7. A simile ought to be read in a lower tone of voice than the portion of the poem which precedes it.

Thus far the rules we have laid down apply to poetry generally, but as the simulations of the passions enter largely into the recital of heroic verse, it will be necessary to enter briefly into this branch of the subject.

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Mr. Walker, in his elaborate work "The Elements of Elocution," asks, How are we to acquire that peculiar quality of sound that indicates the passion we wish to express ?" and he proceeds, "The answer is easy: by feeling the passion which expresses itself by that peculiar quality of sound. But then the question will return, how are we to acquire a feeling of that passion ?" Without following this author through an essay which extends over many pages, it will be sufficient to observe, that he contends that the simulation of the passions may be obtained by imitation—that is, by observing and noting in the memory the various tones and gestures which accompany them when they arise or are indulged in by others, so that we may dispose ourselves to feel them mechanically, and improve our expression of them when we are called on to read or recite the particular pieces in which they occur; for by the imitation of the passions, we meet them, as it were, halfway.

A condensed résumé of Walker's classification of the passions and his rules (re-modelled) for simulating them, will indicate generally the method that may be employed.

1. TRANQUILLITY.-This may be expressed by the composure of the countenance and a general repose of the whole body, without the exertion of any one muscle. The countenance open, the forehead smooth, the eyebrows arched, the mouth nearly closed, and the eyes passing with an easy motion from object to object, but not dwelling too long on one. Care must be taken to distinguish it from insensibility.

2. CHEERFULNESS adds a smile to tranquillity, and opens the mouth a little more.

3. MIRTH requires a laughing, joyous style of delivery; but buffoonery and grimace must be avoided, or the audience will laugh at and not with the speaker, who should let his subject-matter set his audience laughing before copying their example.

4. RAILLERY puts on the aspect of cheerfulness; the tone of voice should be sprightly.

5. IRONY is expressed by the sneer, which is ironical approbation A satirical tone of voice, look, and gesture, should accompany it.

6. Joy radiates the countenance with smiles, and lights up, as it were, the whole frame. Walker recommends "clapping the hands," "raising the eyes to heaven," and "giving such a spring to the body as to make it attempt to mount up as if it could fly"—but all such extravagances must be avoided.

7. DELIGHT.-The tones, gestures, and looks are the same as joy, but less forcible and more permanent.

8. Love must be approached with the utmost delicacy; it is best expressed by a deep, impassioned, fervent tone; the right hand may be pressed over the heart, but the "languishing eyes" recommended by some authors borders too closely on burlesque. A steady, respectful gaze on the assumed object of affection may be permitted.

9. PITY may be denoted by an expression of pain on the countenance, and a compassionate tenderness of voice. The mouth open, and a gentle raising and falling of the hands and eyes, as if mourning over the unhappy object.

10. HOPE erects and brightens the countenance, spreads the arms with the hands open, as to receive the object of its wishes. The voice is plaintive and inclining to eagerness.

11. HATRED draws back the body as to avoid the hated object; the hands at the same time spread out, as if to keep it off. The pitch of the voice is low, but harsh, chiding, and vehement.

12. ANGER expresses itself with rapidity and harshness-and sometimes with interruption and hesitation, as if unable to utter with sufficient force. RAGE and FURY are exaggerations of this passion.

13. REPROACH requires the contracted brow and the curled lip; the voice is low and the whole body expressive of aversion.

14. FEAR is one of the most difficult and elaborate passions to simulate. The breath must appear quick and short; the voice trembling and weak; the body as if shrinking from danger. When attended with terror and consternation, one foot is drawn back as if putting itself into a posture for flight.

15. SORROW.-Countenance dejected, eyes cast down, arins hanging loose, the voice plaintive and interrupted by sighs.

16. REMORSE.-Head hangs down, the voice low and harsh.

17. DESPAIR can only be touched by an accomplished actor. The amateur should attempt nothing beyond reading or reciting the passage, depicting it in a deep and solemn tone.

18. SURPRISE may be expressed by the mouth and eyes being wide open; the voice in the upper pitch. WONDER, AMAZEMENT, and ADMIRATION, come under this head.

19. PRIDE assumes a lofty look; the eyes well open, the words uttered in slow, stiff, affected style.

20. CONFIDENCE-COURAGE.-In both the head is erect, the breast projected, the countenance clear and open, the voice loud, round, and not too rapid. BOASTING exaggerates these by noise and blustering.

