1. At the end of each line; as,

Under a spreading chestnut tree--
The village smithy stands-

The smith, a mighty man is he-
With large and sinewy hands;—

And the muscles of his brawny arms-
Are strong as iron bands.

2. About the middle of each line, when it is called the cesura, and marked thus (||); as,

They laid her where || the sun and moon

Look on her tomb || with loving eye,

And I have heard || the breeze of June
Sweep o'er it, || like a sigh,

And the wild river's || wailing song

Grow dirge-like, || as it stole along.

3. Toward the beginning and close of each line, when it is called the demi-cesura, and marked thus (1); as,

You must wake | and call me early || call me early | mother dear;

To-morrow'll be the happiest time of all the glad | new

year.

Ah! there it stands || the same | old house!

And there that ancient tree,

Where I | first trod || in boyish | pride

And laughed || in ancient glee.

REMARK.-These poetic pauses should not be so long or so placed, as materially to affect the sense. That at the end of the line should be the longest, the cesura next, and the demi-cesura should be a very slight pause, and some times may be omitted altogether.

QUESTIONS.-What is emphasis? How is it denoted 1st? 2d? 3d? 4th? What remark under this head? What is the 5th manner of denoting it? What is absolute emphasis? Give examples. Relative? Give examples of one set. Two sets. Three sets. Implied? Where do poetic pauses occur 1st? 2d? 3d? What is the remark upon poetic pauses?

IV. OF THE VOICE.

ITS MANAGEMENT AND CULTURE.

With reference to the voice, three things are to be chiefly considered; viz. PITCH, QUANTITY, and QUALITY.

OF PITCH.

PITCH of voice is its degree of elevation.

The Pitch in speaking, as in music, may vary from the lowest to the highest tones. These tones may be considered as MEDIUM, Low, or HIGH.

The MEDIUM PITCH is that generally used in common

conversation.

This differs in individuals. The voice ranges above or below this, according to the sentiment, but returns to it, and usually commences and closes a sentence upon this key-note.

It is appropriate to the narrative, descriptive, didactic, and argumentative styles.

The Low PITCH includes all tones below the medium pitch. This prevails chiefly in the expression of reverence, awe, sublimity, caution, scorn, contempt, etc.

EXERCISES IN LOW PITCH.

Let the learner practice the following examples repeatedly, going through them all, first in a tone a little below the medium pitch, then again a little lower, and so on, until he has reached the lowest capacity of his voice. Let not suppression of force be mistaken for low pitch. burn woe time low

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eel

Bless the Lord, O my soul and all that is within me, bless his holy name!

Unto thee I lift up mine eyes, O thou that dwellest in the heavens.

In thoughts from the visions of the night, when deep sleep falleth on men, fear came upon me and trembling, which made all my bones to shake. Then a spirit passed before my face; the hair of my head stood up. It stood still, but I could not discern the form thereof. An image was before mine eyes; there was silence, and I heard a voice saying, “Shall mortal man be more just than God?"

Thou glorious mirror! where the Almighty's form
Glasses itself in tempests; in all time,

Calm or convulsed, in breeze, or gale, or storm,
Icing the pole, or in the torrid clime

Dark heaving; boundless, endless, and sublime;
The image of Eternity, the throne

Of the Invisible; even from out thy slime The monsters of the deep are made; each zone

Obeys thee; thou goest forth, dread, fathomless, alone.

(In the following extract, King John is persuading Hubert to murder his nephew Arthur, who is rightful heir to the throne. Hubert's part may be read or spoken by the teacher or some one else, and King John's in low tones, by the one who is practicing.)

King John. I had a thing to say, but let it go;
The sun is in the heavens, and the proud day,
Attended with the pleasures of the world,

Is all too wanton, and too full of gauds,

To give me audience.

If this same were a church-yard where we stand,
And thou possess-ed with a thousand wrongs:

Or if that surly spirit, melancholy,

Low. Had baked my blood and made it heavy, thick ;

Or if that thou couldst see me without eyes,
Hear me without thine ears, and make reply
Without a tongue, using conceit alone,

Without eyes, ears, and harmful sound of words;
Then, in despite of brooded, watchful day,
I would into this bosom pour my thought.
But, ah, I will not. Yet I love thee well;
And, by my troth, I think thou lov'st me well.

Hubert. So well, that what you bid me undertake,
Though that my death were adjunct to my act,
I'd do it.

K. John.

Do I not know thou wouldst?

Good Hubert, Hubert, throw thine eye

On yon young boy. I'll tell thee what, my friend,

Low. He is a very serpent in my way;

And wheresoe'er this foot of mine doth trace,
He lies before me. Dost thou understand me?
Thou art his keeper.

Hub. And I will keep him so
That he shall not offend your majesty.

Low. K. John. Death.

Hub. My lord.

Low. K. John. A grave.

Low.

Hub. He shall not live.

K. John. Enough.

I could be merry now. Hubert, I love thee.
Well, I'll not say what I intend for thee:

Remember

NOTE. Additional examples should be selected by the teacher.

REMARK. Exercises on Low Pitch should be numerous and thoroughly practiced. Strength and flexibility of voice will be thus increased, and by a judicious and skillful use of these tones, the speaker will greatly increase his power over an audience.

The HIGH PITCH includes all tones above the medium pitch.

It is used in the expression of astonishment, surprise, anger, and great excitement generally.

EXERCISES ON HIGH PITCH.

Let the following examples be practiced repeatedly and . thoroughly, first, in a tone a little higher than the medium pitch, then again, a little higher still, and so on, until the highest pitch is reached. Let not loudness be mistaken for high pitch.

The combat deepens, on ye brave!

Who rush to glory or the grave.

I tell thee, thou art defied.

To arms! the Greek! they come! they come!

Once more unto the breach, dear friends, once more,

Or close the wall up with our English dead.

When the blast of war blows in our ears,

Then imitate the action of the tiger;
Stiffen the sinews; summon up the blood;

Disguise fair nature with hard-favored rage.
On, on you noble English,

Whose blood is fetched from fathers of war proof!
Fathers, that, like so many Alexanders,

Have, in these parts, from morn till even, fought,
And sheathed their swords for lack of argument,
I see you stand, like greyhounds, in the slips,
Straining upon the start. The game's afoot:
Follow your spirits, and, upon this charge,
Cry-Heaven for Harry, England, and St. George.
The border slogan rent the sky,

A Home! a Gordon! was the cry;
Loud were the clanging blows;
Advanced, forced back, now low, now high,

The pennon sunk and rose.

The war, that for a space, did fail,

Now trebly thundering swept the gale,

And Stanley! was the cry.

A light on Marmion's vision spread,
And fired his glazing eye:

With dying hand, above his head,

He shook the fragment of his blade,

And shouted-" Victory!"

Charge! Chester, charge! on! Stanley, on!"

Were the last words of Marmion.

NOTE. Let the teacher add to these, other examples.