Class J^Tiddll Book , L43 OopigM? The Heart of Art AN ECONOMIC SYSTEM OF EXPRESSION. [FOR SELF-HELP.] The best of a book is not in the thought which it contains, but the thought which it suggests ; just as the charm of music dwells not in the tones, but in the echoes of our hearts." O. SWEDE LEWIS. The Endeavor. Voice-Tone Painting. Economy of Expression. Extemporaneous Speaking. Articulation. Physical Culture. Personal Magnetism. Platform and Stage Effect The Result. Better Health. Voice Volume. Distinct Articulation. Ready Speaking. Correct Reading. Powerful Oratory. Natural Grace. NEW YORK: NEVIUS & KANE. [893. ' ' 193.1 Lf 3 COPYRIGHT BY G. SWEDE LEWIS. 1893. Dedicated to The generous ones Who in learning to help themselves Will help others and To all that is Unaffected — forceful— truthful — just. PREFACE Yielding to a request made by some of my dear and thoughtful friends, who say they have my interest and my subject at heart, I send this little book out to help men and women to become excellent in expression; also to acquaint them with the origin and usefuln the FINE ART FAMILY. Another kindly encouragement is, that whatever imperfections it may have, I know it free from " elocutionary nonsense " and untruth ; and, furthermore, I know it will enhance, and if need be cultivate an appreciation of all that is elevating and inspiring in our unrivalled . lish Literature. So if you feel that your mind is not quite prepared to clearly understand or fully enjoy the teachings of our standard authors, this little mentor of mine is what vou need. You will rind it a frank and sincere critic, although, at times, it may seem cutting and harsh. Vou will feel its vigorous endeavor to have you cultivate all that is best in your own individuality, instead of warping it with impossible imi- tations. You are taught that true excellence in Expression must be studied from the within, and not from without the human mind and heart. You are taught how mysterious, how pregnant, and yet how helpful and kindly is the human will. It will be noticed that we provide the best literary material for certain voice-tone paintings, which are to be made after a time spent in what we term the temple, of EXPRESSION. The student is to study and use this material as we direct, at the proper time and in the proper place, and is to look for the proof of correct work in the Sealed Pocket of this book. The conceit of the Sealed Pocket, conjoined with the delicate and novel effort of painting pictures with the voice, affords a most delight- ful intellectual pastime, which ran be indulged in by the individual, or In " Reading Circles " and Lyceums. Just how it can be done- may be learned from our special remarks on the Sealed Pocket. And we would say that our work is not intended as a text-book for the class, instead of which it is intended for SELF-HELP. It will be noticed that half of the pages are blank, with merely the word " Record " at the top of them. This half of the book is reserved for a record of the student's work. And much is expected of him in this particular, for he is to plan and build a system of his own from our suggestions, which do but teach him how to study. And this sys- tem of his must be recorded as it grows. And he need not apprehend any inability to do as we demand, for the requirements are surely within him, and our explanations are clear and accurate enough for every purpose. In this way we can take an earnest student close to nature, and every statement and theory will prove itself, as we advance- along the system of work to an assured success. And let me tell him, just here, that there is no easy cushioned vehicle, in which he can ride with regal ostentation, to that success which is in the Fane of Art. He will have to go over every inch of the ground himself, from start to finish. Some have reached the goal by persistent plodding. Others have been tripped up by inexperienced haste, to rise no more. Some have walked steadily to the reward. And a few, by special training, have buckled up their belt of effort, and with great, determined swiftness reached the Temple "mid the world's applause. To an earnest student I can say, " Quick, take my hand, the way is known to me, the stumbling rocks and quick-sands are all located. Yonder, lifting its crystal dome above the fog and mist of text books, is our Fane of Art. Come, let's reach it while vet 'tis day." INDKX A "BIRD'S-EYE VIEW" OF OUR THEME 15 THK GYMNASIUM OF EXPRESSION 37 Breathing and Blood 39 Picture of the Midriff or Breathing Muscle 41 Deep Breathing 43 Articulation 45 Economy of Breath 47 Whispering .... 49 The Lips 5i The Tongue 53 The Muscular System 55 Physical Exercise Sheet (Sealed Pocket Grace and Characterization 57 THE TEMPLE OF EXPRESSION 61 Why we present thoughts as pictures 6 3 Particles of Thought 6 9 Economy of Voice-Tone 7 1 Spontaneity 8 1 Imagination 8 5 Passive — Active — Complex Selections 87 Personal Magnetism 9 1 Economy of Movement 97 The Compass or Four Points of Gesture (Sealed Pocket* Economy of Gesture IQI Economy of Face and Eyes 107 Vowel Vibrations of the Voice. 1 1 1 Extemporaneous Speaking 115 A Wealth of Synonyms "7 Flashing Thought Pictures . * • 7 The Work-Shop of Orations 119 The Sealed Pocket 123 MATERIAL FOR VOICE-TONE PAINTING 127 How to Study the Material 129 The Material M5 Scale fcr Accurate Judgment of Contest 15 1 A "BIRD'S-EYE" VIEW OF OUR THEME. l6 RECORD. THE HEART OF ART 17 NT more suitable preamble to the subject before us can be ' than an attempt to chronicle the origin of Tin- Fine \ toward that endeavor we shall now proceed. At the creation of the world, man was placed in the center ol istence — in other words, man is a medium that receives inspiration from the past and inspiration from the future. This passage of inspiration through mankind is known by the name of Feeling-Thought Memory. To inspiration we owe the realization of everything in life. That thrilling sensation which took shape in you, and which you expressed in p< sculpture, voice-tone, with the pencil or the brush, was drawn to you from that mystical infinity surrounding us with its countless emotions, ideas, visions — awaiting birth to human mind. When born they are nurtured bv a Fine Art, until they attain perfect development, and are then recognized and appreciated by human understanding. The Fine Art Family. The Fine Arts are seven in number, and are known to us as Action, Utterance, Sculpture, Music, Literature, Drawing, Painting- They each have an interesting history, and volumes could be written of them by genius; but it is the province of this pen merely to trace two of them and make the attempt to describe and portray their nature. The two in question being Action, the eldest, and Utterance, the second born. Sculpture is the third of the family, Music the fourth. Literature the fifth, Drawing the sixth, and Painting the seventh and young Mankind, without this wonderful family, would be as incapable of communication, one with another, as are the trees of the fores 8 RECORD. THE HEART OF ART, the flowers of the field. We would indeed be like unto a "moving row of magic