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SELECT RECITATIONS, ORATIONS, 
 
 AND 
 
 DRAMATIC SCENES. ' 
 
 WITH ACTIONS AND EMPHASIS. 
 
no. i. Kkwimmirmm 
 
 Arm rising— Hand hanging downwards. 
 
 Arm falling— Hand pointing upwards. 
 
 Arm moving outwards—Hand pointing across the body. 
 
 7. 
 
 Arm moving inwards— Hand pointing outwards. 
 
No. II. HAND POSITIONS. 
 
SELECT 
 
 RECITATIONS, ORATIONS, 
 
 AND 
 
 DRAMATIC SCENES, 
 
 ACTIONS AND EMPHASIS. 
 
 AN ELOCUTIONARY MANUAL, 
 
 Containing ioo Selections from the Leading 
 
 POETS, ORATORS, AND DRAMATISTS, 
 
 Supplied with Copious and Minute Directions 
 
 FOR THEIR CORRECT, GRACEFUL, AND 
 
 IMPRESSIVE DELIVERY. 
 
 
 V BY 
 
 C. h BIRBECK, 
 
 Professor of Elocution and English Literature. 
 
 NEW YORK: 
 
 JOSEPH F. WAGNER. 
 41 UNION SQUARE. 
 
Libmiy of Con$rr««« 
 
 Iwu Copies Receded 
 OCT 22 1900 
 
 Copyright wtry 
 
 SECf KO COPY. 
 taDM DIVISION, 
 
 ^ 
 
 
 Copyright, 1900, by 
 JOSEPH F. WAGNER. 
 
 PRE88 OP ANDREW H. KELL0Q6, 
 409-416 PEARL 6T., NEW YORK, N. Y« 
 
INTRODUCTION 
 
 GENERAL HINTS ON READING AND RECITING. 
 
 THE advantages evolving from the study and practice of elocu- 
 tion even for those who are not destined for the life of a public 
 speaker are too numerous and valuable to be overlooked. 
 
 Until quite recently our academies, high schools and colleges did not 
 pay the requisite attention to this essential branch of art. Now, 
 realizing the benefits, physical, useful and ornamental, accruing to 
 the pupil from the study of the above as well as the aid which it 
 furnishes to other kindred studies in the curriculum, a certain 
 allotted time, weekly, is spent in the memorization and recital of 
 prose and poetical selections taken frequently from the standard 
 English and American classics. 
 
 Attention is paid more particularly to the proper interpretation of 
 the author's lines. Emphasis, which helps to bring so forcibly before 
 the auditor's attention the meaning of the author — Inflection, which 
 by the sliding of the voice upward and downward breaks up the 
 monotony of the reading, once so painfully prevalent, and rendering 
 the result agreeable to the ear — the invaluable benefit of Pauses— 
 the accuracy and distinctness of Enunciation and the proper placing 
 of the Accent on words — these form essential adjuncts in the educa- 
 tion of every student. 
 
 The practice necessary to obtain ease, grace and effectiveness in 
 posture, expression and gesture, in conjunction with an advance 
 toward vocal perfection, tend to make a completeness which all 
 aspiring reciters should wish to attain. 
 
 It is frequently asked by the pupil how he should begin the study 
 of a recitation. Our advice is this: having made a choice in ac- 
 cordance with his years and scholastic attainments he should read 
 the same carefully, with concentration of mind from the beginning 
 to the end, in order to gain a comprehensive insight of the author's 
 meaning. 
 
 If words be found therein of whose meaning he is doubtful, these 
 should be looked up in the dictionary. Read the selection through once 
 more and aloud in a clear, firm voice, attending strictly to the 
 grammatical pauses. 
 
 Find out the emphatic words in the recurring sentences, as to these 
 is attached the greatest value. 
 
VHI INTRODUCTION. 
 
 Endeavor to grasp the spirit of the piece and strive to feel its full 
 significance. 
 
 This preliminary work should be done before committing the words 
 to memory. 
 
 The recitation should be learned Verbatim; no omissions or inter- 
 polations should be made by the pupil without the advice of the teacher 
 or a proper guide. He should study faithfully to perfect the details 
 of his work and a commensurate success will be the reward. 
 
 The student in oratorical descriptive and strictly declamatory selec- 
 tions should possess a natural, dignified and impressive carriage ; the 
 head gracefully poised, the breast well thrown out, the feet not 
 separated too much, whilst maintaining throughout in his bearing a 
 well-bred and respectful attitude toward the audience. 
 
 However, the most perfectly elaborated recitation given under the 
 best possible circumstances — the voice, diction and orthoepedical con- 
 ditions being manifestly cared for, will be greatly marred by the ab- 
 sence of well-regulated and appropriate ACTION. 
 
 The ancient Greeks thought so much of action, that they spent 
 years in the practice of gesture, posings, expressions and the like. 
 
 The lecturer reading from his manuscript, the college essayist 
 giving his well-prepared thoughts, logically arranged and transcribed 
 to paper, will be listened to in many cases with but divided atten- 
 tion or mayhap not at all; and this due to the fact, chiefly, that 
 action is wanted and audiences demand it. 
 
 The object of this work is to bring before the student the strict 
 mechanism of gesticulation or general action. 
 
 The explanations for making of the gestures in the following reci- 
 tations will be briefly given at the end of the different pieces. 
 
 Our object is to make the work as easy and attractive for the pupil 
 as is possible. He frequently forgets the gestures and expressions 
 orally explained by the instructor; or otherwise, in preparing a 
 recitation by his own unaided efforts, he is frequently at a loss what 
 to do. 
 
 When, finally, ease is acquired through this mechanical practice, 
 grace of action, flexibility and variety of movement will follow. 
 
 The mind of the pupil will associate certain gestures and facial 
 expressions with the certain passionate and emotional passages found 
 in the text. 
 
 The object of this work is not to make the pupil an automaton, but 
 to aid him over the difficulties which usually beset the path of the 
 young aspirant to recitative fame. 
 
 The extracts found in this book have been selected with some care, 
 with attention paid to their fitness and the elevating and entertaining 
 matter contained in them, also their literary worth. Let us hope 
 the one hundred selections contained in this volume may be found 
 available and useful. 
 
 C. J. Birbeck. 
 
CONTENTS. 
 
 Part I.— POETRY. 
 
 NO. PAGE 
 
 1. The Brave Fireman 11 
 
 2. Don't Give Up the Ship. ... 14 
 
 3. Let's Try to Do the Right, 
 
 Boys 15 
 
 4. There's Room, for You up 
 
 Higher 16 
 
 5. The Death Ride 18 
 
 6. The Will and the Way 22 
 
 7. The Lesson of the Mill 24 
 
 8. Curfew Must Not Ring To- 
 
 night 26 
 
 9. The Song of the Sword 29 
 
 10. The Spanish Mother. 31 
 
 11. The Singing of the Mag- 
 
 nificat 36 
 
 12. The Pride of Battery B 40 
 
 13. The Melancholy Hen 43 
 
 14. The Last Shot 45 
 
 15. Nellie's Prayer 52 
 
 16. The Level Crossing 56 
 
 17. The Twins , 59 
 
 18. The Children 61 
 
 19. The Reaper and the Flowers 63 
 
 20. Footsteps of Angels 64 
 
 21. The Story of a Stowaway.. 65 
 
 22. The Main Truck ; or, A Leap 
 
 for Life 69 
 
 23. Auction Extraordinary 70 
 
 24. The Lifeboat 72 
 
 25. Lulu's Complaint 77 
 
 26. Press On. A Valedictory 
 
 Poem 78 
 
 27. Antony's Speech Over Cse- 
 
 sar's Body 79 
 
 28. The Same— Continued 81 
 
 29. The Drowned Mariner 82 
 
 30. Forgive and Forget 84 
 
 The Bridge of Sighs.. 
 
 The Last Minstrel 
 
 The Soldier's Funeral. 
 
 Excelsior 
 
 The Gluttonous Duck. 
 
 The Exile of Erin 
 
 The Slave's Dream 
 
 . 91 
 . 93 
 . 96 
 . 98 
 
 The Wreck of the Hesperus, 100 
 The Last of the Red Men. .102 
 
 The Polish Exiles 105 
 
 The Mariner's Dream 106 
 
 The Old Clock on the Stairs. 109 
 The Progress of Madness. . . 110 
 The CoUier's Dying Child. .113 
 
 The Raven 115 
 
 The Diver 121 
 
 Our Folks 125 
 
 Sheridan's Ride 127 
 
 Paul Revere's Ride 129 
 
 The Dream of the ReveUer . 132 
 
 Two Loves and a Life 135 
 
 The Country Squire 136 
 
 Rustic Logic 138 
 
 Ask Mamma ! 139 
 
 The Spirit of Contradiction . 142 
 
 The Spider and the Fly 144 
 
 The Slave Ship .... .146 
 
 Paddle Your Own Canoe . . 148 
 
 Somebody's Darling 150 
 
 Papa's Letter 151 
 
 The Unhappy Man 153 
 
 The Deserter 155 
 
 The Polish Boy 157 
 
 Adieux de Marie Stuart 
 
 (French) 160 
 
 Friede (German) 162 
 
CONTENTS. 
 
 Part II.— PROSE. 
 
 NO. PAGE 
 
 66. Freedom and Patriotism. . .163 
 
 67. NoNationalGreatness With- 
 
 out Morality 165 
 
 68. True Grandeur of Nations. .167 
 
 69. Acquisition of Territory 168 
 
 70. Liberty and Despotism 171 
 
 71. The Sabbath 173 
 
 72. Power of Wealth Produced 
 
 by Labor 175 
 
 73. Glory of Arms 177 
 
 74. Fourth of July, 1851 178 
 
 75. Aspirations of the Amer- 
 
 ican People 180 
 
 76. Eloquence 183 
 
 77. Death of Washington 184 
 
 78. American History 186 
 
 79. Injustice the Cause of Na- 
 
 tional Ruin 187 
 
 80. Blessings of Education. . . .189 
 
 NO. PAGE 
 
 81. What is the French Revo- 
 
 lution? 191 
 
 82. Decline of the Celtic Race. . 193 
 
 83. Emmet's Vindication from 
 
 Dishonor 195 
 
 84. A Wild Night at Sea 196 
 
 85. Sorrow for the Dead 199 
 
 86. The Death of Little Dombey201 
 
 87. The Funeral of Little Nell. .205 
 
 88. God is Love 208 
 
 89. The Crucifixion 209 
 
 90. On Infidelity 211 
 
 91. The Death of the Wicked. . .213 
 
 92. On the American War 216 
 
 93. On Napoleon Bonaparte. . .217 
 
 94. Speech of Serjeant Buzfuz .220 
 
 95. The Bashful Man 224 
 
 96. Cardinal Wolsey on his 
 
 Fall 230 
 
 DRAMATIC SCENES. 
 
 97. From the Play: "The Iron 
 
 Chest" 232 
 
 98. From the Play: "William 
 
 TelT 236 
 
 99. From the Comedy: "The 
 
 Rivals" 239 
 
 100. From the Tragedy : "Mac- 
 beth" 244 
 
Standard Readings and Recitations witl) 
 Actions and €tnpDa$i$* 
 
 Part L 
 Selections of Poetty* 
 
 1. 
 
 Note.— The words hand plate and arm plate in the footnotes refer to the plates in 
 front of the book, and the numbers to the corresponding gestures illustrated on these 
 plates. Emphasis must be given to tne words in italics "and the pauses marked thus | 
 must be well observed. 
 
 1 -THE BRAVE FIREMAN. 
 
 Eben E. Bexford. 
 x Rarh — through the wild night's darkness 
 Eings out a terrible cry, 
 And the woman shudders to hear it 
 In the room up close to the sky; 
 2<( FireT in accents of terror, 
 And voices the cry repeat, 
 And the fire-bells join in the clamour 
 Out in the stormy street. 
 
 LOUD. 
 
 FERVENT. 
 
 RAPID. 
 
 INQUIRY. 
 
 QUICK. 
 
 2. 3 "God grant we are safe, my darling/' 
 
 She says to the child in her arms, 
 4 While the voices far down in the darkness 
 Add to the bells' alarms ; 
 Then | she thinks of the two little children 
 
 5 Who are sleeping peacefully near, 
 And 6 "God pity the people in danger/' 
 She adds, with a thrill of fear. 
 
 3. The voices ring louder and shriller. 
 
 7 She hears the swift tread of feet, 
 And the sound of engines rumbling 
 Below in the stormy street. 
 8 "It must be the fire is near us/' 
 
 9 She listens; | a step on the stair, 
 10 Then the door is flung wide, and beyond it 11 
 She sees the red flames' glare. 
 
 4. 12 "G-ive me the child !" cries the fireman. 
 
 "There's not a moment to spare;" 
 
12 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 FIRM. 
 
 5. 
 
 PATHETIC. 
 
 6. 
 
 QUICK. 
 LOUD. 
 
 VERY LOUD. 7. 
 
 ' « 
 
 The flames like a glittering serpent 
 Are writhing up the stair. 
 13 "Nc, I will carry my baby." 
 
 And then she points to the bed, 14 
 Where the light from the hall shines brightly 
 Over a golden bead. 
 
 15 One little head on, the pillow — 
 One only the fireman sees, 
 With flossy curls stirring about it, 
 In the breath of the fiery breeze. 
 16 He lifts the child, while the other 
 
 Is cuddled away from sight, 
 17 And springs down the stair where the flame- 
 hounds 
 Snarl after their prey in its flight. 
 
 ls On, on, through the fire that leaps round him 
 As a swimmer breasts the wave, 
 Scorched, and blinded, and breathless, 
 
 To find escape — or a grave ! 
 On through the fiery whirlpool 
 Till at last he gains the street; 
 1Q Thank God! and lays down his burden 20 
 Safe at the mother's feet. 
 
 'One, only one?" she cries wildly. 
 
 You have left the other to die!" 
 ! the terrible, terrible anguish 
 That rings in the mother's cry. 
 "I will save you, my child, or die with you!" 
 And, maddened by love's despair, 
 22 She puts her babe from her bosom 
 
 And springs 23 towards the flame-wreathed 
 stairs. 
 
 decisive. 8. 24 You shall not go," he tells her, 
 
 And holds her back from death. 
 
 "I left your child — I will save it — 
 If I can," then, catching his breath 25 
 
 For the terrible task before him, 
 He 26 leaps up the lurid way. 
 
THE BRAVE FIREMAN. 
 
 13 
 
 REVER- 
 ENTLY. 
 
 LOUD. 
 RAPID. 
 
 "God help him!" 27 the awed crowd whispers. 
 "He goes to his death," they say. 
 
 9. Moments that seem like ages 
 
 Go by, and he comes not back, 
 The names leap higher and higher, 
 28 The frail walls sway and crack. 
 pathetic. 2d "0, my lost little child!" cries the mother, 
 
 Forgetting the child at her breast. 
 In this moment of awful anguish 
 30 She loved the lost one best. 
 
 10. Up from the crowd, 31 all breathless 
 With hope, and doubt, and fear, 
 
 Goes a cry, 32 "Thanh God, he's coming 
 With the child!" and cheer on cheer 33 
 
 Eings through the night, blending strangely 
 With the wind and the wild flames' roar, 
 
 As out of the tottering building 
 34 The fireman springs once more. 
 
 11. Straight 35 to the mother he staggers 
 With the rescued child, and cries — 
 
 "I | left him, | and / | have | saved him I" 
 And the hero looks out of his eyes, 
 36 Then he falls at her feet; they crowd round 
 him, 
 37 And lift his drooping head, 
 B8 "I — saved — the — child!" he whispers; 
 A gasp, and the HEEO IS DEAD. 
 
 1 Hand to ear — advance toward right — expression of expectancy. 
 2 Double gesture of No. 6, plate for hands. 3 Hands crossed as in No. 
 
 14 in plate for hands. 4 Point downward. 5 Point to the left. 6 Hands 
 together, No. 9, plate for hand. 7 Hand to ear — listening. 8 Hands 
 clasped — turning head quickly from side to side. 9 Hand near ear — steps 
 to right. 10 Hands together in front flung quickly apart. 1X Points in 
 front. 12 Extend both arms. 13 Clasp arms over breast. 14 Points left. 
 
 15 Points left. 16 Bend forward — use hands in the act of lifting. 17 No. 
 6, plate for hands. 18 Right hand pointing outward and downward. 
 a9 Clasp hands — No. 13 hand plate. 20 Both hands open pointing to 
 ground. 21 Kneel — head thrown back — right arm extended. 22 Rise — ex- 
 tend hands in the act of giving child. - 3 Advance rapidly — arms and 
 hands forward. 2i Extended hands clinched to be drawn back quickly. 
 25 Left hand clasping throat. 2G Throw upward right hand. 27 Hands 
 together, No. 9 hand plate. 28 Wave hands and arms from side to side. 
 29 No. 4, arm plate. 30 Repeat same. 31 Outward movement, both arms 
 as in No. 5, arm plate. 32 Clasp hands. S3 Wave right hand over head. 
 84 Point in front. 35 General action of great fatigue. 36 Both hands in- 
 clined downward, palms out. 37 Bend well forward — hands in the action 
 of lifting. 38 Head back — eyes up — hand on chest. 
 
 SLOW. 
 
 EX- 
 HAUSTED. 
 
 SLOW. 
 
 SOLEMN. 
 
14 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 MEDIUM 
 TIME. 
 
 CLEAR 
 TONE. 
 
 LOUD. 
 
 2-DON'T GIVE UP THE SHIP. 
 
 Hester Hunt. 
 1. You're on the sea of life, 1 boys; 
 Your ship is stanch and strong; 
 You're sailing smoothly now, boys, 
 But storms will come ere long. 
 2 Then boldly furl your sail, boys, 
 
 And let the tempest "rip" ; 
 Stand bravely by the helm, boys, 
 3 And "Don't give up the ship!" 
 
 FIRM. 
 
 PLEASANT. 
 
 LOUD. 
 
 2. Though clouds o'ercast the sky, 4 boys, 
 The sun is bright behind; 
 And though the waves roll high, boys, 
 
 They'll soon calm down, 5 you'll find. 
 6 So always keep up heart, boys, 
 
 With cheerful eye and lip; 
 And let your watchword e'er, boys, 
 Be, | 7 "Don't give up the ship!" 
 
 3. 
 
 IMPRES- 
 SIVE. 
 
 LOUD. 
 
 Beyond the raging sea, 8 boys, 
 
 You'll find at last a rest, 
 If only on your trip, boys, 
 
 You always do your best. 
 There waits for each a crown, 9 boys; 
 
 So take a manly grip; 
 10 There waits for all | eternal life 
 
 Who 11 "Don't give up the ship." 
 
 1 Right arm and hand extended in front. 2 Right arm and hand 
 directed upward. 3 Bring hand down front, very forcibly. 4 Both arms 
 and fingers pointing upward and outward. 5 Downward movement of 
 depression — fingers loosely extended — palms down. ° Hands as in No. 
 12 of plate giving hand positions. 7 Same as 3 . 8 No. 2 of plate for 
 hands. 9 Arm at right angle ; index finger pointing upward. Make cir- 
 cular movement indicative of crown. 10 Both hands extended widely apart 
 toward audience. u Same as 8 . 
 
LET'S TRY TO DO THE RIGHT, BOYS. 
 
 15 
 
 FULL 
 VOICE. 
 
 STRONG. 
 
 3-LET'S TRY TO DO THE RIGHT, BOYS, 
 
 W. Townsend. 
 
 1. Let's try to do the right, boys, 
 
 Be true men, come what may; 1 
 Let's try to do our duty well, 
 
 For that's the manly way. 
 For he is brave who does the right, 
 
 And sticks to what is true: 
 Then | try to do the right, boys, 2 
 
 Whatever others do. 
 
 2. Let's try to do the right, boys, 3 
 However hard it be. 
 natural. Let's bravely make a noble stand, 4 
 
 And hold on manfully. 
 For he's a man that stands his ground, 
 
 And does the good he may. 
 Then | try to do the right, boys, 5 
 Whatever others say. 
 
 Let's try to do the right, boys, 6 
 
 Try on, through weal and woe; 
 Let nothing daunt the loyal heart, 7 
 
 Do all the good you know. 
 For strength shall come as need demands 
 
 To help the honest heart: 
 8 Then | try to do the right, boys, 
 
 And play a true man's part. 
 
 earnest 4. Let's try to do the right, boys, 
 Because it is the right; 9 
 Let's nobly stand by what is true, 
 And for it boldly fight. 
 
16 STANDAITO TlSCITATIOTvo T7ITH ACTIONS AND EMPHASIS. 
 
 For he is true who does his best, 
 And makes the right his aim. 
 forcible. Then | try to do the right, boys/ 
 
 And win a good man's name. 
 
 
 1 No. 4 plate for hands. 2 No. 4 plate for hands. 3 No. 1 plate for 
 hands, affirmative gesture. 4 Bring hand down strongly on the italicized 
 words. 5 Both hands toward audience. Expression on face candid. 
 c Right hand put forward. 7 Touch breast. 8 Both hands toward audience. 
 Head thrown back — step forward with right foot. 9 Wave upward and 
 downward the index finger on emphatic words. 10 Wave the right hand 
 over head till finish. 
 
 4-THERE'S ROOM FOR YOU UP HIGHER. 
 
 M. E. Sandford. 
 moderate 1. I went last night to the land of dreams, 
 That mystic, silent land, 
 With mountains high, and crystal 1 streams, 
 
 And castles tall and grand. 
 An eager, anxious throng I saw 2 
 
 Upon a spreading plain, 
 All rushing on, in earnest haste, 3 
 The self-same goal to gain. 
 
 2, I looked, and, lo ! a ladder rose 4 
 , 7/? „ Above the din and strife, 
 
 ment. ' And, looking still, I read these words, 5 
 
 "This is the scale of life." 
 
 And now | I watched the surging crowd, 
 Each struggling, oft in vain, 
 
 Upon that crowded lower round 16 
 A footing to obtain. 
 
 3. 7 'Twas strange to see the many | who 
 
 One effort forth would put, 
 And then fall back, content to lie 
 8 And grovel at the foot. 
 
THERE'S ROOM FOR YOU UP HIGHER. 
 
 17 
 
 But some I saw, whose dauntless will 
 
 No rude repulse could stay — 
 Who grew more strong, with each defeat, 
 9 To push their upward way. 
 
 EMPHA- 
 SIZE. 
 
 4. A voice that came from lips unseen 10 
 Their courage would inspire; 
 This seemed the burden of the song — 
 "There's room for you up higher/' 
 And springing up, with strength renewed, 
 The struggle to endure, 
 n They ne'er gave up, until at length 
 They gained a footing sure. 
 
 GRADUAL- 
 LY HIGHER. 
 
 CLIMAX. 
 
 5. 
 
 Then, 12 step by step, and round by round, 
 
 They sturdily progressed; 
 Each barrier was dashed away 
 
 As upward still they pressed. 
 And oft, when toil-worn, faint, and weak, 
 
 Then from the unseen choir 
 Would come, in chorus full and strong, 
 
 "There's room for you up higher." 
 
 6. It filled their 13 souls with courage new, 
 And gave them strength to win, 
 Until they reached the place they sought, 
 14 Above the strife and din. 
 15 The crowd below, who saw them rise, 
 Bewailed the adverse fate 
 Which held them down | while 16 others rose 
 To fill such high estate. 
 
 7. It never seemed to dawn on them 
 The fault could lie 17 within; 
 That oold success ne'er waits on those 
 
 Who have no will to win. 
 And when, in after waking hours, 
 My dream came back to me, 
 
18 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 I thought the lesson it conveyed 
 Was plain and clear to see. 
 
 For those with 18 spirit true and brave, 
 Who to better things aspire, 
 19 Remember | that, where'er you stand, 
 20<i There's always room up higher/" 
 
 IMPRES- 
 SIVE. 
 
 1 Point upward, then downward. 2 Both hands — palms up. s Throw 
 both hands forward, letting the fingers fall slightly forward. 4 Point 
 upward to the right. 5 Moving the head from side to side appearing to 
 look intently. 6 Point downward. 7 Two hands forward, arms at angle 
 with body. 8 Point downward, right hand. 9 Elevate right hand obliquely 
 from body. 10 Attitude of listening — eyes thrown upward. n Bring hand 
 to front with force on the word "ne'er." 12 Imitate the ascending move- 
 ment with left hand, gradually till the end of stanza. 1S Both hands 
 laid on breast, fingers slightly apart. 14 Point upward. 15 Both hands 
 pointing downward. la Elevate hands. 17 Hand on breast. 18 Hand again 
 on breast. 1B Wave hand in front warningly. 20 Point upward. 
 
 SLOW. 
 
 5-THE DEATH RIDE. 
 
 A TALE, OE THE LIGHT BRIGADE. 
 
 October 25, 185^. 
 
 Westland Marston. 
 We sat mute on our chargers, a handful of 
 
 men, 
 As the foe's broken columns 1 swept on to the 
 glen 
 Like torn trees when the whirlwind comes; 
 Cloven helm and rent banner grew dim to our 
 ken, 
 And faint was the throb of their drums. 
 
 MEDIUM 
 PITCH. 
 
 2. But, no longer pursued, 2 where the gorge 
 opens deep | 
 They halt; with their guns they crowd level 
 and steep; 
 Seems each volley some monster s breath, 
 Who shows cannon for teeth as he crouches | 
 to leap 
 From his ambushed cavern of ueath. 
 
THE DEATH RIDE. 
 
 19 
 
 SLOW. 
 
 STR0XG. 
 
 3. 3 Their foot tlirong the defile, 4 they surge on 
 
 the bank; 
 Darts a forest of lances in front; 5 o'er each 
 
 flank 
 Peer the muskets, a grisly flock; 
 They have built their live tower up, rank 
 
 upon rank, 
 6 And wait, | fixed, | for an army's shock. 
 
 4. Far in front of our lines, a dot on the plain, 
 Mute and moveless we sat till his foam-flecked 
 
 rein 
 At our side gallant Nolan drew. 
 "They still hold our guns, we must have them 
 
 again," 
 "Was his message — lu Advance, pursue!" 
 
 QZ'ESTIOX- 
 JXG. 
 
 5. ^Pursue them ! What, 9 charge with our hun- 
 dreds the foe 
 Whose massed thousands await us in order 
 below ? 
 Yes, such were his words. To debate 
 The command was not ours; we had but to 
 know, 
 And, knowing, encounter our fate. 
 
 6. We ride our last march; let each 10 crest be 
 borne high 
 solemn. We raise our last cheer ; n let it startle the sky 
 
 12 And the land with one | brave farewell, 
 For soon | never more to our voice shall reply 
 Rock, hollow, fringed river, or dell. 
 
 loud. 7. 13 Let our trump ring its loudest, in closest 
 
 array, 
 Hoof for hoof, let us ride; for the chief who 
 to-day 
 Review us — is u Death the victorious: 
 Let him look up to Fame, as we perish, and 
 
 say, 
 15 "Enroll them, the falVn are the glorious!" 
 
20 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 QUICK 
 TIME. 
 
 QUICK. 
 
 LOW TONE. 
 
 QUICK- 
 AND 
 LOUD. 
 
 VERY LOUD. 
 
 8. We spur to the gorge; from its channel of ire 
 16 Livid light bursts like surf, its spray leaps in 
 
 fire; 
 As the spars of some vessel stanch, 
 Bold hearts crack and fall; we ne'er 17 swerve 
 nor retire, 
 But in mid-tempest we launch. 
 
 9. We 18 cleave the smoke billows as wild waves 
 
 the prow; 
 19 The flash of our sabres gleams straight like 
 the glow 
 Which a ploughing keel doth break 
 From the grim seas around, with light on her 
 bow, 
 And light in her surging wake. 
 
 10. We 20 dashed full on their guns; through the 
 
 flare and the roar 
 Stood the gunners bare-armed; now | they 
 
 stand there no more, 
 The war-throat waits dumb for the ball ; 
 For those men pale and mazed to the chine 
 
 we shore, 
 21 And their own cannon's smoke was their 
 
 palL 
 
 11. That done, we're at bay ; for the foe with a yell 
 Piles his legions around us. Their bayonets 
 
 swell 22 
 Line on line; we are planted in steel : 
 "Good carbine! trusty blade! Each shot is 
 
 a knell, 
 Each sword-sweep a fate; they reel!" 
 
 12. 23 0ne by one fall our men, each girt with his 
 
 slain, 
 A death star with belts. Charge! we break 
 them in vain ! 
 From the heights their batteries roar, 
 24 The fire sluices burst, through that flood, in a 
 rain 
 Of iron, we strike for the shore. 
 
THE DEATH RIDE. 
 
 21 
 
 QUICK 
 AND 
 LOUD. 
 
 13. Thunder answers to thunder, bolts darken the 
 
 air, 25 
 To oreathe is to die; their funeral glare 
 The lit hills on our brave ones rolled. 
 What of that? They had entered the lists 
 
 with despair, 
 26 And the lot which they met, they foretold. 
 
 WITH SYM- 
 PATHY. 
 
 14. Comrade sinks heaped on comrade! A 
 ghastly band, 
 That fell tide, when it ebbs, shall leave on the 
 strand : 
 Of swimmers who stemmed it that day 
 A spent, shattered remnant we struggle to 
 land 
 And wish we were even as they. 
 
 PATHETIC. 
 
 15. 27 Britain, my country ! Thy heart be the 
 
 tomb 
 Of those who for thee rode fearless to doom, 
 
 The sure doom which they well foreknew ! 
 Though mad was the summons, they saw in 
 the gloom 
 Duty beckon — and followed her through. 
 
 16. 28 She told not of trophies — of medal or star, 
 
 Or of glory's sign manual graved in a scar; 
 Nor how England's coasts would resound 
 When brothers at home | should greet brothers 
 from war, 
 29 As they leaped upon English ground. 
 
 17. She told not of streets | lined with life up to 
 
 heaven, 
 S0 One vast heart with one cry till the welkin is 
 
 riven — 
 31 "0 welcome, ye valiant and tried!" 
 She told not of soft arms that clasp the re- 
 given, 
 She only said, "Diet" — and they died. 
 
22 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 18. 32 Let Devotion henceforth Balaklava own 
 No less than Thermopylae, meet for her throne, 
 
 And thou, Britain — thou mother bereft — 
 By the grief for the sleepers who hear not thy 
 moan, 
 Count the worth of the sons thou hast left. 
 
 1 Sweep gesture with right hand from chest, full outward and hold 
 picture till end of sentence. 2 Pointing right. 3 Hands in front. 4 For- 
 ward movement with hands. B No. 4 plate for hands ; use right and left 
 alternately. 6 Hands in front — palms down: attitude of expectancy. 
 7 Commanding sweep of the arm to the right. 8 Surprised action — hands 
 elevated with palms outward. 8 No. 4 in plate for hands. 10 Touch side 
 of the head. X1 Point upward. 12 Double gesture — hands apart. 13 Bring 
 the hand from the mouth outward. 14 Point to the ground. 15 Look up, 
 stand erect. 1G Both palms together — then throw the hands as far apart 
 as possible. 17 Bring right hand quickly down before you from forehead 
 till arm forms an obtuse angle. 18 Shoot forward quickly right hand. 
 19 Turn arm and hand in air, imitating sword practice. 20 Step forward, 
 arm elevated in advance. ' 21 Spread out hands in front, palms down. 
 22 Point in front. 23 Indicate with finger the several places. 2i Throw up 
 both hands wildly. 25 Point up quickly. 2G Hands clasped in despair. 
 27 Hands extended outward and upward— ^attitude of appealing. 28 Eight 
 hand extended. 29 Both hands suddenly thrown carelessly forward. 
 80 Hand on breast. 31 Arms forward— advance on one foot— chest out. Keep 
 position till finish of stanza. 32 Right hand forward — heroic posture till 
 end. 
 
 77ARRA- 
 TIVF, 
 STYLE. 
 
 6-THE WILL AND THE WAY. 
 
 John G. 
 1. It was a noble Eoman, 
 
 In Eome's imperial day, 
 Who heard a coward croaker, 
 
 Before the battle, say: 
 ^'They're safe in such a fortress, 
 
 There is no way to shake it " 
 
 2 "On! on!" exclaimed the hero, 
 I'll find a way, or make it !" 
 
 
 Saxe. 
 
 INTERROG- 
 ATIVE. 
 
 2. 3 Is fame your aspiration? 
 
 Her path is steep and high, 
 4 In vain he seeks the temple, 
 Content to gaze and sigh! 
 
THE WILL AND THE WAY. 
 
 VIGOROUS. 
 
 The shining throne is waiting, 
 
 But he alone can take it 
 Who says, with Eoman firmness, 
 5 "FH find a way, or make it." 
 
 3. 6 Is learning your ambition? 
 There is no royal road; 
 Alike the peer and peasant 
 Must climb to her abode; 
 7 Who feels the thirst for knowledge, 
 In Helicon may slack it, 
 If he has still the Eoman will 
 8 To "find a way, or make it I" 
 
 DECISIVE. 
 
 VIGOROUS. 
 
 4. 9 Are riches worth the getting? 
 They must be bravely sought; 
 10 With wishing and with fretting 
 The boon that can be bought; 
 To all the prize is open, 
 But only he can take it 
 Who says, with Eoman courage, 
 llfe Fll find a way, or make it!' 
 
 1 Pointing to the front. 2 Sweep hand from breast to the right majes- 
 tically. 3 No. 4, plate for hands. 4 No. 4, plate for arms. 5 Bring hand 
 down in front with vigor on emphatic words. 6 No. 12 in plate for hands. 
 7 Elevate hand in front — first finger pointing upward. 8 Same as 5 . 
 9 Double gesture as in No. 5 of plate for arms. 10 Throw the hands care- 
 lessly and loosely outward. " Same as 5 . 
 
24 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 QUIETLY. 
 
 NATU- 
 RALLY. 
 
 7-THE LESSON OF THE MILL. 
 
 1. Listen 1 | to the water-mill | all the live-long 
 
 day, 
 How the clicking of the wheel wears the hours 
 
 away; 
 Languidly | the autumn 2 wind sheds the 
 
 greenwood leaves; 
 From the fields the reapers sing, binding 3 up 
 
 the sheaves; 
 And a proverb 41 haunts my mind | as a spell 
 
 that's cast: 
 "The 5 mill | will never grind | with the water 
 
 that is past/' 
 
 Autumn winds revive no more 6 leaves that 
 once are shed, 
 
 And the sickle cannot reap corn once gath- 
 ered — 
 
 And the rippling stream 7 flows on, tranquil, 
 deep and still, 
 
 Never gliding back again | to that water-mill ; 
 8 Truly speaks the proverb old, with a mean- 
 ing vast: 
 9 "The mill | will never grind | with the water 
 that is past." 
 
 DIDACTIC. 
 
 3. Take this 10 lesson to yourselves, loving hearts 
 and true, 
 Golden years are 11 fleeting by, | youth is pass- 
 ing too; 
 Learn to walk the road of life, 12 lose no 
 
 happy day- 
 Time can never bring thee back | chances 
 
 swept away. 
 Leave no tender word unsaid; love 13 while 
 love may last; 
 14 "The mill | will never grind | with the water 
 that is past." 
 
 
THE LESSON OF THE MILL. 
 
 25 
 
 4. Work 15 | while yet the daylight shines, men of 
 
 strength and will, 
 earnest Never doth the streamlet glide useless | by the 
 
 mill: 
 ' 16 Wait not till to-morrow's sun beams upon 
 thy way — 
 All that thou canst call thine own | lies in the 
 to-day ; 
 17 Power, intellect, and health cannot always 
 last; 
 "The mill | will never grind | with the water 
 that is past/' 
 
 5. 18 | the wasted hours of life that have drifted 
 
 by, 
 
 solemn. And the good we might have done | lost with- 
 
 out a sigh; 
 
 Loss | that we might once have saved by a 
 single word — 
 
 Thoughts 19 conceived but never penned, 
 perishing unheard ; 
 
 Take this motto to thine heart 20 — take and 
 hold it fast; 
 
 "The mill will never grind with water that 
 is past." 
 
 1 Right hand extended in front. 2 Bring hand downward toward 
 ground. 3 Action with both hands one over the other — circular move- 
 ment. 4 Place finger on forehead. 5 Point to right. 6 Point to ground. 
 
 7 Sweeping downward gesture of the hand from center to the right. 
 
 8 No. 7 hand plate. 9 Repeat 5 10 Right hand out — palm up. 
 11 Gracefully turn hand to the right. 12 Hand in front — admonishing. 
 13 Open hand on breast. 14 Repeat 5 . 13 No. 2 hand plate. 1G Wave hand 
 slight to right — wrist movement — palm down. 17 Move hand in front, 
 having palm upward — bring it slightly down on the emphatic words. 
 18 Tips of both hands touching in front of breast. 19 Indicate forehead 
 with finger. 20 Arms and hands in front. Position of earnestness — hold 
 it till finish. 
 
26 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 DESCRIP- 
 TIVE. 
 
 8-CURFEW MUST NOT RING TO-NIGHT. 
 
 Rose Hartwich Thorpe. 
 
 1. England's 1 sun was slowly setting o'er the 
 hill so far away, 
 2 Filling all the land with beauty, at the clos' 
 
 of one sad day. 
 And his last rays kissed the forehead of a 
 man, and maiden fair, 
 3 He | with step so slow and weary, 4 she | with 
 
 sunny floating hair; 
 B He | with bowed head, sad and thoughtful, she 
 with lips so cold and white, 
 Struggling 6 to keep back the murmur, "CUR- 
 FEW must not ring to-night/' 
 
 LOW. 
 
 STAGE 
 WHISPER. 
 
 2. "Sexton," Bessie's white lips faltered, point- 
 ing 7 to the prison old, 
 
 With its walls so dark and gloomy, walls so 
 dark, and damp, and cold, — 
 
 "I've a lover in that prison, doomed this very 
 night to die 
 
 At the ringing of the curfew, and no earthly 
 help is nigh — 
 
 Cromwell will not come till sunset," | and her 
 face grew strangely white, 
 
 As she spoke in husky whispers, "CURFEW 
 must 8 not ring to-night." 
 
 SLOW AND 
 FIRM. 
 
 INCREASED 
 TONE. 
 
 "Bessie," calmly spoke the sexton, 
 9 "Long, long years Fve rung the curfew from 
 
 that gloomy shadowed tower; 
 Every evening, just at sunset, it has told the 
 
 twilight hour. 
 I have done my duty ever, | tried to do it just 
 
 and right, 
 Now Fm old — I will not miss it; girl! the 
 
 curfew 10 rings to-night." 
 
CURFEW MUST NOT RING TO-NIGHT. 
 
 27 
 
 INTENSE. 
 
 HURRIED, 
 
 OROTUND. 
 
 LOUD. 
 
 4. Wild her eyes/ 1 and pale her' features, stern 
 
 and white her thoughtful brow, 
 And | within her heart's deep centre Bessie 
 made a solemn vow; 
 12 And her breath came fast and faster, and her 
 eyes grew large and bright, 
 One low murmur, scarcely spoken, "Curfew 
 must not ring to-night." 
 
 5. She | with light steps 13 bounded forward, 
 
 sprang within the old church door, 
 14 Left the old man, coming slowly, paths he'd 
 
 trod so oft before. 
 Not one moment paused the maiden ; but with 
 
 cheek and brow aglow, 
 Staggered up the gloomy tower, where the 
 
 bell 15 swung to and fro; 
 16 Then she climbed the slimy ladder, dark — 
 
 without one ray of light, 
 Upward still, her pale lips saying, "Curfew 
 
 shall not ring to-night." 
 
 6. She has reached 17 the topmost ladder; o'er 
 
 her hangs the great, dark bell, 
 
 And the 18 awful gloom beneath her — like the 
 pathway down to hell — 
 19 8ee! the ponderous tongue is swinging, 'tis 
 the hour of curfew — Now! 
 
 And the sight has chilled her bosom, stopped 
 her breath, and paled her brow ; 
 
 Shall she let it ring? 20 No, never! her eyes 
 flash with sudden light, 
 
 As she springs, 21 and grasps it firmly, "Cur- 
 few shall not ring to-night." 
 
 7. 22 Out she swung — far out — the city seemed a 
 
 tiny speck below, 
 There, | 'twixt heaven and earth suspended, 
 
 as the bell swung to and fro; 
 'And the 23 half-deaf sexton, ringing — years he 
 
 had not heard the bell— 
 
28 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 NARRA- 
 TIVE- 
 STYLE. 
 
 Thought the twilight curfew | rang young 
 Basil's funeral knell. 
 
 8. O'er the 24 distant hills came Cromwell ; Bessie 
 saw him, and her brow 
 Lately white with sickening horror, glows 
 with sudden beauty now: 
 25 At his feet she told her story; he saw her 
 hands 26 all bruised and torn, 
 And her sweet young face so haggard, with 
 
 a look so sad and worn, 
 Touched his heart with sudden pity, lit his 
 eyes with misty light — 
 27 "Go — your lover lives/' said Cromwell; "cur- 
 few shall not ring to-night." 
 
 FULL SUS- 
 TAINED 
 VOICE. 
 
 9. 28 Wide | they flung the massive portal, led the 
 
 prisoner forth to die, 
 All his bright young life before him — 'neath 
 
 the dark'ning English sky. 
 Bessie comes with flying footsteps 29 — eyes 
 
 aglow with love-light sweet — 
 30 Kneeling on the turf beside him, lays his 
 
 pardon at his feet. 
 
 10. In his strong, brave arms he 31 clasped her, | 
 
 kissed the face upturned and white; 
 Whispered, "Darling, you have saved me, 
 curfew did NOT ring to-night/' 
 
 1 Point left — gradually drop the arm. 2 Double gesture No. 5 arm 
 plate. 3 Point to right. * Point to left. B Incline the head. c Hand 
 quietly laid on lower part of neck. 7 Gesture to the right and retain it 
 for four lines. 8 Hands clasped nervously. 9 Fingers directed up to the 
 right. 10 Close the hand and bring it down with energy. 1X Show great 
 excitement in look and manner. 12 Both hands pressed tightly over heart 
 — body bent slightly forward. 13 Advance quickly — point to right. 
 14 Pointing left. 15 Sway the arm and hand gently from right to left 
 and back again. 16 Imitate the action of climbing. 17 Arm and hand 
 perpendicular. 18 Look downward horrified — hands extended — fingers sepa- 
 rated. 19 Point to bell, great excitement. 20 Bring hand down emphati- 
 cally. 21 Reach forward — advance, bring both hands together, as if 
 clutching bell. 22 Swing the arm widely. 23 Touch the ear. 24 Point to 
 left. 25 Both hands extended toward ground, palms out — breast out — 
 head back— right foot advanced. 26 Break the picture — show hands and 
 turn them. 27 No. 8, plate for arms. 28 Open widely both arms. 29 Point 
 toward face. 30 Points down. 31 Fold arms across breast — hold till the 
 end. 
 
THE SONG OF THE SWORD. 
 
 29 
 
 SLOW. 
 
 QUIET. 
 
 -THE SONG OF THE SWORD. 
 
 Weary, 1 and wounded and worn, 
 
 Wounded, and ready to die, 
 A soldier they left, all alone and forlorn, 
 
 On the field of the battle | to lie. 
 2 The dead and the dying | alone 
 
 Could their presence and pity afford; 
 Whilst, 3 with a sad and terrible tone, 
 
 He sang the song of the sword. 
 
 LOW. 
 
 SLIGHT 
 MONOTONE. 
 
 *Fight— fight— fight! 
 Though a thousand fathers die ; 
 
 Fight — fight — fight I 
 Though thousands of children cry; 
 
 Fight — fight — fight ! 
 Whilst mothers and wives lament; 5 
 
 And fight— fight— fight ! 
 Whilst millions of money are spent. 
 
 ^Fight— fight— fight! 
 Should the cause be foul or fair; 
 7 Though all that's gained is an empty name 
 And a tax too great to bear : 
 An empty name and a paltry fame, 
 
 8 And thousands lying dead; 
 Whilst every glorious victory 
 Must raise the price of bread. 
 
 INCREASED 
 TONE. 
 
 PAUSE. 
 
 4. Q War — war — war! 
 
 Fire, and famine, and sword; 
 10 Desolate fields, and desolate towns, 
 And thousands scattered abroad, 
 With never a home and never a shed; 
 Whilst kingdoms | perish and fall, 
 11 And hundreds of thousands are lying dead, 
 And all for 12 nothing at all. 
 
30 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 INTERROG- 
 ATIVE. 
 
 REGRET- 
 FUL. 
 
 1B War — war — war ! 
 Musket, and powder, and ball : 
 14 Ah ! J what do we fight so for ? 
 Ah! why have we battles at all? 
 "Pis justice must be done, they say, 
 The nation's honor to keep; 
 15 Alas ! | that justice is so dear, 
 And human life so cheap. 
 
 6. 1Q War — war — war! 
 
 Misery, murder and crime, 
 low tone. Are all the blessings | I've seen in thee 
 
 From my youth | to the present time; 
 17 Misery, murder and crime — 
 
 Crime, misery, murder, and woe: 
 18 Ah ! | would I had known in my younger days 
 A tenth of what now I know ! 
 
 INFLEC- 
 TION 
 
 7. 19 Ah ! had I but known in my happier days, 
 In my hours of boyish glee, 
 A tenth of the horrors and crime of war — 
 A tithe of its misery! 
 20 I now | had been joining a happy band 
 Of wife and children dear, 
 And I had lived | in my native land, 
 Instead of dying here. 
 
 SLOW. 
 
 SORROW- 
 FUL. 
 
 8. And many a long, 21 long day of woe, 
 And sleepless nights untold, 
 And drenching rain, and drifting snow, 
 
 And weariness, famine and cold ; 
 And 22 worn-out limbs, and aching heart, 
 And grief too great to tell, 
 23 And bleeding wound, and piercing smart, 
 Had I escaped full well. 
 
 Weary, 24 wounded, and worn, 
 
 Wounded, and ready to die, 
 A soldier they left 25 all alone and forlorn. 
 
 On the field of the battle to lie. 
 
THE SPANISH MOTHER. 31 
 
 M feeling ^e ^ ea( ^ an( ^ ^ e ^J^S alone 
 
 • Could their presence and pity afford ; 
 Whilst thus, with a sad and a terrible tone, 
 (0, would that these truths were more per- 
 fectly 26 known ! ) 
 He sang | the song | of the sword. 27 
 
 SLOW. 
 
 1 Xo. 1, hand plate — hold gesture for four lines. 2 Indicate several 
 places. 3 No. 1, hand plate — with emphasis. 4 Left hand pressed against 
 side, right hand on forehead. 5 Drop right hand. 6 Same as 4 . 7 Hands 
 interlaced as in No. 11, hand plate. 8 No. 2, arm plate. 9 Both hands 
 clasping each side of head — look upward. 10 Both arms as in No. 1, 
 plate for arms — then extend arms to either side fully. X1 Use open ges- 
 ture both arms. 12 Drop them. 13 Same as 9 . 14 Shake the head gravely. 
 15 Clasp hands fervently. 16 Same as 9 . 1T No. 12 hand plate. 18 Nod 
 the head slowly and repeatedly till end of sentence. 19 Arms folded on 
 breast — head down — eyes toward audience. 20 Raise the head — extend 
 right hand — left palm pressed to side. 21 No. 9, hand plate. -- Touch 
 legs — breast. 23 Left hand pressed to side. 24 General exhaustion. 
 25 Bring hands together as in prayer. 26 Slowly shake the head. 28 Hands 
 toward audience. 
 
