All at once and all o'er with a mighty uproar,

And this way the water comes down at Ladore!

Example 2.

How they were attacked, how they resisted, how they were encompassed, how they thrust back those who were hurled on them in the black night, with the north sea wind like ice upon their faces, and the loose African sand drifting up in clouds around them; how they breasted the fence of steel, and the tempest of rage and blows and shouts, and plunged away into the shadows of the desolate plain, and into the slaughterous fury of the rising wind-storm, they could never quite recall.

PRINCIPLE VII.

Volume is the fullness or thinness of tone used. Moderate volume is appropriate for unemotional reading. Thin volume for weakness, affectation, etc. Full volume is an essential element in the expression of noble sentiments. Full volume magnifies, thin volume minifies expression.

Example of Full Volume.

Lift up your heads, O ye gates; and be ye lifted up ye everlasting doors; and the King of Glory shall come in!

Who is this King of Glory?

The Lord, strong and mighty, the Lord mighty in battle. Lift up your heads, O ye gates; even lift them up ye everlasting doors; and the King of Glory shall come in!

Who is this King of Glory?

The Lord of hosts; he is the King, the King of Glory!

PRINCIPLE VIII.

Quality has reference to the kind of tone as pure or aspirated. When all the breath exhaled in making a vowel sound is vocalized and all harshness removed from it, the tone is pure in quality,-otherwise it is impure. Quality may be classified as follows. Each quality is distinguished by its resonance, or the place from which the sound seems to come.

Quality.

Impure.

1. Pure Tone-Resonance in the center of the mouth. 2. Orotund-Resonance in the upper part of the chest. 3. Oral-Resonance in the front part of the mouth. 4. Falsetto-Resonance in the head.

1. Aspirate-The whisper.

2. Nasal-Resonance in the nose.

3. Pectoral-Resonance in the upper part of throat. 4. Gutteral-Resonance in the lower part of throat.

Pure Tone is the quality appropriate for descriptive and conversational reading.

Example.

Speak the speech, I pray you, as I pronounced it to you,— trippingly on the tongue; but if you mouth it as many of our players do, I had as lief the town-crier spake my lines. Sait the action to the word; the word to the action; with this special observance-that you overstep not the modesty of nature.

The Orotund is the highest perfection of the cultivated voice. It is known by its roundness, fullness, richness and sonorous character. It is used in expressions of grandeur. sublimity, courage, patriotism, etc.

Example.

And when I am forgotten as I shall be,

And sleep in dull cold marble where no mention
Of me more must be heard of,-say I taught thee;
Say, Wolsey--that once trod the ways of glory,
And sounded all the depths and shoals of honor--
Found thee a way, out of his wreck, to rise in;
A sure and a safe one though thy master missed it.
Mark but my fall, and that that ruined me.
Cromwell, I charge thee, fling away ambition,
By that sin fell the angels; how can man, then,
The image of his maker, hope to win by it?
Love thyself last; cherish those hearts that hate thee;
Corruption wins not more than honesty;

Still in thy right hand carry gentle peace,

To silence envious tongues. Be just and fear not.

Let all the ends thou aim'st at be thy country's

Thy God's and truth's; then if thou fall'st, O Cromwell
Thou fall'st a blessed martyr.

The Oral is appropriate for expressions of weakness, exhaustion, affectation and the like.

Example.

But don't I see a pretty church-yard over there?

Kiss me father; kiss me twice, dear father, and lay me down to rest upon that churchyard grass, so soft and green.

The Falsetto is used for mimicry, for echoes and for calls that have come from a distance.

Example.

"Hie over, hie over! you man of the ferry!"
By the still waters side she mocked in her voice
Sweet and merry.

"Hie over, hie over, you man of--you man of the ferry!"

The Aspirate, is appropriate for secret thought, fear,

etc.

Example.

Alack, I am afraid they have awaked

And 'tis not done! The attempt and not the deed
Confounds us! Hark! I laid their daggers ready;
He could not miss them. Had he not resembled
My father as he slept, I had done't!

The Pectoral and the Guttural qualities are used for the expression of hate, scorn, contempt, dread, anger, revenge, defiance and horror.

Example-Pectoral.

Now o'er the one half world

Nature seems dead; and wicked dreams abuse
The curtained sleep; now witchcraft celebrates
Pale Hecate's offering; and withered murder
With stealthy pace toward his design
Moves like a ghost. Thou sure and firm-set earth,
Hear not my steps which way they walk, for fear

Thy very stones prate of my whereabouts
And take the present horror from the time
That now suits with it.

Example--Guttural.

Clarence is come, false, fleeting, perjured Clarence,

That stabbed me in the field of Tewksbury;

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

The Nasal, is appropriate for burlesque and mimicry. Example.

The birds can fly and why cant I?

Must we give in that the blue bird
An' phoebe are smarter'n we be?

Jest fold our bands, an' see the swaller
An' black bird an' cat bird beat us holler?

PRINCIPLE IX.

Rate is the rapidity with which words and sentences are uttered. It includes not only the length of time occupied in the utterance of words, but the pauses between the words, and sentences. It is in reality, a combination of quantity and pauses. Rate is an element of immense power and wonderful effect when properly employed. Every mood of mind, every variety of emotion, every burst of passion has its appropriate movement. Solemni'y and pathos move slowly. Joy and enthusiasm rapidly, argument moderately, and excitement hurriedly. The effect of rate is forcibly illustrated in the slow, measured step of the funeral march, the swift movement of the merry dance, and the firm but moderate step of the determined army.

Fxample for Rapid Rate.

A roar like the roar of the

It was a neck to neck race once more. sea broke from the breathless crowd. Ten thousand throats rang as thrice ten thousand eyes watched the closing contest. The gigantic Chestnut with every massive sinew strained and swelled, side by side with the marvelous grace, the shining flanks, and Arabian-like head of Forest King. On they flew like the flash of an electric flame; their breath hot in each others nostrils, while the dark earth flew beneath their stride. Now they near the black, deep, yawning stream, twelve feet if an inch, with a high thorn hedge beyond it. One touch of the spur, and Forest King rose at the leap, higher, and

higher, and higher in the cold wild winter wind; stakes and rails and water and thorn lay beneath him, black and yawing like a grave. One last convulsive impulse of the gathered limbs, one bound in mid-air, and Forest King was over.

Example of Slow Rate.

It must be so-Plato, thou reason'st well!

Else, whence this pleasing hope, this fond desire,
This longing after immortality?

Or whence this secret dread and inward horror
Of falling into naught? Why shrinks the soul
Back on herself, and startles at destruction?—
'Tis the divinity that stirs within us;

'Tis heaven itself that points out an hereafter,
And intimates eternity to man.

Eternity!--thou pleasing dreadful thought!
Through what variety of untried being,

Through what new scenes and changes must we pass!
The wide, th' unbounded prospect lies before me;
But shadows, clouds, and darkness rest upon it.
Here will I hold. If there's a Power above us-
And that there is, all nature cries aloud

Through all her works-He must delight in virtue;
And that which He delights in must be happy.
But when? or where?

PRINCIPLE X.

Inflections are those peculiar slides or waves of the voice heard on the emphatic words or syllables, and constitute the most distinctive part of emphasis and expression. Inflection indicates the state of the speaker's mind; it has nothing to do with the grammatical construction of the sentence.

Positiveness takes the falling slide-as

1. I will not hear thee speak.

2. Thou art the man.