21. PERPLEXITY, with which may be classed IRRESOLUTION and ANXIETY, requires an expression of thoughtful consideration; the motions of the body are restless, the pauses long, the tone of the voice uneven.

22. VEXATION expresses itself with looks of perplexity; the tones are sharp and broken; the hands restless.

23. ENVY.--Envy arises from a mixture of joy, sorrow, and hatred; it sometimes assumes a mocking tone.

24. MALICE sends flashes from the eyes and closes the teeth. The voice is expressed as in anger.

25. JEALOUSY displays itself in such a variety of forms that it may embrace any of the foregoing; the text of the author will discover which

26. MODESTY bends the body forward, and has a placid, downcast countenance; the tone of voice is low.

27. SHAME turns away the face from the beholders, casts down the eyes; the voice is confused and faltering.

28. GRAVITY.-The posture of the body and limbs is composed and without much motion; the speech slow and solemn, the tone without much variety.

29. ADMONITION assumes a grave air, bordering on severity; the voice assumes the low tone, bordering on the monotone.

30. REPROOF puts on a stern aspect and roughens the voice; it is sometimes accompanied by threatening gestures.

A number of other examples might be given, but the pupil who has mastered the above will scarcely need further instruction.

CHAPTER VIII.

USEFUL HINTS.

1. WHERE the opportunity is afforded you, try the acoustic properties of the room in which you are to recite beforehand. You will thus ascertain the proper pitch on which to commence.

2. If the room be large and resonant, be careful to speak slowly, allowing time for the voice to travel; otherwise the words will become jumbled, run one within another, and indistinctness will result. The attention with which you are listened to will soon convince you if you are heard or not.

3. Never read in public a piece with which you are previously unacquainted: you must, in order to give the proper emphasis to the lines before you, be acquainted with what is to follow. At least one perusal of the piece you may be called on to read should be insisted on.

4. To preserve the voice, bathe and gargle the throat morning and evening, using cold water. As a rule, muffling up the throat is relaxing and injurious, but it is advisable to do so when going from a warm room into the cold air. Keep the mouth closed until you have walked some time or reached home, and you may then speak at pleasure.

5. If you have to read or recite for some time you may just moisten the lips with cold water, but avoid drinking it in any quantity. Good bottled stout, which has been drawn sufficiently long for the froth to subside, is the best thing to sing or speak on. Especially avoid sherry and spirits neat or diluted. A glass or two of old, dry port wine may be taken with advantage before commencing, or in the interval, where one is afforded.

6. Never speak through a confirmed hoarseness, if it can be avoided. If your voice is out of order a new-laid egg beaten up with a tea

spoonful of the compound tincture of cinnamon may be taken with advantage, but avoid all nostrums for the voice; many of them contain opium, and will ultimately and permanently injure it. For nervousness a couple of teaspoonfuls of sal volatile in a wineglass of water will be found useful. Spirits or spiritsand-water cause a dryness of the tongue, and will only increase your misfortune.

7. It is a too common fault with many speakers and readers to imitate the voice and manner of some particular actor; your own natural and ordinary voice should alone be used, except in a reading embracing a personation, such as of an Irish, Scotch, or Yorkshireman, &c., and these should be studied from actual observation, and not from hearing others imitate them. This, however, may be styled mimicry, it cannot be called elocution.

8. The H is silent in heir, honest, honour, hospital, hour, humble, humour, and the words derived from them.

9. The careless or ignorant speaker will often trip in the following words, which are vulgarisms to be specially avoided; viz., feller for fellow-winder for window-lor for law-sor for saw-voilet for violet-voiolent for violent-moi for my-as well as using an aspirate in an improper place, as hair for air-hoil for oil, &c.

10. For hoarseness chew a small piece of horse-radish frequently, or take a cayenne lozenge. Braham is said to have bitten a piece out of the back of a red-herring to effect a speedy cure, but the relief could only have been temporary. For hoarseness arising from wver-exertion of the voice a small piece of gum catechu dissolved in the mouth has been recommended.

11. Loud speaking, long continued, with the lungs but partially distended, is very injurious to those organs; it is apt to occasion a spitting of blood, which is not unfrequently a precursor of puk monary consumption. But loud speaking, with proper management of breath, is a healthful exercise; besides strengthening the muscles which it calls into action, it promotes the decarbonization of the blood, and consequently exerts a salutary influence on the system generally.-COMSTOCK.

12. “A public speaker, possessed of only a moderate voice, if he