LIBRARY OF CONGRESS. iffaju §ttjajng$;3§ & Shelf P.M£.\ \l J3.7 5^ UNITED STATES OF AMERICA. 3 1885 COMMON SCHOOL Elocution and Oratory: A MANUAL OF VOCAL CULTURE BASED UPON SCIENTIFIC PRINCIPLES PHILOSOPHICALLY PRESENTED AND FULLY ILLUSTRATED WITH APPROPRI- ATE SELECTIONS FOR READING AND RECITATION. DESIGNED FOR COMMON SCHOOLS, ACADEMIES, COLLEGES AND PRIYATE LEARNERS. /* I. H. BROWN, Teacher of Elocution and Oratory. - ST. LOUIS: I. H. BROWN & CO. 188 5. Entered according to act of Congress, in the year 1885, by I. H. BROWN, In the Office of the Librarian of Congress, at Washington, D. C. St. Louis: Becktold Nasal. ^ Explosive. Falsetto, r Vocals. H Subdued. Subvocals. Force < Moderate. II. Articula- ^ Aspirates. Full. tion. Consonants. W< .Sustained. Diphthongs. ^ ■^ Radical. • L Orthoepy. Median. ti 55 Stress < Final. QQ Compound. H Thorough. Intermittent ( Concrete. Pitch. ] ( Discrete. r Middle. a * III. Vocal Ex- pression. ' Voice Culture. Voice , . Preservation. High. [Low. < Moderate. fc Movement < Rapid. [Slow. Position. f [Medium. Movements. Quantity r < , Long. V IV. Action. i Gesture. [Short. Facial Expres- Slides Upward. sion. Waves. Downward. Melody. Slur. Emphasis. h) f Absolute. Quality. V. Grouping. 4 Pauses. .Sentiment. 2 Em- J Relative, phasis. | 1 Cumula- Force. Stress. Pitch. o te tive. Movement. r The Six Parts. ^ Moderate. VI. Original Conversation. Pauses . Long. Discourse. y Extempora- L neous Speech. Cadence. Climax. [ Short. , i „ Anti-Climax. COMMON SCHOOL ELOCUTION AND ORATORY. INTRODUCTION- GENERAL OUTLINE. 1. ELOCUTION. 1. Elocution (from e, out, and loqui, to speak) is the expression of feeling and thought by means of the voice. 2. As now applied by elocutionists, it includes the science and art of conveying thought by all the organs of the body, in an easy, graceful, and forcible manner. 3. Its study and systematic practice, based upon principles of nature, make the voice clear, strong, flexible, and melodious ; and give the body and limbs a pliancy and harmony of motion that render the position and action of the speaker or reader at once graceful and natural. 4. The complete mastery of its principles enables 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 argument. 5. The gift of reason to the human race derives its value from the gift of speech ; but the speech of nature (i) 2 COMMON SCHOOL ELOCUTION. is so trammeled by habit and corrupted by associations, that the promptings of our God-nature, as revealed in speech, are practically ignored. Nature, in most cases, means habit, and has been very properly desig- nated, " second nature." 6. Elocution calls into action the most vital organs of the body, in a manner, too, that stimulates them to their most exalted capabilities and consequent develop- ment ; hence, the importance of studying it in youth. 7. A single sentence may be the exponent of years of study and experience, as in the case of Sheridan; but its utterance with the astounding effect peculiar to that great master of oratory, comes only with the most careful practice. 8. Correct elocutionary training has for its object the complete subordination of the physical being to the service of the mind and spirit, thought being the pro- duct of the inner spiritual man, and speech and gesture its natural outlet through the exterior or physical man. 2. Requirements of Good Elocution. 1. A full and free respiration ; 2. A correct and distinct articulation ; 3. A thorough knowledge and perfect control of all the elements of vocal expression ; 4. Complete control of every muscle of the face, hands, feet, and body ; 5. A thorough understanding of the thought to be expressed. 6. Perfect self-possession. THE READERS POSITION. 3. Division of the subject. These live requisites divide the subject of elocution naturally into five parts, which are designated as fol- lows : — Part I. Respiration. Part IT. Articulation. Part III. Elements of Vocal Expression. Part IV. Action. Part V. Grouping. Part VI. Original Discourse. 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 sup- ported, 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 ex- panded, the position erect and easy. 4 COMMON SCHOOL ELOCUTION. 4. SUGGESTIVE HINTS TO TEACHERS. 1. Whatever indifference or languor the pupil ex- hibits in other exercises, no feeble effort is to be toler- ated in elocution. Require a constant and vigorous mental and bodily activity, or excuse the laggard from participation. 