or less closeness, querulousness, and passion, in proportion to the extent and force of the rise.

The falling progression disconnects what has been said. from whatever may follow; and this with more or less completeness, exclusiveness, and passion, in proportion to the force and extent of the fall.

The rising inflection is thus, invariably associated with what is incomplete in sense; or if apparently complete, dependent on or modified by what follows; with whatever is relative to something expressed, or to be implied; and with what is doubtful, interrogative, or supplicatory.

The falling inflection, on the contrary, is invariably associated with what is complete and independent in sense, or intended to be received as such; with whatever is positive and exclusive; and with what is confidently assertive, dogmatical, or mandatory.

The rising inflection is thus, also, the natural intonation of all attractive sentiments; of love, admiration, pity, &c., as in the exclamations, "Beautiful' Alas'! Poor thing'!" The falling inflection is the tone of repulsion, anger, hatred, and reproach, as in the exclamations, "Go! Fool! Maledic tion'!"

A great number of rules are given for the inflecting of sentences, or parts of sentences. To these rules there are many exceptions not enumerated by their framers. The rules, if used at all, must therefore be used with extreme caution, or they will mislead; and the reader who undertakes to regulate his elocution by them will in many instances fall into error. We give below the rules that are least liable to exception; but even these must be received rather as hints to guide the reader where he is in doubt, than rules to hold where his understanding dictates the intonation most in accordance with the sense and spirit of what he is reading.

Where the sense is complete, whether at the termination of a sentence, or part of a sentence, use the falling inflection. When sentences are divisable into two parts, the commencing part is generally distinguished by the rising inflection. Questions commencing with an adverb or pronoun, and

which cannot be answered by a simple "yes" or "no," ger erally terminate with the falling inflection.

Questions commencing with a verb, and which cannot be answered by a simple "yes" or "no," generally terminate with the rising inflection.

When two or more questions in succession are separated b the disjunctive particle or, the last question requires the fallng and the preceding ones the rising inflection.

The general rule for the parenthesis is, that it must be pronounced in a lower tone, and more rapidly than the rest of the sentence, and concluded with the inflection that immediately precedes it. A simile being a species of parenthesis, follows the same rule.

The title echo is adopted to express a repetition of a word or phrase. The echoing word is pronounced generally with he rising inflection, followed by something of a pause.

EXERCISES IN INFLECTION.

In the following pieces,-the first by Sir Walter Scott, and the second and third from Ossian,-exercises in modulation for two or three voices, or sets of voices, are given. By separating an entire class, and allotting to each group its part for imultaneous utterance, a good effect, with a little drilling, may be produced. Pupils will readily perceive that where the sense is incomplete, and the voice is suspended, the rising inflection is naturally used:

For two voices, or sets of voices.

(1st) Pibroch* of Donuil Dhu', (2d) pibroch of Donuil', (1st) Wake thy wild voice anew, (2d) summon Clan-Conuil'. (1st) Come away', come away'! (2d) hark to the summons'! 1st) Come in your war-array', (2d) gentles and commons'.

* A pibroch (pronounced pibrok) is, among the Highlanders, a martia. ur played with the bagpipe. The measure of the verse in this stanza re.uires that in the third line the exclamation "Come away" should be ounded as if it were a single word, having the accent on the first syllable -tuus, come away. So in the words hill-plaid, and steel blade, in the sev onth and eighth lines. The license of rhyme requires that the ai in plaid should be pronounced long, as in maid.

(1st) Come from deep glen', (2d) and from mountains so

rocky',

(1st) The war pipe and pennon (2d) are at Inverlochy`; (1st) Come every hill-plaid', (2d) and true heart that wears

one',

(1st) Come every steel blade', (2d) and strong hand that bears

one'.

(1st) Leave untended the herd, (2d) the flock without shelter ; (1st) Leave the corpse uninterred, (2d) the bride at the

altar';

(1st) Leave the deer, (2d) leave the steer, (1st) leave nets and barges';

(All) Come with your fighting gear', broadswords and targes'.

(1st) Come as the winds come, (2d) when forests are rended'; (1st) Come as the waves come, (2d) when navies are stranded'; (1st) Faster come, faster come, (2d) faster' and faster',

(1st) Chief, (2d) vassal`, (1st) page' and groom', (2d) tenant' and master.

