Book 4&15_ Copyright^ ^i^Q^_ COPYRIGHT DEPOSIT. SELECT RECITATIONS, ORATIONS, AND DRAMATIC SCENES. WITH ACTIONS AND EMPHASIS. No. I. ARM MOVEMENTS. Arm rising — Hand hanging downwards. Arm falling—Hand pointing upward Arm moving outwards — Hand pointing across the body. 7. Arm moving inwards— Hand pointing outwards. No. II. HAND POSITIONS. ANTONY'S SPEECH. (See page 79.) SELECT RECITATIONS, ORATIONS AND DRAMATIC SCENES WITH ACTIONS AND EMPHASIS AN ELOCUTIONARY MANUAL Containing ioo Selections from the Leading POETS, ORATORS, AND DRAMATISTS Supplied with Copious and Minute Directions FOR THEIR CORRECT, GRACEFUL AND IMPRESSIVE DELIVERY WITH AN APPENDIX: A FEW REMARKS ON VOICE AND EXPRESSION BY C. J. BIRBECK Professor of Elocution and English Literature With Ten Full-Page Illustrations NEW YORK JOSEPH F. WAGNER 103 FIFTH AVENUE THE U»RA*Y OF CONGRESS, Two Coww Hecbvp, APR, 4 1902 Copvwwt entry CLASS C^XXc No h o 5 o *) COPY & 7 « ^ v Copyright, 1900, by JOSEPH F. WAGNER Copyright, 1902, by JOSEPH F. WAGNER INTRODUCTION. GENERAL HINTS ON READING AND RECITING. THE advantages evolving from the study and practice of elocu- tion even for those who are not destined for the life of a public speaker are too numerous and valuable to be overlooked. Until quite recently our academies, high schools and colleges did not pay the requisite attention to this essential branch of art. Now, realizing the benefits, physical, useful and ornamental, accruing to the pupil from the study of the above as well as the aid which it furnishes to other kindred studies in the curriculum, a certain allotted time, weekly, is spent in the memorization and recital of prose and poetical selections taken frequently from the standard English and American classics. Attention is paid more particularly to the proper interpretation of the author's lines. Emphasis, which helps to bring so forcibly before the auditor's attention the meaning of the author — Inflection, which by the sliding of the voice upward and downward breaks up the monotony of the reading, once so painfully prevalent, and rendering the result agreeable to the ear — the invaluable benefit of Pauses— the accuracy and distinctness of Enunciation and the proper placing of the Accent on words — these form essential adjuncts in the educa- tion of every student. The practice necessary to obtain ease, grace and effectiveness in posture, expression and gesture, in conjunction with an advance toward vocal perfection, tend to make a completeness which all aspiring reciters should wish to attain. It is frequently asked by the pupil how he should begin the study of a recitation. Our advice is this: having made a choice in ac- cordance with his years and scholastic attainments he should read the same carefully, with concentration of mind from the beginning to the end, in order to gain a comprehensive insight of the author's meaning. If words be found therein of whose meaning he is doubtful, these should be looked up in the dictionary. Read the selection through once more and aloud in a clear, firm voice, attending strictly to the grammatical pauses. Find out the emphatic words in the recurring sentences, as to these is attached the greatest value. VIII INTRODUCTION. Endeavor to grasp the spirit of the piece and strive to feel its full significance. This preliminary work should be done before committing the words to memory. The recitation should be learned Verbatim; no omissions or inter- polations should be made by the pupil without the advice of the teacher or a proper guide. He should study faithfully to perfect the details of his work and a commensurate success will be the reward. The student in oratorical descriptive and strictly declamatory selec- tions should possess a natural, dignified and impressive carriage; the head gracefully poised, the breast well thrown out, the feet not separated too much, whilst maintaining throughout in his bearing a well-bred and respectful attitude toward the audience. However, the most perfectly elaborated recitation given under the best possible circumstances — the voice, diction and orthoepedical con- ditions being manifestly cared for, will be greatly marred by the ab- sence of well-regulated and appropriate ACTION. The ancient Greeks thought so much of action, that they spent years in the practice of gesture, posings, expressions and the like. The lecturer reading from his manuscript, the college essayist giving his well-prepared thoughts, logically arranged and transcribed to paper, will be listened to in many cases with but divided atten- tion or mayhap not at all; and this due to the fact, chiefly, that action is wanted and audiences demand it. The object of this work is to bring before the student the strict mechanism of gesticulation or general action. The explanations for making of the gestures in the following reci- tations will be briefly given at the end of the different pieces. Our object is to make the work as easy and attractive for the pupil as is possible. He frequently forgets the gestures and expressions orally explained by the instructor; or otherwise, in preparing a recitation by his own unaided efforts, he is frequently at a loss what to do. When, finally, ease is acquired through this mechanical practice, grace of action, flexibility and variety of movement will follow. The mind of the pupil will associate certain gestures and facial expressions with the certain passionate and emotional passages found in the text. The object of this work is not to make the pupil an automaton, but to aid him over the difficulties which usually beset the path of the young aspirant to recitative fame. The extracts found in this book have been selected with some care, with attention paid to their fitness and the elevating and entertaining matter contained in them, also their literary worth. Let us hope the one hundred selections contained in this volume may be found available and useful. C. J. Birbeck. CONTENTS. Part I.— POETRY. NO. PAGE 1. The Brave Fireman 11 2. Don't Give Up the Ship. ... 14 3. Let's Try to Do the Right, Boys 15 4. There's Room for You up Higher 16 5. The Death Ride 18 6. The Will and the Way. ... 22 7. The Lesson of the Mill. .... 24 8. Curfew Must Not Ring To- night 26 9. The Song of the Sword. ... 29 10. The Spanish Mother 31 11. The Singing of the Mag- nificat 36 12. The Pride of Battery B 40 13. The Melancholy Hen 43 14. The Last Shot 45 15. Nellie's Prayer 52 16. The Level Crossing 56 17. The Twins , 59 18. The Children. . .-. 61 19. The Reaper and the Flowers 63 20. Footsteps of Angels 64 21. The Story of a Stowaway. . 65 22. The Main Truck ; or, A Leap for Life 69 23. Auction Extraordinary 70 24. The Lifeboat 72 25. Lulu's Complaint 77 26. Press On. A Valedictory Poem 78 27. Antony's Speech Over Cae- sar's Body 79 28. The Same— Continued 81 29. The Drowned Mariner 82 30. Forgive and Forget 84 The Bridge of Sighs 86 The Last Minstrel. 88 The Soldier's Funeral 90 Excelsior 91 The Gluttonous Duck 93 The Exile of Erin 96 The Slave's Dream 98 The Wreck of the Hesperus. 100 The Last of the Red Men. .102 The Polish Exiles 105 The Mariner's Dream 106 The Old Clock on the Stairs. 109 The Progress of Madness. . .110 The Collier's Dying Child. .113 The Raven 115 The Diver ....121 Our Folks 125 Sheridan's Ride 127 Paul Revere's Ride 129 The Dream of the Reveller . 132 Two Loves and a Life 135 The Country Squire 136 Rustic Logic 138 Ask Mamma ! 139 The Spirit of Contradiction . 142 The Spider and the Fly 144 The Slave Ship 146 Paddle Your Own Canoe . .148 Somebody's Darling 150 Papa's Letter 151 The Unhappy Man 153 The Deserter 155 The Polish Boy 157 Adieux de Marie Stuart (French) 160 Friede (German) 162 CONTENTS. NO. 66. 67. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. Part II.- PAGE Freedom and Patriotism. . .163 NoNationalGreatness With- out Morality 165 True Grandeur of Nations. . 167 Acquisition of Territory 168 Liberty and Despotism 171 The Sabbath 173 Power of Wealth Produced by Labor 175 Glory of Arms 177 Fourth of July, 1851 178 Aspirations of the Amer- ican People 180 Eloquence 183 Death of Washington 184 American History 186 Injustice the Cause of Na- tional Ruin 187 Blessings of Education .... 189 •PROSE NO. PAGE 81. What is the French Revo- lution? 191 82. Decline of the Celtic Race. . 193 83. Emmet's Vindication from Dishonor 195 84. A Wild Night at Sea 196 85. Sorrow for the Dead 199 86. The Death of Little Dombey201 87. The Funeral of Little Nell. .205 88. God is Love 208 89. The Crucifixion 209 90. On Infidelity 211 91. The Death of the Wicked. . .213 92. On the American War 216 93. On Napoleon Bonaparte. . .217 94. Speech of Serjeant Buzfuz .220 95. The Bashful Man 224 96. Cardinal Wolsey on his Fall 230 DRAMATIC SCENES. 97. From the Play: " The Iron Chest" 232 98. From the Play: "William Tell" 236 99. From the Comedy: " The Rivals" 239 100. From the Tragedy: beth" Mac- 244 APPENDIX. A Few Remarks on Voice and Expression. . . 247 Standard Readings and Recitations urttl) Actions and €mpl)a$i$» Part L Selections of Poetry. LOUD. 2. Note.— The words hand plate and arm plate in the footnotes refer to the plates in front of the book, and the numbers to the corresponding gestures illustrated on these plates. Emphasis must be given to tne words in italics and the pauses marked thus | must be well observed. 1-THE BRAVE FIREMAN. Eben E. Rexford. 1. x Harh — through the wild night's darkness Eings out a terrible cry, And the woman shudders to hear it In the room up close to the sky; 2 "Fire!" in accents of terror, And voices the cry repeat, And the fire-bells join in the clamour Out in the stormy street. 8 "God grant we are safe, my darling," She says to the child in her arms, 4 While the voices far down in the darkness Add to the bells 7 alarms ; Then | she thinks of the two little children B Who are sleeping peacefully near, And 6ii God pity the people in danger" She adds, with a thrill of fear. ^ 3. The voices ring louder and sliriller. 7 She hears the swift tread of feet, And the sound of engines rumbling Below in the stormy street. 8 "It must be the fire is near us." 9 She listens; | a step on the stair, 10 Then the door is flung wide, and beyond it 11 She sees the red flames' glare. 4. 12 "Give me the child !" cries the fireman. "There's not a moment to spare;" FERVENT. RAPID. INQUIRY. QUICK. 12 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. PATHETIC. The flames like a glittering serpent Are writhing up the stair. firm. 13 "Kc, / will carry my baby." And then she points to the bed, 14 Where the light from the hall shines brightly Over a golden bead. 5. 15 One little head on the pillow — One only the fireman sees, With flossy curls stirring about it, In the breath of the fiery breeze. 16 He lifts the child, while the other Is cuddled away from sight, 17 And springs down the stair where the flame- hounds Snarl after their prey in its flight. 6. 18 On, on, through the fire that leaps round him As a swimmer breasts the wave, quick. Scorched, and blinded, and breathless, loud. To find escape — or a grave ! On through the fiery whirlpool Till at last he gains the street; 19 Thanh God! and lays down his burden 20 Safe at the mother's feet. very loud. 7. 21 "One, only onef she cries wildly. You have left the other to die!" ! the terrible, terrible anguish That rings in the mother's cry. "I will save you, my child, or die with you!" And, maddened by love's despair, 22 She puts her babe from her bosom And springs 23 towards the flame-wreathed stairs. DECISIVE. 24 You shall not go," he tells her, And holds her back from death. "I left your child — I will save it — If I can," then, catching his breath 25 For the terrible task before him, He 26 leaps up the lurid way. THE BRAVE FIREMAN. 13 REVER. ENTLY. LOUD. RAPID. "God help him!" 27 the awed crowd whispers. "He goes to his death," they say. 9. Moments that seem like ages Go by, and he comes not back, The flames leap higher and higher, 28 The frail walls sway and crack. pathetic. 29 "0, my lost little child!" cries the mother, Forgetting the child at her breast. In this moment of awful anguish 30 She loved the lost one best. 10. Up from the crowd, 31 all breathless With hope, and doubt, and fear,' Goes a cry, 32 "Thank God, he's coming With the child r and cheer on cheer 33 Eings through the night, blending strangely With the wind and the wild flames' roar, As out of the tottering building 34 The fireman springs once more. 11. Straight 35 to the mother he staggers With the rescued child, and cries — "I | left him, | and I" | have | saved him V And the hero looks out of his eyes, 86 Then he falls at her feet ; they crowd round him, 37 And lift his drooping head, 38 "I — saved — the — child l" he whispers; A gasp, and the HEEO IS DEAD. 1 Hand to ear — advance toward right — expression of expectancy. 2 Double gesture of No. 6, plate for hands. 3 Hands crossed as in No. 14 in plate for hands. 4 Point downward. 5 Point to the left. 6 Hands together, No. 9, plate for hand. 7 Hand to ear — listening. 8 Hands clasped — turning head quickly from side to side. 9 Hand near ear — steps to right. 10 Hands together in front flung quickly apart. X1 Points in front. 12 Extend both arms. 13 Clasp arms over breast. 14 Points left. 15 Points left. 16 Bend forward — use hands in the act of lifting. 17 No. 6, plate for hands. 18 Right hand pointing outward and downward. 19 Clasp hands — No. 13 hand plate. 20 Both hands open pointing to ground. 21 Kneel — head thrown back — right arm extended. 22 Rise — ex- tend hands in the act of giving child. 23 Advance rapidly — arms and hands forward. 2i Extended hands clinched to be drawn back quickly. 25 Left hand clasping throat. 2B Throw upward right hand. 27 Hands together, No. 9 hand plate. 28 Wave hands and arms from side to side. 29 No. 4, arm plate. 30 Repeat same. 31 Outward movement, both arms as in No. 5, arm plate. 32 Clasp hands. 33 Wave right hand over head. 34 Point in front. 35 General action of great fatigue. 3S Both hands in- clined downward, palms out. 37 Bend well forward — hands in the action of lifting, 38 Head back — eyes up — hand on chest. SLOW. EX- HAUSTED. SLOW. SOLEMN. 14 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 2-DON'T GIVE UP THE SHIP. MEDIUM TIME. CLEAR TONE. LOUD. Hester Hunt. 1. You're on the sea of life, 1 boys; Your ship is stanch and strong; You're sailing smoothly now, boys, But storms will come ere long. 2 Then boldly furl your sail, boys, And let the tempest "rip"; Stand bravely by the helm, boys, 3 And "Dont give up the ship I" FIRM. PLEASANT. LOUD. IMPRES- SIVE. LOUD. Though clouds o'ercast the sky, 4 boys, The sun is bright behind; And though the waves roll high, boys, They'll soon calm down, 5 you'll find. 6 So always keep up heart, boys, With cheerful eye and lip; And let your watchword e'er, boys, Be, | 7 "Don't give up the shipl" Beyond the raging sea, 8 boys, You'll find at last a rest, If only on your trip, boys, You always do your best. There waits for each a crown, 9 boys; So take a manly grip; 10 There waits for all | eternal life Who 11 "Dont give up the ship/' 1 Right arm and hand extended in front. 2 Right arm and hand directed upward. 3 Bring hand down front, very forcibly. * Both arms and fingers pointing upward and outward. 5 Downward movement of depression — fingers loosely extended — palms down. 6 Hands as in No. 12 of plate giving hand positions. 7 Same as 3 . 8 No. 2 of plate for hands. 9 Arm at right angle ; index finger pointing upward. Make cir- cular movement indicative of crown. 10 Both hands extended widely apart toward audience. n Same as 8 . LET'S TRY TO DO THE RIGHT, BOYS. 15 WULL VOICE. STRONG. 3-LET'S TRY TO DO THE RIGHT, BOYS, W. Townsend. 1. Let's try to do the right, boys, Be true men, come what may; 1 Let's try to do our duty well, For that's the manly way. For he is brave who does the right, And sticks to what is true: Then | try to do the right, boys, 2 Whatever others do. 2. Let's try to do the right, boys, 3 However hard it be. natural. Let's bravely make a noble stand, 4 And hold on manfully. For he's a man that stands his ground, And does the good he may. Then | try to do the right, boys, 5 Whatever others say. 3. Let's try to do the right, boys, 6 Try on, through weal and woe; Let nothing daunt the loyal heart, 7 Do all the good you know. For strength shall come as need demands To help the honest heart : 8 Then | try to do the right, boys, And play a true man's part. earnest 4. Let's try to do the right, boys, Because it is the right; 9 Let's nobly stand by what is true, And for it boldly fight. 16 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. For he is true who does his best, And makes the right his aim. forcible. Then | try to do the right, boys/ And win a good man's name. 1 No. 4 plate for hands. 2 No. 4 plate for hands. 8 No. 1 plate for hands, affirmative gesture. 4 Bring hand down strongly on the italicized words. 3 Both hands toward audience. Expression on face candid. Right hand put forward. 7 Touch breast. 8 Both hands toward audience. Head thrown back — step forward with right foot. 9 Wave upward and downward the index finger on emphatic words. 10 Wave the right hand over head till finish. 4-THERE'S ROOM FOR YOU UP HIGHER. M. E. Sandford. moderate 1. I went last night to the land of dreams, That mystic, silent land, With mountains high, and crystal 1 streams, And castles tall and grand. An eager, anxious throng I saw 2 Upon a spreading plain, All rushing on, in earnest haste, 3 The self-same goal to gain. %, I looked, and, lo ! a ladder rose 4 Above the din and strife, ment. ' And, looking still, I read these words, 5 "This is the scale of life." And now | I watched the surging crowd, Each struggling, oft in vain, Upon that crowded lower round 16 A footing to obtain. 3. 7? Twas strange to see the many | who One effort forth would put, And then fall back, content to lie 8 And grovel at the foot. THERE'S ROOM FOR YOU UP HIGHER. 17 But some I saw, whose dauntless will No rude repulse could stay — Who grew more strong, with each defeat, 9 To push their upward way. 4. A voice that came from lips unseen 10 Their courage would inspire; This seemed the burden of the song — EJ sFzi\ "There s room for you up higher/' And springing up, with strength renewed, The struggle to endure, 11 They ne'er gave up, until at length They gained a footing sure. 5. Then, 12 step by step, and round by round, IVmaBER. They sturdily progressed; Each barrier was dashed away As upward still they pressed. And oft, when toil-worn, faint, and weak, Then from the unseen choir Would come, in chorus full and strong, "There's room for you up higher." CLIMAX. 6. It filled their 13 souls with courage new, And gave them strength to win, Until they reached the place they sought, 14 Above the strife and din. 15 The crowd below, who saw them rise, Bewailed the adverse fate Which held them down | while 16 others rose To fill such high estate. 7. It never seemed to dawn on them The fault could lie 17 within; That bold success ne^er waits on those Who have no will to win. And when, in after waking hours, My dream came back to me, 18 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. I thought the lesson it conveyed Was plain and clear to see. For those with 18 spirit true and brave, Who to better things aspire, 19 Remember | that, where'er you stand, 20 "There J s always room up higher/' IMPRES- SIVE. 1 Point upward, then downward. 2 Both hands — palms up. 8 Throw both hands forward, letting the fingers fall slightly forward. * Point upward to the right. 5 Moving the head from side to side appearing to look intently. 6 Point downward. 7 Two hands forward, arms at angle with body. 8 Point downward, right hand. 9 Elevate right hand obliquely from body. 10 Attitude of listening — eyes thrown upward. " Bring hand to front with force on the word "ne'er." 12 Imitate the ascending move- ment with left hand, gradually till the end of stanza. 18 Both hands laid on breast, fingers slightly apart. 14 Point upward. 15 Both hands pointing downward. "Elevate hands. 17 Hand on breast. 18 Hand again on breast. 19 Wave hand in front warningly. 20 Point upward. SLOW. 5-THE DEATH RIDE. A TALE OP THE LIGHT BRIGADE. October 25, 185)+. Westland Marston. We sat mute on our chargers, a handful of men, As the foe's broken columns 1 swept on to the glen Like torn trees when the whirlwind comes; Cloven helm and rent banner grew dim to our ken, And faint was the throb of their drums. MEDIUM PITCH. 2. But, no longer pursued, 2 where the gorge opens deep | They halt; with their guns they crowd level and steep; Seems each volley some monster s breath, Who shows cannon for teeth as he crouches | to leap From his ambushed cavern of death. THE DEATH RIDE. 19 SLOW. STRONG. QUESTION- ING. SOLEMN. LOUD. 3. 3 Their foot throng the defile, 4 they surge on the bank; Darts a forest of lances in front; 5 o'er each flank Peer the muskets, a grisly flock; They have built their live tower up, rank upon rank, 6 And wait, | fixed, | for an army's shock. 4. Far in front of our lines, a dot on the plain, Mute and moveless we sat till his foam-flecked rein At our side gallant Nolan drew. "They still hold our guns, we must have them again/' Was his message — lu Advance, pursue!" 5. ^Pursue them ! What, 9 charge with our hun- dreds the foe Whose massed thousands await us in order below ? Yes, such were his words. To debate The command was not ours; we had but to know, And, knowing, encounter our fate. 6. We ride our last march; let each 10 crest be borne high We raise our last cheer ; n let it startle the sky 12 And the land with one | brave farewell, For soon | never more to our voice shall reply Bock, hollow, fringed river, or dell. 7. 13 Let our trump ring its loudest, in closest array, Hoof for hoof, let us ride; for the chief who to-day Eeview us — is u Death the victorious: Let him look up to Fame, as we perish, and ^y, 15 " Enroll them, the falVn are the glorious!" 20 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. QUICK TIME. QUICK. LOW TONE. QUICK AND LOUD. VERY LOUD. 8. We spur to the gorge ; from its channel of ire 16 Livid light bursts like surf, its spray leaps in fire; As the spars of some vessel stanch, Bold hearts crack and fall; we ne'er 11 swerve nor retire, But in mid-tempest we launch. 9. We 18 cleave the smoke billows as wild waves the prow; 19 The flash of our sabres gleams straight like the glow Which a ploughing keel doth break From the grim seas around, with light on her bow, And light in her surging wake. 10. We 20 dashed full on their guns; through the flare and the roar Stood the gunners bare-armed; now | they stand there no more, The war-throat waits dumb for the ball ; For those men pale and mazed to the chine we shore, 21 And their own cannon's smoke was their palL 11. That done, we're at bay; for the foe with a yell Piles his legions around us. Their bayonets swell 22 Line on line; we are planted in steel : "Good carbine! trusty blade! Each shot is a knell, Each sword-sweep a fate; they reel!" 12. 23 One by one fall our men, each girt with his slain, A death star with belts. Charge! we break them in vain ! From the heights their batteries roar, 24 The fire sluices burst, through that flood, in a rain Of iron, we strike for the shore. PATHY. THE DEATH RIDE. 21 13. Thunder answers to thunder, bolts darken the air, 25 To breathe is to die; their funeral glare The lit hills on our brave ones rolled. What of that? They had entered the lists Q ^jfo with despair, loud. 26 And the lot which they met, they foretold. with sym- 14. Comrade sinks heaped on comrade! A ghastly band, That fell tide, when it ebbs, shall leave on the strand : Of swimmers who stemmed it that day A spent, shattered remnant we struggle to land And wish we were even as they. 15. 27 Britain, my country ! Thy heart be the tomb Of those who for thee rode fearless to doom, The sure doom which they well foreknew? Though mad was the summons, they saw in the gloom Duty beckon — and followed her through. 16. 28 She told not of trophies — of medal or star, Or of glory's sign manual graved in a scar; Nor how England's coasts would resound When brothers at home | should greet brothers from war, 29 As they leaped upon English ground. 17. She told not of streets | lined with life up to heaven, 30 0ne vast heart with one cry till the welkin is riven — 31 "0 welcome, ye valiant and tried !" She told not of soft arms that clasp the re- given, She only said, "Die!" — and they died. PATHETIC. 22 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 18. 32 Let Devotion henceforth Balaklava own No less than Thermopylae, meet for her throne, And thou, Britain — thou mother bereft — By the grief for the sleepers who hear not thy moan, Count the worth of the sons thou hast left. 1 Sweep gesture with right hand from chest, full outward and hold picture till end of sentence. 2 Pointing right. 3 Hands in front. 4 For- ward movement with hands. 5 No. 4 plate for hands ; use right and left alternately. 6 Hands in front — palms down : attitude of expectancy. 7 Commanding sweep of the arm to the right. 8 Surprised action — hands elevated with palms outward. 9 No. 4 in plate for hands. 10 Touch side of the head. u Point upward. 12 Double gesture — hands apart. 13 Bring the hand from the mouth outward. 14 Point to the ground. 15 Look up, stand erect. 16 Both palms together — then throw the hands as far apart as possible. 17 Bring right hand quickly down before you from forehead till arm forms an obtuse angle. 18 Shoot forward quickly right hand. 19 Turn arm and hand in air, imitating sword practice. 20 Step forward, arm elevated in advance. 21 Spread out hands in front, palms down. 22 Point in front. 23 Indicate with finger the several places. 2 * Throw up both hands wildly. 25 Point up quickly. 26 Hands clasped in despair. 27 Hands extended outward and upward — attitude of appealing. 2S Right hand extended. 29 Both hands suddenly thrown carelessly forward. 30 Hand on breast. 31 Arms forward— advance on one foot— chest out. Keep position till finish of stanza. 32 Right hand forward — heroic posture till end. NARRA- TIVE STYLE. 6-THE WILL AND THE WAY. John 0. Saxe 1. It was a noble Eoman, In Eome's imperial day, Who heard a coward croaker, Before the battle, say: 1 "They ? re safe in such a fortress, There is no way to shake it- 2 "0n! onl" exclaimed the hero, I'll -find a way, or make it!" INTERROG- ATIVE. 2. 3 Is fame your aspiration? Her path is steep and high, 4 In vain he seeks the temple, Content to gaze and sigh! THE WILL AND THE WAY. VIGOROUS. The shining throne is waiting, But he alone can take it Who says, with Eoman firmness, 5 "FH find a way, or make it." 3. 6 Is learning your ambition? There is no royal road; Alike the peer and peasant Must climb to her abode; 7 Who feels the thirst for knowledge, In Helicon may slack it, If he has still the Eoman will 8 To "find a way, or make it !" DECISIVE. VIGOROUS. 4. 9 Are riches worth the getting? They must be bravely sought; 10 With wishing and with fretting The boon that can be bought; To all the prize is open, But only he can take it Who says, with Eoman courage, llfc ril find a way, or make it!' 1 Pointing to the front. 2 Sweep hand from breast to the right majes- tically. 3 No. 4, plate for hands. 4 No. 4, plate for arms. 5 Bring hand down in front with vigor on emphatic words. 6 No. 12 in plate for hands. 7 Elevate hand in front — first finger pointing upward. 8 Same as 6 . 8 Double gesture as in No. 5 of plate for arms. 10 Throw the hands care- lessly and loosely outward. X1 Same as 5 . 24 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. QUIETLY. NATU- RALLY. 7-THE LESSON OF THE MILL. 1. Listen 1 | to the water-mill j all the live-long day, How the clicking of the wheel wears the hours away; Languidly | the autumn 2 wind sheds the greenwood leaves; From the fields the reapers sing, binding 3 up the sheaves; And a proverb* haunts my mind | as a spell that's cast: "The 5 mill | will never grind | with the water that is past." 2. Autumn winds revive no more 6 leaves that once are shed, And the sickle cannot reap corn once gath- ered — And the rippling stream 7 flows on, tranquil, deep and still, Never gliding back again | to that water-mill ; 8 Truly speaks the proverb old, with a mean- ing vast: 9 "The mill | will never grind | with the water that is past." DIDACTIC. 3. Take this 10 lesson to yourselves, loving hearts and true, Golden years are 11 fleeting by, | youth is pass- ing too; Learn to walk the road of life, 12 lose no happy day- Time can never bring thee back | chances swept away. Leave no tender word unsaid; love 13 while love may last; 14 "The mill | will never grind | with the water that is past." THE LESSON OP THE MILL. 25 4. Work 15 | while yet the daylight shines, men of strength and will, earnest Never doth the streamlet glide useless | by the mill: 16 Wait not till to-morrow's sun beams upon thy way — All that thou canst call thine own | lies in the to-day ; 17 Power, intellect, and health cannot always last ; "The mill | will never grind | with the water that is past." 5. 18 | the wasted hours of life that have drifted by, solemn. And the 9°°d we might have done | lost with- out a sigh; Loss | that we might once have saved by a single word — Thoughts 19 conceived but never penned, perishing unheard ; Take this motto to thine heart 20 — take and hold it fast; "The mill will never grind with water that is past." 1 Right hand extended in front. 2 Bring hand downward toward ground. 3 Action with both hands one over the other — circular move- ment. * Place finger on forehead. 5 Point to right. 6 Point to ground. 7 Sweeping downward gesture of the hand from center to the right. 8 No. 7 hand plate. 9 Repeat 5 10 Right hand out — palm up. 11 Gracefully turn hand to the right. 12 Hand in front — admonishing. 13 Open hand on breast. 14 Repeat 5 . 15 No. 2 hand plate. 1G Wave hand slight to right — wrist movement — palm down. 17 Move hand in front, having palm upward — bring it slightly down on the emphatic words. 18 Tips of both hands touching in front of breast. 19 Indicate forehead with finger. 20 Arms and hands in front. Position of earnestness — hold it till finish. 26 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. DESCRIP- TIVE. 8-CURFEW MUST NOT RING TO-NIGHT. Rose Hartwich Thorpe. 1. England's 1 sun was slowly setting o'er the hill so far away, 2 Filling all the land with beauty, at the close of one sad day. And his last rays kissed the forehead of a man, and maiden fair, 3 He | with step so slow and weary, 4 she | with sunny floating hair; 5 He | with bowed head, sad and thoughtful, she with lips so cold and white, Struggling 6 to keep back the murmur, "CUE- FEW must not ring to-night/ J LOW. STAGE WHISPER. "Sexton," Bessie's white lips faltered, point- ing 7 to the prison old, With its walls so dark and gloomy, walls so dark, and damp, and cold, — "I've a lover in that prison, doomed this very night to die At the ringing of the curfew, and no earthly help is nigh — Cromwell will not come till sunset," | and her face grew strangely white, As she spoke in husky whispers, "CURFEW must 8 not ring to-night/' SLOW AND FIRM. INCREASED TONE. 3. "Bessie," calmly spoke the sexton, 9 "Long, long years I've rung the curfew from that gloomy shadowed tower; Every evening, just at sunset, it has told the twilight hour. I have done my duty ever, | tried to do it just and right, Now I'm old — I will not miss it; girl! the curfew 10 rings to-night." CURFEW MUST NOT RING TO-NIGHT. 27 INTENSE. HURRIED OROTUND. LOUD. 4. Wild her eyes, 11 and pale her features, stern and white her thoughtful brow, And | within her heart's deep centre Bessie made a solemn vow; 12 And her breath came fast and faster, and her eyes grew large and bright, One low murmur, scarcely spoken, "Curfew must not ring to-night." 5. She | with light steps 13 bounded forward, sprang within the old church door, 14 Left the old man, coming slowly, paths he'd trod so oft before. Not one moment paused the maiden ; but with cheek and brow aglow, Staggered up the gloomy tower, where the bell 15 swung to and fro; 16 Then she climbed the slimy ladder, dark — without one ray of light, Upward still, her pale lips saying, "Curfew shall not ring to-night." 6. She has reached 17 the topmost ladder; o'er her hangs the great, dark bell, And the 18 awful gloom beneath her — like the pathway down to hell — 19 See! the ponderous tongue is swinging, 'tis the hoar of curfew — Now! And the sight has chilled her bosom, stopped her breath, and paled her brow ; Shall she let it ring? 20 No, never! her eyes flash with sudden light, As she springs, 21 and grasps it firmly, "Cur- few shall not ring to-night." 7. 22 Out she swung — far out — the city seemed a tiny speck below, There, | 'twixt heaven and earth suspended, as the bell swung to and fro; And the 23 half-deaf sexton, ringing — years he had not heard the bell — 28 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. NARRA- TIVE STYLE. Thought the twilight curfew | rang young Basil's funeral knell. 8, O'er the 24 distant hills came Cromwell ; Bessie saw him, and her brow Lately white with sickening horror, glows with sudden beauty now: 25 At his feet she told her story; he saw her hands 26 all bruised and torn, And her sweet young face so haggard, with a look so sad and worn, Touched his heart with sudden pity, lit his eyes with misty light — 27 "Go — your lover lives/' said Cromwell; "cur- few shall not ring to-night." FULL SUS- TAINED VOICE. 9. 28 Wide | they flung the massive portal, led the prisoner forth to die, All his bright young life before him — 'neath the dark'ning English sky. Bessie comes with flying footsteps 29 — eyes aglow with love-light sweet — 30 Kneeling on the turf beside him, lays his pardon at his feet. 10. In his strong, brave arms he 31 clasped her, | kissed the face upturned and white; Whispered, "Darling, you have saved me, curfew did NOT ring to-night/' 1 Point left — gradually drop the arm. 2 Double gesture No. 5 arm plate. 3 Point to right. * Point to left. 6 Incline the head. 6 Hand quietly laid on lower part of neck. 7 Gesture to the right and retain it for four lines. 8 Hands clasped nervously. 9 Fingers directed up to the right. 10 Close the hand and bring it down with energy. ll Show great excitement in look and manner. 12 Both hands pressed tightly over heart — body bent slightly forward. 13 Advance quickly — point to right. 14 Pointing left. 15 Sway the arm and hand gently from right to left and back again. 16 Imitate the action of climbing. 17 Arm and hand perpendicular. 18 Look downward horrified — hands extended — fingers sepa- rated. 19 Point to bell, great excitement. 20 Bring hand down emphati- cally. 21 Reach forward — advance, bring both hands together, as if clutching bell. 22 Swing the arm widely. 23 Touch the ear. 24 Point to left. 25 Both hands extended toward ground, palms out — breast out — head back — right foot advanced. 26 Break the picture — show hands and turn them. 2T No. 8, plate for arms. 2S Open widely both arms. 29 Point toward face. 30 Points down. 31 Fold arms across breast — hold till the end. THE SONG OF THE SWORD. 29 SLOW. QUIET. 9-THE SONG OF THE SWORD. 1. Weary, 1 and wounded and worn, Wounded, and ready to die, A soldier they left, all alone and forlorn, On the field of the battle | to lie. 2 The dead and the dying | alone Could their presence and pity afford; Whilst, 3 with a sad and terrible tone, He sang the song of the sword. LOW. SLIGHT MONOTONE. 2. ^Fight— fight— fight ! Though a thousand fathers die ; Fight— fight— fight! Though thousands of children cry; Fig h t — fig h t — figh t ! Whilst mothers and wives lament; 5 And fight— fight— fight ! Whilst millions of money are spent. 3. ^Fight— fight— fight ! Should the cause be foul or fair; 7 Though all that's gained is an empty name And a tax too great to bear : An empty name and a paltry fame, 8 And thousands lying dead; Whilst every glorious victory Must raise the price of bread. INCREASED TONE. PAUSE. 4. 9 War — war — war ! Fire, and famine, and sword; 10 Desolate fields, and desolate towns, And thousands scattered abroad, With never a home and never a shed; Whilst kingdoms | perish and fall, n And hundreds of thousands are lying dead, And all for 12 nothing at all. 30 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. INTERROG- ATIVE. REGRET- FUL. 5. ls War — war — war! Musket, and powder, and ball : 14 Ah ! ) what do we fight so for ? Ah! why have we battles at all? ? Tis justice must be done, they say, The nation's honor to keep; 15 Alas ! | that justice is so dear, And human life so cheap. 6 . 16 War — war — war ! Misery, murder and crime, low tone. Are all the blessings | Fve seen in thee From my youth | to the present time; 17 Misery, murder and crime — Crime, misery, murder, and woe: 18 Ah ! | would I had known in my younger days A tenth of what now I know ! INFLEC- TION 7. 19 Ah ! had I but known in my happier days, In my hours of boyish glee, A tenth of the horrors and crime of war — A tithe of its misery ! 20 I now | had been joining a happy band Of wife and children dear, And I had lived | in my native land, Instead of dying here. SLOW. SORROW- FUL. And many a long, 21 long day of woe, And sleepless nights untold, And drenching rain, and drifting snow, And weariness, famine and cold; And 22 worn-out limbs, and aching heart, And grief too great to tell, 23 And bleeding wound, and piercing smart, Had I escaped full well. Weary, 24 wounded, and worn, Wounded, and ready to die, A soldier they left 25 all alone and forlorn, On the field of the battle to lie. THE SPANISH MOTHER. (See page 31.) THE SPANISH MOTHER. 31 M feeling ^e ^ ea ^ an( ^ ^ e dy^-g alone Could their presence and pity afford ; Whilst thus, with a sad and a terrible tone, (0, would that these truths were more per- fectly 2 ** known!) He sang | the song | of the sword. 27 SLOW. 1 No. 1, hand plate — hold gesture for four lines. 2 Indicate several places. 3 No. 1, hand plate — with emphasis. 4 Left hand pressed against side, right hand on forehead. 5 Drop right hand. 6 Same as 4 . 7 Hands interlaced as in No. 11, hand plate. 8 No. 2, arm plate. 9 Both hands clasping each side of head- — look upward. 10 Both arms as in No. 1, plate for arms — then extend arms to either side fully. u Use open ges- ture both arms. 12 Drop them. 13 Same as 9 . 14 Shake the head gravely. 15 Clasp hands fervently. 16 Same as 9 . 1T No. 12 hand plate. 18 Nod the head slowly and repeatedly till end of sentence. 19 Arms folded on breast — head down — eyes toward audience. 20 Raise the head — extend right hand — left palm pressed to side. 21 No. 9, hand plate. 22 Touch legs — breast. 23 Left hand pressed to side. 24 General exhaustion. 25 Bring hands together as in prayer. 26 Slowly shake the head. 28 Hands toward audience. 10-THE SPANISH MOTHER. SUPPOSED TO BE RELATED BY A VETERAN FRENCH OFFICER. Sir Francis Hastings Doyle. tone EATE The German and the Englishman | were each | an open foe. And open hatred hurled 1 us back from Kussia's blinding snow; Intenser far, in blood-red light, like fires un- quenched, remain The dreadful deeds | wrung forth by war | from the brooding soul of Spain. I saw a village 2 in the hills, as silent as a dream, s Nought stirring | but the summer sound of a merry mountain stream; 32 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 4 The evening star just smiled from heaven, with its quiet silver eye, And the chestnut woods | were still and calm, be- neath the deepening sky. SLIGHTLY INCREASED FORCE. But | in that place, self-sacrificed, 5 nor man nor beast we found, 6 jNTor fig-tree on the sun-touched slope, nor corn upon the ground; Each roofless hut was black with smoke, wrenched 7 up each trailing vine, 8 Each path was foul with mangled meat, and floods of wasted wine. STRONG. We had been marching, travel-worn, a long and burning way, And when such welcoming we met after that toil- some day, The pulses in our maddened breasts | were hu- man hearts no more, But, like the spirit of a wolf, 10 hot on the scent of gore. LOUD. n We lighted on one dying man, | they slew him where he lay, His wife, 12 close clinging, from the corpse they 13 tore and wrenched away ; They thundered in her widowed ears, with frowns and cursings grim, ^"Food, woman, food and wine, or else we tear thee limb from limb." IMPRESS- IVE. The woman, shaking off his blood, rose raven- haired and tall, 15 And our stern glances | quailed before one sterner far than all; "Both food and wine," she said, "I have; I meant them for the dead, 16 But ye 17 are living still, and so — let them be yours instead." THE SPANISH MOTHER. 33 SURPRISE. The food was brought, the wine was brought, out of a secret place, But | each 18 one paused aghast, and looked into his neighbor's face; Her haughty step and settled brow, 19 and chill indifferent mien, Suited so strangely with the gloom and grim- ness of the scene : HORROR. 20 She glided here, she glided there, before our wondering eyes, Nor anger showed, nor shame, nor fear, nor sor- row, nor surprise; At every, step from 21 soul to soul a nameless horror ran, And made us pale and silent as that 22 silent murdered man. 23 She sate, and calmly soothed her child into a slumber sweet; Calmly the bright blood on the floor | crawled red around our feet; On placid fruits and bread | lay soft the shadows of the wine, And we like marble statues glared — a chill un- moving line, All white, all cold; and moments thus flew by without a breath, 24 A company of living things | where all was still— but death— 25 26 My hair rose up from roots of ice, as there i unnerved | I stood And watched the only thing that stirred — the rippling of the blood. LOUD. That woman's voice was heard at length, it broke the solemn spell, And human fear displacing awe | upon our spirits fell — 34 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. "Ho! slayers of the sinewless, ho! tramplers of the weak! 27 What ! shrink ye from the ghastly meats | and life-bought wine ye seek? — "Feed and 28 begone, I wish to weep — I bring you out my store, Devour it — waste it all — and then, pass, and be seen no more. 29 Poison ? is that your craven fear ?" she 30 snatched a goblet up, And raised it to her queen-like head, as if to drain the cup — sarcasm. But our fierce leader 31 grasped her wrist, "No ! woman, no !" he said, "A mother's heart of love is deep. — Give it your child instead/' 32 She only smiled a bitter smile, — "Frenchman, I do not shrink, As pledge of my fidelity — behold the infant drink" 33 34 He fixed on hers his broad black eye, scanning the inmost soul, But her chill fingers trembled not | as she re- turned the bowl. And we, 35 with lightsome hardihood dismissing idle care, Sat down to eat and drink and laugh, over our dainty fare. 36 The laugh was loud around the board, the jesting wild and light — But I was fevered with the march, and drank no wine that night; I just had filled a single cup, when through my very brain 37 Stung, sharper than a serpent's tooth, an in- fant's cry of pain — THE SPANISH MOTHER 35 ^Through all that heat of revelry, through all that boisterous cheer, To every heart its feeble moan pierced, like a frozen spear: vert loud. "Ay," shrieked the woman, darting up, "I pray you trust again A widow's hospitality, in our unyielding Spain. "Helpless and hopeless, by the light of God Himself I swore To treat you I as you treated 39 him — that body CONTINUED 4-l.„ fl™ force. on the floor. 41 Yon secret place I filled, to feel, that if ye did not spare, The treasure of a dread revenge was ready hidden there. "A mother's love is deep, no doubt, ye did not phrase it ill, 42 But in your hunger, ye forgot that hate 43 is deeper still. The Spanish woman speaks for Spain^ for her butchered love | the wife — To tell you, that an hour 44 is all my vintage leaves of life." I cannot paint the many forms by wild despair put on, Nor count the crowded brave | who sleep under a single stone; I can but tell you, how before that horrid hour went by, 45 I saw the murderess | beneath the self- avengers die; — But | though | upon her wrenched limbs they leapt 46 like beasts of prey, And with fierce hands | as madmen | tore the quivering life away, 36 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. ^Triumphant hate, and joyous scorn, without a trace of pain, Burned to the last, like sullen stars, in that haughty eye of Spain. 1 Inward movement of arms. No. 7 arm plate. 9 Indicate with right hand. 3 Two hands extended — palms down. 4 Point upward. 5 Wave right hand from breast palm down. ° Gesture upward to right. 7 Action of pulling from ground. 8 Double gesture No. 2, arm plate. 9 Open hand on breast. 10 Bring hand forward. No. 6 hand plate. u Point down- ward. 12 Arms well out and down — bend forward. 13 Close extended hand, draw back quickly. 14 Shake clinched hand threatingly. 15 Stand erect. 16 Points downward. 17 Place hand in front. 18 No. 6 hand plate — turn head from side to side. 19 Show by bearing her majestic mien. 20 Point to several places. - 1 Open hand on breast. 22 Point downward. 23 Stand perfectly still — hands crossed in front, down — amazement. 24 Both hands in front. 23 Slowly point downward. 26 Both hands on head. 27 Right hand well out. 28 Turn palm down — sweep hand to right. 29 No. 6 hand plate, both hands. 30 Action of lifting cup. 31 Action of grasping wrist. 32 Loosen grasp. 33 Bend forward — pretend to hold cup to in- fant's lips. 34 Arms folded — look attentively to the side. 35 Double ges- ture to the front, careless in manner and expression. 3 Swing arms care- lessly about. 37 Touch right side of forehead. 38 Touch breast. 39 Shake index finger violently. 40 Point to the dead. 41 Point to the right. 42 Hand on breast. 43 Shake closed hand. 44 Bring hand down quickly. 45 No. 2 arm plate — one hand. 46 Send both hands from forehead out- ward. 47 No. 6 hand plate — keep this till the end. DESCRIP- TIVE. 11-THE SINGING OF THE MAGNIFICAT. E. Nesbitt. J In midst of wide green pasture lands, cut through By lines of alders | bordering deep-banked streams, Where bulrushes and yellow iris grew, And rest, and peace, and all the flower of dreams, The abbey stood : — so still, it seemed a part 2 Of the marsh country's almost pulseless heart And all the villages and hamlets near Knew the monk's wealth, and how 3 that wealth was spent. 4 In tribulation, sickness, want, or fear, First to the abbey all the peasants went, Certain to find a welcome, and to be Helped in the hour of their extremity. THE SINGING OF THE MAGNIFICAT. 37 The monks | in such good works were always Yet | all men must have sorrows of their own, And so a 5 bitter grief the good monks had, And mourned for others' heaviness alone. e This was the secret of their sorrowing, 7 That not a monk in the house could sing. INTERROG- ATIVE TONE. 8 Was it the damp air from the lovely marsh, Or strain of scarcely intermitted prayer, That made their 9 voices, when they sang, as harsh 10 As any frog's that croaks in evening air ; That marred the chapel's peace, and seemed to scare 11 The rapt devotion lingering in the air? SLOW, REVERENT TONE. And all their prayers and fasts availing not To give them voices sweet (their soul's de- sire), 12 The abbot said, "Gifts He 13 did not allot— God at our hands will not again require. The love He gives us He will ask again In love to Him and to our fellow-men. f ^"Praise Him we must, \ and since we cannot praise As we would choose, we praise Him as we can. 15 In heav'n | we shall be taught the angels' ways Of singing — we afford to wait a span. In singing and in toil do ye your best 16 God will adjust the balance — do the rest." But | 17 one good brother, anxious to remove This, the reproach now laid on them so long, brisk. ^Rejected counsel and for very love Besought a monk skilled in the art of song To come to them — his cloister far to leave, ^ 9 And sing Magnificat on Christmas Eve. 38 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. So when each brown monk duly sought his place, bright. 