I LIBRARY OF CONGRESS.* $ |tap- |°P8"SW |Io ! I UNITED STATES OP AMERICA, f $mpt ^nsitimi. Smprnpw ^raitum. ^rnpEt ^nsittra. Smprnprr ^nsitinn. ,1" IMPROPER POSITION. PROPER POSITION. NATIONAL SCHOOL SERIES. INTRODUCTORY LESSONS IN EEADIIG AID ELOCUTION. f art fxttt LESSONS IN READING, BY RICHARD GREENE PARKER, AUTHOR OF NATIONAL SERIES OF SCHOOL READERS, AIDS TO ENGLISH COMPOSITION, SCHOOL COMPENDIUM OF NATURAL PHILOSOPHY, ETC. ^nrt hint. y^/i^fr^r LESSONS IN ELOCUTION, BY jfC^ZACHOS, (m nattbe ©fteefc,) AUTHOR OF NEW AMERICAN SPEAK E-R . NEW YORK: -PUBLISHED BY A. S. BARNES & CO. NO. 51 JOHN-STREET. CINCINNATI: — H. W< DERBY & CO. 1852, ^\\ Entered according to Act of Congress, ill tbe year 1352, By A. 8. BAENES & CO. In the Clerk's Office of the District Court of the United States, for the Southern District of New York. A. S BARNES & Co., Printers, Corner of .' obn and Dutch streets. PREFACE. The principal difficult}", in teaching the art of Reading, lies in conveying to the pupil a clear idea of tone, modulation, and inflection of the voice. If the teacher can induce the pupil to inflect his voice at all, he will find little difficulty in teaching him to modulate it rightly. Nature directs every one in this, in common conversation, with unerring precision. It is only, there fore, by "holding the mirror up to Nature," that the teacher can expect to see her as she is. Few teachers have not noticed the animation and correctness with which even young children will modulate the colloquial parts of their story-books. But the same children almost invariably fall into a lifeless, monotonous manner, when performing their portioned tasks in their reading- books at school. This arises from no want of excellent selections for exer- cises in Reading. But a wide distinction is to be drawn between a lesson and an exercise. We have many selections abounding in all the beauties of taste, learning, and judgment ; which may, with great advantage, be put into the hands of the pupil, after he has been taught the art of reading; but I have met with none, designed for the general classes of learners, which have combined instruction with practice. It has been thought that directions for the management of the voice in reading would be lost upon young learn- ers, and that they are suitable for them only whose riper powers and more matured intellect better fit them for their reception, But it seems to have been forgotten, how easily children are taught to imitate. If, in connection with some colloquial sentence, another of less obvious import be given, requiring the same modulations and infections of the voice, the child natur- ally catches the true manner of modulating the latter, from the former. It is upon this principle of imitation and analogy combined, that many of the lessons in this volume are founded. The author has been convinced, by experience, in the institution under his charge, that the principle is a good one ; and experience, he thinks, does not often deceive. Whether the details if the plan are judiciously executed, is for others to decide. Such being the plan of the work, the author has thought it inexpedient to encumber its pages with rules, definitions, or explanatory details ; because it has been fully proved that how simple soever a rule may be, the pupil will not readily apply it, unless particularly directed by the teacher ; and if nature and analogy will direct him to a correct and rhetorical modulation, rules and definitions become superfluous. A great deficiency in all our reading-books remains to be supplied. The 1* VI PREFACE. Spelling-book and the Grammar furnish copious explanations of the pauses and other marks used in written language. But there is no elementary work, designed for common schools, which affords particular exercises for the management of those important marks. The author has endeavored, in the iirst part of this volume, to supply this remarkable defect ; and he believes, that, how much soever others may differ from him in the analogies which he has traced, in the subsequent lessons, between "the models" and the exer- cises under the models, he is justly entitled to the credit of having originated the two important principles above mentioned, upon which the plan of the work is founded ; and he is encouraged, not only by experience, but by the confident opinion of many judicious friends, to whom the plan has been unfolded, to believe that this volume, assisted by the familiar explanations of the teacher, will serve as a better introduction to the art of Reading than a more labored treatise formed on rhetorical rule. A lesson is first devoted to each of the respective pauses and other marks, and the pupil is then led by progressive steps, in the subsequent lessons, from the simplest sentences, requiring little attention to pause, emphasis, or inflection of the voice, to those which involve the highest exertions of taste and intellect. Lilac Lodge, Dedham, Mass., INTRODUCTION. As a large portion of this volume is devoted to a consideration of the pauses and other marks usually employed in written language, and the notice which should be taken of them in the correct and judicious enun- ciation of the sentences in which they are respectively used, a few intro- ductory remarks respecting their nature and the origin of their names may not, perhaps, be deemed superfluous by those who use the book. Punctuation is peculiar to the modern languages of Europe. It was wholly unknown to the Greeks and Romans ; and the languages of the East, although they have certain marks or signs to indicate tones, have no regular system of punctuation. The Romans and the Greeks also, it is true, had certain points, which, like those of the languages of the East, were confined to the delivery and pronunciation of words- but the pauses were indicated by breaking up the matter into lines or para- graphs, not by marks resembling those in the modern system of punc- tuation. Hence, in the responses of the ancient oracles, which were generally written down by the priests and delivered to the inquirers, the ambiguity — intentional, doubtless — which the want of punctuation caused, saved the credit of the oracle, whether the expected event was favorable or unfavorable. As an instance of this kind, may be cited that remarkable response which was given on a well known occasion when the oracle was consulted with regard to the success of a certain military expedition. '■'Ibis et redibis nunquam peribis in bello." "Written, as it was, without being pointed, it might be translated either " Thou shalt go } and shalt never return, thou shalt perish in battle/' or u . Thou shalt go and shalt return, thou shalt never perish in battle.*' The correct trans- lation depends on the placing of a comma after the word nunquam. or after redibis. The invention of the modern system of punctuation has been attrib- to the Alexandrian grammarian Aristophanes, after whom it was improved by succeeding grammarians ; but it was so entirely lost in the time of Charlemagne that he found it necessary to have it restored by "Warnefried and Alcuin. It consisted at first of only one point, used in three ways, and sometimes of a stroke, both being formed in several ways. But as no particular rules were followed in the use of these signs, punctuation was exceedingly uncertain, until the end of the fifteenth 8 INTRODUCTION. century, when the learned Venetian printers, the Manutii, increased the number of the signs, and established some fixed rules for their applica- tion. These were so generally adopted, that we may consider them as the inventors of the present method of punctuation; and although mod- ern grammarians have introduced some improvements, nothing but some particular rules have been added since that time. The design of the system of Manutius was purely grammatical, and had no further reference to enunciation, than to remove ambiguity in the meaning and to give precision to the sentence. This, therefore, is the object of punctuation, and although the marks employed in written language may sometimes denote the different pauses and tones of voice which the sense and an accurate pronunciation require, yet they are more generally designed to mark the grammatical divisions of a sen- tence, and to show the dependence and relation of words and members which are separated by the intervening clauses. The teacher, therefore, who directs his pupils to "mind their pauses in reading," gives but an unintelligible direction to those who are unversed in the rules of analysis. A better direction would be to disregard the pauses, and endeavor to read the sentence with just such pauses and tones as they would employ if the sentence were their own, and they were uttering it in common con- versation. The truth of this remark will abundantly appear by a refer- ence to the ninth lesson of this volume, and the directions given in relation to the comma. Indeed it is often the case that correct and tasteful reading requires pauses, and those too of a considerable length, to be made, where such pauses are indicated in written language by no mark whatever. [See Lesson X] In like manner it will appear, from an inspection of the latter part of rne ninth lesson, that it is not unfrequently the case that the sense will allow no pause whatever to be made in cases where, if the marks alone were observed, it would seem that a pause of considerable length is required. The pupil, therefore, who has been taught to mind his pauses. must first be taught to unlearn this direction, and endeavor to understand the sentence which he is to read before he attempts to enunciate it. The characters employed in written language are the following : The Comma, ) The Hyphen, - The Semicolon, 5 The Breve, ~ The Colon, The Apostrophe, ? The Period, The Dash, The Brace, i The Exclamation, T The Acute Accent, / The Interrogation, ? The Grave Accent, \ The Quotation Marks, u » The Circumflex Accent, (\ The Diaeresis, The Caret, A The Crotchets, () The Cedilla, 5 The Brackets, [] The Asterisk, # INTRODUCTION. 9 The Section, § The Paragraph, "ft ###### The Obelisk or Dagger, The Double Obelisk or Double Dagger, i * The Parallels, The Ellipsis, sometimes expressed by Periods, thus, " « sometimes by Hyphens, thus, " " sometimes by Asterisks or Stars, thus, " " sometimes by a Dash prolonged, thus, These characters, when judiciously employed, fix the meaning and give precision to the signification of sentences, which, in a written form, would be ambiguous or indefinite without them. Thus, " I said that he is dishonest it is true and I am sorry for it." Now the meaning of this sentence can be ascertained only by a correct punctuation. If it be punctuated as follows: "I said that he is dishonest, it is true, and I am sorry for it ;" the meaning will be, that it is true that I said he was dishonest, and I am sorry that I said so. But if it be punctuated thus, il I said that he was dishonest ; it is true ; and I am sorry for it ;" the meaning will be, I said that he was dishonest; it is true that he was dishonest, and I am sorry that he was so. Again, the following sentence, as here punctuated, is an innocent re- mark : " Believing Richard Brothers to be a prophet sent by God, I have painted his portrait." But the sentence as it was originally written by its author, with the comma after sent, instead of after God, was a piece of horrid profanity. A further instance of the importance of correct punctuation was afforded by a late advertisement, in which the commissioner for lighting one of the most commercial cities of Europe, by the misplacing of a comma in his advertisement, would have contracted for the supply of but half the required light. The advertisement represented the lamps as "4050 in number, having two spouts each, composed of not less than twenty threads of cotton." This expression implied that the lamps had each two spouts, and that the two spouts had twenty threads, that is, each spout had ten threads. But the meaning that the commissioner intended to convey was, that each, spout had twenty threads ; and his advertisement should have had the comma after " spouts/'' instead of after "each," thus: The lamps have two spouts, each composed of twenty threads, ccc. These instances will suffice to illustrate the nature and the importance of correct punctuation. But although the meaning of a sentence is thus materially affected by the punctuation, it will be seen in the following lessons that the punc- tuation alone is an unsafe guide to follow in the enunciation of any collection of words. For, in many cases, these marks indicate no pause, emphasis, or other remarkable circumstance requiring notice in the enun- ciation of the sentence. [See Lesson IX., latter part.] The nature of the marks used in written language may also be under stood by a reference to the origin of their names. 10 INTRODUCTION. The word Comma is derived from the Greek language, and properly designates a segment, section, or part cut off from a complete sentence. In its usual acceptation, it signifies the point which marks the smaller segments or portions of a period. It therefore represents the shortest pause, and consequently marks the least constructive, or most dependent parts of a sentence. The word colon is from the Greek, and signifies a member, and the Latin prefix semi means half. A Semicolon is used for the purpose of pointing out those parts of a compound sentence, which, although they Rach constitute a distinct proposition, have yet a dependence upon each Mher, or on some common clause. The Colon is used to divide a sentence into two or more parts, which, ilthough the sense be complete in each, are not independent. The word Period is derived from the Greek, and means a circuit. When the circuit of the sense is completed, with all its relations, the mark bearing this name is used to denote this completion. The word Interrogation is derived from the Latin, and means a ques Hon. The word Exclamation is from the same language, and means a pas donate utterance. The word Parenthesis is derived from the Greek language, and means an insertion. A sentence, clause, or phrase, inserted between the parts of another sentence for the purpose of explanation, or of calling particu- lar attention, is properly called a parenthesis. It is to be remarked, however, that the name parenthesis belongs only to the sentence inserted between brackets or crotchets, and not to those marks themselves. The word Hyphen is derived from the Greek language, and signifies under one, that is, together ; and is used to imply that the letters or sylla bles between which it is placed are to be taken together as one word. The hyphen, when placed over a vowel, to indicate the long sound ot the vowel, is called the Macron, from the Greek, signifying long. The mark called a Breve, indicating the short sound of the vowel, is from the Latin, signifying short. The word Ellipsis, also from the Greek, means an omission, and prop- erly refers to the words, the members, or the sentences which are omitted, and not to the marks which indicate the omission. The word Apostrophe, also from the Greek, signifies the turning away, or the omission of one letter or more.* The word Diccresis is also from the Greek, and signifies the taking apart, or the separation of the vowels, which would otherwise be pro- nounced as one syllable. The term Accent is derived from the Latin language, and implies the tone of the voice with which a word or syllable is 'to be pronounced. * The word Apostrophe, as here used, must not be confounded with the same word as the name of a rhetorical figure. INTRODUCTION. 11 The word Section, derived also from the Latin, signifies a cutting, or a division. The character which denotes a section seems to be com- posed of ss, and to be an abbreviation of the words signum sectionis, or the sign of a section. This character, which was formerly used as the sign of the division of a discourse, is now rarely used except as a refer- ence to a note at the bottom of the page. The word Paragraph is derived from the Greek language, and signi- fies an ascription in the margin. This mark, like that of the section, was formerly used to designate those divisions of a section which are now indicated by unfinished lines or blank spaces. This mark, as well as the section, is now rarely used except as a reference. It may further be remarked, that notes at the bottom of the page, on the margin, or at the end of the book, are often indicated by figures, or by letters, instead of the marks, which have already been enumerated. The word Caret is from the Latin, and signifies it is wanting. This mark is used only in manuscript. The Cedilla is a mark placed under the letters c and g to indicate the soft sound of those letters. The Asterisk, Obelisk, Double Obelisk, and Parallels, with the section and paragraph, are merely arbitrary marks to call attention to the notes at the bottom of the page. As these marks which have now been enumerated all have a meaning, and are employed for some special purpose, it is recommended to the teacher never to allow the pupil to pass by them without being assured that he or she understands what that purpose is. Correct and tasteful reading can never be attained without a full appreciation of the meaning which the author intended to convey ; and that meaning is often to be ascertained by the arbitrary marks employed for the purpose of giving definiteness to an expression. At the same time the teacher should be careful that the pupil shall consider these marks as his guide to the meaning only, not to the enunciation, of a sentence. Correct delivery must be left to the guidance of taste and judgment only. In many excellent selections for lessons in reading, the pieces have been arranged in regular order, according to the nature of their respective subjects, under the heads of Narrative, Descriptive, Didactic, Argument- ative and Pathetic pieces, Public Speeches, Promiscuous pieces, the Eloquence of the Bar, of the Pulpit, and of the Forum. By Narrative pieces is meant those pieces only which contain a simple narration. Descriptive pieces are those in which something is described. Didactic pieces are those designed to convey some particular kind of instruction, whether moral, religious, or scientific. Argumentative pieces are those in which some truth is designed to be proved. Pathetic pieces are those by which the feelings of pity, love, admiration and other passions, are excited. Promiscuous pieces are those which fall under none of the classes which have been enumerated, or consist of a mixture of those classes. The Eloquence of the Bar consists of speeches (or 12 INTRODUCTION. pleas, as they are technically called) made by distinguished lawyers in the courts of justice in favor of or against a supposed criminal. The Eloquence of the Pulpit consists of sermons or discourses delivered on religious occasions. The Eloquence of the Forum consists in the speeches, addresses, orations, &c, addressed to political or promiscuous assemblies. To many, this information may seem superfluous or puerile. But as this volume is designed for the young and the unlettered, it must not be forgotten that their sources of information are few, and that they will not always take the pains to inform themselves of the meaning of words, even when they are familiar to their eyes in capital letters, and in the running titles of the books before them every day. It is often the case, that the teacher also, taking for granted that his pupils are familiar with the meaning of words so often presented to their eyes, neglects to ques- tion them on the subject ; and in riper years it becomes a matter of surprise to the pupil himself, that, in early life, words which he had heard sounded almost every day at school presented no idea to his mind beyond that of an unmeaning, or rather an unintelligible sound. The object of all education is not so much to fill the mind with knowl- edge as to strengthen its powers, and enlarge its capacity. Those exer- cises, therefore, are always most beneficial, in all education, which tend most effectually to this result. There is, perhaps, no branch of study connected with popular education, which, when properly pursued, is more highly subservient to this end than the study of correct and tasteful reading, as an art. It necessarily involves a complete knowledge of the subject to be read, the relation and dependences of the phrases, clauses, and members of the sentences, the proper mean- ing of the words employed, and the connection between the sentences themselves. This cannot be acquired without a vigorous employment of the perceptive powers, aided by those of comparison, of analysis, of reasoning, of judgment, of taste, and of discrimination. Subordinate and auxiliary to the acquisition of this important art, on the part of the pupil, it is here recommended that the teacher should exercise also the power of classification, by requiring his pupils, while studying a reading lesson, (which, by the way, always should be studied, previous to practis- ing it,) to ascertain and to inform his teacher under which of the above mentioned classes, whether narrative, descriptive, didactic, &c, the piece he is about to read belongs. The teacher who thus employs the faculties of his pupils cannot fail to see a vigorous growth of intellect springing up under his culture, and will be amply compensated for such mortifica- tions as may occasionally arise during formal examinations from the treachery of the youthful memory, or the want of a prcper command over its stores. One of the best selections of reading lessons which has been in use in the common schools of this country is that of Mr. Lindley Murray, called " The English Reader." Whether estimated by its moral and INTRODUCTION. 13 religious tone, or by the taste and beauty of the selections, it must equally command the approbation of all to whom the subject of educa- tion is consigned. It is true that the compiler had not learnt the modern art of selecting from the productions of editors, members of school com mittees, and others, whose vanity might, perhaps, aid the circulation of his work, — but he has made ample amends for this kind of neglect, by presenting the choicest gems of English literature, selected from the brightest stars of that galaxy familiarly known as the British classics. His introductory tract, for many of the observations in which he has acknowledged his indebtedness to Dr. Blair and to the Encyclopedia Britannica, contains so much valuable instruction on the art of reading, that the author of this work is persuaded that he cannot render better service than by presenting it entire. Many of the suggestions, it will be seen, are followed out in the introductory lessons in this volume 5 but as all information becomes the better fixed by repetition, such repetition will, to say the least, be pardonable, even though it maybe deemed superfluous. "OBSERVATIONS ON THE PRINCIPLES OF GOOD READING "To read with propriety is a pleasing and important attainment, productive of improvement both to the understanding and the heart. It is essential to a complete reader, that he minutely perceive the ideas, and enter into the feelings of the author, whose sentiments he professes to repeat : for how is it possible to represent clearly to others, what we have but faint or inaccurate conception of ourselves ? If there were no other benefits resulting from the art of reading well, than the necessity it lays us under of precisely ascertaining the meaning of what we read, and the habit thence acquired of doing this with facility, both when reading silently and aloud, they would constitute a sufficient compensa- tion for all the labor we can bestow upon the subject. But the pleasure derived to ourselves and others from a clear communication of ideas and feelings, and the strong and durable impressions made thereby on the minds of the reader and the audience, are considerations T.'hich give additional importance to the study of this necessary and useful art. The perfect attainment of it doubtless requires great attention and prac- tice, joined to extraordinary natural powers; but as there are many degrees of excellence in the art, the student whose aims fall short of perfection will find himself amply rewarded for every exertion he may think proper to make. " To give rules for the management of the voice in reading, by which the necessary pauses, emphasis, and tones, may be discovered and put in practice, is not possible. After all the directions that can be offered on these points, much will remain to be taught by the living instructor : much will be attainable by no other means than the force of example, influencing the imitative powers of the learner. Some rules and princi- ples on these heads will, however, be found useful, to prevent erroneous and vicious modes of utterance ; to give the young reader some taste for the subject ; and to assist him in acquiring a just and accurate mode of delivery. The observations which we have to make, for these pur- poses, may be comprised under the following heads : Proper Loudness of Voice; Distinctness ; Slowness ; Propriety of 'Pronunciation ; Emphasis; Tones ; Pauses ; and Mode of Reading Verse. 2 14 INTRODUCTION. "proper loudness of voice. * The first attention of every person who reads to others, doubtless, must be to make himself heard by all those to whom he reads. He must endeavor to fill with his voice the space occupied by the company. This power of voice, it may be thought, is wholly a natural talent. It is, in a good measure, the gift of nature ; but it may receive considerable assistance from art. Much depends, for this purpose, on the proper pitch and management of the voice. Every person has three pitches in his voice ; the high, the middle, and the low one. The high is that which he uses in calling aloud to some person at a distance. The low is when he approaches to a whisper. The middle is that which he employs in common conversation, and which he should generally use in reading to others. For it is a great mistake, to imagine that one must take the highest pitch of his voice, in order to be well heard in a large company. This is confounding two things which are different — loudness or strength of sound, with the key or note in which we speak. There is a, variety of sound within the compass of each key. A speaker may, therefore, render his voice louder, without altering the key ; and we shall always be able to give most body, most persevering force of sound, to that pitch of voice to which in conversation we are accustomed. Whereas by setting out on our highest pitch or key, we certainly allow ourselves less compass, and are likely to strain our voice before we have done. We shall fatigue ourselves, and read with pain ; and whenever a person speaks with pain to himself, he is always heard with pain by his audience. Let us, therefore, give the voice full strength and swell of sound ; but always pitch it on our ordinary speaking key. It should be a constant rule never to utter a greater quantity of voice than we can afford without pain to ourselves, and without any extraordinary effort. As long as w r e keep within these bounds, the other organs of speech will be at liberty to discharge their several offices with ease ; and we shall always have our voice under command. But whenever we transgress these bounds, we give up the reins, and have no longer any manage- ment of it. It is a useful rule too, in order to be well heard, to cast our eye on some of the most distant persons in the company, and to con- sider ourselves as reading to them. We naturally and mechanically utter our words with such a degree of strength as to make ourselves be heard by the person whom w T e address, provided he is within the reach of our voice. As this is the case in conversation, it will hold also in reading to others. But let us remember, that in reading, as well as in conversation, it is possible to offend by speaking too loud. This extreme hurts the ear, by making the voice come upon it in rumbling, indistinct masses. "By the habit of reading, when young, in a loud and vehement man- ner, the voice becomes fixed in a strained and unnatural key ; and is rendered incapable of that variety of elevation and depression w r hich constitutes the true harmony of utterance, and affords ease to the reader, and pleasure to the audience. This unnatural pitch of the voice, and disagreeable monotony, are most observable m persons who w r ere taught to read in large rooms ; w r ho w r ere accustomed to stand at too great a distance, when reading to their teachers ; whose instructors were very imperfect in their hearing ; or w 7 ho were taught by persons who con- sidered loud expression as the chief requisite in forming a good reader. These are circumstances which demand the serious attention of every one to whom the education of youth is committed. INTRODUCTION. * DISTINCTNESS. 15 * n t±e next place, to being -well heard and clearly understood, dis- hnctntaJ of am- ulation contributes more than mere loudness of sound. The quantity oi sound necessary to fill even a large space is smaller than is commonly imagined; and, with distinct articulation, a person with a weak voice will make it reach further than the strongest voice can reach without it. To this, therefore, every reader ought to pay great attention. He must give every sound which he utters its due propor- tion ; and make every syllable, and even every letter, in the word which he pronounces, be heard distinctly : without slurring, whispering, or suppressing, any of the proper sounds. (< An accurate knowledge of the simple, elementary sounds of the lan- guage, and a facility in expressing them, are so necessary to distinctness of expression, that if the learners attainments are, in this respect, im- perfect, (and many there are in this situation.) it will be incumbent on his teacher to carry him back to these primary articulations ; and to suspend his progress till he become perfectly master of them. It will be in vain to press him forward, with the hope of forming a good reader, if he cannot completely articulate every elementary sound of the lan- guage. "due degree of slowness. "In order to express ourselves distinctly, moderation is requisite with regard to the speed of pronouncing. Precipitancy of speech confounds all articulation, and all meaning. It is scarcely necessary to observe, that there may be also an extreme on the opposite side. It is obvious that a lifeless, drawling manner of reading, which allows the minds of the hearers to be always outrunning the speaker, must render every such performance insipid and fatiguing. But the extreme of reading too fast is much more common ; and requires the more to be guarded against, because, wruen it has grown into a habit, few errors are more difficult to be corrected. To pronounce with a proper degree of slow- ness, and with full and clear articulation, is necessary to be studied by all, who wish to become good readers ; and it cannot be too much recommended to them. Such a pronunciation gives weight and dignity to the subject. It is a great assistance to the voice, by the pauses and rests which it allows the reader more easily to make : and it enables the reader to swell all his sounds, both with more force and more harmony. "propriety of pronunciation. " After the fundamental attentions to the pitch and management of the voice, to distinct articulation, and to a proper degree of slowness of speech, what the young reader must, in the next place, study, is pro- priety of pronunciation ; or, giving to ever" word which he utters that sound which the best usage of the languagt .appropriates to it ; in oppo- sition to broad, vulgar, or provincial pronunciation. This is requisite both for reading intelligibly, and for reading with correctness and ease. Instructions concerning this article may be best given by the living teacher. But there is one observation, which it may not be improper here to make. In the English language, every word which consists of more syllables than one has one accented syllable. The accents rest sometimes on the vowel, sometimes on the consonant. The genius of the language requires the voice to mark that syllable by a stronger percussion, and to pass more slightly over the rest. Now, after we have 16 INTRODUCTION. learned the proper seats of these accents, it is an important rule, tc give every word just the same accent in reading as in common dis- course. Many persons err in this respect. When they read to others and with solemnity, they pronounce the syllables in a different manner from what they do at other times. They dwell upon them and protract them ; they multiply accents on the same word, from a mistaken notion, that it gives gravity and importance to their subject, and adds to the energy of their delivery . Whereas this is one of the greatest faults that can be committed in pronunciation : it makes what is called a pompous or mouthing manner, and gives an artificial, affected air to reading, which detracts greatly both from its agreeableness and its impression. " Sheridan and Walker have published dictionaries for ascertaining the true . and best pronunciation of the words of our language. By attentively consulting them, particularly l Walkers Pronouncing Dic- tionary,' the young reader will be much assisted in his endeavors to attain a correct pronunciation of the words belonging to the English language.