Then he would take words of three syllables, words of four, &c. &c.; and after learning to give to one word, and to all its syllables and letters, a proper sound, he would take a short sentence, write it down, and read and speak it for days; then longer sentences, and then pieces, of several sentences, &c. &c., learning to enunciate each syllable, accenting the right one, and each word, emphasizing those which should be emphasized. He was careful, too, in his conversation; he would, when conversing in any circle, on, any subject, be mindful to articulate his words distinctly, and to give to every letter, syllable, word, and sentence, its proper sound and force. In this way he became a great orator, and a reader whose articulation and voice gave a charm to the dullest styles; and in conversation he was, on all occasions, and is yet, an interesting, instructive, and very entertaining companion.

Common errors in enunciation are

1. The omission or obscuring of words and the running of words into each other: as "let's go" for "let us go." "The heat o' the day" for "the heat of the day," "he's ready t'eat his dinner" for "he is ready to eat his dinner," &c. &c. A great many other examples of this error will occur to the teacher. 2. In omitting and obscuring the sounds of letters in a word: "it is my b'lief" for "my belief," &c. &c.

as

3. In articulating words of more than one syllable so as to give no distinct sound to any but the accented syllable; and in pronouncing words of one syllable so as to give the sound of only one letter.

Feebleness, arising from a want of full and forcible emission of voice, and of due energy in the action of the organs, particularly of the tongue, the teeth, and lips-rapidity-and a whirring, hissing sound, that barely conveys an idea, without giving to it its proper lights and shades, are the common faults to be struggled against by any one.

Note.-Enunciation and articulation are here treated as the same: enunciation is the proper way of sounding or uttering words in a sentence; articulation, of uttering syllables and letters in a word. But one embraces the other: those who articulate well will enunciate properly, and vice versa.

III. OF PAUSES.

When we have learned to enunciate properly, or to sound, to give utterance to a single sentence, or several sentences, we ought, in the next place, to know how long to pause between sentences. To guide us in this respect, certain marks are used in all books; and these are―

The comma (,) requires a pause about as long as it takes to count one. A semicolon (;) requires a pause about as long as it takes to count two-a colon (:) three-a period (.) four: here the voice should stop, as though the sense of the sentence was completed.

All persons, when writing, should learn to use these pauses in their composition; and this habit, and that of observing them attentively in all they read, will teach them the use, force, and importance of the pauses. In addition to those already given, there are a number of other marks, indicating particular things.

A note of interrogation (?) is used to denote the end of a question, and requires about as long a pause as a period. A note of admiration or exclamation (!) is used after words that express something wonderful or affecting: it requires about as long a pause as a period.. An apostrophe (') denotes the omission of a letter, as form'd for formed. The asterisk (*) is used to refer to something in the margin or bottom of a page; and several asterisks-thus ***-denote the omission of a word or sentence. The caret (^) is placed under a line where a word has been

will

carelessly omitted, and then inserted, as "I leave town soon.

Λ

The crotchet ([]) generally includes words that are used to explain other words, as: "He arrived here [in Raleigh] yesterday at noon.' The dash (-) is used to divide parts of a sentence, and sometimes to give greater force to some part of a sentence, as: "We have begun the Central Railroad-a road that is to bind together Eastern and Western North-Carolina." The hyphen (-) is used to separate syllables and compound words. The dagger (†), double dagger (†), parallel (||), and figures (1, 2, 3, &c.) are all used to refer to something in the margin. The paragraph (T) denotes the beginning of a new subject, and is used chiefly in the Bible it is also used to refer to something in the margin. The section (§) is used to divide a discourse into different parts. The parenthesis () includes a sentence that is within another. Quotation marks ("") are used at the beginning and end of a word or sentence extracted from some other work.

The explanation of these things properly belongs to the more elementary treatises: still, a few observations on the use of pauses

and other marks will not be out of place in every work on the art of reading.

The reader should be careful to remember the nature of every mark he sees on the page before him, recollecting that each has its meaning: he should pause properly at the pauses; raise his voice when a note of interrogation is used; lower it and read more rapidly the sentence in brackets, and give to it its proper tone; indicating surprise, horror, or joy, &c. &c., where the exclamation is inserted.

All the pauses and marks are intended to attract the attention of the reader-they are, in fact, a part of the text; nor can its force or beauty be understood or appreciated if they are neglected. They are so many guide-posts, intended to direct the eye to something in the margin, or to regulate the voice according to the sense and sentiment of the writer..

IV. OF EMPHASIS.

In every sentence there is some word of peculiar force; some word more important than the others, in the utterance of the idea intended to be conveyed. This important word is the emphatic word; and hence emphasis may be defined to be peculiar force of utterance of a particular word, or phrase, by unusual energy of articulation on accented syllables.

