STANDARD c _ ._ ,_ ■Br Mm I iBr rare TN +ni Book Copyright N°_ COPYRIGHT DEPOSIT. N "THE SOLE AND SUPREME POWER OF ORATORY IS DELIVERY."— Cicero. BROWN'S STANDARD ELOCUTION AND SPEAKER A THOROUGHLY PRACTICAL TREATISE OX THE SCIENCE AND ART OF HUMAN EXPRESSION FOR Schools, Colleges, Universities and Private Pupils. BY PROFESSOR I. H. BROWN n Late Instructor of Elocution, Oratory, Acting and Original Discourse in the University of Missouri; Superintendent City Schools, Columbia, Mo., and author of "Common School Elocution and Oratory," "Manual of Oratory," etc. REVISED AND ENLARGED BY CHARLES WALTER BROWN, A. M. 'The Essence of Language lies in the Living Utterance/' CHICAGO LAIRD AND LEE, PUBLISHERS \\ X .*b Copyright 1911 By WILLIAM H. LEE Copyright 1896 By CHARLES WALTER BROWx? [ALL rights reserved.] ©GLA286524 PREFACE The purpose of the author in this book has been to pre- sent the science of human expression in a manner so simple, so concise and so reasonable that no student with average zeal and ability would experience difficulty in comprehending and applying its principles. While an effort has been made to render the exposition free from many of the technical and professional theories found in other works, every principle announced and enforced has been drawn from nature by the most scientific researches recognized by the foremost teachers and writers of Europe and America. The prominence given to the subject of respiration is justi- fied in the recognition of its three-fold relation to elocution. First, energy and ease of expression are largely dependent upon a proper control of the respiratory organs; second, the cor- rect training of these organs in early life and their judicious exercise at all times, conduce to greater vigor of mind and body than is otherwise possible; and third, the natural sys- tem of breathing during vocalization, reinforced by the teach- ings of science, has been found an almost absolute protection against all forms of lung and throat diseases. The skillful use of Slides, Waves and Pauses, and the in- telligent application of emphasis being so essential to intelligible and impressive reading and speaking, much space has been devoted to these subjects. Recognizing the justice of much that has been said against 3 4 PREFACE the modern tendency of popular reciters and declaimers to run into the stilted, unnatural and offensively affected, thus bringing the Study of Elocution into disrepute, the author has insisted upon reality, intelligence and genuine human sym- pathy as the basis of all delivery. The author hereby acknowledges his sincere thanks to the many writers and publishers who have kindly permitted the use of their excellent selections for this book. Chicago, February, 191 1. CONTENTS GENERAL OUTLINE. Page Page Elocution 11 Requirements of Good Elocution ... 12 Its Purpose and Value 11 Benefits of Elocution 12 How Acquired 11 Who Should Study Elocution 13 READING. Its Importance 13 The Reader's Position 15 The Two Kinds of 14 Outline of Reading Work Id Requisites for Each Kind 14 Test of Results 16 RESPIRATION. Definition 16 Methods of Breathing 18 Processes 16 Respiratory of Exercises 20 Importance 16 Miscellaneous Exercises 22 GESTURE. Definition 23 Direction of Movement 33 Kinds of Gesture 24 Mode of Gesture 35 Requisites of Gesture 24 Exercise in Physical Expression 35 The Walk 24 Exercises in Gesture 42 The Bow 25 Facial Expression 44 Attitudes 27 Exercises in Facial Expression. .... .45 The Four Positions 27 General Hints Upon Gesture 49 PRONUNCIATION. Definitions and Principles 51 General Exercises 57 Articulation 52 Common Errors 63 The Elementary Sounds 54 English Words 65 Exercises in Articulation 55 Foreign Words and Names 69 Table of Elementary Sounds 56 Proper Nouns and Derivatives 70 Difficult Combinations 57 VOICE AND SPEECH CULTURE. Definitions and Principles 71 Voice Preservation 73 V VI CONTENTS MODULATION. Page Definition 74 IVI ode of Utterance 74 Slides — Classification 77 Principles and Illustrations 78 Waves — Classification 82 Law of Use 83 Pauses — Their Uses 87 Principles and Exercises 80 Quantity 92 Emphasis 94 General Laws 95 Miscellaneous Exercises 97 Slur — Exercises 98 Quality of Voice 100 Pure Tone 101 Orotund Ill Plaintive 118 Pectoral 120 Guttural 122 Aspirate 125 Nasal 127 Falsetto 131 Force 135 Divisions of Force 186 Subdued Force 137 Moderate Force 139 Full Force 141 Page Sustained Force 143 Stress 145 Division of Stress 140 Radical Stress 140 Median Stress 149 Final Stress 152 Compound Stress 154 Thorough Stress 157 Intermittent Stress 159 Pitch 162 Divisions of Pitch 163 Middle Pitch 164 High Pitch 166 Low Pitch 169 M ovement 171 Definitions and Principles 171 Classes of Movement 171 Moderate Movement 172 Slow Movement 173 Rapid Movement 176 Melody 177 Definitions and Principles 177 Miscellaneous Vocal Exercises 179 Sound Words 179 Personation 180 Medley Drill * 180 ORIGINAL DISCOURSE. Importance 184 Extemporaneous Speech 184 Conversations 185 Public Speaking 185 Rules for Public Speaking 187 General Requisites 187 Speaking from Notes 189 Method of Criticism 190 READINGS AND RECITALS Ambition of a Statesman Henry Clay . An American Exile Isaac Hinton Brown . An Evangel Francois Coppee . Appeal in Behalf of Ireland S. S. Prentiss. Apostrophe to the English Language. .. .George Bancroft. Apostrophe to the Ocean Lord Byron . Beautiful Things Ella P. Allerton . Becalmed . Bewitched Clock, The . Brutus, on the Death of Ccesar William Shakespeare. Catiline's Defiance George Croly . Country Justice, The . Custer's Last Charge Frederick Whittaker. Tage , 197 , 193 . 260 . 143 . 158 . 113 . 220 . 226 . 128 . 265 . 152 . 132 . 268 David's Lament for Absalom . . . . N. P. Willis .... 121 Deacon Stokes Thomas Quilp.... 243 Deacon's Story, The N. S. Emerson.... 235 Death of Little Paul Charles Dickens.... 108 Death of the Wife . ... 174 Der Shtubborn Mool Isaac Hinton Brown .... 249 Don't Be Tazin' Me Wade Whipple.... 259 Dying Boy, The Mrs. Sigourney .... 160 Evening at the Farm J. T. Trowbridge. . . . 266 Flag of the Rainbow Thomas Dunn English.... 267 vii Vlll READINGS AND RECITALS. Ghost That Jim Saw, The Bret Harte Girl of the Period, A Give Me Three Grains of Corn, Mother Miss Edwards God's Beautiful City B. F. Taylor Gladiator, The Happy Young Girl, A Eugene J. Hall Harvest of Rum, The Paul Denton How a Frenchman Entertained John Bull Impeachment of Warren Hastings Edmund Burke Kit Carson's Wife — : Lasca F. Desprez Last Charge of Ney, The J. T. Headley Legend of St. Christopher Miss Muloch Liberty or Death Patrick Henry Long Ago, The B. F. Taylor Love Triumphant Macbeth's Vision William Shakespeare Man's a Man for a' That Charles Mackay Man Who Apologized Marmion and Douglas Sir Walter Scott "Maud Muller" (Dialect) Medley Drill Memory James A. Garfield Music of the Human Voice, The William Russell Nathan Hale, The Martyr Spy Isaac Hinton Brown National Banner, The Edward Everett "O, Bairnies, Cuddle Doon" Over the Hill from the Poorhouse Will Carleton Our Ain Countrie Ella Guernsey Pawnbroker's Shop, The Richard E. White Piano Music Prayer and Potatoes Rev. J. T. Pettee Pronunciation Test Page . 238 . 247 . 119 . 105 . 139 . 106 . 251 . 261 . 240 . 254 . 209 . 233 . 208 . 166 . 169 . 257 . 126 . 245 . 218 . 115 . 214 . 180 . 137 . 165 . 270 . 114 . 212 . 202 . 250 . 253 . 176 221 . 61 READINGS AND RECITALS IX Railway Matinee, A R. J. Burdette Revolutionary Rising, The Thomas Buchanan Read Rienzi's Address to the Romans. .. .Mary Russell Mitford "Rock of Ages" Rum's Devastation and Destiny William Sullivan Shylock's Reply William Shakespeare Sockery Kadacut's Kat Soldier Tramp, The Don Santiago Carlino South During the Revolution, The.. Robert Young Hayne Spartacus to the Roman Envoys in Etruria. . Epes Sargent Speech in Vindication Robert Emmet Stand by the Flag Joseph Holt Tact and Talent Those Evening Bells Thomas Moore Three Cherry Stones, The To-Day Carpenter Two Boot-Blacks, The Worth of Eloquence Which One? Isaac Hinton Brown Page . 215 . 147 . 141 . 200 . 205 . 124 . 257 . 223 . 263 . 155 . 230 . 198 . 172 . 178 . 102 . 107 . 60 . 98 . 151 Synopsis of Brown's Elocution By PROFESSOR I. H. BROWN / f Normal. O < P3 O Q 2 p O o H I. Respiration /'Abdominal I Chest I Dorsal J Costal \ Waist I Effusive I Expulsive V,Ex plosive II. Articulation III. Vocal JX?!5? Culture Ex P ression j Preservation IV. Action. r Position J Movements • ) Gesture ( Facial Expression ( Emphasis Grouping . . . •< Pauses ( Sentiments I VI. Original Discourse The Six Parts Conversation Extemporaneous Speech Quality (Pure Tone ' 1 Orotund ^Plaintive Pectoral lAWmal guttural Force Stress , Nasal ..Falsetto Subdued Moderate Full Sustained f Radical Median Final Compound Thorough Intermit- V. tent Pitch (Concrete 1 Discrete . (Mi " ' ( Lo ddle gh Low ^Movement , "Quality ^ Moderate Rapid Slow ^ Medium Long Short Slides . QQ m & r ^ j z 3 o < f Upward • 1 Downward Waves Melody Slur f Absolute , {Quality Force li r tch Movement ^ , . J Relative Emphasise , Pauses ( Moderate . < Long ( Short Cadence Climax VAnti-Climax Reading and Elocution GENERAL OUTLINE. Elocution is the art of conveying thought, sentiment and emotion in the most natural and effective manner. Its Purpose. — The complete mastery of its principles en- ables the speaker not only to express his thoughts clearly and easily, but to so vivify and illuminate those thoughts that his hearers see, hear, and feel the unquestioned truth of his state- ments. Correct elocutionary training has for its further object the complete subordination of the physical being to the service of the mind and spirit; thought being the product of the inner spiritual man, and speech and gesture its natural outlet through the exterior, or physical man. Its Value. — Its study and systematic practice, based upon principle of nature, make the voice clear, strong, flexible and melodious, and gives to the body and limbs a pliancy, vigor and harmony of motion that render the position and action of the speaker or reader at once graceful, natural and impressive. How Acquired. — The greatest excellence in Elocution is attained by study, practice, observation and criticism. The student should master the principles by study, and at once test their application by practice. He should closely observe the expression of reputed good readers and speakers — noting the points of excellence and deficiency which characterize their 11 12 brown's standard elocution delivery ; he should frequently submit his own exercises to the criticism of friends and teachers, and make notes of these criti- cisms that they may not again be needed. But one thing must be kept constantly in mind: No amount of instruction and criticism will compensate for a meager drill. The highest ex- cellence in reading or speaking requires the same conditions as music, painting and poetry — Practice, Practice, Practice. REQUIREMENTS OF GOOD ELOCUTION. 1. A full and free respiration. 2. A correct pronunciation. 3. A correct and distinct articulation. 4. A thorough knowledge and perfect control of all the ele- ments of vocal expression. 5. Complete control of every muscle of the face, hands, feet and body. 6. A thorough understanding and appreciation of the thought to be expressed. 7. Perfect self-possession before an audience. 1 2 3 4 5 6, 7 8 9 10 11 THE BENEFITS OF ELOCUTION. It cultivates the taste and judgment. It cultivates the entire physical system. It quickens perception and apprehension. It imparts grace of movement and attitude. It develops a strong will and self-possession. It strengthens the conception and imagination. It strengthens the lungs and respiratory muscles. It develops vigor of mind and buoyancy of spirit. It gives to the voice purity, power and flexibility. It protects from bronchial and pulmonary afflictions. It prepares the student for the successful prosecution of business in every phase of life. AND SPEAKER 13 WHO SHOULD STUDY ELOCUTION. All general students. Every student of law. Those preparing for general business. All who are preparing for the ministry. The Public Lecturer, Reader or Speaker. The instructor in whatever art or science. Persons with defective speech or unpleasant voice. Persons afflicted with lung and bronchial troubles, huski- ness and chronic hoarseness. All who would move through life with the least possible friction and attain the greatest success. READING. i. Reading is the most important branch taught in our schools. It is the key to nearly all the other subjects with which the student and future citizen has to deal. His success in mastering the concomitant branches, and, indeed, nearly every art and science, depends upon the skill he secures at an early age in interpreting, assimilating and retaining the thoughts of others, as presented upon the written or printed page. 2. The ability to apprehend the wit, the pun, the hidden wisdom beneath the author's words, to grasp the central thought,, to group the lights and shades which modify or orna- ment the worded picture, with the quickness of intuition, must all be acquired in early life. 3. But to scan the printed page in silence and note in mental concepts the author's woven thoughts is not all there is of reading; nor can the skill by which the thoughts are grasped 14 brown's standard elocution be attained by silent reading alone. Months and years must be given to the vocal utterances of written sentences, under the guidance of skillful teachers, before the child can adapt the written words to his untrained comprehension. Silent and audible reading are mutually dependent ; the highest excellence in either is acquired largely through the practice of the other. THE TWO KINDS OF READING. All reading may be classed as silent or intellectual, and audible or oral. The purpose of the former is the apprehen- sion of the thought — of the latter, the expression of the thought. As an art, reading includes the interpretation and ex- pression of the thought, sentiment and emotion, as presented in written or printed composition. REQUISITES FOR READING. Certain requisites for good reading should be considered, and, as far as possible, pupils should be trained in securing these in our elementary schools. Some of these are innate, but all may be cultivated to such a degree as to make intelligent and intelligible readers of ninety-five per cent of all. REQUISITES FOR AUDIBLE READING. Imitative power. Expressive action. Command of voice. Distinct articulation. Respiratory command. Correct personal habits. All required for silent reading. REQUISITES FOR SILENT READING. i. A clear conception. 2. A quick perception. AND SPEAKER 15 3. Human sympathy. 4. A vivid imagination. 5. A keen discernment. 6. An interest in affairs. 7. Good taste and judgment. THE READER'S POSITION. Book in the left hand, thumb and little finger in front, first, second and third fingers at the back of the book; the elbow not touching the side. The book should be held in such a manner that a line drawn from the eyes toward the page would intersect the plane of the book at right angles. The full face of the pupil should be seen by the teacher. The weight of the body should be supported, while reading, on both feet, the left heel two or three inches in advance of the hollow of the right foot. The chest should be elevated and expanded, the position erect and easy. OUTLINE OF READING WORK. i. Give constant attention to pupils' manners, movements, attitudes, breathing, tones and speech. 2. Devote five minutes daily to concert phonic drill, and critical pronunciation, reviewing the words placed under pro- nunciation. 3. Require synonyms and derivation of words in each lesson, previously marked. 4. Have all members of the class commit and properly recite compositions of acknowledged merit. 5. Require explanation of historical, biographical, geo- graphical, scientific and literary allusions in the text or lessons. All such allusions should be previously designated, that the pupils may have definite knowledge of what is required. 6. Require an oral abstract of lessons before the exercise 16 brown's standard elocution of reading is called. These synopses must be in the pupils' best language. 7. To secure the greatest benefit from silent reading, turn to some lesson with which pupils are not familiar, permit them to sketch it hastily — say two minutes to a page — then collect all books and require a written abstract prepared in the shortest time possible. The pupils within a specified time exchange slates or papers and read each other's composition. 8. The lesson should be read with such precision and ac- curacy as to render the use of a text book in the hands of the teacher unnecessary. 9. Discuss the style of thought, literary beauty, and rhetorical peculiarity of every selection before leaving it. 10. Require pupils to learn all they can of every author whose productions they read. 11. Do not attempt to complete a long selection in one lesson. Few selections in this book can be profitably passed in less than three days. TESTS OF RESULTS. The average pupil, having fully prepared a reading lesson, should read it with such naturalness and impressiveness as to hold the attention of hearers and inspire them with the most pleasurable emotions. RESPIRATION. 1. Respiration, or breathing, is the act of taking air into the lungs and expelling it from them. 2. As an art, respiration involves three processes whose mastery by the student is of paramount importance : Inspira- tion, Expiration and Management. 3. Few persons realize how great is the influence of res- piration upon the growing life of a human being. Notwith- standing the teachings of our text-books and the warnings of AND SPEAKER 17 popular writers and lecturers, many parents and even teachers remain indifferent to the pernicious habits of breathing ac- quired by children during school life. 4. Vigor of mind and body is de- pendent so largely upon a copious supply of pure air inhaled with reference to time and manner, that no system of education can be carried out successfully unless provision is made for the most complete respiration of the lungs. 