-P, vO- . ,0o. HrL' '/ ■ ^ "^ 5*\* X - % P&p *'f-r o 4 RATIONAL ELOCUTION A THOROUGHLY PRACTICAL TREATISE ON THE SCIENCE AND ART OF HUMAN EXPRESSION Isaac Hinton Brown «v Late Instructor of Elocution and Physical Culture in the University of Missouri; Superintendent City Schools, Columbia, Mo., and author of •Common School Elocution and Oratory," "Manual of Oratory," etc., etc. " The Essence of Language /i&r^fiT3%P7?trHu NOV 17 1896 CHICAGO S%3$ A. FLANAGAN, publisher Utterance.'' &' £7* COPYRIGHT, 1896, BY CHARLES W. BROWN BROWN'S POPULAR READINGS. This is a new collection just out and contains everything that is fresh and popular, Also many rare and curious pieces that can not be found in any other collection. It also contains the only collection of ENCORE RECITATIONS published. To those who always want " something new," this is the one that will fill the want. This popular series will be found indispensable to students using Rational Elocution, since many selections referred to in this text can be found only in this series. Price, 25 cents each number. PREFACE. The purpose of the author in this book, as its title implies, has been to present the science of human expression in a manner so simple, so concise, and so reasonable, that no student with average zeal and ability would experience difficulty in compre- hending and applying its principles. While an effort has been made to render the exposition free from many of the technical and professional theories found in other works, every principle announced and enforced has been drawn from nature by the most scientific researches rec- ognized by the foremost teachers and writers of Europe and America. The prominence given to the subject of respiration is justi- fied in the recognition of its three-fold relation to Elocution: First, energy and ease of exjn'ession are largely dependent upon a proper control of the respiratory organs; second, the correct training of these organs in early life and their judicious exercise at all times, conduce to greater vigor of mind and body than is otherwise possible; and, third, the natural system of breathing during vocalization, reinforced by the teachings of science, has been found an almost absolute protection against all forms of lung and throat diseases. The skillful use of Slides, Waves, and Pauses, and the in- telligent application of Emphasis being so essential to intelligi- ble and impressive reading and speaking, much space has been devoted to these subjects. Recognizing the justice of much that has been written and said against the modern tendency of popular reciters and 3 I* UK FACE. declaimers to run into the stilted, unnatural and offensively af- fected, thus bringing the study of Elocution into disrepute, the author has insisted upon reality, intelligence and genuine human sympathy as the basis of all delivery. The editor hereby acknowledges his sincere thanks to the many writers and publishers who have kindly permitted the use of their excellent selections for this book. Charles Walter Brown. St. Louis, March 30, 1896. CONTENTS. GENERAL OUTLINE. PAGE PAGE Elocution 11 "Requirements of Good Elocution 12 Its Purpose and Value 11 Benefits of Elocution 12 How Acquired 11 Who Should Study Elocution 13 READING. Its Importance 13 The Reader's Position 15 The Two Kinds of 14 Outline of Beading Work 15 Requisites for Each Kind 14 Test of Results 16 RESPIRATION. Definition 16 Methods of Breathing 18 Processes 16 Respiratory Exercises 19 Importance 16 Miscellaneous Exercises 21 GESTURE. Definition 23 Direction of Movement . 27 Kinds of Gesture 23 Mode of Gesture 28 Requisites of Gesture 23 Exercise in Physical Expression 29 T lie Walk 24 Exercises in Gesture 31 The Bow 24 Facial Expression 33 Attitudes 24 Exercises in Facial Expression 35 The Four Positions 25 General Hints Upon Gesture 36 PRONUNCIATION. Definitions and Principles 38 Difficult Comhinations 45 Articulation . . 39 General Exercises 45 The Elementary Sounds 41 Common Errors 50 Exercises in Articulation 42 English Words 52 Illustrative Tables 43 Foreign Words and Names 56 VOICE AND SPEECH CULTURE. Definitions and Principles 60 Voice Preservation . 5 CONTENTS. MODULATION. PAGE Definition 63 Mode of Utterance 63 Slides— Classification 65 Principles and Illustrations 66 Waves— Classification 70 Laws and Illustration 71 Pa uses— Their Uses 75 Principles and Illustrations ... 76 Quantity 80 Emphasis 81 General Laws 82 Miscellaneous Exercises 84 Slur— Exercises 85 Quality of Voice 87 Pure Tone 87 Orotund 96 Plaintive 102 Pectoral 105 Guttural 107 Aspirate 109 Nasal 112 Falsetto 115 Force 119 Divisions of Force 120 Subdued Force 121 PAGE Full Force 124 Sustained Force 126 Stress 128 Division of Stress 129 Kadical Stress 129 Median Stress 132 Final Stress 134 Compound Stress 137 Thorough Stress 139 Pitch 144 Divisions of Pitch 145 Middle Pitch 146 High Pitch 147 Low Pitch 150 Movement 151 Definitions and Principles 151 Classes of Movement 152 Moderate Movement , 152 Slow Movement 154 Kapid Movement 156 Melody 157 Definitions and Principles 157 Miscellaneous Vocal Exercises 159 Medley^ Drill 160 ORIGINAL DISCOURSE, Importance 164 Extemporaneous Speech 164 Conversations 165 Public Speaking 166 Moderate Force 166 General Eequisites 166 Speaking from Notes 168 Method of Criticism 168 READINGS AND RECITALS. Page Abou Ben-Adhem Leigh Hunt. . . . 228 Ambition of a Statesman Henry Clay 179 America John Ernest McCann 300 An American Exile Isaac Hinton Brown 170 An Evangel Francois Coppee 295 Appeal in Behalf of Ireland S. S. Prentiss 127 Apostrophe to the English Language George Bancroft 140 Apostrophe to the Ocean Lord Byron 98 Beautiful Things .Ella P. Allerton . . . . 230 Becalmed 241 Bewitched Clock, The . ... 113 Boys, The Ethel Lynn .... 288 Brutus, on the Death of Csesar William Shakespeare 299 Catiline's Defiance George Croly 135 Cause of Temperance, The John B. Gough 277 Christmas Reminiscence, A Harriet Adams Sawyer 211 Christmas Tree, The .... 290 Christian Maiden and the Lion, The T. A. Durivage 244 Compensation 286 Conquered Banner, The Father A. J. Ryan 178 Country Justice, The . ... 116 Ousters' Last Charge Frederick Whittaker 304 David's Lament for Absalom N. P. Willis .... 106 Deacon Stokes Thomas Quilp 260 Deacon's Story, The N. S. Emerson.... 250 Death of Little Paul Charles Dickens 94 Death of Marmion, The Sir Walter Scott .... 233 Death of the Wife . . . . 154 Defense of Hofer 176 Der Shtubborn Mooi. 268 7 8 RATIONAL ELOCUTION. Page Despair J. G. Holland 216 Dilemma, The O. W. Holmes .... 213 Don't Be Tazin' Me Wade Whipple .... 294 Duelist's Victory, The George T. Lanergan 209 Dying Boy, The Mrs. Sigourney 142 Evening at the Farm J. T. Trowbridge 302 Flag of the Rainbow Thomas Dunn English 303 Ghost That Jim Saw, The Bret Harte .... 256 Girl of the Period, A .... 266 Give Me Three Grains of Corn, Mother Miss Edwards 104 God's Beautiful City B. F. Taylor.... 91 Gladiator, The .... 122 Happy Young Girl, A Eugene J. Hall 92 Harvest of Rum, The Paul Denton 276 Hate of the Bowl .... 275 His Mother's Songs — .... 228 How A Frenchman Entertained John Bull . . 297 Impeachment of Warren Hastings Edmund Burke .... 258 Incident of the French Camp Robert Browning 218 Joseph Rodman Drake Fitz-Greene Halleck 215 Kit Carson's Wife . . . . 284 Lasca F. Desprez 204 Last Charge of Ney, The J. T. Headley .... 247 Leadville Jim W. W. Fink .... 264 Legend of St. Christopher Miss Muloch 202 Leonidas George Croly 31 1 Liberty or Death Patrick Henry 147 Little Black-Eyed Rebel, The Will Carleton .... 254 Long Ago, The B. F. Taylor.... 150 Lord of Burleigh, The Alfred Tennyson 225 " Lynch for Lynch " Arthur Matthison 269 Love Triumphant 292 Macbeth's Vision William Shakespeare 110 Man's a Man for a' That Charles Mackav 263 READINGS AND RECITALS. 9 Page Marco Bozzaris Fitz-Greene Halleck 224 Mariner's Dream, The William Diamond 198 Marmion and Douglas '. Sir Walter Scott 100 Maud Muller 219 Medley Drill 160 Memory James A. Garfield 121 Miser's Death, The Osborne 272 Music of the Human Voice, The . . .William Russell 146 My Experience at the Dentist's — 255 My Mother Sir Walter Scott .... 291 Mother's Sacrifice, A . . . . 199 Nathan Hale, The Martyr Spy Isaac Hinton Brown 306 National Banner, The Edward Everett 99 " O, Bairnies, Cuddle Doon" .... 214 On The Concord Road ..... Will Carleton ... . 249 Over The Hill from the Poorhouse Will Carleton .... 192 Our Ain Countrie Ella Guernsey 271 Palace o' the King, The William Mitchell .... 189 Patriotism Thomas F. Meagher 313 Pawnbroker's Shop, The Richard E. White. . . . 281 Piano Music 156 Plea for Ireland Phillips.... 282 Polish Boy, The Mrs. Ann S. Stephens .... 183 Prophecy, The Mrs. E. V.Wilson. . . . 312 Prayer and Potatoes Rev. J. T. Pettee .... 231 Railway Matinee, A R. J. Burdette .... 221 Regulus to the Roman Senate Epes Sargent 187 Rescue of Chicago, The H. M. Loak..,. 239 Revolutionary Rising, The Thomas Buchanan Reade 129 Rienzi's Address to the Romans Mary Russell Mitford 124 " Rock of Ages " .... 191 Rum's Devastation and Destiny William Sullivan 196 Scene from Lady of the Lake Sir Walter Scott 279 Shylock's Reply William Shakespeare 108 Smiting the Rock . ... 237 Sockery Kadacut's Kat 293 Soldier Tramp, The Don Santiago Carlino 235 10 RATIONAL ELOCUTION. South Carolina and Massachusetts Daniel Webster South During the Revolution, The Robert Young Hayne Spartacus to the Roman Envoys in Etruria Epes Sargent Speech in Vindication Robert Emmet Stand by the Flag Joseph Holt Suppliant, The Richard E. White Tact and Talent Those Evening Bells Thomas Moore Three Cherry Stones, The Three Days in the Life of Columbus Casimir Delavigne Three Warnings, The Hester Lynch Thrale To-Day , Carpenter Two Boot-Blacks, The When the Cows Come Home Which One? Tage . 180 . 298 . 137 . 245 . 182 . 200 . 152 . 158 . 88 . 174 . 206 . 93 . 48 . 158 . 133 READING AND ELOCUTION. GENERAL OUTLINE. Elocution is the art of conveying thought, sentiment and emotion in the most natural and effective manner. Its Purpose. — The complete mastery of its principles en- ables the. speaker not only to express his thoughts clearly and easily, but to so vivify and illuminate those thoughts that his hearers see, hear, and feel the unquestioned truth of his state- ments. Correct elocutionary training has for its further object the complete subordination of the physical being to the service of the mind and spirit, thought being the product of the inner spiritual man, and speech and gesture its natural outlet through the exterior, ox physical man. Its Value. — Its study and systematic practice, based upon principles of nature, make the voice clear, strong, flexible and melodious; and give to the body and limbs a pliancy, vigor and harmony of motion that render the position and action of the speaker or reader at once graceful, natural and impressive. How Acquired. — The greatest excellence in Elocution is attained by study, practice, observation and criticism. The student should master the principles by study, and at once test their application by practice. He should closely observe the expression of reputed good readers and speakers — noting the points of excellence and deficiency which characterize their 11 12 RATIONAL ELOCUTION. delivery; lie should frequently submit his own exercises to the criticism of friends and teachers, and make notes of these criti- cisms that they may not again be needed. But one thing must be kept constantly in mind: No amount of instruction and criticism will compensate for a meager drill. The highest ex- cellence in reading or speaking requires the same conditions as music, painting and poetry — Practice, Practice, Practice. REQUIREMENTS OF GOOD ELOCUTION. 1. A full and free respiration. 2. A correct pronunciation. 3. A correct and distinct articulation. 4. A thorough knowledge and j)erfect control of all the ele- ments of vocal expression. 5. Complete control of every muscle of the face, hands, feet and body. 6. A thorough understanding and appreciation of the thought to be expressed. 7. Perfect self-possession before an audience. THE BENEFITS OF ELOCUTION. 1 . It cultivates the taste and judgment. 2. It cultivates the entire physical system. 3. It quickens perception and apjjrehension. 4. It imparts grace of movement and attitude. 5. It develops a strong will and self-possession. 6. It strengthens the conception and imagination. V. It strengthens the lungs and respiratory muscles. 8. It develops vigor of mind and buoyancy of spirit. „ 9. It gives to the voice purity, power and flexibility. 10. It protects from bronchial and pulmonary afflictions. 11. It prepares the student for the successful prosecution of business in every phase of life. READING AND ELOCUTION 13 WHO SHOULD STUDY ELOCUTION. 1. All general students. 2. Every student of law. 3. Those preparing for general business. 4. All who are preparing for the ministry. 5. The Public Lecturer, Reader or Speaker. G. The instructor in whatever art or science. 7. Persons with defective speech or unpleasant voice. 8. Persons afflicted with lung and bronchial troubles, huski- ness and chronic hoarseness. 9. All who would move through life with the least possible friction and attain the greatest success. READING. 1. Readixg is the most important branch taught in our schools. It is the key to nearly all the other subjects with which the student and future citizen has to deal. His success in mastering the concomitant branches, and, indeed, nearly every art and science, depends upon the skill he secures at an early age in interpreting, assimilating and retaining the thoughts of others, as presented upon the written or printed page. 2. The ability to apprehend the wit, the pun, the hidden wisdom beneath the author's words, to grasp the central thought, to group the lights and shades which modify or ornament the worded picture, with the quickness of intuition, must be all acquired in early life. 3. But to scan the printed page in silence and note in mental concepts the author's woven thoughts is not all there is of reading; nor can the skill by which the thoughts are grasped 14 RATIONAL ELOCUTION. be attained alone by silent reading. Months and years must be given to the vocal utterances of written sentences, under the guidance of the skillful teachers, before the child can adapt the written words to his untrained comprehension. Silent and audible reading are mutually dependent, the highest excellence in either is acquired largely through the practice of the other. THE TWO KINDS OF READING. All reading may be classed as silent or intellectual, and audible or oral. The purpose of the former is the apprehen- sion of the thought — of the latter, the expression of the thought. As an art, reading includes the interpretation and ex- pression of the thought, sentiment and emotion, as presented in written or printed composition. REQUISITES FOR READING. Certain requisites for good reading should be considered, and, as far as possible, pupils should be trained in securing these in our elementary schools. Some of these are innate, but all may be cultivated to such a degree as to make intelligent and intelligible readers of ninety-five per cent of all. REQUISITES FOR SILENT READING. 1. A clear conception. 2. A quick perception. 3. Human sympathy. 4. A vivid imagination. 5. A keen discernment. 6. An interest in affairs. 7. Good taste and judgment. REQUISITES FOR AUDIBLE READING. 1 . Imitative power. 2. Expressive action. 3. Command of voice. READING AND ELOCUTION. 15 4. Distinct articulation. 5. Respiratory command. 6. Correct personal habits. V. All required for silent reading. 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 elboYv T not touching the side. The book should be held in such a manner that a line drawn from the eyes toward the page would intersect the plane of the book at right angles. The full face of the pupil should be seen by the teacher. The weight of the body should be supported, while reading, on both feet, the left heel two or three inches in advance of the hollow of the right foot. The chest should be elevated and expanded, the position erect and easy. OUTLINE OF READING WORK. 1. Give constant attention to pupils' manners, movements, attitudes, breathing, tones and speech. 2. Devote five minutes daily to concert phonic drill, and critical pronunciation, reviewing the words placed under pro- nunciation. 3. Require synonyms and derivation of words in each lesson, previously marked. 4. Have all members of the class commit and properly recite compositions of acknowledged merit. 5. Require explanation of historical, biographical, geo- graphical, scientific and literary allusions in the text or lessons. All such allusions should be previously designated, that the pupils may have definite knowledge of what is required. G. Require an oral abstract of lessons before the exercise of reading is called. These synopses must be in the pupils' own and best language. 16 RATIONAL ELOCUTION. 7. To secure the greatest benefit from silent reading, turn to some lesson with which pupils are not familiar, permit them to sketch it hastily — say two minutes to a page, then collect all books and require a written abstract prepared in the shortest time possible. The pupils within a specified time exchange slates or papers and read each other's composition. 8. The lesson should be read with such precision and ac- curacy as to render the use of a text-book in the hands of the teacher unnecessary. 9. Discuss the style of thought, literary beauty, and rhetorical peculiarity of every selection before leaving it. 10. Require pupils to learn all they can of every author whose productions they read. 11. Do not attempt to complete a long selection in one lesson. Few selections in this book can be profitably passed in less than three days. TESTS OF RESTTLTS. The average pupil having fully prepared a reading lesson, should read it with such naturalness and impressiveness as to inspire hearers with the most pleasurable emotions, and hold their attention to the exclusion of everything else. RESPIRATION. 1 . Respiration or breathing is the act of taking air into the lungs and expelling it from them. 2. As an art, respiration involves three processes whose mastery by the student is of paramount importance: Inspira- tion, Expiration and Management. 3. Few persons realize how great is the influence of res- piration upon the growing life of a human being. Notwith- standing the teachings of our text-books and the warnings of popular writers and lecturers, many parents and even teachers re- main indifferent to the pernicious habits of breathing acquired by children during school life. READING AND ELOCUTION. 17 4. Vigor of mind and body is dependent so largely upon , a copious supply of pure air inhaled with reference to time and manner, that no system of education can be successfully carried out unless provision is made for the most complete respiration of the lungs. 5. It is a fact well established in pathology that functional derangements originating in colds, attack the weak- est organs of the body. The properly trained singer and speaker are rarely hoarse. Exemption from lung and throat troubles among professional orators and singers is due to the skillful use of every organ involved in respiration, speech, and song. The public speaker or singer who excuses his perform- ance by confessing hoarseness thereby acknowledges his igno- rance and violation of one of nature's simplest laws. 6. If the teacher or student be disposed to ignore the hygienic value of correct breathing, he is reminded that the highest form of human utterance, whether aspirated or vocalized in speech, or intonated in measured harmony, is based upon the most intelligent command and use of the respiratory apparatus. The stuttering, gasping, incoherent, flighty, jerky or impetu- ous speech, one sometimes hears from a novice in the art of public speaking or singing, is not traceable alone to inexperience, but, in most cases, to nervous embarrassment caused by imper- fect respiration. 1. It may be further stated that a larger part of the train- ing course prescribed for orators and singers in professional schools is devoted to securing command over the breath in speech and song; and that the heart-reaching, soul-stirring rendition of those sublime passages which have in ages past mov r ed the stoic to action and the sage to tears, can be re- produced only, after all other conditions are present, by that perfect adaptation of breath to the molding of words that live, and burn, and glow — melting the heart to tears, filling the ear with rapture, and illuminating the soul with celestial light, 18 RATIONAL ELOCUTION. until the very air seems filled with seraphic melodies of intelli- gences divine. 8. Every muscle of the waist, chest, ribs, axilla, back and loins, must be brought into action, and trained by intelligent and persistent practice to perform its function. It will take several months — even years, with older students, to accustom all the muscles to act automatically and effectively. The mind must superintend the effort — must constantly realize the impor- tance of the exercise. The expense of time and attention will pay. It will pay in an increased brilliancy of intellect, happi- ness of temper, and buoyancy of spirit. It is the deep, full, vigorous breathers that possess the most vigorous hearts, minds and bodies. METHODS OF BREATHING. While the ordinary methods of breathing are sufficient for the individual of vigorous outdoor pursuits, they are not sufficient for the scholar and man of thought engaged in sedentary pursuits. With these the stimulus generated by bodily action is wanting to induce the deep inspirations peculiar to the active man of outdoor life. The thinker within his closet, the artist at his easel, the artisan at his table, and the pupil at his desk, require a constant reinforcement of mental energy. Much more than any of these does the orator demand the recuperative agency of a perfect respiration. This require- ment can be filled only by the inhalation of an abundance of the vitalizing oxygen contained in pure air; and art must be called in to properly supply and distribute the regenerative fluid. MOUTH VERSUS NOSTRIL BREATHING. The following considerations will suggest the propriety of always inhaling through the nostrils: 1. The small circuitous passages, with many obstructions, through which inhaled air must pass before reaching the delicate READING AND ELOCUTION. 19 lung cells, temper it to the normal heat of the body. Air swal- lowsd at the zero temperature enters the lungs many degrees colder than the body, and scarcely fails to produce serious in- flammation. 2. The speaker or singer who incautiously swallows air during the exercise of his voice will soon discover a dryness in the mouth, larynx and trachea which will render the tone harsh, hard and husky — annoying to himself and unpleasant to his auditors. The continued moisture of these organs is an essen- tial condition of purity of tone. 3. The continuous swallowing of air during vigorous speech parches the throat and inflames the membranes and liga- ments of the voice and speech organs. If the practice is re- peated for a few days in succession it results in what is styled " clergyman's sore throat ." 4. The air at all times is filled with myriads of motes, whose introduction into the delicate lung tissues produces un- pleasant irritation. Added to these, science has demonstrated that under certain atmospheric conditions, countless germs of disease are floating in the air. These the mouth-breather re- ceives at once to be carried to the lungs and these impart their poison to the blood. The nasal cilia and sieve-like processes which line the nasal cavities arrest the ingress of these .life de- stroying agents. 5. To the above may be added the fact that the constant practice of breathing through the nostrils tends to enlarge the nasal passages. This enlargement assists the articulation and adds purity and melody to the tones of the voice. RESPIRATORY EXERCISES FOR PRACTICE. 1. Abdominal Breathing. — Stand passively erect, hands and arms hanging loosely at the sides, weight supported equally on both limbs. Close the lips and inhale quietly and slowly through the nostrils, filling the region about the waist until your 20 RATIONAL ELOCUTION. capacity is reached. Quietly exhale through the mouth or nos- trils as long as possible. Repeat five times. 2. Chest Breathing. — Repeat the above exercise with the hands clasped behind the head. Note.— If dizziness ensue,- discontinue for a few minutes. After a few weeks this difficulty will not return. Caution.— Do not catch the breath suddenly through the mouth while exercising. During the earlier exercises draw the air through the nostrils very slowly. Permit no air to enter the mouth at any time. "God breathed the breath of life into man's nos- trils," not into his mouth. 3. Abdominal and Chest Combined. - Fill the region about the waist as in No. 1, then without exhaling, gradually force the enlargement upward until the chest reaches its full ex- pansion. Repeat jive times. Reverse the process. 4. Effusive Exhalation. — Inhale as in No. 1. Exhale in the least audible whisper the sound of il ah" prolonged for thirty seconds. Continue this exercise daily until the sound can be prolonged fifty seconds. Vocalize "ah" effusively. Inhale as in No. 1. Exhale evenly and in a pure tone the sound of long "e" prolonged for ten seconds. Continue this daily until a clear, musical sound can be continuously produced for thirty seconds. Note.— The longer a speaker can hold his breath the more effective will be his de- livery of those long and involved sentences whose full force and meaning seems to de- pend upon an uninterrupted effusion of melodious sound. 5. Expulsive Exhalation. — Inhale as before. Expel the air in the whispered sound of " h " by a vigorous upward and inward action of the abdominal muscles. Inhale again, and re- peat this exercise ten times without taking breath. Inhale; count clearly and distinctly in one breath to forty, to fifty, to sixty. Inhale; repeat the letters of the alphabet distinctly in a single breath five times, six times. READING AND ELOCUTION. 21 6. Explosive Exhalation. — Inhale fully, then expel the air in an explosive whispered utterance of the syllable "huh.' 1 '' The effort must be sudden and exhaust the breath as nearly as possible. Inhale; vocalize with the utmost explosiveness the syllable "huh." Inhale; laugh explosively in one breath the syllables ha, ha, ha, repeating as many times as possible. When done, shut the mouth instantly and inhale slowly through the nostrils. 7. Active Chest. — Inhale abdominally; force the enlarge- ment upward, as in No. 3. This is the active chest. It gives the elastic step an energy of speech and action which distin- guishes the vigor of eloquence from the languor of indifference. MISCELLANEOUS EXERCISES IN RESPIRATION. 1. Repeat expulsively in clear tones, in rapid succession, the vowels a, e, I, o, u, as many times as you can. In addi- tion to the respiratory benefit accruing from the exercises it gives command of the radical stress, an accomplishment of great importance to the speaker. 2. Inhale deeply; count in distinct tones to thirty, forty, fifty. Stop the moment the least aspiration is observed. 3. Take a full breath; repeat distinctly the letters of the alphabet as many times in one breath as possible. 4. Read in one breath the first x paragraph of "The Two Boot-blacks," page 48. Afterward read in one breath first and second paragraphs. Every word must be intelligibly uttered. 5. Before any public performance, when convenient, go to an open window and with hands placed on window frame inhale and exhale vigorously a dozen or more times. The ex- ercise imparts a healthful stimulation, allays excitement, and gives to the speaker a wonderful reserve force and self-pos- session. 22 RATIONAL ELOCUTION. 6. To more thoroughly aerate the lungs, exhale all the air you can and then with the heels of the hands press, by a work- ing motion, the chest, ribs, and sides, under the arm-pits until all the air seems to be driven out. Close the lips and inhale deeply, evenly and slowly. NOTES. 1. Under no circumstances should the act of breathing be permitted to interfere with vocalization. By proper training and exercise, inhalation can be so managed as rarely to be noticed. 2. In the act of inhalation through the nostrils, avoid the unbecoming habit of sniffing so noisily as to attract attention. True art conceals art. 3. Acquire the habit of inhaling slowly. The acquisition of this power brings with it, to a great degree, the control of the breath. 4. While inhalation is to be effected mainly through the nostrils and imperceptibly, it is understood the acts of sighing, gasping, coughing, sneezing, loud laughter, sobbing, and pant- ing, sometimes accompanying dramatic action, are exceptions. 5. ~No breath should be wasted. Use only so much as may be necessary to form the word. Too little renders the sound inaudible, too much exhausts the speaker and mars the beauty of utterance. 6. All breath employed in speaking, except in the aspirate quality, should be vocalized. 7. Do not wait until the lungs are exhausted to take breath. The practice is injurious. Take breath as often as op- portunity will permit. 8. To secure the greatest benefits from respiratory exer- cises all artificial pressure must be removed from the throat, neck, chest and waist. GESTURE. GESTURE. Gesture includes all positions and motions of the head, face and limbs, employed to enforce or illustrate an idea, emo- tion, or passion. Its Importance. — Gesture is the visible language of the inner life. It portrays to the eye the workings of the mind, the affections of the heart, and the varying passions and emotions of the soul. It is as intelligible to the savage as to the most en- lightened. Entire plays are presented in pantomime and are understood by observers as well as by the players themselves. It gives to the eye what the ear often fails to receive, and thus attracts and holds the attention much more effectually than do words alone. He who would successfully appeal to all the senses of his audience — hold the eye, the heart, the soul; summon the ap- proving smile, the sympathetic tear, the rapturous applause; sway the multitudes, lull them into complacency, or move them to immediate action — must cultivate and skillfully employ this universal language of nature. Kinds of Gesture. — All gestures may be classed as Em- phatic, Illustrative, and Locative. Emphatic Gesture intensifies assertions by the application of greater force to emphatic words; as, "I will force him to the deed." Illustrative Gesture shows the manner, means, degree, appearance, or effect; as, "Ye Gods, withhold your wrath." Locative Gesture designates the position, direction, or place; as, " Look not in thepast for hope." Requisites of Gesture.— The requisites of gesture are Grace, Variety, Simplicity, Boldness, Energy, Precision and 24 RATIONAL ELOCUTION. Propriety. These must be in harmony with the accompanying oral expression. Initial Movements. — The entrance or first appearance of the speaker before his audience is a critical moment. Impres- sions are then made which often affect his entire subsequent performance. The Walk. — The walk is the mirror of character. Through it the artist reads the very thoughts the performer would con- ceal; and though we can change our walk only as we change the temperament that walk portrays, we can by practice secure a style of motion that will occasion no unfavorable comment. Directions. — Stand erect; summon the most animated thoughts; assume active chest (described under Respiration); imagine yourself drawn forward by a force acting about the waist/ preserve a perfect poise, the head well balanced, the chin neither projected nor retracted. Lift the thigh forward, the lower leg and foot hanging loosely, and straighten the knee, as the foot is planted, as nearly flat as the high heel will permit. Follow with the other limb in 'the same manner, observing that the chest is full, the unseen power acts at the waist and the knee straightens as the foot strikes the floor. The Boav. — Standing in the first position (see Positions), after a momentary look into the eyes of the audience, bring the right foot back so as to assume second position, bend the body and head slightly and directly forward. In the retiring bow, as the body bends forward bring the right toe to the heel of the left foot, the right knee bent and pressed firmly against the back of left knee. Step to the left with the left foot and retire. Attitudes. — The disposition of the entire figure, when at rest is important, and should receive careful attention. Every posture assumed by the speaker is significant. These should be easy, graceful and flexible, but, above all, they must be in har- mony with the prevailing sentiment. GESTURE. 25 Head, Body, Hands and Feet — Stand erect, chest full, head evenly poised, the arms hanging easily at the sides, or one arm at the waist; weight at first supported mainly on both feet, one of which should be a little in advance of the other. Keep knees well stiffened, and be prepared to make changes naturally and gracefully. THE FOUR POSITIONS. I. Unemotional — First Position. — Support the weight of the body mainly on the left foot. Advance the right foot ob- liquely at an angle of eighty degrees, and in such a position that the right heel is from tioo to four inches in front of the hol- low of the left foot. Second Position. — Support the weight of the body mainly on the right foot. Advance the left foot obliquely at an angle of eighty degrees, and in such a position that the left heel is from two to four inches in front of the hollow of the right foot. II. Emotional — Third Position. — From either the first or second position move the right foot obliquely forward a short stej), the feet remaining at the same angle. Support the body on the right foot and turn the left so that the feet form an ob- tuse angle; raise the left heel slightly, and balance the body, which is thrown a little forward, with the inside ball of the left foot. Fourth Position. — From either the first or second position move the left foot obliquely forward a short step, the feet re- maining at the same angle. Support the body on the left foot and turn the right so that the feet form an obtuse angle; raise the right heel slightly and balance the body, which is thrown a little forward, with the inside ball of the right foot. Changes of Position. — In the delivery of unemotional thought there should be few changes, and all movements should be performed within a limited space. In the expression of 26 RATIONAL ELOCUTION. emotional thought and heated passion, changes of position, and greater freedom of movement are permissible; yet even here, the speaker must confine himself within the bounds of propriety. The impetuous, headlong, and boisterous plunges up and down the platform suggest not strength and vigorous emotion under the control of a powerful reserve force, but weakness, an insta- bility. Never move until the occasion impels you to do so, and you will not go far astray. Position of the Head. — The head is presumed to guide the motions of the body, and should be so held as to command the respect of an audience. Its various positions foreshadow the thought before it is expressed. An erect position of the head suggests confidence, dignity and honor; thrown back, humor, pride or vanity; inclined forward, humility and grief; inclined aside, languor; while a tossing motion implies contempt and anger. POSITION OF THE HANDS. 1. The various positions assumed by the hands are highly significant, and should be thoughtfully studied. 2. In repose the hands should be a model of grace; the forefinger should be gently extended, the thumb extended and nearly parallel with the first finger, the second finger slightly curved, the third finger curved more than the second, and the fourth, or little finger, forming a semi-circle. Study the at- titudes of statuary and adapt your positions to those models that are regarded as specimens of the highest art. 3. The hand is said to be supine when open, fingers re- laxed and palm upward, indicating entreaty, appeal, light joy- ous emotions and general description. 4. It is prone when open, fingers extended and palm downward; used in denial, degradation^ and concealment. 5. It is vertical when open, fingers extended and palm outward; used in repelling, disgust, abhorrence, warding o^f'and defining a limit. GESTURE. 27 6. It is clenched when tightly closed; used in anger, defi- ance and threatening 7. It is pointing when loosely closed, forefinger and thumb uppermost and extended; used in pointing and designa- ting. 8. It is clasped, applied, folded, crossed, enumerating, touching, when used in description and designation. DIRECTION OF MOVEMENT. Before attempting "any of the following exercises in gesture with the hands, the pupil should become familiar with the various terms used in indicating direction and the significance of such direction. 1. Front. — Indicating personality, directness, futurity, unity. Gestures made directly before the body are termed -front/' 2. Extended. — Indicating vastness in space, tune, quan- tity or idea. Gestures made direct from the speaker's side are termed ' ' extended. " 3. Oblique. — Indicating a general idea or assertion, in- definitenes ■--. Gestures made between the ''front" and ••ex- tended'' are called " oblique." 4. Backward. — Expressiveof remoteness of time or space. Gestures back of the extended are called "backward." 5. Descending. — Expressing determination or empjhasis. Gestures made below the horizontal line of the chest are called " descending." 6. Horizontal. — Pertaining to the intellect. Gestures made by extending the hand and arm in a line horizontal to the chest (whether front, oblique; or the side or backward) are called '-horizontal." 7. Ascending. — Alluding to the ideal or imagination. Gestures made above the horizontal are termed •• ascending. " 28 RATIONAL ELOCUTION. 8. Ictus of Gesture. — The ictus of gesture is applied to the accented syllable of the word with which it is used. Both Hands,- — are often used, making the same motions, to give greater breadth of thought, broader exj)anse, and more intensity of motion. Arm Motions. — To secure facility and grace of gesture, a short preliminary exercise, employing both arms simultaneous- ly, is of great advantage. Every exercise in gesture should be preceded by several whole- arm movement combinations, the nature of which will be suggested after the following de- scription of an exercise the author has used most advantageously with students: DIRECTIONS FOR ARM MOVEMENT. Take the first position, Active chest. Let the arms and hands hang naturally, the little fingers just touching the sides. Raise both the arms, bringing the hands toward each other in front, near the body and slightly turning them so that the fore- fingers just touch by the time the hands meet at the waist; continue raising the hands, fingers relaxed and slightly curved, palms gradually turning inward, until the chin is reached, when the fingers gradually extend. From this point the hands sepa- rate, the whole arms sweep through a graceful curve downward and downward through the horizontal, oblique and extended directions; the palms at first upward, gradually turn inward, then downward, when the arms curve and the hands are brought again together at the waist, as when raised from the sides in the initial motion. This movement is to be repeated many times until familiar, after which others can be developed from it, which will be of great service in imparting ease and grace to gesture. MODE OF GESTURE. 1. The grace of gesture is expressed in the compound curve, sometimes called "Hogarth's line of beauty." The GESTURE. 29 motion of the arm originates in the shoulder, is then trans- mitted to the arm, and forearm, whence the hand and the fingers receive the impulse and both gradually curving as the arm is raised until the chest (on the side opposite the arm employed) is reached, when the arm, hands and fingers unbend and reach their full extension at the ictus. 2. The curve of arm gesture, expressive of pleasing, tranquil and serious thought, and employed in narration, de- scription and argument, is beautifully illustrated in the varied motions that may be described with a flexible willow-twig. 3. The direction of motion in the gesture of violent pas- sion and uncontrollable excitement, whether occasioned by anger, fright or joy, is best illustrated in the angular flash of the falling thunderbolt. 4. From these illustrations the learner will readily infer the character of gesture required when he has determined the sentiment contained in the composition. EXERCISES IX PHYSICAL EXPRESSION. With Head and Face Indicate: Attention: Lean the head forward with fixed gaze. Assent: Nod rapidly forward. Dissent: Toss the head backward and sway from side to side. Diffidence or Languor: Incline the head to either side. Horror: Avert the face to either side. Courage'. Hold the head erect. Shame, Humility or Grief: Drop the head forward. Pride, Arrogance: Throw the head back. Avoid all useless nodding, shaking and tossing of the head. With the Arms Indicate: Calm Repose'. Let the arms hang naturally and gracefully Weakness : Let the arms hang listlessly. 