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written in their hearts, their conscience also bearing witness, and their thoughts, the meanwhile, accusing, or else excusing one another;) in the day when God shall judge the secrets of men by Jesus Christ, according to my gospel."

[ZANGA, RELATING THE ORIGIN OF HIS HATRED OF ALONZO.]-Young. ""T is twice three years since that great man, (Great let me call him, for he conquered me,) Made me the captive of his arm in fight.

diah.

“One day, (may that returning day be night,
The stain, the curse, of each succeeding year!)
For something, or for nothing, in his pride
He struck me. (While I tell it do I live?)
He smote me on the cheek."

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[CORPORAL TRIM'S ELOQUENCE.]— Sterne.

My young master in London is dead," said Oba

"Here is sad news, Trim,"-'cried Susannah, wiping her eyes as Trim stepped into the kitchen,-" master Bobby is dead."

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"I lament for him from my heart and my soul," said Trim, fetching a sigh,-" Poor creature!-poor boy!-poor gentleman!"

"He was alive last Whitsuntide," said the coachman. "Whitsuntide! alas!" cried Trim, extending his right arm, and falling instantly into the same attitude in which he read the sermon, "What is Whitsuntide, Jonathan," (for that was the coachman's name,) "or Shrovetide, or any tide or time past, to this? Are we not here now?" continued the corporal, (striking the end of his stick perpendicularly upon the floor, so as to give an idea of health and stability,) "and are we not" (dropping his hat upon the ground) "gone! in a moment!"—It was infinitely striking! Susannah burst into

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1 Phrases occurring between two dashes, are sometimes equivalent to a parenthesis in effect.

2 All intervening clauses and phrases, of whatever length, are read in the style of parenthesis.

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a flood of tears. -We are not stocks and stones:—Jonathan, Obadiah, the cookmaid, all melted.—The foolish fat scullion herself, who was scouring a fish-kettle upon her knees, was roused with it.-The whole kitchen crowded about the corporal.

"Are we not here now,- -and gone in a moment?". There was nothing in the sentence:-it was one of your self-evident truths we have the advantage of hearing every day; and if Trim had not trusted more to his hat than his head, he had made nothing at all of it.

"Are we not here now?" continued the corporal," and are we not" (dropping his hat plump upon the ground,—and pausing before he pronounced the word) "gone! in a moment!"-The descent of the hat was as if a heavy lump of clay had been kneaded into the crown of it.—Nothing could have expressed the sentiment of mortality, of which it was the type and forerunner,-like it: his hand seemed to vanish from under it; it fell dead; the corporal's eye fixed upon it, as upon a corpse;-and Susannah burst into a flood of tears."

66 EXPRESSION."

Emphasis, fully defined for the purposes of elocution, is prominent "expression," embodied in an accented syllable. It bears the same relation to "expression," in its full sense, that "syllabic accent" bears to "rhythmical accent." It may be restricted to a single word: "expression" applies, as in music, to the sequence of sounds, in connected and consecutive utterance, designed for the communication of feeling.

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Expression," however, while it contains the same elements with emphasis, comprises a few more. It includes the effects arising from "quality," in all its forms, "pure," "aspirated," &c., and from the "effusive," "expulsive," and "explosive" modes of utterance; from force in all its gradations, from whispering to shouting; "stress," in its " radical," "median," "vanishing," "compound," and "thorough" forms; "tremor ;" "melody," "pitch," "slide," and "wave,”

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in all their forms; "time," in all its influence over ment," "rhythm," and metre. These modifications of voice have all been discussed and exemplified. But to all these, expression" adds the effect of "drift," as it has been termed by Dr. Rush, or, in other words, the impression produced on the ear by the frequent or successive recurrence of any mode or element of " expression."

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"Drift," accordingly, is either an excellence or a fault, according to the circumstances in which it is adopted as a mode of effect. When a passage is so pervaded by one mood of feeling, and by one style of language and of structure, and even by one form of phrase, that a special unity of effect is obviously designed, as a result in audible expression, - a frequent trait of declamatory eloquence and even of poetic emotion, to which metre still farther contributes, the "drift," -or frequently recurring quality," force, "stress," "melody," pitch, "slide," wave, ‚”“movement," or "rhythm," - for a "drift" may be constituted by the frequent recurrence of one, or of several, or of all of these accidents of voice, - has the effect of deepening the impression arising from the sentiment as a whole. Hence we may observe that the "drift," of recurring "melody," or what, in popular language, is termed a tone," is often a means of powerful and deep impression on the ear and on the external sympathies of an audience, when there is little of unity, force, or weight, in the sentiment which the speaker utters.