shadow shapes that come and go." Action is in sympathy with the eye, Utterance with the ear, there can be no jealous jar to disturb a constant and almost perfect companionship. Utterance is the most impartial of the family, and dons word garments appropriate for all occasions. At times its attire is elegant, rich, bright, dazzling, gaudy, impoverished, repulsive, sombre: taking on all the hues of existence, and walking in all companies with becoming ease. It rules by laws which are never disobeyed, until it attempts to command "reading aloud," and then it often has cause for rebuke. Now these laws should be known to all "readers," and if they then willfully break its commandments, retribution should fall upon them in the shape of ridicule, which is the most potent of punishments in the intellectual spheres. The Great Law of Speech. The great law with which Utterance governs speech, and some- times "reading aloud," and declamation, may be termed economy of expression, because the law of Utterance will never permit us to emphasize a particle of thought that is generally understood, and that after a particle of thought has been made prominent once it is never emphasized a second time unless some very important complete thought intervenes. Each and every word is a particle of thought, under the control of Economy of Expression, which law groups them into the perfect mental image or picture, that requires no effort on the part of the listener to understand and appreciate. 20 RECORD. THE HEART OF ART. 21 Particles of Thought arc divided into two classes: Unde Particles and Principal Particles, the latter being what is known as emphasis, the former being treated or used as the shading or till:' of the thought image or picture. It is for the student to clearly understand that when a thought is to be transmitted by the voice from mind to mind, it must take the form of an image or picture, and the more realistic the image or picture the more effective the reader or speaker. A thought can be made to pass along the mental horizon, presenting an appearance of materialistic truth, by a correct application of this great law of expres- sion. Action is also under the control of Economy of Expression, when it associates with Utterance. The flodel we are to Imitate. It has been our aim thus far to reveal the workings of the mind in the expression of thought as applied to speech, and by speech we mean the spontaneous delivery of thought by the voice. And let it be understood that we mean this law to apply to no form of utterance other than spontaneity, which is the birth of a thought or inspiration. At the birth its nature is pure and perfect as regards its outline of expression; but, unless it is fostered by a Fine Art, the future introduction will nearly always be attended by affectation and untruth. After the thought or inspiration is born, its life is termed "reading" or "reciting," and those students desiring to instruct, enter- tain, or to influence with it, should prepare themselves by retracing its career until they arrive at the state referred to as the birth, and this may be accomplished by following the direction which this effort is striving to indicate. 22 RECORD. THE HEART OF ART. The Hodel is Spontaneity. It requires no effort to form a correct image or picture with the voice, if the production of it is " impromptu "—or as expressed before, "spontaneous" — because our Maker has provided for us by allowing intuition to apply Economy of Expression. Every one who speaks or talks, from the most illiterate to the most cultured of mankind, forms the outline of the picture correctly, if they give utterance to a thought conceived by themselves, and produced then and there by the voice, without having recourse to imitation, pen or paper. It will now be perceived that spontaneity is the model we are to imitate in order to flash, with the voice, a correct image or thought picture, that was conceived by any one, with pen in hand, and which has to be given renewed life through the medium of the eye — in other words, when we read aloud, or when we speak that which we have memorized. Therefore be it distinctly understood that when a per- son is delivering an extemporaneous or impromptu discourse, he requires no ever present " rules" to make clear his subject. If he has a weak voice it can be strengthened. If he has a poor articulation it can be remedied. If he is awkward he can be made graceful: but the improvement must be apart from the action of discourse. It must be done in the gymnasium of expression. The place where words are developed, and not thoughts, the place where movements are devel- oped and not gestures. It is in our power to become so familiar with this great law govern- ing Spontaneity, which is the model for our Voice Tone Painting, that we can apply its principles to any thought, be it ever so old, and at the magic touch it glows with renewed life. Such is the great law circling perpetually in our midst, most potent, almost unknown. The exist- 24 RECORD. ////:' HE i A'/' OF ART. enceofthis law may In- ascertained t<> the satisfaction <>t any one w\ will listen to conversation, with the purpose of noting the formation the thought and not the sense embodied therein. It will also be tained that each and every thought has an individuality, that it is puis forth in a blended mass, which we have termed the thought picture. A System of Study Necessary. And now we must notice those persons who contend that there can be no system of study in the art of expression other than "appre- ciation " of the thoughts contained in the subject, reposing implicit reliance on " impulse " alone to reproduce the thought. If such is true Authors should be the most expressive exponents of their own compositions. Is this your experience, gentle student ? Ours has been to the result that if the majority of Authors had no other medium of imparting their thoughts to the world, save by their reading aloud, the world would be a heavy loser. And remember that these remarks are not applicable to one who. upon the conception of a thought, delivers it then and there by the voice, without having recourse to pen and paper, for in that case the thought is perfectly produced, being fresh from nature, and the word nature is but another name for " spontaneity." We are often required to listen to an effort made by an " elocuting " reader, or to an inde- pendent know-all, untrained one (untrained by himself, herself or any one else) trying to express written thought. The voice may be grandly melodious and bear with it a charm, but we look in vain the thought picture. What is the result of a continued effort ? The answer is, Mono- tony. The picture is "out of drawing," it is blurred with vivid color- 26 RECORD. THE HEART OF ART. ml we soon tire of it. But, when written thoughts are produced according to the dictates of the great law of expression we have been telling you about, they materialize into pictures, that live before us in all power and beauty, being so clearly revealed and so comprehensible that a child would be impressed with their truth, and like all truth resting