prominence to emphatic words of animation, interest, earnestness, decision, assertion, command, question and answer; while the fifth is heard in such emotional phases as are uncontrolled, willful, and aggressive, such as irritation, impatience, defiance, insistence, eagerness, hilarity, triumph, exultation, exaggeration, 'gush,' vindictiveness. The fourth occupies the extensive field lying between the purely intellectual emphasis of the third and the vivid and highly colored fifth.

To use for the nonce Doctor Rush's quaint terminology, the Thoughtive' attitude of mind employs the equable concrete, the current melody being based upon the interval of the second, concrete and discrete; emphatic words are designated by means of the distinctive slide of the third; natural quality and moderate force and movement, only, are heard. The 'Interthoughtive' mood has the diatonic melody enlarged and heightened by the use of the extended waves of the second (monotone); by the employment of slides of the third and fourth, and of their waves; by temperate variations of stress; by the use of natural, aspirated, and orotund qualities, and their blends; and by variations of movement and volume. The 'Passionative' states of mind and feeling employ all the resources of voice-every interval, every tone-color, every dynamic impulse and transition, every drift and variation of movement-whatever the mood demands, is seized and becomes the instrument of expression. The fourth stands on the border line of the Interthoughtive territory; the keener, more aggressive fifth is distinctly dominant in the Passionative realm, aided and re-enforced by all the other intervals, from semitone to octave and beyond.

It will simplify your work, if you confine your first study and practice to semitone, second, third, fifth, and octave; when they are well mastered, the study of other intervals

will be comparatively easy. By and by you will come to know and appreciate the pleasant, cheery, urbane fourth, as you compare its note with the testy, robust, and strenuous fifth.

DIAGRAM OF RISING AND FALLING SLIDES.

Seconds

Thirds

Fifths

Octaves

In the above diagram, the bulb of each character represents the radical of the syllabic note, and the tapering scroll portion indicates the direction, the extent of interval, and the diminishing force and volume of the vanish.

Beginning with the rising and the falling second, practice the rise and fall of the voice on the long tonics, very gradually widening the interval, until the last pair of inflections sweeps through your whole available compass, exclusive of the falsetto.

The Semitone.

The semitone is the interval inflectively and discretely used by the speaking voice, in the expression of grief, complaint, regret, pity, etc. Referring to the musical scale, the semitone is an interval half as wide as the tone, or second.

The first exercise for learning to recognize and employ the semitone should be, as it were, surcharged with its effect: Therefore, let your face assume the expression of grief or pain, and moan, or wail, the vowels, with median swell and tremor; taking care that the voice does not rise through the minor third at the vanish. The pitch of the inflection should vary just perceptibly from the level note of song. If the sound produced is solemn or grave, instead of plaintive, you are making the wave of the second, instead of the wave of the

semitone. If your moan or wail sounds genuine, and the tremor adds to the mournfulness of it, then each little break, or tittle, of the tremor is itself a brief concrete of the semitone. When you clearly recognize the effect of this continued wave of the semitone, and its execution makes your eyes 'water', discard the swell and the tremor, and try to make the simple rise and fall of the interval, with very subdued force. The rise and the fall are only just perceptible, but should be perceived, and distinguished from each other; watch for the mournful expression.

Note that the throat adjustment for semitonic intonation differs from the adjustment for the major intervals. Nobody, perhaps, can tell exactly what the difference is; but you can feel the difference. The muscles of the lower throat, the pharynx, the soft palate, and the back tongue, are on a strain; and after you have practiced even a little while, you become aware of a 'heartsick' lump in the throat, such as is felt in extreme grief.

Practice of pathetic expression should be in short periods.

MIND AFFECTS VOICE; VOICE AFFECTS MIND.

Mind and voice react on each other. If your inflections are semitonic and your voice color is dark, you cannot help feeling a corresponding emotional sympathy. If you are suffering from deep grief, wasting sickness, physical or mental anguish, or extreme fatigue, you cannot keep the signs. out of your voice; they will be heard, unless you choose to be dumb.

The woe, the suffering, the pathos, the passion, of actor, orator, and reader, is necessarily fictitious, ideal, assumed; but the sympathy with the pictured situation or personation may and should be perfectly genuine. You should study, sympathetically and often, the voice of real grief and suffering, and with it compare your own rendition of pathos. Let

your face take on the expression of the feeling you are trying to exhibit in your voice. Do not be afraid to imitate! No art was ever learned without imitation; indeed, art is very largely a matter of imitation and adaptation. But, in every phase of your practice, cultivate an all-embracing sympathy. It is the talisman, the test, the crown, the final charm, the soul and life, of true elocution.

WHERE DOCTORS DISAGREE.

Most writers on elocution, since Rush, state that emphasis is made plaintive by inflections of minor third, minor fourth, minor fifth, etc. Doctor Rush declares that the minor third occurs in speech only as a fault; that normal emphatic intonation, in pathos, consists of a wave, whose first constituent is the semitone, and the second constituent the emphatic interval of major third, fourth, fifth, or octave.

I think, myself, that the minor intervals of third, fourth, etc., are usually and properly employed in the expression of unmixed grief, contrition, etc.; but that the Rush formula is the true one in the embodiment of complex and contradictory moods, such as angry complaint, petulance, indignant grief, self-condemnation, etc.

EQUAL WAVES, BY CONSTRUCTION.

To construct the equal falling wave of the fifth:

a.

On the vowel ā, from a clear radical, at a rather low pitch, give a deliberate rising slide of the fifth, with smoothly tapering vanish; pause and inhale; and from the vanishing pitch of the rise, make a corresponding falling slide of the fifth.

b. Repeat the rising slide; and, omitting the breathing pause, hold, briefly, the vanish of the rising movement,then, with a new syllabic impulse, make the falling concrete of the fifth. The two opposing slides are hinged together.

C.

Again repeat,-this time, without the hold at the turning-point; thus uniting the rise and fall in one syllabic impulse, a falling wave of the fifth.

d. Once more repeat, with light radical opening, swelling smoothly to full expulsion at the crest of the wave, and diminishing gradually to a delicate vanish on the falling con. stituent.

Do likewise with any and all of the narrow vowels.

DIAGRAM OF WAVE CONSTRUCTION.

a b c d a b c d

Construct the equal rising, or inverted, wave of the fifth, in the same manner, by reversing the order of the slides. For most students, this is much the more difficult task, and consequently a valuable discipline for ear and voice.

Construct the equal falling wave of the octave, in the same order: a. Separate slides, rising and falling; b. The two slides hinged together; c. One syllabic movement, smoothly describing the contour of the wave; d. The wave repeated, with light but clear radical and smooth, full median swell, increasing to and diminishing from the crest of the wave. Take care to open the throat more and more as the swell increases on the rise, or you will incur the danger of throat irritation and throaty quality; the voice may even change from laryngeal to oral or falsetto quality.

In like manner construct the equal rising wave of the

octave.

EMPHATIC RISING WAVES USUALLY UNEQUAL.

As actually employed in speech, rising waves that end with the fourth, fifth, or octave, are usually unequal; that is,