able to make a scale amounting to some thousands of pounds. He found it necessary therefore to part with half the (expected) benefits of his invention to Dr. Roebuck, whose name was then well known in the country as the founder of the Carron Company, on condition that he should bear the expense, or supply the funds for the intended experiments. These experiments were accordingly made at Kinneil, where the doctor then resided, and where Mr. Watt lived almost constantly for a period of six or eight months. My Lord, I happened to be tutor to the doctor's sons at that time, and did every thing in my power to promote a close and friendly intercourse between these great men, which my former acquaintance with Mr. Watt enabled me to do. I had then the pleasure of seeing the experiments on a great scale which were then carrying on. This accidental circumstance and this opportunity connected me so much with what was going on, that when they were completed, I was asked by Mr. Watt to go with him to Berwick, when he went to give in a specification of his invention before a master of Chancery, previous to the obtaining of a patent; and many years afterwards, when a groundless and frivolous charge was brought against Mr. Watt, by a person who claimed a share in the invention, I was called to give evidence of what I knew of this in Chancery. It is needless to add that Mr. Watt was triumphantly victorious. Mr. Watt was the certain and undoubted author of this invention, and no other person had any connexion with it. I can add nothing to what is universally known of Mr. Watt's character as a man of genius. Who would think of praising Sir Isaac Newton? And who, of James Watt? One claim, however, Mr. Watt has to fame, which was denied even to Sir Isaac Newton. The doctrine of Universal Gravitation was for a long time disputed by the French and other philosophers, and another system of the world was preferred; but the invention of Mr. Watt was immediately and almost universally adopted. Example 1. "O'N them, HUSSARS!-Now give them REIN and HE EL! This hour to Europe's fall shall set the TRIUMPH SEAL!" RULE VI. Scorn is characterised by "loudness,' by drawling slowness,' and a tone which, in the emphatic words, begins on a 'high' and slides to a 'low' note; by thorough stress,' and often, a laughing 'tremor,' making the beginning, the middle, and the end, of every emphatic sound, distinct, and prominent, and cutting to the ear. The 'quality' of the voice in this tone is strongly aspirated,' but not guttural:' the inflection' is usually falling,' but, sometimes, becomes the wave,' or 'circumflex.' Example 1. "Thou SLAVE, THOU WRETCH, THOU COWARD! Thou ever strong upon the stronger side! 2. "Pale, TREMBLING, CO WARD!—[Tremor.] thère By that, and all the rights of knighthood èlse, Will I make good against thee, arm to A'RM, What I have spoke, or thou canst worse devise." RULE VII. Indignation is marked by full loudness,' 'low' note, and deliberate 'slowness;' a swelling 'median stress;' and the effect arising from the blending of pectoral' and 'guttural' tone, to all the extent consistent with tund,' in vehement style. 'pure' 'oroThe characteristic inflection is uniformly falling.' "The common and ordinary operation of Mr. Watt's mind was invention; almost every object that attracted his attention he conceived to be and represented as altered, changed, transformed, and applied in a different manner and to other uses; and his imagination was always fruitful in expedients and resources. Nor can I forget his modesty and simplicity of manners. Speaking once of his great invention, I heard him say, 'that when it was analysed, it would not appear to be so great as it seemed. In the state in which I found the steam-engine, it was no great effort of mind to observe that the quantity of fuel necessary to make it work would for ever prevent its extensive utility. The next step in my progress was equally easy, to inquire what was the cause of the great consumption of fuel? This too was readily suggested, viz. the waste of the fuel which was necessary to bring the whole cylinder, piston, and adjacent parts, from the coldness of water to the heat of steam no fewer than from fifteen to twenty times in a minute.' After considering this point well, in one of those moments when the heavenly spark of genius shone RULE VIII, Courage, joy, ardent love, and ardent admiration, with brightness in his mind, the idea of carying on the con- are distinguished by