20 By two and two slow pacing to the choir, Shrined in his dark oak stall | the strange monk's face, 21 Shone with a light as of devotion's fire. Good, young, and fair, his seemed a form wherein Pure beauty left no room at all for sin. LIGHT AND FLOWING. And when the time for singing it had come, Magnificat ! 22 — face raised and voice he sang : Each in his stall the monks stood glad and dumb, As through the chancel's dusk his voice out- 23 rang Pure, clear, and perfect — as the thrushes sing Their first impulsive welcome of the spring. And as the voice rose higher and more sweet, The abbot said, 24 "Lord, hast Thou heard us grieve, And sent an angel from beside Thy feet To sing Magnificat on Christmas Eve; To ease our ache of soul and let us see How we some day shall sing in heav'n to Thee ?" AMAZE- MENT. That night the abbot, lying on his bed, 25 A sudden flood of radiance on him fell, Poured from the crucifix above his head, And cast a stream of light across his cell, Where, in the fullest fervor of the light 26 An angel stood, glittering and great and white. LOW. The angel spoke ; his voice was low and sweet As the sea's murmur on the low-lying shore, 27 0r whisper of the wind in ripened wheat : "Brother," he said, "the God we both adore Has sent me down to ask — Is all not right ? Why was Magnificat not sung to-night?" THE SINGING OF THE MAGNIFICAT. 39 CHANGE OF TONE. 28 Tranced in the joy the angel's presence brought The abbot answered, "All these weary years We have sung our best, but always have we thought, Our voices were unworthy heav'nly ears. And so, to-night, we found a clearer tongue, And by it the Magnificat was sung." The angel answered, "All these happy years 29 In heav'n | has your Magnificat been heard ; This night alone the angels listening ears Of all its music | caught no 30 single word. Say, who is he whose goodness is not strong Enough | to bear the burden of this song?" The abbot named his name; "Ah! why," he cried, "Have angels heard not what we found so dear?" 31 "Only pure hearts," the angel's voice replied, "Can carry human songs up to His ear; 32 To-night | in heav'n | was missed the sweetest praise That ever rises from earth's mud-stained maze. 33 "The monk who sang Magnificat | is filled With lust of praise and with hypocrisy ; 3 *He sings for earth | in 35 heav'n | his notes are stilled By muffling weight of dead'ning vanity ; 36 His heart is chained to earth, and cannot bear His singing higher than the listening air. moral. "From 37 purest hearts most perfect music springs, And while you mourned your voices were not sweet, — Marred by the accident of earthly things, — 40 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. GRAVITY. 38 In heav'n, | God listening, | judged your song complete ; The sweetest of earth's music came from you, 39 The music of a noble life and true/' 1 No. 8 arm plate. 2 Arms horizontal — palms down. 3 Turn palms up. 4 Move hands upward and downward on the four emphatic words. 5 Both hands No. 3 arm plate. 6 Point first finger toward front. 7 Shake finger in each word of the line. 8 Wave open both arms, No. 5 arm plate. 9 Hand on throat. 10 Bring hand down to front. n Both hands up — look around. 12 Touch left breast. 13 No. 4 arm plate. 14 Both hands extended and apart. 15 Point upward. 10 No. 12 hand plate. 17 No. 1 hand plate. 18 Turn hand and wave it to right. 19 No. 1 hand plate. 20 Indicate by hand a gradual foward movement. 21 Touch face then send hand gracefully forward. 22 Throw head backward — eyes up. 23 Two arms extended upward. 24 Attitude of devotion, No. 10 hand plate. 25 Fingers touching in front of face then slowly separate hands far apart — move and look around. 26 Point in front — as. 27 Touch lips. 28 Arms crossed on breast. 29 Point upward. 30 No. 1 hand plate. 31 Hand on left breast. 32 Point upward. 33 No. 2 hand plate. 3 * Turn hand and point finger toward earth. 35 No. 4 arm plate. 36 Send hand gently to breast. 3 7 Keep hand on breast. 38 Point up. 3S> Clasp hands — eyes up. QUICK. 12-THE PRIDE OF BATTERY B. F. H. Gassaway. South Mountain 1 towering on our right; Far off the river lay; 2 And over on the wooded height 3 We held their lines at bay. NATURAL. At last | the muttering guns were still, The day died slow and wan; And while the gunners filled 4 their pipes The sergeant's yarns began. When, | as the wind a moment blew Aside the fragrant flood Our brierwoods raised, within our view 5 A little maiden stood. THE PRIDE OF BATTERY B. 41 6 A tiny tot of six or seven, From fireside fresh she seemed. (Of such a little one in heaven One soldier often dreamed.) GRUFF TONES. And, | as we stared, her little hand 7 Went to her cnrly head In grave salnte. "And who are you?' At length the sergeant said. CHILD'S TONE. "And where's your home?" he growled again. She lisped ont, "Who is me?" 8 'Why, don't yon know? Fm little Jane, The pride of Battery B. UPWARD INFLEC- TION. 10 "Hy home ? Why, that was burned away, And pa and ma are dead; And so I ride the gnns all day Along with Sergeant Ned. "And I've a drum 11 that's not a toy, 12 A cap with feathers, too ; And I 13 march beside the drummer-boy On Sundays at review. SORROW- FUL. 14 "But now | our 'bacca's all give out, The men can't have their smoke, And so they're cross; why, even Ned Won't play with me and joke. "And the 15 big colonel said to-day- I hate to hear him swear — He'd give 10 a leg for a good pipe Like the Yank had 17 over there. 18 "And so | I thought, when beat the drums, And the big guns were still, 19 I'd creep beneath the tent, and come Out here across the hill, 42 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. PLEADING. "And beg, 20 good Mister Yankee men, You'd give me some 'Lone Jack.' 21 Please do. When we get some again, I'll surely bring it back. "Indeed I will ; for Ned, says he — 'If I do what I say, I'll be a general yet, maybe, 22 And ride a prancing bay.' " LIGHT. We brimmed 23 her tiny apron o'er. You should have heard her laugh, As each man from his scanty store Shook out a generous half. CHANGE VOICE. To kiss the little mouth | stooped down 24 A score of grimy men, Until the sergeant's husky voice squad!" and then Said, 25 "'Tention, We gave her escort, till good-night The pretty waif we bid, And watched her | toddle out of sight — 26 Or else | 'twas tears that hid The tiny form ; nor turned about A man, nor spoke a word, Till, after a while, a far hoarse shout Upon the wind we heard. SYMPATHY. 27 We sent it back, then cast sad eyes 28 Upon the scene around. A baby's hand had touched the ties That brothers once had bound. 29 That's all — save | when the dawn awoke Again the work of hell, And through the sullen clouds of smoke ^The screaming missiles fell, THE MELANCHOLY HEN. 43 PRO- NOUNCED. Our general | often rubbed his glass, And marvelled much to see 31 Not a single shell that whole day | fell In the camp of Battery B. 1 Point right. 2 Point left. 3 Point center. 4 Show action of filling pipe. 5 Point in front. 6 Hand out showing her size. 7 Military salute. 8 Fingers of both hands touching breast. 8 General surprise. 10 Pulling apron or dress. ai Bring both hands to side show action of drumming. 12 Touch side of head. 13 Mark time till end of following line. 14 Clasp hands — sorrowfully — head on side. 15 Fingers open in front of face and waving. 16 Strike leg. 17 Point center. 18 Right hand under jaw — left hand supporting elbow of right arm — nodding head. 19 Make snake-like movement with right hand. 20 Clasp hands. 21 Same gesture — advance — pleading. 22 As if holding bridle of horse — toss the head. 23 As if shak- ing out tobacco from bag. 24 Bend forward — arms out. 25 Stand erect — arms by the side. 26 Point to front. 27 Wave the hand from the mouth outward. 28 Look from side to side. 29 Carelessly throw hands forward and drop them. 30 Point upward — drop hands. 81 Two hands, No. 1 hand plate. RATHER QUICK. 13-THE MELANCHOLY HEN, w. a. wuis. Some talk of 1 melancholy men — | I'm sure you'll think them cheerful | when I tell you 2 of a lonely hen, Who led a life secluded; 3 With other fowls she mingled not; Her feathered relatives forgot; She stood whole hours upon one 4 spot, 5 And I o'er her sorrows brooded. MOCK SOLEM- NITY. Her face it was depressed and meek, Pallid were her gill and beak, 6 Unwholesome white her plumage ; Her voice was weak, peevish, and low, The phantom of a broken crow, — . As if the weight of bitter woe She would express | were 7 too much. EMPHATIC. 'Twas said | an egg she never laid 8 (And truly said I am afraid), 9 In fact she was a sad old maid, Who lived in destitution. 44 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. The cocks were slighting, proud, and rough, And often called her thin and tough, 10 As if she weren't sad enough Without such persecution. 11 The wondering fowls conversed apart, A-roosting on an empty cart — rapid. Some said it was a broken heart That drove the creature crazy; Love unrequited was her luck, Some hinted with a pitying chuck ; While some, with a malicious cluck, Pronounced her only | lazy. 12 LIVELY. Some gallant roving cock, we're told, 13 With arching tail of green and gold, And swaggering steps so brave and bold- A dainty fowl, and pampered, Was once, alas! adored by her For his tall crest and dauntless spur, And shamefully, the fowls aver, 14 With her affections tampered. 15 If this be true | 'twere hard to prove, At least, she never told her love — A blank is in her history. She loved one spot, we only know — 16 The dunghill where he used to crow, 17 And there she clucked and cackled so ; She was involved in mystery. The fowls would beg of her to feed, And, as she was an invalid, Would treat her to some nice rape-seed, To make a small variety. But 'mid that little friendly pick, 18 A grain within her throat would stick, And she would leave them, deadly sick Of rape-seed and — society. SLOW. THE LAST SHOT. 45 19 Alas ! | alas ! | this mournful hen rather Shall never more lament again; One morning she by cruel men, To make hen-broth was taken. She bowed her head to their decree, It was a tearful sight to see Such high resolve and constancy, In one so all-forsaken. And then | each melancholy bone 20 Into a seething pot was thrown, All but the merry-thought alone, For she had no such folly; 21 And a poetic cock averred — 22 (But, mind, you don't believe his word) That meath the 23 dunghill lie interred 24 Her bones so melancholy. 1 No. 1 hand plate. 2 Cross the hands and shake head. 3 Both hands extended. 4 Point downward. 5 Same as " 2 ." 6 Point to neck. 7 Throw both hands forward. 8 No. 1 hand plate both hand — look knowingly. 9 Cross arms in front — head sideways. 10 Facial expression of sadness. 11 Hand out — move quickly from side to side. 12 Hands forward. 13 March from side to side tossing head proudly. 14 Hands on breast — bend for- ward. 15 Both hands — No. 5 arm plate. 16 Point to right. 17 At end of line imitate a hen cackling. 1S Hand on throat. 19 Wave hands in front up and down. 2° Extend arm — bend down. 21 No. 12 hand plate. 2 - Change tone for parenthesis. 23 Point downward. 2i Cross arms — shake head. 14-THE LAST SHOT. A TALE OF THE INDIAN MUTINY. John D. Reid. Three 1 to ride and to save, one 2 to ride and be saved — slow. That's the key of my tale, boys, deep on my heart 3 engraved. With death before and behind, through dangers firm. many and nigh, 4 Four to ride together, and three of the four to die. 46 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. There was the Captain's daughter, a young and delicate girl, With her childlike face and shining eyes, and 5 hair of sunniest curl; She looked like a beautiful flower, too slight to be even caressed, Yet never was 6 braver heart than beat in that girlish breast. And then there was 7 Sergeant Gray, a martinet old and grim; The biggest tyrant alive was a lamb compared to him; 8 Ne'er-dae-weel Douglas was next, a Borderer born and bred, With a sin on his 9 soul | for each hair that grew on his handsome head. MEDIUM TONE. And then | 10 there was Fighting Denis — Denis, the stout of heart, Foremost in every row, and skilled in the "manly 11 art." Take the three together, the truth is, old and young, They were three o' the 12 greatest scamps, boys, that ever deserved to be hung. What was 13 she doing, you ask, alone with fel- lows like these, 14 Down by the Ganges 7 bank, hid 'mong the mango trees? Well, J she couldn't help herself, she could only wait and pray, And they — they were doing their duty as well as they knew the way. COMMAND- ING. 15 Slowly the red moon rose, and then the ser- geant spoke — | 16 "Pat, look to the horses' girths; Graham, give the lady 17 this cloak. THE LAST SHOT. 47 DELIB- ERATE. QUICK. Now, miss, 18 be your father's daughter, our lads are close below, The horses are fresh, the road is clear, and we've only five miles to go." Then spoke the Captain's daughter, and her voice was weak, but 19 clear — "I want you to promise, brave friends, | while we're together here, That you'll keep 20 the last shot for me — when each heart of hope despairs; Better die by hands like 21 yours | 22 than be left alive in 23 theirs." 24 "I promise." "And I." "And I." The voices were hoarse and low, And each man prayed, I ween, that the task he might not know, 25 As out on the plain they rode swiftly and silently — Four to ride together, and three of the four to die. 2 make a noise like a duck. 24 Drop hands — bend head downward. 25 Dint to left. 26 Both hands out — bow head. 27 No. 7 hand plate. 28 ?ace inscription with finger. 29 Bring both hands to stomach. 96 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. QUIETLY. WITH FEEL- ING. 36-THE EXILE OF ERIN. T. Campbell. There came to the beach 1 a poor Exile of Erin, The dew on his thin robe was heavy and chill ; 2 For his country he sighed, | when at twilight re- pairing To wander alone by the wind-beaten hill: 3 But the day-star attracted his eye's sad devotion ; 4 For it rose | o'er his own native isle of the ocean, Where once, in the fervor of youth's warm emotion, He sang | the bold anthem of Erin go Bragh / 15 6 "Sad is my fate!" — said the heart-broken stranger — "The wild deer and wolf to a 7 covert can flee ; 8 But / have no refuge from famine and danger : A home and a country | remain not to me ! 9 Never again, in the green sunny bowers Where my forefathers lived, shall I spend the sweet hours Or cover my harp with the wild-woven flowers, 10 And strike to the numbers of Erin go Bragh ! EARNEST. PATHETIC. n "Erin ! | my country ! | Though sad and for- saken, 12 In dreams I revisit thy sea-beaten shore ! But, alas! in a far, foreign land I awaken, 13 And sigh for the friends that can meet me | no more! 14 Oh, cruel Fate ! wilt thou never replace me In a mansion of peace, where no perils can chase me ! — 15 They died to defend me — or live to deplore • THE EXILE OF ERIN. 97 SLOW. "Where is my cabin-door, fast by the wild wood ? 16 Sisters and sire, did ye weep for its fall? Where is the mother that looked on my child- hood? And where is the bosom 17 -friend, | dearer than all? 18 Ah! my sad soul, long abandoned by pleasure! Why didst thou dote on a fast-fading treas- ure? 19 Tears, like the rain-drops, may fall without measure But rapture 20 and beauty they cannot recall ! LOUDER. LOUD. "Yet — all its sad recollections suppressing — 21 One dying wish my lone bosom shall draw : — 22 Erin ! an exile bequeaths thee — his blessing ! Land of my grandfathers! — Erin go Bragh! 23 Buried and cold, when my heart stills her mo- tion, 2 *Green be thy fields, sweetest isle of the ocean ! And thy harp-striking bards sing aloud, with devotion, 25 Erin Mavourneen! Erin go Bragh!" 1 No. 8 arm plate. * Place hand on breast. a Point upward — more to right. 4 Raise hand still higher. 5 Both hands to front — head erect. 6 Clasp hands — slowly shake the head. 7 Point to left. 8 Left hand to breast — speak slowly in sympathetic tone. 8 No. 14 hand plate. 10 Move- ment of touching strings of the harp. 1X Advance — both hands extended. 12 Touch right side of forehead. 13 Both hands to breast — slowly shake head. 14 Clasp hands — advance with earnestness of manner. 15 Point downward — then raise the hand. 16 Turn to left— left hand No. 1 hand plate. 17 No. 14 hand plate. 18 Walk to right whilst speaking — hand on breast. 19 Fingers of both hands to eyes. 20 No. 6 arm plate. 21 Clasp hands — advance. 22 Throw out both hands — head erect. 23 Hand over heart. 24 No. 5 arm plate. " Elevate both hands — look up — very earnest. 98 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. SYM- PATHY. 37-THE SLAVE'S DREAM. H. W. Longfellow. Beside the ungathered rice 1 he lay, his sickle in his hand; 2 His breast was bare, his matted hair was buried in the sand : Again, 3 in the mist and shadow of sleep, he saw his native land! MEDIUM TONE. Wide through the landscape of his dreams | the lordly Niger flowed; 4 Beneath the palm-trees on the plain | once more | a king he strode, 5 And heard the tinkling caravans descend the mountain-road. He saw once more his dark-eyed queen 6 among her children stand; 7 They clasped his neck, they kissed his cheeks, they held him by the hand ! A tear burst from the sleeper's lids, 8 and fell | into the sand. And then at furious speed he rode along the Niger's bank; His bridle-reins were golden chains, and, with a martial clank, 9 At each leap he could feel his scabbard of steel smiting his war-steed's flank. Before him, 10 like a blood-red flag, the bright flamingoes flew; From morn till night he followed their flight, o'er plains where the tamarind >grew, Till he saw the roofs 11 of Caffre huts, and the ocean rose to view. THE SLAVE'S DREAM. 99 At night | he heard the lion roar, and the hyaena scream, ^And the river-horse, as he crushed the reeds be- side some hidden stream; And it passed like a glorious roll of drums, through the triumph of 13 his dream. loud. 14 The forests, with their myriad tongues, shouted 15 of Liberty; And the Blast of the Desert cried aloud, with a voice so wild and free, s That he 16 started in his sleep, and smiled | at their tempestuous glee. He did not feel the driver's whip, nor the burn- ing heat of day; 17 For Death had illumined the Land of Sleep, and his lifeless body lay A worn-out fetter, that the 18 soul had broken and thrown away ! 1 Point downward to right. 2 Touch breast with both hands, then wave them outward. 3 Touch right temple. 4 Move the hand, which should be down center in front, to right. 5 Stand erect majestically. G No. 1 hand plate. 7 Cross hands at neck. 8 Touch right eye, then point down- ward. 9 Touch left hip with left hand. 10 Point in front — wave hand to right. J1 Point right. 12 Point down. 13 Touch forehead. 14 Both hands, No. 5 arm plate — look around. 15 Advance — wave right hand. 18 Rub eyes — throw hands outward — turn head from side to side — move forward. 17 Point downward. 18 Opened hand on breast — then wave it to right. LoFC. 100 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. NARRA- TIVE STYLE. ROUGH VOICE. LOUD. 38-THE WRECK OF THE HESPERUS. H. W. Longfellow. *It was the schooner Hesperus, that sailed the wintry sea; And the skipper | had taken his little 2 daughter to bear him company. 3 Blue were her eyes as the fairy-flax, her cheeks like the dawn of day, And her bosom white as the hawthorn buds that ope in the month of May. The skipper | he 4 stood beside the helm, his pipe in his mouth, And he watched how the veering flaw did blow the smoke, now west, now south. Then | up and spake an old sailor, had sailed the Spanish Main : 5 "7 pray thee, put into yonder port, for I fear a hurricane: Last night, the moon had 6 a golden ring, and to-night ! no 1 moon we see V 9 The skipper he blew a whiff 8 from his pipe, and a scornful laugh laughed he. Colder and louder blew the wind, a gale from the northeast : 9 10 The snow fell hissing in the brine, and the bil- lows frothed like yeast. n Down came the storm, and smote amain the vessel in its strength ; She shuddered and paused, like a frighted steel, then 12 leaped her cable's length. 13 "Come hither ! come hither ! my little daughter, and do not tremble so; For / can weather the roughest gale, that ever wind did blow/' 14 He wrapped her in his seaman's coat against the stinging blast; 15 He cut a rope from a broken spar, and bound her to the mast. THE WRECK OF THE HESPERUS. 101 PATHETIC. STRONG. "0 father! I hear the church-bell ring; oh, say, what may it be?" 16 "'Tis a fog.^eii on a rock-bound coast !" — and he steered for the open sea. "0 father ! I hear the sound of guns; oh, say, what may it be ?" 17 "Some ship in distress, that cannot live in such an angry sea I" "0 father! I see a gleaming light; oh, say, what may it be V But | the father answered never a word, a 18 frozen corpse was he. Lashed to the helm, all stiff and stark, with his face turned to the skies, The lantern gleamed through the gleaming snow on his fixed and glassy eyes. Then the maiden ] clasped 19 her hands, and prayed that saved she might be; And she thought of Christ, who stilled the wave on the Lake of Galilee. And fast through the midnight dark and drear, through the whistling sleet and snow, Like a sheeted ghost, the vessel 20 swept towards the reef of Norman's Woe. And ever, the fitful gusts between, a sound came from the land; It was the sound of the trampling surf on the rocks and the hard sea-sand. The breakers | were right beneath 21 her bows, she drifted a dreary wreck, 22 And a whooping billow swept the crew like icicles from her deck. She struck where the white and fleecy waves looked soft as carded wool; But the cruel rocks, they gored her side | like the horns of an angry bull. 23 Her rattling shrouds, all sheathed in ice, with the masts, went by the board; Like a vessel of glass, she stove and 24 sank: Ho ! 25 Ho ! the breakers roared ! 102 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 26 At daybreak, on the bleak sea-beach a fisherman stood aghast, quietly. rp gee ^ f orm f a ma id e n fair | lashed close to a drifting mast. The salt sea was frozen on her breast, the salt tears in her eyes; And he saw her hair, like the brown sea-weed, on the billows fall and rise. 27 Such | was the wreck of the Hesperus, in the midnight and the snow ! Christ save us all from a death like this, on the reef of Norman's Woe ! 1 No. 8 arm plate. 2 Put hand down and out hoi izontally, indicating girl's height. 3 Touch eye. * Carelessly point left. 5 Left hand on hip — right hand pointing to front. 6 Point up — describe ring with finger. 7 Drop hand. 8 Action of taking pipe from mouth and puffing smoke. 9 Point outward. 10 Bring opened fingers gradually downward — palms down. n Repeat same action, but much quicker. 12 Swing quickly right arm out and step to right — bending. 13 Beckoning her with finger. 14 Ac- tion of wrapping coat around her. 15 Action of cutting rope. 16 Point. 17 No. 1 hand plate. 18 Point to front. 19 Clasp hands. 20 Sweep hand from breast to right. 21 Point and turn to right. 22 Wave both hands outward energetically — advance. 23 Point upward and shake the hand. 24 Point down. 25 Place opened hand to side of mouth — trumpet fashion. 10 No. 5 arm plate, both hands. 27 No. 1 hand plate. 39-THE LAST OF THE RED MEN. W. C. Bryant. 1 The sun's last ray was glowing fair, on crag, m at£ r ~ and tree > and flood ; And fell in mellow softness | where the lonely 2 Indian stood. 3 Beneath his eye, in living gold, the broad Pacific lay; Unruffled there, a skiff might hold its bright and fearless way. 4 Far, far behind him, mountains blue in shadowy distance melt; And far beyond 5 the dark woods grew, where his forefathers dwelt! No breathing sound was in the air, as, leaning on his bow, 6 7 A lone and weary pilgrim there, he murmured stern and low: THE LAST OP THE RED MEN. 103 8 "Far by Ohio's mighty river, bright star, I've worship'd thee ! My native stream — its bosom never the Eed Man more may see; The Pale-face rears his wigwam | where our Indian hunters roved; 9 His hatchet fells the forest fair, our Indian maidens loved: STRONG- ER TONE. 10 "A thousand warriors bore in war the token of my sires: n On all the hills were seen afar their blazing council-fires ! The foeman heard their war-whoop shrill, and held his 12 breath in fear; 13 And in the wood, and on the hill, their arrows pierced the deer. 8ADLY. 14 "Where are they now? — the stranger's tread is on their silent place ! 15 Yon fading light on me is shed, the last | of all | my race ! Where are they now? — in Summer's light, go 1G seek the Winter's snow ! 17 Forgotten is our name and might, and broken is our bow. VERY LOUD. 18 "The White Man came; his bayonets gleam where Sachems held their sway; And, like the shadow of a dream, our tribe 19 has passed away ! 20 Curs'd be their race ! to faith untrue ! false heart! deceitful tongue! — 21 Hear me, evil Manitou — revenge the Indian s wrong ! 22 "I hear him in the hollow moan of the dark heaving sea ; And whispers murmur in the tone, of vengeance yet to be! 104 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. \Vhat if no stone shall mark the spot | where J lonely sleep the brave? Their mighty arm 23 is unforgot, their glory has no grave! 24 "But to our foes we leave a shame! — disgrace can never die; Their sons shall blush to hear a name still blackened with a lie ! 25 So be it ever to their race, — false friends, and bitter cares! VE T I arin ^^ f ra ud they have the Indian's place; the Indian s curse be 27 theirs V 1 Point to left and gradually drop the hand. 2 Point in front. 3 Spread out both hands — palms down. * Point backward over left shoulder with left thumb. 5 Point and turn to left backward. 6 Bend forward and place arm in a leaning position. 7 No. 1 hand plate. 8 Left hand out to left. 9 Bring closed hand quickly down in front — action of chopping. 10 No. 7 arm plate. X1 Point left upward. 12 Right hand grasping neck. 13 Point left, then upward to left. 14 Advance two steps — use No. 5 arm plate — look around. 15 Point left — then touch breast. 16 No. 8 arm plate. 17 Hand on breast — shake the head slowly. 18 No. 8 arm plate. 19 Swing the arm to right and drop it. 20 Advance — shake right hand up in the air. 21 Both hands clasped and up — look up. 22 Point, look, and bend downward. 23 Shake the head sadly. 2 * Quickly swing arm to left. 25 Advance — make No. 8 hand plate — high over head. 26 Bring fist down strongly. 27 Advance — shake both hands over head — very excited — every part of the body in agitation. THE POLISH EXILES. 105 DESCRIP- TIVE. 40-THE POLISH EXILES. Miss Pardoe. 1 Forth went they from their fatherland, a fallen and fettered race, To find, 2 upon a distant strand, their dark abid- ing place. Forth went they: 3 — not as freemen go, with firm and fearless eye; 4 But with the bowed mien of woe, as men go forth to die. 5 The aged | in their silver hair, the young | in" 5 manhood's might, 7 The mother with her infant care, the child in wild affright; Forth went they all 8 a pallid band! — with many an anguished start : The chains lay heavy on their hand, but 9 heavier on their heart! No sounds | disturbed the desert air but those of bitter woe; 10 Save when, at times, re-echoed there the curses of the foe — 11 When | hark! another cry pealed out — a cry of idiot glee; 12 Answered, and heightened, by the shout of the fierce soldiery ! LOUD. 'Twas childhood's voice ! but, ah ! 13 — how wild, how demon-like its swell ! — 14 The mother | shrieked, | to hear her child give forth that soul-fraught yell ! And fathers 15 wrung their fettered hands be- neath their maddening woe, While shouted out their infant bands shrill chorus to the foe! 106 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 16 And curses deep and low were said, whose mur- murs reached to 17 Heaven; intense. 18 Thick sighs were heaved 19 — hot tears were shed, and woman-hearts were riven; As heedless of their present woes, the children 20 onward trod, And sang — and their young voices rose 21 a venge- ance-cry to God! 1 No. 8 arm plate. 2 Point right. 3 Hand on breast — elevate head. 4 Slightly bend the head. 5 Touch the hair. 8 Stand very erect. 7 No. 14 hand plate. 8 Falling of arms as in No. 3 arm plate. 9 Hand on heart. 10 No. 5 hand plate. ll Listening attitude to left — hand behind the ear. 12 Point to left. 13 Clasp hands — move head. " Advance — throw up hands wildly. 15 Wring the hands. 16 No. 4 arm plate — shake the hand. 17 Point upward. 18 Hand on breast and sigh. 19 Rub the cheek downward. 80 Sweep the hand from breast outward. 21 Shake the fist over the head. 41-THE MARINER'S DREAM. Dimond. natural. I n slumbers of midnight the Sailor-Boy lay ; 1 His hammock swung loose | at the sport of the wind; But, watch-worn and weary, his cares flew away, And visions of happiness 2 danced o'er his mind. He dreamed of his home, of his dear native bowers, And pleasures that waited on life's merry morn, ^While Memory stood sideways, half covered with flowers, 4 And restored every rose, but concealed every thorn. BATHER QUICK. 5 Then Fancy her magical pinions spread wide, And bade the young dreamer in ecstacy rise; 8 Now far, far behind him the green waters glide, And the cot of his forefathers | blesses his eyes. THE MARINER' S DREAM. Wi QUICK. 7 The jessamine | clambers in flower o'er the thatch, And the swallow chirps sweet | from her nest in the wall; All trembling with transport, he raises 8 the latch — And the voices of loved ones reply to his call ! 9 A father bends o'er him with looks of delight ; His cheek is bedewed with 10 a mother s warm tear; And the lips of the boy in a love-kiss unite With the lips of the friends, whom his bosom holds dear. The heart 11 of the sleeper beats high in his breast, Joy quickens his pulse, all his hardships seem o'er; And the murmur of happiness steals through his rest — 12 "0 Fate ! thou hast blessed me — I ask for no more." LOUD. Ah ! whence 13 is that flame which now glares in his eye? Ah ! what is that sound which now 14 bursts on his ear? 1B 'Tis the lightning's red gleam, painting wrath on the sky ! "Pis the crashing of thunders, 16 the groan of the sphere ! INCREAS- ING LOUD- NESS. 17 He springs from his hammock — he flies to the deck — 18 Amazement confronts him with images dire ! Wild winds and mad waves drive the vessel a wreck — 19 The masts | fly in splinters — the 20 shrouds are on fire! 108 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 21 Like mountains the billows tremendously swell — In vain the lost wretch calls 22 on Mercy to save : Unseen hands of spirits are ringing his knell, 23 And the death-angel | flaps his broad wings o'er the wave! sorrow- 24 0h, Sailor-Boy! Sailor-Boy! never again Shall home, love, or kindred, thy wishes repay; Unblessed and unhonored, down deep in 25 the main Full many a fathom, thy frame shall decay. 26 No tomb shall e'er plead to Eemembrance for thee; But still the vast waters above thee shall roll, And the white foam of waves shall thy winding- sheet be — Oh, Sailor-Boy! Sailor-Boy! peace to thy soul! 1 Wave hand in front. 2 Touch the forehead to the right. 3 Repeat 2 . 4 No. 2 arm plate. 6 Touch eyebrows and gently throw hands forward. 8 Elevate the hand from a downward position — turning palm out. 7 Point to the left — upward. 8 Action of raising the latch. s Bend down — hands clasped. 10 Touch the cheek. n Hand on heart. 12 Clasp the hands under chin. 13 Quick general movement of excitement — hand out. 14 Place hand behind ear. 15 Point and look up — put the left foot well back. 10 Same as 15 . 17 Advance quickly, swing arm from chest outward. 18 Up- ward movement of right hand. 19 Point up. 20 Point up again. 21 Raise both arms as in No. 1 arm plate. " Hold clasped hands upward — look up. 2S Separate and drop the hands. 24 No. 7 hand plate — shake the finger. 25 Point down. 28 Still pointing down — keep position until finish. THE OLD CLOCK ON THE STAIRS. 109 NATURAL AND FLOW- IN a. EMPHA- SIZE ITALI- CIZED WORDS. IMPRESS- IVE. 42-THE OLD CLOCK ON THE STAIRS. H. W. Longfellow. Somewhat back from the village street stands 1 the old-fashioned country-seat: across its antique- portico tall poplar-trees their shadows throw, and irom its station in 2 the hall | an ancient time- piece says to all — z "For ever — never! never — for ever. Halfway up the stairs it" 4 stands, and points and beckons with its hands from its case of massive oak ; like a monk, who, under his cloak, crosses himself and sighs, alas ! with sorrowful voice to all who pass, — "For ever — never! never—- for ever!" 5 By day its voice is low and light; but in the silent dead of night, distinct as a pass- ing footstep's fall, it echoes 6 along the vacant hall, along the ceiling, along the floor, and seems to say, at each chamber-door, — "For ever — never! never — for ever!" Through days 7 of sorrow and of mirth, through days of death and days of birth, through every swift vicissitude of changeful time, unchanged it has stood; and as if, like God, it all things saw, it calmly repeats those words of awe, — s "For ever — never! never — for ever!" 9 In that mansion used to be free-hearted Hos- pitality; his great fires up the chimney roared; the stranger feasted at his board; but, like the 10 skeleton at the feast, that warning timepiece never ceased, — n "For ever — never! never — for ever!" There groups of merry children played, there youths and maidens dreaming strayed: 12 precious hours! golden prime, and affluence of love and time ! Even as a miser counts 13 his gold, those hours the ancient timepiece told, — "For ever — never! never — for ever!" From that chamber, 14 clothed in white the bride came forth on her wedding night; there, in that silent room below, the dead 15 lay in his shroud of snow! and in the hush, that followed the prayer, was heard the old clock on the stair, — 1Q "For ever — never! never — for ever!" All are scattered now and 110 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. fled, some are married, some are dead, and when I ask, with throbs of pain, 17 "Ah! when shall they all meet again?" as in the days long since gone by, the ancient timepiece makes reply, — 18 "For ever — never! never — for ever!" Never here, for ever there, where all parting, pain, and care, and death, and time, shall disappear, — for ever there, but never here ! The horologe of Eternity 19 sayeth this incessantly, — "For ever — never! NEVER FOR EVER !" 1 No. 8 arm plate. * Repeat *. 8 Imitate action of a pendulum by waving the hand with regular motion. * Point up. s No. 1 hand plate, 6 Point up — then down. 7 Left hand, No. 4 hand piate. 8 Repeat 3 . ' Extend both hands — walk forward. 10 Point in front, using index finger. 11 Repeat 3 . " Clasp hands earnestly. 1S Bend head — imitate a person counting money. 14 Point to right. " Point down. 10 Repeat ». " Both hands, No. 5 arm plate. *• Repeat *. 19 Point upward. 43-THE PROGRESS OF MADNESS. M. G. Lewis. fjOUD. 1 Stay, gaoler ! stay, and hear my woe ! she is not mad who kneels to thee; For what I am now too well I know, and what I was — and what should be! 2 F11 rave no more in proud despair — my language shall be mild, though sad; But yet Fll firmly, 3 truly swear, I am not mad! I am not mad! PLEAD- ING. 8UBDUED. 4 My tyrant foes have forged the tale, which chains me in this dismal cell! My fate unknown my friends bewail — Oh! 5 gaoler, haste that fate to tell! Oh ! haste my father's heart to cheer ; his heart at once 'twill grieve and glad, To know, though chained, a captive here, 6 I am not mad! I am not mad! THE PROGRESS OF MADNESS. (See page no.) THE PROGRESS OF MADNESS. Ill INCREASE THE TONE. 7 He smiles in scorn — he 8 turns the key — he 9 quits the grate — I knelt in vain ! His glimmering lamp still, 10 still I see — n 'tis gone — and all is gloom again ! 12 Cold, bitter cold! — no warmth, no light! Life, all thy comforts once I had ! Yet here I'm chained, this freezing night, al- though | not mad! no, no — not mad! 'Tis sure some dream 13 — some vision vain! What ! I the child of rank and wealth ! Am I the wretch who 14 clanks this chain, bereft of freedom, friends and health? Ah ! while I dwell on blessings fled, which never more my heart must glad, | 15 How aches my heart, how 16 burns my head ! but 'tis not mad ! it is not mad ! PATHET- IC. LOUD. 17 Hast thou, my child, forgot ere this a parent's face, a parent's tongue? I'll ne'er forget thy parting kiss, nor round my neck how fast you clung! Nor how with me you sued to stay, nor how that suit my foes forbade; Nor how — 18 I'll drive such thoughts away — they'll make me mad; they'll make me mad! quibt. 19 Thy rosy lips, how sweet they smiled; thy mild blue eyes, how bright they shone ! None ever saw a lovelier child! and art thou now for ever gone? And must I never see thee more, my pretty, pretty, pretty lad? 20 I will be free ! — Unbar the door ! I am not mad ! I am not mad ! Oh, hark! 21 what mean those yells and cries? His chain some furious madman breaks ! He comes ! I see his glaring eyes ! 22 now, now, my dungeon-grate he shakes! 112 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 23 Help! help! | 24 He's gone! — fearful woe, such screams to hear, such sights to see ! 25 My brain, my brain ! I know, I know I am no t mad — but soon shall be ! — Yes, soon ! for lo ! now, 26 while I speak, mark HOW YON DEMON'S EYEBALLS GLARE ! very 27 He sees me! — now, with dreadful shriek, he 28 whirls a serpent high in air! Horror! the reptile strikes his tooth 29 deep in my heart, so crushed and sad ! 30 Ay, laugh, ye fiends ! I feel the truth ! your task is done — 31 I'm mad! I'm mad! 1 Kneel and extend both hands. 2 Rubbing side of face downward. 3 Clasp the hands on breast. * No. 1 hand plate. 5 Clasp hands — extend them. 6 Hand on breast— shake the head. 7 Point. 8 Action of turning key in door. 9 Stand up. 10 Walk three or four steps — looking intently — point- ing. u Drop hand — dejection. 12 Cross hands over breast — shiver. 13 Clasp the head with the hand — looking about wildly. 14 Raise arms up and down. 15 Hand on heart. 16 Cover forehead with hand. 17 Kneel down — right hand extended downward. 18 Throw hand violently from head. 19 Still kneeling — clasp hands — look down. 20 Jump up — rush three steps — wave hands wildly over head. 21 Attitude of listening. 22 Step back — both hands as in No. 6 hand plate. " Throw hands up wildly and fall on stage. 24 Slowly assume a crouching position — hand grasping throat. 25 Both hands holding sides of head. 26 Stand — point and shake fingers. 27 Shrink back — all the fingers pointing to front. 28 Wave hand in circular movement around head. 29 Hand on heart. 30 Take two steps back — shak- ing both hands violently. ai Look up — both hands clasping head. THE COLLIERS DYING CHILD. 113 44-THE COLLIER'S DYING CHILD. CONVER- SATIONAL. Farmer. The cottage was a thatched one/ its outside old and mean; ^Yet everything within the cot was wondrous neat and clean: The night was dark and stormy, — the wind was blowing wild; — A patient mother | sat beside 3 the death-bed of her child, — A little worn-out creature — his once bright eyes | grown dim: 4 He was a Collier's only child — they called him "Little Jim." SLOW. And oh ! to see 5 the briny tears fast flowing down her cheek, As she offered up a prayer in thought; — she was afraid to speak, 6 Lest she might waken one she loved far dearer than her life; 7 For she had all a mother's heart, that wretched Collier's wife. With hands uplifted, see, 8 she kneels beside the sufferer's bed, 9 And prays that God would spare her boy, and take herself instead: She gets her answer from the child — soft fall these words from him — 10 "Mother, the angels do so smile, and beckon Little Jim! "I have no pain, dear mother, now; but, oh! 11 I am so dry: Just moisten poor Jim's lips once more; and, mother, do not cry !" 114 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 12 With gentle, trembling haste, she held a tea- cup to his lips — He smiled to thank her — then he took three little tiny sips. 13 "Tell father, when he comes from work, I said 'good-night!' to him; clow. And, mother, now I'll go to sleep." . . . 14 Alas! poor Little Jim! low. She saw that he was dying! The child she loved so dear, Had uttered the last words | she'd ever hope to hear. 15 The cottage door is opened — the Collier's step is heard ; The father and the mother meet, 16 but neither speak a word: 17 He felt that all was over — he knew the child was dead ! He took the candle 18 in his hand, and stood be- side the bed : 19 His quivering lip j gave token of the grief he'd fain conceal ; And see, the mother joins him ! the stricken couple kneel; 20 With hearts bowed down by sorrow they humbly ask, of Him, 21 In Heaven | once more to meet | their own poor "Little Jim!" 1 Point in front. * Both hands open as in No. 5 arm plate. s Point downward. 4 Same as 3 . 5 Rub the cheek with fingers. 6 Hand on breast — sThake the head slowly. 7 Send right hand to heart. 8 Point down. 9 Hands together in prayer. 10 Hands clasped under chin — look up — speak softly. 11 'light hand on throat. 12 Join thumb and first finger as holding teacup. 13 Ciasp hands. " Drop hands — droop the head. 15 Separate the hands in f ron t — palms up. 16 No. 11 hand plate. 17 Hand to breast — bend the head. 18 Same movement as 12 . 19 Touch the lips. 20 Clasp hands — bow the head. 21 Look upward — hands still clasped. THE RAVEN. 115 LOW. SURPRISE. 45-THE RAVEN. Edgar Allan Foe. 1 0nce | upon a midnight dreary, while I pon- dered weak and weary, Over many a quaint and curious volume of forgotten lore — While I nodded, nearly napping, 2 suddenly | there came a tapping, As of some one gently 3 rapping, rapping at my chamber door. " ? Tis some visitor," I muttered, "tapping at my chamber door — Only this, and nothing more." REMINIS- CENT. Ah, distinctly I remember it was in the bleak- December, And each separate dying ember 4 wrought its ghost upon the floor. ^Eagerly I wished the morrow; — vainly I had sought to borrow 6 From my books surcease of sorrow — sorrow for the lost Lenore — For the rare and radiant maiden whom the angels name Lenore — Nameless here for evermore. QUICK. 7 And the silken sad uncertain rustling of each purple curtain 8 Thrilled me — filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, 9 I stood repeating, " 'Tis some visitor entreating entrance 10 at my chamber door — Some late visitor entreating entrance at my chamber door; This it is, and nothing more." 116 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUDER. Presently my soul grew stronger; hesitating then no longer, "Sir," said I, "or Madam, truly, your forgive- ness I implore; But the fact is 1 was 12 napping, and so gently you came rapping, 13 And so faintly you came tapping, tapping ar my chamber door, That I scarce was sure I heard you" — here I opened wide the door; — 14 15 Darkness there, and nothing more. MONOTONE. Deep into that darkness peering, long I stood there wondering, fearing, Doubting; dreaming dreams no mortal ever dared to dream before, But the silence was unbroken, and the stillness gave no token, And the only word there spoken, was the whispered word "Lenore !" This I whispered, and an echo murmured back the word, "Lenore !" — 16 Merely this, and nothing more. quick. Back 17 into the chamber turning, all my soul within me burning, 18 Soon again I heard a tapping, something louder than before. "Surely," said I, "surely that is something at my window lattice ; 19 Let me see, then, what thereat is, and this mystery explore — Let my heart be still a moment, and this mys- tery explore; — 20 *Tis the wind, and nothing more." 21 Open here I flung the shutter, when, with many a flirt and flutter, 22 In there stepped a stately Raven of the saintly days of yore. THE RAVEN. 117 Not the least obeisance made he; not a minute stopped or staid he; But, with mien of lord or lady, perched above my chamber door — 23 Perched upon a bust of Pallas, just above my chamber door — Perched, and sat, and nothing more. LOUD. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the coun- tenance it wore, 24 "Though thy crest be shorn and shaven, thou/' I said, "art sure no craven, Ghastly, grim, and ancient Eaven, wandering from the Nightly shore — Tell me what thy lordly name is on the Night's Plutonian shore !" Quoth the Baven, "Nevermore." VERY QUICK. Much 25 I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning — little rele- vancy bore : For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door — 26 Bird or beast upon the sculptured bust above his chamber door, With such name as "Nevermore." QUIET. But the Baven 27 sitting lonely on that placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered ; not a feather then he fluttered — Till I scarcely more than muttered, "Other friends have flown before — 118 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. On the morrow he will leave me, as my hopes have flown before/' Then the bird said, "Nevermore." quick. 28 Startled at the stillness broken by reply so aptly spoken, "Doubtless/' said I, "what it utters is its only stock and store, Caught from some unhappy master whom un- merciful Disaster Followed fast and followed faster, till his songs one burden bore — Till the dirges of -his Hope that melancholy burden bore Of 'Never — nevermore/ " But the Raven still beguiling all my sad soul into smiling, 29 Straight I wheeled a cushioned seat in front of bird and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore — 30 What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking "Nevermore." This I sat engaged in guessing, but no syllable expressing To the 31 fowl whose fiery eyes now burned into my bosom's core; This and more I sat divining, with my head at ease reclining On the cushion's velvet lining that the lamp- light gloated o'er, But whose velvet lining with the lamp-light gloating o'er, She shall press, ah, nevermore ! THE RAVEN. 119 Then, methought, 32 the air grew denser, per- fumed from an unseen censer Swung by Seraphim whose foot-falls tinkled 33 on the tufted floor. mystery. ^"Wretch" I cried, "thy God hath lent thee— by these angels He hath sent thee — Respite — respite and nepenthe from thy memo- ries of Lenore; Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!" Quoth the Eaven, "Nevermore." VERY LOUD. "Prophet !" 35 said I, "thing of evil ; — prophet still, if bird or devil ! — Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate, yet all undaunted, on this desert land enchanted — On this home by Horror haunted — tell me truly, I implore — 36 Is there — is there balm in Gilead? — tell me — tell me — I implore!" Quoth the Eaven, "Nevermore." "Prophet !" 37 said I, "thing of evil ! — prophet still, if bird or devil ! By that heaven that bends above us — by 38 that God we both adore — 39 Tell this soul with sorrow laden if, within the distant Aidenn, 40 It shall clasp a sainted maiden whom the angels named Lenore — Clasp a rare and radiant maiden whom the angels named Lenore?" Quoth the Eaven, "Nevermore." HIGH KEY. LOUD. "Be that 41 word our sign of parting, bird or fiend !" I shrieked, upstarting — 42 Get thee bach 43 into the tempest and the Night's Plutonian shore ! 120 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. Leave no black plume as a token of that lie thy soul hath spoken ! Leave my loneliness unbroken ! — quit the bust above my door ! **Take thy beak from out my heart, \ and take thy form from off my door !" Quoth the Raven, "Nevermore/' 45 And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas, just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, low And the lamp-light o'er him streaming throws slow. his shadow on the floor; And | * Q my soul, | from out that shadow that lies floating on the floor, Shall be lifted — nevermore ! 