ures of the composition. In order to get the better of this bad habit of running sentences into one another it is recommended to every reader to make his pauses Jonger than is necessary, till by degrees he brings them to their due proportion.

The use of pauses being not only to elucidate the meaning, but to give expression to the sentiments of an author, taste as well as judgment is essentially necessary in a reader; and this taste must be founded upon an active sensibility of the author's feelings, and the most natural and consequently the most forcible mode of communicating them agreeably to the nature of the subject discussed.

TONES.

That branch of the correct pronunciation of written language, which relates to the tones, or to the nature, modulation, and operation of the human voice, informing, by its inflexions, those many expressions of senti. ment and passion which give energy to language and efficacy to thought. By the tones or modulations of the human voice, as well as by looks and gestures, the various sentiments and passions of the human mind are expressed.

Every person has three pitches in his voice; the high, the middle and the low. The high is that which he uses when under the influence of violent passion, or when calling aloud to some person at a distance; the low is used under great depression of mind, or when he approaches to a whisper; the middle is that which is employed in conversation, and which should generally be used in reading aloud. The various modifications of which these three pitches are capable, constitute those tones which give such wonderful animation and energy to language.

As persons are differently affected when they speak, so they naturally alter the tone of their voice, though they do not attend to it. It rises, sinks, and has various inflexions given to it, according to the present state and disposition of the mind. When the mind is calm and sedate, the voice is moderate and even ;~

when the former is dejected with sorrow, the latter is languid; and when that is inflamed by passion, this is extended and elevated. It is the reader or speaker's business, therefore, to follow nature, and to endeavor that the tone of his voice appear natural and unaffected. And for this end he must take care to suit it to the nature of the subject, but still always to be grave and decent neither too low nor too loud; all the music and harmony of speech lying in the proper temperament of the voice between these extremes.

Correct pronunciation, exact emphasis, and the expressive charms of graceful action, would all fail to please without proper vocal modulation or tone. We are indeed susceptible of strong and lively impressions from silent action; but if the most animated action were accompanied with a monotonous or a discordant voice it could not be endured.

Every person should regulate his tones by the nat. ural key of his own voice. A voice is said to be clear when the organs of speech are suited to give every single letter, and all the combinations of them in syllables and words their proper and distinct sound; yet an obscure and confused voice is not always occasioned by a deficiency in the organs of speech, but frequently is the effect of custom and a bad habit. Some persons, either from want of due care in their education at first, or from inadvertency and negligence afterwards, run into a very irregular and confused manner of expressing their words, so as to render what they say often unintelligible. But all faults of this kind which proceed from habit, are to be overcome by attention, diligence, perseverance and correct instruction.

Polite conversation seems to be the best groundwork of the tones of delivery; and if the house in which the speaker appears, be not too large, a great many of them may always be introduced.

In studying cadences the capital rule seems to be, to imitate those varieties which occur in conversation when men are in earnest, and express themselves as prompted by the natural feelings of their minds, If.. C 2.

we obtain not these colloquial cadences, we cannot become good readers or speakers, and our only resource will be to adopt some monotonous manner, as inoffensive as possible. Indeed the great object of harmonious inflexions is the forming of a cadence or close of a sentence. Here it is that harmony and variety are more peculiarly necessary, as the ear is more particu larly affected by the close of a subject, or any branch of a subject, than by any other part of a composition. Every person has a certain pitch of voice, in which he is most easy to himself, and most agreeable to oththis may be called the natural pitch; this is the pitch in which we converse; and this must be the basis of every improvement we acquire from art and exercise, aided by native taste, and an opportunity of frequently hearing and imitating the most masterly readers.

ers:

The substance of the foregoing observations, may be condensed into the following short rules, a constant recollection and observance of which very much facilitate the progress of the pupil in acquiring the art of reading well a good pronunciation consisting of nothing but a natural, easy, and graceful variation of the voice, suited to the nature and importance of the sentiments we utter.

1. Take pains to obtain a perfect knowledge of the sounds of all the letters in general.

2. Never guess at a word, or you will acquire a habit of reading falsely.

3. Pronounce every word with its proper accent, clearly and distinctly; a distinct articulation being essentially necessary to a good reader, and the very basis of the art.

4. Let the tones of your voice in reading be the same as in speaking.

5. Do not read in a hurry, or you will acquire a habit of hesitating and stammering.

6. Read so loud as to be heard by all about you, but not louder.

7. Observe your pauses well, and never make any where the sense does not require it.

8. Consider well the place of the emphasis in a sen» tence, and pronounce it accordingly.

9. Be careful not to speak through the nose, or with the teeth closed, but open your mouth sufficiently to give a distinct utterance.

And lastly, endeavor to enter into the spirit of your author, and to give every sentence its appropriate ex pression.

A strict and uniform adherence to these principlescannot fail to effect that proficiency, in the art of reading or speaking, which will render the communication of sentiment, not only pleasing to the ear of the hearer, but by being thus conveyed through an agreeable channel, it will make a more forcible impression upon his memory, and more successfully operate upon the feelings of his heart.

LOOKS.

Every part of the human frame contributes to express the passions and emotions of the mind: especially, the face; being furnished with a great variety of muscles calculated to produce that effect. The countenance may be called the seat of the soul. Every passion whilst uttered with the tongue should, at the same time be painted in the face. There is often there more true eloquence than any words can express. By looks we are awed, charmed, incensed, softened, griev ed, rejoiced, raised, or dejected, according as we catch the fire of the speaker's passion from his face.

The eyes and countenance, as well as the voice, are capable of an endless variety of expression, suited to every possible diversity of feeling; and with these the general air and gesture naturally accord. The use of this language is not confined to the more vehement passions. Upon every subject and occasion on which we speak, some kind of feeling accompanies the words; and this feeling, whatever it be, has its proper expression.

Besides the particular tones and modifications of voice, which always accompany and express our inward agitations, nature has endowed us with another

language, which instead of the ear addresses itself to the eye, thereby giving the communications of the heart a double advantage over those of the understanding every one being formed to understand, by a kind of intuition, the different emotions of the mind, by the configurations and movements of the face and body. He, for instance, who puts his hand upon his sword, shakes his fist at us, or holds a cane over our heads, affects us much more sensibly than he who only in words threatens to assault us. It is an essential part of elocution therefore, to imitate this language of nature. No one can deserve the appellation of a good reader or speaker, much less of a complete orator, who does not, to a distinct articulation, a ready command of voice, just pronunciation, accent and emphasis, add the vari ous expressions of emotion and passion, by his countenancé.

There is such a connexion between the internal feeling of a passion, and the external expression of it, that we cannot put ourselves in the posture or attitude of any passion, without communicating a certain degree of the passion itself to the mind.

In ordinary discourse, when we are particularly pressing and earnest in what we say, the eye is naturally directed to those to whom we address ourselves; and in reading, a turn now and then of this organ upon the hearers, when any thing very remarkable or interesting occurs, has a good effect in gaining it a proper attention.

Delineations of some of the most powerful passions are subjoined..

TRANQUILLITY,

The

Tranquillity is expressed by the calmness of the countenance and general composure of the whole body, without the exertion of any one muscle. countenance open, the forehead smooth, the eyebrows arched, the mouth not close shut, and the eyes passing