* "EMPHASIS. "By emphasis is meant a stronger and fuller sound of voice, by which we distinguish some word, or words, on which we design to lay particular stress, and to show how they affect the rest of the sentence. Sometimes the emphatic words must be distinguished by a particular tone of voice, as well as by a particular stress. On the right manage- ment of the emphasis depends the life of pronunciation. If no emphasis be placed on any words, not only is discourse rendered heavy and life- less, but the meaning is often left ambiguous. If the emphasis be placed wrong, we pervert and confound the meaning wholly. " Emphasis may be divided into the Superior and the Inferior emphasis . The superior emphasis determines the meaning of a sentence, with refer- ence to something said before, presupposed by the author as genera* knowledge, or removes an ambiguity, where a passage may have more senses than one. The inferior emphasis enforces, graces, and enlivens. but does not/.r, the meaning of any passage. The words to which this latter emphasis is given are, in general, such as seem the most import- ant in the sentence, or, on other accounts, to merit this distinction. The following passage will serve to exemplify the superior emphasis. ' Of man's first disobedience, and the fruit Of that forbidden tree, whose mortal taste Brought death into the world, and all our woe,' &c. ' Sing, heavenly Muse ! ' " Supposing that originally other beings besides men had disobeyed the commands of the Almighty, and that the circumstance were well known to us, there would fall an emphasis upon the word marts in the first line ; and hence it would read thus : ' Of man's first disobedience, and the fruit, 1 &c. " But if it were a notorious truth, that mankind had transgressed in * This remark must now be received, in this country at least, with some qualifica- tion. Mr. Walker has lost the confidence which is established by usage, and we have no work which professes to supply his place, so far as pronunciation alone is concerned. As a guide to the signification of words, and the tracing of their etymology, the Dic- tionary of Dr. Webster is of the highest authority, and has received the approbation of critics in the mother country, as well as in this. Dr. Webster has spent a long life in the investigation of authorities, and probably no one individual has labored longer or with equal success in this department of literature INTRODUCTION. 17 a peculiar manner more than once, the emphasis would fall on first ; and the line be read, { Of man's first disobedience,' &c. "Again, admitting death (as was really the case) to have been an unheard-of and dreadful punishment, brought upon man in consequence of his transgression ; on that supposition, the third line would be read, 1 Brought death into the world,' &c. " But if we were to suppose that mankind knew there was such an evil as death in other regions, though the place they inhabited had been free from it till their transgression, the line would run thus : 1 Brought death into the xoorld,' &c. "The superior emphasis finds place in the following short sentence, which admits of four distinct meanings, each of which is ascertained by the emphasis only. { Do you ride to town to-day ? ' [See Lesson XXIL] 11 The following examples illustrate the nature and use of the inferior emphasis : " t Many persons mistake the love, for the practice of virtue.' " l Shall I reward his services with Falsehood ? Shall I forget him who cannot forget meV " l If his principles are false, no apology from himself can make them right; if founded in truth, no censure from others can make them wrong. 1 " c Though deep, yet clear; though gentle, yet not dull; Strong- without rage; without overflowing, full.' 11 1 A friend exaggerates a man's virtues ; an enemy, his crimes.'' " f The wise man is happy when 'he gains his own approbation ; the fool, when he gains that of others? * " The superior emphasis, in reading as in speaking, must be deter- mined entirely by the sense of the passage, and always made alike ; but as to the inferior emphasis, taste alone seems to have the right of fixing its situation and quantity. " Among the number of persons who have had proper opportunities of learning to read, in the best manner it is now taught, very few could be selected, who, in a given instance, would use the inferior emphasis alike, either as to place or quantity. Some persons, indeed, use scarcely any degree of it ; and others do not scruple to carry it far beyond any- thing to be found in common discourse; and even sometimes throw it upon words so very trifling in themselves, that it is evidently done with no other view than to give a greater variety to the modulation.* Not- withstanding this diversity of practice, there are certainly proper bounda- ries, within which this emphasis must be restrained, in order to make it meef the approbation of sound judgment and correct taste. It will, doubtless, have different degrees of exertion, according to the greater or * By modulation is meant, that pleasing variety of voice which is perceived in utter- ing a sentence, and which in its nature is perfectly distinct from emphasis, and the tones of emotion and passion. The young reader should be careful to render his modu- lation correct and easy ; and, for this purpose, should form it upon the model of the most judicious and accurate speakers. 2* 18 INTRODUCTION. less degree of importance of the words upon which it operates ; and there may be very properly some variety in the use of it : but its appli cation is not arbitrary, depending on the caprice of readers. " As emphasis often* falls on words in different parts of the same sen. tence, so it is frequently required to be continued, with a little variation, on two, and sometimes more words together. The following sentences exemplify both the parts of this position: 'If you seek to make one rich, study not to increase his stores, but to diminish his desires.' 'The Mexican figures, or picture-writing, represent things, not words : they exhibit images to the eye, not ideas to the understanding." " Some sentences are so full and comprehensive, that almost every word is emphatical : as, ' Ye hills and dales, ye rivers, woods, and plains ! ' or, as that pathetic expostulation in the prophecy of Ezekiel, < Why will ye die ! ' "Emphasis, besides its other offices, is the great regulator of quantity. Though the quantity of our syllables is fixed, in words separately pro- nounced, yet it is mutable when these words are arranged in sentences ; the long being changed into short, the short into, long, according to the importance of the word with regard to meaning. Emphasis also, in particular cases, alters the seat of the accent. This is demonstrable from the following examples. 'He shall increase, but I shall decrease.' ' There is a difference between giving and forgiving.' ' In this species of composition, plausibility is much more essential than probability.' In these examples, the emphasis requires the accent to be placed on syllables to which it does not commonly belong. "In order to acquire the proper management of the emphasis, the great rule to be given is, that the reader study to attain a just conception of the force and spirit of the sentiments which he is to pronounce. For to lay the emphasis with exact propriety is a constant exercise of good sense and attention. It is far from being an inconsiderable attainment. It is one of the most decisive trials of a true and just taste; and must arise from feeling delicately ourselves, and from judging accurately of what is fittest to strike the feelings of others. " There is one error, against which it is particularly proper to caution the learner ; namely, that of multiplying emphatical words too much, and using the emphasis indiscriminately. It is only by a prudent reserve and distinction in the use of them, that we can give them any weight. If they recur too often ; if a reader attempts to render every thing he expresses of high importance, by a multitude of strong em phases, we soon learn to pay little regard to them. To crowd every sentence with emphatical words, is like crowding all the pages of a book with Italic characters ; which, as to the effect, is just the same as to use no such distinctions at all. " Tones are different both from emphasis and pauses ; consisting in the notes or variations of sound which we employ in the expression of our sentiments. Emphasis affects particular words and phrases, with a degree of tone or inflection of voice ; but tones, peculiarly so called, affect sentences, paragraphs, and sometimes even the whole of a dis- course. " To show the use and necessity of tones, we need only observe, that the mind, in communicating its ideas, is in a constant state of activity, emotion, or agitation, from the different effects which those ideas pro- INTRODUCTION. 19 duce in the speaker. Now the end of such communication being not merely to lay open the ideas, but also the different feelings which they excite in him that utters them, there must be other signs than words to manifest those feelings ; as words uttered in a monotonous manner can represent only a similar state of mind, perfectly free from all activity and emotion. As the communication of these internal feelings was of much more consequence in our social intercourse than the mere con- veyance of ideas, the Author of our being did not, as in that convey- ance, leave the invention of the language of emotion to man, but impressed it himself upon our nature, in the same manner as he has done with regard to the rest of the animal world ; all of which express their feelings by various tones. Ours, indeed, from the superior rank that we hold, are in a high degree more comprehensive ; as there is not an act of the mind, an exertion of the fancy, or an emotion of the heart, which has not its peculiar tone or note of the voice, by which it is to be expressed ; and which is suited exactly to the degree of internal feeling. It is -chiefly in the proper use of these tones, that the life, spirit, beauty, and harmony of delivery consist. " The limits of this introduction do not admit of examples to illustrate the variety of tones belonging to the different passions and emotions. We shall, however, select one, which is extracted from the beautiful lamentation of David over Saul and Jonathan ; and which will in some degree elucidate what has been said on this subject. " l The beauty of Israel is slain upon thy high places ; how are the mighty fallen ; Tell it not in G-ath ; publish it not in the streets of Askelon ; lest the daughters of the Philistines rejoice ; lest the daugh- ters of the uncircumcised triumph. Ye mountains of Gilboa, let there be no dew nor rain upon you, nor fields of offerings ; for there the shield of the mighty was vilely cast away ; the shield of Saul, as though he had not been anointed with oil.' The first of these divisions expresses sorrow and lamentation ; therefore the note is low. The next contains a spirited command, and should be pronounced much higher. The other sentence, in which he makes a pathetic address to the mountains where his friends had been slain, must be expressed in a note quite different from the two former ; not so low as the first, nor so high as the second, but in a manly, firm, yet plaintive tone. "The correct and natural language of the emotions is not so difficult to be attained as most readers seem to imagine. If we enter into the spirit of the author's sentiments, as well as into the meaning of his words, we shall not fail to deliver the words in properly varied tones. For there are few people who speak English without a provincial note, that have not an accurate use of tones, when they utter their sentiments in earnest discourse. And the reason that they have not the same use of them in reading aloud the sentiments of others may be traced to the very defective and erroneous method in which the art of reading is taught ; whereby all the various, natural, expressive tones of speech are suppressed, and a few artificial, unmeaning reading notes are substi- tuted for them. " But when we recommend to readers an attention to the tone and language of emotions, we must be understood to do it with proper lim- itation. Moderation is necessary in this point, as in other things. For when the reading becomes strictly imitative, it assumes a theatrical manner, and must be highly improper, as well as give offense to the hearers, because it is inconsistent with that delicacy and modesty which 20 INTRODUCTION. are indispensable on such occasions. The speaker who delivers his own emotions must be supposed to be more vivid and animated than would be proper in the person who relates them at second hand. " We shall conclude this section with the following rule for the tones that indicate the passions and emotions: 'In reading, let all your tones of expression be borrowed from those of common speech, but, in some degree, more faintly characterized. Let those tones which signify any disagreeable passion of the mind be still more faint than those which indicate agreeable emotions : and on all occasions preserve yourselves from being so far affected with the subject as to be unable to proceed through it with that easy and masterly manner which has its good effects in this, as well as in every other art.' "pauses. " Pauses or rests, in reading or speaking, are a total cessation of the voice, during a perceptible, and, in many cases, a measurable space of time. Pauses are equally necessary to the speaker and the hearer. To the speaker, that he may take breath, without which he cannot proceed far in delivery ; and that he may, by these temporary rests, relieve the organs of speech, which otherwise would be soon tired by continued action ; to the hearer, that the ear also may be relieved from the fatigue which it would otherwise endure from a continuity of sound ; and that the understanding may have sufficient time to mark the distinction of sentences, and their several members. " There are two kinds of pauses : first, emphatical pauses ; and next, such as mark the distinctions of sense. An emphatical pause is gener- ally made after something has been said of peculiar moment, and on which we desire to fix the hearer's attention. Sometimes, before such a thing is said, we usher it in with a pause of this nature. Such pauses have the same effect as a strong emphasis ; and are subject to the same rules, especially to the caution of not repeating them too frequently For as they excite uncommon attention, and of course raise expectation, if the importance of the matter be not fully answerable to such expect- ation, they occasion disappointment and disgust. " But the most frequent and principal use of pauses is to mark the divisions of the sense, and at the same time to allow the reader to draw his breath ; and the proper and delicate adjustment of such pauses is one of the most nice and difficult articles of delivery. In all reading, the management of the breath requires a good deal of care ; so as not to oblige us to divide words from one another, which have so intimate a connection that they ought to be pronounced with the same breath, and without the least separation. Many a sentence is miserably mangled, and the force of the emphasis totally lost, by divisions being made in the wrong place. To avoid this, every one, while he is reading, should be very careful to provide a full supply of breath for what he is to utter. It is a great mistake to imagine that the breath must be drawn only at the end of a period, when the voice is allowed to fall. It may easily be gathered at the intervals of the period, when the voice is suspended only for a moment ; and, by this management, one may always have a suffi- cient stock for carrying on the longest sentence, without improper inter- ruptions. " Pauses in reading must generally be formed upon the manner in which we utter ourselves in ordinary, sensible conversation, and not upon the stiff, artificial manner which is acquired from reading books INTRODUCTION. 21 according to the common punctuation. It will by no means be sufficient to attend to the points used in printing, for these are far from marking all the pauses which ought to be made in reading. A mechanical atten- tion to these resting places has perhaps been one cause of monotony, by leading the reader to a similar tone at every stop, and a uniform cadence at every period. The primary use of points is to assist the reader in discerning the grammatical construction ; and it is only as a secondary object that they regulate his pronunciation. On this head the following direction may be of use : ' Though in reading great attention should be paid to the stops, yet a greater .should be given to the sense, and their correspondent times occasionally lengthened beyond what is usual in common speech.' " To render pauses pleasing and expressive, they must not only be made in the right place, but also accompanied with a proper tone of voice, by which the nature of these pauses is intimated ; much more than by the length of them, which can seldom be exactly measured. Sometimes it is only a slight and simple suspension of voice that is proper ; sometimes a degree of cadence in the voice is required ; and sometimes that peculiar tone and cadence which denote the sentence to be finished. In all these cases, we are to regulate ourselves by attend- ing to the manner in which nature teaches us to speak when engaged in real and earnest discourse with others. The following sentence exem- plifies the suspending and the closing pauses : c Hope, the balm of life, soothes us under every misfortune. '~ The first and second pauses are accompanied by an inflection of voice, that gives the hearer an expecta- tion of something further to complete the sense 5 the inflection attending the third pause signifies that the sense is completed. " The preceding example is an illustration of the suspending pause, in its simple state : the following instance exhibits that pause with a degree of cadence in the voice ; ' If content cannot remove the disquietudes of mankind, it will at least alleviate them. 5 " The suspending pause is often, in the same sentence, attended with both the rising and the falling inflection of voice j as will be seen in this example: 'Moderate exercise\ and habitual temperance', strengthen the constitution.' * " As the suspending pause may be thus attended with both the rising and the falling inflection, it is the same with regard to the closing pause : it admits of both. The falling inflection generally accompanies it ; but it is not unfrequently connected with the rising inflection. Interrogative sentences, for instance, are often terminated in this manner : as, 'Am I ungrateful' ? ' l Is he in earnest' ? ' " But where a sentence is begun by an interrogative pronoun or ad- verb, it is commonly terminated by the falling inflection : as, < What has he gained by his folly x ? ' < Who will assist him v ? ' ' Where is the mes- senger ? ' i When did he arrive N ? ' " When two questions are united in one sentence, and connected by the conjunction or, the first takes the rising, the second the falling in- flection : as, • Does his conduct support discipline' or destroy it N ? ' ••'The tising and falling inflections must not be confounded with emphasis. Though they may often coincide, they are, in their nature, perfectly distinct. Emphasis sometimes controls those inflections. " The regular application of the rising and falling inflections confers * The rising inflection is denoted by the acute, the falling by the grave, accent. 22 INTRODUCTION. so much beauty on expression, and is so necessary to be studied by the young reader, that we shall insert a few more examples, to induce him to pay greater attention to the subject. Tn these instances, all the inflections are not marked. Such only are distinguished as are most striking, and will best serve to show the reader their utility and importance. " ' Manufactures*, trade*, and agriculture', certainly employ more than nineteen parts in twenty of the human species.' "'He who resigns the world has no temptation to envy 7 , hatred*, malice*, anger'; but is in constant possession of a serene mind: he who follows the pleasures of it, which are in their very nature dis- appointing, is in constant search of care*, solicitude', remorse', and con- fusion V " c To advise the ignorant, relieve the needy*, comfort the afflicted', are duties that fall in our way almost every day of our lives.' " < Those evil spirits, who, by long custom, have contracted in the body habits of lust' and sensuality*; malice' and revenge*; an aversion to everything that is good*, just* and laudable', are naturally seasoned and prepared for pain and misery.' " ' I am persuaded, that neither death', nor life* j nor angels', nor principalities', nor powers*; nor things present', nor things to come*; nor height', nor depth* ; nor any other creature 7 , shall be able to separate us from the love of GodV " The reader who would wish to see a minute and ingenious investi- gation of the nature, of these inflections, and the rules by which they are governed, may consult Walker's Elements of Elocution. "MANNER OF READING VERSE. "When we are reading verse, there is a peculiar difficulty in making the pauses justly. The difficulty arises from the melody of verse, which dictates to the ear pauses or rests of its own ; and to adjust and com- pound these properly with the pauses of the sense, so as neither to hurt the ear nor offend the understanding, is so very nice a matter, that it is no wonder we so seldom meet with good readers of poetry. There are two kinds of pauses that belong to the melody of verse : one is the pause at the end of the line ; and the other, the csesural pause in or near the middle of it. With regard to the pause at the end of the line, which marks that strain or verse to be finished, rhyme renders this always sen- sible, and in some measure compels us to observe it in our pronuncia- tion. In respect to blank verse, we ought also to read it so as to make every line sensible to the ear.; for, what is the use of melody, or for what end has the poet composed in verse, if, in reading his lines, we suppress his numbers, by omitting the final pause ; and degrade them, by our pronunciation, into mere prose ? At the same time that we attend to this pause, every appearance of sing-song and tone must be carefully guarded against. The close of the line, where it makes no pause in the meaning, ought not to be marked by such a tone as is used in finishing a sentence ; but, without either fall or elevation of the voice, it should be denoted only by so slight a suspension of sound as may distinguish the passage from one line to another, without injuring the meaning. " " The other kind of melodious pause is that which falls somewhere about the middle of the verse, and divides if into two hemistichs ; a pause not so great as that which belongs to the close of the line, but INTRODUCTION. 23 • still sensible to an ordinary ear. This, which is called the caesural pause, may fall, in English heroic verse, after the fourth, fifth, sixth, or seventh, syllable in the line. Where the verse is so constructed that this caesural pause coincides with the slightest pause or division in the sense, the line can be read easily j as in the two first verses of Pope's Messiah : ^ ' Ye nymphs of Solyma v> ! begin the song ; To heavenly themes VN sublimer strains belong. 5 But if it should happen that words which have so strict and intimate a connection as not to bear even a momentary separation are divided from one another by this caesural pause, we then feel a sort of struggle between the sense and the sound, which renders it difficult to read such lines harmoniously. The rule of proper pronunciation in such cases is, to regard only the pause which the sense forms, and to read the line accordingly. The neglect of the cassural pause may make the line sound somewhat unharmoniously ; but the effect would be much worse, if the sense were sacrificed to the sound. For instance, in the following lines of Milton, ' What in me is dark, Illumine ; what is low, raise and support, 5 the sense clearly dictates the pause after illumine, at the end of the third syllable, which, in reading, ought to be made accordingly ; though, if the melody only were to be regarded, illumine should be connected with what follows, and the pause not made till the fourth or sixth syllable. So in the following line of Pope's Epistle to Dr. Arbuthnot, 1 I sit, with sad civility I read, 5 the ear plainly points out the csesural pause as falling after sad, the iourtn syllable. But it would be very bad reading to make any pause there, so as to separate sad and civility. The sense admits of no other pause than after the second syllable, sit, which therefore must be the only pause made in reading this part of the sentence. " There is another mode of dividing some verses, by introducing what may be called demi-csesuras, which require very slight pauses ; and which the reader should manage with judgment, or he will be apt to fall into an affected, sing-song mode of pronouncing verses of this kind. The following lines exemplify the derni-csesura. 'Warms' in the sun", refreshes' in the breeze, Glows' in the stars", and blossoms' in the trees : Lives' through all life"; extends through all extent, Spreads' undivided", operates' unspent. 5 " Before the conclusion of this introduction, the compiler takes the liberty to recommend to teachers to exercise their pupils in discovering and explaining the emphatic words, and the proper tones and pauses, of every portion assigned them to read, previously to their being called out to the performance. These preparatory lessons, in which they should be regularly examined, will improve their judgment and taste, prevent the practice of reading without attention to the subject, and establish a habit of readily discovering the meaning, force, and beauty, of every sentence they peruse." 24 INTRODUCTION." To the directions of Mr. Murray which have now been recited, the author of this work has little to add, except the suggestions which are given in the respective lessons which follow. One direction more, how ever, he will add, which is partly expressed in borrowed language • " Learn to speak slow ; all other graces Will follow in their proper places ;" And while thus slowly onward you proceed, Study the meaning of whate'er you read. CONTENTS. INTRODUCTORY LESSONS IN READING. Lesson Page 1 . The Period 25 l ; . The Interrogation Point or Question 26 3. " " " continued 27 4. " " " 27 5. " •• " " 28 6. t; " " " 29 7. The Exclamation Point 30 8. The Period, Interrogation, and Exclamation united 31 9. The Comma 32 10. " continued 36 11. The Semicolon ; 39 12. " continued 40 13. " " 42 14. The Colon 44 15. " continued 46 16. The Parenthesis, Crotchets, and Brackets 48 17. The Dash 51 18. The Hyphen. 60 19. The Ellipsis 60 20. The Apostrophe, Quotation, and Diaeresis G3 21. The Asterisk, Obelisk, Double Obelisk, Section, Parallels, Para- graph, Index, Caret, Breve, and Brace 66 22. Accent 68 23. Emphasis . . 73 24. Primary and Secondary Emphasis 75 25. Distinctness of Articulation , 79 26. Manner or Expression 86 27. Pitch of the Voice 94 28. Transition 96 29. Elliptical Sentences 99 30. Antithesis 103 31. Enumeration 105 32. Irony 109 83. Analogy 110 84. The Star 118 85. Measure of Speech 119 86. Manner of Beading Poetry . . - ♦ 136 37. Monotone 141 88. Analysis. 144 89. Blending of Words, produced by Accented Force 151 40. Improvement of the Voice 152 PARKER'S INTRODUCTORY LESSONS IN READING. LESSON I. THE PERIOD. The Period is a round dot or mark like this . 2. The period is generally placed after the last word in a sentence, 3. When you come to a period, you must stop, as if you had nothing more to read. 4. You must pronounce the word which is immediately before a period, with the falling inflection of the voice. 5. But you do not know what I mean by the falling in- flection of the voice. 6. I am now going to tell you. 7. Listen attentively to what I am going to say. 8. Charles has bought a new hat. 9. That sentence was read with the falling inflection of the voice. 10. I am going to tell you in the next lesson what I mean by the rising inflection of the voice. 11. Look in the next lesson, and find the eighth sentence, which you have just read. 12. Tell me whether you would read it in the same man- ner in the second lesson. 3 26 INTRODUCTORY LESSONS. LESSON II. THE INTERROGATION POINT, OR QUESTION. The Interrogation Point, or Question, is a mark like this ? The interrogation point, or question, shows that a question is asked, and is generally read with the rising ; iiflection of the voice. EXAMPLES. 13. Has Charles bought a new hat? 14. Did you say that Charles has bought a new hat? 15. Did you read the thirteenth sentence in the same manner that you read the eighth? 16. Do you know what I mean by the rising inflection of the voice ? 17. Do you know now how to read a sentence with the falling inflection of the voice ? 18. Shall I tell you again? Will you listen attentively? 19. Are the little marks after the sentences in the first lesson, like those at the end of the sentences in this lesson ? 20. Do you know that you have read all the sentences in this lesson with the rising inflection of the voice? 21. Will you look at the following sentences, and read uiose which are marked D, with the falling inflection of the voice, and those which are marked Q,, with the rising in- flection of the voice? 22. D. John has arrived. Has John arrived? My father is very well. Is your mother well ? Mary has lost her book. Has Caroline found her work-box ? They who have not read these sentences well must read them over again. 29, Q,. May they who have read them well proceed to the next lesson ? 30, D. As soon as they understand what they have read, ] shall give them a new lesson. 31, d. Will they all be as easy as this? 23. Q. 24. D. 25. Q. 26. D. 27. a. 28. D. IN READING. 27 32. D. That will depend upon yourself more than on me. 33. Q. Does the D in the above sentences stand for a declaration? 34. D. Yes. I think, also, that the d stands for a question. LESSON III. Sometimes the sentence which ends with an point, should be read with the falling inflection of the voice. EXAMPLES. 35. What o'clock is it ? 36. How do you do to-day ? 37. What have you in your hand ? 38. Where have you been ? 39. When did your father return home? 40. How did you hear that story ? 41. How much did he give for his book? 42. Whose hat is that in the entry ? 43. What did you see in the street ? 44. How high is the steeple of St. Paul's Church ? 45. Where does that man live? 46. Which of those books do you prefer ? 47. Who is that at the other end of the room ? 48. Whither is that bird flying? 49. Why did you leave your place just now? 50. Wherefore do you not try to read correctly ? LESSON IV. Sometimes the first part of a sentence ending with an interrogation point, must be read with the rising inflection of the voice, and the last part with the falling inflection. The parts of the sentence are separated by a mark like this ( , ) called a comma. At the comma the rising inflec- 28 INTRODUCTORY LESSONS. tion must be used, and at the interrogation point the falling inflection. EXAMPLES. 51. Shall I give you a peach, or an apple ? 52. Would you rather have a kite, or a football? 53. Is that John, or Charles ? 54. Are you going home, or into the school-house ? 55. Will you go now, or will you stay a little longer ? 56. Is that a Grammar, or a Geography ? 57. Do you expect to ride, or to walk ? 58. Does your father intend to build his new house in the city, or in the country ? 59. Shall we now attend to our reading lessons, or to our lessons in spelling ? 60. Did you go to church on the last Sabbath, or did you stay at home ? LESSON V. Sometimes the first part of a sentence ending with a note of interrogation, must be read with the falling inflec- tion of the voice, and the last part with the rising inflec- tion. EXAMPLES. 61. Where have you been to-day? At home ? 62. Whose books are those on the floor ? Do they be- long to John ? 63. Whither shall I go ? Shall I return home ? 64. What is that on the top of the house ? Is it a bird ? 65. What are you doing with your book ? Are you tear- ing out the leaves ? 66. Whom shall I send? Will John go willingly ? 67. When shall I bring you those books ? Would you like to have them to-day ? 68. Who told you to return ? Did your father ? 69. How much did you pay for that book ? More than three shillings ? 70. How old shall you be on your next birthday? Eleven ? IN READING. 29 71. Why did you not arrive sooner ? Were you neces- sarily detained ? 72. How often shall my brother sin against me, and I for- give him ? Till seven times ? 73. But what excuse can the Englishman plead ? The custom of duelling? 