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THE CLIMAX.

In Rhetoric, the Climax is defined to be "a sentence, or a series of sentences in which the successive members, or sentences, rise in force, importance, or dignity, to the close of the sentence, or series."

This general definition is sufficient for all the purposes of Rhetoric; but the different ways in which the various climaxes should be read, or spoken, demand a more specific classification for Elocution.

The climacteric style of composition, is so largely, and so effectively used, by our best writers, that it is very desirable that the student of Elocution should give its rendition careful attention.

Some of the grandest flights of eloquence in our language,—particularly by Patrick Henry, and Daniel Webster,―are passages in this style. They, surely, could not have delivered them in the weak, and lifelessly monotonous manner, in which we have sometimes heard these same passages re-rendered, by embryo orators.

We would earnestly advise the teacher, to see that the student notes well the instructions given, as to the rendition of the different climacteric series, and then drill him on the illustrations given, (or similar ones,) until he can render them correctly, and without seeming effort.

We make three classes of climaxes, named according to the prevailing pitch of voice, and inflections, by which they are marked in the

rendition.

1. The Rising Climax.

The Rising Climax consists of a sentence, or a series of sentences, in which all of the successive members, or sentences, have a common dependence upon a concluding clause, or sen

tence.

In rendering the rising climax, the pitch of voice should be regularly higher, the quantity fuller, the force greater, and the inflections rising more intensely throughout the series, until the penultimate clause or sentence has been rendered; then, after a slight pause, the pitch should take a lower key, the time be slower, the the emphasis more marked, and the final sentence close with the falling inflection.

To render the climacteric series correctly and effectively, sometimes requires the fullest compass of voice, that even the best of Elocutionists, can command.

The student, therefore, should be careful, that his voice be not pitched too high upon the first member, or sentence of the series.

In long climaxes, particularly, he must be sure to begin low and rise step by step as the climax progresses,

until he reaches the highest pitch, and the greatest volume of voice he can smoothly and roundly utter.

In case the series is very long, and the speaker fears he may not have voice sufficient to go up fully and roundly, he may break it up into two, or even more sub-series.

If the latter method be adopted, discretion should be used to make the breaks in such places as will least mar the force and beauty of the passage.

ILLUSTRATIONS.

"Ye living flowers, that skirt the eternal frost!
Ye wild goats, sporting round the eagle's nest!
Ye eagles, playmates of the mountain storm!
Ye lightnings, dread arrows of the clouds!
Ye signs, and wonders of the elements !
Utter forth God, and fill the hills with praise!"

"Is honor's lofty soul forever fled?

Is virtue lost? Is martial ardor dead?

Is there no heart where worth and valor dwell?
No patriot Wallace? No undaunted Tell?
Yes, Freedom, yes! thy sons, a noble band,
Around thy banner, firm exulting stand."

"From Greenland's icy mountains,
From India's coral strand,

Where Afric's sunny fountains

Roll down their golden sand;

From many an ancient river,
From many a palmy plain,
They call us to deliver

Their land from error's chain."

2. The Falling Climax.

The Falling Climax consists of a series of sentences, more or less nearly allied in sense, or construction; but the individual sentences are complete in themselves, or at least, they have no common dependence, upon any concluding sentence.

The rendition of such series, requires the same increase of pitch, quantity, force, and time, as in the rising climax; but every sentence should close with the falling inflection, except the penultimate, which should have the rising inflection.

The rising inflection seems to be necessary, upon the penultimate sentence, in order to give the hearer notice that the series is about to terminate.

Exception.

When there is a special increase of solemnity, (or kindred emotions,) through the progress of the falling climax, each sentence should fall in pitch, etc., and close with the lowest and fullest possible orotund quality of voice.

ILLUSTRATIONS.

"These through faith subdued kingdoms, wrought righteousness, obtained promises, stopped the mouths of the lions, quenched the violence of fire, escaped the edge of the sword, out of weakness were made strong, waxed valiant in fight, turned to flight the armies of the aliens."

ILLUSTRATION OF EXCEPTION.

"The sun hath set in folded clouds,-
Its twilight rays are gone,

And gathered in the shades of night,
The storm is rolling on.⚫

Alas! how ill that bursting storm

The fainting spirit braves,

When they, the lovely and the lost,

Are gone to early graves."

3 The Double Climax.

The Double Climax, is a series where there is a constant repetition of comparisons, or contrasts of sentiment.

The sentences in such a series should be read alternately according to the directions given for the rising, and the falling climaxes.

It is really a union of both the preceding styles. Examples of this style are quite rare, but when they do occur, they can be made very effective.

ILLUSTRATIONS.

"They loved, but the story we cannot unfold;
They scorned, but the heart of the haughty is cold;
They grieved, but no wail from their slumber will come;
They joyed, but the tongue of their gladness is dumb.”

THE CELESTIAL DOOR.

Within that door, will be peace and rest; without that door, will be anguish and turmoil.

Within, will be songs of praise, and adoration to the Lamb of God; without, will be weeping, and gnashng of teeth, and horrid blasphemy.

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