 10-THE SPANISH MOTHER. 
 
 SUPPOSED TO BE RELATED BY A VETERAN FRENCH OFFICER. 
 
 Sir Francis Hastings Doyle. 
 
 ¥one RATE The German and the Englishman | were each ] 
 
 an open foe. 
 And open hatred hurled 1 us back from Russia's 
 
 blinding snow; 
 Intenser far, in blood-red light, like fires un- 
 
 quenched, remain 
 The dreadful deeds | wrung forth by war | from 
 
 the brooding soul of Spain. 
 
 I saw a village 2 in the hills, as silent as a dream, 
 3 Nought stirring | but the summer sound of a 
 merry mountain stream ; 
 
32 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 SLIGHTLY 
 
 INCREASED 
 
 FORCE. 
 
 4 The evening star just smiled from heaven, with 
 
 its quiet silver eye, 
 And the chestnut woods | were still and calm, be- 
 neath the deepening- sky. 
 
 But | in that place, self-sacrificed, 5 nor man nor 
 
 beast we found, 
 6 Nor fig-tree on the sun-touched slope, nor corn 
 
 upon the ground; 
 Each roofless hut was black with smoke, 
 
 wrenched 7 up each trailing vine, 
 8 Each path was foul with mangled meat, and 
 
 floods of wasted wine. 
 
 STRONG. 
 
 We had been marching, travel-worn, a long and 
 burning way, 
 
 And when such welcoming we met after that toil- 
 some day, 
 
 The pulses in our maddened breasts | were hu- 
 man hearts no more, 
 
 But, like the spirit of a wolf, 10 hot on the scent 
 of gore. 
 
 LOUD. 
 
 n We lighted on one dying man, | they slew him 
 where he lay, 
 His wife, 12 close clinging, from the corpse they 13 
 
 tore and wrenched away ; 
 They thundered in her widowed ears, with 
 frowns and cursings grim, 
 1/k "Food, woman, food and wine, or else we tear 
 thee limb from limb." 
 
 IMPRESS- 
 IVE. 
 
 The woman, shaking off his blood, rose raven- 
 haired and tall, 15 
 
 And our stern glances | quailed before one 
 sterner far than all; 
 
 "Both food and wine," she said, "I have; I 
 meant them for the dead, 16 
 
 But ye 17 are living still, and so — let them be 
 yours instead." 
 
THE SPANISH MOTHER. 
 
 33 
 
 SURPRISE. 
 
 The food was brought, the wine was brought, 
 
 out of a secret, place, 
 But | each 18 one paused aghast, and looked into 
 
 his neighbor's face ; 
 Her haughty step and settled brow, 19 and chill 
 
 indifferent mien, 
 Suited so strangely with the gloom and grim- 
 
 ness of the scene ; 
 
 20 She glided here, she glided there, before our 
 wondering eyes, 
 
 ISTor anger showed, nor shame, nor fear, nor sor- 
 row, nor surprise; 
 
 At every step from 21 soul to soul a nameless 
 horror ran, 
 
 And made us pale and silent as that 22 silent 
 murdered man. 
 
 23 She sate, and calmly soothed her child into a 
 
 slumber sweet; 
 Calmly the bright blood on the floor | crawled 
 
 red around our feet; 
 On placid fruits and bread | lay soft the shadows 
 
 of the wine, 
 And we like marble statues glared — a chill un- 
 
 moving line, 
 
 HORROR. 
 
 LOUD. 
 
 All white, all cold ; and moments thus flew by 
 without a breath, 
 24 A company of living things | where all was 
 
 still— but death— 25 
 ^My hair rose up from roots of ice, as there | 
 
 unnerved | I stood 
 And watched the only thing that stirred — the 
 rippling of the blood. 
 
 That woman's voice was heard at length, it 
 
 broke the solemn spell, 
 And human fear displacing awe | upon our 
 
 spirits fell — 
 
34 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 "Ho ! slayers of the sinewless, ho ! tramplers of 
 
 the weak! 
 27 What ! shrink ye from the ghastly meats | and 
 life-bought wine ye seek? — 
 
 "Feed and 28 begone, I wish to weep — I bring 
 
 you out my store, 
 Devour it — waste it all — and then, pass, and be 
 
 seen no more. 
 29 Poison ? is that your craven fear ?" she 30 snatched 
 
 a goblet up, 
 And raised it to her queen-like head, as if to 
 
 drain the cup — 
 
 sarcasm. But our fierce leader 31 grasped her wrist, "No ! 
 
 woman, no I" he said, 
 "A mother's heart of love is deep. — Give it 
 
 your child instead/' 32 
 She only smiled a bitter smile, — "Frenchman, 
 
 I do not shrink, 
 As pledge of my fidelity — behold the infant 
 
 drink/' 33 
 
 34 He fixed on hers his broad black eye, scanning 
 the inmost soul, 
 
 But her chill fingers trembled not | as she re- 
 turned the bowl. 
 
 And we, 35 with lightsome hardihood dismissing 
 idle care, 
 
 Sat down to eat and drink and laugh, over our 
 dainty fare. 
 
 36 The laugh was loud around the board, the jesting 
 wild and light — 
 
 But / was fevered with the march, and drank 
 no wine that night; 
 
 I just had filled a single cup, when through my 
 very brain 37 
 
 Stung, sharper than a serpent's tooth, an in- 
 fant's cry of pain — 
 
THE SPANISH MOTHER 35 
 
 38 Through all that heat of revelry, through all 
 that boisterous cheer, 
 To every heart its feeble moan pierced, like a 
 frozen spear: 
 very loud. "Ay," shrieked the woman, darting up, "I pray 
 you trust again 
 A widow's hospitality, in our unyielding Spain. 
 
 "Helpless and hopeless, by the light of God 
 
 Himself I swore 
 To treat you I as you treated 39 him — that body 
 
 CONTINUED J ,i n fl™ 
 
 force. on the floor. 
 
 41 Yon secret place / filled, to feel, that if ye did 
 not spare, 
 The treasure of a dread revenge was ready 
 hidden there. 
 
 "A mother's love is deep, no doubt, ye did not 
 
 phrase it ill, 
 42 But in your hunger, ye forgot that hate 43 is 
 
 deeper still. 
 The Spanish woman speaks for Spain, for her 
 
 butchered love | the wife — 
 To tell you, that an hour 44 is all my vintage 
 
 leaves of life." 
 
 I cannot paint the many forms by wild despair 
 put on, 
 
 Nor count the crowded brave | who sleep under a 
 single stone; 
 
 I can but tell you, how before that horrid hour 
 went by, 
 45 I saw the murderess | beneath the self- 
 avengers die; — 
 
 But | though j upon her wrenched limbs they 
 leapt 46 like beasts of prey, 
 
 And with fierce hands | as madmen | tore the 
 quivering life away, 
 
36 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 47 Triumphant hate, and joyous scorn, without a 
 trace of pain, 
 Burned to the last, like sullen stars, in that 
 haughty eye of Spain. 
 
 
 1 Inward movement of arms. No. 7 arm plate. 2 Indicate with right 
 hand. 3 Two hands extended — palms down. 4 Point upward. 5 Wave 
 right hand from breast palm down. ° Gesture upward to right. 7 Action 
 of pulling from ground. 8 Double gesture No. 2, arm plate. 9 Open hand 
 on breast. 10 Bring hand forward. No. 6 hand plate. X1 Point down- 
 ward. 12 Arms well out and down — bend forward. 13 Close extended hand, 
 draw back quickly. 14 Shake clinched hand threatingly. 15 Stand erect. 
 16 Points downward. 17 Place hand in front. 18 No. 6 hand plate — turn 
 head from side to side. 19 Show by bearing her majestic mien. 20 Point 
 to several places. 21 Open hand on breast. 22 Point downward. 23 Stand 
 perfectly still — hands crossed in front, down — amazement. 24 Both hands 
 in front. 25 Slowly point downward. 26 Both hands on head. 27 Right 
 hand well out. 28 Turn palm down — sweep hand to right. 29 No. 6 
 hand plate, both hands. 30 Action of lifting cup. 31 Action of grasping 
 wrist. 32 Loosen grasp. 33 Bend forward — pretend to hold cup to in- 
 fant's lips. 34 Arms folded — look attentively to the side. 35 Double ges- 
 ture to the front, careless in manner and expression. 3 Swing arms care- 
 lessly about. 37 Touch right side of forehead. 38 Touch breast. 39 Shake 
 index finger violently. 40 Point to the dead. 41 Point to the right. 
 42 Hand on breast. 43 Shake closed hand. 4i Bring hand down quickly. 
 45 No. 2 arm plate — one hand. 46 Send both hands from forehead out- 
 ward. 47 No. 6 hand plate — keep this till the end. 
 
 11-THE SINGING OF THE MAGNIFICAT. 
 
 E. Nesbitt. 
 1 In midst of wide green pasture lands, cut 
 through 
 D tive. " By lines of alders | bordering deep-banked 
 
 streams, 
 Where bulrushes and yellow iris grew, 
 
 And rest, and peace, and all the flower of 
 dreams, 
 The abbey stood : — so still, it seemed a part 2 
 Of the marsh country's almost pulseless heart 
 
 And all the villages and hamlets near 
 
 Knew the monk's wealth, and how 3 that 
 wealth was spent. 
 4 In tribulation, sickness, want, or fear, 
 
 First to the abbey all the peasants went, 
 Certain to find a welcome, and to be 
 Helped in the hour of their extremity. 
 
THE SINGING OP THE MAGNIFICAT. 
 
 37 
 
 The monks | in such good works were always 
 glad, 
 Yet | all men must have sorrows of their own, 
 And so a 5 bitter grief the good monks had, 
 And mourned for others' heaviness alone. 
 6 This was the secret of their sorrowing, 
 7 That not a monk in the house could sing. 
 
 INTERROG- 
 ATIVE 
 TONE. 
 
 8 Was it the damp air from the lovely marsh, 
 Or strain of scarcely intermitted prayer, 
 That made their 9 voices, when they sang, as 
 harsh 10 
 As any frog's that croaks in evening air ; 
 That marred the chapel's peace, and seemed to 
 scare 
 n The rapt devotion lingering in the air? 
 
 SLOW. 
 
 REVERENT 
 TONE. 
 
 And all their prayers and fasts availing not 
 To give them voices sweet (their soul's de- 
 sire ^ 
 
 The abbot said, "Gifts He 13 did not allot— 
 God at our hands will not again require. 
 
 The love He gives us He will ask again 
 
 In love to Him and to our fellow-men. 
 
 14 "Praise Him we must, \ and since we cannot 
 praise 
 As we would choose, we praise Him as we can. 
 15 In heav'n | we shall be taught the angels' ways 
 Of singing — we afford to wait a span. 
 In singing and in toil do ye your best, 1Q 
 God will adjust the balance — do the rest." 
 
 But | 17 one good brother, anxious to remove 
 This, the reproach now laid on them so long, 
 brisk. 18 Rejected counsel and for very love 
 
 Besought a monk skilled in the art of song 
 To come to them — his cloister far to leave, 
 19 And sing Magnificat on Christmas Eve. 
 
38 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 So when each brown monk duly sought his place, 
 bright. 20 By two and two slow pacing to the choir, 
 
 Shrined in his dark oak stall | the strange 
 monk's face, 21 
 Shone with a light as of devotion's fire. 
 Good, young, and fair, his seemed a form 
 
 wherein 
 Pure beauty left no room at all for sin. 
 
 LIGHT AND 
 FLOWING. 
 
 And when the time for singing it had come, 
 
 Magnificat ! 22 — face raised and voice he sang : 
 Each in his stall the monks stood glad and 
 dumb, 
 As through the chancel's dusk his voice out- 
 rang 23 
 Pure, clear, and perfect — as the thrushes sing 
 Their first impulsive welcome of the spring. 
 
 And as the voice rose higher and more sweet, 
 The abbot said, 24 "Lord, hast Thou heard us 
 grieve, 
 
 And sent an angel from beside Thy feet 
 To sing Magnificat on Christmas Eve; 
 
 To ease our ache of soul and let us see 
 
 How we some day shall sing in heav'n to Thee ?" 
 
 AMAZE- 
 MENT. 
 
 That night the abbot, lying on his bed, 
 25 A sudden flood of radiance on him fell, 
 Poured from the crucifix above his head, 
 
 And cast a stream of light across his cell, 
 Where, in the fullest fervor of the light 
 26 An angel stood, glittering and great and white. 
 
 LOW. 
 
 The angel spoke ; his voice was low and sweet 
 As the sea's murmur on the low-lying shore, 
 27 0r whisper of the wind in ripened wheat : 
 
 "Brother," he said, "the God we both adore 
 
 Has sent me down to ask — Is all not right ? 
 
 Why was Magnificat not sung to-night f" 
 
THE SINGING OF THE MAGNIFICAT. 
 
 CHANGE 
 OF TONE. 
 
 28 Tranced in the joy the angel's presence brought 
 The abbot answered, "All these weary years 
 We have snng our best, but always have we 
 thought, 
 Our voices were unworthy heavenly ears. 
 And so, to-night, we found a clearer tongue, 
 And by it the Magnificat was sung." 
 
 The angel answered, "All these happy years 
 29 In heav'n | has your Magnificat been heard; 
 This night alone the angels listening ears 
 
 Of all its music | caught no 30 single word. 
 Say, who is he whose goodness is not strong 
 Enough | to bear the burden of this song?" 
 
 The abbot named his name; "Ah! why," he 
 cried, 
 "Have angels heard not what we found so 
 dear?" 
 31 "Only pure hearts," the angel's voice replied, 
 "Can carry human songs up to His ear; 32 
 To-night | in heav'n [ was missed the sweetest 
 
 praise 
 That ever rises from earth's mud-stained maze. 
 
 33 "The monk who sang Magnificat | is filled 
 
 With lust of praise and with hypocrisy ; 
 M He sings for earth | in 35 heav'n | his notes are 
 stilled 
 By muffling weight of dead'ning vanity ; 
 36 His heart is chained to earth, and cannot bear 
 His singing higher than the listening air. 
 
 "From 37 purest hearts most perfect music 
 springs, 
 And while you mourned your voices were not 
 sweet, — 
 Marred by the accident of earthly things, — 
 
40 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 GRAVITY. 
 
 38 In heav'n, | God listening, | judged your song 
 
 complete ; 
 The sweetest of earth's music came from you, 
 39 The music of a noble life and true." 
 
 1 No. 8 arm plate. 2 Arms horizontal — palms down. 8 Turn palms 
 up. 4 Move hands upward and downward on the four emphatic words. 
 6 Both hands No. 3 arm plate. 6 Point first finger toward front. 7 Shake 
 finger in each word of the line. 8 Wave open both arms, No. 5 arm plate. 
 9 Hand on throat. 10 Bring hand down to front. lx Both hands up — 
 look around. 12 Touch left breast. 13 No. 4 arm plate. 14 Both hands 
 extended and apart. 15 Point upward. 16 No. 12 hand plate. 17 No. 1 
 hand plate. 18 Turn hand and wave it to right. 19 No. 1 hand plate. 
 20 Indicate by hand a gradual foward movement. 21 Touch face then send 
 hand gracefully forward. 22 Throw head backward — eyes up. 23 Two arms 
 extended upward. 24 Attitude of devotion, No. 10 hand plate. 25 Fingers 
 touching in front of face then slowly separate hands far apart — move and 
 look around. 2G Point in front — as. 27 Touch lips. 28 Arms crossed on 
 breast. 29 Point upward. 30 No. 1 hand plate. 31 Hand on left breast. 
 32 Point upward. 33 No. 2 hand plate. 3i Turn hand and point finger 
 toward earth. 35 No. 4 arm plate. 36 Send hand gently to breast. 3 7 Keep 
 hand on breast. s8 Point up. 39 Clasp hands — eyes up. 
 
 QUICK. 
 
 NATURAL. 
 
 12-THE PRIDE OF BATTERY B. 
 
 F. H. Gassaway. 
 South Mountain 1 towering on our right; 
 
 Far off the river lay; 2 
 And over on the wooded height 3 
 
 We held their lines at bay. 
 
 At last | the muttering guns were still, 
 The day died slow and wan; 
 And while the gunners filled 4 their pipes 
 The sergeant's yarns began. 
 
 When, | as the wind a moment blew 
 
 Aside the fragrant flood 
 Our brierwoods raised, within our view 
 5 A little maiden stood. 
 
 
THE PRIDE OF BATTERY B. 
 
 41 
 
 6 A tiny tot of six or seven, 
 
 From fireside fresh she seemed. 
 (Of such a little one in heaven 
 One soldier often dreamed.) 
 
 GRUFF 
 TONES. 
 
 And, | as we stared, her little hand 7 
 
 Went to her curly head 
 In grave salute. "And who are youf 
 
 At length the sergeant said. 
 
 CHILD'S 
 TONE. 
 
 "And where's your home?" he growled again. 
 She lisped out, "Who is me?" 8 
 9 Why, don't you know? I'm little Jane, 
 The pride of Battery B. 
 
 UPWARD 
 INFLEC- 
 TION. 
 
 10<i My home? Why, that was hurned away, 
 And pa and ma are dead; 
 And so I ride the guns all day 
 Along with Sergeant Ned. 
 
 "And I've a drum 11 that's not a toy, 
 12 A cap with feathers, too ; 
 And I 13 march beside the drummer-boy 
 On Sundays at review. 
 
 SORROW- 
 FUL. 
 
 14 "But now | our 'bacca's all give out, 
 The men can't have their smoke, 
 And so they're cross; why, even Ned 
 Won't play with me and joke. 
 
 "And the 15 big colonel said to-day- 
 I hate to hear him swear — 
 
 He'd give 16 a leg for a good pipe 
 Like the Yank had 17 over there. 
 
 18 "And so | I thought, when beat the drums, 
 
 And the big guns were still, 
 19 I'd creep beneath the tent, and come 
 
 Out here across the hill, 
 
42 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 PLEADING. 
 
 "And beg, 20 good Mister Yankee men, 
 You'd give me some 'Lone Jack/ 
 21 Please do. When we get some again, 
 I'll surely bring it back. 
 
 "Indeed I will ; for ISTed, says he — 
 
 'If I do what I say, 
 I'll be a general yet, maybe, 
 22 And ride a prancing bay.' " 
 
 LIGHT. 
 
 We brimmed 23 her tiny apron o'er. 
 
 You should have heard her laugh, 
 As each man from his scanty store 
 
 Shook out a generous half. 
 
 CHANGE 
 VOICE. 
 
 To kiss the little mouth | stooped down 24 
 
 A score of grimy men, 
 Until the sergeant's husky voice 
 
 Said, ^"'Tention, squad l" and then 
 
 We gave her escort, till good-night 
 
 The pretty waif we bid, 
 And watched her | toddle out of sight- 
 
 Or else I 'twas tears that hid 
 
 26 
 
 The tiny form ; nor turned about 
 A man, nor spoke a word, 
 
 Till, after a while, a far hoarse shout 
 Upon the wind we heard. 
 
 SYMPATHY. 
 
 27 We sent it back, then cast sad eyes 
 28 Upon the scene around. 
 A baby's hand had touched the ties 
 That brothers once had bound. 
 
 29 That's all — save | when the dawn awoke 
 Again the work of hell, 
 And through the sullen clouds of smoke 
 30 The screaming missiles fell, 
 
THE MELANCHOLY HEN. 
 
 43 
 
 PRO- 
 NOUNCED. 
 
 Our general | often rubbed his glass, 
 And marvelled much to see 
 31 Not a single shell that whole day | fell 
 In the camp of Battery B. 
 
 1 Point right. 2 Point left. 3 Point center. * Show action of filling 
 pipe. 6 Point in front. 6 Hand out showing her size. 7 Military salute. 
 8 Fingers of both hands touching breast. 9 General surprise. 10 Pulling 
 apron or dress. n Bring both hands to side show action of drumming. 
 12 Touch side of head. I3 Mark time till end of following line. 14 Clasp 
 hands — sorrowfully — head on side. 15 Fingers open in front of face and 
 waving. 16 Strike leg. 17 Point center. 18 Right hand under jaw — left 
 hand supporting elbow of right arm — nodding head. 19 Make snake-like 
 movement with right hand. 20 Clasp hands. 21 Same gesture — advance — 
 pleading. 22 As if holding bridle of horse — toss the head. 23 As if shak- 
 ing out tobacco from bag. 2 * Bend forward — arms out. 25 Stand erect — 
 arms by the side. 26 Point to front. 27 Wave the hand from the mouth 
 outward. 28 Look from side to side. 29 Carelessly throw hands forward 
 and drop them. 30 Point upward — drop hands. 31 Two hands, No. 1 
 hand plate. 
 
 RATHER 
 QUICK. 
 
 13-THE MELANCHOLY HEN. 
 
 W. G. Wills. 
 
 Some talk of 1 melancholy men — | 
 Fm sure you'll think them cheerful | when 
 I tell you 2 of a lonely hen, 
 Who led a life secluded ; 
 3 With other fowls she mingled not; 
 Her feathered relatives forgot; 
 She stood whole hours upon one 4 spot, 
 5 And I o'er her sorrows brooded. 
 
 MOCK 
 SOLEM- 
 NITY. 
 
 Her face it was depressed and meek, 
 Pallid were her gill and beak, 6 
 
 Unwholesome white her plumage ; 
 Her voice was weak, peevish, and low,- 
 The phantom of a broken crow, — 
 As if the weight of bitter woe 
 
 She would express | were 7 too much. 
 
 'Twas said | an egg she never laid 
 emphatic. s (And truly said I am afraid), 
 9 In fact she was a sad old maid, 
 Who lived in destitution. 
 
44 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 The cocks were slighting, proud, and rough, 
 And often called her thin and tough, 
 10 As if she weren't sad enough 
 Without such persecution. 
 
 11 The wondering fowls conversed apart, 
 A-roosting on an empty cart — 
 rapid. Some said it was a broken heart 
 
 That drove the creature crazy; 
 Love unrequited was her luck, 
 Some hinted with a pitying chuck ; 
 While some, with a malicious cluck, 
 Pronounced her only | lazy. 12 
 
 Some gallant roving cock, we're told, 
 lively. 13 With arching tail of green and gold, 
 
 And swaggering steps so brave and bold — 
 
 A dainty fowl, and pampered, 
 Was once, alas ! adored by her 
 For his tall crest and dauntless spur, 
 And shamefully, the fowls aver, 
 14 With her affections tampered. 
 
 15 If this be true | 'twere hard to prove, | 
 At least, she never told her love — 
 
 A blank is in her history. 
 She loved one spot, we only know — 
 16 The dunghill where he used to crow, 
 17 And there she clucked and cackled so ; 
 She was involved in mystery. 
 
 The fowls would beg of her to feed, 
 
 And, as she was an invalid, 
 
 Would treat her to some nice rape-seed, 
 
 To make a small variety. 
 But 'mid that little friendly pick, 
 18 A grain within her throat would stick, 
 And she would leave them, deadly sick 
 Of rape-seed and — society. 
 

 THE LAST SHOT. 45 
 
 SLOW. 
 
 19 Alas ! | alas ! | this mournful hen 
 rather Shall never more lament again; 
 
 One morning she by cruel men, 
 To make hen-broth was taken. 
 She bowed her head to their decree, 
 It was a tearful sight to see 
 Such high resolve and constancy, 
 In one so all-forsaken. 
 
 And then | each melancholy bone 
 20 Into a seething pot was thrown, 
 
 All but the merry-thought alone, 
 For she had no such folly; 
 21 And a poetic cock averred — 
 22 (But, mind, you don't believe his word) 
 
 That 'neath the 23 dunghill lie interred 
 
 24 Her bones so melancholy. 
 
 1 No. 1 hand plate. 2 Cross the hands and shake head. 3 Both hands 
 extended. * Point downward. 5 Same as ''V 6 Point to neck. T Throw 
 both hands forward. 8 No. 1 hand plate both hand — look knowingly. 
 8 Cross arms in front — head sideways. 10 Facial expression of sadness. 
 11 Hand out — move quickly from side to side. 12 Hands forward. 13 March 
 from side to side tossing head proudly. 14 Hands on breast — bend for- 
 ward. 15 Both hands — No. 5 arm plate. 16 Point to right. 17 At end 
 of line imitate a hen cackling. 18 Hand on throat. 19 Wave hands in 
 front up and down. 2° Extend arm — bend down. 21 No. 12 hand plate. 
 22 Change tone for parenthesis. 2S Point downward. Zi Cross arms — shake 
 head. 
 
 14-THE LAST SHOT. 
 
 A TALE OF THE INDIAN MUTINY. 
 
 John D. Reid. 
 
 Three 1 to ride and to save, one 2 to ride and be 
 saved — 
 slow. That's the key of my tale, boys, deep on my 
 
 heart 3 engraved. 
 With death before and behind, through dangers 
 firm. many and nigh, 
 
 4 Four to ride together, and three of the four to 
 die. 
 
46 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 There was the Captain's daughter, a young and 
 
 delicate girl, 
 With her childlike face and shining eyes, and 5 
 
 hair of sunniest curl; 
 She looked like a beautiful flower, too slight to 
 
 be even caressed, 
 Yet never was 6 braver heart than beat in that 
 
 girlish breast. 
 
 And then there was 7 Sergeant Gray, a martinet 
 
 old and grim; 
 The biggest tyrant alive was a lamb compared 
 
 to him; 
 8 Ne'er-dae-weel Douglas was next, a Borderer 
 
 born and bred, 
 With a sin on his 9 soul | for each hair that grew 
 
 on his handsome head. 
 
 MEDIUM 
 TONE. 
 
 And then | 10 there was Fighting Denis — Denis, 
 
 the stout of heart, 
 Foremost in every row, and skilled in the 
 
 "manly 11 art." 
 Take the three together, the truth is, old and 
 
 young, 
 They were three o' the 12 greatest scamps, boys, 
 
 that ever deserved to be hung. 
 
 What was 13 she doing, you ask, alone with fel- 
 lows like these, 
 14 Down by the Ganges 7 bank, hid 'mong the 
 mango trees? 
 
 Well, | she couldn't help herself, she could only 
 wait and pray, 
 
 And they — they were doing their duty as well 
 as they knew the way. 
 
 COMMAND- 
 ING. 
 
 15 Slowly the red moon rose, and then the ser- 
 geant spoke — | 
 
 16 "Pat, look to the horses' girths; Graham, give 
 the lady 17 this cloak. 
 
THE LAST SHOT. 
 
 47 
 
 DELIB- 
 ERATE. 
 
 QUICK. 
 
 Now, miss/ 8 be your father's daughter, our lads 
 
 are close below, 
 The horses are fresh, the road is clear, and 
 
 we've only five miles to go." 
 
 Then spoke the Captain's daughter, and her 
 
 voice was weak, but 19 clear — 
 "I want you to promise, brave friends, | while 
 
 we're together here, 
 That you'll keep 20 the last shot for me — when 
 
 each heart of hope despairs; 
 ■ Better die by hands like 21 yours | 22 than be left 
 
 alive in 23 theirs." 
 
 **"I promise." "And I." "And I." The voices 
 
 were hoarse and low, 
 And each man prayed, I ween, that the task he 
 might not know, 
 25 As out on the plain they rode swiftly and 
 silently — 
 Four to ride together, and three of the four to 
 die. 
 
 26 Fire to the right and left, fire in front and rear, 
 As the dusky demons broke from their lurking 
 
 ambush near. 
 "Noo, Denis, loot tae hoot — keep close between, 
 
 ye twa — 
 We've cut her a way through waur than this, 
 
 an'— 2T "ChARGE 1» 28«HUEEAH !*' 
 
 As the lightning cleaves the cloud, as the tem- 
 pest 29 rends the oak, 
 
 The comrades' | headlong rush, the gathering 
 miscreants broke; 
 
 Unharmed | through the yelling horde the Cap- 
 tain's daughter fled, 
 80 While thick and fast in pursuit the Sirdar's 
 horsemen sped. 
 
 31 TJp on the crest o' the rise | where Cawnpore's 
 curse of blood 
 
48 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 GASPING. 
 
 Bushes with horror yet the wide and rolling 
 
 flood, 
 Douglas reeled in his saddle, and whispered 
 
 brokenly — 
 "Gray, 32 dinna let her ken, | but it's near a' ower 
 
 wi' me." 
 
 RAPID. 
 
 "Hitr "Ay, here in the side." 33 "Badf 
 
 "Ay, bad, but a-h! 
 Ill face yon hounds on the brae, it may gain ye 
 
 a minute or twa — | 
 Tak' my horse 34 | ye may need it for her. 
 
 Steady, there ! — woa there, Gem ! 
 Dinna forget your promise — yon lassie's no for 
 
 them." 35 
 
 An iron grip o' the hands — a mist o'er the ser- 
 geant's sight, 
 36 As he swiftly wheeled the horses, and vanished 
 in the night; 
 Then round to the nearing foe, under the starry 
 sky, 
 37 Alone with his God, and his own brave heart, 
 Douglas turned to die. 
 
 
 LOUD. 
 
 Then | fighting it, 38 thrust for thrust, and fight- 
 ing it, blow for blow, 
 
 Till at last, where the bank fell sheer to the 
 dusky stream below, 
 39 He fell — a groan — a plunge — wave circles eddy- 
 ing wide — 
 
 And the ne'er-dae-weel was at rest 'neath the 
 river's turbid tide. 
 
 QUICK. 
 
 40 On and over all — over nullah and stream ; 
 On where the serpents hiss, where the leopard's 
 
 eyeballs,' gleam ; 
 On and on like the wind, faster and faster yet, 
 While the fingers 41 clutch the hilt, and the 
 
 grinding teeth are set. 
 
THE LAST SHOT. 
 
 49 
 
 42 A splutter of fire on the right, | a flame of firs 
 in the rear, 
 And Gem leaped up and fell — another, and all 
 
 too near 
 The hissing bullets came, and then the sergeant 
 knew 
 43 His life was ebbing away | with every breath he 
 drew. 
 
 SLOWLY. 
 
 HIGH TONE. 
 
 Sore and deep the wound, but never a moan he 
 
 made, 
 And rising up in his saddle, erect as when on 
 
 parade — 
 "Pat, | if you get in, | report that Douglas | and 
 
 I | are dead; 
 Tell them we did our duty, and mind — your** 
 
 promise/' he said. 
 
 The maiden checked her horse with a quick, 
 
 wild scream of pain — 
 45 Heaven, have pity !" she sobbed, as Denis 
 
 seized her rein. 
 Then giving his last command — "Ride on/" 46 
 
 with impatient frown, 
 True British soldier to the last, the brave old 
 
 man went down. 
 
 PLEADING. 
 
 47 Then Denis aimed and fired — every shot was 
 
 sure, 
 And fierce the yells that hailed the fall of each 
 
 blackamoor. 
 Till sudden j the maiden's voice came shrill in 
 
 agony— 
 "Oh, Denis, brave Denis, 48 you promised you 
 
 would keep the last shot for me !" 
 
 Was that the glint of steel that flashed from 
 
 yonder 49 wood? 
 Eose there hoarse commands in voices stern and 
 
 rude ? 
 • 5o<(Q^ orir—O God ! so near, and to fail at last ! 
 
50 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 FORCIBLE. 
 
 On, on — in vain — our brave brutes fail us — 
 hope, is past!" 
 
 Oh, pale was the maiden's face, and her white 
 
 lips moved in prayer; 
 Then with never a sign of fear, for the hero 
 
 soul was there; 
 With the Virgin martyr's glory lighting her 
 
 bonny brow, 
 51 She laid her hand on Denis' arm, and gently 
 
 whispered, "Now !" 
 
 52 The strong man | shook 'neath the touch of those 
 
 tiny finger-tips, 
 And | "Say you forgive me, Miss," broke hoarse 
 
 from his ashen lips. 
 53 Forgive tou ! Again and again ! You see 
 
 I do not fear ! 
 54 "God bless you, gallant soldier ! Now, straight 
 
 and sure — aim here!" 55 
 
 SLOW. 
 
 QUICK. 
 
 She laid her hands on her heart, then clasped 
 
 them o'er her head, 
 And into the darkened sky her latest look she 
 sped; 
 56 And Denis | raised his arm | with slow and 
 
 deadly aim — 
 57 When all HELL seemed leaping to meet them 
 in thunder and cloud and flame. 
 
 QUICK, 
 
 58 'Mid the smoke — 'mid splintering shells that 
 
 glare and shriek and grate — 
 'Mid the battery's bursting blaze — 'mid the 
 
 rifle's flashing hate — 
 'Mid the pibroch's savage swell — 'mid the 
 
 trumpet's madd'ning alarms — 
 The Captain's daughter fainted, safe in her 
 
 father's arms. 
 
 59 While with hurricane-roar, and rush, with clang 
 of hoof and steel, 
 
SLOW. 
 
 THE LAST SHOT. 51 
 
 With flame in each rider's eyes, and fire at each 
 charger's heel, 
 
 With shouts that rose to the sky on vengeance- 
 laden breath, 
 
 The British squadrons thundered by to the car- 
 nival of death. 
 
 Prone on his back lay Denis — Denis, the stout 
 of heart, 
 60 Still | as she | for whom he had played a hero's 
 part. 
 Dying alone! Unheeded! What matter? 61 
 The fight was won. 
 62 He was only a common soldier — besides, his 
 work was done. 
 
 Only three common soldiers, only three common 
 
 men, 
 63 Giving their lives for a woman, as men have 
 
 again and again; 
 Only doing their duty, teaching this lesson 
 
 anew— 
 Where'er true woman points the way, true man 
 
 will dare and do. 
 
 1 Right hand extended. 2 Raise index finger. s Touch left side of 
 breast. * No. 1 hand plate. 5 Hand to the hair. 6 Touch breast. 7 Point 
 right. 8 Point center. 9 Hands on breast. 10 Point left. X1 Take pugi- 
 listic position. 12 Bring hand down — argumentative gesture. 15 Inquiring 
 look — hands forward. 14 Point in front. 15 Raise left arm up slowly — 
 point left. 1G Natural off-hand gesture. 17 Indicating lady. 18 As if 
 lifting hat. 19 Right out — pleading. 20 Touch breast with fingers. 21 Indi- 
 cating them. 22 Pause. 23 Pointing in the distance. 24 Slowly bowing heads. 
 2j Clasp hands. 26 Point in several directions. 27 Step forward. 2S Waving 
 hand. 29 Bring hand quickly from left to right, upward. 30 Swing right hand 
 to right. 31 Point and step to right. 32 Drooping. 33 Hand on side. 
 34 Quick movement of the hand. 35 Point languidly in front. 3G Quick 
 action. 37 Drooping. 3S Thrusting and down blow of broad sword com- 
 bat. 39 Point downward. 40 Advance — pointing. 41 Grasping sword. 
 42 Point to right and behind. 43 Left hand on heart. 44 Speak slowly — 
 droop head. 45 Clasp hands. 46 Commanding gesture from the left 
 shoulder out. 47 Aim as to shoot with gun. 48 Hands extended then 
 brought back to breast. 49 Point forward. 50 Step and point to right. 
 61 Advance right arm and hand. 52 Both hands clinched. 53 Extend right 
 hand — bend forward. 54 Shakes his hand. 55 Points to heart. 56 Imitate 
 action in lines. 57 General action — arm out. 58 Point forward — hold pic- 
 ture till period. 59 Hands and fingers extended — great amazement in look 
 and attitude. 60 Gesture directed downward. 61 Careless, outward ges- 
 ture with both hands. 62 Repeat same. 63 Both hands out — apart palms 
 i up. 
 
52 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 15-NELLIE'S PRAYER. 
 
 G. B. Sims. 
 
 PATHETIO. 
 
 MODERATE 
 
 PAS- 
 SIONATE. 
 
 FERVENT. 
 
 LOUD. 
 
 It's a month to-day | * since they brought me 
 
 The news of my darling's death; 
 I knew what it meant | when the neighbors 2 
 
 Whispered under their breath ; 
 And one good motherly creature, 
 
 Seeing my Nell at play, 
 3 Stooped down, with her eyelids streaming, 
 
 And kissed her and turned away. 
 
 It was there | 4 in the evening paper, 
 
 His name was among the dead — 
 We had won a glorious battle, 
 
 And the enemy, beaten, fled. 
 Then they counted the dead and wounded, 
 
 And found 5 him among the slain; 
 6 God! | had I known when we parted 
 
 We were never to meet again! 
 
 I couldn't believe the story — 
 
 I could' t believe that he, 7 
 My darling — my soldier husband — 
 
 Would never come back to me. 
 I had thought of him night and morning; 
 8 I had passed long nights on my knees 
 Praying | that God would bring him 
 
 Back to me | over the seas. 
 
 9 It all came back like a vision; 
 
 I could hear the band as it played | 
 When the regiment marched to the station, 
 And the noise that the people made 
 10 As they shouted "Good luck" to the soldiers, 
 And gave them three ringing cheers, 
 While the women with ashen faces, 
 Walked by the side in tears. 
 
 We walked by his side that morning, 
 And Nellie was quite elate 
 n With the band and the crowd and the cheering- 
 My Nellie was only eight. 
 
NELLIE'S PRAYER. 
 
 53 
 
 She never thought of the danger; 
 He had tried to make her gay, 
 12 And he told her | to take care of mother- 
 He wouldn't be long away. 
 
 QUIETLY. 
 
 He held her 13 rip at the station, 
 
 Lifted her up to kiss, 
 And then, 14 with her arms flung round him 
 
 Said to her, | softly, | this : 
 15 "Nellie, my pet, at bed-time, 
 
 When you kneel at your mother's knee 
 To pray to the God who loves us, 
 
 Say a wee prayer for me. 
 
 WITH 
 FEELING. 
 
 "I shall think of you in the twilight, 
 16 When the stars come out above, 
 And fancy I see you kneeling 
 
 With your blue eyes full of love, 
 Breathing my name to Heaven. 
 
 And if, | as the good folks say, 
 God hears the prayers of children, 
 
 He'll guard me while I'm away." 17 
 
 CHANGE 
 VOICE. 
 
 EARNEST. 
 
 "You needn't have asked me, daddy, 
 
 I always do that !" she said ; 
 18 "Don't I pray for you and for mammy 
 
 At night when I go to bed ? 
 God loves the little children, 
 
 And answers their prayers, they say 
 I'm sure 19 that you'll come back safely, 
 
 I'll ask in my prayers that you may.' 
 
 BRIGHT. 
 
 \ 
 
 It's only a month since they started. 
 We thought when the regiment went 
 That long ere the troops were landed 
 The force of the war would be spent. 
 20 And so | I had taken courage, 
 
 And looked on the bright side first, 
 21 Though | now and again I fretted, 
 And sometimes I feared the worsi;. 
 
54 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 QUIET. 
 
 I was left alone with my sorrow — 
 22 Alone in my little room, 
 Where the evening shadows deepened 
 
 Into the twilight gloom. 
 23 I had heard the words they uttered, 
 
 I had seen his name on the list; 
 But I sat and peered through the darkness 
 
 As a sailor peers through the mist. 
 
 I sat like a sleeper | doubting 
 
 If she dreams or is wide awake, 
 Till the truth came on me fiercely, 
 24 And I thought | that my heart would break. 
 As I sat in the deepening gloaming 
 The child came back again, 
 25 And I picked her up | and kissed her 
 26 While my tears ran down like rain. 
 
 COAX- 
 INGLY. 
 
 27 "Why are you crying, mammy?" | 
 I only shook 28 my head. 
 "It's nothing, Nellie/' I whispered ; 
 29f "Kiss me and go to bed." 
 "Let me say my prayers, mammy — 
 Will you hear me say them now ?" 
 30 She prayed for her absent father; 
 I listened, but God knows how. 
 
 REVER- 
 ENTLY. 
 
 BRIGHT. 
 
 She prayed to the Lord | to bring him, 
 
 Safe and sound and well, 
 Back from the far-off country 
 
 To mother and little Nell — 
 31 Prayed that, with her father lying 
 
 In that far-off country | dead! 
 "Now, | father's safe till to-morrow," 
 
 She whispered, and went to bed. 
 
 I hadn't the heart to tell her, 
 So night after night she prayed, 
 
 Just as she promised her father 
 When the last good-bye he bade. 
 
NELLIE'S PRAYER. 
 
 55 
 
 32 But the prayer was a cruel dagger 
 To me as I sat and heard, 
 And my heart was stabbed to bleeding 
 With every childish word. 
 
 FORCEFUL. 
 
 So | a weary month went over, 
 
 Till at last my nerves gave way, 
 33 And I told her to stop | one evening, 
 
 As she came to my knee to pray. 
 34 My brain | was turned with sorrow, 
 
 I was wicked and weak and wild \ 
 To speak | as I spoke that evening, 
 
 And shock the faith of a child. 
 
 SLOW. 
 
 35 She | heard what I said; then, sobbing, 
 
 Broke from my knee and fled 
 Up to her room, | and I heard her, 
 
 Kneeling beside her bed. 
 She prayed in her childish fashion, 
 36 But her words | were choked | with tears; 
 I had told her | it wasn't always \ 
 
 God j the prayer of the children hears. 
 
 BRISKER. 
 
 INCREASED 
 FORCE. 
 
 VERY LOUD. 
 
 She prayed 37 that her absent father 
 Might come back safe and well, 
 
 From the perils of war and battle, 
 To mother and little Nell. 
 
 And, ere ever her prayer was finished, 
 The door | was 38 opened | wide, 
 
 And my darling rushed towards me — 
 
 My DARLING WHO HAD DIED ! 
 
 39 I gave one cry and I fainted, 
 
 And Nell ran down at the cry: 
 "They said God wouldn't hear me," 
 She told him by and by. 
 40 When the shock of surprise was over 
 We knew what the miracle meant, 
 There' d been a mistake in the bodies, 
 And the news | to the wrong wife sent. 
 
56 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 41 There were two of his name in the regiment, 
 The other was killed, and when 
 
 It came to making the list out 
 An error was made in the men. 
 
 Yet | I think as I clasp my darling, 42 
 Would he still be there to-day 
 
 Had I taken Nell's simple tenet 
 
 VERY IM 
 
 PRESSIVE. God listens when children pray. 
 
 >wn 
 ind 
 
 1 Hands clasped. 2 Touch lips and sway hand outward. 3 Bend down 
 — touch lips again. 4 Point to front. 5 No. 13 hand plate. 6 Hands and 
 eyes directed upward. 7 Wring your hands. 8 Hands together — prayer- 
 ful attitude. 8 Fingers of both hands on temples. 10 Opened hand to 
 side of mouth then wave hand over head. " Outward movement — both 
 arms as in No. 5 arm plate. 12 As if patting her on head. 13 Action of 
 lifting her. 14 Put hands over opposite shoulders crossing the arms. 
 15 Hold previous position and lean head to left side. 16 Point and look 
 upward. 17 Action as if holding her head between your hands and of 
 kissing her. 18 No. 9 hand plate. 19 Shake the head slowly. 20 No. 11 
 hand plate. 21 Raise arms as in No. 1 arm plate. 22 Hands folded — 
 general air of dejection. 23 One hand covering the other folded under 
 chin. 24 Hands over heart. 25 As if lifting and kissing. 2C Wipe tears 
 from eye. 27 Extend hands upward. 28 Shake head. 29 Extend arms down- 
 ward. 30 Clasp hands. 81 Left hand to side of head and right hand 
 pointing in front. 32 Hands clasped — resting on breast. 33 No. 3 arm 
 plate. 34 Both hands holding head. 35 Sweep right hand from breast out- 
 ward, then point upward. 36 Hand clutching throat. S7 No. 13 hand 
 plate. 38 Swing arms widely apart — advance right foot — head back — 
 action very forceful — hold till end of stanza. 30 Drop hands. 40 No. 1 
 hand plate. 41 No. 1 hand plate. 42 No. 14 hand plate. 43 Point and look 
 upward. 
 
 16-THE LEVEL CROSSING. 
 
 [The speaker is supposed to be a railway laborer, and the story is 
 founded on an incident which occurred on an English railway. The 
 provincial dialect should be assumed throughout the delivery of the 
 poem.] 
 
 Joe Smith? Yes, 1 mates, I knew him well — 
 use pro- As rough as rough could be ; 
 
 VI DiALEGT. Yet, | spite of all that parsons say, 
 There's worse on earth than he! 
 
 very There wasn't much of the saint in him, 
 
 NATURAL. 2Qnly | he never Uedj 
 
THE LEVEL CROSSING. 
 
 5f 
 
 And few | who've lived a better life 
 A nobler death have died. 
 
 REMI- 
 NISCENT. 
 
 His death ? 3 Ay, lads, I mind it well, 
 And how the sun did shine 
 
 On the level crossing that morn, 
 Athwart the railway line ! 
 
 The gates were shut and fastened, 
 That no one might pass through; 
 4 A distant rumbling | plainly told 
 The Scotch express was due. 
 
 RATHER 
 BLOW. 
 
 SLOW. 
 
 QUICK 
 TIME. 
 
 On the 5 hillside I was working, 
 
 While Joe sat on the grass, 
 Waiting alongside the rails below, 
 
 Until the train should pass. 
 
 The morn 6 was cool, | and bright, \ and still, 
 The lark sang shrill and clear; 
 
 I always think of Joe, poor lad, 
 Whene'er that song I hear. 
 
 7 He sat by the railway smoking, 
 8 Thinking of who can say? 
 Mayhap of last night's fun, mayhap 
 Of some one far away ! 
 
 9 I wrought | and listened, | when 10 sudden 
 
 There came a cry from Joe ; 
 n I turned ; oh, heav'n ! how faint I felt 
 
 At what I saw below ! 
 
 QUICK. 
 
 12 The gates, I said, were bolted fast ; 
 But | clamb'ring through the fence, 
 On to the line had strayed a child. 
 13 Heav'n help its innocence! 
 
 14 There came the engine tearing on, 
 With its exulting scream, 
 Ruthless it seemed and fiercely sped, like 
 A monster in a dream. 
 
58 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 15 Right on the track the infant stood, 
 A primrose in its hand, 
 And on the coming death it smiled, 
 Too young to understand. 
 
 VERY 
 RAPID. 
 
 LOUD. 
 
 One moment more had been too late: 
 16 Joe | bounded to his feet, 
 And on with some fierce word he dashed 
 As any racehorse fleet. 
 
 I, on the hillside, 17 saw him rush 
 Straight to the jaws of death, 
 18 And up the hillside seemed to come 
 The engine's fiery breath. 
 
 His strong hand 19 seized and threw 20 the 
 Right there, beside the brook; 
 
 A few sharp stings from the thorny side, 
 Was all the harm it took! 
 
 child 
 
 LOW. 
 
 INTENSE. 
 
 But Joe, 21 poor lad, 'twas worse for him- 
 
 The engine left him lying 
 Beside the rails, a ghastly heap — 
 
 Torn, bleeding, stunned and dying! 
 
 'LOW. 
 
 22 We raised him up. I held him, 
 23 His head on my arm laid. 
 He spake | but once again, | brave lad, 
 24 And this was all he said : 
 
 "The chick's \ pulled through, \ I hope," and 
 
 then 
 25 Lay closer to my breast. 
 I need not tell you more, my mates, 
 You all must know the rest. 
 