30 RATIONAL ELOCUTION. Self -Importance : Fold the arms across the chest. Entreaty : Hold the arms and hands forward, palms supine. Invocation: Raise the arms forward, hands supine. Terror: Throw the arms backward, elbows bent. Avoid every arm movement not in harmony with the senti- ment you are expressing. With the Hands Indicate: Secrecy or Silence: Place the forefinger on the lips. Shame or Sorrow ; Place the hands upon the eyes. Joy or Pleasure : Clasp the hands on left breast. • Anguish: Wring the hands, moving upward and down- ward. Appeal to Conscience: Place the right hand over the heart. Threatening : Clinch and shake the hand. Mental Pain or Distress: Place the open hand on the head. Meekness: Cross the hands on the breast. Triumph: Wave the right hand over the head. Invitation: Extend the hands supine toward the object. Avoid unnecessary motions of the hands at variance with prevailing sentiment. By Various Attitudes of the Body Indicate: Repose, Courage, Joy : Hold the body flexibly erect. Pride, Haughtiness: Throw the shoulders stiffly back. Humility or Compassion: Stoop slightly forward. Peverence, Adoration: Bend the body well forward. Indignation: Straighten to full height. Aversion: Withdraw from the object to either side. Horror: Shrink inwardly from the cause. Avoid all unnecessary contortions of the body and shrug- ging of the shoulders, as well as that unpliable rigidity one sees in the awkward orator. GESTURE. 31 By Means of the Lower Limbs Indicate: Confidence, Self- Possession: Stand flexibly erect on both feet. Self- Conceit, Obstinacy : Stand rigidly erect on both feet. Timidity, Awkwardness: First or second position, advanced knee bent more than rear knee. Physical Weakness : Feet parallel and a foot or more apart, knees bent. Terror, Horror: Let the entire limbs tremble. Earnest Appeal: Take third or fourth position. Disgust: Assume third or fourth position, then throw weight on rear foot. Pomposity : Feet well apart, weight on both feet. Avoid the frequent shifting of weight from one limb to the other. Such actions betray awkwardness and mental disturb- ance. EXERCISES IN GESTURE. Explanations of Abbreviations : ( D. F. Descending Front. ( D. E. Descending Extended. j H. F. Horizontal Front. ] H. E. Horizontal Extended. ( A. F. Ascending Front. ( A. E. Ascending Extended. ( D. 0. Descending Oblique. ( D. B. Descending Backward, •j H. O. Horizontal Oblique. \ H. B. Horizontal Backward. ( A. O. Ascending Oblique. ( A. B. Ascending Backward. Note.— The ictus is applied to the italicized words. I. RIGHT HAND SUPINE. D. F. Upon this action I insist. H. F. I freely grant all that you demand. A. F. I appeal to the great Searcher of hearts. D. O. Of all mistakes none are so fatal as these. H. O. Truth, honor, justice were his motives. A. 0. Fix your eyes on the prize above this life. I). E. Away with your tempting bribes. 32 RATIONAL ELOCUTION. H. E. The gentle breezes wafted incense on the air. A. E. Hail flag of the free! Sweet emblem of hope. D. B. Let ns put such schemes behind us. H. B. Search the records of the remotest an-ta'-quity. A. B. Then rang the shout of freedom. II. RIGHT HAND PRONE. D. F. Put down the unworthy feeling. H. F. Re-s^*«m the unhallowed propensity. D. O. Let every one repress such sentiments. H. O. I charge you to ve-strai?i such dispositions! A. O. Ye god's with-hold your vengeance! D. E. He'll smooth the turf for your last pillow. H. E. Adversity dimmed his brightest ^ros-pects. A. E. So darkly glooms yon thunder cloud. III. RIGHT HAND VERTICAL. H. F. £ack to thy punishment, false fugitive! A. F. For-bid it, Almighty God ! H. O. A friend would ward off the blow. A. O. Oh ior-bid it, Heavens! H. E. Out of my sight, thou base defamer! H. B. False wizard, avant! IV. BOTH HANDS SUPINE. D. F. All resentment he de-^os-ited on the altar. H. F. Listen, I im-plore you, to his cry for mercy. A. F. Hail! universal Lord! D. O. All these he sur-rm-dered to the common good. H.'O. Welcome! friends, to our peaceful shore. A. O. Sail! holy Light! D. E. I utterly re-nounce his proffered aid. H. E. He delves in the wide a-bgss of possibility. A. E. Freedom to the race! GESTURE. 33 T. BOTH HANDS PRONE. D. F. Lie Ught-lj on him, earth. H. F. May the blessings of Heaven rest on thee. A. F. Blessed be Thy ?ia?7ie, O Lord Most High! D. O. We are as but worms of the dust! H. O. Deep stillness fell on all around, A O. The Angel of Death spread his wings on the blast. D. E. Here let the tumults of passion cease. H. E. Spread wide around the heavenly calm. A. E. Sorrow mantles the whole earth. VI. BOTH HANDS VERTICAL. H. F. Hence! horrible shadow! A. F. Avert, O God, the terrible calamity. H. O. Burst are the prison bars. A. O. Angels and Ministers of Grace, de-fend us. H. E. Night's gathering fears, dis-perse ! A. E. Melt and dis-/>e£ye specter doubts. FACIAL EXPRESSION. Facial Expression is the adaptation of the countenance to the sentiment to be expressed. 1. Of the face Quintilian has said: "The face is the dominant power of expression. With this we supplicate; with this we threaten; with this we soothe; with this we mourn; with this we rejoice; with this we triumph; with this we make our submissions; upon this the audience hang; upon this they keep their eyes fixed; this they examine and study even before a word is spoken." 2. The effect of the vocal delivery is so much heightened by a sympathetic expression of the face, that the student of elocution, whether preparing for the rostrum, bar, or pulpit, should on no account neglect this important aid to his delivery. 34 RATIONAL ELOCUTION. 3. While much preliminary training in this department of expression is necessary, in its application the student must first feel the sentiment to be uttered, then the appropriate facial expression will follow. Beware of useless facial contortions; they are not only inappropriate, they are disfiguring and repulsive. EXPRESSION OF THE EYES. 1. The eye is the most expressive of all the features. It is here the mysterious workings of the mind are imaged forth in unmistakable language before the tongue moves in obedience to the will. 2. From it the soul looks forth and communes with kin- dred spirits. The expectant child reads in its mother's eye the answer to its wish. The stricken heart, unable to bear its burden, sends forth its mute appeals for human sympathy through eyes that tell the inward sorrow. 3. But while philosophers and poets have combined in praise of the wondrous beauty, variety, and expressiveness of the eye, to the orator, it has peculiar interest which he cannot ignore. It is not simply a means of expression, but to the speaker it is an instrument of control second to no other agency of oratorical power. The speaker who looks directly into the eyes of his audience holds them beyond their power of escape. Every person present feels the magnetic influence of the speaker and fancies himself the particular person addressed. 4. The failure to use this wonderful power explains why so many desultory speakers and manuscript readers do not secure attention and move their audiences to thought and action. If you must use a manuscript, acquire the habit of looking away from it at times and into the ey?s of your hearers. GESTURE. 35 EXERCISES IN FACIAL EXPRESSION. By Means of the Eyes Indicate: Courage, Determination: Look straight forward. Joy, Hope, Delight: Raise the eyes slightly upward. Shame, Modesty, Humility: Look downward. Disgust, Aversion : Turn the eyes to either side. Madness : A steady glare, seeing nothing. Sudden Anger: Let the eyes flash. Consternation : Open the eyes wide with a fixed stare. Mage: Roll the eyes well open. Despair: A vacant stare. Avoid meaningless winkings and any unnatural use of the eyes. By Means of the Brow Indicate: Joy, Terror, Amazement: Elevate the brows. Fear, Despair, Grief: Depress the brows. Anger, Rage: Knit the brows firmly. Tranquil Repose: Let the brows be natural. Avoid the frequent elevation of the brows when not in- dicated by the sentiment. With the Mouth Indicate: Tranquillity : Close the lips lightly. Joy, Delight: Let the lips be drawn back and slightly raised. Scorn, Contempt: Curl the lips slightly upward. Disgust : Curl the lips downward. Firmness, Decision : Compress the lips. Weakness, Indecision ; Relax the lips. Wonder, Desire: Part the lips slightly. Silliness, Imbecility: Open the lips languidly, tongue protruding. Approval, Pleasure: Let the lips smile freely. 86 RATIONAL ELOCUTION. On account of the softness of the parts about the mouth no feature is so liable to assume the deformities of bad habits as the lips. Avoid all unbecoming contortions, as sneering, pout- ing, twitching, and protrusion of the lips. Avoid evil indul- gences in thought, word, and deed. All these leave their traces upon the mobile lips, and mar alike the features and delivery. With the Nostrils Indicate: Courage, Anger : Expand the nostrils freely. Surprise, Admiration : Open the nostrils moderately. Disgust, Contempt: Draw the nostrils upward. Fear, Terror, Horror : Let the nostrils dilate and quiver. Pain ; Contract the nostrils. GENERAL HINTS UPON GESTURE. 1. "Suit the action to the word, and the w^ord to the action; with this special observance— that you o'erstep not the modesty of Nature." 2. Be definite and decided in your action. Decision of gesture is more important than grace ; combine the two. 3. In shifting from one foot to the other avoid dropping one hip or shoulder. 4. Though appropriate gesture is pleasing to the eye and greatly assists the hearer in comprehending the thought, the pupil is reminded that too little gesture is better than a continu- ous or even frequent sawing of the air. 5. During the action of gesture the arm should be kept moving all the time — rarely stationary for a single instant. 6. When reading, attempt no gesture unless you can look from your book and preclude the gesture with your eyes. 7. The ictus of the gesture should be on the emphatic word, and the hand performing the gesture should return to the side or proceed with another gesture. GESTURE. 3 7 8. Keep your face either full or three quarters full toward your audience, unless personation should require it otherwise. 9. In personating two characters have one speak to the right, the other to the left. Explanations require a full face to the audience. 10. Use curved lines in gesture in all cases except those portraying sudden and impressioned Emotions. 11. As a general rule in single gesture, use the right arm, with the right foot advanced in preference to the left. The left, however, is often conveniently used in the mimicry of awkward characters. 12. Do not permit the love of dress display to mar the effect of your delivery by making you ridiculous. Taste in dress is little less important than appropriate language and delivery. 13. Let your changes in gesture accord with the language. The more rapid the thought and violent the emotion, the more sudden the transitions. Calm, dignified and reflective thought requires slow, measured, graceful changes. 14. When the change of thought requires a change of position, make such change while speaking, not before nor after; that is, move as you enter upon the new thought. 15. Gesture should not accompany the description of the act, but the act itself ; as "But Douglas round him drew his cloak," etc., receives no gesture; wait till the words accompany- ing the action are spoken. 16. Observe the attitudes and gestures of great orators. 38 RATIONAL ELOCUTION. PRONUNCIATION. Pronunciation from pro, forth, and nuncio, I announce, is the act of vocal and articulate utterance of words according to prevailing usage. 1. The pronunciation of the English language is not uni- form in time or place. The usage of the nineteenth century is not that of the last century. The general style of the bustling metropolis differs from the leisurely uttered words of the field and hamlet. So, too, the followers of certain occupations man- ifest their calling by peculiarities of accent and enunciation. The stress and tones of the seafaring man vary in a marked degree from those of the camp and court. Again, the usage of the mountains is not that of the plains and valleys; and the con- trast between the articulation and accent one hears on the coast and in the interior is equally marked. 2. Changes in pronunciation, due to changes in manner of living, social and political conditions, advance of commerce and caprice of fashion are constantly going on — in some sections more rapidly than in others. While some communities, in- fluenced by the busy activities around them, accept almost every new style of utterance, others, more isolated, and, therefore, more tenacious of early acquirements, resist all innovations, and cling to those familiar sounds to which they have been accus- tomed. Thus differences in pronunciation originate and con- tinue in the same country. 3. Notwithstanding these differences in local usage there is a standard of pronunciation to which the critical scholars of all sections conform. Among literary people of the United States this standard is recognized in the latest editions of Web- ster's, Worcester's and the Century dictionaries. PRONUNCIATION. 39 4. The ''Principles of Pronunciation" contained in these works should be carefully studied by all who aspire to accuracy in spoken English. A mispronounced word or even an unusual authorized pronunciation coming from the pulpit, stage or ros- trum, distracts the hearer's attention, mars the beauty of diction and compromises the speaker's culture in the estimation of his audience even more than the absence of an eloquent delivery. 5. Pronunciation comprises articulation, syllabication, and accent. A skillful articulation is acquired by first securing the correct sounds of the vocal elements, and then by persistent practice, making them so familiar to the tongue and ear that every combination, however difficult, can be sounded instantly and correctly. ARTICULATION. Articulation is the process of forming and combining the elementary sounds of language. 1. The importance of this subject entitles it to rank second only to respiration as a requisite to the greatest excellence in the art of elocution. Without this element, cultivated to the high- est perfection, all other elements of vocal culture fail to form the accomplished reader and speaker. 2. Not by the English speaking orator alone, is articula- tion deemed of great importance. French and German teachers and statesmen give much attention to the subject. Says Legouve: "Articulation and articulation alone, gives clearness, en- ergy, passion and force. Such is its power that it can even overcome deficiency of voice in the presence of a large audience. There have been actors of the foremost rank who had scarcely any voice. Potier had no voice. Monvel, the famous Monvel, not only had no voice, he had no teeth! and yet no one ever lost a word that fell from his lips; and never was there a more de- lightful, more moving artist than he, thanks to his perfect artic- ulation." 40 RATIONAL ELOCUTION. 3. That articulation shall secure the greatest benefit to the speaker two conditions must be observed : First. It must be correct. Second. It must be distinct. 4. The first of these implies that the student shall acquaint himself with the powers and applications of all the elementary constituents of the language, in order that he may know the ex- act element required for each oral combination. The second condition demands that he shall so completely master the vocal utterance of every element that no mistake can possibly arise as to what particular sound is uttered. 5. Correctness of articulation is acquired by frequent reference to standard dictionaries supplemented by immediate and intelligent practice. Here it should be observed that a dis- tinct articulation without being correct is like legible writing containing many misspelled words; while it is easily heard the literary deficiencies of the speaker are made only more ap- parent. 6. Distinctness of articulation is secured, first, by frequent practice upon the exercises prepared for drill, and afterward by constant attention to every word and sentence uttered, until the habit of correct and decided articulation is fixed beyond the necessity of attention. Faulty articulation often arises from an inability to control the speech organs. The remedy is daily practice upon the elementary sounds and syllables. 7. As to what constitutes a "just articulation," nothing- better can be said than the oft-quoted words of Austin: "The words are not hurried over, nor precipitated syllable over syllable; nor, as it were, melted together into a mass of confusion; they are neither abridged nor prolonged; nor swallowed, nor forced, and, if I may so express myself, shot from the mouth; they are not trailed nor drawled, nor let slip out carelessly, so as to drop unfinished. They are delivered out from the lips as beautiful coins, newly issued from the mint, PRONUNCIATION. 41 deeply and accurately impressed, perfectly finished , neatly struck by the proper organs, distinct, sharp, in due succession, and of due weight." 8. As the impassioned style of oratory peculiar to the old Greeks and Romans is giving way to the more intellectual and argumentative form of delivery, teachers of the present are giving more attention to ease and precision of speech than did their predecessors. Upon this point, Professor Russell says: * ' The appropriate style of modern eloquence is that of in- tellectual, more than of impassioned expression; and enun- ciation being of all the functions of the voice, that which is most important to the conveyance of thought and meaning, it justly requires, in the course of education, more attention and practice than any other branch of elocution. " THE ELEMENTARY SOUNDS. An elementary sound is a simple vocal element uttered by a single impulse of the voice and speech organs. 1. The English Language contains forty-five elementary sounds classified as follows: twenty Vocals, or Tonics, sixteen /Subvocals, or Subtonics and ten Aspirates, or Atonies. 2. Vocals, or Tonics, consist of pure tone modified by the speech organs; as, a, e, oi. 3. Subvocals, or Subtonics, consist of tone and breath combined, modified by the speech organs; as, b, j, ng. 4. Aspirates, or Atonics, are mere emissions of articu- lated breath ; as, f, s, ch. 5. Cognate Sounds are those formed by the speech organs in a similar position; as, b and^>, d and t. 6. The student who aspires to accuracy of speech should make himself thoroughly familiar with the sounds and diacritical marks in the following analysis of letters. 42 RATIONAL ELOCUTION. EXERCISES IN ARTICULATION. 1. The purpose of the following tables is to secure for students correct and distinct articulation, forcible enunci- ation and an accurate pronunciation. 2. The first and second accomplishments may be acquired in large classes fully as well as in small ones. Indeed, it has been observed that with timid pupils the concert drill of large numbers is the only effective means of securing that energetic enunciation which contributes so largely to successful vocal culture. 3. Regarding the importance of the exercises the student may rest assured that to whatever extent he may carry his study and practice in the so-called " embellishments" of elocution, as quality, force, stress, pitch, etc., his skill in these will avail him little if his articulation and pronunciation be defective. It is not enough that the sounds be appropriate and pleasing, and that the pitch, force and stress be in harmony with the sentiment; the sounds must, be accurate — express the sense, and above all, must be understood by the hearers. 4. In the exercises in articulation proceed as follows: Inhale deeply; first pronounce the word distinctly and accurately, utter each sound element in its order with energetic force and exaggerated distinctness. 5. A part of each exercise should be devoted to whisper- ing the phonic spelling. This may be done by selecting ten or more words for drill, and after vocally uttering the sounds, re- peat the same in a forcible whisper. 6. A portion of every exercise in elocution, should include a few minutes' drill in articulation and enunciation. They can not receive too much attention. 7. Stand erect, the eyes front, the chin slightly dropped, the chest full, the shoulders firm and your mind upon what you are doing. DRILL ON DIACRITICAL MARKS. 43 1? 2 ** o ^ w < d o «c a««>«i ft.i ^ MU oc Sis opupaP ti or II ii - II * *s,g 1 o II II o o n || || || || || n t, ; : ^ J? = § N S. S « ?. ° ^^.tf* o & « » M « ■? co : : : • • = • • - a ii -2. > oo • • II II ::»•:• !-! fi 1 = r-lBfi 1 j *?.! M.! i Ml i ! ! ::::::=••• o :;:::::■::: 3 :: : :::::::: > : : : : : : I : : : : g : : : » : : : : oo • • ; . ::::::: ^ : : : . . : • . . . T> ate me ice old due say team tool thyme, time § si 3 5. .... s • • zi '. ^ '. & p, so ^' B ob ::":■::::: - : g<: §* : : : : : % §S§|S 5'" •= s 5 I air thgre for ftrn where, fare nor o '"a 5 5. d V * 5' ah, all lien rude lien call move, rude © o • a ■ n • put wan son wolf, full gin o O • :::::::: :::::::: <& : : ■ Is* a 8 — " a Id ! : ■: : .: 1 %% :!•::::::'.::! o | O s IIS > prey gay sink DO d u oo ,—. > w • «::£::::: ::::::::::::::::: M 44 RATIONAL ELOCUTION. TABLE ELEMENTARY SOUNDS. Vocals. Subvocals. b as in bob, bay. bibb. a, e as in ate, prey, aim. d " did, dog, dad. a " " at, cat, sat. g 1 " gag, gig, gog. a, e " " &ir, ere, fare. j, g " jut, g6m, judge. a " " arm, cart, ark. 1 ' " ied, iad, lull. a " " ask, task, last. m " man, mad, mum. a, 6 " " all, Orb, awe. n ' ' " nun. nice. nine. e, 1 " " 6 " " eve, 61k, field, ten, e'en m6n. ng, n ' r ' " sing, rink, " rear. rill, s6ng. roar. e, I, y " " err, sir, cyrt. th 1 " the, thus. they. i,y " " ice, rye, vice. V 1 " van, v6st, vane. l,y » " HI, hymn, sin. w ' • " war, wit, was. " " OW, ton, bowl. y ' " yet, yes, you. 6, a " " odd. wad, wan. z, § ' " zone, his. say§. o, oo '•' " lose. goose, ooze z (zh) ' ' " az'ure, glazier, u " " use, tune, new. u, " " us, son, sup. Aspirates. a " " ftrn, burn, urge. f as in fin. fan, fife. u, oo " " pull. wool. full. h 1 " hod. had. hull. oi, oy " " oil, joy, boy. k,e ' " key, can. kick. ou, ow" " out, owl. cow. P 1 " pip, pad, pup. a = a + e. s, <;, ' " sin, (;ite, sun. l = a + e. t ' " tat, tin, tot. O = + oo. ch ' " chin, chair. chOp. a=e + oo. sh " " she, shine, show. oi, oy = + I. tb " " thin, think, thick. ou, ow = a + oo . Wl) " " when, why, whip. Drill Exercises on Elementary Sounds, 1. Pronounce the word distinctly, then sound the marked element with exaggerated dis- tinctness, thus, ate . . . . a; at .... d. Reverse the order. 2. Repeat the list of sounds in order with the key words immediately following; thus, a as in die, & as in At, etc. 3. Write, in order, the elementary sounds with proper mark and key word. [The word in the first column is the key word. ] 4. Pronounce the Vocals, first with a downward slide, then with an upward slide. Pro- nounce in a distinct whisper. ELEMENTARY SOUNDS. 45 EXERCISES IX DIFFICULT COMBINATIONS. Indistinct and faulty articulation frequently results from an imperfect command of the brain over the muscles involved in speech; hence, one of the greatest benefits to be derived from the persistent practice upon difficult combinations is to establish that intimate connection between the mental powers and the physical organs which will permit no uncertain utterance. Let the student acquire the power of concentrating his at- tention upon what he is saying, and the difficulties of articula- tion will speedily disappear. PRONOUNCE WITH GREAT DISTINCTNESS. 1. baffl'd'st, bloom'd'st, balk'd'st, breath'd'st, troubl'd'st. 2. bund'dl'st, bridl'd'st, bloom'd'st, bask'st, grumbl'd'st. 3. circl'st, curl'st, charm'd'st, clasp'd'st, crimson' d'st. 4. dragg'd'st, dazzl'd'st, wid'n'd'st, thick'n'd'st, hard'n- d'st. 5. fondl'st, triil'd'st, muffl'd'st, stifl'd'st, fold'st. 6. grabbl'st, mangi'd'st, wiggTd'st, struggl'd'st, dragg'd'st. 7. heark'n'd'st, help' d'st, harp'd'st, hearths, handl'd'st. 8. lik'd'st, laugh'st, lengths, launch'd'st, less'n'd'st, lists. 9. mingl'd'st, milk' d'st, muzzl'd'st, minister' d'st, mind'st. 10. prob'd'st, prompt' d'st, peopl'd'st, preserv'd'st, puzzl'- d'st. 11. rav'Pd'st, risk'd'st, reason'd'st, rattl'd'st, harp'd'st. 12. soften'd'st, sparkl'dst, swamp'd'st, sharpen' d'st, smooth'st. 13. twelfth, triumph'd'st, trampl'd'st, tattl'd'st, twing'd'st. 14. wak'n'd'st, whelm'd'st, warmths, whistl'd'st, wiggl'd'st. GENERAL EXERCISES IN ARTICULATION. Note.— Repeat sentence once slowly and distinctly, then repeat five times with great rapidity and distinctness. Afterward repeat in a distinct whisper. 1. She sups sheep soup. 2. A shot-silk sash shop. 46 RATIONAL ELOCUTION. 3. I saw snow softly snowing. 4. Socks and shoes shock Susan. 5. Five wise wives weaves withered withes. 6. Don't run along the wrong lane. 1. The hosts still stands in strangest plight. 8. Let lovely lilacs line Lee's lonely lane. 9. She was sitting sewing snug and warm. 10. I snuff shop-snuff; do you snuff shop -snuff? 11. She sells sea-shells; do you sell sea-shells? 12. He built an ice-house near his own nice house. 13. Some shun sunshine; do you shun sunshine ? 14. The sun shines smilingly on the shop-signs. 15. Two totally tired toads tried to trot to Toadsbury. 16. The old, cold, scold sold a school coal-skuttle. IV. He sawed six long, slim, sleek, slender saplings. 18. She says she shall sew a sheet. 19. Charles Smith's Thucydides. 20. The peevish, feeble freeman feebly fought for free- dom. 21. A rural ruler, truly rural. 22. The glassy glaciers gleamed in glowing light. 23. Whelpy Whelvell White was a whimsical, whining, whispering, whittling whistler. 24. A big black bug bit a big black bear. 25. Beneath the booth I found baths, cloths, laths, moths, sheaths, paths and wreaths. 26. I said "literary, literally, literarily," not " literarily, literary, literally." 27. I said "a knap-sack strap," not "a knap sack's strap. " 28. Gibeon Gordon Grelglow, the great Greek gram- marian, graduated at Grilgrove College. 29. The laurel crowned clown crouched cowering into the cupboard. ELEMENTARY SOUNDS. 47 30. Sheba Sherman Shelly sharpened his shears and sheared his sheep. 31. Shrewd Simon Short sewed shoes. 32. Success to the successful thistle-sifter. 33. See that thou in sifting a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thy thumb. 34. Thou prob'st my rack'd and weary ribs. 35. Eight great gray geese grazing gaily into Greece. 36. With a shriek she shrank before the shrine. 37. Hear the shrill shriek of the screaming shrapnel. 38. Amidst the mists with angry boasts, He thrusts his fists against the posts, And still insists he sees the ghosts. 39. He drew long, legible lines along the lovely land- scape. 40. Did you ever see a saw saw a saw as that saw saws a saw? 41. Round the rough and rugged rocks the ragged rascal ran. 42. She uttered a sharp, shrill shriek and then sunk from the shriveled form that slumbered in the shroud. 43. Prithee, blithe youth, do not mouth your words when you wreathe your face with smiles. 44. Strange Sam should slight such splendid summer sales. 45. Thou turnedst, graspedst, countedst, rushedst forth and disappearedst. 46. Truly rural, truly rural rationalist. 47. Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue. 48. The grass grows green above her grave. 49. Vile villains vent their vengeance vyingly. 48 RATIONAL ELOCUTION. 50. Learned lads like long lessons. 51. Mournfully they marched to the martial music. 52. Napoleon's noble nature knew no niggardly notions. 53. Soldiers, sailors, seamen, all were lost. 54. Sans teeth, sans eyes, sans taste, sans everything. 55. Of all the saws I ever saw, I never saw a saw saw as that saw saws. 56. Peter Piper picked a peck of pickled peppers. 57. Sober Stephen sold sugar, starch, spices, saddles, stirrups, screws, silks, satins, shawls and skates. Read the following correctly (in review) in one breath: Theophilus Thistle, the successful thistle-sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb. Now, if Theophilus Thistle, the successful thistle-sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb, see that thou, in sifting a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thy thumb. Success to the successful thistle-sifter. Note.— Read the following correctly, at first irj seventy seconds,— in sixty sec- onds,— in review in fifty seconds. It has been read intelligibly in thirty-six seconds. Read the first paragraph in one breath, then read the first and second paragraph in one breath. Read in a whisper occasionally by way of variation— an admirable exer- cise: THE TWO BOOT-BLACKS. 1. A day or two ago, during a lull in business, two little boot- blacks, one white and one black, were standing at the corner doing noth- ing, 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. 2. When the boot-black had blacked one of the black boot-black's boots, till it shone in a manner that would make any boot-black proud, this boot-black who had agreed to black the black boot-black's boots ELEMENTARY SOUNDS. 49 refused to black the other boot of the black boot-black until the black boot-black, who had consented to have the white boot-black black his boots, should add five cents to the amount the white boot-black had made blacking other men's boots. This the boot-black whose boot had been blacked refused to do, saying it was good enough for a black boot-black to have one foot blacked, and he didn't care whether the boot that the boot-black hadn't blacked was blacked or not. 3. This made the boot-black who had blacked the black boot- black's boot as angry as a boot-black often gets, and he vented his black wrath by spitting upon the black 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 tha blacking off his blacked boot in booting the white boot-black. 50 RATIONAL ELOCUTION, COMMON ERRORS IN PRONUNCIATION, 1. Among many persons there exists a constant tendency to mispronounce certain combinations of sounds. This tendency arises from one of several causes and . occasionally from all. They may be caused, first, by an imperfect apprehension of the sound; second, an inability to reproduce the sound, and third, a careless indifference. 2. To overcome the first and second difficulties, train the ear to discover the true sound and to detect the error, and the speech organs to execute the sound correctly. The only remedy for the third cause is an appeal to the student's sense of pro- priety. 3. These faults are represented in part by the following words. Use them as a drill. ant for aunt sence for since ask ask si lunt " si lent after after spoon 11 spoon an' and statue etat ate ael ale teown town b&rl or barl bar'rel trav'ler traveler ben " been (bin) voi o lent " violent be in' " be'ing wus " was bun'nit " bon'net Avat'ter " wa'ter breth'urn " bretfa ren ware or wftr " were eaif eaif yen'der " yonder ka'd or keard card 'east " yeast ketch catch maak " make sul'ler cel'lar ra e.ed raid char or ehear chair prar'ie prairie clul'durn children maat " mat kaw'fe " coffee faer fare corn ma " e<5m'ma ther, thftr, thar or dooz " does (diiz) thar there dreen drain ar, ar, ar or er ere or air doo " due iaf, laf or laf laugh el urn " elm gaunt gaunt ere " ere grass or grass " gra«B ev"ry " ev' e ry cought caught COMMON ERRORS IX ■ PRONUNCIATION. .VI f&' or fur for far w&nd for wand fawm form was 'sail " was 'sail feah fear heyhr here fur for mourn mourn fOrge forge dawg dOg feound found f Or rest fOr'est ga'den " garden doth doth heerd heard put put hisf'ry hlst'o ry nur nOr i dee or i de a i de a says " says (sez) jlst " joist any any (en'ny) law ses lOss'es luth'er leather maeed made hair or hair hair ma'k mark aim or urn earn mel ler mellow pert or purt pert mawk " mock mur'cy mer'cy mOd'ist mod 'est kelnd kind past " past aye aye (ay) prob'ble " probable faire fire protes" " pro tests' dee'strict district rather rath'er sir up sirup reg'ler " reg ular geirl or gurl girl rench rinse burd bird roof roof won't or woon't won't root root forger forger scarce scarce fawg fOg sev'ral " sever al none nOne shull shall saith " saith (sOth) sreek shriek woor'sted wors'ted(woos'ted) shet shut soot suit Pronunciation Matches.- had as often as once a week. ■Pronouncing matches should be 52 RATIONAL ELOCUTION. ENGLISH WORDS OFTEN MISPRONOUNCED. [Silent letters are printed in Italics.] Drill I. Drill II. Drill III. Drill IV. on ere homo eazf ay e'er pass eaul off gape salt lieu was nape lost aunt due bade bird nude 61m lute m6ek deaf ddg here rise (n) won't urn fist iOiol tune new (nu) long root gaol wan were hazf g6ne Drill V. Drill VI. Drill VII. DriU VIII. earn magi far o booth wont da is withe joust quay (ke) ally' borne saith (Beth) gyve lien chant ehair path ide a graft mourn none tl ny their spoon vast du'ty groat coneh (kdnk) wand ar id rinse s&lve ruse Onyx surge seine bath 1 ron (lurn) serge forge Drill IX. Drill X. Drill XI. Drill XII. ghoul eAyle aroma i rate' sough (suf) hough (h6k) lu rid ofren hearth ps&lm extol after quoit (kwoit) plait char y caret staZk lithe flery water swear .fdsse again (-gen) dl van' laugh (iaf) chaps vis' or Irony (-n) shaft corps nom' ad irony (adj.) (I urny) verge hazve eabai sir 'up br6th troth exude' eo'pal Drill XIII. Drill XIV. Drill XV. Drill XVI. a' 11 as ra' tio (ra' shi o) na' sal chough (chuf) pi an' o (n) vlear fa^et launch e' dile ten' et hov' el yozrths bra' vo (n) ox Ide 6f ' fal brooch res' in eyrie a' ry ag' lie trough (trg,wf) ENGLISH WORDS OFTEN MISPRONOUNCED. 53 Drill XIII (Con.) Drill XIV (Con.) Drill XV (Con.) Drill XVI (Con.) de slst' f6f id gu&' va gwa' va 16' ver mon' ad Drill XVII. fOr' est ba salt' c6m' ent(n) p6s' tie de sist' re (j6ss' ex hOrt' al lies' eome ly fan' ces Drill XXI. puts ne dali lia (-ya) fir ial(-yal) heh' en tas'sel c;e' rate ex else' av' e 11 tie f&c' He viz' ier Oyer) Drill XXV. eon tour' gon' do la prOb ity cats son pag' eant ad' i pose gal' lows (-las) fl nanc;e' ieth' mus hy' gl ene sa' tyr tep' id a dult' o de' on pet' al Drill XVIII. a ca' ci a (-ski a) 1 ' o dine ly ce ' urn rap Ine rib aid dec' ade 6n' sign mu §e um ven due' dOc/ He Drill XXII. c6f ' fee bon net cog nae (kon' yak) don' jon Or' gleg pi az' za ret' i na stra' ta vaga' ry vi ra' go DriU XXVI. ju- gu lar eMnie' ra as phait' py ri' teg suffice' (-flz) ge n6r' ic aure' o ia best' ial (yal) eho' rist pros sic naiad (na' yad) a mom' sin' ew (sin' yu) ma' ni a a dieu' Drill XIX. 6r de al bar' rel as surne Or' eMd forg er ba na na vl' rile ca nine oe cult' tl rade DriU XXIII. th& ught swol/en por tray' fe' brlle pal&' ver bro' mine eu ra ' tor ful' some ear' bine plateau (-to) DriU XXVII. eon' cOrd ber iou>s pre' ml er spin' ach (6j) coil rant' ver bose' r6v er i'e' am' a teur' worst' ed fuch si a ( Wb. ) fu' shia (Wor.) fetich (tisn) ellque bftrred truths vawnt Drill XX. se nlle ger' und bar' ass ro bust' f6c und sa' trap 6x' taut par' ent suM le cOr net DriU XXIV. obes' ity squa' lOr bos' tage in qui' ry pla card' frOnt' al dif fuse (adj.) dig <;ern' prayers lei§' ure (-zhur) Drill XXVIII. syr' iuge mat i nee' er' u dite flo' rist be dl ' zen gla mo?ir ian' guor (-gwur) gher' kin cay 6n??e court' ier (-yer) Drill XXIX. 16' ni ent def ' i clt ad' verse a' pri cot usurp' er Im' pi ous b6n' zlne gla' ct'er pre text' rou tine Drill XXX. cae §u' ra gran a ry per sist prai' rle re el use' ruf flan (-yan) bla' tant host' Ier seal' lop squ$) ; d Drill XXXI. suav' ity (swav-) dis' tic/i eu' ra coo' an cho vy is' o late pa py rus ai' ca rail a men' ity bi tu' men broth' el Drill XXXII. e pis' tie blv' ou ae (-wak) ard' a ous was' sail sys' to le ho ri zon pa rOt id keel son e qua ble e ly§' I an 54 RATIONAL ELOCUTION. Drill XXXIII. f rue ti fy col an der ill hi list cAlo' ride ap par' ent squir' rel op po ' nent va ga' rle§ frOnt' i&i e ner' vate DrUl XXXVII. ere' dence sub ur ban re tro act' bal sam'ie deeo' rous sur named' ve ' lie ment hie' eough (hik' up) char drou c6n' strue DriU XLI. mat' ron ize cere' ments cow' ard ice drom ' e da ry eon' course com' mu nigm ex' qui §ite fef i c/usm deeliv ous ad' mirable DriU XLT. mael' strom ap' pa ra' tus eon' tu me ly de far eate rep' u table ex em pla ry grim ai' kin ae eh' mate fran chlge rep' a rable Drill XLIX. eal em' a ble ab sol' ti to ry com man d&nt recitative' flaccid' ity Drill XXXIV. rail' ler y ty ran' nie eq ui page (-pej) a men' able dioc/ e san (;ine/<0' na ma ni ae al don' a rive lus' clous (lush' us) eon' tra ry DriU XXXVIII. tartar' ie par' af fine tran' quil in doc He nau seous (na r shus) sar' do nyx de ri slve vir u lent eu' li na ry hy men 6 al DrUl Xlill. special ty(spesh'alty gla dl' o lus chiv' al rie tru' eu lent pe eiinia ry (-ya ry) leg' end a ry diseO?n~se' serive ner south east as so' (ji ate (-shi at) DriU XL VI. ar' mis tige ful' mi nate ehor' is ter con ge' rie§ des' ul to ry im brogl' io (brol' yo) ver' digrls men ag e rie (-azti-) fin' an c t ier' diphthe' ria(dif-) DrUl L,. an' te pe nult' gum ar' ab Ie men in gl' tis post' hu mous ren' dezxous Drill XXXV. cog no men fre queut as pir ant mor' phine spe cious (-shus) dOl' o rous dy na mite a phel' ion (-yun) recti §ant eel' ibacy DriU XXXIX. dish eV el vie' in age si ne cure sphe roid unet' uous(unkt yu us u' ri ous gour' mand court' e ous be he moth cyn o sure DriU XLIII. sov ' er e\gn sop' o rlf ie crem' a to ry cas' si mere eo' ad ju' tor alter nate (v) al ter' nate (n) mis' t\e toe I ras' ci ble dig hon' est DrUl XL VII. cMl ced ' o nj- ar le go rlst' eon' ver sant trou' ba dowr il' lus trate in' ter stlce pla' gia rlst per' emp to ry com' par able sub sid' ence Drill LI. sac, er do' tal pre sci ence (-shi-) ho' me op' athy lar yn gi' tis ear' iea ture Drill XXXVI. an ti mo ny co quet ry tri ehi' na seir rMs sen' ti ent(-8hi ent) im mo' bile eor' ri dor splen' e tie mus tache' 6q' ui voke Drill XL. ped' a go gy mag' a zine' re sOz^rce' res' pit eel inta^l io(-yo) a' er o naict bo re a' lis gan grene' ju' ve nile mar' I time DrUl XLIV. r6f ' er a ble in fantile re fat' a ble ob jur' gate eoch' i ne«l tri' lo bite ar abas ter acou' sties (kow) there' fore con ii danf DrUl XL VIII. re me' diable respir' able hos' pi ta ble eon sum' mate (adj ) high way man re fer' ri ble im pla' ca ble In' dieato ry em' en da' tion remSd'iless DriU LII. cap ' i tol ine apothe' osis bal' der dash bronc/a tis clem o ni a eal ENGLISH WORDS OFTEN MISPRONOUNCED. 55 Drill XMX(Con.) pa ren' efty mA met' allur gy dls' pu ta ble lain ' ent a ble com pen sate Drill 1.111. con 6erv a tor pro vo' ea tive me' te or' o lite se qu6s trate mis con strue dep' ri va' tion demon strate three legged' hy poth' e nuse inop'por tune' Drill L (Con.) ea llg ra phy in im' it a ble aeeli mated te leg ra pby t6n sili' tis DriU LIV. leg is la' tive di plo ma tist mar' <;hi6n ess mis' chiev cms in' ter est ing en f ran chlge clan des tine su per fi cies (fish ez) vin' di ca tive sic ri 16 gtous Drill M (Con.) ca mel o pard dis ha. bIKe hy drdp' a thy 6b' li ga to ry mas' saering DriU L.V. prot es ta tion trans fer a ble un fre quent' ed com' plai §anqe ir ref ra ga ble ir re me' di a ble pre sent i ment re cog ni zanc;e si mul ta' ne ous char nel-house Drill LII (Con.) fore eas t\e mer' can tile pi a' no-for' te pre ced enqe strye/i nine DriU LVI. con tu me'li ous(yus) in com' pa ra ble front is piec;e un prec; e dent ed leo mar' ga riue ag' ri cult' ur ist II thog' ra pher Ir re cog ni za ble ter gi ver sa tion pro nun'Qiation(-shi-) 56 RATIONAL ELOCUTION. FOREIGN WORDS OFTEN MISPRONOUNCED. A few of the following words have received an English pronunciation. The student should find the meaning of the terms. abandon (n) (a ban dong) ado be aid de camp (k6ng) adagio (ad a gio) allegro (al la' gro) an' gli ce attache (at asha) apropos (a propo') au fait (o fa) au revoir (o rev war) ballet (bai la') _ basbleu(babloo') beaux esprit (bozes' pre) belles lettres (bel let' ter) bijou (bezhoo) blase" (biaza 1 ) bonhomie (bo no me) bon mot (bon' mo) boulevard (boo' le var') bouquet (boo' ka) cafe" (ka' fa) cachet (kash' a') caisson (ka' son) canon (kan' yun) cantatrice (kan tatre' che) caoutchouc (koo' chook) carte de visite (karf de ve zet ) cart blanche (kart bldnsh) caviar (kav' e ar) charge" d'affaires (shar' zha. daf far ) charivari (share' va re) e6m'plai§ance corps d'armee (kor' dar ma ; cortege (k6r' tazh) coup d'etat (koo' data) coupe (koo pa') coupon (koo' pong) coyote (koio' te) cuisine (kivezen') deljouche (da boo sha') de"bris (da bre ) de"but(dabu') debutant (da bu t6ng) debutante (da bu taut) denouement (da noo mOng) dernier ressort (dern ya res sor ) distingue (dis tang ga) douche (doosh) eclat(akia ) ec'ce ho'mo (ek'se) elite(aleet') em' ploy e) encore (dug kor ) ennui (ong nwe) en route (ong root) entree ( ong tra) esprit de corp (es pre de kor ) elagere (ef azhar) 6tui(atwe) exeunt (eks' se unt) expose (eks po za') facade (fa sad) finale (fena' la) finesse (fl nes) gamin (gamang ) garcon (gar son ) gens d'armes (zh&n darm ) giaour (jour) gout (goo) haricot (har e kO) hauteur (ho.tur) jeu d'esprit (zhu' des pre ) kirschwasser (kersh'was ser) litterateur (16 ta' ra tur) mademoiselle (mad' mwazeT) FOREIGN WORDS OFTEN" MISPRONOUNCED. 