Every sentence, whether it be a long or a short one, contains one prominent idea, which by a proper management of the voice, must be brought out into clear and distinct notice. It sometimes happens, especially in very long sentences, that the prominent idea is interrupted, or obscured by parentheses, descriptions, explanatory remarks, or other expressions, which render it difficult for the reader to distinguish the most important part, and give it that prominence which it deserves. Herein lies the greatest difficulty in the art of reading. No rule can be given to aid the pupil in the discovery of the prominent ideas in his reading lessons. He must here be left to study and reflection. The information, however, that there are such prominent ideas in complex sentences, will lead him to endeavor to discover them; and the practice which he has had in the use of emphasis, slur, expression, and other principles contained in the preceding lessons, will enable him to apply himself to the study of such sentences, with the hope of distinguishing the parts which should be brought into strong light, from those which require to be thrown into the shade.

To aid him in the study, a few examples are here introduced.

743.

The rivulet sends forth glad sounds, and tripping o'er its bed of pebbly sands, or leaping down the rocks, seems with continuous laughter to rejoice in its own being.

In this sentence, one principal idea is expressed, namely, that the rivulet sends forth glad sounds, and seems to rejoice in its own being. This idea must therefore be brought out prominently; while the expressions, tripping o'er its bed of pebbly sands, and leaping down the rocks, are merely descriptions of the appearance of the river, and need not be so emphatically marked. The same remark must be made with regard to the expression, with continuous laughter, which is only an explanation of the manner in which it rejoices. These expressions may be slightly slurred.*

In reading the sentence therefore, he will express it as follows, pronouncing the parts in Italic letters with less emphatic force than the prominent idea.

744.

The rivulet sends forth glad sounds, and tripping o'er its bed of pebbly sands, or leaping down the rocks seems with continuous laughter to rejoice in its own being.t

*See Lesson 34.

This sentence occurs on the 90th page, where it is differently marked. It is here used for illustration only. Some readers may prefer one method, and some another, for there are probably few who would read any passage in exactly the same manner.

In the following sentences, all the parts, except the prominent ideas, are printed in Italic letters. The pupil will read them as directed

above.

745.

There was a delicious sensation of mingled security and awe, with which I looked down from my giddy height on the monsters of the deep at their uncouth gambols. Shoals of porpoises tumbling about the bows of the ship; the grampus slowly heaving his huge form above the surface; or the ravenous shark, darting like a spectre through the blue waters.

In order that the pupil may clearly distinguish the prominent parts of the following sentences, he may first read them with the omission of the parts in Italic letters, and afterwards read the whole of each sentence as it stands.

746.

The devout heart, penetrated with large and affecting views of the immensity of the works of God, the harmony of his laws, and the extent of his beneficence, bursts into loud and vocal expressions of praise and adoration; and from a full and overflowing sensibility, seeks to expand itself to the utmost limits of creation.

In the following sentence the pupil may read, first, that only which is in capital letters; then all but the Italic; and, thirdly, the whole senHe will thus distinguish the various parts of a complex sen

tence. tence.

747.

CAN HE, who, not satisfied with the wide range of animated existence, calls for the sympathy of the inanimate creation, REFUSE TO WORSHIP with his fellowmen?

It may here be remarked, that the most prominent part sometimes consists of a single word, or perhaps of several words, which cannot be separated from the connection in which they stand, as in the following example.

748.

Oh, days of ancient GRANDEUR! are ye GONE? Forever GONE? Do these same scenes behold his OFFSPRING here the HIRELING of a FOE? Oh that I

KNEW my FATE! that I could READ the destiny that heaven has marked for me!

749.

WHENCE, and WHAT art thou, EXECRABLE shape! That dar'st, though grim and terrible, advance

Thy miscreated front athwart my way

To yonder gates? THROUGH THEM I mean to PASS,

That be assured, without leave asked of thee:

RETIRE, or taste thy FOLLY; and learn by PROOF, Hell-born! not to contend with spirits of heaven!

750.

What means this SHOUTING? I do fear, the people Choose Cæsar for their KING.

Ay, do you FEAR it?

