?f\) LIBRARY OF CONGRESS 027 249 637 7 t NEW MODE OF ILLUSTRATING ELOCUTION, WITH EXERCISES FOR PRACTICE BY PROF. T. HARRISON, A M A full knowledge of the principles and practice of an art enables an industrious and ambitious votary to approach perfection ; whilst idle followers are contented with the defaults of imitation. Rush's Philosophy SHELBYYI1 l.K. IND M . B. ROBINS, PUBLISH E I 1874. R. SriCBR, PRINTER, EM ELSIOR JOlt Ent«r«d according to Act of Congress, in the year 1874. by M. B K BINS, ii th« Office of the Librariaj .>f Congress, at Washii Prof. Harrison having produced a new work on Elocution, his publisher deems it proper to insert a few notices of his instructions as an elocutionist, and his efforts as a public speaker : Prof. Harrison gave a lesson of rare excellence in reading and elocu- tion, [in Jackson co. Teachers' Institute.] His analysis was searching and accurate, and his voice full and rich. If Prof. Harrison does such work as this generally, his instructions will be of great value in Insti- tutes. — Prof. Hoss, Editor of Indiana School Journal. Prof. Harrison ranks amongst the highest grade of elocutionists. — Rev. Dr. Moody, cor. of Cin., Gazette. We, members of a class in Elocution, taught by Prof. Harrison, [in Fayetteville, Ind.] being convinced of the superior excellence of his method of teaching, and the great value of the charts prepared by him, would recommend his method to all interested in the study of Elocu tion, and the introduction of his charts into our public schools. — Prof. J. Gamble, Rev. A. Sleeth, and Rev. I. B. Long, Committee. Prof. Harrison having given us a course of instruction in elocution, and, being fully satisfied that his mode of teaching is calculated to make good readers and effective speakers, we hereby express our en- tire confidence in his ability as a teacher, and o*r admiration of the elocutionary passages he uses, and his mode of teaching them, nature being his only and constant guide. — Class in Quakertown, Ind. Prof. Harrison delivered a very able and instructive lecture on elo- cution in the college chapel on Tuesday evening. — Brookville Dem. A class in elocution, conducted by Prof. Harrison, submitted each day to the closest drill. In vocal training this was a rare opportunity. The charts were based on Bronson's Elocution and Dr. Rush on the "Human Voice." Most persons will go home better speakers- and readers for this vocal exercise. — Report of the Teachers' Institute held in Vernon, Ind. Prof. Harrison having given a course of lessons in elocution at this place, [South Charleston, Ohio,] a unanimous call was made for another course, which was given with great satisfaction: we therefore take pleasure in stating that we regard him as a competent instructor. — Rev. R. Story, Supt. of School. Having attended a course of lectures in Elocution given by Prof. Harrison, we are fully satisfied with the same; and cheerfully recom- mend his teachings to all who desire instruction in this useful art. — Rev. W. J. Peck, Rev. A. J. Stubbs, Rev. J. Neer, J. Smith, Attorney at Law, Degraff, Ohio. Pro!. Harrison entertained the Institute [of Marion county,] bj ■ me of the most instructive, interesting, and highly eloquent lecture , I >ject of Physiology, to which it was ever our pleasure to listen. In subsequent lectures, he treated the subject in his usual lucid style. ll is to be regretted that many scientific lecturers are not as happy in treating dry science themes as is the Professor. Pie also lectured on the subject of elocution, in the usual clear and forcible manner which characterizes all of this gentleman's public speakings.— Indianapolis Sentinel. NEW MODE OF ILLUSTRATING ELOCUTION, BY PROF. T. HARRISON, A. M. The historian, Hume, has said, that no one can speak long of himself without vanity; and yet it is sometimes necessary for a writer to make a remark in re- ference to himself and his productions, for the information of his readers. Such seems to be the case now. The writer of the present work has made music and elocution his study for many years. He is the inventor of the numeral system of musical notation, has composed various pieces of music, and published several musical works. In elocution, he has studied Dr. Rush's Philosophy of the Voice,* and th« works of many other authors, and has also availed himself of the instructions of some of the best elocutionists of the day, and has likewise taught the art himself. Prof. Hoss heard him give a lesson in elocution, some time ago, before the Jackson Countv Teachers' Institute, and did him the honor of thus noticing his effort : "Prof. Harrison gave a lesson of rare excellence in reading and elocu- tion. His analysis was searching and accurate, and his voice full and rich. If Prof. Harrison does such work as this generally, his instruction will be of great value in Institutes." Subsequently Prof. Hoss requested the writer to prepare a series of articles on elocution for the School Journal. The present work is the substance of the series. The great object at which he has aimed is to make elocution practical as AN ART. . How far he has succeeded, time and ex- perience alone can tell. He thinks, however, he may safely make the remark, that the advantages of a method similar to the one here presented, must be ap- parent to all. Writers on elocution say a great deal about pitch, time, pauses, etc., all highly important, but'- generally not made very definite; while here they are given with mathematical certainty. Then, other characters, signs, and *This is unquestionably by far the best dissertation that has ever appeared on the subject, and the writer here acknowledges himself greatly indebted to its teachings. • TNfl^ terms, are used to express stress, tremor, etc. After the meaning of all these is fully learnt, it is believed a ready application of them can be made with little or no difficulty. CONNECTION OF ELOCUTION WITH MUSIC. Elocution, both as a science and art, has a far greater connection with music than is generally supposed ; and it will be found that a thorough knowledge of the principles of music, and a full course of training in vocalization, will aid materially in making a successful elocutionist. THE OCTAVE. All musicians have to learn the musical scales as one of the first lessons, and all elocutionists should do the same. These scales are two in number, the ma- jor and minor, to which some add a third, the chromatic. They are generally represented thus: Major. Minor. Chromatic. do. si. la. sol. fa. mi. la. sol. fa. mi. i — do, i — la. Should any student of elocution be unable to give the tones of the major and minor scales with facility, it is recommended that he learn them from some musician. It will be observed that those tones are placed at unequal distances apart. Thus, in the major scale, the intervals between 3 and 4 and between 7 and 8, are only half as great as between the other tones. That this is natural, is proved by va- rious facts. These facts belong to acoustics rather than to elocution or music, and hence it is unnecessary to dwell upon them here.* *In a work published by the writer, entitled " Music Simplified," the subject is discussed at some length. The following extract is given: "The existence of a half interval between 3 and 4, and also between 7 and 8, while between all the others there ex ; sts a whole interval, is, in the opinion of the writer, nothing more than a necessary adaptation in the octave to an unalterable law in the musical constitution of the human ear. This opinion receives additional sup- port horn the consideration, that if the half intervals be placed in a different po- sition, the first between 2 and 3, and the second between 5 and 6, a change is produced in the melodious aspect of the octave, the most wonderful and affect- ing: the former is sublime and grand; the latter is mournful and plaintive. Thus it appears that music has within itself the power of producing two oppo- site effects on the human mind: it can enkindle feelings of joy and admiration, or excite sensation-, of sympathy and grief. Here is another striking manifesta- tion of the wisdom and benevolence of the Infinite Creator: He hat given the glorious attribute of variety to the charming science of music in common with all the operations of his hands." : THE SLIDES AND INFLECTIONS. The tones of the musical scale are termed discrete; that is, one is discon- nected with the other, at least in melody. In elocution, however, we use con- crete tones; that is, we slide from one tone to another, so as to mike one con- tinuous sound, generally termed an inflection. Any of the tones can be thus used, out the principal ones given by Dr. Rush, are the 1 slide of the second, the slideof the third, the slide of the fifth, and the slide of the eighth, or octave. Dr. Rush represents these slides by characters nearly resembling those used in music As those characters are not in common use, it will be more convenient and equally appropriate to represent them by numerals,* thus . Upward Slide of Upward Slide of Upward Slide of Upward Slide of The Secoad. The Third The Fifth The Octave ls2 ls3 ls5 ls8 The letter s is really not necessary, and they may be written thus — that is closely together: 12 13 15 18 There are also other slides, as from 3 to 5, and from 5 to 8. This will be seen by referring to the exercises in this work. Thes« slides can be given by but one musical instrument — the violin. The D string will suit the best. The only objection to it is, while it is the proper pitch for the female voice, it is an octave too high for the male voice. Still it will answer. By sounding the open string, D, and then sliding the finger up to E, which will require abou^ an inch and an eighth, drawing the bow at the same time, the slide of the second will be produced. Commencing again with the open string, and sliding up to F sharp, which will require about two inches and a quarter, the slide of the third will be produced. Commencing again with the open string, and sliding up to A, which will require about four inches, the slide of the fifth will be produced. Commencing again with the open string, and sliding half way to the bridge, the slide of the octave will be produced. By reversing the motion of the finger, and observing the same distances, the downward slides will be produced, which may be written thus : Downward Slide of Downward Slide of Downward Slide of Downward Slide of The Octave The Fifth The Third The Second. 