upon the stage. It may be dwelt upon by the pleader at the bar; or it
may have a place in a sermon. The passion is still grief. But the manner
of expressing it will be different in each of the speakers, if they have
judgment.

A correct speaker does not make a movement of limb, or feature, for
which he has not a reason. If he addresses heaven, he looks upward. If
he speaks to his fellow-creatures, he looks round upon them. The spirit
of what he says, or is said to him, appears in his look. If he expresses
amazement, or would excite it, he lifts up his hands and eyes. If he
invites to virtue and happiness, he spreads his arms, and looks
benevolent. If he threatens the vengeance of heaven against vice, he
bends his eye-brow into wrath and menaces with his arm and countenance.
He does not needlessly saw the air with his arm, nor stab himself with
his finger. He does not clap his right hand upon his breast, unless he
has occasion to speak of himself, or to introduce conscience, or
somewhat sentimental. He does not start back, unless he wants to express
horror or aversion. He does not come forward, but when he has occasion
to solicit. He does not raise his voice, but to express somewhat
peculiarly emphatical. He does not lower it, but to contrast the raising
of it. His eyes, by turns, according to the humour of the matter he has
to express, sparkle fury, brighten into joy, glance disdain, melt into
grief, frown disgust and hatred, languish into love, or glare
distraction.

_On Reading and Speaking_.

FROM BLAIR'S LECTURES.

The first object of a reader or speaker, is, to be clearly understood by
his hearers. In order for this, it is necessary that he should pronounce
his words distinctly, and deliberately; that he should carefully avoid
the two extremes of uttering either too fast, or too slow; and that his
tone of voice should be perfectly natural.

A reader or speaker should endeavor to acquire a perfect command of his
voice; so as neither to stun his hearers by pitching it upon too high a
key; nor tire their patience by obliging them to listen to sounds which
are scarcely audible. It is not the loudest speaker, who is always the
best understood; but he who pronounces upon that key which fills the
space occupied by the audience. That pitch of voice, which is used in
ordinary conversation, is usually the best for a public speaker.

Early attention ought to be paid to the pauses; but the rules for these
are so