57 man da' mus mayonnaise (ma y6n az) melange (ma Ion zh) melee (ma la ) mesdame8 (ma dam) mezzotint (med zo tint) mirage (mi r&zh ) miserere (miz e r©' re) monsieur (mo seer) morale (mo rai) naively (na ev ly) naivete" (na r evta) neglige'e (na gia zha ) on dit (<5ngde ) outre (o tra) papier mache" (pap' ya' ma sha i patois (pat wa') penchant (poug' shong) protege (pro ta zha) pueblo (pu eb lo) qui vive (ke vev) raisonuer (ra' zon na') ranchero (ran tsha' ro) recherche (ruh sher sha ) restaurateur (ras' to ' ra tur' ) reconnoissance (re e6n nis saus; regime (ra zheem) renaissance (ruh na' s6ngs) repertoire (ra' par twSr ) resume (ra' zu' ma') ricochet (rik osha') role (rol) rouge (roozh) roue"(roa ) sa' lam' sa loo. sang froid (songfrwa') savant (sa vong) se'ance(sa' ongs) silhouette (sil do et) sobriquet (so' bre ka ) soi disant (swS dezong) soire'e (swa ra ) sotto voce (sot' to vo' cha) souvenir (soov neer) tapis (ta pe ) tiers e"tat (te erz a ta ) tournure (toor nbor ) tragedienne (tra' je de 6n) valet de chambre (va la' de sh6ng br) vaudeville (vod' v61) vis avis (vis' av6) zouave (zwav) 58 RATIONAL ELOCUTION. PROPER NAMES AND PROPER ADJECTIVES OFTEN MISPRONOUNCED, Aaron (ar' on) Ad e la M ne id (e ne' id) Af gMn Is tan A don is Ajaccio (ayaf cho) Al a mo Al' ar Ic Al' dine Alicia (allsh' I a) All Al' pine An til' leg Aph ro dl' te Ar ab Ar' able A ri' on Ar con (ar' son) Arctic (ark tik) Ar' kan sas Arnaud (ar no) Asia (ashia) Aubert (o' ber ') Au ge' an Dal mor' al Bai zae' Bar time' us Bas tile' Beauchamp (beech' am) Beethoven (ba' to' ven) Bed o win Be' li al Boccaccio (bok kat' cho) Boleyn (bobl' in) Bolingbroke (b61 r ing brook) Borghese (borga' za) Boulanger (boo Ian zhae) Bos' ton (not baw stun) Brah' min Brough' am Bud dMsin Buf ' fon Bur' gun dy Cadi Cai i' fOr' ni a Cai II o pe Car Tb be an Cas si o pe a Cauea si an (-shl) Ce ell i a Cenci, Beatrice (ch6n' chee, ba a tre' cha) Cham (kam) Cheops (ke ops) Cherubini (ka ru be' ne) Chi ea go Chi ne§e' Chopin (sho pan ) Christianity (krist yan i ty) Concord (kong kurd) CrlcA' ton Curacoa (ku' ra so ) Cuvier (ku ye a) Czerny (cher' ne) Dan ish DAubigne (do ben'ya) Deb o rali Descartes (da' kart ) De Stael (stai) Disra ell D6r ie D6r' o the a Edinburgh (ed' in bur' ro) E li' ab E 11' pha let Eaneuil Hall (fan el) Feb ru a ry Freycinet (fra' se' na ) Froude (frood) Gloucester (glos' ter) Goethe (geteh) Gounod (go no') Graefe (gra' fe) Guido (gwe' do) Guelph (gwelf or welf) Guise (gwez) Guizot (gezo ) Hawaii (ha wl' ee) He be PROPER NAMES OFTEN MISPRONOUNCED. 59 Heine (hi' neh) H61' le nes Hem an§ Her ml' o ne Holburn (ho' burn) Hu di bras lb ra him' I o wa Iphigenia (If igenla) Ismail (is ma eel) Italian (I tSl' yan) lx 1' on Jacques (Fr.) (zhak) Jaques (Eng.) (zbak or ja' quez) Juarez (hoo a' res) Juuot (zhu no) Khe dive' Kossuth, Louis (hosh' oot) Lange (lang' eh) La oe' on Lat' in(notiat'n) Lethe' an Liverrier (leh va' re a') Luc,y (not lob' cy) Lyonnais (le' un a') Macleod (maeloud) Maggiore (mad jo' ra) Magna -G/iar ta Mazzini (mat see' nee) Medici (med' e chee) Mel pom' e ne Mis sou' rl (not zoo) Moliere (mo le &r) Mon' gol Napo' le on Kem ' e sis Notre Dame (no' tr dam ) Oberon (6b' e ron) Od' ys sey Ome ga Orl '.on Orpheus (6r' feus) Ossian (osh an) Pall Mall (pel m61') Peg' a sus Pe nel' o pe Persia (per' shl a) Phlian' der Phlle' mon Pleiades (pie ya dez) Plu' tare/i Pompeii (pom pa' ye) Psyche (sy' ke) Richelieu (resh' el loo) Rousseau (roo so) saha' ra Salo' me San' he drim Schurz. Carl (shobrts) SeV me Slg' is mund Steph' a na Strahan (strawn) Sturm (stobrm) S3' san (not sob' san) Terp sieh o re' an Tha li a Thiers (te§r') Tuileries (twe le re) Ul' ri ea Ul" timaThu' le Ulys' ses U' ran us Vespucci (ves poof chee) Vibert (ve bar ) Vir gin' i a (not gin' ya) Whewell (hu el) Worcester (woo' ster) Yonge (yung) Zac e//e' us Za.eh' a ry 60 RATIONAL ELOCUTION. VOICE AND SPEECH CULTURE. 1. Voice is the audible vibrations heard in the air passing from the lungs into and through the vocal organs. The air is driven from the lungs as from a bellows by the action of the respiratory muscles ; and after receiving the vibratory motion in the larynx and resonance in the pharynx the peculiar sound termed voice is produced. Speech is made of voice by the proper articulations of the speech organs. 2. The highest skill in speech is attained only by a per- fect control of the voice and speech organs. 3. The chief requisite in securing great vocal power is an erect and easy posture of the body, giving expansiveness to the chest and freedom to the limbs, and that absolute command of the breath which will enable the speaker to utter one hundred or more syllables in a single breath. 4. To secure the greatest compass and flexibility the stu- dent should not confine his practice to low notes, under the impression that thus only can he acquire the full, rich volume he so much admires in some favorite speaker. The exercises must include every interval between the highest and lowest notes. Practice in all degrees and tones gives compass and flexibility. Flexibility and decision of speech are secured largely by frequent practice upon passages requiring the utmost rapidity of utterance. 5. Cultivate particularly pleasant tones and correct and distinct articulation. Avoid falling into the habit of a drony enunciation and a drowsy, drawling speech, or the offensive tones of affectation. 6. In your public vocal performances, be deliberate. Leave nothing unfinished. The mind, not the organs involved, must control the speech. VOICE AND SPEECH CULTURE. 61 7. Huskiness, harshness and hardness of tone result from the contact of air inhaled during vocal exercises with the lining mucous membrane of the speech organs; no air whatever should enter the mouth. Keep the mouth constantly moist. This will not be difficult if you inhale through the nostrils, and employ all exhaled air in phonation. 8. The nasal passages should be kept constantly open. Proper breathing and cleanliness will secure this condition. 9. Fullness, depth, richness and flexibility of tone are so largely dependent upon the control of the tongue, throat, and jaw muscles that constant attention should be given to the free action of these muscles. 10. To render words most easily understood by those remote from the speaker, the mouth should be opened freely and fully, and should not be closed too suddenly in finishing syllables. 11. During reading and speaking care should be exercised to avoid a continued pitch too high, too low, or a monotone. The last reacts upon the speaker, rendering his delivery dull and lifeless; a pitch too low usually prevents understanding the words; while a prolonged high pitch exhausts the speaker and wearies an audience beyond its capacity of enjoyment. The pitch should follow the general law of thought development — curves, slides and waves — few planes. 12. To prevent embarrassment, arising from nervousness, inhale and exhale to your utmost capacity a number of times before attempting to use the voice in j^ublic. The same pre- caution will materially prevent incoherency, stuttering and stammering in extemporaneous speech. 13. Finally, avoid the so-called "modern elocutionist's style" which seems to reach its perfection of unreality in a sickening affectation as repulsive to the good sense of the public as it is false to the teachings of nature. Human Sympathy. — The student is here reminded that 62 RATIONAL ELOCUTION. however vigorous his enunciation, however accurate his articu- lation, appropriate his quality, force, pitch and movement, one element of success may be lacking. This is genuine human sympathy. The ear may be pleased by harmonious sounds, the eye fascinated by graceful gestures, and even the intellect may tacitly acknowledge the speaker's art, but the soul, that priest- ess of the inner temple, can not be deceived by outward show. The stifled breath, the palpitating heart, the moistened eye respond not to skillful movements and artistic sounds, but to the stricken heart — the suffering soul whose agonies the speaker's looks and feelings vivify. VOICE PRESERVATION. 1. Do not throat your voice. 2. Consign tobacco to the mutes. 3. Constantly cultivate pure tones. 4. Avoid a long continued high pitch. 5. Use no drinks during vocal exercise. 6. Use no stimulants or acids of any kind. 7. Breathe as directed under Respiration. 8. Keep the mind and body pure and healthy. 9. Avoid affectation, arrogance, and irritability. 10. Keep the temper as a reserve force, under control. 11. Permit no compression about the neck, waist or chest. MODULATION. 63 MODULATION. Modulation is the ready and perfect adaptation of the appropriate elements of speech to the sentiment designed to be conveyed. 1. The skillful modulation of the voice requires an instantaneous and imperceptible transition from one quality to another, an easy increase or decrease of force, a ready change of stress, and a perfect command of every degree of pitch and movement. 2. The good reader or speaker varies the element of expression so skillfully that the hearer gets a suggestion of the meaning of the words by the very nature of the sound in which they are uttered. MODE OF UTTERANCE. Voice is vocalized breath and as such its formation depends upon the method of exhalation employed in phonation and speech. As there are three methods of forcing the air from the lungs, termed effusive, expulsive, and explosive, so there are three modes of utterance derived from the manner of expiration, and named: 1. Effusive Utterance, in which the tone is gently and evenly effused from the vocal organs without abruptness. It is the characteris- tic tone of tranquillity, pathos, grandeur, devotion. 2. Expulsive Utterance, in which the tone is projected from the vocal organs with more or less abruptness, according to the intensity of feeling accompanying speech. It ranges in use from ordinary descrip- tion and narration to the highest forms of argumentative discourse. 3. Explosive Utterance, in which the tone is shot forth with an instantaneous burst like the crack of a rifle. The abrupt shock peculiar to the explosive is produced by a momentary restraint of the breath in the glottis followed by an irresistible upward action of the respiratory 64 RATIONAL ELOCUTION. muscles. This mode of utterance is employed in the expression of sud- den anger , terror, ecstasy, command. Application. — No one mode of utterance is likely to be appropriate to an entire composition. The effusive is rarely found in more than two or three consecutive words. The expulsive is more common than the others, being employed in the greater part of every conversation. EXERCISES IN MODES OF UTTERANCE. EFFUSIVE UTTERANCE. Sublimity, reverence. Father, thy hand Hath reared these venerable columns; thou Did'st weave this verdant roof. Thou didst look down Upon the naked earth, and forthwith rose All these fair ranks of trees. They in thy sun Budded, and shook their green leaves in thy breeze, And shot toward heaven. The century-living crow, Whose birth was in their tops, grew old and died Among their branches; till at last they stood, As now they stand, massy, and tall, and dark, Fit shrine for humble worshiper to hold Communion with his Maker. [From " God's First Temples."— Bryant.] EXPULSIVE UTTERANCE. Joyous exclamation. Go, ring the bells, and fire the guns, And fling the starry banner out; Shout ''freedom " till your lisping ones Give back their cradle-shout; Let boasted eloquence declaim Of honor, liberty, and fame; Still let the poet's strain be heard, With " glory " J or each second word, And everything with breath agree To praise " our glorious liberty." [From " Prisoner for Debt."— WMUier.] MODULATION. 65 EXPLOSIVE UTTERANCE. Friglit) terror. Hear the loud alarum bells — Brazeu bells! What a tale of terror now their turbulency tells! In the startled ear of night How they scream out their affright! Too much horrified to speak, They can only shriek, shriek, Out of tune, In' a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor, Now — now to sit, or never, By the side of the pale-faced moon. O the bells, bells, bells! What a tale their terror tells Of despair! I From "The Bells."— Poe.} SLIDES. Slides, sometimes termed inflections, are concrete changes of pitch, either upward (<) or downward (^) on a single element or Avord. They vary in extent of elevation or depression accord- ing to the nature of the sentiment. 1. The purpose of slides is to convey more accurately those deli- cate shades of meaning found in abstract reasoning, unemotional descrip- tion and narration, to give clearness to contrasted ideas, and vigor to expressions of earnestness, emotion and passion. 2. In addition to the service rendered in the apprehension of the thought by the correct use of slides, their judicious employment gives a beauty, variety and melody to speech which, when artistically applied, is as pleasing to the ear as the most artistic variations of music and song. 66 RATIONAL ELOCUTION. 3. The importance of slides is shown in the fact that many actors, public readers and teachers of expression prepare compositicns for delivery and teaching by marking nearly every passage with the appro- priate voice slides. The author's experience with hundreds of students confirms the opinion that the skillful application of slides and waves contributes to intelligible delivery more thau any one element the orator may employ. 4. While many will appreciate the value of slides in adding clear- ness to reading and speaking, the student is reminded that the recogni- tion of a requisite does not imply a natural ability to command and properly employ the appropriate slide. Indeed, many young people of superior intelligence and fair attainments in our high schools and col- leges are found who can neither apply the required slide when indicated nor imitate it when given by their instructor, without much practice. 5. No marked degree of excellence in expressive reading may be expected until the student has given much time to the practice and intelligent study of the principles governing voice slides. UPWARD SLIDE. The Upward Slide is an elevation of voice through the con- crete change of pitch, the degree of elevation depending upon the intensity of the thought or emotion. GENERAL LAW OF USE. The Upward Slide is employed upon the accented syllable of those words used singly, in phrases or in sentences, denoting indifference, uncertainty, incompleteness, doubt, contingency, negation, direct interrogation, tenderness, pathos, surprise, wonder, anticipation. PRINCIPLES AND ILLUSTRATIONS. The Upward Slide is used in — I. Direct questions; as, Would you make men trustworthy? Do you refuse me justice! — audience — even? Note.— A repetition of a direct question requires the downward slide; as Did you go h6me? What did you say? Did you go home? MODULATION II. Emphatic interrogative repetitions; as ; Looked as if I guessed his meaning? I'm always wanting money for clothes'? III. Words and phrases of informal address; as, John, bring me your book. Maclaine! you've scourged me like a hound. Note.— A formal or emphatic address requires the downward slide, as, Fellow, citizens : It is no ordinary cause, etc. O comrades ! Warriors! Thkaciaxs ! •IV. Expressions of negation, implying contrast; as, He is not a man of words. I did not say a younger man. V. Anticipative phrases or clauses; as, To become wise and learned, requires study. He that can not bear a jest should not make one. VI. Expressions of indifference; as, You may go if you wish. What do you wish to see? Oh, nothing. VII. Words of pathos, entreaty, gentle reproof; as, He moaned so pitifully, I couldn't chide him. John, I'm very sorry you've disregarded my wishes. VIII. Unimportant particulars, except the last ; as, Pride costs more than hunger, thirst and cold. John, Henry, James and Charles are present. IX. Expressions of doubt, contingency and uncertainty ; as, There is a possibility of the train's being late. Good advice were better if well followed. X. Contrasts introduced by adverbial as; as, Night brings out stars, as sorrow shows us truth. As we rise in glory, we sink in pride. 68 RATIONAL ELOCUTION. DOWNWARD SLIDE. The Downward Slide is a downward movement of the voice through the concrete change of pitch, the degree of depression depending upon the completeness, exactness, or defi- niteness of the thought in the speaker's mind. GENERAL LAW OF USE. The Downward Slide is employed upon those syllables used singly, in phrases or in sentences denoting completeness, determi- nation, certainty, command, passion, positive and decisive dec- laration. PRINCIPLES AND ILLUSTRATIONS. The Downward Slide is used in — I. Answers to direct or indirect questions; as, Did you go home ? No, I did not. Who discovered the Mississippi? De Soto discovered it. Exception.— If the person addressed is indifferent, he will usually answer with an upward slide; as, Did you enjoy your vacation? Oh, y6s, pretty we'll. Do you regard her as handsome? Y6s, passably so. Which way shall we walk? I am not particular. II. Declarative, imperative and exclamatory sentences; as, Great beggars are said to be little doers. Confess your faults; a fault confessed is half redressed. III. Completeness of thought in principal or subordinate clauses; as, Did ye not hear it? — No; 'twas but the wind, Or the car rattling o'er the stony street. On with the dance! let joy be unconfined; No sleep till morn, when Youth and Pleasure meet To chase the glowing hours with flying feet: MODULATION. 69 But, hark! that heavy sound breaks in once more, As if the clouds its echo would repeat, And nearer, clearer, deadlier than before! Arm! arm! it is — it is the cannon's opening roar! IV. Language of determination and certainty ; as, We shall attack the fort at sunrise. I know the power of freedom, I rejoice in her majesty. V. Impassioned exclamations; as, To arms! they come! the Greek! the Greek. Hence, horrible shadow! Unreal mockery hence! VI. Direct interrogative anticipating the answer yes or no; as, Have I not treated you as a gentleman ? Yes, Have we ever failed to keep our faith ? Isb. VII. Emphatic and repeated direct or indirect questions; as, Why have you disobeyed my commands? Will you stop that distressing noise ? VIII. Each member except the last of a commencing series ; as, The wisdom of the philosopher, the eloquence of the his- torian, the sagacity of the statesman, the capacity of the gen- eral, may produce more lasting effects upon human affairs, but they are incomparably less rapid in their influence, and less intoxicating from the ascendancy they confer than the art of oratory. IX. Each member except the last but one of a concluding series; as, Let a child read and understand such stories as the friend- ship of Damon and Pythias, the integrity of Aristides, the fidelity of Regulus, the purity of Washington, the invincible perseverance of Franklin, and he will think differently and act differently all the remaining days of his life. 70 RATIONAL ELOCUTION. X. Members of sentences expressing affirmation and negation have opposite slides,' the affirmative member has the downward slide, the negative the upward; as, I am here to act, not to talk. I am here not to talk, but to act. WAVES, The Wave, (a) sometimes termed circumflex, from the twist- ing or crooked motion of the tone in passing over the vowels, is a compound movement of voice on a single syllable, word or sentence. CLASSIFICATION OF WAVES. The Upward Wave, expressive of completeness, is the union of the Upward and Downward Slides; as, ah. The Downward Wave, expressive of incompleteness, is the union of the Downward and Upward Slides; as, ah. Waves may be Single, consisting of the two Slides only, Upward or Downward; or they may be Multiple, consisting of any number of Slides greater than two, beginning with either the Upward or Downward Slide. Waves may be Equal when the voice slides equally in both directions, or they may be Unequal, when the voice slides unequally in both direc- tions. APPLICATION OF WAVES. The Upward Single Equal Wave expresses astonishment, A admiration^ as, Ah! beautiful! The Downward Single Equal Wave expresses scorn, con- tempt, ridicule, mockery, sneer; as, You a soldier ! Unequal Slides are employed to increase the intensity of emotions. MODULATION. 7 1 Multiple Waves, in addition to increasing the intensity of expression, mark a progressiveness of emotion that produces a most startling impression upon the hearer. For illustrations of multiple waves see sentences with diagrams below. EXTENT OF WAVES. Wave of the Second, Upward or Downward, rarely un- equal, have the least perceptible change of pitch. It is the gentle undulation of voice through the interval of two notes. In the expression of grandeur, sublimity, and devotion with subdued force it gives to the voice a beauty, harmony, and impressiveness found nowhere else in the whole range of earth- ly sounds. Without it the solemn service of the church and the grandeur of the inspired Word become meaningless cadences or painful monotony. LAW OF USE. The Wave of the Second, employed with a subdued force and low pitch, is used to express dignified admiration, mild contrast, gentle yet all pervading emotions of reverence and awe, sentiments of beauty, sublimity, grandeur, devotion and adoration. Drill frequently on the following beautiful stanza: There the life-fires brighten, | and burn | and roll, O'er diamonds j that sparkle j o'er sands of gold, Where | to breathe the sweet air | yields. a bliss untold, And the dwellers | immortal J shall never grow old. ["God's Beautiful City."—B. F. Taylor.] The Wave of the Third, Upward or Downward, Equal or Unequal, rises or falls through an interval of three notes. It is the characteristic wave of playful wit, humor, and good- natured raillery. Its peculiar deflections refer the mind back- ward or forward to some implied or unexpected witticism. 12 RATIONAL ELOCUTION. LAW OF USE. The Wave of the Third expresses mirth, wit, jest, drol- lery, insinuation, double meaning, affectation, mimicry, strong contrast. Example: — A duchess! You shall be a queen — to all Who, by the courtesy, will call you so. Wave of the Fifth and Octave. A voice wave direct, inverted, equal or unequal, passing through a fifth or an octave, is termed emotional, or impassioned. It is characteristic of the greatest mental and physical agitation. Confined within the speaker's compass, restrained by will and controlled by judg- ment, it becomes one of the most potent accompaniments of invective, vituperation, scorn, sarcasm, and mockery which a speaker can employ. It rarely occurs in modern literature. It is found mostly in the drama. As a voice building exercise, giving facility in impressive transitions, it is superior to any other single effort required of the student. Daily practice in all the waves, closing with the octave, should be insisted upon throughout the course. LAW OF USE. The Wave of the Fifth and Octave is used to express irony, sarcasm, satire, sneer, ridicule, astonishment, intense interroga- tion, amazement, scorn, mockery, disgust, contempt, malice, hatred, revenge. For examples of waves of the fifth and octave see dia- grammed and miscellaneous examples following. EXERCISES IN WAVES. The student will study carefully each sentence and en- deavor to apply the waves in the manner indicated by the dia- gram following it. MODULATION. IS To secure facility in expression, the student should con- centrate his mental powers upon all the conditions surrounding the supposed speaker of these sentences. Note.— The breaks in the diagrams mark the different words. 1. Affectation: I am so fatigued. 2. Anxiety: Where can he be ? 3. Gayety: Merrily they sing. 4. Laughter, Mirth: You're a happy dog! \s* 5. Surprise: What! the King's wife! JF\ - j^r t _^^^ the Queen! 1 6. Contempt: You viay keep your money. 7. Rage: / hate him! 8. Grief: Oh, my son! my son! 9. Sneering: Smile on, my lords! -*r4M~~lfls 10. Triumph: Shout freedom! 11. Irony: Brutus is an honorable man. 12. Intense Irony: They are ah honor able men. ->^^A/-v. J The skip from " wife " to " queen " is a discrete movement. MISCELLANEOUS EXERCISES. Note.— Wave words not marked with the signs are in italics. 1. I did not give a dollar. 2. I did not give a dollar. 74 RATIONAL ELOCUTION. 3. Ah! it was you, then, that struck me. 4. I did not think that he would do it. 5. Old enough! ay, there it is. 6. It cannot be — thou dost but say 'tis so. 7. You boast your father was a lord ! 8. Yes, I claim mf father was a lord. 9. What dost thou think? Think, my lord? 10. Gone to be married! gone to swear a peace! LI. O, noble judge! O, excellent young man! 12. Oh, but he paused upon the brink. Paused did he? 13. Thou wear a lion's hide? Doff it for shame, And hang a calf skin on the recreant limbs. 14. They tell us to be moderate while they revel in pro- fusion. 15. Seems, madam! nay it is; I know not seems. 16. Can honor set a leg? No. Or an arm? No. 17. What's in a namef That which we call a rose By any other name would smell as sweet. 18. Yet this is Mo?ne and we are Romans. 19. Men, indeed! call themselves lords of creation. Pretty lords, when they can't even take care of an umbrella ! 20. Her mother only killed a cow, Or witched a churn or dairy-pan; But she, forsooth, must charm a man. 21. Hath a dog money? Is it possible A cur can lend three thousand ducats? 22. A second 'Daniel, & Daniel, Jew! A T ow, infidel, I have thee on the hip, A Daniel still I say; a second Daniel! I thank thee, Jew, for teaching me that word. 23. Yet Brutus says he was ambitious, And Brutus is an honorable man. 24. Was this ambition $ MODULATION. 75 Yet Brutus says he was ambitious ; And, sure, he is an honorable man. 25. And this man is now become a god! 26. Mich in some dozen paltry villages! Strong in a hundred spearmen! Only <7re«£ in that strange spell, — A name. 27. My father's trade? Why, blockhead, are you mad? My father, sir, did never stoop so low, — He was a gentleman, I'd have you know. 28. What! shear a wolf? a prowling wolf? PAUSES, Pauses are temporary suspensions of speech between words, phrases and clauses. 1. Pauses serve three purposes: 1. To convey the speaker's meaning clearly; termed Sentential. II. To 'increase the effectiveness of delivery; termed Emotional. III. To add embellishment to the composition; termed Rhythmical. 2. The primary use of pauses is to set off the divisions of thought — to arrange the ideas with respect to each other so that the mind of the hearer can grasp their relations to each other and to the thought as a whole. 3. Without frequent and appropriate pauses speech is bu a monotonous succession of words whose related significance must be obtained 'only by great mental effort; while their judicious employment arouses and rivets the attention — quickens the perception and makes the receiving of truth acceptable for the pleasure afforded in hearing it. 76 RATIONAL ELOCUTION. 4. No combination of words however rhetorically arranged, however well delivered with reference to all the embellishments of elocution can be made to produce an effect so impressive, so thrilling, as a profound pause made amid the stillness of a breathless audience. If speech is sometimes silver, a pause is golden; if the former is grand the latter is awful — sublime. 5. Punctuation marks, sometimes termed "grammatical pauses," indicate the syntactical structure of the sentence, but do not necessarily locate or determine the length of pauses. The reader gathers the sense of a passage by the aid of punctu- ation and applies the appropriate pause according to the nature of the sentiment, modified by attending circumstances of time, place and occasion. 6. A good reader will make many more pauses than are indicated by the punctuations, and w T ill sometimes pass over such marks without any pause. In the sentence " No, sir, there is none." A pause between "no "and "sir" would be im- proper. 7. The length of pauses is dependent wholly upon the nature of the thought, sentiment or emotion. As a general rule, lively, playful thought and joyous, excited emotions re- quire short pauses; commonplace sentiments, ordinary de- scription and narration require moderate pauses; while long pauses are appropriate to solemn, serious thought and emotions of sublimity and awe. principles and exercises. pause: I. Before the infinitive phrase; as, Life is too short | to learn more than one trade well. I do not rise | to waste the night in words. II. Before prepositional phrases; as, How sweet the chime | of the Sabbath bells! Hearts may agree | though heads differ. MODULATION. 7 i III. Before the predicate noun clause; as, The truth is | my money was all gone. My prayer shall ever be | " Angels guard thy way." IV. Before the object ire clause; as, He said, | " I am the man ye seek.'' Tell your master | that I await his pleasure. V. Before adjectives following their noun; as, There's a lute | unswept and a harp without strings. One stands apart, a woman | sad and silent. VI. Before relative pronouns and conjunctive adverbs; as, Let me have friends | whose hearts are pure. She fell not | when the mighty were upon her. VII. Before conjunctions ; as, Religion is an excellent armor, | but a poor cloak. Xight folds her sable mantle | and pins it with a star. VIII. Before an ellipsis; as, Art thou some god, | some angel, or | some devil? Time wasted is existence, | used | is life. IX. Before any important or emphatic word; as, The Union | must and | shall be preserved. When you do not know what to do | wait. X. Before the logical subject or subject and copula in inverted sentences; as, The happiest of girls | was Mary. Soon rested | those who fought. But beneath ail these relations | he is a man. XL Before the copula preceded by a phrase or clause; as ; Duties fulfilled | are always pleasures to the memory. That he may succeed | is my daily prayer. 78 rational elocution. pause: I. After the nominative phrase or clause; as, The perfection of art | is to conceal art. All that breathe | will share thy destiny. II. After the objective phrase i, in an inverted sentence; as, My happy peaceful youth | restore to me. His manly face | our eyes shall see no more. III. After introductory predicate adjectives; as, Happy | is the man who owes not another. Gentle and kind | were the friends of my youth, IV. After emphatic icords; as, Go preach to the coward, | thou death-telling seer! Strike | for the sires who left you free. V. After a participial phrase ; as, Fearing a disastrous defeat | he prudently withdrew. Raising his hand | he motioned the boy forward. VI. After an important or emphatic subject; as, Life | is real! Life | is earnest! Some Cromwell, | guiltless of his country's blood. VII. After transposed adverbial elements; as, In toil | he lived; in peace | he died. When auger rises | breathe through your nose. pause: I. Before and after an apposition phrase; as, The youth, | a very giant, | soon won the respect of all. The citizens, [ kings of a republic, | must wield the ballot. II. Before and after parenthetical expressions ; as, The mansion J for such it was, | had been a beautiful struc= ture. MODULATION. 79 The wolves, | the most formidable beasts present | howled madly. III. Before and after direct quotations; as, Lifting his eyes, | he seemed to say, | "Yes," | and sank back. It stopped to whisper, | " beware, beware," | and passed on. IV. Before and after important icords; as, And every word was | War! | war! | war! Lord Angus, | thou | hast | lied! V. Before and after a verb separated from its auxiliary; as, The change will, | in all probability, | aifect his mind. The man did, | beyond all doubt, | show great bravery. pause: Betioeen the parts of an inverted sentence; as, When boasting ends, | there dignity begins. As we advance in life, | we learn the limits of our abilities, PAUSES IN POETRY. The principles governing pauses, as stated above, apply to nearly every form of vocal expression, whether prose or poetry. The rule requiring a slight pause at the end of every line of poetry is misleading, and results in that sing-song style so com- mon among children and illiterates. The rhythm must not be made so prominent as to obscure the sense. Poetic measure may embellish thought, but it can not supplant it in expression. The terms caesura and demi-ca^sura should not be regarded as pauses, but as divisions of the rhythmical structure of the poetic line. Unless the sense requires a pause, regard neither these divisions nor the punctuation marks. Observe the follow- ing rule: In reading poetry, unless the sense requires a pause, 80 RATIONAL ELOCUTION. let the voice delicately poise at caesuras, demi-caesuras and the end of each line. A vocal poise is effected by a gentle swell and pivotal movement of tone to the next word or line. QUANTITY. Quantity is the measure of time occupied in the utterance of single syllables and words. 1. Whatever importance may be attached to the peculiar meaning to be given individual words, no marked success will be attained until the element of quantity is mastered. 2. It is observed that the untrained speaker can not make the short sounds short enough nor the long sounds sufficiently long. His attempts in the first efforts result in incoherency, in the second, drawling. All syllables may be classed as: 1. Indefinite: Capable of being indefinitely prolonged. 2. Immutable: Incapable of prolongation. 3. Mutable: Capable of a slight degree of prolongation. APPLICATION OF QUANTITY. Indefinite syllables, requiring Long Quantity, are employed in the expression of tenderness, reverence, adoration, awe, solem- nity, sublimity, shouting, calling, sorrow, remorse. Immutable syllables, requiring Short Quantity, are em- ployed in the expression of rapturous joy, mirth, command, sudden anger, terror. Mutable syllables, requiring Medium Quantity, are em- ployed in ordinary narration, description, unimpassioned con- versation and introductions to orations. MODULATION. 81 Exercises upon Indefinite syllables, Long Quantity. Prolong the syllables without mouthing or drawling. gray peace cold ah appall darkling woe moan poor home disarm smiled dare gold far praise beware pleading ay toll aim all forlorn glorious sea roam mourn mourn groaning yearning at hip not sick lit dock (in back sup duck sat lackey backing lip reckon speckle cup bedeck trickle beck wicket rocket map upper attic Exercises upon Immutable syllables, Short Quantity. Utter the syllables instantaneously. mock dip tack hat met Exercises upon Mutable syllables, Medium Quantity. Prolong these words without destroying their identity. mad arch hast quart spotted dotted sob fig odd what lately basely will nod big land blunder sadden orb heart charm debt letter trouble gait graft ran might thunder madder EMPHASIS. Emphasis is that peculiar utterance of words, phrases and clauses which renders them especially prominent or significant. 1. The importance of Emphasis in determining the mean- ing of a sentence may be inferred from an examination of the following sentence which, by placing the emphasis upon the marked words, is capable of expressing seven different mean- ings: 1. John did not say you bought that book; Henry said so. 2. John did not say you bought that book; he torote it. 82 RATIONAL ELOCUTION. 3. John did not say you bought that book; but that your sister bought it. 4. John did not say you bought that book; but that you found it. 5. John did not say you bought that book; but this book. 6. John did not say you bought that book; it was your slate. 7. John did not say you bought that book; he said nothing. 2. Emphasis is effected by a change of quality, force, stress, pitch, sliding, waves, movement or quantity or by lengthening the pauses. Usually two or more of these elements are employed to produce the required emphasis. 3. Perfect command of every variety of emphasis depends upon an accurate perception of the sentiment and its relation to and connection with every other thought with which it is asso- ciated, and skill in the control of all the elements of vocal expression previously explained. 4. The most common method of applying emphasis is by an increase of force, but that is by no means the only method. Pupils should guard against its use where it would not be. indi- cated by the sentiment. Many instructors teach their pupils that " Emphasis is an increase of force." It is not always an increase of force. The etymology of the word signifies " to show," "to indicate;" and emphasis may be shown by diminish- ing the force as well as by increasing it. It may be shown by raising or lowering the pitch, and by accelerating or retarding the movement. GENERAL LAWS GOVERNING EMPHASIS. 1. The subject, predicate and object in sentences much involved usually receive slight emphasis; as, Maud Mutter, on a summer's day, Raked the meadow sweet with hay. 2. All words introducing new ideas are moderately em- phasized; as, " He mounted into literature from the moment that he fell." MODULATION. 83 3. Words expressing contrasts or antithesis are emphatic; as, The sweetest pleasure is that of imparting pleasure. The noblest mind the best contentment has. Love lights more fires than hate extinguishes. 4. All words which seem to contain the principal ideas of the thought should be indicated by emphasis; as, " The clear conception, outrunning the deductions of logic, the high purpose, the firm resolve, the dauntless spirit, speaking on the tongue, beaming from the eye, informing every feature, and urging the whole man onward, right onward to his object — this, this is eloquence; or rather, it is something greater and higher than all eloquence — it is action, noble, sub- lime, godlike action." 5. In repetition each succeeding word receives greater force than the word preceding; as, Strike — till the last armed foe expires; Strike — for your altars and your fires; STRIKE — for the green graves of your sires; God and your native land. Note.— This rule applies also to cumulative emphasis; as, Forward, the Light Brigade ! CHARGE FOR GUNS! 6. The intensity of absorbing emotions is best shown by emphasis effected by pauses; as, " He shudders — gasps — Jove help him— so, — he's dead! " 7. Words of exclamation usually require the strongest emphasis; as, "Hence! horrible shadow! Unreal mockery, hence! Note.— Even wheD one member of the autithesis is omitted the expressed member is made emphatic; as, " An attentive student would not make such blunders." 84 RATIONAL ELOCUTION. EXERCISES IN EMPHASIS. Quality:— I hate him for he is a Christian. (Guttural.) Give rue liberty or give me death! (Aspirate.) Quoth the raven, " Nevermore" (Pectoral.) And the sisters, they murmured, " Of Shame! " (Falsetto.) Force: — I repeat it, sir, the charge is false. (Increase.) But on the way it burst, it fell; and lo! A skeleton! (A decrease of force.) Stress: — Back to the punishment, false fugitive. (Radical.) Softly sleep and breathe the odors sweet. (Median.) Fret till your proud heart break. (Final.) Must I budget Must i" observe you ? (Compound.) Charge for the guns ! Charge! (Thorough.) May God forgive me: I have been to blame. (Intermittent.) Pitch:— " It snows! " cries the school boy. "Hurrah! " and his shout Is ringing through parlor and hall. (Raising of pitch.) Read on her urn, " A broken hearty This tells her tale. (Lowering of Pitch.) Movement : — Speak the speech, I pray you, as I pronounced it to you — trippingly on the tongue. (Fast.) There on a snow-white couch, Lay his two sons, pale, pale and motionless. (Slow.) Pause: — The old, old fashion — Death. MISCELLANEOUS EXERCISES IN EMPHASIS. By a proper application of emphasis find the true meaning of the following sentences: 1. Mr. Davis told John to saddle his horse, and John saddled him. 2. The dog would have died if they hadn't cut off his head. 3. A fellow in a market town most musical cries razors up and down. MODULATION. 85 4. Now, therefore, the said witness (says the said Thomas) is a thief. 5. He had a patient lying at Death's door, Some three miles from the town, it might be four. 6. A man who is in the daily use of ardent spirits, if he doesn't be- come a drunkard, is in danger of losing his health and character. 7. O, fools, and slow of heart to believe all that the prophets have written of me. 8. Hang out our banners on the outward wall; The cry is still, They come. 9. A man going to sea, his wife desired the prayers of the congrr gation. SLUR. Sluk is a smooth, rapid, subdued movement of voice over certain words, phrases and clauses of less importance than others with which they stand associated. The object of Slur is to bring out the principal thought of a pas- sage as contained in the leading clause by a subdued force and. rapid movement over the subordinate, or auxiliary clauses. LAW OF USE. The Slur is applied to passages expressing contrast, repeti- tion, explanation, modifications of persons ^ things, time, place, cause, manner and degree, and all parenthetical expressions. Note.— Let tlie student place curves around slurred passages in the following- selection and read correctly : THE WORTH OF ELOQUENCE. 1. Let us not, gentlemen, undervalue the art of the orator. Of all the efforts of the human mind, it is the most astonishing in its nature and the most transcendent in its immediate triumphs. The wisdom of the philosopher, the eloquence of the historian, the sagacity of the statesman, the capacity of the general, may produce more lasting effects upon human affairs, but they are incomparably less rapid in their influ ence and less intoxicating from the ascendancy they C3nfer. 86 RATIONAL ELOCUTION. 