riety in the use of it: but its application is not arbitrary, depending on the caprice of readers.

As emphasis often falls on words in different parts of the same sentence, so it is frequently required to be continued with some variation, on two, and sometimes more words together. The following sentences exemplify both the parts of this position:" if you seek to make one rich, study not to inerease his stores, but to diminish his desires." "The Mexican figures, or picture writing, represent things, not words: they exhibit images to the eye. not ideas to the understanding."

Some sentences are so full and comprehensive, that almost every word is emphatical: as, "Ye hills and dales, ye rivers, woods, and plains!" or, as that pathetic expostulation in the prophecy of Ezekiel, "Why will ye die!" Emphasis, besides its other offices, is the great regulator of quantity. Though the quantity of our syllables is fixed, in words separately pronounc ed, yet it is mutable, when these words are arranged in sentences; the long being changed into short, the short into long, according to the importance of the word with regard to meaning. Emphasis also, in particular cases, alters the seat of the accent. This 18 demonstrable from the following examples: "He shall increase, but I shall decrease." "There is a difference between giving and forgiving." "In this species of composition, plausibility is much more essential than probability." In these examples, the emphasis requires the accent to be placed on syllables, to which it does not Commonly belong.

In order to acquire the proper management of the emphasis, the great rule to be given, is that the reader study to attain a just conception of the force and spirit of the sentiments which he is to pronounce. For to lay the emphasis with exact propriety, is a constant exercise of good sense and attention. It is far from being an inconsiderable attainment. It is one of the most decisive trials of a true and just taste; and must arise from feel-ing delicately ourselves, and from judging accurately of what is fittest to strike the feelings of others.

There is one error, against which it is particularly proper to caution the learner; namely, that of multiplying emphatical words too much, and using the emphasis indiscriminately. It is only by a prudent reserve and distinction in the use of them, that we can give them any weight. If they recur too often; if the reader attempts to render every thing he expresses of high importance, by a multitude of strong emphases, we soon learn to pay little regard to them To crowd every sentence with emphatical words, is like @rowding all the pages of a book with Italic characters; which, as to the effect, is just the same as to use no such distinctions at all.

SECTION VI.

Tones.

Tones are different both from emphasis and pauses; consisting in the notes or variations of sound which we employ, in the expression of our sentiments. Emphasis affects particular words and phrases, with a degree of tone or inflexion of voice; but tones, peculiarly so called, affect sentences, paragraphs, and sometimes even the whole of a discourse.

To show the use and necessity of tones, we need only observe, that the mind, in communicating its ideas, is in a constant state of activity, emotion, or agitation, from the different effects which those ideas produce in the speaker. Now the end of such communication being, not merely to lay open the ideas, but also the different feelings which they excite in him who utters them, there must be other signs than words, to manifest those feelings; as words uttered in a monotonous manner can represent only a sint

far state of mind, perfectly free from all activity and emotion. As the com munication of these internal feelings was of much more consequence in our social intercourse, than the mere conveyance of ideas, the Author of our being did not, as in that conveyance, leave the invention of the language of emotion to man; but impressed it himself upon our nature, in the same manner as he has done with regard to the rest of the animal world; all of which express their various feelings, by various tones. Ours, indeed, from the superior rank that we hold, are in a high degree more comprehensive, as there is not an act of the mind, an exertion of the fancy, or an emotion of the heart, which has not its peculiar tone, or note of the voice, by which it is to be expressed; and which is suited exactly to the degree of internal feeling. It is chiefly in the proper use of these tones, that the life, spirit, beauty, and harmony of delivery consist.

The limits of this Introduction do not admit of examples to illustrate the variety of tones belonging to the different passions and emotions. We shall, however, select one, which is extracted from the beautiful lamentation of David over Saul and Jonathan, and which will, in some degree, elucidate what has been said on this subject. "The beauty of Israel is slain upon thy high places; how are the mighty fallen! Tell it not in Gath; publish it not in the streets of Askelon; lest the daughters of the Philistines rejoice; lest the uncircumcised triumph Ye mountains of Gilboa, let there be no dew nor rain upon you, nor fields of offerings; for there the the shield of Saul, as though he

shield of the mighty was vilely cast awe of these divisions expresses

had not been anointed with oil." The

sorrow and lamentation: therefore the note is low. The next contains a spirited command, and should be pronounced much higher. The other sentence, in which he makes a pathetic address to the mountains where his friends had been slain, must be expressed in a note quite different from the twċ former; not se low as the first, nor so high as the second, in a manly, firn, and yet plaintive tone.

'he correct and natural language of the emotions is not so difficult to be att tined, as most readers seen to imagine. If we enter into the spirit of the author's sentiments as well as into the meaning of his words, we shall not fail to deliver the words in properly varied tones. For there are few people, who speak English without a provincial note, that have not an accurate use of tones, when they utter their sentiments in earnest discourse. And the reason that they have not the same use of them, iu reading aloud the sentiments of others, may be traced to the very defective and erroneous method, in which the art of reading is taught; whereby all the various, natural, expressive tones of speech, are suppressed: and a few artificial, unmeaning reading notes, are substituted for them.

But when we reccommend to readers, an attention to the tone and language of emotions, we must be understood to do it with proper limitation. Moderation is necessary in this point as it is in other things. For when reading becomes strictly imitative, it assumes a theatrical manner, and must be highly improper, as well as give offence to the hearers; because it is inconsistent with that delicacy and modesty, which are indispensable on such occasions. The speaker who delivers his own emotions must be supposed to be more vivid and animated, than would be proper in the person who relates them at second hand.

