able, thofe parts in which we thought the inimitable fpeaker alluded to was the most confpicuous. There are, however, many paffages upon which fomething might have been said, but in the endeavour to affift the scholar in the delivery, we found fo much difficulty in the fearch after words fufficiently appofite to the necessary mode of expreffion, that we thought it better to leave them to the reader's own tafte, than ftrive to elucidate what we might probably make more complex.

HOW TO READ

CELADON AND AMELIA,

From Thomson's Seafons.

THE beginning of this story requires great folemnity of look, tone, and manner.

'Tis listening fear, and dumb amazement all:
When to the startled eye, the fudden glance
Appears far fouth, eruptive thro' the cloud;
And following flower, in explofion faft,

The thunder raifes his tremendous voice.

This line ought to be marked with great-gravity of utter ance, and with a full, deep tone of voice.

At first, heard folemn o'er the verge of heav'n,
The tempeft growls;

In the fame manner as before recommended.

but

but as it nearer comes

And rolls its awful buṛthen on the wind;

The fame.

The lightnings flash a larger curve, and more
The noife aftounds: till over head a sheet
Of livid flame difclofes wide; then shuts
And opens wider; fhuts and opens ftill
Expanfive, wrapping ether in a blaze,

As the description increases, you must increase in the warm impressive manner of your delivery. An occafional look, as if glancing an eye at the perturbed state of the elements, while you are reading the above, will add greatly to the beauty of the whole.

Follows the loofen'd aggravated roar

Enlarging, deep'ning, mingling; peal on peal
Crufh'd horrible, convulfing heav'n and earth.

These three lines ought to be delivered with fuch a tone as to give a kind of echo to the fenfe, in a full, low, deep, folemn key.

Guilt hears appall'd, with deeply troubled thought: The fame.

And yet not always on the guilty head

Defcends the fated flafh. Young Celadon

Here begins the flory, and you must change your voice into something of the soft and tender, and give the description of the two lovers with a great warmth and tenderness of expreffion.

And

And his Amelia were a matchlefs pair;
With equal virtue form'd, and equal grace;
The fame diftinguifh'd by their fex alone:
Her's the mild luftre of the blooming morn,
And bis the radiance of the rifing fun.

If you make a pause, still keeping up your voice, after the two words marked, ere you proceed with the lines, you will find that it will add confiderable beauty to them.

They lov'd:

Soft, and in an affectionate manner.

but fuch their guileless paffion was,
As in the dawn of time inform'd the heart
Of innocence, and undiffembling truth.
'Twas friendship heightened by the mutual with,
Th' enchanting hope, and sympathetic glow,
Beam'd from the mutual eye. Devoting all
To love, each was to each a dearer felf;
Supremely happy in th' awaken'd power
Of giving joy. Alone amid the shades,
Still in harmonious intercourfe they liv'd
The rural day, and talk'd the flowing hour,
Or figh'd, and look'd unutterable things.

We have nothing particular to mention, on the manner in which the above lines fhould be delivered, but that there should be throughout the whole a certain glow of tender expreffion that apparently fprings from the heart.

So pafs'd their life, a clear united stream,
By care unruffled: till,

Here

Here you ought to paufe, and prepare the reader by look and manner for the reception of the fad calamity that you are going to describe.

in evil hour,

The tempeft caught them on the tender walk,
Heedlefs how far, and where its mazes stray'd,
While with each other bleft creative love
Still bade eternal Eden fmile around.
Heavy with inftant fate her bosom heav'd
Unwonted fighs; and ftealing oft a look
Towards the big gloom,

If in fpeaking these marked words you gently caft your eyes above, as if, in a certain degree, imitating the apprehenfive look of Amelia, it will add much to their effect.

Fell tearful, wetting her difordered cheek.
In vain affuring love, and confidence

In heaven, reprefs'd her fear; it grew and shook
Her frame near diffolution: he perceived
Th' unequal conflict, and as angels look
On dying faints, his eyes compaffion fhed,

With love illumin'd high. "Fear not," he faid,
"Sweet innocence!

begin what he says to her in a tone and manner, truly tender

and affectionate.

"Thou stranger to offence,

"And inward ftorm! He, who yon fkies involves

"In frowns of darkness

There

Thefe words with a look above of respect, and with fuch a folemn tone as to keep pace with the gravity of the fenfe, and which particularly introduces with great effect the next following words, as they must be spoken with tenderness and affection.

"With kind regard. O'er thee,

Here keep your voice up, and pause as often before recoinmended.

"the fecret shaft

"That waftes at midnight, or th' undreaded hour
"Of noon, flies harmless; and that very voice
“Which thunders terror thro' the guilty heart,

With a ftrong full tone, to form a contraft with the next line, which must be spoken tenderly and affectionately.

"With tongues of feraphs whifpers peace to thine. 'Tis fafety to be near thee fure, and thus

"To clasp perfection!

You must now entirely alter you voice and look ere you proceed to the next words, as by fo doing, you prepare the hearer for the fad catastrophe.

(Myfterious Heaven!)

From his void embrace

These two words with an awful grandeur.

that moment, to the ground,

A blacken'd corfc,

Speak