"All ideas which are not sincere or earnest, but are used in jest, or
irony, in ridicule, sarcasm, or mockery, in insinuation or double-meaning,
demand the crooked or circumflex slides."

These rules taken in connection with the accompanying brief but clear and
precise explanation of the meaning attached to the words positive and
negative, constitute the most admirable generalization that I have met with
in elocutionary works of more recent date than that of Dr. Rush. And,
indeed, Professor Bailey's whole treatment of that part of elocution now
under consideration, is the best illustration I can name of the middle
course which I recommend. Avoiding alike the ultra "artificial" system of
Walker and the ultra "natural" system of Whately, he combines in his
instruction the excellencies of both, without their faults. He is both
philosophical in his theory, and practical in its application. He attempts
only what is practicable. He insists on analysis, but his analysis is at
once simple and comprehensive. He classes the different kinds of
composition with respect to the emotions, as follows,--1. Unemotional; 2.
Bold; 3. Animated or joyous; 4. Subdued or pathetic; 5. Noble; 6. Grave; 7.
Ludicrous or sarcastic, 8. Impassioned,--and then indicates the
modifications of voice appropriate for each.

Now such a course of training based on such principles, especially if
pursued under a competent instructor, cannot fail to be highly beneficial.
Experience has proved it. Whately is evidently in error in wholly
proscribing attention to the voice in speaking. In learning to dance, the
pupil must pay attention to the motions of his limbs, but when practice has
made the movements familiar, his mind is withdrawn from them. They then
become natural. Just so will the student of elocution. In his disciplinary
exercises he must attend to his voice. He must become accustomed to the
correct application of tones and inflections in the delivery of passages