2. The exercise should be performed according to the text, mastering each principle as it is presented. When the book is completed review the examples whose elements are given in the key, with all accom- panying requisites to secure the most effective expres- sion possible. 3. The exercises in Respiration are not only benefi- cial in the cultivation of voice power, but are healthful and invigorating, and should not be abridged. 4. The mere pronunciation of the words in articula- tion will not repay the time occupied in the act. The elements must be accurately and vigorously uttered alone — each articulated with that incisive energy that implies a finality. 5. The questions placed at the close of certain topics are not to be asked by the teacher, but should be used in the following manner: each pupil rises as called, and, holding the book open, reads and answers as many questions as the teacher may assign to him. 6. Read the Lesson Occasionally for the Class. Group the words of a paragraph or an entire selection ; read each group separately, stopping for the class to repeat it with appropriate expression. SUGGESTIVE HINTS TO TEACHERS. 5 7. The selections are admirably adapted for declama- tion, and if used as such, after their component ele- ments of expression are mastered, they will lay the foundation of an effective oratorical power. 8. The process of Grouping can be profitably used as a syntactical and rhetorical drill. As a blackboard exercise, permitting class criticism, it will be very in- teresting and valuable. 9. No amount of instruction will compensate for a meagre drill. The highest excellence in reading or speaking requires the same conditions as music, paint- ing, and poetry, — Practice, Practice^ Practice. PART I. 5. RESPIRATION. 1. Kespiration, or breathing, is the act of taking air into the lungs and expelling it from them. 2. Voice is dependent upon a proper and sufficient supply of air for its purity, power, and flexibility ; hence, habits of correct breathing should be acquired early and adhered to faithfully. 3. The organs concerned in respiration are, the Diaphragm, Abdominal Muscles, Thoracic (chest) Muscles, Larynx (Adam's Apple), the Trachea (wind- pipe), the Bronchia (branches of the windpipe), and the Lungs. These should be kept in a healthy condi- tion by judicious use and frequent practice. They are capable of being subjected to the will to such an ex- tent that respiration is said to be suspended by the pearl fishers of India from three to four minutes. Note. — The longer a reader can hold his breath the more effec- tive will be his delivery of those complex sentences that become al- most meaningless if broken by spasmodic gaspings for breath. 4. In the exercises which follow, enter upon your work with vigor and earnestness, determined to accom- plish the results sought. Keep your thoughts directed 16) BREATHING EXERCISES. i upon the organ in action. Estimate each day your improvement upon the previous accomplishments. 5. Bear in mind that as voice is dependent upon a copious supply of air, under the control of the will, so effective breathing is dependent upon pure bloody which, in turn, owes its existence to proper and suffi- cent food and physical exercise. 6. As a reward for your faithful practice of these ex- ercises in respiration, you are promised an increased activity and buoyancy of spirits, a command of voice that will be pleasing to your friends, and above all, a vigor of mind and body that can accompany only per- fect health. 6. Position of the Body. Stand erect, without constraint, with one foot slightly in advance of the other, with the body mainly sup- ported by the rear foot. Throw the shoulders backward and downward. Project the chest as fully as may be without a sense of effort. Keep the mouth shut unless directed otherwise. In this connection, the pupil is reminded that the mouth should be kept closed at all times when not in actual use. Breathing must be per- formed through the nostrils, and not through the mouth. 7. Breathing 1 Exercises. Note. — Continue each of the following exercises from three to five minutes. 1. Abdominal Breathing. Place the fingers upon the abdominal muscles and thumbs upon the costal 8 COMMON SCHOOL ELOCUTION. muscles. Take a full breath, forcing the abdominal muscles outward, then let the muscles sink in as the breath comes out. Hold the shoulders firm. 2. Chest Breathing. Eelax the muscles of the chest. Take a full breath, and expand the chest to its full capacity. Exhale slowly ; direct the thoughts to the object to be accomplished in this, as in all other exercises. 