In reading, one should not confine his eyes too much to the book. By this puerile practice, one-half of the effect of his elocation is lost. A good reader has his eyes directed to his hearers, nearly as much as to his book. Great effect may also be produced, by occasionally casting his eyes upon some of the most distant persons in the room. This is, as it were, to hold a closer communion with them, by which their interest in what is read, is greatly increased.

HINTS ON THE ELOQUENCE OF THE PULPIT.

The dignity and importance of this subject require that it always be approached with solemn awe; but the very sacredness of the theological office, has betrayed many a one into a false notion of its true dignity and sanctity. A few, brief remarks, therefore, which go to point out some of the most prominent errours and defects in delivery, prevalent among the clergy of our country, may not be unworthy the attention of young men who are just entering upon the duties of the ministry.

There is not, perhaps, a more common errour of delivery, displayed by him who officiates in the sacred desk, than an affected air of sanctimonious solemnity. This is often exhibited in mien, gesture, and tone. But the preacher who is filled with the grandeur and importance of his subject-who considers that his object is, to convince his hearers of the truth of the sublime doctrines of the Bible, and to persuade them to act in conformity to that conviction, will find no time for laying aside his natural tones and mien, but will enter upon his labours in the true spirit and dignity of native simplicity.

Affectation, like all other evils, is contagious. Many adopt an affected tone and manner merely by imitating a bad precedent, and are not aware that they are thus tainted. Hence, it would be well for a young speaker often to consider, whether he has not mistaken, and adopted, some affected habits for natural graces. If his tones, gestures, and enunciation generally, closely resemble those he would employ in familiar and earnest discourse with others, they may commonly be regarded as natural.

Affectation in the pulpit, is fashionable. This allusion is not made in reference to that affectation of prettiness, adopted by the weak and silly, nor that of sanctimonious austerity and pompous dignity, displayed by the bigoted and hypocritical, but in allusion to that affectation which shows itself in sectarian tone or cant. There is a baptist tone or cant, a methodist cant,

a presbyterian cant, an episcopalian cant, a catholick cant, and a quaker cant; but as there is no religion in any of these cants, as they are all disagreeable to a chaste ear, and degrading to the true dignity of pulpit eloquence, the young clergyman would do well to avoid them.

Though not unfrequently rude and boisterous, yet our methodist preachers are more effective in their manner of delivery than the more polished and scholastick clergy of some other sects. Who has not observed, that with less learning, but more zeal, with less argument, but more fervour, with less formality, but more vehemence, the former often accomplish more than the latter? And what is the cause of this singular difference? One very plain reason is, in their manner, they are more NATURAL. Having drawn their information more from men than books, the knowledge of the former is more practical in its cast than that of the latter; and for this reason, they can apply it to greater advantage, and effect more with small means, than others do with means more ample. If they have not the advantage of scientifick acquirements and literary polish, neither do they labour under the disadvantage of scholastick stiffness and coldness. Although extravagance, and rant, and bawling, and bombast, are by no means commendable in these "fairspoken days," yet, who would not rather have a preacher breathe forth flames like the mares of Diomedon, and lay about him like a mad dragon from the marshes of Lerna, than to come upon them with frigid gusts from the top of mount Ural, and congeal them into an iceberg?

But without stretching farther this chain of unwelcome comparisons, it may be proper to notice one advantage which pulpit eloquence derives from a quarter whence it would seem to be little expected, and that is, from the peculiar habits of "cir cuit riders." They who follow this course of itinerancy, gen erally acquire, in no small degree, what the clergy of other denominations greatly need-a knowledge of human nature: and in this we may perceive an illustration of that grand, equalizing principle laid down by the great Dispenser of all good, by the operation of which, all his creatures, provided they make a proper use of the means placed within their reach, possess nearly an equal chance for usefulness and happiness.

If many of our learned divines would study human nature more, and books less, think more, and write less, extemporize more in the pulpit, and read less in it, seek a closer walk with God, and more frequent walks among their parishioners, they would doubtless become far more eloquent and far more useful.

QUESTIONS.

Of what does chapter 6, treat?

What characteristicks of delivery are included under the term, action ?

What kind of action is most highly recommended?

What kind of language is conveyed by gesticulation and expression of countenance?

What is said of art and cultivation in action?-What, of copying from others? What should be the leading object of a publick speaker? What constitutes a proper dignity of mien?

What should a speaker do with his eyes?

