J LIBRARY OF CONGRESS. J I 
 
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 J UNITED STATES OF AMERICA. J 
 
312: 
 
 OF 
 
 ELOCUTION 
 
 -CONTAINING— 
 
 A brief statement and explanation of tlie Principles of 121o- 
 
 cution, together with an Outline of Methods of Teaching 
 
 Reading-, for use in Private Classes, Institutes, 
 
 and the Public Schools, 
 
 BY 
 
 J. U. BAEXARD, 
 
 Teacher of Elocution, State Normal 
 School, Kirksville 9 Mo. 
 
 'Elocution concerns the commerce ol' ui 
 
 KIKKSVILLK. MO. . 
 
 J. U. BAKNARD, PUBLISHER. 
 
Tti+> 30 
 
 In the following pages we have attempted to pre- 
 sent such an outline of the principles of Elocution as 
 will be of practical use to the teacher and student. 
 We have aimed to make the work of special value in 
 Institute work. It may he used in connection wit ] 
 reading book. The selections are fresh and first-class . 
 
 J, TLB. 
 
 Kirksville, Mo., May, 1880, 
 
 COPYRIGHT, 
 By J„ U. BARNARD, 
 
 '1880. 
 
 PRSCS. 
 
 Single Copy, - 25 Cents. 
 
 P : er Dozen, - - $2.00. 
 
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 fkipji ®f &§««$, 
 
 Elocution is the science and art of expressing 
 thought and feeling by utterance and action. 
 
 VOICE. 
 
 Voice is breath converted into sound. 
 
 The voice is capable of analysis. Expression de- 
 pends largely upon a proper consideration of the rela- 
 tions of the various properties of voice to the differ- 
 ent kinds of thought. These properties, or elements, 
 are of two kinds: essential and non-essential. 
 
 ATTRIBUTES OF VOICE. 
 
 I. Definition and Explanation.— Attributes of 
 of Voice are the elements essential to tone. Xo ut- 
 terance can be made without using all of them. The 
 omission of any one destroys tone. 
 
 II. Kinds.— There are six attributes of voice 
 Form, quality, force, stress, pitch and quantity. Move- 
 ment is essential to discourse but not to the produc- 
 tion of tone. 
 
 Attention is now directed to each of these elements 
 as used in the expression of thought. 
 
4. OUTLINE OF ELOCUTION. 
 
 QUALITY OF VOICE. 
 
 1. Definition.— Quality is the kind of voice. 
 
 2. Kinds.— There are seven qualities of voice, viz : 
 Pure tone, orotund, aspirate, pectoral, guttural, oral 
 and nasal. 
 
 3. Definition and uses of each.— (1). Pure tone 
 is a clear, round, musical tone, located in the back part 
 of the roof of the mouth. It is the natural conversa- 
 tional quality ; the quality most used in childhood. It 
 is free from impurities and produces a pleasing effect 
 upon the ear. In connection with effusive form, it is 
 used in serious, tranquil and pathetic thought. Ill con- 
 nection with the expulsive form, it is used in narrat- 
 ive, descriptive and didactic. With the explosive form 
 it is used to express intense joy and mirth. 
 
 (2). Orotund quality is a deep, round, musical tone 
 located in the upper part of the chest. It is the speak- 
 ing quality. ' It gives force and dignity to utterance. 
 It is used in oratorical thought, grandeur, sublimity, 
 awe, adoration, and deep solemnity. 
 
 4. exercises for practice. 
 
 (PURE TONE.) 
 
 (1). "John, where did you go yesterday ?" "I went 
 to see my cousin." "Well, how are the crops in the 
 country?" "Hope you had a pleasant time." "A very 
 pleasant time, indeed, sir." 
 
 (2). "G-oocl morning, Mr. Jones, I am glad to see you. 
 When did you arrive in the city ?" 
 "I came in by the last train." 
 "I hope you left your family well." 
 "Very well, thank you." 
 "You will call upon us before you go back ?" 
 "I will, thank you." 
 "Good morning, sir." 
 "Good morning." 
 
OUTLINE OF ELOCUTION. 5. 
 
 (OROTUND.) 
 
 (1). thou great and mighty deep! who can fathom 
 thy mysteries or search out thy treasures ? 
 
 (2). Not wholly lost, Father! is this evil world of 
 
 ours ; 
 Upward, through its blood and ashes, springs afresh 
 
 the Eden flowers ; 
 Prom its smoking hill of battle. Love and Pity send 
 
 their prayer. 
 And still thy white-winged angels hover dimly in 
 
 our air. 
 
 The remaining qualities of voice are impure, and 
 they are used chiefly in dramatic reading. They 
 should be studied only to be avoided. Children should 
 not practice them. We can do no more than define 
 each : 
 
 Aspirate quality is unvocalized breath. 
 
 Pectoral quality is produced by a contraction of 
 the organs at the top of the throat. 
 
 Guttural quality is produced by a contraction of 
 the organs at the lower part of the throat. 
 
 Oral quality is a thin, feeble tone located just back 
 of the teeth. % 
 
 Xasal quality is produced by stopping the passage 
 of the air through the nose. 
 
 FORM OF VOICE. 
 
 1. Definition.— Form of voice 'is the manner in 
 which the sound issues from the vocal organs. 
 
 2. Kinds.— There are three divisions of form: Ef- 
 fusive, expulsive and explosive. 
 
 3. Definition and uses of each.— (1.) The effusive 
 form is a gentle flowing emission of the voice. It 
 gives smoothness to utterance. In connection with 
 
6. OUTLINE OF ELOCUTION. 
 
 pure tone, it is used in pathetic, serious and tranquil 
 thought; in connection with the orotund, it is used in 
 sublimity, grandeur, adoration, awe and amazement. 
 (2.) The expulsive form is an abrupt emission of the 
 voice. In connection with pure tone, it is used in 
 narrative, descriptive and didactic ; in connection with 
 the orotund, it is used in grand and oratorical thought. 
 (3). Explosive form is an instantaneous emission of 
 the voice. It differs from the expulsive only in de- 
 gree. It is used in the expression of ecstatic ioy, de- 
 light, descriptions of exciting scenes. 
 
 4. EXERCISES FOR PRACTICE. 
 (PURE tons, effusive.) 
 
 (l). Best of all the old sweet treasures that garnish 
 my nest, 
 There's one that I love and I cherish the best ; 
 For the finest of couches that's padded with hair, 
 I never would change thee, my cane-bottomed chair. 
 
 (PURE TONE, EXPULSIVE.) 
 
 (2). Two brown heads with tossing curls, 
 
 Bed lips shutting over pearls, 
 Bare feet, white and wet with dew, 
 Two eyes black and two eyes blue — 
 Little boy and girl were they, 
 Katie Lee and Willie Gray. 
 
 (OROTUND, EFFUSIVE.) 
 
 (3). By I^ebo's lonely mountain, 
 
 On this side Jordan's wave, 
 In a vale in the land of Moab, 
 
 There lies a lonely grave ; 
 But no man dug that sepulchre, 
 
 And no man saw it e'er, 
 For the angels of God upturned the sod, 
 
 And laid the dead man there. 
 
OUTLINE OF ELOCUTION. 7. 
 
 (OROTUND, EXPULSIVE,) 
 
 (4). But it cannot be, shall not be ; this great woe 
 to oar beloved country, this catastrophe for the cause 
 of national freedom, this grievous calamity for the 
 whole civilized world, it can not, shall not be. No, by 
 the glorious 19th of April, 1775; no, by the precious 
 blood of Bunker Hill, of Princeton, of Saratoga, of 
 King's Mountain, of Yorktown ; no, by the undying 
 spirit of '76; no, by the dear immortal memory of 
 Washington, — that sorrow and shame shall never be, 
 
 (PURE TONE, EXPLOSIVE.) 
 
 (5). Go ring the bells and fire the guns, 
 And fling the starry banner out ; 
 Shout "Freedom!" till your lisping ones, 
 Give back their cradle shout, 
 
 FORCE OF VOICE. 
 
