verse; one at the end of a line, and the other in the middle of it. Rhyme always renders the former sensible, and compels observance of it in pronunciation. In blank verse it is less perceivable; and when there is no suspension of the sense, it has been doubted, whether in reading such verse any regard should be paid to the close of a line. On the stage, indeed, where the appearance of speaking in verse should be avoided, the close of such lines as make no pause in the sense should not be rendered perceptible to the ear. On other occasions we ought, for the sake of melody, to read blank verse in such manner as to make each line sensible to the ear. In attempting this, however, every appearance of sing-song and tone must be cautiously avoided. The close of a line, where there is no pause in the meaning, should be marked only by so slight a suspension of sound, as may distinguish the passage from one line to another, without injuring the

sense.

The pause in the middle of the line falls after the 4th, 5th, 6th, or 7th syllable, and no other. When this pause coincides with the slightest division in the sense, the line may be read with ease; as in the two first verses of Pope's Messiah :

Ye nymphs of Solyma, begin the song,

To heavenly themes sublimer strains belong.

But if words, that have so intimate a connexion, as not to admit even a momentary separation, be divided

from each other by this cæsural pause; we then per ceive a conflict between the sense and sound, which renders it difficult to read such lines gracefully. In such cases it is best to sacrifice sound to sense. For instance, in the following lines of Milton:

What in me is dark,

Illumine; what is low, raise and support.

The sense clearly dictates the pause after " illumine," which ought to be observed; though, if melody only were to be regarded, "illumine" should be connected with what follows, and no pause made before the fourth or sixth syllable. So also in the following line of Pope's Epistle to Arbuthnot:

The ear points out the pause as falling after "sad," the fourth syllable. But to separate "sad" and "civility" would be very bad reading. The sense allows no other pause than after the second syllable," sit;" which therefore is the only one to be ob served.

We proceed to treat of tones in pronunciation which are different both from emphases and pauses; consisting in the modulation of the voice, the notes or variations of sound which are employed in public speaking. The most material instruction which can be given on this subject, is to form the tones of pub

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lic speaking upon the tones of animated conversation. Every one who is engaged in speaking on a subject which interests him nearly, has an eloquent or per suasive tone and manner. But, when a speaker departs from his natural tone of expression, he becomes frigid and unpersuasive. Nothing is more absurd than to suppose that as soon as a speaker ascends a pulpit, or rises in a public assembly, he is instantly to lay aside the voice with which he expresses himself in private, and to assume a new, studied tone, and a cadence altogether different from his natural manner. This has vitiated all delivery, and has given rise to cant and tedious monotony. Let every public speaker guard against this error. Whether he speak in private, or in a great assembly, let him remember that he still speaks. Let him take nature for his guide, and the will teach him to express his sentiments and feelings in such manner, as to make the most forcible and pleasing impression upon the minds of his hearers.

It now remains to treat of gesture, or what is call ed action in public discourse. The best rule is, at tend to the looks and gesture in which earnestness, indignation, compassion, or any other emotion, discovers' itself to most advantage in the common intercourse of men; and let these be your model. A public speaker must however adopt that manner which is most natural to himself His motions and gestures, ought all to exhibit that kind of expression which na

ture has dictated to him; and, unless this be the case, no study can prevent their appearing stiff and forced. But, though nature is the basis on which every grace of gesture must be founded, yet there is room for some improvements of art. The study uf action consists chiefly in guarding against awkward and disagreeable motions, and in learning to perform such as are natural to the speaker, in the most graceful manner. Numerous are the rules which writers have laid down for the attainment of a proper gesticulation. But written instructions on this subject can be of little service. To become useful, they must be exemplified. A few of the simplest precepts however may be observed with advantage. Every speaker should study to preserve as much dignity as possible in the attitude of his body. He should generally prefer an erect posture; his position should be firm, that he may have the fullest and freest command of all his motions. If any inclination be used, it should be toward the 'hearers, which is a natural expression of earnestness. The countenance should correspond with the nature of the discourse; and, when no particular emotion is expressed, a serious and manly look is always to be preferred. The eyes should never be fix. ed entirely on one object, but move easily round the audience. In motion, made with the hands,, consists the principal part of gesture in speaking. It is natural for the right hand to be employed more frequently

than the left. Warm emotions require the exercise of them both together. But, whether a speaker gesticulate with one or with both his hands, it is important that all his motions be easy and unrestrained. Nar row and confined movements are usually ungraceful; and consequently motions made with the hands, should proceed from the shoulder, rather than from the elbow. Perpendicular movements are to be avoided. Oblique motions are most pleasing and graceful. Sudden and rapid motions are seldom good. Earnest ness can be fully expressed without their assistance.

We cannot conclude this subject without earnestly admonishing every speaker to guard against affectation, which is the destruction of good delivery. Let his manner, whatever it be, be his own; neither imi tated from another, nor taken from some imaginary model, which is unnatural to him. Whatever is native, though attended by several defects, is likely to please, because it shows us the man; and because it has the appearance of proceeding from the heart. To attain a delivery extremely correct and graceful, is what few can expect; since so many natural talents must concur in its formation. But to acquire a forcible and persuasive manner, is within the power of most persons. They need only to dismiss bad habits, follow nature, and speak in public as they do in private, when they speak in earnest and from the heart.

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