7. If there's a Power above us-and that there is, all Nature cries aloud through all her works-He must delight in virtue; and that which He delights in must be happy.

8. The soul of eloquence is the center of the human soul itself, which, enlightened by the rays of an idea, or warmed and stirred by an impression, flashes or bursts forth to manifest, by some sign or other, what it feels or sees. This it is which gives movement and life to a discourse: it is like a kindled torch, or a shuddering and vibrating nerve.

9. WHY did he pause? Why does a man's heart PALPITATE when he is on the point of committing an UNLAWFUL deed? Why does the very MURDERER, his victim sleeping before him, and his glaring eye taking the measure of the blow, strike wIDE of the mortal part? Because of CONSCIENCE!

10. Ye glittering towns, with wealth and splendor crowned; Ye fields, where summer spreads profusion round;

11.

12.

Ye lakes, whose vessels catch the busy gale;

Ye bending swains, that dress the flowery vale;
For me your tributary stores combine:

Creation's heir, the world, the world is mine!

Think

Of the bright lands within the western main,
Where we will build our home, what time the seas
Weary thy gaze ;-there the broad palm-tree shades
The soft and delicate light of skies as fair
As those that slept on Eden ;-Nature, there,
Like a gay spendthrift in his flush of youth,
Flings her whōle treasure in the lap of Time.-
On turfs, by fairies trod, the Eternal Flora
Spreads all her blooms; and from a lake-like sea
Wooes to her odorous haunts the western wind!
While, circling round and upward from the boughs,
Golden with fruits that lure the joyous birds,

Melody, like a happy soul released,

Hangs in the air, and from invisible plumes

Shakes sweetness down!

Beauty-a living presence of the earth,

Surpassing the most fair ideal forms

Which craft of delicate spirits hath composed
From earth's materials—waits upon my steps;
Pitches her tents before me as I move,

Elysian, Fortunate Fields-like those of old

Sought in the Atlantic main-why should they be
A history only of departed things,

Or a mere fiction of what never was?

For the discerning intellect of man,

When wedded to this goodly universe
In love and holy passion, should find these
A simple produce of the common day.

13. How beautiful this night! The balmiest sigh,
Which vernal zephyrs breathe in evening's ear,
Were discord to the speaking quietude

I

That wraps this moveless scene.

Heaven's ĕbon vault,

Studded with stars unutterably bright,

Through which the moon's unclouded grandeur rolls,
Seems like a canopy which love has spread

To curtain her sleeping world. Yon gentle hills,
Robed in a garment of untrodden snow;
Yon darksome rocks, whence icicles depend,-
So stainless, that their white and glittering spires .
Tinge not the moon's pure beam; yon castled steep,
Whose banner hangeth o'er the time-worn tower
So idly, that rapt fancy deemeth it

A metaphor of peace ;-all form a scene
Where musing solitude might love to lift
Her soul above this sphere of earthliness;

Where silence, undisturbed, might watch alone,
So cold, so bright, so still.

III. INFLECTIONS.

NFLECTIONS are the bends or slides of the voice, used in reading and speaking.

Inflection, or the slide, is one of the most important divisions of elocution, because all speech is made up of slides, and

because the right or wrong formation of these gives a pervading character to the whole delivery. It is to the graceful formation of the slides that we are chiefly indebted for that easy and refined utterance which prevails in polished society; while the coarse and rustic tones of the vulgar are commonly owing to some early and erroneous habit in this respect. Most of the schoolboy faults in delivery, such as drawling, whining, and a monotonous singing sound, result from a wrong formation of the slide, and may be corrected by a proper course of practice on this element of speech.

A slide consists of two parts, viz.: the radical, or opening sound, and the vanish, or gradual diminution of force, until the sound is lost in silence. Three things are necessary to the perfect formation of a slide.

1st. The opening sound must be struck with a full and lively impulse of voice.

2d. The diminution of force must be regular and equable— not more rapid in one part than another, but naturally and gracefully declining to the last.

