242 



THE POPULAR EDUCATOR. 



we have seen it to consist of five separate portions, and 

 to be coloured yellowish-green ; but the calyx is not always 

 thus, being 1 subject to modification both as to shape and to 

 colour. In the pimpernel (Fig. 79) the calyx is divided into 

 five separate portions, as we find it in the buttercup. Such 

 a calyx is called polysepaloiis. In the gentian tribe it ia 

 no longer divided into five distinct sepals, but the calyx dis- 

 plays five clefts or fissures. Hence it is said, in botanical 

 language, to be monosepalous, or composed of one piece, and 

 quinquefid, or with five divisions (Fig. 80). In the lychnis 

 tribe there is a calyx in which the rudiments only of these 

 fissures are apparent, giving rise to the appearance of five 

 teeth ; hence such a calyx is said to be qwnquedentate (Latin 

 dens, a tooth). The calyx is termed regular when the sepals 

 of which it is composed, whether equal or unequal, form a 

 symmetrical whorl, as in the pimpernel (Fig. 79) ; but irregular 

 when the sepals do not form a symmetrical whorl, as in the 

 dead-nettle (Fig. 81). The calyx is said to be free when it 

 is not attached to the pistil, adherent (from the Latin ad, 

 to, and hcereo, to stick to) when it is partly or wholly con- 

 solidated with the pistil. Although in our example, the but- 

 tercup, and in most other examples, the calyx is easily 

 recognisable, yet in certain other flowers it grows so tightly 

 to the ovary that its discovery is rather more difficult. In 

 the madder (Fig. 82) the calyx seems to have altogether dis- 

 appearel, so tightly has it become attached; in the sun- 

 flower (Fig. 83) the calyx adheres to the ovary, which it quite 

 surrounds, but eventually becoming free, separates in thiead- 

 like prolongations. In each of the little florets of the dan- 

 delion (Fig. 84) the calyx is at first attached, but separated 

 eventually in the form of an aigrette or plume. In the cen- 

 tranthus (Fig. 85) the calyx, first adherent, separates in various 

 feathery branches. 



The real calyx is made up of an association of sepals ; but a 

 sort of imitation calyx, called the involucrum, a term which has 

 been already explained, is made up of bracts, those little modified 

 leaves which we have already spoken of as being often found 

 on the peduncles or flower-stalks. The extra calyx on the 

 strawberry flower (Fig. 86) is made up of these. The acorn- 

 cup (Fig. 87) and the spiny involucrum of the chestnut (Fig. 88) 

 are also different modifications of the same thing. 



I. QUALITY OP VOICE. 



The chief properties of a good voice are 



1. Roundness. 3. Versatility, 



2. Smoothness. 



4. Eight Pitch. 



1 . Roundness. 



READING AND ELOCUTION. VIII. 



ANALYSIS OF THE VOICE. 



IF we observe attentively the voice of a good reader or speaker, 

 we shall find his style of iitterance marked by the following 

 traits. His voice pleases the ear by its very sound. It is 

 wholly free from affected suavity ; yet, while perfectly natural, 

 it is round, smooth, and agreeable. It is equally free from the 

 faults of feebleness and of undue loudness. It is perfectly 

 distinct in the execution of every sound, in every word. It 

 is free from errors of negligent usage and corrupted style in 

 pronunciation. It avoids a measured, rhythmical chant, on the 

 one hand, and a broken, irregular movement, on the other. It 

 renders expression clear, by an attentive observance of appro- 

 priate pauses, and gives weight and effect to sentiment, by 

 occasional impressive cessations of voice. It sheds light on 

 the meaning of sentences, by the emphatic force which it gives 

 to significant and expressive words. It avoids the "school" 

 vone of uniform inflections, and varies the voice upward or 

 downward, as the successive clauses of a sentence demand. It 

 marks the character of every emotion, by its peculiar traits of 

 tone ; and hence its effect upon the ear, in the utterance of 

 connected sentences and paragraphs, is like that of a varied 

 melody, in music, played or sung with ever-varying feeling or 

 expression. 



The analysis of the voice, for the purposes of instruction and 

 practice in reading and declamation, may be exteaded, in detail, 

 to the following points, which form tlie essential properties of 

 good style in reading and speakmg : 



1. Good " Quality " of Voice. 6. Appropriate Pauses. 



2. Due " Quantity," or Loud- 7. Eight Emphasis. 



ness. 8. Correct " Inflections." 