74. What concern they 1 The general cause ? 75. How many lessons are there in this book? Are there more than twenty-five ? LESSON VI. In this lesson some of the sentences are questions requir- ing the rising, and some the falling, inflection of the voice. A few sentences also ending with a period are inserted. No directions are given to the pupil icith regard to the manner of reading them, it being desirable that his own understanding, under the guidance of nature alone, should direct him. But it may be observed that questions which can be answered by yes, or no, generally require the rising inflection of the voice ; and that questions which cannot be answered by yes, or no, generally require the falling in- flection. EXAMPLES. 76. John, where have you been this morning ? 77. Have you seen my father to-day. 78. That is a beautiful top. 79. Where did you get it ? 80. I bought it at the toy-shop. 81. What did you give for it? 82. I gave a shilling for it. 83. What excuse have you for coming late this morning? Did you not know that it is past the school hour ? 84. If you are so inattentive to your lessons, do you think that you shall make much improvement ? 85. Will you go, or stay ? Will you ride, or walk ? 86. Will you go to-day, or to-morrow ? 87. Did he resemble his father, or his mother ? 88. Is this book yours, or mine ? 89. Do you hold the watch to-night ? We do, sir. 3* 30 INTRODUCTORY LESSONS. 90. Did you say that he was armed ? He was armed. 91. Did you not speak to it 1 I did. 92. Art thou he that should come, or must we expect another person ? 93. Why are you so silent ? Have you nothing to say ? 94. Who hath believed our report 1 To whom hath the arm of the Lord been revealed ? LESSON VII* THE EXCLAMATION POINT. The Exclamation Point is a mark like this ! The exclamation point is placed at the end of sentences which express surprise, astonishment, wonder, or admiration, and other strong feelings ; and such sentences are generally read with the falling inflection of the voice. EXAMPLES, 95. How cold it is to-day ! 96. What a beautiful top that is ! 97. How mysterious are the ways, of Providence ! 98. How noisy those boys are in the street ! 99. What a simple fellow he is to spend his money so uselessly ! 100. Poor fellow, he does not know what to do with himself! 101. What a fine morning it is ! How brightly the sun shines ! How verdant is the landscape ! # How sweetly the birds sing ! 102. Look here ! See what a handsome doll my mother has just given me ! 103. Good Heaven ! What an eventful life was hers ! 104. Good friends! sweet friends! let me not stir you up to such a sudden flood of mutiny ! 105. Oh, what a fall was there, my countrymen ! 106. Oh disgrace upon manhood ! It is strange ! It is dreadful ! 107. Alas, poor country, almost afraid to know itself! IX READING. 31 103. Oh glory ! glory ! mighty one on earth ! How just- ly imaged in this waterfall ! 109. Tremendous torrent ! for ah instant hush the terrors of thy voice ! 110. Ah, terribly the hoarse and rapid whirlpools rage there ! 111. Oh! deep enchanting prelude to repose! The dawn of bliss, the twilight of our woes ! 112. Daughter of Faith, awake ! arise ! illume the dread unknown, the chaos of the tomb ! 113. It is a dread and awful thing to die ! 114. Lovely art thou, oh Peace! and lovely are thy chil- dren, and lovely are the prints of thy footsteps in the green valleys ! 115. Why, here comes my father ! How quickly he has returned ! Oh how glad I am to see him ! LESSON VI11. THE PERIOD, INTERROGATION, AND EX- CLAMATION UNITED. The pupil was taught, in the first lesson, (see No. 3.) that when he comes to a period, he must stop, as if he had nothing more to read. At the end of a paragraph, ivhether the period or any other mark be used, a longer pause should he made than at the end of an ordinary sentence. The interrogation and the exclamation points generally require pauses of the same length with the period. It may here be remarked, that good readers always make their pauses long ; but whatever be the length of the pause, the pupil must be careful that every pause which he makes shall be a total cessation of the VOICE. EXAMPLES. 116. George is a good boy. He gets his lesson well. He is attentive to the instructions of his teacher. He is orderly and quiet at home. 117. A good scholar is known by his obedience to the rules of the school. He obeys the directions of his teacher. His attendance at the proper time of school is always punc- 32 INTRODUCTORY LESSONS. tual. He is remarkable for his diligence and attention. He reads no other book than that which he is desired to read by his master. He studies no lessons but those which are ap- pointed for the day. He takes no toys from his pocket to amuse himself or others. He pays no regard to those who attempt to divert his attention from his book. 118. Do you know who is a good scholar? Can you point out many in this room ? How negligent some of our fellow-pupils are ! Ah ! I am afraid that many will regret that they have not improved their time ! 119. Why, here comes Charles ! Did you think that he would return so soon 1 I suspect that he has not been pleased with his visit. Have you, Charles? And were your friends glad to see you ? When is cousin Jane to be mar- ried ? Will she make us a visit before she is married ? Or will she wait until she has changed her name? 120. My dear Edward, how happy I am to see you ! I heard of your approaching happiness with the highest pleas- ure. How does Rose do ? And how is our old whimsical friend the baron ? You must be patient, and answer all my questions. I have many inquiries to make. 121. The first dawn of morning found Waverley on the esplanade in front of the old Gothic gate of the castle. But he paced it long before the draw-bridge was lowered. He produced his order to the sergeant of the guard, and was admitted. The place of his friend's confinement was a gloomy apartment in the central part of the castle. 122. Do you expect to be as high in your class as your' brother? Did you recite your lessons as well as he did? Lazy boy ! Careless child ! You have been playing these two hours. You have paid no attention to your lessons. You cannot say a word of them. How foolish you have been ! What a waste of time and talents you have made ! LESSON IX. THE COMMA. The Comma is a mark like this 9 When you come to a comma in reading, you must gener- ally make a short pause. Sometimes you must use the falling IN READING. 33 inflection of the voice, when you come to a comma ; and sometimes you must keep you?' voice suspended, as if some one had stopped you before you had read all that you in- tended. In this lesson you must keep your voice suspended when you come to a comma ; but let the slight pause, or stop t/uzt you make, be a total cessation of the voice. EXAMPLES. 1*23. Diligence, industry, and proper improvement of lime, are material duties of the young. 124. He is generous, just, charitable, and humane. 1*25. By wisdom, by art, by the united strength of a civil community, men have been enabled to subdue the whole race of lions, bears, and serpents. 126. The genuine glory, the proper distinction of the rational species, arises from the perfection of the mental powers. % 127. Courage is apt to be fierce, and strength is often exerted in acts of oppression. Wisdom is the associate of justice. It assists her to form equal laws, to pursue right measures, to correct power, to protect weakness, and to unite individuals in a common interest and general welfare. Heroes may kill tyrants, but it is wisdom and laws that pre- vent tyranny and oppression. [Sometimes a comma must be read like a question.'] 128.* Do you pretend to sit as high in school as Antho- ny ? Did von read as correctly, speak as loudly, or behave as well as he ? • 125. Do you pretend to sit as high on Olympus as Her- cules '? Did you kill the Nemean lion, the Erymanthiau boar, the Lernean serpent, or Stymphalian birds ? 129. Are you the boy, of whose good conduct I have heard so much 1 129. Art thou the Thracian robber, of whose exploits I have heard so much ? 130. Have you not misemployed your time, wasted your talents, and passed your life in idleness and vice ? 130. Hast thou not set at defiance my authority, violated * Some of the sentences which follow will be marked with the same number j and such sentences are to be read in the same manner, and with the same in- flection of the voice, &c. 34 INTRODUCTORY LESSONS. the public peace, and passed thy life in injuring the persona and properties of thy fellow-subjects ? 131. Who is that standing up in his place, with his hat on, and his books under his arm ? 131. Whom are they ushering from the world, with all this pageantry and long parade of death ? 132. Did he recite his lesson correctly, read audibly, and appear to understand what he read? 132. Was his copy written neatly, his letters made hand- somely, and did no blot appear on his book ? 132. Was his wealth stored fraudfully, the spoil of orphans wronged, and widows who had none to plead their rights? 132. Have not you, too, gone about the earth like an evil genius, blasting the fair fruits of peace and industry? 133. Is that a map which you have before you, with the leaves blotted with ink ? 133. Is this a dagger, which I see before me, the handle toward my hand ? 133. Will you say that your time is your own, and that you have a right to employ it in the manner you please ? [Sometimes the comma is to be read like a period, tvith the falling inflection of the voice.] 134. The teacher directed him to take his seat, to study his lesson, and to pass no more time in idleness. 134. It is said by unbelievers that religion is dull, unso- cial, uncharitable, enthusiastic, a damper of human joy, a morose intruder upon human pleasure. 134. Charles has brought his pen instead of his pencil, his paper instead of his slate, his grammar instead of his arithmetic. 134. Perhaps you have mistaken sobriety for dulness, equanimity for moroseness, disinclination to bad company for aversion to society, abhorrence of vice for uncharitable- ness, and piety for enthusiasm. 135. Henry was careless, thoughtless, heedless, and in- attentive. 135. This' is partial, unjust, uncharitable, iniquitous. 135. The history of religion is ransacked for instances of persecution, of austerities, and enthusiastic irregularities. 135. Religion is often supposed to be something which must be practised apart from every thing else, a distinct pro- fession, a peculiar occupation. IN HEADING. 35 J 35. Dryden's mind has a larger range, and he collects his images and illustrations from a more extensive circum- ference of science. Dryden knew more of man in his gen- eral nature, and Pope in his local manners. The notions of Dryden were formed by comprehensive speculation, and those of Pope by minute attention. 135. Oh ! you might deem the spot the spacious cavern of some virgin mine, deep in the womb of earth, where the gems grow, and diamonds put forth radiant rods, and bud with amethyst and topaz. ■ [Sometimes the comma is to be read like an exclamation*] 136. Oh how can you destroy those beautiful things which your father procured for you ! that beautiiul top, those pol- ished marbles, that excellent ball, and that beautifully painted kite, oh how can you destroy them, and expect that he will buy you new ones ! 136. Oh how canst thou renounce the boundless store of charms that Nature to her votary yields ! the warbling woodland, the resounding shore, the pomp of groves, the garniture of fields, all that the genial ray of morning gilds, and all that echoes to the song of even, all that the moun- tain's sheltering bosom shields, and all the dread magnifi- cence of heaven, oh how canst thou renounce and hope to be forgiven ! 137. Oh winter ! ruler of the inverted year ! thy scattered hair with sleetlike ashes filled, thy breath congealed upon thy lips, thy cheeks fringed with a beard made white with other snows than those of age, thy forehead wrapped in clouds, a leafless branch thy scepter, and thy throne a sliding car, indebted to no wheels, but urged by storms along its slippery way, I love thee, all unlovely as thou seemest, and dreaded as thou art ! 138. Lovely art thou, O Peace ! and lovely are thy children, and lovely are the prints of thy footsteps in the green valleys. [Sometimes the comma and other marks are to be read without any pause or inflection of the voice."] 13S. You see, boys, what a fine school-room we have, in which you can pursue your studies. * The pupil will notice that some sentences which contain a question, to which no answer is given or expected, are marked with an exclamation point instead of an interrogation point ; hut such sentences generally express sur- prise or astonishment, &c. The sentences numbered 136 are of this kind See Clark's English Grammar. Pc.cre 196. 36 INTRODUCTORY LESSONS. 13S. You see, my son, this wide and large firmament over our heads, where the sun and moon, and al] the stars appear in their turns. 138. Therefore, my child, fear, and worship, and love God. 138. He, that can read as well as you can, James, need not be ashamed to read aloud. 138. He, that can make the multitude laugh and weep as you can, Mr. Shakspeare, need not fear scholars. 139. I consider it my duty, at this time, to tell you, that you have done something, of which you ought to be ashamed. 139. I deem it my duty, on this occasion, to suggest, that the land is not yet wholly free from the contamination of a traffic, at which every feeling of humanity must revolt. 140. The Spaniards, while thus employed, were sur- rounded by many of the natives, who gazed, in silent admi- ration, upon actions which they could not comprehend, and of which they did not foresee the consequences. The dress of the Spaniards, the whiteness of their skins, their beards, their arms, appeared strange and surprising. 141. Yet, fair as thou art, thou shunnest to glide, beau tiful stream! by the village side, but windest away from the haunts of men, to silent valley and shaded glen. 142. But it is not for man, either solely or principally, that night is made. 143. We imagine, that, in a world of our own creation, there would always be a blessing in the air, and flowers and fruits on the earth. 144. Share with you! said his father — so the industrious must lose his labor to feed the idle. 144. His brother, Moses, did not imitate his example. LESSON X. [Sometimes the pause of a comma must be made where there is no pause in your book. Spaces are left in the fol- lowing sentences where the pause is proper.] 145. James was very much delighted with the picture which he saw. IN READING. "37 145. The Europeans were hardly less amazed at the scene now before them. 146. The inhabitants were entirely naked. Their black hair, long and curled, floated upon their shoulders, or was bound in tresses around their head. 147. Persons of reflection and sensibility contemplate with interest the scenes of nature. 14S. The succession and contrast of the seasons give scope to that care and foresight, diligence and industry, which are essential to the dignity and enjoyment of human be- ings. 149. The eye is sweetly delayed on every object to which it turns. It is grateful to perceive how widely, yet chastely, nature hath mixed her colors and painted her robe. 150. Winter compensates for the want of attractions abroad by fireside delights and homefelt joys. In all this interchange and variety we find reason to ac- knowledge the wise and benevolent care of the God of seasons. [The pupil may read the following sentences ; but before reading them, he may tell after what word the pause should be made. The pause is not printed in the sentences, but it must be made when reading them. And here it may be observed, that the comma is more frequently used to point out the grammatical divisions of a sentence, than to indicate a rest or cessation of the voice. Good reading depends much upon skill and judg- ment in making those pauses which the sense of the sentence dictates, but which are not noted in the book; and the sooner the pupil is taught to make them, with proper discrimination, the surer and the more rapid icill be his progress in the art of reading.] 151. While they were at their silent meal a horseman came galloping to the door, and, with a loud voice, called out that he had been sent express with a letter to Gilbert Ainslee. 152. The golden head that was wont to rise at that part of the table was now wanting. 153. For even though absent from school I shall get the lesson. 153. For even though dead I will control the trophies of the capitol. 154. It is now two hundred years since attempts have been made to civilize the North American savage. 155. Doing well has something more in it than the fulfil- ling of a duty. 3 38 INTRODUCTORY LESSONS. 156. You will expect me to say something of the lonely records of the former races that inhabited this country. 157. There is no virtue without a characteristic beauty to make it particularly loved by the good, and to make the bad ashamed of their neglect of it. 158. A sacrifice was never yet offered to a principle, that was not made up to us by self-approval, and the considera- tion of what our degradation would have been had we done otherwise. 159 The following story has been handed down by family tradition for more than a century. 160. The succession and contrast of the seasons give scope to that care and foresight, diligence and industry, which are essential to the dignity and enjoyment of human beings, whose happiness is connected with the exertion of their faculties. 161. A lion of the largest size measures from eight to nine feet from the muzzle to the origin of the tail, which last is of itself- about four feet long. The height of the larger specimens is four or five feet. 162. The following anecdote will show with what obstinate perseverance pack horses have been known to preserve the line of their order. 163. Good morning to you, Charles ! Whose book is that which you have under your arm? 163. A benison upon thee, gentle huntsman ! Whose towers are these that overlook the wood? 164. The incidents of the last few days have been such as will probably never again b€ witnessed by the people of America, and such as were never before witnessed by any nation under heaven. 165. To the memory of Andre his country has erected the most magnificent monuments, and bestowed on his fam- ily the highest honors and most liberal rewards. To the memory of Hale not a stone has been erected, and the trav- eler asks in vain for the place of his long sleep. IN READING. 39 LESSON XI. THE SEMICOLON. The Semicolon is made by a comma placed under a period, thus j Wlien you come to a semicolon, you must generally make a pause twice as long as you would make at a comma. Sometimes you must use the falling inflection of the voice ivhen you come to a semicolon, and sometimes you must keep your voice suspended, as you were directed in the ninth lesson. Whatever may be the length of the pauses, let it be a total cessation of the voice. When you come to a semicolon in this lesson, you must keep your voice suspended, as you were directed in the ninth lesson. EXAMPLES. 166. That God whom you see me daily worship; whom 1 daily call upon to bless both you and me, and all mankind ; whose wondrous acts are recorded in those Scriptures which you constantly read; that God who^ created the heaven and the earth is your Father and Friend. 167. My son, as you have been used to look to me in all your actions, and have been afraid to do any thing unless you first knew my will ; so let it now be a rule of your life to look up to God in all your actions. 168. If I have seen any perish for want of clothing, or any poor without covering; if his loins have not blessed me, and if he were not warmed with the fleece of my sheep ; if I have lifted up my hand against the fatherless, when I saw my help in the gate ; then let mine arm fall from my shoul der blade, and mine arm be broken from the bone. 169. The stranger did not lodge in the street; but I opened my doors to the traveler. 170. If my land cry against me, or the furrows thereof complain; if I have eaten the fruits thereof without money, or have caused the owners thereof to lose their life; let thistles grow instead of wheat, and cockles instead of barley. 171. When the fair moon, refulgent lamp of night, o'er heaven's clear azure spreads her sacred light ; when net a 40 INTRODUCTORY LESSONS. breath disturbs the deep serene, and not a cloud o'ercasts the solemn scene; around her throne the vivid planets roll, and stars unnumbered gild the glowing pole ; o'er the dark trees a yellower verdure shed, and tip with silver every mountain's head; then shine the vales, the rocks in prospect rise, a flood of glory bursts from all the skies ; the conscious swains, re- joicing in the sight, eye the blue vault, and bless the useful light. 172. When the battle was ended, the stranger disappeared : and no person knew whence he had come, nor whither he had gone. 173. The relief was so timely, so sudden, so unexpected, and so providential; the appearance and the retreat of him who furnished it were so unaccountable ; his person was so dignified and commanding; his resolution so superior, and his interference so decisive, that the inhabitants believed him to be an angel, sent by Heaven for their preservation. LESSON XII. Sometimes you must use the falling inflection of the voice when you come to a semicolon, as in the following. EXAMPLES. 174. Let your dress be sober, clean, and modest; not to set off the beauty of your person, but to declare the sobriety of your mind; that your outward garb may resemble the in- ward plainness and simplicity of your heart. 175. In meat and drink, observe the rules of Christian temperance and sobriety ; consider your body only as the servant and minister of your soul; and only so nourish it, as it may best perform an humble and obedient service. 176. Condescend to all the weakness and infirmities of your fellow-creatures; cover their frailties; love their excel- lences; encourage their virtues; relieve their wants; rejoice in their prosperity; compassionate their distress; receive their friendship; overlook their unkindness; forgive their malice; be 5. servant of servants ; and condescend to do the lowest offices for the lowest of mankind. . IX READING. 41 177. Struck with the sight of so line a tree, he hastened to his own, hoping to find as large a crop upon it; but, to his great surprise, he saw scarcely any thing, except branches, covered with moss, and a few yellow leaves. ITS. In sleep's serene oblivion laid, I've safely passed the silent night ; again I see the breaking shade, again behold the morning light. 179. New-born, I bless the waking hour ; once more, with awe, rejoice to be; my conscious soul resumes her power, and soars, my guardian God, to thee. 180. That deeper shade shall break away; that deeper sleep shall leave mine eyes; thy light shall give eternal day ; thy love, the rapture of the skies. 181. In the sight of our law the African slave trader is a pirate and a felon ; and in the sight of Heaven, f an offender far beyond the ordinary depth of human guilt. 1S2. Between Nose and Eyes a strange contest arose; the spectacles set them unhappily wrong ; the point in dispute was, as all the world knows, to which the said spectacles ought to belong. 183. What hope of liberty is there remaining, if whatever is their pleasure, it is lawful for them to do; if what is lawful for them to do, they are able to do ; if what they are able to do, they dare do; if what they dare do, they really execute; and if what they execute, is in no way offensive to you? 184. Mercury, I won't go in the boat with that fellow. He has murdered his countryman; he has murdered his friend; I say I won't go in the boat with that fellow ; I will swim over the river; I can swim like a duck. 185. It is not the use of the innocent amusements of life which is dangerous, but the abuse of them ; it is not when they are occasionally, but when they are constantly pursued ; when the love of amusement degenerates into a passion; and when, from being an occasional indulgence, it becomes an habitual desire. 186. The prevailing color of the body of a tiger is a deep tawny, or orange yellow : the face, throat, and lower part of the belly are nearly white ; and the whole is traversed by numerous long black stripes. 187. The horse, is used to unite several lines of poetry, or to connect a number ofioords with one common term. The Caret A is never used in printed books ; but in wri- ting it shows that something has accidentally been left out ; as, recited George has his lesson. A =& The teacher will find in Clark's New Grammar, Part IV., page 191 and 196, a complete enumeration of all the marks used in written langTiag-e, with rules, observations, and practical exercises for the pupil i;i the use of them. IN READING. " 67 O 3 When several asterisks or stars are placed together, they repre- sent an ellipsis. [See Lesson 19th.] EXAMPLES. 394. Many persons pronounce the word Helena,* incor- rectly. They call it Helena ; and the words acceptable, rec- ognize, Epicure'an, and European, are frequently incorrectly called acceptable, recognize, Epicurean, and Euro'pean. 395. The leprosy, therefore, of Naaman shall cleave unto thee. * * * * And he went out from his presence a leper as white as snow. 39G. The Cougar f is the largest animal of the cat kind, found in North America ; and has occasionally received the name of the American lion, from the similarity of its pro- portions and color to those of the lion of the old world. 397. The keeper of the elephant gave him a gallon of * arrack, J which rendered the animal very furious. 398. I fell upon my knees on the bank, with my two servants, and the dragoman § of the monastery. 399. The history of Joseph is exceedingly interesting and instructive.]! 400. It was a cave, a huge recess, that keeps, till June, December's snow; a lofty precipice in front, a silent tarn fl below. 401. C-e-o-u-s, ^ c, "•" " ' V are pronounced like shiis. S-c-i-o-u-s, ( r T-i-o-u-s, 3 402. See where the rector's ** splendid mansion stands, embossed deep in new enclosed lands, — lands wrested from the indigent and poor, because, forsooth, he holds the village cure. ft 403. When the young blood danced jocund through his veins, 'tis said his sacred stole tf received some stains. 404. Their wants are promised Bridewell,§§ or the stocks. * This is the name of a small island situated on the west of Africa, noted for the exile of Napoleon Bonaparte. f Pronounced Cool-gar. The name given to this animal, by the country people, generally, is painter, evidently a corruption of 'panther, \ Arrack is a very strong- spirituous liquor. $ Bragomu:i means an interpreter. i| The whole history of Joseph will be found in the Bible 3 from the 3?ih chapter to the end of the book of Genesis. % Tan is a small lake, high up in the mountains. ** A clergyman. ff Cure, — The office of a clergyman. \] Stole, — A long robe worn by the clergy of England. §§ B idcwell,— A house of correction. 68 INTRODUCTORY LESSONS. LESSON XXII. ACCENT. Accent is the peculiar tone or force given to some letter or syllable of a word. There are three accents, the Acute, the Grave, and the Circumflex, The acute accent is noted by a mark like this ' placed over a letter or syllable, as in the word Epicurean. The grave accent is represented by a mark like this v placed over a letter or syllable, as in the word Clessammor. The circumflex accent is distinguished by a mark like this A placed over a letter or syllable. The letter or syllable over which either of the accents is placed, is to be pronounced more forcibly than the other parts of the same WGrd; as, recognize, Reuthamir, Fingal. The ivord or syllable over which the acute accent is placed, must be pronounced with the rising inflection of the voice; as, recognize, Epicure'an, acceptable. The word or syllable over ivhich the grave accent is placed must be pronounced with the falling inflection of the voice; as, Reuthamir, Clessammor. The word or syllable over which the circumflex accent is 'placed, must be pronounced partly with the rising and partly with the falling inflection of the voice. If it begin with the ris- ing and end with the falling, it is called the falling circumflex ; but if it begin with the falling and end with the rising, it is called the rising circumflex. The circumflex accent is sometimes used, to express the broad sound of a letter, as in Fingal, in which the a is pronounced as in the word fall. In every word of more than one syllable, there is one [and sometimes more than one) ivhich must be pronounced more forcibly than the others ; and the acute accent is often used to show which this syllable is. The syllable thus pronounced is called the accented syllabic; as, cap'illary, red'olent, ax'iom. The acute, grave, and circumflex accents are sometimes used to direct the management of the voice in reading sen- tences : the acute accent indicating the rising, the grave the IN READING. 69 falling inflection of the voice, and the circumflex both the rising and falling united. When the circumflex is used to indicate a sound commencing with the rising and ending icith the falling inflection, it is printed thus, " ; but when the sound commences with the falling and ends with tlie rising inflection, it is printed thus, v , which the pupil will perceive is the same mark inverted. [The pupil may now read the following sentences, recol- lecting to manage his voice, when he meets the respective marks of accent, as directed above.] 405. Did they recite correctly, or incorrectly? 406. They recited correctly, not incorrectly. 407. Did they speak properly, or improperly ? 408. They spoke properly, not improperly. 409. Did Charles go willingly, or unwillingly? 410. Charles went willingly, not unwillingly. 411. Did you say Epicurean, or Epicurean? 412. I said Epicurean, not Epicurean. I know better than to say so. 413. You must not say acceptable, but acceptable. 414. You must not pronounce that word recognize, but recognize. 415. We must act according to the law, not contrary to it. 416. Did he say wisdom, or wisdom? 417. He said wisdom, not wisdom. 418. What must the King do now? Must he submit ? The King shall do it: must he be deposed? The King shall be contented : must he lose The name of King? — lei it go ! 419. I'll give my jewels, for a set of beads ; My gorgeous palace, for a hermitage; My gay apparel, for an almsman's gown; My figured goblets, for a dish of wood ; My scepter, for a painter's walking staff; My subjects, for a pair of carved saints : And my large kingdom, for a little grave: A little, little grave — an obscure grave. 420. Art thou poor ? Show thyself active and indus- trious, peaceable and contented : Art thou wealthy? Show thyself beneficent and charitable, condescending and hu- mane-. 70 INTRODUCTORY LESSONS. 421. This corruptible must put on incorruption, and this mortal must put on immortality. 422. Religion raises men above themselves; irreligion sinks them beneath the brutes. 423. And if you do, you will but make it blush, and glow with shame of your proceedings, Hubert. 424. Hamlet, you have your father much offended. 425. Madam, you have my father much offended. 426. If you said so, then I said so. 427. No, say you ; did he say No ? He did ; he said N6. 428. Is the goodness, or the wisdom of the divine Being more manifest in this his proceeding? 429. Shall we in your person crown the author of the public calamities, or shall we destroy him? 430. From whence can he produce such cogent exhorta- tions to the practice of every virtue, such ardent excitement to piety and devotion, and such assistance to attain' them, as those which are to be met with throughout every page of these inimitable writings? 431. Where, amidst the dark clouds of Pagan philosophy, can he show us such a clear prospect of a future state, the immortality of the soul, the resurrection of the dead, and the general judgment, as in St. Paul's first epistle to the Corinthians? 432. Would it not employ a beau prettily enough, if, in- stead of eternally playing with his snuff-box, he spent some time in making one? 433. Would an infinitely wise Being make such glorious beings for so mean a purpose? Can he delight in the pro- duction of such abortive intelligences, such short-lived rea- sonable beings ? Would he give us talents that are not to be exerted, "capacities that are not to be gratified? 434. Whither shall I turn? Wretch that I am! to what place shall I betake myself? Shall I go to the capitol? Alas! it is overflowed with my brother's blood! Or shall I retire to my house? Yet there I behold my mother plunged in misery, weeping and despairing ! 435. King Agrippa, believest thou the prophets? I know that thou believest. 436. Art thou he that should come, or shall we look for another? 437. The baptism of John, was it from heaven, — or of men? * IN READING. 71 438. Will you go, — or stay ? Will you ride, — or walk 1 Will you go to-day, — or to-morrow? 439. Did you see him, — or his brother? Did he travel for health, — or pleasure? 440. Did he resemble his father, — or his mother ? Is this book yours, — or mine? 441. Was it ar'med, say you? 