1st. The first general direction that should be given to the speaker is, that he should stand erect and firm, and in that posture that gives an expanded chest and full play to the organs of respiration and utterance.

2d. Let the attitude be such that it can be shifted with ease, and without shuffling and hitching the limbs. The student will find, by trial, that no attitude is so favorable to this end, as that in which the weight of the body is thrown upon one limb, leaving the other free to be advanced or thrown back, as fatigue or the proper action of delivery may require.

The student, who has any regard to grace or elegance, will of course avoid all the gross faults which are so common among public speakers, such as resting one foot upon stools and benches, or throwing the body lazily forward upon the support of the rostrum.

3d. Next to attitude, come the movements of the person and limbs. In these, two objects are to be observed, and, if possible, combined, viz., propriety and grace. There is expression in the extended arm, the clinched hand, the open palm, and the smiting of the breast. But let no gesture be made that is not in harmony with the thought or sentiment that is uttered; for it is this harmony which constitutes propriety. As far as possible, let there be a correspondence between the style of action and the strain of thought. Where the thought flows on calmly and sweetly, let there be the same graceful and easy flow of gesture and action. Where the style is sharp and abrupt, there is propriety in the quick, short, and abrupt gesticulation. Especially avoid that ungraceful sawing of the air with the arms, into which an ill-regulated fervor betrays many young speakers.

What is called a graceful manner, can only be obtained by those who have some natural advantages of person. So far as it is in the reach of study or practice, it seems to depend chiefly upon the general cultivation of manners, implying freedom from all embarrassments, and entire self-possession. The whole secret of acquiring a graceful style of gesture, we apprehend, lies in the habitual practice, not only when speaking, but at all times, of free and graceful movements of the limbs.

There is no limb nor feature, which the accomplished speaker will not employ with effect, in the course of a various and animated delivery. But the arms are the chief reliance of the orator in gesture; and it will not be amiss to give a hint or two, in reference to their proper use.

And first;—It is not an uncommon fault to use one arm exclusively, and to give that a uniform movement. Such movement may, sometimes, have grown habitual from one's profession or employment. But in learners, also, there is often a predisposition to this fault.

Secondly;-It is not unusual to see a speaker use only the lower half of his arm. This always gives a stiff and constrained manner to delivery. Let the whole arm move, and let the movement be free and flowing.

Thirdly;-As a general rule, let the hand be open, with the fingers slightly curved. It then seems liberal, communicative, and candid; and, in some degree, gives that expression to the style of delivery. Of course, there are passages which require the clinched hand, the pointed finger, &c.; but these are used to give a particular expression.

the

Fourthly;-In the movements of the arm, study variety and grace of curved lines.

When a gesture is made with one arm only, the eye should be cast in the direction of that arm; not at it, but over it.

All speakers employ, more or less, the motions of the head. In reference to that member, we make but one observation. Avoid the continuous bobbing and shaking of the head, which is so conspicuous in the action of many ambitious public speakers.

The beauty and force of all gesture consists in its timely, judicious, and natural employment, when it can serve to illustrate the meaning, or give emphasis to the force of an important passage. The usual fault of young speakers is too much action. To emphasize all parts alike, is equivalent to no emphasis; and by employing forcible gestures on unimportant passages, we diminish our power to render other parts impres

sive.

TO TEACHERS.

In ARTICULATION, as the exercises are already extensive, a few lessons only are added, especially adapted to the purpose of practice.

The INFLECTIONS marked are in accordance with the best authorities, both American and English, among whom may be mentioned SHERIDAN KNOWLES as a leading and standard author on this subject. At the same time, it must be remembered, that, in many cases, inflections depend upon the degree of emphasis, and, on this point, opinions and tastes may vary in different individuals, and sometimes in the same individual at different times. It is also to be noticed, that the rising inflection is often used in a slight degree without being discerned except by an acute and educated ear; pupils learn to distinguish it with great difficulty, and teachers frequently do not perceive it, unless under emphasis.

In EMPHASIS and POETRY, the lessons for practice include all the previous notation.

