particles, fuch as, of, to, as, and, &c. requiré no force of utterance, unless they happen to be emphatical, which is rarely the cafe. No perfon can read or speak well, unless he understands what he reads; and the fenfe will always determine what words are emphatical. It is a matter of the higheft confequence, therefore that a fpeaker fhould clearly comprehend the mean. ing of what he delivers, that he may know where to lay the emphafis. This may be illuftrated by a fingle example. This hort queftion, Will you ride to town to-day? is capable of four different meanings, and confequently of four different antwers, according to the placing of the emphafis. If the emphasis is laid upon you, the question is, whether you will ride to town, or another perfon, If the emphalis is laid on ride, the queftion is, whether you will ride or go on foot. If the emphasis is laid on town, the question is, whether you will ride to town or to ano. ther place, If the emphalis is laid on to-day the question is, whether you will ride to-day or fome other day. Thus the whole meaning of a phrase often depends on the emphasis; and it is abfolutely neceffary that it fhould be laid on the proper words. Cadence is a falling of the voice in pronouncing the clofing fyllable of a period. This ought not to be uniform; but dif. ferent at the clofe of different fentences. But in interrogative fentences, the fenfe often requiresthe clofing word or fyllable to be pronounced with an elevated voice. This, however, is only when the last word is emphati cal, as in this queftion:" Betrayeft thou the fon of man with a kifs ?" Here the fubject of enquiry is, whether the common to. ken, of love and benevolence is prostituted to the purpose of treachery; the force of the queftion depends on the last word, which is therefore to be pronounced with an elevation of voice. But to this question, "Where is boating then?" the emphati cal word is boasting, which of course requires an elevation of the voice. : * We may obferve that good fpeakers always pronounce upon a certain key for although they modulate the voice according to the various ideas they exprefs, yet they retain the fame pitch of voice. Accent and emphafis require no elevation of the voice, but a more forcible expreffion of the fame key. Cadence refpects the laft fyllable only of a fentence; which fyllab'e is actually pronounced with a lower tone of voice; but when words of feveral fyllables clofe a period, all the fyllables but the laft are pronounced on the fame key as the reft of the fentence. The moft natural pitch of voice is that which we fpeak in ordinary converfation. Whenever the voice is raifed above this key, pronunciation is difficult and fatiguing. There is a difference between a loud and an high voice. A perfon may fpeak much louder than he does in ordinary difcourfe, with out an elevation of voice; and may be heard diftin&tly upon the fame key, either in a private room or in a large affembly. RULE IV. Let the fentiments you exprefs be accompanied with proper tones, looks and geltures. By tones I mean the various modulations of voice by which we naturally exprefs the emotions & paffions. By looks I mean the expreffion of the emotions and paffions in the countenance. Geflures are the various motions of the hands or body, which correfpond to the feveral fentiments and paffions which the fpeaker defigns to exprefs. All these fhould be perfectly natural. They fhould be the fame which we ufe in common converfation. A fpeaker should endeavor to feel what he fpeaks; for the perfection of reading and fpeaking is, to pronounce the words as if the fentiments were our own. If a perfon is rehearing the words of an angry man, he fhould affume the fame furious looks, his eyes fhould flash with rage, his geftures fhould be violent, and the tone of his voice threatening. If kindnefs is to be expreffed, the countenance Thould be calm and placid, and wear a fmile-the tone should be mild, and the motion of the hand inviting. An example of the firft, we have in thefe words: "Depart from me, ye curfed, into everlafting fire, prepared for the devil and his angels." Of the laft in these words: "Come, ye bleffed of my Father, inherit the kingdom prepared for you from the foun dation of the world." A man who should repeat thefe differ ent paffages with the fame looks, tones and getures, would pafs with his hearers for a very injudicious fpeaker. The whole art of reading and fpeaking, all the rules of eloquence may be comprised in this concife direction: Let a reader or a speaker exprefs every word as if the fentiments were his own. General directions for expreffing certain paffions or fentiments. Mirth or laughter opens the mouth, crifps the nofe, leffens the aperture of the eyes, and fhakes the whole frame, Perplessity draws down the eye-brows, hangs the head, caft down the eyes, clofes the eye lids, shuts the mouth, and pinches the lip then fuddenly the whole body is agitated, the per. fon walks about bulily, ftops abruptly, talks to himself, &c. Vexation adds to the foregoing complaint, fretting and la menting. -Pity draws down the eye-brows, opens the mouth and draws together the features. Grief is expreffed by weeping, ftamping with the feet, lifting up the eyes to heaven, &c. Melancholy is gloomy and motionlefs, the lower jaw falls, the eyes are calt down and haff fhut, words few and interrupted with fighs. Fear opens the ́cyes and