"Pure" tone is free from (1) the heavy and hollow note of the chest; (2) the "guttural," choked, stifled, or hard sound of the swollen and compressed throat; (3) the hoarse, husky, "harsh," "reedy;" and grating style, which comes from too forcible expiration," and too wide opening of the throat; (4) the nasal twang, which is caused by forcing the breath against the nasal passage, and, at the same time, partially closing it; (5) the wiry, or false ring of the voice, which unites the guttural and the nasal tones; (6) the affected mincing voice of the mouth, which is caused by not allowing the due proportion of breath to escape through the nose. The natural, smooth, and pure tone of the voice, as exhibited in the vivid utterance natural to healthy childhood, to good vocal music, or to appropriate public speaking, avoids every effect arising from an undue preponderance, or excess, in the action of the muscles of the chest, of the throat, or of any other organ, and, at the same time, secures all the good qualities resulting from the just and well-proportioned exercise of each. A true and smooth utterance derives resonance from the chest, firmness from the throat, and clearness from the head and mouth.

Without these qualities, it is impossible to give right effect to the beauty and grandeur of noble sentiments, whether expressed in prose or in verse.

Childhood and youth are the favourable seasons for acquiring and fixing, in permanent possession, the good qualities of agreeable and effective utterance. The self-taught cannot exert too much vigilance, nor take too much pains, to avoid the encroachments of faulty habit in this important requisite to a good elocution.

The subjoined exercise should be frequently and attentively practised, with a view to avoid every sound which mars the purity of the tone, or hinders a perfect smoothness of voice.

Exercise in Smoothness and " Purity" of Voice.

No sooner had the Almighty ceased, but all

The multitude of angels, with a shout,

Loud as from numbers without number, sweet,

As from blest voices uttering joy;-heaven rung

With jubilee, and loud hosannas filled

The eternal regions;-lowly reverent,

Towards either throne they bow; and to the ground,
With solemn adoration, down they cast

Their crowns, inwove with amaranth and gold.--
Then crowned again, their golden harps they took,
Harps ever tuned,-that, glittering by their side,
Like quivers hung, and with preamble sweet
Of charming symphony they introduce
Their sacred song, and waken raptures high.

16

The various passions and emotions of the soul are, to a great extent, indicated by the "quality of the voice. Thus, the malignant and all excessive emotions, as, anger, hatred, revenge, fear, and horror, are remarkable for "guttural quality," and strong "aspiration," or expiration," accompanying the vocal sound, and forming "impuro" tone; substituting a "harsh,' husky, aspirated utterance, for the "orotund," or the " pure tone; while pathos, serenity, love, joy, courage, take a soft and smooth "oral," or head tone, perfectly pure, or swelling into "orotund." Awe, solemnity, reverence, and melancholy, take a deep "pectoral" murmur; the voice resounding, as it were, in the cavity of the chest, but still keeping perfectly "pure" in tone, or expanding into full "orotund."

The young student cannot be too deeply impressed with the importance of cultivating early a pure and smooth utterance. The excessively deep "pectoral" tone sounds hollow and sepulchral; the "guttural" tone is coarse, and harsh, and grating to the ear; the "nasal tone is ludicrous; and the combination of "guttural" and "nasal" tone is repulsive and extremely disagreeable. Some speakers, through excessive negligence, allow themselves to combine the "pectoral," "guttural," and nasal" tones in one sound, for which the word grunt is the only approximate designation that can be found. Affectation or false taste, on the other hand, induces some speakers to assume an extra fine, or double-distilled, "oral" tone, which minces every word in the mouth, as if the breast had no part to perform in human utterance.

The tones of serious, serene, cheerful, and kindly feeling, are nature's genuine standard of agreeable voice, as is evinced in the utterance of healthy and happy childhood. But prevalent neglect permits these to be lost in the habitual tones of boys

and girls, men and women. Faithful advisers may be of much service to young students in this particular. 3.-Versatility or Pliancy of Voice signifies that power of easy and instant adaptation, by which it takes on the appropriate utterance of every emotion which occurs in the reading or speaking of a piece characterised by varied feeling or intense passion.

To acquire this invaluable property of voice, the most useful course of practice is the repeated reading or reciting of passages marked by striking contrasts of tome, as loud or soft, high or low, fast or slow.

The following exercises should be repeated till the student can give them in succession, with perfect adaptation of voice in each case, and with instantaneous precision of effect. Exercises for Versatility or Pliancy of Voice.

I had a dream, which was not all a dream,
The bright sun was extinguished; and the stars
Did wander darkling in the eternal space,
Rayless, and pathless; and the icy earth
Swung blind and blackening in the moonless air.
Very High.

