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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..91e9dff --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #51109 (https://www.gutenberg.org/ebooks/51109) diff --git a/old/51109-8.txt b/old/51109-8.txt deleted file mode 100644 index 5bf41a4..0000000 --- a/old/51109-8.txt +++ /dev/null @@ -1,4301 +0,0 @@ -The Project Gutenberg EBook of Elocution Simplified, by Walter K. Fobes - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Elocution Simplified - With An Appendix on Lisping, Stammering, Stuttering, and - other defects of speech. - -Author: Walter K. Fobes - -Commentator: George M. Baker - -Release Date: February 2, 2016 [EBook #51109] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ELOCUTION SIMPLIFIED *** - - - - -Produced by Judith Wirawan, David Edwards and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - - - - _A COMPANION TO BAKER'S READING CLUB._ - - - ELOCUTION SIMPLIFIED; - WITH - AN APPENDIX ON LISPING, STAMMERING, STUTTERING, - AND OTHER DEFECTS OF SPEECH. - - BY - WALTER K. FOBES, - GRADUATE OF BOSTON UNIVERSITY SCHOOL OF ORATORY. - - - WITH AN INTRODUCTION - BY - GEORGE M. BAKER, - AUTHOR OF THE READING-CLUB SERIES, ETC. - - - BOSTON: - LEE AND SHEPARD, PUBLISHERS. - - NEW YORK: - CHARLES T. DILLINGHAM. - 1877. - - - - - COPYRIGHT. - 1877, - BY WALTER K. FOBES. - - - - - THIS LITTLE BOOK - IS DEDICATED TO - PROF. LEWIS B. MONROE, - IN TESTIMONY OF APPRECIATION OF HIS MANY QUALIFICATIONS AS A - TEACHER OF THIS ART, AND OF THE RESPECT AND AFFECTION - WITH WHICH HE WILL EVER BE - REGARDED BY HIS FRIEND - AND PUPIL, - THE AUTHOR. - - - - -PREFACE. - - "Why write this book?" say you. - "Because it is needed," say I. - - -There is no "digest" of elocution that is both methodical and practical, -and that is low in price, now in the market. - -This book is an epitome of the science of elocution, containing nothing -that is not necessary for you to know, if you wish to make yourself a -good reader or speaker. - -You who will thoroughly study and digest this book, and then put in -practice what you here have learned, will have started on the road, the -goal of which is Oratory. - - - - -CONTENTS. - - - PAGE - PREFACE 5 - INTRODUCTION 11 - ACKNOWLEDGMENT 15 - METHOD OF STUDY OF ELOCUTION 15 - - PART I. - PHYSICAL GYMNASTICS 17 - ATTITUDE 17 - Standing Position 17 - Speaker's Position 18 - Sitting Position 18 - Changing Position 18 - Poise of Body 18 - Rising on Toes 19 - Holding the Book 19 - Note on Attitude 19 - CHEST EXPANSION 19 - Active and Passive Chest 19 - Arms at Side 19 - Fore-arm Vertical 20 - Full-arm Percussion 20 - Hand Percussion 20 - BODY MOVEMENTS 21 - Bend Forward and Back 21 - Bend Right and Left 21 - Turn Right and Left 21 - NECK MOVEMENTS 21 - Bend Forward and Back 21 - Bend Right and Left 21 - Turn Right and Left 21 - Note on Physical Gymnastics 21 - - PART II. - VOCAL GYMNASTICS 22 - BREATHING 22 - Abdominal 22 - Costal 23 - Dorsal 23 - Puffing Breath 23 - Puffing Breath, with pause 23 - Puffing Breath, breathe between 23 - Holding the Breath 24 - TONE 24 - Glottis Stroke 24 - Soft Tones 25 - Swelling Tones 25 - PITCH 25 - Learn Scale 26 - Chant Sentences 26 - Read Sentences 26 - INFLECTION 26 - Major Falling 26 - Major Rising 27 - Major Rising and Falling 27 - Minor Rising and Falling 27 - Circumflex 27 - Monotone 27 - QUALITY 28 - Whisper 28 - Aspirated 28 - Pure 28 - Orotund 28 - FORCE 29 - Gentle 29 - Moderate 29 - Loud 29 - STRESS 29 - Radical 29 - Median 29 - Terminal 30 - Thorough 30 - Compound 30 - Tremolo 30 - MOVEMENT 30 - Quick 30 - Moderate 30 - Slow 31 - ARTICULATION 31 - ELEMENTARY SOUNDS 31 - Vowels 31 - Consonants 32 - SUMMARY OF PHYSICAL AND VOCAL GYMNASTICS 33 - - PART III. - ELOCUTION 36 - PLEASANT QUALITY 36 - ARTICULATION 38 - Syllables 38 - Words 38 - Accent 38 - Phrases 39 - Emphasis 39 - Sentences 39 - FULNESS AND POWER 42 - INFLECTION 44 - Major Rising 45 - Major Falling 45 - Minor Rising 46 - Minor Falling 47 - Circumflex 47 - Monotone 48 - PITCH 49 - High 49 - Middle 50 - Low 51 - Very Low 52 - QUALITY 52 - Whisper 53 - Aspirate 53 - Pure Tone 54 - Orotund 55 - MOVEMENT 56 - Quick 56 - Moderate 57 - Slow 58 - Very Slow 58 - FORCE 59 - Gentle 59 - Moderate 60 - Loud 61 - Very Loud 61 - STRESS 62 - Radical 63 - Median 63 - Terminal 64 - Thorough 65 - Compound 65 - Tremolo 66 - TRANSITION 66 - MODULATION 70 - STYLE 77 - Conversational 78 - Narrative 79 - Descriptive 79 - Didactic 80 - Public Address 81 - Declamatory 82 - Dramatic 83 - - PART IV. - HINTS ON ELOCUTION 85 - DEFECTS OF SPEECH 93 - - - - -INTRODUCTION. - - -Rev. Dr. Hall of New York says, "There is one accomplishment in -particular which I would earnestly recommend to you: cultivate -assiduously the ability to read well. I stop to particularize this, -because it is a thing so very much neglected, and because it is such an -elegant and charming accomplishment. Where one person is really -interested by music, twenty are pleased by good reading. Where one -person is capable of becoming a skilful musician, twenty may become good -readers. Where there is one occasion suitable for the exercise of -musical talent, there are twenty for that of good reading. - -"What a fascination there is in really good reading! What a power it -gives one! In the hospital, in the chamber of the invalid, in the -nursery, in the domestic and in the social circle, among chosen friends -and companions, how it enables you to minister to the amusement, the -comfort, the pleasure, of dear ones, as no other accomplishment can! No -instrument of man's devising can reach the heart as does that most -wonderful instrument, the human voice. It is God's special gift to his -chosen creatures. Fold it not away in a napkin. - -"Did you ever notice what life and power the Holy Scriptures have when -well read? Have you ever heard of the wonderful effects produced by -Elizabeth Fry on the criminals of Newgate by simply reading to them the -parable of the Prodigal Son? Princes and peers of the realm, it is said, -counted it a privilege to stand in the dismal corridors, among felons -and murderers, merely to share with them the privilege of witnessing the -marvellous pathos which genius, taste, and culture could infuse into -that simple story." - -Elocution trains the voice to obey the mind, and to rightly express -thought and feeling. It is necessary to those who read or speak in -public; to persons with defective speech; to those with nasal, shrill, -throaty, or husky voices; to persons with diseased throat, or liability -to it, arising from wrong use of voice. - -The practice of the art of elocution is as necessary to the reader or -speaker as practice of the art of singing is to one who intends to -become a public singer. Any one attempting to sing for the public -without previous practice would be justly hissed from the stage: and a -like fate overtakes most speakers, who, without previous study of -elocution, attempt to speak in public; that is, very few go to hear -them. - - -CLERGYMEN - -should learn to read impressively the Bible, Litany, hymns, and sermons: -for as Dr. Holland says, "When a minister goes before an audience, it is -reasonable to ask and expect that he shall be accomplished in the arts -of expression; that he shall be a good writer and speaker. It makes -little difference that he knows more than his audience, is better than -his audience, has the true matter in him, if the art by which he conveys -his thought is shabby. It ought not to be shabby, because it is not -necessary that it should be. There are plenty of men who can develop the -voice, and so instruct in the arts of oratory that no man need go into -the pulpit unaccompanied by the power to impress upon the people all of -wisdom that he carries." The same writer says of - - -STUDENTS. - -"Multitudes of young men are poured out upon the country, year after -year, to get their living by public speech, who cannot even read well. -The art of public speech has been shamefully neglected in all our higher -training-schools. It has been held subordinate to every thing else, when -it is of prime importance. I believe more attention is now paid to the -matter than formerly. The colleges are training their students better, -and there is no danger that too much attention will be devoted to it. -The only danger is, that the great majority will learn too late that the -art of oratory demands as much study as any other of the higher arts; -and that, without it, they must flounder along through life practically -shorn of half the power that is in them, and shut out from a large -success." - - -TEACHERS - -should learn elocution so as to teach in a pleasing, effective manner; -and also to teach reading in schools, so that children may learn to read -in an easy, agreeable way, and give thought to what they read; thus -leading a child in all studies to get ideas from books, and not merely -words without meaning. - - -PUBLIC SPEAKERS - -should, by study of elocution, learn the best manner of moving, -persuading, and instructing their audiences; thus adding to their own -popularity, and consequently widening their influence. - - -LAWYERS, - -by practice of elocution, will find greater ease in speaking to witness -or jury, and thus be greatly aided in their work. - - -ACTORS AND PUBLIC READERS - -lose both time and money by a neglect of elocution, the practice of -which is essential to success in their vocation. - - -SINGERS, - -by study of elocution, can best obtain that perfect articulation and -elegant expression so necessary to the successful singer. - - -ALL PERSONS - -who have a taste for reading should study elocution, as reading aloud in -the social or home circle is one of the most instructive, pleasing, and -healthful pastimes in which we can indulge. - - -DEFECTIVE SPEECH, - -as lisping, stammering, stuttering, &c., can be entirely cured by a -study and diligent practice of elocution. - - -UNPLEASANT VOICES, - -either shrill, nasal, throaty, husky, or with any other disagreeable -quality, can be made agreeable by practice of elocution. - -To meet all these wants, this treatise has been prepared. Embracing as -it does a thorough exposition of the principles of elocution in an -eminently practical form, adapted to the requirements of the student, -the professional man, and the amateur, by a graduate of the Boston -School of Oratory (acknowledged to be the best Institute of Elocution -America has produced), himself a successful teacher and reader, it seems -to present the whole science in a nutshell, so that he "who runs may -read" in reality, if he but follow the instructions of this Manual. Here -elocution is not only simplified, but, in this neat and cheap form, -placed within the reach of all. - - GEORGE M. BAKER. - - - - -ACKNOWLEDGMENT. - - -I would here acknowledge my indebtedness to Prof. Lewis B. Monroe, Dean -of Boston University School of Oratory, for what I have learned of -expression in elocution; to Prof. A. Graham Bell of Boston for valuable -instruction in articulation and inflection; to Prof. Edward B. Oliver of -Mendelssohn Musical Institute of Boston for his most excellent -instruction in tone. - -The method of study of this book is the result of the knowledge gained -from these three superior instructors. The plan of Part Three will be -found to be that of Monroe's Sixth Reader. - - -METHOD OF STUDY OF ELOCUTION. - -Part First, a series of gymnastics to give strength and elasticity to -the muscles used in speaking, to expand the chest, and to get a correct -position of body, so that speaking may be without effort, and yet -powerful. - -Part Second, a system of vocal exercises for daily practice, to train -the voice, and get command of tone, quality, pitch, inflection, force, -stress, articulation, and right manner of breathing. - -Part Third, the application of the vocal exercises to the reading of -short extracts, showing the effect when thus applied, and showing the -difference between the seven styles,--conversational, narrative, -descriptive, didactic, public address, declamatory, and emotional or -dramatic. - -There will be found references to select pieces in Baker's "Reading Club -and Handy Speaker," for practice in the different styles of reading. - -Hoping this little book may be of benefit to many, it is sent forth to -help those who love the art, but with no thought of recommending this -book for self-instruction, and substituting it for the instruction to be -gained from a good teacher of the art. If a good teacher is not to be -had, use this book. - - WALTER K. FOBES. - CAMBRIDGE, MASS., October, 1877. - - - - -ELOCUTION SIMPLIFIED. - - - - -PART ONE. - -PHYSICAL GYMNASTICS. - - -Goethe says, "All art must be preceded by a certain mechanical -expertness." - -You find it so in the art of playing the piano: the fingers must be made -nimble, and the wrists elastic, before any thing else can be well done. -In the art of singing you have to exercise the voice in many ways to get -command of it. So, in the art of elocution, it is necessary to practise -the mechanics of physical and vocal culture, that you may be prepared to -express properly your thought and feeling. - -You need first a healthy body, elastic and strong in muscles, and -especially in those muscles used in the production of voice. For this -latter purpose I will describe as clearly as I can Monroe's system of -gymnastics, and for the former recommend any other gymnastics that will -give health, strength, and especially elasticity. - - -ATTITUDE. - -1. STANDING POSITION.--Hamlet, so Shakespeare tells us, ends a letter to -Ophelia thus:-- - - "Whilst this machine is to him, Hamlet." - -Your body is the machine by means of whose working you express your mind -and feelings. If you were to run a steam-engine, you would be very -careful to place the machine in such a position, that it would do the -most work with the least wear and tear. You must do the same with this -machine, your body. To get a correct standing position, place yourself -with back against a smooth wall in the room, with shoulders flat, your -back as nearly straight as you can make it, and every part, from head to -heel, touching the wall. This gives you an upright position, but feels -uncomfortable, because the weight is too much on the heels. Sway the -whole body in its upright position forward, so that the weight will come -mostly on the balls of the feet; and, in doing so, do not bend any part -except at the ankles. You are now in a proper position for speaking. The -head is erect, shoulders thrown back, chest expanded, back nearly -straight, the weight of the body is about equal on ball and heel of the -feet, and your poise of body as it would be naturally in the act of -taking a step forward. This puts every part of your body in the best -condition for easy speaking. - -2. SPEAKER'S POSITION.--This position should be assumed before an -audience when some other position is not required for dramatic -expression. It is the standing position, with the weight upon one foot, -and the other advanced. Let the advance foot be about a heel's distance -from the middle of the foot behind, and form a right angle with it. - -3. SITTING POSITION.--When you read in a sitting position, the body -should be as in speaker's position, and feet also, the poise of body -being forward. - -4. CHANGE OF POSITION.--You sometimes wish to turn to address your -audience at one side. To change gracefully from the speaker's position, -turn the foot in advance on the ball, outward, until it becomes parallel -with the foot behind; then take the weight on it, and turn the other -foot till you have correct speaker's position. If, as you stood at -first, facing the audience, your weight was on the right foot, you will -find yourself facing to the right; if the weight was on left, you will -face left. When facing the audience, to change the weight from one foot -to the other, take one short step either forward or back. - -5. POISE OF BODY.--To get steadiness of body, to keep a correct poise, -and to prevent all unseemly swaying, when standing to read or speak, -assume standing position, and, keeping feet flat on the floor, sway -forward until the weight comes entirely on the ball of the feet. Don't -bend the body. Then sway back to standing position. Then sway backward, -keeping feet flat on the floor and the body straight, until the weight -is entirely on the heels; from that sway forward to position. - -6. RISE UPON THE TOES.--For the same purpose as the above. Assume -standing position, and rise as high as possible on the toes very slowly; -then sink slowly so as to come back to standing position. Be very -careful not to sway backward in coming down, and you will find yourself -in the exact poise of standing position. Also do the same from speaker's -position, rising on one foot. - -7. HOLDING THE BOOK.--Hold your book in the left hand, on one side of -the body, so that your face will not be hid from the audience. The top -of the book should be about even with the shoulder. Many, in reading, -hold the book in front of them; but that is not so pleasant to an -audience, and leads to a stooping position, a contracted chest, and ill -health. - -NOTE.--All the foregoing exercises relate to position of body necessary -for the most powerful, and at the same time the easiest, action of the -vocal organs; also to the attitudes most pleasing to an audience when -they look upon a reader or speaker. Practise them until they become -habits, and so unconsciously you will assume correct position when you -stand. - - -CHEST EXPANSION. - -For purposes of speech, you need to use more breath than for ordinary -breathing or conversation. You therefore need to make as much room as -possible for good fresh air by exercise to expand the chest. Elocution -is beneficial to health for this reason. - -1. ACTIVE AND PASSIVE CHEST.--Your chest in its ordinary position is -what, in elocution, is called passive chest. The active chest is that -assumed in the standing position, where the chest is raised up slightly -and expanded, with the shoulders drawn back. Practise as an exercise the -active and passive chest, alternating from one to the other without -breathing, or moving the shoulders. The active chest must be kept in all -the physical and vocal gymnastics, and at all time during speech. With -practice it will soon become established as a habit; and your every-day -attitude will be more erect as a consequence. - -2. ARMS AT SIDE.--Place your arms at the side, with elbows bent, so -that from elbow to hand the arms are horizontal, and parallel with each -other. Draw the elbows back, clinch the fist with palms up, and make -chest active, keeping the back straight. Take a full breath, and hold it -(see "Breathing"); then carry the arms at full length in front of you, -your hands open and as high up as the shoulders; then bring them back to -the position you started from, with hands clinched, palms up, and pull -back with all your strength, raising the chest slightly more; then give -out the breath. After some practice you may do it twice upon one breath, -being sure to keep the arms as close to the body as you can; for, if you -spread your arms, you will strain the muscles. - -3. FORE-ARM VERTICAL.--Assume standing position, and bend the arms, -placing them vertically, and parallel with each other, at the side, with -clinched hands as high as the shoulder; turn the fist out from the -shoulder, raise the chest as much as you can, and, taking a full breath, -hold it; bring the arms forward so as to touch the elbows together, if -you can; then draw them back to first position, and pull downward and -backward as hard as you can; then give out the breath. After some -practice, do this twice on one breath, being sure to keep the arms and -hands close to the body. - -4. FULL-ARM PERCUSSION.--In ordinary breathing, it is seldom you fill -your lungs to their fullest capacity; and some of the air-cells are not -filled, especially those at the extreme edges of the lungs. This and the -following exercise are for the purpose of sending air into those -portions of the lungs not ordinarily filled. Assume standing position; -take a full breath, and hold it; then strike with the right hand upon -the top of the left chest a very quick and very elastic blow, striking -with fingers, and swinging the arm freely from its position at the side; -then strike with left hand on right chest in same manner; repeat with -each hand, and then give out the breath. Never strike with the flat palm -or clinched fist, as that is very injurious and unhealthy. - -5. HAND PERCUSSION.--Assume standing position, and place your hands on -your chest, with elbows as high as the shoulders; make chest active; -take a full breath, and retain it while you strike alternately eight -light elastic blows with each hand; then give out the breath. - - -BODY MOVEMENTS. - -The muscles of the waist are the front or abdominal, the side or costal, -the back or dorsal muscles. These muscles are very important in speech; -and upon the strength and elasticity of these, and the inner muscles -acting in connection with them, depend the force and strength of your -voice. Three very simple movements are here given, which will give some -measure of strength and elasticity to these muscles. - -1. BODY BEND FORWARD AND BACK.--From standing position bend forward, -keeping the back straight, and bending only at the hip-joints; touch the -floor with your hands, if you can; then assume upright position, and -bend back as far as you can. - -2. BEND RIGHT AND LEFT.--From standing position, bend to right side as -far as possible, bending only at the waist, and stretching the costal -muscles; then assume upright position, and bend to left in same manner. - -3. TURN RIGHT AND LEFT.--From standing position turn the body on the -waist, keeping the hips still, and twisting the waist-muscles, first to -the right, then to the left. - - -NECK MOVEMENTS. - -The neck movements are necessary, because many of the disagreeable -qualities of the voice are due to inelasticity of the muscles of the -neck. The movements are in the same directions as for the body. - -1. BEND FORWARD AND BACK. - -2. BEND RIGHT AND LEFT. - -3. TURN RIGHT AND LEFT. - -It is not necessary to describe them at length: but, in bending right -and left, be careful to keep the head from bending slightly backward or -forward at the same time; and, in the turning of head, keep it erect. - -NOTE.--This completes the physical gymnastics. Practise them until the -purpose for which they are intended has been accomplished, and -afterwards occasionally, to keep what you have gained. Take each -exercise two or three times in succession. When thoroughly learned, -this will not take more than five minutes. Practise them five minutes -at morning and night. - - - - -PART TWO. - -VOCAL GYMNASTICS. - - -You have no need to take any special exercise in walking for the -ordinary purposes of life; but, if you wished to be a "walkist," you -would need special practice to train and develop the muscles for that -purpose. You may be a good singer, able to sing for your own amusement -or that of your friends, without specially training the singing-voice; -but, if you wished to sing in public, you would, if you were wise, train -your singing-voice very carefully. As in these cases, so with the voice -in speaking. For all ordinary purposes of speech, you need no special -training of the speaking-voice; but when, as teacher, clergyman, lawyer, -lecturer, actor, public reader, or in any other capacity, you are called -upon to do more with the voice than others, you ought to train and -develop your vocal powers. For this purpose, the following series of -exercises are given for practice. - - -BREATHING. - -As it is necessary that you should take in and give out more breath in -speaking than at other times, you ought to be able to do this in a -natural manner. If you will practise these breathing-exercises until -they are easy for you, the breath in your reading or speaking will take -care of itself. Practise breathing in the open air, and take in and give -out the breath through the nose without making the slightest sound in so -doing. - -1. ABDOMINAL BREATHING.--Take standing position and active chest; place -the fingers on the abdominal muscles, and the thumbs on the costal -muscles; take a full breath, making the abdominal muscles start first, -and move outward; then let the muscles sink in as the breath comes out. -Make as much movement of these muscles as you can, both in and out; and -be sure you keep the shoulders from moving. Pay particular attention to -the movement of the abdominal muscles, letting all the rest (except the -shoulders) move as may be easy to you. Practise this way of breathing -until you can do it easily; and, if it makes you dizzy, do not be -alarmed, but wait till the dizziness is entirely gone before you try -again. - -2. COSTAL BREATHING.--Assume standing position with active chest; place -the fingers on the costal muscles, and thumbs at the back; inhale a full -breath, expanding as much as possible the costal muscles and ribs. In -giving out the breath, make them sink in as much as possible. Keep -shoulders still in breathing in and out, and let all other muscles be -free to move as they may. - -3. DORSAL BREATHING.--Assume standing position with active chest; place -the fingers at the back on dorsal muscles, and thumbs on the side; take -a full breath, trying to expand the muscles under your fingers as much -as you can. Rightly done, the abdominal and costal muscles, and the -ribs, will also expand; the chest, if not already active, will rise; the -shoulders will remain quiet. In giving out the breath, let the chest be -the last to sink. This is the way of breathing in every healthy man, -woman, and child. Any manner of dressing the body that hinders free and -easy action of the abdominal, costal, and dorsal muscles, and the ribs, -leads to ill health, because it interferes with the vital process of -breathing; and ill health is fatal to success in any art. - -4. PUFFING THE BREATH.--Assume standing position, with active chest; -take a full breath, and, rounding the lips as if you were about to say -the word "who," blow the breath out as you would in blowing out a light; -inhale again, and repeat the puffing. - -5. PUFF AND PAUSE.--Puff the breath as before, three times, pausing -about five or more seconds, holding the breath between the puffs. In -holding the breath, let there be no pressure upon the lungs or throat, -but control it by keeping the waist-muscles still. (See "Holding -Breath.") - -6. PUFF AND BREATHE.--Puff three times in the same way as before, -breathing between the puffs, thus: place the fingers of one hand on the -upper part of the chest, the fingers of the other hand on the abdominal -muscles; keep the chest still, and make the abdominal muscles sink -every time you puff out the breath, and expand, every time you take in -breath, between the puffs. In this exercise breathe through both nose -and mouth. By practice of these three ways of expelling breath you get -command of it. - -7. HOLDING THE BREATH.--When you hold your breath for a longer or -shorter time, or try to control it for any purpose of speech, you should -do so by means of the muscles spoken of in "Dorsal Breathing," as being -the ones used in right manner of breathing. You must try to control the -breath by keeping the waist-muscles still; and there should be no -feeling of pressure or uneasiness on the lungs, or in the throat or -mouth. "If at first you don't succeed, try, try again: time will bring -you your reward: try, try again." Get control of the waist-muscles so as -to keep them still; and, while you hold them still, there is no -possibility of the breath getting out. - - -TONE. - -A good tone in speech is as much to be desired as it is in song. Some -have it as a gift of nature; and all can acquire it, in a degree, by -judicious practice. If you have an excellent voice, you can make it -still more excellent by practice; and, if you have a poor voice, you -can, by practice, make it full, pleasant, and effective, and excel that -one who has a good voice, but makes no effort to improve it. The -tone-exercises here given are designed to give command of tone, and -develop purity and power. They should be practised five minutes at a -time, at four different times of the day, and double that time if -possible, in order to get the greatest amount of good from them. Use any -tones of your voice, high or low, without being at all particular about -an exact musical pitch; though, if you can practise with an organ or -piano, you will find it much more beneficial. - -1. GLOTTIS STROKE.--Assume standing position with active chest; take -full breath, and whisper forcibly the word "who" three times. Repeat the -same. Now whisper "who" twice, and speak it aloud the third time; then -whisper "who" once, and speak it aloud the second and third time; then -speak "who" aloud three times. Now speak "who" twice, and the third time -say "_oo_" as those letters sound in the word _woo_; then say "who" -once, and "_oo_" the second and third time; then "_oo_" three times. -You should make both the whisper and vocal sound very short and sudden, -without any feeling of contraction or effort in the throat or mouth. It -should seem to you as if the sound came from the lips; and, while you -are energetic in the exercise, it must be done with perfect ease. You -have thus proceeded, from an easy, forcible whisper, to an easy, -forcible sound, and have thus obtained what is called the "Glottis -Stroke." After diligent practice on the above exercise, use any of the -short vowels (see "Articulation"); speaking each vowel three times very -shortly, as you did the vowel-sound _oo_. - -2. SOFT TONES.--Assume standing position with active chest, and take -breath; prolong very softly _oo_ as long as your breath will let you, -being careful not to force the sound to continue after you feel the -slightest need of breath, and also not to change the position of the -mouth from beginning to end of the sound. Repeat three times. In this -exercise you will probably hear the voice waver, and find it difficult -to keep it very soft, and yet distinct. Practice will overcome this, and -the exercise will be found very beneficial. The ability to do it shows -cultivation of voice. After some time, use also the long vowels. (See -"Articulation.") - -3. SWELLING TONES.--Assume standing position with active chest, and take -full breath; then begin the vowel _oo_ very softly, and gradually swell -it to a full tone, and then as gradually diminish it to the gentlest -sound. Be careful, as in soft tone, as to breath, and position of mouth. -After some practice, you should be able to continue on one breath, -either the soft tone or swelling tone, twenty seconds; which is long -enough for practical purposes. Use same vowels as in soft tone. - - -PITCH. - -It is necessary to all expressive reading that there should be as much -variation in pitch of voice--that is, as to high and low tones--as -possible, and not overdo. The pleasantest quality of voice, without -variation in pitch, is tiresome to the listener. To get command of -pitch, you must practise till the high and low tones are as easy to make -as the common conversational tones. If you can sing the musical scale of -one octave in key of C, or B flat, you will find these exercises more -beneficial than if you cannot sing. If you cannot sing, take a -relatively high or low pitch, as your ear may guide you, and practise -the chanting and reading of sentences as well as you can. - -1. LEARN THE MUSICAL SCALE.--Sing the scale in music, using first the -glottis stroke; that is, speak each very short as you go up and down the -scale. Then practise soft tone and swelling tone on each tone within -compass of your voice. - -2. CHANT SENTENCES.--Use one tone of voice, and take any sentence, -prolonging the words without reference to the sense, without change of -tone from beginning to end. When you use a high tone, make it light and -clear; when you use a low tone, make it full, free, and forcible. Chant -on each tone separately within the compass of the voice. - -3. READ SENTENCES.--Use the same sentences as for chanting, and, -beginning on each tone of the voice, speak it as you would in earnest -conversation, in a way to give the meaning of it. You will see that if -you begin with high pitch, although your voice varies in speaking, it -will be a relatively high pitch through the whole sentence; and, if you -begin low, it will be relatively low. With high pitch, make your voice -light and clear; and with low pitch, full, free, and forcible. - - -INFLECTION. - -In inflection the voice slides up or down in pitch on a word, and by so -doing impresses your meaning on the listener. Inflections are infinite -in number; but a few of them practised will be of benefit in getting -command over them. When the voice slides up, it is called rising -inflection; if down, a falling. If it slides both ways on the same word, -it is called circumflex; and if it varies but little, and is very like a -chant in song, it is called monotone. A major inflection gives an effect -of strength; a minor, of feebleness. - -1. MAJOR FALLING INFLECTION.--A falling inflection is indicated by (`) -over the accented syllable of an emphatic word. If you do not already -know the difference between a rising and falling inflection, suppose I -say to you, "The book is on the table," and you, not understanding what -place I said, should ask, "Where?" and I answer, "On the table." Your -question would be made with rising, and my answer with falling -inflection. Use any vowel-sounds, and practise the falling inflection as -you would hear it on the word "table," avoiding all motion of head, -arms, or body, and making it with much energy of voice, as if expressing -strong determination. - -2. MAJOR RISING INFLECTION.--This is indicated by a (´) over the -emphatic word. Practise with any vowel-sounds the inflection as you -would hear it on "where," as above, observing same directions as in -major falling inflections. - -3. MAJOR RISING AND FALLING INFLECTIONS.--Practise rising followed by -falling, as óh, òh, áh, àh, a['w]e, a[`w]e, &c., using long and short -vowels. Then falling followed by rising, as òh, óh, àh, áh, a['w]e, -a[`w]e, &c., using long and short vowels. Use these as if asking a -simple unimportant question, and giving a like answer; then a question -and answer of earnestness; then of surprise; then of great astonishment. -In so doing, your voice will range higher and lower in inflection than -you otherwise would make it. Do not let any of the inflections sound -plaintive or feeble, but make them strong and decisive. - -4. MINOR RISING AND FALLING INFLECTIONS.--Use the same exercises as -under major rising and falling, just mentioned; with this difference, -that you make them so as to sound week, feeble, plaintive, or sad. They -should be practised that you may become familiar with their sound, and -have them at command, so as to use them when needed for expression, and -avoid them when not. - -5. CIRCUMFLEX INFLECTION.--This inflection is indicated by a mark -([**symbol like letter V][**symbol like letter V upside down]) or -([**symbol like the bottom half of a circle][**symbol like the top half -of a circle]) because it is a combination of rising and falling -inflection. The first is rising circumflex, because it ends with the -rising; the second is falling circumflex, because it ends with falling -inflection. It is used in expression of doubt, irony, sarcasm; as in -"The Merchant of Venice," act 1, scene 3, Shylock says to Antonio, "Hath -a d[vo]g m[vo]ney? Is it possible a cur can lend three thousand -d[vu]cats?" You will see, if read to express Shylock's irony and -sarcasm, that the words would be inflected, as marked, with rising -circumflex. Practise these circumflex inflections with vowels as -directed under major rising and falling inflections. The falling -circumflex being the reverse of the rising, when once you are familiar -with the rising, can be easily made. - -6. MONOTONE.--This comes as near to being one tone of voice as it can -be, and at the same time keep its expressiveness as reading. It is not -really, as its name might indicate, one tone, as that would be like -chanting in singing; but it is variation of inflection within very small -limit of range in pitch. It is best practised as song, however. Prolong, -on a low pitch, any of the long vowels, about five seconds. The mark for -monotone is (-) placed over a word. - - -QUALITY. - -The quality of the voice is that which affects us agreeably or -disagreeably; and we say it is gruff, or husky, or harsh, or pleasant, -&c. Four general and distinct qualities need to be practised until they -are at command of the mind. - -1. WHISPER.--Whisper the long and short vowels very easily and quietly -at first, without the slightest feeling of effort in throat or mouth, -and perfectly free from hoarseness or murmuring. As soon as you can make -a clear whisper heard across the room, whisper so as to be heard farther -off, and so proceed gradually, day by day, until you can whisper, -clearly and without effort, loud enough to be heard in a large hall. Do -not practise whispering more than three minutes at a time. - -2. ASPIRATE QUALITY.--This is what, in general, is called undertone. It -is a mixture of whisper and voice, and is what you would be likely to -use when in company you speak to any one with a desire not to be -overheard by others. Practise with vowels as in whisper. - -3. PURE QUALITY.--Speak the long vowels in your conversational tone as -pleasantly as you can, tossing the tone lightly, as if speaking to some -one across a large hall. Speak each vowel three times on one breath. -Practise them first speaking shortly, then with prolonging of each tone -not over five seconds. - -4. OROTUND QUALITY.--This quality is seldom to be heard in uncultivated -voices, but is much to be desired in a speaker. It can only be acquired -slowly and with much practice. It will be easily recognized when heard, -as it possesses a fulness and richness of tone very pleasing. It is not -high, but seems low in pitch; and, although it does not sound loud, it -seems to be effective, and reach a long distance. To acquire it, -practise, as recommended in "Pitch," the chanting and reading of -sentences on the conversational and lower tones of the voice; also -swelling tone under "Tone," on low pitch, using long vowels, especially -_oo_, oh, awe, ah. - - -FORCE. - -Force is the degree of loudness or softness we may give to the voice. -You should be able to speak gently without feebleness or weakness of -voice, and so as to be distinctly heard in a large hall, and also to -make the fullest and loudest voice without showing any effort to do so. - -1. GENTLE FORCE.--Chant and read sentences, as under "Pitch," with the -gentlest force you can, and yet make it so as to seem to be clear and -distinct. Do this on every pitch you can, high or low. - -2. MODERATE FORCE.--Read and chant as above on the middle and higher -tones, with about the force of earnest conversation. - -3. LOUD FORCE.--Read and chant as above, using only the middle and lower -tones of the voice, making the loudest tones you can, without straining -the throat. Force of voice depends on the management of the muscles -below the lungs; and you should have perfect freedom from all effort on -the part of lungs, throat, or mouth, on any pitch, high, middle, or low. -If any effort is perceptible to you, it will be a feeling of strength -and power at the waist; and experience and practice must teach you how -much or how little effort to make at that point. The loudest force, and -at the same time the purest quality, is secured when it seems to make -itself without the slightest feeling of effort on your part. - - -STRESS. - -Stress is the manner of applying force to a word or accented syllable. -Prof. L. B. Monroe, in his book on vocal culture, enumerates six kinds. -The marks he uses to represent them exhibit clearly to the eye what the -voice is required to do. With radical, terminal, and compound stress, -after facility is gained by use of stroke from the shoulder, omit it, -and do them forcibly without movement of any part of the body. - -1. RADICAL STRESS.--So called, because the stress is on the beginning of -the word, and marked thus (>). Assume standing position with active -chest, and take breath; touch the fingers to the shoulder, and strike -forward and downward, stopping the hands half way, and clinching the -fist very tightly; at the moment of stopping, speak the vowel "ah" very -shortly. You will notice that the voice issues full, and seems to -suddenly vanish in a manner well indicated by the mark above. Use any -vowels, long or short, with middle pitch of voice. Practise afterward -without any movement of the arms. - -2. MEDIAN STRESS.--So called, because the force is on the middle of the -word, marked thus (<>). It is the same as swelling tone, but is much -shorter. Practise with long vowels on middle tones of voice, making -three short swells on the same vowel in one breath. - -3. TERMINAL STRESS.--So called, because the force is on the end of the -word, and marked thus (<). Use the same movement as in radical stress; -begin the sound softly when the hand leaves the shoulder, stopping it -suddenly as the hands clinch. The voice seems to be jerked out. Practise -also without arm-movements, using the same vowels as in radical stress. - -4. THOROUGH STRESS.--So called, because the force is loud from beginning -to end, and marked thus (=). Prolong about ten seconds long vowels, with -a loud full voice on middle pitch. - -5. COMPOUND STRESS.--So called, because it is a union of radical and -terminal stress, and marked (><). The force is on both beginning and end -of the word, and may be made by striking twice in succession, continuing -the voice from radical to terminal without pause of voice between the -strokes. - -6. TREMOLO STRESS.--This is a trembling of voice, and marked thus -([**symbol like a rippled line]). Prolong long vowels, making the voice -tremble while you do so. - - -MOVEMENT. - -Movement is the degree of rapidity or slowness with which you speak the -articulate sounds. The danger in fast movement is, that you will not -articulate plainly; and in slow, that you will drawl. - -1. QUICK MOVEMENT.--Use exercise of chanting and reading sentences, as -under "Pitch," using the middle tones of voice; and repeat the words -with the utmost possible rapidity, with perfect articulation. In -chanting, do not mind the sense; but, in reading, be particular to give -the meaning of the sentence. - -2. MODERATE MOVEMENT.--Use exercise as above about as fast as ordinary -talking. - -3. SLOW MOVEMENT.--Use exercise as above, with very slow movement of -voice. In chanting, prolong each word about alike; in reading, give good -expression, and you will see that the more important words usually take -the longest time. - - -ARTICULATION. - -Articulation is the utterance of the elementary sounds, which, when -combined, make language. You have been using the sounds that make up -speech, in combination, every day; but it is a good practice to make -each element separately. After you are able to make each sound -distinctly, you will find you can make yourself understood in a large -hall without using a loud voice. Your jaw, lips, and tongue should move -actively and easily. For this purpose use long vowels,--No. 1, No. 8, -No. 14,--speaking them in quick succession, one after the other, making -them distinct, and making the jaw and lips move as much as you can with -ease. Continue to the extent of your breath. Then use the same with _p_, -_b_, or _m_ before them; then with _t_, _d_, or _n_; then _k_, _g_, or -_y_. Continue this practice about five minutes at a time, until the jaw, -lips, and tongue will move with perfect ease. - - -ELEMENTARY SOUNDS. - -In the exercises here given, use the sound, not the name of the letters -which represents the sound, and practise separately the sounds -represented by the Italic letters below. The only correct way to learn -them is from the lips of a competent teacher; but you will do well, and -improve, if you try the best you can in your way. - -VOWELS. - - _Long._ | _Short._ | _Diphthongs._ - | | - 1. _e_ as in m_ee_t.| 2. _i_ as in _i_t. |8^1. _i_ as in p_i_e. - 3^1. _a_ " " m_a_y. | 4. _e_ " " m_e_t. |11^1. _oi_ " " _oi_l. - 5. _ai_ " " _ai_r. | 5. _a_ " " _a_t. |8^{14}._ou_ " " _ou_t. - 6. _e_ " " h_e_r. | 7. _a_ " " Cub_a_.|^{1}14. _u_ " " yo_u_. - 8. _a_ " " _a_h. | 9. _u_ " " _u_p. | - 10. _a_ " " _a_we. |11. _o_ " " _o_n. | - 12^{14}._o_ " " _o_h. |13._oo_ " " f_oo_t.| - 12. _o_ " " _o_re. | | - 14. _oo_ " " w_oo_. | | - - GLIDES.--1-14 of the vowels, and _r_ when it follows a - vowel, are by Prof. Bell called "Glides." - -CONSONANTS OR ARTICULATIONS. - - _Breath._ | _Voice._ | _Nasal._ |_Place in Mouth._ - _p_ as in _p_ay. |_b_ as in _b_ay. |_m_ as in _m_ay. | Lips. - _wh_ " " _wh_y. |_w_ " " _w_ay. | | " - _f_ " " _f_ie. |_v_ " " _v_ie. | | Lips and teeth. - _th_ " " _th_in.|_th_ " " _th_en. | | Tongue " " - _t_ " " _t_ie. |_d_ " " _d_ie. |_n_ " " _n_igh.| Tip of tongue. - _ch_ " " _ch_ew.|_j_ " " _j_ew. | | " " - |_l_ " " _l_ay. | | " " - |_r_ " " _r_ay. | | " " - _s_ " " _s_ee. |_z_ " " _z_eal. | | " " - _sh_ " " _sh_oe.|_zh_ " " a_z_ure.| | " " - |_y_ " " _y_e. | | Whole tongue. - _k_ " " _k_ey. |_g_ " " _g_o. |_ng_ " " si_ng_.| Back of " - _h_ " " _h_e, _h_ay, _h_a, _h_o, is a whispered vowel, taking the - position of the vowel following it. - -Of the vowels, the numbers indicate positions of mouth; and, where -numbers are alike, the positions are alike. Each vowel-sound is made by -unobstructed sounds issuing through a certain position of mouth. The -position is unchanged with single vowels, and those have but one number. -The position changes in double vowels and diphthongs; and those have two -numbers,--one large, one small. As each number represents a position of -mouth, you can easily see by comparing what sounds are made from -combining others. The number in the largest size type of the two -represents the position that is kept when the sound is prolonged: as in -8^1 prolong the 8 or _a_h, and make ^1 or _ee_ very short; and in ^{1}14 -make ^1 very short, and prolong 14. The positions represented by the -small figures are called "Glides," because the position is hardly -assumed before the sound is finished. Diphthongs are sounds made by -combining vowel-sounds, as 8^1 _a_h-_ee_. Of the consonants, or, as well -named by Prof. Bell, articulations,--because two parts of the mouth have -to come together and separate in order to finish the element, thus -obstructing the breath or voice,--those in line across the page with -each other are alike in position of mouth; those in first column are -made with breath only, passing out through the mouth; those in second -column, with sound passing out through the mouth; those in third column -are sound passing out through the nose. For instance, _p_, _b_, _m_, are -in line with each other; and, if you will make the three sounds -represented by those letters, you will see that the same position of -mouth is assumed for each, and that _p_ is breath forced out of mouth, -_b_ is sound out of mouth, _m_ is sound passing out of nose. - -Practise these sounds of vowels and articulations until you can make -them forcibly and easily, with elastic movement of jaw, tongue, and -lips; and remember that force depends on the strength and good control -of muscles below the lungs. Then unite them by placing articulations -before vowels, giving most force to the vowel, but make both clear and -distinct. Then use articulations both before and after the vowel, still -giving the vowel the most force, but making the articulation that begins -and ends equally distinct and clear. To arrange these for your practice -in this small book would take too much space. You have above each -element of the English language clearly shown, and can easily combine -them as directed. - - -SUMMARY OF PHYSICAL AND VOCAL GYMNASTICS. - - -PHYSICAL GYMNASTICS. - -ATTITUDE. - - 1. Standing Position. - 2. Speaker's " - 3. Sitting Position. - 4. Change " - 5. Poise. - 6. Rise on Toes. - 7. Holding Book. - -CHEST EXPANSION. - - 1. Active and Passive Chest. - 2. Arms at Side. - 3. Fore-arm Vertical. - 4. Percussion. Full Arm. - 5. " Hands on Chest. - -BODY AND NECK MOVEMENTS. - - 1. Body bend forward and back. - 2. " " right and left. - 3. " turn " " - 4. Neck bend forward and back. - 5. " " right and left. - 6. " turn " " - - -VOCAL GYMNASTICS. - -NOTE.--_Be sure and keep_ ACTIVE CHEST _in all vocal exercises_. - -BREATHING. - - 1. Abdominal. - 2. Costal. - 3. Dorsal. - 4. Puff. - 5. Puff--Pause between. - 6. " Breathe " - 7. Holding Breath. - -TONE. - -NOTE.--_In following exercises use first long, then short vowels._ - - 1. Glottis stroke. Who, whispered, followed by short vowels quickly - spoken. - 2. Soft Tones. Use oo-oh-awe-ah first, then any other vowels. - 3. Swell Tones. Use vowels as in Soft Tones. - -PITCH. - - 1. Learn Musical Scale. Practise Tone Exercise on each tone within - compass of voice. - 2. Chant sentences on each tone. - 3. Read sentences, beginning on each tone. - -INFLECTION. - - 1. Major, fall from different pitches. - 2. " rise " " - 3. " " and fall from different pitches. - 4. Minor rise and fall. - 5. Circumflex, rise and fall. - 6. Monotone, different pitches. - -QUALITY. - - 1. Whisper. - 2. Aspirate. - 3. Pure. - 4. Orotund. - -FORCE. - -NOTE.--_Use exercises under Pitch, Nos. 2 and 3, with different degrees -of force._ - - 1. Gentle. - 2. Moderate. - 3. Loud. - -STRESS. - - 1. Radical. - 2. Median. - 3. Terminal. - 4. Thorough. - 5. Compound. - 6. Tremolo. - -MOVEMENT. - -NOTE.--_Use exercises under Pitch, Nos. 2 and 3, with different rates of -movement._ - - 1. Quick. - 2. Moderate. - 3. Slow. - -ARTICULATION. - -NOTE.