Nor riches I nor power pursue,
Nor hold forbidden joys in view:
We therefore need not part.

"Where wilt thou dwell, if not with me,
From avarice and ambition free,

And pleasure's fatal wiles?-
For whom, alas! dost thou prepare
The sweets that I was wont to share,
The banquet of thy smiles?

"The great, the gay, shall they partake
The heaven that thou alone canst make?
And wilt thou quit the stream

That murmurs through the dewy mead,
The grove and the sequestered shed,
To be a guest with them?

"For thee I panted; thee I prized;
For thee I gladly sacrificed

Whate'er I loved before;

And shall I see thee start away,

And helpless, hopeless, hear thee say

-

"Come, Evening, once again, season of peace; Return, sweet Evening, and continue long!

Methinks I see thee in the streaky west,

With matron step slow moving, while the night Treads on thy sweeping train; one hand employed In letting fall the curtain of repose

On bird and beast, the other, charged for man

With sweet oblivion of the cares of day:
Not sumptuously adorned, nor needing aid,

Like homely-featured Night, of clustering gems;

A star or two, just twinkling on thy brow,
Suffices thee; save that the moon is thine
Not less than hers, not worn, indeed, on high,
With ostentatious pageantry, but set

With modest grandeur in thy purple zone,
Resplendent less, but of an ampler round.
Come, then; and thou shalt find thy votary calm,
Or make me so. Composure is thy gift."

Aristotle tells us, that the world is a copy, or transcript, of those ideas which are in the mind of the First Being, and that those ideas which are in the mind of man, are a transcript of the world. To this we may add, that words are the transcript of those ideas which are in the mind of man, and that writing or printing is the transcript of words. As the Supreme Being has expressed, and, as it were, printed his ideas in the creation, men express their ideas in books, which, by this great invention of these latter ages, may last as long as the sun and moon, and perish only in the general wreck of nature.

"There is no other method of fixing those thoughts which arise and disappear in the mind of man, and transmitting them to the last periods of time; no other method of giving a permanency to our ideas, and preserving the knowledge of any particular person, when his body is mixed with the common mass of matter, and his soul retired into the world of spirits. Books are the legacies

* Conversational passages, essays, lectures, and discourses, when read in the study or the parlor, the conference or the lecture-room, may, particularly when composed in moderate and unimpassioned style, be properly read in merely pure “head” tone. But the public reading of the same may, from the larger demands of space, and, consequently, the fuller tone of voice, be carried to the extent of moderate "orotund" utterance. See page 168.

that a great genius leaves to mankind, which are delivered down from generation to generation, as presents to the posterity of those who are yet unborn.

"All other arts of perpetuating our ideas, continue but a short time. Statues can last but a few thousands of years, edifices fewer, and colors still fewer than edifices. Michael Angelo, Fontana, and Raffaelle, will, hereafter, be what Phidias, Vitruvius, and Appelles, are at present; the names of great statuaries, architects, and painters, whose works are lost. The several arts are expressed in mouldering materials. Nature sinks under them, and is not able to support the ideas which are impressed upon it.

"The circumstance which gives authors an advantage above all these great masters, is this, that they can multiply their originals, or, rather, can make copies of their works, to what number they please, which shall be as valuable as the originals themselves. This gives a great author a prospect of something like eternity. If writings are thus durable, and may pass from age to age, through. out the whole course of time, how careful should an author be of committing anything to print, that may corrupt posterity, and poison the minds of men with vice and error!"

Solemnity.

Funeral Hymn.

"How still and peaceful is the grave,

་་

The appointed house, by Heaven's decree,
Receives us all at last!

The wicked there from troubling cease,

Their passions rage no more;

And there the weary pilgrim rests

From all the toils he bore.

"All, levelled by the hand of death,
Lie sleeping in the tomb,

Till God in judgment call them forth
To meet their final doom."

"Orotund Quality."*

It

This mode of voice is characterized by peculiar roundness, fullness, and resonance, combining the "purity" of the "head tone" with the reverberation of the chest. has a deeper effect than mere purity of tone, and usually ranges with the upper bass notes of the male voice; while the head tone has a lighter character, and seldom extends below the tenor level. Orotund quality is the natural mode of utterance in all deep, powerful, and sublime emotions. It belongs, accordingly, to oratory, and to the bolder forms of poetry.

Orotund utterance is, like pure tone, a most effective aid to easy and full voice. It serves to diminish the fatigue of vocal exertion, and, at the same time, to give out clear and agreeable sound: it renders the utmost force of energetic utterance easily practicable; and, by throwing vigor into the voice, it spares the lungs.

The remarks on frequency of practice in pure tone, apply also to orotund quality. Every exercise should be perfectly mastered before proceeding to another; and the

*The term "orotund" Dr. Rush has adopted from a modification of the Latin phrase “ore rotundo." The word, as was mentioned before, is a good technical designation in elocution; as it not only intimates the peculiar rotundity of the proper voice for public speaking, but the special condition of the interior and back parts of the mouth, which its production requires. As a "quality" of voice, it is the natural resonance of notes of the middle and lower tenor and upper bass "register," when uttered in a round, full, and bold style, with the glottis freely opened, and all the circumjacent parts of the throat and mouth well expanded. An ample laryngial" effect is thus produced: to this effect the technical term "orotund" is applied. Sec Orthophony.

practice should not cease till all the "tonic elements" can be easily and exactly executed in orotund style.

Pathos and Sublimity.
Rome.- Byron.

"O Rome! my country! city of the soul!
The orphans of the heart must turn to thee,
Lone mother of dead empires! and control
In their shut breasts, their petty misery.

What are our woes and sufferance? Come and see

The cypress, hear the owl, and plod your way
O'er steps of broken thrones and temples, Ye!
Whose agonies are evils of a day:-

A world is at our feet as fragile as our clay.

"The Niobe of nations! there she stands,
Childless and crownless, in her voiceless woe;
An empty urn within her withered hands,
Whose holy dust was scattered long ago;
The Scipios' tomb contains no ashes now;
The very sepulchres lie tenantless.

Of their heroic dwellers: - dost thou flow,
Old Tiber! through a marble wilderness?

Rise, with thy yellow waves, and mantle her distress!"

Now came still evening on; and twilight gray

Had in her sober livery all things clad:

Silence accompanied; for beast and bird,

They to their grassy couch, these to their nests

* Pathos, repose, and solemnity, if united with grandeur, assume the orotund voice, although, without this union, they do not transcend the comparatively moderate limits of pure tone. The orotund is the distinctive quality of grandeur and power.