low-men, they are left almost entirely to themselves; so that there is much pertinency in, the following query of a late Bishop of Cloyne, namely, "Whether half the learning of these kingdoms be not lost, for want of having a proper delivery taught in our Schools and Colleges ?" This is the immediate source of the evil; but before we can discover the true remedy, we must trace it still higher, and ask, Why it is that Elocution is not taught in our places of public education? The reason of this is, because they who are at the head of these establishments, do not think that it is a thing to be taught. They are possessed with a very common prejudice, that Elocution is a subject to which few rules are applicable, and that a young man has himself only to blame, if he do not attain a good delivery by his own unaided exertions. This is the principal reason of the neglect; but there is another which has, no doubt, considerable influence: it is the idea that systematic instruction in Elocution is likely to induce an artificial and unnatural manner. Let us examine these two objections at length.

It is said that Elocution cannot be taught as an art. But why not? We have an art of Painting and of Sculpture, of Fencing and of Riding, and why should we not have an art of Reading and Speaking? They who refuse to consider Elocution in this light, are too apt to regard nature and art as opposed to each other -than which notion none can be more unfounded. Art is a system of rules drawn from the observation of nature, or, as Pope has well expressed it,

Art is but Nature better understood.

To study Elocution as an art, therefore, is not to give

up nature, but only to follow her in a more regular and systematic manner. In the old treatises on this subject we are perpetually exhorted to follow nature; and the direction is given so repeatedly, that our ears are wearied with the very sound of the words. But the only question which can here be of any importance is, What is natural? What are those panses, those elevations or depressions of the voice, those tones, and those gestures, which we should naturally and spontaneously adopt, if we were engaged in conversation, or which would characterize the discourse of a man of good natural powers, and a correct taste, when speaking extempore? If we can discover these, why not point them out, and endeavour to reduce them to general rules? Why not consider the kind and quality of voice, the pauses, the emphasis, and the inflections, which some particular sentence, or member of a sentence, requires, and on this found a general rule, which will be applicable to all sentences of similar import and construction? Let us take an example:

The soul, considered abstractedly from its passions, is of a remiss and sedentary nature, slow in its resolves, and languishing in its executions.

In this sentence it is natural to let the voice fall on the words sedentary nature, and on inquiring the reason, we find that it is, because the first part ending at nature makes perfect sense, and is not modified by what follows. Why, then, should we not lay it down as a general rule, that all sentences of this construction require a fall of the voice where the sense is completed; or, in other words, that all loose sentences require the falling inflection before the loose clause? Again,

Physicians recommend temperance as one of the best means of preserving health.

and sus

In this sentence it is as natural to keep up pend the voice on the word temperance, as it is to let it fall on the words sedentary nature in the former instance; and, on inquiry, we find the reason to be, that, although the first member makes perfect sense, it is yet so modified by the second, as to form what may be called a compact sentence. Why, then, may we not lay it down as a rule here also, that all sentences of this kind require the rising inflection at the end of the first principal constructive part, or immediately preceding the modifying member? Again,

A few sighs, ejaculated in an hour like this, are but a poor atonement for a life spent in vicious pursuits.

In this sentence we naturally suspend the voice not only on the words sighs, this, and atonement, but on pursuits at the end; and the reason is, because the sentence throughout denotes what is negative, weak, inconsiderable, insufficient, and to express this, the rising inflection is much more appropriate than the falling. Why, then, should we not lay it down as a rule, that all sentences expressive of what is weak or inconsiderable must terminate with the rising inflection? Thus to deduce general rules from the observation of particular instances, is what the art of Elocution professes to do; and it is clear that when this is done, a great point is gained; the business of learning to read or speak is wonderfully facilitated, and the progress which an attentive student may make is both rapid and sure.

It is in vain to urge, that good sense, and a culti

vated taste, are all that are requisite to form a good public speaker; for, although it is very true that they who are possessed of good abilities will do much for themselves which others of inferior abilities are obliged to have done for them, it cannot reasonably be doubted that even the most gifted may accelerate their progress by availing themselves of the matured experience of those who have preceded them. It must not be imagined that the progress which a youth of the best sense and of the best taste makes in reading is independent of all rule; it arises, in fact, from his compliance with rules which he has made for himself, and which lie treasured up in his mind, though he himself may scarcely be aware of their existence; and quick as his perception may be, it is too much to affirm that it may not be aided by the experience of those who have made the subject their professed study. If, then, even to those who are blessed with genius, rules be of use, how indispensable must they be to those who have no genius to boast! In short, we may apply to reading what Pope said of writing:

True ease in writing springs from art, not chance,
As they move easiest who have learned to dance.

But it is further objected, that to teach Elocution by rule is likely to produce an artificial and unnatural manner. To this it may be replied, that it is unfair to argue from the abuse of any thing to its utter inutility. Because some of those who have studied the subject secundum artem, have fallen into a stiff, artificial, or affected manner, we are not authorized to conclude that the rules of art are unable to form a na

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tural and unaffected speaker. The fact is, that they whose manner is unnatural and affected, are those who know their art but imperfectly; they are those who have not taken the pains to study the subject thoroughly, or who are influenced by their conceited opinions, to act in opposition to the rules which they have learnt ars est celare artem, or, in other words, perfect art is art concealed. And, on the other hand, it is to be expected that they who are not perfect in their art will make exhibitions of themselves which are any thing else than pleasing, because their application of the rules which have been given them will be accompanied by an evident effort. But to argue from such instances as these, that rules are not only useless but injurious, would be illogical in the extreme.

The necessity of teaching to read by rule will be still more evident, if we consider the obvious defects of the only two other modes which have been adopted. One of these is to leave the student to himself, requiring him at the same time to aim at improvement by diligent study and practice. Of this method it may be sufficient to observe, that although it may to a certain degree succeed with those, who can boast of that superior quickness of perception which almost intuitively discerns what is just and natural, yet with the great majority it will be found to be at best inefficient; or they will even confirm themselves in defects, which they imagine to be excellencies.

The other method is that of imitation, the instructor reading a passage, and the pupil reading it after him. The principle of this method is, Read as I do. But why read as you do? it may be asked.