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3. In exercising upon the following examples in quantity, let the student'fully inflate his lungs, and then give fullness and length of sound to each word in italics. The difference in quantity in the two following lines will be very apparent from the nature of the sentiment:

O come, father, come quickly; let us run.
Roll on, thou deep, and dark blue ocean.

ILLUSTRATIONS.

1. O happiness, our being's end and aim.
2. Green be thy fields, sweet isle of the ocean.
3. Hail, holy light! We praise thee, O Lord.
4. O thou that rollest above. The deep sea moans.
5. Roll on, ye dark brown years.
6. On the cold cheek of death, smiles and roses are blending.

And beauty immortal awakes from the tomb.
7. Ye clouds, that gorgeously repose around the setting sun,

Have ye a home for those whose earthly race is run! 8. And I heard many angels round the Throne, crying with a loud voice, holy! holy! holy ! evermore.

MODULATION.

1. Modulation means a variation of the pitch of the voice, in reading and speaking.

2. The importance of cultivation in this department will be fully appreciated by all who have had the misfortune to listen to those who read or speak “right on,” without variation of tone or manner.

3. There is not a more important requisite, in the range of vocal delivery, than Modulation; nothing gives stronger proof that the reader or speaker is master of his art; nothing con tributes more to the pleasure of an audience. A well regu

lated and expressive modulation gives that music and charm to delivery, to which the hearer will involuntarily lean his ear in delight. Nature seems to have designed it to mark the changes of sentiment, thought, and emotion, that range from the comic and lively, to the devotional and sublime.

4. The change that will be made in the pitch of the voice and manner of delivery, is forcibly shown when you read iv cunnection the following

ILLUSTRATIONS.

1.

O, pretty, pretty thing;
And will it sing, too, will it sing !
2. Yet, half I hear the parting spirit sigh,

It is a dread, an awful thing to die.
3. He whispered, in an undertone,-

Let the hawk stoop, his prey has flown.
4. To arms! they comel the Greek, the Greek !
5. O, my offence is rank, it smells to heaven.
6. The flames rolled on, he would not go

Without his father's word:
That father, faint in death below,

His voice no longer heard.
7. Who art thou whose voice I hear?

I am the grave.

QUALITY.

1. Quality has reference to the kind of voice with which we read or speak.

2. The human voice and the church organ may be attuned to the same key-note, and agree in quantity, yet each will produce its own distinctive quality of sound.

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3. The terms nasal, smooth, harsh, shrill, orotund, &c., are applied to the various qualities of the voice in speaking.

4. Nature has a representative sound in the human voice for the passions and emotions of the soul. She has not only a “ voice of joy and gladness,” but a quality of voice which every “ kindred tongue” appreciates by intuition.

5. Meanness is expressed in a nasal tone; authority and command are represented in explosive, shrill notes; anger and revenge by a harsh and tearing kind of voice; kindness is known by its sweet, soft, and mellow tones; devotion, beauty, awe, reverence, and sublimity, are expressed in a deep, orotund voice.

ILLUSTRATIONS.

1. Nasal Voice. And reckonest thou thyself with spirits of heaven? 2. Smooth Voice. Soft is the strain when zephyr gently blows,

And the smooth stream in smoother numbers

flows; 3. Harsh Voice. But when loud surges lash the sounding shore,

The hoarse, rough verse should like the torrent

roar.

4. Shrill Voice. The combat deepens ;-on, ye brave!

Who rush to glory, or the grave. 5. Orotund Voice. Behold! how good and how pleasant it is for brethren to dwell together in unity.

b. Eternity, thou pleasing, dreadful thought.

7. The moon, cold and pale, sinks in the western wave, but thou thyself movest alone.

8. Great ocean, that rolled the wild, profound, eternal bass in nature's anthem.

IRONY.

1. Irony is the expression of satire by the manner of speaking, and not by the words employed.

2. This has great significance and power, and justly holds a high rank in Elocutionary Science. There is no other manner of expression that carries with it such potent conviction. Every ironical sentiment should be ironically expressed by the voice, look, and action.

3. The modification of the voice used for this expression, is the union of the rising and falling inflections, called the circumflex. The student who desires to have at his command the means of effective delivery, must exercise his voice long and vigorously, upon words and sentences containing ironical sen timent.

ILLUSTRATIONS.

1. And this Cæsar has become a God, and Cassius a wretched creature. 2. Fair sir, you spit on me on Wednesday last;

You spurn'd me such a day; another time
You call'd me- -dog; and for these courtesies,

I'll lend you thus much moneys. 3. They offer us their protection, and will give enlightened freedom to our minds.

4. O excellent interpreter of the laws! master of antiquity! corrector and amender of the constitution !

5. I cheerfully acknowledge my own inferiority to the honorable, learned, and surpassingly eloquent gentleman. Had he, in the plenitude of his wisdom, compared me to the Ephraim actually named in the Scriptures, I could have borne it tolerably well; but when he compared me to ether, which, if I understand it rightly, is lighter than thin air, it was really unendurable, and I sink under it.

RHETORICAL PAUSE.

1. The Rhetorical Pause consists in suspending the voice, either directly before or after the utterance of an important thought.

2. The rhetorical pause belongs to the higher departments of delivery and expression, and is not subject to grammatical rules. It is the result of emotion, its power being exerted through the eloquence of silence.

3. This pause is most effective when connected with subjects of great magnitude. It is very eloquent, and every public speaker should be master of it. Garrick, England's great tragedian, owes much of his histrionic fame to the effective use

of this pause.

4. The voice must be so managed as first to create an ex pectation, with the audience, of something extraordinary, and then--to gratify it.

ILLUSTRATIONS.

1. We carved not a line, we raised not a stone.

But we left him alone | in his glory. 2. In action, how like an angel; in apprehensior, how | like a God.

The dying tyrant exclaims-
3. And now | my race of terror | run ;

Mine be the eve | of tropic sun;
No pale gradations quench his ray,
No twilight dews || his wrath || allay :
With disk | like battle target | red,
He rushes to his burning bed;
Dyes the wide way | with bloody light,

Then sinks at once- Land all is night.
4. That voice | that voice | I know that voice.
6. Put out the light, and then put out the light [of life].
6. She's gone | I'm abused; and my relief

Must be to loathe her!

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