'Armed, my lord. From top to toe ? My lord, from head to foot. 442. Then saw you not his face? Oh yes, my lord, he wore his beaver up. 443. I did not say a better soldier, but an elder. 444. Aim not to show knowledge, but to acquire it. 445. Did I say go, — or go ? 446. Hence ! — home, you idle creatures, get you home. You blocks, you stones! you worse than senseless things! 447. Get thee behind me, Satan. No. You did not read that right. You should say, Get thee behind me, Satan. 448. 'Angels and ministers of grace, defend us. 449. Jesus, Master ! have mercy on us.* 450. Charity suffereth long, and is kind ; charity envieth not; charity vaunteth not itself; is not puffed up; doth not behave itself unseemly ; seeketh not her own ; is not easily provoked : thinketh no evil. 451. And though I have the gift of prophecy, and un- derstand all mysteries, and all knowledge ; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. 452. I tell you, though you, though all the world, though an angel from heaven, should declare the truth of it, I could not believe it. 453. I tell you, though you, though all the world, though an angel from heaven, should declare the truth of it, I could not believe it. 454. You wrong me every way, you wrong me, Brutus. 455. You wrong me every way, you wrong me, Brutus. [The pupil may say which is the correct way of reading these two sentences.'] # * This impassioned expression of the ten lepers to our Savior is most fre- quently read from the sacred desk with the acute accent. The author thinks that due reflection will convince every one that it thereby loses a great portion of its force and feeling. The grave accent is on many, perhaps on all occa- sions, expressive of a tone of much deeper emotion than that indicated by the acute accent ; a remark which this sentence will clearly prove. See also Numbers 452 and 453, and especially TS1 umber 657, page 108. 72 INTRODUCTORY LESSONS. 456. Are you going to Boston ? What did you ask me ? Are you going to Boston ? * 457. They tell us to be moderate ; but they, they are to revel in profusion. 458. I see thou hast learned to rail. 459. I know that thou art a scoundrel. 460. Such trifling would not be admitted in the inter course of men, and do you think it will avail more with Almighty G6d ? 461. Is thy servant a dog, that he should do this great thing ? 462. Talk to me of dangers ? Death and shame ! Is not my race as high, as ancient, and as proud as thine ? [Let the pupil tell in which of the four ways the following sentence should be read.'] 463. Betrayest thou the Son of Man with a kiss ? 464. Betrayest thou the Son of Man with a kiss ? 465. Betrayest thou the Son of Man with a kiss ? 466. Betrayest thou the Son of Man with a kiss? 467. Lo ! — have I wandered o'er the hills for this ? 468. That lulled them, as the north wind does the sea. 469. For we trust we have a good conscience. 470. Trust ! Trust we have a good conscience ! 471. Certainly, Trim, quoth my father, interrupting him, you give that sentence a very improper accent ; for you curl up your nose, man, and read it with such a sneering tone, as if the parson was going to abuse the apostle. 472. For we trust we have a good conscience. 473. Trust! Trust we have a good conscience-! 474. Surely, if there is anything in this life which a man may depend upon, and to the knowledge of which he is capa- ble of arriving upon the most indisputable evidence, it must be this very thing, — whether he has a good conscience or no. * In all questions which can be answered bv yes or no, (as has been already stated, under Lesson 6th,) rising inflection of trie voice is used. But it may here be remarked, that when the question is repeated, the repetition is gen- eraily accompanied by the failing inflection. But the reason of this is, that on the repetition of the question it becomes rather a declaration than a ques- tion. Thus, in the question in No. 456, if the person addressed, by reason of distance or deafness, does not hear distinctly, and says, What did you ask me? the reply would naturally be, / asked you, Are you going to Boston. IN READING. 73 475. I am positive I am right, quoth Dr. Slop. 476. If a man thinks at all, he cannot well be a stranger to the true state of this account; — he must be privy to his own thoughts and desires — he must remember his past pur- suits, and know certainly the true Springs and motives which in general have governed the actions of his life. I defy him, without an assistant, quoth Dr. Slop. 477. In other matters w T e may be deceived by false appear- ances ; but here the mind has all the evidence and facts within herself. LESSON XXIII. EMPHASIS. By Emphasis is meant the force or loudness of voice by which we distinguish the principal roord or words in a sen- tence. To emphasize a word, means to pronounce it in a loud or forcible manner. The meaning of a sentence, especially if it be a question, often depends upon the proper placing of the emphasis. Thus : in the sentence*, Shall you ride to town to-day 1 if the emphasis be placed upon ride, the question will be, Shall you RIDE to. town to-day? — and it may be answered, No, I shall not ride, I shall walk. If the emphasis be placed upon you, the question then becomes, Shall YOU ride to town to-day ? and the answer may be, No, I shall not go myself, 1 shall send my son. If the emphasis be placed on toum, the question then becomes, Shall you ride to TOWN to-day? and the answer may be, No, I shall not ride to town, but I shall ride into the country. If the emphasis be placed upon day, the question then becomes, Shall you ride to town TO-DAY? and the answer may be, No, I shall not go to-day, but I shall to-morrow. In reading the following sentences, the pupil will em- phasize the words in capital letters. 478. You were paid to FIGHT against Alexander, not to RAIL at him. 74 INTRODUCTORY LESSONS. 479. And Saul said unto Michal, Why hast thou DE- CEIVED me so? 4S0. Then said the High Priest, Are these things SO ? 481. Exercise and temperance strengthen even an IN- DIFFERENT constitution. 482. AGAIN to the battle, Achaians. 483. I that denied thee GOLD, will give my HEART. 484. You wronged YOURSELF to write in such a case. 485. The fault, dear Brutus, is not in our STARS ; but in OURSELVES, that we are underlings. 486. And why beholdest thou the mote that is in thy brother's eye, but considerest not the BEAM that is in thine OWN eye? 487. And Nathan said unto David, THOU art the man. 488. A day, an HOUR of virtuous liberty, is worth a whole eternity of bondage. * 489. Fin tortured even to madness when I THINK of the p f roud victor. 490. "Tis all a libel, PAXTON, sir, will say : — Not yet, my friend! TO-MORROW, faith, it may; And for that very cause I print TO-DAY. 491. The men whom nature's works can charm, with GOD HIMSELF hold converse; grow familiar day by day with his conceptions, ACT upon his plan, and form to HIS the relish of their souls. 492. It is equally unjust in thee to put DAMON or ME to death: but PYTHIAS were unjust,, did he let Damon suffer a death that the tyrant prepared only for PYTHIAS. 493. What ! does life DISPLEASE thee ? Yes ; it displeases me when I see a TYRANT. 494. BETRAYEST thou the Son of man with a kiss ? 495. Betrayest THOU the Son of man with a kiss ? 496. Betrayest thou the SON of man with a kiss ? 497. Betrayest thou the Son of MAN with a kiss? 498. Betrayest thou the Son of man with a KISS? 499. The firmest works of MAN, too, are gradually giving way. 500. And THOU must sail upon this sea, a long event- ful voyage. The wise MAY suffer wreck — the foolish MUST. 501. My ear is PAINED, my soul is SICK, with every day's report of wrong and outrage, with which earth is IN READING. FILLED. There is no FLESH in man's obdurate heart, — it does not FEEL for man. 502. Slaves cannot BREATHE in England; if theii lungs receive our air, that moment they are FREE. LESSON XXIV. PRIMARY AND SECONDARY EMPHASIS.* In sentences where several words are to be emphasized, some words receive a stronger emphasis than others. This leads to a distinction, called primary and secondary emphasis. The 'primary emphasis is the stronger emphasis. The secondary emphasis is the weaker emphasis ; of which, there are several degrees. In the following sentences, the words in LARGE CAPL TALS are to receive the primary emphasis. Those in small capitals are to receive the secondary emphasis, and those in Italic an emphasis of less force than those in small capitals. 503. What stronger breastplate than a heart untainted! THRICE is he armed that hath his quarrel just : and he but naked, though locked up in STEEL, whose conscience with injustice is corrupted. 504. But winter has yet brighter scenes; — he boasts splendors beyond what gorgeous summer knows, — or au- tumn with her many fruits and woods, all flushed with many hues. 505. Boisterous in speech, in action prompt and bold. He buys, he sells, — he steals, he KILLS for gold. 506. The combat deepens. ON, ye brave, who rush to glory or the grave ! Wave, Munich, all thy banners wave, and charge with all thy chivalry. 507. Oh, fear not thou to die ! But rather fear to LIVE ; * Although emphasis generally requires a degree of loudness in the voice, yet it is frequently the case that strongly emphatic words should be uttered with a deeper rather than a louder tone of voice. This remark can be exemplified better by the living teacher than by examples addressed to the eye. 76 INTRODUCTORY LESSONS. for life has thousand snares thy feet to try, by peril, pain, and strife. 508. Yea, long as Nature's humblest child hath kept her temple undefined by sinful sacrifice, Earth's fairest scenes are all his own : he is a MONARCH, and his throne is built amid the skies. 509. Misses! the tale that I relate this lesson seems to carry — Choose not alone a proper mate, but proper time to marry. 510. Son of night, RETIRE; call thy winds and fly: Why dost thou come to my presence with thy shadowy arms? Do I FEAR thy gloomy form, dismal spirit of Loda! Weak is thy shield of clouds; feeble is that meteor, thy sword. 511. My dwelling is calm, above the clouds; the fields of my rest are pleasant. DWELL then in thy calm field, and let ComhaVs son be forgot. Do my steps ascend, from my hills into thy peace- ful plains? Do /meet thee, with a spear, in thy cloud, spirit of dismal Loda? Why, then, dost thou frown on Fingal? — or shake thine airy spear ? But thou frownest in vain ; I never fled from mighty men. And shall the sons of the WIND frighten the King of Morven? NO; he knows the weakness of their arms. 512. Yonder schoolboy, who plays the truant, says, the proclamation of peace was NOTHING to the show; and even the chairing of the members at election, would not have been a finer sight than this ; only that red and green are prettier colors than all this mourning. 513. The text is gospel wisdom. I would ride the camel, — yea, LEAP him FLYING, through the needle's eye, as easily as such a pampered soul could pass the narrow gate. 514. Why judge you then so hardly of the dead? For what he left UNDONE: — for sins, not one of which is mentioned in the ten commandments. 515. Though you may think of a million strokes in a minute, you are required to execute but one. 516. Not thirty tyrants now enforce the chain, but every CARLE can lord it o'er thy land. 517. HEREDITARY bondmen.! Know ye not, — who would be free, THEMSELVES must strike the blow? By THEIR right arm the conquest must be wrought : — Will Gaul or Muscovite redress ye? — NO! True, they may IN READING. I < lay your proud despoilers low : but not for YOU will free- dom's altars flame. 518. A thousand YEARS scarce serve to form a state : an HOUR may lay it in the dust. 519. He prayed but for life — for life he would give all he had in the world ; — it was but LIFE he asked — LIFE, if it were to be prolonged under tortures and privations ; — he asked only breath, though it should be drawn in the damps of the lowest caverns of their hills. 520. I could have bid you LIVE, had life been to you the same weary and icasting burden that it is to me. 521. Be the combat our OWN ! and we'll perish or con- quer MORE PROUDLY alone; for we have sworn by our country's assaulters, that living we WILL be victorious, or that dying our deaths shall be GLORIOUS. 522. Earth may hide — w r AVEs ingulf — -FIRE consume us, but they SHALL not to slavery doom us. 523. If they rule, it shall be o'er our ashes and graves: but we have smitten them already with fire on the waves, and new triumphs on land are before us. To the CHARGE! — Heaven's banner is o'er us. 524. False Wizard, AVAUNT ! I have marshaled my clan : their sw t ords are a thousand, their bosoms are ONE. 525. What means this shouting ? I do fear the people choose Caesar for their King. Ay, do you FEAR it ? Then must I think you would not have it so. 526. I speak not to disprove what Brutus spoke; but here I am to speak what I do KNOW. 527. But yesterday, the word of Caesar might have stood against the W T ORLD. Now lies he there, and none so poor to do him reverence. 52S. He was my friend, faithful and just to me ; but Brutus says he was AMBITIOUS ;=& and Brutus is an hon- orable man. He hath brought many captives home to * As this reading is new and original, it ma}', perhaps, require some de- fense. In the first assertion, the emphasis is thrown on the word ambitious because that is the objection made by Brutus against Cssar. The cunning Antony then brings forward circumstances to prove that Cresar was not ambitious ; and then asserts that Brutus says he was ambitious, notwith- standing these arguments in Caesar's defense. Antony then proceeds to pro- duce further proof to the contrary ; aud having brought what he supposes an incontrovertible argument in proof of the injustice of the charge, he then states the charge as resting merely on the bare assertion of Brutus. Brutus says so still. 7* 78 INTRODUCTORY LESSONS. Rome, whose ransoms did the general coffers fill : Did this in Caesar seem ambitious ? When that the poor have cried, Caesar hath wept. Ambition should be made of sterner stuff. Yet Brutus says he WAS ambitious ; and Brutus is an honorable man. You all did see, that on the Lupercal I thrice presented him a kingly crown ; which he did thrice refuse. Was this ambition ? Yet Brutus SAYS he was ambitious ; and sure he is an honorable man. 529. O masters ! if I were disposed to stir your hearts and minds to mutiny and rage, I should do Brutus wrong, and Cassias wrong, who, you all know, are honorable men. I will not do them wrong, — I rather choose to wrong the dead — to wrong myself and you, — than I will wrong such honorable men. 530. But here 's a parchment, with the seal of Cjesar ; 1 found it in his closet : 't is his will. Let but the commons hear this testament, (which, pardon me, I do not mean to read,) and they would go and kiss dead Caesar's wounds, and dip their napkins in his sacred blood, — yea, beg a hair of him for memory, and, dying, mention it within their wills, bequeathing it as a rich LEGACY unto their issue. 531. If you have tears, prepare to shed them now. You all do know this mantle: I remember the first . time ever Caesar put it on : ('twas on a summer's evening in his tent : that day he overcame the Nervii :) — LOOK ! In this place ran Cassius' dagger through : see what a rent the envious Casca. made. Through this, the well-beloved Brutus stabbed ; and, as he plucked his cursed steel away, mark how the blood of Caesar followed it ! This was the most unkindest cut of all ! for, when the noble Caesar saw HIM stab, IN- GRATITUDE, more strong than traitors' arms, quite van- quished him ! Then burst his mighty heart : and, in his mantle muffling up his face, even at the base of Pompey's statue, which all the while ran blood, great Cesar fell. O what a fall was there, my countrymen ! Then I, and you, and all of us, fell down ; whilst bloody TREASON flour- ished over us. 532. 0, now you weep ; and I perceive you feel the dint of pity : — these are gracious drops. Kind souls 1 What, weep you when you but behold our Caesar's vesture wound- ed ? Look ye here ! Here is HIMSELF — biarred, as you see, by traitors. IN TRADING. 79 LESSON XXV. DISTINCTNESS OF ARTICULATION. In order tc exercise the voice, and acquire distinctness of articula- tion, the pupil is required, in this lesson, to pronounce (as well as he can) certain letters, which do not constitute a word, and then the words in which the same letters occur. It is not designed that he should call the letters by name, but endeavor to pronounce the sound which they represent when united.* Sound the following letters, and then the icords which fol- low, in which the same letters occur. Be particularly care-* ful to give a clear and distinct sound to every letter. Aw. Law, saw, draw. Or. For, nor. Bd. Orbed, probed. Bdst. Robb'dst, prob'dst. B7. Able, table, cable, abominable. Bid. Troubl'd, humbl'd, tumbl'd. Bldst. TroubFdst, crumbl'dst, tumbl'dst. Biz. Troubles, crumbles, tumbles. Blst. Troubl'st, crumbl'st, tumbl'st. Br. Brand, strand, grand. Bs. Ribs, cribs, fibs, nibs. * This lesson is deemed by the author one of the most important in the book, and indispensably necessary to be carefully practised and often repeated, in order to acquire distinctness of articulation. There are some letters and syllables, which are very frequently lost by a vicious pronunciation. A native Bostonian seldom pronounces the final g in the syllable ing. The letters d, l f r, t, and the syllable ed, frequently share the fate of the ing, not only among Bostonians, but also amon Barb'd. libs. Herbs, barbs. Rbst. Barb'st, disturbsts. Rbdst. Barb'dst. Rd. Bard, word, hard, lard, heard. Rds. Bards, words, interlards. Rdst. Heard'st, fear'dst, appear'dst. Rf. Surf, scurf, scarf, wharf. Rft. 'Wharf d, scarf d, scurf d. Rg. Burgh. Rgz. Burghs. Rj. Barge, large, dirge, charge. Rjd, Urged, enlarged, charged. Rk. Hark, lark, ark, dark, stark. Rkt. Hark'd, work'd, dirk'd. Rks. Harks, works, dirks, arks. Rkst. Work'st, embark'st, dirk'st. Rktst. Bark'dst, embark'dst, dirk'dst. Rl Snarl, marl, whirl, dirl, girl, hurl. Rid. Snarl'd, hurl'd, world. Rlz. Snarls, hurls, whirls. Rlst. SnarFst, hurl'st, whirl'st. Rldst. Snarl'dst, hurl'dst, whirl'dst. IN READING. S3 Rm. Arm, harm, farm, alarm. Rmd. Arm'd, harm'd, alarm'd, warm'd. Rmz. Arms, harms, alarms, warms. Rmst. Arm'st, harm'st, alarm'st, warm'st. Rmclst. Arm'dst, harm'dst, alarm' dst. Rn. Burn, spurn, turn, fern. RncL Burn'd, spurn'd, turn'd. Rnt. Burnt, learnt. Rnz, Urns, burns, turns, spurns. Rnst. Earn'st, learn'st. Rndst. EarnMst, learn'dst. Rp. Harp, carp, warp. , Rpt. Harp'd, carp'd, warp'd. Rps. Harps, carps, warps. Rs. Hearse, verse, terse. Rst. . First, erst, worst, burst. Rsts. Bursts. Rt, Heart, dart, mart, hart, part, art Rts. Harts, darts, marts, parts, arts. Rtst. Hurt'st, dart'st, part'st. Rv. Curve, swerve, carve. Rvd. Curv'd, swerv'd, nerv'd. Rvz. Curves, swerves, nerves. Rvst. Curv'st, swerv'st, nerv'st. Rvtst. Curv'dst, swerv'dst, nerv'dst. Rz. Errs, avers, prefers, offers, scoffers. RcJi. Search, lurch, birch, church. Relit. Search'd, church'd. Rsh. Harsh, marsh. Rth. Hearth, earth, birth, dearth, mirth. Rths. Hearths, earths, births. Sh. Ship, shut, shun, shine, share. Skt. Push'd, hush'd, brush'd, crush' d. Sk. Mask, risk, brisk, frisk. SJct. Mask'd, risk'd, frisk'd. Sks. Masks, risks, frisks. SJcst. Mask'st, risk'st, frisk'st. SI. Slay, slew, slain, slim, slink. Sid. Nestled, bristled, wrestled. Sni. Smoke, smite, smart, small, smack. Sn. Snail, snarl, snort, snag. Sp. Spurn, spank, spirt, spa. Sps. Whisps, lisps. 84 INTRODUCTORY LESSONS. St. Starve, stay, stock, strike. Str. Strain, strong, strive, strung. Sts. Busts, lusts, masts, fasts, blasts. Th. Thine, thee, that, those, there. Th. Thin, thistle, thief. Thd. Wreathed, breathed, sheathed. Thz. Wreathes, breathes, sheathes. Thst. Wreath'st, breath'st, sheath'st. Tl. Little, title, whittle, bottle, settle, nettle. Tld. Settled, whittled, bottled, nettled. Tlz. Battles, whittles, bottles, nettles, settles. Tlst. SettFst, whittPst, bottPst, nettPst. Tldst. SettPdst, whittPdst, bottPdst. Tr. Travels, trinket, trunk, contrive. Tz. Hats, flits, cats, bats, mats, brats. Tst. Combat'st. Vd. Swerved, nerved, curved, loved. Vdst. Liv'dst, nerv'dst, curv'dst, swerv'dst. VI. Swivel, drivel, grovel, novel. VId. DrivePd, grovePd. Viz. Drivels, swivels, grovels, novels. Vlst. DrivePst, grovel st. Vldst. DrivePdst, grovePdst. Vn. Driven, riven, heaven. Vz. Lives, drives, swerves, nerves. Vst. Liv'st. Zl. Muzzle, dazzle. Zld. MuzzPd, dazzPd. Zlz. Muzzles, dazzles. ZlsL MuzzPst, dazzPst. Zldst. MuzzPdst, dazzPdst. Zm. Spasm, chasm. Zmz. Spasms, chasms. Zn. Prison, risen, mizzen. Znd. Imprisoned, reasoned. Znz. Prisons. Znst. Imprison' dst. The pupil, having been required to pronounce the letters and words in the preceding exercise, may now read the fol- lowing sentences, in which he must be particularly careful to pronounce clearly and distinctly every letter which is not silent. The sentences must be read very slowly. IN READING. 85 533. Deeply possess your mind with the vast importance of a good judgment, and the inestimable advantage of right reasoning. 534. Review the instances of your own misconduct in life. 535. Think seriously how many follies and sorrows you might have escaped, and how much guilt and misery you might have prevented, if from your early years you had taken pains to judge correctly, concerning persons, times, and things. 536. This will awaken you with lively vigor to the work of improving your reasoning powers, and seizing every opportunity and advantage for that end. 537. Consider the weakness, frailties, and mistakes of human nature in general ; the depth and the difficulty of many truths, and the flattering appearances of falsehood. 53S. Whence arise the infinite varieties of dangers to which we are exposed in our judgment of things? 539. Contrive and practise some suitable methods to ac- quaint yourself with your own ignorance, and to impress your mind with a deep and painful sense of the low and imperfect degrees of your present knowledge. 540. Presume not too much upon a bright genius, a ready wit, and good parts; for these, without labor and study, will never make a man of knowledge and wisdom. In order to show the pupil the difference between distinct and indistinct articulation, the following extract is presented ; the left-hand column being printed as the piece is frequently read by pupils at school, and the right-hand column exhibit' ing the same as it should be articulated. 541. The young of all an- 541. The young of all an- muls pear treceive playzhu imals appear to receive pleas- from the excise of thlimbs ure from the exercise of an bodly facties, without ref- frence t enny end ter be tained, ur enny use tbe ansd by theexshun. 542. Ur chile without knowin enny thing er the use er languige zin er high dorree dlicrhted with bin abe ter speak. their limbs and bodily facul- ties, without reference to any end to be attained, and any use to be answered, by the exertion. 542. A child, without knowing any thing of the use of language, is in a high degree delighted with being able to speak. 86 INTRODUCTORY LESSONS. 543. Its cessant reption uv er few ticlate sounds or praps of a single word, which it has lunned ter prunounce, proves this point clilly. 544. Nor ist Jess pleased with its fust successful deav- urs ter walk, or rath ter run, which purcedes walkin, al- though tirely ignurunt er th importance er th attain- munt tits futur life, an even without plyin it ter enny present purps. 545. Childs dlighted with speak without hav enny thing tur say, an with walk without known wither ter 546. An prevesly ter both these sreasonable ter blieve that the wake hours funcy ragreebly take up with thex- cise vish, or praps more prop speak, with learn ter see. 543. Its incessant repeti- tion of a few articulate sounds, or perhaps of a sin- gle word, which it has learn- ed to pronounce, proves this point clearly. 544. Nor is it less pleased with its first successful en- deavors to walk, or rather to run, which precedes walking ; although entirely ignorant of the importance of the attain- ment to its future life, and even without applying it to any present purpose. 545. A child is delighted with speaking, without hav- ing any thing to say; and with walking, without know- ing whither to go. 546. And previously to both these, it is reasonable to believe that the waking hours of infancy are agreea- bly taken up with the exer- cise of vision, or perhaps, more properly speaking, with learning to see. In reading the above sentences in the right-hand column, the pupil must be particularly careful to pronounce clearly and distinctly all the sounds which he finds omitted in the left-hand column, particularly the syllableing, the letters d, n, t, and all the proper vowel sounds. . LESSON XXVI. MANNER, OR EXPRESSION. In this lesson, the pupil is required to adapt the manner of his reading to the meaning of the sentences which he is to read ; and endeavor to imitate, as closely as possible, the IN HEADING. §7 tones which nature teaches him to use in common conversa- tion, or ichcn he is affected by strong feelings. Thus, if he have such a sentence as the following to read, — " Sirrah, savage, dost thou pretend to be ashamed of my company ? Dost thou know that I have kept the best com- pany in England?' 5 — He will of course read it in quite a different manner from that which he would use in this which follows : "Are you sick, Hubert? You look pale to-day. In sooth, I would you were a little sick, that I might sit all night and watch with you. I warrant I love you more than you do me." [The following sentence should be read in an angry manner.'] 547. Father, what sort of a tree is that which you have given me? It is as dry as a broomstick; and I shall not have ten apples on it. You have treated my brother Ed- mund better than you have me. You have given him a tree which is full of apples. You ought to make him give me half of them. [The following should be read in a milder manner.'] 548. Give you half of them? Your tree was as fruitful and in as good order as his ; but you have not taken good care of it. Edmund has kept his tree clear of hurtful in- sects; but you have suffered them to eat up yours in its blossoms. I shall not direct him to share his apples with so idle a boy as you have been. [To be read in a respectful, calm, but decided manner.] 549. Alexander ! I am your captive — I must hear what you please to say, and endure what you please to inflict. But my soul is unconquered ; and if I reply at all to your reproaches, I will reply like a free man. [ To be read in a threatening manner.] 550. He dares not touch a hair of Catiline. 551. [With surprise.] What! does life displease thee ? [Calmly, but with emphasis.] Yes; — it displeases me when I see a tyrant. 552. [Mikity] The sun not set yet, Thomas ? Not quite, sir. It blazes through the trees on the hill yonder, as if their branches were all on fire. 88 INTRODUCTORY LESSONS. 553. [With energy.] Sirrah, I begin with this kick, as a tribute to your boasted honor. Get you into the boat, or I will give you another. I am impatient to have you condemned. 554. [With moderation.'] Stranger, if thou hast learnt a truth, which needs experience more than reason, that the world is full of guilt and misery ; and hast known enough of all its sorrows, crimes, and cares, to tire thee of it — enter this wild wood, and view the haunts of nature. 555. [Proud!]/ and haughtily*] Do you pretend to sit as high on Olympus as Hercules? Did you destroy tyrants and robbers? You value yourself greatly on subduing one serpent. I did as much as that while I lay in my cradle. 558. [With fear.] Mirza, terror and doubt are come upon me. I am alarmed as a man who suddenly perceives that he is on the brink of a precipice, and is urged forward by an irresistible force; but yet I know not whether my danger is a reality or a dream. 557. [In a threatening manner.] I know thou art a scoun- drel ! Not pay thy debts! Kill thy friend who lent thee money, for asking thee for it! Get out of my sight, or I will drive thee into the Styx. 558. [In a commanding manner.] Stop, I command thee. No violence. Talk to him calmly. 559. [In a solemn manner.] Such are the excuses whrch irreligion offers Could you have believed that they were so empty, so unworthy, so hollow, so absurd ? And shall such excuses be offered to the God of heaven and earth? By such apologies shall man insult his Creator? 580. [In a mournful manner.] Oh, my dear, dear mother ! don't you know your son ! your poor boy, George ? 561. [In a terrified manner.] The Lord have mercy upon us — what is this? 562. [In a proud, disdainful manner.] Why then dost thou frown on Fingal? Or shake thine airy spear? But thou frownest in vain : I never fled from mighty men. And shall the sons of the wind frighten the King of Morven ? No ; he knows the weakness of their arms. 563. [In an energetic manner.] Now launch the boat upon the wave, — the wind is blowing off the shore — I will not live a cowering slave on these polluted islands more. See Number 128, page 33. IX READING. 89 Beyond the wild, dark, heaving sea, there is a better home for me. 564. [In a plaintive, sorrowful manner.'] O Switzerland! my country! 'tis to thee I strike my harp in agony: — My country! nurse of liberty, home of the gallant, great, and free, my sullen harp I strike to thee. Oh ! I have lost you all! — parents, and home, and friends. 565. [With quickness and emphasis.] Talk to me of dangers? — Death and shame! — is not my race as high, as ancient, and as proud as thine? By heaven, it grieves me, Harry Percy, preaching such craven arguments to me. 566. [With luimility.] Father, I have sinned against heaven, and in thy sight, and am no more worthy to be called thy son. 567. [With horror.] How T frightful the grave ! how de- serted and drear ! with the howls of the storm wind — the creaks of the bier, and the white bones all clattering together. 568. [ With calmness.] How lovely, how sweet the repose of the tomb ! No tempests are there ; — but the nightin- gales come, and sing their sweet chorus of bliss. 569. [In an authoritative manner.] Heat me these irons hot ; and look thou stand within the arras : when I strike my foot upon the bosom of the ground, rush forth, and bind the boy, which you shall find with me, fast to the chair : be heedful : hence, and watch. 570. [In a supplicating tone.] Alas ! what need you be so boisterous rou^h? I will not strucrcrle, I w ill stand stone- still. For heaven's sake, Hubert, let me not be bound ! Nay, hear me, Hubert ! drive these men aw T ay, and I will sit as quiet as a lamb ; I will not stir, nor wince, nor speak a w r ord, nor look upon the irons angrily; thrust but these men away, and I'll forgive you, whatever torments you do put me to. 571. [Solemn caution?^ Lochiel ! Lochiel, beware of the day when the Lowlands shall meet thee in battle array ! for a field of the dead rushes red on my sight, and the clans of Culloden are scattered in fight. ALEXANDER'S FEAST. 572. Martial Description. 'T was at the royal feast for Persia won By Philip's warlike son, 90 INTRODUCTORY LESSONS. Awe. Aloft, in awful state, The godlike hero sate On his imperial throne. Admiration. His valiant peers were placed around, Their brows with roses and with myrtle bound ; So should desert in arms be crown'd. Delight. The lovely Thais, by his side, Sat like a blooming Eastern bride, In flower of youth, and beauty's pride. Rapture. Happy, happy, happy pair! None but the brave, None but the brave, Triumph. None but the brave, deserve the fair. 573. Description. Timotheus, placed on high, Amid the tuneful choir, With flying fingers touch'd the lyre : The trembling notes ascend the sky, And heavenly joys inspire. The song began from Jove, Who left his blissful seat above — Such is the power of mighty love ! — Awe. A dragon's fiery form belied the god : Sublime on radiant spheres he rode, When he to fair Olympia press'd And stamp'd an image of himself, a sovereign of the world. The listening crowd admire the lofty sound: Surprise increased. " A present deity!" they shout around; — " A present deity ! " the vaulted roofs rebound. With ravish'd ears The monarch hears, Importance. Assumes the god, Affects to nod, And seems to shake the spheres. IS READING. 91 574. Jovial description. The praise of Bacchus, then the sweet musician sung ; Of Bacchus, ever fair and young! The jolly god in triumph comes ! Sound the trumpets ! beat the drums ! Flush'd with a purple grace, He shows his honest face. Inciting. Now give the hautboys breath. — He comes! he comes! Bacchus, ever fair and young, Drinking joys did first ordain. Bacchanalian rapture. Bacchus' blessings are a treasure ; Drinking is the soldier's pleasure. Rich the treasure, Sweet the pleasure; Sweet is pleasure after pain ! O/O. Soothed with the sound, the king grew vain : Fought all his battles o'er again : Swelling. And thrice he routed all his foes, and thrice he slew the slain! Observing. The master saw the madness rise ; His glowing cheeks, his ardent eyes: (rapidly.) And while he heaven and earth defied, (Sloivly.) Chang'd his hand, and check'd his pride.