m^V^ '^i ^OT LIBRARY OF CONGRESS, Cliap,, Copyright No... Shelf„P_ N__4 \ I \ 3/ r ^^,«» UNITED STATES OF AMERICA. ELEMENTS ofEXPRESSION VOCAL AND PHYSICAL BY REV. PHILIP 'Williams, o. s. b., AND YEN. PR. CELESTINE SULLIVAN, O. S. B., PROFESSORS OF ELOCUTION AT St. BENEDICT'S COLLEGE, ATCHISON. KANSAS. And they read in the book of the law of God distinctly and plainly to he understood; and they understood when it w^as read. — II. JEsdras, VIII., 8. SECOND REVISED EDITION. /<^^^ ^^VgJ^ OCT 6 ^B% I ABBEY STUDENT, '^'^^'A^A " ^^— 'S COLLEGE, ATCHISON. KANSAS. * \ ST. BENEDICT'S COLLEGE, ATCHISON, KANSAS. 1896. (Copyright, 1895, BY St. Benedict's College. TO THE STUDENTS Of St. Benedict's College, whose ardent interest in the noble science and art of expression has encouraged us in our labor, and" to ail students of Elocution, we respectfully dedicate this volume. PREFACE TO THE FIRST EDITION. Elocution is a science and an art. When the art absorbs the science, naturalness will be the result, for ^ 'art at its highest and nature at its truest ar^ one." Some professors of this noble art, when asked what method they use, simply reply: ''We follow nature." If the question were put to us, our answer would be the same. We would, however, make our answer more def- inite by stating, that to follow nature, is not to follow individual whims and eccentricities, but to speak in a manner worthy of our subject and concordant to its sentiments. The venerable watch-word "Be Natural,'' thus resolves itself into "Speak Properly." Those that claim to be disciples of nature usually for- get the scientific part of elocution, and, hence, discard all rules. Their entire theory consists of two words: ''Be natural.'' We also say, by all means, be natural: But if there are no rules to teach us lioio to be natural, how can we acquire this open sesame, to the grand dom- ains of expression? How can we determine the line where nature ceases, and affectation begins? If there are no rules govern ino^ delivery, we can neither praise a speaker for the highest merits, nor censure him for the grossest defects. Happily, we have rules, which far from making us unnatural, ofuide us back to nature's paths from which we have deviated. VI PREFACE. "Those rules of old discover'd not devised Are Nature still, but Nature methodized : Unerring nature, still divinely bright, One clear, unchanged, and universal light. Life, force, and beauty, must to all impart At once the source, the end, and test of art ; Art from that fund each just supply provides, Works without show and without pomp presides." To state anew "those rules of old," in a comprehen- sive form, for the benefit of college students, is the ob- ject of the present volume. The principles laid down do not claim novelty as a recommendation. Like all principles, they derive their value not from their old- ness or newness, but from their truth. They have stood the test of ages, and been the faithful guides of many eloquent speakers. There are several text-books of elocution deservinof high commendation, but they are only adapted to spe- cial schools of Elocution and Oratory, where hours each day may be devoted to the subject. They are also ill- suited to the intellectual powers of beginners as they df'al from the start in technicalities, philosophical anal- yses, etc It has been our object throughout to retain only es- sential theory, and even to condense that, to avoid tech. nical terms as far as may be, and to give copious choice examples. All literature, we are justly told, "Should to one of these four ends conduce: For wisdom, piety, delight, or use." Each of the four have many select representatives throughout the volume. Most of our examples appear for the first time in an elocution book. They have been chosen largely from Catholic sources. We do not wisti. n PREFACE. YII thereby, to depreciate any of the noble names of litera- ture, or rob them of deserved prominence. We only wish to remove writers, of merit from cobwebbed shelves, where their beauties have too long been ob- scured by dust and silence. It is hoped that the tidbits ofiven, while they delight the mind with their beauty and elevate and refresh it with wholesome truths, will also excite a craving for more. Hence, we have given, the names of works and authors. Only selections rec- ommended by intrinsic worth should be memorized. Students should be required to seek additional examples from other sources. Turning the leaves of our popular readers at random the}^ will be greeted by apt selections from Milton, Sir Walter Scott, Thackeray, Bulwer Lyt- ton, Dickens, Ruskin, Longfellow, Macaulay,Tennys()n, Webster, Clay, Burke, etc. The arrangement of subjects in an elocution book is always attended with difficulties. As regards logical order, it resembles