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On the Action of Examinations, 12mo, pp. 400 1 60 Laurie (S. S.) John Amos Comenius. Cloth, 12mo, pp. 229 100 PHYSICAL CUITURE Al^I) VOICE WORK FOR USE IN PUBLIC SCHOOLS / MRS. LOUISE PREECE Hoyi 7 idc:^^ SYRACUSE, K. T. ^ ^ % 1^ I yi C. W. BAEDEEN, PUBLISHER 1892 Copyright, 1890, 1892, by Mrs. Louise Preece K^ Gc- ^^ PHYSICAL CULTURE GENERAL POSITIONS AND EXERCISES For all Grades 1. Eest position. 2. Active position. 3. Leg workj preparatory to rising. 4. Eising — do not turn. 5. Standing position — 1st attitude. 2d attitude. 6. Leg work, preparatory to sitting. 7. Sitting — 1. Active position. 2. Eest position. 8. Stretching exercises of arms — 1. Vertical. 2. Horizontal, 9. Marching — observe laws — 1. Head erect. 2. Chest leading. 3. Abdomen drawn in. 4. Walk in straight line. 5. All of foot down. 6. Weight on ball of foot. 7. Arms hanging at side. 1st Attitude — Military position. 2d Attitude — Strong and free leg, free leg front. PHYSICAL CULTURE L.ESSON I PHYSICAL GTMMA8TIC8 ^^The Greeks first made themselves into beautiful forms before they expressed such objects in marble and painting/' " No harmonious movement is possible without a cor- rect action of the muscles/^ 1. Eising. 2. Sitting. 3. Perfect walk. WALTZ TIME Arms — Lifting and dropping of arms. Right arm. Both arms. Alternate arms. Left arm. Both arms. Alternate arms. Eree Leg — Ri^ht arm, right leg. Both arms, right leg. Alternate arms, right leg. Left arm, left leg. Both arms, left leg. Alternate arms, left leg. HAi^^DS — Dropping. Rotary toward body. Rotary away from body. Whirl toward and from body. Dropping water from fingers. JS'ote — All work on this page, 2d attitude. ELEMENTAKT EXEECISES NOTES PHYSICAL CULTUEE LESSON II PHY8IGAL GYMNASTICS ^' The erroneous belief obtains with many that the mind only need be cultivated and all other culture will follow ; but the thought originates in the brain, the brain acts upon the nerves, the nerves upon the muscles, the muscles upon the bones, and only after all these processes is physical action possible. What avails the most intellectual letter if there is no messenger to con- vey it to the desired place ? This is the office of physical gymnastics/' (^^ Above all guard against entire fatigue of the muscles. As soon as an undue sense of weariness comes on, the exercise must be stopped or deferred until it is over. Be content with small results at first. Strength and ease will come with practice."') WALTZ TIKE Chest movement of arms. Arch movement of arms. Downward side movement of arms. Shoulder movement of arms. Alternate shoulder movement of arms. Oblique shoulder movement of arms. Swimming movement of arms. Arm movement from hips meeting backs of hands. Arm movement from chest meeting backs of hands. Arm movement from eyes meeting backs of hands. Arm movement from head meeting backs of hands. Arm movement from back of head meeting backs of hands. All work on this page, 2d attitude. ELEMENTARY EXERCISES XOTES 10 PHYSICAL CULTURE LESSON III PHT8IGAL 0TMNA8TIG8 Montaigne, the French essayist (born 1533), says : '^1 would have an outward decorum and pleasing man- ner cultivated at the same time with the mind. It is not a soul, not a body, we educate ; it is a man. Out of this one we must not make two." And Plato says : "We must not break in one with- out the other, but must urge and guide both alike, like a span of horses harnessed to a shaft." WALTZ TIME ("A well-poised head is a fitting accompaniment of a shapely person.") Head movement backward. Head movement to right. Head movement to left. ("The most beautiful head, especially in woman, will be marred by an ungraceful carriage.") Right foot forward — back. Left foot forward — back. Alternate. Repeat work with swinging arms. Among the faults to be avoided in walking, Oscar Guttman gives these : Walking with stiff legs. Walking with a too rapid uplifting of the toes or heels. Walking with a decidedly forward inclination of the upper part of the body. ELEMEN^TAEY EXERCISES 11 A tripping gait. A dancing gait. Walking with the arms held stiffly forward, or mov- ing about too much. Too rapid a gait. A creeping or slipping gait. Too heavy a step. NOTES 12 PHYSICAL CULTURE liESSON IV PHYSIC AL GYMNASTICS Hegel says: ''^My body is the medium through which I communicate with the outward world. If I would realize my intention, I must make myself cap- able of rendering this subjectivity into outward objec- tivity. My body is not naturally fitting for this ; it conforms only to the physical life : the organic and physical impulses are not yet the results of the prompt- ings of my spirit. My body must first be trained for such service.''^ " Everyone, who, without gymnastic training, ap- pears in public and feels as if his feet were filled with lead and his legs were iron bars, recognizes how impor- tant it is to give strength and elasticity to these muscles. ^^ LTMB MOVEMENT, WALTZ TIME Knee movement, each leg. Hip movement, each leg. Foot, extension. Foot, extension with swinging arms. Arm — Right arm whirl. Left arm whirl. Both arms whirl. ELEMENTARY EXERCISES 13 NOTES 14 PHYSICAL CULTUEE LESSON V PHYSICAL GYMNASTICS '^^ Strength at the centre, freedom at the surface^, is the true condition of being/^ '' The body is trained that it may be abetter medium for the soul. All expression of the being is through the body, and any obstructions, whether they arise from unused muscles, consciousness of defects, or lack of control, are so many barriers to the full and free expres- sion of that for which alone the body exists. Body and soul are a unit and they must be developed harmoni- ously. ' Nor soul helps body more than body soul,^ must be the belief of the teacher who would secure all- sided growth." F. S. Parkee. WALTZ TIME Finger stretching and spreading. Both feet pivot to left. (1st attitude.) Both feet pivot to right. (1st attitude.) Eepeat with swinging arms. Body over, arms back. (1st attitude.) Head down, arms up. (1st attitude.) Free leg forward bend. Free leg backward bend. Change leg and repeat. ^'Ninety-nine women out of every hundred are dense- ly ignorant physically, I have, travelled the length of New York City in an elevated train without seeing one woman passenger who sat as a human being should sit to acquire and preserve a good figure. I have elbowed ELEMENTARY EXERCISES 15 my way through crowds on the shopping streets and about the ferries without running against one woman who had the faintest notion of how to stand. She who has learned to keep her chest up, hips and abdomen withdrawn, and body poised slightly forward, has solved in advance the problem of dress reform, for the clothes of the physically wise woman won^t wrinkle or ^ride up * if there^s never a bone under them or in a seam of them/^ Ellen Osborne. NOTES 16 PHYSICAL CULTUKE L.ESSON VI PHT8IGAL GYMNA8TIG8 ^^ Elocution touches all sides of the being ; it is an im- portant educational factor — one that the schools cannot afford to do without. The teachers should have it, be- cause they are models for the children — teachers of ex- pression — whether they will or no. Both teacher and child should be trained in elocution, because it teaches English speech ; because it teaches how to get and give thought from the printed page ; because it frees the voice and lets out the living tone that speaks from heart to heart — the tones of sympathy, dignity and eloquence, that attract toward purity, truth, virtue and love. It •cultivates the aesthetic taste, the love for the beautiful and true in nature and art; and beauty is one of the best things in life. It insists upon a physical training that not only makes for health and strength, but makes automatic all movements of body that save force and produce right thinking. *' The public schools should teach elocution, because it will help to accomplish these objects for the masses for whom these schools exist, and at very little expense. Oenius will take care of itself, but through this train- ing many a poor, cramped, expressionless boy and girl (there are plenty such in the schools, and they are not going to be sent to special schools or imbecile asylums) can be straightened up physically and mentally, taught self-respect, helped into some definiteness of thought and purpose, and into a self -helpful and helping man- hood and womanhood/' Maetii^ Fleming. ELEMEN'TARY EXERCISES 17 ^'^The wise, for cure, on exercise depend/-' DRYDEiq-. WALTZ TIME Slide free foot back of strong — return. Free leg forward bend with swinging arms. Free leg backward bend with swinging arms. Change leg and repeat. Complex movement of legs. Complex movement of legs with swinging arms. '^ In the last century a knowledge of the minuet was indispensable for every cultivated person. If we would learn the manners of good society in modern days, we can do no better than to learn them through the min- uet ; for this still forms, and always will, the basis of all tournure." Guttman-. 