2. In the solitude of his library, the sage meditates on the truths which are to influence the thoughts and direct the conduct of men in future times; amid the strife of faction, the legislator discerns the meas- ures calculated, after a long course of years, to alleviate existing evils or produce happiness yet unborn; during long and wearisome campaigns, the commander throws his shield over the fortunes of his country, and prepares, in silence and amid obloquy, the means of maintaining its independence. But the triumphs of the orator are immediate; his influ- ence is instantly felt; his, and his alone, it is, " The applause of listening senates to command, The threats of pain and ruin to despise, To scatter plenty o'er a smiling land, And read his history in a nation's eyes." 3. " I can conceive," says Cicero, " of no accomplishment more to be desired than to be able to captivate the affections, charm the under- standing, and direct or restrain, at pleasure, the will of whole assem- blies." This single art, amongst every free people, has commanded every encouragement and been attended with the most surprising effects; for what can be more astonishing than that from an immense multitude one man should come forth, the only, or almost the only, man who can do what nature has made attainable by all? Or, can any thing impart to the ears and the understanding a pleasure so pure as a discourse which at once delights by its elocution, enlists the passions by its rhetoric, and carries captive the conviction by its logic? 4. What triumph more noble and magnificent than that of the eloquence of one man swaying the inclinations of the people, the con- sciences of judges and the majesty of senates? Nay, farther: can aught be esteemed so grand, so generous, so public-spirited, as to relieve the suppliant, to raise up the prostrate, to communicate happiness, to avert danger, to save a fellow-citizen from exile and wrong? Can aught be more desirable than to have always ready those weapons with which we can at once defend the weak, assail the profligate, and redress our own or our country's injuries? 5. Apart from the utility of this art in the forum, the rostrum, the senate, and on the bench, can any thing, in retirement from business, be more delightful, more socially endearing, than a language and elocution agreeable and polished on every subject? For the great characteristic of our nature, that which distinguishes us from brutes, is our capacity of social intercourse, our ability to convey our ideas by words. Ought it not, then, to be pre-eminently our study to excel mankind in that very faculty which constitutes their superiority over brutes? MODULATION. 87 6. Upon the eloquence and spirit of an accomplished orator may often depend, not only his own dignity, but the welfare of a government; nay, of a people. Go on, then, ye who would attain this inestimable art. Ply the study you have in hand, pursue it with singleness of purpose, at once for your own honor, for the advantage of your friends, and for the service of vour countrv. QUALITY OF VOICE. The term Quality of Voice is applied to the nature, charac- ter, or kind of tone used. Quality of voice is wholly independent of force, stress, or pitch. Its distinguishing characteristic is the place of reverberation or reso- nance. This depends upon the state of mind or physical condition of the speaker. Hence, the quality employed becomes a valuable aid in the portrayal of thought, sentiment, and emotion. Eight qualities of the voice are commonly recognized, namely: PURE TONE PLAINTIVE GUTTURAL NASAL OROTUND PECTORAL ASPIRATE PURE TONE. FALSETTO. The Pure Tone is a clear, pure, smooth, round, musical tone, the reverberations being confined wholly within the mouth. In its production, all the breath employed is converted into tone free from aspiration and harshness. The Pure Tone is illustrated in nature by the joyous songs of birds and the merry ringing laugh and gleeful tones of child- hood. DIRECTIONS FOR SECURING PURE TONE. Shape the mouth and lips in such a manner as to form the sound of oo in ooze, the tongue lying low and concave upper- most so as to form the largest mouth cavity. Utter the sound of oo several times with your conversational pitch. 88 RATIONAL ELOCUTION. To test the purity of tone, while practicing, place the back of the hand within three inches of the mouth. If any air is felt to strike the hand your tone is not pure. Purse the lips less and repeat. PURE TONE. Exercises: eve aim vain heel moan ale air here home breathe. LAW OF USE. The Pure tone is used in the expression of pathos and ten- derness, in solemn, serious, tranquil, narrative, didactic, and descriptive thought, in calling, and in joy on s and mirthful emo- tions. THE THREE CHERRY-STONES. Narration and Description. Narrative and descriptive, appealing to the fancy, senti- ment, and imagination. It requires, according to the vivid- ness of the thought or scene, great variety of slides, portraying the constantly changing picture and development of incident. Use a pure tone and conversational style. 1. Three young gentlemen, who had finished the most substantial part of their repast, were lingering over their fruit and wine at a tavern in London, when a man of middle age, and middle stature, entered the public room where they were sitting, seated himself at one end of a small unoccupied table and, calling the waiter, ordered a simple mutton chop and a glass of ale. 2. His appearance, at first view, was not likely to arrest the atten- tion of any one. His hair was beginning to be thin and gray; the expres- sion of his countenance was sedate, with a slight touch of perhaps, mel- ancholy; and he wore a gray surtout with a standing collar, which mani- festly had seen service, if the wearer had not, — just such a thing as an officer would bestow upon his serving man. He might be taken, plausi- MODULATION. 89 bly enough, for a country magistrate, or an attorney of limited practice, or a school-master. 3. He continued to masticate his chop and sip his ale in silence, without lifting his eyes from the table, until a cherry-stone, sportively snapped from the thumb and finger of one of the gentlemen at the opposite table, struck him upon his right ear. His eye was instantly upon the aggressor, and his ready intelligence gathered from the ill- suppressed merriment of the party that this petty impertinence was intentional. 4. The stranger stooped, and picked up the cherry-stone, and a scarcely perceptible smile passed over his features as he carefully wrap- ped it up in a piece of paper, and placed it in his pocket. This singular procedure, with their preconceived impressions of their customer, some- what elevated as the young gentlemen were by the wine they had par- taken of, capsized their gravity entirely, and a burst of irresistible laughter proceeded from the group. 5. Unmoved by this rudeness, the stranger continued to finish his frugal repast in quiet, until another cherry-stone, from the same hand, struck him upon the right elbow. This also, to the infinite amusement of the other party, he picked from the floor, and carefully deposited with the first. 6. Amidst shouts of laughter, a third cherry-stone was soon after discharged, which hit him upon the left breast. This also he very delib- erately took from the floor, and deposited with the other two. 7. As he rose, and was engaged in paying for his repast, the gaiety of these sporting gentlemen became slightly subdued. It was not easy to account for this. Lavater would not have been able to detect the slightest evidence of irritation or resentment upon the features of the stranger. He seemed a little taller, to be sure, and the carriage of his head might have appeared to them rather more erect. He walked to the table at which they were sitting, and, with that air of dignified calmness which is a thousand times more terrible than wrath, drew a card from his pocket, and presented it with perfect civility to the offender, who could do no less than offer his own in return. 8. While the stranger unclosed his surtout, to take the card from his pocket, they had a glance at the undress coat of a military man. The card disclosed his rank, and a brief inquiry at the bar was sufficient for the rest. He was a captain whom ill health and long service had entitled to half-pay. In earlier life he had been engaged in several affairs of honor, and, in the dialect of the fancy, was a dead shot. 9. The next morning a note arrived at the aggressor's residence, 90 RATIONAL ELOCUTION. containing a challenge, in form, and one of the cherry-stones. The truth then flashed before the challenged party, — it was the challenger's inten- tion to make three bites at this cherry, three separate affairs out of this unwarrantable frolic! The challenge was accepted, and the challenged party, in deference to the challenger's reputed skill with the pistol, had half decided upon the small sword; but his friends, who were on the alert, soon discovered that the captain, who had risen by his merit, had, in the earlier days of his necessity, gained his bread as an accomplished instructor in the use of that weapon. 10. They met, and fired alternately, by lot; the young man had selected this mode, thinking he might win the first fire. He did — fired, and missed his opponent. The captain leveled his pistol and fired — the ball passed through the flap of the right ear, and grazed the bone; and, as the wounded man involuntarily put his hand to the place, he remem- bered that it was on the right ear of his antagonist that the cherry-stone had fallen. Here ended the first lesson. A month had passed. His friends cherished the hope that he would hear nothing more from the captain, when another note — a challenge of course — and another of those ominous cherry-stones arrived, with the captain's apology, on the score of ill-health, for not sending it before. 11. Again they met — fired simultaneously, and the captain, who was unhurt, shattered the right elbow of his antagonist, — the very point upon which he had been struck with the cherry-stone; and here ended the second lesson. There was something awfully impressive in the modus operandi, and exquisite skill of his antagonist. The third cherry-stone was still in his possession, and the aggressor had not forgotten that it had struck the unoffending gentleman upon the left breast. A month had passed — another — and another, of terrible suspense; but nothing was heard from the captain. Intelligence had been received that he was confined to his lodging by illness. 12. At length the gentleman who had been his second in the former duels once more presented himself, and tendered another note, which, as the recipient perceived on taking it, contained the last of the cherry- stones. The note was superscribed in the captain's well-known hand, but it was the writing evidently of one who wrote feebly. There was an unusual solemnity also in the manner of him who delivered it. The seal was broken, and there was the cherry-stone in a blank envelope. " And what, sir, am I to understand by this? " inquired the ag- gressor. "You will understand, sir, that my friend forgives you — he is dead!" MODULATION. 91 GOD'S BEAUTIFUL CITY. B. F. TAYLOR. Solemnity. Solemnity requires nearly the same elements of expression as Pathos, with lower pitch and slower movement of voice — the greater the solemnity the lower the pitch and the slower the movement. Let the waves be full and impressive, the quality pure and round and free from affectations. God's Beautiful City is very suitable for a closing piece. 1. Far, far away, amid realms of light, Hid deep in the azure beyond our sight, Stands a beautiful city so high and bright, Where is known no sorrow, nor death nor night. Beautiful City! Oh, blest abode, oh, home of God! Whose streets by the feet of the sinless are trod. 2. They roam through the gardens of endless spring, They crowd ail thy portals, on rushing wing, While the echoing domes of the palace riDg With the hymns of the angels that shout and sing. Beautiful City! Hark! hark again! the angelic strain, As gleams through the crystal, that burnished train. 3. There the life-fires brighten, and burn, and roll, O'er diamonds that sparkle o'er sands of gold, Where to breathe the sweet air yields a bliss untold, And the dwellers immortal shall never grow old. We pierce the skies with longing eyes, And yearn to inherit the golden prize. 4. It is said that the King, in his power sublime, When the last sands drop from the glass of time, And our world shall be robed in its Eden prime, Will bring down that city to gladden earth's clime. Beautiful City! Bright capital where saints shall dwell, And reis;n on the thrcne with Immanuel. 92 RATIONAL ELOCUTION. 5. I have heard in that city they wait for me; That its gates stand open wide and free; That the ransomed the King in his beauty may see, And live in his presence eternally. O, Beautiful City! In royal state blest mansions wait, And beckon us on through the pearly gate. A HAPPY YOUNG GIRL, EUGENE J. HALL. Gay, joyous and mirthful emotions arise from any unusual mental or physical exaltation, and their effective delivery requires great vocal flexibility, as varied pitch, force and move- ment and the skillful use of slides and waves. 1. I wonder if, under the beautiful sky, There's a good looking girl that is gladder than I? I'm merry, for Jerry has promised for life To take me and make me his fond little wife. He called me his honey, O, wasn't it funny, My face in my apron I bashfully hid. I said I was willing, I didn't look chilling, And Jerry looked tickled to pieces, he did! I'm happy, ha! ha! I'm tickled, he! he! There's nobody living more merry than me. I wonder if, under the beautiful sky, There's a good looking girl that is gladder than I? 2. Up nigher the fire the sofa we drew, And we talked of the future as true lovers do. 'Twas splendid; he tended the bright fire for me Till the awful old clock in the corner struck three. Nobody was stirring, The old cat was purring, MODULATION. 93 The curtain was down and the keyholes were closed; And, somehow, he kissed ine, He could not resist me, And that's how it happened that Jerry proposed. I'm happy, ha! ha! I'm tickled, he! he! There's nobody living more merry than me. I wonder if, under the beautiful sky, There's a good looking girl that is gladder than I? TO-DAY, CARPENTER. The expression of didactic thought is addressed to the judg- ment and reason through the intellect; and while fewer vocal embellishments are required than in description and narration, the logical connection of terms arid accuracy of statement demand the utmost precision of utterance and purity of tone. Deliver with sincere earnestness. 1. Don't tell me of to-morrow; Give me the man who'll say, That, when a good deed's to be done, "Let's do the deed to-day" We may all command the present, If we act and never wait; But repentance is the phantom Of a past that comes too late! 2. Don't tell me of to-morrow; There is much to do to-day That can never be accomplished If we throw the hours away; Every moment has its duty; Who the future can foretell? Why put off until to-morrow What to-day can do as well? 94 RATIONAL ELOCUTION. 3. Don't tell me of to-morrow; If we look upon the past, How much that we have left to do We cannot do at last! To-day it is the only time For all upon the earth; It takes an age to form a life — A moment gives it birth ! DEATH OF LITTLE PAUL. CHARLES DICKENS. Pathos is designed to awaken in the hearer emotions of sympathy for the person or object represented. The requirements are a clear conception of the conditions described, genuine sym- pathy, purity of tone, and effusive utterance of the particularly expressive words. The slides and waves rarely reach the note of a third. The rising slide prevails in the more intensely pathetic parts. Avoid anything like " show" — be natural. 1. Little Dombey had never risen from his little bed. He lay there, listening to the noises in the street, quite tranquilly; not caring much how the time went, but watching it and watching everything. 2. "When the sunbeams struck into his room through the rustling blinds, and quivered on the opposite wall, like golden water, he knew that evening was coming on, and that the sky was red and beautiful. As the reflection died away, and a gloom went creeping up the wall, he watched it deepen, deepen, deepen into night. Then he thought how the long unseen streets were dotted with lamps, and how the peaceful stars were shining overhead. His fancy had a strange tendency to wander to the river, which he knew was flowing through the great city; and now he thought how black it was, and how deep it would look reflecting the sea. 3. "Floy! What is that?" "Where, dearest?" " There! at the bottom of the bed." " There's nothing there, except papa i » MODULATION. 95 The figure lifted up its head and rose, and, coming to the bedside, said: 4. " My own boy! Don't you know me? " Paul looked it in the face. Before he could reach out both his hands to take it between them and draw it towards him, the figure turned away quickly from the little bed, and went out at the door. The next time he observed the figure sitting at the bottom of the bed, he called to it. " Don't be so sorry for me, dear papa. Indeed, I am quite happy! " 5. His father coming and bending down to him, he held him round the neck, and repeated these words to him several times, and very earnestly; and he never saw his father in his room again at any time, whether it were day or night, but he called out, " Don't be so sorry for me! Indeed, I am quite happy!" 6. How many times the golden water danced upon the wall, how many nights the dark river rolled towards the sea in spite of him, Paul never sought to know. 7. One night he had been thinking of his mother and her picture in the drawing room down stairs. The train of thought suggested to him to inquire if he had ever seen his mother. For he could not remember whether they had told him yes or no, the river running very fast, and confusing his mind. 8. " Floy, did I ever see mamma? " "No, darling; why?" " Did I never see any kind face, like a mamma's, looking at me when I was a baby, Floy? " "O yes, dear!" " Whose, Floy ? " " Your old nurse's. Often." 9. "And where is my old nurse? Show me that old nurse, Floy, if you please!" "She is not here, darling. She shall come to-morrow." "Thank you, Floy!" 10. Little Dombey closed his eyes with these words, and fell asleep. When he awoke the sun was high, and the broad day was clear and warm. Then he awoke, — woke mind and body, — and sat upright in his bed. He saw them now about him. There was no gray mist before them, as there had been sometimes in the night. He knew them every one, and called them by their names. 11. " And who is this? Is this my old nurse ! " asked the child, re- garding, with a radiant smile, a figure coming in. 96 RATIONAL ELOCUTION. Yes, yes. No other stranger would have shed those tears at sight of him, and called him her dear boy, her pretty boy, her own poor blighted child. No other woman would have stooped down by his bed, and taken up his wasted hand, and put it to her lips and breast, as one who had some right to fondle it. No other woman would have so forgotten every- body there but him and Floy, and been so full of tenderness and pity. 12. "Floy! this is a kind, good face! I am glad to see it again. Don't go away, old nurse. Stay here! Good by ! " "Good by, my child?" cried Mrs. Pipchin, hurrying to his bed's head. "Not good by?" " Ah, yes! Good by! — Where is papa? " 13. His father's breath was on his cheek before the words had parted from his lips. The feeble hand waved in the air, as if it cried "Good by!" again. "Now lay me down; and, Floy, come close to me, and let me see you." 14. Sister and brother wound their arms around each other, and the golden light came streaming in, and fell upon them, locked together. " How fast the river runs, between its green banks and the rushes, Floy! But, it's very near the sea now. I hear the waves! They always said so!" 15. Presently he told her that the motion of the boat upon the stream was lulling him to rest. Now the boat was out at sea. And now there was a shore before him. Who stood on the bank! — 16. "Mamma is like you, Floy. I know her by the face! " The golden ripple on the wall came back again, and nothing else stirred in the room. The old, old fashion! The fashion that came in with our first garments, and will last unchanged unt 1 our race has run its course, and the wide firmament is rolled up like a scroll. The old, old fashion, — Death. 17. Oh, thank God, all who see it, for that older fashion yet, of Immortality! And look upon us, angels of young children, with re- gards not quite estranged, when the swift river bears us to the ocean. OROTUND QUALITY. The Orotund is the Pure Tone deepened and intensified to its utmost magnitude, with the resonance in the chest. The Orotund is so called in allusion to its roundness and fullness of tone. It is the voice of grandeur, emanating from the loftiest emotions which animate the soul. It is esteemed the highest perfection of human MODULATION. 91 utterance, and, while naturally possessed by few, it may be cultivated by all. Both the Orotund and Pure Tone should possess mellowness, sweet- ness, sympathy, attractiveness, smoothness and penetrating power. DIRECTIONS FOB ACQUIRING OROTUND QUALITY. Stand erect, depress and enlarge the larynx as if trying to swallow some large object. Prolong the sound of a in awe, using medium low pitch. Hold the organs firmly as directed, but avoid any constriction of the muscles about the throat and neck. Note.— The student is cautioned against attempting the grand, swelling oro- tund in the opening parts of declamations and orations. Modes of Utterance. — The Orotund may be uttered effusively, expul- sively or explosively. EXERCISES: Effusive Orotund. awe home roll ah arm old ooze thou soul all rain shore child grand borne 1. Roll on, old Ocea n gray! 2. Thy chains the unmeasured universe surround! Expulsive Orotund. hail heart hand time earth brave blood cause stain shame war roar joy storm stand 1. Our faith is in God and the right. Explosive Orotund. shriek clang clash mock down day struck base out hence men rouse die torn lash 1. Back, ruffians, back! nor dare to tread LAW OF USE. The Orotund quality is employed in the expression of emotions of grandeur, sublimit}/, reverence, adoration, devotion, awe; in earnest, bold, grand, and lofty thought; in abrupt and startling emotions of daring, teaming, courage, inspiration and in the fierce outbursts of passion. 98 RATIONAL ELOCUTION. APOSTROPHE TO THE OCEAN. LORD BYRON. Effusive Orotund. The rendition of the more profound emotions of grandeur, sublimity, reverence, adoration and awe demands a full, deep, sonorous, effusive orotund, with long quantity, low pitch and slow movement, free from all impurity of tone and abrupt slides and waves. The following poem will furnish an excellent exercise for cultivating the deep and flowing orotund: 1. Roll on, thou deep and dark blue ocean, roll! Ten thousand fleets sweep over thee in vain; Man marks the earth with ruin; his control Stops with the shore; upon the watery plain The wrecks are all thy deed, nor doth remain A shadow of man's ravage, save his own, When, for a moment, like a drop of rain, He sinks into thy depths with bubbling groan, Without a grave, unknelled, uncoffined and unknown. 2. The armaments which thunderstrike the walls Of rock-built cities, bidding nations quake. And monarchs tremble in their capitols, The oak leviathans whose huge ribs make, Their clay creator the vain title take Of lord of thee, and arbiter of war; — These are thy toys, and, as the snowy flake, They melt into thy yeast of waves, which mar Alike the Armada's pride or spoils of Trafalgar. 3. Thy shores are empires, changed in all save thee; Assyria, Greece, Rome, Carthage, what are they? Thy waters wasted them while they were free, And many a tyrant since; their shores obey The stranger, slave or savage; their decay Has dried up realms to deserts; not so thou, Unchangeable, save to thy wild waves' play; Time writes no wrinkle on thine azure brow; Such as creation's dawn beheld, thou rollest now. MODULATION. 99 4. Thou glorious mirror, where the Almighty's form Glasses itself in tempests; in all time, Calm or convulsed — in breeze, or gale, or storm- Icing the pole, or in the torrid clime Dark-heaving; boundless, endless and sublime — The image of eternity — the throne Of the invisible; even from out thy slime The monsters of the deep are made; each zone Obeys thee; thou goest forth, dread, fathomless, alone! 5. And I have loved thee, Ocean! and my joy Of youthful sports was on thy breast to be Borne, like thy bubbles, onward; from a boy I wantoned with thy breakers; they to me Were a delight; and if the freshening sea Made them a terror, 'twas a pleasing fear For I was, as it were, a child of thee, And trusted to thy billows far and near, And laid my hand upon thy main, as I do here. For additional practice in Effusive Orotund study the fourth stanza of "The Bells," "Break, Break, Break." THE NATIONAL BANNER. EDWAED EVERETT. Expulsive Orotund. The expression of earnest, bold, grand, and elevated thought, termed oratorical style, requires a strong expulsive orotund, with full force and deliberate movement. To effect- ively produce the vigorous, compact tones required in the ora- torical style of delivery, strike each important word with an energetic expulsion of air. This is accomplished by a vigorous inward and upward action of the abdominal muscles. This selection is well adapted for securing that fullness of volume 100 RATIONAL ELOCUTION. peculiar to the orotund. Much time may profitably be given to the drill. 1. All hail to our glorious ensign! courage to the heart and strength to the hand, to which, in all time, it shall be intrusted! May it ever wave in honor, in unsullied glory, and patriotic hope on the dome of the capi- tol, on the country's stronghold, on the entented plain, on the wave-rocked topmast. 2. Wherever, on the earth's surface, the eye of the American shall behold it, may he have reason to bless it! On whatsoever spot it is planted, there may freedom have a foothold, humanity a brave champion, and religion an altar! Though stained with blood in a righteous cause may it never in any cause be stained with shame! 3. Alike, when its gorgeous folds shall wanton in lazy holiday triumphs on the summer breeze, and its tattered fragments be dimly seen through the clouds of war, may it be the joy and pride of the American heart! First raised in the cause of right and liberty, in that cause alone may it forever spread out its streaming blazonry to the battle and the storm! Having been borne victoriously across the continent and on every sea, may virtue and freedom and peace forever follow where it leads the way! For additional examples read "Ambition of a Statesman," " Spartacus to the Gladiators," "Apostrophe to the English Language," "Brutus on the Death of Cresar. " MARMION AND DOUGLAS, SIR WALTER SCOTT. Explosive Orotund. The delivery of all startling emotions of hurry, fear, terror, indignation, defiance requires the explosive orotund with full force and high and very high pitch. Let the tones be sharp, ringing, clear and incisive. In the following selection only the MODULATION. 101 impassioned speeches of Marmion and Douglas are uttered with explosive orotund. 1. Not far advanced was morning day, When Marmion did his troop array, To Surrey's camp to ride; He had safe conduct for his band, Beneath the royal seal and hand, And Douglas gave a guide. 2. The train from out the castle drew, But Marmion stopped to bid adieu: " Though something I might 'plain," he said, " Of cold respect to stranger guest, Sent hither by the king's behest, "While in Tantallon's towers I staid, Part we in friendship from your land, And, noble Earl, receive my hand." But Douglas round him drew his cloak, Folded his arms, and thus he spoke: " My manors, halls, and towers shall still Be open, at my sovereign's will, To each one whom he lists, howe'er Unmeet to be the owner's peer. My castles are my king's alone, From turret to foundation stone; The hand of Douglas is his own; And never shall, in friendly grasp, The hand of such as Marmion clasp." 3. Burned Marmion's swarthy cheek like fire,, And shook his very frame for ire; And " This to me," he said, " An 't were not for thy hoary beard, Such hand as Marmion's had not spared To cleave the Douglas' head! And, first I tell thee, haughty peer, He, who does England's message here, Although the meanest in her state, May well, proud Angus, be thy mate: And, Douglas, more, I tell thee here, 102 KATIONAL ELOCUTION. E'en in thy pitch of pride, Here, in thy hold, thy vassals near, I tell thee, thou'rt defied! And if thou said'st, I am not peer To any lord in Scotland here, Lowland or Highland, far or near, Lord Angus, thou — hast — lied! " 4. On the Earl's cheek, the flush of rage O'ercame the ashen hue of age : Fierce he broke forth; "And dar'st thou then To beard the lion in his den, The Douglas in his hall? And hopest thou thence unscathed to go? No, by Saint Bride of Bothwell, no! Up draw-bridge, grooms, — what, warder, ho! Let the portcullis fall." Lord Marmion turned, — well was his need, — And dashed the rowels in his steed, Like arrow through the archway sprung; The ponderous gate behind him rung. To pass there was such scanty room, The bars, descending, grazed his plume. 5. The steed along the draw-bridge flies, Just as it trembled on the rise; Not lighter does the swallow skim Along the smooth lake's level brim; And when Lord Marmion reached his band He halts, and turns with clinched hand, And shout of loud defiance pours, And shook his gauntlet at the towers. For additional practice in Explosive Orotund study the seventh and tenth stanzas of "Revolutionary Rising" and the fourth stanza of "An American Exile." PLAINTIVE QUALITY. The Plaintive, sometimes termed the semi-tone, or oral, is that quality of voice whose tones, sliding through a semi-tone MODULATION. 103 or minor third, are uttered in a feeble, trembling tone, with the resonance in the forward part of the mouth. In the production of this quality the organs seem to labor under a painful effort; and, though it sometimes expresses the most exalted emotions, the weakness of the vocal organs or intensity of emotional sympathy prevents the conversion of all the breath used into tone, and the quality is therefore impure. DIRECTIONS FOR SECURING THE PLAINTIVE QUALITY. Draw in the cheeks so as to reduce the size of the reso- nance chamber of the mouth, gently compress the lips, and pro- long the sound of long o, in high pitch, with subdued force. This will give you the quality, when you can reproduce it in the exercises following. LAW OF USE. The Plaintive Quality is used wdth various degrees of force to express tenderness, sympathy, pathos, sadness, acute pain, feebleness of old age, grief, entreaty, complaint, exhaustion, languor and affectation. Caution.— The student is cautioned against using this quality in any case except where it may be proper. It should be used with discretion even where indi- cated, as its excessive use is apt to run i;.to a disagreeable whine, exciting ridicule instead of pity. EXERCISES. ah head pray old wait you dead storm mine fair tomb name 1. Ah, how we loved her, God can tell. 2. Oh! tell me, is this death! 3. Give your children food, O Father! 4. Oh, I could weep my spirit from mine e} r es! 5. O death, wilt thou never come? 6. I have no pain, dear mother, now. 104 RATIONAL ELOCUTION. GIVE ME THREE GRAINS OF CORN, MOTHER. MISS EDWARDS. Begin with gentle, but earnest, pleading tones, and grad- ually merge into a tremulous, agitated stress until the last stanza, when approaching death requires a struggling, labored utterance, but with sufficient distinctness to render the words intelligible. This is an excellent piece for practice in the plaint- ive tones. 1. Give rne three grains of corn, mother, Only three grains of corn; It will keep the little life I have, Till the coming of the morn. I am dying of hunger and cold, mother, Dying of hunger and cold, And half the agony of such a death My lips have never told. 2. It has gnawed like a wolf, at my heart, mother, A wolf that is fierce for blood, — All the livelong day, and the night beside, Gnawing for lack of food. I dreamed of bread in my sleep, mother, And the sight was heaven to see; I awoke with an eager, famishing lip, But you had no bread for me. 3. How could I look to you, mother, For bread to give to your starving boy, When you were starving too? For I read the famine in your cheek, And in your eye so wild, And I felt it in your bony hand As you laid it on your child. 4. Come nearer to my side, mother, ind hold me fondly as you held My father when he died; MODULATION. 105 Quick, for I cannot see you, mother, My breath is almost gone; Mother! dear mother! ere I die, Give me three grains of corn. An excellent selection for additional practice in the prac- tice of the Plaintive is "The Dying Boy." PECTORAL QUALITY. The Pectoral is a rough, harsh, hollow tone, with the res- onance in the chest. 1. The Pectoral is low in pitch and usually slow in movement. It arises from a debilitated or relaxed condition of the vocal cords and a feeble action of the respiratory muscles. 2. It is exhibited in persons of little physical or mental energy and in those addicted to dissipation and intemperance. DIRECTIONS FOR PRODUCING THE PECTORAL. Relax the muscles about the throat and waist. Give the sound of long o with low pitch, feeble voice and the utmost re- laxation of all the vocal organs. Let the tone be hollow and husky, somewhat resembling the groan. EXERCISES : ah oh home voice more grave die fall to-day pride heart vain 1. Oh, the long and dreary winter! 2. My dream was lengthened after life. 3. Now o'er the one-half world nature seems dead. 4. Hear the tolling of the bells — iron bells. 5. Oh, I have passed a miserable night! LAW OF USE. The Pectoral quality is used to express dread, sorrow, gloom, despair, grief, deep solemnity mingled with awe, remorse, 106 RATIONAL ELOCUTION. horror, settled hatred, malice, and in the representation of the supernatural. The Pectoral is usually formed effusively, but the speaker inflamed by the maligant passions frequently employs the ex- pulsive mode of utterance. DAVID'S LAMENT FOR ABSALOM. N. P. WILLIS. The following poem furnishes a valuable drill for the expression of deep feeling. Be careful to enter into the senti- ment before attempting its portrayal. Avoid permitting the tones to anticipate the feeling. You must experience the emotion first— its expression is then possible. 1. Alas! my noble boy, that thou shouldst die! Thou, who wert made so beautifully fair! That death should settle in thy glorious eye, And leave his stillness in this clustering hair! How could he mark thee for the silent tomb, My proud boy, Absalom! 2. Cold is thy brow, my son, and I am chill, As to my bosom I have tried to press thee. How was I wont to feel my pulses thrill, Like a rich harp string, yearning to caress thee, And hear thy sweet i my father'* from these dumb And cold lips, Absalom! 3. The grave hath won thee. I shall hear the gush Of music, and the voices of the young, And life will pass me in its mantling blush, And the dark tresses to the soft winds flung, But thou no more, with thy sweet voice, shalt come MODULATION. 10 7 4. And, O! when I am stricken, and my heart, Like a bruised reed, is waiting to be broken, How will its love for thee, as I depart, Yearn for thine ear to drink its last deep tokenl It were so sweet, amid death's gathering gloom, To see thee, Absalom! 5. And now, farewell! ' Tis hard to give thee up, With death, so like a gentle slumber, on thee; And thy dark sin! O! I could drink the cup, If from this woe its bitterness had won thee. 3Iay God have called thee, like a wanderer home, My erring Absalom! For other illustrations of Pectoral quality, see ••Death Bed of Benedict Arnold, " " The Miser's Death " and the fifth, and seventh stanzas of " She Would be 'a Mason." GUTTURAL QUALITY. The Guttural (from guttur, throat) isa,rough, harsh, grat- ing, rasping, discordant sound, produced by a rigid compression of the muscles of the neck and a partial closing of the throat above the glottis, with the resonance in the throat. The qual- ity resembles the growling utterances of the lower animals. 1. The Guttural originates from an agitation of the most intense and malignant passions. The sound is cut off from communication with the chest by an obstructed throat, as in a person suffering from intense rage. The sound issues apparently from the pharynx, or swallow, instead of the larynx. 2. The Guttural quality, in a modified form, is very prevalent among persons with large, flaccid, vocal organs anl in the aged. Its use, except in the expression of the malignant passions, should be carefully avoided. 3. The practice of this quality is highly beneficial in strengthening the muscles of the throat. Its frequent employment by actors and vocal teachers protects from many forms of throat disease. Boys and girls should practice the guttural moderately at first, discontinuing as soon as any unpleasant irritation is felt. 108 NATIONAL ELOCUTION. DIRECTIONS FOR PRODUCING THE GUTTURAL, QUALITY. Contract the muscles about the throat and neck and give the sound of a in ah, in a harsh, grating tone, as if endeavor- ing to clear the throat of an accumulation of phlegm. EXERCISES. hate rage out howl heart mock away die revenge growl 1. But I defy him, let him come! 2. I scorn forgiveness, haughty man! 3. Curses on him! Will not the villain drown! 4. How like a fawning publican he looks! 5. I hate him, for he is a Christian! LAW OF USE. The Guttural quality, with various degrees of force, is used to express intense anger, hatred, contempt, disgust, scorn, loath- ing, malice and detestation. It may be given by any of the three modes of utterance, effusive, expulsive or explosive, according: to the sentiment indicated. SHYLOCK'S REPLY. WILLIAM SHAKESPEARE. Antonio, a merchant of Venice, had given a bond to Shy- lock, a wealthy Jew, for the payment of three thousand ducats, which sum Shylock had loaned to Antonio's friend, Bassanio. In default of payment it had been agreed that Shylock might claim a pound of flesh to be taken nearest the merchant's heart. Through a combination of circumstances Antonio fails to pay the bond when due, and the Jew demands the forfeit. Salanio endeavors to dissuade Shylock from exacting the penalty by MODULATION. 109 explaining that a pound of human flesh has no marketable value, and ventures to ask to what use it can be put. Shylock, almost consuming with rage, answers in the following terms. This is one of the best exercises in the whole range of elocutionary models for strengthening the vocal organs. Give it daily attention for a month and mark the effect. Use full force and long quantity with great intensity on the italicized words. Hatred^ Contempt , Detestation. Shylock: — To bait fish withal; if it will feed nothing else, it will feed my revenge. He hath disgraced me, and hindered me of half a million; laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated my enemies: and what's his reason? — I am a Jew. Hath not a Jew eyes f hath not a Jew hands, organs, dimen- sions, senses, affections, passions ? — fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you stab us, do we not bleed? — if you tickle us, do we not laugh? — if you poison us, do we not die? and if you wrong us, shall we not revenge? If we are like you in the re t, we will resemble you in that. If a Jewwrong a Christian, what is his humility? revenge ! If a Christian wrong a Jew, what should his sufferance be by Christian example? why, revenge! The villainy you teach me, I will execute! and it shall go hard, but I will better the instruction. Other fine illustrations of Guttural quality are "Vagaries of a Madman," "Catiline's Defiance" and "The Seminole's Defiance." ASPIRATE QUALITY. The Aspirate quality is articulated breath, and ranges from a mere whisper to the least audible tones of the Plaintive, Pectoral and Guttural qualities. 1. The true Aspirate is unmixed breath, but as the term is com- monly used, it is combined with other abnormal qualities to aid their intensity of utterance. 110 RATIONAL ELOCUTION. 2. The practice of the Aspirate quality alone and in combination with other abnormal qualities, with fall force, is highly beneficial in Strengthening the vocal organs. 3. The daily practice of whispering a page or more of vigorous prose or poetry with full force and sufficient d : stinctness to be heard across a large room will develop a greater depth and penetration of tone than any one exercise in which the student can engage. To secure the greatest benefit the articulation must be as nearly perfect as the student can command. LAW OF USE. The Aspirate quality alone and in combination with other qualities is used to express secrecy, surprise, impatience, fear, caution, remorse, awe, dread, anger, rage, terror, horror, and expiring life. EXERCISES. 1. Hist! Down with your heads! 2. Hush! Silence along the lines! 3. Not a word, on the peril of your lives! 4. Hark! I hear a knocking at the outer door! 5. Angels and ministers of grace defend us! 6. Avaunt! and quit my sight! Let the earth hide thee! 7. Hence, horrible shadow! Vnreal mockery, hence! MACBETH'S VISION, WILLIAM SHAKESPEARE. Act II Scene I Macbeth, a powerful lord of Scotland, with a drawn dagger is stealthily approaching the chamber of King Duncan, his guest for the night, to murder the king, when, seized with fear and remorse, he imagines he sees a dagger suspended in the air before him. Begin with an excited whisper and gradually merge into a strongly vocalized aspirate. MODULATION. Ill Few selections afford better practice in voice building than the following. Open the month freely and exaggerate the distinctness. 