EMPHASIS is the peculiar stress we lay on a word or phrase to increase its significance, which is done, not by raising the voice, but by a more forcible utterance. When a quotation or parenthesis is introduced, and we deem it more expressive to lower the voice than to raise it, the strength of emphasis must be regulated by the degree of importance. Pronouns used as antecedents, and relatives when the antecedents are understood, require an emphasis, as, “He that acts wisely deserves praise;" "Who does the best his circumstance allows, does well, acts nobly." Qualifying words, as marriage-feast, birth-day, &c., are emphatic; as also pauses and rests, which, with judicious management, become highly impressive.

TONES comprise all the varied modulations of the voice, by which we give utterance to any strong emotion or passion; from the energetic burst of feeling to the softest whisper. The human voice has a vast range of expression, so that even the more sagacious among animals can interpret, by these, the master's meaning. For the uttering of sympathy, and the kindly affections, the voice is depressed with an appropriate pause. Besides the natural tone, there are also a higher and a lower and deeper tone, which latter demands practice for its full development; and when acquired, is not only the most pleasingly expressive, but the least fatiguing; and we may observe, that pauses and rests often become far more emphatic than the raising of the voice. The deepest of tones is the guttural, and is expressive of extreme dislike, scorn, and antipathy.

THE MONOTONE is the prolongation of one unvaried tone, rarely and but slightly modified. It is often used to express sublimity and solemnity.

MODULATION admits of many graces; for the human voice duly cultivated, like musical harmony, has a charm to excite admiration, to kindle the passions, and to awaken the deepest sympathy.

INFLECTION is a rising or falling of the voice, commonly gradual, but sometimes sudden, as in exclamations of wonder and delight. Doubt, suspense, and admiration, and repetitions, have a rising inflection, also interrogatories, as, Is the king dead? Who is he that condemneth? Also the expression of the tender affections, devout emotions, the language of prayer, &c., have an emphatic rising; whereas hatred, suspicion, confession, likewise stern denunciation and scornful reproof, are better denoted by a falling inflection. We may here remark, that questions asked by verbs require a rising, but by pronouns, a falling inflection; likewise, an answer, immediately following a question, should be in a lower key. Thought and language act and react on each other. Sometimes both inflections are contained in one clause, as in contrasts," He was esteemed for his worth, not for his riches." "Did it result in failure or success?" In what is termed a compound series, all have the rising except the last but one, which has a falling inflection.

CLIMAX is a rising by a series of gradations to a final elevation,

and implies a progressive swell of the voice, not in a louder, but rather in a lower, though stronger tone, asEx. After we have practised good actions awhile, they become easy, and when they are easy we begin to take a pleasure in them; and when they please us we do them frequently, and by frequency of acts a thing grows into a habit, and a confirmed habit is a kind of second nature. PAUSES OF RESTS are a total cessation of the voice, and when protracted become highly emphatic, and are sometimes artfully introduced to give a more striking force to what is uttered.

PRELIMINARY HINTS TO JUVENILE READERS.

Be careful to pronounce each word deliberately, with a clear and distinct utterance of every syllable, and with due attention to the vowels, diphthongs, and final consonants. Read as if conversing in polite society, not as a task, nor thinking of your voice, and how you impress your listeners, but, as far as you can, forgetting yourself, and entering into the feelings and sentiments of the author: and a caution to youthful readers may here not be ill-timed, viz., that they especially guard against an over-serious and formal tone and manner. object of reading is to give pleasure, while imparting information; therefore, the voice, as well as the expression of the countenance, should indicate cheerfulness, making it apparent that the reader takes an interest in the subject, and is gratified by the exercise. There is a natural charm in a lively and unaffected tone; and, to conclude, we recommend the oldfashioned couplet as a very good rule for beginners, viz.,-

"Learn to speak slow, all other graces

Will follow in their proper places."

The

A variety in exercises gives mastery, and for this it is advisable to practise alternately the different styles of composition, from the light and humorous, to the more grave and dignified.

BRIEF DIRECTIONS

FOR PRACTICE IN THE VARIOUS STYLES.

NARRATIVE AND DESCRIPTIVE.

UNDER this head may be classed a large proportion of our social and domestic literature, comprising the daily and weekly

press, Periodicals, familiar Essays, History, Poetry, works of Fiction, Biography, and Travels. These should be delivered in an easy, conversational tone, and the Reader should make it appear that he appreciates and relishes what he communicates, imparting it with a lively and graceful animation, and with a clear and forcible utterance, avoiding all symptoms of haste or impatience.

DIDACTIC AND ARGUMENTATIVE.

Whatever admonishes, instructs, directs, or commands, assumes this character, as speaking with a degree of authority. Most Lectures, and sometimes Essays, take this form; as also controversial writings, which depend for their effect chiefly on clearness and strength of argument; and the Reader, bearing this in mind, will further the end in view by a pointed emphasis and answering force of expression. Pulpit Eloquence, also, which merits a separate notice, comes under this head.

JUDICIAL ELOQUENCE.

The Law courts open a spacious arena for the practice and perfecting of rhetorical skill: they are, in fact, battle-fields for the encounter of rival Wits, and also for the display of humorous satire and quick repartee, in which gentlemen of the long robe not unfrequently indulge. Bar practice, as it has been termed, is highly favourable to the development of the intellectual powers, as appears in the list of celebrated names that adorn the annals of jurisprudence. Judicial and legal Eloquence must be serious and self-possessed, forcible and pointed in statement and argument, sustained by firmness, and convincing, as speaking by the authority of Truth. To deliver the spirited effusions of these Master-wits with good effect, it will be requisite to catch the spirit and design of the Orator. Success can only be ensured by study and application. Cheerfulness in tone and manner, when well-timed, are desirable aids to a graceful and persuasive delivery. The eloquence of

the presiding Judge takes a more deeply impressive and dignified character, as in solemn, but feeling accents, he pronounces the award of offended Justice, and vindicates the Majesty of the Law.

SENATORIAL ORATORY.

The British Senate represents the collective intelligence of the Nation-the embodiment of its legislative Wisdom, and is the noblest political field for the exercise of the reasoning powers. Here shine, with full effect, the highest attainments in all their varied application; and these are requisite, for the parliament is continually called upon to deliberate and decide on questions, often, it may be, of vital and world-wide importance, and involving the well-being of future generations; and this high responsibility creates a necessity for worth and talent of the first order.

All the powers of rhetorical talent are thus called into play, and find their most healthful exercise, while directed to the noblest ends. In this public arena the most finished of our national orators have been formed. We need not crowd our page with the names and merits of those who shed a glory on their times, and were a blessing to the nation. This is a fair and legitimate field for the display of all the brilliant and varied graces that language can present and that wisdom can inspire; but whatever embellishments may serve to enliven a discourse, the speaker must keep close to his purpose, and the main point in view, by clear and convincing argument, nor weaken it by wandering from his subject; and while we agree with Longinus, that good thoughts cannot be too well dressed, we know, also, that brevity has been termed the soul of wit, and with good reason, when time becomes precious, as it ever is in the national council.

PULPIT ELOQUENCE.

This, beyond question, calls for talent of the highest order, for, though it be true that the like elements of success, and