that which is agreeable': nevertheless', they generally copy from nature'.

We are troubled on every side, yet not distrêssed'; perplex. ed', yet not in despair'; persecuted', but not forsâken'; cast down', but not destroyed'.

To smile upon those we should censure', and to countenance such as are guilty of bad actions', is bringing guilt upon ourselves'.

God hung out this sign [the Bible] from Heaven', . . . and retired'.

At length the Great Spirit spoke to the whirlwind', . . . and it was still'.

If thy fellow approach thee', naked and destitute', and thou shouldst say unto him', "Depart in peace'; be you wârmed and filled;" and yet', shouldst give him not those things that are needful to him', what benevolence is there in thy conduct'? yea', rather', is it not hypocrisy'?

Ye who listen with credulity to the whispers of fancy', and pursue with eagerness the phantoms of hope'; who expect that age, will perform the promises of youth, and that the deficiencies of the present day, will be supplied by the morrow', attend to the history of Rasselas, prince of Abyssinia'.

Example. The Brigantines', even under a female leader', had force enough to burn the enemy's settlements', to storm their camps, and', if success had not introduced negligence and inactivity', they would have been able entirely to throw off the yoke and shall not we', untouched', unsubdued', and struggling', not for the acquisition', but the continuance', of liberty', declare', at the very first onset', what kind of men Caledonia has reserved for her defence'?

Remark. This last example is introduced for the purpose of illustra ting, in the interrogatory portion of it, not only, that where several members succeed each other in which the sense is suspended, each must be closed with the rising inflection and the suspending pause, but, also, that, whatever may be the length of a question commencing with a verb, it is important always to close it with the rising inflection.

EXERCISES.

In the production of Washington', it does really appear as if nature was endeavouring to improve upon herself, and that all the virtues of the ancient world', were but so many studies preparatory to the patriot of the new'. Individual instances', no doubt', there were';-splendid exemplifications of some single qualification. Cesar was merciful; Scipio was continent';

Hannibal was patient'; but it was left for Washington to blend all these great qualities in one', and', like the lovely masterpiece of the Grecian artist', to exhibit', in one glow of associated beauty', the pride of every model', and the perfection of every master'. As a conqueror', he was untainted with the crime of blood; as a revolutionist', he was free from any stain of treason; for aggression commenced the contest', and his country called him to the command'. Liberty unsheathed his sword, necessity stained', and victory returned it.

Shall I', too', weep'? Where', then', is fortitude?
And', fortitude abandoned', where is man`?
Place me where winter breathes his kêênest âir',
And I will sing', if liberty be there'.

And what is friendship but a nâme`?
A charm that lulls to sleep'?

A shade that follows wealth or fâme'?
But leaves the wretch to weep'?

Oh', who can tell', save he whose heart hath tried',
And danced in triumph o'er the waters wide',
The exulting sense',-the pulse's maddening play',
That thrills the wanderer of that trackless way?
Nor yet for the ravage of winter I mourn`;

Kind nature the embryo blossom will sâve';
But when shall spring visit the mouldering ûrn'?
Oh', when shall day dawn on the night of the grave'?
See truth', love, and mercy', in triumph descending',
And nature all glowing in Eden's first blóôm';

On the cold cheek of death smiles and roses are blending',
And beauty immortal awakes from the tômb`.

At the silence of twilight's contemplative hour',

I have mused in a sorrowful mood'

On the wind-shaken weeds that imbosom the bower',
Where the home of my forefathers stood.

All ruined and wild is their roofless abode',

And lonely the dark raven's sheltering tree';
And travelled by few', is the grass-covered road',
Where the hunter', and deer', and warriour trode.
If nature's revolution speaks aloud',

In her gradation', hear her louder still.

Look through nature'; 'tis neat gradation all'.
By what minute degrees her scale ascends''
Each middle nature joined at each extreme',
To that above it joined', to that beneath`.
Parts into parts reciprocally shot',

Abhor divorce. What love of union reigns'!
How beautiful is all this visible world!
How glorious in its action and itself!

But we', who name ourselves its sôvereigns', we',
Half dust, half deity', alike unfit

To sink or sôar', with our mixed essence make
A conflict of its elements, and breathe
The breath of degradation and of pride',
Contending with low wants and lofty will
Till our mortality predominates',

And men are'-what they name not to themselves',
And trust not to each other'.

