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the battle-field, and the desolating tramp of the war-horse, — that ambition is worthy only of " archangel ruined."
4. To make one conqueror's reputation, at least one hundred thousand bounding, joyous, sentient beings must be transformed into writhing and hideous fragments, — must perish untimely, by deaths of agony and horror, leaving half a million widows and orphans to bewail their loss in anguish and destitution.
5. This is too mighty, too awful, too dear a price to be paid for the fame of any hero, from Nimrod* to Wellington.f True fame demands no such sacrifices of others; it requires us to be reckless of the outward well-being of but one.
6. It exacts no hecatomb of victims for each triumphal pile; for the more who covet it and seek it, the easier and more abundant is the success of all. With souls of celestial temper, each human life might be a triumph which angels would delight to lean from the skies to witness and admire.
Questions. — What is the rule for the language of declamation, as of public speeches, •rations, and the like? What is the character of this exercise? Who was Howard? Who was Miss Fry? What is meant by Tartarean t Who was Nimrod? Who was Wellington t
Personation implies those changes or variations of the voice necessary to represent two or more individuals as speaking.
It is employed in reading dialogues, and other colloquial < tions. These writings derive much of their force and beauty from
Questions. — What is personation? When is personation employed T
* Nim'rod, a valiant warrior who lived more than 2G00 B. C. He founded the city of Babylon.
t The Duke of Wel'ling-ton (Arthur Welleslcy) was born in Ireland. lie ( Bonaparte at Waterloo, a Belgian village, in lolfi, and died in 1853.
the skillful application of this principle. The pupil, therefore, should carefully exercise his ingenuity and discrimination in studying the characters of the speakers,.from their language and other circumstances, in the same manner as he would if they were actually before him.
Rule. Consider the condition, the feelings, and the temperament of the characters to be represented, and vary the voice in such a manner as best to personate them.
EXERCISE I. BORROWING. — Original ADAPTATiojr. •c A Formal Dialogue.
vVl. Mrs. Green. My dear, the meal which we borrowed from Mr. Black, a few days ago, is almost gone; and I must bake to-morrow.
Mr.- Green. Well, send and borrow a bushel at Mr. 'White's; he sent to mill yesterday.
3. Mrs. G. And when it comes, shall we return the peck we borrowed more than a month since from the Widow Gray?
4, Mr. G. No! She can send for it when she wants it. [To wttm.] John, go down to Mr. Brown's, and ask him to lend me his ax to chop some wood this afternoon: — ours is quite dull; and I saw him grinding his last night. James, go to Mr. Clark's and ask him to lend me a hammer; and — do you hear? — you may as well borrow a few nails while you are about it.
[A little boy enters.]
? 5. Boy. Father sent me to get the hoe which you borrowed a week ago last Wednesday; he wants to use it. 6. Mr. G. Wants his hoe, child? What can he want of
Questions. — How should the characters of the speakers be studied? rule for personation?
What is the it? I have not half done with it yet . Tell him to send it back though, as soon as he can spare it.
7. 3frs. G. O, I declare, we have not a particle of butter in the house for breakfast. James, run over to Mrs. Notable's, (she always has excellent butter in her dairy,) and ask her to lend me a plateful.
8. James, \After a few moments' absence.] Mrs. Notable says she has sent you the butter; but she wants you to remember that she has already lent you nineteen platefuls, which are marked on the dairy door.
9. Mrs. G. Nineteen platefuls! [Holding up both hands.] It is no such thing! I never had half that quantity; and, if I had, what is a little plateful of butter? I never should think of keeping an account of so trifling a thing. I declare, I have a great mind never to borrow any thing of that mean creature again, as long as I live!
10. Mr. G. I must shave this morning. [Looking for a razor.] John, where is Mr. Smith's hone and strap?
11. John. He sent for them the other day, sir, and said he should like to have the privilege of using them himself sometimes.
12. Mr. G. Sent for them? Impertinent! He might at least have waited till I had done with them. Go down to Squire Stearns's, and ask him to lend me his razor. Tell him mine is so' dull I can do nothing with it. I know he has an excellent one; for I saw him buy it last week at Mr. Grant's: store. Be sure and get the new one.
[A little girl enters.]
\\ 13. Girl. Mother sent me to see if you had done with the second volume of Milman's * "History of the Jews," which you borrowed of her several months ago. She would like to read it herself. ,
14. Mrs. G. My dear child, why did not your mother send for it before? I declare I don't know where it is now.
* Mil'man, (Rev. II. H.,) a minister of St. Margaret's in Westminster, a part of the British metropolis.
I lent it to some one; and I can't think who it was! I 'II make inquiry; and, if I can find it, I will send it to her in the course of a few weeks.
15. Mr. G. Mrs. Green, where is my great-coat? It rains so hard I can not go out without it.
16. Mrs. G. My dear, your great-coat has two great holes under the armpits; besides, it is so shabby I am ashamed to see you wear it. Can't we borrow one somewhere? Here, James, go to Deacon Davis's, and ask him if he will lend your father his new surtout, as it rains, and his is not fit to wear. He will take good care of it, and return it when the storm is over.
17. Mr. G. Yes, James, go as quick as you can, and, on your way home, just run in to Mr. Smith's, and ask him if he will be kind enough to lend me his newspaper for one minute. There is something particular in it that I want to see. I 'll send it back as soon as convenient after I get through with it.
Questions. —What Is the character of this exercise? What class of people should feel rebuked by this dialogue 1 Who is Milman?
Rhetorical Dialogue embraces all compositions in which the writer incidentally introduces two individuals or more as speaking. It should be read according to the preceding rule under Personation.
THE STRANGE MECHANIC. — Arvine's Cyclopaedia.
1. The following anecdote is related of Stuart, an American. He had put up at an inn; and his companions were desirous, by putting roundabout questions, to find out his calling, or pro* fessjon.
2. Stuart answered, with a grave face and serious tone, that he sometimes dressed gentlemen's and ladies' hair. At that time, high-cropped, pomatumed hair was all the fashion.
3. "You are a hair-dresser then ?" askefl one.
4. « What I" said he, " do I look like a barber?"
5. "I beg your pardon, sir; but I inferred it from what you said. If I mistook you, may I take the liberty to ask what you are, then?"
6. "Why," said Stuart, "I sometimes brush a gentleman's coat or hat, and sometimes adjust a cravat."
7. "O, you are a valet, then, to some nobleman?
8. "A valet! Indeed, sir, I am not . I am not a servant. To be sure, I make coats and waistcoats for gentlemen."
9. "O, you are a tailor?"
10. "A tailor! Do I look like a tailor? I assure you I never handled a goose, except a roasted one."
11. By this time the company were all in a roar. "What are you, then?" said one.
12. "I'll tell you," said.Stuart. "Be assured, all I have said is literally true. I dress hair,' brush hats and coats, adjust a cravat, and make coats and waistcoats, and likewise boots and shoes, at your service."
13. "O ho! a boot and shoe maker, after all."
14. "Guess again, gentlemen. I never handled boot or shoe, but for my flwn feet and legs; yet all I have told you is true."
15. "We may as well give up guessing."
16. "Well, then, I will tell you, upon my honor as a gentleman, my real profession. I get my bread by making faces."
17. He then screwed his countenance, and twisted the lineaments of his visage, in a manner such as Samuel Foote * or Charles Matthews f might have envied.
* Foote, (Samuel,) a celebrated comic writer and actor, was born about 1721, at Truro, England. He died in 1777.
t Mat'thews, (Charles,) an English aStor, and one of the greatest mimics thai •tbt appeared on the stage, was born in 1776. He died in 1837.