1 The reciter is seated at a table on which a lamp and open book is placed — drops hand on book — looks to front. 2 Quick movement of sur- prise. 3 Action of tapping with fingers. 4 Index finger pointing to floor — describe with it a small circle. 5 Clasp hands. 6 Touch the book." 7 Point to right side, then bring hand to breast. 8 Grasp the breast. 9 Stand up. 10 Both hands extended. X1 Take slowly four steps to right. 12 Rubbing the eyes. 13 Action of tapping. 14 Open both arms. 15 Point to right. 18 No. 5 arm plate. 17 Take four steps back to center. 1H Movement of surprise. 19 Take three steps to left — hand on heart. 20 No. 1 hand plate. 21 Fling hands to left as if opening shutter. 22 Wave the right hand from left side to right. 23 Point upward to the right. 24 Right hand directed up- ward to the right. 25 Both hands in front. 26 Point up right. 27 Shake finger up right at Raven. 28 No. 5 arm plate. 29 Move the chair, that when seated you will face Raven. 30 Seated — right hand gesticulating at Raven. 31 Point to bird, then bring hand to breast. 32 Both hands out — fingers pointing upward. 33 Shake finger — pointing at floor. 34 Right hand up — look at Raven. 35 Same gesture. 36 Clasp hands. 37 Right hand up. 38 No. 4 arm plate. 39 Hand on breast. 40 No. 14 hand plate. 41 Shake fist at Raven. 42 Rise quickly. 43 Swing right hand from left shoulder across to extreme right. 44 Place hand over heart — throw head well back. 45 Seated in chair facing audience — hands hanging down. 46 Hands on breast. THE DIVER. 121 RATHER LOUD. 46-THE DIVER. Schiller. (Translated by J. C. Mangan.) 1 Baron or vassal, is any so bold 2 As to plunge in yon gulf, and follow, Through chamber and cave, this beaker 3 of gold — Which already the waters whirlingly swallow ? 4 Who retrieves the prize from the horrid abyss Shall keep it : the gold and the glory be his \" So spake the king, and incontinent flung — 5 From the cliff, that, gigantic and steep, High over Charybdis's whirlpool hung, A glittering wine-cup down in the deep ; And again he asked : 6 "Is there no one so brave As to plunge for the gold in the dangerous wave ?" LOUD. And the knights and the knaves all answerless hear The challenging words of the speaker; And some glance downwards with looks of fear. And none are ambitious of winning the beaker. And a third time the king his question urges — 7 "Dares none, then, breast the menacing surges?" s Eut the silence lasts unbroken and long; 9 When a Page, fair-featured and soft, Steps forth from the shuddering vassal-throng, 10 And his mantle and girdle already are doffed : And the groups of nobles and damsels nigh Envisage the youth with a wondering eye. He dreadlessly moves 11 to the gaunt crag's brow, And measures the drear depth under; — But the waters Charybdis had swallowed, she now Regurgitates, bellowing back in thunder; 122 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. descrip- 12 And the foam, with a stunning and horrible tive. sound, Breaks its hoar way through the waves around. And now, ere the din rethunders, the youth 13 Invokes the great name of God; And blended shrieks of horror and ruth quick. Burst forth as he plunges 14 headlong unawed : And down he descends through the watery bed, And the waves boom over his sinking head. 15 Now, wert thou even, Monarch ! to fling Thy crown in the angry abyss, And exclaim, "Who recovers the crown | shall be Icing I" The guerdon were powerless to tempt me, I wis; But hark ! — 16 with a noise like the howling of storms, Again the wild water the surface deforms. SUR- PRISE.. When, lo ! 17 ere as yet the billowy war, Loud raging beneath, is o'er, 18 An arm and a neck are distinguished afar — And a swimmer is seen to make for the shore ; 19 And hardily buffeting surge and breaker, He springs upon land with the golden beaker. Now bearing the booty 20 triumphantly, 21 At the foot of the throne he falls, And he proffers his trophy on bended knee; And the king to his beautiful daughter calls, 22 Who fills with red wine the golden cup, While the gallant stripling again stands up: 'All hail to the King! 23 Eejoice, ye who breathe Wheresoever Earth's gales are driven! THE DIVER. 123 DECLAM- ATORY. For ghastly and drear is the region beneath; And let man beware how he tempts high Heaven ! Let him never essay to uncurtain to light 24 What destiny shrouds in horror and night. "But the God I had cried to answered me 25 When my destiny darkliest frowned, 26 And He showed me a reef of rocks in the sea, 27 Whereunto I clung, and there I found On a coral crag, the goblet of gold, Which else to the lowermost crypt had rolled. INCREASE THE FORCE. "And there I hung, 28 aghast and dismayed, Among skeleton larvae; the only Soul conscious of life — despairing of aid In that vastness untrodden and lonely. But the maelstrom grasped me with arms- of strength, And upwhirledP 9 and upbore me to daylight at length." Then spake to the page the marvelling king — 30 "The golden cup is thy own, But — I promise thee further this jewelled ring, That beams with a priceless hyacinth stone, Shouldst thou dive once more, and discover for me The mysteries shrined in the cells of the sea/' PLEADING TONE. Now the king's fair daughter was touched and grieved, And she fell at her father's feet — 31 "0 father ! enough what the youth has achieved ! Expose not his life anew, I entreat ! If this your heart's longing you cannot well tame, There are surely knights here who will rival his fame." 124 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. But the king hurled 32 downwards the golden cup; And he spake, as it sank in the wave — 33 "Now, shouldst thou a second time bring it me up, As my knight, and the bravest of all my brave, Thou shalt sit at my nuptial banquet, and sha Who pleads for thee thus thy wedded wifn shall be I" QUICK. SLOW. 34 Then the blood to the youth's hot temples rushes, And his eyes on the maiden are cast, And he sees her at first overspread with blushes, And then growing pale and sinking aghast; 35 So, vowing to win so glorious a crown, For life, or for death, he again plunges 36 down ! 37 The far-sounding din returns amain, And the foam is alive as before, And all eyes are bent downward. In vain! in vain Z 38 The billows indeed re-dash and re-roar; But, while ages shall roll, and those billows shall thunder, 39 That youth shall sleep under! 1 Both hands, No. 1 hand plate — look around. 2 Point down. 3 As holding cup. 4 Still holding cup. 5 Throw it downward. 6 No. 1 hand plate — turn body to right and left. 7 Point down. 8 Both hands ex- tended in front — palms down. 9 Point to left. 10 Action of taking off cloak. u Send hand from breast outward. 12 Point downward. 13 No. 10 hand plate — look up. 14 Quickly point down. 15 No. 1 hand plate. 16 Step to right — hand to ear. 17 Step back — hand perpendicular in front of face. 18 Point down and outward. 19 Motion of swimming. 20 No. 6 arm plate. 21 Point down. 22 Action of pouring wine into cup. 23 Wave the hand up- ward. 24 No. 12 hand plate. 25 Clasp hands— look up. 26 Point in front. 27 Both hands to front clinched. 28 Same gesture — eyes up and sparkling. 29 Rising gesture- — both hands as in No. 1 arm plate. 30 As holding out cup. 31 No. 13 hand plate — advance one step — look up. 32 Action of throwing down cup. 33 No. 1 hand plate. 34 Send right hand to the fore- head. 35 No. 4 arm plate. 36 Quickly point downward. 3T Point down. 38 Clasp hands — looking down. 39 Shake finger downward. OUR FOLKS. 125 LIVELY. EARNEST. LOUD. 47-OUR FOLKS. Ethel Lynn. "Hi ! Harry I 1 halt a breath, and tell a comrade just a thing* or two ; You've been on furlough? been to see how all the folks in Jersey do ? It's long ago since I was there, — I, and a bullet from Fair Oaks: — 2 When you were home, old comrade, say, did you see any of 'our folks' ? 3 "You did? Shake 4 hands. That warms my heart; for, if I do look grim and rough, Fve got some feeling ! People think a soldier's heart is nought but tough; But, Harry, when the bullets fly, and hot salt- petre flames and smokes, 5 While whole battalions lie a-field, one's apt to think about his 'folks/ "And so you saw 6 them — when? and where? The Old Man— is he hearty yet ? And Mother — does she fade at all? or does she seem to pine and fret For me ? And Sis 7 — has she grown tall ? And did you see her friend, — 8 you know, — That Annie Moss — How this 9 pipe chokes! — where did you see her ? 10 Tell me, Hal, a lot of news about "our folks.' "You saw them in the church, you say ; it's likely, for they're always there. Not Sunday? 11 No?— A funeral? 12 Who? Who, Harry ? — How you shake and stare ! All well, you say, and all were out — What ail3 you, Hal? Is this a hoax? Why don't you tell me like a man, 13 what is the matter with 'our folks' ?" "I said all well, old comrade — true; 14 I say all well; for 15 He knows best 126 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOW AND SLOW. SOOTH- ING. SLOW. Who takes the young ones in His arms before the sun goes to the west. Death deals at random, right and left, and 10 flowers fall as well as oaks; 17 And so — fair Annie blooms no more! . . . and that's the matter with your 'folks/ 18 "But see, this curl was kept for you ; and this white blossom from her breast ; And look, 19 your sister Bessie wrote this letter, telling all the rest: — Bear up, old friend !" . . . Nobody speaks ; only the old camp-raven 20 croaks, And soldiers whisper: — "Boys, be still; there's some bad news from 21 Granger's 'folks.' " He turns his back — the only foe that ever saw it — on this grief, And, as men will, keeps down the tears kind Nature sends to Woe's relief, Then answers :— 22 "Thank you, Hal, I'll try; but in my 23 throat there's something chokes, Because, you see, I've thought so long to count her in among 'our folks.' "I daresay she is happier now; but still I can't help thinking, too, 24 I might have kept all trouble off, by being tender, kind and true — But maybe not . . . 25 She s safe up there ! and when God's hand deals other strokes, 26 She'll stand by Heaven's gate, I know, and 1 Carelessly throw out right hand. 2 Put both hands in pockets and slightly swagger. 3 Put out right hand. 4 As if shaking hands. 5 No. 5 arm plate. 6 Take two steps to right whilst speaking. 7 Put out hand — palm down to indicate her height. 8 Careless off-hand gesture. 9 Smother a cough. 10 No. 1 hand plate. " Advance. 12 Right hand out — very ear- nest. 13 Shake right hand. 14 No. 1 hand plate. 15 Point upward slowly. 16 Point downward. 17 Raise the hands up and drop them quickly. 18 Aa holding up curl. 19 Put out hand — thumb and first finger together. 20 Point left. 21 Point over left shoulder with left thumb. 22 Hands on head. 23 Clutch at throat. 24 No. 1 hand plate. 25 Point slowly upward. 26 Still pointing up. SHERIDAN'S RIDE. 127 LIVELY. QUICK. VERY RAPID. 48-SHERlDAN'S RIDE. Thomas Buchanan Read. 1 Up from the south at break of day, bringing to Winchester fresh dismay, the affrighted air with a shudder bore, like a herald in haste, to the chieftain's door, 2 the terrible grumble and rumble and roar, telling the battle was on once more — s and Sheridan twenty miles away! And wilder still those billows of war 4 thundered along the horizon's bar; and louder yet into Win- chester | rolled the roar of that red sea uncon- trolled, 5 making the blood of the listener cold — as he thought of the stake in that fiery fray, 6 with Sheridan twenty miles away! 7 But there is a road from Winchester town, a good broad highway leading down: and there, through the flash of the morning light, a steed as black as the steeds of night, was seen to pass as with eagle flight; — as if he knew the terrible need, he stretched away with the utmost speed; 8 hills rose and fell — but his heart was gay, 9 with Sheri- dan fifteen miles away ! 10 Still sprung from these swift hoofs, thundering south, the dust, like the smoke from the cannon's mouth, or the trail of a comet sweeping faster and faster; foreboding to traitors the doom of disaster: the heart 11 of the steed and the heart of the master were beating like prisoners assaulting their walls, impatient to be where the battle-field calls ; 12 every nerve of the charger was strained to full play, with Sheridan 13 only ten miles away! Under his spurning feet, 14 the road like an ar- rowy Alpine river flowed; 15 and the landscape sped away behind, like an ocean flying before the wind; and the steed, like a bark fed with furnace ire, swept 16 on with his wild eyes full of fire : but, lo ! he is nearing his heart's desire — he is snuffing the smoke of the roaring fray; with Sheridan 17 only five miles away ! 128 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. The first that the General saw/ 8 were the groups of stragglers, and then, the retreating troops ! — 19 What was done — what to do — a glance told him both; and striking his spurs, with a terrible oath he dashed 20 down the line 'mid a storm of huzzahs, and the wave of retreat checked its course there, because the sight of the master 21 compelled it to pause. 22 With foam and with dust the black charger was grey : by the flash of his eye, and his red nostril's play, he seemed to the whole great army 23 to say, "I have brought you Sheridan, all the way from Winchester-town to save the day !" L0UD - 2 *Hurrah, hurrah for Sheridan ! hurrah, hurrah for horse and man! and when their statues are placed on high under 25 the dome of the Union sky, — the American soldier's Temple of Fame, — there with the glorious General's name, be it said in letters both bold and bright : "Here is the steed that saved the day by carrying Sheridan into the fight, from Winchester — twenty miles away!" 1 Sweep the extended right arm inward. - Right hand out — use the upward and downward movement on emphatic words. s Point to the ex- treme right — step to right. 4 Make three waves with the right hand in bringing it from right to center. 5 Both hands on chest. 6 Point and step to right. 7 Gradually bring hand from right to center. 8 Elevate and de- press hand in front. 9 Step and point to right. 10 No. 8 arm plate. 11 Hand on heart. 12 Put forward both hands clinched. 13 Step and point to right. 14 Point down. 15 Sweep hand from breast to extreme right. 16 Repeat 15 . 17 Step and point right. 18 No. 5 arm plate. 13 Gesticulate alternately with both hands. ' M Send hand from breast out front — advance. 21 Bring hand down in front forcibly. 2 - No. 1 hand plate. 23 No. 5 arm plate. 24 Wave hand several times over head. 20 Point upward in front. Retain this position to the end. PAUL REVERES RIDE. 129 BRISK. 49-PAUL REVERE'S RIDE. H. W. Longfellow. quick. listen, friends all, and you shall hear of the midnight ride of Paul Revere, on the eighteenth of April, in 'Seventy-five; not one man is now alive who remembers that famous day and yearj . . . He said to 2 his friend, "If the British march by land or sea from the town to-night, hang a latern 3 aloft in the belfry arch of the Xorth Church tower, as a signal light, 4 — one, if by land, and 5 two if by sea, 6 and I on the opposite shore will be, — ready to ride and spread the alarm through every Middlesex village and farm, for the country-folk 7 to be up and to arm !" Then he said "Good-night I" and, with muffled oar, silently rowed 8 to the Charles - town shore, just 9 as the moon rose over the bay, where swinging wide at her moorings 10 lay the Somerset, British man-of-war — a phantom-ship, with each mast and spar across the moon like a prison bar ; and a huge black hulk, that was magni- fied by its own reflection in the tide. Meanwhile, his friend, 11 through alley and street, wanders and watches with eager ears, till, in the silence around him, he hears the muster 12 of men at the barrack-door — the sound of arms, and the tramp of feet, and the measured tread of the grenadiers, 13 marching down to their boats on the shore! 14 Then he climbed to the Tower of the slower. Church, up the wooden stairs, with stealthy tread. to the belfry-chamber overhead, and startled the pigeons from their perch on the sombre rafters, 1 " 1 that round him made masses and moving shapes of shade, — up the trembling ladder, steep and tall, to the highest window in the wall. 16 where he paused | to listen and look down a moment on the roofs of the town, and the moonlight flowing over all. Beneath, 17 in the churchyard, lay the dead, in their night encampment on the hill ; wrapped in silence so deep and still that he could hear, like 130 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. SURPRISE. QUICK. FULL TONES. a sentinel's tread, the watchful night-wind, as it went creeping along from tent to tent, 18 and seem- ing to whisper, "All is well I" A moment only he feels the spell of the place and the hour, and the secret dread of the lonely belfry and the dead; 12 for, suddenly, all his thoughts are bent on a 20 shadowy something far away, where the river widens to meet the bay, — a line of black, that bends and floats on the rising tide, . . . like a bridge of boats! Meanwhile, impatient to mount and ride, booted and spurred, 21 with a heavy stride on the opposite shore walked Paul Eevere. Now he 22 patted his horse's side, now gazed at the landscape far and near; then, impetuous, 23 stamped the earth, and turned and tightened his saddle-girth ; but mostly he watched with eager search the belfry-tower of the Old North Church, as it rose above the graves on the hill, lonely and spectral and sombre and still. 24 And lo ! as he looks, on the belfry's height, a glimmer, and then a gleam of light ! He springs to the saddle, 25 the bridle he turns; but -lingers and gazes, till full on his sight a second lamp in the belfry burns ! . . . 26 A hurry of hoofs in a village street ! a shape in the moonlight ! a bulk in the dark ! and beneath, from the pebbles, in pass- ing, a spark, struck out by a steed flying fearless and fleet : — that was all ! And yet, through the gloom and the 27 light, the fate of a nation was riding that night; and the spark struck out bv that steed, in his flight, kindled the land into flame with its heat. 28 It was twelve by the village clock, when he crossed the bridge into Medford town. He heard the crowing of the cock, and the barking of the farmer's dog, and felt 29 the damp of the river fog, that rises after the sun goes down 30 It was one by the village clock, when he galloped into Lex- ington. He saw the gilded weathercock swim in the moonlight as he passed; and the meeting- house windows, blank and bare, gaze at him with PAUL REVERES RIDE. 131 a spectral glare, as if they already stood aghast at the bloody work they would look upon. 31 It was two by the village clock, when he came to the bridge in Concord town. He heard the bleating of the nock, and the twitter of birds among the trees; and felt the breath of the morning breeze blowing over the meadows brown. — And one was safe and asleep in his bed, who at the bridge would be first to fall; who, that 32 day, would be lying dead, pierced by a British musket-ball 1 You know the rest. 33 In the books you have read, how the British 34 Eegulars fired and fled ! — how the farmers gave them ball for ball, from be- hind each fence and farmyard wall, chasing the red-coats down the lane ; 35 then crossing the fields to emerge again under the trees at the turn of the road, and only pausing to fir& and load. — So through 36 the night rode Paul Eevere; and so M °lte R through the night went his cry of alarm to every time. Middlesex village and farm, — a cry of defiance, and not of fear; a voice in the darkness, a knock at the door, and a word 37 that shall echo for ever- more! For, borne on the night-wind of the 38 past, through all our history, to the last, in the hour of darkness and peril and need, the people will waken and listen to hear the hurrying hoof-beats of that steed, | 39 and the midnight message of Paul Revere! 1 No. 1 hand plate. 2 No. 8 arm plate. * Hold up right hand. * Put up one finger. 5 Put up two fingers. 6 Hand on breast. 7 Wave upward both hands. 8 Point in front. 9 Gradually raise left arm — the hand pointing left. 10 Point in front with left hand. 1X Point twice successively in front. 12 Right hand behind ear — listening. 13 Point to front. 14 Alternate move- ment of the hands indicative of climbing. 15 Point upward. 16 Step for- ward — bend — act of listening — hand out. 17 Both hands pointing down obliquely from body. 18 Send fingers from mouth outward. 19 Start. 20 Touch forehead — point in the distance — bend. 21 Point in front — step quickly forward. 22 Action of patting. 23 Stamp with right foot. ** Step backward with surprise- — hands up. 25 Swing right hand from lower breast upward to right. 26 Point down — then straight to the front. 2T No. 8 hand plate — gesticulate strongly. 28 Hold up index finger. 29 Both hands on breast. 30 Same as 28 . 31 Repeat 28 . 32 Point downward — shake finger slowly. 33 No. 5 arm plate. 34 Position of taking aim with gun — then point left. 35 Bring right hand from left shoulder across body to extreme right. 36 No. 1 hand plate. 37 Throw both hands up — palms out. 38 No. 4 arm plate. 39 No. 5 arm plate. 132 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 50-THE DREAM OF THE REVELLER. Charles Mackay. Around the board | J the guests were met, the lights 2 above them beaming, 3 And in their cups, replenish' d oft, the ruddy wine was streaming; 4 Their cheeks were flush' d, their eyes were bright, their hearts with pleasure bounded, The song was sung, the toast was given, and loud 5 the revel sounded, 6 I drained a goblet with the rest, and cried, "Away with sorrow! Let us be happy for to-day; what care we for to-morrow f But as I spoke, my sight grew dim, and slumber deep came o'er me, And, 'mid the whirl of mingling tongues, 7 this vision pass'd before me. rather Methought | I saw a 8 Demon rise : he held a LOUD - mighty beaker 9 Whose burnish'd sides ran brimming o'er with floods of burning liquor : Around him press'd a clamorous crowd, to taste this liquor greedy, 10 But chiefly came the poor and sad, the suffering and the needy; All those oppress'd by grief or debt, — the disso- lute, the lazy, — Blear-eyed old men and reckless youths, and palsied women, crazy; llu Give, give!" they cried, "give, give us drink, to drown all thought of sorrow; If we are happy for to-day, what care we for to-morrow f" 12 The first drop warm'd their shivering skins, and drove away their sadness; 13 The second lit their sunken eyes, and filled their souls with gladness; THE DREAM OF THE REVELLER. 133 14 The third drop made them shout and roar, and play each furious antic; The fourth drop boil'd their very blood: and L0UD , the fifth drop drove them frantic. 15<< Drink!" said the Demon, "drink your fill! drink of these waters mellow; They'll make you eyeballs sear and dull, and turn your white skins yellow; They'll fill your homes with care and grief, and clothe your backs with tatters; They'll fill your heart with evil thoughts; but never mind! — what matters? MEDIUM TIME. "Though virtue sink, and reason fail, and social ties dissever, 16 Fll be your friend in hour of need, and find you homes for ever; For I have built three mansions high, three strong and goodly houses, To lodge at last each jolly soul who all his life carouses. — 17 The first, it is a spacious house, to all but sots appalling, Where, by the parish bounty fed, vile, in the sunshine crawling, The worn-out drunkard ends his days, and eats the dole of others, A plague and burthen to himself, an eye-sore to his brothers. l8 "The second is a lazarhouse, rank, fetid, and unholy ; Where, smitten by diseases foul and hopeless melancholy, The victims of potations deep, pine on the couch of sadness, — Some calling Death to end their pain, and some imploring Madness. 134 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 19 The third and last is black and high, the abode of guilt and anguish, And full of dungeons deep and fast, where death-doom' d felons languish. So drain the cup, and drain again! One of my goodly houses Shall lodge at last each jolly soul who to th3 dregs carouses!" But well he knew — that Demon old 20 — how vain was all his preaching, 21 The ragged crew that round him flock' d were needless of his teaching; Even as they heard his fearful words, they cried, with shouts of laughter, — loud. 22 "Out on the fool | who mars To-day with thoughts of a Hereafter! We care not for thy houses three; we live but for the present; And merry will we make it yet, 23 and quail* our bumpers pleasant." . . . Loud laugh' d the fiend to hear them speak, and, lifting 24 high his beaker, "Body and Soul are mine \" said he ; "I'll have them both — for liquor!" 1 No. 5 arm plate — turn and look around. 2 Point upward. * Holding up the cup. * Touch cheek, eye and breast. 5 Wave hand upward — wrist movement. 6 Act of drinking. 7 Wave both hands from eyes outward — fingers apart. 8 Point down — gradually raise hand, pointing finger in front. 9 Holding out cup. 10 No. 5 arm plate. xl Advance — hand ex- tended — eager look and gesture. 12 Touch breast — send arm to left. 13 Touch eye and breast. 14 Throw both hands up. 15 Holding out cup — keep position for five lines. 16 Touch breast with left hand. 17 Arms wide apart. 18 Point down. 19 Elevate arm quite high. 20 Advance to front — shake the finger toward audience. 21 No. 5 arm plate. 22 Shake fist. " Ac- tion of drinking. 2i Raise the beaker — keep picture till end. TWO LOVES AND A LIFE. 135 VERY NATU- RAL. INTENSE. LOUD. QUIET. 51-TWO LOVES AND A LIFE. William Sawyer. Towards the 1 scaffold's guard she came: leaped her black eyes into flame ; rose 2 and fell her pant- ing breast — 3 there a Pardon closely pressed ! She had heard her lover's doom, — traitor death and shameful tomb; heard the price upon his head, — "I will save him!" 4 she had said. "Blue-eyed Annie loves him too; she will weep, but Euth will do. Who should save him sore distress ? — who but she 5 who love him best!" To the scaffold now she came ; 6 on her lips there rose his name, rose, and yet in silence died. . . ? Annie nestled by his side ! Over Annie's 8 face he bent — 9 round her waist his fingers went, "Wife!"' 10 he called her — called her "wife !" n — Simple word to cost a life ! In Ruth's breast 12 the pardon lay, but she 13 coldly turned away: — "He has sealed his traitor fate 14 — I can love, and I can hate! Annie is his wife !" they said ; "be she wife, then, to 15 the dead : since the dying she will mate — I can love, and I can hater 16 "What their sin? They do but love : let this thought thy bosom move !" Came the jealous answer straight, "I can love, and I can hate!" 11 "Mercy!" still they cried. But she, "Who has mercy upon me? Who? 18 My life is desolate 19 — I can love, and I can hate !" From the scaffold stairs she went, shouts the noon-day silence rent; all the air was quick with cries 20 — "See the traitor! see, he dies!" 21 Back she looked; with stifled scream saw 22 the axe up- swinging gleam; all her woman's anger died — "From the King !" 23 she faintly cried. "From the King ! His name — behold !" quick the parchment she unrolled. 24 Pausing the axe in upward swing, "He is pardoned!" "Live the King!" 25 Glad the cry, and loud, and long; all about the scaffold throng, there entwining, fold on fold, 136 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUD. raven tresses — locks of gold. There, 26 against Euth^s tortured breast Annie's tearful face is pressed, while the white lips murmuring move — "I can hate, but I can love!" 1 No. 8 arm plate. * Hand on breast — inhale and exhale air in marked manner. 3 Touch twice the breast with finger. 4 Clasp hands across breast — look up — one step forward. 6 Shake the head slowly. 6 Touch lips — then move hand outward. 7 Point front. 8 No. 1 hand plate — bend slightly forward. 9 Let fingers meet in front — act of em- bracing. 10 Place right hand on head — left hand on breast. X1 Falling of arm, No. 3 arm plate. 12 Touch breast. 13 Walk to the left. 14 Clasp hands — intense action. 15 Point down. 1C No. 2 hand plate. 17 Clasp hands — look up. 18 Cross hands over breast. 19 Same as 18 . 20 Point front — excitedly. 21 Quick turn to right. 22 Raise both hands directly over head — holding axe. 23 Hold up the pardon. 2 * Act of unrolling parchment. 25 Wave the hand — act of cheering. 20 No. 14 hand plate. LIGHT. QUICK. NATURAL. 52-THE COUNTRY SQUIRE. Bentley Ballads. In a small pretty village 1 in Nottinghamshire, there formerly lived a respectable Squire, who excelled all his friends in amusements athletic, and whose manner of living was far from ascetic. A wife he had 2 taken for better, for worse, whose temper had proved an intolerant curse; but at length, to his great and unspeakable joy, she died when presenting a fine little boy. 3 Strange fancies men have ! — the father designed to watch o'er the dawn of his son's youthful mind — that, only ap- proached by the masculine gender, no room should be left him for feelings more tender. *"Had I ne'er seen a woman" he often would sigh, "whal squire in the country so happy as I V 5 The boy | was intelligent, active, and bright, and took in his studies uncommon delight; — 6 no juvenile follies distracted his mind — 7 no visions of bright eyes or damsels unkind; and those fair 8 demi-sisterly beings so gay, yclept "pretty cousins" ne'er popped in his way: till at length this remarkably singular son could number of years that had passed | twenty-one. 10 'Now the THE COUNTRY SQUIRE. 137 EAST. SLOW. QUICKER. father had settled, his promising son should his studies conclude when he reached twenty-one: and he went with a heart beating high with emo- tion/ 1 to launch the young man on life's turbu- lent ocean. As they entered the town, a young maiden tripped by/ 2 with a cheek like a rose, and a light laughing eye. 13 "Oh ! father, what's that f" cried the youth with delight, as this vision of loveliness burst on his sight. 1¥ 'Oh that/' cried the cautious and politic Squire, who did not the youth's ardent glances admire, 15 "is only a thing called a Goose, my dear son — we shall see many more ere our visit is done/' Blooming 16 damsels | now passed with their butter and cheese, whose beauty might even an anchorite please: 17 "Merely geese!" said the Squire: "don't 18 mind them, my dear; there are many things | better worth looking at here." As onward they passed, every step brought to view some spectacle 19 equally curious and new; and the joy of the youth hardly knew any bounds at 20 the rope-dancers, tumblers, and merry-go- rounds. And soon, when the tour of the town was completed, the father resolved that the boy should be treated; so, pausing an instant | he said, "My 21 dear son, a new era to-day in your life has begun: now of all this bright 22 scene and the gaieties in it, choose \ whatever \ you like — it is yours from this minute." 23 "Choose whatever I like?" cried the youthful recluse; 24 "0 thank you, dear father, then give me a goose!" 1 No. 8 arm plate. - Clasp hands — palms down— shake the head. 3 Touch forehead — wave hand outward. 4 Hand on breast — sigh — shake head. 5 Left hand. No. 1 hand plate. 6 Wave hand. 7 Wave hands from eyes outward. 8 Head on one side— hands crossed as in No. 14 hand plate. 9 No. 5 hand plate. 10 Bend forward — use No. 5 arm plate. u Place hand on heart — then swing it outward. 12 Sway hand across the body, following the gesture with eyes. 13 Show innocent surprise — point out- ward. 14 Careless and quick movement of the hand. 13 Wave hand carelessly again. 16 Send quickly right hand from left shoulder across bodv to right. 17 Both hands. No. 1 hand plate — facial expression of dis- gust. 1S Snap the fingers. 19 No. 5 arm plate — look up and down and sideways. 20 Point in three directions. 21 Rubbing hands together. 22 Separate the hands — palms up. 23 Raise both hands with surprise. 24 Clap the hands twice, then point outward. 138 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LIGHT. HUMOR- OUS. 53-RUSTIC LOGIC. Anonymous. Hodge, 1 a poor honest country lout, not over- stocked 2 with learning, Chanced on a summer's eve to meet the 3 Vicar, home returning. 4 "Ah; Master Hodge/' the Vicar cried, "what, still as wise as ever? The people in the village say that you are won- drous clever." 5 "Why, Measter Parson, as to that | I beg you'll right conceive me; I do na brag, but yet I knaw a thing or two, believe me." "We'll try your skill," the Parson cried, "for learning what digestion: And this you'll prove or right or wrong, by solving me a question. 6 Noah, of old, three babies had, or grown-up children rather: — Shem, Ham, and Japhet they were called; — now 7 who was Japhet's father?" s "Rat it!" cried Hodge, and scratched his head; "that does my wits belabor; But howsomde'er, I'll homeward run, 9 and ax old Giles my neighbor." 10 To Giles he went, and put the case with cir- cumspect intention: "Thou fool !" cried Giles, 11 "I'll make it clear to thy dull comprehension. 12 Three children has Tom Long, the smith, or cattle-doctor rather; Tom, Dick, and Harry, they are called; now who is Harry's father? 13 14 "Adzooks, I have it!" Hodge replied, "right well I know your lingo; Who's Harry's father? — stop — here goes, — why, 15 Tom Long Smith, by jingo !" 16 A way he ran to find the priest, with air his might and main: mm ASK MAMMA. (See page 139.) ASK MAMMA ! 139 LOUD. EXULT- ANT. Who, with good humor, instant put the question once again. 17 "jSToah, of old, three babies had, or grown-up children rather; Shem, Ham, and Japhet they were called : now/ 8 who was Japhet's father?" 19 "I have it now/' Hodge grinning cried, "Fll answer like a proctor: Who's Japhet's father? now I know; 20 why, Long Tom Smith, the Doctor I" 1 No. 11 hand plate. 2 Touch the forehead twice. 3 No. 1 hand plate. 4 Slightly bowing — smiling. B Put hands in pockets and swagger. 6 Touch the left palm with index finger of right. 7 Open arms apart. 8 Striking forehead with fist — then scratch head. 8 Point to right. 10 No. 12 hand plate. 1X Shake the finger several times. 12 Touch three fingers separately of the left hand. 13 Put hands under coat-tails. 14 Slap the leg violently. 15 Slap both hands loudly. 16 Swing arm out to left. 1T Repeat G . 18 Re- peat nt i. Bend forward — smile — shake fist in front. 20 No. 1 hand plate. 54-ASK MAMMA! MODER- ATE. CHEER- FUL TONE. A. Melville Bell. A bachelor Squire of no great possession, 1 long come to what should have been years of discretion, determined to 2 change his old habits of life, and comfort his days by taking | a wife. He had long been the sport of the girls of the place, — they liked his good, simple, quiet, 3 cheery, fat face; and wherever he went to a tea-drinking party, the 4 flirts were in raptures — our friend was so hearty! They'd fasten a cord near the foot of the door, and 5 bring down the jolly old beau on the floor: 3 they'd pull off his wig while he floundered about, and hide it, 7 and laugh till he hunted it out : the}' would tie his coat-tails to the 8 back of his seat, and scream with delight when he rose to his feet : they would send him at Christmas 9 a box full of bricks, and play on his temper all manner of tricks. One evening | they pressed him to play on the flute, and he blew in his eyes 10 a rare scatter of soot I He took it so calmly, and laughed while 140 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. he spoke, that 11 they hugged him to pardon their nasty "black joke." One really appeared so sin- cere in her sorrow, that he vowed to himself he would ask her to-morrow, — and not one of the girls but would envy her lot, if this jolly old bachelor's offer she got; for they 12 never had dreamed of his playing the beau, or doubtless | they would not have treated him so. However, next day, to fair Fanny's amazement, she saw him approach 13 as she stood at the easement; and he very soon gave her to know his desire, that she should become the dear wife of the squire. La! now, 14 Mr. Friendly, what coyly. would they all say?"— but she thought that not one of them all would say | nay: 15 — she was flustered, with pleasure, and coyness, and pride, to be thus unexpectedly sued for a bride. She did not refuse him, but yet did not like to say, 16 ''Yes," all at once — the hot iron to strike: so, to give the proposal the greater eclat, she said, 17 "Dear Mr. Friendly, — youd best ash mamma!" "Good morning then, Fanny, I'll do what you say: as she's out, I shall call in the course of the day." Fanny blushed | as she gave him her 18 hand for good-bye, and she did not know which to do first, — laugh or cry ; to wed such a 19 dear darling man, nothing loth, for variety's sake, in her joy, she did both! 20 "0 what will mamma say, and all the young girls?" she thought | as 21 she played with her beautiful curls. "I wish I had said 18 yes at once, — 'twas too bad not to ease his dear mind — excited ®> ^ W]S k that 23 I na ^ - 24 I wisn ne na ^ asked me to give him a kiss, — but he can't be in doubt of my feelings — that's bliss! O, 25 I wish that mamma would come home for the news; such a good, dear, kind soul, she will never refuse! 26 There's the bell — here she is. — 0, mamma!" — "Child, preserve us ! 27 What ails you, dear Fanny ? What makes you so nervous?" "I really 28 can't tell you just now, — by and bye Mr. Friendly will call— and he'll 29 tell you— not L" "Mr. Friendly, ASK MAMMA! 141 RAPID. DISAP- POINT- ED. my child ! what about him, I pray ?" "0, mamma, — he's to call — in the course of the day. He was here just this moment, and shortly you'll see he'll make you as happy as he has made me. I declare he has seen you come home, 30 that's his ring: i will leave you and him now to settle the thing." Fanny left in a nutter: her mother — the gipsy ■ — she'd made her as giddy as though she'd been tipsy ! Mr. Friendly came in, and the widow and he were soon as delighted as Fanny could be: he asked 31 the dear widow to change her estate; — she consented at once, and a 32 hiss sealed her fate. Fanny came trembling in — overloaded with pleasure — but soon she was puzzled in as great a measure. "Dear Fanny," said Friendly, "I've done what you said;" — but what he had 33 done never entered her head — "I have asked your mamma, and she's given her consent." 34 Fanny flew to his arms to express her content. He kissed her, and said, — as he kissed her mamma, — "I'm so glad, my 35 dear Fan, that you like your Papa!" Poor Fanny now found out the 36 state of the case, and she blubbered outright, with a pitiful face; it was all she could do, under heavy constraint, to preserve herself conscious, and keep off a faint! 37 She determined, next time she'd a chance, you may guess, not to say, 38 "Ask mamma/' but at once to say "Yes!" 1 Simple outward movement of hands. 2 Turn the hand slightly. 3 Stroke both cheeks. 4 Clap both hands together. 5 Throw hand down- ward. 6 Action of pulling off wig. 7 Strike both knees with hands. 8 Place hands behind the back. 9 Put hands in front as if holding box. 10 Movement of blowing — then rub the eyes. u Place hands on opposite shoulders — action of hugging. 12 Touch forehead and send fingers out- ward. 13 Point in front. 14 Make a low bow. 15 Move hands and body together from side to side. 16 Nod the head twice. 17 Bowing head and moving about uneasily. 18 Put out hand. 19 Hug yourself. 20 Clapping hands and jumping about. 21 Action with curls. 22 Bow the head naively. 23 Shake the head — hands clasped downward. 24 Smile and throw a kiss. 25 Walking about excitedly. 26 Run three steps and stop. 27 Hold up both hands in amazement. 28 Moving about nervously, pulling handkerchief through hands. 29 Continue same business — nod the head. 30 Quick start forward. 31 Put out right hand — bow. 32 Make noise of loud kiss. 33 Touch forehead — shake head. 34 Take a step forward — throw out both arms. 35 Bring hand to breast. 36 Step backward — hands to head — surprise — - wiping eyes. 3T Slap one hand with the other. 38 No. 1 hand plate — bow. 142 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 55-THE SPIRIT OF CONTRADICTION, AFFIRMA- TION. MODER- ATE TONE. LIGHT AND QUICK. NARRA- TIVE STYLE. Lloyd. The very 1 silliest things in life create the most material strife; what scarce will suffer a 2 debate, will oft produce the bitterest hate. "It 3 is!" you say; I say, *"'Tis not!" Why, you grow warm — and I am hot. Thus each alike with passion glows, and words come first — and after, 5 blows. Friend Jerkin had an income clear, some fifty pounds or more a year; and rented, on the farm- ing plan, grounds at much greater sums per ann. A man of consequence no doubt, 'mongst all his neighbors 6 round about : he was of frank and open mind, too honest to be much refined; would 7 smok.3 his pipe, and tell his tale, sing a good song, and drink his ale. 8 His wife | was of another mould; her age was — neither young nor old; 9 her features, strong, yet somewhat plain; her air, not bad, but rather vain; her temper, neither new nor strange; a woman's — very apt to change : what she most hated was 10 — conviction ; what she most loved 11 — fiat contradiction! A charming housewife, neverthe- less; tell me a thing she could not dress: 12 soups, hashes, pickles, puddings, pies, nought came amiss — she was so wise ! for she, bred 13 twenty miles from town, had brought a world of breeding down, and Cumberland had seldom seen a farmer's wife with such a mien. She could not bear the sound of Dame; no; 1 * — "Mistress Jerkin' was her name. Once on a time, 15 the season fair to exercise and cheerful air, it happened in his morning's roam he killed some birds, and brought them home. 16 "Here, Cicely, take away my gun: how shall we have these starlings done?" — "Done! what, my love ? your wits are wild ! starlings, my dear! they're thrushes, child." — "Nay, now, but look, consider, wife; they're starlings." — "No, upon 17 my life ! sure I can judge as well as you, I know a thrush and starling too." 18 — "Who was THE SPIRIT OF CONTRADICTION. 143 LOUD AND NOISY. QUIET. LOUD. it shot them, you or I? they're starlings!" — "Thrushes !" 20 — "Wife, you lie/'— -"Pray, sir, take back your dirty word, 1 scorn 21 your language as your bird; it ought to make a husband blush to i;reat a wife so 'bout a thrush." — "Thrush, Cicely ?" — "Yes."— "A. starling!"— "No." The lie again, and then 22 the blow. Blows carry strong and quick conviction, and mar the powers of contra- diction. 23 Peace soon ensued, and all was well: it were imprudence to rebel, or keep the ball up of debate against these arguments of weight. 24 A year rolled on in perfect ease; 'twas, 25 "As you UkeT and, "What you please !" — At length returned, in annual flight, the day of this most f owlish fight; quoth Cicely — "Ah, 26 this charming life, no tumults now, no blows, no strife ! what fools we were this day last year ! Law ! how you beat me then, my dear ! Sure it was idle and absurd, to wrangle so about a bird, a bird not worth a single rush." — "A starling." — "No, my love, a thrush! that I'll maintain."— "That I'll deny!" — "You're wrong, good husband." — "Wife, you lie!" 27 Again the self-same wrangle rose, again the lie, again the blows. 28 29 Thus, every year, this man, or wife, begins the same domestic strife; thus, too, each year their quarrel ends — they 30 argue, fight, and kiss, and friends. 31 'Tis "Starling !"— "Thrush !"— and "Thrush !"— and "Starling I"— "You dog .'"—"You cat !"—"My dear!"— 'My darling!" 1 No. 2 arm plate. 2 No. 1 hand plate. 3 Turn to right, put out right hand. * Turn to left — use left hand. 5 Raise clinched hand. 6 No. 5 arm plate. 7 Action of taking pipe from mouth and puffing smoke. 8 Left hand, No. 1 hand plate. 9 Bring hand down in front of face — palm in. 10 Bring hand forcibly down in front. u Strike left hand with the right. 12 Up and down movement of the hand on the five following nouns. 13 Point left. 14 Make an exaggerated bow. 15 Walk a few steps — hands as in No. 11 hand plate. 16 Action of handing gun. 17 No. 5 hand plate. 18 Hand out, then brought to breast. 19 Stamping foot. 20 Strike fist into left palm. 21 Swing left hand to left — palm out — turn face to right. 22 Step forward — send clinched hand out from shoulder. 23 Both hands, No. 5 arm plate. 2i No. 1 hand plate. 25 Bending down extravagantly — rubbing the hand. 26 Both hands extended front. 27 Shake fist and stamp foot. 28 ShoOt arm outward. 29 Advance to front — use No. 5 arm plate. 30 No. 7 hand plate — shake the finger. 31 Use right and left hand alter- nately and turn with gesture on each of the nouns till finish. INSINUAT- ING. 144 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 56-THE SPIDER AND THE FLY. Mary Howitt. "Will you walk 1 into my parlor ?" said a Spider to a Fly; 'Tis the prettiest little parlor that ever you did spy- The way into my parlor is up a 2 winding stair. And I have many 8 pretty things to show you when you're there/' *"Oh no, no!" said the little Fly, "to ask me is in vain, For who goes 5 up your winding stair can ne'er come 6 down again." SLOW. "I'm sure you must be weary with soaring up 7 so high; 8 Will you rest upon my little bed?" said the Spider to the Fly. "There are pretty curtains 9 drawn around, the sheets are fine and thin, And if you like to rest awhile I'll snugly | tuck you in/' 10 n "Oh no, noT said the little Fly, "for I've often heard it said, They never 12 never wake again, who sleep upon your bed!" Said the cunning Spider to the Fly, "Dear friend, what shall I do 13 To prove the warm affection I have always felt for you? I have within my pantry good store of all that's nice; I'm sure you're very welcome 14 — will you please TO yp Vp f\ Q I "I r>p r 15 "Oh no, noT said the little Fly, "kind sir, that cannot be; I've heard what's in your pantry, and I do not wish to see." THE SPIDER AND THE FLY. 145 "Sweet creatures !" said the Spider/ 6 "you're witty and you're wise ! flat- How handsome are your gauzy wings, how bril- tery. Uant are your eyes ! I have a little looking-glass upon my parlor shelf ; If you'll step in one moment, dear, vour shall behold — 17 yourself." 18 "I thank you, gentle sir," she said, "for what you're pleased to say, And bidding you good morning now, Til call another day." The Spider turned him round about, and went into his den; He knew the vain and silly Fly would soon 19 come back again: So he wove a subtle web in a little corner sly, And set his table ready, to dine upon the Fly. Then he went out to his door again, and merrily did sing: 20 "Come hither, hither, pretty Fly, with the pearl and silver wing! "Your robes are green and purple — ^there's a crest upon your head, 22 Your eyes are like the diamond bright, but mine are dull as lead." 23 Alas, alas ! how very soon this silly | little | Fly, Hearing his wily, flattering words, came slowly flitting by; With buzzing wings she hung aloft, then near 24 and nearer drew, Thinking only of her brilliant eyes, her green and purple hue, And dreaming of her crested head — poor fool- ish thing! At last, ^Up jumped the cunning spider, and fiercely held her fast. 2Q 146 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. He dragged her up his 27 winding stair, into his dismal den, Within his little parlor — but she ne'er came down again! 28 29 And now, do you take warning! all who this story hear; To idle, silly, nattering words, I pray you ne'er give ear: louder. 30 To all deceitful counsellors, close heart, and ear, and eye : — And take a lesson from this tale, 31 of the Spider and the Fly. 1 Bow — conciliating wave of right hand. 2 Make circular movement with finger upward. 