the alphabet. If G were placed be- fore B, and Y besore G, the alphabet would not suffer. Before we can read well we must know ail the letters, for Z sometimes precedes his extreme brother A, and O not seldom introduces the egotist, I. It is the same in elocution. Vocal elements that are treated last may enter a given selection earlier, and characterize it more than some treated in the fore-part of the book. Until they are all mastered, we cannot read well. If the ar- rangement we have given does not accord with any pro- fessor's views, it will be an easy task to change the or- der and take any section or chapter that expedience ad- vises or circumstances require. As it stands, we suggest the following order: I. Class, Breathing, Action, Articulation, and the sim- pler Gestures. VIII PKEFACE . 11. Class, Gesture, Force, and Delsarte's Laws of Gesture . Hi. Class, Pitch, Inflexion, Quality, and Planes of Gesture. IV. Class, Emphasis, Gestures of Different Members, and Pause. V. Class, The remainder of the book. With all of these review, review, review. Concert drills are recommended for economizing time and labor. In this way each student will receive some practice every class hour. It is only by practice skill may be acquired. A student may be able to tell you very accurately hoio a certain selection should be spoken and tvhy it should be so rendered, but this will avail him but little as an orator, if he does not, by diligent practice, attain the power of doing it gracefully. One selection mastered thoroughly is better than number, ess ones imperfectly studievi. Class criticism may be employed to produce worthy emulation. It makes speaker and hearer vigilant. The book does not claim to be exhaustive or perfect. "Whoever thinks a faultless piece to see, Thinks what ne'er was, nor is, nor e'er shall be." Hence, kindly criticism, for the improvement of future edilions, will be gratefully received. We acknowledge 'indebtedness to Maurice Francis Egaii, LL. D., Kev. Alfred Young C. S.P., Eleanor C. Donne ly, and others for the generous permission granted us to quote from their writings. If the principles herein laid down further the pow- er of huTnan speech, kindle the fires of eloquence slum- bering in many a youthful bosom, give to College grad- PKEFACE. IX nates a trusty vehicle to convey truth and a strong- weapon to defend right, the irresistible weapon — grace- ful delivery — the fondest hopes of the authors will be realized , THE AUTHORS. September 14, 1895. PREFACE TO THE SECOND EDITION. I We have aimed to make the second edition more wor- thy of the kind commendation which the first appearance of the work elicited Through the kindness of Father Butler, Louise Imogen Guiney, Ina Coolbrith, Richard M. Johnston, and others, we have been able to enhance our examples and selections with valuable copyright matter. In other respects, this edition closely resem- bles its predecessor. CONTENTS. Preface ^ ^ w y Index . . 355 Index to Selections . . 359 Chapter I.- -Breathing. I. What is* Breathing . , 1 II. Proper method 2 III. Breathing Exercises 3 Chapter II. — Action. I. Definition of Action 1(1 II. Position . 13 III. Attitude 13 Chapter II] . — Articulation. f I. Elementary Sounds 29 II. Consonant Elements 30 III. Exemplification of Yoav el- Quality . 31 ly. Difficult Combinations 51 Chapter IY . — Gesture. I. Delsarte's Definition . HI II. Relaxation . 62 III. Exercises in Kelaxatioi . m Chapter V. — Force. .1. Forms of Force . HT II. Degrees of Force . 73 III. Application of Force , SO Chapter YI . — Delsarte's Laws or Gesture. I. Exphmation of Laws 85 XII CONTENTS Chapter VII. — Pitch. I. Division of Pitch II. Uses of Each Division Chapter VIII. — Inflexion. I. Kinds of Inflexion II. Rules for Rising Inflexion III. Rules for Falling Inflexion IV. Rules for Circumflex Inflexion Chapter IX. — Quality. I. Kinds of Quality II. Pure Tone III. The Orotund . IV. The Aspirate . V. The Guttural . VI. The Pectoral . VII. The Falsetto . VIII. The Nasal Chapter X. — Planes of Gesture I. Scale of Notation . II. Significance of Various Planes III. General Examples. Chapter XL — Emphasis. I. Difi'erence between Emphasis Accent II. Rules underlying Emphasis III. Modes of Emphasis IV. Observations V. Unemphatic Words VI. Climax Chapter XII. — Gesture of Different Members. I. The Head 11. Nine Attitudes of the Eye III. The Mouth md 90 91 100 101 102 103 114 115 121 126 128 131 133 135 149 142 153 172 175 180 186 190 191 195 198 200 COiSTTENTS . XIII Chaptek XIII. — Pause. 1, Influence of the Pause II. Length of the Pause III. Rules for Pausing . Chapter XIV.— Poetic Reading. I. Various Feet . 11. Poetic Pauses . Chapter XV. — Personiation. I. Importance of Personation II. Rules for Personation Chapter XVI. — Tone Color. I. What it Embraces . II. What it is Due to HI. Its Necessity . . . Selections ...... 