1st, A period or compact sentence, is an asse blage of such words or members, as do not fo sense independent of each other; or, if they do, t former modify the latter, or inversely.-This se tence must be read with the rising inflexion, acco panied with the longest pause where the sense begi to form.

Examples.

To be ever active in laudable pursuits, is the d tinguished characteristic of a man of merit.

Ambition is the first and great cause of those tro bles, that tear and destroy the peace of the world.

The difference between a languid and vigorous e ertion of our fac'ulties, forms the chief point of di tinction between genius and dullness.

Where men of judgement creep and feel their way
The positive pronounce without delay.
Love, hope, and joy, fair pleasure's smiling train,
Hate, fear, and grief, the family of pain';
These mix'd with art, and to due bounds confin'd,
Make and maintain the balance of the mind.

2d, When compact sentences have their principa constructive parts connected with corresponding con junctions, the rising inflexion and the longest paus are required at the end of the first constructive mem ber, whether the corresponding conjunction be ex pressed or understood.

Examples.

Both conjunctions expressed.

As we must remember, that the riches, grandéûr, and reputation of the world, are not the greatest happiness we have to hope for; so earthly poverty,

obscurity, and meanness, are not the greatest evils we have to fear.

As you are not to fancy yourself a learned man, because you are blessed with a ready wit; so neither must you imagine, that large and laborious reading, and strong memory, can denominate you truly

wise.

Though the pure consciousness of worthy actions, abstracted from the views of popular applause be, to a generous mind, an ample reward; yet, the desire of distinction was undoubtedly implanted in our nature, as an additional incentive to exert ourselves in virtuous excellence.

Without the corresponding conjunction.

If men of eminence are exposed to censure on the óne hand, they are as much liable to flattery on the other.

Would a vain man consult his own heart, he would find, that if others knew his weakness as he himself does, he would not have the imprudence to expect the public esteem.

As words which are opposed to one another are always emphatic, and as emphasis controls all infléxion, it causes exceptions to almost all the general rules.

If we have no regard for religion in yoùth, we ought to have some for it in agé.

If we have no regard for our own' character, we ought to have some regard for the character of óth

ers.

Reading may be defined, the art of delivering writ ten language with propriety, force, and elegance.This, if not the simplest mode of public speaking, is among cultivated nations, the most useful and th easiest. Because, any man can, in this mode, delive the sentiments of the wisest of all ages and nations in language already prepared and approved; and the public speaker has, on ordinary occasions, only to pro nounce intelligibly, what he has before him; or, i he would perfectly discharge his office on higher occasions, impressively. Reading may be described under the following kinds, beginning from that which requires the lowest efforts of the talents of delivery, and proceeding to that which requires the highest, The scale of reading, will then be disposed thus : 1. Intelligible. 2. Correct. 3. Impressive. 4. Rhetorical. 5. Dramatic. 6. Epic.

The lowest degree of reading aloud for the information of others, which can be admitted as useful to the public, is that which is named intelligible reading. To a reader of this class, the following are the only requisites, good articulation, proper attention to pauses and accents, and sufficient effort of voice, to render himself audible to all concerned.

To the articulation, pauses, accent, and efforts of voice, necessary to render a reader fully intelligible, the correct reader must add something more; the additional requisites for him are emphasis, purity of pronunciation, and suitable demeanor. The correct reader must evince his own just conception of what he reads, by applying proper emphases, which serve as touches of light in a picture to bring forward the principal objects. He must study purity of pronunciation, that he may not offend, and distract the attention of his hearers, by diverting it from his subject, and turning it upon himself. Upon this princi. ple, it is necessary that he be most careful not to offend by affectation; which, even in a greater degree than provincial vulgarity itself, disturbs the attention

from the proper objects of public speaking, persuasion, and instruction.

In addition to the requisites necessary to the correct reader, the impressive reader must possess the following: expression of the voice, expression of countenance, direction of the eye, variety of manner as to rapidity of delivery, and rhetorical pauses.Hence, impressive reading comprehends two entire divisions of the art of delivery, the modulation of the voice, and the expression of the countenance; of gesture, the third division, it partakes but little, and that little, is very different from what is proper for

oratory.

Within the whole range, through which the exercise of this valuable talent, the art of reading, is extended, impressive reading will be found no where so requisite, as in delivering the Scriptures. Their composition is of that original and various character, which demands every effort on his part, who is called upon to deliver them for the instruction of others. Hardly is there a chapter, which does not contain something, which requires the most impressive reading; as remonstrance, threatening, command, encouragement, sublime description, awful judgements. The narrative is interrupted by frequent and often unexpected transitions; by bold and unusual figures; and by precepts of most extensive application, and most admirable use.

In the narrative, the reader should deliver himself with a suitable simplicity and gravity of demeanor. In the transitions, which are often rapid, he should manifest a quick conception, and by rhetorical pauses and suitable changes of voice, express and render intelligible, the new matter or change of scene. In the figurative and sublime, which every where abound, his voice should be sonorous, and his countenance expressive of the elevation of his subject. In the precepts, he should deliver himself with judgement and discretion; and when he repeats the words