a great mistake to imagine, that the breath inust be drawn only at the end of a period, when the voice is allowed to fall. It may easily be gathered at the intervals of the period, when the voice is only suspended for a moment; and, by this management, one may always have a sufficient stock for carrying on the longest sentence, without improper interruptions.

Pauses in reading, and public discourse, must be formed upon the manner in which we utter ourselves in ordinary, sensible conversation; and not upon the stiff artificial manner which we acquire, from reading books according to the common punctua tion. It will by no means be sufficient to attend to the points used in printing; for these are far from marking all the pauses which ought to be made in speaking. A mechanical attention to these resting-places has perhaps been ore cause of monotony, by leading the reader to a similar tone at every stop, and a uniform ca dence at every period. The primary use of points is, to assist the reader in discerning the grammatical construction ; and it is only as a secondary object, that they regulate his pronunciation.

To render pauses pleasing and expressive, they must not only be made in the right place, but also accompanied with a proper tone of voice, by which the nature of these pauses is intimated ; much more than by the length of them, which can seldom be exactly measured. Sometimes it is only a slight and simple sus· pension of voice that is proper; sometimes a degree of cadence in the voice is required; and sometimes that peculiar tone ant cadence which denote the sentence to be finished. In all these cases, we are to regulate ourselves, by attending to the manner in which nature teaches us to speak, when engaged in real and earnest discourse with others.

It is a general rule, that the suspending pause should be used when the sense is incomplete; and the closing pause, when it is finished. But there are phrases, in which, though the sense is not completed, the voice takes the closing, rather than the suSpending pause; and others, in which the sentence finishes by the pause of suspension.

The closing pause must not be confounded with that fall of the voice, or cadence, with which many readers uniformly finish a sentence. Nothing is more destructive of propriety and energy than this habit. The tones and inflections of the voice at the close of a sentence, ought to be diversified, according to the general nature of the discourse, and the particular construction and meaning of the sentence. In plain narrative, and especially in argumentation, a small attention to the manner in which we relate a fact, or maintain an argument, in conversation, will show, that it is frequently more proper to raise the voice, than to let it fall, at the end of a sentence. Some sentences are so constructed, that the last words require a stronger emphasis than any of the preceding; while others admit of being closed with a soft and gentle sound. Where there is nothing in the sense which requires the last sound to be elevated or em

phatical, an easy fall, sufficient to show that the sense is finished, will be proper. And in pabetic pieces, especially those of the plaintive, tender, or solemn kad, the tone of the passion will often require a still greater cadence of the voice. The best method of correcting a uniform cadence, is frequently to read select sentences, in which the style is pointed, and in which antitheses are frequently introduced: and argumentative pieces, or such as abound with interrogatives, or earnest exclamation.

SECTION V. Of Tones.

TONES are different both from emphasis and pauses; consisting in the modulation of the voice, the notes or variations of sound which we employ in the expression of our sentiments.

Emphasis affects particular words and phrases with a degree of tone or inflection of the voice; but tones, peculiarly so called, affect sentences, paragraphs, and sometimes even the whole of a discourse.

To show the use and necessity of tones, we need only observe, that the mind, in communicating its ideas, is in a continual state of activity, emotion, or agitation, from the different effects which those ideas produce in the speaker. Now the end of such communication being, not merely to lay open the ideas, but also the different feelings which they excite in him who utters them, there must be other signs than words, to manifest those feelings; as words uttered in a monotonous manner, can represent only a similar state of mind, perfectly free from all activity or emotion. As the communication of these internal feelings, was of much more consequence in our social intercourse, than the mere conveyance of ideas, the Author of our being did not, as in that conveyance, leave the invention of the language of emotion, to man; but impressed it himself upon our nature in the same manner as he has done with regard to the rest of the animal world; all of which express their various feelings, by various tones. Ours indeed, from the superior rank that we hold, are in a high degree more comprehensive; as there is not an act of the mind, an exertion of the fancy, or an emotion of the heart, which has not its peculiar tone, or note of the voice, by which it is to be expressed; and which is suited exactly to the degree of internal feeling. It is chiefly in the proper use of these tones, that the life, spirit, beauty, and harmony of delivery consist.

An extract from the beautiful lamentation of David over Saul and Jonathan, may serve as an example of what has been said on this subject. "The beauty of Israel is slain upon thy high places. How are the mighty fallen! Tell it not in Gath; publish it not in the streets of Askelon: lest the daughters of the Philistines rejoice; lest the daughters of the uncircumcised triumph. Yo mountains of Gilboa, let there be no dew, nor rain upon you. nor fields of offerings; for there the shield of the mighty was

vilely cast away; the shield of Saul, as though he had not beer anointed with oil!" The first of these divisions expresses sorrow and lamentation; therefore the note is low. The next contains a spirited command, and should be pronounced much higher. The other sentence, in which he makes a pathetic address to the mountains where his friends were slain, must be expressed in a note quite different from the two former; not so low as the first, nor so high as the second, in a manly, firm, and yet plaintive tone.* This correct and natural language of the emotions, is not so difficult to be attained, as most readers seem to imagine. If we enter into the spirit of the author's sentiments, as well as into the meaning of his words, we shall not fail to deliver the words in properly varied tones. For there are few people, who speak English without a provincial tone, that have not an accurate use of emphasis, pauses, and tones, when they utter their sentiments in earnest discourse: and the reason that they have not the same use of them, in reading aloud the sentiments of others, may be traced to the very defective and erroneous method, in which the art of reading is taught; whereby all the various, natural, ex pressive tones of speech, are suppressed, and a few artificial, unieaning, reading notes, are substituted for them.