 1. Definition.— Force is the power of the voice. 
 In other words, it is the degree of intensity with 
 which sound is uttered* 
 
 2. Kinds.— There are four kinds of force, viz : Sub* 
 dued, moderate, energetic, and impassioned. 
 
 3. Explanation and uses of each.— (1). Subdued 
 force ranges from the slightest sound in pure tone to 
 ordinary conversation. It is used in pathos, solemn- 
 ity, and tranquillity, (2). Moderate is the force heard 
 in ordinary conversation. With pure tone, expulsive 
 form, it is used in narrative, descriptive, and didactic. 
 With orotund, effusive, it is used in expressing the 
 milder forms of reverence, sublimity and grandeur. 
 (3). Energetic force is heard in earnest and excited 
 conversation. In connection with pure tone, expulsive 
 and explosive forms, it is used to express joy and 
 gladness. In connection with orotund, expulsive and 
 explosive, it is used in public speaking. In connec- 
 
8. OUTLINE OF ELOCUTION. 
 
 tlon with orotund, effusive, it is heard in profound 
 sublimity, grandeur and adoracion. (4.) The impas- 
 sioned force is heard in the expression of ecstatic joy, 
 anger, defiance, calling and commanding. 
 
 4. EXEKCISES FOE PRACTICE. 
 
 (1.) Practice giving the vocals in the various de- 
 grees of force, 
 
 (SUBDUED FORCE.) 
 
 (2). O sweet and strange it seems to me, 
 
 That ere this day is done, 
 The voice that now is speaking, 
 May be beyond the sun. 
 
 { ENERGETIC FORCE.) 
 
 (3). Cromwell, I charge thee, fling away ambition, 
 By that sin fell the angels; how can man then, 
 The image of his Maker, hope to win by it? 
 Love thyself last; cherish those hearts that hate 
 
 thee: 
 Corruption wins not more than honesty. 
 
 STRESS OF VOICE. 
 
 1. Definition.— Stress is the application of the 
 force to the different parts of the word or sound. 
 
 2. Kinds.— There are six kinds of stress: Radical, 
 median, final, compound, thorough, and intermittent. 
 The following symbols represent them : ^I^ 1 zrzrz 
 radical; : =^ZI^]]IIII^ = median; rr^I] = 
 final ; JIII^^^CII^ = compound ; — = 
 thorough; = intermittent. 
 
 3. Definition and uses of each.— (1). Radical 
 stress is the application of the force of the voice to 
 first part of the word or sound. With pure tone, it is 
 
OUTLINE OF ELOCUTION. 9. 
 
 used in narrative, didactic and descriptive; and with 
 orotund it is used in argumentative and oratorical. 
 (2). Median stress is the application of the force of 
 the voice to the middle of the word or sound. It al- 
 ways requires the effusive form. With pure tone, 
 it is used in pathetic, tranquil and solemn ; and with 
 orotund, it is used in reverence, sublimity and gran- 
 deur. (3). Pinal stress is the application of t the force 
 of the voice to the last part of the word or sound. It 
 is used in earnest resolve, rebuke, revenge. (4). Com- 
 pound stress is the application of the force of the 
 voice to the first and last parts of the word or sound. 
 It is used in contempt and mockery. (5). Thorough 
 stress is an equal application of the force of the 
 voice to all parts of the word or sound. It is used in 
 lofty command, joy and rapture. (6). Intermittent 
 stress is a tremulous emission of voice. It is used in 
 the expression of old age, feebleness and grief. 
 
 4. EXERCISES FOR PRACTICE. 
 
 (RADICAL STRESS.) 
 
 (1). Up from the meadows rich with corn, 
 Clear in the cool September morn, 
 The clustered spires of Frederick stand 
 Green-walled by the hills of Maryland. 
 
 (MEDIAN STRESSj 
 
 (2). O lonely tomb in Moab's land! 
 
 O dark Beth-peor's hill ! 
 Speak to these curious hearts of ours, 
 And teach them to be still. 
 
 (FINAL STRESS.) 
 
 (o). I come not here to talk. You know too well 
 The story of our thralldom : We are slaves ! 
 The bright sun rises to his course, and lights 
 A race of slaves! He sets, and his last beam 
 Falls on a slave! 
 
10. OUTLINE OF ELOCUTION. 
 
 (THOROUGH STRESS1 
 
 (4). You call me chief; and ye do well to call 
 him chief, who, for twelve long years, has met upon 
 the arena every shape of man or beast the broad em- 
 pire of Rome could furnish, and who never yet low- 
 ered his arm. 
 
 PITCH OF VOICE. 
 
 1. Definition.— Pitch is the key of the voice. 
 
 2. Kinds. — For convenience we make rive div- 
 isions of pitch : Middle, Low, Very Low, High, Yery 
 High. 
 
 3. Explanation and Uses of Each.— (1). Mid- 
 dle pitch is the key used in ordinary conversation. 
 Erom it as a basis all other divisions are determined. 
 It is used in narrative, descriptive and didactic 
 thought, and in introduction to speeches, etc. (2). 
 Low pitch is used in pathetic, tranquil, grave and sol- 
 emn thought ; also in sublimity, grandeur and rever- 
 ence. (3). Yery low pitch is used in deep solemnity, 
 sublimity and grandeur and awe and amazement. 
 (4). High pitch is used in the expression of lively and 
 joyous thought. (5). Yery high pitch is used in ec- 
 static joy and delight, in calling and commanding. 
 
 4. exercises for practice. 
 
 (MIDDLE PITCH.) 
 
 (I). O good painter, tell me true, 
 
 Has your hand the cunning to draw 
 Shapes of things that you never saw ? 
 Ay ? Well, here is an order for you. 
 Woods and cornfields a little brown, 
 The picture must not be over-bright. 
 Yet all in the golden and gracious light 
 Of a cloud when the summer's sun is down. 
 
OUTLINE OF ELOCUTION. 11. 
 
 (LOW PITCH.) 
 
 (2). The curfew tolls the knell of parting day, 
 The lowing herd winds slowly o'er the lea. 
 The ploughman homeward plods his weary way, 
 And leaves the world to darkness and to me. 
 
 (VERY LOW PITCH.) 
 
 (3). O thou Eternal One! Whose presence bright 
 All space doth occupy, all motion guide; 
 Unchanged through Time's all-devastating flight ; 
 Thou only G-od! There is no God beside! 
 
 (HIGH PITCH.) 
 
 (4). Thou, too, sail on, O Ship of State! 
 Sail on, O Union, strong and great! 
 Humanity with all its fears, 
 With all its hopes of future years, 
 Is hanging breathless on thy fate ! 
 
 (VERY HIGH PITCH.) 
 
 (5). Ye crags and peaks, I'm with you once again. 
 (6) . King ! oh, ring for liberty ! 
 
 (7). Hurrah! hurrah! a single field hath turned the 
 chance of war. 
 Hurrah! hurrah! for Ivry and Henry of Xavarre! 
 
 QUANTITY OF VOICE. 
 
 1. Definition.— Quantity of Yoice is the length 
 of time given to the utterance of a word. 
 
 2. Kinds.— Quantity may be moderate, short, very 
 short, long, very long. 
 
 Uses of each.— (1). Moderate Quantity is used 
 in unemotional thought, such as narrative, descrip- 
 tive and didactic. (2). Short quantity is used in joy, 
 anger and revenge. (8). Very short quantity is used. 
 in excited commands, intense joy, sudden al; 
 
12. OUTLINE OF ELOCUTION. 
 
 &c. (4). Long quantity is used in the expression of 
 pathos, tranquillity, sublimity and reverence. (5). 
 Very long quantity is used in deep solemnity and 
 grandeur, and in calling. 
 
 4. EXERCISES FOR PRACTICE. 
 
 (MODERATE QUANTITY.) 
 
 (1). 'Twas on Lake Erie's broad expanse, 
 
 One bright, midsummer day, 
 The gallant steamer Ocean Queen, 
 Swept proudly on her way. 
 
 Bright faces clustered on the deck, 
 
 Or, leaning o'er the side, 
 Watched carelessly the feathery foam 
 
 That necked the rippling tide. 
 
 (SHORT QUANTITY.) 
 
 (2). A hurry of hoofs in a village street, 
 
 A shape in the moonlight, a bulk in the dark, 
 And beneath from the pebbles in passing a spark, 
 Struck out by a steed that flies fearless and fleet. 
 
 (LONG QUANTITY.) 
 
 (3.) "To all, the truth we tell ! we tell !" 
 
 Shouted in ecstasies a bell. 
 • "Come all ye weary wanderers, see! 
 
 Our Lord has made salvation free !" 
 (4.) Charco' ! Charco'.! Hark, O ! Hark, O ! 
 (5). "Farewell! Farewell! base world farewell." 
 