8sl 5sl 3sl 2sl or 81 51 31 21 The slide of the second , either upward or downward, is used in ordinary conversation on almost every syllable : then when a little emphasis is required, *Of the use of the numerals in music, Dr. Lowell Mason says : "Experience refutes the notion, that scholars will be embarrassed by singing numerals. If they have a correct idea of the minor mode, they will, after some little practice, sing the minor scale by numerals as readily as the major. In doing so. they acquire firmness, certainty, and independence." The writer thinks the numer- als will be equally useful in elocution. the slide of the third ; when still more emphasis is required, the slide of the fifth; and when the utmost emphasis is required, the slide of the octave. Let the following question be asked without any emphasis, and the tones gen- erally will be given with the upward slide of the second, except on the third syllable of the last word, which will require a greater slide : ls2 Did you say that I could learn elocution ? Now let a little emphasis be given to I, and it will be found that the slide of the third is used . Is3 Did you say that I cor Id learn elocution? Now let still more emphasis be given, and it will b© found that the slide of the fifth is used . Is5 Did you say that I could learn elocution? Finally, let the utmost emphasis be given, and it will be found that the tlide of the octave is used: ls8 What ! did you say that I could learn elocution? Again : Let the simple statement be made, 2sl He said that I could learn elocution, And it will be found that the downward slide of the second is generally used, except, as before, on the third syllable of the last word. Next, let it be given with a little more emphasis on I, and it will be found that the slide of the third is used : 3sl He said that I could learn elocution. Next, let more emphasis be given, and it will be found that the slide of the fifth is used: 5sl He said that I could learn elocution. '; . let the utmost emphasis be given, and it will be found that the slide octave is used : 8sl Yes ! he said that I could learn elocution. 5 The use of the downward slides can be shown vejy clearly by applying them to a passage in the Psalms : 3sl If I ascend up into heaven, thou art there : if I make 5sl my bed in hell, behold, thou art there : if I take the wings of the morning, and dwell in the uttermost 8sl parts of the sea, even there shall thy hand lead me, and thy right hand shall hold me. Perhaps this intense emphasis would not be suitable in ordinary reading, but it certainly would in earnest delivery. THE SKIPS. Besides the slides, or the concrete tones, skips, or the discrete tones, are usee . Thus, if the voice pass from 5 to I without a slide, it would be called a skip. From the exercises given in this work, it will be seen that skips are used quite commonly. THE LENGTH OF TONES. The length of time given to each tone may be represented as in the writer's numeral system of musical notation, thus : Breve Semibreve Minim Crotchet Quaver Semiquaver Demisemiquaver il :1 .111 1 1 Dr. Mason calls the semibreve the whole note, the minim the half note, the crotchet the quarter note, the quaver the eighth note, and so on. The half-lengthened tone may be represented by a hyphen, thus, 1- A rest, or rhetorical pause, may be represented by the letter R. UPPER AND LOWER OCTAVES. Sometimes in particular passages, it will be necessary to pass into a higher 01 lower octave. The tones can then be represented as in the writer's numeral system of music, thus : Lower Octave Middle Octave Upper Octave 12 3 4 5 6 7 8 12 3 45 6 7 12 3 4 5 6 7 SLIDES FURTHER ILLUSTRATED. The remark was made above that "the slide of the second, either upward or downward, is used in ordinary conversation, on almost every syllable." Of the upward slide, Dr. Rush says, " It is the basis of what I have called the dia tonic melody ; and in correct and agreeable elocution, is more frequently used than any other interval : since it is appropriate, to all those parts of discourse 6 which convey the plain thoughts of the speaker." Again, he says, " A gazette advertisement, a legal instrument, and the purely communicative style of plain narrative and of description, may generally be read in the thorough diatonic melody. But there are few compositions which are addressed to taste, that have not their melody varied by the more or less frequent occurrence of r he coloring of higher intervals than the second." As an illustration of this, let the first verse of the first chapter of Genesis be read without emotion, and it will be as follows : .r 3 3 3 3 3 .r | .3 r 3 3 3 r 3 | 3 r 3 2 2sl .r|| In the beginning, God created the heavens and the earth Every one of the tones in this example, has the upward slide of the second, except the last. If, however, a rhetorician were quoting it as a specimen of the sublime, ov a clergyman as a declaration of the infinite power of the Deity — the speaker, al the same time being under more or less emotion — he would be apt to give it as follows : .r3 3 3 3s5 5.r I 3s5r3 3s5 5r3 | 3s5 r3 3 3sl .rIi In the beginning, God created the heavens and the earth The slide of the second would still be Used on several tones, and, in addit- ion, the slide of the third, as indicated. The rhetorical pause, or the rest, would be introduced more frequently. A slower movement would also be given, and the orotund voice would be employed. The downward slide of the second is used chiefly in commands. As an illustration, the third verse* of the chapter just quoted from, may be taken : 33 3r3 3 3 3 j r 3 3 3 2sl .r|| And God said, Let there be light, and there was light. On the first three tones, the upward slide of the second is used. On the next four, the downward slide of the second, and, probably, on the remaining ones also, though on some of them, the upward might be used. If, however, the passage were given by a rhetorician, or clergyman, under emotion, he would be apt to give it as follows : 3 3 3s5 .e 5s3 | 5s3 a 3 5s3 M \ 3 3 3sl .b 3sl || And God said, Let there be light, and there was light. The remarks made in reference to the other verse, apply to this also. A slow -j) movement should be given, and the orotund voice employed. c This passage is given by Longinus as a specimen of the sublime. Tht writer has heard it rendered by clergymen in different ways ; some making lie word ,: was" emphatic, and others, unemphntic. 7 Another illustration of the downward slide of the second, as applied to a corn •mand, is given : 3 3 3 3 2s1.bk3 3 3 | 3 3 3 2sl :r J » > »>>»>> it Go to your studies, and be prepared to recite. The downward slide of the second is also used in strong affirmation, as in the following example : .R- 3 3 .r 3 | 3 .r 3 3 1 .r || I came : I saw : I conquered. Perhaps modesty would forbid the speaker — himself being conqueror — ap- plying stronger emphasis than the above. If, however, the third person were used instead of the first, by another speaker, not the conqueror, the following emphasis might be adopted . r 3 3sl .r- 3 | 5sl it- 3 8sl IS He came : he saw : he conquered. The slides of the second, instead of being represented by two numerals, as «s2. 2si, may be represented thus : iu, 2d, u indicating the upward slide, and d, the downward; or the letters u and d may be omitted altogether, except in particular passages ; as there is scarcely a possibility of their being given incor- rectly by any one who has learnt his mother tongue. The following examples of the other slides are given for illustration : ls5 ls5 He said you were incomparable ? 3sl 5sl I dare accusation; I defy the honorable gentleman ls5 ls5 ls5 Give Brutus a statue with his ancestors ? Is8 5sl Seems, madam, nay, it is; I know not seems. 5sl And Nathan said unto David, Thou art the man. 3sl 5sl I am amazed, yes, my lords, I am amazed at his Grace's speech. 5sl Courageous chief ! the first in flight from pain. Is8 ls8 Hath a dog money ? Is it possible a cur can lend three thousand ducats ? THE WAVE, OR CIRCUMFLEX. The ware, or the circumflex, is of frequent occurrence. There are two kinds- the direct and inverted, sometimes called the rising and the falling. They may He represented thus : Direct Wave of Direct Wave of Direct Wave of Direct Wave f Tke Second. The Third. The Fifth. The Octave. Is2sl. Is3sl. Is5sl. Is8sl. or or or or 121. 131. 151. 181. Inverted Wave of Inverted Wave of Inverted Wave of Inverted Wave of The Second. The Third. The Fitth. The Octave. 2sls2. 3sls3. 5sls5. 8sls8. or or or or 212. 313. 515. 818. After the student has become familiar with the slides, and can manage them with facility, he will have little or no difficulty with the waves, The following examples of direct and inverted equal waves are given, inter- spersed with slides. It will be observed that others are used, besides the eight represented above. 3s4s3 Hail! holy light. 3s5s3 3sls3 3s5 I come to bury Caesar, not to praise him. 3s5s3 You were paid to right against Alexander, not to 3sls3 3 3s5 rail at him. 3s5s3 3sls3 3 3 3s5 5 Better pass at once than to be always in danger. 3sls3 3s5s3 Cowards die many times: the valiant taste of death but once. 3s5s3 5s3 3s5s3 3sl Joy to the world! the Lord is come! 3s5s3 3s5s3 3s5s3 5s8sl Rise, crowned with light ! imperial Salem, rise ! The waves just given, excepting the last one, are called by Dr. Rush equal ■•4ve>. There are also others, called the unequal. Waves are unequal when the upward slide is greater or less than the downward, and the downward great- • <>v less than the upward. To represent them all,- is unnecessary. But four ire given, simply for illustration : 3s5sl 5s8sl 3sls5 3sls8 The waves, equal and unequal, are very numerous. Dr. Rush has enumer- less than one hundred and eighty, and there is doubtless a still greater imber. 9 The unequal waves are called direct or inverted, as the second note rises or falls, just the same as in the equal waves. The following are examples of unequal waves : 3s5sl Tis well, we'll try the temper of your heart. 3s5sl 3s5s3 3s5s3 3sl I will arise, and go to my father. 3s5sl We will tame his savage breast. 3s5sl ls3sl We will conquer him, or die. The last example, when given with the utmost emotion, would probably be : 3s8sl ls3sl We will conquer him, or die . There are also continued waves, as the following ; 3s5s3s5 5s8s3s5 In the examples which follow, waves of various kinds are given : 3s5s3s5 3s5e3 3sl 3sls3 3sls3 3sl The young are slaves to novelty : the old to custom. 5sl&5s3 'Tis base, and poor, unworthy of a man, To forge a scroll so villainous and base. And mark it with a noble lady's name. CADENCES. Dr. Rush presents what previous writers on elocution have overlooked, the subject of cadences, or the closing tones of a sentence. He maintains that gen crally they are 3, 2, 1, of the musical scale, subject, however, to certain modifi- cations. We give the following examples : 3 2 1 Beautiful is the morning light. Sometimes the skip is used, as in the following : Bozarris ! with the storied brave, Greece nurtured in her glory's prime, 3 1 Rest thee. At other times, the slide is used, as in the following : We tell thy doom without a sigh, 3sl For thou art Freedom's now, and Fame's. 10 Sometimes the slide is or the last syllable but one, the accent requiring it. 3sl O that those lips had language. In all these examples, it will be observed, the cadence of a third is used. In asking questions, these motions of the voice are reversed, thus : 3 4 5 Did you say that I could go ? Or, if the emphasis is placed on I, the upper slide will be used : 3s5 Did you say that I could go ? Sometimes at the close of a sentence, the wave is employed. Contrast, irony, scorn, and contempt, are rendered clear by it. 3s5s3 3sls3 The sun sets in the west, not in the east. 3s5s3 3sls3 He lives in London, not in New York. 3sls3 3sls3 Did he say that he was your friend, and not mine ? 