--_Use only sounds represented by Italicized letters in the words -and letters below._ - - 1. Elementary Sounds. - 2. Syllables. - 3. Words. - 4. Phrases. - 5. Sentences. - -Long Vowels. 1. m_ee_t. 3^1. m_ay_. 5. _ai_r. 6. h_e_r. 8. _a_h. 10. -_awe._ 12^{14}. _o_h. 12. _o_re. 14. w_oo_. - -Short Vowels. 2. _i_t. 4. m_e_t. 5. _a_t. 7. Cub_a_. 9. _u_p. 11. _o_n. -13. f_oo_t. - -Diphthongs. 8^1. p_i_e. 11^1. _oi_l. 8^{14}. _ou_t. y14. _you._ - -Glides. 1.--14._-r._ - -Articulations. Lips--_p_, _b_, _m-wh_, _w_. Lips and Teeth--_f_, _v_. -Teeth and Tongue--_th_ (thin), _th_ (then). Tip of Tongue--_t_, _d_, -_n-l-r-ch_, _j-s_, _z-sh_, _zh_. Tongue--_y_. Back of Tongue--_k_, _g_, -_ng_. Whispered Vowel--_h_. - - - - -PART THREE. - -ELOCUTION. - - -If you have faithfully practised Parts One and Two, you have gained some -control of voice, and can now begin elocution, or expression of thought -and feeling. In each of the short extracts you will find some thought -and feeling to express; and if you will take pains to understand -thoroughly what you have to speak, and then speak earnestly as the -thought and feeling prompts you, you will certainly improve. Speak to -some person; and, if no one is present, imagine that there is, and talk -to them: for you need never speak aloud, unless it is for some one -besides yourself to hear. Your first endeavor as a speaker should be to -make a pleasant quality of voice, so that you may make good listeners of -your audience. The following exercises suggest pleasure, and let your -voice suggest the sentiment. - - -PLEASANT QUALITY. - - 1. A merrier man, - Within the limit of becoming mirth, - I never spent an hour's talk withal: - His eye begets occasion for his wit; - For every object that the one doth catch, - The other turns to a mirth-moving jest, - Which his fair tongue (conceit's expositor) - Delivers in such apt and gracious words, - That aged ears play truant at his tales, - And younger hearings are quite ravished, - So sweet and voluble is his discourse. - - 2. There's something in a noble boy, - A brave, free-hearted, careless one, - With his unchecked, unbidden joy, - His dread of books, and love of fun,-- - And in his clear and ready smile, - Unshaded by a thought of guile, - And unrepressed by sadness,-- - Which brings me to my childhood back, - As if I trod its very track, - And felt its very gladness. - -3. The scene had also its minstrels: the birds, those ministers and -worshippers of Nature, were on the wing, filling the air with melody; -while, like diligent little housewives, they ransacked the forest and -field for materials for their housekeeping. - - 4. Let me play the fool: - With mirth and laughter let old wrinkles come; - And let my liver rather heat with wine - Than my heart cool with mortifying groans. - Why should a man whose blood is warm within - Sit like his grandsire, cut in alabaster? - Sleep when he wakes? and creep into the jaundice - By being peevish? - - 5. Across in my neighbor's window, with its drapings of satin and - lace, - I see, 'neath its flowing ringlets, a baby's innocent face. - His feet, in crimson slippers, are tapping the polished glass; - And the crowd in the street look upward, and nod and smile as - they pass. - - 6. How sweet the moonlight sleeps upon this bank! - Here will we sit, and let the sounds of music - Creep in our ears: soft stillness and the night - Become the touches of sweet harmony. - Look how the floor of heaven - Is thick inlaid with patens of bright gold! - There's not the smallest orb which thou behold'st, - But in his motion like an angel sings, - Still quiring to the young-eyed cherubim: - Such harmony is in immortal souls; - But, whilst this muddy vesture of decay - Doth grossly close it in, we cannot hear it. - -7. A cheerful man is pre-eminently a useful man. He knows that there is -much misery, but that misery is not the rule of life. He sees that in -every state people may be cheerful; the lambs skip, birds sing and fly -joyously, puppies play, kittens are full of joyance, the whole air is -full of careering and rejoicing insects; that everywhere the good -outbalances the bad, and that every evil that there is has its -compensating balm. - -For other selections, see Baker's "Reading Club." - - No. Page. Verse. - 1 12 1 - 1 82 all - 2 15 6 - 2 62 1 - 2 72 1 - 2 78 all - 3 11 all - 3 35 all - 3 49 all - 4 26 6 - 4 36 all - 4 92 1 - - -ARTICULATION. - -With pleasant quality you will make listeners; but you will soon weary -them, unless you make them understand by clear articulation. You have -made the organs of articulation elastic by practice of elementary sounds -separately and in combination. In combinations you have made syllables, -and these syllables make words, words make phrases, phrases make -sentences, sentences make up a discourse, address, oration, &c. - -SYLLABLES.--Every syllable contains a vowel, or its equivalent; -as in the following word, which is separated by hyphens into -syllables,--in-com-pre-hen-si-ble: you will hear a vowel-sound in each, -the last syllable having the sound of _l_ as an equivalent. - -WORDS.--A word may have one or more syllables; and, when it has two or -more, one of them will receive slightly more force than the others, as -in the word "common." Pronounce it, and you will give more force to -"_com_" than "_mon_." This force applied is called accent. - -ACCENT.--In pronouncing words, you will notice that in the longest -words, even while you make each syllable distinct, there is no -perceptible pause until the word is finished. In words of two or three -syllables you will find accent as above; but words of four or more -syllables have one accented, and perhaps two syllables besides, that -receive less force than the accented, but more than the others. -Pronounce incomprehensibility. Properly done, you will hear that you -give "_bil_" the strongest accent, and "_com_" and "_hen_" slight -accent, but more than the remaining syllables, "_in_," "_pre_," "_si_," -"_i_," "_ty_." The accent on "_bil_" is primary accent; and on the -"_com_" and "_hen_" secondary accent. - -PHRASES.--Two or more words make a phrase; and a phrase gives you an -idea, perhaps, needing a number of phrases to make complete sense. You -should speak phrases just as you would a long word, without perceptible -pause, and with more force on prominent words than others. Here is a -sentence composed of two phrases: "Fear the Lord, and depart from evil." -A poor reading of this would be, "Fear (pause) the Lord, (pause) and -depart (pause) from evil." A good reading would be, "Fear the Lord, -(pause) and depart from evil." - -EMPHASIS.--As in words you have primary and secondary accent, so in -phrases you have what is known as emphasis. In the sentence just given, -the words that had most force were "_Lord_" and "_evil_;" and less -force, "_fear_" and "_depart_;" and little or no force, "_the_," -"_and_," and "_from_." You may call this primary and secondary emphasis, -the primary having, as in accent, most force. - -SENTENCES.--These phrases, or groups of words somewhat connected in -idea, make sentences; and a sentence gives complete sense. As syllables -make words, and in words you have an accented syllable; as words make -phrases, and in phrases you have an emphatic word: so, in sentences -composed of phrases, you have an important phrase; and this important -phrase must be impressed upon the mind of the listener more strongly -than any other. This is done by slightly added force and a trifle higher -pitch; and, as you will readily see, the emphatic word of the important -phrase is the emphatic word of the whole sentence. Thus you have the -structure of sentences; and, if you proportion your force well, you will -not fail to give the meaning correctly. In the following sentence, the -phrases are separated by commas; the emphatic words are in SMALL -CAPITALS; the secondarily emphatic words are in _Italics_. First -understand what the sentence means, then speak it as you would in -earnest conversation, and you will be likely to give it correctly. - -"We ALL of us, in a great _measure_, _create_ our own HAPPINESS, which -is not _half_ so much _dependent_ upon SCENES and CIRCUMSTANCES as most -_people_ are apt to IMAGINE." - -In this sentence the important phrase is, "create our own happiness;" -and the other phrases must be and are, by a good reader, subordinated to -this one. This subordination of phrases to the principal one is made by -lowering the pitch slightly, and lessening the force slightly on the -subordinate phrases. It is naturally done if you'll talk the sentence -understandingly. - -In the following sentences,-- - -1st, Sound each element of a word separately. - -2d, Pronounce each word separately, with proper accent, being careful to -give each element correctly. - -3d, Read in phrases, remembering that each phrase should be pronounced -as a long word, without pause, and with emphasis. - -4th, Read in sentences, subordinating all other phrases to the principal -phrase. - - 1. When sorrows come, they come not single spies, - But in battalions. - - 2. There's such divinity doth hedge a king, - That treason can but keep to what it would, - Act little of his will. - -3. Grandfather is old. His back, also, is bent. In the street he sees -crowds of men looking dreadfully young, and walking dreadfully swift. He -wonders where all the old folks are. Once, when a boy, he could not find -people young enough for him, and sidled up to any young stranger he met -on Sundays, wondering why God made the world so old. Now he goes to -Commencement to see his grandsons take their degree, and is astonished -at the youth of the audience. "This is new," he says: "it did not use to -be so fifty years before." - - 4. Press on! surmount the rocky steeps; - Climb boldly o'er the torrent's arch: - He fails alone who feebly creeps; - He wins who dares the hero's march. - - 5. Where I have come, great clerks have purposed - To greet me with premeditated welcomes; - Where I have seen them shiver and look pale, - Make periods in the midst of sentences, - Throttle their practised accent in their fears, - And, in conclusion, dumbly have broke off, - Not paying me a welcome, trust me, sweet, - Out of this silence yet I picked a welcome; - And in the modesty of fearful duty - I read as much as from the rattling tongue - Of saucy and audacious eloquence. - -6. Be not lulled, my countrymen, with vain imaginations or idle fancies. -To hope for the protection of Heaven, without doing our duty, and -exerting ourselves as becomes men, is to mock the Deity. Wherefore had -man his reason, if it were not to direct him? wherefore his strength, if -it be not his protection? To banish folly and luxury, correct vice and -immorality, and stand immovable in the freedom in which we are free -indeed, is eminently the duty of each individual at this day. When this -is done, we may rationally hope for an answer to our prayers--for the -whole counsel of God, and the invincible armor of the Almighty. - - 7. The quality of mercy is not strained: - It droppeth as the gentle rain from heaven - Upon the place beneath. It is twice blessed,-- - It blesseth him that gives, and him that takes. - 'Tis mightiest in the mightiest: it becomes - The throned monarch better than his crown: - His sceptre shows the force of temporal power, - The attribute to awe and majesty, - Wherein doth sit the dread and fear of kings. - But mercy is above this sceptred sway: - It is enthroned in the hearts of kings; - It is an attribute to God himself; - And earthly power doth then show likest God's - When mercy seasons justice. - - -FULNESS AND POWER. - -Fulness of voice is necessary, that, when you are speaking in a large -hall, your voice may be powerful. Most persons could make themselves -heard, and, with good articulation, understood; but yet they would lack -power, because the voice wants fulness. The extracts given below will -suggest to you the necessity of a full voice to express them well. -Observe these directions in trying to get a full, energetic tone:-- - -1st, Correct speaker's position, take active chest, and keep it. - -2d, Take full breath, breathe often, and control it. (See "Holding -Breath.") - -3d, Articulate perfectly. - -4th, Use conversational and lower tones of the voice. - -5th, Fix the mind on some distant spot, and speak as if you wished to -make some one hear at that point. - -6th, Remember to be very energetic, and yet have it seem to a looker-on -or listener to be done without the slightest effort. - - 1. O'Brien's voice is hoarse with joy, as, halting, he commands, - "Fix bay'nets--charge!" Like mountain-storm rush on these fiery - bands. - On Fontenoy, on Fontenoy! hark to that fierce huzza! - "Revenge! remember Limerick! dash down the Sassenagh!" - Like lions leaping at a fold when mad with hunger's pang, - Right up against the English line the Irish exiles sprang. - The English strove with desperate strength, paused, rallied, - staggered, fled: - The green hill-side is matted close with dying and with dead. - On Fontenoy, on Fontenoy, like eagles in the sun, - With bloody plumes the Irish stand: the field is fought and won. - - 2. Thou too sail on, O Ship of State! - Sail on, O Union strong and great! - Humanity, with all its fears, - With all its hopes of future years, - Is hanging breathless on thy fate. - We know what master laid thy keel, - What workmen wrought thy ribs of steel, - Who made each mast and sail and rope, - What anvils rang, what hammers beat, - In what a forge and what a heat - Were shaped the anchors of thy hope. - - 3. Oh! young Lochinvar is come out of the west: - Through all the wide border his steed was the best; - And, save his good broad-sword, he weapon had none; - He rode all unarmed, and he rode all alone. - So faithful in love, and so dauntless in war, - There never was knight like the young Lochinvar. - - 4. One song employs all nations; and all cry, - "Worthy the Lamb, for he was slain for us!" - The dwellers in the vales and on the rocks - Shout to each other; and the mountain-tops - From distant mountains catch the flying joy; - Till, nation after nation taught the strain, - Earth rolls the rapturous hosanna round. - - 5. "But I defy him!--let him come!" - Down rang the massy cup, - While from its sheath the ready blade - Came flashing half way up; - And, with the black and heavy plumes - Scarce trembling on his head, - There, in his dark, carved, oaken chair, - Old Rudiger sat--dead! - -6. All hail to our glorious ensign! Courage to the heart, and strength -to the hand, to which in all time it shall be intrusted! May it ever -wave in honor, in unsullied glory, and patriotic hope, on the dome of -the capitol, on the country's stronghold, on the entented plain, on the -wave-rocked topmast! - - 7. Rejoice, you men of Angiers! ring your bells! - King John, your king and England's, doth approach, - Commander of this hot malicious day! - Their armors that marched hence so silver bright - Hither return all gilt with Frenchmen's blood; - There stuck no plume in any English crest - That is removed by a staff of France; - Our colors do return in those same hands - That did display them when we first marched forth; - And, like a jolly troop of huntsmen, come - Our lusty English, all with purpled hands - Dyed in the dying slaughter of their foes. - - -INFLECTION. - -Inflection is a slide of voice, either up or down in pitch, or both, on -the accented syllable of a word. You have learned in previous pages what -kinds there are. Major inflections express strength: minor express -weakness. - -Rising inflections refer to something to come that shall complete the -sense. If you speak a phrase that needs another to complete its meaning, -you will use a rising inflection to connect them. If you defer to -another's will, opinion, or knowledge, in what you say, you will use a -rising inflection. If you speak of two or more things, thinking of them -as a whole, and not separately, you use a rising inflection. - -Falling inflections are used when a phrase or sentence is complete in -itself. If you state your own will, opinion, or knowledge, you will use -falling inflection. If you speak of two or more things separately, -wishing to make each one by itself distinct in the hearer's mind, you -will use falling inflections. - -Circumflex inflections, being composed of rising and falling inflections -combined, are doubtful in meaning; for if rising means one thing, and -falling means another, a combination must mean doubt. It expresses -irony, sarcasm, &c. - -Monotone is a varying of inflection within very narrow limits, and comes -as near to chanting as the voice can, and still retain the -expressiveness of inflection in speech. It expresses any slow-moving -emotions, as grandeur, awe, solemnity, &c. - -Practise the short extracts under each head until you are sure you give -the right inflection in the right place. - -MAJOR RISING INFLECTION. - -1. Would the influence of the Bible, even if it were not the record of a -divine revelation, be to render princes more tyrannical, or subjects -more ungovernable; the rich more insolent, or the poor more disorderly? -Would it make worse parents or children, husbands or wives, masters or -servants, friends or neighbors? - -2. But why pause here? Is so much ambition praiseworthy, and more -criminal? Is it fixed in nature that the limits of this empire should be -Egypt on the one hand, the Hellespont and Euxine on the other? Were not -Suez and Armenia more natural limits? Or hath empire no natural limit, -but is broad as the genius that can devise, and the power that can win? - - 3. Shine they for aught but earth, - These silent stars? - And, when they sprang to birth, - Who broke the bars - And let their radiance out - To kindle space, - When rang God's morning shout - O'er the glad race? - Are they all desolate, - These silent stars; - Hung in their spheres by fate, - Which nothing mars? - Or are they guards of God, - Shining in prayer, - On the same path they've trod - Since light was there? - -MAJOR FALLING INFLECTIONS. - - 1. Stand up erect! Thou hast the form - And likeness of thy God: who more? - A soul as dauntless mid the storm - Of daily life, a heart as warm - And pure, as breast e'er wore. - - 2. Methinks I hear hither your husband's drum; - See him pluck Aufidius down by the hair, - As children from a bear, the Voices shunning him; - Methinks I see him stamp thus, and call thus,-- - _Come on, you cowards! you were got in fear, - Though you were born in Rome_: his bloody brow - With his mailed hand then wiping, forth he goes, - Like to a harvest-man that's tasked to mow - Or all, or lose his hire. - -3. Mahomet still lives in his practical and disastrous influence in the -East. Napoleon still is France, and France is almost Napoleon. Martin -Luther's dead dust sleeps at Wittenberg; but Martin Luther's accents -still ring through the churches of Christendom. Shakspeare, Byron, and -Milton, all live in their influence,--for good or evil. The apostle from -his chair, the minister from his pulpit, the martyr from his -flame-shroud, the statesman from his cabinet, the soldier in the field, -the sailor on the deck, who all have passed away to their graves, still -live in the practical deeds that they did, in the lives they lived, and -in the powerful lessons that they left behind them. - -MINOR RISING INFLECTIONS. - -1. "Let me see him once before he dies? Let me hear his voice once more? -I entreat you, let me enter." - - 2. Stay, lady, stay, for mercy's sake, - And hear a helpless orphan's tale! - Ah! sure my looks must pity wake: - 'Tis want that makes my cheek so pale. - Yet I was once a mother's pride, - And my brave father's hope and joy; - But in the Nile's proud fight he died, - And I am now an orphan-boy. - - 3. They answer, "Who is God that he should hear us - While the rushing of the iron wheels is stirred? - When we sob aloud, the human creatures near us - Pass by, hearing not, or answer not a word. - Is it likely God, with angels singing round him, - Hears our weeping, any more?" - -MINOR FALLING INFLECTIONS. - -1. God forbid that we should outlive the love of our children! Rather -let us die while their hearts are a part of our own, that our grave may -be watered with their tears, and our love linked with their hopes of -heaven. - - 2. Her suffering ended with the day; - Yet lived she at its close, - And breathed the long, long night away - In statue-like repose. - - But, when the sun in all his state - Illumed the eastern skies, - She passed through glory's morning-gate, - And walked in paradise. - - 3. Father cardinal, I have heard you say - That we shall see and know our friends in heaven. - If that be true, I shall see my boy again; - For since the birth of Cain, the first male child, - To him that did but yesterday suspire, - There was not such a gracious creature born. - But now will canker-sorrow eat my bud, - And chase the native beauty from his cheek; - And he will look as hollow as a ghost, - As dim and meagre as an ague's fit: - And so he'll die; and, rising so again, - When I shall meet him in the court of heaven - I shall not know him: therefore never, never - Must I behold my pretty Arthur more. - -CIRCUMFLEX INFLECTION. - -1. Were I in England now (as once I was), and had but this fish painted, -not a holiday-fool there but would give a piece of silver. There would -this monster make a man: any strange beast there makes a man. When they -will not give a doit to relieve a lame beggar, they will lay out ten to -see a dead Indian. - -2. If to do were as easy as to know what were good to do, chapels had -been churches, and poor men's cottages princes' palaces. It is a good -divine that follows his own instructions. I can easier teach twenty what -were good to be done than be one of the twenty to follow mine own -teaching. The brain may devise laws for the blood; but a hot temper -leaps over a cold decree: such a hare is madness the youth to skip o'er -the meshes of good counsel the cripple. - - 3. "Hold, there!" the other quick replies: - "'Tis green: I saw it with these eyes, - As late with open mouth it lay, - And warmed it in the sunny ray. - Stretched at its ease, the beast I viewed, - And saw it eat the air for food." - "I've seen it, sir, as well as you, - And must again affirm it blue: - At leisure I the beast surveyed, - Extended in the cooling shade." - "'Tis green, 'tis green, sir, I assure ye!" - "Green!" cries the other in a fury: - "Why, sir! d'ye think I've lost my eyes?" - "'Twere no great loss," the friend replies; - "For, if they always serve you thus, - You'll find them of but little use." - -MONOTONE. - - 1. When for me the silent oar - Parts the Silent River, - And I stand upon the shore - Of the strange Forever, - Shall I miss the loved and known? - Shall I vainly seek mine own? - - 2. Ye golden lamps of heaven, farewell, with all your feeble light! - Farewell, thou ever-changing moon, pale empress of the night! - And thou, effulgent orb of day, in brighter flames arrayed, - My soul, which springs beyond thy sphere, no more demands thy aid. - Ye stars are but the shining dust of my divine abode, - The pavement of those heavenly courts where I shall reign with - God. - - 3. Father of earth and heaven, I call thy name! - Round me the smoke and shout of battle roll; - My eyes are dazzled with the rustling flame: - Father, sustain an untried soldier's soul. - Or life or death, whatever be the goal - That crowns or closes round this struggling hour, - Thou know'st, if ever from my spirit stole - One deeper prayer, 'twas that no cloud might lower - On my young fame. Oh, hear, God of eternal power! - - -PITCH. - -The general pitch of voice varies with the emotion. Some feelings we are -prompted to express in the high tones, as joy; some in the lower tones, -as awe: but, without practice, very few have command of the higher and -lower tones; and, when they attempt to read, they cannot give the -requisite variety to make it expressive. It is important that these -exercises should be studied until you can as easily read in your highest -and lowest tones as in your natural conversational or middle tones. - -In high pitch, read in as high pitch as you can, and at the same time -keep the tone pure, and you will find your voice gradually gain in -compass. - -In middle pitch, read in your conversational tone, with earnestness. - -In low pitch, read somewhat lower than middle pitch, and make as full a -tone as you can. - -In very low pitch, read as low in pitch as you can with ease, and do not -try to make it loud or full until you have had considerable practice. -Don't pinch or strain the throat: if you do, the quality will be bad. - -HIGH PITCH. - - 1. Merrily swinging on brier and weed, - Near to the nest of his little dame, - Over the mountain-side or mead, - Robert of Lincoln is telling his name,-- - Bob-o-link, bob-o-link, - Spink, spank, spink! - Snug and safe is that nest of ours - Hidden among the summer flowers: - Chee, chee, chee! - - 2. Oh! did you see him riding down, - And riding down, while all the town - Came out to see, came out to see, - And all the bells rang mad with glee? - - Oh! did you hear those bells ring out, - The bells ring out, the people shout? - And did you hear that cheer on cheer - That over all the bells rang clear? - - 3. I am that merry wanderer of the night: - I jest to Oberon, and make him smile, - When I, a fat and bean-fed horse, beguile, - Neighing in likeness of a silly foal. - And sometimes lurk I in a gossip's bowl, - In very likeness of a roasted crab; - And, when she drinks, against her lips I bob, - And on her withered dew-lap pour the ale. - -MIDDLE PITCH. - - 1. The honey-bee that wanders all day long - The field, the woodland, and the garden o'er, - To gather in his fragrant winter-store, - Humming in calm content his quiet song, - Sucks not alone the rose's glowing breast, - The lily's dainty cup, the violet's lips; - But from all rank and noisome weeds he sips - The single drop of sweetness ever pressed - Within the poison chalice. Thus, if we - Seek only to draw forth the hidden sweet - In all the varied human flowers we meet - In the wide garden of Humanity, - And, like the bee, if home the spoil we bear, - Hived in our hearts, it turns to nectar there. - -2. Now the laughing, jolly Spring began to show her buxom face in the -bright morning. The buds began slowly to expand their close winter -folds, the dark and melancholy woods to assume an almost imperceptible -purple tint; and here and there a little chirping blue-bird hopped about -the orchards. Strips of fresh green appeared along the brooks, now -released from their icy fetters; and nests of little variegated -flowers, nameless, yet richly deserving a name, sprang up in the -sheltered recesses of the leafless woods. - -3. I know, the more one sickens, the worse at ease he is; and that he -that wants money, means, and content, is without three good friends; -that the property of rain is to wet, and fire to burn; that good pasture -makes fat sheep, and that a great cause of the night is lack of the sun; -that he that hath learned no wit by nature or art may complain of good -breeding, or comes of a very dull kindred. - -LOW PITCH. - - 1. Mid the flower-wreathed tombs I stand, - Bearing lilies in my hand. - Comrades, in what soldier-grave - Sleeps the bravest of the brave? - - Is it he who sank to rest - With his colors round his breast? - Friendship makes his tomb a shrine: - Garlands veil it; ask not mine. - - 2. God, thou art merciful. The wintry storm, - The cloud that pours the thunder from its womb, - But show the sterner grandeur of thy form. - The lightnings glancing through the midnight gloom, - To Faith's raised eye as calm, as lovely, come - As splendors of the autumnal evening star, - As roses shaken by the breeze's plume, - When like cool incense comes the dewy air, - And on the golden wave the sunset burns afar. - - 3. O thou Eternal One! whose presence bright - All space doth occupy, all motion guide; - Unchanged through Time's all-devastating flight; - Thou only God!--there is no God beside! - Being above all beings! Three-in-one! - Whom none can comprehend, and none explore; - Who fill'st existence with Thyself alone; - Embracing all, supporting, ruling o'er; - Being whom we call God, and know no more! - -VERY LOW PITCH. - - 1. When in the silent night all earth lies hushed - In slumber; when the glorious stars shine out, - Each star a sun, each sun a central light - Of some fair system, ever wheeling on - In one unbroken round, and that again - Revolving round another sun; while all, - Suns, stars, and systems, proudly roll along - In one majestic, ever-onward course, - In space uncircumscribed and limitless,-- - Oh! think you then the undebased soul - Can calmly give itself to sleep,--to rest? - -2. Go stand upon the heights at Niagara, and listen in awe-struck -silence to that boldest most earnest and eloquent, of all Nature's -orators! And what is Niagara, with its plunging waters and its mighty -roar, but the oracle of God, the whisper of His voice who is revealed in -the Bible as sitting above the water-floods forever? - - 3. The drums are all muffled; the bugles are still; - There's a pause in the valley, a halt on the hill; - And the bearers of standards swerve back with a thrill - Where the sheaves of the dead bar the way: - For a great field is reaped, heaven's garners to fill; - And stern Death holds his harvest to-day. - - -QUALITY. - -As there are all kinds and qualities of emotions, so there are all kinds -and qualities of voice to express them. The shade and varieties of -these qualities are as infinite in number as the emotions they -express. We need, however, in practice, to make but four general -divisions,--whisper, aspirate, pure, and orotund. The whisper expresses -secrecy, fear, and like emotions. It is seldom required in reading, as -the aspirate is expressive of the same, and you would be likely to use -that instead of whisper. You should practise the whisper until you can -make it very clear, and free from all impurity, or sound of throat, and -full, so as to be heard at a distance. In both whisper and aspirate -leave the throat free and open; and be energetic, remembering that force -is made by control of muscles at the waist, and not by effort of throat -or mouth. The clearer you can make a whisper, the better quality you can -make in pure and orotund. Pure tone or quality is sound made with no -disagreeable quality being heard; and is the same as pleasant quality, -spoken of as being necessary to make listeners. Pure quality is made -with ease, with no waste of breath, and is used for expression of -agreeable feelings. Orotund is a magnified, pure tone, and adds richness -and power to the voice in speech. It is the expression of intense -feelings, usually slow in movement, as grandeur, sublimity, awe, &c. It -can only be obtained by much practice and much patience, allowing the -voice to grow in fulness, as it will in time, if practice continues. - -WHISPER. - - 1. Deep stillness fell on all around: - Through that dense crowd was heard no sound - Of step or word. - - 2. How dark it is! I cannot seem to see - The faces of my flock. Is that the sea - That murmurs so? or is it weeping? Hush, - My little children! God so loved the world, - He gave his Son: so love ye one another. - Love God and man. Amen! - - 3. Hush! 'tis a holy hour! The quiet room - Seems like a temple; while yon soft lamp sheds - A faint and starry radiance through the gloom - And the sweet stillness down on bright young heads, - With all their clustering locks untouched by care, - And bowed, as flowers are bowed with night, in prayer. - -ASPIRATE. - - 1. Hush! draw the curtain,--so! - She is dead, quite dead, you see. - Poor little lady! She lies - With the light gone out of her eyes; - But her features still wear that soft, - Gray, meditative expression - Which you must have noticed oft. - - 2. Lord of the winds! I feel thee nigh; - I know thy breath in the burning sky; - And I wait with a thrill in every vein - For the coming of the hurricane. - And, lo! on the wing of the heavy gales, - Through the boundless arch of heaven, he sails: - Silent and slow, and terribly strong, - The mighty shadow is borne along, - Like the dark eternity to come; - While the world below, dismayed and dumb, - Through the calm of the thick hot atmosphere - Looks up at its gloomy folds with fear. - - 3. 'Tis midnight's holy hour; and silence now - Is brooding like a gentle spirit o'er - The still and pulseless world. Hark! on the winds - The bell's deep tones are swelling: 'tis the knell - Of the departed year. No funeral train - Is sweeping past: yet on the stream and wood, - With melancholy light, the moonbeams rest - Like a pale, spotless shroud; the air is stirred - As by a mourner's sigh; and on yon cloud, - That floats so still and placidly through heaven, - The spirits of the seasons seem to stand,-- - Young Spring, bright Summer, Autumn's solemn form, - And Winter with its aged locks,--and breathe, - In mournful cadences that come abroad - Like the far wind-harp's wild and touching wail, - A melancholy dirge o'er the dead year, - Gone from the earth forever. - -PURE. - - 1. Your voiceless lips, O flowers! are living preachers, - Each cup a pulpit, and each leaf a book, - Supplying to my fancy numerous teachers - In loneliest nook. - - 2. Ring out, wild bells, to the wild sky, - The flying cloud, the frosty light; - The year is dying in the night: - Ring out, wild bells, and let him die. - - Ring out the old; ring in the new; - Ring, happy bells, across the snow: - The year is going; let him go: - Ring out the false, ring in the true. - - 3. Was it the chime of a tiny bell - That came so sweet to my dreaming ear, - Like the silvery tones of a fairy's shell, - That he winds on the beach, so mellow and clear, - When the winds and the waves lie together asleep, - And the moon and the fairy are watching the deep,-- - She dispensing her silvery light, - And he his notes as silvery quite,-- - While the boatman listens, and ships his oar, - To catch the music that comes from the shore? - Hark! the notes on my ear that play - Are set to words: as they float, they say, - "Passing away, passing away!" - -OROTUND. - -1. Approach and behold while I lift from his sepulchre its covering. Ye -admirers of his greatness, ye emulous of his talents and his fame, -approach, and behold him now. How pale! how silent! No martial bands -admire the adroitness of his movements, no fascinating throng weep and -melt and tremble at his eloquence. Amazing change! A shroud, a coffin, a -narrow subterraneous cabin,--this is all that now remains of Hamilton. -And is this all that remains of him? During a life so transitory, what -lasting monument, then, can our fondest hopes erect! - - 2. A seraph by the throne - In the full glory stood. With eager hand - He smote the golden harp-strings, till a flood - Of harmony on the celestial air - Welled forth unceasing: then with a great voice - He sang the "Holy, holy, evermore, - Lord God Almighty!" and the eternal courts - Thrilled with the rapture; and the hierarchies, - Angel and rapt archangel, throbbed and burned - With vehement adoration. Higher yet - Rose the majestic anthem without pause,-- - Higher, with rich magnificence of sound, - To its full strength; and still the infinite heavens - Rang with the "Holy, holy, evermore!" - - 3. God, thou art mighty. At thy footstool bound, - Lie, gazing to thee, Chance and Life and Death. - Nor in the angel-circle flaming round, - Nor in the million worlds that blaze beneath, - Is one that can withstand thy wrath's hot breath. - Woe in thy frown; in thy smile victory. - Hear my last prayer. I ask no mortal wreath: - Let but these eyes my rescued country see; - Then take my spirit, All-Omnipotent, to thee. - - For examples of pure tone, see "Reading Club," No. 1, pages - 54 and 82; No. 2, page 63; No. 3, pages 11, 49; No. 4, pages - 29, 36, 81. - - For orotund, No. 1, page 42; No. 2, page 64; No. 3, page 25; - No. 4, page 61. - - -MOVEMENT. - -By different emotions you are prompted to speak words in quick or slow -utterance, as in joy or anger you would be prompted to utter words -quickly; while in majesty, sublimity, awe, you would speak slowly. You -should practise movement, that you may be able to read rapidly and with -perfect articulation, and also to read slowly with proper phrasing. In -quick movement, read as fast as you can with proper articulation, -phrasing, and emphasis. In moderate movement, read as in ordinary -earnest conversation. In slow and very slow movement, phrase well, as in -these the emphatic words have the longest time given to them, the -secondarily emphatic ones less time, and the connecting words the least -time; and it is a great art to proportion them rightly. If you do not do -the latter, you will drawl. - -QUICK MOVEMENT. - - 1. Boot, saddle, to horse, and away! - Rescue my castle before the hot day - Brightens to blue from its silvery gray: - Boot, saddle, to horse, and away! - - 2. But hark! above the beating of the storm - Peals on the startled ear the fire-alarm. - Yon gloomy heaven's aflame with sudden light; - And heart-beats quicken with a strange affright. - From tranquil slumber springs, at duty's call, - The ready friend no danger can appall: - Fierce for the conflict, sturdy, true, and brave, - He hurries forth to battle and to save. - - 3. After him came, spurring hard, - A gentleman almost forespent with speed, - That stopped by me to breathe his bloodied horse. - He asked the way to Chester; and of him - I did demand what news from Shrewsbury. - He told me that rebellion had bad luck, - And that young Harry Percy's spur was cold: - With that he gave his able horse the head, - And, bending forward, struck his armed heels - Against the panting sides of his poor jade - Up to the rowel-head; and, starting so, - He seemed, in running, to devour the way, - Staying no longer question. - -MODERATE MOVEMENT. - - 1. Yes, Tom's the best fellow that ever you knew. - Just listen to this:-- - When the old mill took fire, and the flooring fell through, - And I with it, helpless there, full in my view - What do you think my eyes saw through the fire, - That crept along, crept along, nigher and nigher, - But Robin, my baby-boy, laughing to see - The shining? He must have come there after me, - Troddled alone from the cottage. - -2. Oratory, as it consists in the expression of the countenance, graces -of attitude and motion, and intonation of voice, although it is -altogether superficial and ornamental, will always command admiration; -yet it deserves little veneration. Flashes of wit, coruscations of -imagination, and gay pictures,--what are they? Strict truth, rapid -reason, and pure integrity, are the only essential ingredients in -oratory. I flatter myself that Demosthenes, by his "action, action, -action," meant to express the same opinion. - - 3. Waken, voice of the land's devotion! - Spirit of freedom, awaken all! - Ring, ye shores, to the song of ocean! - Rivers, answer! and, mountains, call! - The golden day has come: - Let every tongue be dumb - That sounded its malice, or murmured its fears. - She hath won her story; - She wears her glory: - We crown her the land of a hundred years! - -SLOW MOVEMENT. - - 1. Within this sober realm of leafless trees - The russet year inhaled the dreamy air, - Like some tanned reaper in his hour of ease - When all the fields are lying brown and bare. - - 2. As some tall cliff that lifts its awful form, - Swells from the vale, and midway leaves the storm, - Though round its breast the rolling clouds are spread, - Eternal sunshine settles on its head. - - 3. Father, guide me! Day declines; - Hollow winds are in the pines; - Darkly waves each giant bough - O'er the sky's last crimson glow; - Hushed is now the convent's bell, - Which erewhile, with breezy swell, - From the purple mountains bore - Greeting to the sunset shore; - Now the sailor's vesper-hymn - Dies away. - Father, in the forest dim - Be my stay! - -VERY SLOW MOVEMENT. - - 1. Toll, toll, toll, - Thou bell by billows swung! - And night and day thy warning words - Repeat with mournful tongue! - Toll for the queenly boat - Wrecked on yon rocky shore: - Seaweed is in her palace-halls; - She rides the surge no more. - - 2. Now o'er the drowsy earth still night prevails; - Calm sleep the mountain-tops and shady vales, - The rugged cliffs and hollow glens. - The wild beasts slumber in their dens, - The cattle on the hill. Deep in the sea - The countless finny race and monster brood - Tranquil repose. Even the busy bee - Forgets her daily toil. The silent wood - No more with noisy form of insect rings; - And all the feathered tribes, by gentle sleep subdued, - Roost in the glade, and hang their drooping wings. - - 3. My Father, God, lead on! - Calmly I follow where thy guiding hand - Directs my steps. I would not trembling stand, - Though all before the way - Is dark as night: I stay - My soul on thee, and say, - Father, I trust thy love: lead on! - - -FORCE. - -Every emotion which you have you feel more or less intensely, and that -intensity is expressed through the force of the voice. The degree of -force with which you speak will be according to the degree of intensity -of emotion; and even in the gentlest tone you can express as forcibly as -in the loudest. According to your strength of body and mind, and -intensity of feeling, you have been accustomed to express in a strong or -feeble voice. Force needs to be practised to enable you to fill a large -hall with your gentlest tone, and to make very loud tones without -straining of throat. In gentle force, sustain the breath well, as in -fulness and power, observing directions there given; and make your tone -soft and pure. In moderate force, be as energetic as in earnest -conversation. In loud and very loud force, observe directions under -"Fulness and Power." - -GENTLE FORCE. - - 1. A noise as of a hidden brook - In the leafy month of June, - That to the sleeping woods all night - Singeth a quiet tune. - - 2. O blithe new-comer! I have heard, - I hear thee, and rejoice: - O cuckoo! shall I call thee bird, - Or but a wandering voice? - - Thrice welcome, darling of the spring! - Even yet thou art to me - No bird, but an invisible thing, - A voice, a mystery. - - 3. Around this lovely valley rise - The purple hills of Paradise; - Oh! softly on yon banks of haze - Her rosy face the Summer lays; - Becalmed along the azure sky - The argosies of Cloud-land lie, - Whose shores, with many a shining rift, - Far off their pearl-white peaks uplift. - -MODERATE FORCE. - - 1. Robert of Lincoln is gayly dressed, - Wearing a bright black wedding-coat: - White are his shoulders, and white his crest. - Hear him call, in his merry note, - Bob-o-link, bob-o-link, - Spink, spank, spink! - Look, what a nice new coat is mine! - Sure there was never a bird so fine. - Chee, chee, chee! - -2. O young men and women! there is no picture of ideal excellence of -manhood and womanhood that I ever draw that seems too high, too -beautiful, for your young hearts. What aspirations there are for the -good, the true, the fair, and the holy! The instinctive affections--how -beautiful they are, with all their purple prophecy of new homes and -generations of immortals that are yet to be! The high instincts of -reason, of conscience, of love, of religion,--how beautiful and grand -they are in the young heart! - - 3. She was a darling little thing: - I worshipped her outright. - When in my arms she smiling lay; - When on my knees she climbed in play; - When round my neck her arms would cling, - As crooning songs I used to sing; - When on my back she gayly rode, - Then strong beneath its precious load; - When at my side, in summer days, - She gambolled in her childish plays; - When, throughout all the after-years, - I watched with trembling hopes and fears - The infant to a woman grow,-- - I worshipped then, as I do now, - My life's delight. - -LOUD FORCE. - - 1. Hark to the bugle's roundelay! - Boot and saddle! Up and away! - Mount and ride as ye ne'er rode before; - Spur till your horses' flanks run gore; - Ride for the sake of human lives; - Ride as ye would were your sisters and wives - Cowering under their scalping-knives. - Boot and saddle! Away, away! - - 2. News of battle! news of battle! - Hark! 'tis ringing down the street, - And the archways and the pavement - Bear the clang of hurrying feet. - News of battle!--who hath brought it? - News of triumph!--who should bring - Tidings from our noble army, - Greetings from our gallant king! - - 3. And, lo! from the assembled crowd - There rose a shout, prolonged and loud, - That to the ocean seemed to say, - "Take her, O bridegroom old and gray! - Take her to thy protecting arms, - With all her youth and all her charms." - -VERY LOUD FORCE. - - 1. "Now, men! now is your time!" - "Make ready! take aim! fire!" - - 2. Up the hillside, down the glen, - Rouse the sleeping citizen, - Summon out the might of men! - Clang the bells in all your spires! - On the gray hills of your sires - Fling to heaven your signal-fires! - Oh, for God and Duty stand, - Heart to heart, and hand to hand, - Round the old graves of your land! - - 3. Now for the fight! now for the cannon-peal! - Forward, through blood and toil and cloud and fire! - Glorious the shout, the shock, the crash of steel, - The volley's roll, the rocket's blasting spire! - They shake; like broken waves their squares retire. - On them, hussars! Now give them rein and heel! - Think of the orphaned child, the murdered sire! - Earth cries for blood. In thunder on them wheel! - This hour to Europe's fate shall set the triumph seal. - - -STRESS. - -In expressing your emotions, the voice is ejected in various ways; -perhaps in a jerky or trembling or flowing manner, as may be, depending -on the kind of emotion you feel. This is called "Stress;" and you have -learned how, mechanically, to make it. Radical Stress is used when you -try to impress upon others your exact meaning. Practise it with that -thought in your mind. Median Stress is used in appeal to the best -affections, and expresses agreeable emotions. The swell comes on -emphatic words. Terminal Stress is used in expressions of anger, -petulance, impatience, and the like. Thorough Stress is used in calling -to persons at a long distance, but has little place in expression. It is -frequently substituted by bad readers or speakers for Median or Terminal -Stress. Compound Stress is used in strong passion; and being a compound -of Radical and Terminal Stress, and used with circumflex inflections, it -combines the meaning of them all, as sarcasm, irony, &c., mixed with -anger, impatience, doubt, &c. Tremolo Stress is used in excessive -emotion; as joy, anger, sorrow, in excess, would cause the voice to -tremble. You should practise this in order to avoid it, as, when Tremolo -does not proceed from real excess of feeling, it has a very ludicrous -effect. Practise the following exercises by thinking and feeling the -idea and emotion. - -RADICAL STRESS. - - 1. Hark, hark! the lark sings mid the silvery blue: - Behold her flight, proud man, and lowly bow. - -2. There is the act of utterance, a condition that exists between you -and myself. I speak, and you hear; but how? The words issue from my -lips, and reach your ears; but what are those words? Volumes of force -communicated to the atmosphere, whose elastic waves carry them to fine -recipients in your own organism. But still I ask, How? How is it that -these volumes of sound should convey articulate meaning, and carry ideas -from my mind into your own? - -3. I call upon you, fathers, by the shades of your ancestors, by the -dear ashes which repose in this precious soil, by all you are and all -you hope to be,--resist every object of disunion; resist every -encroachment upon your liberties; resist every attempt to fetter your -consciences, or smother your public schools, or extinguish your system -of public instruction. - -MEDIAN STRESS. - - 1. The earth is the Lord's, and the fulness thereof; - The world, and they that dwell therein: - For he hath founded it upon the seas, - And established it upon the floods. - -2. Oh divine, oh delightful legacy of a spotless reputation! Rich is the -inheritance it leaves; pious the example it testifies; pure, precious, -and imperishable the hope which it inspires. Can there be conceived a -more atrocious injury than to filch from its possessor this inestimable -benefit; to rob society of its charm, and solitude of its solace; not -only to outlaw life, but to attaint death, converting the very grave, -the refuge of the sufferer, into the gate of infamy and of shame? - - 3. How sleep the brave who sink to rest - With all their country's wishes blest! - When Spring, with dewy fingers cold, - Returns to deck their hallowed mould, - It there shall dress a sweeter sod - Than blooming Fancy ever trod. - By fairy hands their knell is rung; - By forms unseen their dirge is sung: - There Honor walks, a pilgrim gray, - To deck the turf that wraps their clay; - And Freedom shall a while repair - To dwell a weeping hermit there. - -TERMINAL STRESS. - - 1. I'll have my bond; I will not hear thee speak: - I'll have my bond; and therefore speak no more: - I'll not be made a soft and dull-eyed fool, - To shake the head, relent, and sigh, and yield - To Christian intercessors. - - 2. Nor sleep nor sanctuary, - Being naked, sick, nor fane nor capitol, - The prayers of priests, nor times of sacrifice, - Embarkments all of fury, shall lift up - Their rotten privilege and custom 'gainst - My hate to Marcius: where I find him, were it - At home upon my brother's guard,--even there, - Against the hospitable cannon, would I - Wash my fierce hand in his heart. - - 3. A plague upon them! Wherefore should I curse them? - Would curses kill, as doth the mandrake's groan, - I would invent as bitter-searching terms, - As curst, as harsh, and horrible to hear, - Delivered strongly through my fixèd teeth, - With full as many signs of deadly hate, - As lean-faced Envy in her loathsome cave: - My tongue should stumble in mine earnest words; - Mine eyes should sparkle like the beaten flint; - My hair be fixed on end, as one distract; - Ay, every joint should seem to curse and ban; - And even now my burdened heart would break, - Should I not curse them. - -THOROUGH STRESS. - - 1. "Ho, Starbuck and Pickney and Tenterden! - Run for your shallops, gather your men, - Scatter your boats on the lower bay!" - - 2. "Run! run for your lives, high up on the land! - Away, men and children! up quick, and be gone! - The water's broke loose! it is chasing me on!" - - 3. They strike! Hurrah! the fort has surrendered! - Shout, shout, my warrior-boy, - And wave your cap, and clap your hands for joy! - Cheer answer cheer, and bear the cheer about. - Hurrah, hurrah, for the fiery fort is ours! - "Victory, victory, victory!" - -COMPOUND STRESS. - - 1. Thou slave, thou wretch, thou coward, - Thou little valiant great in villany! - Thou wear a lion's hide! doff it for shame, - And hang a calf's skin on those recreant limbs. - -2. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, -senses, affections, passions? fed with the same food, hurt with the same -weapons, subject to the same diseases, healed by the same means, warmed -and cooled by the same winter and summer, as a Christian is? If you -prick us, do we not bleed? if you tickle us, do we not laugh? if you -poison us, do we not die? and, if you wrong us, shall we not revenge? - - 3. Think you a little din can daunt mine ears? - Have I not in my time heard lions roar? - Have I not heard the sea, puffed up with winds, - Rage like an angry boar, chafèd with sweat? - Have I not heard great ordnance in the field, - And heaven's artillery thunder in the skies? - Have I not in a pitchèd battle heard - Loud 'larums, neighing steeds, and trumpet's clang? - And do you tell me of a woman's tongue, - That gives not half so great a blow to the ear - As will a chestnut in a farmer's fire? - -TREMOLO STRESS. - - 1. There's nothing in this world can make me joy: - Life is as tedious as a twice-told tale, - Vexing the dull ear of a drowsy man. - - 2. O men with sisters dear! - O men with mothers and wives! - It is not linen you're wearing out, - But human creatures' lives. - Stitch, stitch, stitch, - In poverty, hunger, and dirt; - Sewing at once, with a double thread, - A shroud as well as a shirt. - - 3. Grief fills the room up of my absent child, - Lies in his bed, walks up and down with me, - Puts on his pretty looks, repeats his words, - Remembers me of all his gracious parts, - Stuffs out his vacant garments with his form: - Then have I reason to be fond of grief. - - -TRANSITION. - -The changes from one kind of force to another, or one pitch to another, -or one movement to another, or one quality to another, are many in -expressive reading; and these changes are called "Transition." To -practise it is very useful in breaking up monotony of voice, and adding -expressiveness to it. In practice of these short extracts, you are -showing the benefit of practice in quality, pitch, movement, and force. -Put yourself into the thought and feeling, and vary the voice as that, -guided by common sense, may suggest to you. - - See "Reading Club," No. 1, pp. 45, 54; No. 2, pp. 5, 101; - No. 3, pp. 9, 70, 87; No. 4, pp. 26, 42, 75. - - 1. "Make way for liberty!" he cried,-- - Made way for liberty, and died! - - 2. "Peace be unto thee, father," Tauler said: - "God give thee a good day!" The old man raised - Slowly his calm blue eyes: "I thank thee, son; - But all my days are good, and none are ill." - - 3. "They come, they come! the pale-face come!" - The chieftain shouted where he stood, - Sharp watching at the margin wood, - And gave the war-whoop's treble yell, - That like a knell on fair hearts fell - Far watching from their rocky home. - - 4. "Not yet, not yet: steady, steady!" - On came the foe in even line, - Nearer and nearer, to thrice paces nine. - We looked into their eyes. "Ready!" - A sheet of flame, a roll of death! - They fell by scores: we held our breath: - Then nearer still they came. - Another sheet of flame, - And brave men fled who never fled before. - - 5. Did ye not hear it?--No: 'twas but the wind, - Or the car rattling o'er the stony street. - On with the dance! let joy be unconfined! - No sleep till morn, when youth and pleasure meet - To chase the glowing hours with flying feet. - But hark!--that heavy sound breaks in once more, - As if the clouds its echo would repeat; - And nearer, clearer, deadlier than before! - Arm, arm! it is--it is--the cannon's opening roar! - - 6. "Together!" shouts Niagara his thunder-toned decree; - "Together!" echo back the waves upon the Mexic Sea; - "Together!" sing the sylvan hills where old Atlantic roars; - "Together!" boom the breakers on the wild Pacific shores; - "Together!" cry the people. And "together" it shall be, - An everlasting charter-bond forever for the free! - Of liberty the signet-seal, the one eternal sign, - Be those united emblems,--the Palmetto and the Pine. - - 7. "Ho, sailor of the sea! - How's my boy,--my boy?" - "What's your boy's name, good wife? - And in what good ship sailed he?" - - "My boy John,-- - He that went to sea: - What care I for the ship, sailor? - My boy's my boy to me." - - 8. Out burst all with one accord: - "This is Paradise for Hell! - Let France, let France's king, - Thank the man that did the thing!" - What a shout! and all one word,-- - "Hervé Riel!" - As he stepped in front once more, - Not a symptom of surprise - In the frank blue Breton eyes: - Just the same man as before. - - 9. He called his child,--no voice replied; - He searched, with terror wild: - Blood, blood, he found on every side, - But nowhere found his child. - - "Hell-hound! my child's by thee devoured," - The frantic father cried; - And to the hilt his vengeful sword - He plunged in Gelert's side. - - His suppliant, as to earth he fell, - No pity could impart; - But still his Gelert's dying yell - Passed heavy o'er his heart. - - 10. While the trumpets bray, and the cymbals ring, - "Praise, praise to Belshazzar, Belshazzar the king!" - Now what cometh? Look, look! Without menace or call, - Who writes with the lightning's bright hand on the wall? - What pierceth the king like the point of a dart? - What drives the bold blood from his cheek to his heart? - "Chaldæans, magicians! the letters expound." - They are read; and Belshazzar is dead on the ground! - - 11. _Sir P._--'Slife, madam! I say, had you any of these - little elegant expenses when you married me? - - _Lady T._--Lud, Sir Peter! would you have me be out - of the fashion? - - _Sir P._--The fashion, indeed! What had you to do - with the fashion before you married me? - - _Lady T._--For my part, I should think you would like - to have your wife thought a woman of taste. - - _Sir P._--Ay, there again! Taste! Zounds, madam! - you had no taste when you married me. - - _Lady T._--That's very true, indeed, Sir Peter; and, - after having married you, I should never pretend to taste - again, I allow. - - 12. "And what the meed?" at length Tell asked. - "Bold fool! when slaves like thee are tasked, - It is my will; - But that thine eye may keener be, - And nerved to such nice archery, - If thou succeed'st, thou goest free. - What! pause ye still? - Give him a bow and arrow there: - One shaft,--but one." Madness, despair, - And tortured love, - One moment swept the Switzer's face; - Then passed away each stormy trace, - And high resolve reigned like a grace - Caught from above. - - 13. _Bass._--Why dost thou whet thy knife so earnestly? - - _Shy._--To cut the forfeit from that bankrupt there. - - _Gra._--Can no prayers pierce thee? - - _Shy._--No, none that thou hast wit enough to make. - - _Gra._--Oh, be thou damned, inexorable dog, - And for thy life let justice be accused! - Thou almost mak'st me waver in my faith, - To hold opinion with Pythagoras, - That souls of animals infuse themselves - Into the trunks of men: thy currish spirit - Governed a wolf, who, hanged for human slaughter, - Even from the gallows did his fell soul fleet, - And, whilst thou lay'st in thy unhallowed dam, - Infused itself in thee; for thy desires - Are wolfish, bloody, starved, and ravenous. - - _Shy._--Till thou canst rail the seal from off my bond, - Thou but offend'st thy lungs to speak so loud. - Repair thy wit, good youth, or it will fall - To cureless ruin.--I stand here for law. - - 14. _Ham._--Now, mother, what's the matter? - - _Queen._--Hamlet, thou hast thy father much offended. - - _Ham._--Mother, you have my father much offended. - - _Queen._--Come, come, you answer with an idle tongue. - - _Ham._--Go, go, you question with a wicked tongue. - - _Queen._--Why, how now, Hamlet? - - _Ham._--What's the matter now? - - _Queen._--Have you forgot me? - - _Ham._--No, by the rood, not so: - You are the queen, your husband's brother's wife; - And--would it were not so!--you are my mother. - - _Queen._--Nay, then, I'll set those to you that can speak. - - _Ham._--Come, come, and sit you down: you shall not budge; - You go not, till I set you up a glass - Where you may see the inmost part of you. - - -MODULATION. - - "'Tis not enough the voice be loud and clear: - 'Tis MODULATION that must charm the ear." - -A good reader or speaker will vary his or her voice in the elements of -emotional expression (that is, pitch, quality, movement, stress, force), -on words, phrases, and sentences, in such a manner that the listeners -get a suggestion of the meaning of a word by the sound of it. For -instance, the words _bright_, _glad_, _joyful_, _dull_, _sad_, _weak_, -may be pronounced in such a manner as to suggest by the quality of voice -used their meaning; and, in the same manner, phrases and whole sentences -may have variation in voice so as to suggest their meaning. This is -modulation. - -To modulate well, first, you must use your imagination, to form a -perfect picture in your own mind of what you wish to describe, just as -you would if you were an artist, and were intending to paint an ideal -picture; and, in reality, you are an artist, for you paint with words -and tones. Secondly, you should understand the exact meaning of each -word, and, when you speak it, make your manner of speaking it suggest -its meaning. Suppose you were to read Tennyson's "Song of the Brook." We -will analyze as near as words may the manner of reading each verse. Read -the whole song, and form the picture in imagination of the flow of the -water, the scenery along its course, the roughness or smoothness of the -water as described, the slowness or rapidity of its flow at different -points, how large or small the brook is, making the picture as perfect -as if you would paint upon canvas the whole scene. - - THE BROOK. - - 1. I come from haunts of coot and hern; - 2. I make a sudden sally, - 3. And sparkle out among the fern - 4. To bicker down a valley. - - 5. By thirty hills I hurry down, - 6. Or slip between the ridges; - 7. By twenty thorps, a little town, - 8. And half a hundred bridges. - - 9. Till last by Philip's farm I flow - 10. To join the brimming river; - 11. For men may come, and men may go, - 12. But I go on forever. - - 13. I chatter over stony ways - 14. In little sharps and trebles; - 15. I bubble into eddying bays; - 16. I babble on the pebbles. - - 17. With many a curve my banks I fret, - 18. By many a field and fallow, - 19. And many a fairy foreland set - 20. With willow-weed and mallow. - - 21. I chatter, chatter, as I flow - 22. To join the brimming river; - 23. For men may come, and men may go, - 24. But I go on forever. - - 25. I wind about, and in and out, - 26. With here a blossom sailing, - 27. And here and there a lusty trout, - 28. And here and there a grayling, - - 29. And here and there a foamy flake - 30. Upon me as I travel; - 31. With many a silvery waterbreak - 32. Above the golden gravel; - - 33. And draw them all along, and flow, - 34. To join the brimming river; - 35. For men may come, and men may go, - 36. But I go on forever. - - 37. I steal by lawns and grassy plots; - 38. I slide by hazel covers; - 39. I move the sweet forget-me-nots - 40. That grow for happy lovers. - - 41. I slip, I slide, I gloom, I glance, - 42. Among my skimming swallows; - 43. I make the netted sunbeams dance - 44. Against my sandy shallows. - - 45. I murmur under moon and stars - 46. In brambly wildernesses; - 47. I linger by my shingly bars; - 48. I loiter round my cresses; - - 49. And out again I curve and flow - 50. To join the brimming river; - 51. For men may come, and men may go, - 52. But I go on forever. - -As a whole, this piece requires for quality of voice the _pure tone_; -force, _gentle_; movement, _moderate_; pitch, _middle_; stress, -_median_. The variations in modulation must be from these, and will be -mostly variations in quality, movement, and pitch. - -Lines 2 to 6. Movement, quick; pitch, high; with quality changing on -words _sudden_, _sparkle_, _bicker_, _hurry_, _slip_, in such a way as -to suggest the meaning of the word. - -Lines 7 to 12. Movement, moderate; pitch, middle. - -Lines 13 to 16. Movement, quick; pitch, high; the words _chatter_, -_stony_, _sharps_, _trebles_, _bubble_, _babble_, spoken with suggestion -of their meaning. - -Lines 17 to 20. Movement, moderate; pitch, middle. - -Lines 21 to 24. Movement, quick; pitch, high; make quality suggest on -_chatter_, _brimming_. - -Lines 25 to 28. Movement, slow; pitch, middle; change to suggestive -quality on _wind_, _blossom_, _lusty_. - -Lines 29 to 36. Movement, moderate; pitch, middle; suggestive quality on -_foamy_, _silvery_, _golden_, _brimming_. - -Lines 37 to 40. Movement, slow; pitch, low; suggestive quality on -_steal_, _slide_, _move_, _happy_. - -Lines 41, 42. Movement, pitch, quality, all varied on words _slip_, -_slide_, _gloom_, _glance_. - -Lines 43, 44. Movement, quick; pitch, high; suggestive quality on -_dance_, _shallows_. - -Lines 45 to 48. Movement, slow; pitch, low; quality, very slightly -aspirate; suggestive quality on _murmur_, _linger_, _loiter_. - -Lines 49 to 52. Movement, moderate; pitch, middle; suggestive quality on -_brimming_. - -This analysis is very imperfect, as it is impossible in words to explain -it. What modulation requires is, as a popular author says, "genius and -sense" on your part, and you will be enabled to do as here is -imperfectly suggested. You will do well to select some pieces, and -analyze them, as here suggested. In Longfellow's launch of the ship, in -his poem "Building of the Ship," picture the whole scene in imagination, -the size and kind of ship, the number of the crowd, &c. - -The following pieces are marked so that you may get a general idea of -what is required for emotional expression in each. No marking can give -you particulars of what is necessary, as the modulation of voice or -variety in emotional expression--the light and shadow in the coloring of -your word-picture--must depend upon your artistic "sense and genius." -Imagine your picture, understand the meaning of every word and suggest -its meaning in tone, concentrate yourself in the thought and feeling of -the piece, and let your voice be governed by that, and you will not go -far wrong if you have faithfully practised what has been recommended in -the previous pages of this book. - -1. Pure quality, gentle force, slow movement, middle pitch, median -stress. - - Those evening bells, those evening bells! - How many a tale their music tells - Of youth and home, and that sweet time - When last I heard their soothing chime! - - Those joyous hours are passed away; - And many a heart that then was gay - Within the tomb now darkly dwells, - And hears no more those evening bells. - - And so 'twill be when I am gone: - That tuneful peal will still ring on; - While other bards shall walk these dells, - And sing your praise, sweet evening bells. - -2. Orotund quality, with fulness and power, varying middle and low -pitch, moderate and quick movement, median and radical stress mixed. - - With storm-daring pinion and sun-gazing eye - The gray forest eagle is king of the sky. - From the crag-grasping fir-top where morn hangs its wreath, - He views the mad waters white writhing beneath. - A fitful red glaring, a rumbling jar, - Proclaim the storm-demon still raging afar: - The black cloud strides upward, the lightning more red, - And the roll of the thunder more deep and more dread; - A thick pall of darkness is cast o'er the air; - And on bounds the blast with a howl from its lair. - The lightning darts zig-zag and forked through the gloom; - And the bolt launches o'er with crash, rattle, and boom: - The gray forest eagle--where, where has he sped? - Does he shrink to his eyrie, or shiver with dread? - Does the glare blind his eye? Has the terrible blast - On the wing of the sky-king a fear-fetter cast? - No, no! the brave eagle, he thinks not of fright: - The wrath of the tempest but rouses delight. - To the flash of the lightning his eye casts a gleam; - To the shriek of the wild blast he echoes his scream; - And with front like a warrior that speeds to the fray, - And a clapping of pinions, he's up and away. - Away--oh! away--soars the fearless and free; - What recks he the skies' strife? its monarch is he! - The lightning darts round him, undaunted his sight; - The blast sweeps against him, unwavered his flight: - High upward, still upward, he wheels, till his form - Is lost in the black scowling gloom of the storm. - -3. Pure to orotund quality, gentle to moderate force, moderate movement, -middle pitch, radical and median stress mixed. This contains many words -that can be pronounced with a quality or variation suggesting their -meaning. - - * * * * * - -Rhetoric as taught in our seminaries and by elocutionists is one thing: -genuine, heart-thrilling, soul-stirring eloquence is a very different -thing. The one is like the rose in wax, without odor; the other like the -rose on its native bush, perfuming the atmosphere with the rich odors -distilled from the dew of heaven. - -The one is the finely-finished statue of a Cicero or Demosthenes, more -perfect in its lineaments than the original, pleasing the eye, and -enrapturing the imagination: the other is the living man, animated by -intellectual power, rousing the deepest feelings of every heart, and -electrifying every soul as with vivid lightning. The one is a picture of -the passions all on fire: the other is the real conflagration, pouring -out a volume of words that burn like liquid flames bursting from the -crater of a volcano. - -The one attracts the admiring gaze and tickles the fancy of an audience: -the other sounds an alarm that vibrates through the tingling ears to the -soul, and drives back the rushing blood upon the aching heart. The one -falls upon the multitude like April showers glittering in the sunbeams, -animating, and bringing nature into mellow life: the other rouses the -same mass to deeds of noble daring, and imparts to it the terrific force -of an avalanche. - -The one moves the cerebral foliage in waves of recumbent beauty like a -gentle wind passing over a prairie of tall grass and flowers: the other -strikes a blow that resounds through the wilderness of mind like rolling -thunder through a forest of oaks. The one fails when strong commotions -and angry elements agitate the public peace: the other can ride upon the -whirlwind, direct the tornado, and rule the storm. - - * * * * * - -4. Aspirated orotund quality, moderate force, very slow movement, very -low pitch, median stress. - - Tread softly, bow the head, in reverent silence bow: - No passing bell doth toll, yet an immortal soul - Is passing now. - - Stranger, however great, with lowly reverence bow: - There's one in that poor shed, one by that paltry bed, - Greater than thou. - - Beneath that beggar's roof, lo! Death doth keep his state. - Enter, no crowds attend; enter, no guards defend - This palace-gate. - - That pavement damp and cold no smiling courtiers tread: - One silent woman stands, lifting with meagre hands - A dying head. - - No mingling voices sound,--an infant wail alone: - A sob suppressed, again that short deep gasp, and then - The parting groan. - - Oh change! oh wondrous change! burst are the prison-bars: - This moment there, so low, so agonized; and now - Beyond the stars! - - Oh change, stupendous change! there lies the soulless clod: - The sun eternal breaks, the new immortal wakes,-- - Wakes with his God! - -5. Pure quality, moderate force, quick movement, high pitch, radical -stress, suggestive quality on many words. - - The Wind one morning sprang up from sleep, - Saying, "Now for a frolic, now for a leap, - Now for a mad-cap galloping chase: - I'll make a commotion in every place!" - So it swept with a bustle right through a great town, - Creaking the signs, and scattering down - Shutters, and whisking with merciless squalls - Old women's bonnets and gingerbread-stalls: - There never was heard a much lustier shout - As the apples and oranges tumbled about; - And the urchins, that stand with their thievish eyes - Forever on watch, ran off each with a prize. - Then away to the field it went blustering and humming, - And the cattle all wondered whatever was coming: - It plucked by their tails the grave matronly cows, - And tossed the colts' manes all about their brows; - Till, offended at such a familiar salute, - They all turned their backs, and stood silently mute. - So on it went capering, and playing its pranks; - Whistling with reeds on the broad river's banks; - Puffing the birds as they sat on the spray, - Or the traveller grave on the king's highway. - It was not too nice to hustle the bags - Of the beggar, and flutter his dirty rags: - 'Twas so bold, that it feared not to play its joke - With the doctor's wig and the gentleman's cloak. - Through the forest it roared, and cried gayly, "Now, - You sturdy old oaks, I'll make you bow!" - And it made them bow without more ado, - And cracked their great branches through and through. - Then it rushed like a monster on cottage and farm, - Striking their dwellers with sudden alarm, - And they ran out like bees in a midsummer swarm. - There were dames with their kerchiefs tied over their caps - To see if their poultry were free from mishaps. - The turkeys they gobbled; the geese screamed aloud; - And the hens crept to roost in a terrified crowd: - There was rearing of ladders, and logs laying on, - Where the thatch from the roof threatened soon to be gone. - But the wind had passed on, and had met in a lane - With a school-boy who panted and struggled in vain; - For it tossed him and twirled him, then passed, and he stood - With his hat in a pool, and his shoe in the mud. - - -STYLE. - -What you have to say, where you have to say it, when you have to say it, -why you have to say it, and to whom you have to say it,--on these depend -how you shall say it, or your style. Conversational style is as you -would talk in earnest conversation with a friend; Narrative, as you -would tell an anecdote or story to a company of friends; Descriptive, as -you would describe what you had actually seen; Didactic, as you would -state earnestly, decisively, but pleasantly, your knowledge or opinions -to others; Public Address, which generally includes the Didactic, -Narrative, and Descriptive, is spoken with design to move, to persuade, -and instruct, particularly the latter; Declamatory is Public Address -magnified in expression, exhibiting more emotion, both in language, and -in quality, and fulness of voice; the Emotional or Dramatic, in which -the emotions and passions are strongly expressed. In practising these -different styles, the quality, pitch, force, and time must be regulated -by your thought and feeling, guided, as in transition, by common sense, -which will enable you to tell natural from unnatural expression. -Practise these few exercises under each head; but you will do better to -practise pieces such as are referred to under each head in the "Reading -Club." - -CONVERSATIONAL. - -1. "And how's my boy, Betty?" asked Mrs. Boffin, sitting down beside -her. - -"He's bad; he's bad!" said Betty. "I begin to be afeerd he'll not be -yours any more than mine. All others belonging to him have gone to the -Power and the Glory; and I have a mind that they're drawing him to them, -leading him away." - -"No, no, no!" said Mrs. Boffin. - -"I don't know why else he clinches his little hand, as if it had hold of -a finger that I can't see; look at it!" said Betty, opening the wrappers -in which the flushed child lay, and showing his small right hand lying -closed upon his breast. "It's always so. It don't mind me." - - 2. _Helen._--What's that you read? - - _Modus._--Latin, sweet cousin. - - _Hel._--'Tis a naughty tongue, - I fear, and teaches men to lie. - - _Modus._--To lie! - - _Hel._--You study it. You call your cousin sweet, - And treat her as you would a crab. As sour - 'Twould seem you think her: so you covet her! - Why, how the monster stares, and looks about! - You construe Latin, and can't construe that! - - _Modus._--I never studied women. - - _Hel._--No, nor men; - Else would you better know their ways, nor read - In presence of a lady. - -3. "Now," said Wardle, "what say you to an hour on the ice? We shall -have plenty of time." - -"Capital!" said Mr. Benjamin Allen. - -"Prime!" ejaculated Mr. Bob Sawyer. - -"You skate, of course, Winkle?" said Wardle. - -"Ye--yes; oh, yes!" replied Mr. Winkle. "I--I am rather out of -practice." - -"Oh, do skate, Mr. Winkle!" said Arabella. "I like to see it so much!" - -"Oh, it is so graceful!" said another young lady. - -A third young lady said it was elegant; and a fourth expressed her -opinion that it was "swan-like." - -"I should be very happy, I'm sure," said Mr. Winkle, reddening; "but I -have no skates." - -This objection was at once overruled. Trundle had got a couple of pair, -and the fat boy announced that there were half a dozen more down stairs; -whereat Mr. Winkle expressed exquisite delight, and looked exquisitely -uncomfortable. - - See "Reading Club," No. 1, p. 56; No. 2, p. 49; No. 3, pp. - 5, 38; No. 4, pp. 94, 67. - -NARRATIVE. - - 1. Tauler the preacher walked, one autumn-day, - Without the walls of Strasburg, by the Rhine, - Pondering the solemn miracle of life; - As one who, wandering in a starless night, - Feels momently the jar of unseen waves, - And hears the thunder of an unknown sea - Breaking along an unimagined shore. - -2. The illustrious Spinola, upon hearing of the death of a friend, -inquired of what disease he died. "Of having nothing to do," said the -person who mentioned it. "Enough," said Spinola, "to kill a general." -Not only the want of employment, but the want of care, often increases -as well as brings on this disease. - -3. Sir Isaac Newton was once examining a new and very fine globe, when a -gentleman came into his study who did not believe in a God, but declared -the world we live in came by chance. He was much pleased with the -handsome globe, and asked, "Who made it?"--"Nobody," answered Sir Isaac: -"it happened there." The gentleman looked up in amazement; but he soon -understood what it meant. - - See "Reading Club," No. 1, pp. 23, 73; No. 2, pp. 37, 44; - No. 3, pp. 9, 99; No. 4, pp. 26, 49, 89. - -DESCRIPTIVE. - - 1. The morn awakes, like brooding dove, - With outstretched wings of gray: - Thin, feathery clouds close in above, - And build a sober day. - - No motion in the deeps of air, - No trembling in the leaves; - A still contentment everywhere, - That neither laughs nor grieves. - - A shadowy veil of silvery sheen - Bedims the ocean's hue, - Save where the boat has torn between - A track of shining blue. - - Dream on, dream on, O dreamy day! - The very clouds are dreams: - That cloud is dreaming far away, - And is not where it seems. - -2. The broad moon lingers on the summit of Mount Olivet; but its beam -has long left the garden of Gethsemane, and the tomb of Absalom, the -waters of Kedron, and the dark abyss of Jehoshaphat. Full falls its -splendor, however, on the opposite city, vivid and defined in its silver -blaze. A lofty wall, with turrets and towers and frequent gates, -undulates with the unequal ground which it covers, as it encircles the -lost capital of Jehovah. It is a city of hills, far more famous than -those of Rome; for all Europe has heard of Sion and of Calvary. - -3. It was a fine autumnal day: the sky was clear and serene, and Nature -wore that rich and golden livery which we always associate with the idea -of abundance. The forests had put on their sober brown and yellow; while -some trees of the tenderer kind had been nipped by the frosts into -brilliant dyes of orange, purple, and scarlet. Streaming files of wild -ducks began to make their appearance high in the air; the bark of the -squirrel might be heard from the groves of beech and hickory nuts, and -the pensive whistle of the quail at intervals from the neighboring -stubble-field. - - See "Reading Club," No. 2, pp. 15, 39; No. 3, pp. 28, 97; - No. 4, pp. 19, 36, 92. - -DIDACTIC. - - 1. To teach--what is it but to learn - Each day some lesson fair or deep, - The while our hearts toward others yearn,-- - The hearts that wake toward those that sleep? - - To learn--what is it but to teach - By aspect, manner, silence, word, - The while we far and farther reach - Within thy treasures, O our Lord? - - Then who but is a learner aye? - And who but teaches, well or ill? - Receiving, giving, day by day,-- - So grows the tree, so flows the rill. - -2. All professions should be liberal; and there should be less pride -felt in peculiarity of employment, and more in excellence of -achievement. And yet more: in each several profession no master should -be too proud to do its hardest work. The painter should grind his own -colors; the architect work in the mason's yard with his men; the -master-manufacturer be himself a more skilful operative than any man in -his mills; and the distinction between one man and another be only in -experience and skill, and the authority and wealth which these must -naturally and justly obtain. - - 3. Now, my co-mates and brothers in exile, - Hath not old custom made this life more sweet - Than that of painted pomp? Are not these woods - More free from peril than the envious court? - Here feel we but the penalty of Adam, - The seasons' difference; as, the icy fang - And churlish chiding of the winter's wind, - Which, when it bites and blows upon my body, - Even till I shrink with cold, I smile, and say, - This is no flattery: these are counsellors - That feelingly persuade me what I am. - Sweet are the uses of adversity, - Which, like the toad, ugly and venomous, - Wears yet a precious jewel in his head; - And this our life, exempt from public haunt, - Finds tongues in trees, books in the running brooks, - Sermons in stones, and good in every thing. - - See "Reading Club," No. 1, p. 82; No. 2, pp. 88, 76; No. 3, - p. 59. - -PUBLIC ADDRESS. - -1. Let not, then, the young man sit with folded hands, calling on -Hercules. Thine own arm is the demigod: it was given thee to help -thyself. Go forth into the world trustful, but fearless. Exalt thine -adopted calling or profession. Look on labor as honorable, and dignify -the task before thee, whether it be in the study, office, counting-room, -work-shop, or furrowed field. There is an equality in all, and the -resolute will and pure heart may ennoble either. - -2. While you are gazing on that sun which is plunging into the vault of -the west, another observer admires him emerging from the gilded gates of -the east. By what inconceivable power does that agèd star, which is -sinking fatigued and burning in the shades of the evening, re-appear at -the same instant fresh and humid with the rosy dew of the morning? At -every hour of the day the glorious orb is at once rising, resplendent as -noonday, and setting in the west; or rather our senses deceive us, and -there is, properly speaking, no east or west, no north or south, in the -world. - -3. In all natural and spiritual transactions, so far as they come within -the sphere of human agency, there are three distinct elements: there is -an element of endeavor, of mystery, and of result; in other words, there -is something for man to do, there is something beyond his knowledge and -control, there is something achieved by the co-operation of these two. -Man sows the seed, he reaps the harvest; but between these two points -occurs the middle condition of mystery. He casts the seed into the -ground; he sleeps and rises night and day; but the seed springs and -grows up, he knows not how: yet, when the fruit is ripe, immediately he -putteth in the sickle, because the harvest is come. That is all he knows -about it. There is something for him to do, something for him to -receive; but between the doing and receiving there is a mystery. - - See "Reading Club," No. 1, p. 83; No. 2, pp. 77, 79; No. 3, - pp. 74, 91; No. 4, pp. 35, 53. - -DECLAMATORY. - -1. You speak like a boy,--like a boy who thinks the old gnarled oak can -be twisted as easily as the young sapling. Can I forget that I have been -branded as an outlaw, stigmatized as a traitor, a price set on my head -as if I had been a wolf, my family treated as the dam and cubs of the -hill-fox, whom all may torment, vilify, degrade, and insult; the very -name which came to me from a long and noble line of martial ancestors -denounced, as if it were a spell to conjure up the devil with? - -2. I have been accused of ambition in presenting this -measure,--inordinate ambition. If I had thought of myself only, I should -have never brought it forward. I know well the perils to which I expose -myself,--the risk of alienating faithful and valued friends, with but -little prospect of making new ones (if any new ones could compensate for -the loss of those we have long tried and loved), and the honest -misconception both of friends and foes. Ambition!--yes, I have ambition; -but it is the ambition of being the humble instrument in the hands of -Providence to reconcile a divided people, once more to revive concord -and harmony in a distracted land; the pleasing ambition of contemplating -the glorious spectacle of a free, united, prosperous, and fraternal -people. - -3. Tell me, ye who tread the sods of yon sacred height, is Warren dead? -Can you not still see him, not pale and prostrate, the blood of his -gallant heart pouring out of his ghastly wound, but moving resplendent -over the field of honor, with the rose of heaven upon his cheek, and the -fire of liberty in his eye? Tell me, ye who make your pious pilgrimage -to the shades of Vernon, is Washington indeed shut up in that cold and -narrow house? That which made these men, and men like these, cannot die. -The hand that traced the charter of Independence is indeed motionless; -the eloquent lips that sustained it are hushed: but the lofty spirits -that conceived, resolved, and maintained it, and which alone, to such -men, "make it life to live,"--these cannot expire. - - See "Reading Club," No. 1, pp. 66, 75; No. 3, pp. 50, 68, - 84; No. 4, pp. 40, 55. - -DRAMATIC OR EMOTIONAL. - - 1. Vain pomp and glory of this world, I hate ye! - I feel my heart new opened. Oh, how wretched - Is that poor man that hangs on princes' favors! - There is betwixt that smile we would aspire to, - That sweet aspéct of princes and their ruin, - More pangs and fears than wars or women have; - And, when he falls, he falls like Lucifer, - Never to hope again. - - 2. What would you have, you curs! - That like nor peace nor war? The one affrights you; - The other makes you proud. He that trusts you, - Where he should find you lions finds you hares; - Where foxes, geese. You are no surer, no, - Than is the coal of fire upon the ice, - Or hailstone in the sun. - - 3. To-morrow, and to-morrow, and to-morrow, - Creeps in this petty pace from day to day, - To the last syllable of recorded time; - And all our yesterdays have lighted fools - The way to dusty death. Out, out, brief candle! - Life's but a walking shadow; a poor player, - That struts and frets his hour upon the stage, - And then is heard no more: it is a tale - Told by an idiot, full of sound and fury, - Signifying nothing. - - See "Reading Club," No. 1, p. 8; No. 2, p. 28; No. 3, p. 60; - No. 4, p. 14. - - - - -PART FOUR. - -HINTS ON ELOCUTION. - - -[Sidenote: _Practice._] If you have practised and studied the previous -pages of this book, you will have gained an elementary knowledge of the -science of elocution. Carlyle says, "The grand result of schooling is a -mind with just vision to discern, with free force to do: the grand -school-master is Practice." To make an artist of yourself in elocution -requires much practice and much patience. As Longfellow says, "Art is -long, and time is fleeting;" and the art of elocution is no exception to -that truth. - -[Sidenote: _Health._] You must have health, strength, and elasticity of -body; and, to get and keep these, obey the laws of life as to exercise, -rest, pure air, good food, and temperance in all things. Avoid all -stimulants, or tobacco in any form. Practise any gymnastics that shall -help to make you strong and sprightly, but especially the physical -gymnastics here given, as they are designed to benefit the muscles used -in speaking. - -[Sidenote: _Position._] When you stand to speak, the first thing that -strikes your audience is the position you assume. Therefore be careful -to assume and keep the speaker's position until some other position is -needed for expression; and return to the speaker's position, as the one -which is an active position, but gives the idea of repose and -confidence, without that disagreeable self-consciousness which to an -audience is disgusting. While you are speaking, avoid all swaying or -motion of body, unless it means something. - -[Sidenote: _Bowing._] Do not bow too quickly, but do it with dignity, -and respect to your audience, first with a general, quick glance of the -eye about you. Bend the body at the hip-joints; let the back bend a -little, and the head more than the body. Do not bow too low, nor be -stiff in your movements. - -[Sidenote: _Holding book._] How to hold the book has been shown in Part -One; and you will find that to be the position that strikes the audience -most favorably, and gives an impression of ease, which goes a great way -towards making the audience enjoy your reading. - -[Sidenote: _Articulation._] When you speak, it is for the purpose of -making yourself understood. And to do this you must articulate -perfectly; that is, give a clear and correct utterance every element in -a word. [Sidenote: _Pronunciation._] You must also pronounce -properly,--that is, accent the proper syllable in a word; and, to find -out what the proper syllable is, refer to Webster's or Worcester's large -Dictionary (Worcester being preferable), and find out for yourself. -[Sidenote: _Emphasis._] You must also give the right phrasing, -subordinating all other phrases to the principal one, and remembering -that the emphatic word of your sentence is the emphatic word of the -important phrase. The emphatic word is usually brought out by inflection -and added force; but it may be made emphatic by particular stress, or a -pause before it or after it, or both before and after, or by a change of -quality. Your own common sense will tell you when these may be proper -and effective and natural. - -[Sidenote: _Fulness and power._] You must also make your audience hear -you; and this requires, not a loud, high-pitched voice, but--unless -dramatic expression requires otherwise--your middle or conversational -pitch, with fulness of voice, that shall give you power. Your own mind -will regulate this for you, if you will direct your attention to the -persons in the back part of the hall, and speak in middle pitch, so that -they may hear. [Sidenote: _Avoid high pitch._] Many speakers make the -mistake of using a high pitch, and render their speech very ineffective -by so doing. You will call to mind the fact, that, when we say we cannot -hear a speaker, it is not that we do not hear the sound of his voice, -but that we cannot understand the words. Bearing this in mind, you will -see that perfect articulation is what is wanted, and that fulness added -to your voice in middle pitch will make the voice reach, will require -less effort, and will produce better effect. - -[Sidenote: _Feeling._] Having made your audience understand and hear, -you must then make them feel. To do this as public reader, actor, -clergyman, lawyer, teacher, orator, lecturer, you must yourself feel -what you have to say, and, forgetting every thing else in your subject, -concentrate your whole being in your utterance and action. Then you will -be effective, and you will carry your audience with you. And you will -fail in proportion as you fail to lose your own personality in your -subject. "The heart giveth grace unto every art;" and of no art is this -more true than of elocution. You may have all the graces of elocution -which practice will give you; yet, in the effect these will produce,--if -the will, acting alone, not being guided by mind and heart, prompts the -utterance,--something will be lacking, of which learned and unlearned -alike will be conscious. - -[Sidenote: _Be natural._] "One touch of nature makes the whole world -kin," and cultivated and uncultivated alike will feel it; and this -"touch of nature" you will show if you enter into what you have to say -with mind, heart, and soul. Your voice will vary in all the elements of -emotional expression, and you will be natural. - -[Sidenote: _Mechanical speaking._] When speaking in public, do not try -to remember the first rule of elocution. Leave it all behind you when -you come before the audience. Speak from your thought and feeling, and -be sure you are thoroughly familiar with what you have to say. Be sure -you understand it yourself before you try to make others understand. -[Sidenote: _Words without meaning._] You can read words, calling them -off mechanically, or you can speak words from memory very mechanically, -and not have a clear idea of the meaning the words convey while you -speak them. But do not do this. Always think the thought, as you read or -speak, in the same manner as you would if speaking extempore. You can -express your thought clearly by thinking it as you speak; but at the -same time there may be no expression of emotion. [Sidenote: _Thought -without feeling._] You may have thought without feeling; but you must -impress your thought by feeling. When you read, your mind gets the -thought through the words, and from that thought comes feeling; but, -when you speak your own thoughts, the feeling creates the thought. In -reading, you think, and then feel; but, in speaking your thought, you -feel, and then think. When you read, then, or speak from memory, if you -will let thought create feeling before you speak, you will avoid -mechanical reading and speaking, and be effective in conveying the -thought and feeling both together. - -[Sidenote: _Feeling without thought._] You can convey emotion without a -definite thought; and this is as bad as either words without meaning, or -thought without feeling. This arousing the feelings without guiding them -by definite thought is the province of the art of music. Elocution is -superior to music for the reason that it guides both thought and -feeling, for certainly it is better that mind and feeling should work -together, than either alone. - -[Sidenote: _Emotion in song or speech._] The elements of emotional -expression are alike in speech and song. In each you have quality, time, -force, and pitch. The variation of these elements makes expression of -feeling; and each sound you make contains all these elements. It has a -certain quality; it has more or less of force; it is relatively high or -low in pitch, it takes a longer or shorter time. [Sidenote: _Variety in -expression._] The more you vary in the elements of emotional expression, -the better the effect, provided the variation is caused by the variation -of your feeling, and not by any artificiality, or seeming to express -what you do not feel. - -[Sidenote: _Quality. Force. Pitch. Time._] The quality of voice, -its purity or harshness, its aspiration, &c., will vary with the kind of -feeling; the degree of force will vary according to the intensity of -feeling; the pitch will be according to what we may call the height or -depth of your feeling; the movement, or time, will be according as the -emotion is quick or slow. After having cultivated the voice well in -these elements of emotional expression, your own common sense ought to -be your best guide in the application of them to reading and speaking. -You, for the time being, should be the author of what you read. "Put -yourself in his place," and express as you feel that he felt while -writing it. - -[Sidenote: _Feeling without expression._] It is possible for you to feel -intense emotion, and not be capable of properly expressing it, so as to -make others feel it. You may not have had training that will give you -command of sound and motion, those channels of expression through which -the body is made to obey mind and soul, and express their thought and -feeling. [Sidenote: _No expression without feeling._] It is impossible -to express, even with the best cultivation, what, at the moment of -utterance, you do not feel: therefore you must sink your own personality -in your subject; and, according to your conception, so will you -express. - -[Sidenote: _Reserve power._] All apparent effort must be avoided; that -is, in the expression of the strongest passion or emotion, you must not -give the audience the slightest indication of want of power. You will -give that impression if you try to express more than you actually feel. -In emotional expression it must seem as if it overflowed because of -excess, and you could hardly control it; but you must never lose control -of it. This control will give the audience the impression that you feel -more than you express, and is what is called reserved power. If--your -well of emotion not being overflowingly full--you use a force-pump, or, -in other words, your will-power, to make it overflow, you will fail in -expression. - -[Sidenote: _How to get reserve power._] How are you to get this, you -ask. By study and long practice. As you plainly see, it involves a -perfect command over the feelings; and "he that ruleth his own spirit is -greater than he that taketh a city." Conquer yourself. All art, -elocution included, is but a means of expression for man's thoughts and -feelings; and, if you have no thought or feeling to express, art is -useless to you. - -[Sidenote: _Breathing._] Do not let your audience be reminded that you -breathe at all. Take breath quietly through nostrils or mouth, or both. -Form the habit of keeping the chest, while speaking, active, as -recommended in all vocal exercises; and the breath will flow in -unobstructed whenever needed. Breathe as nearly as possible as you would -if you were not speaking, that is, do not interfere with right action of -the lungs. The instant you feel a want of breath, take it: if you do -not, you will injure your lungs; and what you say, feeling that want of -breath, will lack power. The more breath you have, so that it does not -feel uncomfortable and can be well controlled, the more power you will -have: therefore practise breathing until you breathe rightly and easily. - -[Sidenote: _Throat trouble._] If your general health is good, your -throat will be well; and therefore pay attention to the general health -of the whole body, and the throat will take care of itself. If, when you -come before an audience, your throat and mouth are dry, use only clear, -cold water, not ice-water: that is too cold. Avoid candy or -throat-lozenges; for the use of either of these is worse than if you -used nothing at all. If you have a cold or sore throat, you had better -not use your voice; but, if you must use it, keep it clear by clear -water. A healthy throat will not need even water: it will moisten itself -after a little use, if at first it is dry. - -[Sidenote: _Pausing._] Deliberate movement and frequent pausing are very -expressive in some cases. Where it is applicable may be determined by -what you have to express. Pausing in its appropriate place makes -emphasis strong. [Sidenote: _Punctuation._] Let the pause be regulated, -however, by the feeling, and not all by the punctuation. Express -according to your conception of the thought. Punctuation may be a guide -to you in obtaining the right idea; but it is no guide to correct -expression. Pausing, generally, comes naturally either before or after, -or both before and after, the emphatic word or phrase. - -[Sidenote: _Poetry._] Speak or read poetry with the same care and -attention to phrasing that you would give to prose, and you will avoid -all drawling, monotony, or sing-song. In order that the rhyme in poetry -may be preserved, the pronunciation of a word may be changed from common -usage, if, by so doing, you do not obscure the meaning; but never -sacrifice the meaning for the sake of the rhyme. In good poetry, which -includes blank verse, the metrical movement will show itself without any -attempt on your part to make it prominent. - -[Sidenote: _Stage fright._] You may feel, when you first come before an -audience, a shrinking, or faintness of feeling, such as is known to -actors as "stage fright." It probably arises from a very sensitive, -nervous organization; and, other things being equal, persons of this -character make the best speakers. As to the real cause of this feeling, -as Lord Dundreary says, "It's one of those things no fellah can find -out." But, whatever its cause, you can overcome it by strong will-power -and self-possession; and, after a time, you will become used to -appearance in public, and that will establish the "confidence of habit." -Some of the best orators and actors that ever lived have had "stage -fright;" and some of them, so far as we know, never had it. So you must -not flatter yourself that this is a certain