They are divided into vowels, subvowels, and aspirates; or, as classified by Dr. Rush in his "Philosophy of the Human Voice," into tonics, subtonics, and atonics.

There are fifteen vowels, fourteen subvowels, and nine aspirates.

There are many words in which there are difficult combinations of the elements; they, as well as those in which the combinations are easy, should be practiced upon until the pupil is able to articulate each element correctly. The following is a table of the analysis of words, in which there are easy and difficult combinations of elements. Let the pupil spell the words, uttering separately each element, and not the name of the word, as is the practice which generally obtains in our schools.

CHAPTER II.

OF THE VOICE.

The voice is the organ of eloquence, and has the entire dominion over one sense. The necessity for its proper management must be obvious to even the least reflective mind; for no one can fail to perceive that the understanding is more vividly impressed and influenced by language and tones, than by the countenance or gesture, as the ear is more easily interested than the eye.

The qualities and management of the voice are therefore of the greatest advantage to the public speaker, as upon them depends his success in the practice of eloquence. The qualities of the voice being the gift of nature, are, as are all of nature's gifts, bestowed to be improved, subjected to the training of art. The majority of our public speakers pay too little attention to the cultivation of the voice. Often when we look to hear their sentiments delivered in a hold, sonorous tone, we are, instead, stunned by vociferation, or compelled to tax our hearing in order to comprehend their whispers. Vociferation often carries the day, for all men are not judges of fine composition, nor are all capable of estimating the just weight of argument; therefore it is that superficial speakers make up in loudness of voice for lack of matter in the compositions they utter. Like the Roman Novius, they bawl themselves into credit.

The sound of a powerful human voice carries with it an imperiousness that often terrifies as well as convinces. Homer in speaking of Achilles, attributes to the voice of his hero an irresistible effect:

"He stood and shouted: Pallas also raised

A dreadful shout, and tumult infinite
Excited throughout all the host of Troy."

But the shout of Milton's rebel angels is still more magnificent than that of all Homer's heroes and gods:

"At which the universal host up sent

A shout, that tore hell's concave, and beyond

Frighted the reign of Chaos and old Night."

The voice is considered first, as to its nature; secondly, as to the management of it. The nature of the voice is again divided into quantity and quality.

In the quantity of the voice are considered

That a voice decidedly imperfect can, by any art, be improved so as to answer every effort of oratory, is altogether hopeless; but if the ear be not wholly depraved, the power and qualities of the voice, if they be moderately good, may be much improved. Though there are some methods by which the nature of the voice itself may be improved, yet it is to the management of the voice, such as it may be, which possesses, that the orator should chiefly direct his attention. By due exertions in this way, though he may not absolutely improve the natural qualities of his voice, he will give them the

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