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. place on clauses such as that included within crotchets, Dr. Rush has termed the "flight" of the voice, and the emphatic connecting "expression" the "emphatic tie."

The effect of these modifications of voice will be rendered still more apparent by longer examples.

"He stood, and called

His legions, angel forms, who lay entranced
Thick as autumnal leaves (that strow the brooks
In Vallambrosa, where the Etrurian shades,
High over-arched, embower ;) or scattered sedge
Afloat, when with fierce winds Orion armed
Hath vexed the Red-sea coast."

ZANGA, RELATING THE ORIGIN OF HIS HATRED of Alonzo. 'Tis twice three years since that great man, (Great let me call him, for he conquered me,) Made me the captive of his arm in fight.

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One day, (may that returning day be night,
The stain, the curse, of each succeeding year !
For something, or for nothing, in his pride
He struck me. (While I tell it do I live?)
He smote me on the cheek.

CORPORAL TRIM'S ELOQUENCE. - Sterne.

Young.

'My young master in London is dead," said Obadiah. "Here is sad news, Trim," - cried Susannah, wiping her eyes as Trim stepped into the kitchen, Bobby is dead."

"master

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"I lament for him from my heart and my soul," said Trim, fetching a sigh, "Poor creature! -poor boy!

poor gentleman!"

"He was alive last Whitsuntide," said the coachman. "Whitsuntide! alas!" cried Trim, extending his right arm, and falling instantly into the same attitude in which he read the sermon, "What is Whitsuntide, Jonathan," (for

that was the coachman's name,)

or Shrovetide, or any tide

or time past, to this? Are we not here now?" continued the corporal, (striking the end of his stick perpendicularly upon the floor, so as to give an idea of health and stability.) "and are we not" (dropping his hat upon the ground) "gone! in a moment!" - It was infinitely striking! Su

sannah burst into a flood of tears. We are not stocks and stones: - Jonathan, Obadiah, the cookmaid, all melted. The foolish fat scullion herself, who was scouring a fish-kettle upon her knees, was roused with it. - The whole kitchen crowded about the corporal.

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"Are we not here now, - and in a moment? gone There was nothing in the sentence: it was one of your self-evident truths we have the advantage of hearing every day; and if Trim had not trusted more to his hat than his head, he had made nothing at all of it.

"Are we not here now?" continued the corporal, "and are we not" (dropping his hat plump upon the ground, and pausing before he pronounced the word) "gone! in a moment!" The descent of the hat was as if a heavy lump

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of clay had been kneaded into the crown of it. could have expressed the sentiment of mortality, it was the type and forerunner,

to vanish from under it; it fell fixed upon it, as upon a corpse; a flood of tears.

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like it his hand seemed dead; the corporal's eye - and Susannah burst into

"EXPRESSION."

Emphasis, fully defined for the purposes of elocution, is prominent "expression," embodied in an accented syllable. It bears the same relation to "expression," in its full sense, that "syllabic accent" bears to "rhythmical accent." It may be restricted to a single word: "expression" applies, as in music, to the sequence of sounds, in connected and consecutive utterance, designed for the communication of feeling. "Expression," however, while it contains the same ele

ments with emphasis, comprises a few more. It includes the effects arising from "quality" in all its forms, "pure," "aspirated,” etc., and from the "effusive," "expulsive," and "explosive" modes of utterance; from force in all its gradations from whispering to shouting; "stress," in its "radical,” “median," "vanishing," "compound," and "thorough forms; "tremor ;"" melody," " pitch," "slide" and "wave in all their forms; "time," in all its influence over 66 movement," rhythm," and metre. These modifications of voice have all been discussed and exemplified. But to all these, "expression" adds the effect of "drift," as it has been termed by Dr. Rush, or, in other words, the impression jɔroduced on the ear by the frequent or successive recurrence of any mode or element of "expression."

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"Drift," accordingly, is either an excellence or a fault, according to the circumstances in which it is adopted as a mode of effect, and we may observe that the "drift" of recurring "melody," or what, in popular language, is termed a" tone," is often a means of powerful and deep impression on the ear and on the external sympathies of an audience, when there is little of unity, force, or weight in the sentiment which the speaker utters. A gentle and chaste "drift" is one of the natural secrets of effect, in elocution, and should be carefully observed and closely analyzed by every student who is desirous of securing a master-key to the human heart.

TABLES FOR DAILY EXERCISE.

(Occupying not less than fifteen minutes in the drill.)

I. BREATHING EXERCISES.

(Deep Breathing: Effusive, Expulsive, and Explosive: Sighing: Sobbing: Gasping: Panting. For description see pages 1-5.)

II. ORTHOËPY.

ELEMENTS OF THE ENGLISH LANGUAGE.

Classified according to the action of the Organs of Speech in Articulation.

1. ORAL AND LARYNGEAL SOUNDS.

(Formed by the mouth and larynx.)

In practising the sounds, the mouth should be freely opened, and firmly held in the position proper for the formation of each sound, and every position should be carefully observed.

1, A-ll; 2, A-rm; 3, A-n; 4, E-ve; 5, Oo-ze, L-00-k; 6, E-rr; 7, E-nd; 8, In; 9, Ai-r; 10, U-p; 11, O-r; 12, O-n; 13, A-le; 14, I-ce; 15, O-ld; 16, Ou-r; 17, Oi-l; 18, U-se (verb, long); U-se (noun, short).

2. LABIAL OR LIP SOUNDS.

1, B-a-be; 2, P-i-pe; 3, M-ai-m; 4, W-oe; 5, V-al-ve; 6, F-i-fe.

3. PALATIC OR PALATE SOUNDS.

1, C-a-ke; 2, G-a-g; 3, Y-e.

H-e.

4. ASPIRATE OR BREATHING SOUND.

5. NASAL, OR NOSTRIL SOUNDS.

1, Nu-n; 2, Sing.

6. LINGUAL OR TONGUE sounds.

1, L-u-ll; 2, R-ap; 3, Fa-r.

SYLLABIC COMBINATIONS.

To be practised with great force, precision, and distinct

ness.

1. INITIAL SYLLABLES.

Bl, cl, fl, gl, pl, spl; br, cr, dr, fr, gr, pr, spr, tr, str, shr; sm, sn, sp, sk, st.

2. FINAL SYLLABLES.

Ld, lf, lk, lm, lp, lse, ls, (lz), lt, lve; m'd, nd, nce, ns, (nz), nk, (ngk), nt ; rb, rd, rk, rm, rn, rse, rs, (rz), rt, rve, rb'd, rk'd, rm'd, rn'd, rs'd, rv'd; sm, (zm), s'n, (zn), sp, st; ks, ct, k'd, (kt,) f'd, (ft), p'd, (pt); d'n, k'n, p'n, v'n; ble, (bl), fle, (fl,) gle, (gl), ple, (pl), dle, (dl), tle, (tl), rl; lst, nst, rst, dst, rdst, rmdst, rndst; bl'd, pl'd, rl'd; ngs, ngst, ng'd; bles, (blz), cles, (clz), fles, (flz), gles, (glz); sms, (zmz), s'ns, (znz), sps, sts; stles, (slz,) stens, (snz).

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"Pale mourned the lily where the rose had died!"
"Oh! that this lovely vale were mine!"

"Joy! joy forever! My task is done!"

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