indication of your power. It -takes much more than a tendency to "stage fright" to make a powerful -speaker. - -[Sidenote: _Reading. Speaking. Recitation._] Whether you are reading -from a book or paper, reciting from memory, or speaking extempore your -own thought, you should do all as you would the latter, so that a blind -man, who could not judge which you were doing except by the sound of -your voice, would be unable to tell. In committing to memory for -recitation, you will remember more easily if you will pick out the -emphatic words of the sentences in their order, and commit them, as they -contain an outline of the succession of thought and meaning. - -[Sidenote: _Action._] The look upon the face, the gestures of the arm, -the attitude of the body, all speak the language of emotion as plainly -to the eye as elocution proper does to the ear. This action will be -prompted by the feelings, as the voice is; and it will be expressive or -not, it will be appropriate or not, it will be graceful or not, -according as you have natural or acquired ability. Natural ability will -be much aided by a knowledge and practice of gesture as a language, and -much may be acquired by any one with practice. - -[Sidenote: _Look. Gesture. Attitude._] I have said nothing of action -in the previous pages, as this book treats of expression through the -voice, or elocution. A few words here upon the subject will not be out -of place. When you read, you should ordinarily make your voice express -much, and use gesture sparingly, but, if you feel prompted to make -gestures, never do so while the eye rests on the book. Look either at -the audience, or as may be indicated by the gesture. When you recite, or -speak extempore, you can add much to the expression by look, gesture, -and attitude. In natural expression the face will first light up, and -show feeling; and the attitude and gesture follow more or less quickly, -according to the feeling; and then comes speech. And all these must -express alike. For the face to be expressionless, or to express one -thing while the speech and gesture say another thing, is in effect -ludicrous. - -[Sidenote: _Motion without meaning._] Remember that all motions and -attitudes have meaning; and, when no other gesture or attitude is called -for to express some feeling, stand perfectly still in the speaker's -position before mentioned, that being an active, and at the same time a -neutral position. Don't move, unless you mean something by it. Don't -sway the body, or nod the head, or shrug the shoulders, or move the -feet, or make motions or gestures, unless the proper expression call for -it, and your emotion prompts. - -[Sidenote: _The eye._] The eye is particularly effective in expression, -as there the emotion first shows itself; and by it you can get and keep -the attention of your audience. In reading, keep your eye off the book -as much as possible, and on your audience. In recitation or extempore -speaking, look at your audience. The eye leads in gesture, and, in many -cases, looks in the direction of the gesture. In personation of -character, as in dramatic scenes, your eye must look at those to whom -you are supposed to be speaking, as, in common conversation, you usually -look at the person to whom you speak. Never look in an undecided way, as -if you did not have a purpose in looking, but look in the face and eyes -of your audience when emotional expression does not require you to look -elsewhere. - -[Sidenote: _Gesture._] When you don't wish to use your arm for gesture, -let it hang naturally at the side. When the emotion calls for gesture, -make it with decision, and let the gesture continue as long as you utter -words explaining the meaning of the gesture. Gesture always comes before -words, more or less quickly, as may be the kind of emotion. Usually, if -the words are quickly spoken, the gesture will be quickly made, and the -words will be spoken almost at instant of the gesture. If the words move -slow, the gesture will move slow, and there may be a perceptible pause -between the gesture and words. [Sidenote: _No rules for gesture._] No -stated rules for gesture can be given; for they are as infinite in -number and variety as the emotions they express. You will find, however, -that gesture may be regulated, as emotional expression of voice is, by -means of your intensity of thought and feeling, guided by common sense, -and aided by genius. Gesture is a science and art, which, as in speech -and song, has elements of emotional expression; and these elements -correspond in each. You have in gesture (as said of the others) quality -or kind of gesture, force or intensity in gesture, time or the degree of -movement in gesture, and pitch, or relative height and depth; and all -these have a meaning something like the corresponding elements of song, -or speech, or other arts. Long and hard study and practice will be -necessary to perfection in this, as in all arts. A graceful habit of -gesture, an appropriate expression of eye and face, united to a voice -full-toned, musical, and varying in all shades of emotional -expression,--what is there more captivating to eye and ear, more -pleasing to the senses, more instructive to the mind, more moving to the -emotions, if only it is, as Mendelssohn says of all art, expressive of -lofty thought? "Every art can elevate itself above a mere handicraft -only by being devoted to the expression of lofty thought." - - -DEFECTS OF SPEECH. - -Defects of speech cannot be spoken of at great length in this book. A -thorough study of articulation in Parts One and Two will cure any of -them where there is no defect in the mouth. The letter _s_ is more often -defective than any other letter, it being pronounced like _th_ in -_thin_, or whistled. In the first the tongue is too far forward: in the -last it is drawn too far back. Cure by imitating somebody who makes it -correctly. _R_ is often defective by substituting _w_ for it; as, _wun_ -for _run_. Sometimes it is defective by being made with the whole -tongue, something as _y_ is made; as, _yun_ for _run_: and cure may be -had by imitating the correct sound. Other defects of letters or -elementary sounds are less common, and need not be mentioned here. - -[Sidenote: _Too precise speech._] Too precise speech is a defect, and -results from trying to give too much force to the consonant sounds, and -not a due proportion to the vowel sounds. It sounds like affectation on -the part of the speaker, and may be corrected by giving more force to -the vowels, and particular attention to phrasing. (See "Articulation," -Part Three.) - -[Sidenote: _Slovenly speech._] Slovenly speech is a defect, and is -opposite in kind and effect from the above. The consonants are not -pronounced; and, to remedy it, practise to give consonants more force -and precision, and pay attention to phrasing and emphasis. - -[Sidenote: _Too rapid speech._] Speaking too rapidly is a defect, and -results from too rapid thought. Put a restraint upon thought,--that is, -control it,--and make the tongue move slower in consequence, being -careful to phrase and emphasize well. - -[Sidenote: _Too slow speech._] Speaking too slowly is also a defect, -opposite in kind from rapid speech, and is caused by the mind moving too -slowly in thinking. The remedy is to think faster, and urge the tongue -to move quicker. - -[Sidenote: _Stuttering._] When you have too slow thought and too rapid -speech, you have stuttering; for the tongue keeps moving all the time -while the thought is coming, and it repeats syllables or words. Make -the mind of the stutterer move faster, and the tongue talk slower. In -each of these last three defects, let the person who wants to cure it -"know what you wish to say before you attempt to say it." - -[Sidenote: _Stammering._] Stammering is caused by too much effort on the -part of the person to make articulate sounds, and is usually the result -of imitating some one who stammered, or formed gradually by habit of -incorrect breathing, and from physical weakness. Stammerers make the -attempt to speak, and the lips or tongue or jaw become immovable, or the -words stick in their throat; and, because this takes place, they make -great effort to overcome it. The more effort they make, the harder it is -for them; and sometimes this leads to contortions and jerkings of body -and limbs that are painful. To cure this takes a longer or shorter time, -depending on the state of health, the length of time the habit has been -in forming, the amount of jerking of limbs to which the stammerer is -subject, and the care taken by the stammerer to practise much. A -stammerer can be cured by teaching articulation thoroughly. (See Parts -One and Two of this book; also Monroe's Fourth Reader.) Show every -element separately, and the position the mouth takes to make it; then -combine into syllables, then into words, then into phrases. Show the -stammerer, that, the less the effort made, the easier will be the -speaking. Impress upon the stammerer's mind, "Make no effort to speak," -and the habit is to be overcome by long-continued practice and a -thorough and complete training in articulation. When reading, be sure -and read in phrases; that is, speak a phrase, as a long word, without -pause. Stammerers, being usually feeble in health, should practise the -physical and vocal gymnastics (Parts One and Two), and particularly the -breathing exercises. When you have given the stammerer confidence, and -he or she finds that talking is as easy as walking or singing, the cure -is certain. There may be times of excitability or nervousness when -stammering will return; but these times will be less and less frequent -as health gets better and confidence grows, and finally will not return. -Remember, stammerer, "make no effort." Be lazy, and even, at first, -slovenly in speech, and cure is certain. - - THE END. - - * * * * * - -MR. WALTER K. FOBES, - -(Graduate of Boston University School of Oratory,) - -IS PREPARED TO TEACH - -Elocution in Private or Class Lessons, - -Either at his room in Boston, his residence in North Cambridge, or -private residences in Boston or vicinity. The private lessons are -adapted to the wants of the pupil as reader or speaker, in the pulpit, -at the bar, on the rostrum, on the stage, or in the parlor. The class -lessons are designed to make pleasing, intelligent readers for the -social or home circle. - -Mr. Fobes will also accept engagements from - -SCHOOLS, ACADEMIES, OR COLLEGES, - -for courses of lessons designed to give a practical drill in the -elements of good reading and speaking. - -He is also prepared to cure - -STAMMERING, STUTTERING, LISPING, - -and other defects of speech, by a simple, natural method, and the use -(when required) of Bell's Visible Speech. - -A few engagements will be accepted for _PUBLIC OR PARLOR READINGS_. - - - 149 A TREMONT STREET, - Cor. of West St., - BOSTON. - Residence, Beach St., No. Cambridge, Mass. - - * * * * * - -"=Books that our Teachers ought to have on hand to SPICE UP with now and -then.="--ST. LOUIS JOURNAL OF EDUCATION. - - -GEO. M. BAKER'S - -READING CLUB and HANDY SPEAKER, - -BEING - -_Selections in Prose and Poetry_, - -SERIOUS, HUMOROUS, PATHETIC, PATRIOTIC, and DRAMATIC. FRESH and -ATTRACTIVE PIECES for SCHOOL SPEAKERS and READING CIRCLES. - -In the words of the GOSPEL BANNER,-- - - _'From grave to gay, from lively to severe,' - In poetry and prose a judicious mixture here; - Beside outlandish dialects, full of words odd and queer, - Which stir one's sense of humor as they fall upon the ear, - Pleasant to those who read or speak as unto those who hear._ - -Published in Parts, each Part containing Fifty Selections. Paper Covers, -15 cents each. Printed on Fine Paper, and Handsomely Bound in Cloth, -price, 50 cents each. - - -READING CLUB NO. 1. - -"We have many readers and books that purport to furnish pieces for the -use of amateur speakers and juvenile orators. But the great defect in -nearly all of them is, that their selections are made from the same -series of authors. We are surfeited _ad nauseam_ with 'The boy stood on -the burning deck,' 'On Linden, when the sun was low,' 'My name is -Norval!' or, 'My voice is still for war.' But in this volume, the first -of a series, Mr. Baker deviates from the beaten track, and furnishes -some fifty selections which have not been published before in any -collection of readings. Mr. Baker has himself written many pieces for -the amateur stage, and achieved a reputation as a public reader, so that -he is eminently qualified by his own experience for the task of teaching -others."--_Phil. Age._ - - -READING CLUB NO. 2. - -"Mr. Baker deserves the thanks of the reading public for his -indefatigable endeavors in the field of light and agreeable literature. -The selections are made with good taste, and the book will be of great -value for its indicated purpose."--_New Haven Courier._ - -"In its adaptation to day schools, seminaries, colleges, and home -reading, the work will be found very superior in its variety and -adaptability of contents."--_Dayton (Ohio) Press._ - - -READING CLUB NO. 3. - -"This is one of those books that our teachers ought to have at hand to -_spice up_ with now and then. This is No. 3 of the series, and they are -all brim full of short articles, serious, humorous, pathetic, patriotic, -and dramatic. Send and get one, and you will be sure to get the -rest."--_St. Louis Journal of Education, Jan. 1876._ - -"The young elocutionist will find it a convenient pocket companion, and -the general reader derive much amusement at odd moments from its -perusal."--_Forest and Stream, N. Y., Jan. 6, 1876._ - - -READING CLUB NO. 4. (_Just Ready._) - - - _Sold by all Booksellers, and sent by mail, postpaid, on receipt of - price._ - LEE & SHEPARD, Publishers, Boston. - - - - -Transcriber's Notes: - - -Obvious printer's errors have been repaired, other inconsistent -spellings have been kept. - -Words surrounded by _ are italicized. - -Words surrounded by = are bold. - -Small capitals are presented as all capitals in this e-text. - -In this e-text, ['w] represents letter w with the acute accent above it -as this symbol is not available in latin-1. - -In this e-text, [`w] represents letter w with the grave accent above it -as this symbol is not available in latin-1. - -In this e-text, [vo] represents letter o with the caron (v-shaped -symbol) above it as this symbol is not available in latin-1. - - - - - -End of the Project Gutenberg EBook of Elocution Simplified, by Walter K. 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Fobes - -This eBook is for the use of anyone anywhere in the United States and most -other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms of -the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you'll have -to check the laws of the country where you are located before using this ebook. - -Title: Elocution Simplified - With An Appendix on Lisping, Stammering, Stuttering, and - other defects of speech. - -Author: Walter K. Fobes - -Commentator: George M. Baker - -Release Date: February 2, 2016 [EBook #51109] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK ELOCUTION SIMPLIFIED *** - - - - -Produced by Judith Wirawan, David Edwards and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class="figcenter" style="width: 400px;"> -<img src="images/cover.jpg" width="400" height="616" alt="Cover" /> -</div> - -<hr /> -<p class="center"><big><span class="smcap"><i>A Companion to Baker's Reading Club.</i></span></big></p> - -<hr /> - -<h1 class="spaced"><big>ELOCUTION SIMPLIFIED;</big><br /> -<small>WITH</small><br /> -AN APPENDIX ON LISPING, STAMMERING, STUTTERING,<br /> -<small>AND OTHER DEFECTS OF SPEECH.</small></h1> - -<p class="center">BY<br /> -<big>WALTER K. FOBES,</big><br /> -GRADUATE OF BOSTON UNIVERSITY SCHOOL OF ORATORY.</p> - -<hr /> - -<p class="center">WITH AN INTRODUCTION</p> - -<p class="center"><small>BY</small><br /> -GEORGE M. BAKER,<br /> -<small>AUTHOR OF THE READING-CLUB SERIES, ETC.</small></p> - -<hr /> - -<p class="center"><big>BOSTON:</big><br /> -<big>LEE AND SHEPARD, PUBLISHERS.</big><br /> -NEW YORK:<br /> -CHARLES T. DILLINGHAM.<br /> -1877.</p> - - -<hr class="chap" /> - -<p class="center">COPYRIGHT.<br /> -1877,<br /> -<span class="smcap">By Walter K. Fobes</span>.</p> - -<hr class="chap" /> - - -<p class="center">THIS LITTLE BOOK<br /> -<small>IS DEDICATED TO</small><br /> -<big><span class="smcap">Prof.</span> LEWIS B. MONROE,</big><br /> -<small>IN TESTIMONY OF APPRECIATION OF HIS MANY QUALIFICATIONS AS A</small><br /> -<small>TEACHER OF THIS ART, AND OF THE RESPECT AND AFFECTION</small><br /> -<small>WITH WHICH HE WILL EVER BE</small><br /> -<small>REGARDED BY HIS FRIEND</small><br /> -<small>AND PUPIL,</small><br /> -THE AUTHOR.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p> - - - -<h2>PREFACE.</h2> - -<p class="center">"Why write this book?" say you.<br /> - -"Because it is needed," say I.</p> - - -<p>There is no "digest" of elocution that is both -methodical and practical, and that is low in price, now -in the market.</p> - -<p>This book is an epitome of the science of elocution, -containing nothing that is not necessary for you to -know, if you wish to make yourself a good reader or -speaker.</p> - -<p>You who will thoroughly study and digest this book, -and then put in practice what you here have learned, -will have started on the road, the goal of which is -Oratory.</p> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p> - - - -<h2>CONTENTS.</h2> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary="Contents"> -<tr><td colspan="3"></td><td align="right">PAGE</td></tr> -<tr><td colspan="3" align="left">PREFACE</td><td align="right"><a href="#Page_5">5</a></td></tr> -<tr><td colspan="3" align="left">INTRODUCTION</td><td align="right"><a href="#Page_11">11</a></td></tr> -<tr><td colspan="3" align="left">ACKNOWLEDGMENT</td><td align="right"><a href="#Page_15">15</a></td></tr> -<tr><td> </td><td colspan="2" align="left"><span class="smcap">Method of Study of Elocution</span></td><td align="right"><a href="#Page_15">15</a></td></tr> -<tr><td colspan="4">PART I.</td></tr> -<tr><td colspan="3" align="left">PHYSICAL GYMNASTICS</td><td align="right"><a href="#Page_17">17</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Attitude</span></td><td align="right"><a href="#Page_17">17</a></td></tr> -<tr><td></td><td> </td><td align="left">Standing Position</td><td align="right"><a href="#Page_17">17</a></td></tr> -<tr><td colspan="2"></td><td align="left">Speaker's Position</td><td align="right"><a href="#Page_18">18</a></td></tr> -<tr><td colspan="2"></td><td align="left">Sitting Position</td><td align="right"><a href="#Page_18">18</a></td></tr> -<tr><td colspan="2"></td><td align="left">Changing Position</td><td align="right"><a href="#Page_18">18</a></td></tr> -<tr><td colspan="2"></td><td align="left">Poise of Body</td><td align="right"><a href="#Page_18">18</a></td></tr> -<tr><td colspan="2"></td><td align="left">Rising on Toes</td><td align="right"><a href="#Page_19">19</a></td></tr> -<tr><td colspan="2"></td><td align="left">Holding the Book</td><td align="right"><a href="#Page_19">19</a></td></tr> -<tr><td colspan="2"></td><td align="left">Note on Attitude</td><td align="right"><a href="#Page_19">19</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Chest Expansion</span></td><td align="right"><a href="#Page_19">19</a></td></tr> -<tr><td colspan="2"></td><td align="left">Active and Passive Chest</td><td align="right"><a href="#Page_19">19</a></td></tr> -<tr><td colspan="2"></td><td align="left">Arms at Side</td><td align="right"><a href="#Page_19">19</a></td></tr> -<tr><td colspan="2"></td><td align="left">Fore-arm Vertical</td><td align="right"><a href="#Page_20">20</a></td></tr> -<tr><td colspan="2"></td><td align="left">Full-arm Percussion</td><td align="right"><a href="#Page_20">20</a></td></tr> -<tr><td colspan="2"></td><td align="left">Hand Percussion</td><td align="right"><a href="#Page_20">20</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Body Movements</span></td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td colspan="2"></td><td align="left">Bend Forward and Back</td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td colspan="2"></td><td align="left">Bend Right and Left</td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td colspan="2"></td><td align="left">Turn Right and Left</td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Neck Movements</span></td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td colspan="2"></td><td align="left">Bend Forward and Back</td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td colspan="2"></td><td align="left">Bend Right and Left</td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td colspan="2"></td><td align="left">Turn Right and Left</td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td colspan="2"></td><td align="left">Note on Physical Gymnastics</td><td align="right"><a href="#Page_21">21</a></td></tr> -<tr><td></td></tr> -<tr><td colspan="4">PART II.</td></tr> -<tr><td colspan="3" align="left">VOCAL GYMNASTICS</td><td align="right"><a href="#Page_22">22</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Breathing</span></td><td align="right"><a href="#Page_22">22</a></td></tr> -<tr><td colspan="2"></td><td align="left">Abdominal</td><td align="right"><a href="#Page_22">22</a></td></tr> -<tr><td colspan="2"></td><td align="left">Costal</td><td align="right"><a href="#Page_23">23</a></td></tr> -<tr><td colspan="2"></td><td align="left">Dorsal</td><td align="right"><a href="#Page_23">23</a></td></tr> -<tr><td colspan="2"></td><td align="left">Puffing Breath</td><td align="right"><a href="#Page_23">23</a></td></tr> -<tr><td colspan="2"></td><td align="left">Puffing Breath, with pause</td><td align="right"><a href="#Page_23">23</a></td></tr> -<tr><td colspan="2"></td><td align="left">Puffing Breath, breathe between</td><td align="right"><a href="#Page_23">23</a></td></tr> -<tr><td colspan="2"></td><td align="left">Holding the Breath</td><td align="right"><a href="#Page_24">24</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Tone</span></td><td align="right"><a href="#Page_24">24</a></td></tr> -<tr><td colspan="2"></td><td align="left">Glottis Stroke</td><td align="right"><a href="#Page_24">24</a></td></tr> -<tr><td colspan="2"></td><td align="left">Soft Tones</td><td align="right"><a href="#Page_25">25</a></td></tr> -<tr><td colspan="2"></td><td align="left">Swelling Tones</td><td align="right"><a href="#Page_25">25</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Pitch</span></td><td align="right"><a href="#Page_25">25</a></td></tr> -<tr><td colspan="2"></td><td align="left">Learn Scale</td><td align="right"><a href="#Page_26">26</a></td></tr> -<tr><td colspan="2"></td><td align="left">Chant Sentences</td><td align="right"><a href="#Page_26">26</a></td></tr> -<tr><td colspan="2"></td><td align="left">Read Sentences</td><td align="right"><a href="#Page_26">26</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Inflection</span></td><td align="right"><a href="#Page_26">26</a></td></tr> -<tr><td colspan="2"></td><td align="left">Major Falling</td><td align="right"><a href="#Page_26">26</a></td></tr> -<tr><td colspan="2"></td><td align="left">Major Rising</td><td align="right"><a href="#Page_27">27</a></td></tr> -<tr><td colspan="2"></td><td align="left">Major Rising and Falling</td><td align="right"><a href="#Page_27">27</a></td></tr> -<tr><td colspan="2"></td><td align="left">Minor Rising and Falling</td><td align="right"><a href="#Page_27">27</a></td></tr> -<tr><td colspan="2"></td><td align="left">Circumflex</td><td align="right"><a href="#Page_27">27</a></td></tr> -<tr><td colspan="2"></td><td align="left">Monotone</td><td align="right"><a href="#Page_27">27</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Quality</span></td><td align="right"><a href="#Page_28">28</a></td></tr> -<tr><td colspan="2"></td><td align="left">Whisper</td><td align="right"><a href="#Page_28">28</a></td></tr> -<tr><td colspan="2"></td><td align="left">Aspirated</td><td align="right"><a href="#Page_28">28</a></td></tr> -<tr><td colspan="2"></td><td align="left">Pure</td><td align="right"><a href="#Page_28">28</a></td></tr> -<tr><td colspan="2"></td><td align="left">Orotund</td><td align="right"><a href="#Page_28">28</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Force</span></td><td align="right"><a href="#Page_29">29</a></td></tr> -<tr><td colspan="2"></td><td align="left">Gentle</td><td align="right"><a href="#Page_29">29</a></td></tr> -<tr><td colspan="2"></td><td align="left">Moderate</td><td align="right"><a href="#Page_29">29</a></td></tr> -<tr><td colspan="2"></td><td align="left">Loud</td><td align="right"><a href="#Page_29">29</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Stress</span></td><td align="right"><a href="#Page_29">29</a></td></tr> -<tr><td colspan="2"></td><td align="left">Radical</td><td align="right"><a href="#Page_29">29</a></td></tr> -<tr><td colspan="2"></td><td align="left">Median</td><td align="right"><a href="#Page_29">29</a></td></tr> -<tr><td colspan="2"></td><td align="left">Terminal</td><td align="right"><a href="#Page_30">30</a></td></tr> -<tr><td colspan="2"></td><td align="left">Thorough</td><td align="right"><a href="#Page_30">30</a></td></tr> -<tr><td colspan="2"></td><td align="left">Compound</td><td align="right"><a href="#Page_30">30</a></td></tr> -<tr><td colspan="2"></td><td align="left">Tremolo</td><td align="right"><a href="#Page_30">30</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Movement</span></td><td align="right"><a href="#Page_30">30</a></td></tr> -<tr><td colspan="2"></td><td align="left">Quick</td><td align="right"><a href="#Page_30">30</a></td></tr> -<tr><td colspan="2"></td><td align="left">Moderate</td><td align="right"><a href="#Page_30">30</a></td></tr> -<tr><td colspan="2"></td><td align="left">Slow</td><td align="right"><a href="#Page_31">31</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Articulation</span></td><td align="right"><a href="#Page_31">31</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Elementary Sounds</span></td><td align="right"><a href="#Page_31">31</a></td></tr> -<tr><td colspan="2"></td><td align="left">Vowels</td><td align="right"><a href="#Page_31">31</a></td></tr> -<tr><td colspan="2"></td><td align="left">Consonants</td><td align="right"><a href="#Page_32">32</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Summary of Physical and Vocal Gymnastics</span></td><td align="right"><a href="#Page_33">33</a></td></tr> -<tr><td></td></tr> -<tr><td colspan="4">PART III.</td></tr> -<tr><td colspan="3" align="left">ELOCUTION</td><td align="right"><a href="#Page_36">36</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Pleasant Quality</span></td><td align="right"><a href="#Page_36">36</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Articulation</span></td><td align="right"><a href="#Page_38">38</a></td></tr> -<tr><td colspan="2"></td><td align="left">Syllables</td><td align="right"><a href="#Page_38">38</a></td></tr> -<tr><td colspan="2"></td><td align="left">Words</td><td align="right"><a href="#Page_38">38</a></td></tr> -<tr><td colspan="2"></td><td align="left">Accent</td><td align="right"><a href="#Page_38">38</a></td></tr> -<tr><td colspan="2"></td><td align="left">Phrases</td><td align="right"><a href="#Page_39">39</a></td></tr> -<tr><td colspan="2"></td><td align="left">Emphasis</td><td align="right"><a href="#Page_39">39</a></td></tr> -<tr><td colspan="2"></td><td align="left">Sentences</td><td align="right"><a href="#Page_39">39</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Fulness and Power</span></td><td align="right"><a href="#Page_42">42</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Inflection</span></td><td align="right"><a href="#Page_44">44</a></td></tr> -<tr><td colspan="2"></td><td align="left">Major Rising</td><td align="right"><a href="#Page_45">45</a></td></tr> -<tr><td colspan="2"></td><td align="left">Major Falling</td><td align="right"><a href="#Page_45">45</a></td></tr> -<tr><td colspan="2"></td><td align="left">Minor Rising</td><td align="right"><a href="#Page_46">46</a></td></tr> -<tr><td colspan="2"></td><td align="left">Minor Falling</td><td align="right"><a href="#Page_47">47</a></td></tr> -<tr><td colspan="2"></td><td align="left">Circumflex</td><td align="right"><a href="#Page_47">47</a></td></tr> -<tr><td colspan="2"></td><td align="left">Monotone</td><td align="right"><a href="#Page_48">48</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Pitch</span></td><td align="right"><a href="#Page_49">49</a></td></tr> -<tr><td colspan="2"></td><td align="left">High</td><td align="right"><a href="#Page_49">49</a></td></tr> -<tr><td colspan="2"></td><td align="left">Middle</td><td align="right"><a href="#Page_50">50</a></td></tr> -<tr><td colspan="2"></td><td align="left">Low</td><td align="right"><a href="#Page_51">51</a></td></tr> -<tr><td colspan="2"></td><td align="left">Very Low</td><td align="right"><a href="#Page_52">52</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Quality</span></td><td align="right"><a href="#Page_52">52</a></td></tr> -<tr><td colspan="2"></td><td align="left">Whisper</td><td align="right"><a href="#Page_53">53</a></td></tr> -<tr><td colspan="2"></td><td align="left">Aspirate</td><td align="right"><a href="#Page_53">53</a></td></tr> -<tr><td colspan="2"></td><td align="left">Pure Tone</td><td align="right"><a href="#Page_54">54</a></td></tr> -<tr><td colspan="2"></td><td align="left">Orotund</td><td align="right"><a href="#Page_55">55</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Movement</span></td><td align="right"><a href="#Page_56">56</a></td></tr> -<tr><td colspan="2"></td><td align="left">Quick</td><td align="right"><a href="#Page_56">56</a></td></tr> -<tr><td colspan="2"></td><td align="left">Moderate</td><td align="right"><a href="#Page_57">57</a></td></tr> -<tr><td colspan="2"></td><td align="left">Slow</td><td align="right"><a href="#Page_58">58</a></td></tr> -<tr><td colspan="2"></td><td align="left">Very Slow</td><td align="right"><a href="#Page_58">58</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Force</span></td><td align="right"><a href="#Page_59">59</a></td></tr> -<tr><td colspan="2"></td><td align="left">Gentle</td><td align="right"><a href="#Page_59">59</a></td></tr> -<tr><td colspan="2"></td><td align="left">Moderate</td><td align="right"><a href="#Page_60">60</a></td></tr> -<tr><td colspan="2"></td><td align="left">Loud</td><td align="right"><a href="#Page_61">61</a></td></tr> -<tr><td colspan="2"></td><td align="left">Very Loud</td><td align="right"><a href="#Page_61">61</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Stress</span></td><td align="right"><a href="#Page_62">62</a></td></tr> -<tr><td colspan="2"></td><td align="left">Radical</td><td align="right"><a href="#Page_63">63</a></td></tr> -<tr><td colspan="2"></td><td align="left">Median</td><td align="right"><a href="#Page_63">63</a></td></tr> -<tr><td colspan="2"></td><td align="left">Terminal</td><td align="right"><a href="#Page_64">64</a></td></tr> -<tr><td colspan="2"></td><td align="left">Thorough</td><td align="right"><a href="#Page_65">65</a></td></tr> -<tr><td colspan="2"></td><td align="left">Compound</td><td align="right"><a href="#Page_65">65</a></td></tr> -<tr><td colspan="2"></td><td align="left">Tremolo</td><td align="right"><a href="#Page_66">66</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Transition</span></td><td align="right"><a href="#Page_66">66</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Modulation</span></td><td align="right"><a href="#Page_70">70</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Style</span></td><td align="right"><a href="#Page_77">77</a></td></tr> -<tr><td colspan="2"></td><td align="left">Conversational</td><td align="right"><a href="#Page_78">78</a></td></tr> -<tr><td colspan="2"></td><td align="left">Narrative</td><td align="right"><a href="#Page_79">79</a></td></tr> -<tr><td colspan="2"></td><td align="left">Descriptive</td><td align="right"><a href="#Page_79">79</a></td></tr> -<tr><td colspan="2"></td><td align="left">Didactic</td><td align="right"><a href="#Page_80">80</a></td></tr> -<tr><td colspan="2"></td><td align="left">Public Address</td><td align="right"><a href="#Page_81">81</a></td></tr> -<tr><td colspan="2"></td><td align="left">Declamatory</td><td align="right"><a href="#Page_82">82</a></td></tr> -<tr><td colspan="2"></td><td align="left">Dramatic</td><td align="right"><a href="#Page_83">83</a></td></tr> -<tr><td></td></tr> -<tr><td colspan="4">PART IV.</td></tr> -<tr><td colspan="3" align="left">HINTS ON ELOCUTION</td><td align="right"><a href="#Page_85">85</a></td></tr> -<tr><td></td><td colspan="2" align="left"><span class="smcap">Defects of Speech</span></td><td align="right"><a href="#Page_93">93</a></td></tr> -</table></div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span></p> - - - -<h2>INTRODUCTION.</h2> - - -<p>Rev. Dr. Hall of New York says, "There is one accomplishment -in particular which I would earnestly recommend -to you: cultivate assiduously the ability to read -well. I stop to particularize this, because it is a thing so -very much neglected, and because it is such an elegant and -charming accomplishment. Where one person is really interested -by music, twenty are pleased by good reading. -Where one person is capable of becoming a skilful musician, -twenty may become good readers. Where there is one occasion -suitable for the exercise of musical talent, there are -twenty for that of good reading.</p> - -<p>"What a fascination there is in really good reading! -What a power it gives one! In the hospital, in the chamber -of the invalid, in the nursery, in the domestic and in the -social circle, among chosen friends and companions, how it -enables you to minister to the amusement, the comfort, the -pleasure, of dear ones, as no other accomplishment can! No -instrument of man's devising can reach the heart as does -that most wonderful instrument, the human voice. It is -God's special gift to his chosen creatures. Fold it not away -in a napkin.</p> - -<p>"Did you ever notice what life and power the Holy Scriptures -have when well read? Have you ever heard of the -wonderful effects produced by Elizabeth Fry on the criminals -of Newgate by simply reading to them the parable of -the Prodigal Son? Princes and peers of the realm, it is -said, counted it a privilege to stand in the dismal corridors, -among felons and murderers, merely to share with them the -privilege of witnessing the marvellous pathos which genius, -taste, and culture could infuse into that simple story."</p> - -<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p> - -<p>Elocution trains the voice to obey the mind, and to rightly -express thought and feeling. It is necessary to those who -read or speak in public; to persons with defective speech; to -those with nasal, shrill, throaty, or husky voices; to persons -with diseased throat, or liability to it, arising from wrong -use of voice.</p> - -<p>The practice of the art of elocution is as necessary to the -reader or speaker as practice of the art of singing is to one -who intends to become a public singer. Any one attempting -to sing for the public without previous practice would -be justly hissed from the stage: and a like fate overtakes -most speakers, who, without previous study of elocution, -attempt to speak in public; that is, very few go to hear them.</p> - - -<p class="center">CLERGYMEN</p> - -<p>should learn to read impressively the Bible, Litany, hymns, -and sermons: for as Dr. Holland says, "When a minister -goes before an audience, it is reasonable to ask and expect -that he shall be accomplished in the arts of expression; that -he shall be a good writer and speaker. It makes little -difference that he knows more than his audience, is better -than his audience, has the true matter in him, if the art by -which he conveys his thought is shabby. It ought not to be -shabby, because it is not necessary that it should be. There -are plenty of men who can develop the voice, and so instruct -in the arts of oratory that no man need go into the -pulpit unaccompanied by the power to impress upon the -people all of wisdom that he carries." The same writer -says of</p> - - -<p class="center">STUDENTS.</p> - -<p>"Multitudes of young men are poured out upon the -country, year after year, to get their living by public speech, -who cannot even read well. The art of public speech has -been shamefully neglected in all our higher training-schools. -It has been held subordinate to every thing else, when it is -of prime importance. I believe more attention is now paid -to the matter than formerly. The colleges are training their -students better, and there is no danger that too much attention -will be devoted to it. The only danger is, that the -great majority will learn too late that the art of oratory -demands as much study as any other of the higher arts; and<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span> -that, without it, they must flounder along through life practically -shorn of half the power that is in them, and shut out -from a large success."</p> - - -<p class="center">TEACHERS</p> - -<p>should learn elocution so as to teach in a pleasing, effective -manner; and also to teach reading in schools, so that -children may learn to read in an easy, agreeable way, and -give thought to what they read; thus leading a child in all -studies to get ideas from books, and not merely words without -meaning.</p> - - -<p class="center">PUBLIC SPEAKERS</p> - -<p>should, by study of elocution, learn the best manner of -moving, persuading, and instructing their audiences; thus -adding to their own popularity, and consequently widening -their influence.</p> - - -<p class="center">LAWYERS,</p> - -<p>by practice of elocution, will find greater ease in speaking -to witness or jury, and thus be greatly aided in their work.</p> - - -<p class="center">ACTORS AND PUBLIC READERS</p> - -<p>lose both time and money by a neglect of elocution, the -practice of which is essential to success in their vocation.</p> - - -<p class="center">SINGERS,</p> - -<p>by study of elocution, can best obtain that perfect articulation -and elegant expression so necessary to the successful -singer.</p> - - -<p class="center">ALL PERSONS</p> - -<p>who have a taste for reading should study elocution, as -reading aloud in the social or home circle is one of the -most instructive, pleasing, and healthful pastimes in which -we can indulge.</p> - - -<p class="center">DEFECTIVE SPEECH,</p> - -<p>as lisping, stammering, stuttering, &c., can be entirely cured -by a study and diligent practice of elocution.</p> - -<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p> - - -<p class="center">UNPLEASANT VOICES,</p> - -<p>either shrill, nasal, throaty, husky, or with any other disagreeable -quality, can be made agreeable by practice of -elocution.</p> - -<p>To meet all these wants, this treatise has been prepared. -Embracing as it does a thorough exposition of the principles -of elocution in an eminently practical form, adapted to -the requirements of the student, the professional man, and -the amateur, by a graduate of the Boston School of Oratory -(acknowledged to be the best Institute of Elocution America -has produced), himself a successful teacher and reader, it -seems to present the whole science in a nutshell, so that he -"who runs may read" in reality, if he but follow the instructions -of this Manual. Here elocution is not only simplified, -but, in this neat and cheap form, placed within the -reach of all.</p> - -<p class="right">GEORGE M. BAKER.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p> - - - - -<h2>ACKNOWLEDGMENT.</h2> - - -<p>I would here acknowledge my indebtedness to Prof. Lewis -B. Monroe, Dean of Boston University School of Oratory, -for what I have learned of expression in elocution; to Prof. -A. Graham Bell of Boston for valuable instruction in articulation -and inflection; to Prof. Edward B. Oliver of Mendelssohn -Musical Institute of Boston for his most excellent -instruction in tone.</p> - -<p>The method of study of this book is the result of the -knowledge gained from these three superior instructors. -The plan of Part Three will be found to be that of Monroe's -Sixth Reader.</p> - - -<p class="center">METHOD OF STUDY OF ELOCUTION.</p> - -<p>Part First, a series of gymnastics to give strength and -elasticity to the muscles used in speaking, to expand the -chest, and to get a correct position of body, so that speaking -may be without effort, and yet powerful.</p> - -<p>Part Second, a system of vocal exercises for daily practice, -to train the voice, and get command of tone, quality, -pitch, inflection, force, stress, articulation, and right manner -of breathing.</p> - -<p>Part Third, the application of the vocal exercises to the -reading of short extracts, showing the effect when thus applied, -and showing the difference between the seven styles,—conversational, -narrative, descriptive, didactic, public address, -declamatory, and emotional or dramatic.</p> - -<p>There will be found references to select pieces in Baker's -"Reading Club and Handy Speaker," for practice in the -different styles of reading.</p> - -<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p> - -<p>Hoping this little book may be of benefit to many, it is -sent forth to help those who love the art, but with no -thought of recommending this book for self-instruction, and -substituting it for the instruction to be gained from a good -teacher of the art. If a good teacher is not to be had, use -this book.</p> - -<p class="right">WALTER K. FOBES.</p> - -<p><span class="smcap">Cambridge, Mass.</span>, October, 1877.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p> - - - - -<h2>ELOCUTION SIMPLIFIED.</h2> - - - -<hr class="chap" /> -<h2>PART ONE.<br /> -PHYSICAL GYMNASTICS.</h2> - - -<p>Goethe says, "All art must be preceded by a certain -mechanical expertness."</p> - -<p>You find it so in the art of playing the piano: the fingers -must be made nimble, and the wrists elastic, before any thing -else can be well done. In the art of singing you have to -exercise the voice in many ways to get command of it. So, -in the art of elocution, it is necessary to practise the -mechanics of physical and vocal culture, that you may be -prepared to express properly your thought and feeling.</p> - -<p>You need first a healthy body, elastic and strong in -muscles, and especially in those muscles used in the production -of voice. For this latter purpose I will describe as -clearly as I can Monroe's system of gymnastics, and for the -former recommend any other gymnastics that will give -health, strength, and especially elasticity.</p> - - -<h3>ATTITUDE.</h3> - -<p>1. <span class="smcap">Standing Position.</span>—Hamlet, so Shakespeare tells -us, ends a letter to Ophelia thus:—</p> - -<p> -"Whilst this machine is to him, Hamlet."<br /> -</p> - -<p>Your body is the machine by means of whose working you -express your mind and feelings. If you were to run a steam-engine, -you would be very careful to place the machine in -such a position, that it would do the most work with the<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> -least wear and tear. You must do the same with this -machine, your body. To get a correct standing position, -place yourself with back against a smooth wall in the room, -with shoulders flat, your back as nearly straight as you can -make it, and every part, from head to heel, touching the wall. -This gives you an upright position, but feels uncomfortable, -because the weight is too much on the heels. Sway the -whole body in its upright position forward, so that the -weight will come mostly on the balls of the feet; and, in -doing so, do not bend any part except at the ankles. You -are now in a proper position for speaking. The head is -erect, shoulders thrown back, chest expanded, back nearly -straight, the weight of the body is about equal on ball and -heel of the feet, and your poise of body as it would be -naturally in the act of taking a step forward. This puts -every part of your body in the best condition for easy speaking.</p> - -<p>2. <span class="smcap">Speaker's Position.</span>—This position should be assumed -before an audience when some other position is not -required for dramatic expression. It is the standing position, -with the weight upon one foot, and the other advanced. Let -the advance foot be about a heel's distance from the middle -of the foot behind, and form a right angle with it.</p> - -<p>3. <span class="smcap">Sitting Position.</span>—When you read in a sitting -position, the body should be as in speaker's position, and -feet also, the poise of body being forward.</p> - -<p>4. <span class="smcap">Change of Position.</span>—You sometimes wish to turn -to address your audience at one side. To change gracefully -from the speaker's position, turn the foot in advance on the -ball, outward, until it becomes parallel with the foot behind; -then take the weight on it, and turn the other foot till you -have correct speaker's position. If, as you stood at first, -facing the audience, your weight was on the right foot, you -will find yourself facing to the right; if the weight was -on left, you will face left. When facing the audience, to -change the weight from one foot to the other, take one short -step either forward or back.</p> - -<p>5. <span class="smcap">Poise of Body.</span>—To get steadiness of body, to keep -a correct poise, and to prevent all unseemly swaying, when -standing to read or speak, assume standing position, and, -keeping feet flat on the floor, sway forward until the weight -comes entirely on the ball of the feet. Don't bend the body. -Then sway back to standing position. Then sway backward,<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span> -keeping feet flat on the floor and the body straight, -until the weight is entirely on the heels; from that sway forward -to position.</p> - -<p>6. <span class="smcap">Rise upon the Toes.</span>—For the same purpose as the -above. Assume standing position, and rise as high as possible -on the toes very slowly; then sink slowly so as to come -back to standing position. Be very careful not to sway -backward in coming down, and you will find yourself in the -exact poise of standing position. Also do the same from -speaker's position, rising on one foot.</p> - -<p>7. <span class="smcap">Holding the Book.</span>—Hold your book in the left -hand, on one side of the body, so that your face will not be -hid from the audience. The top of the book should be -about even with the shoulder. Many, in reading, hold the -book in front of them; but that is not so pleasant to an -audience, and leads to a stooping position, a contracted chest, -and ill health.</p> - -<p><span class="smcap">Note.</span>—All the foregoing exercises relate to position of body -necessary for the most powerful, and at the same time the easiest, -action of the vocal organs; also to the attitudes most pleasing -to an audience when they look upon a reader or speaker. Practise -them until they become habits, and so unconsciously you will -assume correct position when you stand.</p> - - -<h3>CHEST EXPANSION.</h3> - -<p>For purposes of speech, you need to use more breath than -for ordinary breathing or conversation. You therefore need -to make as much room as possible for good fresh air by -exercise to expand the chest. Elocution is beneficial to -health for this reason.</p> - -<p>1. <span class="smcap">Active and Passive Chest.</span>—Your chest in its -ordinary position is what, in elocution, is called passive chest. -The active chest is that assumed in the standing position, -where the chest is raised up slightly and expanded, with the -shoulders drawn back. Practise as an exercise the active -and passive chest, alternating from one to the other without -breathing, or moving the shoulders. The active chest must -be kept in all the physical and vocal gymnastics, and at all -time during speech. With practice it will soon become -established as a habit; and your every-day attitude will be -more erect as a consequence.</p> - -<p>2. <span class="smcap">Arms at Side.</span>—Place your arms at the side, with<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span> -elbows bent, so that from elbow to hand the arms are horizontal, -and parallel with each other. Draw the elbows back, -clinch the fist with palms up, and make chest active, keeping -the back straight. Take a full breath, and hold it (see -"Breathing"); then carry the arms at full length in front -of you, your hands open and as high up as the shoulders; -then bring them back to the position you started from, with -hands clinched, palms up, and pull back with all your -strength, raising the chest slightly more; then give out the -breath. After some practice you may do it twice upon one -breath, being sure to keep the arms as close to the body as -you can; for, if you spread your arms, you will strain the -muscles.</p> - -<p>3. <span class="smcap">Fore-arm Vertical.</span>—Assume standing position, and -bend the arms, placing them vertically, and parallel with -each other, at the side, with clinched hands as high as the -shoulder; turn the fist out from the shoulder, raise the -chest as much as you can, and, taking a full breath, hold it; -bring the arms forward so as to touch the elbows together, -if you can; then draw them back to first position, and pull -downward and backward as hard as you can; then give out -the breath. After some practice, do this twice on one breath, -being sure to keep the arms and hands close to the body.</p> - -<p>4. <span class="smcap">Full-arm Percussion.