1. Is this a dagger which I see before me, The handle toward my hand? Come, let me clutch thee:— I have thee not; and yet I see thee still. Art thou not, fatal vision, sensible To feeling, as to sight ? or art thou but A dagger of the mind; a false creation. Proceeding from the heat-oppressed brain? I see thee yet, in form as palpable As this which now I draw. 2. Thou marshalVst me the way that I was going; And such an instrument I was to use. Mine eyes are made the fools o' the other senses, Or else worth all the rest; I see thee still; And on thy blade, and dudgeon, gouts of blood, Which teas not so before. — There's no such thing; It is the bloody business, which informs Thus to mine eyes. 3. Now o'er the one half world Nature seems dead, and wicked dreams abuse The curtained sleep; now witchcraft celebrates Pale Hecate's offerings; and withered murder, Alarumed by his sentinel, the wolf, "Whose howl's his watch, thus towards his design Moves like a ghost. 4. Thou sure and firm- set earth, Hear not my steps, which way they walk, for fear The very stones prate of my whereabout, And take the present horror from the time, Which now suits with it. — Whiles I threat, he lives; Words to the heat of deeds too cold breath gives. I go, and it is done; the bell invites me. [A bell rings. Hear it not, Duncan; for it is a knell That summons thee to heaven, or to hell. 112 RATIONAL ELOCUTION. NASAL QUALITY. The Nasal quality (from nasus, the nose) is a harsh, thin, tivangy tone, with the resonance in the nose. 1. The Nasal is an impure quality, because its production arises from some vocal disability, as a cold, or a mal-forination of the organs ol speech. 2. It is not a talking through the nose, as may be shown by the reader's clasping his nose with his fingers and attempting to read or speak in a pure tone. The quality which follows is the Nasal. 3. The student will have no occasion to use the Nasal except in mimicry or burlesque; but a perfect command of all the qualities requires a drill upon this, both for the purpose of personation and avoiding its use where improper. DIRECTION FOR PRODUCING THE NASAL QUALITY. Place the organs in position to pronounce the syllable on with high pitch; now depress the lower jaw and prolong the syllable ong, retaining the sound so as to cause the reverberation to be heard in the back part of the mouth and nose. LAW OF USE. The Nasal quality is used in the mimicry of nasal speakers and in the personation of those suffering from colds. EXAMPLE. The birds can fly, an' why can't I? Must we give in, says he, with a grin, To the bluebird an' Phebe as smarter'n we be ? Just fold our hands an' see the swaller An' blackbird an' catbird beat us holler. Does the leetle chattering, sassy Wren, No bigger'n my thumb, know more than men? Just show me that, 'er prove 't bat Hez got more brains than's in my hat, An' I'll back down, an' not till then. — Darius Green and Ms Flying Machine. MODULATION. 113 THE BEWITCHED CLOCK. Use a clear, distinct pure tone in narration. The different speakers use the nasal quality. Distinguish the characters by difference in pitch and rate. 1. About half -past eleven o'clock on Sunday night a human leg, enveloped in blue broadcloth, might have been seen entering Cephas Barberry's kitchen window. The leg was followed finally by the entire person of a lively Yankee, attired in his Sunday-go-to-ineetin' clothes. It was, in short, Joe Mayweed, who thus burglariously, in the dead of night, won his way into the deacon's kitchen. 2. "Wonder how much tbe old deacon made by orderin' me not to darken his door again?" soliloquized the young man. "Promised him 1 wouldn't, but didn't say nothin' about winders. Winders is just as good as doors, if there ain't no nails to tear your trousers onto. Wonder if Sal'll come down. The critter promised me. I'm afraid to move here, 'cause I might break my shins over somethin' or 'nother, and wake the old folks. Cold enough to freeze a polar bear here. Oh, here comes Sally." 3. The beautiful maiden descended with a pleasant smile, a tallow candle and a box of matches. 4. After receiving a rapturous greeting, she made a roaring fire in the cooking stove, and the happy couple sat down to enjoy the sweet interchange of views and hopes. But the course of true love ran no smoother in old Barberry's kitchen than it did elsewhere, and Joe, who was making up his mind to treat himself to a kiss, was startled by the voice of the deacon, her father, shouting from her chamber door: 5. " Sally, what are you getting up in the middle of the night for?" " Tell him it's most mornin' " whispered Joe. " I can't tell a fib," said Sally. " I'll make it a truth, then," said Joe, and running to the huge old- fashioned clock that stood in the corner, he set it at five. 6. " Look at the clock and tell me what time it is," cried the old gentleman up-stairs. " It's five by the clock," answered Sally, and corroborating the words the clock struck five. The lovers sat down again, and resumed the conversation. Sud- denly the stair case began to creak. " Good gracious! it's father." " The deacon, by jingo! " cried Joe; "hide me, Sal! " 114 RATIONAL ELOCUTION. "Where can I hide you?" cried the distracted girl. 7. " Oh, I know," said he; " I'll squeeze into the clock case." And without another word he concealed himself in the case, and drew to the door behind him. The deacon was dressed, and seating himself down by the cooking- stove pulled out his pipe, lighted it, and commenced smoking very delib- erately and calmly. 8. " Five o'clock, eh?" said he. " Well, I shall have time to smoke three or four pipes; then I'll go and feed the critters." "Hadn't you better go and feed the critters first sir, and smoke afterward? " suggested the dutiful Sally. "No; smoking clears my head and wakes me up," answered the deacon, who seemed not a whit disposed to hurry his enjoyment. 9. Bur-r-r-r — whiz — z — ding — ding! went the clock. " Tormented lightning! " cried the deacon, starting up and dropping his pipe on the stove. "What in creation is that? " Whiz! ding! ding! ding! went the old clock furiously. " It's only the clock striking five," said Sally tremulously. 10. "Powers of mercy! "cried the deacon, "striking five! It's struck a hundred already." " Deacon Barberry!" cried the deacon's better half, who had hastily robed herself, and now came plunging down the staircase in the wildest state of alarm, "what is the matter of the clock? " " Goodness only knows," replied the old man. " It's been in the family these hundred years, and never did I know it to carry on so before." Whiz! bang! bang! bang! went the clock. 11. "It'll burst itself! " cried the old lady, shedding a flood of tears, " and there won't be nothing left of it." " It's bewitched," said the deacon, who retained a leaven of New England superstition in his nature. "Anyhow," he said, after a pause, advancing resolutely toward the clock, " I'll see what's got into it." "Oh, don't!" cried the daughter, affectionately, seizing one of his coat-tails, while his faithful wife hung to the other. . " Don't," chorused both the women together. "Let go of my raiment!" shouted the deacon; "I ain't afraid of the powers of darkness." 12. But the women would not let go; so the deacon slipped off nis coat, and while, from the sudden cessation of resistance, they fell heavily on the floor, he darted forward and laid his hand on the door of the clock- case. But no human power could open it. Joe was holding it inside MODULATION. 115 with a death-grasp. The deacon began to be dreadfully frightened. He gave one more tug. An unearthly yell, as of a fiend in distress, came from the inside, and then the clock case pitched headforemost on the floor, smashed its face, and wrecked its proportions, 13. The current of air extinguished the light; the deacon, the old lady and Sally fled upstairs, and Joe Mayweed, extricating himself from the clock, effected his retreat in the same way that he had entered. The next day all Appleton was alive with the story of how Deacon Barberry's clock had been bewitched; and though many believed its version, some, and especially Joe Mayweed, affected to discredit the whole affair, hint- ing that the deacon had been trying the experiment of tasting frozen cider, and that the vagaries of the clock case existed only in a distem- pered imagination. FALSETTO QUALITY. The Falsetto (from fcdsus, false) is a screechy, high, shrill tone, pitched above the natural, with the resonance in the head. The Falsetto begins where the pure tone breaks, or outruns its compass. It is illustrated by the sharp, shrill shriek of the owl. 1. In producing this quality of voice, the veil of the palate is raised very high, and the uvula is forced into the veil, becoming com- pletely hidden from view. 2. Some voices, through excitement or irritability, naturally tend to run into the Falsetto. This is a serious fault and should be carefully avoided. DIRECTION FOR PRODUCING THE FALSETTO QUALITY. Begin on the sound of long o, with your natural pitch, and, without changing the force, raise your pitch till the purity of voice breaks, and the quality that follows will be Falsetto. LAW OF USE. The Falsetto quality, like the Nasal, is used in mimicry, to denote excitement, irritability, scolding, invective, mockery, sud- den fright, anger, pain, terror, and irritable old age. It is also employed in distant calling and in the imitation of faint musical bells heard in the distance. 116 RATIONAL ELOCUTION. EXAMPLES. 1. " Ho! the starboard watch, ahoy t» 2. A voice fell, like a falling star — "Excelsior!" 3. " Co,' boss ! co\ boss! co\ co\ cd > /" 4. Blow, bugle; answer, echoes, "dying, dying, dying.'' 5. The sisters, they murmured " of shame" And " she hadn't oughter a let him; No doubt she was mostly to blame." THE COUNTRY JUSTICE. Give narrative parts in Pure Tone. The Justice uses a deep Orotund, his wife, the Falsetto. Let the three tones be strongly marked, and the effect will be quite ludicrous. 1. " The snow is deep," the Justice said; " There's mighty mischief overhead," " High talk, indeed! " his wife exclaimed: "What, sir! shall Providence be blamed?" The Justice, laughing, said, " Oh, no! I only meant the loads of snow Upon the roofs. The barn is weak; I greatly fear the roof will break. So hand me up the spade, my dear — I'll mount the barn, the roof to clear." 2. "No! " said the wife; " the barn is high, And if you slip, and fall, and die, How will my living be secured? — Stephen, your life is not insured. But tie a rope your waist around, And it will hold you safe and sound." " I will," said he. " Now for the roof- All snugly tied and danger-proof! Excelsior! Excel — But no! MODULATION. 117 The rope is not secured below! " Said Rachel, " Climb, the end to throw Across the top, and I will go And tie that end around my waist." 3. " Well, every woman to her taste; You always would be tightly laced. Rachel, when you became my bride, I thought the knot securely tied; But lest the bond should break in twain, I'll have it fastened once again." 4. Below the arm-pits tied around, She takes her station on the ground, While on the roof, be} T ond the ridge, He shovels clear the lower edge. But, sad mischance! the loosened snow Comes sliding down, to plunge below. And as he tumbles with the slide, Up Rachel goes on t'other side. Just half way down the Justice hung; Just half way up the woman swung. "Good land o' Goshen!" shouted she; "Why, do you see it?" answered he. 5. The couple dangling in the breeze, Like turkeys hung outside to freeze, At their rope's end and wit's end, too, Shout back and forth what best to do. Cried Stephen, " Take it coolly, wife; All have their ups and downs in life." Quoth Rachel, " What a pity 'tis To joke at such a time as this! A man whose wife is being hung Should know enough to hold his tongue." 6. "Now, Rachel, as I look below, I see a tempting heap of snow. Suppose, my dear, I take my knife. And cut the rope to save my life? " She shouted, "Don't! 'twould be my death- I see some pointed stones beneath. US RATIONAL ELOCUTION. A better way would be to call, With all our might for Phebe Hall." " Agreed! " he roared. First he, then she Gave tongue: " O Phebe! Phebe! Phe-e- be Hall! " in tones both fine and coarse, Enough to make a drover hoarse. 7. Now Phebe, over at the farm, Was sitting, sewing, snug and warm; But hearing, as she thought, her name, Sprang up, and to the rescue came, Beheld the scene, and thus she thought: — " If now a kitchen chair were brought, And I could reach the lady's foot, I'd draw her downward by the boot, Then cut the rope, and let him go; He cannot miss the pile of snow." 8. He sees her moving toward his wife, Armed with a chair and carving-knife, And, ere he is aware, perceives His head ascending to the eaves, And, guessing what the two are at, Screams from beneath the roof, " Stop that! You make me fall too far, by half! " But Phebe answers with a laugh, " Please tell a body by what right You've brought your wife to such a plight? " And then, with well-directed blows, She cuts the rope and down he goes. 9. The wife untied, they walk around, When lo! no Stephen can be found. They call in vain, run to and fro; They look around, above, below, No trace or token can they see, And deeper grows the mystery. Then Rachel's heart within her sank; But, glancing at the snowy bank, She caught a little gleam of hope — A gentle movement of the rope. MODULATION. **9 10. They scrape away a little snow;— • What's this? A hat! Ah! he's below. Then upward heaves the snowy pile, And forth he stalks in tragic style, Unhurt, and with a roguish smile; And Rachel sees, with glad surprise, The missing found, the fallen rise. FORCE. Force is the degree of energy, depending upon the intensity of feeling, with which speech is delivered. 1. Force should not be confounded with loudness. Force is the measure of intensity by which a sentiment or emotion, concentrated in the speaker's mind, is manifested by utterance. Force marks the degree of mental and physical agitation rather than its expression. Loudness de- pends upon force and pitch — full force and high pitch producing the greatest degree of loudness. Words may be uttered with full force in a whisper. 2. The degree of force employed in the expression of the various sentiments and emotions corresponds, with one exception, to the strength of the sentiments or emotions that occasion speech. Sometimes we are so overpowered by passion, fright, or other overwhelming emotion, that the energy required to express our feelings is consumed in maintaining our very consciousness. 3. Few subjects treated by the elocutionist are of greater impor- tance in developing a full, deep, flexible, and powerful voice than that of force; hence, practice — much practice, and intelligent practice is essen- tial in this department of vocal culture. 4. The student should increase his force by degrees. Sudden tran- sitions are injurious to one not accustomed to a severe use of the voice. Every new acquisition of power will enable him to go beyond his present attainments. When that degree of force is obtained beyond which the voice cannot go without inconvenience, the effort to increase the force should be discontinued, and a few minutes' practice should be had with that degree of force. 5. In the exercises following, avoid any change of pitch while increasing the force. If the pitch is raised, begin again with the element 120 RATIONAL ELOCUTION. and endeavor to complete the fullest degree of force with the same pitch with which that element is begun. 6. The student will observe that every shade of emotion requires a corresponding degree of force. The varying intensity must therefore be constantly noted and faithfully indicated by the appropriate force, DIVISION OF FORCE. Force may be divided into three classes, namely: Subdued, Moderate, Full, each of which may be further divided into three degrees. EXERCISES. The student will repeat the sentence opposite the dots with nine degrees of force without change of pitch. Begin with the least audible sound that can be uttered, and increase in intensity not loudness, till the utmost energy is attained. Reverse the order. Repeat each degree of force several times before passing to the next. Hang out our banners on the outward walls! > Hang out our banners on the outward walls! Hanff out our banners on the outward walls! Hang out our banners on the outward walls! > Hang out our banners on the outward walls ! J Hang out our banners on the outward walls! * Hang out our banners on the outward walls ! > Hang out our banners on the outward walls! Hang out our banners on the outward walls! MODULATION. 121 SUBDUED FORCE. LAW OF USE. Subdued Force is used in the expression of tenderness, pathos, sadness, seriousness, solemnity, reverence, aice, melan- choly and tranquillity, usually with pure tone. MEMORY. (A Student's Midnight Reverie.) JAMES A. GARFIELD. Subdued Force, This selection is designed to cultivate purity and smooth- ness of tone as well as subdued force. Long quantity and gentle, undulating waves of the second prevail. The wave applied to italicized words will render the delivery beautiful. Avoid affectation. 1. 'Tis beauteous night; the stars look brightly down Upon the earth, decked in her role of snow. No light gleams at the windows, save my own, Which gives its cheer to midnight and to me. And now, with noiseless step, sweet memory comes And leads me gently through her twilight realms. What poet's tuneful lyre has ever sung, Or delicatest pencil e'er portrayed The enchanted, shadowy land where memory dwells? 2. It has its valleys, cheerless, lone, and drear, Dark-shaded by the mournful cypress tree; And yet its sunlit mountain tops are bathed In Heaven's own blue. Upon its craggy cliffs, Robed in the dreamy light of distant years, Are clustered joys serene of other days. 3. Upon its gently sloping hill-sides bend The weeping willows of the sacred dust Of dear departed ones; yet in that land, 122 RATIONAL ELOCUTION. Where'er our footsteps fall upon the shore, They that were sleeping rise from out the dust Of death's long, silent years, and round us stand As erst they did before the prison tomb Received their clay within its voiceless halls. 4. The path of youth winds down through many a vale, And on the brink of many a dread abyss, From out whose darkness comes no ray of light, Save that a phantom dances o'er the gulf And beckons toward the verge. Again, the path Leads o'er the summit where the sunbeams fall; And thus in light and shade, sunshine and gloom, Sorrow and joy, this life-path leads along. See also, as an example of Subdued Force, "Break, Break, Break," and "Which One." MODERATE FORCE. LAW OF USE. Moderate Force is employed in the expression of narrative, descriptive and didactic thought, and may be used to express the milder forms of sublimity, solemnity, grandeur and devotion, and in introductions to orations. THE GLADIATOR. Moderate Force. This is an excellent piece for recitation. The force through- out, except the gladiator's speech, is moderate. His words receive more force than the narrative part. Let the whole be rendered w T ith animation and the effect will be impressive and thrilling. 1. Stillness reigned in the vast amphitheatre, and, from the count- less thousands that thronged the spacious inclosure, not a breath was heard. Every tongue was mute with suspense, and every eye strained MODULATION. 123 with anxiety toward the gloomy portal where the gladiator was momen- tarily expected to enter. At length the trumpet sounded, and they led him forth into the broad arena. There was no mark of fear upon his manly countenance, as with majestic step and fearless eye he entered. He stood there, like another Apollo, firm and unbending as the rigid oak. His fine proportioned form was matchless, and his turgid muscles spoke his giant strength. 2. " I am here," he cried, as his proud lip curled in scorn, " to glut the savage eyes of Rome's proud populace. Aye, like a dog you throw me to a beast; and what is my offense? Why, forsooth, I am a Christian. But know, ye can not fright my soul, for it is based upon a foundation stronger than the adamantine rock. Know ye, whose hearts are harder than the flinty stone, my heart quakes not with fear; and here I aver, I would not change conditions with the blood-stained Nero, crowned though he be, not for the wealth of Rome. Blow ye your trumpet — I am ready." 3. The trumpet sounded, and a long, low growl was heard to pro- ceed from the cage of a half-famished Numidian lion, situated at the farthest end of the arena. The growl deepened into a roar of tremen- dous volume, which shook the enormous edifice to its very center. At that moment the door was thrown open, and the huge monster of the forest sprang from his den, with one mighty bound to the opposite side of the arena. His eyes blazed with the brilliancy of fire, as he slowly drew his length along the sand, and prepared to make a spring upon his formidable antagonist. The gladiator's eye quailed not; his lip paled not; but he stood immovable as a statue, waiting the approach of his wary foe. 4. At length, the lion crouched himself into an attitude for spring- ing, and with the quickness of lightning, leaped full at the throat of the gladiator. But he was prepared for him, and bounding lightly on one side, his falchion flashed for a moment over his head, and in the next it was deeply dyed in the purple blood of the monster. A roar of redoub- led fury again resounded through the spacious amphitheatre, as the enraged animal, mad with anguish from the wound he had just received, wheeled hastily round, and sprang a second time at the Nazarene. 5. Again was the falchion of the cool and intrepid gladiator deeply planted in the breast of his terrible adversary; but so sudden had been the second attack, that it was impossible to avoid the full impetus of his bound, and he staggered and fell upon his knee. The monster's paw was upon his shoulder, and he felt his hot fiery breath upon his cheek, as it rushed through his wide distended nostrils. The Nazarene drew a short 124 RATIONAL ELOCUTION. dagger from his girdle, and endeavored to regain his feet. But his foe, aware of his design, precipitating himself upon him, threw him with violence to the ground. 6. The excitement of the populace was now wrought up to a high pitch, and they waited the result with breathless suspense. A low growl of satisfaction now announced the noble animal's triumph, as he sprang fiercely upon his prostrate enemy. But it was of short duration; the dagger of the gladiator pierced his vitals, and together they rolled over and over, across the broad arena. Again the dagger drank deep of the monster's blood, and again a roar of anguish reverberated through the stately edifice. 7. The Nazarene, now watching his opportunity, sprang with the velocity of thought from the terrific embrace of his enfeebled antagonist, and regaining his falchion, which had fallen to the ground in the strug- gle, he buried it deep in the heart of the infuriated beast. The noble king of the forest, faint from the loss of blood, concentrated all his remaining strength in one mighty bound; but it was too late; the last blow had been driven home to the center of life, and his huge form fell with a mighty crash upon the arena, amid the thundering acclamations of the populace. FULL FORCE. LAW OF USE. Full Force is employed in the expression of strong emotion, as Joy, gladness, courage, boldness, defiance, anger, profound sub- limity and grandeur, and in the delivery of political, senatorial, and judicial speeches of an exalted oratorical character. RIENZFS ADDRESS TO THE ROMANS. MARY RUSSELL MITFORD. Denunciation, Indignation. This piece furnishes an excellent drill in Expulsive and Ex- plosive Orotund and Full Force. Let the tones be ringing and distinct. As a model of its style it will amply repay the labor of memorizing. MODULATION. 125 I come not here to talk. You know too well The story of our thraldom. We are — slaves! The bright sun rises to his course and lights A race of slaves! He sets, and his last beams Full on a slave; not such as, swept along By the full tide of power, the conqueror led To crimson glory and undying fame : But — base — ignoble slaves; slaves to a horde Of petty tyrants, feudal despots, lords, Rich in some dozen paltry milages; Strong in some hundred spearmen; only great In that strange spell — a name. Each hour, dark fraud, Or open rapine, or protected murder, Cries out against them. But this very day, An honest man, my neighbor — there he stands — Was struck — struck like a — dog, by one who wore The badge of Ursini, because, forsooth! He tossed not high his ready cap in air, Nor lifted up his voice in servile shouts, At sight of that great ruffian! Be we men, And suffer such dishonor? men, and wash not The stain away in blood? Such shames are common. I have known deeper wrongs; I, that speak to ye, I had a brother once — a gracious boy, Full of gentleness, of calmest hope, Of sweet and quiet joy; — there was the look Of heaven upon his face, which limners give To the beloved disciple. How I loved That gracious boy! Younger by fifteen years, Brother at once, and son! He left my side, A summer bloom on his fair cheek; a smile Parting his innocent lips. In one short hour The pretty harmless boy was slain\ I saw The corse, the mangled corse, and then I cried For vengeancel Rouse 3 T e, Romans! rouse ye Slaves! Have ye brave sons ? Look in the next fierce brawl 126 RATIONAL ELOCUTION. To see them die. Have ye fair daughters? Look To see the in live, torn from your arms, distained, Dishonored ; and if ye dare call for justice, Be answered by the lash. 5. , Yet, this is Home, That sat on her seven hills, and from her throne Of beauty, ruled the world! Yet, we are Romans. Why, in that elder day, to be a Roman Was greater than a king! Acd, once again — Hear me, ye walls that echoed to the tread x Of either Brutus! — once again, I swear, The Eternal City shall he free! See also " South Carolina and Massachusetts " as an example of Full Force. SUSTAINED FORCE. In addressing large assemblies, and in calling and command- ing, the Full Force is sustained for some moments, according to the size of the audience, or distance to which the voice is to be heard. Calling at a distance and preparatory commands require an effusive prolongation on the accented vowels. Speaking to great numbers at a distance requires long quantity on words and long pauses between the words. Exercises: 1. O-v-e-r! 2. Young men — ahoy! 3. Ship — ahoy! Send-a-boat! 4. Attention — Company! — March! 5. And lo! from the assembled crowd There rose a shout, prolonged and loud, That to the ocean seemed to say, " Take — her, — oh — bridegroom — old — and — gva,y, Take — her — to — thy — protecting — arms, With — all — her— youth — and — all — her — charms." — {Longfellow. MODULATION. 127 APPEAL IN BEHALF OF IRELAND, S. S. PRENTISS. The following appeal to the citizens of New Orleans during the Mexican War, made in behalf of Ireland, then suffering from a terrible famine, is one of the finest specimens of modern eloquence. It is a favorite among college students. With it many prizes have been won. Its delivery requires effusive and expulsive orotund, full and sustained force, long quantity and long pauses. 1. Fellow-citizens: It is no ordinary cause that has brought to- gether this vast assemblage, on the present occasion. We have met, not to prepare ourselves for political contests. We have met, not to celebrate the achievements for those gallant men who have planted our victorious standards in the heart of an enemy's country. We have assembled not to respond to shouts of triumph from the West, but to answer the cry of want and suffering which comes from the East. The Old World stretches out her arms to the New. The starving parent supplicates the young and vigorous child for bread. 2. There lies upon the other side of the wide Atlantic a beautiful island, famous in story and in song. Its area is not so great as that of the state of Louisiana, while its population is almost half that of the Union. It has given to the world more than its share of genius and of greatness. It has been prolific in statesmen, warriors, and poets. Its brave and generous sons have fought successfully all battles but their own. In wit and humor it has no equal; while its harp, like its history, moves to tears by its sweet but melancholy pathos. 3. Into this fair region, God has seen fit to send the most terrible of all those fearful ministers that fulfill his inscrutable decrees. The Earth has failed to give her increase. The common mother has forgotten her offspring, and she no longer affords them their accustomed nourishment. Famine, gaunt and ghastly Famine, has seized a nation with its strangling grasp. Unhappy Ireland, in the sad woes of the present, forgets, for a moment, the gloomy history of the past. 4. Oh! it is terrible, that in this beautiful world, which the good God has given us, and in which there is plenty for us all, men should die of starvation! When a man dies of disease, he alone endures the pain. Around his pillow are gathered sympathizing f riends,who,if they can not keep back the deadly messenger, cover his face, and conceal the horrors 128 RATIONAL ELOCUTION. of his visage, as lie delivers Ms stern mandate. In battle, in the fullness of his pride and strength, little recks the soldier whether the hissing bullet smgs his sudden requiem, or the cords of life are severed by the sharp steel. 5. But he who dies of hunger, wrestles alone, day after day, with his grim and unrelenting enemy. He has no friends to cheer him in the terrible conflict; for, if he had friends, how could he die of hunger? He has not the hot blood of the soldier to maintain him; for his foe. vampire-like, has exhausted his veins. Famine comes not up, like a brave enemy, storming, by a sudden onset, the fortress that resists. Famine besieges. He draws his lines round the doomed garrison. He cuts off all supplies. He never summons to surrender; for he gives no quarter. 6. Alas! for poor human nature, how can it sustain this fearful warfare? Day by day the blood recedes; the flesh deserts; the muscles relax, and the sinews grow powerless. At last the mind, which at first had bravely nerved itself against the contest, gives way, under the mys- terious influences which govern its union with the body. Then the victim begins to doubt the existence of an overruling Providence. He hates his fellow-men, and glares upon them with the longing of a can- nibal; and, it may be, dies blaspheming. 7. This is one of those cases in which we may, without impiety, assume, as it were, the function of Providence. Who knows but that one of the very objects of this calamity is to test the benevolence and wor- thiness of us, upon whom unlimited abundance is showered? In the name, then, of common humanity, I invoke your aid in behalf of starving Ireland. He who is able, and will not aid such a cause, is not a man, and has no right to wear the form. He should be sent back to Nature's mint, and re-issued as a counterfeit on humanity, of Nature's baser metal. For other examples of sustained force, see the commands in " Charge of the Light Brigade." STRESS* Stress is the application of Force to some particular part, of a syllable or word. 1. Stress differs from accent in this particular: stress is limited to only a part of a syllable, while accent includes the entire syllable. MODULATION. 129 2. In the utterance of an elementary sound which consists of but a single impulse of the voice, the force may lie prominently on the first or on the last part, on the middle or on both extremes, or it may be dis- tributed with an equal degree throughout the sound. The divisions of stress are, Eadical, Median, Final. Compound, Thorough, Intermittent. RADICAL STRESS. Radical Stress ( mUlllBBTii" i is the application of Force to the first part of a syllable or word. In applying this stress the sound should burst instantaneously upon the first part of the syllable or word, and the succeeding part should be uttered with a decreasing force. LAW OF USE. The degree of Radical Stress is determined by the intensity of emotion. It is used, first, in a mild form, to express nar- rative, didactic, and descriptive thought; and, second, with greater force, to express mirthful emotions, sudden anger, fear, impetuous and startling emotions', and, third, with full force, in the delivery of vigorous and earnest argument. EXERCISES IN RADICAL STRESS. Apply radical stress to the short vowel sounds: to- s*. w *»* ► a e i o u 1. He wok"e~to hear his sentry shriek, To arms! they come! the Greek! the Greek! 2. Back to thy punishment, false fugitive! THE REVOLUTIONARY RISING. THOMAS BUCHANAN HEAD. The following poem is a favorite drill exercise among voice trainers. Examples of the three degrees of force are af- 130 RATIONAL ELOCUTION. forded for the application of Radical Stress. Observe that stanzas second and third are delivered with a force varying between subdued and moderate, the others with a force varying with the intensity of emotion. 1. Out of the North the wild news came, Far flashing on its wings of flame, Swift as the boreal light which flies At midnight through the startled skies. And there was tumult in the air, The fife's shrill note, the drum's loud beat, And through the wide land everywhere The answering tread of hurrying feet, While the first oath of freedom's gun Came on the blast from Lexington; And Concord roused, no longer tame, Forgot her old baptismal name, Made bare her patriot arm of power, And swelled the discord of the hour. 2. Within its shade of elm and oak The church of Berkley Manor stood; There Sunday found the rural folk, And some esteemed of gentle blood. In vaiu their feet with loitering tread Passed mid the graves where rank is naught; All could not read the lesson taught In that republic of the dead. 3. How sweet the hour of Sabbath talk, The vale with peace and sunshine full, Where all the happy people walk, Decked in their homespun flax and wool; Where youth's gay hats with blossoms bloom; And every maid,' with simple art, Wears on her breast, like her own heart, A bud whose depths are all perfume; While every garment's gentle stir Is breathing rose and lavender. 4. The pastor came: his snowy locks Hallowed his brow of thought and care; MODULATION. 131 And calmly, as shepherds lead their flocks, He lead into the house of prayer. Then soon he rose; the prayer was strong; The Psalm was warrior David's song; The text, a few short words of might — " The Lord of hosts shall arm the right! " He spoke of wrongs too long endured, Of sacred rights to be secured; Then from his patriot tongue of flame The startling words for Freedom came. 5. The stirring sentences he spake Compelled the heart to glow or quake, And rising on his theme's broad wing, And grasping in his nervous hand The imaginary battle-brand, In face of death he dared to fling Defiance to a tyrant king. 6. Even as he spoke, his frame, renewed In eloquence of attitude, Rose, as it seemed, a shoulder higher; Then swept his kindling glance of fire From startled pew to breathless choir; "When suddenly his mantle wide His hands impatient flung aside, And, lo! he met their wondering eyes Complete in all a warrior's guise. 7. A moment there was awful pause — When Berkley cried, " Cease traitor, cease! God's temple is the house of peace! " The other shouted, " Nay, not so, When God is with our righteous cause; His holiest places then are ours, His temples are our forts and towers That frown upon the tyrant foe; In this, the dawn of Freedom's day, There is a time to fight and pray! " 8. And now, before the open door — The warrior priest had ordered so — 132 RATIONAL ELOCUTION. The enlisting trumpet's sudden roar Rang through the chapel, o'er and o'er, Its long reverberating blow, So loud and clear, it seemed the ear Of dusty death must wake and hear. 9. And there the startling drum and fife Fired the living with fiercer life; While overhead, with wild increase, Forgetting its ancient toll of peace, The great bell swung as ne'er before. It seemed as it would never cease; And every word its ardor flung From off its jubilant iron tongue Was, "War! war! AVAR!" 10. "Who dares " — this was the patriot's cry, As striding from the desk he came — " Come out with me, in Freedom's name, For her to live, for her to die? " A hundred hands flung up reply, A hundred voices answered, " I! " [J. B Lippincott Co., Publishers. For additional illustrations see "The Little Black-Eyed Rebel," "The Happy Young Girl," and "Marco Bozzaris." MEDIAN STRESS. The Median Stress (^[0|^) is the application of force to the middle of the syllable or word. Its application consists in a gradual swelling of voice to the middle of the syllable or word, followed by a gradually diminishing force to the end. 1. The Median Stress supplies the chief element of grandeur, beauty and impressiveness in the rendition of poetic thought. 2. The lengthened and expansive quantity given to those words sig- nificant of pathos, sublimity, and intense feeling reach the heart and en- list our sympathies beyond the power of the most artistic combination of words. It is the natural vein with which heart speaks to heart. MODULATION. 133 3. Great care, however, should be exercised lest this should be overdone, misplaced or ill-timed, for ridicule and contempt would then take the place of sympathy. To avoid any misapplication, feel the senti- ment before you attempt its expression. Here, as elsewhere, artistic error deceives only artificial tastes. 4. The characteristic utterance of Median Stress is effusive, though the expression of the more elevated emotions of grandeur and sublimity coupled with full force requires an expulsive utterance. EXERCISES IN MEDIAN STRESS. 1. O, the long and dreary winter! 2. O, the cold and cruel winter! 3. Roll on, thou deep and dark blue ocean, roll! 4. O Lord, thou art clothed with honor and majesty. 5. Lo, all grow old and die ! LAW OF USE. The Median Stress is used in the expression of tenderness, compassion, grandeur, sublimity ', pathos, reverence, and devotion. The intensity of the stress varies with the degree of emo- tion. WHICH ONE? A beautiful recitation which never fails, when properly given, to produce a profound impression. Let the quantity and pauses be long and the Median Stress well marked. Avoid affecta- tion. 1. One of us, dear — But one — Will sit by a bed with a marvellous fear, And clasp a hand, Growing cOld as it feels for the spirit land — Darling, which one? 134 RATIONAL ELOCUTION. 2. One of us, dear — But one — Will stand by the other's coffin bier, And look and weep, While those marble lips strange silence keep- Darling, which one? 3. One of us, dear— But one — By an open grave will drop a tear. And homeward go, The anguish of an unshared grief to know- Darling, which one? 4. One of us, darling, it must be, It may be you will slip from me; Or perhaps my life may first be done; Which one? Other excellent examples of Median Stress are " The Long Ago," "Memory," "Break, Break, Break," and the second stanza of " The Bells." FINAL, STRESS. The Final Stress (fljHBBBMv^) is the application of force to the last part of the syllable or word. 1. The final Stress consists of a gradual increase of force till the end of the syllable or word is reached, when the force culminates in an abrupt explosive utterance. 2. This is emphatically the stress of decisive statements. Its use, with those to whom it is natural, admits of no equivocation. 3. The student is cautioned against its use where not indicated. Its frequent recurrence in conversation or oratory, when not required in appropriate expression, savors of arrogance, and serves to repel rather than persuade or convince. EXERCISES IN FINAL STRESS. hate budge slave gone blood crouch fawn cringe swear scorn I dare accusation! I defy the honorable gentleman MODULATION. 135 LAW OF USE. The Final Stress is used in expressing a dogged determin- ation, disdain,contempt, protest, rebuke, disgust, revenge, defiance and hatred. CATILINE'S DEFIANCE. GEORGE CROLT. An admirable selection to cultivate the bold utterance of angry vehemence. Use Pectoral quality, Full Force and Final Stress. 1. Conscript Fathers: I do not rise to waste the night in words; Let that plebeian talk; 'tis not my trade ; But here I stand for right — let him show proofs — * For Roman right; though none, it seems, dare stand To take their share with me. Ay, cluster there! Cling to your master, judges, Romans, slaves! His charge is false; — I ddfre him to his proofs. You have my answer. Let my actions speak! 2. But this I will avow, that I have scorned, And still do scorn, to hide my sense of wrong! Who brands me on the forehead, breaks my sword, Or lays the bloody scourge upon my back, Wrongs me not half so much as he who shuts The gates of honor on me — turning out The Roman from his birthright; and, for what? To fling your offices to every slave! Vipers, that creep where man disdains to climb. And, having wound their loathsome track to the top Of this huge, moldering monument of Rome, Hang hissing at the nobler man below! Come, consecrated lictors, from your thrones; Fling down your scepters; [To the Senate] take the rod and ax And make the murder as you make the law! 130 RATIONAL ELOCUTION'. 3. Banished from Rome! What's banished, but set free From daily contact with the things I loathe? " Tried and convicted traitor! " Who says this? Who'll prove it, at his peril, on my head? 4. Banished! I thank you for-'t. It breaks my chain! I held some slack allegiance till this hour; But now my sword's my own. Smile on, my lords! I scorn to count what feelings, withered hopes, Strong provocations, bitter, burning wrongs, I have within my heart's hot cells shut up, To leave you in your lazy dignities. But here I stand and scoff you! here, I fling Hatred and full defiance in your face! Your consul's merciful — for this all thanks; He dares not touch a hair of Catiline! 