1. Walk (Minuet) 3. (Yankee Doodle.) NOTES 18 PHYSICAL CULTURE LESSON VII <( We g^lorify God with our body by keeping it in good health. "Good health is the basis of all physical, intellectual moral and spiritual development. A certain amount of vital energy is needed to give weight to the best argu- ment. To be a great prophet it is necessary, not only to have inspiration and conviction, but also to possess a body able to endure fatigue, instinct with magnetic force and physical energy. I repeat then, that bodily health is the foundation of all rounded self -culture, all intellectual development." James Feeemai^ Clarke. DRAW CHABT ELEMENTARY EXEECISES 19 NOTES 20 PHYSICAL CULTURE LESSON VIII ''A physical culture that limbers up every muscle in the body and keeps it full of electric life will go far towards making an old woman over new. And a woman is never too old to begin such training. '^^ A favorite posture with some is to place one arm akimbo, with hand behind the back. A more ungrace- ful attitude it would be difficult to assume. It denotes self-consciousness — a knowledge that one has an arm that is superfluous, an arm that he does not know what to do with. One of the first things for a speaker, actor or singer to learn is to let the arms alone — to use them only when they have something to do.^^ Edgar S. Wern-er. PHYSICAL GYMNASTICS— Waltz Time 1. Second attitude — forward bend. 2. Second attitude — forward bend, with arms stretch- ing. 3. Change leg and repeat. 4. Arm swinging from chest. 5. Arm swinging from shoulder. 6. Oblique arm swinging. (Same as chart.) PHYSICAL GYMNASTICS— Waltz Time 1. Alternate free leg and strong arm. 2. Change free leg and repeat. 3. Strong arm and head toward right. 4. Both arms and head toward right. 5. Change strong arm and repeat toward left. ELEMENTAEY EXERCISES 21 NOTES 22 PHYSICAL CULTUEE LESSON IX " Only one nation has ever tried to develop the body in its integrity. The Grreeks by their games and gym- nastic exercises brought out the force, grade and sym- metry of the human form, and their sculptors have preserved these types m immortal marble. These are the natural forms of the human being. Give man air, sun, proper food and clothing, ample and varied exer- cise, and there is no curve of grace in ancient statuary which would not be reproduced to-day. ■'' James Fkeeman Olaeke. PHYSICAL GYMNASTICS -Waltz Time 1. Swing right arm front and back of hip. 2. Swing left arm front and back of hip. 3. Swing both arms front and back. 4. Alternate arms front and back. 5. Body over right, return (1st attitude). 6. Body over left, return (1st attitude). 7. Body over front, return (1st attitude). PHYSICAL GYMNASTICS— Waltz Time 1. Body over left, raise arm over head. 2. Body over right, raise arm over head. 3. Body over front, swing arms back. 4. Body over back, swing arms. ELEMEKTART EXERCISES 23 NOTES 24 ' PHYSICAL CULTUEE LESSON X "As remarks a suggestive writer, the first requisite to success in life is to be 'a good animal ' ; and to be a nation of good animals is the first condition to national prosperity. Already under the keen competition of modern life, the application required of almost every- one is such as few can bear without more or less injury. Already thousands break down under the high pres- sure they are subject to. If this pressure continues to increase, as it seems likely to do, it will try severely all but the soundest constitutions. Hence, it is becoming of especial importance that the training of children should be so carried on as not only to fit them mentally for the struggle before them, but also to make them physically fit to bear its excessive wear and tear." Heebert Spen"CER. PH78IGAL GYMNASTICS— Waltz Time 1. Strong arm and head upraised — return. 2. Change strong arm — repeat. 3. Both arms and head upraised — return. 4. Strong arm and head lowered — return. 5. Change strong arm — repeat. 6. Both arms and head lowered — return. 7. Strong arm and head oblique. PHYSICAL GYMNASTICS— Waltz Time 1. Butterfly movement of arms. 2. Butterfly movement of arms and legs. ELEMEiq^TART EXERCISES 25- NOTES 26 PHYSICAL CULTUKE LESSON I ADVANCED C0UB8E '^ All gestures may be very well declined. An orator gesticulating before the public resembles a painter who pencils outlines and designs upon a wall. The repro- duction of the figures of gesture is called Ghorograpliy.'' EXEBGI8E8— Waltz Time 3. 4. ADVANCED COURSE 27 1. Balance step. 2. Balance step with arm work. NOTES 28 PHYSICAL CULTURE LESSON II ADVANCED C0UB8K Surgeon Greneral John B. Hamilton says that not one-third of our population of military age can pass the examination of a recruit owing to deficient physique. 1. * 2. 4. '' Art is an act by which life lives again in that which in itself has no life. Art should move the secret ADVANCED COUESE 29 springs of life, convince the mind and persuade the heart.'' 1. Basket step. 2. Basket step with arm work. NO TES 30 PHYSICAL CULTURE LESSON III ADVANCED C0UB8E '^ The plastic art allies itself particulary to the physi- cal constitution, but the physique cannot be perfectly beautiful unless it manifests intellectual and moral faculties/^ JE8THETIG GYMWASTICS—Slow Music 1. 1. Horizontal. 2. Vertical. 3. Oblique. 2. 3. 4. 5. Eepeat character 4 with head work. ADYAIs^CED COURSE 31 KOTES 22 PHYSICAL CULTURE liESSON IV ADVANCED G0UB8E There can be melody in physical action. 1. 2. 4. ''The artist perceives only the beautiful where the sensual man sees only the attractive or frightful/' ADYAl^CED COURSE 33 NOTES 34 PHYSICAL CULTURE LESSOIf V ADVANCED COURSE ^^ Occasional letters and leaders in the newspapers have shown an awakening interest in physical training. And the formation of a school, significantly nicknamed that of 'muscular Christianity/ implies a growing opinion that our present methods of bringing up chil- dren do not sufficiently regard the welfare of the body. The topic is evidently ripe for discussion.^' Herbert Spe^-cer. ADVANCKl) COL'K^K 35 4. "The student should not be a servile copyist. In the arrangement of his effects he must copy, imitate and compose. Let him first reproduce a fixed model, the lesson of the master. This is to copy. Let him then reproduce the lesson in the absence of the master. This is to imitate. Finally let him reproduce a fugi- tive model. This is to compose." NOTES 36 PHYSICAL CULTURE LESSON VI ADVANCED C0UB8E ^^ Education does not mean the absorption of all one^s powers, physical or mental, in one direction. Educa- tion means a liberation of all human powers/^ Bancroft. Delsarte^s theory was the production of perfect ani- mal grace by education ; the equal development of all the muscles, and the rhythmic action of different parts as in^a symphony, where the final meeting of the whole is^one grand melody. 1. ADVAKCED COURSE 37 NOTES 38 PHYSICAL CULTURE LESSON VII ADVANCED COURSE '^Ohest expansion is the result of increased size of lungs. This increased size is attained by repeatedly filling out ordinarily inactive air cells by forced respir- ation, thus working upon the chest from within out- ward. This respiration may be induced by muscular exercise — by creating a need for the fuel which breath supplies. The larger the mass of muscles exercised in each movement, the more quickly will increased respir- ation be caused and with the least expenditure of force. The large compact muscular groups of the legs are best adapted to this end. Arm work induces this internal need for increased respiration only after comparatively long exercise. It is leg work that does this with the least expenditure of force. Walking is especially recommended. ^- Dr. LaGrakge — PojJ. Sci. Mo., Feb., '90. 