3. Dorsal (back) Breathing. Place the fingeis at the back of the dorsal muscles, and thumbs on the sides. Take a full breath, trying to expand the mus- cles under your fingers as much as possible. Exhale slowly and evenly. This method of breathing is par- ticularly healthful, and care should be taken to dress so that its free action be not impeded. 4. Costal (rib) Breathing. Place the fingers on the costal muscles and the thumbs at the back. Take a full breath, distending the muscles of the ribs as much as possible. In exhaling, let the sides sink in to their full extent. 5. Waist Breathing. With hands hanging by the sides inhale with a view of distending the entire circle of the waist. Let the breathing be full and deep. 6. Holding the Breath. A valuable exercise for controlling the breathing is to practice the " Waist Breathing " method for a few seconds, until the muscles employed are under the control of the will, and then observe, by noticing the second-hand of a watch, how long you can hold your breath. 7. Effusive Breathing. Inhale naturally, filling SPECIAL INSTRUCTIONS. V the lungs, then exhale through the mouth gently and gradually in the sound of the letter /*, giving out only sufficient breath to keep the sound audible. 8. Expulsive Breathing. Inhale as before, and expel the air forcibly but gradually through the mouth in the sound of the letter h. 9. Explosive Breathing. Inhale as before to your utmost capacity, and send forth the breath from the mouth a> suddenly as possible in the sound of the letter h. SPECIAL INSTRUCTIONS. 1. Of the fore^oino: exercises, the Abdominal Method is the most important. 2. Keep the chest expanded at all times; be careful not to elevate the shoulders. 3. Breathe fully and vigorously pure air ; this will give you increased mental energy and activity. 4. The abdominal walls should be supported by the abdominal muscles. 5. Permit no air to enter the mouth; inhale through the nostrils. Gaping and yawning result from imper- fect respiration ; attention to proper breathing for a few months will dispense with their necessity. 6. Do not read or speak when the lungs are exhausted. 7. Waste no breath : use a pure tone quality. [See 46.] 8. Acquire such control of respiration that you can utter three hundred syllables without taking breath. Test: Head the 1st and 2nd paragraphs of " Two Boot-Blacks," or all of No. 11, page 52, in one breath. 10 COMMON SCHOOL ELOCUTION. MISCELLANEOUS RESPIRATORY EXERCISES. 1. The following breathing exercises are designed, in connection with appropriate calisthenics and gesture, to develop a strong, vigorous physique, intellectual activity, and command of voice, and to protect the student from lung and throat diseases. 2. To secure the greatest benefit from their practice they should receive constant attention. In order that the student may practice some method at all times without interference with other duties, they are made to embrace the utmost variety of forms of respiration. He who aspires to the greatest command of his natural powers should attend to all. 3. Stand erect; expand and project the chest; do not elevate the shoulders ; inhale through the nostrils. This position is termed active chest; maintain it in standing, walking, and sitting. 4. When walking assume the active chest. Hold the shoulders firm. Imagine yourself drawn forward by some unseen power with a cord about your waist. 5. When you retire lie upon }^our back, slightly project the chest, tightly compress the lips, inhale deeply and evenly until you fall asleep. This practice will in a few weeks become a habit, and as a result of its observance you will sleep soundly and awake refreshed, without the unpleasant taste so common to mouth breathers and snorers. 6. Select any composition with many long and involved sentences, and endeavor to read it without MISCELLANEOUS RESPIRATORY EXERCISES. 11 permitting any air to enter the mouth, inhaling always through the nostrils. 7. Take a full breath and vocally prolong the syl- lable ah, at first ten seconds, and gradually increase the time until you can continue the sound sixty seconds without discomfort or a perceptible tremor of voice 8. Assume active chest. Inhale and exhale a number of times as in abdominal breathing, after which repeat the alphabet, distinctly pronouncing each letter, as many times as you can without taking breath. Prac- tice will enable you to repeat the alphabet from eight to ten times with a single breath. 