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of continuation, the other, that of completion: the former may be called the fufpending, the latter, the clofing paufe. Thus in the fentence:

Money, like manure, does no good till it is fpread.

the first and second pauses give the hearer an expectation of fomething further to complete the fenfe; the third paufe denotes that the fenfe is completed.

THERE are, indeed, cafes in which, though the fenfe is not completed, the voice takes the clofing, rather than the suspending pause. Thus, where a series of particulars are enumerated, the clofing paufe is, for the fake of variety, admitted in the course of the enumeration: but in this cafe the laft word, or clause of the feries, takes the fufpending paufe, to intimate to the hearer the connection of the whole feries with what follows. For example;

Finally, brethren, whatfoever things are true, whatfoever things are honeft, whatsoever things are juft, whatsoever things are pure, whatsoever things are lovely, whatsoever things are of good report; if there be any virtue, and if there be any praife, think on thefe things*.

On the contrary, interrogative fentences are terminated by the fufpending paufe; as in the following example + :

*Philipp. iv. 8. † Book vi. Chap. 8. See a long feries of Interrogations in Gloucester's Speech to the Nobles, Book v. C. 14.

Hold

Hold you the watch to-night ?-We do, my lord.-Arm'd, fay you?—Arm'd, my lord.--From top to toe ?-My lord, from head to

foot.

Except that, where an interrogative pronoun or adverb begins a sentence, it is ufually ended with the clofing pause: as;

Why should that name be founded more than yours?

and that, where two queftions are united in one fentence, and connected by the conjunction or, the first takes the fufpending, the fecond, the clofing paufe; as,

Would you have been Cæfar, or Brutus ?

It may, notwithstanding, be received as a general rule, that the fufpending paufe is ufed where the fenfe is incomplete, and the clofing, where it is finished.

THE clofing paufe must not be confounded with that fall of the voice, or cadence, with which many readers uniformly finish a sentence. Nothing can be more destructive of all propriety and energy than this habit. The tones and heights at the close of a sentence ought to be diverfified, according to the general nature of the difcourfe, and the particular conftruction and meaning of the sentence. In plain narrative, and especially in argumentation, the least attention to the manner in which we relate a story, or maintain an argument, in converfation will show, that it is more frequently proper to raise the voice than to fall it at the end of a sentence. Some fentences are so constructed, that the laft words require a ftronger emphasis than any of the preceding; while others admit of being closed with a soft and gentle found.

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found. Where there is nothing in the fenfe which requires the last found to be elevated or emphatical, an eafy fall, fufficient to show that the fenfe is finished, will be proper. And in pathetic pieces, especially those of the plaintive, tender or folemn kind, the tone of the paffion will often require a ftill greater cadence of the voice. But before a fpeaker can be able to fall his voice with propriety and judgment at the clofe of a fentence, he must be able to keep it from falling, and to raise it, with all the variation which the fenfe requires. The best method of correcting an uniform cadence is frequently toread felet fentences, in which the ftyle is pointed, and frequent antithefes are introduced, and argumentative pieces, or fuch as abound with interrogatives.

RULE. VIII.

Accompany the Emotions and Paffions, which your words exprefs, by correspondent tones, looks, and geftures.

THERE is unquestionably a language of emotions and paffions, as well as a language of ideas. Words are the arbitrary figns by which our conceptions and judgments are communicated; and for this end they are. commonly fufficient: but we find them very inadequate to the purpose of expreffing our feelings. If any one need a proof of this, let him read fome dramatic speech expreffive of ftrong paffion (for example, * Shakspeare's fpeech of Hamlet to the ghost) in the fame unimpaffioned

*Book viii. C. 28.

manner

shanner in which he would read an ordinary article of intelligence. Even in filent reading, where the subject interefts the paffions, every one who is not deftitute of feeling, whilft he understands the meaning of the words, conceives the expreffion that would accompany them, if they were spoken.

THE language of paffion is uniformly taught by nature, and is every where intelligible. It confifts in the ufe of tones, looks and geftures. When anger, fear, joy, grief, love, or any other paffion is raised within us, we naturally discover it by the manner in which we utter our words, by the features of the face, and by other well-known figns. The eyes and countenance, as well as the voice, are capable of endless variety of expreffion, fuited to every poffible diverfity of feeling; and with these the general air and gesture naturally accord. The use of this language is not confined to the more vehement paffions. Upon every fubject and occafion on which we speak, fome kind of feeling accompanies the words; and this feeling, whatever it be, has its proper expreffion.

It is an effential part of elocution, to imitate this language of nature. No one can deferve the appellation of a good speaker, much lefs of a complete orator, who does not, to a diftinct articulation, a ready command of voice, and juft pronunciation, accent and emphafis, add the various expreflions of emotions and paffion. But in this part of his office precept can afford him little affiftance. To defcribe in words the particular expref

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fion, which belongs to each emotion and paffion is, perhaps, wholly impracticable. All attempts to enable men to become orators, by teaching them, in written rules, the manner in which the voice, countenance and hands are to be employed in expreffing the paffions, muft, from the nature of the thing, be exceedingly imperfect, and confequently ineffectual.

UPON this head, I fhall therefore only lay down the following general precept: obferve the manner in which the feveral paffions and feelings are expreffed in real life; and when you attempt to exprefs any paffion, infpire yourself with that fecondary kind of feeling, which imagination is able to excite; and follow your feelings with no other reftraint, than " this fpecial observance, that you O'ERSTEP NOT THE MODESTY OF NATURE."

THE fame general principles, and rules of Elocution, are applicable to Profe and to Verfe. The accent and general emphafis fhould be the fame in both: and where the verfification is correct, the melody will fufficiently appear, without any facrifice of fenfe to found. There is one circumftance, indeed, peculiar to the reading of poetry, which is, that the paufe of fufpenfion is here more frequently used than in profe, for the fake of marking the correfponding lines in rhiming couplets or stanzas, or to increase the melody of blank verfe. It is alfo defirable, where it can be done without injuring the fenfe, that a fhort paufe fhould be made at the end of

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