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which aggravate the evil. Others, again, very soon fall to the lowest pitch, and are unable to rise again. They can not make a cadence, because they can not descend below the pitch they have assumed. They can not speak with force, because if the voice descends below a certain point, it ceases to be able to employ force, and finally becomes inaudible. In order, therefore, to maintain fullness and strength of tone, we must set out with about the fourth degree from the lowest note, from which the voice can be easily managed, both in its employment of force and modulation. Again, let the student accustom himself, by frequent practice, to rise and fall upon a sentence or sentences selected for the purpose, through the whole compass of the voice. Such a practice was common with ancient orators, both Roman and Grecian, and will be the most effectual method, after the elements of expression are at complete command, of removing the blemishes above described, by giving a ready command over the speaking scale.

The sentence below may be taken for exercise, which should be read according to the different notations exhibited by the numerals at the beginning of the lines and members of sen

tences.

1 Though you untie the winds2 and let them fight
Against the churches 4 though the yesty waves

5 Confound and swallow navigation up;

Though bladed corn be lodged, and trees blown down,
Though castles topple on their wardens' heads,

6 And nature's germins tumble altogether,

4 Even till destruction3 sickens ?2

Answer me.

We repeat the prepared sentence with the inflections, and the figures de noting the pitch:

4 The moon herself is lost in heav'n; but thou art for ever the same`, Brejoic'ing in the brightness of thy course. When the world is dark with tempests', when thunder rolls, and lightning flies', thou look'st in thy beauty from the clouds', and laugh'st at the storm'. 4 But to Ossian thou look'st' in vain'.

Practice on the following with the notes changed. Increase in pitch:

1Though you untie the winds2 and let them fight

3 Against the churches; though the yesty waves

4 Confound and swallow navigation 5up;

Though bladed corn be lodged and trees blown down;

Though castles topple on their wardens' heads, 'And nature's germins tumble altogether,

8 Even till destruction sickens ?9 Answer me.

5

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5 Sir, we are not weak, if we make a proper use of those means which the God of nature hath placed in our power. Three millions of people, "armed in the holy cause of liberty, and in such a country as that which we possess, are invincible by any force which our enemy can send against us. Besides, sir, we shall not fight our battles alone; there is a just God who presides over the destinies of nations; and who will raise up friends to fight our battles for us. 5 The battle, sir, is not to the strong.

GENERAL DIRECTIONS.

Modulations or transitions of the voice should be uniformly made at those parts of a discourse where the speaker enters on a new train of thought, or where the sentiment takes a different turn. These parts are generally divided, in written composition, by paragraphs; and these are often entirely disregarded by many.

Nothing relieves the ear more agreeably than a well regulated transition.

It should be effected temperately; but whenever a speaker or reader enters on a new train of thought, notice thereof should be given to the ear, by the following means, differently modified, according to existing circumstances:

By a change in pitch, or by an alteration in time, as to quickness or slowness, or by a change in FORCE, or by the use of the monotone, for a short space, on serious passages, which often has a very striking effect.

All these means should be at the command of the speaker and reader, and one or more of them should be employed in the pronunciation of the first few sentences at every paragraph; after which the voice will naturally move in a freer expansion of a more animated delivery. Clergymen and others will be able to change their manner of speaking, from a lifeless to an animated style by the above.

FURTHER EXAMPLES IN TRANSITION.

[This selection demands the entire range of the speaking voice, in pitch-all qualities, and varied force.]

'Hark! the alarm-bell, 'mid the wintry storm!

"Hear the loud shout! the rattling engines swarm.

Hear that distracted mother's cry to save
Her darling infant from a threatened grave!

That babe who lies in sleep's light pinions bound,
And dreams of heaven, while hell is raging round!
Forth springs the Fireman-stay! nor tempt thy fate!--
He hears not-heeds not,-nay, it is too late!

6 See how the timbers crash beneath his feet!
Oh, which way now is left for his retreat?
The roaring flames already bar his way,
Like ravenous demons raging for their prey!
He laughs at danger,-pauses not for rest,
Till the sweet charge is folded to his breast.

