effusive whispering let the breath pass from the mouth

gently, so that it could be understood ten feet distant. In the expulsive emit with more force, so as to be understood twenty feet distant. In the explosive send forth the breath in as abrupt and explosive a manner as possible.

Fig. 14.-CAUTION.

QUALITIES OF VOICE.-The qualities of voice generally used in elocution and which should receive the highest degree of culture, are the Pure Tone, the Orotund, the Tremor, the Aspirated, the Guttural, the Falsetto and the Whisper. The Pure Tone is a clear, smooth, sonorous flow of sound, used to express joy, love and tranquility.

The

Orotund Tone is a full, deep, round, pure tone of a voice; although sometimes natural, it is more frequently acquired—it is a most pleasing and musical sound. It enables the speaker to enunciate distinctly; it is the most powerful tone, readily modulated and easy to expand or diminish, used especially to express sublime, impassioned and pathetic emotions. The Aspirated Tone is mostly used in suppressed passion or whispering, as used to express fear, anger, terror, revenge and remorse. The Guttural Tone. This tone is uttered from the throat, as its name imports. It should be employed very seldom and only to convey an expression of scorn, aversion, hatred and contempt. The Falsetto Tone is sometimes called a "head voice." It is used to simulate whinings of peevishness, or the scream of baffled rage, or abject, hopeless terror. It may be cultivated

and attained by practice. The Tremor Tone. This tone is rarely used, but is easily acquired by practice; as indi

cated by its title it has the qualities which distinguish laughter or crying. The Whisper. The word

illustrates itself. It is, if used carefully, eminently successful. Several of Amer

ica's tragedians have

used it with more effect

than the loudest excla

mations in many deep tragic

ARTICULATION. Correct articulation is the distinct utterance of the elementary sounds in syllables and words, according to the most approved custom of pronouncing them, and is the first requisite in good reading Fig. 15.—COURAGE and speaking. A clear and ele gant enunciation may be acquired by continued practice and indefatigable study. The student should remember that good articulation very much depends upon opening the mouth sufficiently, so that nothing can impede a round, full tone of voice.

MODULATION is the giving to each tone of voice its appropriate character and expression. It includes the consideration of Pitch or Key variation. Force and ratethe voice is defined as capable of assuming three keys for convenience and practice-commonly divided into Low, Middle and High key. The Low Key is generally used in expressing awe, amazement, horror, despair, deep solem

nity, melancholy, and deep grief. The Middle Key, sometimes called the conversational key, should be used in

common conversation—in the delivery of an essay, doctrinal sermon, a plain or practical oration. The High Key is used in expressing brisk, gay, and joyous emotions, also the extremes of pain and fear. The Monotone. Properly speaking does not come under the head of Pitch, yet will be better understood if treated here. The Monotone is the opposite of Modulation. It is speaking without change of tonepreserving a fullness of tone with out ascent or descent; it requires a full tone of voice with slow and prolonged utterance. It is the only tone that can properly present the supernatural and ghostly, also the best tone to practice in the cultivation of the voice. Imitative modulation is used with powerful effect in the hands of a good reader, or speaker. It marks the reader's appreciation of the sense and beauty of a passage. Fig. 16.-HATE. In descriptive reading, motion and sound, in all their modifications, are more or less imitated. VARIATIONS are the different movements of the voice, or variations from the key in the delivery of a sentence. There are the Sweeps, the Bend, the Slides and the Closes. The Sweeps are divided into the Upper, Lower and Accentual. The movement of the voice upward from the key to the word emphasized, and coming down upon the word with increased force, is carried below the key and back to it, will represent the Upper and Lower Sweeps-the Accentual takes the same movement, though very much diminished in extent

and is generally developed upon one syllable or word.
The Bend is a slight turn of the voice upward at a pause
of imperfect sense; it gives life and anima-
tion to the subject. The SLIDES are divid-
ed into the Rising, Falling, the Waving
and the Circumflex Slide. The

Rising Slide is the gradual rise
of the voice upward through a
series of tones, ceasing at the
highest. The Falling is the reverse
of the Rising-ceasing at the lowest.
The Waving has the movements of
the Sweeps. The Double or Circum-
flex Slide is used where the disjunctive
conjunction or is used; the voice takes
the movement of the Rising Slide to
or and the Falling Slide from it to the
close. The CLOSES are divided into
the Partial () and the Perfect (`).
The Partial is the fall of the voice at
the end of one of the parts of a sentence

to the key, or to a point near the key Fig. 17.—ADORATION. preparatory to the perfect close. The Perfect Close is a fall of the voice at the end of a sentence to a point generally below the key. FORCE or emphasis is a particular stress or force of voice given to one or more important words in a sentence; as a general rule, force is placed upon the word, or words, which, more than others, express the idea to be conveyed.

STRESS, according to Dr. Rush, is but the rendering of Force perceptible or impressive in single sounds. There are properly three kinds--the Radical, the Median, and the Increasing. The Radical is generally explosive,

and falls on the first part of a sound. The Median is also generally explosive, and swells out toward the middle of a sound, and vanishes toward the close. The Increasing, effusive at first, increases till the last moment of the sound, and ends with the explosive. RATE must necessarily vary with the nature of the thought the tendency of American speakers is to un

due rapidity. Slow rate should generally be practiced, because the speaker or reader has the air of self-posession, can enunciate distinctly, and has in reserve the power to increase the rate where the nature of the sentence may demand it.

STYLE. The student should never attempt to deliver any selection until he first ascertains to what style it belongs. If it bc

1. Argumentative, he must deliver it as if debating, therefore earnest; 2. Descriptive, he must deliver it as if actually describing some scene;

3. Persuasive, he must use those Fig. 18.-CURSING. looks, tones, and gestures appropriately used in persuasion.

PASSION.-The student should always have his mind so wrought up to the proper pitch in which the Passion should be rendered, that he may with ease be able to deliver it correctly. Great actors, before appearing in the character they are to personify, through force of will work their minds up to the degree of passion required, and thus appear perfectly lifelike.