upon eternal and unvarying principles. How often do we hear the advice, " Imitate nature if you wish to excel." Very sage advice, but, at the same time, of little use to us, because we are not conducted to the model, nor is the model brought to us. We are merely told of a model that is "somewhere,"' the pre- cise locality uncertain, and in fact unknown. Under such circumstance^ the student becomes discouraged and loses faith in the existence of a great truth to be imitated. Or, if he perseveres, his creations may be shaped according to some individual standard that will offend good taste. No Grammatical Rules. The study of Utterance is apart from grammatical rules, they being in comparison, like unto the manufacturers of artist's materials : making color, brushes, canvas, with propriety and perfectness, but can- not make the picture until they have studied the laws governing Econ- omy and Perspective. So it is with Authors and all others desiring to flash thought from mind to mind by means of the voice. They must study to that end, and by study we do not mean the act of standing very close to one's subject, with a brush in one hand and a microscope in the other. We are not to shatter voice-tone into atoms, into fragments. and then endeavor to glue them together with " elocutionarv rules.*' And do not, we conjure you, enter a labyrinth of "slurs, slides and inflections," for it will confound all earnest effort. Xor are we. under 28 RECORD. Til/-: HEART OF ART anv rational circumstances, to purchase a stock of ready-made gesture* to correspond with thought. Place your subject before you in the light of economic apprecia- tion, then cultivate the artistic judgment by studying the Principal Particles and the Understood Particles of Thought — decide upon them — try to blend them out of each other by means of the voice, using the Understood Particles as shading; try to "draw" your subject in a bold, free outline, and the very effort will give you success. If your life work is to be lofty, turn a misdirected attention from French dialect exercises, negro dialect exercises, dude dialect exercises, Dutch dialect exercises, and even from the dialect peculiar to the Celes- tial Empire. Turn your attention from ballet dancing poses when walking with thought. And do, please do, turn your attention from number 7 and number 9 gestures, to be found in "Madam Lily-Swaying- In-The- Wind's science of physical culture," and from all other gestures in that dainty and esthetic booklet. Come, come, wash off the paint and powder, hand back the cap and bells, leave the circus tent of expres- sion, allow that a little nonsense now and then is relished by the best of men; but, in kindly justice, infringe not upon the rights of "little minds." A Word From Action. " Elocutionists," as a rule, teach many gestures with the view of imparting grace, forgetting, or not realizing, that the proper definition of grace in its association with reading, speaking and oratory, is THE withdrawal of all awkwardness. We must put our subject in front of us, and keep it there with an unassuming disregard of self. If we exhibit too many gestures during an expression of thought, the audience will naturally observe the gestures at the expense of the RECORD. 77//C HEART OF ART thought. And in the same sense too many graceful waves of the will be detrimental. A Word From Sculpture. I, Sculpture, should like to add a word in favor of the Economy of Expression which you are to hear so much about in The Temple of Expression. A sculptor is standing before a block of marble. He looks into the stone, and as he looks he knows that it is not what he will add to the stone that will cause it to spring into ideal beauty, it is what he takes away. And I should like to have it understood that Architecture is partly in my domain and partly in that of Drawing. A Word From Drawing. As it is geneially known that I am intimately associated with Painting, and as Painting figures so conspicuously along this system of Expression in which all of our family are so much interested, I need only say that I shall do all in my power to make it a success. A Word From Painting. I, Painting, gladly say that Drawing and myself will lend heartily all that is in our domain to the system of expression that it may he made clear and useful, and furthermore we are ready at any time for the duty. A Word From Music. I, Music, should like to venture a word on my own account. Our chronicler has forgotten to mention, or perhaps knows very little about RECORD. 77//: HEART OF ART "Singing." I should like to state that I claim this accomplishment in mv domain, for it emanates more from the emotions than from the intel- lect of man. A Word From The Dictionary. And now it becomes my duty to shield from abase, ridicule and contempt, a poor word that has well nigh been ostracised from the lit- erary and intellectual coteries of the present day. It stands before us now, abject, trembling, pitiful, and answers to the name of " Elocu- tion.*' Poor word, you have indeed been much abused: kidnapped from your native dictionary by charlatans of both sexes and bandied over the country, from north to south, from east to west, presented as something unnatural and affected — " a lettered monstrosity." But you are not. My dear person, whoever you are, be influenced by our judgment, for we are familiar, very familiar, with the word and its work. Re-instate the unfortunate Particle of Thought, let it take its proper place, and you will find it willing, unassuming, and very useful. The Noblest Of The Fine Arts. The student has now been given an understanding of the positive laws with which expression is governed. , 4 An earnest endeavor will discover to you, gentle student, that the most kindly talisman in the pathway to success is "simplicity," pure, beautiful, Godlike simplicity, which is the crowning grace of The Fine Arts. Of all the accomplishments that adorn the home, the social circle, none can be superior to the one that materializes thought and emotion on an instrument fashioned by goo himself — the human voice. A.H 34 RECORD. THE HEART OF ART instrument of divine perfection, reaching the furthermost heights of joy and gladness, or sounding the depths of misery and despair. And who of us can express the sense of proud possession, the gratitude we should feel for the sublime gift it has pleased our Maker to bestow upon us — the power of speech. A power that traces upon the transpa- rent air a semblance of the glad creations that spread tinted wings and soar into the dome of thought. But do we as moral, intellectual beings, realize its full signifi- cance ? It seems not, for the generality are so indifferent to its worth that the cultivation thereof is considered a needless expenditure of time and are content to mumble their way through life in pitiful igno- rance of what might have been. Young man, young woman, if you but knew the power within vour soul — a power capable of idealizing, of reproducing, of express- ing on this instrument the pearl, the ruby, the diamond hues of exist- ence that have been bequeathed to Literature, you would