power to execute what the rule requires. Bear in mind constantly this general direction—read the above chapters as though you were talking in the most direct way to your hearers, and endeavor to impress the truth in as earnest and natural tones as you would use in uttering the same precepts to your personal friends.

The Fourth Step: Oratorical Expression.-Oratory is simply elevated talk, and the same intonations that are used in common reading or conversation should be carried into this style of address. The increase of force, or volume of voice, greatly adds to the difficulty of securing a pleasing variety. It is in this style of composition that speakers are chiefly found guilty of using "tones" or "false notes" or more properly, bad melody. The safest and best advice we can offer to all those who have acquired unfortunate habits of intonation in their public address is this-pursue the system of practice outlined in this discussion until an appreciation of natural melody such as is heard in the ordinary conversation of good speakers is established in your public speaking. A study and practice of the simple and direct form of address found in the orations of Wendell Phillips is recommended; then the more ornate and elaborate styles of Burke and Webster may be attempted.

The Fifth Step: Grand, Sublime, and Reverential Readings. These are probably the most difficult styles in which to secure good melody. In none of the foregoing selections have we used, to any great extent, an effusive utterance; but here it is essential to the expression of the sentiment. The deep orotund voice, rendered with a flowing utterance, offers such opportunities for unpleasant intonations, that very few attain a perfectly musical modulation. An easy way out of the difficulty would be to drop the effusion; but if we do this we sacrifice the sentiment which is the very life of the thought. The only way is to be patient and thorough in the preliminary practice, and to rely upon the cultivated sense of musical sounds thus acquired. To be sure, a less varied melody is required in these styles, but the need of suitable variety is just as imperative here as elsewhere. Because this style. of reading is sometimes called monotone, do not conclude that the reader should be monotonous. The reading is

made melodious and pleasing by a skillful use of the vanish of the tones in the form of waves. The reading of a large portion of the Old Testament, of the Revelation in the New Testament, the reading of most hymns and of the Liturgy falls under this division.

I have often thought that many of the bad tones used by ministers in the delivery of their sermons could be traced to the frequent use of the reverential style. The remedy for all this is to begin with the simplest forms of reading and lead up to the most difficult; not to reverse the order.

EXERCISES FOR THE DEVELOPMENT

OF VOCAL PURITY.

As the body is the instrument used for the production of sound, it is necessary that those parts or muscles of the body which are employed for that purpose should be carefully strengthened and developed, and made subject to the constant control of the will. A physical basis must be laid, before the pupil can acquire a voice suitable for public speaking; and therefore the mastery of exercises in physical culture is an absolute prerequisite to the attainment of a good voice. It is not our purpose to discuss scientifically the laws of sound, or the anatomy of the organs of speech, but to suggest a few practical exercises for students who wish to secure a free and full use of their vocal powers.

One of the first and most imperative demands made upon the public speaker is that his voice shall be pleasing. This involves the acquirement of the purest musical quality of tone united with perfect freedom from apparent effort in vocalization. The first step in securing pure tone is to gain control of the breath, so that it may flow from the mouth in a perfectly equable stream. This control must be certain and free, and the whole breathing apparatus must be brought, by physical training, under such perfect obedience to the will of the speaker that its action will eventually become largely automatic.

The First Step: Exercises in Physical Culture and Breathing.

Poise. The head and shoulders should be in such relation to poise that ear, shoulder, hip, and instep shall fall in the same line. An easily balanced position of the parts of the body is essential to free chest expansion and the correct and forcible use of throat and abdominal muscles.

RELAXATION FOR ELASTICITY.

Jaw. Relax the muscles of the face, beginning with eyelids and eyebrows. Let go all tension until the expression is that of a sleeper, with jaws relaxed and mouth falling open. Move the jaw with the fingers in all directions until it is flexible in joint. Shake relaxed jaws by movement of head sideways and up and down.

Throat. With the jaw relaxed, open the throat and breathe through it as in snoring. Let head drop forward, throat and neck muscles relaxed. Practice the preceding, letting head fall backward, to right, left, and in oblique directions, until its full weight can be felt.

Tongue. Let the tongue lie flat in bottom of mouth, tip lightly touching lower teeth; from that position, without arching it, thrust it straight forward and draw it back as far as possible several times. Open the mouth wide, and move the tongue in circular direction, following outline of lips and stretching the muscles at the base of the tongue.

Breathing. Inhale normal breath slowly, using abdominal, dorsal, and chest muscles in filling the lungs from the lower part to top. Exhale slowly in reverse order. Increase the length of inspirations and expirations, until twenty-five or thirty seconds for each may be easily reached. Inhale slowly through the nostrils for ten, twenty, or thirty seconds. Exhale for the same length of time, using the syllable hah, which may be uttered with a gentle aspiration. Repeat this exercise several times, and notice particularly that the stream of air escaping from the mouth is delivered with a smooth and even flow.

The Second Step is to vocalize this stream or column of air. The steady management of the air column producing perfect musical vibrations, determines largely the beauty and vocal purity of the tone. It follows then that a regulated emission of the breath becomes an important factor in the production of pure tone. Sound the tonics ā, ē, ī, ō, ú, ōo, ä. Inhale freely, and prolong each one of these vowel sounds for ten or twenty seconds. This exercise should be repeated frequently, for it constitutes the beginning and end of training for vocal purity.

All other exercises are, at best, but slight variations of

the above.

Bear in mind that it is not multiplicity of exercises that is desirable, but a few well-chosen ones in which the principles of correct vocalization are applied. The ability to sound the tonic a for ten or twenty seconds, and from the initiation of the tone to its close to produce perfect musical vibrations, is the surest sign that the pupil is pursuing the most rational and direct course to secure vocal purity. The skillful teacher may assist in relaxing the muscles of the throat, and in placing the tongue and mouth in their proper positions to secure pure tone; but after all is said and done, the instructor cannot, by any physical adjustment of the organs, do more than assist the student in his efforts in vocalization. The mechanism of the human voice is so delicate, and its adjustments are so varied and difficult, that any clumsy attempt to regulate it, as one would tune a piano or a harp, will utterly fail. It will require months and years of practice before the speaker gains free and absolute control of the delicate machinery. Nothing less than untiring patience and industry, united with skillful and careful advice, can master the difficulties. In beginning this exercise, all that the student is required to know is the difference between a harsh and unpleasant sound and a comparatively pure and musical tone. His musical sense, however deficient, can surely detect such a differ

ence.

The Third Step is a slight variation of the preceding exercise, for the purpose of bringing the sound column to the front part of the mouth. If the column of sound is directed against the soft palate and the soft walls of the air-chambers above the larynx, a dull, hollow quality of tone will be produced. This is due to the character of the resonating surface against which the column is directed. For clearness, brilliancy, and purity of tone the column should be directed against the hard palate, or sounding-board, in the roof of the mouth. Select a list of words whose initial consonants are made by the lips and teeth. The consonantal combination will aid in bringing the voice forward, and in locating the resonance in its proper place. Pronounce the following words, prolonging the tonic element four or five seconds, constantly endeavoring in your efforts to get the tone more pure and to locate the resonance in the front oral cavity.