Part 1
_THE ILLUSTRATED PROGRESSIVE SERIES._
THE FOURTH PROGRESSIVE READER.
CAREFULLY ARRANGED FOR THE USE OF SCHOOLS.
NEW YORK: P. O’SHEA, PUBLISHER; 27 BARCLAY STREET. 1871.
Entered according to Act of Congress, in the year 1871, By P. O’SHEA, In the office of the Librarian of Congress, at Washington.
PREFACE.
The selections for the FOURTH PROGRESSIVE READER have been made with great care, and, if the judgment of some of our most accomplished teachers may be trusted, with becoming discrimination.
Lessons have been selected that are interesting to the young, and that convey, each, an instructive moral in such a way as to impress itself deeply on the mind of the pupil. They have also been selected and arranged with a view to affording the best possible exercises in reading.
New selections have been made from several distinguished writers. Those from Archbishop Spalding, Father Lacordaire, Doctor Newman, Miss Hoffman, and Brother Philippe, are in every respect excellent.
Short biographical sketches have been appended of the different authors from whose works selections, have been made. In making those selections care has been taken to furnish examples of the various styles of composition, and in doing this whatever could be found most interesting and instructive was sought for; whilst every thing dull, frivolous, or at all tinctured with erroneous views or principles has been rigidly excluded.
The Lessons are a grade higher than those of the THIRD READER, but nothing supposed to be above the capacity or intelligence of children who have read through the preceding books of the Series has been introduced.
The instructions on articulation, emphasis, and inflection, will be found to be moderately full and very clear and intelligible.
CONTENTS.
INTRODUCTION. PAGE.
Pronunciation 15
Articulation 16
Accent 19
Time 20
Emphasis 22
Inflection 34
Circumflex Inflection—Monotone 39
Parenthesis and Parenthetical Clauses 40
Tone—Expression and Energy 42
On Reading of Verse 45
Rests in Verse 48
READING LESSONS.
PROSE.
LESSON.
1. Teaching and Character of Jesus Christ _Chateaubriand_, 52
3. The Devoted Son and the Generous Stranger _Brother Philippe_, 55
4. The Christian Mother _Mary I. Hoffman_, 60
6. The Two Roads 66
9. The Young Shepherd _Fenelon_, 72
10. The Same.—_Continued_ 75
12. The Broken Heart _Irving_, 79
13. Little Victories 84
14. The Same.—_Continued_ 86
16. The Widow of the Pine Cottage 91
19. The Bobolink _Irving_, 97
20. The Same.—_Continued_ 99
22. Portrait of a Virtuous and Accomplished Woman _Fenelon_, 102
24. The Avaricious Miller _Goldsmith_, 105
25. The Death of the Little Scholar _Dickens_, 108
28. The Monk of St. Francis _Sterne_, 115
29. My Mother’s Grave _Brownson_, 118
30. Good Counsel 120
32. Reproof to an Affected Speaker _La Bruyere_, 125
35. Our Miseries Often Our Fault _Blair_, 129
37. Influence of Religion on the Tyrolese _Alison_, 133
40. Behind Time _Freeman Hunt_, 138
43. A Storm at Sea _Archbishop Hughes_, 145
44. The Atmosphere 150
46. Discretion _Addison_, 154
47. Stability of Character _Alison_, 156
52. Death of Little Nell _Dickens_, 167
53. Sorrow for the Dead _Irving_, 171
54. Isabella the Catholic, Queen of Spain _Prescott_, 174
59. The Charmed Serpent _Chateaubriand_, 183
60. My Rosary _Sir Humphrey Davy_, 185
61. The Indians _Story_, 187
63. The Friars and the Knight _Digby_, 191
66. Patriotism and Christianity _Chateaubriand_, 196
67. Best Kind of Revenge _Chambers_, 199
68. Queen Elizabeth of Hungary _Montalembert_, 201
70. The Presumption of Youth _Rollin_, 210
73. A Picture of Human Life _Johnson_, 216
75. On the Waste of Time _Franklin_, 223
77. Dialogue with the Gout _Franklin_, 227
79. Edward the Confessor _Lingard_, 232
82. Washington and Bonaparte Compared _Chateaubriand_, 238
83. Character of Franklin _Brougham_, 242
87. The Roman Pontiffs _Archbishop Spalding_, 249
88. Labor and Genius _Sydney Smith_, 251
91. A Curtain Lecture of Mrs. Caudle _Jerrold_, 259
94. God Gave to His Church Charity _Lacordaire_, 270
96. George Washington _Dwight_, 273
97. Conduct of La Fayette in the American Revolution _J. Q. Adams_, 276
99. Sir Thomas Moore _Henry Giles_, 282
101. The Religion of Catholics _Dr. Doyle_, 287
103. Speech of Logan, Chief of the Mingoes _Jefferson_, 293
105. Character of the Irish Peasantry _Barrington_, 296
109. Voluntary Confession of Sin _Lacordaire_, 310
POETRY.