* 576. Sorrowful. He chose a mournful muse, Soft pity to infuse; (very slowly.) He sung Darius great and good ! 3 c o By too severe a fate, Fallen ! fallen ! fallen ! fallen ! — (gradually sinking.) (Lander.) Fallen from his high estate, And weltering in his blood ! * There should be a transition in the voice here, as in the strain of Timo- tlieus, from heroic to -pathetic ; as rapid too. 92 INTRODUCTORY LESSONS. Reproach. )eserted at his .utmost need ■iy those his former bounty fed, On the bare earth exposed he lies, With not a friend to close his eyes ! Reflection. th downcast look the joyless victor sate, Revolving, in his alter'd soul, The various turns of fate below; And now and then a sigh he stole, Pity. And tears began to flow ! 577. Secret satisfaction. The mighty master smiled, to see That love was in the next degree : 'Twas but a kindred sound to move ; For pity melts the mind to love, {rapidly, Softly sweet, in Lydian measures, changed to Soon he soothed his soul to pleasures. lively,) Remonstrance. War, he sung, is toil and trouble ; Honor, bat an empty bubble; Never ending, still beginning, Fighting still, and still destroying. Requesting If the world be worth thy winning, Think, oh, think it worth enjoying! Admiration. Lovely Thais sits beside thee, Take the good the gods provide thee. Burets of approbation. The many rend the skies with loud applause : So love was crown'd; but music won the cause. 57S. The prince, unable to conceal his pain, Gazed on the fair, Who caused his care, Effeminately. And sigh'd and look'd, sigh'd and look'd, Sigh'd and look'd, and sigh'd again: IN HEADING. 93 At length, with love and wine at once oppress'd, The vanquished victor — sunk upon her breast ' 579. Burst of voice.* Now strike the golden lyre again ! A louder yet, and yet a louder strain ! Break his bands of sleep asunder, And rouse him like a rattling peal of thunder ! Amazement. Hark ! hark ! — the horrid sound Has raised up his head, As awaked from the dead; And, amazed, he stares around. 580. Inciting furiously. Revenge! revenge! Timotheus cries — See the furies arise ! See the snakes that they rear, How they Hiss in their hair, And the sparkles that flash from their eyes ! {rapidly.) Behold a ghastly band, Each a torch in his hand. These arp Grecian ghosts, that in battle were slain, And, unburied, remain Inglorious on the plain. Give the vengeance due* To the valiant crew ! Behold! how they toss their torches on high, How they point to the Persian abodes, And glittering temples of their hostile gods. 581. Breathless eagerness. The princes applaud, with a furious -joy ;f And the king seized a flambeau, with zeal to destroy ; Thais led the way, To light him to his prey ! Burst. And, like another Helen, fired — another Troy. * The burst upon " rouse j ?; dwelling on the consonant r, trilled by the tongue against the uoper gum. f The princes — appiaud — with a furious — joy 5 And the king — seized a flambeau — with zeal — to destroy, &c. 94 INTRODUCTORY LESSONS. 582. Narrative manner. Thus, long ago, Ere heaving bellows learned to blow, While organs yet were mute, Timotheus, to his breathing flute And sounding lyre, Could swell the soul to rage, or kindle soft desire. 5S3. Pleasure. At last, divine Cecilia came, Inventress of the vocal frame. The sweet enthusiast, from her sacred store, Enlarged the former narrow bounds, And added length to solemn sounds, With nature's mother- wit, and arts unknown before Concluding. Let old Timotheus yield the prize, Or both divide the crown : Awe. He raised a mortal to the skies ; Delight. She drew an angel down. — Dry den, 584. Disdain. Go, preach to the coward, thou death-telling seer! Or, if gory Cuiloden so dreadful appear, ., Praw, dotard, around thy old wavering sight, This mantle, to cover the phantoms of fright. LESSON XXVII. PITCH OF THE VOICE. Every 'person has three keys, or pitches of the voice, called THE HIGH, THE MIDDLE and THE LOW KEY. The high key is that which is used in calling to a person at a distance. IN READING. 95 The middle key is that which is used in common con- versation. The low key is that which is used when we wish no one to hear, except the person to whom ice speak ; and is almost, but not quite, a whisper. Each one of these keys or pitches of the voice has different degrees of loudness ; and it is important that the pupil should exercise his voice in speaking, in all of these keys, both with mildness and with force. [The pupil may read the following sentence in each of the different keys.] 585. They have rushed through like a hurricane ; like an army of locusts they have devoured the earth ; the war has fallen like a water-spout, and deluged the land with blood. [Read the following in the high key.] 586. Next Anger rushed ; — his eyes on fire, in lightnings owned his secret stings; in one rude clash he struck his lyre, and swept with hurried hands the strings. [Read the following in the low key.] 587. With woful measures wan Despair — low, sullen sounds his grief beguiled : — a solemn, strange, and min- gled air : — 'twas sad by fits, by starts 'twas wild. [Read the following in the middle key.] 588. But thou, O Hope ! with eyes so fair, what was thy delighted measure? Still it whispered promised pleasure, and bade the lovely scenes at distance hail ! 589. [Read ivith the high key.] But, with a frown, Re- venge impatient rose. He threw his blood-stained sword in thunder down ; and, with a withering look, the war-denoun- cing trumpet took, and blew a blast so loud and dread, were ne'er prophetic sounds so full of woe. And ever and anon he beat the doubling drum with furious heat : [Loio key, very sloivly.] and though, sometimes, each dreary pause be- tween, dejected Pity, at his side, her soul-subduing voice applied, [High key, rapidly.] yet still he kept his wild, un- altered mien, while each strained ball of sight seemed burst- ing from his head. 590. [Middle key.] Alexander the Great demanded of a pirate, whom he had taken, by what right he infested the seas. " By the same right," replied the pirate, " that Alexan- der enslaves the world. But I am called a robber, because I have only one small vessel : and he is styled a conqueror, because he commands great fleets and armies." tft) • INTRODUCTORY LESSONS. LESSON XXVIII. TRANSITION. [It is important that the pupil practise a change or transi- tion of the voice from loud and forcible utterance to a softer and lower tone; and from rapid. to slow pronunciation. In this lesson he is presented with a few examples in which such a change of manner is required.] 591. [Softly and sloioly.] An hour passed on. The Turk awoke. That bright dream was his last. [3Iore loudly.] He woke — to hear the sentry's shriek, [Very loud and rapid.] " To arms ! they come ! the Greek ! the Greek ! " [Slowly and softly.] He woke to die midst flame and smoke, and shout and groan, and saber stroke, and [Faster and louder.] death shots falling thick and fast, as lio-htninjrs from the mountain cloud ; [Still louder.] and heard, with voice as trumpet loud, Bozzaris cheer his band ; [ Very loud, rap- idly, and with much animation.] Strike — till the last armed foe expires — Strike — for your altars and your fires — Strike— for the green graves of your sires, God — and your native land. [In a softer and slower manner.] They fought — like brave men, long and well, — they piled that ground with Moslem slain, — they conquered — [Very slowly, and in a mournful manner.] but Bozzaris fell, bleeding at every vein. 592. [In a gentle manner and low tone.] When, doffed his casque, he felt free air, around 'gan* Marmion wildly stare : — [Much louder, and in a wild and somewhat angry manner.] " Where's Harry Blount? Fitz Eustace, where? Linger ye here, ye hearts of hare? Redeem my pennon, — charge again! Cry — ' Marmion to the rescue.' — [ Very sloivly, and almost in a zvhisper.] Vain! Last of my race, on battle plain that shout shall ne'er be heard again! [In- creasing in loudness.] Yet my last thought is England's : — [Louder, and zvitk more earnestness.] fly — Fitz Eustace, to Lord Surrey hie,. [More rapidly.] Tunsfall lies dead upon the field ; his life-blood stains the spotless shield : Edmund is down, — my life is reft, — the Admiral alone is left. * A contraction for began. See Apostrophe, Clark's Grammar, page 196. IN READING. 97 [IVlth much earnestness of manner.] Let Stanley charge with spur of fire, with Chester charge and Lancashire, full upon Scotland's central host, [Slowly.] or victory and Eng- land's lost. [Angrily.'] Must I bid twice? — hence, varlets ! fly ! Leave Marmion here alone — to die." 593. [Distinctly, slowly, and in a moderate tone,] Yet still Lord Mann ion's falcon flew with wavering flight, while fiercer grew around the battle yell. [Loudly and quickly.] " A Home ! a Gordon ! " was the cry. 594. [Sloivly and with feeling .] Oh, what a fall was there, my countrymen ! Then I, and you, and all of us fell down, [Loudly and with emphasis.] while bloody treason flourished over us. 595. [Softly and slowly.] Oh, now you weep ; and I per- ceive you feel the dint of pity: — these are gracious drops. Kind souls! [Quickly, louder, and icith strong emphasis.] What, weep you when you but behold our Caesar's VES- TURE wounded? [Very loudly and earnestly.] Look ye here ! — here is HIMSELF — marred as you see by traitors. 596. [ Very slowly and sorrowfully.] Oh, I could play the woman with mine eyes, and braggart with my tongue ! — [With earnestness, louder, and rapidly .] But, gentle heaven, cut short all intermission ; front to front, bring thou this fiend of Scotland and myself; [Still more forcibly, but with a lower tone.] within my sword's length set him ; if he escape, heaven forgive him too. 597. [Proudly, and with a loud and angry manner.] But here I stand and scoff you; — here I fling hatred and defi- ance in your face. [In a much milder manner, slowly, and in derision.] Your consul's* merciful — For this — all thanks [ Very loud, and in a threatening manner. See Number 550.] He dares not touch a hair of Catiline. 598. [In a low tone, very softly.] His words do take pos- session of my bosom, — [Louder, and with earnestness.] Read here, young Arthur. [ Very softly.] How now, fool- ish rheum ! turning despiteous torture out the door ! I must be brief, lest resolution drop out at my eyes in tender, womanish tears. — [Louder, and as if striving to hide his tears.] Can you not read it? Is it not fair writ ? * The pupil will notice that there are many abbreviations of this kind made in this book in pieces which appear to be prose. All the sentences which are poetical have been printed in the form of prose, to prevent the " sing song" maaaer of reading. But it must be understood and recollected, that although abbreviations are allowable in poetry, they are not admitted in prose. 9 98 INTRODUCTORY LESSONS. 599. [Slowly, and in a very sad manner,'] Too fairly, Hubert, for so foul effect. [In an entreating manner.] Must you with hot irons burn out both mine eyes? [In a stern manner.] Young boy, I must. \In a very sorrowful and supplicating manner,] And will you? [Sternly, and in an apparently determined manner.] And I will. 600. [With a very earnest, sorrowful, and entreating manner.] Will you put out mine eyes? These eyes that never did, nor never shall, so much as frown on you? 601. [In a rough manner, hut still struggling to conceal his pity.] I have sworn to do it ; and with hot irons must 1 burn them out. 602. [In a very pathetic manner.] If an angel should have come to me, and told me, Hubert should put out mine eyes, I would not have believed no tongue but Hubert's.* 603. [In a kind, relenting, and very feeling manner.] Well — see to live; I will not touch thine eyes, for all the treasure that thy uncle owes. [In a slow, solemn, and decided manner.] Yet I am sworn, and I did purpose, boy, with this same very iron to burn them out. 604. [In a joyful and grateful manner.] O, now you look like Hubert! all this while you were disguised. 605. [In an animated manner.] The combat deepens — [ Very loud, rapidly, and with much energy.] On, ye brave, who rush to glory, or the grave! Wave, Munich, all thy banners wave ; and charge with all thy chivalry. 606. [In a slow, solemn, and mournful manner.] Ah, few shall part where many meet! The snow shall be their winding-sheet, and every turf beneath their feet shall be a soldier's sepulcher. * This expression, "J would not have believed no tongue but Hubert's" is a grammatical error, hardly sanctioned even by the great name of Shakspeare, from whom it was taken. The poets frequently have great liberties allowed them under the name of poetic license ; and the name of Shakspeare " lionors this comLjotiony Were it known to a certainty that he was a classical scholar, the expression above quoted might be pardoned as an idiotism, or imitation of the Greek construction, in which, double negatives are frequently used to strengthen the negation. See Clark's New English Grammar, page 141, Observation 5. and Andrews and Stoddard ' s Latin Grammar, page 303, § 32-5, No. 6, edition of 1836. — Shakspeare and Cowper both use the expressions, " I Itad as lief not be.'' and ' ; I had much rather be ;" thus joining the auxiliary of the pluperfect tense with the present. IN READING. 99 LESSON XXIX. ELLIPTICAL SENTENCES. An Ellipsis * means an omission ; and when any thing is omitted, or purposely left out, it is said that there is an ellip- sis in the sentence, and the sentence is called an elliptical sentence. Elliptical sentences occur very frequently ; and it is necessary, in reading such sentences, to supply, in our minds, all that is omitted, in order to give the proper tone, accent, emphasis, and expression. Thus in the following questions, — " What went ye out into the wilderness to see ? A reed shaken by the wind?" — there is an ellipsis or omis- sion of the words " did you go out to see; " and when these words are supplied, the questions will be, "What went ye out into the wilderness to see? Did you go out to see a reed shaken by the wind? Elliptical sentences must always be read in the same manner, with the same emphasis, tone, accent, and expression, that they would be if the ellipses were supplied. In every elliptical sentence, a pause should be made at every ellipsis long enough to pronounce, or rather to think over, the words which are omitted. In the following sentences, the ellipsis is supplied in Italic letters, in the form of a parenthesis. The pupil will first read them as they stand, and then read them with the omis- sion of those parts which are in Italic letters. 607. What sought they thus afar? [Did they seek) Bright jewels of the mine? [Did they seek) The wealth of seas? [or) the spoils of war? (No, they did not seek either of these, but) They sought a faith's pure shrine. 608. What, then, would it be reasonable to expect from the fanciful tribe, from the musicians and poets of such a region? (Would it be reasonable to expect) Strains ex- pressive of joy, tranquillity, or the softer passions ? No ; * See Lesson 19, page 6'2. 100 INTRODUCTORY LESSONS. their style must have been better suited to their circum- stances. 609. Art thou the Thracian robber, of whose exploits I have heard so much? (No! I am not a Thracian robber , but) I am a Thra- cian, and a soldier. (Do you call yourself) A soldier? (I" consider you as nothing better than) a thief, a plunderer, an assassin ! (who is) the pest of the country. 610. No deep and deadly quarrel was between these brothers, and neither of them could distinctly tell the cause of this unnatural estrangement. Perhaps dim jealousies of their father's favor (was the cause of this unnatural estrangement — perhaps) selfish thoughts that will some- times force themselves into poor men's hearts respect- ing temporal expectations (ivas the cause of this unnatural estrangement — perhaps) unaccommodating manners on both sides (were the cause of this unnatural estrangement — per- haps) taunting words that mean little when uttered, but which rankle and fester in remembrance, or imagined op- position of interests, that, duly considered, would have been found one and the same, (ivere the causes of this unnatural estrangement) — these and many other causes, slight when single, but strong when rising up together in one baneful band, had gradually, but fatally infected their hearts, till at last they who in youth had been seldom separate, and truly attached, now met at market, and, miserable to say, (not only at market, but even also) at church, with dark and averted faces, like different clansmen during a feud. 611. What shall we call them? (Shall we call them) Piles of crystal light? — (Shall ice call them) A glorious company of golden streams — (Shall we call them). Lamps of celestial ether burning bright — (or) suns lighting sys- tems with their joyous beams? But thou to these art. as the noon to night. 612. v Hail to your lordship ! I am glad to see you well. (It is) Horatio (who speaks to me,) or I do forget myself. 613. (It is) The same, my lord, and (2" am) your poor servant ever. 614. Sir, (you are) my good friend. I'll change that name with you. 615. Ah, whither now are fled those dreams of greatness? (Whither now are fed) Those unsated hopes of happi- ness? (Whither now are fed) Those busy, bustling days? IX READING. 101 {Whither 7W10 are fed *) Those gay-spent, festive nights, (a7id) those veering thoughts, lost between good and ill, that shared thy life 1 616. Almighty! trembling like a timid child, I hear thy awful voice {and when I hear it I am) alarmed — {and) afraid. I see the flashes of thy lightning wild, and in the very grave would hide my head. 617. Sourceless and endless God ! compared with thee, life is a shadowy, {and not only a shadowy, but also a) mo- mentary dream ; and {even) time, when viewed through thy eternity, {is) less than the mote of morning's golden beam. 618. What excuse can the Englishman plead? {Will he plead) the custom of duelling? An excuse, this {is) that in these regions cannot avail. The spirit that made him draw his sword in the combat against his friend, is not the spirit of honor ; it is the spirit of the furies, {it is the spirit) of Alecto herself {who zvas the chief of the furies.) To her he must go, for she has long dwelt in his merciless bosom. 619. Curse these cowardly covenanters — what {shall we do) if they tumble down upon our heads pieces of rock from their hiding places? {Shall we) advance? Or {shall we) retreat? 620. To save a bishop, may I name a dean? {May you name) a dean, sir? No; his fortune is not made; you hurt a man that's rising in the trade. If {I may) not {name)' the tradesman who set up to-day, much less {may I name) the apprentice who to-morrow may {set up.) 621. And what are things eternal? Powers depart, {and therefore they are not things eternal,) possessions vanish, {and therefore they are not things eternal,) and opinions change, {and therefore they are not things eternal,) and pas- sions hold a fluctuating seat, {and therefore they are not things eternal;) but, by the storms of circumstance unshaken, and subject neither to eclipse nor wane, duty exists — im- mutably survives ! What {is there) more that may not perish ? 622. So goes the world; if {you are) wealthy, you may * T£Jie ellipsis is supplied at each of these inquiries, to show that the falling inflection of the voice is required at each of the questions; [see Lesson 6th;] and it will be noticed throughout this lesson that the ellipsis is supplied in parentheses in many sentences where it may appear to be superfluous j: but the author's design in so doing - is to lead more directly to the proper intonation of the voice. As a particular instance of this kind, see A~o. 615, 616, and 613. 9* 102 INTRODUCTORY LESSONS. call this {man your) friend, that {man your) brother; — friends and brothers all {men toill be to you) {or you may call all men your friends and brothers.) 623. I once saw a poor fellow {who toas both) keen and clever, witty and wise; — he paid a man a visit, and no one noticed him, and no one ever gave him a welcome^ {It is) Strange, cried I ; whence is it {that this man is so much ?ieg- lected?) He walked on this side {of the 7*oom,) and then on that {side of the room; *) he tried to introchice a social chat ; now here, now there, in vain he tried {to introduce a social chat.) Some ( persons , ivhen he spoke to them) formally and freezingly replied {to him;) and some {persons made him no proper ansioer, but) said by their silence, {you would) better stay at home {than come here, where you are not wanted.) 624. A rich man burst the door. {A man who was) As Croesus rich. I'm sure he could not pride himself upon his wit ; and as to wisdom, he had none of it. He had what's better ; he had wealth. What a confusion {there was when he entered the room!) All {who are in the room) stand up erect — These t {persons in this part of the room) crowd around to ask him of his health ; {and) these {persons in another part of the room) arrange a sofa or a chair, and these {persons) conduct him there. {Some said to him,) Allow me, sir, the honor {of handing you a chair, or of conducting you to it.) Then {they each made) a bow down to the earth. Xs't possible to show meet gratitude for such kind condescension?! * This example shows very clearly how the proper intonation of the voice is intimated by supplying the ellipses, although the sense is sufficiently clear as the sentence is expressed. f It may here be observed, that a pause should be made in every elliptical sentence long enough to pronounce, or rather to think over, the words which are omitted. The extract above affords a clear illustration of this remark. See the directions, at the beginning of this lesson. X It may perhaps be thought that some ellipses are unnecessarily supplied in the preceding sentences ; but the practical teacher will readily allow that a correct analysis is indispensable to the correct reading of a sentence, and that the facilities afforded to a child in his first attempts, cannot be too great. It will be borne in mind that this book is designed for very young, as well as for more advanced pupils. IK READING. 103 LESSON XXX. ANTITHESIS. The word Antithesis means opposition or contrast. In all sentences in which an emphatic word occurs, there is an an- tithesis expressed or understood ; and it is necessary to be able to distinguish the tvords which form the antithesis, or which are contrasted, in order to ascertain which word should be emphasized. Thus, in the sentence given in the introduction to the 23c? lesson — "Shall you ride to-town to-day?" — if the answer be, " No, I shall walk," there is an antithesis, or contrast, in the words ride and walk, which shows that ride is the emphatic word. Again, if the answer be, " No, I shall ride into the country," the antithesis is in the words town and country, which shows that the word town is the emphatic word. Once more, if the answer be, " No, but I shall go to-morrow," the antithesis is in the words to-day and to-mor- row, which shows that the word to-day is to be emphasized. [It is thus seen, that it is necessary that the pupil should study out the meaning of a sentence, and be able to form the antithesis upon which the emphatic words depend, in order to read it correctly and expressively. This exercise will often require a degree of judgment and discrimination not to be expected in a child, until the assistance of the teacher comes to his aid. Indeed, it is this very thing which con- stitutes the whole art of reading, and which often renders it a subject of deep study even to matured minds. It is, however, a subject of such paramount importance, that it must not be overlooked or neg- lected even in the lessons of very young pupils. The assistance af- forded the pupil in this lesson, will lead his mind, it is thought, to a correct understanding of the subject, and enable him to apply his powers successfully to the analysis of other sentences, in which no aid is furnished for him.*] * The great importance of a correct understanding of this principle wiH be seen in the following passages from holy writ, which are frequently read from the sacred desk as Follows : — , " As much as lieth in you, live peaceably with all MEN." Now, if the em- phasis be thus placed en the word men, it would seem as if the apostle would imply that it is a duty to live peaceably with men only, but that with women and children we may live Ufa different manner. But by placing the emphasis on the word all, the inconsistency is removed ; thus, a As much as lieth in you, live peaceably with ALL men.' 7 Again, in the fourth commandment, if the emphasis be put on the word day as many read it, thus, " Remember that thou keep holy the Sabbath DAY," it would seem that the night might be differently occupied. The command- 104 INTRODUCTORY LESSONS. In this lesson the emphatic words which form the antithesis are printed in capitals, and the member of the antithesis which is understood is supplied in Italic letters between crotchets. The pupil will first read the whole passage, and then read it with the omission of the part in crotchets. 625. Mercury, Charon's boat is on the other side of the water, (and as there loill be time enough before he gets over to this side) allow me, before it returns, to have some conver- sation with the North American savage, whom you brought ' p hither at the same time that you conducted me to the shades. 626. Why judge you then so hardly of the dead? (I judge so hardly of the dead, not for any thing that he has done, but) For what he left undone. 627. This man of half a million (was not destitute of them, but he) had all these public virtues that you praise. 628. The darts of anguish (may strike, but they) fix not where the seat of suffering hath been thoroughly fortified by acquiescence in the will supreme, (not only for a short pertod, but) for time and for eternity. 629. Hereditary bondmen ! Know ye not, who would be free (must not depend upon the assistance of others, but) themselves must strike the blow ? By their right aim, (not by the right arm of others) the conquest must be wrought. 630. Where'er we tread (it is not a common spot, but) 'tis HAUNTED, HOLY ground. 631. Authors of modern date are (not so poor as they formerly were, but they are) wealthy fellows. (It is not for the benefit of his assistance) ; Tis but to snip his locks they follow now the golden-haired Apollo. ment undoubtedly should be read, " Remember that thou keep holy the SAB- BATH day. The following passage was read from the sacred desk by one of the most correct readers of the day, in the hearing of the author of this volume, three tim.es, with a false emphasis on the word men; thus, " O that MEN would therefore praise the Lord for his goodness, and de- clare the wonders that he doeth for the children of men." This reading gives rise to the question whether women and children, and even angels, &c, should not praise the Lord' for his goodness. The emphasis undoubtedly should be placed on the word praise ; thus, " O that men would therefore PRAISE the Lord for his goodness, and declare the WONDERS that he doeth for the children of men. 77 This principle of antithesis must be carefully studied by all who aim at cor- rect reading. The difference in style which characterizes the most eminent speakers and readers is much affected by their peculiar understanding of the meaning of an author, and of consequence the manner in which they men- tally supply the ellipsis forming the antithesis. IN READING. 105 632. Yet none but you by name the guilty lasn ; [others lash them in a different manner,) 633. It is often said by inconsiderate men, that time (not inclination) is wanted for the duties of religion. 634. My friends ! (do not be hasty, bat) be cautious how ye treat the subject upon which we meet. 635. Misses ! the tale that I relate (is not intended for your diversion alone, but it) seems to carry this lesson : Choose not alone a proper mate, but proper time to marry. 636. As much as lieth in you, live peaceably with all men, (but not with all women.) 637. You did not read that last sentence correctly: for by emphasizing the word men, you made it appear as if the apostle meant that you might quarrel with women and chil- dren, (if you would live peaceably with men.) Now, his meaning is, that you should live peaceably with all men, (not with your friends alone, but with all mankind.) Therefore you should read it thus: As much as lieth in you, live peaceably with ALL men. [Sometimes both the words which constitute the antithesis are expressed, as in the following sentence.] 633. It is from untamed passions, not from wild beasts, that the greatest evils arise to human society. 639. By wisdom, by art, by the united strength of a civil community, men have been enabled to subdue (not only one single lion, bear, or serpent, but) the whole race of lions, bears, and serpents. LESSON XXXI. ENUMERATION. When a number of particulars are mentioned in a sentence, it is called an Enumeration. In many sentences of this kind, it is proper to use the fall- ing inflection of the voice at each of the subjects of the enu- meration, except the last but one, which should be read with the rising inflection. The following sentences are of this 106 INTRODUCTORY LESSONS. kind. In order to assist the pupil, the acute and grave ac cents are used to designate the inflections of the voice, accord- ing to the principles stated in Lesson 22, page 70. 640. But who the melodies of morn can tell ? — The wild brook babbling down the mountain's side; the lowing herd ; the sheepfold's simple bell ; the pipe of early shepherd, dim descried in the lone valley ; echoing far and wide, the clam- orous horn along the cliffs above; the hollow murmur of the ocean tide; the hum of bees; the linnet's lay of love ; an^l the full choir * that wakes the universal grove. 641. Oh, how canst thou renounce the boundless store of charms that Nature to her votary yields ! The warbling woodland, the resounding shore, the pomp of groves, the garniture of fields; all that the genial ray of morning gilds, and all that echoes to the song of even ; all that the moun- tain's sheltering bosom shields, and all the dread magnifi- cence of heaven, — oh, how canst thou renounce, and hope to be forgiven ? 642. The coffin was let down to the bottom of the grave, the planks were removed from the heaped up brink, the first rattling clods had struck their knell, the quick shoveling was over, and the long, broad, skillfully-cut pieces of turf were aptly joined together, and trimly laid by the beating spade, so that the newest mound in the churchyard was scarcely dis- tinguishable from those that were grown over by the undis- turbed grass and daisies of a luxuriant spring. 643. The poor child of nature knew not the God of reve- lation, but the God of the universe he acknowledged in every thing around him. He beheld him in the star that sank in beauty behind his lonely dwelling; in the sacred orb that flamed on him from his midway throne ; in the flower that snapped in the morning breeze; in the lofty pine, that defied a thousand whirlwinds; in the timid warbler, that never left its native grove; in the fearless eagle, whose untired pinion was wet in clouds ; in the worm that crawled at his foot ; and in his own matchless form, glowing with a spark of that light, to whose mysterious source he bent in humble, though blind adoration. 644. Our lives, says Seneca, are spent either in doing nothing at all, or in doing nothing to the purpose, or in doing nothing that we ought to do. * Pronounced quire. IN HEADING. 107 645. It was necessary for the world that arts should be in- vented and improved, books written and transmitted to pos- terity, nations conquered and civilized. 64.6. All other arts of .perpetuating our ideas, except wri- ting or printing, continue but a short time. Statues can last but a few thousands of years, edifices fewer, and colors still fewer than edifices. 647. Life consists, not of a series of illustrious actions, or elegant enjoyments ; the greater part of our time passes in compliance with necessities, in the performance of daily duties, in the removal of small inconveniences, in the pro- curement of petty pleasures. 648. Though we seem grieved at the shortness of life in general, we are constantly wishing every period of it at an end. The minor longs to be of age, then to be a man of business, then to make up an estate, then to arrive at honors, then to retire. 649. The devout man does not only believe, but feels there is a Deity ; he has actual sensations of him ; his ex- perience concurs with his reason ; he sees him more in all his intercourse with him ; and even in this life almost loses his faith in conviction. 650. Now the works of the flesh are manifest, which are these ; adultery, fornication, uncleanness, Iasciviousness, idolatry, witchcraft, hatred, variance, emulations, wrath, strife, seditions, heresies, envyings, murders, drunkenness, revellings, and such like. 651. But the fruit of the Spirit is love, joy, peace, long- suffering, gentleness, goodness, faith, meekness, temperance. 