Of Practice on the Alphabetic Elements. Notwithstanding we are all taught the alphabet, we are not taught the true elements of speech: I would therefore require the pupil to exercise his voice on the real constituents, as they are sounded in a strict analysis of words. In the present schoolsystem of the alphabet, it is true, all the vowels and one of the consonants are named as they are pronounced in combination but in that system many vowels have no peculiar symbol, and nearly all the consonants are heard as syllables, not as elements. If 'b' and 'k' and 'l,' (and what I say now will apply to all the consonants,) be sounded as respectively heard in b-ay' and 'k-ing' and 'love,' that is, if we pause after these several initial elements have escaped the organs, we shall have the real elemental constituents of the syllables, instead of the compounds be,'' kay' and 'ell' as they are universally taught.

I would have the first lesson then to consist of the thirty-five elements, in order to ensure a true and easy execution of their unmixed sounds. It may be asked,-whether a careful pronunciation of words in which these elements, though combined, must still be heard, would not give the required exactness and facility? I believe it would not. When the elements are pronounced singly, they may receive a concentration of the organic effort, which gives them a clearness of sound and a definite outline, if I may so speak, at their extremes, that makes a fine preparative for a distinct and forcible pronunciation in the compounds of speech. I venture to assert that no one who has neglected this mode of alphabetic practice, is able to give the guttural murmur of 'b,' 'd' and 'g,' with that force and fulness, and duration, which are required on occasions that call for the higher graces and more striking expressions of elocution.

But there is one element, which may, by separate utterance, be improved to a degree that can not be reached in the conjoined mode of pronunciation. I mean the sound of 'r.'

The element 'r' is a modification of the vocality of the subtonics; and denotes two different articulations. One is made by a simple contact of the tongue with the roof of the mouth; the other by its quick percussion against that part. The 'r produced by the first organic combination, differs very little

from the short tonic e-rr,' and is called the smooth 'r.' That formed by the percussion may be called the Vibrant 'r.' It has a distinctness of character and a body of sound, not possessed by the other and if my metaphor could be appreciated, I would say, the parts concerned in its formation, seem to have a firmer grasp of the breath. But it must be borne in mind that this Vibrant 'r,' even with its vigor and satisfactory fulness, will be agreeable only when it consists of one, or at most, two or three strokes and rebounds of the tongue : for if it should become a continued vibration, the effect will be offensively harsh, except it be expressly designed for a rough or energetic utterance. The perfect 'r' for the purposes of distinct and impressive speech should consist of a single slap and retraction. It can be made in this manner: but it must be done through long trial, on the solitary element.

Besides the difficulty of acquiring strength and accuracy in this separate pronunciation, there are combinations of the with other elements, which can be effected in an agreeable manner, only after long practice. It is obvious, that the subtonics and atonics, which employ the tongue, will not readily unite with an element, requiring a quick remove of that member to another part of the mouth, even when the '' is produced by the simple pressure of the tongue. But the difficulty of transition is much increased, by the velocity necessary for the Vibrant 'r.' Let us, for instance, suppose a syllabic step from 'd' to 'r,' as in the word 'dread' Now, as the formation of 'd,' requires the tip of the tongue to be applied to the upper fore-teeth, if the '' is taken smoothly, the union of these contiguous elements may be made without much effort, by retracting the tongue to its place for forming the 'r." But if we wish to roughen the word by the Vibrant 'r,' the tongue is to be removed from the teeth, and to be brought down towards its bed, in a kind of drawing-off, for the purpose of making a sudden impulse against the roof of the mouth: and it requires both exertion and skill, to accomplish these successive movements with the quick coalescence which syllabic utterance requires.

There is also considerable difficulty in the attempt to unite the Vibrant with some of the tonics; and the cause is analogous to that which is operative in the above described combination.

When the Vibrant 'r' is set before the tonics, the coalescence is easy, but it is not so when it follows certain of these elements. If the tonics are of long quantity, there is only the slightest difficulty; as in 'glare,' 'war,' 'far,' ' peer,' ' mire,' 'our,' 'your.' But if the natural short-tonics 'e-rr,' 'e-nd,' and 'i-n,' and most of the other tonics, when pronounced short, precede the Vibrant 'r,' there is not only a considerable hiatus, but a change of the elemental sound takes place; and that peculiar aspirated utterance is heard, which forms one of the characteristics of speech in the natives of Ireland. This will be perceived upon pronouncing the following words with the Vibrant 'r': interpreter, world, irritate, intercourse. The cause of the difficulty, and of the change of sound, will appear in the following explanation.