LESSON.
2. Little at First, but Great at Last 53
5. Woodman, Spare that Tree _Morris_, 64
7. The Laborers 68
8. The Boy _Willis_, 70
11. Old Times _Gerald Griffin_, 78
15. Our Titles 90
17. A Psalm of Life _Longfellow_, 95
18. Let Virtue be Your Aim 96
21. Who is My Neighbor? 101
23. The work of To-day _Charles Mackay_, 104
26. God, the True Source of Consolation _Thomas Moore_, 112
27. The Martyrdom of St. Agnes _De Vere_, 113
31. The Sister of Charity _Gerald Griffin_, 122
33. My Birthday _Thomas Moore_, 126
34. Labor _Frances Osgood_, 127
36. True Patriotism _Sir William Jones_, 132
38. Hymn of the Mountaineers _Mrs. Hemans_, 135
39. Exhortation to Prayer 136
41. Evil Influence of Skepticism _Campbell_, 141
42. David’s Lament for Absalom _Willis_, 143
45. The Cherwell Water Lily _Faber_, 152
THE YEAR OF SORROW—IRELAND—1849.
48. Spring _Aubrey De Vere_, 160
49. Summer 162
50. Autumn 164
51. Winter 165
55. Palestine. (Altered from Whittier.) 178
56. Love of Country and of Home _Montgomery_, 180
57. The Heavenly Rest 181
58. Love of Country _Scott_, 182
62. Indian Names _Sigourney_, 190
64. Where There’s a Will, There’s a Way _Eliza Cook_, 193
65. Now, To-day _Adelaide A. Proctor_, 195
69. William Tell _Knowles_, 203
71. Mary Magdalen _Callanan_, 214
72. The Wexford Massacre 215
74. The Doubting Heart _Adelaide A. Proctor_, 222
76. The Reaper Death _Longfellow_, 226
78. The Death of the Flowers _William Cullen Bryant_, 230
80. The Coming of Winter _T. B. Read_, 235
81. The Sister of Charity _Williams_, 236
84. The Last Minstrel _Scott_, 246
85. The Minstrel Boy _Thomas Moore_, 247
86. Army Hymn _O. W. Holmes_, 248
89. The Dying Girl _Williams_, 255
90. The Angelus Bell _Campion_, 257
92. The Song of the Shirt _Hood_, 263
93. Bernardo del Carpio _Mrs. Hemans_, 266
95. Union and Liberty _O. W. Holmes_, 272
98. Paul Revere’s Ride _Longfellow_, 278
100. The Battle Field _Bryant_, 285
102. A Birthday Offering _Dr. Newman_, 290
104. God is Everywhere 294
106. Advice to a Young Critic _Pope_, 300
108. Elegy Written in a Country Church-yard _Gray_, 305
TABLE OF VOWEL SOUNDS.