There are two common faults in the enunciation of emphatic words: the first is the omission or slighting of it, and the second the unnecessary and formal marking of it, by studied force of expression.

In order to know how to emphasize properly, the pupil must understand the sentiment intended to be conveyed: he must know what the writer means. Hence it would be useful for teachers to make the students express their sense of the writer's meaning in their own language; and if they seem not to understand it, to explain it to them. The teacher should often read passages requiring peculiar emphasis; and he should inculcate on the student a habit of studying the meaning, feelings, and emotions of the writer. He is a poor reader, indeed, who only knows how to pronounce the words and observe the pauses: he is the best reader who best comprehends the meaning of what he reads.

Every one can read his own compositions better than he can read those of others; and this is manifestly because he best knows his own meaning.

Hence, to read well, requires a just conception of the views expressed in the text; and every reader should, therefore, study to understand exactly what the writer means. He should, in the first

place, observe the scope or aim of the argument; should try to find out what it is the writer wishes to prove, or what emotion he wishes to excite. The character who speaks or writes, in the text-the subject of the discourse-the time when it was written or supposed to have been written, the place where it is said to have been spoken-and the general tenor of the style, &c., will give the reader an idea of the object aimed at by the composition, whether it be to prove a proposition, or to excite pleasant, painful, or sorrowful emotions. Having satisfied himself on this point-and this is indispensable-the reader must, in the second place, keep his dictionary by him, and look for the meaning of every word which he does not fully understand. Every reader-every one who reads should keep a dictionary by him.

The student, by following these rules, will soon learn how to make the proper emphasis; and while he is learning to read well, he will also be gaining instruction and profiting by what he reads.

V. OF INFLECTION.

Inflection, as applied to elocution, or the art of reading, literally means the inclining or sliding of the voice up or down. In other words, inflection is the science of modulating or regulating the tones of the voice.

To understand this, the reader must know the rules in regard. to pauses, to enunciation, and emphasis: he must know how every word is pronounced, how to enunciate or articulate it properly, when to read fast, when slow, when to emphasize, when to be gay, when sarcastic, when solemn or sorrowful. The tones of his voice should rise and fall according to the sense of what he reads: and here again is seen the importance of fully comprehending the meaning of the author.

We should avoid, 1st, a monotonous tone—and 2dly, a humdrum or droning tone of voice. We should read as we talk; and when reading, imagine ourselves to be speaking our own sentiments. We should use our own natural tones; and whether reading a plain narrative, a stirring burst of eloquence, or a plaintive song, read as if we were uttering these sentiments from our hearts, to some one sitting near us.

If reading an argument, we should imagine that we were arguing with a friend to convince him-if an appeal to the passions, imagine that we were making it to carry some purpose of our

own.

An assumed tone of voice, for reading or speaking—a drawling tone-and a droning tone are especially to be avoided.

GENERAL RULES. (MOSTLY FROM WORCESTER.)

1. When reading, you should look forward a little, as you do in walking, to see what is before you, what things will make you pause, and where you must stop.

2. Read so slowly that you can speak all the words distinctly; but do not drawl or sing your words.

3. Do not read as though you were reading or talking to yourself, but as though you were telling something to others.

4. Read to any person as loudly as you would speak if talking to him.

5. Avoid reading rapidly and carelessly as you approach the end of a sentence,

6. Sit or stand erect, when you read. Leaning the head and shoulders forward causes the voice to sound badly.

7. Be careful to learn and remember the stops and marks so well that you will know their meaning whenever you meet them. 8. Do not read easy lessons too fast; but always think of what you are reading, and carefully catch the meaning as you read. 9. Do not repeat your words; and do not omit the sound of fin of, where it always sounds like v.

10. Read questions as you would ask them; and let your voice fall at the end of answers to questions.

11. Both poetry and prose that relate to religious subjects should be read more slowly, distinctly, and seriously, than what relates to other subjects.

12. In reading humorous pieces, the reader must not laugh; but in reading melancholy tidings or pathetic pieces, he may properly manifest emotions.

13. Above all things, when reading or speaking, endeavour to think only of the subject of discourse.

14. Avoid the habit of coughing and making other unpleasant noises, just as you are beginning to read.

15. Do not read as if you were hurrying through a task.

16. Never run your words together: always pronounce every word in the sentence.

17. Keep a dictionary always by you, a standard pronouncing dictionary; and look in it for every word which you do not know how to pronounce, or whose meaning you do not understand.

18. Endeavour to look often at the persons to whom you read; and look at them as if you were talking to them.

19. When you are alone, think of your faults; when with others correct those faults. Apply this rule in all things.

20. Listen to corrections and heed them, being willing to be corrected.