not be admonished in vain. It is no wonder that vocal grace and eloquence was esteemed the highest and noblest of accomplishments of attainments in those palmy days when Grecian beauty ruled the world. And even now the Art would be enthroned a reverenced queen but for " indifference," "affec- tation," and "charlatanism," which have conspired to work its over- throw. In the name of all that is sacred in The Fane of Art we plead its cause. Gentle student, if you are earnest, thoughtful, plodding, take my hand and let me conduct you to the gymnasium of expression and from thence, with confident and reverent steps, to the temple. THE GYMNASIUM OF EXPRESSION 3 8 RECORD. • THE HEART OF ART. 39 Breathing and Blood. One use of the blood is to convey nourishment to all parts of the body. It flows in tubes, which are known as arteries and veins. The heart serves as a force-pump for this willing liquid of life. From the heart the arteries branch and rebranch in all directions, until they end in the delicate capillaries, through the filtering walls of which ooze the life sustaining constituents, to be received by the surrounding tissues. In exchange for this nourishment, the capillaries give the liquid constituents which have been changed, worn out by use, or in other words contain no more oxygen, and are poisonous with carbonic gas. This poison is sucked through the veins to the heart, from there it is driven to the lungs, where it is thrown out or expelled from the body by Expiration. After Expiraticn has done its duty, Inspiration fills the lungs, from the fresh air, with pure oxygen. The blood, now purified, hurries to the heart again, and from thence, through the arteries, to every part of the body, to feed and build up the needy tissues. It is this activity of the lungs, helped by correct deep breathing, which does so much to keep the blood in healthful condition, and thus lend increased vigor to the whole human system. So it will readily be understood how important it is to breathe from the Midriff, which squeezes the foul gas from the lower cells of the lungs — cells that would otherwise be unemptied. This sketch of Breathing and Blood is sufficient for the result we have in view, so we will leave this department, look at an illustration of this wonderful Midriff, and then go to the department of Deep Breathing, where you are to derive much healthful benefit and artistic help. 4° RECORD. THE HEART OF ART, — -I i. Heart. 2. Lungs. 3. Midriff. 4- Liver. 5. Stomach. 4 2 RECORD. THE HEART OF ART 43 Deep Breathing. As you have seen, the midriff is a sheet of muscle dividing the lower from the upper part of the trunk or body — in other words, separating the thorax or breathing chamber from the abdomen. The lungs rest close upon the midriff, which if pressed down- ward gives the lungs more space, and thus they inflate with air. The lungs are like a damp sponge, which can be compressed until little or no air remains within them. Relax the pressure and the air rushes into the cells again. The air does not leave the lungs until there is a pressure upon them. The midriff pressing them from beneath, and at the same time, the lower ribs pressing them from the sides combine into an action that is known as deep breathing. Any other pressure upon the lungs — such as elevating and lowering the collar-bone, upper part of the chest and shoulders, will positively injure the throat. EXERCISE. Inhale slowly and steadily through the nostrils, at the same time concentrate the attention on the midriff in an endeavor to flatten or press downward. This effort is assisted by protruding the abdomen and lower ribs. You have now taken a deep breath. Retain it four seconds. Expel it forcibly through the mouth. Repeat several times. Inhale quickly through the mouth and nostrils. Retain the breath four seconds. Exhale very slowly and steadily through the mouth, allowing only the midriff and lower ribs to control the breath. Repeat several times. After two weeks of practice the breath can be held comfortably for half a minute. Never hold it any longer. When using the voice take breath at every opportunity, through the nostrils, and always keep the muscles of the throat relaxed. The simple exercise suggested in this lesson is sufficient to correct a faulty method of breathing, and will do much to assist the student toward success in the art of expression. 44 RECORD. THE HEART OF ART. Articulation. SRBD SOUNDS PROM WHICH words GROW. Practice these seed sounds aloud every day until the articulation is perfected. Make an effort to develop the words first and then pick out the seed sounds. C as in r as in (triii sound) roar mdst :is in turn dst a " may r II (soft sound) dear rchd u searched a " azu " arm awe zu y a was you ngst ngth It M bring'st strength o " 00 " no ooze t t a u pipe met ngs bdst II U songs barb'dst a as before i* in air k a back rjd a urg'd I as in it ch u church rkdst a work'dst e " e " let sir f th tl (C life think fist rnd (1 ripp'lst burn'd a " add s tl hiss rvd k( curv'd o " on sh it dash rtst ll smart'st u " up h It horse skst (1 bask'st 00 " book zvh a what sld tl nestl'd % " die bd u orb'd thd (« breath'd 0f " coil bdst u sob'dst ths U breath's ow " now bldst tl disabl'dst thdst a breath'dst /< " due bis it fabl's tld ll settPd /; « web br II brave tldst II settl'dst ; will allow the force passing through you to accumulate. Perhaps what we mean can be illustrated from an observation we have made of men bursting into a fearful passion. At first they are paralyzed into a stony stillness that enables the rebel force running along the nerves to gather awful strength and then be hurled out by the electricity within. When the force has spent itself weakness is the after effect and then strength comes again with self control. An intense effort of the orator has a similar effect. It is for the student to control himself, to master his every passion, to economize his inward and outward strength, to judge how and when best to expend it, and he will then be a power in the land. Of course it is understood that the exercises are intended for both of the hands and arms. We now enter the department of Face and Eyes. Economy of Face and Eyes. This is one of the most interesting departments in the systtm of work, and is of particular use, not only to the student of Elocution and Oratory, but also to the "society woman and the society man." Do you know the secret of having a truly expressive face ? If you do not, come with us to Madame Esthete's High Tea. Ah, we are there. Do you notice that young lady with the face working in all directions — eyes down, eyebrows up, eyes up, eyebrows down ? She thinks that she is giving unmistakable evidence of an ex- pressive face. Her friends are so accustomed to those contortions that if she were to stop practicing that " complete system of facial expression," they would be like the sleeping miller who always wakes up when the mill stops. Take this large pair of mental opera glasses — io8 RECORD. THE HEART OF ART. 109 Now come with us to the Theatre. The greatest legitimate comedian of the day will make his entrance in a few