I have been touched with joy" when on the sea.
Outstretched he lay" on the cold ground" and oft
Looked up to heaven.

In this last example, the line is divided into three portions by two cæsuras: in the following, it is divided into four portions, by the introduction of one cæsural, and two Demi-Casu ral pauses, which are indicated by the single acute accent ('):

Warms' in the sun" refreshes' in the breeze;

Glows' in the stars" and blossoms' in the trees;

Lives' through all life" extends' through all extent;
Spreads' undivided" operates' unspent.

The regularity and harmony of numbers, and the sameness of sound in pronouncing rhymes, strongly solicit the voice to a sameness of tone; and tone, unless directed by a judicious ear, is apt to degenerate into a song; and a song in elocution, is, to one of refined taste, of all things the most disgusting. In order to avoid this unendurable sing-song or chant, in enunciating poetry, the best precaution that can be given, is, for the reader who is guilty of it, to forget, as it were, that he is pronouncing verses, and to adopt the easy and natural style which would be just in reading prose.

QUESTIONS.

What is a Rhetorical Pause?-Give an example.

Repeat the Rule respecting the adjuncts of the verb and nominative.Illustrate and explain it.

What is said of the pauses denoted by the common points or stops? Give examples of short, and of long, pauses.

What is the difference between grammatical and rhetorical pauses? What is the second Rule for rhetorical pauses?

Please to read and explain the examples which follow.

Define the emphatick pause.-Explain it by examples.

What is Poetry?

Please to define Versification, Rhyme, and Blank Verse.
Define Poetical Feet, and explain the eight kinds.
Wherein consist the essential qualities of poetry?
What are the three kinds of poetical pauses?

Illustrate and explain the final pause.

Is the final pause at all requisite in reading blank verse?
On what does the poetry of blank verse depend?

Define and illustrate by examples, the cæsural pause—also the demicæsural.

PROMISCUOUS EXERCISES.

In the following examples, those words in which the tonick and subtonick elements ought to be prolonged, are distinguished by accented vowels; thus, ā, ē, i, ō, and so forth.

The christian'. . does not pray to be delivered from' . . glōry', but', from'. . VAIN-glōry.

Men will wrangle for religion'; write for it'; fight for it'; die for it'; any thing but'. . . LIVE for it.

We often despise a thing', because we do not know it'; and we will not Know it', because' . . we despise it'.

A great man in the COUNTRY', is but a small man in the CITY'.

There is nothing so baleful to a small man', as the shade of a great one', particularly the great man of a city.

It is an honour to a man to cease from strife; but every fool'.. will be intermeddling.

Counsel in the heart', is like deep wāter'; but a man of understanding', will draw it ōūt.

Contemporaries'. . appreciate the MAN', rather than the MERIT; but posterity' . . will regard the MERIT', rather than the MAN'.

Mōst people are more anxious to'. . lengthen life', than to'.. improve it. Hence', the diurnals'. . give us ten thousand recipes to live'. . lông', for one'. . to live' . . wêll; and hence', tōō', the use of the present', which we have', is thrown away in idle schemes for abusing the future', which we may not have'.

Rejōice', O young man', in thy youth'; and let thy heart'. . cheer thee in the days of thy youth', and walk in the ways of thy heart', and in the sight of thine eyes': but know thōu', that for all these things'.. God will bring thee into judgment. Therefōre', remove sorrow'.. from thy heart', and put away ēvil' . . from thy flesh'; for childhood and youth'. . are vanity`. Shylock. Three thousand ducats' :—wêll'.

Bassanio. Ay', sir', for three months'.

Shy. For three months':-wêll'.

Bas. For which', as I told you', Antonio shall be bound. Shy. Antonio shall become bound :—wêll'.

Bas. Will you oblige me'?.. Shall I know your answer'? Shy. Three thousand ducats for three months', and Antōniō' . . bōūnd'.

Bas. Your answer to that'.

Shy. Antonio is a gôôd mân'.

Bas. Have you heard any imputation to the contrary' ? Shy. Ho', no; . . no', nổ` ; . . nô`; my meaning in saying that he is a good man', is', to have you understand me', that he is SUFFICIENT: yet'. . his means are in supposition'. He hath an argosy bound to Tripolis'; another', to the Indies. I.

understand', moreover', upon the Rialto', that he hath a third at Mexico', a fourth for England: and other ventures he hath', squandered abroad. But'. . ships'. . are but bôards'; sailors'.. but mên'. There are land-rats' and water-rats'; water-thieves', and land-thieves': I mean', pêrates': and then', there is the peril of waters', winds', and rocks. The man is', notwithstanding', sufficient.—Three thōusand ducats`:—Í think I may take his bônd'.

