circumflex," or wave. When the circumflex commences with the falling inflection, and ends with the rising, it is called the "rising circumflex," marked thus []; when it begins with the rising, and ends with the falling, it is called the "falling circumflex," marked thus [^]. When the tone of the voice has no upward or downward slide, but keeps comparatively level, it is called the " tone," marked thus [ - ]. Examples.-Rising Inflection. mono "Intensive," or high, upward slide, as in the tone of surprise Há! Is it possible! Examples of Circumflex. Tone of Mockery.-I've caught you, then, at last! Example of Monotone.-Awe and Horror. I could a tale unfold whose lightest word Rules on the Rising Inflection. Há! laugh'st thou, Lochiel, my vision to scorn? Rule 2.-The "moderate" rising inflection takes place where the sense is incomplete, and depends on something which follows: As we cannot discern the shadow moving along the dial-plate, so we cannot always trace our progress in knowledge. Note. Words and phrases of address, as they are merely In the usual tone of a question, that may be answered by introductory expressions, take the "moderate rising inflection," Yes or No: Is it really so? "Moderate" rising inflection, as at the end of a clause which leaves the sense dependent on what follows it: If we are sincerely desirous of advancing in knowledge, we shall not be sparing of exertion. The "slight" rising inflection-marked thus [], is used when the voice is suddenly and unexpectedly interrupted : When the visitor entered the room The last-mentioned inflection may, for distinction's sake, be marked as above, to indicate the absence of any positive upward or downward slide, and, at the same time, to distinguish it from the intentional and prolonged level of the "monotone." Falling Inflection. "Intensive," or bold and low downward slide, as in the tone of anger and scorn: Down, ruthless insulter! The "full" falling inflection, as in the cadence at a period :All his efforts were in vain. as: Note. This inflection, prolonged, is used in the appropriate tone of reading verse, or of poetic prose, when not emphatic, The "moderate" falling inflection, as at the end of a clause instead of a distinct rising or falling inflection, which would which forms complete sense :-- Do not presume on wealth; it may be swept from you in a moment. The horses were harnessed; the carriages were driven up to the door; the party were seated: and, in a few moments, the mansion was left to its former silence and solitude. The "suspensive," or slight falling inflection, marked thus [ ], as in the members of a "series," or sequence of words and clauses, in the same syntactical connection :- The force, the size, the weight of the ship, bore the schooner down below the waves. The irresistible force, the vast size, the prodigious weight of the ship, rendered the destruction of the schooner inevitable. The "suspensive" downward slide is marked as above, to distinguish it from the deeper inflection at the end of a clause, or of a sentence. have the ordinary effect of prosaic utterance, or would divest the expression of all its beauty. Examples. Here waters, woods, and winds in concert join. And flocks, woods, streams around, repose and peace impart. In the lone valley; echoing far and wide, And the full choir that wakes the universal grove. White houses peep through the trees; cattle stand cooling in the pool; the casement of the farm-house is covered with jessamine and honeysuckle;t the stately greenhouse exhales the perfume of summer climates. Rule 4.-A question which may be answered by Yes or No, usually ends with the rising inflection, as :— Can you be so infatuated as to pursue a course which you know will end in your rùin? Will you blindly rush on destruction ? Would you say so, if the case were your own? Rule 5.-The penultimate, or last inflection but one, is, in most sentences, a rising slide, by which the voice prepares for an easy and natural descent at the cadence, as : The rocks crumble, the trees fàll, the leaves fáde, and the grass withers. Erception.-Emphasis may sometimes make the penultimate inflection fall, instead of rising; as the abruptness of that slide gives a more forcible effect: They have rushed through like a hurricane; like an army of locusts, they have devoured the earth; the war has fallen like a waterspout, and deluged the land with blood. Rules on the Falling Inflection. Rule 1.-The "intensive, downward slide," or "low," falling inflection, occurs in the emphasis of vehement emotion, as :— Os! 