His words are bonds, his oaths are oracles,
His love sincere, his thoughts immaculate,
His tears pure messengers sent from his heart,
His heart as far from fraud as heaven from earth.

Farewell the tranquil mind! Farewell content!
Farewell the plumed troops, and the big war
That made ambition virtue! Oh farewell!
Farewell the neighing steed, and the shrill trump ;
The spirit-stirring drum, the ear piercing fife,
The royal banner: and all quality,

Pride, pomp, and circumstance of glorious war!
And oh, ye immortal engines, whose rude throats
The immortal Jove's dread clamours counterfeit,
Farewell! Othello's occupations gone!

17th, Pauses and Breaks. The pauses meant here, are those which are made in reading and speaking passages where deep reflection is necessary. No exact time can be fixt for them; they ought to be regulated in duration according to the importance of the subject. In most cases, the voice should have the tone of continuance, indicating, that the speaker's mind is deeply engaged in thought and contemplation this constitutes the difference between a Pause and a Break; the former is a gradual stop, the latter, a sudden check of expression.

:

Pauses of the first kind occur in the following lines of Shakspeare; and as the subject is of great weight and importance, should be of considerable duration, perhaps while one could number six, or a period and a half to each,

It must be by his death: and for my part
I know no personal cause to spurn at him,
But for the general. He would be crown'd-

How that might change his nature-there's the ques

tion.

It is the bright day that brings forth the adder;
And that craves wary walking: crown him-that-
And then I grant we put a sting in him,
Which at his will he may do danger with.

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 arms against a sea of troubles,
And by opposing end them.-to die-to sleep-
No more ; and by a sleep to say we end
The heart-ache, and the thousand natural shocks
That flesh is heir to-'tis a consummation
Devoutly to be wish'd.-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.

Pauses of confusion are shorter than those of reflection, and should be filled up with hesitative panting draughts of breath, while every succeeding word or sentence varies in tone of expression from the for

mer.

Yes: 'tis Emalia by and by-she's dead,
'Tis like she comes to speak of Cassio's death.
The noise was high-Ha! no more moving?—
Still as the grave-shall she come in?-wert good?
I think she stirs again-no-what's best?

Breaks are only pauses of a different nature, more abrupt and sudden, as when a passage cuts short before the meaning is fully explained: these most frequently occur in violent grief, and impetuous rage; and the tone of voice alters as the passion rises or falls.

I pr'ythee daughter, do not make me mad!-
I will not trouble thee, my child—farewell.—
We'll meet no more—no more see one another ;-
Let shame come when it will, I do not call it :-
I do not bid the thunder-bearer strike,

Nor tell tales of thee to avenging heaven:
Mend when thou canst-be better at thy leisure ;-
I can be patient-I can stay with Regan.—

........Darkness and demons !—

Saddle my horses-call my train together ;-
Degenerate viper-I'll not stay with thee!
I yet have left a daughter-Serpent! monster!
Lessen my train, and call them riotous !
All men approved-of choice and rarest parts,
That each particular of duty know.-

.....Dost thou understand me man? The king would speak with Cornwall; the dear father

Would with his daughter speak :-Command her

service.

Are they inform'd of this ?-My breath and bloodNo-but not yet, may be he is not well.

Part III.

Modulation and Management of the Voice.

The voice is the organ of eloquence, and has the entire dominion over one sense. All that language and tones can effect to influence the understanding and to win the affections depends on the power of the voice addressed to the ear. To understand and be able to manage the voice, must be a matter, therefore of the highest importance to the public speaker. The ancient orators, sensible of this, bestowed uncommon pains, and used every effort to improve the qualities of the voice, and exerted all their art in the management of it.

The voice as to its nature, may be divided into

quantity and quality.

"The modulation of the voice is the proper management of its tones, so as to produce grateful melo. dies to the ear. Upon the modulation of the voice, depends that variety which is so pleasing, and so necessary to refresh and relieve the organs of the speaker, and the ears of the audience, in a long oration. The opposite fault is monotony, which becomes at last so disagreeable, as to defeat all together the success of a public speaker, by exciting the utmost impatience, and disgust in his audience.

The following states of the voice may be considered as pitches or keys; they are all included in Modu lation.

High, loud, quick. Forcible, may be high, loud, and quick; or low, loud, and quick.

Low, soft, slow. {Feeble, may be high, soft, and

slow; or low, soft, and slow,

Hence the following combinations.

High, loud, quick.
Ligh, loud, slow.

Low, loud, quick.

Low, loud, slow.

High, soft, quick.
High, soft, slow.

Low, soft, quick,

Low, soft, slow.*

These different states of the voice properly managed, give rise to that striking and beautiful variety, which always prevails in good speaking and reading; and which according to Quintilian, alone constitutes eloquent delivery.-It may not be improper here, to state (what is frequently confounded) the difference between loud and soft, and high and low tones.They are totally different. Piano and forte have no relation to pitch or key, but to force and quantity; and when applied to the voice, they relate to the body or volume which the speaker or singer gives out. We can, therefore, be very soft in a high note, and very loud in a low one; just as a smart stroke on a bell, may have exactly the same note as a slight one, though it is considerably louder. When we take a high pitch and give little force, we speak high and soft; when we take a high pitch, and give great force, we speak high and loud: when we take a low pitch. and give little force, we speak low and soft; and when we give to the same pitch great force, we speak low and loud. It may be remarked, that the nature of the human voice is such, that to begin speaking or singing in the extremes of high and low, are not equally dangerous. The voice naturally slides into a higher tone, when we want to speak louder, but not so easily into a lower tone when we want to speak softly. Experience proves to us, that we can raise our voice at pleasure to any pitch it is capable of; but it at the same time tells us, that it requires infinite art and practice to bring the voice to a lower key when it is once raised too high. It ought therefore to be a first principle with all public readers and speakers, rather to begin below the common level of their voice than above it.

The tones of the speaking voice ascending from

* Vide Elements of Elocution.