This table is designed for an exercise upon the vowel elements. These should be pronounced alone as well as in combination with the words given as examples. Let the class first pronounce the table in order, thus:
A long, Fate, ā; A short, Fat, ă, &c.; then pronounce the column of elements alone.
NAME. EXAMPLE. ELEMENT.
A long Fāte ā A short Făt ă A Italian Fär ä A broad Fâll â E long Mēte ē E short Mĕt ĕ I long Pīne ī I short Pĭn ĭ O long Nōte ō O short Nŏt ŏ O long and close Môve ô U long Tūbe ū U short Tŭb ŭ U middle or obtuse Fûll û U short and obtuse Für ü OI and OY Böĭl öĭ OU and OW Böûnd öû
EQUIVALENTS.
E short and obtuse, like ü in Für Hër ë I like E long Machîne î I short and obtuse, like ü in Für Sïr ï O like A broad Nôr ô O like U short Sō̇n ō̇ U like O in Move Rūle ū Y like I long Tȳpe ȳ Y like I short Sy̆mbol y̆ Y short and obtuse, like ü in Für Mÿrtle ÿ EW like U long Now̄ ew̄
TABLE OF CONSONANT SOUNDS.
This table should be treated by the class in the same manner as the table of vowel sounds. The sound of a consonant may be ascertained by pronouncing a word containing it in a slow and forcible manner.
VOCAL CONSONANTS are those uttered with a slight degree of vocality, but less than that of a vowel. They are formed with a vibration of the vocal chords.
ASPIRATE CONSONANTS are those in which the pure breath alone is heard. They are formed without any vibration of the vocal chords.
NAME. EXAMPLE. ELEMENT.
VOCAL CONSONANTS.[1]
B Babe b D Did d G hard Gag g J Joy j L Lull l M Maim m N Nun n NG Sing ng R (trilled) Rap r R (untrilled) Nor r TH soft Thine th V Valve v W Wine w Y Yes y Z Zeal z ZH (or Z) Azure zh
ASPIRATE CONSONANTS.
CH Church ch F Fife f H[2] Hold h K Kirk k P Pipe p T Tent t S Seal s SH Shine sh TH sharp Thin th
EQUIVALENTS.
C soft, like s Çease ç C hard, like k Cake c Ch hard, like k Chasm ch Ch soft, like sh Çhaise çh G soft, like j Giant g Ph like f Seraph ph S soft, like z Muse ṣ S like zh Vision s Q like k Coquette q X like ks Tax x X like gz Exalt z̧
Q has the sound of _k_, and is always followed by _u_, which, in this position, commonly has the sound of _w_, but is sometimes silent.
WH is an aspirated _w_, pronounced as if written _hw_.
[1] Sometimes called Subvocals, or Subtonics.
[2] H sounded before a vowel, is an expulsion of the breath after the organs are in a position to sound the vowel.
EXERCISES ON THE VOWEL SOUNDS.
In pronouncing the words in the following exercises, special attention should be given to the precise sound of the letters italicized. The sounds of the letters in Italics are the same as the sound of the vowel at the head of the paragraph.
Exercises upon tables of words like the following are valuable, not only for developing vocal power, but as one of the best methods of correcting habitual errors in pronunciation.
=a=, long, as in _fāte_.—F_a_me, bl_a_me, s_a_il, c_a_mbric, n_a_ture, _a_ncient, p_a_tron, m_a_tron.
=a=, short, as in f_ă_t.—B_a_t, m_a_t, b_a_d, h_a_d, c_a_n, c_a_nnon, s_a_nd, f_a_ncy, m_a_rry, h_a_ve.
=a=, Italian, as in f_ä_r.—_A_re, b_a_r, st_a_r, guit_a_r, m_a_rt, al_a_rm, p_a_rchment, f_a_ther, h_ea_rt, h_ea_rth, g_ua_rd, d_au_nt, h_au_nt.