(1st) Fast they come', fast they come; (2d) see how they gather'!

(1st) Wide waves the eagle plume (2d) blended with heather' (1st) Cast your plaids, (2d) draw your blades', (All) forward

each man set'!

(All) Pibroch of Donuil Dhu', knell for the onset'!

In the last line but one, the two words man set (meaning man set in batthe array) should be sounded as a single word of two syllables, having the accent on the first.

For three voices, or sets of voices.

(1st voice) As Autumn's dark storm'-(2d voice) pours from the echoing hills'-(3d voice) echoing hills',(1st voice) so toward each other'-(2d voice) toward each other approached'-(3d voice) approached the he

roes'.

(1st voice) As two dark streams'-(2d voice) dark streams

from high rocks'-(3d voice) meet and mix, and roar on the plain',

(1st voice) loud, rough, and dark'-(2d voice) dark in battle-(3d voice) in battle met Lochlin and In'nis

fall'.

(1st voice) Chief mixed his blows with chief-(2d voice) and man with man'-(3d voice) steel clanging, sounded on steel'.

(1st voice) Helmets are cleft'-(2d voice) cleft on high(3d voice) Helmets are cleft on high'; blood bursts and smokes around'.

(1st voice) As the troubled noise of the ocean'-(2d voice) the ocean when roll the waves on high'; as the last peal of the thunder of heaven'-(3d voice) the thunder of heaven'; such is the noise of battle.

(1st voice) The groan'-(2d voice) the groan of the people'— (3d voice) the groan of the people spreads over the hills'.

(1st voice) It was like-(2d voice) like the thunder'-(3d voice) like the thunder of night'—(All) It was like the thunder of night, when the cloud bursts on Cona', and a thousand ghosts' shriek at once' on the hollow wind'.

(1st voice) The morning-(2d voice) morning was gay'— · (3d voice) the morning was gay on Cromla',

(1st voice) when the sons-(2d voice) sons of the sea(3d voice) when the sons of the sea ascended'. (1st voice) Calmar stood forth'-(2d voice) stood forth to meet them',-(3d voice) Calmar stood forth to meet them in the pride of his kindling soul'.

1st voice) But pale'-(2d voice) pale was the face'-(3d voice) but pale was the face of the chief, as he leaned on his father's spear'.

(1st voice) The lightning-(2d voice) lightning flies(3d voice) the lightning flies on wings of fire.

(1st voice) But slowly'-(2d voice) slowly now the hero falls' --(3d voice) but slowly now the hero falls', like

the tree of hundred roots before the driving

storm.

(1st voice) Now from the gray mists of the ocean' the white sailed ships of Fingal'* appear.-(2d voice) High'

-(3d voice) high is the grove of their masts' as they nod by turns on the rolling waves'.

(1st voice) As ebbs the resounding sea through the hundred isles of Inistore'-(2d voice) so loud'-(3d voice, so vast',-(1st voice) so immense',-(All) re turned the sons of Lochlin to meet the approaching foe'.

(1st voice) But bending',-(2d voice) weeping',-(3d voice) sad, and slow'-(All) sank Calmar, the mighty chief, in Cromla's lonely wood'.

(1st voice) The battle'-(2d voice) battle is past',-(3d voice) "The battle is past," said the chief.

(1st voice) Sad is the field'-(2d voice) sad is the field of Lena (3d voice) Mournful are the oaks of Cromla!

(All) The hunters have fallen in their strength! The sons of the brave are no more!

(1st voice) As a hundred winds on Morven';-(2d voice) as the stream of a hundred hills' ;-(3d voice) as clouds successive fly over the face of heaven'; (1st voice) so vast',-(2d voice) so terrible',-(3d voice) so roaring'

(All) the armies mixed on Lena's echoing plain'.

(1st voice) The clouds of-(2d voice) night came rolling down';-(3d voice) the stars of the north arise'

over the rolling waves': they show their heads of fire through the flying mists of heaven'.

(1st voice) "Spread the sail," said the king'-(2d voice) Seize the winds as they pour from Lena' !"-(3d voice) We rose on the waves with songs!

(All)-We rushed with joy through the foam of the deep. The humorous ode by Thomas Hood, addressed to his son,

Here the acute accent is intended as a mark of accent, not cf inflection