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does not reach a height so great as in the first. At the beginning of the third, however, he does not drop quite to the level of the first and second; and from the beginning of the third, through the fourth and fifth, feeling is constantly rising until it terminates in his thrilling appeal to arms. There are little breaks in the rise of feeling at the end of paragraphs 3 and 4, but they are not profound. At the end of the fifth paragraph, however, interest and excitement subside considerably, though he begins the sixth paragraph at about the level where he closed the third. From the beginning of the sixth to the end of the eighth, there is scarcely an interruption in the progress of the climax till he closes in that stirring outburst, “Give me liberty or give me death !"

You will not have difficulty in appreciating the meaning of what has just been said, but if you do not quite understand now what is meant by climax, and do not appreciate what perfect examples of it are shown in this speech, reverse the position of some of these sentences. Imagine Patrick Henry as rising in his place and saying at the very outset, "Mr. President, -I know not what course others may take; but as for me, give me liberty or give me death !" In all probability the members of the Convention would have laughed at him. But by the time he had wrought upon their feelings to the end of this speech, they were ready to echo his words and vote for his resolution.

4. STYLE. A few qualities of Patrick Henry's style are well worth noticing. You will see that he has not selected high-sounding words that carry weight because of their volume, as Webster might have done, but he has selected words which are clear, clean-cut and full of meaning. Only once or twice has he shown any weakness in this respect. One of the chief qualities of his style, then, is its directness. Moreover, every sentence is marked by earnestness, and his frequent references to himself show his sincerity. It appeals to high motives in us and abounds with noble sentiments which every patriotic American can appreciate. These are some of the reasons why we can not read this speech without being profoundly moved by it.

PRONUNCIATION OF PROPER NAMES

NOTE.—The pronunciation of difficult words is indicated by respelling them phonetically. N is used to indicate the French nasal sound; K, the sound of ch in German; ü, the sound of the German ü, and French u; ö, the sound of ö in foreign languages.

ACELDAMA, a sel' da mah
ACHILLES, a kil' leez
AEDUI, eed' u i
ALBINUS, al bi' nus
ALENCON, ah loN SON'
ALMAINE, al' mayn
ALESIA, a lee' sy a
ANDROMACHE, an drom' a ke
ARMADA, ahr may' dah, or ahr mah' dah
ARTEMIDORUS, ar tem y do' rus
Asolo, ah' zo lo
ASAPP UL DOWLAH, ah' saf ool dow' lah
ASTYANAX, as ty' a nax
AUMALE, O mahl'
BALAKLAVA, bah lah klah' vah
BAYEUX, bah eu'
BEAUVAIS, bo vay'
BEAUJEU, bo zheu'
BEGUMS, bee' gumz
BLENHEIM, blen' ym
Blois, blwah
BOEOTIA, bee o' shy a

BOILOGNE, bwa lohn'
BOUQUET, boo kay'
BOURCHIER, boor' chy ur
BRETONS, brit uns
BRUTES, broo' teez
CAIRO, ki' ro
Caius OCTAVIUS, kay' yus ok tay' vy us
Calais, kah lay'
CHÆRONEA, ker o nee' a
CHALONS, shah loN'
CHAMPLAIN, sham playn'
CHAMOUNI, shah mou nee'
CHARLEMAGNE, shahr' le mayn
CHARLEROY, shahr" | rwah'
CHIARA, kee ah rah
CICERO, sis' e ro
CONFUCIUS, kon fu' she us
CREASY, kree' sy
CRECY, kres' see, (FRENCH) kray see'
CRESSY, kres' sy
CORNARO, kor nah' ro
D'AUBIGNY, do been yee'
DECIUS BRUTUS, dee' shus broo' tus
DEMOSTHENES, dee mos' the nees
DIANA, di an' ah, or di ay' na
DIOCLETIAN, di" o klee' shan
EPHESUS, ef' ee sus
FELIPPA, fay leep' pah
FROISSART, JEAN, frwah sahr', zhoN
FROUDE, frood
GERGOVIA, jer go' vy a
GNIDOS, ni dos
HARCOURT, hahr' kurt
HENGIST, hen' gist

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HERMIONE, her mi' o ne
HUMBRE, hum' bur
HYPATIA, hy pay' she ah
HYPERIDES, hy per' y deez
JARDIN, zhar daN'
JULES, Joolz
JUNGFRAU, yoong' frow
LAS CASAS, BARTHOLOME DE, lahs kas' sas, bar

tol' o may day
LAUTERBRUNNEN, low'' ter broon'en
LENTULUS SPINTHER, len' tu lus spin' thur
LIGARIUS, li gay' ry us
LUCA, loo' kah
LUIGI, lu ee' jy
LYCÆANS, li see' anz
LUXEMBOURG, lux oN boor!
MACEDONIA, mas" ee do'

ny

ah MAFFEO, mah fay' o MARCUS AEMILIUS LEPIDUS, mahr' kus ee mil y uslep' y dus

y
MERE DE GLACE, mayr deh glahs'
METELLUS CIMBER, me tel lus sim' bur
METELLUS SCIPIO, ma tellus sip' yo
MOINE, mwahn
MONSIGNOR, mohn say nyor'
MONT BLANC, MoN bloN
MONTCALM, mont kahm'
MONTREUIL, MON treu’y
MONTSAULT, MoN so'
NUNCOMAR, noon' ko mar
ORESTES, o res' teez
ORNE, orn
OUDE, owd
PHENE, fay' ne

a

PHILIPPI, fy lip' i
PICARDY, pik' ar dy
PLANTAGENETS, plan taj' e netz
PLEIDES, plee' ya deez
POICTIERS, pwah ty ay'
POITEVIN, pwah t vaN'
POMPONIUS ATTICUS, pom po' my us at ty kus
PONTHIEU, poN tyeu'
POPILIUS, po pil' y us
PYLADES, pil' a deez
PYRRHUS, pir us
PULTOWA, pul to' va
RAJAH OF BENARES, rah' jah of ben ah' reez
ROGIER, ro zhyay'
RONCESVALLES, ron" thes val

yays
ROUEN, roo" ON'
SABINUS, sa bi' nus
SAINT DENIS, SAN dnee'
SAINT LEGER, saynt lej' er, or sil' in jur
SALOPIAN, sal o'py an
SCARABÆUS, skar a bee' us
SCUTARI, sku tah' ry
SEBALD, say' bahld
SEINE, sayn
SENLAC, sen' lak
STRABO, stray' bo
SUJAH DOWLAH, 300' jah dow' lah
SWAMMERDAMM, swahm' mur dahm
TAILLEFER, tayl fayr!
TENERIFFE, ten" ur if'
TOURS, toor
TREBONIUS, tree bo' ny us
TREVISO, tra vee' so
TITIAN, tish' an

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