3 Both hands — No. 5 arm plate. * Slowly shake the head three times. 5 Point up. 6 Bring the hand down. 7 No. 4 arm plate. 8 Hand pointing down. 9 Fingers touching, then brought down in curves outward. 10 Action of tucking in bed clothing. X1 Shake head slowly. 12 Shake head again. 13 Both hands extended front — advance. 14 Put out hand. 15 Shake head. 16 Hand on breast — nodding the head. 17 Bow low. 18 Bow. 19 Bring hand across body as in No. 6 arm plate. 20 Beckoning her. 21 Touch top of head. 22 Touch the eye. 23 Drop the hand. 24 Make circular movement with right hand. 25 Spring forward. 26 Both hands grasping. 21 Send hand upward, the finger making a circular move- ment. 28 Sadly shake the head. 29 No. 12 hand plate — advance. 30 No. 5 arm plate. 31 Right hand out. 57-THE SLAVE SHIP. (Translation.) Vogl. A ship bounds 1 o'er the open sea, concealed by fog and night; The waves are foaming over it, dashed by the wild storm's might. 2 Two hundred slaves | lie prisoned there, between the narrow beams, Half wakened by the howling storm 3 — hair brooding savage dreams. They see themselves, 4 like laboring beasts, sold feelin . on a f ore jg n shore- THE SLAVE SHIP. 147 They feel 5 the scourge's heavy blows, — the sun- beams scorching sore. 6 They pray with fervent soul, aloud, amidst the storm and rain: "0 Heaven ! release, with sudden death, us from such lasting pain!" Soon, over slaves and sailors, 7 howls the storm with savage might; No beacon shines — the lightning's flash 8 alone loud. illumes the night. The Captain cries : 9 "0 Allah — help ! save us from danger, save !" The slaves below call wildly out: 10 "0 Lord! give us the grave \" And fierce and fiercer drives the storm, the ship bounds 11 madly on! Sudden 12 — it strikes upon a rock I and splits — 13 all hope is gone! And from the wreck: 14lU woe! woe!" howls loudly o'er the sea; But from two hundred lips resound: lb "Hail, Lord! we now are free!" 1 Swing right hand from left shoulder across body to extreme right. 2 Two hands extended in front downward — look downward. 3 Right hand to the side of head. 4 Clasp the hands under chin. 5 Place right hand on left shoulder and crouch. 6 Clasp hands — look up — advance. 7 Swing right hand to right and left hand to left alternately — with palms out. 8 Point upward. 9 Advance to front — look up — clasp the hands upward. 10 Step back — cross hands on breast. 1X Throw hand from breast outward — step with the gesture. 12 Point down. 13 Great dejection. 14 Hands as in No. 13 hand plate — shake the head. 15 Look up — hands extended to heaven. 148 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 58-PADDLE YOUR OWN CANOE. Anonymous. DIDAC- TIC. Voyager 1 upon Life's sea, to your own 2 self be true, And, where'er 3 your lot may be, *"Paddle your own canoe!" 5 Never, though the winds may rave, falter or look back; But upon the darkest wave leave a shining track ! Nobly 6 dare the wildest storm, 7 stem the hardest gale; 8 Brave of heart and strong of arm, you will never fail. When the world is cold and dark, keep an aim in view; And, toward the beacon-mark, ^'Paddle your own canoe r Every wave that bears you 10 on to the silent shore, From its sunny source has gone, to return no more: Then | let not an hour's delay cheat you of your due; But, while it is called to-day, n "Paddle your own canoe l" ADVICE. If your birth denied you wealth, lofty state and power, Honest fame and hardy health are a better dower : But, if these 12 will not suffice, golden gain pursue : And, | to gain the glittering prize, 13 "Paddle your own canoe J PADDLE YOUR OWN CANOE. 149 EMPHA- SIZE. Would you wrest the wreath of fame from the hand of fate? Would you 14 write a deathless name with the good and great ? Would you bless your fellow-men? 15 Heart and soul imbue With the holy task, and then 1Q "Paddle your own canoe r Would you 17 c?*ush the tyrant wrong, in the world's free fight? With a spirit brave and strong, battle for the right : And to break the chain | that binds the many to the few — 18 To enfranchise slavish minds? — 19 "Paddle your own canoe!" Nothing great 20 is lightly won, nothing won | is lost; 21 moral. Every good deed, nobly done, will repay the cost : 22 Leave to Heaven, in humble trust, all you will to do; But, if you succeed, you must 23 "P addle your OWN CANOE V 1 Hand as in No. 2 hand plate. 2 Bring hand gracefully to breast. s No. 12 hand plate — walk to the left three steps. * Slightly wave the hand up and down — palm down. 5 Shake the finger in warning. 6 Send right hand from chest upward — step to the right. 7 Both hands No. 6 hand plate. 8 Hand on heart — chest out — head back. 9 Same as 4 . 10 No. 6 arm plate. u Same as 4 . 12 No. 5 arm plate. 13 Same as 4 . 78 Hand in front of face — action of writing. 15 Hand on breast — advance. 16 Same as 4 . 17 Strongly send clinched hand down from head. 18 Touch fore- head. 19 Same as 4 . 20 No. 12 hand plate. 21 Repeat 20 . 22 Point upward. 23 Same as 4 . 150 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 59-SOMEBODY'S DARLING. SYMPA- THY. ORDI- NARY TONE. REVERENT. SLOW. Mrs. Lacoste. Into a ward 1 of the whitewashed halls, where 2 the dead and dying lay, — wounded by bayonets, shells, and balls, — Somebody's Darling was borne one day: Somebody's Darling, so young and so brave, wearing yet, — on his pale sweet face, soon to be hid by the dust of the grave, — the lingering light of his boyhood's grace. 3 Matted and damp are the curls of gold, kiss- ing the snow of that fair young brow; pale 4 are the lips of delicate mould — Somebody's Darling is dying now! Back from his beautiful blue- veined brow 5 brush all the wandering waves of gold; 6 cross his hands on his bosom now. . . . Somebody's Darling is still and cold! 7 Kiss him once | for Somebody's sake, murmur a prayer soft and low; one bright curl from its fair mates take — they were Somebody's pride, you know : Somebody's hand had rested there ; was it a mother's 8 soft and white? And have the lips of a sister fair been baptized in these waves of light ? 9 God knows best! He had Somebody's love; Somebody's heart 10 enshrined him there; Some- body wafted 11 his name above, night and morn, on the wings of prayer. Somebody wept when he marched 12 away, looking so handsome, brave, and grand; Somebody's kiss on his forehead lay, Some- body clung 13 to his parting hand. Somebody's waiting and watching for him — 14 yearning to hold him again to her heart ; — 15 and there he lies with his blue eyes dim, and the smil- ing childlike lips apart! Tenderly bury 16 the fair young dead, pausing | to drop on his grave | a tear; carve on the wooden slab at his 17 head, — "Somebody's Darling slumbers here/' 1 Turn to right — right hand out. 2 Both hands as in No. 2 arm plate — keep position until period. 3 Look downward — run the fingers through the hair. 4 Bend down and point down. 5 Action of brushing hair back from forehead — bend down. 6 Cross your hands. 7 Throw kiss downward. 8 No. 3 hand plate. 9 Clasp hands as in No. 13 hand plate — shake head sorrowfully. 10 Hand on heart. u Wave hand upward. 12 Sweep hand to the right. 13 Stand erect — shake head proudly — hand out. "Hands as in No. 14 hand plate. 16 Point down. "Arms down — hands together in front — head down. 17 Point in front. PAPA'S LETTER. 151 CHILD'S DIA- LECT. 60-PAPA'S LETTER. Anonymous. I was sitting in my study, writing letters; when I heard, ^Please, dear mama, — Mary told me mami mustn't be 'isturbed. But Fse 2 tired of little kitty, want some ozzer fing to do : Writing letters, is 'ou, mama? 3 tan't I wite a letter too?" "Not now, darling, mama's busy; 4 run and play with kitty, now." "No, no, mama; 5 me wite letter; tan, if 'ou will show me how." I would paint my darling's portrait as his sweet eyes searched my face — 6 Hair of gold, and eyes of azure, form of childish, witching grace. But the eager face was clouded, as I slowly shook my head, Till I said, "I'll make a letter of you, darling boy, instead." 7 So I parted back the tresses from his forehead high and white, And a stamp | in sport 8 I pasted, 'mid its waves of golden light. PLEAS- ANT. Then I said, "Now, little letter, 9 go away and bear good news." And I smiled | as down 10 the staircase clattered loud the little shoes. Leaving me, the darling hurried down to Mary in his glee; 152 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. "Mama's witing 11 lots of letters; Yse a letter, Mary,— see/" 12 No one heard the front door open; no one saw the golden hair, 13 As it floated o'er his shoulders | in the crisp October air. EARNEST. Down the street 14 the prattler hastened, till he reached the office-door: 15 "Fse a letter, Mr. Postman; is there room for any more? 'Cause dis letter's doin' to papa, papa lives with 10 God, 'ou know, Mama tamped me — I'm a letter; does 'ou fink 'at I tan go ?" But the Clerk in wonder answered, "Not to-day, my little man." 17 "Den I'll find anozzer office, 'cause I must do, if I tan." LOVD. Fain the Clerk would have detained him, but the pleading face was 18 gone, And the little feet were hastening, — by the busy ciowd swept on. 19 Suddenly the crowd was. parted, — people fled to left and right, ^As a pair of maddened horses at the moment dashed in sight ! No one saw the baby figure, — no one saw the golden hair, Till | a shriek of childish terror | rang 21 out on the autumn air! 'Twas too late ! — a moment only | stood the beauteous vision there ; Then ^the little face lay lifeless, covered o'er with goldep hair ! THE UNHAPPY MAN. 153 OBSERVE GRAM- MATI- CAL PAUSES. ^Reverently the}' raised my darling, brushed away the curls of gold; Saw the 24 stamp, upon the forehead growing now so icy cold. Xot a mark the face disfigured, showing where a hoof had trod; But the little life was ended,— "Papas letter" 2 * was with God. 1 Look up pleadingly. 2 Impatient wave of the hand. s Hand on breast. i Wave him away with left hand. 5 Place hand upward as if on her arm. 6 Stroke the hair — send hand down. T Action of pushing hair back from his forehead. 3 Action of wetting stamp and pasting it on his forehead. 4 Waving him away with left hand. lu Point downward —make quick short movement with both hands, imitating the patter of feet. 1X Both hands, falling movement as in No. 3 arm plate. 12 Point to forehead. 13 Send hand from head to the shoulder. 14 Point in front. 15 Point to forehead. 16 Point upward. 1T Turn to left — take three steps. 18 Swing arm to left. 19 Hands together in front — then send them apart. 30 Step and point to front. 21 Advance — throw upward both hands. 22 Bend, point and look down. 23 Action of raising him from the ground. 24 Point downward. 25 Point up with reverent expression. 61-THE UNHAPPY MAN. Anonymous. "He had faults, perhaps had many; but 1 one fault above them all Lav like heaAw lead upon him, tyrant of a patient thrall; Tyrant seen, confessed, and hated, 2 banished only to recall." IXTER- RO&A- TIYE AXD DE- CIDED RE- PLIES. "Oh, 3 he drank?" "His drink was water." "'Gambled?' "No; he hated play." "Tlien, perchance, a tenderer 5 feeling led his heart and head astray?" "No; both honor and religion kept him in the purer way.'' "Then he scorned 6 life's mathematics? could not reckon-up a score? Pay his debts? or be persuaded two and two were always four?" "Xo; he was exact as Euclid, prompt and punctual, no one more." 154 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 7 "0h, a miser r "No." "Too lavish?" "Worst of guessers, guess again." "No; I'm weary hunting failures. Was he seen 8 of mortal ken, Paragon of marble virtues, quite a model man of men?" 9 "At his birth | an evil Spirit charms and spells 10 around him flung, And, with well-concocted malice, laid a curse upon his tongue; — Curse that daily made him wretched, earth's most wretched sons 11 among. "He could 12 plead, expound, and argue, fire with wit, with wisdom glow; 13 But one word for ever failed him, source of all his pain and woe: — Luckless man! he could not say it, could not. dare not, answer | No !" u 1 No. 12 hand plate. 2 No. 5 arm plate — one arm. 3 Hands behind back — nod the head. 4 Repeat the same. 5 Place hand on heart — bow and smile. 6 No. 2 hand plate. 7 Take two steps to left and turn back quickly. 8 Both hands extended — palms up — look of inquiry. 9 Point the finger downward twice quickly. 10 Hands up — palms out — turn from side to side. 1X Send hands from forehead downward. 12 Position of right hand as in No. 1 hand plate — emphasize by this gesture the three follow- ing words. 1? Step forward and point outward. 14 Strike left palm with right fist. THE DESERTER. 155 MANLY TONE. CANDID. SLOW. 62-THE DESERTER. Bayard Taylor. "Deserter!" Well, Captain, the word's abouc right, And it's uncommon queer I should run from a fight, Or the chance of a fight : I, raised in the land 1 Where boys, you may say, 2 are born | rifle in hand; And who've fought all my life for the right of my ranch, With the wily Apache and the cruel Comanche. But it's true, and I'll own it, 3 I did run away. "Drunk?" No, sir! I'd not tasted a drop ail day; 4 But — smile if you will — I'd a dream in the night, 5 And I woke, in a fever of sorrow and fright, And went for my horse; then up and away: 6 And I rode like the wind till the break of the day. "What was it I dreamt ?" I dreamed 7 | of my wife — The true little woman that's better than life — 8 I dreamt of my boys — I have three — one is ten, — The youngest is four — all brave little men — 9 Of my one baby girl, my pretty white dove ! The star of my home, the rose of its love ! 10 I saw the log-house on the clear San Antone, And I knew that around it the grass had been mown; For I felt, | in my dream, | the sweet breath of the hay — I was there, for I lifted a jessamine spray ; 156 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. And the dog that I loved | heard my whispered command, And whimpered/ 1 and put his big head in my hand. ENTREAT- ING. 12 The place was so still ! all the boys were at rest ; And the mother lay dreaming, 13 the babe at her breast: I saw the fair scene for a moment; then . u . stood In a circle of flame, amid shrieking and blood ! The Comanche had the place! — 15 Captain, spare me the rest; You know what that means, for you come from the West. 16 I woke with a shout, and I had but one aim — 17 To save or revenge them ! — my head was aflame. And my heart had stood still; I was mad/ 8 I dare say, For my horse fell dead at the dawn of the day ; Then | I knew what Fd done; and, with heart- broken breath, When the boys found me out, 19 I was praying for death. SLOW. 20 "A pardon r No, Captain, I did run away, And the wrong to the flag it is right I should pay With my life. It is not hard to be brave When one's children and wife have gone over the grave. — 21 "Boys, take a good aim! When I turn to the West Put a ball through my heart ! it is kindest and best." 23 He lifted 22 his hat to the flag — bent his head solemn. And the prayer of his childhood | solemnly said — THE POLISH BOY. 157 LOW. loud. Shouted: "Comrades, adieu !" — 24 spread his arms to the West — And a rifle-ball instantly granted him rest. But o'er his sad grave by the Mexican sea, Wives and mothers have planted a blossoming tree, And maidens bring roses, and tenderly say, 25 "It was love — sweetest love — led that soldier awa}\" ■ • 1 Raise right arm as in No. 1 arm plate. 2 Hand extended as hold- ing rifle. 3 Hands on hips — shake head. 4 No. 1 hand plate. 5 Rub eyes and look around. 6 Step quickly to left — swing out left arm carelessly. 7 Speak slowly whilst rubbing forehead. 8 Indicate how tall they are. 9 Fold the arms — head on breast. 10 Point front — hold for four lines. 11 Action of patting dog on the head. 12 Hands out straight in front — palms down. 13 No. 14 hand plate. 14 Describe a circle about you. 15 Advance — clasp hands — look appealingly at Captain. 16 Step to front — throw up the arms. 17 Shake fist in front. 18 Both hands clutching hair. 19 Hands clasped — look up. 20 No. 6 hand plate. 21 Turn to right — stand very straight. 22 Action of raising hat. 23 Bend the head — clasp hands. 2i Open arms wide. 25 No. 1 hand plate. LOUD, DIRECT. QUES- TION- ING. 63-THE POLISH BOY. Ann S. Stephens. (Abridged.) Whence 1 come those shrieks so wild and shrill, that cut like blades of steel, the air? causing 2 the creeping blood to chill with the sharp cadence of despair! Whence come they? 3 From yon Temple, where an altar, raised for private prayer, now forms the Warrior's marble bed, who War- saw's gallant armies led. The 4 dim funereal tapers | throw a holy lustre o'er his brow; and burnish, with their rays of light, the mass oi curls that gather bright above the haughty brow and eye of 5 yon young Boy that's kneeling by. What hand is that, whose icy press clings 6 to the dead with death's own grasp, but meets no answering caress? No thrilling fingers seek its clasp. It is the hand of her whose cry rang wildly, late, upon the air, when the Dead Warrior met 7 her eye 8 outstretched upon the altar there. With pallid lip and stony brow she murmurs forth her 158 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. STAC- CATO. SHRIEK- ING. BOLD. anguish now. . . . 9 But, hark! the tramp of heavy feet is heard along the bloody street ! — Nearer and nearer yet they come, with clanking arms and noiseless drum; now whispered curses, low and deep, around the holy Temple creep ! 10 The gate is burst! a ruffian band rush in, and savagely demand, with brutal voice and oath pro- fane, the startled Boy for exile's chain. The Mother | sprang with gesture Avild ; n and to her bosom clasped her child: — 12u Back, ruffians, lack! nor dare to tread too near the body of my dead, nor touch my living boy ! / stand between him and your lawless band. Take me, and bind these 13 arms — these hands, — with Eussia's heaviest iron bands; or drag me to Siberia's wild | to perish, if 'twill save my child!" 14 "Peace, woman, peace !" the Leader cried, 15 tearing the pale Boy from her side; and in his ruffian grasp he bore his victim to the Temple door: — 16 "One moment!" shrieked the mother; "one ! Will land or gold redeem my son ? Take heritage, take name, take all, but leave him free from Bussian thrall ! 17 Take these !" and her white arms and hands she stripped of rings and diamond bands, and tore from braids of long black hair the gems that gleamed like starlight there; her cross of blazing rubies, last, down at the Bus- sian's feet she cast. — 18 He stooped to seize the glittering store: 19 up-springing from the marble floor, the Mother, with a cry of joy, snatched to her leaping heart the Boy ! But no ! the Eus- sian's iron grasp again undid the Mother's clasp. 20 Forward she fell, — with one \ long \ cry of more than mortal agony ! But the brave child is roused at length, and, 21 breaking from the Eussian's hold, he stands, a giant | in the strength of his young spirit, fierce and bold : — "Ye hold me not ! no, no, nor can ; this hour has made the boy \ a 22 man! I knelt beside my slaughtered Sire, nor felt one throb of vengeful ire; I wept 23 upon his marble brow, — yes, wept, — I was a child; but now my noble THE POLISH BOY. 159 LOUD. PATHET- IC. Mother on her knee has done the work of years for me!" 24 He drew aside his broidered vest, and there, like slumbering serpent's crest, the jewelled haft of poniard bright glittered a moment on the sight. "Ha! start ye back? 25 Fool! coward! knave! Think ye my noble father's glaive could drink the life-blood of a slave? The pearls that on the handle name would blush to rubies in their shame : the blade would quiver in thy breast, — ashamed of such ignoble rest ! No ; thus I rend thy tyrant's chain, and fling him back 26 a boy's disdain !" A moment and the funereal 27 light flashed on the jewelled weapon bright; another, and his young heart's 28 blood leaped to the floor — a crim- son flood ! Quick to his Mother's side he sprang, and on the air his clear voice rang: — 29 "Up, Mother, up ! I'm free ! I'm free ! The choice was death or slavery ; up ! Mother, up ! look on my face, I only wait for thy embrace. One last, last word, — a blessing, one, to prove thou know'st what I have done! No look? no word? Canst thou not feel my warm blood o'er thy heart congeal? Speak, Mother, 30 speak, — lift up thy head. What ! silent still? Then | art thou dead! . . . 31 Great God, I thank thee! Mother, I rejoice, — with thee and thus, — to die." 32 Slowly he falls: the clustering hair rolls backhand leaves that fore- head bare; 33 one long, deep breath, and his pale head lies on his Mother's bosom . . . dead ! 1 Step forward — hand behind ear. 2 Both hands on breast. 3 Point front. 4 Hands to front — fingers pointing outward. 5 Point downward. 6 Hand out and clinched. 7 Point front. 8 Point downward. 9 Step to left — hand behind ear — listening. 19 Step forward, making a loud stamp — ■ wrench hands apart quickly. 1X Run three steps to left — clasp arms over breast. 12 Look and extend left arm to left. 13 Both hands on breast- still looking left. 14 Turn right— raise right hand. 15 Advance hand to right — close fingers and draw arm quickly back. 16 Run three steps to left — arms extended. 1T Touch hands — neck — hair — throw the hand down- ward. 18 Stoop to pick up. 19 Advance — clasp arms over breast. 20 No. 3 arm plate — both hands. 21 Throw both arms apart — then fold them — stand erect — look to left. 22 Touch breast — then raise finger of right hand over head. 23 Drop both hands in front — look down. 2i Action of opening vest. 25 Step back — laugh — shake left hand at left. 26 Throw hand scornfully to /eft. 27 Both hands extended to front — fingers pointing outward. 28 Bring hands from breast quickly downward. 29 Kneel— bend down — hands extended downward. 30 Clasp hands. 31 Strike palms to- gether — look up— still kneeling. 32 Point downward — stand up. 33 Hand on breast, then point down. 160 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. FULL MOD- ERATE VOICE. 64-ADIEUX DE MARIE STUART. Adieu, 1 charmant pays de France, Que je dois tant cherir ! 2 Berceau de mon heureuse enfance. Adieu! te quitter, c'est mourir. Beranger. WITH AFFEC- TION. RATHER BRISK. 3 Toi que j'adoptai pour patrie, Et d'ou je crois me voir 4 bannir, 5 Entends les adieux de Marie, France, et garde son souvenir. 6 Le vent souffle, on quitte 7 la plage; Et, peu touche de mes sanglots, 8 9 Dieu, pour me rendre a ton rivage, Dieu n ? a point souleve les flots ! 10 Adieu, charmant pays de France, Que je dois tant cherir ! 11 Berceau de mon heureuse enfance, Adieu ! te quitter, c'est mourir. STRONGER. Lorsqu'aux yeux du peuple que j'aime, Je ceignis les lis eclatants, 12 I1 applaudit au rang supreme 13 Moins qu'aux charmes de mon printemps. 14 En vain la grandeur souveraine M'attend chez le sombre Ecossais; Je n'ai desire d'etre 15 reine 16 Que pour regner sur des Frangais. 17 Adieu, charmant pays de France, Que je dois tant cherir ! 18 Berceau de mon heureuse enfance, Adieu ! te quitter, c'est mourir. LOUD. 1% Uamour, | la gloire | le Ont trop enivre mes beaux jours; Dans Tinculte Caledonie De mon sort va changer le cours. ADIEUX DE MARIE STUART. (See page 160. ) ADIEUX DE MARIE STUART. 161 20 Helas ! un presage terrible fear. Doit livrer mon 21 cceur a l'effroi : J'ai cru voir, dans un songe horrible, Un echafaud dresse 22 pour moi. 23 Adieu, charmant pays de France, Que je dois tant cherir ! 24 Berceau de mon heureuse enfance, Adieu ! te quitter, c'est mourir. 25 France, du milieu des alarmes, energy. 26 La noD i e fille des Stuarts, Comme en ce jour qui voit ses larmes, 21 Vers toi tournera ses regards. ^Mais, Dieu ! le vaisseau trop rapide Deja vogue sous d'autres cieux, Et la nuit, 29 dans son voile humide, Derobe tes bords a mes yeux ! g^2). m Adieu, charmant pays de France, Que je dois tant cherir ! 31 Berceau de mon heureuse enfance, 32 Adieu! te quitter, c'est mourir. 1 Bring fingers from the lips out to right — then send hand to the breast — look to right. 3 Bend — both hands down — palms out. 4 Right hand to right — look to right — throw the head well back. 4 Swing left hand from breast to left — palm down. 5 Step to right — extend both arms appealingly. 6 Slightly wave the hand. 7 Right arm No. 5 arm plate. s Hand on breast. 9 Extend both hands upward — look up. 10 Re- peat *. 1X Repeat 2 . 12 Clap the hands. 13 Raise right hand as in No. 4 arm plate. 14 Drop the arm as in No. 3 arm plate. 15 Advance — raise right hand high — stand very erect and have a haughty bearing. 1G Repeat 15 . 17 Repeat 1 . 1S Repeat -. 19 Right hand out — emphasize by gesture the three nouns of the line. 20 Drop hand — look dejected. 21 Hand on heart. 22 Bring hand to breast. 23 Same as x . 24 Same as -. 25 No. 5 arm plate — both hands. 20 Spread fingers of rigbt hand on breast — dignified carriage. 27 Turn to right and put out right hand. 2S Clasp hands and look up. 29 Describe semi-circle above the head — palms out. 30 Same as 1 . 31 Same as 2 . 32 Throw kiss with right hand to the right. 162 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 65-FRIEDE. Bodenstedt. Nun sind Stiirme 1 und G-ewolk zerstoben, Auf den blauen 2 Bergen blitzt der Schnee; Still, vom reinsten Morgenglanz umwoben, 3 Euht die Welt — vergiss nun *Leid und Well. Friede ist im 5 Himmel und auf Erden, Friede 6 lass auch deinem Herzen werden. Aus dem Dorf am Bergsee klingt 7 Geldute, Auf den Wiesen glanzt der Morgenthau. Alles 8 ruht — der Tag des Herrn ist heute, Und kein 9 Wolkchen triibt das lichte Blau. Friede ist irn Himmel und auf Erden, Friede 10 lass auch deinem Herzen werden. Klage 11 nicht mehrl — Was du auch gelitten: Schuldlos 12 leiden viele mehr als du ! Keiner siegte noch, der nicht gestritten, Doppelt suss labt nach dem Kampf die Ruh. Friede ist im 13 Himmel und auf Erden, Friede 14 lass auch deinem Herzen werden. 1 Hold out and up both hands — palms out — then gradually drop them in semicircular form. 2 Point upward to right — turn to the right. 3 Both hands extended — turn slowly to right and left sides whilst speaking line. 4 Clasp hands — speak quietly and impressively. 5 Point upward, then downward. 6 Hand over heart. 7 No. 8 arm plate — left arm. 8 Hands out horizontally — slightly apart — palms down. 9 Look up. 10 No. 12 hand plate. X1 Use the falling movement of arms and hands as in No. 3 arm plate. 12 Raise both arms as in No. 1 arm plate. 13 Advance — point up- ward, then downward. 14 Right hand over heart. Part IL Selections of Prose, Dialogues and Dramatic Scenes* WELL SUS- TAINED VOICE. SLOW. 66-FREEDOM AND PATRIOTISM. Orville Dewey. God | has stamped 1 upon our very humanity this impress of freedom. It is the unchartered prerogative of human nature. 2 A soul | ceases to be a soul, in proportion as it ceases to be free. Strip it of this, and you strip it of one of its essential and characteristic attributes. It is this 3 | that draws the footsteps of the wild Indian to his wide and boundless desert-paths, and makes him prefer them to the gay saloons and soft car- pets of sumptuous palaces. It is this that makes it so difficult to bring him within the pale of artificial civilization. Our roving 4 tribes are perishing — a sad and solemn sacrifice upon the altar of their wild freedom. 5 They come among us, and look with childish wonder upon the per- fection of our arts, and the splendor of our habi- tations: they submit with ennui and weariness, for a few days, to our burdensome forms and re- straints ; and 6 then | turn their faces to their forest homes, and resolve to push those homes onward till they 7 sink in the Pacific waves, rather than not be free. 8 It is thus that every people is attached to its country, just in proportion as it is free. No matter if that country be in 9 the rocky fastnesses of Switzerland, amidst the snows 10 of Tartary, or 164 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. RATHER QUICK. DEEP AND INTENSE. GRADU- ALLY IN- CREASE. on the most barren and lonely island-shore; no matter if that country be so poor as to force away its children to other and richer lands, for employ- ment and sustenance; n yet | when the songs of those free homes | chance to fall upon the 12 exile's ear, no soft and ravishing airs that wait upon the timid feastings of Asiatic opulence ever 13 thrilled the heart with such mingled rapture and agony | as those simple tones. 14 Sad mementos might they be of poverty and want and toil; yet j it was enough that they were mementos of happy freedom. 15 I have seen my countrymen, and I have been with them a fellow wanderer, in other lands; and little did I see or feel to warrant the apprehension, sometimes expressed, that foreign travel would weaken our patriotic attachments. One sigh 1G for home — 17 home, arose from all hearts. And 18 why, | from palaces and courts — why, | from galleries of the arts, where the marble softens into life, and painting | sheds an almost living pres- ence of beauty around it — why, | from the moun- tain's awful brow, and the lonely valleys and lakes touched with the sunset hues of old romance — why, from those venerable and touching ruins to which our very heart grows — why, from all these scenes, were they looking beyond the swellings of the Atlantic wave, to a dearer and holier spot of earth — their own, own country? 19 Doubtless, j it was in part because it is their country ! But j it was also, as every one's experience will testify, because they knew that there was 20 no oppression, no pitiful exaction of petty tyranny; because that there, they knew, was no accredited and irresisti- ble religious domination; because that there, they knew, they should not meet the odious soldier at every corner, nor swarms of imploring beggars, the victims of misrule; that there no curse \ causeless did fall, and no blight, worse than plague and pestilence, did descend amidst the pure dews of heaven; because, in fine, that there, they NO NATIONAL GREATNESS WITHOUT MORALITY. 165 CLIMAX. knew was LIBERTY — upon all the green hills, and amidst all the peaceful villages — liberty, the wall of fire | around the humblest home; the crown of glory, 21 studded with her ever-blazing stars upon the proudest mansion ! 1 No. 1 hand plate — stand erect — right foot advanced — slightly bend the knee — weight of body resting on left foot. 2 Bring hand to breast. 3 No. 12 hand plate — use repeatedly this gesture until word "civilization" is spoken. * Point downward right hand. 5 No. 7 arm plate. c No. 8 arm plate. 7 Turn right hand and point downward. 8 Both hands ex- tended till period. 9 Point upward. 10 Point and half turn body to right. X1 No. 1 hand plate. 12 Hand to ear. 13 Hand to heart. 14 Slowly droop the hands — wrist movement. 15 Walk three steps to left — No. 1 hand plate. 16 Hand to breast. 17 Advance on right foot — point toe of left — elevate right hand. 18 Raise right hand higher than bead and shake the hand on the words "why" until "own — own country." 19 No. 7 hand plate. 20 Bring hand down forcibly on the following em- phatic words until you reach the words "was liberty" — then elevate the hand — advance. 21 Still advanced — both arms extended upward and out- ward till finish. 67-NO NATIONAL GREATNESS WITHOUT MORALITY. STRONG CARRY- ING VOICE. INTERROG- ATIVE. W. E. Charming. When %e look forward to the probable growth of this country; when we think of the 2 millions of human beings who are to spread over our present territory; of the career of improvement and glory open to this new people; of the im- pulse 3 which free institutions (if prosperous), may be expected to give to philosophy, | Reli- gion, | science, | literature, | and arts; of the 5 vast field in which the experiment is to be made, of what the unfettered powers of man may achieve; 6 of the bright page of history | which our fathers have filled, and of the advantages | under which j their toils and virtues 7 have placed us for carry- ing on their work ; 8 when we think of all this, can we help, for a moment, surrendering 9 ourselves to bright visions of our country's glory, before which all the glories of the past 10 are to fade away? Is it presumption 11 to say, that, if just to 12 our- selves and all nations, we shall be felt through 166 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. UPWARD INFLEC- TION. QUESTION- ING. CLIMAX. this 13 whole continent, that we shall spread our 14 language, institutions, and civilization, through a wider space than any nation has yet filled with a like beneficent influence? And | 15 are we pre- pared to barter these hopes, this sublime moral empire, for conquests by force? 16 Are we pre- pared to sink to the level of unprincipled nations, to content ourselves with a vulgar, guilty great- ness, to adopt in our youth | maxims and ends which must brand our future with 17 sordidness, oppression and shame? This country 18 cannot without peculiar infamy run the common race of national rapacity. Our ^origin, institutions, and position are peculiar, and all favor an up- right, | honorable course. We have not the apolo- gies of nations hemmed in by narrow bounds, or threatened | by the overshadowing power of am- bitious neighbors. 20 If we surrender ourselves to a selfish policy, we shall sin almost without temp- tation, | and forfeit opportunities of greatness | vouchsafed to no other people, for a prize 21 below contempt. I have alluded to the want of wisdom | with which we have been accustomed to speak of our destiny as a people. We are "^destined (that is the word), to 23 overspread North America; and 24 intoxicated with the idea, it matters little to us | how we accomplish our fate. 25 To spread, | to supplant others, | to cover a | boundless space, this seems our ambition, no matter what influence we spread with us. 2G Why | cannot we rise to noble conceptions of our destiny? Why \ do we not feel, that our work as a nation is, to carry freedom, religion, science, and a nobler form of human nature over this continent? and why do we not remember, that to diffuse these blessings j we must first | cherish them in our own borders; and that whatever deeply and permanently cor- rupts us | will make our spreading influence a curse, | not 27 a blessing, to this new world ? I am not prophet enough to read our fate. I believe,, TRUE GRANDEUR OF NATIONS. 167 SPEAK SLOWLY. LOUDLY, indeed, that 2S we are to make our futurity for our- selves. I believe, that a nation's destiny lies in its character, in the principles which govern its policy, and bear rule in the hearts of its citizens. I take - 9 my stand on God's | moral \ and eternal law. A nation, renouncing and defying this, cannot 30 j be free, | cannot be great. 1 No. 1 hand plate — stand firmly — eyes well opened and directed to front. 2 Same as \ but with both hands. 3 Send hand from breast out- ward. 4 No. 7 hand plate. 5 Open the arms as in No. 5 arm plate. 6 No. 4 hand plate. T Both hands to breast. 8 No. 5 arm plate — both hands. * Wave hands toward body. 10 Turn palm outward and swing slowly hand to right. u Turn to the right — gesture No. 12 hand plate. 12 Touch breast. 13 No. 5 arm plate — both hands. 14 Hands and arms horizontal in front — palms down — spread them apart. 15 No. 12 hand plate — step to the left. 16 Point downward — head thrown back. 17 Left hand on hip — waving right hand upward and downward. 1S Advance to front — both arms out. 19 No. 1 hand plate — bring hand downward movement on italicized words. 20 Both hands out — turn to left. 21 No. 2 arm plate. -- No. 4 arm plate. 23 Send both out to right and left. 2 * Touch fore- head. 25 Both hands out — No. 5 arm plate. 26 No. 1 hand plate — on the words "why" turn alternately to right and left — kept up till "our own border." :T Bring fist down forcibly. "Point upward in front. 29 No. 4 arm plate, but raise hand higher. 30 Advance — same gesture as 3 * — shake the hand till end. LOUDLY. COXYER- 8A- TIOXAL. APPEAL- IX G. 68 -TRUE GRANDEUR OF NATIONS. Charles Sumner, Casting our eyes over the history of nations, with horror we discern | the succession of murder- ous slaughters, by which their progress has been marked. 1 Even | as the hunter traces the wild beast, when pursued to his lair, by the drops of blood on the earth, so we follow thqa\, 2 weary, \ staggering with wounds, | through the black forest of the past, which he has reddened with his gore. B 0, let it not be in the future ages, as in those we now contemplate ! Let 4 the grandeur of man be discerned, not in bloody victories, or in rav- enous conquests, but | in the blessings 5 which he has secured; in the G good he has acomplished; in the triumphs of benevolence and justice; in the establishment 7 of perpetual peace. 168 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. simile. As the ocean 8 washes every shore, and, with all embracing arms, clasps every land, while, on its heaving bosom, it bears the products of various climes; so 9 peace | surrounds, protects, and up- holds all other blessings. 10 Without it, commerce is vain, the ardor of industry is restrained, justice is arrested, happiness is blasted, virtue | sickens and dies. n And peace | has its own peculiar victories, in comparison with which | Marathon and Bannock- burn and Bunker Hill, fields sacred in the history of human freedom, shall lose 12 their lustre. 13 Our own Washington \ rises to a truly heavenly stature, — not 1 * when we follow him over the ice of the Delaware to the capture of Trenton, — not 15 when we behold him victorious over Cornwallis at Yorktown, — but | when 16 we regard him in noble loud deference to justice, refusing the kingly crown which a faithless soldiery proffered, and, at a later day, 17 upholding the peaceful neutrality of the country, while he received | unmoved | the clamor 18 of the people wickedly crying for war. 1 Point downward in front. 2 Both hands as in No. 1 hand plate — ■ wave them twice up and down. 3 Clasp hands under chin. * Open arms widely. 5 Point upward and turn slightly looking around. 6 Same. 7 Same. 8 Wave both hands outward — palms down. 9 Turn palms up — same ges- ture as 8 . 10 No. 12 hand plate — touch left palm with right hand on emphatic words till period. X1 Both hands — No. 5 arm plate — take two steps backward. 12 Wave right hand to right — palm outward — turn face to left. 13 Advance — point upward — wait for applause. 14 Point to left. 13 Hand to right. 16 Quickly raise right hand. 17 Wave upward and out- ward both hands. 18 Shake fist. 69-ACQUISITION OF TERRITORY. J. W. Miller. In consulting the history of nations, it will be found J there 1 is an epoch in the existence of each, when a temptation presents itself, which | re- sisted or yielded to, marks the future character of the nation | for good or for evil. That tempta- tion is now presented to this republic 2 — it is ACQUISITION OF TERRITORY. 169 MODERATE. INCREASED TONE. LOUD. DO NOT DRAG. Mexico. It is 3 a broad and a rich land — a land of silver and gold — a land without a government to protect it, and without a people capable of de- fending it, and it lies 4 before us an easy \ tempt- ing prey. There is 5 none to stay our hand, or to resist the gratification of our ambition. The mystery of her origin, the story of her former conquest, | play 6 upon our fancy and excite our heroic passions. Already has the tempter 7 carried us to the pinnacle of the temple and points out the rich treasures of the city beneath. We now stand 8 upon the high mountain — at our 9 feet | lie twenty states, with their cities and towns, their temples of religion, and palaces of state. The tempter 10 whispers in our ear, all these shall be }^ours if you will fall down and worship the God Conquest. History stands ready with her 11 pen of steel to record our determination. 12 Shall we bow down to the evil spirit, and fall as other nations have fallen, or shall we maintain our virtue and rise to godlike courage and say, 13 "Get thee be- hind me, Satan." The temptation is mighty — the power to resist | only divine. I know 14 of no nation, in ancient or modern times that would resist so easy, yet so rich, an acquisition to its do- minions. To say nothing of the heathen world, not one 15 of the powers of modern Europe | would withstand the temptation. 1Q England would not, as she has shown by her conquests in the East. France 17 would not, as she is now proving by her attempts upon Algeria. As to 18 Russia, Prussia, Austria, let the partition of Poland answer. There, 19 too, is old Spain, once | the proudest and might- iest of them all; she has also had her temptation. It was this same 20 Mexico which now fascinates us. 21 Allured by its mines of silver and gold, which now entice us — excited by the spirit of propa- gandism, which now inspires us, she too 2s yielded to the tempter, and for a while she went on from conquering to conquer, until in her turn, she was made to lick 24 the dust beneath the chariot wheels 170 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. FULL TONE. INTENSE. of that false deitv | she had worshipped, when that chariot 25 rolled in triumph over the fair fields of Arragon and Castile. No, 2Q sir, | I can find no example of this high standard of national virtue and forbearance. If we resist this temptation, we shall set an example 27 to the world. 28 0urs the wisdom, ours the virtue, ours the glory, of forbearing to seize upon the territory of a weak and defenceless neighbor, when we had the oppor- tunity and the excuse of doing so. We have al- ready, | in our short history, | set 29 one great ex- ample to the nations of the earth. We have laid the 30 foundation of a mighty empire, deep and strong, upon a principle new and startling to the Old World. We have established 31 self-government, and bound in strong and happy union, twenty millions of freemen, who acknowledge no gov- ernment, but that of their 32 own choice. Let us now establish another principle of national action, equally new and startling. Let 33 us declare | that while we admit the oppressed of every land, 34 to a free participation of the blessings of our self- government, 35 no cause of war, no excuse, no tempt- tation will induce us to conquer a nation by war, for the purpose of 36 subjugating its territory and people to our dominion. 1 No. 7 hand plate. 2 Drop the hand. 3 Outward both hands — No. 5 arm plate. 4 Spread out both hands palms down. 5 No. 3 arm plate — falling movement of hand. 6 Touch right temple — wave hand outward. 7 Wave hand from breast upward — advance to right. 8 Both hands out — ■ look from side to s'.de. 9 Point downward. 10 Send fingers from lips outward. " Fingers of right hand held out as if grasping pen. 12 Hand to breast- — bow head. 13 Throw hand to right strongly 14 turn head and body to left. 15 Shake index finger at audience. 16 No. 1 hand plate — turn to the right. 17 Same gesture to the left. 18 Both hands to the front. 19 Slowly nodding head. 20 No. 12 hand plate — take three steps to right. 21 Bend head slightly — wave both hands from forehead outward. 2 * No. 8 arm plate. 24 Shake right hand — pointing downward. 25 Make a circular movement with hand. 26 Strike right fist into left palm. 27 Both arms spread out. 28 Touch breast on the words "Ours." 28 Shake index finger three times in front. 30 Point downward. 31 No. 1 hand plate — advancing. 32 Hand on breast. 33 Raise right hand — palm out. 34 Both arms out — palms up. 35 Bring right fist down forcibly. 36 Shake fist to the front. LIBERTY AND DESPOTISM. 171 70-LIBERTY AND DESPOTISM. Be Witt Clinton. In revolutionary times 1 | great talents and great virtues, as well as great vices and great follies spring into being. The energies of our 2 nature V °full are P 11 ^ m ^° requisition, and | during the whirl- wind and the tempest, innumerable evils will be perpetuated. But | all the transient mischiefs of revolution are mild 3 when compared with the permanent calamities of arbitrary power. The one | is 4 a sweeping deluge, an awful tornado, which quickly passes away ; but the 5 other | is a volcano, continually ejecting rivers of lava — an loud. earthquake | burying whole countries in ruin. 6 The alleged inaptitudes of man for liberty is the effect of the oppressions which he has suffered 1 1 and until a free government can shed its pro- pitious influence over time — until perhaps, a new generation 7 has risen up under the new order of things, with new habits and new principles, | so- ciety | will be in a state of agitation and mutation ; 8 faction will be the lord of the ascendant, and frenzy and fury, \ denunciation and proscription, will be the order of the day. The dilemma is inevitable. Either the 9 happiness of the many | or the predominance of the few | must be sacri- ficed. The flame 10 of liberty and the light of knowledge emanate from the same sacred fire, and subsist on the same element; and the seeds of instruction widely disseminated will, | like the serpent's teeth, in the pagan mythology, 11 that were sown into the earth, rise 12 up | against op- pression | in the shape of the iron men of Cadmus. In such a case | who can hesitate to make an election ? 13 The spirit of a Eepublic is the friend, and the genius of a monarchy is the enemy of peace. 14 The potentates of the earth have, for centuries back, maintained large standing armies, and, on the most frivolous pretexts, have created havoc and desolation. And | 15 when we compare 172 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. FORCE IN- CREASED. STRONG. the world as it is | under arbitrary power, with the world as it 16 was | under free republics, what 17 an awful contrast does it exhibit ! 18 What a solemn lesson does it inculcate ! The ministers of famine and pestilence, of death and destruction, have 19 formed the van and brought up the rear of des- potic authority. The monuments 20 of the arts, | the fabrics of genius and skill, | and the sublime erections of piety and science, have been 21 pros- trated in the dust; the places 22 where Demos- thenes and Cicero spoke, | where Homer and Vir- gil sang, | and where Plato and Aristotle taught, j are now 23 exhibited | as mementoes of the perish- able nature of human glory. The forum 24 of Eome is converted into a market for cattle; the sacred fountain of Castalia 25 is surrounded, not by the muses and graces, but | by the semi-barbar- ous girls of Albania; the laurel groves, and the deified 26 heights of Parnassus, are the asylum of banditti; Babylon can only be traced by its bricks ; the sands of the 27 desert | have overwhelmed 28 the splendid city of Palmyra, and are daily encroach- ing on the fertile territories of the Nile; and the malaria has 29 driven man from the fairest portions of Italy, and pursued 30 him to the very gates of the Eternal City. 1 No. 1 hand plate — right foot advanced. 2 Hand to the breast. 3 No. 5 hand plate — slightly bow the head. Send left arm from breast outward quickly. 5 Raise quickly right arm as in No 1 arm plate. ° Touch left palm with right index finger. 7 Put out right hand — then elevate it. 8 No. 7 hand plate — and shake finger on the following emphatic words. 9 Both hands extended — earnest expression on face 10 No. 12 hand plate. " Point downward. 12 Raise both hands as in No. 1 arm plate. 13 Left hand out turn to left and take three steps. 14 Both hands extended — bend toward audience. 15 No. 2 hand plate. 1C Repeat same. 17 Throw both hands from the face outward. 18 Clasp hands. 19 Point in front with left hand. 20 No. 4 arm plate. 21 Point downward. 22 Cross back to center holding out right hand — pointing. 23 Open both arms. 24 Point front. 25 Both hands extended. 2t! Point upward. 27 Point downward. 28 Cross both hands in front then sweep them to the sides outward. 29 Touch left shoulder with right hand then wave it to right. 30 Advance — shake finger — arn? straight. THE SABBATH. 