mouth, shortens the 'nofe, draws down the eye-brows, gives the countenance an air of wildness; the face becomes pale, the elbows are drawn back parallel with the fides, one foot is drawn back, the heart beats violently, the breath is quick, the voice weak and trembling. Sometimes it. produces fhrieks and fainting. Shame turns away the face from the beholders; covers it with blushes, calts down the head and eyes, draws down the eye. brows, makes the tongue to faulter, or frikes the perfon dumb. Remorfe cafts down the countenance & clouds it with anxiety. Sometimes the teeth gnash and the right hand beats Ale breaft. Courage fteady and cool, opens the countenance, gives the whole form an erect and graceful air. The voice is firm, and the accent frong and articulate. Boating is loud and bluftering. The eyes ftare, the face is red and bloated, the mouth pouts, the voice is hollow, the arms akimbo, the head nods in a threatening manner, the right fift fometimes clenched and brandifhed. Pride affumes a lofty look, the eyes open, the mouth pouting, the lips pinched, the words flow and tiff, with an air of importance, the arms akimbo, and the legs at a diftance, or ta king large ftrides. Authority opens the countenance, but draws down the eye" brows a little, for as to give the perfon an air of gravity. Commanding requires a peremptory tone of voice and a fevere look, Inviting is expreffed with a fmile of complacency, the hand with the palm upwards, drawn gently towards the body. Hope brightens the countenance, arches the eye-brows, gives the eyes an eager wishful look, opens the mouth to half a mile, bends the body a little forward. Love lights up a smile upon the countenance; the forehead is fmoothed, the eye brows arched, the mouth a little open and fmiling, the eyes languifhing, the countenance afumes an enger wifhful look, mixed with an air of fatisfaction. The accents are foft and winning, the tone of the voice flattering Wonder opens the eyes, and makes them appear prominent→→ The body is fixed in a contracted stooping posture, the mouth open, the hands often raifeds Wonder at firt ftrikes a per fon dumb; then breaks forth into exclamations, Curiofity opens the eyes, and mouth, lengthens the neek, bends the body forward, and fixes it in one polture, &c. Anger is expreffed by rapidity, interruption, noife and trepi dation, the neck is stretched out, the head nodding in a threatening manner. The eyes red, staring, rolling, sparkling: the eye brows drawn down over them, the forehead wrinkled, the noltrils fretched, every vein fwelled, every mufcle trained. When anger is violent, the mouth is opened and drawn towarde the cars, fhewing the teeth in a goathing pofture; the feet ftamping, the right hand thrown out, threatening with a clenched filt, and the whole frame agitated. Peenifonefs is expreffed in nearly the fame manner, but with more moderation, the eyes a fquint upon the object of difpleaf ure; the upper lip drawn difdainfully. Malice fets the jaws, or gnashes with the teeth; fends flafhes from the eyes, draws the mouth towards the ears, clenches the fift, and bends the elbows. Envy is expreffed in the fame manner; but more moderately. Averfion turns the face from the object; the hands fpread out to keep it off. Jealousy fhews itfelf by reftleffnefs, peevifhaefs, thoughtfulnefs, anxiety, abfence of mind. It is a mixture of a variety of paffions, and affumes a variety of appearances. Contempt affumes a haughty air; the lips clofed and pouting. Modely or bumility bends the body forward, cafts down the cyes. The voice is low, the words few, and tone of utterance fubmiffive. EXAMPLES FOR ILLUSTRATION. Interrogation or queftioning. One day when the moon was under an eclipfe, the complain ed thus to the fun of the difcontinuance of his favors. My dearest friend, faid fhe, why do you not fhine on me ai you used to do? Do I not fhine upon the? faid the fun; I am very fure that I intended it. O no! replies the moon; but I now perceive the reason. I fee that dirty planet the earth has got betwixt us. Dodfley's Fables. Life is fhort and uncertain; we have not a moment to lofe. Is it prudent to throw away any of our time in tormenting ourfelves or others, when we have little for honeft pleasures? For. getting our weakness, we ftir up mighty enemies, and fly to wound as if we were invulnerable. Wherefore all this buftle and noife? The bett ufe of a fhort life, is to make it agreeable to ourselves and to others. Have you cause of quarrel with your fervant, your mafter, your king, your neighbor ? forbear a moment: death is at hand, which makes all equal. What has a man to do with wars, tumults, ambushes ? You would destroy your enemy? You lofe your trouble; death will do your business while you are at reft. And after all, when you have got your revenge, how fhort will be your joy or his pain! While we are among men let us cultivate humanity; let us not be the caufe of fear or pain to one another.-Let us def pife injury, malice and detraction; and bear with an equal mind fuch tranfitory evils. While we fpeak, while we think, death comes up and closes the scene, Art of Thinking. Wonder. Then let us hafte towards those piles of wonder Foy. Let this aufpicious day be ever facred No mourning, no misfortunes happen on it; Choose it to blefs their hopes and crown their wishes : Then is Oreftes bleft? My griefs are fled ! *Frenedu Fair Penitem: Diftreft Mothers |