With regard to the lessons on MODULATION, a single remark seems necessary. The tone and manner in which emotion is expressed, are instinctive. A proper expression can be given, only by imbibing the spirit of the subject. In the notation, high and low tones are specifically indicated. Loudness is sufficiently denoted in most cases, by emphasis.

The following characters are used in the following places.

THE RISING INFLECTION IS DENOTED BY

THE FALLING INFLECTION

THE RISING CIRCUMFLEX

THE FALLING CIRCUMFLEX

THE MONOTONE, BY A LINE PLACED OVER THE VOWEL

EMPHATIC WORDS ARE DENOTED BY ITALICS OR CAPITALS,
THE EMPHATIC PAUSE, BY A LINE BEFORE OR AFTER THE WORD
THE CESURA IS DENOTED BY

NEW SIXTH READER.
.

EXERCISES IN ARTICULATION.

THE five following Exercises are intended especially for practice in Articulation, and are commended to the Teacher's attention.

EXERCISE I. THE GROTTO OF ANTIPAROS.

FROM GOLDSMITH.

OLIVER GOLDSMITH was born in Ireland, in 1731. After his graduation at the Dublin University, he went to London, to seek support by his pen; and during the greater part of his life, worked as a mere compiler for the booksellers. His poems of "The Traveler," and "The Deserted Village," established his fame. He died in 1774.

1. Archipelago; (pro. Ark-e-pel'-a-go), a narrow sea bordering on Greece, and containing many small islands.

2. Levantine; the eastern part of the Mediterranean sea is called the Levant, and a Levantine mariner is a seaman of that region.

1. Or all the subterraneous caverns now known, the grotto of Antiparos is the most remarkable, as well for its extent as for the beauty of its sparry incrustations. This celebrated cavern was first explored by one Magni, an Italian traveler, about one hundred years ago, at Antiparos, an inconsiderable island of the Archipelago.

2. "Having been informed," says he, "by the natives of Paros, that, in the little island of Antiparos, which lies about two miles from the former, a gigantic statue was to be seen at the mouth of a cavern in that place, it was resolved that we (the French consul and himself) should pay it a visit.

3. "In pursuance of this resolution, after we had landed on the island, and walked about four miles through the midst of beautiful plains, and sloping woodlands, we at length came to a little hill, on the side of which yawned a most horrid cavern, which, by its gloom, at first struck us with terror, and almost repressed curiosity. Recovering the first surprise,

however, we entered boldly, and had not proceeded above twenty paces, when the supposed statue of the giant presented itself to view.

4. "We quickly perceived that what the ignorant natives had been terrified at as a giant, was nothing more than a sparry concretion, formed by the water dropping from the roof of the cave, and by degrees hardening into a figure, which their fears had formed into a monster. Incited by this extraordinary appearance, we were induced to proceed still further, in quest of new adventures, in this subterranean abode.

5. "As we proceeded, new wonders offered themselves; the spars formed into trees and shrubs, presented a kind of petrified grove; some white, some green; and all receding in due perspective. They struck us with the more amazement, as we knew them to be mere productions of nature, who, hitherto in solitude, had, in her playful moments, dressed the scene as if for her own amusement.

6. "We had as yet seen but a few of the wonders of the place; and we were introduced only into the portico of this amazing temple. In one corner of this half-illuminated recess, there appeared an opening of about three feet wide, which seemed to lead to a place totally dark, and which one of the natives assured us contained nothing more than a reservoir of water.

7. "Upon this information, we made an experiment, by throwing down some stones, which rumbling along the sides of the descent for some time, the sound seemed at last quashed in a bed of water. In order, however, to be more certain, we sent in a Levantine mariner, who, by the promise of a good reward, ventured, with a flambeau in his hand, into this narrow aperture.

8. "After continuing within it for about a quarter of an hour, he returned, bearing in his hand some beautiful pieces of white spar, which art could neither equal nor imitate. Upon being informed by him that the place was full of these beautiful incrustations, I ventured in with him, about fifty paces, anxiously and cautiously descending, by a steep and dangerous way.

9. "Finding, however, that we came to a precipice which