There is a degree of insecurity and uncertainty, about living 30 worth. The stamp has not yet been put upon it, which precludes all change, and seals it as a just object of admiration for future times. There is no service which a man of commanding intellect can render to his fellow-creatures, better than that of leaving behind him an unspotted example.2 35 If he do not confer upon them this benefit; if he leave a character dark with vices in the sight of God, but dazzling with shining qualities to the view of men; it may be that all his other services had better been forborne, and he had passed inactive and unnoticed through life. It is a dictate of wisdom, 40 therefore, as well as feeling, when a man, eminent for his virtues and talents, has been taken away, to collect the riches of his goodness, and add them to the treasury of human improvement. The true Christian liveth not for himself, and dieth not for himself; and it is thus, in one res-pect, that he dieth not for him45 self.8 Norton. 5 10 15 II. CATO'S SOLILOQUY. It must be so-Plato, thou reasonest well !5 Or, whence this secret dread, and inward horror, Of falling into nought? Why shrinks the soul 'Tis Heaven itself that points out-an hereafter, Eternity!'-thou pleasing-dreadful thought!5 Through what new scenes and changes must we pass !3 Through all her works-He must delight in virtue; But when? or where? This world-was made for Cæsar. 20 I'm weary of conjectures-this must end them.* 25 30 [Laying his hand on his sword. The wreck of mat-ter, and the crush of worlds. Addison. CHAPTER III. GENERAL PRECEPTS. SECTION I. OF THE MEASURE OF SPEECH. It belongs rather to the physiologist than the elocutionist to explain the mechanism of the voice, and the causes which limit or regulate the exercise of its powers. It entirely falls in with our purpose however, to state the principles deduced from this mechanism, so far as it is understood, and the rules, by which a conformity to the laws of the voice is secured. Nor is this a matter of mere speculative interest, in as much as a conformity to these laws is absolutely essential to ease in the use of the vocal organs; and on it are often suspended the health and even the life of the speaker. In the proper places, the principles of Time and of Accent have been developed. It has long been conceived, that by the aid of these, poetic numbers are capable of being subjected to measure. But by the light which modern elocutionists have thrown on this subject, it appears that even the harmonious arrangements of verse are capable of a rhythmus in their vocal execution, which is not at all recognised by the principles of Prosody. The following lines are divided into prosodical feet, and each syllable is marked as long or short* according to the usual notation. *The terms long and short are here employed, as used by English prosodists, with reference to accent and emphasis rather than quantity. I' come-not friends-to steal-away-your hearts; Būt ås-yoŭ knōw-mě all-ă plain-blunt mån, That lōve-mỹ friend;-ănd thāt–they knōw-füll wēll 5 That gave-mě pūb-lic leave-to speak-of him. For I-have nei-ther wit,-nor words,-nor worth, A ̄ction,-nor út-těrănce,-nor thě pōw-ěr of speech, To stir-mēn's blood.—I ōn-ly speak-right on: 1° tell-you that-which yoù-yourselves-dŏ knōw; 10 Shōw you-sweet Cae-săr's wounds,-pōor, pōor-dūmb mōuths, And bid-them spēak-för mě.—But wĕre I ̄-Brütus, A°nd Brū–tüs A n—tony,there were ăn–Antony Would ruf-flě up-your spir-ĭts, ånd put―å tongue I'n ĕv-ěry wound-ŏf Câe-săr, thăt-should move 15 The stones-of Rōme-to rise-in mu-tiny. By examining these measures, it will be seen, that they vary in length from the hurried pyrrhic, consisting of two short syllables, to the long drawn spondee, heard on the words "men's blood." On the contrary, the measures into which the good reader or speaker divides his periods are, at least in theory, equal as to the time of their utterance; and that, whether he is pronouncing verse or prose. The following divisions of the same passage will admit of being read by the vibrations of a pendulum, observing the rests indicated by the new symbol, here introduced. The poetic notation of heavy and light syllables is retained for convenience of future reference. I come not, friends, to steal a- | way your I am | nō | ōrător, |ås | Brūtus | is; || That love my | friend; |7|7ănd | that full well | mån, | they | know | 5 That gave mě | públic | leave to speak of him. For I have neither | wit,nör | words, nor wörth, Action, nor | üttěrǎnce, nor the power of speech, | To stir | men's | blood. || I | only | speak | right ōn: 11 I tell you that which | you your- | selves do | know; 10 Show you sweet | Caesar's wounds, I poor, | pōor | dumb mouths, | And bid them | speak för mě. 11111 But | | | wĕre I Brutus, | A°nd | Brütüs | Antony, | 41 | there wěre ăn | Antony | Would | rūfflě | ūp yoŭr | spirits, |¶ ånd | pūt ǎ | tōngue | In | ĕvěry | wound of | Caēsăr, | thăt shoŭld | mōve | 15 The stones of | Rōme |to| rise in | mütiny. 111111 1. These measures may consist of from one to four syllables. The number may be extended to five, as in the third measure of the following line :- In the second | century of the Christian | era. | | This occurs but rarely in poetry; and in deliberate reading, such measures would be divided, and a rest interposed, thus: In the | second | century of the | Christian | era. | 2. Each measure contains one, and only one, heavy or accented syllable; or else a rest to occupy the time devoted to it. This will be seen by comparing the two notations. 3. A single syllable of indefinite quantity may fill out a measure; while accented syllables of shorter quantity standing alone should be followed by a short pause. 4. The heavy syllable opens the measure, and thus the movement is in all cases from the heavy to the light syllables; and this movement should be distinctly marked by the voice,—a measure requiring but a single pulsative effort of the voice. |