nized. When the vowel is spoken alone or is initial to the syllable, its radical is, in general, to be characterized by some degree of direct attack, whether the mode of utterance is effusive, expulsive, or explosive. In matter-of-fact speech, the abruptness of the vowel opening should be so governed that the syllabication is distinct, crisp, bright, free from drawl; every syllable, even the briefest and slightest, having its separate vocal impulse. In this form, the lowest terms of explosive utterance, the breath is not held and compressed behind the closed vocal bands; but the bands come into light contact, just as the breath reaches them; there is a slight, brief check of the current; the bands leap apart, and the vowel impulse begins with clear-cut definition, however light in force or short in quantity. This is the direct attack of the equable concrete, the normal syllabic form of unemphatic speech. This escapement-like action of the bands, sometimes called 'the click of the glottis', gives separate identity to the unemphatic syllables of the group. In strong emotional passages, the organic action is intensified into the stroke of the glottis, especially in the case of words bearing explosive emphasis. Where one syllable of a word ends, and the next begins, with a vowel,-as at two points in the word aërial,-if the second vowel were to receive the direct attack, there would necessarily be a hiatus, in effect disarticulating the word. The hiatus is prevented and the pronunciation made smooth and consecutive, in such cases, by means of the y-glide or the w-glide between the vowels, according as the first vowel terminates with the tongue toward the high front or the high back position. When the vowel is immediately preceded by p, t, or k, the occlusion and implosion take place, first at the articulate station and then at the glottis; but the release takes place at the articulate station and the glottis simultaneously. When b, d, or g hard immediately precedes the vowel, the initial abruptness of the vowel is of necessity less decided, because of the comparative looseness of the articulative contact, and because the glottis, though narrowed, is not closed. Practice the following examples, varying the force and rapidity of the lip and tongue action. EXAMPLES FOR THE PRACTICE OF 'DIRECT ATTACK.' Peter Piper picked a peck of pickled peppers: if Peter Piper picked a peck of pickled peppers, where is the peck of pickled peppers that Peter Piper picked? What a tale of terror, now, their turbulency tells! A giddy, giggling girl goes, gaily gabbling to a gawky, grinning, graceless gaby. The clearness and sharpness of the vowel attack, then, depends upon the completeness of the occlusion, the force of the breath compression, and the promptness and completeness of the release. Where the initial articulate is formed by partial contact,-y, w, wh, s, sh, z, zh, l, m, n, v, etc., the succeeding vowel cannot fully receive the typical explosive form, because of the imperfect breath compression and the lack of the glottis stroke; but practice will do wonders. It is well, however, that Nature has set bounds to our endeavors; for much of the grace, beauty, variety, and' expressiveness of speech lies in this inherent affinity or antipathy of syllabic forms for the three primary types of utterance, effusive, expulsive, and explosive. CATCH-BREATH EXERCISE. Take the numerals,-up to thirty, thirty-two, thirtythree, thirty-five, or thirty-six, according to the grouping, and count in groups of two, three, four, five, six, seven, eight, nine, and ten. Count each group deliberately and distinctly, holding the waist firmly outward and maintaining a smooth and constant expiratory pressure; at the end of each group, instantly relax the diaphragm, then immediately contract it, to renew the breath; pronounce the next group, as directed; relax and renew; and so on. This is a mechanical and purposed imitation of the manner of grouping and sustaining the voice, in its unstudied conversational use. The exercise should be frequently repeated, until the renewal of the breath becomes automatic, and the command of expiratory pressure is a matter of unconscious adaptation; of conscious command, rather than of conscious effort. WHISPER PRACTICE. Vigorous practice of the 'articulated' whisper-so called by Mr. Murdoch--has many valuable points in its favor:a. It can be carried on without the dread of disturbing. one's neighbors, or the feeling of being overheard and discussed; b. It compels frequent pauses and renewals of breath, and so enforces attention to grouping; and it cultivates and speedily establishes breath control; C. It tends to strengthen and round out the voice; because strong whisper demands and secures vigorous respiration and the open throat; d. It gives command of aspirated quality, a most important emotional voice color; e. It renders the enunciation clear and penetrating; the absence of vocality from the vowels being instinctively balanced by increased energy in the utterance of the articulates. Perhaps no other one form of exercise produces a larger number and variety of valuable results. HOW TO PRACTICE THE WHISPER. Always practice the whisper on the scale of public speaking; that is, as if trying to make every syllable distinctly heard throughout a large auditorium. A well-enunciated, well-projected whisper will carry to a surprising distance; but practice as if to reach beyond possibility. Float your effusive, push your expulsive, and throw, or toss, your explosive syllables to definite points, at different distances. Your whisper may not, probably will not, reach so far as your aim; but this governing idea will induce in the organs. of utterance that mode of effort that throws the voice forward and out, and develop the adjustment and action of tongue and lips that give the breath, when vocalized, the proper re-enforcement from the head cavities. This kind of practice 'places' the voice, as it is phrased. It gives reach and clearness of enunciation, and enables you to preserve the colloquial manner in public address, with the pleasing certainty that every word reaches every ear. Practice the whisper often, but not long at a time. THE TIME FOR PRACTICE. The best time for vigorous practice is midway between meals. As a rule, do not practice exercises requiring strong breathing action within an hour after or an hour before, a hearty meal. DIRECTIONS FOR WHISPER PRACTICE. All the following examples for whisper practice should also be frequently given in the mingling of voice and whisper called half-whisper. The first example of each form is marked for the pauses. I do not pretend to dictate the length of the pause; only the place is suggested. To sustain a vigorous, well-projected whisper requires more breath, and of course more ample respiration, than a correspondingly powerful vocal utterance. At each pause, then, inhale breath enough to keep up the supply; but do not take a full breath. If necessary, exaggerate the pause, but do not neglect to inhale. Beware the gasp! Begin the utterance of each successive group of a sentence as the tide of breath turns to flow outward. EXAMPLES OF EFFUSIVE WHISPER. In practicing the effusive whisper, there will probably be a tendency, at first, to make the accents more or less sharply staccato, or else decidedly expulsive. Try to preserve the gentle, tranquil, flowing utterance of serene meditation; accentuate and emphasize by a smooth, deliberate breathingout of the important syllables; quantity, not vehemence, is the effect you are to aim at. Do not hack or thrust the accents; simply breathe and float them out and away. If you seem perilously near the drawl, do not be frightened, so long as your ear perceives it. 1. Robed in a garment Yon gentle hills, 7 pure beam; yon castled steep, 7 Whose banner hangeth o'er the time-worn tower A metaphor of peace; 7 all form a scene Where musing Solitude 7 might love to lift 7 -Shelley. |