In order to become glowing and truly eloquent, what is requisite in a speaker?

Does visible art assist in oratory?

Does cultivation?

On what are the rules of science founded?

What is said of a slight degree of extravagant warmth in a speaker? -Should he always be in earnest ?

What is said about confining the eyes too much to the book in read ing?

Is an affected manner admissible in a preacher ?-What then?
How may one know when his tones and gestures are natural?
What is said of sectarian cant?

Is it important that a clergyman possess a critical knowledge of hu man nature?

PART II.

CHAPTER I.

SELECTIONS IN PROSE AND POETRY

SECTION I.

SELECT PARAGRAPHS.

Beautiful Metaphor.—IRVING.

1. It is interesting to notice how some minds seem almost to create themselves', springing up under every disadvantage', and working their solitary', but irresistible', way through a thousand obstacles'. Nature seems to delight in disappointing the assiduities of art', with which it would rear legitimate dulness to maturity', and to glory in the vigour and luxuriance of her chance productions'. She scatters the seeds of genius to the winds, and', though some may perish among the stony places of the world', and some be choked by the thorns and brambles of early adversity', yet', others will now and then strike root even in the clefts of the rock', struggle bravely up into sunshine', and spread over their steril birthplace all the beauties of vegetation'.

REMARKS ON SECTION I.

Articulation.-In reading these selections, the first thing to be attended to, is a clear and distinct articulation of every word, and every syllable, and every letter of each syllable, silent letters only excepted.

Modulation. The second important requisite is, to vary the intonation with all the different modulations of the voice which a just and a happy elocution requires. This direction refers to all the varied movements of the voice, considered in regard to pitch, tone, inflection, stress, and cadence, and especially to the prolongation of the tonick and subtonick

elements.

Inflection.-In reading the 1st paragraph, the rising inflection takes place at the words "disadvantage," "maturity," and "sunshine," in accordance with Rule 7, page 82; and the falling, is made at "them selves" and "winds," agreeably to Exception 1, to Rule 7. The rising inflection occurs at "world" and "adversity," according to Exception

Beautiful Simile.—IB.

2. As the vine', which has long twined its graceful foliage about the oak', and been lifted by it into sunshine', will', when the hardy plant is rifted by the thunderbolt', cling round i with its caressing tendrils', and bind up its shattered boughs'; so is it beautifully ordered by Providence', that woman', who is the mere dependant and ornament of man in his happier hours', should be his stay and solace when smitten with sudden calamity'; winding herself into the rugged recesses of his nature', tenderly supporting the drooping head', and binding up the broken heart'.

Volcanoes.-FLINT.

3. Nature has reserved mountains as the machinery for putting forth her sublimest spectacles'. Her most imposing mysteries are accomplished among the snows and storms that envelop their summits`, while the central fires that burn beneath their roots', have been contemplated in all time', as the most terrifick manifestations of his power'. As we mount these ancient piles', majestick solitudes, a purer air', fresher vegetation', flowers of more brilliant hues', the enlargement of the horizon, the expansion of mind', and thoughts more serene and meditative', seem to whisper us that', in climbing the domes of the temple of nature', we are approaching the throne of the Eternal Being who fills nature with his presence'.

2, to the same rule: and this same Exception applies to the inflection at "vine," " oak," "sunshine," "will," "thunderbolt," "boughs," "Providence," ," "woman," and "hours," in the 2nd paragraph. The word "head," in paragraph 2nd, takes the rising inflection, according to Rule 7.

In paragraph 3d, the words "solitudes," "air," and "vegetation,” "hues," horizon," and "mind,” are inflected according to a licensed use of the rules for inflecting a commencing, compound series. In the 4th paragraph, the words come," totter," ," "fire," "world," and "dim," nation," despotism," ," "glory," and "freemen,"take the rising inflection, agreeably to Exception 2, to Rule 7.

Emphasis.-In paragraph 1st, the idea of some minds' creating themselves, is contrasted with the implied idea of other minds which are supposed not to create themselves. See page 112. Though some might expect nature to grieve, yet she "seems to delight, in disappointing the assiduities of art." But the emphasis on delight," as well as on chance," " winds," "stony," ," "adversity," clefts," and "rock," may be properly referred to the principle contained in Rule 2, page 115, and be denominated emphasis of specification.

The emphatick force which falls upon "vine" and "woman,” in the 2nd paragraph, is antithetick, according to Rule 1, page 112.