2. The Pure Tone is a clear, smooth, round, flowing sound, accompanied with moderate pitch; and is used to express peace, cheerfulness, joy, and love; as, Methinks I love all common things—

The common âir, the common flower;
The dear, kind, common thought, that springs
From hearts that have no other dower,

No other wealth, no other power,
Save love; and will not that repay

For all else fortune teârs away?

3. The Orotund is the pure tone deepened, enlarged, and intensified. It is used in all energetic and vē’hement forms of expression, and in giving utterance to grand and sublime emotions; as,

1. Strike-till the last armed foe expires;
STRIKE for your altars and your fires;
STRIKE for the green graves of your sires;
GOD-and your native land!

2. "FORWARD, THE LIGHT BRIGADE!
CHARGE FOR THE GUNS!" he said:

Into the valley of Death rode the six hundred. 4. The Aspirated Tone is an expulsion of the breath more or less strong the words, or portions of them, being spoken in a whisper. It is used to express amazement, fear, terror, horror, revenge, and remorse; as, 1. How ill this taper burns!

Ha! who comes here?

Cold drops of sweat hang on my trembling flesh,
My blood grows chilly, and I freeze with horror!

2. While thronged the citizens with terror dumb,

Or whispering with white lips, "The foe! they come, they come!" 5. The Guttural is a deep under-tone, used to express hatred, contempt, and loathing. It usually occurs on the emphatic words; as,

Thou slave, thou wretch, thou coward!

Thou cold-blooded slave!

Thou wear a lion's hide?

Doff it, for shame, and hang

A cälf-skin on those recreant limbs.

6. The Tremulous Tone, or Tremor, consists of a tremulous iteration, or a number of impulses of sound of the least assignable duration. It is used in excessive grief, pity, plaintiveness, and tenderness; in an intense degree of suppressed excitement, or satisfaction; and when the voice is enfeebled by age.

The tremulous tone should not be applied throughout the whole of an extended passage, but only on selected emphatic words, thus avoiding monotony. In the second of the following examples, where the tremor of age is supposed to be joined with that of supplicating distress, the tremulous tone may be applied to every accented or heavy syllable capable of prōlongation, which is the case with all except those of pity and shortest; but even these may receive it in a limited degree.

1. O love, remain! It is not yět near day!
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear;
Nightly she sings in yon pomegranate-tree.
Believe me, love, it was the nightingale.

2. Pity the sorrows of a poor old man,

Whose trembling limbs have bōrne him to your door,
Whose days are dwindled to the shortèst span ;
O give relief, and Heaven will bless your stōre.

IV.

ᎡᎪᎢᎬ .

RATE' refers to Movement in reading and speak

ing, and is QUICK, MODERATE, or SLOW.

1 Exercise on Rate.-For a general exercise, select a sentence, and deliver it as slowly as may be possible without drawling. Repeat the sentence with a slight increase of rate, until you shall have reached a rapidity of utterance at which dis

tinct articulation ceases. Having done this, reverse the process, repeating slower and slower. Thus you may acquire the ability to increase and diminish rate at pleasure, which is one of the most important elements of good reading and speaking.

2. Quick Rate is used to express joy, mirth, confusion, vīölent anger, and sudden fear; as,

1. The lake has bûrst! The lake has burst!

Down through the chasms the wild waves flee :
They gallop ǎlong with a roaring song,

Away to the eager awaiting sea!

2. And thêre was mounting in hot haste: the steed,
The mustering squadron, and the clattering car
Went pouring forward with impetuous speed,
And swiftly forming in the ranks of war.

3. Moderate Rate is used in ordinary assertion, narration, and description; in cheerfulness, and the gentler forms of the emotions; as,

When the sun walks upon the blue sea-waters,
Smiling the shadows from yon purple hills,
We pace this shōre-I and my brother here,
Good Gerald. We arise with the shrill lark,
And both unbind our brows from sullen dreams;
And then doth my dear brother, who hath wōrn
His cheek all pallid with perpetual thought,

Enrich me with sweet words.

4. Slow Rate is used to express grandeur, vastness, pathos, solemnity, adoration, and horror; as, 1. O thou Eternal One! whose presence bright All space doth occupy, all motion guide; Unchanged through time's all-děvʼastating flight; Thou only God! Thêre is no God beside! 2. The eûrfew tolls-the knell of parting day; The lowing herd winds slowly ō'er the lea; The plowman homeward plods his weary way, And leaves the world to darknèss and to me.

V. MONOTONE.

MONOTONE consists of a degree of sameness of

tone, in a number of successive words or syllables. 2. A perfect Sameness is rarely to be observed in reading any passage or sentence. But very little variety of tone is to be used in reading either prose or vērse which contains elevated descriptions, or emotions of solemnity, sublimity, or reverence.

3. Monotone usually Requires a low tone of the voice, loud or prolonged force, and a slow rate of utterance. It is this tone only, that can present the conditions of the supernatural and the ghostly.

4. The Sign of Monotone is a horizontal or even line over the words to be spoken evenly; as,

I heard a voice saying, Shall mortal man be more just than God! Shall a man be more pure than his Maker!

EXERCISES IN MONOTONE.

1. Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, Thou art God.

2. Man dieth, and wasteth away: yea, man giveth up the ghost, and where is he? As the waters fail from the sea, and the flood decayeth and drieth up, so man lieth down, and riseth not; till the heavens be no more, they shall not awake, nor be raised out of their sleep.

3. The cloud-capp'd towers, the gorgeous palaces,

4.

The solemn temples, the great globe itself—
Yea, all which it inherit, shall dissolve,

And, like this unsubstantial pageant, faded—
Leave not a rack behind.

I am thy father's spirit;

Doomed for a certain term to walk the night,
And, for the day confined to fast in fires,

Till the foul crimes, done in my days of nature,
Are burnt and purged away.

PERS

VI. PERSONATION.

ERSONATION consists of those modulations, or changes of the voice, necessary to represent two or more persons as speaking.

2. This Principle of Expression, upon the côrrect application of which much of the beauty and efficiency of delivery depends, is employed in reading dialogues and other pieces of a conversational nature.

3. The student will exercise his discrimination and ingenuity in studying the character of persons and things to be represented, and so modulate his voice as best to personate them.

EXERCISE IN PERSONATION.

He. Dost thou love wandering? Whither wouldst thou go?
Dream'st thou, sweet daughter, of a land mōre fâir?
Dost thou not love these aye-blue streams that flow?
These spicy forests? and this golden âir?

She. Oh, yes, I love the woods, and streams, so gāy;
And more than all, O fäther, I love thee;
Yet would I fain be wandering-far ǎwãy,

Where such things never were, nor e'er shall be.
He. Speak, mine own daughter with the sun-bright locks!
To what pale, banished region wouldst thou rōam?

She. O father, let us find our frozen rocks!

Let's seek that country of all countries-HOME ! He. Seest thou these orange flowers? this pälm that rears Its head up toward heaven's blue and cloudless dōme? She. I dream, I dream; mine eyes are hid in tears;

My heart is wandering round our ancient home.

He. Why, then, we'll go. Fârewell, ye tender skies,

Who sheltered us, when we were forced to rōam!

She. On, on! Let's påss the swallow as he flies!

Fârewell, kind land! Now. father, now-FOR HOME!
-The red rose läughs, "She is near, she is near;
And the white rose weeps, "She is late."