increasing to the last. If given in impure tones, the exercise will severely strain the throat and induce disease. When the sounds can be given pure and mellow, on the natural pitch, the voice improves wonderfully in strength in a very limited time.

Pure tones will never affect the throat, let them be given ever so loudly. Even a few weeks' practice, when properly conducted, will make a great change in the voice.

With the foregoing severally unite Pitch, Time, Aspiration, (pure,) and the Tremor, and make a variety of exercises. Also add the same to the following:

Awake! arise! or be forever fallen!

Seize on him, furies, take him to your torments!

I call to you with all my voice.

Next Anger rushed, his eyes on fire!

He threw his blood-stained sword in thunder down!
Loud surges lash the sounding shore!

EXERCISE.-Let this be moderate at first; never FORCED; solidly, firmly, promptly, especially in the loudest tones. Do not raise the pitch of the natural voice. To vary the exercise, add separately, Pitch, the Tremor, Aspiration, (pure,) and the Semitone; each constituting an independent practice.

1. As soft as possible.

2. Very soft.

3. Soft.

4. Rather soft.

5. MIDDLE, OR MEAN.

6. Rather loud.

7. Loud.

8. Very loud.

9. As loud as possible.

MARCH! HALT! HALLOO! WOE!

FORCE-STRESSES.

The RADICAL STRESS is the explosive or bursting style of voice. It is used to express anger, rage, fear, impetuous cour

age, and startling emotions. "HA! dost thou not see?" "To ARMS! They come! the GREEK! the GREEK!" "STRIKE till the last arned foe expires!" "Vic-tory? vio-tory, their colors fall!"

The MEDIAN commences easily, widens out to a full, round expression, then dies gradually away. It is used for pathos, dignity, deliberation, gentleness. "HAIL! universal Lord!" "All HAIL! thou l-o-ve-l-y queen of night!"

The THOROUGH is the power placed alike on all parts strongly and firmly, for vehemence, courage, determination. "Up with my BAN-ners on the wall!" "Tried and convicted TRAITOR." "Down soothless insulter." (Suppressed force and vanishing stress on soothless, and aspiration on insulter).

The VANISHING commences very lightly, widens out into a full, open sound, and ends abruptly. Used for obstinacy, fixed, sullen determination, anxious alarm, peevishness. “I WILL have my bond." "I NE'ER will ask ye quarter.” "Oh! ye GoDS! ye GODS! must I endure all THIS?"

The INTERMEDIATE is a feeble, trembling voice: "I can go no further."

The COMPOUND (or Rad. and Van.). The radical begins and goes to the middle of the word or words, and then the vanishing does its part by ending. It is rarely used. It is an unpleasant, jerking sound. It is a national characteristic among the Irish; used in surprise, raillery, earnest questions, importunate entreaty. "ARм warriors! ARM for the fight!" "Gone to be MARRIED, gone to swear a PEACE?" "Dost thou come here to WHINE?"

THE SEMITONE.

The semitone is simply a plaintive, pitiful expression. "Pity the sorrows of a poor old man."

THE TREMOR.

Add a trembling, shaking voice to the above, and the effect will be greatly enhanced.

"Thou glorious mirror,"-a-a-a-, e-e-e, i-i-i, 0-0-0, u-u-u, oi-oi-oi, ou-ou-ou.

THE LOUD WHISPER.

The loud whisper is a most admirable practice-no vocality; a, e, i, o, u, oi, ou. It is very difficult, but will be found a a great means of improvement. Not too frequent, and stop when giddy or pain is felt. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10.

EXAMPLE." Who comes here? Ha! thou art the ghost of my murdered friend! I cry you mercy. I implore you let me rest in peace. It harrows up my very soul with terror and amazement.” Add Force, Pitch, Time, the Tremor, and the Semitone; and practice each separately.

EXPLOSIVES.

The explosives are calculated to give depth and rotundity to the voice. The orotund is the orator's true voice. With some it is natural; with all ordinarily good voices it can be acquired to a remarkable degree. It is the only voice capable of rendering the more majestic and heroic styles of language. To practice the explosives, for its acquirement, and to give the voice outline and edge, the position must be erect, and the lungs filled to the greatest capacity. Hold the air thus accumulated until perfectly concentrated; then burst upon the sounds with a quick, percussive stroke of the voice. It is best to have consonants precede the vowel sounds. Let the burst of the voice come like a clear coughing sound, but be sure and have no aspiration. Let the sound be extremely pure, and no unpleasant effect will follow its emission. Hold the breath for a moment firmly on the consonant, and then burst it, like the report of a pistol, on the vowel.

EXPLOSIVES.-B-a! B-e! B-i! B-o! Bu! B-oi! B-ou!

Semitone.

Practice these also with Pitch, Aspiration, and the

EMPHASIS. "I'm tortured to madness, to THINK of it."
"A cultivated taste converses with a PICTURE."
"Better to reign in HELL, than serve in HEAVEN.
"God said, 'Let their be light '—and there was LIGHT.

РІТСП.

Begin with the natural voice, and having the lungs completely filled make the sounds rise one above the other, as you would in music, except that the sounds must be spoken, and not sung. Make each sound, as you pass up this speaking scale, full and round. Rise as though counting 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, &c. The number of sounds will depend upon the slowness or rapidity of enunciation. Rise beyond where the voice breaks into the falsette. Carry it up as high as it is possible to convert the air into sound. Begin again, with the natural voice, and pass down the speaking scale. Make each sound, as before, round, pure, and full, to the very lowest. Then pass up from the natural to the highest in uninterrupted sound, then down from the starting point to the very lowest note. The first manner of going up the scale may be called skipping, the latter sliding. The sounds may be called skips and slides, or discrete and concrete sounds. The skips or discretes, are used in the simplest forms of reading; the slides in very emphatic styles. The voice passing up the scale to any desired point, and then passing immediately down in one continuous movement, upon the same breath, is called a wave. It can be reversed, and commence by going down first and then rising. The greater the distance to which it rises and falls, or falls and rises, of course varies its intensity of expression. [See Exercises, page 88.]

Also, practice the Pitch with the Semitone, or Plaintive movement of voice, and afterward add the Tremor, or Tremulous style, and Aspiration.

In singing, the voice continues on the same level for each sound; while in speaking, it never rests for a single instant on the same pitch, but rises, or falls, according to the direction given to it until the sound ceases.

The Slide has great beauty; endearing in tone, and sometimes plaintive and desolate to tears.

have my own.

Interest.-QUES.-How came he here? ANS.-I do

not know.

Eagerness.-QUES.-How dare you thus provoke me? ANS.-I do not fear you. Passion.-QUES.-How now, are we turned Turks?-ANS.-Let's kill, slay, slaughter.

HIGH PITOH.-Oh! I could mount with rapture to the very

stars.

NATURAL VOICE.-Morn is gleaming in the dappled east. Low PITCH.-Eternity! thou pleasing, dreadful thought!