moments. He is said to have the most expressive face in the profession. Ah, there is his cue. Here he comes. Do you notice that his face has the repose of a statue ? He speaks. His lips hardly move. His eyes perfectly immovable. He is waiting for an effect. Now is the time for it — everybody in the audience saw that eyebrow lift — they were all surprised into that laugh we hear. It is almost time for another effect. "Just look at his mouth; it is too comical for anything," I hear some one say. And my dear student he has only lowered one corner of it. His face is again a background — an interval of repose. " Look, look, did you ever see such a remarkably expressive face ? " Why, my student, he has only moved his eyes. And now hearken to me; that man's wonderful success comes from his art of repose — in the Economy of Face and Eyes. He never wastes an expression — he never wastes a gesture — he never wastes a voice-tone — he never wastes a movement of any kind. The face of one of the most convincing temperance lecturers that ever lived, has been described as a canvas on which was flashed every emotion of the human heart. One secret of that power has just been revealed. EXERCISES. 1st. — Never allow your face to move until an expression is wait- ing to be served. 2d. — Never allow your eyes to move until a thought picture has been finished. IIO RECORD. THE HEART OF ART m 3rd. — Practice some passionate selection, without moving a muscle of the face or eyes, other than those of the mouth. 4th. — Practice slow, steady sweeps of the eyes, in all directions. 5th. — Practice looking steadily at objects until you have acquired the power to hold a glance with perfect ease for several minutes. It is wonderful how the eye can be controlled by regular and intelligent practice. A student can dilate the pupils of his eyes to twice an average size, with little effort, from the use of these strength- ening exercises. Thus the eye can be darkened at will. Anyone with fairly good eyes can do this by a concentration of the will on them, after they have practiced the said exercises for several weeks. Of course you are not to overdo any of the exercises. When any unpleasant sensation is felt the eyes should be rested. It is well known how the eyes strengthen at sea, where the effort is being constantly made to distinguish objects on the horizon. We trust that you will often visit this department. From here we go to the department entitled Vowel Vibrations of the Voice. Vowel Vibrations of the Voice. Vowel sounds are divided into two classes for this purpose, and may be termed the Electric and Shadow classes. I and E being the former, and A and O the latter. To the Electric we impart bright- ness, and to the Shadow class, shade. Two electric vowels when immediately together, as in the word "believe," take the quality of a shadow vowel; or when electric and shadow vowels stand side by side as in the word " fair," we are to yield the electric to the shadow tone. So it is now understood that electric vowels are only given brightness ii2 RECORD. THE II EMIT OF ART 113 when they stand alone, as in the words "light," "better." What is meant by brightness may be learned from observing how the most fascinating voices in conversation qualify the vowels referred to in the Principal Particles and not in the Understood Particles of Thought. Also notice the shadow class under the same conditions. The vowel vibrations are not to be observed in the Understood Particles — for if such is the case a drawling, unnatural effect is plainly perceptible. It will be well for the student to know that it is to the healthful- ness of these vowels and the perfect formation of the thought pictures that we owe the fascinating voices that are heard now and then in our midst. The student is to make a list of fifty words, alternating the value of the vowels, as mentioned, and will practice them regularly once a day. You are now ready to receive a few suggestions on Extempora- neous Speaking. EXTEMPORANEOUS SPEAKING Il6 RECORD. THE II EMIT OF ART A Wealth of Synonyms. There are numerous books of synonyms extant. The student is to possess one of them. They will average about six synonyms to a " set." The student is to memorize at least ten " sets " every other day. During the interim he is to compose a sentence with the first synonym of the " set " in it. And then a sentence with the second synonym in it, and then one with the third synonym in it, and then one with the fourth, and so on until the complete "set" has been made use of. After the sentences have been composed, they should be memor- ized, and spoken quite loud, with due regard for the Economy and Perspective of Expression. This practice, with that of reading aloud from standard authors, will surely give one a wealth of synonyms. The next department is similar to this. Flashing Thought Pictures. This is an exercise arranged for the purpose of helping to make a ready speaker. i st. The student is to write out, on separate slips of paper, the first set of synonyms, and is to place them, blank side up, on a table or desk. 2d. He is to intermix, and after, draw them one by one. notic- ing the synonyms as they are drawn, and is to compose instantly a sentence for each synonym — with the said synonym in it, and is to speak it (the sentence) aloud. „8 RECORD. THE HEART OF ART. 3d. lie is in this way to use all the sets of synonyms as they issue in regular order from the exercises in preceding department. Exercise in a standing position. Impromptu debating, when the student is familiar with the subject for debate, will be of much benefit — and if you don't know anything about the subject, have the good taste to remain silent, even though your vocabulary could be bound in calfskin, and the title read — " The largest, fattest, and most gorgeous words of English Speech. V You must now put on your mental apron, bring good judgment as a saw, application as a hammer, confidence as a square, earnestne a plane, sympathy as a level, and enter with us the Workshop of Orations, where you will find a few well known ideas for lumber, and a few facts for nails. We hope that you will soon erect many useful and ornamental superstructures from the apprenticeship. The Workshop of Orations. Almost as a mechanical fact we must have a foundation on which to place our remarks in this department as well as in other departments of our system of work. So we will suppose that you have conceived a subject, and it is your intention as a preparation or as a result to write out the oration, commit it to memory, and then speak it. Suppose it is " The Future of Our Country." The plan should be to "read up" the historv of all other countries, as well as your own, so that the oration will not be like the Tower of Pisa. And you will notice that I am trying to prac- tice what I preach by only taking one half of the book for my argument. And while you are applauding my good intentions, I will ask our fair minded and well meaning clergymen, if it be honest to libel the The- 120 RECORD. THE HEART OF ART n\ atre, and impute to it all manner of evil, when the detractor has never even