In order to do a thing well, we should attempt to do but one thing at a time. The foregoing examples bear so great a variety of oratorical marks, indicative of their just enunciation, as to render it impossible for the tyro in elocution to attend to them all at the first reading. The author suggests, therefore, the propriety of the pupil's attending, in his first reading of these exercises, merely to the correct orthoepy, and a distinct articulation, of the words. In his second reading, let him attend particularly to a proper modulation and inflection of them. In his third reading, let his attention be solely directed to the emphasis and rhetorical pauses requisite to be observed in a just enunciation of the examples. In his fourth and fifth readings of these passages, let him give those words containing the accented vowels, that full and "voluptuous swell" and prolongation of sound which a rich, deep, and harmonick intonation imperiously demands. In reference to the explosion and protraction of the tonick and subtonick elements, let him not be afraid to get his mouth off, nor to open his throat; but, as nature has been bountiful in bestowing upon us organs capable of producing soft, smooth, and graceful, musical, powerful, and expressive sounds, and as art has been ingenious and wise in the contrivance of language so admirably adapted to the happy exer cise of the vocal powers, let him give these organs full play, and make the most of the words which he utters. When the learner shall have read these examples five or six times over, attending, according to the directions, to only one thing, or, at most, to two things, at each reading, he will be prepared to enunciate them with his attention directed to all the various marks appended to the examples, as he goes along, It is presumed that no teacher will expect either improvement or a happy performance on the part of his pupil, unless he himself pronounce each sentence or paragraph in his own most eloquent and masterly manner, before the pupil is allowed to utter it. These examples are designed to illustrate particularly, first, the importance of protracting the tonick and subtonick elements with a full volume and melodious swell; secondly, the importance and proper application of rhetorical pauses; and, lastly, This lastnamed pause takes the final pause in rhyming verse. place at the words "ties," "given," and "burn," in the second and third of the poetick examples; but it will be observed that, at the words "discontent" and "chamber," in the last example— which is blank verse-no such pause is requisite. The pupil should be cautioned against placing a stress upon any of the vowel sounds that require prolongation, except when they occur in words really emphatick. QUESTIONS. Of what does chapter 5, treat? By what terms are the varieties of movement in utterance, expressed? What is said of a moderate, a rapid, and of too slow, a movement? Pronounce the poetick examples which follow. What is said of variety in movement?-What, of the exercise of judgment and good taste in elocution? Please to define and illustrate the term Quantity. What is generally held to be the difference between a long and a short syllable? How does Dr. Rush apply the terms long and short, quick and slow? Have syllables various degrees of length?-Please to illustrate this by examples. What kinds of discourse should be enunciated in slow, and what, in quick time? What is said about protracting the long vowel or tonick elements? What is a Rhetorical Pause?-Give an example. Repeat the Rule respecting the adjuncts of the verb and nominative. Illustrate and explain it. What is said of the pauses denoted by the common points or stops? Give examples of short, and of long, pauses. What is the difference between grammatical and rhetorical pauses? What is the second Rule for rhetorical pauses? Please to read and explain the examples which follow. Define the emphatick pause.-Explain it by examples. What is Poetry? Please to define Versification, Rhyme, and Blank Verse. Is the final pause at all requisite in reading blank verse? Define and illustrate by examples, the cæsural pause-also the demi cæsural. ་ CHAPTER VI. OF RHETORICAL ACTION. In a rhetorical sense, ACTION seems to imply those characteristicks of delivery included under the terms Gesture, Altitude, and Expression of countenance. This important part of good delivery, is much less regarded, and, consequently, much less cultivated, by the moderns, than it was by the ancients. A just and an elegant adaptation of every part of the body, and of every expression of the countenance, to the nature and import of the subject one is delivering, may be considered, however, as too essential a part of oratory to be passed by unnoticed. As more or less action must necessarily accompany the words of every speaker who delivers his sentiments in earnest, as they ought to be in order to move and persuade, it is of the utmost importance to him that that action be appropriate and natural-never forced and awkward, but easy and graceful, except