Rule V. Complete statements, whether marked off by the comma, the semicolon, or the period, generally require the falling inflection.

1. Under a spreading chestnut-tree
The village smithy stands;
The smith, a mighty man is he,
With large and sinewy hànds;
And the muscles of his brawny arms
Are strong as iron bànds.

2. The awful voice of the storm howls through the rigging. The laboring masts seem straining from their base; -the dismal sound of the pumps is heard;-the ship leaps, as it were, madly, from billow to billow;the ocean breaks, and settles with ingulfing floods over the floating deck, and beats with deadening, shivering weight against the staggered vèssel.

Rule VI. Words expressing a contrast of ideas take opposite inflections, and are emphatic.

1. I said good, not bád; virtuous, not vícious; èducated, not illiterate.

2. He spoke for education, not against it.

3. Róme and Carthage! Róme with her ármy, Cárthage with her fleet; Cárthage, óld, rích, and cráfty, - Róme, young, poor, and robùst; the pást, and the future; the spirit of discovery, and the spirit of conquest; the genius of commerce, the demon of war; the East and the South on one side, the West and the North on the other; in short, two worlds,—the civilization of Africa, and the civilization of Europe.

4. After the shower, the tranquil sùn;

Silver stárs when the day is done.

After the snów, the emerald leaves;
After the harvest, golden sheaves;

After the clouds, the violet sky;
Quiet woods when the winds go by.

After the tempest, the lull of wàves;
After the battle, peaceful gràves.
After the knell, the wèdding-bells;
Joyful greetings from sad farewells.
After the búd, the radiant ròse;
After our weeping, sweet repòse.

After the burden, the blissful mèed;
After the fúrrow, the waking sèed.
After the flight, the downy nest;
Beyond the shadowy river-rèst.

Rule VII. The circumflex inflection is used in expressing wit, humor, surprise, irony, sarcasm, ridicule, and very strong contrast. It is also the characteristic inflection on the word or words expressing a pun.

When the circumflex ends with the rising inflection, it is indicated thus-; when it ends with the falling inflection, it is marked thus—^.

To be read by the teacher, and repeated by the class in concert. 1. Indeed! is it really số?

2. Oh! you are a coward; you don't dare to go. 3. If the great Captain of Plymouth is so very eager to wed me,

Why does he not come himself, and take the trouble

to woo me?

If I am not worth the wooing, I surely am not worth the winning!

4. TACT AND TALENT.

Talent is something, but tact is everything. Tálent is sèrious, sòber, gráve, and respèctable: táct is all thất, and more too. It is not a sixth sense, but it is the life of all the five. It is the open eye, the quick èar, the judging taste, the keen smell, and the lively touch; it is the intérpreter of all riddles, the surmounter of all difficulties, the remover of all obstacles.

It is useful in all places, and at all times; it is useful in solitude, for it shows a man into the world; it is useful in society, for it shows him his way through the world.

Tálent is power, tact is skill; tálent is weight, táct is momentum; tálent knows what to dó, táct knows how to dò it; tálent makes a man respectable, táct will make him respected; talent is wealth, tact is ready money. For all the practical púrposes, táct carries it against túlent, tén to ône.

5. PITT'S REPLY TO WALPOLE.

But youth is not my only crime; I am accused of acting a theatrical part. A theatrical part may either imply some peculiarity of gesture, or a dissimulation of my real sentiments, and an adoption of the opinions and language of another man. In the first sense, the charge is too trifling to be confùted; and deserves only to be mentioned, that it may be despised.

I am at liberty, like every ôther man, to use my own language; and though, perhaps, I may have some ambition to please this gentleman, I shall not lay myself under any restraint, nor very solicitously copy his diction or his mien, however matured by age or modeled by expérience.

Require each pupil to find in some part of this Reader an additional illustration of the circumflex.

Rule VIII. The monotone is one uniform tone, without either a marked rising or falling inflection. It is indicated by a short line (−) over the vowel sounds.

The monotone is required in the expression of solemnity, reverence, melancholy, or sadness.

1. Break, breāk, breāk,

On thy cold gray stōnes, O sea!
Break, break, break,

At the foot of thy crags, O sea!

2. I could a tale unfōld whōse lightest word
Would harrow up thy soul; freeze thy young blood;
Make thy two eyes start from their spheres;
Thy knotted and combined locks to pārt,
And each particular hair to stand on end,
Like quills upon the fretful pōrcupine.

3. High on a thrōne of royal state, which far
Outshōne the wealth of Ormus and of Ind;
Or where the gorgeous east, with richest hand
Shōwers on her kings barbaric pearls and gōld,
Sātan exalted sat.

PHONIC DRILL ON SUBVOCALS AND ASPIRATES.

I. Let the class in concert give the phone spelling of each word under each consonant in the following table.

II. Let each pupil give the phonic spelling of one word.

III. In concert, let the class pronounce each word very distinctly and forcibly.

IV. Supplementary drill work may be taken by requiring the table to be read with the rising, falling, or circumflex inflection; also, as an exercise in the different degrees of force; and further, as an exercise in movement.

DRILL TABLE OF SUBVOCALS AND ASPIRATES.

b.-bribe, mob, rōbe, boom, both, babe.
d. did, add, didst, dried, dreamed, made.
f (ph, gh).-fife, off, laugh, phlox, côugh.
g.-găg, gig, egg, get, gills, gear, gild.
h.—hōme, high, hôrse, hâre, heärt, heärth.

j (ġ).—join, jāil, ģēm, ģýves, just, ģībes, ģill.
k (e, eh, q).—keel, eōke, look, ehýle, queen, disk.
1.—lull, loom, oil, wool, yell, well, thrill.
m.—māim, měn, năme, lōōm, hymn, mine,
n.—nōon, nīne, knee, knife, noun, knight.
· p.—pīpe, pụt, rōpe, loop, pěn, pāge, pump.
r.-rōar, râre, rear, äre, ōre, īre, mōre.
s (c).-soon, cease, erease, pass, ȧsk, miçe.
t.-tärt, trot, twit, trust, treat, tight, tent.
v (f).—vāne, eāve, ŏf, vălve, love, võte, ēve.
w.—wē, wōe, will, wine, wět, was, wind.

x, ks; x, gz.—Ŏx, box, six, sticks, ex act', ex ist'. y.—yet, yes, you, yawl, yacht, youth, young. z (s).—zounds, buzz, mãize, hăş, iş, was, zoneş. th sharp.—thănk, breath, thìn, fifth, ōath. th flat.—this, that, these, thōşe, with, päths. ch soft.-chin, chûrch, cheese, each, beech, peach. sh sharp.-shåll, should, bush, çhaişe, ma çhïne ́. ng (n).—răng, săng, găng, găng, lòng, ink, drink. z = zh.—ăz ́ure, rouge (rōozh), treas ́ure, meaş ́ure. wh-hw. when, where, why, what, which, while.