5. It is a fact well established in pathology that functional derangements originating in colds, attack the weakest organs of the body. The properly trained singer and speaker are rarely hoarse. Exemption from lung and throat troubles among professional orators and singers is due to the skillful use of every organ involved in respiration, speech, and song. The public speaker or singer who excuses his performance by confessing hoarse- ness thereby acknowledges his ignorance and violation of one of nature's simplest law r s. 6. If the teacher or student be disposed to ignore the hygienic value of correct breathing, he is reminded that the highest form of human 'utterance, whether aspirated or vocal- ized in speech, or intonated in measured harmony, is based upon the most intelligent command and use of the respiratory apparatus. The stuttering, gasping, incoherent, flighty, jerky, or impetuous speech, one sometimes hears from a novice in the art of public speaking or singing, is not traceable alone to inexperience, but, in most cases, to nervous embarrassment caused by imperfect respiration. RESPIRATION 18 brown's standard elocution 7. It may be further stated that a larger part of the train- ing course prescribed for orators and singers in professional schools is devoted to securing command over the breath in speech and song; and that the heart-reaching, soul-stirring rendition of those sublime passages which have in ages past moved the stoic to action and the sage to tears, can be re- produced only, after all other conditions are present, by that perfect adaptation of breath to the molding of words that live, and burn, and glow — melting the heart to tears, filling the ear with rapture, and illuminating the soul with celestial light, until the very air seems filled with seraphic melodies of intelli- gences divine. 8. Every muscle of the waist, chest, ribs, axilla, back and loins, must be brought into action, and trained by intelligent and persistent practice to perform its function. It will take several months — even years, with older students, to accustom all the muscles to act automatically and effectively. The mind must superintend the effort — must constantly realize the im- portance of the exercise. The expense of time and attention will pay. It will pay in an increased brilliancy of intellect, hap- piness of temper, and buoyancy of spirit. It is the deep, full, vigorous breathers that possess the most vigorous hearts, minds and bodies, METHODS OF BREATHING. While the ordinary methods of breathing are sufficient for the individual of vigorous outdoor pursuits, they are not suf- ficient for the scholar and man of thought engaged in sedentary pursuits. With these the stimulus generated by bodily action is wanting to induce the deep inspirations peculiar to the active man of outdoor life. The thinker in his study, the artist at his easel, the artisan at his table, and the pupil at his desk, re- quire a constant reinforcement of mental energy. Much more than any of these does the orator demand the recuperative AND SIM ;.\ KICK 19 agency of a perfect respiration. This requirement can be filled only by the inhalation of an abundance of the vitalizing oxygen contained in pure air ; and art must be called in to supply prop- erly and distribute the regenerative fluid. MOUTH VERSUS NOSTRIL BREATHING. The following considerations will suggest the propriety of always inhaling through the nostrils : i. The small circuitous passages, with many obstructions, through which inhaled air must pass before reaching the deli- cate lung cells, temper it to the normal heat of the body. Air swalloi^ed at the zero temperature enters the lungs many degrees colder than the body, and scarcely fails to produce seri- ous inflammation. 2. The speaker or singer who incautiously swallow r s air during the exercise of his voice will soon discover a dryness in the mouth, larynx and trachea which will render the tone harsh, hard and husky — annoying to himself and unpleasant to his auditors. The continued moisture of these organs is an essen- tial condition of purity of tone. 3. The continuous swallowing of air during vigorous speech parches the throat and inflames the membranes and liga- ments of the voice and speech organs. If the practice is re- peated for a few days in succession it results in what is styled "clergyman's sore throat. " 4. The air at all times is filled with myriads of motes, whose introduction into the delicate lung tissues produces un- pleasant irritation. Added to these, science has demonstrated that, under certain atmospheric conditions, countless germs of disease are floating in the air. These the mouth-breather re- ceives to be carried at once to the lungs and there impart their poison to the blood. The nasal cilia and sieve-like proc- esses which line the nasal cavities arrest the ingress of these life-destroying agents. 20 BROWN S STANDARD ELOCUTION 5. To the above may be added the fact that the constant practice of breathing through the nostrils tends to enlarge the nasal passages. This enlargement assists the articulation and adds purity and melody to the tones of the voice. RESPIRATORY EXERCISES FOR PRACTICE. I. Abdominal Breathing. — Stand passively erect, hands and arms hanging loosely at the sides, weight supported equally on both limbs. Close the lips and inhale quietly and slowly through the nostrils, filling the region about the waist until your capacity is reached. Quietly exhale through the mouth or nostrils as long as possible. Repeat five times. 2. Chest Breathing. — Repeat the above exercise with the hands clasped behind the head. Note. — If dizziness ensue, discontinue for a few minutes. After a few weeks this diffi- culty will not return. Caution. — Do not catch the breath sud- denly through the mouth while exercising. During the earlier exercises draw the air through the nostrils very slowly. Permit no air to enter the mouth at any time. God breathed the breath of life into man's nostrils, not into his mouth. 3. Abdominal and Chest Combined. — Fill the region about the waist as in No. 1, then without exhaling, gradually force the enlargement upward until the chest reaches its full expansion. Repeat five times. Reverse the process. 4. Effusive Exhalation. — Inhale as in No. 1. Exhale in the least audible whisper the sound of "ah" prolonged for ABDOMINAL BREATHING AND SPEAKER 21 thirty seconds. Continue this exercise daily until the sound can be prolonged fifty seconds. Vocalize "ah" effusively. Inhale as in Xo. i. Exhale evenly and in a pure tone the sound of long "e" prolonged for ten seconds. Continue this daily until a clear, musical sound can be continuously produced for thirty seconds. Xote. — The longer a speaker can hold his breath the more effective will be his delivery of those long and involved sen- tences whose full force and meaning seems to depend upon an uninterrupted effusion and melodious sound. 5. Expulsive Exhalation. — Inhale as before. Expel the air in the whispered sound of "h" by a vigorous upward and inward action of the abdominal muscles. Inhale again, and re- peat this exercise ten times without taking breath. Inhale ; count clearly and distinctly in one breath to forty, to fifty, to sixty. Inhale ; repeat the letters of the alphabet distinctly in a single breath five times, six times. 6. Explosive Exhalation. — Inhale fully, then expel the air in an explosive whispered utterance of the syllable "huh." The effort must be sudden and exhaust the breath as nearly as possible. Inhale ; vocalize with the utmost explosiveness tie syllable "huh." Inhale ; laugh explosively in one breath the syllables ha, ha, ha, repeating as many times as possible. When done, shut the mouth instantly and inhale slowly through the nostrils. 7. Active Chest. — Inhale abdominally; force the en- largement upward, as in No. 3. This is the active chest. It gives the elastic step and energy of speech and action which distinguishes the vigor of eloquence from the languor of in- difference. 22 brown's standard elocution miscellaneous exercises in respiration. 1. Repeat expulsively in clear tones, in rapid succession, the vowels a, e, 1, 6, u, as many times as you can. In addi- tion to the respiratory benefit accruing from the exercises it gives command of the radical stress, an accomplishment of great importance to the speaker. 2. Inhale deeply; count in distinct tones to thirty, forty, fifty. Stop the moment the least aspiration is observed. 3. Take a full breath; repeat distinctly the letters of the alphabet as many times in one breath as possible. 4. Read in one breath the first paragraph of 'The Two Boot-blacks, " page 58. Afterward read in one breath the first and second paragraphs. Every word must be intelligibly uttered. 5. Before any public performance, when convenient, go to an open window and with hands placed on window frame inhale and exhale vigorously a dozen or more times. The ex- ercise imparts a healthful stimulation, allays excitement, and gives to the speaker a wonderful reserve force and self-pos- session. 6. To aerate more thoroughly the lungs, exhale all the air you can and then with the heels of the hands press, by a working motion, the chest, ribs, and sides, under the arm-pits until all the air seems to be driven out. Close the lips and in- hale deeply, evenly and slowly. NOTES. 1. Under no circumstances should the act of breathing be permitted to interfere with vocalization. By proper training and exercise, inhalation can be so managed as rarely to be no- ticed. 2. In the act of inhalation through the nostrils, avoid the AND SPEAKER 23 unbecoming habit of sniffing so noisily as to attract attention. True art conceals art. 3. Acquire the habit of inhaling slowly. The acquisition of this power brings with it, to a great degree, the control of the breath. 4. While inhalation is to be effected mainly through the nostrils and imperceptibly, it is understood the acts of sighing, gasping, coughing, sneezing, loud laughter, sobbing, and pant- ing, sometimes accompanying dramatic action, are exceptions. 5. No breath should be wasted. Use only so much as may be necessary to form the word. Too little renders the sound inaudible ; too much exhausts the speaker and mars the beauty of utterance. 6. All breath employed in speaking, except in the aspirate quality, should be vocalized. 7. Do not wait until the lungs are exhausted to take breath. The practice is injurious. Take breath as often as op- portunity will permit. 8. To secure the greatest benefits from respiratory exer- cises all artificial pressure must be removed from the throat, neck, chest and waist. GESTURE. Gesture includes all positions and motions of the head, face and limbs, employed to enforce or illustrate an idea, emo- tion, or passion. Its Importance. — Gesture is the visible language of the inner life. It portrays to the eye the workings of the mind, the affections of the heart, and the varying passions and emotions of the soul. It is as intelligible to the savage as to the most en- lightened. Entire plays are presented in pantomime and are understood by observers as well as by the players themselves. 24 BROWN S STANDARD ELOCUTION It gives to the eye what the ear often fails to receive, and thus attracts and holds the attention much more effectually than do words alone. He who would successfully appeal to all the senses of his audience — hold the eye, the heart, the soul; summon the ap- proving smile, the sympathetic tear, the rapturous applause; sway, the multitudes, lull them into complacency, or move them to immediate action — must cultivate and skillfully employ this universal language of nature. Kinds of Gesture. — All gestures may be classed as Em- phatic, Illustrative, and Locative, Emphatic Gesture intensifies assertions by the application of greater force to emphatic words; as, "I will force him to the deed." Illustrative Gesture shows the manner, means, degree, appearance, or ef- fect ; as, "Ye gods, withhold your wrath." Locative Gesture designates the position, direction, or place; as, "Look not in the past for hope." Requisites of Gesture. — The req- uisites of gesture are Grace, Variety, Simplicity, Boldness, Energy, Precision and Propriety. These must be in har- mony with the accompanying oral ex- pression. Initial Movements. — The entrance or first appearance of the speaker before his audience is a critical moment. Im- pressions are then made which often afifect his entire subsequent performance. The Walk. — The walk is the mirror of character. Through it the artist reads the very thoughts the performer would AND SPEAKER 25 conceal ; and though we can change our walk only as we change the temperament that walk portrays, we can by practice secure a style of motion that will occasion no unfavorable comment. Directions. — Stand erect; summon the most animated thoughts; assume active chest (described under Respiration) ; imagine yourself drawn forward by a force acting about the waist; preserve a perfect poise, the head well balanced, the chin neither projected nor retracted. the bow THE RETIRING LOW Lift the thigh forward, the lower leg and foot hanging loosely, and straighten the knee, as the foot is planted, as nearly flat as the high heel will permit. Follow with the other limb in the same manner, observing that the chest is full, the unseen power acts at the waist and the knee straightens as the foot strikes the floor. The Bow.— Standing in the first position (see Positions), HUMILITY. COMPASSION REVERENCE. ADORATION A XI) SPEAKER 27 after a momentary look into the eyes of the audience, bring the right foot back so as to assume second position, bend the body and head slightly and directly forward. In the retiring bow, as the body bends forward bring the right toe to the heel of the left foot, the right knee bent and pressed firmly against the back of left knee. Step to the left with the left foot and retire. Attitudes. — The disposition of the entire figure, when at rest is important, and should receive careful attention. Every posture assumed by the speaker is significant, These should be easy, graceful and flexible, but, above all, they must be in harmony with the prevailing sentiment. Head, Body, Hands and Feet, — Stand erect, chest full, head evenly poised, the arms hanging easily at the sides, or one arm at the waist; weight at first supported mainly on both feet, one of which should be ^\) a little in advance of the other. Keep knees well stiffened, and be pre- pared to make changes naturally and gracefully. the four positions. I. Unemotional — First Position. — Sup- port the weight of the body mainly on the left foot. Advance the right foot obliquely at an an- gle of eighty degrees, and in such a position that the right heel is from two to four inches in front of the hollow of the left foot.. unemotional- first POSITION UNEMOTIONAL SECOND POSITION 28 BROWN S STANDARD ELOCUTION Second Position. — Support the weight of the body mainly on the right foot. Advance the left foot obliquely at an angle of eighty degrees, and in such a position that the left heel is from two to four inches in front of the hollow of the right foot. II. Emotional — Third Position. — From either the first or second position move the right foot obliquely forward a short EMOTIONAL THIRD POSITION EMOTIONAL FOURTH POSITION step, the feet remaining at the same angle. Support the body on the right foot and turn the left so that the feet form an ob- tuse angle; raise the left heel slightly, and balance the body, which is thrown a little forward, with the inside ball of the left foot. Fourth Position. — From either the first or second position move the left foot obliquely forward a short step, the feet re- HORROR AGED WALK 30 brown's standard elocution maining at the same angle. Support the body on the left foot and turn the right so that the feet form an obtuse angle; raise the right heel slightly and balance the body, which is thrown a little forward, with the inside ball of the right foot. Changes of Position. — In the delivery of unemotional thought there should be few changes, and all movements should be performed within a limited space. In the expression of emotional thought and heated passion, changes of position, and greater freedom of movement are permissible; yet even here, the speaker must confine himself within the bounds of propriety. The impetuous, headlong, and boisterous plunges up and down the platform suggest not strength and vigorous emotion under the control of a powerful reserve force, but weakness, and instability. Never more until the occasion im- pels you to do so, and you will not go far astray. Position of the Head. — The head is presumed to guide the motions of the body, and should be so held as to command the respect of an audience. Its various positions foreshadow the thought before it is expressed. An erect position of the head suggests confidence, dignity and honor ; thrown back, humor, pride or vanity; inclined forward, humility and grief; inclined aside, languor; while a tossing motion implies con- tempt and anger. POSITION OF THE HANDS. 1. The various positions assumed by the hands are highly significant, and should be thoughtfully studied. 2. In repose the hands should be a model of grace; the forefinger should be gently extended, the thumb extended and nearly parallel with the first finger, the second finger slightly curved, the third finger curved more than the second, and the fourth, or little finger, forming a semi-circle. Study the at- titudes of statuary and adapt your positions to those models that are regarded as specimens of the highest art. AND SPEAKER 31 REPOSE SUPINE PRONE VERTICAL CLINCHED POINTING CLASPED FOLDED POSITIONS OF THE HANDS 32 BROWN'S STANDARD ELOCUTION CROSSED ENUMERATING CONDEMNING GRASPING SUPPLICATION ARGUING SPARING POSITIONS OF THE HANDS AND SPEAKER 33 3. The hand is said to be supine when open, fingers re- laxed and palm upward, indicating entreaty, appeal, light joy- ous emotions and general description. 4. It is prone when open, fingers extended and palm down- ward ; used in denial, degradation, and concealment. 5. It is vertical when open, fingers extended the palm out- ward ; used in repelling, disgust, abhorrence, warding off and defining a limit. 6. It is clenched when tightly closed; used in anger, defi- ance and threatening. 7. It is pointing when loosely closed, forefinger and thumb uppermost and extended; used in pointing and designating. 8. It is clasped, applied, folded, crossed, enumerating, touching, when used in description and designation. DIRECTION OF MOVEMENT. Before attempting any of the following exercises in gesture with the hands, the pupil should become familiar with the vari- ous terms used in indicating direction and the significance of such direction. 1. Front. — Indicating personality, directness, futurity, unity. Gestures made directly before the body are termed "front." 2. Extended. — Indicating vastness in space, time, quan- tity, or idea. Gestures made directly from the speaker's side are termed "extended." 3. Oblique. — Indicating a general idea or assertion, in- definiteness. Gestures made between the "front'' and "ex- tended" are called "oblique." 4. Backward.— Expressive of remoteness of time or space. Gestures back of the extended are called "backward." 5. Descending. — Expressing determination or empliasis. Gestures made below the horizontal line of the chest are called "descending." 34 brown's standard elocution 6. Horizontal. — Pertaining to the intellect. Gestures made by extending the hand and arm in a line horizontal to the chest (whether front, oblique, or the side, or backward) are called "horizontal." 