The best course that can be pursued to prepare the voice for speaking within a short time, is to repeat all the elementary sounds several times in succession: then, declaim a few select passages; first, with ordinary force, in the middle pitch; then, progressively elevate the pitch, and increase the force and rate of utterance: lastly, go over them two or three times in the deepest and lowest tone you can reach.

7. HOW TO ACQUIRE A CONTROL OF THE VOICE IN EITHER A HIGH OR A LOW KEY.

By exercising the voice with great force, for a short time, in a very low key-paradoxical as it may seem-you will immediately afterward be able to speak with much greater ease upon a high key; and by exercising the voice with great force in a very high pitch, you will be able within a short time afterward to read or speak with greater ease than before on a low or very low pitch.

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8. NATURAL PITCH OF VOICE.

'Every person has some pitch of voice in which he converses, sings, and speaks with greater effect and facility than in any other. It should be an object of constant solicitude with every person who desires to become a good reader or speaker, to find what the natural pitch of his voice is; and when he has discovered this, let him practice with reference to it until he is able instantly to bring the voice from a high or a low to a natural pitch.”

To discover the natural pitch of the voice, let the pupil read or speak a didactic passage, in different pitches or keys of voice; after a few efforts, he will be able to discover the natural key or pitch from its adaptation to his voice. If the pupil, when thus experimenting, finds that the pitch is wrong, let him suspend the effort for awhile, then renew his endeavors until he finds the right one.

9. BAD EFFECTS WHICH RESULT FROM HABITUALLY SPEAKING IN TOO HIGH A KEY.

Speaking rapidly, with great force, on a high pitch, tends in a short time to tighten and render rigid the muscles of the throat and neck, and makes it exceedingly difficult for the speaker to proceed. It also excites thirst, which increases every time the speaker takes any thing to quench it. In a short time the lungs become so wearied that they can scarcely perform their functions: the speaker's memory grows confused, his thoughts obscure, his language vague and indefinite, and his brain so sluggish and dizzy that he is not unfrequently compelled to stop, or is stricken down in an apoplectic fit.

10. WHAT THE SPEAKER SHOULD DO WHEN HE FINDS HIS VOICE IS NOT PITCHED RIGHT.

When the speaker finds that he is talking in a key in which he can not control his voice, he should stop at once, and, after resting for a few moments, change the style and manner of his discourse: as from the argumentative to the didactic, descriptive, or narrative, as the case may require.

11. NEVER DRINK WHILE EXERCISING THE VOICE.

The habit which most public speakers indulge of frequently drinking while speaking, is a very bad one, and most injurious to the vocal organs. The thirst which many speakers experience on coming before an audience can not be alleviated by drinking: it will disappear as soon as the speaker becomes perfectly self-possessed, and feels himself at home in his subject, and not before. The more a person drinks when speaking, the more thirsty he becomes, and the more difficulty he experiences in managing his voice.

There is no necessity for drinking while exercising the voice, no matter how long or how severe the exercise may be.

12. TOBACCO INJURIOUS TO THE VOICE.

The use of tobacco, in any form, has a deleterious effect upon the speaking and breathing organs. It enfeebles the nervous system, and tends to make the voice dry, harsh, husky and inflexible.

Public speakers who are votaries of the weed, if they can not give it up entirely, ought, by all means, to refrain from the use of it for several hours previous to speaking or engaging in any public vocal exercise. For this brief season of self-denial they will be rewarded by a clearness and fullness of tone, and a flexibility of voice, which will surprise and delight them.

13. STIMULANTS INJURIOUS TO THE VOICE.

The public speaker or actor who is in the habit of taking a dram or two before commencing his performance, and an occasional sip during its continuance, hardly ever gets through with what he undertakes in a creditable manner.

The speaker excited by strong drink usually speaks with the utmost force, at the top of his voice; the natural consequence is, his memory grows treacherous, his judgment. bewildered, while the organs of the voice and throat become irritated and inflamed. Hoarseness ensues, which he tries to overcome by speaking in still louder tones; the result is, his voice soon breaks into a husky, squeaking tone, or becomes so thick and intensely guttural that the words he tries to utter are lost in an inarticulate croaking.

Never resort to stimulants of any kind to raise the spirits or strengthen the voice. The excitement they produce in the system is unnatural, and, of course, injurious; and the strength which they create is certain to be followed by a corresponding prostration of power.

SPEAKER'S SORE THROAT.

Breathing a bad atmosphere when speaking, straining the voice by loud and boisterous talking, or by speaking a long time in too high a key or in guttural tones, or in impure tones of any kind, tends to produce sore throat. Never speak in an impure atmosphere, nor when exposed to a current of air, unless it be unavoidable. When you know that the atmosphere of the place in which you speak is bad, call attention to it, and have the evil remedied immediately by proper ventilation. One of the best remedies for a slight irritation of the throat caused by an improper use of the vocal organs, is table salt dissolved in water, and used as a gargle. When the complaint is chronic, there is but one remedy, and that is to speak in a pure tone of voice, and to carefully avoid vociferation or speaking in too high a key.

COLD SPONGE BATH.

To remove or greatly diminish weakness, weariness, and lack of vigor, physical or mental, and to tone up the whole system, I know of nothing that is equal to a cold sponge bath taken an hour or two before the time when your speech, lecture, sermon, address, or any other speaking effort has to commence. The colder the water the more pleasantly stimulating and recuperative will be its effects. Apply the water freely with the hand to the entire surface of the body, but especially to the sides, under the arms, over the small of the back, and the inside of the thighs. The sudden dashing of the water on sensitive parts of the body, will cause a sensation like that of a light electric shock. Continue the application freely for a few moments, then wipe the body dry, and with a coarse towel rub very vigorously the whole surface of the body until it is all

aglow. Then rub for a few moments from head to heel with the hand; then rest both the body and the mind until the time when your effort must be made.

LAUGHING EXERCISE ON THE VOWEL SOUNDS.

Put on a mirthful look, draw back the corners of the mouth, as in laughter, and laugh out successively each of the short vocal sounds. Let the tone of voice be subdued, and the movement slow, at first, but rapidly increase, then diminish the degree of force and rapidity with which the sounds are uttered.

Occasionally intersperse the exercises with one of the open vowel sounds, expressed with long quantity. In this manner you will relieve yourself, and be enabled to utter the sounds more like those which are heard on the spontaneous breaking forth of real laughter.

This is one of the most valuable of the vocal exercises, whether considered with reference to the deepening and mellowing of the voice, which results from it, or from the strengthening and invigorating effect it has upon the throat and lungs. It is highly promotive alike of health of body and cheerfulness of mind. It should, however, be conducted with great moderation at first. As soon as the pupil begins to feel somewhat exhausted by his efforts, he should rest awhile.

LANGUAGE OF THE PASSIONS AND EMOTIONS.

The natural language of the passions and emotions consists of tones, facial expression, posture and action. In anger and imperative command, the voice is loud; in grief, modesty, and pity, the tones are subdued; secrecy is whis

K. N. E.-11.