Wept o'er his wounds, or, tales of sorrow done,

Shoulder'd his crutch,|- and show'd - how fields were won. - J; R

And quite forgot their vices in their woe;

Pleased with his guests, the good man learn'd to glow,

Careless their merits or their faults to scan,

His pity gave ere charity began.

Thus to relieve the wretched was his pride,

And even his failings lean'd to virtue's side; -
But in his duty prompt at every call,

A

B

C; &

A

B

He watched - and wept, he pray'd - and felt, for all: - C; D; E; F And, as a bird each fond endearment tries,

To tempt its new-fledged offspring to the skies, -
He tried each art,|- reproved each dull delay, -
Allured to brighter worlds, and led the way. -
Beside the bed! - where parting life was laid, -
And sorrow, guilt, and pain, by turns dismay'd, -
The reverend champion stood.[- At his control,
Despair and anguish fled the struggling soul; -
Comfort came down the trembling wretch to raise, -
And his last faltering accents whisper'd praise. -
At church, with meek and unaffected grace,
His looks adorned the venerable place; -
Truth from his lips prevail'd with double sway, -

And fools, who came to scoff, - remain'd to pray.
The service past, around the pious man,

With steady zeal, each honest rustic ran; -
Even children follow'd, with endearing wile, -

And pluck'd his gown, to share the good man's smile;

His ready smile a parent's warmth express'd;

G; H

I; J

а

2a,

A

Ꭺ

B

C

A

B

Their welfare pleased him,|- and their cares distress'd: - E; F
To them his heart, his love, his griefs were given, -
But all his serious thoughts had rest in heaven. -

- As some tall cliff that lifts its awful form,

Swells from the vale,|- and midway leaves the storm, -
Though round its breast the rolling clouds are spread, -
Eternal sunshine settles on its head. -

Pause of Feeling.

A; B

C

41. As in the corresponding part of Emphasis, no precise rules can be laid down for the use of the 'Pause of Feeling,' the right application of which must depend on the nature of the subject, and the taste and judgment of the reader. The following Exercise is given rather with the view of showing how the learner under the direction of his teacher may mark such passages for himself than as an absolute standard of correctness. The varieties of type are an attempt to denote to the eye the degree of stress to be given to each emphatic word. No exact time can be fixed for the length of the pause, which

ought to be made long or short according to the nature and sentiment of the passage which is being read. The voice should have a tone of continuance throughout, which constitutes the difference between a pause and a break.

Ex. 25.

HAMLET'S SOLILOQUY.

Marked for the Pause and Emphasis of Feeling.

TO BE or NOT to be that is the question; -
Whether 'tis nobler in the mind to suffer

The slings and arrows of outrageous fortune

Or to take arms against a sea of troubles

And by opposing - end them? - To DIE? - To SLEEP

No more and by a sleep to say we end

The heartach and the thousand natural shocks
That flesh is heir to 'tis a consummation

Devoutly to be wished. To DIE - to SLEEP

TO SLEEP! - Perchance to DREAM! - Ay, there's the rub -
For in THAT sleep of DEATH what dreams may come,

When we have shuffled off this mortal coil

Must give us pause. THERE's the respect

That makes calamity of so long life.

For who would bear the whips and scorns of time -
The oppressor's wrong - the proud man's contumely -
The pangs of despis'd love the law's delay -

The insolence of office and the spurns

That patient merit of the unworthy takes -
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life -
But that the dread of SOMETHING after death -
The undiscovered country from whose bourn
No traveller returns - puzzles the will-

And makes us rather bear those ills we have
Than fly to others that we know not of.

Thus CONSCIENCE does make COWARDS of us all-
And thus the native hue of resolution

Is sicklied o'er with the pale cast of thought
And enterprises of great pith and moment
With this regard their currents turn away
And lose the name of ACTION.

Ex. 26.

DEATH OF PAUL DOMBEY.

Paul closed his eyes with those words and fell asleep. Then he awoke the sun was high- and the broad day was clear and warm. He lay a little - looking at the windows - which were open - and the curtains rustling in the air and waving to and fro. Then he said Floy - is it to-morrow? - is she come?'

Some one seemed to go in quest of her. The next thing that happened was a noise of footsteps on the stairs - and then-Paul

woke - WOKE mind and body and sat upright in his bed. He saw them now about him. There was no grey mist before them as there had been sometimes in the night. He knew them EVERYONE and called them by their names. 'And who is THIS? Is this my old nurse?' asked the child - regarding with a radiant smile a figure coming in. Yes YES. No other stranger would have shed those tears at sight of him - called him her DEAR boy her PRETTY boy her own - poor - BLIGHTED child. No other woman would have stooped down by his bed and taken up his wasted hand and put it to her lips and breast as one who had some

right to fondle it. No other woman would have so forgotten everybody there but him and Floy - and been so full of TENDERNESS and PITY.

Floy! this is a kind good face - I am glad to see it again. Don't go away old nurse - Stay here - Good-bye!'

·

GOOD-BYE my child' cried Mrs. Pipchin - hurrying to the bed's head NOT good-bye!'

Ah, yes good-bye! Where's рара ?'

