SECOND STEP.- Master final combinations of consonants. ld — bold, fold; lk—milk, silk; lp-help, gulp; nd land, band.

lf-elf, wolf; lm-elm, helm; Is-falls, tells; nkbank, dank, etc.

THIRD STEP.- Master the pronunciation of words of many syllables:

Absolutely, accessory, accurately, agitated, etc.

FOURTH STEP.- Master difficult combinations in sentences. Some shun sunshine, etc.

Students in making this chart will fill in all vacant spaces under the several steps with material for practice.

HOW CAN I BECOME A NATURAL

SPEAKER?

Before we attempt to answer this question it would not be irrelevant to investigate certain charges of eccentric and unnatural speaking brought against the ministerial profession, and to enter a protest against the unwise and ferocious methods of criticism prevalent in our day.

There always has been a certain piquant pleasure in criticising the clergy. No opportunity has been allowed to pass unimproved, and advice has been offered ad nauseam. If this advice, in all cases, had been discriminating and just, good results might have followed; but alas! the criticism of the elocution of the pulpit has so frequently taken the form of ridicule or indiscriminate condemnation, that nothing has come of it save a prejudiced notion in the public mind that ministers, as a class, are the poorest speakers we have. However general this belief may be, it is very certain that many of our best speakers are in the ranks of the ministry, and must, of necessity, be there as long as the present order of things continues. The minister has altogether the best field for the cultivation of elegant and effective public address; the orderly audience, the church constructed with special reference to speaking, the wide range of topics to be discussed, the important interests involved in the discussion, furnish conditions that no other profession can offer. So far then from believing ministers to be the poorest speakers, we are inclined to believe that they are the best.

Whatever opinion may be entertained with reference to this matter, it is very evident that a fierce and dangerous spirit of fault-finding is prevalent and popular in our day. We live in an age of such large freedom that nobody hesitates to criticise or rather to find fault, forgetting that the rarest and highest ability is required for useful and safe criticism. The true province of the critics is to construct and build up, not to destroy and pull down. However beneficent and helpful constructive criticism might be to society, it is nevertheless true that modern criticism

has become essentially destructive. It is popular, in our day, to use the knife, to cut deep, to parade the weakness of public men rather than to construct better men out of what we have. And, although ministers are the targets at which the public especially delight to aim their shafts, it must be confessed that the clergy themselves are often as fierce and heartless in their criticism of one another as are the outsiders. It is not our purpose to stand sponsor for any of the eccentricities or improprieties of pulpit address, nor do we think it wise to allow an indifferent standard of excellence to be set up and go unchallenged; we simply wish to condemn, as dangerous and wicked, the careless, jocose, and irresponsible style of criticism that prevails.

This habit of fault-finding has grown to such an extent that ministers expect it, and indeed frequently invite it, and often act as though they were disappointed if they do not get more than they deserve.

How often do we hear ministers using these inviting words "Now do not spare me "—" Cut me to pieces ❞— not knowing that this is the worst kind of criticism. Is it ever helpful to beat a man to pieces, and leave him in weakness to struggle back to his former health and strength? Is it ever cheering or strengthening to tell a man that he is greatly at fault in his reading and speaking, and that he ought to desist from public work until he can acquire a better form, and then to leave him in his discouragement to improve under the gracious and good advice he has received?

To all such reformers we have but one word: never criticise any man's reading or speaking unless you can suggest a better method, and can outline a course of training that will lead to that end. Keeping this principle in view, we will endeavor to discuss our theme: How can I become a natural speaker?"

An unpleasant melody or intonation of voice has given rise to the phrase the "ministerial tone." So very few speakers use a melody entirely free from unpleasant tones, that it would be just as proper to speak of the actor's tone, or the lawyer's tone, as to speak of the ministerial tone.

It must be remembered that a sentence may be written out in musical form as well as a song or any other musical composition, the chief difference being this: in the melody of song everything is arbitrary; in the melody of speech everything is voluntary. In other words, when you sing a song you must sing the notes as

they are written on the musical staff; in reading an essay you make your own music.

Now it must be very evident that those people who are unable to sing, because of their lack of appreciation of musical sound, must be under great disadvantage in making good music when they speak. It is not necessary, however, that a person should be a good musician or singer in order to be a good speaker. It is only necessary that the speaker should have such an appreciation of musical sound that the variety of intonation employed may be pleasing to the ear. Let it not be imagined, however, that`an agreeable melody can be acquired by a few weeks' practice. It may take months and years, and never be thoroughly mastered; but any improvement in this direction is a substantial gain.

The attainment of a pleasing variety of intonation secures two things that are essential to the successful public speaker: first, a well modulated voice, which renders all speech agreeable; second, inflection, which renders all speech effective and intelligent. A careful and continuous study and practice of the following sugges tions is recommended for the improvement of the melody of th voice.

The First Step: Practice Colloquial Reading.- A number of colloquial selections should be secured. The following avn admirable specimens of colloquial style:

A SIMILAR CASE

Jack, I hear you 've gone and done it,

Yes, I know; most fellows will;
Went and tried it once myself, sir,

Though you see I'm single still.
And you met her- did you tell me
Down at Newport, last July,
And resolved to ask the question
At a soirée? So did I.

I suppose you left the ball-room,
With its music and its light;
For they say love's flame is brightest
In the darkness of the night.

Well, you walked along together,
Overhead the starlit sky;

And I'll bet - old man, confess it
You were frightened. So was I.

So you strolled along the terrace,
Saw the summer moonlight pour
All its radiance on the waters, -
As they rippled on the shore,
Till at length you gathered courage,
When you saw that none was nigh -
Did you draw her close and tell her
That you loved her? So did I.

Well, I need n't ask you further,
And I'm sure I wish you joy.
Think I'll wander down and see you
When you're married - eh, my boy?
When the honeymoon is over

And you're settled down, we'll try -
What? the deuce you say! Rejected -

You rejected? So was I.

-Anonymous.

This selection and the following one should be read and re-read until the intonations seem as natural as though you were engaged in a conversation with an old friend.

OLD CHUMS

Is it you, Jack? Old boy, is it really you?

I should n't have known you but that I was told You might be expected; - pray, how do you do? But what, under heavens, has made you so old?

Your hair! why, you 've only a little gray fuzz!

And your beard's white! but that can be beautifully dyed; And your legs are n't but just half as long as they was;

And then -stars and garters! your vest is so wide.