I awoke-where was I?-Do I see
A human face look down on me?
And doth a roof above me close ?
Do these limbs on a couch repose?

Is this a chamber where I lie ?
And is it mortal, yon bright eye,
That watches me with gentle glance?
Very Slow.

Of old hast Thou laid the foundation of the earth; and the heavens are the work of Thy hands. They shall perish, but Thou shalt endure; yea, all of them shall wax old, like a garment; as a

vesture shalt Thou change them, and they shall be changed: but Thou

art the same; and Thy years shall have no end.

Very Quick.

I am the Rider of the wind,

The Stirrer of the storm!

The hurricane I left behind

Is yet with lightning warm ;To speed to thee, o'er shore and sea I swept upon the blast.

4.-True Pitch of Voice.

The proper pitch of the voice, when no peculiar emotion demands high or low notes, is-for the purposes of ordinary reading or speaking a little below the habitual note of conversation, for the person who reads or speaks. Public discourse, being usually on graver subjects and occasions than mere private communication, naturally and properly adopts this level.

But, through mistake or inadvertency, we sometimes hear persons read and speak on too low a key for the easy and expressive use of the voice, and sometimes, on the other hand, on a key too high for convenient or agreeable utterance.

The following sentences should be repeated till the note on which they are pitched is distinctly recognised, and perfectly remembered, so as to become a key to all similar passages. Exercise on Middle Pitch.

In every period of life, the acquisition of knowledge is one of the most pleasing employments of the human mind. But in youth, there are circumstances which make it productive of higher enjoyment. It is then that everything has the charm of novelty; that curiosity and fancy are awake, and that the heart swells with the anticipations of future eminence and utility.

Contrast this pitch with that of the pieces before quoted as examples of "high" and "low."

LESSONS IN PENMANSHIP.-XVI.

In our last lesson, in Copy-slip No. 52, we gave an example of the elementary looped stroke which enters into the composition of the letters j, y, and g, and, with a little modification, into the formation of the letter z. To make this new elementary stroke, a thick down-stroke must be commenced at the line a a, as in Copy-slip No. 57, for example, and carried downwards in a slanting direction towards the left. As the stroke approaches the line bb, the pressure on the pen must be lessened and gradually reduced until the thick stroke narrows into a hair

yo y

turned in an easy and flowing stroke. To show the necessity of this, the learner has only to turn the loop before reaching the line h h, when he will find that this imparts a stunted appearance to the stroke, or to any letter into whose composition it enters, which is far from satisfactory.

To form the letter j, it is only necessary to place a dot above the elementary looped stroke that has just been described, on the line d d, which is, as it has been stated in a previous lesson (page 61), three-sixteenths of an inch above the line a a. In Copy-slip No. 54 the elementary strokes entering into the composition of the letters y and g are shown, the first of these

line, which is turned at the line h h, and brought upwards over the line bb, in a direction slanting upwards towards the right, crossing the down-stroke in a graceful curve a little below the last-named line.

The distance between the lines bb and h h should be exactly nine-sixteenths of an inch. The learner, on referring to Copy-slips No. 30 (page 133) and No. 39 (page 173) will see that letters carried below the line b b terminate on a line at the distance of seven-sixteenths of an inch below it, when the stroke below bb is of uniform thickness throughout, as in the letter p, or has a bottom-turn to the right, as in the letter q. In the formation, however, of looped letters, an eighth of an inch more is required to give space enough to admit of the loop being

letters consisting of the top-and-bottom-turn and the elementary looped stroke, while the second is formed by a combination of this stroke and the letter o. In Copy-slips No. 55 and 56, the letters y and g are given, showing how the elementary strokes of which they are composed are joined together, while in Copyslip No. 57 an example is given of the method in which the letter j is joined to any letter that follows it, and the letter y to a letter that precedes it.

The learner has now been taught how to make nineteen out of the twenty-six letters of the writing alphabet, and these we shall bring under his notice in a single lesson, after giving a few more examples for practice in writing letters looped below the line bb, and combining them with others.

LESSONS IN GERMAN.-XV.

SECTION XXVII.—SEPARABLE PARTICLES―(continued). Bo refers to the place where anything may be supposed to exist or transpire, as-Wo ist mein Messer? Where is my knife? Wo laufen die Kinder? Where (in what place) are the children running?

Da is used in answer to wo; that is, to designate some particular place, as :-Da ist es, here it is. Da laufen fic, they are running here.

Sin denotes direction, or motion from the speaker, as:-Warum laufen die Kinder hin? Why are the children running thither? Her is the opposite, in signification, to hin; denoting motion or direction toward the speaker, as :-Warum laufen die Kinder her? Why are the children running hither?

