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INTRODUCTION.

PRINCIPLES OF ELOCUTION, WITH RULES AND EXERCISES.

PROPER POSITIONS.

WHETHER sitting or standing, the body should be kept erect, the head up, and the shoulders back and down. The chest will thus be expanded, breathing be free and full, and the vocal organs left to an unembarrassed action. A standing position is the bestit gives more power. Support the weight of the body on the left foot, keeping the leg perfectly straight; advance the right about three inches, and turn the toes of both feet moderately out. This position is termed the second right; it will be changed to the first right, by throwing the weight of the body on the right foot; which may sometimes be convenient, for relief, where the reading is long continued.

HOLDING THE BOOK.

The book should be kept in the left hand, in a nearly horizontal position from the lower point of the breast, at a distance of six or eight inches from it. The voice will thus be unobstructed, and the face--which is the index of the soul--in complete view of the audience. The right hand may be employed in turning the pages, and, in proper cases, in light, significant gesture. Ladies may rest the left fore-arm in the right hand.

RESPIRATION.

To read with elegance and power, the function of breathing must be under entire con. trol. The compass and quality of the voice depend upon it. To secure this control, it will be found highly useful to train the lungs to their most pliant and energetic action, on some respiratory exercise, as below.

"The chest so exercised, improves its strength;

And quick vibrations through the system drive
The restless blood.”

EXERCISE.

1. Draw in the breath, very slowly, until the lungs are entirely filled.

2. Emit the breath in the same manner, continuing to breathe as long as possible.

3. Take in a full, quick breath, and expire it in an audible, prolonged sound of the letter h.

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4. Inspire with a sudden, impulsive effort; then exhale in the style of a strong whis pered cough.

5. Take in, and give back the breath, through the nostrils, fully but slowly, the mouth being entirely closed.

6. Exercise the lungs in the manner of violent panting.

Perform this exercise standing in the second right position-the arms akimbo; set the hands on the hips, with the fingers in front, the elbows back, and position erect. Five minutes would be profitably occupied on this exercise always before reading aloud.

ARTICULATION.

A perfect articulation is the great excellence of good reading and speaking. There are other vocal qualities which rank high in the clocutionary scale, as inflection, emphasis, and expression--but they are all inferior to this, and dependent upon it. They have no power to make clear to the mind those words or phrases, which, by reason of imperfect onunciation, are not received by the ear. The student should be led, therefore, to early and persevering practice on the Elementary Sounds of the language; on difficult Consonant Combinations; and on Unaccented Syllables. The effect would be almost magical. It would be marked by all the purity and completeness which Austin's Chironomia contem. plates, when it says "In just articulation, the words are not hurried over, nor precipitated syllable over syllable; they are delivered out from the lips, as beautiful coins, newly issued from the mint, deeply and accurately impressed, perfectly finished, neatly struck by the proper organs, distinct, sharp, in due succession, and of due weight."

THE ELEMENTARY SOUNDS.

An elementary sound is a simple sound, or one that cannot be separated in its utterIt is generally represented by a single letter; but sometimes by two letters, as o, oi; n, ng.

ance.

The elementary sounds of the English language are stated by the best authors to be about forty-two.

These sounds are produced by the organs of voice, and the organs of speech.

The organs of voice are chiefly the larynx, the glottis, epiglottis, and vocal chords-a wonderful apparatus in the upper part of the throat.

The organs of speech are the palate, the tongue, teeth, lips, and nostrils.

CLASSIFICATION.

There are two methods of classifying the elementary sounds. One of them is based upon the vocal, generic properties of each element; and may be denominated the Phonetic Method. This was originated by Dr. Rush, the distinguished author of the "Philosophy of the Human Voice." The other bas long been in use among grammarians. founded, chiefly, upon the positions and movements of the organs of speech, and is, thence, termed the Organic Method.

THE PHONETIC METHOD.

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This method divides the elements into three classes, namely, vocals, subvocals, and aspirates.

The vocals are produced, chiefly, by the organs of voice, and consist of pure tone. They are sixteen in number.

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The subvocals are the joint result of the organs of voice and of speech, and consist of tone and breath united. There are sixteen of them. Some of them are almost pure tone.

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- The aspirates consist of breath only. They are all struck by the organs of speech, except h, which is uttered with the mouth moderately open. They are ten in number.

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A substitute or equivalent is a letter which represents the sound of another letter; thus, in there, the first e represents the sound of long à.

GRAMMATICAL DISTINCTIONS.

A monothong is a letter having one sound.

