ief.

It is enthroned in the hearts of Kings,
It is an attribute to God himself.

When a wind from the lands they had ruin'd awoke from sleep,
And the water began to heave and the weather to moan,
And or ever that evening ended a great gale blew,
And a wave like the wave that is raised by an earthquake grew,
Till it smote on their hulls and their sails and their masts and
their flags.

However, if a word is repeated, it is not necessarily emphatic each
time:

The German heart is stout and true, the German arm is strong;
The German foot goes seldom back where armed foemen throng.

In the phrase "The German heart" the chief emphasis is on "heart,"
with a slighter emphasis on German. The emphasis is then transferred
to "arm" and "foot" through contrast with "heart." To emphasize
"German" again would weaken the effect.

Compare the repetition, in the following, of the syllable "un," also
of the phrase "this year":

Unwatched along Clitumnus
Grazes the milk-white steer;
Unharmed the water-fowl may dip
In the Volsinian mere.

The harvests of Arretium,
This year, old men shall reap,
This year young boys in Umbro
Shall plunge the struggling sheep;
And in the vats of Luna,
This year, the must shall foam
Round the white feet of laughing girls
Whose sires have marched to Rome.

Words and phrases are emphatic quite as often through contrast implied
as through contrast expressed. It is evident that such a sentence as:
"Will you ride to town to-day?" may have a number of different meanings
according to the words emphasized. This difference of meaning is due
to an implied contrast. If "you" is emphatic, it is because there is a
mental contrast between "you" and some other person. If "ride" is
emphatic, it is because riding is being contrasted with walking or
driving and so on. The following contain examples of emphasis through
implied contrast:

_Great_ things were ne'er begotten in an hour.

But _now_ no sound of laughter was heard among the foes.

As already shown on page 21, the emphasis, in the case of implied
contrast, is brought out by the circumflex inflection.

=Shading= and =Perspective=. These deal with the relative importance
of words, phrases, or clauses. According as an idea suggested by a
word or group of words is regarded as principal or subordinate, the
voice either projects it or holds it in the back-ground as an artist
shades his pi