The only general rule that can be given for directing the pronunciation, is, To sound the words in such a manner as to imitate the things they represent, or of which they are the symbols. The ideas which make the greatest figure, ought to be expressed with a peculiar emphasis. In expressing an elevated subject, the voice ought to be raised above its ordinary pitch; and words signifying dejection of mind, ought to be pronounced in a low note. A succession of sounds gradually ascending from low to high notes, represents an ascending series of objects. An opposite succession of sounds, is fitted for objects or sentiments that descend gradually. In Dryden’s ode of _Alexander’s feast_, the line, _Faln, faln, faln, faln_, ought to be pronounced with a falling voice; and is pronounced in that manner, by every one of taste, without instruction. Another circumstance contributes to the resemblance betwixt sense and sound, which is slow or quick pronunciation. For though the length or shortness of the syllables with relation to each other, be in prose ascertained in some measure, and in verse always; yet taking a whole line or period together, it is arbitrary to pronounce it slow or fast. Hence it is, that a period expressing what is solemn or deliberate, ought to be pronounced slow; and ought to be pronounced quick, when it expresses any thing brisk, lively, or impetuous. The art of pronouncing with propriety and grace, being calculated to make the sound an echo to the sense, scarce admits of any other general rule than that above mentioned. This rule may indeed be branched out into many particular rules and observations: but these belong not properly to the present undertaking, because they cannot be explained in words. We have not words to signify the different degrees of high and low, loud and soft, fast and slow; and before these differences can be made the subject of regular instruction, notes must be invented resembling those employ’d in music. We have reason to believe, that in Greece every tragedy was accompanied with such notes, in order to ascertain the pronunciation. But the moderns hitherto have not thought of this refinement. Cicero indeed[95], without the help of notes, pretends to give rules for ascertaining the several tones of voice that are proper in expressing the several passions; and it must be acknowledged, that in this attempt he has exhausted the whole power of language. At the same time, every person of judgement must see, that these rules avail little in point of instruction. The very words he employs, are scarce intelligible, except to those who beforehand are acquainted with the subject.