Then mast I think you WOULD NOT HAVE it so. I would NOT, Cassius; yet I LOVE him well.

751.

And thus, in silent waiting, stood
The piles of stone, and piles of wood;
Till DEATH, who in his vast affairs
Ne'er puts things off-as men in theirs;
And thus, if I the truth must tell,
Does his work finally and well-
WINKED at our hero as he past,
"Your house is finished, Sir, at last;
A narrower house-a house of clay-
Your palace for another day!"

In the analysis of a sentence, with the view to read it correctly, there are generally three things to be considered by the pupil; namely: First, What are the most prominent parts, or those which require emphasis-Secondly, What parts are merely explanatory, and consequently are to be slurred or thrown into shade-Thirdly, What parts, separated by explanatory, descriptive, or other circumstances, are intimately connected with each other, and must have their intimate connexion expressed, by strong emphasis, or by slurring the parts which separate them.

The pupil may analyze the following sentences; that is to say, he may mark and read those parts or words only, which are most promi nent, and require strong emphasis. He may then mention what parts are merely explanatory, &c. And then he may point out those parts

which, though distant from the eye, are closely connected in sense. Lastly, he may read each sentence as it stands, endeavoring to manage the emphasis, slur, and expression, in the manner in which he has heretofore been directed.

752.

How reverend is the face of this tall pile,
Whose ancient pillars rear their marble heads,
To bear aloft its arch'd* and ponderous roof,
By its own weight made steadfast and immoveable,
Looking tranquillity! It strikes an awe
And terror on my aching sight: the tombs
And monumental caves of death lock cold,
And shoot a chillness to my trembling heart.

753.

Oh winter! ruler of the inverted year!
Thy scattered hair with sleet, like ashes, filled,
Thy breath congealed upon thy lips, thy cheeks
Fringed with a beard made white with other snows
Than those of age, thy forehead wrapt in clouds,
A leafless branch thy sceptre, and thy throne
A sliding car, indebted to no wheels,

But urged by storms along its slippery way,
I love thee, all unlovely as thou seem'st*
And dreaded as thou art.

754.

Slaves cannot breathe in England; if their lungs
Receive our air, that moment they are free:
They touch our country, and their shackles fall.
That's noble, and bespeaks a nation proud
And jealous of the blessing. Spread it then,
And let it circulate through every vein

Of all your empire; that where Britain's power
Is felt, mankind may feel her mercy too.

*The pupil will often notice in poetry such an abbreviation as this, where the apostrophe shows that some letter is left out. [See Lesson 20, page 44.] Thus arch'd for arched, slipp'ry for slippery, seem'st for seemest. These abbreviations are generally made for the purpose of shortening the word, and thereby preserving the measure of the verse. But they are very seldom allowed in prose.

755.

Trifles, light as air,

Are to the jealous, confirmations strong

As proofs of holy writ.

Dangerous conceits are, in their natures, poisons,
Which, at the first, are scarce found to distaste,
But, with a little act upon the blood

Burn like the mines of sulphur.

756.

I come no more to make you laugh; things now,
That bear a weighty and a serious brow,
Sad, high, and working, full of state and woe,
Such noble scenes, as draw the eye to flow,
We now present. Those, that can pity, here,
May, if they think it well, let fall a tear,
The subject will deserve it.

757.

Thou hast it now, King, Cawdor, Glamis, all,
As the weird women promised; and I fear,
Thou play'dst most foully for it: yet it was said,
It should not stand in thy posterity;

But that myself should be the root, and father
Of many kings. If there come truth from them,
(As upon thee, Macbeth, their speeches shine,)
Why, by the verities made good,

May they not be my oracles as well,
And set me up in hope.

758.

Lochiel, Lochiel, beware of the day, For dark and despairing, my sight I may seal, But man cannot cover what God would reveal. 'Tis the sunset of life gives me mystical lore, And coming events cast their shadows before. I tell thee, Culloden's dread echoes shall ring With the blood-hounds that bark for thy fugitive king.

759.

Lo! anointed by heaven with the vials of wrath,
Behold, where he flies on his desolate path!