The same inflection must be given to all words or phrases whose meaning and construction are in apposition, but when antithetical or opposed to each other, they demand opposite inflections, and by this agreement of tone in the first and opposition in the latter case, the sound, as it were, is to the ear in accordance with the sense. When many antithetical members, however, follow in succession, for the sake of variety and harmony, the inflections should be alternated. Let the student refer for an example of this to 1 Cor. xv. 39, 4 40::

39. All flesh is not the same flesh; but there is one kind of flesh of men, another flesh of beasts, another of fishes, and another of birds.

40. There are also celestial bodies, and bodies terrestrial; but the glory of the celestial is one, and the glory of the terrestrial is another.

We have instanced these two verses only; but the whole chapter, indeed, from the 20th verse, not only in respect to this, but every other rule, is an admirable exercise in "inflection;" and its perfect delivery must at all times declare the accomplished elocutionist.

CHAPTER V.

ON PITCH.

THE management and modulation of the voice is another branch of the art of elocution to which the student who is ambitious of becoming a good and effective reader or speaker should devote the most sedulous attention, and for this purpose it is necessary for him to be thoroughly acquainted with the theory and nature of the various pitches of that organ, for by them not only does he derive the variety that is so pleasing to the ear, and secure for himself relief from that inconvenience which his ignorance or neglect in this respect must inevitably entail on him, but he is enabled to exhibit by their just and appropriate use the various emotions and sentiments of his subject, whether they belong to himself or others, with the greater force and power of expression.

The human voice has been observed to possess three distinct tones, and these are distinguished as "high, low, and middle pitch." Of these, the one most used is the middle, for the reason that it is the tone which we naturally are accustomed to in common discourse, and is therefore, from its frequent exercise, generally stronger. It must also be apparent that being easier to rise or fall from it to a higher or lower key, it ought, with few exceptions, to be the one we should adopt when not excited by any particular passion-as, for instance, in calm narration, descriptive statement, or moral reflection.

Now, it cannot have escaped the notice of even the most casual observer that the instant the mind, even in ordinary conversation, receives the impression of any particular emotion, the voice becomes inflected, either upward or downward, to the higher or lower portion of its register, its range being determined by the force or intensity of that emotion. There is a higher, sharper, and shriller tone attained by rage, and a deeper one by sorrow. It is therefore expedient that a just appreciation and a skilful adaptation of these tones should be attended to.

Having already noticed the first of these, its quality and character, on proceeding to the high pitch, we shall find that it is the proper key of all the more impulsive passions or elevated feelings. To it belong rage, threatening, denunciation, invective, joy, and exultation, and, indeed, all eager and animated speech in general; while, on the contrary, grief, melancholy, veneration, deep thought, serious reflection, hate, and suppressed passion, belong to the low pitch.

It is necessary, however, to observe, that there is a great distinction between the terms high and low, and loud and soft, for these are often confounded. This latter, it should be clearly understood, merely signifies the degree of force or volume of sound it may be deemed necessary to use in the same key, and answers precisely to the forte and piano in music, whilst the former intimates a change of key altogether. Pitch, therefore, is independent of force, though force may add frequently to the effect of pitch.

From the want of a proper knowledge of this it is by no means an uncommon occurrence for both orators and readers to commence

at once on the highest key of their voice, under the mistaken idea that they will be heard with greater ease; but this, indeed, is a fatal mistake. In the first place the voice loses its natural power and pliability, producing a monotony of tone that rapidly wearies the auditory, and, in the next, from the unnatural strain to which it is subjected, the organ becomes distressed and weakened, and languor and hoarseness are the inevitable results. Besides, it must be selfevident that if a speaker begins in the middle pitch—that is, as a general rule-that being, as we have before observed, most probably the strongest, he is also able to rise or fall from it according to the range of his voice, and must therefore with greater facility produce those effects which belong to the varying expression of the different emotions his subject may afford him.