3s5s3 3sls3 He is more of a knave, than a fool. 5s3s5 3s5s3 The desire of praise produces excellent effects in 3sls3 men of sense. THE FUNDAMENTAL TONE. It is the opinion of elocutionists that every voice has its natural key, or funda- mental tone ; and when a speaker commences on this tpne, or makes it the key note of his speaking, he will be natural ; but if, by bad habit, embarrassment, or n attempt to imitate others, he takes some other tone, he will be unnatural. This fundamental tone, or I, will be given by uttering AWE, without any special effort. When, however, any one speaks in a sarcastic, pitiful, or any other tone than the common, it is probable that he changes the fundamental tone, giving it higher or lower than the sound of awe, spoken as above. Thus in the exclamation, " You vile wretch!" uttered with intense scorn, the voice is evidently below its natural key. And in the sentence, " O Absalom ! my son ! my son ! would to God I had died for thee," when spoken with sorrowful emotion, the voice is above its natural key. STRESS OF VOICE. Stress of voice is sometimes made at the beginning of a word, and is called, by Dr. Rush, radical stress ; and sometimes at the end, and is called vanishing stress; and sometimes in the middle, and is called median stress. Sometime?- M the radical and the vanishing stress are both given on the same word, and are called compound stress ; and sometimes the stress is continued through the whole word, and is called thorough stress. The following characters represent them : Radical Vanishing Median Compound Tkorough stress. stress. stress. str«ss. stress. > < o x - Instead of vanishing stress, some writers use the phrase, final stress. VARIOUS TERMS. Different degrees of strength of voice may be indicated by the terms medium, loud, very loud, and soft, very soft. Terms may also be used to indicate a change in the movement, as common, rapid, very rapid, and slow, very slow. Like- wise other terms may be introduced, as impassioned, pathetic, solemn, majestic. etc., whose meaning will at once be understood. THE ORDINARY VOICE. The Ordinary Voice, sometimes called the Pure Tone, is that which is used in eommon conversation. It should be clear, smooth, and round; and wholly free from guttural, nasal, aspirate, or other impure qualities. Lord Brougham, the great orator of the British Parliament, recommended the utmost care in commoi' conversation, as tending largely to the right development of oratorical powers for public service. THE OROTUND VOICE. The cultivation of the Orotund Voice is a matter of the utmost importance to all public speakers. It is, however, but little understood by the majority of them: consequently it is necessary to explain what is meant by it. Dr. Barber, form- erly Professor of Elocution in the University of Cambridge, expresses himself so clearly on this point, in his Grammar of Elocution, that the writer cannot do better than quote his language : " Dr. Rush has described a kind of voice which, from its pre-eminent quali- ties, he denominates the orotund. In its highest condition, it is deep, full, strong, smooth, sonorous, and has a highly resonant or ringing character, like the sound of musical instruments." " This voice is highly agreeable to the ear, and is more musical than the common voice. It is possessed by actors of emin- ence, and is peculiarly adapted to set forth the beauties of epic and tragic com- position. It is heard in its greatest perfection on the vowel sounds." " The parts of the mouth posterior to the palate, bounded below by the root of the tongue, above by the commencement of the palate, behind by the most pos- terior part of the throat, and on the sides by the angles of the jaw, are the seat of th« deep voice I have described. If the tongue is retracted and depressed, and the mouth is opened, in such a manner as to favor the enlargement of the cavity described as much as possible, and any of the vowel sounds are then ut- tered with force and abruptness, and without calling other parts of the mouth into vibration, in their passage through it, the orotund voice will be immediately exhibited, in a very high degree, and unmixed in its quality." 12 " For practice in the pure orotund, unmixed with the palatial, the directions may be condensed thus : Let each of the vowel elements be expelled from the most posterior part of the throat with as much opening force and abruptness as possible, and the long ones with extended quantity, with the condition of the organs first described, and let the effort be so made as to exhaust as much as possible the air contained in the chest upon each element. Endeavor to make the sounds as grave and hollow as possible. This method of sounding the ele- ments will be apt to produce giddiness and hoarseness at first, and must, there- fore, be prosecuted with care. By practice these inconveniences will cease, and as soon as they do, the elements should be daily sounded, for some time, in the manner described." "When the elements can be sounded, subject to the directions above given, let the attempt be mad* to sound words in this voice As soon as single words can be uttered, let the attempt be made to sound sentences, and by degrees this voice will be heard upon successive syllables. At first it will be monotonous, but practice will enable the student to vary his pitch with the orotund as easily as with the natural voice." " Now, though we do not recommend attempts to use this voice in speaking or reading, until long practice has placed it at entire command, yet we can assure the student that the elementary exercises here enjoined will improve his natural roice. Their direct tendency is to impart depth, tone, strength, fullness, and smoothness. We ought here to insert a restricting clause, and say that this voice is not the voice employed in common and familiar subjects. It is more especially the appropriate symbol of the dignified parts of epic and tragic poetry, and the more solemn portions of the Scriptures. But a person can not have an impressive delivery in public speaking without the depth, force, and clearness of tone, which the practice necessary to attain the orotund is the most effective method of acquiring. Some persons have a natural orotund. Those who have not may certainly acquire it, except in some rare instances." The Orotund Voice is employed in three different modes : the Effusive, the Expulsive, and the Explosive. THE EFFUSIVE OROTUND. The Effusire Orotund is chiefly used in passages of solemnity and deep feeling : Holy, holy, holy Lord God Almighty : heaven and earth are full of the glory of thy majesty. THE EXPULSIVE OROTUND. The Expulsive Orotund is used in the earnest delivery of bold and independent truths : We hold these truths to be self-evident : that all men are created equal ; that they are endowed by their Creator with certain unalienable rights ; that among these are life, liberty, and the pursuit of hap- piness. 13 THE EXPLOSIVE OROTUND. The Explosive Orotund is used in giving utterance to lofty thoughts and in tense emotions : 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 ! THE GUTTURAL VOICE. The Guttural is produced by contracting the organs above the larynx ; the sound then becomes impure. It is used to express contempt, disgust, and irony. Thou slave ! thou wretch ! thou coward ! Thou little valiant, great in villainy ! Thou ever strong upon the stronger side. THE ASPIRATED VOICE. The Aspirated is produced by the emission of breath so as to make either a whisper, or a sound approaching a whisper. There are different degrees; when perfect, it is simply a whisper. It is used to express surprise, terror, distress, etc. While thronged the citizens with terror dumb, Or whispering with white lips, The foe ! they come ! they come ! TREMOR OF VOICE. Tremor of Voice resembles the trill in vocal music, and may be represented thus, TR It is made by a rapid repetition of sounds, with a very -■hort intermission between them, so short as scarcely to be perceptible. When used aright, it has great effect in oratory. It may be used to express joy, rapture, and triumph. TR glorious hour ! O blest abode ! 1 shall be near and like my God. tr Thou glorious mirror, where the Almighty's form Glasses itself in tempests. TR Independence now, and independence forever. Ii may also be used to represent sorrow, as in the whole of the following verse : Pity the sorrows of a poor old man, Whose trembling limbs have borne him to your door ; Whose days are dwindled to the shortest span : O give relief, and Heaven will bless your store. It may also be applied to the Guttural, so as to intensify scorn and contempt. 14 ELEMENTARY SOUNDS. Various classifications of the elementary sounds have been made by lexicogra- phers and elocutionists, most of them differing from each other in several re- spects. The classification given by Dr. Rush is under three general heads, Vocals, Subvocals, and Aspirates, each sound being represented by a capitaJ letter, or letters, in the following words : Vocals. A-ll, A-rt, A-n, A-le, OU-r, I-sle, O-ld, EE-1, OO-ze, E-rr, E-nd, I-n. Subvocals. B-ow, D-are, G-ive, V-ile, Z-one, Y-e, W-o, TH-en, a-Z-ure, si-NG, L-ove, M-ay, N-ot, R-oe. Aspirates. u-P, ou-T, ar-K, i-F, ye-S, H-e, WR-eat, TH-in, pu-SH. Some of the Subvocals are regarded as having corresponding Aspirates, as shown below : BDGVZYWThZhNgLMNR I I I I I I I I I PTKF'S HWhTh Sh The first seven Vocals are called Diphthongs, because they hav« both a radical and a vanishing sound. A-we, A-rt, and A-n, have the vanish E in E-rr : A-le and I-sle have the vanish EE in EE-1 : O-ld and OU-r have the vanish 00 in OO-ze. In regard to 01 in v-OI-ce, or OY in b-OY, it is regarded by Rush as an uncertain sound, but is thought to consist of the radical A-we and the vanish I in I-n when short, and of EE in EE-1 when long , or A we may have its proper vanish E in E-rr before it takes the vanish just named, in which case it would be a Triphthong. The last five Vocals are called Monothongs, because they have no vanish. Another distinction is made in the Vocals into long and short, the first nine being regarded as long and the last three as short. Still it is maintained that the time of the long Vocals is of every distinguishable degree from a momentary impulse to the longest passionate utterance of an interjection, as from O-tt to A-we, from OU-t to h-0 W, from A-t to A-h, from A-te to h-A y, from p-EA-t to EE-1, from f-OO-t to OO-ze, from c-A-rt to p-A-rdon, and from k-I-te to I. The time of the short Vocals may also be varied, but not to the same extent as the long. From these remarks, it will be seen that Dr. Rush does not adopt the division of long and short vowels as generally made; but considers them of different de- grees of length. It must, however, be admitted that the division generally made is of no small practical utility; and hence, for this reason, it will doubtless be retained. Fora full discussion of the subject of elementary sounds, the student is referred to Dr. Rush's work and the introduction to Webster's Unabridged Dictionary. 