205 206 208 220 223 230 230 238 239 2i2 249 CHAPTER 1. BREATHING. Although it may seem strano-e, nay, unnatural, that Breathing — that which anyone practices uninterrupted- ly — that which was the beginning of life, and is its continuity, — must be studied; still, there are certain canons which govern respiration for vocal ends, the observance of which is not arbitrary. The unstudied breathing by which life is sustained is insufficient for vocalization. Voice is the result of an air-shock on the v^ocal ligaments. The amount of air that we unconsciously inhale for the support of life, answers admirably its specitic purpose, but is inade- quate for speaking. Manifestly, therefore, if we desire to use our voice^ we must learn to breathe more copiously. Breathing consists of Inspiration and Expiration. Both are arts; both must be acquired. A speaker who has not learnt to inhale correctly will never possess a 7-?c72, substantial voice. One that has mastered inhalation but neglects expiration, Vvill soon find his 'brecitli-expenditure greater than his receipts, and will early end his career as a speaker with a ruined, bankrupt voice. We must have an income^ or the outcome will be — inevitable failure. 2 ELEMENTS OF EXPRESSION, VOCAL AND PHYSICAL. We can never afford to run out of breath when we are speaking, for then, silence will ensue, painful alike to speaker and hearer. Among- the various methods of ])reathing the one recommended most by good results is this : ' 'First, feel that the diaphragm-region — the waist — expands. This expansion is caused by the down- ward contraction of the diaphragm. Secondly, at the same time feel an incipient expansion of the whole trunk-region, from the lowest point of the abdomen to the highest point of the Chest and Collar-bone. This Expansion is felt in the entire circumference of the trunk, as a complete oneness of action, not in sections or broken. Thirdly, whether the amount of breath ta- ken be great or small, whether a half or a full expan- sion be required, it must always be done with the com- bined breathing-apparatus and with oneness of action. The difference between half and full, long and short breaths, is not in method, but in time and the amount of expansion. This is the only correct, natural, healthy way of breathing, for by this method the whole of the lungs is used and ventilated and thus kept healthy." — Leo Kojler. It is obvious, from the above, that diaphragmatic, or abdominal breathing, is the proper method. The di- aphragm must control the breath, otherwise the un- reined air will rush to the throat, and, in its hurry to gain freedom, will make the tones '"breathy," or if the throat endeavors to control the efflux of the air, the ef- fort will necessarily stiffen the muscles of the throat, and "throaty" tones will be the result. Each one may experience this by trying the following exercise. Take a few heavy inspirations as you would when nearly spent with running: note the effect on the dia- phragm. You will observe it pulsates; now, if, while BREATHING. 6 taking one of the rapid gulps of air, you stop quickly, you will feel the diaphragm grasp the air to check its exit. Never allow the throat to share this office with the diaphragm — for the diaphragm has been assigned the office by nature, and nature never permits an infrac- tion of her laws to go unpunished . Unless the breath is under perfect control, pure tone is an impossibility; for in its production all the air that is liberated must be converted into sound. The nose, unless obstructed, is the medium of inspi- ration. Avoid the pernicious inversion, of which too many are guilty, of using the nostrils as channels to convey your sentiments to long-suffering audiences, and the mouth to convey air and dust to short-enduring or- gans. An All-wise Providence has arranged the nose so that it warms and ''ti Iters" the air before it reaches the more delicate organs. Whereas the mouth, not being intended for inspiration, carries the cold air di- rectly to the delicate membrane, thereby causing hoarse- ness, and eventually serious throat and lung-ailments. Inspiration and Pausing in speaking go hand in hand; neither should be indulged where they interfere with the sense of the phrase. Nevertheless, never make any effort to sustain a tone, or complete a sentence, when the air in the lungs is well-nigh exhausted. Always stop at the approach of fatigue. Let the student practice the following Exercises with due moderation; as enthusiastic disciples, by violent practice, might overtax the respiratory muscles and (\o themselves irreparable injuries. Exercise I. Stand erect, shoulders back and down — in which po- sition they should remain during the whole exercise — 4 