that a great genius leaves to mankind, which are delivered down from generation to generation, as presents to the posterity of those who are yet unborn. "All other arts of perpetuating our ideas, continue but a short time. Statues can last but a few thousands of years, edifices fewer, and colors still fewer than edifices. Michael Angelo, Fontana, and Raffaelle, will, hereafter, be what Phidias, Vitruvius, and Appelles, are at present; the names of great statuaries, architects, and painters, whose works are lost. The several arts are expressed in mouldering materials. Nature sinks under them, and is not able to support the ideas which are impressed upon it. "The circumstance which gives authors an advantage above all these great masters, is this, that they can multiply their originals, or, rather, can make copies of their works, to what number they please, which shall be as valuable as the originals themselves. This gives a great author a prospect of something like eternity. If writings are thus durable, and may pass from age to age, through. out the whole course of time, how careful should an author be of committing anything to print, that may corrupt posterity, and poison the minds of men with vice and error!" Solemnity. Funeral Hymn. "How still and peaceful is the grave, The appointed house, by Heaven's decree, "The wicked there from troubling cease, Their passions rage no more; And there the weary pilgrim rests "All, levelled by the hand of death, "Orotund Quality.' "'* This mode of voice is characterized by peculiar roundness, fullness, and resonance, combining the "purity" of the "head tone" with the reverberation of the chest. It has a deeper effect than mere purity of tone, and usually ranges with the upper bass notes of the male voice; while the head tone has a lighter character, and seldom extends below the tenor level. Orotund quality is the natural mode of utterance in all deep, powerful, and sublime emotions. It belongs, accordingly, to oratory, and to the bolder forms of poetry. Orotund utterance is, like pure tone, a most effective aid to easy and full voice. It serves to diminish the fatigue of vocal exertion, and, at the same time, to give out clear and agreeable sound: it renders the utmost force of energetic utterance easily practicable; and, by throwing vigor into the voice, it spares the lungs. The remarks on frequency of practice in pure tone, apply also to orotund quality. Every exercise should be perfectly mastered before proceeding to another; and the *The term "orotund" Dr. Rush has adopted from a modification of the Latin phrase "ore rotundo." The word, as was mentioned before, is a good technical designation in elocution; as it not only intimates the peculiar rotundity of the proper voice for public speaking, but the special condition of the interior and back parts of the mouth, which its production requires. As a "quality" of voice, it is the natural resonance of notes of the middle and lower tenor and upper bass "register," when uttered in a round, full, and bold style, with the glottis freely opened, and all the circumjacent parts of the throat and mouth well expanded. An ample laryngial" effect is thus prpduced: to this effect the technical term "orotund" is applied. See Orthophony. practice should not cease till all the "tonic elements" can be easily and exactly executed in orotund style. Pathos* and Sublimity. "O Rome! my country! city of the soul! What are our woes and sufferance? Come and see A world is at our feet as fragile as our clay. "The Niobe of nations! there she stands, - dost thou flow, Old Tiber! through a marble wilderness? Rise, with thy yellow waves, and mantle her distress!" "Now came still evening on; and twilight gray Silence accompanied; for beast and bird, They to their grassy couch, these to their nests * Pathos, repose, and solemnity, if united with grandeur, assume the orotund voice, although, without this union, they do not transcend the comparatively moderate limits of pure tone. The orotund is the distinctive quality of grandeur and power. Were slunk, all but the wakeful nightingale;- Apparent queen, unveiled her peerless light, Solemnity, Sublimity, and Pathos. The Treasures of the Deep.- Mrs. Hemans. "What hid'st thou in thy treasure-caves and cells. Thou hollow-sounding and mysterious Main? Pale glistening pearls, and rain-bow colored shells, Bright things which gleam unrecked of, and in vain. Keep, keep thy riches, melancholy Sea! 66 We ask not such from thee. Yet more, the depths have more!-What wealth untold Far down, and shining through their stillness lies! Thou hast the starry gems, the burning gold, Won from ten thousand royal argosies. Sweep o'er thy spoils, thou wild and wrathful main : Earth claims not these again. 66 Yet more, the depths have more! Thy waves have rolled Above the cities of a world gone by! Sea-weed o'ergrown the halls of revelry! - "Yet more, the billows and the depths have more: Keep thy red gold and gems, thou stormy grave:· "Give back the lost and lovely! those for whom The place was kept at board and hearth so long, The prayer went up, through midnight's breathless gloom, And the vain yearnings woke 'mid festal song! Hold fast thy buried isles, thy towers o'erthrown,But all is not thine own! "To thee the love of woman hath gone down : Earth shall reclaim her precious things from thee,'Restore the dead, thou Sea!"" Energy and Sublimity. Hallowed Ground.- Campbell. "What's hallowed ground?-Has earth a clod Its Maker meant not should be trod By man, the image of his God,— Erect and free, Unscourged by Superstition's rod To bow the knee? "That's hallowed ground, where, mourned and missed, The lips repose our love has kissed; But where's their memory's mansion? No: in ourselves their souls exist, - - Is 't "What hallows ground where heroes sleep?'Tis not the sculptured piles you heap; In dews that heavens far distant weep |