II l'^?,^ PRACTICAL ELOCUTION G®llegeS and ^Gh©®ls PRIVATE STUDENTS. BY j: w. shoemaker, a. m.. tatf /Resident of ike National School of Elocution ana Gratary ENLARGED #ITH A WIDE VARIETY OF SELECTIONS TOR PRACTICE. We could not allow him an oratoT who had the best thottg^hts^ and who knew all th^e rules of rhetoric, if he b&d not acquired tbiB art ttX nsins them.^^-JDjBVPEN . Philadelphia 'Rie Penn Publishing Company 1922 Entered, ace ^rding to Act of Congress, in the year 1880. by in tJtie office of the Librarian or C >ugress «- Washington. • CX)PYRiOHT. 1886, BY The National School of Elocution AND Oratory Copyright, 1908, by Mrs. J. W. Shoemakeu CoPYBiGHT 1922 BY Frank W. Shoemaker &, Dora A. Shoemaker The following selections are u^ed bv permissioti of, and ar rangement with, Messrs. lluughion, Mifflin & (Jo. , tlie oublisnere Sandalphon H. W. Longfeliow The Boys ^ . . . . * . . O. W. Hi)lme'i Masters of the Situation . James T. F'slds Pictnresot Memory , Alice Car r Orpheus and Euryd ice . ..... , . O. W. Hoiaies An Extract from Snow-Bound . • . . J. G. Whittier CKANSFERREO PSOi , 00PYS3ISHT Of ROE ?raotical Elocution NOV 17 '22 ■N ^ ^0 the |itedcirf» HATIONAL SCHOOL OF ELOCUTION AND ORATORY. TO WHOSB Enthusiasm, Faithfulness and Loyalty Tthb author is indebted for so much strength an» inspiration in his work, and whose memory he cherishes with NEXT TO A parent's LOVE, THIS BOOK M AFFECTIONATELY INSCRIBED. PREFACE. The study of Elocution and Oratory was pursued to a very high degree by the ancients, and is therefore an old study. It was, however, so nearly lost as a distinctive branch ot cul. ture, and it received so little attention foi many succeeding centuries that it may be very justly termed a modern science. It was the original design of the author to prepare for the usr of the National School of Elocution and Oratory, an outline of principles embodying his system of instruction, and to furnish the students of the institution a text for their future personal or public work. The rapidly increasing de- mand, however, for a more extended exposition of these principles, and for a copious collection of appropriate exer- cises, together vnth the urgent request of many students and educators throughout the country, has led to the pub- lication of '* Practical Elocution J' Now that the work has been completed, and is about to go forth on its mission, we are led to realize more deeply than ever how little of the spirit can go along with the letter — how littU of the Inepiration which the true teacher should impart,, can accompany the monotonous lines of the printed pagpi. We do not believe any theory can substitute for the living tin PRAC?yiCAL ELOCJtJWON. presence of the teacher. The theory of Elocution can no more produce good readers and speakers than the theory of music will make good singers or experts on the instrument ; yet correct principles may so direct the student away from error, and towards the truth, and may furnish to the teacher such resources in methods and exercises as would require years of time to arrange for himself. Elocution will not euhstitute for intellect; neither will it furnish material for the mind any more than gold will buy material. It will not provide thought. It will not even pro- vide vehicles or words, so necessary to the discussion and exchange of thought. Its work is to give principles and direction for the management of thought after it has been furnished and clothed. Knowledge is capital, only valuable as it is available, and Elocution is the great natural means of rendering knowledge available. Spoken language may he said to hear three distinct relations to the signification of the tvords which enter into it. First. — A sentiment may be so uttered as to weaken or pervert the simple meaning of the words. Wanting in the necessary force, emphasis misplaced, or modulation disre- garded, the words, though possessing volumes of thought, may be rendered almost void of meaning. Second. — Tlie sentiment may be so spoken as to leave its plain meaning unaffected, neither adding to or taking from the mere signification of the words. The listener, hearing, and being familiar with the words, obtains an intellectual knowledge of the thought expressed. He is impressed with the words only to the degree that he is interested in the thought. There is nothing in the presentation to attract his attention, or that will awaken interest within him. Had he seen the words in the skeleton forms of written language, the effect would have been the same. They have been presented to his sense alone. Third. — The same sentiment may bo gpoken to that It iih&\\ not only express the idea indicated, but that it shall tmpress <'hat idea upon the mind and heart. Under this character of iit*trftne« w« supplement the form of words with their power, inyesting the mere passive clay -with the life-giying principle which shall send it forth an active, aggressive influence. This we believe to be the original and legitimate design of ipeech. It could not have been the purpose of the Creator that this marvellous faculty should perform the service of a mere dead machine. Correct, cultivated utterance give* emphasis and spiritual effect to written language. In the following pages the attention of teacher and student has been directed prominently to the study of natural speech a« revealed by Conversation. It is believed that we may here find nature most true, however crude, and that we may obtain from her, models and inspiration for the more exalted con- ditions of speech. Spoken language finds its original and ^simplest forms in conversation. The conditions of mind and body in ordinary conversation are best adapted for the study of our own individuality. We cannot study self when on exhibition. We dress up for strangera. We spend much time and means to prepare our bodies for distinguished company, not always with the most happy effect. Sometimes it results in such a perversion of our natural appearance as to give offence rather than pleasure. So, in the expression of our thoughts, voice and manner are modified by the presence of the multitude, and sometimes, upon great occasions, they are so perverted as to lose all that is natural and impressive. Thus thousands fail of their just merit in presenting themselves to strangers. In the effort to be natural they become unnatural. In their attempt to represent themselves for what they are not, they fail to receive value for what they are. Nature may be pruned, cultured and directed, but we cannot substitute it. I will always be stronger as myself than I can be as any one else, and as we represent ourselves most through our words, we should in our words be most true to ourselves. We should study ourselves and seek our examples from that ©ondition where true nature is least modified. This condi- tion we believe to be that of corwermtion with our intimat« » PRACTICAL ELOCUTION. frienda. Conversation may be most faulty and corrupt, yeV we will find in it a harmony with our own natures, and con- stantly recurring lights and shades of natural expression that may serve as models for study and imitation, such as we can find nowhere else in the whole range of utterance. But it ia not sufficient to find the germs. They must kave growth and maturity. The work of culture and development pre- cedes the efficient use of all our faculties. Man, in the crea- tion of his own being, is made a partner with God. We are co-workers with God in self-construction. He gives us the plastic material, with directions or laws for its use, condi- tioning the result of the work upon the application of those laws. It is better to develop our own faculties, though inferior, rather than to attempt to appropriate another's. Our own will serves us better, because designed for us by the Creator, and hence in harmony with our being. God will hold us responsible for the talents He has given us. He does not ask that we buy or borrow, but demands increase through culture and development. The expression of thought and feeling, therefore, should be in the simplest and purest har- mony with the elements of our individual nature. But how to find our true nature may prove our most difficult task. We have been so misdirected that there has grown upon us by observation and contamination, such a coating of man- ners and habits foreign to the original, and we have acted so long in sympathy with this accumulated surface that we may hardly recognize our true selves. We have so long followed the untrue that we may hardly know the true. We have so long associated with this outer that we fail to comprehend the inner. Habit has become so fixed as to constitute a second nature, and close analysis becomes necessary that we may draw the lines between our own nature and this accimiulated or borrowed nature. Our first work, then, is to distinguish the true fi-om the false, the original from the borrowed, fwture from habit, that we may develop, each in himself, tht original creation, rather than the warpod and distorted cpea- Hon of our «wn handiu PREFACE. XI The author would here make gi-ateful acknowledgment of he assistance he has received in the preparation of this work by those directly associated with him in the Institution over which he presides. Mrs. Shoemaker, Prof. J. H. Bechtel, and Prof. R. 0. Moon, have furnished him the fruit of their investigations in the several departments which they repre- sent, and are worthy of more prominent mention than he can here afford them. He does not forget the many friends to whom he ia indebted for suggestive help, for counsel, and for encouragement. That " Practical Elocution " may contribute, in some degree, to the elevation of a noble art, has been the aim, and remains the earnest hope of th« author, J. W. S. Philadeuphia, Septeaber 3d. 1878. KrrLASATOVT NoTB.— The referenc* to the seTeri*! nnmbiirs of ^h^ Hocu- tloziist'i Annual for sidditional examples, has been made for the advanta^ at studsnts aiMl otben who maj use that serieii in tonnaetlom yriik tkU toIuas. • CONTENTS. Introdnctlon, ...... Outline of Xlocutlon and Analysis of Piincipl«i (Diagram), Explanation of the Outline, .... I>efimtion, .... Importance, .... In Physical Developmtat, In Social Life, In Business Life, , InPubUcLife, CONVERSATION For its own sake, Examples, In its relation to Beading:, In its »«lation to Pablic AddresA, PRINCIPLES, Spe«eh» . , . Voice, . ? Philosopby of Tolo*» • Utterance, . * Development, . . Breathing, . • Exercisec, . . Vocal Exercises, Table of Vocal i^eroiscs, Examples, Gymnastics, Exercises, , Quality, Pure, Simple Pure, . Examples. Orotund, ; • Ibnpurs^ • l^KtoraJ, , • EzamfiM, * For full Alphab*tl«a^ fad.x, 8«e pag* HI. xm xiv comxsriM, Guttural, . . Example!, Aspirated, Examples, » Falsetto, Examples, Articulation, Classification, Table of Elementary Sounda, Exercises, Expression, Modulation) Quality, , . Pitch, Examples, , Force, Examples, Time, Rate, . . Examples, . Quantity, Examples, Pause, . . Examples, Slides, Examples, B—txixe, Position, Moremeuts of th« Bodj, Examples, Facial Expression, Examples, METHODS OF Theory, Outline of Methods, Primary, Advanced, . . Appendix, Miscellaneous Suggestions, Emphasis, Miacellaneoos Yooal Bxtbi'mh, Laughter, Bible Eeadinfc Sound to S«ns«, . t Transition, . • Analysis, . , • Bepoee, . . • INSTRUCTION. U •c M «1 64 68 69 80 81 76-88 112 lis 118 lis 114 118 119 122 123 123 127 127 129 12» 181 182 141 142 145 147 168 15» 170 180 180 188 186 180 116 187 180 IBl 192 lf2 CONTENTS, SELECTIONS FOR PRACTICE. PAGV Sandalphon, Longfdlow 197 Bcho and N*rci8«U8, Thomas Bulfinch 199 lAdy Clara Vere de Vcre, Alfred Tennyson 202 MassachusetU and South Carolina, Daniel Webster 204 How They Brought th« Good News from Ghent to Aix, Robert Browning 207 Othello's Apology, Shakespeare 209 Paul Before King Agrippa, Bible 211 Nightfall W. Vr. EUsworth 218 Catiline's Defiance, Oeorge Croly 215 The Honored Dead H. W. Beecher 217 The Voice in the Twilight, Mrs. Herrick Johnson ... 219 The Boys, O. W. Holmes 222 Masters of the Situation, James T. Field 223 Kentucky Belle, Constance Fenimore Woolson. 226 Trust, DeanAlford 232 The Loss of the Arctic, H. W. Beecher 283 The Cataract of Lodoro Boberi Southey 236 Your Mission, 238 Our Duties to Our Country, Webber 289 Marmion and Douglas, Str Walter Scott 240 Pictures of Memory, Alice Gary 842 Caasius Against Caesar, Shakespeare 244 Tact and Talent London Atlas 246 God's First Temples, W. C. Bryant 248 The Nature of True Eloquence, Jkmiiel Webster 251 Orpheus and Eurydloe, John G. Soxe 252 A Welsh Classic, M.H. BaUard 956 Kolofy OQ O'OoximU, , . .W,B. Sward %8 XV \ xvi PAG» ▲ Man's a Man for a' That Sobert Burn* 260 The Sailing of King 01a4 Alice WiUiams BroOurUni . 