</span>—In ordinary breathing, it is -seldom you fill your lungs to their fullest capacity; and -some of the air-cells are not filled, especially those at the -extreme edges of the lungs. This and the following exercise -are for the purpose of sending air into those portions -of the lungs not ordinarily filled. Assume standing position; -take a full breath, and hold it; then strike with the -right hand upon the top of the left chest a very quick and -very elastic blow, striking with fingers, and swinging the -arm freely from its position at the side; then strike with -left hand on right chest in same manner; repeat with each -hand, and then give out the breath. Never strike with the -flat palm or clinched fist, as that is very injurious and unhealthy.</p> - -<p>5. <span class="smcap">Hand Percussion.</span>—Assume standing position, and -place your hands on your chest, with elbows as high as the -shoulders; make chest active; take a full breath, and retain -it while you strike alternately eight light elastic blows with -each hand; then give out the breath.</p> - -<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p> - - -<h3>BODY MOVEMENTS.</h3> - -<p>The muscles of the waist are the front or abdominal, the -side or costal, the back or dorsal muscles. These muscles -are very important in speech; and upon the strength and -elasticity of these, and the inner muscles acting in connection -with them, depend the force and strength of your -voice. Three very simple movements are here given, which -will give some measure of strength and elasticity to these -muscles.</p> - -<p>1. <span class="smcap">Body bend Forward and Back.</span>—From standing -position bend forward, keeping the back straight, and bending -only at the hip-joints; touch the floor with your hands, -if you can; then assume upright position, and bend back as -far as you can.</p> - -<p>2. <span class="smcap">Bend Right and Left.</span>—From standing position, -bend to right side as far as possible, bending only at the -waist, and stretching the costal muscles; then assume upright -position, and bend to left in same manner.</p> - -<p>3. <span class="smcap">Turn Right and Left.</span>—From standing position -turn the body on the waist, keeping the hips still, and -twisting the waist-muscles, first to the right, then to the left.</p> - - -<h3>NECK MOVEMENTS.</h3> - -<p>The neck movements are necessary, because many of the -disagreeable qualities of the voice are due to inelasticity of -the muscles of the neck. The movements are in the same -directions as for the body.</p> - -<p>1. <span class="smcap">Bend forward and back.</span></p> - -<p>2. <span class="smcap">Bend right and left.</span></p> - -<p>3. <span class="smcap">Turn right and left.</span></p> - -<p>It is not necessary to describe them at length: but, in -bending right and left, be careful to keep the head from -bending slightly backward or forward at the same time; and, -in the turning of head, keep it erect.</p> - -<p><span class="smcap">Note.</span>—This completes the physical gymnastics. Practise -them until the purpose for which they are intended has been -accomplished, and afterwards occasionally, to keep what you -have gained. Take each exercise two or three times in succession. -When thoroughly learned, this will not take more than -five minutes. Practise them five minutes at morning and night.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p> - - - - -<h2>PART TWO.<br /> - -VOCAL GYMNASTICS.</h2> - - -<p>You have no need to take any special exercise in walking -for the ordinary purposes of life; but, if you wished to -be a "walkist," you would need special practice to train and -develop the muscles for that purpose. You may be a good -singer, able to sing for your own amusement or that of -your friends, without specially training the singing-voice; -but, if you wished to sing in public, you would, if you were -wise, train your singing-voice very carefully. As in these -cases, so with the voice in speaking. For all ordinary purposes -of speech, you need no special training of the speaking-voice; -but when, as teacher, clergyman, lawyer, lecturer, -actor, public reader, or in any other capacity, you are called -upon to do more with the voice than others, you ought to -train and develop your vocal powers. For this purpose, the -following series of exercises are given for practice.</p> - - -<h3>BREATHING.</h3> - -<p>As it is necessary that you should take in and give out -more breath in speaking than at other times, you ought to -be able to do this in a natural manner. If you will practise -these breathing-exercises until they are easy for you, the -breath in your reading or speaking will take care of itself. -Practise breathing in the open air, and take in and give out -the breath through the nose without making the slightest -sound in so doing.</p> - -<p>1. <span class="smcap">Abdominal Breathing.</span>—Take standing position -and active chest; place the fingers on the abdominal -muscles, and the thumbs on the costal muscles; take a full -breath, making the abdominal muscles start first, and move -outward; then let the muscles sink in as the breath comes<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span> -out. Make as much movement of these muscles as you -can, both in and out; and be sure you keep the shoulders -from moving. Pay particular attention to the movement -of the abdominal muscles, letting all the rest (except the -shoulders) move as may be easy to you. Practise this way -of breathing until you can do it easily; and, if it makes you -dizzy, do not be alarmed, but wait till the dizziness is entirely -gone before you try again.</p> - -<p>2. <span class="smcap">Costal Breathing.</span>—Assume standing position with -active chest; place the fingers on the costal muscles, and -thumbs at the back; inhale a full breath, expanding as -much as possible the costal muscles and ribs. In giving out -the breath, make them sink in as much as possible. Keep -shoulders still in breathing in and out, and let all other -muscles be free to move as they may.</p> - -<p>3. <span class="smcap">Dorsal Breathing.</span>—Assume standing position with -active chest; place the fingers at the back on dorsal muscles, -and thumbs on the side; take a full breath, trying to -expand the muscles under your fingers as much as you can. -Rightly done, the abdominal and costal muscles, and the -ribs, will also expand; the chest, if not already active, will -rise; the shoulders will remain quiet. In giving out the -breath, let the chest be the last to sink. This is the way of -breathing in every healthy man, woman, and child. Any -manner of dressing the body that hinders free and easy -action of the abdominal, costal, and dorsal muscles, and -the ribs, leads to ill health, because it interferes with the -vital process of breathing; and ill health is fatal to success -in any art.</p> - -<p>4. <span class="smcap">Puffing the Breath.</span>—Assume standing position, -with active chest; take a full breath, and, rounding the lips -as if you were about to say the word "who," blow the breath -out as you would in blowing out a light; inhale again, and -repeat the puffing.</p> - -<p>5. <span class="smcap">Puff and Pause.</span>—Puff the breath as before, three -times, pausing about five or more seconds, holding the -breath between the puffs. In holding the breath, let there -be no pressure upon the lungs or throat, but control it by -keeping the waist-muscles still. (See "Holding Breath.")</p> - -<p>6. <span class="smcap">Puff and Breathe.</span>—Puff three times in the same -way as before, breathing between the puffs, thus: place the -fingers of one hand on the upper part of the chest, the fingers -of the other hand on the abdominal muscles; keep the chest<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span> -still, and make the abdominal muscles sink every time you -puff out the breath, and expand, every time you take in -breath, between the puffs. In this exercise breathe through -both nose and mouth. By practice of these three ways of -expelling breath you get command of it.</p> - -<p>7. <span class="smcap">Holding the Breath.</span>—When you hold your breath -for a longer or shorter time, or try to control it for any -purpose of speech, you should do so by means of the muscles -spoken of in "Dorsal Breathing," as being the ones used in -right manner of breathing. You must try to control the -breath by keeping the waist-muscles still; and there should -be no feeling of pressure or uneasiness on the lungs, or in the -throat or mouth. "If at first you don't succeed, try, try -again: time will bring you your reward: try, try again." -Get control of the waist-muscles so as to keep them still; -and, while you hold them still, there is no possibility of the -breath getting out.</p> - - -<h3>TONE.</h3> - -<p>A good tone in speech is as much to be desired as it is in -song. Some have it as a gift of nature; and all can acquire -it, in a degree, by judicious practice. If you have an excellent -voice, you can make it still more excellent by practice; -and, if you have a poor voice, you can, by practice, make it -full, pleasant, and effective, and excel that one who has a -good voice, but makes no effort to improve it. The tone-exercises -here given are designed to give command of tone, -and develop purity and power. They should be practised -five minutes at a time, at four different times of the day, -and double that time if possible, in order to get the greatest -amount of good from them. Use any tones of your voice, -high or low, without being at all particular about an exact -musical pitch; though, if you can practise with an organ or -piano, you will find it much more beneficial.</p> - -<p>1. <span class="smcap">Glottis Stroke.</span>—Assume standing position with -active chest; take full breath, and whisper forcibly the word -"who" three times. Repeat the same. Now whisper -"who" twice, and speak it aloud the third time; then whisper -"who" once, and speak it aloud the second and third -time; then speak "who" aloud three times. Now speak -"who" twice, and the third time say "<i>oo</i>" as those letters -sound in the word <i>woo</i>; then say "who" once, and "<i>oo</i>" the -second and third time; then "<i>oo</i>" three times. You<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> -should make both the whisper and vocal sound very short -and sudden, without any feeling of contraction or effort in -the throat or mouth. It should seem to you as if the sound -came from the lips; and, while you are energetic in the exercise, -it must be done with perfect ease. You have thus proceeded, -from an easy, forcible whisper, to an easy, forcible -sound, and have thus obtained what is called the "Glottis -Stroke." After diligent practice on the above exercise, use -any of the short vowels (see "Articulation"); speaking each -vowel three times very shortly, as you did the vowel-sound -<i>oo</i>.</p> - -<p>2. <span class="smcap">Soft Tones.</span>—Assume standing position with active -chest, and take breath; prolong very softly <i>oo</i> as long as -your breath will let you, being careful not to force the sound -to continue after you feel the slightest need of breath, and -also not to change the position of the mouth from beginning -to end of the sound. Repeat three times. In this -exercise you will probably hear the voice waver, and find it -difficult to keep it very soft, and yet distinct. Practice -will overcome this, and the exercise will be found very -beneficial. The ability to do it shows cultivation of voice. -After some time, use also the long vowels. (See "Articulation.")</p> - -<p>3. <span class="smcap">Swelling Tones.</span>—Assume standing position with -active chest, and take full breath; then begin the vowel <i>oo</i> -very softly, and gradually swell it to a full tone, and then as -gradually diminish it to the gentlest sound. Be careful, as -in soft tone, as to breath, and position of mouth. After -some practice, you should be able to continue on one breath, -either the soft tone or swelling tone, twenty seconds; which -is long enough for practical purposes. Use same vowels -as in soft tone.</p> - - -<h3>PITCH.</h3> - -<p>It is necessary to all expressive reading that there should -be as much variation in pitch of voice—that is, as to high -and low tones—as possible, and not overdo. The pleasantest -quality of voice, without variation in pitch, is tiresome to the -listener. To get command of pitch, you must practise till -the high and low tones are as easy to make as the common -conversational tones. If you can sing the musical scale of -one octave in key of C, or B flat, you will find these exercises -more beneficial than if you cannot sing. If you cannot<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span> -sing, take a relatively high or low pitch, as your ear may -guide you, and practise the chanting and reading of sentences -as well as you can.</p> - -<p>1. <span class="smcap">Learn the Musical Scale.</span>—Sing the scale in -music, using first the glottis stroke; that is, speak each very -short as you go up and down the scale. Then practise soft -tone and swelling tone on each tone within compass of your -voice.</p> - -<p>2. <span class="smcap">Chant Sentences.</span>—Use one tone of voice, and take -any sentence, prolonging the words without reference to the -sense, without change of tone from beginning to end. When -you use a high tone, make it light and clear; when you use -a low tone, make it full, free, and forcible. Chant on each -tone separately within the compass of the voice.</p> - -<p>3. <span class="smcap">Read Sentences.</span>—Use the same sentences as for -chanting, and, beginning on each tone of the voice, speak it -as you would in earnest conversation, in a way to give the -meaning of it. You will see that if you begin with high -pitch, although your voice varies in speaking, it will be a -relatively high pitch through the whole sentence; and, if you -begin low, it will be relatively low. With high pitch, make -your voice light and clear; and with low pitch, full, free, and -forcible.</p> - - -<h3>INFLECTION.</h3> - -<p>In inflection the voice slides up or down in pitch on a -word, and by so doing impresses your meaning on the listener. -Inflections are infinite in number; but a few of them -practised will be of benefit in getting command over them. -When the voice slides up, it is called rising inflection; if -down, a falling. If it slides both ways on the same word, it -is called circumflex; and if it varies but little, and is very -like a chant in song, it is called monotone. A major inflection -gives an effect of strength; a minor, of feebleness.</p> - -<p>1. <span class="smcap">Major Falling Inflection.</span>—A falling inflection is -indicated by (`) over the accented syllable of an emphatic -word. If you do not already know the difference between a -rising and falling inflection, suppose I say to you, "The book -is on the table," and you, not understanding what place I -said, should ask, "Where?" and I answer, "On the table." -Your question would be made with rising, and my answer -with falling inflection. Use any vowel-sounds, and practise -the falling inflection as you would hear it on the word "table,"<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span> -avoiding all motion of head, arms, or body, and making it -with much energy of voice, as if expressing strong determination.</p> - -<p>2. <span class="smcap">Major Rising Inflection.</span>—This is indicated by a (´) -over the emphatic word. Practise with any vowel-sounds -the inflection as you would hear it on "where," as above, -observing same directions as in major falling inflections.</p> - -<p>3. <span class="smcap">Major Rising and Falling Inflections.</span>—Practise -rising followed by falling, as óh, òh, áh, àh, aẃe, aẁe, &c., -using long and short vowels. Then falling followed by -rising, as òh, óh, àh, áh, aẃe, aẁe, &c., using long and short -vowels. Use these as if asking a simple unimportant question, -and giving a like answer; then a question and answer -of earnestness; then of surprise; then of great astonishment. -In so doing, your voice will range higher and lower -in inflection than you otherwise would make it. Do not let -any of the inflections sound plaintive or feeble, but make -them strong and decisive.</p> - -<p>4. <span class="smcap">Minor Rising and Falling Inflections.</span>—Use the -same exercises as under major rising and falling, just mentioned; -with this difference, that you make them so as to -sound week, feeble, plaintive, or sad. They should be practised -that you may become familiar with their sound, and -have them at command, so as to use them when needed for -expression, and avoid them when not.</p> - -<p>5. <span class="smcap">Circumflex Inflection.</span>—This inflection is indicated -by a mark (v ᴧ) or (◡ ◠) because it is a combination of -rising and falling inflection. The first is rising circumflex, -because it ends with the rising; the second is falling circumflex, -because it ends with falling inflection. It is used -in expression of doubt, irony, sarcasm; as in "The Merchant -of Venice," act 1, scene 3, Shylock says to Antonio, -"Hath a dǒg mǒney? Is it possible a cur can lend three -thousand dǔcats?" You will see, if read to express Shylock's -irony and sarcasm, that the words would be inflected, -as marked, with rising circumflex. Practise these circumflex -inflections with vowels as directed under major rising -and falling inflections. The falling circumflex being the -reverse of the rising, when once you are familiar with the -rising, can be easily made.</p> - -<p>6. <span class="smcap">Monotone.</span>—This comes as near to being one tone -of voice as it can be, and at the same time keep its expressiveness -as reading. It is not really, as its name might indicate,<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span> -one tone, as that would be like chanting in singing; -but it is variation of inflection within very small limit of -range in pitch. It is best practised as song, however. Prolong, -on a low pitch, any of the long vowels, about five -seconds. The mark for monotone is (-) placed over a word.</p> - - -<h3>QUALITY.</h3> - -<p>The quality of the voice is that which affects us agreeably -or disagreeably; and we say it is gruff, or husky, or harsh, -or pleasant, &c. Four general and distinct qualities need to -be practised until they are at command of the mind.</p> - -<p>1. <span class="smcap">Whisper.</span>—Whisper the long and short vowels very -easily and quietly at first, without the slightest feeling of -effort in throat or mouth, and perfectly free from hoarseness -or murmuring. As soon as you can make a clear whisper -heard across the room, whisper so as to be heard farther off, -and so proceed gradually, day by day, until you can whisper, -clearly and without effort, loud enough to be heard in a -large hall. Do not practise whispering more than three -minutes at a time.</p> - -<p>2. <span class="smcap">Aspirate Quality.</span>—This is what, in general, is -called undertone. It is a mixture of whisper and voice, and -is what you would be likely to use when in company you -speak to any one with a desire not to be overheard by others. -Practise with vowels as in whisper.</p> - -<p>3. <span class="smcap">Pure Quality.</span>—Speak the long vowels in your conversational -tone as pleasantly as you can, tossing the tone -lightly, as if speaking to some one across a large hall. -Speak each vowel three times on one breath. Practise them -first speaking shortly, then with prolonging of each tone -not over five seconds.</p> - -<p>4. <span class="smcap">Orotund Quality.</span>—This quality is seldom to be -heard in uncultivated voices, but is much to be desired in a -speaker. It can only be acquired slowly and with much -practice. It will be easily recognized when heard, as it -possesses a fulness and richness of tone very pleasing. It -is not high, but seems low in pitch; and, although it does not -sound loud, it seems to be effective, and reach a long distance. -To acquire it, practise, as recommended in "Pitch," -the chanting and reading of sentences on the conversational -and lower tones of the voice; also swelling tone under -"Tone," on low pitch, using long vowels, especially <i>oo</i>, oh, -awe, ah.</p> - -<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p> - - -<h3>FORCE.</h3> - -<p>Force is the degree of loudness or softness we may give to -the voice. You should be able to speak gently without -feebleness or weakness of voice, and so as to be distinctly -heard in a large hall, and also to make the fullest and loudest -voice without showing any effort to do so.</p> - -<p>1. <span class="smcap">Gentle Force.</span>—Chant and read sentences, as under -"Pitch," with the gentlest force you can, and yet make it -so as to seem to be clear and distinct. Do this on every -pitch you can, high or low.</p> - -<p>2. <span class="smcap">Moderate Force.</span>—Read and chant as above on the -middle and higher tones, with about the force of earnest -conversation.</p> - -<p>3. <span class="smcap">Loud Force.</span>—Read and chant as above, using only -the middle and lower tones of the voice, making the loudest -tones you can, without straining the throat. Force of voice -depends on the management of the muscles below the lungs; -and you should have perfect freedom from all effort on the -part of lungs, throat, or mouth, on any pitch, high, middle, -or low. If any effort is perceptible to you, it will be a feeling -of strength and power at the waist; and experience and -practice must teach you how much or how little effort to -make at that point. The loudest force, and at the same -time the purest quality, is secured when it seems to make itself -without the slightest feeling of effort on your part.</p> - - -<h3>STRESS.</h3> - -<p>Stress is the manner of applying force to a word or accented -syllable. Prof. L. B. Monroe, in his book on vocal -culture, enumerates six kinds. The marks he uses to represent -them exhibit clearly to the eye what the voice is required -to do. With radical, terminal, and compound stress, -after facility is gained by use of stroke from the shoulder, -omit it, and do them forcibly without movement of any -part of the body.</p> - -<p>1. <span class="smcap">Radical Stress.</span>—So called, because the stress is -on the beginning of the word, and marked thus (>). Assume -standing position with active chest, and take breath; -touch the fingers to the shoulder, and strike forward and -downward, stopping the hands half way, and clinching the -fist very tightly; at the moment of stopping, speak the<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> -vowel "ah" very shortly. You will notice that the voice -issues full, and seems to suddenly vanish in a manner well -indicated by the mark above. Use any vowels, long or short, -with middle pitch of voice. Practise afterward without -any movement of the arms.</p> - -<p>2. <span class="smcap">Median Stress.</span>—So called, because the force is on -the middle of the word, marked thus (<>). It is the same -as swelling tone, but is much shorter. Practise with long -vowels on middle tones of voice, making three short swells -on the same vowel in one breath.</p> - -<p>3. <span class="smcap">Terminal Stress.</span>—So called, because the force is on -the end of the word, and marked thus (<). Use the same -movement as in radical stress; begin the sound softly when -the hand leaves the shoulder, stopping it suddenly as the -hands clinch. The voice seems to be jerked out. Practise -also without arm-movements, using the same vowels as in -radical stress.</p> - -<p>4. <span class="smcap">Thorough Stress.</span>—So called, because the force is -loud from beginning to end, and marked thus (=). Prolong -about ten seconds long vowels, with a loud full voice -on middle pitch.</p> - -<p>5. <span class="smcap">Compound Stress.</span>—So called, because it is a union -of radical and terminal stress, and marked (><). The force -is on both beginning and end of the word, and may be made -by striking twice in succession, continuing the voice from -radical to terminal without pause of voice between the -strokes.</p> - -<p>6. <span class="smcap">Tremolo Stress.</span>—This is a trembling of voice, and -marked thus (〰). Prolong long vowels, -making the voice tremble while you do so.</p> - - -<h3>MOVEMENT.</h3> - -<p>Movement is the degree of rapidity or slowness with -which you speak the articulate sounds. The danger in fast -movement is, that you will not articulate plainly; and in -slow, that you will drawl.</p> - -<p>1. <span class="smcap">Quick Movement.</span>—Use exercise of chanting and -reading sentences, as under "Pitch," using the middle tones -of voice; and repeat the words with the utmost possible -rapidity, with perfect articulation. In chanting, do not mind -the sense; but, in reading, be particular to give the meaning -of the sentence.</p> - -<p>2. <span class="smcap">Moderate Movement.</span>—Use exercise as above -about as fast as ordinary talking.</p> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p> - -<p>3. <span class="smcap">Slow Movement.</span>—Use exercise as above, with very -slow movement of voice. In chanting, prolong each word -about alike; in reading, give good expression, and you will -see that the more important words usually take the longest -time.</p> - - -<h3>ARTICULATION.</h3> - -<p>Articulation is the utterance of the elementary sounds, -which, when combined, make language. You have been -using the sounds that make up speech, in combination, every -day; but it is a good practice to make each element separately. -After you are able to make each sound distinctly, -you will find you can make yourself understood in a large -hall without using a loud voice. Your jaw, lips, and tongue -should move actively and easily. For this purpose use long -vowels,—No. 1, No. 8, No. 14,—speaking them in quick -succession, one after the other, making them distinct, and -making the jaw and lips move as much as you can with -ease. Continue to the extent of your breath. Then use the -same with <i>p</i>, <i>b</i>, or <i>m</i> before them; then -with <i>t</i>, <i>d</i>, or <i>n</i>; then <i>k</i>, <i>g</i>, -or <i>y</i>. Continue this practice about five minutes at a -time, until the jaw, lips, and tongue will move with perfect -ease.</p> - - -<h3>ELEMENTARY SOUNDS.</h3> - -<p>In the exercises here given, use the sound, not the name -of the letters which represents the sound, and practise separately -the sounds represented by the Italic letters below. -The only correct way to learn them is from the lips of a -competent teacher; but you will do well, and improve, if you -try the best you can in your way.</p> - -<p class="center">VOWELS.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="Vowels"> -<tr><td colspan="5" class="bor_right"><i>Long.</i></td> - <td colspan="5" class="bor_right"><i>Short.</i></td> - <td colspan="5"><i>Diphthongs.</i></td></tr> -<tr><td align="left">1.</td><td> <i>e</i></td><td>as</td><td>in</td><td class="bor_right">m<i>ee</i>t.</td> - <td align="left"> 2.</td><td> <i>i</i></td><td>as</td><td>in</td><td class="bor_right"><i>i</i>t.</td> - <td align="left"> 8<sup>1</sup>.</td><td> <i>i</i></td><td>as</td><td>in</td><td>p<i>i</i>e.</td></tr> -<tr><td align="left">3<sup>1</sup>.</td><td> <i>a</i></td><td>"</td><td>"</td><td class="bor_right">m<i>a</i>y.</td> - <td align="left"> 4.</td><td> <i>e</i></td><td>"</td><td>"</td><td class="bor_right">m<i>e</i>t.</td> - <td align="left"> 11<sup>1</sup>.</td><td> <i>oi</i></td><td>"</td><td>"</td><td><i>oi</i>l.</td></tr> -<tr><td align="left">5.</td><td> <i>ai</i></td><td>"</td><td>"</td><td class="bor_right"><i>ai</i>r.</td> - <td align="left"> 5.</td><td> <i>a</i></td><td>"</td><td>"</td><td class="bor_right"><i>a</i>t.</td> - <td align="left"> 8<sup>14</sup>.</td><td> <i>ou</i></td><td>"</td><td>"</td><td><i>ou</i>t.</td></tr> -<tr><td align="left">6.</td><td> <i>e</i></td><td>"</td><td>"</td><td class="bor_right">h<i>e</i>r.</td> - <td align="left"> 7.</td><td> <i>a</i></td><td>"</td><td>"</td><td class="bor_right">Cub<i>a</i>.</td> - <td align="left"> <sup>1</sup>14.</td><td> <i>u</i></td><td>"</td><td>"</td><td>yo<i>u</i>.</td></tr> -<tr><td align="left">8.</td><td><i>a</i></td><td>"</td><td>"</td><td class="bor_right"><i>a</i>h.</td> - <td align="left"> 9.</td><td><i>u</i></td><td>"</td><td>"</td><td class="bor_right"><i>u</i>p.</td></tr> -<tr><td align="left">10.</td><td><i>a</i></td><td>"</td><td>"</td><td class="bor_right"><i>a</i>we.</td> - <td align="left"> 11.</td><td><i>o</i></td><td>"</td><td>"</td><td class="bor_right"><i>o</i>n.</td></tr> -<tr><td align="left">12<sup>14</sup>.</td><td><i>o</i></td><td>"</td><td>"</td><td class="bor_right"><i>o</i>h.</td> - <td align="left"> 13.</td><td><i>oo</i></td><td>"</td><td>"</td><td class="bor_right">f<i>oo</i>t.</td></tr> -<tr><td align="left">12.</td><td><i>o</i></td><td>"</td><td>"</td><td class="bor_right"><i>o</i>re.</td> - <td colspan="5" class="bor_right"></td></tr> -<tr><td align="left">14.</td><td><i>oo</i></td><td>"</td><td>"</td><td class="bor_right">w<i>oo</i>.</td> - <td colspan="5" class="bor_right"></td></tr> -</table></div> - -<blockquote> - -<p class="center"><span class="smcap">Glides.</span>—1-14 of the vowels, and <i>r</i> when it follows a vowel, are -by Prof. Bell called "Glides."</p></blockquote> - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p> - - -<p class="center">CONSONANTS OR ARTICULATIONS.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="Consonants or Articulations"> -<tr><td colspan="4" class="bor_right"><i>Breath.</i></td> - <td colspan="4" class="bor_right"><i>Voice.</i></td> - <td colspan="4" class="bor_right"><i>Nasal.</i></td> - <td colspan="2"><i>Place in Mouth.</i></td></tr> -<tr><td><i>p</i></td><td>as</td><td>in</td><td class="bor_right"><i>p</i>ay.</td> - <td><i>b</i></td><td>as</td><td>in</td><td class="bor_right"><i>b</i>ay.</td> - <td><i>m</i></td><td>as</td><td>in</td><td class="bor_right"><i>m</i>ay.</td> - <td align="left">Lips.</td></tr> -<tr><td><i>wh</i></td><td>"</td><td>"</td><td class="bor_right"><i>wh</i>y.</td> - <td><i>w</i></td><td>"</td><td>"</td><td class="bor_right"><i>w</i>ay.</td> - <td colspan="4" class="bor_right"></td> - <td>"</td></tr> -<tr><td><i>f</i></td><td>"</td><td>"</td><td class="bor_right"><i>f</i>ie.</td> - <td><i>v</i></td><td>"</td><td>"</td><td class="bor_right"><i>v</i>ie.</td> - <td colspan="4" class="bor_right"></td> - <td align="left">Lips and</td><td align="left">teeth.</td></tr> -<tr><td><i>th</i></td><td>"</td><td>"</td><td class="bor_right"><i>th</i>in.</td> - <td><i>th</i></td><td>"</td><td>"</td><td class="bor_right"><i>th</i>en.</td> - <td colspan="4" class="bor_right"></td> - <td align="left">Tongue "</td><td>"</td></tr> -<tr><td><i>t</i></td><td>"</td><td>"</td><td class="bor_right"><i>t</i>ie.</td> - <td><i>d</i></td><td>"</td><td>"</td><td class="bor_right"><i>d</i>ie.</td> - <td><i>n</i></td><td>"</td><td>"</td><td class="bor_right"><i>n</i>igh.</td> - <td align="left">Tip of</td><td>tongue.</td></tr> -<tr><td><i>ch</i></td><td>"</td><td>"</td><td class="bor_right"><i>ch</i>ew.</td> - <td><i>j</i></td><td>"</td><td>"</td><td class="bor_right"><i>j</i>ew.</td> - <td colspan="4" class="bor_right"></td> - <td>"</td><td>"</td></tr> -<tr><td colspan="4" class="bor_right"></td> - <td><i>l</i></td><td>"</td><td>"</td><td class="bor_right"><i>l</i>ay.</td> - <td colspan="4" class="bor_right"></td> - <td>"</td><td>"</td></tr> -<tr><td colspan="4" class="bor_right"></td> - <td><i>r</i></td><td>"</td><td>"</td><td class="bor_right"><i>r</i>ay.</td> - <td colspan="4" class="bor_right"></td> - <td>"</td><td>"</td></tr> -<tr><td><i>s</i></td><td>"</td><td>"</td><td class="bor_right"><i>s</i>ee.</td> - <td><i>z</i></td><td>"</td><td>"</td><td class="bor_right"><i>z</i>eal.</td> - <td colspan="4" class="bor_right"></td> - <td>"</td><td>"</td></tr> -<tr><td><i>sh</i></td><td>"</td><td>"</td><td class="bor_right"><i>sh</i>oe.</td> - <td><i>zh</i></td><td>"</td><td>"</td><td class="bor_right">a<i>z</i>ure.</td> - <td colspan="4" class="bor_right"></td> - <td>"</td><td>"</td></tr> -<tr><td colspan="4" class="bor_right"></td> - <td><i>y</i></td><td>"</td><td>"</td><td class="bor_right"><i>y</i>e.</td> - <td colspan="4" class="bor_right"></td> - <td align="left">Whole</td><td>tongue.</td></tr> -<tr><td><i>k</i></td><td>"</td><td>"</td><td class="bor_right"><i>k</i>ey.</td> - <td><i>g</i></td><td>"</td><td>"</td><td class="bor_right"><i>g</i>o.</td> - <td><i>ng</i></td><td>"</td><td>"</td><td class="bor_right">si<i>ng</i>.</td> - <td align="left">Back of</td><td>"</td></tr> -<tr><td><i>h</i></td><td>"</td><td>"</td><td colspan="11"><i>h</i>e, <i>h</i>ay, <i>h</i>a, <i>h</i>o, is a whispered vowel, taking the<br /> - position of the vowel following it.</td></tr> -</table></div> - -<p>Of the vowels, the numbers indicate positions of mouth; -and, where numbers are alike, the positions are alike. Each -vowel-sound is made by unobstructed sounds issuing through -a certain position of mouth. The position is unchanged -with single vowels, and those have but one number. The -position changes in double vowels and diphthongs; and those -have two numbers,—one large, one small. As each number -represents a position of mouth, you can easily see by comparing -what sounds are made from combining others. The -number in the largest size type of the two represents the -position that is kept when the sound is prolonged: as in 8<sup>1</sup> -prolong the 8 or <i>a</i>h, and make <sup>1</sup> or <i>ee</i> very short; and in <sup>1</sup>14 -make <sup>1</sup> very short, and prolong 14. The positions represented -by the small figures are called "Glides," because the position -is hardly assumed before the sound is finished. Diphthongs -are sounds made by combining vowel-sounds, as 8<sup>1</sup> <i>a</i>h-<i>ee</i>. -Of the consonants, or, as well named by Prof. Bell, articulations,—because -two parts of the mouth have to come together -and separate in order to finish the element, thus obstructing -the breath or voice,—those in line across the page with -each other are alike in position of mouth; those in first -column are made with breath only, passing out through the -mouth; those in second column, with sound passing out -through the mouth; those in third column are sound passing -out through the nose. For instance, <i>p</i>, <i>b</i>, <i>m</i>, are in line -with each other; and, if you will make the three sounds represented -by those letters, you will see that the same position -of mouth is assumed for each, and that <i>p</i> is breath forced<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span> -out of mouth, <i>b</i> is sound out of mouth, <i>m</i> is sound passing -out of nose.</p> - -<p>Practise these sounds of vowels and articulations until -you can make them forcibly and easily, with elastic movement -of jaw, tongue, and lips; and remember that force -depends on the strength and good control of muscles below -the lungs. Then unite them by placing articulations before -vowels, giving most force to the vowel, but make both clear -and distinct. Then use articulations both before and after -the vowel, still giving the vowel the most force, but making -the articulation that begins and ends equally distinct -and clear. To arrange these for your practice in this small -book would take too much space. You have above each -element of the English language clearly shown, and can -easily combine them as directed.</p> - - - -<h3>SUMMARY OF PHYSICAL AND VOCAL GYMNASTICS.</h3> - - -<p class="center">PHYSICAL GYMNASTICS.</p> - -<p class="center">ATTITUDE.</p> - -<p> -1. Standing Position.<br /> -2. Speaker's<span style="margin-left:1.5em;">"</span><br /> -3. Sitting Position.<br /> -4. Change<span style="margin-left:1.5em;">"</span><br /> -5. Poise.<br /> -6. Rise on Toes.<br /> -7. Holding Book.<br /> -</p> - -<p class="center">CHEST EXPANSION.</p> - -<p> -1. Active and Passive Chest.<br /> -2. Arms at Side.<br /> -3. Fore-arm Vertical.<br /> -4. Percussion. Full Arm.<br /> -5. <span style="margin-left:2em;">"</span><span style="margin-left:2.5em;">Hands on Chest.</span><br /> -</p> - -<p class="center">BODY AND NECK MOVEMENTS.</p> - -<p> -1. Body bend forward and back.<br /> -2. <span style="margin-left:1em;">"</span><span style="margin-left:2em;">"</span><span style="margin-left:1em;">right and left.</span><br /> -3. <span style="margin-left:1em;">"</span><span style="margin-left:1em;">turn</span><span style="margin-left:2em;">"</span><span style="margin-left:2em;">"</span><br /> -4. Neck bend forward and back.<br /> -5. <span style="margin-left:1em;">"</span><span style="margin-left:2em;">"</span><span style="margin-left:1em;">right and left.</span><br /> -6. <span style="margin-left:1em;">"</span><span style="margin-left:1em;">turn</span><span style="margin-left:2em;">"</span><span style="margin-left:2em;">"</span><br /> -</p> - - -<p class="center">VOCAL GYMNASTICS.</p> - -<p><span class="smcap">Note.</span>—<i>Be sure and keep</i> ACTIVE CHEST <i>in all -vocal exercises</i>.</p> - -<p class="center">BREATHING.</p> - -<p> -1. Abdominal.<br /> -2. Costal.<br /> -3. Dorsal.<br /> -4. Puff.<br /> -5. Puff—Pause between.<br /> -6. <span style="margin-left:1em;">"</span><span style="margin-left:1.5em;">Breathe</span><span style="margin-left:1em;">"</span><br /> -7. Holding Breath.<br /> -</p> - -<p><span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span></p> -<p class="center">TONE.</p> - -<p><span class="smcap">Note.</span>—<i>In following exercises use first long, then short vowels.</i></p> - -<p> -1. Glottis stroke. Who, whispered, followed by short vowels quickly spoken.<br /> -2. Soft Tones. Use oo-oh-awe-ah first, then any other vowels.<br /> -3. Swell Tones. Use vowels as in Soft Tones.<br /> -</p> - -<p class="center">PITCH.</p> - -<p> -1. Learn Musical Scale. Practise Tone Exercise on each tone within -compass of voice.<br /> -2. Chant sentences on each tone.<br /> -3. Read sentences, beginning on each tone.<br /> -</p> - -<p class="center">INFLECTION.</p> - -<p> -1. Major fall from different pitches.<br /> -2. <span style="margin-left:1em;">"</span><span style="margin-left:1.5em;">rise</span><span style="margin-left:3em;">"</span><span style="margin-left:3em;">"</span><br /> -3. <span style="margin-left:1em;">"</span><span style="margin-left:2em;">"</span><span style="margin-left:1em;">and fall from different pitches.</span><br /> -4. Minor rise and fall.<br /> -5. Circumflex, rise and fall.<br /> -6. Monotone, different pitches.<br /> -</p> - -<p class="center">QUALITY.</p> - -<p> -1. Whisper.<br /> -2. Aspirate.<br /> -3. Pure.<br /> -4. Orotund.<br /> -</p> - -<p class="center">FORCE.</p> - -<p><span class="smcap">Note.</span>—<i>Use exercises under Pitch, Nos. 2 and 3, with different -degrees of force.</i></p> - -<p> -1. Gentle.<br /> -2. Moderate.<br /> -3. Loud.<br /> -</p> - -<p class="center">STRESS.</p> - -<p> -1. Radical.<br /> -2. Median.<br /> -3. Terminal.<br /> -4. Thorough.<br /> -5. Compound.<br /> -6. Tremolo.<br /> -</p> - -<p class="center">MOVEMENT.</p> - -<p><span class="smcap">Note.</span>—<i>Use exercises under Pitch, Nos. 2 and 3, with different -rates of movement.</i></p> - -<p> -1. Quick.<br /> -2. Moderate.<br /> -3. Slow.<br /> -</p> - -<p class="center">ARTICULATION.</p> - -<p><span class="smcap">Note.</span>—<i>Use only sounds represented by Italicized letters in the -words and letters below.</i></p> - -<p> -1. Elementary Sounds.<br /> -2. Syllables.<br /> -3. Words.<br /> -4. Phrases.<br /> -5. Sentences.<br /> -</p> - -<p>Long Vowels. 1. m<i>ee</i>t. 3<sup>1</sup>. m<i>ay</i>. 5. <i>ai</i>r. 6. h<i>e</i>r. 8. <i>a</i>h. 10. -<i>awe.</i> 12<sup>14</sup>. <i>o</i>h. 12. <i>o</i>re. 14. w<i>oo</i>.</p> -<p><span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span></p> -<p>Short Vowels. 2. <i>i</i>t. 4. m<i>e</i>t. 5. <i>a</i>t. 7. Cub<i>a</i>. 9. <i>u</i>p. 11. <i>o</i>n. -13. f<i>oo</i>t.</p> - -<p>Diphthongs. 8<sup>1</sup>. p<i>i</i>e. 11<sup>1</sup>. <i>oi</i>l. 8<sup>14</sup>. <i>ou</i>t. y14. <i>you.</i></p> - -<p>Glides. 1.—14.<i>-r.</i></p> - -<p>Articulations. Lips—<i>p</i>, <i>b</i>, <i>m-wh</i>, <i>w</i>. Lips and Teeth—<i>f</i>, <i>v</i>. Teeth -and Tongue—<i>th</i> (thin), <i>th</i> (then). Tip of Tongue—<i>t</i>, <i>d</i>, <i>n-l-r-ch</i>, -<i>j-s</i>, <i>z-sh</i>, <i>zh</i>. Tongue—<i>y</i>. Back of Tongue—<i>k</i>, <i>g</i>, <i>ng</i>. -Whispered Vowel—<i>h</i>.</p> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p> - - - -<h2>PART THREE.<br /> - -ELOCUTION.</h2> - - -<p>If you have faithfully practised Parts One and Two, you -have gained some control of voice, and can now begin elocution, -or expression of thought and feeling. In each of the short -extracts you will find some thought and feeling to express; -and if you will take pains to understand thoroughly what -you have to speak, and then speak earnestly as the thought -and feeling prompts you, you will certainly improve. Speak -to some person; and, if no one is present, imagine that there -is, and talk to them: for you need never speak aloud, unless -it is for some one besides yourself to hear. Your first endeavor -as a speaker should be to make a pleasant quality of -voice, so that you may make good listeners of your audience. -The following exercises suggest pleasure, and let your voice -suggest the sentiment.</p> - - -<h3>PLEASANT QUALITY.</h3> - -<div class="poem"><div class="stanza"> -<span class="i0">1.<span style="margin-left:3em;">A merrier man,</span><br /></span> -<span class="i1">Within the limit of becoming mirth,<br /></span> -<span class="i1">I never spent an hour's talk withal:<br /></span> -<span class="i1">His eye begets occasion for his wit;<br /></span> -<span class="i1">For every object that the one doth catch,<br /></span> -<span class="i1">The other turns to a mirth-moving jest,<br /></span> -<span class="i1">Which his fair tongue (conceit's expositor)<br /></span> -<span class="i1">Delivers in such apt and gracious words,<br /></span> -<span class="i1">That aged ears play truant at his tales,<br /></span> -<span class="i1">And younger hearings are quite ravished,<br /></span> -<span class="i1">So sweet and voluble is his discourse.<br /></span> -</div><div class="stanza"> -<span class="i0">2. There's something in a noble boy,<br /></span> -<span class="i3">A brave, free-hearted, careless one,<br /></span> -<span class="i1">With his unchecked, unbidden joy,<br /></span> -<span class="i3">His dread of books, and love of fun,—<br /></span> -<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span><span class="i1">And in his clear and ready smile,<br /></span> -<span class="i1">Unshaded by a thought of guile,<br /></span> -<span class="i3">And unrepressed by sadness,—<br /></span> -<span class="i1">Which brings me to my childhood back,<br /></span> -<span class="i1">As if I trod its very track,<br /></span> -<span class="i3">And felt its very gladness.<br /></span> -</div></div> - -<p>3. The scene had also its minstrels: the birds, those ministers -and worshippers of Nature, were on the wing, filling -the air with melody; while, like diligent little housewives, -they ransacked the forest and field for materials for their -housekeeping.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">4. Let me play the fool:<br /></span> -<span class="i1">With mirth and laughter let old wrinkles come;<br /></span> -<span class="i1">And let my liver rather heat with wine<br /></span> -<span class="i1">Than my heart cool with mortifying groans.<br /></span> -<span class="i1">Why should a man whose blood is warm within<br /></span> -<span class="i1">Sit like his grandsire, cut in alabaster?<br /></span> -<span class="i1">Sleep when he wakes? and creep into the jaundice<br /></span> -<span class="i1">By being peevish?<br /></span> -</div><div class="stanza"> -<span class="i0">5. Across in my neighbor's window, with its drapings of satin and lace,<br /></span> -<span class="i1">I see, 'neath its flowing ringlets, a baby's innocent face.<br /></span> -<span class="i1">His feet, in crimson slippers, are tapping the polished glass;<br /></span> -<span class="i1">And the crowd in the street look upward, and nod and smile as they pass.<br /></span> -</div><div class="stanza"> -<span class="i0">6. How sweet the moonlight sleeps upon this bank!<br /></span> -<span class="i1">Here will we sit, and let the sounds of music<br /></span> -<span class="i1">Creep in our ears: soft stillness and the night<br /></span> -<span class="i1">Become the touches of sweet harmony.<br /></span> -<span class="i1">Look how the floor of heaven<br /></span> -<span class="i1">Is thick inlaid with patens of bright gold!<br /></span> -<span class="i1">There's not the smallest orb which thou behold'st,<br /></span> -<span class="i1">But in his motion like an angel sings,<br /></span> -<span class="i1">Still quiring to the young-eyed cherubim:<br /></span> -<span class="i1">Such harmony is in immortal souls;<br /></span> -<span class="i1">But, whilst this muddy vesture of decay<br /></span> -<span class="i1">Doth grossly close it in, we cannot hear it.<br /></span> -</div></div> -<p><span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span></p> -<p>7. A cheerful man is pre-eminently a useful man. He -knows that there is much misery, but that misery is not the -rule of life. He sees that in every state people may be -cheerful; the lambs skip, birds sing and fly joyously, puppies -play, kittens are full of joyance, the whole air is full of -careering and rejoicing insects; that everywhere the good -outbalances the bad, and that every evil that there is has -its compensating balm.</p> - -<p>For other selections, see Baker's "Reading Club."</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" width="90%" summary="Selections for PLEASANT QUALITY"> -<tr><td>No.</td><td>Page.</td><td>Verse.</td></tr> -<tr><td>1</td><td>12</td><td>1</td></tr> -<tr><td>1</td><td>82</td><td>all</td></tr> -<tr><td>2</td><td>15</td><td>6</td></tr> -<tr><td>2</td><td>62</td><td>1</td></tr> -<tr><td>2</td><td>72</td><td>1</td></tr> -<tr><td>2</td><td>78</td><td>all</td></tr> -<tr><td>3</td><td>11</td><td>all</td></tr> -<tr><td>3</td><td>35</td><td>all</td></tr> -<tr><td>3</td><td>49</td><td>all</td></tr> -<tr><td>4</td><td>26</td><td>6</td></tr> -<tr><td>4</td><td>36</td><td>all</td></tr> -<tr><td>4</td><td>92</td><td>1</td></tr> -</table></div> - -<h3>ARTICULATION.</h3> - -<p>With pleasant quality you will make listeners; but you -will soon weary them, unless you make them understand by -clear articulation. You have made the organs of articulation -elastic by practice of elementary sounds separately and -in combination. In combinations you have made syllables, -and these syllables make words, words make phrases, phrases -make sentences, sentences make up a discourse, address, oration, -&c.</p> - -<p><span class="smcap">Syllables.</span>—Every syllable contains a vowel, or its -equivalent; as in the following word, which is separated by -hyphens into syllables,—in-com-pre-hen-si-ble: you will -hear a vowel-sound in each, the last syllable having the -sound of <i>l</i> as an equivalent.</p> - -<p><span class="smcap">Words.</span>—A word may have one or more syllables; and, -when it has two or more, one of them will receive slightly -more force than the others, as in the word "common." -Pronounce it, and you will give more force to "<i>com</i>" than -"<i>mon</i>." This force applied is called accent.</p> - -<p><span class="smcap">Accent.</span>—In pronouncing words, you will notice that in<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span> -the longest words, even while you make each syllable distinct, -there is no perceptible pause until the word is finished. -In words of two or three syllables you will find accent as -above; but words of four or more syllables have one accented, -and perhaps two syllables besides, that receive less -force than the accented, but more than the others. Pronounce -incomprehensibility. Properly done, you will hear -that you give "<i>bil</i>" the strongest accent, and "<i>com</i>" and -"<i>hen</i>" slight accent, but more than the remaining syllables, -"<i>in</i>," "<i>pre</i>," "<i>si</i>," "<i>i</i>," "<i>ty</i>." The accent on "<i>bil</i>" is -primary accent; and on the "<i>com</i>" and "<i>hen</i>" secondary -accent.</p> - -<p><span class="smcap">Phrases.</span>—Two or more words make a phrase; and a -phrase gives you an idea, perhaps, needing a number of -phrases to make complete sense. You should speak phrases -just as you would a long word, without perceptible pause, -and with more force on prominent words than others. Here -is a sentence composed of two phrases: "Fear the Lord, -and depart from evil." A poor reading of this would be, -"Fear (pause) the Lord, (pause) and depart (pause) from -evil." A good reading would be, "Fear the Lord, (pause) -and depart from evil."</p> - -<p><span class="smcap">Emphasis.</span>—As in words you have primary and secondary -accent, so in phrases you have what is known as emphasis. -In the sentence just given, the words that had most -force were "<i>Lord</i>" and "<i>evil</i>;" and less force, "<i>fear</i>" and -"<i>depart</i>;" and little or no force, "<i>the</i>," "<i>and</i>," and "<i>from</i>." -You may call this primary and secondary emphasis, the -primary having, as in accent, most force.</p> - -<p><span class="smcap">Sentences.</span>—These phrases, or groups of words somewhat -connected in idea, make sentences; and a sentence -gives complete sense. As syllables make words, and in -words you have an accented syllable; as words make -phrases, and in phrases you have an emphatic word: so, in -sentences composed of phrases, you have an important -phrase; and this important phrase must be impressed upon -the mind of the listener more strongly than any other. This -is done by slightly added force and a trifle higher pitch; -and, as you will readily see, the emphatic word of the important -phrase is the emphatic word of the whole sentence. -Thus you have the structure of sentences; and, if you proportion -your force well, you will not fail to give the meaning -correctly. In the following sentence, the phrases are<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span> -separated by commas; the emphatic words are in <span class="smcap lowercase">SMALL -CAPITALS</span>; the secondarily emphatic words are in <i>Italics</i>. -First understand what the sentence means, then speak it -as you would in earnest conversation, and you will be likely -to give it correctly.