EXPRESSION.

Expression is the utterance of written thoughts, feelings and sentiments, in such a manner as to convey them truly and impressively to the hearer.

The general divisions of Expression are, EMPHASIS, INFLECTION, PAUSE, and MODULATION.

Emphasis,

Expression.

Inflection,

Pause,
Modulation.

Under the head of ORTHOËPY, we have learned the oral elements of the language, the manner of their production by the voice and the organs of speech, the union of the elements to form syllables, the proper accent of the syllables, and the linking of them together to form words.

We are now to consider, under the head of Expression, the second and most important part of reading, that which treats of the adaptation of words, so formed and fashioned, to the many and wonderful uses of speech.

The vocal management of words according to the rules of EMPHASIS, INFLECTION, PAUSE, and MODULATION, gives life, warmth, coloring and effect to written composition.

I. EMPHASIS.

Emphasis is a force of voice laid upon some word or words, to intensify their meaning.

EMPHASIS is divided into ABSOLUTE AND RELATIVE.

ABSOLUTE EMPHASIS is the force of voice laid upon a word or words, to show the importance of the idea expressed by it or them; as,

He was found guilty of stealing.

And was it, then, a dream?

Give me the book," said the dying Christian: "What book?" asked his friends. "What book!" he exclaimed, "There is but one book, the BIBLE!"

Life is real; life is earnest;

And the grave is not its goal.

RELATIVE EMPHASIS is a force of voice laid upon some word or words, to compare and contrast the idea expressed by it or them, with that expressed by some other word or words; as,

The boy is the father of the man.

Bark is a good dog, but Bite is a better one.

He not only talkel Christianity, but acted it.

Aim to be, and not to seem.

EMPHATIC WORDS are often denoted by being printed in italics; those more emphatic in SMALL CAPITALS; and those still more so, in LARGE CAPITALS.

Suppose, for example, that the preceptor observes that William is idle. He will say,

EMPHASIS does not mean mere loudness of tone. On the contrary, the volume of the voice is often not great enough to express the depth and strength of our feelings, and the emphatic words are spoken with a hiss or a husky whisper; as,

I hate him! I HATE him! I HATE him!

And whispered with white lips, the foe! they come!

THEY COME!

A RIGHT USE of emphasis is the greatest art of good reading. The Emphasis can be moved so as to change the entire meaning of a sentence; as,

No.

Did you come on the cars to-day?
Did you come on the cars to day? No; John came.
Did you come on the cars to-day? No; I came on

the boat.

Did you come on the cars to-day? No; I came yesterday.

II. INFLECTION.

Inflection is the bend or slide of the voice, used in reading and speaking.

There are three inflections: The RISING INFLECTION, the FALLING INFLECTION and the CIRCUMFLEX.

Inflection.

Rising,
Falling,

Circumflex.

THE RISING INFLECTION is the upward slide of the

voice; as,

Has John come home?

THE FALLING INFLECTION is the downward slide of the voice; as,

Who knows why John has not come

home?

IN THE RISING INFLECTION, the voice begins on the general pitch, and ends above it; while in the falling inflection the voice begins above and ends on the general pitch.

THE CIRCUMFLEX is the union of the rising and falling inflections on the same syllable or word, so as to produce a wave of the voice. It may begin with the rising and end with the falling, or begin with the falling and end with the rising inflection.

HOW MARKED. The rising inflection is marked thus ('); and the falling inflection thus (`). The rising circumflex is marked thus; and the falling circumflex thus.

I.

Rising Inflection.

DIRECT QUESTIONS, or those that can be answered by yes or no, unless repeated with emphasis, take the rising inflection, and their answers generally, the falling; as, Do you live in town'? I dò.

Will you ride to-day'? Nò.

WHEN REPEATED with emphasis, direct questions take the falling inflection; as,

Do you live in town?

Will you ride to-day`?

CARELESS ANSWERS to direct questions take the rising inflection; as,

Are you sick this morning? Not much'.

DISJUNCTIVE OR.

Words and clauses connected by the

disjunctive or usually take the rising inflection before,

and the falling, after, it; as,

Shall we go', or stay`?

Did you say valor' or value?

THE NAME OF THE PERSON OR OBJECT ADDRESSED generally takes the rising inflection; as,

Hamlet', you have your father much offended.
John', James',-cease whispering.

Ye hills, and dales', ye rivers', woods', and plains',
Tell, if ye saw, how came I here`?

WHEN A PAUSE is required by the meaning, and the sense is not complete, the rising inflection is generally used; as,

The bell having rung', the boys came in.

If your studies sometimes seem difficult, if your schoolmates are not always kind',-be not discouraged.

Industry will conquer the one', and gentleness subdue the other.

TENDER EMOTION, such as grief, pity, kindness, gentle joy and mild entreaty, commonly requires the rising inflection; as,

Henry', Henry', how can you act so'?

The sun shines, and the birds are singing; I feel happy to-day'.

I am sorry, mother', that I disobeyed you'.

REMEMBER that the rising inflection is often very slight, so that, in fact, the voice is merely suspended, rather than raised.

II.

Falling Inflection.

INDIRECT QUESTIONS, or those which cannot be answered by yes or no, generally take the falling inflection, and their answers the same; as,

How old are you?

What time is it?

Ten.

Eight o'clock.

How many books have you? I do not know`.

WHEN REPEATED, however, indirect questions imply a

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