Now, quick, brave youth, retrace your path ;-but, lo!
A fiery gulf yawns fearfully below!

One desperate leap!-lost! lost!-the flames arise
And paint their triumph on the o'erarching skies!
Not lost again his tottering form appears
The applauding shouts of rapturous friends he hears?
The big drops from his manly forehead roll,
And deep emotions thrill his generous soul.
But struggling nature now reluctant yields ;*
Down drops the arm the infant's face that shields,
To bear the precious burthen all too weak:
When, hark!—the mother's agonizing shriek!
Once more he's roused,―his eye no longer swims,
And tenfold strength reanimates his limbs;

He nerves his faltering frame for one last, bound,-
6" Your child!" he cries, and sinks upon the ground!

4 And his reward you ask ;-reward he spurns;
For him the father's generous boson burns, –
For him on high the widow's prayer shall go,-
For him the orphan's pearly tear-drop flow.
His boon, the richest e'er to mortals given,—
Approving conscience, and the smile of Heaven!

2.

OROTUND-HIGH PITCH.

Rouse, ye Romans !-Rouse, ye slaves!

Have ye brave sons? Look in the next fierce brawl
To see them die! Have ye fair daughters? Look
To see them live, torn from your arms, distained,
Dishonored

and if ye dare call for justice,

Be answered by the lash! 5 Yet, this is Rome,
That sat on her seven hills, and from her throne
Of beauty, ruled the world! Yet, we are Romans!
Why, in that elder day, to be a Roman

Was greater than a king !—And once again

10 Hear me, ye walls that echoed to the tread Of either Brutus !-once again, I swear

The Eternal City shall be free!

*Run down the scale on this line, from 6 to 1.

3.

HIGH PITCH-SHOUTING.

Hark! The bell! the bell!-

The knell of tyranny! the mighty voice
That, to the city and the plain, to earth

And listening heaven, proclaims the glorious tale
Of Rome re-born, and freedom!

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VOLUME AND VARIETY

Of Voice, in the different degrees of pitch in transition, may be secured by practicing the Diatonic Scale, in which the order of succession is by skips of tones and semi-tones.

The Chromatic Scales is used in elocution, for expressions of plaintiveness. The skips are semi-tones only.

That the student avoid the habit of "sing-song," the scale may be spoken, instead of sung; as in the sentence

Roll on, thou deep and dark blue ocean!

FORCE AND STRESS OF VOICE.

Force is loudness and strength of tone.

The degrees may

be expressed by the terms loud and soft, strong and weak, forcible and feeble.

For practice of Force, select a sentence, and utter it, without reference to the sense, in a loud tone, then soft, then strong, then weak, etc.

EXAMPLE-Hail! holy light!

Very particular attention should be given to the subject of Force, since that expression, which is so very important in elocution, is almost altogether dependent on some one or other modification of this attribute of the voice. It may truly be considered the light and shade of a proper intonation.

Loud and soft are frequently united with high and low; but they are not necessarily connected, though they very frequently are. Yet a sound may be loud and low, as well as loud and high; and it may be soft and high, as well as soft and low.

The degrees of Force may be represented in the following notation. The upper line gives the notes of song - the lower, the notes of speech:

I

DEGREES OF FORCE OR STRESS.

2 3 4 5 6 7 8 9

PPP

mp

m

mf

ƒ f fff All the different modifications of Force should be applied on the above table, and this should be a very frequent exercise, until the different DEGREES of force can be given on every modification of stress.

Force is loudness and strength of tone, applied in a general manner; and Stress is the application of Force, at the beginning, middle, or ending of the tone, or at the beginning and ending. As used by Dr. Rush, Stress is the manner of rendering Force perceptible or impressive in single sounds.

The classification of the forms of Stress is as follows:

Ist. Radical Stress, or that in which the force of utterance is usually more or less "explosive," and falls on the initial, or first part of a sound.

2nd. Median Stress, that in which the force is expulsive or effusive, and swells out, whether slowly or rapidly, at the middle of a sound.

3rd. Vanishing Stress, or that which withholds the expulsive or explosive force, till the "vanish," or last moment of the sound.