to the general nature of the discourse, and the particular construction and meaning of the sentence. Such 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 emphatical, an easy fall, sufficient to show that the sense is finished, will be proper. And in pathetic pieces it is necessary that there should be a still greater cadence of the voice.

The tones of public speaking must be formed upon those of sensible animated conversation. The best rule, therefore, is to follow Nature; consider how she teaches you to utter any sentiment or feeling of the heart. Imagine a subject of debate introduced into conversation, and yourself bearing a share in it. Think after what manner, with what tones and inflections of voice, you would on such an occasion express yourself, when you were most in earnest, and sought most to be listened to by those whom you addressed. Let these be the foundation of your manner of pronouncing in public, and you will take the surest method of rendering your delivery both agreeable and per suasive.

The next subject which claims attention is GESTURE or ACTION. The best rule that can be given with respect to this subject is, to attend to the looks and gestures in which earnestness, indignation, compassion, or any other emotion, discovers itself to most advantage in the common intercourse of men. A judicious speaker will endeavor to make his motions and gestures exhibit that kind of expression which nature has dictated, for unless this be the case, no study can prevent their appearing stiff and ungraceful. The study of action consists chiefly in guarding against awkward and disagreeable motions, and learning to perform, in the most graceful manner, such as are natural.

The first object in the study of Elocution is to habituate the scholar to speak with distinctness and deliberation; for till this has been acquired, no improvement can be made in elegance of expression. "An excellent method of teaching a distinct enunciation in speaking is,” says Dr. Knox, "the motion of an instructor's hand, resembling the beating of time in music, and directing the pauses of the learner, and the slower or quicker progress of his pronunciation. It is, likewise, very useful to insist, during this exercise, that every syllable, but especially the last, shall strike the ear distinctly, but without dwelling upon it; otherwise the slow and distinct manner will degenerate into the

heavy and the sluggish. During this process, all monotony, and all lisagreeable tones are to be carefully corrected."

When a distinct and deliberate utterance has been obtained, and all disagreeable tones have been corrected, the student must endeavor to acquire an impressive and graceful utterance, with such a portion of action as good sense and observation may suggest.

§ 93. VERSIFICATION.

VERSIFICATION is the arrangement of a certain number of syllables, according to particular rules.

A Foot is a part of a verse, and consists of two or three syllables.

A certain number of syllables are said to be named Feet, because by their aid the voice steps along, as it were, through the verse in a measured pace.

A Verse is a certain number of connected feet forming one line.

A Hemistich is half a verse.

A Couplet or Distich consists of two verses; a Triplet

of three.

The term hypercatalectic, hypermeter, or redundant, is applied to a verse when it exceeds the regular number of syllables.

A Stanza or Stave is a combination of several verses, varying in number according to the poet's fancy, and constituting a regular division of a poem, or song.

Rhyme is a similarity of sound between the last syllables of different lines, as in the following verses :

On what foundation stands the warrior's pride,
How just his hopes, let Swedish Charles decide.

In Blank Verse the final syllables do not rhyme.

A Casura is a cessation of the voice, and occurs immediately after the fourth, fifth, or sixth syllable of a verse; as,

The dumb shall sing || the lame his crutch forego,
And leap exulting | like the bounding roe.

Metre is the arrangement of a certain number of poetical feet in a verse, according to the accent.

To scan a verse is to divide it into its component feet. Alliteration consists in repeating the same letter or letters, at certain intervals; as,

Better to hunt in fields for health unbought,

Than fee the doctor for a nauseous draught.

The Strophe was that part of the ancient hymn which was sung by the Greek chorus, in turning from east to west, while dancing round their altars.

The Antistrophe was that part of the sacred hymn of the Greeks which was sung in returning from west to east, after they had danced round the altars.

The Epode is the third or last part of an ode; the ancient ode was divided into strophe, antistrophe, and epode. The epode was sung by the priest standing before the altar, after all the turns and returns of the strophe and antistrophe. The word epode signifies the end of the song.

The Prologue, in dramatic poetry, is an explanatory exordium, addressed to the audience before the drama begins.

The Epilogue, in the drama, is an address to the audience when the play is completed, and is generally written in poetry.

All feet used in poetry 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, "Noble, happy.'

An Iambus has the first syllable unaccented, and the last accented; as, “Adōre, defēnd.”

as,

A Spondee has both the words or syllables accented, "Vain man."

* In versification, every accented syllable is long, every unaccented syllable is short.

A Pyrrhic has both the words or syllables unaccented; as," E'en in the height."

A Dactyl has the first syllable accented, and the two latter unaccented; as, “Virtuoŭs.”

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

An Anapest has the first two syllables unaccented, and the last accented; as, "Intèrcēde.”

A Tribrach has all its syllables unaccented; as, “ Numěrăble."

The Iambus, Trochee, and Anapast, may be denominated principal feet, as pieces of poetry are chiefly, and may be wholly, formed of them. The others may be termed secondary feet, because their chief use is to diversify the numbers, and to improve the verse.

1. IAMBIC VERSES.

Iambic verses have every second, fourth, and other even syllables accented, and are of various lengths.

1. The shortest form of Iambic verse, consists of one Iambus with an hypermeter or additional syllable; as,

Consenting,
Repenting.

We have no poem of this measure, but it is sometimes introduced into stanzas.

2. The second form of our Iambic is also too short to be continued through any number of lines. It consists of two Iambuses; as,

With Thee wě rise.

With Thee wě reign
And empires gain,
Beyond the skies.

This form sometimes assumes an hypermeter syllable; as
Upon ǎ mōun | tăin

Běside ǎ fountain.

3. The third form consists of three Iambuses, and is continued only

for a few lines; as,

In plă | ces får | ōr neår,

Or fã | mõus ōr | ŏbscure,

Where whole sõme is | the air,
Or where the mōst | ĭmpūre.

This form sometimes admits an additional short syllable; as

Oür heārts | nổ lông | ěr lãn | guish.

4. The fourth form may extend through a considerable number of verses; it consists of four Iambuses; as,

as,

How sleep | the brave | who sink | tõ rēst

By all their country's wishes blest!

When spring, with dewy fingers cold,
Returns to deck their hallow'd mould,
But there shall dress a sweeter sod,
Than fancy's feet have ever trod.

5. The fifth species, or Heroic measure, consists of five Iambuses;

Ye fields, where summer spreads profusion round;
Ye lakes, whose vessels catch the busy gale;
Ye bending swains, that dress the flow'ry vale;
For me your tributary stores combine;

Creation's heir, the world, the world is mine!

This measure may be used either with, or without rhyme, and fre quently admits an additional syllable; as,

1

Worth makes the man, | the wânt | Ŏfit | the fel | low, The rest is nought but leather or prunello."

6. The sixth form of our Iambic is commonly called the Alexandrine measure; it consists of six Iambuses.

Forthōu | ǎrtbūt | ōfdūst; | běhům | blě and | bě wise. The Alexandrine is sometimes introduced into heroic rhyme, and particularly into stanzas after the manner of Spencer; and when used sparingly, and with judgment, occasions an agreeable variety.

To sit on rocks, to muse o'er flood and fell,
To slowly trace the forest's shady scene,