Through moss and through brake
It runs and it creeps,

For a while, till it sleeps

In its own little lake.
And thence at departing,
Awakening and starting,
It runs through the reeds,
And away it proceeds,
Through meadow and glade,
In sun and in shade,

And through the wood-shelter,
Among crags in its flurry,
Helter-skelter,

Hurry-skurry.

Here it comes sparkling,
And there it lies darkling;
Now smoking and frothing
Its tumult and wrath in,
Till in this rapid race,
On which it is bent,

It reaches the place

Of its steep descent.

The cataract strong
Then plunges along,
Striking and raging,

As if a war waging

Its caverns and rocks among:

Spouting and frisking,
Turning and twisting,
Around and around
With endless rebound:
Smiting and fighting,

A sight to delight in,

Confounding, astounding,

Dizzying and deafening the ear with its sound.

Retreating and beating and meeting and sheeting,
Delaying and straying and playing and spraying,
Advancing and prancing and glancing and dancing,
And gleaming and streaming and steaming and beaming,
And dashing and flashing and splashing and clashing,
And so never ending, but always descending,
Sounds and motions forever and ever are blending,
All at once and all o'er, with a mighty uproar:
And this way, the water comes down at Lodore.

The pupil should carefully practice the various exercises upon the elementary sounds, and in articulation, until he can utter every sound, syllable, word, or combination of elements, with perfect distinctness and accuracy, and in a clear, full tone of voice.

Much advantage may be obtained from practicing in com.. pany with some one, who is competent to detect your faults of utterance and delivery, and is willing to point them out. The monotone, swell, and all the different forms of stress, should be practiced in every pitch of voice, and in every degree of force.

To obtain a full, deep, clear, rich tone, the student must resort to every conceivable expedient for modifying the voice. Whenever he utters a sound that is very pleasing to the ear, or that impresses his mind as being very striking or significant, he should repeat it, until he can command it without difficulty at pleasure.

The most significant, impressive, and pleasing tones of the voice can not be taught, or even described; the pupil, if he ever learns them, must find them out for himself, by careful, persevering self practice. In short, he must try every plan, and resort to every appliance that he can com mand, in his endeavors to perfect himself in the art of reading and speaking with ease, elegance, and impressive effect.

EXPRESSION.

Expression comprehends the practical application of all the rules and principles of Elocution.

EMPHASIS.

Emphasis relates to the mode of giving expression properly and fully defined it includes whatever modulatio of the voice or expedient the speaker may use, to render what he says significant or expressive of the meaning he desires to convey.

No certain rules can be given to guide the student in the employment of emphasis. If his voice be full, clear, flexible, and under the control of the will, he will be able to express what he fully understands and strongly feels, in an effective manner, without the aid of rules. The best advice that can be given to the student upon this point, is to study his subject until he thoroughly understands it, and then practice upon it until he can express it to his own satisfaction.

A careful observance of the following simple directions, will soon enable the student to read in a pleasing and impressive manner.

FIRST-Pause long enough to take a short breath, just before giving an emphatic word.

SECOND: Pause for a moment immediately after giving an emphatic word, letting the voice fall in pitch, and take a more subdued tone on the words immediately following.

THIRD-When emphasis is given by simply increasing the loudness, or duration of the accented syllable, let the voice out freely, and do not check the sound before it is fully developed.

FOURTH-After expressing a word or syllable with great force, as in the intensive forms of the Expulsive or Explosive Radical Stress, do not keep the muscles of the neck, throat, and chest in the same rigid condition they are in at the moment of giving the emphatic word; but, instantly, let them relax, and fall into a natural and easy position.

Let me here advise the student who intends to pursue this subject, not to pass lightly over the first exercises because they are simple and unattractive. Success in giving the most difficult passages, will chiefly depend upon a practical knowledge of the principles involved in the correct nunciation of short and simple sentences. As in Articu .ation and Modulation, the student should begin with the first example under the first rule, and thoroughly master that, before he takes up the next.

CADENCE.

Cadence signifies that easy, natural dropping of the voice at the end of a sentence or passage, which denotes completeness of sense, or that the speaker has finished what he had to say upon that point.

No specific rules can be given by which to regulate the tone and movement of the voice in making the cadence; the pupil must rely, mainly, upon his own taste and discrimination. After a few days' careful practice of the following exercises, his ear will detect the slightest variation from the true sound of the cadence.

EXERCISE I.

The simplest form of the cadence can be best illustrated by the enumeration of a series of particulars.

By counting one, two, three, four, five, in a deliberate manner, and paying particular attention to the tone of the voice on four and five, it will be discovered that on five, the voice falls a little, takes a fuller tone, and has that peculiar intonation which denotes that the enumeration is complete.

Give the open vowel sounds in a clear, full tone, in the same manner as in the first example, thus:

Give a number of names in succession as in calling the oll, thus:

3. Smith, Chambers, Butterfield, Edmunds, Morgan, Wilson, Page, Jones,

Byron.

Connect the last two names or particulars by the conjunction and, letting the voice rise a little on the last par

ticular but one, and fall, as in the previous examples, on the last one, thus:

4. Cincinnati, St. Louis, Boston, Louisville, Philadelphia,

and New York.

Nashville,

Let the cadence in the following passages be formed in the same manner as in example 4.

5. He sinks into thy depths with bubbling groan,

2

Without a grave, unknelled, uncoffin'd, and unknown.

6. Whatever obscurities may involve religious tenets, the essence of true piety consists in humility, love, and devotion.

3

1

2

1

3

2

7. Be armed with courage against thyself, against thy passions, and against flatterers.

1

2

3

5

8. In the least insect there are muscles, nerves, joints, veins, arteries, and blood.

6

When the concluding series consists of more than three members or particulars, the preceding members or particulars should receive the modulation which taste and the general sense of the passage suggest.

In the commencing series the last particular or member. should take the rising modulation, and the las but one, a slight falling modulation.

2

EXAMPLES.

4

3

5

1. The knowledge, power, wisdom, holiness, and goodness of the Deity re all unbounded.

2. Gold, silver, copper, iron, and lead are abundant in various parts of the Western Continent.

3. Proofs of the immortality of the soul, may justly be drawn from the nature of the Supreme Being, whose justice, wisdom, and veracity, are all concerned in this great point.

Immediately after expressing the last particular, pause