 - — — -o 
 
 ACCIDENTS OF VOICE. 
 
 1. Definition and Explanation.— Accidents of 
 voice are the properties of vocal expression that are 
 not essential to tone. Unlike the attributes, we can 
 give tone without them. 
 
 2. Divisions. — The accidents are movement, inflec- 
 tion, pauses, emphasis, cadence, grouping, &c. 
 
OUTLINE OF ELOCUTION. 13. 
 
 MOVEMENT. 
 
 1. Definition.— Movement is the rapidity with 
 which words are uttered in continuous discourse. The 
 length of time given to the utterance of a single word 
 is 4he quantity; the time given between the utter- 
 ance of words, is the movement. 
 
 2. Divisions. — There are five divisions of move- 
 ment: Moderate, rapid, very rapid, slow, very slow. 
 
 3. Uses oe each.— (1.) Moderate movement is the 
 movement given to ordinary conversation, and it is 
 used in narrative, descriptive and didactic thought. 
 (2). Slow movement is used in solemn, serious, tran- 
 quil and devotional thought. (3.) Tery slow move- 
 ment is used in profound reverence, deep solemnity 
 and amazement. (4). Eapid movement is used in 
 the expression of joy, gladness and speaking. (5.) Very 
 rapid movement is used in ecstatic joy and delight, 
 and descriptions of exciting scenes. 
 
 4. exercises for practice. 
 
 (MODERATE MOVEMENT.) 
 
 (l). Have you heard the tale of the Aloe plant, 
 Away in the sunny clime ? 
 By humble growth of a hundred years 
 It reaches its blooming time; 
 And then a wondrous bud at its crown 
 Breaks into a thousand flowers ; 
 This floral queen, in its blooming seen, 
 Is the pride of the tropical bowers, 
 But the plant to the flower is a sacrifice, 
 For it blooms but once, and in blooming dies, 
 
 (SLOW MOVEMENT.) 
 
 (2). The curfew toils the knell of parting day ; 
 
 The lowing herds wind slowly o'er the lea ; 
 The plowman homeward plods his weary way, 
 And leaves the world to darkness and to me. 
 
14. OUTLINE OF ELOCUTION, 
 
 (VERY SLOW MOVEMENT.) 
 
 (3). 'Tis midnight's holy hour— and silence now 
 Is brooding, like a gentle spirit, o'er 
 The still and pulseless world. Hark ! on the winds 
 The bells deep tones are swelling— 'tis the knell 
 Of the departed year. 
 
 (RAPID MOVEMENT.) 
 
 (4). Cannon to right of them, 
 
 Cannon to left of them. 
 Cannon in front of them, 
 Volleyed and thundered, 
 Stormed at with shot and shell, 
 Boldly they rode and well ; 
 Into the jaws of Death, 
 Into the mouth of Hell, 
 Bode the Six Hundred. 
 
 (VERY RAPID MOVEMENT.) 
 
 (5.) How they tinkle, tinkle, tinkle, 
 
 In the icy air of night ! 
 While the stars that oversprinkle 
 All the heavens, seem to twinkle 
 
 With the crystalline delight. 
 
 emphasis. 
 
 1. Definition. — Emphasis is any means by which 
 words are rendered specially significant. 
 
 2. Emphasis may be given, (1). By a change in any 
 one of the attributes of voice. (2). By a pause before 
 or after a word. (3). By gesture. 
 
 Inflection, pauses, cadence, grouping, climax, &c, 
 do not demand special attention in this treatise. 
 
OUTLINE OF ELOCUTION. 15. 
 
 EXPLANATION OF THE STYLES OF 
 THOUGHT. 
 
 We give below a short explanation of the leading 
 
 styles. 
 
 1. Pathetic Style is intended to express such emo- 
 tions, as grief, sorrow, sadness, &c. 
 
 2. Tranquil Style expresses thought in a calm, quiet, 
 and flowing manner. 
 
 3. Didactic Style is designed to instruct in the form 
 of narration, description, or scientific and literary lee- 
 tures. 
 
 4. Lively Style is appropriate for the expression of 
 light, animated thought. 
 
 5. Gay Style expresses thought in a merry, joyous 
 manner. 
 
 6. Sublime Style expresses thought awakened by the 
 contemplation of great and noble objects. 
 
 7. Oratorical Style is the style appropriate for pub- 
 lic speaking. 
 
 8. Impassioned Poetic Style is appropriate for the 
 expression of the intense forms of poetic thought and 
 feeling. 
 
 9. Vehement Style is appropriate for the expression 
 of intense passion, anger, scorn, revenge, &c. 
 
 10. The Dramatic Style is simply a combination of 
 several styles. 
 
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OUTLINE OF ELOCUTION. 17. 
 
 EXERCISES IN ARTICULATION. 
 
 " 1. He crossed the wastes and deserts, and wept 
 bitterly. 
 
 2. Life's fitful fever over, he rests well. 
 
 3. Make clean our hearts. 
 
 4. Did you saya notion or an ocean ? 
 
 5. Eight great gray geese grazing gaily into Greece. 
 
 6. Some shun sun-shine ; do you shun sun-shine ? 
 
 7. Thou reason'dst falsely, and harden'dst thy heart. 
 
 8. A sure sign of sunshine. 
 
 9. You said "a knap-sack strap," not "a knap-sack's 
 strap. 
 
 10. The sun shines on the shop signs. 
 
 11. The white boot-black blacked the black boot- 
 black's boots. 
 
 12. Thou turnedst, graspedst, countedst, rushedst 
 forth and disappearedst. 
 
 13. Shrewd Simon Short sewed shoes. 
 
 14. Theophilus Thistle, the successful thistle sifter, 
 sifted a sieve full of unsifted thistles. 
 
 15. Sophia Sophronia Spriggs insulted Samuel Slick 
 Slocum. 
 
 16. A rat in a ratt-rap, ran through the rain, on a 
 rail, with a lump of red, raw liver in its mouth. 
 
 17. Ceaseth, approacheth, rejoiceth, 
 Rejoiceth, ceaseth, approacheth, 
 Approacheth, rejoiceth, ceaseth. 
 
 18. Thrice six thistle sticks thrust straight through 
 three throbbing thrushes. 
 
 19. Amidst the mists with angry boasts, 
 He thrusts his fists against the posts, 
 And still insists he sees the ghosts. 
 
18. OUTLINE OF ELOCUTION. 
 
 TEACHING BEADING. 
 
 Many of the faults in reading as well as a large 
 number of defects of voice may be traced to im- 
 proper methods of teaching. Habits formed in youth 
 usually cling to the individual, and often affect his 
 future career. Hesitation, stammering, poor articula- 
 tion, want of proper expression of thought, &c, may 
 be charged upon wrong methods of teaching reading. 
 Hence, it is of prime importance that the first It ssons 
 in reading should be given in such a manner as will 
 give proper direction to the development of the pow- 
 ers of the child. 
 
 We call attention to a few of the methods that have 
 been used in teaching this subject. 
 
 A, B, C METHOD. 
 
 This is perhaps, the oldest and most common meth- 
 od known at the present time. It consists in teach- 
 ing the name of each letter separately, without re- 
 gard to position, sound or sense. After the letters 
 are learned they are then combined into meaningless 
 words of one, two, three or more syllables. The 
 method is mechanical and unnatural, and consequent- 
 ly unphilosophical. It is responsible for a large por- 
 tion of the mechanical reading of the present day. 
 It violates nearly every principle of teaching, and 
 should be abandoned by all true teachers. 
 
 THE PHONIC METHOD. 
 
 According to this method the pupils are first taught 
 the sounds of the letters instead of their names. To 
 read the word cat the pupil would be taught the 
 sound of c, then the short sound of A, then the 
 sound of T, and then to pronunce it gat. This meth- 
 od is superior to the preceding, but it presents to the 
 child a great number of obstacles. To teach the 
 sounds of two letters singly and afterwards to unite 
 
OUTLINE OF ELOCUTION. 19. 
 
 them into a compound sound or word is little better 
 than to teach the names of two letters and then unite 
 them into a single word. A modification of this 
 system is the Phonotypic Method, in which each 
 sound is represented by a character. Instead of lear- 
 ning twenty-six letters, the pupil must become famil- 
 iar with forty. The method is not practicable. 
 
 THE WORD-BUILDING METHOD. 
 
