under the eye, at a glance, the turns and shades of passion and expression in the several passages selected. Let the teacher see that these transitions are attended to, else the compiler's labour will have been in vain.* Every pupil has provision made against his deficiencies, which he will find by turning to the INDEX OF EXPRESSION, following the GENERAL Index.

It has been suggested, an objection may be raised against these marginal notes, that they will induce a theatrical tone of expression in delivery. No one deprecates this more than I do. The characteristics of English composition are gravity and warmth: I wish these enforced in speaking and reading. In exercising a pupil, however, we must encourage a warmth of expression, a glow of tone, which he will correct in practical delivery. In the class-room I must have the pupil exercise his lungs and muscles, -else of what use is the Elocutionist? The great object of the learner is to acquire a command over these nature, good taste, judgment, conventional custom, will suggest the quantity of the former, and the measure of the latter.

*The hint of these marginal indications I took from a work published last century, entitled, "The Art of Speaking," to which the celebrated Walker makes his acknowledgments. H. L

THE ORGANS AND OPERATIONS OF

SPEECH.

EVERY artist who desires to excel should be well acquainted with the instrument he uses. It may be useful that we know the structure, to understand the action of the organs of speech. Anatomical terms and definitions shall be avoided, that all may comprehend the meaning, in the following inquiry.

BREATHING.

The primary cause both of respiration and voice is the LUNGS. They are suspended in the cavity of the breast, and are of a porous elastic substance, adapted to receive, contain, and expel the air. They answer a purpose similar to that of the bellows of an organ. As soon as they are distended, they have a natural propensity to contract into a lesser compass, which immediately expels the air. The air is expelled by means of the WINDPIPE, which is a flexible tube, connected with the lungs, and opening into two passages, the one through the nostrils, and the other through the mouth. When the lungs are emptied, the external air rushes in by the same passages, from its native spring, to restore the equilibrium, and likewise from the principle of its own weight, which is computed to be equal to the pressure of thirty-three feet of water. The lungs, again, from the expansion of the air-vessels, and from their own compressive action, spontaneously discharge themselves. In this manner respiration is carried on. The lungs are likewise adapted for the purpose of CIRCULATION. They purify and accelerate the blood, as it passes through them from the veins to the arteries. Hence it is, that the action of the heart is generally in proportion to that of the breath. In running, or any violent exercise, the internal vessels demand a quicker supply, both of the air and of the animal fluids; at that time the pulse beats high, and the breath is panting. The action of circulation is continued, whether we are awake, asleep, attentive, inattentive, willing, or unwilling; but the action of respiration may be heightened, retarded, or altogether suspended, as we please. When the breath is stopped for a short period, we EXPIRE or die; because the vital fluids can no longer be transmitted through the body.

B

LARYNX.

The upper end of the wind-pipe forms that curious instrument called the larynx. In the throat of a man it is conspicuously prominent. In a woman, it is commonly but one-third of the magnitude. It is suspended, movable, and furnished with muscles to elevate or depress it at pleasure. In the production of musical tones, it ascends almost an inch in two octaves.

GLOTTIS.

The parts which compose the larynx are so disposed as to leave in the midst a small chink or cleft, called the glottis, which is the sole cause of voice and modulation. It is of a solid, gristly, and tremulous nature, peculiarly adapted for the production of sound. Its orifice can be widened or contracted, and its sides or chords either stretched or relaxed, as occasion requires. Hence it is, that it bears a near resemblance to a wind and a stringed instrument; the one from its form, and the other from its substance. That this organ, so exquisite in its structure, so astonishing in its operations, might be secured from external injury, nature has provided the EPIGLOTTIS, a small valve or covering, which, in the action of swallowing, lies flat upon the upper part of the larynx, that the food and liquids may roll over it into the mouth of the gullet. By this means, the passage of the breath and voice is always kept clear and open.

VOCAL SOUND.