9. Repeat the vowels a e I o u in rapid succession as many times as you can in one breath, keeping count by marking with a pencil. In addition to the respiratory benefit accruing from this exercise it gives command of the Radical Stress (page 112), an accom- plishment of great importance to the speaker. 10. Assume the active chest. Inhale and exhale vig- orously for a few minutes, then laugh out explosively the syllables ha ! ha ! ha ! Continue the exercise from twenty to thirty seconds without taking breath. 11. No medicated tonic is equal to copious inhala- tions of pure air. Upon going into tlie fresh air after rising from sleep, never fail to engage in a vigorous respiratory exercise, including all forms of breathing. When opportunity is afforded add the whole arm movement on page 240, or any other muscular motion permitting rhythmic execution. PART II. 8. ARTICULATION. 1 . Articulation is the utterance of the elementary sounds of a language by the proper organs of speech. 2. A distinct and ready articulation is not natural to all, and can be acquired only by frequent and long- continued drill upon elementary sounds, either alone or in combination. No elocutionary exercise should be ended without devoting some portion of it to the development of a clear, sharp-cut and decided articu- lation. 3. An elementary sound is a sound produced by a single impulse of the voice. 4. The organs employed in the production of ele- mentary sounds are, the Lips, Teeth, Tongue, Palate and Nasal organs, assisted by the respiratory organs. 5. Vocals, or Tonics, consist of tone unmodified by the organs of speech. 6. Subvocals are tones produced by the voice [See Art. 39.] and speech organs combined. 7. Aspirates are mere breathings modified by the organs of speech. 8. Vowels must be distinguished from vocals. Sounds are divided into vocals, subvocals and aspir- (12) VOCALS. 13 ates. Letters are divided into vowels and consonants. 9. Labials, or lip-sounds, are made by the lips. 10. Linguals, or tongue-sounds, are made by the tongue. 11. Linqua-dentals, or tongue-teeth-sounds, are made bv the tongue and teeth. 12. Linqua-nasals, or tongue-nose-sounds, are made by the tongue, the sound passing through the nose. 13. Palato-nasals, or palate-nose-sounds, are made by the palate, the sound passing through the nose. 14. Palatals, or palate-sounds, are made by the palate. 15. The English Language contains forty- four ele- mentary sounds, classified according to the organs employed in producing them, as follows : — 9. Vocals. a long, as in ate. a short, as in at. a middle, as in ask. a Italian, as in arm. a broad, as in all. a double, as in air. e long, as in eve. I long, as in Ice. I short, as in Ink. o long, as in old. o short, as in odd. o long oo, as in prove. o short oo, as in woman. u long, as in use. u short, as in us. e short, as in elk. e modified by r, as in err. 10. Sometimes classed as Diphthongs. a = a+e. 5 = o + oo. oi = o + i. I = a + e. u = e + ob. ou = 6 + oo. 14 COMMON SCHOOL ELOCUTION. 11. Labials. Subvocals. b, as in boy. v, as in vine, w, as in we. m, as in man. 12. Lingua-Dentals. Subvocals. d, as in did. th (vocal), as in this, j, as in jar. z, as in zone. z (-zh), as in seizure. 13. Lingnals. Subvocals. 1, as in lull, r, as in roar. 14. Lingua-Nasal. SubvocaL n-, as in nun. 15. Palato-Nasal. SubvocaL ng, as in song. 16. Palatals. Subvocals. g, as in gay. y, as in you. Aspirates. p, as in pin. f, as in fire, wh, as in what. Aspirates. t, as in tin. th (sharp), as in think ch, as in church. s, as in see. sh, as in shine. (No aspirates.) (No aspirate.) (No aspirate.) Aspirates k, as in kin. h, as in how. EXERCISES TV ARTICULATION, 10 17. Exercises in Articulation. 1. No single subject taught in connection with elo- cution and reading is of greater importance than artic- ulation ; and yet, the exercises prepared for drill are usually regarded so irksome and profitless as to receive but little attention at the hands of the instructor and pupil. This neglect is due, first, to a want of appre- ciation of the great benefit derived from a persistent and intelligent use of the tables, and second, to a want of method in conducting the exercise. 2. To furnish a method that will prove interesting and productive of desirable results, the following sug- gestion is given ; and those who aspire to a clear, easy, and pleasant delivery are urged to follow it. 3. Instead of merely pronouncing the element and word designed for practice in a spiritless, feeble man- ner, spell by sound the entire word distinctly and with force sufficient to fill a large room. In this manner conduct every exercise in articulation ; and by the time the prescribed exercises are completed you will have attained an enviable skill in distinctness of utter- ance. 4. To this suggestion may be added the hint that every exercise in conversation and reading should be made an exercise in articulation. 