 This method begins with words of one letter and 
 gradually forms new words by prefixing or affixing 
 single letters. Separate letters and spelling are 
 taught by asking questions, such as "what letter is 
 added to a to form at ?" "What letter is placed af- 
 ter at to form ate ?" What letter is placed before 
 
 ATE to form LATE?" 
 
 OBJECT METHOD. 
 
 By this method the teacher begins at once to teach 
 words. "The natural way for a child to learn lan- 
 guage is to begin with the units of language, which 
 are words." Words are taught as the signs of ideas. 
 Objects are freely used to develop ideas and illustrate 
 points. 
 
 We give an outline of the fundamental principles of 
 this method. 
 
 GENERAL PRINCIPLES AND DIRECTIONS. 
 
 1. Pass from the simple to the complex.— The child's 
 mind is easily confused and it cannot grasp that 
 which involves a complication of elements. Slowly 
 and gradually che mind is led to take in principle af- 
 ter principle, and element after element until finally 
 the more complex and complicated notions are in its 
 possession. 
 
 2. Teach the concrete before the abstract.— Children 
 are concerned with the objects that surround them, 
 Abstractions occupy a very small portion of their at- 
 
20. OUTLINE OF ELOCUTION. 
 
 tention. After the childish years have passed they 
 then begin to consider the abstract. 
 
 3. Begin with words as units representing ideas. — 
 In other words, teach the whole word before its parts. 
 Words are the symbols that represent our ideas. The 
 child learns to say "papa," not by learning each letter 
 separately, but by learning the word as a whole. 
 
 4. Develop the idea and then give the symbol to 
 represent it. — Knowledge is derived primarily from 
 things and not from parties ; hence, it follows that 
 our instruction should begin with things and ideas, and 
 lead up to principles. In the ordinary transactions of 
 life, we do not name a thing until we have gained 
 possession of it. The child upon the playground finds 
 a curiosity. After he has examined its beauties and 
 irregularities, he asks for the name. This is the order 
 of nature ; and "men have never been able to improve 
 it." Give the child ideas, then words to express them 
 Until the child has something in the mind to be rep- 
 resented, it has no use for the words or signs. 
 
 5. Teach the names of familiar objects first. — The 
 first lesson the child learns is an object lesson. It 
 sees a great many objects for which it has no name. 
 The work of the teacher begins with the names of fa- 
 miliar objects. The names of qualities, actions, &c, 
 may be taught afterward. 
 
 6. Associate pleasure with instruction.— Pleasure is 
 a powerful incentive to action, x With the child it is 
 one of the actuating principles. Whenever instruc- 
 tion does not afford pleasure, there is something 
 wrong, either in the subject-matter or in the manner 
 of presenting it. 
 
 PLAN OF PROCEDURE. 
 
 1. Presentation of object. — The object should be 
 one with which the child is familiar. 
 
OUTLINE OF ELOCUTION. fci. 
 
 2, Questioning. — The questions should not only be 
 simple, but they should be such as will excite inter- 
 est and lead the pupil to express his ideas of the 
 object, 
 
 3. Representation, (1). By picture. (2). By printed 
 or written word. The questions have developed ideas 
 of the object, and the next thing the child needs is 
 means of expression. It is not always possible to 
 represent the object by picture, but when possible it 
 should be done. Actions and qualities cannot be pic- 
 tured, but they can be illustrated. The teacher should 
 distinguish the object, the picture and the word from 
 each other. 
 
 STEPS IN TEACHING- READING. 
 
 1. Teach the words used in conversation. 
 
 2. Teach the sounds of the letters after they have 
 learned thirty or forty words* 
 
 3. After the sounds are learned, teach the letters, 
 This will seldom be necessary, as the child generally 
 learns the letters without any special assistance from 
 the teacher. This is the universal experience of those 
 who follow the word method. 
 
 REMARKS, 
 
 1. It is well to teach such words as can be arranged 
 into short sentences ; so that the child may be taught 
 to read in a very short time. 
 
 2. Introduce only a few words at a time. 
 
 3. Always take a short review of the previous les- 
 son. 
 
 4. Great care should be taken not to destroy the 
 naturalness of the voice. The child's voice is pure and 
 musical. The rough, harsh voices we have are the 
 result of bad training. 
 
 5. Every schoolroom should be supplied with a se- 
 ries of Reading Charts. 
 
8SS&B@VIOS8« 
 
 TRUE LIFE. 
 
 BY MRS. C. H. GILDERSLEEVE. 
 
 "We live in deeds, not years— in thoughts, not breaths— 
 In feelings, not in figures on a dial : 
 We should count time by heart-throbs. He most lives 
 Who thinks most,— -feels the noblest— acts the best. "—Bailey, 
 
 1. A dreamer sat beneath a vine, 
 
 Which clambered o'er a ruined pile, 
 He grasped the blossoms, drank the wine 
 
 Which fancy offered with a smile, 
 The buds, so perfumed, breathed of Fame, 
 
 The cup was bright as youth's first trust, — 
 But time went by, — forgot his name,— 
 
 The cup and flowers turned to dust, 
 
 2. A painter famished by his art, 
 
 Ground out his blood for dyes more fair — 
 He grasped his brush, then with a start, 
 
 He cried, "Tis Fame!" but Death was there. 
 With cunning skill, the sculptor wrought, 
 
 Till life seemed starting from his hand ; 
 He thought 'tw r as Fame, Time said 'twas, nought, 
 
 And turned his marble into sand. 
 
 3. A soldier fought in many lands, 
 
 He spent his life in battles wild — 
 And slept at last. No loving hands 
 Of saddened friend, or wife, or child, 
 
SELECTIONS. 23. 
 
 Closed down his eyes. He lived for fame- 
 Dreamed it was bliss. His dreams are o'er; 
 
 He left on earth no other name 
 Than his poor orphaned children bore. 
 
 4. A teacher toiled with God-sent light, 
 
 To raise from earth and earthly mould, 
 
 The children's souls, and guide them right,— 
 Xor toiled for Fame, nor yet for gold, 
 
 But led the erring back to truth, 
 And raised the sordid— made them men,— 
 
 Then died to earth — received a crown- 
 While angel voices sang, — Amen. 
 
 HAMLET TO HIS MOTHEE. 
 
 Look here, upon this picture, and on this ; 
 
 The counterfeit presentment of two brothers, 
 
 See what a grace w r as seated on this brow : — 
 
 Hyperion's curls ; the front of Jove himself ; 
 
 An eye like Mars', to threaten and command; 
 
 A station like the herald Mercury, 
 
 New-lighted on a heaven-kissing hill; 
 
 A combination, and a form, indeed, 
 
 Where every god did seem to set his seal, 
 
 To give the w r orld assurance of a man. 
 
 This was your husband. Look you, now, what follows : 
 
 Here is your husband ; like a mildewed ear, 
 
 Blasting his wholesome brother. Have you eyes ? 
 
 Could you on this fair mountain leave to feed 
 
 And batten on this moor ? Ha ! have you eyes ? 
 
 You cannot call it love, for at your age 
 
 The heyday in the blood is tame, it's humble, 
 
 And waits upon the judgment; and what judgment 
 
 Would step from this to this ? 
 
34. SELECTIONS. 
 
 YOU PUT NO FLOWEBS ON MY PAPA'S GBAYE. 
 
 With sable-draped banners, and slow measured tread, 
 The flower-laden ranks pass the gates of the dead; 
 And seeking each mound where a comrade's form rests, 
 Leave tear-bedewed garlands to bloom on his breast. 
 
 Ended at last is the labor of love ; 
 Once more through the gateway the saddened lines 
 
 move — 
 A wailing of anguish, a sobbing of grief, 
 Falls low on the ear of the battle-scarred chief; 
 Close crouched by the portals, a sunny-haired child 
 Besought him in accents which grief rendered wild: 
 
 2. 
 "Oh ! sir, he was good, and they say he died brave- 
 Why ! why ! did you pass by my dear papa's grave ? 
 I know he was poor, but as kind and as true 
 As ever marched into the battle with you — 
 His grave w r as so humble, no stone marks the spot, 
 You may not have seen it. Oh, say you did not! 
 For my poor heart will break if you knew he was there, 
 And thought him too lowly your offerings to share. 
 He didn't die lowly— he poured his heart's blood, 
 In rich crimson streams, from the top-crowning sod 
 Of the breastworks which stood in front of the fight— 
 And died shouting, 'Onward! for God and the right'! 
 O'er all his dead comrades your bright garlands wave, 
 But you haven't put one on my papa's grave. 
 If mamma were here— but she lies by his side, 
 Her wearied heart broke when our dear papa died." 
 