 A rough-shaped cross marks where he lies, 
 26 There on the lone hillside, 
 
THE TWINS. 
 
 59 
 
 And Tom, the parson, said 'twas right, 
 'Cos Joe for man had died. 
 
 QUIET. 
 
 SYMPA- 
 THETIC. 
 
 27 And wild flowers | ofttimes | you will see 
 Laid lightly on the grave, 
 Put there by her, now woman grown, 
 Whom Joe Smith died to save. 
 
 1 Both hands resting on lips. 2 Strike right fist into left hand. 
 3 Scratching head. 4 Point left. 3 Point right — left hand on hip. 6 Hands 
 in pockets — sway body gently. 7 Point and turn to the left. s Fold arms 
 and nod slowly. 9 No. 1 hand plate. 10 Strike hands together quickly 
 then point left. u Quick movement. 12 Still pointing left — bend forward 
 anxiously. 13 Bring hand together, look up. 14 Toint with left hand. 
 15 Point with left hand. 1G Strike left hand with the right then throw 
 right quickly outward. 17 Throw both arms forward— hands as in 
 No. 6 hand plate. 13 Point index finger left hand. 1!) Action of grasping 
 child. 20 Swing right arm from the breast to the right. 21 Fingers in 
 vest pockets, head hanging forward and down. 22 Action of lifting. 23 Ex- 
 tend left arm and touch it with right hand. 24 No. 1 hand plate. 
 25 Touch breast. 20 Point right. 27 No. 1 hand plate, direct the gesture 
 downward. 
 
 QUICK. 
 
 17-THE TWINS. 
 
 Henri/ 8. 
 In form and features, face and limb 
 
 1 I grew so like my 2 brother, 
 That folks got taking me 3 for him* 
 5 And each one for another. 
 It puzzled all our kith and kin, 
 It reached a fearful 6 pitch; 
 7 For one of us was born a twin, 
 And not a soul knew which. 
 
 Leigh. 
 
 HUMOR- 
 OUS. 
 
 LIGHT. 
 
 One day 8 to make the matter worse, 
 
 Before our names were fixed, 
 As we were being washed by nurse, 
 
 We got 9 completely mixed; 
 And thus, | you see, | by fate's decree, 
 
 Or rather nurse's whim, 
 10 My brother John got christened me, 11 
 
 And 12 I got christened him, 13 
 
60 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 This fatal likeness | ever dogged 
 
 My footsteps when at school, 
 14 And I j was always getting flogged, 
 
 When 15 John turned out a fool. 
 I put this question, fruitlessly, 
 
 To every one I knew, 
 "What would you do, if you 1 ® were 17 me, 
 
 To prove | that you 18 were you ?" 19 
 
 Our close resemblance | turned the tide 
 
 Of my domestic life, 
 For, somehow/ my intended bride 
 
 Became my brother's wife. 
 In fact, year after year the same 
 
 Absurd mistakes went on, 
 loud for And when 21 I died the neighbors came 
 
 And buried brother John. 2 
 
 CLIMAX. 
 
 1 Touch your breast. 2 No. 1 hand plate. 3 Touch breast. * No. 1 
 hand plate. 5 Both hands out — palms up. 6 Bring right hand down in 
 front emphatically. 7 Touch breast with both hands then throw them 
 forward. 8 Shake index finger. ° Cross the hands repeatedly. 10 Point 
 in front. lx Point to breast. 12 Point to breast. 83 Point outward. 
 14 Point to breast. 15 Point outward. 16 Point outward. 17 Point to breast. 
 18 Point outward. 19 Point outward. 20 No. 7 hand plate. 21 Both hands 
 on breast, bend toward audience. 22 Extend hands. 
 
THE CHILDREN. 
 
 61 
 
 MODERATE 
 TONE. 
 
 MEDIUM 
 TIME. 
 
 BATHER 
 SLOW. 
 
 ADVICE. 
 
 18-TKE CHILDREN. 
 
 When the lessons and tasks are all ended, 
 
 And the school for the day is 1 dismissed, 
 And the little ones 2 gather around me, 
 
 To bid me good-night and be kissed ; 
 Oh, the little white arms | that encircle 3 
 
 My neck in a tender embrace ! 
 Oh, the smiles | that are halos of heaven, 4 
 
 Shedding sunshine of love on my face ! 
 
 And | when they are gone | I sit 5 dreaming 
 
 Of my childhood too lovely to last : 
 Of love | that my heart will remember, 
 
 When it wakes to the pulse of the past, 
 Ere the world and its wicknedness | made me 
 
 A partner of sorrow and sin, 
 6 When the glory of God I was above me, 
 
 And the glory of 7 gladness | within. 
 
 Oh, my 8 heart grows weak as a woman's, 
 And the fountains of feeling will flow, 
 
 When I think of the paths, 9 steep and stony, 
 Where the feet of the dear ones must go ; 
 
 Of the 10 mountains of sins hanging o'er them, 
 Of the tempest of fate blowing wild; 
 
 Oh, there's nothing on earth | half so holy, 
 
 n As the innocent heart of a child! 
 
 They are 12 idols of hearts and of households, 
 13 They are angels of God in disguise; 
 His sunlight still sleeps in their tresses, 
 
 His glory still gleams in their eyes ; 
 Oh ! those truants from home and from heaven, 
 They have made me | more manly and mild ! 
 14 And I know | how Jesus | could liken 
 15 The Kingdom of God | to a child. 
 
 16 Seek not a life for the dear ones, 
 
 All radiant | as others have done, 
 16 But that life may have just enough shadow 
 
 To temper the glare of the sun; 
 
62 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 18 I would pray God | to guard them from evil, 
 But | my prayer would bound back to myself, j 
 regret- Ah! a seraph may pray for a sinner, 
 
 fully. 20 But a sinner must pray for himself. 
 
 DEJECTED. 
 
 .SOLEMN. 
 
 21 The twig is so easily bended, 
 
 I have banished | 22 the rule and the rod; 
 I have taught them 23 the goodness of knowledge, 
 24 They have taught me the goodness of God ; 
 25 My heart is a dungeon of darkness, 
 
 Where I shut them from breaking a rule ; 
 My frown is sufficient correction ; 
 26 My love | is the law of the school. 
 
 I shall leave 27 the old house in the autumn, 
 
 To traverse its threshold | no more; 
 Ah! how I shall 28 sigh for the dear ones, 
 
 That meet me each morn at the door ! 
 I shall miss the "good-nights" and the kisses, 29 
 
 And the gush of their innocent glee, 
 30 The group on the green | and the flowers 
 
 That are brought every morning to me. 
 
 I shall miss them at morn and at even, 
 31 Their song in the school and the street: 
 I shall miss the low hum of their voices 
 32 And the tramp of their delicate feet. 
 When the lessons and tasks are all ended, 
 
 And Death says, | "The school is dismissed F' 33 
 34 May the little ones | gather around me, 
 To bid me good-night and be hissed. 
 
 1 No. 5 arm plate. 2 Both arms and hands as in No. 2 arm plate. 
 3 Cross the hands about the neck. 4 Same position — eyes up. 5 Rigl;i 
 hand supporting cheek — left hand supporting right elbow. 6 Both hands 
 up as in No. 4 arm plate. 7 Opened hand to breast. 8 Hand to heart. 
 9 Point down. 10 Both hands well up — palms out. 1X No. 13 hand plate. 
 12 No. 1 hand plate. ' 13 Point upward. 14 Shake head slowly. 15 Point up. 
 16 Wave right hand to right — palm down. 17 Both hands extended — palms 
 up. 18 Clasp hands reverently. 19 Touch breast. 20 Both hands on breast 
 — head bowed. 21 Place finger and thumb together with both hands — 
 show the bending. 23 No. 1 hand plate. 24 Hand to breast. 25 Hand on 
 heart. 26 Repeat 25 . 27 No. 8 arm plate. 28 Sigh. 29 Send fingers from 
 lips outward. 30 Both hands pointing down palms up. 31 Swing hand 
 from mouth upward. 82 Wave hands alternately up and down to imi- 
 tate pattering of feet. 33 Move both hands as in No. 5 arm plate. 
 84 Arms out horizontal — eyes up. 
 
THE REAPER AND THE FLOWERS. 
 
 63 
 
 SOLEMN. 
 
 19-THE REAPER AND THE FLOWERS. 
 
 Henry Wadsworth Longfellow . 
 
 lr Fhere is a Keaper, whose name is Death, 
 
 And, with his sickle keen, 
 2 He reaps the bearded grain at a breath, 
 3 And the flowers that grow between. 
 
 SPEAK DE- 
 LIBER- 
 ATELY. 
 
 "Shall 4 I | have nought that is fair?" saith he; 
 "Have nought but the bearded grain? 
 5 Though the breath of these flowers is sweet to me 
 6 I will give them all | back again." 
 
 QENTLY. 
 
 He gazed at the flowers with tearful eyes, 
 
 7 He kissed their drooping leaves; 
 It was for the Lord of Paradise 
 He bound them in his sheaves. 
 
 8 "My Lord has need of these flowerets gay/' 
 The Eeaper said, and smiled; 
 
 9 "Dear tokens of the earth are they, 
 Where He was once a child. 
 
 "They shall all bloom 10 in fields of light, 
 Transplanted | by my care ; 
 11 And saints | upon their garments white 
 These sacred blossoms wear." 
 
 TEAR- 
 FULLY. 
 
 12 And the mother gave, in tears and pain, 
 The flowers | she most did love; 
 She knew she should find them all again 
 13 In the fields of light above. 
 
 1 No. 12 hand plate. 2 A curved movement of the arms. 3 Point down- 
 ward. 4 No. 7 arm plate. 5 Both hands down — palms out. 6 Fingers 
 touching breast — wave the hands outward. 7 Direct fingers from the lips 
 downward. 8 No. 4 hand plate. 9 Thumb and finger together — look down- 
 ward. 10 Point slowly upward. u Retain same gesture. 12 Hands clasped 
 at breast and slightly shake them. 13 Slowly raise right hand above 
 head — pointing with first finger. 
 
64 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 READ DE- 
 LIBER- 
 ATELY AND 
 
 20-FOOTSTEPS OF ANGELS. 
 
 Longfellow, 
 
 When the hours of Day 1 are numbered, 
 And the voices of the Night 
 
 2 Wake the better soul, that slumbered, | 
 To a holy, calm delight; 
 
 observe 
 
 THE 
 
 PAUSES. 
 
 Ere the evening lamps 3 are lighted, 
 And, like phantoms grim and tall, 
 
 4 Shadows | from the fitful fire-light 
 Dance upon the parlor wall ; 
 
 Then | the forms of the departed | 
 5 Enter at the open door; 
 6 The beloved, the true-hearted, 
 Come to visit me | once more ; 
 
 7 He, the young and strong, who cherished 
 
 Noble longings for the strife, 
 8 By the road-side | fell and perished, 
 9 Weary with the march of life ! 
 
 They, the holy ones and weakly, 
 Who the cross of suffering bore, 
 10 Folded their pale hands | so meekly, 
 Spake with us on earth | no more! 
 
 And with them the Being Beauteous, 
 
 Who unto my youth was given, 
 More than all things else to love me, 
 11 And is now a saint in heaven. 
 
 SLOW 
 TIME. 
 
 With a slow and noiseless footstep 
 
 Comes that messenger divine, 
 Takes 12 the vacant chair beside me, 
 13 Lays her gentle hand in mine. 
 
 And she sits | and gazes at me 
 With those deep and tender eyes, 
 
THE STORY OF A STOWAWAY. 65 
 
 Like the stars, so still and saint-like, 
 Looking downward from the skies. 
 
 14 Uttered not, yet comprehended, 
 Is the spirit's voiceless prayer, 
 Soft rebukes, in blessings ended, 
 15 Breathing | from her lips of air. 
 
 16 Oh, thongh oft depressed and lonely, 
 All my fears are laid aside, 
 If I but remember only 
 17 Such as these have lived and died! 
 
 1 No. 1 hand plate. 2 Wave both hands inward to breast as in No. 7 
 arm plate. 3 Point outward. 4 Position of fingers like No. 6 hand plate — 
 then move hands slowly. 6 Point in front — arm straight — look intently. 
 6 Keep same position. 7 Right hand to the front. 8 Bring hand down — 
 pointing. 9 Hand to breast. 10 Clasp hands, let them drop. "• Slowly 
 raise finger upward — eyes up. 12 Turn to left and indicate where chair 
 is. 13 Place one hand in the other — palms together. 14 No. 5 hand plate. 
 15 Touch lips. 16 No. 13 hand plate. 1T Arms well out — palms up. 
 
 21-THE STORY OF A STOWAWAY. 
 
 Clement Scott. 
 Come, 1 my lad, and sit beside me f we have often 
 light and talked before 
 
 E style. Of the hurricane and tempest, and the storms 
 
 on sea and shore : 
 When we read of deeds of daring, done for dear 
 
 old England's sake, 
 We have cited Nelson's duty, and the enterprise 
 
 of Drake; 
 Midst the fever' d 3 din of battle, roll of drum, 
 
 and scream of fife, 
 Heroes pass in long procession, calmly yielding 
 
 up their life. 
 4 Pomps and pageants have their glory, in cathe- 
 dral aisles are seen 
 Marble effigies; but seldom of the mercantile 
 
 marine. 
 If your playmates love adventure, bid them 
 
 gather round at school 
 Whilst you tell them of a hero, Captain StracJian 
 
 of Liverpool. 
 
66 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUD. 
 
 SURPRISE. 
 
 VERT 
 LOUD. 
 
 Spite of storm and stress of weather, in a gale 
 
 that lash'd the land, 
 On the Cyprian screw steamer, 5 there the Cap- 
 tain took his stand. 
 6 He | was no fair-weather sailor, and he often 
 made the boast 
 That the ocean | safer sheltered than the wild 
 Carnarvon coast. 
 7 He'd a good ship underneath him, and a 8 crew of 
 English form, 
 So | he sailed from ont the Mersey in the hurri- 
 cane and storm. 
 All the luck was 9 dead against him — with the 
 tempest at its height, 
 10 Fires expired, and rudders parted, in the middle 
 
 of the night 
 11 Sails were torn and rent asunder. Then he 
 
 spoke with bated breath : 
 12 8ave yourselves, my gallant fellows! we are drift- 
 ing to our death!" 
 
 Then ] they 13 looked at one another, and they felt 
 
 the 14 awful shock, 
 When, with louder crash than tempest, they were 
 
 dashed 1 ^ upon a rock. 
 All was over 16 now and hopeless; but | across 17 
 
 those miles of foam 
 They could hear the shouts of people, and could 
 
 see the lights of home. 
 "All is over!" screamed the Captain. "You 
 
 have answered duty's call. 
 Save yourselves! I cannot help you! God have 
 
 mercy on us all V 
 18 So they rushed about like madmen, seizing belt, 
 
 and oar, and rope — 
 For the sailor knows where life is, there's the 
 
 faintest ray of hope — 
 Then, | amidst the wild confusion, at the dreaded 
 
 dawn of day, 
 19 From the hold of that doomed vessel | crept | a 
 
 wretched Stowaway ! 
 
THE STORY OF A STOWAWAY. 67 
 
 20 Who shall tell the saddened story of this miser- 
 able lad? 
 
 Was it wild adventures stirred him, | was he 
 going to the bad? 
 
 Was he thief, or bully's victim, or a runaway 
 from school, 
 
 When he stole that fatal passage from the port 
 of Liverpool? 
 
 Eo one looked at him, or kicked him, 'midst the 
 paralyzing roar 
 
 All alone | he felt the danger, and saw the dis- 
 tant shore. 
 21 Over went the gallant fellows, when the ship 
 was breaking fast, 
 
 And the Captain 23 with his lifebelt — he pre- 
 pared to follow last ; 
 
 But j he saw a boy neglected, with a face of ashy 
 gray, 
 2 *"Who are you f roared out the Captain. 25 "I'm 
 the boy what stow'd away!" 
 
 There was scarce another second left to think 
 
 what he could do, 
 For the fatal ship was sinking — Death was ready 
 
 for the two. 
 26 So the Captain called the outcast — as he faced 
 
 the tempest wild — 
 27 From his own waist took the lifebelt — and he 
 
 bound it round the child! 
 "1 can swim, my little fellow! Take the belt, 
 
 and make for land. 28 
 Up and save yourself!" The outcast humbly 
 
 knelt and kissed his hand. 
 With the lifebelt round his body | then | the 
 
 urchin 30 cleared the ship ; 
 31 Over went the gallant Captain, with a blessing 
 
 on his lip. 
 But the hurricane howled louder than it ever 
 
 howled before, 
 As the Captain | and the stowaway were 32 mak- 
 ing for the shore ! 
 
68 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 SLOW. 
 
 33 When you tell this gallant story to your play- 
 fellows at school, 
 
 They will ask you of the hero, Captain Strachan, 
 of Liverpool. 
 
 You must answer: They discovered, | 34 on the 
 beach | at break of day, 
 
 Safe — the battered, breathing body of the little 
 Stowaway ; 
 35 And they watched the waves of wreckage and 
 they searched the cruel shore, 
 
 But the man who tried to save the little outcast 
 — was I no 36 more. 
 
 HEROIC. 
 
 37 When they speak of English heroes, tell this 
 story where you can, 
 To the everlasting credit | of the bravery of man, 
 Tell it out in tones of triumph | or | with tears 
 and quickening breath, 
 
 "Manhood's 
 Love 
 
 stronger far than storms, 
 is mightier than 39 Death!" 
 
 and 38 
 
 1 Beckoning gesture right hand. 2 Sit on chair. * Right arm and 
 hand forward. 4 Both hands extended. 5 Point to front. 6 Hands on 
 knees. 7 Point downward with index finger. 8 No. 5 arm plate. 9 Throw 
 both forward from face — palms out. 10 Point down. 1X Point up. 
 12 Throw right arm quickly — head back. 13 Turn head and body from right 
 to left — amazement. 14 Drop hands on knees — look of great astonish- 
 ment. 15 Point to right. 16 Hands hanging down — elbows resting on 
 legs. 17 Point in front. 18 Wave both arms wildly. 19 Point downward. 
 20 No. 5 arm plate, both hands keep same gesture for six lines. 21 Throw 
 hands forward, then downward. 23 Both hands to waist. 2 * No. 8 arm 
 plate. 25 Dejectedly — hang head — hands by sides. 26 Action of beckon- 
 ing. 27 Action of taking off belt. 28 Point to front. 28 Right hand ex- 
 tended — head down — action of kissing hand. 30 Hands forward then 
 downward, imitating diving. 31 Repeat same. 32 Point front. 33 Clasp 
 hands and rest elbows on knees. 3i Point downward. 35 Right hand shad- 
 ing eyes. 36 Drop hand — dejection. 37 No. 1 hand plate. 38 Hand to 
 breast. 39 Point downward. 
 
THE MAIN-TRUCK: OR, A LEAP FOR LIFE. 
 
 NATURAL 
 AND 
 LIGHT. 
 
 22-THE MAIN-TRUCK; OR, A LEAP FOR LIFE. 
 
 George P. Morris. 
 Old Ironsides 1 at anchor lay, 
 In the harbor of Mahon; 
 2 A dead calm rested on the bay, 
 The waves to sleep had gone; 
 3 When | little Hal, the captain's son, 
 A lad both brave and good, 
 In sport, | np 4 shrond and rigging ran, 
 And I on the main-truck stood ! 
 
 5 A shudder shot through every vein, 
 6 A11 eyes were turned on high! 
 There\ stood the boy, with dizzy brain, 
 
 Between the sea and sky; 
 No hold had he above, | below, 
 
 Alone | he stood in air; 
 To that far height | none dared to go; 
 No aid could reach him there. 
 
 AMAZE- 
 MENT. 
 
 7 We gazed, — but not a man could speak ! 
 With horror all aghast, 
 In groups, with pallid brow and cheek, 
 
 We watched the 8 quivering mast. 
 The atmosphere grew thick and hot, 
 And of a lurid hue; 
 9 As | riveted unto the spot, 
 Stood officers and crew. 
 
 PATHETIC. 
 
 LOUD. 
 
 The father came on deck, 10 he gasped, 
 "0 God! Thy will de done!" 
 Then | suddenly | a rifle grasped, 
 
 12 And aimed it at his son, 
 "Jump | far out, | boy, into the wave ! 
 
 Jump or I -fire I" he said; 
 "That only chance thy life can save ! 
 
 Jump I jump, boy!" He obeyed. 13 
 
70 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 CLIMAX. 
 
 He 14 sunk, — he 15 rose, — he 16 lived, — he 
 moved, — 
 And for the ship struck out ; 
 On board, we hailed the lad beloved, 
 
 17 With many a manly shout. 
 His father drew, in silent joy, 
 
 18 Those wet arms round his neck, 
 Then | folded to his 19 heart his boy, 
 20 And fainted on the deck. 
 
 1 Point to right. 2 Both hands extended — palms down — slowly widen 
 them apart. 3 Hand out showing his height. 4 Point upward — keep this 
 till end of stanza. 5 Step backward — cross hands on breast. 6 Point up- 
 ward to right — advance right foot — head inclined to left — eyes up — hold 
 picture till end of stanza. 7 Both hands out — turn quickly from side to 
 side — eyes opened wide — fear. 8 Wave hand gently — fingers directed 
 upward. 9 Bring hand down quickly. 10 Stagger — clutch throat. 1X Ad- 
 vance to right — slightly bend and grasp rifle. 12 Bring gun to right 
 shoulder. 13 Drop rifle. 14 Point down. 15 Elevate hand. 16 Open both 
 arms. 17 Wave hand over head as in cheering. 18 Hands to sides of 
 neck — arms crossed. 18 Cross arms over breast. 20 Point downward. 
 
 FLOWING. 
 
 LIGHT. 
 
 23-AUCTION EXTRAORDINARY. 
 
 Lucretia Davidson. 
 
 I dreamed 1 a dream in the midst of my slu ubers, 
 And as fast I dreamed it, it came into numbers ; 
 My thoughts ran along in such 2 beautiful metre, 
 I'm sure I ne'er saw any poetry sweeter; 
 It seemed | 3 that a law had been recently made. 
 That a tax on old bachelors' pates 4 should be 
 
 laid; 
 
 And in order to make them all willing to marry, 
 
 5 The tax was as large as a man could well carry. 
 
 The bachelors 6 grumbled and said 'twas no use — 
 
 7 'Twas horrid injustice and horrid abuse, 
 
 And declared | that to save their own heart's* 
 
 blood from spilling 
 
 Of such a vile tax they would 9 not pay a shilling. 
 
 10 But the rulers | determined them still to pursue, 
 
 So | they set all the old bachelors 11 up at vendue : 
 
 A crier was sent through the town | to | and j 
 
 fro, 12 
 
AUCTION EXTRAORDINARY. 
 
 71 
 
 LOUD. 
 
 LOUD. 
 
 BUR- 
 LESQUE. 
 
 13 To rattle his bell | and a trumpet 14 to blow, 
 And to call out to all he might meet in his way, 
 
 15 "Ho! | forty | old \ bachelors | sold J here | to- 
 day r 
 And presently j all the old maids in the town, 6 
 Each j in her very best 17 bonnet and gown, 
 
 18 From thirty to sixty, fair, plain, red, and pale. 
 Of every description, 19 all flocked to the sale. 
 The auctioneer then in his labor began, 
 And called out aloud, as he held 20 up a man, 
 "How much for a bachelor f who wants to buy? 
 In a twink, every maiden responded, "I — I." 21 
 In short, at a highly extravagant price, 
 The bachelors all were sold off in a trice: 
 
 22 And forty old maidens, some younger, some 
 older, 
 
 ^Each lugged an old bachelor home on 
 her shoulder. 
 
 1 Touch forehead to right. 2 No. 1 hand plate. 3 No. 12 hand plate. 
 4 Touch the top of head. 5 Both hands out, palms up. * No. 8 hand plate — 
 bring hand down forcibly. 7 Repeat the same. 8 Hand to heart. 9 Slap 
 right hand on left. 10 No. 7 hand plate — bend forward and look know- 
 ingly. 11 Direct right hand upward — palm opened. 12 Wave hand from 
 right to left and back. 13 Imitate ringing bell. 14 Opened hand circling 
 mouth. 15 Repeat 14 . 16 Hands out — make low feminine bow. 17 Touch 
 head and garment. 1S Rock the body — simpering. 19 Both hands — No. 3 
 arm plate. 20 Hold up in front right hand, fingers shut. 21 Both hands 
 thrown up over head — fingers open — jump upward several times. 22 Both 
 hand — No. 5 arm plate. 23 Bend forward — place both hands over left 
 shoulder — walk three or four steps whilst speaking line. 
 
72 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 24-THE LIFEBOAT. 
 
 G. R. Sims. 
 
 Narrative in the style of an old sailor. Colloquial and level at first. 
 The Wife. — Slow, faint and in a broken whisper. Ben Brown. — Loud, 
 strong, and earnest. Reference to the wife should be made in a broken 
 voice. Description op the Storm. — With increase in tone and time, 
 beginning at the line "We launched the boat," and continuing to "I 
 hnowed no more." The last part very bright and ending strong. 
 
 DIALECT. 
 
 DESCRIP- 
 TIVE. 
 
 LOW. 
 
 You've heard of the 1 Royal Helen, the ship 
 as was wrecked last year; 
 2 Yon | be the rock she struck on — the boat as 
 went out be here ; 
 The night as she struck | was reckoned the worst 
 
 as ever we had, 
 And this is a coast in winter | where the weather 
 be awful bad; 
 3 The beach here | was strewed with wreckage, and 
 to tell you the truth, sir, then 
 Was the only time as ever we'd a bother to get 
 
 the men. 
 I was up at my cottage, | 4 yonder, | where the 
 wife lay nigh her end; 
 5 She'd been ailin' all the winter and nothin' 'ud 
 make her mend. 
 The doctor had given her up, sir, and I knelt 
 by her side and pray'd, 
 6 With my eyes as red as a babby's, that Death's 
 
 hand might yet be stay'd. 
 7 I heard the wild wind howlin', and I looked on 8 
 the wasted form, 
 And thought | of the awful shipwreck as had 
 come in the ragin' storm; 
 9 The wreck of my little homestead — the wreclc 
 of my dear old wife, 
 Who'd saiFd with me forty years, sir, o'er the 
 troublous waves of life; 
 10 And I looked at the eyes so sunken, as had been 
 my harbor lights, 
 To tell of the stueet home haven | in the wildest | 
 
 darkest nights. 
 She knew | she was sinkin' quickly — she knew [ 
 as her end was nigh, 
 
THE LIFEBOAT. 
 
 73 
 
 SORROW- 
 FULLY. 
 
 LOW. 
 QUIET. 
 
 LOUD. 
 
 But | she never 11 spoke o' the troubles as I knew 
 
 on her heart must lie; 
 For we had one great big sorrow | with 12 Jack, | 
 
 our only son — 
 He'd got into trouble in London, as lots o' the 
 
 lads ha' done; 
 Then he'd bolted, his master told us — he was 
 
 alius what folks call wild. 
 13 From the day as I told his mother, her dear face 
 
 never smiled. 
 We heerd no more about him, we never knew 
 
 where he went, 
 And | his mother 14 pined and sickened | for the 
 
 message he never sent. 
 15 I had my work to think of; but she had her 
 
 grief to nurse, 
 So | it eat away at her 16 heart-strings and her 
 
 health grew worse and worse, 
 And the night | as the Royal Helen went down 
 
 on 17 yonder sands, 
 I sat and watched her dyin' | holdin' 18 her 
 
 wasted hands. 
 She moved in her doze a little, then | her eyes 
 
 were opened wide, 
 And she seemed to be seekin' something 19 as she 
 
 looked from side to side; 
 Then | half to herself she whispered, 20 "Where's | 
 
 Jack | to | say | good-bye? 
 It's hard not to see my darlin', and kiss him 
 
 afore I die !" 
 21 I was stoopin' to kiss and soothe her, while the 
 
 tears ran down my cheek, 
 And my lips | were shaped to whisper the words 
 
 I couldn't speak, 
 When the door of the room 22 burst open, and 
 
 my mates were there outside 
 With the news that the boat was launchin', 23 
 
 "You're wanted!" their leader cried. 
 "You've never refused to go, John; you'll put 
 
 these cowards right, 
 There's a dozen of lives, maybe, John, as lie in 
 
 our hands to-night !" 
 
74 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 MODERATE. 
 
 SAD. 
 
 VERY LOW. 
 
 SURPRISE. 
 
 'Twas old Ben Brown, the captain ; he'd laughed 
 
 at the women's doubt, 
 24 We'd always been first on the beach, sir, when 
 
 the boat was goin' out. 
 I didn't move, | but I pointed | 26 to the white 
 
 face | on the bed — 
 "I can't go, mate," I murmured; "in an hour 
 
 she may be dead. 
 27 I cannot go and leave her to die in the night j 
 
 alone/' 
 As I spoke | Ben 28 raised his lantern, and the 
 
 light on my wife was thrown; 
 And I saw her eyes fixed strangely with a plead- 
 ing look on me, 
 While a trembling finger | 29 pointed through the 
 
 door | to the ragin' sea. 
 Then she beckoned me near | and whispered, 30 
 
 "Go, | and God's will be done, 
 For every lad on that ship, John, is some poor 
 
 mother's son. 
 Go, John, | and the Lord | watch 31 o'er you ! and 
 
 spare me to see the light, | 
 And bring you safe," she whispered, "out of the 
 
 storm to-night." 
 Then I turned and kissed her softly, and tried 
 
 to hide my tears, 32 
 And my mates outside | when they saw me set up 
 
 three hearty cheers. 
 We launched the boat in the tempest, though 33 
 
 death was the goal in view, 
 And never a one but doubted | if the craft could 
 
 live it through; 
 But our boat she stood it bravely, | and weary, 
 
 and wet, and weak, 
 34 We drew in hail of the vessel we had dared so 
 
 much to seek. 
 But j just as we came upon her, she gave a 35 
 
 fearful roll, 
 And went down in the seethin' whirlpool 36 with 
 
 every livin soul! 
 We rowed for the spot, | and shouted, | for all 
 
 around was dark — 
 
THE LIFEBOAT. 
 
 75 
 
 QUICK. 
 
 SUB- 
 DUED. 
 
 But only the wild wind answered the cries from 
 
 our plungin' bark. 
 37 I was strainin' my eyes and watchin', when | I 
 
 thought I heard a cry; 
 And I saw past our bows | a somethin' on the 
 
 crest of a wave dash by ; 38 
 39 I stretched out my hand to seize it. I dragged 
 
 it aboard, and then 
 I stumbled and struck my forrud, 40 and 41 fell 
 
 like a log on Ben. 
 I remember a hum of voices, and then | I knowed 
 
 no more 
 Till I came to my senses here, sir — here in my 
 
 home ashore. 
 42 My forrud was tightly bandaged, and I lay on 
 
 my little bed — 
 I'd slipped, so they told me arter, and a row- 
 lock had struck my head. 
 Then my mates came in and whispered; they'd 
 
 heard I was coming round, 
 At first I could scarcely hear 'em, it seemed 
 
 like a buzzing sound; 
 But as soon as my head got clearer, and ac- 
 customed to hear 'em speak, 
 I knew | as I'd lain like that, sir, for many | a 
 
 long, | long week. 
 43 I guessed what the lads were hidin', for their 
 
 poor old shipmate's sake, 
 I could see by their puzzled faces they'd got 
 
 some news to break; 
 So | I lifts my head from the pillow, and I says 
 
 to Old Ben, "Look 44 here— 
 I'm able to bear it now, lad — tell me, and never 
 
 fear." 
 Not one on 'em ever answered, but presently 
 
 Ben goes out, 
 And the other slinks away like, and I says, 
 
 "Whafs that about? 
 45 Why can't they tell me plainly as the poor old 
 
 wife is dead ?" 
 Then I fell again on the pillows, and I hid my 
 
 achin' head; 
 
LOUD. 
 
 76 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 I lay like that for a minute, till I heard a voice 
 cry "John." 46 
 
 And I thought it must be a vision as my weak 
 eyes gazed upon: 
 47 For there by the bedside standing up and well, 
 was my wife. 
 
 And who do ye think was with her? Why, 
 Jack, as large as life! 
 
 It was him as I saved from drownin' | the night 
 as the lifeboat went 
 
 To the wreck of the Royal Helen; 'twas that 
 as the vision meant. 
 
 They'd brought us ashore together; he'd knelt 
 by his mother's bed, 
 49 And the sudden joy had raised her like a mir- 
 acle | from the dead: 
 
 And mother and son together had nursed me 
 back to life, 
 
 And my old eyes 50 woke from darkness to look 
 on my son and wife. 
 
 Jack? He's our right hand now, sir; 'twas 51 
 Providence pulled him through — 
 
 He's alius the first 52 aboard her | when the life- 
 boat wants a crew. 
 
 EXULT- 
 ING. 
 
 1 Hands behind back — attitude careless. 2 Point front. 3 Both hands 
 directed to the ground. 4 Point to right — rather awkwardly — sway body. 
 5 Shake head twice. 6 Rub both eyes. 7 Look around — express wonder. 
 £ Point downward. 9 Clasp hands — move about uneasily. 10 Point and 
 bend downward. X1 Hands on hips — shake head. "Abrupt nervous move- 
 ment of hand. 13 No. 12 hand plate. 14 Wave hands in front up and 
 down. 15 Touch breast. 16 Hand on heart. 17 Point to front. 18 Hand 
 extended and closed — bend. 19 Turn head and body slowly — expression 
 of eagerness. 20 Bring fingers to lips — speak very quietly and slowly. 
 21 Bend down — rub cheeks with fingers. 22 Quickly stand erect — swing 
 both hands from the center wide apart. 23 Right arm extended outward 
 and upward — keep this for two lines. 25 Hands in pockets. 26 Point 
 down. 27 Shake head sorrowfully. 28 Imitate holding up lantern. 29 Point 
 front with index finger. 30 Clasp hands. 31 Raise hand reverently as in 
 No. 4 arm plate. 32 Rubbing eyes. 33 No. 1 hand plate. 34 Repeat same. 
 35 Roll the hand over in front. 36 Make circular movement with first 
 finger — it pointing downward. 37 Shading eyes with hand, bend forward — 
 advance right foot. 38 Sweep hand across body. 39 Action of seizing. 
 40 Touch forehead. 41 Drop both hands in front. 42 Rub hand across fore- 
 head. 43 Hands behind back. 44 No. 1 hand plate. 45 Both hands extended 
 appealingly. 40 Right touching ear — eyes bright, excitement. 47 Point in 
 front. 48 Slap the leg strongly. 49 Elevate both hands. 50 Rub eyes once 
 with both hands. 51 Point upward. 52 No. 1 hand plate. 
 
LULU'S COMPLAINT. 
 
 77 
 
 SPEAK 
 SLOWLY 
 AND 
 SIMPLY, 
 
 25-LULU'S COMPLAINT. 
 
 Fse a 1 poor | 'ittle | sorrowful baby, 
 For Bidget is way 2 downstairs, 
 
 My titten has scratched my fin'er, 3 
 And Dolly | wont* say her p'ayers. 
 
 I hain't seen my bootiful mamma 
 Since ever 5 so long ado; 
 6 An' I ain't her tnnninest baby 
 No londer, j for Bidget 7 says so. 
 
 Mamma's dot anoder 8 new baby; 
 9 Dod dived it — He did — yes'erday ; 
 10 And it kies, | it kies — oh, | so defful! 
 n I wis' He would tate it away. 
 
 12 I don't | want | no | "sweet | 'ittle | sister" ; 
 I want my dood mamma, I do; 
 I want her to tiss me 13 and tiss me, 
 An' tall me her p'ecious Lulu. 
 
 I dess my dear papa will bin' me 
 A 'ittle dood titten | some day; 
 14 Here's nurse wid my mamma's new baby; 
 15 I wis' she would tate it away. 
 
 16 Oh, oh! what tunnin' red fln'ers! 
 17 It sees me 'ite out of its eyes; 
 I dess we will teep it, and dive it 
 Some can'y | whenever it kies. 
 
 I dess I will dive it my dolly 
 18 To play wid 'mos' every day; 
 :9 And I dess, I dess—] Say, 20 Bidget, 
 Ask Dod | not to take it away. 
 
 1 Hand on breast — shake head. 2 Point down. 3 Hold up finger. 
 4 Turn body from side to side poutingly. 5 No. 3 arm plate. 6 Repeat *■• 
 7 Shake one finger. 8 No. 14, arm plate. 9 Point up. 10 Downward gesture 
 with right hand twice— bend slightly — raise right foot twice. X1 A 
 petulant movement of hands. 12 Nod head at each word. 13 Kiss hand 
 outward. 14 Run three steps and point. 15 Turn left shoulder from audi- 
 ence and speak over right shoulder. 16 Clapping hands. 17 Point. 
 18 Both hands extended. 19 Right hand under right cheek, slowly nodding 
 head. 20 Right hand out. 
 
78 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 MEASURED 
 READING. 
 
 MEDIUM 
 VOICE. 
 
 26-PRESS ON. 
 
 FROM A VALEDICTORY POEM. 
 
 N. P. Willis. 
 
 We shall go 1 forth together. There will come 
 Alike the day of trial unto 2 all, 
 And the rude world will buffet us alike. 
 3 Temptation | hath a music for all 4 ears; 
 And mad ambition 5 trumpeteth to all; 
 And the ungovernable 6 thoughts within. 
 Will be in every bosom eloquent; — 
 7 But | when the silence and the calm come on, 
 And the high seal of character is set, 
 8 We shall not all be similar. The flow 
 Of lifetime is a 9 graduated scale, 
 And deeper than the vanities of power, 
 Or the vain pomp of glory, there is writ 
 A standard measuring its worth 10 for Heaven. 
 
 n The pathway to the grave may be the same, 
 And the proud man shall tread it, and the low, 
 With his bow'd head, shall bear him company. 
 
 12 Decay will make no difference, and death, 
 With his cold hand, shall make no difference ; 
 And there will be no precedence of power, 
 In waking at the coming trump of God; 
 
 13 But J in the temper of the invisible mind, 
 The godlike and undying intellect, 
 There are 14 distinctions that will live in Heaven, 
 When time is a forgotten circumstance! 
 
 15 The soul of man 
 Createth its own destiny of power; 
 And as the trial is intenser \ here, 
 His being hath a 16 nobler strength in Heaven. 
 
 EARNEST. 
 
 What is its earthly victory! 17 Press on! 
 Fer it hath tempted angels. 18 Yet press on! 
 For it shall make you mighty among men ; 
 19 And from the eyrie of your eagle thought, 
 Ye shall look down on monarchs. 20 press on, 
 For the high ones and powerful shall come 
 To do you reverence : and the beautiful 
 
ANTONY'S SPEECH OVER CAESAR'S BODY. 
 
 79 
 
 
 FORCE. 
 
 Will know the purer language of your brow, 
 
 And read it like a talisman of love! 
 22 Press on! for it is godlike to unloose 
 
 The spirit, and forget yourself in thought ; 
 
 Bending a pinion for the deeper sky, 
 23 And, in the very fetters of your flesh, 
 
 Mating with the pure essences of Heaven ! 
 
 Press on! — 24 for in the grave | there is no work, 
 
 And no device." 25 — Press on ! while yet ye 
 
 may 
 
 1 Stand naturally — gracefully put forth the right hand. * Both hands 
 out. s Right hand, No. 1 hand plate. i Indicate where ear is. 5 Touch 
 lips and throw fingers outward. 6 Touch breast. 7 Step forward — bend — 
 extend right hand — palm down. 8 Stand straight — drop hand. 9 Quick 
 movement of hand, showing various heights. 10 No. 4 arm plate. X1 Point 
 downward. 12 Sway hand from side to side, several times, palm down. 
 13 Touch forehead — advance to the left. 14 Bring hand down front with 
 emphasis. 15 Hand open on breast — head thrown back. 16 Point up. 
 17 Throw hand, palm forward — advance — emphatic — loud. 18 Repeat 17 . 
 19 Point upward with right hand. 20 Repeat 17 . 21 Repeat 17 — but less in- 
 tense. 23 Both hands tightly grasping breast. 2i Point downward — ad- 
 vance. " No. 5 arm plate. 
 
 QUIET. 
 
 INSINU- 
 ATING, 
 
 STRONG. 
 
 27-ANTONY'S SPEECH OVER CAESAR'S BODY. 
 
 Shakespeare. 
 Friends, 1 Eomans, countrymen, 
 I come to 2 bury Caesar, not \ to praise him. 
 3 The evil, that men do, lives after them; 
 
 The good is oft interred with their bones ; 
 4 So let it be with Caesar. The noble Brutus 5 
 
 Hath told you, Caesar was ambitious; 
 6 If it were so, it was a grievous fault; 
 
 And i grievously | hath Caesar answer' d it. 
 8 Here, under leave of Brutus, and the rest, 
 9 (For Brutus is an honorable man; 
 10 So are they all, all honorable men;) 
 n Come I | to speak in Caesar's funeral. 
 
 He was 12 my friend, faithful and just to me : 
 13 But Brutus says he was ambitious; 
 
 And Brutus is an honorable man. 
 14 He hath brought many captives to Eome, 
 
 Whose ransoms | did the general coffers fill: 
 15 Did this in Caesar seem ambitious? 
 When that the poor have cried, Caesar hath 
 wept: 
 16 Ambition I should be made of sterner stuff : 
 
80 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 am- 
 
 WITH 
 FEELING. 
 
 ^earnest 17Yet Brutus sa y s ne was ambitious; 
 and *~ And Brutus | is an honorable man. 
 
 direct. 18You all did gee ^ that on the ^percal, 
 
 I thrice presented him a kingly crown, 
 
 Which he did thrice refuse. 19 Was this 
 bition ? 
 20 Yet Brutus says he was ambitious; 
 
 And, sure, | he is an honorable man. 
 
 I speak not to disprove what Brutus spoke, 
 21 But here I am | to speak what I do know. 
 22 You all | did love him once, not without cause ; 
 23 What cause withholds you then to mourn for 
 
 him? 
 24 judgment, | thou art fled to brutish beasts, 
 
 And men have lost their reason! — bear with 
 me. || 
 25 My heart is in the coffin there | with Caesar, 
 
 And I must pause | 'till it come back to me. 26 
 
 But yesterday, 27 the word of Caesar might 
 
 Have stood against the 28 world: 29 now | lies he 
 there 
 
 And none so poor to do him reverence. 
 3O masters! if I were dispos'd to stir 
 
 Your hearts and minds to mutiny and rage, 
 31 I should do Brutus wrong, and Gassius wrong, 
 
 Who, you all know, are honorable men: 
 32 I will not do them wrong ; I rather choose 
 33 To wrong the dead, to wrong myself 3 * and you 35 
 
 Than I will wrong such ^honorable men. 
 
 1 Both hands extended appealingly — increase tone on each word of 
 first line. 2 Point downward. 3 Left hand, No. 1 hand plate — turn to left. 
 
 4 Point downward — emphasize with index finger. 5 Point to left. 6 No. 
 
 5 arm plate — bend forward. 7 Point downward — sorrowful bearing. 8 Left 
 hand extended to left — palm up. 9 Right hand on breast — bend forward 
 respectfully. 10 Both hands extended — attitude of great respect. 1] Right 
 hand to breast. 12 Repeat "—throw head back. 13 Left hand to left. 
 14 Advance to right — right hand, No. 1 hand plate. 15 Bend toward audi- 
 ence. 16 No. 4 arm plate — shake index finger. 17 Left hand to left — sub- 
 missively. 18 Advance to front — both arms extended. 19 Right hand to 
 right — palm up. 20 Left hand to left — then bring right hand to breast. 
 21 No.l hand plate — wave hand up and down. 22 Advance — both hands out. 
 23 No. 4 arm plate — head up — left foot back. 2i Both fists elevated on 
 either side of head— head thrown back— chest out— very loud. 25 Hand to 
 heart — dejection manner. 2G Turn your back on audience for a short 
 pause. 27 Step to right — right hand out. 28 Both arms well out. 29 Point 
 down. 30 Clasp hands under chin — look downward. 31 Point left. 32 Bring 
 right hand down forcibly. 33 Point down. 34 Touch breast. 3 ^ Both 
 hands to front. 36 Swing right arm to right — very sarcastic manner* 
 
 \SLOW. 
 
 'LOUD. 
 
 QUIET. 
 DIRECT. 
 
ANTONY'S SPEECH OVER CiESAR'S BODY. 
 
 81 
 
 28-THE SAME-Continued. 
 
 Shakespeare. 
 
 APPEAL- 
 ING. 
 
 STRONG. 
 
 LOUD. 
 
 PATHET- 
 IC. 
 
 1 — Brutus, as you know, was Caesar's angel; 
 Judge, | you gods, how dearly Caesar loved 
 him! 
 2 This was the most unJcindest cut of all : 
 
 For when the noble Caesar saw him stab, 3 
 ^Ingratitude, | more strong than traitor's arms, 
 Quite vanquished him: then burst 5 his mighty 
 
 heart; 
 And, | in his mantle muffling up his face, 6 
 7 Even at the base of Pompey's statue. 
 
 Which all the while ran blood, great 8 Ccesar fell. 
 9 0, what a fall was there, my countrymen ! 
 10 Then I, and you, and all of us fell down, 
 n Whilst bloody treason | flourished over us, 
 12 0, now you weep, and I perceive you feel 
 The dint of pity: these are gracious drops 13 
 Kind souls, | what, | weep you, when you but 
 behold 
 14 0ur Caesar's vesture wounded ? Look you here. 15 
 Here is himself, | marrd as you see [ with 
 traitors. 
 
 quick. 16 Good friends, sweet friends, let me not stir you 
 
 up 
 To such a sudden flood of mutiny. 
 17 They, that have done this deed, are honorable, 
 What private griefs they have, alas, I know not, 18 
 That made them do it; 19 they were wise and 
 
 honorable, 
 And will, no doubt, with reasons answer you. 
 20 I come not, friends, to steal away your hearts; 
 I am no orator, as Brutus is: 
 But, | as you know me all, | a plain blunt man, 
 21 That love my friend: and that they know full 
 well 
 That gave me public leave to speak of him. 
 22 For I have neither wit, nor words, nor worth, 
 quick. Action, nor utterance, nor the power of speech, 
 
 To stir men's blood: I only speak right on: 
 
 MATHER 
 BLOW. 
 
82 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 23 I tell you that, which you yourselves do know: 
 loud. 24 Show you sweet Caesar's wounds, poor, poor, 
 
 dumb mouths, 
 And bid them speak for me : But | were I j 
 Brutus, 25 
 And Brutus | Antony, there were an Antony 
 26 Would ruffle up your spirits, and put a tongue 
 In every wound of Caesar, that should move 
 
 HANT. 27 THE STONES OE EOME TO RISE AND MFTINT. 
 