5. Stand erect, keep the head up, the eyes to the front, the chest expanded, the shoulders thrown back, and 3'our mind upon what you are doing. 16 COMMON SCHOOL ELOCUTION. 18. Exercises on Vocals. Utter with special force the element under consider ation. 1. a, as in ate. Kate came say ale played hay stage g™y aid 2. a, as in at. had mat man ran bad hast sat cat that 3. a, as in ask. task grant mass dance aft master fast graft pass 4. a, as in arm. art arch charm calm farm qualm heart cart barn 5. a, as in all. hall call ward water applaud draw quart fall stall (>. a, as in air. stair care fare lair hair bare dare pair prayer 7. e, as in eve. me the seed EXERCISES ON VOCALS. 17 heed sea treat meet seen deed 8. e, as ill elk. met set well head fed red hem men web 9. e, as in t err. her earth prefer merge serge mercy were verge berth 10. I, as in ice. night mire ride ire mine time rice rive bite 11. I, as in ink. him mink thin bin tin grin rim kiln pin 12. o, as in old. hold sold roam moan soap boat cold gold toll 13. o, as in odd. not cot dot hod sod long lost dollar response 14. o, as in prove. who do you two i move moon 18 COMMON SCHOOL ELOCUTION. 15. o, as in woman, bosom wolf hood look 16. u, as in use. lute flute blue tube 17. ii, as in us. muss nut must but cup skull 19. Diphthongs. 18. oi, as in oil. boil joint joy boy choice broil 19. ou, as in out. shout found thou now frown crowd . foot nook due duke blunder hug voice noise soil mound cow round 20. Labials. — Subvocals. 20. b, — be, boy, sob, curb, orb, tub. 21. v, — vim, love, vase, live, vent, gave. 22. w, — way, worn, web, weave, wig, will. 23. m^ — may, my, main, dim, calm, dumb. 21. Labials. — Aspirates, 24. p, — pie, pan, pop, map, poppy. 25. f, — fun, fife, fay, five, fifty. 26. wh, — where, when, whale, whim, whistle. EXERCISES OF COMBINED CONSONANTS. 19 22. Lingua-Dentals, — Subvocals. 27. d, — day, deed, dandy, mud, hard. 28. th, vocal, — they, them, thee, feather, beneath. 29. j,— jay, joy, judge, jingle. 30. z, — zone, zay, buzz, zone, zero. 31. z-zh, — azure, seizure, measure, fusion. 23. Lingua-Dentals. — Asjmxites. 32. t, — tea, tie, late, fit, mate. 33. th, sharp, — thin, thank, lath, froth, think. 34. ch, — chain, charm, chime, chop, catch. 35. s, — -say, see, hiss, sis, hasty. 36. sh, — sham, ship, flash, crash, dash. 24. Linguals. — Subvocals. 37. 1, — lo, lid, folly, lad, lonely. 38. r, — run, rill, rid, lorn, banner. 25. Lingua-Nasal. — Subvocal. 39. n, — no, now, run, vane, funny. 26. Palato-Xasal. — Subvocal. 40. ng, — song, sing, bring, long. 27. Palatals. — Subvocals. 41. g,— go, gay, gone, goggle, grumble. 42. y, — yes, yet, your, yoke, yonder. 28. Palatals. — Asj)i?xites. 43. k, — key, kept, sack, baker, tickle. 44. h, — he, hay, hid, home, hub. 29. Exercises on Combined Consonants. br, — brought, brindle, broom, bring. 20 COMMON SCHOOL ELOCUTION. bst, — nab'st, grub'st, throb'st. bldst, — troubl'd'st, tumbl'd'st, grumbl'd'st. bdst,— fib'd'st, sob'd'st, throb'd'st. gldst, — mangl'd'st, wiggl'd'st, struggl'd'st. fldst, — trifl'd'st, muffl'd'st, stifl'd'st. dndst, — wid'n'd'st, hard'n'd'st. tldst,— nestl'd'st, whistl'd'st. ldst, — handl'd'st, kindl'd'st. sk'st, — risk'st, husk'st, ask'st. 30. General Exercises in Articulation. 1. Let lovely lilacs line Lee's lonely lane. 2. He drew long, legible lines along the lovely land- scape. 3. Theophilus Thistler, the successful thistle-sifter, sifted a sieve full of unsifted thistles. 4. The old, cold scold sold a school coal-scuttle. 5. Did you ever see a saw saw a saw? 6. Eight great gray geese grazing gaily into Greece. 7. Round the rough and rugged rocks the ragged rascals ran. 8. He sawed six long, slim, sleek, slender saplings. 9. Socks and shoes shock Susan. 10. Some shun sunshine ; do you shun sunshine? 11. The hosts still stand in strangest plight. 12. Five wise wives weave withered withes. 13. She sells sea-shells ; shall he sell sea-shells? 14. She uttered a sharp, shrill shriek, and then shrunk from the shriveled form that slumbered in the shroud. GENERAL EXERCISES IX ARTICULATION. 21 15. A shot-silk sash shop. 16. Prithee blithe youth, do not mouth your words, when you wreathe your face with smiles. 