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depend. Mr. Sheridan's rules for reciting verse

following:

are the

1. All words should be pronounced exactly in the same way as in prose.

2. The movement of the voice should be from accent to accent, laying no stress on the intermediate syllables.

3. There should be the same observation of emphasis, and the same change of notes on the emphatic syllables as in prose. 4. The pauses relative to the sense only, are to be observed in the same manner as in prose.

The usual fault of introducing sing-song notes, or a species of chanting, is disagreeable to every ear, and should be studiously avoided.

Pitch.

The voice in speaking, as in singing, is observed to move within a limited compass, above or below which it can not move without disagreeable straining. But the mode of moving within this compass is different in each: the musical tones are placed at considerable intervals, which are passed by complete leaps; the speaking tones are at very small intervals, through which the voice slides by ascending or descending inflections. Certain favorable stations within the limits of the excursions of both are preferred for the pitch or key note; from whence the intervals are calculated, and to which the modulations are referred. The middle tones are most advantageous for this purpose, as well because the voice has the command of the tones both above and below, as that these tones are generally used in common discourse; and the organs must therefore be strengthened in them by habitual exercise.

Upon the proper pitching of the voice depends much of the ease of the speaker. He who shouts at the top of his voice is almost sure to break it, become a mere brawler, and

stun his audience; he who mutters below, soon wearies himself, becomes inaudible, and altogether oppresses his hearers.

In order that a speaker may succeed in choosing the proper key or pitch of his voice, he should begin low, and ascend gradually till he reaches the pitch that suits the place and his own power best.

Quantity.

Loud and soft tones are altogether different from high and low. Piano and forte have no relation to pitch or key, but to force and quantity, and when applied to the voice, they relate to the body or volume which the speaker or singer can give out. This depends upon the power of the lungs, and not upon the adjustment of the organs of articulation. A voice is powerful according to the quantity it is able to issue, and is soft or loud according to the quantity which it actually does issue.

Modulation, Variety, and Rate of Utterance.

The modulation of the voice is the proper management of its tones, so as to produce grateful melodies to the ear. Upon the modulation of the voice depends that variety which is so pleasing, and so necessary to relieve and refresh the ear. The opposite fault is monotony. To the variety, so grateful to the ear, not only change of tones is requisite, but also change of delivery. According to the subject the rapidity of the utterance varies, as the time of the different movements in music. Narration proceeds equably; the pathetic, slowly; instruction, authoritatively; determination, with vigor; and passion, with rapidity.

Tones.

The vital principle of the voice consists in those tones which express the emotions of the mind. Without this

To

language of the passions as an addition, the language of ideas, however correctly delivered, will prove cold and uninteresting. As there are other things which pass in the mind of man besides ideas, and he is not wholly made up of intellect, but, on the contrary, the passions, and the fancy compose a great part of his complicated frame-as the operations of these are attended with an infinite variety of emotions in the mind, both in kind and degree, it is clear, that unless some means be found of manifesting those emotions, all that passes in the mind of one man can not be communicated to another. feel what another feels, the emotions which are in the mind of one man must be communicated to that of another by sensible marks. These can not be words, which are merely signs of things and ideas, perhaps exciting emotions, but not of emotions themselves. Anger, fear, love, hatred, 'pity, grief, are terms that will not excite in man the sensation of those passions, and make him angry, afraid, compassionate, or grieved. The true signs of the passions are tones, looks, and gestures. These are understood by all mankind, however differing in language. When the force of these passions is extreme, words give place to inarticulate sounds; sighs, murmurings, in love; sobs, groans, and cries, in grief; half-choked sounds, in rage; and shrieks, in terror.

CHAPTER III.

GENERAL PRECEPTS.

The general precepts which relate to the voice may be classed under the following heads:

1. The Preservation,

2. The Improvement,

3. The Management of the Voice.

The Preservation of the Voice.

1. The first rule for the preservation of the voice is, that the public speaker should be habitually "temperate in all things;" not given to any personal excess.

2. The voice should not be exerted after a full meal.

3. The voice should not be urged beyond its strength, nor strained to its utmost pitch without intermission. Frequent change of pitch is the best preservative.

4. At that period of youth when the voice begins to break, and to assume the manly tone, no violent exertion should be made; neither should the voice, when hoarse, be exerted at any time, if it can be avoided.

5. Certain things are found injurious to the voice, and therefore to be avoided. Butter and nuts are so accounted; also oranges and acid liquors. The use of cold drinks, and dry fruits, was considered injurious by the ancients.

6. In case of hoarseness, warm, mucilaginous, and diluting drinks, sugar candy, barley sugar, and the various sorts of lozenges, which modern ingenuity prepares so elegantly, may be used; a raw egg, beat up, is considered the best substance for clearing the voice. Onions and garlic are excellent, but their offensive odor is apt to injure their use.

Improvement of the Voice.

1. The great means of improving the voice is constant and daily practice.

2. The second rule has been anticipated, which is bodily exercise. Walking about a mile before breakfast is recommended.

3. In order to strengthen the voice, it is advised that a person that has weak utterance should daily practice to read or recite, in the presence of a friend. His friend should be placed at first, at such a distance as he may be able to reach in his usual manner; the distance is then gradually to be increased, till he shall be so far from him that he can not be heard beyond him without straining. Through this practice, he should proceed step by step daily; by which he may be enabled to unfold his organs, and regularly increase the quantity and strength of his voice.

Management of the Voice.

1. The first principles of the proper management of the voice depend on due attention to articulation, pronunciation, accent, emphasis, pauses, and tones. These have already been treated of in a former chapter.

2. The actual practice of the various inflections and pauses, of the pitch and tones to be adopted, should take place previous to the public delivery of a written oration. When time or opportunity does not permit this practice, the manner in which the voice should be managed in the different parts of the oration should be considered and determined. This tice has been called the silent preparation of the voice. 3. The speaker should begin rather under the ordinary pitch of his voice than above it.

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4. Every speaker should endeavor to deliver the principal part of his discourse in the middle pitch of his voice; or,

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