practised in private companies assembled for the purpose. It differs from that just mentioned, by limiting each individual to the reading of the part of a single character. In this entertainment, as on the stage, the characters of the drama are distributed among the readers according to their supposed talents; and each being furnished with a separate book, either the whole play, or certain select scenes from one or more, are read by the performers sitting round a table, whilst others of the company serve as the audience. The reading is performed by each in his best and most characteristic manner, the part allotted to each is often nearly committed to memory, and such gestures are used as can be conveniently executed in a sitting posture. Higher efforts are here required in order to keep the auditors alive to the interest of the scene, thus divided and stript of all that aids delusion, and mutilated of its complete action. On these occasions favourite scenes are often performed in a part of the room considered as a stage, by such of the party, as wish to exhibit higher dramatic powers, and temporary arrangements of screens are made accordingly; sometimes dresses are assumed or modified the more nearly to approach theatrical exhibition: but reading ceases here.

History, which is the most improving subject of private reading, in the mere narrative parts requires no greater efforts on the part of the reader than the style which is termed correct. But in those lively descriptions of places, situations, and great actions which rhetoricians name hypotoposes, impressive reading is altogether necessary; and in the speeches or prosopopoeias which sometimes occur, rhetorical reading should in some measure be introduced.

The same circumstances occur more frequently, and more heightened in epic poetry: and therefore, as well as on account of the lofty measure, and elevated language, an epic poem requires of the reader a more dignified and exalted strain, and a manner almost constantly sustained above the ordinary level. Descriptions in such poetry abound more, and are more highly ornamented than in the most interesting history; similes and other poetical figures are introduced in all their grandeur and beauty; battles are described with the most terrible and striking precision, and speeches are delivered with all the ornaments, and all the powers of eloquence. Thus every thing sublime and beautiful, awful and pathetic, being assembled in an epic poem as in a tragedy, the reader must be all awake if he would deliver either with just effect; he must be filled with his subject, governed by taste and judgment, alive to feeling, and inspired like the poet himself with a degree of enthusiasm.

Novels, or modern fictitious biography, are so frequently the subject of private readings, and influence so much the taste of young people, that they demand some notice. Perhaps it would be well if this species of writing were still unknown: in its best form, and in its most innocent preparations, it is found to retain certain relaxing and sedative qualities, injurious to the vigour of the mind; and to have an influence upon it altogether different from those more solid studies of which Cicero says; “Other studies do not suit all times, or all ages or places ; but these are the food proper for the nourishment of youth,

they are the delight of old age; they adorn prosperity, and supply refuge and consolation in adversity: they afford

pleasure in private, and give no embarrassment in public; 'they are our companions throughout the night; they travel "with us abroad, they follow us into our retirement in the 99 14 country. But it is not to be expected that the rapid progress of extreme refinement which has pervaded every art and enjoyment of life in Europe, should fail to shed its softness also upon our literature. And if this soft learning was never corrupted, or served only for the amusement of a leisure hour, instead of engrossing every hour in amusement, we should have less reason to complain. Some of those compositions may be esteemed valuable additions to our stock of amusing literature, and we may apply to such the former part of the passage just quoted from Cicero, who is speaking of other writings, and knew of none of this species." In reading these works aloud to the private circle, custom, arising from the eager desire of unravelling the story, has determined that the mere narrative should be read with unusual rapidity. The interesting scenes demand impressive reading, and many of the scenes, which are constructed like those in a regular drama, require to be read in a similar manner.

14 Nam cætera neque temporum sunt, neque ætatum omnium, neque locorum: hæc studia adolescentiam alunt, senectutem oblectant, secundas res ornant, adversis perfugium ac solatium præbent, delectant domi, non impediunt foris, pernoctant nobiscum, perigrinantur, rusticantur. Cic. pro Archia Poeta.

15 Quod si non hic tantus fructus ostenderetur et si ex his studiis delectatio sola peteretur: tamen ut opinor, hanc animi remissionem, humanissimam ac liberalissimam judicaretis. ib.

CHAPTER VI.

OF RECITATION AND DECLAMATION.

How recitation differs from declamation-The purposes for which recitation is practised-Declamation practised by the ancients-By Cicero -By Quintilian-By Seneca-Modern declamation-Speaking societies-Historical society of the University of Dublin-Its origin and present state-Declamation at schools.