intervening phrase, before an adjective when it follows its noun, where there is an ellipsis, and before and after an important word or clause of a sentence.

EXAMPLES.

Industry is the guardian of innocence.

Prosperity gains friends; adversity | tries them.
Some place true bliss in action, some | in ease,
Those | call it pleasure, and contentment | these.

The great, invincible Alexander | wept at the fate of Darius. Precipitation | ruins the best contrived plans, patience | ripens the most difficult.

Talents without application | are no security for progress in learning.

Wealth with a benevolent disposition | renders the possessor a blessing to the world.

Hers was a soul | replete with every noble quality.

Add to your faith | virtue; and to virtue | knowledge; and to knowledge | temperance; and to temperance | patience.

Is not the mystery comprehended in one word | sympathy?

I have but one lamp by which my feet are guided, and that | is the lamp of experience.

EXERCISES ON MODULATION.

Exercise 1.-To Illustrate Transition, page 60.

1. Heard ye those loud contending waves,
That shook Cecropia's pillared state?

Saw ye the mighty from their graves

Look up, and tremble at her fate?
Who shall calm the angry storm?
Who the mighty task perform,

And bid the raging tumult cease?
See the son of Hermes rise;
With syren tongue, and speaking eyes,
Hush the noise, and sooth to peace!

2. Lo! from the regions of the North,
The reddening storm of battle pours;
Rolls along the trembling earth,

Fastens on the Olynthian towers.

(h q) 3. "Where rests the sword?—where sleep the brave! Awake! Cecropia's ally save

From the fury of the blast;

Burst the storm on Phocis' walls;
Rise! or Greece forever falls.

Up! or freedom breathes her last!"

(1 s) 4. The jarring states, obsequious now,
View the patriot's hand on high;
Thunder gathering on his brow,
Lightning flashing from his eye.

(h 1 q)

5. Borne by the tide of words along,
One voice, one mind, inspire the throng;

"To arms! to arms! to arms!" they cry!
"Grasp the shield, and draw the sword,
Lead us to Philippi's lord,

Let us conquer him- or die!"

(p) 6. Ah, Eloquence! thou wast undone;
Wast from thy native country driven,
When Tyranny eclipsed the sun,

And blotted out the stars of heaven.

7. When Liberty from Greece withdrew,
And o'er the Adriatic flew,

To where the Tiber pours his urn,
She struck the rude Tarpeian rock;
Sparks were kindled by the shock –
Again thy fires began to burn!

8. Now, shining forth, thou mad'st compliant
The Conscript Fathers to thy charms;
Roused the world-bestriding giant,

Sinking fast in Slavery's arms!

9. I see thee stand by Freedom's fane,
Pouring the persuasive strain,

Giving vast conceptions birth;-
Hark! I hear thy thunder's sound,
Shake the Forum round and round-

Shake the pillars of the earth!

10. First-born of Liberty divine!

-

Put on Religion's bright array;
Speak! and the starless grave shall shine
The portal of eternal day!

11. Rise, kindling with the orient beam,
Let Calvary's hill inspire the theme!

Unfold the garments rolled in blood!
O, touch the soul, touch all her chords,
With all the omnipotence of words,

And point the way to heaven- to God.

Exercise 2. - To Illustrate Rhetorical Pause, page 63.

1. The business of training our youth in elocution | must be commenced in childhood. The first school | is the nursery. There, at least, may be formed a distinct articulation, which is the first requisite for good speaking. How rarely is it found in perfection | among our orators. Words, says one, referring to articulation, should "be delivered out from the lips, as beautiful coins, newly issued from the mint; deeply and accurately impressed, perfectly finished, neatly struck by the proper organs, distinct, in due succession, and of due weight."

2. How rarely do we hear a speaker, whose tongue, teeth | and lips | do their office so perfectly | as, in any wise, to answer to this beautiful description! And the common faults in articulation, it should be remembered, take their rise | from the very nursery. But let us refer to other particulars.

3. Grace in eloquence | in the pulpit, at the bar, cannot be separated from grace | in the ordinary manners, in private life, in the social circle, in the family. It cannot well be superin.

duced upon all the other acquisitions of youth, any more than that nameless, but invaluable quality, called | good breeding. You may, therefore, begin the work of forming the orator with your child; not merely by teaching him to declaim, but what is of much more consequence, by observing and correcting his daily manners, motions and attitudes.

4. We go, next, to the schools for children. It ought to be a leading object, in these schools, to teach the art of read. ing. It ought to occupy three-fold more time | than it does. The teachers of these schools | should labor to improve themselves. They should feel, that to them, for a time, are committed the future orators | of the land.

5. We had rather have a child, even of the other sex, return to us from school a first-rate reader, than a first-rate performer on the piano-forte. We should feel that we had a far better pledge for the intelligence and talent of our child. The accomplishment, in its perfection, would give more pleasure. The voice of song is not sweeter than the voice of eloquence; and there may be eloquent readers, as well as eloquent speakers.

6. We speak of perfection in this art; and it is something, we must say in defence of our preference, which we have never yet seen. Let the same pains be devoted to reading, as are required to form an accomplished performer on an instrument; let us have, as the ancients had, the formers of the voice, the music-masters of the reading voice; let us see years devoted to this accomplishment, and then we should be prepared to stand the comparison.

7. It is, indeed, a most intellectual accomplishment. So is music, too, in its perfection. We do, by no means, undervalue this noble and most delightful art, to which Socrates applied himself, even in his old age. But one recommenda⚫ tion of the art of reading is, that it requires a constant exercise of mind. It demands continual and close reflection and thought, and the finest discrimination of thought. It involves, in its perfection, the whole art of criticism on language. A man may possess a fine genius, without being a perfect reader; but he cannot be a perfect reader without genius.

CHAPTER VI.

READING POETRY.

The rules which have been given for reading prose are, for the most part, equally applicable to poetry. There are, however, a few principles pertaining to the latter, and resulting from its metrical structure, which it is the object of this chapter to explain.

Construction of Verse.

The most common kinds of English verse are the Iambic, the Trochaic, and Anapestic; deriving their names from the kind of feet of which they are composed.

A short or unaccented syllable, is marked thus (~), and a long, or accented one, thus, (−).

Iambic Verse.

The Iambus consists of a short syllable and a long one; as, bětray.

There are seven forms of this verse, named from the number of feet which they contain. The first consists of one Iambus, or foot, and the last of seven.

EXAMPLE.

With dying hand, | ǎbōve | his head,
He shook the frag | ment of | his blade.

Trochaic Verse.

The Trochee consists of one long and one short syllable; as, hateful.

There are six forms of this verse! the first consisting of one Trochee, or foot, and the last of six.

QUESTIONS. Are the rules for reading prose applicable to poetry? What are the most common kinds of English verse? Of what does an Iambus consist? Which syl .able is accented? Which unaccented? How many forms has Iambic verse? Of what does a Trochee consist? Which syllable is accented? Which unaccented? How many forms has Trochaic verse ?