usurpation,

and cruelty. uelty.

SALLUST.

The translation just given, seems to have been made by the author of "The Art of Speaking," who was head master of one of the great English schools, about the middle of the last century. Though admirable, it makes no pretence to being literal. We therefore subjoin the original, and a translation which aims to be close. We sometimes also substitute simple rising for emphatic falling inflexions, in accordance with what we conceive to have been characteristic of ancient elocution.

Patres conscripti,

per vos, per liberos, atque parentes,

per majestatem Populi Romani,

subvenite misero mihi;\

by yourselves, by your children, and by your

by the grandeur of the Roman nation,

[parents,

grant me aid in my wretchedness;\

interpose against wrong;\

suffer not the kingdom of Numídia,

of which you are the owners,

through the crimes and the bloody deaths of our family to waste away and be destroyed.

MIXED STYLES.

A passage is occasionally met with, which seems to require a union of explanation and sentiment. Since a waving slide on each syllable gives a tone of explaining thought, and the vanishing stress expresses Impassioned Sentiment, the union of both will present a style in which ideas are explained to the understanding, and also urged by an impassioned earnestness of appeal. This we conceive to be the true description of the tone actually heard in an appropriate delivery of the powerful extract at p. 245. We may therefore call its style a union of Argument with Impassioned Sentiment.

By a similar enforcement of the wave by thorough stress, the Hortatory may be made Explanatory. We shall perhaps thus have the most overpowering mode of exhibiting our last extract from Mirabeau, p. 389.

But not only may Impassioned and Hortatory Sentiment be united with the explanatory tone; the same is also true of Simple Sentiment. Thus each of the three styles of sentiment may be compounded with explanation.

But in addition to this number of mixed styles, there would seem to be no incompatibility in a union of a wave of the semitone with each of the forms of stress which characterize the three primary styles of sentiment. If this be so, then the six sentimental styles may each be of two kinds, according as they

are explanatory or not. Examples of all these varieties might probably be found in the drama. When we mentioned, some pages back, that the mixed styles are few, it might have been more correct to say that they are of infrequent occurrence.

The following extract appears to demand a tone of explanation, and also to require to be presented in manner of a simple appeal, i. e. in the tone of Unimpassioned Sentiment. Its style will thus be a union of Explanation and Simple Sentiment. It admits likewise of being delivered with the stronger enforcement of Impassioned Sentiment. Argument presented as in this passage, is generally accompanied by exhibitions of wonder and surprise, which may be either calm or impassioned. The passage is a continuation of the extract on p. 278.

Finally, there is a peculiar style of speaking which not unfrequently occurs in debate, and seems to demand a notice before leaving the subject of Expression.

It is heard when a debater expresses his settled convictions; while he neither appeals to the assent of others, nor even endeavors so to act on their minds as to make them reason along with himself.

He says, by his manner, "This is the truth; I am satisfied in my own mind. I must continue to hold these opinions, whether you agree with me or not." The tone is often heard when a speaker is closing a debate, or summing up a series of arguments. Too strong an exhibition of it, gives the manner of dogmatism.

This peculiar manner seems not to depend on either of the modes of stress. It appears rather to be an instance of what is called by Dr. Rush, the "drift of the falling third." Falling inflexions are given to as many as possible of the emphatic words. Their number therefore becomes uncommonly great, and characterizes the whole delivery. But another peculiarity is equally characteristic. The emphatic falling inflexions do not commence on so high a pitch, as in other modes of presenting argument. Consequently, the voice does not make as wide skips in pitch; its whole current is more even, and approxi

mates to a monotone.