jury the piping tones of an unvarying monotone, may satisfy himself of his capacious lung power; but the weary jury will sigh with relief when he ceases, and will punish his attack upon their nervous system by giving his opponent the benefit of all doubts. 8. THE MOTHER, ignorant of the far-reaching influence of those soft, sweet, melodious tones that in after years impart the sanctity of heaven to the recollections of childhood, may enforce a temporary obedience to her will by that sharp, piercing command which startles the youthful loiterer from his reveries; but the abiding influence of her motherly counsel that should follow the man through temptation and trial in later life is lost by this ignorance. 9. A KNOWLEDGE of the effect of these elements upon the hearer is indispensable to all who aspire to success in life; hence, the importance of acquiring a knowledge of their correct application, and the ability to use them readily and impressively. 37. The Vocal Apparatus. It is not within the scope of the present work to give a minute description of the organs concerned in producing voice, nor of their mechanical movements in the modifications of the various elements of vocal expression. While a knowledge of their anatomy, physiology, and hygiene is desirable in the professional elocutionist, it is not essential to excellence in vocal expression. For the benefit of those who desire to qualify themselves in the work beyond the limits of this Manual, the organs are named and defined, so that they may be studied from works prepared for that purpose. 38. The Voice Organs May be divided into two classes: First, those which act in the production of sound; and, second, those used to modify the sound in articulated speech. 39. The Voice-Producing Organs are: 1. The Abdominal and Thoracic Muscles, which assist the motion of the diaphragm, and give greater capacity to the chest. 2. The DIAPHRAGM, the partition which separates the abdomen from the chest. 3. The THORAX, the cavity of the chest, with its muscles. Its capacity determines the voice power. 4. The PLEURA, the envelope of the lungs, acts in connection with the diaphragm. 5. The LUNGS. They serve as a bellows for supplying the air, which, passing through the larynx, is converted into sound. 6. The TRACHEA, or windpipe, is the tube through which the air passes from the lungs into the larynx. 7. The LARYNX, (Adam's Apple) is the immediate instrument of vocal sound. 40. The Voice-Modifying or Speech Organs are:1. The LARYNX, which belongs to both classes. 2. The PHARYNX (swallow), the cavity behind the larynx, extending up behind the veil of the palate. Its size determines the fullness and richness of the 3. The NASAL PASSAGES, which open into the pharynx. These passages lying behind the external orifices of the nose, with the pharynx form part of the resonance chamber of the voice apparatus. NOTE. The term "resonance," as used in elocution, implies the place from which the vocal sound appears to come. It is the distinctive characteristic of Quality of Voice. 4. The CAVITY OF THE MOUTH, including the palate. This is the space covered by the roof of the mouth, which extends from the upper front teeth to the thin veil separating the mouth from the pharynx. 5. The INTERNAL TUBES OF THE EARS, tubes starting from each side of the root of the tongue and communicating with the ears. 6. The TONGUE. 7. The TEETH, which materially aid in giving distinctness to articulation. 8. The LIPS. VOICE CULTURE AND MANAGEMENT. 1. The highest skill in speech is attained only by a perfect control of the voice and speech organs. 2. The first requisite in securing great vocal power is an erect and easy posture of the body, giving expansiveness to the chest and freedom to the limbs, and that absolute command of breath which will enable the reader to utter one hundred or more syllables in a single breath. 3. Huskiness, harshness, and hardness of tone result from the contact of inhaled air during vocal exercise with the lining mucous membrane of the speech organs; hence, in the process of utterance no air whatever should enter the mouth. 4. The nasal passages should be kept constantly open. Proper breathing and cleanliness will secure this condition. 5. Fullness, depth, and richness of tone are so largely dependent upon the control of the tongue, throat, and jaw muscles that constant attention should be given to the free action of these muscles. 6. To render words most easily understood by those remote from the speaker, the mouth should be opened freely and fully, and should not be closed too suddenly in finishing syllables. 7. During reading and speaking care should be exercised to avoid a continued pitch too high, too low, or a monotone. The last reacts upon the speaker, rendering his delivery dull and lifeless; a pitch too low usually prevents understanding the words; while a prolonged high pitch exhausts the speaker and wearies an audience beyond its capacity of enjoyment. The pitch should follow the general law of thought development-curves, slides, and waves-few planes. 8. To prevent embarrassment arising from nervousness, inhale and exhale to your utmost capacity a number of times before attempting to use the voice in public. The same precaution will materially prevent incoherency, stuttering and stammering in extemporaneous speech. 9. To command the greatest physical power and intellectual vigor and buoyancy of spirit, stand erect with active chest, and inhale fully and deeply always through the nostrils - never through the mouth. 41. QUALITY OF VOICE. - 1. The quality of the voice is the nature, character, or kind of tone used. 2. Different qualities arise from the ever-changing sentiment that animates the human mind and the varied physical conditions to which the body is constantly subjected. By careful culture these qualities may be secured by all, and they are indispensable in giving expression to the varied emotions and passions. No one need hope for excellence in reading or speaking who cannot attune his voice quality to the sentiment to be expressed. As a means of transmitting the inward emotions from soul to soul they are more potent than the language which they clothe. 42. CLASSIFICATION. As the quality of voice depends upon the nature of the sentiment to be expressed, and this, in turn, upon the condition of the mind or body from which the thought or feeling emanates, the qualities may be divided into two primary classes, NORMAL and ABNOR MAL. 43. Normal Qualities. S Pure Tone. |