=a=, broad, as in _fâll_; and _o_, as in _nör_.—B_a_ll, c_a_ll, t_a_ll, n_o_r, f_o_rm, st_o_rm, c_o_rn, s_a_lt, _ou_ght, f_ou_ght, n_ou_ght.
=a=, as in _fàre_; and _e_, as in _thêre_.—D_a_re, r_a_re, p_a_ir, _a_ir, sh_a_re, sn_a_re, wh_e_re, h_e_ir, st_a_re, p_a_re.
=a=, as in _fā̇st_.—Bl_a_st, ch_a_nce, l_a_nce, tr_a_nce, br_a_nch, gr_a_sp, gr_a_ft, gr_a_nt, gr_a_ss, p_a_ss, cl_a_ss.
=e=, long, as in _mēte_; and _i_, as in _marîne_.—B_e_, sh_e_, th_e_me, sc_e_ne, mar_i_ne, p_i_que, k_e_y, f_ie_nd, gr_ie_ve, tr_ea_ty, C_æ_sar, crit_i_que, rel_i_ef, bel_i_ef, l_ea_f, q_uay_, l_e_nient, inh_e_rent.
=e=, short, as in _mĕt_.—B_e_d, br_ea_d, d_e_bt, _e_ngine, t_e_pid, g_e_t, y_e_s, ch_e_st, _e_gg, k_e_ttle.
=i=, long, as in _pīne_; and _y_, as in _bȳ_.—Sm_i_le, m_i_le, v_i_ne, fl_y_, t_y_pe, def_y_, sk_y_, k_i_nd, fl_i_ght, all_y_, appl_y_, t_i_ny.
=i=, short, as in _pĭn_; and _y_, as in _my̆th_.—D_i_n, r_i_ng, wh_i_p, sk_i_p, l_y_ric, serv_i_le, ag_i_le, c_y_gnet, c_y_nic, c_y_linder.
=o=, long, as in _nōte_.—H_o_me, d_o_me, gl_o_ry, v_o_cal, m_o_re, g_o_re.
=o=, short, as in _nŏt_.—M_o_b, r_o_b, s_o_b, d_o_t, g_o_t.
=o=, long and close, as in _môve_; and _u_, as in _rū̇le_.—Pr_o_ve, m_oo_d, l_o_se, r_u_le, tr_u_e, r_u_in, dr_u_id, m_oo_n, r_oo_t.
=u=, long, as in _tūbe_; and _ew_, as in _new̄_.—T_u_ne, f_u_se, c_u_re, l_u_re, d_u_ty, c_u_rate, f_ew_, p_ew_.
=u=, short, as in _tŭb_; and _o_, as in _sō̇n_.—J_u_st, m_u_st, t_u_n, f_u_n, h_u_g, r_u_g, d_o_ve, d_oe_s, r_ou_gh, s_o_n, t_o_n.
=u=, middle, as in _fûll_.—B_u_sh, p_u_sh, b_u_tcher, c_u_shion, p_u_ss.
=u=, short and obtuse, as in _für_; _e_, as in _hër_; _i_, as in _fïr_; and _y_, as in _mÿrrh_.—B_u_rn, m_u_rmur, f_u_rther, h_e_rd, f_e_rn, p_e_rson, m_e_rge, m_e_rcy, s_i_r, b_i_rd, v_i_rtue, d_i_rk, d_i_rt, m_i_rth, m_y_rrh, m_y_rtle, s_y_rtis.
=oi=, as in _vöĭce_; and _oy_, as in _böy̆_.—B_oi_l, c_oi_l, c_oy_, t_oy_, v_oi_d, c_oi_n, j_oi_nt, j_oi_st, p_oi_se, n_oi_se, empl_oy_, rej_oi_ce, av_oi_d, app_oi_nt, embr_oi_l, f_oi_ble, _oy_ster.