 3. 
 "Battallion! file left! countermarch!" cried the chief, 
 "This young orphan'd maid hath full cause for her 
 grief." 
 
SELECTION'S. 25, 
 
 Then up in his arms from the hot, dust} 7 street, 
 He lifted the maiden, while in through the gate 
 The long line repasses, and many an eye 
 Pays fresh tribute of tears to the lone orphan's sigh. 
 
 4. 
 "'This way it is— here, sir— right under this tree; 
 They lie close together, with just room for me." 
 
 5. 
 "Halt! Cover with roses each lowly green mound— 
 A love pure as this makes these graves hallowed 
 ground." 
 
 6. 
 /'Oh ! thank you, kind sir ! I ne'er can repay 
 The kindness you've shown little Daisy to-day ; 
 But I'll pray for you here, each day while I live, 
 'Tis all that a poor soldier's orphan can give. 
 I shall see papa soon, and dear mamma too — 
 I dreamed so last night, and I know 'twill come true ; 
 And they will both bless you, I know, when I say 
 How you folded your arms round their dear one to-day ; 
 How you cheered her sad heart, and soothed it to rest* 
 And hushed its wild throbs on your strong, noble 
 
 breast ; 
 And when the kind angels shall call you to come, 
 We'll welcome you there to our beautiful home, 
 Where death never comes, his black banners to wave. 
 And the beautiful flowers ne'er weep o'er a grave." 
 
 — C. E. L. Holmes. 
 
 CHARGE OF THE LIGHT BRIGADE. 
 
 Half a league, half a league, 
 Half a league onward, 
 All in the valley of death 
 
3GL SELECTION'S', 
 
 Rode the six hundred. 
 "Forward, the Light Brigade I 
 Charge for the guns !" he said : 
 Into the valley of Death 
 Eode the six hundred. 
 
 2, "Forward, the Light Brigade V" 
 
 Was there a man dismayed ? 
 Not though the soldiers knew 
 
 Some one had blundered ! 
 Theirs not to make reply ; 
 Theirs not to reason why ; 
 Theirs but to do and die : 
 Into the valley of Death 
 
 Rode the six hundred. 
 
 3. Cannon to right of them, 
 Cannon to left of them, 
 Cannon in front of them 
 
 Volleyed and thundered: 
 Stormed at with shot and shell, 
 Boldly they rode and well ; 
 Into the jaws of Death, 
 Into the mouth of Hell, 
 
 Rode the six hundred, 
 
 L Flashed all tbeir sabers bare, 
 Flashed as they turned in air, 
 Sab'ring the gunners there, 
 Charging an army, while 
 
 All the world wondered! 
 Plunged in the battery smoke, 
 Right through the line they broke : 
 Cossack and Russian 
 Reeled from the saber-stroke, 
 
 Shattered and sundered. 
 Then they rode back ; but not— 
 
 2Jot the six hundred. 
 
SEEECTICXNS. 1% 
 
 Cannon to right of them, 
 Cannon to left of them, 
 Cannon behind them 
 
 Yolleyed and thundered : 
 Stormed at with shot and shell, 
 While horse and hero fell, 
 They that had fought so well 
 Came through the jaws of Death 
 Back from the mouth of Hell, 
 All that was left of them — 
 
 Left of six hundred. 
 
 When can their glory fade ? 
 O the wild charge they made ! 
 
 All the world wondered. 
 Honor the charge they made ! 
 Honor the Light Brigade,— 
 
 ]SToble six hundred ! — Tennyso N. 
 
 DISCOVERIES OF GALILEO. 
 
 1. There are occasions in life in which a great mind 
 lives years of rapt enjoyment in a moment. I can 
 fancy the emotions of Galileo, when, first raising the 
 newly-constructed telescope to the heavens, he saw 
 fnlfilled the grand prophecy of Copernicus, and beheld 
 the planet Venus crescent like the moon. 
 
 2. It was such another moment as that, when the 
 immortal printers of Mentz and Strasburg received 
 the first copy of the Bible into their hands, the work 
 of their divine art; like that, when Columbus, through 
 the gray dawn of the 12th of October, 1492, beheld the 
 shores of San Salvador ; like that, when the law of 
 gravitation first revealed itself to the intellect of 
 
2&. SELECTIONS. 
 
 Newton ; like that, when Franklin saw, by the stiffen- 
 ing fibres of the hempen cord of his kite, that he held 
 the lightning in his grasp ; like that, when Leverrier 
 received back from Berlin the tidings that the pre- 
 dicted planet was found. 
 
 3. Yes, noble Galileo, thou art right. "It does 
 move." Bigots may make thee recant it, but it moves, 
 nevertheless. Yes, the earth moves, and the planets 
 move, and the mighty waters move, and the great 
 sweeping tides of air move, and the empires of men 
 move, and the world of thought moves, ever onward 
 and upward, to higher facts and bolder theories. The 
 Inquisition may seal thy lips, but they can no more 
 stop the progress of the great truth propounded by 
 Copernicus, and demonstrated by thee, than they can 
 stop the revolving earth. Close, now, venerable sage, 
 that sightless, tearful eye; it has seen what man never 
 before saw ; it has seen enough. Hang up that poor 
 little spy-glass ; it has clone its work. Not Herschel 
 nor Bosse has, comparatively, done more. Francis- 
 cans and Dominicans deride thy discoveries now, but 
 the time will come when, from two hundred observa- 
 tories in Europe and America, the glorious artillery 
 of science shall nightly assault the skies ; but they 
 shall gain no conquests in those glittering fields be- 
 fore which thine shall be forgotten. 
 
 4. Best in peace, great Columbus of the heavens ;— 
 like him, scorned, persecuted, broken-hearted !— in oth- 
 er ages, in distant hemispheres, when the votaries of 
 science* with solemn acts of consecration, shall dedi- 
 cate their stately edifices to the cause of knowledge 
 and truth, thy name shall be mentioned with honor. — 
 [Everett. 
 
SELECTIONS. 29, 
 
 THE LITTLE OBATOE. 
 
 1. Pray how should I, a little lad, 
 
 In speaking make a figure ? 
 You're only joking, I'm afraid — 
 Do wait till I am bigger. 
 
 2. But, since you wish to hear my part, 
 
 And urge me to begin it, 
 I'll strive for praise with all my heart. 
 Though small the hope to win it. 
 
 3. I'll tell a tale, how Farmer John 
 
 A little roan colt bred, sir, 
 And every night and every morn, 
 He watered and he fed, sir. 
 
 4. Said neighbor Joe to Farmer John, 
 
 "Arn't you a silly dolt, sir, 
 To spend such time and care upon 
 A little, useless colt, sir ?" 
 
 5. Said Farmer John to neighbor Joe, 
 
 "I bring my little roan up, 
 Not for the good he now can do, 
 But will do when he's grown up." 
 
 6. The moral you can well espy. 
 
 To keep the tale from spoiling, 
 The little colt, you think, is I— 
 I know it by your smiling. 
 
 7. And now, my friends, please to excuse 
 
 My lisping and my stammers ; 
 I, for this once, have done my best, 
 And so I'll make my manners. 
 
m selections: 
 
 THE SUPERFLUOUS MAK 
 
 It is said that an inspection of the records of many 
 countries reveals the fact that the uniform proportion 
 of male to female births is as 21 to 20. 
 
 1. I long have been puzzled to guess, 
 
 And so I have frequently said, 
 What the reason could really be 
 
 That I never have happened to wed ; 
 But now it is perfectly clear, 
 
 I'm under a natural ban ! 
 The girls are already assigned— 
 
 And I'm a superfluous man! 
 
 2. These clever statistical chaps 
 
 Declare the numerical run 
 Of women and men in the world, 
 
 Is twenty to twenty and one ; 
 And hence in the pairing you see, 
 
 Since wooing and wedding began. 
 For every connubial score, 
 
 They've got a superfluous man ! 
 
 3. By twenties and twenties they go, 
 
 And giddily rush to their fate, 
 For none of the number, of course, 
 
 Can fail of a conj ugal mate ; 
 But while they are yielding in scores 
 
 To Nature's inflexible plan, 
 There's never a woman for me, 
 
 For I'm a superfluous man ! 
 
