RYTHMUS OF SPEECH.

+It is now | sir-teen or | seven-teen | years | + since I | saw the queen of | France, + | then the ¦ Dau-phi-ness, | + at Versailles: | + + ¦ +and | sure-ly | nev-er | light-ed on this | orb, | + which she | hard-ly | seemed to | touch,+ | de- | light-ful | vis-ion. | + + | + + 1 + I saw her bove the ho- | ri-zon, | +

+a | more

just a- Į dec-o-rating and cheer-ing |

+ the el-e-vat-ed | sphere | + she | just be- | gan to move glitter-ing | + like the morn-ing | star: | + + |

in:

| +

full of | life, + | + and | splen-dor, | + and | joy. |

Oh! | what a | rev-o- | lu-tion! | + + | + and | what a | heart + | must I | have, | + to con- | tem-plate | + with- | out e- | mo-tion, | that + | + el-e-va-tion | that + | fall. |

+ and |

+ In the second | cent-u-ry | + of the Christ-ian | e-ra | + the | em-pire of | Rome | + com-pre- | hend-ed the | fair-est part of the earth ++ and the | most + | civil-ized | por-tion | + of man- | kind.

EXPRESSION.-STYLES.

Soft and Delicate.-The swan's sweetest song is the last he sings.

Brilliant, Sparkling.—Last came Joy's ecstatic trial.

Fierce, Vehement.-Strike! till the last armed foe expires.
Spirited.-Again to the battle, Achaians!

QUALITY.-TONES OF VOICE.

NATURAL, or

PURE.-(high.)

Cheerfulness. When cheerfulness, a nymph of healthiest hue. Joy.-Rejoice such tidings good to hear!

Pathos.--Ah! poor soldier! Oh! fond mother, you are sever'd now, for aye!

Love.--The loyal winds that loved it well.

Solemnity.—(at times.)—-There is a world where there falls no blight.

Sorrow.-Kindred, friends! and have I lost you all.

OROTUND.

Pathos. And is this all that remains of Hamilton?

Solemnity. Its solemn tones are ringing in my ear. Joy.-(when dignified.)-Earth with her thousand voices calls on God.

FALSETTE.- -(rarely used.)

Terror.-Help! help! mercy, oh! save me!

ASPIRATION.

Wonder. Sir Richard, what think you, have you beheld it? Amazement.-Gone to be friends? Thou hast mis-spoke,

mis-heard!

Excess of Anger.—Alive in triumph? and Mercutio slain?
Revenge.-If he 'scape, Heaven forgive him too!
Fear.-Angels and ministers of grace defend us!

(Pure aspiration.)

Terror.-I've done the deed--did'st thou not hear a noise? Haste.-Haste me to know it, that I may swoop to my

revenge.

Remorse.—I am alone the villain of the earth, and feel I am so most.

Despair.-Comb down his hair, look! look! it stands upright.

GUTTURAL.

Contempt.-Get thee gone, before I learn the worst.

Malice.-How like a fawning publican he looks.
Impatience. He is my bane, I cannot bear him.

Hate. When forth you walk, may the sun strike you with livid plagues.

Loathing. I loathe ye with my bosom, I scorn you with mine eye.

GROUPING OF SPEECH AND EMPHASIS.

EMPHASIS, is the whole life of expression. Try the supposed word or words, and fill in other words until satisfied as to which are emphatic.

Examples of GROUPING with emphatic words.—Art thou that traitor angel, art thou he who first broke p-e-a-c-e—in heaven, and f-ai-th-till then unbroken?

Say first, for H-E-A-V-EN,—hides nothing from thy view nor the deep tract of HELL.

Having the wisdom to fore-s-ee-he took measures to prevent-the dis-as-ter.

After he was so fortunate as to save himself FR-0-M-he took es-pecial care, never to fall again into-THE-POLLUTED

-STREAM-OF-AMBITION.