=ou=, as in _söûnd_; and _ow_, as in _nöŵ_.—P_ou_nd, pr_ou_d, br_ow_n, v_ow_, end_ow_, n_ou_n, t_ow_n, d_ou_bt, dev_ou_t, pl_ou_gh, tr_ou_t, gr_ou_nd, sh_ou_t, v_ow_el, th_ou_, ar_ou_nd.
INTRODUCTION.
It can not be too often, or too emphatically, impressed on the minds of those who desire to read well, that they must study to acquire the same easy, graceful, and natural tone and manner in reading, which persons of education and taste use in speaking. It is important, therefore, to observe closely the manner of those who read and speak well.
But, of course, no one can be taught to read well until he has learned to articulate distinctly and pronounce his words correctly. He must also pay due attention to TIME, INFLECTION and EMPHASIS. The following rules and exercises, taken from the best sources, will be found very useful. They are made as simple and plain as possible, but are at the same time moderately full.
PRONUNCIATION.
Pronunciation is good when all the letters and syllables in every word, are uttered with due force and proper fullness of sound. To pronunciation belong _articulation_ and _accent_.
A correct _articulation_ requires that every vowel, and, of course, every syllable in a word, be uttered with fulness and distinctness.
A correct _accentuation_ requires that a peculiar stress be laid on one or more syllables of a word, and, of course, that the other syllables be pronounced with less stress, or force. In most words it is sufficient to accent one syllable. In monosyllables there can be no accent, as if _one_ syllable were pronounced with force, there would be _no_ syllable left to be passed over lightly.
ARTICULATION.
DIRECTIONS AND EXERCISES.
I. Avoid suppressing any syllable or part of a syllable.
Do not say:
fat-t’l for fa-tal met’l ” met-al cap’n ” cap-tain firm’ment ” firm-a-ment reg’lar ” reg-u-lar trav’ler ” trav-el-er des’late ” des-o-late bar-r’l ” bar-rel ev’ry ” ev-e-ry his-t’ry ” his-to-ry sev’ral ” sev-e-ral b’lief ” be-lief flut’ring ” flut-ter-ing mem’ry ” mem-o-ry par-tic’lar ” par-tic-u-lar read-in’ ” read-ing writin’ ” writ-ing speak-in’ ” speak-ing walk-in’ ” wal-king mor-nin’ ” morn-ing sli-din’ ” slid-ing shavin’ ” sha-ving laughin’ ” laugh-ing fight-in’ ” fight-ing com-man’s ” com-mands con-si’s ” con-sists gov-er’-ment ” gov-ern-ment Feb’-u-ary ” Feb-ru-ary an’ ” and groun’ ” ground boun’ ” bound wa’m-er ” warm-er ha’m-less ” harm-less
II. Avoid substituting one sound for another. Do not say:
vir-too or vir-tshoo for vir-tue (yu) lec-ter or lec-tshoor ” lec-ture (yūr) ed-i-cate or ed-ju-cate ” ed-u-cate (yu) fea-tur or fea-tshoor ” feat-ure (yūr) mois-ter or mois-tshoor ” mois-ture (yūr) mix-ter or mix-tsher ” mix-ture (yūr) ves-ter or ves-tshure ” ves-ture (yūr) stat-er or stat-chur ” stat-ure (yūr) as-soom or as-shoom ” as-sume (yume) pur-soot or pur-shoot ” pur-suit (yute) chil-drin or child-er-en ” child-ren fear-luss or fear-liss ” fear-less win-e-gar ” vin-e-gar con-clood ” con-clude (yude)