173 THE SABBATH. T. Frelinghuysen. DIGXITY. RATHER SLOW. PERSUA- SIVE. Mr. President — The Sabbath 1 was made for man — not to be contemned and forgotten — the constitution of his 2 nature requires just such a season. It is identified with his pursuits, and his moral tendencies. God 3 has ordained it in infi- nite benevolence. The reason for its institution, as recorded in His Word, was His 4 own example. It began with creation. The first week of time was blessed with a Sabbath. The 5 garden of Eden would not have smiled in all its loveliness, had not the light of this day shone upon it. 6 Blot it out, | and the hope of the world is extinguished. When the whirlwind raged in France, how was it, sir? 7 They could not carry their measures of ferocity and blood, while this last palladium of virtue remained. Desolation 8 seemed to pause in its course, its waves almost subsided: when the spirit of evil | struck this hallowed day 9 from the calendar, and enacted a decade to the Goddess of .Reason — after which the besom 10 swept all before it. Our own 11 experience must satisfy us | that it is essential to the welfare of our condition. 12 Put the mind to any action of its powers — let its energies be exerted incessantly, with no season for abstraction and repose, | and it would very soon sink 13 under a task | so hostile to its nature : it would wear out in such hard service. So | let 14 the pursuits of business constantly engage our speculations, and the whole year become one un- varied calculation of profit and loss, with no Sab- bath to open an hour | for the return of higher and nobler feelings, and the heart will become the victim of a cold and debasing selfishness, and have no greater susceptibility than the nether mill-stones. 15 And if [ in matters that are law- ful, such consequences would ensue, what will be the results of a constant, unbroken progression in 174 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. STRONG. LOFTY. vice? Sir, 16 I tremble at the prospect for my country. If this barrier against the augmenting flood of evil be prostrated, 17 all your penalties and prisons will oppose an utterly inefficient check. Irreligion 18 will attain to a magnitude and hardi- hood | that will scorn 19 the restraints of your laws. 20 Law, sir ! of what avail can this be | against the corrupted sentiment of a whole people? Let us' 21 weigh the interesting truth — that a free people can only flourish under the control of moral causes; and it is the 23 Sabbath which gives vigor, and energy, and stability to these causes. The nation expects | that the standard of sound prin- ciples will be raised here. Let us give it a ^com- manding elevation. Let its tone be lofty. It is in this way we should expect to excite the enthu- siasm of patriotism, or any other virtue. When we would awaken in our youth | the spirit of liter- ary emulation, 25 we spread out to their vision | a rugged path and a difficult ascent, and raise the prize of fame high above the reach of any pursuit, but an 2G ardent, laborious, and vigorous reach of effort. 27 If we would kindle the love of country, we do not humble her claims to a miserable pos- ture, just above downright indifference — but | we point 28 to a devoted Leonidas, and the brightest names of the scroll, and thus urgj our youth 29 onward and upward. Let us, then, sir, be as wise and faithful in the cultivation of sound moral principles. 1 Affirmative gesture No. 1 hand plate — have a dignity of carriage all through. 2 Hands to breast. 3 Point upward right hand. 4 Bring hand to breast — bend head. 5 Wave forward both arms No. 5 arm plate. c Send right hand from breast outward. 7 Send hand from forehead down- ward. 8 Both hands to front — fingers as No. 6 hand plate. 9 Wave hand to right — palm out. 10 Sweeping movement of hand. X1 Touch breast, incline body forward. 12 Touch the forehead quickly several times. 13 Drop hand. 14 No. 12 hand plate. 15 No. 2 hand plate. 16 No. 13 hand plate, then shake the hands clasped. 17 Move hand downward. 18 Describe semicircle with hands — palms out. 19 Bring right hand down quickly. 20 Step backward — amazed look — no gesture. 21 See-saw both hands. 23 No. 10 hand plate. 24 Point upward — advance. 25 Hands horizontal — palms down — move them to right and left. 26 Forcible downward move- ment of right hand on emphatic words. 27 Walk to the left — left hand out. 28 Point in front. 29 Send both hands from the chest outward — palms out. POWER OF WEALTH PRODUCED BY LABOR. 175 DIRECT AND EARNEST STYLE. 72-POWER OF WEALTH PRODUCED BY LABOR. Tristam Burgess. Sir, in this age of the world, the wealth of na- tions depends on their labor. There 1 was a time j 2 nay, | for many ages, plunder was the great re- source of nations. 3 The first kingdom established on earth | was sustained by the conquest and pil- lage of many nations; and 4 "great Babylon, the glory of the Chaldean empire/' was built and adorned | by the spoil of 5 all Asia. 6 The exorbi- tant wealth of one nation, thus obtained, gave an example to the world, and awakened the ambition, and sharpened the avarice of others; until the 7 Assyrian was conquered and plundered by the Persian, | the Persian by the Macedonian, | and 8 he, at last, devoured by the Eoman power. 9 The wolf | which nursed their founder | seems to have given a hunger for prey, insatiable, to the whole nation. 10 Perhaps | there was not a house, nor a temple, between the Atlantic and the Euphrates, which was not plundered by some one of that nation of marauders. n Sir, the tide of ages, cen- tury after century, 12 had rolled over the last frag- ment of Eoman power; the light of science I 13 dawned on the world, and knowledge of letters was disseminated by the press, before men seemed to believe that our Creator 14 had, in fact, an- nounced to the first of our race, that 15 "by the sweat of his face | man should eat his bread all the days of his life." 16 No one cause has done 17 so much in changing that character from war and plunder, as that pure, \ meek, and quiet philosophy, which has taught 18 all men to "do unto others as they would that others should do unto them." Eebuked by this divine precept, men have 19 sheathed the sword, and put their hand to the plough; they have mined 20 the earth, and not for the instruments of war, but for the machines of labor. If, 21 now, wars break out, it is not for plunder; cities are not given up to pillage; cap- tives are 22 not sold for slaves; territories do 23 not 176 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUD. IMPRESS- IVE. change owners; men return again with eagerness to the 24 habits of peace, and do not look to the labors of the camp, but to those of the plough, the loom, and the sail, for emolument and wealth. 25 Wealth is power; and the defense of every nation depends on its wealth. The wealth of a nation is its labor, its skill, its machinery, its abundant control of all the great agents of nature employed in production. 26 What but a mighty phalanx of labor, an almost boundless power of consumption and reproduction, | has defended, and now sustains England | in all the athletic vigor of the most glorious days of that extraor- dinary nation? With a valor truly Spartan she builds 27 no wall against the wars of the world. 28 The little island, accessible at a thousand points, and often within gun-shot 29 of the embattled fleets of her enemies, has not, for more than 30 seven hundred years, been stepped upon by a hostile foot. 31 What has enabled her to do this? Her untiring labor; her unrivalled skill; her 32 un- equalled machinery; her exhaustless capital, and unbounded control over all the agents of produc- tion. This manufacturing nation, in the last war of Europe, exhibited a spectacle 3S never before seen by the world. She stood 3i alone against the embattled continent; and, at last, with her own spindle and distaff, 35 demolished a despotism, an iron pyramid of power, built on a base of all Europe. 1 No. 1 hand plate. 2 Turn hand. 3 No. 1 hand plate. * Raise right arm and hand. 5 Both hands. 6 Left hand — step to left. 7 Turn to right side, use right hand — No. 7 hand plate. 8 Emphasize same gesture. 9 No. 5 arm plate. 10 Both hands out — turn to right. " Raise left hand from side deliberately upward. 12 Shake index "finger of left hand deliberately — nodding head. 13 Spread out hands — palms down. 14 Point upward. 15 No gesture — manner impressive whilst speaking. 16 No. 1 hand plate. 17 Emphasize the same. 18 Both hands to the front. 19 Action of return- ing sword to scabbard. 20 Point downward. 21 Both hands forward — advance. 22 Emphatic downward gesture. 23 Repeat same. 2i Both hands forward — eager and earnest. 25 Advance — erect bearing — head well up — raise right hand over head shake fingers. 26 Arms fully extended to either side until end of sentence. 27 Three steps to right — right hand extended. 28 Slight turn to left — left hand as in No. 1 hand plate. 29 Point left. 30 Bring left hand down strongly. 31 Both hands out — look of inquiry. 32 Right hand brought down quickly on following emphatic words. 33 Throw both hands forward. 3i Advance right foot — raise right hand. 35 Bring tips of fingers of both hands together and throw quickly apart. GLORY OF ARMS. 177 73-GLORY OF ARMS. Charles Sumner. STYLE OF AFFIRMA- TION. MEDIUM TIME AND VOICE. Whatever 1 may be the judgment of poets, of moralists, of satirists, or even of soldiers, it is certain | that the glory of arms still exercises | no mean influence over the minds of men. The 2 art of war, which has been happily termed by a French divine, the baleful art by which men learn to ex- terminate one another, is yet held, even 3 among Christians, to be an honorable pursuit; and the animal courage, which it stimulates and de- velops, | is prized as transcendent virtue. It will be for ^another age, and a higher civilization, to appreciate the more exalted character | of the art of benevolence — the art of extending happiness and all good influences, by word or deed, to the largest number of mankind, — which, in blessed contrast with the ^misery, the degradation, the ivickedness of war, shall shine 6 resplendent | the true grandeur of peace. All then will be willing to join with the early poet in saying at least : — " Though louder fame attend the martial rage, 'Tis greater glory to reform the age. " Then 7 | shall the soul thrill with a nobler heroism than that of battle. Peaceful industry, with un- told multitudes of cheerful and beneficent laborers, shall be its gladsome token. ^Literature, | full of sympathy and comfort for the heart of man, shall appear in garments of purer glory than she has yet assumed. ^Science \ shall extend the bounds of knowledge and power, adding unimaginable strength to the hands of men, opening innumer- able resources in the earth, and revealing new secrets and harmonies in the skies. 10 Art, ele- vated and refined, shall lavish fresh streams of beauty and grace. ^Charity, in streams of milk and honey, shall diffuse itself among all the habi- tations of the world. Does 12 any one ask for the signs of this approaching era? .78 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 13 The increasing beneficence and intelligence of our own day, | the broad-spread sympathy with hu- man suffering, | the widening thoughts of men, | the longings 14 of the heart for a higher condition on earth, the unfulfilled promises of Christian Progress, | are 15 the auspicious auguries of this Happy Future. As early voyagers | over untried realms of waste, we have already observed the signs of land. The green 16 twig and fresh red berry have floated by our bark; the 17 odors of the shore | fan our faces; nay, 18 we may seem to des- cry the distant gleam of light, and hear from the more earnest observers, as Columbus 19 heard, after midnight, from the mast 20 head of the Pinta, the joyful cry of | 21 Land ! Land ! and lo ! 1 1 22 a n&w world broke upon his early morning gaze. LOUD. 1 No. 5 arm plate — both hands. 2 No. 12 hand plate. 3 No. 5 arm plate. 4 No. 5 arm plate — turn from side to side, addressing the entire audience. 5 Downward gesture in front — make emphatic on italics. G Hold both hands up — palms toward audience. 7 Advance — hand on breast. 8 Put out right hand. 9 Both hands out — wide apart. 10 Raise right hand — point finger. " Clasp hands. 12 Two steps to front — hands and eyes directed to audience. 13 Walk to left whilst speaking — left hand out. 14 Hand on heart. 15 No. 4 arm plate. 16 Point downward — wave hand to right. 17 Let fingers approach nostrils. 18 Advance — look and point to front. 19 Wave right hand over head. 20 Point upward and out. 21 Advance and wave hands. 22 Retire back — extend both hands. 74-FOURTH OF JULY 1851. Daniel Webster. On the Fourth of July, 1776, the representatives animated, of the United States of America, in Congress assembled, declared that these United Colonies are, and of right ought to be, free and independent States. This 1 declaration, made by most patriotic and resolute men, trusting in the justice of their cause, and the protection 2 of Providence — and yet | not without deep solicitude and anxiety — has stood for 3 seventy-five years, and still stands. It was sealed 4 in blood. It has 5 met dangers | and RA brisk. overcome them; it has had enemies, and it has FOURTH OF JULY, 1851. 179 FULL TONES. SUSTAINED AND STRONG. conquered them; it has had detractors, and it has abashed them all ; it has had doubting friends, but it has cleared all doubts away; and now, | to-day ^raising its august form higher than the clouds, 8 twenty millions of people | contemplate it with hallowed love, and the world beholds it, and the consequences which have followed, with profound admiration. This anniversary | animates 9 and gladdens, and unites all American hearts. On other 10 days of the year | we may be party men, j indulging in controversies more or less important to the public good ; we may have likes and dislikes, and we may maintain our political differences j often with warm, and sometimes with angry feel- ings. n But to-day | we are | Americans | all in all, nothing but Americans. As the 12 great lumi- nary over our heads, dissipating mists and frogs, cheers the whole hemisphere, so do the associations j connected with this day | disperse all cloudy and sullen weather, and all noxious exhalations in the minds and feelings of true Americans. 13 Every man's heart swells within him — every man's port and bearing becomes somewhat more 14 proud and lofty, as he remembers | that seventy-five years have rolled away, and that the great inheritance of liberty is | still 15 his; his, undiminished and un- impaired; his, in all its original glory; his to en- joy, his to protect, and his to transmit to future generations. If Washington were now amongst us — and if he could draw 16 around him the shades of the great public men of his own days — patriots and warriors, orators and statesmen — and were to address us in their presence, would he not say to us — "Ye 17 men of this generation, I rejoice and thank God for being able to see that our labors, and toils, and sacrifices, were not in vain. You are prosperous — you are happy — you are grateful. The fire of liberty 18 burns brightly and steadily in your hearts, while duty and the law restrain it | from bursting forth in wild and de- structive conflagration. 19 Cherish liberty as you 180 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. love it — cherish its securities as yon wish to pre- serve it. Maintain the Constitution which | we labored so painfully to establish, and which | has been to yon such a source of inestimable blessings* 20 Preserve the Union of the States, cemented as it was by our prayers, our tears, and our blood. Be increas- true 21 to God, your country, and your duty. 22 So | JN& shall the whole Eastern world | follow 23 the morn- ing sun, to contemplate you as a nation; so | shall all succeeding generations | honor you as they honor us; and so | shall that 24 Almighty Power which so graciously protected us, and which now dignity. protects you, shower 25 its everlasting blessings j upon you and your posterity. 1 Right hand out — palm up. 2 No. 4 arm plate. 3 No. 8 arm plate. 4 Bring right hand down forcibly and walk towards the right. s Open the arms — then clasp the hands. 6 Fingers meeting over the head, then drop hands on either side. 7 Fold arms on breast and look upward to the left. 8 No. 5 arm plate. 9 Send the right hand to the heart. 10 Walk to the left — hands as in No. 11 hand plate. u Striking breast several times. 12 Point upward. 13 Hand on heart. 14 Fold arms over breast — stand erect. 15 Touch breast with hand — bend toward audience. 16 Inward gesture, both hands, as in No. 7 arm plate. 17 Advance — head well back— No. 7 hand plate. 18 Bring right hand to breast — look from side to side. 19 No. 14 hand plate — repeat gesture on the second "cherish." 20 Arms out straight in front — finger pointing upward. 21 Advance two steps to right — point upward — look at audience. 22 No. 1 hand plate. 23 Left hand pointing left. 24 Clasp hands. 25 Both hands up — hands hanging downward — move them to show action of scattering. 75-ASPIRATIONS OF THE AMERICAN PEOPLE R. M. T. Hunter. The sense of national honor | beats high in the American heart, 1 and its every pulse | vibrates at the mere suspicion of a stain upon its reputation. medium. gut | that same heart is warmed with generous impulses and noble emotions. 2 If you would moderate its lust of empire | and its spirit of ac- quisition, appeal to its magnanimity towards a feeble and prostrate foe — appeal to it in the name of the highest aspirations which can animate the ASPIRATIONS OF THE AMERICAN PEOPLE. 181 ADVICE. DIRECT STYLE. ANTITHE- SIS. TONES CLEAR. &JNUN- CIATE. human heart, the desire for moral excellence, the love of liberty, and the noble ambition to take the post of honor among nations, | and lead the ad- vance of civilization. 3 If our people | are once awakened to a true conception of the real nature and grandeur of their destiny, the first and great- est step, | in my opinion, | is taken for its accom- plishment. If my imagination were tasked | to select the highest blessing for my countrymen, I should say, 4 may they be true to themselves and faithful to their mission. I can conceive of nothing 5 of which it is possible for human effort to obtain, greater than the destiny which we may reasonably hope to fulfill. If war has its dreams, | dazzling in a splendid pageantry, peace also has 6 its visions of a more enduring form, of a higher and purer beauty. 7 To solve by practical demon- stration the grand problem of increasing social power | consistent with personal freedom — to in- crease the efficiency of the human agent | by en- larging individual liberty — to triumph over, not only the plrysical, but more difficult still 8 the moral difficulties which lie in the path of a man's progress, and to adorn that path | with all that is rare and useful in art, and whatever is highest in civilization, are, in my opinion, the % noblest achievements of which a nation is capable. These are the ends to which our ambition should be directed. 10 If we reverse the old idea of the Deity | who presides over our boundaries, let us see | so far as we are concerned, that his move- ments are consistent with the peace of the world. n The sword may be occasional, but it is not the familiar weapon of our god | Terminus. 12 The axe and the hoe are his more appropriate emblems. Let him 13 turn aside from the habitations of civi- lized man, his path is toward the wilderness, 14 through whose silent solitudes, for more than two centuries, he has been rapidly and triumphantly advancing. 15 Let him plunge still deeper into the forest, as the natural gravitation of the tide 182 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. OBSERVE PAUSES. VOICE SUS- TAINED. of population | impels him onward. His progress in that direction is one of unmixed beneficence to the human race. The earth 16 smiles beneath his feet, and a new creation arises | as if by enchant- ment | at his touch. 17 Household fires illuminate his line of march, and new-born lights, strange visitants to the night of primeval solitude, kindle on domestic altars | erected to all the peaceful virtues and kindly affections which consecrate a hearth and endear a home. Victorious industry | sacks 18 the forest and mines the quarry, for ma- terials for its stately cities, or 19 spans the^streams and saps the mountain to open the way | for the advance of civilization | still deeper into the path- less forest and neglected wild. The light of hu- man 20 thought | pours in winged streams from sea to sea, and the lingering nomad | may have but a moment's pause, to behold the flying car | which comes to invade the haunts | so long secured to savage life. 21 These are the aspirations worthy of our name and race, and it is for the American people to decide 22 whether a taste for peace | or the habits of war are most consistent with such hopes. 23 I trust that they may be guided by wisdom | in their choice. 1 Extend both hands clinched and shake them quickly. 2 No. 12 hand plate — repeat this several times till period. s Bring finger tips together, then wave hands apart. 4 Walk to right three steps — use No. 7 hand plate. 5 Sweep hand from breast outward — palm down — hold it till period. 6 Turn to the left — use left hand, No. 1 hand plate. 7 No. 2 hand plate. 8 Point downward. 9 Wave right hand over head — right foot back. 10 Turn hand and wave it from breast outward. n Bring gracefully right hand to left side. 12 Point downward in front. 13 No. 8 arm plate — walk to the left. - 14 Same gesture. 15 Shoot the right arm forward — fingers straight. 10 Both hands extended downward — palms out. 17 No. 6 arm plate. 18 Sweep hand from breast — palms down. 19 Describe a circle with both hands. 20 Touch forehead. 21 Both hands on breast. 22 No. 1 hand plate. 23 Both hands extended in front. ELOQUENCE. 183 MODERATE. DELIBER- ATE. 76-ELOQUENCE. Henry B. Stanton. In every enlightened age, eloquence 1 has been a controlling element in human affairs. 2 Eloquence is not a gift, but an art — not an inspiration, but an acquisition — not an intuition, but an attain- ment. Excellence in this art | is attained only by unwearied practice, and the careful study of the best models. The models 3 lie all around us. The rest | is within us. 4 Demosthenes and Cicero will be household words, in all climes, to the end of time. But, the more one studies the masters of Grecian and Eoman eloquence, the more readily will he yield to the growing opinion | that Eng- land, France, and America, during the last sixty or seventy years, have produced a greater dum- ber of eloquent orators than nourished in all Grecian and Eoman history. As objects increase in 7 size | when seen through a mist, so men | tower into giants when seen through the haze of anti- quity. Without neglecting the ancient models, let us study those of our own times. 8 From both \ we may catch some of that inspiration which bound the audience to the orator, and bade him play upon their emotions | as the master 9 touches the keys of his familiar instrument — which subdued them to tears | or convulsed them with laughter — which bore 10 them aloft on the wing of imagi- nation, or blanched them with horror | while narra- tion | threw the colors upon the canvass ( which 11 held the judgment and the fancy captive, as reason forged the chain of argument, 12 and poetry studded its links with the gems of illus- tration — which poured over the subject | a flood of rare knowledge, laden with the contributions of 13 all sciences and all ages — which 14 gambolled in playful humor, or opened the sparkling jet oVeau of wit, or barbed the point of epigram, or sketched 15 the laughing caricature, gliding 16 from grave to gay, from lively to severe, with majesty 184 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUD. LOUD. and grace; — that inspiration 17 which, as Paul reasoned of righteousness, temperance, and the judgment, made Felix tremble; as Demosthenes anathematized Macedonia, made the Greeks cry out, 18 "Lead us against Philip/' at the thrilling tones of Henry, made America ring with the shout, 1Q "Give us liberty, or give us death/' when the thunder of Danton | shook 20 the dome of the Con- vention, | 21 roused all Paris to demand the head of Louis ; and lashed into fury or hushed into repose | 22 acres of wild peasantry, as the voice of O'Conneil rose 23 or fell. 1 No. 1 hand plate. 2 No. 5 arm plate. * Both hands out — turn to right and left sides. 4 No. 4 hand plate. 5 No. 8 arm plate. 6 Raise both arms and bring them down emphatically. 7 Arm out straight — palm down — gradually raise it. 8 No. 1 arm plate — raise both arms. 9 Work fingers as if manipulating keys of piano. 10 Touch forehead and extend hand to right. u Touch forehead again. 12 No. 1 hand plate. 13 Gentle waving of both hands in front. 14 Both hands out — palms up. 15 Same as 13 . 16 Use No. 7 hand plate twice. 17 Touch right temple. 18 Advance — wave right hand upward. 10 Advance to front — both hands up — head thrown back. 20 Shake index finger of right hand above the shoulder. 21 Bring hands up quickly from hanging position and wave them upward and to the sides. 22 No. 5 arm plate. 23 Elevate and depress hands. QUIET. APOSTRO- PHE. 77-DEATH OF WASHINGTON. John M. Mason. It must ever be difficult | to compare 1 the merits of Washington's characters, because he always appeared greatest in that which he last sustained. Yet 2 if there is a preference | it must be assigned to the lieutenant-general of the armies of Amer- ica. 3 Not because the duties of that station were more arduous | than those which he had often per- formed, but because it more fully displayed f his 4 magnanimity. While 5 others become great by elevation, Washington becomes greater 6 by con- descension. Matchless patriot ! to stoop, on public motives, to an inferior appointment, after possess- ing and dignifying the highest offices ! 7 Thrice favored country, which boasts of such a citizen! DEATH OF WASHINGTON. 185 DEJECTED. IN ative° Q ^ e & aze W ^^ as tonishment : we 8 exult that we are Americans. We augur everything great, and good, and happy. But 9 whence this sudden horror? 10 What means that cry of agony ? Oh ! 'tis the shriek of America ! n The fairy vision is fled : 12 Washington is — no more ! — ' ' How are the mighty fallen, and the weapons of war perished!" 13 Daughters of America, who erst prepared the festal bower and the laurel wreath, plant now the cypress grove, and water it with tears. ' ' How are the mighty fallen, and the weapons of war perished !" 14 The death of Washington, Americans, has re- vealed the extent of our loss. It has given us the final proof that we 15 never mistook him. 16 Take his affecting testament, and read the secrets of his soul. Read all the power of domestic virtue. 17 Eead his strong love of letters and of liberty. Read 18 his fidelity to republican principle, and his jealousy of national character. In his acts, Americans, you have seen the 19 man. In the complicated excellence of character, he stands alone. Let 20 no future Plutarch attempt the iniquity of parallel. Let no 21 soldier of for- tune, let no usurping conqueror, let not Alexander 22 or Caesar, let not Cromwell or Bonaparte, let none among the dead or the living, appear in the same picture with Washington: or let them appear 23 as the shade to his light. QUIET. IMPRESS- IVE. STRONG. EMPHA- SIZE. 1 Slightly wave hand across breast. 2 No. 1 hand plate. 3 No. 12 hand plate. 4 Touch right temple twice. 5 Left hand out — turn to left. 6 Bring left down from forehead forcibly. 7 Advance two steps — both hands and arms well thrown out — chest out. 8 Elevate and wave right hand — stand on toes of right foot. 9 Both hands out — looking from side to side. w Repeat the same. 1X Index fingers touch in front of face — wave hands apart. 12 Drop hands — lower the head — dejection in manner. 13 Quickly raise head — both arms out. 14 Arm straight out — index finger pointing down. 15 Argumentative gesture — bring opened hand from fore- head down. 16 Place both hands front as if holding manuscript. 17 Re- peat same. 18 Same. 19 No. 4 arm plate. 20 Shake finger warningly in front. 21 Strike palm of right hand into left palm. -- Repeat. 23 Open both arms wide. 186 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. AFFIRMA- TIVE. IMAGINA- TIVE. OBSERVE EMPHA- SIS. GRACEFUL DECLAMA- TION. 78-AMERICAN HISTORY. Julian C. Verplanch. The study of the history of most other nations, fills 1 the mind with sentiments | not unlike those j which the American traveller feels | on entering 2 the venerable and lofty cathedral of some proud old city of Europe. 3 Its solemn grandeur, its vastness, its obscurity, strike awe to his heart. From the 4 richly painted windows, filled with sacred emblems and strange antique forms, a dim Re- ligious light falls around. A thousand recollec- tions of romance and poetry, and legendary story, come thronging in upon him. 7 He is surrounded by the tombs of the mighty dead, rich | with the labors of ancient art, 8 and emblazoned with the pomp of heraldry. Q What names does he read upon them? Those of princes 10 and nobles who are now remembered | only for their vices; and of sovereigns, 11 at whose graves no tears were shed, and whose memories lived not an hour | in the affections of their people. 12 There, too, he sees other names, long familiar to him for their guilty and ambiguous fame. 13 There rest, the blood-stained soldier of fortune — the or at or, who was ever | the ready apologist of tyranny — great scholars, who were the pensioned flatterers of power — and poets, who profaned the high gift of genius, 14 to pamper the vices of a corrupted court. 15 Our own history, on the contrary, like that poetical temple of fame, reared by 16 the imagina- tion of Chaucer, and decorated by the taste of Pope, is almost exclusively dedicated | to the memory of the truly great. Or rather, like the Pantheon of 17 Rome, it stands in calm and severe beauty | amid the ruins of ancient magnificence and "the toys of modern state." Within, no idle ornament encumbers its bold simplicity. The 18 pure light of heaven | enters from above and sheds an equal 19 and serene radiance around. 20 As the INJUSTICE THE CAUSE OF NATIONAL RUIN. 187 eye wanders about its extent, it beholds the un- adorned monuments of brave and good men | who have greatly bled or toiled for their country, 21 or it rests on votive tablets | inscribed with the names of the best benefactors of mankind. 1 Gracefully touch forehead. 2 Send hand outward from chest — palm up. 3 Step backward — expression of awe. * Point to left side. 5 Hands upward and touching — wave downward and apart. 6 Touch forehead — look around — moving body also. 7 Outward movement, both hands, as in No. 5 arm plate. 8 Wave hands and look around — speak with dignity. 9 No. 7 hand plate — advance. 10 Shaking finger — be very animated. 11 Point downward. 12 Still pointing. 13 Repeat same alternately. 14 No. 1 hand plate. 15 Both hands slightly touch breast — then outward movement. 16 Touch right temple. 17 Point and step to the right. 1S Point upward. 19 Bring both hands down in pyramidal form. 20 Finger of right hand close to right eye — wave hand outward. 21 Point to right — assume and hold graceful attitude till end. EARNEST. LOUD. GRAVE. LOUD. 79-INJUSTICE THE CAUSE OF NATIONAL RUIN. Theodore Parker. Do you know how 1 empires find their end? Yes, | 2 the great states eat up the little; as with fish, so with nations. Aye, but how do the great states come to an end? 3 By their own injustice, and no other cause. 4 Come with me, | my friends, come with me into the Inferno of the nations, with such poor guidance as my lamp can lend. Let us disquiet and bring up the awful shadows of empires | buried long ago, and 5 learn a lesson from the Tomb. 6 Come, old Assyria, with the Mnevitish dove upon thy emerald crown. 7 What laid thee low? 8 "I fell | by my own injustice. Thereby Mneveh and Babylon came with me to the ground." queenly Persia, | flame of the nations, 9 where fore art thou so fallen, who troddest the people under thee, | bridgedst the Hellespont with ships, | and pouredst thy temple-wasting millions on the west- 188 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. GRAVE. ELEVATED TONE. CHANGE VOICE. JLOUD. RATHER HIGH. GRAVE. WARNING. ern world? 10 "Because I trod the "people under me, and bridged the Hellespont with ships, and poured my temple-wasting millions on the west- ern world. n I fell | by my own misdeeds!" 12 Thou, muselike, Grecian queen, fairest of all thy classic sisterhood of states, enchanting yet the world | with thy sweet witchery, | speaking in art, and most seductive song, 13 why liest thou there j with the beauteous yet dishonored brow, reposing on thy broken harp ? 14 "I scorned the law of God; banished and poisoned wisest, justest men ; I loved the loveliness of flesh embalmed in Parian stone; 15 I loved the loveliness of thought, and treasured that | in more than Parian speech. But the beauty of justice, the loveliness of love, I trod them down to earth! Lo, 17 therefore, have I be- come as those Barbarian states — as one of them!" 18 Oh manly, | majestic Kome, thy seven-fold mural crown | all broken at thy feet, why art thou here? 'Twas not injustice brought thee low; for thy Great Book of Law is prefaced with these words, ^Justice is the unchanging , everlasting will to give each man his Right! "It was not the saint's ideal, it was the hypocrite's pretence ! I made iniquity my law. I trod the nations under me. Their wealth gilded my palaces, — where thou mayest see the fox and hear the owl — it fed my courtiers and my courtezans. Wicked men I were 20 my cabinet councillors — the flatterer ' breathed his poison in my ear. 21 Millions of bondmen wet the soil with tears and blood. Do you not hear it crying yet to God? 22 Lo, | here have I recompense, tormented with such downfall as you see ! 23 Go back and tell the new-born child, who sitteth on the Alleghanies, | laying his either hands upon a tributary sea, a crown of thirty stars above his youthful brow — tell him there are ^rights which States must keep, or they shall suffer wrongs. 25 Tell him there is a God | who keeps the black man and the white, and hurls to earth the loftiest realm that breaks His just, BLESSINGS OF EDUCATION. 189 eternal law! Warn the young empire | that he come not down dim and dishonored to my shame- ful tomb ! 26 Tell him that Justice | is the un- changing, everlasting will to give each man his Eight. 17 I knew it, | broke it, and am lost. Bid him | to keep it and be safe \" 1 No. 1 hand plate. 2 Turn hand and wave it. 8 No. 5, emphasize this gesture on the emphatic words. 4 Both hands extended — palms up — lower hands on the word "Inferno." 5 Shaking right index finger downward. 6 Turn to the right — look up — send right hand upward to right. 7 Same position — shake the hand gravely. 8 Bring hand slowly downward. » Turn to left — left hand up. 10 Slowly bring down left hand — then open both arms on "millions." X1 Drop the arms — slowly bend head. 12 No. 7 hand plate. 13 Same as No. 7, but finger pointing downward. 14 Send both hands from breast outward — palms out. 15 Touch forehead. 16 Stamp right foot and bring right fist down strongly on the word "trod." 17 Deject manner. 18 Turn to the right — use No. 8 arm plate. 19 No. 4 arm plate. 10 No. 14 arm plate. 21 Spread apart both arms. 22 Step back — hold up right hand — palm our. 23 bring right hand across breast as in No. 6 arm plate. 24 Bring right hand to front — palm up. 25 Step forward — point upward — ■ continue pointing until "shameful tomb." 26 Hands as in No. 10 hand plate — whilst so. slightly shake them. 2T Raise right hand warningly in first part of sentence — drop it at the end. 80-BLESSINGS OF EDUCATION. Phillips. No doubt, you have 1 all personally considered quiet ' — no doubt, you have all personally ^experienced, that of all the blessings which it has pleased Provi- dence to allow us to cultivate, there is 3 not one which breathes a purer fragrance, or bears a heavenlier aspect than education. It is a com- panion which 4 /io misfortune can depress, 5 ?io clime destroy, no enemy alienate, no despotism en- slave; at home | a friend, abroad | an introduc- tion, in solitude | a solace, in society | an orna- ment; it chastens vice, it guides virture, it gives at once a grace and government to genius. With- out it what is man ? A splendid slave ! a reason- ing savage, vacillating between the dignity of an 190 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. MEDIUM. intelligence derived from 7 God, and the degrada- tion 8 of passions participated with brutes ; and | in the accident of their alternate ascendency, 9 shuddering at the terrors of an hereafter, or em- bracing the horrid hope of annihilation. 10 W hat j is this wondrous world of his residence? DECLAM- ATORY. QUESTION- ING TONES. "A mighty maze, and all without a plan," n a dark | and desolate | and dreary cavern, with- out wealth, | or ornament, | or order. 12 But | light up within it the torch of knowledge and how wondrous the transition ! The seasons lz change, the atmosphere breathes} 4 the landscape 15 lives, earth unfolds its fruits, ocean rolls in its magnifi- cence, the heavens 16 display their constellated canopy, and the grand animated spectacle of na- ture rises | 17 revealed before him, its varieties regu- lated, and its mysteries \ resolved! 18 The phe- nomena | which bewilder, the prejudices which debase, the superstitions which enslave, 19 vanish before education. Like the holy symbol | which blazed upon the cloud before the hesitating Con- stantine, if 20 man follow but its precepts, purely, it will not only lead him to the victories of this world, but open 21 the very portals of omnipotence for his admission. 22 Cast your eye over the monu- mental map of ancient grandeur, once studded with the stars of empire, and the splendors of philosophy. 2S What erected the little state of Athens into a powerful commonwealth, | placing in her hand the sceptre of legislation, and wreath- ing 24 round her brow the imperishable chaplet of literary fame ? 25 what extended Eome, the haunt of banditti, into universal empire? 2Q what ani- mated Sparta with that high, unbending, adaman- tine courage, which conquered nature herself, and has fixed her in the sight of future ages, a model of public virtue, and a proverb of national inde- pendence ? 27 What | but those wise \ public insti- tutions which strengthened their minds with early application, informed their infancy with the prin- WHAT IS THE FRENCH REVOLUTION? 191 decided. ciples of action, and sent 28 them into the world, too vigilant to be deceived | by its calms, and 29 too vigorous to be shaken by its whirlwinds! 1 Outward movement, both arms, as in No. 5 arm plate. 2 Repeat same, No. 5. 3 Use the right hand alone. 4 Wave downward the right hand on emphatic words. 5 Repeat. 6 Move out both arms — palms up. 7 Point upward. 8 Point downward. 9 Step backward — both hands as in No. 6 hand plate. 10 Astonishment — look from side to side. 1X No. 7 hand plate — finger pointing downward. 12 Wave both hands from the center outward and upward. 13 No. 5 hand plate — -wave the hand in that position to the right. 14 Both arms up — look up — step back with left foot. 15 Change the hand to front. 16 Repeat 14 . 17 No. 1 hand plate. 18 No. 12 hand plate. 19 Wave hands apart — palms out. 20 Two steps to the right oblique — raise right hand. 21 Touch tips of fingers — wave both hands apart — palms up. 22 Point in front downward . 23 No. 4 arm plate 2 * Same position, but describe a circle with finger. 25 No. 5 arm plate 26 Place open hand on breast — advance. 27 No. 1 hand plate — bearing and look earnest, animated. 28 No. 8 arm plate. 29 Bring right hand down strongly. 81-WHAT IS THE FRENCH REVOLUTION? QUESTION- ING. DECISION. STRONG: FULL TOXE. Lamartine. What, then, is the French Eevolution? 1 Is it, as the adorers of the past say, a great sedition of a nation disturbed for no reason, and destroying in their insensate convulsions, their church, their monarchy, their classes, their institutions, their nationality, and even rending 2 the map of Europe ? 3 No ! the Eevolution has not been a miserable se- dition of France; for a sedition | subsides as it rises, and leaves nothing | but 4 corpses and ruins behind it. The Eevolution has left scaffolds and ruins, it is true ; therein | is its remorse ; but it has 5 also left a doctrine; it has left a spirit 6 which will be enduring and perpetual so long as human reason shall exist. ^We are not inspired by the spirit of faction ! No factious idea enters our thoughts. We do not wish to compose a faction — 8 we compose opinion, for it is nobler, stronger, and more invincible. 9 Shall we have, in our first struggles, violence, op- pression and death ? 10 No, gentlemen ! let us give thanks to our fathers — it shall be liberty which they have bequeathed to us, liberty which now has its own arms, its pacific arms, to develop itself 192 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. MODERATE TIME. DELIBER- ATE. FORCIBLE. without anger and excess. n Therefore shall we triumph — be sure of it ! and if you ask 12 what is the moral force | that shall bend the government beneath the will of the nation, I will answer you ; it is the sovereignty of ideas, the royalty of mind, the Bepublic, the true Kepublic of intelligence, in one word — 13 opinion — that modern power whose very name was unknown to antiquity. Gentle- men/ 4 public opinion was born | on the very day when Guttenberg, who has been styled the artificer of a new world, invented, by printing, the multi- plication and indefinite communication of thought and human reason. 15 This incomprehensible power of opinion | needs not for its sway | either the brand of vengeance, the sword of justice, or the scaffold of terror. It holds in its 16 hands | the equilibrium between ideas and institutions, the balance of the human mind. In 17 one of the scales of this balance — understand it well 18 — will be for a long time placed, mental superstitions, prejudices self-styled useful, the divine right of kings, distinctions of right among classes, inter- national animosities, the spirit of conquest, the venal alliance of church and state, the censorship of thought, the silence of tribunes, and the ignor- ance and systematic degradation of the masses. 19 In the other scale, we ourselves, 20 gentlemen, will place the lightest and most impalpable thing of all that God has created 21 — light, sl little of that light which the French Eevolution evoked at the close of the last century, 22 from a volcano, doubtless, but I from a volcano of truth. 23 1 Look from side to side — use No. 1 hand plate. 2 Wrench hands apart. 3 BriDg right down forcibly in front. 4 Point downward twice. 5 No. 12 hand plate. 6 Hand on breast. 7 Both hands out front — walk to the right. 8 Touch forehead — bend forward. 9 Turn back to center — both hands moving outward — move them up and down on emphatic words. 10 Bring down right hand into left palm. 1X Stand very erect — No. 4 arm plate, but the fingers higher. 12 No. 1 hand plate. 13 Bend forward — hands as in No. 11 hand plate. 14 Shake finger several times. 15 Inward movement of hand and arm in No. 7 arm plate. 16 Put out right hand. 17 Left hand, No. 1 hand plate. 18 Turn hand quickly — ex- tend index finger till period. 19 Put out right hand. 20 Send hand to breast. 21 Advance — point upward. 22 No. 2 arm plate. 23 Send hand upward quickly. DECLINE OF THE CELTIC RACE. 193 SYMPATHY. REGRET. LOW, SUSTAINED VOICE. 82-DECLINE OF THE CELTIC RACE. Michelet. Ireland! Poor 1 first-born of the Celtic race! 2 So far from France, yet its sister, whom it cannot succor across the waves! 3 The Isle of Saints— the Emerald Isle — so fruitful in men, so bright in genius ! — the country 4 of Berkeley and Toland, of Moore and O'Connell! — the land of bright 5 thoughts and the 6 rapid sword, which preserves, amidst the old age of this world, its poetic in- spiration. Let the English smile when, passing some hovel in their towns, they hear 7 the Irish widow chant the coronach for her husband. Weep! 8 mournful country, 9 and let France too weep, for degradation which she cannot prevent — calamities which she cannot avert ! In 10 vain j have four hundred thousand Irishmen perished in the service of France. The Scotch Highlanders will ere long n disappear from the face of the earth; the mountains 12 are daily depopulating; the great estates have ruined the land of the G-aul | as they did ancient Italy. 13 The Highlander will ere long exist only in the romances of Walter Scott. The tartan and the claymore excite surprise in the streets of Edinburgh ; 14 they disappear — 15 they emigrate; their national airs will ere long be lost, as the music of the Eolian harp | when 16 the winds are hushed. Behind the Celtic world, the old red granite of the European formation has arisen 17 — a new world, with different passions, desires, and des- tinies. Last of the savage races which overflowed Europe, the Germans 18 were the first to introduce the spirit of independence; the thirst for 19 indi- vidual freedom. That bold 20 and youthful spirit — that youth of man, who feels himself strong and free in a world which he appropriates to himself in anticipation — in 21 forests of which he knows not the bounds 22 — on a sea which wafts him to un- known shores — that spring of the unbroken horse | 194 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. RATHER RAPID. DIRECT. which bears him 23 to the Steppes and the Pampas — 24 all worked in Alaric, when he swore that 25 an unknown force impelled him to the gates of Rome ; they 26 impelled the Danish pirate when he rode on the stormy billow; they animated the Saxon out- laws when under Eobin Hood | they contended for the laws of Edward the Confessor against the Norman barons. 27 That spirit of personal free- dom, of unbounded personal pride, shines in all their writings, it is the invariable characteristic of the German theology and philosophy. 28 From the day when, according to the beautiful German fable, the "Wargus"'\ scattered 29 the dust on all his relations, and threw the grass over his shoulder, and resting on his staff 30 overleapt the frail pa- ternal enclosure, and let his plume float to the wind — 31 from that moment he aspired to the em- pire of the world. 32 He deliberated with Attila | whether he should overthrow the empire of the east or the west; he aspired with England to 33 overspread the western and southern hemispheres. 1 Arms hanging in front — hands clasped — palms down. 2 Look and point to right. 3 Slowly shake the head — standing erect. 4 Right hand, No. 1 hand plate. 5 Touch forehead with left hand. 6 Touch left side where sword should hang with right hand. 7 No. 8 arm plate. 8 Take one step forward — observe No. 13 hand plate. 9 Point to the right. 10 Wave both hands from forehead downward — palms out. X1 Wave left hand to the left. 12 Point upward with left hand. 13 No. 1 hand plate. 14 Wave left hand to the left. 15 Wave right hand to the right. 16 Hold both in front horizontally — palms down. 17 No. 1 arm plate — rising movement of both hands and arms. 18 No. 1 hand plate. 19 Send both hands to breast — incline body forward. 20 Wave right hand upward. 21 Point and turn left. 22 Point in front. 23 Point to front, then quickly to right side without lowering arm. 24 Emphatic gesture of right hand. 25 Point up- ward. 26 Make a waving movement with hand. 27 Hand to breast — be ani- mated 28 No. 12 hand plate — walk three or four steps whilst speaking. 29 Quickly separate hands to right and left sides. 30 A rorward plunging movement with both hands. 