Hier signifies "in this place," as:-Warum bleiben die Kinder hier? Why do the children remain here ?

These words are frequently compounded, one with the other; thus, from wo and hin, we have the compound wohin; from wo and her, woher; from da and hin, dahin; from da and her, daher; from hier and hin, hierhin; and from hier and her, hierher (sometimes contracted to hieher). (§ 103. 3.) Examples of the use of wo, da, Bo reisen unsere Freunde hin? oter,

Wohin reisen unsere Freunde ? Sie reisen dahin, wo ihre Ver. wandten wohnen.

Wo kommen diese Zugvögel her? ober,

Woher kommen diese Zugvögel?

hin, her, and hier compounded. Where do our friends travel to? or,

Whither do our friends travel? They travel thither, where their relatives reside.

Where do these birds of passage come from? or, Whence do these birds of passage come ?

Sie kommen daher, wo es jezt zu They come from (there) where

falt für sie ist.

it is now too cold for them.

auf den Berg. 13. Wo geht unser alter Nachbar hin? over, Wohin geht unser alter Nachbar? (§ 89. 1.) 14. Er ist jest in dem kleinen Garten, aber er geht bald in den großen Garten. 15. Seine Frau ist in diesem Hause, aber fein Vetter geht in jene Bildergallerie. 16. Ich stehe an dem (am) Fenster, und sie kommen ans (§ 4. 2) Fenster. 17. Der Ritter fißt schon auf seinem guten Pferde, und der Knecht springt auch so eben auf sein gutes Pferb. 18. Der Mann sißt am (§ 4. 2) Tische, und das Buch liegt auf dem Tische. 19. Ich habe keinen Hut auf dem Kopfe. 20. Wo geht der Soldat hin? 21. Die Soldaten gehen aufs (§ 4. 2) geld; sie sind schon auf dem Felde. 22. Der Frosch springt in den Fluß und schwimmt in dem Flusse, und die Gans schwimmt auf dem Teiche. 23. Ich habe diese Worte irgendwo gelesen. 24. Ich kann meine Müge nirgends finden, obgleich sie irgendwo in diesem Zimmer sein muß.

EXERCISE 45.

1. Where is the picture-gallery of this town? 2. Where was that gentleman born [geboren] ? 3. He was born in Bohemia. 4. Where does your friend, the actor, reside? 5. He resides in the city. 6. Whither do these emigrants go? 7. Whence do these immigrants come? 8. They come from France. 9. Where much is given, much is required. 10. Here the revenge [Rache] and whetted dagger [geweßte Dolch] of a traitor enter not [bringt nicht];-beneath [unter] the shade of this tree comes no king. 11. He threw down the book before me. 12. Whither art thou going? 13. I am going to my brother-in-law. 14. Will these emigrants go to America? 15. No, they will stop here. 16. There is water in the pond. 17. Where does she come from? 18. She comes from Germany.

1. Die Soldaten sind hier, und der Feldherr kommt auch hierher. 2. Der Feind ist schon da, und unsere tapfern Brüder müssen dahin ziehen. 3. Wann gehen sie nach Spanien? 4. Ich will gar (Sect. XIV. 3) nicht dahin gehen, aber mein Vater will in nächster Woche dahin reisen. 5. Sind Sie schon da gewesen? 6. Nein, aber einer meiner Bekannten war da und will nie wieder dahin gehen. 7. Wir gehen auf den Berg, wollen Sie mit uns gehen? 8. Will der Russe seinen Bedienten in die Stadt schicken? 9. Er hat ihn schon dahin geschickt. 10. Werden die Truppen hierher kommen? 11. Sie werden nicht hierher kommen. 12. Wo kommen diese Fremten her? 13. Sie sind Einwanderer und kommen aus Böhmen. 14. Ist dieses Schiff von Bremen over Havre ? 15. Es ist weder von Bremen, noch von Havre, es ist von Venedig. 16. Gehen diese französischen Einwanderer nach Milwaukee? 17. Ein Theil von ihnen geht dahin, die andern bleiben in New-York. 18. Die Einwanderer in Amerika sind Auswanderer aus Europa und aus andern Theilen der alten Welt. 19. Wann wollen Sie auf das Feld gehen? 20. Ich bin schon auf dem Felde gewesen, und kann nicht wieder dahin gehen, aber ich muß jezt bal in den Garten gehen, denn mein Lehrer ist da und will mich sehen. 21. Warum will dieser Italiener nicht englisch sprechen? 22. Er möchte es wohl (Sect. XLIII. 4) sprechen, aber er kann es noch nicht; er spricht nur italienisch und spanisch. 23. Wie viel Sprachen können Sie sprechen? 24. 3ch spreche nur zwei, aber ich will noch andere lernen.

