- phragm and fill full and deep, to supplement this
basal stock, as opening the mouth to enunciate a vowel or to speak a phrase gives easy, unobtrusive opportunity, to expend breath economically.
The story-teller should "find" his particular voice. To do this he may read or speak in his ordinary tone and note where it vibrates. This is his natural, or at least second-nature, voice, working basis for improvement; re-placing, purifying, strengthening, making flexible.
He should be able to place tone, to give it this or that quality, as the needs of interpretation may demand. He should be able to keep feeling out of the voice, and to speak with feeling without violating the principle of reserve.
Understanding, feeling, and æsthetic appreciation are rooted in the story-teller, to be sure, but they must be transmitted by the organs of voice. He will be delighted to find that the physical action of these organs, if easy and responsive, appears to deepen his own understanding and feeling and to send them in greater fullness to the listener.
One of the most important principles of oral technique is perspective, through which the central idea is kept dominant throughout the story. Proper application of this principle gives the whole story unity and increasing interest and point. To
