word butcher, he pours it out with the force and expression of execration.

This pause arrests the attention of the hearer in an extraordinary manner; and therefore it may be used for that effect, before the word of particular force and importance in the most solemn and least-excited passages; as in Saint Paul,

And now abideth faith, hope, charity; these three: but the greatest of these is charity.

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And in Portia's speech on mercy,

And earthly power doth then shew likest God's,
When mercy seasons justice.

In excited passages of highly-wrought feeling, it also gives the orator an opportunity of gathering full power of voice to concentrate it on the one word or phrase-as, in the well-known burst of Othello's passion :

If thou dost slander her, and torture me,
Never pray more!

Great power and expression may be added to the phrase "torture me," by the introduction of this pause, with the emphasis of force, on the words "torture me."

The strength of the passage is further increased by the addition of the same pause before the words never pray more;" in which case, the pause will be doubled in time; (as there is already a pause' of sense required after torture me.)

The passage will then stand marked-with pause, inflection (of antithesis,) and emphasis of force.

If thou dost slander her, and torture me

Never pray more!

We shall presently see that the power of this passage may be still further augmented-under the force of

CUMULATIVE EMPHASIS.

The emphasis of sense goes to meaning only; the emphasis of force is expressive of intensity and energy. That expression is augmented by doubling the emphasis,—and is brought to its climax of power, by applying it to several words in succession; which is called accumulated or Cumulative Emphasis.

This emphasis, when judiciously used, adds great power to passages of strength: but it must not be frequently employed, or it will lose its effect by the repetition, and give a disagreeable jerking to the delivery. It is introduced properly, to add increased force to climax,—either of powerful argument, or of highlywrought passion. In both these cases it crowns the excitement and energy of the speaker; it is the "top'most round" of the ladder, beyond which he cannot step. It should therefore be reserved for great occasions. Thus,

EXAMPLES.

1. In an important reply, in which the orator feels that he has triumphantly refuted the arguments of his opponent, he may, with effect, close the climax of his triumph with the cumulative emphasis of force:

I have thus shown, from the gentleman's own arguments, that the doctrine advanced by him is not at present received: -that it never was received: that it never can by any possibility be received: and that, if admitted, it must be by the total subversion of liberty itself!

2. Again, on the climax of intense passion, as in the former example of Othello's speech, read with cumulative emphasis, the articulation of the passage becomes almost syllabic, and it acquires tremendous power.

If thou dost slander her and torture me

Never pray more: abandon all remorse⚫

On horror's head horrors accumulate;

Do deeds to make heav'n weep, all earth amazed-
For nothing canst thou to damnation add-

Greater than this!

Such is the power of Cumulative Emphasis.

EXPRESSION of feeling and passion is achieved, not by inflection or emphasis, but by pitch of voice; which will be treated of in the next division.

END OF PART III. OF SECOND DIVISION.

THIRD DIVISION.

THE principles developed in the preceding Division have taught us to read and speak with meaning, force, and ease. But Elocution has a higher aim. She follows the human voice in its natural and unrestrained expression of intense feeling,-she accompanies it "in the very torrent, tempest, and whirlwind of its passion;" she knows it in its joy and in its sorrow; she catches, and treasures up its intonations of love and hate, persuasion and command, scorn, pity, tenderness and rage; and by the power of her "so potent art," she holds them like familiar spirits, to be let loose at will.

Under her teaching, he who will, may learn their mastery; subdue them to his power; and call them to his aid, when he would cast a spell over the minds and hearts of his fellow-men.

This is the highest triumph of Elocution;-the truthful utterance of intense and passionate feeling. This is to be attained by the power of

INTONATION, EXPRESSION, ENERGY;

the Crowning Graces of Elocution.

INTONATION.

Intonation is the art of imparting true and perfect tone to the organ of the voice: its practice forms the Education of the Voice, and gives it fulness and volume.

The human voice (as I have before observed) must be regarded as a musical instrument-an Organ. To produce its tones, its bellows-the lungs-must be kept duly inflated, or supplied with breath; the pipe--the throat-must have full play,-the orifice of the mouth must be well opened, and the sound must be poured through it in a copious, swelling stream; interrupted, momentarily, by pause or rests, --on which it gathers fresh impetus for its onward

course.

Many a voice is called weak, not because it is really deficient in natural power, but because its possessor is ignorant of, or unpractised in, the mechanical means of eliciting, improving, and displaying its strength. For the means are mechanical, and consist of the following

PROCESS OF INTONATION.

1. INFLATION OF THE LUNGS, (to begin,) and regularly supplying what they expend in respiration-by an imperceptible inspiration, or catch of the breath, at each pause:-(and here the rhetorical pause is of great service.)

2. OPENING THE MOUTH well-not speaking through the teeth—or, as it is called, "eating your words,"-(which nine speakers out of ten do.)

3. POURING OUT THE VOICE regularly, with an even and continuous flow and swell; not in irregular jerks and starts.

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