The christian'.. does not pray to be delivered from'..glōry', but', from'. . VAIN-glōry'.

Men will wrangle for religion'; write for it'; fight for it'; die for it'; any thing but'... LIVE for it.

We often despise a thing', because we do not know it'; and we will not KNOW it', because' . . we despise it'.

A great man in the COUNTRY', is but a small man in the CITY'.

There is nothing so bāleful to a small man', as the shade of a great one', particularly the great man of a city`.

It is an honour to a man to cease from strife; but every fool'..will be intermeddling.

Counsel in the heart', is like deep water'; but a man of understanding', will draw it ōūt.

Contemporaries'. . appreciate the MAN', rather than the MERIT; but posterity'. . will regard the MERIT', rather than the MAN'.

Most people are more anxious to' . . lengthen life', than to'. . improve it. Hence', the diurnals'. . give us ten thōusand recipes to live'.. lông', for one'. . to live' . . wêll; and hence', too', the use of the present, which we have', is thrown away in idle schemes for abusing the future', which we may not have'.

Rejoice', O young man', in thy youth'; and let thy heart'. . cheer thee in the days of thy youth', and walk in the ways of thy heart', and in the sight of thine eyes': but know thōu', that for all these things'. . God will bring thee into judgment. Therefore', remove sōrrow'.. from thy heart', and put away ēvil'. . from thy flesh'; for childhood and youth'. . are vanity`, Shylock. Three thousand ducats' :—well'.

Bassanio. Ay, sir', for three months`.

Shy. For three months' :—wêll'.

Bas. For which', as I told you', Antonio shall be bound'. Shy. Antonio shall become bound :—wêll'.

Bas. Will you oblige me'?.. Shall I know your answer'? Shy. Three thousand ducats for three months', and Antōniō'.. bōund'.

Bas. Your answer to that'.

Shy. Antonio is a gôôd mân'.

Bas. Have you heard any imputation to the contrary'?

Shy. Ho', no'; . . no', nổ`; . . nô`; my meaning in saying that he is a good man', is', to have you understand me', that he is SUFFICIENT: yet'.. his means are in supposition'. He hath an argosy bound to Tripolis; another', to the Indies. I

understand', moreover', upon the Rialto', that he hath a third at Mexico, a fourth for England: and other ventures he hath, squandered abroad'. But'.. ships'. . are but bôards'; sailors'.. but mên'. There are land-rats' and water-rats': water-thieves', and land-thieves': I mean', pirates': and then', there is the peril of waters, winds', and rocks. The man is', notwithstanding, sufficient.-Three thousand ducats' :—İ -I think I may take his bônd'.

If hinderances obstruct thy way',
Thy magnanimity display',

And let thy strength be seen';
But O'! if fortune'. . fill thy sail'
With more than a propitious gāle',
Take half thy canvass in`.

Alas'! alas! doth hōpe'. . deceive us'?

Shall friendship', love'-shall all thōse ties'
That bind a moment', and then leave us',
Be found again where nothing dies'?

Oh'! if no other boon were given'

To keep our hearts from wrong and stain',
Who would not try to win a'.. HEAVEN',

Where all we love', shall live again`?

Oft when yon mōōn' . . has climbed the midnight sky',
And the lone seabird'. . wakes its wildest cry',
Piled on the steep', the maniack's fagots burn'

To hail the bark that never can return';

And still she waits', but scarce forbears to weep',
That constant love can linger on the deep'.

The tyrant'.. has fallen`: he hath met his just dōōm':
Go forth to the mount': bring the olive-branch home',
And rejoice', for the day of our freedom'.. is come'.

Now is the winter of our discontent

Made glorious summer by this son of York';
And all the clouds that lowered upon ōur house',

In the deep bōsom of the ocean' . . buried'.

Now are our brōws'. . bōund with victorious wreaths';
Our brui-sed arms'. . hung up for monuments';

Our stern alarums.. changed to merry meetings;
Our dreadful marches'. . to delightful measures.

Grim-visaged war'.. hath smoothed his wrinkled front";
And now', instead of mounting bar-bedt stēēds',
To fright the souls of fearful adversaries',

He capers nimbly in a lady's chamber

To the lascivious pleasing of a lûte`.