31 Put out right hand and quickly elevate it. 32 No 1 hand plate. 33 Outward movement of both hands as in swimming. VINDICATION FROM DISHONOR. 195 83-VINDICATION FROM DISHONOR. WARNING. DIGNITY. SLOW FATHER LOUD. VERY IM- PRESS- IVE. Emmet. 2 Let no man dare | when I am dead | to charge me with dishonor; let no man | attaint my mem- ory by believing that I could have engaged in any cause | but that of my country's liberty and inde- pendence; 2 or that I could have become the pliant minion of power in the oppression or the miseries of my countrymen. The proclamation of the pro- visional government speaks for 3 our views; no inference can be tortured from it to countenance barbarity or debasement at home, or subjection, humiliation, or treachery from abroad; 4 I would not have submitted to a foreign oppressor; in the dignity of freedom I would have 5 fought upon the threshold of my country, and its enemy should enter only by passing over my lifeless corpse. 6 Am I, who lived but for my country, and who have subjected myself to the dangers of the jealous and watchful oppressor, | and the bondage of the grave, only to give my countrymen their rights, j and my country her independence, and am 7 I \ to be loaded with calumny, and not suffered to resent or repel it ? 8 N"o, God forbid ! 9 My lords, you are impatient for the sacrifice 10 — the blood which you seek, is not congealed by the artificial terrors which surround your victim; it circulates warmly and unruffled, through the channels which God created for noble purposes, but which 11 you | are bent to destroy, for purposes so grievous that they cry to heaven. 12 Be yet patient ! I have but a few words more to say. I am going | to 13 my cold and silent grave ; my lamp of life is nearly extinguished: my race is run: the 14 grave | opens to receive me, and I sink into its bosom ! I have 15 but one request to ask at my departure from this world, — it is | the charity of its silence! 16 — Let no man write my epitaph, for as no man who knows my motives dare now vindicate them, let not 17 prejudice or 196 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. ignorance asperse them. Let them 18 and 19 me rejoice in obscurity and peace, and my tomb 20 remain uninscribed, until other times, and other men, can do justice 21 to my character; 22 when my country takes her place among the nations of the earth, then, and not till then, let my epitaph be written. I have done. LOUD. 1 Stand with head slightly bent — left hand inside vest — right foot advanced — right hand out as in No. 1 hand plate — turn to right. 2 Slightly move hand — keep position. 3 Bring hand to breast. 4 Nervously throw hands forward and draw them back again. 5 Raise right band clinched. 6 Touch breast — slightly advance to right — eyes up. 7 Repeat °. 8 Emphatic — raise both closed hands. 9 Turn to right — right hand ex- tended. 10 Bring right hand to breast — slowly shake the head. 1X Point to right — upward. 12 Slowly wave hand downward — speak impressively. 13 Point downward solemnly. 14 Same gesture — very impressive. 15 No. 1 hand plate — turn head to right side. 16 Wave warningly right hand in front — be intense in speech and action. 17 Short and quick waves of right hand in front. 18 Point outward. 19 Point to breast. 20 Point down- ward. 21 Hand to breast — slightly bend head. 22 Elevate right hand — shake fingers — advance to right — emphasize by gesture italicized words till end. USE NAR- RATIVE STYLE. QUESTION- ING. 84 -A WILD NIGHT AT SEA. Charles Dickens. A dark and dreary night : people nestling in their beds or circling late about the fire; x Want } colder than Charity, 2 shivering at the street corners; church-towers humming 3 with the faint vibration of their own tongues, but newly resting from the ghostly preachment 4 — "One!" The earth covered with 5 a sable pall, as for the burial of | Yesterday; the clumps of dark trees, — its giant plumes of funeral feathers — 6 waving sadly to and fro : all hushed, 7 all noiseless, and in deep repose, save the swift clouds that skim 8 across the moon; and the cautious wind, as, creeping after them upon the ground, 9 it stops to listen, and goes rustling on, and stops again, and follows, 10 like a savage on the trail. Whither 11 go the clouds and wind so eagerly? If, like guilty spirits, they repair to some dread A WILD NIGHT AT SEA. 197 UPWARD INFLEC- TION. INCREASED TONE. 10UD. VERY LOUD. RATHER LOUD. conference with powers like themselves, in what wild region do the elements hold council, or 12 where unbend in terrible disport? Here ! 13 Free from that cramped prison called the earth, and out upon the waste of waters. 14 Here, | roaring, raging, shrieking, howling, all night long. 15 Hither come the sounding voices | from the caverns on the coast of that small island, sleeping, a thousand miles away, 16 so quietly in the midst of angry waves; and hither, to meet them, 17 rush the Masts | from unknown desert places of the world. Here, in the fury of their unchecked liberty, they storm 18 and buffet with each other ; until the 19 sea, lashed into passion like their own, 20 leaps up | in ravings | mightier than theirs, and the whole scene is whirling madness. 21 On, on, on, over the countless miles of angry space, roll the long heaving billows. 22 Mountains and caves are here, and yet are not; for what is now the one, is now the other; then all is but a boiling heap of rushing water. 23 Pursuit, and flight, and mad return of wave on wave, and savage struggling, ending 24 in a spouting up of foam that whitens the black night; 25 incessant change of place, and form, and hue ; constancy in nothing | but "^eternal strife; 27 on, on, on they roll, and darker grows the night, and louder howl the winds, and more clamorous and fierce become the 28 million voices in the sea — when the wild cry goes forth upon the storm, 29 "A ship!" 30 Onward she comes, in gallant combat with the elements, her tall masts trembling, and her tim- bers starting on the strain; onward she comes, now high upon the curling billows, now low down in the hollows of the sea, as hiding for the moment from its fury; and every storm-voice in the air and water cries more loudly yet, 31 "A ship !" 32 Still she comes striving on: and at her bold- ness and the spreading cry, the angry waves rise up above each other's hoary heads | to look : and round about the vessel, 7 f ar as the' mariners on her 198 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. decks can pierce into the gloom, they press upon her, forcing each other down, and starting up, and rushing forward from afar, in dreadful curiosity. 34 High over her they break, and round her surge and roar; and, giving place to others, moaningly depart, and 35 dash themselves to frag- ments in their baffled anger: still | she comes on- ward | bravely. And though the 36 eager multi- tude crowd thick and fast upon her all the night, and dawn of day discovers the untiring train j yet bearing down upon the ship in an eternity of troubled water, onward she comes, 37 with dim lights burning in her hull, and people \ there \ asleep: as if no deadly element 38 were peering in at every seam and chink; and no drowned sea- man's grave, with but a plank to cover it, were yawning | in the ^unfathomable depths below. 1 Shaue right fist. 2 Point downward to right. 3 Touch lips with fingers. * Advance — assume a listening attitude. 5 Spread out both hands in front — palms down. 6 Wave hand in front. 7 Repeat 5 . 8 Send right hand upward — describe a quarter of a circle. 9 Make snake-like move- ment with arm and hand. 10 Bend down — look on ground. u No. 1 hand plate. 12 Outward movement as in No. 5 arm plate. 13 No. 8 arm plate — shake the hand. 14 Quickly raise arm and throw hand wildly about. 15 In- ward movement, No. 7 arm plate. 16 Point downward. 17 Send out quickly both hands — palms outward. 18 Wave both hands from side to side. 19 Point down. 20 Hands down by sides — palms out — bring them up quickly over head. 21 Take three steps to right — right hand up and waving. 22 Point up — then down. 23 Point in front — quickly draw hand back — step for- ward and then retire. 2i Throw the index finger up perpendicularly. 25 Sweep left hand quickly across body. 26 Throw out both arms. 27 Re- peat 21 . 28 Wide open gesture with both arms. 29 Advance to right — shade eyes with hand. 30 Point right. 31 Repeat 29 . 32 No. 7 hand plate. 33 Point in front — move head as if looking intently. 34 Toss one hand over the other, making a circular movement. 35 Throw forward both hands. 36 Both hands, No. 5 arm plate. 37 Look intently to front and point. 38 Both hands — fingers as in No. 6 hand plate. 39 Both hands and fingers pointing downward in front. SORROW FOR THE DEAD. 199 MEASURED. SAD. INTERROG- ATIVE. MONOTONE. APOSTRO- PHE. 85-SORROW FOR THE DEAD. Washington Irving. The sorrow for the dead is the 1 only sorrow from which we refuse to be divorced. Every other wound we seek to heal — 2 every other afflic- tion to forget; but this wound we consider it a duty to keep open 3 — this affliction we cherish and brood over in solitude. Where is the mother* who would willingly forget the infant | that per- ished like a blossom from her arms, though every recollection is a pang? 5 Where is the child that would willingly forget the most tender of parents, though to remember | be but to lament? 6 Who, even in the hour of agony, would forget the friend over whom he mourns? Who, even when the tomb is 7 closing upon the remains of her he most loved; when he 8 feels his heart, as it were, crushed in the closing of its portal; — who would accept of consolation that must be bought by for- getfulness? 9 No, the love which survives the tomb is one of the noblest attributes of the soul. If 10 it has its woes, it has likewise its delights; and when the overwhelming burst of grief | is calmed into the gentle tear of recollection; when the sudden anguish and the convulsive agony j over the present ruins of all that we most loved, 11 is softened away into pensive meditation on all that it was in the days of its loveliness — who would 12 root out such a sorrow from the heart? Though | it may sometimes throw a passing cloud over the bright hour of gaiety, or spread a deeper sadness over the hour of gloom; 13 yet | who would exchange it, even for a song of pleasure, or the burst of revelry? 14 No, there is a voice from the tomb | sweeter than song. There is a remembrance of the dead, to which we turn even from the charms of the living. 15 Oh, the grave! — the grave! It buries every error — covers 16 every defect — extin- guishes every resentment. From its peaceful bosom spring none | but fond regrets and tender 200 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. CHANGE TONE. PATHETIC. SLOW. CLIMAX. ADMONI- TION. recollections. Who can look down upon the grave, even 17 of an enemy, and not feel a compunctions throb | that he should ever have warred | with the 18 poor handful of earth, that lies mouldering be- fore him? 19 But the grave of those we loved — what a place for meditation ! 20 There it is | that we call up, in long review, the whole history of virtue and gentleness, and the thousand endearments, lav- ished upon us — almost unheeded — in the daily intercourse of intimacy; 21 there it is | that we dwell upon the tenderness — the solemn, awful tenderness — of the parting scene. 18 The bed of death, | with all its stifled griefs — its noiseless at- tendance — its mute, watchful assiduities. The last testimonies of expiring love ! The feeble, fluttering, thrilling — 23 oh, how thrilling ! — pres- sure of the hand. 24 The last, fond look of the glazing eye, turning upon us, even from the threshold of existence ! 25 The faint, faltering ac- cents, struggling in death to give one more assur- ance of affection ! 26 Ay ! go to the grave of buried love, and medi- tate! There settle the account with thy con- science, for every past benefit unrequited — every past endearment unregarded — of that departed being, who can 27 never — never — never return, to be soothed by thy contrition ! 28 If thou art a child, and hast ever added a sorrow to the soul, or a furrow to the silvered brow, of an affectionate parent, — 29 if thou art a husband, and hast ever caused the fond blossom that ventured its whole happiness in thy arms, to doubt one moment of thy kindness or thy truth, — if 30 thou art a friend, and hast ever wronged, in thought, or word, or deed, the spirit that gen- erously confided in thee, — if thou art a lover, and hast ever given one unmerited 31 pang to that true heart | which now lies cold and still beneath thy feet; — 32 then | be sure | that every unkind look, every ungracious word, every ungentle action, will THE DEATH OF LITTLE DOMBEY. 201 moderate come thronging back upon thy memory, and 1 time. l knocking dolefully 33 at thy soul; then | . be sure j that thou wilt lie down, sorrowing and repentant, on the grave, and utter the unheard 34 groan, and pour the unavailing tear — more deep, more bitter, because | unheard and unavailing! 35 Then weave thy chaplet of flowers, and strew the beauties of nature about the grave; 36 console thy broken spirit, if thou canst, with these tender, yet futile tributes of regret : but, take warning by the bitterness of this thy contrite affliction over the dead, and henceforth | be more faithful 37 and affectionate in the discharge of thy duties to the living. 1 Place hand on upper part of breast. 2 No. 1 hand plate. 3 Hand to breast. 4 Turn to right — right hand out — then bring it to heart. 5 Hand downward in front. 6 Both hands to front. 7 Wave index finger down- ward. 8 Touch breast. 9 Right hand up — palm out — turn head to left. 10 No. 1 hand plate — slightly vary gesture. u Clasp hands — bend the head. 12 Send closed fingers of right hand from heart outward. 13 Left hand, No. 7 hand plate — turn to left. 14 Point downward. 15 Clasp hands — look down. 16 Repeat 15 . 1T Outward movement both hands — No. 5 arm plate. 1S Point downward. 19 No. 14 hand plate — look down. 20 Continue same position. 21 Hands together as in prayer. 22 No. 11 hand plate — slowly shake head. 23 Clasp hands under chin. 2i Wave hand from the eye outward. 2S Bend down — speak very low. 26 Advance three steps — 27 Wave hands three times perpendicularly. " Left hand, No. 1 hand plate. 30 Right plate. 31 Bring hand to heart. 32 Shake finger at audi- ence. 33 Touch breast twice. 34 Touch palms together twice. 35 Imitate the weaving of flowers. 36 Bring hand to breast. 37 No. 1 hand plate. C.VC UUlVVaiU. 13C11U uuvvu SJ pointing down — head erect. 27 28 Right hand, No. 1 hand plate, hand, No. 1 hand plate. 31 Briri 86-THE DEATH OF LITTLE DOMBEY. Charles Dickens. descrip- Paul had never risen from his little bed. He lay TI style ^ ere / listening to the noises in the street, quite tranquilly; not caring much how the time went, 2 but watching it, and watching everything about him, with observing eyes. When the sunbeams struck into his room through the 3 rustling blinds, 202 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. RATHER QUICK. CONVERSA- TIONAL. CHANGE. and quivered on the 4 opposite wall like golden water, he knew that evening was coming on, and that the sky was red and beautiful. As the re- flection died away, and a gloom went 5 creeping up the wall, he watched it deepen, deepen, deepen \ into night. Then he 6 thought how the long streets were dotted with lamps, and how the peaceful stars were shining overhead. His fancy had a strange tendency to wander to the river, which he knew was flowing through the great city ; and now he 7 thought how black it was, and how deep it would look, Reflecting the hosts of stars — and more than all, how ^steadily | it rolled away | to meet the sea. His only trouble was, the swift and rapid river. He felt forced, sometimes, to try to stop it — to stem it with 10 his childish hands — or choke its way with sand; and when he saw it coming on | resistless, he cried out ! But a word 11 from his sister Florence, who was always at his side, restored him to himself; and leaning his poor head upon 12 her breast, he told Floy of his dream, | and smiled. 13 The people round him changed unaccountably — except Florence; Florence never changed — and what had been the doctors was now his father, sitting with his head upon 14 his hand. And Paul was quite content to shut his eyes again, and see what happened next without emotion. But this figure, 15 with its head upon its hand, returned so often and remained so long, and sat so still and solemn, never speaking, | never being spoken to, | and rarely lifting up its face, that Paul began to wonder 16 | languidly | if it were real ; and, in the night-time, saw it sitting there, with fear. 17 "Floy,". he said, "what is that?" " Where, learest ?" 19 . 20 "There ! at the bottom of the bed." "There's nothing there, except papa!" The fig- ure | lifted up its head, and rose, and coming to the bedside, said — "My own boy, 21 don't you know me?" Paul looked it in the face, and thought, Was this his father? But the face, so altered to THE DEATH OF LITTLE DOMBEY. 203 his thinking, thrilled while he gazed, as if it were in pain; and, before he could reach out both his hands to take it between them, and draw it to- wards him, the figure | turned 22 away quickly from a little bed, and went out of the door. 23 How many times the golden water danced upon the wall; how many nights the dark, dark river rolled towards the sea | in spite of him ; Paul never sought to know. If their kindness, or his sense of it, could have increased, they were more kind, and he more grateful every day; 24 but | whether they were many days, or few, appeared of little moment now to the gentle boy. One night he had been thinking of his mother, and her picture in the drawing-room downstairs. 25 The train of thought suggested to him to inquire if he had ever seen his mother; for he could not re- member whether they had told him yes or no — the river running very fast, and confusing his 26 how tone. mind. 27 "Floy, did I ever see mamma?" 28 "No, darling; why?" "Did I never see any kind face, like a mamma's, looking at me when I was a baby, Floy?" he asked, incredulously, as if he had some vision of a face before him. 29 "Oh yes, dear!" "Whose, Floy?" "Your old nurse's; often." "And where is my old nurse?" said Paul. 30 "Is she dead too ? Floy, are we all dead, except you ?" 31 There was a hurry in the room, for an instant — longer, perhaps; but it seemed no more — then all was still again ; and Florence, with her face quite colorless, but smiling, 32 held his head upon her arm. Her arm trembled very much. "Show me that old nurse, Floy, if you please !" "She is not here, darling. 33 She shall come to-morrow." — "Thank you, Floy !" Little Dombey closed his eyes, and fell asleep. But he soon awoke — woke mind and body, and sat quicker. upright in his bed. He saw them now about him. There was no 34 gray mist before them, as there had been sometimes in the night. He knew them - every one, and called them by their names. SLOW PAUSES. ANXIOUS. 204 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. SOFTLY. SLOW. QUICKER. SOLEMN. 35 "And who is this? Is this my old nurse?" said the child, regarding with a radiant smile a figure coming in. 36 Yes, yes ! No other stranger would have shed those tears at sight of him, and called him her dear boy, her pretty boy, her own poor blighted child. No other woman 37 would have stooped down by his bed, and taken up his wasted hand, and 38 put it to her lips and breast, as one who had some right to fondle it. No other woman would have so forgotten everybody there but him and S9 Floy, and been so full of tenderness and pity. "Floy, this is a kind good face," said Paul. "I am glad to see it again. 40 Don't go away, old nurse! Stay here!" "Now lay me down," he said ; "and, Floy, come close to me, and let me see you!" Sister and brother wound 41 their arms around each other, and the golden light came streaming in, and fell upon them, locked together. "How fast the river runs, between its green banks and the rushes, Floy! But it's very near the sea. I hear the waves ! They always said so." Presently he told her that the motion of the boat upon the stream was lulling him to rest. How green the banks were now, how bright the flowers growing on them, and how tall the rushes! Now the boat was out at sea, but gliding smoothly on; and now there was a shore before them. Who stood on the bank ? 42 He put his hands together, as he had been used to do at his prayers. He did not remove his arms to do it ; but they saw him fold them so | behind her neck. "Mamma is like you, Floy; I know her by the face! But tell them that the print upon the stairs is not divine enough. The light about the head | is shining on me as I go !" 43 The golden ripple on the wall came back again, and nothing else stirred in the room. . . . The old, old** fashion ! The fashion that came in with our first parents, and will last | unchanged | until our race has run its course, and the 45 wide firma- ment is rolled up like a scroll. The old, old fash- THE FUNERAL OF LITTLE NELL. 205 ion 46 — Death! Oh, thank 47 God, all who see it, for that older fashion yet, of Immortality! And look upon us, angels of young children, with regards not quite estranged, when the 48 swift river bears us to the ocean ! 1 Point down. 2 Raise head. 3 Point to right. 4 Hand to left and slightly wave it. 5 Slowly raise hands in front — palms down. G No. 7 hand plate — wave the finger three times. 7 Both hands as in No. 3 arm plate. 8 Raising finger from below, upward. 9 Move siowly right hand to the right. 10 Put quickly forward both hands — palms outward. X1 No. 1 hand plate. 12 Lean head on breast. 13 Two hands out — move head sideways — slowly drop hands. 14 Rest head on hand. 15 Point to figure. 1(3 Hand holding chin — nod the head twice. 17 Quick start and point. 19 Two hands out — look about inquiringly. 20 Point. 21 Clasp hands — bend down. 22 Quick movement of arm and body to right. 23 Waving movement of hand to the left. 24 Drop hand slow — attitude of dejection. 25 Fingers of both hands to temples. 2G Slightly vary the previous gesture. 27 Clasp hands and look upward. 28 Downward patting movement of the hand. 29 Clasp hands — pleased expression. 30 Slowly raise hands, then clasp them. 31 Swing right arm quickly to right. 32 Bring right hand across and touch left arm, which is extended. 33 Gesture of soothing. 34 Bring fingers of both hands to eyes — then an outward movement. 3G No. 4 arm plate. 3G Bending down — speaking very softly. 37 No. 1 hand plate. 38 Bring right hand to lips. 39 No. 14 hand plate. 40 Extend arms to front and upward. 41 Place hands on opposite shoulders — keep this picture for some time. 42 Bring palms of both hands together. 43 Point to left. 44 Wave the hand up and down. 45 Bring fingers to- gether over head, then let them droD either side, describing a circle. 46 Point downward. 47 Hands together prayerfully. * 8 Send hands from breast to the front. 87-THE FUNERAL OF LITTLE NELL. Charles Dickens. NA TirE Anon the bell — 1 the bell she had so often heard, by night and day ; 2 and listened to [ with solemn pleasure almost as a living voice — rang its re- morseless toll, for her, so young, so beautiful, so good. 3 Decrepit age, and vigorous life, and bloom- medium ing youth, and helpless infancy, poured forth — tone, on cm tches, — in the pride of strength and health — in the full blush of promise — in the mere dawn of life — 4 to gather | round her tomb. Old men were there, 5 whose eyes were dim, and senses fail- ing — 6 grandmothers, who might have died ten years ago, and still been old — 7 the deaf, the blind, the lame, the palsied, the living dead in many shapes and forms, to see the closing of that 8 early grave. What was the death it would shut in, to 9 that which still could crawl and creep above it ? 206 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. BATHER SLOW. SOLEMN. BRISKER. SUBDUED. 10 Along the crowded path they bore her now; pure as the newly-fallen snow that covered it; whose day on earth had been as fleeting. Under the porch, where she had sat, when Heaven, in its mercy, brought her to that peaceful spot, she passed again; and the old church received her in its quiet shade. n They carried her to one old nook, where she had many and many a time sat musing, and laid their burden 12 softly | on the pavement. The light streamed on through 13 the colored window — a window where the boughs of trees were ever rus- tling in the summer, and where the birds sang sweetly all day long. With every breath of air that stirred among those branches in the sunshine, some trembling, changing light would fall upon her 14 grave. 15 "Earth to earth, ashes to ashes, dust to dust!" Many a young hand dropped in its little wreath, many a stifled sob was heard. Some, and they were not a few, knelt down. All were sincere and truthful intheir sorrow. 16 The service done, the mourners stood apart; and the villagers closed round to look into the grave, before the pavement-stone should be re- placed. One called to mind how he had seen her | sitting on that very spot, and how her book had fallen on her lap, and she was gazing with 17 a pensive face upon the sky. Another told how he had wondered much that one so delicate as she, should be so daring; how she had never feared to enter the church alone at night, but had loved to linger there when all was quiet, 18 and even | to climb the tower stair, with no more light than that of the moon's rays stealing through the loopholes in the thick old wall. A whisper went 19 about among the eldest, that she had seen and talked with angels ; and when they called to mind | how she had looked and spoken, and her early death, some thought it might he so, indeed. 20 Thus, coming to the grave in little knots, and THE FUNERAL OF LITTLE NELL. 207 NARRA- TIVE. DIRECT. LOUDER. glancing down, and giving place to others, and falling off in whispering groups of three or four, the church was cleared in time, of all but the sexton and the mourning friends. 21 They saw the vault covered, and the stone fixed down. 22 Then, when the dusk of evening had come on, and not a sound disturbed the sacred stillness of the place — when 23 the bright moon i poured her light on tomb and monument, on pillar, wall, and arch, and most of all (it seemed to them) 24 upon her quiet grave, — in that calm time, ■when outward things and inward thoughts teem with assurances of immortality, 25 and worldly hopes and fears are humbled in the dust — then, with tranquil and submissive hearts, 26 | they turned away, | and left the child 27 with God. ^Oh ! it is hard to take to heart | the lesson that such deaths will teach; but let no man reject it, for it is one that we must all learn, and it is a mighty, universal Truth. When Death | 29 strikes down the innocent and young, for every fragile form from which he lets the panting spirit free, 30 a hundred Virtues rise, in shapes of Mercy, Charity, and Love, to walk the world, and bless it. Of every 31 tear that sorrowing mortals shed on such green graves, some good is born, some gentler nature comes. In the Destroyer's steps there spring up bright creatures that defy his power, and his dark path becomes a way of 32 light to Heaven. 1 Point up to right — look to left. * Bring right hand to ear. 3 Both hands extended to front. * Use same gesture, pointing downward. 5 Right hand, No. 1 hand plate. 6 Left hand, No. 1 hand plate. 7 Point to ear and eye. 8 Point down. 9 Both arms well extended downward — palms down. 10 Bring right hand from left shoulder — sweep it right. " Still pointing right — walking to the right four steps. 12 Point slowly down- ward. 13 Point and turn well to right — head erect. "Point down with left hand. 15 Hands clasped as in No. 13 hand plate — head on breast — keep this picture for four lines. 16 Throw hands apart — then bring them together. 17 Look upward. 18 Point and look upward. 19 Turn mysterious- ly from side to side. 20 No. 1 hand plate. 21 Bring hands together down- ward. 22 Elevate hands and slowly drop them. 20 Point upward and look. 24 Point downward. 25 Hand on breast and slowly drop it. 26 Hand to heart. 27 Point up — action of reverence. 28 Clasp hanas. 29 Bring right hand down forcibly. 30 Throw both hands up — keep them there till period. 81 Hand to eye — then point down. 32 Advance — point and look up. 208 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 88-GOD IS LOVE. ARGU MENTA- TIVE. DIRECT. FULL VOICE. EMPHATIC. Richard Watson. Where 1 shall we go for manifestations of the tenderness, the sympathy, the benignity of God? 2 The Philosopher of this world leads us to Na- ture, its benevolent final causes, and kind con- trivances to increase the sum of animal happiness ; and there 3 he stops — with half his demonstration ! But the 4 Apostle leads us to the Gift bestowed by the Father for the recovery of man's intellectual 5 and moral nature, 6 and to the Cross endured by the Son on this high behalf. Go 6 to the heavens, which canopy man with grandeur, cheer his steps with successive light, and mark his festivals by their chronology ; 7 go to the atmosphere, which in- vigorates his spirits, and is to him the breath of life ; 8 go to the smiling fields, decked with verdure for his eye, and covered with fruits for his sus- tenance; go to 9 every scene which spreads beauty before his gaze, which is made harmoniously vocal to his ear, which fills and delights the 10 imagina- tion by its glow or by its greatness : we travel with you, we admire 11 with you, we feel and enjoy with you, we adore with you, — but we stay not with you. 12 We hasten onwards, in search of a demon- stration more convincing that "God is love:" we rest not till we press into the strange, the mourn- ful, the joyful scenes of ^Calvary; and amidst the 14 throng of invisible and astonished angels, weeping disciples, and the mocking multitude, under the arch of the darkened 15 heaven, and with 16 earth trembling beneath our feet, we gaze 17 upon the meek, the resigned, but fainting Sufferer; and exclaim, 18 "Herein is lovel" — herein, and no- where else, is it so 18 affectingly, so unequivocally demonstrated, — 19 "not that we loved God, but that GOD IS I.OVE. (See page 208.) THE CRUCIFIXION. 209 God loved us, and sent His Son to be the propitia- tion for our sins." 1 No. 5 arm plate, both hands — turn completely, taking in entire audi- ence. 2 Right hand out. 3 Lower the arm, still pointing. 4 Left hand out, then upward. 5 Touch forehead and breast. ° Advance and use No. 4 arm plate. 7 Wave upward both hands — throw the head back. 8 No. 5 arm plate. 9 Repeat 8 . 10 Touch right temple. u Advance — look around — use No. 13 hand plate. 12 Wave hand from breast outward. 13 Point up- ward — look of reverence. 14 No. 5 arm plate. 15 Describe arch above head with both hands. 16 Shake right hand in front. 17 Advance to right — hands crossed on breast — look up. 18 Same position. 10 Send both hands from breast upward — bring them back to breast — hold till finish. 89-THE CRUCIFIXION. Translation from Bossuet. E declama When our Redeemer Expired on the cross, sym- tion. pathizing nature was convulsed ! The sun 2 was suddenly enveloped in midnight darkness, and ^confusion reigned! But I shall pass these ter- rific events, in order to lead your attention to more important objects. 4 The Cross erected on Mount Calvary was the standard of victory, to which even 5 Thought was to be led captive, and before which Imaginations were to be cast down; — that is to say, human wisdom and skeptic reluctance. No voice sublime was heard 6 sounding from a thunder-bearing cloud, as of old from the heights of Sinai! No approach was observed of that formidable Majesty, before whom the mountains melt as wax ! 8 Where, where was the warlike preparation of that power, which was to subdue the world? See the whole artillery collected on Mount Calvary — in the exhibition 9 of a Cross, of of an agonizing Sufferer, and a crown of thorns ! Eeligious truths was exiled from the earth, and idolatry sat 10 brooding over the moral world. The "Egyptians, the fathers of philosophy; 12 the Grecians, the inventors of the fine arts; 13 the Ro- 210 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUD. FORCEFUL. OBSERVE PUNCTUA- TION. mans, the conquerors of the universe ; were all unfortunately celebrated for the perversion of religious worship, — 14 for the gross errors they ad- mitted into their belief, and the indignities they offered to the true religion. 15 Minerals, vege- tables, animals, the elements, became objects of adoration; even abstract visionary 16 forms, such as fevers and distempers, received the honors of deification: and to the most infamous vices, and dissolute passions, altars 17 were erected. The world, which God had made to manifest His power, seemed to have become a temple of idols, where everything was god 18 but God Himself ! The mystery of the crucifixion was the remedy the 19 Almighty ordained for this universal idolatry. He knew the mind of man, and knew that it was not by reasoning that an error must be destroyed, which reasoning had not established. 20 Men gave the Divinity their own figure, and attributed to Him their vices and passions. Kea- soning 21 had no share in so brutal an error. It was a subversion of reason, a delirium, a frenzy. 22 Argue with a frenetic person, you do but the more provoke him, and render the distemper incurable. Neither will reasoning cure the delirium of idola- try. 23 What has learned antiquity gained by her elaborate discourses? her reasonings so artfully framed? 24 Did Plato, with that eloquence which was styled divine, overthrow 25 one \ single \ altar \ where monstrous divinities were worshipped? Experience hath shown that the overthrow of idolatry could not be the work of reason alone. Far from committing to human wisdom the cure of such a malady, God 26 completed its confusion by the mystery of the Cross. Idolatry (if rightly understood) took its rise from that 27 profound self-attachment inherent in our nature. Thus it was | that the Pagan mythology 28 teemed with deities, who were subject to human passions, weak- nesses, and vices. 29 When the mysterious Cross displayed to the world an agonizing Kedeemei, ON INFIDELITY. 211 incredulity exclaimed, it was foolishness! 30 But the darkening sun, Nature convulsed, the dead arising from their graves, said, it was wisdom! 1 Slowly raise hand — finger pointing upward. 2 Place hands before face — palms out — then separate them. 3 Throw hands downward — wrist movement. 4 Same as \ 5 Touch forehead. 6 Shake finger of right hand, pointing upward. 7 Sweep hands majestically. 8 Step to right — right hand out — commanding bearing. ° Hand up almost perpendicular — shake finger three times. 10 Put out both hands — fingers as in No. 6 hand plate. 11 Put out right hand — turn to the right. 12 Turn and gesticulate toward left. 13 Both hands to the front. 14 Bring right hand down forcibly. 15 No. 1 hand plate. 16 Touch forehead and wave hand outward. 17 Ele- vate right hand as in No. 4 arm plate. 18 Point upward — advance. 10 Re- peat 18 . 20 Bring hands to breast. 21 Hand to forehead — then wave out- ward. 22 No. 12 hand plate. 23 Walk four steps to left — left hand ex- tended. 2i Turn right to center — use right hand. 2B Bring hand down three times on emphatic words. 26 Use very dignified posture — point up- ward. 27 Both hands on breast. 28 Throw both hands forward — paints out. 29 Point up. 30 Hold out both hands — palms out. 90-ON INFIDELITY. Dr. Andrew Thomson. TE Jr^ R ' -^ * s am idst trials and sorrows 1 that infidelity appears in its justest and most frightful aspect. When subjected to the 2 multifarious ills "which flesh is heir to," what is there to uphold 3 our spirit, but the discoveries and the prospects that are un- folded to us by revelation? What, for this pur- pose, can be compared with the belief 4 that every- thing here below is under the management of Infinite Wisdom and Goodness, and that there is an Hmmortality of bliss awaiting us in another world? If this conviction be taken 6 away, what is it that we can have 7 recourse to, on which the mind may patiently and safely repose in the sea- son of adversity? 8 Where is the balm which I may apply with effect | to my wounded heart, after I have rejected the aid of the Almighty Physician ? 9 Impose upon me whatever hardships you please; give me nothing but the bread of sorrow to eat; take from me the friends in whom I had placed my confidence; lay me in the cold hut of poverty, 212 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. ENER- GETIC, REGRET- FUL. and on the thorny bed of disease; set 10 deaih be- fore me in all its terrors; do all this, — only let me trust 11 in my Saviour, \ and "pillow my head on the bosom of Omnipotence/' — and I will "fear 12 no evil" — I will rise superior to affliction, — "I will rejoice in my tribulation." But, let infidelity in- terpose between 13 God and my soul, and draw its impenetrable 14 veil over a future state of exist- ence, and limit all my trust to the creatures of a day, and all my expectations to a few years as uncertain as they are short; and how 15 shall I bear up, with fortitude or with cheerfulness, under the burthen of distress? Or, where shall I find one drop 16 of consolation to put into the bitter draught, which has been given me to drink? 17 I look over the whole range of this wilderness in which I dwell ; but I see 18 not one covert from the storm, nor one leaf for the healing of my 19 soul, nor one cup of water to refresh me, in the weari- ness and the faintings of my pilgrimage. 1 Slowly shake head — hand on breast. 2 Both hands, No. 5 arm plate. 3 Hand on breast. * Send both hands outward — palms up — turn to both sides. 5 No. 4 arm plate. 6 Look inquiringly at audience — hands as In No. 11 hand plate. 7 Touch forehead. 8 Put out right hand and then place it over heart. 9 Lay open palms on chest — slowly turn head from side to side. 10 Fingers apart as in No. 6 hand plate. 1X Slowly raise hand over head — raise eyes. 12 Falling movement of hand — No. 3 arm plate. 13 Clasp hands fervently at breast. 14 Wave right hand outward. 10 Step forward — look of inquiry — hand on breast. 1S No. 12 hand plate. 17 Swing right arm outward — follow gesture with look. 18 Shake finger several times. 19 Hand to breast. THE DEATH OF THE WICKED. 213 91-THE DEATH OF THE WICKED. Translation from Massillon. The remembrance of the past, and the view of fiA ouiCK ^ e P resen V would be little to the expiring sinner, ' and could he confine himself to these ; but the thoughts 2 L0L ' of a futurity convulse him with horror and de- spair. That futurity, 3 that incomprehensible region of darkness, which he now approaches, ^conscience his only companion; that futurity, that 3 unknown land | from which no traveller has ever returned, where he knows not whom he shall find, nor 6 what awaits him; that futurity, that fathomless 7 abyss, in which his mind is lost and bewildered, and into which he must now 8 plunge, ignorant of his destiny; that 9 futurity, that tomb, that residence of horror, where he must now oc- cupy his place amongst the ashes and the carcasses of his ancestors; 10 that futurity, that incompre- hensible eternity, even the aspect of which he can- not support; 11 that futurity, — in a word, that dreadful judgment, to which, before the wrath of God, he must now appear, and render account of a life | of which every 12 moment almost has been occupied by crimes: — Alas! 13 while he only looked forward to this terrible futurity at a dis- tance, he made an infamous boast of | not dread- ing it; 14 he continually demanded, with a tone of blasphemy and derision, 15 Who is returned from uarxebt* it? 16 He ridiculed the vulgar apprehension, and piqued himself upon his undaunted courage. But, 17 from the moment that the hand of God is upon him; from the moment that death approaches near, that the gates of eternity 18 open to receive him, and that he touches upon that terrible fu- turity against which he seemed so fortified — 19 ah ! he then becomes either 20 wealc, trembling, dis- solved in tears, 21 raising up suppliant hands to Heaven! — or, gloomy, 22 silent, agitated, revolving within himself the most dreadful thoughts, and 214 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. RATHER QUICK. SOLEMN TONE. SORROW. no longer expecting more consolation or mercy from his weak tears and lamentations, 23 than from his frenzies and despair! 24 In vain | the minister of the Church en- deavors to soothe his terrors, by opening to him the bosom of Divine mercy; — a ^secret and ter- rible voice resounds from the bottom of his heart, and tells him that there is no 2Q salvation for the impious: his friends and relations are 27 assembled round his bed to receive his last sighs, and he 28 turns away from them his eyes, because he finds still amidst them | the remembrance of his crimes. Death, however, approaches : ' the minister en- deavors to support by prayer that spark of life which still remains: ^"Depart, Christian soul!" says he: he says not to him, "Prince, grandee of the world, depart !" During his life, the public monuments were hardly sufficient for the num- ber and pride of his titles. 30 In his last moment, they give him that title alone which he had re- ceived in baptism; the only one to which he had paid no attention, and the only one which can re- main to him for ever. 31 "Depart, Christian soul !" 32 You had looked upon the Earth as your country, and it was only a place of pilgrimage from which you must depart. The Church thought to have announced the glad tidings to you, — the expira- tion of your exilement, — in announcing the dis- solution of your earthly frame. Alas ! and it only brings you 33 melancholy and frightful news, and opens the commencement of your miseries and anguish. Then | the expiring sinner, finding, in the re- membrance of the past, 34 only regrets which over- whelm him; in all which takes place around him, only s Hmages which afflict him ; in the thoughts of futurity, 36 only horrors which appal him; no longer knowing to whom to have recourse; 37 — neither to created beings, who now leave him ; nor to the world, which vanishes; nor to men, who cannot save him from death ; 38 nor to the just THE DEATH OF THE WICKED. 215 IRAPID. CLIMAX. God, whom he looks upon as a declared enemy, and from whom he has no indulgence to expect : — a '^thousand horrors, occupy his thoughts; he torments, he agitates himself, in order 40 to ny from Death which grasps him, or at least to fly from himself. From his expiring eyes issues something 41 I know not what, of dark and gloomy, which ex- presses the fury of his soul; in his anguish he utters words, 42 interrupted by sobs, which are un- intelligible, and to which they know not whether repentance or despair gives birth. 43 He deeply sighs j and they know not whether the remem- brance of his past crimes, or the despair at quit- ting life, forces from him such groans of anguish. 44 x\t last, in the midst of these melancholy exer- tions, his eyes * 5 ftx, | his features change, | his countenance becomes disfigured, his livid lips con- vulsively separate; his whole frame quivers; and, by this last 46 effort, his unfortunate soul tears itself reluctantly from that body of clay, falls into the hands of its God, and 47 finds itself | alone at the foot of the awful tribunal! 1 Stand erect — left foot back — chest out — use No. 1 hand plate 2 Touch the forehead and lift the hand upward. 3 Still pointing up. 4 Tapping the forehead twice. 5 Point up. 6 Falling movement of arm as in No. 3 arm plate. 7 Arm straight to front — finger pointing down. 8 Throw hands forward and downward — imitate the act of plunging. 9 No. 7 hand plate. 10 Repeat same. 1X Raise right hand up— palm out. 12 Roth hands out, No. 5 arm plate. 13 Clasp hands and slowly rock body from side to side. 14 No. 2 hand plate. 15 Same as 14 , but shake the hand. 16 Sway hand outward from breast — then bring fingers back to breast. 17 No. 12 hand plate. 18 Roth hands in front of face — palms out — then separate them on the word "open." 19 Nod the head twice. 20 Let the hands tremble. 21 Raise both hands higher than head. 22 Clasp head with both hands. 23 Wring both hands. 24 Fold the arms — shake head. 25 Shake index finger of right hand. 26 Forcibly bring down right fist. 27 No. 5 arm plate, both hands — look around, turning body. 2S Wave hand to right — turn face and body to left. 29 Hands together prayerfully. 30 No. 1 hand plate. 31 Clasp hands. 32 No. 3 hand plate. 33 Clasp hands — shake head sorrowfully. 34 Head back — eyes up — opened hands laid on each cheek. 35 Hands in front of face — palms out — fingers apart — look of horror. 36 Repeat 85 . 37 Right hand out — quickly turn it to right. 3S Point up. 39 Roth hands placed on back of head — look up. 40 Hands and arms out horizontally — hands clinched. 41 Touch eyes — move hands outward. 42 Hand grasping throat. 43 Hand on breast — sigh. 44 Clasp fiands — advance — look of intense emotion. 45 Touch eye — face — lip. 46 Hands clutching breast — throw them violently forward. 47 Shake right index finger up- ward solemnly — stand on the toes. 216 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUD AND QUICK, UPWARD INFLEC- TION. QUICK AND DIRECT. ARGU- MENTA- TIVE STYLE. 92-ON THE AMERICAN WAR. Lord Chatham. I cannot, 1 my Lords, I 2 will not, join in con- gratulation on misfortune and disgrace. This, my Lords, is a 3 perilous and tremendous moment. It is not a time for adulation; the smoothness of flattery cannot save us in this rugged and awful crisis. It is now necessary to instruct the 4 throne in the language of truth. We must, if possible, 5 dispel the delusion and darkness which envelope it; and 6 display, in its full danger and genuine colors, the ruin which is brought to our doors 7 Can ministers still presume to expect support in their infatuation? Can Parliament be so dead to' its dignity and duty, as to give its support to measures | thus obtruded and forced upon it? 8 Measures, my Lords, which have reduced this late flourishing empire to scorn and contempt! 'But yesterday, 9 and Britain might have stood against the 10 world: now, 11 none so poor as do her reverence !" — 12 The people, whom we at first de- spised as rebels, but whom we now acknowledge as enemies, are abetted against us, supplied with 13 every military store, have their interests con- sulted, and their ambassadors entertained, by our inveterate enemy; and ministers 14 do not — and dare not — interpose with dignity or effect. The desperate state of our army abroad is in part known. 15 No man | more highly esteems and honors the British troops than I do ; I know their virtues and their valor; I know they can achieve 16 anything but impossibilities ; and I know | that the conquest of British America 17 is an impossi- bility. You cannot, my Lords, 18 you cannot conquer America. 19 What is your present situa- tion there ? We do not know the worst ; 20 but we know that, in three campaigns, we have done nothing, and suffered much. You may swell 21 every expense, accumulate every assistance, and 22 extend your traffic to the shambles of every ON NAPOLEON BONAPARTE. 217 German despot; your attempts will be for ever 23 vain and impotent — doubly so, indeed, from this mercenary aid on which you rely; for it irritates, to an incurable resentment, the minds of your adversaries, to overrun them with the mercenary sons of rapine and plunder, devoting 24 them and their possessions to the rapacity of hireling cruelty. 24 If I were an American, as I am an Englishman, while a foreign troop was landed in my country, very 26 I never would lay down my arms; — never, LOUD. NEVER, NEVER ! 