of feeling, and as the most inspiring source of empassioned utterance. To the theological student, in particular, it suggests the earnest reading of the Scriptures, — the most vivid and the most poetic of all books, as one of the most influential in imparting expressive character to the habits of the voice. The reading of sacred poetry, especially in the lyric form, as the most inspiring of all, it prescribes as another means of forming vocal habit to a true and living style. It suggests, also, the frequent practice of reading essays, lectures, and discourses in the form of sermons, with a view to rendering the last of these modes of exercise an easy and natural and habitual exertion, instead of leaving it to prove an unattempted, unfamiliar, and unnatural performance, inducing mechanical and artificial manner, and conscious awkwardness and embarrassment.

The preparatory discipline of elocution, by the familiarity which it produces with the genuine style of true reading, brings this exercise to an identity with speaking, in its manner and effect, and imparts to the varying tones of emotion a distinctness and a force of character, which make them pass with power from the heart of the reader to that of the hearer. It thus takes off the coldness and formality of the conventional style of sermonizing, and substitutes for it that of actual personal communication between man and man. It enjoins, accordingly, such a frequency of repetition in the preparatory reading of a discourse, as shall stamp the substance of it on the mind, and enable the preacher to deliver it as virtually a spoken address, rather than the school-boy reading of a prescribed task. This frequency of repetition, in previous reading, it requires, farther, to such an extent as shall leave the preacher free to direct his eye, principally, to his audience. rather than his paper; as the language of the eye is nature's primary effect in expression, whether as the means of securing the attention and sympathy of those to whom a discourse is addressed, or as the most efficacious mode

of securing, by reäctive effect on the reader himself, the tones of genuine personal feeling in his voice.*

The study of elocution leads to a thorough-going analysis of all the component elements of expressive effect of voice, and to an intimate knowledge of their character. It provides an extensive course of practice on each singly, and, also, in their combinations, till all can be executed with unerring precision, fullness, and effect. The bad results of cold and inexpressive manner, have been already described in this volume. On these, therefore, it is unnec essary at present, to dwell. The opposite style, of false, excessive warmth, and of studied, artificial variety of intonation, has also been described. The analysis which practical elocution presents of all the constituents of vocal expression, makes familiar to the student the exact char. acter and value of each; so that he is secured against the tendency, otherwise, to slight or exaggerate any. He becomes accustomed, accordingly, to observe closely the proper effect of every point by which the expression of emotion is naturally heightened or reduced: he acquires an intuitive readiness and exactness of judgment, and a critical refinement of taste, which guide him instinctively to the vivid, full, and true utterance of every characteristic tone of feeling. He preserves thus, the quiet, chaste, unimpassioned, didactic style of exposition and discussion, in the essay, the lecture, and the doctrinal discourse; while, in the treatment of subjects that naturally call forth intensity of feeling, his utterance adapts itself, with no less propriety and certainty of effect, to the language of

* Preachers, if they would observe how easy it is for an audience to hold at arm's length the man who merely reads at them, (with his head down, and his eye on his manuscript,) compared to the man who speaks to them, (with the natural eloquence of his eye directed to theirs,) would understand better how easy it is to listen with indifference to the one, and how difficult to escape from the influence of the other. Prudence might, in such cases, be excused for whispering the half-worldly sugges⚫ tion, how easy it may be, in given circumstances, to "dismiss" the one and how difficult to part with the other.

vivid emotion. His voice takes, in a word, the hue of every subject over which it passes, and tinges his whole utterance with the coloring of the heart. He knows how to restrain expression, and how to give it free scope, how to call home the energy of the voice, and how to throw it His extensive and varied discipline on expressive tone, renders it easy for him to pass from the level and tranquil moods of utterance to those which are imbued with passion. His tones, therefore, spring directly from feeling, and are as free from any arbitrary trait as they are from morbid chill and reserve.

out.

The diligent student of elocution recovers, in short, that power of instantaneous sympathy and of vivid expression, which characterized him at that early stage of life, when the freshness and fullness of his tones indicated a heart unmodified by conventional and arbitrary influence. The power which he has thus recovered, his mature mind and reflective judgment enable him to apply to those deeper and richer sources of thought, which his intellectual culture has opened up to him. The still higher sphere of thought and feeling to which the preacher's vocation transfers him, he enters with a preparatory training, which, if it does nothing else, frees him, at least, from the embarrassing consciousness that he has not acquitted himself fully and honorably, as far as human abilities may go, to a part of the peculiar duties which are to be devolved upon him, by his professional relation.