loud,' high,' and 'lively' utterance; densation in a separate vessel broke in upon him. The last swelling median stress;' perfectly smooth and 'pure' step was more difficult, the formation of the separate condens-quality' of tone; and frequent 'falling' inflections. ing vessel. His great knowledge of mechanics enabled him to construct it properly; but I have often heard him say that this was a work of great difficulty, and that he met with many disappointments before he succeeded." Example. "In this complicated crisis of danger, weakness, and calamity, terrified and insulted by the neighbouring powers, unable to act in America, or acting only to be DESTROYED, WHERE || is the MAN | who will venture to flatter us with the hope of success from perseverance in measures productive of these dire effects?-Who has the EFFRONTERY to attempt it? WHERE is that man? Let him, if he DARE, STAND FORWARD, and SHOW his face." Example 1. Courage and Ardent Admiration. "Now for the FIGHT!-now | for the CANNON PEAL!- Glorious-the SHOUT, the SHOCK, the crash of STEEL, "Lady Capulet. Accu'RSED, UNHAPPY, WRETCHED, Most MISERABLE hour that e'er time saw, In lasting labour of his pilgrimage! But one, poor one, ONE POOR and LOVING CHILD, But one thing to rejoice and sólace in, And cruel death | hath catched it from my sight!"" RULE X. Moderate grief and sorrow, pity, and tender love and admiration, are expressed by 'softened force,' 'high' notes, and slow movement;' by prolonged and swelling median stress;' and by pure,' but chromatic,' or plaintive utterance). The 'rising inflection,' in the form of semitone' (half tone), prevails in the expression of these emotions. Example of Moderate Grief. “Enamoured death, with sweetly pensive grace No more his sad eye looked me into tears! But which, though pale, seemed half-unclosed to speak, Pity. "Morn cáme again; But the young lamb was dead. To shield, with sleepless tenderness, The weak one at her side. Round it, all night, she gathered warm Her woolly limbs,-her head To cherish it in love's warm fold; Moving, with still reverted face, And low complaining bleat, To entice from their damp resting place Tender Love and Admiration. "Hushed were his Gertrude's lips, but still their bland With love that could not die! and still his hand [o] Ah! heart, where once each fond affection dwelt, And features yet that spoke a soul more fair!" And of a drágon, and a finless fish, And such a deal of SKIMBLE SKAMBLE STU'FF, That were his lackeys: I cried humph!—and 'well? 'go But marked him not a word. Oh! he's as tedious Worse than a SMOKY HOUSE:-I had rather live Eagerness. "Hotspur. Send danger from the east unto the west By heaven, methinks it were an easy leap. Where fathom-line could never touch the ground, "I have lived long enough; my way of life I must not look to have; but, in their stead, CURSES, not loud, but DEEP, mouth-honour, BREATH, Which the poor heart would fain deny, but dare not." RULE XIV. Remorse has a subdued or softened' force, RULE XI. Impatience, eagerness, and hurry, are denoted by very low pitch,' and 'slow movement;' a strongly marked 'loud,' 'high,' and 'quick movement;' impatience, by vanish-vanishing stress;' a deep 'pectoral' and aspirated quality ing,' or final stress; eagerness, by expulsive median stress; and a prevailing falling inflection,' with, occasionally, the hurry, by abrupt 'radical' or initial explosive''stress' all monotone.' three emotions are sometimes marked by the tremor,' and by aspirated,' and sometimes anhelose' or panting utterance, eagerness occasionally by the 'orotund.' The falling inflection' characterises the tones of these emotions, Example of Impatience. "Mortimer. Fie! cousin Percy-how you cross my father! Example: "Oh! my offence | is RANK-it smells to HEAVEN: 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 slave am I? A broken voice, and his whole function suiting What's Hecuba to him, or he to Hècuba, That he should weep for her? What would he do, That I' have? He would DROWN the STAGE with tears, 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. Example. "A FOOL, A FOOL! I MET A FOOL i' the forest, As I do live by food, I met a rÒOL; Who laid him down, and basked him in the sun, In GOOD SET TERMS, 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 cóz, be merry. Rosalind. Well, I will forget the condition of my estate, to rejoice in yours. From henceforth I will, coz, and devise spòrts; let me see; what think you of falling in love? Celia. I prythee, do, to make sport withal; but love no man in good earnest. Rosalind. What shall be our sport, then? Celia. Let us sit and mock the good housewife, Fortune, from her wheel, that her gifts may henceforth be bestowed equally. Rosalind. I would we could do so; for her benefits are mightily misplaced: and the bountiful | blind' woman | doth most mistake her gifts to women." EULE 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. Example. "How sweet the moonlight sleeps upon this bank! Look how the floor of heaven Is thick inlaid with patines of bright gold! 