261 Supposed Speech of John Adams on the Declaration of Independence, Damid Wd>tter 266 The Clown's Baby, 268 Extract firom a Eulogy on General Grant, . . J. P. Newman 271 •' Bay Billy," Frank H. Gaseaway .... 273 Words on Language, O. W. Holmes 277 An Extract from Snow-Bound, J. O. WMUier 279 John Bunyan, Macaulay 281 Lochinvar's Rid« Sir Walter Scott 282 The Two Roads, Jean Paul BichUr 284 The Revolutionary Rising Thomas Buchanan Bead . . 286 A Lost Chord, Adelaide Anne Prodor . . 289 The American War, PUt 290 The Glass Railroad George Lippard 891 Guide me. O Thou Great Jehovah ! W. WiUiamt 294 In the Cross of Christ I Glory, J. Bovoring 295 Jesus ! Lover of My Soul, C. Wetley 295 My Country! 'Tis of Thee, 8. F. Smith 297 Matthew XXV, *^ FMilm XCI •* INTRODUCTION, Elocution, from eloquiy to speak out, to expreas, («, out; and loqui, to speak,) as now applied, contemplates the whole art of conveying thought through the organs of the body. Before entering directly upon the study of this iubject, we may receive a worthy inspiration in con- sidering the broad and abundant opportunity which opens to us. Elocution concerns the commerce of mind and soul. As such, it involves the capability on the part of the student to comprehend, to appreciate, and to communicate thought and emotion. To this end, he needs the best of all his powers. It is only the voice that has reached its best, and the eye that beams from the soul, and the hand of grace, and the attitude of manhood and womanhood, that can convey the immortality which has been breathed upon us. By sin these powers have been enfeebled and deformed and under its burden their deformity increases. Guarded and regulated by the laws of our creation, they may be rescued and made poten- tial in conveying the very mind of the Creator. 17 > 5 ^: b o w X 111 •f © © a 5 o ©-« 2o a-2 2*^ S^ ^ § o ^ "^ ^ Si bu rr, %> « g H » ^ H g 2 a H B r M rn 'T So® O f^ ^ S 5 •^ an** o g, ^ tD-i^ O — 'TIS c-.S^ S ^ « O a o 0*3 5^ !■ o < bo j3 S -"-i w ?i o S H £ B Z ^ i ^ i EH •? 1^ I H m GQ a . Q ® ^ MAOTIOAL SLOCUTXar. DEFINITION. Elocution relates to manner or style in speaking. Good Elocution consists in the natural expression of thought by speech and gesture. Note 1. Natural must be understood as applying to car highest or God-nature, and should be carefully distinguished from habit or second nature. Note 2. The term expression is strengthened, if understood to include conveyance or passage, as of a body from one place to another. Note 3. Thought has here its broadest application, and signifies feeling and passion as well as sentiment. We should convey not only the idea contained in the thought, we should also convey the impression made upon us by the thought. Note 4. Speech covers every intelligent use of the organs of speech, articulate and inarticulate, whispered and vocal. Note 5. Gesture concerns position and facial expression, as well as movements of the body. Note 6. Thas it will be seen that correct elocutionary training is the subordination of the entire physical being tc the service of mind and spirit, thought being the product of the inner or spiritual man, and speech and gesture its naturaJ autlet through the exterior or physical man. IMPORTANCE. IMPORTANCE. m PHYSICAL DEVELOPMENT. Elocution calls into play the most vital organs of the human body, the correct use of the voice constituting an important source of grace and strength to these organs. It will demand correct posture and proper habits of res- piration ; it will afford healthful exercise to the throat and lungs ; it will bring the intercostal muscles into vigorous action ; it will give natural stimulant to the circulation, so that the organs of digestion and the entire physical system participate in the benefit. It is justly claimed that no other exercise will call forth so natural and uniform an action of the whole system, as the proper exercise of the voice. IN SOCIAL LIFE. It is in social life that we mould character, and exert the most lasting influences. These influences are exerted through word and deed. Word and deed receive their character, in a great degree, through voice and manner. We will, there- fore, render our influence agreeable and effective, largely M proportion as the voice and manner are pleasing and attractive. Temperament, disposition and motive will be measured by their outward expression. If this expression is coarse, abrupt, and unattractive, the inner life will be exposed to a corresponding verdict ; and in proportion as this expression i)ecomes natural and refined will the verdict be changed. 22 PRACTICAL ELOCUnOK. Our happiness and usefulness, therefore, in the social rela- tions must depend greatly upon the culture of these qualities. It is further important, because our social relations include our best friends, and they should receive from us the best we have, and in our best manner. IN BUSINESS LIFE. Other things being equal, a man will succeed in businesK largely as he can address himself upon his wares, be they mechanical, physical, mental or moral. He will succeed through the capability of winning atten- tion to his business. The same power which gives influence in the social sphere, will attract to our business operations. Character of tone and dignity of manner will reflect re- liability upon our vocation or profession. IN PUBLIC LIFE. It will enable us to give accuracy and fulness of meaning to our words, and to convey the spirit of the thought to the hearer. Words are but the dead forms of thought. The human voice may breathe into them the breath of life and make them living influences. Elocution will give that culture by which we may please ihe eye and the ear, so that our words shall be presented favorably to the judgment. It will also add that force and dignity to expression, and that confidence of manner which will command the multitude. A single sentence may be the exponent of years of study and experience, and it is possible only by the most careful, practice in the art of expr^sion to pronounco such a aery tence with corresponding effect. ^as^EB&j^xsmu CONVERSATION. Conversation is the simplest and most common form of bmnan expression. It contains the germs of all speech and action, and therefore constitutes the basis of oratorical and dramatic delivery. We exercise these germs of speech and action most in conver- sation ; it is therefore natural that we should here form our most permanent habits of expression. These habits will control, not only our conversation, but, aa hereafter shown, they will, in a great degree, affect our reading a.nd public address. The importance, therefore, of acquiring in the common intercourse of life, correct habits of voice and manner cannot be overestimated. Hence, the consideration, first, of CONVERSATION FOR ITS OWN SAKE. No higher art is possible to man than the art of transmit* ting, naturally and effectively, in common intercourse, th© sentiments and feelings of which he is capable. This art includes chaste and appropriate language, and grace and variety of tnanner, as well as the purity and adap- tation oi speech. It is, however, only the latter phase of the '34 PRACTICAL H.OCUTION. subject that will concern us in this treatment, namelj, corred speech. To this end, the student should Becure the criticism of the ear upon his own and others' Conversation, by atten- tion — a. TO THE VOICE. b. TO THE ARTICULATIOir. C. TO THE EXPRESSION. Voice. — The Voice should be natural, pure, a,nd /uU. Note.— The long vowel sounds, marked "Naturally," as glren in th« table of " Vocal Exercises," and such Conversational Sentences as are here given, should be carefully practiced. Articulation. — The Articulation should be correct and distinct. NoTB. — Master the table of Elementary Sounds and practice the various accompanying exercises. Expression. — The Expression should be adapted to the senti- ment. Note.— The intelligent student will readily discover some of the leading relations of sound to sense; such, for instance, as that of gayety, solemnity, pathos, &c. Attention to these in practice, will lead to the discovery of other and closer relations, until every sentiment will suggest, promptly, its corres- ponding tone. SuMaiARY. — Voice, Articulation, and Expression, as her© defined, maj^ be termed the a, b, c of speech. SUGGESTION TO STUDENTS. Every observing student will be able to detect errors with reference to the several points here named. His ear will be sufficiently critical to distinguish one or more of the many faults common to conversational voice. He will also detect aluggishness of articulation and the habitual use of incorrect sounds. He will perceive, to some degree, or in some particu- lar, a want of adaptation to the sentiment expressed. In other words, his knowledge is beyond his practice, and no more important counsel can be given upon this subject than the following: CONVERSATIONAL EXERCISES. 1. Listen to your conversation with reference to the several elements named. 2. Correct, in conversation, that which you know to be faulty. 3. Allow no occasion to be so unimportant as to admit oj loose or incorre<:i speech. By this practice, the ear will observe the speech of those more correct than yourself, and will lead j^'ou to discover more and more closely your habitual faults, and thus to elevate and purify your conversation. CONVERSATIONAL EXERCISES. These exercises represent a broad variety of conversational styles and should be carefully practiced with reference to the voice, the articulation and the expression, according to the preceding treatment. 1. '* Good morning, Mr. Jones, I am glad to see you. When did you arrive in the city ? " " I came in by the last train." " I hope you left your family well." "Very well, thank you." " You will call upon us before you go back ? " "I will, thank you." " Good morning, sir." " Good morning." 2. Is John at home? Is your father well? When will you go ? What is your name ? What time have you? Did you arrive by the night train ? Have you to-day's paper ? What is the news? Did you see our mutual friend, Mr. Wilson ? Have you been well? You look ill. Note.— The practice of questions, sucli as these, will be found of great ad- vantage in gainiag natural expression. They should be Taried in emph«sl» and inflection. PRACTICAL ELOCUTION. 3. We have demonstrations enough, fortunately, to shorr that truth alone is not sufficient; for truth is the arrow, but man is the bow that sends it home. There be many men who are the Ught of the pulpit, whose thought is profound, whose learning is universal, but whose offices are unspeakably dull. They do make known the truth, but without fervor, without grace, without beauty, without inspiration ; and discourse upon discourse would fitly be called the funeral oj important subjects! — Henry Ward Beecher. 4. And he said, A certain man had two sons : and the younger of them said to his father, Father, give me the por- tion of goods that falleth to me. And he divided unto them his living. And not many days after, the younger son gathered all together, and took his journey into a far country, a»d there wasted his substance with riotous living. And when he had spent all, there arose a mighty famine in that land; and he began to be in want. — Luke xv : 11-14. 