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Eagerness.

"Hotspur. Send danger from the east unto the wèst
So honor cross it from the north to south,

And let them grapple :-Oh! the blood more stirs,
To rouse a LÌON, than to start a HÁRE.

5 By heaven, methinks it were an easy leap,

To pluck bright honor from the pale-faced mòon;
Or dive into the bottom of the deep,

Where fathom-line could never touch the ground,
And pluck up drowned honor by the locks:
10 So he that doth redeem her thence, might wear,
Without co-rival, all her dignities."

Hurry.

"Sisters! hence, with spurs of speed!
Each her thundering fàlchion wield;
Each bestride her SABLE STÈed:
HURRY! HURRY to the FIELD!"

RULE XII. Melancholy is distinguished by 'soft', or faint and languid utterance, very low pitch', and 'very slow movement'; a gentle 'vanishing stress'; 'pure' but 'pectoral' 'quality'; and the monotone', or, occasionally, the plaintive 'semitone'.

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Example.

"To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recórded time;

And all our yesterdays have lighted fools

5 The way to dusty dèath.-Oùt, oùt, brief candle!
Life's but a walking shadow,-a poor player,

That struts and frets his hour upon the stage,
And then is heard no more."

RULE XIII. Despair has a 'softened force', a 'very low' note, and a 'very slow movement'; 'vanishing stress'; deep 'pectoral quality'; and a prevalent 'falling inflection' or an utter monotone'.

Example.

"I have lived long enough; my way of life
Is fallen into the sear, the yellow leaf:
And that which should accompany old age,
As honor, love, obedience, troops of friends,
5 I must not look to have; but, in their stéad,

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CURSES, not loud, but DEEP, mouth-honor, BREATH, Which the poor heart would fain dený, but dàre not.” RULE XIV. Remorse has a subdued or softened' force, very low pitch', and 'slow movement'; a strongly marked ' vanishing stress'; a deep pectoral' and 'aspirated' 'quality'; and a prevailing 'falling inflection', with, occasionally, the monotone'.

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Example.

"Oh! my offence | is RANK,-it smells to HEAVEN :
It hath the primal | ELDEST | cùrse | upon 't,
A BROTHER'S MURDER!-Pray can I not,
Though inclination be as sharp as will;

5 My stronger guilt defeats my strong intènt.-
Oh! WRETCHED state! Oh! bósom, black as DÈATH!
Oh! LIMED Soul, that, struggling to be frée,

Art more engaged!"

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Note. Self-reproach has a tone similar to the preceding, but less in the extent of each property, except force', in which it exceeds remorse, and 'pitch', in which it is higher.

Example.

"Oh! what a rogue and peasant slàve am `I!
Is it not MONSTROUS that this plàyer here,
But in a fiction, a DREAM of passion,

Could force his soul so to his own conceit,
5 That, from her working, all his visage wanned,
Tears in his eyes, distraction in 's aspèct,

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A broken vòice, and his whole function suiting
With forms to his concèit? And all for nothing!
For HECUBA!

What's Hecuba to him, or he to Hècuba,

That he should weep for her. What would he do,
Had he the motive and the cue for passion,

That I have? He would DROWN the STAGE | with tears,
And cleave the general èar with HORRID SPEECH!

15 Make MAD the GUILTY, and APPÁL the FRÈE,

CONFOUND the IGNORANT, and AMAZE, indeed,
The very faculties of ÉVES and ÈARS.”

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RULE XV. Mirth is distinguished by loud,' high,' and 'quick' utterance; and an approach to the rapid, repeated 'explosions' of laughter, in a greater or less degree, according to the nature of the passage which contains the emotion.

To these properties are added 'aspirated quality', and the 'falling inflection', as a predominating one.

"A FOOL, A FOOL! I MET A FÒOL i' the forest,

A MÓTLEY FOOL ;—a miserable world;

As I do live by food, I met a FÒOL;

Who laid him down, and basked him in the sùn, 5 And railed on lady Fórtune | in good terms, In GOOD SÉT TÈRMS, and yet a мÓTLEY FOOL!"

RULE XVI. Gaiety and cheerfulness are marked by 'moderate force', 'high pitch', and 'lively movement'; moderate 'radical stress'; and smooth, 'pure quality' of tone, with varied inflections'.

Example.

"Celia. I pray thee, Rosalind, sweet my cóż, be mèrry.