652. The ill-natured man, though but of equal parts with the good-natured man, gives himself a large field to expatiate in ; he exposes those failings in human nature over which the other would cast a veil, laughs at vices which the other either excuses or conceals, falls indifferently on friends or enemies, exposes the person who has obliged him, and, in short, sticks at nothing that may establish his character of d wit. 653. What can interrupt the content of the fair sex, upon whom one age has labored after another to confer honors, and accumulate immunities ? Those to whom rudeness is infamy, and insult is cowardice ? Whose eye commands the brave, and whose smile softens the severe? Whom the sailor travels to addrn, the soldier bleeds to defend, and the poet wears out life to celebrate; who claim tribute from 108 INTRODUCTORY LESSONS. every art and science, and for whom, all who approach them endeavor to multiply delights, without requiring from them any return but willingness to be pleased. 654. Nature has laid out all her art in beautifying the face; she has touched it with vermilion; made it the seat of smiles and blushes; lighted it up and enlivened it with the brightness of the eyes; hung it on each side with curious or- gans of sense; given it airs and graces that cannot be de- scribed, and surrounded it with such a flowing shade of hair, as sets all its beauties in the most agreeable light. 655. Should the greater part of the people sit. down and draw up a particular account of their time, what a shameful bill would it be ! So much in eating, and drinking, and sleeping, beyond what nature requires ; so much in revelling and wantonness ; so much for the recovery of the last night's intemperance ; so much in gaming, plays, and masquerades ; so much in paying and receiving formal and impertinent visits ; so much in idle and foolish prating, in censuring and reviling our neighbors; so much in dressing out our bodies and talking of fashions; and so much wasted and lost in doincr nothing at all. 656. They, through faith, subdued kingdoms, wrought righteousness, obtained promises, stopped the mouth of lions, quenched the violence of fire, escaped the edge of the sword, out of weakness were made strong, waxed valiant in fight, turned to flight the armies of the aliens. 657. I conjure you ry that which you profess, (howe'er you came to know it,) answer me. Though you untie the winds, and let them fight against the churches; though the yesty waves confound and swallow navigation up ; though bladed corn be lodged, and trees blown down ; though castles topple on their warders' heads; though palaces and pyramids do slope their heads to their foundations ; though the treasure of nature's germins tumble altogether, even till destruction sicken, answer me to what I ask you. [Sometimes the falling inflection is used at each particular in the enumeration except the last, as in the following sentences.] 65S. To advise the ignorant, relieve the needy, comfQrt the afflicted, are duties that fall in our way almost every day in our lives. 659. The miser is more industrious than the saint. The IN READING. 109 pains of getting, the tear of losing, and the inability of enjoy- ing his wealth, have been the mark of satire in all ages. (360. When ambition palls in one way, interest another, inclination a third, and perhaps reason contrary to all, a man is likely to pass his time but ill, wbo has so many different parties to please. 661. As the genius of Milton was wonderfully turned to the sublime, his subject is the noblest that could have entered into the thoughts of man. Every thing that is truly great and astonishing has a place in it. The whole system of the intellectual world, the chaos and the creation, heaven, earth, and hell, enter into the constitution of his poem. 662. Labor, or exercise, ferments the humors, casts them into their proper channels, throws off redundancies, and helps nature in those secret distributions, without which, the body cannot subsist in its vigor, nor the soul act with cheer- fulness. LESSON XXXII. IRONY. Irony consists in such expressions as are intended to con- vey a meaning directly opposite to what the words imply. Thus, when we say of a boy who never gets his lesson, that he is an admirable scholar, this is called Irony. 'The word or words which are ironical, are generally to be emphasized, sometimes with the circumflex, and sometijnes with the other accents. In the following sentences the ironical parts are printed in Italic letters, and the pupil will manage his voice in pronouncing the accented words, according to the principles explained in Lesson 22, page 69. 663. They ivill give enlightened freedom to our minds, toho are themselves the slaves of passion, avarice, and pride. 664. That lulled them as the north wind does the sea. 665. " This is w ell got up for a closing scene," said Fer- gus, smiling disdainfully upon the apparatus of terror. 666. Your consul is merciful: for this all thanks. — He dares not touch a hair of Catiline. 667. Surely in this age of invention, something maybe 6 110 INTRODUCTORY LESSONS. struck out to obviate the necessity (if such necessity exists) of so tasking — degrading the human intellect. Why should not a sort of mute barrel organ be constructed, on the plan of those that play sets of tunes and country dances, to indite a catalogue of polite epistles, calculated for all the ceremo- nious observances of good breeding? O the unspeakable relief (could such a machine be invented) of having only to grind an answer to one of one's dear five hundred friends. 668. Or suppose there were to be an epistolary steam- engine — Ay, that's the thing — Steam does every thing now- a-days. Dear Mr. Brunei, set about it, I beseech you, and achieve the most glorious of your undertakings. The block machine at Portsmouth would be nothing to it. That spares manual labor — this would relieve mental drudgery, and thousands yet unborn But hold ! I am not so sure that the female sex in general may quite enter into my views of the subject, 669. And it came to pass at noon that v Elijah mocked them, and said, " Cry aloud, for he is a God: — either he is talking, or he is pursuing, or he is in a journey, or per ad- venture he sleepeth and must be awaked. 670. We have much reason to believe the modest man w r ould not ask him for his debt, where he pursues his life. 671. O terrible war ! in which this band of profligates are to march under Catiline. Draw out all your garrisons against this formidable body! 672. But it is foolish in us to compare Drusus Africanus and ourselves with Ciodius ; all our other calamities were tolerable ; but no one can patiently bear the death of Ciodius. 673. Do you think yourself as learned, or as smart a boy as Charles ? Has he not learned the whole of the frst page in his book? And did he not learn three lines in two hours? Could you do as much as that 1 LESSON XXXIII. ANALOGY. The word Analogy means resemblance; and it is taken as the title of this lesson, to represent the principle stated in the preface of this book, founded on the faculty of imitation. IN READING. Ill In connection zoith some colloquial sentence, another of less obvious import is given, requiring the same modulations and inflections of the voice. The sentences are printed side by side, and separated by a line. The pupil icill read both sentences in the same manner, with the same modulation, tone, emphasis, and expression. The simple or colloquial sentence is called the model, and the more difficult one the analogical sentence. MODELS. 674. Why did you drive your hoop so fast to-day? 675. Go tell your father how naughty you have been, and ask your mother to re- prove you. 676. Thomas Smith, go away : take your things and run. Why do you bring such silly things here? Do you think I want them, you foolish boy ? They are good for nothing ; they are not worth having. 677. I would rather be a kitten, and cry mew, than one of those same prosing letter- mongers. 67S. Do you pretend to sit as high in school as An- thony ? Did you read as cor- rectly, speak as loudly, or be- have as well as he?* 679. Are you the boy of whose good conduct I have fteard so much ? 680. Have you not mis- employed your time, wasted ANALOGICAL SENTENCES. 674. Why looks your Grace so heavily to-day? 675. Go show your slaves how choleric you are, and bid your bondmen tremble. 676. Son of night, retire : call thy winds and fly. Why dost thou come to my pres- ence with thy shadowy arms? Do I fear thy gloomy form, dismal spirit of Loda ? Weak is thy shield of clouds : feeble is that meteor thy sword. 677. I'd rather be a dog, and bay the moon, than such a Roman. 678. Do you pretend to sit as high on Olympus as Hercules ? Did you kill the Nems'an Iron, the Eryman- thian boar, the Lernean ser- pent, or Stvmphalian birds? 679. Art thou the Thra- cian robber, of whose ex- ploits I have heard so much? 680. Hast thou not set at defiance my authority, violated * Some of the sentences in this lesson may be found in previous parts of the oook. See page 33, No. 128, &c. 112 INTRODUCTORY LESSONS. your talents, and passed your life in idleness and vice? 681. Who is that standing up in his place, with his hat on, and his books under his arm ? 6S2. Did he recite his lesson correctly, read audi- bly, and appear to under- stand what he read? 683. Is that a map which you have before you, with the leaves blotted with ink? 684. Henry was careless, thoughtless, heedless, and inattentive. 685. Oh, how can you de- stroy those beautiful things which your father procured for you! — that beautiful top, — those polished marbles, — that excellent ball, — and that beautifully painted kite, — oh, how can you destroy them, and expect that he will buy you new ones ? * • the public peace, and passed thy life in injuring the persons and properties of thy fellow subjects? 681. Whom are they ush- ering from the world with all this pageantry and long parade of death? 682. Was his wealth stored fraudfully, the spoil of orphans wronged, and widows who have none to plead their rights? 683. Is this a dagger which I see before me, the handle towards my hand ? 683. Will you say that your time is your own, and that you have a right to em- ploy it in the manner you please ? 684. This is partial, un- just, uncharitable, iniqui- tous. 685. Oh, how canst thou renounce the boundless store of charms that Nature to her votary yields ! — the war- bling woodland, the resound- ing shore, the pomp of groves, the garniture of fields ; all that the genial ray of morn- ing gilds, and all that echoes to the song of even, all that the mountain's sheltering bo- som shields, and all the dread magnificence of heaven, — oh, how canst thou renounce, and hope to be forgiven ? * The principle involved in this lesson will be found by the teacher a useful auxiliary in leading the pupil to the correct enunciation of difficult sentences. It is deemed unnecessary to extend the lesson by numerous inodels, or examples of analogy. The teacher will find it easy to form models for the pupil in his exercises in reading 5 and if the experience of the author may be adduced in TX READING. 113 LESSON XXXIV. THE SLUR.* The Slur is the name given to such a management of the voice as is opposed to emphasis. When a word or part of a sentence is emphasized, it is to be pronounced with a louder and more forcible effort of the voice, and it is frequently to be prolonged. But when a sentence or part of a sentence is slurred, it is to be read like a parenthesis,^ in an altered tone of voice, more rapidly, and not so forcibly , and with all the words pronounced nearly alilce.^ The parts which are to be slurred in this lesson are printed in Italic letters % and the words on ichich emphatic force is to be bestowed are printed in capitals, as in Lesson 24, page T5. proof of the utility and efficacy of the principle, he has little doubt that it will be acknowledged as a valuable aid in teaching - the art of reading. * The following remarks upon the slur were communicated to the author by a distinguished teacher. u In order to communicate dearly and forcibly the whole signification of a passage, it must be subjected to a rigid analysis. It will then be found, that often one paramount idea pervades the sentence, although it may be associated with incidental statements, and qualified in every possible manner. It is the province of the reader, by appropriate inflections and modulations of the voice, to communicate, to the listener every shade of meaning, be it more or less del- icate. The primary idea, then, will require a forcible utterance, while the other portions will be thrown into the shade. For want of a better name, we may designate as ' The Slur' that particular element in elocution, by which those parts of a sentence of less comparative importance, are rendeied less impres sive to the ear. " It will be understood, that the use of stress, alone, can by no means make a reader 3 indeed, it is certain that the best elocutionists are they who most adroitly blend emphasis and slur. The presence of the slur generally implies the existence of emphasis 3 and the former is often used to set an emphatic word or phrase in stronger relief. " A slurred passage must generally be read in a lower and less forcible tone of voice, and more rapidly than the context 3 and this element (namely, the slur) must be employed in cases of parenthesis, contrast, repetition, or ex- planation, where the sentence is of small comparative importance 3 and often where qualification of time, place, or manner is made. 77 f See page 48, Lesson 16. t On the management of the slur, much of the beauty and propriety of enunciation depends 3 especially in all sentences in which parentheses abound. How much soever a sentence may be cumbered with explanatory details, or interrupted and obscured by parentheses and unimportant adjuncts, the reader, by a proper management of the slur, can always bring forward the most im- portant particulars into a strong light, and throw the rest into shade j thereby entirely changing the character of the sentence, and making it appear lucid, 6trong, and expressive. v ] 0^ 114 TRODUCTORY LESSONS. 6S6. Stay, you imperfect speakers, tell me more: By SineFs death, I know I am thane of Glamis; but how of Cawdor? The thane of Cawdor lives, a prosperous gentle- man ; and to be King stands not within the prospect of be- lief, no more than to be Cawdor. Say from WHENCE you oioe this strange intelligence; — or WHY «pn this blasted heath you stop our way with such prophetic greeting. 687. But let me ask by WHAT RIGHT do you involve yourself in this multiplicity of cares ? WHY do you zocavc around you this web of occupation, and then complain that you cannot break it? 685. And when the prodigal son came to himself, he said, " How many hired servants of my father's have bread enough and to spare, and I perish with hunger ! I will arise and GO to my father; and will say unto him, 'Father, I have sinned against heaven and before thee, and am no more worthy to be called thy son : — make me as one of thy hired servants.' " And he arose, and was coming to his father ; — but while he was yet a great way off, his father saw him, and had com- passion, and ran, and fell on his neck, and kissed him. And the son SAID unto him, "Father, I have sinned against heaven and before thee, and am no more worthy to be called thy son." * 689. When therefore the Lord knew how the Pharisees had heard that Jesus made and baptized more disciples than John, though Jesus himself baptized not, but his disciples, he left Judea, and departed again into Galilee. 690. Search the Scriptures, for in them, ye think ye have eternal life, and they are they which testify of me. 691. STRANGER, if thou hast learnt a truth which needs experience more than reason, that the world is full of guilt and misery, and hast known enough of all its sorrows, crimes, and oares, to tire thee of it, — enter this wild wood, and view the haunts of nature. 692. The calm shade shall bring a kindred calm, and the sweet breeze, that makes the green leaves dance, shall waft a balm to thy sick heart. 693. The massy rocks themselves, the old and ponderous trunks of prostrate trees, that lead from knoll to knoll, a causey rude, or bridge, the sunken brook, and their dark roots * This passage has been previously related 5 and all similar repetitions are to be slurred, unless there is particular reason for emphasizing them. IX READING. 115 with all their earth upon them, twisting high, breathe fixed TRANQUILLITY. 694. The rivulet sends forth glad sounds, and tripping o'er its bed of pebbly sands, or leaping down the rocks, seems with continuous laughter to rejoice in its own being.* 695. Therefore said they unto him, " How were thine eyes opened?" He answered and said, " A man that is called Jesus made clay, and anointed mine eyes, and said unto me, ' Go to the pool of Siloam and wash : ' and I went and washed, and I received sight." *********** Then again the Pharisees asked him how he had received his sight. He said unto THEM, " He put clay upon mine eyes, and 1 icashed, and do see" 696. And oft he traced the uplands, to survey, when o'er the sky advanced the kindling dawn, the crimson cloud, blue main, and mountain gray, and lake dim gleaming on the smoky lawn; — far to the west, the long, long vale with- drawn, zahere twilight loves to linger for a while; and now he faintly kens the bounding faw t n, and villager abroad at early toil. Butlo! the sun appears! and heaven, earth, ocean, SMILE. 697. O God! be thou a God, and spare while yet 'tis time! Renew not Adam's fall : — Mankind were then but twain; but they are numerous now as are the waves, and the tremendous rain, whose drops shall be less thick than would their graves, icere graves permitted to the sons of Cain. 698. Mountains interposed, make enemies of nations, who had else, like kindred drops, been mingled into one. 699. No! dear as freedom is, and in my heart s just estimation prized above all price, I would much rather be myself the slave, and wear the bonds, than fasten them on him. 700. A great city — situated amidst all that nature could create of beauty and profusion, or art collect of science and magnificence, — the growth of many ages — the scene of splendor, festivity , and happiness — in one moment withered as by a spell — its palaces, its streets, its temples, its gardens glowing with eternal spring, and its inhabitants in the full enjoyment of life's blessings, obliterated from their very place in creation, not by war, nor famine, or disease, nor any of the natural causes of destruction to which earth had been accus- * See note on page 145, No. 750. 116 INTRODUCTORY LESSONS. tomed — but in a single night, as if by magic, and amid the conflagration, as it v)ere, of nature itself, presented a subject on which the wildest imagination might grow weary, without even equalling the grand and terrible reality. 701. And thou, O silent form, alone and bare, whom, as I lift again my head, boiced loio in silent adoration, I again behold, and to thy summit upward from thy base sweep slowly, with dim eyes suffused with tears, AWAKE, thou MOUN- TAIN FORM. 702. Ye stars! ivhich are the poetry of heaven, if in your bright leaves we would read the fate of men and empires, — 'tis to be forgiven, that, in our aspirations to be great, our destinies o'erleap their mortal state, and claim a kindred with you ; for ye are a beauty and a mystery, and create in us such love and reverence from afar, that fortune, fame, power, life, have named themselves a star. 703. A few hours more, and she will move in stately grandeur on, cleaving her path majestic through the flood, as if she were a goddess of the deep. 704. Falsely luxurious, will not man awake, and spring- ing from the bed of sloth, enjoy the cool, the fragrant, and the silent hour, to meditation due and sacred song? 705. For is there aught in sleep can charm the wise ? To lie in dead oblivion, losing half the fleeting moments of too short a life; — total extinction of the enlightened, soul! Or else to feverish vanity alive, wildered and tossing through distempered dreams ! 708. But yonder comes the powerful KING OF DAY, rejoicing in the east. The lessening cloud, the kindling azure, and the mountains brow illumed with fluid gold, his near approach betoken glad. LO, NOW, APPARENT ALL, aslant the dew-bright earth and colored air, he looks in boundless MAJESTY abroad, and sheds the shining day, that burnished plays on rocks, and hills, and towers, and wandering streams, HIGH GLEAMING from afar. 707. PRIME CHEERER, LIGHT! of all material beings FIRST AND BEST; EFFLUX DIVINE, NA- TURE'S RESPLENDENT ROBE ! without whose vesting beauty all were wrapt in unessential gloom; and THOU, O SUN! SOUL of surrounding WORLDS! in whom, best seen, shines out thy Maker — may I sing of thee? 70S. 'Tis by thy secret, strong, attractive force, as with a chain indissoluble bound, thy system rolls entire; from the IX READING. 117 far bourn of utmost Saturn, w h cdlng wide his round of thirty years, to Mercury, whose disk can scarce be caught by philo- sophic eye, lost in the near effulgence of thy blaze. 709. And thus, in silent waiting, stood the piles of stone and piles of wood ; TILL DEATH, who, in his vast affairs, ne'er puts things off — as men in theirs — and thus, if I the truth must tell, does his work finally and well, WINKED at our hero as he passed, " Your house is finished, sir, at last; a narrower house — a house of clay — your palace for another day." 710. The smoothness of flattery cannot now avail — cannot SAVE us in this rugged and awfiol crisis, 711. What PROFIT hath a man of all his labor, which he taketh under the sun 1 712. IS there any thing whereof it may be said, " See, this is new ? " Thething which HAS been, it is that which shall be, and that which IS done, is that which SHALL be done, and there is no NEW thing under the sun. 713. THOU, glorious mirror, where the Almighty' s form glasses itself in tempests, in ALL time, calm or convulsed, in breeze, or gale, or storm, icing the pole, or in the torrid clime dark heaving, BOUNDLESS, ENDLESS, and SUB- LIME — the image of Eternity — the throne of the Invisi- ble; even from out thy slime, the monsters of the deep are made; each zone obeys thee — thou goest forth, DREAD, FATHOMLESS, ALONE. 714. CENTER of light and energy ! thy way is through the unknown void ; thou hast thy throne, morning and evening, and at noon of day, far in the blue, untended and alone : Ere the first wakened airs of earth had blow 7 n, on didst thou march, triumphant in thy light. Then didst thou send thy glance, which still hath floivn wide through the never-ending worlds of night; and yet thy full orb burns with flash unquenched and bright. 715. In thee, FIRST LIGHT, the bounding ocean smiles, when the quick winds uprear it in a swell, that rolls in glit- tering green around the isles, where ever-springing fruits and blossoms dwell. 716. THINE are the MOUNTAINS, — tvhere they purely lift snows that have never wasted, in a sky which hath no stain; below the storm may drift its darkness, and the thunder-gust roar by; — ALOFT, in thy eternal smile, they lie, DAZZLING, but COLD; — thy farewell glance 118 INTRODUCTORY LESSONS. looks there, and when below thy hues of beauty die, girt round them as a rosy belt, they bear into the high, dark vault, a brow that still is fair. 717. May THE LIKE SERENITY, in such dreadful circumstances, and a DEATH EQUALLY GLORIOUS, be the lot of all whom TYRANNY, of whatever denomina- tion or description, SHALL, in any age, or in any country, CALL to expiate their virtues on the scaffold. 718. Behold, I show you a mystery; We shall not all sleep, but we shall all be changed, in a MOMENT, in the TWINKLING of an EYE, AT the LAST TRUMP; for the trumpet shall sound, and the dead be raised- incorruptible, and toe shall be changed. For this corruptible must put on incorruption, and this mortal must put on immortality. So when this corruptible shall have put on incorruption, and this mortal shall have put on immortality , then shall be brought to pass the saying that is written, DEATH is SWALLOWED UP IN VICTORY. 719. O WINTER ! ruler of the inverted year ! thy scattered hair with sleet-like ashes filled, thy breath congealed upon thy lips, thy cheeks fringed with a beard made white with other snows than those of age, thy forehead torapped in clouds, a leafless branch thy scepter, and thy throne a sliding car, indebted to no wheels, but urged by storms along its slippery way, I LOVE THEE, all UNLOVELY as thou seem'st, and DREADED as thou ART. 720. Lo ! the unlettered hind, who never knew to raise his mind excursive to the heights of abstract contemplation, as he sits on the green hillock by the hedge-row side, what time the insect swarms are murmuring, and marks, in silent thought, the broken clouds, thai fringe with loveliest hues . the evening sky, feels in his soul the hand of nature rouse tbe thrill of gratitude to him who formed the goodly prospect ; he beholds the god throned in the west ; and his reposing ear hears sounds angelic in the fitful breeze, that 1 floats through neighboring copse or fairy brake, or lingers, playful, on the haunted stream. 721. They shall hear of my vengeance, that would scorn to listen to the story of my wrongs. The miserable Highland drover, bankrupt, barefooted, stripped of all, dishonored, and hunted down, because the avarice of others grasped at more than that poor all could pay , shall burst on them in an awful change. IN READING, 119 LESSON XXXV. MEASURE OF SPEECH.* In Lesson 10th, page 16th, the pupil was informed that a pause is sometimes made in reading, where there is no pause in the book. The pause to which allusion is there made, is rendered necessary to allow the reader to take breath. This lesson is designed to explain to the pupil another sort of pause, or rather interruption of the voice, caused by the peculiar operation of the organs of speech. Dr. Rush, in his work " On the Human Voice," has remarked, with regard to the manner in which children learn to read, that " the close attention which their ignorance requires, and their slowness of utter- ance, lead them to lay an equal stress upon every syllable, or at least upon every word. This habit continues a long time after the eye has acquired a facility in following up discourse, and in some cases infects pronunciation throughout subsequent life." The object of this lesson, which is entitled u Measure of Speech" is twofold : 1st. To teach the pupil so to manage his voice, in conformity with the natural operation of the organs of speech, as to. break up the monotonous, or "equal" manner of reading above mentioned, and to introduce such an agreeable variety, as will cause peculiar melody of utterance ; and, 2dly. To enable him to read in such a manner that he will not be " out of breath" and consequently to exercise his voice without fatigue. A Measure of Speech consists of an accented and an unaccented portion of sound, produced by one effort of the voice. In pronouncing an accented syllable, the voice makes an effort, which must be repeated, if the next syllable is also an accented syl- lable. But if the next syllable or syllables be unaccented, the voice can pronounce them all with a single effort. Thus the words spirt, spirit, spiritual, or spiritually, may each be pronounced with a single effort or pulsation of the voice. * The teacher who would thoroughly understand the subject treated in this lesson, and who aims at excellence in the art of reading, is referred to the very valuable and scientific work of Dr. Rush, of Philadelphia, entitled the " Philosophy of the Human Voice/ ; or to Dr. Barber's Grammar of Elocution, a work founded on the principles advanced by Dr. Rush. Dr. Barber, whose opinion on the subject has great weight, says, " In Dr. Rush's work, the reader may repair to a fountain at once deep and foil." In another place, Dr. Barber assures " every public speaker, and every philosophical actor, that he will fail in his duty to himself, if lie neglects a diligent perusal of Dr. Rush's Philosophy of the Voice." The same may also be said in relation to Dr. Barber's own work. From the works of both these gentlemen, the author has derived as- sistance in the preparation of these Exercises. 120 INTRODUCTORY LESSONS. It may here be remarked, that it is not material whether the syl- lables belong to the same word. The voice may utter, with a single effort, several syllables, even when they constitute different words. Thus each of the following lines may be pronounced by a single effort or pulsation of the voice : — Came to the — When he was in — 'Twas at the — Does to the — Oft did the — Utterable, &c/ But when two accented syllables follow one another, there must be a distinct effort or pulsation of the voice to pronounce each. Thus the words fate, hate, both being accented, require a distinct effort or pulsa- tion of the voice for the pronunciation of each ; and a pause must be made between each, long enough to pronounce an unaccented syllable. It will thus be seen, that the two syllables fatal, or hating, can be pro- nounced by the same effort that is required to pronounce the syllables fate and hate. And here it may be remarked that, while an accented syllable requires a distinct effort or pulsation of the voice in pro- nouncing it, an unaccented syllable is uttered without such effort. This distinction of the voice, in pronouncing accented and unaccented syllables, is called by Dr. Barber, in his Grammar of Elocution, the pulsative and the remiss action of the voice. An accented syllable, therefore, is uttered by the pulsative* action of the voice. An unaccented syllable is uttered by the remiss* action of the voice. A perfect measure of speech consists of one syllable, or any number of syllables, [not exceeding five,) uttered during one pulsation and remission of the voice. It may here be remarked, that a single syllable may constitute a measure; for if it be extended in sound, the first part of that sound may be accented or heavy, and the latter unaccented or light. But a short syllable will not constitute a measure. More than one syllable cannot be uttered during the pulsative effort of the voice ; while one, two, three, and even four, can be uttered during the remiss action ; as in the word spiritually, in which the first syllable, spir, is pronounced by the pulsative, and the syllables itually by the remiss action of the voice. * As a proper understanding of those terms is deemed essential to a dear comprehension of the principle on which this lesson is founded, the teacher who wishes a fuller development of the subject, is referred to Dr. Barber's Grammar of Elocution — or to Dr. Rush's work, already mentioned, on the Philosophy of the Human Voice, Section 49th, entitled " the Rhythmus of Speech." rx HEADING. 12.1 An imperfect measure of speech consists of a single sylla- ble on which the acute accent is placed, — or of a syllable or syllables which are unaccented. In the following examples for reading, the lines are di- vided into several parts, which are separated by a mark like this | called a bar, and the parts divided by the bars are all PERFECT Or IMPERFECT MEASURES OF SPEECH. The accented syllables, or those which require the pulsa- tive effort of the voice, are noted by a star * under them, and the unaccented syllables, or those which require the re- miss action of the voice, have hyphens - under them. The time occupied in reading each portion between the bars must be equal, whether the bar includes a perfect or imperfect measure of speech. A bar may contain an imper- fect measure; the accented or the unaccented portions of the measure being omitted. In that case, a mark like this ^j is inserted, to indicate a rest or stop long enough to pronounce the portion which is omitted.* [Iji reading the following passages, the pupil will recollect that all the syllables which have a star under them are ac- cented — that all which have the hyphen under them are unaccented — and that all the marks like this ^ indicate that a pause is to be made long enough to pronounce an unaccented syllable.] 722. ~1 In the second century era ~| the empire of Rome of the compre- Christian hended the fairest part of the ! earth ^l and the ized portion of man- most ^1 I civil- * #■■> I kind. * Dr. Rush, in the very valuable work already mentioned, has the following remarks in relation to the method of marking and dividing sentences here in- t roc 5 -.: red : — " This notation will not, indeed, inform us what syllables are lobe emphatic, nor where the pauses are to be placed ; but it will enable a master, who knows how to order all these things in speech, to furnish that which most men require for every thing they do — a copy. If a boy is taught by this method, he ac- quires the habit of attention to the subjects of accentuation and pause, which may be readily applied in ordinary discourse." 11 122 INTRODUCTORY LESSONS. 723. Twas at the * - - royal * - feast ^ "1 for Persia * won. HOHENLINDEN.' ~) On ~] All Linden bloodless * - 11 ^1 And ~| Of Iser * _ dark as rolling 724. when the sun was I low lay the un- winter rapidly. trodden snow ^] was the I flow | 11 11 ~] But Linden ii When the ~\ Corn- drum * - landing ^| The I darkness 725. saw an- beat 4 . 