The tonic sounds, though in greater part laryngeal, are, in some cases, modified by the agency of the tongue and lips. If their formation be observed with respect to the first of these organs, it will be seen that they employ it in varying positions, from the deepest depression in its bed, till nearly in contact with the roof of the mouth. The place of the tongue in the utterance of 'a-we' is the lowest and in 'ee-l,' ' e-nd' and 'i-n,' it is the highest. Now, if the tongue be depressed whilst the effort in these three last instances is going on, it will be perceived that the short tonic sound is corrupted into a semi-aspiration. When 'a-we' precedes the Vibrant 'r,' the tongue is in a proper position to make its percussive impulse: and the combination is both easy of execution and agreeable in effect.

If a short tonic element is followed by 'r,' it is necessary to depress the tongue, to give it some swinging-way, if I may so speak, for the purpose of gaining the velocity of percussion : and the aim to effect this in the quickes time, produces the strained effort of pronunciation. But with every endeavour, there is still a perceptible interval between the change from the lowest position of the tongue to that of its contact with the roof of the mouth. And as there is no call to arrest the vocality during this time of the change, the depression of the tongue, for effecting the percussion of the 'r,' converts that vocality into a partial aspiration, agreeably to what was said above. This mingling of aspiration with the sound of the short tonic, and of the 'r,' produces the disagreeable effect perceived in the utterance of these conjoined elements.

The difficulty of executing the 'r,' under the circumstances above-mentioned, will, I fear, be insurmountable to those who are not persuaded, that the perfection of all their accomplishments must at last be measured by their ingenuity in the contrivances of trial, and the enterprises of their unwearied practice. Those who know that fruitful ambition is the growth of wise docility of mind, and heartfelt resolution, have only to learn that it is within the capabilities of time and exertion. How long it may take to overcome the difficulties here alluded to, must depend on natural facility of organ: nor need it be told to those who deserve instruction, and will have success. To such spirits, it is enough that it may be done.

An exact pronunciation of the elements according to the standard of the day, is not a matter of importance merely as regards formality of fashion, or even beauty of effect; it has a claim of greater dignity.

ance.

When ideas are to be communicated with precision and strength, it should be by well-known words. They should. not be peculiar or striking by length, nor by hiatus of utterThere should be no remarkable contrast between them; no attractive similarity in their sound; nor indeed any thing in the language which might allure attention from the idea conveyed by it. A writer who frequently employs uncommon words, never has vividness or strength of style. To ensure the utmost perfection of these qualities, sounds should slip into the mind, if I may say it, without the notice of the ear. Now what is here said on the distractions produced by the novelty of words, applies equally to the pronunciation of the alphabetic elements; for the least deviation from the assumed standard converts the listener into the critic and I am surely speaking within bounds when I say, that for every miscalled element in discourse, ten succeeding words are lost to the greater part of an audience.

I have therefore recommended a long continued practice on the separate elements, with a view to acquire that command which will not only contribute to the elegance of speech, but at the same time may help to remove all obscurity from the oral picture of sense and passion.

Of Practice on the Time of Elements. I have said enough in former pages on the necessity of a full command

over the time of utterance, in order to effect the high purposes of elocution.

When the true pronunciation of the elements is acquired, the pupil should not, according to the usage of the primer, pass at once to their combinations. They are employed in speech under different degrees of duration: and an exercise of the voice, through all the modes of quantity, upon individual elements, is on this subject, equally with that of the last head, productive of a skilful management, which can not be so well or so easily effected, by practice on the common current of discourse. Let the pupil then consider the alphabetic elements as a kind of gamut, on which he is to learn not only the names of the notes, but all their varieties of time. The power of giving well measured length to syllables is so rare among speakers, and so difficult to acquire, that I thought it proper to draw attention to this elementary mode for facilitating the attainment of it.

The prolongation of the atonics is of little consequence. But let the student reiterate his practice on the tonics and subtonics, until he finds himself possessed of such a command over them, that he may, at will, give any required quantity to their syllabic combinations.

It may be particularly remarked that the elements, 'b,' 'd' and 'g,' admit of a slight degree of quantity, through the prolongation of their guttural murmur: but a strenuous practice is necessary to render it applicable to the purposes of oratorical time.

When 'r,' is to be prolonged, and the rapid iteration would be inappropriate, the smooth, and feebly-formed element is to be employed; since the perfect percussive 'r,' made by a single stroke and rebound of the tongue, is necessarily short.

The elements,' when alone and prolonged, is a sign of contempt. In syllabic combination it is offensive when much extended in quantity. If made in its shortest time it does its part as an element, and loses much of the character of the hiss. Let the pupil therefore practise the shortest quantity on this element, by abruptly terminating the breath, or by separating the teeth at the moment its sound is heard; for this at once cuts it short.

Of Practice on the Vanishing Movement.

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