 4. It isn't that I am a churl, 
 
 To solitude over-inclined; 
 It isn't that I am at fault 
 
 In morals, or manners, or mind ; 
 Then what is the reason you ask, 
 
 I am still with the bachelor's clan ? 
 
'SELECTIONS. 31. 
 
 I merely was numbered amiss— 
 And I'm a superfluous man! 
 
 IS. It isn't that I am in want 
 
 Of personal beauty and grace. 
 For many a man with a wife 
 
 Is uglier far in the face ; 
 Indeed, among elegant men, 
 
 I fancy myself in the van ; 
 But what is the value of that, 
 
 When I'm a superfluous man] 
 
 6. Although I am fond of the girls, 
 
 For aught I could ever discern, 
 The tender emotion I feel 
 
 Is one that they never return; 
 'Tis idle to quarrel with fate, 
 
 For struggle as hard as I can, 
 They're matched already, you know— 
 
 And I'm a superfluous man! 
 
 7. No wonder I grumble at times, 
 
 With women so pretty and plenty. 
 To know that I never was born 
 
 To figure as one of the Twenty ; 
 But yet, when the average lot 
 
 With critical vision I scan, 
 I think it may be for the best 
 
 That I'm a superfluous man! 
 
 INDEPENDENCE BELL-JULY 4, 1870. 
 
 There was a tumult in the city, 
 In the quaint old Quaker town. 
 
 And the streets were rife with people, 
 Pacing restless up and down— 
 
33. SELECTIONS*. 
 
 People gathering at the corners, 
 Where they whispered each to each. 
 
 And the sweat stood on their temples 
 With the earnestness of speech. 
 
 . 2. As the bleak Atlantic currents 
 
 Lash the wild Newfoundland shore, 
 So they beat against the State-House, 
 
 So they surged against the door ; 
 And the mingling of their voices, 
 
 Made a harmony profound, 
 Till the quiet street of Chestnut 
 
 Was all turbulent with sound. 
 
 3. "Will they doit?" "Dare they do it?" 
 
 "Who is speaking?" "What's the news?" 
 "What of Adams?" "What of Sherman?" 
 
 "Oh, grant they won't refuse !" 
 "Make some way there !" "Let me nearer !" 
 "I am stifling!" "Stifle then! 
 When a nation's life's at hazard, 
 We've no time to think of men!" 
 
 4. So they surged against the State-House, 
 
 While all solemnly inside 
 Sat the "Continental Congress," 
 
 Truth and reason for their guide. 
 O'er a simple scroll debating, 
 
 Which, though simple it might be, 
 Yet should shake the cliffs of England 
 
 With the thunders of the free. 
 
 5. Far aloft in that high steeple 
 
 Sat the bellman, old. and gray; 
 He was weary of the tyrant 
 
 And his iron-sceptered sway. 
 So he sat with one hand ready 
 
 On the clapper of the bell, 
 
SELECTIONS. 33, 
 
 When his eye could catch the signal, 
 The long-expected news, to tell. 
 
 6. See! See! The dense crowd quivers 
 
 Through all its lengthy line, 
 As the boy beside the portal 
 
 Hastens forth to give the sign! 
 With his little hands uplifted, 
 
 Breezes dallying with his hair, 
 Hark! with deep, clear intonation, 
 
 Breaks his young voice on the air : 
 
 7. Hushed the people's swelling murmur, 
 
 Whilst the boy cries joyously; 
 "Ring!" he shouts, "Ring! grandpapa. 
 
 Ring! oh, ring for Liberty !" 
 Quickly, at the given signal, 
 
 The old bellman lifts his hand, 
 Forth he sends the good news, making 
 
 Iron music through the land. 
 
 8. How they shouted! What rejoicing! 
 
 How the old bell shook the air, 
 Till the clang of freedom ruffled 
 
 The calmly gliding Delaware! 
 How the bonfires and the torches 
 
 Lighted up the night's repose, 
 And from the flames, like fabled Phoenix, 
 
 Our glorious liberty arose! 
 
 9. That old State-House bell is silent, 
 
 Hushed now its clamorous tongue, 
 But the spirit it awakened 
 
 Still is living — ever young ; 
 And when we greet the smiling sunlight 
 
 On the fourth of each July, 
 We will ne'er forget the bellman 
 
 Who, betwixt the earth and skv. 
 Rung out loudly, "Independence r 
 
 Which, please God, shall never die! 
 
34. SELECTIONS. 
 
 THE BOYS. 
 
 OLIVER W. HOLMES. 
 
 [This selection is a poem addressed to the class of 1829, in Harvard 
 College, some thirty years after their graduation.] 
 
 1. 
 
 Has there any old fellow got mixed with the boys ? 
 If there has take him out without making a noise. 
 Hang the old almanac's cheat and the catalogue's spite I 
 Old Time is a liar ; we're twenty to-night. 
 
 2. 
 We're twenty ! We're twenty ! Who says we are more ? 
 He's tipsy,— young jackanapes,— show him the door! 
 "Gray temples at twenty ?"— Yes! white if we please; 
 Where the snow flakes fall thickest there's nothing 
 can freeze! 
 
 o 
 e>. 
 
 Was it snowing I spoke of? Excuse the mistake ! 
 Look close,— you will see not a sign of a flake ! 
 We want some new garlands for those we have shed. 
 And these are white roses in place of the red. 
 
 4. 
 We've a trick, we young fellows, you may have been 
 
 told, 
 Of talking (in public) as if we were old ; 
 That boy we call "Doctor" and this we call "Judge": 
 It's a neat little fiction —of course it's all fudge, 
 
 fellow's the "Speaker," the one on the right ; 
 "Mr. Mayor," my young one, how are you to-night ? 
 That's our "Member of Congress." we say when we 
 
 chaff; 
 That's the '^EeTerend'"— what's his name ?~- don't make 
 
 me Ikn : 
 
SELECTIONS. 35. 
 
 6, 
 
 That boy with the grave mathematical look 
 Made believe he had written a wonderful book, 
 And the Royal Society thought it was true ! 
 So they chose him right in, — a good joke it was too ! 
 
 7. 
 There's a boy, we pretend, with a three-decker brain, 
 That could harness a team with a logical chain ; 
 When he spoke for our manhood in syllabled fire, 
 We called him the "Justice," but now he's the "Squire." 
 
 8. 
 And there's a nice youngster of excellent pith ; 
 Fate tried to conceal him by naming him Smith ; 
 But he shouted a song for the brave and the free, — 
 Just read, on his medal, "My country," "of thee !" 
 
 a 
 
 You^iear that boy laughing? You think he's all fun ; 
 But the angels laugh, too, at the good he has done ; 
 The children laugh loud as they troop to his call, 
 And the poor man that knows him laughs loudest of all ! 
 
 10. 
 
 Yes, we're boys,— always playing with tongue or with 
 
 pen; 
 And I sometimes have asked, Shall we ever be men? 
 Shall we always be youthful, and laughing, and gay, 
 Till the last dear companion drops smiling away ? 
 
 11. 
 Then here's to our boyhood, its gold and its gray ! 
 The stars of its winter, the dews of its May! 
 And when we have done with our life-lasting toys. 
 Dear Father, take care of thy children, The Boys! 
 
30. SELECTIONS. 
 
 MY DARLING'S SHOES- 
 
 1. 
 God bless the little feet that can never go astray, 
 For the little shoes are empty, in the closet laid away? 
 Sometimes I take one in my hand, forgetting, till I see 
 It is a half-worn shoe, not large enough for me ; 
 And all at once I feel a sense of bitter loss and pain, 
 As sharp as when two years ago it cut my heart in 
 twain. 
 
 2. 
 
 little feet that wearied not, I wait for them no more. 
 Eor I am drifting with the tide, but they have reached 
 
 the shore ; 
 And while the blinding tear-drops wet those little 
 shoes so old, 
 
 1 put on them a value high above their price in gold ; 
 And so I lay them down again, but always turn to say, 
 God bless the little feet that now T so surely can not stray. 
 
 And while I thus am standing, I almost seem to see 
 Two little forms beside me, just as they used to be! 
 Two little faces lifted with their sweet and tender 
 
 eyes ! 
 Ah, mef I might have known that look was born of 
 
 Paradise. 
 I reach my arms out fondly, but they clasp the empty 
 
 air I 
 There is nothing of my darMngs bmt the shoes they 
 
 used to wear. 
 