15 The common method of dividing the Vocals into loiag and short sounds, is presented below, in a series of appropriate words. It will be observed that the continental sounds of I and E are given. These are certainly more philosophi- cal and less perplexing than what are called the English. Is it not as correct to say that the sound of I in marine is represented in some words by E, as to say that the sound of E in mete is represented in some words by I ? If the method of long and short sounds is to be retained, let it, at least, be made as consistent as possible. One reform is greatly needed, and that is the adoption of a separate symbol lor every elementary sound. It is hoped that Time, the great reforme: ef all wrongs, will erelong accomplish this. A series of words is also given, containing the Subvocals and Aspirates. It is recommended that these elemen- tary sounds be studied and practiced upon till fully mastered. In aisle, the diphthong is composed of the two vocals found in art and pique : in bow, of those in art and rude: in boy, of those in all and pique : in adieu, of those in pique and rude : in rein, of" those in there and pique: and in lucid, of those in urge and rude. Subvocals. Aspirates. Bow u'P Vile i'P W*oe WH-eat Give ar*K Ye He Dare ou*T TH'en THin Z*one ye*S a'Zure pu*SH M*ay N*ot si-NG I/ove R'oe Compound Subvocals. e'Xist equal to GZ J'udge equal to D ZH Compound Aspirates. fla'X equal to KS OH'ip equal to T SH Long Vocals. Short Vocals. pTque In th'E-re E*nd A-rt A-n A'll wlrA't O'ld O-dd U*rge U-p r'U-de p-U'll In the above list, I in pique corres- )onds with EE in eel, E in there with A in ale, U in urge with E in err, and U in rude with 00 in ooze. Some writers make A in air, care, &c, an independent sound, but it is evi- dently A in ale modified by R. Webster makes the sound of A in staff, ask, &c, an intermediate sound between A in art and A in an. He also regards the sound of A in what, wander, &c, as similar to that of O in odd. He likewise considers E in ermine, verge, &c, and I in irksome, virgin, &c, as a sound verging- towards U in urge. Long Diphthongs. ATsle bOW bOY adrEU r-EI-n TU-cid Short Diphthongs. fTght out qu'OI't nrU'te El'ght 1-U-te 16 The following additional examples of the elementeiy sounds are given botb for illustration and practice : I as in 2liq.ue; same as E in eel. Marine, machine, police, caprice, field, eve, meet, feet, peace, seizure, leisure, people, key, beard, aesophagus, quay, Caesar, I as in in. HI, fin, admit, tribute, cyst, nymph, lyric, abyss, Eng- lish, beaufin, been, sieve, women, busy, guinea. E as in tkerej same as A in ale. Ere, where, heir, their, break, ale, fate, chamber, air,, share, pair, bear, fare, prayer, parent, gaol, gauge. E as in end. End, check, leopard, any, many, aphaeresis, said, says, feather, heifer, friend, asafcetida, bury, guess. A as in art. Par, barb, father, palm, ah, hearth, aunt, guard, are. A as in an, Add, bad, sad, fat, mat, have, random, plaid, bade. A as an intermediate between a in art and a in an. Ask, grass, dance, branch, graft, pass, last, gasp, chance, chant. A as in alt. Haul, talk, swarm, awe, sauce, order, form, stork, georgic, fork, groat, bought. A as in what. Wan, wand, wanton, wander, was, wash, wasp, watch, wallow, wallet, walrus, warrant. O as in old. Note, loaf, depose, hautboy, beau, yeoman, sew, roam, hoe, door, shoulder, grow, owe. O as in odd. Not, lot, lock, long, anon, adopt, emboss, torrid, resolve, nominal, anomaly, knowledge. U as in ur//e. Burn, furl, lurk, concur, worm, journey, attorney. U as in up. Us, but, study, tub, other, dove, son, won, sun, does, gun, flood, double, blood. E, I, and Y, verging towards U as in urge. Ermine, verge, earnest, prefer, verdure, irksome, virgin, thirsty, mirth, myrrh, myrtle. 17 U as in rude. Rumor, rue, rural, moon, food, booty, soop, to, do, prove, tomb, rheum, drew, canoe, recruit, manoeuvre. U as in j)„l/. Push, put, wool, foot, good, woman, should, bosom, wolf, pull, took, bullion, butcher, cushion, sugar. Ill the following exercises, the first line of each has words with long diph i hongs, and the second has words with short diphthongs. Compounded of A in rrrl and I in pique. I, eye, high, vie, rye, thy, mire, guile, fine, buy, mild. Height, kite, right, bright, night, sight, delight. Compounded of A in art and U in rude. Our, flour, noun, loud, brow, crown, town, flower. Shout, doubt, devout, about, scout, trout, rout. Compounded of A in all and I in pique. Oil, join, toy, annoy, foil, destroy, employ, coin. Adroit, moist, oyster, cloister, foist, joist. Compounded of I in pique and U in rude. Pew, view, cue, beauty, feudal, cure, ague, tribunal. Acute, depute, dispute, refute, astute, compute. Compounded of E in there and I in pique. Vein, reign, pain, aye, day, obey, whey, gray, say. Weight, freight, eight. Compounded of U in urf/e and U in rude. Tune, nuisance, constitution, human. Suit, duty, constitute. It may be thought that EI in vein and in weight is not a diphthong, but accor- ding to Rush it is. Moreover, the Greeks had the eta with the iota subscript, which, as Dr. Anthon suggests, was written underneath, probably to show that it was sounded but slightly : the epsilon and iota probably had the sound of ei in eight. Surely the Greeks, who paid such great attention to the construction of their language, would never introduce characters that had no significance. — Their whole language is founded on a principle just the reverse. In regard to U in tune, constitution, &c, the sound of U is evidently not that of U in rude, nor of EU in aditu ; but of U in urge with U in rude. It is believed that a care- ful analysis and a correct ear will detect both these sound.-, thus forming a diph- thong as given. Webster thinks the first vocal is a brief sound of e or i ; hut the one here presented seems more natural. Of course, it will be understood ihat the two vocals m all the diphthongs generally vary in lengrh-->;v,netimes the radical being long and sometimes the vanish, the oilier, at the same time, being short. 18 In the following exercises, the dash separates the Subvocals from the correspond- ing Aspirates. It will be seen that various characters are used to represent them. Babe, bribe, barb, rob, bubble.— Pipe, peep, pope, prop. Valve, vague, vivid. — Fife, fief, sylph, philosophy. Wave, wild, weep, wound. — When, where, awhile. Gig, gag, guage.— Kite, cake, chorus, epoch, succumb. Young, yoke, year, yield, yacht. — His, him, her, who. Did, deed, died, dread. — Taste, tart, tight, taught, trait. Thine, smooth, wither. — Thing, thought, breath. Zinc, zeal, has, amuse, prism. — Siss, sluice, cease. graZier, fusion, rouge. — Shine, chaise, sash, splash. The following Subvocals have no corresponding Aspirate : Mum, maim, mimic, moment. — Nine, none, noon, nun. riNG, wrong, link, uncle, linger.— Loll, lull, lily, lilac. Some elocutionists make the Subvocal R trilled in such words as are given after the dash, especially when followed by such words as thunder: Rare, rear, roar, error. — Rolling, rattling, rumbling. In the following exercises, the dash separates the compound Subvocals from ihe compound Aspirates : eXalt, examine, exhibit.— eXpect, extort, fix, box. Jury, justice, gem, elegy. — CHurch, child, rich, much. In practicing on the preceding exercises, care must be taken to give each es- sential element its proper sound — clear, distinct, and full. First the ordinary- voice may be employed, then the effusive orotund, next the expulsive, and finally the explosive. The exercising, however, should not be continued too long at one time, especially on the explosive, as dizziness may be produced. \s difficult combinations sometimes occur, a few are given for practice : Depths bulb'd shelv'd help'st troubl'dst busts hedg'd wreath' d nipp'st truckl'dst mulcts hang'd hold'st want'st snarl'dst attempts milk'd send'st hurt'st settl'dst spasms filch'd heard'st combat'st drivel 'dst breadths flinch'd laugh 'st respect's! muzzl'dst healths search'd think' st robb'dst arm' dst heaths fetch'd mark'st entomb'dst blacken'dst fifths push'd mask'st barb'dst imprison'dst elevenths hurl'd fondl'st reef 'dst clasp 'dst nymphs nestl'd trifl'st bragg'dst curv'dst whisps whelm'd fall'st lash'dst swerv'dst delft burn'd rippl'st bark'dst liv'dst 19 In the following exercises, be careful to speak each word distinctly, and by itself, not running one into the other.- The shepherd on the Wabash shore should shear his sheep with care, and shelter them safely in his sheds. George Judson expected justice from the judge, James Jones, but jealousy made his judgment unjust. They took the fifty -five thousandth parcel to Frank- fort, and the thirty-third thousandth to Thebes. GESTURE. In appearing before an audience, a graceful posture should be assumed, and the gestures should correspond to the sentiments uttered. The feet should be placed three or four inches apart at the heel, the right foot being slightly in advance of the left, and diverging so as to form an angle of about seventy-five degrees, the weight of the body resting on the left foot. — This is called the first position of the right foot. In uttering an appropriate passage, the weight may be thrown on the right foot, without changing the po- sition of either. This is called the second position of the right foot. A first and second position of the left foot can be taken by placing it in advance of the right at the same angle. f Changes can be made from one position to the other to suit the ease and con- venience of the speaker. In impassioned oratory, sometimes the feet have to be placed twelve or fifteen inches apart, the same position, of course, still being ob- served. In public speaking on a platform, a step forward or backward, or to the right or left, may be taken, as circumstances require, still observing the positions just described ; but the modern practice of walking alternately from one end of the platform to the other, is, to say the least, of very questionable propriety. In rising to address an audience, the arms should hang down naturally ; and when gestures are made, they should be graceful and appropriate. Freedom of motion is of great advantage, and it can easily be acquired by a regular drill. — Barber, in his work on Gesture, recommends the following: Place the right arm across the chest at an angle of forty-five degrees below the shoulder ; then move it forward ; then in an oblique direction to the right ; then extended, still on the right; and next backward: after which give it three or four semicircular movements. Go through the same motions horizontally, and also elevated at an angle of forty-five degrees. Proceed in the same manner with the left arm, and afterward with both arms. J " >; "In performing these and all other exercises in a class, they should be given by each member alone, as well as in concert. f In teaching these positions to a class, the instructor can have them take the first position of the right foot, then speak aloud second, then first, second, several times, seeing that each member has the proper position, and that they move in concert. t In going through this drill with a class, the instructor should have his pupils arranged two or three feet apart , then speak aloud, across, forward, oblique, ex- tended, backward, sweep around, observing that each pupil has the proper move bent. 20 It is unnecessary to give many directions about the application of gestures, as; they will be made by a speaker naturally, when he enters with spirit and fervor into his subject. A few, however, may not be out of place : I. In arguing a question, a slight forward movement may be made with the arm, the first finger pointing at the time. Z. In speaking approvingly of any matter, the palm of the hand should be pre- sented — disapprovingly the reverse. 