 1 Bend well forward — raise right hand over head. 2 Point down in 
 front. 3 Point to front. 4 Shake both fists forward. 5 Both hands clinched 
 over heart and throw them violently to front. 6 Action of covering face. 
 7 Point downward. 8 Bring hand straight down in front. 8 Clasping hand 
 violently — expression of intense pain. 10 Point to self — in front — then 
 double outward gesture. 1L Wave right hand upward and wildly. 12 Hands 
 clasped downward. 13 Right hand, No. 1 hand plate. 14 Bend over — hand 
 extended. 15 Hand brought quickly upward as if stripping garment from 
 corpse. 16 Arms out — quick turns to right and left. 17 Right to right side. 
 18 Hand on breast — shake head. 19 Bring down hand quickly. 20 Hand 
 to breast — then quickly extended. 21 Bend down — clasp hands. 22 Quick 
 upward and downward movement of hand on emphatic words. 23 Advance — 
 both hands out — appealing. 24 Bend down — touch body. 25 Stand at full 
 height— raise right hand — very loud — advance and stamp foot on word 
 "there." 26 Point downward quickly. 27 Both hands and arms extended 
 — shake them violently — stand on picture. 
 
 29-THE DROWNED MARINER. 
 
 E. Oalces Smith. 
 
 light A mariner sat 1 on the shrouds one night, 
 
 BA quwk ^ ne w ind was piping free; 
 
 2 Now bright, now dimm'd was the moonlight 
 
 pale, 
 3 And the phospor gleam'd in the wake of the 
 whale, 
 As it flounder' d in the sea ; 
 The scud was flying athwart the sky, 4 
 The gathering winds went whistling by, 5 
 6 And the wave, as it tower' d, then fell in spray, 
 Look'd an emerald wall in the moonlight ray. 
 
 7 Wild the ship rocks, but he | swingeth at ease, 
 
 8 And holdeth by the shroud ; 
 And as she .careens to the crowding breeze, 
 9 The gaping deep the mariner sees, 
 And the surging heareth loud. 
 
 
THE DROWNED MARINER. 
 
 S3 
 
 SURPRISE. 
 
 10 Was that a face | looking up at him; 
 
 With its pallid cheek and its cold eyes dim? 
 n Did it beckon him down? Did it call his 
 name f 12 
 
 Now rolleth the ship the way whence it came. 
 
 The mariner looked, | and he saw with dread, 
 
 13 A face he knew too well; 
 And the cold eyes glared, the eyes of the dead, 
 And its long hair out on the wave was spread, — 
 
 14 Was there a tale to tell ? 
 The stout ship rock'd with a reeling speed, — 
 And the mariner groaned, as well he need, 
 For ever down as she plunged on her side, 
 15 The dead face gleam' d from the briny tide. 
 
 hurried. Bethink thee, mariner, well of the past: 
 
 A voice calls loud for thee: 
 There's a stifled prayer, the first, | the last; 
 The plunging ship on her beams is cast, — 
 16 0, where shall thy burial be? 
 
 slowly. 
 
 Alone in the dark, | alone as the wave, 
 To buffet the storm alone; 
 17 To struggle aghast at thy watery grave, 
 To struggle, and feel there is none to save ! 
 
 18 God shield thee, helpless one ! 
 The stout limbs yield, for their strength is past ; 
 The trembling hands en ,the deep are cast ; 
 The white brow gleams a moment more, 
 19 Then slowly sinks, — the struggle is o'er. 
 
 20 Down, down where the storm is hush'd to sleep, 
 orotund. Where the sea its dirge shall swell ; 
 
 Where the amber drops for thee shall weep, 
 And the rose-lipp'd shell its music keep; 
 
 22 There | thou shalt slumber well. 
 The green and the pearl lie heap'd at thy side; 
 They fell from the neck of the beautiful bride, 
 
84 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 From the strong man's hand, from the maiden's 
 brow, 
 22 As they | slowly | sunk | to the wave below. 
 
 LOW. 
 
 SORROW- 
 FUL. 
 
 A peopled home is the ocean-bed; 
 23 The mother and child are there: 
 The fervent youth and the hoary head, 
 The maid, with her floating locks outspread, 
 
 24 The babe, with its silken hair: 
 As the water moveth, they lightly sway, 
 And the tranquil lights on their features play: 
 And there is each cherish' d and beautiful form, 
 25 Away from decay, and away from the storm. 
 
 1 No. 4 arm plate. 2 Wave hands to the sides, then backward to 
 center. 3 Point downward to the left. * Upward movement of hand. 
 
 5 Sweep right hand from left shoulder across the body — outward. 
 
 6 Raise the hand and arm upward as in No. 1 arm plate. 7 Hold out both 
 hands, palms facing — rock the hands from side to side. 8 Right hand 
 elevated — hand closed as if holding on — incline body and head to left. 
 9 Look downward — fingers pointing downward. 10 Surprised look — point 
 down. 1X Make action of beckoning. 12 Touch breast with left hand. 
 13 Point down. 14 Lay left hand on head. 15 Hands out as in No. 6 hand 
 plate. 16 Clasp hands over breast — look up — slowly shake the head. 
 17 Throw arms about wildly. 18 Hands together prayerfully. 19 Point 
 downward. 20 Point downward twice with emphasis. 21 Repeat same. 
 22 Wave both hands downward. 23 No. 13 hand plate. 2 * Quietly brush 
 hair back with left hand. 25 Wave upward left hand. 28 Wave upward 
 right hand. 
 
 SLOW AND 
 EMPHATIC. 
 
 30-FORGIVE AND FORGET. 
 
 M. F. Tupper. 
 When streams of unkindness as bitter as gall, 
 
 1 Bubble up from the heart to the tongue, 
 And meekness is writhing in torment and thrall, 
 By the hands of Ingratitude wrung, — 
 2 In the heat of injustice, unwept and unfair, 
 While the anguish is festering yet, 
 None, none but 3 an angel, | or God can declare 
 4 "I now | can forgive and forget." 
 
 But, if the bad spirit is chased 5 from the heart, 
 
 6 And the lips are in penitence steep'd, 
 With the wrong | so repented | the wrath 7 will 
 depart, 
 Though scorn on injustice were heaped; 
 
FORGIVE AND FORGET. 
 
 85 
 
 For the best compensation is paid for all ill, 
 8 When the cheek with contrition is wet, 
 
 And every one feels it is possible still 2 
 9 At once | to forgive and forget. 
 
 INFLEC- 
 TION. 
 
 10 To forget? It is hard for a man with a mind, 
 
 However his heart may forgive, 
 n To blot out all perils and dangers behind, 
 
 And bnt for the 12 future to live : 
 13 Then how shall it be? for at every turn 
 Eecollection the spirit will fret, 
 And the ashes of injury smolder and burn, 
 14 Though we strive | to forgive and forget. 
 
 Oh, hearken! 15 my tongue shall the riddle 
 unseal, 
 And mind shall be partner with heart, 
 While thee to thyself I bid Conscience 16 reveal, 
 And show thee how evil thou art; 
 17 Eemember thy follies, thy sins, and — thy crimes, 
 18 How vast is that infinite debt ! 
 Yet mercy hath seven by seventy times 
 Been swift | to 19 forgive and forget! 
 
 20 Brood not on insults or injuries old, 
 For thou art injurious too, — 
 Count not their sum till the total is told, 
 For thou art unkind and untrue : 
 21 And if all thy harms are forgotten, forgiven, 
 18 Now mercy with justice is met, 
 Oh, who would not gladly take lessons of 
 
 Heaven, 
 2z Nor learn to forgive and forget? 
 
 Yes, yes; let a man, when his enemy weeps, 
 24 Be quick to receive him, a friend; 
 25 For thus on his head in kindness he heaps 
 Hot coals,— to refine and amend; 
 
86 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 26 And hearts that are Christian more eagerly 
 yearn, 
 low. As a nurse on her innocent pet, 
 
 27 0ver lips that, once bitter, to penitence turn, 28 
 emphatic. And whisper 29 Forgive and Forget. 
 
 1 Bring right hand from heart to the lips. 2 No. 7 hand plate. 8 Arm 
 and hand upward as in No. 4 arm plate. 4 Opened hand on breast — 
 slightly incline head forward. 5 Wave hand from heart outward to the 
 right. 6 Touch lips. 7 Take arm position No. 6 arm plate and wave the 
 hand to the right. 8 Stroke gently the cheek. 9 Hand on breast — bend 
 forward. 10 Fold arms over breast, droop head to left side. " No. 2 
 hand plate — slightly wave the hand. 12 Point and step forward. l3 No. 
 5 arm plate, both hands. 14 Right to breast. 15 Advance, use No. 13 hand 
 plate. 16 Tap the forehead with finger. 17 No. 12 hand plate — move the 
 right hand on the emphatic words. 18 Both arms well spread out — palms 
 up. 19 Hand to breast. 20 No. 2 hand plate for position, move the hand 
 sideway several times. 21 Both hands out. 22 Elevate the right hand — 
 advance. 23 Step backward — bring hand to breast. 24 Advance quickly — 
 head thrown back — two hands close together and extended. 25 Touch the 
 head. 26 Hand to the heart. 27 Touch the lips. 28 Sway right hand from 
 the body to the right. 29 Let your clasped hands drop slowly in front — 
 bend forward. 
 
 MEDIUM 
 TONE. 
 
 SORROW- 
 FUL. 
 
 PLAINTIVE 
 READING}. 
 
 31-THE BRIDGE OF SIGHS. 
 
 Thomas Hood. 
 One more 1 unfortunate, weary of breath, rashly 
 importunate, gone to her death! Take her 2 up j 
 tenderly — lift her with care: fashioned so slenderly, 
 young and so fair ! Look 3 at her garments, cling- 
 ing like cerements; whilst the wave | constantly 
 drips from her clothing. Take her 4 up instantly, 
 loving, not loathing. Touch her not scornfully, 
 think of her mournfully, gentle and humanly; not 
 of the stains of her : — all that remains of her now \ 
 is 5 pure womanly. Make no deep scrutiny into 
 her mutiny, rash and undutiful: 6 past all dis- 
 honor, Death has left on her only the beautiful. 
 Still, — for all slips of hers, one of Eve's family ! — 
 7 wipe those poor lips of hers, oozing so clammily. 
 Loop up her tresses escaped from the comb — her 
 fair auburn tresses! — whilst wonderment guesses, 
 Where 8 was her home? who was her father? who 
 was her mother? had she a sister? had she a 
 brother? or was 9 there a dearer one still, and a 
 
THE BRIDGE OF SIGHS. 
 
 87 
 
 STRONGER 
 TONE. 
 
 REVER- 
 ENTLY. 
 
 nearer one yet than all other? Alas! 10 for the 
 rarity of Christian charity under the sun! Oh! 
 it was pitiful! near a 11 whole city full, home she 
 had none. Sisterly, brotherly, fatherly, motherly 
 feelings had changed: love, by harsh evidence, 
 thrown from its eminence : 12 even God's providence 
 seeming estranged! 
 
 Where the lamps quiver 13 so far in the river, 
 with many a light from window and casement, 
 from garret to basement, she stood with amaze- 
 ment, houseless — by night. The bleak wind of 
 March 14 made her tremble and shiver ; but not the 
 dark arch, or the black-flowing river: mad 15 from 
 life's history, glad to death's mystery; swift to be 
 hurled any where, 16 any where, out of the world ! 
 In 17 she plunged boldly, no matter how coldly the 
 rough river ran; — over the brink of it, picture it, 
 think of it, dissolute Man! 18 lave in it, drink of 
 it, then, if you can ! 
 
 Take her 19 up | tenderly, lift her with care: 
 fashioned so slenderly, young, and so fair! Ere 
 her limbs frigidly stiffen too rigidly, decently, 20 
 kindly, smooth and compose them ; and her eyes — 
 close them, staring so blindly! Dreadfully star- 
 ing, through muddy impurity; as when, with the 
 daring last look of despairing, 21 fixed on futurity ! 
 Perishingly gloomily; spurred by contumely, cold 
 inhumanity, burning insanity, 22 into her rest. — 
 Cross her 23 hands humbly, as if praying dumbly, 
 over her breast; owning her weakness, her evil 
 behavior — and leaving, with meekness, 24 her sins 
 to her Saviour ! 
 
 1 Point down in front and look sadly. 2 Action of lifting her with 
 both hands. 3 Point down. 5 Repeat 2 . 5 Nod the head slowly. 6 Wave 
 left hand to left — palm out. 7 Bend down — movement of wiping the lips 
 of corpse. 8 No. 5 arm plate — look to right and left. 8 Cross hands on 
 breast. 10 Slowly drop both hands as in No. 3 arm plate. 1X No. 5 arm 
 plate. 12 Point upward. 13 Point to front. 14 Cross hands on breast — 
 shiver and step back. 15 Place both hands on temples. 16 Wave hands 
 downward in front. 17 Downward plunging movement of right hand. 
 18 No. 2 arm plate. 19 Repeat 2 . 20 Bend down — move the hand as if 
 composing the limbs of the dead. 21 Step forward — point up. 22 Clasp 
 head with hands. 23 Cros3 your hands in front — fingers pointing down- 
 ward. 24 Look up — use No. 4 arm plate. 
 
88 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 32-THE LAST MINSTREL. 
 
 USE 
 
 MEDIUM 
 TONE. 
 
 MEDIUM 
 TIME. 
 
 the 
 eek 
 
 Sir Walter Scott 
 The way was long, 1 the wind was cold, the 
 Minstrel was infirm and old; 2 his withered cheek 
 and tresses gray and seemed | to have known a bet- 
 ter day: the harp, his sole remaining joy, was 
 carried by an orphan boy : the last of all the bards 
 was he, who sung of Border chivalry. For, well-a~ 
 day! 3 their date was fled, his tuneful brethren all 
 were dead; and he, neglected and oppressed, 
 wished to be with them, and at rest ! No more, 
 on prancing 4 palfrey borne, he carolled, light as 
 lark at morn; no longer courted and caressed, 5 
 high-placed in hall, a welcome guest, he poured, 
 to lord and lady gay, the unpremeditated lay; 
 old times were changed — old manners gone — a G 
 stranger filled the Stuart's throne. The bigots 
 of the iron time had called his harmless art 7 — a 
 crime: a wandering harper, scorned and poor, he 
 begged his bread from door to door; and tuned, 
 to please a peasant's ear, the harp, 8 a king had 
 loved to hear! 
 
 He passed, where Newark's stately tower ] looks 
 out 9 from Yarrow's birchen bower: the Minstrel 
 gazed with wishful eye — no humbler resting-place 
 was nigh. With hesitating step, at last, the em- 
 battled portal-arrh he passed; 10 whose ponderous 
 grate and massy bar had oft rolled back the tide 
 of war, but never closed the iron door against the 
 desolate and poor. The Duchess 11 marked his 
 weary pace, his timid mien, and reverend face; 
 and bade her page the menials tell that they should 
 tend the old man well : — for she | had known ad- 
 versity, 12 though born in such a high degree; in 
 pride of power, in beauty's bloom, had wept o'er 
 Monmouth's bloody tomb. 
 
 When kindness had his wants supplied, and the 
 old man was gratified, began to rise his minstrel 
 pride; and he began to talk, 13 anon, of good Earl 
 Francis, dead and gone; and of Earl Walter 14 — • 
 
THE LAST MINSTREL. 
 
 89 
 
 ATTEND 
 TO THE 
 
 PAUSES. 
 
 INCREASED 
 FORCE. 
 
 rest him, God ! — a braver | ne'er to battle rode : 
 and how full many a tale he knew of the old war- 
 riors of Bucclengh ; and, would the noble 15 Duchess 
 deign to listen to an old man's strain, though 
 stiff his hand, his voice though weak, he thought, 
 even yet, — the sooth to speak, — that, if she loved 
 the harp to hear, he could make music to her ear. 
 
 The humble boon was soon obtained; the aged 
 Minstrel 16 audience gained; but when he reached 
 the room of state, where she 17 with all her ladies 
 sat, perchance he wished his doom denied; for, 
 when to tune his harp he tried, 18 his trembling 
 hand had lost the ease which marks security to 
 please; and scenes, long past, of joy and pain, 
 came wildering 19 o'er his aged brain; — he tried to 
 tune his harp, in vain. 
 
 Amid the strings 20 his fingers strayed, and an 
 uncertain warbling made; and, oft, he 21 shook his 
 hoard head. But, | when he caught the measure 
 wild, the old man raised 22 his face, and smiled ; and 
 lighted up his faded eye, with all a poet's ecstacy! 
 In varying cadence, soft or strong, he swept 23 the 
 sounding chords along: the present scene, the 
 future lot, his toils, his wants, were all forgot; 
 cold diffidence, and age's frost, in the full tide of 
 soul were lost; each blank in faithless memory's 
 void, the poet's 24 glowing thought supplied; and, 
 while his harp responsive rung, 'twas thus the 
 latest Minstrel sung: 
 
 THE PATRIOT S SONG. 
 
 RATHER 
 LOUD. 
 
 "Breathes there the man, with soul 27 so dead, 
 who never to himself hath said, This 28 is my own, 
 my native land! — 29 whose heart hath ne'er within 
 him burned, as home his footsteps he hath turned 
 from wandering on a foreign strand? If such 
 there breathe, 30 go — mark him well; for him, \ no 
 minstrel-raptures swell : high 31 though his titles, 
 proud his name, boundless 32 his wealth, as wish 
 can claim ; despite those titles, power and pelf, the 
 
90 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUD. 
 
 wretch, concentred all in 33 self, living, shall for- 
 feit fair renown, and, doubly dying, shall go 
 down 34 to the vile dust from whence he sprung, 35 
 unwept, unhonored, and unsung!" 
 
 1 No. 1 arm plate. 2 Touch cheek and hair. 3 Bend head — wave right 
 hand to right. * No. 8 arm plate — then raise the arm. 5 Point upward 
 in front. 6 No. 6 arm plate. 7 Clinch right hand as in No. 8 hand plate. 
 8 No. 7 hand plate. 9 Wave index finger from side to side in front. 
 10 Both hands together in front of face — then separate them. " Put out 
 right hand — then bring it to breast — bow the head. 12 Shake head — 
 hands clasped downward. 13 No. 1 hand plate — then point downward. 
 14 No. 10 hand plate — look up. 15 Bend low — hand on heart. 1G Both hands 
 extended — look and turn to right and left. 17 Repeat the same. 18 Let the 
 hands tremble. 19 Place opened hand on forehead. 20 Hands extended — 
 fingers apart — act of touching the strings of harp. 21 Shake the head. 
 22 Throw head well back and smile. 23 Quick movement of fingers — play- 
 ing harp. 24 Touch forehead. 2T Look up — place right hand to breast. 
 28 Both hands extended — view entire audience. 29 Touch breast. 30 Ad- 
 vance to front two steps — use No. 7 hand plate. 31 Point up. 32 No. 5 
 arm plate. 33 Hand on breast — bend head slightly. 3i Step backward — 
 point downward. 35 No. 1 hand plate — drop the hand on last word. 
 
 SLOW 
 TIME. 
 
 VOICE 
 SOLEMN. 
 
 OROTUND. 
 
 33-THE SOLDIER'S FUNERAL. 
 
 Mrs. Maclean (L.E. L.). 
 The muffled drum | 1 rolled on the air, 
 2 Warriors | with stately step were there; 
 3 0n every arm | was the black crape bound, 
 4 Every cacrbine | was turned to the ground : 
 
 h Solemn the sound of their measured tread, 
 6 As silent and slow | they followed the dead. 
 The riderless horse was led in the rear, 
 There were white plumes waving over the 7 bier, 
 
 8 Helmet and sword were laid on the pall, 
 For it was a Soldier's funeral. 
 
 9 That soldier had stood on the battle-plain, 
 Where every step was over the slain : 
 But the brand and the ball had passed him by, 
 
 10 And he came to his native land — to die! 
 'Twas hard to come to that native land, 
 And not clasp 11 one familiar hand! 
 'Twas hard to be numbered amid 12 the dead, 
 Or I ere he could hear his welcome said ! 
 
EXCELSIOR. 
 
 91 
 
 PATHETIC. 
 
 SLOW. 
 
 But 'twas something to see its 13 cliffs | once 
 more, 
 14 And to lay his bones on his own loved shore; 
 To think that the friends of his yonth | might 
 
 weep 15 
 O'er the green grass turf of the soldier's sleep. 
 
 The bugles ceased their wailing sound 
 As the coffin | was 16 lowered into the ground ; 
 17 A volley was fired, a Messing said, 
 
 One moment's pause — and they 18 left th( 
 dead ! — 
 19 — I saw a poor and aged man, 
 
 His step was feeble, his lip was wan; 
 20 He knelt him down on the new-raised mound, 
 His face was bowed | to the cold 21 damp ground : 
 22 He raised his head, his tears were done, — 
 The father | had prayed 23 o'er his only son! 
 
 1 Movement of drumming. 2 No. 1 hand plate. 3 Touch the arm. 
 4 Touch left side of body — left hand hanging- — hand closed. 5 Arm and 
 hand out straight — palm down. 6 Keep gesture, but move it slowly to the 
 right. 7 Point in front. 8 Same gesture. 9 Same gesture. 10 Arm falling 
 as in No. 3 arm plate. 1X Clasp both hands and shake them. 12 Point 
 down. 13 Point upward. 14 Both hands pointing to ground — palm out. 
 15 Gently touch the eye. 16 Hand in front — fingers drooping — gradually 
 lower them. 17 As if holding gun in position of firing. 1S Turn sorrow- 
 fully to left three steps. I 9 Point with left hand. 20 Point down. 21 Same 
 22 Slowly throw head well back — hands crossed over breast. 23 Keep the 
 same picture. 
 
 BRISK, 
 LIGHT 
 TONE. 
 
 34- EXCELSIOR. 
 
 Henry W. Longfellow. 
 
 The shades of night were 1 falling fast, 
 As | through an Alpine village, passed 2 
 A youth, who bore, 'mid snow and ice 
 3 A banner | with the strange device, 
 
 f f Excelsior r 
 
 4 His brow was sad ; his eye 5 beneath 
 Flashed like a falchion from its sheath; 
 
92 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 . And like a silver clarion rung 6 
 The accents of that unknown tongue, 
 " Excelsior !" 
 
 natural. I n na PPy homes he saw the light 7 
 
 Of household fires gleam warm and bright; 
 8 Above, the spectral glaciers shone; 
 And from his lips 9 escaped a groan, 
 
 "Excelsior!" 
 
 LOUD. 
 
 10 "Try not the pass" the old man said; 
 "Dark lowers the tempest overhead; 
 The roaring torrent is deep and wide !" 
 And loud that clarion voice replied, 11 
 
 "Excelsior!" 
 
 NOT SO 
 LOUD. 
 
 "Oh, stay," 12 the maiden said, "and rest 
 Thy weary head upon this breast !" 
 13 A tear stood in his bright blue eye ; 
 But still | he answered with a sigh, 14 
 "Excelsior!" 
 
 "Beware 15 the pine-tree's withered branch 
 Beware the awful avalanche!" 
 This was the peasant's last good-night ; 
 A voice replied, 16 far up the height, 
 
 "Excelsior!" 
 
 QUIET, 
 
 At break of day, as, heavenward, 17 
 The pious monks of Saint Bernard 
 Uttered the oft-repeated prayer, 
 A voice cried through the startled air} 8 
 
 "Excelsior!" 
 
 A traveller, by the faithful hound, 
 19 Half -buried in the snow was found; 
 Still grasping in his hand of ice, 20 
 The banner with the strange device, 
 "Excelsior!" 
 
THE GLUTTONOUS DUCK. 93 
 
 There in the twilight 21 cold and gray, 
 Lifeless, but beautiful, he lay; 
 And from the sky, 22 serene and far, 
 A voice fell, like a falling star, 23 
 
 "Excelsior!" 
 
 1 Describe semi-circle downward with both hands. 2 Point to front. 
 3 Right hand up — hand closed as if grasping pole. 4 Touch the brow. 
 5 Touch eye. 6 Wave hand from mouth upward. 7 Point to left. 8 Point 
 upward to left. 8 Send hand from mouth outward. 10 Shake the finger 
 warningly. 1X Wave right hand high in air. 12 Bend and step forward — 
 both hands extended pleadingly. " Point to eye. 14 Hand to breast — sigh. 
 15 Shake finger warningly. 1S Advance — look and point upward. 17 Look 
 up — hands together in prayer. 18 Place hand behind ear— assume a lis- 
 tening attitude. 19 Pcfcnt downward. 20 Right hand extended and clinched. 
 21 Both hands extended downward. 22 Point and look upward. 2S Wave 
 right hand. 
 
 35-THE GLUTTONOUS DUCK. 
 
 Miss Taylor. 
 
 light and A duck | once | had got such a habit of 1 stuffing, 
 quick. That all the day long | she was 2 panting and 
 
 puffing; 
 And, by every creature | who | did her great 
 
 crop see, 
 Was thought to be galloping fast | for the 
 dropsy* 
 
 One day, after eating a plentiful dinner, — 
 4 With full twice as much as there should | have 
 
 been in her, — 
 Whilst up to the eyes in a gutter a-roking, 
 She was greatly alarmed | by the symptoms of 5 
 cholcing ! 
 
 6 There was an old fellow, much famed for dis- 
 cerning, 
 
 A Drake — who had taken a liking for learning; 
 
 And high in respect with his feathery friends, 
 
 Was called Doctor Drake: 7 for this doctor she 
 sends. 
 
94 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 8 In a hole in the dunghill | was Dr. Drake's shop, 
 Where he kept a few simples for curing the 
 
 crop ; — 
 9 Small pebbles, and two or three different 
 
 gravels, 
 With certain famed plants | he had found in his 
 
 travels. 
 
 DELICATE 
 
 TONE. 
 
 10 "Dear Sir," said the duck with a delicate 
 quack, — 
 Just turning a little way round on her back, 
 And leaning her head on a stone in the yard, 
 
 n My case. Dr. Drake, is exceedingly hard. 
 
 12 "I feel so distended with wind, and oppressed, — 
 So squeamish | and faint, such a load at my 
 
 chest : 13 
 And day after day, it certainly is hard 
 To suffer with patience these pains in my 14 
 
 gizzard !" 
 
 speak 
 
 DELIBER- 
 ATELY. 
 
 "Give me leave/' — said the Doctor, with medi- 
 cal look, 
 15 As her cold flabby paw in his fingers he took ; 
 
 "By the feel of your pulse, your complaint, I am 
 thinking, 
 
 Must surely be owing | to eating and drinking I" 
 
 
 16 "Oh no, Sir ! believe me !" the lady replied, 
 Quite alarmed for her stomach, as well as her 
 
 pride ; 
 "I am sure, it arises from nothing I eat, 17 
 But I rather suspect I got wet in my feet. 18 
 
 VERY 
 SLOWLY. 
 
 "I have only been picking a bit in the gutter, 
 Where cook had been pouring some cold melted 
 butter, 
 19 A slice of green cabbage, some scraps of old 
 
 meat — 
 20 Just a trifle or two, that I thought I could eat," 
 
THE GLUTTONOUS DUCK. 95 
 
 The doctor was then to his business proceeding, 
 21 By gentle emetics, a blister, and bleeding; 
 When, all on a sudden, she rolled on her 
 
 side, — 22 
 Gave a horrible 23 "quack," and a struggle,! — 
 
 and died. 2 * 
 
 Her remains | were interred in a neighboring 
 
 swamp, 25 
 By her friends, — with a great deal of funeral 
 
 pomp ; 26 
 27 x4nd I've heard this inscription her tombstone 
 
 was put on — 
 M Q-QK 2s "Here lies Mrs. Duck, the notorious glutton I" 
 
 And all the young ducklings are brought by 
 
 their friends 
 To learn the disgrace in which gluttony ends ! 
 
 HEROIC. 
 
 1 Bring hands to mouth. 2 Put hands on chest — breathe in and out 
 quickly, with apparent effort. 3 Put elbows out — hands in front — indi- 
 cating stoutness. 4 Place arm out — finger tips meeting. 5 Right hand 
 on throat — open the mouth — nodding head. 6 Turn to right — make ges- 
 ture No. 12 hand plate. 7 Put out both hands. 8 Point downward. 9 Use 
 right and left hand alternately till period. 10 Place hand on chest and 
 cough. 1X Same position — speak slowly and as if ill. 12 Sand both hands 
 from stomach outward — then drop them. 13 Clasp hands and rock body 
 backward and forward. 14 Pressing both hands to sides — continue rock- 
 ing body. 15 Put out right hand and close it as if holding patient's hand. 
 16 Still rocking — hands clasped. 17 Shake head. 1S Raise one foot. 19 Both 
 hands out. 20 Place thumb and finger together. 21 No. 1 hand plate. 22 Swing 
 Doth hands over to left side — bend that way. 23 Throw forward both hands 
 at", make a noise like a duck. 2 * Drop hands — bend head downward. 
 25 Mnt to left. 26 Both hands out — bow head. 27 No. 7 hand plate. 
 28 -ace inscription with finger. 29 Bring both hands to stomach. 
 
9o STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 36-THE EXILE OF ERIN. 
 
 QUIETLY. 
 
 WITH FEEL- 
 ING. 
 
 T. Campbell. 
 
 There came to the beach 1 a poor Exile of Erin, 
 The dew on his thin robe was heavy and chill ; 
 2 For his country he sighed, | when at twilight re- 
 pairing 
 To wander alone by the wind-beaten hill : 
 3 But the day-star attracted his eye's sad devotion ; 
 4 For it rose | o'er his own native isle of the ocean, 
 Where once, in the fervor of youth's warm 
 emotion, 
 He sang | the bold anthem of Erin go 
 Bragh! 15 
 
 6 "Sad is my fate!" — said the heart-broken 
 stranger — 
 "The wild deer and wolf to a 7 covert can flee ; 
 8 But I have no refuge from famine and danger : 
 
 A home and a country | remain not to me ! 9 
 Never again, in the green sunny bowers 
 Where my forefathers lived, shall I spend the 
 
 sweet hours 
 Or cover my harp with the wild-woven flowers, 
 10 And strike to the numbers of Erin go Bragh ! 
 
 EARNEST. 
 
 PATHETIC. 
 
 n "Erin ! | my country ! | Though sad and for- 
 saken, 
 
 12 In dreams I revisit thy sea-beaten shore ! 
 
 But, alas ! in a far, foreign land I awaken, 
 
 13 And sigh for the friends that can meet me | 
 no more! 
 14 0h, cruel Fate ! wilt thou never replace me 
 
 In a mansion of peace, where no perils can chase 
 me ! — 
 
 15 They died to defend me — or live to deplore! 
 
THE EXILE OF ERIN. 
 
 97 
 
 
 
 "Where is my cabin-door, fast by the wild 
 wood ? 16 
 Sisters and sire, did ye weep for its fall? 
 Where is the mother that looked on my child- 
 hood? 
 And where is the bosom 17 -f riend, | dearer than 
 all? 
 18 Ah! my sad soul, long abandoned by pleasure! 
 blow. Why didst thou dote on a fast-fading treas- 
 
 ure? 
 19 Tears, like the rain-drops, may fall without 
 measure 
 But rapture 20 and beauty they cannot recall !' 
 
 "Yet — all its sad recollections suppressing — 
 21 One dying wish my lone bosom shall draw: — 
 louder. 22 Erin ! an exile bequeaths thee — his blessing ! 
 
 Land of my grandfathers ! — Erin go Bragh ! 
 23 Buried and cold, when my heart stills her mo- 
 tion, 
 24 Green be thy fields, sweetest isle of the ocean ! 
 And thy harp-striking bards sing aloud, with 
 devotion, 
 loud. 25 Erin Mavourneen! Erin go Bragh I" 
 
 1 No. 8 arm plate. s Place hand on breast. * Point upward — move 
 to right. * Raise hand still higher. 5 Both hands to front — head erect. 
 6 Clasp hands — slowly shake the head. 7 Point to left. 8 Left hand to 
 breast— speak slowly in sympathetic tone. 8 No. 14 hand plate. 10 Move- 
 ment of touching strings of the harp. 1X Advance — both hands extended. 
 12 Touch right side of forehead. 13 Both hands to breast — slowly shake 
 head. 14 Clasp hands — advance with earnestness of manner. 15 Point 
 downward — then raise the hand. 16 Turn to left — left hand No. 1 hand 
 plate. 17 No. 14 hand plate. 18 Walk to right whilst speaking — -hand on 
 breast. 19 Fingers of both hands to eyes. 20 No. 6 arm plate. 21 Clasp 
 hands — advance. 22 Throw out both hands — head erect. 23 Hand over 
 heart. " No. 5 arm plate. J5 Elevate both hands — look up — very earnest. 
 
98 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 SYM- 
 PATHY. 
 
 37-THE SLAVE'S DREAM. 
 
 H. W. Longfellow. 
 
 Beside the ungathered rice 1 he lay, his sickle in 
 
 his hand; 
 2 His breast was bare, his matted hair was buried 
 
 in the sand: 
 Again, 3 in the mist and shadow of sleep, he saw 
 
 his native land! 
 
 MEDIUM 
 TONE. 
 
 Wide through the landscape of his dreams | the 
 
 lordly Mger flowed; 4 
 Beneath the palm-trees on the plain | once 
 
 more | a Icing he strode, 5 
 And heard the tinkling caravans descend the 
 
 monntain-road. 
 
 He saw once more his dark-eyed queen 6 among 
 
 her children stand; 
 7 They clasped his neck, they hissed his cheeks, 
 
 they held him by the hand ! 
 A tear burst from the sleepers lids, 8 and fell | 
 
 into the sand. 
 
 And then at furious speed he rode along 
 
 the Niger's bank; 
 His bridle-reins were golden chains, and, with a 
 
 martial clank, 
 9 At each leap he could feel his scabbard of steel 
 
 smiting his war-steed's flank. 
 
 Before him, 10 like a blood-red flag, the bright 
 
 flamingoes flew; 
 From morn till night he followed their flight, 
 
 o'er plains where the tamarind -grew, 
 Till he saw the roofs 11 of Caffre huts, and the 
 
 ocean rose to view. 
 
THE SLAVE'S DREAM. 99 
 
 At night | he heard the lion roar, and the hyaena 
 scream, 
 12 And the river-horse, as he crushed the reeds be- 
 side some hidden stream; 
 
 And it passed like a glorious roll of drums, 
 through the triumph of 13 his dream. 
 
 loud. 14 The forests, with their myriad tongues, shouted 15 
 
 of Liberty; 
 And the Blast of the Desert cried aloud, with a 
 
 voice so wild and free, 
 That he 16 started in his sleep, and smiled | at 
 
 their tempestuous glee. 
 
 He did not feel the driver's whip, nor the burn- 
 ing heat of day; 
 17 For Death had illumined the Land of Sleep, and 
 his lifeless body lay 
 A worn-out fetter, that the 18 soul had broken 
 and thrown away ! 
 
 1 Point downward to right. s Touch breast with both hands, then 
 wave them outward. 3 Touch right temple. 4 Move the hand, which should 
 be down center in front, to right. 5 Stand erect majestically. 6 No. 1 
 hand plate. 7 Cross hands at neck. 8 Touch right eye, then point down- 
 ward. 9 Touch left hip with left hand. 10 Point in front — wave hand to 
 right. u Point right. 12 Point down. 13 Touch forehead. 14 Both hands, 
 No. 5 arm plate — look around. 15 Advance — wave right hand. 16 Rub 
 eyes — throw hands outward — turn head from side to side — move forward. 
 17 Point downward. 18 Opened hand on breast — then wave it to right. 
 
 L,C 
 
 re. 
 
100 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 NARRA- 
 Tl VE 
 STYLE. 
 
 ROUGH 
 VOICE. 
 
 LOUD. 
 
 38-THE WRECK OF THE HESPERUS. 
 
 H. W. Longfellow. 
 
 1 It was the schooner Hesperus, that sailed the 
 
 wintry sea; 
 And the skipper | had taken his little 2 daughter 
 
 to bear him company. 
 3 Blue were her eyes as the fairy-flax, her cheeks 
 
 like the dawn of day, 
 And her bosom white as the hawthorn buds that 
 
 ope in the month of May. 
 The skipper | he 4 stood beside the helm, his pipe 
 
 in his month, 
 And he watched how the veering flaw did blow 
 
 the smoke, now west, now sonth. 
 Then | np and spake an old sailor, had sailed the 
 
 Spanish Main: 
 5 "I pray thee, put into yonder port, for I fear a 
 
 hurricane: 
 Last night, the moon had 6 a golden ring, and 
 
 to-night | no 7 moon we see !" 
 The skipper he blew a whiff 8 from his pipe, and 
 
 a scornfnl langh laughed he. 
 Colder and louder blew the wind, a gale from the 
 
 northeast : 9 
 10 The snow fell hissing in the brine, and the bil- 
 lows frothed like yeast. 
 u Down came the storm, and smote amain the 
 
 vessel in its strength; 
 She shuddered and paused, like a frighted steel, 
 
 then 12 leaped her cable's length. 
 13 "Come hither ! come hither ! my little daughter, 
 
 and do not tremble so; 
 For I can weather the roughest gale, that ever 
 
 wind did blow." 
 14 He wrapped her in his seaman's coat against the 
 
 stinging blast; 
 15 He cut a rope from a broken spar, and bound 
 
 her to the mast. 
 
THE WRECK OF THE HESPERUS. 
 
 101 
 
 PATHETIC. 
 
 STRONG. 
 
 "0 father ! I hear the church-bell ring; oh, say, 
 
 what may it be?" 
 16 "'Tis a fog-bell on a rock-bound coast!" — and 
 
 he steered for the open sea. 
 "0 father! I hear the sound of guns; oh, say, 
 
 what may it be ?" 
 17 "Some ship in distress, that cannot live in such 
 
 an angry sea !" 
 "0 father! I see a gleaming light; oh, say, 
 
 what may it be?" 
 But | the father answered never a word, a 18 
 
 frozen corpse was he. 
 Lashed to the helm, all stiff and stark, with 
 
 his face turned to the skies, 
 The lantern gleamed through the gleaming snow 
 
 on his fixed and glassy eyes. 
 Then the maiden ] clasped 1 ^ her hands, and 
 
 prayed that saved she might be; 
 And she thought of Christ, who stilled the wave 
 
 on the Lake of Galilee. 
 And fast through the midnight dark and drear> 
 
 through the whistling sleet and snow, 
 Like a sheeted ghost, the vessel 20 swept towards 
 
 the reef of Norman's Woe. 
 And ever, the fitful gusts between, a sound came 
 
 from the land; 
 It was the sound of the trampling surf on the 
 
 rocks and the hard sea-sand. 
 The breakers | were right beneath 21 her bows, 
 
 she drifted a dreary wreck, 
 22 And a whooping billow swept the crew like icicles 
 
 from her deck. 
 She struck where the white and fleecy waves 
 
 looked soft as carded wool; 
 But the cruel rocks, they gored her side | like the 
 
 horns of an angry bull. 
 23 Her rattling shrouds, all sheathed in ice, with 
 
 the masts, went by the board; 
 Like a vessel of glass, she stove and 24 sank: 
 
 Ho ! 25 Ho ! the breakers roared ! 
 
102 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 26 At daybreak, on the bleak sea-beach, a fisherman 
 stood aghast, 
 quietly. q\ Q gee ^q form of a maiden fair | lashed close 
 
 to a drifting mast. 
 The salt sea was frozen on her breast, the salt 
 
 tears in her eyes; 
 'And he saw her hair, like the brown sea-weed, 
 on the billows fall and rise. 
 27 8uch | was the wreck of the Hesperus, in the 
 midnight and the snow! 
 Christ save ns all from a death like this, on the 
 reef of Norman's Woe ! 
 
 1 No. 8 arm plate. 2 Put hand down and out horizontally, indicating 
 girl's height. 3 Touch eye. * Carelessly point left. B Left hand on hip — 
 right hand pointing to front. 6 Point up — describe ring with finger. 
 
 7 Drop hand. 8 Action of taking pipe from mouth and puffing smoke. 
 
 8 Point outward. 10 Bring opened fingers gradually downward — palms 
 down. 1X Repeat same action, but much quicker. 12 Swing quickly right 
 arm out and step to right — bending. 13 Beckoning her with finger. 14 Ac- 
 tion of wrapping coat around her. 15 Action of cutting rope. 16 Point. 
 17 No. 1 hand plate. 18 Point to front. 19 Clasp hands. 20 Sweep hand 
 from breast to right. 21 Point and turn to right. 22 Wave both hands 
 outward energetically — advance. 23 Point upward and shake the hand. 
 24 Point down. 25 Place opened hand to side of mouth — trumpet fashion. 
 88 No. 5 arm plate, both hands. 27 No. 1 hand plate. 
 
 39-THE LAST OF THE RED MEN. 
 
 W. C. Bryant. 
 lr The sun's last ray was glowing fair, on crag, 
 
 m atI r ~ and tree > and nood ; 
 
 And fell in mellow softness | where the lonely 2 
 Indian stood. 
 3 Beneath his eye, in living gold, the broad Pacific 
 
 lay; 
 
 Unruffled there, a skiff might hold its bright 
 and fearless way. 
 
 4 Far, far behind him, mountains blue in shadowy 
 distance melt ; 
 And far beyond 5 the dark woods grew, where 
 
 his forefathers dwelt! 
 No breathing sound was in the air, as, leaning 
 on his bow, 6 
 7 A lone and weary pilgrim there, he murmur' d 
 stern and low; 
 
THE LAST OF THE RED MEN. 
 
 103 
 
 8 "Far by Ohio's mighty river, bright star, I've 
 worshiped thee ! 
 My native stream — its bosom never the Eed Man 
 
 more may see; 
 The Pale-face rears his wigwam | where our 
 Indian hunters roved; 
 9 His hatchet fells the forest fair, our Indian 
 maidens loved: 
 
 STRONG- 
 ER TONE. 
 
 10 "A thousand warriors bore in war the token of 
 
 my sires : 
 11 0n all the hills were seen afar their blazing 
 
 council-fires ! 
 The foeman heard their war-whoop shrill, and 
 
 held his 12 breath in fear; 
 13 And in the wood, and on the hill, their arrows 
 
 pierced the deer. 
 
 SADLY. 
 
 14 "Where are they now? — the stranger's tread is 
 
 on their silent place ! 
 15 Yon fading light on me is shed, the last | of all | 
 
 my race ! 
 Where are they now? — in Summer's light, go 1G 
 
 seek the Winter's snow! 
 17 Forgotten is our name and might, and broken 
 
 is our bow. 
 
 VERY 
 LOUD. 
 
 18 "The White Man came; his bayonets gleam 
 
 where Sachems held their sway; 
 And, like the shadow of a dream, our tribe 19 
 
 has passed away! 
 ^Curs'd be their race ! to faith untrue ! false 
 
 heart! deceitful tongue! — 
 21 Hear me, evil Manitou — revenge the Indian s 
 
 wrong ! 
 
 22 "I hear him in the hollow moan of the dark 
 heaving sea; 
 And whispers murmur in the tone, of vengeance 
 yet to be! 
 
104 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 What if no stone shall mark the spot | where | 
 
 lonely sleep the brave? 
 Their mighty arm 23 is unforgot, their glory has 
 
 no grave! 
 
 ^"But to our foes we leave a shame! — disgrace 
 can never die; 
 Their sons shall blush to hear a name still 
 blackened with a lie ! 
 25 So be it ever to their race, — false friends, and 
 hitter cares! 
 YE lotjd 26 "^ f rau d they have the Indian's place; the 
 
 Indians curse be 27 theirs!" 
 
 1 Point to left and gradually drop the hand. 2 Point in front. 3 Spread 
 out both hands — palms down. * Point backward over left shoulder with 
 left thumb. 5 Point and turn to left backward. 6 Bend forward and 
 place arm in a leaning position. 7 No. 1 hand plate. 8 Left hand out to 
 left. 9 Bring closed hand quickly down in front — action of chopping. 
 10 No. 7 arm plate. 1X Point left upward. 12 Right hand grasping neck. 
 13 Point left, then upward to left. 14 Advance two steps — use No. 5 arm 
 plate — look around. 15 Point left — then touch breast. 16 No. 8 arm plate. 
 17 Hand on breast — shake the head slowly. 18 No. 8 arm plate. 19 Swing 
 the arm to right and drop it. 20 Advance — shake right hand up in the 
 air. 21 Both hands clasped and up — look up. 22 Point, look, and bend 
 downward. 23 Shake the head sadly. " Quickly swing arm to left. 
 26 Advance — make No. 8 hand plate — high over head. 26 Bring fist down 
 strongly. 27 Advance — shake both hands over head — very excited — every 
 part of the body in agitation. 
 
THE POLISH EXILES. 
 
 105 
 
 DESCRIP- 
 TIVE. 
 
 40-THE POLISH EXILES. 
 
 Miss Pardoe. 
 
 1 Forth went they from their fatherland, a fallen 
 and fettered race, 
 To find, 2 upon a distant strand, their dark abid- 
 ing place. 
 Forth went they: 3 — not as freemen go, with 
 firm and fearless eye; 
 4 But with the bowed mien of woe, as men go 
 forth to die. 
 
 LOUD. 
 
 5 The aged | in their silver hair, the young | in 6 
 
 manhood's might, 
 7 The mother with her infant care, the child in 
 
 wild affright; 
 Forth went they all 8 a pallid band ! — with many 
 
 an anguished start: 
 The chains lay heavy on their hand, but 9 heavier 
 
 on their heart! 
 No sounds | disturbed the desert air but those 
 
 of bitter woe; 
 10 Save when, at times, re-echoed there the curses 
 
 of the foe — 
 11 When | hark I another cry pealed out — a cry of 
 
 idiot glee; 
 12 Answered, and heightened, by the shout of the 
 
 fierce soldiery! 
 
 'Twas childhood's voice ! but, ah ! 13 — how wild, 
 how demon-like its swell ! — 
 14 The mother | shrieked, | to hear her child give 
 forth that soul-fraught yell ! 
 
 And fathers 15 wrung their fettered hands be- 
 neath their maddening woe, 
 
 While shouted out their infant bands shrill 
 chorus to the foe! 
 
106 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 16 And curses deep and low were said, whose mur- 
 murs reached to 17 Heaven; 
 intense. 18 Thick sighs were heaved 19 — hot tears were shed, 
 and woman-hearts were riven; 
 As heedless of their present woes, the children 20 
 
 onward trod, 
 And sang — and their young voices rose 21 a venge- 
 ance-cry to God! 
 
 1 No. 8 arm plate. 2 Point right. 3 Hand on breast — elevate head. 
 4 Slightly bend the head. B Touch the hair. e Stand very erect. 7 No. 14 
 hand plate. 8 Falling of arms as in No. 3 arm plate. 9 Hand on heart. 
 10 No. 5 hand plate. 1X Listening attitude to left — hand behind the ear. 
 12 Point to left. 13 Clasp hands — move head. 14 Advance — throw up 
 hands wildly. 15 Wring the hands. 18 No. 4 arm plate — shake the hand. 
 17 Point upward. 18 Hand on breast and sigh. 19 Rub the cheek downward. 
 20 Sweep the hand from breast outward. 21 Shake the fist over the head. 
 
 41-THE MARINER'S DREAM. 
 
 Dimond. 
 
 natural. I n slumbers of midnight the Sailor-Boy lay ; 
 
 1 His hammock swung loose | at the sport of the 
 
 wind ; 
 But, watch-worn and weary, his cares flew away, 
 And visions of happiness 2 danced o'er his mind. 
 
