sounds, it has something like progressive motion. This motion may be varied and irregular; or it may be uniform and measured; as the stream, when flowing over an uneven and rocky bed, may exhibit all varieties of motion, but when gliding along a smooth channel, may keep a regular rate of time, that may be exactly defined. The "movement" of the voice in conversation, on light or ordinary subjects, is variable and irregular; on subjects of greater moment, it is more even and sedate; and, in the expression of deep and energetic sentiment, it becomes still more regular, and, perhaps, to a certain degree, measured, in its rate of " movement." Reading is a mode of voice yet more distinctly marked in "movement," by its partial uniformity of utterance; and declamation advances another degree, still, in "rhythm,” by its deliberate and formal succession of sound. The reading or recitation of poetry, carries the " movement to its highest degree of fixed and well marked "rhythm," as determined by the structure of verse, which derives its pleasing effect to the ear from the exact observance of a continued uniform, or correspondent "rhythm." The word "metre," or "measure," has accordingly its appropriate application to this species of move ment. 66 As "time" includes the duration of pauses as well as of "quantities," and of " movement," it necessarily comprehends under “rhythm" the exact proportion of pauses to sound, in the rate of utterance, when regulated by "rhythmical" accent. A part of the effect of "rhythm" on the ear, must arise, therefore, from the "time" of regularly recurring and exactly proportioned pauses. The full definition of "rhythm would, accordingly, be, the effect of "time," in regularly returning "quantity," accent, and pause, in the successive sounds of the voice. In the usual forms of familiar prose writing, little regard is paid to the placing of words, as respects the effect of accent. Words, in plain, unpretending composition, follow each other, with but slight reference to the result in mere sound. Some writers, however, are distinguished by a style which is more or less measured and rhythmical to the ear. The stately and formal style of oratorical declamation, sometimes assumes this shape, as does also the language of sublime, pathetic, and beautiful description. Some writers, by high excellence of natural or of cultivated ear, succeed in imparting an exquisite but unobtrusive melody to their sentences, which forms one of the principal attractions of their style. We have instances of these various effects of the selection and arrangement of words, in the majestic and measured declamation of Chatham, or in the lofty and magnificent strains of Scripture. The cadences of Ossian exemplify, sometimes, the power and beauty of metrical arrangement, and, sometimes, the cloying effect of its too frequent and uniform recurrence. Every cultivated ear is familiar with the chaste and pleasing turn of the sentences of Addison, the easy flow of Goldsmith's, the ambitious swell of those of Johnson, the broken and capricious phrases of Sterne, the noble harmony of Burke, the abruptness of Swift, and the graceful smoothness of Irving. The characteristic melody of each of these authors, is owing, as we find, on analysis, to more or less attention paid to the effect of "rhythmical accent it is, in fact, a species even of "metre " itself, or, at least, a close approach to it. Examined in detail, it will usually be found to consist in a skilful avoiding of "abrupt elements," in securing the coincidence of emphasis with "mutable" and "indefinite quantities,” but, more particularly, an exact timing of the recurrence of accents at the end of clauses, and in the cadence o sentences; as these places are peculiarly adapted to sounds intended for effect on the ear, whether the design of the writer is to render them prominent and striking, or subdued and quiet. Such results tell, with equal power, on the hearer, whether they are studied or unconscious, on the part of the writer; and they demand equal attention on the part of the reader. Rhythm," then, the lowest gradation of "metrical movement," exists in prose as well as poetry; and good reading preserves it distinctly to the ear. It is a useful exercise, therefore, to study the styles of different authors, with reference to this point, and to read aloud, from characteristic passages, so as to become familiar with their peculiarities of "rhythm," and to gain the power of giving these a distinct and perceptible existence in the voice, without carrying the effect so far that sense is in danger of being merged in sound, or the thought, of being lost in the language. Everything mechanical, in reading, is an offence to sound judgment and true taste. The following examples of the notation of "rhythmical" accent will serve to suggest to the student the exercise of marking with a pencil the "rhythm," in passages of his own selection. The teacher may prescribe exercises of this sort to his pupils, by the use of the black board. The system of notation needs attention to the following explanatory statement. The notation of "rhythm" is founded on the theory of Steele, that utterance, in speech and in reading, may, like music, be divided into regular portions by accent, and indicated by "bars," as in music, when written or printed; each "bar" commencing with an accented syllable, or an equivalent pause. 