teadily and firmly," says Rippingham, "and pronounce
the concluding words of the sentence with force and vivacity, rather than
with a languid cadence."--_Art of Speaking_, p. 17. The pauses which L.
Murray denominates the suspending and the closing pause, he seems to have
discriminated chiefly by the inflections preceding them, if he can be said
to have distinguished them at all. For he not only teaches that the former
may sometimes be used at the close of a sentence, and the latter sometimes
where "the sense is not completed;" but, treating cadence merely as a
defect, adds the following caution: "The closing pause must not be
confounded with that fall of the voice, or _cadence_, with which many
readers uniformly finish a sentence. Nothing is more destructive of
propriety and energy than this habit. The tones and inflections of the
voice at the close of a sentence, ought to be diversified, according to the
general nature of the discourse, and the particular construction and
meaning of the sentence."--_Murray's Gram._, 8vo, p. 250; 12mo, p. 200.

ARTICLE IV.--OF TONES.

Tones are those modulations of the voice which depend upon the feelings of
the speaker. They are what Sheridan denominates "the language of emotions."
And it is of the utmost importance, that they be natural, unaffected, and
rightly adapted to the subject and to the occasion; for upon them, in a
great measure, depends all that is pleasing or interesting in elocution.

"How much of the propriety, the force, and [the] grace of discourse, must
depend on these, will appear from this single consideration; that to almost
every sentiment we utter, more especially to every strong emotion, nature
has adapted some peculiar tone of voice; insomuch, that he who should tell
another that he was angry, or much grieved, in a tone that did not suit
such emotions, instead of being believed, would be laughed at."--_Blair's
Rhet._, p. 333.

"The different passions of the mind must be expressed by different tones of
the voice. _Love_, by a soft, smooth, languishing voice; _anger_, by a
strong, vehement, and elevated voice; _joy_, by a quick, sweet, and clear
voice; _sorrow_, by a low, flexible, interrupted voice; _fear_, by a
dejected, tremulous, hesitating voice; _courage_, by a full, bold, and loud
voice; and _perplexity_, by a grave and earnest voice. In _exordiums_, the
voice should be low, yet clear; in _narrations_, distinct; in _reasoning_,
slow; in _persuasions_,