3. Distinct Articulation. 9. Just " Stress." 



4. Correct Pronunciation. 10. " Expressive Tones." 



5. True Time. 11. Appropriate "Modulation." 



This property of voice is exemplified in that ringing 

 of tone, which belongs to the utterance of animated and ear- 

 nest feeling, when unobstructed by false habit. It is natural 

 and habitual in childhood ; it is exhibited in all good singing, 

 and in the properly cultivated style of public reading aiul 

 speaking. 



To obtain roundness and fulness of voice, it is exceedingly 

 important that the student observe the following suggestions. 

 Be attentive to the position of the body. No person can pro- 

 duce a full, well-formed sound of the voice, in a lounging or 

 stooping posture. The attitude of the body required for the 

 proper use of the voice is that of being perfectly upright, with- 

 out rigidness. The head must never be permitted to droop ; 

 it should be held perfectly erect. The back must be kept 

 straight, and the shoulders pressed backward and downward. 

 The chest must be well expanded, raised, and projected ; so as 

 to make it as roomy as possible, in order to obtain full breath 

 and full voice. Breathe freely and deeply ; keep up an easy 

 fulness of breath, without overdoing the capacity of your 

 lungs. Make your utterance vigorous and full, by giving free 

 play to the muscles situated below the bony part of the trunk ; 

 these should move energetically, in order to drive the breath 

 upward with due force, and thus give body to the sounds of 

 the voice. Keep the throat freely open, by free opening of 

 the mouth, so as to give capaciousness and rotundity to every 

 sound. A round voice can never proceed from a half-shut 

 mouth. 



The largo and full effect of vocal sound, produced by the duo 

 observance of the preceding directions, forms what is called 

 by great authorities in elocution, the " orotund " (round, or, 

 literally, round-mouthed) voice, which is considered the ample 

 style of oratory, or public reading, in contrast with the limited 

 utterance of private conversation. The attitude of body, and 

 the position and action of the organs, demanded by " orotund " 

 utterance, is likewise highly favourable to health and to easy 

 use of the voice; while stooping and lounging postures, a 

 sunken chest, and drooping head, tend both to suppress the 

 voice and injure the organs, besides impairing the health. 



Practice in the style of vehement declamation, is the best 

 means of securing a round and full tone. The following exer- 

 cise should be repeatedly practised, with the attention closely 

 directed to the management of the organs, in the manner which 

 has just been described, as producing the "orotund," or reso- 

 nant quality of voice. 



Exercise on the "Orotund." 



Who is the man that, in addition to the disgraces and mischiefs of 

 the war, has dared to authorise, and associate with our arms, tho 

 tomahawk and scalping-knife of the savage ? to call into civilised 

 alliance the wild and inhuman inhabitant of the woods ? to delegate 

 to the merciless Indian the defence of disputed rights, and to wage 

 the horrors of this barbarous war against our brethren ? My lords, 

 we are called upon as members of this house, as men, as Christians, to 

 protest against such horrible barbarity ! I solemnly call upon yonr 

 lordships, and upon every order of men in the state, to stamp upou 

 this iufamous procedure the indelible stigma of the public abhor- 

 rence ! 



2. Smoothness of Voice, or "Purity" of Tone. 



Smoothness of voice, in reading and speaking, is the same 

 quality which, in relation to vocal music, is termed " purity " 

 of tone. 



This property of voice consists in maintaining an undisturbed 

 liquid stream of sound, resembling, to the ear, the effect pro- 

 duced on the eye by tlie flow of a clear and perfectly trans- 

 parent stream of water. It depends, like every other excellence 

 of voice, on a free, upright, and unembarrassed attitude of tlie 

 body, the head erect, the chest expanded. It implies natural 

 and tranquil respiration (breathing) ; full and deep "inspiration" 

 (inhaling, or drawing in the breath); and gentle "expiration" 

 (giving forth the breath) ; a true, and firm, but moderate 

 exercise of the " larynx " (or upper part of the throat) ; and a 

 careful avoiding of every motion that produces a jarring, harsh, 

 or grating sound. 