ELEMENTS OF EXPRESSION, VOCAL AND PHYSICAL . fill the lungs comfortably by very short inhalations and then quickly empty them in one blast. Exercise II. Fill the lungs with one energetic draught, then emit the air in jets. Exercise III. Inhale and utter a and a, alternately. Employ half the breath on a , the other half on a . Pronounce a high and forcible, a low and subdued. Exercise IV. Inhale deeply, prepare the lips as you would say ''who," then exhaust the lungs with puffs. Exercise V. Place thumbs on costal, fingers on abdominal mus- cles, bending profoundly forward empty the lungs; in assuming erect position, inhale vigorously, retain the air-supply a few moments, then expel it vocally, with abdominal impulses, in form of uh, uh, iih. Exercise VI. Repeat directions of the preceding number and use the air in alternating uh, ah, in aspirate and pure tones. Exercise VII. Assume an erect attitude, heels together, toes turned BREATHING. O outward from 45 to 90 degrees apart. This is the "mil- itary position." With hands lightly pressed on the chest, fill the lano^s gently and emit the air in a lustrous prolongation of the syllable sil. Exercise. VIIL Take preceding position, inspire energetically, run the speaking gamut upward, employing the word^up," increasing gradatim the tone's intensit}^ Exercise IX. Vary the preceding exercise by running the speaking gamut downward, using the word ''down," gradually decreasing the force. Exercise X. Repeat No. VIII., accompanying the raise for each tone with a corresponding movement .of each arm and wrist, so that, when the rounding note of the octave is reached, the arms be extended upward to their utmost. Exercise XL Leaving the arms extended as No. X. required, re- peat No. IX., and, with each descension in tone, lower the arms with a gentle wave of the wrist, so that, on the concluding "down," the arms reach the sides. Exercise XIL Take position as indicated in No. VII. , inspire deep- ly, tap the chest gently with the finger-tips in order to 6 elj:ments of expression, vocal and physical. drive the air into all the lung-cells, then, let the air escape in a sound showing weariness, as a-iih. Exercise XIII. Observe the preliminaries of No. V. ; when the lungs are well inflated, expend the air with explosive force on the sentence, "Arise, ye more than dead I" — Dryden. or, "Else, O Sun of Justice, rise!"— jRev. James Kent Stone. Exercise XIV. Comply with the injunctions of No. VII. ; when the lungs are well expanded, summon your brightest smile and laugh out the vowels i, e, e, a, a, o, o, o, ii, u, u, in a low tone; occasionally introduce an open vowel. This exercise is characteristically adapted to strengthen the throat, invigorate and make more elastic the vocal ligaments, deepen and mellow the voice. Exercise XV. Inflate the lungs fully, utter o, a, ou, in a soft, pure tone; c^ontinue until the air supply is nearly consumed, then prolong the sound of o, gradually merging it into ob, and diminishing the force as the air-supply lessens, until, with the last thin current, sound weds itself to silence. (A breathing exercise should introduce every elocution hour.) BREATHING. 7 Examples loliere copious BreatJiing is required. "Oh, perverse children of men, who refuse truth when of- fered you, because it is not truer ! Oh, restless hearts and fastidious intellects, who seek a gospel more salutary than the Redeemer's, and a creation more perfect than the Crea- tor's! God, forsooth, is not great enough for you; you have those high aspirations and those philosophical notions, in- spired by the original Tempter, which are content with noth- ing that is, which determine that the Most High is too lit- tle for your worship, and His attributes too narrow for your love. Satan fell by pride : and what was said of old as if of him, may surely now, by way of warning, be applied to all who copy him: 'Because thy heart is lifted up, and thou hast said, I am Grod, and I sit in the chair of God, whereas thou art a man and not God, and hast set thy heart as if it were the heart of^God, therefore ; . . .1 will bring thee to nothing, and thou shalt nofc be, and if thou be sought for, thou Shalt not be found any more forever.' " — Neiuman. "Ah! why then wake my i^rrow, and bid me now count o'er The vanished friends so dearly prized— the days to come no more^ The happy days of infancy, when no guile our bosoms knew, Kor reck'd we of the pleasures that with each moment flew? 'Tis all in vain to weep for them — tlie past a dream appears: And wliere are they— the loved, the young, the friends of boy- hood's j^ears?" Eev. Charles Meehan. "St. Paul was a vessel of election to bear the good odor of Christ into the palaces of kings ! A torrent of eloquence flowing into the barren fields of a vain philosophy, to fertilize and adorn! A rich exhibition of virtue, winning by its beau- ty, attracting by its symmetry, and exciting to activity by emulation! A glowing meteor of benediction, dissipating the clouds, and warming the hearts of the beholders to chari- ty on earth, that they might be fitted for glory in heaven!" Bishop England. 