 He dreamed of his home, of his dear native 
 
 bowers, 
 And pleasures that waited on life's merry morn, 
 ^hile Memory stood sideways, half covered 
 
 with flowers, 
 4 And restored every rose, but concealed every 
 thorn. 
 
 \RATHER 
 QUICK. 
 
 B Then Fancy her magical pinions spread wide, 
 And bade the young dreamer in ecstacy rise; 6 
 Now far, far behind him the green waters glide, 
 And the cot of his forefathers | blesses his eyes. 
 
THE MARINER'S DREAM. 
 
 107 
 
 7 The jessamine | clambers in flower o'er the 
 
 thatch, 
 And the swallow chirps sweet | from her nest 
 
 in the wall; 
 All trembling with transport, he raises 8 the 
 
 latch — 
 And the voices of loved ones reply to his call ! 
 
 9 A father bends o'er him with looks of delight; 
 His cheek is bedewed with 10 a mother s warm 
 
 tear; 
 And the lips of the boy in a love-kiss nnite 
 With the lips of the friends, whom his bosom 
 
 holds dear. 
 
 QUICK. 
 
 The heart 11 of the sleeper beats high in his 
 
 breast, 
 Joy quickens his pulse, all his hardships seem 
 
 o'er; 
 And the nrnrnmr of happiness steals through 
 
 his rest — 
 12 "0 Fate ! thou hast blessed me — I ash for no 
 
 more." 
 
 LOUD. 
 
 Ah ! whence 13 is that flame which now glares in 
 
 his eye? 
 Ah! what is that sound which now 14 bursts on 
 
 his ear? 
 15 'Tis the lightning's red gleam, painting wrath 
 
 on the sky ! 
 'Tis the crashing of thunders, 16 the groan of the 
 
 sphere ! 
 
 INCREAS- 
 ING 
 LOUD- 
 NESS. 
 
 17 He springs from his hammock — he flies to the 
 deck — 18 
 Amazement confronts him with images dire ! 
 Wild winds and mad waves drive the vessel a 
 wreck — 
 19 The masts | fly in splinters — the 20 shrouds are 
 on fire! 
 
108 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 21 Like mountains the billows tremendously 
 
 swell — 
 
 In vain the lost wretch calls 22 on Mercy to save : 
 
 Unseen hands of spirits are ringing his knell, 
 
 23 And the death-angel | flaps his broad wings o'er 
 
 the wave! 
 
 sorrow- 24 0h, Sailor-Boy! Sailor-Boy! never again 
 
 Shall home, love, or kindred, thy wishes repay; 
 Unblessed and unhonored, down deep in 25 the 
 
 main 
 Full many a fathom, thy frame shall decay. 
 26 No tomb shall e'er plead to Eemembrance for 
 thee; 
 But still the vast waters above thee shall roll, 
 And the white foam of waves shall thy winding- 
 sheet be — 
 Oh, Sailor-Boy! Sailor-Boy! peace to thy soul! 
 
 1 Wave hand in front. 2 Touch the forehead to the right. 3 Repeat 2 . 
 4 No. 2 arm plate. 5 Touch eyebrows and gently throw hands forward. 
 Elevate the hand from a downward position — turning palm out. 7 Point 
 to the left — upward. 8 Action of raising the latch. 9 Bend down — hands 
 clasped. 10 Touch the cheek. u Hand on heart. 12 Clasp the hands 
 under chin. 13 Quick general movement of excitement — hand out. 14 Place 
 hand behind ear. 15 Point and look up — put the left foot well back. 
 1G Same as 15 . 17 Advance quickly, swing arm from chest outward. 18 Up- 
 ward movement of right hand. 19 Point up. 20 Point up again. 21 Raise 
 both arms as in No. 1 arm plate. 22 Hold clasped hands upward — look 
 up. 23 Separate and drop the hands. 2 * No. 7 hand plate — shake the 
 finger. 25 Point down. 26 Still pointing down — keep position until finish. 
 
THE OLD CLOCK ON THE STAIRS. 
 
 109 
 
 NATURAL 
 AND 
 FLOW- 
 ING. 
 
 EMPHA- 
 SIZE 
 ITALI- 
 CIZED 
 WORDS. 
 
 42-THE OLD CLOCK ON THE STAIRS. 
 
 H. W. Longfellow. 
 
 Somewhat back from the village street stands 1 
 the old-fashioned country-seat: across its antique 
 portico tall poplar-trees their shadows throw, and 
 irom its station in 2 the hall | an ancient time- 
 piece says to all — z "For ever — never I never — for 
 ever. Halfway up the stairs it 4 stands, and 
 points and beckons with its hands from its case 
 of massive oak ; like a monk, who, under his cloak, 
 crosses himself and sighs, alas ! with sorrowful 
 voice to all who pass, — "For ever — never! never — 
 for ever!" 5 By day its voice is low and light; 
 but in the silent dead of night, distinct as a pass- 
 ing footstep's fall, it echoes 6 along the vacant 
 hall, along the ceiling, along the floor, and seems 
 to say, at each chamber-door, — "For ever — never! 
 never — for ever!" Through days 7 of sorrow and 
 of mirth, through days of death and days of birth, 
 through every swift vicissitude of changeful time, 
 unchanged it has stood; and as if, like God, it all 
 things saw, it calmly repeats those words of awe, — 
 s "For ever — -never! never — for ever!" 
 
 9 In that mansion used to be free-hearted Hos- 
 pitality; his great fires up the chimney roared: 
 the stranger feasted at his board; but, like the 
 ^skeleton at the feast, that warning timepiece 
 never ceased, — llfe For ever — never! never — for 
 ever!" There groups of merry children played, 
 there youths and maidens dreaming strayed: 12 
 
 precious hours! 
 of love and time ! 
 gold, those hours 
 
 golden prime, and affluence 
 
 IMPRESS- 
 IVE. 
 
 Even as a miser counts 13 his 
 the ancient timepiece told, — 
 "For ever — never! never — for ever!" From that 
 chamber, 14 clothed in white the bride came forth 
 on her wedding night; there, in that silent room 
 below, the dead 15 lay in his shroud of snow! and 
 in the hush, that followed the prayer, was heard 
 the old clock on the stair, — 1Q "For ever — never! 
 never — for ever!" All are scattered now and 
 
110 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 fled, some are married, some are dead, and when I 
 ask, with throbs of pain, 17 "Ah! when shall they 
 all meet again?" as in the days long since gone 
 by, the ancient" timepiece makes reply, — 18 "For 
 ever — never! never — for ever!" Never here, for 
 ever there, where all parting, pain, and care, and 
 death, and time, shall disappear, — for ever there, 
 but never here ! The horologe of Eternity 19 
 sayeth this incessantly, — "For ever — never! 
 
 NEVER EOR EVER !" 
 
 1 No. 8 arm plate. 2 Repeat \ 3 Imitate action of a pendulum by 
 waving the hand with regular motion. 4 Point up. 5 No. 1 hand plate. 
 Point up — then down. T Left hand, No. 4 hand piate. 8 Repeat 3 . 
 9 Extend both hands — walk forward. 10 Point in front, using index finger. 
 11 Repeat 3 . 12 Clasp hands earnestly. 13 Bend head — imitate a person 
 counting money. 14 Point to right. 15 Point down. 18 Repeat •• 1T Both 
 hands, No. 5 arm plate. 18 Repeat 3 . 19 Point upward. 
 
 43-THE PROGRESS OF MADNESS. 
 
 M. G. Lewis. 
 
 jloud. 1 8tay, gaoler ! stay, and hear my woe ! she is not 
 
 mad who kneels to thee; 
 For what I am now too well I know, and what 
 I was — and what should be! 
 2 F11 rave no more in proud despair — my language 
 shall be mild, though sad; 
 But yet Fll firmly? truly swear, I am not mad! 
 I am not mad! 
 
 PLEAD- 
 ING. 
 
 SUBDUED. 
 
 4 My tyrant foes have forged the tale, which 
 
 chains me in this dismal cell! 
 My fate unknown my friends bewail — Oh! 5 
 
 gaoler, haste that fate to tell! 
 Oh ! haste my father's heart to cheer ; his heart 
 
 at once 'twill grieve and glad, 
 To know, though chained, a captive here, 6 I am 
 
 not mad! I am not mad! 
 
THE PKOGKESS OF MADNESS. 
 
 Ill 
 
 INCREASE 
 THE 
 TONE. 
 
 7 He smiles in scorn — he 8 turns the key — he 9 quits 
 the grate — I knelt in vain ! 
 His glimmering lamp still, 10 still I see — n 'tis 
 gone — and all is gloom again ! 
 L2 Cold, bitter cold! — no warmth, no light! Life, 
 all thy comforts once I had ! 
 Yet here I'm chained, this freezing night, al- 
 though \ not mad! no, no — not mad! 
 
 'Tis sure some dream 13 — some vision vain ! 
 
 What ! I the child of rank and wealth ! 
 Am I the wretch who 14 clanks this chain, bereft 
 
 of freedom, friends and health? 
 Ah! while I dwell on blessings fled, which 
 
 never more my heart must glad, | 
 15 How aches my heart, how 16 burns my head! 
 
 but 'tis not mad ! it is not mad ! 
 
 PATHET- 
 IC. 
 
 [LOUD. 
 
 17 Hast thou, my child, forgot ere this a parent's 
 
 face, a parent's tongue? 
 I'll ne'er forget thy parting kiss, nor round my 
 
 neck how fast you clung! 
 Nor how with me you sued to stay, nor how that 
 
 suit my foes forbade; 
 Nor how — ls ril drive such thoughts away— 
 
 they'll make me mad; they^ll make me 
 
 mad! 
 
 quibt. 19 Thy rosy lips, how sweet they smiled; thy mild 
 
 blue eyes, how bright they shone ! 
 None ever saw a lovelier child! and art thou 
 
 now for ever gone? 
 And must I never see thee more, my pretty, 
 pretty, pretty lad? 
 ^I will be free ! — Unbar the door ! I am not mad ! 
 I am not mad! 
 
 Oh, hark! 21 what mean those yells and cries? 
 
 His chain some furious madman breaks ! 
 He comes ! I see his glaring eyes ! 22 now, now, 
 
 my dungeon-grate he shakes! 
 
112 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 23 Help! help! | 24 He's gone! — fearful woe, such 
 screams to hear, such sights to see ! 
 
 25 My brain, my brain ! I know, I know I am not 
 mad — but soon shall be! — 
 
 Yes, soon! for lo! now, 26 while I speak, mark 
 
 HOW YON DEMON'S EYEBALLS GLARE ! 
 
 very 27 He sees me ! — now, with dreadful shriek, he 28 
 
 whirls a serpent high in air ! 
 Horror! the reptile strikes his tooth 29 deep in 
 my heart, so crushed and sad ! 
 30 Ay, laugh, ye fiends ! I feel the truth ! your task 
 is done — 31 Fm mad! I'm mad! 
 
 LOUD. 
 
 1 Kneel and extend both hands. 2 Rubbing side of face downward. 
 3 Clasp the hands on breast. 4 No. 1 hand plate. 5 Clasp hands — extend 
 them. 6 Hand on breast — shake the head. 7 Point. 8 Action of turning key 
 in door. " Stand up. 10 Walk three or four steps — looking intently — point- 
 ing. u Drop hand — dejection. 12 Cross hands over breast — shiver. 13 Clasp 
 the head with the hand — looking about wildly. 14 Raise arms up and 
 down. 15 Hand on heart. 16 Cover forehead with hand. 1T Kneel down — 
 right hand extended downward. 18 Throw hand violently from head. 
 19 Still kneeling — clasp hands — look down. 20 Jump up — rush three steps — 
 wave hands wildly over head. 21 Attitude of listening. 22 Step back — 
 both hands as in No. 6 hand plate. 2S Throw hands up wildly and fall 
 on stage. 24 Slowly assume a crouching position — hand grasping throat. 
 25 Both hands holding sides of head. 26 Stand — point and shake fingers. 
 17 Shrink back — all the fingers pointing to front. 28 Wave hand in circular 
 movement around head. 29 Hand on heart. 30 Take two steps back — shak- 
 ing both hands violently. 31 Look up — both hands clasping head. 
 
THE COLLIER'S DYING CHILD. 
 
 113 
 
 44-THE COLLIER'S DYING CHILD. 
 
 CONVER- 
 SATIONAL. 
 
 Farmer. 
 
 The cottage was a thatched one/ its outside old 
 
 and mean; 
 2 Yet everything within the cot was wondrous 
 
 neat and clean: 
 The night was dark and stormy, — the wind was 
 
 blowing wild; — 
 A patient mother | sat beside 3 the death-bed of 
 
 her child, — 
 A little worn-out creature — his once bright 
 
 eyes | grown dim: 
 4 He was a Collier's only child — they called him 
 
 "Little Jim." 
 
 SLOW. 
 
 And oh! to see 5 the briny tears fast flowing 
 
 down her cheek, 
 As she offered up a prayer in thought; — she 
 
 was afraid to speak, 6 
 Lest she might waken one she loved far dearer 
 
 than her life; 
 7 For she had all a mother's heart, that wretched 
 
 Collier's wife. 
 With hands uplifted, see, 8 she kneels beside the 
 
 sufferer's bed, 
 9 And prays that God would spare her boy, and 
 
 take herself instead: 
 She gets her answer from the child — soft fall 
 
 these words from him — 
 10u Mother, the angels do so smile, and beckon 
 
 Little Jim! 
 
 "I have no pain, dear mother, now; but, oh! 11 
 
 I am so dry: 
 Just moisten poor Jim's lips once more; and, 
 
 mother, do not cry !" 
 
114 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 12 With gentle, trembling haste, she held a tea- 
 cup to his lips — 
 He smiled to thank her — then he took three 
 little tiny sips. 
 13 "Tell father, when he comes from work, I said 
 'good-night!' to him; 
 blow. A n( ^ mother, now I'll go to sleep." . . . 
 
 14 Alas! poor Little Jim! 
 low. She saw that he was dying! The child she 
 
 loved so dear, 
 Had utter' d the last words | she'd ever hope to 
 hear. 
 
 15 The cottage door is opened — the Collier's step 
 is heard; 
 The father and the mother meet, 16 but neither 
 speak a word: 
 17 He felt that all was over — he knew the child 
 was dead! 
 He took the candle 18 in his hand, and stood be- 
 side the bed: 
 19 His quivering lip | gave token of the grief he'd 
 fain conceal; 
 And see, the mother joins him! the stricken 
 couple kneel; 
 20 With hearts bowed down by sorrow they humbly 
 ask, of Him, 21 
 In Heaven | once more to meet | their, own 
 poor "Little Jim!" 
 
 1 Point in front. * Both hands open as in No. 5 arm plate. s Point 
 downward. 4 Same as 3 . 5 Rub the cheek with fingers. 6 Hand on breast — 
 shake the head slowly. 7 Send right hand to heart. 8 Point down. 9 Hands 
 together in prayer. 10 Hands clasped under chin — look up — speak softly. 
 11 Right hand on throat. 12 Join thumb and first finger as holding teacup. 
 13 Clasp hands. 14 Drop hands — droop the head. 15 Separate the hands in 
 front — palms up. 16 No. 11 hand plate. 17 Hand to breast — bend the 
 head. 18 Same movement as 1J . 19 Touch the lips. 20 Clasp hands — bow 
 the head. 21 Look upward — hands still clasped. 
 
THE RAVEN. 
 
 115 
 
 LOW. 
 
 SURPRISE. 
 
 45-THE RAVEN. 
 
 Edgar Allan Toe. 
 1 0nce | upon a midnight drear} 7 , while I pon- 
 dered weak and weary, 
 Over many a quaint and curious volume of 
 
 forgotten lore — 
 While I nodded, nearly napping, 2 suddenly | 
 
 there came a tapping, 
 As of some one gently' 3 rapping, rapping at my 
 
 chamber door. 
 " ? Tis some visitor," I muttered, "tapping at 
 my chamber door — 
 
 Only this, and nothing more." 
 
 REMINIS- 
 CENT. 
 
 Ah, distinctly I remember it was in the bleak 
 
 December, 
 And each separate dying ember 4 wrought its 
 ghost upon the floor. 
 ^Eagerly I wished the morrow; — vainly I had 
 
 sought to borrow 
 6 From my books surcease of sorrow — sorrow for 
 the lost Lenore — 
 For the rare and radiant maiden whom the 
 angels name Lenore — 
 
 Nameless here for evermore. 
 
 QUICK. 
 
 7 And the silken sad uncertain rustling of each 
 
 purple curtain 
 8 Thrilled me — filled me with fantastic terrors 
 never felt before; 
 So that now, to still the beating of my heart, 9 
 
 I stood repeating, 
 " ? Tis some visitor entreating entrance 10 at my 
 
 chamber door — 
 Some late visitor entreating entrance at my 
 chamber door; 
 
 This it is, and nothing more." 
 
116 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 \LOUDER. 
 
 Presently my soul grew stronger; hesitating 
 then no longer, 
 ""Sir," said I, "or Madam, truly, your forgive- 
 ness I implore; 
 
 But the fact is I was 12 napping, and so gently 
 you came rapping,^ 3 
 
 And so faintly you came tapping, tapping at 
 my chamber door, 
 
 That I scarce was sure I heard you" — here I 
 opened wide the door; — 14 
 
 15 Darhness there, and nothing more. 
 
 MONOTONE. 
 
 Deep into that darkness peering, long I stood 
 
 there wondering, fearing, 
 Doubting; dreaming dreams no mortal ever 
 
 dared to dream before, 
 But the silence was unbroken, and the stillness 
 
 gave no token, 
 And the only word there spoken, was the 
 
 whispered word "Lenore I" 
 This I whispered, and an echo murmured back 
 
 the word, "Lenore !" — 
 
 16 Merely this, and nothing more. 
 
 quick. Back 17 into the chamber turning, all my soul 
 
 within me burning, 
 18 i3oon again I heard a tapping, something louder 
 than before. 
 "Surely," said I, "surely that is something at 
 my window lattice ; 
 19 Let me see, then, what thereat is, and this 
 mystery explore — 
 Let my heart be still a moment, and this mys- 
 tery explore; — - 20 
 
 ? Tis the wind, and nothing more." 
 
 21 Open here I flung the shutter, when, with many 
 
 a flirt and flutter, 
 22 In there stepped a stately Raven of the saintly 
 
 days of yore. 
 
THE RAVEN. 
 
 117 
 
 Not the least obeisance made he; not a ininute 
 
 stopped or staid he; 
 But, with mien of lord or lady, perched above 
 my chamber door — 
 ^Perched upon a bust of Pallas, just above my 
 chamber door — 
 
 Perched, and sat, and nothing 
 more. 
 
 LOUD. 
 
 Then this ebony bird beguiling my sad fancy 
 into smiling, 
 
 By the grave and stern decorum of the coun- 
 tenance it wore, 
 24 "Though thy crest be shorn and shaven, thou/' 
 
 I said, "art sure no craven, 
 
 Ghastly, grim, and ancient Eaven, wandering 
 
 from the Nightly shore — 
 Tell me what thy lordly name is on the Night's 
 
 Plutonian shore !" 
 
 Quoth the Baven, "Nevermore." 
 
 VERY 
 QUICK. 
 
 Much 25 I marvelled this ungainly fowl to hear 
 discourse so plainly, 
 
 Though its answer little meaning — little rele- 
 vancy bore: 
 
 For we cannot help agreeing that no living 
 human being 
 
 Ever yet was blessed with seeing bird above his 
 chamber door — 2Q 
 
 Bird or beast upon the sculptured bust above 
 his chamber door, 
 
 With such name as "Nevermore." 
 
 QUIET. 
 
 But the Baven 27 sitting lonely on that placid 
 
 bust, spoke only 
 That one word, as if his soul in that one word 
 
 he did outpour. 
 Nothing farther then he uttered; not a feather 
 
 then he fluttered — 
 Till I scarcely more than muttered, "Other 
 
 friends have flown before — 
 
118 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 On the morrow he will leave me, as my hopes 
 have flown before/ 7 
 
 Then the bird said, "Nevermore." 
 
 quick. 28 Startled at the stillness broken by reply so aptly 
 
 spoken, 
 
 "Doubtless," said I, "what it utters is its only 
 stock and store, 
 
 Caught from some unhappy master whom un- 
 merciful Disaster 
 
 Followed fast and followed faster, till his songs 
 one burden bore — 
 
 Till the dirges of his Hope that melancholy 
 burden bore 
 
 Of 'Never — nevermore.' * 
 
 But the Eaven still beguiling all my sad soul 
 into smiling, 
 29 Straight I wheeled a cushioned seat in front of 
 bird and bust and door; 
 Then, upon the velvet sinking, I betook myself 
 
 to linking 
 Fancy unto fancy, thinking what this ominous 
 bird of yore — 
 30 What this grim, ungainly, ghastly, gaunt, and 
 ominous bird of yore 
 
 Meant in croaking "Nevermore." 
 
 This I sat engaged in guessing, but no syllable 
 expressing 
 
 To the 31 fowl whose fiery eyes now burned into 
 my bosom's core; 
 
 This and more I sat divining, with my head 
 at ease reclining 
 
 On the cushion's velvet lining that the lamp- 
 light gloated o'er, 
 
 But whose velvet lining with the lamp-light 
 gloating o'er, 
 
 She shall press, ah, nevermore ! 
 
THE RAVEN. 
 
 119 
 
 Then, methought, 32 the air grew denser, per- 
 fumed from an unseen censer 
 
 Swung by Seraphim whose foot-falls tinkled 33 
 on the tufted floor. 
 uystery. ^'Wretch/' I cried, "thy God hath lent thee— 
 by these angels He hath sent thee — 
 
 Respite — respite and nepenthe from thy memo- 
 ries of Lenore; 
 
 Quaff, oh quaff this kind nepenthe, and forget 
 this lost Lenore!" 
 
 Quoth the Kaven, ''Nevermore/' 
 
 VERY 
 LOUD. 
 
 "Prophet!" 35 said I, "thing of evil; — prophet 
 
 still, if bird or devil! — 
 Whether Tempter sent, or whether tempest 
 
 tossed thee here ashore, 
 Desolate, yet all undaunted, on this desert land 
 
 enchanted — 
 On this home by Horror haunted — tell me 
 
 truly, I implore — 36 
 Is there — is there balm in Gilead? — tell me — 
 
 tell me — I implore!" 
 
 Quoth the Kaven, ''Nevermore/' 
 
 "Prophet!" 37 said I, "thing of evil! — prophet 
 
 still, if bird or devil! 
 By that heaven that bends above us — by 38 that 
 God we both adore — 
 39 Tell this soul with sorrow laden if, within the 
 
 distant Aidenn, 
 40 It shall clasp a sainted maiden whom the angels 
 named Lenore — 
 Clasp a rare and radiant maiden whom the 
 angels named Lenore?" 
 
 Quoth the Raven, "Nevermore/* 
 
 HIGH KEY. 
 LOUD. 
 
 "Be that 41 word our sign of parting, bird or 
 fiend!" I shrieked, upstarting — 42 
 
 Get thee baclc 43 into the tempest and the 
 Night's Plutonian shore! 
 
120 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 Leave no black plume as a token of that lie 
 
 thy soul hath spoken ! 
 Leave my loneliness unbroken! — quit the bust 
 above my door ! 
 u Tdke thy beak from out my heart, | and take 
 thy form from off my door !" 
 
 Quoth the Kaven, "Nevermore." 
 
 45 And the Kaven, never flitting, still is sitting, 
 still is sitting 
 On the pallid bust of Pallas, just above my 
 
 chamber door; 
 And his eyes have all the seeming of a demon's 
 that is dreaming, 
 low And the lamp-light o'er him streaming throws 
 
 A slow. his shadow on the floor; 
 
 And | * 6 my soul, | from out that shadow that 
 lies floating on the floor, 
 
 Shall be lifted — nevermore! 
 
 1 The reciter is seated at a table on which a lamp and open book is 
 placed — drops hand on book — looks to front. 2 Quick movement of sur- 
 prise. 3 Action of tapping with fingers. 4 Index finger pointing to floor — 
 describe with it a small circle. 5 Clasp hands. c Touch the book. 7 Point 
 to right side, then bring hand to breast. 8 Grasp the breast. 9 Stand up. 
 10 Both hands extended. 1X Take slowly four steps to right. 12 Rubbing the 
 eyes. 13 Action of tapping. 14 Open both arms. 15 Point to right. 16 No. 
 5 arm plate. 17 Take four steps back to center. 18 Movement of surprise. 
 19 Take three steps to left — hand on heart. 20 No. 1 hand plate. 21 Fling 
 hands to left as if opening shutter. 22 Wave the right hand from left 
 side to right. 23 Point upward to the right. 2 * Right hand directed up- 
 ward to the right. 25 Both hands in front. 20 Point up right. 27 Shake 
 finger up right at Raven. 28 No. 5 arm plate. 29 Move the chair, that 
 when seated you will face Raven. 30 Seated — right hand gesticulating at 
 Raven. 31 Point to bird, then bring hand to breast. 32 Both hands out — 
 fingers pointing upward. 33 Shake finger — pointing at floor. 34 Right hand 
 up — look at Raven. 35 Same gesture. 36 Clasp hands. 37 Right hand up. 
 38 No. 4 arm plate. 39 Hand on breast. 40 No. 14 hand plate. 41 Shake 
 fist at Raven. 42 Rise quickly. 43 Swing right hand from left shoulder 
 across to extreme right. 44 Place hand over heart — throw head well back. 
 45 Seated in chair facing audience — hands hanging down. 46 Hands on 
 breast. 
 
THE DIVER. 
 
 121 
 
 ,RATHER 
 LOUD. 
 
 46-THE DIVER. 
 
 Schiller. 
 (Translated oy J. C. Mangan.) 
 1 Baron or vassal, is any so bold 
 
 2 As to plunge in yon gulf, and follow, 
 Through chamber and cave, this beaker 3 of 
 gold— 
 Which already the waters whirlingly swallow ? 
 4 Who retrieves the prize from the horrid abyss 
 Shall keep it : the gold and the glory be his !" 
 
 So spake the king, and incontinent flung — 5 
 From the cliff, that, gigantic and steep, 
 
 High over Charybdis's whirlpool hung, 
 A glittering wine-cup down in the deep; 
 
 And again he asked : 6 "Is there no one so brave 
 
 As to plunge for the gold in the dangerous 
 wave ?" 
 
 LOUD. 
 
 And the knights and the knaves all answerless 
 hear 
 The challenging words of the speaker; 
 And some glance downwards with looks of fear. 
 And none are ambitious of winning the 
 beaker. 
 And a third time the king his question urges — 
 7 "Dares none, then, breast the menacing surges ?" 
 
 8 But the silence lasts unbroken and long; 
 9 When a Page, fair-featured and soft, 
 Steps forth from the shuddering vassal-throng, 
 10 And his mantle and girdle already are doffed : 
 And the groups of nobles and damsels nigh 
 Envisage the youth with a wondering eye. 
 
 He dreadlessly moves 11 to the gaunt crag's brow, 
 And measures the drear depth under; — 
 
 But the waters Charybdis had swallowed, she 
 now 
 Eegurgitates, bellowing back in thunder; 
 
122 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 DESCRIP- 
 TIVE. 
 
 12 And the foam, with a stunning and horrible 
 sound, 
 Breaks its hoar way through the waves around. 
 
 And now, ere the din rethunders, the youth 13 
 
 Invokes the great name of God; 
 And blended shrieks of horror and ruth 
 quick. Burst forth as he plunges 14 headlong unawed : 
 
 And down he descends through the watery bed, 
 And the waves boom over his sinking head. 
 
 sur- 
 prise. 
 
 15 Now, wert thou even, Monarch ! to fling 
 Thy crown in the angry abyss, 
 And exclaim, "Who recovers the crown | shall 
 be king!" 
 The guerdon were powerless to tempt me, 
 I wis; 
 But hark! — 16 with a noise like the howling of 
 
 storms, 
 Again the wild water the surface deforms. 
 
 When, lo ! 17 ere as yet the billowy war, 
 Loud raging beneath, is o'er, 
 18 An arm and a neck are distinguished afar 
 
 And a swimmer is seen to make for the shore ; 
 19 And hardily buffeting surge and breaker, 
 He springs upon land with the golden beaker. 
 
 
 Now bearing the booty 20 triumphantly, 
 21 At the foot of the throne he falls, 
 And he proffers his trophy on bended knee; 
 And the king to his beautiful daughter calls, 
 22 Who fills with red wine the golden cup, 
 While the gallant stripling again stands up : 
 
 'All hail to the King! 23 Eejoice, ye who 
 breathe 
 Wheresoever Earth's gales are driven! 
 
THE DIVER. 
 
 123 
 
 ^DECLAM- 
 ATORY. 
 
 For ghastly and drear is the region beneath; 
 And let man beware how he tempts high 
 Heaven ! 
 Let him never essay to uncurtain to light 
 24 What destiny shrouds in horror and night. 
 
 "But the God I had cried to answered me 25 
 When my destiny darkliest frowned, 
 26 And He showed me a reef of rocks in the sea, 
 27 Whereunto I clung, and there I found 
 On a coral crag, the goblet of gold, 
 Which else to the lowermost crypt had rolled. 
 
 INCREASE 
 THE 
 FORCE. 
 
 "And there I hung, 28 aghast and dismayed, 
 
 Among skeleton larvae; the only 
 Soul conscious of life — despairing of aid 
 
 In that vastness untrodden and lonely. 
 But the maelstrom grasped me with arms of 
 
 strength, 
 And upwhirled? 9 and upbore me to daylight at 
 length." 
 
 Then spake to the page the marvelling king — 
 30 "The golden cup is thy own, 
 But — I promise thee further this jewelled ring, 
 
 That beams with a priceless hyacinth stone, 
 Shouldst thou dive once more, and discover 
 
 for me 
 The mysteries shrined in the cells of the sea." 
 
 PLEADING 
 TONE. 
 
 Now the king's fair daughter was touched and 
 grieved, 
 And she fell at her father's feet — 
 31 "0 father ! enough what the youth has achieved ! 
 Expose not his life anew, I entreat ! 
 If this your heart's longing you cannot well 
 
 tame, 
 There are surely knights here who will rival 
 his fame," 
 
124 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 But the king hurled 32 downwards the golden 
 cup; 
 And he spake, as it sank in the wave — 
 33 "Now, shouldst thou a second time bring it 
 me up, 
 As my knight, and the bravest of all my 
 brave, 
 Thou shalt sit at my nuptial banquet, and she 
 Who pleads for thee thus thy wedded wife 
 shall be !" 
 
 34 Then the blood to the youth's hot temples rushes, 
 
 And his eyes on the maiden are cast, 
 
 quick. And he sees her at first overspread with blushes, 
 
 And then growing pale and sinking aghast; 
 
 35 So, vowing to win so glorious a crown, 
 
 For life, or for death, he again plunges 36 down ! 
 
 {SLOW. 
 
 37 The far-sounding din returns amain, 
 And the foam is alive as before, 
 And all eyes are bent downward. In vain! in 
 vain ! 38 
 The billows indeed re-dash and re-roar; 
 But, while ages shall roll, and those billows 
 shall thunder, 
 39 That youth shall sleep under! 
 
 1 Both hands, No. 1 hand plate — look around. * Point down. 3 As 
 holding cup. 4 Still holding cup. 5 Throw it downward. 6 No. 1 hand 
 plate — turn body to right and left. 7 Point down. 8 Both hands ex- 
 tended in front — palms down. 9 Point to left. 10 Action of taking off 
 cloak. X1 Send hand from breast outward. 12 Point downward. 13 No. 10 
 hand plate — look up. 14 Quickly point down. 15 No. 1 hand plate. 16 Step 
 to right — hand to ear. 17 Step back — hand perpendicular in front of face. 
 18 Point down and outward. 19 Motion of swimming. 20 No. 6 arm plate. 
 21 Point down. 22 Action of pouring wine into cup. 23 Wave the hand up- 
 ward. 2 * No. 12 hand plate. 25 Clasp hands— look up. 26 Point in front. 
 27 Both hands to front clinched. 28 Same gesture — eyes up and sparkling. 
 29 Rising gesture — both hands as in No. 1 arm plate. 30 As holding out 
 cup. 31 No. 13 hand plate — advance one step — look up. 32 Action of 
 throwing down cup. 33 No. 1 hand plate. 34 Send right hand to the fore- 
 head. 35 No. 4 arm plate. 36 Quickly point downward. 37 Point down. 
 38 Clasp hands — looking down. 39 Shake finger downward. 
 
OUR FOLKS. 
 
 125 
 
 LIVELY. 
 
 EARNEST. 
 
 LOUD. 
 
 47-OUR FOLKS. 
 
 Ethel Lynn. 
 "Hi ! Harry I 1 halt a breath, and tell a comrade 
 
 just a thing or two; 
 You've been on furlough? been to see how all 
 
 the folks in Jersey do ? 
 It's long ago since I was there, — I, and a bullet 
 from Fair Oaks: — 
 2 When you were home, old comrade, say, did yon 
 see any of 'our folks'? 
 
 3 "You did? Shake 4 hands. That warms my 
 
 heart ; for, if I do look grim and rough, 
 
 I've got some feeling ! People think a soldier's 
 
 heart is nought but tough; 
 But, Harry, when the bullets fly, and hot salt- 
 petre flames and smokes, 
 5 While whole battalions lie a-field, one's apt to 
 think about his 'folks/ 
 
 "And so you saw 6 them — when? and where? 
 
 The Old Man — is he hearty yet ? 
 And Mother — does she fade at all? or does she 
 
 seem to pine and fret 
 For me ? And Sis 7 — has she grown tall ? And 
 
 did you see her friend, — 8 you know, — 
 That Annie Moss — How this 9 pipe chokes! — 
 
 where did you see her? 10 Tell me, Hal, 
 
 a lot of news about 'our folks.' 
 
 "You saw them in the church, you say ; it's likely, 
 
 for they're always there. 
 Not Sunday? 11 No?— A funeral? 12 Who? 
 
 Who, Harry ? — How you shake and stare ! 
 All well, you say, and all were out — What ails 
 
 you, Hal? Is this a hoax? 
 Why don't you tell me like a man, 13 what is the 
 
 matter with 'our folks' ?" 
 
 "I said all well, old comrade — true; 14 I say all 
 well; for 15 He knows best 
 
126 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOW AND 
 SLOW. 
 
 SOOTH- 
 ING. 
 
 SLOW. 
 
 Who takes the young ones in His arms before the 
 
 sun goes to the west. 
 Death deals at random, right and left, and 10 
 
 flowers fall as well as oaks; 
 17 And so — fair Annie blooms no more! . . . 
 
 and that's the matter with your 'folks.' 
 
 18 "But see, this curl was kept for you; and this 
 
 white blossom from her breast ; 
 And look, 19 your sister Bessie wrote this letter, 
 
 telling all the rest: — 
 Bear up, old friend I" . . . Nobody speaks ; 
 
 only the old camp-raven 20 croaks, 
 And soldiers whisper: — "Boys, be still; there's 
 
 some bad news from 21 Granger's 'folks.' " 
 
 He turns his back — the only foe that ever saw 
 
 it — on this grief, 
 And, as men will, keeps down the tears kind 
 
 Nature sends to Woe's relief, 
 Then answers :— 22 "Thank you, Hal, I'll try; 
 
 but- in my 23 throat there's something 
 
 chokes, 
 Because, you see, I've thought so long to count 
 
 her in among 'our folks.' 
 
 "I daresay she is happier now; but still I can't 
 
 help thinking, too, 
 
 24 I might have kept all trouble off, by being tender, 
 
 kind and true — 
 
 But maybe not . . . 25 She s safe up there ! 
 
 and when God's hand deals other strokes, 
 
 26 She'U stand by Heaven's gate, I know, and 
 
 1 Carelessly throw out right hand. 2 Put both hands in pockets and 
 slightly swagger. 3 Put out right hand. 4 As if shaking hands. 5 No. 5 
 arm plate. 6 Take two steps to right whilst speaking. 7 Put out hand — 
 palm down to indicate her height. 8 Careless off-hand gesture. 9 Smother 
 a cough. 10 No. 1 hand plate. 1X Advance. 12 Right hand out — very ear- 
 nest. 13 Shake right hand. 14 No. 1 hand plate. 15 Point upward slowly. 
 16 Point downward. 17 Raise the hands up and drop them quickly. 18 As 
 holding up curl. 19 Put out hand — thumb and first finger together. 20 Point 
 left. 21 Point over left shoulder with left thumb. 22 Hands on head. 
 "Clutch at throat. 24 No. 1 hand plate. "Point slowly upward. "Still 
 pointing up. 
 
SHERIDAN'S RIDE. 
 
 127 
 
 LIVELY. 
 
 QUICK. 
 
 TERY 
 RAPID. 
 
 48-SHERIDAN'S RIDE. 
 
 Thomas Buchanan Rend. 
 
 1 Up from the south at break of day, bringing 
 to Winchester fresh dismay, the affrighted air with 
 a shudder bore, like a herald in haste, to the 
 chieftain's door, 2 the terrible grumble and rumble 
 and roar, telling the battle was on once more — 
 3 and Sheridan twenty miles away! 
 
 And wilder still those billows of war 4 thundered 
 along the horizon's bar; and louder yet into Win- 
 chester | rolled the roar of that red sea uncon- 
 trolled, 5 making the blood of the listener cold — 
 as he thought of the stake in that fiery fray, 6 with 
 Sheridan twenty miles away! 
 
 7 But there is a road from Winchester town, a 
 good broad highway leading down: and there, 
 through the flash of the morning light, a steed as 
 •black as the steeds of night, was seen to pass as 
 with eagle flight; — as if he knew the terrible need, 
 he stretched away with the utmost speed; 8 hills 
 rose and fell— but his heart was gay, 9 with Sheri- 
 dan fifteen miles away ! 
 
 10 Still sprung from these swift hoofs, thundering 
 south, the dust, like the smoke from the cannon's 
 mouth, or the trail of a comet sweeping faster 
 and faster; foreboding to traitors the doom of 
 disaster : the heart 11 of the steed and the heart of 
 the master were beating like prisoners assaulting 
 their walls, impatient to be where the battle-field 
 calls; 12 every nerve of the charger was strained to 
 full play, with Sheridan 13 only ten miles away! 
 
 Under his spurning feet, 14 the road like an ar- 
 rowy Alpine river flowed; 15 and the landscape 
 sped away behind, like an ocean, flying before the 
 wind; and the steed, like a bark fed with furnace 
 ire, swept 16 on with his wild eyes full of fire : but, 
 lo ! he is nearing his heart's desire — he is snuffing 
 the smoke of the roaring fray; with Sheridan 17 
 only five miles away ! 
 
128 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 The first that the General saw/ 8 were the groups 
 of stragglers, and then, the retreating troops ! — 19 
 What was done — what to do — a glance told him 
 both; and striking his spurs, with a terrible oath 
 he dashed 20 down the line 'mid a storm of huzzahs, 
 and the wave of retreat checked its course there, 
 because the sight of the master 21 compelled it to 
 pause. 22 With foam and with dust the black 
 charger was grey : by the flash of his eye, and his 
 red nostriPs play, he seemed to the whole great 
 army 23 to say, "I have brought you Sheridan, all 
 the way from Winchester-town to save the day!" 
 L0UD - ^Hurrah, hurrah for Sheridan ! hurrah, hurrah 
 
 for horse and man! and when their statues are 
 placed on high under 25 the dome of the Union 
 sky, — the American soldier's Temple of Fame, — 
 there with the glorious General's name, be it said 
 in letters both bold and bright : "Here is the steed 
 that saved the day by carrying Sheridan into the 
 fight, from Winchester — twenty miles away!" 
 
 1 Sweep the extended right arm inward. 2 Right hand out — use the 
 upward and downward movement on emphatic words. B Point to the ex- 
 treme right — step to right. 4 Make three waves with the right hand in 
 bringing it from right to center. 5 Both hands on chest. 6 Point and step 
 to right. 7 Gradually bring hand from right to center. 8 Elevate and de- 
 press hand in front. 9 Step and point to right. 10 No. 8 arm plate. 
 11 Hand on heart. 12 Put forward both hands clinched. 13 Step and point 
 to right. 14 Point down. 15 Sweep hand from breast to extreme right. 
 16 Repeat 15 . 17 Step and point right. 18 No. 5 arm plate. 19 Gesticulate 
 alternately with both hands. 20 Send hand from breast out front — advance. 
 21 Bring hand down in front forcibly. 22 No. 1 hand plate. 23 No. 5 arm 
 plate. 24 Wave hand several times over head. 25 Point upward in front. 
 Retain this position to the end. 
 
PAUL REVERE' S RIDE. 
 
 120 
 
 49-PAUL REVERE'S RIDE. 
 
 H. W. Longfellow. 
 
 quick. listen, friends all, and yon shall hear of the 
 
 midnight ride of Panl Eevere, on the eighteenth of 
 April, in 'Seventy-five; not one man is now alive 
 who remembers that f amons day and year. . . . 
 He said to 2 his friend, "If the British march by 
 land or sea from the town to-night, hang a latern 3 
 
 brisk. a ^ ^ ^ n ^ e belfry arcn °f the North Church tower, 
 
 as a signal light, 4 — one, if by land, and 5 two if by 
 sea, 6 and I on the opposite shore will be, — ready to 
 ride and spread the alarm throngh every Middlesex 
 village and farm, for the country-folk 7 to be up 
 and to arm l" Then he said "Good-night I" and, 
 with muffled oar, silently rowed 8 to the Charles - 
 town shore, just 9 as the moon rose over the bay, 
 where swinging wide at her moorings 10 lay the 
 'Somerset, British man-of-war — a phantom-ship, 
 with each mast and spar across the moon like a 
 prison bar ; and a huge black hnlk, that was magni- 
 fied by its own reflection in the tide. 
 
 Meanwhile, his friend, 11 through alley and 
 street, wanders and watches with eager ears, till, 
 in the silence around him, he hears the muster 12 of 
 men at the barrack-door — the sound of arms, and 
 the tramp of feet, and the measured tread of the 
 grenadiers, 13 marching down to their boats on the 
 shore ! 14 Then he climbed to the Tower of the 
 
 slower. Church, up the wooden stairs, with stealthy tread, 
 to the belfry-chamber overhead, and startled the 
 pigeons from their perch on the sombre rafters, 15 
 that round him made masses and moving shapes 
 of shade, — up the trembling ladder, steep and tall, 
 to the highest window in the wall, 16 where he 
 paused | to listen and look down a moment on the 
 roofs of the town, and the moonlight flowing over 
 all. Beneath, 17 in the churchyard, lay the dead, 
 in their night encampment on the hill; wrapped 
 in silence so deep and still that he could hear, like 
 
130 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 SURPRISE. 
 
 QUICK. 
 
 FULL 
 TONES. 
 
 a sentinel's tread, the watchful night-wind, as it 
 went creeping along from tent to tent, 18 and seem- 
 ing to whisper, "All is well !" A moment only he 
 feels the spell of the place and the hour, and the 
 secret dread of the lonely belfry and the dead; 11 
 for, suddenly, all his thoughts are bent on a 
 20 shadowy something far away, where the river 
 widens to meet the bay, — a line of black, that 
 bends and floats on the rising tide, . . . like a 
 bridge of boats! 
 
 Meanwhile, impatient to mount and ride, booted 
 and spurred, 21 with a heavy stride on the opposite 
 shore walked Paul Eevere. Now he 22 patted his 
 horse's side, now gazed at the landscape far and 
 near; then, impetuous, 23 stamped the earth, and 
 turned and tightened his saddle-girth; but mostly 
 he watched with eager search the belfry-tower of 
 the Old North Church, as it rose above the graves 
 on the hill, lonely and spectral and sombre and 
 still. 24 And lot as he looks, on the belfry's height, 
 a glimmer, and then a gleam of light ! tie springs 
 to the saddle, 25 the bridle he turns; but lingers and 
 gazes, till full on his sight a second lamp in the 
 belfry burns ! . . . 26 A hurry of hoofs in a 
 village street ! a shape in the moonlight ! a bulk in 
 the dark ! and beneath, from the pebbles, in pass- 
 ing, a spark, struck out by a steed flying fearless 
 and fleet : — that was all ! And yet, through the 
 gloom and the 27 light, the fate of a nation was 
 riding that night; and the spark struck out by 
 that steed, in his flight, kindled the land into 
 flame with its heat. 
 
 28 It was twelve by the village clock, when he 
 crossed the bridge into Medford town. He heard 
 the crowing of the cock, and the barking of the 
 farmer's dog, and felt 29 the damp of the river fog, 
 that rises after the sun goes down 30 It was one 
 by the village clock, when he galloped into Lex- 
 ington. He saw the gilded weathercock swim in 
 the moonlight as he passed; and the meeting- 
 house windows, blank and bare, gaze at him with 
 
PAUL REVERE' S RIDE. 131 
 
 a spectral glare, as if they already stood aghast 
 at the bloody worlc they would look upon. 31 It 
 was two by the village clock, when he came to, the 
 bridge in Concord town. He heard the bleating 
 of the flock, and the twitter of birds among the 
 trees; and felt the breath of the morning breeze 
 blowing over the meadows brown. — And one was 
 safe and asleep in his bed, who at the bridge would 
 be first to fall; who, that 32 day, would be lying 
 dead, pierced by a British musket-ball! 
 
 You know the rest. 33 In the books you have 
 read, how the British 34 Begulars fired and fled ! — 
 how the farmers gave them ball for ball, from be- 
 hind each fence and farmyard wall, chasing the 
 red-coats down the lane ; 35 then crossing the fields 
 to emerge again under the trees at the turn of the 
 road, and only pausing to fire and load. — So 
 through 36 the night rode Paul Eevere; and so 
 through the night went his cry of alarm to every 
 Middlesex village and farm, — a cry of defiance, 
 and not of fear; a voice in the darkness, a knock 
 at the door, and a word 37 that shall echo for ever- 
 more ! For, borne on the night-wind of the 38 past, 
 through all our history, to the last, in the hour 
 of darkness and peril and need, the people will 
 waken and listen to hear the hurrying hoof-beats 
 of that steed, | 39 and the midnight message of 
 Paul Revere! 
 
 1 No. 1 hand plate. * No. 8 arm plate. s Hold up right hand. * Put 
 up one finger. 5 Put up two fingers. 6 Hand on breast. 7 Wave upward both 
 hands. 8 Point in front. 9 Gradually raise left arm — the hand pointing 
 left. 10 Point in front with left hand. X1 Point twice successively in front. 
 12 Right hand behind ear — listening. 13 Point to front. 14 Alternate move- 
 ment of the hands indicative of climbing. 15 Point upward. 16 Step for- 
 ward — bend — act of listening — hand out. 17 Both hands pointing down 
 obliquely from body. 18 Send fingers from mouth outward. 19 Start. 
 20 Touch forehead — point in the distance— bend. 21 Point in front — step 
 quickly forward. 22 Action of patting. 23 Stamp with right foot. 24 Step 
 backward with surprise— hands up. 25 Swing right hand from lower 
 breast upward to right. 26 Point down — then straight to the front. 21 No. 
 8 hand plate — gesticulate strongly. 28 Hold up index finger. 29 Both 
 hands on breast. 30 Same as 28 . 31 Repeat 28 . 32 Point downward — shake 
 finger slowly. 33 No. 5 arm plate. 34 Position of taking aim with gun — 
 then point left. 35 Bring right hand from left shoulder across body to 
 extreme right. 36 No. 1 hand plate. 37 Throw both hands up — palms out. 
 38 No. 4 arm plate. 3e No. 5 arm plate. 
 
