be able to give most body, most preserving force of sound, to that pitch of voice to which in conversation we are accustomed. Whereas, by setting out on our highest pitch or key, we certainly allow ourselves less compass, and are likely to strain our voice before we have done. We shall fatigue our selves, and read with pain; and whenever a person speaks with pain to him selí, he is also heard with pain by his audience. Let us therefore give the voice full strength and swell of sound; but always pitch it on our ordinary speaking key. It should be a constant rule never to utter a greater quantity of voice than we can afford without pain to ourselves, and without any extraordinary effort. As long as we keep within these bounds, the other organs of speech will be at liberty to discharge their several offices with ease; and we shall always have our voice under command. But whenever we transgress these bounds, we give up the reins, and have no longer any management of it. It is a useful rule, too, in order to be well heard, to cast our eye on some of the most distant persons in the company, and to consider ourselves as reading to them. We naturally and mechanically utter our words with such a degree of strength, as to make ourselves be heard by the person whom we address, provided he is within reach of our voice. As this is the case in conversation, it will hold also in reading to others. But let us remember, that in reading as well as in conversation, it is possible to offend by speaking too loud. This extreme hurts the ear, by making the voice come upon it in rumbling, indistinct masses. By the habit of reading, when young, in a loud and vehement manner, the voice becomes fixed in a strained and unnatural key; and is rendered inca pable of that variety of elevation and depression which constitutes the true harmony of utterance, and affords ease to the reader, and pleasure to the audience. This unnatural pitch of the voice, and disagreeable monotony are most observable in persons who were taught to read in large rooms; who were accustomed to stand at too great a distance, when reading to their teachers; whose instructors were very imperfect in their hearing; or who were aught; by persons who considered loud expression as the chief requisite in forming a good reader. These are circumstances, which demand the seri. ous attention of every one to whom the education of youth is committed. SECTION 11. IN the next place to being well heard and clearly understood, distinctness of articulation contributes more than mere loudness of sound. The quantity of sound necessary to fill even a large space, is smaller than is commonly imagined; and, with distinct articulation, a person with a weak voice will make it reach further than the strongest voice can reach without it. To this, therefore, every reader ought to pay great, attention. He must give every sound which he utters, its due proportion and make every syllable, and even every letter in the word which he pronounces, be heard, distinctly; without slurring, whispering, or suppressing, any of the proper sounds. An accurate knowledge of le imple, elementary sounds of the language, and a facility in expressing them, are so necessary to distinctness of expres sion, that if the learner's attainments are, in this respect, imperfect, (and many there are in this situations) it will be incumbent on his teacher to car ry him back to these primary articulations; and to suspend his progress, till he become perfectly master of them. It will be in vain to press him forward, with the hope of forming a good reader, if he cannot completely articulat every elementary sound of the language. SECTION III. Due degree of Slowness. IN order to express ourselves distinctly, moderation is requisite with regard to the speed of pronouncing. Precipitancy of speech confounds all articulation, and all meaning. It is scarcely necessary to observe, that there may be also an extreme on the opposite side. It is obvious that a lifeless, drawling manner of reading, which allows the minds of the hearers to be always outrunning the speaker, must render every such performance insipid and fatigu ing. But the extreme of reading too fast is much more common; and requires the more to be guarded against, because, when it has grown into a habit, few errors are more difficult to be corrected. To pronounce with a proper degree of slowness, and with full and clear articulation, is necessary to be studied by all who wish to become good readers; and it cannot be too much recom mended to them. Such a pronunciation gives weight and dignity to the sub ject. It is a great assistance to the voice, by the pauses and rests which allows the reader more easily to make; and it enables the reader to swell all his sounds, both with more force and more harmony SECTION IV. Propriety of Pronunciation. The AFTER the fundamental attentions to the pitch and management of th pice, to distinct articulation, and to a proper degree of slowness of speech, what the young reader must, in the next place, study, is propriety of pronun ciation; or, giving to every word which he utters, that sound which the bes usage of the language appropriates to it; in opposition to broad, vulgar, o. provincial pronunciation. This is requisite both for reading inteiiigibly, ano for reading with correctness and ease. Instructions concerning this article may be best given by the living teacher. But there is one observation, which it may not be improper here to make. In the English language, every word which consists of more syllables than one, has one accented syllable.