where the nature of the subject requires it to be bold and vehement. The prescribed limits of the author, however, permit him to present only a mere sketch of the outlines of this important. subject, leaving it to the dictates of good sense and cultivated taste to fill them up. OF GESTURE. Gesticulation and expression of countenance, are the language of nature; and, as they spring from the heart and the feelings, when legitimately called forth, they convey a language that reaches the heart. But because it is urged, that gestures must If be natural, it is not hence to be inferred, that they must be the spontaneous efforts of nature, unaided by art or cultivation. In this, as well as in those things which relate to the cultivation of the vocal powers, we call in the aid of art, not to pervert, but to refine, to exalt, to perfect nature. No one thinks of becoming skilled in dancing, or in vocal or instrumental musick, or in mathematicks, or logick, without long and close application to the subject, under an able teacher, or in private. one would excel in penmanship, he places himself under the instruction of a professor in the art; if he would become an adept in wrestling or boxing, he receives instruction from a professor in pugilisticks; if he wishes to be skilled in horsemanship, he puts himself under a riding master: or else he attains any one of these objects, by private application and long practice. When Caspar Hauser was first thrown into Nuremburg, at the age of seventeen, after having been confined all his life in a narrow dungeon, he did not know how to walk! Although nature had performed her whole duty to this youth, she had not taught him this art; nor would she ever have taught him, nor would he ever have learned, to walk, had he not exerted his capabilities for the attainment of this object, by repeated and persevering efforts. If, then, any one would excel in gesticulation, or in any other important qualification of an orator, let him assiduously set about the cultivation of his natural powers; and if he cannot avail himself of the instructions of a competent master in the art, he may, at least, glean useful hints from books that treat upon the subject, and, more especially, by observing the manner adopted by the best speakers: but let him bear in mind, that, in order to excel, in this, or in any other important attainment, he must accompany his desires by private application and persevering efforts. If argument were necessary to enforce the importance of cultivation in gesticulation, one sufficiently cogent might be drawn from the graceful skill and power displayed in this art by the best actors on the stage. No truth is clearer, than that their masterly excellence is the fruit of their own industry. But, in applying art to the aid of oratory, and especially in ANY MODEL. copying the mien and gesture of those who excel in it, great caution is to be observed. No true orator can be formed after He that copies or borrows from any standard of excellence, should be careful, in the first place, not to copy his peculiarities or his defects. Secondly, whatever is copied, should be so completely brought under his command by long practice, as to appear perfectly natural, and his own. Art should never be allowed to put any constraint upon nature; but should be so completely refined and subdued, as to appear to be the work of nature herself. Whenever art, in a speaker, is allowed, in the slightest degree, to put a constraint upon nature, it is immediately detected, shows affectation, and is sure to disgust, rather than to please and impress, the hearer. The leading object of every publick speaker should be to persuade. In order to persuade, he must be able to please-to affect the feelings and to move the heart. To accomplish all this, the first important requisite, doubtless, is, to advance sound arguments in clear and chaste language; but he should remember that arguments, when accompanied by appropriate gesture, an earnest and a sincere expression of countenance, and a masterly intonation, come upon the hearer with a double force. As we have no admitted standard of excellence in gesticulation, we are left without ample data from which to draw a com plete set of rules to regulate all the proper movements of the body, limbs, and features, which should take place in delivery. In general terms, force and grace may be considered the leading qualities of a good delivery. When combined, they mutually support each other, and may be regarded as the most powerful auxiliaries of oratory. In presenting particular directions for gesture, it is easier to give negative, than positive, instruction. In gesticulation, every one knows, that the right hand should be much more frequently employed than the left; and that it should be allowed to fall with great energy when he wishes to enforce an important sentiment. In order to do this with full effect, it is equally apparent, that the arm should be boldly extended, so as to give all its muscles full play. A bold and manly freedom of gesture is to |