7. Ascending. — Alluding to the ideal or imaginative. Gestures made above the horizontal are termed "ascending." 8. Ictus of Gesture. — The ictus of gesture is applied to the accented syllable of the word with which it is used. Both Hands, — are often used, making the same motions, to give greater breadth of thought, broader expanse, and more intensity of motion. Arm Motions. — To secure facility and grace of gesture, a short preliminary exercise, employing both arms simultane- ously, is of great advantage. Every exercise in gesture should be preceded by several whole-arm movement combinations, the nature of which will be suggested after the following descrip- tion of an exercise the author has used most advantageously with students : directions for arm movement. Take the first position, Active chest. Let the arms and hands hang naturally, the little fingers just touching the sides. Raise both the arms, bringing the hands toward each other in front, near the body and slightly turning them so that the fore- fingers just touch by the time the hands meet at the waist ; continue raising the hands, fingers relaxed and slightly curved, palms gradually turning inward, until the chin is reached, when the fingers gradually extend. From this point the hands sepa- rate, the whole arms sweep through a graceful curve downward and downward through the horizontal, oblique and extended directions; the palms at first upward, gradually turn inward, then downward, when the arms curve and the hands are brought again together at the waist, as when raised from the AND SPEAKER 35 sides in the initial motion. This movement is to he repeated many times until familiar, and then others which will be of great service in imparting ease and grace to gesture can be developed from it. MODE OF GESTURE. i. The grace of gesture is expressed in the compound curve, sometimes called "Hogarth's line of beauty. " The motion of the arm originates in the shoulder, is then trans- mitted to the arm, and forearm, whence the hand and the fing- ers receive the impulse and both gradually curving as the arm is raised until the chest (on the side opposite the arm em- ployed) is reached, when the arm, hands and fingers unbend and reach their full extension at the ictus. 2. The curve of arm gesture, expressive of pleasing, tranquil and serious thought, and employed in narration, de- scription and argument, is beautifully illustrated in the varied motions that may be described with a flexible willow-twig. 3. The direction of motion in the gesture of violent pas- sion and uncontrollable excitement, whether occasioned by anger, fright or joy, is best illustrated in the angular flash of the falling thunderbolt. 4. From these illustrations the learner will readily infer the char- acter of gesture required when he has determined the sentiment contained in the composition. EXERCISES IN PHYSICAL EXPRESSION. With Head and Face Indicate : Attention: Lean the head for- ward with fixed gaze. Assent: Nod rapidly forward. 36 brown's standard elocution Dissent: Toss head backward and sway from side to side. Diffidence or Languor: Incline the head to either side. Horror: Avert the face to either side. Courage: Hold the head erect. Offended: Head slightly turned and firm. Mirth, Goodnature: Easy natural attitude. Shame, Humility or Grief: Drop the head forward. Pride, Arrogance: Throw the head back. Avoid all useless nodding, shaking and tossing of the head. HORROR With the Arms Indicate : Calm Repose: Let the arms hang naturally and gracefully. Weakness: Let the arms hang listlessly. Self-importance: Fold the arms across the chest. Entreaty: Hold the arms and hands forward, palms supine. Invocation: Raise the arms forward, hands supine. Terror: Throw the arms backward, elbows bent. Avoid every arm movement not in harmony with the senti- ment your are expressing. Secrecy or Silence: Place the forefinger on the lips. Shame or Sorrozv: Place the hands upon the eyes. CONFIDENCE, DIGNITY, HONOR HUMOR LANGUOR, DIFFIDENCE PRIDE POSITIONS OF THE HEAD 88 brown's standard elocution Joy or Pleasure: Clasp the hands on left breast. Anguish: Wring the hands, moving upward and down- ward. Appeal to Conscience: Place the right hand over the heart. Threatening:' Clinch and shake the hand. Mental Pain or Distress: Place the open hand on the head. Meekness: Cross the hands on the breast. Triumph: Wave the right hand over the head. Invitation: Extend the hands supine toward the object. Avoid unnecessary motions of the hands at variance with prevailing sentiment. By Various Attitudes of the Body Indicate: Repose, Courage, Joy: Hold the body flexibly erect. Pride, Haughtiness: Throw the shoulders stiffly back. Humility or Compassion: Stoop slightly forward. Reverence, Adoration: Bend the body well forward. Indignation: Straighten to full height. Aversion: Withdraw from the object to either side. Horrow: Shrink inwardly from the cause. Avoid all unnecessary contortions of the body and shrug- ging of the shoulders, as well as that unpliable rigidity one sees in the awkward orator. By Means of the Lower Limbs Indicate : Confidence, Self -Possession: Stand flexibly erect on both feet . Self -Conceit, Obstinacy: Stand rigidly erect on both feet. Timidity, Awkzmrdness: First or second position, ad- vanced knee bent more than rear knee. Physical Weakness: Feet parallel and a foot or more apart, knees bent. Terror, Horror: Let the entire limbs tremble. Earnest Appeal: Take third or fourth position HORROR MODESTY, SHYNESS OFFENDED HUMILITY, GRIEF MIRTH, GOOD NATURE THOUGHTFUL 40 BROWN S STANDARD ELOCUTION CONFIDENCE, SELF-POSSESSION OBSTINACY, CONCEIT TIMIDITY, AWKWARDNESS PHYSICAL WEAKNESS AND SPEAKER 41 TERROR, HORROR EARNEST APPEAL DISGUST POMPOSITY 42 brown's standard elocution Disgust. Assume third or fourth position, then throw weight on rear foot. Pomposity: Feet well apart, weight on both feet Avoid the frequent shifting of weight from one limb to the other. Such actions betray awkwardness and mental disturb- ance. EXERCISE IN GESTURE. Explanations of Abbreviations: ( D. F. Descending Front. ( D. E. Descending Extended. -} H. F. Horizontal Front. J H. E. Horizontal Extended. I A. F. Ascending Front. ( A. E. Ascending Extended. D. O. Descending Oblique. f D. B. Descending Backward, H. O. Horizontal Oblique. 1 H. B. Horizontal Backward. A. O. Ascending Oblique. [ A. B. Ascending Backward. Note. — The ictus is applied to the italicized words. I. RIGHT HAND SUPINE. D. F. Upon this action I insist. H. F. I freely grant all that you demand. A. F. I appeal to the great Searcher of hearts. D. O. Of all mistakes none are so fatal as these. H. O. Truth, honor, justice were his motives. A. O. Fix your eyes on the prize above this life. D. E. Away with your tempting bribes. H. E. The gentle breezes wafted incense on the air. A. E. Hail flag of the free ! Sweet emblem of hope. D. B. Let us put such schemes behind us. H. B. Search the records of the remotest an-fr'-quity. A. B. Then rang the shout of freedom. AM) SPEAKER 43 II. RIGHT HAND PRONE. D. F. Put down the unworthy feeling. H. F. Restrain the unhallowed propensity. D. O. Let every one re-press such sentiments. H. O. I charge you to re-strain such dispositions ! A. O. Ye gods, with-hold your vengeance ! D. E. He'll smooth the turf for your last pillow. H. E. Adversity dimmed his brightest pros-pects. A. E. So darkly glooms yon thunder cloud. III. RIGHT HAND VERTICAL. H. F. Back to thy punishment, false fugitive ! A. F. For-bid it, Almighty God ! H. O. A friend would w T ard off the blow. A. O. Oh for-bid it, Heavens ! H. E. Out of my sight, thou base defamer ! H. B. False wizard, avaunt! IV. BOTH HANDS SUPINE. D. F. All resentment he &e-pos-\te& on the altar. H. F. Listen, I im-plore you, to his cry for mercy. A. F. Hail! universal Lord! D. O. All these he sur-mz-dered to the common good. H. O. Welcome! friends, to our peaceful shore. A.O. Hail! holy Light! D. E. I utterly re-nounce his proffered aid. H. E. He delves in the wide z-byss of possibility. A. E. Freedom to the race ! V. BOTH HANDS PRONE. D. F. Lie light-ly on him, earth. H. F. May the blessings of Heaven rest on thee. 44 brown's standard elocution A. F. Blessed be Thy name, O Lord Most High ! D. O. We are as but worms of the dust! H. O. Deep stillness fell on all around. A. O. The Angel of Death spread his wings on the blast. D. E. Here let the tumults of passion cease. H. E. Spread wide around the heavenly calm. A. E. Sorrow mantles the whole earth. VI. BOTH HANDS VERTICAL. H. F. Hence I horrible shadow! A. F. Avert, O God, the terrible calamity. H. O. Burst are the prison bars. A. O. Angels and ministers of grace, de-fend us. H. E. Night's gathering fears, dis-perse! A. E. Melt and dis-pel, ye specter doubts. FACIAL EXPRESSION. Facial Expression is the adaptation of the countenance to the sentiment to be expressed. i. Of the face Quintilian has said: "The face is the dominant power of expression. With this we supplicate; with this we threaten; with this we soothe; with this we mourn; with this we rejoice; with this we triumph; with this we make our submissions ; upon this the audience hang ; upon this they keep theii eyes fixed; this they examine and study even before a word is spoken." 2. The effect of the vocal delivery is so much heightened by a sympathetic expression of the face, that the student of elocution, whether preparing for the rostrum, bar, or pulpit, should on no account neglect this important aid to his delivery. 3. While much preliminary training in this department of expression is necessary, in its application the student must first feel the sentiment to be uttered, then the appropriate facial AND SPEAKER 45 expression will follow. Beware of useless facial contortions; they are not only inappropriate, they are disfiguring and re- pulsive. EXPRESSION OF THE EYES. i. The eye is the most expressive of all the features. It is here the mysterious workings of the mind are imaged forth in unmistakable language before the tongue moves in obedience to the will. 2. From it the soul looks forth and communes with kind- red spirits. The expectant child reads in its mother's eye the answer to its wish. The stricken heart, unable to bear its burden, sends forth its mute appeals for human sympathy through eyes that tell the inward sorrow. 3. But while philosophers and poets have combined in praise of the wondrous beauty, variety, and expressiveness of the eye, it has, to the orator, peculiar interest which he cannot ignore. It is not simply a means of expression, but to the speaker it is an instrument of control second to no other agency of oratorical power. The speaker who looks directly into the eyes of his audience holds them beyond their power of escape. Every person present feels the magnetic influence of the speaker and fancies himself the particular person addressed. 4. The failure to use this wonderful power explains why so many desultory speakers and manuscript readers do not secure attention and move their audiences to thought and ac- tion. If you must use a manuscript, acquire the habit of look- ing away from it at times and into the eyes of your hearers. EXERCISES IN FACIAL EXPRESSION. By Means of the Eyes Indicate: Courage, Determination: Look straight forward. Joy, Hope, Delight: Raise the eyes slightly upward. 46 BROWN S STANDARD ELOCUTION JOY SHAME, MODESTY AND HUMILITY MADNESS RAGE DESPAIR LAUGHING SUPPLICATION „ 1U ANGER SUDDEN ANGER FLIRT CONSTERNATION AND SPEAKER 47 Shame, Modesty, Humility: Look downward. Disgust, Aversion: Turn the eyes to either side. Madness: A steady glare, seeing nothing. Sudden Anger: Let the eyes flash. Consternation: Open the eyes wide with a fixed stare. Rage: Roll the eyes well open. Despair: A vacant stare. Laughing: Eyes partially closed. Supplication: Eyes elevated. Flirt: To the side with a twinkle. Avoid meaningless winkings and any unnatural use of the eyes. Bv Means of the Brow Indicate : REPOSE AMAZEMENT DESP^ V ANGER PAIN Pain: Elevated and arched. Joy, Terror, Amazement: Elevate the brows. Fear, Despair, Grief: Depress the brows. Anger, Rage: Knit the brows firmly. Tranquil Repose: Let the brows be natural. Avoid the frequent elevation of the brows when not in- dicated by the sentiment. With the Mouth Indicate : Tranquillity: Close the lips lightly. 48 BROWN S STANDARD ELOCUTION Joy, Delight: Let the lips be drawn back and slightly- raised. Scorn, Contempt: Curl the lips slightly upward. Disgust: Curl the lips downward. Firmness, Decision: Compress the lips. Weakness, Indecision: Relax the lips. Wonder, Desire: Part the lips slightly. Silliness, Imbecility: Open the lips languidly, tongue protruding. Approval, Pleasure: Let the lips smile freely. TRANQUILITY JOY WEAKNESS WONDER FIRMNESS <^L^-«U&-^j SCORN t^^X DISGUST PLEASURE On account of the softness of the parts about the mouth no feature is so liable to assume the deformities of bad habits as the lips. Avoid all unbecoming contortions, as sneering, pout- AND SPEAKEB 49 tng, twitching, and protrusion of the lips. Avoid evil indul- :es in thought, word, and deed. All these leave their traces m the mobile lips, and mar alike the features and delivery. With the Nostrils Indicate: Courage, Anger: Expand the nostrils freely. Surprise, Admiration: Open the nostrils moderately. Disgust, Contempt: Draw the nostrils upward. Fear, Terror, Horror: Let the nostrils dilate and quiver. Pain: Contract the nostrils. GENERAL HINTS UPON GESTURE. 1. "Suit the action to the word; the word to the action; with this special observance, that you o'erstep not the modesty of Nature." 2. Be definite and decided in your action. Decision of gesture is more important than grace ; combine the two. 3. In shifting from one foot to the other avoid dropping one hip or shoulder. 4. Though appropriate gesture is pleasing to the eye and greatly assists the hearer in comprehending the thought, the pupil is reminded that too little gesture is better than a continu- ous, or even frequent, sawing of the air. 5. During the action of gesture the arm should be kept moving all the time — rarely stationary for a single instant. 6. When reading, attempt no gesture unless you can look from your book and preclude the gesture with your eyes. 7. The ictus of the gesture should be on the emphatic word, and the hand performing the gesture should return to the side or proceed with another gesture. 8. Keep your face either full or three quarters full toward your audience, unless personation should require it otherwise. 9. In personating two characters have one speak to the 60 brown's standard elocution right, the other to the left. Explanations require a full face to the audience. 10. In gesture, use curved lines in all cases except those portraying sudden and impassioned Emotions. ii. As a general rule in single gesture, use the right arm, with the right foot advanced in preference to the left. The left, however, is often conveniently used in the mimicry of awkward characters. 12. Do not permit the love of dress display to mar the effect of your delivery by making you ridiculous. Taste in dress is little less important than appropriate language and de- livery. 13. Let your changes in gesture accord with the language. The more rapid the thought and violent the emotion, the more sudden the transitions. Calm, dignified and reflective thought requires slow, measured, graceful changes. 14. When the change of thought requires a change of position, make such change while speaking, not before, nor after ; that is, move as you enter upon the new thought. 15. Gesture should not accompany the description of the act, but the act itself; as, "But Douglas round him drew his cloak/' etc., receives no gesture ; wait till the words accompany- ing the action are spoken. 16. Observe the attitudes and gestures of great orators. AND SPEAKER 51 PRONUNCIATION Pronunciation from pro. forth, and nuncio, I announce, is the act of vocal and articulate utterance of words according to prevailing usage. 1. The pronunciation of the English language is not uniform in time or place. The usage of the twentieth cen- tury is not that of the last century. The general style of the bustling metropolis differs from the leisurely uttered words of the field and hamlet. . So, too, the followers of certain occupations manifest their calling by peculiarities of accent and enunciation. The stress and tones of the sea-faring man vary in a marked degree from those of the camp and court. Again, the usage of the mountains is not that of the plains and valleys ; and the contrast between the articulation and accent one hears on the coasts and in the interior is equally marked. 2. Changes in pronunciation, due to changes in man- ner of living, social and political conditions, advance of commerce and caprice of fashion are constantly going on — in some sections more rapidly than others. While some communities, influenced by the busy activities around them, accept almost every new style of utter- ance, others, more isolated, and, therefore, more tena- cious of early acquirements, resist all innovations, and cling to those familiar sounds to which they have been accustomed. Thus differences in pronunciation originate and continue in the same country. 3. Notwithstanding these differences in local usage there is a standard of pronunciation to which all critical scholars conform, which in this work is clearly indicated by a simple uniform system of markings and phonetic respellings — each sound being noted by but one dis- tinctive mark. i 52 BROWN'S STANDARD ELOCUTION 4. The "Principles of Pronunciation" contained in these works should be carefully studied by all who aspire to accuracy in spoken English. A mispronounced word or even a pronun- ciation unusually authorized, coming from the pulpit, stage, or rostrum, distracts the hearer's attention, mars the beauty of diction, and compromises the speaker's culture in the. estima- tion of his audience even more than the absence of an eloquent delivery. 5. Pronunciation comprises articulation, syllabication, and accent. A skillful articulation is acquired by first securing the correct sounds of the vocal elements, and then, by persistent practice, making them so familiar to the tongue and ear that every combination, however difficult, can be sounded instantly and correctly. ARTICULATION. Articulation is the process of forming and combining the elementary sounds of language. 1. The importance of this subject entitles it to rank second only to respiration as a requisite to the greatest excellence in the art of elocution. Without this element, cultivated to the highest perfection, all other elements of vocal culture fail to form the accomplished reader and speaker. 