3. In referring to the past, point backward — to the future, point forward. 4. Both arms should only be used when under strong emotion. RULES OF INFLECTION. The subject of slides, waves, and cadences, has already been extensively dis- cussed, and numerous illustrations introduced. For the right use of them, much depends upon taste and cultivation. Elocutionists, however, have laid down certain general rules, which, in the main, are correct, and will aid materially in acquiring a pleasing, popular address ; yet still, though general, they are subject to various modifications. Bronson says, " Although there are given rules for making these inflections, or slides of the voice, either up or down, yet it should be borne in mind, that every sentence which has been read with the upper slide, can. under other circumstances, be read correctly with the downward slide : The sense governs everything here as in emphasis." Rule I. When the sense of a sentence, or a clause, is complete, the falling inflection is generally used. 3 1 A wise son maketh a glad father, but a foolish son is 3 1 the heaviness of his mother. 3sl 3sl Charity suffer eth long, and is kind. EXCEPTION I. Negative sentences, or clauses, generally end with the rising inflection. 3s5 It is not sufficient that you wish to be useful ; you must nurse those wishes into action. 3s5 3 5 You need not be alarmed, nor offended. EXCEPTION 2. An expression of indifference may take the rising inflection. 3s5 3 5 You may go if you wish : I have no objection. !i ion 3, When antithesis requires that the introductory clause receive the falling inflection. 3sl 3s5 It is your place to obey, not to command. 21 RULK II. Emphatic words in a sentence generally require the falling inflection : Hast thou not spoke like thunder on my side ? Been sworn my soldier ? bidding me depend 3sl 3sl 3sl Upon thy stars, thy fortune, and thy strength ? 3sl 5sl I do not so much request, as demand your attention. Exception. The language of tender emotion may take the rising inflection. 3 4 5 3 4 5 O Jerusalem, Jerusalem, how often would I have 3 5 gathered thy children together, even as a hen gather- 3s5 3s5 eth her chickens under her wings, and ye would not ! Rule III. Questions that cannot be answered by yes or no, generally take the ialling inflection. 3sl 3sl Ah ! why will kings forget that they are men ? 3sl 3 1 And men that they are brethren ? Why delight 3sl 3 2 1 In brutal hate and savage butchery ? Exception. Questions repeated take the rising inflection. 3sl Where have you been ? 3s5 Where have I been ? At home, to be sure. Rule IV. Questions that can be answered by yes, or no, take the rising in flection. 3s5 3s5 Breathes there a man, with soul so dead, 3s5 Who never to himself hath said, 3s5 3 5 3s5 This is my own, my native land ? Rule V. When the sense is incomplete, the upward inflection is generally used . 3 5 3s5 5s3 You may keep out evil thoughts, by entertaining good ones. 3 5 Be slow to promise, and quick to perform. Exception. See Rule I, Exception 3. 22 Rule VI. Words repeated as a kind of echo to the thought, require the rising inflection. 3 4 5 And so this man is called an orator. An orator ! Why, I would as soon listen to the clatter of a cart over a rough pavement as to his ranting talk. RULE VII. The name of an object addressed generally takes the rising inflection. 3 5 3 5 Our Father, who art in heaven, hallowed be thy name. Exception. In formal and in emphatic addresses, the name may take the fall ing inflection. 32 1 Mr. President : with diffidence I rise to address you. 5 1 Go to the ant, thou sluggard : consider her ways, and be wise. Rule VIII. Members of a sentence united by or, used disjunctively, require 'he rising inflection at the first member, and the falling at the second. 3 5 Do you seek wisdom, or power ? Exception. When used conjunctively, the same inflection is required in each member. 3s5 3 5 3 5 Can wealth, or honor, or pleasure, satisfy the im- mortal soul ? Rule IX. Antithetical words and clauses take opposite inflections; the first generally taking the rising inflection, and the second the falling. 3 5 Philosophy makes us wiser ; Christianity makes us 5 3 better : philosophy elevates and strengthens the 3s5 5 3 mind; Christianity softens and sweetens it. Rule X. Parenthetical clauses should be read with less strength of voice, and about one-third faster, and three notes lower, than the rest of the sentence. Know, then, this truth, (enough for man to know,) Virtue alone is happiness below. Other rules, besides the foregoing, are given by elocutionists — some in refer- ence to what are termed the Commencing and the Concluding Series ; but, as before observed, taste and a cultivated ear will be the best guide. writers introduce what they term the monotone ; but, properly speaking, no monotone; as all sentences have mere or less variation of tone in them. 23 REGULAR COURSE OF EXERCISES. The following exercises are introduced for practice on the principles laid down in this work. Most of the selections are from Bronson's Elocution. The nota- tion is prepared by the writer; hut it generally represents the tones as given bjr that distinguished elocutionist in imparting instruction to a class of which the writer was a member. Bronson had reached great perfection in the art : he had been teaching elocution about thirty years, and was acknowledged by all to be remarkably natural. The writer, moreover, has drawn considerably from Rush. Barber, and other distinguished elocutionists, as well as from Bronson ; and though the notation is generally his own, yet he has been considerably aided by their suggestions, and, in some instances, by their notation, though different from the notation hwe given, as far as the characters are concerned. It will not be understood that the notation given is the only notation that may be used. As in music, so in speech, the melody — that is, the succession of sounds — may be varied. The time, as indicated, need not always be observed strictly. Musicians have what they term AD LIBITUM, meaning that the time in music may be varied at pleasure ; and so it is in elocution. Still, it is thought, the time as given will generally be found to agree with correct delivery. In practicing these exercises, the student should be in a large room, if prac- ticable, and speak them as if five hundred persons were present. He should also read them over previously with great care, several times : should comprehend their meaning fully: select the emphatic words, and determine the amount of stress they require : above all, while delivering them, he should enter most spirit- edly into the thoughts and sentiments of the author. EXERCISES IN THE ORDINARY VOICE. The ordinary voice, besides being used in common conversation, is also used in simple statements, narratives, anecdotes, proverbs, etc. In the following ex- ercises, the dash is used to indicate the Rhetorical Pause, which is made by a suspension of the voice, of more or less duration, according to the degree of em- phasis required. The business of training youth in Elocution, should 5s3 3sl 5 3 begin in childhood ; for then— bad habits have not 5 3 3s5 been contracted, and the character— is in a state of 5 3sl formation. 5 3 3s5 5 3 5 Demosthenes, the Grecian orator, paid many thou s- 3 5 3sl 5 3 3s5 ands— for instruction in elocution ; and Cicero, the 5 3 . 3s5 5s3 Roman orator, spent two— whole— years — in reciting 5 3 —to a celebrated teacher of the art. 24 5 3 3s5 Diogenes, being one day asked, the biting of what beasts is the most dangerous, replied, If you mean 5s3s5 5 4 3 3s5s3 wild beasts, it is that of the slanderer : if tame ones, 3 2 1 of the flatterer. 5s3s5 3s5 3 3s5 5sl He is a good orator — who convinces himself. As exercises, unmarked by characters, may be desired, in order to ttst the ability ot the pupils, the following are given. Incalculable good might be done to the present and the ris- ing generation, by the establishment, in every town and village ot our country, of Public Reading Rooms, to be supported by voluntary subscription: indeed, it would be wise in town au- thorities to sustain such institutions of knowledge by direct taxation. Oh ! when shall we wake up to a consideration of things above the mere love of money-making. Demosthenes had two particular defects : first, weakness of the voice; which he strengthened by declaiming on the sea- shore, amid the roar of waters : and second, shortness of breath; which he remedied by repeating his orations as he walked up a hill. In a retired cottage in the country, there lived a poor, but pious old lady. In the neighborhood, also, were two mischiev- ous boys. One evening, they were sent to a village near by, to purchase some bread. On returning, when they reached the cottage, they heard the old lady praying to the Lord to send her some provisions, and to send them immediately, as she had had nothing to eat during the day. One of the boys proposed getting on the roof, and throwing a loaf down the chimney, which was agreed to. As soon as the old lady heard the noise occasioned by the falling of the loaf, she rose from her knees, took it up, and placed it on the table : then got dow-i on her knees again, and commenced thanking the Lord for answering her prayer so faithfully, Hearing this, the boy cried out, " Hal- lo, old lady, do you think the Lord sent that bread : why, I pitched it down the chimney " To which she replied, " O yes! the Lord sent it, if the devil brought it." Keep your business and conscience well, and they will be .-ure to keep you well. ;les fly alone, but sheep move about in flocks. 25 EXERCISES IN THE EFFUSIVE OROTUND. The following should be spoken with a slow movement and the fervor of deep feeling.* 3s4s3 r 3 3 3 3 | .3sl .r 3 3 3 | 3s5 R Hail ! universal Lord ! be bounteous still 3 3s5 5 R | .5s3 3 .3sl r || To give us only good. .3 | 3s4s3 3 3 3 ,r| 3 2 .1 .r- 1*11 praise my Maker while I've breath : 3 r | 3 3 .3r333| 3s5 .r And, when my voice is lost in death, 3s4s3 r | 3 3 3s5 r 3 3 2 | .1 .R- Praise shall employ my nobler powers : 3 3 3 | .3 r 3 3 3 3s5 | My days of praise shall ne'er be past, r 3 5s3 r 3 5s3 | r 3 5 3 3s5 r , Wnile life, and thought, and being last, 3 | 4 3 3 4 5 .r 3 | 3sl :r || Or immortality endures. 