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#great mistake to imagine, that the breath must be drawn only at the end of period, when the voice is allowed to fall. It may easily be gatbered at the in tervals of the period, when the voice is suspended only for a moment; and, by this management, one may always have a sufficient stock for carrying on the jongest sentence, without improper interruptions.

Pauses in reading must generally be formed upon the manner in which pro utter ourselves in ordinary, sensible conversation ; and not upon the stiff artifi. cial manner, which is acquired from reading books according to the common punctuation. It will by no means he sufficient to attend to the points used in printing; for these are far from marking all the pauses which ought to be maile in reading. A mechanical attention to these resting places, has perhaps been one cause of monotony, by leading the reader to a similar tone at every stop, and a uniform cadence at every period. The primary use of points, is to assist the render in discerning the grammatical construction; and it is cnly as a secondary object, that they regulate his pronunciation. On this head, the following direction may be of use: “Though, in reading, great attention should be paid to the stops, yet a greater skould be given to the sense ; and their correspondent times occasionally lengthened beyond what is usual in common speech.”

To render pauses pleasing and expressive, they must not only be made in the right place, but also accompanied with a proper tone of voice, by which the na ture of these pauses is intimated ; much more than by the length of them, which can seldom be exactly measured. Sometimes it is only a slight and simple suspension of voice that is proper; sometimes a degree of cadence in the voice is required ; and sometimes that peculiar tone and cadence which denote the sentence to be finished. In all these cases, we are to regulate ourselves by attending to the manner in which nature teaches us to speak, when engaged in real and earnest discourse with others. The following sentence exemplifies the suspending and the closing pauses : “ Hope, the balm of life, sooths us under every mis ortune." The first and second pauses are accompanied by an inflection of voice, that gives the hearer an expectation of something further to complete the sense; the inflection attending tbe third pause signifies that the sense is completed

The preceding example is an illustration of the suspending pause, in its simple state: the following instance exhibits that pause with a degree of cadence in the voice; “ If content cannot remove the disquietudes of mankind, it will at least alleviate them."

The suspending pause is often, in the same sentence, attended with both the rising and the falling inflection of voice , as will be seen in this example : “Modo crate exercises and habitual temperance', strengthen the constitution."*

As the suspending pause may be tbus attended with both the rising and the falling inflection, it is the same with regard to the closing pause : it admits og doch. The falling inflection generally accompanies it; but it is not unfrequently connected with the rising inflection. Interrogative sentences, for instance, are often terminated in this manner: as, “ Am I ungrateful' ?" « Is he is earnest' an

But where a sentence is begun by an interrogative pronoun or adverb, It is commonly terminated by the falling infection; as, “What has he gained by bis follyo ?” “Who will assist him?” Where is the messenger » "When did he arrive."

* The rising infection is deno:ed by the acute; the falling, by the grave aceen.

B

When two questions are united in one sentence, and connected by the cool junction or, the first takes the rising, the second the falling inflection : as "Does his conduct support discipline', or destroy it »

The rising and falling inflections must not be confounded with emphasia Though they may often coincide, they are, in their nature, perfectly distinct Empbasis sometimes controls those inflections.

The regular application of the rising and falling inflections, confers so much beauty on expression, and is so necessary to be studied by the young reader, that we shall insert a low more examples to induce him to pay greater attention to the subject. In these instances, all the inflections are not marked. Such only are distinguished, as are most striking, and will best serve to show the reader their utility and importance.

“ Manufactures', trade', and agriculture', certainly employ more than nine. Leen parts in twenty of the human speeies.”

“He who resigns the world has no temptation to envy', hatredy malice', ao ger'; but is in constant possession of a serene mind: he who follows the plea. sures of it, which are in their very nature disappoin:ing, is in constant search of care), solicitade', remorse', and coufusioni.»

"To advise the ignoranty, relieve the needy) comfort the afflicted', are duties that fall in our way almost every day of our lives.”

“Those evil spirits, who, by long custom, have contracted in the body habita of lust' and sensuality'; malice', and revenge'; an aversion to every thing that is good, just', and laudable', are naturally seasoned and prepared for pain and misery."

“I am persuaded, that neither death', nor life\; nor angels', nor principalities nor powers'; nor things present', nor things to come!; nor height', nor depth; nor any other creature', shall be able to separate us from the love of God*

The reader who would wish to see a minute and ingenious investigation of the nature of these inflections, and the rules by wbich they are governed, may sonsult Walker's Elements of Elocution.

SECTION VIII.