6. Hannlet. Hold you the watch to-night? All. We do, my lo»rd. Ham. Aim'd, say you ? All. Arm'd, my lord. Ham. From top to toe? All. My lord, fi*om head to foot. Ham. Then saw you not his face ? Hor. O, yes, my lord ; he wore his beaver up. Ham. What, look'd he fi*owningly ? Hor. A countenance more in sorrow than in anger. Ham. Pale, or red ? Hor. Nay, very pale. Ham. ' And fix'd his eyes upon you 7 Hor. Most constantly. Ham. I would, I had been there. Hor. It would have much amaz'd you. Ham. Very like. Very like: Stay'd it long? Hor. T\niile one with moderate haste might tell a hundred Ham. His beard was grizzl'd? no? Hor. It was, as I have seen it in his life, a sable-silver'd. Ham. I will watch to-night: I^erchance, 'twill walk again. — Shakespeare. CONTERSATIONAL EXERaSEg. !2l 6. " It T/on't do to let John see me in this position," I said ; and so, with a mighty effort, I disengaged myself from the pack, flung off the blanket from around my neck, and seizing hold of a spruce limb, which I could fortunately reach, di'ew myself slowly up. I had just time to jerk the nfle out of the mud, and fish up about half of the trout, when John came struggling along." "John," said I, leaning unconcernedly against a tree, as if nothing had happened, — " John, put down the boat, here's a splendid spot to rest." " Well, Mr. Murray," queried John, as he emerged from; under the boat, " how are you getting along ? " " Capitally ! " said I ; " the carry is very level when you once get down to it. I felt a little out of breath, and I thought I would wait for you a few moments." "What's your boots doing up there in that tree?" ex- claimed John, as he pointed up to where they hung dangling from the limb, about fifteen feet above our heads. "Boots doing!" said I, "why, they are hanging there, don't you see? You did'nt suppose I'd drop them into this mud, did you ? " "Wliy, no," replied John, "I don't suppose you would; but how about this? "continued he, as he stooped down and pulled a big trout, tail foremost, out of the soft muck ; " how did that trout come there? " " It must have got out of the pail somehow," I responded. " I thought I heard something drop just as I sat down." I thought John would split with laughter, but my time came, for as in one of his paroxysms he turned partly around, I saw that his back was covered with mud clear up to his hat. " Do you alw^ays sit down on your coat, John," I inquired, "when you cross a carry like this?" — W. H. H. Mwrray. 7. Now the laughing, jolly Spring began to shew her buxom face in the bright morning. The buds began slowly to expand their close winter folds, the dark and melancholy woods to assume an almost imperceptible purple tint; and here and tiiere a little chirping bluebird hopped about the orchards. Strips of fresh green appeared along the brooks, now released from their icy fetters ; and nests of little varie- gated flowers, nameless, yet richly deserving a name, sprang up in the sheltered recesses of the leafless woods. m PRAOnOAL BLOOUTIOMT. 8. I cannot vouch my tale is true, Nor say, indeed, 'tis wholly new ; But true or false, or new or old, I think you'll find it fairly told. A Frenchman, who had ne'er befor* Set foot upon a foreign shore, Weary of home, resolved to go And see what Holland had to show. He didn't know a word of Dutch, But that could hardly grieve him much ; He thought, as Frenchmen always do, That all the world could " parley-voo." — /. G. Seme. 9. I know, the more one sickens, the worse at ease he is ; and that he that wants money, means, and content, is without three good friends ; that the property of rain is to wet, and fire to burn ; that good pasture makes fat sheep, and that a great cause of the night is lack of the sun ; that he that hath learned no wit by nature or art may complain of good breeding, or comes of a very dull kindred. — Shalcespeare. 10. *•' And the Lord God formed man of the dust of the ground, and breathed into his nostrils the breath of life, and the man became a living soul." How wonderful is breath I It comes to us in the soft summer morning laden with the perfume of flowers ; but ere it reaches us it has kissed a thou- sand scented leaves. The birds soar aloft in this mysterious ether, pouring their triumphal songs on its resonant bosom ; and the butterfly and buzzing insect, ''like winged flowers and flying gems," sparkle and shimmer in their dazzlmg beauty. But, whether it brings upon its waves the mutterings of the coming storm, or the merry, ringing laugh of childhood — the awful booming of the heavy cannonade, or the silvery tones of the violin — it is air, such as we breathe. Oh ! then let it become a thing of joy to us. Let us learn to make it a thing of beauty, wreathing embodied thoughts in vocal gems of purity and sweetness, that shall gladden the ears of all who listen. — Bronson. 11. External heat and cold had little influence on Scrooge. No warmth could warm, nor wintry weather chill him. No wind that blew was bitterer than he, no falling snow was more intent upon its purpose, no pelting rain less open to entreaty. Foul weather didn't know where to have CCe^EESATiONAL EXERCISES. him. The heaviest rain, and snow, and hail, and sleet, could boast of the advantage over him in only one respect. They often " came down " handsomely, and Scrooge never did.—' Dick&ns. 12. Oh, tell me, where did Katy live ? And -what did Katy do ? And was she very fair and young, And yet so wicked, too ? Did Katy love a naughty man. Or kiss more cheeks than one ? I warrant Katy did no more Than many a Kate has done. — 0. W. Hohnat, 13. "And when the middle of the afternoon came, from being a poor poverty-stricken boy in the morning, Tom Sawyer was literally rolling in wealth. He had, beside the things before mentioned, twelve marbles, part of a jew's-harp, a piece of blue-bottle glass, to look through, a spool cannon, a key that wouldn't unlock anything, a fragment of chalk, a glass-stopper of a decanter, a tin soldier, a couple of tadpoles, six fire-crackers, a kitten with only one eye, a brass door- knob, a dog-collai -but no dog, the handle of a knife, four pieces of orange-peel, and a dilapidated old window-sash."— Mark Twain. 14 . Fill thou each hour with what will last ; Buy up the moments as they go ; The life above, when this is past, Is the ripe fruit of life below. For further practice, use exercises under Simple Pure Qualit Jf, Medium Pitch, Medium Force and Medium Rate. For selections adapted to Conversational Reading, see Elocutionist's Annual, IS^o. 1, pages 49, 82 and 101; ]No. ^ pages 66 and 152; No. 3, page 42 ; No. 5, page 34. to nmcnCAL ELOCUTION. CONVERSATION IN ITS RELATION TO READING. a. ANALOGY. With reference to Expression, Conversation may be defined the utterance of our own thoughts in our own words, to one or a few individuals. Reading is the utterance of the author's thought in the author's words, to one or many individuals. We use, in Conversation, the same voice or material, and the same forms of sound, and call into exercise the same thoughts, feelings and passions as in Reading. The Cultivation of these powers for Conversation will give them cultivation for Reading, and inasmuch as we converse more than we read, it is at once apparent that we have in Conversation the greater opportunity for their cultivation. 6. DISTINCTION. The distinction between Conversation and Reading is two told. First. — Reading carries us beyond the province of Conversation^ whe'fi it is addressed to a large collection of persons. This dis- tinction involves the same consideration as the distinction between Conversation and Public Address, and will be treated under the next head. Second. — The Second distinction is found in the mechanical difficvMy of expressing the auUhor's language as naturally as we. do owr ovm. We have observed that Conversation is the expression of thought in our own words. These words being chosen from our common vocabulary, are familiar to the organs of speech, and are, therefore, uttered without labored effort. The same is true of conversational constructions. Such aonstructions are used as have become habitual to the OOirVEEfiATION IN IT8 RELATION TO HEADING. 51 speaker, and the mechanical labor of their utterance h avoided. In Reading, words and constructions are often foreign to the habit of the speaker, and their expression must nec^sarily manifest, at first, the mechanism of their utter- ance. It is, therefore, necessary, in Reading, to give that practice to the language which will render the utterance as familiar as that of our common Conversation. Note. — From the above, it is proper to observe that skill iu reading at sight can be acquired only by the habitual use of the words in common usage, and by familiarity with the various styles of written language. This suggests the im- portance of a broad vocabulary in familiar speech and of much reading aloud from writers of good style. C. MODELS. It has been shown in the above discussion, that when the aiUhor's language has become as familiar as our own there will exist a perfect analogy between Conversation and Reading. It has also been previously shown that Conversation is the original and natural source of all true expression. We will, therefore, find in correct and natural Conversation the truest and purest models from which to copy in our Reading. As the landscape or forest will furnish the painter original models for his art, so will Conversation furnish original models of sentiment, emotion and passion for the Reader's art. In reading, therefore, we should express the language of th^ author as we would utter the same language under the sa/me cir» eumstances in pure eorwersation, NoTK 1.— In Impersonation, the Reader will necessarily depart from th« baida Df his own Conversation to the imUaMon of the character impersonated. Note 2.— Intelligent Reading presupposes that the Reader comprehe/nd th« thought, and that in its escpression he sympathize with the author's meaning; t^ese re^airMuents prea«de the expression of language under all cireuzxtftancws. 8fi PRACTICAL ELOCUlKWr; CONVERSATION IN ITS RELATION TO PUBLIC ADDRESS. a. ANALOGY. Read carefully the corresponding discussion under the previous topic ; it has the same force and bearing in th« treatment of this division of the subject. h. DISTINCTION. Conversation and Public Address both concern the oon- veyance of thought to the individual. The distinction consists only in the greater accuracy and iTitensity necessary in Public Address to overcome the ob- stacles of number and space. This refers to the distinction between the delivery of the same sentence before the multitude, and its delivery to a single individual. Passages, differing in sentiment, will bt expressed differently in Conversation, and will preserve a cor- responding difference if delivered publicly. , ILLUSTRATION. European guides know about enough English to tangle everything up, so that a man can make neither head nor tail of it. They know their story by heart, — the history of every statue, painting, cathedral or other wonder they show you. They know it and tell it as a parrot would, — and if vou interrupt and throw them off the track, they have to go Dack an^ begin over again. All their lives long they are employed in showing strange things to foreigners and listen- ing to their bursts of admiration.— ** /Tinocen^* Abroad" — Mark Twain. England may as well dam up the waters of the Nile with bulrushes as to"^ fetter the step of Freedom, more proud and firm in this youthful land than where she treads the leques- oomrassATioN in rm delation to public addeess. M tared glens of Scotland, or couches herself among the mag- nific«nt mouHtain* of Switzerland. — Speech of James Oti$, But this Tery day, an honest man, my neighbor— there he stands — ^was struck — struck like a dog, by one who wore the badge of Ursini, because, forsooth, he tossed not high his ready cap in air, nor lifted up his voice in servile shoutSe at sight of that great ruffian ! — Rienzi to the Roman$. We have here three sentences differing widely in charaotfts and demanding different forms of expression ; the difference, however, exists in the sentences themselves — the first bein^f simply conversational, the second bold and oratorical^ the third impassioned and dramatic. This difference will manifest itself in their utterance in ^miliar discourse, where the key to th&ir individual expression will be found. Their delivery before the audience will in- Yolve no other distinction than that of increased accuracy and intensity. In each case the Conversational form, peculiar to th<3 sentence, should be carefully preserved. As the picture thrown upon the screen is preserved in form, but magnified in all its proportions, so in public speech, care should be exercised to preserve the natural or conversational form, while, in due proportion of voice and jwanner, there is added earnestness and intensity. KoTB.