crossed the threshold of a pure dramatic homer Let us, in all sin- cerity, have orations and sermons, both extemporaneous and memor- ized, but let them be generous, and full of truth. Some of the most impressive sermons that the writer has ever listened to were received from the stage. And he has often studied the audience during some fearful lesson of passion, to see the lasting force with which it spoke to blanched faces and repenting souls. If you go very close to any pro- fession, you will discover that part of it is under glass. So, my dear student, be careful how you throw pebbles. You are to " feed " for your subject, in company with the repre- sentatives of good judgment, on the most wholesome authorities you can get. And you are, during this " feeding, " to note down in writing any suggestions or knowledge that can be used to strengthen you. You are not to eat too much of the provisions of your subject, but you can satisfy your appetite within the bounds of decency and comfort. You are now to sit down and digest all that you have fed upon, and when it is assimilated you are ready for more work. The " more work " is for you to arrange all the " representatives" in order of manifestation. Each one of them must sav somethinj after they have all finished their arguments, or told some anecdote or tale, you are to elect them so that the strongest and most expn ones will be toward the close. One or more of these " represental may present beautiful images or word paintings. If they do, be sure to give them places next to clear, logical thoughts, for the contrast will be helpful to both. During this meeting and talk of the M representatives "' you are to remember that there are two ways of forming an oration. (> i22 RECORD. THE HEART OF ART to subdue words in order to perfectly reveal the thought. The oiln \ is to subdue the thought in order to give the words a chatk We hope that the former will commend itself to you as the better method. And now a few suggestions to memorize an oration. This part of the work should be done standing, walking, or both. And be very careful to memorize it accurately from the moment the thoughts leave the paper to enter your brain. Because if you do not you will in all probability have a few " spectre words." And those uncanny things, let me tell you, will affright you on all occasions, for they will try all manner of shapes to make you uncertain and fearful of their existence. If you would be above " memorized orations,'' let it be clearly understood that powerful impromptu discourse is a courageous issue from the pains of careful preparation, and not the school-boy dream of getting something from nothing. We will now leave the workshop, go outside and have a quiet little chat about the Sealed Pocket. The Sealed Pocket. The Sealed Pocket is not to be opened until the entire book has been read. Within the pocket will be found Proof Lesson Sheets, in envel- opes, to be opened as the system of work directs, at the proper time, and in the proper place. In the pocket will also be found an illustra- tion of our compass or folk points of gesture. Also a Physical Exercise Sheet. The relationship of the Sealed Pocket can be made into a health- ful game or contest, by reason of the happy intellectual effort it affords RECORD. THE HEART OF ART. 125 — which is an attempt to form the literary material we provide into Voice-Tone Paintings; and by this time you know just what we mean by Voice-Tone Painting. The effort, although at first perplexing, will be full of unique interest, which finally gives place to intense grat- ification, as you realize that you are becoming an authority in the Art of Expression. So we would suggest that " your coterie " use the material of Voice-Tone Painting, according to the instructions in the department of "How to Study the Material," and we know that much chaste enjoyment will be the result. And now that you know the particulars of the Sealed Pocket, we can go where the " material " is kept, and listen to a concise and clearly defined lecture on " How to Study the Material." After the lecture you are handed the material, and then you have a rare opportunity to do some original work. MATERIAL FOR VOICE-TONE PAINTING i 2 S RECORD. THE 111-: l R T OF I A' r. - How to Study the Material. The materia] which we offer for voice-tone painting is arrai in divisions, each division being numbered and named, bo there can be no mistake made when the student goes to the sealed pocket for final proof of his work. This final proof being on a Proof Lesson Sheet, in an envelope, on which is printed the number and name of the divis- ion it proves. The student is now ready for work, and of course he is to commence on the first division. He is to become familiar with every thought in it. Then he is to apply the laws which have been revealed to him in the temple of expression. And as the result of applying those law r s, he is to decide upon what he considers the Prin- cipal Particles of Thought. After he has decided upon them, he is to underline them with a pencil. Before deciding upon them he is to make an effort to test the effect by reading the thoughts aloud, a number of times. All this being done, he is to leave the division, and is to make an effort, day by day, to form a stanza of verse, or a paragraph of prose, from standard literature, into a voice-tone painting — a different stanza or paragraph being used each day. He is to continue this exercise for several weeks, without recurring to the division, or giving it a thought. At the end of this " several weeks," he is to study the di- vision again for a few moments, and the probability is that he will find mistakes, which his developing artistic judgment will point out. The mistakes being corrected, he is to leave the division again, for several weeks, and is to study aloud other stanzas and paragraphs, in the same way as he did before, a different one each day. This being done, he again returns to the division, and the pre- I3 o RECORD. THE HEART OF ART, 131 sumption is that only one or two mistakes will be detected. After rectifying the mistakes, he once more leaves the division, for the same length of time, studies in exactly tin- Baffle way, and returns to the division. And by this time it ought to look quite correet. If such it appears to be, he is permitted to go into the Sealed Pocket, whei its proper envelope, will be found the Proof Lesson Sheet, on which the material he has been working on will be found, arranged into voice-tone paintings, accurately outlined according to the unvarying and ever-living principles of Light and Shadow, of Economy and Per- spective. The student is to study, consecutively, each and all of the remaining divisions, in the same method, and is to look for the final proof in the Sealed Pocket, just as he did before. And remember that all the stanzas and paragraphs and divisions are to be practiced aloud before a decision is made. All this independent exercising is to cultivate the artistic judg- ment, and to strengthen and enlarge the range of Economic insight — and eyesight. And this is an essential development, for