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The ear of discerning judgment and of true taste, however, is always offended, rather than pleased, by any perceptible drift not authorized by a predominating emotion associated with the language of a speaker, or the composition in the hands of a reader. Still, a gentle and chaste "drift" is one of the natural secrets of effect, in elocution, and should be carefully observed and closely analyzed, by every student who is desirous of securing a master-key to the human heart.

It is unnecessary to dwell on this subject after the discussion and exemplification of emphasis. We will conclude with referring to two examples which will fully illustrate the effect of "drift." Let the student read aloud, with well-marked "expression," the first example of "impassioned emphasis," (the reply of Coriolanus to the tribunes,) and watch the impression produced on the ear by the recurrence of those vehement and infuriated downward " slides," which occur in the words marked by italics and capitals: and he will obtain a clear idea of the effect arising from the "drift" of that "slide." The student may then turn to the Appendix, and read aloud, for the sake of a wide contrast in "drift," the tender, pathetic, and "chromatic" lines illustrative of "feminine grief and sorrow," under the head of "SEMITONE," in which will be found the opposite "drift" of recurring "semitone," and other prevailing properties of kindred character.

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"Pale mourned the lily where the rose had died '"
"Oh! that this lovely vale were mine!"
"Joy! joy forever! My task is done!"

"OROTUND."

"Farewell! a long farewell to all my greatness!"
"Hail! holy Light,-offspring of heaven, first-born!"
"Sound drums and trumpets, boldly and cheerfully!"

FORCE.

Very soft:-"Oh! lightly, lightly tread!"

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Soft:- Take, holy Earth, all that my soul holds dear!" Moderate: "The breath of spring awakens the flowers." Loud: Up! let us to the fields away!"

Very loud:"Liberty! Freedom! Tyranny is dead!"

STRESS.

Impassioned Explosive Radical:-"Up! comrades, up! In Rokeby's halls

Ne'er be it said our courage falls!"

Unimpassioned Radical: -"A clear, distinct articulation is an invaluable accomplishment."

Median Stress:-"Oh! I have lost you all, parents, and home and friends!"

"O Lord, my God, Thou art very great!"
"The shades of eve came slowly down."

Vanishing Stress : "For Heaven's sake, Hubert, let me not

be bound!"

"While a single foreign troop remained on my native shore, I would never lay down my arms.

NEVER, NEVER!"

Never,

1 Repeat, after every example, in its peculiar tone, the elements and a selection from the syllables and words in the first and second tables of Orthophony.

Compound Stress: -"What! to attribute the sacred sanctions of God and nature to the massacres of the Indian scalping-knife!"

Thorough Stress :-" Awake! arise! or be forever fallen!"

Lowest: :

PITCH.

"Silence how dead! and darkness how profound!"

Low: :-" Dark flow thy tides o'er manhood's noble head." Middle:-"Lovely art thou, O Peace, and lovely are thy

High:

children."

"He leadeth me by the still waters." "Now even now, my joys run high!"

Highest:-"Wheel the wild dance, till the morning break!"

MOVEMENT

Slowest:-"Creation sleeps:-'T is as the general pulse Of life stood still, and Nature made a pause,An awful pause,-prophetic of her end!"

Slow:-"Now fades the glimmering landscape from the sight,

And all the air a solemn stillness holds."

Moderate: :-"One great end to which all knowledge ought to be employed, is the welfare of humanity." Lively:" Crowned with her pail, the tripping milkmaid sings!"

Brisk:

"Haste thee, Nymph, and bring with thee
Mirth and youthful jollity!"

Rapid:" And rushing and flushing and brushing and

gushing,

And flapping and rapping and clapping and slap

ping,

And curling and whirling and purling and twirl

ing,

Advancing and glancing and prancing and danc

ing,

'Tis this way the water comes down at Lodore."

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