1 No. 1 hand plate. 2 Repeat the same, but with force. 3 Swing out both hands as in No. 5 arm plate. 4 Point upward to the left and look toward the right. 5 Both hands in front of face — palms outward — send them apart. 6 Turn both hands — palms up. " Take three steps to the right — shake hand — position as in No. 7 hand plate. 8 Both hands out — palms up — look about. 8 No. 7 hand plate. 10 Both arms wide apart and out. u Shake the right index finger downward. I2 No. 5 arm plate — look around. 13 Repeat 12 . 14 Forcible downward gesture on the two em- phatic words. 15 No. 12 hand plate. IU Both arms open. 17 Bring right fist down strongly. 18 Slap the left palm with the right three times. 19 Quick turn to the right — hand extended. 20 No. 12 hand plate. 21 No. 5 arm plate. 22 Right arm out straight— shake the hand. 23 Drop hand and retire two steps. 24 Both hands extended to front. 25 Draw yourself to full height — strike the breast several times. 26 Bring fist downward on the first "never" — then shake the fist in the air on the others (never). ORDINARY 93-ON NAPOLEON BONAPARTE. Charles Phillips. He is fallen! 1 We may now pause before that ™tone7" splendid prodigy, which 2 towered amongst us like some ancient ruin, whose frown | terrified the glance its magnificence attracted. 3 Grand, gloomy, and peculiar, he sat upon the throne, a sceptred hermit, wrapped in the solitude of his own originality. 4 A mind told, independent, and decisive* — a will, | despotic in its dictates, — an energy that distanced expedition, and a con- science | pliable to every touch of interest, marked the outline of this extraordinary character — 6 the most extraordinary, perhaps, that, in the annals of the world, ever 7 rose, or reigned, or fell. 218 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUDER. EMPHA- SIZE. CLIMAX LOUD. Flung 8 into life in the midst of a Revolution j that quickened every energy of a people who ac- knowledged no superior, he commenced his course a stranger by birth and a scholar by charity. With no friends but his sword? and no fortune but his talents, he rushed 16 into the lists where rank and genius had arrayed themselves; and competition fled from him as from the glance of destiny. He knew 11 no motive but interest — he acknowledged no criterion but success — he wor~ shipped no God 12 but ambition; and with an East- ern devotion he knelt at the altar 13 o*f his idolatry. Subsidiary to this, there was no creed that he did not profess — there was no opinion that he did not promulgate. In the hope of a dynasty, he 14 up- held the Crescent; for the sake of a divorce, he bowed 15 before the Cross ; the orphan of St. Louis, he became the adopted child of the Republic ; and, with a parricidal ingratitude, 16 on the ruins both of the crown and the tribune, he reared 17 the throne of his despotism. A professed Catholic, 18 he imprisoned the Pope; a pretended patriot, he impoverished the country ; and under the name of Brutus, he 19 grasped without remorse, and wore without shame, the ^diadem of the Casars! 21 Cradled in the field, he was to the last hour the darling of the army ; and whether in the camp or the cabinet, he never forsook a friend, or for- got a favor. Of all his soldiers, not one abandoned him, till affection was useless; and their 22 first stipulation was | for the safety of their favorite. They knew well that, if he was lavish of them, he was prodigal of 23 himself; and that if he exposed them to peril, he repaid them with plunder. For the soldier, 241 he subsidized every people; to the people, he made even pride pay tribute. The victorious veteran glittered with his gains ;,"iul the capital, 25 gorgeous with the spoils of art, be- came the miniature metropolis of the universe. In this wonderful combination, his affectation of literature must not be omitted. The gaoler of ON NAPOLEON BONAPARTE. 219 QUICK IN- CREASE TONE. MORA L. the press, 26 he affected the patronage of letters; the proscriber of books, he encouraged philosophy; the persecutor of authors, and the murderer of printers, he yet pretended to the patronage of learning. Such a medley of contradictions, and at the same time such an individual consistency, were never united in the same character. 27 A royalist, | a republican, and an emperor | a Mahom- etan, | a Catholic, | and a patron of the Syna- gogue, | a traitor and a tyrant, | a Christian and an Infidel — he was, through all his vicissitudes, the same, 28 stern, impatient, inflexible original — the same mysterious, incomprehensible self — the man without a model, and without a shadow. 29 His fall, like his life, baffled all speculation. In short, his 30 whole history was like a dream to the world ; and no man can tell how or why he was awakened from the reverie. 31 Kings may learn from him | that their safest study, as well as their noblest, is — the interest of the people; the 32 people are taught by him that there is no despotism, however stupendous, against which they have not a resource; and to those who would rise 33 upon the ruins of both, he is a living lesson, that, if ambition can raise them from 34 the lowest station, it can also prostrate 35 them from the highest. 1 No. 2 hand plate on the word "pause." 2 Elevate hand perpendicu- larly. 3 No. 8 arm plate. * Touch forehead. 5 Touch head again. 6 Wave left hands downward in front — palms up. T Elevate hand and drop it. 8 Walk three steps to the left — both hands toward audience. 9 Touch left side of body where sword should hang. 10 Step forward — throw hands outward. " Hand on breast. 12 Point upward. 13 Point downward. 14 Close left hand and hold it over head. 15 Right hand to breast — bow head. 16 Point down. 17 Raise the hand. 18 Turn to right — use No. 1 hand plate. 19 Gesture of grasping. 20 Make circular movement with finger for the crown. 21 Both hands in front — palms up. 22 No. 12 hand plate. 23 Touch the breast. 2i No. 1 hand plate. 25 No. 5 arm plate. 26 Left hand, No. 6 arm plate — afterward swing arm to left. 27 Slight downward movement of right hand on the nouns following. 28 Shake finger. 29 Point downward. 30 Both hands in front — palms up. 31 No. 4 arm plate. 32 No. 5 arm plate. 33 Hands hanging — bring them up higher than head. 34 Send hand up. 35 Send the hand down. 220 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. ORATORI- CAL. ASSUME A SERIOUS MANNER. EMPHATIC. 94-SPEECH OF SERJEANT BUZFUZ. Charles Dickens. Never/ in the whole course of my professional experience — never, from the very first moment of my applying myself to the study and practice of the law — have I approached a case with feel- ings of such deep emotion, or with such a heavy sense of the responsibility imposed upon me; 2 a responsibility, I will say, which I could never have supported, were I not buoyed up and sus- tained by a conviction 3 so strong, that it amounts to positive certainty, that the cause of truth and justice, or, in other words, the cause of my much injured and most Oppressed client, must prevail with the high-minded and intelligent 5 dozen of men whom I now see in that box before me. 6 The plaintiff, gentlemen, the plaintiff is a widow: yes, gentlemen, a widow. The late Mr. Bardell, after enjoying, for many years, the esteem and confidence of his sovereign, as one of the guar- dians of the royal revenues, glided 7 almost im- perceptibly from the world, to seek elsewhere for that repose and peace which a custom-house can never afford. With her | Hittle boy, Mrs. Bardell shrunk from the world, and courted the retirement and tranquility of Goswell street; and here she placed in her front parlor 10 window, a written placard, bearing this inscription, — n " Apartments, furnished, for a single gentleman. Enquire within/' I entreat the attention of the jury to the wording of this document — u Apart- ments, furnished, for a single gentleman!" Mrs. BardelFs opinions of the opposite sex, gentlemen, were derived from a long contemplation of 12 the inestimable qualities of her lost husband. 13 She had no fear — she had no distrust — she had no sus- picion. Mr. Bardell, said the widow; Mr. Bardell SPEECH OF SERJEANT BUZFUZ. 221 was a man of honor — Mr. Bardell was a man of his word 14 — Mr. Bardell was no deceiver — 15 Mr. Bardell was once a single gentleman himself: 16 to single gentlemen I look for protection* for assistance, for comfort, for consolation; — in single gentlemen I shall perpetually see some- thing to remind me of what Mr. Bardell was, 1T when he first won my yonng and untried affec- tions; to a single gentleman, then, shall my lodg- ings be let. Actuated by this beautiful and touch- ing impulse, (among the best 18 impulses of our imperfect nature, gentlemen), 19 the lonely and desolate widow dried her tears, furnished her first floor, caught her innocent boy 20 to her maternal lqud. bosom, and put the bill up in her parlor window. 21 Did it remain there long ? 22 No. The serpent 23 was on the watch, | the train was laid, | the mine was preparing, the sapper and miner was at work. Before the bill had been in the window three days — three days, gentlemen — a being, erect upon two 24 legs, and bearing all the outward semblance of a man, and not of a monster, 25 knocked at the door of Mrs. Bardell's house. He enquired within; he took the lodgings; and on the very next day he entered into possession of them. That man was 26 Pickwick — Pickwick the defendant. I shall show you, 27 gentlemen, that for two years Pickwick continued to reside constantly,, and with- out interruption or intermission, in Mrs. Bardell's house. I shall show you | that Mrs. Bardell, dur- ing the whole of that time, waited on him, attended to his comforts, cooked his meals, looked out his linen for the washerwoman when it went abroad, darned, aired and prepared it for wear, when it came home, and, in short, enjoyed his fullest trust and confidence. I shall snow you that, 28 on many occasions, he gave halfpence, 29 and on some oc- casions even sixpences, to her little boy; and I shall prove to you, by a witness 30 whose testi- mony it will be impossible for my learned friend to weaken or controvert, that on one occasion he 222 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. LOUD. CEREMONI- OUS READING. EMPHAT- IC. patted the boy on the head; and, after enquiring whether he had won any alley tors or commoneys lately (both of which I understand to be partic- ular species of marbles much prized by the youth of this town), made use cf this remarkable ex- pression, — Z2u Hoiv should you like to have an- other father?" And now, gentlemen, but one word more. 33 Two letters have passed between these parties; letters which are admitted to be in the handwriting of the defendant, and which speak volumes indeed. These letters, too, bespeak the character of the man. They are not open, fervent , eloquent epistles, breathing nothing but the language of affectionate attachment. 34 They are covert, sly, underhanded communications; but, fortunately, far more conclusive than if couched in the most glowing language and the most poetic imagery — letters that must be viewed with a cautious and suspicious eye — letters that were evidently in- tended at the time, by Pickwick, to mislead and delude 35 any third parties into whose hands they might fall. Let me read the first : 36 "Garraway's, twelve o'clock. — Dear Mrs. B. Chops and tomato sauce. Yours, Pickwick/' Gentlemen, what does this mean ? Chops and tomato sauce ! yours, Pickwick! 37 Chops ! gracious heavens! and tomato sauce ! Gentlemen, is the happiness of a sensitive and confiding female to be trifled away by such shallow artifices as these? 38 The next has no date whatever, which is in itself suspicious. — "Dear Mrs. B., I shall not be at home till to- morrow. Slow coach/' And then follows this very remarkable expression — "Don't trouble your- self about the warming-pan." 39 The warming- pan! Why, gentlemen, who does trouble himself about a warming-pan? 40 When was the peace of mind of man or woman broken or disturbed by a warming-pan, which is in itself a harmless, a useful, and I will add, gentlemen, a comforting article of domestic furniture? 41 Why is Mrs. SPEECH OF SERJEANT BUZFUZ. 223 INCREASED TONE. CLIMAX. Bardell so earnestly entreated not to agitate her- self about this warming-pan, unless (as is no doubt the case) it is a * 2 mere cover for hidden fire — a mere substitute for some endearing word or promise, agreeably to a preconcerted system of correspondence, artfully contrived by Pickwick: with a view to his contemplated desertion, and which I am not in a condition to explain ? 43 And what does this allusion to the slow coach mean? For ought I know, it may be a reference to Pick- wick himself, who has most unquestionably been a criminally slow coach during the whole of this transaction; but whose speed will now be very unexpectedly accelerated, and whose wheels, gen- tlemen, as he will find to 44 his cost, will very soon be greased by you. 45 But, gentlemen, enough of this; it is difficult to smile with an 46 aching heart; it is ill jesting when our deepest sympathies are awakened. My client's hopes and prospects are ruined; and it is no figure of speech to say that her occupation is gone indeed. The bill 47 is down — but there is no tenant. Eligible single gentlemen pass and 48 re^ pass — but there is no invitation for them to en^ quire within, or without. All is gloom and silence in the house ; even the voice of the child is hushed ; his infant sports are disregarded when his mother weeps. His alley tors and commoneys are alike neglected ; he forgets the old familiar cry of Jcnuclcle down! and at tip cheese J or odd and even, his hand is out. 50 But Pickwick, gentlemen, Pickwick, the ruthless destroyer of this domestic oasis in the desert of G-oswell street — 51 Pickwick, who comes before you to-day with his heartless tomato sauce and warming-pans — Pickwick still rears his head with unblushing effrontery, and gazes without a sigh on the ruin he has made. 52 Damages, gentlemen — heavy damages are the only punishment with which you can visit him; the only recompense you can award to my client. 53 And for those damages she now appeals to an 224 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. enlightened, a high-minded, a right-feeling, a con- scientious, a dispassionate, a sympathizing, a con- templative jury of her civilized countrymen. 1 Assume a serious but pompous manner — left hand resting on hip — right hand extended with elbow resting against body. 2 Strike left palm with right hand. 3 Right hand on breast and bending toward audience. 4 Point to her. 5 Turn and put out both hands toward jury — bow to them. 6 Gesticulate toward right — indicate her 7 Send right hand out front horizontally. 8 No. 12 hand plate. 9 Indicate his size by outstretched hand. 10 Point front. " Emphasize with finger the different words italicized. 12 Clasp hands. 13 Repeat K 14 No. 1 hand plate — bring hand downward. 15 Repeat. 1C Both hands out — bend forward. 17 Raise right hand. 18 Touch breast and bow to audience. 19 No. 1 hand plate. 20 No. 14 hand plate. 21 Point front. 22 No. 8 hand plate — bring hand down forcibly. 23 Wave the index finger snake-like. 24 No. 1 hand plate — stand very erect. 25 Action of knocking on door. 2e Put out right hand and use it emphatically. 2T Both hands toward jury — keep this gesture, making it emphatic for six lines. 28 Turn right — right hand extended. 29 Pretend dropping money into hand of receiver. 30 Right hand elevated in oratorical fashion. 31 Imitate patting boy's head. 32 Place hands on hips — bend forward. 33 No. 12 hand plate. 34 Repeat 33 . 35 Point finger. 3(i Holding paper in hands. 37 Crushing paper in hands. 38 Open another paper. 39 Crush that paper. 40 No. 2 hand plate — shaking hand for three lines. 41 Left hand out — turn to left. 42 Place hand horizontally in front — palms down. 43 Advance to right — right hand extended. 44 Rest hands on hips — smile. 45 Wave right hand carelessly. 40 Hand on heart — then put right hand forward. 4T Elevate hand — point and drop it. 49 Sweep right hand from left side toward right. 50 Slap ihe right hand on the left. 51 Repeat the same and look around. " Advance to front and shake fist violently. 53 No. 5 arm plate — keep gesture until the end. 95-THE BASHFUL MAN. I labor 1 under a species of distress, which, I fear, will at length drive me utterly from this society, in which I am most ambitious to appear; but I shall give you a short sketch of my origin and present situation, by which you will be enabled to judge of my difficulties. NA 8TYLE r . rE 2 My father was a farmer of no great property, and with no other learning than what he had ac- quired at a charity-school; but, my mother being dead, and I an only child, he determined to give me that advantage which he fancied would have made him happy — that is, a learned education. 3 I was sent to a country grammar-school, and from thence to the university, with a view of qualifying myself for holy orders. Here, having RA QmcK. but; a small allowance from my father, and being naturally of a timid, bashful disposition, I had no opportunity of rubbing off that native awkward- THE BASHFUL MAN. 225 ness, which is the fatal cause of all my unhappiness, and which, I now begin to fear, can never be amended. Yon mnst know, I am of such ex- medium treme* susceptibility of shame, that, on the slight- voice. eg |. S11 iyj ec t f confusion, my blood all rushes into my cheeks, 5 and I appear a perfect full-blown rose. The consciousness of this unhappy failing made me avoid society, and I became enamored of a college life ; particularly when I reflected that the uncouth manners of my father's family were little calculated to improve my outward conduct. I had therefore resolved on living at the university, and taking pupils; when Hwo unexpected events greatly altered the posture of my affairs — namely, my father's death, and the arrival of a rich uncle from the Indies. This uncle also died, after a short illness ; leav- ing me heir to all his property. 7 Ajid now, be- hold me, at the age of — no matter what, — well stocked with Latin, Greek, and mathematics — pos- sessed of an ample fortune — but so awkward, and unversed in any gentlemanlike accomplishment, that I am pointed at by all who see me, as the wealthy 8 learned clown. I have lately purchased an estate in the country, which abounds with what is called a fashionable neighborhood ; and when you reflect on my parent- age and uncouth manners, you will hardly think how much my company is courted by the surround- ing families — especially by those who have mar- riageable daughters. From these 9 gentlemen I have received familiar calls, and the most press- ing invitations; and though I wished to accept their offered friendship, I have repeatedly excused myself, under the pretence of not being quite settled; but the truth is, when I have ridden or walked with full intention to return their several visits — 10 my heart has failed me as I approached their gates, and I returned homewards, resolving to try again to-morrow. However, I at length determined to conquer my 226 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. BRISK MOVE- MENT, NERVOUS. timidity, and, three days ago, accepted of an in- vitation to dine, this day, with one, whose open, easy manner left me no room to doubt a cordial wel- come. Sir Thomas Friendly, who lives about three miles distant, 11 is a baronet, with an estate of about two thousand pounds a year, adjoining that which I purchased. He has two \ small \ sons and five \ tall daughters, all grown up, and living at Friendly Hall, dependent on their father. Conscious of my unpolished gait, I have, for some time past, taken private lessons from a professor, who teaches 12 "grown-up gentlemen to dance;" and although I at first found wondrous difficulty in the art he taught, yet my knowledge of the mathematics was of prodigious use in teaching me the equilibrium of my body, and the due ad- justment of the centre of gravity to the five posi- tions. Having now acquired the art of walking without 13 tottering, and learned to make a bow, 14 I boldly ventured to accept the Baronet's invita- tion to a family dinner; not doubting but my new acquirements would enable me to see the ladies with tolerable intrepidity : 15 but alas ! how vain are all the hopes of theory, when unsupported by habitual practice ! As I approached the house, a dinner-bell alarmed my fears, lest I had spoiled the dinner by want of punctuality. Impressed with this idea, I blushed the deepest crimson, as my name was repeatedly announced by the several livery servants, who ushered me into the library, hardly knowing whom or what I saw. At my first entrance, I summoned all my fortitude, and made my newly-acquired bow to Lady Friendly; but, unfortunately, 16 bringing back my left foot into the third position, I trod upon the 17 gouty toe of poor Sir Thomas, who had followed close at my heels to be the nomenclator of the family. 18 The con- fusion this accident occasioned in me is hardly to be conceived, since none but bashful men can judge of my distress. The Baronet's politeness by de- grees dissipated my concern ; and I was astonished to see how far good-breeding could enable him to THE BASHFUL MAN. 227 VERY QUICK. LOUD. QUICK. BLOWER. suppress 19 his feelings, and to appear at perfect ease after so painful an accident. The cheerfulness of her ladyship, and the familiar chat of the young ladies, insensibly led me to throw off my reserve and sheepishness, till, at length, I ventured to join in the conversation, and even to start fresh subjects. The library being richly furnished with books in elegant bind- ings, I conceived Sir Thomas to be a man of litera- ture ; and ventured to give my opinion concerning the several editions of the Greek classics — in which the Baronet's ideas exactly coincided with my own ! To this subject I was led by observing an 20 edition of Xenophon, in sixteen volumes; which (as I had never before heard of such a thing) greatly excited my curiosity, and I approached fo examine what it could be. Sir Thomas saw what I was about, and (as I supposed) willing to save me trouble, rose to take down the book, which made me more eager to prevent him; and, hastily laying my hand on the first volume, 21 I pulled it forcibly — when, lo ! instead of books, a board, which, by leather and gilding, had been made to look like sixteen volumes, came tumbling down, 22 and, unlucky, pitched upon a Wedgewood inkstand on the table under it. In vain did Sir Thomas assure me there was no harm done. I saw the ink streaming 23 from an inlaid table on the Turkey carpet ; and, scarce knowing what I did, attempted to stop its progress with my cambric handkerchief. In the height of this confusion, we were informed that dinner was served up. 24 In walking through the hall and suite of apart- ments to the dining-room, I had time to collect my scattered senses; till I was desired to take my seat at table, betwixt Lady Friendly and her eldest daughter. Since the fall of the wooden Xenophon, my face had been continually burning like a fire- brand : and I was just beginning to recover myself, and to feel comfortably cool, when an unlooked- for accident rekindled all my heat and Ylushes. Having set my plate of soup too near the edge of 228 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. the table, in bowing to Miss Dinah, who politely complimented the pattern of my waistcoat, I tumbled the whole scalding 25 contents into my lap. In spite of an immediate supply of napkins to wipe the surface of my clothes, they were not stout enough to save me from the painful effects of this sudden fomentation, and, for 26 some min- utes, my legs and thighs seemed stewed in a boil- ing caldron ; but recollecting how Sir Thomas had disguised his torture when I trod upon his gouty toe, I firmly bore my pain in silence, and sat with my lower extremities parboiled, amidst the stifled giggling of the ladies and servants. I will not re- late the several blunders which I made during the E ^Aon ERA ~ ^ rs ^ co " ln ' se ; or the distresses occasioned by my being desired to carve a fowl, or help to various dishes that stood near me, spilling a sauce-boat, and knocking down a salt-cellar; rather let me hasten to the second course, where fresh disasters quite overwhelmed me. 27 I had a piece of rich sweet pudding on my fork, when Miss Louisa Friendly begged to trouble me for part of a pigeon that stood near me. In my haste, scarce knowing what I did, I whipped the pudding 28 into my mouth — hot as a burning coal ! it was impossible to conceal 29 my agony ; my eyes were starting from their sockets ! At last, in spite of shame and resolution, I was obliged to — drop the cause of torment on my plate. Sir Thomas and the ladies all compassionated my misfortune, and each advised a different applica- tion. One recommended oil, another water, but all agreed that wine was perhaps the best for draw- ing out the heat ; and a glass of sherry was brought me from the sideboard — I snatched it up with eagerness: but oh! 32 how shall I tell the sequel? Whether the butler by accident mistook, or pur- posely designed to drive me mad, I know not ; but he gave me the strongest brandy, with which I filled my mouth, already flayed and blistered. Totally unused to every kind of ardent spirits, THE BASHFUL MAN. 229 with my tongue, throat, and palate as raw as beef, quick. what could I do? 32 I could not swallow, and, clapping my hands upon my mouth, the burning- liquor squirted through my nose and fingers, like a fountain, over all the dishes, and I was crushed by bursts of laughter from all quarters. In vain did Sir Thomas reprimand the servants, and Lady Friendly chide her daughters ; the measure of my shame and their diversion was not yet complete. To relieve me from the intolerable state of perspira- tion which this accident had caused, without con- sidering what I did, I wiped my face with that ill- 33 fated handkerchief, still wet from the con- sequences of the fall of Xenophon, and covered my features with streaks of ink in every direc- tion! The Baronet himself could not support this shock, but 34 joined his lady in the general laugh ; while I sprang 35 from the table in despair, rushed out of the house, 36 and ran home, in an agony of confusion and disgrace, which the most poignant sense of guilt could not have evcited. 37 Let me entreat that you will not add to my sufferings by ungenerous ridicule; or still further increase my unhappy notoriety, by making my in- firmity, at any future time, the subject of your conversation. 1 Hands behind back — display nervous movements of hand — head turn- ing from side to side. 2 Walk three steps to right whilst talking — hands carelessly clasped downward as in No. 11 hand plate. 3 Right hand out. 4 Opened hand on breast — bow to audience. 5 Touch cheek. 6 Raise up two fingers — emphasize gesture. 7 No. 5 arm plate. 8 Step back — bend forward — point in front. 9 No. 5 arm plate. 10 Hand on heart — sigh — droop the head. u Point to right. 12 Make an awkward movement of some dancing turns. 13 Walk about stage with much ceremony — bow very low and extravagantly. 14 Both hands extended — look around. 15 Drop hands — look of dejection. 16 Step back with right foot — bow. 17 Spring forward — throw up both hands. 18 Walk up and down excitedly — shaking the hands. 19 Place hand on breast. 20 Point to the left. 21 Advance four steps to the left — put out hand hastily to take book. 22 Let both hands drop from the head downward. 23 Point down. 24 Sweep the right hand from the breast outward to the right. 25 Look down at clothing — use No. 7 arm plate. 26 Feel and rub the legs nervously. 27 Raise closed hand in front of face — turn the hand several times. 28 Open the mouth — ap- proach hand to mouth. 29 Press each cheek with palm. 30 Turn to the right — put out right hand — then turn to the left — use left hand. 31 Wave hands upward and downward in front of face. 32 Grasp the throat — then the mouth — repeat the action. 33 Action of wiping face with handker- chief. 34 Place hands on hips — laugh extravagantly. 35 Rush three steps down stage. 36 Step to right — swing out right arm. 37 No. 5 arm plate — bend toward audience — keep position till end. 230 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. SUSPICION. SURPRISE. SAD. LOUD. 96-CARDINAL WOLSEY ON HIS FALL. Shakespeare. What means this sudden anger in the king? 1 How have I reap'd it ? He parted frowning from me, giving me this paper. 2 I must read it, for I fear the story of his anger. — It is so; 3 this paper has undone me ! — 'tis the account of all that world of wealth I have drawn together for mine own ends; indeed, to gain the popedom, and fee my friends in Eome. negligence, fit for a fool to fall by ! 4 What cross devil made me put this main secret in the packet I sent the king? 5 Is there no way to cure this? no new device. to beat this from his brains? I know, 'twill stir him strongly; yet I know a way, if it take right, in spite of fortune will bring me off again. — 6 What's this — "To the Pope?" the letter, as I live, with all the business I writ to his holiness ! 7 Nay, then, farewell ! I have touch'd the highest point of all my greatness: and from that full meridian of glory, I haste now to my setting. I shall fall like a bright exhalation in the evening, and no man see me more. The king commands to render up the great seal presently. 8 Farewell, a long fare- well, to all my greatness! This 9 is the state of man; to-day he puts forth the tender leaves of hope, to-morrow blossoms, and bears his blushing honors thick upon him: 10 the third day, comes a frost, a killing frost; and, — when he thinks, good easy man, full surely his greatness is a-ripening,— - 11 nips his root, and then he falls, as I do. I have ventur'd, like little wanton boys that swim on bladders, these many summers in a sea of glory; but far 12 beyond my depth: my high-blown pride at length 13 broke under me ; 14 and now has left me, weary, and old with service, to the mercy of a rude stream, that must for ever hide me. Vain pomp, and glory of this world, 15 I hate you! I feel my 16 heart new opened; 0, how wretched is that poor man, that hangs on prince's favors ! There is, betwixt 17 that smile he would aspire to, that CARDINAL WOLSEY ON HIS FALL. 231 PATHOS. DIRECT. ADVICE. VERY IN- TENSE. sweet aspect of princes and his ruin, more pangs and fears than wars or women have; and when he falls, he falls like 18 Lucifer, never to hope again. Cromwell, I did 19 not think to shed a tear in all my miseries; but thou hast forced me out of thy honest truth to play the woman. 20 Let's dry our eyes: and thus far hear me, Cromwell; and, — when I am forgotten, as I shall be, 21 and sleep in dull cold marble, where no mention of me more must be heard of, — say, 22 I taught thee ; say Wol- sey, — that once trod the ways of 23 glory, and sounded all the depths and shoals of honor, — found thee a way, out of his wreck, to rise in; a sure and safe one, though thy master miss'd it. 24i Mark but my fall, and that which ruin'd me. Cromwell, I charge thee, 25 fling away ambition; by that sin fell the angels ; how can man, then, the image of his. Maker, hope to win by't? 26 Love thyself last; cherish those hearts that hate thee; corruption wins not more than honesty. 27 Still in thy right hand carry gentle peace, to silence envious tongues. 28 Be just, and fear not: let all the ends thou aim'st at be, thy 29 country's, thy God's, and truth's; then if thou fall'st, Crom- well^ thou fall'st a blessed martyr. Serve the king; and, 30 pr'ythee, lead me in: there take an inventory of all I have; to the last penny 'tis the king's ; my robe, and my integrity to Heaven, is all I dare now call mine own. 31 Cromwell, Crom- well, had I but servd my God with half the zeal T serv'd my king, He would not 32 in mine age have left me naked to mine enemies. 1 Look front intently — hands as if holding packet. 2 Looking down at hands. 3 Opens packet— close the eyes. 4 Shake right fist. 5 Bring hand to chin. 6 Looking again at packet. 7 Drop hands — stand dejected- ly. 8 No. 11 hand plate — look up. 9 No. 1 hand plate. 10 No. 7 hand plate. xx Quietly snap the fingers. 12 Point outward. 13 Drop the hand. 14 Bring hands to breast — shake the head. 15 Throw both hands upward and outward forcibly. 16 Both hands on heart. 17 Shake finger deliber- ately. 18 Point downward. 19 Step slowly to left — left hand extended — palm down. 20 Rub cheek. 21 Point down. 22 Touch breast — stand very erect. 23 Shake hand upward. 24 Touch left palm with the right. 25 Throw arms widely apart. 26 Bend forward — touch breast. 27 Hold up right hand clinched. 28 No. 7 hand plate. 20 Put out right hand — then point up — then touch breast. 30 Hands out — touch face — becoming weak. 81 Shake the head and clasped hands. 32 Cross arms over breast. 232 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 97-FROM THE PLAY OF THE "IRON CHEST." [Two Speakers: Sir Edward Mortimer and Wil- ford.] Sir E. Wilford, 1 approach me. — What am I say for aiming at your life? — Do you not scorn me, despise me for it? Wilf. I ! Oh, sir ! 2 Sir E. You must; 3 for I am sighted from the herd of men, a vile, heartbroken wretch ! Wilf. Indeed, indeed, Sir, 4 you deeply wrong yourself. Your equal's love, the poor man's prayer, the orphan's tear of gratitude, all follow you : — and I — I owe you all ! I am most bound to bless you. Sir E. Mark 5 me, Wilford: — I know the value of the orphan's tear, the poor man's prayer, respect from the respected; I feel, to merit these and to obtain them, is to taste, here below, that thrilling cordial 6 which the remunerating Angel draws from the eternal fountain of delight, to pour on blessed souls that enter Heaven. I feel this : — I ! — 7 How must my nature, then, revolt at him who seeks to stain his hand in human blood ? — and yet, it seems, this day I sought your life. — Oh ! 8 I have suffered madness! None know my tortures, — pangs! — But I 9 can end them : end them as far as appertains to thee. — I have resolved it. — Fearful struggles tear me: but I have pondered on't, — and I must trust thee. Wilf. Your confidence shall not be broken. Sir E. You must 10 swear. Wilf. Swear, Sir ! — n will nothing but an oath, then Sir E. Listen. 12 May all the ills that wait on frail humanity be doubled on your head, if you disclose my fatal secret! May your body turn most lazar-like and loathsome; and your mind more loathsome than your body ! May those fiends who strangle babes for very wantonness, shrink back and shudder at your monstrous crimes, and, shrinking, curse you ! Palsies strike your youth ! FROM THE PLAY OF THE "IRON CHEST." 233 VERT LOUD INTENSE. QUICK AXD LOUD. and the sharp terrors of a guilty mind poison your aged days ! while all your nights, as on the earth you lay your houseless head, out-horror horror! May you quit the world abhorred, self hated, hope- less for the next — your life a burden, and your death a fear ! Wilf. 13 For mercy's sake, forbear ! you terrify me ! Sir E. Hope this may fall upon thee : — 14 swear thou hop'st it, by every attribute which heaven or earth can lend to bind and strengthen conjura- tion, if thou betray' st me. Wilf. [After a pause.'] 15 I swear, by all the ties that bind a man, divine or human, never to divulge! Sir E. Eemember 16 you have sought this secret : yes, extorted it. I have not thrust it on you. 'Tis big with danger to you ; and to me, while I prepare to speak, torment unutterable ! 17 Know, Wilford, that 0, torture! Wilf. Dearest sir ! 18 collect yourself This shakes you horribly : you had this trembling, it is scarce a week, at Madam Helen's. Sir E. There it is — her uncle 19 Wilf. Her uncle ! Sir E. Him.. She knows it not; — none know it. — 20 You are the first ordained to hear me say, I am — 21 h is m urde re r. Wilf. horror ! 22 Sir E. His assassin. Wilf. What ! you that — mur — the murderer — 23 I am choked! Sir E. Honor, 24 thou blood-stained god! at whose red altar sit war and homicide : ! to what madness will insult drive thy votaries ! In truth, in the world's range, there does not breathe a man, whose brutal nature I more strove to soothe with long forbearance, kindness, courtesy, than his who fell by me. But he disgraced me, stained me 25 oh, death and shame! — the world looked on, and saw this sinewy savage strike me down, rain blows upon me, drag me to and fro, on the base earth, 234 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. like carrion. Desperation, in every fibre of my frame, cried 26 Vengeance! I left the room which he had quitted: chance, (curse on the chance!) while boiling with my wrongs, thrust me against him, darkling, in the street — 21 I stabbed him to the heart — and my oppressor rolled lifeless, at my foot. Wilf. Oh ! mercy on me ! 28 How could this deed be covered? Sir E 29 Would you think it? E'en at the mo- ment when I gave the blow, butchered a fellow crea- ' turein the dark, I had all good men's love. But my quick. disgrace, and my opponent's death thus linked with it, demanded notice of the magistracy. They summoned me, as friend would summon friend, to acts of import and communication. We met — and 'twas resolved, to stifle rumor, to put me on my trial. No accuser, no evidence appeared, to urge it on — 'twas meant to clear my fame. — How clear it then? How cover it? — you say. — Why, by a lie — 30 guilt's offspring, and its guard. I taught this breast, which truth once made her throne, to forge a lie, this tongue to utter it; — rounded a tale, smooth as a Seraph's song from Satan's mouth; so well compacted, that the o'er- thronged court disturbed cool Justice in her judg- ment-seat, by shouting 31 " Innocence!" ere I had finished. The court enlarged me; and the giddy rabble bore me, in triumph, home. 32 Ay! — look upon me — I know thy sight aches at me. Wilf. Heaven 33 forgive you ! It may be wrong — indeed I pity you. scorn. Sir E. I disdain all pity, — 34 I ask no consola- tion. Idle boy ! think'st thou that this compulsive confidence was given to move thy pity? — Love of fame (for still I cling to it), has urged me, thus to quash thy curious mischief in its birth. Hurt honor, in an evil cursed hour, drove me to murder — lying ; — 'twould again ! My honesty, — sweet 35 peace of mind, — all, all, are bartered for a name. I will maintain it Z 36 — Should Slander whisper o'er my sepulchre, and my soul's agency survive in death, I could embody it with heaven's lightning, CLIMAX. FROM THE PLAY OP THE "IRON CHEST." 235 SURPRISE. STRONG. and the hot shaft of my insulted spirit should strike the blaster of my memory dead, in the churchyard. 37 Boy, I would not kill thee; thy rashness and discernment threatened danger! to check them there was no way left but this — save one — your death: — you shall not be my victim. Wilf. My death! 38 What, take my life? — my life ! to prop this empty honor ? Sir. E. Empty ? Grovelling food ! 39 Wilp. I am your servant, Sir, child of your bounty, and know my obligation. I have been too curious, haply : 'tis the fault of youth — I ne'er meant injury: if it would serve you, I would lay down my life : 40 I'd give it freely : could you then have the heart to rob me of it ? You could not — should not. Sir E. How? Wilf. You dare not. 41 Sir E. Dare not ! Wilf. Some hours ago, you durst not. ^Pas- sion moved you — reflection interposed, and held your arm. But, should reflection prompt you to attempt it, my innocence would give me strength to struggle, and 43 wrest the murderous weapon from your hand. How would you look to find a peas- ant boy return the knife you levelled at his heart ; and ask you which in heaven would show the best rich man honor ^ or a poor 45 mans honesty 1 Sir Edward, who is standing on right side of stage facing audience, beckons Wilford, who is on the left side. 2 Hang the head. 3 Left hand, No. 1 hand plate. 4 Right hand, No. 1 hand plate. 5 Lef t hand, No. 7 hand plate. 6 Point upward. 7 Hand on breast. 8 Both hands clasping head. 9 Turn toward W. — left hand extended. 10 Bring down forcibly the right hand on "swear." 1X Advance to Sir E. 12 Turn full upon him— raise hand threateningly — keep it shaking till end of speech. 13 Bend toward Sir E., clasping hand. 14 Pointing up — eyes glaring. 15 Raise hand in act of swearing. ie Left hand, No. 1 hand plate. 17 Clasp hands in anguish — cross quickly down to left corner and back to position. 18 Fol- lowing Sir E. — hands extended. 19 Quickly turn to him. 20 Point to Wilford. 21 Hands on breast — look up. 22 Clasp hands. 23 Clutch throat. 24 No. 5 arm plate. 25 Both hands to head. 26 Raise up quickly right arm. 27 Plunge forward — stabbing downward. 28 Clasping hands. 29 Left hand, No. 1 hand plate. 30 Clinch both hands and drop them by the sides. 31 Wave right hand in air. 32 Cover face with hands. 33 Shake head sadly. 34 Walk down to right corner — return — left hand out. 35 Hand on breast, then on the forehead. 36 Point down. 37 Approach W. — both hands in the posi- tion of grasping. 38 Step backward in surprise. 39 Lay hand over heart. 40 Advance toward Sir E. — arms wide apart. 41 Elevate hand — stand erect. 42 Right hand, No. 2 hand plate. 43 Snatch arm back quickly. ** No. 4 arm plate. 45 Hand on breast. 5 236 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. COMMAND. SCORN. 98-FROM THE PLAY OF "WILLIAM TELL." Knowles. ^Four Speakers: Tell, Albert, (his son), Gessler, Sarnem, and Attendant.] Sar. [To Tell] Behold the governor. 2 Down, slave, npon thy knees, and beg for mercy. Ges. Does he hear ? Sar. He does, but braves thy power. z Down, slave, and ask for life. Ges. [To Tell] Why speak'st thou not? Tell. For wonder! 4 Yes, for wonder — that thou seem'st a man. Ges. What should I seem ? Tell. A monster! Ges. Ha ! Beware ! — think on thy chains. Tell. Think on my chains! 5 How came they on me? Ges. Dar'st thou question me ? 6 Beware my vengeance. Tell. Can it more than hill? Ges. Enough; it may do that. Tell. No, not enough : — 7 it cannot take away the grace of life — the comeliness of look that virtue gives — its port erect, with consciousness of truth — its rich attire of honorable deeds — its fair report that's rife on good men's tongues: — it cannot lay its hand on these, no more than 8 it can pluck his brightness from the sun, or with polluted finger tarnish it. Ges. But it may make thee writhe. Tell. 9 It may, and I may say, "Qo onl" though it should make me groan again. Ges. Whence com'st thou? Tell. From the mountains; 10 there they watch no more the avalanche. Ges. Why so? Tell. Because they look for n thee! The hur- ricane comes unawares upon them: from its bed the torrent breaks and finds them in its track Ges. What then? FROM THE PLAY OP "WILLIAM TELL. 237 SCORN. FEAR, GUTTURAL. Tell. They thank 12 kind Providence it is not thou ! — Thou hast perverted nature in them. The earth presents her fruits to them, and is not thanked. 13 There's not a blessing Heaven vouch- safes them, but the thought of thee doth wither to a curse — as something they must lose, and had far better lack. Ges. 'Tis well. I'd have them as their hills — that never smile, though wanton summer tempt them e'er so much. Tell. But they do sometimes smile. Ges. Ah ! — when is that ? Tell. When they do pray for vengeance! and the true hands are 14 lifted up to Heaven, on every hill, for justice on thee! Ges. [To Sarnem.~] Now will I take exquisite vengeance. [To Tell.'] I would see thee make a trial of thy skill with that 15 same bow. 'Tis said thy arrows never miss. Tell. What is the trial? Ges. Thou look'st 16 upon thy boy as though in- stinctively thou guessedst it. Tell. Look upon my boy ! 17 What mean you ? Look upon my boy as though I guessed it ! — Guessed at the trial thou wouldst have me make ! — Guessed it instinctively ! Thou dost not mean ! — 18 no, no ! — Thou wouldst not have me make a trial of my skill upon my child ? Impossible ! I do not guess thy meaning. Ges. 19 Fd see thee hit an apple on his head, three hundred paces off. Tell. Great Heaven ! Ges. On this condition I will spare his life and thine. Tell. Ferocious monster ! 20 make a father mur- der his own child ! — 'Tie beyond horror ! 'tis too much for flesh and blood to bear ! Ges. Dost thou consent? Tell. My hands 21 are free from blood, and have no gust for it, that they should drink my child's. I'll not murder my boy for Gessler! 2&8 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. PLEADING. SARCASM. CONVERSA- TIONAL. Boy. 22 You will not hit me, father. You'll be sure to hit the apple. Will you not save me, father ? Tell. Lead me forth — I'll make the trial. Boy. Father 23 Tell. Speak not to me ; 24 — let me not hear thy voice — thou must be dumb, and so should all things be — Earth should be dumb, and heaven, unless its thunder muttered at the deed, and sent a bolt to stop it. — 25 Give me my bow and quiver. Ges. Th,en all is ready. Sarnem, measure hence the distance — three hundred paces. Tell. Will he do it fairly? Ges. What is't to thee, fairly or not? Tell. 0, nothing! a little thing! a very little thing! I only shoot at my child! [Sarnem pre- pares to measure.] 26 Villain, stop ! You measure against the sun. Ges. And what of that ? What matter whether to or from the sun ? Tell. I'd have it at my back. The sun should shine upon the mark, and not on him that shoots : — / will not shoot against the sun. Ges. Give him his way. [Sarnem paces and goes out.'] Tell. I should like to see the apple I must hit. Ges. There, take that. 27 Tell. You've picked the smallest one. Ges. I know I have. Thy skill will be the greater if thou hittest it. Tell. True!— True! I did not think of that. I wonder I did not think of that. A larger one had given me a chance to save my boy. — 28 Give me my bow and quiver. Ges. ..[To an attendant.] Give him a single arrow. Tell. [Looks at it, and breaks it.] Let me see my quiver. It is not one arrow in a dozen I would use to shoot with at a dove, much less a dove like that. Ges. Show him the quiver. FROM THE COMEDY OF "THE RIVALS.'' 239 quiet in- [Sarnem takes the apple and leads out the boy tensity. j. Q pj ace ifi em j meanwhile Tell conceals an arrow under his garment. He then selects another arrow.] Tell. Is the boy ready ? 29 Keep silence now for Heaven's sake, and be my witnesses, that, if his life's in peril from my hand, 'tis only for the chance of saving it. For mercy's sake, | keep motionless and silent! [He aims and shoots in the direction of the boy. Sarnem enters with the apple on the arrow's point.'] Sar. The boy is safe — no hair of him is touched ! Tell. 30 Thank Heaven ! \_As he raises his arms the concealed arrow falls.] Ges. Unequalled archer! Ha! why this con- cealed 1 ? very loud. Tell. 31 To kill thee, tyrant, had i slain MY BOY. 1 Positions are : Sarnems, right corner ; Gesser, right center ; Tell, left center ; Albert, left corner — supposed to be facing audience. 2 Point down. 3 Repeat gesture. 4 Arms folded. 5 Put out both arms. 6 Shake fist. 7 No. 5 arm plate. 8 Point upward. 9 Arms folded. lCT Point upward to back of stage. u Point directly at Gesser. 12 Both hands raised up. 13 Point up again. 14 Shaking finger — No. 4 arm plate. 15 Point to Tell's shoulder. 16 Point at Albert. 1T Look around. 18 Clasp hands in anguish. 19 Point at Albert's head. 20 Rush quickly toward Gesser. 21 Look at hands. 22 Both hands extended toward Tell. 23 Advance near Tell — clasp hands. 2i Left hand as in No. 6 hand plate. 25 Quick turn up stage. 26 Raise hand. 2T Hands apple. 2S Puts out hand to take them. 29 Goes up stage — takes position — with left hand motions for silence. 30 Clasp hands — put them up — look up — drops arrow. 