Rule for the final Rhythmical Pause.

If the final pause be necessary to the sense, it may be a breathing pause; if not, it should be a suspension of voice without taking breath.*

Final Breathing Pause:

"Launch thy bark, mariner!

Christian, God speed thee;|
Let loose the rudder-bands,
Good angels lead thee!|
Set thy sails warily;

Tempests may come.

Steer thy course steadily;

Christian, steer home."-MRS SOUTHEY,

Final Pause of Suspension:

"Yet not to thine eternal resting-place |

Shalt thou retire alone, nor couldst thou wish |
Couch more magnificent. Thou shalt lie down |
With patriarchs of the infant world, with kings,
The powerful of the earth—the wise, the good—
Fair forms, and hoary seers of ages past,

All in one mighty sepulchre."-W. C. BRYANT.

GRAMMATICAL PAUSES, OR PUNCTUATION MARKS. Grammatical pauses, or marks of punctuation, are visible signs made in written or printed composition to indicate more plainly the meaning of the author's words.

(.) PERIOD, denoting a full stop, and abbreviations; as, H. for Henry, Mr. for Mister.

(?) INTERROGATION POINT, showing that a question is asked.

* In reading poetry there are two common errors. First, that of running one line into another without pause; the second, that of taking breath at the end of each line. The true artist heeds neither the presence nor absence of grammatical pauses or punctuation, particularly in reading blank The voice should poise, as it were, upon the last word of the line, but, unless the sense requires it, not long enough to take breath. H

verse.

(!) EXCLAMATION POINT, which follows expressions of
strong emotion.

The remaining signs in common use include the

(-) HYPHEN, used to connect compound words and to
separate the syllables of a word; as, wild-wood, con-
stan-cy.

(--) DASH, denoting a sudden pause, or change of sub-
ject, and sometimes for a parenthesis.

(—) (***) ELLIPSIS, showing the omission of letters
-)
in a word, or words in a sentence; as, My for Mary,
I go to ***

to-morrow.

[()] PARENTHESIS, inclosing an explanatory phrase or

sentence.

([]) BRACKETS, or crotchets.

("") QUOTATION MARKS, showing that the exact words
of another are used.

(') APOSTROPHE, denoting the possessive case, or that
one or more letters in a word have been omitted; as, 'pon,
sigh'd, man's life.

(A) CARET, showing that by mistake one or more letters

have been omitted; as, boded, God love.

(}) BRACE, used to connect several words with a com-
mon term.

(") DIERESIS, placed over the latter of two vowels to
indicate a division of syllables between them; as, aërial
(a-e-rial).

() INDEX, referring to an important statement.

(¶) PARAGRAPH, indicating the commencement of a new
subject.

(8) SECTION, used to divide a chapter or a book into
parts.

(*) ASTERISK,

(†) OBELISK, or Dagger,

(1) DOUBLE DAGGER,

(§) SECTION,

(1) PARALLELS,

(T) PARAGRAPH,

Letters and figures,

refer to notes in the margin,
or at the bottom of the
page.

MOVEMENT.

Movement, in this connection, means the motion or progression in time, and includes rate and rhythm. The rate or speed of movement is classed as quick, moderate, and slow.

Quick or rapid movement is used to express haste, alarm, confusion, terror, joy, mirth, humor, and animation; as, "Away! away! our fires stream bright Along the frozen river,

And their arrowy sparkles of brilliant light
On the forest branches quiver."—Bryant.

Moderate movement is the speed used in simple narra tion, description, or didactic thought; as,

"Oh, Maggie Bell, sweet Maggie Bell,

"Twere better for me had thy funeral knell
Been tolled ere we parted, upon the old bell;
"Twere better for me, and better for thee,
Had I been content with a simple lot,
With honest toil and a humble cot;

Had I but made thee my honor and fame,

My world and my fortune, ambition and aim,
Thy love would have been all these to me.

Slow movement expresses emotions of sublimity, grief, pathos, melancholy, reverence, deep repose, grandeur, majesty, vastness, power, splendor, adoration, and horror; as, "When Ajax strives some rock's vast weight to throw,

The line too labors, and the words move slow."-POPE.

He is gone on the mountain, he is lost to the forest,

Like some summer-dried fountain when our need was the sorest;
The fount reappearing from the rain-drops shall borrow,

But to us comes no cheering, to Duncan no morrow.
The hand of the reaper takes the ears that are hoary,
But the voice of the weeper wails manhood in glory;
The autumn winds rushing waft the leaves that are serest,
But our flower was in flushing when blighting was nearest.
Like the dew on the mountain, like the foam on the river,
Like the bubble on the fountain, thou art gone and forever."

SCOTT.

SELECTIONS

FOR THE LITTLE FOLKS.

THE simplest matter is often hardest to read. Let the best reader try his skill upon lessons prepared for children, or any simple narration, and he will discover the difficulties which the young reader encounters. First, the words must mean something; and if a long word occurs now and then, do not wait for the child to study it out until he has forgotten the story, but help him by speaking the word, or even the entire phrase, if necessary. He will then keep the meaning in mind, and become interested in learning. It is no wonder a child reads stupidly such unsatisfactory and unmeaning phrases as "I go up," "You go down," when what he goes up for, or how, or when, or where, is wholly unknown.

In order to obtain a variety of new selections suited to a natural style of reading, special permission has been obtained to copy from three monthly magazines, viz., "The Nursery" and "Our Young Folks," published in Boston, and "The Little Corporal," published in Chicago. Many of the selections found in this volume can not be copied without permission from the owners of the copyrights.

The selections for "little folks" are simple enough for any child that can recognize common monosyllables at sight. Hard words, particularly proper names, will soon be learned as sight-words.

Those who expect to instruct children will do well to practice these selections.