Into the depths of clouds that veil thy breast-
Thou, too, again, stupendous mountain! thou,
That as I raise my head, awhile bowed low
In adoration, upward from thy base,

Slow travelling, with dim eyes suffused with tears,
Solemnly seemest, like a vapoury cloud,

To rise before me-rise, O ever rise!

Rise, like a cloud of incense, from the earth!
Thou kingly spirit, throned among the hills,
Thou dread ambassador from earth to heaven,
Great Hierarch! tell thou the silent sky,
And tell the stars, and tell yon rising sun,
Earth, with her thousand voices, praises God!

COLERIDGE.

CASABIANCA.

THE boy stood on the burning deck,
Whence all but he had fled;
The flame that lit the battle wreck,
Shone round him o'er the dead.

Yet beautiful and bright he stood,
As born to rule the storm;

A creature of heroic blood,
A proud, tho' child-like form.

The flames roll'd on

-he would not go,

Without his father's word;

That father, faint in death below,
His voice no longer heard.

He called aloud,-"Say, father, say,
"If yet my task be done?”
He knew not, that the chieftain lay
Unconscious of his son.

"Speak, father!" once again he cried,
"If I may yet be gone!

And"--but the booming shots replied,
And fast the flames roll'd on.

Diagram 5.-Figures (a) and (b), in this diagram, represent two speakers in a dialogue; the former in an attitude of entreaty, and the latter of denial.

DIAGRAM V.-ENTREATY AND DENIAL.

Diagram 6.-This diagram shows the position in which a boy should stand, who is being addressed by another. A speaker who delivers himself singly to an auditory, and one who addresses another speaker in view of an auditory, are under very different predicaments; the first, has only one object to address-the latter, has two; for, if a speaker were to address the person to whom he speaks, without any regard to the point of view in which he stands with respect to the audience, he would be apt to turn his back upon them, and to place himself in ungraceful positions. In a dialogue, each speaker should stand obliquely, thus,and chiefly make use of one hand only, and

audience.

that one most remote from the audience, throwing the weight of the body also on that side. It must be

carefully noted, that when a boy is not speaking, the arms must hang naturally by the sides, unless what is spoken by one, is of such importance as to excite agitation and surprise in the other; or he may, with propriety, occasionally stand with his arms folded, or with the right hand in the left breast, or the reverse, as shown in diagram 7. Where more than two speakers are introduced, as in some extracts from plays, the speakers should be arranged in a picturesque manner, agreeably to the laws of perspective; and it is in these scenes that the positions of repose, represented in diagram 7, may be most advantageously introduced. In the delineation of character, the most unerring

guide is nature. If the speaker possess sufficient judgment and skill, and allow himself to be actuated solely by the feelings he may be endeavouring to portray, he will rarely err.*

The compiler has to acknowledge his deep obligations to William Creswick, Esq., for several valuable suggestions in the remarks on Gesture and Action.

RHETORICAL PUNCTUATION.

The following simple and useful rules are extracted from Mr. Walker's Rhetorical Grammar. The pause is to be made on the word immediately preceding the slanting line, thus /.

RULE I.

When a nominative consists of more than one word, it is necessary to pause after it.

Example.

"The great and invincible Alexander,/ wept for the fate of Darius."

RULE II.

Whatever member intervenes between the nominative case and the verb, is of the nature of a parenthesis, and must be separated from both of them, by a short pause..

Example.

'Money,/ like manure,/ does no good till it is spread.”

* Quintilian mentions having seen actors, who, after performing pathetic characters, wept and sobbed for a long time after they had laid aside their masks.

Vidi ego sæpe histriones atque comodos, cum ex aliquo graviore actu personam deposuissent, flentes adhuc egredi.'