« ZurückWeiter »
3 2 4
mect-ing be-tween two' vowels, must be divided ; a's
a'r-bor, a'r-bour, buraden, lob-fter, &c.
4th. Con'-sa-nants, pro'-per to begin' word's, muft
be divided when the first is ac-cent-ed ; a's, prof'-per, Tep'-ro-bate, res-cue, s. (re-scu'e, v.)
, , 5th. Two' vowels, bo'th distinc't-ly soû'nded, must be se'parated ; as, a-er-i-al, be'-ing, be-a-ti-tude, co-a
, lesce, cru'-el, coo-ing, &c.
6th. Grammat'ical termina'tions fhould be observed,
i. e. Com'-poûnds and De-riy'-a-tives should be di-vid'-ed in'-to their prim'-i.tive parts ; as, lov'e, lov'-ed, lov'-er,
lov'e-ly, lov'-ing, lov'e-li-ness, lov'e-lett'er,
, un-love-ly, lov'e-li-er, lov'e-li-est, blood'-y, wa'terish, fed'fon-able, in-act-ive, an'ti-christ'îan, retrib'-u-to-ry, ret'-ri:
3 3 3 bute, tri'-bute, &c.
N. B. The six preceding rules may be uľeful ; but',
7th. The best gen'eral rule for the divi’sion of
fyll'a-bles, is to di-vid'e them', according to the mode
1 2 Ź of pro-noûnc'-ing them', i. e. to keep' to-geth'er, and
lé '-pa-rate from the rest', all' the let'ters which' a're
united in the ut"-ter-ance of a fyllable as, a'rt-ful,
ba’r-ba-rous-ly, cra'v-ing, de-pe'nd-ing, fa't-al, ga'z-ing, ha'v-ing, ja'd-ish, i're-ful, i-ron"-i-cal, i'-ron, kna'v-ish,
i la-boʻr-a-tor-y, noil-y, foʻl-ar, tri-bu'n-al, fac'e, fac'-ed or
I 4 4 3
fac”d, cec'-ity, ve-loc'-ity, ci'der, suf-fice, care, vegʻ-etate,
gen'-i-us, pa-pa', pa'-per, unc'-le, su're, as-su-red-ly, pre'
sent-ly; na'-tion, pe-tit'-ion, &c. By this' and ru'le 6th.
ma'y be governed two of the fa'me con’sonants between'
two' vowels ; of these, fom'e may, fom'e must', and
som'e may not be divid'ed; as, ab"-ba or abb"-a, or abb"-ot, beg'-gar or begg'-ar, &c. But ac'.cent,
-", ag'-se-rate, call'-ed, will'-ing, bill-îard, bull-ìon,sciss"-ors,
See Euph'-o-ny, and read', in Sher'idan the three
following word's, viz. ex-pi-a'-to-ry, ex-pos-tu-la'-tor,
A's à certain stress of the voic'e, laid on a sing'le or
Houb'le char'acter of a syllable, is called ac'cent ; so' is
a cer’tain stress' or modulation of the voice, laid on
modulation of the voice, lård on
fom'e partic'ular word' or word's of a sen'tence, call'ed
it is lai'd, and ma'kes it mo're disti'ng-ûished, by the ea'r,
than the rest'; fo' em'phasis enno'bles the word' to which'
it belong's, and present's it in a strong'er light to the understa'nding : and the word', so ennobled or disti'ng.
uished, is call'ed the emphat’ical word' ; because it car'.
ries in itselfmo're weight or importance than any oth'er
word' in the fa'me sen’tence, or becau'se the sense of the reft depe'nds on it. The emphatic word' or word's
must be expressed in a mo're loûd', in a mo're low, in a mo're smart and poign'ant, o'r in a mo're serious and
soʻlemn ton'e of voîc'e than the rest of the sen'tence;
accoʻrding to the sense of the pass'age, or the effec't in
te'nded to be produc'ed by' it. The voic'e must express“,
a's nea'r as ma'y be, the very sense or idea, design'ed to
be conveỹ'ed by the emphat’ical word', by a strong',
rough, and violent ; or by a soft, fmoo'th, and te'nder
foûnd. Thus' the different pass'ions of the mi’nd a're
to be express'ed by a different foû'nd or tone of the
voîc'e, viz. A'ng-er, by a strong', vehement and ele.
vated voic'e ; Joŷ' by a qûick', fw eet' and clea'r voic'e ; forrow, by a low, flex'ible, interrupt'ed voîc'e ; fear', by a deject'ed, trem'ulous, hes'itating voice ; perplex'ity, by
a gra've, stead'y, earnest voîc'e ; courage hath a full',
boʻld and loûd' voîcle ; and love a soft“, smooʻth, la'ng
tif-ing voice. Brieflý, in exoʻrdiums, the voice shồuld
4 2 4 be low'; in narra'tions, distinc't ; in rea'soning, flow;
in perfùasion, ftrong ; it should thu'nder in a'ng-er,
foften in for'row, tre'm-ble in fear, and melt in love.
As we express' oùr ide'as by word's ; fo' we express
oûr feel'ings or emo'tions by sign's or ton’es, he're called
. Henc'e, the la'ng-llage of oûr ide'as i's the
I V 2
2 I 3 4 3
a'rbitrary inven'tion of man' ; but, that of oứr emo'.
tions is stamp'ed by na'ture ; and, therefore inva'riable.
llenc'e, whenev'er man' interfe'res, by sub'stituting an'y
oth'er not'es in the room' of tho’se which na'ture has an.
nex'ed to the ac'ts and feel'ings of the mi’nd ; so' fa's
the la'ng-u'age of emo'tions is corrupted, and fail's of
out by na'ture ; and henc'e it is that we nev'er misplac'e
it in conversation, tho'ugh we oft'en do in read'ing ;
becau're we do not, a’lways comprehend or relish what
. Tở place the em'phasis properly; the instead of artificial rules
, mut sudý pure
nature, good' sense and the best readers : He may,
he're observe how the mean’ing of a sen'tence may be