Rosalind. Well, I will forget the condition of mý estate, to rejoice in yours. From henceforth I will, 5 coz, and devise spòrts; let me sèe; what think you of falling in love?

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Celia. I prythee, do, to make sport withal; but love no man in good earnest.

Rosalind. What shall be our spòrt, then?

Celia. Let us sit and mock the good housewife, Fortune, from her wheel, that her gifts may henceforth be bestowed equally.

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Rosalind. I would we could do so; for her benefits are mightily misplaced: and the bountiful woman | doth most mistake her gifts to women." RULE XVII. Tranquillity, serenity, and repose, are indicated by 'moderate force', 'middle pitch', and 'moderate movement'; softened 'median stress'; 'smooth' and 'pure 'quality' of tone; and moderate inflections.

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Example.

"How sweet the moonlight sleeps upon this bànk!
Here will we sit, and let the sounds of music
Creep in our ears! soft stillness, and the night,
Become the touches of sweet harmony.

Look how the floor of heaven

Is thick inlaid with patines of bright gold!
There's not the smallest orb which thou behold'st,

But in his motion | like an àngel | sings, Still quiring to the young-eyed chèrubim : 10 Such harmony is in immortal sòuls!"

The careful study and practice of tones cannot be too strongly urged on the attention of young readers. Reading, devoid of tone, is cold, monotonous, and mechanical, and false, in point of fact. It defeats the main end of reading, which is to impart thought in its natural union with feeling. Faulty tones not only mar the effect of expression, but offend the ear, by their violation of taste and propriety. Reading can possess no interest, speech no eloquence, without natural and vivid tones.

The foregoing examples should be practised with close attention, and persevering diligence, till every property of voice exemplified in them, is perfectly at command.

§ XI. APPROPRIATE MODULATION.

The word 'modulation' is the term applied, in elocution, to those changes of 'force', 'pitch', and 'movement', 'stress', 'quality', and 'inflection', which occur, in continuous and connected reading, in passing from the peculiar tone of one emotion to that of another. 6 Modulation', therefore, is nothing else than giving to each tone, in the reading or speaking of a whole piece, its appropriate character and expression.

The first practical exercise which it would be most advantageous to perform, in this department of elocution, is, to turn back to the exercises on 'versatility' of voice, and repeat them till they can be executed with perfect facility and precision. The next exercise should be a review, without the reading of the intervening rules, of all the examples given under the head of 'tones'. A very extensive and varied practice will thus be secured in 'modulation'. It should be required of the pupil, while performing this exercise, to watch narrowly, and state exactly, every change of tone, in passing from one example to another. The third course of exercise in modulation', is to select those of the pieces contained in this book, which are marked for that purpose, as the notation will indicate. A fourth course of practice may be taken on pieces marked in pencil, by the pupils themselves, under the supervision of the teacher.

This statement w, it is thought, be a sufficient explanation of the reason why no separate exercises are given under the head of modulation, in Part I. of this volume. The closing remarks of Section X. apply equally to XI.

Suggestions to Teachers.

The compilers of this volume are well aware, that, in numerous schools, it is exceedingly difficult to command sufficient time for the

thorough and effectual performance of exercises in reading, and still more so, to find time for the systematic study of elocution: they would, however, respectfully suggest, that, as the complaint against bad reading is still so loud and general, some efforts for the removal of the grounds of this complaint, must be made. If so, these efforts, to be successful, must be systematic; and, if systematic, they cannot be hurried and superficial. Every teacher can best decide, in his own case, how much time he can crcute for such purposes. But it would, at all events, be practicable to make time by diminishing the quantity of reading usually attempted in a lesson.-A class who have learned in a day, to read ONE PARAGRAPH distinctly and impresswely, have done more than has heretofore been effected, in successive YEARS of desultory and irregular practice.

Teachers and students who wish for a more extensive statement of the general principles of elocution, or to devote their attention to the subject of gesture in connexion with declamation, may find it serviceable to peruse the American Elocutionist,* by one of the editors of the present work.

* The American Elocutionist; comprising Lessons in Enunciation', 'Exercises in Elocution', and 'Rudiments of Gesture'; with a Selection of new Pieces for practice in Reading and Declamation; and engraved Illustrations in Attitude and Action. Designed for Colleges, Professional Institutions, Academies, and Common Schools. By William Russell. Boston: Jenks and Puliner.

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