5. "Traitor!" I go; but I return. This— trial? Here I devote your senate! I've had wrongs To stir a fever in the blood of age, Or make the infant's sinews strong as steel. This day's the birth of sorrow! This hour's work Will breed proscriptions! Look to your hearthe, my lords! For there, henceforth, shall sit, for household gods, Shapes hot from Tartarus! — all shames and crimes! Wan treachery, with his thirsty dagger drawn; Suspicion, poisoning his brother's cup; Naked Rebellion, with the torch and ax, Making his wild sport of your blazing thrones; Till Anarchy comes down on you like night, And massacre seals Rome's eternal grave! G. I go; but not to leap the gulf alone. I go; but, when I come, 'twill be the burst Of ocean in the earthquake — rolling back In swift and mountainous ruin. Fare you well! You build my funeral pile; but your best blood Shall quench its name! Back, slaves! [To the Liotors] I will return! Another fine example of Final Stress is "The Seminole's Defiance. 1 ' MODULATION. 137 COMPOUND STRESS. Compound Stress ( BB^^^^BH ) is the application of force to the first and last part of a word, giving the middle part but slight force. The Compound Stress may be regarded as an emphatic form of the emotional wave. EXERCISES IN COMPOUND STRESS. dead added gone feared happy, brother bloody king paused deed. Gone to be married! Gone to swear a peace! False blood to false blood joined! Gone to be friends! Shall Louis have Blanche, and Blanche these provinces? LAW OF USE. The Compound Stress is used to express ridicule, irony, astonishment, contempt, malice, mockery, sarcasm, and raillery. SPARTACUS TO THE ROMAN ENVOYS IN ETRURIA. EPES SARGENT. This declamation is a great favorite among contestants for declamation honors and prizes. Words requiring Compound Stress are printed in Italics. Use Orotund quality and mod- erately Full Force. 1. Envoys of Rome: The poor camp of Spartacus is too much honored by your presence. And does Rome stoop to parley with the escaped gladiator, with the rebel ruffian, for whom heretofore no slight has been too scornful? You have come, with steel in your right hand, and with gold in your left. What heed we give the former, ask Cossinius; ask Claudius; ask Varinius; ask the bones of your legions 138 RATIONAL ELOCUTION. that fertilize the Lucanian plains. And for your gold — would ye know what we do with that — go ask the laborer, the trodden poor, the helpless and the hopeless, on our route; ask all whom Roman tyranny had crushed or Roman avarice plundered. 2. Ye have seen me before; but ye did not then shun my glance as now. Ye have seen me in the arena, when I was Rome's pet ruffian, daily smeared with blood of men or beasts. One day — shall I forget it ever? — ye were present — I had fought long and well. Exhausted as I was, your numerator, your lord of the games, bethought him, it were an equal match to set against me a new man, younger and lighter than I, but fresh and valiant. With Thracian sword and buckler, forth he came, a beautiful defiance on his brow! Bloody and brief the fight. "He has it! " cried the People: " Itabet ! Jtabet ! " But still he lowered not his arm, until, at length, I held him, gashed and fainting, in my power. 3. I looked around upon the Podium, where sat your Senators and men of State, to catch the signal of release, of mercy. But not a thumb was reversed. To crown your sport the vanquished man must die! Obedient brute that I was, I was about to slay him, when a few hurried words — rather a welcome to death than a plea for life — told me he was a Thracian. I stood transfixed. The arena vanished. I was in Thrace, upon my native hills! The sword dropped from my hands. I raised the dying youth tenderly in my arms. O, the magnanimity of Rome. 4. Your haughty leaders, enraged at being cheated of their death - show, hissed their disappointment, and shouted. " Kill! " I heeded them as I would heed the howl of icohes. Kill him ? — They might better have asked the mother to kill the babe, smiling in her face. Ah! he was already wounded unto death; and,amid the angry yells of the spectators, he died. That night I was scourged for disobedience. I shall not for- get it. Should memory fail, there are scars here to quicken it. 5. Well; do not grow impatient. Some hours after, finding myself with seventy fellow -gladiators, alone in the amphitheatre, the laboring thought broke forth in words. I said — I know not what. I only know that when I ceased, my comrades looked each other in the face — and then burst forth the simultaneous cry — "Lead on! lead on, O Sparta- cus! " Forth we rushed— seized what rude weapons Chance threw in our way, and to the mountains speeded. There day by day our little band increased. 6. Disdainful Rome sent after us a handful of her troops, with a scourge for the slave Spartacus. Their weapons soon were ours. She sent an army, and down from old Vesuvius we poured, and slew three thousand. Now it was Spartacus the dreaded rebel! A larger army, MODULATION. 139 headed by the Praetor, was sent and routed; then another still. And al- ways I remembered that fierce cry, riving my heart, and calling me to "kill"' In three pitched battles, have I not obeyed itr? And now affright- ed Rome sends her two Consuls, and puts forth all her strength by land, and sea, as if a Pyrrhus or a Hannibal were on her borders! 7. Envoys of Rome! To Lentulus and Gellius bear this message: " Their grates are measured!" Look on that narrow Btream, a silver thread, high on the mountain's side! Slenderly it winds, but soon is swelled by others meeting it, until a torrent, terrible and strong, it sweeps to the abyss where all is ruin. So Spartacus comes on! So swells his force — small and despised at first, but now resistless! On, on to Rome we come! The gladiators come! Let Opulence tremble in all his palaces! Let Oppression shudder to think the oppressed may have their turn! Let Cruelty turn pale at thought of redder hands than his! O, we shall not forget Rome's many lessons. She shall not find her training was all wasted upon indocile pupils. Now begone! Prepare the Eternal City for our games! Additional examples in Compound Stress will be found in the italicized words in the " Scene from Hamlet. " THOROl'UH STRESS. Thorough Stress fiH^^SHBN' is the equal distribution of Force to all parts of the syllable or word. 1. It is a combination of the Radical, Mediau and Final in the order named. 2. It is the characteristic Stress of a powerful and all-pervading emotion that seeks to express itself in broad, swelling sounds which electrify the hearts and fire the souls of listeners. 3. The effect of the Thorough Stress upon the assembled multi- tude, listening to the impassioned appeals of a skillful orator, pleading the cause of suffering humanity, or denouncing insatiate ambition, un- bridled licentiousness or unchecked tyranny, is wonderful and beyond our comprehension. If, however, employed in the expression of com- mon-place ideas and trivial thoughts, it can excite in cultivated minds only ridicule and disgust. 4. Children are usually deficient in the power of Thorough Stress, and on attempting to apply it to one or more woids, are apt to run into a high, monotonous chant that is extremely unpleasant to hearers. To 140 EATIONAL ELOCUTION. avoid this tendency, examples should be used for the practice of this stress containing words at their close which require some other stress. [See example below; the words, "he said," require Thorough Stress.] EXERCISES IN THOROUGH STRESS. sail strong home know swarm drove song shore prayer prolong " Forward, the Light Brigade! Charge for the guns! " he said. LAW OF USE. The Thorough Stress is employed to express lofty command, rapturous joy, calling, shouting, vehement indignation, orator- ical apostrophe and intense and violent emotion. _ APOSTROPHE TO THE ENGLISH LANGUAGE. GEOEGE BANCROFT. Expulsive Orotund, Full Force, Thorough Stress. Excellent for drill on these three elements. 1. Go forth, then, language of Milton- and Hampden, language of my country; take possession of the North American Continent! Gladden the waste places with every tone that has been rightly struck on the English lyre, with every English word that has been spoken well for liberty and man! 2. Give an echo to the now silent and solitary mountains; gush out with the fountains that as yet sing their anthem all day long without response; fill the valleys with the voices of love in its purity, the pledges of friendship in its faithfulness; and as the morning sun drinks the dew- drops from the flowers all the way from the dreary Atlantic to the Peaceful ocean, meet him with the joyous hum of the early industry of freemen! 3. Utter boldly and spread widely through the world the thoughts of the coming apostles of the people's liberty, till the sound that cheers MODULATION. 141 the desert shall thrill through the heart of humanity, and the lips of the messenger of the people's power, as he stands in beauty upon the moun- tains, shall proclaim the renovating tidings of equal freedom for the race. For other illustrations of Thorough Stress, see "The Xational Banner," "Defense of Hofer " and last paragraph of "Impeachment of Warren Hastings." INTERMITTENT STRESS. The- Intermittent Stress (X/X/X/X/) is a tremulous application of Force throughout the syllable or word, prolonged in utterance. 1. It is the characteristic Stress of extreme tenderness, feebleness and old age, but is also observed in subdued grief and joy, when the breath is sent forth in agitated jets, as if the vital forces were too weak to control its accurate articulation. 2. To secure command of the tremor, much practice upon simple elements and words is necessary before attempting continuous sentences. LAW OF USE. The Intermittent Stress is used in the expression of dis- tress, fear, weakness, exhaustion, sickness, pity, tenderness, over- whelming joy and grief, and in the feebleness of old age. Exercises in Intermittent Stress: old gone poor grave strength word time breath hear come round soul chain twine path roll EXAMPLES: SICKNESS AND EXHAUSTION. Jessie's — too — sick, — Papa. Can't — say — goodnight,— Papa. ■ In — the — morning. Mother, — the — angels — do — so — smile, — and — beckon — little Jim. 142 RATIONAL ELOCUTION. FEEBLENESS OF OLD AGE. Pity the sorrows of a poor old man, Whose trembling limbs have borne him to your door,' Whose days are dicindled to the shortest sj)an;~ Oh! give relief, and Heaven will bless your store! THE DYING BOY, MRS. SIGOURNEY. A most impressive reading or recitation when well rendered. Give descriptive parts with Pure Tone, Moderate Force, Radi- cal and Median Stress. The child uses Plaintive Quality, Sub- dued Force and Intermittent Stress. Avoid affectation. 1. It must be sweet, in childhood, to give back The spirit to its Maker; ere the heart Has grown familiar with the paths of sin, And sown, to garner up, its bitter fruits. I knew a boy whose infant feet had trod Upon the blossoms of some seven springs, And when the eighth came round, and called him out To revel in its light, he turned away, And sought his chamber, to lie down and die. 2. 'Tvvas night; he summoned his accustomed friends, And on this wise bestowed his last bequest: " Mother, I am dying now! There's a deep suffocation in my breaft As if some heavy hand my bosom pressed; And on my brow, I feel the cold sweat stand; My lips grow dry and tremulous, and my breath Comes feebly on. O! tell me, is this death! 3. " Mother, your hand, Here, lay it on my wrist, And place the other thus beneath my head, And say, sweet mother, say, when I am dead, MODULATION. 1 43 Shall I be missed? • Never beside your knee, Shall I kneel down again at night to pray; Nor with the morning wake, and sing the lay You taught me. " O, at the time of prayer, When you look round, and see a vacant seat, You will not wait then for my coming feet; You'll miss me there. Father, I'm going home! To the good home you spoke of, that blest land Where it is one bright summer always, and Storms do never come. " I must be happy then, From pain and death you say I shall be free, That sickness never enters there, and we Shall meet again. Brother, the little spot I used to call my garden, where long hours We've stayed to watch the budding things and flowers, Forget it not! " Plant there some box or pine, Something that lives in winter, and will be A verdant offering to my memory, And call it mine! " Sister, my young rose-tree, That all the spring has been my pleasant care, Just putting forth its leaves so green and fair, I give to thee; And when its roses bloom, I shall be far away, my short life done; But will you not bestow a single one Upon my tomb? " Now, mother, sing the tune You sang last night. I'm weary, and must sleep, Who was it called my name? Nay, do not weep, You'll all come soon!" 144 RATIONAL ELOCUTION. 9. Morning spread o'er earth her rosy wings, And that meek sufferer, cold and ivory pale, Lay on his couch asleep. The gentle air Came through the open window, freighted with The savory odors of the early spring; He breathed it not; the laugh of passers-by Jarred like a discord in some mournful tune, But wakened not his slumber. He was dead. For other illustrations of Intermittent Stress, see "Give Me Three Grains of Corn, Mother," "The Miser's Death," and " Good Night, Papa," in Brown's Popular Readings No. 2. PITCH, Pitch is the degree of elevation or depression of sound above or below the keynote. 1. We say that one tone is higher than another when the number of vibrations produced in the utterance of one is greater than the other. 2. Pitch in music is determined by the unvarying musical scale, and transitions from high to low, or the reverse, are made by steps; while in speech the appropriate pitch depends upon the sentiment to be expressed and the construction of the vocal organs of the speaker; and the various changes are made by slides of the voice called the concrete movement. 3. A number of persons singing the same piece of music would employ the same pitch, but if these same persons read the same selec- tion, though it require a high or low pitch, there is scarcely any proba- bility that their voices would be pitched upon the same key; and yet, each, using Ms appropriate pitch for the sentiment, would read it cor- rectly. In the first instance the pitch is determined by musical instru- ments; in the latter by the voices of the respective individuals. 4. All that has been said concerning the influence of emotion in determining the appropriate element in vocal expression applies to pitch. These conditions operate directly upon the vocal organs — tension of the vocal chords, producing a high pitch, arises from exaltation of spirit; relaxation of these chords, producing low pitch, accompanies MODULATION. 145 mental depression; while a tranquil state of mind leaves the vocal chords in their natural condition, and a pitch midway between high and low will be selected. DIVISIONS OF PITCH. Since the sentiment determines the appropriate pitch, three divisions are naturally formed, which we designate high, middle and low. 1. These divisions are not absolute, and have no definite place on the musical scale. They vary according to intensity of feeling and the natural key of different voices. 2. Each of these divisions has an extended compass, since many emotions that are classed as exciting differ widely in degree and in their influence upon individuals; hence, we may have pitch high, moderately high, and very high, and the same is true of low pitch. The pupil must decide from the intensity of the sentiment what degree of high or low pitch he shall use, bearing in mind that the greater the agitation from joyous or angry emotions, the higher the pitch; and, conversely, the greater the depression from emotions of solemnity or grief, the lower the pitch. EXERCISES. Pronounce each name in the following list with pure tone, moderate force, radical stress, as you would if calling to the individuals situated at distances indicated by the number of feet opposite his name. Repeat the names in reverse order, and afterward promiscuously, always imagining the distance to which your voice is to be heard: Very low pitch 5 feet — Thomas Hall. Low pitch 10 feet — Henry Jones. Moderately low pitch 20 feet — Samuel Taylor. Middle pitch 40 feet— David Cole. Moderately high pitch 80 feet — James Temple. High pitch 160 feet— Robert Morris. Very high pitch 320 feet— Edward Blake. Begin with one and count to ten, starting with your lowest pitch, and ending with your highest. Reverse the order. JMaintain a moderate force. Avoid the musical scale. 146 RATIONAL ELOCUTION. MIDDLE PITCH. The Middle Pitch is used in our ordinary conversation in the delivery of narrative, descriptive and didactic thought, and in the introduction to- lectures, orations and sermons. THE MUSIC OF THE HUMAN VOICE. WILLIAM RUSSELL. Read in a clear, full, pure, earnest tone. Use Moderate Force, Radical Stress, with Middle Pitch. Avoid anything strained or artificial. 1. Willis, in his essay on "Unwritten Music," has placed the appropriate sound of the female voice among the most beautiful of its forms; and there is, unquestionably, a fine analogy between the sound of the running brook, the note of the wood-bird, the voice of a happy child the low breathing of a flute, and the clear, soft tone of a woman's voice, when it utters the natural music of home — the accents of gentleness and love. 2. To a well-tuned ear, there is a rich, deep melody in the distinct- ive bass of the male voice, in its subdued tones. But the keynote of poetry seems to have been lent to woman. On the ear of infancy and childhood, her voice was meant to fall as a winning prelude to all the other melodies of nature; the human nerves are attuned, accordingly, to the breath of her voice; and, through life, the chords of the heart respond most readily to her touch. 8. Yet how often is this result impeded by the processes of artifi- cial culture; by the over-excitement of mind and nerve, attending excess- ive application; by that unwise neglect of health and healthful action, which dims the eye and deadens the ear to beauty, and robs life of the joyous and sympathetic spirit which is native to childhood; and which, otherwise, would ever be gushing forth in notes of gladness and endear- ment, the physical not less than the moral charm of human utterance. 4. There are beautiful exceptions, undoubtedly, to this general fact of ungainly habit. But the ground of just complaint is, that there is no provision made in our systems of education for the cultivation of MODULATION. 147 one of woman's peculiar endowments— an attractive voice. Our girls do not come home to us, after their period of school life, qualified to read with effect in their own language. There is wanting in their voices that adaptation of tone to feeling, which is the music of the heart in read- ing; there is wanting that clear, impressive style which belongs to the utterance of cultivated taste and judgment, and which enhances every sentiment by appropriate emphasis and pause; there is even a want of that distinct articulation which alone can make sound the intelligible medium of thought. HIGH PITCH. High Pitch is used in calling, commanding and shouting, in the delivery of animated, earnest and joyous sentiments, and in the emotions of gayety, gladness, exidtation and triumph. High Pitch combined with Pure Tone and Full Force pro- duces loudness. EXERCISES. 1. " Victory I Victory! " is the shout. 2. " Oh, spare my child, my joy, my pride; Oh give me back my child! " she cried. 3. Ring joyous chords! ring out again A swifter still and a wilder strain! LIBERTY OR DEATH-MARCH, 1795. PATRICK HENRY. High Pitch. This is a favorite selection for oratorical drill. Many prizes and honors attest its worth as a contest declamation. Let the quality be a strong Orotund, the force Full, and the Stress vary w T ith the sentiment. Begin in conversational tones. 1. Mr. President: It is natural to man to indulge in the illu- sions of hope. We are apt to shut our eyes against a painful truth, and listen to the song of that siren, till she transforms us into beasts. Is 148 RATIONAL ELOCUTION. this the part of wise men, engaged in a great and arduous struggle for liberty ? Are we disposed to be of the number of those who, having eyes, see not, and having ears, hear not, the things which so nearly concern their temporal salvation? 2. For my part, whatever anguish of spirit it may cost, I am will- ing to know the whole truth — to know the worst, and to provide for it. I have but one lamp by which my feet are guided, and that is the lamp of experience. I know of no way of judging of the future but by the past; and, judging by the past, I wish to know what there has been in the con- duct of the British ministry for the last ten years to justify those hopes with which gentlemen have been pleased to solace themselves and the House. 3. Is it that insidious emile with which our petition has been lately received? Trust it not, sir; it will prove a snare to your feet! Suffer not yourselves to be betrayed with a kiss. Ask yourselves how this gracious reception of our petition comports with those warlike prepara- tions which cover our waters and darken our land. Are fleets and armies necessary to a work of love and reconciliation? Have we shown our- selves so unwilling to be reconciled that force must be called in to win back our love? 4. Let us not deceive ourselves, sir. These are the implements of war and subjugation — the last arguments to which kings resort. I ask, sir, what means this martial array, if its purpose be not to force us to submission? Can gentlemen assign any other possible motive for it? Has Great Britain any enemy in this quarter of the world, to call for all this accumulation of navies and armies? 5. No, sir, she has none; they are meant for us: they can be meant for no other. They are sent over to bind and rivet upon us those chains which the British ministry have been so long forging. And what have we to oppose to them? 6. Shall we try argument t Sir, we have been trying that for the last — ten — years. Have we anything new to offer upon the subject? nothing. We have held the subject up in every light of which it is capable, but it has been all in vain. Shall we resort to entreaty and humble supplication? What terms shall w T e find which have not been already exhausted t 7. Let us not, I beseech you, sir, deceive ourselves longer. Sir, we have done everything that could be done to avert the storm that is now coming on. We have petitioned; we have remonstrated', we have suppli- cated; we have PROSTRATED ourselves before the throne, and have MODULATION. 149 implored its interposition to arrest the tyrannical hands of the ministry and Parliament. 8. Our petitions have been slighted; our remonstrances have pro- duced additional violence and insult', our supplications have been disre- garded; and we have been spurned with contempt from the foot of the throne! In vain, after these things, may we indulge the fond hope of peace and reconciliation. There is no longer any room for hope. 9. If we wish to be free; if we mean to preserve inviolate thope inestimable privileges for which we have been so long contending; if we mean not basely to abandon the noble struggle in which we have been so long engaged, and which we have pledged ourselves never to abandon until the glorious object of our contest shall be obtai)ied,we must fight! I repeat it, sir: We must fight! An appeal to arms and to the God of Hosts is all that is left us! 10. They tell us, sir, that we are weak — unable to cope with so formidable an adversary; but when shall we be stronger f Will it be the next week, or the next year? Will it be when we are totally disarmed, and when a British guard shall be stationed in every house? Shall we gather strength by irresolution and inaction ? Shall we acquire the means of effectual resistance by lying supinety on our backs, and hugging the delusive phantom of hope, until our enemies shall have bound us hand and foot? 11. Sir, we are not weak if we make a proper use of those means which the God of nature hath placed in our power. Three millions of people, armed in the holy cause of liberty, and in such a country as that which we possess, are invincible by any force which our enemy can send against us. 12. Besides, sir, we shall not fight our battles alone: there is a just God who presides over the destinies of nations, and who will raise up friends to fight our battles for us. The battle is not to the strong alone: it is to the vigilant — the active — the brave. 13. Besides, sir, we have no election. If we were base enough to desire it, it is now too late to retire from the contest. There is no retreat but in submission or slavery! Our chains are forged! Their clanking may be heard on the plains of Boston! The war is inevitable,, and let it come! I repeat it, sir: Let it come! 14. It is in vain, sir, to extenuate the matter. Gentlemen may cry, " Peace! peace! " but there is no peace. The war is actually begun! The next gale that sweeps from the north will bring to our ears the clash of resounding arms! Our brethren are already in the field! Why stand we here idle? 150 RATIONAL ELOCUTION. 15. What is it that gentlemen wish? What would they have ? Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take, but, as for me, give me liberty, or Give Me Death! See also " The Revolutionary Rising." LOW PITCH. Low Pitch is used in the delivery of solemn, serious, pathetic, and devotional thought, and in giving expression to emotions of awe, melancholy, gloom, despair, horror, reverence, and ador- ation. EXERCISES. 1. 'Tis a time for memory and for tears. 2. Now o'er the one-half world nature seems dead. 3. Toll, toll, toll, thou bell by billows swung. 4. 'Tis now the very witching time of night. THE LONG AGO. B. F. TAYLOR. Use Pure Tone, Subdued Force, Median Stress, and Low Pitch. This selection is well adapted to cultivate the musical element, so pleasing in the expression of pathos and solemnity. Avoid everything unreal. 1. Oh! a wonderful stream is the river Time, As it runs through the realm of tears, With a faultless rhythm and a musical rhyme And a broader sweep and a surge sublime, As it blends in the ocean of years ! 2. How the winters are drifting like flakes of snow, And the summers like birds between, And the years in the sheaf, how they come and they go MODULATION. 151 On the river's breast with its ebb and flow, As it glides in the shadow and sheen! 3. There's a Magical Isle up the river Time, Where the softest of airs are playing. There's a cloudless sky and tropical clime, And a song as sweet as a vesper chime, And the Junes with the roses are straying. 4. And the name of this Isle is "the Long Ago," And we bury our treasures there; There are brows of beauty and bosoms of snow, There are heaps of dust — oh! we love them so — And there are trinkets and tresses of hair. 5. There are fragments of songs that nobody sings, There are parts of an infant's prayer, There's a lute unswept and a harp without strings, There are broken vows and pieces of rings, And the garments our dead used to wear. 6. There are hands that are waved when the fairy shore By the mirage is lifted in air, And we sometimes hear through the turbulent roar Sweet voices we heard in the days gone before, When the wind down the river was fair. 7. Oh! remembered for aye be that blessed Isle, All the day of life until night; And when evening glows with its beautiful smile, And our eyes are closing in slumbers awhile, May the greenwood of soul be in sight. For other examples, see " God's Beautiful City," "David's Lament," and "The Suppliant." MOVEMENT. Movement is the degree of rapidity or slowness with which words are uttered in continuous discourse. 1. Movement, like other elements of vocal expression, depends up- on the nature of the thought to be spoken; and as the moods of mind, like 152 RATIONAL ELOCUTION. an April sky, are constantly changing, — now buoyant with hope or ex- hilarated with joy, and anon sobered in serious contemplation or depres- sed by grief, there is necessarily little uniformity in the rate of human speech. 2. The slow and measured tread, timed in unison with the mourn- ful dirge, suggests gloom and sorrow; while the lively step of the merry dancers in fling or reel, betray the utmost animation of mind and body. " The grave psalm and the song of serious sentiment express, in their measured regularity, the adaptation of gentle and moderate movement to tranquil and sedate feeling." 3. A perfect command of every degree of movement is essential to correct and effective reading or speaking. Ignorance of this element gives the reading and declamation of our pupils that monotonous drawl which renders exercises so insipid and tedious to visitors. 4. Appropriate movement is indispensable in rousing and retain- ing the attention of an audience; hence, no pains should be spared to adapt the movement of every selection to the sentiment intended to be conveyed. CLASSES OF MOVEMENT. The natural divisions of Movements are, Ratid, Moderate and Slow, with the further subdivisions of very rapid and very slow. MODERATE MOVEMENT. Moderate Movement is used in unimpassioned discourse, in the exjjression of narrative, descriptive and didactic thought, and in the beginning of orations. The term " Moderate" must not be understood as represent- ing a uniform rate. It includes a rate of movement that is constantly varying with the sentiment between rapid and slow. TACT AND TALENT. Moderate Movement. 1. Talent is some thing, but tact is everything. Talent is serious, sober, grave, and respectable; tact is all that, and more too. It is not a MODULATION. 153 sixth sense, but it is the life of all the five. It is the open eye, the quick ear, the judging taste, the keen smell, and the lively touch; it is the in- terpreter of all riddles, the surmounter of all difficulties, the remover of all obstacles. It is useful in all places and at all times; it is useful in solitude, for it shows a man into the world; it is useful in society, for it shows him his w T ay through the world. 2. Talent is power, tact is skill; talent is weight, tact is momentum; talent knows what to do, tact knows how to do it; talent makes a man respectable, tact will make him respected; talent is wealth, tact is ready money. For all the practical purposes, tact carries it against talent ten to one. 3. Take them to the theater, and put them against each other on the stage, and talent shall produce you a tragedy that shall scarcely live long enough to be condemned, while tact keeps the house in a roar, night after night, with its successful farces. There is no want of dramatic talent, there is no want of dramatic tact; but they are seldom together; so we have successful pieces which are not respectable, and respectable pieces which are not successful. 4. Take them to the bar and let them shake their learned curls at each other in legal rivalry: talent sees its way clearly, but tact is first at its journey's end. Talent has many a compliment from the bench, but tact touches fees. Talent makes the world wonder that it gets on no faster, tact arouses astonishment that it gets on so fast. And the secret is, that it has no weight to carry; it makes no false steps; it hits the right nail on the head; it loses no time; it takes all hints; and, b}^ keeping its eye on the weather-cock, is ready to take advantage of every wind that blows. 5. Take them into the church: talent has alwaj'S something worth hearing, tact is sure of abundance of hearers; talent may obtain a living, tact will make one; talent gets a good name, tact a great one; talent con- vinces, tact converts; talent is an honor to the profession, tact gains honor from the profession. 6. Take them to court: talent feels its weight, tact finds its way; talent commands, tact is obeyed; talent is honored with approbation, and tact is blessed by preferment. Place them in the senate: talent has the ear of the house, but tact wins its heart, and has its votes; talent is fit for employment, but tact is fitted for it. It has a knack of slipping into place with a sweet silence and glibness of movement, as a billiard-ball in- sinuates itself into the pocket. 7. It seems to know every thing, without learning any thing. It has served an extemporary apprenticeship; it wants no drilling; it never 154 RATIONAL ELOCUTION. ranks in the awkward squad; it has no left hand, no deaf ear; no blind side. It puts on no look of wondrous wisdom, it has no air of profund- ity, but plays with the details of place as dexterously as a well-taught hand flourishes over the keys of the piano-forte. It has all the air of common-place, and all the force and power of genius. SLOW MOVEMENT. Slow Movement is used iu the expression of sentiments of reverence, solemnity, sublimity, grandeur, pathos, awe, melan- choly, despair, gloom, adoration and devotion. DEATH OF THE WE. ANONYMOUS. Slow Movement. A most impressive recitation when well rendered. Keep the tone pure and force subdued. Let the pitch vary with the change of sentiment. Be natural — be sincere. 1. She had lain all day in a stupor, breathing with heavy-laden breath, but as the sun sank to rest in the far-off western sky, and the red glow on the wall of the room faded into dense shadows, awoke and called feebly to her aged partner, who was sitting motionless by the bed-side. He bent over his dying wife and took her wan, wrinkled hand in his. 2. "Is it night?" she asked in tremulous tones, looking at him with eyes that saw not. "Yes," he answered softly; "it is growing dark." " Where are the children ? " she queried; "are they all in? " 3. Poor old man! How could he answer her? The children had slept for years in the old churchj'ard. " The children are safe," answered the old man, tremulously; "don't think of them, Jane. Think of yourself. Does the way seem dark?" 4. " My trust is in Thee. Let me never be confounded. What does it matter if the way is dark? " "I'd rather walk with God in the dark, than walk alone in the light." MODULATION. 155 " I'd rather walk with Him by faith, than walk alone by sight." 5. "John, where's little Charley?" she asked. Her mind was again in the past. The grave dust of twenty years had lain on Charley's golden hair, but the mother had never forgotten him. The old man patted her. cold hands that had labored so hard that they were seamed and wrinkled and calloused with years of toil, and the wedding ring was worn to a mere thread of gold — and then he pressed his lips to them and cried; they had encouraged and strengthened him in every trial of life. Why, what a woman she had been! What a leader in Israel! Always with the gift of prayer or service. They had stood at many a death-bed together — closed eyes of loved ones, and then sat down with the Bible between them to read the promise. Now she was about to cross the dark river alone. 6. And it was strange and sad to the yellow-haired grand-daughter left them to hear her babble of walks in the woods, of gathering May flowers and strolling with John, of petty household cares that she had always put down with strong, resolute hand, of wedding feasts and death bed triumphs; and when at midnight she heard the Bridegroom's voice, and the old man, bending over her, cried pitifully, and the grand- daughter kissed her pale brow, there was a solemn joy in her voice as she spoke the names of her children, one by one, as if she saw them with immortal eyes, and with one glad smile put on immortality. 7. They led the old man sobbing away, and when he saw her again the glad morning sun was shining, the air was jubilant with the song "of birds, and she lay asleep on the couch under the north window where he had seen her so often lie down to rest while waiting for the Sabbath bell. And she wore the same black silk, and the string of gold beads about her thin neck and the folds of white tulle. Only now the brooch with his miniature was wanting, and in its place was a white rose and a spray of cedar — she had loved cedar— she had loved to sing over her work: " Oh, may I in His courts he seen, Like a young cedar, fresh and green." 8. But the strange transformations that were there! The wrinkles were gone. The traces of age and pain and weariness were smoothed out; the face had grown strangely young, and a placid smile was on the pale lips. The old man was awed by this likeness to the bride of his youth. He kissed the unresponsive lips, and then said softly: 9. "You have found heaven first, Janet, but you'll come for me soon. It's our first parting in more than seventy years, but it won't be for long!" 156 RATIONAL ELOCUTION. 10. And it was not. The winter snow has not yet fallen, and there is another grave, and today would have been their diamond wedding! We had planned much for it, and I wonder — I wonder — but no! Where they are there is neither marriage nor giving in marriage. For other examples of Slow Movement, see "Hamlet's Soliloquy " and the fourth stanza of " The Bells." RAPID MOVEMENT. Rapid Movement is used in the expression of lively, gay and joyous thought and exciting emotions emanating from alarm, joy, mirth or fear. PIANO MUSIC This piece is adapted for concert recitation. If well ren- dered by a dozen students, with appropriate gesture, the effect will be very amusing. First a soft and gentle tinkle, Gentle as the rain-drop's sprinkle, Then a stop, Fingers drop; Now begins a merry trill, Like a cricket in a mill; JN ow a short, uneasy motion, Like a ripple on the ocean. See the fingers dance about, Hear the notes come tripping out; How they mingle in the tingle Of the everlasting jingle, Like to hailstones on a shingle, Or the ding-dong, dangle-dingle Of a sheep-bell! Double, single, Now they come in wilder gushes, Up and down the player rushes, Quick as squirrels, sweet as thrushes. Now the keys begin to clatter H MODULATION. 157 Like the music of a platter When the maid is stirring batter. O'er the music comes a change; Every tone is wild and strange; Listen to the lofty tumbling, Hear the mumbling, fumbling, jumbling, Like the rumbling and the grumbling Of the thunder from its slumbering Just awaking. Now it's taking To the quaking, like a fever-and-ague shaking; Heads are aching, something's breaking. Goodness gracious! Ain't it wondrous, Rolling round, above and under us, Like old Vulcan's stroke so thunderous? Now 'tis louder, but the powder Will be all exploded soon; For the only way to do, When the music's nearly through, Is to muster all your muscle for a bang, Striking twenty notes together with a clang; Hit the treble with a twang, Give the base an awful whang, And close the whole performance With a slam — bang — whang! Swikton's Fifth Reader. MELODY. Melody (Gr. sweet song) is a succession of pleasing tones having but a limited compass above or below the initial note, with prevailing pitch above the natural. 1. Melody is one of the most valuable elements the speaker may employ in attracting and retaining the attention of an audience. 2. The element is employed in those rhythmical compositions, whether prose or poetry, expressing pathos, tranquil pleasure said peaceful repose. 3. To cultivate melodious tones, practice frequently upon such words as calm, name, mine, thine, wailing, gone, moaning, mound, home, throne, wandering, etc., with effusive utterance, pure tone, subdued force, 158 RATIONAL ELOCUTION. median stress, slightly elevated pitch, and long quantity, imparting to your utterance a rich musical intonation. Let the tones be sweet, clear, and musical. THOSE EVENING BELLS. THOMAS MOORE. Excellent for the cultivation of clear, sweet, mellow and musical tones. Let the utterance be mainly effusive, the tone pure, the force moderate, the prevailing stress median and the movement moderate. Avoid affectation. 1. Those evening bells, those evening bells! How many a tale their music tells Of youth and home and that sweet time When last I heard their soothing chime! 2. Those joyous hours are passsd away; And many a heart that then was gay Within the tomb now darkly dwells, And hears no more those evening bells. 3. And so 'twill be when I am gone: That tuneful peal will still ring on; While other bards shall walk these dells, And sing your praise, sweet evening bells. WHEN THE COWS COME HOME. Apply the same elements as above to this selection. Give it frequent practice, and your tones will be much improved. 1. When klingle, klangle, klingle, Far down the dusty dingle, The cows are coming home; Now sweet and clear, now faint and low, The airy tinklings come and go, Like chimings from the far-off tower, Or patterings of an April shower MODULATION. 159 That make the daises grow; Ko-ling, ko-lang, kolinglelingle, Far down the darkening dingle, The cows come slowly home. o And old-time friends, and twilight plays, And starry nights and sunny days, Come trooping up the misty ways When the cows come home. 8. Through violet air we see the town, And the summer sun a-sliding down, And the maple in the hazel glade Throws down the path a longer shade, And the hills are growing brown; To-ring, to-rang, toringleringle, By threes and fours and single The cows come slowly home. 4. The same sweet sound of worldless psalm, The same sweet June day rest and calm, The same sweet smell of buds and balm, When the cows come home. MISCELLANEOUS VOCAL EXERCISES. The following exercises are designed as a review of pre- ceding principles. They should receive much attention. Pronounce with exaggerated precision the following words : Peremptory, comparable, despicable, obligatory, admiralty, intricacy, allegorist, conscientiousness, lugubriously, consecu- tiveness, irrecognizable, tergiversation, irrefragable, hospitable, remediable, objurgate. SOUND WORDS. 