'ON to the just and the glorious strife! Rule 2.-The "full" falling inflection usually takes place at the cadence, or close, of a sentence, as : No life is pleasing to God, but that which is useful to mankind. Exception. When the meaning expressed at the close of one sentence is modified by the sense of the next, the voice may rise, instead of falling, as : Exception 1.-Emphatic, abrupt, and disconnected series, may have the "moderate" or the "bold" downward slide on every member, according to the intensity of expression, as :— His succèss, his fàme, his life, were all at stake. The roaring of the wind, the rushing of the water, the darkness of the night, all conspired to overwhelm his guilty spirit with dread. Eloquence is action, nòble, sublime, godlike action. The shore, which, but a few moments before, lay so lovely in its calm serenity, gilded with the beams of the level sun, now resounded with the roar of cannon, the shouts of battle, the clash of arms, the curses of hatred, the shrieks of agony. Exception 2.-Light and humorous description gives the "moderate" upward slide to all the members of a series, as :— Her books, her músic, her pápers, her clothes, were all lying about the room, in "most admired disorder." Exception 3.-The language of pathos (pity), tenderness, and beauty-whether in verse or prose-takes the "suspensive," or slight rising inflection, except in the last member of the commencing " and the last but one of the " 'concluding' "series," which have the usual "moderate" rising inflection, 66 as: No mournful flowers, by weeping fondness laid, There (in the grave), vile insects consume the hand of the artist, We are not here to discuss this question. We are come to act the brain of the philosopher, the eye which sparkled with celestial fire, and the lip from which flowed irresistible eloquence. up-on it. Rule 3.-The "moderate Note 2.-All series, except the plaintive-as by their form of numbers and repetition, they partake of the nature of “climax,” or increase of signification-should be read with a growing intensity of voice, and a more prominent inflection on every Gentlemen may cry "peace, péace!” But there is no peace. Erception.-Plaintive expression, and poetic style, whether in the form of verse or of prose, take the "slight" rising inflection, in its prolonged form : Cold o'er his limbs the listless langour grew; The oaks of the mountains fall: the mountains themselves decay with years; the ocean shrinks and grows again; the moon herself is lost in heaven; but thou art for ever the same, rejoicing in the brightness of thy course. Rule 4.-The "suspensive," or slight falling inflection, takes place in every member but one of the "series," or successive words and clauses, connected by the same conjunction, expressed or understood. Note 1.-A succession of words is termed a simple series;" a succession of clauses a "compound series." A succession of words which leave sense incomplete is termed a "commencing series;" that which leaves complete sense, a "concluding series." A "commencing series" is read with the "suspensive," or slight falling inflection, on every member but the last; a concluding series, with the "suspensive" slide on every member, except the penultimate, or last but one. The air, the earth, the water, teem with delighted existence. Delighted existence teems in the air, the earth, ‡ and the water. ‡ The fluid expanse of the air, the surface of the solid earth, the liquid element of water, teem with delighted existence. 'Compound concluding series :" The splendour of the firmament, the verdure of the earth, the varied colours of the flowers which fill the air with their fràgrance, and the music of those artless voices which mingle on every tree; all conspire to captivate our hearts, and to swell them with the most rapturous delight. This remark applies, sometimes, even to the rising inflection, but, with peculiar force, to cases in which the language is obviously meant to swell progressively in effect, from word to word, or from clause to clause, and which end with a downward slide, on every member, as in the following instance :- tell you, though yoù, though all the wòRLD, though an angel from H'EAVEN, should declare the truth of it, I could not believe it. Rule 5.-All questions which cannot be answered by Yes or No end with the falling inflection, as :-- When will you cease to trifle ? Where can his equal be found? Who has the hardihood to maintain such an assèrtion ? How can such a purpose be accomplished ? Exception. The tone of real or affected surprise throws such questions, when repeated, into the form of the rising inflection, as :— How can such a purpose be accomplished! LESSONS IN ARITHMETIC.