MODES OF ENUNCIATION, ETC. 169 marked, or, at any rate, is capable of being well marked, and those are just the pieces which should be given to patients who suffer from defects of speech. A good plan of insisting on the rhythm being well marked, is to time the reading with the ordi- nary metronome used by musicians. Eighty-four is a good time for such a piece as Hood's 'Lay of the Laborer/ and for his 'Eugene Aram.' This would be a 3-time in music. I should not advise the use of the metronome in teaching elocu- tion, as it would tend to make a reader monotonous, but the stammerer requires extra stimulus to regulate and render rhythmical his mode of speech. "Eighty-four is a good time for stammerers to begin reading poetry by, and then by degrees they can advance to 104 or 112. When a stammerer can read poetry with comfort and evenness, then let him be promoted to the dignified difficulties of prose, and in his prose readings let him not forget the lessons taught him by the metronome, though in reading prose this judicious little tick-tack would be out of place entirely." V The following is by a German writer: "When a stutterer comes to me for treatment, I explain in a few words the nature of stuttering, and follow with respiratory gymnastics, giving the reasons why the breath should be man- aged in this and not in any other way. My next effort is to teach him how to speak. All the pupils then open a child's book (Schultz and Steinmann, part 3) to a story which is easy to understand and remember. This is read in concert, the measure being indicated by Maelzel's metronome, which is usually set at 108, — that is, it beats 108 times in a minute. In severe cases I may begin with 60 beats. To every beat a 1 With poetry, the rhythm to be followed is often indicated by accent-marks placed above the syllables.