1. Many words are derived from peculiar sounds, associative impressions and phases of nature whose correct pronunciation often gives them a deeper significance than their printed form affords. 2. Such words furnish excellent examples for drill in imitative modulation, expressive speech, and play upon words in connecting sound with sense. 160 RATIONAL ELOCUTION. 3. Pronounce the following words in the most expressive manner possible, so that every element, facial expression, and attitude shall be an echo to the sound: gay clear whizz dance fierce breathe dark hark swing scream quick whisper hate sweet crash laugh rouse rumble roll gush roar grind freeze staggering bold deep howl clang- loathe shivering wild cold hiss dash shriek clatter run reel drear jump flash staggering stop glib thrust splash thrill wrangle old long cool 3'oung timid thunder PERSONATION. In expressing the following sentiments, emotions and pas- sions, the student will place, "He is," or "Is he" before the word "superannuated" as he may wish to declare or ask the question; as, "lie is superannuated" or "Is he superannu- ated? " Before attempting to express "the thought the student must, by an intense mental effort, conceive and intensely feel what he is about to utter. pity disgust triumph amazement grief pathos contempt intoxication scorn ridicule remorse hatred, rage repose terror submission exultation, joy perplexity weariness affectation humcr, laughter MEDLEY DRILL. The following quotations from many pieces afford an ad- mirable medley for Vocal and Gesture concert drill. The gestures are indicated by italicized words. 1. Hear me for my cause; and be silent that you may hear. Be- lieve me for mine honor ; and have respect to mine honor, that you may MODULATION. 161 believe. Censure me in your wisdom, and awake your senses, that you may the better judge. If there be any in this assembly — any dear friend of Caesar's — to him I say, that Brutus's love to Caesar was not less than his. 2. Then he buttoned his coat straight up to his chin And staidly, solemnly, waded in ; And his broad brimmed hat he pulled down tight, Over his forehead so cold and white. '■]. And see! she stirs! She starts — she moves — she seems to feel The thrill of life along her keel, And spurning with her foot the ground, With one exulting, joyous bound She leaps into the ocean's arms. 4. Let us extend our ideas over the vast field in which we are called to act. Let our object be our country, our whole country, and nothing but our country .~ 5. Go, ring the bells and fire the guns, And fling the starry banner out! Shout Freedom till your lisping ones Give back their cradle shout! 6. Rouse ye, Romans! rouse ye, Slaves! Have ye brave sons? Look in the next fierce brawl To see them die. Have ye fair daughters? Look To see them live, torn from your arms, distained, Dishonored: and if ye dare call for justice, Be answered by the lash. 7. She leaned far out on the window-sill. And shook it forth with a royal will, " Shoot if you must this old gray head, But spare your country's/c^," she said. 8. Three million of people, armed in the holy cause of liberty, and in such & country as this which we possess, are invincible by any force which our enemy can send against us. 9. He sets, and his last beams Fall on a slave; not such as, swept along 162 RATIONAL ELOCUTION. By the full tide of power, the conqueror led To crimson glory and undying fame; But — base — ignoble slaves. 10. Then straightway plunging with all his might, Away to the left — his friend to the right, Apart they went from this world of sin, But at last together they entered in. 11. Blaze with your serried columns! I will not bend the knee; The shackles ne'er again shall bind The arm which now is free. 12. How the gay sledges, like meteors, flash by, Bright for a moment, then lost to the eye; Ringing, Stringing, Dashing they go, Over the crust of the beautiful snow. 1 3. " To all the truth we tell— we tell," Shouted in ecstasies a bell; " Come, all ye wear} r wanderers, see! Our Lord has made salvation free."' 1 4. And as he spoke he raised the child, To dash it 'mid the breakers wild. 15. You all do know this mantle; Look! in this place ran Cassius' dagger through, See what a rent the envious Casca made; Through this the well-beloved Brutus stabbed- And as he plucked his cursed steel a wag Mark how the blood of Caesar followed it! 16. But Douglas round him drew his cloak, Folded his arms, and thus he spoke: — u My manors, halls and bowers shall still Be open at my sovereign's will, To each one whom he lists, howe'er Unmeet to be the owner's peer; My castles are my king's alone, From turret to foundation stone, — The hand of Douglas is his own." MODULATION. 163 17. And lo! from the assemble/1 crowd There rose a shout, prolonged and loud, That to the ocean seemed to say, "Take her, bridegroom old and gray, Take her to thy protecting arms With all her youth and all her charms." 18. That very night the Romans landed on our coast, I saw the breast that had nourished me trampled by the hoof of the war-horse, the bleeding body of my father flung amid the blazing rafters of our dwell- ing. 19. And, rising on his theme's broad wing, And grasping in his nervous hand The imaginary battle brand, In face of death, he dared to fling Defiance to a tyrant king! 20. Flashed all their sabres bare, Flashed as they turned in air, SaVring the gunners there, Charging our army, while All the world wondered: Plunged in the battery smoke, Right through the line they broke; Cossack and Russian Reeled from the sabre stroke, Shattered and sundered.. 164 RATIONAL ELOCUTION. ORIGINAL DISCOURSE. 1. Thus far the student has been instructed in the manner only of expressing the thoughts of others. While the ability to comprehend in- stantly and render effectively an author's thoughts as outlined upon the printed page is an accomplishment of great value to all, such an attain- ment is not sufficient for the broad and general culture required by our times and institutions. 2. The responsibilities thrust upon us by the republican form of gov- ernment under which we live, perpetuated in its purity and efficiency by the logic of a Choate, the wisdom of a Webster, and the eloquence of a Clay, demand attainments of a higher order than mere skill in the pathetic, forcible, or eloquent repetition of some popular composition. 3. The citizen who would form at least a unit in the Republic must be competent to wield the pen, and when called upon, be prepared to address his countrymen intelligently upon the questions of the day. His duty to himself and country demand that whether he write or speak, his performance should be creditable and effective. 4. A ready, vigorous pen and speech, like reading and declamation, come from instruction, practice and criticism. EXTEMPORANEOUS SPEECH. 1. The greatest excellence to which the student, ambitious of ora- torical fame, may aspire, is comprised in the ability to speak fluently, logically, and effectively, upon any subject, at any time, without previous preparation. 2. This accomplishment may be termed " thinking on one's feet." It is not the result of any spontaneous development. It comes from study, practice, — work. 3. The power to charm the heart, and steal away the senses, to divert the mind from its own devisings, and hold an audience in breath- less spell, as the orator paints the rosy tints of heavenly longings, or leads the imagination down through the labyrinths of wonderland, or depicts with lightning tongue and thunder tones, the horrors of the doomed, comes not by nature, but by work, — work, — work. ORIGINAL DISCOURSE. 165 4. Whether this so-called gift be assisted by the early efforts of a Demosthenes declaiming over the sea-beat cliffs of Attica, or the ha- rangues of a youthful Clay before a group of oxen, perfection in delivery is attained only by frequent and long-continued practice, based upon ac- curate observation and zealous study. THE TWO FORMS OF EXTEMPORANEOUS SPEECH. 1. CONVERSATION. 2. PUBLIC SPEAKING. 1. Conversation is the general and familiar interchange of senti- ments. • 2. No form of social intercourse furnishes so much humanizing enjoyment as pleasing and entertaining conversation. Notwithstanding the pleasure it affords, few people, even among the educated classes, are capable of entertaining a company by continuous, intelligent discourse. 3. The student is here reminded that unconnected remarks, fol- lowed by ambiguous or meaningless monosyllabic rejoinders, interspersed with nauseating repetition of such expletives as "Yes, indeed," "You don't say so, " "You bet," etc., do not constitute elevating discourse. 4. Conversation is an art, and as such it is capable of cultivation to approximate perfection. Success in the higher forms of speech de- pends upon the conversational skill of the aspirant for oratorical honors. GENERAL RULES FOR CONVERSATION. 1. Breathe without gasping or attracting attention. 2. Articulate distinctly, but do not impress your hearers with the idea that you are going through an exercise in vocal gymnastics. 3. Be natural; remember it is yourself you are impersonating, and you will be judged accordingly. 4. In general, use a full, pure tone, moderate force, radical stress, middle pitch, and moderate movement. In those parts of your conversa- tion requiring peculiar description and personation, use the appropriate elements. 5. Enter into the spirit of the subject with all your mind. Culti- vate the habit of listening to others. This is at least polite. Attention to what others say is the relay from which you are enabled to continue your part of the conversation intelligibly and agreeabh' to the other members of your company. 6. Avoid pedantry, affectation, and all mannerisms calculated to de- tract from the general topic of conversation. 166 RATIONAL ELOCUTION. 7. Conceive, summon, and express your best thoughts. 8. Employ the simplest, purest, and most expressive language at your command. 9. Avoid unpleasant personalities, particularly with reference to those who are absent. 10. Avoid topics of little general interest to your listeners. 11. However familiar to the company the condition of the weather and streets may be, their prolonged discussion is not sufficiently impor- tant to justify more than a passing remark. 12. Indulge sparingly in raillery and cutting repartee. A merciless wit is never esteemed above a treacherous weapon. GENERAL RULES FOR PUBLIC SPEAKING. 1. Public extemporaneous speaking is the delivery of sentiment without previous written preparation. 2. The speaker employs the same elements as in conversation, but upon an enlarged scale. To these he may, as occasion requires, add depth and fullness to his quality, producing the grand tones of the Oro- tund; he may increase his force, raise his pitch, and indulge in a greater variety of stress, movement, and pauses than in ordinary conversation. In addition to these departures he may energize and embellish his de- livery by gesture and facial expression; and, generally, he may play upon the accidental elements in arousing the emotions of an audience more than would be proper in the most animated conversation. 3. Of all professions recognized by civilized man, probably none requires in its perfection so many and varied accomplishments as that of oratory. The public lecturer who leads the van in the march of science for the improvement of society; the statesman, who guards the nation's rights and shapes his country's destiny; the man of Gocl, who seeks to purify the human heart and save a fallen race — all must wield the won- drous power of speech. 4. How far the orators of the past have possessed this comprehen- sive art of arts is largely answered in the social, governmental, and religious freedom of modern times. GENERAL REQUISITES. 1. The orator should have a liberal education. 2. He should be actuated by the noblest impulses. 3. He should be endowed with the highest attributes of humanhy. 4. Every physical organ should be subordinate to the will. ORIGINAL DISCOURSE. 167 5. Pie should possess the most extended information upon all sub- jects. To this end, he should have frequent practice in reading, conver- sation, speaking and writing. 6. The summation of all these qualifications, Cicero tells us, marks the perfect man. SPECIFIC RULES FOR EXTEMPORANEOUS SPEAKING. 1. Have something to say worth hearing. 2. Know more of your subject than do any of your auditors. 3. Be wide awake and thoroughly in earnest. 4. Believe and feel intensely all 3-011 say. 5. Merge yourself into the thoughts you are uttering. 6. Look into the eyes of your hearers, not over their heads. 7. Cultivate facility and elegance of expression by using good language at all times. 8. Endeavor to hold your hearers that they may not wander from the subject. 9. Be yourself; you cannot personate another with your ideas. 10. Never lose control of your thoughts, your breath, your speech, or your temper. 11. Avoid all forms of slang; no speaker ever exhausted the English language. 12. Have a complete mastery of all the elements of elocution — thus your body and limbs are made subjective to the mental powers. 13. Think only of what you are going to say; your grammar, rhet- oric and elocution will suggest the manner. 14. If you have five or ten minutes for preparation, think of their proposition only. 15. Command a faultless articulation, an accurate pronunciation, and an absolute control of the essential elements of vocal expression. 16. Carefully study the speeches known to be extemporaneous of eminent orators; consider the time, place and circumstance of their delivery. 17. Study the models furnished by Demosthenes, Cicero, Fox, Sheridan, Burke, Webster and Clay, and modern orators of recognized ability. 18. Maintain a constant reserve; the orator must appear greater than his theme or his effort. 19. Hold yourself flexibly erect with an active chest. The weight should be supported mainly on the balls of the feet, not the heels. 168 RATIONAL ELOCUTION. 20. Keep the voice and speech organs moist, not by drink, but by chewing a bit of paper just before using the voice. 21. Avoid great force in the beginning by studied distinctness and deliberate movement. Your audience must be led by measured tones of persuasion gradually up to the more intensified forms of expression. 22. In passing from one sentiment or emotion 1o another, strive to feel the emotion before attempting its utterance; words without feeling awake no responsive chord among your hearers. 23. Commit and frequently recite aloud a few excellent passages abounding in decided sentiment, absorbing emotion and vehement pas- sion. The possession of the words gives the mind opportunity to dwell upon the thoughts, and thus their frequent conception and utterance trains the nerves, muscles and vocal organs to command the required expression at will. 24. Stop the moment you are done. SPEAKING FROM NOTES. 1. When the speaker has sufficient time to collect and arrange his thoughts, he should endeavor to think of all he wishes to say upon the subject, and write the heads of his thoughts as they occur, and alter ward arrange them in the most appropriate order. 2. In general, the most pleasing and entertaining matter should appear first. The auditors are never so critical as when the speaker steps upon the platform. An unfavorable impression once made is too difficult to overcome to justify the speaker's giving it an occasion. . 3. The closing thoughts should possess merit and originality, and should be spoken with such sincerity, vigor and eloquence that au audi- ence shall respect at least the advocate, if not the sentiment he utters. 4. Do not be tedious. Do not labor to exhaust your theme. When you can no longer talk without stopping to think what next to say, you are done, and should stop at once. METHOD OF CRITICISM, The following plan of estimating the merits of a speaker's performance, introduced into a number of literary societies by the author, is recommended. It will prove valuable to critics of literary societies. The table should be prepared on printed sheets and the name of the performer written in the blank, with the proper answer placed after each question. This sheet so prepared by the critic, and given to the performer, would afford the latter much greater benefit than is conferred by the usual imperfect systems of criticisms. ORIGINAL DISCOURSE. 169 Optic's Report on ----- delivered by M in the-- Hall on the evening of ... 189 Grade* Critic* Notf.— An affirmative answer to the following (20) questions, indicated by the number 5, denotes the standard of excellence. Approximating degrees of this stand- ard are indicated by the numbers 4, 3, 2, and 1, in the order named. I. ENTRANCE. Is the entrance easy, graceful, self-possessed? II. ATTITUDES. Are the attitudes natural, flexible, graceful? III. ACTION. 1. Do the motions of the head, trunk and limbs harmonize with the changes of thought, sentiment, emotion and passion? 2< Do the eyes and general facial expression confirm the speaker's state ments? 3. Do the gestures made for emphasis render the speaker's assertions more iorcible? 4. Do the gestures of illustration aid in giving a clearer view of the speaker's theme? 5. Are the gestures graceful, varied, timely, decisive, significant ? IV. ENUNCIATION. 1. Are the sounds freely, fully, correctly, timely and appropriately uttered 2. Is respiration performed without interfering with the speaker's enun- ciation? 3. Are the speaker's tones formed without unusual effort? 4. Are the tones free from local or personal peculiarities? V. ARTICULATION. l Are the syllables distinctly and correctly articulated? 2. Does each receive its proper force and quantity? VI. PRONUNCIATION. Is each word pronounced according to prevailing usage, as represented in the standard dictionaries? , GRADE. VII. VOCAL EXPRESSION. Do the tones harmonize in quality, force, stress, pitch, movement and quantity with the general sentiment? Does the speaker's management of slides, waves, emphasis, slur, ca- dence and pauses indicate a correct conception of his composition? VIII. GENERAL DELIVERY. Is the speaker's delivery free from the styles known as affected, con- ceited, effeminate, pedantic, pompous, stagy, over-vehement? In direct discourses does the speaker look into the eyes of his audi- ence? In personation and apostrophe does the speaker ignore his audience? Does the speaker hold the attention of his audience? Grade on a basis of 100. 170 RATIONAL ELOCUTION. MISCELLANEOUS SELECTIONS- AN AMERICAN EXILE, ISAAC HINTON BItOWN. In Norfolk Bay, long years ago, where waved The nation's flag from mizzen gaff Of frigate, sloop, and other warlike craft, A group of naval officers, assembled On the flag-ship's quarter-deck, discussed With earnestness the act by which the State Of South Carolina annulled The tariff laws of Congress. The President's prompt act, Despatching Scott to Charleston, ordering The execution of the laws by force, Had thrilled the nerves of those who bore Their country's arms. The naval service boasted many men Who traced through veins as chivalrous as their sire's The blood of Sumter, Pickens, Hayne, And other revolutionary patriots; And, conscious of a lineage illustrious From those who gave the grand Republic birth, Their minds were often filled with polities Of State; and thus the acts of courts And legislatures oft became their theme In time of peace as much as warlike deeds Of Neptune. One of these, in this debate, A handsome, sun-brouzed officer of most Commandiag mien, became conspicuous In warm approval of his State's rash act And censure strong of President And Congress. While his flashing eye betrayed The fierce emotions of his soul, his voice MISCELLANEOUS SELECTIONS. 171 Rang fearful maledictions: "Curse the country Whose flag from yonder mizzen floats; the men Be cursed, who in the name of government Ignore the rights my native State has held supreme." Then drawing forth his rapier As if in frenzied rage: " My sword's my own, My heart is loyal to my native State; And here I swear, this blade shall ne'er be drawn But in defense of rights this tyrant thing Called government usurps, and those its threats Would terrify. Its flag be trailed in dust; The fate of Carthage be its cursed doom! The memory of its present acts, with those Who give them shape, go down in blood and shame !" Such direful imprecations shocked the ears Of those who heard; and, ere the speechless group Recovered from their blank amaze, a young Lieutenant felled the speaker senseless to The deck; then quick before the officer Commanding, preferred the charge of treason. Court-martial trials are speedy in results, The sentence, novel in its terms, was heard With unfeigned haughtiness and scorn by him Whom it deprived of country: " The prisoner, hence, for life, shall be consigned To vessels cruising in a foreign sea; No tongue to him shall speak his country's name, Nor talk to him of aught save daily wants; And ever to his sight that country's flag Shall be a token that its power lives To carry out this sentence." * * ^c * # & # * In far-off seas, away from kindred hearts And native home, the years passed slowly on; But pride and stubborn will did not desert This strange misguided man; his fate he seemed To cherish for the cause he still believed W r ould triumph in the end. Yet to and fro his narrow bounds he paced, 172 RATIONAL ELOCUTION. Alone amid a frigate's crew. No cheering word His yearning heart in time could e'er expect From stricken mother, weeping wife, and babes By him made worse than orphans, who might blush To call him father. Still, above, around, In sportive play, the flag he madly cursed, as star By star was added to its field of blue, In gorgeous folds waved kindly o'er his head, As if forgiving his ingratitude. And now, as" other years rolled sadly by, And he was passed from ship to ship, as each In turn went home, the lines of grief and frosts Of age bore silent evidence of slow decay. In time his face was marked with pensive cast, A harbinger of sad, repentant thought. A sailor, unperceived, took note of him, And oft observed him watch the waving flag With strange emotion. And once his lips Were seen to move: "Thou ever-present curse, Reminding me of what I am, of what I've lost, thou Nemesis of nature's wrongs! For that I've sinned against my birth, my soul's Remorse affirms. How long e'er nature's laws, More kind than human heart, will free my eyes From thee, thou vengeful witness of my shame? I'd tear thee from thy staff, — but when I think Of all the tears thou'st witnessed in these eyes, At first my curses, then m}^ prayers to God, Of secret thoughts conceived within thy sight, Thou seem'st so much a friend, I would not blot From out thy field a single star — and yet— and yet O soul, when will thy mad resentment cease? " Full thirty years had passed since sound Of friendly voice had filled his ear, and now He paced another deck than one designed For heavy armament, — a merchant craft, Commissioned while the nation's ships of war Were called for duty home to try the cause For which this poor, deluded exile gave His manhood and his life. MISCELLANEOUS SELECTIONS. 173 Near set of sun The cry of " sail " was heard, and then, Against his will, they hurried him below. The startling call to quarters reached his ear; And e'er the roll of drum and boatswain's whistle died away There came a distant " boom " that roused a hope He yearned to realize. A moment more, A deaf ning sound that shook the very keel Awoke his heart with joy. He knew and hailed The truth. The land, — Ids land was now at war. The foe — his name, it mattered not to him — Had struck the challenge blow and filled his soul With fire. O love of Country! Thou art lasting as The faith of childhood. Thou art stronger than The love of life, — the fear of death! This exiled penitent, this prodigal Without a home, would prove himself a man! He cried for help to free him from his bonds: ; Ahoy there! Men on deck! For love of God Let me not perish in this cell. Unbar the door, Take off these chains, and arm me for the fight! Oh give me air and light beneath the flag; My blood will wash away my curse!" but all Was vain. A tearing shot, that ploughed through side And prison bulkhead walls, made clear A passage wide enough through which He sought his wild desire. But e'er he reached the deck, the foe had lashed His ship beside, and countless fierce wild men Were leaping down among the feeble crew, Who battled hard, but vain, against such odds. He saw the flag the enemy displayed, A flag unknown, unseen by him before, Though strangely like the one he cursed, — now loved So much — would die in its defense. He wrenched a cutlass from a dying hand, And hewed his way among the privateers. RATIONAL ELOCUTION. Where.'er lie struck, the way was cleared of men Like wheat before the blade. His strange demean And antique garb amazed the foe, until It seemed he'd drive the boarders to their ships. At last, his wounds o'ercame his madd'ning strength, And sinking to his knee, was soon disarmed, But spared the murd'rous stroke by one who knew His name and story from a child, His glazing eye turned wistful toward the flag, Wow drooping low, as if to mourn for him: — "My country! thou art now avenged! my life — My wasted life, — I give to thee — to thee. r ' THREE DAYS IN THE LIFE OF COLUMBUS. CASIMIR DELAVIGNE. On the deck stood Columbus; the ocean's expanse, Untried and unlimited, swept by his glance. "Back to Spain! " cry his men; "put the vessel about! We venture no farther through danger and doubt.'' "Three days, and I give you a world! " he replied; " Bear up, my brave comrades, three days shall decide." He sails, but no token of land is in sight; He sails, but the day shows no more than the night; On, onward, he sails, while in vain o'er the lea The lead is sent down through a fathomless sea. The pilot in silence leans mournfully o'er The rudder that creaks mid the billowy roar; He hears the hoarse moan of the spray-driving blast, And its funeral wail through the shrouds of the mast. The stars of far Europe have sunk from the skies, And the great Southern Cross meets his terrified eyes, But at length the slow dawn, softly streaking the night, Illumes the blue vault with a faint crimson light. "Columbus! 'tis day and the darkness is o'er." " Day! and what dost thou see?" " Sky and ocean — no more! The second day ends, and Columbus is sleeping, While Mutiny near him its vigil is keeping. MISCELLANEOUS SELECTIONS. 175 " Shall lie perish? " " Ay, death! " is the barbarous cry; "He must triumph tomorrow, or, perjured, must die! " Ungrateful and blind! shall the world-linking sea He traced for the future his sepulcher be? Or shall it, tomorrow, with pitiless waves, Fling his corse on that shore which his patient eye craves? The corse of an humble adventurer, then; One day later — Columbus, the first among men! But hush! he is dreaming; and sleep to his thought Reveals what his waking eyes vainly have sought: Through the distant horizon — oh rapturous sight!— Fresh bursts the New World from the darkness of night; Oh vision of glory! ineffable scene! What richness of verdure! the sky how serene! How blue the far mountains ! how glad the green isles! And the earth and the ocean, how dimpled with smiles! " Joy! joy! " cries Columbus, "this region is mine! " Thine? not e'en its name, wondrous dreamer, is thine. But, lo! his dream changes; a vision less bright Comes to darken and banish that scene of delight. The gold-seeking Spaniards, a merciless band, Assail the meek natives, and ravage the land. He sees the fair palace, the temple on fire, And the peaceful caciques 'mid their ashes expire; He sees, too, — oh saddest, oh mournfulest eight!— The crucifix gleam in the thick of the fight: More terrible far than the merciless steel Is the uplifted cross in the red hand of Zeal! Again the dream changes. Columbus looks forth, And a bright constellation illumines the North. 'Tis the herald of empire! A people appear, Impatient of wrong, and unconscious of fear: They level the forest, they ransack the seas; Each zone finds their canvas unfurled to the breeze. " Hold! " Tyranny cries; but their resolute breath Sends back the reply, "Independence or death! " The plowshare they turn to a weapon of might, And, defying all odds, hurry forth to the fight. 176 RATIONAL ELOCUTION. 7. They have conquered! The people with grateful acclaim Look to Washington's guidance from Washington's fame; Behold Cincinnatus and Cato combined In his patriot heart and republican mind! type of true manhood! what scepter or crown But fades in the light of thy simple renown? And, lo! by the side of the hero, a sage, In freedom's behalf, sets his mark on the age; Whom Science adoringly hails, while he wrings The lightning from heaven, the scepter from kings! " 8. But see! o'er Columbus slow consciousness breaks — "Land! land!" cry the sailors; "land! land!" — he awakes- He runs — yes! behold it! — it blesses his sight— The land! Oh, dear spectacle! transport! delight! Oh, generous sobs, which he cannot restrain! "What will Ferdinand say? and the Future? and Spain? 1 will lay this fair land at the foot of the throne — The king will repay all the ills I have known; In exchange for a world what are honors and gains? Or a crown? " But how is he rewarded? With chains! DEFENSE OF HOFER. Andreas Hofer was a patriotic Swiss leader, w T ho success- fully resisted the French armies in their invasion of his country. He was at length captured, tried and executed by order of Napoleon, 1810. . 1. You ask what I have to say in my defense; you, who glory in the name of France, who wander through the world to enrich and exalt the land of your birth; you demand how I could dare arm myself against the invaders of my native rocks. Do you confine love of home to your- selves? Do you punish in others the actions which you dignify among yourselves? Those stars which glitter on your breasts, do they hang there as a recompense for patient servitude? - 2. I see the smile of contempt which curls your lips. You say, " This brute! he is a ruffian! a beggar! That patched jacket, that ragged cap, that rusty belt! Shall barbarians such as he close the pass against MISCELLANEOUS SELECTIONS. 177 us, shower rocks on our heads, and single out our leaders with unfailing aim; these groveling mountaineers, who know not the joys and brilliance of life, creeping amid eternal snows, and snatching with greedy hand their stinted ear of corn! " 3. Yet, poor as we are, we never envied our neighbors their smil- ing sun, their gilded palaces. We never strayed from our peaceful huts to blast the happiness of those who have injured us. The traveler who visited our valleys met every hand outstretched to welcome him; for him every hearth blazed as we listened to his tale of distant lands. Too happy for ambition, we were not jealous of wealth; we have even refused to partake of it. 4. Frenchmen! you have wives and children. "When you return to your beautiful cities, amid the roar of trumpets, the smiles of the lovely and the multitude shouting your triumphs, they will ask, " Where have you roamed? What have you achieved? What have you brought back to us?" Those laughing babes who climb your knees, will you have the heart to tell them, " We have pierced the barren crags, we have entered the naked cottage to level it to the ground; we found no treasures but honest hearts, and those we have broken because they throbbed with love for the wilderness around them. Clasp this old firelock in your little hands, it was snatched from a peasant of Tyrol, who died in the vain effort to stem the torrent." Seated by your firesides, will you boast to your generous and blooming wives that you have extinguished the last ember that lighted our gloom? 5. Happy scenes! I shall never see you more! In those cold, stern eyes I read my fate. Think not that your sentence can be terrible to me, but I have sons, daughters, and a wife who has shared all my labors; she has shared, too, my little pleasures, such pleasures as that humble roof can yield, pleasures that you cannot understand. My little ones! should you live to bask in the sunshine of manhood, dream not of your father's doom! Should you live to know it, know, too, that the man who has served his God and his country with all his heart can smile at the musket leveled to pierce it! 6. What is death to me? I have not reveled in pleasures wrung from innocence and want; rough and discolored as these hands are, they are pure. My death is nothing. Oh, that my country could live ! Oh, that ten thousand such deaths could make her immortal! Do I despair, then? "No. We have rushed to the sacrifice, and the offering has been in vain for us; but our children shall burst these fetters; the blood of virtue was never shed in vain; Freedom can never die. I have heard that you killed your king once because he enslaved you, yet now, again 1*78 RATIONAL ELOCUTION. you crouch before a single man who bids you trample on all who abjure his yoke, and shoots you if you have courage to disobey. 7. Do you think that when I am buried, there shall breathe no other Hofers? Dream you that, if today you prostrate Hofer in the dust, tomorrow Hofer is no more? In the distance I see liberty which I shall not taste; behind I look on my slaughtered countrymen, on my orphans, on my desolate fields; but a star rises before my aching sight which points to justice — and it shall come! THE CONQUERED BANNER. FATHER A. J. RYAN. 1. Furl that banner, for 'tis weary, Round its staff 'tis drooping dreary, Furl it, fold it, it is best; For there's not a man to wave it, And there's not a sword to save it, And there's not one left to lave it In the blood that heroes gave it, And its foes now scorn and brave it — Furl it, hide it, let it rest. 2. Take that banner down, 'tis tattered; Broken is its staff and shattered, And the valiant hosts are scattered, Over whom it floated high. Oh, 'tis hard for us to fold it, Hard to think there's none to hold it, Hard that those who once unrolled it Now must furl it with a sigh. 3. Furl that banner, furl it sadly — Once ten thousand hailed it gladly; And ten thousand wildly, madly, Swore it should forever wave; Swore that foeman's sword should never Hearts like theirs entwined dissever Till that flag should float forever O'er their freedom or their grave. MISCELLANEOUS SELECTIONS. 179 Furl it, for the hands that grasped it, And the hearts that fondly clasped it, Cold and dead are lying low; And the banner it is trailing, While around it sounds the wailing . Of its people in their woe. For, though conquered, they adore it, Love the cold, dead hands that bore it, Weep for those that fell before it, Pardon those who trailed and tore it, And, oh, wildly they deplore it, Now to furl and fold it so. Furl that banner, true 'tis gory, Yet 'tis wreathed around with glory, And will live in song and story, Though its folds are in the dust; For its fame on brighter pages, Penned by poets and by sages, Shall go sounding through the ages — Furl its folds though now we must. Furl that banner, softly, slowly, Treat it gently, it is holy, For it droops above the dead; Touch it not, unfurl it never, Let it droop there furled forever, For its people's hopes are dead. AMBITION OF A STATESMAN. HENRY CLAY. 1. I have been accused of ambition in presenting this measure — ambition, inordinate ambition. If I had thought of myself only, I should never have brought it forward. I know well the perils to which I ex- pose myself; the risk of alienating faithful and valued friends, with but little prospect of making new ones, if any new ones could compensate for the loss of those we have long tried and loved; and the honest mis- conception both of friends and foes. 180 RATIONAL ELOCUTION. 2. Ambition? If I had listened to its soft and seducing whispers; if I had yielded myself to the dictates of a cold, calculating and pru- dential policy, I would have stood still and unmoved. I might even have silently gazed on the raging storm, enjoyed its loudest thunders, and left those who are charged with the care of the vessel of state to conduct it as they could. 3. I have been heretofore, often unjustly, accused of ambition. Low, groveling souls, who are utterly incapable of elevating them- selves to the higher and nobler duties of pure patriotism — beings who, forever keeping their own selfish ends in view, decide all public measures by their presumed influence on their aggrandizement — judge me by the venal rule which they prescribe to themselves. I have given to the winds those false accusations, as I consign that which now im- peaches my motives. 4. I have no desire for office, not even the highest. The most exalted is a prison, in which the incarcerated incumbent daily receives his cold, heartless visitants, marks his weary hours, and is cut off from the practical enjoyment of all the blessings of genuine freedom. I am no candidate for any office in the gift of the people of these States, united or separated; I never wish, never expect to be. 5. Pass this bill, tranquilize the country, restore confidence and affection in the Union, and I am willing to go home to Ashland, and renounce public service forever. I should there find, in its groves, under its shades, on its lawns, 'midst my flocks and herds, in the bosom of my family, sincerity and truth, attachment and fidelity and gratitude, which I have not always found- in the walks of public life. 6. Yes, I have ambition; but it is the ambition of being the humble instrument, in the hands of Providence, to reconcile a divided people; once more to revive concord and harmony in a distracted land — the pleasing ambition of contemplating the glorious spectacle of a free, united, prosperous and fraternal people. SOUTH CAROLINA AND MASSACHUSETTS, DANIEL WEBSTER. 1. The eulogium pronounced by the honorable gentleman on the character of the State of South Carolina, for her Revolutionary and other merits, meets my hearty concurrence. I shall not acknowledge that the MISCELLANEOUS SELECTIONS. 181 honorable member goes before me in regard for whatever of dis- tinguished talent or distinguished character South Carolina has pro- duced. I claim part of the honor, I partake in the pride, of her great names. I claim them for countrymen, one and all, — the Laurenses, the Rutledges, the Pinckneys, the Sumters, the Marions, — Americans all, whose fame is no more to be hemmed in by State lines than their talents and patriotism were capable of being circumscribed within the same narrow limits. 2. In their day and generation, they served and honored the country, and the whole country; and their renown is of the treasures of the whole country. Him whose honored name the gentleman himself bears, — does he esteem me less capable of gratitude for his patriotism, or sympathy for his sufferings, than if his eyes had first opened upon the light of Massachusetts, instead of South Carolina? Sir, does he sup- pose it in his power to exhibit a Carolina name so bright as to produce envy in my bosom? No, sir; increased gratification and delight, rather. I thank God, that, if I am gifted with little of the spirit which is able to raise mortals to the skies, I have yet none, as I trust, of that other spirit, which would drag angels down. 3. When I shall be found, sir, in my place here in the Senate, or elsewhere, to sneer at public merit because it happens to spring up be- yond the limits of my own State or neighborhood; when I refuse, for any such cause, or for any cause, the homage due to American talent, to elevated patriotism, to sincere devotion to liberty and the country; or if I see an -uncommon endowment of heaven, — if I see extraordinary ca- pacity and virtue in any son of the South, and if, moved by local preju- dice or gangrened by State jealousj^, I get up here to abate the tithe of a hair from his just character and just fame,— may my tongue cleave to the roof of my mouth! 4. Sir, let me recur to pleasing recollecticns; let me indulge in re- freshing remembrances of the past; let me remind you that, in early times, no States cherished greater harmony, both of principle and feel- ing, than Massachusetts and South Carolina. Would to God that har- mony might again return! Shoulder to shoulder they went through the Revolution; hand in hand they stood round the administration of Wash- ington, and felt his own great arm lean on them for support. Unkind feeling, if it exist, alienation and distrust, are the growth, unnatural to such soils, of false principles since sown. They are weeds, the seeds of which that same great arm never scattered. 5. Mr. President, I shall enter on no encomium upon Massachu- setts; she needs none. There she is. Behold her, and judge for your- selves. There is her history; the world knows it by heart. The past, at 182 RATIONAL ELOCUTION. least, is secure. There is Boston and Concord, and Lexington, and Bunker Hill; and there they will remain forever. The bones of her sons, fallen in the great struggle for Independence, now lie mingled with the soil of every State, from JSTew England to Georgia; and there they will lie forever. 