2. Not by the English speaking orator alone, is articula- tion deemed of great importance. French and German teach- ers and statesmen give much attention to the subject. Says Legouve : "Articulation and articulation alone, gives clearness, en- ergy, passion and force. Such is its power that it can even overcome deficiency of voice in the presence of a large audi- ence. There have been actors of the foremost rank who had scarcely any voice. Potier had no voice. Monvel, the famous Monvel, not only had no voice, he had no teeth ! and yet no one ever lost a word that fell from his lips; and never was AND SPEAKER 53 there a more delightful, more moving artist than he, thanks to his perfect articulation." 3. That articulation shall secure the greatest benefit to the speaker two conditions must be observed: First. It must be correct. Second. It must be distinct. 4. The first of these implies that the student shall acquaint himself with the powers and applications of all the elementary constituents of the language, in order that he may know the ex- act element required for each oral combination. The second condition demands that he shall so completely master the vocal utterance of every element that no mistake can possibly arise as to what particular sound is uttered. 5. Correctness of articulation is acquired by frequent reference to standard dictionaries, supplemented by immediate and intelligent practice. Here it should be observed that a dis- tinct articulation without being correct is like legible writing containing many misspelled words ; while it is easily heard, the literary deficiencies of the speaker are made only more ap- parent. 6. Distinctness of articulation is secured, fifst, by frequent practice upon the exercises prepared for drill, and afterward by constant attention to every word and sentence uttered, until the habit of correct and decided articulation is fixed beyond the necessity of attention. Faulty articulation often arises from an inability to control the speech organs. The remedy is daily practice upon the elementary sounds and syllables. 7. As to what constitutes a "just articulation," nothing better can be said than the oft-quoted words of Austin: "The words are not hurried over, nor precipitated syllable over syllable; nor, as it were, melted together into a mass of confusion ; they are neither abridged nor prolonged ; nor swallowed, nor forced, and, if I may so express myself, shot from the mouth ; they are not trailed nor drawled, nor let slip 54 brown's standard elocution out carelessly, so as to drop unfinished. They are delivered out from the lips as beautiful coins, newly issued from the mint, deeply and accurately impressed, perfectly finished, neatly struck by the proper organs, distinct, shafp, in due succession, and of due weight." 8. As the impassioned style of oratory peculiar to the old Greeks and Romans is giving way to the more intellectual and argumentative form of delivery, teachers of the present are giving more attention to ease and precision of speech than did their predecessors. Upon this point, Professor Russell says : "The appropriate style of modern eloquence is that of in- tellectual, more than of impassioned expression; and enun- ciation being of all the functions of the voice, that which is most important to the conveyance of thought and meaning, it justly requires, in the course of education, more attention and prac- tice than any other branch of elocution." THE ELEMENTARY SOUNDS. An elementary sound is a simple vocal element uttered by a single impulse of the voice and speech organs. i. The English Language contains forty-five elementary sounds classified as follows: twenty Vocals, or Tonics, sixteen Siibvocals, or Subtonics and ten Aspirates, or Atonies. 2. Vocals, or Tonics, consist of pure tone modified by the speech organs ; as, a, e, oi. 3. Subvocals, or Subtonics, consist of tone and breath combined, modified by the speech organs ; as, b, j, ng. 4. Aspirates, or Atonics, are mere emissions of articu- lated breath; as, /, s, eh. 5. Cognate Sounds are those formed by the speech organs in a similar position ; as, b and p, d and t. 6. The student who aspires to accuracy of speech should make himself thoroughly familiar with the sounds and dia- critical marks in the following analysis of letters. AND SPEAKER 55 EXERCISES IN ARTICULATION. 1. The purpose of the following tables is to secure for students correct and distinct articulation, forcible enunciation and an accurate pronunciation. 2. The first and second accomplishments may be acquired in large classes fully as well as in small ones. Indeed, it has been observed that with timid pupils the concert drill of large numbers is the only effective means of securing that energetic enunciation which contributes so largely to successful vocal culture. 3. Regarding the importance of the exercises the student may rest assured that to whatever extent he may carry his study and practice in the so-called "embellishments" of elocution, as quality, force, stress, pitch, etc., his skill in these will avail him little if his articulation and pronunciation be defective. It is not enough that the sounds be appropriate and pleasing, and that the pitch, force and stress be in harmony with the senti- ment; the sounds must be accurate, must express the sense, and above all, must be understood by the hearers. 4. In the exercises in articulation proceed as follows : Inhale deeply ; first pronounce the word distinctly and ac- curately, utter each sound element in its order with energetic force and exaggerated distinctness. $, A part of each exercise should be devoted to idiisper- ing the phonic spelling. This may be done by selecting ten or more words for drill, and after vocally uttering the sounds, repeat the same in a forceful whisper. 6. A portion of every exercise in elocution, should include a few minutes drill in articulation and enunciation. They can not receive too much attention. 7. Stand erect, the eyes front, the chin slightly dropped, the chest full, the shoulders firm and your mind upon what you are doing. 56 BROWN S STANDARD ELOCUTION TABLE OF ELEMENTARY SOUNDS. Vocals. a=o in ate; e in prey; ai in aim i &=a in at, fan, map, ham, attack' 6= a=a in fare ; ai iu air ; e in there o= a=a in arm, ah, father, alms, palm 6= a=a in ask, dance, grass, last, clasp. o= a=a in amend, America, sofa, fortvard a=a in all, awe, war ; o in orb, storm u= e=e in me, mete ; ie in shield ; i in pique u— e=e in e/&, error ; ie in friend; a in any ii— e=e iu her, verge ; i in bird ; y in myrtle oi= I =t in mite ; y in my / ie in height ow £ in mt"£, mi7J, mi«s ; y in Aywm o in go ; oa in coal ; eau in tableau o in no£, comma ; a in ?£Gs, w/ia£ o in move ; oo in food ; u in rude oimvolf; oo in book; u in full ; ou in would u in use, fame ; ew in 7m# ; ieiy in view u in ^urry ; oo in Mood ; ou in £ouc# 7i in burn furl ; o in worm, world -oi in ot£, voice ; oy in joy, cyster —ow in aw J, taww ; ou in found SUBVOCALS. b=5 in bun, bay, Bible, bib d=d in did, dog, dine, dad g=a in gay, gone, gag, gig. j — j in jet, judge ; g in aem, engine 1 = 1 in tead, £Sfy, ea«e^, couple, lull m=m in mad, men, mane, muse, mum n=n in nice, none, fern, run, money ng=ng in sing; nk in bank, ink r=r in rt7J, oral, form, for, ferry th=th in the, thine thus, father, bathe y=v in van, vivid, move, lives, wolves w=w in ivax, wit, homeward, waves y=y in yet, vineyard ; ia in poniard z=z in zone, maze ; s in his, those zh=zi in grazier, seizure ; si in fusion Aspirates. i=f in ./to, /am« ,* gh in Jaw^A ; pft in graphic h=h in ^ad, house; wh in whose, who hw=whin when, why, wharf, whence k=# in kite; c in ca£, # ch in chorus p=p in ptay, cup, Aarp, speed, oppose s=s in send, message ; c in cite, ct£y t=j in tin, tot, stay, act, attend ch— ch in cAtX church; te in righteous sh=sh in shine, flash; ch in chaise th=th in Mfo, thrive, width, length Drill Exercises on Elementary Sounds. 1. Pronounce the word distinctly, then sound the marked element with exaggerated distinctness, thus, ate ... a ; at ... a. Reverse the order. 2. Repeat the list of sounds in order with the key words immediately follow- ing: thus, a as in ate, a as in as, etc. 3. Write, in order, the elementary sounds with proper mark and key word. [The word in the first column is the key word.] 4. Pronounce the Vocals, first with a downward slide, then with an upward slide. Pronounce in a distinct whisper. AND SPEAKER 57 EXERCISES IN DIFFICULT COMBINATIONS. Indistinct and faulty articulation frequently results from an imperfect command of the brain over the muscles involved in speech ; hence, one of the greatest benefits to be derived from the persistent practice upon difficult combinations is to estab- lish that intimate connection between the mental powers and the physical organs which will permit no uncertain utterance. Let the student acquire the power of concentrating his at- tention upon what he is saying, and the difficulties of articula- tion will speedily disappear. PRONOUNCE WITH GREAT DISTINCTNESS. 1. baffl'd'st, bloom'd'st, balk'd'st, breath'd'st, troubl'd'st. 2. bundl'd'st, bridl'd'st, bloom'd'st, bask'st, grumbl'd'st. 3. circl'st, curl'st, charm'd'st, clasp'd'st, crimson'd'st. 4. dragg'd'st, dazzl'd'st, wid'n'd'st, thick'n'd'st, hard'n'- d'st. 5. fondl'st, trifl'd'st, muffl'd'st, stifl'd'st, fold'st. 6. grabbl'st, mangl'd'st, wiggl'd'st, struggl'd'st, dragg'd'st. 7. heark'n'd'st, help'd'st, harp'd'st, hearths, handl'd'st. 8. lik'd'st, laugh'st, lengths, launch'd'st, less'n'd'st, lists. 9. mingl'd'st, milk'd'st, muzzl'd'st, minister'd'st, mind'st. 10. prob'd'st, prompt'd'st, peopl'd'st, preserv'd'st, puzzl'- d'st. 11. rav'l'd'st, risk'd'st, reason'd'st, rattl'd'st, harp'd'st. 12. soften'd'st, ' sparkl'd'st, swamp'd'st, sharpen'd'st, smooth'st. 13. twelfth, triumph'd'st, trampl'd'st, tattl'd'st, twing'd'st. 14. wak'n'd'st, whelm'd'st, warmths, whistl'd'st, wiggl'd'st. GENERAL EXERCISES IX ARTICULATION. Note. — Repeat sentence once slowly and distinctly, then 58 brown's standard elocution repeat five times with great rapidity and distinctness. Afte* - ward repeat in a distinct whisper. i. She sups sheep soup. 2. A shot-silk sash shop. 3. I saw snow softly snowing. 4. Socks and shoes shock Susan. 5. Five wise wives weaves withered withes. 6. Don't run along the wrong lane. 7. The hosts still stands in strangest plight. 8. Let lovely lilacs line Lee's lonely lane. 9. She was sitting sewing snug and warm. 10. I snuff shop-snuff; do you snuff shop-snuff? 11. She sells sea-shells; do you sell sea-shells? 12. He built an ice-house near his own nice house. 13. Some shun sunshine; do you shun sunshine? 14. The sun shines smilingly on the shop-signs. 15. Two totally tired toads tried to trot to Toadsbury. 16. The old, cold, scold sold a school coal-scuttle. 17. He sawed six long, slim, sleek, slender saplings. 18. She says she shall sew a sheet. 19. Charles Smith's Thucydides. 20. The peevish, feeble freeman feebly fought for free- dom. 21. A rural ruler, truly rural. 22. The glassy glaciers gleamed in glowing light. 2^. Whelpy Whelvell White was a whimsical, whining, whispering, whittling whistler. 24. A big black bug bit a big black bear. 25. Beneath the booth I found baths, cloths, laths, moths, sheaths, paths and wreaths. 26. I said "literary, literally, literarily," not "literarily, literary, literally." 27. I said "a knap-sack/' not "a knap sack's strap." AND SPEAKER 59 28. Gibcon Gordon Grelglow, the great Greek grammarian, graduated at Grilgrove Gollege. 29. The laurel crowned clown crouched cowering into the cupboard. 30. Sheba Sherman Shelly sharpened his shears and sheared his sheep. 31. Shrewd Simon Short sewed shoes. 32. Success to the successful thistle-sifter. 33. See that thou in sifting a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thy thumb. 34. Thou prub'st my rack'd and weary ribs. 35. Eight great gray geese grazing gaily into Greece. 36. With a shriek she shrank before the shrine. $y. Hear the shrill shriek of the screaming shrapnel. 38. Amidst the mists with angry boasts, He thrusts his fists against the posts, And still insists he sees the ghosts. 39. He drew long, legible lines along the lovely landscape. 40. Did you ever see a saw saw a saw as that saw saws a saw ? 41. Round the rough and rugged rocks the ragged rascal ran. 42. She uttered a sharp, shrill shriek and then shrank from the shriveled form that slumbered in the shroud. 43. Prithee, blithe youth, do not mouth your words when you wreathe your face with smiles. 44. Strange Sam should slight such splendid summer sales. 45. Thou turnedst, graspedst, countedst, rushedst forth and disappearedst. 46. Truly rural, truly rural rationalist. 47. Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue. 60 brown's standard elocution 48 49 50 5i 52 53 54 55 56, 57 The grass grows green above her grave. Vile villains vent their vengeance vyingly. Learned lads like long lessons. Mournfully they marched to the martial music. Napoleon's noble nature knew no niggardly notions. Soldiers, sailors, seamen, all were lost. Sans teeth, sans eyes, sans taste, sans everything. Of all the saws I ever saw, I never saw a saw saw as that saw saws. Peter Piper picked a peck of pickled peppers. Sober Stephen sold sugar, starch, spices, saddles, stirrups, screws, silks, satins, shawls and skates. Read the following correctly (in review) in one breath: Theophilus Thistle, the' successful thistle-sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb. Now, if Theophilus Thistle, the successful thistle-sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb, see that thou, in sifting a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thy thumb. Success to the successful thistle-sifter. Note. — Read the following correctly, at first in seventy seconds, — in sixty seconds, — in review in fifty seconds. It has been read intelligibly in thirty-six seconds. Read the first paragraph in one breath, then read the first and second para- graph in one breath. Read in a whisper occasionally by way of variation — an admirable exercise : The Two Boot-Blacks. 1. A day or two ago, during a lull in business, two little boot-blacks, one white and one black, were standing at the cor- ner doing nothing, when the white boot-black agreed to black AND SPEAKER 61 the black boot-black's boots. The black boot-black was of course willing to have his boots blacked by his fellow boot- black, and the boot-black who had agreed to black the black boot-black's boots went to work. 2. When the boot-black had blacked one of the black boot- black's boots, till it shone in a manner that would make any boot-black proud, this boot-black who had agreed to black the black boot-black's boots refused to black the other boot of the black boot-black until the black boot-black, who had consented to have the white boot-black black his boots, should add five cents to the amount the white boot-black had made blacking other men's boots. This the boot-black whose boot had been blacked refused to do, saying it was good enough for a black boot-black to have one boot blacked, and he didn't care whether the boot that the boot-black hadn't blacked was blacked or not. 3. This made the boot-black who had blacked the black boot-black's boot as angry as a boot-black often gets, and he vented his black wrath by spitting upon the blacked boot of the black boot-black. This roused the latent passions of the black boot-black, and he proceeded to boot the white boot- black with the boot which the white boot-black had blacked. A fight ensued, in which the white boot-black who had re- fused to black the unblacked boot of the black boot-black, blacked the black boot-black's visionary organ, and the black boot-black wore all the blacking off his blacked boot in boot- ing the white boot-black. PRONUNCIATION TEST. An Indian attracted by the aroma of the coffee and the broth, arising from the bivouac moving down the path, met a bombastic bravo who was troubled with the bronchitis. The Indian being in dishabille, was treated w T ith disdain by this blackguard, who called him a dog, and bade him with much vehemence and contumely to leave his domain, or he would demonstrate by his carbine the use of a coffin and cemetery. The Indian calmly surveying the dimensions of his European opponent, and being sagacious and robust, and having all the combativeness of a combatant, shot this ruffian in the abdomen with an arrow. A young patriot with a black moustache, coming from the 62 brown's standard elocution museum, laughingly said, bravo ! you should be nationally re- warded by receiving the right of franchise, for I witnessed the altercation, and the evidence is irrefragable and indisputable that you have removed a nauseous reptile. I now make this inquiry — will not the matrons in this country, and the patrons of our schools, inaugurate some system that will give an im- petus to the interesting study of our language? If half the leisure moments were thus spent in lieu of reading some despicable romance, we should we wiser than we are. AND SPEAKER 63 COMMON ERRORS IN PRONUNCIATION 1. Among: many persons there exists a constant ten- dency to mispronounce certain combinations of sounds. This tendency arises from one of several causes and occa- sionally from all. It may be caused, first, by an imperfect apprehension of the sound ; second, an inability to repro- duce the sound, and third, a careless indifference. 2. To overcome the first and second difficulties, train the ear to discover the true sound and to detect the error, and the speech organs to execute the sound correctly. The only remedy for the third cause is an appeal to the student's sense of propriety. 3. The faults are represented in part by the follow- ing" words. Use them as a drill. ant a k after an' aM bail or bail. . ben be'in bun'rk b«eM'ern caf ca'd or ke&rd . k* ten surer char or ch^ar. cMi'dein ka'ie 1 cora'a doz dren do el'um ere ev'ri s* ns sl'lunt spon stat'u teown trav'ler f< r aunt (ant) . " ask (ask) . " after (afei) . " and !