3 3 | 3s.4s3 3,s4s3, r 3 | 3 3 .r 3s5 .r | Were the whole realm of nature mine, 5s3 r 3, 3, 3 3 .r | 3s4s3 3 3s4s3 r | That were a present far too small : 5s3 .r 3 3 5s3, 3, | .r 3 3 5s3 r Love so amazing, so divine, 3 | 5s3 r 3 3s5 r 3 | 3s5 r 3 3sl || Demands my soul, my life, my all. 5s3 | 3s5 5 .r- 3 3 | 5s3 .r- 3 3 3 | .3- Prayer ardent opens heaven : lets down a stream 3 5s3 5r|33 3333 3 Of glory on the consecrated hours 3 | 3s5 r 3 3s5 5 r | 3 3 5s3 2 1 || Of man, in audience with the Deity. 3s2 2sl .1 r | 3 3 3sl r 3 3 3 | .3 r 3 3 I warn you, do not dare to lay your hand on the 3 3 3,sl, 1 || constitution. * It will be observed that the comma, denoting the quaver, or eighth note, is placed after the numeral, and not beneath it, being more convenient to do so. Of course, either position would be cerrect. 36 Roll on, thou dark, and deep, blue Ocean, roll ! :r :3 3sl r 3 | .3 .3 .3 .3 | .3 3 r .5s.l | .r .3 .3 .3 | .3 R :3 | 3 3 .3 R 2 .1 | Ten thousand fleets sweep over thee, in vain. 1 | 3sl 2 3 Eternity r 1 is 1 | ls3 .3 .r 1 1 | 321 the life -time of the Deity. .R WHERE CAN REST BE FOUND? j Tell me, ye winged winds, That round my pathway roar, Do you not know some spot Where mortals weep no more? Some lone and pleasant dell, Some valley in the west, Where, free from toil and pain, The weary soul may rest ? The loud wind softened to a whisper low, And sighed for pity, as it answered, No. TelUme, thou mighty deep, Whose billows round me play, Know ; st thou some favored spot, Some island far away, Where weary man may find The bliss for which he sighs, Where sorrow never lives, And friendship never dies ? The loud waves rolling in perpetual flow, Stopped for awhile, and sighed to an- I swer, No. And thou, serenest moon, That, with such holy face, Dost look upon the earth, Asleep in night's embrace, Tell me, in all thy round, Hast thou not seen some spot, Where miserable man May find a happier lot ? Behind a cloud, the moon withdrew in I woe, And a voice sweet, but sad, responded, No. Tell me, my secret soul, O ! tell me, Hope and Faith, Is there no resting-place From sorrow, sin, and death ? Is there no hapuy spot, Where mortals may be blest ? Where grief may find a balm, And weariness a rest ? Faith, Hope, and Love, best boons to mortals given, Waved their bright wings, and whis- pered, Ye* ! in heaven ! Mackay. THE LAND IMMORTAL. There's a glorious land on high, Far beyond the star-lit sky : All things there are fair and bright : Land of beauty ! land of light ! Living splendor beameth there : Holy fragrance fills the air: O'er that clime there comes no blight; Land of beauty ! land of light ! There no angry tempest blows : No red bolt the thunder throws : No dread gloom is spread by night . Land of beauty ! land of light ! There the holy mountains are;- And sweet valleys, stretched afar : There are rivers, pure and bright : Land of beauty ! land of light ! Radiant verdure decks the ground : Blooming flowers rejoice around: Ail is glorious to the sight: Land of beauty ! land of light! T. Harrison. HYMN OF PRAISE. God of all created wonder ; God of countless orbs of light ; God of rain, and wind, and thunder; God ol morning, noon, and night; Thy great system faileth never ; All thy works in truth remain : Blessed be thy name forever : Blessed be thy glorious reign. God of valley, plain, and mountain ; God of flowery-land and wood ; God of river, stream, and fountain; God of all created good ; Thy great system faileth never ; All thy works in truth remain: Blessed be thy name forever : Blessed be thy glorious reign. T. Harrison. To Thee ! whose temple is all space ; Whose altar, earth, seas, skies; One chorus let all beings raise ; All nature's incense rise. ir 37 EXERCISES IN THE EXPULSIVE OROTUND. '.r- 5 3 | 3s5 b 3 5s3 e 3, 3, | 5s3 b 3, 3, 3 Little minds are tamed and subdued by misfor- 1 r 3 | 5 3 b 5, 5, 8s5 3sl || tunes ; but great ones rise above them. 5 3 R 3, 3, 5 4 3~ r" | .1 r 1 3 2 1 Virtue leads to happiness : vice to misery. .k 5s3 3 4 5 b | 3 3 3s5 b 3 3 3 | 8 5 r 3, 3, True liberty can exist only where justice is im- 3s5 5, 5, 3 | 5 4 3sl :b || partially administered. :r3 3 5 3 | 3s5 R 3 5 3 R 3 | .5s.3 3 Let our object be, our country, our whole coun- 1 b 3 | 5, 5, 8 R 5 3 1 .b 1 try, and nothing but our country. b 3 5s3 .b 5 | 8s5 .b- 5 5 5, 5, | 6 7 8 .b 5 5 5 | A day, an hour, of virtuous liberty, is worth a :5s.8 .81111 :b 1 | ls3 3s5 :b || wnole eternity in bondage. 5s8 8 8 .b 5 5 | 5s8 8 8 b 5 8 5, 3, | 3sl .b 3 3 Tyranny is detestable in every shape ; but in 3 3 | 3s5 5 5, 5, k 3 3 3 | 3s5 r 3 3 4 5 r | none so formidable, as when assumed and exercised 3 3 8s5 5s3 b 3 | 3sl.l R :b || by a number of tyrants. 5s8 b 5 8 5, 3, R 3 | 3 3 .3 3s5, 5, r, Frown indignantly upon the first dawning 3, 3, 3, | 3s5, 3, 3, 4, 5, r, 5, 3, 3s5, 5, 3, 3, | 3s5 5 R of an attempt to alienate any portion of this Union 3, 2, 1 r 1 | .ls8 8 R 3 5,s3, 3, 3, | 3sl :r- | from the rest : the Union ! it must be preserved ! 3 3 3 R 3 | 5s3~.r- 5 5 6 | 7s5 R I tell you, though you, though all the world, 5 5 5 6 7| 8s3 .r- 33 3 | 3s5 5, 5, b though an angel from heaven, declare the truth of it, 3 3 3 3 | 5s3 1 || I could not believe it. .r- 3 3s5 r 3 | 5,s3, 4, 5, R 3 .r 3 | 3s5 5 R 5s3 2 1 | The price of liberty is eternal vigilance. 28 THE VIRTUOUS AND THE VICIOUS MAN CONTRASTED. The charms and advantages of morality, and the evils and monstrosities of vice, have never yet been portrayed by the powers of human language. It is glorious — ineffably glorious to see a man of sound principles and virtuous habits. He is an honor to himself, and a benefit to community. He has the smile of an approving conscience, the esteem of the good, and even the admiration of the bad, besides the favor and protec- tion of almighty Heaven. But how different with the vile and immoral. By day, the stings of a guilty conscience torment him ; and, by night, memory, with her thousand hissing tongues, re- minds him of his deeds of crime and shame. The powers of his body and the powers of his mind are alike imbruted by sin. The good refuse to associate with him, and the bad cannot con- fide in him. The bright universe, with its wise arrangements and superb decorations, has no charm for his depraved and be- nighted intellect. To him, the sun has no splendor, the moon no brightness, and the stars no glory: to him, the dew-drop has no sparklings and the rainbow no radiance : to him, the rose has no beauty, the sun-flower no grace, and the violet no fra- grance: to him, the mountain has no majesty, the prairie no resplendence, and the valley no Eden variety : to him, the leap- ing rill, the gliding river, and the breeze-rippled lake, have no music; and the loud-sounding sea, and the eternally-rolling ocean, no language: to him, in short, all nature is desolate and dreary as the flowerless and streamless desert of Sahara: while the pleasures of home, the endearments of society, and the charms of fatherland, are as remote from his soul, as the very antipodes of the globe. Far better for him would it have been, had he been born a lion to roam the wilds of Africa, or a con- dor to soar to the proud heights of the Andes, than to have had a soul given him capable of deriving infinite, and holy, and ennobling enjoyments, from the love and practice of virtue and truth, and then sink down, like the miserable mud turtle, into the dark and hideous quagmires of damning immorality and vice! O, man of virtue! thus it is not with thee! Blessed — all-blessed is thy name, and ever dear and ever precious will be the memory of thy goodness ! The proudest monuments of human power and greatness — temples, towers, palaces, and pyramids, may be utterly overthrown; and the pride and mag- nificence of the mightiest empires — Babylon, Carthage, Rome, Russia, and Britain, may be entirely lost amid the wreck of ages ; but the immortal deeds of thy great and god-like soul shall live through all time and through eternal ages ! '! . J fARRISON. 3,sl,s3, 3, .k 4,s2,s4, 4, .r | 5,s3,s5, 5, 3s5 .* 3 3, Happy, happy, happy pair ! none but 3, | .3sl r 5sl k 3 2 | 1 .r 3 8 6 5s3 | the brave, none but the brave, none but the brave, r 3 3 3 3sls3 r || deserve the fair 1 3 4 5 3s5 Where'er thou journey est, or whate'er thy care, 5s3 3s5 3 5 3sl My heart shall follow, and my spirit— share. 5 3 5s3 5s3 Passions— are winds— to urge us o'er the wave : 3s5s3 3s5 5 3 3s5 3sl Reason — the rudder — to direct, or save. 5s3 5sl Real independence — is living within our means. 3s5 3sl He hath a heart— as sound as a bell, 3s5 5s3 And his tongue— is the clapper ; 5s3 3s5 3s5 3sl For what his heart— thinks, his tongue— speaks. 3s5 5 If there's a Power above us, (And that there is, all nature cries aloud — ls3 3s5 5s3 Through all her works,) he — must delight in virtue ; 5s3 3 4 5 5s3 3sls3 1 And that which he delights in, must — be happy. 5s3 4 5 5 3~ .1 3sl The universe — is an empire, and God — its sovereign. 5s3:3^3s5 3s5 Drunkenness— destroys more of the human race, and 3 4 5 5 3 3s5 alienates more property, than all the other crimes — 3sl on earth. C5U EXER( ISES IN THE EFFUSIVE AND EXPULSIVE OROTUND. 5 k- 5, 5, 5, 5 .b 5 I 6s3 r 3 5 5 r 5 | What a piece of work is man ! how noble in 6,s5, 3 r 3 5 5, 5, r 5 | 6 5, 3, r 3 3s5 r 3 | reason ! how infinite in faculties ! in form and 5 5 r 3, 3, 5 .r 5 | 6 5, 4, 3, r- 3 5, 5, .r | moving, how express and admirable ! in action, .3 .r .3 .3 | .3sl 1 r 3 5 3 | 3sls5 5 :r | .3 .r .3 .2 | :1 :r|| how like an angel! in apprehension, how like a God. 3 | 3s5 k 3 5 3 .r | .1 .1 .1 R 1 J .ls.2s.l R j| To err is human: to forgive, divine. 5 | 5 5 55 55. r | 5s8 r 5 5s8 .b | Will all great Neptune's ocean wash this blood 5s8 r 5, 5, 5s8 .r | 8s5 .r 3s5 r 3 | 3s5 r, 3, clean from my hands ? No ! these, my hands, will 3 3, 3, 3, 3, 3 3, 3, | 3s5 R 3 5,s3, 2 1 r | 3,sl, 1 r rather the multitudinous sea incarnadine, making 1 .ls3 R | :1 .1 .r || the green, one red. 3 | 3 r 3 3 3 3 k 3 | .3 3- 3, 3 r 3 I stand in the presence of Almighty God and 3, 3, | 3sl .r- 3 3 3| 3,s5, 3 3s5 .r 3, 3, 3, of the world: and I declare to you, that if you 3, | 5,s3, 3,s5, 5 r 5 3 .r | .3s5 r 8 5 r 3, 3, | lose this charter, never, no, never, will you 3 r, 3, 5,s3, 3, si, .k3 3 | 3sl, 3, 3s5 r 3 3 3, get another. We are now, perhaps, arrived at 3, | 5,s3, 2 .1 :r | 3sl r 3,3, 5s3 r 3 | 3 r 3 3 the parting point. Here, even here, we stand on the 3 .r 2 | 1 .r- 3sl r 3 | 5,s3, 3sl r .1 r || brink of fate. Pause, for Heaven's sake, pause. 3 j 5s3 r 3 3s5r3| 3 3 5,s3, 1 :r | 8s5 r What man could do, is done already. Heaven 6 5s3 R 3 | 3 3 :r 3 r | .3 .r .3 .r | .3 r and eartn will witness, if Rome must fall, 3 .3 r 3 | 3 2 1 :r || that we are innocent. 