-XXII. MEASURES OF SURFACE OR SUPERFICIES. 6. Definition. A square is a four-sided figure, of which the sides are equal, and the angles right angles. Surfaces are measured by means of square inches, square feet, square yards, etc., i.e., by squares the sides of which are respec Delighted existence teems in the fluid expanse of the air, the surface tively 1 inch, 1 foot, 1 yard in length, etc. of the solid earth, † and the liquid element of water.‡ • Rising slide, for contrast to the following clause. "Penultimate" rising inflection, preparatory to the cadence, or closing fall of voice, at the end of a sentence. "Full" falling inflection, for the cadence of a sentence. 7. To find the magnitude of a Square, the length of its side being given. Raise the number expressing the number of linear units (inches or feet, etc.) in the side to the second power. This will give the number of square units of the same kind in the square. For instance, a square, of which the side is 4 inches, contains 16 square inches; a square, of which the side is 5 feet, contains 25 square feet. The truth of this will appear from the following diagram: Draw a square, each of the sides of which suppose to be 4 inches long; divide the sides into lengths of 1 inch, and complete the figure by drawing parallel lines, as in the margin. This divides the square into small squares, each of whose sides is an inch in length. Now, in any one row, such as we have indicated by the figures, there are 4 such squares, and there are rows. Hence, there are 16 square inches in the given square. 1 2 3 2 3 4 1 2 Fig. 1. 2 3 Suppose that two opposite sides be lengthened to 6 inches, so that the figure is no longer a square, but a rectangle. Dividing the figure as before into square inches, we see that there are necessarily six rows, each containing 4 square inches. Hence the number of square inches in a rectangle, two of whose sides are 4 inches long, and the other two 6 inches, is 6 x 4, or 24 square inches. The same method is evidently true for any other rectangle, so that, to obtain the number of square units in any rectangle, we must multiply the number expressing the number of linear units in the length by the number expressing the number of linear units in the breadth. 3 4 5 6 Fig. 2. The same is true if the lengths of the sides be fractional parts of the unit of length. For instance, to find the area of a rectangle of a foot long and a foot wide. Referring back to Fig. 1, suppose now that it is a square, each side of which is 1 foot. Then, dividing, as in the figure, each foot into 4 parts, the square contains 16 square parts, each of which, therefore, is of a square foot. Now the dotted line encloses a rectangle, one side of which is and the other or of a foot, and this rectangle contains 6 of the 16 parts into which the square is divided; or the area of of a square foot, i.e.,x by of a square foot. Obs. It must be observed that, in multiplying together the numbers, fractional or otherwise, which express the number of units in the sides of a rectangle, only one denomination must be used. The fact is, that we cannot talk of multiplying two geometrical magnitudes together. We cannot, for example, talk of multiplying 3 feet by an inch, or by 2 feet; but we can multiply two numbers together which indicate the lengths of the two lines, with reference to some one standard unit, and then deduce the geometrical result which corresponds to the numerical result thus obtained. 8. The following table of Square Measure is by the above principle deduced from that of the Measures of Length. The learner is recommended to do this for himself. The acre contains, as will be found by calculation, 10 square chains, or 100,000 square links, or 4,840 square yards. Flooring, roofing, plastering, etc., are often calculated by a "square" of 100 square feet. A hide of land is 100 acres. MEASURES OF SOLIDITY OR VOLUME.-CUBIC MEASURE. 