</p> - -<p>"We <span class="smcap lowercase">ALL</span> of us, in a great <i>measure</i>, <i>create</i> our own <span class="smcap lowercase">HAPPINESS</span>, -which is not <i>half</i> so much <i>dependent</i> upon <span class="smcap lowercase">SCENES</span> and -<span class="smcap lowercase">CIRCUMSTANCES</span> as most <i>people</i> are apt to <span class="smcap lowercase">IMAGINE</span>."</p> - -<p>In this sentence the important phrase is, "create our own -happiness;" and the other phrases must be and are, by a -good reader, subordinated to this one. This subordination -of phrases to the principal one is made by lowering the pitch -slightly, and lessening the force slightly on the subordinate -phrases. It is naturally done if you'll talk the sentence -understandingly.</p> - -<p>In the following sentences,—</p> - -<p>1st, Sound each element of a word separately.</p> - -<p>2d, Pronounce each word separately, with proper accent, -being careful to give each element correctly.</p> - -<p>3d, Read in phrases, remembering that each phrase should -be pronounced as a long word, without pause, and with -emphasis.</p> - -<p>4th, Read in sentences, subordinating all other phrases to -the principal phrase.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. When sorrows come, they come not single spies,<br /></span> -<span class="i1">But in battalions.<br /></span> -</div><div class="stanza"> -<span class="i0">2. There's such divinity doth hedge a king,<br /></span> -<span class="i1">That treason can but keep to what it would,<br /></span> -<span class="i1">Act little of his will.<br /></span> -</div></div> - -<p>3. Grandfather is old. His back, also, is bent. In the -street he sees crowds of men looking dreadfully young, and -walking dreadfully swift. He wonders where all the old -folks are. Once, when a boy, he could not find people -young enough for him, and sidled up to any young stranger -he met on Sundays, wondering why God made the world so -old. Now he goes to Commencement to see his grandsons -take their degree, and is astonished at the youth of the -audience. "This is new," he says: "it did not use to be so -fifty years before."</p> -<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span></p> -<div class="poem"><div class="stanza"> -<span class="i0">4. Press on! surmount the rocky steeps;<br /></span> -<span class="i3">Climb boldly o'er the torrent's arch:<br /></span> -<span class="i1">He fails alone who feebly creeps;<br /></span> -<span class="i3">He wins who dares the hero's march.<br /></span> -</div><div class="stanza"> -<span class="i0">5. Where I have come, great clerks have purposed<br /></span> -<span class="i1">To greet me with premeditated welcomes;<br /></span> -<span class="i1">Where I have seen them shiver and look pale,<br /></span> -<span class="i1">Make periods in the midst of sentences,<br /></span> -<span class="i1">Throttle their practised accent in their fears,<br /></span> -<span class="i1">And, in conclusion, dumbly have broke off,<br /></span> -<span class="i1">Not paying me a welcome, trust me, sweet,<br /></span> -<span class="i1">Out of this silence yet I picked a welcome;<br /></span> -<span class="i1">And in the modesty of fearful duty<br /></span> -<span class="i1">I read as much as from the rattling tongue<br /></span> -<span class="i1">Of saucy and audacious eloquence.<br /></span> -</div></div> - -<p>6. Be not lulled, my countrymen, with vain imaginations -or idle fancies. To hope for the protection of Heaven, without -doing our duty, and exerting ourselves as becomes men, -is to mock the Deity. Wherefore had man his reason, if it -were not to direct him? wherefore his strength, if it be not -his protection? To banish folly and luxury, correct vice -and immorality, and stand immovable in the freedom in -which we are free indeed, is eminently the duty of each -individual at this day. When this is done, we may rationally -hope for an answer to our prayers—for the whole -counsel of God, and the invincible armor of the Almighty.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">7. The quality of mercy is not strained:<br /></span> -<span class="i1">It droppeth as the gentle rain from heaven<br /></span> -<span class="i1">Upon the place beneath. It is twice blessed,—<br /></span> -<span class="i1">It blesseth him that gives, and him that takes.<br /></span> -<span class="i1">'Tis mightiest in the mightiest: it becomes<br /></span> -<span class="i1">The throned monarch better than his crown:<br /></span> -<span class="i1">His sceptre shows the force of temporal power,<br /></span> -<span class="i1">The attribute to awe and majesty,<br /></span> -<span class="i1">Wherein doth sit the dread and fear of kings.<br /></span> -<span class="i1">But mercy is above this sceptred sway:<br /></span> -<span class="i1">It is enthroned in the hearts of kings;<br /></span> -<span class="i1">It is an attribute to God himself;<br /></span> -<span class="i1">And earthly power doth then show likest God's<br /></span> -<span class="i1">When mercy seasons justice.<br /></span> -</div></div> -<p><span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p> - -<h3>FULNESS AND POWER.</h3> - -<p>Fulness of voice is necessary, that, when you are speaking -in a large hall, your voice may be powerful. Most persons -could make themselves heard, and, with good articulation, -understood; but yet they would lack power, because the -voice wants fulness. The extracts given below will suggest -to you the necessity of a full voice to express them well. -Observe these directions in trying to get a full, energetic -tone:—</p> - -<p>1st, Correct speaker's position, take active chest, and -keep it.</p> - -<p>2d, Take full breath, breathe often, and control it. (See -"Holding Breath.")</p> - -<p>3d, Articulate perfectly.</p> - -<p>4th, Use conversational and lower tones of the voice.</p> - -<p>5th, Fix the mind on some distant spot, and speak as if -you wished to make some one hear at that point.</p> - -<p>6th, Remember to be very energetic, and yet have it seem -to a looker-on or listener to be done without the slightest -effort.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. O'Brien's voice is hoarse with joy, as, halting, he commands,<br /></span> -<span class="i1">"Fix bay'nets—charge!" Like mountain-storm rush on these fiery bands.<br /></span> -<span class="i1">On Fontenoy, on Fontenoy! hark to that fierce huzza!<br /></span> -<span class="i1">"Revenge! remember Limerick! dash down the Sassenagh!"<br /></span> -<span class="i1">Like lions leaping at a fold when mad with hunger's pang,<br /></span> -<span class="i1">Right up against the English line the Irish exiles sprang.<br /></span> -<span class="i1">The English strove with desperate strength, paused, rallied, staggered, fled:<br /></span> -<span class="i1">The green hill-side is matted close with dying and with dead.<br /></span> -<span class="i1">On Fontenoy, on Fontenoy, like eagles in the sun,<br /></span> -<span class="i1">With bloody plumes the Irish stand: the field is fought and won.<br /></span> -<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span></div><div class="stanza"> -<span class="i0">2. Thou too sail on, O Ship of State!<br /></span> -<span class="i1">Sail on, O Union strong and great!<br /></span> -<span class="i1">Humanity, with all its fears,<br /></span> -<span class="i1">With all its hopes of future years,<br /></span> -<span class="i1">Is hanging breathless on thy fate.<br /></span> -<span class="i1">We know what master laid thy keel,<br /></span> -<span class="i1">What workmen wrought thy ribs of steel,<br /></span> -<span class="i1">Who made each mast and sail and rope,<br /></span> -<span class="i1">What anvils rang, what hammers beat,<br /></span> -<span class="i1">In what a forge and what a heat<br /></span> -<span class="i1">Were shaped the anchors of thy hope.<br /></span> -</div><div class="stanza"> -<span class="i0">3. Oh! young Lochinvar is come out of the west:<br /></span> -<span class="i1">Through all the wide border his steed was the best;<br /></span> -<span class="i1">And, save his good broad-sword, he weapon had none;<br /></span> -<span class="i1">He rode all unarmed, and he rode all alone.<br /></span> -<span class="i1">So faithful in love, and so dauntless in war,<br /></span> -<span class="i1">There never was knight like the young Lochinvar.<br /></span> -</div><div class="stanza"> -<span class="i0">4. One song employs all nations; and all cry,<br /></span> -<span class="i1">"Worthy the Lamb, for he was slain for us!"<br /></span> -<span class="i1">The dwellers in the vales and on the rocks<br /></span> -<span class="i1">Shout to each other; and the mountain-tops<br /></span> -<span class="i1">From distant mountains catch the flying joy;<br /></span> -<span class="i1">Till, nation after nation taught the strain,<br /></span> -<span class="i1">Earth rolls the rapturous hosanna round.<br /></span> -</div><div class="stanza"> -<span class="i0">5. "But I defy him!—let him come!"<br /></span> -<span class="i3">Down rang the massy cup,<br /></span> -<span class="i1">While from its sheath the ready blade<br /></span> -<span class="i3">Came flashing half way up;<br /></span> -<span class="i1">And, with the black and heavy plumes<br /></span> -<span class="i3">Scarce trembling on his head,<br /></span> -<span class="i1">There, in his dark, carved, oaken chair,<br /></span> -<span class="i3">Old Rudiger sat—dead!<br /></span> -</div></div> - -<p>6. All hail to our glorious ensign! Courage to the heart, -and strength to the hand, to which in all time it shall be -intrusted! May it ever wave in honor, in unsullied glory, -and patriotic hope, on the dome of the capitol, on the country's -stronghold, on the entented plain, on the wave-rocked -topmast!</p> -<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p> -<div class="poem"><div class="stanza"> -<span class="i0">7. Rejoice, you men of Angiers! ring your bells!<br /></span> -<span class="i1">King John, your king and England's, doth approach,<br /></span> -<span class="i1">Commander of this hot malicious day!<br /></span> -<span class="i1">Their armors that marched hence so silver bright<br /></span> -<span class="i1">Hither return all gilt with Frenchmen's blood;<br /></span> -<span class="i1">There stuck no plume in any English crest<br /></span> -<span class="i1">That is removed by a staff of France;<br /></span> -<span class="i1">Our colors do return in those same hands<br /></span> -<span class="i1">That did display them when we first marched forth;<br /></span> -<span class="i1">And, like a jolly troop of huntsmen, come<br /></span> -<span class="i1">Our lusty English, all with purpled hands<br /></span> -<span class="i1">Dyed in the dying slaughter of their foes.<br /></span> -</div></div> - - -<h3>INFLECTION.</h3> - -<p>Inflection is a slide of voice, either up or down in pitch, -or both, on the accented syllable of a word. You have -learned in previous pages what kinds there are. Major -inflections express strength: minor express weakness.</p> - -<p>Rising inflections refer to something to come that shall -complete the sense. If you speak a phrase that needs another -to complete its meaning, you will use a rising inflection to -connect them. If you defer to another's will, opinion, or -knowledge, in what you say, you will use a rising inflection. -If you speak of two or more things, thinking of them as a -whole, and not separately, you use a rising inflection.</p> - -<p>Falling inflections are used when a phrase or sentence is -complete in itself. If you state your own will, opinion, or -knowledge, you will use falling inflection. If you speak of -two or more things separately, wishing to make each one by -itself distinct in the hearer's mind, you will use falling -inflections.</p> - -<p>Circumflex inflections, being composed of rising and falling -inflections combined, are doubtful in meaning; for if -rising means one thing, and falling means another, a combination -must mean doubt. It expresses irony, sarcasm, &c.</p> - -<p>Monotone is a varying of inflection within very narrow -limits, and comes as near to chanting as the voice can, and -still retain the expressiveness of inflection in speech. It -expresses any slow-moving emotions, as grandeur, awe, -solemnity, &c.</p> - -<p>Practise the short extracts under each head until you are -sure you give the right inflection in the right place.</p> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span></p> - - -<p class="center">MAJOR RISING INFLECTION.</p> - -<p>1. Would the influence of the Bible, even if it were not -the record of a divine revelation, be to render princes more -tyrannical, or subjects more ungovernable; the rich more -insolent, or the poor more disorderly? Would it make worse -parents or children, husbands or wives, masters or servants, -friends or neighbors?</p> - -<p>2. But why pause here? Is so much ambition praiseworthy, -and more criminal? Is it fixed in nature that the -limits of this empire should be Egypt on the one hand, the -Hellespont and Euxine on the other? Were not Suez and -Armenia more natural limits? Or hath empire no natural -limit, but is broad as the genius that can devise, and the -power that can win?</p> - -<div class="poem"><div class="stanza"> -<span class="i0">3. Shine they for aught but earth,<br /></span> -<span class="i3">These silent stars?<br /></span> -<span class="i1">And, when they sprang to birth,<br /></span> -<span class="i3">Who broke the bars<br /></span> -<span class="i1">And let their radiance out<br /></span> -<span class="i3">To kindle space,<br /></span> -<span class="i1">When rang God's morning shout<br /></span> -<span class="i3">O'er the glad race?<br /></span> -<span class="i1">Are they all desolate,<br /></span> -<span class="i3">These silent stars;<br /></span> -<span class="i1">Hung in their spheres by fate,<br /></span> -<span class="i3">Which nothing mars?<br /></span> -<span class="i1">Or are they guards of God,<br /></span> -<span class="i3">Shining in prayer,<br /></span> -<span class="i1">On the same path they've trod<br /></span> -<span class="i3">Since light was there?<br /></span> -</div></div> - - -<p class="center">MAJOR FALLING INFLECTIONS.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Stand up erect! Thou hast the form<br /></span> -<span class="i3">And likeness of thy God: who more?<br /></span> -<span class="i1">A soul as dauntless mid the storm<br /></span> -<span class="i1">Of daily life, a heart as warm<br /></span> -<span class="i3">And pure, as breast e'er wore.<br /></span> -<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span></div><div class="stanza"> -<span class="i0">2. Methinks I hear hither your husband's drum;<br /></span> -<span class="i1">See him pluck Aufidius down by the hair,<br /></span> -<span class="i1">As children from a bear, the Voices shunning him;<br /></span> -<span class="i1">Methinks I see him stamp thus, and call thus,—<br /></span> -<span class="i1"><i>Come on, you cowards! you were got in fear,</i><br /></span> -<span class="i1"><i>Though you were born in Rome</i>: his bloody brow<br /></span> -<span class="i1">With his mailed hand then wiping, forth he goes,<br /></span> -<span class="i1">Like to a harvest-man that's tasked to mow<br /></span> -<span class="i1">Or all, or lose his hire.<br /></span> -</div></div> - -<p>3. Mahomet still lives in his practical and disastrous influence -in the East. Napoleon still is France, and France -is almost Napoleon. Martin Luther's dead dust sleeps at -Wittenberg; but Martin Luther's accents still ring through -the churches of Christendom. Shakspeare, Byron, and -Milton, all live in their influence,—for good or evil. The -apostle from his chair, the minister from his pulpit, the -martyr from his flame-shroud, the statesman from his cabinet, -the soldier in the field, the sailor on the deck, who all -have passed away to their graves, still live in the practical -deeds that they did, in the lives they lived, and in the powerful -lessons that they left behind them.</p> - - -<p class="center">MINOR RISING INFLECTIONS.</p> - -<p>1. "Let me see him once before he dies? Let me hear -his voice once more? I entreat you, let me enter."</p> - -<div class="poem"><div class="stanza"> -<span class="i0">2. Stay, lady, stay, for mercy's sake,<br /></span> -<span class="i3">And hear a helpless orphan's tale!<br /></span> -<span class="i1">Ah! sure my looks must pity wake:<br /></span> -<span class="i3">'Tis want that makes my cheek so pale.<br /></span> -<span class="i1">Yet I was once a mother's pride,<br /></span> -<span class="i3">And my brave father's hope and joy;<br /></span> -<span class="i1">But in the Nile's proud fight he died,<br /></span> -<span class="i3">And I am now an orphan-boy.<br /></span> -</div><div class="stanza"> -<span class="i0">3. They answer, "Who is God that he should hear us<br /></span> -<span class="i1">While the rushing of the iron wheels is stirred?<br /></span> -<span class="i1">When we sob aloud, the human creatures near us<br /></span> -<span class="i1">Pass by, hearing not, or answer not a word.<br /></span> -<span class="i1">Is it likely God, with angels singing round him,<br /></span> -<span class="i1">Hears our weeping, any more?"<br /></span> -<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span></div></div> - - -<p class="center">MINOR FALLING INFLECTIONS.</p> - -<p>1. God forbid that we should outlive the love of our children! -Rather let us die while their hearts are a part of -our own, that our grave may be watered with their tears, -and our love linked with their hopes of heaven.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">2. Her suffering ended with the day;<br /></span> -<span class="i3">Yet lived she at its close,<br /></span> -<span class="i1">And breathed the long, long night away<br /></span> -<span class="i3">In statue-like repose.<br /></span> -</div><div class="stanza"> -<span class="i1">But, when the sun in all his state<br /></span> -<span class="i3">Illumed the eastern skies,<br /></span> -<span class="i1">She passed through glory's morning-gate,<br /></span> -<span class="i3">And walked in paradise.<br /></span> -</div><div class="stanza"> -<span class="i0">3. Father cardinal, I have heard you say<br /></span> -<span class="i1">That we shall see and know our friends in heaven.<br /></span> -<span class="i1">If that be true, I shall see my boy again;<br /></span> -<span class="i1">For since the birth of Cain, the first male child,<br /></span> -<span class="i1">To him that did but yesterday suspire,<br /></span> -<span class="i1">There was not such a gracious creature born.<br /></span> -<span class="i1">But now will canker-sorrow eat my bud,<br /></span> -<span class="i1">And chase the native beauty from his cheek;<br /></span> -<span class="i1">And he will look as hollow as a ghost,<br /></span> -<span class="i1">As dim and meagre as an ague's fit:<br /></span> -<span class="i1">And so he'll die; and, rising so again,<br /></span> -<span class="i1">When I shall meet him in the court of heaven<br /></span> -<span class="i1">I shall not know him: therefore never, never<br /></span> -<span class="i1">Must I behold my pretty Arthur more.<br /></span> -</div></div> - - -<p class="center">CIRCUMFLEX INFLECTION.</p> - -<p>1. Were I in England now (as once I was), and had but -this fish painted, not a holiday-fool there but would give a -piece of silver. There would this monster make a man: any -strange beast there makes a man. When they will not give -a doit to relieve a lame beggar, they will lay out ten to see -a dead Indian.</p> - -<p>2. If to do were as easy as to know what were good to -do, chapels had been churches, and poor men's cottages<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span> -princes' palaces. It is a good divine that follows his own -instructions. I can easier teach twenty what were good to -be done than be one of the twenty to follow mine own -teaching. The brain may devise laws for the blood; but a -hot temper leaps over a cold decree: such a hare is madness -the youth to skip o'er the meshes of good counsel the -cripple.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">3.<span style="margin-left:2em;">"Hold, there!" the other quick replies:</span><br /></span> -<span class="i1">"'Tis green: I saw it with these eyes,<br /></span> -<span class="i1">As late with open mouth it lay,<br /></span> -<span class="i1">And warmed it in the sunny ray.<br /></span> -<span class="i1">Stretched at its ease, the beast I viewed,<br /></span> -<span class="i1">And saw it eat the air for food."<br /></span> -<span class="i3">"I've seen it, sir, as well as you,<br /></span> -<span class="i1">And must again affirm it blue:<br /></span> -<span class="i1">At leisure I the beast surveyed,<br /></span> -<span class="i1">Extended in the cooling shade."<br /></span> -<span class="i3">"'Tis green, 'tis green, sir, I assure ye!"<br /></span> -<span class="i1">"Green!" cries the other in a fury:<br /></span> -<span class="i1">"Why, sir! d'ye think I've lost my eyes?"<br /></span> -<span class="i1">"'Twere no great loss," the friend replies;<br /></span> -<span class="i1">"For, if they always serve you thus,<br /></span> -<span class="i1">You'll find them of but little use."<br /></span> -</div></div> - - -<p class="center">MONOTONE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. When for me the silent oar<br /></span> -<span class="i3">Parts the Silent River,<br /></span> -<span class="i1">And I stand upon the shore<br /></span> -<span class="i3">Of the strange Forever,<br /></span> -<span class="i1">Shall I miss the loved and known?<br /></span> -<span class="i1">Shall I vainly seek mine own?<br /></span> -</div><div class="stanza"> -<span class="i0">2. Ye golden lamps of heaven, farewell, with all your feeble light!<br /></span> -<span class="i1">Farewell, thou ever-changing moon, pale empress of the night!<br /></span> -<span class="i1">And thou, effulgent orb of day, in brighter flames arrayed,<br /></span> -<span class="i1">My soul, which springs beyond thy sphere, no more demands thy aid.<br /></span> -<span class="i1">Ye stars are but the shining dust of my divine abode,<br /></span> -<span class="i1">The pavement of those heavenly courts where I shall reign with God.<br /></span> -<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span></div><div class="stanza"> -<span class="i0">3. Father of earth and heaven, I call thy name!<br /></span> -<span class="i1">Round me the smoke and shout of battle roll;<br /></span> -<span class="i1">My eyes are dazzled with the rustling flame:<br /></span> -<span class="i1">Father, sustain an untried soldier's soul.<br /></span> -<span class="i1">Or life or death, whatever be the goal<br /></span> -<span class="i1">That crowns or closes round this struggling hour,<br /></span> -<span class="i1">Thou know'st, if ever from my spirit stole<br /></span> -<span class="i1">One deeper prayer, 'twas that no cloud might lower<br /></span> -<span class="i1">On my young fame. Oh, hear, God of eternal power!<br /></span> -</div></div> - - -<h3>PITCH.</h3> - -<p>The general pitch of voice varies with the emotion. Some -feelings we are prompted to express in the high tones, as -joy; some in the lower tones, as awe: but, without practice, -very few have command of the higher and lower tones; and, -when they attempt to read, they cannot give the requisite -variety to make it expressive. It is important that these -exercises should be studied until you can as easily read in -your highest and lowest tones as in your natural conversational -or middle tones.</p> - -<p>In high pitch, read in as high pitch as you can, and at the -same time keep the tone pure, and you will find your voice -gradually gain in compass.</p> - -<p>In middle pitch, read in your conversational tone, with -earnestness.</p> - -<p>In low pitch, read somewhat lower than middle pitch, -and make as full a tone as you can.</p> - -<p>In very low pitch, read as low in pitch as you can with -ease, and do not try to make it loud or full until you have -had considerable practice. Don't pinch or strain the throat: -if you do, the quality will be bad.</p> - - -<p class="center">HIGH PITCH.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Merrily swinging on brier and weed,<br /></span> -<span class="i3">Near to the nest of his little dame,<br /></span> -<span class="i1">Over the mountain-side or mead,<br /></span> -<span class="i3">Robert of Lincoln is telling his name,—<br /></span> -<span class="i9">Bob-o-link, bob-o-link,<br /></span> -<span class="i9">Spink, spank, spink!<br /></span> -<span class="i1">Snug and safe is that nest of ours<br /></span> -<span class="i1">Hidden among the summer flowers:<br /></span> -<span class="i17">Chee, chee, chee!<br /></span> -<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span></div><div class="stanza"> -<span class="i0">2. Oh! did you see him riding down,<br /></span> -<span class="i1">And riding down, while all the town<br /></span> -<span class="i1">Came out to see, came out to see,<br /></span> -<span class="i1">And all the bells rang mad with glee?<br /></span> -</div><div class="stanza"> -<span class="i1">Oh! did you hear those bells ring out,<br /></span> -<span class="i1">The bells ring out, the people shout?<br /></span> -<span class="i1">And did you hear that cheer on cheer<br /></span> -<span class="i1">That over all the bells rang clear?<br /></span> -</div><div class="stanza"> -<span class="i0">3. I am that merry wanderer of the night:<br /></span> -<span class="i1">I jest to Oberon, and make him smile,<br /></span> -<span class="i1">When I, a fat and bean-fed horse, beguile,<br /></span> -<span class="i1">Neighing in likeness of a silly foal.<br /></span> -<span class="i1">And sometimes lurk I in a gossip's bowl,<br /></span> -<span class="i1">In very likeness of a roasted crab;<br /></span> -<span class="i1">And, when she drinks, against her lips I bob,<br /></span> -<span class="i1">And on her withered dew-lap pour the ale.<br /></span> -</div></div> - - -<p class="center">MIDDLE PITCH.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. The honey-bee that wanders all day long<br /></span> -<span class="i1">The field, the woodland, and the garden o'er,<br /></span> -<span class="i1">To gather in his fragrant winter-store,<br /></span> -<span class="i1">Humming in calm content his quiet song,<br /></span> -<span class="i1">Sucks not alone the rose's glowing breast,<br /></span> -<span class="i1">The lily's dainty cup, the violet's lips;<br /></span> -<span class="i1">But from all rank and noisome weeds he sips<br /></span> -<span class="i1">The single drop of sweetness ever pressed<br /></span> -<span class="i1">Within the poison chalice. Thus, if we<br /></span> -<span class="i1">Seek only to draw forth the hidden sweet<br /></span> -<span class="i1">In all the varied human flowers we meet<br /></span> -<span class="i1">In the wide garden of Humanity,<br /></span> -<span class="i1">And, like the bee, if home the spoil we bear,<br /></span> -<span class="i1">Hived in our hearts, it turns to nectar there.<br /></span> -</div></div> - -<p>2. Now the laughing, jolly Spring began to show her -buxom face in the bright morning. The buds began slowly -to expand their close winter folds, the dark and melancholy -woods to assume an almost imperceptible purple tint; and -here and there a little chirping blue-bird hopped about the -orchards. Strips of fresh green appeared along the brooks, -now released from their icy fetters; and nests of little<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span> -variegated flowers, nameless, yet richly deserving a name, -sprang up in the sheltered recesses of the leafless woods.</p> - -<p>3. I know, the more one sickens, the worse at ease he is; -and that he that wants money, means, and content, is without -three good friends; that the property of rain is to -wet, and fire to burn; that good pasture makes fat sheep, -and that a great cause of the night is lack of the sun; -that he that hath learned no wit by nature or art may -complain of good breeding, or comes of a very dull kindred.</p> - - -<p class="center">LOW PITCH.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Mid the flower-wreathed tombs I stand,<br /></span> -<span class="i1">Bearing lilies in my hand.<br /></span> -<span class="i1">Comrades, in what soldier-grave<br /></span> -<span class="i1">Sleeps the bravest of the brave?<br /></span> -</div><div class="stanza"> -<span class="i1">Is it he who sank to rest<br /></span> -<span class="i1">With his colors round his breast?<br /></span> -<span class="i1">Friendship makes his tomb a shrine:<br /></span> -<span class="i1">Garlands veil it; ask not mine.<br /></span> -</div><div class="stanza"> -<span class="i0">2. God, thou art merciful. The wintry storm,<br /></span> -<span class="i1">The cloud that pours the thunder from its womb,<br /></span> -<span class="i1">But show the sterner grandeur of thy form.<br /></span> -<span class="i1">The lightnings glancing through the midnight gloom,<br /></span> -<span class="i1">To Faith's raised eye as calm, as lovely, come<br /></span> -<span class="i1">As splendors of the autumnal evening star,<br /></span> -<span class="i1">As roses shaken by the breeze's plume,<br /></span> -<span class="i1">When like cool incense comes the dewy air,<br /></span> -<span class="i0">And on the golden wave the sunset burns afar.<br /></span> -</div><div class="stanza"> -<span class="i0">3. O thou Eternal One! whose presence bright<br /></span> -<span class="i1">All space doth occupy, all motion guide;<br /></span> -<span class="i1">Unchanged through Time's all-devastating flight;<br /></span> -<span class="i1">Thou only God!—there is no God beside!<br /></span> -<span class="i1">Being above all beings! Three-in-one!<br /></span> -<span class="i1">Whom none can comprehend, and none explore;<br /></span> -<span class="i1">Who fill'st existence with Thyself alone;<br /></span> -<span class="i1">Embracing all, supporting, ruling o'er;<br /></span> -<span class="i1">Being whom we call God, and know no more!<br /></span> -<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></div></div> - - -<p class="center">VERY LOW PITCH.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. When in the silent night all earth lies hushed<br /></span> -<span class="i1">In slumber; when the glorious stars shine out,<br /></span> -<span class="i1">Each star a sun, each sun a central light<br /></span> -<span class="i1">Of some fair system, ever wheeling on<br /></span> -<span class="i1">In one unbroken round, and that again<br /></span> -<span class="i1">Revolving round another sun; while all,<br /></span> -<span class="i1">Suns, stars, and systems, proudly roll along<br /></span> -<span class="i1">In one majestic, ever-onward course,<br /></span> -<span class="i1">In space uncircumscribed and limitless,—<br /></span> -<span class="i1">Oh! think you then the undebased soul<br /></span> -<span class="i1">Can calmly give itself to sleep,—to rest?<br /></span> -</div></div> - -<p>2. Go stand upon the heights at Niagara, and listen in -awe-struck silence to that boldest most earnest and eloquent, -of all Nature's orators! And what is Niagara, with -its plunging waters and its mighty roar, but the oracle of -God, the whisper of His voice who is revealed in the Bible -as sitting above the water-floods forever?</p> - -<div class="poem"><div class="stanza"> -<span class="i0">3. The drums are all muffled; the bugles are still;<br /></span> -<span class="i1">There's a pause in the valley, a halt on the hill;<br /></span> -<span class="i1">And the bearers of standards swerve back with a thrill<br /></span> -<span class="i3">Where the sheaves of the dead bar the way:<br /></span> -<span class="i1">For a great field is reaped, heaven's garners to fill;<br /></span> -<span class="i3">And stern Death holds his harvest to-day.<br /></span> -</div></div> - - -<h3>QUALITY.</h3> - -<p>As there are all kinds and qualities of emotions, so there -are all kinds and qualities of voice to express them. The -shade and varieties of these qualities are as infinite in number -as the emotions they express. We need, however, in -practice, to make but four general divisions,—whisper, aspirate, -pure, and orotund. The whisper expresses secrecy, -fear, and like emotions. It is seldom required in reading, -as the aspirate is expressive of the same, and you would be -likely to use that instead of whisper. You should practise -the whisper until you can make it very clear, and free from -all impurity, or sound of throat, and full, so as to be heard -at a distance. In both whisper and aspirate leave the throat -free and open; and be energetic, remembering that force is<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span> -made by control of muscles at the waist, and not by effort -of throat or mouth. The clearer you can make a whisper, -the better quality you can make in pure and orotund. Pure -tone or quality is sound made with no disagreeable quality -being heard; and is the same as pleasant quality, spoken of -as being necessary to make listeners. Pure quality is made -with ease, with no waste of breath, and is used for expression -of agreeable feelings. Orotund is a magnified, pure -tone, and adds richness and power to the voice in speech. It -is the expression of intense feelings, usually slow in movement, -as grandeur, sublimity, awe, &c. It can only be obtained -by much practice and much patience, allowing the -voice to grow in fulness, as it will in time, if practice continues.</p> - - -<p class="center">WHISPER.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1.<span style="margin-left:2em;">Deep stillness fell on all around:</span><br /></span> -<span class="i1">Through that dense crowd was heard no sound<br /></span> -<span class="i8">Of step or word.<br /></span> -</div><div class="stanza"> -<span class="i0">2. How dark it is! I cannot seem to see<br /></span> -<span class="i1">The faces of my flock. Is that the sea<br /></span> -<span class="i1">That murmurs so? or is it weeping? Hush,<br /></span> -<span class="i1">My little children! God so loved the world,<br /></span> -<span class="i1">He gave his Son: so love ye one another.<br /></span> -<span class="i1">Love God and man. Amen!<br /></span> -</div><div class="stanza"> -<span class="i0">3. Hush! 'tis a holy hour! The quiet room<br /></span> -<span class="i3">Seems like a temple; while yon soft lamp sheds<br /></span> -<span class="i1">A faint and starry radiance through the gloom<br /></span> -<span class="i3">And the sweet stillness down on bright young heads,<br /></span> -<span class="i1">With all their clustering locks untouched by care,<br /></span> -<span class="i1">And bowed, as flowers are bowed with night, in prayer.<br /></span> -</div></div> - - -<p class="center">ASPIRATE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Hush! draw the curtain,—so!<br /></span> -<span class="i1">She is dead, quite dead, you see.<br /></span> -<span class="i1">Poor little lady! She lies<br /></span> -<span class="i1">With the light gone out of her eyes;<br /></span> -<span class="i1">But her features still wear that soft,<br /></span> -<span class="i1">Gray, meditative expression<br /></span> -<span class="i1">Which you must have noticed oft.<br /></span> -<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span></div><div class="stanza"> -<span class="i0">2. Lord of the winds! I feel thee nigh;<br /></span> -<span class="i1">I know thy breath in the burning sky;<br /></span> -<span class="i1">And I wait with a thrill in every vein<br /></span> -<span class="i1">For the coming of the hurricane.<br /></span> -<span class="i1">And, lo! on the wing of the heavy gales,<br /></span> -<span class="i1">Through the boundless arch of heaven, he sails:<br /></span> -<span class="i1">Silent and slow, and terribly strong,<br /></span> -<span class="i1">The mighty shadow is borne along,<br /></span> -<span class="i1">Like the dark eternity to come;<br /></span> -<span class="i1">While the world below, dismayed and dumb,<br /></span> -<span class="i1">Through the calm of the thick hot atmosphere<br /></span> -<span class="i1">Looks up at its gloomy folds with fear.<br /></span> -</div><div class="stanza"> -<span class="i0">3. 'Tis midnight's holy hour; and silence now<br /></span> -<span class="i1">Is brooding like a gentle spirit o'er<br /></span> -<span class="i1">The still and pulseless world. Hark! on the winds<br /></span> -<span class="i1">The bell's deep tones are swelling: 'tis the knell<br /></span> -<span class="i1">Of the departed year. No funeral train<br /></span> -<span class="i1">Is sweeping past: yet on the stream and wood,<br /></span> -<span class="i1">With melancholy light, the moonbeams rest<br /></span> -<span class="i1">Like a pale, spotless shroud; the air is stirred<br /></span> -<span class="i1">As by a mourner's sigh; and on yon cloud,<br /></span> -<span class="i1">That floats so still and placidly through heaven,<br /></span> -<span class="i1">The spirits of the seasons seem to stand,—<br /></span> -<span class="i1">Young Spring, bright Summer, Autumn's solemn form,<br /></span> -<span class="i1">And Winter with its aged locks,—and breathe,<br /></span> -<span class="i1">In mournful cadences that come abroad<br /></span> -<span class="i1">Like the far wind-harp's wild and touching wail,<br /></span> -<span class="i1">A melancholy dirge o'er the dead year,<br /></span> -<span class="i1">Gone from the earth forever.<br /></span> -</div></div> - - -<p class="center">PURE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Your voiceless lips, O flowers! are living preachers,<br /></span> -<span class="i3">Each cup a pulpit, and each leaf a book,<br /></span> -<span class="i1">Supplying to my fancy numerous teachers<br /></span> -<span class="i17">In loneliest nook.<br /></span> -</div><div class="stanza"> -<span class="i0">2. Ring out, wild bells, to the wild sky,<br /></span> -<span class="i3">The flying cloud, the frosty light;<br /></span> -<span class="i3">The year is dying in the night:<br /></span> -<span class="i1">Ring out, wild bells, and let him die.<br /></span> -<span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span></div><div class="stanza"> -<span class="i1">Ring out the old; ring in the new;<br /></span> -<span class="i3">Ring, happy bells, across the snow:<br /></span> -<span class="i3">The year is going; let him go:<br /></span> -<span class="i1">Ring out the false, ring in the true.<br /></span> -</div><div class="stanza"> -<span class="i0">3. Was it the chime of a tiny bell<br /></span> -<span class="i3">That came so sweet to my dreaming ear,<br /></span> -<span class="i1">Like the silvery tones of a fairy's shell,<br /></span> -<span class="i3">That he winds on the beach, so mellow and clear,<br /></span> -<span class="i1">When the winds and the waves lie together asleep,<br /></span> -<span class="i1">And the moon and the fairy are watching the deep,—<br /></span> -<span class="i7">She dispensing her silvery light,<br /></span> -<span class="i7">And he his notes as silvery quite,—<br /></span> -<span class="i1">While the boatman listens, and ships his oar,<br /></span> -<span class="i1">To catch the music that comes from the shore?<br /></span> -<span class="i7">Hark! the notes on my ear that play<br /></span> -<span class="i7">Are set to words: as they float, they say,<br /></span> -<span class="i17">"Passing away, passing away!"<br /></span> -</div></div> - - -<p class="center">OROTUND.</p> - -<p>1. Approach and behold while I lift from his sepulchre -its covering. Ye admirers of his greatness, ye emulous of -his talents and his fame, approach, and behold him now. -How pale! how silent! No martial bands admire the adroitness -of his movements, no fascinating throng weep and melt -and tremble at his eloquence. Amazing change! A shroud, -a coffin, a narrow subterraneous cabin,—this is all that now -remains of Hamilton. And is this all that remains of him? -During a life so transitory, what lasting monument, then, -can our fondest hopes erect!</p> - -<div class="poem"><div class="stanza"> -<span class="i0">2.<span style="margin-left:9em;">A seraph by the throne</span><br /></span> -<span class="i1">In the full glory stood. With eager hand<br /></span> -<span class="i1">He smote the golden harp-strings, till a flood<br /></span> -<span class="i1">Of harmony on the celestial air<br /></span> -<span class="i1">Welled forth unceasing: then with a great voice<br /></span> -<span class="i1">He sang the "Holy, holy, evermore,<br /></span> -<span class="i1">Lord God Almighty!" and the eternal courts<br /></span> -<span class="i1">Thrilled with the rapture; and the hierarchies,<br /></span> -<span class="i1">Angel and rapt archangel, throbbed and burned<br /></span> -<span class="i1">With vehement adoration. Higher yet<br /></span> -<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span><span class="i1">Rose the majestic anthem without pause,—<br /></span> -<span class="i1">Higher, with rich magnificence of sound,<br /></span> -<span class="i1">To its full strength; and still the infinite heavens<br /></span> -<span class="i1">Rang with the "Holy, holy, evermore!"<br /></span> -</div><div class="stanza"> -<span class="i0">3. God, thou art mighty. At thy footstool bound,<br /></span> -<span class="i1">Lie, gazing to thee, Chance and Life and Death.<br /></span> -<span class="i1">Nor in the angel-circle flaming round,<br /></span> -<span class="i1">Nor in the million worlds that blaze beneath,<br /></span> -<span class="i1">Is one that can withstand thy wrath's hot breath.<br /></span> -<span class="i1">Woe in thy frown; in thy smile victory.<br /></span> -<span class="i1">Hear my last prayer. I ask no mortal wreath:<br /></span> -<span class="i1">Let but these eyes my rescued country see;<br /></span> -<span class="i1">Then take my spirit, All-Omnipotent, to thee.<br /></span> -</div></div> - -<blockquote> - -<p>For examples of pure tone, see "Reading Club," No. 1, pages -54 and 82; No. 2, page 63; No. 3, pages 11, 49; No. 4, pages 29, 36, -81.</p> - -<p>For orotund, No. 1, page 42; No. 2, page 64; No. 3, page 25; -No. 4, page 61.</p></blockquote> - - -<h3>MOVEMENT.</h3> - -<p>By different emotions you are prompted to speak words in -quick or slow utterance, as in joy or anger you would be -prompted to utter words quickly; while in majesty, sublimity, -awe, you would speak slowly. You should practise -movement, that you may be able to read rapidly and with -perfect articulation, and also to read slowly with proper -phrasing. In quick movement, read as fast as you can with -proper articulation, phrasing, and emphasis. In moderate -movement, read as in ordinary earnest conversation. In slow -and very slow movement, phrase well, as in these the emphatic -words have the longest time given to them, the -secondarily emphatic ones less time, and the connecting -words the least time; and it is a great art to proportion them -rightly. If you do not do the latter, you will drawl.</p> - -<p class="center">QUICK MOVEMENT.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Boot, saddle, to horse, and away!<br /></span> -<span class="i1">Rescue my castle before the hot day<br /></span> -<span class="i1">Brightens to blue from its silvery gray:<br /></span> -<span class="i1">Boot, saddle, to horse, and away!<br /></span> -<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></div><div class="stanza"> -<span class="i0">2. But hark! above the beating of the storm<br /></span> -<span class="i1">Peals on the startled ear the fire-alarm.<br /></span> -<span class="i1">Yon gloomy heaven's aflame with sudden light;<br /></span> -<span class="i1">And heart-beats quicken with a strange affright.<br /></span> -<span class="i1">From tranquil slumber springs, at duty's call,<br /></span> -<span class="i1">The ready friend no danger can appall:<br /></span> -<span class="i1">Fierce for the conflict, sturdy, true, and brave,<br /></span> -<span class="i1">He hurries forth to battle and to save.<br /></span> -</div><div class="stanza"> -<span class="i0">3.<span style="margin-left:2em;">After him came, spurring hard,</span><br /></span> -<span class="i1">A gentleman almost forespent with speed,<br /></span> -<span class="i1">That stopped by me to breathe his bloodied horse.<br /></span> -<span class="i1">He asked the way to Chester; and of him<br /></span> -<span class="i1">I did demand what news from Shrewsbury.<br /></span> -<span class="i1">He told me that rebellion had bad luck,<br /></span> -<span class="i1">And that young Harry Percy's spur was cold:<br /></span> -<span class="i1">With that he gave his able horse the head,<br /></span> -<span class="i1">And, bending forward, struck his armed heels<br /></span> -<span class="i1">Against the panting sides of his poor jade<br /></span> -<span class="i1">Up to the rowel-head; and, starting so,<br /></span> -<span class="i1">He seemed, in running, to devour the way,<br /></span> -<span class="i1">Staying no longer question.<br /></span> -</div></div> - - -<p class="center">MODERATE MOVEMENT.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Yes, Tom's the best fellow that ever you knew.<br /></span> -<span class="i12">Just listen to this:—<br /></span> -<span class="i1">When the old mill took fire, and the flooring fell through,<br /></span> -<span class="i1">And I with it, helpless there, full in my view<br /></span> -<span class="i1">What do you think my eyes saw through the fire,<br /></span> -<span class="i1">That crept along, crept along, nigher and nigher,<br /></span> -<span class="i1">But Robin, my baby-boy, laughing to see<br /></span> -<span class="i1">The shining? He must have come there after me,<br /></span> -<span class="i1">Troddled alone from the cottage.<br /></span> -</div></div> - -<p>2. Oratory, as it consists in the expression of the countenance, -graces of attitude and motion, and intonation of -voice, although it is altogether superficial and ornamental, -will always command admiration; yet it deserves little veneration. -Flashes of wit, coruscations of imagination, and -gay pictures,—what are they? Strict truth, rapid reason, -and pure integrity, are the only essential ingredients in -oratory. I flatter myself that Demosthenes, by his "action, -action, action," meant to express the same opinion.</p> -<p><span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span></p> -<div class="poem"><div class="stanza"> -<span class="i0">3. Waken, voice of the land's devotion!<br /></span> -<span class="i8">Spirit of freedom, awaken all!<br /></span> -<span class="i1">Ring, ye shores, to the song of ocean!<br /></span> -<span class="i8">Rivers, answer! and, mountains, call!<br /></span> -<span class="i10">The golden day has come:<br /></span> -<span class="i10">Let every tongue be dumb<br /></span> -<span class="i1">That sounded its malice, or murmured its fears.<br /></span> -<span class="i8">She hath won her story;<br /></span> -<span class="i8">She wears her glory:<br /></span> -<span class="i1">We crown her the land of a hundred years!<br /></span> -</div></div> - - -<p class="center">SLOW MOVEMENT.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Within this sober realm of leafless trees<br /></span> -<span class="i3">The russet year inhaled the dreamy air,<br /></span> -<span class="i1">Like some tanned reaper in his hour of ease<br /></span> -<span class="i3">When all the fields are lying brown and bare.<br /></span> -</div><div class="stanza"> -<span class="i0">2. As some tall cliff that lifts its awful form,<br /></span> -<span class="i1">Swells from the vale, and midway leaves the storm,<br /></span> -<span class="i1">Though round its breast the rolling clouds are spread,<br /></span> -<span class="i1">Eternal sunshine settles on its head.<br /></span> -</div><div class="stanza"> -<span class="i0">3. Father, guide me! Day declines;<br /></span> -<span class="i1">Hollow winds are in the pines;<br /></span> -<span class="i1">Darkly waves each giant bough<br /></span> -<span class="i1">O'er the sky's last crimson glow;<br /></span> -<span class="i1">Hushed is now the convent's bell,<br /></span> -<span class="i1">Which erewhile, with breezy swell,<br /></span> -<span class="i1">From the purple mountains bore<br /></span> -<span class="i1">Greeting to the sunset shore;<br /></span> -<span class="i1">Now the sailor's vesper-hymn<br /></span> -<span class="i9">Dies away.<br /></span> -<span class="i1">Father, in the forest dim<br /></span> -<span class="i9">Be my stay!<br /></span> -</div></div> - - -<p class="center">VERY SLOW MOVEMENT.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Toll, toll, toll,<br /></span> -<span class="i3">Thou bell by billows swung!<br /></span> -<span class="i1">And night and day thy warning words<br /></span> -<span class="i3">Repeat with mournful tongue!<br /></span> -<span class="i1">Toll for the queenly boat<br /></span> -<span class="i3">Wrecked on yon rocky shore:<br /></span> -<span class="i1">Seaweed is in her palace-halls;<br /></span> -<span class="i3">She rides the surge no more.<br /></span> -<span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></div><div class="stanza"> -<span class="i0">2. Now o'er the drowsy earth still night prevails;<br /></span> -<span class="i1">Calm sleep the mountain-tops and shady vales,<br /></span> -<span class="i1">The rugged cliffs and hollow glens.<br /></span> -<span class="i1">The wild beasts slumber in their dens,<br /></span> -<span class="i1">The cattle on the hill. Deep in the sea<br /></span> -<span class="i1">The countless finny race and monster brood<br /></span> -<span class="i1">Tranquil repose. Even the busy bee<br /></span> -<span class="i1">Forgets her daily toil. The silent wood<br /></span> -<span class="i1">No more with noisy form of insect rings;<br /></span> -<span class="i1">And all the feathered tribes, by gentle sleep subdued,<br /></span> -<span class="i1">Roost in the glade, and hang their drooping wings.