all our exercises, which is to do everything as easily and gracefully as possible. Therefore, begin with slow movements and carry the foot to a moderate distance in each direction, increasing gradually both the rapidity and the extent of the action.

The Vowels.-Continued.

7. A obscure. This is the sound that is heard in unaccented syllables as, for instance, arrival, avenge, abominable.

8. A intermediate. This sound is between the short, somewhat flat sound of a in ăn or at, and the so-called "Italian" sound of ä in äh, fäther. amples: ask, task, fast, not äsk, täsk, fäst.

Ex

9. Ä in fäther, märt, äh, pärt; also heard in haunt, hearty, guardian.

Carefully distinguish between sounds 8 and 9. Practise all vocal exercises and inflections with each sound until it is always at command.

The voice should run up through the compass of at least an octave, with inflections as in speech. Let the upward movement be a question, and speak the downward series as if in answer to it. Breathe between the question and the answer. Practise later with similar groups in circumflexes. (See Lesson XXII.). Use all the vowels as well as groups of words. Enlarge the gamut as you gain in compass.

LESSON XVII.

Rules for Emphasis.—Continued.

IV. Emphasis falls on the accented syiiable of the word, except where the new idea is contained in an unaccented syllable.

EXAMPLE.

This should be unaccented.

V. The fewer emphases you can give and still leave the meaning clear, the better.

Emphasis upon unimportant words tends to confuse the hearer. Lead directly up to the key-word of the phrase, and let whatever follows take its own course. Do not say, for instance, in the example quoted below, "I would never lay down my ARMS," which would imply that you might do a great many other things equally as bad, possibly lay down your head; the thought is "never."

EXAMPLES.

Review Lessons III., VII., XIII., XV.

The old mayor | climbed the belfry tower ||
The ringers ran by two, by three; |||
Pull if ye never pulled before ||

R. I.

R. II. Exception.
R. III.

Good ringers, I pull your BEST, | quoth he. || R. II.
Play uppe, play uppe, O Boston bells ||
Ply all your changes || all your swells, ||
Play uppe "The Brides of ENDERBY."

R. III. Note.

-Jean Ingelow.

Analyze also for inflection. Would the old mayor's appeal be major or minor, and why?

The kettle began it! Don't tell me what Mrs. Peerybingle said. I know better. (1) Mrs. Peerybingle may leave it on record to the end of time that she couldn't say which of them began it; but I say the kettle did. (2) I ought to know, I hope! The kettle begar it, full five minutes by the little waxy-faced Dutch clock in the corner, before the cricket uttered a chirp. (3) Why, I am no naturally positive. Every one knows that I wouldn't set my owr opinion against the opinion of Mrs. Peerybingle, unless I were quite sure, on any account whatever. Nothing should induce me. Bit this is a question of fact. And the fact is (4) that the kettle bean it at least five minutes before the cricket gave any sign of being-inexistence. (5) Contradict me, and I'll say ten.-Dickens.

This is an example of colloquial speech, every-day conversation. It is animated, but not nearly so fa cible as the preceding selection, which requires, here and there, very powerful emphasis. The style of delivery should be light and tripping, with much self-assertion. We are continually making contrasts between Mrs. Peerybingle and the writer or speaker, and between the kettle and the cricket. Bring out these contrasts with great earnestness,

(1) Would you say "I know better" or "I know better"? Why? (See Rule V.)

(2) "I say the kettle did." (See Rule II.) Why? (3) Point out the most emphatic word in this sentence, and tell why.

(4) "And the fact is" or "and the fact is"?

(5) Two words are especially emphatic here; which are they, and which of the two is the more emphatic, that is, the more important?

Which is the most emphatic word in the entire selection, and why?

What

You cannot, my lords, you cannot (1) conquer America. is your present situation there? (2) We do not know the worst, but we know that in three campaigns we have done nothing and suffered much. You may swell every expense, accumulate every assistance, and extend your traffic to the shambles of every German despot. Your attempts will be forever vain and impotent, doubly so, indeed, from this mercenary aid on which you rely; for it irri tates to an incurable resentment the minds of your adversaries to overrun them with the mercenary sons of rapine and plunder, devoting them and their possessions to the rapacity of hireling cruelty. If I were an American, as I am an Englishman, while a foreign troop was landed in my country I would never lay down my arms-never, never, never!-Lord Chatham.

(1) This is the preferred emphasis. It brings out more strongly the feeling that conquest is impossible than repetition of the word with its ordinary accent could do. (See Rule IV.)

(2) "Present" or "situation"? why not "there"? Make this a study in pause as well, both for the separation of ideas and for emphasis.

EXAMPLES FOR PRACTICE.

O green was the corn as I rode on my way,
And bright were the dews on the blossoms of May,
And dark was the sycamore's shade to behold,
And the oak's tender leaf was of emerald and gold.

The thrush from his holly, the lark from his cloud,
Their chorus of rapture sang jovial and loud:
From the soft vernal sky to the soft grassy ground,
There was beauty above me, beneath, and around.-Heber.

Paul Revere was a rider bold

Well have his valorous deeds been told;
Sheridan's ride was a glorious one-
Often has it been dwelt upon;

But why should men do all the deeds

On which the love of a patriot feeds?— Will Carleton.

If when I meet my brother man
Adrift on life's uncertain sea,
To him I give whate'er I can,
The honor's not to me.

For God to me has freely given
From out His bounteous store,

So give I of the all I have,

And only wish 'twere more.

And as I leave, with tearful eyes,
My brother who to me was sent,
I feel that God has, in disguise,
Another blessing to me lent.

What is genius? Is it worth anything? Is splendid folly the measure of its inspiration? Is wisdom its base or summit-that which it recedes from or tends towards? And by what definition do you award the name to the creator of an epic and deny it to the creator of a country? On what principle is it to be lavished