— Every student should make himself fkixixiliar with the following : Guide to Public Address. — The manner of expression by which I may convey a thought most impressively to a single individtial, will best convey it to two ; the only change dic- tated by nature or reason being such simple change as the alternation of the eye from one to the other. The same manner of expression will best convey the same thought to a dozen, with the necessary change in intensity of voice and gesture; this individual basis will famish the most impres- sxv© form for th« utterance of the same sentiment to a 34 PRACJTICAL SLOCfUTIOIf. thcu9and, supplemented by a power of voice and earnest- ness of gesture adapted to the Tvwmber and the »pace. Remarks. — Audiences are made up of individual 80ul«, not one of which loses ite individual character because in juxtaposition with another. The soul of an audience can only be reached by reaching the indimdvxil souls that compose it. An individual being addressed, each person regards himself the individual, and accordingly appropriates the thought; and each having received the thought, all have received it. We submit that there is no one fault among public speakers more common, or one more baneful than the habit of addressing a mass of individuals as if their souls had also massed, and that, therefore, they must resort to some unnat- ural and monstrous means of access to it. C. MODELS. Conversation being the source of all true expression, it toust be at once apparent that we shall here find our highest models for Public Speech, needing only enlargement accord- ing to the demand. Pure, chaste Conversation is at once the highest Oratory, and true Oratory should be so lost in pure fiimplicity that it shall be but noble Conversation. GENERAL SUMMARY OF CONVERSATION. Conversation is natural communication to the individual. All speech is natural communication to the individual; therefore all speech is Conversation. Reading and Public Address are but modified forms of Conversation, and are so closely allied to it that excellence in Conversation will se* 9ure excellence in Rea/ding and Public Address. PRINCIPLES. it ha* b«n f hown that the germs of Elocution are found native in pure Conversation. Principles will concern the processes of their growth and development. These germs lure found in Speech and Gesture, which are the two freal jnediums of communication. SPEECH. Speech is the most direct and the most important irmtra- ment for the conveyance of thought. By it men are put io possession of the thoughts and experiences of their fellow- men, so that the development of mind itself may be said to depend greatly upon Speech, The organs uniting in its production are the vocal organs for voice, the organs of speech for articulation, and the iTttel- lectuaX and emotional fa/yulties for expression. Hence the subdivisions — Voice, Articulation, Expression. NOTB. — ^Th© term organs of speech, as applied here, is used in its teohnieaa sense, aud incladM, prominently, tb« lips, toujnuB, teath« palaU and ma<«] VOICE. Voice is the principal ma4)erial of which 8p«ech is made. Its cultivation is closely related to the whole subject of Elocution, and therefor© claims the most careful attention of the student. Th« cultivation of the Voice will ddpend upon judicious 86 ^6 PRACTICAL EtOCUTlOK. exercise, in hArmony with the natural law of human d» velopment. Intelligent investigation and broad experience have eatab- liflhed the fact that voice is the product of a physical mechanism, as well-defined as the muscles of the arm or the tissue of the brain, and that its development follows a law of our being, as simple and as natural as that by which the arm moves or the brain thinks. It is, however, worthy of observation that the voice does not ordinarily receive power or culture, even from the most constant exercise, but it does not follow that it therefore departs from the recognized law of development, but rather that the customary habits of its use are unwise, mistaken, and founded in ignorance of its structure. The operations of the vocal instrument are so subtle and the liability to false practice so great, that it becomes a matter of primary impor- tance that the student be directed to its use in his earliest exercises. To this end voice is here presented, in its theory and practice^ under the two heads, Philosophy of Voice and Utterance. PHILOSOPHY OF VOICE. Philosophy of Voice concerns the structure of the instrument, its use, and its management, and therefore includes its anatomy, physiology and hygiene. Voice is the result of the vibratory motion produced by the action of breath upon the vocal cords. The parts imme- diately involved are therefore the Organs of Eespiration and the Vocal Cords. The lungs may be properly regarded aa the centre of th« Respiratory System. They are the great reservoirs, where the motive power of the Voice is concentrated. Directly beneath and immediately connected with the lungs is the diaphragm, or movable wall of muscular partition between the cavity of the chest and the cavity of the abdo- men. This, together with the abdominal muscles, which jtontrol its movements, may bq compared to the handle of PKNCTPLEa— UTTERANCE. %7 A bellows, of which the lungs constitute the l>ody. The application of power to these muscles, either in the act of breathing or speaking, is immediately communicated to the lungs, causing the escape of air, or exJmlation. The corresponding inhalation is controlled by the relg^xation of these muscles and the consequent depression of the dia- phragm. Their proper action constitutes the primary power of respiration, and therefore bears an important relation to the production of tone. Above the lungs, and connected with them by the trachea or windpipe, is that wonderful conformation of cartilages muscles and ligaments, known as the Larynx, in which are located the Vocal Cords, whence all tone or voice immediately proceeds. The Vocal Cords consist of two slight, elastic bands, situated in the larynx a short distance above its juncture with the trachea, and immediately below its outward projection, known as the "Adam's apple." These bands adhere so closely to the walls of the throat as to be scarcely distin- guishable by the aid of the laryngoscope ; but in the act of voice production they are thrown forward into the current of air escaping from the lungs, and the thin membrane^ covering their surface is thus excited to rapid vibration, which, receiving resonance and volume from the cavity ot the chest and from the mouth, escapes from the lip» a per* feet creation — voice. UUERANCE. From the preceding brief explanation, it will be easily understood that the parts of the system involved in the pro- duction of voice are, in the order of their use, the Abdomi- nal Muscles, the Lungs, and the Vocal Cords. The cavity of the mouth also contributes much to the purity and richness of the tone. These several parts exist in every perfect organization, and may be termed the muscular impiemeats of the human Toioe^ 88 KlACriCAL ELOCUTIOW. Utterance is the technical term given to all loundB emana. ting from this vocal instrument, whether whispered or vocalj and is the result of the opposition offered to the escape of the air-current, by the projection of the vocal cords across the trachea. Utterance, therefore, implies such an applica- tion of breath upon the vocal cords, and such control of them, as to produce sound or voice. It may be regarded simply as practical voice-production, and will he treated with reference to its development and its quality. DEVELOPMENL A well-developed voice imparts force and dignity to every relation of life. It is the first step toward culture in the art of Elocution. The distinctive aim in vocal development is to secure that purity, power and JiexibiMty which must unite to give character to the voice. Rapid and healthful development will depend upon correct breathing, combined with judicious, systematic and vigorou* vocal and physical exercise. BREATHING. Eespiration or breathing is defined as the process by which air is taken into the lungs and expelled from them. \t is the motive power of the voice. The following s««ms a natural order of treatment : a. What we breathe. 5. Why we breathe, c. How we breathe. d. Breathing exercises. Wlicd toe breathe. — Health, happiness and existence itself depend upon the quality of air we breathe. Fur© air alone can promote natural activity and buoyancy in the physi^3«f Why we breathe. — ^We breathe to flupply the system with oxygen ; to releave the body of waste and useless matter, and /or the purposes of speech — breathing being the great agent ol numan utterance. Respiration also proTuotes the heaUhy devel- opment of the parts by which it is carried on. The intercostal muscles are afforded exercise by breathing; the lungs are rendered capacious and flexible ; the muscles of the waist and back are strengthened, and the whole body is given added symmetry and comeliness. How we breathe. — Healthful respiration is carried on through the nostrils. This is illustrated, notably, in the breathing of animals, savages, and healthy children. The throat and lungsi are thus protected from the impurities and severity of the atmosphere, either of which tend* to produce irritation and disease. By the habit of deep and fuU inspiration. Every part within the whole range of the respiratoiy system should be ex- erted with each successive breath. Exercise is a condition of health and strength as absolute as food or air itself. Failmg for a time to exercise any part of this marvellous organism, we have weakened the part in proportion to the time it haa been inactive. Weakness begets weakness and diminished lung power will impair both the quality and the pewer of tho Toice. EXERCISES IN BREA THING. 1. Chest Breathing. — Relax the muscles of the chest. Take A full inspiration and expand the chest to its fullest capacity. me ; But shadows, clouds, and aarknees, rest upon it. — jLddittm, " John Maynard," with an anxiou» Toicf^ Th© captain cries once more, " Stand by the wheel five minutes yet, And we will reach the shore." 4, *Titi now the very witching time of night ; When churchyards yawn, and hell itself breatnes out Contagion to this world. — Shakspeare. h. liberty ! Freedom ! Tyranny is dead f — Bon hcnoe, proclaim, cry it about the streets. ^ — Shak^peare, 6. We sp«ad our years like a tal« tkat is told. Th« days PKINCIPLES — VOCAL EXERCISES. 47 of our years are three-score years and ten ; and if by reason of strength they be four-score yeai^, yet is their strength labor and soitow ; for it is soon cut off, and we fly away. —Bible. 7. He conquers the current, he gains on the iea, — Ho, where is the swimmer like Charlie Machree. — Williamn J. Hoppm. 8. Not a word, not a wail from a Up was let fall, Not a kiss from m}^ bride, not a look or low call Of love-note or courage, but on o'er the plain So steady and still, leaning low to the mane, Eode we on, rode we three, rode we nose and grey no««, Beaching long, breathing loud, like a creviced wind blows ; Yet we broke not a whisper, we breathed not a prayer. There was work to be done, there was death in the air. — Joaqmn MUkr, 9. Hushed the people's swelling murmur, Whilst the boy cries Joyously ; " Ring ! " he shouts, " E-mg ! grandpapa, Ring! oh, ring for Liberty ! " 10. " Ho ! a sail ! Ho ! a sail I " cried a man at the Iwi, "Hoi a sail!" and they turned their glad eyo« o'«r the sea. " They see us, they see us, the signal is waved ! They bear down upon us, they bear down upon u« : Huzza! we are saved." For selections containing additional examples of High and Low, see Elocutionist's Annual, No. 2, page 68 ; No. 1, pc^ •7 ; No. 8, page 31 ; No. 5, pag« 44. EXAMPLES IN EFFUSIVE. Ail in the wild March-morning, I heard the angels oftll; It was when the moon was setting, and th® dark was over all ; The trees began to whisper, and the wind began to roll, And in the wild March-m,oming I haajrd th^ca ©all my soul.— Tmm^on. PRACTICAL ELOCUTICf¥. 2. All day they flew, and all night they flew and flew, tlH they found a land where there was no winter — where there w^« summer all the time ; v/here flowers always blossom^, and birds alwa}'s sing. — Henry Vf'ard Beecher. 3. Blow, blow, thou winter wind, Thou art not so unkind , As man's ingratitude ; Thy tooth is not so keen, Because thou art not seen, Although thy breath be rude. — Shakspeare, 4. And he showed me a pure river of water of life, cleai 918 crystal, proceeding out of the throne of God and of ^e Lamb. — Bible. 