Remarks. In order to do a thing well, we should attempt to do but one thing at a time. The foregoing examples bear so great a variety of oratorical marks, indicative of their just enun

ciation, as to render it impossible for the tyro in elocution to attend to them all at the first reading. The author suggests, therefore, the propriety of the pupil's attending, in his first reading of these exercises, merely to the correct orthoepy, and a distinct articulation, of the words. In his second reading, let him attend particularly to a proper modulation and inflection of them. In his third reading, let his attention be solely directed to the emphasis and rhetorical pauses requisite to be observed in a just enunciation of the examples. In his fourth and fifth readings of these passages, let him give those words containing the accented vowels, that full and "voluptuous swell" and prolongation of sound which a rich, deep, and harmonick intonation imperiously demands. In reference to the explosion and protraction of the tonick and subtonick elements, let him not be afraid to get his mouth off, nor to open his throat; but, as nature has been bountiful in bestowing upon us organs capable of producing soft, smooth, and graceful, musical, powerful, and expressive sounds, and as art has been ingenious and wise in the contrivance of language so admirably adapted to the happy exercise of the vocal powers, let him give these organs full play, and make the most of the words which he utters.

When the learner shall have read these examples five or six times over, attending, according to the directions, to only one thing, or, at most, to two things, at each reading, he will be prepared to enunciate them with his attention directed to all the various marks appended to the examples, as he goes along. It is presumed that no teacher will expect either improvement or a happy performance on the part of his pupil, unless he himself pronounce each sentence or paragraph in his own most eloquent and masterly manner, before the pupil is allowed to

utter it.

These examples are designed to illustrate particularly, first, the importance of protracting the tonick and subtonick elements with a full volume and melodious swell; secondly, the importance and proper application of rhetorical pauses; and, lastly, the final pause in rhyming verse. This lastnamed pause takes place at the words "ties," "given," and "burn," in the second and third of the poetick examples; but it will be observed that, at the words "discontent" and "chamber," in the last examplewhich is blank verse-no such pause is requisite.

The pupil should be cautioned against placing a stress upon any of the vowel sounds that require prolongation, except when hey occur in words really emphatick; and, also, against per

serting them; that is, giving a long sound to a broad or a lat sound, or the reverse.

In the foregoing examples, the most important one as an exercise for the student, is the Dialogue; as it forcibly illusrates the great difference in time and quantity which ought to be observed in enunciating different kinds of composition. The greater portion of words uttered by the Jew, should be pronounced more than twice as slowly as those spoken by Bassanio. The long quantity on the phrase, "Three thousand ducats," and in the inverted, unequal wave on the word "well," should amount to a drawl. The paragraph commencing with "Ho, no," requires a quicker movement, and a more animated intonation.

The closing paragraph in blank verse, also demands a very slow movement of the voice.

CHAPTER VI.

OF RHETORICAL ACTION.

In a rhetorical sense, ACTION seems to imply those characteristicks of delivery included under the terms Gesture, Attitude, and Expression of

countenance.

This important part of good delivery, is much less regarded, and, consequently, much less cultivated, by the moderns, than it was by the ancients. A just and an elegant adaptation of every part of the body, and of every expression of the countenance, to the nature and import of the subject one is delivering, may be considered, however, as too essential a part of oratory to be passed by unnoticed.

As more or less action must necessarily accompany the words of every speaker who delivers his sentiments in earnest, as they ought to be in order to move and persuade, it is of the utmost importance to him that that action be appropriate and natural-never forced and awkward, but easy and graceful, except where the nature of the subject requires it to be bold and

vehement.

The prescribed limits of the author, however, permit him to present only a mere sketch of the outlines of this important subject, leaving it to the dictates of good sense and cultivated taste to fill them up.

OF GESTURE.

Gesticulation and expression of countenance, are the lan guage of nature; and, as they spring from the heart and the feelings, when legitimately called forth, they convey a language that reaches the heart. But because it is urged, that gestures must be natural, it is not hence to be inferred, that they must be the spontaneous efforts of nature, unaided by art or cultivation. In this, as well as in those things which relate to the cultivation of the vocal powers, we call in the aid of art, not to pervert, but to refine, to exalt, to perfect nature. No one thinks