correspondence between sound and meaning continued throughout a composition. For an excellent example of this read the following description of the sudden bursting forth of the music of the organ from "Westminster Abbey" in Washington Irving's "Sketch Book." Observe how large a proportion of round vowel and full consonant tones there are, and note that the reading must be slow and stately. The sounds throughout are largely those that have distinct musical quality.

Suddenly the notes of the deep-laboring organ burst upon the ear, falling with doubled and redoubled intensity, and rolling, as it were, huge billows of sound. How well do their volume and grandeur accord with this mighty building! With what pomp do they swell through its vast vaults, and breathe their awful harmony through these caves of death, and make the silent sepulchre vocal! And now they rise in triumphant acclamation, heaving higher and higher their accordant notes, and piling sound on sound. And now they pause, and the soft voices of the choir break out into sweet gushes of melody; they soar aloft, and warble along the roof, and seem to play about those lofty vaults like the pure airs of heaven. Again the pealing organ heaves its thrilling thunders, compressing air into music and rolling it forth upon the soul. What long-drawn cadences! What solemn, sweeping concords! It grows more and more dense and powerful it fills the vast pile, and seems to jar the very walls the ear is stunned the senses are overwhelmed. And now it is winding up in full jubilee - it is rising from the earth to heaven -the very soul seems rapt away, and floated upwards on this swelling tide of harmony.

95. Elegance as Affected by Rhythm and Tone-Color. A style which is rhythmical, and in which there is

an agreeable and fitting succession of sounds, in this respect at least appeals to our æsthetic sense. When properly employed, then, both rhythm and tone-color contribute to elegance in writing. A severe taste might object to the tone-color of the lines from Swinburne on the ground of its being too noticeable; but aside from the possibility of that criticism, they gain in the quality of elegance, as the sounds are not only pleasing in themselves in the succession in which they are arranged, but they are also fitted to the sense.

96. The General Law of Emphasis. Any composi tion which may justly be given rank as literature must present things real and imaginative, with such skillful placing of emphasis as will make the writing interesting and significant. A treatise on geometry is not properly literature; and for such a treatise not emphasis, but the absolute suppression of emphasis, is the thing of first importance. The mathematical writer presents truths in their known logical relations, and in his presentation he must be careful to show all the truth in its true relations; for such showing emphasis of any sort is not fitting. But literature as distinguished from other writing is an appeal to feeling, and to make such appeal effective the writer brings into prominence those things. that are to him most significant, that the reader may see the matter as he sees it, and feel about it as he feels. This emphasis must not be apparent; it must, in fact, be so disguised that it will affect the reader without alienating him; for, while we sit down to an

entertaining book with the definite expectation of having our sensibilities played upon, we instinctively resent anything on the part of the writer in the way of assumption of ability to play upon them.

97. How Emphasis is Secured. Emphasis gained by the employment of more distinct rhythm, or by an increase of clearness and coherence, will, perhaps, affect a paragraph or more, but emphasis may be given to a single word or phrase. In the sentence the position of importance is at the beginning or at the end, and a word placed in either position is so made emphatic. The word at the beginning of the sentence naturally attracts more attention than the words that follow; and the word that concludes the sentence remains in the mind during the brief pause before a new sentence is begun, and therefore makes a more positive impression than those immediately preceding. If important words can be placed at the beginning or end of the sentence, their importance will, therefore, be the more certainly apparent. Often this will make necessary a change from the, normal order of words in the English sentence, and it at once becomes a question whether the new order is not so glaringly awkward as to more than offset the gain in emphasis. Further, the emphasis may be so pronounced as to be in bad taste, or it may be unduly abrupt and startling. Even when these objections do not hold, a too frequent employment of the device gives the style an air of artificiality. This is one of the defects of Macaulay's style, a defect

which the following passage shows, perhaps, in a characteristic degree.

1. There Siddons, in the prime of her majestic beauty, looked with emotion on a scene surpassing all the imitations of the stage. 2. There the historian of the Roman Empire thought of the days when Cicero pleaded the cause of Sicily against Verres, and when, before a senate which still retained some show of freedom, Tacitus thundered against the oppressor of Africa. 3. There were seen, side by side, the greatest painter and the greatest scholar of the age. 4. The spectacle had allured Reynolds from that easel which has preserved to us the thoughtful foreheads of so many writers and statesmen, and the sweet smiles of so many noble matrons.

5. It had induced Parr to suspend his labors in that dark and profound mine from which he had extracted a vast treasure of erudition, a treasure too often buried in the earth, too often paraded with injudicious and inelegant ostentation, but still precious, massive, and splendid.

T. B. MACAULAY: Warren Hastings.

The arrangement of words in the sentence in such order as to secure the effect of climax contributes to emphasis. Climax stimulates interest by the continual suggestion of something more important to follow, and the expectation thus aroused serves to give a heightened significance to the reading. But it must be remembered that unless the subject has sufficient dignity and weight, climax will give merely the effect of bombast and pomposity. Sentences which are to have the easy flow of conversation may fittingly end with little words; and in any case the preposition completing the verb is a part of the verb and so may properly conclude the

sentence, as in, "That is the only conclusion I can come to." Ordinarily a sentence ends most musically when the last syllable is unaccented and is preceded by an accented syllable.

Emphasis is also secured by the repetition of words and phrases and by such balanced antithetical arrangement of words, phrases, and sentences as will make these expressions prominent through the relation of one part to another which the arrangement suggests. Any change from the normal order of words in the English sentence has a tendency to give emphasis to the expression placed in the unusual position. In the following sentences these methods of securing emphasis are illustrated, and the emphatic expressions, or expressions through the employment of which emphasis has been gained, are printed in italics.

1. His successes in parliament, his successes through the war, are honest successes of a brave man.

2. This universe, ah me - what could the wild man know of it; what can we yet know? That it is a force, and a thousand-fold complexity of forces, a force which is That is all; it is not we, it is altogether different Force, force, everywhere force: we ourselves a mysterious force in the center of that.

not we. from us.

The third and fourth sentences following are examples of balance and antithesis :

3.

Thus the successors of the old Cavaliers had turned demagogues; the successors of the old Roundheads had turned courtiers.