Blew an inspiring ai-r—that dale and thicket ru-ng-
The hunter's c-a-ll,-to Faun and Dryad known.
Then wh-en-I am thy cap-tive-talk of chains.
For soon expect to feel

His thun-der on thy head, de-vour-ing fire,
Then, who cre-āted thee lamenting learn,
When who can un-create thee thou shalt know.

INCENTIVES TO DEVOTION.

Lo! the un-lett-ered (HIND), who never knew
To raise his mind ex-cursive to the hight
Of abstract contem-plation, as he SITS
On the green hillock by the hedge-row side,
What time the insect swarms are murmuring,
AND MARKS, in silent thought, the BROKEN CLOUDS,
THAT FRINGE, with loveliest hue, the EVENING sky,
(FEELS) in his soul the HAND of NATURE ROUSE
The THRILL of GRATITUDE, to him WHO FORMED
The goodly PROSPECT; he beholds the God
Throned in the west and his reposing ear
Hears sounds angelic in the fitful breeze

That floats through neighboring copse or fairy brake,
Or lingers playful, on the haunted stream.

And shall it e'er be said, that a poor (HIND,)
Nursed in the lap of ignorance, and bred
In want and labor, (GLOWS) with noble zeal

TO LAUD his Maker's ATTRIBUTES, while (HE)
Whom starry science in her cradle rocked,
(CLOSES) his eye upon the holy word,
AND, blind to ALL but arrogance and pride,
(DARES) to declare his INFIDELITY,

And O-PEN-LY CONTEMN the Lord of Hosts!

Emphatic syllables diffuse the expression through entire sentences. See the following EXAMPLE:—

Par-don me, thou bleed-ing piece of earth.

INTONATION.

Intonation is the act of sounding syllables, and resembles the strokes given to the notes of a piano by a performer. It is the vocalized body of the syllable.

ODE ON ART.

(Voice suspended at the long dashes as if going on to the next word.)

WH-EN, from the sa-cred gar-den driven,
Man-fl-ed be-fore his Ma-ker's wra-th,-
An angel-le-ft-her place in heav-en,

An-d crossed the wan-der-er's sun-less path.
'Twas-ART! sweet ART! new ra-di-ance broke-
Where-her-light-foot flew o'er the ground:-
And-thus-with ser-aph-voice she spoke,-
Th-e c-urse— -a-bless-ing shall be fou-nd.

He-plu-cks the PEAR-LS-that stud the dee-p,—
Ad-mir-ing BEAUTY'S LAP to fi-ll :—

He breaks the stubborn mar-ble's sleep,—

And mo-cks his own crea-tor's skill.

With THOUGHTS that swell his glowing sou-l,-
He BIDS the ore ill-ume the page,-
AND proud-ly scorn-ing Time's con-trol,-
COM-MER-CES with an un-born a-ge,

In fields of air HE WRITES his na-me,—
And TREADS the cham-bers of the sky;
HE REA-DS the stars, and GRASPS the flame—
That quivers round the throne on high.
In wa-r-re-nowned, in peace-sub-lime,-
HE MO-VES in great-ness and in gra-ce,—
His POW-ER Sub-du-ing spa-ce and ti-me,—

LINKS r-ea-lm to r-ea-lm, and race to RACE.

REMARK.-Some syllables are more capable than others of receiving what may be termed Expressive Intonation; but the degree and quality of this intonation is relative. It depends for its application entirely upon the style of the language in which such words may be used, whether grave or gay, lively

or severe.

Any one will see that if any of the few selected were given in serious discourse they would have more weight, fullness and character than in more simple language. The judgment must be on the alert, and carefully observe the relation of these and similar words to the rest of the language where they may

Gesture is rather subordinate to vocality, but yet welltimed, discriminating movements add much vigor and expression to the language. All gestures should be flowing, graceful; well out from the shoulders, not from the elbows. The arms should be lifted boldly, not mincingly. Do not push them out in angles, but lift them out in curves.

POSITION.-Stand erect, shoulders thrown well back. Brace one foot firmly to the floor, the other only lightly touching. When standing in the ordinary position, have the