 Oh the bitterness of parting can not be done away 
 ' Till I see my darlings walking where the feet can nev- 
 er stray - 
 When. I no more am drifted here upoB the sunrgiisg tide 
 
SELECTIONS. 37. 
 
 But with them safely landed there upon the river side ; 
 Be patient, heart ! while waiting to see their shining 
 
 way, 
 For the little feet in the golden street can never go 
 
 astray. 
 
 THE BUBIAL OE MOSES. 
 
 By Nebo's lonely mountain, 
 
 On this side Jordan's wave, 
 In a vale in the land of Moab, 
 
 There lies a lonely grave ; 
 But no man dug that sepulchre, 
 
 And no man saw it e'er 
 For the angels of God upturned the sod, 
 
 And laid the dead man there. 
 
 That was the grandest funeral 
 
 That ever passed on earth ; 
 But no man heard the tramping, 
 
 Or saw the train go forth ; 
 Noiselessly as the daylight 
 
 Comes when the night is done, 
 And the crimson streak on ocean's cheek 
 
 Grows into the great sun,— 
 
 Noiselessly as the spring-time 
 
 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 crown 
 
 The great procession swept. 
 
 Lo ! when the warrior dieth, 
 His comrades in the war, 
 
38. SELECTIONS. 
 
 With arms reversed and muffled drum, 
 
 Follow the funeral car. 
 They show the banners taken, 
 
 They tell his battles won, 
 And after him lead his masterless steed, 
 
 While peals the minute gun. 
 
 5. Amid the noblest of the land 
 
 Men lay the sage the rest, 
 And give bard an honored place 
 
 With costly marble dressed, 
 In the great minster transept, 
 
 Where lights like glories fall, 
 And the choir sings and the organ rings 
 
 Along the emblazoned wall. 
 
 6. This was the bravest 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. 
 
 7. And had he not high honor ? 
 
 The hill-side for his pall ; 
 To lie in state while angels wait, 
 
 With stars for tapers tall ; 
 And the dark rock pines, like tossing plumes* 
 
 Over his bier to wave ; 
 And G-od's own hand, in that lonely land, 
 
 To lay him in the grave, — 
 
 8. In that deep grave, without a name, 
 
 Whence his uncoffined clay 
 Shall break again, — O wondrous thought! — 
 Before the judgment day; 
 
SELECTIONS. 39. 
 
 And stand with glory wrapped around, 
 
 On the hills he never trod, 
 And speak of the strife that won our life, 
 
 With th' incarnate Son of God. 
 
 9. lonely tomb in Moab's lancl 
 
 O dark Beth-peor's hill! 
 Speak to these curious hearts of ours, 
 
 And teach them to be still. 
 God hath his mysteries of grace,— 
 
 Ways that we cannot tell ; 
 He hides them deep, like the secret sleep 
 
 Of him he loved so well. 
 
 "ALLOW FOB THE CBAWL."— A HOMILY. 
 
 1. You have often no doubt had occasion to note, 
 
 Though the garment, at first, seemed certain to 
 please, 
 That, after some wearing, the sleeve of your coat 
 Toward the shoulder was crawling, by easy de- 
 grees ; 
 And that's what the clothier, of course, had in mind 
 When he said to a customer, "Long?— not at all ! 
 The sleeve is just right— as you'll presently find- 
 In cutting a coat we allow for the crawl!" 
 
 2. The expression was one wholly new to me then ; 
 
 But it Set me a thinking how well it applies, 
 Kot merely to coats, but to women and men, 
 
 In matters of life as they daily arise :. 
 Consider the shrinkage in human affairs— 
 
 The promise how great; the performance how 
 small ; 
 And lest disappointment should come imaw;:- 
 
 Bemember the sleeve— and allow for the crawl ! 
 
40. SELECTIONS. 
 
 3. The statesman who asks for your ballot to save 
 
 Your country, so rashly imperiled to-day, 
 May covet an office, and not be a knave, 
 
 Whatever the fierce opposition may say, 
 But the platform to which he so valiantly clings, 
 
 By which he proposes to stand or to fall— 
 "Besolutions" remember, are slippery things — 
 
 And in politics always "allow for the crawl !" 
 
 4. You are deeply in love with the sweetest of girls ; 
 
 An angel, in fine — only wanting the wings ! 
 (If angels could purchase such beautiful curls!) 
 
 Like a seraph she smiles ; like a siren she sings ! 
 Ah! splendid and vast are the fancies of youth; 
 
 But down to plain facts they must finally fall ; 
 And happy couples who finding the truth, 
 
 In conjugal kindness, "allow for the crawl!" 
 
 5. In brief, recollect that in human affairs, 
 
 In social connections, in travel and trade, 
 In courtship and marriage, in sermons and prayers, 
 
 Some grains of concession must always be made ; 
 In fine, be a prudent, though generous man ; 
 
 Unfriendly to none, veracious to all ; 
 Believe in your neighbor as well as you can; 
 
 But always be sure to "allow for the crawl!" 
 
 THE MONEYLESS MAK.— H. T. Stanton. 
 
 1. Is there no secret place on the face of the earth 
 Where charity dwelleth, where virtue has birth, 
 Where bosoms in mercy and kindness will heave, 
 When the poor and the wretched shall ask and re- 
 ceive ? 
 Is there no place at all, where a knock from the 
 poor 
 
SELECTIONS. 41. 
 
 Will bring a kind angel to open the door ? 
 Oh! search the wide world wherever you can, 
 There is no open door for a moneyless man. 
 
 2. Go look in yon hall where the chandelier's light 
 Drives off with its splendor the darkness of night ; 
 Where the rich hanging velvet, in shadowy fold, 
 Sweeps gracefully down with its trimmings of gold ; 
 And the mirrors of silver take up and renew, 
 
 In long-lighted vistas, the wildering view, 
 Go there at the banquet, and find, if you can, 
 A welcoming smile for a moneyless man. 
 
 3. Go, look in yon church of the cloud-reaching spire, 
 Which gives to the sun his same look or red fire ; 
 Where the arches and columns are gorgeous within, 
 And the walls seem as pure as a soul without sin ; 
 Walk down the long aisles ; see the rich and the 
 
 great 
 In the pomp and the pride of their worldly estate ; 
 Walk down in your patches, and find, if you can, 
 Who opens a pew for a moneyless man. 
 
 4. Go, look in the banks, where mammon has told 
 His hundreds and thousands of silver and gold ; 
 Where, safe from the hands of the starving and poor, 
 Lie piles upon piles of the glittering ore; 
 
 Walk up to their counters — ah! there you may stay, 
 Till your limbs shall grow old and your hair shall 
 
 grow gray, 
 And you'll find at the bank not one of the clan 
 With money to lend to a moneyless man. 
 
 5. Go, look to your Judge, in his dark, flowing gown, 
 Witli the scales wherein law weigheth equity down ; 
 Where he frowns on the weak and smiles on the 
 
 strong, 
 And punishes right whilst he justifies wrong; 
 
42. SEL£cri<m8. 
 
 Where juries their lips to the Bible have laid! 
 To render a verdict they've already made ; 
 Go there in the court-room and find, if you can, 
 Any law for the cause of the moneyless man. 
 
 6- Then go to your hovel—no raven has fed 
 
 The wife that has suffered too long for her bread ; 
 Kneel down to her pallet and kiss the death-frost 
 From the lips of the angel your poverty lost; 
 Then turn in your agony upward to God 
 And bless, while it smites- you, the chastening rod ; 
 And you'll find at the end of your life's little span, 
 There's? a- "welcome" above for — a moneyless man. 
 
 THE BLACKSMITH'S STOKY. 
 
 FRANK OLIVE, 
 
 1. 
 
 Well, No I My wife ain't dead, sir, but I've lost her all 
 
 the same ; 
 She left me voluntarily, and neither was to blame. 
 It's rather a queer story, and I think yon will agree- 
 When you hear the circumstances— 'twas rather rough 
 
 on me- 
 
 2, 
 Kbe was a soldier's widow. He was killed at Malvern 
 
 Hill; 
 And when I married her she seemed to sorrow for him 
 
 still; 
 But I brought her here to Kansas, and I never want to 
 
 see 
 A better wife than Mary was for five bright years to me, 
 
SELECTIONS, 43. 
 
 3. 
 