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 the 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. 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.' The student observe exactly, every change of tone, in passing from one should, while performing this exercise, watch narrowly, and example to another. The third course of exercise in modulation,' is to select some of the following pieces, which are marked for that purpose, as the notation will indicate. A fourth course of practice may be taken on pieces marked by the student himself. PROMISCUOUS EXERCISES.-I. ANTIQUITY OF FREEDOM. [Marked for Rhetorical Pauses, in poetry.] Here are old trees, tall oaks | and gnarled pines, That stream with gray-green mosses; here the ground Was never trenched by spade; and flowers | spring up I Unsown, and die ungathered. It is sweet | To linger here, among the flitting birds, And leaping squirrels, wandering brooks, and winds ' A fragrance from the cedars, thickly set! My thoughts go up the long dim path of years, O FREEDOM! thou art not, as poets dream, With tokens of old wars; thy massive limbs || And his swart arinorers, by a thousand fires, The grave defiance of thine elder eye, Of the new earth and heaven. But wouldst thou rest And yet the moss-stains on the rock were new, with his màster. II. POPE AND DRYDEN. [This piece is marked in application of the rules of Inflection.] Pope professed to have learned his poetry from Dryden, whom, whenever an opportunity was presented, he praised through his whole life with unvaried liberality; and, perhaps, his character may receive some illustration, if he be compared Integrity of understanding, and nicety of discérnment, were not allotted in a less proportion to Dryden than to Pope. The rectitude of Dryden's mind was sufficiently shown by the dismission of his poetical préjudices, and the rejection of unnatural thoughts and rugged numbers. But Dryden never desired to apply all the judgment that he had. He wrote, and professed to write, merely for the people; and when he pleased others, he contented himself. He spent no time in struggles to rouse latent powers; he never attempted to make that better which was already good, nor often to ménd what he must have known to be faulty. He wrote, as he tells us, with very little consideration: when occasion or necessity called upon him, he poured out what the present moment happened to supply, and, when once it had passed the préss, ejected it from his mind; for, when he had no pecuniary interest, he had no further solicitude. Pope was not content to satisfy; he desired to excèl, and therefore always endeavoured to do his bèst; he did not court the candour, but dared the judgment of his reader, and, expecting no indulgence from 6thers, he showed none to himself He examined lines and words with minute and punctilious observation, and retouched every part with indefatigable díligence, till he had left nothing to be forgiven. For this reason he kept his pieces very long in his hands, while he considered and rèconsidered them. The only poems which can be supposed to have been written with such regard to the times as might hasten their publicátion, were the two satires of Thirty-eight: of which Dodsley told me, that they were brought to him by the author, that they might be fairly copied. Every line," said he, "was then written twice over; I gave him a clean trànscript, which he sent some time afterwards to me for the préss, with every line written twice over a second time." 66 likewise in pròse: but Pope did not borrow his prose from his predecessor. The style of Dryden is capricious and varied; that of Pope is cautious and uniform. Dryden obeys the motions of his own mind; Pope constrains his mind to his own rules of composition. Dryden is sometimes vehement and rápid; Pope is always smooth, úniform, and gentle. Dryden's page is a natural field, rising into inequalities, and