1 at other dead of sight fires of ~| of her death ~]to night liffht scenery. 11 11 IBy Each torch and horseman 726. trumpet drew his 11 fast ar- battle blade rayed ii * Although there are many poetical extracts in the preceding parts of this book r this is the first extract in which the lines are distinguished. All the pre- ceding extracts have been presented in sentences like prose, to prevent that "sing song 77 maimer of reading into which children are apt to fall. It is thought that the introductory remarks in this lesson are adapted to prepare the pupil to read verse, without the danger of " favoring the poetry/' as this sing-song is sometimes called. The usual punctuation is omitted, in this lesson, as the system of notation adopted fully supplies its place. IN READING. 123 ~] And furious 11 every charger neighed ^ To join the dreadful revelry. ^ ^ Then Then shook the rushed the hills steeds 727. ~] with X\ And Ipuder than the Far flashed ~1 the red 7? bolts of * - 1 ar- thunder battle riven driven heaven tillery. * n 11 ^ And *1 On "| And ~) Of Iser redder * . yet * - T those fires shall 0f glow * - * Linden's | hills of i blood-stained snow 1 ^j^l darker yet * - i shall be the flc >w rolling rapidly. ^f] ^ 729. *1 'Tis * ~j Can morn 11 ~| Where pierce the furious 11 Shout in their ^ The combat * _ j * - 'i Who 1 rush to ^ but war clouds Frank * sulphurous deepens w glory I 11 scarce yon lurid sun ~] and rolling fiery canopy. dun 11 Hun 11 I * 11 On * _ lye or the grave brave ii 124 Wave INTRODUCTORY LESSONS. Munich *M *"] And I charge * . I # **] with all all thy Hthy banners wave chivalry. *M ^M Few # „ vjThe # ^ And *| Shall ^m few shall * 730. where snow every * - - be a part *1 shall be their * - - be many winding- meet sheet turf # - soldier's # neath their j feet] - I* -1 sepulchre. I *?*\ I ~H I CATHARINA. 731. 1 She *1 # And * The "1 And **| she is meet perhaps came *i gone ^i we have 1 met M sun of that *| seems to have never a- * - - moment risen in gam *1 is set ^ vain. *1 732. I i Catha- rina ^ has fled like a drear # * # * * - So vanishes pleasure Ma- las ^ * - * - - * # _ # But has left *i H a re- gret ^ *1 and es- * # - * - _ # * *| That will not so suddenly pass. ^ * # - - # ' - * teem TN READING. 12 733. 11" * yonder * grave * 1 a * Druid * lies ~] * *1 Where slowly winds the stealing wave ^ n; ~j The year's best sweets shall duteous rise^ | * * * - * * * - ! ~| To * de ck ~| its * Poet's sylvan grave. * - [The pupil will observe that prose as well as poetry is made up of similar measures of speech. The only differ- ence in sound, between poetry and prose, is, that poetry or verse consists of a regular succession of similar measures, which produce a harmonious impression on the ear; while in prose, the different kinds of measure occur promiscuously, without any regular succession. The following example affords an instance of prose divided off into measures.] And I be- held 734. ~1 and I heard the voice of ma- ny beasts them sand with a angels round a- bout the ^ and the ^ was * ~] and elders * ten ~) n thousand throne * ~] and the ^ and the number of times ten ~] thousands of thousands n thou- Saying loud slain ^| voice ~] to re- Tl Worthy is the Lamb that ceive ~1 and wisdom ~| and power strength ~| and ~] and riches honor and gtory j ^ and 11* blessing. * 126 INTRODUCTORY LESSONS. [In the following extracts, the marks of the accented and unaccented syllables are omitted, but the bars and rests are retained. The usual punctuation is also restored.] 735. PART OF THE NINTH CHAPTER OF ST. JOHN. And as | Jesus | passed | by, ^ | ^ he | saw a | man which was | blind from his | birth. | ^j^ | ^^j | And his dis- | ci- > pies | asked him, | saying, | Master, | who did | sin, ^| ^ this | man | ^ or his | parents, | that he was | born ^ | blind? | H | H | Jesus | answered, | Neither hath this j man | sinned | nor his | parents : | ^\ | but that the | works of | God | ^| should be | made *"] | manifest in | him. 11 I 11 I * must I wor k the | works of | him that | sent me, | while it is | day : | ^ | ^ the | night | cometh | ^ when | no ^ | man | can ^ | work. ~] | ^ | *-]*] | ^ As | long | ^ as f I am in the | world, ^ | I | am the | light | ~j of the | world, | Ti I 11 | When he had | thus ~| | spoken, | 1 he | spat on the | ground, ^ | ^] and | made | clay | ^ of the | spittle, | and he a- | nointed the | eyes ^] | *) of the | blind | man | ~] with the | clay, ~| | ^ and | said unto him, | Go, ^ | wash in the | pool of | Siloam, | ^^j | (which is, by in- | terpre- | tation, | Sent.) | ^^j | ^ \ ^] He | went his | way, | therefore, | ^ and | washed, | ~j and | came f seeing. | ^ | ^ | ^ The j neighbors | therefore, | ^| and | they which be- j fore had | seen him, | that he was | blind, 1*^^ | said, ^ | Is not | this ^ | he that | sat and | begged? | ^ | ^ j Some | said, ~| | This | is | he; | ^ | others | said, ~| | He is | like him : | TI I 1 but I he I said > II I I am I he - i 11 1 T | Therefore j said they unto him, | ^ | How | were thine | eyes | opened? | w | w | | ^\ | ^j He | answered and | said, | ^ A | man | ^j that is | called | Jesus, | made | clay, | ^| and a- | nointed mine | eyes, | **] and | said unto me, | Go to the | pool of | Siloam, | ~] and | wash : ^ | ^ j *"j and I | went and | washed, | ^j and I re- | ceived | sight. | IN READING. 127 Tl I Tl 1 Thcn I said the y unt0 him > I T\ I Wh ere | is he? , ^ | ~] | He | said, ~j H | I know not. | ~ft | ~]~] | ^| They | brought to the | Pharisees | him that a- | fore time | ~j was | blind. | ~|~] | And it was the j Sabbath | day ^ | ^ w r hen | Jesus | made the | clay, | *1 and | opened his j eyes. | ^^\ | Then a- | gain the | Pharisees | also | asked him | how he had re- | ceived his [ sight. | ^^j | w | He | said unto | them,* | ^| He | put ""} [ clay ^] j ^j upon mine | eyes', | w j and I | washed | and do | see. | ^^j | ^^ | Therefore said | some of the | Pharisees, | ^ This | man is | not of | God, | ^ be- | cause | ^ he | keepeth not the | Sabbath | day. | ^^ | Others | said, ^] | How can a ] man that is a | sinner, | do such | miracles ? | ^j^ | And there was | ^ a di- | vision a- | mong them. | ^j^J | ^j^j | ^ They say | unto the | blind j man a- | gain, ^j | ^j^j ] Vv 7 hat | sayest | thou of him? | that he hath | opened thine | eyes? | ^ | ~] He - said, ~1 [ He is a | prophet. | ^ , *"]*] | 736. PSALM CXXXIX. O | Lord, ~| ] thou hast | searched me, | *"] and | known me. | ^ | ~f*\ | ~] Thou | knowest my | down j sitting | ^j and mine | up *"] | rising; | ^ thou | under- | standest my | thoughts | ~j a- | far | off. ~] | ~H | ^ | Thou j compassest my | path, ^j [ ^] and my | lying | down, ^ j and art ac- | quainted with | all my | ways. | ^\ | For there is | not a | w r ord in my | tongue, | ^ but j lo, ^j | O ^ | Lord, | thou ~j | knowest it | alto- | gether. j ~"fj | ^ | Thou hast be- | set me j ^j be- | hind and be- j fore, ^] | ^ and j laid thine j hand up- | on me. j ^j | ^ | Such ^ |. knowledge is j too | wonderful for | me : j w j w j | it is | high, ^ | w | I j cannot at- | tain unto it. | ^ j ^ | Whither shall I ] go ~] | ^ from thy j spirit? | ^ | *| or | Whither shall I j flee lrom thy | presence ? | ^| j *ffi ] If I as- | cend ""j | * See Number 695, page 115. 128 INTRODUCTORY LESSONS. up into | heaven, | ^ | thou art | there : | ^ | if I | make my | bed in | hell, | ^] be- | hold, ~] | thou art | there. | W|W| j w|W| | J f J | take the I wingg of the I morning I wj an(] , dwell in the | uttermost | parts of the | sea : | ^1^) | Even | there | ^ shall thy | hand w ) | lead me, | ~] and thy | right ~| | hand shall | hold me. | ^ | ^ | If I | say, | Surely the | darkness shall | cover me : | ^\ | even the | night ^j | ~) shall be | light a- | bout me : | ^ | Yea, | ~| the dark* ness | hideth not from | thee ; | ^j^ | but the | night | shineth as the | day : | ^ | ^) the | darkness | and the | light ~| | *] are | both a- | like | ~] to | thee. | Tl I Tl I 737. MARCO BOZZARIS. [He fell in an attack upon the Turkish camp at Lapsi, the site of -ancient Platsea, August 20, 1823, and expired in the moment of victory.] ""] At | midnight, | ^ | in his | guarded | tent, ^ | ^ The | Turk | ^] was | dreaming | ^] of the | hour, | ^ When | Greece, | ^] her | knee in | suppliance | bent, *] | ^) Should | tremble | ^] at his | power ; | *y\ | ^ In | dreams, | ^) through | camp and j court, ^j | ~] he | bore ~] | ^| The | trophies | ^ of a | conqueror. | In | dreams, | ^ his | song of | triumph | heard ; | v j s '{ 11 !_ Then **] | wore his | monarch's | signet | ring, — | Then **] | press' d that | monarch's | throne, — | ^^ | **] a I King; 1 HI) ^ As | wild his | thoughts, *] | ^| and | gay of | wing, | | ~] As [. Eden's | garden | bird. ^| j ^ | ^ \ 738. ~) At | midnight, | ~| in the | forest | shades, | ^ j ^1 Boz- | zaris | ranged his | Suliote |" band, | ^j^j [ True | ^] as the | steel | *j of their | tried | blades, | Heroes j ~| in | heart and | hand; | ^ | ^ j IN READING. 129 There had the | Persian's | thousands | stood, ^| | There | ~| had the | glad ~| | earth ~] | drunk their | blood *] | ~] | On | old Pla- | taea's | day: | ^] And | now, ^ | ^ there | breathed that | haunted | air ^| | The | sons | ^ of | sires who | conquered | there, ^ | ^] With | arm to | strike ^ | ^ and | soul to | dare, | ^ As | quick, ^ | ^ | ^ as | far as | they. ^ | ^ | ^ | 739. *] An | hour pass'd | on — ~| | ^ | *"] the | Turk a- | woke : I Tl I That ~] | bright ^ | dream | ~| was his | last; ^ | ^ | *"] He | woke — ^ | *"] to | hear his | sentry's | shriek, | ^ " To | arms ! | ~| they | come ! | ~] the | Greek, ~| | ~] the ! Greek." ^ | ^ He | woke — to | die | *] midst | flame and | smoke, ^] | **] And | shout, and | groan, and | saber stroke, *] | ^ | ^| And | death-shots | falling | thick and | fast *) | *"] As | lightnings | ^] from the | mountain | cloud ; ^] | ^^ | ^ And | heard, w | | *] with | voice as | thunder | loud, ^ | *"] Boz- | zaris | cheer his | band; ( ^1 | " Strike — ^| | ~] till the | last | armed | foe ex- | pires, Strike | ^~j | ^| for your | altars | ^ and your ] fires, ^ | w n i Strike j ^ for the | green | graves of your | sires, | ^\ | God— ^ | ~| and your | native | land ! " ~] | ^ | ^ | 740. They | fought, ^ | ^ like | brave | men, ^ | long and | well, il ii i ^| They | piled that | ground | ""] with | Moslem | slain, ^ | ^ They | conquered — | ^\ | but- Boz- | zaris | fell, ^ j ^ | Bleeding at | every | vein. ~] | ^ | ^ | ^ | ^| His | few sur- | viving | comrades j """p"] | saw *"] | w | His | smile, J ^| when | rang their | proud ^] | hurrah, j 130 INTRODUCTORY LESSONS. And the ( red ~j | field ^ | was | won ; ^ | Ti I Then | saw in | death ^ | ^| his | eyelids | close ^ | Calmly, | as to a | night's re- | pose, ^] | ~] Like | flowers at | set of | sun. ~| | Tl I Tl I 741. Come to the | bridal | chamber, | Death! ^| | Come to the | mother, | ^| when she | feels, ^ | ^ For the | first ~| | time, ~] | ~] her | first-born's | breath ; | ^^j | Come when the | blessed | seals ^] | Which' | close the | pestilence | ^ are | broke, ^ | ^ | ^| And | crowded | cities | wail its | stroke ; - — *"] | w ] w ] j Come in con- | sumption's ghastly | form, *1 ^] The | earthquake | shock, ^j | ^] the | ocean | storm; — | Come when the | heart | beats | high and | warm, ^ ^ With | banquet | song, | ^j and | dance, and | wine, ^ J ^ | And | thou art | terrible ! — ~| the | tear, **] | ~j The | groan, | *"] the | knell, *] | ^| the | pall, ^ | w the | bier, | ^| And | all we | know, | ^ or | dream, or | fear *"] | "1 Of | agony, M are | thine. Ml Ml | 742. But to the | hero, | **] when his | sword *] | ^ Has | won the | battle | ^ for the | free, | ^ | *"] | Thy voice ^ | sounds like a j prophet's | word, ^ | ^ j And in its | hollow | tones are | heard *] j ^ The | thanks of | millions | yet to | be. ^ | ^ | ^ | *j Boz- | zaris ! j ^ J ^ with the | storied | brave *] | Greece | nurtured | *"] in her | glory's time, ^] | ^ j Rest thee — | ^\ | there is | no j prouder | grave, | Even in her | own y\ | proud ^ | clime. | ^ | ^ | w j We | tell thy | doom | ^ with- | out a | sigh; ^ | For thou art | Freedom's | now, ~| | ^ and | Fame's ; ~) | *]*] | One of the | few, ^ | ^ the im- | mortal | names, | ^ j ^ That | were not | born to | die. ~] | ^ | ^ | IX READING. 131 743. antony's oration over cesar's body. Friends, | ^f] | Romans, | l "f-| | Countrymen! | ^ | Lend me your | ears ; | ^j^j | ^^ | ^ I | come | ^ to | bury | Caesar, | ^^j | not to | praise | him. | -n i Tl I ~] The | evil, | ~] that | men | do, | lives | after them ; | w |~j ] *] The | good | w ] is | oft in- | terred | *| with their | bones : | ^f - ] | So let it | be | ^ with | Caesar ! | Tl M The i nobIe I Brutus | ^| Hath | told you, j Caesar | ^ was am- | bitious. | ^ | If it | were so, | it was a j grievous | fault; | ^j^ | *"] And | grievously | ^ hath | Caesar [ answered it. | ^j^ | Here, | under | leave of | Brutus | *] and the | rest, | *"] (For | Brutus | *] is an | honorable | man, | ^p*] | So are they | all. ^ | all | honorable | men :) | ^j^ | Come I n to | speak H in | Cesar's | funeral. | Tl | ~f] | 744. He was my | friend,* | ^ | faithful | ^ and | just to | me: | Tl I ^ But j Brutus ] says | he was am- | bitious ; | *■]*] | ^ | ~| And | Brutus | ~j is an | honorable | man. | ~(*\ | Tl I He hath | brought | many | captives | home to | Rome, | ^| Whose j ransoms | ^ did the | general | coffers | fill: i n i ti i ~] Did | this | ~| in | Caesar | seem am- | bitious ? | Tl I TTI When that the | poor have | cried, | ^] | Csesar hath | wept; | ti l Tl ! ^ Am- | bition | w | should be | made of | sterner | stuff. | lit III * See Number 523 , page 77, 132 INTRODUCTORY LESSONS. 1 Yet [ Brutus | says | 1 he | was am- [ bitious ; | H | 1 And | Brutus | 1 is an | honorable | man. | H { 11 I 1 You | all did | see, | 1 that, j on the | Lupercal, | 1 I J thrice pre- | sented him | 1 a | kingly | crown ; | H *| Which he did | thrice | 1 re- | fuse. | Tl I 1 Was this am- | bition * | Tl | Tl | 1 Yet | Brutus | says | he was am- | bitious ; | H 1 And | sure, | 1 he [ is | 1 an | honorable | man. | H j 745. H | 1 I | speak not | 1 to dis- | prove | what | Brutus | spoke; | 1 But | here | I am to | speak | what I do | know. | H | 11 ! 1 You | all did | love him | once ; | H | not without | cause: | H | What | cause with- | holds you, | then, | 1 to | mourn I for him? | T| | T| | | judgment, | H | Thou art | fled to j brutish | beasts, | 11 | 1 And ] men | 1 have | lost their | reason ! | 11 | H | Bear with me : | H | 1 My | heart 1 | is in the | coffin | there | 1 with | Caesar; | 11 | And I must | pause 1 | till it | come | back to me. I 11 I 11 I 746. 1 But | yesterday, | 1 the | word of | Caesar | might | I Have | stood a- | gainst the | world ! | H | now | lies he | there, | II | 1 And | none | so | poor | 1 to | do him | rever- ence. |TI | Tl I I masters! | H | If I were dis- | posed to | stir | 1 Your | hearts and | minds | 1 to j mutiny and | rage, | IN READING. 133 [ should do j Brutus | wrong, | *"] and | Cassius | ^] | wrong ; | ^ | Who, | ^1 you | all | know, | *] are | honorable | men. i 11 i ti i ^j I | will not | do | them | wrong ; | ^| J *]*"] | I | rather | choose | ^ To | wrong the | dead, | ^ to | wrong my- j self | ^ and | you, j Than I will | wrong | such ^ | honorable | men. J ^j^ ] 11 I 747. *"] But | here's a ) parchment | **] with the [ seal of | Ca:sar; | ~\ I j found it | ^ in his j closet ; | ~j~] | 'Tis his ] will : I 11 I Let but the | commons | hear [ *"| this | testament, | ^^ | ^| (Which, j pardon me, | ^ I | do not | mean to | read,) | *^\ | And they would ] go | *\ and | kiss | dead | Caesar's | wounds, | ^] And | dip their | napkins | ^] in his | sacred | blood; | ^\ | Yea, | beg a | hair of him | w | for | memory, | ^| And | dying, | *ffi | mention it j within their | wills, | ^^j | ^1 Be- | queathing it | ""] as a j rich w j | legacy, | Unto their | issue. | *f| | ^ | 748. If vou have | tears, | ^j pre- | pare to | shed them | now. | TI i 11 I ^ You | all do | know | this | mantle: | ^j^ | I remem- ber | m **] The | first | time | ever | Caesar | put it | on ; | ^ | 'Twas on a | summer's | evening, | ^ in his | tent ; | ^j^] | That | day | ~j he | overcame the | Nervii : | ^ | *|1 I Look 1 | ^| in | this | place | ran | Cassius' | dagger | through! | ~H I 11 I See what a | rent | ^ the J envious | Casca J made ! | ^\ I ii i , 134 INTRODUCTORY LESSONS. Through | this | ~] the | well be- | loved | Brutus | stabbed, 111 I ^ | And as he | plucked his | cursed | steel a- | way | ^ | Mark ~] | how the | blood of | Caesar | followed it. ni nil 749. This | ^| was the | most un- | kindest | cut of | all! | ~)^\ | ^ For | when the | noble | Csssar | saw | him | stab, | ^ In- 1 gratitude, | *"] more | strong than | traitor's ] arms, | Quite | vanquished him : | ^\ | then | burst his | mighty heart; | Tl I And in his | mantle | ^ | muffling up his | face, | ^^j | Even at the | base of | Pompey's | statue, | ^ j *] (Which | all the | while | ran | blood,) | ^ j great | Caesar | fell. | H | Tl | Oh ! what a | fall | ^| was | there, | ^| my | countrymen ! | in nil Then | I, | 1 and | you, | *] and | all of us, | fell | down, | Whilst ^\ | bloody | treason | flourished | over us. | ^ | 11 1 Oh! | now you | weep; | Tl | ""] and I per- | ceive | *"] you | feel | *"] The | dint of | pity ; | H | these | ~| are | gracious j drop,. | Tl I 11 I Kind | souls; | T | what, | weep you | T | when you but be- | hold | ~] Our | Caesar's | vesture | wounded? | "Tl | ^ | Look you | here! |T I 11 I Here is him- | self, | *£] | marr'd, | ^ as you | see, | *] by | traitors. | Tl I Tl I 750. Good | friends, | sweet | friends, | T | let me not j stir you J up | *| To | such a | sudden | flood of | mutiny. | Tl j IN READING. ■ 135 **]**] | They that have | done this | deed, | ^ are | honor- able : | ^ | What | private | griefs | ~| they | have, | ~] a- | las ! | ^ I | know not, | ^| That | made them | do it : | ^j^ | they are | wise, | **) and | honorable, | ^ And | will, "*] | no | doubt, | ""] with | reason | answer you. | -,-] | -n | 751. **j I | come not, | friends, | ' ] to | steal away | ^ your | hearts; | ^j^ | I am | no | orator, j ^j as | Brutus is ; | ^^ | But as you ] know me | all, | ^ a j plain | blunt | man, | ~j That J love my | friend ; | ^j | ~j and | that | they | know | full | well | ^ That | gave me | public | leave | *"] to | speak of him. i ii I n i 752. For I have | neither | wit, | ~j nor | words, [ **] nor | worth, | ~n | Action, | ^1 nor | utterance, | ^ nor the | power of | speech, | r] To | stir | men's | blood. | ^f] | *j I only | speak | right | on : |. ^ | ^ I | tell you | that | ^ which | you yourselves j *| do J know; | ^^j | Show you | sweet | Caesar's | wounds, | ^^j | poor, | | poor | dumb | mouths, j ~j And | bid | them | speak | for me. | ^ | *£j | But were | I | Brutus, | • ^ And" | Brutus | Antony, | ^'\*\ | there were an | Antony | w | Would ] ruffle | up your j spirits, j ^ | *"] and | put a ! tongue I 136 INTRODUCTORY LESSONS. *"] In | every | wound of | Caesar, | ^j that should | move [ ""] The | stones of | Rome | ^ to j rise in j mutiny. | i ii ini The preceding examples, including both poetry and prose, it is thought, will be sufficient to explain the principle embraced in this lesson, entitled the Measure of Speech. The pupil should endeavor in all his reading exercises, to form the sentences, whether of poetry or prose, into measures, for the purpose of reading with facility and without fatigue. The pauses or rests which occur in the imperfect measures, will afford him an opportunity of taking breath at such in- tervals, that, in the words of Dr. Barber, " reading will cease to be laborious, and the sense will be rendered clear, as far as it is depend- ent on the capital point of the distribution of time, or measure." The principle explained in this lesson, when well understood, and judi- ciously applied, will make the pupil acquainted with the nature of all the different kinds of versification; for he will perceive that all the varieties of poetry (or verse) are dependent upon the regular succes- sion of the various measures of speech." * LESSON XXXVI. MANNER OF READING POETRY. The division of poetry into verses, addressing themselves to the eye, is often the cause of what is called a " sing song " utterance, which it should be the study of every good reader to avoid. [6'ee note on page 122.] In the last lesson, the attention of the pupil was drawn to the meas- ure of speech — a subject, which, although it is very important in prose, is doubly so in the reading of poetry or verse, as it determines a question which has long been debated by teachers of the art oi read- ing, viz. whether a pause siiould be made at the end of every line. It is maintained by a very respectable writer, that in reading ''blank versej " we ought to make every line sensible to the ear ; for what " (it is asked by the writer) " is the use of the melody, or for what end has the poet composed in verse, if, in reading his lines, we suppress his * A greater variety of exercises for reading, divided into measures, may be found in Dr. Barber's Grammar of Elocution. They, who have any curiosity to know the manner in which Garrick pro- nounced Hamlet's Soliloquy on Death, are referred to Steele's Prosodia Rationalis, (edition of 1 779, p. 40, et seq.,) where it is divided into measures, and accented. Dr. Barber's method of dividing speech- is identical with Mr. Steele's. IN READING. 137 numbers, by omitting the final pause, and degrade them, by our pro- nunciation, into mere prose?" The remarks made in the previous lesson are a sufficient reply to this question. It is there stated that all sentences that are, or can be, read or pronounced, are divisible into measures; and that the only difference there is in sound between prose and verse is, that verse con- sists of a regular succession of similar measures, while in prose the different kinds of measure occur promiscuously, without any regular succession. Now, if this be the case, as it undoubtedly is, there will be no necessity of a pause at the end of the line, to render the melody sensible to the ear. Indeed, it will be impossible for the reader, who pays proper attention to the measures into which all poetical lines are divided, to conceal the melody which the lines possess. The art of the poet, so far as the harmony is concerned, consists in such an ar- rangement of his measures, as to leave little for the reader to do, in order to convey the melody to the hearer; and those lines which re- quire c /rumoring,' in order that the music of the versification may be distinguished, have little title to the name of verse. The only direction, therefore, which it is necessary to give the pupil in reading verse is, to endeavor to forget, or rather to disregard, the division of the sentences into lines, and to read with the same in- flections, accent, tone, emphasis, and expression, that he w T ould use in reading prose. In addition to the remarks which were made in the last lesson in relation to the pauses caused by imperfect measures of speech, it re- mains to be observed that there is generally a pause, which belongs exclusively to poetry, called the C^isura,* or the Caesural pause. This pause must always be properly regarded ; and in studying a reading lesson in verse, the pupil must be careful to ascertain where this pause belongs. It is generally made a,ter the fourth, fifth, or sixth syllable in the line ; but it is sometimes found after the third or the seventh, and occasionally even after the second or the eighth. In the following lines, the place where the cspsura, or the caesural pause, is to be made, is indicated by a figure, and the parallel lines || ; and in reading them, the pupil w T ill remember to make a slight pause when he comes to the figure. 753. ' The ccesura after the kill syllable. The Savior comes, 4 || by ancient bards foretold. 754. The ccEsura after the 5th syllable. From storms a shelter, 5 || and from heat a shade. * The word ccesura means a cut, cr division. An attentive observer will not fail to notice that the beauty and grace of English versification depends much upon the situation of the caesura. The poet has it in his power, by diversifying its position, to give his numbers a grateful variety, which they would not otherwise possess. They, who would see this subject more fully discussed, will find some valuable remarks in the work of Dr. Carey, entitled "Practical English Prosody," London ed. 1816, p. 59. 12* 138 . INTRODUCTORY LESSONS* 755. Tlie ccesura after the 6th syllable. Exalt thy lofty head, 6 || and lift thine eyes. 756. The c&sura after the 3d syllable. Exploring, 3 || till they find their native deep. 757. The ccesura after the 7th syllable. Within that mystic circle 7 || safety seek. 758. The ccesura after the 2d syllable. Happy, 2 || without the privilege of will. 759. The ccesura after the 8th syllable. In different individuals 8 || we find. In some lines, besides the caesura, there is also what is called the demi-ccesura, or half caesura, at which the pause is very slight, as in the following lines, in which the demi-cae- sura is marked with a single accent, and the csesura with a double accent. 760. Warms ' in the sun, " refreshes ' in the breeze, Glows ' in the stars, " and blossoms ' in the trees ; Lives ' through all life " ; extends ' through all extent, Spreads' undivided/ 7 operates 7 unspent. The pupil will recollect that no pause must be made, and es- pecially that the falling infection of the voice must not be used at the end of the line, unless the sense requires it. In the following extract, the pause, with the falling inflection, occurs in that part of the line indicated by the grave accent. The extract is from the description of the deluge in Paradise Lost. 761. Meanwhile the south wind rose, and with black wings, Wide hovering, all the clouds together drove IN READING. 139 From under heaven : the hills, to their supply, Vapor and exhalation dusk and moist Sent up amain : and now the thickened sky Like a dark ceiling stood ; down rushed the rain Impetuous, and continued, till the earth No more was seen ; the floating vessel swam Uplifted, and secure with beaked * prow Rode tilting o'er the waves. .4 Simile, or Comparison, in poetry, should be slurred; f that is, it should be read in a lower tone of voice, with less force, and more rapidly. In the following lines the simile is contained in Italic letters. 762. Tired nature's sweet restorer, balmy Sleep! He, like the world, his ready visits pays Where fortune smiles; the wTetched he forsakes; Swift on his downy pinions, flies from grief, And lights on lids unsullied with a tear. 763. Dear is that shed to which his soul conforms; And dear that hill which lifts him from the storms ; And, as a child, whom scaring sounds molest, Clings close and closer to his mother's breast, So the loud torrent, and the whirlwind's roar, But bind him to his native mountains more. 764. The skies, like a banner in sunset unrolled, O'er the west threw their splendor of azure and gold; But one cloud at a distance rose dense, and increased Till its margin of black touched the zenith and east, Like a spirit, it came in the van of a storm 1 And the eye, and the heart, hailed its beautiful form, For it looked not severe, like an angel of wrath, But its garment of brightness illumed its dark path. * This word, by poetic license, must be pronounced as a dissylable, leak-ed t Sf :. page 113, of this vcUiiiiie, for an explanation of the slur. Sre Chr- >o- e 182. 140 INTRODUCTORY LESSONS. 765. So live, that when thy summons comes to join The innumerable caravan, that moves To the pale realms of slfade, where each shall take His chamber in the silent halls of death, Thou go not, like the quarry slave at night, Scourged to his dungeon ; but sustained and soothed By an unfaltering trust, approach thy grave, Like one who wraps the drapery of his couch About him, and lies down to pleasant dreams. The word verse properly means a, turning, and for this reason each line in poetry is a verse. The divisions of a poem, whether they con- sist of four, six, or any other number of verses or lines, are called stanzas. The pupil must be careful not to pause at the end of a stanza, unless the sense is completed. The following are instances in which, as the sense is not completed, the voice must not be suspended at the end of the stanza. 766. In what rich harmony, what polished lays, Should man address thy throne, when Nature pays Her wild, her tuneful tribute to the sky! Yes, Lord, she sings thee, but she knows not why. The fountain's gush, the long-resounding shore, The zephyr's whisper, and the tempest's roar, The rustling leaf, in autumn's fading woods, The wintry storm, the rush of vernal Hoods, The summer bower, by cooling breezes fanned, The torrent's fall, by dancing rainbows spanned The streamlet, gurgling through its rocky glen, The long grass, sighing o'er the graves of men, The bird that crests yon dew-bespangled tree, Shakes his bright plumes, and trills his descant free, The scorching bolt, that, from thine armory hurled. Burns its red path, and cleaves a shrinking world; All these are music to Religion's ear : — Music, thy hand awakes, for man to hear. 787. Oh, what is human glory, human pride? What are man's triumphs when they brightest seeml IN READING. 141 What art thou, mighty one ! though deified ? Methuselah's long pilgrimage, a dream; Our age is but a shade, our life a tale, A vacant fancy, or a passing gale Or nothing ! 'Tis a heavy, hollow ball, Suspended on a slender, subtile hair, And filled with storm winds, thunders, passions, all Struggling within in furious tumult there. Strange mystery ! man's gentlest breath can shake it, And the light zephyrs are enough to break it. 76S. Beneath the aged oak he sleeps ; — The angel of his childhood there No watch around his tomb-stone keeps ; But, when the evening stars appear, The woodman, to his cottage bound, Close to that grave is wont to tread : But his rude footsteps echoed round, Break not the silence of the dead. 769. The applause of listening senates to command, The threats of pain and ruin to despise, To scatter plenty o'er a smiling land, And read their history in a nation's eyes, — Their lot forb3.de : nor circumscribed alone Their growing virtues, but their crimes confined; — Forbade to wade through slaughter to a throne, 4nd shut the gates of mercy on mankind ! LESSON XXXVII. MONOTONE. In the previous parts of this book, the pupil has been made ac- quainted with those modifications of the voice called the rising in- flection, the falling inflection, and the circumflex.* There is another * See Lessons I, 2, and 22. 142 INTRODUCTORY LESSONS. modulation of the voice, which, from its intimate connection with the reading of poetry of a solemn kind, has been reserved for explanation in this place. It is called the Monotone, and consists of a degree of sameness of sound^ or tone, in a number of successive words or syl- lables. It is very seldom the case that there is a perfect sameness to be ob- served in reading any sentence or part of a sentence. But very little variety of tone, or, in other words, a degree of the monotone, is to be used in reading either prose or verse, which contains elevated descriptions, or emotions of solemnity, sublimit}^, or reverence. This monotone should generally be a low tone of the voice. Thus, in ad- dressing the Deity, in the following lines, a degree of the monotone is to be used. 770. O Thou Eternal One ! whose presence bright All space doth occupy, all motion guide ; Unchanged through time's all devastating flight; Thou only God ! There is no God beside ! Being above all beings 1 Mighty One ! Whom none can comprehend and none explore ; Who fill'st existence with Thyself alone : Embracing all, — supporting, — ruling o'er — Being whom we call God — and know no more. The monotone is also to be used in the following extracts : 771. High on a throne of royal state, which far Outshone the wealth of Ormus or of Ind ; Or where the gorgeous East, with richest hand, Showers, on her kings barbaric, pearl and gold, Satan exalted sat. 772. The sky is changed ! and such a change ! O Night, And Storm, and Darkness, ye are wondrous strong, Yet lovely in your strength, as is the light Of a dark eye in woman ! Far along, From peak to peak, the rattling crags among, Leaps the live thunder ! — not from one lone cloud, But every mountain now hath found a tongue ; And Jura answers, through her misty shroud, Back to the joyous Alps, who call to her aloud ! IN READING. 143 773. And this is in the night: — most glorious night! Thou wert not made for slumber ! let me be A sharer in thy fierce and fair delight, — A portion of the tempest and of thee ! How the lit lake shines, — a phosphoric sea — And the big rain comes dancing to the earth ! And now, again, 'tis black — and now, the glee Of the loud hills shakes with its mountain mirth, As if they did rejoice o'er a young earthquake's birth. 