produce artistically, the average public speaker is liable to be a lamentable failure. The best remedy for poor speech forms will be found in a stimulation of the mind which shall secure a clear apprehension of each intellectual, and a full experience of each emotional, concept. Where speech forms are fixed by long habit, such expedients as use of conversation and the phonograph may have to be resorted to. But every effort should be directed to secure forms as free and natural as those of conversation. The best results cannot be attained unless the voice is so trained that it may be used with equal facility throughout its whole range.

Summary. The mind gives expression to its varied action through the melody, quality, rhythm, and dynamics of the vocal utterance. The intellectual phase of the utterance finds expression, for the most part, in melodic form. Emotion tends to modify the form in the extent of the range of pitch. Absence of melody, monopitch, and the peculiar melodic forms known as singsong and minor cadence indicate that the mind is probably inactive on account of stupidity or inattention, or that the intellectual has been subordinated to the emotional phase of the thought. This latter may not be out of place in some cases, as in liturgical reading, attempts to express the supernatural, or in a farcical performance; but it is out of place in most public speaking of real dignity and power.

III. VOCAL PROGRAM

Speech quality. 1. With the throat, tongue, and jaw completely relaxed utter the sound ä easily and naturally. Give it on one pitch with a sort of chanting speech. With the position thus acquired, utter a different vowel sound,

such as ǎ, or ě, seeking to keep the same relaxed condition of throat and jaw, remembering that the tongue is the proper instrument for placing the tone. Employ all the vowel sounds in like manner, rejoicing in a pure, rich, easy tone. Quality of the right sort from a physical standpoint is dependent upon a free resonance.

2. With the same vocal conditions utter the sentence, "Ride on the prize is near." (1) Let it be uttered with the tremendous roar of battle near, in a vital, physical quality of voice. (2) Now let it be given as a mere fact, the words on a sign seen somewhere. (3) Lastly, give it as an utterance aroused by some spiritual vision, a moral sentiment with lofty spiritual significance, mysterious yet glorious. 3. Read the following with appreciation of the relation between emotional states and sound values :

A. The league-long roller thundering on the reef.

B.

Roll on, thou deep and dark blue Ocean, roll!

C.

Flow gently, sweet Afton, among thy green braes.

The reader will note that each one of the above has reference to the action and sound of water. There are many such, but one more will suffice, one in which the thought passes from the streamlet on the mountain side to the wave on the vast ocean.

E.

The brooklet came from the mountain,

As sang the bard of old,

Running with feet of silver

Over the sands of gold!

Far away in the briny ocean

There rolled a turbulent wave,
Now singing along the sea-beach,
Now howling along the cave.

And the brooklet has found the billow,

Though they flowed so far apart,

And has filled with its freshness and sweetness

That turbulent, bitter heart. LONGFELLOW

Feel the character of the stroke in this from Shakespeare:

F.

G.

Batter his skull, or paunch him with a stake,

Or cut his wezand with thy knife.

Look without,

Behold the beauty of the day, the shout
Of color to glad color, — rocks and trees,
And sun and sea, and wind and sky! All these
Are God's expression, art work of his hand,
Which men must love, ere they can understand.

RICHARD HOVEY

4. Practice much on contrasts such as these, assimilating the emotional content :

A. I hate him for he is a Christian.

B. Holy! holy! holy! Lord God of Sabaoth!

C.

Full fathom five thy father lies;

Of his bones are coral made;
Those are pearls that were his eyes :
Nothing of him that doth fade
But doth suffer a sea-change
Into something rich and strange.
Sea-nymphs hourly ring his knell:

Burthen. Ding-dong.

Hark! now I hear them,— Ding-dong, bell.

SHAKESPEARE

Note how the character of the two creatures supposed to utter, the one, C, and the other, D, is revealed in the sounds employed by the poet.

5. Use as a chant the first exercise for the development of speech quality; that is, destroy the speech melody as far as possible, but feel, experience, give fully, freely, joyously the emotions through the quality and texture of the tone.

6. Learn and give memoriter such selections as 6, 7, 8, 11, 14, and 19 under the practical exercises for quality.

. I.

CHAPTER III

SPEECH QUALITY

I. PRACTICAL EXERCISES

Welcome her, welcome her, all that is ours!
Warble, O bugle, and trumpet, blare!

Flags, flutter out upon turrets and towers!
Flames, on the windy headland flare!
Utter your jubilee, steeple and spire!
Clash, ye bells, in the merry March air!

Flash, ye cities, in rivers of fire!

Rush to the roof, sudden rocket, and higher

Melt into stars for the land's desire! - TENNYSON

2. Wal naow, Horace, don't ye cry so. Why, I'm railly concerned for ye. Why, don't you s'pose your daddy's better off? Why, sartin I do. STOWE

3.

4.

in

5.

6.

March on, my soul, with strength !

Well, well, I'm glad to see you!

Ride on the prize is near!

It was an eve of Autumn's holiest mood.
The corn-fields, bathed in Cynthia's silver light,
Stood ready for the reaper's gathering hand;

And all the winds slept soundly. — POLLOK

7. Suddenly the notes of the deep-laboring organ burst upon the ear, falling with doubled and redoubled intensity, and rolling, as it were, huge billows of sound. — IRVING

8.

How ill this taper burns! Ha! who comes here?

I think it is the weakness of mine eyes

That shapes this monstrous apparition.