17. Amidst the mists, with angry boasts, He thrusts his fists against the posts, And still insists he sees the ghosts. 18. The sun shines smilingly on the shop-signs. 31. Distinguish by Sound the following: Contrasts : chance — chants sense — cents tracks — tracts axe — acts patience — patients prince — prints reflex — reflects relics — relicts. Xote. — Read the following with the greatest rapidity of move- ment consistent with distinctness of utterance. [50 seconds.] 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 corners doing nothing, when the white boot-black agreed to black 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. 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 22 COMMON SCHOOL ELOCUTION . 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. 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 refused to black the unblacked boot of the black boot- black, blacked the black boot-black's visionary organ, and in which the black boot-black wore all the blacking off his blacked boot in booting the white boot-black. 32. Reading by Sound. Utter each element separately before passing to the next : — L i ke | d r ea r y | p r i s on | walls | Th e | s t e r n | g r a y | m ou n t ai n s | r i so j U n t i 1 | th ei r | t o p m o s t | c r a g s | T ou cli | th e | f ' a r | g 1 oo m y | s k ie s; j O n e | s t ee p | a n d | n a it ow | p a th | W i n d s | u p | th e | m ou n t ai n's | c ive s.t | And | from | our | va 11 ey | 1 ea d s | Ou t | t o | th e | g o 1 d e n | w e s t. | 33. Exercises in Orthoepy. The following words in common use, are so fre- quently mispronounced by well informed people that EXERCISES IN ORTHOEl'V. 23 frequent drill upon them is essential to secure their correct pronunciation. Their notation is omitted, that the pupil may be required to avail himself of the dic- tionary, thus securing greater familiarity with their pronunciation. Every word should be looked up in the dictionary. It must not be assumed that the pu- pil can pronounce them correctly because they are familiar. Nothing makes a reader or speaker, who has some pretensions as such, more ridiculous than faulty pronunciation : — I. II. III. on vagaries saline were brooch bromine fast beneath trough long cortege enervate due eclat gamin was again elm ally visor off lurid lien hearth recess bomb chant fiery listen pass IV. V. VI. lute facade nomad here idea salt withe tiny lost cement(n) frontier iron romance exhort dog gaseous swollen duty opponent palaver bird 24 COMMON SCHOOL ELOCUTION. peremptory squalor their Calliope hostage prayers coupon inquiry falcon VII. VIII. IX. allies comely answer flaccid laugh earn raillery placard gladiolus comparable subsidence leisure rouge frontal iodine debut respirable frequent(v) regime amenable contour banana luscious suite tyrannic mock caret morale diffuse lvceum X. XI. XII. equipage contrary apparatus debris banian aspirant finale cognomen morphine cabal saucer contumely curator often rise (noun) fulsome after museum exhale song Danish carbine urn gondola plateau acacia water three-legged discern divan XIII. XIV. XV. desist graft ^Eneid obesity log obligatory exude branch defalcate QUESTIONS ON ARTICULATION. 25 probity rapine Uranus reputable caisson sotto-voce specious XVI. ribald allegorist decade bivouac dolorous pageant irony (n) irony (adj.) ensign sirup XIX. protestation remediless scath adult groat adipose conservator grimalkin dynamite Bedouin new burred gallows acclimate finance vendue franchise XVII. isthmus hygiene chimera rinse caul serge surge Asia armistice abandon (n) XX. provocative reparable alias frankincense hospitable aphelion consummate (a) asphalt recusant highwayman comrade February piano docile ordeal barrel pyrites XVIII. maelstrom ferrule therefore bouquet acoustics suffice assume celibacy employe encore XXI. referrible antimony chorist granary implacable apron coquetry Belial trichina scirrhus 26 COMMON SCHOOL ELOCUTION. 1 XXII. XXIII. XXIV. repertoire sequestrate bedizen sentient basalt inopportune Arion infantile jowl billet-doux Balmoral balsamic indicatory complaisance congruent badinage ghoul glamour immobile irrefragable languor generic prescience misogynist corridor credence decorous splenetic strategic tirade XXV. XXVI. XXVII. souvenir suburban surnamed tapis booth cachet bitumen interstice joust meteorolite misconstrue mistletoe aureola bestial boulevard loathsome melee mezzotint mustache naivete nomenclature trilobite virile virulent attache blase coupe crematory erudite gherkin XXVIII. XXIX. XXX. unfrequented absolutory Adonis cafe canine chalcedony naively occult Orion cochineal commandant communist objurgate recitative referable refutable retroact senile emendation deprivation edile equivoke florist parenchyma pestle prelude premier calcinable ricochet reconnoissance PART III. 34. VOCAL EXPRESSION. 