5. How often, oh, how often, In the days that had gone by, I had stood on that bridge at midnight And gazed on that wave and sky 1 How often, oh, how often, I had wished that the ebbing tide Would bear me away on its bosom O'er the ocean wild and wide ! —Longfellow : " The Bridge,^ 6. In a little while the knell for each one of us will cease, and we will slumber with our fathers. But with Christian faith we can see light even in the darkness of the tomb. From above come voices of loved ones calling us heaven- ward ; and, listening, we long for the land of golden stre«tft, celestial light, and unfading glory. — Edward Brooks^ 7. And friends, dear friends, when it shall be That this low breath is gone from nie. And round my bier ye come to weep. Let one, most loving of you all, Say, " l^^ot a tear must o'er her fall ; Hegiveth His beloved sleep." — Mrs. Brovmrnff, For selections containing additional examples of Effusiv^ see Elocutionist's Annual, N'o. 5, page 78 ; Ko. 3, page ^ ; Ncx i, pages 139 and 159 ; No. 6, page 83, PRINCIPLES— tOCAL EXEKCIS25S, EXAMPLES IN EXPULSIVE 1. But it can not, shall not be; this great woe to our beloved country, this catastrophe for the cause of national freedom, this grievous calamity for the whole civilized world, ■it can not be, it shall not be. No, by the glorious Nineteenth of April, 1775 ; no, by the precious blood of Bunker Hill, of Princeton, of Saratoga, of King's Mountain, of Yorktown ; no, by the dear immortal memory of Washington, — that sor- row and shame shall never be.— ^. Everett. 2. And there shall be no night there ; and they need no candle, neither light of the sun ; for the Lord God giveth them light : and they shall reign for ever and ever. — Bible. 8. Friends : I come not here to talk. Ye know too well The story of our thralldom ; — we are slaves I The bright sun rises to his course, and lights A race of slaves ! He sets, and his last beam Falls on a slave !— if. R. Mitford. 4. Sink or smm, live or die, survive or perish, I give my hand and my heart to this vote ! Sir, before God I believe the hour is come. My judgment approves this measure ; and my whole heart is in it. All that I have, and all that I am, and all that I hope in this life, I am now ready to stake upon it ; and I leave off as I began, that, live or die, sur~ vive or perish, I am for the declaration. It is my living senti- ment, and, by the blessing of God, it shall be my dying senti. ment: — Independence iiow, and independence forever! — Daniel Webster : John Ada.ms. For selections containing additional example of ExpuLdve Force, see Elocutionist's Annual, No. 2, page 40 ; No. 6, p<«^ 109; No. 1, pagea 146 and 156. EXAMPLES IM EXPLOSIVE, h ** Down I down I " cried Mar, " your lances down ! B©ar back both friend and foe I " % My fate cries out, And makes each petty arteiy in this body As hardy a« the Nemean lion's nerve, — Btill am I called ; — unhand me, gentlemen :— • I say away : — Go on, I'll follow thee. — 8haktpcar§m S. No 1 thuB I rend the tyrant's chain, And fling him back a boy's disdain ! — Ann S. Stephens, 4. The British advance. " Now ui)on the rebels, charg*?* shouts the red-coat officer. They spring forward at the sam€ bound. Look I their bayonets almost touch the muzzles ol their rifles. At this moment the voice of the unknown rider was heard : " Now let them have it 1 Fire I " — Cha/rUs Sheppard. 5. Up with your ladders ! Quick I 'tis but a chance ! Be- hold, how fast the roaring flames advance I Quick 1 quick I hrav© spirits, to his rescue fly; Up I up I men! all! this hero must not die ! — Geo. M. Baker, For selections containing additional eiamplsf in Expio* give, see Elocutionlst'e Annual, No. 1, pag© 107 ; No. 4, page 60; No. 2, page 91. EXAMPLES W SWELL 1. Oh I Thou Eternal One I whose presence bright All space doth occupy — all motion guide ; Unchanged through time's all-devastating flight, Thou, only, God ! There is no God beaide. 2. Lord thou hast been our dwelling place in &V. genera* tiona. Before the mountains were brought forth, or evei thou hadst formed the earth and the world, even fronr «verlaBting to everlasting, thou art God. — Bibk. 3. O lonely tomb in Moab's land I O dark Beth-peor's hill ! Speak to these curious hearts of ocuajli And teach them to be still. PElNGlPUBS— VOCAL EXEROBIBS. 51 God hath his mysteries of grace, — Ways that we cannot tell ; He hides them deep, like the secret sleep Of him he loved so well.— C. F. Aleaxmd^. 4. "What a piece of work is a man ! How noble in reason ! 30W infinite in faculties ! in form and moving, how express and admirable ! in action, how like an angel ! in apprehen- sion, how like a god ! the beauty of the world ! the paragon of animals ! — Shakspeare. 5. And you, ye storms, howl out his greatness ! Let your thunders roll like drums in the march of the God of armies ! Let your lightnings write his name in fire on the midnight darkness ; let the illimitable void of space become one mouth for song ; and let the unnavigated ether, through its shore- less depths, bear through the infinite remote the name ol him whose goodness endureth forever ! — Spurgeon, For selections containing additional examples of Swell, «66 Elocutionist's Annual, No. 6, page 133 ; No. 1, page 125; No, 2f page 20; No. 5, page 9. EXAMPLES IN SUSTAINED^ fORCE. 1, And lo ! from the assembled crowd, There rose a shout prolonged and loud, That to the ocean seemed to say,— " Take her, O bridegroom, old and gray ; Take her to thy protecting arms, With all her youth, and all her charms ! " H. W. Longfellow, S. *• Ho ! sound the tocsin from my tower, and fire the culverin ; Bid each retainer arm with speed; call every vassal in !" ■—Alberi G. Greene. 3. Eing the alarum-bell : — Murder and treason ! Banquo, and Donabain ! Malcolm ! awake ' Shake off" this downy sleep, death's counterfeit^ And look on death itself !— up, up, and »^ 6® PEACTICAL ELOCUTION. The great doom's image — Malcolm ! Banquo ! As from your graves rise up, and walk like sprightly To countenance this horror 1 O Banquo ! Banquo ! — Shakspea/re. 4. And now the martyr is moving in triumphal march, mightier than when alive. — H. W. Beecher. 5. Ye call me chief; and ye do well to call him chief, who, for twelve long years, has met upon the arena every shape of man or beast the broad empire of Rome could furnish, and who never yet lowered his arm. — E. Kellogg, For selections containing additional examples of Sustained Force, see Elocutionist's Annual, No. 6, page 111; Na 4, page 121 ; No. 3, page 93. EXAMPLES IN TREMOR, 1, Farewell ! a long farewell ! to all my greatness. — Shakspea/re^ % " Can he desert us thus ? He knows I stay, Night after night in loneliness, to pray For his return — and yet he has no tear \ No ! No ! It cannot be I He will be here ! " — Coatea, S. We buried the old year in silence and sadness. To many it brought misfortune and affliction. The wife hath given her husband and the husband his wife at its stern be^ nest; the father hath consigned to its cold arms the son in whom his life centered, and the mother hath torn from hex^ bosom her tender babe and buried it and her heart in the oold, cold ground. — Edward Brooks. 4k Vital spark of heavenly flame, Quit, O quit this mortal frame ! Trembhng, hoping, lingering, flying, Oh ! the pain, the bliss of dying ! Cease fond Nature, cease thy etrife, <^d let cae languish into life I PRINCIPLES — ^VOCAL EXEiiCISES. 5, Save me, God, for the waters are come in unto mv 80Ui. I sink in deep mire where there is no standing : I am come into deep water where the floods overflow me. I am weary of ray crying : my throat is dried : mine eyes fail iwhile I wait for my God. — Bible. For selections containing additional examples of iTremor, see Elocutionist's Annual, No. 2, pages 9 and 151 ; No. 6, page 14 ; No. 1, page 113. EXAMPLES WITH FULL BREATHING, !• I listened, but I could not hear — I called, for I was wild with fear ; I knew ' twas hopeless, but my dread "Would not be thus admonished ; — I called and thought I heard a sound, I burst my chain with one strong bound, And rushed to him. — Byron. 2. Rouse, ye Romans ! rouse, ye slaves ! Have ye brave sons ? Look m the next fierce brawt. To see them die ! — Mitford. 8. Here I stand for impeachment or trial ! I dare ac«i- sation ! I defy the honorable gentleman ! I defy the gov- ernment! I defy their whole phalanx I Let theia oom« forth. — QraMan. 4. Hence: home, you idle creatures, get you fiomei You blocks, you stones, you worse than senBoli things ! " — Shakspeaire. For selections containing additional examples of Pull Breathing, see Elocutionist's Annual, No. 6, pag« 21 ; No. 4 page 124 ; No. 1, page 146, 54 PKAffncAi. tioocnws, GYMNASTICS, Physical force and muscular elasticity are indispensable to high attainment in vocal development. A vigorous and flexible tone can only be produced within a flexible and vigorous body. Vigor and flexibility of body are depend- ent upon exercise. It is a condition of professional life to lack opportunity of such manual labor as will develop strength of bi>dy. Even if manual labor were associated with intellectual, it would not give that symmetry of form and grace of movement so necessary to the speaker. Ex- ercises for the cultivation of physical strength and of ease in movement, were held in high esteem by the ancients, and are latterly receiving a degree of that attention which they deserve. The following exercises have been selected and adapted from Prof. Welch's System of Physical Culture. Such exercises have been taken from the different series of Free Gymnastics as are believed to be the best aids in the develop- taent of strength of voice and grace of action. FREE GYMNASTIC EXERCISES. FLKST ffKBTES. N«.ofstm]M. 1. Hands, . . • 4 2. Drum-beftt, • • • 2 3. Claps, • . • 2 4. Body, « 2 5. Head, . , * 2 6. Dumb-Bell», 8 1 7. Clubs, 1 8. Twisted Thrusts, . • 2 9. Touching floor with Hands, , 1 .0. Swaying, Swinging^ Arms, * 4 I^aiSCSCPLBS— OYMNASnOi. 56 SECOND SERIES. 1. Hand Movements down and up, 4 2. Hand Movements at Sides, 4 3. Eaising Arms, 4 4. Swinging Arms back, 1 5 Eaising Shoulders, 2 6. Elbows back, . . ' • 1 7. Thrusting from Arm-pits, 2 .8. Thrusting from Shoulders, • 2 9. Mast Movement, 1 10. Attitudes, . , , 4 KOTE 1. Position. — Heels together ; toes out, so that the feet mar form e right angle ; head erect ; shoulders and hips drawn back j chest forward ; hanos naturally at sides, unless otherwise specified. Note 2. Tme.— The system of numbering in the exercises is thi» : each numL)er extendi through what may be called one strain of 4-4 music, or eight accented and eight unaccented beats ; a-^d the time is kept by counting th» numerals from one to eight for the heavy beats, and for the light beats th» syllable " and." NoTB 3. The hands aro to bo firmly elinehed, unless on the hips or otlMV' wise specified. All thrusts ars from th9 chest unless othsrwiss spodflsd. EXPLANATION OF FIRST SERIES. HAND MOVEMENTS. 1. Thrust right hand down from the chest twice; left twice ; alternate twice ; simultaneous twice. 2. Eepeat No. 1, thrusting out at side. 3. Eepeat No. 1, thrusting up. 4. Eepeat No. 1, thrusting in front. 6. Eight hand down once; left once; dru'mrheat (right a Mttle in advance of left) once; siraultaneoua once; out at sides. 66 PRACTICAL KLcycunoN. 6. Eepeat No. 5, thrusting up and in front. 7. lUght hand down once ; left one© ; dap hand* ; same out at sides. 8. Eepeat Ko. 7, up and in front. BODY MOVEMENTS. 9. Hands on hips ; twist upper body half round to right, then to left, and repeat, stopping each time in front on the unaccented beats. 10. Bend upper body to right and left and repeat. 11. Bend forward, then back, and repeat. 12. Bend body to right, back, left, front; then reversoj bending to left^ back, right, becoming erect only on laat beat. HEAD MOVEMENTS. IS. Same as 9, except that the head alone is moved« 14. Same as 10, 15. Same as 11, " " " " 1«, Same a« 12, « « « a DUMB-BELLS. 17. Arms extended in front, thumbs up, raise hands •bout a foot, and bring forcibly to shoulders. CLUBS. 18. Arms horizontal in front; raise right hand to perpen- dicular over head twice; left twice; alternate twice, and simultaneous twice. TWISTED THRUSTS. If. Thrust hands down, out at sides, up ia front, twiitlag th« arms at sach thrust; repeat three tim«s. PBINCIPlJih-OYMHianCSB. TOUCHING FLOOR WITH HANDg. 20: Tlimst hands to floor, not bending knee« ; th«n OT«i head, rising on to^, opening hands at each thrust. SWAYING, SWINGING ARMS. 21. Stamp left foot, then right; then charge diagonally forward with right ; bend and straighten right knee ; at same Ume throwing arms bacK from horizontal in fi'ont. 22. Repeat No. 21, on left side. 23. Eepeat No. 21, diagonally backward on right sida. 24. Repeat No. 21, diagonally backward on left side. EXPLANATION OF SECOND SERIES. HAND MOVEMENTS, DOWN AND UP, 1. Thrust right hand down and up alternately through «ight beats. 