They gallop ǎlong, with a roaring song,
Away to the eager awaiting sea!

And there was mounting in hot haste: the steed,
The mustering squadron, and the clattering car
Went pouring forward with impetuous speed,

And swiftly forming in the ranks of war.

3. MODERATE RATE is used in ordinary assertion, narration, and description; in cheerfulness, and the gentler forms of the emotions; as,

When the sun walks upon the blue sea-waters,
Smiling the shadows from yon purple hills,
We pace this shore,-I and my brother here,
Good Gerald. We arise with the shrill lark,
And both unbind our brows from sullen dreams;
And then doth my dear brother, who hath wōrn
His cheek all pallid with perpetual thought,
Enrich me with sweet words; and oft a smile
Will stray amidst his lessons, as he marks
New wonder paint my cheek, or fondly reads,
Upon the burning page of my black eyes,
The truth reflected which he casts on me.

4. SLOW RATE is used to express grandeur, vastness, pathos, solemnity, adoration, horror, and consternation; as, O thou Eternal One! whose presence bright All space doth occupy, all motion guide; Unchanged through time's all-děvʼastating flight ; Thou only God! There is no God beside!

Being above all beings! Mighty One,

Whom none can comprehend and none explore!
Who fill'st existence with Thyself ǎlone-
Embracing all, supporting, ruling ō'er—
Being whom we call GOD, and know no more!

The curfew tolls the knell of parting day;
The lowing herd winds slowly o'er the lea;
The plowman homeward plods his weary way,
And leaves the world to darkness and to me.

3

V. MONOTONE.

ONOTONE consists of a degree of sameness of sound,

MONO

or tone, in a number of successive words or syllables. 2. It is very seldom the case that a perfect sameness is to be observed in reading any passage or sentence. But very little variety of tone is to be used in reading either prose or verse which contains elevated descriptions, or emotions of solemnity, sublimity, or reverence.

3. The monotone usually requires a low tone of the voice, loud or prolonged force, and a slow rate of utterance. It is this tone only, that can present the conditions of the supernatural and the ghostly.

The sign of monotone is a horizontal or even line over the words to be spoken evenly, or without inflection; as,

I heard a voice saying, Shall mortal man be more just than God! Shall a man be more pure than his Màker!

EXERCISES IN MONOTONE.

1. Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, Thou art Gòd.

2. Man dieth, and wasteth awày: yea, man giveth up the ghóst, and where is hè? As the waters fail from the sea, and the flood decayeth and drieth úp, so man lieth down, and riseth not; till the heavens be no more, they shall not awáke, nor be raised out of their sleep.

3. The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itsèlf— Yea, all which it inhèrit, shall dissolve,

4.

And, like this unsubstantial pageant, fáded—
Léave not a ràck behind.

I am thy father's spirit;

Doomed for a certain term to walk the night,
And, for the day confined to fast in fires,

Till the foul crimes, done in my days of nature,
Are burnt and purged awày.

PE

VI. PERSONATION.

ERSONATION consists of those modulations, or changes of the voice, necessary to represent two or more persons as speaking.

2. This principle of expression, upon the correct application of which much of the beauty and efficiency of delivery depends, is employed in reading dialogues and other pieces of a conversational nature.

3. The student should exercise his discrimination and ingenuity in studying the character of persons to be represented, fully informing himself with regard to their temperament and peculiarities, as well as their condition and feelings at the time,-and so modulate his voice as best to personate them.

EXERCISE IN PERSONATION.

He. Dost thou love wandering? Whither wouldst thou go?
Dream'st thou, sweet daughter, of a land more fair?
Dost thou not love these aye-blue streams that flow?
These spicy forests? and this golden air?

She. Oh, yes, I love the woods, and streams, so gay;
And more than all, O father, I love thee;

Yet would I fain be wandering-far away,

Where such things never were, nor e'er shall be.

He. Speak, mine own daughter with the sun-bright locks!
To what pale, banished region wouldst thou roam?

She. O father, let us find our frozen rocks!

Let's seek that country of all countries-HOME!

He. Seest thou these orange flowers? this palm that rears
Its head up toward heaven's blue and cloudless dome ?

She. I dream, I dream; mine eyes are hid in tears;

My heart is wandering round our ancient home.

He. Why, then, we'll go. Farewell, ye tender skies,

Who sheltered us, when we were forced to roam !

She. On, on! Let's pass the swallow as he flies!

Farewell, kind land! Now, father, now-FOR HOME!

PAUS

VII. PAUSES.

I.

DEFINITIONS.

AUSES are suspensions of the voice in reading and speaking, used to mark expectation and uncertainty, and to give effect to expression.

Pauses are often more eloquent than words. They differ greatly in their frequency and their length. In lively conversation and rapid argument, they are comparatively few and short. In serious, dignified, and pathetic speaking, they are far more numerous, and more prolonged.

The pause is marked thus, in the following illustrations and exercises.

NO

II.

RULES FOR PAUSES.

OMINATIVES.-A pause is required after a compound nominative, in all cases; and after a nominative consisting of a single word, when it is either emphatic, or is the leading subject of discourse; as,

Joy and sorrow move him not. No people can claim him. No country can appropriate him.

2. WORDS IN APPOSITION.-A pause is required after words which are in apposition with, or opposition to, each other; as, Solomon the son of David was king of Israel. False delicacy is affectation not politeness.

3. A TRANSITION.-A pause is required after but, hence, and other words denoting a marked transition, when they stand at the beginning of a sentence; as,

But it was reserved for Arnold to blend all these bad qualities into one. Hence Solomon calls the fear of the Lord the beginning of wisdom.

4. CONJUNCTIONS AND RELATIVES.-A pause is required before that, when a conjunction or relative, and the relatives who, which, what; together with when, whence, and other adverbs of time and place, which involve the ideä of a relative; as,

This is the

He went to school that he might become wise. ཤ man that loves me. We were present when La Fayette embarked at Havre for New York.

5. THE INFINITIVE.-A pause is required before the infinitive mood, when governed by another verb, or separated by an intervening clause from the word which governs it; as,

He has gone to convey the news. He smote me with a rod to please my enemy.

6. IN CASES OF ELLIPSIS, a pause is required where one or more words are omitted; as,

So goes the world: if wealthy, you may call this friend, that brother.

7. QUALIFYING CLAUSES.-Pauses are used to set off qual ifying clauses by themselves; to separate qualifying terms from each other, when a number of them refer to the same word; and when an adjective follows its noun; as,

The rivulet sends forth glad sounds, and tripping o'er its bed of pebbly sands, or leaping down the rocks seems with continuous laughter to rejoice in its own being. He had a mind deep active well stored with knowledge.

These rules, though important, if properly applied, are by no means complete nor can any be invented which shall meet all the cases that arise in the complicated relations of thought.

A good reader or speaker pauses, on an average, at every fifth or sixth word, and in many cases much more frequently. His only guide, in many instances, is a discriminating taste in grouping ideas, and separating by pauses those which are less intimately allied. In doing this, he will often use what may be called suspensive quantity.