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 sens

ible to the ear. In attempting this, however, every appearance of singsong and of tone must be cautiously avoided. The close of a line, where there is no pause in the meaning should be marked by only 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 perceive 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 fol

lowing lines of Milton:

-What in me is dark,

Illumine; what is low, raise and support.

The sense clearly dictates the pause after "il. lumine." 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 4th or 6th syllabie So also in the following line of Pope's Epistle to Arbuthnot:

I sit; with sad civility I read.

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 observed.

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

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has vitiated all delivery, 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 she will teach him to express his sentiments and feelings in such a 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 called action in public discourse. The best rule is, attend 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 nature has dietated 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 of 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 motious.If any inclination be used, it should be towards the hearers, which is a natural expression of ear. nestness. 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 fixed on any 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. Narrow 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 Earnestness can be fully expressed without their assistance.

We cannot conclude this subject, without ear nestly admonishing every speaker to guard a gainst affectation, which is the destruction of good delivery. Let his manner whatever it be, be his own; neither imitated from another, nor taken from some imaginary model, which is unnatural to him. Whatever is native, though at

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tended 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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MEANS OF IMPROVING IN ELOQUENCE.

To those who are anxious to excel in any of the higher kinds of oratory, nothing is more necessary than to cultivate habits of the several virtues, and to refine and improve their moral feelings. A true orator must possess generous sentiments, warm feelings, and a mind, turned toward admiration of those great and high objects, which men are by nature formed to venerate. Connected with the manly virtues, he should possess strong and tender sensibility to all the injuries, distresses, and sorrows of his fellow creatures.

Next to moral qualifications, what is more requisite for an orator, is a fund of knowledge.There is no art, by which eloquence can be taught, in any sphere, without a sufficient acquaintance with what belongs to that sphere. Attention to the ornaments of style, can only assist an orator, in setting off to advantage, the stock of materials which he possesses; but the