9. Definitions. A solid figure is that which has length, breadth, and thickness. A cube is a solid contained by six squares, of which every opposite two are parallel. The sides of the squares are called the edges of the cube. All solids, or spaces which could be filled by solids, are measured by means of the number of cubic inches, cubic feet, etc., which they contain, i.e., by cubes, the edges of which are respectively 1 inch, 1 foot, etc., in length. The magnitude of any solid figure is sometimes called its 10. To find the magnitude of a Cube, the length of an edge being given. Raise the number expressing the number of linear units in the edge to the third power. This will give the number of cubic units of the same kind in the given cube. For instance, a cube of which the edge is 4 inches long contains 64 cubic inches; a cube of which the edge is 5 feet long contains 125 cubic feet. The truth of this will appear from the following diagram:Take a cube, as in the diagram, of which the edge is supposed to be 4 inches long, and divide each edge into lengths of one inch. Then, by drawing parallel planes, as indicated in the figure, we can divide the cube into a number of cubes, each of which is a cubic inch. Now, any one slice such as that which is shaded clearly contains 4 X 4, or 16 cubic inches, and there are 4 such slices. Hence the cube contains 4 x 4 × 4, or 64 cubic inches. 11. Definitions.—A rectangular parallelepiped is a solid figure contained by six rectangular figures, of which every opposite two are parallel. This differs from a cube in the fact that the length, breadth, and thickness are not equal. The volume of (i.e., the number of cubic units in) a parallelepiped is obtained by multiplying the numbers together which express the number of linear units in the length, breadth, and thickness respectively. This will perhaps be sufficiently apparent from the accom panying diagram of a rectangular parallelepiped, of which the length, breadth, and height are supposed to be 6, 5, 4 inches respectively. LESSONS IN PENMANSHIP.-XXIV. ALTHOUGH it is not possible to give a detailed scheme of elementary forms of which the capital letters of the writing alphabet are composed, as was done with regard to the small letters, it may be as well, for the benefit and instruction of the self-teacher, to make a few remarks on the method of forming each of the capital letters. In the capital letters of the writing alphabet the letter I is the key, and forms the principal part of most of the letters: it consists of a nicely tapering black stroke, commencing with a hair-stroke, and ending in a hair-stroke with a full point or a scroll. The head or top of this letter is variously made; a common form is seen in the capital letters in page 357: some times the head is formed like that of the capital J, which is the same letter in writing, with the black-stroke and the bottom hair-stroke carried below the level and terminated in a loop to the left. The letter A is very like the printed A, with a loop or hairstroke drawn across the middle; the hair-stroke generally begins with a full point, and the black-stroke tapering from the top terminates with a hair-stroke like a bottom-turn, or with a scroll; but it often terminates in a straight stroke, as it does in some printed forms (A). The letter B consists of the letter I without its head, and a curved black-stroke to the right with a loop in the middle to the left; this curved black-stroke commences with a curved hairstroke on the left of the middle stroke, and terminates with the same on the right of it, close to the bottom of the middle stroke. The letter C is composed of a tapering black-stroke, beginning with a loop in hair-stroke, and ending with a scroll. The letter D is composed of the letter I without its head, with the hair-stroke ending in a loop to the left at bottom, but carried round the top and made to terminate in a scroll. The letter E commences with a scroll, which merges into a thick down-stroke after being carried to the left. The stroke which has been gradually narrowed to a hair-line is now carried to the left and brought over the lower part of the down-stroke in a curved line towards the right. The letter M is like two A's joined together; but the middle down-stroke is generally made to taper gently to a sharp point at the bottom. The letter N is anomalous; the middle is a black-stroke, tapering at both ends; it is joined at top by a hair-stroke like the hair-stroke of the letter A, and at bottom by a hair-stroke running up into a curve. The letter O is like the small o, only it is left open at the top, and generally turned round in a loop at the end of the hair-stroke. The letter P is like the letter B, wanting the latter part of the curved black-stroke from the loop downwards. The letter Q is a curved tapering black-stroke, commencing at the top with a scroll, and ending in a loop to the left, of which the hair-stroke is carried across the black-stroke at the bottom in a waving curve. The letter R is like the letter B, with this difference, the Kirghiz Stippes COPY-SLIP NO. 91.