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TABLE OF VOWEL SOUNDS.

This table is designed for an exercise upon the vowel elements. These should be pronounced alone as well as in combination with the words given as examples. Let the class first pronounce the table in order, thus:

A long, Fate, ā; A short, Fat, ă, &c.; then pronounce the column of elements alone.

This table should be treated by the class in the same manner as the table of vowel sounds. The sound of a consonant may be ascertained by pronouncing a word containing it in a slow and forcible manner.

VOCAL CONSONANTS are those uttered with a slight degree of vocality, but less than that of a vowel. They are formed with a vibration of the vocal chords.

ASPIRATE CONSONANTS are those in which the pure breath alone is heard. They are formed without any vibration of the vocal chords,

Q has the sound of k, and is always followed by u, which, in this position, commonly has the sound of w, but is sometimes silent.

WH is an aspirated w, pronounced as if written hw.

'Sometimes called Subvocals, or Subtonics.

* H sounded before a vowel, is an expulsion of the breath after the organa are in a position to sound the vowel.

PRINCIPLES OF ELOCUTION.

ELOCUTION is an important branch of oratory; so important, that eloquence borrows its name from it. The theory consists of certain rules, which should be observed by all who read or speak in private companies or public assemblies. In practice elocution consists in the art of reading, or speaking, with propriety and elegance; or of delivering our words in a just and graceful manner; untainted with pedantry or affectation, and uncorrupted with any provincial sound or dialect.

It is absolutely necessary that every young gentleman should be acquainted with the science of elocution, especially those who are intended for the pulpit, the senate, the bar, or the stage; so that very few persons need be told, that a graceful elocution is of the highest importance. Everybody will allow, that what a man has occasion daily to do, should be done well; yet so little attention has sometimes been paid to this accomplishment, even from those, in whom (from their pro fessions as public speakers) we have been led to expect a perfect model of the art, that it has tended to eclipse (13)

all their other merits, however great; while others, of inferior attainments, by the help of a tolerably good style, and a just elocution, have risen to considerable eminence.

A graceful elocution is, to a good style, what a good style is to the subject matter of a discourse, an effectuai ornament: for, if the subject of a discourse be ever so interesting, and the speaker's knowledge ever so profound, without a correct style the discourse must suffer greatly in its reputation; and though the speaker's abilities be of the first eminence, and the style good, with a bad elocution, or delivery, it will fare little better-so great an effect have these exterior accomplishments over the public taste. Indeed, the great design and end of a good pronunciation is, to make the ideas seem to come from the heart; and then they will not fail to excite the attention and affections of those who hear us read or speak.

The principal design which we have in view is to show: First. What a bad pronunciation is, and how to avoid it.

Secondly. What a good pronunciation is, and how te

attain it.

In the first place, it may be necessary to mention, that a chief fault of pronunciation is, when the voice is too loud. This is very disagreeable to the hearer, and inconvenient to the speaker. It will be disagreeable to the hearers, if they be persons of good taste; who will look upon it to be the effect of ignorance or affectation. Besides, an overstrained voice is very inconvenient to the speaker, as well as disgustful to judicious hearers

It exhausts his spirits tc no purpose, and takes from hin the proper management and modulation of his voice according to the sense of his subject; and, what is worst of all, it leads him into what is called a tone. Every person's voice should fill the place where he speaks; but, if it exceed its natural key, it will be neither sweet, nor soft, nor agreeable, because he will not be able to give every word its proper sound.

Another fault in pronunciation is, when the voice is too low. This is not so inconvenient to the speaker, but it is as disagreeable to the hearer, as the other extreme. It is offensive to an audience, to observe anything in the reader or speaker that looks like indolence or inatten tion. The hearer can never be affected while he perceives the speaker indifferent. The art of governing the voice consists chiefly in avoiding these two extremes; and, for a general rule to direct us herein, the following is a very good one: "Be careful to preserve the key of your voice; and, at the same time, to adapt the elevation and strength of it to the condition and number of the persons you speak to, and the nature of the place you speak in." It would be altogether as ridiculous in a general, who is haranguing an army, to speak in a low and languid voi, as in a person, who reads a chapter in a family circle, or the narrative of any particular historical occurrence, to speak in a loud and

eager one.

Another fault in pronunciation is, a thick, hasty, chat tering voice. When a person mumbles, that is, leaves out some syllables in the long words, and never pronounces some of the short ones at all; but hurries on