2. Repeat No, 1 with left hand. 3. Alternate, right going down as left goes up, and vies 4. Simultaneous, both down, then both up. HAND MOVEMENTS AT SIDES. 5. Thrust right hand to right and left alternately through one strain, twisting body when thrusting to left. 6. Repeat No. 5 with left hand. 7- Thrust both hands alternately to right and left, twiating body. 8. Thrust both hands to right four time^; to left four times, iSM MOVEMENT. ^, Hands down at sides; raise stiff right arm forwuid orer WUCnCAL ELOOUTION. head four times ; left four times ; alternate four times ; aimaU taneous four times. 10. Eaise stiff right arm sideways over head four times; left four times ; alternate four times ; simultaneous four time*, SWINGING ARMS BACK. 11. Arms extended in front ; swing them back horizon- tally. ILilSING SHOULDERS. 12. Hands at sides ; raise right shoulder four times ; left &)ur times ; alternate four times ; simultaneous four timci. ELBOWS BACK. 18. Hand* on hips ; throw elbows back. THRUSTING FROM ARM-PITS. 14. Fists in arm-pits; Thrust right down four times; left four times ; alternate four times ; simultaneous four times 15. Fists upon the shoulders; repeat No. 14 thrusting upward. MAST MOVEMENT. 16. Hands OT«r h«ad ; sway body to right and left alter* nately. / ATTlTUJL>Bg, 17. Hands on hips, stamp left foot, then right; charge diagonally forward with right, looking over left shoulder. 18. Repeat No. 17, diagonally forward, left foot. 19. Bepeat ISTo. 17, diagonally back, right. $0. Bepeat No. 17, diagonally back, left. fRXiTCIIIuEi— QUALITY OF TOKSL QUALITY. The marrellous capacity of the human voice arises from its tidaptation to the ever-changing phases of human ex= pression. Under careful culture it attunes itself to the almost infinite diversity of thought and feeling. The terra " quality," when applied to tone, indicates those distinctive properties or characteristics which the voice should assume under these varying influences. These qualities constitute, of themselves, an unmistakable language, more potent even than words, and should be carefully cultivated by the student as the very alphabet of expression. Thought and emotion^ as the direct emanations of the heart, embrace not only the true, the beautiful, and the good, but through the efiects of sin, include its baser passions, and its weaknesses. In obedi- ence to this dominant law of mind and soul, voice finds its first natural division into Pure and Impure qualities, PURE QUALITY, Pure quality of voice is the language of pure thought ; it oroceeds from the combined and harmonious action of all ihe vocal parts, and is marked by a clear, smooth, and com- manding resonance, which is at once the result and the ex- ponent of a natural and serene condition of mind and body. In respect to its degrees of force and its varied field of ex- pression, it is divided into Simple Pure and Orotund. Simple pdee voice is the voice of pure conversation. It is the basis of all the other qualities of tone, and is the natural starting-point of culture. Here common faults of voice must be overcome, and correct habits permanently estal>- Hshed ; and since upon the proper understanding and pro- duction of this tone all subsequent culture must depend, the 60 wucricAL iLoouTioir. poeseaaion of absolute purity here cannot be too strongly in. sisted upon. The student should secure this quality before attempting to practice the impure tones. It corrc8))ondM with the natural, aa deacribed in the " Table of Vocal Exer- cises," on page 41, and the direction for it« production there given, should be carofnlly followed. Simple Pure Voice is uncd in simple narration, plain de- scription, and the great field of unemotional language. Orotund Voice is the symmetrical enlargement of Simple' Pure Voice, and is produced by a corresponding expansion of all the organs used in the production of natural tone. This quality of tono in its full development may be jiowtly termed the highest cliaracter of human utterance. It com- bines the two gi'eat essentials of perfect speech, purity and power, and unites in its production the highest purpose of mind and the best condition of body. Orotund Voice is the language of sublime and exalte^J thouglit, lofty ««ntiment, and grand description. EXAMPLES OF SIMPLE PURE. 1. She was dead. No sleep so beautiful and calm, bo free from trace of pain, so fair to look upon. She seemed a orea- ture fresh from the hand of God, and waiting for the breath of life; not one who had lived and suffered death. —Chmlea Dickens . Two brown heads with tossing curli, Hed lips shutting over pearls. Bare feet, white ajid wet with dew, Two eyes black and two eyes blue- Little boy and girl were they, Katie Lee and Willie Gray. t. But of all the old sweet treasures that gamiflb my neei. There's one that I love and I cherish the best ; For the finest of couches that's padded with hair I never would change thee, my cane-bottom'd chair. fRDsCEPLES — ^iCALirr OF T^sscaL 61 *Rs a btindy-Iegged. high-shouldered, worm-^aten s«at, "V\lth a oreaking old baok and twisted old feet ; But, since the tair inoming when Fannie sat there, I bless the<\ iind love thee^ my Ciine-botionrd chair. 4. Clw!*/ef5. — That you have wTonged me doth appear in this i You have condemned and noted Lucius Pella For taking bribes here of the Sardians ; Wherein my letters, pmying on his side» Because I knew the man. were slightev,! off. Brutus. — ^You wronged yourself to write in such » ca««, Cb^^ifj.*. — In such a time as this, it is not meet Tliat every nice offence should bear its comment. Brutii^. — Yet let me tell you. Cabins, you yourself Are much condemned to have an itching palm. To sell and mart yor.r ^V vr gold To undeservers. — ^S-'s.. o. I should think mj-self a criminal, if I said anytliing to chill the entliusitism of the young scholar, or to dash with any scepticism his longing and his hope. He has chosen the highest. His beautitul "feith, and his aj^pinition, are the light of life. Without his fresh enthusiasm, and his gtiUant devotion to learning, to art, to culture, the world would b« dreary enough. — 0^' PudU'i/ Warner. 6. Tlie Lord is my shepherd; I shall not want. He maketh me to lie down in green pastures : he leadeth me l>eside the still Avatei^. He restoreth my soul : he leadeth me in the paths of righteousness for his "name's sake. Yea, though I walk through the vallev of the shadow of death, 1 will fear no evil : for thou art wit\\ me ; thy rod and thy stalf they comfort me. Tliou preparest a table before me in the presence of mine enemies : thvni anointt^t my head with oil ; my cup ruimeth over. Surely* govxlness and mercy shall follow me all the days of my life : and I will dwell ia tha house of the Lord forever. — Bible, EXAMPLES OF OROTUND. 1. Who is the champion T who ihe strong? Toniiffand priest, and sceptered throng f Oil those aliall fall da PRACTIOAL ELOCUTiOfr. As heavily the hand of Death, As when it stays the shepherd's breath, Beside his stall ! — Henry W. JUmgfeUo^, 2. It took Eome three hundred years to die ; and our death, if we perish, will be as much more terrific as our in- , tellig-ence and free institutions have given to us more bone and sinew and vitality. May God hide me from the day when the dying agonies of my country shall begin ! O thou beloved land, bound together by the ties of brotherhood, and common interest, and perils, live forever — one and undivided ! — Lyman Beecher. 3. Not wholly lost, O Father ! is this evil world of ours ; Upward, through its blood and ashes, spring afresh the Eden flowers ; From its smoking hill of battle, Love and Pity send their prayer, And still thy wliite-winged angels hover dimly in our air. — John G. Whittier. 4. Thy right hand, Lord, is become glorious in power : thy right hand, C Lord, hath dashed in pieces the enemy, and in the greatness of thine excellency thou hast overthrown them that rose up against thee : thou sendest forth thy wrath which consumed them as gtubble. And with the blast of thy nostrils the waters were gathered together : the floods sk)od upright as an heap, and the depths were congealed id the heart of the sea. — Bible. Portia — The quality of mercy is not strained ; It droppeth as the gentle rain from heaven TJpru the place beneath; it is twice blessed ; It bJesseth him that gives, and him that takes. 'Tis mightiest in the m.ightiest. It becomes The throned monarch better than his crown : His sceptre shows the force of temporal power, The attribute to awe and majesty. Wherein doth sit the dread and fear of kin^J But mercy is above this sceptered sway ; It is enthroned in the hearts of kings ; It is an attribute to God himself; PRINCIPLES— QUALITY OF VOICE. 0% And earthly power doth then shov/ likest God^s When mercy seasons justice. —Shakspeare. 6. I do not fear to approach the omnipotent J udge, to answer for the conduct of my whole life ; and am I to be ap- palled and falsified by a mere remnant of mortality here? By you, too, who, if it were possible to collect all the inno- cent blood that you have shed in your unhallowed ministry in one great reservoir, your lordship might swim in it. —Robert Eiivmd, IMPURE QUALITY. Impure voice denotes a disturbed condition of mind, and results from a corresponding unnatural and unequal effort upon the vocal cords. It varies in form and character ac- cording to the prevailing trait of the passion of which it becomes the language. Impure voice is subdivided into Pectoral, Guttural, Aspi» rated and Falsetto. These subdivisions, with their natural modifications of intensity, cover an important field of expression. It should, however, be understood that these divisions are not arbi- trary creations of the elocutionist, but are the natural phy- sical efiecte of passion, as revealed by observation and study. It is an established physiological fact that when the soul be- comes agitated by some violent emotion, the nervous im- pulse thus awakened, rushing through the avenues of the ix)dy, becomes suddenly the controlling agency of the whole physical system. The eye flashes, the muscles of the face and arm betray the newly awakened influence, and, in sym- pathy with this general physical excitement, the vocal organs are disturbed, and the voice mstantly reflects this changed relation. It loses its natural purity and becomes the agent and symbol of the passion that propels it. To this is due the rigidity of the cords in the harsh, steely tone of hatred, their •'^.nritural tension in the language of terror, and the whols M PRACTICAL ELOCUTION. phenomena of voice transition. Indeed, so marked ig this physical relation between passion and tone that it is at once recognized by every condition of man, and even by the brute creation. PECTORAL. The Pectoral quality of voice is used in the expression of remorse, horror, dread, deep solemnity, and in the represen- tation of the supernatural. It is the result of a relaxed condi- tion of the vocal cords and a feeble and lifelees action of the abdominal muscles. GUTTURAL. The Guttural quality of voice is known as a throat tone. When carefully controlled, it is an element of great power and energy. It denotes all those states of mind classed under dislike and ill-humor. It also appears in the ferocity of rage and revenge. The prominent characteristic of this tone is its harsh, discordant quality, produced by the com- pression and partial closing of the throat above the glottis. Note. — This form of impurity is the most preralent fault of voice; And tho greatest care should be taken to confine it to the expression of the sentinentB above enumerated. ASPIRATED. The Aspirate quality of voice is the language of secrecy, caution, surprise, fear, and certain forms of anger. It arisea from the escape of unvocalized breath and may connist of any of the other qualities of voice, modified by strong breftth- ing. It also includes the whisper. FALSETTO. Falsetto voice is generally produced aboTe the natural tone, and is used in the imitation of high female voices, in the voices of children, and in affectation, terror, &c. PmiNCaPLBS— -QUALITY OF VdlOE. id EXAMPLES IN PECTORAL QUALITY. 