<br /></span> -</div><div class="stanza"> -<span class="i0">3.<span style="margin-left:5em;">My Father, God, lead on!</span><br /></span> -<span class="i1">Calmly I follow where thy guiding hand<br /></span> -<span class="i1">Directs my steps. I would not trembling stand,<br /></span> -<span class="i15">Though all before the way<br /></span> -<span class="i15">Is dark as night: I stay<br /></span> -<span class="i15">My soul on thee, and say,<br /></span> -<span class="i11">Father, I trust thy love: lead on!<br /></span> -</div></div> - - -<h3>FORCE.</h3> - -<p>Every emotion which you have you feel more or less intensely, -and that intensity is expressed through the force -of the voice. The degree of force with which you speak -will be according to the degree of intensity of emotion; and -even in the gentlest tone you can express as forcibly as in -the loudest. According to your strength of body and mind, -and intensity of feeling, you have been accustomed to express -in a strong or feeble voice. Force needs to be practised -to enable you to fill a large hall with your gentlest -tone, and to make very loud tones without straining of -throat. In gentle force, sustain the breath well, as in fulness -and power, observing directions there given; and make your -tone soft and pure. In moderate force, be as energetic as in -earnest conversation. In loud and very loud force, observe -directions under "Fulness and Power."</p> - - -<p class="center">GENTLE FORCE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. A noise as of a hidden brook<br /></span> -<span class="i3">In the leafy month of June,<br /></span> -<span class="i1">That to the sleeping woods all night<br /></span> -<span class="i3">Singeth a quiet tune.<br /></span> -<span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></div><div class="stanza"> -<span class="i0">2. O blithe new-comer! I have heard,<br /></span> -<span class="i3">I hear thee, and rejoice:<br /></span> -<span class="i1">O cuckoo! shall I call thee bird,<br /></span> -<span class="i3">Or but a wandering voice?<br /></span> -</div><div class="stanza"> -<span class="i1">Thrice welcome, darling of the spring!<br /></span> -<span class="i3">Even yet thou art to me<br /></span> -<span class="i1">No bird, but an invisible thing,<br /></span> -<span class="i3">A voice, a mystery.<br /></span> -</div><div class="stanza"> -<span class="i0">3. Around this lovely valley rise<br /></span> -<span class="i1">The purple hills of Paradise;<br /></span> -<span class="i1">Oh! softly on yon banks of haze<br /></span> -<span class="i1">Her rosy face the Summer lays;<br /></span> -<span class="i1">Becalmed along the azure sky<br /></span> -<span class="i1">The argosies of Cloud-land lie,<br /></span> -<span class="i1">Whose shores, with many a shining rift,<br /></span> -<span class="i1">Far off their pearl-white peaks uplift.<br /></span> -</div></div> - - -<p class="center">MODERATE FORCE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Robert of Lincoln is gayly dressed,<br /></span> -<span class="i3">Wearing a bright black wedding-coat:<br /></span> -<span class="i1">White are his shoulders, and white his crest.<br /></span> -<span class="i3">Hear him call, in his merry note,<br /></span> -<span class="i9">Bob-o-link, bob-o-link,<br /></span> -<span class="i9">Spink, spank, spink!<br /></span> -<span class="i1">Look, what a nice new coat is mine!<br /></span> -<span class="i1">Sure there was never a bird so fine.<br /></span> -<span class="i13">Chee, chee, chee!<br /></span> -</div></div> - -<p>2. O young men and women! there is no picture of ideal -excellence of manhood and womanhood that I ever draw -that seems too high, too beautiful, for your young hearts. -What aspirations there are for the good, the true, the fair, -and the holy! The instinctive affections—how beautiful -they are, with all their purple prophecy of new homes and -generations of immortals that are yet to be! The high -instincts of reason, of conscience, of love, of religion,—how -beautiful and grand they are in the young heart!</p> - -<div class="poem"><div class="stanza"> -<span class="i0">3. She was a darling little thing:<br /></span> -<span class="i7">I worshipped her outright.<br /></span> -<span class="i1">When in my arms she smiling lay;<br /></span> -<span class="i1">When on my knees she climbed in play;<br /></span> -<span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span><span class="i1">When round my neck her arms would cling,<br /></span> -<span class="i1">As crooning songs I used to sing;<br /></span> -<span class="i1">When on my back she gayly rode,<br /></span> -<span class="i1">Then strong beneath its precious load;<br /></span> -<span class="i1">When at my side, in summer days,<br /></span> -<span class="i1">She gambolled in her childish plays;<br /></span> -<span class="i1">When, throughout all the after-years,<br /></span> -<span class="i1">I watched with trembling hopes and fears<br /></span> -<span class="i1">The infant to a woman grow,—<br /></span> -<span class="i1">I worshipped then, as I do now,<br /></span> -<span class="i7">My life's delight.<br /></span> -</div></div> - - -<p class="center">LOUD FORCE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Hark to the bugle's roundelay!<br /></span> -<span class="i1">Boot and saddle! Up and away!<br /></span> -<span class="i1">Mount and ride as ye ne'er rode before;<br /></span> -<span class="i1">Spur till your horses' flanks run gore;<br /></span> -<span class="i1">Ride for the sake of human lives;<br /></span> -<span class="i1">Ride as ye would were your sisters and wives<br /></span> -<span class="i1">Cowering under their scalping-knives.<br /></span> -<span class="i1">Boot and saddle! Away, away!<br /></span> -</div><div class="stanza"> -<span class="i0">2. News of battle! news of battle!<br /></span> -<span class="i3">Hark! 'tis ringing down the street,<br /></span> -<span class="i1">And the archways and the pavement<br /></span> -<span class="i3">Bear the clang of hurrying feet.<br /></span> -<span class="i1">News of battle!—who hath brought it?<br /></span> -<span class="i3">News of triumph!—who should bring<br /></span> -<span class="i1">Tidings from our noble army,<br /></span> -<span class="i3">Greetings from our gallant king!<br /></span> -</div><div class="stanza"> -<span class="i0">3. And, lo! from the assembled crowd<br /></span> -<span class="i1">There rose a shout, prolonged and loud,<br /></span> -<span class="i1">That to the ocean seemed to say,<br /></span> -<span class="i1">"Take her, O bridegroom old and gray!<br /></span> -<span class="i1">Take her to thy protecting arms,<br /></span> -<span class="i1">With all her youth and all her charms."<br /></span> -</div></div> - - -<p class="center">VERY LOUD FORCE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. "Now, men! now is your time!"<br /></span> -<span class="i3">"Make ready! take aim! fire!"<br /></span> -<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></div><div class="stanza"> -<span class="i0">2. Up the hillside, down the glen,<br /></span> -<span class="i1">Rouse the sleeping citizen,<br /></span> -<span class="i1">Summon out the might of men!<br /></span> -<span class="i1">Clang the bells in all your spires!<br /></span> -<span class="i1">On the gray hills of your sires<br /></span> -<span class="i1">Fling to heaven your signal-fires!<br /></span> -<span class="i1">Oh, for God and Duty stand,<br /></span> -<span class="i1">Heart to heart, and hand to hand,<br /></span> -<span class="i1">Round the old graves of your land!<br /></span> -</div><div class="stanza"> -<span class="i0">3. Now for the fight! now for the cannon-peal!<br /></span> -<span class="i1">Forward, through blood and toil and cloud and fire!<br /></span> -<span class="i1">Glorious the shout, the shock, the crash of steel,<br /></span> -<span class="i1">The volley's roll, the rocket's blasting spire!<br /></span> -<span class="i1">They shake; like broken waves their squares retire.<br /></span> -<span class="i1">On them, hussars! Now give them rein and heel!<br /></span> -<span class="i1">Think of the orphaned child, the murdered sire!<br /></span> -<span class="i1">Earth cries for blood. In thunder on them wheel!<br /></span> -<span class="i1">This hour to Europe's fate shall set the triumph seal.<br /></span> -</div></div> - - -<h3>STRESS.</h3> - -<p>In expressing your emotions, the voice is ejected in various -ways; perhaps in a jerky or trembling or flowing manner, -as may be, depending on the kind of emotion you feel. -This is called "Stress;" and you have learned how, mechanically, -to make it. Radical Stress is used when you try to -impress upon others your exact meaning. Practise it with -that thought in your mind. Median Stress is used in -appeal to the best affections, and expresses agreeable emotions. -The swell comes on emphatic words. Terminal -Stress is used in expressions of anger, petulance, impatience, -and the like. Thorough Stress is used in calling to -persons at a long distance, but has little place in expression. -It is frequently substituted by bad readers or speakers for -Median or Terminal Stress. Compound Stress is used in -strong passion; and being a compound of Radical and Terminal -Stress, and used with circumflex inflections, it combines -the meaning of them all, as sarcasm, irony, &c., -mixed with anger, impatience, doubt, &c. Tremolo Stress -is used in excessive emotion; as joy, anger, sorrow, in -excess, would cause the voice to tremble. You should practise -this in order to avoid it, as, when Tremolo does not<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span> -proceed from real excess of feeling, it has a very ludicrous -effect. Practise the following exercises by thinking and -feeling the idea and emotion.</p> - - -<p class="center">RADICAL STRESS.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Hark, hark! the lark sings mid the silvery blue:<br /></span> -<span class="i1">Behold her flight, proud man, and lowly bow.<br /></span> -</div></div> - -<p>2. There is the act of utterance, a condition that exists -between you and myself. I speak, and you hear; but how? -The words issue from my lips, and reach your ears; but -what are those words? Volumes of force communicated to -the atmosphere, whose elastic waves carry them to fine -recipients in your own organism. But still I ask, How? -How is it that these volumes of sound should convey articulate -meaning, and carry ideas from my mind into your own?</p> - -<p>3. I call upon you, fathers, by the shades of your ancestors, -by the dear ashes which repose in this precious soil, by -all you are and all you hope to be,—resist every object of -disunion; resist every encroachment upon your liberties; resist -every attempt to fetter your consciences, or smother -your public schools, or extinguish your system of public -instruction.</p> - - -<p class="center">MEDIAN STRESS.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. The earth is the Lord's, and the fulness thereof;<br /></span> -<span class="i1">The world, and they that dwell therein:<br /></span> -<span class="i1">For he hath founded it upon the seas,<br /></span> -<span class="i1">And established it upon the floods.<br /></span> -</div></div> - -<p>2. Oh divine, oh delightful legacy of a spotless reputation! -Rich is the inheritance it leaves; pious the example it -testifies; pure, precious, and imperishable the hope which -it inspires. Can there be conceived a more atrocious injury -than to filch from its possessor this inestimable benefit; to -rob society of its charm, and solitude of its solace; not only -to outlaw life, but to attaint death, converting the very -grave, the refuge of the sufferer, into the gate of infamy -and of shame?</p> - -<div class="poem"><div class="stanza"> -<span class="i0">3. How sleep the brave who sink to rest<br /></span> -<span class="i1">With all their country's wishes blest!<br /></span> -<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span><span class="i1">When Spring, with dewy fingers cold,<br /></span> -<span class="i1">Returns to deck their hallowed mould,<br /></span> -<span class="i1">It there shall dress a sweeter sod<br /></span> -<span class="i1">Than blooming Fancy ever trod.<br /></span> -<span class="i1">By fairy hands their knell is rung;<br /></span> -<span class="i1">By forms unseen their dirge is sung:<br /></span> -<span class="i1">There Honor walks, a pilgrim gray,<br /></span> -<span class="i1">To deck the turf that wraps their clay;<br /></span> -<span class="i1">And Freedom shall a while repair<br /></span> -<span class="i1">To dwell a weeping hermit there.<br /></span> -</div></div> - - -<p class="center">TERMINAL STRESS.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. I'll have my bond; I will not hear thee speak:<br /></span> -<span class="i1">I'll have my bond; and therefore speak no more:<br /></span> -<span class="i1">I'll not be made a soft and dull-eyed fool,<br /></span> -<span class="i1">To shake the head, relent, and sigh, and yield<br /></span> -<span class="i1">To Christian intercessors.<br /></span> -</div><div class="stanza"> -<span class="i0">2. Nor sleep nor sanctuary,<br /></span> -<span class="i1">Being naked, sick, nor fane nor capitol,<br /></span> -<span class="i1">The prayers of priests, nor times of sacrifice,<br /></span> -<span class="i1">Embarkments all of fury, shall lift up<br /></span> -<span class="i1">Their rotten privilege and custom 'gainst<br /></span> -<span class="i1">My hate to Marcius: where I find him, were it<br /></span> -<span class="i1">At home upon my brother's guard,—even there,<br /></span> -<span class="i1">Against the hospitable cannon, would I<br /></span> -<span class="i1">Wash my fierce hand in his heart.<br /></span> -</div><div class="stanza"> -<span class="i0">3. A plague upon them! Wherefore should I curse them?<br /></span> -<span class="i1">Would curses kill, as doth the mandrake's groan,<br /></span> -<span class="i1">I would invent as bitter-searching terms,<br /></span> -<span class="i1">As curst, as harsh, and horrible to hear,<br /></span> -<span class="i1">Delivered strongly through my fixèd teeth,<br /></span> -<span class="i1">With full as many signs of deadly hate,<br /></span> -<span class="i1">As lean-faced Envy in her loathsome cave:<br /></span> -<span class="i1">My tongue should stumble in mine earnest words;<br /></span> -<span class="i1">Mine eyes should sparkle like the beaten flint;<br /></span> -<span class="i1">My hair be fixed on end, as one distract;<br /></span> -<span class="i1">Ay, every joint should seem to curse and ban;<br /></span> -<span class="i1">And even now my burdened heart would break,<br /></span> -<span class="i1">Should I not curse them.<br /></span> -<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></div></div> - - -<p class="center">THOROUGH STRESS.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. "Ho, Starbuck and Pickney and Tenterden!<br /></span> -<span class="i3">Run for your shallops, gather your men,<br /></span> -<span class="i1">Scatter your boats on the lower bay!"<br /></span> -</div><div class="stanza"> -<span class="i0">2. "Run! run for your lives, high up on the land!<br /></span> -<span class="i1">Away, men and children! up quick, and be gone!<br /></span> -<span class="i1">The water's broke loose! it is chasing me on!"<br /></span> -</div><div class="stanza"> -<span class="i0">3. They strike! Hurrah! the fort has surrendered!<br /></span> -<span class="i1">Shout, shout, my warrior-boy,<br /></span> -<span class="i1">And wave your cap, and clap your hands for joy!<br /></span> -<span class="i1">Cheer answer cheer, and bear the cheer about.<br /></span> -<span class="i1">Hurrah, hurrah, for the fiery fort is ours!<br /></span> -<span class="i7">"Victory, victory, victory!"<br /></span> -</div></div> - - -<p class="center">COMPOUND STRESS.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Thou slave, thou wretch, thou coward,<br /></span> -<span class="i1">Thou little valiant great in villany!<br /></span> -<span class="i1">Thou wear a lion's hide! doff it for shame,<br /></span> -<span class="i1">And hang a calf's skin on those recreant limbs.<br /></span> -</div></div> - -<p>2. Hath not a Jew eyes? hath not a Jew hands, organs, -dimensions, senses, affections, passions? fed with the same -food, hurt with the same weapons, subject to the same diseases, -healed by the same means, warmed and cooled by the -same winter and summer, as a Christian is? If you prick -us, do we not bleed? if you tickle us, do we not laugh? if -you poison us, do we not die? and, if you wrong us, shall we -not revenge?</p> - -<div class="poem"><div class="stanza"> -<span class="i0">3. Think you a little din can daunt mine ears?<br /></span> -<span class="i1">Have I not in my time heard lions roar?<br /></span> -<span class="i1">Have I not heard the sea, puffed up with winds,<br /></span> -<span class="i1">Rage like an angry boar, chafèd with sweat?<br /></span> -<span class="i1">Have I not heard great ordnance in the field,<br /></span> -<span class="i1">And heaven's artillery thunder in the skies?<br /></span> -<span class="i1">Have I not in a pitchèd battle heard<br /></span> -<span class="i1">Loud 'larums, neighing steeds, and trumpet's clang?<br /></span> -<span class="i1">And do you tell me of a woman's tongue,<br /></span> -<span class="i1">That gives not half so great a blow to the ear<br /></span> -<span class="i1">As will a chestnut in a farmer's fire?<br /></span> -</div></div> -<p><span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span></p> - -<p class="center">TREMOLO STRESS.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. There's nothing in this world can make me joy:<br /></span> -<span class="i1">Life is as tedious as a twice-told tale,<br /></span> -<span class="i1">Vexing the dull ear of a drowsy man.<br /></span> -</div><div class="stanza"> -<span class="i0">2. O men with sisters dear!<br /></span> -<span class="i3">O men with mothers and wives!<br /></span> -<span class="i1">It is not linen you're wearing out,<br /></span> -<span class="i3">But human creatures' lives.<br /></span> -<span class="i1">Stitch, stitch, stitch,<br /></span> -<span class="i3">In poverty, hunger, and dirt;<br /></span> -<span class="i1">Sewing at once, with a double thread,<br /></span> -<span class="i3">A shroud as well as a shirt.<br /></span> -</div><div class="stanza"> -<span class="i0">3. Grief fills the room up of my absent child,<br /></span> -<span class="i1">Lies in his bed, walks up and down with me,<br /></span> -<span class="i1">Puts on his pretty looks, repeats his words,<br /></span> -<span class="i1">Remembers me of all his gracious parts,<br /></span> -<span class="i1">Stuffs out his vacant garments with his form:<br /></span> -<span class="i1">Then have I reason to be fond of grief.<br /></span> -</div></div> - - -<h3>TRANSITION.</h3> - -<p>The changes from one kind of force to another, or one -pitch to another, or one movement to another, or one quality -to another, are many in expressive reading; and these changes -are called "Transition." To practise it is very useful in -breaking up monotony of voice, and adding expressiveness -to it. In practice of these short extracts, you are showing -the benefit of practice in quality, pitch, movement, and force. -Put yourself into the thought and feeling, and vary the voice -as that, guided by common sense, may suggest to you.</p> - -<blockquote> - -<p>See "Reading Club," No. 1, pp. 45, 54; No. 2, pp. 5, 101; No. 3, -pp. 9, 70, 87; No. 4, pp. 26, 42, 75.</p></blockquote> - -<div class="poem"><div class="stanza"> -<span class="i0">1. "Make way for liberty!" he cried,—<br /></span> -<span class="i1">Made way for liberty, and died!<br /></span> -</div><div class="stanza"> -<span class="i0">2. "Peace be unto thee, father," Tauler said:<br /></span> -<span class="i1">"God give thee a good day!" The old man raised<br /></span> -<span class="i1">Slowly his calm blue eyes: "I thank thee, son;<br /></span> -<span class="i1">But all my days are good, and none are ill."<br /></span> -<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span></div><div class="stanza"> -<span class="i0">3. "They come, they come! the pale-face come!"<br /></span> -<span class="i1">The chieftain shouted where he stood,<br /></span> -<span class="i1">Sharp watching at the margin wood,<br /></span> -<span class="i1">And gave the war-whoop's treble yell,<br /></span> -<span class="i1">That like a knell on fair hearts fell<br /></span> -<span class="i1">Far watching from their rocky home.<br /></span> -</div><div class="stanza"> -<span class="i0">4.<span style="margin-left:2em">"Not yet, not yet: steady, steady!"</span><br /></span> -<span class="i1">On came the foe in even line,<br /></span> -<span class="i1">Nearer and nearer, to thrice paces nine.<br /></span> -<span class="i3">We looked into their eyes. "Ready!"<br /></span> -<span class="i3">A sheet of flame, a roll of death!<br /></span> -<span class="i3">They fell by scores: we held our breath:<br /></span> -<span class="i7">Then nearer still they came.<br /></span> -<span class="i7">Another sheet of flame,<br /></span> -<span class="i1">And brave men fled who never fled before.<br /></span> -</div><div class="stanza"> -<span class="i0">5. Did ye not hear it?—No: 'twas but the wind,<br /></span> -<span class="i1">Or the car rattling o'er the stony street.<br /></span> -<span class="i1">On with the dance! let joy be unconfined!<br /></span> -<span class="i1">No sleep till morn, when youth and pleasure meet<br /></span> -<span class="i1">To chase the glowing hours with flying feet.<br /></span> -<span class="i1">But hark!—that heavy sound breaks in once more,<br /></span> -<span class="i1">As if the clouds its echo would repeat;<br /></span> -<span class="i1">And nearer, clearer, deadlier than before!<br /></span> -<span class="i1">Arm, arm! it is—it is—the cannon's opening roar!<br /></span> -</div><div class="stanza"> -<span class="i0">6. "Together!" shouts Niagara his thunder-toned decree;<br /></span> -<span class="i1">"Together!" echo back the waves upon the Mexic Sea;<br /></span> -<span class="i1">"Together!" sing the sylvan hills where old Atlantic roars;<br /></span> -<span class="i1">"Together!" boom the breakers on the wild Pacific shores;<br /></span> -<span class="i1">"Together!" cry the people. And "together" it shall be,<br /></span> -<span class="i1">An everlasting charter-bond forever for the free!<br /></span> -<span class="i1">Of liberty the signet-seal, the one eternal sign,<br /></span> -<span class="i1">Be those united emblems,—the Palmetto and the Pine.<br /></span> -</div><div class="stanza"> -<span class="i0">7. "Ho, sailor of the sea!<br /></span> -<span class="i1">How's my boy,—my boy?"<br /></span> -<span class="i1">"What's your boy's name, good wife?<br /></span> -<span class="i1">And in what good ship sailed he?"<br /></span> -<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></div><div class="stanza"> -<span class="i1">"My boy John,—<br /></span> -<span class="i1">He that went to sea:<br /></span> -<span class="i1">What care I for the ship, sailor?<br /></span> -<span class="i1">My boy's my boy to me."<br /></span> -</div><div class="stanza"> -<span class="i0">8. Out burst all with one accord:<br /></span> -<span class="i3">"This is Paradise for Hell!<br /></span> -<span class="i3">Let France, let France's king,<br /></span> -<span class="i3">Thank the man that did the thing!"<br /></span> -<span class="i1">What a shout! and all one word,—<br /></span> -<span class="i3">"Hervé Riel!"<br /></span> -<span class="i1">As he stepped in front once more,<br /></span> -<span class="i3">Not a symptom of surprise<br /></span> -<span class="i3">In the frank blue Breton eyes:<br /></span> -<span class="i1">Just the same man as before.<br /></span> -</div><div class="stanza"> -<span class="i0">9. He called his child,—no voice replied;<br /></span> -<span class="i3">He searched, with terror wild:<br /></span> -<span class="i1">Blood, blood, he found on every side,<br /></span> -<span class="i3">But nowhere found his child.<br /></span> -</div><div class="stanza"> -<span class="i1">"Hell-hound! my child's by thee devoured,"<br /></span> -<span class="i3">The frantic father cried;<br /></span> -<span class="i1">And to the hilt his vengeful sword<br /></span> -<span class="i3">He plunged in Gelert's side.<br /></span> -</div><div class="stanza"> -<span class="i1">His suppliant, as to earth he fell,<br /></span> -<span class="i3">No pity could impart;<br /></span> -<span class="i1">But still his Gelert's dying yell<br /></span> -<span class="i3">Passed heavy o'er his heart.<br /></span> -</div><div class="stanza"> -<span class="i0">10. While the trumpets bray, and the cymbals ring,<br /></span> -<span class="i1">"Praise, praise to Belshazzar, Belshazzar the king!"<br /></span> -<span class="i1">Now what cometh? Look, look! Without menace or call,<br /></span> -<span class="i1">Who writes with the lightning's bright hand on the wall?<br /></span> -<span class="i1">What pierceth the king like the point of a dart?<br /></span> -<span class="i1">What drives the bold blood from his cheek to his heart?<br /></span> -<span class="i1">"Chaldæans, magicians! the letters expound."<br /></span> -<span class="i1">They are read; and Belshazzar is dead on the ground!<br /></span> -</div><div class="stanza"> -<span class="i0">11. <i>Sir P.</i>—'Slife, madam! I say, had you any of these<br /></span> -<span class="i0">little elegant expenses when you married me?<br /></span> -<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span></div><div class="stanza"> -<span class="i0"><i>Lady T.</i>—Lud, Sir Peter! would you have me be out<br /></span> -<span class="i0">of the fashion?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Sir P.</i>—The fashion, indeed! What had you to do<br /></span> -<span class="i0">with the fashion before you married me?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Lady T.</i>—For my part, I should think you would like<br /></span> -<span class="i0">to have your wife thought a woman of taste.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Sir P.</i>—Ay, there again! Taste! Zounds, madam!<br /></span> -<span class="i0">you had no taste when you married me.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Lady T.</i>—That's very true, indeed, Sir Peter; and,<br /></span> -<span class="i0">after having married you, I should never pretend to taste<br /></span> -<span class="i0">again, I allow.<br /></span> -</div></div> - -<div class="poem"><div class="stanza"> -<span class="i0">12. "And what the meed?" at length Tell asked.<br /></span> -<span class="i1">"Bold fool! when slaves like thee are tasked,<br /></span> -<span class="i9">It is my will;<br /></span> -<span class="i1">But that thine eye may keener be,<br /></span> -<span class="i1">And nerved to such nice archery,<br /></span> -<span class="i1">If thou succeed'st, thou goest free.<br /></span> -<span class="i9">What! pause ye still?<br /></span> -<span class="i1">Give him a bow and arrow there:<br /></span> -<span class="i1">One shaft,—but one." Madness, despair,<br /></span> -<span class="i9">And tortured love,<br /></span> -<span class="i1">One moment swept the Switzer's face;<br /></span> -<span class="i1">Then passed away each stormy trace,<br /></span> -<span class="i1">And high resolve reigned like a grace<br /></span> -<span class="i9">Caught from above.<br /></span> -</div><div class="stanza"> -<span class="i0">13. <i>Bass.</i>—Why dost thou whet thy knife so earnestly?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Shy.</i>—To cut the forfeit from that bankrupt there.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Gra.</i>—Can no prayers pierce thee?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Shy.</i>—No, none that thou hast wit enough to make.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Gra.</i>—Oh, be thou damned, inexorable dog,<br /></span> -<span class="i0">And for thy life let justice be accused!<br /></span> -<span class="i0">Thou almost mak'st me waver in my faith,<br /></span> -<span class="i0">To hold opinion with Pythagoras,<br /></span> -<span class="i0">That souls of animals infuse themselves<br /></span> -<span class="i0">Into the trunks of men: thy currish spirit<br /></span> -<span class="i0">Governed a wolf, who, hanged for human slaughter,<br /></span> -<span class="i0">Even from the gallows did his fell soul fleet,<br /></span> -<span class="i0">And, whilst thou lay'st in thy unhallowed dam,<br /></span> -<span class="i0">Infused itself in thee; for thy desires<br /></span> -<span class="i0">Are wolfish, bloody, starved, and ravenous.<br /></span> -<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span></div><div class="stanza"> -<span class="i0"><i>Shy.</i>—Till thou canst rail the seal from off my bond,<br /></span> -<span class="i0">Thou but offend'st thy lungs to speak so loud.<br /></span> -<span class="i0">Repair thy wit, good youth, or it will fall<br /></span> -<span class="i0">To cureless ruin.—I stand here for law.<br /></span> -</div><div class="stanza"> -<span class="i0">14. <i>Ham.</i>—Now, mother, what's the matter?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Queen.</i>—Hamlet, thou hast thy father much offended.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ham.</i>—Mother, you have my father much offended.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Queen.</i>—Come, come, you answer with an idle tongue.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ham.</i>—Go, go, you question with a wicked tongue.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Queen.</i>—Why, how now, Hamlet?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ham.</i>—What's the matter now?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Queen.</i>—Have you forgot me?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ham.</i>—No, by the rood, not so:<br /></span> -<span class="i0">You are the queen, your husband's brother's wife;<br /></span> -<span class="i0">And—would it were not so!—you are my mother.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Queen.</i>—Nay, then, I'll set those to you that can speak.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Ham.</i>—Come, come, and sit you down: you shall not budge;<br /></span> -<span class="i0">You go not, till I set you up a glass<br /></span> -<span class="i0">Where you may see the inmost part of you.<br /></span> -</div></div> - - -<h3>MODULATION.</h3> - -<div class="poem"><div class="stanza"> -<span class="i0">"'Tis not enough the voice be loud and clear:<br /></span> -<span class="i0">'Tis <span class="smcap lowercase">MODULATION</span> that must charm the ear."<br /></span> -</div></div> - -<p>A good reader or speaker will vary his or her voice in the -elements of emotional expression (that is, pitch, quality, -movement, stress, force), on words, phrases, and sentences, -in such a manner that the listeners get a suggestion of the -meaning of a word by the sound of it. For instance, the -words <i>bright</i>, <i>glad</i>, <i>joyful</i>, <i>dull</i>, <i>sad</i>, <i>weak</i>, may be pronounced -in such a manner as to suggest by the quality of voice used -their meaning; and, in the same manner, phrases and whole -sentences may have variation in voice so as to suggest their -meaning. This is modulation.</p> - -<p>To modulate well, first, you must use your imagination, to -form a perfect picture in your own mind of what you wish to -describe, just as you would if you were an artist, and were -intending to paint an ideal picture; and, in reality, you are -an artist, for you paint with words and tones. Secondly, -you should understand the exact meaning of each word, and,<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span> -when you speak it, make your manner of speaking it suggest -its meaning. Suppose you were to read Tennyson's "Song -of the Brook." We will analyze as near as words may the -manner of reading each verse. Read the whole song, and -form the picture in imagination of the flow of the water, the -scenery along its course, the roughness or smoothness of the -water as described, the slowness or rapidity of its flow at -different points, how large or small the brook is, making the -picture as perfect as if you would paint upon canvas the -whole scene.</p> - -<p class="center">THE BROOK.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. I come from haunts of coot and hern;<br /></span> -<span class="i0">2. I make a sudden sally,<br /></span> -<span class="i0">3. And sparkle out among the fern<br /></span> -<span class="i0">4. To bicker down a valley.<br /></span> -</div><div class="stanza"> -<span class="i0">5. By thirty hills I hurry down,<br /></span> -<span class="i0">6. Or slip between the ridges;<br /></span> -<span class="i0">7. By twenty thorps, a little town,<br /></span> -<span class="i0">8. And half a hundred bridges.<br /></span> -</div><div class="stanza"> -<span class="i0">9. Till last by Philip's farm I flow<br /></span> -<span class="i0">10. To join the brimming river;<br /></span> -<span class="i0">11. For men may come, and men may go,<br /></span> -<span class="i0">12. But I go on forever.<br /></span> -</div><div class="stanza"> -<span class="i0">13. I chatter over stony ways<br /></span> -<span class="i0">14. In little sharps and trebles;<br /></span> -<span class="i0">15. I bubble into eddying bays;<br /></span> -<span class="i0">16. I babble on the pebbles.<br /></span> -</div><div class="stanza"> -<span class="i0">17. With many a curve my banks I fret,<br /></span> -<span class="i0">18. By many a field and fallow,<br /></span> -<span class="i0">19. And many a fairy foreland set<br /></span> -<span class="i0">20. With willow-weed and mallow.<br /></span> -</div><div class="stanza"> -<span class="i0">21. I chatter, chatter, as I flow<br /></span> -<span class="i0">22. To join the brimming river;<br /></span> -<span class="i0">23. For men may come, and men may go,<br /></span> -<span class="i0">24. But I go on forever.<br /></span> -</div><div class="stanza"> -<span class="i0">25. I wind about, and in and out,<br /></span> -<span class="i0">26. With here a blossom sailing,<br /></span> -<span class="i0">27. And here and there a lusty trout,<br /></span> -<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span><span class="i0">28. And here and there a grayling,<br /></span> -</div><div class="stanza"> -<span class="i0">29. And here and there a foamy flake<br /></span> -<span class="i0">30. Upon me as I travel;<br /></span> -<span class="i0">31. With many a silvery waterbreak<br /></span> -<span class="i0">32. Above the golden gravel;<br /></span> -</div><div class="stanza"> -<span class="i0">33. And draw them all along, and flow,<br /></span> -<span class="i0">34. To join the brimming river;<br /></span> -<span class="i0">35. For men may come, and men may go,<br /></span> -<span class="i0">36. But I go on forever.<br /></span> -</div><div class="stanza"> -<span class="i0">37. I steal by lawns and grassy plots;<br /></span> -<span class="i0">38. I slide by hazel covers;<br /></span> -<span class="i0">39. I move the sweet forget-me-nots<br /></span> -<span class="i0">40. That grow for happy lovers.<br /></span> -</div><div class="stanza"> -<span class="i0">41. I slip, I slide, I gloom, I glance,<br /></span> -<span class="i0">42. Among my skimming swallows;<br /></span> -<span class="i0">43. I make the netted sunbeams dance<br /></span> -<span class="i0">44. Against my sandy shallows.<br /></span> -</div><div class="stanza"> -<span class="i0">45. I murmur under moon and stars<br /></span> -<span class="i0">46. In brambly wildernesses;<br /></span> -<span class="i0">47. I linger by my shingly bars;<br /></span> -<span class="i0">48. I loiter round my cresses;<br /></span> -</div><div class="stanza"> -<span class="i0">49. And out again I curve and flow<br /></span> -<span class="i0">50. To join the brimming river;<br /></span> -<span class="i0">51. For men may come, and men may go,<br /></span> -<span class="i0">52. But I go on forever.<br /></span> -</div></div> - -<p>As a whole, this piece requires for quality of voice the -<i>pure tone</i>; force, <i>gentle</i>; movement, <i>moderate</i>; pitch, <i>middle</i>; -stress, <i>median</i>. The variations in modulation must be from -these, and will be mostly variations in quality, movement, -and pitch.</p> - -<p>Lines 2 to 6. Movement, quick; pitch, high; with quality -changing on words <i>sudden</i>, <i>sparkle</i>, <i>bicker</i>, <i>hurry</i>, <i>slip</i>, in such -a way as to suggest the meaning of the word.</p> - -<p>Lines 7 to 12. Movement, moderate; pitch, middle.</p> - -<p>Lines 13 to 16. Movement, quick; pitch, high; the words -<i>chatter</i>, <i>stony</i>, <i>sharps</i>, <i>trebles</i>, <i>bubble</i>, <i>babble</i>, spoken with suggestion -of their meaning.</p> - -<p>Lines 17 to 20. Movement, moderate; pitch, middle.</p> - -<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span></p> - -<p>Lines 21 to 24. Movement, quick; pitch, high; make -quality suggest on <i>chatter</i>, <i>brimming</i>.</p> - -<p>Lines 25 to 28. Movement, slow; pitch, middle; change -to suggestive quality on <i>wind</i>, <i>blossom</i>, <i>lusty</i>.</p> - -<p>Lines 29 to 36. Movement, moderate; pitch, middle; suggestive -quality on <i>foamy</i>, <i>silvery</i>, <i>golden</i>, <i>brimming</i>.</p> - -<p>Lines 37 to 40. Movement, slow; pitch, low; suggestive -quality on <i>steal</i>, <i>slide</i>, <i>move</i>, <i>happy</i>.</p> - -<p>Lines 41, 42. Movement, pitch, quality, all varied on -words <i>slip</i>, <i>slide</i>, <i>gloom</i>, <i>glance</i>.</p> - -<p>Lines 43, 44. Movement, quick; pitch, high; suggestive -quality on <i>dance</i>, <i>shallows</i>.</p> - -<p>Lines 45 to 48. Movement, slow; pitch, low; quality, -very slightly aspirate; suggestive quality on <i>murmur</i>, <i>linger</i>, -<i>loiter</i>.</p> - -<p>Lines 49 to 52. Movement, moderate; pitch, middle; suggestive -quality on <i>brimming</i>.</p> - -<p>This analysis is very imperfect, as it is impossible in words -to explain it. What modulation requires is, as a popular -author says, "genius and sense" on your part, and you will -be enabled to do as here is imperfectly suggested. You will -do well to select some pieces, and analyze them, as here suggested. -In Longfellow's launch of the ship, in his poem -"Building of the Ship," picture the whole scene in imagination, -the size and kind of ship, the number of the crowd, &c.</p> - -<p>The following pieces are marked so that you may get a -general idea of what is required for emotional expression in -each. No marking can give you particulars of what is necessary, -as the modulation of voice or variety in emotional -expression—the light and shadow in the coloring of your -word-picture—must depend upon your artistic "sense and -genius." Imagine your picture, understand the meaning of -every word and suggest its meaning in tone, concentrate -yourself in the thought and feeling of the piece, and let your -voice be governed by that, and you will not go far wrong if -you have faithfully practised what has been recommended in -the previous pages of this book.</p> - -<p>1. Pure quality, gentle force, slow movement, middle -pitch, median stress.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Those evening bells, those evening bells!<br /></span> -<span class="i0">How many a tale their music tells<br /></span> -<span class="i0">Of youth and home, and that sweet time<br /></span> -<span class="i0">When last I heard their soothing chime!<br /></span> -<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span></div><div class="stanza"> -<span class="i0">Those joyous hours are passed away;<br /></span> -<span class="i0">And many a heart that then was gay<br /></span> -<span class="i0">Within the tomb now darkly dwells,<br /></span> -<span class="i0">And hears no more those evening bells.<br /></span> -</div><div class="stanza"> -<span class="i0">And so 'twill be when I am gone:<br /></span> -<span class="i0">That tuneful peal will still ring on;<br /></span> -<span class="i0">While other bards shall walk these dells,<br /></span> -<span class="i0">And sing your praise, sweet evening bells.<br /></span> -</div></div> - -<p>2. Orotund quality, with fulness and power, varying -middle and low pitch, moderate and quick movement, -median and radical stress mixed.</p> - -<div class="poem"><div class="stanza"> -<span class="i1">With storm-daring pinion and sun-gazing eye<br /></span> -<span class="i0">The gray forest eagle is king of the sky.<br /></span> -<span class="i0">From the crag-grasping fir-top where morn hangs its wreath,<br /></span> -<span class="i0">He views the mad waters white writhing beneath.<br /></span> -<span class="i0">A fitful red glaring, a rumbling jar,<br /></span> -<span class="i0">Proclaim the storm-demon still raging afar:<br /></span> -<span class="i0">The black cloud strides upward, the lightning more red,<br /></span> -<span class="i0">And the roll of the thunder more deep and more dread;<br /></span> -<span class="i0">A thick pall of darkness is cast o'er the air;<br /></span> -<span class="i0">And on bounds the blast with a howl from its lair.<br /></span> -<span class="i1">The lightning darts zig-zag and forked through the gloom;<br /></span> -<span class="i0">And the bolt launches o'er with crash, rattle, and boom:<br /></span> -<span class="i0">The gray forest eagle—where, where has he sped?<br /></span> -<span class="i0">Does he shrink to his eyrie, or shiver with dread?<br /></span> -<span class="i0">Does the glare blind his eye? Has the terrible blast<br /></span> -<span class="i0">On the wing of the sky-king a fear-fetter cast?<br /></span> -<span class="i0">No, no! the brave eagle, he thinks not of fright:<br /></span> -<span class="i0">The wrath of the tempest but rouses delight.<br /></span> -<span class="i1">To the flash of the lightning his eye casts a gleam;<br /></span> -<span class="i0">To the shriek of the wild blast he echoes his scream;<br /></span> -<span class="i0">And with front like a warrior that speeds to the fray,<br /></span> -<span class="i0">And a clapping of pinions, he's up and away.<br /></span> -<span class="i0">Away—oh! away—soars the fearless and free;<br /></span> -<span class="i0">What recks he the skies' strife? its monarch is he!<br /></span> -<span class="i0">The lightning darts round him, undaunted his sight;<br /></span> -<span class="i0">The blast sweeps against him, unwavered his flight:<br /></span> -<span class="i0">High upward, still upward, he wheels, till his form<br /></span> -<span class="i0">Is lost in the black scowling gloom of the storm.<br /></span> -</div></div> - -<p>3. Pure to orotund quality, gentle to moderate force, -moderate movement, middle pitch, radical and median stress<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span> -mixed. This contains many words that can be pronounced -with a quality or variation suggesting their meaning.</p> - -<hr class="tb" /> - -<p>Rhetoric as taught in our seminaries and by elocutionists -is one thing: genuine, heart-thrilling, soul-stirring eloquence -is a very different thing. The one is like the rose in wax, -without odor; the other like the rose on its native bush, perfuming -the atmosphere with the rich odors distilled from the -dew of heaven.</p> - -<p>The one is the finely-finished statue of a Cicero or Demosthenes, -more perfect in its lineaments than the original, -pleasing the eye, and enrapturing the imagination: the other -is the living man, animated by intellectual power, rousing -the deepest feelings of every heart, and electrifying every -soul as with vivid lightning. The one is a picture of the -passions all on fire: the other is the real conflagration, pouring -out a volume of words that burn like liquid flames bursting -from the crater of a volcano.</p> - -<p>The one attracts the admiring gaze and tickles the fancy -of an audience: the other sounds an alarm that vibrates -through the tingling ears to the soul, and drives back the -rushing blood upon the aching heart. The one falls upon -the multitude like April showers glittering in the sunbeams, -animating, and bringing nature into mellow life: the other -rouses the same mass to deeds of noble daring, and imparts -to it the terrific force of an avalanche.</p> - -<p>The one moves the cerebral foliage in waves of recumbent -beauty like a gentle wind passing over a prairie of tall grass -and flowers: the other strikes a blow that resounds through -the wilderness of mind like rolling thunder through a forest -of oaks. The one fails when strong commotions and angry -elements agitate the public peace: the other can ride upon -the whirlwind, direct the tornado, and rule the storm.</p> - -<hr class="tb" /> - -<p>4. Aspirated orotund quality, moderate force, very slow -movement, very low pitch, median stress.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">Tread softly, bow the head, in reverent silence bow:<br /></span> -<span class="i0">No passing bell doth toll, yet an immortal soul<br /></span> -<span class="i12">Is passing now.<br /></span> -</div><div class="stanza"> -<span class="i0">Stranger, however great, with lowly reverence bow:<br /></span> -<span class="i0">There's one in that poor shed, one by that paltry bed,<br /></span> -<span class="i12">Greater than thou.<br /></span> -<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></div><div class="stanza"> -<span class="i0">Beneath that beggar's roof, lo! Death doth keep his state.<br /></span> -<span class="i0">Enter, no crowds attend; enter, no guards defend<br /></span> -<span class="i12">This palace-gate.<br /></span> -</div><div class="stanza"> -<span class="i0">That pavement damp and cold no smiling courtiers tread:<br /></span> -<span class="i0">One silent woman stands, lifting with meagre hands<br /></span> -<span class="i12">A dying head.<br /></span> -</div><div class="stanza"> -<span class="i0">No mingling voices sound,—an infant wail alone:<br /></span> -<span class="i0">A sob suppressed, again that short deep gasp, and then<br /></span> -<span class="i12">The parting groan.<br /></span> -</div><div class="stanza"> -<span class="i0">Oh change! oh wondrous change! burst are the prison-bars:<br /></span> -<span class="i0">This moment there, so low, so agonized; and now<br /></span> -<span class="i12">Beyond the stars!<br /></span> -</div><div class="stanza"> -<span class="i0">Oh change, stupendous change! there lies the soulless clod:<br /></span> -<span class="i0">The sun eternal breaks, the new immortal wakes,—<br /></span> -<span class="i12">Wakes with his God!<br /></span> -</div></div> - -<p>5. Pure quality, moderate force, quick movement, high -pitch, radical stress, suggestive quality on many words.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">The Wind one morning sprang up from sleep,<br /></span> -<span class="i0">Saying, "Now for a frolic, now for a leap,<br /></span> -<span class="i0">Now for a mad-cap galloping chase:<br /></span> -<span class="i0">I'll make a commotion in every place!"<br /></span> -<span class="i0">So it swept with a bustle right through a great town,<br /></span> -<span class="i0">Creaking the signs, and scattering down<br /></span> -<span class="i0">Shutters, and whisking with merciless squalls<br /></span> -<span class="i0">Old women's bonnets and gingerbread-stalls:<br /></span> -<span class="i0">There never was heard a much lustier shout<br /></span> -<span class="i0">As the apples and oranges tumbled about;<br /></span> -<span class="i0">And the urchins, that stand with their thievish eyes<br /></span> -<span class="i0">Forever on watch, ran off each with a prize.<br /></span> -<span class="i0">Then away to the field it went blustering and humming,<br /></span> -<span class="i0">And the cattle all wondered whatever was coming:<br /></span> -<span class="i0">It plucked by their tails the grave matronly cows,<br /></span> -<span class="i0">And tossed the colts' manes all about their brows;<br /></span> -<span class="i0">Till, offended at such a familiar salute,<br /></span> -<span class="i0">They all turned their backs, and stood silently mute.<br /></span> -<span class="i0">So on it went capering, and playing its pranks;<br /></span> -<span class="i0">Whistling with reeds on the broad river's banks;<br /></span> -<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span><span class="i0">Puffing the birds as they sat on the spray,<br /></span> -<span class="i0">Or the traveller grave on the king's highway.<br /></span> -<span class="i0">It was not too nice to hustle the bags<br /></span> -<span class="i0">Of the beggar, and flutter his dirty rags:<br /></span> -<span class="i0">'Twas so bold, that it feared not to play its joke<br /></span> -<span class="i0">With the doctor's wig and the gentleman's cloak.<br /></span> -<span class="i0">Through the forest it roared, and cried gayly, "Now,<br /></span> -<span class="i0">You sturdy old oaks, I'll make you bow!"<br /></span> -<span class="i0">And it made them bow without more ado,<br /></span> -<span class="i0">And cracked their great branches through and through.<br /></span> -<span class="i0">Then it rushed like a monster on cottage and farm,<br /></span> -<span class="i0">Striking their dwellers with sudden alarm,<br /></span> -<span class="i0">And they ran out like bees in a midsummer swarm.<br /></span> -<span class="i0">There were dames with their kerchiefs tied over their caps<br /></span> -<span class="i0">To see if their poultry were free from mishaps.<br /></span> -<span class="i0">The turkeys they gobbled; the geese screamed aloud;<br /></span> -<span class="i0">And the hens crept to roost in a terrified crowd:<br /></span> -<span class="i0">There was rearing of ladders, and logs laying on,<br /></span> -<span class="i0">Where the thatch from the roof threatened soon to be gone.