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tion, thwarted my bargains, cooled my friends, heated my en emies; and what's his reason? I am a Jew. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is?

Exercise 12.-To Illustrate Rule 13, page 36.

O thōu unutterable Pōtentate!

Through nature's vast extent, sublimely great!
But here, on these gigantic mountains, here
Thy greatness, glōry, wisdom, strength, and spirit,
In terrible sublimity appear!

Thy awe-imposing võice is heard; we hear it!
The Almighty's fearful voice; attend! It breaks
The silence, and in solemn warning speaks.

Now all is hushed and still as death
How reverend is the face of this tall pīle,
Whose ancient pillars rear their marble heads,
To bear aloft its arched and ponderous rōōf,
By its own weight made steadfast and immovèable.

It strikes an awe

And terror on my aching sight. The tombs,
And monumental caves of death, look cold,
And shoot a chillness to my trembling heart.

O thou that rollest above, round as the shield of my fathers! Whence are thy beams, O sun! thy everlasting light? Thou comest forth in thy awful beauty; the stars hide themselves in the sky; the moon, pale and cold, sinks in the western But thou thyself movest alone; who can be a companion of thy course?

wave.

The oaks of the mountains fall; the mountains themselves decay with years; the ocean shrinks, and grows again; the

moon herself is lost in heaven; but thou art forever the same, rejoicing in the brightness of thy course.

When the world is dark with tempests, when thunder rolls and lightning flies, thou lookest in thy beauty from the clouds, and laughest at the storm. But, to Ossian, thou lookest in vain; for he beholds thy beams no more, whether thy yellow hairs flow on the eastern clouds, or thou tremblest at the gates of the west.

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But thou art, perhaps, like me for a season; thy years will have an end. Thou shalt sleep in the clouds, careless of the voice of the morning. Exult, then, O sun, in the strength of thy youth! Age is dark and unlovely; it is like the glimmering light of the moon, when it shines through broken clouds; and the mist is on the hills, the blast of the north is on the plain; the traveler shrinks in the midst of his journey.

CHAPTER V.

MODULATION.

MODULATION implies the variations of the voice that are heard in reading or speaking.

Modulation embraces a great variety of topics pertaining to the voice, which the limits of this treatise forbid that we should introduce. Therefore, such only will be considered as can be easily understood, and are absolutely necessary to give a clear exposition of the general principles of the subject. They are the following:

1. Expression.

2. Transition.

3. Personation.

4. Rhetorical Pause.

QUESTIONS. What is Modulation? What are the subjects pertaining to Modulation that are considered in this work ?

Expression.

EXPRESSION in elocution implies the peculiar tones of voice, and the manner of utterance, expressive of the thoughts, feelings, and emotions, of the reader or speaker.

It includes several particulars, which are important to be explained before giving any rules or directions, as aids to its proper application.

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PITCH of voice refers to the note or key on which we read or speak.

In every person's voice this key-note may have as many variations as the notes in the scale of music; but it is sufficient for all practical purposes to consider it as having only three general distinctions.

1. The high pitch, as heard in calling a person at a distance. 2. The middle, as heard in common conversation.

3. The low, as heard in a grave under key.

Quantity.

QUANTITY is used to signify the volume or loudness with which one speaks on the same key or pitch.

Learners frequently suppose that loudness means a higher note, and, when requested to "speak louder," immediately raise the key, without increasing the quantity. A person may, however, speak loud or soft on the same note or key.

To illustrate this, the following sentence may first be spoken in a very feeble voice, and then repeated on the same pitch, doubling the quantity at each repetition. The dots at the end of the sentence exhibit to the eye the increase of volume at each reading.

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QUESTIONS. What is meant by Expression, as here used? What subjects are introduced and explained under Expression? What is Pitch? How many general distinctions has Pitch? What are they? What is Quantity? How is it illustrated? Read the example.

Stress.

STRESS has particular reference to the force or impulse of utterance, and characterizes sound as forcible, faint, or moderate.

Movement.

MOVEMENT refers to the time or rate of uttering words and sentences.

There are three general distinctions; quick, slow, and moderate. The only sure guide, in the application of the principles of expression, is clearly to comprehend the sentiment of the piece, and to enter fully into the spirit of those emotions with which such sentiment is naturally uttered. The learner, however, will find a few general di rections of service.

RULE 1. Narrative and descriptive pieces should generally be read in a natural, free, and conversational tone, and with moderate movement; didactic, with a voice somewhat fuller and firmer.

EXAMPLES.

Narrative.

The son of a rich merchant had abandoned himself in his youth to every excess. By this means he irritated his father, whose kind advice he despised. The old man, in the decline of life, makes a will by which he disinherits his younger son, and dies. Dorval, informed of the death of his father, reflects seriously, looks into his own heart, and deplores his past follies. He soon learns he is disinherited. This news draws no murmur on the memory of his father. He respects it even at the period most disadvantageous to his interest. He only says, "I have merited it."

This moderation was communicated to Jenneval, his brother, who, rejoicing to see the change of conduct in Dorval, goes to seek and embrace him, and addresses him in these words, forever memorable : 'My brother, by a will of our father's, I am instituted sole heir; but he wished only to exclude the man you then were, and not him you now are. I render to you the portion which is due to you.”

QUESTIONS.

What is Stress? How does it characterize sound? What is Movement? How many and what are the general distinctions? What is Rule First, or the rule for narrative, descriptive pieces, &c. 7 Read the examples.

Descriptive.

Everything looked smiling about us as we embarked. The morn ing was now in its freshness, and the path of the breeze might be traced over the lake, wakening up its waters from their sleep of the night. The gay, golden-winged birds that haunt the shores were in every direction shining along the lake, while, with a graver consciousness of beauty, the swan and the pelican were seen dressing their white plumage in the mirror of its wave. To add to the animation of the scene, a sweet tinkling of musical instruments came, at intervals, on the breeze, from boats at a distance, employed thus early in pursuing the fish of the waters, that suffered themselves to be decoyed into the nets by music.

Didactic.

Upon whatever foundation happiness is built, when that foundation fails, happiness must be destroyed; for which reason it is wisdom to choose such a foundation for it as is not liable to destructive accidents. If happiness be founded upon riches, it is liable to theft, deceit, oppression, war, and tyranny; if upon fine houses and costly furniture, one spark of fire is able to consume it; if upon friends, health, or life, a thousand diseases, and ten thousand events, have power to destroy it; but if it be founded upon the infinite bounty and goodness of God, and upon those virtues that entitle to his favor, its foundation is immovable, and its duration eternal.

RULE 2. Tender emotion, pathetic and plaintive language, should be uttered with rather a slow movement, and in a soft and subdued tone of voice.

EXAMPLES.

Tender Emotion.

Adieu, ye lays, that Fancy's flowers adorn,
The soft amusement of the vacant mind!
He sleeps in dust, and all the muses mourn,
He, whom each virtue fired, each grace refined,
Friend, teacher, pattern, darling of mankind!
He sleeps in dust. Ah, how shall I pursue
My theme! To heart-consuming grief resigned,
Here on his recent grave I fix my view,

And pour my bitter tears. Ye flowery lays, adieu!

QUESTIONS. What is Rule Second, or the rule for tender emotion, &c.? What are the subjects of the examples given under this rule?

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