arbitrary; often capricious and false; dictating a uniformity of tone in the paufes, which is extremely unpleafing. For it must be obferved, that, to render paufes graceful and expreffive they must not only be made in the right places, but alfo be accompanied by proper tones of voice; by which the nature of these paufes is intimated much, more than by their length, which can never be exactly measured. Sometimes only a flight and fimple fufpenfion of the voice is proper; fometimes a degree of cadence is requifite; and sometimes that peculiar tone and cadence which mark the conclufion of a period. In all these cases, a speaker is › to regulate himself by the manner in which he speaks, when engaged in earnest discourse with others.

In reading or reciting verfe, there is a peculiar difficulty in making the paufes with propriety. There are two kinds of paufes, which belong to the musick of verfe; one at the end of a line, and the other in the middle of it. Rhyme always renders the former sensible, and compels obfervance of it in pronunciation. In blank verfe it is lefs perceivable; and when there is no fufpenfion of the fenfe, it has been doubted, whether in reading fuch verfe any regard fhould be paid to the close of a line. On the ftage, indeed, where the appearance of fpeaking in verfe fhould be avoided, the clofe of fuch lines as make no pause in the fenfe fhould not be rendered perceptible to the ear. On other occafions we ought, for the fake of melody, to read blank verfe in fuch manner as to make each lie fenfible to the ear. In attempting this, however, every appearance of fing-fong and tone must be cauticuly avoided. The clofe of a line, where there is no paufe in the meaning, fhould be marked only by

fo flight a fufpenfion of found, as may distinguish the paffage from one line to another, without injuring the fenfe.

The paufe in the middle of the line falls after the 4th, 5th, 6th, or 7th fyllable, and no other. When this pause coincides with the flighteft divifion in the fense, the line may be read with eafe; as in the two firft verses of Pope's Messiah:

Ye nymphs of Solyma, begin the song,

To heavenly themes fublimer strains belong.

But if words, that have fo intimate a connexion, as not to admit even a momentary separation, be divided from each other by this cæfural paufe; we then perceive a conflict between the fenfe and found, which renders it difficult to read fuch lines gracefully. In fuch cafes it is beft to facrifice found to fense. For inftance, in the following lines of Milton: What in me is dark,

Illumine; what is low, raife and fupport.

The fenfe clearly dictates the paufse after "illumine," which ought to be obferved; though, if melody only were to be regarded, "illumine" should be connected with what follows, and no paufe made before the 4th or 6th fyllable. So alfo in the following line of Pope's. Epiftle to Arbuthnot :.

I fit; with fad civility I read.

The ear points out the paufe as falling after "fad,” the fourth fyllable. But to feparate "fad" and civility" would be very bad reading. The fenfe allows no other paufe than after the fecond fyllable, f;" which therefore is the only one to be obferved..

We proceed to treat of tones in pronunciation which are different both from emphases and pauses ;confifting in the modulation of the voice, the notes or variations of found which are employed in publick fpeaking. The moft material inftruction which can be given on this fubject, is to form the tones of pub-lick fpeaking upon the tones of animated converfation. Every one who is engaged in fpeaking on a subject which interefts him nearly, has an eloquent or perfuafive tone and manner. But, when a fpeaker de-parts from his natural tone of expreffion, he becomes. frigid and unperfuafive. Nothing is more abfurd than to fuppofe that as foon as a fpeaker afcends a pulpit, or rifes in a publick affembly, he is inftantly to lay afide the voice with which he expreffes himself in private, and to affume a new, ftudied tone, and a cadence: altogether different from his natural manner. This las vitiated all delivery, and has given rife to cant and tedious monotony. Let every publick speaker guard: against this error. Whether he fpeak in private, or in a great affembly, let him remember that he ftill fpeaks. Let him take nature for his guide, and she will teach him to exprefs his fentiments and feelings. in fuch manner, as to make the moft forcible and: pleafing impreffion upon the minds of his hearers.

It now remains to treat of gefture, or what is call-ed action in publick difcourfe. The beft rule is, attend to the looks and gesture in which earnestness, indignation, compaffion, or any other emotion, difcovers itself to most advantage in the common intercourse of men; and let these be your model. A publick. fpeaker must, however, adopt that manner which is moft natural to himself. His motions and gestures.

ought all to exhibit that kind of expreffion which na-ture has dictated to him; and, unless this be the cafe, no ftudy can prevent their appearing stiff and . forced. But, though nature is the bafis on which every grace of gefture must be founded; yet there is: room for fome improvements of art. The study of action confifts chiefly in guarding againft awkward and difagreeable motions, and in learning to perform... fuch as are natural to the fpeaker, in the moft graceful manner. Numerous are the rules which writers have laid down for the attainment of a proper gefticulation. But written inftructions on this fubject can be of little service. To become useful, they must be ex-emplified. A few of the fimpleft precepts, however, may be obferved with advantage.. Every fpeaker fhould ftudy to preferve as much dignity as possible in the attitude of his body. He should generally prefer an erect pofture; his pofition fhould be firm, that he may have the fulleft and freeft command of all his motions. If any inclination be used, it fhould be toward the hearers, which is a natural expreffion of earnestnefs. The countenance fhould correfpond. with the nature of the difcourfe; and, when no particular emotion is expreffed, a serious and manly look. is always to be preferred. The eyes should never be fixed entirely on any one object, but move eafily round the audience. In motion, made with the hands, confifts the principal part of gefture in fpeaking. It is natural for the right hand to be employed more frequently: than the left. Warm emotions require the exercise of them both together. But, whether a fpeaker gefticulate with one, or with both his hands, it is important: that all his motions be eafy and unrestrained. Nat.

row and confined movements are ufually ungraceful; and confequently motions made with the hands, fhould proceed from the fhoulder, rather than from the elbow. Perpendicular movements are to be avoided. Oblique motions are most pleafing and graceful. Sudden and rapid motions are feldom good. Earneftnefs can be fully expreffed without their af

Liftance.

We cannot conclude this fubject without earnestly admonishing every speaker to guard against affectation, which is the deftruction of good delivery. Let his manner, whatever it be, be his own; neither imitated from another, nor taken from fome imaginary. model, which is unnatural to him. Whatever is native, though attended by feveral defects, is likely to pleafe, because it fhows us the man; and because it has the appearance of proceeding from the heart. To attain a delivery extremely correct and graceful, is. what few can expect; since so many natural talents muft concur in its formation.. But to acquire a forcible and perfuafive manner, is within the power of moft perfons. They need only to difmifs bad habits, follow nature, and speak in publick as they do in private, when they fpeak in earneft and from the heart..

MEANS OF IMPROVING IN ELOQUENCE..

To thofe who are anxious to excel in any of the higher kinds of oratory, nothing is more neceffarythan to cultivate habits of the feveral virtues, and to refine and improve their moral feelings. A true orator muft poffefs generous fentiments, warm feel