The upper key is first practised, for the purpose of enlarging the compass of the voice and giving dignity to its whole range. By the subsequent lessons in expression, the lower key is disciplined. Thus the whole compass of the voice is not only adapted to the large room, but is improved in its quality. Its tone becomes fuller, smoother and more interesting. Also, by employing a high key in this first lesson, the speaker can, at first, succeed better in respect to an extemporaneous and sin

cere manner.

Consequently, to secure the greatest amount of improvement from this lesson, the speaker should use much more loudness than will be expedient in the subsequent ones. Loud speaking is at first easier than that in which the voice is subdued. It is only by strong practice, likewise, that the quality of the voice can be improved in dignity and steadiness of tone.

The most difficult part of this lesson, is the steady SLOWNESS that is required for large rooms. Even speaking that is apparently rapid, must be, in fact, much slower when adapted to large audiences, than when given in a small room.

This steady and deliberate slowness, likewise, prepares the speaker for that ease and composure which will be required in the last two lessons.

LESSON II.

ARTICULATION.

Directions.-Speak in the same manner as in the first lesson, but in addition take especial pains in ARTICU

LATION.

Thus the syllables will not only be distinct from each other, but each letter will be articulated.

Besides however the finish and perfection which this lesson is intended to give to the articulation and gesture, it has another object of still greater importance. Articulation may be per

fectly distinct, and yet the tone of voice remain unmeaning. It is sometimes observable, that those who take great pains with their articulation, neglect at the same time to keep the voice in a natural and interesting tone.

Therefore, in this lesson, articulation must be employed as an instrument for explaining thought. The voice must be made as flexible as possible. The waving and varying tones of explanation and setting forth ideas, as if the speaker were carefully inculcating his own opinions, must be patiently cultivated.

Upon this and the preceding lessons depends the acquisition of those qualities which cause a speaker to appear as if extemporizing.

Even when the style of delivery appropriate for the composition is that of sentiment, the practice of the tone of sentiment is deferred to the next lesson. In the present lesson, every composition is spoken with explanatory and argumentative turns of voice. This prevents falling into what are called tones in speaking, and causes the final delivery to exhibit the requisite medium between pure sentiment and pure thought.

In addition to simple manliness of attitude and gesture, let them be carefully adapted to the size of the room.

The farther off the more distant part of the audience are, the more erect is the natural attitude, and the higher is the hand raised in appealing to them.

In large rooms, the hand, in ordinary gesture, must rise at least as high as the shoulder or the upper part of the breast.

In this lesson also, the speaker finds himself sufficiently at leisure, to watch the flexibility, variety and grace of his action. It is therefore advisable to gesture during the whole of the lesson, and deliberately to study significance and variety of motion.

LESSON III.

EARNESTNESS.

Remarks.-The object of this lesson, is to establish the habit

of expressing real thought and feeling.

Every tone and gesture should have the peculiar modification, which only exists when there is a hearty effort to interest and convince the audience.

This is most easily effected, when the audience is small, and near the speaker-as, for instance, when a lawyer addresses a jury.

Therefore, in this lesson, practise as follows.

Directions.-Imagine a few persons in the seats near you, and address them with the most pointed and hearty

earnestness.

In attitude, lean forward towards them, bending at the hips.

In gesture, direct the hand towards them.

Take more especial pains to be pointedly earnest on the EMPHATIC WORDS. Be sure to speak them with sufficient force. Dwell also upon them in an earnest

manner.

In private practice carry this earnestness to a great extreme, even to the degree of violence. If this be faithfully done, the voice and gesture will become habitually spirited and interesting, even in the calmest and most quiet moods of delivery.

LESSON IV.

ELOQUENCE.

Remark.-Eloquence cannot like elocution be learned from a teacher. Yet a person may teach himself to be eloquent, and an experienced teacher can afford him considerable assist

ance.

Directions.-Practise the same pointed address, as in the preceding lesson, (but without violence,) and look about three quarters of the distance across the room. Adapt attitude and gesture to the same distance. Unite with the tones of earnestness, the distinctness and articulation of the two first lessons.

Keep the feelings vivid.

Be careful never to relax in deliberate energy and force, so that the voice may have a striking expression in all parts of the room.

The speaking will thus become manly and effective. The speaker will be forcible, earnest, sincere.

LESSON V.

EXTEMPORANEOUSNESS.

Remark.—The most striking things in delivery will often occur suddenly to the mind of the speaker, during the excitement of speaking. A speaker who cultivates a natural instead of a theatrical eloquence, will not be able always to speak the same discourse in precisely the same manner. He must have the habit of encouraging good impulses, and should generally act out new and sudden ones, without distrust or hesitation.

Directions. Speak wholly from the impulse of thought and feeling.

Aim to appear as if extemporizing.

Take no particular pains as to any one point that has been studied in the previous lessons.

Imagine the whole audience present. Act upon them, and endeavor to interest them in the thoughts and feelings of the composition.

If the composition be well committed to memory, and the above lessons faithfully practised, there is no danger that the

speaker will manifest embarrassment. Experience shows that natural diffidence is no serious impediment to eloquence in public speaking. It generally springs from sensibility, and this characteristic is favorable.

SOPHOMORE YEAR, SECOND TERM.

SUBJECT OF STUDY. INTERESTING SPEAKING. The eloquence of FULL ENTHUSIASM.

Remarks. The preceding course of lessons cultivated the eloquence of thought and manly energy.

It is the object of the present course to superadd enthusiasm.

LESSON I.

MUSICAL VOICE.

Remarks. In general, when an audience is to be interested, it must first be aroused and excited. Therefore, to be interesting, we must first be spirited. But in order to be spirited, we must begin our practice with being forcible.

If we attempt to cultivate a musical voice for a large room, without first acquiring a manly force, we shall become feeble and effeminate.

Directions.-1. Stand erect, with the chest thrown well forwards. Let the lower limbs, however, be easy, to avoid a swelling attitude.

The position of the body will thus express enthusiasm. 2. Open the hand wide, and extend the arm to its full length-stiffening the muscles.

The action of the arm will thus correspond to the condition of the breast. Its motions will be slow and earnest.