132 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 50-THE DREAM OF THE REVELLER. 
 
 Charles Machay. 
 Around the board | 1 the guests were met, the 
 lights 2 above them beaming, 
 3 And in their cups, replenished oft, the ruddy 
 
 wine was streaming; 
 4 Their cheeks were flushed, their eyes were bright, 
 their hearts with pleasure bounded, 
 The song was sung, the toast was given, and 
 loud 5 the revel sounded, 
 6 I drained a goblet with the rest, and cried, 
 "Away with sorrow! 
 Let us be happy for to-day; what care we for 
 
 to-morrow f" 
 But as I spoke, my sight grew dim, and slumber 
 
 deep came o'er me, 
 And, 'mid the whirl of mingling tongues, 7 this 
 vision passed before me. 
 
 bather Methought I I saw a 8 Demon rise: he held a 
 
 L0UD ' mighty beaker 9 
 
 Whose burnish' d sides ran brimming o'er with 
 
 floods of burning liquor : 
 Around him press'd a clamorous crowd, to taste 
 this liquor greedy, 
 10 But chiefly came the poor and sad, the suffering 
 and the needy; 
 All those oppress'd by grief or debt, — the disso- 
 lute, the lazy, — 
 Blear-eyed old men and reckless youths, and 
 palsied women, crazy; 
 11<( Give, giveT they cried, "give, give us drink, 
 to drown all thought of sorrow; 
 If we are happy for to-day, what care we for 
 to-morrow V 
 
 12 The first drop warm'd their shivering skins, and 
 drove away their sadness; 
 
 13 The second lit their sunken eyes, and filled their 
 souls with gladness; 
 
THE DREAM OF THE REVELLER. 
 
 133 
 
 14 The third drop made them shout and roar, and 
 play each furious antic; 
 The fourth drop boil'd their very blood: and 
 ujqjjd. the fifth drop drove them frantic. 
 
 15 "DrinJc! JJ said the Demon, "drink your fill! 
 drink of these waters mellow; 
 They'll make you eyeballs sear and dull, and 
 
 turn your white skins yellow; 
 They'll fill your homes with care and grief, and 
 
 clothe your backs with tatters; 
 They'll fill your heart with evil thoughts; but 
 never mind! — what matters? 
 
 MEDIUM 
 TIME. 
 
 "Though virtue sink, and reason fail, and social 
 
 ties dissever, 
 1G Fll be your friend in hour of need, and find you 
 
 homes for ever; 
 For I have built three mansions high, three 
 
 strong and goodly houses, 
 To lodge at last each jolly soul who all his life 
 
 carouses. — 
 17 The first, it is a spacious house, to all but sots 
 
 appalling, 
 Where, by the parish bounty fed, vile, in the 
 
 sunshine crawling, 
 The worn-out drunkard ends his days, and eats 
 
 the dole of others, 
 A plague and burthen to himself, an eye-sore 
 
 to his brothers. 
 
 18 "The second is a lazarhouse, rank, fetid, and 
 
 unholy ; 
 Where, smitten by diseases foul and hopeless 
 
 melancholy, 
 The victims of potations deep, pine on the 
 
 couch of sadness, — 
 Some calling Death to end their pain, and some 
 
 imploring Madness, 
 
134 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 19 The third and last is black and high, the abode 
 
 of guilt and anguish, 
 And full of dungeons deep and fast, where 
 
 death-doom' d felons languish. 
 So drain the cup, and drain again! One of 
 
 my goodly houses 
 Shall lodge at last each jolly soul who to th-3 
 
 dregs carouses!" 
 
 But well he knew — that Demon old 20 — how vain 
 
 was all his preaching, 
 21 The ragged crew that round him flocked were 
 
 heedless of his teaching; 
 Even as they heard his fearful words, they cried, 
 . with shouts of laughter, — 
 IjOUD. 22 "Out on the fool | who mars To-day with 
 
 thoughts of a Hereafter! 
 We care not for thy houses three; we live but 
 
 for the present; 
 And merry will we make it yet, 23 and qualf 
 
 our bumpers pleasant." . . . 
 Loud laughed the fiend to hear them speak, aad, 
 
 lifting 24 high his beaker, 
 "Body and Soul are mine \" said he ; "I'll have 
 
 them both — for liquor!" 
 
 1 No. 5 arm plate — turn and look around. 2 Point upward. 3 Holding 
 up the cup. 4 Touch cheek, eye and breast. 5 Wave hand upward— wrist 
 movement. 6 Act of drinking. 7 Wave both hands from eyes outward — 
 fingers apart. 8 Point down — gradually raise hand, pointing finger in 
 front. 9 Holding out cup. 10 No. 5 arm plate. X1 Advance — hand ex- 
 tended — eager look and gesture. 12 Touch breast — send arm to left. 
 13 Touch eye and breast. 14 Throw both hands up. 15 Holding out cup — 
 keep position for five lines. 16 Touch breast with left hand. 17 Arms wide 
 apart. 18 Point down. 19 Elevate arm quite high. 20 Advance to front — 
 shake the finger toward audience. 21 No. 5 arm plate. " Shake fist. " Ac- 
 tion of drinking. 2 * Raise the beaker — keep picture till end. 
 
TWO LOVES AND A LIFE. 
 
 135 
 
 VERT 
 NATU- 
 RAL. 
 
 LOUD. 
 
 51 -TWO LOVES AND A LIFE. 
 
 William Sawyer. 
 
 Towards the 1 scaffold's guard she came: leaped 
 her black eyes into flame; rose 2 and fell her pant- 
 ing breast — 3 there a Pardon closely pressed ! She 
 had heard her lover's doom, — traitor death and 
 shameful tomb; heard the price upon his head, 
 — "I will save him!" 4 she had said. "Blue-eyed 
 Annie loves him too; she will weep, but Euth will 
 do. Who should save him sore distress ? — who but 
 she 5 who love him best!" 
 
 To the scaffold now she came ; 6 on her lips there 
 rose his name, rose, and yet in silence died. . . . 7 
 Annie nestled by his side ! Over Annie's 8 face he 
 bent — 9 round her waist his fingers went, "Wife!"* 
 he called her — called her "wife I" 11 — Simple word 
 to cost a life ! 
 
 In Euth's breast 12 the pardon lay, but she 13 
 coldly turned away: — "He has sealed his traitor 
 fate 14 — I can love, and I can hate! Annie is his 
 wife !" they said ; "be she wife, then, to 15 the dead : 
 since the dying she will mate — I can love, and I 
 can hate!" 16 "What their sin? They do but 
 love : let this thought thy bosom move !" Came the 
 jealous answer straight, "I can love, and I can 
 hate!" 11 "Mercy!" still they cried. But she, 
 "Who has mercy upon me? Who? 18 My life 
 is desolate 19 — I can love, and I can hate !" 
 
 From the scaffold stairs she went, shouts the 
 noon-day silence rent; all the air was quick with 
 cries 20 — "See the traitor! see, he dies!" 21 Back 
 she looked; with stifled scream saw 22 the axe up- 
 swinging gleam; all her woman's anger died — 
 "From the King !" 23 she faintly cried. "From the 
 King ! His name — behold !" quick the parchment 
 she unrolled. 24 Pausing the axe in upward swing, 
 "He is pardoned!" "Live the King!" 
 
 25 Glad the cry, and loud, and long; all about 
 the scaffold throng, there entwining, fold on fold, 
 
136 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUD. 
 
 raven tresses — locks of gold. There, 26 against 
 Hutu's tortured breast Annie's tearful face is 
 pressed, while the white lips murmuring move — 
 "I can hate, hut I can love!" 
 
 1 No. 8 arm plate. 2 Hand on breast — inhale and exhale air in 
 marked manner. 3 Touch twice the breast with finger. * Clasp hands 
 across breast — look up — one step forward. 5 Shake the head slowly. 
 6 Touch lips — then move hand outward. 7 Point front. 8 No. 1 hand 
 plate — bend slightly forward. 9 Let fingers meet in front — act of em- 
 bracing. 10 Place right hand on head — left hand on breast. u Falling of 
 arm, No. 3 arm plate. 12 Touch breast. 13 Walk to the left. 14 Clasp 
 hands — intense action. 15 Point down. 16 No. 2 hand plate. 17 Clasp 
 hands — look up. 18 Cross hands over breast. 19 Same as 18 . 20 Point 
 front — excitedly. 21 Quick turn to right. 22 Raise both hands directly 
 over head — holding axe. 23 Hold up the pardon. 24 Act of unrolling 
 parchment. 25 Wave the hand — act of cheering. 20 No. 14 hand plate. 
 
 LIGHT. 
 
 QUICK. 
 
 NATURAL. 
 
 52-THE COUNTRY SQUIRE. 
 
 Bentley Ballads. 
 
 In a small pretty village 1 in Nottinghamshire, 
 there formerly lived a respectable Squire, who 
 excelled all his friends in amusements athletic, 
 and whose manner of living was far from ascetic. 
 A wife he had 2 taken for better, for worse, whose 
 temper had proved an intolerant curse; but at 
 length, to his great and unspeakable joy, she died 
 when presenting a fine little boy. 3 Strange fancies 
 men have ! — the father designed to watch o'er the 
 dawn of his son's youthful mind — that, only ap- 
 proached by the masculine gender, no room should 
 be left him for feelings more tender. ^"Had I 
 ne'er seen a woman" he often would sigh, "what 
 squire in the country so happy as I !" 
 
 5 The boy | was intelligent, active, and bright, 
 and took in his studies uncommon delight; — 6 no 
 juvenile follies distracted his mind — 7 no visions 
 of bright eyes or damsels unkind; and those fair 8 
 demi-sisterly beings so gay, yclept "pretty 
 cousins" ne'er popped in his way: till at length 9 
 this remarkably singular son could number of 
 years that had passed | twenty-one. 10 Now the 
 
THE COUNTRY SQUIRE. 
 
 137 
 
 father had settled, his promising son should his 
 studies conclude when he reached twenty-one: 
 and he went with a heart beating high with emo- 
 tion/ 1 to launch the young man on life's turbu- 
 lent ocean. 
 
 As they entered the town, a young maiden tripped 
 by/ 2 with a cheek like a rose, and a light laughing 
 eye. 13 "Oh ! father, what's that V cried the youth 
 with delight, as this vision of loveliness burst on 
 his sight. 14: "Oh that," cried the cautious and 
 politic Squire, who did not the youth's ardent 
 glances admire, 15 "is only a thing called a Goose, 
 my dear son — we shall see many more ere our 
 visit is done." Blooming 16 damsels | now passed 
 with their butter and cheese, whose beauty might 
 even an anchorite please: 17 "Merely geese!" said 
 the Squire: "don't 18 mind them, my dear; there 
 are many things | better worth looking at here." 
 
 As onward they passed, every step brought fco 
 view some spectacle 19 equally curious and new; 
 and the joy of the youth hardly knew any bounds 
 at 20 the rope-dancers, tumblers, and merry-go- 
 rounds. And soon, when the tour of the town 
 was completed, the father resolved that the boy 
 should be treated; so, pausing an instant | he 
 said, "My 21 dear son, a new era to-day in your 
 life has begun: now of all this bright 22 scene and 
 the gaieties in it, choose | whatever | you like — it 
 is yours from this minute." 23 "Choose whatever 
 I like?" cried the youthful recluse; 24 "0 thank 
 you, dear father, then give me a goose!" 
 
 1 No. 8 arm plate. 2 Clasp hands — palms down — shake the head. 
 3 Touch forehead — wave hand outward. 4 Hand on breast — sigh — shake 
 head. 5 Left hand, No. 1 hand plate. 6 Wave hand. 7 Wave hands from 
 eyes outward. 8 Head on one side — hands crossed as in No. 14 hand 
 plate. 9 No. 5 hand plate. 10 Bend forward — use No. 5 arm plate. X1 Place 
 hand on heart — then swing it outward. 12 Sway hand across the body, 
 following the gesture with eyes. 13 Show innocent surprise — point out- 
 ward. 14 Careless and quick movement of the hand. 15 Wave hand 
 carelessly again. 16 Send quickly right hand from left shoulder across 
 body to right. 17 Both hands. No. 1 hand plate — facial expression of dis- 
 gust. 18 Snap the fingers. 19 No. 5 arm plate — look up and down and 
 sideways. 20 Point in three directions. 21 Rubbing hands together. 
 22 Separate the hands — palms up. 23 Raise both hands with surprise. 
 24 Clap the hands twice, then point outward. 
 
138 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LIGHT. 
 
 HUMOR- 
 OUS. 
 
 53-RUSTIC LOGIC. 
 
 Anonymous. 
 Hodge/ a poor honest country lout, not over- 
 stocked 2 with learning, 
 Chanced on a summer's eve to meet the 3 Vicar, 
 home returning. 
 4 "Ah ; Master Hodge/' the Vicar cried, "what, 
 still as wise as ever? 
 The people in the village say that you are won- 
 drous clever/' 
 5 "Why, Measter Parson, as to that | I beg you'll 
 right conceive me; 
 I do na brag, but yet I knaw a thing or two, 
 
 believe me." 
 "Well try your skill," the Parson cried, "for 
 
 learning what digestion: 
 And this you'll prove or right or wrong, by 
 solving me a question. 
 6 Noah, of old, three babies had, or grown-up 
 children rather: — 
 Shem, Ham, and Japhet they were called; — ■ 
 now 7 who was Japhet's father?" 
 8 "Rat it!" cried Hodge, and scratched his head; 
 "that does my wits belabor; 
 But howsomde'er, 111 homeward run, 9 and ax 
 old Giles my neighbor." 
 10 To Giles he went, and put the case with cir- 
 cumspect intention: 
 "Thou fool!" cried Giles, 11 "111 make it clear 
 to thy dull comprehension. 
 12 Three children has Tom Long, the smith, or 
 cattle-doctor rather; 
 Tom, Dick, and Harry, they are called; now 
 who is Harry's father? 13 
 14 "Adzooks, I have it!" Hodge replied, "right 
 well I know your lingo; 
 Who's Harry's father? — stop — here goes, — 
 why, 15 Tom Long Smith, by jingo !" 
 16 Away he ran to find the priest, with all his 
 might and main: 
 
ASK MAMMA ! 
 
 139 
 
 LOUD. 
 
 EXULT- 
 ANT. 
 
 Who, with good humor, instant put the question 
 
 once again. 
 17 "Noah, of old, three babies had, or grown-up 
 
 children rather; 
 Shem, Ham, and Japhet they were called : now/ 8 
 
 who was Japhet's father ?" 
 19 "I have it now/' Hodge grinning cried, "I'll 
 
 answer like a proctor: 
 Who's Japhet's father? now I know; 20 why, 
 
 Long Tom Smith, the Doctor!" 
 
 1 No. 11 hand plate. 2 Touch the forehead twice. 3 No. 1 hand plate. 
 4 Slightly bowing — smiling. 6 Put hands in pockets and swagger. G Touch 
 the left palm with index finger of right. 7 Open arms apart. 8 Striking 
 forehead with fist — then scratch head. 9 Point to right. 10 No. 12 hand 
 plate. 1X Shake the finger several times. 12 Touch three fingers separately 
 of the left hand. 13 Put hands under coat-tails. 14 Slap the leg violently. 
 15 Slap both hands loudly. 16 Swing arm out to left. 1T Repeat 6 . 18 Re- 
 peat 7 . 19 Bend forward — smile — shake fist in front. 20 No. 1 hand plate. 
 
 54-ASK MAMMA! 
 
 MODER- 
 ATE. 
 
 CHEER- 
 FUL 
 TONE. 
 
 A. Melville Bell 
 
 A bachelor Squire of no great possession, 1 long 
 come to what should have been years of discretion, 
 determined to 2 change his old habits of life, and 
 comfort his days by taking | a wife. He had long 
 been the sport of the girls of the place, — they liked 
 his good, simple, quiet, 3 cheery, fat face; and 
 wherever he went to a tea-drinking party, the 
 4 flirts were in raptures — our friend was so hearty! 
 They'd fasten a cord near the foot of the door, 
 and 5 bring down the jolly old beau on the floor: 
 they'd pull off his wig while he floundered about, 
 and hide it, 7 and laugh till he hunted it out : they 
 would tie his coat-tails to the 8 back of his seat, 
 and scream with delight when he rose to his feet : 
 they would send him at Christmas 9 a box full of 
 bricks, and play on his temper all manner of 
 tricks. One evening | they pressed him to play 
 on the flute, and he blew in his eyes 10 a rare scatter 
 of soot! He took it so calmly, and laughed while 
 
140 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 COYLY. 
 
 EXCITED. 
 
 he spoke, that 11 they hugged him to pardon their 
 nasty '''black johe." One really appeared so sin- 
 cere in her sorrow, that he vowed to himself he 
 would ash her to-morrow, — and not one of the girls 
 but would envy her lot, if this jolly old bachelor's 
 offer she got; for they 12 never had dreamed of 
 his playing the beau, or doubtless | they would not 
 have treated him so. 
 
 However, next day, to fair Fanny's amazement, 
 she saw him approach 13 as she stood at the 
 casement; and he very soon gave her to know his 
 desire, that she should become the dear wife of 
 the squire. "La ! now, 14 Mr. Friendly, what 
 would they all say?" — but she thought that not 
 one of them all would say | nay: 15 — she was 
 flustered, with pleasure, and coyness, and pride, 
 to be thus unexpectedly sued for a bride. She 
 did not refuse him, but yet did not like to say, 16 
 ' x Yes'' all at once — the hot iron to strike: so, to 
 give the proposal the greater eclat, she said, 17 "Dear 
 Mr. Friendly, — you'd best ash mamma T "Good 
 morning then, Fanny, I'll do what you say: as 
 she's out, I shall call in the course of the day." 
 Fanny blushed | as she gave him her 18 hand for 
 good-bye, and she did not know which to do first, 
 — laugh or cry ; to wed such a 19 dear darling man, 
 nothing loth, for variety's sake, in her joy, she did 
 both! 20 "0 what will mamma say, and all the 
 young girls?" she thought | as 21 she played with 
 her beautiful curls. "I wish I had said 18 yes at 
 once, — 'twas too bad not to ease his dear mind — 
 0, I wish that 23 I had ! 24 I wish he had asked me 
 to give him a kiss, — but he can't be in doubt of 
 my feelings — that's bliss! O, 25 I wish that 
 mamma would come home for the news; such a 
 good, dear, kind soul, she will never refuse! 26 
 There's the bell — here she is. — 0, mamma!" — 
 "Child, preserve us ! 27 What ails' you, dear Fanny ? 
 What makes you so nervous?" "I really 28 can't 
 tell you just now, — by and bye Mr. Friendly will 
 call — and he'll 29 tell you — not I." "Mr. Friendly, 
 
ASK MAMMA! 
 
 141 
 
 RAPID. 
 
 DISAP- 
 POINT- 
 ED. 
 
 my child ! what about him, I pray ?" "0, mamma, 
 — he's to call — in the course of the day. He was 
 here just this moment, and shortly you'll see he'll 
 make you as happy as he has made me. I declare 
 he has seen you come home, 30 that's his ring: i 
 will leave you and him now to settle the thing." 
 
 Fanny left in a nutter: her mother — the gipsy 
 — she'd made her as giddy as though she'd been 
 tipsy ! Mr. Friendly came in, and the widow and 
 he were soon as delighted as Fanny could be: he 
 asked 31 the dear widow to change her estate; — she 
 consented at once, and a 32 kiss sealed her fate. 
 Fanny came trembling in — overloaded with 
 pleasure — but soon she was puzzled in as great 
 a measure. "Dear Fanny," said Friendly, "I've 
 done what you said;" — but what he had 53 done 
 never entered her head — "I have asked your 
 mamma, and she's given her consent." 34 Fanny 
 flew to his arms to express her content. He 
 kissed her, and said, — as he kissed her mamma, — 
 "I'm so glad, my 35 dear Fan, that you like your 
 Papa!" Poor Fanny now found out the 36 state 
 of the case, and she blubbered outright, with a 
 pitiful face; it was all she could do, under heavy 
 constraint, to preserve herself conscious, and keep 
 off a faint ! 37 She determined, next time she'd 
 a chance, you may guess, not to say, 38 "Aslc 
 mamma" but at once to say "Yesl" 
 
 1 Simple outward movement of hands. 2 Turn the hand slightly. 
 3 Stroke both cheeks. 4 Clap both hands together. 5 Throw hand down- 
 ward. 6 Action of pulling off wig. 7 Strike both knees with hands. 
 s Place hands behind the back. 9 Put hands in front as if holding box. 
 10 Movement of blowing — then rub the eyes. 1X Place hands on opposite 
 shoulders — action of hugging. 12 Touch forehead and send fingers out- 
 ward. 13 Point in front. 14 Make a low bow. 15 Move hands and body 
 together from side to side. 16 Nod the head twice. 17 Bowing head and 
 moving about uneasily. 18 Put out hand. 19 Hug yourself. 20 Clapping 
 hands and jumping about. 21 Action with curls. 22 Bow the head naively. 
 23 Shake the head — hands clasped downward. 24 Smile and throw a kiss. 
 25 Walking about excitedly. 26 Run three steps and stop. 27 Hold up both 
 hands in amazement. 28 Moving about nervously, pulling handkerchief 
 through hands. 29 Continue same business — nod the head. 30 Quick start 
 forward. 31 Put out right hand — bow. 32 Make noise of loud kiss. 33 Touch 
 forehead — shake head. 3i Take a step forward — throw out both arms. 
 35 Bring hand to breast. 36 Step backward — hands to head — surprise — 
 Wiping eyes. 37 Slap one hand with the other. 3S No. 1 hand plate — bow. 
 
142 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 AFFIRMA- 
 TION. 
 
 MODER- 
 ATE 
 TONE. 
 
 LIGHT 
 AND 
 QUICK. 
 
 NARRA- 
 TIVE 
 STYLE. 
 
 55-THE SPIRIT OF CONTRADICTION. 
 
 Lloyd. 
 
 The very 1 silliest things in life create the most 
 material strife; what scarce will suffer a 2 debate, 
 will oft produce the bitterest hate. "It 3 is!" you 
 say; I say, A "'Tis not!" Why, you grow warm — 
 and I am hot. Thus each alike with passion 
 glows, and words come first — and after, 5 blows. 
 
 Friend Jerkin had an income clear, some fifty 
 pounds or more a year; and rented, on the farm- 
 ing plan, grounds at much greater sums per ann. 
 A man of consequence no doubt, 'mongst all his 
 neighbors 6 round about : he was of frank and open 
 mind, too honest to be much refined ; would 7 smok^ 
 his pipe, and tell his tale, sing a good song, and 
 drink his ale. 
 
 8 His wife | was of another mould; her age was 
 — neither young nor old; 9 her features, strong, 
 yet somewhat plain; her air, not bad, but rather 
 vain; her temper, neither new nor strange; a 
 woman's — very apt to change : what she most hated 
 was 10 — conviction; what she most loved 11 — flat 
 contradiction! A charming housewife, neverthe- 
 less; tell me a thing she could not dress: 12 soups, 
 hashes, pickles, puddings, pies, nought came amiss 
 — she was so wise ! for she, bred 13 twenty miles 
 from town, had brought a world of breeding down, 
 and Cumberland had seldom seen a farmer's wife 
 with such a mien. She could not bear the sound 
 of Dame; no; 1 * — "'Mistress Jerlcin" was her name. 
 
 Once on a time, 15 the season fair to exercis3 
 and cheerful air, it happened in his morning's 
 roam he killed some birds, and brought them 
 home. 16 "Here, Cicely, take away my gun: how 
 shall we have these starlings done?" — "Done! 
 what, my love ? your wits are wild ! starlings, my 
 dear! they're thrushes, child." — "Nay, now, but 
 look, consider, wife; they're starlings." — "No, 
 upon 17 my life ! sure I can judge as well as you, I 
 know a thrush and starling too." 18 — "Who was 
 
THE SPIRIT OF CONTRADICTION. 
 
 143 
 
 LOUD A.XD 
 NOISY. 
 
 QUIET. 
 
 LOUD. 
 
 it shot them, you or I? they're starlings!" — 
 "Thrushes!" 20 — "Wife, you lie" — "Pray, sir, take 
 back your dirty word, I scorn 21 your language as 
 your bird; it ought to make a husband blush to 
 jreat a wife so 'bout a thrush." — "Thrush, Cicelv ?"* 
 — "Yes."— "A starling!"— "No." The lie again, 
 and then 22 the blow. Blows carry strong and 
 quick conviction, and mar the powers of contra- 
 diction. 23 Peace soon ensued, and all was well: 
 it were imprudence to rebel, or keep the ball up of 
 debate against these arguments of weight. 
 
 24 A year rolled on in perfect ease; 'twas, 25 "As 
 you like!" and, "What you please!" — At length 
 returned, in annual night, the day of this most 
 f owlish fight; quoth Cicely — "Ah, 26 this charming 
 life, no tumults now, no blows, no strife ! what 
 fools we were this day last year ! Law ! how you 
 beat me then, my dear ! Sure it was idle and 
 absurd, to wrangle so about a bird, a bird not 
 worth a single rush." — "A starling" — "No, my 
 love, a thrush! that 111 maintain/— "That IT1 
 deny!" — "You're wrong, good husband." — "Wife, 
 you lie!" 21 Again the self-same wrangle rose, 
 again the lie, again the blows. 28 ^Thus, every 
 year, this man, or wife, begins the same domestic 
 strife; thus, too, each year their quarrel ends — 
 thev 30 argue, fight, and kiss, and friends. 31 'Tis 
 "Starling '.''—"'Thrush P— and "Thrush !"— and 
 "Starling !"— "Yo u dog !"— e ''Yo u cat !"—''My 
 dear !"— "My darling!" 
 
 1 No. 2 arm plate. - No. 1 hand plate. s Turn to right, put out right 
 hand. 4 Turn to left — use left hand. 5 Raise clinched hand. 6 No. 5 arm 
 plate. 7 Action of taking pipe from mouth and puffing smoke. 8 Left 
 hand. No. 1 hand plate. 9 Bring hand down in front of face — palm in. 
 10 Bring hand forcibly down in front. " Strike left hand with the right. 
 
 12 Cp and down movement of the hand on the five following nouns. 
 
 13 Point left. 14 Make an exaggerated bow. 15 Walk a few steps — hands 
 as in No. 11 hand plate. 16 Action of handing gun. 1T No. 5 hand plate. 
 18 Hand out, then brought to breast. 19 Stamping foot. 20 Strike fist into 
 left palm. 21 Swing left hand to left — palm out — turn face to right. 
 22 Step forward — send clinched hand out from shoulder. 23 Both hands, 
 No. 5 arm plate. 2i No. 1 hand plate. 25 Bending down extravagantly — ■ 
 rubbing the hand. 2S Both hands extended front. 2T Shake fist and stamp 
 foot. 2S Shoot arm outward. 29 Advance to front — use No. 5 arm plate. 
 30 No. 7 hand plate — shake the finger. 31 t'se right and left hand alter- 
 nately and turn with gesture on each of the nouns till finish, 
 
INSINUAT- 
 ING. 
 
 144 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 56-THE SPIDER AND THE FLY. 
 
 Mary Eowitt. 
 "Will you walk 1 into my parlor ?" said a Spider 
 
 to a Fly; 
 'Tis the prettiest little parlor that ever you did 
 
 spy- 
 
 The way into my parlor is np a 2 winding stair. 
 And I have many 3 pretty things to show you 
 
 when you're there." 
 *"Oh no, no!" said the little Fly, "to ask me is 
 
 in vain, 
 For who goes 5 up your winding stair can ne'er 
 
 come 6 down again." 
 
 BLOW. 
 
 "I'm sure you must be weary with soaring up 7 
 
 so high; 
 8 Will you rest upon my little bed?" said the 
 
 Spider to the Fly. 
 "There are pretty curtains 9 drawn around, the 
 
 sheets are tine and thin, 
 And if you like to rest awhile I'll snugly | tuck 
 
 you in/' 10 
 n "0h no, noT said the little Fly, "for I've often 
 
 heard it said, 
 They never, 12 never wake again, who sleep upon 
 
 your bed!" 
 
 Said the cunning Spider to the Fly, "Dear 
 
 friend, what shall I do 13 
 To prove the warm affection I have always felt 
 
 for you? 
 I have within my pantry good store of all that's 
 
 nice; 
 I'm sure you're very welcome 14 — will you please 
 
 to take a slice?" 
 15 "Oh no, no!" said the little Fly, "kind sir, that 
 
 cannot be; 
 I've heard what's in your pantry, and I do not 
 
 wish to see." 
 
THE SPIDER AND THE FLY. 145 
 
 "Sweet creatures!" said the Spider/ 6 "you're 
 witty and you're wise ! 
 flat- How handsome are your gauzy wings, how bril- 
 
 TERY ' liant are your eyes ! 
 
 I have a little looking-glass upon my parlor 
 
 shelf; 
 If you'll step in one moment, dear, your shall 
 behold — 17 yourself." 
 18 "I thank you, gentle sir," she said, "for what 
 you're pleased to say, 
 And bidding you good morning now, Til call 
 another day." 
 
 The Spider turned him round about, and went 
 
 into his den; 
 He knew the vain and silly Fly would soon 19 
 
 come back again: 
 So he wove a subtle web in a little corner sly, 
 And set his table ready, to dine upon the Fly. 
 Then he went out to his door again, and merrily 
 
 did sing: 
 20 "Come hither, hither, pretty Fly, with the pearl 
 
 and silver wing! 
 
 "Your robes are green and purple — ^there's a. 
 crest upon your head, 
 22 Your eyes are like the diamond bright, but 
 
 mine are dull as lead." 
 23 Alas, alas ! how very soon this silly | little | Fly, 
 Hearing his wily, flattering words, came slowly 
 
 flitting by; 
 With buzzing wings she hung aloft, then near 24 
 
 and nearer drew, 
 Thinking only of her brilliant eyes, her green 
 
 and purple hue, 
 And dreaming of her crested head — poor fool- 
 ish thing! At last, 
 ^Up jumped the cunning spider, and fiercely 
 field her fast. 2Q 
 
146 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 He dragged her up his 27 winding stair, into his 
 
 dismal den, 
 Within his little parlor — but she ne'er came 
 
 down again! 28 
 29 And now, do you take warning! all who this 
 
 story hear; 
 To idle, silly, nattering words, I pray you 
 
 ne'er give ear: 
 louder. 30 To all deceitful counsellors, close heart, and ear, 
 
 and eye: — 
 And take a lesson from this tale, 31 of the Spider 
 
 and the Fly. 
 
 1 Bow — conciliating wave of right hand. 2 Make circular movement 
 with finger upward. 3 Both hands — No. 5 arm plate. 4 Slowly shake the 
 head three times. 5 Point up. 6 Bring the hand down. 7 No. 4 arm plate. 
 8 Hand pointing down. * Fingers touching, then brought down in curves 
 outward. 10 Action of tucking in bed clothing. u Shake head slowly. 
 12 Shake head again. 13 Both hands extended front — advance. 14 Put out 
 hand. 15 Shake head. 16 Hand on breast — nodding the head. 1T Bow low. 
 18 Bow. 19 Bring hand across body as in No. 6 arm plate. 20 Beckoning 
 her. 21 Touch top of head. 22 Touch the eye. 23 Drop the hand. 
 24 Make circular movement with right hand. 25 Spring forward. 26 Both 
 hands grasping. 2Y Send hand upward, the finger making a circular move- 
 ment. 28 Sadly shake the head. 29 No. 12 hand plate — advance. 30 No. 
 5 arm plate. 31 Right hand out. 
 
 57-THE SLAVE SHIP. 
 
 Yogi 
 
 (Translation.) 
 
 A ship bounds 1 o'er the open sea, concealed by, 
 
 fog and night; 
 The waves are foaming over it, dashed by the 
 
 wild storm's might. 
 2 Two hundred slaves | lie prisoned there, between 
 
 the narrow beams, 
 Half wakened by the howling storm 3 — hair 
 
 brooding savage dreams. 
 
 They see themselves, 4 like laboring beasts, sold 
 
 FEELING, - p • i ° ' 
 
 ' on a foreign shore; 
 
 
THE SLAVE SHIP. 147 
 
 They feel 5 the scourge's heavy blows, — the sun- 
 beams scorching sore. 
 6 They pray with fervent soul, aloud, amidst the 
 storm and rain: 
 
 "0 Heaven ! release, with sudden death, us from 
 such lasting pain!" 
 
 Soon, over slaves and sailors, 7 howls the storm 
 
 with savage might ; 
 No beacon shines — the lightning's flash 8 alone 
 \LOUD. illumes the night. 
 
 The Captain cries : 9 "0 Allah — help ! save us 
 
 from danger, save V 
 The slaves below call wildly out: 10 "0 Lord! 
 
 give us the grave I" 
 And fierce and fiercer drives the storm, the 
 
 ship bounds 11 madly on ! 
 Sndden 12 — it strikes upon a rock! and splits 
 
 — 13 all hope is gone! 
 And from the wreck: 14 "0 woe! woe!" howls 
 
 loudly o'er the sea; 
 But from two hundred lips resound: 15 "HaiI, 
 
 Lord! we now are free!" 
 
 1 Swing right hand from left shoulder across body to extreme right. 
 1 Two hands extended in front downward — look downward. 3 Right hand 
 to the side of head. 4 Clasp the hands under chin. 5 Place right hand 
 on left shoulder and crouch. 6 Clasp hands — look up — advance. 7 Swing 
 right hand to right and left hand to left alternately — with palms out. 
 8 Point upward. 9 Advance to front — look up — clasp the hands upward. 
 10 Step back — cross hands on breast. 1X Throw hand from breast outward 
 — step with the gesture. 12 Point down. 13 Great dejection. 14 Hands as 
 in Xo. 13 hand plate — shake the head. 15 Look up — hands extended to 
 heaven. 
 
148 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 58-PADDLE YOUR OWN CANOE. 
 
 Anonymous. 
 
 DIDAC- 
 TIC. 
 
 Voyager 1 upon Life's sea, to your own 2 self be 
 
 true, 
 And, where'er 3 your lot may be, ^"Paddle your 
 
 own canoe!" 
 6 Never, though the winds may rave, falter or 
 
 look back; 
 But upon the darkest wave leave a shining 
 
 track ! 
 
 Nobly 6 dare the wildest storm, 7 stem the hardest 
 
 gale; 
 8 Brave of heart and strong of arm, you will never 
 
 fail. 
 When the world is cold and dark, keep an aim 
 
 in view; 
 And, toward the beacon-mark, Q "Paddle your 
 
 own canoe r 
 
 Every wave that bears you 10 on to the silent 
 
 shore, 
 From its sunny source has gone, to return no 
 
 more: 
 Then | let not an hour's delay cheat you of 
 
 your due; 
 But, while it is called to-day, llu Paddle your own 
 
 canoe !" 
 
 advice. 
 
 If your birth denied you wealth, lofty state 
 
 and power, 
 Honest fame and hardy health are a better 
 
 dower : 
 But, if these 12 will not suffice, golden gain 
 
 pursue : 
 And, | to gain the glittering prize, ls "Paddle 
 
 your own canoe!" 
 
PADDLE YOUR OWN CANOE. 
 
 149 
 
 EMPHA- 
 SIZE. 
 
 Would you wrest the wreath of fame from the 
 
 hand of fate? 
 Would you 14 write a deathless name with the 
 
 good and great? 
 Would you bless your fellow-men ? 15 Heart and 
 
 soul imbue 
 With the holy task, and then 1Q "Paddle your 
 
 own canoe !" 
 
 Would you 17 crush the tyrant wrong, in the 
 
 world's free fight? 
 With a spirit brave and strong, battle for the 
 
 right : 
 And to break the chain | that binds the many 
 
 to the few — 
 18 To enfranchise slavish minds? — 19 "Paddle your 
 
 own canoe ! JJ 
 
 Nothing great 20 is lightly won, nothing won | 
 
 is lost j 21 
 
 MORAL, Every good deed, nobly done, will repay the cost : 
 
 22 Leave to Heaven, in humble trust, all you will 
 
 to do; 
 
 But, if you succeed, you must 23 "Paddle your 
 
 OWN CANOE \" 
 
 1 Hand as in No. 2 hand plate. 2 Bring hand gracefully to breast. 
 3 No. 12 hand plate — walk to the left three steps. 4 Slightly wave the hand 
 up and down — palm down. 5 Shake the finger in warning. 6 Send right 
 hand from chest upward — step to the right. 7 Both hands No. 6 hand 
 plate. 8 Hand on heart — chest out — head back. 9 Same as i . 10 No. 6 
 arm plate. lx Same as 4 . 12 No. 5 arm plate. 13 Same as *. 78 Hand in 
 front of face — action of writing. 15 Hand on breast — advance. 16 Same 
 as 4 . 17 Strongly send clinched hand down from head. 18 Touch fore- 
 head. 19 Same as 4 . 20 No. 12 hand plate. 21 Repeat 20 . M Point upward. 
 23 Same as 4 . 
 
150 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 59-SOMEBODY'S DARLING. 
 
 Mrs. Lacoste. 
 
 SYMPA- 
 THY. 
 
 ORDI- 
 NARY 
 TONE. 
 
 REVERENT. 
 
 SLOW. 
 
 Into a ward 1 of the whitewashed halls, where 2 
 the dead and dying lay, — wounded by bayonets, 
 shells, and balls, — Somebody's Darling was borne 
 one day: Somebody's Darling, so young and so 
 brave, wearing yet, — on his pale sweet face, soon 
 to be hid by the dust of the grave, — the lingering 
 light of his boyhood's grace. 
 
 3 Matted and damp are the curls of gold, kiss- 
 ing the snow of that fair young brow; pale 4 are 
 the lips of delicate mould — Somebody's Darling 
 is dying now! Back from his beautiful blue- 
 veined brow 5 brush all the wandering waves of 
 gold; 6 cross his hands on his bosom now. . . . 
 Somebody's Darling is still and cold! 
 
 7 Kiss him once | for Somebody's sake,, murmur 
 a prayer soft and low; one bright curl from its 
 fair mates take — they were Somebody's pride, you 
 know : Somebody's hand had rested there ; was it a 
 mothers 8 soft and white? And have the lips of 
 a sister fair been baptized in these waves of light ? 
 
 9 God knows best! He had Somebody's love; 
 Somebody's heart 10 enshrined him there; Some- 
 body wafted 11 his name above, night and morn, 
 on the wings of prayer. Somebody wept when he 
 marched 12 away, looking so handsome, brave, and 
 grand; Somebody's kiss on his forehead lay, Some- 
 body clung 13 to his parting hand. 
 
 Somebody's waiting and watching for him — 
 14 yearning to hold him again to her heart ; — 15 and 
 there he lies with his blue eyes dim, and the smil- 
 ing childlike lips apart! Tenderly bury 16 the 
 fair young dead, pausing | to drop on his grave | 
 a tear; carve on the wooden slab at his 17 head, — 
 "Somebody's Darling slumbers here/' 
 
 1 Tum to right — right hand out. 2 Both hands as in No. 2 arm 
 plate — keep position until period. 3 Look downward — run the fingers 
 through the hair. 4 Bend down and point down. 5 Action of brushing 
 hair back from forehead — bend down. 6 Cross your hands. 7 Throw kiss 
 downward. 8 No. 3 hand plate. 9 Clasp hands as in No. 13 hand plate — 
 shake head sorrowfully. 10 Hand on heart. u Wave hand upward. 
 12 Sweep hand ' to the right. 13 Stand erect — shake head proudly — hand 
 out. 14 Hands as in No. 14 hand plate. 15 Point down. 16 Arms down — 
 hands together in front — head down. 1T Point in front. 
 
PAPA'S LETTER. 
 
 151 
 
 CHILD'S 
 DIA- 
 LECT. 
 
 60-PAPA'S LETTER. 
 
 Anonymous. 
 I was sitting in my study, writing letters; 
 
 when I heard, 
 ^'Please, dear mama, — Mary told me mama 
 
 mustn't be 'isturbed. 
 But Fse 2 tired of little kitty, want some ozzer 
 
 fmg to do : 
 Writing letters, is 'on, mama? 3 tan't I wite a 
 
 letter too?" 
 "Not now, darling, mama's busy; 4 run and 
 
 play with kitty, now." 
 "No, no, mama; 5 me wite letter; tan, if 'ou 
 
 will show me how." 
 
 I would paint my darling's portrait as his sweet 
 
 eyes searched my face — 
 6 Hair of gold, and eyes of azure, form of childish, 
 
 witching grace. 
 But the eager face was clouded, as I slowly 
 
 shook my head, 
 Till I said, "I'll make a letter of you, darling 
 
 boy, instead." 
 7 So I parted back the tresses from his forehead 
 
 high and white, 
 And a stamp | in sport 8 I pasted, 'mid its waves 
 
 of golden light. 
 
 PLEAS- 
 ANT. 
 
 Then I said, "Now, little letter, 9 go away and 
 
 . bear good news." 
 And I smiled [ as down 10 the staircase clattered 
 
 loud the little shoes. 
 Leaving me, the darling hurried down to Mary 
 
 in his glee; 
 
152 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 "Mama's witing 11 lots of letters; Tse a letter, 
 
 Mary,— see/" 12 
 No one heard the front door open; no one saw 
 
 the golden hair, 
 13 As it floated o'er his shoulders | in the crisp 
 
 October air. 
 
 EARNEST. 
 
 Down the street 14 the prattler hastened, till 
 
 he reached the office-door: 
 15 "Fse a letter, Mr. Postman; is there room for 
 
 any more? 
 'Cause dis letter's doin' to papa, papa lives with 10 
 
 God, 'on know, 
 Mama tamped me — I'm a letter; does 'ou fink 
 
 'at I tan go?" 
 Bnt the Clerk in wonder answered, "Not to-day, 
 
 my little man." 
 17 "Den I'll find anozzer office, 'canse I must do, 
 
 if I tan." 
 
 LOUD. 
 
 Fain the Clerk would have detained him, but 
 
 the pleading face was 18 gone, 
 'And the little feet were hastening, — by the busy 
 ciowd swept on. 
 19 Suddenly the crowd was parted, — people fled to 
 
 left and right, 
 20 As a pair of maddened horses at the moment 
 dashed in sight ! 
 No one saw the baby figure, — no one saw the 
 
 golden hair, 
 Till | a shrieh of childish terror 
 on the autumn air! 
 
 rang 21 out 
 
 'Twas too late ! — a moment only | stood the 
 
 beauteous vision there ; 
 Then ^the little face lay lifeless, covered o'er 
 
 with golden hair ! 
 
THE UNHAPPY MAN. 
 
 158 
 
 OBSERVE 
 GRAM- 
 MATI- 
 CAL 
 PAUSES. 
 
 ^Keverently they raised my darling, brushed away 
 the curls of gold; 
 Saw the 24 stamp, upon the forehead growing 
 
 now so icy cold. 
 Not a mark the face disfigured, showing where 
 
 a hoof had trod; 
 'But the little life was ended, — "Papa's letter" 2 ^ 
 was with God. 
 
 1 Look up pleadingly. 2 Impatient wave of the hand. 3 Hand on 
 breast. 4 Wave him away with left hand. 5 Place hand upward as if 
 on her arm. 6 Stroke the hair — send hand down. T Action of pushing 
 hair back from his forehead. 8 Action of wetting stamp and pasting it 
 on his forehead. 9 Waving him away with left hand. lu Point downward 
 — make quick short movement with both hands, imitating the patter 
 of feet. ai Both hands, falling movement as in No. 3 arm plate. 12 Point 
 to forehead. 13 Send hand from head to the shoulder. 14 Point in front. 
 15 Point to forehead. 16 Point upward. 17 Turn to left — take three steps. 
 18 Swing arm to left. 19 Hands together in front — then send them apart. 
 20 Step and point to front. 21 Advance — throw upward both hands. 
 22 Bend, point and look down. 23 Action of raising him from the ground. 
 24 Point downward. 25 Point up with reverent expression. 
 
 61-THE UNHAPPY MAN. 
 
 Anonymous. 
 "He had faults, perhaps had many; but x one 
 
 fault above them all 
 Lay like heavy lead upon him, tyrant of a 
 
 patient thrall; 
 Tyrant seen, confessed, and hated, 2 banished 
 
 only to recall." 
 
 INTER- 
 ROGA- 
 TIVE 
 AND 
 DE- 
 CIDED 
 RE- 
 PLIES. 
 
 "Oh, 3 he drank f "His drink was water." 
 "' Gambled f "No; he hated play." 
 
 "Then, perchance, a tenderer 5 feeling led his 
 heart and head astray?" 
 
 "No; both honor and religion kept him in the 
 purer way." 
 
 "Then he scorned 6 life's mathematics? could 
 
 not reckon-up a score? 
 Pay his debts? or be persuaded two and two 
 
 were always four?" 
 "No; he was exact as Euclid, prompt and 
 
 punctual, no one more." 
 
154 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 7 "0h, a miser r "No." "Too lavish?" "Worst 
 of guessers, guess again." 
 
 "No; Fm weary hunting failures. Was he 
 seen 8 of mortal ken, 
 
 Paragon of marble virtues, quite a model man 
 of men?" 
 
 9 "At his birth | an evil Spirit charms and spells 10 
 
 around him flung, 
 And, with well-concocted malice, laid a curse 
 
 upon his tongue; — 
 Curse that daily made him wretched, earth's 
 
 most wretched sons 11 among. 
 
 "He could 12 plead, expound, and argue, fire with 
 
 wit, with wisdom glow; 
 13 But one word for ever failed him, source of all 
 
 his pain and woe: — 
 Luckless man! he could not say it, could not. 
 
 dare not, answer | No!" 1 * 
 
 1 No. 12 hand plate. 2 No. 5 arm plate — one arm. 3 Hands behind 
 back — nod the head. 4 Repeat the same. 5 Place hand on heart — bow 
 and smile. 6 No. 2 hand plate. 7 Take two steps to left and turn back 
 quickly. 8 Both hands extended— palms up — look of inquiry. 9 Point the 
 finger downward twice quickly. 10 Hands up — -palms out — turn from side 
 to side. " Send hands from forehead downward. 12 Position of right 
 hand as in No. 1 hand plate — emphasize by this gesture the three follow- 
 ing words. 13 Step forward and point outward. 14 Strike left palm with 
 right fist. 
 
THE DESERTER. 
 
 155 
 
 MANLY 
 TONE. 
 
 CANDID. 
 
 SLOW* 
 
 62-THE DESERTER. 
 
 Bayard Taylor. 
 "Deserter!" Well, Captain, the word's about 
 
 right, 
 And it's uncommon queer I should run from a 
 
 fight, 
 Or the chance of a fight : I, raised in the land 1 
 Where boys, you may say, 2 are born | rifle in 
 
 hand; 
 And who've fought all my life for the right of 
 
 my ranch, 
 With the wily Apache and the cruel Comanche. 
 
 But it's true, and I'll own it, 3 I did run away. 
 "Drunk?" No, sir! I'd not tasted a drop ail 
 day; 
 4 But — smile if you will — I'd a dream in the night, 
 5 And I woke, in a fever of sorrow and fright, 
 And went for my horse; then up and away: 6 
 And I rode like the wind till the break of the 
 day. 
 
