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 coinmon mass of matter, and his soul retired into the world of spirits. Books are the legacies 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 colours 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

ticularly when composed in moderate and unimpassioned style, be properly read in merely pure 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.

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, throughout 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,
Where,-life's vain tumults past,—
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.'*

This mode of voice is characterized by peculiar roundness, fulness, and resonance, combining the 'purity' of the 'head tone' with the reverberation of the chest. It has a deeper effect than mere purity of tone, and usually ranges with the bass notes of the male voice; while the head tone has a lighter character, and seldom extends below the tenor level. Oro

* 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. See Orthophony.

tund 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 vigour 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 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

* 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.

Of their heroic dwellers :-dost thou flow,

Old Tiber! through a marble wilderness?
Rise, with thy yellow waves, and mantle her distress!'

Repose, Solemnity, and Sublimity.
Evening-Milton.

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
Were slunk, all but the wakeful nightingale ;-
She, all night long, her amorous descant sung:
Silence was pleased. Now glowed the firmament
With living sapphires. Hesperus that led
The starry host, rode brightest till the moon,
Rising in clouded majesty, at length
Apparent queen unveiled her peerless light,
And o'er the dark her silver mantle threw.'

Solemnity, Sublimity, and Pathos.

The Treasures of the Deep.-Mrs. Hemans.

• What hid'st thou in thy treasure-caves and cells,
Thou hollow-sounding and mysterious Main ?—
Pale glistening pearls, and rain-bow coloured shells,
Bright things which gleam unrecked of, and in vain.-
Keep, keep thy riches, melancholy Sea!

We ask not such from thee.

'Yet more, the depths have more!-What wealth untold Far down, and shining through their stillness lies! Thou hast the starry gems, the burning gold,

Won from ten thousand royal argosies.—

Sweep o'er thy spoils, thou wild and wrathful main :
Earth claims not these again.

'Yet more, the depths have more !-Thy waves have rolled Above the cities of a world gone by!

Sand hath filled up the palaces of old,

Sea-weed o'ergrown the halls of revelry !—
Dash o'er them, Ocean, in thy scornful play:
Man yields them to decay.

'Yet more, the billows and the depths have more:
High hearts and brave are gathered to thy breast.
They hear not now the booming waters roar;
The battle thunders will not break their rest.-
Keep thy red gold and gems, thou stormy grave :-
Give back the true and brave!

'Give back the lost and lovely! those for whom
The place was kept at board and hearth so long,
The prayer went up, through midnight's breathless gloom,
And the vain yearnings woke 'mid festal song!-
Hold fast thy buried isles, thy towers o'erthrown,-
But all is not thine own!

To thee the love of woman hath gone down:
Dark flow thy tides o'er manhood's noble head,
O'er youth's bright locks, and beauty's flowery crown,—
Yet must thou hear a voice," Restore the dead!"-
Earth shall reclaim her precious things from thee,-
"Restore the dead, thou Sea!"

Energy and Sublimity.

Hallowed Ground.--Campbell.

'What's hallowed ground?-Has earth a clod

Its Maker meant not should be trod

By man, the image of his God,-
Erect and free,—
Unscourged by Superstition's rod
To bow the knee?

'That's hallowed ground, where, mourned and missed,
The lips repose our love has kissed;

But where's their memory's mansion?—Is't