Ah', me! the laurelled wreath that murder rears',
Blood-nursed', and watered with the widow's tears',
Seems not so fôûl, so tâinted', and so drêad',

As waves the nightshade round the skeptick's head'.
What is the bigot's tôrch', the tyrant's châin`?
I smile on death, if heavenward hope remâin';
But', if the warring winds of nature's strife',
Be all the faithless charter of my life',
If chance awaked', inexorable power'!
This frail and feverish being of an hōur';
Doomed o'er the world's precarious scene to wēēp',
Swift as the tempest travels on the deep',
To know delight but by her parting smile',
And tôil', and wish', and weep a little while',
Then mêlt', ye elements'! that formed in vain'
This troubled pulse and visionary brâin` !
Fâde, ye wild flowers! memorials of my dôôm';
And sink, ye stars'! that light me to the tômb`.

CHAPTER IV.

OF FORCE, ACCENT, AND EMPHASIS.

FORCE.

THE terms loud and soft, strong and weak, are employed to express the various degrees of force.

Particular care should be taken not to confound these terms with high and low. The latter are properly applied to the tones, or, more accurately, notes, of the voice. A mistake of this sort, might, therefore, lead one, when he designs to increase the force of his voice, merely to raise it to a higher pitch; and thus, instead of producing the intended, louder and stronger sound, he would only give one more shrill.

The term force, as applied to the utterance of syllables and words, has a meaning distinct from the term loudness, and, also, from that peculiar stress which is denominated emphasis. Force is nearly synonymous with energy. Energy in delivery, may not only be given to single syllables, like accent, and to single words, like emphasis, but unlike accent and emphasis, it may be extended to whole sentences, and even to paragraphs.

In regard to a proper loudness of voice, the first object of every person who reads or speaks to others, doubtless should be, to make himself easily and distinctly heard by all to whom he addresses himself. To effect this, he must fill with his voice the space occupied by the auditory. The volume and power of voice necessary to fill a given space, depend much on a proper pitch, as well as on the force and loudness; but far more, still, (as heretofore intimated,) on a clear and distinct articulation. It is a great mistake to imagine, that in order to be easily heard, and clearly understood, by those in the remote parts of a large room, a speaker must raise his voice to a high pitch. The variety of loudness, softness, energy, and feebleness, requisite for good delivery, falls within the compass of each key. A speaker may, therefore, render his voice loud or soft without altering his key: and by observing a distinct articulation, he will always be able to give the most body-the most volume of sound--to that pitch of voice to which he is accustomed in ordinary conversation. Whereas, by setting out on a

higher key, he will allow himself less compass, and be likely to strain his voice before he closes his discourse; and thus, by fatiguing himself, he will speak with pain: and "whenever a person speaks with pain to himself, he is heard with pain by his audience."

In the exercise of the voice, great economy should be observed in regard to the volume or amount of sound exploded, particularly by those whose vocal organs are impaired or enfeebled. One ought, therefore, never to utter a greater quantity of sound (if it is scientifick so to speak) than he can afford without any extraordinary effort. By keeping within these bounds, the organs of speech will be able to discharge their various functions with ease and energy.

Attention to the following direction, will likewise be highly serviceable. If, before we pronounce a word or phrase which we wish to express in a very forcible manner, we make a pause, (generally a rhetorical pause,) and during the pause, draw into the lungs, a full inspiration, it will enable us to accomplish our object with great ease and effect.

Our enunciation should be loud or soft, energetick, forcible, or feeble, according to the nature and design of the word, phrase, or passage delivered.

EXAMPLES.

Soft-Soft is the strain when zephyr gently blows,

Energetick

And the smooth stream in smoother numbers flows.
Loud-But when loud surges lash the sounding shore,
The hoarse, rough verse should like the torrent roar.
Him the Almighty Power
Hurled headlong from the ethereal skies
With hideous ruin and combustion, down
To bottomless perdition, there to dwell
In adamantine chains and penal fire.

Feeble

But I am not now

That which I have been-and my visions flit

Less palpably before me-and the glow

Which in my spirit dwelt, is fluttering, faint, and low.

ANALYSIS OF FORCE.

The Force or Stress of the voice displayed in the utterance of syllables, consists of various qualities or characteristicks. It may be manifested at the commencement of a syllable, by an abrupt percussion, violently impressing the ear with a sudden loudness of sound; or it may commence with moderation, and advance with an increased swell of the voice to the middle of