See other examples of the same sort in Watts, Psalm 96, Com. Metre, 4 and 5 verses: and Hymn 140, 2 Book, 1

ver.

In cases of this sort, the reader, perhaps through affectation of sagacity, hastens over the end of the line, stopping just before and after it, when such stop is often quite as much against the rules of common punctuation, as to have made it at the end of the line. In the second example above, he would read thus, "Nor let our harden'd hearts,-renew the sins, and plagues &c.

Perhaps the reader asseeming to aim at the

Another fault is the affectation of a rhetorical manner. It consists in want of simplicity. sumes a pompous or theatrical air, display of his oratorical powers. Or on the other hand, he repeats a stanza that is full of sublime or devotional sentiment, with the colloquial inflection of familiar prose. Both of these faults show, that the heart of the reader is not touched with that glow of religous feeling, which a Christian hymn ought to inspire. Indeed, so delicate and sacred is this thing, that all affectation of excellence, all effort that is apparently artificial, is intolerable. It is in this case, as it is in public prayer, and reading of the scriptures, a heart filled with reverence towards God, and warmed with the spirit of Christain devotion, is more ef fectual than all things else, to govern aright the modulations of the voice.

In regard to inflections in reading the stanzas of a hymn, I would suggest a caution against the very common practice of dropping the voice at the end of the second line, without regard to the connexion. Walker says that, "With very few exceptions, it may be laid down as a rule,

in reading a stanza, that the first line may end with the monotone, the second and third with the rising slide, and the last with the falling." The exceptions to this rule, or to any one that could be concisely expressed, I think are not "very few." When the continuity of sense through a stanza, is very close, the voice continues in the suspending slide, much more than when long pauses intervene. The monotone, doubtless, should more frequently than is common, be heard at the end of a line.

If some of the most rhetorical psalms were properly marked with a notation, especially so far as respects emphasis, it might lead to a more discriminating manner in reading them. But instead of giving specimens to illustrate my meaning here, the reader is referred to the exercises [28.] where some brief examples will be found.

CHAP. VII.

RHETORICAL ACTION.

I USE the term action, not for the whole of delivery, according to the most extensive sense given to it by the ancients; nor yet in the most restricted modern sense, as equivalent to gesture merely; but as including also attitudes and expression of the countenance. While I shall have occasion often to refer to what has been taught in books on this subject, my chief design is to make such remarks as have been suggested by my own observation and reflections. To what extent these remarks should be carried, in so small a treatise on delivery, is a point on which I have doubted; and some perhaps may think that whatever is of practical importance might have been said in a briefer form.

That action, which Cicero calls " sermo corporis," is an important part of oratory, is too evident to demand proof. If any one doubts this, let him ask himself, how does a great painter give reality and life to his portrait ? How do children speak? How do the dumb speak? Action and attitude in these cases are the language of nature to express feeling and emotion.

There are two extremes respecting this subject, each of which deserves a brief notice, in this place, as being at variance with common sense.

The first is, that which encumbers a speaker with so much technical regulation of his movements, as to make him an automaton. It is a great mistake to suppose that a young student, before he can commence his efforts in oratory, must commit to memory a system of rules respecting gesticulation, just as arithmetical tables must be learned by the tyro in numbers. When a beginner in elocution shall be able to look at an assembly, without an unmanly flutter of spirits, and shall have acquired a good degree of ease, in the attitudes and motions of his body, then it will be, time enough to rectify, one after another, the faults of his own manner, by attention to good models, and correct principles of action. This I am persuaded should be attempted gradually, rather than all at once; for the transforming influence of practice, is essential to any useful application of precepts. And these precepts too, when given to an individual, I am fully satisfied after much observation, instead of being confined to minute directions respecting his own gesticulation, should especially be adapted to instruct him in general principles. All attempts to regulate the attitudes and movements of his body, by diagrams and geometrical lines, without great skill in the teacher, will lead to an affected, mechanical manner. His habits are of prime importance. By these, good or bad, he must be governed in the act of speaking, for to think of his manner then will be the certain ruin of all simplicity. Let these habits be well formed, and be his own, so as to govern his movements spontaneously, and trust the rest to emotion.

The other extreme to which I alluded, is that which condemns all precepts and all preparatory practice too,

as mischievous in their influence, because no one can learn to speak, till he comes into the real business of speaking, as his profession.

On this I can make but one passing remark. Preparatory discipline of the faculties necessarily wants the stimulus of real business, in respect to every liberal art and valuable talent among men. Why then shall not such discipline be deemed useless in all other cases, ́as well as in elocution? Why shall we not neglect to learn any thing, which relates to practical skill in a profession, till we actually enter on that profession?

I now proceed to offer my remarks on Rhetorical Action, dividing the subject into two parts.

PART I. THE PRINCIPLES OF RHETORICAL ACTION.

The power of action consists wholly in its correspondence with thought and emotion; and this correspondence arises either from nature or custom.

SECT. 1.-Action as significant from nature.

The body is the instrument of the soul, or the medium of expressing internal emotions, by external signs. The less these signs depend on the will, on usage, or on accident, the more uniform are they, and the more certainly to be relied on.

Expression of the countenance.

The soul speaks most intelligibly, so far as visible signs are concerned, in those muscles which are the most