8 ELEMENTS OF EXPRESSION, VOCAL AND PHYSICAL From The Storm. "Land! land!" they cry, "behold it stretclies clear: Unwrapp'd at once the sea, and shore, and sky; O'er the red waves of sunset it seems near. A harbor's mouth Itself we can descry; The liquid mountains urge us toward the shore. Their sweep, you'd think, must needs us overwhelm; Let us but steer her, danger is no more: Let all hands help to bind and keep the helm. There! now she plunges to ride higher still; Another mountain lifts us to the pier. Will ^he bear up to pass it? Yes. she will! Lift up your hearts, my lads, no more of fear." Kenelm H. Dighy. From Tlie Collegians. In the meantime tiardress, full of horror at the supposed catastrophe, had hurried to his sleeping room, where he flung himself upon the bed, and sought, but found not relief in exclamations of terror, and of agony. "What!" he muttered through his clenched teeth, "shall my hands be always bloody? Can I not move bufc death must dog my steps? Must I only breathe to suffer and destroy?" A low and broken moan, uttered near his bed-side, made him start with a superstitious apprehension. He looked round and beheld his mother kneeling at a chair, her face pale, excepting the eyes, which were inflamed with tears. Iler hands were wreathed together, as if with a straining exertion, and sobs came thick and fast upon her breath, in spite of all efforts her fco restrain them. In a few minutes, while he remained gazing on her in some perplexity, she arose, and, standing by his bed-side, laid her hand quietly upon his head. BREATHINa. "I have been trying to pray," she said, '-but I fear in vain. It was a selfish prayer— it was offered up for you. If you fear deatli and shame, you will soon have cause to tremble. For a mother who loves her son, guilty as he is, and for a son who would not see his parents brought to infamy, mere have been fearful tidings here since morning. — Gerald Griffin. From An End. Love, strong as Death, is dcr.d. Come, let us make his bed Among the dying flowers: A green turf at his head ; And a stone at his feet. Whereon we may sit In the quiet evening hours. He was born in the Spring, And died before the harvesting: On the last warm summer day He left us; he would not stay For autumn twilight, cold and gray. Sit we by his grave, and sing He is gone away. To few chords and sad and low Sing we so. Be our eyes fixed on the grass Shadow — veiled as the years pass, While we think of all that was In the long ago. a G. Bosseih 10 ELEMENTS OF EXPRESSION, VOCAL AND THYSICAL. CHAPTER II. ACTION. By Actioa we understand that part of Elocution which speaks to the eye. Cicero, perhaps the greatest orator that ever lived, says on this subject: ''It is of h'ttle consequence that you prepare what is to be spoken, unless you are able to deliver your speech with freedom and grace. Nor is even that sufficient, unless what is spoken be deliv- ered by the voice, by the countenance, and by the gest- ure in such a manner as to give it a liigher relish." Andagiin: ''It is hardly possible to express of how great con-Ncquence is the manner in which the orntor avails himself of tones of voice, gesture, and the expres- sion of the countenance. For even indijfferent speak- ers, by the dignity of their action^ have frequeiitiy reaped the fruits of eloquence; whilst those whose lan- guage is that of an orator, often on account of the awkwardness of their action, have been reckoned indif- ferent speakers." QuiNTiLiAN sa3^s: "If delivery can produce such an effect as to excite anofer, tears, and solicitude m sub- jects we know to iie lictitious and vain, how nnich more powei-ful nnist it be when we are persuaded in re^ilit}^? Nay, I venture to pronounce that even an indifferent oration, recommended by the force of action^ would ACTION. 