The phrase," the hapless husband cried," is not a part of the interrogation, but is parenthetical, and should be read one degree lower than the pitch-note. ELEVENTH EXERCISE. FORCE. The pupil should utter all the vowel sounds with the rising and falling inflection, in each of the nine degrees of force. He should then read, or recite, some passage in each of these degrees, beginning as soft as possible, thus: : There are many persons who do not vary the pitch and force of their voices according to the varying demands of sentiment. They read every thing alike; and they do not appear capable of imitating a correct manner of speaking. In such cases, I have found it necessary, in order to break up established habits, and direct the voice, as it were, into a new channel, to institute exercises in which the pitch and force of the voice are varied in the wildest and most extravagant manner. For instance, I select some piece, and divide it into sections. The first of these sections I pronounce in the falsetto voice, and request the pupil, or, what is better, the whole class, to pronounce it in like manner; the second section I pronounce in the lowest note of the natural voice, and it is immediately repeated by the class; the third, in the highest note of the natural voice; the fourth in a whisper; the fifth, in the medium pitch of the natural voice; and so on. After exercising awhile in this manner, the pupil is able to appreciate smaller intervals of pitch; and the voices of the whole class are ultimately brought into the same key, as is done in singing. The following is an exercise of the kind to which I allude. Falsetto. My brave associates, Highest note of n. v. Whispering voice. my feelings, Lowest note of the natural voice. partners of my toil, | Medium note of natural voice. and my fame! | can Rolla's words | Highest note n. v. Lowest note of the natural voice. Falsetto. add vigour to the virtuous energies | which inspire Lowest note. your hearts? | No! THIRTEENTH EXERCISE. TREMOUR. The pupil should pronounce all the vowels which admit of long quantity, with a tremulous movement of the voice, as shown by the following diagram: The vowels, å, à, è, 1, ô, ô, ù, and ou, should be pronounced in the same manner. The accented syllable of the words printed in italics, in the foilowing passages, may be pronounced with the tremour. That wash thy hallow'd feet, and warbling flow. And the complaining brooks, that make the meadows green. The tremour heightens the expression, even of opponent passions, as joy and sorrow. It may be occasionally introduced with great effect, both in song and speech, as well as in instrumental music. M FOURTEENTH EXERCISE. TIME AND GESTURE. A rhythmical ear is essential to the public speaker who would gesticulate with gracefulness, precision and effect. The subject of time, therefore, should claim his particular attention. Those who have not a rhythmical ear, may acquire one, by practising faithfully the following progressive Exercises: 1. Raise the arms, with the hands clinched, to the position elevated forwards (Bcef),and then bring them down, with great force, to the position downwards forwards (Bcdf), on the energetic utterance of each of the elements of speech. 2. Clinch the hands, then retract one arm, and project the other, alternately, horizontal forwards, on each of the elements. 3. Clinch the hands, and make a beat, horizontal forwards, on the first element; strike the palms of the hands together on the second; with the hands clinched, make a beat horizontal forwards on the third; strike the palms of the hands together on the fourth; and so on. 4. Beat time on the elements with the dumb-bells. Make the first beat by bringing the bells in contact, horizontal forwards; the second, by bringing them in contact elevated forwards; the third, by bringing them in contact downwards forwards; the fourth, by bringing them in contact downwards backwards, thus: Diag. 40. METHOD OF BEATING TIME WITH THE DUMB-BELLS.* 121 *Dumb-bells are commonly made of lead. Those used in the author's Vocal Gymnasium are turned out of lignum vitæ. They are one foot long, and four inches in diameter. (See the cuts in the margin.) â &c. PRACTICAL ELOCUTION. 179 5. Mark the time by marching. The class should march, în file, on a line, in the form of the figure eight (8), and pronounce, after the teacher, an element at every step. Should the class be large, two columns may be formed, which should march in opposite directions. Meanwhile, two, or more pupils, standing out from the class, may keep time with the dumb-bells. SYLLABLE RHYTHM. 6. When the pupil cannot mark the rhythm of poetry, he should first beat time on every syllable, in either, or in all, of the ways which have been described. I am mon-arch sur-~| vey~ | my~ | right~ | there | right | of ~ | all ~ | I~ | there is none to | dis- I pute from cen tre all round to the the sea POETRY RHYTHM. 7. The rhythm of poetry should be marked by a beat on the accented part of the measure, which, in the following examples, is the first syllable after each vertical bar. Lines supposed to have been written by Alexander Sclkirk, during his solitary abode on the Island of Juan Fernandez. (COWPER.) I am monarch of all I sur- | vey', none to dis- | pute; :!| That sages have | scen in thy | face? I am out of hu- | manity's | reach; 180 PRACTICAL ELOCUTION. The beasts that roam | over the plain', bell', rocks, never heard'; sound of a | knell', sabbath ap- pear'd,. Ye winds that have made me your sport', Of a land I shall visit no more. Though a friend I am never to see.. How fleet is a glance of the mind! And the swift-winged arrows of light.. In a |