EXERCISE V.

Personation.

PERSONATION implies those changes or variations of the voice necessary to represent two or more individuals as speaking.

Personation is employed in reading dialogues, and other colloquial compositions. These writings derive much of their force and beauty from the skillful application of this principle. The pupil, therefore, should exercise his ingenuity and discrimination in studying the characters of the speakers, from their language and other circumstances, in the same manner as he would if they were actually before him.

RULE. Consider the condition, the feelings, and the temperament of the characters to be represented, and vary the voice in such a manner as best to personate them.

THE BOY WHO WISHED TO BE A SOLDIER.

NOTE. The first speaker in this dialogue is a youth, without experience, of high aspirations, lively fancy, and ardent temperament; from which we infer that his manner of expression would be simple, frank, and animated. The other is a parent, whose judgment has been matured by age and experience, and whose mind is influenced by the true value of things, rather than by any external appearances; consequently his expression would be deliberate, decided, and persuasive.

Charles. A soldier, yes, I should like to be a soldier.

Mr. Ashton. I am sorry, my son, that you express any desire to become a soldier; for it has always been my wish that you should choose such a profession as would in the greatest degree promote your own happiness and the best good of your fellow-men; -- but it is a great while for you to look forward to an occupation for life.

QUESTIONS. What is personation? In what kind of reading is personation employed? How may the characters of the speakers be studied? What is the rule for personation? What are the characteristics of the first speaker in this dialogue? What would his manner of expression be? What are the characteristics of the second speaker? What would be his manner of expression?

Becoming a soldier ?

What was Charles' conclusion in respect to

Charles. That is true; but you know many great men have begun when they were only boys; and the sooner I determine what I am to be, the more perfectly I can prepare myself for it when the time comes.

Mr. Ashton. I know it, Charles; yet the studies upon which you are now engaged are such as every man should be acquainted with. What has occurred, just now, to make you so fixed as to your future destination?

Charles. I have been engaged in reading the history of the American Revolution, and

Mr. Ashton. And, pray, what in the history of the American Revolution makes you wish to be a soldier? Do you like the idea of so much fighting with the British and the Indians, who will shoot you down, from behind the fences and trees, as so many squirrels ?

Charles. No, indeed, I should not, it is General Washington that I admire so much. Do you not think, father, that he was a good man, though he was a soldier ?

Mr. Ashton. Truly I do, my son; he was one of the best men that ever lived, notwithstanding he was a soldier. But every soldier is not like him.

Charles. But, father, you have often told me that what man has been, a man may be again; and, if I am a soldier, and try hard, perhaps I may be as good a man as General Washington was.

one.

Mr. Ashton. It is possible, no doubt, but not probable. He, you must recollect, was not made a good man by being a soldier; he continued to be a good man in spite of it, and would have been, perhaps, a better man had he never become But Washington is an exception to all great soldiers, and his military character forms but a small part of his excellence. He was the benefactor, the savior, the father of his country. His benevolence was as great as his valor; his piety and trust in the Deity more remarkable than either. He is an exception to soldiers generally; but the exception does not

make the rule. Besides, you know that Washington fought for the liberties of his countrymen, against oppression and tyranny, as they believed. Now that was a just cause, and a good man can fight only in a just cause.

Charles. But, father, I would not fight, only in a just cause, too, I am sure I would not.

Mr. Ashton. But if you become a soldier for life, you must fight when your country and commander tell you to, whether you think it right or not. Otherwise, while you are discussing and debating the morality of it, others will fight the battles and win the glory. A soldier by profession never asks whether he should, or should not, be morally justified in bearing arms. He only inquires who the enemies of his country are, and where they are, - not why they are so.

Charles. Well, and was not Washington a soldier by profession? I am told he was a major when only nineteen years old.

Mr. Ashton. He was, nevertheless, no soldier by profession. He did not engage in war because it was his business to fight; he was a farmer, and not a soldier. He took up because he thought arms for a season only,―mark that, his country had just cause for war. He left the plow to take up the sword, when his country was in danger; and left the sword to take up the plow again, when the danger had ceased. So you see that fighting was not his occupation.

Charles. Except in a just cause. And are not all wars just, — 1 mean, are not wars generally so?

Mr. Ashton. One side, at least, must always be wrong. Both cannot be in the right at once; both cannot have a just cause for war. But in most cases you would acknowledge, I presume, if you knew the circumstances, that there was nothing on either side sufficient to authorize recourse to so dreadful an expedient as war. Wars generally arise from the ambition of rulers, and are founded upon some petty dispute about boundaries or landmarks, which serve merely as a pretence for engaging in contest.

Charles. Is this really the case? Are rulers so destitute of good moral principle?

Mr. Ashton. I fear it is so in many instances; and if three quarters of the officers and soldiers engaged in battle were asked, after it was over, what they had been fighting for, they would not be able to tell you. They fight because it is their business to fight, and because they earn their living by it, or expect to gain credit, and honor, and rank, and not because their cause is just.

Charles. Well, father, I never thought so much of these things before. To be an officer and wear shining epaulettes, to ride upon a fine horse and command an army, would, indeed, be pleasing to our pride; but I am convinced, by what you have said, that it is wrong to engage in war except in a just cause, in the defence of our country's rights. I will, therefore, think no more of becoming a soldier, and yield to your wishes in the choice of a profession.

Mr. Ashton. I am much pleased, my son, with your decision; and may you ever rest assured that all the glory and honor acquired by fighting, is at the expense of the groans of the slaughtered, and the tears of the surviving friends.

SECTION VI.

READING POETRY.

POETRY has two general divisions, rhyme and blank-verse. In rhyme, the terminating words or syllables in two or more lines correspond in sound. In blank-verse, the lines are measured as in rhyme, but the last words or syllables do not harmonize.

The rules already given for reading prose are equally applicable to poetry. The metrical structure of poetry, however, requires some additional ones, which it is the object of this section to present.

QUESTIONS. What two general divisions has poetry? What is the difference be tween rhyme and blank verse? Will the rules which have been given for prose apply to poetry?

EXERCISE I.

RULE 1. Poetry should be read with a fuller swell of the open vocals, and in a manner more melodious and flowing, than prose.

EXAMPLE.

Now peace to his ashes who planted yon trees,
That welcome my wandering eye!

In lofty luxuriance they wave with the breeze,
And resemble a grove in the sky;

On the brow of the mountain, uncultured and bleak,
They flourish in grandeur sublime,
Adorning its bald and majestical peak,

Like the lock on the forehead of Time.

EXERCISE II.

RULE 2. Poetry should be read in such a manner as best to convey the meaning of the author, and all singsong should be carefully avoided.

EXAMPLE.

Incorrect Reading.

The worm, aware of his intent,
Harangued him thus, right eloquent:
Did you admire my lamp, quoth he,
As much as I your minstrelsy,
You would abhor to do me wrong,
As much as I to spoil your song.

Correct Reading.

The worm, aware of his intent,

Harangued him thus, right eloquent :

QUESTIONS. What is rule first for reading poetry? Illustrate the rule by reading the example. What is rule second? What fault is presented in the incorrect reading of the example? Read the example correctly.