_auu) . " ale (a;) . M ban el (bar'ei) . M been (bin) . " being (being) . ' bonne i (bon'et) . " brethren (bieoVren) " calf (Uaf) . " card (kard) . " catch (kach) . " cellar (sel'er) . " chair (char) . " children (chil'dren) . " c< ffee (kof e) . " commn (kom'a) . " does (duz)^ . " drain (d ran) . " due (du) . " elm (elm) . M ere (ar) . ■■ every (ev'e-ri) . " since (sins) . " silent (si'lent) . " spoon (spon) . " statute (stat'ut) . " towu (towu) . " traveler (trav'el-er) feound ga'den heerd hist"ri ._. l de' or l'de a. jist maaed ma'k mei'er mak mod'ist.... past prob'ble protes' r\Uh'er reg"ler rench iof rot scarce sev'rai shull srek hhet wand ... . was'ail hyear . marn dag f ar'est. . for found (fownd) garden (gar'den) beard (herd) history (his'to-ri) idea (1-de'a) joist (joist) made (mad) mark (mark) mellow (mel'6) mock (in ok) modest (mod'est) past (past) probable (prob'a-bl) protests (pro-tests') rather (ra^'er) regular (ieg'u-lar) rinse (rins) roof (rof) i oot (rot) scarce (ska»*s) several (sev'gr-al) shall (shal) shriek (shrek) shut (shut) wand (wond) wassail (wos'el) here (her) mourn (morn) dog (dog) forest (for'est) 64 BROWN S STANDARD ELOCUTION voi'o-lent for violent (vi'o-lent) wuz " was (woz) wot'er " water (wa'ter) ware or wer " were (ware) yen'der " yonder (yon'dSr) east " yeast (yest) maak " make (make) ra-ed " raid (rad) prar'i " prairie (pra'ri) maat " mat (mat) f;;er •• fare (far) ^ur.thar orther " there (thkr) ar or ar " air (ar) er or er " ere (ar) laf, laf or laf " laugh (laf) gaunt *' gaunt (gant) grass or grass. . " grass (gras) cot M caught (kat) fa' or fur M far (far) fam " form (farm) fea " fear (fer) fur " for (far) faro •■ forge (forj) doth for doth (duth) put " put (pot) nur " nor (nar) saz " says (sez) an'i " any (en'i) none " none (nun) sot " suit (sut) ]uth'er " leai her (leM'er) hare " hair (har) arn or urn »« earn (era) pert or purt| ..." pert (pert) miir'cy " mercy (mer'si) keind " kind (kind) aye " aye (I) fair " fire (fir) de'strikt " district (dis'trikt) gap " gape (pap) geirl or girl " girl(gerl) burd ..." bird (herd) wunt or wont. . . " won't (wont) farj'er ' " forger (for'jer) fag " fog (fog) saith " saith (seth) wor'sted " worsted (wos'ted Pronunciation Matches. — Pronuncing matches should be had as often as once a week. AND SPEAKER 65 ENGLISH WORDS OFTEN MISPRONOUNCED Drill I. on (on) ay (a or I) off (af) was (woz) elm (elm) due (du) dog (dog) urn (urn) new (nu) wan (won) Drill V. earn (ern) wont (wunt) quay (ke) gyve (jlv) path (path) none (nun) vast (vast) wand (wond) ruse (roz) bain (bath) Drill IX. ghoul (gol) sough (sow ov suf) hearth (harth) quoit (kwoit or koit) stalk (stak) swear (swar) laugh (laf) shaft (shaft) verge (verj) broth (broth) Drill XIII. alias (a'li-as) piano _(pi-a'no) edile (e'dil) bravo (bra'vo), n. resin (rez'in) desist (de-sisf) fetid (fet'id) guava (gwa'va) lever (le'ver or lev'er) monad (raon'ad) Drill XVII. forrest (for'est) basalt (ba'salt) cement (se-riient) pestle (pes'l) desist (de-sist) recess (re-ses'j exhort (eks-barf) allies (al-liz') " comely (kum'li) fauces (fa'sez) Drill II. ere (ar) e'er (ar or ar) gape (gap or gap) nape (nap) bade (bad) lute (lot or lut) here (her) fast (fast) long (lang) were (wer) Drill VI. magi (ma'ji) dais (da'is) ally (al-li'J lien (le'en or len idea (l-de'a) tiny (ti'jii) duty (du'ti) arid (arid) onyx (o'niks) iron (l'urn) Drill X. chyle (kil) hough (hok) psalm (sam) plait (plat) lithe {lith) fosse (fos) chops (chops) corps (kor) halve (hav) troth (trath) DriU XIV. ratio (ra'shi-6) vicar (vik'er) tenet (ten'et) oxide (_oks'id)_ eyrie (e'ri or a'ri) satyr (safer) tepid (tep'id) adult (a-dulf) odeon (b-de'on) petal (pet'al) Drill XVIII. acacia (a-ka'shi-a) iodine (i'o-din) lyceum (ii-sg'um) ranine (rap'in) ribald (rib'aW) decade (dek'ad) ensign (en'sin) museum (mu ze'um) vendue (ven-du') docile (dos'il) Drill III. bomb (bom) pass (pas) salt (salt) lost (last) bird (berd) mock (mok) rise (riz) .iowl (J 61) root (rot) half (haf) Drill VII. faro (far'6) withe (with) borne (born) chant (chant) graft (grajt) their (£Aar) groat (grot) rinse (1 ins) surge (surj) serge (serj) Drill XI. aroma (a-ro'ma)_ lurid (16'rid or lu'rid) extol (eks-tol' or ek- chary (char'i) [stol') fiery (fir'i) again (a-gen') visor (viz'ur) nomad (nom'ad) cabal (ka-bal') exude (eks-ud') Drill XV. nasal (na'zal) facet (fas'et) hovel (hov'ei) offal (of'al) agile (aj'il) naiad (na'y^d) amour (a-mor') sinew (sin^u) mania (ma'ni-a) adieu (a-du') DrUl XIX. ordeal (ar-deT) barrel (bar 'el) assume (as-sura') orchid (ar'kid) forger (foij'er) banana (ba-na'na) virile (vi'ril) canine (ka-nin') occult (ok-kulf) tirade (ti-rad') Drill IV. calf (kaf) caul (kal) lieu (lu) aunt (ant) nude (nud) deaf (def)_ won't (wont) tune (tun) gaol (jal) gone (gan) Drill VIII. booth (both) joust (just) saith (seth) chair (char) mourn (morn) spoon (spon) conch (kongk) salve (sav) seine (san or sen) forge (forj) Drill XII. irate (i-raf) often (af'n) after (aft'er) caret (ka'ret) water (wa'tSr) divan (di-van') irony (i'run-i), n. irony (i'tirn-i), a. sirup (sir'up) kopal (ko'pal) Drill XVI. chough (chuf) launch (lanch) youths (yoths) brooch (bi och) trough (traf) fetich (fe'tish) clique (klek) burred (burd) truths (troths) vaunt (vant) Drill XX. senile (se'nilj gerund (jer'und) harass (har'as) robust (ro bust') fecund (fek'und) satrap (sa'trap) extant (eks'tant) parent (par'ent) subtle (sut'l) correct (kar'net) 66 BROWN S STANDARD ELOCUTION Drill XXI puisne (pii'ni) dahlia (dal'i-a) filial (fil'yal) ' lichen (li'ken) tassel (tas'el) cerate (se'rat) excise (ex-siz')_ avenue (av'e-nu) facile (fas'il) visier (viz'yer) Drill XXII coffee (kof'e) bonnet (bon'et) cognac (kon-yak') donjon (dun'jun) orgies (ar'jiz) piazza (pi-az'a) retina (ret'j-na) strata (stra'ta) vagary (va-ga'ri) virago (vi-ra'go) Drill XXDI thought (that) swollen (swoln)_ portray (por-tra') febrile (f e'bril) palaver (pa-la'ver) bromine (bro^nin) curator (ku-ra'tur) fulsome (ful'sum) carbine (kar'bin) plateau (pla-to') Drill XXIV obesity (o-bes'i-ti) squalor (skwa'iiir) hostage (hos'taj) inquiry (in-kwi'ri) placard (plak'ard) frontal (fron'tal) diffuse (dif'fus), a. discern (dis-zern') prayers (prarz) leisure (le'zhor) Drill XXV contour (kon-tbr') gondola(gon'do-la) probity (prob'i-ti) caisson (ka'son) pageant (paj'ant) adipose (ad'i-poz) gallows (gal'oz) finance (fi-naus') isthmus (is'mus) hygiene (hi' ji-en) Drill XXVI jugular (jo'gu : lar) chimera (ki-me'fa) asphalt (as'falt) pyrites (pi-ri'tez) suffice (suf'iz) generic (je-ner'ik) aureola (a-re-6'la) bestial (best'yal) chorus (ko'rus) prussic (prus'ik) Drill XXVn concord (kon'kard) bellows (bel'oz)' premier (pre'mi-er) spinach (srjin'aj) courant (ko-ranf) verbose (ver-bos') reverie (rev'er-i) amateur (ama-tur') worsted (wost'ed) fuchsia (fu'shi-a) Drill XXVin syringe (sir'inj) matinee (mat'i-ne') erudite (er'u-dit) florist (flo'rist) bedizen (be-dizn') glamour (glam 'fir) languor (lang'gwur) gherkin (ger'kin) cayenne (ka-en') courtier (kort'yer) DriU XXIX lenient (le'ni-ent) deficit (def'i-sit) adverse (ad-vers') apricot (a^pri-kot) usurper (u-stirp'er) impious (impi-us) benzine (ben'zin) glacier (gla/sher) pretext (pre'tekst) routine (ro'tin) Drill XXX caesura (se-sii'ra) granary (gran'a-ri) persist (per-sist') prairie (pra'ri) recluse (re-klos') ruffian (rufyan) blatant (bla't'ant) hostler (hos'ler) scallop (skol'up) squalid (skwol'id) DriU XXXI suavity (swav'i-ti) oistich (dis'tik) curacoa (ko-ra-so'a) anchovy (an-c"ho'vi) isolate (i'so-lat) papyrus (pa-pi' r us) alcalde (al-kal'da) amenity (a-men'i-ti) bitumen (bi-tu'men) brothel (bro'thel) Drill XXXII epistle (e-pis'l) bivouac (biv'wak) arduous (ar'du-us) wassail (wos'el) systole (sis'to-le) horizon (ho-ri'zun) perotid (pa-rot'id) halcyon (hal'si-un) equable (e'kwa-bl) elysian (e-lizh'ia-n) Drill XXXIH fructify (fruk'ti-fi) colander (kol'an-der) nihilist (ni'hil-ist) chloride (klo'rid) apparent (ap-par'ent) whirl (hwerl) opponent (op-po'nent) vagaries (va-ga'riz) frontier (fron'teiO enervate (e ner'vat) DriU XXXIV raillery (ral'er-i) tyranic (ti-ran'ik) equipage (ek'wi-paj) amenable (a-me'na-bl) diocesan (di-os'e-san) cinchona (sin-ko'na) maniacal (ma-ni'ak-al) donative (don'a-tiv) luscious (lush'us) contrary (kon'tra-ri) Drill XXXV cognomen (kog-no'men) frequent (fre-kwenf) aspirant (as-pi'rant) morphine (mar'fin) specious (spe'shus) dolorous (dol'o-rus) dynamite (di'na-mit) aphelion (af-e'li-un) recusant (re-ku'zant) celibacy (sel'i-ba-si) DriU XXXVI antimony (an'ti-mo-ni) coquetry (ko'ket-ri) trichina (tri-ki'na) scirrhus (skir'us) sentient (sen'shient) immobile (im-mo'bil) corridor (kor'i-dor) splenatic (sple-net'ik) mustache (mus'tash) equivoke (ek'wi-vbk) Drill XXXVII credence (kre'deus) suburban (sub-ur'ban) retroact (re-tro-akf) balsamic (bal-sam'ik) decorous (de-ko'rus) surnamed (sur'namd) vehement (ve'he-ment) hiccough (hik'up) chaldron (chal(drun) construe (kon'stro) Drill xxxvin tartaric (tar-tar'ik) paraffine (par'a-fin) tranquil (trang'kwil) indocile (in-dos'il) nauseous (na'sbus) sardonyx (sar-do'nix) derisive (de-rj'siv) virulent (vij'u-lent) culinary (ku'li-na-ri) hymeneal (hi-me-ne'al) AND SPEAKER 67 Drill XXXIX dishevel (di-shev'el) vicinage (vis'i-uaj) sinecure (si'ne-kur) spheroid (sfe'roid) unctuous (ungk'tu -us) usurious (u-zho'ri-us gourmand (gor'rnand) courteous (kurt'e-us) behemoth (be-he'niuth) cynosure (si'no-shor) Drill XL pedagogy (ped'a-go-ji) magazine (mag-a zen') resource (re-sors') respited (res'pit-ed) intaglio (in-tal'yo) aeronaut (a'er-q-nat) borealis (bo-re. a'lis) gangrene (gang-gren') juvenile (jo've-nil) maritime imar'i-tim) DriU XLI matronize (mat'run-iz) cerements (ser'e-ments) cowardice (kow'ard-is_) dromedary (drum'e-da-ri) concourse (kon'kors) communism (kom'u-nizm) exquisite (eks'kwi-zit) fetichism (f e'tish-izm) declivous (de-kliv'us) admirable (ad'mi-ra-bl) Drill XLII specialty (spesb'al-ti) gladiolus (gia-di'o-lus) chivalric (shiv'al-rik) truculent (tro'ku-lant) pecuniary (pe-ku'ni-a-ri) legendari (lej'en-da-ri) discourse (dis-kors') scrivener (skriv'e-ner) southeost (sowth-est') associate (as-so'shi-at) DriU XLIII sovereign (sov'er-in) soporific (sop-o-rif'ik_) crematory (krem'a^ori) cassimere (kas'i mer) coadjutor (ko-ad-jo'tur) alternate (al'ter-nat), v. alternate (al-ter'nat), n. mistletoe (miz'l-to) irascible (I-ras'i-bl) dishonest (dis-on'est) Drill XLIV referable (ref er-a-bl) infantile (in'fan-til) refutable (re-fut'a-bl) obju.igate (ob-jur-gat) cochineal (koch'i-nel) trilobite (tri'lo-bit) alabaster (al'a-bas-ter) acoustics (a-kbw'stiks) therefore (thar'for) confiident (kon-fi-daut') DriU XLV maelstrom (mal'strom) apparatus (ap-a-ra'tus) contumely (kon'tu-me-li) defalcate (de-fal'kat) reputable (rep'u-ta-bl) exemplary (egz-em'pla-ri) grimalkin (grim-arkih) acclimate (ak-kli'mat) franchise (fran'chiz) reparable (rep'a-ra bl) Drill XL\ T I armistice (ar'mis-ti_s) fulminate (ful'mi-nat) chorister (kor'is-_ter)_ congeries (kon-je-ri-ez) desultori rdes'ul-to-ri) imbroglio (im-brol'yo) verdigris (ver'di-gris) menagerie (men-aj'er-i) financier (fin-an ser') diphtheria (dif-the'ri-a) Drill XLVII chalcedony (kal-sed'o-ni) alegorist (al'e-go rist) conversant (kon'ver sant) troubodour (tro'ba-dor) illustrate (il'us-trat) interstice (in'ter-stis) plagiarist (pla'ji-rist) peremptory (per'emp-to-ri) comparable (kom'pa-ra-bl) subsidence (sub-si'dens) DriU XL\Tn remediable (re-me'di-a-bl) respirable (re-spi'ra-bl) hospitable (hos'pit-a-bl) consummate (kon-sum'at) highwayman (hi'wa man) referrible (re-fer'i-bl)_ implacable (im-pla'ka-bl) indicatory (in'di-ka-to-ri) emendation (ein-en : da'shun remediless (re-med'i-les) Drill XLIX calicnable (kal-sin'a-bl) absolutory (ab-sol'u-to-ri) commandant(kom-an'dant) recitative (res'i-ta-tiv) flaccid ity (fiak-sid'ity) parenchyma (pa-ren-ki'ma) metallurgy (me't'_al-ur-ji) disputable (dis'pu-ta-bl) lamentable (lam'en-'ta-bl) compensate (kom'peri-sat) DriU L antepenult (an-te-pe-nulf) gum arabic (gum ar'a-bik) menihgitis (men-in-ji'tis) posthumous (post'hu-mus) rendezvous (ren'de-vo) caligraphy (ka-lig'ra fi) inimitable (in-im'i-t'a bl) acclimated (ak-kli'm'a-ted) telegraphy (te-leg'ra-fi) tonsilitis (ton-sil-i-tis) DrUl 1A sacerdotal (sas-er-do'tal) prescience (pre'shi-ens) homeopathy (hd-me-op'a-thi) laryngitis (lar-in-ji'tis) caricature (kar'i-ka-tur) camelopard (ka-m_el'o-pard) dishabille (dis-a-bel') hydropathy (hi-drop'a-thi) obligatory (ob'li-ga-to-ri) massacring (mas'a-kring) Drill LU capitoline (kap'i-to-lin) apotheosis (ap-o-the'o-sis) balderdash (bal'der-dash) bronchitis (brong-ki'tis) demoniacal (dem-o-ni'a-kal) forecastle (for'kas-1) mercantile (mer'kan-til)_ pianoforte (pi-a'no-for-te) precedence (pre-se'dens) strychnine (strik'nin) 68 BROWN S STANDARD ELOCUTION Drill LDI conservator (kon'ser-va-tur) provocative (pro-vo'ka-tiv) meteorolite (me-te-or'o-lit) sequestrate (se-kwes'trat) misconstrue (mis-kon'stro) deprivation (dep-ri-va'shun) demonstrate (dem'un-strat) three-legged (thre'legd) hypothenuse (hi-poth'e-ntis) inopportune (in op-iir-tun') Drill LIV legislative (lej-is-la'tiv) diplomatist (di-rjlo'ma-tist) marchioness (mar'shun-ess) mischievous (mis'chiv-us) interesting (in'ter-est-ing) enfranchise (en-f ran'chiz) clandestine (klan-des'tin) superficies (su-per-fish'ez) vindicative (vin'di-ka-tiv) sacrilegious (sak-ri-le'jus) Drill LV protestation (prot-es-ta'shun) transferable (trans-fer'a-bl) unfrequented (un-fre-kwen'ted) complaisance (kom-pla'sans) irrefragable (ir-ref'ra-ga-bl) irremediable (ir-re -me'di-a-bl) presentiment (pre-sent'i-ment) recognizance (re-kog'ni-zans) simultaneous (si-mul-ta'rie-us) charnelhouse (cnar'nel-hows) Drill LVI contumelious (kon-tu-me'li-us) incomparable (in-kom'pa-ra.bl) frontispiece (fron'tis-pes) unprecedented (un-pres'e-den-ted) oleomargarine (6-le-omar'ga-rin) agriculturist (ag-ri-kul'tur-'ist) lithographer (li-thog'ra.fer) irrecognizable(ir-rek'ug-ni-za-bl) tergiversation (ter-ji-ver-sa'shun) pronunciation (pro-nun-si-a'shun) AND SPEAKER 69 FOREIGN WORDS OFTEN MISPRONOUNCED A few of the following: words have received an English pronunciation. The student should find the meaning of the terms. abandon (a bang-dang') adobe (a-bo'ba) aid de camp (kang) adagio (ad-a'ji-q) allegro (al-la-gro) anglice (ang'gli^e) aitache (at a-sha') a propos (a pro po') au fait (6-fa) au revoir (o-rev-war') ballet (bal-la/) bas bleu (ba-blu) beaux esprits (boz-es-pre') belles lettres (bel-let'r) bijou (be-zho') blase (bla-za') bouhommie (bon-o-me') bon mot (bang'mo) boulevard (borvar) bouquet (bo ka') cafe (ka-fa') cachet (kash-a') caisson (ka's"n) canon (kau-yun) cantatrice (Uan'ta-tris) caoutchouc (ko'chok) [zet') carte de visite (kart-de-ve- carte blanche (kart-blansh') caviar (kav'i-a.' J charge d'affaires (shar'zha da-far*) cha; ivati (sha-re-va're) complaisance ( k o m ' p 1 a- zans) corps d'armee(kar dar-ma') cortege (kar'tazti) coup d'etat (ko-da-ta') coup6 (ko-pa') coupon (ko-paug') coyote (ki-yot'^ cuisine (kwe-zen') d ebouche (da : bo-sha') debris (da bre) debut (da-bo') debutant (da^bo-tang') debutante (da-bo-tanf) denouement (da-no-mang') dernier ressort ( dern-ya'- res-sar') distingue (dis-tang-ga') douche (dosh) naivete (na-ev-ta')_ negligee (na-gli-zha') on dit (ang-de') outre (o-tra/) eclat (a-kla') ecce homo (ek-se ho'mo) elite (a-lei') encore (aug-kor') ennui (ang-nwe') en route (aug-rof) entree (ang-tra') [kor') esprit decorps ( es-pre-de- qui vive (ke vev') etagere (a-ta-zhar') etui (a-twe'j exeunt (eks'se-unt) expose (eks-po-za') papier mache (pap-ya-ma- patois (pa-twa) [sha) penchant (pang-shang') protege (pro-ta-zha') pueblo (pu-eb'16) facade (fa-sadV) fiuale (fe : nala) finesse (fe-nes') gamin (gam-ang') garcon (gar-sang) gens d'armes'(zhan-darm') giaour (jowr) gout (go) haricot (har-e-ko') hauteur (ho' Liir) _ jeu d'esprit (zhu-des-pre') kirschwasser ( kersh'was- ser) litterateur (le-ta-ra-tur') [zel') mrdemoiselle (mad-mwa mandamus (man-da'mus) mayonnaise_(ma-yon-az') melange jma-lanzh') melee (ma-la')_ mesdames (ma-dam') mezzotint 'med'zo-tint) mirage (me-razh')_ miserere (miz-e-ra'ra) monsieur (mus-ye') morale (moral') naively (na-ev'li) raisonner (ra-zon-a') ranchero (ran-tsha'ro)^ recherche (re-shar-sha') restaurateur(ra-sto-ra-tur') reconuaissance ( re-kon'i- regime (ra-zhem')_ [sans) renaissance (re-na-sangs') repertoire_ (re-per-twar'j resume (ra-zu-ma') ricochet (rik-6-sha') role (rol) rouge (rozh) roue (ro'a) salam (sa-lam') salon (sa-lang ) sang f roid (sang-f rwa') savant (sa-vang') seance (sa-ans') silhouette (sil-6-et')_ sobriquet (s6-bre-ka') soi disant (swa-de-sang') soiree (swa-ra') sot to voce (sot-to-vo'cha) souvenir (so-ve-ner') tapis (ta-pe') tiers etat (te-erz-a-ta') *iournure (tor-nor') _ tragedienne (tra-zha-de-en') valet de chambre (va-la-de- shan'brj) vaudeville (vod'vel) vis-a-vis (vez-a-ve') zouave (zwav) 70 BROWN S STANDARD ELOCUTION PROPER NOUNS AND PROPER DERIVATIVES OFTEN MISPRONOUNCED. Aaron (ar'un) Adela (ad'e-la) ^Eneid (e-ne'id) Afganistan jaf-gan-is-tan') Adonis (a-do'nis) Ajaccio (a-yat'cho) Alamo (a'la-mo) Alaric (al'ar-ik) Aldine(ardin) _ Alicia (a-lish'i-a) Ali (a'le) Alpine (al'pin) Antilles (an-til'ez) Aphaodite (af-ro-di'te) Arab (ar'ab) Arabic (ar'a-bik) Arion (a-rl'6n) Arcon (ar'son) Arctic (ark'tik) Arkansas (ar-kan-sa) Arnaud (ar'no) Asia (a'shi-a) Aubert (o-bat') Augean (a-je'an) Balmoral (bal-mor'al) Balzac (bal-zak') Bartimeus (bar-ti-me'us) Bastille (bas-te|') Beauchamp (bo'shan) Beethoven (ba'to-ven) Bedouin (bed'o-in) Belial (be'li-al) Boccaccio (bbk-kat'cho) Boleyn (bol'in) Bolingbro'ke (bol'ing-brok) Borghese (bor-ga'za) Boulanger (bo-lang-zha') Boston (bos'tun) (not bas'- tun) Brahmin (bra'min) Brougham bro'am) Buddhism (bud'izm) Buffon (buf'ang) Burgundy (bur'gun-di) Cadi (ka'di) California (kal-i-far'ni-a) Calliope (kal-li'o-pe) _ Carribbean (kar-ib-be'an) Cassiope (kas-si'o-pe) Caucasian (ka-ka'shi-an) Cecilia (se-sil'i-a) Conci (chon'che), Beatrice (ba-a-tre'cha) Cham (kam) Cheops (ke'ops) Cherubini (ka-ro be'ne) Chicago (shi-ka'go) Chinese (chi-nez) Chopin (sho-pang') Christianity (krist-yan'i-ti) Concord (koug'kurd) Chrichton (kri'tun) Curagoa (ku-ra-so'a) Cuvier (ku-ve a') Czerny (cher'ne) Danish (dan'ish)_ D'Aubigne (do ben'ya) Deborah (deb'o-ra) Descartes (da-karf) De Stael (de sta-el') Disraeli (dis-re'li) Doric (dor'ik) Dorothea (dor-o-the'a) Edinburgh (ed'in-burg) Eliab (e-li'ab) Eliphalet (e-11'fa-let) Faneuil Hall (fan^el hal) February (feb'rq-a-ri) Freycinet (fra-se-na') Froude (frod) Gloucester (glos'ter) Goethe (ge'te)_ Gounod (go-no') Graefe (gra'fe) Guido (gwe'do) Guelph (gwelf or welf) Guise (gwez[ Guizot (ge'zo') Hawaii (ha-wi'e) Hebe (he^be) Heine (hi'ne) Hellenes (hel'e-nez) Hemans (hem'anz) Hermione (her-mi'o-ne) Hoi burn (ho^burn) Hudibras (hu'di-bras) Ibrahim (ib'ra-him) Iowa (1'0-wa) " Iphegenia (if-i-je'ni-a) Ismail (is-ma-el') Italian (i-tal'yan) Ixion (iks-i'onj Jacques ( Fr. zhak ; Eng. ja'quez) Juarez (ho-a'res) Juuot (zho-no') Khedive (ke-div') Kossuth (kosh'ot) Lange (lang'e) Laocoon (la-ok'o-on) Latin (lat'in, not lat'n) Lethean (le-the'an) _ Leverrier (le-ve-'re-a') Lyonnais (le-un a') Macleod (mak-lowd^) Maggiore (mad-jo'ra) MagnaCharta(mag-na-kar'- Mazzini (mat-se'ne) ' [ta) Medici (med'e-che) Melpomene (mel-pom'e-ne) Missouri (mis-sb'ri) Moliere (mo-le ar') Mongol-(mon'gol) Napoleon ma-po'le-on) Nemesis (nem'e-sis) Notre Dame (no-tr-dam') Oberon (ob'e-ron) Odyssey (od'is-i) Omega (6-me'ga) Orion (6-ri'on) Orpheus (ar'fe-us) Ossian (osh'an) Pall Mall (pel-mel') Pegasus (peg'a sus) _ Penelope (pe-riel'o-pe) Persia (per'shi-a) Philander (fi-lan'der) Philemon (fl-le'mon) Pleiades((ple'ya-dez) Plutarch (plo'tark)_ Pompeii (pom-pa'ye) Psyche (sl'ke) Richelieu (resh'e-16) Rousseau (r>so') Sahara (sa-ha'ra) Salome (sa-16'me) Sanhedriri (san-he'drin) Seville (sev'il) Sigismund (sij'is-mund) Stephana (stef a-na) Strahan (stran) Sturm (storm) Terpsichorean (terp-si.ko- re'an) Thalia (tha-li'a) Thiers (te-erV Tuileries (twe-la re') Ulrica (ul'ri-ka) fl«) Ultima Thulejful'ti-mathu' Ulysses (u-lis'ez) Uranus (u'ra-nus) Vespucci (ves-pot'che) Vibert (ve-bar') Virginia (ver-jin'i-a, not ver-jin-ya) Whewell (hu'el) Worcester (wo'ster) Yonge (yung) Zacheus (zak'e-us) Zachary (zak'a-ri) VOICE AXD SPEECH CULTURE. i. Voice is the audible vibrations heard in the air passing from the lungs into and through the vocal organs. The air is driven from the lungs as from a bellows by the action of the respiratory muscles; and after receiving the vibratory motion in the larynx and resonance in the pharynx, the peculiar sound termed voice is produced. Speech is made of voice by the proper articulations of the speech organs. 