The depressing emotions indeed, such as despondency, diffidence, or shame, make the breathing weaker instead of stronger, and accordingly it is one of our most common instinctive resources when endeavoring to shake them off, to take deep breathings, and make sudden and vigorous muscular exertions.

From this connection of voice with respiration, we may derive the most easy and successful of the various modes for cultivating an improved degree of vocal power, depth and flexibility.

On the same principle also depends the ability to speak with ease. It is the habit of not taking breath with sufficient frequency and fullness, that, so far as mere physical exertion is concerned, causes those who address even the largest audiences to become exhausted.

This deep breathing furnishes the reason why in an animated attitude the breast is heaved up and thrown forward, as was described in the previous chapter.

Hence the first lesson for acquiring a commanding and expressive voice, should be as follows.

Stand in attitude for speaking as has been already described.

Heave up the chest by taking a very deep breath, and keep it in this state by taking breath very frequently during the time of speaking a sentence.

Never attempt to speak as many words as possible at a breath, but on the contrary catch breath suddenly and frequently, as is done by players on wind instruments. Assist the vocal effort by voluntarily taking on a state of excited and strong emotion.

Aid the natural action of the breast, by strong gestures of appeal with the right arm or with both arms.

At first students of elocution are liable to suppose that depth of tone and dignity of voice are necessarily connected with a

In

low pitch. For this reason it will be well to practise this lesson on each of the three keys which will soon be described. the examples, the words will be divided into groups, after each of which breath should be taken.

Remarks.-The directions for the changes of pitch in the above example, have been given with reference to solemnity and climax. A very different set of directions might be given, which would perhaps be equally appropriate. These, however, will coincide with the tastes of all in a sufficient degree for the purposes of practice. It is not indeed necessary for elementary training of the voice, to use extracts from speeches at all. It is equally useful to practise upon tables of single words, such as will be hereafter given under the head of articulation.

VOICE OR TONE OF ADDRESS.

It is often observable that the voice of a speaker does not really address the audience. It is abstracted, and has precisely the same tone as if there were no auditors. Some likewise appear not to believe what they say. Even a soliloquy should be given with expressive earnestness, when an audience is present. Yet some speakers not only have the tone of soliloquy when addressing their fellow beings, but even that of merely repeating words without interest in their meaning.

The practice of singing may be made highly useful in improving the voice for reading and speaking; yet it is often ob

servable that those who devote considerable time to the practice of singing, have a singularly lifeless and inexpressive elocution.

IN ALL THESE CASES THE FAULT PROCEEDS FROM BAD HABITS OF RESPIRATION.

In singing the breath is retained, and only suffered to issue very slowly. A singer can execute more notes at a breath than a speaker can utter syllables, with the same slowness, provided the sound of the speaker's voice is EARNESTLY EXPRESSIVE.

Therefore practise sending out all the breath on each word, and catching it quickly and deeply between the words.

Assist this mechanical practice by imagining a few persons before you, and making vigorous effort of the MIND to speak directly and earnestly to them.

The most advantageous style of speaking for early practice, is that of lawyers. Imitate the hearty earnestness and force with which they address juries. Defer the study of refinement and beauty of delivery, until after you have acquired force, and what people call a whole-souled heartiness. Universally, in the common criticisms of miscellaneous audiences, what is called interesting in a speaker, is really little else than force and vehement earnestness.

The taste of colleges sometimes degenerates so much, as to favor what in the case of those who command no reverence by their learning, the world at large would call dullness and even stupidity. Remember that the object of speaking in college is to qualify for speaking after graduating. Students must prepare for dealing with the common sympathies of humanity. Whatever is worth doing at all, is worth doing well. Either speak with natural earnestness, or make up your mind that in future life you will decline invitations to make public addresses.

It would be the most approved custom for a man who has prepared a written address, but whose delivery of it in person will certainly torture the patience of an audience, to offer his manuscript to an acceptable speaker to read or speak it for him. This is the established practice of kings and chief magistrates, and would often in the case of others be as much more dignified as more agreeable.

Some entertain an obscure opinion, that earnestness and energy will compromise their dignity. So indeed it will, if the matter is weak and the style bombastic. But in all other cases, true dignity can only be exhibited by means of mental power joined to self-command. A person is always dignified who commands respect by an earnestness and an energy that are perfectly under his own control, and all good delivery requires an entire command over our own faculties. There is indeed a sham dignity which is purely negative. It is the dignity of a tortoise drawing his head within his shell!

EXAMPLE FOR PRACTICE.

Gentlemen of the Jury!

Suppose the prisoners,

if the evidence were true,

DID conspire the king's death,\

what are you to found your VERDICT upon?