1. I am thy father's spirit ; Doomed for a certain term to walk the night ; And for the day, confined to fast in fires, Till the foul crimes, done in my days of nature. Are burned and purged away. But, that I am forbicj To tell the secrets of my prison-house, I could a tale unfold, whose lightest word Would harrow up thy soul ; freeze thy young blood ; Make thy two eyes, like stars, start from their sphere* ; Thy knotted and combined locks to part, And each particular hair to stand on end, Like quills upon the fretful porcupine. But this eternal blazon must not be To ears of flesh and blood. List, list, Oh, Hst ! — If thou didst ever thy dear father love. — Shakspsare. & Oh, I have passed a miserable night, So full of ugly sights, of ghastly dreams. That, as I am a Christian faithful man, I would not spend another such a night, Though t'were to buy a world of happy dayi, So full of dismal terror was the time ! — Shakspeare. 8. But at midnight, — strange, mystic hour ! — when the reil between the frail present and the eternal future grows thin, — ^then came the messenger ! — Harriet Beecher Stowe. 4. They're gone, they're gone ! the glimmering spark hath fled! The wife and child are numbered with the dead. On the cold earth outstretched in solemn rest. The babe lay frozen on its mother's breast : The gambler came at last — but all was o'er — Dread silence reigned around : — th» clock ftruck four ! — Coaie: For ielections containing additional examplei of Pectoral, see Elocutionist's Annual, No. 1, page 87 ; No. 2, page 40 ; No. 3, page 126 1 No, 4, page 1X5. PHACnCAL KLOOUTIOBT. EXAMPLES IN GUTTURAL QUALITY.) 1. I know the difficulty the honorable gentleman labored under when he attacked me, conscious that, on a compara- tive view of our characters, public and private, there is nothing he could say which would injure me. The public would not believe the charge. I despise the falsehood. If Buch a charge were made by an honest man, I would answer it in the manner I shall do before I sit down. But I shall first reply to it when not made by an honest man. — H. Graitcm. 2. I'll have my bond ; I will not hear thee speak : I'll have my bond ; and therefore speak no more. I'll not be made a soft and dull-eyed fool. To shake the head, relent, and sigh; and yield To Christian intercessors. Follow not; I'll have no more speaking . I will have my bond. — Shakspeare, 8. I could have bid you live, had life been to you th» same weary and wasting burden that it is to rae — that it is to every noble and generous mind. But you — wretch ! you could creep through the world unaffected by its various dis- graces, its ineffable miseries, its constantly accumulating masses of crime and sorrow, — you could live and enjoy your- self, while the noble-minded are betrayed, while nameless and birthless villains tread on tiie neck of the brave and long-descended ; — you could enjoy yourself like a butcher's dog in the shambles, fattening on garbage, while the slaugh^ ter of the brave went on around you ! This enjoyment you shall not live to partake of, you shall die, base dog ! — and that before yon cloud has passed over the sun. — Scott. 4. And it came to pass at noon, that Elijah mocked them, and said, Cry aloud ; for he is a god : either he is talking, o: Yi'i is pursuing, or he is in a journey, or peradventure h€ slsepeth. and must be awaked. — B'ihle. Prom the heads of kings I have torn the crown, iVom the heights of fame I have hurled men down j I have blasted many an honored name ; I have taken virtue, and given shame ; PRINCIPLES — QUALITY OF VOICE. I have tempted the youth with a sip, a tast«, Which has made his future a barren waste. —EUa Whedat, For selections containing additional examples of Guttural, see Elocutionist's Annual, No. 3, page 64 ; No. 5, page 133 ; Ko. 3, page 140. EXAMPLES IN ASPIRATED QUALITY. 1. Hark ! they whisper : angels say, " Sister spirit, come away." What is this absorbs me quite, Steals my senses, shuts my sight, Drowns my spirit, draws my breath ? Tell me, my soul, can this be death ? — Pope, 2, Thou sure and firm-set earth ! Hear not my steps, which way they walk ; for fear The very stones prate of my whereabout. — Shakspeare. 8. Soldiers I you are now within a few steps of the enemy's outposts. Our scouts report them as slumbering in parties around their watch-fires, and utterly unprepared for our approach, A swift and noiseless advance around that projecting rock and we are upon them. We capture them without the possibility of resistance. Forward ! 4. They are famished ; Let them do what best delights them ; Let them eat, for they are famished. — H. W. Longfellow. 6. Ye're there, but yet I see you not ; draw forth each trusty sword, And lat me hear your faithful steel clash once around my board ; I hearit faintly; — ^louder yet! What clogs my heavy Hjjreath ? 1^, all! and §hout for Rudiger, " Defiance unto death ! " ** PRACTICAL ELOCDTION. For selections containing additional examples of Aspirated see Elocutionist's Annual, No. 3, page 126; No. 2, pag4 117; No. 4, page 163. EXAMPLES IN FALSETTO QUALITY. 1. I beg your pardon, I thought my father wa& — or might be — dear me, how very awkward ! I never knew any- thing happen so cross. I am very sorry I intruded. If I had n't thought my father was here, I would n't, upon any ac- count, have — it is very provoking — miust look very strange ! — Dickem. 2. " Ephraim ! " said she, the tears rolling down her cheeks and the smiles coursing up. " Why, what is it, Ara- mathea?" «aid the astonished Mr. Jones, smartly rubbing his head where it had come in contact with the lounge. "Baby!" she gasped. Mr. Jones turned pale and com- rneaced to sweat. " Baby ! " " O, O, O, Ephraim I Baby has — baby has got — a little toothey, oh ! oh ! " — Davbury News Man, 3. And from the crowd beneath, in accents wild, A mother screams, •' O God ! my child ! my child ! " — George M. Baker. 4. Will the New Year come to-night, mamma ? I'm tired of waiting so. My stocking hung by the chimney side full three long days ago. I run to peep within the door, by morning's early light, Tis empty still— Oh, say, mamma, will New Year come to-night? -^Cora M. Eager. 5. Yes, it is worth talking of! But that's how you always try to put me down. You fly into a rage, and then, if I only try to speak, you won't hear me. That's how you men always will have all the talk to yourselves : a poor woman is n't allowed to get a word in. — Douglas Jerrold. For selections containing additional examples of Falsetto, see Elocutionist's Annual, No. 1, page 96 ; No. 2, page 46 ^ No. 5, page 89 ; No. 5, page 96. ARTICULATION. Articulation consists in a correct and distinct utterance of tlie elementary sounds in syllables and words. In nearly all of the many definitions given by lexicographers and elocutionists, the prevailing idea has been distinctness. While this idea is a proper one, it is possible to be distinct and yet not correct, in which case the very distinctness makes the incorrectness more apparent. In the process of articulation the organs of speech constitute what may be termed a set of moulds, capa- ble of changing position at will, and any imperfection in the moulds, or in their arrangement, will produce a correspond- ing imperfection in the utterance. In articulation as in morals, we have to answer for sins of omission as well as of commission. Our articulation is faulty not simply in the incorrect sounds we make, but also in the correct sounds we too frequently suppress. The ear should be trained to distinguish the finer shades of difference in sounds, and the organs of speech should be carefully and persistently drilled until they are able to produce, promptly and with ease, all the sounds of the language, in all their varied and complex combinations. It is believed that a care- ful study and practice of the exercises here given will acoom* plish that result. Aa to the importance of Articulation, there can h% but on« opinion. The distinctness and polish which it gives to spoech are quickly recognized, even by those whose usage is a ead ireiieotion upon that importancec 9^ 70 PRACTICAL ELOCUTION. In the strict sense of the term, Articulation would be regarded as a division or department of Pronimciation ; but for convenience it "will here be given a broader signification, and be made to include some exercises in Pronunciation. The question is frequently asked, What is the standard of pronunciation ? Dr. Worcester says, " The pronunciation of the English language, like that of all living languages, is in a great measure arbitrary. It is exposed to the caprices of fashion and taste. It is liable to change from one age to another ; and it varies, more or less, not only in the diflferent and distantly separated countries in which it is spoken, but also in the different divisions and districts of the same coun- try. No two speakers or orthoepists, though inhabitants of the same place, would be likely to agree in the pronuncia- tion of all its words. The standard of pronunciation is not the authority of any dictionary, or of any orthoepist; but it is the present usage of literary and well-bred society." H© then proceeds to show that the usage of the best society in London is entitled to far more consideration than that of any other city, but adds, in the next sentence, that the usage of the best society in the place or district in which one resides is not to be disregarded. While the latter suggestion might prove a convenience to many, it must be accepted with great caution. There are many districts in this country, as well as in England, which can scarcely boast of much " best society." Even in places claiming men eminent in many departments of learning, the utter recklessness and disregard of the prop- er forms of spoken language which so generally prevail, would render the pronunciation of such men wholly unwor- thy as models. Not long since, a student remarked, in justification of his pronunciation, " Our pastor pronounces e-a-l-m, cam, and he is a very intelligent man." The argu- ment is a very common, though not a very safe, one. With all due deference to Dr. Worcester's remark that the authority of any dictionary is not the standard of pro- nunciation, we believe that very few persona in Ajaerica, search beyond Webster and Worcester for tli9ir models. It is the business of the dictionary to present the best usage of the best society, whether it be that of London, Boston, or any other city. The revisions of the dictionary should and do keep pace with the progress and changes of language. While some person must be first, and some other person last, in this process of change, yet Pope's rule m regar«i to uew words may be fitly applied here : In -words, as fashions, the same rule -will hold 5 Alike fantastic, if too new or old; Be not tli8 first by whom the new are tried, Nor yet the last to lay the old aside. The question is frequently asked, Which is preferrscf. Webster or Worcester ? Much has been written, and a grear deal of time wasted in the attempt to prove the superiority of one to the other. The extent to which Webster is used is the very strongest indorsement in itself; and when, witb that, we couple the testimony of the best scholars in this country and in England, it seems like pedantry or bigotry to say he is unworthy of recognition as a standard. The extent to which Worcester is used is also the very strongest indorsement ; and when we find him. to be approved by men equally renowned, we must recognize him as equally high authority. The truth is, they differ less widely than many persons suppose ; and when they difier, we have the advan- tage of a choice of pronunciation. When Webster aaya eglantine or eglantine, and Worcester says eglantine or eglantine, they agree, not only in recognizing the two forms, but also in showing their preference for the first. If our respect for their common preference be our controlling motive, we will pronounce the word eglantine. But if our pastor, or our doctor, or the judge of our county court, or the " best society " in which we move, uses the second form, and our desire to conform to such usage is greater than oui respect for the joint preference of Webster and Worcestei;, we have the fullest freedom to use the second form. 72 PKACnCAL ELOCUTION. When these lexicographers give two forms each of pror Douncing the same word, they frequently reverse the order, thus differing in their preference, and, it is to be hoped, for other reasons than to differ. When Webster says sliver oi silver, and Worcester says silver or slive)-, we may have one oi several motives to govern our choice. We may take the preferred form of our preferred authority ; we may be gov- erned by home usage or our best society ; or we may call in Smart or some other eminent English orthoepist to act as umpire. When Webster gives two forms and Worcester gives but one, or vice versa, if the one form agrees with either of the two forms of the other authority, as in most instances it will, then the weight of authority would seem to be in favor of the form which they give in common. Yet if home usage is in harmony with the other form, that usage may assert its privi- lege even to the exclusion of the other authority. If Webster says vase (pronounced vace) and Worcester says vase (pro- nounced vaze) or vase, the weight of authority seems to be in favor of vase (pronounced vace) yet home usage, or a third orthoepist, may decide otherwise. If Webster says c^m'^-ent or ce-meni^, and Worcester says cim^-ent, the case is clearer, for Worcester's only form agrees with Webster's preferred form ; yet even here, home usage, or a third orthoepist, or both combined, may decide in favoi of ce-menV. When Webster says somber and Worcester sombre, we are compelled to make a choice, and will make it, doubtless, by some of the methods already suggested. Most persons use but one dictionary, and will, therefore, follow the dictum of that one, but in these days of cheap books and close attention to forms of pronunciation, it would be well to have not only a quarto edition of one of our stand- ard lexicographers, but also one of the better abridged editfbns of the other. This is necessary, not so much tc asBur© ourselves that we are right, for we may be right by tiie use of one dictionary, but rather to be assured that oui neighbor is not wrong. In our study of pronunciation, ABTICULATION. 