diversified by the varied exuberance of abundant vegetation; Pope's is a velvet làwn, shaven by the sythe and levelled by the roller. Of génius, that power which constitutes a poet; that quality without which judgment is cold, and knowledge is inért; that energy which collècts, combines, àmplifies, and ánimates; the superiority must, with some hesitation, be allowed to Dryden. It is not to be inferred, that of this poetical vigour Pope had only a little, because Dryden had more; for every other writer since Milton must give place to Pope; and even of Dryden it must be said, that if he has brighter páragraphs, he has not either excited by some external occasion, or extorted by better poems. Dryden's performances were always hasty, domestic necèssity; he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought, and all that he gave. The dilatory caution of Pope enabled him to condénse his sentiments, to múltiply his images, and to accumulate all that study might produce, or chance might supply. If the flights of Dryden, therefore, are higher, Pope continues longer on the wing. If of Dryden's fire the blaze is brighter, of Pope's the heat is more régular and constant. below it. Dryden is read with frèquent astonishment, and Dryden often surpasses expectation, and Pópe never falls Pope with perpetual delight.-Johnson. KEY TO THE LESSONS IN GREEK. No. VIII. Vol. IV. p. 10.-GREEK-ENGLISH. ENGLISH-GREEK. Φενακα φευγω. Οἱ κορακες κρωζουσιν. Τη φορμιγγι τερπή. Oxneμo тove aveрwлоvg TEORоVGL. Τους ίππους ελάνουσι μαστίξι. Οἱ των ανθρώπων θύμοι τη φόρμιγγι αγονται. Οἱ κορακες κρώζουσιν. Αἱ συριγγες τους ποιμένας τερπουσι. Αἱ αιγες προς τον λειμωνα αγονται. Ο ποιμην προς τας σύριγγας αδει. Η θυγατηρ ωπα μεν αγαθην έχει, κακην δε όπα. His declaration, that his care for his works ceased at their publication, was not strictly true. His parental attention never abandoned them; what he found amiss in the first edition, he silently corrected in those that followed. He appears to have revised the Iliad, and freed it from some of its imperfections; and the Essay on Criticism received many improvements, after its first appearance. It will seldom be found (The) birds sing. Favour begets favour, strife (begets) that he altered without adding clearness, élegance, or vigour. strife. We account youth happy. Need begets strifes. (The) Pope had, perhaps, the judgment of Dryden; but Dryden cer-rich often hide their (the) baseness by (their) riches. O tainly wanted the diligence of Pope. In acquired knowledge, the superiority must be allowed to Dryden, whose education was more scholastic, and who, before he became an author, had been allowed more time for stúdy, with better means of information. His mind has a larger range, and he collects his images and illustrations from a more extensive circumference of science. Dryden knew more of man in his general nature, and Pope in his local mànners. The notions of Dryden were formed by comprehensive speculation, and those of Pope by minute attention. There is more dignity in the knowledge of Dryden, and more cértainty in that of Pope. GREEK-ENGLISH. beautiful boy, love thy good brother and thy fair sister. The love of money is (the) mother of all baseness. The poor are often happy. (The) wisdom excites in the minds of men wonderful loves (love) of (the) beautiful things. (The) death frees (the) men from cares. Friendship arises through (from) similarity. Wine awakes laughter. In (the) night counsel (wisdom) arises to the wise. The wise punish (the) baseness, (The) men are often delighted by slight hopes. P. 11.-ENGLISH-GREEK, Οι ορνίθες ᾅδουσιν. Χαρις χαριτι τίκτεται, ερις ερίδι. Τη Poetry was not the sole praise of either : for both excelled | σοφια γιγνεται εν τοις των ανθωπων θύμοις θαυμαστος των καλών έρως. Τη των ορνίθων φδη τερπομαι. Αἱ των ορνίθων ῳδαι τους ποιμένας τερπουσι. Τοις ορνιθοις τερπομεθα. Οἱ άνθρωποι τοις βασιλευσι έπονται. Οι ανθρωποι τῳ βασιλει υπακουσι. GREEK-ENGLISH. In hard circumstances few companions are faithful. We do not exchange the wealth of virtue for property. (The) suppliants touch the knees. (The) death is a separation of the soul and of the body. (The) wealth affords men various aids. Do not listen to the words of bad men. Be not enslaved, Ο boy, to the service of the body. The Greeks offer to the Nymphs goblets of milk. Accustom and exercise thy (the) body with labours and sweat. (The) chatterers wear away our (the) ears by repetition. Accustom thy (the) soul, Ο boy, to useful things. (The) wicked speeches touch not the ears. With the ears we hear. Do not hate a friend on account of a small sin. Ο boy, taste the milk. The soldiers bear spears. No. IX. Vol. IV. p. 40.