emphasis, with an equally increasing rising circumflex of voice on the words believed, adored, beloved, the effect is very impressive. "Roll on,-thou deep-and dark-blue ocean, Ten thousand fleets-sweep-over thee in vain." -ROLL; "Hail! universal LORD! Be bounteous still-to give us ONLY GOOD; and if the night-have gathered—aught of evil-or concealed,—disperse it now, as light-dispels the dark." It must be remembered that these pauses follow the law of climax just as does emphasis; that there are always strong points to be made, and the greatest force and expression must be reserved for that purpose. "Be our plain answer-this,- The throne we honor-is the people's choice; the laws we reverence-are our fathers' legacy;-the FAITH-We follow-teaches us to live in bonds of charity with all mankind,—and die— with hopes of bliss-beyond-the grave." Let any person read the following extract from the flight of Xerxes without the suspension of voice, and then with it, and they will discover the importance of its use: In the first case Xerxes is behind the foe; in the last, the foe is behind him. Again, in the following quotation from Othello, where he smothers Desdemona, the distinction between putting out the light of a taper and the extinguishing of life could not be expressed without this prolonged pause. Although Othello had many admirable traits of character, the passion of jealousy was too fierce to be controlled by his frank and generous nature. The pathetic detail which he gave to Desdemona of the dangers and hardships he had passed "in the tented field," excited in her the profoundest sympathy and love for this rough and swarthy soldier; "and he loved her that she did pity them." Othello was truly and devotedly attached to his wife; but, being impetuous and hasty in his disposition, his suspicions were easily awakened. Desdemona possessed a nature full of sweetness, gentleness, and compassion, and was ever true and constant to her husband. But Iago, a pretended friend of Othello-whose villainy has scarcely a parallel even among the most odious characters which Shakespeare has painted-by his dark innuendoes and insinuations against the conduct of Desdemona, succeeds in making Othello madly jealous of her. In his tones of mingled jealousy, despair, and revenge he says: "She is gone!-I am abused; and my relief After the agitation of the storm in his bosom had in some measure subsided, he concluded to terminate her existence. In the scene, Desdemona is lying on a couch; Othello enters with a light, and, with convulsed frame and broken murmurs, gazes upon his sleeping victim, and then gives expression to his feelings in the following words: "It is the cause, it is the cause,—my soul; Let me not name it to you,-you chaste stars!— Nor scar that whiter skin of hers-than snow, And smooth as monumental alabaster. Yet she must die, else she 'll betray more men. Put out the light,—and then- -Put out-THE light! If I quench thee,-thou flaming minister, I can again thy former light restore, Should I repent me: but-once put out thine (Thou cunning'st pattern of excellent nature), I know not where is that Promethean heat That can-thy light relume. When I have plucked thy rose, I can not give it vital growth again,— It needs must wither. I'll smell it on the tree. O balmy breath, that doth almost persuade Justice herself to break her sword! One more, one more! Be thus when thou art dead, and I will kill thee, And love thee after." To read or recite this requires great rhetorical expression; and the line wherein occurs, "Put out the light, and then put out the light,” must be particularly significant. The phrase "put out the light" in the first case implies blow out the candle. Where it is repeated—thus, "and then put out the light"-means put out the light of life; quite a different matter. A rhetorical pause ought therefore to be made after the word then and before the word the-the taking also a prolonged emphatic circumflex. To read or recite this soliloquy merely in a grammatical manner, without emphasis or rhetorical pause, would make it unimpressive, flat, and even farcical-would convey the idea that smothering one's wife was an easy and simple act in the course of events. CHAPTER XIV. CLIMAX-DEEP BREATHING-AIR-STAMMERING. In argumentative composition there is always a point to be made clear; the culmination of proofs must be enforced gradually and with increasing intensity of voice until the climax is attained. EXAMPLE 1.