But when we recommend to readers an attention to the tone and language of emotions, we must be understood to do it with proper limitation. Moderation is necessary in this point, as it is in other things. For when reading becomes strictly imitative, it assumes a theatrical manner, and must be highly improper, as well as give offence to the hearers; because it is inconsistent with that delicacy and modesty, which, on all occasions, are indispensable.

CHAPTER II.

OF VERSIFICATION.

As there are few persons who do not sometimes read poetical composition, it seems necessary to give the student some idea of that part of grammar, which explains the principles of versification; that, in reading poetry, he may be the better able to judge of its correctness, and relish its beauties. When this lively mode of exhibiting nature and sentiment, is perfectly chaste, it is often found to be highly interesting and instructive.

VERSIFICATION is the arrangement of a certain number and variety of syllables, according to certain laws.

Rhyme is the correspondence of the last sound of one verse, to the last sound or syllable of another.

Feet and pauses are the constituent parts of verse. We shall consider these separately.

OF POETICAL FEET.

A certain number of syllables connected, form a foot. They are called feet, because it is by their aid that the voice, as it were, * Herries.

steps along through the verse, in a measured pace; and it is necessary that the syllables which mark this regular movement of the voice, should, in some manner, be distinguished from the others. This distinction was made among the ancient Romans, by dividing their syllables into long and short, and ascertaining their quantity by an exact proportion of time in sounding them; the long being to the short, as two to one; and the long syllables, being thus the more important, marked the movement. In Eng lish, syllables are divided into accented and unaccented; and the accented syllables being as strongly distinguished from the unaccented, by the peculiar stress of the voice upon them, are equally capable of marking the movement, and pointing out the regular paces of the voice, as the long syllables were by their quantity, anong the Romans.

When the feet are formed by an accent on vowels, they are exactly of the same nature as the ancient feet, and have the same just quantity in their syllables. So that, in this respect, we have all that the ancients had, and something which they had not. We have in fact duplicates of each foot, yet with such a difference, as to fit them for different purposes, to be applied at our pleasure. Every foot has, from nature, powers peculiar to itself; and it is upon the knowledge and right application of these powers, that the pleasure and effect of numbers chiefly depend.

All feet used in poetry consist either of two, or of three syllables; and are reducible to eight kinds; four of two syllables, and four of three, as follows:

A Trochee has the first syllable accented, and the last unaccented: as, "Hateful, péttish."

An Iambus has the first syllable unaccented, and the last accented: as, 60 Betray, consist."

A Spondee has both the words or syllables accented: as, "The pāle mōōn."

A Pyrrhic has both the words or syllables unaccented: as, "on the tall tree."

A Dactyl has the first syllable accented, and the two latter unaccented: as, "Labourer, possible."

An Amphibrach has the first and last syllables unaccented; and the middle one accented; as, "Delightful, doméstic."

An Auapæst has the two first syllables unaccented, and the last accented: as, "Contravene, acquiésce."

A Tribrach has all its syllables unaccented: as, “Numĕrăblē, cónquerable."

Some of these feet may be denominated principal feet; as pieces of poetry may be wholly, or chiefly formed of any of them.

The

Such are the Iambus, Trochee, Dactyl, and Anapæst. others may be termed secondary feet; because their chief use is to diversify the numbers, and to improve the verse. We shall first explain the nature of the principai feet. IAMBIC verses may be divided into several species, according to the number of feet or syllables of which they are composed. 1 The shortest form of the English Iambic consists of an Iambus, with an additional short syllable: as,

Disdaining,
Complaining,
Consenting,
Repenting,

We have no pocin of this measure, but it may be met with in stanzas. The Iambus, with this addition, coincides with the Amphibrach.

2 The second form of our Iambic is also too short to be continu ed through any great number of lines. It consists of two Iambuses What place is here! What scenes appear! To me the rose

No longer glows.

It sometimes takes, or may take, an additional short syllable ; as, Upon ǎ mōuntăin

Beside a fountain.

3 The third form consists of three Iambuses.

In places får or near,

Or famous or obscure,

Where wholesome is the air,

Or where the most impure.

It sometimes admits of an additional short syllable: as,
Our hearts no lōngĕr lângùish.

4 The fourth form is made up of four Iambuses.
And may ǎt lést mỹ weary age,

Find out the peaceful hermitage.

5 The fifth species of English lambic, consists of five Iambuses.
How lōv'd, how válů❜d ōnce, ăvails thee not,
To whom related, or by whom begot:
A heap of dust alone remains of thee;
'Tis all thou art, and all the proud shall be.
Bě wise to-day, 'tīs mādness tō děfēr:
Next day the fatal precedent will plead;
Thus on, till wisdom is pushed out of life.

This is called the Heroic measure. In its simplest form it con sists of five Iambuses; but by the admission of other feet, as Trochees, Dactyls, Anapests, &c. it is capable of many varieties Indeed, most of the English common measures may be varied in the same way, as well as by the different position of their pauses. 6 The sixth form of our Iambic is commonly called the Alexandrine measure. It consists of six Iambuses.

For thōu ărt būt of dust; bě hûmble and be wise.