that the want of a proper position, from which, vocal action, may proceed, is the FIRST bar to clear utterance, and leads to those distortions of the features, and contortions of the muscles, which accompany the torturing efforts of the stutterer to form words.

The art of Speaking, is yet in its infancy; even its First Principles, are little understood. Mr. Walker, did more for the advancement of the art, than all, who preceded him; but, even he is ignorant of the First Principles: for, in no part of his elegant writings, is there the slightest hint to guide us to this important knowledge.

Mr. Walker, when he felt himself able, to give a name to the combined inflections of the voice, considered his discovery of so much importance, that he published a pamphlet, intitled "The Art of Speaking Delineated;" but, ingenious, and meritorious as his novel nomenclature undoubtedly was, it would have been of greater moment to the Art, of which,

he was an accomplished preceptor, had he been led to consider the vocal organs as a machine, which requires certain POSITIONS, from which, all its actions, should proceed; for, we shall find; that without these positions, there can be neither distinct, nor graceful articulation. Nor is distinct articulation the only benefit, which results from the use of them: by attending to them, the breath, is pleasingly inhaled, and emitted, and the whole body, harmonizes with the vocal process.

Though accustomed, for many years, to teach upon these principles,-namely, CERTAIN POSITIONS OF THE VOCAL ORGANS,—yet, like Mr. Walker with his circumflex, I could not, until very recently, give these positions names. I may now state, without the fear, or chance of contradiction, that I am the first, who has discovered the existence, or importance of two simple positions, the USE of which, will add greatly to the beauty of Speech, and the ease of the speaker; the WANT of which, will cause indistinctness in sound,

uneasiness in the chest, and an unpleasing contortion of countenance.

My discovery I am enabled to designate FIRST, AND SECOND POSITIONS OF VOCAL ACTION. These, are chiefly addressed to the eye, and are thus formed—

THE FIRST POSITION, is a slight separation of the lips, and teeth.

The advantage gained by this, is a free inhalation, and emission of breath; for, observe, that the process of breathing, cannot be impeded, but, at the expense of ease, and gracefulness. If the lips be closed, the current of breath, must necessarily pass through the nostrils, and the consequences of this unnatural passage, are Uneasiness, and Distortion of the Features.

THE SECOND POSITION, is more complicated. The first, is a position of rest-the second, is a position of motion, and it ought to precede all articulation.

THE SECOND POSITION, is formed by a simultaneous action of the lips, and teeth.—

The common error, is, in confining the action to the lips, and keeping the teeth inactive. By this action of one, instead of the simultaneous motion of both these organs, no distinct utterance, can take place; and the lips, are contracted in speech, as a purse, is closed by the action of strings.

No sentence, no word, not the simplest element of sound, can be properly delivered, without a strict, and uniform attention to these two positions. The FIRST, being the position of rest, must be adopted at all the pauses, whether of the major kind, as the period, or minor, as the comma. The SECOND, namely, the farther separation of the lips, and teeth, must precede, and accompany all vocal sounds. Let any one, who wishes to see the force, and utility of the principles here laid down, attempt, before a glass, to form any of the consonants, without attending to these principles, and he will laugh at his uncouth, and abortive forma

tions. Yes-he will laugh both at the inefficiency, and deformity of his essays, when he begins to analyze the component parts of language. Language, as we generally hear it, will not bear the process of analyzation. It may be tolerated in the gross,—and that merely from habit,-but, to reduce it to its elements, would shew its inefficiency, its palpable, and manifest absurdity.

Musical compositions, can be analyzed; and the accuracy of the notation of Music, may be proved by the fitness of all its fractions, to produce a harmonious whole. Hence the certainty of the complete success, with which, all the parts of a full orchestra, can be arranged. The principles of the English language, are not so subtile, but that they also, may be discovered, and practised with a similar exactness to that, with which, the musician, can dwell upon the nicety of a demi-semi-quaver. But the musician, has an advantage, which the student of speech, has not. The student of