the student at the beginning of work, can only see (mentally) a -portion of an aver- age sized voice-tone painting. This inability to see the entire painting accounts, in a measure, for the mistakes which his expanding vision can correct. It will be noticed that we have selected some of the well-known masterpieces of Literature for our material, and it is to be remembered that we submitted a very simple little poem for our first illustration. So this is the place to tell you that every selection in Literature, from the most simple to the most profound, are under the control of Economy and Perspective, which all means that if you can make one voice- tone painting, with an intelligent appreciation of how it was done, you I32 RECORD. TJI/< HEART OF ART can make another; it may require some study, but it tan certainly be done. And do but reflect that notwithstanding that your friend the Por- trait Painter has the most consummate! skill and knowledge to repro- duce a face on canvas, it always costs him some thought, and perhaps many alterations, before his artistic judgment assures him that the drawing is correct and that the coloring is also true to perfect nature. And now, my student, make an indelible note of what we are to impress upon you. True emphasis rests in the ability TO DELIVER THE COMPLETE THOUGHT BY THE VOICE IN A BLENDED perspective epfect. Or, in other words, to realize that the thought is to be pictured, and with a due regard for what has been suggested by the preceding picture or situation. Just what influence a " situa- tion " should have over a " reading " may be learned from correct work on the following " situation," and voice-tone painting, from Hamlet. (Grave-digger sings, and then throws out a skull). Hamlet. — "That skull had a tongue in it, and could sing once." Any one ignorant of the Economic and Perspective law of Nature, of Spontaneity will nearly alwa) s put into prominence the words "tongue'' and " sing." And indeed it is the constant violation of this same law — this simple yet wonderful principle of Expression, that precludes so many worthy pulpit, platform and stage aspirants from an exercise of their full power and sympathetic control. Now an application of this law would cause us to know that the "singing" of the grave-digger drew forth the remark from Hamlet, and as a result "singing" is an Understood Particle of Thought. The two words, " That skull," should be made prominent, the rest of the words being shaded or blended out of them. The cor- i 34 RECORD^ THE HEART OF ART. i i< rect rendition being " that skull had a tongue in it and could sing once," and at the same time the said " That skull"' can be indicated In an action of some kind. Test the effect with your voice, being careful to blend the words out of each other, and you will surely feel the full force of our observation. The student is especially warned against "blocking out" the Principal Particles, which is usually done by beginners who make them prominent by loudness. Abruptly changing our mode of explanation we would say it is sometimes a help to the student when we tell him that the Principal Particles should be treated as though made of India rub- ber, which means that they should be stretched out. The emphasis of a Master in the Art of Expression is usually so per- fect that his method is concealed from all but the initiated. You have been initiated. And just what is meant by all this instruction is clearly apparent if you listen to conversation with the fur fose of not i )io- 1 he for- mation of the thought and not the sense therein. And furthermore this study from nature will reveal to you the wonderf ul -potency of subduing words. You will perceive also that Economy of Voice-Tone means that one voice-tone painting very often anticipates or prepares the way for another; or, in other words, suggests something that will be con- tinued in the thought picture that comes after it, and when it does this the voice must be suspended between it and the one to follow. It may be necessary to suspend the voice from one picture to another for many pictures, for it sometimes requires a long series of them to reach the climax or end of the subject endeavor. Spontaneitv never fails to do this (and never forget during your whole course of studv that Spontaneity is the natural models. I3 6 RECORD. THE HEART OF ART A scrit-s of these kindred pictures, from "The Burial of M< helps us to make clear this part of our subject. Noiselessly as the daylight ik's when tlie night is done — And the crimson streak on ocean's cheek Grows into the great sun. — Noiselessly as the springtime Her crown of verdure weaves, — And all the trees on all the hills Open their thousand leaves. — So without sound of music Or voice of them that wept Silently down from the mountain's crown The great procession swept. The power to command this suspense of voice with ready ease can be acquired by the following exercise: Select a long sentence, speak it in a natural and vigorous manner; now speak all the sentence but the last word, serving the said last word as if you had " chopped '' it off the others; now speak all but the two last ones, " chopping " them off as you did the one. Continue "chopping" off, in this way, larger pieces of the sentence at each stroke of the voice, until you have only one word remaining. This exercise is one of the most important in the whole system of work. At the risk of offending the little ink autocrats of Literature, I will say — do not rely implicitly on " punctu- ation points," for they often stalk in where they don't belong, and thus misrepresent the thought. Again, and for the last time, let us correct or stop the rampant error which supposes that emphasis relies entirely on " emphatic words " for true expression. Instead of which let it be positively understood that the perfect emphasis is the perfect picture, which 138 RECORD. 77/ E HEARl or ART. means that some Understood Particles arc- just as important as the Principal Particles on the principle that we can have no •• high light" without shadow. Tin- well-known lines, "Nothing useless Is or low; each thing in its place is best, and what seems but idle- show strength- ens and supports the rest,'" have kindly come to support the explana- tion. Just here, we would like to take the student by both hands, look him earnestly in the eyes, beekon in two or three directions, and say, "Companion, be assured that it is not our intention to split elocu- tionary hairs, or to provide an infinitesimal pair of reasoning scales to weigh Particles of Thought. We are merely endeavor- ing to trace the anatomy, the framework of the model, in an acute outline, which (hear me well) always melts or blends into the perfect whole, after the art of picturing with the voice has been mastered. And with this in mind we furnish extracts of literature instead of complete selections for our "material," which the student is soon to receive. For know, that in nearly every selection there are thought pictures which would only allow us to trace an indistinct outline of their form, an outline imperceptible to a