any letters, the correct and distinct articulation of which distinguish a good from a bad pronunciation, they are these two.

It is recommended that the pupil be thoroughly exercised in the pronunciation of words which contain these letters, especially the r. This letter has two sounds called the smooth and the vibrant. The vibrant r is pronounced by what is frequently called rolling the tongue. This sound, when properly made, is one which is highly pleasing to the ear; but when too much prolonged it becomes harsh and offensive, and is suited only for a rough or energetic utterance. Dr. Rush says that it "will be agreeable when it consists of one, or at most two or three strokes and rebounds of the tongue."

The smooth r is that sound which is heard in the words bard, card, hard. In such words it savors of affectation or provincialism to substitute the vibrant r.

EXERCISE ON THE SOUNDS OF AND r.

766.

The lordly lion leaves his lonely lair.

767.

He was long, lean, and lank, and laughed loudly.

768.

How sweetly slow the liquid lay

In holy hallelujahs rose.

769.

Let lords and ladies laugh and sing

As loudly and as light;

We beggars too can dance and fling

Dull care a distant flight.

770.

Ruin seize thee ruthless king.

771.

Around the hearth the crackling faggots blaze.

772.

Approach thou like the rugged Russian bear,
The armed rhinoceros, the Hyrcan tiger.

773.

The master current of her mind,
Ran permanent and free.

After the pupil has sufficiently practised the utterance of the various sounds of vowels and consonants, both separately, and in combination, it is recommended that he daily exercise himself in reading or speaking with all his powers of loudness and force. This habit will contribute much to the acquisition of strength of voice. But above all let him remember that distinctness of articulation is of the utmost importance in utterance; and that a weak voice with this quality can be heard and understood at a much greater distance than a strong one without it.

Again; the pupil will find much benefit in the practice of swelling and diminishing the power of his voice. For this purpose let him begin a long sentence softly, slowly, and in a low tone, and gradually swell his voice in pitch, power and rapidity, till he has attained the utmost extent of those qualities of which it is susceptible; and then let it descend and fade away by degrees till it becomes almost imperceptible.

And, lastly, reading with rapidity, (simply as an exercise of the voice,) will contribute much to the ease and power of utterance. But the pupil must never allow his words to pass from his mouth indistinctly. How rapidly soever he may read, as an exercise, he must be careful to give each syllable and each letter its distinct appropriate sound.

To these directions for the improvement of the voice, may be added the caution, to open the mouth when speaking, in such a manner as to afford an easy passage for the sound. Many persons have contracted a habit of reading and speaking with the lips compressed in such a manner as entirely to alter the tone of the voice and destroy its distinctness of utterance. This caution must be particularly regarded by all who aim at excellence in the ART OF READING.

Dr. Rush has described four different kinds of voice; namely, the NATURAL, the FALSETTE, the WHISPERING, and the OROTUND, which he thus describes :

The NATURAL VOICE is that which we employ in ordinary speaking.

The FALSETTE is that peculiar voice in which the higher degrees of pitch are made, after the natural voice breaks, or outruns its power. The cry, scream, yell, and all shrillness, are various modes of the falsette.

The WHISPERING voice needs no description; but it may be observed that some persons are endowed with such clearness and distinctness in this kind of voice, that they can make themselves heard at a great distance when 'speaking in this way.

By the OROTUND voice is meant that natural or improved manner of uttering the elements, which exhibits them with a fulness, clearness, strength, smoothness, and a ringing or musical quality, rarely heard in ordinary speech; but which is never found in its highest excellence, except through long and careful cultivation.

In conclusion, it may be stated, that all who aim at excellence as Readers and Speakers, should endeavor to attain this last described quality of voice. For their encouragement it may be added, that it has frequently been acquired by those whose voices were naturally weak and ineffective-and that no one, therefore, should despair of the attainment;-for WHAT MAN HAS DONE, man can do.

12

EXERCISES FOR READING.

EULOGIUM ON SHAKSPEARE.

774. Shakspeare, is, in truth, an author, whose mimic creation, agrees, in general, so perfectly with that of nature, that it is not only wonderful in the great, but, opens another scene of amazement, to the discoveries of the microscope. We have been charged, indeed, by a foreign writer, (Voltaire,) with an over much-admiring of this Barbarian. Whether we have admired, with knowledge, or, have blindly followed those feelings of affection, which we could not resist, I cannot tell; but, certain it is, that, to the labors of his editors, he has not been, overmuch obliged.

775. They are however, for the most part, of the first rank in literary fame; but, some of them had possessions of their own in Parnassus, of an extent, too great, and important, to allow of a very diligent attention, to the interests of others; and, among those critics, more profession. ally so, the ablest, and the best, has, unfortunately, looked more to the praise of ingenious, than of just conjecture.

776. Yet, whatever may be the neglect of some, or the censure of others, there are those, who firmly believe, that this wild, this uncultivated barbarian, has not yet obtained one half of his fame; and, who trust, that some new Stagyrite will arise, who, instead of pecking at the surface of things, will enter into the inward soul of his compositions, and expel, by the force of congenial feelings, those foreign impurities, which have stained and disgraced his page.

777. And, as to those spots, which will still remain, they may, perhaps, become invisible to those, who shall seek them through the medium of his beauties, instead of looking for those beauties,-as is too frequently done,through the smoke of some real, or, imputed obscurity. When the hand of time, shall have swept off his present editors, and commentators, and, when the very name of

Voltaire, and, even the memory of the language in which he has written, shall be no more, the Apalachian mountains, the banks of the Ohio, and the plains of Sciota, shall resound with the accents of this barbarian.

778. In his native tongue, he shall roll, the genuine passions of Nature; nor, shall the griefs of Lear be alleviated, or, the charms, and wit of Rosalind, be abated by time. There is, indeed, nothing perishable about him, except that very learning, which he is said so much to want. He had not, it is true, enough for the demands of the age in which he lived, but, he had, perhaps, too much for the reach of his genius, and the interest of his fame. Milton, and he, will carry the decayed remnants and fripperies of ancient mythology, into more distant ages, than they are, by their own force, entitled to extend; and the metamorphoses of Ovid, upheld by them, lay in a new claim to unmerited immortality.

779. Shakspeare is a name, so interesting, that it is excusable, to stop a moment; nay, it would be indecent to pass him, without the tribute of admiration. He differs, essentially, from all other writers: him we may profess rather to feel, than to understand; and it is safer to say, on many occasions, that we are possessed by him, than that we possess him And no wonder ;-he scatters the seeds of things, the principles of character and action, with so cunning a hand, yet with so careless an air, and, master of our feelings, submits himself so little to our judgment, that every thing seems superior.

780. We discern not his course-we see no connection of cause and effect;-we are rapt in ignorant admiration, and claim no kindred with his abilities. All the incidents, all the parts, look like chance, while we feel and are sensible, that the whole is design. His characters, not only speak and act, in strict conformity to nature, but in strict relation to us; just so much is shown, as is requisite, just so much is impressed; he commands every passage to our heads, and to our hearts, and moulds us as he pleases, and that, with so much ease, that he never betrays his own exertions.

781. We see these characters act, from the mingled motives of passion, reason, interest, habit, and complexion, in all their proportions, when they are supposed to know it not themselves; and we are made to acknowledge