They were wrenched by the hand of violence from a congenial soil.

Their sing'd tops though bare, stand on the blasted heath.

The strength of his nostrils is terrible.
A gentle current rippled by.

He barb'd the dart by which he fell.
Do you like herbs in your broth?

Thou barb'st the dart that wounds thee.
Thou barb'd'st the dart by which he fell.

Many arcs were seen floating down the stream.
There bark'd and howled, within, unseen.
The culprit was hurled from the tarpeian rock.
Words, Words, Words!

Are the goods wharfed?

The burghs of Scotland.

It was strongly urged upon him.
Remark'd'st thou that?

Mark'st thou ?

He snarls but dares not bite.

Arm'd say ye? Armed my lord.

They have arms in their hands.

The delinquent was burn'd in the hand.

Wellington learnt the art of war under his brother in

India.

A boundless song bursts from the grove.

It was union of hearts as well as hands.

Earth's ample breast.

He searched the house for it.

It hurts me.

Thou hurt'st his feelings.

On entering the palace the busts of Fox and Tooke were conspicuous.*

*It will be understood by the reader, that the superscribed sentences are merely intended to subserve the purpose of exercise of the articulating organs, and that therefore sense and connection have not been regarded in devising them.

RECITATION FOURTH,

ELOCUTION is the art of so employing the Quality, Abruptness, Force, Time, and Pitch of the voice, in the utterance of syllables, as to convey the sense and sentiment of discourse in the fullest manner, and with the greatest possible gratification to the ear.

Each of these properties of the voice, (except abruptness, is exerted more or less in the utterance of every element or syllable. Every syllable is uttered by voluntary muscular effort, and therefore requires some force, for this is implied in all voluntary action. Every syllable consumes time in its pronunciation. Every uttered sound has pitch-finally a particular quality of voice (apart from the before mentioned properties) will be observable whenever a syllable is spoken; for no two voices are exactly alike in quality. Abruptness means suddenness combined with fullness, and therefore may or may not accompany the utterance of a syllable.

Hence the meaning of discourse and the impression made by it, will depend upon the relative degrees and modifications of the Quality, Abruptness, Force, Time, and Pitch of the voice.

GENERAL CONSIDERATIONS.

QUALITY OF VOICE.

THE Quality of the voice, no doubt depends partly on unknown circumstances in the structure and action of the organs of speech; as the same tune played upon

two organs or piano-fortes will differ in quality of tone, because one instrument differs from another in its peculiar power of modifying sound, owing to its physical properties as an instrument.

The ancients employed a great number of terms to describe the quality of the voice, such as rough, smooth, harsh, full, thin, slender, soft, musical. The most important properties of the voice are, gravity, or depth of tone; fullness, or volume of sound; smoothness, and strength; by which latter property is meant the power of rendering syllables audible through an extensive space. There are other modifications of the quality of the voice which will be explained hereafter.

FORCE OF VOICE.

The degrees of force are best described by the terms loud and soft, forcible and feeble, strong and weak. Force may be manifested, 1st by loudness, and consequent violent impression on the ear, during a short impulse of sound; or 2dly it may be continued equally through a long one or 3dly it may be manifested by gradual increase, as when a sound increases perceptibly in volume during its progress as compared with its commencement, terminating at its loudest point, or diminishing again before it terminates. Suppose the element a (or any other syllable) uttered with great percussive force and quickness, it will exhibit one modification of force. Suppose it to begin with less force, growing louder by degrees, in the usual sense of the expression, swell of voice, and then again gradually diminishing to its termination, and you have another modification of force. Again, suppose the voice to begin with comparative fullness and to lessen

constantly in its volume till it dies away in silence, and the ear would be able to compare degrees of force under a third modification. Lastly, suppose the element a to be uttered in the usual manner except at its termination, but there to have a great and sudden increase of sound, and you have a modification of the element of force different from any of the preceding instances.

TIME.

The varieties of Time in the utterance of syllables are best expressed by the terms long and short, quick, slow, rapid, moderate. The most important general consideration as to the time of syllables, is that it can be varied upon the same syllable. The term quantity, as applicable to syllables, means exactly the same as time. The time of pauses, it is perfectly apparent, may be lengthened or shortened at pleasure. Suppose the sounds a, bee, cee, dee, (the names of the first four letters of the alphabet,) to be uttered in immediate succession, each sound to be shortened as much as possible and as short pauses as possible to be made between each; in such case each syllable will have short quantity, the pauses will have short time and the general movement will be in quick time. But the four sounds above mentioned can be greatly lengthened without altering their customary pronunciation. If a lengthened pronunciation is given to each, and the pauses between them are made proportionally long (a, bee, cee, dee,) each syllable will have long quantity and the whole series will be in slow time. The term quantity is employed absolutely and relatively. If a syllable is pronounced long, we may say with propriety it has quan、