HIS FRIEND (who was apprized of the state he was in, and who naturally concluded he was ill,) OFFERED him some wine.

The syntax here does not require observation.

May THE LIKE SERENITY (in such dreadful circumstances,) and a DEATH EQUALLY GLORIOUS, be the lot of all whom TYRANNY, (of whatever denomination or description,) SHALL, (in any age, or in any country,) CALL to expiate their virtues on the scaffold.

The main current here is "may the like serenity, and a death equally glorious, be the lot of all whom tyranny shall call to expiate their virtues on a scaffold." The cross currents so frequently interrupt the natural order of the thoughts, as to render this a scarcely tolerable passage.

This last example, and several others which we have cited, shew the intimate connection between the arts of composition and delivery. This is a subject which cannot be pursued here. But, it must be obvious that such an analysis as is necessary to present a clear picture of thought in delivery, cannot fail to reveal, the latent beauties as well as defects of composition. The art of Rhetoric cannot but derive assistance from that of Elocution; since a careful consideration of the nice relations of thought in written language is constantly necessary to its practice.

Every exertion of it consists in the application of a subtle test, by which composition, as a medium of conveying thought and sentiment, is tried. The arts of Rhetoric and Delivery are therefore intimately related,

and assist each other; and we may remind those who affect great zeal for the one, and contemn the other, of what Bacon used to say, when he experienced a temporary difficulty, from two passages of scripture, which he could not immediately reconcile. "Ye are brethren, why strive ye?"

In terminating these remarks on the analysis of written language, I would take occasion to observe, that the right application of the elements of the voice is not (in my opinion) to be expected from a multiplication of rules. Language is bestowed upon us for the purpose of setting forth our thoughts and feelings-but the modifications of these are so multifarious, and the methods of expressing them by the voice so numerous, that no system can bind the particulars of the art of Elocution into any thing like a complete series of grammatical rules. Hence all those who have attempted to give systematic rules of inflection, (and the remark applies to other elements as well as to pitch,) have, in my humble view of the subject, involved themselves and their readers in confusion. I have not examined any of these rules without perceiving numerous exceptions to them, not stated by their authors; and the sense of the examples cited to exhibit particular combinations of the elements, may generally be expressed by other modes of the voice besides those insisted upon under the rules. All that can be done in the art of Elocution is, in my opinion, to insist on an exact analysis of written language-and to set forth the ELEMENTS of the voice, by a few obvious examples. In other cases than those exemplied, the student must be left to use them for himself as circumstances may require. This I am persuaded (from observation and ex

perience as a teacher) is all that is necessary for the intelligent; and the dull would be more troubled by multifarious rules and exceptions, than by the difficulties which they seek to avert. Let the elements of an art be fairly unfolded, and a few conspicuous instances of their practical application be given, and moderate ingenuity will effect the rest; the right use of the voice in other instances is only a proper exercise of individual ability, and comes by a little practice. I am persuaded that he who attempts to push the science farther than this-to give (for instance) a detailed account of the possible applications of inflection will involve himself in a labyrinth through the windings of which Ariadne's thread, if he had it, would not suffice to conduct him.

RECITATION FOURTEENTH,

IMPROVEMENT OF THE VOICE.

DR. RUSH has described a kind of voice which; from its preeminent qualities, he denominates the OROTUND. In its highest condition, it is deep, full, strong, smooth, sonorous, and has a highly resonant or ringing character, like the sound of musical instruments. The person possessing it appears to labor under a slight hoarseness. The voice is highly agreeable to the ear, and is more musical than the common voice. It is possessed by actors of eminence and is peculiarly adapted to set forth the beauties of epic and tragic composition. It is heard in its greatest perfection on the vowel sounds.

I believe the quality of the voice is greatly dependent on management and cultivation. Experiments have convinced me that more depends upon the former, than on natural peculiarity. Indeed I am disposed to think that by attention to certain methods of forming sounds in the mouth, which I shall presently explain, voices may be rendered very much alike in their quality; and that by forcible efforts properly and perseveringly made, in combination with such methods, most voices may be rendered strong. Now quality and strength are the two circumstances in which voices differ most from each other.

The parts of the mouth, posterior to the palate, bounded below by the root of the tongue, above by the commencement of the palate, behind by the most posterior of the throat, and on the sides by the angles of the jaw,

are the seat of the deep voice I have described. If the tongue is retracted and depressed, and the mouth is opened, in such a manner as to favor the enlargement of the cavity described as much as possible, and any of the vowel sounds are then uttered with force and abruptness, and without calling other parts of the mouth into vibration, in their passage through it, the orotund voice will be immediately exhibited, in a very high degree, and unmixed in its quality.

By practice in exploding the vowel elements, in the manner formerly described, it may be made to acquire increasing clearness and strength; and may be varied in pitch like the common voice. But orotund voices are often husky and indistinct: that is to say, there is a want of brilliancy in some of the sounds, and consequently of distinct audibility in the elements. Under these circumstances, many of the words spoken on the stage and elsewhere, under this modification of voice, are lost to the ear. Experiments will show that if the vibrations are confined to the parts described, and the anterior parts of the mouth, (the roof especially,) are made a mere passage for the orotund, force and sonorous clearness are very apt to be deficient. The voice will be deep, grave and dignified, but often, inaudible. There will be more or less of aspiration and huskiness. But, if in the condition of organs set forth above, the vowel elements are uttered, as before described, and are made, in the way to the external air, to vibrate against the centre of the bony arch of the palate, stretching, an extensive and reverberating vaulted cavity immediately over the passage of sound, the voice will at once be heard clear, full, and sonorous. The properties of clearness