In addition to this general analysis he may also ascertain the character of tone, the changes of tone, the position of the body, and the movement necessary to express the particular thought. What general quality of voice should be used to express the thought? Does the language suggest any exception to the general quality? What is the general pitch? And what are the exceptions to the general pitch? What is the prevailing force and what are the exceptions to the prevailing force? With reference to slides, do the positive or negative qualities of sentiment prevail? What attitude or position of body would best reflect the general thought, and what changes are demanded? What of the facial expression? Does the language suggest conversational, oratorical, or dramatic action?

Such analysis as this on the part of the student will lead to a prompt and appropriate association of voice and manner with the sentiment to be expressed.

NOTE.-The student will constantly find difficulty in distinguishing the quality of the voice or the degree of pitch or force, or the shade of slide, or the particular action which the thought suggests. Sentiment is so subtle and its changes so imperceptible that it will be impossible to follow it by any order of reasoning, and he must be content with discovering the tendency of the thought with reference to the various mediums of expression.

REPOSE.

Our conceptions of God lead us to think of a being not idle, but one to whom labor is rest; so wise that He knows without exertion; so abundant in resources that the supply is ever equal to the demand. A noble conception of God has never created a being subject to excitement, or agitation, or one who could be moved or changed by the agitations of His creatures. He spake and it was brought forth. He speaks and it is done. He bids alike the storm or the calm. He commands the light or the darkness, and it obeys him.

Art is the effort of the creature to reproduce the work of

the Creator. When God made man, He breathed into him the breath of life, and in that breath of life was the breath or germ of divinity, and in proportion as man becomes infused with the divine breath, in proportion as he has much of God within him may he hope to breathe into his art divine breath, be it the marble, the canvas, the printed page, or the human voice; and no other power of art will so reflect divine power as repose. The highest power is mastery, and the highest mastery is self-mastery, and of self-mastery repose is the emblem. The orator, next to God himself, needs to possess the world, and to possess the world he must first possess him. self, his hand, his foot, his eye, his breath, his body, his mind, his soul. Then, art shall have linked itself with divinity.

INDEX.

Bible Reading, 189.
Body, movements of, 145.
Breathing, 38; what we breathe, 38;
why we breathe, 39; how we breathe,
39; breathing exercises, 39, 40.
Breath Sounds, 81.

Crowning Power of Expression, 131.
Crude Gestures, 169.

Curved and Straight Lines, (arm
movements), 147; guiding princi-
ples, 146; examples for practice, 148.
Definition of Articulation, 69.

Business Life, as related to Elocution, Definition of Elocution, 20.

22.

Cautions (gesture), 169.

"Ceaseth Approacheth," &c, 79.
Charge of the Light Brigade (gesture),
166.

Chart, Outline of Elocution, 18; ex-
Ilanation, 19.

Chart of Vocal Exercises, 41.
Chart, (gesturc), 141.

Circumflex, 132; examples for practice,
139, 140.

Clasped Hands (gesture), 156.
Classification of Elementary Sounds,

80.

Climax, 168.

Clinched Hands (gesture), 157.

Defiance (facial expression), 161.
Defiance (gesture), 157.

Descending Line of Direction, (arm
movements), 152; examples for prac-
tice, 152; one hand supine, 152; both
hands supine, 152; one hand prone,
153: both hands prone, 153.

Development of Voice, 38; its distinc-
tive aim, 38; breathing, 38; breath-
ing exercises, 39, 40; vocal exercises,
40, 41.

Diacritical Points, 81.
Diaphragm, 36, 37.
Dictionaries, 71, 72.

Direction of Lines, whether middle,
ascending, or descending, 148.
Double Gestures, 150.

Coalescents, 81; ar, er, or and ur, in- Dramatic Gestures, 142.

correctly sounded, 83.

Cognates, 86.

Combination Exercise in pitch, force,
and Rate, 126.

Comprehension of the sentiment es-
sential to the expression, 112.
Conscience (gesture), 156.
Contents, 15.

Contrasts, 86.

Conversation, 23; for its own sake, 23;
Summary, 21; suggestions to stu-
dents, 24; conversational exercises,
25-29; conversation in its relation to
reading, 30, 31, analogy between it
and reading, 30; distinction between
it and reading, 30; models for read-
ing found in conversation, 31; im-
personation, 31; conversation in its
relation to public address, 32; anal-
ogy between it and public address,
32; distinction between it and pub-
lic address, 32; illustration, 32, 33;
guide to public address, 33; remarks
upon the distinction between con-
versation and public address, 34;
models for public speech found in
pure conversation, 34; general sum-
mary, 34; the germs of elocution
found in pure conversation, 35.
Conversational Gestures, 142.
Conversational Slide, 131: examples
for practice, 135, 137.

Drawing Sword (gesture), 157.
Dropping Hands (gesture), 157.
Ear Training, 69.
Effusive, examples, 47, 48.
Elementary Sounds, classification,
80; table of, 81.

Elocution, outline of, 18; explanation,

19.

Emotion and Fervor often mistaken
for correct expression, 113.

Emphasis, 186; capital idea, 186; subor-
dinate idea, 186. Connections, group-
ing, 186.

Emphasis, Gestures of, 146; examples
for practice, 147.
Emphatic Slide, 131; examples for
practice, 137, 138.
Enunciation, 185.
Equivalents, 85.
Essentials of Expression, 112.
Excess in Gesture, 169.
Exercises in Articulation, 73-88.
Exercises in Breathing, 39; chest, 39;

costal, 39; waist, 39; dorsal, 39; ab
dominal, 39; full, 40; prolonged, 40,
effusive, 40; expulsive, 40; explo
sive, 40.

Exercises in Conversational Styles
25-29,

Gestures--of emphasis, 146; examples
for practice, 147; of illustration, 146;
examples for practice, 147; of loca-
tion, 146; examples for practice, 147;
oratorical, 142.
Graceful Carriage,

Faults of Voice in the schoolroom, Grammatical Pause, 129.
175.

Grief, (facial expression,) 161.

Faulty Pronunciation, how corrected, Grouping, 186.