6. And, sir, where American Liberty raised its first voice, and where its youth was nurtured and sustained, there it still lives, in the strength of its manhood, and full of its original spirit. If discord and disunion shall wound it; if party strife and blind ambition shall hawk at and tear it; if folly and madness, if uneasiness under salutary and neces- sary restraint, shall succeed in separating it from that Union by which alone its existence is made sure, — it will stand, in the end, by the side of that cradle in which its infancy was rocked; it will stretch forth its arm, with whatever of vigor it may still retain, over the friends who gather round it; and it will fall at last, if fall it must, amid the proudest monu- ments of its own glory, and on the very spot of its origin. STAND BY THE FLAG. JOSEPH HOLT. 1. Let us twine each thread of the glorious tissue of our country's flag about our heart-strings, and, looking upon our homes and catching the spirit that breathes upon us from the battle-fields of our fathers, let us resolve that, come weal or woe, we will in life and in death, now and for- ever, stand by.the Stars and Stripes. They have floated over our cradles; let it be our prayer and our struggle that they shall float over our graves. They have been unfurled from the snows of Canada to the plains of New Orleans, to the halls of the Montezumas, arid amid the solitude of every sea, and everywhere, as the luminous symbol of resistless and beneficent power, they have led the brave and the free to victory and to glory. 2. It has been my fortune to look upon this flag in foreign lands, and amid the gloom of an Oriental despotism, and right well do I know, by contrast, how bright are its stars and how sublime its inspirations! If this banner, the emblem for us of all that is grand in human history, and of all that is transporting in human hope, is to be sacrificed on the altars of a satanic ambition, and thus disappear forever amid the night and tempest of revolution, then will I feel (and who shall estimate the deso- lation of that feeling?) that the sun has indeed been stricken from the sky of our lives, and that henceforth we shall be wanderers and outcasts, with naught but the bread of sorrow and of penury for our lips, and with MISCELLANEOUS SELECTIONS. 183 hands ever outstretched with feebleness and supplication, on which, in any hour, a military tyrant may rivet the fetters of a despairing bondage. May God in His infinite mercy save you and me, and the land we so much love, from the doom of such a degradation. 3. No contest so momentous as this has arisen in human history, for, amid all the conflicts of men and of nations, the life of no such gov- ernment as ours has ever been at stake. Our fathers won onr independ- ence by the blood and sacrifice of a seven years' war, and we have main- tained it against the assaults of the greatest power upon the earth; and the question now is, whether we are to perish by our own hands, and have the epitaph of suicide written upon our tomb. The ordeal through which we are passing must involve immense suffering and losses for us all, but the expenditure of not merely hundreds of millions, but of billions, will be well made, if the result shall be the preservation of our institutions. 4. Could my voice reach every dwelling in Kentuck} T , I would im- plore its inmates — if they would not have the rivers of their prosperity shrink away, as do unfed streams beneath the summer heats — to rouse themselves from their lethargy, and fly to the rescue of their country be- fore it is everlastingly too late. Man should appeal to man, and neighbor- hood to neighborhood, until the electric fires of patriotism shall flash from heart to heart in one unbroken current throughout the land. 5. It is a time in which the workshop, the office, the counting-house and the field may well be abandoned for the solemn duty that is upon us, for all these toils will but bring treasure, not for ourselves, but for the spoiler, if this revolution is not arrested. We are all, with our every earthly interest, embarked in mid-ocean on the same common deck. The howl of the storm is in our ears, and "the lightning's red glare is paint- ing hell on the sky, " and while the noble ship pitches and rolls under the lashings of the waves, the cry is heard that she has sprung a-leak at many points, that the rushing waters are mounting rapidly in the hold. The man who, at such an hour, will not work at the pumps is either a maniac or a monster. THE POLISH BOY. MRS. ANN S. STEPHENS. Whence came those shrieks, so wild and shrill, That like an arrow cleave the air, Causing the blood to creep and thrill With such sharp cadence of despair? 184 RATIONAL ELOCUTION. Once more they come! as if a heart Were cleft in twain by one quick blow, And every string had voice apart To utter its peculiar woe! 2. Whence came they? From yon temple, where An altar raised for private prayer Now forms the warrior's marble bed Who Warsaw's gallant armies led. The dim funereal tapers throw A holy luster o'er his brow, And burnish with their rays of light The mass of curls that gather bright Above the haughty brow and eye Of a young boy that's kneeling by. 3. What hand is that whose icy press Clings to the dead with death's own grasp, But meets no answering caress — No thrilling fingers seek its clasp? It is the hand of her whose cry Rang wildly late upon the air, When the dead warrior met her eye, Outstretched upon the altar there. 4. Now with white lips and broken moan She sinks beside the altar stone; But hark! the heavy tramp of feet Is heard along the gloomy street. Nearer and nearer yet they come, With clanking arms and noiseless drum. They leave the pavement. Flowers that spread Their beauties by the path they tread, Are crushed and broken. Crimson hands Rend brutally their blooming bands. Now whispered curses, low and deep, Around the holy temple creep. The gate is burst. A ruffian band Rush in and savagely demand, With brutal voice and oath profane, The startled boy for exile's chain. MISCELLANEOUS SELECTIONS. ] 85 5. The mother sprang with gesture wild, And to her bosom snatched the child; Then with pale cheek and flashing eye, Shouted with fearful energy — " Back, ruffians, back! nor dare to tread Too near the body of my dead! Nor touch the living boy — I stand Between him and your lawless band! No traitor he. But listen! I Have cursed your master's tyranny. I cheered my lord to join the band Of those who swore to free our land, Or fighting die; and when he pressed Me for the last time to his breast, I knew that soon his form would be Low as it is, or Poland free. He went and grappled with the foe, Laid many a haughty Russian low; But he is dead — the good — the brave — And I, his wife, am worse — a slave! Take me, and bicd these arms, these hands, With Russia's heaviest iron bands, And drag me to Siberia's wild To perish, if 'twill save my child!" 6. "Peace, woman, peace!" the leader cried, Tearing the pale boy from her side; And in his ruffian grasp he bore His victim to the temple door. 7. "One moment!" shrieked the mother, "one! Can land or gold redeem my son ? If so I bend my Polish knee, And, Russia, ask a boon of thee. Take palaces, take lands, take all, But leave him free from Russian thrall. Take these, " and her white arms and hands She stripped of rings and diamond bands, And tore from braids of long black hair The gems that gleamed like starlight there ; L T nclasped the brilliant coronal And carcanet of orient pearl; 180 RATIONAL ELOCUTION. Her cross of blazing rubies last Down to the Russian's feet she cast. 8. He stooped to seize the glittering store; Upspringing from the marble floor, The mother, with a cry of joy, Snatched to her leaping heart the boy! But no — the Russian's iron grasp Again undid the mother's clasp. Forward she fell, with one long cry Of more than mother's agony. 9. But the brave child is roused at length, And breaking from the Russian's hold, lie stands, a giant in the strength Of his young spirit, fierce and bold. 10. Proudly he towers; his flashing eye, So blue and fiercely bright, Seems lighted from the eternal sky, So brilliant is its light. His curling lips and crimson cheeks Foretell the thought before he speaks. With a full voice of proud command He turns upon the wondering band: 11. "Ye hold me not! no, no, nor can; This hour has made the boy a man. The world shall witness that one soul Fears not to prove itself a Pole. 12. " I knelt beside my slaughtered sire Nor felt one throb of vengeful ire; I wept upon his marble brow — Yes, wept — I was a child; but now My noble mother on her knee, Has done the work of years for me. Although in this small tenement My soul is cramped — unbowed, unbent, I've still within me ample power To free myself this very hour. This dagger in my heart! and then Where is your boasted power, base men?' He drew aside his broidered vest, MISCELLANEOUS SELECTIONS. 18' And there, like slumbering serpent's crest, The jeweled haft of a poniard bright, Glittered a moment on the sight. '"Ha! start ye back? Fool! coward! knave! Think ye my noble father's glave Could drink the life-blood of a slave? The pearls that on the handle flame Would blush to rubies in their shame. The blade would quiver in my breast, Ashamed of such ignoble rest! No; thus I rend thy tyrant's chain, And fling him back a boy's disdain!" 13. A moment, and the funeral light Flashed on the jeweled weapon bright; Another, and his young heart's blood Leaped to the floor a crimson flood. Quick to his mother's side he sprang, And on the air his clear voice rang — " Up, mother, up! I'm free! I'm free! The choice was death or slavery; Up, mother, up! look on my face, I only wait for thy embrace. One last, last word — a blessing, one, To prove thou knowest what I have done; No look! no word! Canst thou not feel My warm blood o'er thy heart congeal? Speak, mother, speak — lift up thy head. What, silent still? Then art thou dead! Great God, I thank thee! Mother, I Rejoice with thee, and thus, to die." Slowly he falls. The clustering hair Rolls back and leaves that forehead bare. One long, deep breath, and his pale head Lay on his mother's boom dead. REGULUS TO THE ROMAN SENATE. Epes Sargent. 1. Ill does it become me, O Senators of Rome! — ill does it become Regulus, — after having so often stood in this venerable assembly clothed with the supreme dignity of the Republic, to stand before you 188 RATIONAL ELOCUTION. a captive, — the captive of Carthage. Though outwardly I am free, though no fetters encumber the limbs or gall the flesh, yet the heaviest of chains — the pledge of a Roman consul — makes me the bondsman of the Carthaginians. They have my promise to return to them in the event of the failure of this their embassy. My life is at their mercy. My honor is my own, — a possession which no reverse of fortune can jeopard; a flame which imprisonment cannot stifle, time cannot dim, death can- not extinguish. 2. Of the train of disasters which followed close on the unex- ampled successes of our arms; of the bitter fate which swept off the flower of our soldiery, and consigned me, your general, wounded and senseless, to Carthaginian keeping, — I will not speak. For five years a rigorous captivity has been my portion. For five years the society of family and friends, the dear amenities of home, the sense of freedom, and the sight of country, have been to me a recollection and a dream, —no more. But during that period, Rome has retrieved her defeats. She has recovered under Metullus what under Regulus she lost. She has routed armies. She has taken unnumbered prisoners. She has struck terror to the hearts of the Carthaginians, who have now sent me hither with their ambassadors to sue for peace, and to propose, that, in ex- change for me, your former consul, a thousand common prisoners of war shall be given up. 3. You have heard the ambassadors. Their intimations of some unimaginable horror — I know not what— impending over myself, should I fail to induce you to accept their terms, have strongly moved your sympathies in my behalf. Another appeal, which I would you might have been spared, has lent force to their suit. A wife and children, threatened with widowhood and orphanage, weeping and despairing, have knelt at your feet, on the very threshold of the Senate-chamber. 4. Conscript Fathers! Shall not Regulus be saved? Must he re- turn to Carthage to meet the cruelties which the ambassadors brandish before our eyes? With one voice you answer, "No!" Countrymen! Friends! For all that I have suffered, for all that I may have to suffer, I am repaid in the compensation of this moment. Unfortunate you may hold me; but, oh, not undeserving! Your confidence in my honor sur- vives all the ruin that adverse fortune could inflict. You have not for- gotten the past. Republics are not ungrateful. May the thanks I can- not utter bring down blessings from the gods on you and Rome! 5. Conscript Fathers! There is but one course to be pursued. Abandon all thought of peace! Reject the overtures of Carthage. Re- ject them wholly and unconditionally! What! give back to her a MISCELLANEOUS SELECTIONS. 189 thousand able-bodied men, and receive in return this one attenuated, war-worn, fever-wasted frame,— this weed, whitened in a dungeon's darkness, pale and sapless, which no kindness of the sun, no softness of the summer breeze, can ever restore to health and vigor? It must not — it shall not be. Oh! were Regulus what he was once, before captivity had unstrung his sinews, and enervated his limbs, he might pause, he might proudly think he were well worth a thousand of the foe; he might say, " Make the exchange! Rome shall not lose by it!" But now,— alas! now 'tis gone,— that impetuosity of strength, which could once make him a leader indeed, to penetrate a phalanx, or guide a pursuit. His very armor would be a burden now. His battle-cry would be drowned in the din of the onset. His sword would fall harmless on his oppo- nent's shield. 6. But if he cannot live, he can at least die, for his country. Do not deny him this supreme consolation. Consider: every indignity, every torture, which Carthage shall heap on his dying hours, will be better than a trumpet's call to your armies. They will remember only Regulus, their fellow-soldier and their leader. They will forget his de- feats; they will regard only his services to the Republic. Tunis, Sar- dinia, Sicily, — every well-fought field won by Ms blood and theirs, — will flash on their remembrance, and kindle their avenging wrath. And so shall Regulus, though dead, fight as he never fought before against the foe. 7. Conscript Fathers! There is another theme. My family — for- give the thought. To you, and to Rome, I confide them. I leave them no legacy but my name, no testament but my example. 8. Ambassadors of Carthage! I have spoken, though not as you expected. I am your captive. Lead me back to whatever fate may await me. Doubt not that you shall find, to Roman hearts, country is dearer than life, and integrity more precious than freedom. THE PALACE O' THE KING, WILLIAM MITCHELL. 1. It's a bonnie, bonnie war? that we're livin' in the noo, An' sunny is the Ian' we aften traivel thro'; But in vain we look for something to which our hearts can cling, For its beauty is as naething to the palace o' the King. 190 RATIONAL ELOCUTION. 2. We like the gilded simmer, wi' its merry, merry tread, An' we sigh when hoary winter lays its beauties wi' the dead; For though bonniearethe snawflakes, an' the down on winter's wing, It's fine to ken it daurna' touch the palace o' the King. 3. Then again, I've juist been thinkin' that when a'thing here's sae bricht, The sun in a' its grandeur an' the mune wi' quiverin' licht, The ocean i' the simmer or the woodland i' the spring, What maun it be up yonder i' the palace o' the King. 4. It's here we hae oor trials, an' it's here that he prepares A' his chosen for the raiment which the ransomed sinner wears, An' it's here that he wad hear us, 'mid oor tribulations sing, " We'll trust oor God wha reigneth i' the palace of the King." 5. Though his palace is up yonder, he has kingdoms here be- low, • An' we are his ambassadors, wherever we may go; We've a message to deliver, and we've lost anes hame to bring To be leal and loyal-heartit i' the palace o' the King. 6. Oh, it's honor heaped on honor that his courtiers should be ta'en Frae the wand'rin' anes he died for i' this warl' o' sin an' pain, An' it's fu'est love an' service that the Christian eye should bring To the feet o' him wha reigneth i' the Palace o' the King. 7. An' let us trust him better than we've ever done afore, For the King will feed his servants frae his ever-bounteous store. Let us keep closer grip o' him, for time is on the wing, An' sune he'll come an' tak' us to the palace o' the King. 8. Its iv'ry halls are bonnie, upon which the rainbows shine, An' its Eden bow'rs are trellised wi' a never-fadin' vine, An' the pearly gates o' heaven do a glorious radiance fling On the starry floor that shimmers i' the palace o' the King. 9. Nae nicht shall be in heaven an' nae desolatin' sea, An' nae tyrant hoofs shall trample i' the city o' the free. MISCELLANEOUS SELECTIONS. 191 There's an everlastin' daylight, an' a never-fadin' spring, Where the Lamb is a' the glory, in the palace o' the King. We see our frien's await us ower yonder at his gate; Then let us a' be ready, for ye ken it's gettin' late. Let oor lamps be brichtly burnin', let's raise oor voice an' sing, "Sune we'll meet, to pairt nae mair, i' the palace o' the King." "ROCK OF AGES." Parts in quotation marks are to be sung. 1. " Rock of ages cleft for me," Thoughtlessly the maiden sung; Fell the words unconsciously From her girlish, gleeful tongue; Sang as little children sing; Sang as sing the birds in June; Fell the words like light leaves down On the current of the tune— " Rock of ages, cleft for me Let me hide myself in Thee." 2. " Let me hide myself in Thee "— Felt her soul no need to hide. Sweet the song as song could be, And she had no thought beside; All the words unheedingly Fell from lips untouched by care, Dreaming not that they might be On some other lips a prayer; " Rock of ages, cleft for me, Let me hide myself in Thee." 3. " Rock of ages, cleft for me" — 'Twas a woman sung them now, Pleadingly and prayerfully; Every word her heart did know. Rose the song as storm-tossed bird Beats with weary wing the air, 192 RATJOXAL ELOCUTION. Every note with sorrow stirred, Every syllable a prayer: " Rock of ages, cleft for me, Let me hide myself in Thee! " 4. " Rock of ages, cleft for me"— Lips grown aged sung the hymn, Trustingly and tenderly, Voice grown weak and eyes grown dim- " Let me hide myself in Thee," Trembling though the voice and low, Ran the sweet strain peacefully, Like a river in its flow; Sang as only they can sing Who life's thorny path have prest; Sang as only they can sing Who behold the promised rest:— " Rock of ages, cleft for me, Let me hide myself in Thee." 5. " Rock of ages, cleft for me," — Sung above a coffin-lid; Underneath, all restfully, All life's joys and sorrows hid; Nevermore, storm-tossed soul! Nevermore from wind or tide, Nevermore from billow's roll Wilt thou need thyself to hide. Could the sightless, sunken eyes, Closed beneath the soft gray hair, Could the mute and stiffened lips Move again in pleading prayer, Still, aye, still, the words would be, " Let me hide myself in Thee." OVER THE HILL FROM THE POOR HOUSE. WILL CARLETON. I, who was always counted, they say, Rather a bad stick any way. Splintered all over with dodges aad tricks, MISCELLANEOUS SELECTIONS. 193 Known as the " worst of the Deacon's six; " I, the truant, saucy and bold, The one black sheep in my father's fold, " Once on a time," as the stories say, Went over the hill on a winter's day — Over the hill to the poor-house. Tom could save what twenty could earn; But givin 1 was somethin' he ne'er would learn; Isaac could half o' the Scriptur' speak — Committed a hundred verses a week; Never forgot, an' never slipped; But " Honor thy father and mother " he skipped; So over the hill to the poor-house! As for Susan, her heart was kind An' good — what there was of it, mind; Nothin' too big, and nothin' too nice, Kothin' she wouldn't sacrifice For one she loved; an' that 'ere one Was herself, when all was said an' done ; An' Charley an' Becca meant well, no doubt, But any one could pull 'em about. An' all o' our folks ranked well, you see, Save one poor fellow, and that was me; An' when, one dark an' rainy night A neighbor's horse went out o' sight, They hitched on me, as the guilty chap That carried one end o' the halter-strap. An' I think, myself, that view of the case Wasn't altogether out o' place; My mother denied it, as mothers do, But I am inclined to believe 'twas true. Though for me one thing might be said — That I, as well as the horse, was led; And the worst of whiskey spurred me on, Or else the deed would have never been done. But the keenest grief I ever felt Was when my mother beside me knelt, 194 RATIONAL ELOCUTION. An' cried, an' prayed, till I melted down, As I wouldn't for half the horses in town. I kissed her fondly, then an' there, And swore henceforth to be honest and square. I served my sentence — a bitter pill Some fellows should take who never will; And then I decided to go " out West," Concludin' 'twould suit my health the best; Where, how I prospered I never would tell, But Fortune seemed to like me well; An' somehow every vein I struck Was always bubbling over with luck. An' better than that I was steady an' true, An' put my good resolutions through. But I wrote to a trusty old neighbor an' said, " You tell 'em, old fellow, that I am dead, An' died a Christian; 'twill please 'em more, Than if I had lived the same as before." But when this neighbor he w T rote to me, " Your mother's in the poor-house," says he, I had a resurrection straightway An' started for her that very day. And when I arrived where I was grown, I took good care that I shouldn't be known; But I bought the old cottage, through and through, Of some one Charley had sold it to; And held back neither work nor gold To fix it up as it was of old. The same big fire-place, wide and high, Flung up its cinders toward the sky; The old clock ticked on the corner shelf — I wound it an' set it again myself; An' if everything wasn't just the same, Neither I nor money was to blame; Then — over the hill to the poor-house ! One blowin', blusterin' winter's day, With a team and cutter I started away; My fiery nags was as black as coal (They some'at resembled the horse I stole); MISCELLANEOUS SELECTIONS. 195 I hitched, an' entered the poor-house door — A poor old woman was scrubbin' the floor; She rose to her feet in great surprise, And looked, quite startled, into my eyes ; I saw the whole of her trouble's trace In the lines that marred her dear old face; " Mother! " I shouted, " your sorrows is done! You re adopted along o' your horse-thief son, Come over the hill from the poor-house ! '' She didn't faint; she knelt by my side, An' thanked the Lord, till I fairly cried. An' maybe our ride wasn't pleasant and gay, An' maybe she wasn't wrapped up that day; An' maybe our cottage wasn't warm an' bright, An' maybe it wasn't a pleasant sight, To see her a-gettin' the evenin's tea, An' frequently stoppin' an' kissin' me; An' maybe we didn't live happy for years, In spite of my brothers' and sisters' sneers, Who often said, as I have heard, That they wouldn't own a prison-bird; (Though they're gettin' over that, I guess, For all of 'em owe me more or less); But I've learned one thing, an' it cheers a man In always a-doin' the best he can, That whether on the big book, a blot Gets over a fellow's name or not, Whenever he does a deed that's white, It's credited to him fair and right. An' when you hear the great bugle's notes ; An' the Lord divides his sheep and goats; However they may settle my case, Wherever they may fix my place, My good old Christian mother, you'll see, Will be sure to stand right up for me, With over the hill from the poor-home ! Copyright, Harper and, Brothers. 196 RATIONAL ELOCUTION. RUM'S DEVASTATION AND DESTINY. WILLIAM SULLIVAN. A prophecy supposed to have been delivered A. D. 1300 upon the discovery of distillation. 1. la your researches after that which, you should, at once, have known to be impossible, by the laws of nature, you have opened a fount- ain of misery which shall flow for ages. You have not contented your- self with pressing out the j uices of the fruit bestowed upon you and con- verting these into strong drink which you need not — but you have taken this strong drink and the harvest, which was given to you for food, and have drawn from these a liquid which is not food and which will not nourish nor sustain your earthly frame. 2. This liquid shall be a curse upon you and your descendants. It shall be known wherever the arts of civilization are known. You shall call it the elixir of life. You shall believe it to be nutritious to the body and gladdening to the soul. The love of it shall grow with the use of it. It shall soothe the solitary hour and cheer the festive board. It shall charm away your griefs, and be the cause of your rejoicings. It shall be the inducement to communion and the bond of friendship. It shall be prized alike by the high and the low. It shall be the joy of princes as well as the meanest of mortals. It shall be the stimulant to laborious toil, and the reward for labor done. It shall be bought and sold and make the dealer therein rich. It shall yield abundant revenues to sover- eignty. Hospitality shall be dishonored in not offering it to the guest, and the guest shall be disgraced in not receiving it at the hand of his host. 3. BUT it shall visit your limbs with pals}'; it shall extinguish the pride of man; it shall make the husband hateful to the wife, and the wife loathsome to the husband; it shall annihilate the love of offspring; it shall make members of society a shame and a reproach to each other and to all among whom they dwell. It shall steal from the virtuous and the honorable their good name; and shall make the strong and the vigorous to totter along the streets of cities. 4. It shall pervert the law of habit, designed to strengthen you in the path of duty, and bind you in its iron chain. It shall disgrace the judge upon the bench, the minister in the sacred desk, and the senator in his exalted seat. It shall make your food tasteless, your mouth to burn as with a fever, and your stomach to tremble as with disease. It shall cause the besotted mother to overlay her newborn, unconscious that it dies MISCELLANEOUS SELECTIONS. 197 beneath the pressure of her weight; the natural cravings of the infant shall make it strive to awaken her who has passed, unheeded, to her last long sleep. 5. The son shall hide his face that he may not behold his father's depravity, and the father shall see the object of his fondest hopes turn to a foul and bloated carcass, that hurries to the grave. It shall turn the children of men into raving maniacs; and the broken ties of blood and affection shall find no relief but in the friendly coming of Death. As the seed wiiich man commits to the earth comes forth in that w'hich he con- verts into spirit, so shall this product of his own invention be as seed in his own heart, to bring forth violence, rapine and murder. 6. It shall cause man to shut up his fellow-man in the solitude of the grated cell. The prisoner shall turn pale and tremble in his loneli- ness, at the presence of his own thoughts; he shall come forth to die, in cold blood, by the hand of his fellow, with the spectacle of religious hom- age on a scaffold, and amid the gaze of curious thousands. Poverty shall be made squalid and odious, even so that Charity shall turn away her face in disgust. It shall attract the pestilence that walks, even at noon- day, in darkness, to the very vitals of the drunkard, as carrion invites the far-sighted bird of prey. 7. The consumer of spirit shall be found dead in the highway, with the. exhausted vessel by his side. Yea, the drunkard shall kindle a fire in his own bosom which shall not depart from him till he is turned to ashes. The dropsical drunkard shall die in his delirium, and the fluid which has gathered in his brain shall smell like spirit and like spirit shall burn. A feeble frame, an imbecile mind, torturing pain and incur- able madness shall be of the inheritance which drunkards bequeath, to run with their blood to innocent descendants. 8. The wise men, who assemble in the halls of legislation, shall be blind to this ruin, desolation and misery. Nay, they shall license the sale of this poison, and shall require of dignified magistrates to certify how much thereof shall be sold for the " Public Good." 9. This minister of woe and wretchedness shall roam over the earth at pleasure. It shall be found in every country of the Christian; it shall go into every city, into every village and into every house. But it shall not visit the country of the heathen, nor spread woe and wretchedne ss among them, but by the hands of Christians. 10. The light of reason shall at length break upon the benighted and afflicted world. The truth shall be told. It shall be believed. The causes of calamity shall be unveiled. The friends of the human race shall speak and be respected. Rational man shall be ashamed of his follies and 198 RATIONAL ELOCUTION. his crimes, and humbled to the dust that he was so long ignorant of their origin. Governments shall be ashamed that they so long tolerated and sustained the most costly and cruel foe that man has ever encountered. Avarice itself shall be conscience-stricken and penitent. It shall remain where nature placed it for use; and it shall be odious in the sight of Heaven and of Earth to convert the fruits of the soil into poison. THE MARINER'S DREAM. WILLIAM DIMOXD. 1. In slumbers of midnight the sailor-boy lay, His hammock swung loose at the sport of the wind; But watch-worn and weary, his cares flew away, And visions of happiness danced o'er his mind. 2. He dreamt of his home, of his dear native bower? , And pleasures that waited on life's merry morn; While memory stood sidewa} r s, half covered with flowers, And restored every rose, but secreted its thorn. 3. Then Fancy her magical pinions spread wide, And bade the young dreamer in ecstasy rise; Now far, far behind him the green waters glide, And the cot of his forefathers blesses his eyes. 4. The jessamine clambers in flowers o'er the thatch, And the swallow chirps sweet from her nest in the wall: All trembling with transport, he raises the latch, And the voices of loved ones reply to his call. 5. A father bends o'er him with looks of delight, — His cheek is impearled with a mother's warm tear; And the lips of the boy in a love-kiss unite With the lips of the maid whom his bosom holds dear. 6. The heart of the sleeper beats high in his breast; Joy quickens his pulses — his hardships seem o'er; And a murmur of happiness steals through his breast, — " O God! thou hast blest me, — I ask for no more." 7. Ah! whence is that flame which now bursts on his eye? Ah! what is that sound which now 'larms on his ear? MISCELLANEOUS SELECTIONS. 199 'Tis the lightning's red gleam, painting hell on the sky! 'Tis the crashing of thunders, the groan of the sphere! 8. He springs from his hammock, he flies to the deck; Amazement confronts him with images dire; Wild winds and mad waves drive the vessel a wreck; The masts fly in splinters; the shrouds are on fire. 9. Like mountains the billows tremendously swell; In vain the lost wretch calls on mercy to save; Unseen hands of spirits are ringing his knell, And the death-angel flaps his dark wings o'er the wave. 10. O sailor-boy, woe to thy dream of delight! In darkness dissolves the gay frost-work of bliss. Where now is the picture that fancy touched bright, Thy parents' fond pressure, and love's honeyed kiss? 11. O sailor-boy! sailor-boy! never again Shall home, love, or kindred thy wishes repay; Unblessed and unhonored, down deep in the main, Full many a fathom, thy frame shall decay. 12. No tomb shall e'er plead to remembrance for thee, Nor redeem form or fame from the merciless surge, But the white foam of waves shall thy winding-sheet be, And winds in the midnight of winter thy dirge! 13. On beds of green sea-flowers thy limbs shall be laid, — Around thy white bones the red coral shall grow; Of thy fair yellow locks threads of amber be made, And every part suit to thy mansion below. 14. Days, months, years and ages shall circle away, And still the vast waters above thee shall roll; Earth, loses thy pattern forever and aye, — O sailor-boy! sailor-boy! peace to thy soul! A MOTHER'S SACRIFICE. Some years ago a Mrs. Blake perished in a snow-storm in the night time while traveling over a spur of the Green Mount- ains in Vermont. She had an infant with her, which was found 200 RATIONAL ELOCUTION. alive and well in the morning, being carefully wrapped in the mother's clothing. 1. The cold winds — swept the mountain's height, And pathless — was the dreary wild. And, 'mid the cheerless hours of night, A mother wander'd with her child; As through the drifting snow she press'd, The babe — was sleeping — on her breast. 2. And colder still the winds did blow, And darker hours of night came on, , And deeper grew the drifting snow; Her limbs — were chilled, her strength — was gone. " Oh, God!" she cried, in accents wild, " If / must perish, save my child! " 3. She stripp'd her mantle from her breast, And bared her bosom to the storm, And round the child — she wrapped the vest, And smiled — to think her babe was warm. With one cold kiss — one tear she shed, And sank — upon her snowy bed, 4. At dawn — a traveler passed by, And saw her — 'neath a snowy vail; The frost of death — was in her eye, Her cheek was cold, and hard, and pale, He moved the robe from off the child, The babe look'd up — and sweetly smiled. THE SUPPLIANT. RICHARD E. WHITE. 1. Four spirits, late of earth, once stood beside The gate of Paradise and entrance sought; To them the Guardian Angel thus replied: " None enter here save those who good have wrought.' 2. Then each of them in turn his merits said; The first: "I stood before the grave of Time, MISCELLANEOUS SELECTIONS. 201 And, like a Savior, cited forth the dead To rise and live forever in my rhyme" 3. Another, thus: " A sculptor I, and such The beauty was that I to stone did give, My statues wanted but a single touch Of God's right hand to make them breathe and live" 4. The third: U I rivaled nature with my dyes; And to the sad earth, in its darkest hours, My pencil brought again the summer skies, The laughing orooks, the verdure and the flowers" 5. They entered; but icithout still lingered one, To whom thus spoke the Angel: " We would know Upon the earth what good deeds thou hast done." . " Alas! " he answered, "I have none to show." 6. "A Suppliant am I for entrance here; But when in Mercy's God my hope I place, Like dead men's ghosts the sins of many a year Rise up in mockery before my face." 7. The Angel: " Go ! there is no room for thee" And as the Suppliant turned, in tears, away, The spirits, with one voice, imploringly Cried unto him: "Stay with us, brother, stay" 8. And then the spirits told how he had done Kind deeds on earth, and one spoke thus: " I fear If he unworthy be, no single one Of us is worthy of remaining here" 9 : They told: "I hungered and he gave me meat; " " His draught of icater did my thirst allay; " " I passed his happy home with weary feet, And he did folloio me and bid me stay." 10. " Ill-clad was I; he gave me clothes to wear; " " In lazar-honse, when every friend did flee, Re nursed me through a loathsome sickness there; " " i" was in prison and he came to me." 11. The Angel spoke: "There is no room for thee." Then spirit fairer than the rest did say: "Good Angel, out of charity to me, Ah, do not turn yon Suppliant away; 202 RATIONAL ELOCUTION. 13. " But rather bid him stay, and / will give My place to him; of right it is his own, And I will go back to the earth and live Far from my Maker's face and His bright throne." 13. To whom the Angel: " Sister, is the stain Of earthly love upon thy spirit still, That thou wouldst go back to the world again That he who loved thee might thy place here fill? " 14. "I would not ask for him, were he the one- Repentant tears did all such love erase; But every earthly feeling is not gone, Still in my heart has gratitude a place; 15. " And he whom thou wouldst from thy bright gate spurn, Found me, one time, an outcast on the town; He raised me up to God. 'Tis now my turn, And I will give to him my glory crown." 16. Back of itself, upon its hinges swung The gate of pearl, e'en as the words were said, And while in joy the choir of spirits sung, Within the walls the Suppliant was led. LEGEND OF ST, CHRISTOPHER. MISS MULOCH. [Aprobus,a Syrian blacksmith of renowned stature and wonderful strength, hav- ing determined that he would serve none but the mightiest king, went seeking him throughout the world. Failing to find whom he sought so long as he trusted to his own guidance, he finally asked a thoughtful hermit what to do. The hermit directed him to station himself on the bank of a dangerous ford, where many pilgrims yearly lost their lives in crossing, and to carryover all who required his aid; and thus humbly serving his fellow-men, he muj Id serve the greatest King, and hope to see him. Ere long, Christ the Lord, who holds the seas in the hollow of his hand, came to the fording place in the guise of a little boy, and asked to be carried over.] 1. " CARRY ME ACROSS." The Syrian heard, rose up, and braced His huge limbs to the accustomed toil: MISCELLANEOUS SELECTIONS. 203 " My child, see how the waters boil! The night-black heavens look angry-faced; But life is little loss. 2. Pll carry thee with joy, If needs be, safe as nestling dove; For o'er this stream I pilgrims bring, In service to one Christ, a King Whom I have never seen, yet love." " I thank thee," said the boy. 3. Cheerful Aprobus took The burden on his shoulders great, And stepped into the waves once more — When, lo! they, leaping, rise and roar; And 'neath the little child's light weight The tottering giant shook. 4. " Who art thou f" cried he, wild- Struggling in the middle of the ford, — " Boy as thou lookest, it seems to me The ichole world's load I bear in thee." " Yet, for the sake of Christ thy Lord, Carry me," said the child. 5. No more Aprobus swerved, But gained the farther bank; and then A voice cried, "Hence Christophoros be, For carrying, thou hast carried Me, The King of Angels and of Men, — The Master thou hast served." 6. And, in the moonlight blue, The saint saw — not the wandering boy, But Him who walked upon the sea, And o'er the plains of Galilee, — Till, filled with mystic, awful joy, His dear Lord-Christ he knew. 7. Oh! little is all loss, And brief the space 'twixt shore and shore, If thou, Lord Jesus, on us lay, Through the deep waters of our way, The burden that Christophoros bore, — To carry thee across! 204 RATIONAL ELOCUTION. LASCA. F. DESPREZ. 1. I want free life and I want fresh air; And I sigh for the canter after the cattle, The crack of the whips like shots in battle, The mellay of horns and hoofs and heads That wars and wrangles and scatters and spreads; The green beneath and the blue above, And dash and danger, and life and love. 2* And Lasca! Lasca used to ride On a mouse-gray mustang, close to my side, With blue serap and bright-belled spur. I laughed with joy when I looked at her. Little knew she of books or creeds; An Ave Maria sufficed her needs: Little she cared, save to be by my side, To ride with me, and ever to ride, From San Saba's shore to Lavaca's tide. She was as bold as the billows that beat, She was as wild as the breezes that blow; From her little head to her little feet She was swayed in her suppleness, to and fro By each gust of passion; a sapling pine, That grows on the edge of a Kansas bluff, And wars with the wind when the weather is rough, Is like this Lasca, this love of mine. 3. She would hunger that I might eat, Would take the bitter and leave me the sweet; But once, when I made her jealous for fun, At something I'd whispered, or looked, or done, One Sunday, in San Antonio, To a glorious girl on the Alamo, She drew from her garter a dear little dagger, And — sting of a wasp! — it made me stagger! An inch to the left or an inch to the right. And I shouldn't be maundering here to-night; But she sobbed, and, sobbing, so swiftly bound Her torn reboso about the wound That I quite forgave her. Scratches don't count In Texas, down by the Rio Grande. MISCELLANEOUS SELECTIONS. 205 4. Her eye was brown— a deep, deep brown; Her hair was darker than her eye; And something in her smile and frown, Curled crimson lip, and instep high, Showed that there ran in each blue vein, Mixed with the milder Aztec strain, The vigorous vintage of old Spain. The air was heavy, the night was hot, I sat by her side, and forgot— forgot; Forgot the herd that were taking their rest; Forgot that the air was close opprest, That the Texas norther comes sudden and soon; In the dead of night or the blaze of noon. That once let the herd at its breath take fright, And nothing on earth can stop the flight; And woe to the rider, and woe to the steed, Who falls in front of their mad stampede! Was that thunder? No, by the Lord! I spring to my saddle without a word One foot on mine, and she clung behind, Aw^ay on a hot chase down the wind! But never w