1. We come now to the third requisite of good elo- cution, the elements of vocal expression. 2. Respiration is essential, to the production of voice, and a distinct and correct articulation must be acquired to render the vocal utterance in the least degree intel- ligible ; but, ill addition to these, the speaker who would convey to his hearers in colors of living light, the varied thoughts, sentiments, and emotions that arise within him, must master by careful study and persistent practice, the following modes of the voice, termed — 35. ELEMENTS OF VOCAL EXPRESSION. Quality, Force, Stress, Pitch, Movement, Quan- tity, Slides, Waves, Melody, Slur, Emphasis, Pauses, Oai>jsnce, Climax, Anti-Climax. 36. ESSENTIAL ELE3IEXTS. 1. The first five of these, viz., Quality ', Force, Stress, Pilch and Movement, are called Essential Elements, or Attributes, because they are found in the utter- ance of every sentence. The other elements are (27) 28 COMMON SCHOOL ELOCUTION. termed Accidental Elements, or Accidents, because they may or may not exist in any given sentence. 2. A knowledge of these elements and their applica- tion, according to the unvarying laws of nature, is necessary to the orator and reader who would correctly portray the thoughts and passions that ani- mate the human soul. 3. Their importance is shown in the fact that we are instinctively attracted or repelled by their use while in conversation with another. The animals un- derstand their significance though the words we utter © © be in a language before unheard. © © 4. A knowledge of their use and value is not con- fined to the public speaker. Their influence in our daily and business intercourse is of the utmost importance. 5. The Teacher in the school-room, whose tones are shrill, nasal, throaty or husky, and whose pitch is high, piercing the ears of his pupils, as if probing for attention, may make himself heard ; but the " ways of wisdom through his instrumentality will not be ways of pleasantness," nor will his pupils get far on the way. 6. The Salesman behind the counter, whose tones are loud and swelling while extolling the merits of his © © goods, may convince customers of his ox-driving qual- ifications and by-standers of his egotism ; but he will not sell as many goods as he who understands when and how to use his voice. 7. The Lawyer who rises in his argument to his highest pitch, and continues to pour into the ears of a THE VOCAL APPARATUS. 29 jury the piping tones of an unvarying monotone, may satisfy himself of his capacious lung power; but the weary jury will sigh with relief when he ceases, and will punish his attack upon their nervous system by giving his opponent the benefit of all doubts. 8. The Mother, ignorant of the far-reaching influ- ence of those soft, sweet, melodious tones that in after years impart the sanctity of heaven to the recollec- tions of childhood, may enforce a temporary obedience to her will by that sharp, piercing command which startles the youthful loiterer from his reveries ; but the abiding influence of her motherly counsel that should follow the man through temptation and trial in later life is lost by this ignorance. 9. A Knowledge of „ the effect of these elements upon the hearer is indispensable to all who aspire to success in life ; hence, the importance of acquiring a knowledge of their correct application, and the ability to use them readily and impressively. 37. The Vocal Apparatus. It is not within the scope of the present work to give a minute description of the organs concerned in producing voice, nor of their mechanical movements in the modifications of the various elements of vocal ex- pression. While a knowledge of their anatomy, physi- ology, and hygiene is desirable in the professional elocutionist, it is not essential to excellence in vocal expression. For the benefit of those who desire to qualify themselves in the work beyond the limits of this Manual, the organs are named and defined, so that 30 COMMON SCHOOL ELOCUTION. they may be studied from works prepared for that pur- pose. 38. The Voice Organs May be divided into two classes : First, those which act in the production of sound ; and, second, those used to modify the sound hi articulated speech. 