In every species of breathing, such as sighing, panting, blowing, however forcible, there is no vocal sound. All sound arises from an impulse, communicated by some tremulous body, to the particles of air. In common breathing, or whispering, the aperture of the glottis is too wide, and its fibres too soft and relaxed for the production of sound; but when it is a little contracted, and its sides more stretched and more contiguous, the air as it passes plays upon them, causes them to VIBRATE, and produces the sound. This vibration, which always accompanies a vocal tone, is clearly perceptible to the sight and touch. It is evident that the tone in the human throat arises from similar causes to that in an instrument. When we blow into the orifice of a flute, the stream of air, expelled through so narrow a chink, becomes forcible and rapid, dashes against the particles in the body of the instrument, and, by dislodging them, produces sound; precisely the same effect is occasioned by expelling the breath through the contracted glottis. When we strike the strings of a violin they vibrate and resound; in the same manner the smooth gristly chords of the glottis are excited in a tremulous motion in the production of sound.

Having thus described the production of VOCAL TONE in the throat, we shall examine the changes it undergoes by the different position and action of the ORGANS OF ARTICULATION. Every impulse of BREATH 'or voice receives its peculiar modification from these.

TONGUE.

The chief instrument of pronunciation is the tongue. For that reason, language itself is sometimes called metaphorically by this name. The tongue, which is connected with the larynx, is composed of a very movable fibre, closely interwoven into the most solid and flexible membrane. It is distinguished from all parts of the human body, by its amazing activity in starting from one position to another. In a moment it can be made long, short, tense, relaxed, concave, convex. It is applied with equal ease to all parts of the lips, teeth, jaw, and palate. From its different positions, the breath sometimes passes out in a full stream, sometimes by a narrow chink, sometimes solely through the nostrils, sometimes solely through the mouth, and sometimes it is altogether intercepted.

JAW.

The lower jaw, which alone is movable, is one of the principal organs of speech. If it is opened with freedom and command, it conduces greatly to the full pronunciation of the vowels. Its motions in the most part of speakers are too restrained.

UVULA.

At the hinder part of the palate, immediately before the nasal passage, is suspended a small fleshy membrane called the uvula. Its chief use is to prevent the breath escaping through the nostrils in the pronunciation of the mutes.

NOSTRILS.

After the breath passes the larynx, it directs its course to the MOUTH and NOSTRILS. The sound of three of the half vowels, is emitted solely through the latter. Besides, in speaking or singing, we find that the caverns of the nostril considerably strengthen and sweeten the vocal tone. For that reason they should always be kept clear and open.

PALATE.

The palate, or roof of the mouth extends from the root of the tongue to the upper gum. It auswers a purpose somewhat similar to the body of a violin or guitar-to collect, rebound, and render melodious the tone. The voice in general is more deep and sonorous, according as the arch of the palate is more or less elevated.

Lips.

It is remarkable, that of all the organs, except the larynx, the lips alone are capable of uttering a vocal sound, By blowing through them in a certain position they produce a tone somewhat resembling a small flute, or the singing of birds. This tone is higher or lower, according as the orifice is more or less contracted. In speech, some of the consonants are produced by shutting the lips, and some by their

under the eye, at a glance, the turns and shades of passion and expression in the several passages selected. Let the teacher see that these transitions are attended to, else the compiler's labour will have been in vain.* Every pupil has provision made against his deficiencies, which he will find by turning to the INDEX OF EXPRESSION, following the GENERAL Index.

It has been suggested, an objection may be raised against these marginal notes, that they will induce a theatrical tone of expression in delivery. No one deprecates this more than I do. The characteristics of English composition are gravity and warmth: I wish these enforced in speaking and reading. In exercising a pupil, however, we must encourage a warmth of expression, a glow of tone, which he will correct in practical delivery. In the class-room I must have the pupil exercise his lungs and muscles, -else of what use is the Elocutionist? The great object of the learner is to acquire a command over these: nature, good taste, judgment, conventional custom, will suggest the quantity of the former, and the measure of the latter.

The hint of these marginal indications I took from a work published last century, entitled, "The Art of Speaking," to which the celebrated Walker makes his acknowledgments.

H. L.

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