accent to be placed on syllables, to which it does not ccmmonly belong, In order to acquire the proper management of the em phasis, the great rule to be given, is, that the reader study to attain a just conception of the force and spirit of the sentiments which he is to pronounce. For to lay the emphasis with exact propriety, is a constant exercise of good sense and attention. It is far from being an inconsiderable attainment. It is one of the most decisive trials of a true and just taste; and must arise from feeling delicately ourselves, and from judging accurately of what is fittest to strike the feelings of others. There is one error, against which it is particularly proper to caution the learner; namely, that of multiplying emphatical words too much, and using the emphasis indiscriminately. It is only by a prudent reserve and distinction in the use of them, that we can give them any weight. If they recur too often; if a reader attempts to render every thing he expresses of high importance, by a multitude of strong emphasis, we soon learn to pay little regard to them. To crowd every sentence with emphatical words, is like crowding all the pages of a book with Italic characters; which, as to the effect is just the same as to use no such distinctions at all. LESSON XXVI. TONES. TONES are different both from emphasis and pau ses; consisting in the notes or variations of sound which we employ, in the expression of our sentiments. Emphasis affects particular words and phrases, with a degree of tone or inflection of voice; but tones, peculiarly so called, affect sentences, paragraphs, and sometimes even the whole of a discourse. To show the use and necessity of tones, we need only ob serve, that the mind, in communicating its ideas, is in a constant state of activity, emotion, or agitation, from the different effects which those ideas produce in the speaker. Now the end of such communication being, not merely to lay open the ideas, but also the different feelings which they they excite in him who, utters them, there must be other signs than words, to manifest those feelings; as words ut. tered in a monotonous manner, can represent only a similar state of mind, perfectly free from all activity or emotion. As the communication of these internal feelings, was of much more consequence in our social intercourse, than the mere conveyance of ideas, the Author of our being did not, as in that conveyance, leave the invention of the language of emotion, to man; but impressed it himself upon our na ture, in the same manner as he has done with regard to the rest of the animal world; all of which express their various feelings, by various tones. Curs, indeed, from the superior rank that we hold, are in a high degree more comprehen. sive; as there is not an act of the mind, an exertion of the fancy, or an emotion of the heart, which has not its pecu. liar tone, or note of the voice, by which it is to be expressed; and which is suited exactly to the degree of internal feeling. It is chiefly in the proper use of these tones, that the life, spirit, beauty, and harmony of delivery consist. The limits of this introduction, do not admit of examples, to illustrate the variety of tones belonging to the different passions and emotions. We shall, however, select one, which is extracted from the beautiful lamentation of David over Saul and Jonathan, and which will, in some degree, elucidate what has been said on this subject. "The beauty of Israel is slain upon thy high places : how are the mighty fallen Tell it not in Gath; publish it not in the streets of Askelon lest the daughters of the Philistines rejoice; lest the daughters of the uncircumcised triumph. Ye mountains of Gilboa, let there be no dew nor rain upon you, nor fields of offerings; for there the shield of the mighty was vilely cast away; the shield of Saul, as though he had not been anointed with oil." The first of these divisions expresses sorrow and lamentation: therefore the note is low. The next contains a spirited command, and should be pronounced much higher. The other sentence in which he makes a pathetic address to the mountains where his friends had been slain, must be expressed in a note quite different from the two former; not so low as the first, nor so high as the second, in a manly, firm, and yet plaintive tone. The correct and natural language of the emotions, is not so difficult to be attained, as most readers seem to imagine. If we enter into the spirit of the author's sentiments, as well well as into the meaning of his words, we shall not fail to deliver the words in properly varied tones. For there are few people, who speak English without a provincial note, that have not an accurate use of tones, when they utter their sentiments in earnest discourse. And the reason that they have not the same use of them, in reading aloud the sentiments of others, may be traced to the very defective and erroneous method, in which the art of reading is taught; whereby all the various, natural, expressive tones · of speech, are suppressed; and a few artificial, unmeaning reading notes, are substituted for them. But when we recommend to readers, an attention to the tone and language of emotions, we must be understood to do it with proper limitation: Moderation is necessary in this point, as it is in other things. For when reading be comes strictly imitative, it assumes a theatrical manner, and must be highly improper, as well as give offence to the hearers; because it is inconsistent with that delicacy and modesty, which are indispensable on such occasions. The speaker who delivers his own emotions, must be supposed to he more vivid and animated, than would be proper in the person who relates. them at second hand. "In We shall conclude this lesson with the following rule, for the tones that indicate the passions and emotions. reading, let your tones of expression be borrowed from those of common speech, but in some degree, more faintly characterized. Let those tones which signify any disagreeble passion of the mind, be still more faint than those which indicate agreeable emotions: and, on all occasions, preserve yourself so far from being affected with the subject, as to be able to proceed through it, with that easy and masterly manner, which has its good effects in this, as well as in every other art." LESSON XXVIL PAUSES. PAUSES or rests, in speaking or reading, are a total cessation of the voice, during a perceptible, and in many cases, a measurable space of time. Pauses are equally ne cessary to the speaker, and the hearer. To the speaker, that be may take breath, without vouch lieve the organs of meet, vt Atired by continued senon may be relieved from ne facent. endure from a coNCERITY OF SE standing may have sufficent time sentences, and their several members. There are two kinds of pautes: and next, such as mark the phatical pause is generally made. said of peculiar moment, and no hearer's attention. Sometimes, fr we usher it in with a pause of this mature. have the same effect as a strong emphasis; an to the same rules; especially to the caution. ing them too frequently. For as they extrem attention, and of course raise expectation, it the of the matter be not fully answerable to such argent they occasion disappointment and disonst. But the most frequent and the principal me to mark the divisions of the sense, and at *** allow the reader to draw his wreath delicate adjustment of such tallser. and difficult artistes: agement of the create not to oblige as to charte have so intimate 1 conector nounced with the same typen, Many I ration. well as into the meaning of his words, we shall not fail to deliver the words in properly varied tones. For there are few people, who speak English without a provincial note, that have not an accurate use of tones, when they utter their sentiments in earnest discourse. And the reason thats they have not the same use of them, in reading aloud the sentiments of others, may be traced to the very defective and erroneous method, in which the art of reading is taught; whereby all the various, natural, expressive tones of speech, are suppressed; and a few artificial, unmeaning reading notes, are substituted for them. But when we recommend to readers, an attention to the tone and language of emotions, we must be understood to do it with proper limitation. Moderation is necessary in this point, as it is in other things. For when reading be comes strictly imitative, it assumes a theatrical manner, and must be highly improper, as well as give offence to the hearers; because it is inconsistent with that delicacy and modesty, which are indispensable on such occasions. The speaker who delivers his own emotions, must be supposed to be more vivid and animated, than would be proper in the person who relates. them at second hand. "In We shall conclude this lesson with the following rule, for the tones that indicate the passions and emotions. reading, let your tones of expression be borrowed from those of common speech, but in some degree, more faintly characterized. Let those tones which signify any disagreeble passion of the mind, be still more faint than those which indicate agreeable emotions: and, on all occasions, preserve yourself so far from being affected with the subject, as to be able to proceed through it, with that easy and masterly manner, which has its good effects in this, as well as in every other art." LESSON XXVIL PAUSES. PAUSES or rests, in speaking or reading, are a total cessation of the voice, during a perceptible, and in many. cases, a measurable space of time. Pauses are equally ne, cessary to the speaker, and the hearer. To the speaker, that |