1. ADVANCED COUKSE 39 40 PHYSICAL CULTURE LESSON VIII ADVANCED C0UB8E ^^ Renew your nature. Lay aside the swaddling bands of your imperfections, conform your lives to the highest ideals of uprightness and truth. Exercise your voice, your articulation and your gestures."'^ '^ Do not fear the fracture or dislocation of your limbs, as you seek to render them supple."*^ ^' Beneath the rind of this mechanism, this play of organs, dwells a vivifying spirit. Beneath these tangible forms of art, the Divine lies hidden, and will be revealed.'^ 1. ADVANCED COURSE 41 2. N TES 42 PHYSICAL CULTUKE liEssoisr IX ADVANCED COURSE '^Eeturn then, with renewed enthusiasm, to your work ! The end is worth the pains. The human or- ganism is a marvelous instrument which God has given for our use. It is a harmonious lyre, with nine chords, each rendering various sounds. These three chords for the voice and three for both gesture and speech, have their thousand resonances at the service of the life, the soul and the mind. As these chords vibrate beneath your fingers, they will give voice to the emo- tions of the life, to the jubilations of the heart and the raptures of the mind. This delightful conoert will lend enchantment to your passing years, throwing around them all the Good, the TV-z^e, the Beautiful." ADVANCED COURSE 43 3. NOTES 44 PHYSICAL CULTUEE L.ESSON X ADVANCED COURSE '' Most bodies are a mass of scars^ the left-over pieces of past cares. And what is more deplorable, it is easiest to express ugly and nervous feelings, so that finally a man finds that the complicated harmonies expressive of higher aims fall into disuse. ' The cup and saucer is broken in the morning, and we go around with the pieces of broken china in our face and voice all day.'" Russell. PHYSICAL GYMNASTICS— Waltz Time 1. Eight leg free, touch toe five times — step. 2. Left leg free, touch toe five times — step. 3. Raise knee, stretch leg — step. 4. Raise foot backward, swing forward — step. PHYSICAL GYMNASTICS^Waltz Time 1. Swing right leg five times — step. 2. Swing left leg five times — step. 3. Twist body to right. 4. Twist body to left. 5. Step interlacing. 6. Step interlacing with swinging arms. ''Art is the richest gift of heaven to earth. The true artist does not grow old ; he is never too old to feel the charm of divine beauty.^' ADVANCED COURSE 45 NOTES 46 PHYSICAL CULTURE LESSON I ESTHETIC GYMNASTICS Let every woman be as nearly as possible a living, breathing embodiment of her chiseled representatives, thanking G-od that He has made her '' a perfect woman, nobly planned/^ '^ Make your exercises as attractive as possible, and give them in a prompt, enthusiastic way, as if you liked them yourself. If possible, create a pride in a proper carriage. Children will very soon see that timidity, fear, meanness, ill-health, despair and cowardice or helplessness are all suggested by a passive chest, and will work with a will to overcome such a tendency.'^ ^' How the sight of physical beauty stirs even the most phlegmatic ! And what beauty is so potent as that of form and motion ? " HABMONIG MOVEMENT— Slow Music. 1. Military position. 2. Head movement. 3. Shoulder movement. 4. Shoulder movement with arms. 5. Body over, touch floor. 6. Twisting of waist muscles. In all practice only the required muscles should be active, all the others being in active repose. This rule is to be strictly observed. iESTHETIC GYMNASTICS 4? NOTES 48 PHYSICAL CULTUEE LiESSON II JS8THETIG GYMNASTICS ^^G-race should not be sacrificed to strength, and all systems of physical development are defective which do not recognize this truth. It is possible for the body to be as beautiful in grace as it is redundant in force. Unity in poise, harmony in movement should enter into all gymnastic work, and concentration of mental energies make the hour of physical exercise one to stimulate all selfhood. Subtlety will thus be added to strength, and the psychic radiate and refine the phys- ical. ^^ '' Relieve the ordinary school-room work by occasional exercise, varied to prevent monotony, and the added power of attention which the children bring to their work will more than make up for the time taken by the exercise.-'^ The office of aesthetic gymnastics is to unite in a har- monious whole the limbs of the human body, which have been strengthened and rendered elastic by physi- cal gymnastics, to regulate their movements by the fixed laws of beauty so that the emotions of the soul may be clearly and beautifully expressed. FEATHER MOVEMENT 1. Eight arm and leg strong. 2. Left arm and leg strong. 3. Oblique feather movement. 4. Feather movement with finger indications. 5. Feather movement growing into poses. ESTHETIC GYMN-ASTICS 49 Quintilian says of the use of the hands : ''While the other limbs assist the speaker, the hands, I dare affirm, speak themselves ; for do we not demand, promise, call, dismiss, threaten, entreat, abhor, fear, ask, deny with them ? This is the language which in the great diver- sity of tongues among all races and people I have in common with all men." Note. — All aesthetic work, 3d attitude. — Strong and free leg. Strong leg front. NOTES 50 . PHYSICAL CULTURE i.Esso:Nr III ESTHETIC GYMNASTICS ^'It is the physical culture based ou natural, physi- ological, and physical laws which alone can develop and refine the entire being/^ '^^Our development in the past has been too one- sided. The physical life has become degenerate and stunted under mental pressure and bodily neglect, the nervous system diseased, and the capacity for enjoy- ment and growth in life limited." Another thing to avoid is the bad habit of going up stairs, which most women do bent forward with the chest contracted, which, as well as an indolent, slouchy manner of walking, are injurious to the heart and lungs. ESTHETIC OTMNA8TIG8—8I0W Music 1. Eight hand whirl, growing into arm whirl. 2. Left hand whirl, growing into arm whirl. 3. Both hands whirl, growing into arm whirl. 4. Kneeling. 5. Kneeling with arm work. ''Grace of motion is a woman's supreme charm, and the one least often exemplified. In Edward Bellamy's now fashionable ' Looking Backwar(3 ' the magnificent health of the maidens of the millenium is enthusias- tically dwelt upon. '' Do not neglect out-of-door practice, walking briskly in the free air with chest up. It will surprise you to find how much more easily you can walk, and how much greater distance you can cover, when once the ESTHETIC GYMNASTICS 51 new position is mastered, the jarring of the spine as the body settles down heavily being responsible for a large share of the fatigue under the customary method of walking on the heels." NOTES 52 PHYSICAL CULTUKE L.ESSON IV JB8THETIG OTMNASTICS ^^The highest life is compatible only with the high- est health. Let us remember this always, and remem- ber also to make our physical education less one-sided than we do our mental. Let us apply the great truth of mind to matter, making body reveal the strength of inner as well as outer man — physical expression more reliable than verbal. Form as well as face should re- veal the cultivated soul ; attitude, more than speech, expresses the man of culture ; bearing, not dress, be- trays the character of woman." " True gesture is largely the spontaneous outgrowth of the thought and feeling. Nothing is more deplor- able than a gesture without a motive. Hence, the stu- dent should not aim to acquire gesture so much as to SLcquir e flexibiUty of the muscles, and habits of ease and grace of movements. '^ ^8THETIG GYMNASTICS— Sloio Music Military Position — 1. Body sway forward. 2. Body sway backward. 3. Serpentine movement. 4. Figure 8 — second finger strong — front — side — over head. 5. Pivot and kneel. Let there be no feeble work ; it is worth some effort to enter into the birth-right of grace, which might be every woman^s inheritance, whether or no her face be beautiful. .ESTHETIC GYMNASTICS 53 "We cannot get away from the fact that we are always a picture. Look at the living pictures around you, all showing in the carriage of the head, the hand and the body the results of their daily contact and growth. ^^ Add soul to the dictionary and grammar of speech, and you have a Milton ; add soul to the dictionary and grammar of pantomime, and you have a Michael An- gelo." NOTES 54 PHYSICAL CULTURE liESSON V GESTURE ^^Suit the action to the word^ the word to the action, with this special observance, that you overstep not the modesty of nature/' Shakespeaee. The Head — Quintilian says : '^As the head gives the crowning grace to the whole body, so does it princi- pally contribute to the expression of grace in delivery.''