-The accent rests sometimes on the vowel, sometimes on the consonant. genius of the language requires the voice to mark that syllable by a stronger percussion, and to pass more slightly over the rest. Now, after we have learned the proper seats of these accents, it is an important rule, to give every word just the same accent in reading, as in common discourse. Many per sons err in this respect. When they read to others, and with solemnity, they pronounce the syllables in a different manner from what they do at other times. They dwell upon them, and protract them; they multiply accents on the same words, from a mistaken notion, that it gives gravity and importance to their ubject, and adds to the energy of their delivery. Whereas this is one of the greatest faults that can be committed in pronunciation; it makes what is called a pompous or mouthing manner; and gives an artificial, affected air to reading, which detracts greatly both from its agreeableness and its impression. Sheridan and Walker have published dictionaries, for ascertaining the true and best pronunciation of the words of our language. By attentively con sulting them, particularly "Walker's Pronouncing Dictionary," the young "cader will be much assisted, in his endeavours to attain a correct pronuncia tion of the words belonging to the English language. SECTION V. BY emphasis is meant a stronger and fuller sound of voice, by which we distinguish some ward or words, on which we design to lay particular stress, and to show how they affect the rest of the sentences: Sometimes the empha tic words must be distinguished by a particular tone of voice, as well as by a particular stress. On the right management of the emphasis depends the life of pronunciation. If no emphasis be placed on any words, not only is dis course rendered heavy and lifeless, but the meaning left often ambiguous. It the emphasis be placed wrong, we pervert, and confound the meaning wholly, Emphasis may be divided into the sterior and the inferior emphasis. The superior emphasis determines the meaning of a sentence, with reference to something said before, presupposed by the author as general knowledge, or removes an ambiguity, where a passage may have more senses than one. The inferior emphasis enforces, graces, and enlivens, but does not fix, the meaning of any passage. The words to which this latter emphasis is given. are in general, such as seem the most important in the sentence, or on other accounts, to merit this distinction. The following passage will serve to ex emplify the superior emphasis: "Of man's first disobedience, and the fruit "Of that forbidden tree, whose mortal taste "Brought death into the world, and all our wo," &c. "Sing, heavenly Muse!" Supposing that originally other beings besides men, had disobeyed the earmands of the Almighty, and that the circumsta: ce were well known to A5, there would fall an emphasis upon the word man's in the first line; and hence, it would read thus: "Of man's first disobedience, and the fruit," &c. But if it were a notorious truth, that mankind had transgressed in a pecu liar manner more than once, the emphasis would fall on first; and the line be read, "Cf man's first disobedience," &c. Again, admitting death (as was really the case) to have been an unheard of and dreadful punishment, brought upon man in consequence of his trans gression; on that supposition the third line would be read, "Brought death into the world," &c. But if we were to suppose, that mankind knew there was such an evil as death in other regions, though the place they inhabited had been free from it ill their transgression, the line would run thus: "Brought death into the world," &c. The superior emphasis finds place in the following short sentence, which admits of four distinct meanings, each of which is ascertained by the empha sis only, "Do you ride to town to-day?" The following examples illustrate the nature and use of the inferior em phasis; "Many persons mistake the love, for the practice of virtue." "Shall I reward his services with falsehood? Shall I forget him who can not forget me?" "If his principles are false, no apology from himself can make them right. if founded in truth, no censure from others can make them wrong." "Though deep, yet clear; though gentle, yet not dull; 7 A friend exaggerates a man's virtues; an enemy, his crimes.” "The wise man is happy, when he gains his own approbation; the fool when he gains that of others." The superior emphasis, in reading as in speaking, must be determined er irely by the sense of the passage, and always made alike; but as to the infe rior emphasis, taste alone seems to have the right of fixing its situation and quantity. Among the number of persons, who have had proper opportunities of learning to read, in the best manner it is now taught, very few could be selected, who, in a given instance, would use the inferior emphasis alike, either as to place or quantity. Some persons, indeed, use scarcely any degree of it: and others do not scruple to carry it far beyond any thing to be found in common discourse; and even sometimes throw it upon words so very trifling in themselves, that it is evidently done with no other view, than to give a greater variety to the modulation. Notwithstanding this diversity of practice, there are certainly proper boundaries, within which this emphasis must be restrained, in order to make it meet the approbation of sound judgment and correct taste. It will doubtless have diferent degrees of exertion, according to the greater or less degree of importance of the words upon which it operates; and there may be very properly some variety in the use of it: but its applica tion is not arbitrary, depending on the caprice of readers. As emphasis often falls on words in different parts of the same sentence, so it is frequently required to be continued, with a little variation, on two, and sometimes more words together. The following sentences exemplify both the By modulation is meant, that pleasing variety of voice, wich is perceiv ed in uttering a sentence, and which in its nature, is