66 Rhythm," however, it must be remembered, in the practice of all such exercises as the following, is like every other requisite of elocution, an aid and an ornament, within due limits of effect, but a deformity when rendered prominent and obtrusive. The wavering 66 and unsteady voice of juvenile readers, and the unsatisfactory current of utterance in the style of some professional speakers, is owing to the want of a firmly marked "rhythm," a fault which necessarily produces to the ear of the hearer a wandering uncertainty of effect. "Time," to which "rhythm," is subordinate, demands precision and exactness, when applied as a measure of speech. Some readers, however, err on the extreme of marking time too prominently, and with a jerking accent, which offends the ear by causing reading to resemble a music lesson in "accent," accompanied with a heavy "beat," for the sake of awakening the attention of a learner whose organ of time" is dull. 66 The style of practice in the first stages, must, of course, be characterized by full and distinct effect, even at the hazard of seeming labored and forced, if the reader's ear is not naturally susceptible, and requires powerful impressions. But much practice should be added, with a view to produce smoothness and delicacy; as the painter does not rest satisfied with the mere blocking out of light and shadow in his picture, but labors till he has secured that exquisite finish, which is the crowning grace, in every successful attempt of art; and art fails in its endeavors, if it does not present nature in the union of beauty and truth. It re [FROM A SERMON OF ROBERT HALL.] | mains with you then |1 to de- | cide | whether that | freedom |at| whose | voice | the | kingdoms of I Europea- woke from the | sleep of | ages, to run a career of virtuous | emu- | lation | great and good; the freedom pelled the mists of | 2 super- | stition, 2 | | in | everything | which dis- | and in- | vited the whose | magic | touch | kindled the | rays of | genius, | the en- | thusi asm of | poetry, the freedom and the | flame of | eloquence; || which | poured into our | lap | opulence | ◄ and | arts, ¦ and em- | bellished | life | with in- | | it is for you to decide whether | this | freedom shall | ! yet sur- 1 "Rhythmical" pause. forever." 2 A "secondary" instead of the usual "primary,” accent. 2.-Poetic expression in Prose. [PASSAGES OF SCRIPTURE INTRODUCED IN THE BURIAL SERVICE.] me, | 1 "I am the 1 Resur- | rection and the | life, |◄◄ be- | lieveth in | me, | yet shall he | live: | | and be- | lieveth in | and whoso- | ever | liveth, shall never die. ||--| I know that my Re- | deemer | liveth, and | that he shall stand at the latter | day | | | upon the| and though | worms de- | stroy this | body, | | yet in my flesh | shall I | see | God." ||~|~| 3.-Sentiment, in Didactic Style. [GOLDSMITH.] "Writers of | every | age | have en- | deavored to | show that pleasure | is in | us, | and | not in the | objects offered for our a- | musement. |-|-~|~ | | If the soul be happily dis- | posed, || everything | be- comes capable | of af- | fording | enter- | tainment; and dis- | tress will almost | want a | name. | | | Every occurrence | | passes in re- | view like the figures of a pro- | cession; || some may be || awkward, others | none but a fool | is, for this, master of the ceremonies. ||19| | ill | dressed; but | en- | raged with the| 4.-Splendor and Pathos. [BURKE'S DESCRIPTION OF MARIE ANTOINETTE.] "It is now, | sixteen or | seventeen | years | since I saw the Queen of | France, then the | Dauphiness, | at Versaillesand | surely | never | lighted on this orb, which she | hardly | seemed to touch, a more delightful | vision. I saw her | just above the ho- | rizon, decorating and cheering | | | | the elevated | sphere | she | just be- | gan to move 1 A "secondary," instead of the usual "primary,” accent. glittering, like the morning | star: || full and | splendor, and joy. Oh! what a revo- | lution! | and what a heart must I have, to con- template with- out e- | motion, that ele- | vation | and | that | fall." 5.-Oratorical Declamation. [LORD CHATHAM.] "I cannot, my | Lords, con I will not, I join in and dis- | grace. is a | perilous | gratu- | lation | on mis- | fortune tre- | mendous | moment; adulation: cannot save us ། and it is not a | time for | the | smoothness of | flattery || in this | rugged and | awful | crisis. |◄ ◄ | ~~ | ~ It is | now | necessary to in- | struct the | throne in the | language of | truth. ||| | if possible, dis- | pel the de- lusion and [ which en- | velope it; and dis- | play, in its full | danger | and | genuine | colors, the which is | brought to our doors." ||--| must, darkness | | ruin a 6.-Sentiment, in Didactic Style. [ADDISON.] We| "I know but | one | way of | forti- | fying my | soul gainst gloomy | presages and | terrors of | mind; } and that is, by se- | curing to my- | self ◄ | ५ | | the friendship and pro- | tection of that | Being |◄ who disposes of e- | vents, and | governs fu- | turity. I | He sees,| at | one | view, | the | | | whole thread of my ex- | istence, not | only | that | part of it which I have al- | ready | but that which runs | forward | | sleep, I recom- | mend myself | to | his | care; ~~| when I a-wake, I give myself | up to | his di- | rection. 191 Amidst all the | evils that | threaten me, I will look up to | him for | help; | not but he will | either a- | vert them, | and | question or | turn them to |