 "What was it I dreamt?" I dreamed 7 | of my 
 
 wife — 
 The true little woman that's better than life — 
 8 I dreamt of my boys — I have three — one is 
 ten, — 
 The youngest is four — all brave little men — 
 9 0f my one baby girl, my pretty white dove ! 
 The star of my home, the rose of its love ! 
 
 10 I saw the log-house on the clear San Antone, 
 And I knew that around it the grass had been 
 
 mown; 
 For I felt, | in my dream, | the sweet breath 
 
 of the hay — 
 I was there, for I lifted a jessamine spray; 
 
156 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 And the dog that I loved | heard my whispered 
 
 command, 
 And whimpered, 11 and put his big head in my 
 
 hand. 
 
 ENTREAT- 
 ING. 
 
 12 The place was so still ! all the boys were at rest ; 
 And the mother lay dreaming/ 3 the babe at 
 
 her breast: 
 I saw the fair scene for a moment; then . 14 . 
 
 stood 
 In a circle of name, amid shrieking and blood ! 
 The Comanche had the place I — 15 Captain, spare 
 
 me the rest; 
 Yon know what that means, for yon come from 
 
 the West. 
 
 16 I woke with a shont, and I had bnt one aim — ' 
 
 17 To save or revenge them ! — my head was aflame, 
 
 And my heart had stood still; I was mad/ 8 
 
 I dare say, 
 For my horse fell dead at the dawn of the day ; 
 Then | I knew what Fd done; and, with heart- 
 broken breath, 
 [When the boys found me out, 19 I was praying 
 for death. 
 
 SLOW. 
 
 20 "A pardon '[" No, Captain, I did run away, 
 And the wrong to the flag it is right I should 
 
 pay 
 
 With my life. It is not hard to be brave 
 When one's children and wife have gone over 
 
 the grave. — 
 21 "Boys, take a good aim! When I turn to the 
 
 West 
 Put a ball through my heart ! it is kindest and 
 
 oest." 
 
 He lifted 22 his hat to the flag — bent his head — 23 
 
 solemn. And the prayer of his childhood | solemnly 
 
 said — 
 
THE POLISH BOY. 
 
 157 
 
 loud. Shouted: "Comrades, adieu!" — 24 spread his 
 
 arms to the West — 
 And a rifle-ball instantly granted him rest. 
 But o'er his sad grave by the Mexican sea, 
 Wives and mothers have planted a blossoming 
 tree, 
 L0Wt And maidens bring roses, and tenderly say, 
 
 25 "It was love — sweetest love — led that soldier 
 away." 
 
 1 Raise right arm as in No. 1 arm plate. 2 Hand extended as hold- 
 ing rifle. 3 Hands on hips — shake head. 4 No. 1 hand plate. 5 Rub eyes 
 and look around. 6 Step quickly to left — swing out left arm carelessly. 
 7 Speak slowly whilst rubbing forehead. 8 Indicate how tall they are. 
 9 Fold the arms — head on breast. 10 Point front — hold for four lines. 
 11 Action of patting dog on the head. 12 Hands out straight in front — 
 palms down. 13 No. 14 hand plate. 14 Describe a circle about you. 
 15 Advance — clasp hands — look appealingly at Captain. 16 Step to front 
 — throw up the arms. 17 Shake fist in front. 18 Both hands clutching 
 hair. 19 Hands clasped — look up. 20 No. 6 hand plate. 21 Turn to right 
 — stand very straight. 22 Action of raising hat. 23 Bend the head — 
 clasp hands. 2i Open arms wide. 25 No. 1 hand plate. 
 
 LOUD, 
 DIRECT. 
 
 QUES- 
 TION- 
 ING. 
 
 63-THE POLISH BOY. 
 
 Ann 8. Stephens. 
 (Abridged.) 
 
 Whence 1 come those shrieks so wild and shrill, 
 that cut like blades of steel, the air? causing 2 the 
 creeping blood to chill with the sharp cadence of 
 despair! Whence come they? 3 From yon 
 Temple, where an altar, raised for private prayer, 
 now forms the Warrior's marble bed, who War- 
 saw's gallant armies led. The 4 dim funereal 
 tapers | throw a holy lustre o'er his brow; and 
 burnish, with their rays of light, the mass of 
 curls that gather bright above the haughty brow 
 and eye of 5 yon young Boy that's kneeling by. 
 
 What hand is that, whose icy press clings 6 to 
 the dead with death's own grasp, but meets no 
 answering caress? No thrilling fingers seek its 
 clasp. It is the hand of her whose cry rang wildly, 
 late, upon the air, when the Dead Warrior met 7 
 her eye 8 outstretched upon the altar there. With 
 pallid lip and stony brow she murmurs forth her, 
 
158 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 BTAG- 
 . . CATO. 
 
 SHRIEK- 
 ING. 
 
 BOLD. 
 
 anguish now. . . . 9 But, hark! the tramp of 
 heavy feet is heard along the bloody street ! — 
 Nearer and nearer yet they come, with clanking 
 arms and noiseless drum; now whispered curses, 
 low and deep, around the holy Temple creep ! 
 10 The gate is burst! a ruffian band rush in, and 
 savagely demand, with brutal voice and oath pro- 
 fane, the startled Boy for exile's chain. 
 
 The Mother | sprang with gesture wild ; n and to 
 her bosom clasped her child: — 12 "Back, ruffians, 
 back! nor dare to tread too near the body of my 
 dead, nor touch my living boy ! I stand between 
 him and your lawless band. Take me, and bind 
 these 13 arms — these hands, — with Eussia's heaviest 
 iron bands ; or drag me to Siberia's wild | to 
 perish, if 'twill save my child \" 
 
 14 "Peace, woman, peace !" the Leader cried, 
 15 tearing the pale Boy from her side; and in his 
 ruffian grasp he bore his victim to the Temple 
 door: — 1Q "One moment!" shrieked the mother; 
 "one ! Will land or gold redeem my son ? Take 
 heritage, take name, take all, but leave him free 
 from Eussian thrall! 17 Take these !" and her 
 white arms and hands she stripped of rings and 
 diamond bands, and tore from braids of long black 
 hair the gems that gleamed like starlight there; 
 her cross of blazing rubies, last, down at the Bus- 
 sian's feet she cast. — 18 He stooped to seize the 
 glittering store: 1% up-springing from the marble 
 floor, the Mother, with a cry of joy, snatched to 
 her leaping heart the Boy! But no! the Eus- 
 sian's iron grasp again undid the Mother's clasp. 
 20 Forward she fell, — with one \ long \ cry of more 
 than mortal agony ! 
 
 But the brave child is roused at length, and, 21 
 breaking from the Eussian's hold, he stands, a 
 giant | in the strength of his young spirit, fierce 
 and bold : — "Ye hold me not ! no, no, nor can ; 
 this hour has made the boy | a 22 man! I knelt 
 beside my slaughtered Sire, nor felt one throb of 
 vengeful ire; I wept 23 upon his marble brow, — 
 yes, wept, — I was a child; but now my noble 
 
THE POLISH BOY. 
 
 159 
 
 LOUD. 
 
 PATHET- 
 IC. 
 
 Mother on her knee has done the work of years 
 for me!" 
 
 24 He drew aside his broidered vest, and there, 
 like slumbering serpent's crest, the jewelled haft 
 of poniard bright glittered a moment on the sight. 
 "Ha! start ye back? 25 Fool! coward! knave! 
 Think ye my noble father's glaive could drink 
 the life-blood of a slave ? The pearls that on the 
 handle name would blush to rubies in their shame : 
 the blade would quiver in thy breast, — ashamed 
 of such ignoble rest ! No ; thus I rend thy tyrant's 
 chain, and fling him back 26 a boy's disdain !" 
 
 A moment and the funereal 27 light flashed on 
 the jewelled weapon bright; another, and his 
 young heart's 28 blood leaped to the floor — a crim- 
 son flood ! Quick to his Mother's side he sprang, 
 and on the air his clear voice rang : — 29 "Up, 
 Mother, up ! I'm free ! I'm free ! The choice was 
 death or slavery ; up ! Mother, up ! look on my 
 face, I only wait for thy embrace. One last, last 
 word, — a blessing, one, to prove thou know'st what 
 I have done ! So look ? no word ? Canst thou 
 not feel my warm blood o'er thy heart congeal? 
 Speak, Mother, 30 speak, — lift up thy head. What ! 
 silent still ? Then | art thou dead ! . . . 
 31 Great God, I thank thee ! Mother, I rejoice, — 
 with thee and thus, — to die." 32 Slowly he falls: 
 the clustering hair rolls back, and leaves that fore- 
 head bare; 33 one long, deep breath, and his pale 
 head lies on his Mother's bosom . . . dead! 
 
 1 Step forward — hand behind ear. 2 Both hands on breast. 3 Point 
 front. * Hands to front — fingers pointing outward. 5 Point downward. 
 6 Hand out and clinched. 7 Point front. 8 Point downward. 9 Step to 
 left — hand behind ear — listening. 19 Step forward, making a loud stamp — 
 wrench hands apart quickly. X1 Run three steps to left — clasp arms over 
 breast. 12 Look and extend left arm to left. 13 Both hands on breast — 
 still looking left. 14 Turn right — raise right hand. 15 Advance hand to 
 right — close fingers and draw arm quickly back. 16 Run three steps to 
 left — arms extended. 17 Touch hands — neck — hair — throw the hand down- 
 ward. 1S Stoop to pick up. 19 Advance — clasp arms over breast. 20 No. 3 
 arm plate — both hands. 21 Throw both arms apart — then fold them — 
 stand erect — look to left. 22 Touch breast — then raise finger of right 
 hand over head. 23 Drop both hands in front — look down. 2i Action of 
 opening vest. 25 Step back — laugh— shake left hand at left. 26 Throw hand 
 scornfully to left. 27 Both hands extended to front — fingers pointing 
 outward. 28 Bring hands from breast quickly downward. 29 Kneel — bend 
 down — hands extended downward. 30 Clasp hands. 31 Strike palms to- 
 gether — look up — still kneeling. 32 Point downward — stand up. !3 Hand 
 on breast, then point down. 
 
160 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 FULL 
 MOD- 
 ERATE 
 VOICE. 
 
 64-ADIEUX DE MARIE STUART* 
 
 Adieu} charmant pays de France, 
 Que je dois tant cherir ! 
 2 Berceau de mon heureuse enfance, 
 Adieu! te quitter, c'est mourir. 
 
 Beranger. 
 
 WITH 
 AFFEC- 
 TION. 
 
 RATHER 
 BRISK. 
 
 3 Toi que j'adoptai pour patrie, 
 
 Et d'ou je crois me voir 4 bannir, 
 5 Entends les adieux de Marie, 
 
 France, et garde son souvenir. 
 6 Le vent souffle, on quitte 7 la plage; 
 
 Et, peu touche de mes sanglots, 8 
 9 Dieu, pour me rendre a ton rivage, 
 
 Dieu n'a point souleve les flots ! 
 
 10 Adieu, charmant pays de France, 
 
 Que je dois tant cherir ! 
 n Berceau de mon heureuse enfance, 
 Adieu ! te quitter, c'est mourir. 
 
 STRONGER. 
 
 ,13 
 
 Lorsqu'aux yeux du peuple que j'aime, 
 
 Je ceignis les lis eclatants, 
 12 I1 applaudit au rang supreme' 
 
 Moins qu'aux charmes de mon printemps. 
 14 En vain la grandeur souveraine 
 
 M 7 attend chez le sombre Ecossais; 
 
 Je n'ai desire d'etre 15 reine 
 16 Que pour regner sur des Frangais. 
 
 17 Adieu, charmant pays de France, 
 
 Que je dois tant cherir ! 
 18 Berceau de mon heureuse enfance, 
 Adieu! te quitter, c'est mourir. 
 
 LOUD. 
 
 19 U amour, | la gloire | le genie 
 Ont trop enivre mes beaux jours; 
 Dans Tinculte Caledonie 
 De mon sort va changer le cours. 
 
ADIEUX DE MARIE STUART. 
 
 161 
 
 20 Helas ! un presage terrible 
 fear. Doit livrer mon 21 cceur a Feffroi : 
 
 J'ai cru voir, dans un songe horrible, 
 Un echafaud dresse 22 pour moi. 
 
 25 Adieu, charmant pays de France, 
 
 Que je dois tant cherir ! 
 24 Berceau de mon heureuse enfance, 
 Adieu ! te quitter, c'est mourir. 
 
 25 France, du milieu des alarmes, 
 wergy. 26 La noble fiUe des stuarts, 
 
 Comme en ce jour qui voit ses larmes, 
 21 Vers toi tournera ses regards. 
 28 Mais, Dieu ! le vaisseau trop rapide 
 Deja vogue sous d'autres cieux, 
 Et la nuit, 29 dans son voile humide, 
 Derobe tes bords a mes yeux! 
 
 30 Adieu, charmant pays de France, 
 
 Que je dois iant cherir ! 
 31 Berceau de mon heureuse enfance, 
 32 Adieu! te quitter, c'est mourir. 
 
 1 Bring fingers from the lips out to right — then send hand to the 
 >reast — look to right. 3 Bend — both hands down — palms out. 4 Right 
 hand to right — look to right — throw the head well back. 4 Swing left 
 hand from breast to left — palm down. 5 Step to right — extend both 
 arms appealingiy. 6 Slightly wave the hand. 7 Right arm No. 5 arm 
 plate. b Hand on breast. 9 Extend both hands upward — look up. 10 Re- 
 peat \ n Repeat 2 . 12 Clap the hands. 13 Raise right hand as in No. 4 arm 
 plate. 14 Drop the arm as in No. 3 arm plate. 15 Advance — raise right 
 hand high— stand very erect and have a haughty bearing. 16 Repeat w . 
 17 Repeat 1 . 1S Repeat 2 . 19 Right hand out — emphasize by gesture the 
 tbree nouns of the line. 20 Drop hand — look dejected. 21 Hand on heart. 
 22 Bring hand to breast. 23 Same as 1 . 2i Same as 2 . 25 No. 5 arm plate — 
 both hands. 2S Spread fingers of right hand on breast — dignified carriage. 
 27 Turn to right and put out right hand. 28 Clasp hands and look up. 
 29 Describe semi-circle above the head — palms out. 30 Same as x . 31 Same 
 as 2 . 32 Throw kiss with right hand to the right. 
 
 
162 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 65-FRIEDE. 
 
 Bodenstedt. 
 
 Nun sind Stiirme 1 und Gewolk zerstoben, 
 Auf den blauen 2 Bergen blitzt der Schnee; 
 Still, vom reinsten Morgenglanz umwoben, 
 3 Euht die Welt — vergiss nun 4 Leid. und Well. 
 Friede ist im 5 Himmel und auf Erden, 
 Friede 6 lass auch deinem Herzen werden. 
 
 Aus dem Dorf am Bergsee klingt 7 Geldute, 
 Auf den Wiesen glanzt der Morgenthau. 
 Alles 8 rant — der Tag des Herm ist heute, 
 Und kein 9 Wolkchen triibt das lichte Blau. 
 Friede ist im Himmel und auf Erden, 
 Friede 10 lass auch deinem Herzen werden. 
 
 Klage 11 nicht mehr! — Was du auch gelitten: 
 Schuldlos 12 leiden viele mehr als du ! 
 Keiner siegte noch, der nicht gestritten, 
 Doppelt suss labt nach dem Kampf die Kuh. 
 Friede ist im 13 Himmel und auf Erden, 
 Friede 14 lass auch deinem Herzen werden. 
 
 
 1 Hold out and up both hands — palms out — then gradually drop them 
 in semicircular form. 2 Point upward to right — turn to the right. 3 Both 
 hands extended — turn slowly to right and left sides whilst speaking line. 
 4 Clasp hands — speak quietly and impressively. 5 Point upward, then 
 downward. 6 Hand over heart. 7 No. 8 arm plate — left arm. 8 Hands 
 out horizontally — slightly apart — palms down. 9 Look up. 10 No. 12 hand 
 plate. 1X Use the falling movement of arms and hands as in No. 3 arm 
 plate. 12 Raise both arms as in No. 1 arm plate. 13 Advance — point up- 
 ward, then downward. 14 Right hand over heart. 
 
Part IL 
 Selections of Prose, Dialogues and Dramatic Scenes* 
 
 WELL 
 
 SUS- 
 TAINED 
 VOICE. 
 
 SLOW. 
 
 66-FREEDOM AND PATRIOTISM. 
 
 Orville Dewey. 
 
 God | has stamped 1 upon our very humanity 
 this impress of freedom. It is the unchartered 
 prerogative of human nature. 2 A soul | ceases 
 to be a soul, in proportion as it ceases to be free. 
 Strip it of this, and you strip it of one of its 
 essential and characteristic attributes. It is 
 this 3 | that draws the footsteps of the wild Indian 
 to his wide and boundless desert-paths, and makes 
 him prefer them to the gay saloons and soft car- 
 pets of sumptuous palaces. It is this that makes 
 it so difficult to bring him within the pale of 
 artificial civilization. Our roving 4 tribes are 
 perishing — a sad and solemn sacrifice upon the 
 altar of their wild freedom. 5 They come among 
 us, and look with childish wonder upon the per- 
 fection of our arts, and the splendor of our habi- 
 tations: they submit with ennui and weariness, 
 for a few clays, to our burdensome forms and re- 
 straints ; and 6 then | turn their faces to their forest 
 homes, and resolve to push those homes onward 
 till they 7 sink in the Pacific waves, rather than 
 not be free. 
 
 8 It is thus that every people is attached to its 
 country, just in proportion as it is free. No 
 matter if that country be in 9 the rocky fastnesses 
 of Switzerland, amidst the snows 10 of Tartary, or 
 
164 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 RATHER 
 QUICK. 
 
 W>EEP AND 
 INTENSE. 
 
 GRADU- 
 ALLY IN- 
 CREASE. 
 
 on the most barren and lonely island-shore; no 
 matter if that country be so poor as to force away 
 its children to other and richer lands, for employ- 
 ment and sustenance; 11 yet | when the songs of 
 those free homes | chance to fall upon the 12 exile's 
 ear, no soft and ravishing airs that wait upon 
 the timid feastings of Asiatic opulence ever 12 
 thrilled the heart with such mingled rapture and 
 agony | as those simple tones. 14 Sad mementos 
 might they be of poverty and want and toil ; yet j 
 it was enough that they were mementos of happy 
 freedom. 
 
 15 I have seen my countrymen, and I have been 
 with them a fellow wanderer, in other lands; and 
 little did I see or feel to warrant the apprehension, 
 sometimes expressed, that foreign travel would 
 weaken our patriotic attachments. One sigh 16 
 for home — 17 home, arose from all hearts. And 18 
 why, | from palaces and courts — why, | from 
 galleries of the arts, where the marble softens into 
 life, and painting | sheds an almost living pres- 
 ence of beauty around it — why, | from the moun- 
 tain's awful brow, and the lonely valleys and lakes 
 touched with the sunset hues of old romance — 
 why, from those venerable and touching ruins to 
 which our very heart grows — why, from all these 
 scenes, were they looking beyond the swellings 
 of the Atlantic wave, to a dearer and holier spot 
 of earth — their own, own country? 19 Doubtless, j 
 it was in part because it is their country ! But | 
 it was also, as every one's experience will testify, 
 because they knew that there was 20 no oppression, 
 no pitiful exaction of petty tyranny; because that 
 there, they knew, was no accredited and irresisti- 
 ble religious domination; because that there, they 
 knew, they should not meet the odious soldier at 
 every corner, nor swarms of imploring beggars, 
 the victims of misrule ; that there no curse j 
 causeless did fall, and no blight, worse than 
 plague and pestilence, did descend amidst the pure j 
 dews of heaven ; because, in fine, that there, they 
 
NO NATIONAL GREATNESS WITHOUT MORALITY. 
 
 165 
 
 CLIMAX. 
 
 knew was LIBEETY — upon all the green hills, and 
 amidst all the peaceful villages — liberty, the wail 
 of fire | around the humblest home; the crown of 
 gloiy, 21 studded with her ever-blazing stars upon 
 the proudest mansion ! 
 
 1 No. 1 hand plate — stand erect — right foot advanced — slightly bend 
 the knee — weight of body resting on left foot. 2 Bring hand to breast. 
 3 No. 12 hand plate — use repeatedly this gesture until word "civilization" 
 is spoken. 4 Point downward right hand. 5 No. 7 arm plate. 6 No. 8 
 arm plate. 7 Turn right hand and point downward. s Both hands ex- 
 tended till period. y Point upward. 10 Point and half turn body to 
 right. X1 No. 1 hand plate. 12 Hand to ear. 13 Hand to heart. 
 14 Slowly droop the hands — wrist movement. 15 Walk three steps to left — 
 No. 1 hand plate. 16 Hand to breast. 17 Advance on right foot — point 
 toe of left — elevate right hand. 18 Raise right hand higher than head 
 and shake the hand on the words "why" until "own — own country." 
 19 No. 7 hand plate. 20 Bring hand down forcibly on the following em- 
 phatic words until you reach the words "was liberty" — then elevate the 
 hand — advance. 21 Still advanced — both arms extended upward and out- 
 ward till finish. 
 
 67-NO NATIONAL GREATNESS WITHOUT MORALITY. 
 
 STRONG 
 CARRY- 
 ING 
 VOICE. 
 
 INTERROG- 
 ATIVE. 
 
 W. E. Charming. 
 When 1 we- look forward to the probable growth 
 of this country; when we think of the 2 millions 
 of human beings who are to spread over our 
 present territory; of the career of improvement 
 and glory open to this new people; of the im- 
 pulse 3 which free institutions (if prosperous), 
 may be expected to give to philosophy, | Reli- 
 gion, | science, | literature, | and arts; of the 5 vast 
 field in which the experiment is to be made, of 
 what the unfettered powers of man may achieve; 
 6 of the bright page of history | which our fathers 
 have filled, and of the advantages | under which | 
 their toils and virtues 7 have placed us for carry- 
 ing on their work ; 8 when we think of all this, can 
 we help, for a moment, surrendering 9 ourselves to 
 bright visions of our country' s glory, before which 
 all the glories of the past 10 are to fade away? Is 
 it presumption 11 to say, that, if -just to 12 our- 
 selves and all nations, we shall be felt through 
 
166 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 UPWARD 
 INFLEC- 
 TION. 
 
 QUESTION- 
 ING. 
 
 CLIMAX. 
 
 this 13 whole continent, that we shall spread our 14 
 language, institutions, and civilization, through 
 a wider space than any nation has yet filled with 
 a like beneficent influence? And | 15 are we pre- 
 pared to barter these hopes, this sublime moral 
 empire, for conquests by force? 16 Are we pre- 
 pared to sink to the level of unprincipled nations, 
 to content ourselves with a vulgar, guilty great- 
 ness, to adopt in our youth | maxims and ends 
 which must brand our future with 17 sordidness, 
 oppression and shame? This country 18 cannot 
 without peculiar infamy run the common race of 
 national rapacity. Our 19 origin, institutions, 
 and position are peculiar, and all favor an up- 
 right, | honorable course. We have not the apolo- 
 gies of nations hemmed in by narrow bounds, or 
 threatened | by the overshadowing power of am- 
 bitious neighbors. 20 If we surrender ourselves to 
 a selfish policy, we shall sin almost without temp- 
 tation, | and forfeit opportunities of greatness | 
 vouchsafed to no other people, for a prize 21 below 
 contempt. 
 
 I have alluded to the want of wisdom | with 
 which we have been accustomed to speak of our 
 destiny as a people. We are 22 destined (that is 
 the word), to 23 overspread North America; and 
 24 intoxicated with the idea, it matters little to 
 us | how we accomplish our fate. 25 To spread, [ 
 to supplant others, | to cover a | boundless space, 
 this seems our ambition, no matter what influence 
 we spread with us. 2Q Why | cannot we rise to 
 noble conceptions of our destiny? Why | do we 
 not feel, that our work as a nation is, to carry 
 freedom, religion, science, and a nobler form of 
 human nature over this continent? and why do 
 we not remember, that to diffuse these blessings j 
 we must first | cherish them in our own borders ; 
 and that whatever deeply and permanently cor- 
 rupts us | will make our spreading influence a 
 curse, | not 27 a blessing, to this new world ? I am 
 not prophet enough to read our fate. I believe,, 
 
TRUE GRANDEUR OP NATIONS. 
 
 167 
 
 SPEAK 
 
 SLOWLY, 
 LOUDLY. 
 
 indeed, that 28 we are to make our futurity for our- 
 selves. I believe, that a nation's destiny lies in its 
 character, in the principles which govern its policy, 
 and bear rule in the hearts of its citizens. I take 
 29 my stand on God's \ moral | and eternal law. 
 A nation, renouncing and defying this, cannot^ | 
 be free, \ cannot be great. 
 
 1 No. 1 hand plate — stand firmly — eyes well opened and directed to 
 front. 2 Same as \ but with both hands. 3 Send hand from breast out- 
 ward. 4 No. 7 hand plate. 5 Open the arms as in No. 5 arm plate. 6 No. 
 4 hand plate. 7 Both hands to breast. 8 No. 5 arm plate — both hands. 
 9 Wave hands toward body. 10 Turn palm outward and swing slowly 
 hand to right. 1X Turn to the right — gesture No. 12 hand plate. 12 Touch 
 breast. 13 No. 5 arm plate — both hands. 14 Hands and arms horizontal 
 in front — palms down — spread them apart. 15 No. 12 hand plate — step 
 to the left. 16 Point downward — head thrown back. 17 Left hand on 
 hip — waving right hand upward and downward. 1S Advance to front — 
 both arms out. 19 No. 1 hand plate — bring hand downward movement 
 on italicized words. 20 Both hands out — turn to left. 21 No. 2 arm plate. 
 22 No. 4 arm plate. 23 Send both out to right and left. 24 Touch fore- 
 head. 25 Both hands out — No. 5 arm plate. 2U No. 1 hand plate— on the 
 words "why" turn alternately to right and left — kept up till "our own 
 border." 27 Bring fist down forcibly. 28 Point upward in front. 29 No. 
 4 arm plate, but raise hand higher. 30 Advance — same gesture as 29 — 
 shake the hand till end. 
 
 LOUDLY. 
 
 CONVER- 
 SA- 
 TIONAL. 
 
 APPEAL- 
 ING. 
 
 68 -TRUE GRANDEUR OF NATIONS. 
 
 Charles Sumner. 
 Casting our eyes over the history of nations, 
 with horror we discern | the succession of murder- 
 ous slaughters, by which their progress has been 
 marked. 1 Even | as the hunter traces the wild 
 beast, when pursued to his lair, by the drops of 
 blood on the earth, so we follow m&n, 2 weary, \ 
 staggering with wounds, | through the black forest 
 of the past, which he has reddened with his gore. 
 3 0, let it not be in the future ages, as in those 
 we now contemplate ! Let 4 the grandeur of man 
 be discerned, not in bloody victories, or in rav- 
 enous conquests, but | in the blessings 5 which he 
 has secured; in the 6 good he has acomplished; in 
 the triumphs of benevolence and justice; in the 
 establishment 7 of perpetual peace. 
 
168 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 SIMILE. 
 
 LOUD. 
 
 As the ocean 8 washes every shore, and, with all 
 embracing arms, clasps every land, while, on its 
 heaving bosom, it bears the products of various 
 climes; so 9 peace | surrounds, protects, and up- 
 holds all other blessings. 10 Without it, commerce 
 is vain, the ardor of industry is restrained, justice 
 is arrested, happiness is blasted, virtue | sickens 
 and dies. 
 
 n And peace | has its own peculiar victories, in 
 comparison with which | Marathon and Bannock- 
 burn and Bunker Hill, fields sacred in the history 
 of human freedom, shall lose 12 their lustre. 
 13 Our own Washington | rises to a truly heavenly 
 stature, — not 1 * when we follow him over the ice of 
 the Delaware to the capture of Trenton, — not 15 
 when we behold him victorious over Cornwallis at 
 Yorktown, — but | when 16 we regard him in noble 
 deference to justice, refusing the kingly crown 
 which a faithless soldiery proffered, and, at a later 
 day, 17 upholding the peaceful neutrality of the 
 country, while he received | unmoved | the clamor 18 
 of the people wickedly crying for war. 
 
 1 Point downward in front. 2 Both hands as in No. 1 hand plate — ■ 
 wave them twice up and down. 3 Clasp hands under chin. 4 Open arms 
 widely. 5 Point upward and turn slightly looking around. 6 Same. 7 Same. 
 8 Wave both hands outward — palms down. 9 Turn palms up — same ges- 
 ture as 8 . 10 No. 12 hand plate — touch left palm with right hand on 
 emphatic words till period. n Both hands — No. 5 arm plate — take two 
 steps backward. 12 Wave right hand to right — palm outward — turn face 
 to left. 13 Advance— point upward — wait for applause. 14 Point to left. 
 15 Hand to right. 16 Quickly raise right hand. 17 Wave upward and out- 
 ward both hands. 18 Shake fist. 
 
 69-ACQUISITION OF TERRITORY. 
 
 J. W. Miller. 
 In consulting the history of nations, it will be 
 found | there 1 is an epoch in the existence of each, 
 when a temptation presents itself, which | re- 
 sisted or yielded to, marks the future character 
 of the nation | for good or for evil. That tempta- 
 tion is now presented to this republic 2 — it is 
 
ACQUISITION OF TERRITORY. 
 
 169 
 
 MODERATE. 
 
 INCREASED 
 TONE. 
 
 LOUD. 
 
 DO NOT 
 DRAG. 
 
 Mexico. It is 3 a broad and a rich land — a land of 
 silver and gold — a land without a government to 
 protect it, and without a people capable of de- 
 fending it, and it lies 4 before us an easy | tempt- 
 ing prey. There is 5 none to stay our hand, or to 
 resist the gratification of our ambition. The 
 mystery of her origin, the story of her former 
 conquest, | play G upon our fancy and excite our 
 heroic passions. Already has the tempter 7 carried 
 us to the pinnacle of the temple and points out 
 the rich treasures of the city beneath. We now 
 stand 8 upon the high mountain — at our 9 feet | lie 
 twenty states, with their cities and towns, their 
 temples of religion, and palaces of state. The 
 tempter 10 whispers in our ear, all these shall be 
 yours if you will fall down and worship the God 
 Conquest. History stands ready with her 11 pen of 
 steel to record our determination. 12 8hall we bow 
 down to the evil spirit, and fall as other nations 
 have fallen, or shall we maintain our virtue and 
 rise to godlike courage and say, lzu Get thee be- 
 hind me, Satan/ 3 The temptation is mighty — 
 the power to resist | only divine. I know 14 of no 
 nation, in. ancient or modern times that would 
 resist so easy, yet so rich, an acquisition to its do- 
 minions. To say nothing of the heathen world, 
 not one 15 of the powers of modern Europe | would 
 withstand the temptation. 16 En gland would not, 
 as she has shown by her conquests in the East. 
 France 17 would not, as she is now proving by her 
 attempts upon Algeria. As to 18 Russia, Prussia, 
 Austria, let the partition of Poland answer. There, 
 19 too, is old Spain, once | the proudest and might- 
 iest of them all; she has also had her temptation. 
 It was this same 20 Mexico which now fascinates us. 
 21 Allured by its mines of silver and gold, which 
 now entice us — excited by the spirit of propa- 
 gandism, which now inspires us, she too 23 yielded 
 to the tempter, and for a while she went on from 
 conquering to conquer, until in her turn, she was 
 made to lick 24 the dust beneath the chariot wheels 
 
170 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 FULL 
 TONE. 
 
 INTENSE. 
 
 of that false deity | she had worshipped, when 
 that chariot 25 rolled in triumph over the fair fields 
 of Arragon and Castile. No, 2Q sir, | I can find no 
 example of this high standard of national virtue 
 and forbearance. If we resist this temptation, 
 we shall set an example 27 to the world. 28 0urs 
 the wisdom, ours the virtue, ours the glory, of 
 forbearing to seize upon the territory of a weak and 
 defenceless neighbor, when we had the oppor- 
 tunity and the excuse of doing so. We have al- 
 ready, | in our short history, | set 29 one great ex- 
 ample to the nations of the earth. We have laid 
 the 30 foundation of a mighty empire, deep and 
 strong, upon a principle new and startling to the 
 Old World. "We have established 31 self-government, 
 and bound in strong and happy union, twenty 
 millions of freemen, who acknowledge no gov- 
 ernment, but that of their 32 own choice. Let us 
 now establish another principle of national action, 
 equally new and startling. Let 33 us declare | that 
 while we admit the oppressed of every land, 34 to a 
 free participation of the blessings of our self- 
 government, 35 no cause of war, no excuse, no tempt- 
 tation will induce us to conquer a nation by war, 
 for the purpose of 36 subjugating its territory and 
 people to our dominion. 
 
 1 No. 7 hand plate. 2 Drop the hand. 3 Outward both hands — No. 5 
 arm plate. 4 Spread out both hands palms down. 5 No. 3 arm plate — 
 falling movement of hand. 6 Touch right temple — wave hand outward. 
 7 Wave hand from breast -upward — advance to right. 8 Both hands out — 
 look from side to side. 9 Point downward. 10 Send fingers from lips 
 outward. X1 Fingers of rigbt hand held out as if grasping pen. 12 Hand 
 to breast — bow head. 13 Throw hand to right strongly 14 turn head and 
 body to left. 15 Shake index finger at audience. 16 No. 1 hand plate — turn 
 to the right. 17 Same gesture to the left. 18 Both hands to the front. 
 19 Slowly nodding head. 20 No. 12 hand plate — take three steps to right. 
 21 Bend head slightly — wave both hands from forehead outward. 23 No. 8 
 arm plate. 2i Shake right hand — pointing downward. 25 Make a circular 
 movement with hand. 26 Strike right fist into left palm. 27 Both arms 
 spread out. 28 Touch breast on the words "Ours." 29 Shake index finger 
 three times in front. 30 Point downward. 31 No. 1 hand plate — advancing. 
 32 Hand on breast. 33 Raise right hand — palm out. 3i Both arms out — 
 palms up. 35 Bring right fist down forcibly, 36 Shake fist to the front. 
 
LIBERTY AND DESPOTISM. 171 
 
 70-LIBERTY AND DESPOTISM. 
 
 De Witt Clinton. 
 In revolutionary times 1 | great talents and great 
 virtues, as well as great vices and great follies 
 spring into being. The energies of our 2 nature 
 
 V °full are P 11 ^ ^° requisition, and | during the whirl- 
 
 wind and the tempest, innumerable evils will be 
 perpetuated. But | all the transient mischiefs 
 of revolution are mild 3 when compared with the 
 permanent calamities of arbitrary power. The 
 one | is 4 a sweeping deluge, an awful tornado, 
 which quickly passes away ; but the 5 other | is a 
 volcano, continually ejecting rivers of lava — an 
 
 loud. earthquake | burying whole countries in ruin. 
 
 6 The alleged inaptitudes of man for liberty is the 
 effect of the oppressions which he has suffered 1 1 
 and until a free government can shed its pro- 
 pitious influence over time — until perhaps, a new 
 generation 7 has risen up under the new order of 
 things, with new habits and new principles, | so- 
 ciety | will be in a state of agitation and mutation ; 
 8 faction will be the lord of the ascendant, and 
 frenzy and fury, \ denunciation and proscription, 
 will be the order of the day. The dilemma is 
 inevitable. Either the 9 happiness of the many | 
 or the predominance of the few | must be sacri- 
 ficed. The flame 10 of liberty and the light of 
 knowledge emanate from the same sacred fire, and 
 subsist on the same element; and the seeds of 
 instruction widely disseminated will, | like the 
 serpent's teeth, in the pagan mythology, 11 that 
 were sown into the earth, rise 12 up | against op- 
 pression | in the shape of the iron men of Cadmus. 
 In such a case | who can hesitate to make an 
 election ? 13 The spirit of a Kepublic is the friend, 
 and the genius of a monarchy is the enemy of 
 peace. 14 The potentates of the earth have, for 
 centuries back, maintained large standing armies, 
 and, on the most frivolous pretexts, have created 
 havoc and desolation. And | 15 when we compare 
 
172 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 FORCE 
 IN- 
 CREASED. 
 
 STRONG. 
 
 the world as it is | under arbitrary power, with the 
 world as it 16 was | under free republics, what 17 an 
 awful contrast does it exhibit ! 18 What a solemn 
 lesson does it inculcate ! The ministers of famine 
 and pestilence, of death and destruction, have 19 
 formed the van and brought up the rear of des- 
 potic authority. The monuments 20 of the arts, | 
 the fabrics of genius and skill, | and the sublime 
 erections of piety and science, have been 21 pros- 
 trated in the dust; the places 22 where Demos- 
 thenes and Cicero spoke, | where Homer and Vir- 
 gil sang, | and where Plato and Aristotle taught, j 
 are now 23 exhibited | as mementoes of the perish- 
 able nature of human glory. The forum 24 of 
 Eome is converted into a market for cattle; the 
 sacred fountain of Castalia 25 is surrounded, not 
 by the muses and graces, but | by the semi-barbar- 
 ous girls of Albania; the laurel groves, and the 
 deified 26 heights of Parnassus, are the asylum of 
 banditti; Babylon can only be traced by its bricks ; 
 the sands of the 27 desert | have overwhelmed 28 the 
 splendid city of Palmyra, and are daily encroach- 
 ing on the fertile territories of the Nile; and the 
 malaria has 29 driven man from the fairest 
 portions of Italy, and pursued 30 him to the very 
 gates of the Eternal City. 
 
 1 No. 1 hand plate — right foot advanced. 2 Hand to the breast. 
 3 No. 5 hand plate — slightly bow the head. Send left arm from breast 
 outward quickly. 5 Raise quickly right arm as in No 1 arm plate. 6 Touch 
 left palm with right index finger. 7 Put out right hand — then elevate it. 
 8 No. 7 hand plate — and shake finger on the following emphatic words. 9 Both 
 hands extended — earnest expression on face 10 No. 12 hand plate. " Point 
 downward. 12 Raise both hands as in No. 1 arm plate. 13 Left hand out 
 turn to left and take three steps. 14 Both hands extended — bend toward 
 audience. 15 No. 2 hand plate. 1G Repeat same. 17 Throw both hands 
 from the face outward. 18 Clasp hands. "Point in front with left hand. 
 20 No. 4 arm plate. 21 Point downward. 22 Cross back to center holding 
 out right hand — pointing. 23 Open both arms. 24 Point front. 25 Both 
 hands extended. 2<i Point upward. 21 Point downward. 2S Cross both 
 hands in front then sweep them to the sides outward. 29 Touch left 
 shoulder with right hand then wave it to right. 80 Advance — shake finger — 
 arm straight. 
 
THE SABBATH. 
 
 173 
 
 DIGNITY. 
 
 RATHER 
 SLOW. 
 
 PERSUA- 
 SIVE. 
 
 71-THE SABBATH. 
 
 T. Frelinghuysen. 
 
 Mr. President — The Sabbath 1 was made for 
 man — not to be contemned and forgotten — the 
 constitution of his 2 nature requires just such a 
 season. It is identified with his pursuits, and his 
 moral tendencies. God 3 has ordained it in infi- 
 nite benevolence. The reason for its institution, 
 as recorded in His Word, was His 4 own example. 
 It began with creation. The first week of time 
 was blessed with a Sabbath. The 5 garden of Eden 
 would not have smiled in all its loveliness, had 
 not the light of this day shone upon it. 6 Blot it 
 out, | and the hope of the world is extinguished. 
 When the whirlwind raged in France, how was it, 
 sir? 7 They could not carry their measures of 
 ferocity and blood, while this last palladium of 
 virtue remained. Desolation 8 seemed to pause in 
 its course, its waves almost subsided: when the 
 spirit of evil | struck this hallowed day 9 from the 
 calendar, and enacted a decade to the Goddess of 
 Eeason — after which the besom 10 swept all before 
 it. 
 
 Our own 11 experience must satisfy us | that it 
 is essential to the welfare of our condition. 12 Put 
 the mind to any action of its powers — let its 
 energies be exerted incessantly, with no .season 
 for abstraction and repose, | and it would very 
 soon sink 13 under a task | so hostile to its nature: 
 it would wear out in such hard service. So | let 14 
 the pursuits of business constantly engage our 
 speculations, and the whole year become one un- 
 varied calculation of profit and loss, with no Sab- 
 bath to open an hour | for the return of higher 
 and nobler feelings, and the heart will become 
 the victim of a cold and debasing selfishness, and 
 have no greater susceptibility than the nether 
 mill-stones. 15 And if | in matters that are law- 
 ful, such consequences would ensue, what will be 
 the results of a constant, unbroken progression in 
 
174 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS 
 
 UTRONG. 
 
 LOFTY. 
 
 vice? Sir/ 6 I tremble at the prospect for my 
 country. If this barrier against the augmenting 
 flood of evil be prostrated/ 7 all your penalties and 
 prisons will oppose an utterly inefficient check. 
 Irreligion 18 will attain to a magnitude and hardi- 
 hood | that will scorn 19 the restraints of your laws. 
 20 Law, sir ! of what avail can this be | against the 
 corrupted sentiment of a whole people? Let us 21 
 weigh the interesting truth — that a free people 
 can only nourish under the control of moral 
 causes; and it is the 23 Sabbath which gives vigor, 
 and energy, and stability to these causes. The 
 nation expects | that the standard of sound prin- 
 ciples will be raised here. Let us give it a ^com- 
 manding elevation. Let its tone be lofty. It is 
 in this way we should expect to excite the enthu- 
 siasm of patriotism, or any other virtue. When 
 we would awaken in our youth | the spirit of liter- 
 ary emulation, 25 we spread out to their vision | a 
 rugged path and a difficult ascent, and raise the 
 prize of fame high above the reach of any pursuit, 
 but an 26 ardent, laborious, and vigorous reach of 
 effort. 27 If we would kindle the love of country, 
 we do not humble her claims to a miserable pos- 
 ture, just above downright indifference — but | we 
 point 28 to a devoted Leonidas, and the brightest 
 names of the scroll, and thus urgj our youth 29 
 onward and upward. Let us, then, sir, be as wise 
 and faithful in the cultivation of sound moral 
 principles. 
 
 1 Affirmative gesture No. 1 hand plate — have a dignity of carriage 
 all through. 2 Hands to breast. 3 Point upward right hand. 4 Bring 
 hand to breast — bend head. 5 Wave forward both arms No. 5 arm plate. 
 G Send right hand from breast outward. 7 Sena hand from forehead down- 
 ward. 8 Both hands to front — fingers as No. 6 hand plate. 9 Wave hand 
 to right— palm out. 10 Sweeping movement of hand. u Touch breast, 
 incline body forward. 12 Touch the forehead quickly several times. 
 13 Drop hand. 14 No. 12 hand plate. 15 No. 2 hand plate. 16 No. 13 hand 
 plate, then shake the hands clasped. 17 Move hand downward. 18 Describe 
 semicircle with hands — palms out. 19 Bring right hand down quickly. 
 20 Step backward — amazed look — no gesture. 21 See-saw both hands. 
 23 No. 10 hand plate. 2i Point upward — advance. 25 Hands horizontal — 
 palms down — move them to right and left. 26 Forcible downward move- 
 ment of right hand on emphatic words. 27 Walk to the left — left hand 
 out. 28 Point in front. 29 Send both hands from the chest outward — 
 palms out. 
 
POWER OF WEALTH PRODUCED BY LABOR. 
 
 175 
 
 DIRECT 
 AND 
 
 EARNEST 
 STYLE. 
 
 72-POWER OF WEALTH PRODUCED BY LABOR. 
 
 Tristam Burgess. 
 Sir, in this age of the world, the wealth of na- 
 tions depends on their labor. There x was a time j 
 2 nay, | for many ages, plunder was the great re- 
 source of nations. 3 The first kingdom established 
 on earth | was sustained by the conquest and pil- 
 lage of many nations; and 4 "great Babylon, the 
 glory of the Chaldean empire," was built and 
 adorned | by the spoil of 5 all Asia. 6 The exorbi- 
 tant wealth of one nation, thus obtained, gave an 
 example to the world, and awakened the ambition, 
 and sharpened the avarice of others; until the 7 
 Assyrian was conquered and plundered by the 
 Persian, | the Persian by the Macedonian, | and 
 8 he, at last, devoured by the Koman power. 9 The 
 wolf | which nursed their founder | seems to have 
 given a hunger for prey, insatiable, to the whole 
 nation. 10 Perhaps | there was not a house, nor a 
 temple, between the Atlantic and the Euphrates, 
 which was not plundered by some one of that 
 nation of marauders. n Sir, the tide of ages, cen- 
 tury after century, 12 had rolled over the last frag- 
 ment of Koman power; the light of science I 
 13 dawned on the world, and knowledge of letters 
 was disseminated by the press, before men seemed 
 to believe that our Creator 14 had, in fact, an- 
 nounced to the first of our race, that 15 "by the 
 sweat of his face \ man should eat his bread all 
 the days of his life." 16 No one cause has done 17 
 so much in changing that character from war and 
 plunder, as that pure, \ meek, and quiet philosophy, 
 which has taught 18 all men to "do unto others as 
 they would that others should do unto them/' 
 Eebuked by this divine precept, men have 19 
 sheathed the sword, and put their hand to the 
 plough; they have mined 20 the earth, and not for 
 the instruments of war, but for the machines of 
 labor. If, 21 now, wars break out, it is not for 
 plunder; cities are not given up to pillage; cap- 
 tives are 22 not sold for slaves; territories do 23 not 
 
176 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS 
 
 LOUD. 
 
 IMPRESS- 
 IVE. 
 
 change owners; men return again with eagerness 
 to the 24 habits of peace, and do not look to the 
 labors of the camp, but to those of the plough, the 
 loom, and the sail, for emolument and wealth. 
 
 25 Wealth is power; and the defense of every 
 nation depends on its wealth. The wealth of a 
 nation is its labor, its skill, its machinery, its 
 abundant control of all the great agents of nature 
 employed in production. 26 What but a mighty 
 phalanx of labor, an almost boundless power of 
 consumption and reproduction, | has defended, 
 and now sustains England | in all the athletic 
 vigor of the most glorious days of that extraor- 
 dinary nation? With a valor truly Spartan she 
 builds 27 no wall against the wars of the world. 
 28 The little island, accessible at a thousand points, 
 and often within gun-shot 29 of the embattled fleets 
 of her enemies, has not, for more than 30 seven 
 hundred years, been stepped upon by a hostile 
 foot. 31 What has enabled her to do this? Her 
 untiring labor; her unrivalled shill; her 32 un- 
 equalled machinery; her exhaustless capital, and 
 unbounded control over all the agents of produc- 
 tion. This manufacturing nation, in the last war 
 of Europe, exhibited a spectacle B3 never before 
 seen by the world. She stood 34: alone against the 
 embattled continent; and, at last, with her own 
 spindle and distaff, 35 demolished a despotism, an 
 iron pyramid of power, built on a base of all 
 Europe. 
 
