and projected, and the shoulders depressed, to maintain, also, a vigorous play of the abdominal muscles, and to practise the organic act of prolonged coughing, in a moderate form, which is the natural mechanical function most nearly resembling "expulsive orotund." The elements of the language should be practised in a similar style; and to these exercises should be added the repeated and energetic practice of the following examples.

Practice on the "crying" voice, or weeping utterance of sorrow, is another expedient for rendering nature's processes conducive to culture; the act of crying being, in its mechanism, a perfect "expulsive orotund."

EXAMPLES OF "EXPULSIVE OROTUND."

1. "Declamatory" Style.

WEBSTER'S SPEECH OF JOHN ADAMS.

Sink or swim, live or die, survive or perish, I give my hand and my heart to this vote!

Sir, before God, I believe the hour is come. My judg ment approves this measure; and my whole heart is in it. All that I have, and all that I am, and all that I hope, in this life, I am now ready here to stake upon it; and I leave off, as I began, that, live or die, survive or perish, I am for the declaration. It is my living sentiment; and, by the blessing of God, it shall be my dying sentiment: - independence now and INDEPENDENCE FOREVER!

2. Oratorical Invective.

AGAINST WARREN HASTINGS. Burke.

By the order of the House of Commons of Great Britain, I impeach Warren Hastings of high crimes and misde

meanors.

I impeach him in the name of the Commons of Great Britain in Parliament assembled, whose parliamentary trust he has abused.

I impeach him in the name of the Commons of Great Britain, whose national character he has dishonored.

I impeach him in the name of the people of India, whose laws, rights, and liberties he has subverted.

I impeach him in the name of the people of India, whose property he has destroyed, whose country he has laid waste and desolate.

I impeach him in the name of human nature itself, which he has cruelly outraged, injured, and oppressed, in both sexes. And I impeach him in the name and by the virtue of those eternal laws of justice, which ought equally to pervade every age, condition, rank, and situation, in the world.

Send danger from the east unto the west,
So honor cross it from the north to south,

And let them grapple.

-Oh! the blood more stirs,

To rouse a lion, than to start a hare.

By heaven, methinks it were an easy leap,
To pluck bright honor from the pale-faced moon;
Or dive into the bottom of the deep,

Where fathom-line could never touch the ground,
And pluck up drownèd honor by the locks;
So he, that doth redeem her thence, might wear,
Without corrival, all her dignities.

But out upon this half-faced fellowship!

3. "Impassioned" Poetic Style.

CAREY'S ODE ON ELOQUENCE.

Where rests the sword?.

where sleep the brave?

Awake! Cecropia's ally save
From the fury of the blast!

Burst the storm on Phocis' walls,
Rise! or Greece forever falls;

Up! or Freedom breathes her last!

4. "Impassioned Expression."-Poetic Invective:

Epic Style.

MOLOCH'S ADDRESS. Milton.

My sentence is for open war: of wiles,
More unexpert, I boast not: them let those

-

Contrive who need, or when they need, not now.
For, while they sit contriving, shall the rest,
Millions that stand in arms, and, longing, wait
The signal to ascend, sit lingering here,
Heaven's fugitives, and for their dwelling-place
Accept this dark opprobrious den of shame,
The prison of his tyranny who reigns
By our delay? No! let us rather choose,
Armed with hell flames and fury, all at once
O'er heaven's high towers to force resistless way,
'Turning our tortures into horrid arms

Against the Torturer; when, to meet the noise
Of his almighty engine, he shall hear

Infernal thunder, and, for lightning, see
Black fire and horror shot, with equal rage,
Among his angels, and his throne itself

Mixed with Tartarean sulphur and strange fire,
His own invented torments.

5. Ecstatic Joy.

WILLIAM TELL, TO THE MOUNTAINS ON REGAINING HIS LIBERTY.
J. S. Knowles.

Ye crags and peaks, I'm with you once again!
I hold to you the hands you first beheld,

To show they still are free.

Ye guards of liberty,

I'm with you, once again! I call to you

I hold my hands to you

With all my voice!
To show they still are free!

The "explosive" form of the "orotund" utterance bears the same relation to "effusive" and "expulsive orotund that "explosion" in breathing, or whispering, bears to "effusion" and "expulsion" in those forms. It implies an instantaneous burst of voice with a quick, clear, sharp, and cutting effect on the ear. See Modes of Utterance, p. 40.

This mode of voice proceeds from a violent and abrupt exertion of the abdominal muscles, acting on the diaphragm, and thus discharging a large volume of air previously inhaled. The breath, in this process, is as it were dashed against the glottis or lips of the larynx, causing a loud and instantaneous explosion.

"Explosive orotund" is the language of intense passion ; it is heard when the violence of emotion is beyond the control of the will, and a sudden ecstasy of terror, anger, or any other form of intensely excited feeling, causes the voice to burst forth involuntarily from the organs, with a sudden and startling effect. It exists only in the extremes of abrupt emotion, as in the burst of anger, or the shout of courage, and admits of no gradations.

This form of the human voice is one of the most impressive in its effect. By a law of our constitution it acts with an instantaneous shock on the sympathetic nerve, and rouses the sensibility of the whole frame; it summons to instant action all the senses; and in the thrill which it sends from nerve to brain, we feel its awakening and inciting power over the mind. With the rapidity of lightning it penetrates every faculty and sets it instinctively on the alert.

We hear the "explosive orotund quality" exemplified in the sudden alarm of fire, in the short and sharp cry of terror or of warning, at the approach of instant and great danger, in the eruptive curse of furious anger, in the abrupt exclamation of high-wrought courage, and in the burst of frantic grief. In reading and recitation, it belongs appro

priately to the highest ecstatic effects of lyric and dramatic poetry, as the language of intense passion.

To gain the full command of "explosive orotund" voice, the practice of the elements, of syllables and words, in the tones of anger and terror, should be frequently repeated, along with the following and similar examples. The mechanical and moderate practice of the acts of coughing and laughing is one of the most efficacious modes of imparting to the organs the power of instantaneous "explosion."

Like all other powerful forms of exertion, it should not, at first, be carried very far; neither should it be practised without a due interspersing of the gentler and softer exercises of voice. Pursued exclusively, it would harden the voice, and render it dry and unpleasing in its quality. Intermingled with the other modes of practice, it secures thoroughgoing force and clearness of voice, and permanent vigor and elasticity of organs.

EXAMPLES OF "EXPLOSIVE OROTUND."
1. Courage.

("Explosive" Shouting.)

BOZZARIS TO HIS BAND OF SULIOTES. - Halleck.

Strike till the last armed foe expires!
Strike for your altars and your fires!
Strike for the green graves of your sires,
God and your native land!

2. Scorn and Defiance.

PARADISE LOST. - Milton.

Satan (to Death). Whence and what art thou, execrable shape!

That dar'st, though grim and terrible, advance
Thy miscreated front athwart my way

To yonder gates? Through them I mean to pass,
That be assured, without leave asked of thee: