Εικόνες σελίδας
PDF
Ηλεκτρ. έκδοση

A List of the principal Authors, extracts from whose writings have been used in this Reader:

Cardinal Wiseman.

V. Rev. John Henry Newman,

D.D.

V. Rev. I. T. Hecker.
Orestes A. Brownson, LL.D.
Adelaide Anne Procter.
Eleanor C. Donnelly.
O. W. Holmes.
Edmund Burke.
Mrs. Craven.

Prof. Agassiz.
Jean Ingelow.
Mrs. Hemans.
Aubrey de Vere.
J. Fenimore Cooper.
Washington Irving.
H. W. Longfellow.
B. J. Dorward.
Charles Dickens.
D. F. McCarthy.
W. H. Prescott.
Miss Ferrier.

Archbishop Landriot.

St. Francis de Sales.

J. G. Whittier.
William Shakspeare.
R. W. Emerson.
Archbishop Fénelon,

Emily Bowles.

T. Buchanan Read.
Bessie Raynor Parkes.
W. H. Anderdon, S.J.
Walter Scott.

N. P. Willis.
Helen Hunt.
Gerald Griffin.

Prof. Maury.

Alfred Tennyson. Daniel Webster. Father Lacordaire D. G. Rossetti. George Eliot. J. R. Lowell. Mrs. Norton. Jane Austen. Samuel Rogers. St. Teresa. Thomas Moor Bret Harte. Alice Cary. Henry Giles. Archbishop Spalding John Dryden. Robert Southey. Alexander Pope.

INTRODUCTION.

Elocution is the utterance or delivery of thought by means of language. Good elocution requires correct articulation, and a proper regard for pronunciation, inflections, emphasis, pauses, and modulation. The principles of elocution are applicable to reading, recitation, conversation, and public speaking.

Articulation is the distinct utterance of the oral elements of a word. The oral elements are divided into three classes: tonics, subtonics, and atonics. Tonics are pure tones produced in the throat. They are represented by the vowels. Subtonics are tones produced in the throat, but modified by the palate, tongue, teeth, or lips. Atonics are mere breathings formed into sound by the organs of speech. Subtonics and atonics are represented by the consonants.

Frequent attempts have been made to describe and illustrate

the formation of the various articulate sounds for the benefit of those whose articulation is faulty; but the descriptions are necessarily imperfect, and engravings show but a part of the process. Clear and accurate articulation can only be attained by daily practice on those sounds which are difficult to utter, or are liable to be changed or suppressed.

Correct pronunciation consists in giving to each oral element its proper sound, and the placing of the accent. Errors in pronunciation which are not the result of carelessness arise from imperfections in the organs of speech, or from a defective ear. They consist of the omission, addition, or substitution of an oral element. Leading authorities differ in their mode of pronouncing words. Sometimes the difference extends to the oral elements; most generally it arises in reference to the placing of the accent. Care should be taken to adopt the pronunciation which the best usage has sanctioned. A standard dictionary should be consulted whenever the pronunciation of a word is in doubt.

Accent is the peculiar force placed upon one or more syllables

13

in order to give the word its proper pronunciation. The more forcible accent is called the primary accent; the others are called secondary. The acute accent () indicates the syllable on which the primary accent falls. The grave accent (') placed over a vowel shows that the number of syllables is increased. These marks are also used to denote inflections.

Accentuation may be called syllabic emphasis. The rules which govern it are regulated by custom and the peculiarities of our language. The usual accentuation can only be changed by poetic license, or when emphatic words have a sameness of formation.

"For this corrupt'ible must put on in'corruption; and this mor'tal must put on im'mortality."

INFLECTIONS.

Inflections are turns or slides of the voice used in reading or speaking. The rising inflection is the movement of the voice from a lower to a higher tone. The falling inflection is the movement of the voice from a higher to a lower tone. In conversation, the voice rises or falls on each unemphatic syllable through the interval of a musical tone, while on accented syllables the variation is greater.

The Circumflex indicates the union of the rising and falling inflections on the same word. All words not requiring the falling inflection or circumflex are uttered with a slight rise at the end.

Monotone is the enunciation of successive words in the same tone of voice. Absolute monotone, however, should always be avoided.

Questions that can be answered by yes or no take the rising inflection. Indirect questions take the falling inflection.

Macbeth.-I have done the deed'. Didst thou not hear a

noise'?

Lady M.-I heard the owl scream and the crickets cry. Did not you speak'?

Macbeth.-When'?

Lady M.-Now.

Marbeth. As 1 descended'?

Lady M.-Ay.

+

In addressing, the rising inflection denotes familiarity; the falling inflection denotes formality or reverence. The falling inflection follows a command. flection is used for entreaties.

The rising in

Or, Hubert', if you will', cut out my tongue',
So I may keep mine eyes'. Oh, spare mine eyes'!
Though to no use', but still to look on you'.

The rising inflection belongs to the softer passions. It follows expressions of pity, grief, fear.

Oh my son Absalom'! my son', my son Absalom'!
Would God I had died for thee', Absalom my son', my son'!
The falling inflection belongs to the sterner passions. It
follows expressions of anger, hatred, revenge.

Contrasted words or phrases take opposite inflections.
The good man' is honored', but the evil man' is despised'.

A negative sentence or clause takes the rising inflection, when the sentiment in a positive form is expressed or implied in the lines which follow.

Thou art no lingerer in monarch's hall',

A joy thou art, and a wealth to all`.

The rising inflection is used after a concession; after sentences expressive of that which is doubtful, weak, or trifling; and after answers which express indifference. The falling inflection follows expressions of reproach, defiance, or contempt.

When a sentence begins with a series, the last member takes the rising inflection, and the one before it the falling. In a concluding series the last member takes the falling inflection, and the one before it the rising.

I slip', I slide', I gloom', I glance'
Among my skimming swallows;
I make my netted sunbeams dance
Against my sandy shallows.

"Kindness produces good-nature and mutual benevolence', encourages the timorous', soothes the turbulent', and humanizes the fierce'."

The circumflex is used to express surprise, irony, contempt, sarcasm, scorn, insinuation; and in expressions having a double meaning or used in a peculiar sense.

« ΠροηγούμενηΣυνέχεια »