11 l:ave more effect than the best, if destitute of this en- forcement. " St. Fkancis of Sales, who by his preaeh- ino- of the word of God drew tens of thousands into the true fold of Christ, gives studied delivery a very de- cided commendation when he says, "that the most eloquent composition, badly delivered, will produce little ornoeli'ecl; whilst a very mediocre speech, eloquently delivered^ will often be attended with the most striking results.'' And this is only naliiral, for good delivery m:)kes the impression deeper and more lasting. Man}^ lal)or under the false idea, that the orator is born, not made. They proclaim against all attempts at acquiring oratory. They say it makes one artificial; and still there is not a single orator af any renown who was not aided by art. The greatest orators of ancient t'mes w^A-e Cicero and Demosthenes. Both of these were assiduous in the study of the jninutest details of tie art. Demosthenes was not gifted by nature. The pre-ominence he acquired in a nation of orators was the work of yeais of close application. His practice and belief agreed with Cicero's, — that to be an orator something more was needed than to be born. With regard to the idea that the study of Elocution tends to create an unnatural mode of delivery, we hold that it is only true where the art is imperfectly acquired. It is the same in all the arts. The man who has taken but a few lessons in painting, will not be true to nature in his pictures. No one co)idemns the pictorial art on this account. It is just as inane to condenm elocution on a judgment formed from hearing one who is yet in the primer of Elocution. The real art of elocutioji lies in concealing art. Following u}) a line of argument based on the assertions of some. Demos- 12 ELEMENTS OF EXPRESSION, VOCAL AND PHYSICAL. THENES should have been the worst of orators, sin'^c he pursued this study farther than any other ancicut or modern speaker. Amongst modern orators, we may point with nation- al pride to Henry Clay, the prince of American speak- ers. He early began to prepare for the success he afterwards attained. He acknowledges the pains he took to acquire oratory. ''1 owe my success in life," he says, ''to one single fact, namely, that at an early age I commenced and continued for some j^ears, the- practice of daily reading and speaking the contents of some historical or scientific book It is to this early jjractice of the art of all ari^s that 1 am indebted for the primary and leading impulses that stimulated my progress, and have shaped and moulded my whole destiny." In short, no man who has attained even pass- ing renown as an orator, will admit that the study of action is not a positive necessity for success in oratory. These remarks are inserted here, as the hue and cry of ignorance has arisen against this part of the study of oratory in particular. Let the student of oratory heed rather the words of Shakespeare than those of men whose delight is to carp: "Pleads he in earnest! Look upon his face, His eyes do drop no tears; his prayers are jest; His words come from his mouth, ours from our breast ; He prays but faintly and would be denied ; We pray with heart and soul." We will treat this division of Elocution under the fol- lowing heads, — Position, Relaxation, Delsarte's Laws, and Planes of Gesture. To these we subjoin a few re- marks on the limits of Personation. POSITION. The study of Position is tiie first point we cal] 'Hen- tu)n to, as it is the first point which catches the eye when a speaker appears. Is he anoraccjlil in his Ijearino;'^ If so. he has implanted in the minds of the audience a point against him at the very start. The old sa3^ing has it, "iirst impressions are generally lasting." It holds good here as well as anywhere — hence, the importance of this subject. In laying down rules for Position, elocutionists have in view two points— the correct and expressive balance, or poise of the body, and a becoming appearance. There arc Three Positions. We shall call them the Unexcited, the Excited, and the Military, Each of the^-^ forms the basis of one (n- more attituces. Vj Allilude is meant the enlargement of a Position. In the Unexcited Position, the speaker stands erect in an eas3% digniticd manner, with the hands banging naturally at the sides, and the feet nearly together. The weight of the body should be principally on the ball of the left foot, and the right should be three or four inches in advance. The left limb is straight; the right, slightly bent at the knee. As a change and rest, reverse the positic.n, throwing the weight on the right and placing the left in advance. It is used in all unexcited speech, such as narration and the portrayal of the gentler emotions. In the fol- lowing examples the unexcited position isen.plo}(d. From Education and the Higher Life, :N"ature is neither sad nor joyful. We but see in her the reflection of our own minds. Gay scenes depress the molan- 14 ELEMENTS OF EXPRESSION, VOCAL AND PHYSICAL. ' choly, and gloomy prospects have not the power to rob the happy of their contentment. The spring may fill us with fresh and fragrant thoughts, or may but remind us of all the hopes and joys we have lost; and autumn will speak to one of decay and death, to another of sleep and rest, after toil, tx) prepare for a new and brighter awakening. All the glory of dawn and suns ,t is but etheric weaves thrilling the vapory air and impinging on the optic nerve: but behind it all is the magician who sees and knows, who thinks and loves. "It is the mind that makes the body rich." If we could live in the company of those who are dear, the source of our happiness would still be our own thought and love; and if they are great and noble, we cannot be miserable however meanly surrounded. What is reality but a state of soul, finite in man, Infinite in God? Theory underlies fact, and to the divine mind all things are godlike and beautiful. — J. L. Ljalding. From As You Like It. Act 11. Duke 8. Now, my co-mates and brothers in exile. Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious Court? Here feel we not the penalty of Adam, The seasons' difference, and tlie icy fang And churlish chiding of the Winter's wind, — Which, when it bites and blows upon my body, Even till I shrink with cold, I smile, and say. This is no flattery, — these are councillors That feelingly persuade me what I am. Sweet are the uses of adversity; Which, like the toad, ugly and venomous. Wears yet a precious jewel in his head : And this our life, exempt from public liaunt. Finds tongues in trees, books in the running brooks, Cermons in stones, and good in every thing: I would not change it. Shakespeare. rOSITION. 1^ From Words. I have known a word more gentio Than the breath of summer air; In a listening heart it nestled. And it lived forever there. T^ot the beating of its prison Stirred it ever, night or day, Only with the heart's last throbbing Could it fade away. Words are mighty, words are living; Serpents with their venomous stings. Or bright angels crowding round us, With heaven's light upon their wings: Every word has its own spirit. True or fake, that never dies: Every word man's lips have utterc J Echoes in God's skies. Adelaide A. Procter. The First Attitude is only the eiilaro:ement of the first position. The feet should be separated some di-«- tauce, thus givin;^ a firmer basis. A rest and chanoe from this attitude is made by advancing- the left foot and throwing the weight of the body on the right. The first attitude is used while giving utterance to grandeur, heroism, and strong oratorical tliouglit. As an example on which to practice, an excerpt from the speech of Hon. J. R. Chandler on the Know Nothing Movement is here inserted. ••If, Mr. Chairman. I had not long been a member of this House, I might startle at the risk of presenting myself as the professor of a creed evil spoken of. But I know the House is composed of gentlemen. I stand here alone in defence of my faith, but I stand in the Congress of the nation. I stand for truth and mv soul is undaunted." 10 elemt<:nts of expression, vocal and thtsicai.. In the Second Position, the Excited, the left foot is advanced and most of the weight is thrown on the ball. The right heel is entirely off the floor, and the ball of the right foot, touching the floor, balances the body. The left leg is slightly hei^t at tht; knee. A rest is taken by reversing the [)o.sition, bringing the right foot to the front, etc. The body is inclined forward as if about to take a step. The Excited Position is assumed in any speech impi3'ing earnest apjjeal and solicitude, and, also, as "Practical Elocution'' says: ''When the speaker is impelled by some emotion which causes him to step forward towards his audience, as if to get nearer to them that he may inipart, with more power and emotion, that which he utters." Examples. From Romeo and Juliet. Act II. But, soft! what light through yonder window breaks? It is the east, and Juliet Is the sun. From Leonore. But seel what throng, with song and gong Moves by, as croaks the raven hoarse! Hark! funeral song! Hark! knelling dong! They sing, "Let's here Inter the corpse!" And nearer draws that mourning throng, And bearing hearse and bier along, With hollow hymn outgurgled like Low reptile groanings from a dyke. "Entomb your dead when midnight wanes, With knell, and bell, and funeral wail! T^ow homeward to her dim domains 1 hear my bride— so, comrades, hail!" J. C. Mangan-. POSITION. 17 From The Ghost's Petition. "There's a footstep coming; look out and see."- "The leaves are falling, the -wind is calling; ]S"o one Cometh across the lea." — ••There's a footstep coming: O sister look."— ''The ripple flashes, the white foam dashes; ^0 one Cometh across the brook." C. G. Bossetti. From The White Sail. A wraith of smoke, fast-driven against a flame Yon by the crimsoning east the dark ship moved, Her herald noises strangely borne ashore: 'Joy. joy!" and interlinked: 'O joy, O joy, Athens our mother! joy to all thy gates!' And thunderous Arm acclaim of minstrelsy, Laughter, and antheming, and salvos wild Outran the racing prow. L. I. Gmneif- Tlie Second Attitude differs from the second ijosition in extension and also in the position of the feet. The left is extende