A diphthong is the union of two vowels in a syllable, both being sounded; as ou in our;

oi in oil.

A digraph, or improper diphthong, has but one of the two vowels sounded; as o in oak; u in fruit.

A proper triphthong is the union of three vowels in a syllable, all being sounded; as uoy in buny.

An improper triphthong has two of the vowels silent; as we in awe.

An apthong is one or more silent letters in a word, as w in wry; ugh in though.

EXERCISE ON VOCALS.

The pupil should be required to utter first the word and then the sound of the letter which follows. It should be done with force and exactness.

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In the above table those letters which represent distinct elements are designated by numbers. The others denote modifications of the same, or repetitions of them in substi tute letters. But the nice distinctions which the table is intended to display are all important to the student if his pronunciation is to be made correct and elegant. The numbers render it easy, however, to restrict his practice to the elements, should it be preferred.

DIPHTHONGAL ELEMENTS.

The elements à í ō ū oi and on are diphthongal, that is, each consists of two sounds. This will readily be perceived by uttering them very slowly. The opening sound is called the radical-the terminating the vanish. A is compounded of a-e; î of ă—ë; ō of ʊ—oo; ou of ù-ö; ni of ä-ē; ù of ê— at the beginning of a syllable, but in other situations the sound is much closer, as will be found by attempting to utter the word due with the tongue pressed firmly against the lower gum.

It is asserted by some, that, excepting oi, these elements, when uttered in a prolonged sound of surprise, are even triphthongal:—= â i ẽ; in a lò; 0=0 0 W; ou= ũ ở W.

MODIFICATIONS—â ê î û å ọ.

In such words as care the a is not a distinct sound, but long a Immediately merged in the sound of r; thus-caur spoken quick and close in one syllable. So, e and i in words like her and sir, are not substitutes for short u; the sound begins with short e and is lost instantly in that of r. The full sound of short u, in such cases, is considered broad and inelegant. U after r, as in rude, takes a slender sound of long double o. A and o represent medium sounds; a in ask is not so broad as a in ah, nor so short as a in at. O in nor is not so broad as a in awe, nor so short as o in not.

EXERCISE SUBVOCALS.

In pronouncing the words prolong the sound of the italicized letter-it is the subvocal; repeat it with force in the letter which follows.

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There are two varieties of the letter r. When it precedes a vowel, as in rap, it is termed the initial or rough r. It is executed by darting the tongue forcibly, with a single trill, against the upper gum. When it follows a vowel, as in fur, it is the final or smooth r. In making this variety of it, the tongue is curled backward; the sound issues smooth and hollow, attended by a delicate vibration. The s, in such words as osier and fusion, is a substitute for 2 soft (zh). Soft g, as in gem. is a substitute for j. X performs a double office-in this table it represents ga, in the following ks.

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C in such words as cent is a substitute for s; and e in such as cap a substitute for k. X In this exercise represents ks; in the foregoing exercise it is a substitute for the subvocals gz.

THE ORGANIC METHOD.

The vowel sounds are produced almost entirely by the vocalizing function of the larynx and its appendages; but the consonants are the representatives of articulate sounds, aud can none of them, excepting the pure breath element h, be uttered without the aid of the organs of speech. Hence the reason of the term-organic in this relation.

These elements may be divided into four classes; namely, labials, dentals, palatals, and linguals.

The labials or lip sounds are made by the lips; they are those of b, m, p, w, wh, ƒ, and -the last two receive some assistance from the teeth.

The dentals or teeth sounds are made between the teeth; they are those of j,g soft, s, c soft, z, s flat, ch, sh. and z soft (zh).

The palatals or palate sounds are those made against the palate; they are those of k, q, z.y,e and g hard, and n in the combinations ng and nk.

The linguals or tongue sounds are made by the tongue; they are those of d, l, n, r, t, th subvocal, and th aspirate; the last two receive some assistance from the teeth.

Note. M, n lingual, and n palatal, are sometimes classed as nasals, because the sound passes through the nose.

Cognate or correlative sounds are those of different letters produced by the same organs In the same position; as of bp; v f; wwh; z 8; zh sh; j ch; dt; th th; and g k. Thero is a triple correspondence, in this respect, of some of the letters; as 1d t; m bp; n (palatali g k.

ORGANIC EXERCISE.

This will be found a valuable discipline. If frequently and faithfully employed it will give great flexibility and strength to the organs, and do much to secure an exact and beautiful articulation. The position and action of the organs should be attentively observed by the pupil as the various elements are produced. Let the style of enunciation be firm and spirited.

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