3 | 5 4, 3, 3s5 :r | .5s.3 .r .3 | .3 2 1 .r- || Where liberty dwells, there is my country , 31 Education is a companion, which no misfortune can sup- press ; no clime, destroy ; no enemy, alienate; no despotism, enslave. At home, a friend ; abroad, an introduction ; jn soli- tude, a solace ; in society, an ornament. It lessens vice ; it guards virtue : it gives, at once, a grace and government to genius. Without it, what is man ? A splendid slave ! a reas- oning savage ! vacillating, between the dignity of an intelligence derived from God, and the degradation of brutal passion. OUR COUNTRY ! THE WORLD'S MODEL NATION. When the freemen of Europe could battle no longer, On their own native soil, in defence of the right, They resolved, with a faith that grew stronger and stronger, That their cause should yet triumph o'er tyranny's might. They sought a new home, in those bright sunny regions, Where nature's prime iorests in grandeur still stood : Though their numbers were small, they soon swelled to vast legions, And they prospered in all that was noble and good. Our country ! our country ! the world's model nation, Where homes are all happy, and hearts are all free, And where beams the bright star of the earth's renovation, We will be ever true — ever loyal — to thee. When the country was threatened with ruin all gory, A patriot, unequaled in valor and skill, Led his armies of freemen, to conquest and glory, And bade the vain wrath of the tyrant be still : While statesmen, all pure, were in council attendance, With their eloquent pleadings for liberty's cause ; And they firmly established our land's independence, Its free constitution, and life-giving laws. Our country ! &c. W T e have mountains and valleys, all smiling with beauty; A domain on a vast and magnificent plan ; And a people that glory in doing their duty To their homes and their country, to God and to man. We have workshops all busy, and farms ever teeming ; And a commerce unbounded on land and on sea; We have schools where bright science profusely is beaming, And churches where worship is holy and free. Our country ! &c. Though many the states that compose this vast Union, And though varied in products, and climate, and soil, We will live through all time in the sweetest communion, And the schemes of false patriots we promptly will foil. Our banner shall shine with new stars of bright glory; Our mighty republic immortal shall be ; All tribes shall be charmed with our country's sweet story ; And man shall become universally free. Our country! &c. T. Harrison. Truth, crushed to earth, shall rise again : The eternal years of God are hers : While Error, wounded, writhes in pain. Aad dies amid her worshipers. m 5s3 3s5 5s3 3s 5 My— crown— is in my heart, not on my head ; 5s3 3 5s3 Nor decked with diamonds — and Indian stones : 5s3 3s5s3 3sls3 8s3 Nor to be seen: my crown — is called— Content: .8sl 1 ls3 3s5s3 2 1 A crown— it is — that seldom kings enjoy. 3s5 5s3 3 3 2 1 But mercy — is above — the sceptred sway : 3s5 5sl It is enthroned — in the hearts — of kings : 3 4 5 6 7 8 1 .1 11 It is an attribute— of God — himself. 3s5 3s5 And now — my race — of terror — run, 5s3 3s5 3sl Mine — be the eve— of tropic sun. 3sl No pale gradations — quench his ray : 3sl No twilight dews — his wrath — allay. 3s5 3s5 With disk, (like battle target,) red, 3s5 5 3sl He rushes — to his burning bed : .3 .3 .3 3 Dyes the wide wave— with bloody light, 5s3 3 1 :1 1 1 Then sinks — at once, and all — is night, 3s5 5 3 3sl He— raised a mortal— to the skies : 3s5s3s5 5 3 3sl She — drew an angel— down. 3s5s3s5 5s3 4 5 3s5s3 If I — were an American, as I am an Englishman, 5 3 5s3 3s5 5 while a foreign — troop — remained in my country, 3 5 3sl 3s5 5 3 I never— would lay down— my arms: no,— never,— 4 2 3 1 never, — never. EXERCISES IN THE EFFUSIVE, EXPULSIVE, AN*) EXPLOSIVE OROTUND. 3 | 5,s3, 3 r 3 3s5 r 3 | 5,s3, 3,sl, k 3, 3, M y judgment approves this measure, and my .3s.5 | 5s3 r 3 2 1 .r I .3 3 3 3sl .r | .4 4 4 4s2 b whole heart is in it. All that I have, all that I am, 2 | .5 5 5 5s3 r 3 | 5,s3, 3,s5, u 3, 3, 5,s3, 3, 3, and all that I hope in this life, I am now ready 3,s5,r,3, | 5,s3,k,3, 2, 1, .r 3 3 3 | 3s5r,3,3,3, 5s3r here to stake upon it. And I leave off, as I began, 3 | 3sl r 3 3s5s3 r | 3s5 r 3 5s3 r 3 | 3s5 r 3 that sink or swim, live or die, survive or 5,s3, 3,sl, .r | 3,s5,s3,s5, r 3 3 3 5 3 | 5s3 1 b- perish, I am for the declaration. SOFT VERY SOFT 3 3 3 | 5, 3, r 3, 2, 1 r 1 r | .1 .1 1 1 r 1 j .1 .* It is my living sentiment, and, by the blessing of God, LOUD. TR 1 1 1 r | .1 3s2 1 r 1, 2, 1 | ;r I :5- .5 | .5 .5 :r | it shall be my dying sentiment. Independence _g.._.....g...^^ ^ now, and independence forever. .5 r 5 .5 r 5 | 5s3 .r .5 r 5 | .5 r 5 .5 r 5 J 6,5, 3 b I appeal to you, O ye hills and groves of Alba, 5 5 r, 5, 6 7 | 8 5 .r 5 5 5 5 | 8 5 .b- and your demolished altars ! I call you to witness ! 3 3 3 | 3,s5, 5 r 3, 4, 5 6, 7, r 5 | 8s5 r whether your altars, your divinities, your powers, 3 3 3 r 3, 3, | 3 3 r 3 .3 3- 3, j which Clodius had polluted with all kinds of 3 4 5 .r 3 3 3 | 5s3 3 3 .b 3 3 j wickedness, did not avenge themselves, when this 5s3 r 3 5 3 2 1 | .r .1 .1 ,r | .1 1 1 12 3k, wretch was extirpated. And thou, O holy Jupiter ! 1, 2, 3 r 3, 3, 3, 4, 5 r 3 | 5s3 b from the height of this sacred mount, whose lakes 3 3s5 r 3 | 3 3 3, 5, r, 3, 5,s3, 3 2 1 and groves, he had so often contaminated. 5,s6, 7, 8, .b 5,s8, 8 .r | 5, 4, 3, 2, 1 r Liberty ! Freedom ! Tyranny is dead ! 5 5,s3, r- 5, | 5, 5, R , 5, 5, 5, 5sl r Run hence ! Proclaim it about the streets! 3,s5, r3 33334|5 .r Lo ! from the regions of the north, 3 3 3 3 3 | 5, 3, r 3sl :r | The reddening storm of battle pours; .3sl 112 3 3 | 3sl .r Rolls along the trembling earth ; 3, 3, r 3 3, 3, | 5,s3, 3 3sl :r | Fastens on the Olyrithian towers. 5 r 5 5 6s5 .r | 6 ii 6 6 7s5 .r Where rests the sword ? where sleep the brave ? 5, 8,s5, R- 5, 5, 5, 6, 7, 8, r, • Awake ? Cecropia's ally save 5, 5, | 5, 6, 6, 6, 6s3 :r | From the fury of the blast. 8 .b 8 8 .r 8 | 10 8 6s5 :r | Burst the storm on Phoci's walls ! 10s8 b 5 8sl0 r 8 | 10, 10, r 8s3 :r | Rise ! or Greece forever falls. .10- r, 5, 8,sl0, 10 .r | 8s6 r 6 5s3 r Up ! or Freedom breathes her last. 3 | 3 3 3 r, 3, 3 3 3,s5, r | The jarring states, obsequious now, 3 3 3,s5, 5 5 4 3 r | View the patriot' s hand on high : 1 1 .r 1 1 1 1 | 3sl .r Thunder gathering on his brow; 5, 3, r 3, 3, 3, 3, | 5s3 .B Lightning fiasning from his eye : 3 3, 3, 3 3 | 3 3 3s5 r Borne by the tide of words along, 3 3s5 | r 3 3s5 r 3 3 2 | 1 .r One voice, one mind, inspire the throng : 5 3s5 .r | r 7 9s7 .R- 8 | 10s8 r 6 5s3 .r | To arms ! to arms ! to arms ! they cry : 8 r, 8, 8 r, 5, 3 r, 8, 8 r | Grasp the shield, and draw the sword ! 8, 6, r, 6, 8, 10, 8 6s5 .b | Lead us to Philippi's lord ; 5 5 10,s8, 6 5 .b- | ,3s.2 .2s.l || Let us conquer him, or die. 3 | 5s3 R 5 8s5 r 3 | 3 3 3, 3, r 2 1 R || Awake ! arise ! or be forever fallen. 3, 3, 3, 3, 5, k | 3 3 3 a, 3, 3s5 m | To whom the goblin, full of wrath, replied, .1 .1 r 1 11| ls2 3 R .1 J I .1 K Art thou that traitor angel ? art thou he 1 1 2 3 4 | 5 .k 3 3s5 k 3 | 5k Who first broke peace in heaven, and faith, till then 3s5 6s7 8 r | 8, r, 7, 6, 6, 6, 5, r, Unbroken ? Back to thy punishment, 8,s5, R 8, 6, 5, R , | 5, R , 6, 7, 8, r, 8 10,s8, * False fugitive ! and to thy speed add wings, 6, r, 6, 7, | 8, 9, 10,s8, 5, a, 6, 6, 6, Lest, with a whip of scorpions, I pursue 6, 5, 3, r 3, r, | 3, 4, 5 6, 7, 8 r, Thy lingering ; or, with one stroke of this dart 5, 8, 6, 5, 3, r, 5, | 6,s5, r, 5, 5,s3, r, 2, 1, || Strange horror seize thee, and pangs unfelt before. 3 | 3s5 r 3 3 3 3 3 | 3s5 .r The war, that for a space did fail, 3sS.iv | 3 3 3sS 5 r 3 2 | 1 .k- Now, trebly thundering, swelled the gale ; 3 r 8, 5, r | 3 2 1 .r And Stanley was the cry. 3 3s5 | k 3 3 3 3 3 3s5 | i A light on Marmion's visage spread, 3 3,s4,s3, R~ 3 3 2 | 1 .k And fired his glazing eye. 1 .1 .1 | .1 R 1 2 3 3s5 | r With dying hand above his head, 3 3 3 3 3 3 4|5 He shook the fragment of his blade, 3 5 5 .r | 8, 5, 3 .r And shouted, Victory ! 10s8 .k | 8 10 .r 10s8 .r | .10s.8.r8 10 | .r :10s.8 j Charge! Chester ! Charge! On! Stanley! On! .r 3 3 3 3 R 3 | 3 2 1 : R |i Were the last words of Marmion. Rise ! fathers ! rise ! 'tis Rome demands your help. O save my country, Heaven! he said and died. Rouse! ye Romans! Rouse! ye slaves! 36 THE IMPORTANCE OF THE UNION, A strong and convincing argument in favor of the preserva- tion of the Union, may be drawn from the harmonious blend- ing of its geographical features, the vast unit of wealth in its varied physical resources, and the oneness of its commercial and other important interests. We have two magnificent chains of mountains, the Rocky and the Allegheny, and between them lays the richest and most glorious valley on the globe, with its virgin breast, revel- ing in heaven's solar blaze; and then, through that valley, we have, rolling in unequaled grandeur, the mightiest of all rivers, appropriately called by the aborigines, the Father of Waters. Who shall claim the giant Rocky Mountains, and who the noble Alleghenies ? And which branches of the Mississippi shall be assigned to one community, and which to another? Shall the sisterhood of the beautiful Ohio and the sportive Missouri, the charming Tennessee and the laughing Arkansas, be severed and destroyed? Shall hostile peoples dwell on their shores, and quarrel and fight till those pure and pellucid waters are colored full red with the blood of the sons of Wash- ington, Jefferson, Hancock, and Franklin ? Methinks I hear the Father of Waters, indignant at so horrid and atrocious a thought, send up a shout, loud as the very thunders of heaven, Never, no, never ; while the Rocky peaks and the Allegheny heights, echo and re-echo the same grand veto, till the whole vast valley of the magnificent Mississippi is filled with the tre- mendous reverberations, Never, no, never. Again: we have Pennsylvania, Ohio, Indiana, Illinois, and Michigan, with their inexhaustible coal mines ; likewise Mis- souri, with her Iron Mountain, and other vast mineral wealth ; Wisconsin, with her lead and copper; Nevada, with her silver; and California, with her gold. Shall one part of our citizens seize on one class of mines, and another part on the others, making that a monopoly for a few, which ought to be for the general good of the commonwealth ? Shall one community raise corn on the prairies of Illinois and Iowa, and another wheat on the rolling lands of Ohio and New York, and anoth- er cotton and sugar in Alabama and Mississippi? Or shall these different products be the common products of our com- mon country? Shall the steamboats, plying on the waters of Superior, be forbidden to ply on the waters of Michigan and Erie, without the permission of an independent nationality ? or shall they, like the noble waters they traverse, be free in all their grand movements ? Shall the locomotives, wishing to 37 travel the length and breadth of the continent, have to petition a dozen petty States for the right to do so, and pay to each State an exorbitant revenue for the exercise of that right ? or shall they, as now, be at home in a harmonious brotherhood of States ? Shall the commerce of the East be severed from that of the West, and that of the North from that ot the South? or shall we have one united commerce for one united people ? Shall this vast Union be shattered into twenty or thirty frag- ments, losing its splendor, its glory, and its strength? and shall it become the reproach, the hissing, and the by-word of the nations of the Old World? Methinks I hear the reverbera- tions swelling louder and louder still, thundering from the grand lakes on the north to the grander gulf of Mexico on the south, and from the