that enter into vocal expression. We call attention to only a few of
the simpler and more common vocal manifestations of feeling,
counselling the student who is to deliver a selected speech, to adapt
his speaking to the style of that speech. In so doing he will get a
varied training, and at length will find his own most effective style.

The speech which is matter-of-fact and commonplace only, has
characteristically much short, sharp inflection of voice, with the
rapidly varying intervals of pitch that we notice in one's everyday
talking. As the utterance takes on force, it is likely to go in a more
direct line of average pitch, with stronger inflection on specially
emphatic words. As it rises to sentiment, the inflections are less
marked, and in the case of a strain of high, nobler feeling, the voice
moves on with some approach to the monotone. According as feeling is
stronger and firmer, as in the expression of courage, determination,
firm resolve, resistance, intense devotion, the voice is kept
sustained, with pauses rather abrupt and decisive; if the feeling,
though of high sentiment, is tranquil, without aggressiveness, the
voice has more of the wavelike rise and fall, and at the pausing places
the tone is gradually diminished, rather than abruptly broken off. In
the case of quickly impulsive, passionate feeling, the speech is likely
to be much varied in pitch, broken by frequent abrupt stops, and
decisive inflections. In the case of the expression of tenderness or
pathos, there is a lingering tone, with the quality and inflection of
plaintiveness, qualified, in public speech, by such dignity and
strength as is fitting. In all cases the quality of voice is of course
the main thing, and this, not being technical or mechanical, must
depend on the speaker's entering into the spirit of the piece and
giving color, warmth, and depth to his tones. The spirit of gladness or
triumph has usually the higher, brighter, ringing tone; that of