^ 1. Shame, Grief, Humility — hanging down of the head. 2. Arrogance and Pride — thrown back a little to one side. 3. Firmness and Courage — upright and firm posi- tion. 4. Languor and Diffidence — droop or incline to one side. 5. Dislike and Horror — averted head. 6. Attention — leans forward. 7. Listening — -ear turned to the front. The Hakd — 1. Pain — upon the head. 2. Shame — upon the eyes. 3. Silence — upon the lips. 4. Appeal — 5. Joy — 6. Thought— 7. Dislike— The Body — 1. Eesolution and Courage — body erect. 2. Pride— thrown back. GESTUEE 55 3. Condescension — stooping posture. 4. Reverence and Eespect — bending of the body. The Lower Limbs — 1. Desire and Courage — attitude of advancing. 2. Timidity and Weakness — bended knee. 3. Dislike and Fear — shrink and retire. 4. Submission and Prayer — kneel. N OTES 56 PHYSICAL CULTURE GESTURE WORK— Continued Both Arms — 1. Appeal. 2. Prayer. 3. Love. 4. Blessing. 5. Arch. 6. Entreaty. Poses — 1. Hush ! Nightingale hush ! 2. Till I listen and hear. 3. You glow worms, shine out. 4. He comes ! my young lover. 5. On with the dance ! 6. For I^m to be Queen of the May. 7. But soft ! what light through yonder window breaks ? 8. Give your children food, 0, Father ! 9. And lift up a prayer to the blue, quiet sky. Transition — 1. Pantomime— ^' The Old Folks at Home.'' 2. '^ Up Shannon's tide a boat slow held its way ; All silent bent the boatmen to their oars, For at their feet a dying stranger lay. In broken accents of a foreign tongue He breathed fond names and whispered words of prayer, And yearningly his wasted arms he flung, Grasped viewless hands and kissed the empty air. The dying stranger, where he gasping lay. Heard the sweet chime, and knew it ringing nigh ; GESTURE 57^ Quick from his side the phanton fled away, And the last soul-light kindled in his eye. His cold hands reaching toward the shadowy shore;., ' Madonna, tlianhs I ' he cried, ^ I hear thy bells- once more ! ' '' NOTES 58 PHYSICAL CULTURE liESSONS GRADED PBIMART— First and Second Grades Lessons 1, 2, 7, First Course. Observe Foot Extension, Lesson 4. butterfly movement. Lesson 10. Balance Step, Lesson 1, Advanced Course. Chorography Work, No. 4, Lesson 3, and No. 1, Lesson 4. Note — Extra work may be given at the suggestion of the supervising teacher of Physical Culture. SECOND ART— Third and Fourth Grades Thoroughly review all Primary Work. Lessons 3 and 4, First Course. Basket Step, Lesson 2, Advanced Course. Chorography Work, Lesson 1, Advanced Course. Note — Lesson 5, First Course, Lesson 2, Advanced Course, may be given to Fourth Grade. INTERMEDIATE— Fifth and Sixth Grades All previous work reviewed. Lessons 5-6-8, First Course. Chorography work. Lesson 2 ; first two figures of Lesson 3 ; first three of Lesson 4, Advanced Course. GRAMMAR — Seventh and Eighth Grades Eeview all previous work. Lessons 9 and 10, First Course. Chorography work, 3d figure, Lesson 3d. Lesson 5-6-10, Advanced Course. Note — Eighth Grade, review all of First Course and finish Advanced Course. LESSONS GRADED 59 HIGH SCHOOL Junior and Middle Classes : First and Advanced Course. Senior Class : General Eeview^ and Esthetic Course. ]S" T E S VOICE WORK 62 voice work THE VOICE Repeat kapidly — la mo po. Articulate— ip it ik. i as in ill. e as in ell. a as in art. u as in full. as in on. i e u a i e i u i a ] L i e u a i e i u i L a i e a u i e i a i u ] i e a u i e i a i ] L u i e u a i e i i u L a i e a u i e i i a I u Paint these words :— light. mean, dark, grand, brown. fleecy, pure, strong. Drill upois- these Words :— nucleus. lassitude. institute. literature. avenue, reduce. stupid, student,. longitude. new. Hark ! Fve a secret to whisper ; Listen, but don^t you tell, For it isn^t mine to be given, And it isn't mine to sell. THE VOICE 63> I went into the orchard this morning. To gather some clover blooms. For the bees in the hives, so busy They can't leave their dungeon glooms. And while I was there I looked up And saw — now don't you tell. For if Bob should hear (he's my brother). There's nothing he'd like as well — I saw up there in the branches, 'Most hidden by leaves and boughs, A wee soft nest — just the dearest And tiniest birdie's house. And what do you suppose was in it ? — I climbed up and almost fell ! Hush ! there comes Bob — four bird's eggs ! Kemember, you mustn't tell ! IMPROVEMENT OF CONSONANT ELEMENT Repeat — Pa, fa, ta, la, ka. Peer, feer, teer, leer, keer. Pair, fair, tair, lair, kair. Poor, foor, toor, loor, koor. Pore, fore, tore, lore, kore. Repeat the consonants b, d, g, v. Repeat rapidily ma, pa, be, by, bo, ba, me (for free- dom of movement). i u e a 1 k r i u e a 1 r k i u a e k 1 r i u a e k r 1 i u e a r 1 k i u a e r k 1 64 VOICE WORK Drill upon these words- 8 Duel, Substitute. Dutiful, Tuneful, Tuesday, Tutor, Gratitude, Knew, Solitude, Duplicity, Credulity. Drill ik Articulatiok — Sex Patience Mines Close Sects Patients Minds Clothes False Tracks Axe Lass Faults Tracts Acts Lasts TEN TEARS OLD I measured myself by the wall in the garden. The hollyhocks blossomed far over my head ; Oh, when can I touch with the tips of my fingers Each tiny green bud with its blossom so red ? I shall not be a child any more, but a woman; Dear hollyhock blossoms, oh when will it be ? I wish they would hurry, the years that are coming, And bring all the things that I dream of to me. Oh when I am grown I shall know all my lessons — There's so much to learn when one's only just ten — I shall be very rich, very handsome and stately. And good, too of course, — 'twill be easier then. 'There'll be nothing to vex me, and nothing to hurt me, No knots in my sewing, no crust on my bread ; My days will go by like the days in a story. The sweetest and brightest that ever was read. SELECTIOl^S 65 And then Fll come out some day to the garden. For this little corner will always be mine ; I shall wear a white gown all embroidered with silver. That trails in the grass with a rustle and shine. And meeting some child here at play in the garden, With gracious hands laid on her head I will say: I measured myself by the hollyhock blossoms When I was no larger than you, dear, one day. She will smile in my face as I stoop low to kiss her. And hark I they are calling me in to my tea ; Oh blossom! I wish that the slow years would hurry ; When, when will you bring all I dream of to me ? THE LOST CHOnD Seated one day at the organ, I was weary and ill at ease. And my fingers wandered idly Over the noisy keys ; I knew not what I was playing. Or what I was dreaming then. But I struck one chord of music. Like the sound of a grand amen. Like the sound of a grand amen! It flooded the crimson twilight. Like the close of an angel's psalm. And it lay on my fevered spirit With a touch of infinite calm ; It quieted pain and sorrow Like love overcoming strife. It seemed the harmonious echo From our discordant life. 66 VOICE WOKK It linked all perplexed meanings Into one perfect peace^, And trembled away into silence As if it were loath to cease ; I have sought, but I seek it vainly^, That one lost chord divine, Which came from the soul of the organ. And entered into mine. It may be that death^s bright angel Will speak in that chord again ; It may be that only in heaven I shall hear that grand amen! GREEN APPLES I. Pull down the bough. Bob — isn^t this fun ? lN"ow give it a shake, and there goes one ; Now put your hand up to the other and see If it isn^t as mellow as mellow can be. I know by the stripe It must be ripe ; That^s one apiece for you and me. 11. Green, are they ? Well, no matter for that^ Sit down ^on the grass and we'll have a chat, And I'll tell you what old Parson Butte Said last Sunday, of unripe fruit : ^^ Life,'' said he, '■' Is a beautiful tree. Heavily laden with beautiful fruit. SELECTIOI^S Q7 \ III. j '^ For the youth there's love just streaked with red, ] And bright joys hanging right over his head, 1 Blessings, and honor, and great estate, ! For those who patiently work and wait. ; " Blessings " — said he — 1 ^' Of every degree, ; Eipening early and ripening late. j IV. I '^Take them in season, pluck and eat, ■ And the fruit is wholesome, the fruit is sweet, i But oh, my friends ! '' — Here he gave a rap, - On his desk like a regular thunder clap, And made such a bang ' Old Deacon Lang i Woke up out of his Sunday nap. i V. i *' Green fruit," said he, '* God would not bless, ' But half life's sorrow and bitterness. Half the evil and ache and crime Comes from a tasting before their time .