He FELT his father's breath upon his cheek before the words had parted from his lips. The feeble hand - waved in the air - as if it cried good-bye' again.

'Now lay me down and Floy come close to me and let me see you!'

SISTER and BROTHER Wound their arms around each other - and the golden light came streaming in - and fell upon them - locked together.

How fast the river runs between its green bank and the rushes Floy! But its very near the sea - I hear the WAVES! They always said so!'

Presently he told her that the motion of the boat upon the stream was lulling him to REST - how green the banks were Now how bright the flowers growing on them how tall the rushes! Now The boat was out at sea but gliding smoothly on. And there was a shore before him. WHо stood on the BANK?

NOW

He put his hands TOGETHER - as he had been used to do, at his PRAYERS. He did not remove his arms to do it - but they saw him fold them so - behind his sister's NECK.

'Mama is like you Floy - I know her by the face. But tell them that the picture on the stairs at school is not DIVINE enough. The light about the head is shining on me as I go!' The golden ripple on the wall came back again - and nothing ELSE stirred in the room. The OLD OLD FASHION - the fashion· that came in with our first garments and will last unchanged until our race has run its course and the wide firmament is rolled up like a scroll. The OLD OLD-FASHION- DEATH! Oh! THANK GOD - all who see it for that OLDER fashion yet of - IMMORTALITY. And look upon us dren with regards not quite estranged bears us also to the OCEAN!

24

PART II.

EXERCISES IN READING,

ILLUSTRATING THE FOREGOING RULES AND PRINCIPLES.

42. The principal points in connection with Enunciation and Expression, to which the attention of the learner should be directed, have now been touched upon briefly, but it is hoped with sufficient fulness for all practical purposes, in the foregoing pages. But to secure good reading, which is the foundation of good speaking, some additional practice will be necessary in the reading of more extended passages. The extracts which follow range over almost every variety of style, from simple narrative and description, and lively dialogue and repartee, to the 'lofty line' of Shakspeare and Milton. The marginal references are intended to draw the attention of the pupil to the alternations of thought and feeling in the passages selected, so as to serve as a guide to their proper expression in reading and delivery. The marks for emphasis in the earlier Exercises are designed to indicate the words and phrases on which stress should be laid; the degree of such stress being left, under the guidance of the teacher, to the judgment of the pupil. As he advances these marks are discontinued, as it is considered that he will by that time be able to dispense with such aids. A few practical directions are appended, which it is hoped may not be without use to young readers. The great rule for good reading, however, to which reference has been more than once made-a thorough mastery of the sense-must be the constant aim of the learner. When this end has been attained, nature and habit will spontaneously suggest the proper delivery, and then rules or directions for the purpose become unnecessary.

SHORT DIRECTIONS FOR YOUNG READERS.

1. When you read stand in an erect position, with your head well up, your shoulders thrown back to expand the chest, and your face towards the person who hears you.

2. Hold your book about six or eight inches in front of the body, and as high as the centre of the breast, so as not to compel you to stoop or to bend the head in reading.*

3. Breathe as much as possible through the nostrils and not through the mouth; and manage your inspirations so as not to create unnecessary pauses or alterations in the tone of the voice in reading.

4. Read slowly, and with due attention to the stops, emphases, and pauses.

5. Pronounce each word distinctly, and be particular in articulating clearly and audibly the final letters and syllables of words, and the closing words of sentences.

6. Let the tones of your voice in reading be the same as if you were speaking. 7. Before reading any passage aloud, read it over carefully to yourself and study it.

8. Above all, understand what you read, and read it as if you understood it.

* See Vignette.

I CONSIDER a human sòul without education, like márble in the quarry, which shows none of its inherent beauties until the skill of the pólisher fetches Narration out the còlours, makes the surface shíne, and discovers every ornamental cloùd, spòt, and vein that runs through the bòdy of it. Education, after the same manner, when it works upon a noble mind, draws out to view every latent virtue and perféction, Comparison which, without such helps, are never áble to make their appearance.

If my reader will give me léave to change the allusion so sóon upon him, I shall make use of the same instance to illustrate the force of education, which Aristotle has brought to explain his doctrine of substantial forms, when he tells us that a stàtue lies híd in a block of marble, and that the art of the státuary only clears away the superfluous mátter and removes the rùbbish. The figure is ín the stone, and the sculptor only finds it. What sculpture is to a block of márble, education is to a human soùl. The philosopher, the saínt, or the hèro-the Enumerawise, the goòd, or the great man-very often lies hid and concealed in a plebèian, which a proper education might have disintérred, and have brought to light. I am therefore much delighted with reading the accounts of savage nations, and with contemplating those virtues which are wild and uncùltivated; to see courage exerting itself in fièrceness, resolution in òbstinacy, wisdom in cúnning, patience in sullenness and despair.

It is an unspeakable blessing to be born in those parts of the world where wisdom and knowledge flourish; though it must be conféssed there are, even in thèse parts, several poor uninstructed pérsons, who are but little above the inhabitants of those nations of which I have been here speaking; as those who have had the advantages of a more liberal education, rise above one another by several different degrees of perfection. For, to return to

tion

Gratitude