FINAL SWELL.

The swell or fulness of sound is not always at the middle of the element. Try the following. With much firmness and determination repeat this sentence: You shall do this, strong emphasis on shall. Also, Mother, you have my father much offended.

Observe: I. The vowel is prolonged.

2. The swell or fulness is most noticeable at the close of the sound.

Try the same with chalk and you will find the pressure the greatest near the close of the sound. Likewise, try these:

1. You must go.

2. He is an old man.

Give this last as if trying to impress the fact, or as an explanation. This is when we notice this form of vocal element, the terminal stress, when trying to impress something strongly upon the mind of the listener. It is used in anger frequently, as in the following:

1. Must I budge? Must I stand and crouch under your testy humor? By the gods you shall digest the venom of your spleen, for from this time forth I'll use you for my mirth, yea for my laughter when you are waspish.

2. You blocks, you stones, you worse than senseless things.

3.

I loathe ye in my bosom,

I scorn ye with mine eye,

And I'll taunt ye with my latest breath,
And fight ye till I die.

4. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him, He hates our sacred nation; and he rails on me, my bargains and my well won thrift, which he calls interest; cursed be my tribe, if I forgive him.

5. Ay, cluster there; cling to your master, judges, Romans, slaves. His charge is false! I dare him to his proofs.

6. O. I'll be patient! My daughter dragged through the streets of Rome! O, I'll be patient! The essence of my best blood condemned as vile! Come! I'll be patient! O, they shall wonder, I'll be so patient!

In close vowel sounds, there is a longer hold on the initial consonants and then a sudden stroke of the vowel element, as on some of the words above. The "Quarrel Scene" of "Julius Cæsar" affords many fine examples for this; also the "Closet Scene" from "Hamlet," and Shylock's part in "Merchant of Venice."

ABRUPTNESS OF SPEECH.

I have said that the Orotund voice is the perfect voice; that the middle swell of the vocal element is the eature of finest utterance. But when the mind is disturbed, or the soul roused with anger, then we perceive some changes of voice as well. Anger has abruptness of speech as its most certain sign. The quick, gruff, sharp tones leave us in no doubt as to the feeling of the speaker. Some one may say, "I know a person whose speech is always abrupt and yet he is always kind." May be so. Just as you might know a man who had a deformed hand, a

crooked eye, a hair lip, and yet he might be a good sort of fellow, even with this defect. But the normal sign of anger as shown by the voice is abruptness. The soft, smooth tones of love or admiration are in striking contrast.

ABRUPT OPEN.

Pronounce abruptly all in the phrase, All shall go! Strong emphasis on all. Give the sentence as if angry. You will perceive the sound will open suddenly. Also try the word No, as if giving a sharp, indignant answer to some request. The sound will open like 3 of Cut. Place the hand at the throat and you will perceive this quick opening and gradual close of sound. This is noticed in a sudden call or alarm, as-Up! Up! and see the great doom's image!

1.

EPAMPLES

Awake, awake!

Ring the alarum bell! Murder and treason!
Banquo and Donalbain! Malcolm! awake!
Shake off this downy sleep, death's counterfeit,
And look on death itself! up, up and see

The great doom's image! Malcolm! Banquo!
As from your graves rise up, and walk like sprites,
To countenance this horror! Ring the bell.

2. Do you know me?

know

Back, on your lives! treacherous cowards!
Do know me? look on me; do you
you
This honest sword I brandish? Back! back! I say.

ABRUPT OPEN AND CLOSE.

If you speak angrily and determinedly, you will perceive; Ist, An abrupt opening of sound. 2d, A slight hold after the opening. 3d, An abrupt close of the sound.

This is to be seen, where the mind is working slowly or held in check, as in consternation and anger, usually where several emotions are used, anger or rage being

one.

Use the following as if surprised and angry.

I. Sick? Sick now!

2. Hence! Home! You idle creatures, get you home!

3. Villains, you did not so, when your vile daggers Hacked one another in the sides of Cæsar;

You showed your teeth like apes, and fawned like hounds,

And bowed like bondmen, kissing Cæsar's feet;
Whilst damned Casca, like a cur, behind,

Struck Cæsar on the neck. Oh, you flatterers!

4.

Silence! obstreperous traitors!

Your throats offend the quiet of the city;

And thou who standest foremost of these knaves,
Stand back, and answer me, a senator;-

What have you done?

CALLING, SHOUTING.

Shout "Holloa!" on a high key and prolong 0. Make the tone full, clear and steady. So, try "Ahoy!"

Stand in strong position,-the fcet apart, the lower limbs firm, the diaphragm firm, the chest thrown well forward and held firmly outward as if to receive a blow, the arms firm and hands clenched, the muscles of the neck held firmly in position. Then practice any or all of the above exercises, with this firmness of body, and you will perceive a fulness, clearness, and energy of tone far surpassing that of your former efforts. Increase this bodily energy to your utmost limit. Stand as if supporting a heavy weight. Energy of Body produces energy of Voice. Thus the energy of a gesture may double the vocal power of a word.

THE GUTTERAL RATTLE,

This use of the voice is the sharp, angry growl or "rattle," denoting determined rage or frenzy. To