2. The highest skill in speech is attained only by a per- fect control of the voice and speech organs. 3. The chief requisite in securing 'great vocal power is an erect and easy posture of the body, giving expansiveness to the chest and freedom to the limbs, and that absolute command of the breath which will enable the speaker to utter one hundred or more syllables in a single breath. 4. To secure the greatest compass and flexibility the stu- dent should not confine his practice to low notes, under the impression that thus only can he acquire the full, rich volume he so much admires in some favorite speaker. The exercises must include every interval between the highest and lowest notes. Practice in all degrees and tones gives compass and flexibility. Flexibility and decision of speech are secured largely by frequent practice upon passages requiring the utmost rapidity of utterance. 5. Cultivate particularly pleasant tones and correct and distinct articulation. Avoid falling into the habit of a drony enunciation and a drowsy, drawling speech, or the offensive tones of AFFECTATION. 71 72 brown's standard elocution 6. In your public vocal performances, be deliberate. Leave nothing unfinished. The mind, not the organs involved, must control the speech. 7. Huskiness, harshness and hardness of tone result from the contact of air inhaled during vocal exercises with the lining mucous membrane of the speech organs ; no air whatever should enter the mouth. Keep the mouth constantly moist. This will not be difficult if you inhale through the nostrils, and employ all exhaled air in phonation. 8. The nasal passages should be kept constantly open. Proper breathing and cleanliness will secure this condition. 9. Fullness, depth, richness and flexibility of tone are so largely dependent upon the control of the tongue, throat, and jaw muscles that constant attention should be given to the free action of these muscles. 10. To render words most easily understood by those re- mote from the speaker, the mouth should be opened freely and fully, and should not be closed too suddenly in finishing syllables. 11. During reading and speaking care should be exercised to avoid a continued pitch too high, too low, or a monotone. The last reacts upon the speaker, rendering his delivery dull and lifeless; a pitch too low usually prevents understanding the words ; while a prolonged high pitch exhausts the speaker and wearies an audience beyond its capacity of enjoyment. The pitch should follow the general law of thought development — curves, slides and waves — few planes. 12. To prevent embarrassment, arising from nervousness, inhale and exhale to your utmost capacity a number of times before attempting to use the voice in public. The same pre- caution will materially prevent incoherency, stuttering and stammering in extemporaneous speech. 13. Finally, avoid the so-called "modern elocutionist's style" which seems to reach its perfection of unreality in a AND SPEAKER 73 sickening a ff relation as repulsive to the good sense of the public as it is false to the teachings of nature. Human Sympathy. — The student is here reminded that however vigorous his enunciation, however accurate his articu- lation, appropriate his quality, force, pitch and movement, one element of success may be lacking. This is genuine human sympathy. The ear may be pleased by harmonious sounds, the eye fascinated by graceful gestures, and even the intellect may tacitly acknowledge the speaker's art, but the soul, that priest- ess of the inner temple, can not be deceived by outward show. The stifled breath, the palpitating heart, the moistened eye respond not to skillful movements and artistic sounds, but to the stricken heart — the suffering soul whose agonies the speak- er's looks and feelings vivify. VOICE PRESERVATION. 1. Do not throat your voice. 2. Consign tobacco to the mutes. 3. Constantly cultivate pure tones. 4. Avoid a long continued high pitch. 5. Use no drinks during vocal exercise. 6. Use no stimulants or acids of any kind. 7. Breath as directed under Respiration. 8. Keep the mind and body pure and healthy. 9. Avoid affectation, arrogance, and irritability. 10. Keep the temper as a reserve force, under control. 11. Permit no compression about the neck, waist or chest. MODULATION. Modulation is the ready and perfect adaptation of the appropriate elements of speech to the sentiment designed to be conveyed. i. The skillful modulation of the voice requires an in- stantaneous and imperceptible transition from one quality to another, an easy increase or decrease of force, a ready change of stress, and a perfect command of every degree of pitch and movement. 2. The good reader or speaker varies the element of ex- pression so skillfully that the hearer gets a suggestion of the meaning of the words by the very nature of the sound in which they are uttered. MODE OF UTTERANCE. Voice is vocalized breath and as such its formation depends upon the method of exhalation employed in phonation and speech. As there are three methods of forcing the air from the lungs, termed effusive, expulsive, and explosive, so there are three modes of utterance derived from the manner of expir- ation, and named : i. Effusive Utterance, in which the tone is gently and evenly effused from the vocal organs without abruptness. It is the characteristic tone of tranquillity, pathos, grandeur, devotion, 2. Expulsive Utterance, in which the tone is projected from the vocal organs with more or less abruptness, according 74 AM) SPEAKER 75 to the intensity of feeling accompanying speech. It ranges in use from ordinary description and narration to the highest forms of argumentative discourse. 3. Explosive Utterance, in which the tone is shot forth with an instantaneous burst like the crack of a rifle. The abrupt shock peculiar to the explosive is produced by a momentary restraint of the breath in the glottis followed by an irresistible upward action of the respiratory muscles. This mode of utterance is employed in the expression of sudden anger, terror, ecstasy, command. Application. — No one mode of utterance is likely to be appropriate to an entire composition. The effusive is rarely found in more than two or three consecutive w T ords. The expulsive is more common than the others, being employed in the greater part of every conversation. EXERCISES IN MODES OF UTTERANCE. EFFUSIVE UTTERANCE. Sublimity, reverence. Father, thy hand Hath reared these venerable columns ; thou Did'st weave this verdant roof. Thou didst look down Upon the naked earth, and forthwith rose All these fair ranks of trees. They in thy sun Budded, and shook their green leaves in thy breeze, And shot toward heaven. The century-living crow, Whose birth was in their tops, grew old and died Among their branches ; till at last they stood, As now they stand, massy, and tall, and dark, Fit shrine for humble worshiper to hold Communion with his Maker. [From "God's First Temples/' — Bryant.] 76 brown's standard elocution expulsive utterance. Joyous exclamation. Go, ring the bells, and fire the guns, And fling the starry banner out ; Shout "freedom" till your lisping ones Give back their cradle-shout ; Let boasted eloquence declaim Of honor, liberty, and fame; Still let the poet's strain be heard, With "glory" for each second word, And everything with breath agree To praise "our glorious liberty." [From "Prisoner for Debt." — Whittier.] EXPLOSIVE UTTERANCE. Fright, terror. Hear the loud alarum bells — Brazen bells ! What a tale of terror now their turbulency tells ! In the startled ear of night How they scream out their affright ! Too much horrified to speak, They can only shriek, shriek, Out of tune, In a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor, Now — now to sit, or'never, By the side of the pale-faced moon. O the bells, bells, bells ! What a tale their terror tells Of despair! [From "The Bells."— Poe.] AND SPEAKER 77 SLIDES. Slides, sometimes termed inflections, are concrete changes of pitch, either upward ( / ) or downward ( \ ) on a single element or word. They vary in extent of elevation or depres- sion accoiding to the nature of the sentiment. i. The purpose of slides is to convey more accurately those delicate shades of meaning found in abstract reasoning, un- emotional description and narration, to give clearness to con- trasted ideas, and vigor to expressions of earnestness, emotion and passion. 2. In addition to the service rendered in the apprehension of the thought by the correct use of slides, their judicious em- ployment gives a beauty, variety and melody to speech which, when artistically applied, is as pleasing to the ear as the most artistic variations of music and song. 3. The importance of slides is shown in the fact that many actors, public readers and teachers of expression prepare com- positions for delivery and teaching by marking nearly every passage with the appropriate voice slides. The author's ex- perience with hundreds of students confirms the opinion that the skillful application of slides and waves contributes to in- telligible delivery more than any one element the orator may employ. 4. While many will appreciate the value of slides in adding clearness to reading and speaking, the student is re- minded that the recognition of a requisite, does not imply a natural ability to command and properly to employ the appro- priate slide. Indeed, many young people of superior intelli- gence and fair attainments in our high schools and colleges are found who can neither apply the required slide when indicated nor imitate it when given by their instructor, without much practice. 5. Xo marked degree of excellence in expressive reading 78 brown's standard elocution may be expected until the student has given much time to the practice and intelligent study of the principles governing voice slides. UPWARD SLIDE. The Upward Slide is an elevation of voice through the con- crete change of pitch, the degree of elevation depending upon the intensity of the thought or emotion. GENERAL LAW OF USE. The Upward Slide is employed upon the accented syllable of those words used singly, in phrases or in sentences, denoting indifference, uncertainty, incompleteness, doubt, contingency, negation, direct interrogation, tenderness^ pathos, surprise, wonder, anticipation. PRINCIPLES AND ILLUSTRATIONS. The Upward Slide is used in — I. Direct questions; as, Would you make men trustworthy ? Do you refuse me justice ! — audience — even? Note. — A repetition of a direct question requires the down- ward slide; as Did you go home? What did you say? Did you go home? II. Emphatic interrogative repetitions; as, Looked as if I guessed his meaning? I'm always wanting money for clothes ? III. Words and phrases of informal address; as, John, bring me your book. Maclaine ! you've scourged me like a hound. Note. — A formal or emphatic address requires the down- ward slide ; as, Fellow citizens : It is no ordinary cause, etc. O comrades! Warriors! Thracians! AND SPEAKER 79 IV. Expressions of negation, implying contrast; as, He is not a man of words. I did not say a younger man. V. Anticipative phrases or clauses; as, To become wise and learned, requires study. He that can not bear a jest should not make one. VI. Expressions of indifference ; as, You may go if you wish. What do you wish to see? Oh, nothing. VII. Words of pathos, entreaty, gentle reproof; as, He moaned so pitifully, I couldn't chide him. John, I'm very sorry you've disregarded my wishes. VIII. Unimportant particulars, except the last; as, Pride costs more than hunger, third and cold. John, Henry, James and Charles are present. IX. Expressions of doubt, contingency and uncertainty ; as, There is a possibility of the train's being late. Good advice were better if well followed. X. Contrasts introduced by adverbial "as" ; as, Night brings out stars, as sorrow show T s us truth. As we rise in glory, w T e sink in pride. DOWNWARD SLIDE. The Downward Slide is a downward movement of the voice through the concrete change of pitch, the degree of depression depending upon the completeness, exactness, or defi- niteness of the thought in the speaker's mind. GENERAL LAW OF USE. The Downward Slide is employed upon those syllables used singly, in phrases or in sentences denoting completeness, de- termination, certainty, command, passion, positive and decisive declaration. 80 brown's standard elocution principles and illustrations. The Downward Slide is used in — I. Answers to direct or indirect questions; as, Did you go home ? No, I did not. Who discovered the Mississippi? De Soto discovered it. Exception. — If the person addressed is indifferent, he will usually answer with an upward slide; as, Did you enjoy your vacation? Oh, yes, pretty well. Do you regard her as handsome ? Yes, passably so. Which way shall we walk? I am not particular. II. Declarative, imperative and exclamatory sentences; as, Great beggars are said to be little doers. Confess your faults ; a fault confessed is half redressed. III. Completeness of thought in principal or subordinate clauses; as, 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 unconf ined ; 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 5 arm ! it is — it is the cannon's opening roar ! IV. Language of determination and certainty ; as, We shall attack the fort at sunrise. I know the power of freedom, I rejoice in her majesty. Y. Impassioned exclamations; as, To arms ! they come ! the Greek ! the Greek. Hence, horrible shadow ! Unreal mockery, hence ! AND SPEAKER 81 VI. Direct interrogation anticipating the answer yes or no; as, Have I not treated your as a gentleman? Yes, Have we ever failed to keep our faith? No. VII. Emphatic and repeated direct or indirect questions; as, Why have you disobeyed my commands? Will you stop that distressing noise? YIII. Each member, except the last, of a commencing series; as, The wisdom of the philosopher, the eloquence of the his- torian, the sagacity of the statesman, the capacity of the gen- eral, may produce more lasting effects upon human affairs, but they are incomparably less rapid in their influence, and less intoxicating from the ascendancy they confer, than the art of oratory. IX. Each member, except the last but one, of a concluding series; as, Let a child read and understand such stories as the friend- ship of Damon and Py'thias, the integrity of Aristides, the fidelity of Regulus, the purity of Washington, the invincible perseverance of Franklin, and he will think and act after the manner of the world's greatest benefactors. X. Members of sentences expressing affirmation and negation have opposite slides; the affirmative mem- ber has the downward slide, the negative the up- ward; as, I am here to act, not to talk. I am here not to talk, but to act. 82 brown's standard elocution WAVES. The Wave, (a) sometimes termed circumflex, from the twisting or crooked motion of the tone in passing over the vowels, is a compound movement of voice on a single syllable, word or sentence. classification of waves. The Upward Wave, expressive of completeness, is the union of the Upward and Downward Slides; as, ah. The Downward Wave, expressive of incompleteness, is the union of the Downward and Upward Slides; as, ah. Waves may be Single, consisting of the two Slides only, Upward or Downward ; or they may be Multiple, consisting of any number of Slides greater than two, beginning with either the Upward or Downward Slide. Waves may be Equal when the voice slides equally in both directions, or they may be Unequal, when the voice slides unequally in both direc- tions. APPLICATION OF WAVES. The Upward Single Equal Wave expresses astonishment, admiration; as, Ah ! beautiful ! The Downward Single Equal Wave expresses scorn, con- tempt, ridicule, mockery, sneer; as, You a soldier! Unequal Slides are employed to increase the intensity of emotions. Multiple Waves, in addition to increasing the intensity of expression, mark a progressiveness of emotion that produces a most startling impression upon the hearer. For illustrations of multiple waves see sentences with diagrams below. WD SPEAKEB 83 EXTENT OF WAVES. Wave of the Second Upward or Downward, rarely un- equal, have the least perceptible change of pitch. It is the gentle undulation of voice through the interval of two notes. In the expression of grandeur, sublimity, and devotion with subdued force, it gives to the voice a beauty, harmony, and impressiveness found nowhere else in the whole range of earthly sounds. Without it the solemn service of the church and the grandeur of the inspired Word become meaningless cadences or painful monotony. LAW OF USE. The Wave of the Secoxd, employed with a subdued force and low pitch, is used to express dignified admiration, mild con- trast, gentle yet all pervading emotions of reverence and awe, sentiments of beauty, sublimity, grandeur, devotion and ador- ation. Drill frequently on the following beautiful stanza: There the life-fires brighten, J and burn | and roll, O'er diamonds \ that sparkle | o'er sands of gold, Where | to breathe the sweet air | yields a bliss untold, And the dwellers | immortal | shall never grow old. ["God's Beautiful City.'—B. F. Taylor.] The Wave of the Third, Upward or Downward, Equal or Unequal, rises or falls through an interval of three notes. It is the characteristic wave of playful wit, humor, and good- natured raillery. Its peculiar deflections refer the mind back- ward or forward to some implied or unexpected witticism. LAW OF USE. The Wave of the Third expresses mirth, wit, jest, drol- 84 brown's standard elocution lery, insinuation, double meaning, affectation, mimicry, strong contrast. Example :— A duchess ! You shall be a queen — to all Who, by the courtesy, will call you so. Wave of the Fifth and Octave. A voice wave direct, inverted, equal or unequal, passing through a fifth or an octave, is termed emotional, or impassioned. It is characteristic of the greatest mental and physical agitation. Confined within the speaker's compass, restrained by will and controlled by judg- ment, it becomes one of the most potent accompaniments of invective, vituperation, scorn, sarcasm, and mockery, which a speaker can employ. It rarely occurs in modern literature. It is found mostly in the drama. As a voice building exercise, giving facility in impressive transitions, it is superior to any other single effort required of the student. Daily practice in all the waves, closing with the octave, should be insisted upon throughout the course. law of use. The Wave of the Fifth and Octave is used to express irony, sarcasm, satire, sneer, ridicule, astonishment, intense in- terrogation, amazement, scorn, mockery, disgust, contempt, malice, hatred, revenge. For examples of waves of the fifth and octave see dia- grammed and miscellaneous examples following. exercises in waves. The student will study carefully each sentence and en- deavor to apply the waves in the manner indicated by the dia- gram following it. To secure facility in expression, the student should con- AM) SPEAKER 85 centrate his mental powers upon all the conditions surrounding the supposed speaker of these sentences. Note. — The breaks in the diagrams mark the different words. 