■ The fruit heaven sent," — Then on he went ; To his fourthly and fifthly — wasn't it prime ? ' VI. J But say. Bob, this is a green one. Why didn't we | Leave them another week on the tree ? ] Is yours as bitter ? Give us a bite. 1 The pulp is tough and the seeds are white, | And the taste of it puckers \ My mouth like a sucker's. I I vow ! I believe the old parson was right ! ] 68 . VOICE WORK THE VOICE. Give the consonants p, f, t, \, k with active whisper. Repeat the consonants b, d, g, y, twice. Eepeat the whole rapidly several times in succession : le, lay, li, lo. Repeat the whole rapidly several times in succession : do, did, did, did, did, do. u e i a t r k 1 u e i a t r 1 k u e a i 1 r k t u e a i 1 t k r u e i a r t 1 k u e a i r 1 t k p g f b P t k b p g b f P t b k f b. p g k b P t f b g p t p k b g p f b t p b k g p b f k t b p Deill upok these words— Ermine, Earth, Verge, Mirth, Prefer, Myrtle, Earnest, Universal, Perfect, ^ Early. Drill in Articulation — Mince, Tax, Twelfths, Warmth, Mints, Tacts, Strength, Months, Sense, Fifths, Depths, Suspects, Scents Sixths, Breadths, Tenths. EXEECISES 69 ''After we are instructed in the principles of our art, let us follow the impulses of our souls. If our sensations are keen, they cannot mislead us." — Noverre's Letters. EXERCISES FOR ORGANS OF ARTICULATION For Freedom of Movement 1. Drop the jaw lazily, energy withdrawn. 2. Move jaw from side to side, energy withdrawn. 3. Throw jaw forward and back. Eepeat each syllable rapidly, several times in succes- sion : pre, pra, pri, pro. 1 u but '' They are simple, ordinary, every-day words, almost always mispronounced : '"' Haunt, Soot, February, Docile, Alpaca, Aye, Since, Adult, Blouse, Tepid, Wrestle, Cupola, Troche, Eoute, Abdomen, Catch, Often, Arctic, Heroine, Bouquet, Depot. ''Good reading is a recommendation, just as good manners are a passport ; and there is never a time when the lack of the one or of the other may not throw the decision against us in some project on which we have set our hopes.'' Anna Morgan. 70 YOICE WORK A CATASTROPHE No human being Who saw that sight But felt a shudder Of pale affright. He sat in a window Three stories high, A little baby With no one nigh; A stranger saw him And stopped to stare ; A crowd soon gathered To watch him there. With fat pink fingers Reached out — and fell ! The awful horror No tongue can tell. Poor little baby - So sweet and bright ! Pale faces quivered And lips grew white ; Weak women fainted. Strong men grew weak; Up rose one woman^s Heart-piercing shriek. A gleam, a flutter. In airy flight There passed the window A butterfly bright. From fields of clover And perfumed air. Wayfaring insect What brought you there ? The baby saw it And eagerly Reached out to catch it. Crowing with glee. Hurrah for the awning ! Upon the fly It caught the youngster And tossed him high. The bounce prodigious Made baby scowl ; He caught hia breath, sir. And set up a howl ! All blessed the awning Without a flaw ; But a madder baby You never saw. AN OBDEB FOR A PICTURE Alice Gary 0! good painter, tell me true. Has your hand the cunning to draw SELECTIOl^TS , 71 Shapes of things you never saw? Ay? Well, here is an order for you. Woods and corn-fields, a little brown — The picture must not be over-bright. Yet all in the golden and precious light Of a cloud, when the sun is down, Alway and alway, night and morn. Woods upon woods, with fields of corn Lying between them, not quite sere. And not in the full thick leafy bloom. Where the wind can hardly find breathing room Under their tassels — cattle near. Biting shorter the short green grass. And a hedge of sumach and sassafras. With bluebirds twittering all around, (Ah! good painter, you can^t paint sound!) These and the house where I was born. Low and little and black and old. With children as many as it can hold. All at the windows, open wide. Heads and shoulders clear outside. And fair young faces all ablush ; Perhaps you may have seen, some day, Eoses crowding the self-same way. Out of a wild, way-side bush. Listen closer, when you have done With woods and corn-fields and grazing herds, A lady, the loveliest ever sun Looked down upon, you must paint for me ; Oh, if I could only make you see 72 VOICE WORK The clear blue eyes, the tender smile, The sovereign sweetness, the gentle grace. The woman^'s soul, and the angel^s face That are beaming on me all the while, I need not speak these foolish words : Yet one word tells you all I would say. She is my mother ; you will agree That all the rest may be thrown away. Two little urchins at her knee You must paint, sir ; one like me. The other with a clearer brow And the light of his adventurous eyes Flashing with boldest enterprise. At ten years old he went to sea — Grod knoweth if he be living now ; He sailed in the good ship '^ Commodore " — Nobody ever crossed her track To bring us news, and she never came back. Oh, ^tis twenty long years and more Since that old ship went out of the bay With my great-hearted brother on her deck ; I watched him till he shrank to a speck, And his face was toward me all the way. Bright his hair was, a golden brown. The time we stood at our mother^s knee ; That beauteous head, if it did go down. Carried sunshine into the sea! Out in the fields one summer night We were together, half afraid Of the corn leaves rustling, and of the shade SELECTIOKS 73 Of the high hills, stretching so still and far — Loitering till after the low little light Of the candle shown through the open door. And over the haystack^s pointed top, All of a tremble and ready to drop, The first half hour, the great yellow star, That we, with staring, ignorant eyes. Had often and often watched to see. Propped and held in its place in the skies By the fork of a tall red mulberry tree. Which close in the edge of our flax-field grew. Dead at the top — Just one branch full Of leaves notched ^round and lined with wool. From which it tenderly shook the dew Over our heads, when we came to play In its handbreadth of shadow, day .after day, — Afraid to go home, sir, for one of us bore A nest full of tiny and thin-shelled eggs. The other a bird, held fast by the legs, 'Not so big as a straw of wheat ; The berries we gave her she wouldn't eat. But cried and cried, till we held her bill — So slim and shining — to keep her still. At last we stood at our mother's knee. Do you think, sir, if you would try. You can paint the look of a lie ? If you can, pray have the grace To put it solely in the face Of the urchin that is likest me ; I think 'twas solely mine, indeed. But that's no matter, paint it so ; The eyes of our mother (take good heed) 74 YOICE WORK Looking not on the nest full of eggs Nor the fluttering bird held so fast by the legs. But straight through our faces down to our lies. And oh, with such injured, reproachful surprise ! I felt my heart bleed where that glance went, as though A sharp blade struck through it. You sir, know That you on the canvass are to repeat Things that are fairest, things most sweet — Woods and corn-fields and, mulberry tree. The mother, the lads with the bird, at her knee ; But, oh, that look of reproachful woe ! High as the heavens your name Fll shout. If you paint me the picture and leave that out. ARTICULATION Let the ear be trained to catch the correct shade of vowel sound, as heard in arm and father^ and then secure the same sound in the following list of words : Saunter, Daunt, Taunt, Path, Wrath, Laundry, Calm, Aunt, Bath, Salve, Haunt, Psalm, Half, Laugh, Piano. Words often mispro-nou need : Horizon, Caloric, Admirable, Alabaster, Acclimate, Plethoric, AUegorist, Precedence, Antarctic, Chastisement, Allopathy, Misconstrue. 1. Did you say a notion or an ocean ? 2. Bring me some ice, not some mice. 3. Make clean our hearts. 