39. The Voice-Producing* Organs are : — 1. The Abdominal and Thoracic Muscles, which as- sist the motion of the diaphragm, and give greater capacity to the chest. 2. The Diaphragm, the partition which separates the abdomen from the chest. 3. The Thorax, the cavity of the chest, with its muscles. Its capacity determines the voice power. 4. The Pleura, the envelope of the lungs, acts in connection with the diaphragm. 5. The Lungs. They serve as a bellows for supply- ing the air, which, passing through the larynx, is con- verted into sound. 6. The Trachea, or windpipe, is the tube through which the air passes from the lungs into the larynx. 7. The Larynx, (Adam's Apple) is the immediate instrument of vocal sound. 40. The Voice-3Iociifying or Speech Organs are : — 1. The Larynx, which belongs to both classes. 2. The Pharynx (swallow), the cavity behind the larynx, extending up behind the veil of the palate. Its size determines the fullness and richness of the voice. THE VOICE MODIFYING ORGANS. 31 3. The Nasal Passages, which open into the pharynx. These passages lying behind the external orifices of the nose, with the pharynx form part of the resonance chamber of the voice apparatus. Note. — The term " resonance," as used in elocution, implies the place from which the vocal sound appears to come. It is the dis- tinctive characteristic of Quality of Voice. 4. The Cavity of the Mouth, including the palate. This is the space covered by the roof of the mouth, which extends from the upper front teeth to the thin veil separating the mouth from the pharynx. 5. The Internal Tubes of the Ears, tubes starting from each side of the root of the tongue and communi- cating with the ears. 6. The Tongue. 7. The Teeth, which materially aid in giving dis- tinctness to articulation. 8. The Lips. VOICE CULTURE AND MANAGEMENT. 1. The highest skill in speech is attained only by a perfect control of the voice and speech organs. 2. The first 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 breath which will enable the reader to utter one hundred or more syllables in a single breath. 3. Huskiness, harshness, and hardness of tone result from the contact of inhaled air during vocal exercise 32 COMMON SCHOOL ELOCUTION. with the lining mucous membrane of the speech organs ; hence, in the process of utterance no air whatever should enter the mouth. 4. The nasal passages should be kept constantly open. Proper breathing and cleanliness will secure this condition. 5. Fullness, depth, and richness 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. 6. To render words most easily understood by those remote from the speaker, the mouth should be opened freely and fully, and should not be closed too suddenly in finishing syllables. 7. During reading and speaking care should be exer- cised to avoid a continued pitch too high, too low, or a monotone. The last reacts upon the speaker, ren- dering 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 devel- opment — curves, slides, and waves — few planes. 8. To prevent embarrassment arising from nervous- ness, inhale and exhale to your utmost capacity a number of times before attempting to use the voice in public. The same precaution will materially prevent incoherency, stuttering and stammering in extempora- neous speech. CLASSIFICATION. 33 9. To command the greatest physical power and intellectual vigor and buoyancy of spirit, stand erect with active chest, and inhale fully and deeply — always through the nostrils — never through the mouth. 41. QUALITY OF VOICE. 1. The quality of the voice is the nature, character, or kind of tone used. 2, Different qualities arise from the ever-changing sentiment that animates the human mind and the varied physical conditions to which the body is constantly subjected. By careful culture these qualities may be secured by all, and they are indispensable in giving expression to the varied emotions and passions. No one need hope for excellence in reading or speaking who cannot attune his voice quality to the sentiment to be expressed. As a means of transmitting the inward emotions from soul to soul they are more potent than the language which they clothe. 42. CLASSIFICATION. As the quality of voice depends upon the nature of the sentiment to be expressed, and this, in turn, upon the condition of the mind or body from which the thought or feeling emanates, the qualities may be divided into two primary classes, Normal and Abnor- mal. *o twt i rx i-+- ^ Pure Tone. 43. Normal Qualities. 2 f Orotund. 34 COMMON SCHOOL ELOCUTION. C Plaintive. Pectoral. 44. Abnormal Qualities.