III. Avoid adding to, or taking from the sound of the word.
Do not say:
wil-ler for wil-low fel-ler ” fel-low win-der ” win-dow wid-er ” wid-ow pil-ler ” pil-low hol-ler ” hol-low fol-ler ” fol-low Ma-ri-ar ” Ma-ri-a Sav-an-ar ” Sav-an-ah tub-ac-cur ” to-bac-co croc-er-dile ” croc-o-dile hold ” old hart ” art high ” eye griev-ious (yus) ” griev-ous hein-ious ” hein-ous wen ” when ware ” where witch ” which all ” hall appy ” happy wile ” while wit ” whit wine ” whine wey ” whey wit ” whit ay ” hay elp ” help aft ” haft ose ” hose ire ” higher wist ” whist wy ” why
IV. Avoid pronouncing words alike which are not _precisely_ alike. Do not say:
ac-cess for ex-cess fish-er ” fis-sure al-tar ” al-ter gent-le ” gen-tile mare ” may-or e-lis-ion ” e-ly-sian bar-on ” bar-ren e-merge ” im-merge em-i-grant ” imˊ-mi-grant im-pos-tor ” im-pos-ture ac-cede ” ex-ceed e-lic-it ” il-lic-it af-fect ” ef-fect can-did ” cand-ied ap-pos-ite ” op-pos-ite as-sist-ance ” as-sist-ants cease ” seize cauf ” cough cen-sus ” sen-ses cents ” sense.
[See exercises on these and similar words in the author’s “Columbian Spelling Book.”]
V. Avoid blending the end of a word with the beginning of the next. Do not confound—
A _nice_ house, with An _ice_ house. False _sights_, ” False _heights_. The darkest _hour_, ” The darkest _tower_. It strikes with an _awe_, ” It strikes with a _naw_. My heart was _awed_, ” My heart was _sawed_. A _notion_ of sweetness, ” An _ocean_ of sweetness. There was a great _error_, ” There was a great _terror_. My _brothers ought_ to go, ” My _brother sought_ to go. He walked in _fields of ice_, ” He walked in _fields of vice_. Wastes _and_ deserts, ” Waste _sand_ deserts. Look on this _spot_, ” Look on this _pot_. Goodness _centers_ in the heart, ” Goodness _enters_ in the heart. Luxurious _soil_, ” Luxurious _oil_. Chaste _stars_, ” Chased _tars_. Such a _notion_ exists, ” Such an _ocean_ exists. To obtain _either_, ” To obtain _neither_. His _cry_ moved me, ” His _crime_ moved me. The same _arrow_, ” The same _marrow_.
ACCENT.
The remarks on _Accentuation_ in the third book of this series have already familiarized the learner with the uses of accent. He has learned how accent determines the pronunciation of words, and how it shows, in many cases, the sounds of the vowels. He has also learned, that many words are differently accented, and, of course, differently pronounced, when used as nouns, from the manner in which they are accented and pronounced, when used as verbs.
We shall not repeat what we have there explained; but we will here inform the pupil, that while all words of more than one syllable have one accented syllable, almost all words of more than three syllables have two accented syllables. These two syllables are not accented with equal force, and this makes necessary the terms _Primary Accent_, and _Secondary Accent_.
Where two syllables are accented in the same word, that which has the greater amount of stress laid upon it, receives the primary accent (generally marked ˝), and that which has the less amount of stress laid upon it, receives the secondary accent (generally marked ˊ or ˋ).
EXAMPLES.
edˊ-u-ca˝-tion recˊ-o-mend˝ vo-cab˝-u-larˊ-y resˊ-o-lu˝-tion amˊ-bi-gu˝-i-ty adˊ-mon-i˝-tion tem˝-po-raˊ-ry mo˝-ment-aˊ-ry inˊ-de-pend˝-ence conˊ-ver-sa˝-tion satˊ-is-fac˝-tion mat˝-ri-moˊ-ny conˊ-se-quen˝-tial rĕˊ-sur-rec˝-tion morˊ-ti-fi-ca˝-tion
Observing the proper position of the accent, and paying particular attention to it, is indispensable for good reading. Those who fail to do so, always read with a drawling, monotonous tone, and cannot please their hearers. There is no precision in their pronunciation, and there can be no clearness in their enunciation. (See the “Columbian Spelling Book,” page 105, where the nature and uses of accents are treated of at considerable length.)
