any form, what is called a play upon words,--a peculiar pointedness is
given, wherein the circumflex inflection plays a large part. "Now is it
_Rome_ indeed and _room_ enough, when there is in it but one only man."
"I had rather _bear with_ you than _bear_ you; yet if I did bear you, I
should bear no _cross_, for I think you have no _money_ in your purse."
"But, sir, the _Coalition_! The _Coalition_! Aye, the _murdered
Coalition_!"

Although, as has been said, the usual method of making a point is to
give striking force to an idea, very often the same effect, or a better
effect, is produced by a striking sudden suppression of utterance, by
way of decided contrast. When the discourse has been running vigorously
and inflections have been repeatedly sharp and strong, the sudden stop,
and the stilled utterance of a word, are most effective. Only, the
suppressed word must be set apart. There must be the pause before or
after, or both before and after. Robert Ingersoll, when speaking with
great animation, would often suddenly stop and ask a question in the
quietest and most intimate way. This gave point to the question and was
impressive.

We have been considering thus far only primary or principal emphasis.
Of equal importance is the question of secondary emphasis. The
difference in vocal treatment comes in regarding the principal emphasis
as absolute or final, as making the word absolved from, cut off from,
the rest of the sentence following, and having a final stop or
conclusive effect, while the secondary may be regarded as only
relatively emphatic, as being related in a subordinate way to the
principal, and as maintaining a connection with the rest of the
sentence, or as hanging upon the words which follow, or as being a step
leading up to the main idea. The vocal indication of this connective