4. Life's fitful fever over, he rests well. SELECTIONS 75 ''Wrong attitudes produce wrong emotions. Thus the development of normal expression is in the highest degree educative, and the correction of wrong attitudes of the highest moral importance/^ BOBIN Dear little Eobin, perched up in a tree. Chirping and hopping so merry and free. Come in, dear Eobin, and play with me ; Robin ! Robin ! play with me. Very well, Robin, since you will not play, I will not with you one more moment stay. Rude little Robin, pray hear what I say ; Robin ! Robin ! I bid you ''Good-day.'' LETTING THE OLD GAT DTE I. Not long ago I wandered near A play-ground in the wood ; And there heard words from a youngster's lips. That I never quite understood. II. Now let the old cat die ! " he laughed ; I saw him give a push. Then gaily scamper away as he spied My face peep over the bush. 76 VOICE WOEK III. But what he pushed or where he went, I could not well make out, On account of the thicket of hending boughs That bordered the place about. IV. '^ The little villain has stoned a cat, Or hung it upon a limb. And left it to die all alone/^ I said, ^^But I'll play the mischief with him." V. I forced my way through the bending boughs, The poor old cat to seek. And what did I find but a swinging child. With her bright hair brushing her cheek ! VI. Her bright hair floated to and fro. Her little red dress flashed by ; But the loveliest thing of all, I thought. Was the gleam of her laughing eye. VII. Swinging and swinging, back and forth. With the rose light in her face. She seemed like a bird and a flower in one. And the forest her native place. VIII. '^ Steady ! I'll send you up, my child," But she stopped me with a cry, ^^ Go Vay, go Vay ! don't touch me, please ; Fm letting the old cat die." SELECTION-S 77 IX. '^ You^re letting him die !" I cried, aghast, " Why, whereas the cat, my dear ? " And lo, the laugh that filled the wood Was a thing for the birds to hear. X. '' Why ! don't you know,'*' said the little maid. The sparkling, beautiful elf, '^ That we call it ' letting the old cat die,' When the swing stops all of itself ? " XI. Then swinging and swinging and looking back. With the merriest look in her eye. She bade me '' Good-bye," and I left her alone, ^'Letting the old cat die." THE MINUET I. Grandma told me all about it. Told me so I couldn't doubt it. How she danced — my grandma danced- Long ago ; How she held her pretty head. How her dainty skirt she spread. How she turned herlittle toes — Smiling, little human rose ! Long ago. 11. Grandma's hair was bright and sunny. Dimpled cheeks, too — ah, how funny ! 78 ' VOICE WOEK Eeally, quite a pretty girl. Long ago. Bless her, why, she wears a cap ; Grandma does, and takes a nap Every single day, and yet Grandma danced the minuet — Long ago. III. Now she sits there, rocking, rocking. Always knitting grandpa's stocking ; (Every girl was taught to knit — Long ago). Yet her figure is so neat. And her ways so staid and sweet, I can almost &ee her now Bending to her partner's bow — Long ago. IV. Grandma says our modern Jumping, Hopping, rushing, whirling, bumping Would have shocked the gentlefolks Long ago. No — they moved in stately grace. Everything in proper place. Gliding slowly forward, then Slowly courtesying back again — Long ago. V. Modern ways are quite alarming. Grandma says ; but boys were charming- SELECTIONS 79 Girls and boys, I m«an of course — Long ago. Bravely modest, grandly shy. What if all of us should try Just to feel like those who met In the graceful minuet — Long ago ? VI. With the minuet in fashion Who could fly into a passion ? And would wear the calm they wore Long ago ; In time to come, if I perchance Should tell my grandchild of our dance, I should really like to say '^ We did it, dear, in some such way. Long ago.^' PITCH Pitch is the place upon the scale, either high or low, on which the sound is uttered. ^^He is the best orator who has the widest range of pitch at his control, and who unites the upper and lower notes to his natural speaking voice. Each voice has its own natural pitch and should be cultivated in refer- ence to it and not made to conform to the teacher^s.-'^ Hamill. 80 YOICE WORK PITCH OF VOICE 1. 0. D. E. F. E. D. 0. 2. G. A. B. 0. A. B. G. 3. Scale (A as in art), middle to above. 4. Drill upon two notes in the scale. 5. Same with three notes. " The attainment of grace, versatility, appropriate- ness, and spontaneity in gesture should be the student's highest endeavor, as it is the crowning excellence in physical expression. '' 1. All gloom, all silence, all despair ! 2. Tell me not in mournful numbers. Life is but an empty dream ! For the soul is dead that slumbers. And things are not what they seem. 3. ^' Beware the pine tree's withered branch ! Beware the awful avalanche ! " This was the peasant's last good-night ; A voice replied far up the height — Excelsior ! There in the twilight, cold and gray, ^ Lifeless, but beautiful, he lay. And from the sky serene and far, A voice fell like a falling star — Excelsior ! PITCH— Continued '' Give a pupil command of pitch, that the inflectional range of the voice may adequately express his thought ; SELECTION-S 81 let him hear the different qualities and learn to produce them at will ; in a word, bring about the conditions which will set free that living tone which vibrates with his being, pulsates with every emotion of his heart, unlocks the sealed avenues and lets the soul tree/' 1. Life is real, Life is earnest. And the grave is not its goal ; Dust thou art, to dust returnest, Was not spoken of the soul. 2. Hear the sledges with the bells. Silver bells ! Hear the mellow wedding bells. Golden bells ! Hear the tolling of the bells, Iron bells ! •3. '*In deeds of love excel ! excel ! " Chimed out from ivied towers a bell. ^^ Oh, heed the ancient landmarks well !" In solemn tones exclaimed a bell. ' ^ Ye purifying waters swell ! " In mellow tones rang out a bell. ^*^ Farewell ! Farewell ! Base world, farewell !" In touching tones exclaimed a bell. '' To all the truth we tell ! we tell ! " Shouted in ecstacies a bell. FABM YARD SONQ Over the hill the farm-boy goes ; His shadow lengthens along the land, 82 VOICE WORK A giant staff in a giant hand ; In the poplar tree above the spring The Katydid begins to sing ; The early dews are falling ; Into the stone-heap darts the mink. The swallows skim the river^'s brink. And home to the woodland fly the crows. When over the hill the farm-boy goes. Cheerily calling — '' Co', boss ! co^ boss ! coM coM '' Farther, farther over the hill. Faintly calling, calling still — ^'Co', boss ! co', boss ! co', co'!'' Into the yard the farmer goes. With grateful heart, at the close of day ; Harness and chain are hung away ; In the wagon shed stand yoke and plow ; The straw^s in the stack, the hay in the mow ; The cooling dews are falling ; The friendly sheep his welcome bleat ; The pigs come grunting to his feet ; The whinnying mare her master knows. When into the yard the farmer go&s. The cattle calling — '' Co^ boss ! co^ boss ! co' ! coM " While still the cow-boy far away. Goes seeking those that have gone estray — "Co^boss!co^ boss!co\^coM" Now to her task the milkmaid goes ; The cattle come crowding through the gate. Lowing, pushing, little and great ; SELECTIONS 83 About the trough, by the farm-yard pump. The frolicsome yearlings frisk and jump, While the pleasant dews are falling ; The new milch heifer is quick and shy. But the old cow waits "with tranquil eye. And the white stream into the bright pail flows,, When to her task the milkmaid goes. Soothingly calling — "So, boss ! so, boss ! so ! so ! so I" The cheerful milkmaid takes her stool. And sits and milks in the twilight cool. Saying, '' So, so, boss ! so ! so I " To supper at last the farmer goes ; The apples are pared, the paper read. The stories told, then all to bed. Without, the cricket^s ceaseless song Makes shrill the silence all night long ; The heavy dews are falling ; The house wife^s hand has turned the clock_^ Drowsily ticks the kitchen clock ; The household sinks to deep repose. But still in sleep the farm-boy goes. Singing, calling — " Co^ boss ! co^, boss ! ao'l co'\ co ! '' And oft the milkmaid, in her dreams. Drums in the pail, with the flashing streams,. Murmuring, " So, boss ! so !