The wrist will be well bent back, and the thumb and forefinger widely opened, in order that the palm of the hand may make a frank and striking appeal.

3d. The voice will be open, distinct, clear, and earnestly sympathizing, in its tone.

The peculiar tone of voice which characterizes this mood of delivery, is that which the musicians call reedy. The clarionet, among musical instruments, exemplifies the quality in the most perfect manner. The voice does not exhibit the pure tone, in absolute perfection. It is more or less palatal, that is, assisted by reverberation from the palate or roof of the mouth, and not wholly laryngeal, or from the throat. Those who have not studied music, may recognize this quality of the speaking voice, from its resemblance to the tone of grave, yet sympathizing conversation.

When the direct mood of delivery is entered into with great earnestness, it naturally tends to make the articulation very distinct.

The voice inclines to execute each syllable with an elaborate finish. Even in rapid speaking, the utterance of the words and syllables in detail, has a certain deliberation.

Finally, the countenance has an open and earnest expression; the eyes looking directly and steadily (for most of the time) towards those addressed.

THE MEDITATIVE MOOD.

In this, the speaker dwells upon ideas for their own sake, and for the satisfaction, at least in part, of his own mind.

If his audience coincide with him, they do so from pure sympathy, and not because he makes an especial effort to influence

them. The delivery is substantially the same as if the speaker were giving free utterance to his thoughts and feelings, without addressing an audience.

The purest exhibition of this mood, is heard in impassioned meditation and soliloquy. Although a soliloquy may powerfully affect an audience, yet it must not be addressed to them.

As in a soliloquy, so in lower degrees of the meditative mood, the speaker reflects upon ideas and feelings, while he is uttering them. He enforces them for his own satisfaction, as well as for that of his hearers, upon whom he acts, as it were, indirectly.

The meditative mood is used to express conviction, the speaker's personal interest, and the interest common to him and his audience. The direct, is that of pure affirmation, inculcation, persuasion and appeal.

The direct is objective in its efforts, and the meditative more or less subjective.

The speaker being more or less in a state of meditation and reflection, this state influences his whole appearance.

1st. His ATTITUDE is more erect and self-balanced, than when speaking in the direct mood. The head slightly inclines to be thrown backward, while the eyes look more or less upwards.

2d. The arm, in gesture, tends more upwards, and the palm of the hand is less strikingly presented to the audience.

3d. The voice, though it may exhibit any degree of earnestness and passion, has a more thoughtful and soliloquizing tone-sounding more as if the speaker had no audience before him.

The Pure Tone, (vide p. 58,) in its highest perfection, is heard only in this mood of delivery. Indeed, the most perfectly musical sound of the speaking voice, is called for only in the

recitation of interesting or elevated poetry, or of prose, that like poetry, addresses the imagination and feelings more than the understanding. When one is reading or reciting, rather than speaking, it is often required that the quality of voice be as absolutely musical as in the most perfect execution by the masters of singing.

When the meditative mood of delivery is carried to the degree of soliloquy, the voice is so completely in the throat as to exhibit more or less of a hollow sound. But in practice, this tendency to hollowness of tone must be in a good degree contracted, or it will be apt to degenerate into obscurity, or into mouthing and affectation.

The natural tendencies of the utterance are to be less distinct in articulation, in this mood of delivery. The voice being less open, broad and clear, and the utterance being more in the throat, the consonants are enunciated with less strength and precision. They are likewise not so much dwelt upon as in the direct mood.

Hence the speaker needs to take more pains to articulate with completeness and precision.

Indeed so little is it natural to be distinct and articulate in the meditative mood, that if delivery which proceeds in a high degree of it is made perfectly successful, the flow of utterance of thought and feeling, is constantly accompanied by a separate effort to be distinct and intelligible.

Hence we see the reason of the common fact that thoughtful and intellectual men are apt to have an indistinct articulation in public reading or speaking.

The reading or recitation of poetry, or of soliloquies, requires that this separate effort for articulation be made with very great care and patience.

The most interesting exemplifications of eloquence in the meditative mood, are afforded by poets reading or reciting their own productions with enthusiasm, and by eloquent clergymen.

Speakers who manifest cultivated minds and elevated characters, always speak more or less in this mood. Even when their utmost energies are exerted to convince or persuade their auditors, they still manifest, for the greater part of the time, a thoughtfulness of manner, which proves that they endeavor to satisfy their own minds, as well as those of others.

Instructive and interesting lectures, should always be delivered chiefly in this mood.

Whenever the ideas expressed concern the whole human family, or the speaker's fellow countrymen, the meditative mood should be more or less conspicuous in the delivery.

This mood contributes most to dignity, elevation and sincerity of delivery. Yet it is frequently observed that men of superior talents, high cultivation, and great earnestness of character, are dull and uninteresting speakers. They are so even when speaking extemporaneously, and when their matter and style are such as may be expected from their talents and characters. Such speak purely in the meditative mood, but without excitement, and with an abstracted manner. They do not sympathize with their audience, or endeavor to influence them.

There is, then, an ABSTRACTED MOOD of delivery, which is meditative and inexpressive, and which ought always to be avoided.

These considerations suggest an explanation of the fact so commonly observed, that eloquent writers are not always eloquent speakers. It is also true, on the other hand, that many eloquent extemporaneous speakers cannot write with eloquence. The minds of the former class work best in solitude, and are rendered confused and feeble, by the presence of their fellow men. The latter class have their minds aroused by the presence of an audience. The former are hindered, and the latter excited, assisted and encouraged, when occupying the situation of a speaker.

The peculiarly impressive tone which we so often hear in public prayer, is an exemplification of the meditative mood in delivery. When most appropriate, it differs little, if at all, from the tone of a loud and earnest soliloquy. In most cases also, the awe which the person officiating experiences, makes his voice highly pathetic, that is, causes it to proceed in the intonation of the semitone, which will hereafter be described.

As the most elevated and interesting delivery generally exhibits a mixture of both the two moods which have just been described, it is a useful expedient for a student of elocution to practise repeating the same passage in each of them separately, and afterwards to make use of such a medium between the two extremes, as is most appropriate for the composition, and for the time, place and occasion, in which he is preparing to speak. On some occasions likewise, one or the other mood is required, without any admixture of its opposite.

No separate examples are therefore required for practising the moods. Any extract may be employed for either or both. No compositions except soliloquies, are confined to one mood, in every possible circumstance.

CHAPTER II.

STYLES OF ADDRESS.

THESE are independent of the Moods, and are of two classes, according as they represent thought or sentiment; according as they attempt to compel conviction, or simply make an appeal.

The styles which set forth thought, address chiefly the understandings of the audience.

Those of sentiment, appeal primarily to imagination and feeling.

The two classes are opposed to each other.