31 Come down stage and shake finger at Gesser. FROM THE COMEDY OF "THE RIVALS." Sheridan. [Four Speakers: Sir Anthony Absolute, Captain Absolute, Fag, and Boy.] Fag. Sir, 1 there is a gentleman below desires to see you. — Shall I show him into the parlor ? Abs. Ay — you may. 2 But stay ; who is it, Fag ? Fag. Your father, sir. 240 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. PLEASANT, COMPLA- CENT. AMAZE. MENT. Abs. You puppy ! 3 why didn't you show him up directly? [Exit Fag.] Now for a parental lec- ture. — [Enter Sir Anthony Absolute.] — 4 Sir, I am delighted to see you here, looking so well! 5 Your sudden arrival at Bath made me apprehen- sive for your health. Sir Anth. Very apprehensive, I dare say, Jack. — What, 6 you are recruiting here, eh? Abs. Yes, sir, I am on duty. Sir Anth. Well, Jack, I am glad to see you, 7 though I did not expect it ; for I was going to write to you on a little matter of business. — Jack, I have been considering that I grow old and infirm, and shall probably not trouble you long. Abs. Pardon me, sir, I never saw you look more strong and hearty. Sir Anth. Well, then, Jack, I -have been con- sidering that I am so strong and hearty, I may continue to plague you a long time. Now, 8 Jack, I am sensible that the income of your commission, with what I have hitherto allowed you, is but a small pittance for a lad of your spirit. Abs. Sir, you are very good. Sir Anth. And it is my wish, while yet I live, to have my boy make some figure in the world. I have resolved, therefore, to fix you 9 at once in a noble independence. Abs. Sir, your kindness overpowers me; — 10 I cannot express the sense I have of your munifi- cence. — Yet, sir, I presume you would not wish me to quit the army? Sir Anth. Oh, that shall be as your wife chooses. Abs. My wife, sir! 11 Sir Anth. Ay, ay, settle that between you — 12 settle that between you. Abs. A wife, sir, did you say? Sir Anth. Ay, 13 a wife — did I not mention her before ? Abs. Not a word of her, sir. Sir Anth. I mustn't forget her, though. — Yes, THE SPANISH MOTHER. (See page 31.) FROM THE COMEDY OP "THE RIVALS. 241 QUICK DIA- LOGUE. DECIDED. LOUD PASSION- ATE 14 Jack, the independence I was talking of is by marriage; — the fortune is saddled with a wife — but I suppose that makes no difference. Abs. Sir ! You amaze me ! Sir Anth. Why, what's the matter with the fool ? 15 Just now you were all gratitude and duty. Abs. I was, sir ; — you talked to me of independ- ence and a fortune, but not a word of a wife. Sir Anth. Why, what difference does ' that make ? Tut, tut, sir ! if you have the estate, 16 you must take it with the live stock on it, as it stands. Abs. Pray, 17 sir, who is the lady? Sir Anth. 18 What's that to you, sir? — 16 Come, give me your 'promise to love and to marry her directly. Abs. Sure, sir, this is not very reasonable, to summon my affections lor a lady I know nothing of! Sir Anth. I am sure, sir, 'tis more unreasonable in you to object to a lady you know nothing of. Abs. 20 Then, sir, I must tell you plainly, once for all, that on this point I cannot obey you. Sir Anth. Hark'ee, Jack; — 21 I have heard you for some time with patience— I have been cool — quite cool; 22 but take care — you know I am com- pliance itself when I am not thwarted; — no one more easily led, when I have my own way; — but | don't put me in a frenzy. Abs. Sir, I must repeat it — in this I cannot obey you. Sir Anth. Now, hang me! 23 if ever I call you Jack again while I live ! Abs. Nay, sir, but hear me. Sir Anth. Sir, I won't hear a word — not a word ! not one word ! — so give me your promise by a nod — and I'll tell you what, Jack, if you don't 24 Abs. What, sir, promise to link myself to some mass of ugliness ! Sir Anth. 26 'Zounds! sirrah! the lady shall be as ugly as I choose : she shall have a hump on each 242 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. shoulder; she shall be as crooked as the Crescent; her one eye shall roll like the bull's in Cox's museum ; she shall have a skin like a mummy, and the beard of a Jew — she shall be all this, sirrah ! — yet I will make you ogle her all day, and sit up all night to write sonnets on her beauty. — None of your sneering, puppy ! No grinning, jack- anapes ! Abs. Indeed, sir, I never was in a worse humor for mirth in my life. Sir Anth. 'Tis false, sir ! I know you are laugh- ing in your sleeve : 27 I know you'll grin when I am gone, sirrah ! quiet. Abs. Sir, I hope I know my duty better. 28 Sir Anth. None of your passion, sir ! none of your violence, if you please ! — It won't do with me, I promise you. Abs. Indeed, sir, I never was cooler in my life. Sir Anth. I know you are in a passion in your heart ; I know you are, you hypocritical young dog ! but it won't do. Abs. Nay, sir, upon my word very loud. Sir Anth. So you will fly out ! 2Q Cant you be cool like me? What good can passion do? — Passion is of no service, you impudent, insolent, overbearing reprobate ! — There, you sneer again ! don't provoke me ! — but you rely upon the mildness of my temper — you do, you dog ! — you 30 play upon the meekness of my disposition ! — Yet take care — the patience of a saint may be overcome at last ! — But mark ! I give you six hours and a half to consider of this: if you then agree, without any condition, to do everything that I choose, why — I may in time forgive you. 31 If not, zounds ! don't enter the same hemisphere with me ! don't dare to breathe the same air, or use the same light with me ; but get an atmosphere and a sun of your own ! I'll strip you of your commission ! I'll dis- own you ! I'll disinherit you ! and, hang me ! 32 if ever I call you Jack again ! [Exit.~] Abs. Mild, gentle, considerate father ! 33 I dare FROM THE COMEDY OF "THE RIVALS." 243 not trust him with the truth, that I am already engaged. Fag. [Enters.] Assuredly, sir, your father is wroth to a degree ; he 34 comes down stairs eight or ten steps at a time — muttering, growling, and thumping the banisters all the way: I and the cook's boy stand bowing at the door — 35 rap ! he gives me a stroke on the head with his cane, bids me carry that to my master; 36 then kicking the poor turnspit into the area, curses us all for a puppy triumvirate. Abs. Cease your impertinence, sir. — Did you come in for nothing more? — Stand out of the way! 37 [Pushes him aside and exit.] Fag. So ! Sir Anthony trims my master ; and he vents his spleen 38 on poor Fag! — When one is vexed by one person, to revenge one's self on an- other, who happens to come in the way, is the vilest injustice ! Ah ! it shows the worst temper — the basest Boy. [Enters.] Mr. Fag ! Mr. Fag ! your master calls you. spirited. Fag. 39 Well, you little dirty puppy, you need not bawl so ! Boy. Quick, Mr. Fag! Fag. Quick! you impudent jackanapes? Am I to be commanded by you, too ? 40 you little imperti- nent, insolent, kitchen-bred [Exit kicking and o eating him.] 1 Capt. Absolute at right of stage — Fag left — facing audience. 2 Fag going left. s Shake fist at him. 4 Sir Anthony enters left. 5 Shakes hands. 6 Looking around the room. 7 Cane under arm — rubbing hands together. 8 No. 12 hand plate.. 9 Take the left corner — rubbing hands. 10 Bowing quite low. u Start back — raise arm — turn to right. 12 Make small, careless gesture — face audience. 13 Turn toward him full — No. 2 hand plate. 14 Twirling cane. 15 Strike stage with cane. 16 Strut down to left corner. 17 No. 5 arm plate. 18 Strike stage again with cane. 19 No. 1 hand plate. 20 Place both hands behind back. 21 Both characters facing. 22 Shake finger. 23 Take left corner. 2 * Turn and raise arm. 25 Both hands toward Sir Anthony. 26 Strike stage again — gesticulate with cane until the end of speech. 27 Shake cane in his face. 28 Repeat action. 29 Swing cane and left hand wildly in air. 30 Strikes his own chest with cane. 31 Open arms wide apart. 32 Walk very quickly up and down stage. 38 Turn to right. 84 Imitate Sir Anthony coming down stairs. 8B Bring hand down forcibly from the head. 38 Kick forward the right foot. 87 Kick Fag around room. 38 Feeling his bruises. 39 Shakes fist. 40 Kicks boy out of room. 244 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. NATURAL TONES BUT SAD. EARNEST QUES- TIONING. 100-FROM THE TRAGEDY OF "MACBETH." 1 [Three Speakers: Macduff, Prince Malcolm, and Eosse.] Macd. See, 1 who comes here? Mal. My countryman ; but yet I know him not. Macd. My ever-gentle cousin ! — Welcome hither. 2 Mal. I know him now. Kind Powers ! be- times remove the means which make us strangers ! Eosse. Sir, amen. Macd. Stands Scotland where it did ? 3 Eosse. Alas, 4 poor country, almost afraid to know itself ! — it cannot 5 be called our mother, but our grave; where nothing, — but who knows nothing, — is once seen to smile; where sighs and groans, and shrieks that rend the air, are made, not marked ; where violent sorrow seems 6 a modern ecstasy : the dead man's knell is there scarce asked, nor whom ; and good men's lives expire before the 7 flowers in their caps — dying, or ere they sicken. Macd. Oh, relation too nice, and yet too true ! Mal. What is the newest grief? 8 Eosse. That of an hour's age doth hiss the speaker; each minute teems a new one. Macd. How does my wife? 9 Eosse. Why, well. Macd. And all my children? 10 Eosse. Well too. Macd. The tyrant has not battered at their peace ? Eosse. No ; they were well at peace, when I did leave them. Macd. 11 Be not a niggard of your speech: how goes it? Eosse. 12 When I came hither to transport the tidings, which I have heavily borne, there ran a rumor of many worthy fellows that were out, — which was to my belief witnessed the rather, for that I saw the tyrant's power a-foot : 13 now is the time of help: your eye in Scotland would create FROM THE TRAGEDY OF "MACBETH. 245 INTER- ESTED. LOW. LOUD. LOW. soldiers,, and make women fight to doff their dire distresses. Mal. Be't their comfort we're coming thither: gracious England 14 hath lent us good Siward and ten thousand men; an older and a better soldier, none that Christendom gives out. Eosse. Would I could answer this comfort with the like ! But I 15 have words, that would be howled out in the desert air, where hearing should not catch them. Macd. 16 What concern they? the general cause? or is it a fee-grief, due to some single breast ? Eosse. No mind that's honest but in it shares some woe; though the main part pertains to you alone. Macd. If it be mine, keep it not from me; 17 quickly let me have it ! Eosse. Let not your ears despise my tongue for ever, which shall 18 possess them with the heaviest sound that ever yet they heard. Macd. Ah ! I guess at it ! Eosse. Your castle is surprised; your wife and oabes savagely slaughtered! — to relate the manner, were, on the quarry of these murdered deer, to add the death of you. Mal. Merciful powers ! 19 What, man ! ne'er pull your hat upon your brow; give sorrow | words; — the grief, that does not speak whispers the o'er-fraught heart, and bids it break. Macd. My children too ? 20 Eosse. Wife, children, servants, all that could be found. Macd. And I must be from thence ! — 21 My wife 'killed too? Eosse. I have said. Mal. Be comforted. Let's make us med'cines of our great revenge, to cure this deadly grief. Macd. 22 He has no children — All my pretty ones ? Did you say all ? what, all ? — Oh, hell-kite ! — all ? What ! all my pretty ones,, at one fell swoop ? 246 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. QUICK. PATHET- IC. Mal. Dispute it like a man. Macd. 23 7 shall do so! but I must also feel 2 * it as a man cannot but remember such things were, most precious to me ! Did 25 Heaven look on, and would not take their part? Sinful Macduff, they were all struck for thee ! Naught that I ani; not for their own demerits, but for mine, fell slaughter on their souls ! Mal. Be 26 this the whetstone of your sword; let grief convert to wrath: blunt not the heart; enrage it. Macd. 0, I could play the woman with mine eyes, and braggart with my tongue. But, gentle Heaven ! cut short all intermission 27 front to front, bring thou this fiend of Scotland and my- very loud, self; within my sword's length set him! — if he 'scape, then Heaven forgive him too! Position of characters : Macduff, center ; Malcolm, right ; Rosse, enters left at beginning of dialogue. J Point left. 2 Takes his hand. 3 Left hand, No. 1 hand plate. 4 Shake head sadly. 5 Put out hand — palm up — then point down. a Hand on breast. " Touch head with left hand. 8 Left hand out toward Rosse. * Turn toward Rosse — clasp hands. 10 Repeat same. u Raise head — earnest manner. 12 No. 1 hand plate. 13 Raise clinched hand. 14 Right hand out. 15 Send hand from mouth outward. 16 No. 5 arm plate — look from one to the other. 17 Repeat same gesture. 18 Hang the head — great sadness. 19 Advance toward Mac- duff — hands extended. 20 Clasping head with hands. 21 Turn toward Rosse. --' Hands trembling violently. - 3 Raise hand up — stand straight. 2 * Both hands on breast — look up tearfully. 25 No. 4 arm plate. - u Advance — No. 8 arm plate. 27 Kneel — action of drawing sword — hold it aloft — keep posture till finish. APPENDIX A FEW REMARKS ON VOICE AND EXPRESSION A FEW REMARKS ON VOICE AND EXPRESSION. VOICE. Voice is an audible sound produced by the larynx ; speech or articulate language is voice modified in the cavity of the mouth. The principal vocal organs are the Diaphragm, the Lungs, the Bronchial Tubes, the Trachea, the Larynx, the Vocal Chords, the Mouth, and the Ear, The Diaphragm is an elastic muscle which divides the stom- ach from the lungs. With every inhalation of air, this muscle contracts and thus enlarges the cavity of the chest. The spec- ial power of this muscle is important in securing endurance or "long wind." The habit of taking frequent and deep inspira- tions, (i. e. taking breath into the lungs) whilst standing with the shoulders well thrown back, greatly increases the capacity and power of the organs of breathing. The Lungs, which are the special organs of respiration, con- sist of two lobes, in substance soft, elastic and sponge like, and are composed of a vast number of vesicles or little hollow cells into which air pours when the chest is expanded and from which it is expelled when the chest is contracted by the action of the diaphragm and pectoral muscles. Large and capacious lungs are therefore a great desideratum A FEW REMARKS ON VOICE AND EXPRESSION. 249 in a speaker. The lungs are capable of being developed to a great extent. The exercise needed to develop this organ con- sists in inhaling gradually through a small apperture in the mouth draughts oipure air, and gradually expelling the same, after having completely filled the lungs. This exercise, how- ever, should be dispensed with in wet weather or when the at- mosphere is very moist. The Bronchial Tubes and the Trachea are the pipes which convey the air to and from the lungs and they constitute what is called the Wi?idpipe, terminating at the throat in the larynx. The Larynx is a sort of box of cartilage across which are stretched the vocal chords. Here voice is formed. These chords are made to vibrate by the breath as it is expelled from the lungs and by these vibrations the breath is converted into sound. The loudness and force of the sound depends on the breadth of the sound ; it also depends in no slight degree upon the size of the resonant cavities as a louder sound by the same concus- sion will be produced in a large bell than in a small one. The chief vocal offices of the mouth are those of resonance and the different varieties of the volume of sound. The ear perceives and distinguishes minutely the sounds. QUALITIES OF VOICE. Bach person has a voice peculiar to himself as to quality. The object of elocution is not to change the quality of the voice, but to improve it ; to correct what is bad and develop as much as possible into good properties. A voice is said to be good when its tones are pure, full, clear and musical. A voice is rightly considered bad when it is characterized by an offensive roughness, hoarseness, flatness or by a shrill acute- ness or a nasal twang. Tones are said to be pure when all the air expelled from the lungs in producing the various sounds in speaking is converted into sound. The ear can be trained by attention and practice to dis- tinguish the properties of sound and under the guidance of the 250 A EEW REMARKS ON VOICE AND EXPRESSION. ear, the voice should be often exercised in forming with purity of tone the fundamental or vowel sounds A, E, I, O, U, also the dipthongs OI, OU. A large draught of air should be inhaled through the nostrils, filling the lungs previous to the exercise and the sounds of the vowels then given full and round, prolong- ing the utterance of each until the lungs are emptied. The Key in which the sounds are given can and should be varied and the volume or power of the tones gradually in- creased. Care should be taken in all practice of this kind not to strain the voice, but gently and gradually to encourage it to power and clearness. The exercise should not last too long ; ten minutes daily is sufficient time to give to it when the work is faithfully per- formed. Strength of the voice or power is the capability to utter loud and very loud sounds. The power of the voice is dependent principally upon the healthfulness of the organs of breathing and the size of the resonant cavities. The benefits of a strong voice to a speaker or reader are ob- vious, as with comparatively little effort he can make himself heard in large assemblies without the fatigue and the immense strain which a weak-voiced speaker is obliged to undergo. The great orators and tragedians have been noted for the great power of their voices. The practice necessary to attain a strong carrying voice is to adopt in the first place, the daily habit of deep breathing ; to exercise upon the vowel sounds and afterward joining conso- nants to them thus : Ba Da La Ga Ka Ra Ta Be De Le Ge Ke Re Te Bi Di Li Gi Ki Ri Ti Bo Do IvO Go Ko Ro To Bu Du Lu Gu Ku Ru Tu Boi Doi Iyoi Goi Koi Roi Toi Bou Dou Lou Gou Kou Rou Tou A FEW REMARKS ON VOICE AND EXPRESSION. 251 B-a-b D-a-d L-a-1 G-a-g K-a-k R-a-r T-a-t B-e~b D-e-d 1,-e-l G-e-g K-e-k R-e-r T-e-t B-i-b D-i-d L-i-1 Gig Kik R-i-r Tit Bob D-o-d L-o-1 Gog K-o-k R-o-r Tot B-u-b D-u-d Iv-u-1 G-u g K-u-k R-ur T-u-t B-oi-b D-oi-d L-oi-1 G-oi-g K-oi-k R-oi-r T-oi-t B-ou-b D-ou-d Iv-ou-1 G-ou-g K-ou-k R-ou-r T-ou-t The vowels should be given loudly and with purity of sound and the first and final consonants should be marked by exag- geration. The student should cultivate the habit of reading or declaim- ing aloul daily ; and if this can be done in the open air or a large well-ventilated room, so much the better. In other words use the voice and do so often. ACCENT. Accent is a peculiar stress of the voice given to one or more syllables of a word, thereby making it more prominent than the others. The syllable accentuated is sometimes indicated by a mark called the acute accent, as : similar. When the accentuated syllable falls toward the end of a long word there may be a secondary or lesser accent, as : recom- mendation. Accent depends upon the power or force of the voice on a syllable and not upon the low or high pitch. The grave accent marked thus ( v ) is used to indicate a pro- longed stress of the voice and also that the vowel so marked forms a separate syllable, as : a learned man ; it likewise marks the downward inflection on a word. All words of more than one syllable are accentuated by the voice in one or more places. The mark is only occasionally printed. Accent is determined by custom, the standard of dictionaries being founded on the practice of good speakers. Russell says : ' ' Correct accent is indispensable in reading and speaking ; not merely as a convenience of intelligible ex- 252 A EEW REMARKS ON VOICE AND EXPRESSION. pression, and as a result of education, but as an indication of intelligence and a taste in regard to language, and as an element of all distinct and spirited expression. "The accented syllable of every expressive word becomes the seat of life in utterance ; and there can be no surer way of ren- dering the exercise of reading unmeaning and uninteresting, than to indulge the three prevalent faults of slighting the accent of words, unduly prolonging and forcing it, and distributing its effects over several syllables of a word, instead of confining it to one." Words accented on the first syllable : accessory admirable advertise blasphemous character capillary disputable exemplary construe desultory compromise complaisance exquisite lamentable mischievous vehement, etc. Words accented on the second syllable : acumen advertisement antipodes centrifugal committee consummate distribute fraternize horizon inquiry interpolate museum, etc. Words accented on the third syllable : acquiescent benefactor coadjutor desperado european ignoramus colosseum simultaneous, etc. Some words that change the position of the accent according to their grammatical character : An accent An affix A compress A c6nflict A c6nvert A rebel to accent to affix to compress to conflict to convert to rebel, etc. Hence, when words are properly articulated and properly ?.c cented, they are properly pronounced. A. FEW REMARKS ON VOICE AND EXPRESSION. 253 ARTICULATION. Articulation is the distinct utterance of the elementary sounds of speech joined together in syllables and words. The elementary sounds are the vowels, semi- vowels and con- sonants. The vowels being fundamental sounds can be uttered alone. The consonants are letters which when joined to vowels are sounded with them. An effective exercise on the elementary sounds consists in uttering them with the most complete exactness singly and afterwards in their most complicated combinations. Very frequently, if strict attention be paid to the correct sounding of all the consonants in words, the vowels will take care of themselves ; very often the chief cause of a defective enunciation is induced by negligence in this respect. Repeat the following words accurately sounding all the consonants : reflects bagged hadst ambl 'dst drifts fibbed puff'st fumbl 'dst flints edged nibb 'st humbl'dst costs digged call 'st stifl'dst schisms yelped canst cling 'st sylphs swerved bett'st deaden 'dst plinths lisped hopp'st length stealth swathed sapp 'st strength An excellent practice and an important one is the exercise of uttering a number of sentences in a whisper. As vocality and non-vocality are eliminated, the only way to make ourselves heard by others is by the strength and exactness of the whis- pered articulation. The very attempt in trying to make persons at a distance understand our whispered words, improves the articulating faculties. The benefits of a perfect articulation to the speaker whether in oratory, acting or in the ordinary conversations of daily life must be patent to everybody. A strong voice, mag- nificent presence, excellent material, the most profound research 254 A FEW REMARKS ON VOICE AND EXPRESSION. and faultless rhetoric, will be lost to the auditors if the speaker is not understood ; therefore strive to attain a distinct enun- ciation. EMPHASIS. The word emphasis, taken from the Greek compound verb e/xcpaivu, which means, to bring to light, or to show, is one of the important elements in reading and speaking. It brings out prominently the words, around which hang the greatest value in the sentence, rescuing them from monotonous obscurity, and by the force necessary to bring them into prominence, the attendant elements are brought into use, viz. • force of voice, inflection, time and pitch. Emphasis is a stress or force of the voice placed upon one or more words in a sentence. The words are often printed in italics; those requiring more force, in small capitals; and those needing the greatest possible force in large CAPITALS. Emphasis should be given to : Words and phrases having an important meaning and value ; Antethetioal words or phrases that are contrasted or opposed ; Important words that are repeated. Prof. Mcllvaine says : "All emphasis is relative ; that is to say, the degree of promi- nence which is to be given to words or phrases, is to be deter- mined by the connection in which they stand, and by the occasion or circumstances of the delivery. Where the whole passage is of a more or less emphatic character, the emphatic words require greater or less prominence. The highly wrought emphasis of impassioned oratory, would be wholly out of place in a parlor reading of the same speech ; and in large audiences, a much stronger emphasis is in place than in small. Propriety requires this relative character of emphasis to be carefully observed." INFLECTION. Inflection is the bending or sliding of the voice when reading and speaking ; it is also a part of emphasis, for whenever we emphasize we also inflect. A FEW REMARKS ON VOICE AND EXPRESSION. 255 There are three kinds of inflection of the voice : the Upward, the Downward and the Circumflex, or union of the upward and downward inflections. The chief function of inflection is in the expression of senti- ment — the sentiment determines the inflection. The upper and lower degrees of inflection express the various degrees of pas- sion and feeling. Calm thoughts are expressed with but slight inflections. The upward inflection is used for thoughts that are condi- tional, incomplete, and in questions for information. Earnest expressions of uncertainty, hesitation, irony take the upward inflection. When the clauses or words are compared with or opposed to one another, the first has usually the upward and the latter the downward inflection. The circumflex is employed when ideas lack sincerity and express jest, ridicule, mockery or sarcasm. PITCH. The pitch is entirely different from the force and quality of the voice and is determined by the number of vibrations in a specified time. The varieties in pitch of which the voice of man is capable of rendering in flexibility and stretch, is truly remarkable. The changes of pitch, upward and downward, are one of the means for obtaining complete expression both of thought and feeling, as many different shades of sentiment cannot be ex- pressed by any other means. We may mention three kinds of pitch : the high, the moder- ate and the low. Pitch refers to the keynote of the voice. The student may deliver a sentence, speaking it in the lowest possi- ble key ; then repeating it, each time elevating the pitch until the highest notes of which the voice is capable have been reached. Thoughts that lack passion, as the ordinary conversation, descriptions or calm reasoning are expressed in the moderate pitch of the voice. Violent or uncontrollable passions which 256 A EBW REMARKS ON VOICE AND EXPRESSION. break forth in expression sometimes rise to the highest pitch and sink to the lowest, taking in, as it were, a whole octave of notes. Excessive fear and joy, generally, are expressed in the high pitch of voice, whilst the sentiments of awe, sublimity, emo- tions of the heart and reverence use the low pitch. High Pitch : " Alrve ! in triumph ! and Mercutio slain ! Away to heaven, respective lenity, And fire-ey'd fury be my conduct now ! " — Romeo. Moderate Pitch : " For mankind are one in spirit, and an instinct bears along, Round the earth's electric circle, the swift flush of right or wrong ; Whether conscious or unconscious, yet Humanity's vast frame Through its ocean-sundered fibres feel the gush of joy or shame ; In the gain or loss of one race, all the rest have equal claim." — Lowell. Low Pitch : "I am thy father's spirit : Doomed for a certain term to walk the night ; And, for the day, confin'd to fast in fires, Till the foul crimes, done in my days of nature, Are burnt and purg'd away. " — Ghost of Hamlet's Father. PAUSES. Pauses are temporary cessations in reading and speaking. They are threefold : Grammatical, the Rythmical and the Rhetori- cal, and are essential to clearness and comprehension in the vocal expression of thoughts and sentiments. The Grammatical pauses are the period (•) colon (:) semi a. EEW REMARKS ON VOICE AND EXPRESSION. 257 colon (;) comma (,) dash ( — ) wonder mark (!) question mark (?) A pause should occur after the subject of a sentence also between two nouns in the same case without a connecting word. When the words, hence, and, but, yet, stand at the beginning of a sentence a pause should occur after them. Pauses should be made in cases of Ellipsis, that is, where words are omitted, and before and after emphatic words. Rythmical pauses are those which occur in verse and are of two kinds : the cesural and final. The cesural pause divides the verse and the final pause closes it. The Rhetorical pauses are those occurring in discourses which mark the divisions, sub-divisions and paragraphs. They are of great use as the}^ impart a clearness to the speaking and aid the audience to seize and follow the progress of the discourse. Pauses are of great value to the speaker himself as they enable him to rest — to inhale deep draughts of air and, if he be extem- porizing, to think. TinE. The time which is occupied in the delivery of sentences, paragraphs or the general discourse is quickened, modified or made slow according to the demands for the expression of the sentiments and meaning. Sentiments and thoughts partaking of the sublime, solemn and sorrowful require slow time. Ordinary affirmations, narrations and the quieter forms of emotion use the moderate time. Sentiments of great vivacity, sudden joy and fear, mirth, confusion require quick time. GESTURE. Gesture deals with the expressive movements of the body. We do not fully estimate the value of action which should be cultivated by every speaker for a successful delivery. Gesture is the principal element of the symbolic language of nature and everyone can understand it. 258 A FEW REMARKS ON VOICE AND EXPRESSION. It is sometimes more expressive than words. We not'ce that rage frowns, terror turns pale, shame blushes, joy laughs or smiles, kindliness beams in the eyes, hopelessness drags the hair and gnashes the teeth. By the aid of gesticulation the speaker can present his feel- ings to the eye of his audience, while his words address them to the car. We have seen and appreciated the efforts of pantomimists who by their action have afforded us an intelligent enjoyment for hours. Gesture should be appropriate to the sentiment and feeling. Hamlet's advice to the players " suit the action to the word, " should be kept in mind. The erect posture gives the chest full chance to expand and inhale the air fully. D) not lean on anything for support as if fatigued or lazy. The hands should not be thrust into the pockets nor inside the vest, nor clasped behind the back nor locked in front — they should hang naturally by the sides of the body when not in use. The countenance should vary with the sentiments and pas- sions. The eye which is the most expressive of all the features should be directed toward the audience, watching, controlling them. The orator must look at the audience, scan their faces and Strive to command their attention and rouse their sympathy. C. J. Birbeck. God-Speed * We " S^^SS 1 *™ With an Appendix of Prose Compositions, Salutatory Addresses and Valedictory Orations for School Festivals* TRICE, Bound in Cloth, - 75 Cents, TABLE OF CONTENTS. New Year's "Wishes : To Bride, On the Wedding Day, Home Coming of aYoung To the Parents, 12 nos. " Father, 2 Couple, " Mother, 2 With Flowers, To Grandparents, 2 " the Grandfather, 2 Verses for Jubilees : " •' Grandmother, 2 On Presentation of a Silver " Uncle or Aunt, 2 Wreath. " Brother or Sister, 4 For a Silver Wedding. " Teachers, 5 " Golden Wedding. " Clergymen, 1 " a Friend. 3 Grandparents' Golden Wedding. Anniversary of an Employee Birthday "Wishes : Anniversary of a Clergyman A Teacher's Anniversary. To the Father, 9 " Mother, 10 Poems for various Cele- " Grandfather, 5 brations : " Grandmother, 3 To Uncle or Aunt, 2 Reception of a NewTeacher. " Teachers, 5 School Children's Welcome 11 Clergymen, 1 to a Clergyman, Installation of a Clergyman. Christmas Wishes : Anniversary of a Society. To Parents, 4 Verses of Farewell : - To a Friend. Verses for Engagements " Teacher. and Marriages : Epitaphs and Inscriptions To an Engaged Couple, 3 for Tombstones : " Bridegroom, 1 General Inscriptions. Special Inscriptions ; For a Child. " Youth. " Young Girl. " Father. " Mother. For Parents. For a Husband, " Wife. " Clergyman. " Religious. " Teacher. Elegies for Deaths Burials : and At the Grave of a Clergyman At the Grave of a Teacher. Prose Compositions: Expressions of Faith, Grati- tude, and Good Wishes suitable for Addresses, Betters, Memorials, Resolutions, Testi- monials, etc., to Teachers, Clergymen, etc., etc. Salutatory Addresses: For School Festivals, 5. Valedictory Orations : For School Festivals, 5. From the above description, and contents and specimens of GOD-SPEED found on next page, the great usefulness and opportuneness of this entirely new and original book will be apparent. Every piece in this book has been especially composed and written for it by competent and gifted writers, and, while exaggerated and bombastic style has been scrupulously avoided, care has been taken to render the pieces, in thought and expression, worthy of the name Poetry. A book of like character and scope has not existed, in our language, previous to this. This UNIQUE BOOK supplies appropriate sentiment, clothed in beautiful language, for joyful and pathetic events in human life, and there is hardly anybody to whom the book would not be eminently serviceable on many occasions. For Schools and Educational Institutions this book is altogether indispensable. The appendix of SALUTATORY ADDRESSES and VALEDICTORY ORATIONS for School Festivals will be to them of special service. Recitations oH let the ri 2 ht arm form the arrow - Ana saia, l will snoot 4 Move the ri ht arm quickl forward as in 1 hat little cock-sparrow. shooting the arrow. ' ' His head 5 will make 5 point to each part as it is named A nice little stew ; His body will make A nice pie too." " ° h J J?'" - wid.the sparrow, 6 shake the head . " That never will do," So he spread out his wings* 7 Raise thearmsand dro0 pthe hands, raise and And away he new. lower them to imitate the action of flying. Etc. TWO CANTATAS FOR BOYS. A New and Novel Entertainment for Patriotic Occasions* COLUMBIA. THE TRIBUTE OF THE COLONIES. A Patriotic Cantata, By Alexander Bircha.lL PRICE, - 60 Cents. CONTENTS. No. J. Hail Columbia. No. 2. Hawaii. No. 3. Cuba. No. 4. Philippines. No. 5. Guam. No. 6. Porto Rico. No. 7. Finale. No, 8. Star Spangled Banner. Curtain rises upon a guard of American soldiers and sailors, grouped around a centre formed by a soldier and a sailor, standing on an elevated platform, and holding two U. S. flags crosswise. Hidden by these flags from the view of the audience stands the figure of Columbia, personified by a girl or boy in suitable costume. The colonies in their national costumes come marching in upon the stage, with their standards, sing their number, and take position in semicircles right and left of guard. After all the colonies are assembled, the captain commands: "Attention, Present Arms!" At these words the flags are brought apart, revealing Columbia, soldiers and sailors present arms, all others kneel down, raising their weapons high toward Columbia and the Star Spang- led Banner is sung by all, while red light is thrown on the tableau. Thus a fine effect is produced, especially if the audience is made to join in the " Star Spangled Banner." While in first place intended for boys, a very pretty picture may be had by adding some girls in the national costumes to each colony. A PEACEFUL ASSAULT. Musical Comedy for Boys. By George cAtherton. PRICE. - 50 Cents. The Mayor is candidate for a higher office and his subjects surprise him by waiting upon him in delegations, letter-carriers, policemen, cadets, chorus boys, firemen, a drum and five corps, to assure him of their loyalty and support. This comedy is specially suited for schools and colleges having at disposal a LARGE NUMBER OF BOYS. The music is original, easy and melodious. The various delegations marching upon the stage to the merry strains of music, or singing spirited songs, present a pretty spectacle. A very amusing enter- tainment, certain of enthusiastic reception. " The audience went wild over the ' Peaceful Assault,' and it was hard to tell who were the proudest, the young actors, or their parents and relations, etc." — From the letter of a Teacher. A COMEDY OF ERRORS; or, The Cousin and the MaicL An Operetta for Young Ladies, in One Act* By GEORGE ATHERTON. Price, per Copy, Words and Music, 50 Cents* ^* ^* %6* CHARACTERS. Anna, A Young Lady. Rose, Her Cousin. Sarah, The Maid (Fresh from the Country). Anna is entrusted with the reins of the household during her mother's absence. Both, a cousin, whom she has not met before, and the new servant girl, are due just that day, and Anna is unfortunate enough in taking one for the other, and serving out treatment accordingly. The situations are highly comical. The music is easy and pleasing. No scenery required. ^7* V?* ^* MUSIC NUMBERS: No. I. Overture. " II. Anna's Song. " III. Sarah's Song. " IV. Duettino (Sarah and Anna). " V. Rose's Song. 11 VI. Finale (Dance and Ensemble). THE PIGEONS; ^^fe^ 58 AN OPERETTA, For trie Stage and ttie Drawing-Room. By RICHARD HARDMAN. Price, 60 Cts. The characters (five) are Breton peasants, affording opportunity for pretty and picturesque Costumes. The text is of clever, dramatic construction, sparkling with wit and humor. An exquisite, dashing and highly effective operetta. Fifine's Song of The Engaged Young Man. A maiden's heart is often torn, The orange blossom hides a thorn, And who can teach the wisest plan, That girls who fish may land their man ? One day he finds Miss Susan plain, The next he walks with Mary Jane ; He whispers Blanche, behind her fan, And he kisses May — the engaged young man. He tires of Nell ; at an early date He gives a lock of his hair to Kate : And he slips love verses (that do not scan) Into Maud's bouquet — the engaged young ^ man. He finds that Clare is not his taste, When his arm is round sweet Emmie's waist; And he gives his photo next week to Ann, For change is the motto of th' engaged young man. Frangois'' Song "What a Crowd of Love Tokens, Etc, What a crowd of love tokens I've promised to keep ; What ribbons and letters I've burned in a heap ! I have cherished old gloves (with the thumb of them torn), When I thought that these frailties my pop- pet had worn. Brief days of remembrance and short- lived delight, In a fortnight at most I'd forgotten them quite ; Like the carte, yes the carte, by the sands of the sea. With my poppet of old, on the edge of the deep, I stood for my portrait — the likeness was cheap ; But the lady next day had grown weary of me. And the talented artist still waits by the sea. As I wandered no more on those seaweedy sands, The photographer's left with my carte on his hands ; My carte ! oh, my carte ! on the sands of the sea, Oh, I thought not, I thought not, of paying for thee. j*J>A New Collection of Musical Drills by Richard Hardman.j*e* cN&u) drills and 'Dances For Girls and Boys. A NEW SERIES OF MUSICAL DRILLS AND HUMOROUS ACTION SONGS* BY RICHARD HARDMAN. TRICE, 75 CENTS. CONTENTS. The Princess Gavotte. A graceful Dance for Girls. The Flag we Love Q Action Song and March. Busy Little Workers. (Housemaids and Cooks.) Humorous Drill and Polka. Spanish Minuet. A Tambourine Dance Drill. Drill of the (Hobby) Horse Brigade. Amusing Action Song. Fond Little Mothers. A Doll Drill. Washing Day. Amusing Laundry Scene. The Broomstick Brigade. Humorous Action Song. Ornamental Scarf March and Drill. Novel and very pretty. Skipping Song. Lively and Humorous. Maypole Dance. With Full Directions. Classical Art Balance Motions for Girls, Physical Exercises accompanied by Song and Music, intended to Exercise all the Muscles and to give a GRACEFUL DEPORTMENT to the Whole Body. The above volume is siure <£ For Schools and Entertainments. Arranged by RICHARD HARDMAN. Price, complete, $L00. TOPSY-TURVY SONG,— A Novel and Pleasing Action Song and Drill. THE MIRROR DRILL,— Musical Exercise. MY UNCLE'S FARM,— Humorous Action Song, with Chorus. OUR BOOTBLACK BRIGADE,— Character Song, with Chorus. UNCLE SAM'S LITTLE DRUM BOYS —Character Song, with Action and Chorus. INDIAN CLUB DRILL, OR TAMBOURINE DRILL. LITTLE LETTER CARRIERS,— Humorous Action Song, with Chorus. THE CHILDREN'S FROLIC— Vocal Gavotte, Chorus and Dance. THE PEDLAR, — Amusing Character Sketch, Action Song and Chorus. THE MERRY DAIRYMAIDS,— Character Song, with Action and Chorus. OUR BABY,— Musical Recitation for very little Children, Solo and Chorus, RECESS DRILL,— Humorous and Lively. MUSICAL FLAG DRILL, OR FAN DRILL. THE RAINBOW RIBBON DRILL. UNCLE SAM'S JOLLY TARS— Action Song, with Chorus. (NOT SOLD SINGLY.) IN EW MUSICAL DRILLS and HUMOROUS ACTION SONGS. By RICHARD HARDMAN. (For Particulars see preceding page.) "Our Baby." (Recitation, Solo with Chorus.) Directions. The Recitation and Solo should be taken by as small a girl as possible. The Chorus refrain should be sung very softly throughout, and is most effective when unaccompanied. - , t If only two parts are available, the l s -t and 2™ treble parts should [be taken, with the exception of the last two bars, when the 2 n ." ft*«K«; "CUrlsstS Ftot " SiasluX < Pr/ce, . ^.75, CHARACTERS: Little Red Riding Hood. Red Riding Hood's Mother. The Robber Wolf. Grandmother. Anthony (Red Riding Hood's Playmate). The Town Crier. The High Sheriff. The characters are to be assumed by larger and smaller children. The music, while merry and melodious, is very easy, the chorus parts being in unison. A delightful and successful entertainment. Mary Anne and Jemima (Women of the Village). Peter and Patrick (Men of the Village). Huntsmen, Villagers, Bandits, Dancers,. Bride and Bridegroom, etc., etc. No. I. II. III. IV. V. VI. VII. Overture. Chorus of the Villagers. Hunters' Chorus. Introduction to Act II. Terzetto (Mother, Red Rid ing Hood and Anthony) Introduction to Act III Butterfly Song (Red Rid' ing Hood;. MUSIC NUMBERS: No. VIII. IX. X. XI. XII. XIII. XIV. XV. Duet (Robber Wolf and Red Riding Hood). Bridal Chorus and Dance. Country Dance. Introduction to Act IV. Lullaby (Grandmother). Duet (Anthony and Patrick). Hunters' Song. Soli, Ensemble and Finale. The Adventures of Little Red Riding Hood o4n OPERETTA, in Four Acts, for THE YOUNG. (For Particulars, see opposite page.) Chorus PIANO Hunters' Song. A - live 01 dead, well bring his head, his head,his head, tra-la- la- la- Our chil-dren dear, no more shall fear, shall fear, shall fear, tra-la- la -la Bridal Chorus. Musicians and dancers appear on the scene. First come two fiddlers, their violins trimmed with ribbons-, then follow the bride and groom and the dancers in couples. The bride wears a white mus- Hn grown with while veil and wreath of flowers. The bridegroom, blue suit with knee breeches, white vest and white stockings, hat trimmed with ribbon and flowers. The dancers may be the village men and women, their dress brightened with flowers and ribbons. The children, girls in white dresses, colored ribbons and stockings; boys dark suits, colored stockings, and ribbons around the' hats. Chorus: Spright-ly_ come, oh joy-ous comrades, Let us_ sing and let us ( PIANO.? ( ^ A The Grandmother. . Lullaby. ^ k Sleep .sleep, little one sleep.Poor old granny is s.o lone-ly, Sleep, sleep, pretty one . *VjV Y jg^ XJ i II * MUSIC NUMBERS, i. Opening Chorus. ia. Chorus. 2. Roast Beef Duet (Hedwig and Madelon). 3. The Sweet Dish (Madelon). 4. The Trout (Clara). 5. Steak Duet. 6. Game— Chorus. 7. Ice Cream Duet (Hedwig and Madelon). 7a. Chorus. 8. Song of the Kitchen Maid. o. Kitchen-Work Duet. 10. Recitative. 10a. Lemon Cream Receipt. 11. Wine Punch Duet (Clara and Hedwig). 12. Song of the Welsh Rare-bit (Delia). 13. Boiled Eggs (Delia). 14. Jellies and Jams (Susie). 15. Marion Harland Hymn— Chorus. 16. Spoiled Dishes (Soli and Chorus). 17. Recitative. 18. The Kitchen Polka, with Improvised Instruments (Kitchen Utensils). i. Overture. 2. Susie's Opening Song. 3. Duet (Mollie and Minnie). 4. Ellen's Bicycle Song. MUSIC NUMBERS: 5. Ice Cream Polka. 6. Vassar College Song (Jessie Quigg). 7. Gavotte — Song and Dance. 8. Chorus — FinaJe. N&w Operettas, Musical Comedies, Etc* &r* &?* ^7* && COLUMBIA*— THE TRIBUTE OF THE COLONIES. A Patriotic Cantata for Boys. —By Alexander BirchalL Words and Music - $0.60 A new and novel entertainment, in which delegates from Uncle Sam's new wards, Porto-Rico, The Philippines, Guam, Hawaii and Cuba appear to pledge their allegiance and avow their loyalty to Columbia. As a large number of boys may appear in this cantata, it is specially suited for schools, and will be found a most successful entertainment especially on patriotic occasions. The cantata may also be very effectively performed by having girls take part in it. The Adventures of Little Red Riding Hood. An Operetta for the Young, in Four Acts. By Richard Hardman. Words and Music, - - $0.75 The characters are assumed by larger and smaller children. The music while merry and melodious, is very easy, the chorus parts being in unison. A delight- ful and successful entertainment. A Frolic in the Cooking Class; or Debutantes in the Culinary Art A Musical Burletta for Eight Young Eadies. —By Richard Thiele. Words and Music, - - $0.75 A number of winsome young autocrats of the kitchen, armed with cooking utensils, which they use as "musical" instruments, unfold, in charming and humorous musical setting, the profound mysteries of their noble art. A Kitchen-Polka and a Marion Harland Hymn are among the features of this frolic. Clarissa's First Party. A Musical Comedietta for Nine Young Sadies. By Richard Hardman. Words and Music - - $0.75 A charming entertainment, full of harm- less fun and drollery. Ellen Pert, a bicycle girl, and Jessie Quigg, a Vassar girl, figure prominently in the proceedings. A Comedy of Errors; or, The Cousin and the Maid. An Operetta for Young Sadies, in one Act. — By George Atherton. Words and Music - - $0.50 Written for three characters. The music is easy and mirthful. The odd complications are very laughable. No scenery required. The Pigeons; or, The Bonny Lass of Brittany. An Operetta for the Amateur Stage and the Parlor. By Richard Hardman. Words and Music - - $0.60 The characters (five) are Breton peasants, affording opportunity for pretty and pictu- resque costumes. The text is of clever dra- matic construction, sparkling with wit and humor. An exquisite, dashing, and highly effective operetta. New Musical Drills and Humorous Action Songs For Boys and Girls. Arranged by Richard Hardman. $1.00 Suitable Words ; Pleasing Airs ; Full Di- rections and Diagrams. Novel, Amusing and Effective for Schools and Entertain- ments. Containing the famous "Topsy- turvy Song" and "Our Baby," musical recitation, etc. A Peaceful Assault. A Musical Comedy for Boys, in One Act. — By George Atherton. Words and Music, - - $0.50 From thirty (or less) to sixty or more boys may take part in this comedy, which is especially suited to the needs of schools and colleges. Brisk, tuneful music, and pretty, quickly changing tableaux, ensure for this operetta an enthusiastic reception whenever performed. New Drills and Dances for Boys and Girls. A New Series of Musical Drills and Humorous Action Songs. By Richard Hardman. - - - - $o-75 The great success and popularity gained by Hardman's "New Musical Drills and Humorous action Songs" has suggested the issue of this new series, which will be found of the same excellence. For contents of these two books of Drills see other pages in this catalogue. APR 4- 1902 APR 4= 1902 LIBRARY OF CONGRESS 021 100 504 A