afford an effectual remedy for the peculiarities and vulgarisms of provincial dialects.

5. Pronounce every word consisting of more than one syllable with its proper accent. In the accentuation of words, care should be taken to avoid all affected deviations from common usage. There is the greater occasion for this precaution, as a rule has been arbitrarily introduced upon this subject, which has no foundation, either in the structure of the English language, or in the principles of harmony; that, in words consisting of more than two syllables, the accent should be thrown as far backward as possible. This rule has occasioned much pedantic, and irregular pronunciation. and Iras, perhaps, introduced all the uncertainty which attends the accentuation of several English words.

6. In every sentence, distinguish the more significant words, by a natural, forcible, and varied emphasis. This stress or emphasis, serves to unite words, and form them into sentences. By giving the several parts of a sentence its proper utterance, it dicovers their mutual dependance, and conveys their full import to the mind of the hearer. It is in the power of emphasis, to make long and complex sentences appear intelligible and perspicuous.

7. Acquire a just variety of pause und inflexion. Pauses are not only necessary in order to enable the speaker to take breath without inconvenience, and thus preserve the command of his voice, but in order to give the hearer a distinct perception of the construction and meaning of each sentence. In executing this part of the office of a speaker, it will by no means be sufficient to attend to the points used in printing; for these are far from marking all the pauses which ought to be made in speaking. In reading, it may often be proper to make a pause, where the printer has made none.

8. Accompany the emotions and passions, which your words express, by correspondent tones, looks, and gestures. It is an essential part of elocution, to imitate this lan guage of nature. No one cau deserve the appellation of a good speaker, much less a complete orator, who does not, to a distinct articulation, a ready command of voice, and just pronunciation, accent, and emphasis, add, the va rious expressions of emotions and passion. But in this

part of his office, precept can afford him little assistance. To describe in words the particular expression, which belongs to each emotion and passion, is perhaps, wholly impracticable. It will be better to be guided by our feelings, with no other restraint than this special observance, that we o'erstep not the modesty of nature.

To give effect to these slight hints, and render them permanently useful, it will be proper for the person who attends to them, to read aloud, daily by himself; and as often as possible, under the correction of an instructor or friend. He should also frequently recite compositions from memory. This method has several advantages. It obliges the speaker to dwell upon the ideas which he is to express-enables him to discern their particular meaning and force, and gives him a previous knowledge of the several inflexions, emphases, and tones which the words require. By taking off his eye from the book, it in part relieves him from the influence of the school-boy habit of reading in a key and tone different from that of conversation; and it affords greater scope for expression,-in tone, locks, and gestures.

CHAP. V.-POETRY.

POETRY is the language of passion, or of enlivened imagination, formed into regular numbers. Poetry can boast very high antiquity. The earliest accounts of antient nations have been transmitted by their poets. Moses and Miriam, the two most antient authors on record, composed a song in praise of the Almighty, and in commemoration of his miraculous deliverance of the Hebrews from their oppressors, the Egyptians. In the very beginning of society, there were occasions upon which men met together, at feasts and sacrifices, when music, dance, and song formed the chief entertainment. The meetings of the northern tribes of America were distinguished by music and song. By songs, their religious ceremonies,-their martial achievements, were celebrated. In these songs, which characterise the infancy of all nations, may be traced the origin of poesy. Poets and songs are the first objects that make their appearance in any nation. Apollo, Orpheus, and Amphion are said to have been the first tamers of man

kind, among the Greeks. The Goths had their Scalds or poets. The Germans while inhabiting their native woods, their manners still savage,-composed and recited verses and hymns. The first inhabitants of Scandinavia, and the other northern regions; those of Gaul, Albion, Iberia, Ausonia, and other European nations, had their poets. The antient people of Asia, and those who inhabited the known borders of Africa, possessed this treasure. But of all poetry, that contained in the SCRIPTURES, is most truly sublime, and beautiful. The more eminent of the sacred poets are Job, David, Isaiah, and Jeremiah. Among the minor prophets, Hosea, Joel, Micah, Habakkuk, and especially Nahum, are eminent for the poetical spirit infused into their writings.

The Greek word omle, whence poet is derived, signifies creator. The name of poetry will direct us to one of its most distinguishing characteristics. The poet ranges

through the boundless field of possibilities, and selects his objects according to the impulse of his fancy, as it is controlled by his judgment. Poetry opens to the eye a new rceation.

The poet's eye, in a fine frenzy rolling,

Doth glauce from heaven to earth, from earth to heaven;
And as the imagination bodies forth

"The form of things unknown, the poet's pen

Turns them to shape, and gives to airy nothing
A local habitation and a name.

SECT. I.-DIFFERENT KINDS OF POETRY.