We shall conclude this section with the following rule, for the tones that indicate the passions and emotions. "In reading, let all your tones of expression be borrowed from those of common speach, but, in some degree more faintly characterised. Let those tones which signify any disagreeale passions of the mind be still more faint than those which indicate agreeable emotions; and, on all occasions, preserve yourselves from bein A far affected with the subject, as to be able to proceed through it, with

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PREFACE. X

of

Many selections of excellent matters have been made for the benent young persons. Performances of this kind are of so great utility, that, fresh productions of them, and new attempts to improve the young mind, will scarcely be deemed superfluous, if the writer make his compilation instructive and interesting, and sufficiently distinct from others.

The present work, as the title expresses, aims at the attainment of three objects to improve youth in the art of reading; to meliorate their lan guage and sentiments; and to inculcate some of the most important principles of piety and virtue.

The pieces selected, not only give exercise to a great variety of emotions, and the correspondent tones and variations of voice, but contain sentences and members of sentences, which are diversified, proportioned, and pointed with accuracy. Exercises of this nature are, it is presumed, well calculated to teach youth to read with propriety and effect. A selection of sentences, in which variety and proportion, with exact punctuation, have been carefully observed, in all their parts as well as with respect to one another, will probably have a much greater effect, in properly teaching the art of reading, than is commonly imagined. In such constructions, every thing is accommodated to the understanding and the voice; and the commen difficulties in learning to read well are obviated. When the learner has acquired a habit of reading such sentences, with justness and facility, he will readily apply that habit, and the improvement he has made, to sentences more complicated and irregular, and of a construction entirely dif ferent.

The language of the pieces chosen for this collection has been carefully regarded. Purity, propriety, perspicuity, and, in many instances, elegance of diction, distinguish them. They are extracted from the works of the most correct and elegant writers. From the sources whence the sentiments are drawn, the reader may expect to find them connected and regu lar, sufficiently important and impressive, and divested of every thing that is either trite or eccentric. The frequent perusal of such composi tion naturally tends to infuse a taste for the species of excellence; and to produce a habit of thinking, and of composing, with judgment and accuracy.

*The learner, in his progress through this volume and the Sequel to it, will meet with numerous instances of composition, in strict conformity to the rules for promoting perspicuous and elegant writing contained in the Appendix to the Author's English Grammar. By occasionally examining this conformity,he will be confirmed in the utility of those rules; and be ena bled to apply them with ease and dexterity.

It is proper further to observe, that the Reader and the Sequel, besides teaching to read accurately, and inculcating many important sentiments, may be considered as auxiliaries to the Author's English Grammar; as practical illustrations of the principles and rules contained in that work

that easy and masterly manner, which has its good effects in this, as well as in other arts."

SECTION VII.

Pauses.

Pauses or rests, in speaking or reading, are a total cessation of the voice during a perceptible, and in many cases, a measurable space of time. Pauses are equally necessary to the speaker, and the hearer. To the speak er, that he may take breath, without which he cannot proceed far in delivary; and that he may, by these temporary rests, relieve the organs of speech, which otherwise would be soon tired by continued action: to the hearer, that the ear also may be relieved from the fatigue, which it would otherwise endure from a continuity of sound; and that the understanding may have sufficient time to mark the distinction of sentences, and their several members.

There are two kinds of pauses: first, emphatical pauses; and next such as mark the distinctions of sense. An emphatical pause is generally made' after something has been said of peculiar moment, and on which we desire to fix the hearer's attention. Sometimes, before such a thing is said, we usher it in with a pause of this nature. Such pauses have the same effect as a strong emphasis; and are subject to the same rules; especially to the caution, of not repeating them too frequently. For as they excite uncommon attention, and of course raise expectation, if the importance of the matter be not fully answerable to such expectation, they occasion disappointment and disgust.

:

But the most frequent and the principal use of pauses, is to mark the divisions of the sense, and at the same time to allow the reader to draw his breath and the proper and delicate adjustment of such pauses is one of the most nice and difficult articles of delivery. In all reading, the management of the breath requires a good deal of care, so as not to oblige us to 1 divide words from one another, which have, so intimate a connexion, that they ought to he pronounced with the same breath, and without the least separation. Many a sentence is miserably mangled, and the force of the emphasis totally lost, by divisions being made in the wrong place. To avoid this, every one, while he is reading, should be very careful to provide a full supply of breath for what he is to utter. It is a great mistake to imagine, that the breath must be drawn only at the end of a period, when the voice is allowed to fall. It may easily be gathered at the intervals of the period, when the voice is suspended only for a moment; and by this management, one may always have a sufficient stock for carrying on the longest sentence, without improper interruptions.

Pauses in reading must generally be formed upon the manner in which we utter ourselves in ordinary, sensible conversation; and not upon the stiff artificial manner, which is acquired in reading books according to the common punctuation. It will by no means be sufficient to attend to the points used in printing; for these are far from making all the pauses, which ought to be made in reading. A mechanical attention to these resting places, has perhaps been one cause of monotony, by leading the reader to a similar tone at every stop, and a uniform cadence at every period. The primary use of points, is to assist the reader in discerning the grammatical construction; and it is only as a secondary object, that they regu late his pronunciation. On this head, the following direction may be of use: Though in reading great attention should be paid to the stops, yet a greater should be given to the sense; and their respondent times occasionally lengthened beyond what is usual in common speech.

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To render pauses pleasing and expressive, they must not only be made