Russell's American Elocutionist

to be but a mechanical modification of voice, or, at best, no more than a recommendation to the ear of refined taste. But, on closer observation, it will be found to constitute a main element of effect, in the expression of sentiment.

It is the predominance or the frequent recurrence of a peculiar cadence, which gives character to the melody of emotion, in successive sentences; and it is the judicious use of this turn of voice, which, most of all, deepens the impression of the feeling that pervades a composition, as a whole. The 'song' of bad reading, is principally caused by an erroneous cadence.

The modulation of the voice, in adaptation to different species of metrical composition, is indispensable to the appropriate or effective reading of verse. The purest forms of poetry, become, when deprived of this aid, nothing but awkward prose. A just and delicate observance of the effect of metre, on the other hand, is one of the surest means of imparting that inspiration of feeling, which it is the design of poetry to produce.

The subject of Gesture has too generally been regarded as one on which no instruction can be given. It is often mentioned as one of those secrets of nature, which lie beyond rule or art; and nothing, certainly, can be more preposterous than artificial and mechanical action, as an accompaniment to speech. But attentive observation will here, as elsewhere, detect principles, and enable us to trace the rules which these involve.

Pursued within the just limitations of judgment and taste, gesture becomes, perhaps, one of the most improvable of human habits; whether we regard the eradication of error, or the acquisition of true and appropriate action. The glow of earnest feeling, in address, will always bring forth action. It is a thing which, if we obey the instincts of nature, we cannot repress. Action is, in fact, a component part of speech; and the teacher's business, and the student's endeavour, in cultivation, are, properly, to trace those principles which suit the action to the word,' and to embody

these in practical rules, and disciplined habits. With a view to such results, a few brief remarks on obvious errors, and a few plain directions for the formation of manner, in attitude and action, are submitted in the following pages.

At the request of teachers who wish to follow closely the mode of elementary instruction, prescribed in Dr. Rush's Philosophy of the Voice, a small volume has been prepared, to be used as an introduction to the American Elocutionist.

The work now referred to, is entitled a Manual of Vocal Culture. It contains a course of preparatory exercises for forming and training the voice, and invigorating the organs of speech. The modes of practice, prescribed for these purposes, combine the preliminary vocal discipline, recommended by Dr. Rush, the introductory methods, adopted in practical instruction, by the author of the present volume, and, in addition to these, the system of "orthophony" and vocal gymnastics, taught by Mr. J. E. Murdoch.

LESSONS IN ENUNCIATION.

INTRODUCTORY OBSERVATIONS.

No branch of elementary education, is so generally neglected as that of reading. It is not necessary, in proof of this assertion, to appeal to the prevailing want of appropriate elocution at the bar, or in the pulpit. The worst defects in reading and speaking, are by no means confined to professional life, and occasions which call for eloquent address: they extend through al! classes of society, and are strikingly apparent in the public exercises of colleges, the daily lessons of schools, in private reading, and in common conversation. The faults now alluded to, are all owing to the want of a distinct and correct enunciation, which, whatever may become of higher accomplishments, would seem to be alike indispensable to a proper cultivation of the human faculties, and to the useful purposes of life.

It is unnecessary here to enlarge on the intellectual injuries arising from the want of early discipline in this department of education; or to speak of the habits of inattention and inaccuracy, which are thus cherished, and by which the English language is degraded from its native force and dignity of utterance, to a low and slovenly negligence of style, by which it is rendered unfit for the best offices of speech.

ELEMENTARY EXERCISES.

THE following exercises are intended to prevent, or to correct, the prevalent errors of colloquial usage: they embrace all the elementary sounds of the English language, with the most important among those that occur in combinations which are liable to mispronunciation. A correct and careful articulation of them, if practised with due frequency, and continued for a length of time sufficient to render accuracy habitual, will secure a distinct and appropriate enunciation, in all exercises of reading and speaking. To attain this result, the following points require particular attention.

1st. That the exercises be always performed with great force and clearness of articulation, so as to become a useful form of discipline to the organs. The aim should be, in every case, to give the utmost articulate force of which the voice is capable.

2d. The sound of each element should be perfectly at command, before proceeding to the enunciation of the words in which they are exemplified.

3d. Great care must be taken to avoid a formal and fastidious prominence of sound, on unaccented syllables every word, though uttered with the utmost energy, must retain the proportions of accented and unaccented syllables in their natural and appropriate pronunciation.

TABLE OF THE ELEMENTARY SOUNDS OF THE ENGLISH

LANGUAGE.

[The elements contained in this table should be practised, with and without the words in which they are exemplified, with great attention to accuracy, and repeated as a daily preliminary exercise.]

VOWEL SOUNDS.

2. A, as in Far;

AU, as in Launch.

1. A, as in the word Fate; 3. A, as in Fall;

AI, as in Ail;

AW, as in Awe;

AY, as in Lay.

AU, as in Laud.

4. A, as in Fat. 5. A, as in Wash.* 6. A, as in Rare ;* AI, as in Air; AY, as in Prayer. 7. E, as in Me; EE, as in Eel; EA, as in Eat; IE, as in Field. 8. E, as in Met; EA, as in Head. 9. E, as in Err ;* EA, as in Heard; I, as in Firm. 10. I, as in Pine;

Y, as in Rhyme.

11. I, as in Pin;
Y, as in Hymn.