mighty waters of the Atlantic on the east to the still mightier waters of the Pacific on the west, Never, no, never, never, never. While the physical resources of our land thus protest against a dissolution of the Union, the moral and intellectual forces of the people shall all be put forth to preserve it sacred and indis- soluble forever. We will listen to the farewell advice of the dy- ing Washington, and remain one united people. Politicians of all schools, and christians of all creeds, shall have one sentiment in common — the Union forever ! Then will the glorious God- dess of Liberty make this her permanent home, and scatter her thousand blessings over every State, every county, every house- hold. We glory in the inspired sentiment of the brave Jackson, and pray that it may be written in letters of living fire on the heart of every citizen, whether native or foreign- born, in all future time, " The Union ! it must and shall be preserved! '' T. Harb • In the following exercise, directions are given for gesture: Raise the right hand slowly, and point and look upward : let the The Great Being, who reigneth in heaven; whose hand descend slowly, and present the palm : make an inward curve with both hands, and footstool is the solid globe; who at a glance taketh in extend horizontally : another curve, and extend slightly elevated ; another curve, all things; whose essence filleth all space, the immen- and extend still more elevated : hands descend ; slight motion up and down sity of the universe ; regardeth us, the creatures of his with both hands : extend right hand outward with palm downward : creation, his bounty ; not as objects to be cast away. both hands outward, and face to the left : place the hand gently or repelled from his presence ; but as beings to whom over the heart : extend right hand forward with palm presented: his heart is ever open, his hand ever extended. He let the hand fall, and then extend both hands forward; then let them fall slowly will take us to his arms, as a mother taketh her child , .18 3 ! 5s3 r 2 1 .h 3 | 3s5 r 3 5s3 .r An hour passed on : the Turk awoke ! .5 .6 .6 .r | .3 .2 .1 .k | r That bright dream was his last : 3 3s5 k 3 3 3 | 3 4 5 :r He woke to hear his sentry's shriek, LOUD 5 | .8s.5 .r- 5 | 9s7 r 8 10s8 r 8 | 10s8 .r- To arms! they come ! the Greek; the Greek ! MEDIUM 3 3 3 | .3 k 3 3s5 r 3 | 5s3 r He woke to die midst flame and smoke, 3 3s5 r 3 | 3sl k 3 5 4 3 r | r And shout, and groan, and sabre stroke, 3 5 3 3 3 3 3 | 3s5 r ' And death-shots, falling thick and fast, 355 3 4 | 5 4 3 :r As lightnings from the mountain cloud ; 3 | 3s5 r 3 3 3 3 4 | 5 .r And heard, with voice as trumpet loud, 3 3 3 3 3 | 3s5 .r Bozzaris cheer his band, LOUD 8,s5, r 5 5 | .6 .7 .8 i; 6 | 5 .«- Strike ! till the last armed foe expires ! 9,s7, r 5 6 | 7 7 .r 7 8 9s7 | :b Strike ! for your altars and your fires ! 10,s8, r 5 5 | .6 .6 k 5 4 ! 3 .r- Strike ! for the green graves of your sires ! .6s3 R 1 5 6 7 6 5sl r | God, and your native land ! 3 3 3| 5,s3, 1 .r .5s.3 | r 3 5sl k The combat deepens : On ! ye brave ! 3 3s5 | r 3 3s5 5 .r- | .3 .2 .1" .h | Who rush to glory , or the grave: .8s.5 k 5 8 r | .8 .9 10 8 ,n ! .8s.5 .R- Wave ! Munich ! all thy banners ! wave ! 5 I, 8s5 r 3 .5- 4 i 3 2 1 .r || And charge, with all thy chivalry ! 8 .k .8- 8 I 8s6 5 k 5 5 5 R I 5s8 .« 8s5 . Join ; all ye creatures! to extol Him first, 5s8 .r 8s5 .r | 5s8 .r 8s5 .r | 3 h 3 3 .1 .u | Him last, Him midst, and without end. As reference has been made to the numeral system of musical notation, some tune- are here given for illustration. That the system answers all the common purposes of vocal music, and is well adapted to juveniles and new beginners, has been abundantly demonstrated by experi ence. In regard to numerals being suitable characters, see the remarks of Dr. Mason on page 3. The letter A denotes the air, or first treble : B the base; Cthe second treble ; am! D the tenor. 5 before G denotes the fifth key from C, which is G; and the letter G denotes the grand octave, or major key ; P denoting the plaintive, or minor. 4 before Q denotes four beats in a measure, and Q denotes quick movement. For other explanations, see page 5. In singing, apply do to I, re to 2, &c, as shown on page 2. EVER DEFEND THE TRUTH. D5555I5553J5555J5 5 .3jj3431!3431 | W 'i REP. C 1 12 1 I 1 1 I 1 1 2 1 I 4Q 7 7 For the truth, then, let us battle. Whatsoevei 5G .1 |i 1 1 1 1 1 1 1 7 7 5 5 fate betide : Long the boast that we ar _ freemen, A 3343|2231|3343|2 2-3 .1 || 5653|5653 Long the boast ihat we are We have made, and published wide. 5c £ freemen, REP. B 4Q 1 1 1 7 1 1 5 5 1 1 1 7 1 1 1 1 I 1 1 1 1 He who has the truth and keeps it, Keeps what not to him belongs ; But performs a selfish action, That his fellow mortal wrongs. He who seeks the truth and trembles At the danger he must brave, Is not fit to be a freeman : He, at best, is but a slave. He who hears the truth and places Its high promptings under ban, Loud may boast of all that's manly. But can never be a man. Friend, this simple lay who heareth. Be not thou like either them, But to truth give utmost freedom. And the tide it rises stem. Be thou bold in speech and action : Time, erelong, will snrely test. 5 5 .1 Of the free-souled and the slavish, Which fulfils life's mission best. Be thou like the noble Roman : Scorn the threat that bids thee fear : Speak, no matter what betake thee : Let them strike, but make them heai Be thou like the first apostles — Be thou like heroic Paul: If a free thought seek expression. Speak it boldly — speak it all. Be thou like the great reformers i Be thou like our patriot sires : Fear not, in the path of duty, Opposition's hottest fires. Face thine enemies with firmness i Scorn the prison, rack, or rod: If thou hast but truth to utter, Speak; and leave the rest to God. vo GREENVILLE. > ,; — . —, -~. — .—, D 5 5-433|55 5-43 | 3 3- 2 1 5 | 4- 3 4- 5 .3 i! When the orb of mom enlightens \ > >» 5 >> » 5> Hill and mountain, mead and dell ; REP. 11111 11 I l l l l I .1 li 7 7 When the dim horizon brightens, 5G _ _ 7 7 And the serried clouds dispel ; A 3 3-211 |22 3-21 i 5 5- 4 3 3 | 2- 1 2- 3> .1 1 4 Q » » » » Be thy gratitude ascending ;g 1 Unto Him whose name is Love. REP. B 1 1 1 1 | 11 11 111! 11 4Q D 5 5 .1 1 1-233144 3- 2111 1-233144. 3 4Q 5G 11111 REP. 1 S. iii l i i *q 5 5 And the sunflower, eastward bendim 5 5 Its fidelity to prove A 3 3-4 5 5 16 6 5-43 [33-45 5 I 6 6 .5 4Q REP. 1 S. B 1 111 11 11| 4 4 When the vesper star is beaming In the coronet of even; And the lake and river gleaming With the ruddy hues of heaven, When a thousand notes are blending In the forest and the grove ; Be thy gratitude nscending Unto Him whose name is Love. 4 4 When the stars appear in millions In the portals of the west. Bright bespangling the pavilions Where the blessed are at rest ; When the milky way is glowing In the cope of heaven above ; Let thy gratitude be flowing Unto Him whose name is Love. As the Exercises in this work are given in large, bold-faced letters, the book can be placed in front of the pupil, at some distance, thus allowing Ireedomof motion ill making gestures. When the work is used in the school room, the exercises may be copied on the black-board, from which the class may read in concert. It is believed that the study of elocution will be greatly facilitated by the mode ol illustration here given ; for the principles of the science are presented with certainty. ,md not left to the sport of guess work. By reqttesl of several persons, some selections are introduced from the pen of the author. The Inaugural of Prof. Harrison, [of Moore's Hill College,] was certainly a very superior performance — noble in sentiment, ornate in style, broad in its range, and impassioned and eloquent in its declama- tion. — Rev. I. G. Chafee, cor, of Western Christian Advocate. The Baccalaureate Address by Pres. Harrison called forth rapturous rounds of applause, despite the effort to be staid and sober. His theme was, The vast importance ol the training and knowledge gained in collegiate instruction. I wish every young lady and gentleman in all our land could have heard that noble appeal, so full of truth, so rich in incident, so chaste in style, so eloquent, illuminating and convincing. — Rev. Dr. Moody, cor. of Cin. Gazette. Prof. Harrison delivered one of the best and most interesting lectures on Education to which we ever listened. Never before did we see an audience so much enraptured, or take so lively an interest in a lecture of this kind, as was manifested on this occasion; but it could not be helped when such eloquence, and so much truth were showered upon an audience, as Mr. H. did during the evening. We were glad to see a movement made to have him continue his lectures : if he 6hould, will he honor us with the same lecture again before he leaves. — London (Ohio) Chronicle. Prof. Harrison delivered an able address to a large audience on the Importance of Acquiring Knowledge, characterizing his theme in a most comprehensive review ol universal nature — a grand eulogy upon wisdom in its various developments. It is utterly impossible to do jus- tice to the speaker in attempting to give a report of this masterpiece of learned eloquence, abounding with forcible hits at the vices and follie> of the age. It could be appreciated only by being attentively heard. — Brookville American. Prof. Harrison's lecture on Temperance was a flow of eloquence and logic scarcely ever equaled in a lecture room. — Edinburgh (Ind.) Watchman. Throughout the entire discussion of the subject [Moral Education] there was exhibited a masterly skill in his arguments, an elegance and perspicuity in his style, a fervid and animated pathos in his manner, and a boldness and vigor of imagery in his elucidations, that are rarely if ever, excelled. — Springfield (Ohio) Pioneer. To say of the address of Prof. Harrison [at Fort Wayne College] that it was learned, profound, and elegantly composed, and most truly "a feast of reason and a flow ol soul," is but to feebly express the opinion of those who had the privilege of listening'to this rare produc- tion. — Fort Wayne Gazette. The lectures of Prof. Harrison were of extraordinary merit, full of thought, science, and startling facts. His eloquence is powerful ; and, possessing a superior education and knowledge, his lectures are not only fascinating to the ear. but highly instructive and overwhelmingly convincing to the most incredulous minds. — Liberty Herald. . Prof. Harrison delivered one of the most eloquent and convincing lectures we ever heard, Notwithstanding he talked for more than one hour and a half, not a person left the room, all giving him close atten- tion. — Vevay (Ind.) Reveille. The lecture of Prof. Harrison abounded in learning, eloquence, deep thought, and fine suggestions. The Professor established himself a man of purely cultivated mind. — Logansport Journal. LIBRARY OF CONGRESS 027 249 637 We have, and shall always keep in stock, all the Standard School and College Text-Books, and can supply them, and all Miscellaneous Books, at usual Publishers' prices. 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