7. Does he indulge in unbecoming transitions in pitch, as by changing too suddenly or too frequently from a very low and subdued, to a very high and loud tone?

8. Does he employ the different forms of stress, with suitable variety and proper effect?

9. Has he a good command of the swell and wave, of the expulsive radical, and the explosive radical stress? 10. Does he manage the voice with taste and judgment, in modulating the force to suit the sentiment?

11. Does he employ too much force, or not enough?

12. Does he give proper quantity to the open vowel sounds, the nasals, and liquids, without let..g them run into a singing or drawling tone?

13. Does he terminate sentences and pages in which the sense is complete, with a correct and pleasing cadence? 14. Does he mark his parentheses, paragraphs, and changes of subjects, by proper changes in pitch, force, stress, quantity, quality, and movement!

15. Does he speak too fast, or too slow, or has he uniformly about the same rate of utterance?

16. In interrogation, does he look and speak as if he were really asking a question, and felt interested in the answer he might receive?

17. In narration, are his looks, tone, and manner, such as you can conceive they would be, were he relating some part of his own experience?

18. When he attempts a description, does he proceed as though he had himself seen, heard, felt, or ir oy way known that which he tries to describe?

19. In didactic discourse, is his manner colloquial and familiar, as though he were actually engaged in imparting instruction?

20. Does he bring out the meaning of the author from whom he reads, or express his own sentiments in an elegant, forcible, clear, impressive, and appropriate manner?

21. Do his tone and manner indicate that he understands and feels what he says; or is there any thing in his de. livery which excites the suspicion that he does not under stand his subject, or that he is not sincere?

Kidd.-8

.22. Does he have a style of his own, or does he try to imitate the style of another?

23. In reading or declamation, is his manner earnest and natural, or does he try to make too much of his piece, by the exhibition of unnecessary passion or excitement?

24. What are the distinguishing peculiarities of his manner? Is he pedantic, pompous, timid, theatrical, ministerial, effeminate, manly, irascible, simpering, impudent, sullen, tame, vehement, conceited, or affected?

25. Is he addicted to mouthing, sniffling, ranting, whining, or any other improper habit, in reading or speaking? 26. When he attempts to portray passion, are the tones of his voice, his look, gestures, and action appropriate to the sentiment expressed?

27. In imitation and personation, does he give distinct individuality to the character he personates?

28. Does he appear to have a clear and correct conception of the subject of his personation? If not, in what does his fault consist?

29. Are the expression of the face, the position of the head, the attitude, and the action, suited to the subject and the occasion?

30. Do his look, tone, and manner change with the sentiment, or do his features bear the same expression, and his attitude and action continue essentially the same?

31. Does he look his audience in the face, or does he cast his eye upon vacancy or let it wander in every direction but the right one?

32. In his reading, declamation, and extemporaneous utterance of his own thoughts, dees he seem to understand and make a proper application of the rules and principles. explained and illustrated in the preceding pages of this treatise?

CONCLUSION.

In conclusion, I commend the careful study of "Hamlet`s advice to the players," to every one who desires to become an accomplished reader, or an elegant speaker. It is, in itself, a compendium of Elocutionary instruction

HAMLET'S ADVICE TO THE PLAYERS.

Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue. But, if you mouth it, as many of our players do, I had as lief the town-crier had spoken my lines. And do not saw the air too much with your hands; but use all gently: for, in the very torrent, tem. pest, and, as I may say, WHIRLWIND of your passion, you must beget a temperance that will give it smoothness.

Oh! it offends me to the soul, to hear a robustious, periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the GROUNDLINGS; who (for the most part) are capable of nothing but inexplicable dumb shows and noise. Pray you avoid it.

Be not too TAME, either; but let your own discretion be your tutor. Suit the action to the word, the word to the action-with this special observance, that you o'erstep not the modesty of nature; for any thing so overdone, is from the purpose of playing; whose end is, to hold, as it were, the mirror up to nature: to show virtue her own feature, scorn her own image, and the very age and body of the times, their form and pressure.

Now, this overdone, or come tardy off, though it may make the unskillful laugh, can not but make the judicious. grieve; the censure of one of which, must, in your allowance, outweigh a whole theater of others. Oh! there are players that I have seen play, and heard others praise, and that, highly-not to speak it profanely-who, having neither the accent of Christian, nor the gait of Christian, pagan, nor man, have so strutted and bellowed, that I have thought some of Nature's journeymen had made men, and not made them well, they imitated humanity so abominably.

SHAKSPEARE.

MODULATION.

1. 'Tis not enough the voice be sound and clear, "T is modulation that must charm the ear.

That voice all modes of passion can express,
Which marks the proper word with proper stress:
But none emphatic can that speaker call,
Who lays an equal emphasis on all.

Some, o'er the tongue the labored measures roll
Slow and deliberate as the parting toll;
Point every stop, mark every pause so strong,
Their words like stage processions stalk along.

2. All affectation but creates disgust;
And e'en in speaking, we may seem too just.
In vain for them the pleasing measure flows
Whose recitation runs it all to prose;
Repeating what the poet sets not down,
The verb disjointing from its favorite nou,
While pause, and break, and repetition join
To make a discord in each tuneful line.

3. Some placid natures fill the allotted scene
With lifeless drawls, insipid and serene;
While others thunder every couplet o'er,
And almost crack your ears with rant and roar.
More nature oft, and finer strokes are shown
In the low whisper, than temptestuous tone;
And Hamlet's hollow voice and fixed amaze,
More powerful terror to the mind conveys,
Than he, who, swollen with impetuous rage,
Bullies the bulky phantom of the stage.

4. He who, in earnest, studies o'er his part,
Will find true nature cling about his heart.
The modes of grief are not included all
In the white handkerchief and mournful drawl'
A single look more marks the internal woe,
Than all the windings of the lenghtened Oh!
Up to the face the quick sensation flies,
And darts its meaning from the speaking eyes:
Love, transport, madness, anger, scorn, despair,
And all the passions, all the soul is there.

LLOYD.

EXERCISES.

NARRATIVE AND DESCRIPTIVE.

EXERCISE I.-A PROVIDENTIAL GUEST.

1. A WIDOW at Dort, iu Holland, who was very industri. ous, was left by her husband with a comfortable house, some land, and two boats for carrying merchandise and passengers on the canals. She was also supposed to be worth ten thousand guilders in ready money, which she employed in a sail-cloth manufactory for the purpose of increasing her fortune, and instructing her children, a son and two daughters, in useful branches of business.

2. One night, about nine o'clock, in the year 1785, a person dressed in uniform, with a musket and broad-sword, came to her house, and requested lodging. "I let no lodgings, friend," said the widow; "and besides I have no spare bed, unless you sleep with my son, which I think very improper, on account of your being a perfect stranger to us all." The soldier then showed a discharge from Dicsbach's regiment, signed by the major, who gave him an excellent character, and a passport from the governor of Breda. The widow, believing the stranger to be an honest man, called her son, and asked him if he would accommodate a veteran, who had served the republic thirty years with reputation, with part of his bed. The young man consented; the soldier was accordingly hospitably entertained, and at a seasonable hour withdrew to rest.

3. Some hours afterward, a loud knock was heard at the street door, which roused the soldier, who moved softly down stairs, and listened at the hall-door, when the blows were repeated, and the door almost broken through by

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