sentences and parts of sentences, to be taken into account in delivery.

The speaker should not break out abruptly into a full vocal effort at the beginning of his discourse, but gradually rise as the matter increases in importance.

The climax of vocal effort is parallel to rhetorical climax.

The first clause should be uttered so as to prepare for the second, the second for the third, etc., increasing in interest and importance, till the highest point of thought and emotion is reached.

Climax in discourses or sentences naturally comes before the very end.

The most obvious elements in making vocal climax are rise in discrete pitch and increased force.

Faults.

1. Uttering the different parts of a discourse

or sentence on the same level of interest.

2. Applying pitch and force at random.

Practice. - I. Construct sentences with reference to oral climax. (See Rhetoric.)

2.

Find the highest point; rise to it in pitch and force.

Style. Styles of discourse are named conversational, nar. rative, narrative and descriptive, didactic, public address, declama

tory, emotional, according to the characteristic drift of the voice. The dramatic style combines all the rest.

"Drift is founded on the various modes of vocality, time, force." Drift, or the leading melody or moyement in delivery, enables one to recognize one selection as joyous, another as solemn, etc.

In addition to the leading characteristic of any delivery, it will be seen that pitch, time, force, quality of voice, etc., vary on the different sentences; hence drift does not mean

sameness.

Faults. 1. Although drift does not mean sameness, many readers and speakers are borne along on one emotion, until finally in extreme cases there seems to be a total absence of thought, and the delivery is a mere repetition of words.

2. Improper drift. A proper observance of drift is nearly related to the "word fitly spoken, which is like apples of gold in pictures of silver." Many ministers read the psalm of joy and thanksgiving with the same minor sadness of the penitential psalms. Too many ministers whine the glad tidings, instead of joyfully proclaiming the gospel of good will.

I.

Practice. 1. Adapt the style to the occasion and text. Preserve the thread of the whole; but insert the variety of the parts.

2.

3. Let the imagination have its play; be surrounded by the atmosphere of the piece.

Imitative Modulation.

By the sound of the voice we may imitate the sound or noise of external objects. The roar of the ocean, the boom of cannon, the splash of the water, the hiss of the snake, etc., are naturally given with qualities of voice suggesting the sound, unless some vicious method prevents.

A proper use of this modulation is valuable in making the facts real to the audience. Exaggerated, it becomes obtru sive, and is therefore objectionable.

Transition is the various changes of pitch, force, quality,

rate of utterance, in the different parts of reading or speaking. It is needed to give appropriate expression to the varying thought and emotion. Its effect is contrast of parts and needful variety.

Practice.1. Keep the delivery conversational at basis.

MEDIUM RATE

AND PITCH.

SOFT.

FURE TONE. HIGH PITCH. MEDIUM RATE.

FULL VOICE.
LOW PITCH.
Loud.

LOW PITCH. MEDIAN STRESS.

SLOW RATE. FULL VOICE. SLIGHTLY ASPI

RATED.

HIGH PITCH.
QUICK RATE.
PURE TONE.

LOW PITCH. SLOW RATE. FULL VOICE. MEDIAN STRESS.

"I rather think the gentle dove

Is murmuring a reproof,
Displeased that I from lays of love
Have dared to keep aloof."

"Flower in the crannied wall,
I pluck you out of the crannies;
Hold you here, root and all, in my hand.
Little flower, but if I could understand
What you are, root and all, and all in all,
I should know what God and man is."

"But I hear it rung continually in my ears, now and formerly, 'The preamble! What will become of the preamble, if you repeal this tax? ' The clerk will be so good as to turn to this act, and to read this favorite preamble."

"Lord, thou hast been our dwelling-place in all generations. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlasting, thou art God."

"One touch to her hand, and one word in her ear, When they reached the hall door, and the charger

stood near;

There was racing and chasing on Cannobie Lee,
But the lost bride of Netherby ne'er did they see."

"O God, thou bottomless abyss!

Thee to perfection who can know?
O height immense! what words suffice
Thy countless attributes to show?"

"Toll, toll, toll,

Thou bell by billows swung!"

"Forward, the light brigade!
Charge for the guns!"

Lady M. Alack, I am afraid they have awaked,
And 't is not done. The attempt, and

not the deed,

Confounds us. Hark! I laid their dag

gers ready;

He could not miss them. Had he not

resembled

My father as he slept, I had done 't.
My husband!

Macbeth. I have done the deed. Didst thou not

hear a noise?

"Ring! Ring! Ring!

Joyful anthems full and loud;

For angels of love

Came down from above,

And brought a new year from God."

"I am the resurrection and the life: he that believeth in me, though he were dead, yet shall he live and whosoever liveth and believeth in me shall never die."

"By the rivers of Babylon, there we sat down : yea, we wept when we remembered Zion."

Analysis of Expressive Voice. - An analysis of voice based upon the mental, moral, and vital nature of man, possesses the value of a summary of the previous discussion on expression. It will also consider the legitimate effect upon the auditor.

Corresponding to man's mental, moral, and vital nature, we have thought, affection, passion.

Mentality. Naturally the voice in intense mentality assumes a high pitch, with head resonance. The effect upon the ear is that of a hard, metallic, narrow sound. Its leading use is to convince the judgment. Persons of intense mental habits use this quality of tone, unless counterbalanced by some other influence. The mathematical professor says, “Now, young gentlemen, you see that problem may be solved in two ways,” in this hard, penetrating quality of voice.

Peevishness, complaint, scolding, slight pain, naturally express themselves in this tone; for they are intense mental conditions.

Passional. The vital or passional nature expresses itself by the large, full tone, on low pitch with force. Its effect upon the ear is that of largeness, strength. It is adapted to move the passions. Persons of strong, vital habits naturally use this tone. Mere animality, the swaggering barkeeper, the bully, illustrate the lowest stratum of this voice. The man mortally wounded expresses his agony in groans. This quality of voice legitimately expresses strong passion. It is the prevailing voice in parliamentary discussion, and strong composition cannot be appropriately expressed but by its

use.

Affectional. The affectional or moral nature expresses itself by the medium pitch, gentle force, smooth quality. Its effect upon the ear is gentleness, evenness. It is adapted to persuade. It lies between and balances the mental and vital qualities, suggesting the central truth of the purest religion, viz.: that the affectional or love nature of man should balance and control the intellectual and passional.

One of these qualities does not exclude the others. They blend variously; but usually one of them characterizes the composition.

A triangle will suitably represent this analysis to the eye.