perfectly distinct from emphasis, and the tones of emotion and passion. The young reader should be careful to rendez his modulation correct and easy; and, for this purpose, uld form it upon the model of the most judicious and accurate speakers. parts of this position: "I you seek to make one rich, study not to increase his stores, but to diminish his desires." "The Mexican figures, or pic"ture-writing, represent laings, not words; they exhibit images to the eye, not ideas to the understanding," Some sentences are so full and comprehensive, that almost every word is emphatical: as, "Ye hills and dales, ye rivers, woods, and plains!" or as that pathetic expostulation in the prophecy of Ezekiel, "Why will ye die !" Emphasis, besides its other offices, is the great regulator of quantity. Though the quantity of our syllables is fixed, in words separately pronounced, yet it is mutable, when these words are arranged in sentences; the long being changed into short, the short into long, according to the importance of the word with regard to meaning. Emphasis also, in particular cases, alters the seat of the accent. This is demonstrable from the following examples: "He shall increase, but I shall decrease." "There is a difference between giving and forgiving." "In this species of composition, plausibility is much more essential than probability." In these examples, he emphasis requires the accent to be placed on syilables to which it does not commonly belong. In order to acquire the proper management of the emphasis, 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 em phasis 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 distinc tion 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 im portance, 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. SECTION VI. TONES are different both from emphasis and pauses; consisting in the notes or variations of sound which we employ, in the expression of our sen timents. Emphasis affects particular words and phrases, with a degree of tone, or inflexion of voice; but tones, peculiarly so called, affect sentences, paragraphs, and some times the whole of a discourse. To show the use and necessity of tones, ve heed only observe, that the mind, in communicating its leas, is th a constant state of activity, emotion, or agi tation, 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 excite in him who utters them, there must be other signs than words, toptanifest those feelings; as words uttered in a monotonous manner can represent only a similar state of mind, perfectly free from all activity and 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 but being did not, as in that conveyance, leave the invention of the language of emotion to man; but impressed it himself upon our nature, 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. Ours, indeed, from the superior rank that we hold, are in a high degree more comprehensive; as there is not an act of the mind, an exertion of the fancy, or an emotion of the heart, which has not its peculiar 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 Da over Saul and Jonathan, and which will, in some degree, elucidate wha 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, but 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 as it to 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. : tone and language But when we recommend to readers, an attentio 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 the reading becomes strictly imitative, it asumes 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 s posed to be more vivid and animated than would be proper in the person who relates them at second hand. We shall conclude this section with the following rule for the tones that indicate the passions and emotions: "In reading, let all your tones of expression be borrowed from those of common speech, but, in some degree more faintly characterized. Let those tones which signify any disagreeable passion of the mind, be still more faint than those which indicate agrecable emotions: and on all occasions preserve yourselves from being so far affected with the subject, as to be unable to proceed through it, with that easy and masterly manner, which has its good effects in this, a well as in every other art." SECTION, VH. PAUSES, or rests, in speaking or reading, are a total cessation of the voice, during a preceptible, and, in any cases, a measurable space of time. Pauses are equally necessary to the speaker and re hearer. To the speak er, that he may take breath, without which he cannot proceed far in delive ry; and that he may, by these temporairests, relieve the organs of speech which otherwise would be soon tired by continued action; to the hearer, that the ear, also, may be relieved from the fatigue which it would otherwise endure from a continuity of sound; and that the understanding may have sufficient ime to mark the distinction of sentences, and their several members. There are two kinds of pauses; first, emphatical pauses: and next, such as mark the distinctions of sense. An emphatical pause is generally made after something has been said of peculiar moment, and on which we desire to fix the bearer's attention. Sometimes, before such a thing is said, we usher it in with 3 pause of this nature. Such pauses have the same effect as a strong emhasis; and are subject to the same rules; especially to the caution of not repeating them too frequently. For as they excite uncommon attention, and of course raise expectation, if the importance of the matter be not fully answerable to such expectation, they occasion disappointment and disgust. But the most frequent and the principal use of pauses, is to mark the divisions of the sense, and at the same time to allow the reader to draw his breath; And the proper and delicate adjustment of such pauscз, is one of the most nice |