1. Affectation: / am so fa- tigued. 2. Anxiety: Where can he be? J 3. Gayety: Merrily they sing. 4. Laughter, Mirth : You're a happy dog! 5. Surprise: What! the King's ^J\-^ M f~ wifel the Queen!* 6. Contempt: You may keep your money. 7. Rage: / hate him! 8. Grief: Oh, my son! my son! 9. Sneering: Smile on, my lords! ^4*+~~&S 10. Triumph: Shout freedom! **» ■vvftA/v * The skip from "wife" to "queen" is a discrete movement. 11. Irony: Brutus is an honor- able man. 12. Intense Irony: They are all honorable men. 86 brown's standard elocution miscellaneous exercises. Note. — Wave words not marked with the signs are in italics. 1. I did not give a dollar. 2. I did not give a dollar. 3. Ah ! it was you, then, that struck me. 4. I did not think that he would do it. 5. Old enough ! ay, there it is. 6. It cannot be — thou dost but say 'tis so. 7. You boast your father was a lord ! 8. Yes, I claim my father was a lord. 9. What dost thou think? Think, my lord? 10. Gone to be married ! gone to swear a peace ! 11. O, noble judge? O, excellent young man! 12. Oh, but he paused upon the brink. Paused did he? 1.3. Thou wear a lion's hide? Doff it for shame, And hang a calf skin on thy recreant limbs. 14. They tell us to be moderate while they revel in pro- fusion. 15. Seems, madam! nay it is; I know not seems. 16. Can honor set a leg? No. Or an arm? No. 17. What's in a name? That which we call a rose By any other name would smell as sweet. 18. Yet this is Rome and we are Romans. 19. Men, indeed! call themselves lords of creation. Pretty lords, when they can't even take care of an um- brella! 20. Her mother only killed a cow, Or witched a churn or dairy-pan. But she, forsooth, must charm a man. 21. Hath a dog money? Is it possible A cur can lend three thousand ducats? 22. A second Daniel, a Daniel, Jew ! AND SPEAKER 87 Now, infidel, I have thee on the hip, A Daniel still I say ; a second Daniel ! I thank thee, Jew, for teaching mc that word. 23. Yet Brutus says he was ambitious, And Brutus is an honorable man. 24. Was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honorable man. 25. And this man is now become a god! 26. Rich in some dozen paltry villages! Strong in a hundred spearmen! Only great in that strange spell, — A name. 27. My father's trade? Why, blockhead, are you mad? My father, sir, did never stoop so low, — He was a gentleman, I'd have you know. 28. What ! shear a wolf? a prowling ze/a//? pauses. Pauses are temporary suspensions of speech between words, phrases and clauses. 1. Pauses serve three purposes: 1. To convey the speaker's meaning clearly; termed Sen- tential. II. To increase the effectiveness of delivery; termed Emotional. III. To add embellishment to the composition; termed Rhythmical. 2. The primary use of pauses is to set off the divisions of thought — to arrange the ideas with respect to each other so that the mind of the hearer can grasp their relations to each other and to the thought as a whole. 3. Without frequent and appropriate pauses speech is but 88 brown's standard elocution a monotonous succession of zuords whose related significance must be obtained only by great mental effort; while their judicious employment arouses and rivets the attention, quickens the perception and makes the receiving of truth acceptable for the pleasure afforded in hearing it. 4. No combination of words, however rhetorically ar- ranged, however well delivered with reference to all the em- bellishments of elocution can be made to produce an effect so impressive, so thrilling, as a profound pause made amid the stillness of a breathless audience. If speech is sometimes silver, a pause is golden; if the former is grand the latter is awful — sublime. 5. Punctuation marks, sometimes termed "grammatical pauses/' indicate the syntactical structure of the sentence, but do not necessarily locate or determine the length of pauses. The reader gathers the sense of a passage by the aid of punctu- ation and applies the appropriate pause according to the nature of the sentiment, modified by attending circumstances of time, place and occasion. 6. A good reader will make many more pauses than are indicated by the punctuations, and will sometimes pass over such marks without any pause. In the sentence "No, sir, there is none," a pause between "no" and "sir" would be im- proper. 7. The length of pauses is dependent wholly upon the nature of the* thought, sentiment, or emotion. As a general rule, lively, playful thought and joyous, excited emotions re- quire short pauses ; commonplace sentiments, ordinary de- scription and narration require moderate pauses; while long pauses are appropriate to solemn, serious thought and emotions of sublimity and awe. AXD SPEAKER 89 principles and exercises. pause: I. Before the infinite phrase ; as, Life is too short j to learn more than one trade well. I do not rise | to waste the night in words. II. Before prepositional phrases; as, How sweet the chime | of the Sabbath bells ! Hearts may agree | though heads differ. III. Before the predicate noun clause ; as, The truth is | my money was all gone. My prayer shall ever be | "Angels guard thy way." IV. Before the objective clause; as, He said, | "I am the man ye seek." Tell your master | that I await his pleasure. V. Before adjectives following their noun; as, There's a lute | unswept and a harp without strings. One stands apart, a woman | sad and silent. VI. Before relative pronouns and conjunctive adverbs; as. Let me have friends | whose hearts are pure. She fell not | when the mighty were upon her. VII. Before conjunctions; as, Religion is an excellent armor, | but a poor cloak. Xight folds her sable mantle | and pins it with a star. VIII. Before an ellipsis; as, Art thou some god, | some angel, or | some devil? Time wasted is existence, | used | is life. IX. Before any important or emphatic word; as, The Union | must and ' shall be preserved. When you do not know what to do, j wait. 90 brown's standard elocution X. Before the logical subject or subject and copula in inverted sentences; as, The happiest of girls | was Mary. Soon rested | those who fought. But beneath all these relations | he is a man. XL Before the copula preceded by a phrase or clause; as, Duties fulfilled | are always pleasures to the memory. That he may succeed | is my daily prayer. pause : I. After the nominative phrase or clause ; as, The perfection of art | is to conceal art. All that breathe | will share thy destiny. II. After the objective phrase, in an inverted sentence; as, My happy peaceful youth | restore to me. His manly face | our eyes shall see no more. III. After introductory predicate adjectives; as, Happy | is the man who owes not another. Gentle and kind | were the friends of my youth. IV. After emphatic words; as, Go preach to the coward, | thou death-telling seer ! Strike | for the sires who left you free. V. After a participial phrase; as, Fearing a disastrous defeat | he prudently withdrew. Raising his hand | he motioned the boy forward. VI. After an important or emphatic subject; as, Life | is real! Life | is earnest! Some Cromwell, | guiltless of his country's blood. VII. After transposed adverbial elements; as, In toil | he lived ; in peace | he died. When anger rises | breathe through your nose. AXD SPEAKER 91 pause: I. Before and after an apposition phrase; as, The youth, | a very giant, | soon won the respect of all. The citizens, | kings of a republic, | must wield the ballot. II. Before and after parenthetical expressions; as, The mansion, | for such it was, | had been a beautiful struc- ture. The wolves, | the most formidable beasts present, | howled madly. III. Before and after direct quotations; as, Lifting his eyes, | he seemed to say, | "Yes," | and sank back. It stopped to whisper, j "Beware, beware," j and passed on. IV. Before and after important words; as, And every word was | War! \ war! | war! Lord Angus, | thou | hast | lied! V. Before and after a verb separated from its auxiliary; as, The change will, | in all probability, j affect his mind. The man did, | beyond all doubt, | show great bravery. pause : Between the parts of an inverted' sentence ; as, When boasting ends, | there dignity begins. As we advance in life, | we learn the limits of our abilities. PAUSES IN POETRY. The principles governing pauses, as stated above, apply to nearly every form of vocal expression, whether prose or poetry. The rule requiring a slight pause at the end of every line of poetry is misleading, and results in that sing-song style so com- 92 brown's standard elocution mon among children and illiterates. The rhythm must not be made so prominent as to obscure the sense. Poetic measure may embellish thought, but it can not supplant it in expression. The terms caesura and demi-caesura should not be regarded as pauses, but as divisions of the rhythmical structure of the poetic line. Unless the sense requires a pause, regard neither these divisions nor the punctuation marks. Observe the fol- lowing rule : In reading poetry, unless the sense requires a pause, let the voice delicately poise at caesuras, demi-caesuras and the end of each line. A vocal poise is effected by a gentle swell and pivotal move- ment of tone to the next word or line. QUANTITY. Quantity is the measure of time occupied in the utterance of single syllables and words. 1. Whatever importance may be attached to the peculiar meaning to be given individual words, no marked success will be attained until the element of quantity is mastered. 2. It is observed that the untrained speaker can not make the short sounds short enough nor the long sounds sufficiently long. His attempts in the first efforts result in incoherency, in the second, drawling. All syllables may be classed as : 1. Indefinite: Capable of being indefinitely prolonged. 2. Immutable: Incapable of prolongation. 3. Mutable: Capable of a slight degree of prolongation. application of quantity. Indefinite syllables, requiring Long Quantity, are employed in the expression of tenderness, reverence, adoration, awe, solemnity, sublimity, shouting, calling, sorrow, remorse. AXD SPEAKER 93 Immutable syllables, requiring Short Quantity, are em- ployed in the expression of rapturous joy, mirth, command, sudden anger, terror. Mutable syllables, requiring Medium Quantity, are em- ployed in ordinary narration, description, unimpassioncd con- versation and introductions to orations. Exercises upon Indefinite syllables, Long Quantity. Prolong the syllables without mouthing or drawling. gray peace cold ah appall darkling woe moan poor home disarm smiled dare gold far praise beware pleading ay toll aim all forlorn glorious sea roam mourn mourn groaning yearning Exercises upon Immutable syllables, Short Quantity. Utter the syllables instantaneously. at hip mock sat lackey backing not sick dip iip reckon speckle lit dock tack cup bedeck trickle tin back hat beck wicket rocket sup duck met map upper attic Exercises upon Mutable syllables, Medium Quantity, Prolong these words without destroying their identity. mad arch hast quart spotted dotted sob % odd what lately basely will nod big land blunder sadden orb heart charm debt letter trouble gait graft ran might thunder madder 94 brown's standard elocution emphasis. Emphasis is that peculiar utterance of words, phrases and clauses which renders them especially prominent or significant. i. The importance of Emphasis in determining the mean- ing of a sentence may be inferred from an examination of the following sentence which, by placing the emphasis upon the marked words, is capable of expressing seven different mean- ings : 4. John did not say you bought that book; Henry said so. 2. John did not say you bought that book ; he wrote it. 3. John did not say yon bought that book; but that your sister bought it. 4. John did not say you bought that book; but that you found it. 5. John did not say you bought that book; but this book. 6. John did not say you bought that book; it was your slate. 7. John did not say you bought that book ; he said nothing. 2. Emphasis is effected by a change of quality, force, stress, pitch, sliding, waves, movement, or quantity, or by lengthening the pauses. Usually two or more of these elements are employed to produce the required emphasis. 3. Perfect command of every variety of emphasis depends upon an accurate perception of the sentiment and its relation to, and connection with, every other thought with which it is asso- ciated, and skill in the control of all the elements of vocal expression previously explained. 4. The most common method of applying emphasis is by an increase of force, but that is by no means the only method. Pupils should guard against its use where it would not be indi- cated by the sentiment. Many instructors teach their pupils that "Emphasis is an increase of force." It is not always an AND SPEAKER 95 increase of force. The etymology of the word signifies "to show," "to indicate;" and emphasis may be shown by diminish- ing the force as well as by increasing it. It may be shown by raising or lowering the pitch, and by accelerating or retarding the movement. GENERAL LAWS GOVERNING EMPHASIS. i. The subject, predicate and object in sentences much in- volved usually receive slight emphasis ; as, Maud Midler, on a summer's day. Raked the meadow sweet with hay. 2. All words introducing new ideas are moderately em- phasized; as, "He mounted into literature from the moment that he fell." 3. Words expressing contrasts or antithesis are emphatic; as, The sweetest pleasure is that of imparting pleasure. The noblest mind the best contentment has. Love lights more fires than hate extinguishes. 4. All words which seem to contain the principal ideas of the thought should be indicated by emphasis ; as, "The crear conception, outrunning the deductions of logic, the high purpose, the firm resolve, the dauntless spirit, speak- ing on the tongue, beaming from the eye, informing every feat- ure, and urging the whole man onward, right onward to his object — this, this is eloquence ; or rather, it is something greater and higher than all eloquence — it is action, noble, sublime, god- like action." 5. In repetition each succeeding word receives greater force than the word preceding ; as, 96 brown's standard elocution Strike — till the last armed foe expires ; Strike — for your altars and your fires; STRIKE — for the green graves of your sires ; God and your native land. Note. — This rule applies also to cumulative emphasis ; as, Forward, the Light Brigade! CHARGE FOR THE GUNS ! 6. The intensity of absorbing emotions is best shown by emphasis efifected by pauses; as, "He shudders — gasps — Jove help him — so, — he's dead!" 7. Words of exclamation usually require the strongest emphasis ; as, "Hence! horrible shadow! Unreal mockery, hence ! Note. — Even when one member of the antithesis is omitted the expressed member is made emphatic ; as, "An attentive student would not make such blunders. " exercises in emphasis. Quality: — I hate him for he is a Christian. (Guttural.) Give me liberty or give me death? (Aspirate.) Quoth the raven, "Nevermore" (Pectoral.) And the sisters, they murmured, "For Shame!" (Falsetto.) Force: — I repeat it, sir, the charge is false. (Increase.) But on the way it burst, it fell; and lo! A skeleton! (A decrease of force.) AND SPEAKER 97 Stress: — Back to thy punishment, false fugitive. (Radical.) Softly sleep and breathe the odors sweet. (Median.) Fret till your proud heart break. (Final.) Must I budge? Must / observe you? (Compound.) Charge for the guns! Charge! (Thorough.) May God forgive me: I have been to blame. (Intermit- tent.) Pitch:— "It snows!" cries the school-boy. "Hurrah!" and his shout. Is ringing through parlor and hall. (Raising of pitch.) Read on her urn, "A broken heart!' This tells her tale. (Lowering of Pitch.) Movement: — Speak the speech, I pray you, as I pronounced it to you — trippingly on the tongue. (Fast.) There on a snow-white couch, Lay his two sons, pale, pale and motionless. (Slow.) Pause: — The old, old fashion — Death. MISCELLANEOUS EXERCISES IN EMPHASIS. By a proper application of emphasis find the true meaning of the following sentences : 1. Mr. Davis told John to saddle his horse, and John sad- dled him. 2. The dog would have died if they hadn't cut off his head. 3. A fellow in a market town most musical cries razors up and doivn. 4. Now, therefore, the said witness (says the said Thomas) is a thief. 98 brown's standard elocution 5. He had a patient lying at Death's door, Some three miles from the town, it might be four. 6. A man who is in the daily use of ardent spirits, if he doesn't become a drunkard, is in danger of losing his health and character. 7. O, fools, and slow of heart to believe all that the proph- ets have written of me. 8. Hang out our banners on the outward wall ; The cry is "Still they come." 9. A man going to sea, his wife desired the prayers of the congregation. SLUR. Slur is a smooth, rapid, subdued movement of voice over certain words, phrases and clauses of less importance than others with which they stand associated. The object of Slur is to bring out the principal thought of a passage as contained in the leading clause by a subdued force and rapid movement over the subordinate, or auxiliary clauses. LAW OF USE. The Slur is applied to passages expressing contrast, repeti- tion, explanation, modifications of persons, things, time, place, cause, manner and degree, and all parenthetical expressions. Note. — Let the student place curves around slurred pas- sages in the following selection and read correctly : The Worth of Eloquence. 1. Let us not, gentlemen, undervalue the art of the orator. Of all the efforts of the human mind, it is the most astonishing in its nature and the most transcendent in its immediate AND SPEAKER 99 triumphs. The wisdom of the philosopher, the eloquence of the historian, the sagacity of the statesman, the capacity of the general, may produce more lasting effects upon human affairs, but they are incomparably less rapid in their influence and less intoxicating from the ascendancy they confer. 