beginner, whether he be a lit- erary prince or a literary pauper, and so we have only chosen those paragraphs and stanzas, through which the "drawing" can be seen- And then remember that we have assured you, that if you can make one picture with the voice you can make another. And do not con- found our term "Voice-Tone Painting," with that of "Word Paint- ing " for the term "Word Painting" suggests, to the avera. perception, a combination of esthetic or spread eagle thoughts painted red, white and blue — or orange. Know that our " Voice- Tone Drawing and Painting"* masters all lines and tints, and I4 o RECORD^ THE 1 1 EMIT OF ART i \\ is ever ready, with a few strokes of Art or Nature to prodw reproduce even a commonplace remark. Above many things we want you to acquire the ability to judge the natural worth of Par- ticles of Thought, comparison one to another, in a picture, at a proper mental DISTANCE FROM THE SUBJECT. And what is meant by this may be understood after we have placed, say a newspaper, about two hundred feet away from you, on level ground. You look at it and all you see is "something white." Advance toward it and you will per- ceive that there is a " black something " on its surface, nearer, and you will make out some of the large letters, a little nearer and you will notice the black lines. Advance again, pick it up, and the " news " is ready to pass into your mind, for you are at the proper distance from the subject matter — Now hold a newspaper close up against your eyes, and its contents are unintelligible to you, remove it a rea- sonable distance from them, likewise open to understanding. Now, gentle student, don't you see and feel that such a result and effect is equally true in the art of voice-tone painting ? Surely you do. If not — we hope and feel that earnest study and experience will make sensitive your artistic organization, and you will then be susceptible to the Truth we would impart. Even as we speak the Orb of Truth lights clearer our surroundings and a " droll little thing " is being driven toward us by true servants of Art. This "little thing" has four legs, long ears, loud asthmatic voice, and his name is Dogmatism. Panniers are thrown across his back and in them is securely packed for our students this fruitage — "When you have risen high enough in the Art of Expression to see and understand all of its proportions it maybe that your conception and production of a voice 142 RECORD. THE HEART OF ART i \i tone painting may differ a little from ours, but, THE PRINCD7L] LIGHT AND SHADOW, OF ECONOMY and PERSPECTIVE, WILL REMAIN, THEY ARE UNCHANGEABLE AND ETERNAL." But, see, our parade of thoughts is nearly past — all past save one, and it carries a banner of silver sheen, on which glitters in purple and gold "TO WIN ME THOU MUST PERSEVERE." an edict heralded from our ever youthful — ravishing — half revealed — snowy veiled — passionate mind queen, enthroned in her Palace of Art. i 44 RECORD. THE HEART OF ART. i tf The Haterial. It seems hardly necessary to announce that the student, before commencing work, should be familiar with the selections from which our extracts for the material are taken. FIRST DIVISION. From " 'J'he Burial of Moses." This was the truest warrior That ever buckled sword; This the most gifted poet That ever breathed a word; And never earth's philosopher Traced with his golden pen On the deathless page, truths half so sage As he wrote down for men. — Mrs. C. F. Alexander i 4 6 RECORD. 77/A' H7£ART OF ART, i \ >ND DIV1S] I n 'in •• '///, Ladv of / i •■ II thou wouldst have me paint The home to which, could love fulfil its praj This Land would had thee, listen! A deep vale Shutout by Alpine hills from the rude woild; Near a clear lake, maigin'd by fruits of gold And whispering myrtles; glassing softest skies, As cloudless, sa\e with lare and toseate shadows, As I would have thy fate! A palace lifting to eternal summer Its marble walls, from out a gl< ssy bower Of coolest foliage, musical with birds, Whose songs should syllable thy name! At m on We'd sit beneath the arching vines, and w< nder Why Earth could be unhappy, while the Heavens Still left us youth and love! We'd have no friends That were not lovers; no ambition, save To excel them all in love; we'd read no bo< ks That were not tales of love — that we might smile To think how poorly eloquence of words Translates the poetry of hearts like ours! And when night came, amidst the breathless heavens We'd guess what star should be our home when love Becomes immortal; while the perfumed light Stole through the mists of alabaster lamps. And every air was heavy with the sighs Of orange groves and music from sweet lutes. And murmurs of low fountains that gush forth I' the midst of roses! — Dost thou like the picture ? — Bubwer-Lytton . THIRD DIN [SIGN. From " The Reaper and tht Flowers, n Oh, not in cruelly, not in wrath, The Reaper came that day, 'Twas an angel visited the green earth, And took the flowers away. — / i 4 8 RECORD. THE HEART OF ART, i ig FOI R Hi Dl\ I »ION. From the " Nautihk Build thee more stately mansions, O, my soul, be m\ ill seasons roll ! ave thy low-vaulted past! Let each uew temple, nobler than the last, Shut thee from heaven with a dome more vast, Till thou at length art tree, Leaving thine outgrown shell by life's unresting sea! — Ohver Would I Holmes. FIFTH DIVISION. From " Maud Midler." God pity them both! and pity us all, Who vainly the dreams of youth recall. For of all sad words of tongue or pen, The saddest are these: " It might have been!" Ah, well! for us all some sweet hope lies Deeply buried from human eyes; And, in the hereafter, angels may Roll the stone from its grave away! —J. G. Wkittur. SIXTH DIVISION. From « The Ele± Full many a gem of purest ray, serene The dark unfathomed caves of ocean bear; Full many a flower is born to blush unseen, And waste its sweetness on the desert air. Far from the madding crowd's ignoble stiife, Their sober wishes never learned to stray; Along the cool sequestered vale of life They kept the noiseless tenor of their way. — Thomas Cray i 5 o RECORD. THE HEART or ART. Scale for an - \ccurate yudgment OF ORATORICAL AND ELOCUTIONARY CONTEST. Namcs of Contestants. li • * J U y u I o »- 5 n > o Gesture Expression or the Thought. i < c c < 1- z y 1 h C E u Q c b. H 4 J a. O k. u J « E u Z u O z < J 3 U K K < 1 ■ A S u TOTAL It will be noticed that there are seven parts to the scale. All of the parts are to be used in judging oratory, where the composition is origi nal. In judging declamations the " composition " part is omitted. There must be seven judges for oratory. Six judges for declamations. Each judge must decide only one part of the scale. In marking, 100 is to be considered PERFECT. And the judges are to use their discretion in marking up toward perfection. The judges should hand in their scales to their Chairman without consultation. The orate«fc8 and declamations should be limited to a certain length of time. The many advantages of this scale and arrangement cannot fail to be realized. i 5 2 RECORD. RECORD. i 54 RECORD. REt OA'/J. i S 6 RECORD. RECORD. 1=7 LEJe32 iG*ess