ELEMENTARY EXERCISES FOR THE VOICE.

THE following exercises are designed for the practical application of the principles discussed in the foregoing remarks: they consist, accordingly, of examples selected with reference to those parts of elocution which are immediately applicable to the training of the voice for the purposes of the pulpit. To students who had already ac quired a knowledge of the general principles of elocution, from the manuals formerly mentioned, or from any similar source, the exercises now presented will suit the purpose of special application to professional uses; and to persons who had not previously made elocution a particular study, they will serve as a partial substitute for a more extended course of elementary discipline.

ARTICULATION.

The Fundamental Sounds of the English Language.* "Tonic" Elements.

[So classed by Dr. Rush, from their susceptibility of "intonation."]

Simple.

†A-ll, A-rm, A-n, Ai-r, E-rr, E-nd, I-n, E-ve, O-r, O-n, U-p, Oo-ze, L-00-k.

*The inadvertency of attention, or the ascendency of erroneous habit, being the principal causes of indistinct enunciation, the rigorous practice of the above elements, becomes, even to professional speakers, a useful exercise, as a means of securing attention to details.

The Italic letters contain, in each instance, the element of sound, which is the object of direct attention. Each element should be repeated after the pronunciation of the word in which it occurs.

Compound.

A-le, I-ce, O-ld, Ou-r, Oi-1, U-se (the verb,) U-se (the noun).*

"Subtonics."

[So denominated by Dr. Rush, because of their inferior susceptibility of intonation, when compared with the "tonic" elements.]

L-u-ll, M-ai-m, N-u-n, R-ap, Fa-r,† Si-ng, B-a-be, D-i-d, G-a-g, V-al-ve, Z-one, A-z-ure, Y-e, W-oe, Th-ine, J-oy.

"Atonics."

[So called from their deficiency as to capacity for intonation.] P-i-pe, T-en-t, C-a-ke, F-i-fe, C-ea-se, H-e, Th-in, Pu-sh, Ch-ur-ch.

Combinations.

Bl-ame, Cl-aim, Fl-ame, Gl-are, Pl-ace, Sl-ay, Spl-ay, Br-ave, Cr-ave, Dr-ain, Fr-ame, Gr-ain, Pr-ay, Spr-ay, Tr-ace, Str-ay, Shr-ine, Sm-all, Sn-arl, Space, St-ay, Bo-ld, E-lf, E-lk, E-lm, He-lp, Fal-ls, Fau-lt, E-lve, Mai-m'd, Glea-ms, A-nd, Gai-ns, Ba-nk, Da-nce, A-nt, Ba-rb, Ba-rb'd, Ha-rd, Ha-rk, Ma-rk'd, A-rm, A-rm'd, Ea-rn, Ea-rn'd, Hea-rse, Du-rst, Ba-rs, Ma-rt, Ca-rve, Ca-rv'd, Cha-sm, Rea-s'n, A-sp, Va-st, Pa-ss'd, Ma-kes, A-ct, Wa-k'd, Wa-ft, Qua-ff'd, A-pt, Su-pp'd, O-p'n, Ta-k'n, Sad-d'n, Gra-v'n, Brigh-t'n, Ca-ll'st, A-rm'st, Ca-nst, Du-rst, Mi-dst, Hea-rd'st, A-rm'dst, Lea-rn'dst, A-ble, Trou-bl'd, Am-ple, Top-pld, Cra-dle, Bri-dl'd, Ma-rl, Wo-rld, Ri-ngs, Ha-ng'st, Wro-ng'd, Wro-ng dst.

* For explanation of the few points of difference in arrangement, between the above table and that of Dr. Rush, see statements in the volume on Orthophony.

† The five elements at the beginning of the above table, may, from their comparative approach to vocality, be termed, "pure subtonics."

The combination of elements is, in every case, indicated by italics. Every combination should be repeated separately, after pronouncing the word in which it occurs.

For a list of common errors in articulation, see American Elocutionist.