With regard to the proper rule for proportioning the quantity or loudness of the voice to the size of the arena in which the speaker may be called upon to exercise his powers, two very great authorities appear to differ. Mr. Sheridan, for instance, says—

"Let the speaker, after having looked around the assembly, fix his eyes on that part of the auditory which is farthest from him, and he will mechanically endeavour to pitch his voice so as that it may reach them; for his business is to consider himself as addressing his discourse to some one amongst them, in such a manner as that he may be heard by him, and if the person be not beyond the reach of his voice he will not fail to effect it. But," he observes-and this is the point most carefully to be preserved in the student's memory

-"still he is to take care not to change his usual pitch in order to do this, but only to add force or degree of loudness in proportion to the distance."

Now, Mr. Walker on this point recommends the reader or speaker to pursue a diametrically opposite plan. Commenting on the passage here quoted from Mr. Sheridan, he goes on to say

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This, I fear, would be attended by very ill consequences if the assembly were very large; as a speaker would be strongly tempted to raise his voice, as well as to increase its force; and by this means begin in a key much too high for the generality of his audience, or for his own power to continue it. The safest rule, therefore, is certainly to begin as it were with those of the assembly that are

nearest to us." The reason assigned for this by Mr. Walker is, that it is so much easier to raise the pitch than to bring it down, that the speaker will insensibly do this as he proceeds, and that however low the key may be in which he begins, he will be audible, provided he is articulate.

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Who shall decide when doctors disagree ?" But as we see here that Mr. Sheridan expressly states that the key is not to be changed, and only increased in force or loudness, according to the theory at first laid down, it is to be feared that if the assembly be large, as Mr. Walker premises, that gentleman's speaker would not be heard by the remote part of the audience at all; while it must follow as a matter of course, that if the extreme portion of it be reached by the force, not pitch of the speaker, all within that range, as a natural consequence, must participate in the delivery of his discourse.

Few voices, however, are so perfect as not to require some sort of education in order to enable them to compass with facility an extensive range into either the higher or lower keys, and on extraordinary occasions it may even be necessary to touch on the extremes of either. This can only be effected by practice. Therefore, as in the directions concerning articulation we stated that by reading slowly and pronouncing every syllable clearly and distinctly in the middle tone, that particular pitch would be greatly strengthened, we venture to recommend that the self-same process be diligently and perseveringly applied in the same manner to the other two-viz., without reference to the sense of the passages to be read, but to the sound, and the compass and power of the voice in the higher and lower portions of its register will be much extended. The student should, in addition to this exercise, carefully select and read aloud such scenes or passages as require these particular pitches, and adapt them accordingly; and more especially those in which the particular passion they indicate appears to intensify or culminate, so as to go through all the gradations of either, without abruptly leaping, as it were, from one pitch to another.

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CHAPTER VI.

ON GESTURE.

UNDER this head is included the whole deportment of the body, in order that it may be justly adapted to the nature and emotions of the subject pronounced. The disposition of the limbs, the movements of the hands, the carriage of the head, and even the movements of the eyes and direction and expression of the countenance altogether. For every passion, emotion, or sentiment, has some attitude, look, or movement peculiar to itself; any incongruity, therefore, either by vague, awkward, or unsuitable and inconsistent gesture, not only frustrates the intention of the speaker, but in many instances becomes ridiculous and absurd; for the object of public speaking is either to instruct, to please, or to persuade: and how can either of these objects be attained if the orator be devoid of propriety, force, or grace?

Cicero calls action "the language of the body," and further observes, "It is action alone that governs in speaking, without which the best orator is of no value, and is often defeated by one in other respects much his inferior." And, indeed, the orators of Greece and Rome appear to have attached the utmost importance to this particular department of elocution; for not only were they accustomed to employ persons whom they called "phonasci," whose office was to teach the modulations of the voice, but also others for special instruction as to voice and gesture combined; the latter being generally eminent and experienced actors selected from their theatres ; and in fact, by this practical method it was that they attained that high degree of excellence of which we have so many records. Nor indeed can the higher graces of ornamental delivery be communicated by the unassisted medium of written precept and mere theoretic rules.

This has been the attempt of many works on this subject, but it is to be feared with little or no success, amongst the best of which, perhaps, may be reckoned Austin's "Chironomia," the author in that work, endeavouring, by means of plates and diagrams of various kinds, to illustrate the theory of action; but undoubtedly clever