—“Let us contemplate then this connection which binds the posterity of others to our own; and let us manfully discharge all the duties it imposes. If we cherish the virtues and principles of our fathers, HEAVEN will assist us to carry on the work of human liberty and human happiness." EXAMPLE 2.-"Auspicious omens cheer us. Our firmament now shines brightly above us. Washington is in the clear upper sky; Adams, Jefferson, and other stars have joined the American constellation;-they circle round the center, and the heavens-beam with new-light. Beneath this illumination let us walk the course of life; and-at its close devoutly commend our beloved country, the common parent of us all,-to the DIVINE BENIGNITY." In this peroration the last clause should terminate in a solemn halfwhisper, accompanied with the upraised hand of veneration. Another equally good specimen is from the supposed speech of John Adams on the Declaration of Independence, given elsewhere. In highly poetical and emotional compositions the same law of preserving the climax must be observed, or the beauty and perfection of the idea as a whole will be lost. To illustrate this we will take the last four verses of the 24th Psalm in full, as they are replete with intense devotional fervor combined with great poetical exaltation. After enumerating the qualities of head and heart that will insure the blessing from the Lord, the Psalmist bursts forth in this poetical rapture on the greatness and power of the King of glory: Lift up your heads,-O ye gates; and be ye lift up, ye everlasting doors; and the King of glory-shall come in. Who is this King-of glory? The Lord-strong-and mighty, the Lord-mighty in battle. Lift up your heads, O ye gates; even lift them up, ye everlasting doors;— and the King of glory shall come in. Who is this King of glory? The Lord of Hosts,―he is the King—of glory. The following monologue (which Sir Walter Scott put in the mouth of Bertram, as descriptive of what that terrible outlaw wished his own death to resemble) is given here as an example. Bertram was a tyrannical and brutal character, showing compassion to none, but ruling all over whom he could gain the least advantage with a rod of iron. He wished his life to have an ending which would comport with his fearless career. 5. Dyes the wide wave-with bloody(6) light; 3. EXERCISE ON PITCH, RHETORICAL PAUSE, EMPHATIC CIRCUMFLEX. From daily contact with the things I loathe? Who 'll prove it, at his peril, on my head? But now my sword's my own. Smile on, my lords! But here I stand and scoff you; here I fling Hatred and full defiance in your face. Your Consul's merciful. For this, all thanks. He dares not touch-a hair of Catiline." EXERCISES EMBRACING INFLECTIONS, EMPHASIS, RHETORICAL PAUSES, MODULATION, AND PROLONGATION. All the preceding knowledge gained on these subjects must be put in practice on these exercises. The numbers indicate the modulation of voice required, as explained before by the use of lines and spaces. It will be well for the teacher to write these and similar passages on the blackboard for concert practice, as this will allow the class personal freedom for the graces of gesture. (6)" What a piece of work—is man! how noble-in (5)reason! how infinite— in (6) FACULTY! in (4) form-and (5) moving-how (6) express and admirable!— in action how-like an angel!-in apprehension how—(1) like a god!” NOTE. The last "how" must receive the upward, concrete slur of three notes (4, 5, 6); the voice then falling to the 1st, by a discrete movement, on the word "like," finishing the climax in a half-whisper. "My JUDGMENT-approves this measure, and my whole heart-is in it: all that I have, (4)—all that(5) I am,-and all that (6) I HOPE-in this life, (5) I am now ready(4) here—to stake upon it;—and I leave off—as I began; th’t(4) sink— or swim,(5) LIVE—or DIE, SURVIVE(6)—or PERISH,—(7)I am for the DECLARATION. (4)It is my living sentiment, and, (2)—by the blessing of God,—(4)it shall be my dying sentiment. (5) Independence-(6) now-and independence (9) FOREVER." The first essential qualification for becoming a good speaker, reader, or singer, is good breathing. It is a solemn fact that one half the civilized world knows not how to respire. All infants breathe properly; but natural inflation is soon squeezed out of them. Air is very well for animals, but is too common and vulgar for refined humanity. A little air is all—a little short breath to flutter and pant with makes a deliciously-interesting condition of health. It is so exquisite to be too delicate to sing, and too feeble to read or converse. Very false notions have hitherto prevailed with regard to the importance of the uses of bodily functions. It is time that there should |