774. Sky, mountains, river, winds, lake, lightnings ! ye, With night, and clouds, and thunder, and a soul To make these felt and feeling, well may be Things that have made me watchful : the far roll Of your departing voices is the knoll Of what in me is sleepless, — if I rest. But where, of ye, O tempests ! is the goal ? Are ye like those within the human breast? Or do ye find, at length, like eagles, some high nest? 775. And in the bright blaze of thy festal hall, When vassals kneel, and kindred smile around thee, May ruin'd Bertram's Pledge hiss in thine ear — Joy to the proud dame of Saint Aldobrand, * Whilst his corse doth bleach beneath her towers ? 776. O crested Lochiel, the peerless in might, Whose banners arise on the battlement's height, Heaven's fire is around thee, to blast and to burn ! Return to thy dwelling ! all lonely return ! For the blackness of ashes shall mark where it stood, And a wild mother's scream o'er her famishing brood. 777. Oh, when he comes, Rous'd by the cry of wickedness extreme, To heaven ascending from some guilty land, Now ripe for vengeance ; when he comes, array'd 144 INTRODUCTORY LESSONS. In all the terrors of Almighty wrath, — Forth from his bosom plucks his lingering- arm, And on the miscreants pours destruction down, — Who can abide his coming ? Who can bear His whole displeasure ? 778. In thoughts from the visions of the night, when deep sleep falleth on men, fear came upon me, and trembling, which made all my bones to shake. Then a spirit passed before my face ; the hair of my flesh stood up : it stood still, but I could not discern the form thereof : an image was before mine eyes, there was silence, and I heard a voice, saying, Shall mortal man be more just than God? shall a man be more pure than his Maker? The monotone may with good effect he introduced in many of the sen- tences contained in the previous pages of this book, especially in Numbers 615 and 617, page 101. As it is the design of the author, in these pages, to furnish lessons * rather than exercises, in reading, the extracts already introduced will be sufficient to impress the principle contained in this lesson. LESSON XXXVIII. ANALYSIS. The word Analysis! means the separation of the parts of which a thing is composed. Every sentence, whether it be a long or a short one, contains one prominent idea, which, by a proper management of the voice, must be brought out into clear and distinct notice. It sometimes happens, especially in very long sen- tences, that the prominent idea is interrupted or obscured by parentheses, descriptions, explanatory remarks, or other expressions, which render it diffi- cult for the reader to distinguish the most important part, and give it that prominence which it deserves. Herein lies the greatest difficulty in the art of reading. No rule can be given to aid the pupil in the discovery of the prom- inent ideas in his reading lessons. He must here be left to study and reflec- tion. The information, however, that there we such, prominent ideas in com- plex sentences, will lead him to endeavor to discover them ; and the practice which he has had in the use of emphasis, slur, expression, and other princi- ples contained in the preceding lessons, will enable him to apply himself to the study of such sentences, with the hope of distinguishing the parts which should be brought into strong light, from those which require to be thrown into the shade. To aid him in the study, a few examples are here introduced. 779. The rivulet sends forth glad sounds, and tripping o'er its bed of pebbly sands, or leaping down the rocks, seems with continuous laughter to rejoice in its own being. * See preface, p. 5. t See Parker's Exercises in English Composition, p. 23. IN READING. 145 In this sentence, one principal idea is expressed, namely, that the rivulet sends forth glad sounds, and seems to rejoice in its own being. This idea must therefore be brought out prominently ; while the ex- pressions tripping o'er its bed of pehbfy sards, and leaping d. icn the, rocks, are merely descriptions of the appearance of tiie river, and need not be so emphatically marked. The same remark must be made with regard to the expression with continuous laughter, which is only an explanation of the manner in which it rejoices. These expressions may be slightly slurred.* In reading the sentence, therefore, he will express it as follows, pro- nouncing tiie parts in Italic letters with less emphatic force than the prominent idea. 780. The rivulet sends forth glad sounds, and tripping o'er its bed of pebbly sands, or hoping *down the rocks, seems with continuous laughter to rejoice in its own being, f In the following sentences, all the parts, except the prominent ideas, are printed in Italic letters. The pupil will read them as directed above. In order that the pupil may clearly distinguish the prominent parts, he may first read them w T ith the omission of the parts in Italic letters, and afterwards read the whole of each sentence as it stands 781. There was a delicious sensation of mingled security and awe, with which I looked down from my giddy height on the monsters of the deep at their uncouth gambols. Shoals of porpoises tumbling about the bows of the ship ; the grampus slowly heaving his huge form above the surface; or the raven- ous shark, darting like a specter through the blue waters. 782. The devout heart, penetrated I with large and affecting views of the immensity of the icorks of God, the harmony of his laws, and the extent of his beneficence, bursts into loud and vocal expressions of praise and adoration; and from a full and, overflowing sensibility , seeks to expand itself to the ut- most limits of creation. , In the following sentence, the pupil may read, first, that only which is in capital letters; then all but the Italic; and, thirdly, the whole * See Lesson 34. f This sentence occurs on the 1 loth page, where it is differently marked. It is here used for illustration only. Some readers may prefer one method, and some another ; for there are probably few who would read any passage in exactly the same manner. 13 ,46 INTRODUCTORY LESSONS. sentence. He will thus distinguish the various parts of a complex sentence. 783. CAN HE, who, not satisfied with the wide range of ani- mated existence, calls for the sympathy of the inanimate crea- tion, REFUSE TO WORSHIP with his fellow-men? It may here be remarked, that the most prominent part sometimes consists of a single word, or perhaps of several words, which cannot be separated from the connection in which they stand, as in the fol- lowing example : — 784. Oh, days of ancient GRANDEUR ! are ye GONE? For- ever GONE? Do these same scenes behold his OFF- SPRING here the HIRELING of a FOE? Oh that I KNEW my FATE ! that I could READ the destiny that Heaven has marked for me ! 785. WHENCE, and WHAT art thou, EXECRABLE shape ! That dar'st, though grim and terrible, advance Thy miscreated front athwart my way To yonder gates? THROUGH THEM I mean to PASS ; That be assured, without leave asked of thee : RETIRE, or taste thy FOLLY ; and learn by PROOF, Hell-born ! not to contend with spirits of HEAVEN ! 786. What means this SHOUTING? I do fear, the people Choose Caesar for their KING. Ay, do you FEAR it? Then must I think you WOULD NOT HAVE it so. I would NOT, Cassius; yet I LOVE him well. 787. And thus, in silent waiting, stood The piles of stone, and piles of wood ; Till DEATH — who, in his vast affairs, Ne'er puts things off, as men in theirs ; . And thus, if I the truth must tell, Does his work finally and well — WINKED at our hero as he past, " Your house is finished, sir, at last; IS READING. 147 A narrower house — a house of clay — Your palace for another day ! ; ' In the anatysis of a sentence, with the view to read it correctly, there are generally three things to be considered by the pupil ; name- ly : First, What are the most prominent parts, or those which require emphasis — Secondly, What parts are merely explanatory, and conse- quently are to be slurred or thrown into shade — Thirdty, What parts, separated by explanatory, descriptive, or other circumstances, are inti- mately connected ivith each other, and must have their intimate connec- tion expressed by strong emphasis, or by slurring the parts which sep- arate them. The pupil may analyze the following sentences ; that is to say, he may mark and read those parts or words only which are most prom- inent, and require strong emphasis. He may then mention what parts are merely explanatory, &c. And then he may point out those parts which, though distant from the eye, are closely connected in sense. Lastly, he may read each sentence as it stands, endeavoring to manage the emphasis, slur, and expression, in the manner in which he has heretofore been directed* 788. How reverend is the face of this tall pile, Whose ancient pillars rear their marble heads, To bear aloft its arch'd f and ponderous roof, By its own weight made steadfast and immovable, Looking tranquillity ! It strikes an awe And terror on my aching sight : the tombs And monumental caves of death look cold, And shoot a chillness to my trembling heart, 789. Winter ! ruler of the inverted year ! Thy scattered hair with sleet, like ashes, filled, Thy breath congealed upon thy lips, thy cheeks Fringed with a beard made white with other snows Than those of age, thy forehead wrapt in clouds, A leafless branch thy scepter, and thy throne A sliding car, indebted to no wheels, But urged by storms along its slippery way, 1 love thee, all unlovely as thou seem'st,t And dreaded as thou art. * It is recommended that the pupil be required to write a few of these sen- tences in the manner directed above, underscoring with a single line such parts as are to be in Italic letters, with a double line such as should be in small capi- tals, and with three lines such as should be in large capitals. t The pupil will often notice in poetry such abbreviations as these, where the apostrophe shows that some letter is left out. [See Lesson 20, page 63.] 148 INTRODUCTORY LESSONS. 790. Slaves cannot breathe in England ; if their lungs Receive our air, that moment they are free : They touch our country, and their shackles fall. That's noble, and bespeaks a nation proud And jealous of the blessing. Spread it then, And let it circulate through every vein Of all your empire; that where Britain's power Is felt, mankind may feel her mercy too. 791. Trifles, light as air, Are, to the jealous, confirmations strong As proofs of holy writ. Dangerous conceits are, in their natures, poisons Which, at the first, are scarce found to distaste, But, with a little act upon the blood, Burn like the mines of sulphur. 792. I come no more to make you laugh; things now, That bear a weighty and a serious brow, Sad, high, and working, full of state and woe, Such noble scenes, as draw the eye to flow, We now present. Those, that can pity, here May, if they think it well, let fall a tear ; The subject will deserve it. 793. Thou hast it now, King, Cawdor, Gl amis, all, As the weird women promised ; and I fear, Thou play'dst most foully for it: yet it was said, It should not stand in thy posterity ; But that myself should be the root and father Of many kings. If there come truth from them, (As upon thee, Macbeth, their speeches shine,) Why, by the verities made good, May they not be my oracles as well, And set me up in hope 1 Thus arch'd for arched, shppry for slippery, seem' st for seemest. These abbre- viations are generally made for the purpose of shortening the word, and thereby preserving- the measure of the verse. Eut they are very seldom allowed in prose See Clar/S s New English Grammar, page 204. l>: READING; 149 794. Lochiel, Lochiel, beware of the day, For dark and despairing, my sight I may seal, But man cannot cover what God would reveal. 'Tis the sunset of life gives me mystical lore, And coming events cast their shadows before. I tell thee, Culloden's* dread echoes shall ring With the blood-hounds that bark for thy fugitive king. 795. Lo ! anointed by Heaven with the vials of wrath, Behold, where he flies on his desolate path ! Now in darkness and billows he sweeps from my sight: Rise ! rise ! ye wild tempests, and cover his flight ! 'Tis finished. Their thunders are hushed on the moors, Culloden is lost, and mv country deplores. 796. Impose upon me whatever hardships you please ; give me nothing but the bread of sorrow to eat ; take from me the friends in whom I had placed my confidence; lay me in the cold hut of poverty, and on the thorny bed of disease ; set death before me in all its terrors; do all this, — only let me trust in my Savior, and I wril fear no evil, — 1 will rise supe- rior to affliction, — I will rejoice in my tribulation. 797. The Highlands of Scotland are a picturesque, but in gen- eral a melancholy, country. Long tracts of mountainous desert covered with dark heath, and often obscured by misty weather; narrow valleys, thinly inhabited, and bounded by precipices resounding with the fall of torrents ; a soil so rugtred, and a clime so dreary, as in many parts to admit neither the amusements of pasturage, nor the labors of agri- culture; the mournful dashing of waves along the friths and lakes that intersect the country; the portentous noises which every change of the wind, and every increase and diminution of the waters, is apt to raise in a lonely region, full of echoes, and rocks, and caverns; the grotesque and ghastly appear- ance of such a landscape by the light of the moon ; objects like these diffuse a gloom over the fancy, which may be * Pronounced Cullod'en's. 13* 150 INTRODUCTORY LESSONS. compatible enough with occasional and social merriment, but cannot fail to tincture the thoughts even of an ordinary native in the hour of silence and solitude. 798.* To be — or not to be — that is the question — Whether 'tis nobler in the mind, to suffer The stings and arrows of outrageous fortune ; Or to take arras against assail t of troubles, And, by opposing, end them? — To die, — to sleep,— No more ; and, by a sleep, to say we end The heartache, and the thousand natural shocks That flesh is heir to, — 'tis a consummation Devoutly to be wished. 799. To die ; — to sleep ; — To sleep ! perchance to dream ; — ay, there's the rub ; For in that sleep of death what dreams may come, When we have shuffled off this mortal coil, Must give us pause : There's the respect, That makes calamity of so long life : For who would bear the whips and scorns of time, The oppressor's wrong, the proud man's contumely, The pangs of despised | love, the law's delay, The insolence of office, and the spurns That patient merit of the unworthy takes, When he himself might his quietus make With a bare bodkin? Who would fardels bear, To grunt and sweat under a weary life ; But that the dread of something after death, — The undiscovered country, from whose bourn No traveler returns, — puzzles the will; And makes us rather bear those ills we have, Than fly to others that we know not of? * In reading 1 this extract, the pupil mast recall to mind the remarks made on the 69th page, relating to accent. f In most of the editions of Shakspeare we read, " to take arms ag-ainst a sea of troubles ; J? but this expression is a manifest violation of all rhetorical rule. [See Progressive Exercises in English Composition, Lesson 25, p. 49.] The improved reading in this passage is taken from Steele's " Prosodia Ra tionalis,' 7 a work already referred to in a preceding note. iSee note to No. 761. IN READTXO. 151 800. Thus conscience does make cowards of us all, And thus the native hue of resolution Is sicklied o'er with the pale cast of thought ; And enterprises of great pith and moment, With this regard, their currents turn awry, And lose the name of action. LESSON XXXIX. BLENDING OF WORDS PRODUCED BY AC- CENTED FORCE. Under the head of accented force, Mr. Walker, in his Rhetorical Grammar, has noticed the peculiar manner in which words, or parts of different words, are sometimes blended, so as to appear in pronunciation like a single word. Thus the sentence, " Censure is the tax a man pays to the public for being eminent," when it is read with a proper regard to the measure of speech, accent, emphasis, &c, will appear as if it were written thus : — SOI. Censure isthetax amanpays tothepublic forbeingeminent. It will be needless to insert any extracts for the exercise of the pupil in this principle. The teacher will select from any part of the book such sentences for him to read as will enable him readily to perceive the difference between ac- cented icords and accented syllables. It may here be remarked, that most kinds of reading are included in the three terms Narrative, Descriptive, and Expressive ; each of which is respectively characterized by its appropriate degree of ac- cented force ; and it is proper that the pupil, in studying a readincr lesson, should endeavor to discern under which head his lesson is in- cluded, in order to adapt his style of reading to the character of the i62 INTRODUCTORY LESSONS. piece. On this subject much has been said in the previous lessons of this book. It remains for the pupil, who has gone through these lessons in course, to endeavor to apply the instructions given him, in all the various kinds of reading in which he may ht exercised. If he has a correct ear, he will not fail to observe that both* the rising and falling inflections of the voice admit of different degrees. These are technically described in Dr. Barber's Grammar of Elocution, and more fully developed in the respec- tive works of Dr. Rush and Mr. Steele, to which reference has already been made. The subject is also particularly noticed in YValker's Rhetor- ical Grammar. In these exercises, it is deemed inexpedient to present any intricate views of the subject ; but, after the statement of a principle, to leave the puoil to the guidance of Nature. [See preface and UUe-page.] LESSON XL, IMPROVEMENT OF THE VOICE. The voice, like all the other faculties of the body or the mind, is susceptible of great improvement; and under proper management, one that is naturally feeble may be rendered more effective than an- other, which is endowed with great strength. The tw r o most important requisites in a good voice are clearness arid strength, in the twenty-fifth lesson of this book, some exercises are presented with thg design to accustom the pupil to distinct articulation. If he has passed over that lesson with little attention, he is advised to return to it ; and, by persevering practice, acquire a facility in the pronunciation of those sounds which are represented by the combination of the con- sonants alone. In connection with this exercise, he is advised to practise the vowel sounds, in the manner which shall presently be pointed out. The Sounds of the Vowels are as folloios :• as heard in "the word fate o far fall o fat u me u met u pine oi pin OU no as heard in the word m^ve u a a u a v\oz u u u a u not « " " " " tube U u u a a t^j]-, a a a cc « bull " " " « a voice " « " " " sound IX READING. 153 TJie Sounds of the Consonants a~e as follows : — b as in bible rob t as in tool not d M u dare bed V a tt vine have f M II fate • brief w tt a wine f tt a gone brag X tt a example h a ti hand y II u yes t U a jade z U II zone adze II u kind sick ch II M chair church 1 u tt land ball ng II II long m n ii mine him sh m a shine hush n a IC now- pin th it a thou P a u put up th asjrirate thin q tc CI quince wh u a when r If li ring- bar zh II II azure s . — Had he not resembled ^My father as he slept', I had done it}. 16* 186 INTRODUCTORY LESSONS LESSON" XYIII. QUALITY OF TONE. This has reference to the kind of voice used. Five qualities may be noticed. 1. The Pure Tone. 2. The Orotund. 3. The Aspirated. 4. Guttural. 5. The Trembling. 1. The Pure Tone is the ordinary tone of a good and well trained voice, clear, even, smooth, round, flowing, flexible in sound, and producing a moderate resonance in the head. Some are highly gifted in this way by nature, but all may improve indefinitely by diligent practice. It is the tone to be employed in all ordinary reading, where great passion or violent feeling is not expressed. 2. The Orotund is the pure tone deepened, enlarged and intensified for the more earnest and vehement passages of feel- ing or the profounder emotions of the soul. It produces a greater resonance in the head and chest, requires depression in the larynx, opening of the throat, extension of the mouth, and expansion of the whole chest. When used with great force and high pitch, it is something more than loudness of tone. It is a rich volume of trumpet sound, inspiring and quickening life, and filling the whole man with exultation and conscious power. It is an admirable exercise to strengthen the vocal organs, and give life and spirit to the student of oratory ; and even in a physical point of view is important, by strengthening and ex- panding an apparatus so necessary to the health as the lungs. . It is used in all energetic and vehement forms of expression where open courage and force are predominant, as in command- ing on the field of battle, or in high and threatening language, and is always accompanied with high pitch and great force. EXAMPLES. f Strike^, till the last armed foe expires^. High pitch. | g^jg^ for your a i tors and yonr g res v t Great force. 1 STRIKE', for the green graves of your sires\ (^ God and your native land''. E' h dl d i ® n ^' onX ' y ou no ^ e English, ( Whose blood is set from fathers of war proof. IN ELOCUTION. 187 _ _ _ , T ( Wave\ Munich\ all thy banners wave}, m 9 h and loud. | And CHARGE v with all thy chivalry . 3. The Aspirated is used in the absence of the vocal sound, and is an expulsion of the breath more or less strong, the words being spoken in a whisper. It is used in amazement, fear, ter- ror, horror. EXAMPLES. Low pitch and force. How ill this taper burns ! Aspirate. Ha ! who comes here ? Very low j I think it is the weakness of mine eyes' pitch and force. ( That shapes this monstrous ajyparition^ ! Aspirate. It comes upon me. — Art thou any thing ? * Aspirate, j Have mercy\ Heaven\ Ha ! soft, Very low pitch. ( J Tis but a dream\ But then so terrible^, it shakes my soul\ 6 and force ° j Cold drops of sweat x hang on my trembling flesh x ; Aspirate. / My blood grows chilly^, and I freeze with horror^. 4. The Guttural expresses suppressed hatred and concen- trated malignity or loathing. N. B. — It occurs always on the emphatic words. EXAMPLES. Low pitch j 0j t k at t k e s i a y e had forty thousand lives\ tntdZttlrance. ( 0ne is to ° P 00 ^> to ° weak \ for m 7 revenc/e\ Guttural. f Thou slave s , thou wretch}, thou coward^ ! " Thou cold-blooded slave} ! High pitch and force A Thou wear a lion's hide' ? Guttural. j Doff it for shame", and hang « (^ A calfskin on those recreant limbs. 5. The Trembling Tone is used in excessive grief, pity, ten- derness, or great plaintiveness, or in an intense degree of sup- pressed excitement, or satisfaction ; in the expression of- passion good or bad, or when the voice is enfeebled by physical weak- ness. have the trem- bling tone. 188 INTRODUCTORY LESSONS EXAMPLES. r But now will canker sorrow eat my bud\ And chase the native beauty from his cheek\ * And he will look as hollow as a ghost\ The words with As dim and meager as an ague fit\ the waving line , And go he ni^™~7 nd ^\Z~Z again', have the trem- * ~ ~~~ . When I shall meet him in the court of Heaven', I shall not know him\ Therefore, never\ never\ must I behold My pretty Arthur more\ Must thou be gone ? It is not yet near day ! It was the nightingale and not the lark, That pierced the fearful hollow of thine ear ; Nightly she sings in yon pomegranate tree. Believe me, love, it was the nightingale. love, be moderate, allay thy ecstasy, In measure rein thy joy, scant this excess. 1 feel too much thy blessing. LESSOR XIX. MOVEMENT. Movement refers to the rate of utterance ; and is slow, mod- erate, brisk, or rapid. It should never be so rapid as to be inconsistent with perfect distinctness of articulation. The Slow movement belongs to Pathos, Solemnity, Adora- tion, Horror, and Consternation ; to expression of Grandeur, Vastness, and the like. The Moderate or Common movement is used in didactic thought and simple narration or description. The Brisk or Lively, is used in a style cheerful, ga}~, joyous, and witty, and in all the gentler forms of the vivid emotions. IN ELOCUTION. 189 The Rapid, is used in expression of hurry, confusion, violent anger, sudden fear, (ire. EXAMPLES OF SLOW MOVEMENT. The curfew tolls the knell of parting day ; The lowing herd winds slowly o'er the lea ; The ploughman homeward plods his weaiy way, And leaves the world to darkness and to me. On horror's head, horrors accumulate. High on a throne of royal state, which far outshone The wealth of Ormus and of Ind, Satan exalted sat. EXAMPLES OF MODERATE MOVEMENT. Who has e'er been in London, that overgrown place, Has seen "lodgings to let," stare him full in the face. A w T arrior so bold and a virgin so bright Conversed as they sat on the green. I was ever of opinion, that the honest man who married and brought up a family, did more service than he who continued single and only talked of population. EXAMPLES OF THE BRISK OR LIVELY MOVEMENT. The wind one morning sprung up from sleep, Crying, " Now for a frolic, now for a leap !" Forth from the passing tumult driven, Like chafT before the wind of heaven, The archery appear. Come, thou goddess, fair and free, In heav'n yclep'd Euphrosyne ; Haste thee, nymph, and bring with thee Jests and youthful jollity. EXAMPLES OF THE RAPID MOVEMENT. And there was mounting in hot haste, The steed, the must'ring squadron, and the clatt'ring car, When pouring forward with impetuous speed, And swiftly forming in the ranks of war. Up draw-bridge, grooms ! what, w T arder, ho ! Let the portcullis fall ! 190 INTRODUCTORY LESSONS IN ELOCUTION. LESSON XX, PAUSE. The pause I shall treat of here is the rhetorical pause, and not the ordinaiy pauses marked by the different punctuations. It is a striking suspension of the voice, to give effect to strong meaning and expression, or to mark expectation and uncertainty. A pause is often more eloquent than words. The disregard of the common pauses of punctuation is one of the most common faults in reading, and none is more fatal to proper expression ; but the management of the rhetorical pause is a matter of far greater delicacy, though it is rather rare in occurrence. The length of the pause depends upon the rate of movement, the degree of emphasis, and the signincancy intended ; hence it is a matter entirely relative. EXAMPLES OF THE RHETORICAL PAUSE. But hush / . # . hark ! . . . that deep sound breaks in once more, And nearer ! . . . clearer ! . . . deadlier than before. Arm, arm ! ... it is ... it is the cannon's opening roar ! Traitor ! ... I go, but . . . I return ! LESSON XXL GESTUEE. AN ANALYSIS OF GESTURE. The elements of all gesture, oratorical and dramatic, are few and well defined. I know not why they have escaped being clearly pointed out, by those who have treated of the subject of Elocution. They consist of a few definite positions of the arm, hand, and foot ; which, in combination, make an endless variety, but taken singly, are reducible to a small number. These are of two kinds, Oratorical and Dramatic. I proceed first to the analysis of oratorical gestures. Fig. 1, 1, l. Fig. 1, % 1. Fig. 2, 3, 2. Fig. 1, 4, 1 Fig. 4, 6, 4. (Drafnriral (fetart 192 INTRODUCTORY LESSONS ACTION OF THE FEET. t Each foot is susceptible of only four positions.* These are illustrated for the right foot in Figures 1, 3, 5, 6. The left foot is susceptible of exactly the same corresponding positions. In Fig. 1, the right foot is in poise, ready for motion: the heel points to the hollow of the left foot, and is two or three inches from it ; the knee is slightly bent ; the body rests chiefly on the left foot, and the leg stands stiff in support. This also is the position in Figs. 2 and 4. This is position No. 1. In Fig. 3, the right foot has been advanced straight forward one step ; the left, having been brought forward two or three inches from its previous position, rests with the heel lifted about one inch. The relative position of the feet remain as before ; but the weight of the body rests on the right foot. This is po- sition No. 2. In Fig. 5, the right foot is moved laterally forward one step ; the left foot, slightly following as before, rests with the heel lifted. The weight of the body rests on the right foot. This is position No. 3. In Fig. 6, the right foot is thrown back of the left, one step, and at right angles to it ; the .body is slightly inclined back, and rests chiefly upon the right foot. This is position No. 4. Through these four positions, the left foot may also be pass- ed ; and this completes the action of the feet. ACTION OF THE ARMS. Each arm is susceptible of being put in six positions, which are illustrated for the right arm in the six Figures. In the first Figure, the arm is brought forward, half way between the perpendicular and the horizontal position, before the right leg. In Fig. 2, the arm is brought forward in a horizontal position on a level with the lower part of the chest. In Fig. 3, the arm is raised in front above the level of the head In Fig. 4, the arm is brought out laterally at the same angle as in Fig. 1. In Fig. *5, the arm is brought up at the side, at the same angle as in Fig. 2. * Of course, I speak generally, and* overlook slight variations. IX ELOCUTION. 193 In Fig. 6, the arm is brought up at the side, in the same an^le as in Fi^. 3. Each of these positions may be designated by its dumber, I, 2, 3, 4, 5, or 6. The left arm, as well as both arms simultaneously, may be carried through the same six positions. Remarks ox the Gesture of the Arms. — 1. The manner of bringing up the arm is a matter of great significancy, and susceptible of considerable variety ; but, in general, the arm is always lifted above the place where it is designed to rest, and then brought down to it, with more or less emphasis, according to the occasion. 2. The motion of the arm precedes, and is brought to an emphatic rest, precisely on the emphatic word. 3. In styles of speaking not very impassioned, the arm and hand move in curves ; but in invective and powerful emotion they move in straight lines. THE position of the hands. There are four positions of the hands, illustrated in Figs. 1, 3, 5, 6. In Fig. 1, the palm is open and supine, the thumb turned out, and the fingers slightly relaxed. In Fig. 3, the palm is open and prone. In Fig. 5, the hand is clenched. In Fig. 6, the hand points. Each of these positions must be associated in the pupiFs mind with its X umber, 1, 2, 3, or 4. LESSON XXII. DRAMATIC AXD DESCRIPTIVE GESTURE. Of these we shall distinguish and illustrate six, as being the most conspicuous and important, and embracing the general range of this class of gesture and attitude. 17 194: INTRODUCTORY LESSONS Fig. 1, is expressive of grief, remorse, despair: the hands are clasped and brought to the breast with a convulsive movement; the face looking down ; the feet may be in either the first, sec- ond, or third attitude before described. Fig. 2, is expressive of earnest entreaty, agonizing prayer, rapture : the hands are clasped and brought convulsively to the breast near the chin ; the face raised toward heaven ; the feet may be in the first, second, third, or fourth attitude. Fig. 3, is expressive of fear, terror : the palms bent upon the wrist and turned outward as if to repel ; the arms, partly and unequally flexed, stretch before the body ; the face looking to- ward the object ; the feet in the fourth position. Fig. 4, expresses disgust, aversion, horror : the arms placed before the body nearly as before ; the face averted, the body somewhat thrown back ; the feet in the fourth position. Fig. 5, expresses reference to self, to the heart, the feelings : the hand is brought to the region of the heart, in one of these positions — 1st, the palm open, the fingers somewhat apart ; 2d, the hands shut and brought so that the back of the thumb touches the region of the heart ; 3d, the hand shut, but the thumb, open and recurved, points to the heart. Fig. 6, expresses dignity, composure, self-confidence, pride : the arms are folded upon the breast ; one hand above, the oth- er below the forearm. Each of these dramatic positions may be called for from the pupil by the several numbers, 1, 2, 3, 4, 5, 6. It would be needless to attempt to mention or portray all the infinite varieties and shades of expression that may be conveyed by the motions and attitudes of the body. The above embraces all that is useful to which to direct the special attention of the student. Nature will do the rest when the occasion and the feeling call for it. Such natural gestures as the following need only to be mentioned to strike the intelligence at once : to clench the hair indicates desperation ; to touch the forehead, reflection ; to touch the nose, intelligence, cunning ; to touch the chin, deliberation ; to strike the breast, feeling, daring, &c. ; to touch the pocket, self-interest ; to slap the thigh, impatience ; to shake the finger or fist, menace, anger,