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naturally expressive of activity, force, and precision but grand, beautiful, and plaintive subjects slide natu rally into the rising inflection, as this is expressive of awe, admiration, and melancholy, where the mind may be said to be passive; and it is this general tendency of the plaintive tone to assume the rising inflection, which inclines injudicious readers to adopt it at those pauses where the falling inflection is absolutely necessary, and for want of which the pronunciation degene rates into the whine, so much and so justly disliked, for it is very remarkable, that if, where the sense concludes, we are careful to preserve the falling inflection, and let the voice drop into the natural talking tone, the voice may be suspended in the rising inflection on any other part of the verse, with very little danger of falling into the chant of bad readers.

On the Accent and Emphasis of Verse.

In verse, every syllable must have the same accent, and every word the same emphasis, as in prose.

In words of two syllables, however, when the poet transposes the accent from the second syllable to the first, we may comply with him, without occasioning any harshness in the verse ;-but when, in such words, he changes the accent from the first to the second syllable, every reader who has the least delicacy of feeling will certainly preserve the common accent of these words on the first syllable.

In misaccented words of three syllables, perhaps the least offensive method to the ear of preserving the ac cent, and not entirely violating the quantity, would be

to place an accent on the syllable immediately preceding that on which the poet has misplaced it, without drop ping that which is so misplaced.

The same rule seems to hold good where the poet has placed the accent on the first and last syllable of a word, which ought to have it on the middle syllable.

Where a word admits of some diversity in placing the accent, it is scarcely necessary to observe, that the verse ought in this case to decide.

But when the poet has with great judgment contrived that his numbers shall be harsh and grating, in order to correspond with the ideas they suggest, the common accentuation must be preserved.

How the Vowels e and o are to be pronounced, when apos

trophized.

The vowel e, which in poetry is often cut off by an apostrophe in the word the and in unaccented syllables before r, as dang'rous, gen'rous, &c., ought always to be preserved in pronunciation, because the syllable it forms is so short as to admit of being sounded with the suc ceeding syllable, so as not to increase the number of syllables to the ear, or at least to hurt the melody.

The same observations, in every respect, hold good in the pronunciation of the preposition to, which cught always to be sounded long, like the adjective two, however it may be printed.

On the Pause or Casura of Verse.

Almost every verse admits of a pause in or near the middle of the line, which is called the cæsura; this must

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be carefully observed in reading verse, or much of the distinctness, and almost all the harmony, will be lost.

Though the most harmonious place for the capital pause is after the fourth syllable, it may, for the sake of expressing the sense strongly and suitably, and even sometimes for the sake of variety, be placed at several other intervals.

The end of a line in verse naturally inclines us to pause; and the words that refuse a pause so seldom occur at the end of a verse, that we often pause between words in verse where we should not in prose, but where a pause would by no means interfere with the sense This, perhaps, may be the reason why a pause at the end of a line in poetry is supposed to be in compliment to the verse, when the very same pause in prose is allowable, and perhaps eligible, but neglected as unnecessary: however this be, certain it is, that if we pronounce many lines in Milton, so as to make the equality of impressions on the ear distinctly perceptible at the end of every line; if, by making this pause, we make the pauses that mark the sense less perceptible, we exchange a solid advantage for a childish rhythm, und by endeavoring to preserve the name of verse, lose all its meaning and energy.

On the Cadence of Verse.

In order to form a cadence at a period in rhyming verse, we must adopt the falling inflection with consi derable force in the cæsura of the last line but one.

How to pronounce a Simile in Poetry.

A simile in poetry ought always to be read in a lower tone of voice than that part of the passage which preredes it.

This rule is one of the greatest embellishments of poetic pronunciation, and is to be observed no less in blank verse than in rhyme.

General Rules.

Where there is no pause in the sense at the end of a verse, the last word must have exactly the same inflec tion it would have in prose.

Sublime, grand, and magnificent description in poetry requires a lower tone of voice, and a sameness nearly approaching to a monotone.

When the first line of a couplet does not form perfect sense, it is necessary to suspend the voice at the end of the line with the rising slide.

This rule holds good even where the first line forms perfect sense by itself, and is followed by another forming perfect sense likewise, provided the first line does not end with an emphatic word which requires the falling slide.

But if the first line ends with an emphatical word requiring the falling slide, this slide must be given to it, but in a higher tone of voice than the same slide in the last line of the couplet.

When the first line of a couplet does not form sense, and the second live, either from its not forming sense, or from its being a question, requires the rising slide; m this case, the first line must end with such a pause as

the sense requires, but without any alteration in the

tone of the voice.

In the same manner, if a question requires the second Line of the couplet to adopt the rising slide, the first ought to have a pause at the end; but the voice, without any alteration, ought to carry on the same tone to the second line, and to continue this tone almost to the end.

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The same principles of harmony and variety induce us to read a triplet with a sameness of voice, or a monotone, on the end of the first line, the rising slide on the end of the second, and the falling on the last.

This rule, however, from the various sense of the triplet, is liable to many exceptions. But, with very few exceptions, it may be laid down as a rule, that a quatrain or stanza of four lines of alternate verse, may be read with the monotone ending the first line, the rising slide ending the second and third, and the falling the last.

The plaintive tone, so essential to the delivery of elegiac composition, greatly diminishes the slides, and reduces them almost to monotones; nay, a perfect mono tone, without any inflection at all, is sometimes very judiciously introduced in reading verse.

On Scanning.

A certain number of syllables connected form a foot. They are called feet, because it is by their aid that the voice, as it were, steps along through the verse, in a measured pace.

All feet used in poetry consist either of two or of

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