Let young readers remember that to be artistic, it is necessary to have regard to all the circumstances which attend the reading. The impassioned declamation of a parliamentary oration cannot be read effectively to the family circle from a newspaper, without a skilful modification of the elocution appropriate to that assembly. A clergyman must read his sermon by the bedside of a sick member of his flock, with other elocution than that which had well interpreted his thoughts in a crowded church. The artistic reader adapts his reading even to the slightest change of circumstance, not only of time and place, but to the number, condition, and state of mind of his hearers. A man of very slight elocutionary culture will often be more effective than an otherwise good reader who has not learned to adapt himself readily to his audience. But where this power is acquired and used, then is Elocution in its noblest and best exercise, and the hearers are in doubt whether Nature or Art has produced the marvellous effects which follow.

Sixth Principle.

TAKE TIME.

It is with the greatest difficulty that beginners can be got to read slowly; and yet no progress is possible until the voice is made to keep pace with the thought. Slow reading is not in itself specially valuable. Indeed, the utmost rapidity of voice is often necessary to express the meaning of certain passages; and all that is here insisted on is, that sufficient time be given (1) for the reader's mind to reflect itself in his voice and gesture; and (2) for his audience to hear the

words perfectly, and to call up vividly the ideas they suggest.

One of the greatest difficulties is to speak slowly without appearing to labour or drag, and to speak quickly without appearing to hurry. The secret of success lies in the complete command of the speaker over his rate of utterance, so that he can alter and modify the time or rate of speech, not by the mere force of habit, but by his will. A uniform rate of utterance-so many words to the minute-is particularly to be shunned. Frequent changes in time is one of the most expressive and agreeable interpreters of speech. As a general rule, the beginning of a passage should be deliberate, the middle quick, and the end slow. Between a good and a bad reader there is a very wide difference in the management of "the pauses," or intervals of silence. Not only does a good reader pause oftener and longer, but he employs every cessation of voice advantageously by casting his mind forward over the ideas which are immediately to succeed. Thus no idea comes upon him unexpectedly, however great may be the surprise with which his audience hear it. A habit of thus "thinking in the pauses" must be acquired before a reader can acquire any power of artistic expression.

Nervousness, bashfulness, and inexperience, tend to hurried utterance; and frequent practice in reading before an audience seems to be the only method whereby these may be overcome: yet much may be done by fortifying the mind with the considerations suggested under the Third Principle. The following simple directions have been found invaluable by many

whose extreme nervousness distressed them. Make a few, full, slow, silent respirations before beginning, use the nostrils and on no account the mouth in expiration, and keep the chest inflated as if to receive a stroke on it. Stand firmly, but not stiffly. Begin low in pitch and speak slowly, articulating the consonants very distinctly.

INFLEXION.

The general principles which regulate the inflexion of the voice are easily understood and applied.

In no utterance of the voice in speech is there a perfect monotone; and according as the tone rises or falls, it expresses different ideas.

Continuity of thought or feeling expresses itself in a near approach to monotone.

Change of thought or feeling expresses itself in variety in tone.

The rising inflexion expresses incompleteness of statement, admiration or appreciation, question, appeal, or entreaty. The falling inflexion expresses completeness of statement, command or assertion, contempt or depreciation.

The union of a falling and rising inflexion, (called the rising circumflex) expresses insinuation, warning, or suspicion.

The union of a rising and falling inflexion, (called the falling circumflex) expresses sneering, sarcasm, or reproach.

Although it is well for the advanced student to make himself familiar with all the many wonderful

discoveries regarding the inflexions of the human voice, he is earnestly advised not to depart from the preceding principles even after such progress in the study of Elocution. No amount of thought or knowledge, regarding the proper kind of inflexion to be used in a particular place or passage, will ever be so effective as simply calling up vividly the idea to be expressed, and keeping that idea only before the mind, while uttering the words.

Under this Natural System of Elocution, it is not merely a vocal, but a mental training which is desiderated. Every one uses elocution when under strong feeling or some other impelling power, and the Art of Elocution seeks to enable them to use it upon all occasions by so disciplining the mind, that the least command which it sends to the vocal organs shall be obeyed.

From the preceding table it will be noticed that I a, I i, and I o are diphthongal in their formation ; and that 2 a, 3 e, 3 0, and 2 u are affected by R following. Thus the words fare, her, fore, urn, are pronounced with the R sound so mingled with the vowel sound as to form almost a diphthong. To illustrate— I a is never heard before R in the same syllable, but a more open sound of a is always substituted, as in air, Mary, fairy, heir, &c., pronounced with the vowel sound 2 a.

In the following passage the vowels are marked according to the table. The mark (-) indicates where the vowel is not sounded.