may find his own way into the fullest, most varied, most natural expression of which he is capable.

We may notice, first:

Objective Properties of Delivery. These will be, first of all, the Type, as formulative, discriminative, emotional, or volitional. One must judge whether the speaker or reader has apprehended rightly the general purpose of the article or passage, and must sustain his criticism by specific reasons. These reasons will be based upon the recognized laws of thought as related to delivery.

After judging of the moods in general, and of the means by which they are expressed, as movement, key, melody, interval, general quality, general force, notice particular applications of pause, quantity, inflection, quality, and stress. If pauses are too frequent or too infrequent, too long or too short, show why. If a rhetorical pause is overlooked, point it out, suggesting what additional implied thought might have been recognized, and why. If an inflection is wrong, let that appear by showing what it is in the sentence or context that demands "incompleteness," "completeness," or some composite form. If stress has been wrongly applied, show why "abruptness," or "insistence," or "uplifting" was needed. If qualities do not seem appropriate, show specifically why orotund is demanded, or guttural excluded. Do the same as to gesture.

Subjective Properties. Be ready to point out the success or failure of the speaker in self-control and repose; in appreciation of subject and occasion; in animation and enthusiasm. Note his attitude toward the audience. Judge as to how well the speaker has pre

served his individuality. Detect imitation, affectation, and all unnatural effects. Give some practical suggestions as to personal peculiarities or tendencies in voice, action, facial expression, position, pronunciation, or any unpleasant mannerism. It is a grave mistake, however, to assume that criticism is to take note of defects only. Criticism, as the word historically means, is the exercise of a judgment. Those judgments are usually most helpful which draw attention to purposes and processes pointing toward the normal, healthy, natural, in speech. Hence the critic should seek first of all to discern and cordially recognize, not only every good effect, but also and especially every good effort and right intention.

Browning incidentally gives a great lesson in art criticism, when he makes Andrea del Sarto say, regarding a painting that was manifestly inadequate, perhaps even wrong, in some technical details, "He meant right."

The

The criticism of the class-room is not more severe nor more unnatural, nor need it be more diverting, than the silent criticism to which the speaker is unconsciously subjected whenever he appears before an audience. friendly, judicious, thoughtful criticism, given in a scholarly way, even professionally, should be more grateful than the undiscerning and often irrelevant expressions of taste or whim which sometimes pass under the name of criticism. In as far as technical criticism assists in the correction of bad habits and in the formation of good ones while the student is under drill, in so far it forestalls and disarms much of the less helpful and more disagreeable criticism to which, if he becomes a public speaker, he will surely expose himself.

The two fundamental things in criticism, as in the study of one's own delivery, may be:

Purpose and Paraphrase.

The purpose must be made the basis of criticism, as it is of interpretation; and paraphrasing may be employed by the critic in explaining his positions, just as it may be used by the speaker himself in reformulating the thought preparatory to utterance. If the criticism is given viva voce, as in case of teacher and pupil, or of general class criticism, or conversation, the critic may ask the criticised to justify his rendering by paraphrase or restatement.

It is always to be remembered that the object of criticism is neither fault-finding nor flattery, but the expression of a judgment, unbiased and broad. It seeks to be useful to the one criticised, to the critic, and to listeners. The soul of true criticism is helpfulness.

APPENDIX

VOCAL TECHNIQUE.

Analysis. Vocal technique has two factors, psychical and physical. Psychical leads; hence voice treated later. The natural and the habitual in speech. Table of vocal exercises showing organs, conditions, properties, technical exercises. Functions of chest; double office, automatic bellows and resonance-chamber. Tone propagated, not propelled. Poise, chest expansion, breathings, counting, chanting, sentences and passages. Voice as related to different types of utterance. Formulative, different kinds of introduction, of proposition, of transition; Discriminative matter, positive and negative; Emotion, normal, super-normal, abnormal; Volition, abrupt, insistent, uplifting, established, violent. Artistic study; accurate measurement, sensitive response. Throat relaxation, shaking of larynx, initial k, singing exercises, even notes, triplets, literary passages in different rhythms. Jaw; drop head and relax, shake, sing favorable syllables, read rapidly in different rhythms. Tongue; placed, depressed, uvula lifted, open vowels used, with exercises for jaw. Oral cavity; tongue placed, humming vowels, passing from most closed to most open; Semi-vowel consonants exaggerated, euphonious poetry intoned and. expressively read. Vocal chords, the generating source of tone; Long hum, short hum, vowels in order, breathlessness tested by flame. Combine with previous exercises. Articulating organs; Lips in p, w, and f; Tip of tongue in t, initial or front r, flame test for all; Combination of syllables. Passages for articulation. Abdominal muscles. described; their function in producing tone; exercises, deep inspiration, slow expiration, depressing of diaphragm and abdomen, contraction of abdominal walls, contraction of diaphragm, separate and combined actions, vowels sung and fully spoken, the "calling tone," sustained passages. Summary.

essential factors: first, There must be a con

In all art-work there are two the mental; second, the physical. ception in the mind, and then some way of expressing that conception. Thus, every art must have its materials of representation. In Elocution the mental, or spiritual conceptions consist in the measurements of thought and relations of thought, which we have traced somewhat through the purposes in utterance. The restatement, expansion, condensation, illustration, and all other forms of modification designed to give the speaker himself a fresher momentary realization of the purposes in the utterance, have accompanied every stage in the analysis thus far under the name of paraphrase. The mental part of the work of expression is thus embraced under these two leading terms, purpose and paraphrase. These constitute the rhetorical preparation for utterance; but these alone are not sufficient to convey thought in all its relations, and in all its emotional and energetic properties. There must be a physical medium for communication. Such medium consists mainly in the properties of tone which we have considered; as time, pitch, quality, and force, under the forms of movement, rhythm, inflection, melody, qualities general and special, general force and stress. It remains to show the connection between these rhetorical properties of utterance and special cultivation of the voice.

Every one has used his voice from infancy; and it is natural to assume that the action which has become habitual is the normal, or natural, action. This, however, is often far from the truth. We must always discriminate between the natural and the habitual. The natural is that which works in accordance with the laws of nature, and which justifies itself by the results of ease, durability, suitability, and unobtrusiveness of action.