If hinderances obstruct thy way',
Thy magnanimity display',

And let thy strength be seen';
But O'! if fortune'. . fill thy sail'
With more than a propitious gāle',
Take half thy canvass in`.

Alas' alas! doth hope'. . deceive us'?
Shall friendship', love'-shall all thōse ties
That bind a moment', and then leave us',
Be found again where nothing dies'?
Oh'! if no other bōōn were given'

To keep our hearts from wrong and stain',
Who would not try to win a'. . HEAVEN',

Where all we love', shall live again`?

Oft when yon mōōn'. . has climbed the midnight ský',
And the lone seabird'. . wākes its wildest cry',
Piled on the steep', the maniack's fagots burn'

To hail the bark that never can return';

And still she waits', but scarce forbears to weep',
That constant love can linger on the deep'.

The tyrant'.. has fallen: he hath met his just dōōm':
Go forth to the mount': bring the olive-branch hōme',
And rejoice', for the day of our freedom'.. is come`.
Now is the winter of our discontent

Made glorious summer by this son of York';
And all the clouds that lowered upon ōür hōuse',

In the deep bosom of the ocean'.. buried'.

Now are our brōws'. . bōund with victorious wreaths';
Our brui-sed arms'. . hung up for monuments';

Our stern alarums.. changed to merry meetings;
Our dreadful marches'. . to delightful measures.

Grim-visaged war'.. hath smoothed his wrinkled front";
And now', instead of mounting bar-bedt steeds',
To fright the souls of fearful adversaries',

He capers nimbly in a lady's chamber

To the lascivious pleasing of a lüte`.

Remarks. In order to do a thing well, we should attempt to do but one thing at a time. The foregoing examples bear so great a variety of oratorical marks, indicative of their just enun

ciation, as to render it impossible for the tyro in elocution to attend to them all at the first reading. The author suggests, therefore, the propriety of the pupil's attending, in his first reading of these exercises, merely to the correct orthoepy, and a distinct articulation, of the words. In his second reading, let him attend particularly to a proper modulation and inflection of them. In his third reading, let his attention be solely directed to the emphasis and rhetorical pauses requisite to be observed in a just enunciation of the examples. In his fourth and fifth readings of these passages, let him give those words containing the accented vowels, that full and "voluptuous swell" and prolongation of sound which a rich, deep, and harmonick intonation imperiously demands. In reference to the explosion and protraction of the tonick and subtonick elements, let him not be afraid to get his mouth off, nor to open his throat; but, as nature has been bountiful in bestowing upon us organs capable of producing soft, smooth, and graceful, musical, powerful, and expressive sounds, and as art has been ingenious and wise in the contrivance of language so admirably adapted to the happy exercise of the vocal powers, let him give these organs full play, and make the most of the words which he utters.

When the learner shall have read these examples five or six times over, attending, according to the directions, to only one thing, or, at most, to two things, at each reading, he will be prepared to enunciate them with his attention directed to all the various marks appended to the examples, as he goes along. It is presumed that no teacher will expect either improvement or a happy performance on the part of his pupil, unless he himself pronounce each sentence or paragraph in his own most eloquent and masterly manner, before the pupil is allowed to

utter it.

These examples are designed to illustrate particularly, first, the importance of protracting the tonick and subtonick elements with a full volume and melodious swell; secondly, the importance and proper application of rhetorical pauses; and, lastly, the final pause in rhyming verse. This lastnamed pause takes place at the words "ties," "given," and "burn," in the second and third of the poetick examples; but it will be observed that, at the words "discontent" and "chamber," in the last examplewhich is blank verse-no such pause is requisite.

The pupil should be cautioned against placing a stress upon any of the vowel sounds that require prolongation, except when hey occur in words really emphatick; and, also, against per

verting them; that is, giving a long sound to a broad or a flat sound, or the reverse.

In the foregoing examples, the most important one as an exercise for the student, is the Dialogue; as it forcibly illus trates the great difference in time and quantity which ought to be observed in enunciating different kinds of composition. The greater portion of words uttered by the Jew, should be pronounced more than twice as slowly as those spoken by Bassanio. The long quantity on the phrase, "Three thousand ducats," and in the inverted, unequal wave on the word "well," should amount to a drawl. The paragraph commencing with Ho, no," requires a quicker movement, and a more animated intonation.

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The closing paragraph in blank verse, also demands a very slow movement of the voice.