^' A WINTER SONG We woke in the morning and found without warning- The meadows and hillsides were white with the snow 84 VOICE WOEK It came all unbidden, the brooklet was hidden And hushed in the hollow below. Softly, silently, white and fair. Floating along through the frosty air. Swirling, whirling, Shifting, drifting, Came the beautiful snow. A poor little robin stood silently bobbin' His wee little head in a pitiful way ; The chickens with wonder stood solemnly under The homely shed over the way. Softly, etc. The north wind was blowing, the cattle were lowing. The poor sheep were bleating about the coal shed. The horses were neighing — all seemed to be saying, •^'^ We want to be sheltered and fed.'' Softly, etc. ' A FOOLISH LITTLE MAIDEN I. A foolish little maiden had a foolish little bonnet. With a ribbon and a feather and a bit of lace upon it. And in order that the maidens of the little town might know it. She thought she'd go to meeting next Sunday, just to show it. II. Now, although this little bonnet was scarce larger than a dime. The getting of it settled proved to be a work of time. SELECTIOIJ-S 85 And when it was fairly tied all the bells had stopped their ringing, And when she got to meeting sure enough the folks were singing. III. So this foolish little maiden stood and waited at the door. She smoothed her ruffles out behind and smoothed them down before. "Hallelujah ! Hallelujah V sang the choir above her head, " Hardly knew you ! Hardly knew you l^' were the words she thought they said. IV. This made the little maiden feel so very, very cross, That she gave her mouth a little twist and her little head a toss. For she thought the very words they sang were all about her bonnet With a ribbon and a feather and a bit of lace upon it. Y. So she did not stop to listen to the sermon or the prayers, But pattered down the silent street and hurried up the stairs. Till she reached her little bureau, and in a bandbox on it Had hidden safe from critic^s eye, her foolish little bonnet. VI. "Which proves my little maidens, that each of you will find «b VOICE WORK In every Sunday service but an echo of your mind. And the little head that's filled with silly little airs Will never get a blessing from sermons or from prayers. THE VOICE '^ The voice is a mysterious hand which touches, envelopes and carresses the heart ; it should resemble the painter's palette, where all the colors are arranged in an orderly manner according to the affinities of each. A colorless tint may be attained in the same way as a pure tint. It may be as well to remark here that •expressions of the hand and brow belong to the voice. The coloring of the larynx correspond to the move- ments of the hand or brows.'' Delsarte. Force — Subdued, Moderate, Energetic, Impassioned. ### '' No, art is not an imitation of nature ; art is better than nature, — it is a nature illuminated." [From "The Life Boat." — Anon.'] Hurrah ! the life-boat dashes on. Though darkly the reef may frown ; The rock is there, the ship is gone Full twenty fathoms down. But cheered by hope, the seamen cope With the billows single-handed ; SELECTIONS 87 They are all in the boat. Hurrah ! they're afloat ! And now they are safely landed By the life-boat. Cheer the life-boat ! ^' Every manifestation of life is a sound ; every sound is a song. But inflections must not be multiplied^ lest delivery degenerate into a perpetual sing-song. The effect lies entirely in reproduciug the same inflection. '^ THE VOICE We are moved in reading not so much by what is said as by the manner of reading. It is not what we hear that affects us, but that which we ourselves imagine. Practice from mi to la — it is the medium voice, or the second register, which gives full and supple tones. A SAB TALE " I. '^ Who's afraid of a cat ? " said he ; *^ I'm not afraid of a cat.'' He was a bird who sat on a rail With five other birds, and this was his tale ^'I am not afraid of a cat." II. '^ I might be afraid if I were a mouse. Or even if I were a rat ; But as I am a bird 88 VOICE WOBK I give you my word I'm not afraid of a cat/' III. A cat and her kits came down on the scene. Five birds flew over the rail ; Our hero was caught As quick as a thought — And didn't he alter his tale ! IV. *^ You've made a mistake, Mr. Cat/' said he, ^' You must please let me go. Mister Cat, I'm not at all nice, I don't taste like mice. You'd much better have a young rat." Said the cat, '' It's no use. You may be a goose, I'll not let you go, for all that ! " THE VOICE '' One cannot be too careful of his articulation. The initial consonant should be articulated distinctly ; the spirit of the word is contained in it." 1. Joy ! Joy ! Shout aloud for joy ! 2. Ye crags and peaks, I'm with you once again ! I hold to you the hands you first beheld, To show they still are free. Methinks I hear A spirit in your echoes answer me And bid your tenant welcome to his home Again. Oh, sacred forms, how proud you look ! SELECTIOIS'S 89 How high you lift your heads into the sky ! How huge you are ! how mighty and how free ! Ye are things that tower — that shine^ whose smile Makes glad, whose frown is terrible, whose forms Eobed or unrobed, do all the impress wear Of awe divine. Ye guards of liberty Fm with you once again ! I call to you With all my voice ! I hold my hands to you, To show they still are free. I rush to you As though I could embrace you. J. S. Kn^owles. FATING BACK Seven happy little chicks walked out one day in June, Thought they would enjoy the way by starting up a tune ; Seven ugly little ducks, whose names I will not men- tion. Made up their minds to follow them and spoil their good intention ; Now everybody knows that a duckling's voice is deep. And everybody knows that quack will make more noise ih2irLpeep. So when they found their music drowned, these plucky little chicks Made up their minds to cure these ducks of all such naughty tricks ; So they chased them from the barn-yard, on this pleas- ant day in June, They started on their walk again, and went on with their tune. 90 VOICE WORK THE VOIOE ^''Accent is the modulation of the soul/' Exercise in words. Hang out our banners on the outv^rard walls ; The cry is still. They come : Our castle's strength Will laugh a siege to scorn ; here let them lie, Till famine, and the ague eat them up ; Were they not forced with those that should be ours. We might have met them dareful, beard to beard, Ani beat them backward home. Shakespeare. [From " Speech ik Virgiis'ia Convention."] ^^It is in vain, sir, to extenuate the matter. Gentle- men may cry peace ! peace ! but there is no peace. The war is actually begun ! The next gale that sweeps from the North, will bring to our ears the clash of resounding arms ! Our brethren are already in the field ! Why stand we here idle ? What is it that gen- tlemen wish ? What would they have ? Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery ? Forbid it, Almighty God ! I know not what course others may take, but as for me, give me libert}^, or give me death ! " Patrick Henry. THE LOST CHICKENS ■^ Cluck, cluck ! cluck, cluck V called the mother-hen, ^^ Some harm has come to my chickens, I fear ; SELECTION'S 91 I counted this mornings and then there were ten ; Now four are gone^ and but six are here/' '' Peep, peep ! peep, peep ! '' four chickens replied, As they sipped the due from a burdock leaf ; '' We must hurry back to our mother's side. She is calling us now with a voice of grief/' Then away to her side they ran again, Leaving the dainty drink they had found ; " Cluck, cluck ! cluck, cluok ! " said the mother hen, '^ Here are my ten, all safe and sound." M. E. N. H. FLEXIBILITY OF THE VOICE CAPABILITY OF BEIIS^G ADAPTED OR ACCOMMODATED. " Extreme rapidity of speech may be employed for attaining command over the voice. The difficulty of making transitions from one position of the organs of articulation to another requires an exertion which tends to increase their strength and activity, and this enables them to execute the usual time of speech without hesi- tation. I would recommend the utmost possible pre- cipitancy of utterance, taking care not to outrun the complete articulation of every element ; and this makes it advisable to set the lesson on some discourse long fixed in the memory, that embarrassment may not arise from the distracting effort of recollection." De. Eush. There was a sound of revelry by night, And Belgium's capital had gathered there 92 VOICE WOEK Her beauty and her chivalry, and bright The lamps shone o^er fair women and brave men ; A thousand hearts beat happily ; and when Music arose with its voluptuous swell. Soft eyes looked love to eyes which spake again, And all went merry as a