TIME.
The second requisite of good reading is, that due regard be paid to TIME: if the reader hurries on without making the necessary pauses, the pronunciation is not only indistinct, but the sense is often altogether lost; and if he hesitates, making pauses where none should be made, and reads without animation or spirit, the sense is equally injured, or made difficult to ascertain, and the reading is of that drawling kind to which it is so tiresome to listen.
Those who desire to become good readers, then, must pay due attention to the pauses which should be made. Pauses are of two kinds, Grammatical Pauses, which are marked by characters, and Rhetorical Pauses, which are not marked by characters, but which the sense of what you read, requires to be made. We shall first speak of the GRAMMATICAL PAUSES; they are—
The Comma (marked) , ” Semicolon ” ; ” Colon ” : ” Period ” . ” Interrogation ” ? ” Exclamation ” !
The Parenthesis () is used to inclose some word or words which are not essential to the structure of the sentence; and the Dash (—) is used to denote a sudden breaking or turning off in the discourse or sentence.
When any of these points is met with in reading, there must be a pause of greater or less duration. You should stop at the comma about as long as you would be saying a word, or while you can draw breath; at the others you should stop a little longer, but there can be no proper time fixed upon; the sense and requirements of the sentence or clause must always determine. It is usual to stop longer at each subsequent pause marked in the table, than at the preceding one; thus, longer at the semicolon than the comma, longer at the colon than the semicolon, and so on. This cannot be given as an invariable rule, however, due attention to the sense of the passage read being the best possible, indeed, the only way in which the proper duration of the pause can be determined.
RHETORICAL PAUSES are such as the sense requires, though not marked by characters. It will be at once perceived, that the proper making of them is much more difficult to the young reader, than those of which we have just spoken; and yet, if he desires to read with grace and elegance, he cannot dispense with them. We do not think that very young learners will be benefited much by studying rules for making rhetorical pauses, (they can be made to understand their proper use and place more readily by a competent teacher,) but we give a few of the most useful and simple.
1. _The rhetorical pause should be made after the subject, or nominative, if it consists of several words_; as—To express this connection | two marks are used. The love of riches | is not a virtue. The experience of want | enhances the value of plenty.
2. _When the subject is an important word there should be a rhetorical pause made after it_; as—Charity | like the sun | brightens all its objects. Industry | is the foundation of wealth. God | hath set him over us. Truth | never changes.
3. _The rhetorical pause should be made before and after clauses and similes_; as—The hope | which we have | as an anchor of the soul. And calm | as a slumber | they die. Hope | the balm of life | hath soothed us. Virtue | like gold | bears to be tried.
4. _The rhetorical pause should be made after the objective in sentences of inverted construction_; as—To my mother | give my fond remembrance. On all sides | were carnage and death. On Linden | when the sun was low. On this side of the grave | there is no real happiness.
5. _A pause should generally be made before the relative pronoun_; as—He | who fears God | may be trusted. I have faith | that I may have life. I saw a man | who begged his bread. Nobody loves him | who loves only himself. She gave me this book | which I now hand to you.
6. _A pause should generally be made before and after clauses introduced by prepositions_; as—It is below me | on his throne | to sit. Work | without show | and without pomp | presides. They spoke to me | of things | which I had seen | and of things | which I had not seen. From law | arises security.
7. _A pause should be made before many of the conjunctions and adverbs_; as—Honor | and shame | from no condition rise. I fought not for | but against Cæsar. Hast so much wit | and mirth | and spleen about thee. I stood among them | not of them. The region | beyond the grave | is not a solitary land. I shall come | whenever I can. Take heed | lest ye fall. Watch | and pray | lest ye enter into temptation. Though he was learned | yet he was modest.
EMPHASIS.
Emphasis is a peculiar stress laid on words for the purpose of distinguishing them _from_, or contrasting them _with_ other words; also for the purpose of drawing marked attention to any particular word.
EXAMPLES.