9| instead of trying to be strictly in harmony with one ot i!:e recognized authorities, and ignoring the other, we should aim, rather, to be not opposed to both. The reader will observe that in this discussion, we have had reference sim- ply to Pronunciation. The change from an old form of pronunciation to a new one is always attended with discomfort for a while. I^ is like donning a new hat or wearing a pair of shoes for the first time. We feel ill at ease, and imaguie everybody recog- nizes our discomposure. But the new form, by constant use, grows to fit the mouth, as the new shoes become easy to the feet. To one who has pronounced c-a-l-f, hdfj for many years, the change to kdf may make him feel not unlike that animal for a time, but a knowledge of the fact that the latter form alone is right should stimulate him to overcome all opposing difficulties. The first thing necessary is the acquaintance of the ear and its acceptance of the new form ; for the ear, like timid children, will not receive a stranger willingly. Many repetitions of the new form aloud, will beget ease in its utterance, and accustom the ear to its sound, and after much private practice of this kind, the learner need not hesitate to use it in conversation or reading. Con- fidence is victory ; timidity defeat. If the student will make it a habit to consult the dictionary whenever he hears a form of pronunciation unlike his own, and make a careful list of the words in which his usage is incorrect, and correct those words in the manner suggested above, he will find his ear and his tongue keeping pace in the new work, the former acquiring the power to discriminate very closely, and the latter the power to make the finer distinctions with ease, so that that which at first may be a task, will grow to be a source of never-failing delight. 74 EEACTICAL ELOCUTKMr. EXERCISES IN ARTICULATIOK With Suggestions to Teachers and Students. Th# foUowmg exerciees were arranged several years ago^ for use in ths classes of the National School of Elocution and Oratory, with no thought of their appearance in a book. The matter was gathered from various sources, some of it being used without change, while much of it has been given new shape and adapted mora fully to our purpose. The old and the new have been so thoroughly mingled, that to-day it would be difficult to make acknowledgment where acknowl- edgment might be due. When every claim has been satisfied, it is believed enough will still remain to commend the ex* ercises to all wh© aspire after correct and distinct enuncia* tion. To some, the arrangement may seem illogical and the exercises disjointed, but it must be remembered that this does not aim to be a systematic treatise upon the theory of ai*ticulation, but rather a series of practical and progress- ive exercises, designed to promote good articulation. These exercises have been thoroughly tested in the class-room and their value full}'' established. A thorough acquaintance with the elementary sounds of the language lies at the foundation of good articulation. Instead of presenting the table of elements at the outset, experience has shown that it is better to lead the student to that closer discrimination which the table involves, by a careful system of spelling exercises. This inductive method greatly simplifies the task by showing the student that the analysis or spelling is nothing more than simply separating the sounds, which, in combination he has long been «,ccus- tomed to us^. ARTICULATION— PHONIC ANALYSIS. 76 The division into lessons, here indicated, is not essential. being a mere matter of convenience in our classes as adapt ed to the length of the recitations. To THB TsACHEa.— In the spelling exercises, have the class pronounce the word mai in a firm conversational tone. Then, prolong the word seventl seconds, being careful to distribute the time as equally as possible upon tiie eereral sounds. The t sound cannot be much prolonged, but it should be mafle sharp and clear. The m should be as long as the a. This -will set out the several sounds in the word conspicuously, and prepare the student for the third step, which is the analysis. In the prolonged form it is weil to use the monotone, so that the slide or inflection may not call the attention away from the final sound. When the word has been thus pronounced, have the class reproduce the first sound alone, then the second, then the third. If the first be given correctly and the second incorrectly, set aside the m sound, and have theni re- peat what remains of the word (ai), listening closely for the first sound iiow made. Proceeding slowly and carefully in this way, the student will soon come to enjoy what will be to him the discovery of a new power. Insist upon his ignoring the letters, and have him depend entirely upon the sound. For this purpose the teacher should pronounce the words of the first lesson wltiiouJ the students having seen them previously, or even seeing them at the time of spelling. The simplest words have been selected, and some of the sounds are frequently repeated so as to make the task as light as possible. The five *teps in the process of phonic analysis are as follows : 1st. Teacher pronounce* the word in a firm, natural tone. 2d. Class pronounce the word in the 8am<> ton© as nearly as possible. 3d. Class prolong the word. 4th. Class utter the separate sounds of the word. 5th. Class pronounce the word in a simple, natural man- ner. The word having been pronounced by the teacher, the work of the 9lam may be suggested to the eye by the following arrangement: mat m - - a - - t m a t mat The bat step is designed to give grsater completeness to th* process of an&Iy sis. Without it, the work would seem unfinished. If the pupils have much tlficultj in properly prolrolonging it, have them repeat the proceBS a number of times, enlarglBi «lightiy at first and increasing in length each time until the sereral •oundi hang together by so feeble a thread that they may be readily separated. Tkia «ay be represented thus : mat m - a - t m - - a - - * m - - a - - t m - - a - t m a - ■ t m a • . t m a mat t The exercises may be nicely varied, and with great interest and profit too, by the employment of the synthetic method, the teacher giving the several sounds •f a word widely separated, and requiring the class to put them more and more slosely, until they combine to form the word. This proowa laay b« represented lo the eye by reversing the above arraogeuent, thiu: Teacher: CUias: m a t m • • a • • t m — • a m - t m - a - t m - - a - - t m - - a - - t m - a - mat t After the words have been spelled in concert, they should be reepelleft by tbe Individual members of the class. The second exercise of this lesson is designed to give praf:!tlce in the use of the sound of wh, and is especially designed for those who say teoi, wen, wich, tpil«, yfy, for what, when, which, while, why. Believing that a single short exercise, asa>ny times re|teated and thoroughly mastered, will give greater 8tren§tb and ARTICUIATION— PHONIO ANALYSIS. 77 skill than many long and intricate ones, we recommend that a fev simple ■exercises be committed to memory. They are thus available at any time, and will often be practiced when they would not be if their practice depended upon having the book in hand. 1. Spell by sound — mat lap jam hem fit cog nut cut yelp f-it ham ten get hip fog fim rnm bold sat pan net sin fig hop tub vat dust fail man set pin rim log gum wag wend sjan rat keg sit sip mug sun zest gill 2. Commit to memory — What whim led White Wliitney to whittle, whistle, whis- per, and whimper near the whar^ where a floundering whal© might wh«el and whirl? n. To THTB TBAcatBa.— Th» obserratlonB in the first lesson wHl apply wltk •qtud force to the first and third divisions of this. The second exercise has a double purpose. By a gradual inductive process we pass from simple monosyllable* containii^ the long and short vowel sounds to those sounds as individual ele- ments. We also lay a basis for a series of exercises continued through a num- ber of lessons, the advantage oi which exercises will become more ap^ jnt as we proceed. Be careful to have the class give the short vowel sonnds correctly; the long vowel sounds will present but little difficulty. 1. Spell by sound- band glad rant span tramp shad cash chat flag smash that thrash bench jest kept trench thick went whelp inch fish midst whist swim swing thong flog prompt blush bunch snug sham chum thump shrub child both charm marsh yard bald Bait bush broil ground push spoil BOUth whale twine thrive thine flume flute 78 PRACTICAL ELOCUTIOir. 2. Pronounce firmly — mate mete mite mote mute Pronounce firmly — mat met mit mot mut Alternate several times — mate i mete i mite I mote I mute | boon | boil mat I met | mit I mot I mut | book | bout Dropping the first sound in the above words, repeat — ate I ete I ite | ote I ute | oon j oil at I et I it I ot I ut | ook | out Dropping the last sound in the above words, repeat— a|e|ilo|u|o&|oi 8. Commit to memory — Amidst the mists and coldest frosts, With stoutest wrists and loudest boast| He thrusts his fists against the posts. And still insists he sees the ghosts. JUWICULATION. in. To THK Tbachee.— The sounds of b, d, g, w and y are generally regarde 7 8 I e Ik i ce I 18 A f ar e A 9 f i n f 19 S er se 10 6 Id a 20 orb 11 6 n 5 21 tJ ur n ^r^fl/A Sounds. 1 /sn 4 p in a s% am 2 h&t 5 sun 9 th in 3 kid 6 7 . spaDiel suavity tedious trivial £Ouave 2. alien folio banian bestial caisson cordial fealty- finale genial genius jovial prescience umbrageous homoeopathic jujube sociable allegiance ignominious junior sociality ambrosial impartiality ordeal unctuous ameliorate inconvenience olio aphelion appreciate surveillance mollient morale nausea nauseous nescience pannier peculiar premier rationale ambrosia beauteous bestiality biennial bivouac bounteous breviary courteous flageolet guardian imagery associate auxiliary casualty cerements congenial convenient convivial egregious emollient magnesia magnolia Christianity discourteous fiduciary herbaceous immediate ingenious ingratiate ingredient initiate XVI. 1. The letter b following m in the same syllable, is gen- erally silent, as in lamb, limb, numb, tomb, &c., but in rhomb and succumb, it is retained. 2. The sound of sh is often incorrectly made like zh in such words as Asia, Asiatic, nausea, nauseous, Persia, Persian. 3. The sound of t in the termination tie following s is gen- erally suppressed ; as, apostle, epistle, thistle, whistle, bustle, hustle, castle, jostle. 4. Care should be taken to preserve the aspirate or breath sound of th in the plurals truths, youths, breaths. In the plurals baths, laths, paths, moths, cloths, oaths, mouths, sheaths, swaths, wreaths, the th is vocal. It is also vocal in booth and booths, but aspirate in withe and withes. In the adjective forms, as, blithe, lithe, and in the verb forms bath©, clothe, mouth, sheathe, wreathe,