-KIRGHIZ STEPPES. Lima, capital of Peru. COPY-SLIP NO. 92.-LIMA, CAPITAL OF PERU. Mahomet born at Mecca 622. COPY-SLIP NO. 93.-MAHOMET BORN AT MECCA, 622. towards the right and looped, after which it is carried to the left again, deepened into a thick-stroke, and finally turned, as the letter was commenced, in a scroll. The letter F is composed of the letter I with its head formed in a scroll and loop to the right at the top; it is also marked with a hair-stroke across the middle of the black-stroke, and terminating also in a small loop. The letter G consists of a tapering black-stroke curved to the left, beginning in a loop at top, and ending in a hair-stroke, to which is attached a black-stroke like the letter j among the small letters. The letter H is composed of the letters I and C joined together by a hair-stroke in the middle. The letters I and J have been described. The letter K is like the letter H, with this difference, that the black-stroke of the C part has a small loop in the middle to the left; the first or I part is sometimes a mere black-stroke, tapering from top to bottom. The letter L is commenced with a loop in hair-stroke. The fine line with which the letter is commenced is turned to the right, and brought downwards in a thick down-stroke. This down-stroke is again narrowed to a hair-stroke, which is looped latter part of the curved and looped black-stroke is turned to the right with a scroll. The letter S is the body of the letter I, with a hair-stroke loop to the right, at the top. The letter T is like the letter I with a larger head, made exactly like the head of the letter F. The letter U is a tapering black-stroke, commencing with a scroll, and ending in a hair-stroke, to which is attached the body of the letter C, with or without the head. The letter V is like the first part of the letter U, but the hair-stroke terminates in a small loop at the top. The letter W is like the letter M inverted; or rather, it consists of two tapering black-strokes, joined by a hair-stroke, and commencing and ending with peculiarly curved hair-strokes. Originally the letter W was just like two V's put together, and frequently this letter is still made like the latter half of the letter W. The letter X is formed very like the small X, only that it begins and ends with a scroll. The letter Y is like the letter U, with the second blackstroke drawn below the line and terminated in a hair-stroke loop. The letter Z is like the same letter in the small alphabet, but it begins and ends with a scroll; sometimes the lower scroll is formed into a loop below the line. The above description of the method of making the capital letters will prove of considerable assistance to the self-teacher in tracing out their varied forms, although we might reasonably suppose that he could not err in beginning each letter and ending it in the right place, after the experience that he has gathered in following carefully and sedulously the instructions given in our lessons on the formation of the small letters of the writing alphabet. The mode of shaping out each letter is the chief thing that each learner should aim at learning, and this he can do only by repeated practice. Our Copy-slips are arranged alphabetically, so as to give the student a sample of each letter in the alphabet. LESSONS IN GERMAN.-XXII. SECTION XLI-PECULIAR IDIOMS-(continued). SOMETIMES, as in English, a clause or sentence is made to supply the place of an adjective, as:-Die nie zu vergessente Schlacht bei Leipzig, the never-to-be-forgotten battle by (at) Leipsic. Der immer zu bewundernde Muth Luther's, the ever-to-be-admired courage of Luther (§ 150). 1. Anstatt, like the corresponding English word "instead," is❘ compounded of a preposition and a noun, which components may be separated, as :-Anstatt seines Vaters, instead of his father; or, an seines Vaters Statt, in his father's stead. 2. The infinitive preceded by anstatt is, in German, used where we use the present participle preceded by "instead of," as :Er spielt, anstatt zu arbeiten, he plays "instead of" working. When preceded by the preposition one, it is to be rendered by a participle governed by the corresponding preposition "without," as:—Er ist krank, ohne es zu wissen, he is sick, without knowing it. Er ist hier gewesen, ohne uns zu besuchen, he has been here with out visiting us. The infinitive is also often used where we em. ploy the present participle preceded by from, as :-Gr verhindert mich, zu schlafen, he prevents me from sleeping. 