3d. The final vanish must be delicately formed, without being abrupt on the one hand, or too much prolonged on the other.

Thus, a full opening, a gradual decrease, and a delicate termination, are requisite to the perfect formation of a slide.

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There are three inflections or slides of the voice: the RISING INFLECTION, the FALLING INFLECTION, and the CIRCUMFLEX. A mark inclining to the right' is sometimes used to indicate the Rising Inflection; a mark inclining to the left, the Falling Inflection. When the Circumflex commences with a rising and ends with a falling slide of the voice, it is indicated thus, ; but when it commences with a falling and ends with a rising slide, it is indicated thus, which the pupil will perceive is the same mark inverted.

Though each of the above marks always indicates an inflection of the same kind, yet the slides differ greatly in the degree, or extent of their rise or fall. In some, the voice has a very slight, and in others, a very marked upward or down

ward movement, depending on the nature of what is expressed. We do not give definite rules touching these shades of difference in the degree of inflection, as they would rather perplex than aid the learner. In a few examples, however, this difference is indicated by the use of italics and CAPITAL

LETTERS.

1. THE RISING INFLECTION is the upward bend or slide of the voice; as, Do you love your home'?

2. THE FALLING INFLECTION is the downward bend or slide of the voice; as, When will you go home'?

The rising inflection carries the voice upward from the general pitch, and suspends it on the highest tone required; while the falling inflection commences above the general pitch, and falls down to it; as, Did you say or At the al end, or final close, of a declarative sentence, when the falling slide commences on the general pitch, and falls below the key, it is sometimes called the Cadence, or falling slide of

termination; as, God is Love.

4. THE CIRCUMFLEX is the union of the inflections of the voice on the same syllable or word, either commencing with the rising and ending with the falling, or commencing with the falling and ending with the rising, thus producing a slight wave of the voice; as, Mother, you have my father much offended.

RULES FOR THE USE OF INFLECTIONS.

1. DIRECT QUESTIONS, or those that can be answered by yes or no, usually require the rising inflection; but their answers, the falling; as,

Has any one sailed around the earth'? Yes', Captain Cook'.

EXCEPTIONS.-The falling inflection is required when the direct question becomes an earnest appeal, and the answer is anticipated; and when a direct question, not at first understood, is repeated with marked emphasis; as,

Will her love survive your neglect'? and may not you expect the sneers, both of your wife', and of her parents`?

Do you reside in the city'? What did you say, sir'? Do you reside in the city'?

2. INDIRECT QUESTIONS, or those that can not be answered by yes or no, usually require the falling inflection, and their answers the same; as,

Who said, "A wise man is never less alone than when he is alone?" Swift'.

EXCEPTIONS. The rising inflection is required when an indirect question is used to ask a repetition of what was not at first understood; and when the answers to questions, whether direct or indirect, are given in an indifferent or careless manner; as,

Where did you say? Shall I tell your enemy'? As you please'!

3. QUESTIONS, WORDS, AND CLAUSES, CONNECTED BY THE DISJUNCTIVE OR, usually require the rising inflection before, and the falling after it; though, when or is used conjunctively, it takes the rising inflection after, as well as before it; as,

Does he deserve praise', or blame? Can youth', or health', or strength', or honor', or pleasure', satisfy the soul'?

4. WHEN WORDS OR CLAUSES ARE CONTRASTED OR COMPARED, the first part usually has the rising, and the last the falling inflection; though, when one side of the contrast is affirmed, and the other denied, generally the latter has the rising inflection, in whatever order they occur; as,

I have seen the effects of love' and hatred`, joy' and grief, hope' and despair. This book is not mine', but yours'. I come to bury` Cæsar, not to praise' him.

5. FAMILIAR ADDRESS, and the pause of suspension, denoting condition, supposition, or incompleteness, usually require the rising inflection; as,

Soldiers', friends', Americans', our country must be free.
If thine enemy hunger', give him bread to eat.