marriage bell ; But hush ! hark ! a deep sound strikes like a rising knell ! Did ye not hear it ? — No ; ^twas but the wind, Or the car rattling o^er the stony street ; On with the dance ! let joy be unconfined ! No sleep till morn when Youth and Pleasure meet To chase the glowing hours with flying feet, — But hark ! — that heavy sound breaks in once more. As if the clouds its echo would repeat ; And nearer, clearer, deadlier than before ! Arm ! arm ! it is — it is — the cannon^s opening roar ! Bykok. '^ The chest voice should be little used, as it is a very fatiguing voice. The head voice or the medium voice is preferable, it being more noble and more ample, and not fatiguing. In these voices there is far less danger of hoarseness. The head and medium voices proceed from the mouth, while the chest voice has its vibrating point in the larynx. '^ THE VOICE '^Persuade yourself that there are blind men and deaf men in your audience whom you must move, inter- SELECTIOKS 93 est and persuade. Your inflection must become panto- mime to the blind, and your pantomime, inflection to the deaf/' ASPIRATE QUALITY It is the whisper and half-whisper. Effusive Form He hears a noise — he's all awake — Again ! — on tiptoe down the hill He softly creeps. — WORDSWOETH. Hush ! hark ! did ye not hear it ? '' Hark ! I hear the bugles of the enemy ! They are on their march along the bank of the river ! We must re- treat instantly, or be cut off from our boats ! I see the head of their column already rising over the height ! Our only safety is in the screen of this hedge. Keep close to it — be silent — and stoop as you run ! For the boats ! Forward ! " A8PIBANT Q UALITY— Expulsive Form While thronged the citzens, with terror dumb. Or whispered with white lips, '^'^The foe ! ■They come ! they come ! " Byron. There is always voice enough to an attentive listener. 94 VOICE WOEK THE VOICE '* There are two kinds of loud voices — the vocally loud, which is the vulgar voice; and the dynamically loud, which is the powerful voice. A voice, however powerful it may be, should be inferior to the power which animates it." 1. [Feom Fobes's Elocution.] ^' Multitudes of young men are poured out upon the country, year after year to get their living by public speech, who can not even read well. The art of public speech, has been shamefully neglected in all our higher training-schools. It has been held subordinate to everything else, when it is of prime importance. I be- lieve more attention is now paid to the matter than formerly. The colleges are training their students better, and there' is no danger that too much attention will be devoted to it. The only danger is, that the great majority will learn too late that the art of oratory demands as much study as any other of the higher arts ; and that, without it, they must flounder along through life practically shorn of half the power that is in them, and shut out from a large success.^' 2. The Switzer gazed — the arrow hung, ^' My only boy ! '^ sobbed on his tongue ; He could not shoot. ^'Ha \" cried the tyrant, '^ doth he quail ? Mark, how his haughty brow grows pale ! " SELECTIONS 95 But a deep voice rung on the gale — '' Shoot, in God's name ! '' Again the drooping shaft he took. And turned to heaven one burning look. Of all doubts reft. '^ Be firm, my boy ! " was all he said. The apple's left the strippling's head. Ha ! ha ! 'tis cleft ! And so it was, and Tell was free. ^'And, finally, when a look, a slight movement of head or hand, mean so much, what a language the per- fected whole must speak. As I have hinted before, our work will always have the stamp of our own indi- viduality. Just so much of thought, heart, sou], as we put into this work, just so much will shine through and color our efforts. The creation can never be above the creator." Pantomime No. 1 THE 8TAR-8PAN0LBD BANNER Oh, say, can you see, by the dawn's early light. What so proudly we hailed at the twilight's last gleaming ? Whose broad stripes and bright stars, through the peril- ous fight. O'er the ramparts we watched were so gallantly stream- ing ? And the rockets' red glare, the bombs bursting in air. 96 YOICE WORK Gave proof through the night that our flag was still there : Oh, say, does that star-spangled banker yet wave O^er the land of the free and the home of the brave ? On the shore, dimly seen through the mists of the deep, Where the f oe^s haughty host in dread silence reposes. What is that which the breeze, o^er the towering steep. As it fitfully blows, half conceals, half discloses ? Now it catches the gleam of the morning's first beam ; In full glory reflected, now shines on the stream : 'Tis the star-spangled banner ; oh, long may it wave O'er the land of the free and the home of the brave ! And where is the band who so vauntingly swore, 'Mid the havoc of war and the battle's confusion, A home and a country they'd leave us no more ? Their blood hath washed out their foul footsteps' pol- lution : No refuge could save the hireling and slave From the terror of flight, or the gloom of the grave ; And the star-spangled banner in triumph doth wave O'er the land of the free and the home of the brave. Oh, thus be it ever, when freemen shall stand Between their loved home and the war's desolation ! Blest with victory and peace, may the Heaven-rescued land Praise the power that hath made and preserved us a nation ! Then conquer we must, for our cause it is just; And this be our motto, " In God is our trust" ; And the star-spangled banner in triumph shall wave O'er the land of the free and the home of the brave. Frakcis Scott Key. selections 97 Pai^tomime No. 2. THE OLD FOLKS AT HOME Way down upon the Swanee ribber. Far, far away, Dere's where my heart is turning ebber, Dere's where de old folks stay. All up and down the whole creation. Sadly I roam. Still longing for de old plantation, And for de old folks at home. One little hut among de bushes, One dat I love. Still sadly to my memory rushes, No matter where I rove. When will I see de bees a humming. All round de comb ? When will I hear de banjo tumming Down in my good old home ? Pantomime No. 3. Believe me if all these endearing young charms, Which I gaze on so fondly to-day Were to fade by to-morrow and fleet in my arms, Like fairy gifts fading away. Thou wouldst still be adored, as this moment thou art, Let thy loveliness fade as it will. And around the dear ruin each wish of my heart Shall entwine itself verdantly still. 98 VOICE WORK It is not while beauty and youth are thine own. And thy cheek unprofaned by a tear, Tliat the fervor and love of a soul can be known To which time will but make thee more dear ; No, the heart that has truly loved never forgets, But as truly loves on to the close, As the sun-flower turns to her God when he sets The same look which she turned when he rose. THE SCHOOL BULLETIN PUBLICATIONS. Helps toward Correct Speech. 1. Verbal Pitfalls : a manual of 1500 words commonly misused, includ- ing all those the use of which in any sense has been questioned by Dean Alvord, G. W. Moon, Fitzedward Hall, Archbishop Trench, Wm C. Hodgson, W. L. Blackley, G. F. Graham, Richard Grant White, M. Scheie de Vere, Wm. Mathews, " Alfred Ayres," and many others. Arranged alphabetically, with 3000 references and quotations, and the ruling of the dictionai'ies. By C. W. Babdeen. Cloth, 16mo, pp. 223. 75 cts. Perhaps the happiest feature of the book is its interesting form. Some hundreds of anecdotes have been gathered to illustrate the various points made. These have the advantage not only of making the work entertain- ing, but of fixing the point in the mind as a mere precept could not do. The type indicates at a glance whether the use of a word is (1) indefensible, (2) defensible but objectionable, or (3) thoroughly authorized. S. Orthoepy Made Easy. A Royal Road to Correct Pronunciation. By M. W. Hall. Cloth, 16mo, pp. 103. 75 cts. Everyone remembers the queer shibboleths of culture in the paragraph beginning " A sacrilegious son of Belial," that has been the rounds of the newspapers. This book is made up of 38 such exercises, all of them ingen- ious and many of them amusing, each followed by a key to the difficult words. Bishop Yincent says : " I take great pleasure in testifying to the ex- ceeding value of the little volume ; ' Orthoepy Made Easy.' 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