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the air until then; but if a somewhat longer pause (not, however, permitting a positive rest) occurs, he should keep the lungs fully supplied by drawing short, inaudible inspirations with expanded chest, by means of the diaphragm (the feeblest inspiration will suffice if made frequently).

In this way, he will be enabled to breathe without permitting the air contained in the lungs to escape entirely, as is done in a full expiration. If he now begins a new sentence, after having kept the airreceivers constantly filled, he avoids the unbecoming, visible and audible "preparation" by which, as it must be performed rapidly, head, shoulders and chest are moved in an unsightly manner.

We have spoken of a slow and a rapid inspiration. Special attention must be called to this rapid inspiration which we term the "short" one, and which is of the utmost importance in song and speech. We may attain in this such a point of perfection that after every comma, even if this is repeated after every two or three words, it may with the greatest advantage be applied in rapid speech. It naturally requires much practice, but we can and must succeed.

Without the ability to make at will this "short" inspiration, which must always be inaudible, it is simply impossible to take part in a lively dialogue,

as by taking a deeper and slower inspiration, an involuntary pause (if ever so small) would check the flow of speech, and lessen considerably the vivacity of the dialogue. This rapid inspiration must, therefore, be practiced carefully, and must by no means be audible or visible.

Much time will usually elapse before the speaker acquires the ability to refill the lungs immediately after having completed a sentence, for his thoughts are generally still occupied with the just-completed sentence, and he forgets to inspire immediately.

Only by continued practice will this become second nature, and it will be impossible for him to speak without this short, rapid inspiration.

Many, who have understood the necessity of frequent inspiration, make, however, the following mistake: As soon as they have completed a sentence, they close the mouth tightly, compress the lips, and then inspire through the nose; in consequence of this there results a noise like that of audible sniffing. This is just as incorrect as the audible inspiration through the contracted glottis.

We remarked at the beginning of this section, that a long breath is of great importance in passages where taking breath would disturb the expression

of the thought. We shall explain this more fully by means of a few examples.

There are moments in which a deeply-excited person is too much affected to contain himself suf ficiently to follow the slow succession of words; he gives vent to his feelings in mute actions, then gestures, postures, glances precede the words as the lightning does the thunder.

There are cases, however, in which a person, carried away by excitement, suddenly recalls all the required expressions. Words rush to his lips as quickly as thoughts originate in his mind; both arise instantaneously, and follow each other without an interval.

The utterance of the actor or orator should, in this case, be compressed, produced hastily, as if with one outburst, but he must avoid giving the public the impression of exertion, by being suddenly forced to draw a long breath. Drawing a long breath always is a means of rest, which, done at an improper point, subdues the fire of the moment and destroys its effect. If, for instance, the actor representing Shakespeare's Shylock, in Act III, Scene 1, where he addresses Salarino, saying,-"Hath not a Few eyes? Hath not a Few hands, organs, dimensions, senses, affections, pas

sions?" should wish to take breath after each comma, or even only once, the extraordinary gradation of passion contained in these words would be utterly destroyed. In this and similar cases it is absolutely necessary to command a long, powerful and effective breath, if we wish to give full expression to the thought and produce the greatest possible effect.

Passion does not always yield to the rules of grammar; it does not always stop where grammar requires; it has usually no regard for periods, commas, etc.; it omits or transfers them according to the irregularity of its outbursts.

To be fully able to represent this artistically, a complete mastery of the respiratory organs is absolutely necessary. Only then, as far as regards strength and power in expenditure of air, will the orator be able to produce an effect like to that of the roaring whirlwind, or the soft, gentle breathing of the zephyr.*

When Shylock, continuing, says: "Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a

* Artists like Salvini and Rossi, whom the author lately saw and admired, are examples of this imagery.

Christian is; in this case the actor should make a short, rapid inspiration after every comma (with the exception of the last before "as a Christian").

For only by means of these short and rapid inspirations can these lines be spoken fluently and with the requisite fervor and rapidity. Long inspirations in this case would destroy the wonderful rhetorical construction which Shakespeare has arranged.

It naturally requires a long time to become such an adept in the practice of this short and rapid inspiration as to make its application appear second nature. The short, quick inspiration is accomplished by side-breathing; the slow inspiration by abdominal breathing.

When the lungs have become somewhat strained by singing, the best way to refresh them is to make a few successive respirations faster than usual.

SECTION 19.

BREATHING AFTER AN IMPASSIONED PHRASE.

Most speakers and singers, on coming to the end of an impassioned passage in like impassioned manner, fill their lungs again visibly and audibly. This is altogether wrong.

There may, indeed, be situations where to make a quick and audible inspiration is not only permissi

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