Manner of reading Verse. When we are reading verse, there is a peculiar difficulty in making the pau. ses justly. The difficulty arises from the melody of verse, which dictates to the par pauses or rests of its own: and to adjust and compound these properly with the pauses of the sense, so as neither to hurt the ear, nor offend the understand. ing, is so very nice a matter, that it is no wonder we so seldom meet with good readers of poetry. There are two kinds of pauses that belong to the melody of verse: one is, the pause at the end of the line; and the other, the cæsural pause in or near the middle of it. With regard to the pause at the end of the line which marks that strain or verse to be finished, rhyme renders this always sensi

and in some measure compels us to observe it in our pronunciation. In respect to blank vérse, we ought also to read it so as to make every line sensiole to the ear: for, what is the use of melody, or for what end has tbe poet composed in verse, if, in reading his lines, we suppress his numbers, bytömitting the final pause ; and degrade them, by our pronunciation, into mere proso? At the same time that we attend to this paase, every appearance of sing-song and tone must be carefully guarded against. The ciose of the line where it makes no pause in the meaning, ought not to be marked by such a tone us la

le;

whed in Anishing a sentence; but, without either fall or elevation of the voic it should be depoted only by so slight a suspension of sound, as may distinguis the passage from one line to another, without injuring the meaning.

The other kind of melodious pause, is that which falls somewhere about to middle of the verse, and divides it into two hemistichs; a pause, not so gre as that which belongs to the close of the line, but still sensible to an ordinar ear. This, which is called the cæsural pause, may fall, in English heroic vers after the 4th, 5th, 6th, or 7th syllable in the line. Where the verse is so con structed, that this cæsural pause coincides with the slightest pause or divisio in the sense, the line can be read easily ; as in the two first verses of Pope Messiab :

“ Ye nymphs of Solyma\\! begin the song;

"To heav'nly themes"\, sublimer strains belong." But if it should happen that words which have so strict and intimate a con nexion, as not to bear even a momentary separation, are divided from one an other by this cæsural pause, we tben feel a sort of struggle between the sens and the sound, which renders it difficult to read such lines harmoniously. The rule of proper pronunciation in such cases, is to regard only the pause whic the sense forms; and to read the line accordingly. The neglect of the cæsura pause may make the line sound somewhat unbarmoniously; but the effect would be much worse, if the sense were sacrificed to the sound. For instance, in the following line of Milton,

_4 What in me is dark,

"Illumine; what is low, raise and support, ebe sense clearly dictates the pause after illumine, at the end of the third sylla ble, which, in reading, ought to be made accordingly; though, if the melody only were to be regarded, illumine siiould be connected with what follows, and the pause not made till the fourth or sixtb syllable. So in the following line of Pope's Epistle to Dr. Arbuthnot,

"I sit, with sad civility I read," the ear plainly points out the cæsural pause as falling after sad, the fourth syk jable. But it would be very bad reading to make any pause there, so as to sepa. rate sad and civility. The sense admits of no other pause than after the second syllable sit, which therefore must be the only pause made in reading this part of tbe sentence.

There is another mode of dividing some verses, by introducing what may be called demi-cæsuras, which require very slight pauses; and which the reader sbould manage with judgment, or he will be apt to fall into an affected singsong mode of pronouncing verses of this kind. The following lines cxemplify the demi-cæsura:

* Warms' in the sun", refreshes' in the breeze,
* Glows' in the stars", and blossonis' in the trees;
* Lives' through all lifeb'; extends' through all extent,
*Spreads' undivided", operates' unspent.

Before the conclusion of this introduction, the Compiler takes the liberty to recommend to teachers, to exercise their pupils in discovering and explaining the emphatic words, and the proper tones and pauses, of every portion assigned them to read, previously to their being called out to the performance. There preparatory lessops, in which they should be regularly examined, will improve their judgment and taste; prevent the practice of reading without attention to the subject; and establish a habit of readily discovering the meaning, force. and beauty, of every sentence they peruse,

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PART I.

PIECES IN PROSE.

CHAPTER I.

SELECT SENTENCES AND PARAGRAPAS.

SECTION I.

D"
ILIGENCE, industry, and proper improvement o

time, are material duties of the young. The acquisition of knowledge, is one of the most honourable occupations of youth.

Whatever useful or engaging endowments we possess virtue is requisite, in order to their shining with prope lustre.

Virtuous youth gradually brings forward accomplished and flourishing manhood.

Sincerity and truth form the basis of every virtue.

Disappointments and distress, are often blessings in dis guise.

Change and alteration, form the very essence of the world

True happiness is of a retired nature; an enemy to pom and noise.

In order to acquire a capacity for happiness, it must b our first study to rectify inward disorders.

Whatever purifies, fortifies also the heart.

From our eagerness to grasp, we strangle and destro pleasure.

A temperate spirit, and moderate expectations, are excel lent safeguards of the mind, in this uncertain and changing state.

NOTE. In the first chapter, the compiler has exhibited sentences in a great varie of construction, and in all the diversity of punctuation. If well practised upo inflections, and modulations of voice, which the succeeding pieces requis The Author's English Exercises," under the head of l'unctuation, will als the learner additional scope for improving himself in reading senten paragraphe variously copstructed.

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