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should be the same observation of emphatic syllables as in prose. The pauses relative to the sense only are to be observed in the same manner as in prose; but particular attention must be given to those two peculiar to verse, the cesural and final, as before described, which he calls musical pauses.

The usual fault of introducing sing-song notes, or a species of chanting, into poetical numbers, is disagreeable to every ear but that of the chanter himself. Such readers, indeed, seem generally in high raptures with their own music; for, according to the old observation, Haud cuiquam injucunda que cantat ipse :-i. e. No man's time is unpleasing to himself. But they ought to consider that they are doing great injustice to the poet's music, when they substitute their own in its room. The tune of the poet can then only be heard, when his verses are recited with such notes of the voice as result from sentiments, and a due proportion of time observed in the feet and pauses, the constituent parts of verse.

There does not appear to be any necessity for attending particularly to this pause, as the harmony of the versification, and the very cadence of the line, render it inevitable. It seems to us more necessary to be guarded against than insisted upon, especially when the sense does not terminate with the line. In French tragedy, the versification of

which, from the uniform place of the cesural pause, is monotonous, the author and actor both seem to use every contrivance to avoid the disagreeable recurrence of the final pause.

The author frequently makes the sense close in the middle of the line, and breaks a line between two interlocutors. The actor violates even a full period, and makes no pause till he has run into the beginning of the next sentence. This, at least, was formerly the manner of the French actors, and nothing could be attended with a more unpleasing effect. See Voltaire for examples.

He is always considered as a good reader of rhymes, who in his recitation hardly suffers the hearer to perceive them. Why it should be requisite for the poet to produce what it is a merit in the reader to conceal, we know not;-it is something almost superfluous, like a late fashion of dress, of wearing fine lace-ruffles under the sleeve of a coat which very nearly covers them. The late Mr. Quin, and Garrick also, who was consummate in the science of enunciation, would have turned away with disgust or pity from the repeater of verses, who let them know that they were such by the mere rattling of the metrical faggot.

He faggoted his notions as they fell,

And if they rhymed and rattled, all was well.

DRYDEN.

VII.

FORMATION AND IMPROVEMENT OF THE VOICE.

THE careful perusal of what we have said respecting cadences, transitions, tone, pitch, articulation, accent, emphasis, pauses and breathing, as also the varieties and qualities of the voice, will lead the reader to many useful and practical hints, for both forming and improving his voice, either for speaking or singing. Imitation, when it approaches to mimicry, must always be prohibited; but when it is under strict regulation, and not carried too far, it is indispensable in the proper formation of the voice. Many indeed have not been aware of the powers of their own voices, till they were called forth by endeavouring to imitate others. Imitation, then, should only be used to assist in bringing out the best tones of the voice; but there it should be abandoned, and independence be made the future guide.

CHOICE OF A MASTER.

THE first thing requisite for forming the voice, then, is to choose a good master, who shall both be able to set an example of excellence, to correct faults, and to draw forth the best tones of the voice. The ablest singers, says Tosi, should alone undertake the task of teaching, as they best know how to conduct the scholar from the first elements to perfection; for there is much difference between voicing with true taste, whether given by nature, or formed by art with an eye to nature, and mechanically playing as if they bore no relation to each other; and hence it is, that very few players can sing. Whoever be chosen as master, besides the knowledge of the art, it is requisite, says Tosi, that he be an honest man, diligent and experienced, without the defects of singing through the nose or in the throat, and that he have good command of voice, some glimpse of good taste, ability to make himself understood with ease, a perfect intonation, and a patience to endure the fatigue of a most tiresome employment. To give proof of his honesty, he should make a disinterested trial, whether his proposed pupil have a voice of the qualities suitable to what it is designed to execute, and then give due instruction, so that time and money may not be

unnecessarily thrown away. The instances, says Mr. Bacon, of young people who are misled by the partiality of friends are numberless, and often exceedingly ridiculous. I remember the late Dr. A. having been engaged in a correspondence with a lady in Ireland, who wished to be ushered into the musical world under his protection; and, according to her letter, Madame Mara could not be expected to surpass her ;--she could sing every thing. The lady accordingly came to England; but, on hearing her sing, the Doctor, with his accustomed honesty, exclaimed, "Madam, you must go back to Ireland; for, by G-, unless you and I were shut up in a bandbox together, I could not hear you." About the same time, a person who had lavished an enormous sum in Italy upon the musical education of his wife, brought her to Doctor A. for lessons. The Doctor very candidly told him, the lady had no ear, she sung too sharp, and nothing could be done. This was a severe stroke upon one who aspired to become Prima Donna at the Opera. The Doctor's opinion was, however, verified by the public judgment, for she was advertised for Sadler's Wells the ensuing winter.

SOL-FA-ING.

LET the master, says Tosi, never be tired in making the scholar sol-fa, as it is the only basis of

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