EXERCISE 47.

1. When did he live? 2. He lived in the fourteenth century [im vierzehnten Jahrhundert]. 3. My friend told me he would never go there again [wieder]. 4. Do you go to Spain ? 5. No, I shall not go thither. 6. The commander-in-chief has sent his troops where the danger was most [die meiste Gefahr]. 7. Is this ship from Spain or from Havre? 8. No, it is neither [weder] from Spain nor [noch] from Havre; it comes from Hamburg. 9. These immigrants are going to Milwaukee, and are emigrants from Bohemia and Venice. 10. Can you leap over that gate [Thor] ?

17. We see from the preceding remarks the truth of the following

Rule for determining whether a given Vulgar Fraction will produce a Terminating Decimal.

Reduce the given fraction to its lowest terms, and split the denominator into its prime factors.

If the denominator have for its factors 2's or 5's, or both, and no other factors, the fraction will give a terminating decimal, but not otherwise.

18. To determine in this case the Decimal without actually dividing.

If one of the factors 2 and 5 occur fewer times than the other, multiply numerator and denominator of the fraction by that power of the factor which occurs the fewest times in the denominator, which will make the number of times it occurs equal to the number of times the other occurs.

Thus, in the instance already given, 250 is made up of three 5's and one 2 as factors. We therefore multiply numerator and denominator by the second power of 2.

Similarly, in 3, 8 being the third power of 2, we multiply numerator and denominator by the third power of 5.

Obs.---It will be perceived that the number of decimal places in the terminating decimal which is equivalent to a vulgar fraction, will be the same as the greatest number of times that either of the factors 2 or 5 is repeated in its denominator, when the fraction is reduced to its lowest terms.

EXAMPLE.-Determine the decimal which is equal to 5348 382 382 Reduced to its lowest terms this is or Multiplying 125 53 numerator and denominator by 23, or 8, the fraction becomes 56, or 3·056.

1000

19. Circulating or Recurring Decimals.

Decimals in which the same series of figures is repeated indefinitely, are called circulating or recurring decimals; and the series of figures thus repeated is called the period.

Thus, 3-21737373, etc., . . . ., where 73 is continually repeated ad infinitum, is a circulating decimal.

Similarly, 01342342342 . . decimals.

and 6666.

are recurring

Decimals in which the period commences immediately after the decimal point, are sometimes called pure circulating or recurring decimals; others being entitled mixed circulating decimals.

Thus above 6 is a pure, while the other two are mixed circulating decimals.

20. Fractions producing Circulating Decimals.

We have seen that all vulgar fractions in their lowest terms, which have any other factors besides 2 and 5 in their denominators, will not produce terminating decimals; that is to say, in performing the division we shall never arrive at a remainder which is zero. We shall, however, arrive at a remainder which is the same as one of the remainders which has already occurred. This is evident from the following considerations :The largest possible remainder in any division is the divisor diminished by unity, and therefore there cannot possibly be more than this number of different remainders. Hence, at the very farthest, after this number of remainders have occurred, a remainder will occur which is the same as one of the preceding remainders. Now it is plain that when this is the case, the whole of the operation which has been performed since that remainder last occurred will be repeated, and that the same remainder will occur again after exactly the same interval, and so on ad infini tum. Now to every remainder there will correspond a figure in the quotient, and therefore the figures in the quotient corresponding to the interval between two remainders which are the same will continually recur.

7) 2:0000 (.28571428... 14

Here it will be seen that at the point indicated by the staz the remainder 2 occurs, and therefore the division will, after this point, be identical in every respect with that already performed. Hence the figures in the quotient, 285714, will continually recur, or the quotient is the pure circulating decimal, 285714.

It will be observed that the period here is as large as it could possibly be, for the greatest possible remainder is 6, and all the remainders from 1 up to 6 inclusive occur.

[The process has been exhibited in the form of Long Division, to allow of the remainders appearing in the operation.] 22. Reduce to a decimal.

We see at once that the quotient will be a circulating decimal, since being in its lowest terms, 3 is a factor of the denominator.

30) 17.0000 (566. 150

200

180

* 20

Here the remainder 20 is at once repeated, and therefore the quotient after the first figure 5 will consist of 6 continually repeated, or it will be the mixed circulating ·56.

23. Reduce 12 to a decimal.

55) 129.00 (2·345 Answer.

110

190

165

250

220

800

275

25