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In the same composition there may be frequent occasions to alter the height of the voice, in passing from one part to another, without any change of person. Shakespeare's " All the world's a stage," &c. and his description of the Queen of the Faries, afford examples of this. Indeed every sentence which is read or spoken will admit of different elevations of the voice in different parts of it; and on this chiefy, perhaps entirely, depends the melody of pronunciation.

RULE IV. Pronounce your words with propriety and elegance. T is not easy indeed to fix upon your standard, by

which the propriety of pronunciation is to be determined. Mere men of learning, in attempting to make the etymology of words the rule of pronunciation, often pronounce words in a manner, which brings upon them the charge of affectation and pedantry. Mere men of the world, notwithstanding all their politeness, often retain so much of their provincial dialect, or commit such errors both in speaking and writing, as to exclude them from the honor of being tbe standard of accurate pronunciation. We should perhaps look for this standard only among those who unite these two characters, and with the correctness and precision of true learning combine the ease and elegance of genteel life. An attention to such models, and a free intercourse with the polite world, are the best guards against the peculiarities and vulgarisms of provincial dialects. Those which respect the pronunciation of words are innumerable. Some of the principal of them are—omitting the aspirate A where it ought to be used, and inserting it where there should be none : Confounding and interchanging the v and w; pronouncing the diphthong ou like au or like oo, and the vowel i like oi or e; and cluttering many consonants together without regarding the vowels. These faults, and all others of the same nature, must be corrected in the pronunciation of a gentleman, who is supposed to have seen too much of the world, to retain the peculiarities of the district in which he was born.

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RULE V.

THE

Pronounce every word consisting of more than one sylla.

ble with its proper decent. HERE is a necessity for this direction, because

many speakers have affected an unusual and pedantic mode of accenting words, laying it down as a rule, that the accent should be cast as far backwards as possible ; a rule which has no foundation in the construction of the English language, or in the laws of harmony. In accenting words, the general custom and a good ear are the best guides ; Only it may be observed that accent should be regulated, not by any arbitrary rules of quantity, or by the false idea that there are only two lengths in syllables and that two short syllables are always equal to one long, but by the number and nature of the simple sounds.

RULE VI.

In, every Sentence, distinguish the more Significant

Words by a natural, forcible and varied emfihasis.

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tence, shews in what manner one idea is connected with and rises out of another, marks the several clauses of a sentence, gives to every part its proper sound, and thus conveys to the mind of the reader the full import of the whole. It is in the power of emphasis to make long and complex sentences appear intelligible and perspicuous. But for this purpose it is necessary that the reader should be perfectly acquainted with the exact construction and full meaning of every sentence which he recites. With. out this it is impossible to give those inflections and variations to the voice, which nature requires ; and it is for * want of this previous study, more perhaps than from any other cause, that we so often hear persons read with an im. proper emphasis, or with no emphasis at all, that is, with a stupid monotony. Much study and pains is necessary in acquiring the habit of just and forcible pronunciation ; and it can only be the effect of close attention and long practice, to be able with a mere glance of the eye, to read any piece with good emphasis and good discretion.

It is another office of emphasis to express the opposition between the several parts of a sentence where the style is pointed and antithetical. Pope's Essay on Man, and his Moral Essays, and the Proverbs of Solomon, will furnish many proper exercises in this species of speaking. In some sentences the antithesis is double, and even treble; these must be expressed in reading, by a very distinct emphasis on each part of the opposi. tion. The following instances are of this kind :

Anger may glance into the breast of a wise man; but rests only in the bosom of fools.

An angry man who suppresses his passion, thinks worse than lie speaks ; and an angry man that will chide speaks worse than he thinks.

Better reign in hell, than serve in heaven.

He rais'd a mortal to the skies ;

She brought an angel down. Emphasis likewise serves to express some particular meaning not immediately arising from the words, but depending upon the intention of the speaker, or some incidental circumstance. The following short sentence may have three different meanings, according to the different places of the Emphasis ; Do you intend to go to London this summer?

