_flouts_ her"; and, "I impeach him in the name of human nature itself,
which he has cruelly _outraged, injured_, and _oppressed_, in both
sexes in every _age, rank, situation_, and _condition of life_." The
impressiveness in delivering these successive words is increased not
because they are in the form of a climax, but they are in the form of a
climax because the thought is so insistent as to require new words for
its expression. The student will be true and sure in his emphasis only
when he takes ideas into his mind in the natural way; that is, he
should seize upon the central idea before he gives utterance to any
part of a statement. If that idea is constantly carried foremost in the
mind, he will then, in due time, give it its true emphasis. So, in the
case of a climax, he must realize the spirit and force behind the
utterance, and not depend upon any mechanical process of merely
increasing the strength of his tones.

Sometimes emphasis must be made to stand so strong as not merely to
arrest the movement of thought, and fix the mind of the hearer upon a
point, but to turn the attention of the hearer for the moment aside; to
draw his mind to the thought of something very remote in time or place
or relation, as in the case of making momentary reference to some
historic fact or some well-known expression of literature. Allusions
and illustrations, then, should be given, not only with color but also
with special emphasis. Byron, contemplating the ruins of Rome, calls
her "the _Niobe_ of nations." The hearer's mind should be arrested, his
imagination stirred, at that word. Words used in contrast with one
another are given opposing effect by contrasting emphasis: "Not that I
loved _Caesar_ less, but that I loved _Rome more_." "My _words fly up_;
my _thoughts remain below_." When words are used with a double meaning,
as in the case of a pun, or with a peculiar implication, or are
repeated for some peculiar effect of mere repetition,--when we have, in