Were ne'er prophetic founds fo full of woe; !!!
And ever and anon) he beat

The doubling drum with furious heat:
And-tho-fometimes-each-dreary-paufe-between,
Dejected Pity at his fide,~

Her foul-fubduing-voice applied, t

The two last lines in a foft gentle voice, which you immediately alter when you come to the next.

Yet ftill he kept his wild unalter'd mien,
While each ftrain'd ball of fight feem'd bursting

from his head.

The laft line with peculiar force and energy.

Thy numbers, Jealousy, to nought were fix'd, \\
Sad proof of thy diftrefsful ftate,

If you pronounce the laft line pathetically, and with a gentle fake of the head, you will find the proper effect will be given.

Of differing themes the veering fong was mix'd,

And now it courted love, now raving call'd on hate.

The beginning of the last line soft and tender, the latter part of it bold and forcible.

With-eyes uprais'd, as-one-inspir'd, \!
Pale-Melancholy-fat retir'd,

Melancholy with a heavy, drawling tone, if we may fo express ourselves.

And-from-her-wild-fequefter'd-feat,

In notes by distance made more sweet, ||
Pour'd thro' the mellow horn her penfive foul:

Slow, and in a manner expreffive of the utmost penfivenefs and melancholy.

And dafhing foft from rocks around,

Bubbling runnels join'd the found;

Thro' glades and glooms the mingled measure stole,
Or o'er fome haunted ftreams with fond delay,
Round ăn holy calm diffufing,

Love of peace and lonely mufing,
In-hollow-murmurs died away.

All these lines must be spoken fo as to give the hearer a true picture of the paffion of which they treat.You must display, through the whole of them, in tone, look, and manner, a kind of languid melancholy, and the last line you must speak slowly, and let the words, as it were, fall dying from your lips, which method forms a fine contraft to the next verfe that follows.

But O, how alter'd was its sprightlier tone!

Here alter your look, tone, manner, and whole appear

ance.

When Cheerfulnefs, a nymph of healthiest hue,\\

Her bow across her shoulder flung,

Her bufkins gemm'd with morning dew,

The

The words marked to be spoken as if they were placed between a parenthesis.

Blew an infpiring air, that dale and thicket rung,
The hunter's call to faun and dryad known; \/
The oak-crown'd fistèrs, and their chaste-ey'd
queen,

Satyrs and fylvan boys were seen,
Peeping forth from alleys green;

Brown Exercise rejoic'd to hear, ¡¡¡

And Sport leapt up and feiz'd his beechen-fpear. Your whole manner must keep pace with this beautiful perfonification of Cheerfulness, and take care that you do not permit your expreffion to flag in fprightliness, but keep it up, with unabated spirit, to the end of the verfe.

Laft came Joy's ecstatic trial, f

He with viny crown advancing,

First to the lively pipe his hand address'd, \\\
But foon he faw the brifk awakening viol,

Whose sweet entrancing voice he lov'd the best.
They would have thought who heard the strain,
They faw in Tempe's vale her native maids
Amid the feftal-founding fhades

To fome unwearied minstrel dancing, ||
While as his flying fingers kifs'd the strings,

Love fram'd with mirtha gay fantástic round,
Loofe were her treffes feen, her zone unbound, 1

And he amid his frolic play,

As if he would the charming air repay, il
Shook thoufand odours from his dewy wings.

In the last line make a motion with your hand, as if expreffing the act defcribed. Mind, while you are repeating thefe lines, to keep yourself in unifon with the paffion depicted. Let there be a glow of joyful expreffion throughout the whole.

We fhall leave out the remainder of the poem, as it affords no opportunity in which a reader can exercise his talents.

We cannot recommend to the scholar a piece of poetry better adapted to the practice of reading than the foregoing. If read with propriety, it will foon correct the monotonist of that fameness of tone, which fo difgufts in most common readers, and with which no perfon can ever reasonably expect to give pleasure to those who are fo unfortunate as to be his hearers.

WILLIAM AND MARGARET,

By: MALLET.

THE following poem will try the practifer's voice in

the pathetic. You must begin it with peculiar folemnity.

'Twas

'Twas at the filent folemn hour,
When night and morning meet;
In glided Margaret's grimly ghoft,
And ftood at William's feet.

Her face was like an April morn,
Clad in a wint'ry-cloud;

And clay-cold was her lily hand,
That held her fable fhroud.

Give fomething more of the pathetic in the third line of the last verse, than in the preceding lines. The next verfe is a kind of reflection, and may be delivered with lefs of the pathetic.

So fhall the faireft face appear,

When youth and years are flown:
Such is the robe that kings must wear,
When death has reft their crown.

Here comes again the defcriptive part.

Her bloom was like the springing flower,

That fips the filver dew;

The rofe was budded in her cheek,
Juft opening to the view.

In the next verfe you re-enter into the pathetic.

But love had, like the canker-worm,

If you pause a little after "love," keeping up the voice, we think it will affift the line.