3. The infinitive is also used substantively [without zu: § 146. (1) a], as-Befehlen ist leicht, Gehorchen schwer, to command is easy; to obey, difficult. It is often preceded by the article, as :— -Ich liebe das Schreiben, aber nicht das Zeichnen, I like writing, but not drawing. 4. After gehen, bleiben [§ 146. (1) e], etc., the infinitive often answers to our present participle, as :-Er blieb sißen, he remained sitting (literally, he continued to sit). Er bleibt stehen, he remains standing. Er ist fischen gegangen, he has gone a fish ing. In a sentence which is employed as the subject of a verb, the infinitive frequently rejects the preposition zu (§ 146.), as:--Den Feind vertheidigen ist edel, or, den Feind zu vertheidigen ist erel, to defend an (the) enemy is noble. 3u is generally omitted before such verbs as lehren, to teach; lernen [§ 146. (1) c], to learn, etc., as :-Ich lehre ihn schreiben, I teach him to write. Gr lernt frrechen, he learns to speak. 5. The past participle in German is sometimes used where we use the present, as :-Dort kommt ein Mann in voller Hast gelaufen [§ 149. (3)], yonder comes a man running at full speed (in full haste). Anstatt', instead of. Benüß'en, to use,make use of. Bett, n. bed. dis 1. Anstatt mit einem Stocke vertheidigte er sich mit einem Regenschirme. 2. Anstatt mit Freunden zu gehen, war er immer in Gesellschaft frember Leute. 3. In der Stube hatte man, anstatt des Bettes, eine große Kiste. 4. In Deutschland ist man gegen Fremde sehr höflich. 5. Die Wurzeln des Waldes waren seine einzige Nahrung. 6. Das Wasser hat bei dieser Gelegenheit die Stelle des Weines vertreten. 7. Ein Schüler hat die Stelle des Lehrers vertreten. 8. Anstatt der Fetern benüßt man Bleistifte. 9. Das Reisen macht mir sehr viel Vergnügen. 10. Meine Kinder haben das Schreiben und Lesen von mir gelernt. 11. Wir wollen geben; dies lange Warten ist mir unangenehm 12. Man zicht gewöhnlich das Sißen dem Stehen vor. 13. Er hat das Arbeiten in seiner Jugend gelernt. 14. Bir haben zusammen das Schreiben gelernt. 15. Ich hasse das Schreiben, dagegen liebe ich desto mehr des Malen. 16. Er versteht das Zeichnen besser, als bas Malen. 17. Wir hörten das Stürmen der Glocken und das Donnern der Kanonen. 18. Das Heulen des Sturmes und das wilde Toben der Wellen erhöhte noch den Muth des tapfern Kapitäns und seiner Mannschaft, anstatt ihn zu beugen. 19. Gott mehr gütig als gerecht denken, ist eben so viel, als Gott entehren (Gellert). 20. Dies nicht zu entschuldigende Betragen des Schülers kränkte den Lehrer. EXERCISE 79. 1. The never-to-be-penetrated almightiness of God. 2. I am here instead of my brother. 3. The opposition of the Poles was full of despair; terrific was the singing of their war-song: “Not yet is Poland lost." 4. The reading of instructive books en larges the understanding. 5. To assist the poor is a Christian duty. 6. The changing of times and seasons and the removing and setting up of kings belong to Providence alone. 7. He defends this man without knowing him. 8. The danger heightened the courage of the soldiers, instead of depressing it. 9. The student learns drawing and painting from his brother. 10. This mode of life does not agree with me. SECTION XLII.—SUBJUNCTIVE MOOD. The subjunctive mood is employed both in indirect assertions and in indirect questions after verbs of speaking, thinking, wishing, hoping, etc., i.e., after all verbs of mental action, when the actual words of him who spoke, thought, etc., are not quoted, as-Er sagte sein Freund fei kranf, he said his friend was ill (he actually said, my friend is ill). Er fragte mich, wer ich sei, he asked me who I was (he asked, who are you?). Man sagt, daß er ein Seflich, polite, cour- Vertheitigen, to de- großes Vermögen habe, it is said that he has a great fortune. For VOCABULARY. Gütig, kind, good. Hassen, to hate. Heulen, to howl. teous. Kano'ne, f. cannon. forces. Nahrung, f. nourishment, food. Polen, n. Poland. n. Schlachtlied, n. war Stelle, f. place. Un'angenehm, agreeable. fend. dis Vertreten, to take the Zusammen, together. further information on the subjunctive, see § 143; and for con- Er meint, es sei besser, hier zu bleiben. Sie sagten mir, er wäre mein Ich meinte, es wäre ein Spaß. Er sagt, der Kaiser habe ihn be. They say he is very rich. here. You told me he was my friend. I thought it was a jest. It was thought he was on the mountain. He says the emperor has par doned him. |