2. In the solitude of his library, the sage meditates on the truths which are to influence the thoughts and direct the con- duct of men in future times; amid the strife of faction, the legislator discerns the measures calculated, after a long course of years, to alleviate existing evils or produce happiness yet unborn ; during long and wearisome campaigns, the commander throws his shield over the fortunes of his country, and pre- pares, in silence and amid obloquy, the means of maintaining its independence. But the triumphs of the orator are im- mediate ; his influence is instantly felt ; his, and his alone, it is, "The applause of listening senates to command, The threats of pain and ruin to despise, To scatter plenty o'er a smiling land, And read his history in a nation's eyes." 3. "I can conceive/' says Cicero, "of no accomplishment more to be desired than to be able to captivate the affections, charm the understanding, and direct or restrain, at pleasure, the will of whole assemblies." This single art, amongst every free people, has commanded every encouragement and been attended with the most surprising effects ; for what can be more astonishing than that from an immense multitude one man should come forth, the only, or almost the only, man who can do what nature has made attainable by all ? Or, can any thing impart to the ears and the understanding a pleasure so pure as a discourse which at once delights by its elocution, enlists the passions by its rhetoric, and carries captive the con- viction by its logic ? 4. What triumph more noble and magnificent than that 100 brown's standard elocution of the eloquence of one man swaying the inclinations of the people, the consciences of judges and the majesty of senates? Nay, further: can aught be esteemed so grand, so generous, so public-spirited, as to relieve the suppliant, to raise up the prostrate, to communicate happiness, to avert danger, to save a fellow-citizen from exile and wrong? Can aught be more desirable than to have always ready those weapons with which we can at once defend the weak, assail the profligate, and re- dress our own or our country's injuries? 5. Apart from the utility of this art in the forum, the rostrum, the senate, and on the bench, can any thing, in retirement from business, be more delightful, more socially endearing, than a language and elocution agreeable and pol- ished on every subject? For the great characteristic of our nature, that which distinguishes us from brutes, is our capacity of social intercourse, our ability to convey our ideas by words. Ought it not, then, to be pre-eminently our study to excel man- kind in that very faculty which constitutes their superiority over brutes? 6. Upon the eloquence and spirit of an accomplished orator may often depend, not only his own dignity, but also the wel- fare of a government; nay, of a people. Go on, then, ye who would attain this inestimable art. Ply the study you have in hand, pursue it with singleness of purpose, at once for your own honor, for the advantage of your friends, and for the serv- ice of your country QUALITY OF VOICE. The term Quality of Voice is applied to the nature, charac- ter, or kind of tone used. Quality of voice is wholly independent of force, stress, or pitch. Its distinguishing characteristic is the place of reverbera- tion or resonance. This depends upon the state of mind or AND SPEAKER 101 physical condition of the speaker. Hence, the quality em- ployed becomes a valuable aid in the portrayal of thought, senti- ment, and emotion. Eight qualities of the voice are commonly recognized, namely : PURE TONE PLAINTIVE GUTTURAL NASAL OROTUND PECTORAL ASPIRATE FALSETTO. PURE TONE. The Pure Tone is a clear, pure, smooth, round, musical tone, the reverberations being confined wholly within the mouth. In its production, all the breath employed is converted into tone free from aspiration and harshness. The Pure Tone is illustrated in nature by the joyous songs of birds and the merry ringing laugh and gleeful tones of chil- dren. DIRECTIONS FOR SECURING PURE TONE. Shape the mouth and lips in such a manner as to form the sound of oo in ooze, the tongue lying low and concave upper- most so as to form the largest mouth cavity. Utter the sound of oo several times with your conversational pitch. To test the purity of tone, while practicing, place the back of the hand within three inches of the mouth. If any air is felt to strike the hand your tone is not pure. Purse the lips less and repeat. PURE TONE. Exercises: eve aim vain heel moan ale air here home breathe LAW OF USE. The Pure tone is used in the expression of pathos and ten- 102 brown's standard elocution derness, in solemn, serious, tranquil, narrative, didactic, and descriptive thought, in calling, and in joyous and mirthful emo- tions. The Three Cherry-Stones. Narration and Description. Narrative and descriptive, appealing to the fancy, senti- ment, and imagination. It requires, according to the vivid- ness of the thought or scene, great variety of slides, portraying the constantly changing picture and development of incident. Use a pure tone and conversational style. 1. Three young gentlemen, who had finished the most sub- stantial part of their repast, were lingering over their fruit and wine at a tavern in London, when a man of middle age, and middle stature, entered the public room where they were sitting, seated himself at one end of a small unoccupied table and, calling the waiter, ordered a simple mutton chop and a glass of ale. 2. His appearance, at first view, was not likely to arrest the attention of any one. His hair was beginning to be thin and gray ; the expression of his countenance was sedate, with a slight touch of perhaps, melancholy; and he wore a gray surtout with a standing collar, which manifestly had seen service, if the wearer had not, — just such a thing as an officer would bestow upon his serving man. He might be taken, plausibly enough, for a country magistrate, or an attorney of limited practice, or a school-master. 3. He continued to masticate his chop and sip his ale in silence, without lifting his eyes from the table, until a cherry- stone, sportively snapped from the thumb and finger of one of the gentlemen at the opposite table, struck him upon his right ear. He eye was instantly upon the aggressor, and his ready intelligence gathered from the ill-suppressed merriment of the party that this petty impertinence was intentional. 4. The stranger stooped, and picked up the cherry-stone and a scarcely perceptible smile passed over his features as he carefully wrapped it up in a piece of paper, and placed it in AND SPEAKER 103 his pocket. This singular procedure, with their preconceived impressions of their customer, somewhat elevated as the young gentlemen were by the wine they had partaken of, capsized their gravity entirely, and a burst of irresistible laughter pro- ceeded from the group. 5. Unmoved by this rudeness, the stranger continued to finish his frugal repast in quiet, until another cherry-stone, from the same hand, struck him upon the right elbow. This also, to the infinite amusement of the other party, he picked from the floor, and carefully deposited with the first. 6. Amidst shouts of laughter, a third cherry-stone was soon after discharged, which hit him upon the left breast. This also he very deliberately took from the floor, and deposited with the other two. 7. As he rose, and was engaged in paying for his repast, the gaiety of these sporting gentlemen became slightly subdued. It was not easy to account for this. Lavater w 7 ould not have been able to detect the slightest evidence of irritation or resent- ment upon the features of the stranger. He seemed a little taller, to be sure, and the carriage of his head might have appeared to them rather more erect. He walked to the table at which they were sitting, and, with that air of dignified calm- ness which is a thousand times more terrible than wrath, drew a card from his pocket, and presented it with perfect civility to the offender, who could do no less than ofifer his own in return. 8. While the stranger unclosed his surtout, to take the card from his pocket, they had a glance at the undress coat of a military man. The card disclosed his rank, and a brief in- quiry at the bar was sufficient for the rest. He was a captain whom ill health and long service had entitled to half -pay. In earlier life he had been engaged in several afifairs of honor, and, in the dialect of the fancy, was a dead shot. 9. The next morning a note arrived at the aggressor's residence, containing a challenge, in form, and one of the cherry-stones. The truth then flashed before the challenged party, — it was the challenger's intention to make three bites at this cherry, three separate afifairs out of this unwarrantable frolic ! The challenge was accepted, and the challenged party, in deference to the challenger's reputed skill with the pistol, had half decided upon the small sword; but his friends, who 104 brown's standard elocution were on the alert, soon discovered that the captain, who had risen by his merit, had, in the earlier days of his necessity, gained his bread as an accomplished instructor in the use of that weapon. 10. They met, and fired alternately, by lot; the young man had selected this mode, thinking he might win the first fire. He did — fired, and missed his opponent. The captain leveled his pistol and fired — the ball passed through the flap of the right ear, and grazed the bone ; and, as the wounded man in- voluntarily put his hand to the place, he remembered that it was on the right ear of his antagonist that the cherry-stone had fallen. Here ended the first lesson. A month had passed. His friends cherished the hope that he would hear nothing more from the captain, when another note — a challenge of course — and another of those ominous cherry-stones arrived, with the captain's apology, on the score of ill-health, for not sending it before. 11. Again they met — fired simultaneously, and the captain, who was unhurt, shattered the right elbow of his antagonist, — the very point upon which he had been struck with the cherry- stone; and here ended the second lesson. There was some- thing awfully impressive in the modus operandi, and exquisite skill of his antagonist. The third cherry-stone was still in his possession, and the aggressor had not forgotten that it had struck the unoffending gentleman upon the left breast. A month had passed — another — and another, of terrible suspense ; but nothing was heard from the captain. Intelligence had been received that he was confined to his lodging by illness. 12. At length the gentleman who had been his second in the former duels once more presented himself, and tendered another note, which, as the recipient perceived on taking it, contained the last of the cherry-stones. The note was super- scribed in the captain's well-known hand, but it was the writ- ing evidently of one who wrote feebly. There was an unusual solemnity also in the manner of him who delivered it. The seal was broken, and there was the cherry-stone in a blank envelope. "And what, sir, am I to understand by this?" inquired the aggressor. "You will understand, sir, that my friend forgives you — he is dead !" and speaker 105 God's Beautiful City. 13. F. TAYLOR. Solemnity. Solemnity requires nearly the same elements of expression as Pathos, with lower pitch and slower movement of voice — the greater the solemnity the lower the pitch and the slower the movement. Let the waves be full and impressive, the quality pure and round and free from affectations. God's Beautiful City is very suitable for a closing piece. 1. Far, far away, amid realms of light, Hid deep in the azure beyond our sight, Stands a beautiful city so high and bright, Where is known no sorrow, nor death nor night. Beautiful City ! Oh, blest abode, oh, home of God ! Whose streets by the feet of the sinless are trod. 2. They roam through the gardens of endless spring, They crowd all thy portals, on rushing wing, While the echoing domes of the palace ring With the hymns of the angels that shout and sing. Beautiful City! Hark ! hark again ! the angelic strain, As gleams through the crystal, that burnished train. 3. There the life-fires brighten, and burn, and roll. O'er diamonds that sparkle o'er sands of gold, Where to breathe the sweet air yields a bliss untold, And the dwellers immortal shall never grow old. We pierce the skies with longing eyes, And yearn to inherit the golden prize. 4. It is said that the King, in his power sublime, When the last sands drop from the glass of time, And our world shall be robed in its Eden prime, Will bring down that city to gladden earth's clime. Beautiful City ! Bright capital where saints shall dwell, And reign on the throne with Immanuel. 106 brown's standard elocution 5. I have heard in that city they wait for me ; That its gates stand open wide and free ; That the ransomed the King in his beauty may see, And live in his presence eternally. O, Beautiful City! In royal state blest mansions wait, And beckon us on through the pearly gate. A Happy Young Girl. EUGENE J. HALL. Gay, joyous and mirthful emotions arise from any unusual mental or physical exaltation, and their effective delivery re- quires great vocal flexibility, as varied pitch, force and move- ment and the skillful use of slides and waves. 1. I wonder if, under the beautiful sky, There's a good looking girl that is gladder than I ? I'm merry, for Jerry has promised for life To take me and make me his fond little wife. He called me his honey, O, wasn't it funny, My face in my apron I bashfully hid. I said I was willing, I didn't look chilling, And Jerry looked tickled to pieces, he did ! I'm happy, ha ! ha ! I'm tickled, he ! he ! There's nobody living more merry than me. I wonder if, under the beautiful sky, There's a good looking girl that is gladder than I ? 2. Up nigher the fire the sofa we drew, And we talked of the future as true lovers do. Twas splendid ; he tended the bright fire for me Till the awful old clock in the corner struck three. Nobody was stirring, The old cat was purring. AND SPEAKER 107 The curtain was down and the keyholes were closed ; And, somehow, he kissed me, lie could not resist me, And that's how it happened that Jerry proposed. Tin happy, ha ! ha! 1 'm tickled, he ! he ! There's nobody living more merry than me. 1 wonder if, under the beautiful sky, There's a good looking girl that is gladder than I ? To-Day. carpenter. The expression of didactic thought is addressed to the judg- ment and reason through the intellect; and while fewer vocal embellishments are required than in description and narration, the logical connection of terms and accuracy of statement de- mand the utmost precision of utterance and purity of tone, Deliver with sincere earnestness. 1. Don't tell me of to-morrow; Give me the man who'll say, That, when a good deed's to be done, "Let's do the deed to-day." We may all command the present, If we act and never wait; But repentance is the phantom Of a past that comes too late! 2. Don't tell me of to-morrow; There is much to do to-day That can never be accomplished If we throw the hours away; Every moment has its duty; Who the future can foretell? Why put off until to-morrow What to-day can do as well ? 108 brown's standard elocution 3. Don't tell me of to-morrow; If we look upon the past, How much that we have left to do We cannot do at last ! To-day it is the only time For all upon the earth ; It takes an age to form a life — A moment gives it birth ! Death of Little Paul. charles dickens. Pathos is designed to awaken in the hearer emotions of sympathy for the person or object represented. The require- ments are a clear conception of the conditions described, genu- ine sympathy, purity of tone, and effusive utterance of the particularly expressive words. The slides and waves rarely reach the note of a third. The rising slide prevails in the more intensely pathetic parts. Avoid anything like "show" — ■ be natural. 1. Little Dombey had never risen from his little bed. He lay there, listening to the noises in the street, quite tranquilly ; not caring much how the time went, but watching it and watching everything. 2. When the sunbeams struck into his room through the rustling blinds, and quivered on the opposite wall, like golden water, he knew that evening was coming on, and that the sky was red and beautiful. As the reflection died away, and a gloom went creeping up the wall, he watched it deepen, deepen, deepen into night. Then he thought how the long unseen streets were dotted with lamps, and how the peaceful stars were shining overhead. His fancy had a strange tendency to wander to the river, which he knew was flowing through the great city ; and now he thought how black it was, and how deep it would look reflecting the hosts of stars ; and, more than all, how steadily it rolled away to meet the sea. AND SPEAKER 109 3. k Tloy! What is that?" "Where, dearest ?" "There ! at the bottom of the bed." "There's nothing there, except papa!" The figure lifted up its head and rose, and, coming to the bedside, said : 4. "My own boy ! Don't you know me?" Paul looked it in the face. Before he could reach out both his hands to take it between them and draw it towards him, the figure turned away quickly from the little bed, and went out at the door. The next time he observed the figure sitting at the bottom of the bed, he called to it. "Don't be so sorry for me, dear papa. Indeed, I am quite happy !" 5. His father coming and bending down to him, he held him round the neck, and repeated these words to him several times, and very earnestly; and he never saw his father in his room again at any time, whether it were day or night, but he called out, "Don't be so sorry for me! Indeed, I am quite happy !" 6. How many times the golden water danced upon the wall, how many nights the dark river rolled towards the sea in spite of him, Paul never sought to know. 7. One night he had been thinking of his mother and her picture in the drawing room down stairs. The train of thought suggested to him to inquire if he had ever seen his mother. For he could not remember whether they had told him yes or no, the river running very fast, and confusing his mind. 8. "Floy, did I ever see mamma?" "No, darling; why?" "Did I never see any kind face, like a mamma's, looking at me when I was a baby, Floy?" "O yes, dear!" "Whose, Floy?" "Your old nurse's. Often." 9. "And where is my old nurse? Show me that old nurse, Floy, if you please !" "She is not here, darling. She shall come to-morrow." "Thank you, Floy!" 110 brown's standard elocution io. Little Dombey closed his eyes with these vvo