 The change of scene brought cheerfulness, and soon a 
 
 rosy glow 
 Of happiness warmed Mary's cheeks and melted all 
 
 their snow, 
 I think she loved me some— I'm bound to think that 
 
 of her, sir, 
 And as for me— I can't begin to tell how I loved her! 
 
 4. 
 
 Three years ago the baby came our humble home to 
 
 bless ; 
 And then I reckon I was nigh to perfect happiness ; 
 'Twas hers— 'twas mine—; but I've no language to ex- 
 plain to you, 
 How that little girl's weak fingers our hearts together 
 
 drew! 
 
 5. 
 Once we watched it through a fever, and with each 
 
 gasping breath, 
 Dumb with an awful, wordless woe, we waited for its 
 
 death ; 
 And, though I'm not a pious man, our souls together 
 
 there, 
 For Heaven to spare our darling, went up in voiceless 
 
 prayer. 
 
 6. 
 
 And when the doctor said 'twould live, our joy what 
 words could tell ? 
 
 Clasped in each other's arms, our grateful tears to- 
 gether fell. 
 
 Sometimes, you see, the shadow fell across our little 
 nest, 
 
 But it only made the sunshine seem a doubly welcome 
 guest. 
 
44. SELECTIONS. 
 
 7. 
 Work came to me a plenty, and I kept the anvil ringing ; 
 Early and late you'd find me there a hammering and 
 
 singing- 
 Love nerved my arm to labor, and moved my tongue 
 
 to song, 
 And though my singing wasn't sweet, it was tremend- 
 ous strong! 
 
 One day a one-armed stranger stopped to have me nail 
 
 a shoe, 
 And while I was at work, we passed a compliment or 
 
 two ; 
 1 asked him how he lost his arm. He said 'twas shot 
 
 away 
 At Malvern Hill. "At Malvern Hill ! Did you know 
 
 Robert May?" 
 
 "That's me," said he. "You, you !" I gasped, choking 
 with horrid doubt ; 
 
 fck If you're the man, j ust follow me ; we'll try this mys- 
 tery out!" 
 
 With dizzy steps I led him to Mary. God ! 'Twas true ! 
 
 Then the bitterest pangs of misery, unspeakable, I 
 knew. 
 
 10. 
 
 Frozen with deadly horror, she stared with eyes of 
 
 stone, 
 And from her quivering lips there broke one wild, 
 
 despairing moan. 
 'Twas he! the husband of her youth, now risen from 
 
 the dead, 
 But all too late— and with bitter cry, her senses fled. 
 
SELECTIONS. 45. 
 
 11. 
 
 What could be done ? He was reported dead. On his 
 
 return 
 He strove in vain some tidings of his absent wife to 
 
 learn. 
 T was well that he was innocent! Else I'd 've killed 
 
 him, too 
 So dead he never would have riz, till Gabriel's trum- 
 pet blew ! 
 
 12. 
 It was agreed that Mary, then, between us should de- 
 cide, 
 And each by her decision would sacredly abide. 
 No sinner at the judgment seat, waiting eternal doom, 
 Could suffer what I did, while waiting sentence in that 
 
 room, 
 
 13. 
 Rigid and breathless, there we stood, with nerves as 
 
 tense as steel, 
 While Mary's eyes sought each white face, in piteous 
 
 appeal. 
 God! could not woman's duty be less hardly reconciled 
 Between her lawful husband and the father of her 
 
 child? 
 
 14. 
 Ah, how my heart was chilled to ice, when she knelt 
 
 down and said : 
 "Forgive me, John! He is my husband! Here! Alive ! 
 
 not dead!" 
 I raised her tenderly, and tried to tell her she was 
 
 right, 
 But somehow, in my aching breast, the prisoned words 
 
 stuck tight ! 
 
 15. 
 "But, John, I can't leave baby."— "What ! wife and 
 
 child!" cried I; 
 
46. SELECTIONS. 
 
 "Must I yield all! Ah, cruel fate! Better that I should 
 
 die. 
 Think of the long, sad, lonely hours, waiting in gloom 
 
 for me— 
 No wife to cheer me with her love— no babe to climb 
 
 my knee ! 
 
 16. 
 And yet— you are her mother, and the sacred mother 
 
 love 
 Is still the purest, tenderest tie that Heaven ever wove. 
 Take her, but promise, Mary— for that will bring no 
 
 shame— 
 My little girl shall bear, and learn to lisp her father's 
 
 name!" 
 
 17. 
 It may be, in the life to come, I'll meet my child and 
 
 wife; 
 But yonder, by my cottage gate, we parted for this life ; 
 One long hand-clasp from Mary, and my dream of love 
 
 was done ! 
 One long embrace from baby, and my happiness was 
 
 gone! 
 
 THE BACHELORS CAKE-BOTTOMED CHAIR. 
 
 1. In tattered old slippers that toast at the bars, 
 And a ragged old jacket perfumed with cigars, 
 Away from the world and its toils and its cares, 
 I've a snug little kingdom up four pair of stairs. 
 
 2. To mount to this realm is a toil, to be sure, 
 
 But the fire there is bright and the air rather pure ; 
 
 And the view I behold on a sunshiny day 
 
 Is grand, through the chimney-pots over the w ay. 
 
SELECTIONS. 47. 
 
 4. This snug little chamber is crammed in all nooks, 
 With worthless old knickknacks and silly old books, 
 And foolish old odds and foolish old ends, 
 Cracked bargains from brokers, cheap keepsakes 
 from friends, 
 
 4. Old armors, prints, pipes, china (all cracked,) 
 Old rickety tables, and chairs broken-backed ; 
 A two-penny treasury, wondrous to see ; 
 
 What matter? 'tis pleasant to you, friend, and me. 
 
 5. ISTo better divan need the Sultan require, 
 
 Than the creaking old sofa that basks by the fire ; 
 And 'tis wonderful, surely, what must you get 
 From the rickety, ramshackle, wheezy spinet. 
 
 6. That praying rug came from the Turcoman's camp ; 
 By Tiber once twinkled that brazen old lamp ; 
 
 A marmeluke fierce, yonder dagger has drawn ; 
 'Tis a murderous knife to toast muffins upon. 
 
 7. Long, long through the hours, and the night, and 
 
 the chimes, 
 Here we talk of old books and old friends, and old 
 
 times; 
 As we sit in a fog made of rich Latakie 
 This chamber is pleasant to you, friend, and me. 
 
 8. But of all the cheap treasures that garnish my nest t 
 There's one that I love and cherish the best ; 
 
 For the finest of couches that's padded with hair, 
 I never would change thee, my cane-bottomed chair. 
 
 9. 'Tis a bandy-legged, high-shouldered, worm-eaten 
 
 seat, 
 With a creaking old back, and twisted old feet ; 
 Bt since the fair morning when Fanny sat there, 
 I bless thee and love thee, old cane-bottomed chair* 
 
4S. SELECTIONS. 
 
 10. It was but a moment she sat in this place, 
 She'd a scarf on her neck and a smile on her faceT 
 A smile on her face, and a rose in her hair, 
 
 And she sat there and bloomed in my cane-bottom- 
 ed chair. 
 
 11. And so I have valued my chair ever since, 
 
 Like the shrine of a saint, or the throne of a prince ; 
 
 Saint Fanny, my patroness sweet I declare, 
 
 The queen of my heart and my cane-bottomed chair. 
 
 12. When the candles burn low, and the company's 
 
 gone, 
 In the silence of night as I sit here alone— 
 I sit here alone, but yet we are a pair — 
 My Fanny I see in my cane-bottomed chair. 
 
 13. She comes from the past and revisits my room, 
 She looks as she then did, all beauty and bloom- 
 So smiling and tender, so fresh and so fair — 
 And yonder she sits in my cane-bottomed chair. 
 
 — Thackery. 
 
 
 *%** 
 
 r^ 
 
 
11 / A 
 
 tli: 
 
 O F 
 
 ELOCUTION. 
 
 -CONTAIN ING-- 
 
 A brief statement and explanation of the Principles of Elo- 
 cution, tog-ether with an Outline of Methods of Teaching 
 Reading, for use in Private Classes, Institutes, 
 and the Public Schools, 
 
 BY 
 
 J. U. BARNARD, 
 
 Teacher of Elocution, State Normal 
 School, Rirlcsville* Mo. 
 
 •'Elocution concerns the commerce of mind and soul. 
 
 KIRKS VILLI-;. MO. : 
 
 IT. BARNARD, PUBLISHER. 
 
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 AND TO THE 
 
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