In order to acquire a habit of speaking with a just and forcible emphasis, nothing more is necessary than previ. ously to study the construction, meaning and spirit of every sentence, and to adhere as nearly as possible to the manner in which we distinguish one word from another in conversation ; for in familiar discourse we scarce ever fail to express ourselves emphatically, or place the emphasis improperly. With respect to artificial helps, such as distinguishing words or clauses of sentences by particular characters or marks ; 1 believe it will always be found, upon trial, that they mislead, instead of assist the reader, by not leaving him at full liberty to follow liis own understanding and feelings.

The most common faults respecting emphasis are laying so strong an emphasis on one word as to leave no power of giving a particular force to other words,

which, though not equally, are in a certain degree emphalical; and placing the greatest stress on conjunctive particles, and other words of secondary importance. These faults are strongly characterized in Churchill's censure of Mossop.

With studied improprieties of speech
He soars beyond the hackney critic's reach,
To epithets allots emphatic state,
Whilst principles, unerac'd, like Iacquiei wait;
In ways first trodden by himself excels
And stands alone in undeclinables ;
Conjunction, preposition, adverb, join
To stamp new vigor on the nervous line.
In monosyllables his thunders roll,

HE, SHE, IT, AND, WE, YE, TUEY, fright the soul. Emphasis is often destroyed by an injudicious attempt to read

read melodiously. Agreeable inflexions and easy variations of the voice, as far as they arise from, or are consistent with just speaking, are worthy of attention. But to substitute one unmeaning tone, in the room of all the proprieties and graces of good elocution, and then to applaud this manner, under the appellation of musical speaking, can only be the effect of great ignoxance and inattention, or of a depraved taste. If public speaking must be musical, let the words be set to music in recitative, that these melodious speakers may no longer lie open to the sarcasm: Do you read or sing? If you sing, you sing very ill. Seriously, it is much to be wondered at this kind of reading, which has so little merit considered as music, and none at all considered as speaking, should be so studiously practised by many speakers, and so much admired by many hearers. Can a method of reading, which is so entirely different from the usual manner of conversation, be natural and light? Is it possible that all the varieties of sentiment which a public speaker has occasion to introduce, should be properly expressed by one melodious tone and cadence, employed alike on all occasions, and for all purposes ?

RULE VII.
Acquire a just Variety of Pause and CADENCE.
NK of the worst faults a speaker can have, is to

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necessary for breathing. I know of nothing that such a speaker can so properly be compared to, as an alarm bell, which, when once set a going, clatters on till the weight that moves it is run down. Without pauses, the sense must always appear confused and obscure, and often be misunderstood ; and the spirit and energy of the piece must be wholly lost.

In executing this part of the office of a speaker, it will by no means be sufficient to attend to the points used in printing ; for these are far from marking all the pauses which ought to be made in speaking. A mechanical attention to these resting places has perhaps been one chief cause of monotony, by leading the reader to an uniforın cadence at every full period.

The use of points is to assist the reader in discerning the grammatical construction, not to direct his pronunciation. In reading, it may often be proper to make a pause where the printer has made none. Nay, it is very allowable for the sake of pointing out the sense more strongly, preparing the audience for what is to follow, or enabling the speaker to alter the tone or height of the voice, sometimes to make a very considerable pause, where the grammatical construction requires none at all. In doing this, however, it is necessary that in the ord immediately preceding the pause, the voice be kept up in such a manner as to intimate to the hearer that the sense is not completed. Mr, Garrick, the first of speak. ers, often observed this rule with great success.

This particular excellence Mr. Sterne has described in his usual sprightly manner. See the following work, Book VI, Chapter III.

Before a full pause it has been customary in reading to drop the voice in an uniform manner ; and this has been called the cadence. But surely nothing can be more destructive of all propriety and energy than this habit. The tones and heights at the close of a sentence ought

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