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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, begin ning as soft as possible, thus:

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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,

Highest note n. v.

Lowest note of the natural voice.

partners of my toil, |

Medium note of natural voice

and my fame! | can Rolla's words |

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:

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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 following passages, may be pronounced with the tremour.

That wash thy hallow'd feet, and warbling flow.
Greece nurtured in her glory's time.

And the complaining brooks, that make the meadows green.

The tremour neightens 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.

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 ele vated 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.*

THE

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.)

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5. Mark the time by marching. The class should marcn, in 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.

2 | I~ | am ~ | mon- ~ | arch~ | of~ | all|I~ |

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7. The rhythm of poetry should be marked by a beat on the ac cented 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 Selkirk, during his solitary abode on the Island of Juan Fernandez.

(COW PER.)

all I sur- | vey',

I am monarch of
My right there is
From the centre all
I am lord of the
O solitude! | where
That sages have
Better dwell in the
Than reign in this

none to dis- | pute;
round to the sea',
fowl and the brute.
are the charms
seen in thy | face?
midst of a- larms',
horrible | place.

I am out of hu- | manity's | reach;
I must finish my journey a- | lone;
Never hear the sweet music of | speech',
I start at the sound of my own.

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The beasts that roam | over the plain'
My form with in- | difference | see:
They are so unac- quainted with | man',
Their tameness is | shock ing to me.
Society, friendship, and | love',
Di- vinely be- | stow'd upon | man,
O had I the wings of a | dove',

How soon would I taste you again.! My sorrows I then might as- | suage

In the ways of re- | ligion and truth; Might learn from the wisdom of age, And be cheer'd by the | sallies of youth,

Religion! what | treasure un- | told',
Re- sides in that heavenly | word. !
More precious than |
Or all that this
But the sound of the
These valleys and
Ne'er sigh'd at the
Or smil'd when a

silver or gold',
earth can afford.
church-going | bell',
rocks, never heard;
sound of a | knell',
sabbath ap- | pear'd.

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Ye winds that have
Con- vey to this |
Some cordial en- | dearing re- | port',
Of a land I shall visit no more.
My friends do they now and then send
A wish or a thought after | me?
O tell me I yet have a friend,
Though a friend I am never to see.
How fleet is a glance of the mind!
Com par'd with the speed of its | flight',
The tempest it- self lags be- | hind',

made me your sport, desolate | shore,,

And the swift-winged | arrows of light... When I think of my own native land, In a moment I seem to be there; But, alas! recol- | lection at | hand', Soon hurries me back to de- | spain.

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