"He shall increase, but I shall décreas difference between giving and forgiving cies of composition, plausibility is much m próbability." In these examples, the e the accent to be placed on syllables, to w commonly belong.

In order to acquire the proper manag phasis, the great rule, and indeed the on be given, is, that the speaker or reader st conception of the force and spirit of the he is to pronounce. For to lay the en propriety, is a constant exercise of good tion. It is far from being an inconsid It is one of the greatest trials of a true a must arise from feeling delicately ourselv ing accurately, of what is fittest to stri others

There is one error, against which it is er to caution the learner; namely, that phatical words too much. It is only by in the use of them, that we can give the they recur too often; if a speaker or render every thing which he expresses by a multitude of strong emphases, we s tle regard to them. To crowd every phatical words, is like crowding all the italic characters, which, as to the effect to use no such distinctions at all.

SECT. 4. Of Pauses

Pauses or rests, in speaking ar total cessation of the voice, duri and, in many cases, a measurable

Pauses are equally necessary to the hearer. To the speaker, that he may which he cannot proceed far in delivery by these temporary rests, relieve the which otherwise would be soon tired t to the hearer, that the ear also may b fatigue, which it would otherwise endu

ere are two kinds of pauses: mrst, empnaticar pauses; next, such as mark the distinctions of the sense. An hatical pause is made, after something has been said culiar moment, and on which we desire to fix the hearattention. Sometimes, before such a thing is said, we r it in with a pause of this nature. Such pauses have ame effect as a strong emphasis; and are subject to the e rules; especially to the eaution just now given, of not ating them too frequently. For as they excite uncom attention, and of course raise expectation, if the imance of the matter is not fully answerable to such exation, they occasion disappointment and disgust.

ut the most frequent and the principal use of pauses, is, mark the divisions of the sense, and at the same time to w the speaker to draw his breath; and the proper and cate adjustment of such pauses, is one of the most nice difficult articles of delivery. In all reading, and public aking, the management of the breath requires a good of care, so as not to oblige us to divide words from one ther, which have so intimate a connexion, that they ht to be pronounced with the same breath, and without least separation. Many sentences are miserably mand, and the force of the emphasis totally lost, by the divis s being made in the wrong place. To avoid this, every , while he is speaking or reading, should be very careful provide a full supply of breath for what he is to utter. It great mistake to imagine, that the breath must be wn only at the end of a period, when the voice is allowed fall. It may easily be gathered at the intervals of the riod, when the voice is only suspended for a moment; d, by this management, one may always have a sufficient ck for carrying on the longest sentence, without impror interruptions.

Pauses in reading, and public discourse, must be formed on the manner in which we utter ourselves in ordinary, nsible conversation; and not upon the stiff artificial manr which we acquire, frora reading books according to the mmon punctuation It will by no means be sufficient to tend to the points used in printing; for these are far from arking all the pauses which ought to be made in speakg. A mechanical attention to these resting-places has

is only as a secondary object, that they re ciation.

To render pauses pleasing and expres only be made in the right place, but also a proper tone of voice, by which the natu is intimated; much more than by the len can seldom be exactly measured. Som slight and simple suspension of voice tha times a degree of cadence in the voic sometimes that peculiar tone and cadenc sentence to be finished. In all these cas late ourselves, by attending to the mann teaches us to speak, when engaged in r course with others.

It is a general rule, that the suspendi used when the sense is incomplete; and when it is finished. But there are phrase the sense is not completed, the voice tal ther than the suspending pause; and ot sentence finishes by the pause of suspen

The closing pause must not be confo of the voice, or cadence, with which ma ly finish a sentence. Nothing is more priety and energy than this habit. T tions of the voice at the close of a sente versified, according to the general nat and the particular construction and mean In plain narrative, and especially in arg attention to the manner in which we rel tain an argument, in conversation, will quently more proper to raise the voice the end of a sentence. Some sentences that the last words require a stronger e the preceding; while others admit of soft and gentle sound. Where there is which requires the last sound to be ele an easy fall, sufficient to show that the s be proper. And in pathetic pieces, es plaintive, tender, or solemn kind, the will often require a still greater cadence

est exclamation.

SECTION 5. Of Tones.

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

mphasis affects particular words and phrases with a dee of tone or inflection of the voice; but tones, peculiaro called, affect sentences, paragraphs, and sometimes n the whole of a discourse.

o show the use and necessity of tones, we need only ob. e, that the mind in communicating its ideas, is in a tinual state of activity, emotion, or agitation, from the erent effects which those ideas produce in the speaker. w the end of such communication being, not merely to open the ideas, but also the different feelings which y excite in him who utters them, there must be other is than words, to manifest those feelings; as words uted in a monotonous manner, can represent only a similar e of mind, perfectly free from all activity or emotion. the communication of these internal feelings, was of ■ch more consequence in our social intercourse, than the ere conveyance of ideas, the author of our being did not, in that conveyance, leave the invention of the language emotion, to man; but impressed it himself upon our nae in the same manner as he has done with regard to the st of the animal world; all of which express their various elings, by various tones. Ours indeed, from the superior nk that we hold, are in a high degree more comprehenve; as there is not an act of the mind, an exertion of the cy; or an emotion of the heart, which has not its pecu. r tone, or note of the voice, by which it is to be express; and which is suited exactly to the degree of internal eling. It is chiefly in the proper use of these tones, that e life, spirit, beauty, and harmony of delivery consist. An extract from the beautiful lamentation of David over aul and Jonathan, may serve as an example of what has en said on this subject. "The beauty of Israel is slain

boa, let there be no dew, nor rain upon offerings; for there the shield of the cast away; the shield of Saul, as thoug anointed with oil!" The first of these sorrow and lamentation; therefore the next contains a spirited command, and s ed much higher. The other sentence, a pathetic address to the mountains whe slain, must be expressed in a note quit two former; not so low as the first, nor cond, in a manly, firm, and yet plaintive

This correct and natural language of t 30 difficult to be attained, as most reader If we enter into the spirit of the author's as into the meaning of his words, we sha the words in properly varied tones. For ple, who speak English without a provin not an accurate use of emphasis, pauses they utter their sentiments in earnest reason that they have not the same use aloud the sentiments of others, may be defective and erroneous method, in wh ing is taught; whereby all the various tones of speech, are suppressed, and a meaning, reading notes, are substituted

But when we recommend to readers tone and language of emotions, we mu do it with proper limitation. Modera this point, as it is in other things. Fo comes strictly imitative, it assumes a and must be highly improper, as well as hearers: because it is inconsistent with modesty, which, on all occasions, are ind

CHAPTER II.

OF VERSIFICATION.

As there are few persons who do not atical composition, it seems necessary some idea of that part of grammar, whic • Herries.