-GREEK-ENGLISH.. The same mind is not to all men (all men have not the same mind). With the teeth we masticate the food. Dolphins are friendly to men. It is (the part) of a good man to bear all evils bravely. Many parts (places) of Libya abound in ivory, All hate a loquacious man. To the giants once (there) was a fight against the gods (the giants once fought against the gods). We rejoice in the beams of the sun. It is the office (work) of the nostrils (nose) to smell. ENGLISH-GREEK. Έχομεν ελεφαντα. Ο ελέφας εν ταις της Λιβύης χώραις γίγνεται. Οἱ αδελφοι και αἱ αδελφαι ταις του ήλιου ακτισι. τέρπονται. Καλη εστι ή αδελφη. Ελεφαντα τον καλον θαυμαζομεν. Πολλοι εν τη Λιβύη εισι ελέφαντες. Το των οδοντων έργον τα βρώματα λεαίνειν εστιν. Το θείον σέβεσθαι εστι παντος ανθρώπου. Τοις θεοις ην ποτε πόλεμος προς τους γίγαντας, GREEK-ENGLISH. (The) kings have (take) care of the citizens. The fock follows the shepherd. Hector is slain by Achilles. The priests sacrifice oxen to the gods. Cyrus was a son of good parents. The ungrateful dishonour their (the) parents. Ο boy, obey thy (the) parents. Telemachus was a son of Ulysses. Wir before all to have (hold) thy parents in honour (honours). The chatterings of old women wear away the ears. O king, you rule well. (The) old women talkative. The shepherds lead the herd of oxen to pasture. Homer likens the eyes of Hera (Juno) to the (those) of (the) Gen. Patroclus was a son of Achilles. We admire Cyrus, the king of the Persians, for both valour and wisdom. ENGLISH-GREEK. are P. 41.-GREEK-ENGLISH. The tragedies of Sophocles are beautiful. We admire Socrates for his (the) wisdom. Το Socrates (there) are many pupils (Socrates has many scholars). India bears (produces) many reeds (rushes) along both the rivers and the marshy Anaxagoras, the sophist, was (a) teacher of Pericles. Ο places. Always speak truth (the true things), Ο boy. Hercules, afford safety (salvation) to the unfortunate. Epaminondas was not known). Pity the unfortunate man. Epaminondas was of an unknown father (the father of young men (νεανίαι), desire (strive after) true words. The intemperate serve a disgraceful servitude. Have not inter. course with (to) an intemperate man, No. X. Vol. IV. p. 55.-GREEK-ENGLISH. Homer sings of many heroes. We admire the valour of heroes. Slaves lead a painful life. The garden of the uncle is beautiful. Ο boy, desire modesty. Modesty attends on good men. We admire Lysias for his persuasiveness and grace. Reverence belongs to modesty. Do not look at the desire a good condition. It becomes a boy and a young man face of the Gorgon. O Echo, thou often deceivest men. to have modesty. Clio and Erato are Muses. Historians Erato. All ἱστοριογραφοι) honour Clio, but the lyric poets (honour) P. 56.-ENGLISH-GREEK. Όμηρος ᾄδει τον ήρωα τον Αχιλλέα. Ο Αχιλλευς ήρως (οι ὁ Αχιλλευς ὁ ἡρως) ᾄδεται ύπο του Όμηρου. Η του ήρωος αρετη θαυμαστη εστιν. Την των ηρωων αρετην θαυμαζομεν. Τοις δμωσι λυπηρος εστι βιος. Τῳ πατρων εστι καλός κήπος. Τῳ ευεστοι αγάλλονται παντες. Ω νεανια, μετ' αιδούς θαυμαζε τα των αγαθών έργα. Τη ηχοι πολλακις ψευδόμεθα. GREEK-ENGLISH. The gods send prodigies to men. Death is a cure for the evils of age. Rewards (gifts of honour) impel soldiers to bravery. Milk and flesh come (are supplied by) from goats and sheep for nutriment. The soldiers give signs by horns and trumpets. We taste (eat) various kinds of flesh. A good condition of the body (constitution) in youth is a safe (fair) foundation for (of) old age. Stags have horns. Life in old age is peevish. ENGLISH-GREEK, Τα τερα τοις ανθρώποις πέμπεται ύπο των θεων. Οἱ στρατιωται τοις κερασι και ταις σαλπιγξι τέρπονται. Γαλακτος και κρεως γευόμεθα. Τα του γήρως κακα απολύει ὁ θάνατος. Γερα τοις στρατιωταις πέμπει ὁ βασιλευς. Τα γερα τους στρατιωτας προτρέπει. Οἱ στρατιῶται τοις γερασι προτρέπονται. GREEK-ENGLISH. The earth blooms with flowers. Do not keep from cold and heat. We judge beauty not by length of time but excellence. Every elevation in mortal kind is unsafe. Do not speak falsehoods. Keep from wicked gains. Wicked gains always bring punishment. Brass is a mirror of the countenance, and wine Et the mind. Men desire glory. Men rejoice in glory. The brave long for noble deeds. We admire the achievements of (brave) men. |