McGuffey's Sixth Eclectic Reader Part 8

EXAMPLES. (33)

sub'ject sub-ject'

pres'ent pre-sent'

ab'sent ab-sent'

cem'ent ce-ment'

con'jure con-jure'

There is another case, in which we discover the reason for changing the accent, and that is, when it is required by emphasis, as in the following:

EXAMPLES. (33)

1. His abil'ity or in'ability to perform the act materially varies the case.

2. This corrup'tion must put on in'corruption.

SECONDARY ACCENT. (34)

In words of more than two syllables, there is often a second accent given, but more slight than the princ.i.p.al one, and this is called the secondary accent; as, em"igra'tion, rep"artee', where the princ.i.p.al accent is marked ('), and the secondary, ("); so, also, this accent is obvious, in nav"iga'tion, com"prehen'sion, plau"sibil'ity, etc. The whole subject, however, properly belongs to dictionaries and spelling books.

EMPHASIS. (34)

Emphasis consists in uttering a word or phrase in such a manner as to give it force and energy, and to draw the attention of the hearer particularly to the idea expressed.

This is most frequently accomplished by an increased stress of voice laid upon the word or phrase. Sometimes, though more rarely, the same object is effected by an unusual lowering of the voice, even to a whisper, and not unfrequently by a pause before the emphatic word.

The inflections are often made subsidiary to this object. To give emphasis to a word, the inflection is changed or increased in force or extent. When the rising inflection is ordinarily used, the word, when emphatic, frequently takes the falling inflection; and sometimes, also, the falling inflection is changed into the rising inflection, for the same purpose.

Emphatic words are often denoted by being written in italics, in SMALL CAPITALS, or in CAPITALS.

Much care is necessary to train the pupil to give clear and expressive emphasis, and at the same time to avoid an unpleasant "jerky" movement of the voice.

ABSOLUTE EMPHASIS. (35)

Where the emphasis is independent of any contrast or comparison with other words or ideas, it is called absolute emphasis.

EXAMPLES. (35)

1. We praise thee, O G.o.d; we acknowledge thee to be the Lord.

2. Roll on, thou deep and dark blue Ocean--roll!

3. Arm, warriors, arm!

4. You know that you are Brutus, that speak this, Or, by the G.o.ds, this speech were else your last.

5. Hamlet. Saw, who?

Horatio. The king, your father.

Hamlet. The king, my father?

6. Strike--till the last armed foe expires; Strike--for your altars and your fires; Strike--for the green graves of your sites; G.o.d, and your native land!

RELATIVE EMPHASIS. (35)

Where there is ant.i.thesis, either expressed or implied, the emphasis is called relative.

EXAMPLES. (35)

1. We can do nothing against the truth, but for the truth.

2. But I am describing your condition, rather than my own.

3. I fear not death, and shall I then fear thee?

4. Hunting men, and not beasts, shall be his game.

5. He is the propitiation for our sins; and not for ours only, but for the sins of the whole world.

6. It may moderate and restrain, but it was not designed to banish gladness from the heart of man.

In the following examples, there are two sets of ant.i.theses in the same sentence.

7. To err is human, to forgive, divine.

8. John was punished; William, rewarded.

9. Without were fightings, within were fears.

10. Business sweetens pleasure, as labor sweetens rest.

11. Justice appropriates rewards to merit, and punishments to crime.

12. On the one side, all was alacrity and courage; on the other, all was timidity and indecision.

13. The wise man is happy when he gains his own approbation; the fool, when he gains the applause of others.

14. His care was to polish the country by art, as he had protected it by arms.