<br /></span> -<span class="i0">But the wind had passed on, and had met in a lane<br /></span> -<span class="i0">With a school-boy who panted and struggled in vain;<br /></span> -<span class="i0">For it tossed him and twirled him, then passed, and he stood<br /></span> -<span class="i0">With his hat in a pool, and his shoe in the mud.<br /></span> -</div></div> - - -<h3>STYLE.</h3> - -<p>What you have to say, where you have to say it, when you -have to say it, why you have to say it, and to whom you have -to say it,—on these depend how you shall say it, or your style. -Conversational style is as you would talk in earnest conversation -with a friend; Narrative, as you would tell an anecdote -or story to a company of friends; Descriptive, as you -would describe what you had actually seen; Didactic, as -you would state earnestly, decisively, but pleasantly, your -knowledge or opinions to others; Public Address, which -generally includes the Didactic, Narrative, and Descriptive, -is spoken with design to move, to persuade, and instruct, -particularly the latter; Declamatory is Public Address -magnified in expression, exhibiting more emotion, both in -language, and in quality, and fulness of voice; the Emotional -or Dramatic, in which the emotions and passions are -strongly expressed. In practising these different styles, the -quality, pitch, force, and time must be regulated by your -thought and feeling, guided, as in transition, by common<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span> -sense, which will enable you to tell natural from unnatural -expression. Practise these few exercises under each head; -but you will do better to practise pieces such as are referred -to under each head in the "Reading Club."</p> - - -<p class="center">CONVERSATIONAL.</p> - -<p>1. "And how's my boy, Betty?" asked Mrs. Boffin, sitting -down beside her.</p> - -<p>"He's bad; he's bad!" said Betty. "I begin to be afeerd -he'll not be yours any more than mine. All others belonging -to him have gone to the Power and the Glory; and I have -a mind that they're drawing him to them, leading him -away."</p> - -<p>"No, no, no!" said Mrs. Boffin.</p> - -<p>"I don't know why else he clinches his little hand, as if -it had hold of a finger that I can't see; look at it!" said -Betty, opening the wrappers in which the flushed child lay, -and showing his small right hand lying closed upon his -breast. "It's always so. It don't mind me."</p> - -<div class="poem"><div class="stanza"> -<span class="i0">2. <i>Helen.</i>—What's that you read?<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Modus.</i>—Latin, sweet cousin.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Hel.</i>—'Tis a naughty tongue,<br /></span> -<span class="i0">I fear, and teaches men to lie.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Modus.</i>—To lie!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Hel.</i>—You study it. You call your cousin sweet,<br /></span> -<span class="i0">And treat her as you would a crab. As sour<br /></span> -<span class="i0">'Twould seem you think her: so you covet her!<br /></span> -<span class="i0">Why, how the monster stares, and looks about!<br /></span> -<span class="i0">You construe Latin, and can't construe that!<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Modus.</i>—I never studied women.<br /></span> -</div><div class="stanza"> -<span class="i0"><i>Hel.</i>—No, nor men;<br /></span> -<span class="i0">Else would you better know their ways, nor read<br /></span> -<span class="i0">In presence of a lady.<br /></span> -</div></div> - -<p>3. "Now," said Wardle, "what say you to an hour on -the ice? We shall have plenty of time."</p> - -<p>"Capital!" said Mr. Benjamin Allen.</p> - -<p>"Prime!" ejaculated Mr. Bob Sawyer.</p> - -<p>"You skate, of course, Winkle?" said Wardle.</p> - -<p>"Ye—yes; oh, yes!" replied Mr. Winkle. "I—I am -rather out of practice."</p> - -<p>"Oh, do skate, Mr. Winkle!" said Arabella. "I like to -see it so much!"</p> - -<p><span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span></p> - -<p>"Oh, it is so graceful!" said another young lady.</p> - -<p>A third young lady said it was elegant; and a fourth expressed -her opinion that it was "swan-like."</p> - -<p>"I should be very happy, I'm sure," said Mr. Winkle, -reddening; "but I have no skates."</p> - -<p>This objection was at once overruled. Trundle had got -a couple of pair, and the fat boy announced that there were -half a dozen more down stairs; whereat Mr. Winkle expressed -exquisite delight, and looked exquisitely uncomfortable.</p> - -<blockquote> - -<p>See "Reading Club," No. 1, p. 56; No. 2, p. 49; No. 3, pp. 5, 38; -No. 4, pp. 94, 67.</p></blockquote> - - -<p class="center">NARRATIVE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Tauler the preacher walked, one autumn-day,<br /></span> -<span class="i1">Without the walls of Strasburg, by the Rhine,<br /></span> -<span class="i1">Pondering the solemn miracle of life;<br /></span> -<span class="i1">As one who, wandering in a starless night,<br /></span> -<span class="i1">Feels momently the jar of unseen waves,<br /></span> -<span class="i1">And hears the thunder of an unknown sea<br /></span> -<span class="i1">Breaking along an unimagined shore.<br /></span> -</div></div> - -<p>2. The illustrious Spinola, upon hearing of the death of a -friend, inquired of what disease he died. "Of having nothing -to do," said the person who mentioned it. "Enough," -said Spinola, "to kill a general." Not only the want of -employment, but the want of care, often increases as well as -brings on this disease.</p> - -<p>3. Sir Isaac Newton was once examining a new and very -fine globe, when a gentleman came into his study who did -not believe in a God, but declared the world we live in came -by chance. He was much pleased with the handsome globe, -and asked, "Who made it?"—"Nobody," answered Sir -Isaac: "it happened there." The gentleman looked up in -amazement; but he soon understood what it meant.</p> - -<blockquote> - -<p>See "Reading Club," No. 1, pp. 23, 73; No. 2, pp. 37, 44; No. 3, -pp. 9, 99; No. 4, pp. 26, 49, 89.</p></blockquote> - - -<p class="center">DESCRIPTIVE.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. The morn awakes, like brooding dove,<br /></span> -<span class="i3">With outstretched wings of gray:<br /></span> -<span class="i1">Thin, feathery clouds close in above,<br /></span> -<span class="i3">And build a sober day.<br /></span> -<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></div><div class="stanza"> -<span class="i1">No motion in the deeps of air,<br /></span> -<span class="i3">No trembling in the leaves;<br /></span> -<span class="i1">A still contentment everywhere,<br /></span> -<span class="i3">That neither laughs nor grieves.<br /></span> -</div><div class="stanza"> -<span class="i1">A shadowy veil of silvery sheen<br /></span> -<span class="i3">Bedims the ocean's hue,<br /></span> -<span class="i1">Save where the boat has torn between<br /></span> -<span class="i3">A track of shining blue.<br /></span> -</div><div class="stanza"> -<span class="i1">Dream on, dream on, O dreamy day!<br /></span> -<span class="i3">The very clouds are dreams:<br /></span> -<span class="i1">That cloud is dreaming far away,<br /></span> -<span class="i3">And is not where it seems.<br /></span> -</div></div> - -<p>2. The broad moon lingers on the summit of Mount Olivet; -but its beam has long left the garden of Gethsemane, and the -tomb of Absalom, the waters of Kedron, and the dark abyss -of Jehoshaphat. Full falls its splendor, however, on the -opposite city, vivid and defined in its silver blaze. A lofty -wall, with turrets and towers and frequent gates, undulates -with the unequal ground which it covers, as it encircles the -lost capital of Jehovah. It is a city of hills, far more famous -than those of Rome; for all Europe has heard of Sion and of -Calvary.</p> - -<p>3. It was a fine autumnal day: the sky was clear and -serene, and Nature wore that rich and golden livery which -we always associate with the idea of abundance. The forests -had put on their sober brown and yellow; while some trees -of the tenderer kind had been nipped by the frosts into brilliant -dyes of orange, purple, and scarlet. Streaming files of -wild ducks began to make their appearance high in the air; -the bark of the squirrel might be heard from the groves of -beech and hickory nuts, and the pensive whistle of the quail -at intervals from the neighboring stubble-field.</p> - -<blockquote> - -<p>See "Reading Club," No. 2, pp. 15, 39; No. 3, pp. 28, 97; No. 4, -pp. 19, 36, 92.</p></blockquote> - - -<p class="center">DIDACTIC.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. To teach—what is it but to learn<br /></span> -<span class="i3">Each day some lesson fair or deep,<br /></span> -<span class="i1">The while our hearts toward others yearn,—<br /></span> -<span class="i3">The hearts that wake toward those that sleep?<br /></span> -<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span></div><div class="stanza"> -<span class="i1">To learn—what is it but to teach<br /></span> -<span class="i3">By aspect, manner, silence, word,<br /></span> -<span class="i1">The while we far and farther reach<br /></span> -<span class="i3">Within thy treasures, O our Lord?<br /></span> -</div><div class="stanza"> -<span class="i1">Then who but is a learner aye?<br /></span> -<span class="i3">And who but teaches, well or ill?<br /></span> -<span class="i1">Receiving, giving, day by day,—<br /></span> -<span class="i3">So grows the tree, so flows the rill.<br /></span> -</div></div> - -<p>2. All professions should be liberal; and there should be -less pride felt in peculiarity of employment, and more in excellence -of achievement. And yet more: in each several profession -no master should be too proud to do its hardest work. -The painter should grind his own colors; the architect work -in the mason's yard with his men; the master-manufacturer -be himself a more skilful operative than any man in his -mills; and the distinction between one man and another be -only in experience and skill, and the authority and wealth -which these must naturally and justly obtain.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">3. Now, my co-mates and brothers in exile,<br /></span> -<span class="i1">Hath not old custom made this life more sweet<br /></span> -<span class="i1">Than that of painted pomp? Are not these woods<br /></span> -<span class="i1">More free from peril than the envious court?<br /></span> -<span class="i1">Here feel we but the penalty of Adam,<br /></span> -<span class="i1">The seasons' difference; as, the icy fang<br /></span> -<span class="i1">And churlish chiding of the winter's wind,<br /></span> -<span class="i1">Which, when it bites and blows upon my body,<br /></span> -<span class="i1">Even till I shrink with cold, I smile, and say,<br /></span> -<span class="i1">This is no flattery: these are counsellors<br /></span> -<span class="i1">That feelingly persuade me what I am.<br /></span> -<span class="i1">Sweet are the uses of adversity,<br /></span> -<span class="i1">Which, like the toad, ugly and venomous,<br /></span> -<span class="i1">Wears yet a precious jewel in his head;<br /></span> -<span class="i1">And this our life, exempt from public haunt,<br /></span> -<span class="i1">Finds tongues in trees, books in the running brooks,<br /></span> -<span class="i1">Sermons in stones, and good in every thing.<br /></span> -</div></div> - -<blockquote> - -<p>See "Reading Club," No. 1, p. 82; No. 2, pp. 88, 76; No. 3, p. 59.</p></blockquote> - - -<p class="center">PUBLIC ADDRESS.</p> - -<p>1. Let not, then, the young man sit with folded hands, -calling on Hercules. Thine own arm is the demigod: it<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span> -was given thee to help thyself. Go forth into the world -trustful, but fearless. Exalt thine adopted calling or profession. -Look on labor as honorable, and dignify the task -before thee, whether it be in the study, office, counting-room, -work-shop, or furrowed field. There is an equality in all, -and the resolute will and pure heart may ennoble either.</p> - -<p>2. While you are gazing on that sun which is plunging -into the vault of the west, another observer admires him -emerging from the gilded gates of the east. By what inconceivable -power does that agèd star, which is sinking fatigued -and burning in the shades of the evening, re-appear at the -same instant fresh and humid with the rosy dew of the -morning? At every hour of the day the glorious orb is at -once rising, resplendent as noonday, and setting in the west; -or rather our senses deceive us, and there is, properly speaking, -no east or west, no north or south, in the world.</p> - -<p>3. In all natural and spiritual transactions, so far as they -come within the sphere of human agency, there are three -distinct elements: there is an element of endeavor, of -mystery, and of result; in other words, there is something -for man to do, there is something beyond his knowledge and -control, there is something achieved by the co-operation of -these two. Man sows the seed, he reaps the harvest; but -between these two points occurs the middle condition of -mystery. He casts the seed into the ground; he sleeps and -rises night and day; but the seed springs and grows up, he -knows not how: yet, when the fruit is ripe, immediately he -putteth in the sickle, because the harvest is come. That is -all he knows about it. There is something for him to do, -something for him to receive; but between the doing and -receiving there is a mystery.</p> - -<blockquote> - -<p>See "Reading Club," No. 1, p. 83; No. 2, pp. 77, 79; No. 3, pp. -74, 91; No. 4, pp. 35, 53.</p></blockquote> - - -<p class="center">DECLAMATORY.</p> - -<p>1. You speak like a boy,—like a boy who thinks the old -gnarled oak can be twisted as easily as the young sapling. -Can I forget that I have been branded as an outlaw, stigmatized -as a traitor, a price set on my head as if I had been -a wolf, my family treated as the dam and cubs of the hill-fox, -whom all may torment, vilify, degrade, and insult; the<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span> -very name which came to me from a long and noble line of -martial ancestors denounced, as if it were a spell to conjure -up the devil with?</p> - -<p>2. I have been accused of ambition in presenting this -measure,—inordinate ambition. If I had thought of myself -only, I should have never brought it forward. I know -well the perils to which I expose myself,—the risk of alienating -faithful and valued friends, with but little prospect of -making new ones (if any new ones could compensate for the -loss of those we have long tried and loved), and the honest -misconception both of friends and foes. Ambition!—yes, -I have ambition; but it is the ambition of being the humble -instrument in the hands of Providence to reconcile a divided -people, once more to revive concord and harmony in a distracted -land; the pleasing ambition of contemplating the -glorious spectacle of a free, united, prosperous, and fraternal -people.</p> - -<p>3. Tell me, ye who tread the sods of yon sacred height, is -Warren dead? Can you not still see him, not pale and prostrate, -the blood of his gallant heart pouring out of his ghastly -wound, but moving resplendent over the field of honor, with -the rose of heaven upon his cheek, and the fire of liberty in -his eye? Tell me, ye who make your pious pilgrimage to -the shades of Vernon, is Washington indeed shut up in that -cold and narrow house? That which made these men, and -men like these, cannot die. The hand that traced the charter -of Independence is indeed motionless; the eloquent lips that -sustained it are hushed: but the lofty spirits that conceived, -resolved, and maintained it, and which alone, to such men, -"make it life to live,"—these cannot expire.</p> - -<blockquote> - -<p>See "Reading Club," No. 1, pp. 66, 75; No. 3, pp. 50, 68, 84; -No. 4, pp. 40, 55.</p></blockquote> - - -<p class="center">DRAMATIC OR EMOTIONAL.</p> - -<div class="poem"><div class="stanza"> -<span class="i0">1. Vain pomp and glory of this world, I hate ye!<br /></span> -<span class="i1">I feel my heart new opened. Oh, how wretched<br /></span> -<span class="i1">Is that poor man that hangs on princes' favors!<br /></span> -<span class="i1">There is betwixt that smile we would aspire to,<br /></span> -<span class="i1">That sweet aspéct of princes and their ruin,<br /></span> -<span class="i1">More pangs and fears than wars or women have;<br /></span> -<span class="i1">And, when he falls, he falls like Lucifer,<br /></span> -<span class="i1">Never to hope again.<br /></span> -<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></div><div class="stanza"> -<span class="i0">2. What would you have, you curs!<br /></span> -<span class="i1">That like nor peace nor war? The one affrights you;<br /></span> -<span class="i1">The other makes you proud. He that trusts you,<br /></span> -<span class="i1">Where he should find you lions finds you hares;<br /></span> -<span class="i1">Where foxes, geese. You are no surer, no,<br /></span> -<span class="i1">Than is the coal of fire upon the ice,<br /></span> -<span class="i1">Or hailstone in the sun.<br /></span> -</div><div class="stanza"> -<span class="i0">3. To-morrow, and to-morrow, and to-morrow,<br /></span> -<span class="i1">Creeps in this petty pace from day to day,<br /></span> -<span class="i1">To the last syllable of recorded time;<br /></span> -<span class="i1">And all our yesterdays have lighted fools<br /></span> -<span class="i1">The way to dusty death. Out, out, brief candle!<br /></span> -<span class="i1">Life's but a walking shadow; a poor player,<br /></span> -<span class="i1">That struts and frets his hour upon the stage,<br /></span> -<span class="i1">And then is heard no more: it is a tale<br /></span> -<span class="i1">Told by an idiot, full of sound and fury,<br /></span> -<span class="i1">Signifying nothing.<br /></span> -</div></div> - -<blockquote> - -<p>See "Reading Club," No. 1, p. 8; No. 2, p. 28; No. 3, p. 60; -No. 4, p. 14.</p></blockquote> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span></p> - - - - -<h2>PART FOUR.<br /> - -HINTS ON ELOCUTION.</h2> - - -<div class="sidenote"><i>Practice.</i></div> -<p>If you have practised and studied the previous pages of -this book, you will have gained an elementary knowledge of -the science of elocution. Carlyle says, "The grand result -of schooling is a mind with just vision to discern, -with free force to do: the grand school-master -is Practice." To make an artist of yourself in elocution -requires much practice and much patience. As Longfellow -says, "Art is long, and time is fleeting;" and the -art of elocution is no exception to that truth.</p> - -<div class="sidenote"><i>Health.</i></div> -<p>You must have health, strength, and elasticity of body; -and, to get and keep these, obey the laws of life as to exercise, -rest, pure air, good food, and temperance in all things. -Avoid all stimulants, or tobacco in any form. Practise any -gymnastics that shall help to make you strong -and sprightly, but especially the physical gymnastics -here given, as they are designed to benefit the -muscles used in speaking.</p> - -<div class="sidenote"><i>Position.</i></div> -<p>When you stand to speak, the first thing that strikes your -audience is the position you assume. Therefore be careful -to assume and keep the speaker's position until some other -position is needed for expression; and return to -the speaker's position, as the one which is an -active position, but gives the idea of repose and confidence, -without that disagreeable self-consciousness which to an -audience is disgusting. While you are speaking, avoid all -swaying or motion of body, unless it means something.</p> - -<div class="sidenote"><i>Bowing.</i></div> -<p>Do not bow too quickly, but do it with dignity, and -respect to your audience, first with a general, quick glance -of the eye about you. Bend the body at the hip-joints; -let the back bend a little, and the head -more than the body. Do not bow too low, nor be stiff in -your movements.</p> - -<p><span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span></p> - -<div class="sidenote"><i>Holding book.</i></div> -<p>How to hold the book has been shown in Part One; and -you will find that to be the position that strikes -the audience most favorably, and gives an impression -of ease, which goes a great way towards -making the audience enjoy your reading.</p> - -<div class="sidenote"><i>Articulation.</i></div> -<p>When you speak, it is for the purpose of making yourself -understood. And to do this you must articulate perfectly; -that is, give a clear and correct utterance -every element in a word. <span class="sni"><span class="hidev">|</span> -<i>Pronunciation.</i><span class="hidev">|</span></span>You must also -pronounce properly,—that is, accent the proper -syllable in a word; and, to find out what the proper syllable -is, refer to Webster's or Worcester's large Dictionary -(Worcester being preferable), and find -out for yourself. <span class="sni"><span class="hidev">|</span> -<i>Emphasis.</i><span class="hidev">|</span></span> -You must also give the right -phrasing, subordinating all other phrases to the principal -one, and remembering that the emphatic word of -your sentence is the emphatic word of the important -phrase. The emphatic word is usually brought out by -inflection and added force; but it may be made emphatic by -particular stress, or a pause before it or after it, or both before -and after, or by a change of quality. Your own common -sense will tell you when these may be proper and effective -and natural.</p> - -<div class="sidenote"><i>Fulness and power.</i></div> -<p>You must also make your audience hear you; and this requires, -not a loud, high-pitched voice, but—unless dramatic -expression requires otherwise—your middle or -conversational pitch, with fulness of voice, that -shall give you power. Your own mind will regulate -this for you, if you will direct your attention to the -persons in the back part of the hall, and speak in middle -pitch, so that they may hear. <span class="sni"><span class="hidev">|</span> -<i>Avoid high pitch.</i><span class="hidev">|</span></span> -Many speakers make the -mistake of using a high pitch, and render their -speech very ineffective by so doing. You will -call to mind the fact, that, when we say we cannot -hear a speaker, it is not that we do not hear the sound -of his voice, but that we cannot understand the words. -Bearing this in mind, you will see that perfect articulation -is what is wanted, and that fulness added to your voice in -middle pitch will make the voice reach, will require less -effort, and will produce better effect.</p> - -<div class="sidenote"><i>Feeling.</i></div> -<p>Having made your audience understand and hear, you -must then make them feel. To do this as public -reader, actor, clergyman, lawyer, teacher, orator, -<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span> -lecturer, you must yourself feel what you have to say, and, -forgetting every thing else in your subject, concentrate your -whole being in your utterance and action. Then you will -be effective, and you will carry your audience with you. -And you will fail in proportion as you fail to lose your own -personality in your subject. "The heart giveth grace unto -every art;" and of no art is this more true than of elocution. -You may have all the graces of elocution which practice will -give you; yet, in the effect these will produce,—if the will, -acting alone, not being guided by mind and heart, prompts -the utterance,—something will be lacking, of which learned -and unlearned alike will be conscious.</p> - -<div class="sidenote"><i>Be natural.</i></div> -<p>"One touch of nature makes the whole world kin," and -cultivated and uncultivated alike will feel it; and this -"touch of nature" you will show if you enter -into what you have to say with mind, heart, and -soul. Your voice will vary in all the elements of emotional -expression, and you will be natural.</p> - -<div class="sidenote"><i>Mechanical speaking.</i></div> -<p>When speaking in public, do not try to remember the first -rule of elocution. Leave it all behind you when you come -before the audience. Speak from your thought and feeling, -and be sure you are thoroughly familiar with what you have -to say. Be sure you understand it yourself before -you try to make others understand. <span class="sni"><span class="hidev">|</span> -<i>Words without meaning.</i><span class="hidev">|</span></span>You can -read words, calling them off mechanically, or -you can speak words from memory very mechanically, -and not have a clear idea of the meaning the -words convey while you speak them. But do not -do this. Always think the thought, as you read -or speak, in the same manner as you would if speaking extempore. -You can express your thought clearly by thinking -it as you speak; but at the same time there may -be no expression of emotion. <span class="sni"><span class="hidev">|</span> -<i>Thought without feeling.</i><span class="hidev">|</span></span> -You may have thought without feeling; but you must impress -your thought by feeling. When you read, your mind gets -the thought through the words, and from that thought -comes feeling; but, when you speak your own thoughts, the -feeling creates the thought. In reading, you think, and then -feel; but, in speaking your thought, you feel, and then think. -When you read, then, or speak from memory, if you will let -thought create feeling before you speak, you will avoid mechanical -reading and speaking, and be effective in conveying -the thought and feeling both together.</p> - -<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p> - -<div class="sidenote"><i>Feeling without thought.</i></div> -<p>You can convey emotion without a definite thought; and -this is as bad as either words without meaning, or thought -without feeling. This arousing the feelings without -guiding them by definite thought is the province -of the art of music. Elocution is superior -to music for the reason that it guides both thought and feeling, -for certainly it is better that mind and feeling should -work together, than either alone.</p> - -<div class="sidenote"><i>Emotion in song or speech.</i></div> -<p>The elements of emotional expression are alike in speech -and song. In each you have quality, time, force, and pitch. -The variation of these elements makes expression -of feeling; and each sound you make contains all -these elements. It has a certain quality; it has -more or less of force; it is relatively high or low in pitch, it -takes a longer or shorter time. <span class="sni"><span class="hidev">|</span> -<i>Variety in expression.</i><span class="hidev">|</span></span> -The more you -vary in the elements of emotional expression, the -better the effect, provided the variation is caused -by the variation of your feeling, and not by any artificiality, -or seeming to express what you do not feel.</p> - -<div class="sidenote"><i>Quality.</i><br /> -<i>Force.</i><br /> -<i>Pitch.</i><br /> -<i>Time.</i></div> -<p>The quality of voice, its purity or harshness, its aspiration, -&c., will vary with the kind of feeling; the -degree of force will vary according to the intensity -of feeling; the pitch will be according to -what we may call the height or depth of your -feeling; the movement, or time, will be according -as the emotion is quick or slow. After having cultivated the -voice well in these elements of emotional expression, your -own common sense ought to be your best guide in the application -of them to reading and speaking. You, for the time -being, should be the author of what you read. "Put yourself -in his place," and express as you feel that he felt while -writing it.</p> - -<div class="sidenote"><i>Feeling without expression.</i></div> -<p>It is possible for you to feel intense emotion, and not be -capable of properly expressing it, so as to make others feel -it. You may not have had training that will give -you command of sound and motion, those channels -of expression through which the body is -made to obey mind and soul, and express their thought and -feeling. <span class="sni"><span class="hidev">|</span> -<i>No expression without feeling.</i><span class="hidev">|</span></span> -It is impossible to express, even with -the best cultivation, what, at the moment of utterance, -you do not feel: therefore you must sink -your own personality in your subject; and, according to your -conception, so will you express.</p> - -<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p> - -<div class="sidenote"><i>Reserve power.</i></div> -<p>All apparent effort must be avoided; that is, in the expression -of the strongest passion or emotion, you must not -give the audience the slightest indication of want -of power. You will give that impression if you -try to express more than you actually feel. In -emotional expression it must seem as if it overflowed because -of excess, and you could hardly control it; but you must -never lose control of it. This control will give the audience -the impression that you feel more than you express, and is -what is called reserved power. If—your well of emotion -not being overflowingly full—you use a force-pump, or, in -other words, your will-power, to make it overflow, you will -fail in expression.</p> - -<div class="sidenote"><i>How to get reserve power.</i></div> -<p>How are you to get this, you ask. By study and long -practice. As you plainly see, it involves a perfect command -over the feelings; and "he that ruleth his own -spirit is greater than he that taketh a city." -Conquer yourself. All art, elocution included, is -but a means of expression for man's thoughts and feelings; -and, if you have no thought or feeling to express, art is useless -to you.</p> - -<div class="sidenote"><i>Breathing.</i></div> -<p>Do not let your audience be reminded that you breathe at -all. Take breath quietly through nostrils or mouth, or both. -Form the habit of keeping the chest, while speaking, -active, as recommended in all vocal exercises; -and the breath will flow in unobstructed whenever needed. -Breathe as nearly as possible as you would if you were not -speaking, that is, do not interfere with right action of the -lungs. The instant you feel a want of breath, take it: if -you do not, you will injure your lungs; and what you say, -feeling that want of breath, will lack power. The more -breath you have, so that it does not feel uncomfortable and -can be well controlled, the more power you will have: therefore -practise breathing until you breathe rightly and easily.</p> - -<div class="sidenote"><i>Throat trouble.</i></div> -<p>If your general health is good, your throat will be well; -and therefore pay attention to the general health of the -whole body, and the throat will take care of itself. -If, when you come before an audience, your -throat and mouth are dry, use only clear, cold -water, not ice-water: that is too cold. Avoid candy or -throat-lozenges; for the use of either of these is worse than -if you used nothing at all. If you have a cold or sore throat, -you had better not use your voice; but, if you must use it, -<span class="pagenum"><a name="Page_90" id="Page_90">[Pg 90]</a></span> -keep it clear by clear water. A healthy throat will not need -even water: it will moisten itself after a little use, if at first -it is dry.</p> - -<div class="sidenote"><i>Pausing.</i></div> -<p>Deliberate movement and frequent pausing are very expressive -in some cases. Where it is applicable may be determined -by what you have to express. Pausing -in its appropriate place makes emphasis strong. -<span class="sni"><span class="hidev">|</span> -<i>Punctuation.</i><span class="hidev">|</span></span> -Let the pause be regulated, however, by the feeling, and not -all by the punctuation. Express according to your conception -of the thought. Punctuation may be a -guide to you in obtaining the right idea; but it is -no guide to correct expression. Pausing, generally, comes -naturally either before or after, or both before and after, the -emphatic word or phrase.</p> - -<div class="sidenote"><i>Poetry.</i></div> -<p>Speak or read poetry with the same care and attention to -phrasing that you would give to prose, and you will avoid all -drawling, monotony, or sing-song. In order that -the rhyme in poetry may be preserved, the pronunciation -of a word may be changed from common usage, if, -by so doing, you do not obscure the meaning; but never sacrifice -the meaning for the sake of the rhyme. In good -poetry, which includes blank verse, the metrical movement -will show itself without any attempt on your part to make it -prominent.</p> - -<div class="sidenote"><i>Stage fright.</i></div> -<p>You may feel, when you first come before an audience, a -shrinking, or faintness of feeling, such as is known to actors -as "stage fright." It probably arises from a very -sensitive, nervous organization; and, other things -being equal, persons of this character make the best speakers. -As to the real cause of this feeling, as Lord Dundreary says, -"It's one of those things no fellah can find out." But, -whatever its cause, you can overcome it by strong will-power -and self-possession; and, after a time, you will become used to -appearance in public, and that will establish the "confidence -of habit." Some of the best orators and actors that ever lived -have had "stage fright;" and some of them, so far as we -know, never had it. So you must not flatter yourself that -this is a certain indication of your power. It takes much -more than a tendency to "stage fright" to make a powerful -speaker.</p> - -<div class="sidenote"><i>Reading.</i><br /> -<i>Speaking.</i><br /> -<i>Recitation.</i></div> -<p>Whether you are reading from a book or paper, reciting -from memory, or speaking extempore your own thought, you -should do all as you would the latter, so that a blind man, -<span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span> -who could not judge which you were doing except by the -sound of your voice, would be unable to tell. In -committing to memory for recitation, you will -remember more easily if you will pick out the emphatic -words of the sentences in their order, and commit -them, as they contain an outline of the succession of thought -and meaning.</p> - -<div class="sidenote"><i>Action.</i></div> -<p>The look upon the face, the gestures of the arm, the attitude -of the body, all speak the language of emotion as -plainly to the eye as elocution proper does to the -ear. This action will be prompted by the feelings, -as the voice is; and it will be expressive or not, it will be -appropriate or not, it will be graceful or not, according as -you have natural or acquired ability. Natural ability will -be much aided by a knowledge and practice of gesture as a -language, and much may be acquired by any one with practice.</p> - -<div class="sidenote"><i>Look.</i><br /> -<i>Gesture.</i><br /> -<i>Attitude.</i></div> -<p>I have said nothing of action in the previous pages, as -this book treats of expression through the voice, or elocution. -A few words here upon the subject will not be out of -place. When you read, you should ordinarily make your -voice express much, and use gesture sparingly, but, if you -feel prompted to make gestures, never do so while the eye -rests on the book. Look either at the audience, -or as may be indicated by the gesture. When -you recite, or speak extempore, you can add much -to the expression by look, gesture, and attitude. -In natural expression the face will first light up, and show -feeling; and the attitude and gesture follow more or less -quickly, according to the feeling; and then comes speech. -And all these must express alike. For the face to be expressionless, -or to express one thing while the speech and gesture -say another thing, is in effect ludicrous.</p> - -<div class="sidenote"><i>Motion without meaning.</i></div> -<p>Remember that all motions and attitudes have meaning; -and, when no other gesture or attitude is called for to express -some feeling, stand perfectly still in the speaker's -position before mentioned, that being an active, -and at the same time a neutral position. Don't -move, unless you mean something by it. Don't sway the -body, or nod the head, or shrug the shoulders, or move the -feet, or make motions or gestures, unless the proper expression -call for it, and your emotion prompts.</p> - -<div class="sidenote"><i>The eye.</i></div> -<p>The eye is particularly effective in expression, as there the -<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span> -emotion first shows itself; and by it you can get and keep -the attention of your audience. In reading, keep -your eye off the book as much as possible, and on -your audience. In recitation or extempore speaking, look -at your audience. The eye leads in gesture, and, in many -cases, looks in the direction of the gesture. In personation -of character, as in dramatic scenes, your eye must look at -those to whom you are supposed to be speaking, as, in common -conversation, you usually look at the person to whom -you speak. Never look in an undecided way, as if you did -not have a purpose in looking, but look in the face and eyes -of your audience when emotional expression does not require -you to look elsewhere.</p> - -<div class="sidenote"><i>Gesture.</i></div> -<p>When you don't wish to use your arm for gesture, let it -hang naturally at the side. When the emotion calls for -gesture, make it with decision, and let the gesture -continue as long as you utter words explaining -the meaning of the gesture. Gesture always comes before -words, more or less quickly, as may be the kind of emotion. -Usually, if the words are quickly spoken, the gesture will be -quickly made, and the words will be spoken almost at instant -of the gesture. If the words move slow, the gesture -will move slow, and there may be a perceptible pause between -the gesture and words. <span class="sni"><span class="hidev">|</span> -<i>No rules for gesture.</i><span class="hidev">|</span></span> -No stated rules for -gesture can be given; for they are as infinite in -number and variety as the emotions they express. -You will find, however, that gesture may be regulated, as -emotional expression of voice is, by means of your intensity -of thought and feeling, guided by common sense, and aided -by genius. Gesture is a science and art, which, as in speech -and song, has elements of emotional expression; and these -elements correspond in each. You have in gesture (as said -of the others) quality or kind of gesture, force or intensity -in gesture, time or the degree of movement in gesture, and -pitch, or relative height and depth; and all these have a -meaning something like the corresponding elements of song, -or speech, or other arts. Long and hard study and practice -will be necessary to perfection in this, as in all arts. A -graceful habit of gesture, an appropriate expression of eye -and face, united to a voice full-toned, musical, and varying -in all shades of emotional expression,—what is there more -captivating to eye and ear, more pleasing to the senses, -more instructive to the mind, more moving to the emotions, -<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span> -if only it is, as Mendelssohn says of all art, expressive of -lofty thought? "Every art can elevate itself above a mere -handicraft only by being devoted to the expression of lofty -thought."</p> - - -<h3>DEFECTS OF SPEECH.</h3> - -<p>Defects of speech cannot be spoken of at great length in -this book. A thorough study of articulation in Parts One -and Two will cure any of them where there is no defect in -the mouth. The letter <i>s</i> is more often defective than any -other letter, it being pronounced like <i>th</i> in <i>thin</i>, or whistled. -In the first the tongue is too far forward: in the last it is -drawn too far back. Cure by imitating somebody who -makes it correctly. <i>R</i> is often defective by substituting <i>w</i> -for it; as, <i>wun</i> for <i>run</i>. Sometimes it is defective by being -made with the whole tongue, something as <i>y</i> is made; as, -<i>yun</i> for <i>run</i>: and cure may be had by imitating the correct -sound. Other defects of letters or elementary sounds are -less common, and need not be mentioned here.</p> - -<div class="sidenote"><i>Too precise speech.</i></div> -<p>Too precise speech is a defect, and results from trying to -give too much force to the consonant sounds, and not a due -proportion to the vowel sounds. It sounds like -affectation on the part of the speaker, and may -be corrected by giving more force to the vowels, -and particular attention to phrasing. (See "Articulation," -Part Three.)</p> - -<div class="sidenote"><i>Slovenly speech.</i></div> -<p>Slovenly speech is a defect, and is opposite in kind and -effect from the above. The consonants are not -pronounced; and, to remedy it, practise to give -consonants more force and precision, and pay attention -to phrasing and emphasis.</p> - -<div class="sidenote"><i>Too rapid speech.</i></div> -<p>Speaking too rapidly is a defect, and results from too rapid -thought. Put a restraint upon thought,—that -is, control it,—and make the tongue move slower -in consequence, being careful to phrase and emphasize -well.</p> - -<div class="sidenote"><i>Too slow speech.</i></div> -<p>Speaking too slowly is also a defect, opposite in kind from -rapid speech, and is caused by the mind moving -too slowly in thinking. The remedy is to think -faster, and urge the tongue to move quicker.</p> - -<div class="sidenote"><i>Stuttering.</i></div> -<p>When you have too slow thought and too rapid speech, you -have stuttering; for the tongue keeps moving all the time -while the thought is coming, and it repeats syllables or -<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span> -words. Make the mind of the stutterer move faster, and -the tongue talk slower. In each of these last -three defects, let the person who wants to cure it -"know what you wish to say before you attempt to say it."</p> - -<div class="sidenote"><i>Stammering.</i></div> -<p>Stammering is caused by too much effort on the part of -the person to make articulate sounds, and is usually the result -of imitating some one who stammered, or -formed gradually by habit of incorrect breathing, -and from physical weakness. Stammerers make the attempt -to speak, and the lips or tongue or jaw become immovable, -or the words stick in their throat; and, because this takes -place, they make great effort to overcome it. The more -effort they make, the harder it is for them; and sometimes -this leads to contortions and jerkings of body and limbs that -are painful. To cure this takes a longer or shorter time, depending -on the state of health, the length of time the habit -has been in forming, the amount of jerking of limbs to -which the stammerer is subject, and the care taken by the -stammerer to practise much. A stammerer can be cured by -teaching articulation thoroughly. (See Parts One and Two -of this book; also Monroe's Fourth Reader.) Show every -element separately, and the position the mouth takes to -make it; then combine into syllables, then into words, then -into phrases. Show the stammerer, that, the less the effort -made, the easier will be the speaking. Impress upon the -stammerer's mind, "Make no effort to speak," and the -habit is to be overcome by long-continued practice and a -thorough and complete training in articulation. When reading, -be sure and read in phrases; that is, speak a phrase, as -a long word, without pause. Stammerers, being usually -feeble in health, should practise the physical and vocal gymnastics -(Parts One and Two), and particularly the breathing -exercises. When you have given the stammerer confidence, -and he or she finds that talking is as easy as walking or -singing, the cure is certain. There may be times of excitability -or nervousness when stammering will return; but these -times will be less and less frequent as health gets better and -confidence grows, and finally will not return. Remember, -stammerer, "make no effort." Be lazy, and even, at first, -slovenly in speech, and cure is certain.</p> - -<p class="center">THE END.</p> - -<p><span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span></p> - -<hr class="chap" /> - -<p class="center"><big>MR. WALTER K. FOBES,</big></p> - -<p class="center"><small>(Graduate of Boston University School of Oratory,)</small></p> - -<p class="center"><small>IS PREPARED TO TEACH</small></p> - -<h2>Elocution in Private or Class Lessons,</h2> - -<p>Either at his room in Boston, his residence in North Cambridge, -or private residences in Boston or vicinity. The private -lessons are adapted to the wants of the pupil as reader or -speaker, in the pulpit, at the bar, on the rostrum, on the stage, -or in the parlor. The class lessons are designed to make pleasing, -intelligent readers for the social or home circle.</p> - -<p>Mr. Fobes will also accept engagements from</p> - -<p class="center">SCHOOLS, ACADEMIES, OR COLLEGES,</p> - -<p>for courses of lessons designed to give a practical drill in the -elements of good reading and speaking.</p> - -<p>He is also prepared to cure</p> - -<p class="center">STAMMERING, STUTTERING, LISPING,</p> - -<p>and other defects of speech, by a simple, natural method, and -the use (when required) of Bell's Visible Speech.</p> - -<p>A few engagements will be accepted for <i>PUBLIC OR -PARLOR READINGS</i>.</p> - -<hr /> - -<p class="center"><big><span class="smcap">149 a TREMONT STREET</span>,</big><br /> -<small>Cor. of West St.,</small><br /> -<big>BOSTON.</big><br /> -Residence, Beach St., No. Cambridge, Mass.</p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p> - -<p>"<b>Books that our Teachers ought to have on hand to SPICE UP with now and -then.</b>"—<span class="smcap">St. Louis Journal of Education.</span></p> - -<hr /> - -<h2>GEO. M. BAKER'S<br /> - -<big>READING CLUB and HANDY SPEAKER,</big></h2> - -<p class="center">BEING</p> - -<p class="center"><b><big><i>Selections in Prose and Poetry</i>,</big></b></p> - -<p class="center"><span class="smcap">Serious</span>, <span class="smcap">Humorous</span>, <span class="smcap">Pathetic</span>, <span class="smcap">Patriotic</span>, and <span class="smcap">Dramatic</span>. FRESH -and ATTRACTIVE PIECES for SCHOOL SPEAKERS -and READING CIRCLES.</p> - -<p>In the words of the <span class="smcap">Gospel Banner</span>,—</p> - -<div class="poem"><div class="stanza"> -<span class="i0"><i>'From grave to gay, from lively to severe,'</i><br /></span> -<span class="i0"><i>In poetry and prose a judicious mixture here;</i><br /><br /></span> -<span class="i0"><i>Beside outlandish dialects, full of words odd and queer,</i><br /><br /></span> -<span class="i0"><i>Which stir one's sense of humor as they fall upon the ear,</i><br /><br /></span> -<span class="i0"><i>Pleasant to those who read or speak as unto those who hear.</i><br /><br /></span> -</div></div> - -<p>Published in Parts, each Part containing Fifty Selections. Paper Covers, 15 -cents each. Printed on Fine Paper, and Handsomely Bound in Cloth, price, -50 cents each.</p> - -<hr /> - -<p class="center"><big>READING CLUB NO. 1.</big></p> - -<p>"We have many readers and books that purport to furnish pieces for the use -of amateur speakers and juvenile orators. But the great defect in nearly all of -them is, that their selections are made from the same series of authors. We are -surfeited <i>ad nauseam</i> with 'The boy stood on the burning deck,' 'On Linden, -when the sun was low,' 'My name is Norval!' or, 'My voice is still for war.' -But in this volume, the first of a series, Mr. Baker deviates from the beaten -track, and furnishes some fifty selections which have not been published before -in any collection of readings. Mr. Baker has himself written many pieces for the -amateur stage, and achieved a reputation as a public reader, so that he is eminently -qualified by his own experience for the task of teaching others."—<i>Phil. Age.</i></p> - - -<p class="center"><big>READING CLUB NO. 2.</big></p> - -<p>"Mr. Baker deserves the thanks of the reading public for his indefatigable -endeavors in the field of light and agreeable literature. The selections are made -with good taste, and the book will be of great value for its indicated purpose."—<i>New -Haven Courier.</i></p> - -<p>"In its adaptation to day schools, seminaries, colleges, and home reading, the -work will be found very superior in its variety and adaptability of contents."—<i>Dayton -(Ohio) Press.</i></p> - - -<p class="center"><big>READING CLUB NO. 3.</big></p> - -<p>"This is one of those books that our teachers ought to have at hand to <i>spice -up</i> with now and then. This is No. 3 of the series, and they are all brim full -of short articles, serious, humorous, pathetic, patriotic, and dramatic. Send and -get one, and you will be sure to get the rest."—<i>St. Louis Journal of Education, -Jan. 1876.</i></p> - -<p>"The young elocutionist will find it a convenient pocket companion, and the -general reader derive much amusement at odd moments from its perusal."—<i>Forest -and Stream, N. Y., Jan. 6, 1876.</i></p> - - -<p class="center"><big>READING CLUB NO. 4.</big> (<i>Just Ready.</i>)</p> - -<hr /> - -<p><i>Sold by all Booksellers, and sent by mail, postpaid, on receipt of price.</i></p> - -<p class="right"><big><b>LEE & SHEPARD, Publishers, Boston.</b></big></p> - -<hr class="chap" /> - -<div class="transnote"> -<h2>Transcriber's Notes:</h2> - -<p>Obvious printer's errors have been repaired, other inconsistent -spellings have been kept.</p> - -</div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Elocution Simplified, by Walter K. 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