Poetry may be divided into epic; lyric; elegiac; pastoral; didactic; descriptive; satirical; heroi-comic; and burlesque.

i. Epic. The Epic poem is of all poetical works the most dignified, and the most difficult of execution. It may be defined, a poetical narration of an illustrious enterprise, completed by supernatural agency. Epic poetry concentrates all that is sublime in action, description, or sentiment. The fable, in every epic poem, should be founded in fact, and fiction should only complete that outline, which has been traced by the finger of truth. The ma chinery should be subject to the main design, the action should be simple and uniform. Examples. The Iliad and

Odyssey of Homer, the Æneid of Virgil, the Paradise Lost of Milton, the Inferno-Purgatorio-and Paradiso of Dante the Orlando Furioso of Ariosto, and Jerusalem of Tasso,t the Messiah of Klopstock, the Lusiad of Camoens, the Henriade of Voltaire, Glover's Leonidas, Cumberland's Calvary, Southey's Joan of Arc, Wilkie's Epigoniad, Hole's Arthur, and Wieland's Oberon, translated by Sotheby.§

2. Lyric Poetry took its rise from religious gratitude; it was first used to express thanks for the blessings bestowed on man by his Creator; hence the harvest hymns, and other compositions of a similar nature. The psalms surpass in sublimity, all the lyric performances of other nations. Among the antients, lyrics were appropriated, (1.) To religious subjects. (2.) To the celebration of heroes. (3.) To moral and philosophical subjects. (4) To festive pleasure and amusement. Examples. Pindar, the father of lyric poetry; Anacreon; Sappho; Horace; Casimir; Dryden's Ode on St. Cecilia's day, Collins' Ode on the Passions, and many of Gray's and Mason's Odes. To these may be added the lyric compositions of Watts, Thomson, Lyttleton, Warton, Cowper, Mrs. Barbauld, Coleridge, Charlotte Smith, Mr. Bowles, and Miss Seward; many of these deserve high praise for sweetness and harmony of versification, and unaffected elegance of style.

3. Elegiac. The elegy is a plaintive, but sweet and engaging poem. It was first used in bewailing the death of a friend, and afterwards expressed the complaints of lovers, or any melancholy subject. The passions of grief, despair, or resentment, generally, predominate in poems of this kind; but funeral lamentations and disappointed love scem most congenial to its character; the lamentation of David over Jonathan, is a beautiful instance of elegiac poetry. Examples. Hammond's Version of Tibullus' elegies. Gray's celebrated masterpiece, his Elegy in a Country Church-, yard, Mason, Shenstone, Mr. Bowles, and Miss Seward.

*Translated by Boyd. By Hoole. + By Mickle. § Most nations can boast their epic poems. Hence, in addition to those above named, may be added; the Mahabarat of the Hindus; the Edda of the Norwegians; the Fingal and Chronological poems of the Irish and Scotch; the Taliessin and Triads of the Welsh; the Nebiun-Nameh (exploits of Mohammed) and Hamleh Heedry (exploits of Aly) of the Arabs; and the Shah Nameh (book of kings) of the Persians.

4. Pastoral poetry so termed from pastor a shepherd, the subject relating to rural life, and the speakers introduced being generally shepherds. Poems of this nature are also called bucolics and eclogues from two Greek words; the one, signifying a herdsman, and the other choice pieces. The pastoral poet exhibits whatever is most agreeable in the pastoral state. He paints its simplicity and its happiness, but usually conceals its rudeness and misery. Examples. Theocritus and Virgil. Gay's Shepherd's Week, Shenstone's Pastoral Ballad, Collins' Eclogues, Ramsay's Gentle Shepherd, Gesner's Idylls, Dr. Beattie's Hermit, and Southey's Old Mansion House, Ruined Cottage, and Botany Bay Eclogues. Robert Burns also may be included in the list of pastoral poets. There cannot be a more faithful representation of rural manners, thau that exhibited in the Farmer's Boy of Bloomfield.

5. Didactic, or Preceptive Poetry is intended to convey instruction and knowledge in a pleasing and attractive manner. The poet may treat some instructive subject in a regular form; or without iutending a great or regular work, he may inveigh against particular vices or press some moral observations on human life and characters. Examples. Pope's Essay on Criticism, and Essay on Man, Dyer's Fleece, Akenside's Pleasures of the Imagination, Armstrong on Health, Blair's Grave, Mason's English Garden, Beattie's Minstrel, Somerville's Chace, and Downman's Infancy.

6. Descriptive poetry calls forth the highest exertions of genius. Its design is to exhibit beautiful pictures of nature or art, so as to communicate all the information and pleasure, which the reader could receive from an actual survey of the objects. Examples. The Allegro and Penseroso of Milton, the Seasons of Thomson, the Hermit of Parnell, Pope's Windsor Forest, Goldsmith's Traveller and Deserted Village, Falconer's Shipwreck, many of Robert Burns' Poems, Gisborne's Walks in a Forest, and Vales of Wever, Maurice's Grove-hill, the Sea by Mr. Bidlake, Rogers' Pleasures of Memory, Campbell's Pleasures of Hope, Leyden's Scenes of Infancy, Bloomfield's Farmer's Boy, and Grahame's Birds of Scotland.

7. Satirical poetry is descriptive of men and manners. It affords instruction and amusement, by censuring what is›