continuous through the four groups marked ; and the +\ group the climax member-strikes its opening accent above the terminal vanish of the rise. 'Minstrel' and 'dancing' are itemized in emphasis, by making their falling sweeps overlap.

IV. THE FALLING-WAVE SWEEP. SYMBOL: O, OR, ^. When the group begins with an unaccented syllable or syllables or a word of inferior emphasis, immediately followed by the principal emphatic word, the first constituent of the melodic wave is largely made up of the discrete movement necessary to set the principal word in due relief. The crest of the expressive contour is defined by the accent of that word.

How charm-ing! How ex-qui-site! Is n't it beau-ti-ful!

Curse on him! will not the vil-lain drown?

Curse on bim! will not the villain drown?

VCurse on him! +Vwill not the villain drown?

VI. THE DOUBLE-WAVE-RISING SWEEP: THE REFERENTIAL SWEEP. SYMBOL: ~\.

1.

Parenthetic Reference.

Here,

if your Hon-or please, we rest our case.

2.

Wistfulness.

3. Oblique Reference.

Oh, that this love-ly vale were mine! He fell down in the

market-place, and foamed at mouth, and was speechless.

Here, if your Honor please, we rest our case.

He fell down in the market-place, and foamed at

mouth, and was speechless.

He fell down in the market-place, and foamed at mouth, and was speechless.

VII. THE DOUBLE-WAVE-FALLING SWEEP. SYMBOL:

I must be held a ran-co-rous en- e- my! What a

THE LADDER EXERCISE.

This exercise is designed to train the ear to perceive and regulate, and the voice to execute, melodic progressions upward and downward at will.

Regard the text as devoid of all motive besides the development of vocal dexterity; the words, merely as sound impulses, to be clearly pronounced in regulated, arbitrary pitch progressions, predetermined by the reader. Do not make cadences at the pauses, even at the ends of sentences; except at the close of the last sentence. Group the words carefully, however, and inhale at every grouping pause. Speak the words with energy and distinctness. Be careful not to sing or chant.

Begin at a level a little below middle pitch. Let the last word of each group be clearly higher than the first or any intermediate word; in fact, each successive accent should be higher than the one preceding it, by a small but perceptible interval, not semitonic. After a pause, do not drop in pitch at the opening of the next group, as your probable tendency will be, but let the resuming melody continue the rising progression; let this group also end higher than it begins; and so on, making a smoothly graduated rising inclined plane of melody, until you have reached the highest limit of your natural voice. Carefully avoid breaking into the falsetto. At this highest pitch, turn the melody, and descend, very gradually and smoothly, to your lowest pitch. Don't mumble, or clutter, or mouth; speak distinctly. Observe that the falling progression is apt to be much more rapid than the rising, unless great care is exercised.

In the example below, let the rising progression extend to and through the words, 'High overarched, embower,' or, 'And broken chariot-wheels'; and the downward progression, thence to the end of the extract.

After you have this form of the exercise well in hand,that is, when the progressions are consistent and evenly graduated, vary the practice, by breaking the passage up into three, four, five, six, or more progressions.

Exercise your ear and voice in the same way on sentences, paragraphs, stanzas, and portions of blank verse of your own selection. Good examples are given in Murdoch's 'Analytic Elocution', Raymond's 'Orator's Manual', and Mrs. Taverner Graham's 'Reasonable Elocution'.

SATAN AND HIS FALLEN LEGIONS.

He scarce had ceased, when the superior fiend
Was moving toward the shore; his ponderous shield,
Ethereal temper, massy, large, and round,
Behind him cast, the broad circumference

Hung on his shoulders like the moon, whose orb,
Through optic glass, the Tuscan artist views,
At evening, from the top of Fiesole,
Or in Valdarno, to descry new lands,
Rivers, or mountains, in her spotty globe.
His spear, to equal which the tallest pine
Hewn on Norwegian hills, to be the mast
Of some great admiral, were but a wand, ">
He walked with, to support uneasy steps
Over the burning marl: (not like those steps
On Heaven's azúre!) and the torrid clime
Smote on him sore besides, vaulted with fire.
Nathless, he so endured, till on the beach
Of that inflaméd sea he stood, and called
His legions, angel forms, who lay, entranced,
Thick as autumnal leaves, that strew the brooks

Of Vallombrosa, where the Etrurian shades

High overarched, embower; or scattered sedge
Afloat, when with fierce winds, Orion armed

Hath vexed the Red Sea coast, whose waves o'erthrew

Busiris and his Memphian chivalry,

While, with perfidious hatred, they pursued

The sojourners of Goshen, who beheld

From the safe shore their floating carcasses
And broken chariot-wheels: so thick bestrewn,
Abject and lost, lay these, covering the flood,
Under amazement of their hideous change.
He called so loud that all the hollow deep
Of Hell resounded:

'Princes! Potentates!

Warriors! the flower of Heaven-once yours, now lost,
If such astonishment as this can seize

Eternal spirits: or have ye chosen this place

To rest your wearied virtue, for the ease ye find
To slumber here, as in the vales of Heaven?
Or, in this abject posture, have ye sworn
To adore the Conqueror, who now beholds
Cherub and seraph rolling in the flood,
With scattered arms and ensigns; till, anon,
His swift pursuers from Heaven's gate discern
The advantage, and, descending, tread us down,
Thus drooping; or, with linkéd thunderbolts,
Transfix us to the bottom of this gulf?-

Awake! arise! or be for ever fallen!

-Milton-Paradise Lost.

VOWEL MELODIC PRACTICE.-In this connection, an exercise recommended by Doctor Rush will be found of excellent advantage to ear and voice. It consists in reading or reciting a line, a sentence, a stanza, lyric or dramatic, with its appropriate enunciation, grouping, and intonation, until its vocal value is as fully embodied as lies in your power; then, omitting all the articulates, repeat the example on the vowels alone,reproducing grouping, rhythm, stress, quality, inflections, and melody, syllable for syllable.

Your first attempts will not be encouraging, probably, but 'try, try again', and your apprehension and command of vowel and syllabic form and of melodic sequence and totality will rapidly and surprisingly improve.

For a time, the unaccented syllables will prove quite difficult. Of course, they should be clear, brief, slight im