 1 No. 1 hand plate. 2 Turn hand. 3 No. 1 hand plate. 4 Raise right 
 arm and hand. 5 Both hands. 6 Left hand — step to left. 7 Turn to right 
 side, use right hand — No. 7 hand plate. 8 Emphasize same gesture. 9 No. 
 5 arm plate. 10 Both hands out — turn to right. X1 Raise left hand from 
 side deliberately upward. 12 Shake index "finger of left hand deliberately 
 — nodding head. 13 Spread out hands — palms down. 14 Point upward. 
 15 No gesture — manner impressive whilst speaking. 16 No. 1 hand plate. 
 17 Emphasize the same. 18 Both hands to the front. 19 Action of return- 
 ing sword to scabbard. 20 Point downward. 21 Both hands forward — 
 advance. 22 Emphatic downward gesture. 23 Repeat same. 24 Both hands 
 forward — eager and earnest. 25 Advance — erect bearing — head well up — 
 raise right hand over head shake fingers. 26 Arms fully extended to either 
 side until end of sentence. 2T Three steps to right — right hand extended. 
 28 Slight turn to left — left hand as in No. 1 hand plate. 29 Point left. 
 30 Bring left hand down strongly. 31 Both hands out — look of inquiry. 
 
 32 Right hand brought down quickly on following emphatic words. 
 
 33 Throw both hands forward. 34 Advance right foot — raise right hand. 
 35 Bring tips of lingers of both hands together and throw quickly apart, 
 
GLORY OF ARMS. 
 
 177 
 
 STYLE OF 
 AFFIRMA- 
 TION. 
 
 MEDIUM 
 . TIME 
 AND 
 VOICE. 
 
 73-GLORY OF ARMS. 
 
 Charles Sumner. 
 Whatever 1 may be the judgment of poets, of 
 moralists, of satirists, or even of soldiers, it is 
 certain | that the glory of arms still exercises | no 
 mean influence over the minds of men. The 2 art 
 of war, which has been happily termed by a French 
 divine, the baleful art by which men learn to ex- 
 terminate one another, is yet held, even 3 among 
 Christians, to be an honorable pursuit; and the 
 animal courage, which it stimulates and de- 
 velops, | is prized as transcendent virtue. It will 
 be for ^another age, and a higher civilization, to 
 appreciate the more exalted character | of the art 
 of benevolence — the art of extending happiness 
 and all good influences, by word or deed, to the 
 largest number of mankind, — which, in blessed 
 contrast with the ^misery, the degradation, the 
 wickedness of war, shall shine 6 resplendent | the 
 true grandeur of peace. All then will be willing 
 to join with the early poet in saying at least : — 
 
 " Though louder fame attend the martial rage, 
 Tis greater glory to reform the age" 
 
 Then 7 | shall the soul thrill with a nobler heroism 
 than that of battle. Peaceful industry, with un- 
 told multitudes of cheerful and beneficent laborers, 
 shall be its gladsome token. ^Literature, | full of 
 sympathy and comfort for the heart of man, shall 
 appear in garments of purer glory than she has 
 yet assumed. ^Science | shall extend the bounds 
 of knowledge and power, adding unimaginable 
 strength to the hands of men, opening innumer- 
 able resources in the earth, and revealing new 
 secrets and harmonies in the skies. 10 Art, ele- 
 vated and refined, shall lavish fresh streams of 
 beauty and grace. ^Charity, in streams of milk 
 and honey, shall diffuse itself among all the habi- 
 tations of the world. Does 12 any one ask for 
 the signs of this approaching era? 
 
178 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 13 The increasing beneficence and intelligence of 
 our own day, | the broad-spread sympathy with hu- 
 man suffering, | the widening thoughts of men, ! 
 the longings 14 of the heart for a higher condition 
 on earth, the unfulfilled promises of Christian 
 Progress, | are 15 the auspicious auguries of this 
 Happy Future. As early voyagers | over untried 
 realms of waste, we have already observed the 
 signs of land. The green 16 twig and fresh red 
 berry have floated by our bark; the 17 bdors of the 
 shore | fan our faces; nay, 18 we may seem to des- 
 cry the distant gleam of light, and hear from the 
 more earnest observers, as Columbus 19 heard, after 
 midnight, from the mast 20 head of the Pinta, the 
 joyful cry of | 21 Lant> ! Land ! and lo ! 1 1 22 a new 
 world broke upon his early morning gaze. 
 
 LOUD. 
 
 1 No. 5 arm plate — both hands. 2 No. 12 hand plate. 3 No. 5 arm 
 plate. 4 No. 5 arm plate — turn from side to side, addressing the entire 
 audience. 5 Downward gesture in front — make emphatic on italics. 
 6 Hold both hands up — palms toward audience. 7 Advance — hand on 
 breast. 8 Put out right hand. 9 Both hands out — wide apart. 10 Raise 
 right hand— point finger. u Clasp hands. 12 Two steps to front — hands 
 and eyes directed to audience. 13 Walk to left whilst speaking — left hand 
 out. 14 Hand on heart. 15 No. 4 arm plate. 16 Point downward — wave 
 hand to right. 17 Let fingers approach nostrils. 18 Advance — look and 
 point to front. 19 Wave right hand over head. 20 Point upward and out. 
 21 Advance and wave hands. 22 Retire back — extend both hands. 
 
 74-FOURTH OF JULY 1851. 
 
 Daniel Webster. 
 On the Fourth of July, 1776, the representatives 
 
 animated, of the United States of America, in Congress 
 assembled, declared that these United Colonies 
 are, and of right ought to be, free and independent 
 States. This 1 declaration, made by most patriotic 
 and' resolute men, trusting in the justice of their 
 cause, and the protection 2 of Providence — and 
 yet | not without deep solicitude and anxiety — has 
 stood for 3 seventy-five years, and still stands. It 
 was sealed 41 in blood. It has 5 met dangers | and 
 
 RA brisk, overcome them; it has had enemies, and it has 
 
 
FOURTH OF JULY, 1851. 
 
 179 
 
 FULL 
 TONES. 
 
 SUSTAINED 
 AND 
 STRONG. 
 
 conquered them; it has had detractors, and it has 
 abashed them all ; it has had doubting friends, but 
 it has cleared all doubts away; and now, | to-day 
 7 raising its august form higher than the clouds, 
 8 twenty millions of people | contemplate it with 
 hallowed love, and the world beholds it, and the 
 consequences which have followed, with profound 
 admiration. This anniversary | animates 9 and 
 gladdens, and unites all American hearts. On 
 other 10 days of the year | we may be party men, j 
 indulging in controversies more or less important 
 to the public good ; we may have likes and dislikes, 
 and we may maintain our political differences j 
 often with warm, and sometimes with angry feel- 
 ings. ir But to-day | we are | Americans | all in 
 all, no thing but Americans. As the 12 great lumi- 
 nary over our heads, dissipating mists and frogs, 
 cheers the whole hemisphere, so do the associations j 
 connected with this day | disperse all cloudy and 
 sullen weather, and all noxious exhalations in the 
 minds and feelings of true Americans. 13 Every 
 man's heart swells within him — every man's port and 
 bearing becomes somewhat more 14 proud and lofty, 
 as he remembers | that seventy-five years have 
 rolled away, and that the great inheritance of 
 liberty is | still 15 his; his, undiminished and un- 
 impaired; his, in all its original glory; his to en- 
 joy, his to protect, and his to transmit to future 
 generations. If Washington were now amongst 
 us — and if he could draw 16 around him the shades 
 of the great public men of his own days — patriots 
 and warriors, orators and statesmen — and were 
 to address us in their presence, would he not say 
 to us — "Ye 17 men of this generation, I rejoice 
 and thank God for being able to see that our 
 labors, and toils, and sacrifices, were not in vain. 
 You are prosperous — you are happy — you are 
 grateful. The fire of liberty 18 burns brightly and 
 steadily in your hearts, while duty and the law 
 restrain it | from bursting forth in wild and de- 
 structive conflagration. 19 Cherish liberty as you 
 
180 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 love it — cherish its securities as you wish to pre- 
 serve it. Maintain the Constitution which | we 
 labored so painfully to establish, and which | has 
 been to you such a source of inestimable blessings. 
 20 Preserve the Union of the States, cemented as it 
 was by our prayers, our tears, and our blood. Be 
 
 inc re as- true 21 to God, your country, and your duty. 22 So | 
 ing shall the whole Eastern world | follow 23 the morn- 
 
 ing sun, to contemplate you as a nation ; so | shall 
 all succeeding generations | honor you as they 
 honor us; and so | shall that 24 Almighty Power 
 which so graciously protected us, and which now 
 
 dignity. protects you, shower 25 its everlasting blessings j 
 upon you and your posterity. 
 
 1 Right hand out — palm up. 2 No. 4 arm plate. * No. 8 arm plate. 
 4 Bring right hand down forcibly and walk towards the right. 6 Open 
 the arms — then clasp the hands. 6 Fingers meeting over the head, then 
 drop hands on either side. 7 Fold arms on breast and look upward to the 
 left. 8 No. 5 arm plate. ° Send the right hand to the heart. 10 Walk to 
 the left — hands as in No. 11 hand plate. n Striking breast several times. 
 12 Point upward. 13 Hand on heart. 14 Fold arms over breast — stand 
 erect. 15 Touch breast with hand — bend toward audience. 16 Inward 
 gesture, both hands, as in No. 7 arm plate. 17 Advance — head well 
 back — No. 7 hand plate. 18 Bring right hand to breast — look from side 
 to side. 10 No. 14 hand plate — repeat gesture on the second "cherish." 
 20 Arms out straight in front — finger pointing upward. 21 Advance two 
 steps to right — point upward — look at audience. 22 No. 1 hand plate. 
 23 Left hand pointing left. 24 Clasp hands. 23 Both hands up — hands 
 hanging downward — move them to show action of scattering. 
 
 75-ASPIRATIONS OF THE AMERICAN PEOPLE 
 
 B. M. T. Hunter. 
 
 The sense of national honor | beats high in the 
 American heart, 1 and its every pulse | vibrates at 
 the mere suspicion of a stain upon its reputation. 
 medium. But | that same heart is warmed with generous 
 impulses and noble emotions. 2 If you would 
 moderate its lust of empire | and its spirit of ac- 
 quisition, appeal to its magnanimity towards a 
 feeble and prostrate foe — appeal to it in the name 
 of the highest aspirations which can animate the 
 
ASPIRATIONS OF THE AMERICAN PEOPLE. 
 
 181 
 
 ADVICE. 
 
 DIRECT 
 STYLE. 
 
 ANTITHE- 
 SIS. • 
 
 TONES 
 CLEAR. 
 
 'ENUN- 
 CIATE. 
 
 human heart, the desire for moral excellence, the 
 love of liberty, and the noble ambition to take the 
 }30st of honor among nations, | and lead the ad- 
 vance of civilization. 3 If our people | are once 
 awakened to a trne conception of the real nature 
 and grandeur of their destiny, the first and great- 
 est step, | in my opinion, | is taken for its accom- 
 plishment. If my imagination were tasked | to 
 select the highest blessing for my countrymen, I 
 should say, 4 may they be true to themselves and 
 faithful to their mission. I can conceive of 
 nothing 5 of which it is possible for human effort 
 to obtain, greater than the destiny which we may 
 reasonably hope to fulfill. If war has its dreams, | 
 dazzling in a splendid pageantry, peace also has 6 
 its visions of a more enduring form, of a higher 
 and purer beauty. 7 To solve by practical demon- 
 stration the grand problem of increasing social 
 power | consistent with personal freedom — to in- 
 crease the efficiency of the human agent | by en- 
 larging individual liberty — to triumph over, not 
 only the physical, but more difficult still 8 the 
 moral difficulties which lie in the path of a man's 
 progress, and to adorn that path | with all that 
 is rare -and useful in art, and whatever is highest 
 in civilization, are, in my opinion, the 9 noblest 
 achievements of which a nation is capable. These 
 are the ends to which our ambition should be 
 directed. 10 If we reverse the old idea of the 
 Deity | who presides over our boundaries, let us 
 see | so far as we are concerned, that his move- 
 ments are consistent with the peace of the world. 
 n The sword may be occasional, but it is not the 
 familiar weapon of our god | Terminus. 12 The 
 axe and the hoe are his more appropriate emblems. 
 Let him 13 turn aside from the habitations of civi- 
 lized man, his path is toward the wilderness, 
 14 through whose silent solitudes, for more than two 
 centuries, he has been rapidly and triumphantly 
 advancing. 15 Let him plunge still deeper into 
 the forest, as the natural gravitation of the tide 
 
182 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 OBSERVE 
 
 PAUSES. 
 
 VOICE 
 SUS- 
 TAINED. 
 
 of population [ impels him onward. His progress 
 in that direction is one of nnmixed beneficence to 
 the human race. The earth 16 smiles beneath his 
 feet, and a new creation arises | as if by enchant- 
 ment | at his touch. 17 Household fires illuminate 
 his line of march, and new-born lights, strange 
 visitants to the night of primeval solitude, kindle 
 on domestic altars j erected to all the peaceful 
 virtues and kindly affections which consecrate a 
 hearth and endear a home. Victorious industry | 
 sacks 18 the forest and mines the quarry, for ma- 
 terials for its stately cities, or 19 spans the streams 
 and saps the mountain to open the way | for the 
 advance of civilization | still deeper into the path- 
 less forest and neglected wild. The light of hu- 
 man 20 thought | pours in winged streams from 
 sea to sea, and the lingering nomad | may have but 
 a moment's pause, to behold the flying car | which 
 comes to invade the haunts | so long secured to 
 savage life. 21 Tiiese are the aspirations worthy 
 of our name and race, and it is for the American 
 people to decide 22 whether a taste for peace | or the 
 habits of war are most consistent with such hopes. 
 23 I trust that they may be guided by wisdom | in 
 their choice. 
 
 1 Extend both hands clinched and shake them quickly. 2 No. 12 hand 
 plate — repeat this several times till period. 3 Bring finger tips together, 
 then wave hands apart. 4 Walk to right three steps — use No. 7 hand 
 piate. 5 Sweep hand from breast outward — palm down — hold it till 
 period. 6 Turn to the left — use left hand, No. 1 hand plate. 7 No. 2 
 hand plate. 8 Point downward. 9 Wave right hand over head — right 
 foot back. 10 Turn hand and wave it from breast outward. 1X Bring 
 gracefully right hand to left side. 12 Point downward in front. 13 No. 8 
 arm plate — walk to the left. 14 Same gesture. 15 Shoot the right arm 
 forward — fingers straight. 16 Both hands extended downward — palms out. 
 17 No. 6 arm plate. 1S Sweep hand from breast — palms down. 19 Describe 
 a circle with both hands. 20 Touch forehead. 21 Both hands on breast. 
 22 No. 1 hand plate. 23 Both hands extended in front. 
 
ELOQUENCE. 
 
 183 
 
 MODERATE. 
 
 DELIBER- 
 ATE. 
 
 76-ELOQUENCE. 
 
 Henry B. Stanton. 
 In every enlightened age, eloquence 1 has been a 
 controlling element in human affairs. 2 Eloqnence 
 is not a gift, bnt an art — not an inspiration, bnt 
 an acquisition — not an intuition, but an attain- 
 ment. Excellence in this art | is attained only by 
 unwearied practice, and the careful study of the 
 best models. The models 3 lie all around us. The 
 rest | is within us. 4 Demosthenes and Cicero will 
 be household words, in all climes, to the end of 
 time. But, the more one studies the masters of 
 Grecian and Eoman eloquence, the more readily 
 will he yield to the growing opinion | that Eng- 
 land, France, and America, during the last sixty 
 or seventy years, have produced a greater dum- 
 ber of eloquent orators than nourished in all 
 Grecian and Roman history. As objects increase 
 in 7 size | when seen through a mist, so men | tower 
 into giants when seen through the haze of anti- 
 quity. Without, neglecting the ancient models, let 
 us study those of our own times. 8 From both | 
 we may catch some of that inspiration which bound 
 the audience to the orator, and bade him play 
 upon their emotions | as the master 9 touches the 
 keys of his familiar instrument — which subdued 
 them to tears | or convulsed them with laughter 
 — which bore 10 them aloft on the wing of imagi- 
 nation, or blanched them with horror | while narra- 
 tion | threw the colors upon the canvass | which 11 
 held the judgment and the fancy captive, as 
 reason forged the chain of argument, 12 and 
 poetry studded its links with the gems of illus- 
 tration — which poured over the subject | a flood 
 of rare knowledge, laden with the contributions 
 of 13 all sciences and all ages — which 14 gambolled 
 in playful humor, or opened the sparkling jet 
 d'eau of wit, or barbed the point of epigram, or 
 sketched 15 the laughing caricature, gliding 16 from 
 grave to gay, from lively to severe, with majesty 
 
184 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUD. 
 LOUD. 
 
 and grace; — that inspiration 17 which, as Paul 
 reasoned of righteousness, temperance, and the 
 judgment, made Felix tremble; as Demosthenes 
 anathematized Macedonia, made the Greeks cry out, 
 18 "Lead us against Philip/' at the thrilling tones 
 of Henry, made America ring with the shout, 
 19 "Give us liberty, or give us death/' when the 
 thunder of Danton | shook 20 the dome of the Con- 
 vention, | 21 roused all Paris to demand the head of 
 Louis ; and lashed into fury or hushed into repose | 
 22 acres of wild peasantry, as the voice of O'ConneiJ 
 rose 23 or fell. 
 
 1 No. 1 hand plate. 2 No. 5 arm plate. 3 Both hands out — turn to 
 right and left sides. 4 No. 4 hand plate. 5 No. 8 arm plate. 6 Raise both 
 arms and bring them down emphatically. 7 Arm out straight — palm 
 down — gradually raise it. 8 No. 1 arm plate — raise both arms. 9 Work 
 fingers as if manipulating keys of piano. 10 Touch forehead and extend 
 hand to right. 1X Touch forehead again. 12 No. 1 hand plate. 13 Gentle 
 waving of both hands in front. li Both hands out — palms up. 15 Same 
 as 13 . 16 Use No. 7 hand plate twice. 17 Touch right temple. 1S Advance — 
 wave right hand upward. 19 Advance to front — both hands up — head 
 thrown back. 20 Shake index finger of right hand above the shoulder. 
 21 Bring hands up quickly from hanging position and wave them upward 
 and to the sides. 22 No. 5 arm plate. 23 Elevate and depress hands. 
 
 QUIET. 
 
 APOSTRO- 
 PHE. 
 
 77-DEATH OF WASHINGTON. 
 
 John M. Mason. 
 It must ever be difficult | to compare 1 the merits 
 of Washington's characters, because he always 
 appeared greatest in that which he last sustained. 
 Yet 2 if there is a preference | it must be assigned 
 to the lieutenant-general of the armies of Amer- 
 ica. B Not because the duties of that station were 
 more arduous | than those which he had often per- 
 formed, but because it more fully displayed f his 
 4 magnanimity. While 5 others become great by 
 elevation, Washington becomes greater 6 by con- 
 descension. Matchless patriot ! to stoop, on public 
 motives, to an inferior appointment, after possess- 
 ing and dignifying the highest offices ! 7 Thrice 
 favored country, which boasts of such a citizen ! 
 
DEATH OP WASHINGTON. 
 
 185 
 
 DEJECTED. 
 
 IN at E ive 0G ' ^ e & aze W ^ astonishment : we 8 exult that we are 
 Americans. We augur everything great, and good, 
 and happy. But 9 ivhence this sudden horror? 
 10 What means that cry of agony ? Oh ! 'tis the 
 shriek of America ! n The fairy vision is fled : 
 12 Washington is — no more ! — 
 
 "How are the mighty fallen, and the weapons of war 
 perished !" 
 
 13 Daughters of America, who erst prepared the 
 festal bower and the laurel wreath, plant now the 
 cypress grove, and water it with tears. 
 
 "How are the mighty fallen, and the weapons of war 
 perished !" 
 
 14 The death of Washington, Americans, has re- 
 vealed the extent of our loss. It has given us the 
 final proof that we 15 never mistook him. 16 Take 
 his affecting testament, and read the secrets of his 
 soul. Eead all the power of domestic virtue. 
 17 Eead his strong love of letters and of liberty. 
 Eead 18 his fidelity to republican principle, and his 
 jealousy of national character. 
 
 In his acts, Americans, you have seen the 19 man. 
 In the complicated excellence of character, he 
 stands alone. Let 20 no future Plutarch attempt 
 the iniquity of parallel. Let no 21 soldier of for- 
 tune, let no usurping conqueror, let not Alexander 22 
 or Cassar, let not Cromwell or Bonaparte, let none 
 among the dead or the living, appear in the same 
 picture with Washington: or let them appear 23 
 as the shade to his light. 
 
 tQTJIET. 
 
 IMPRESS- 
 IVE. 
 
 STRONG:. 
 
 EMPHA- 
 SIZE. 
 
 1 Slightly wave hand across breast. 2 No. 1 hand plate. 3 No. 12 
 hand plate. 4 Touch right temple twice. 5 Left hand out — turn to left. 
 6 Bring left down from forehead forcibly. 7 Advance two steps — both 
 hands and arms well thrown out — chest out. 8 Elevate and wave right 
 hand — stand on toes of right foot. 9 Both hands out — looking from side 
 to side. 10 Repeat the same. 1X Index fingers touch in front of face — 
 wave hands apart. 12 Drop hands — lower the head — dejection in manner. 
 13 Quickly raise head — both arms out. Xi Arm straight out — index finger 
 pointing down. 15 Argumentative gesture — bring opened hand from fore- 
 head down. 16 Place both hands front as if holding manuscript. 17 Re- 
 peat same. 1S Same. 10 No. 4 arm plate. 20 Shake finger warningly in 
 front. 21 Strike palm of right hand into left palm. 22 Repeat. 23 Open 
 both arms wide. 
 
186 STANDARD RECITATIONS WITH ACTIONS AND EMrHASlS. 
 
 AFFIRMA- 
 TIVE. 
 
 IMAGINA- 
 TIVE. 
 
 OBSERVE 
 EMPHA- 
 SIS. 
 
 GRACEFUL 
 DEC LAM A* 
 TION. 
 
 78-AMERICAN HISTORY. 
 
 Julian C. Verplanclc. 
 
 The study of the history of most other nations, 
 fills 1 the mind with sentiments | not unlike those | 
 which the American traveller feels | on entering 2 
 the venerable and lofty cathedral of some proud 
 old city of Europe. 3 Its solemn grandeur, its 
 vastness, its obscurity, strike awe to his heart. 
 From the 4 richly painted windows, filled with sacred 
 emblems and strange antique forms, a dim Re- 
 ligious light falls around. A thousand recollec- 
 tions of romance and poetry, and legendary story, 
 come thronging in upon him. 7 He is surrounded 
 by the tombs of the mighty dead, rich | with the 
 labors of ancient art, 8 and emblazoned with the 
 pomp of heraldry. 
 
 9 What names does he read upon them? Those 
 of princes 10 and nobles who are now remembered | 
 only for their vices; and of sovereigns, 11 at whose 
 graves no tears were shed, and whose memories 
 lived not an hour | in the affections of their people. 
 12 There, too, he sees other names, long familiar 
 to him for their guilty and ambiguous fame. 
 13 There rest, the blood-stained soldier of fortune — 
 the orator, who was ever | the ready apologist of 
 tyranny — great scholars, who were the pensioned 
 flatterers of power — and poets, who profaned the 
 high gift of genius, 14 to pamper the vices of a 
 corrupted court. 
 
 16 Our own history, on the contrary, like that 
 poetical temple of fame, reared by 16 the imagina- 
 tion of Chaucer, and decorated by the taste of 
 Pope, is almost exclusively dedicated | to the 
 memory of the truly great. Or rather, like the 
 Pantheon of 17 Eome, it stands in calm and severe 
 beauty | amid the ruins of ancient magnificence 
 and "the toys of modern state." Within, no idle 
 ornament encumbers its bold simplicity. The 18 
 pure light of heaven | enters from above and sheds 
 an equal 19 and serene radiance around. 20 As the 
 
INJUSTICE THE CAUSE OF NATIONAL RUIN. 
 
 187 
 
 ere wanders about its extent, it beholds the un- 
 adorned monuments of brave and good men | who 
 have greatly bled or toiled for their country, 21 or 
 it rests on votive tablets | inscribed with the names 
 of the best benefactors of mankind. 
 
 1 Gracefully touch forehead. 2 Send hand outward from chest — palm 
 up. 3 Step backward — expression of awe. 4 Point to left side. 5 Hands 
 upward and touching — wave downward and apart. 6 Touch forehead — - 
 look around — moving body also. 7 Outward movement, both hands, as 
 in No. 5 arm plate. 8 Wave hands and look around — speak with dignity. 
 8 No. 7 hand plate — advance. 10 Shaking finger — be very animated. 
 11 Point downward. 12 Still pointing. 13 Repeat same alternately. 
 14 No. 1 hand Dlate. 15 Both hands slightly touch breast — then outward 
 movement. 16 Touch right temple. 17 Point and step to the right. 1S Point 
 upward. 19 Bring both hands down in pyramidal form. -° Finger of 
 right hand close to right eye— wave hand outward. 21 Point to right — 
 assume and hold graceful attitude till end. 
 
 EARXEST. 
 
 LOUD. 
 
 GRAVE. 
 
 LOUD. 
 
 79-INJUSTICE THE CAUSE OF NATIONAL RUIN. 
 
 Theodore Parker. 
 
 Do you know how 1 empires find their end? 
 Yes, | 2 the great states eat np the little; as with 
 fish, so with nations. Aye, but how do the great 
 states come to an end? 3 By their own injustice, 
 and no other cause. 4 Come with me, | my friends, 
 come with me into the Inferno of the nations, with 
 such poor guidance as my lamp can lend. Let 
 us disquiet and bring up the awful shadows of 
 empires | buried long ago, and 5 learn a lesson from 
 the Tomb. 
 
 6 Come, old Assyria, with the Ninevitish dove 
 upon thy emerald crown. 1 What laid thee low? 
 8 "I fell | by my own injustice. Thereby Nineveh 
 and Babylon came with me to the ground." 
 queenly Persia, | flame of the nations, ^wherefore 
 art thou so fallen, who tr oddest the people under 
 thee, | bridgedst the Hellespont with ships, | and 
 pouredst thy temple-wasting millions on the west- 
 
188 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 GRAVE. 
 
 ELEVATED 
 TONE. 
 
 CHANGE 
 VOICE. 
 
 [LOUD. 
 
 BATHER 
 HIGH. 
 
 GRAVE. 
 
 WARNING. 
 
 ern world? 10 "Because I trod the neople under 
 me, and bridged the Hellespont with ships, and 
 poured my temple-wasting millions on the west- 
 ern world. n I fell | by my own misdeeds !" 
 12 Thou, muselike, Grecian queen, fairest of all 
 thy classic sisterhood of states, enchanting yet the 
 world | with thy sweet witchery, | speaking in art, 
 and most seductive song, 13 why liest thou there | 
 with the beauteous yet dishonored brow, reposing 
 on thy broken harp ? 14 "I scorned the law of God; 
 banished and poisoned wisest, justest men; I loved 
 the loveliness of flesh embalmed in Parian stone; 
 15 I loved the loveliness of. thought, and treasured 
 that | in more than Parian speech. But the 
 beauty of justice, the loveliness of love, I trod, 
 them down to earth! Lo, 17 therefore, have I be- 
 come as those Barbarian states — as one of them!" 
 18 0h manly, | majestic Eome, thy seven-fold 
 mural crown | all broken at thy feet, why art thou 
 here? 'Twas not injustice brought thee low; for 
 thy Great Book of Law is prefaced with these 
 words, ^Justice is the unchanging, everlasting 
 will to give each man his Right! "It was not 
 the saint? s ideal, it was the hypocrite's pretence ! 
 I made iniquity my law. I trod the nations under 
 me. Their wealth gilded my palaces, — where thou 
 mayest see the fox and hear the owl — it fed my 
 courtiers and my courtezans. kicked men \ 
 were 20 my cabinet councillors — the flatterer | 
 breathed his poison in my ear. 21 Millions of 
 bondmen wet the soil with tears and blood. Do 
 you not hear it crying yet to God? 22 Lo, | here 
 have I recompense, tormented with such downfall 
 as you see ! 23 Go back and tell the new-born 
 child, who sitteth on the Alleghanies, | laying his 
 either hands upon a tributary sea, a crown of thirty 
 stars above his youthful brow — tell him there are 
 ^rights ^hich States must keep, or they shall 
 suffer wrpngs. 25 Tell him there is a God | who 
 keeps the- black man and the white, and hurls to 
 earth the loftiest realm that breaks His just, 
 
BLESSINGS OF EDUCATION. 189 
 
 eternal law! Warn the young empire | that he 
 come not down dim and dishonored to my shame- 
 ful tomb ! 26 Tell him that Justice | is the un- 
 changing, everlasting will to give each man his 
 Eight. 17 I knew it, | broke it, and am lost. Bid 
 him | to Jceep it and be safe !" 
 
 1 No. 1 hand plate. 2 Turn hand and wave it. s No. 5, emphasize this 
 gesture on the emphatic words. 4 Both hands extended — palms up — lower 
 hands on the word "Inferno." 5 Shaking right index finger downward. 6 Turn 
 to the right — look up — send right hand upward to right. 7 Same position — 
 shake the hand gravely. 8 Bring hand slowly downward. » Turn to left — ■ 
 left hand up. 10 Slowly bring down left hand — then open both arms on 
 "millions." " Drop the arms — slowly bend head. 12 No. 7 hand plate. 
 13 Same as No. 7, but finger pointing downward. 14 Send both hands 
 from breast outward — palms out. 15 Touch forehead. 16 Stamp right foot 
 and bring right fist down strongly on the word "trod." 1T Deject manner. 
 18 Turn to the right — use No. 8 arm plate. 19 No. 4 arm plate. 10 No. 14 
 arm plate. 21 Spread apart both arms. 22 Step back — hold up right hand — ■ 
 palm our. 23 bring right hand across breast as in No. 6 arm plate. 
 24 Bring right hand to front — palm up. 25 Step forward — point upward — 
 continue pointing until "shameful tomb." 26 Hands as in No. 10 hand 
 plate — whilst so, slightly shake them. a7 Raise right hand warningly in 
 first part of sentence — drop it at the end. 
 
 QUIET. 
 
 80-BLESSINGS OF EDUCATION. 
 
 Phillips. 
 No doubt, you^have 1 all personally considered 
 • — no doubt, you hare all personally ^experienced, 
 that of all the blessings which it has pleased Provi- 
 dence to allow us to cultivate, there is 3 not one 
 which breathes a purer fragrance, or bears a 
 heavenlier aspect than education. It is a com- 
 panion which 4 no misfortune can depress, 5 no 
 clime destroy, no' enemy alienate, no despotism en- 
 slave ; at home | a friend, abroad J an introduc- 
 tion, in solitude | a solace, in society | an orna- 
 ment; it chastens vice, it guides virture, it gives 
 at once a grace and government to genius. 6 With- 
 out it what is man ? A splendid slave ! a reason- 
 ing savage, vacillating between the dignity of an 
 
190 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 MEDIUM. 
 
 intelligence derived from 7 God, and the degrada- 
 tion 8 of passions participated with brutes; and \ 
 in the accident of their alternate ascendency, 
 9 shuddering at the terrors of an hereafter, or em- 
 bracing the horrid hope of annihilation. 10 What \ 
 is this wondrous world of his residence? 
 
 DECLAM- 
 ATORY. 
 
 QUESTION- 
 ING 
 T0NE8. 
 
 "A mighty maze, and all without a plan," 
 
 n a dark | and desolate | and dreary cavern, with- 
 out wealth, | or ornament, | or order. 12 But | 
 light up within it the torch of knowledge and how 
 wondrous the transition ! The seasons 13 cha?ige, 
 the atmosphere breathes, 1 * the landscape 15 lives, 
 earth unfolds its fruits, ocean rolls in its magnifi- 
 cence, the heavens 1G display their constellated 
 canop}r, and the grand animated spectacle of na- 
 ture rises | 17 revealed before him, its varieties regu- 
 lated, and its mysteries \ resolved! 18 The phe- 
 nomena | which bewilder, the prejudices which 
 debase, the superstitions which enslave, 19 vanish 
 before education. Like the holy symbol | which 
 blazed upon the cloud before the hesitating Con- 
 stantine, if 20 man follow but its precepts, purely, 
 it will not only lead him to the victories of this 
 world, but open 21 the very portals of omnipotence 
 for his admission. 22 Cast your eye over the monu- 
 mental map of ancient grandeur, once studded 
 with the stars of empire, and the splendors of 
 philosophy. 23 What erected the little state of 
 Athens into a powerful commonwealth, | placing 
 in her hand the sceptre of legislation, and wreath- 
 ing 24 round her brow the imperishable chaplet 
 of literary fame ? 25 what extended Eome, the haunt 
 of banditti, into universal empire? 2Q what ani- 
 mated Sparta with that high, unbending, adaman- 
 tine courage, which conquered nature herself, and 
 has fixed her in the sight of future ages, a model 
 of public virtue, and a proverb of national inde- 
 pendence? 27 What | but those wise \ public insti- 
 tutions which strengthened their minds with early 
 application, informed their infancy with the prin- 
 
WHAT IS THE FRENCH REVOLUTION? 
 
 191 
 
 decided. ciples of action, and sent 28 them into the world, 
 too vigilant to be deceived | by its calms, and 29 
 too vigorous to be shaken by its whirlwinds! 
 
 1 Outward movement, both arms, as in No. 5 arm plate. 2 Repeat 
 same, No. 5. 3 Use the right hand alone. * Wave downward the right 
 hand on emphatic words. 5 Repeat. G Move out both arms — palms up. 
 7 Point upward. 8 Point downward. 9 Step backward — both hands as in 
 No. 6 hand plate. 10 Astonishment — look from side to side. 1X No. 7 
 hand plate— finger pointing downward. 12 Wave both hands from the 
 center outward and upward. l3 No. 5 hand plate — wave the hand in 
 that position to the right. 14 Both arms up — look up — step back with left 
 foot. 15 Change the hand to front. ltf Repeat 14 . 17 No. 1 hand place. 
 1S No. 12 hand plate. 19 Wave hands apart — palms out. 20 Two steps to 
 the right oblique — raise right hand. - 1 Touch tips of fingers — -wave both 
 hands apart — palms up. - Point in front downward . - 3 No. 4 arm 
 plate. 2 * Same position, but describe a circle with finger. 25 No. 5 arm 
 plate 2G Place open hand on breast — advance. 27 No. 1 hand plate — ■ 
 bearing and look earnest, animated. 2S No. 8 arm plate. 29 Bring right 
 hand down strongly. 
 
 81-WHAT IS THE FRENCH REVOLUTION? 
 
 QUESTION- 
 IXG. 
 
 DECISION. 
 
 STRONG 
 FULL 
 
 T02) E. 
 
 Lamartine. 
 
 What, then, is the French Eevolution? 1 Is it, 
 as the adorers of the past say, a great sedition of a 
 nation disturbed for no reason, and destroying in 
 their insensate convulsions, their church, their 
 monarchy, their classes, their institutions, their 
 nationality, and even rending 2 the map of Europe ? 
 3 lSro ! the Eevolution has not been a miserable se- 
 dition of France; for a sedition | subsides as it 
 rises, and leaves nothing | but 4 corpses and ruins 
 behind it. The Eevolution has left scaffolds and 
 ruins, it is true; therein | is its remorse; but it has 
 5 also left a doctrine; it has left a spirit 6 which will 
 be enduring and perpetual so long as human reason 
 shall exist. 
 
 7 We are not inspired by the spirit of faction! 
 No factious idea enters our thoughts. We do not 
 wish to compose a faction — 8 we compose opinion, 
 for it is nobler, stronger, and more invincible. 
 9 Shall we have, in our first struggles, violence, op- 
 pression and death ? 10 No, gentlemen ! let us give 
 thanks to our fathers — it shall be liberty which 
 they have bequeathed to us, liberty which now has 
 its own arms, its pacific arms, to develop itself 
 
182 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 MODERATE 
 TIME. 
 
 DELIBER- 
 ATE. 
 
 FORCIBLE. 
 
 without anger and excess. n Therefore shall we 
 triumph — be sure of it ! and if you ask 12 what is 
 the moral force | that shall bend the government 
 beneath the will of the nation, I will answer you ; 
 it is the sovereignty of ideas, the royalty of mind, 
 the Kepublic, the true Eepublic of intelligence, in 
 one word — 13 opinion — that modern power whose 
 very name was unknown to antiquity. Gentle- 
 men/ 4 public opinion was born | on the very day 
 when Guttenberg, who has been styled the artificer 
 of a new world, invented, by printing, the multi- 
 plication and indefinite communication of thought 
 and human reason. 15 This incomprehensible 
 power of opinion | needs not for its sway | either 
 the brand of vengeance, the sword of justice, or 
 the scaffold of terror. It holds in its 16 hands | 
 the equilibrium between ideas and institutions, the 
 balance of the human mind. In 17 one of the 
 scales of this balance — understand it well 18 — will 
 be for a long time placed, mental superstitions, 
 prejudices self-styled useful, the divine right of 
 kings, distinctions of right among classes, inter- 
 national animosities, the spirit of conquest, the 
 venal alliance of church and state, the censorship 
 of thought, the silence of tribunes, and the ignor- 
 ance and systematic degradation of the masses. 
 19 In the other scale, we ourselves, 20 gentlemen, 
 will place the lightest and most impalpable thing 
 of all that God has created 21 — light, a little of 
 that light which the French Eevolution evoked at 
 the close of the last century, 22 from a volcano, 
 doubtless, but | from a volcano of truth. 23 
 
 1 Look from side to side — use No. 1 hand plate. 2 Wrench hands 
 apart. 3 Bring right down forcibly in front. 4 Point downward twice. 
 5 No. 12 hand plate. 6 Hand on breast. 7 Both hands out front — walk 
 to the right. 8 Touch forehead — bend forward. 9 Turn back to center — 
 both hands moving outward — move them up and down on emphatic 
 words. 10 Bring down right hand into left palm. u Stand very erect — 
 No. 4 arm plate, but the fingers higher. 12 No. 1 hand plate. 13 Bend 
 forward — hands as in No. 11 hand plate. 14 Shake finger several times. 
 15 Inv/ard movement of hand and arm in No. 7 arm plate. 16 Put out 
 right hand. 17 Left hand, No. 1 hand plate. 18 Turn hand quickly — ex- 
 tend index finger till period. 10 Put out right hand. 20 Send hand to 
 breast. 21 Advance — point upward. 22 No. 2 arm plate. 23 Send hand 
 upward quickly. 
 
 
DECLINE OF THE CELTIC RACE. 
 
 193 
 
 SYMPATHY. 
 
 82-DECLINE OF THE CELTIC RACE. 
 
 Michelet. 
 
 Ireland! Poor 1 first-born of the Celtic race! 
 2 So far from France, yet its sister, whom it cannot 
 succor across the waves ! 3 The Isle of Saints — 
 the Emerald Isle — so fruitful in men, so bright in 
 genius ! — the country 4 of Berkeley and Toland, of 
 Moore and O'Connell! — the land of bright 5 
 thoughts and the 6 rapid sword, which preserves, 
 amidst the old age of this world, its poetic in- 
 spiration. Let the English smile when, passing 
 some hovel in their towns, they hear 7 the Irish 
 widow chant the coronach for her husband. 
 Weep! 8 mournful country, 9 and let France too 
 weep, for degradation which she cannot prevent — 
 
 REQRET. 
 
 LOW. 
 
 SUSTAINED 
 VOICE. 
 
 have four hundred thousand Irishmen perished 
 in the service of France. The Scotch Highlanders 
 will ere long n disappear from the face of the 
 earth; the mountains 12 are daily depopulating; 
 the great estates have ruined the land of the Gaul | 
 as they did ancient Italy. 13 The Highlander will 
 ere long exist only in the romances of Walter Scott. 
 The tartan and the claymore excite surprise in 
 the streets of Edinburgh; 14 they disappear — 15 they 
 emigrate ; their national airs will ere long be lost, 
 as the music of the Eolian harp | when 16 the winds 
 are hushed. 
 
 Behind the Celtic world, the old red granite 
 of the European formation has arisen 17 — a new 
 world, with different passions, desires, and des- 
 tinies. Last of the savage races which overflowed 
 Europe, the Germans 18 were the first to introduce 
 the spirit of independence; the thirst for 19 indi- 
 vidual freedom. That bold 20 and youthful spirit — 
 that youth of man, who feels himself strong and 
 free in a world which, he appropriates to himself 
 in anticipation — in 21 forests of which he knows 
 not the bounds 22 — on a sea which wafts him to un- 
 known shores — that spring of the unbroken horse j 
 
194 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 BATHER 
 RAPID. 
 
 DIRECT. 
 
 which bears him 23 to the Steppes and the Pampas — 
 24 all worked in Alaric, when he swore that 25 an 
 unknown force impelled him to the gates of Rome ; 
 they 26 impelled the Danish pirate when he rode on 
 the stormy billow; they animated the Saxon out- 
 laws when under Robin Hood | they contended 
 for the laws of Edward the Confessor against the 
 Norman barons. 27 That spirit of personal free- 
 dom, of unbounded personal pride, shines in all 
 their writings, it is the invariable characteristic 
 of the German theology and philosophy. 28 From 
 the day when, according to the beautiful German 
 fable, the "Wargus" | scattered 29 the dust on all 
 his relations, and threw the grass over his shoulder, 
 and resting on his staff 30 overleapt the frail pa- 
 ternal enclosure, and let his plume float to the 
 wind — 31 from that moment he aspired to the em- 
 pire of the world. 32 He deliberated with Attila i 
 whether he should overthrow the empire of the 
 east or the west; he aspired with England to 33 
 overspread the western and southern hemispheres. 
 
 1 Arms hanging in front — hands clasped — palms down. 2 Look and 
 point to right. 3 Slowly shake the head — standing erect. 4 Right hand, 
 No. 1 hand plate. 5 Touch forehead with left hand. 6 Touch left side 
 where sword should hang with right hand. 7 No. 8 arm plate. 8 Take 
 one step forward — observe No. 13 hand plate. 9 Point to the right. 10 Wave 
 both hands from forehead downward — palms out. u Wave left hand to 
 the left. 12 Point upward with left hand. 13 No. 1 hand plate. 14 Wave 
 left hand to the left. 15 Wave right hand to the right. 16 Hold both in 
 front horizontally — palms down. 17 No. 1 arm plate — rising movement 
 of both hands and arms. 18 No. 1 hand plate. 19 Send both hands to 
 breast— incline body forward. 20 Wave right hand upward. 21 Point and 
 turn left. 22 Point in front. 23 Point to front, then quickly to right side 
 without lowering arm. 24 Emphatic gesture of right hand. 25 Point up- 
 ward. 26 Make a waving movement with hand. 27 Hand to breast — be ani- 
 mated. 28 No. 12 hand plate — walk three or four steps whilst speaking. 
 29 Quickly separate hands to right and left sides. 30 A forward plunging 
 movement with both hands. 31 Put out right hand and quickly elevate it. 
 32 No. 1 hand plate. 33 Outward movement of both hands as in swimming. 
 
A WILD NIGHT AT SEA. 
 
 197 
 
 UPWARD 
 
 INFLEC- 
 TION. 
 
 INCREASED 
 TONE. 
 
 LOUD. 
 
 VERY 
 LOUD. 
 
 RATHER 
 LOUD. 
 
 conference with powers like themselves, in what 
 wild region do the elements hold council, or ^ where 
 unbend in terrible disport? 
 
 Here ! 13 Free from that cramped prison called 
 the earth, and out upon the waste of waters. 
 14 Here, | roaring, raging, shrieking, howling, all 
 night long. 15 Hither come the sounding voices | 
 from the caverns on the coast of that small island, 
 sleeping, a thousand miles away, 16 so quietly in 
 the midst of angry waves; and hither, to meet 
 them, 17 rush the blasts \ from unknown desert 
 places of the world. Here, in the fury of their 
 unchecked liberty, they storm 18 and buffet with 
 each other ; until the 19 sea, lashed into passion like 
 their own, 20 leaps up | in ravings | mightier than 
 theirs, and the whole scene is whirling madness. 
 
 21 On, on, on, over the countless miles of angry 
 space, roll the long heaving billows. 22 Mountains 
 and caves are here, and yet are not; for what is 
 now the one, is now the other; then all is but a 
 boiling heap of rushing water. 23 Pursuit, and 
 flight, and mad return of wave on wave, and savage 
 struggling, ending 24 in a spouting up of foam that 
 whitens the black night ; 25 incessant change of 
 place, and form, and hue; constancy in nothing | 
 but ^eternal strife; 27 on, on, on they roll, and 
 darker grows the night, and louder howl the winds, 
 and more clamorous and fierce become the ^million 
 voices in the sea — when the wild cry goes forth 
 upon the storm, 29 "A ship !" 
 
 30 Onward she comes, in gallant combat with the 
 elements, her tall masts trembling, and her tim- 
 bers starting on the strain; onward she comes, 
 now high upon the curling billows, now low down 
 in the hollows of the sea, as hiding for the moment 
 from its fury; and every storm-voice in the air 
 and water cries more loudly yet, 31 "A ship !" 
 
 32 Still she comes striving on: and at her bold- 
 ness and the spreading cry, the angry waves rise 
 lip above each other's hoary heads | to look: and 
 round about the vessel, 7 far as the mariners on her 
 
198 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 decks can pierce into the gloom, they press upon 
 her, forcing each other down, and starting up, 
 and rushing forward from afar, in dreadful 
 curiosity. 34 High over her they break, and round 
 her surge and roar; and, giving place to others, 
 moaningly depart, and 35 dash themselves to frag- 
 ments in their baffled anger: still | she comes on- 
 ward | bravely. And though the 36 eager multi- 
 tude crowd thick and fast upon her all the night, 
 and dawn of day discovers the untiring train j 
 yet bearing down upon the ship in an eternity of 
 troubled water, onward she comes, 37 with dim 
 lights burning in her hull, and people \ there \ 
 asleep: as if no deadly element 38 were peering in 
 at every seam and chink; and no drowned sea- 
 man's grave, with but a plank to cover it, were 
 yawning | in the ^unfathomable depths below. 
 
 1 Shake right fist. 2 Point downward to right. 3 Touch lips with 
 fingers. 4 Advance — assume a listening attitude. 5 Spread out both hands 
 in front — palms down. 6 Wave hand in front. 7 Repeat 5 . 8 Send right 
 hand upward — describe a quarter of a circle. 9 Make snake-like move- 
 ment with arm and hand. 10 Bend down — look on ground. X1 No. 1 hand 
 plate. 12 Outward movement as in No. 5 arm plate. 13 No. 8 arm plate — 
 shake the hand. 14 Quickly raise arm and throw hand wildly about. 15 In- 
 ward movement, No. 7 arm plate. 16 Point downward. 17 Send out quickly 
 both hands — palms outward. 18 Wave both hands from side to side. 
 19 Point down. 20 Hands down by sides — palms out — bring them up quickly 
 over head. 21 Take three steps to right — -right hand up and waving. 22 Point 
 up — then down. 23 Point in front — quickly draw hand back — step for- 
 ward and then retire. 2i Throw the index finger up perpendicularly. 
 25 Sweep left hand quickly across body. 20 Throw out both arms. 27 Re- 
 peat 21 . 28 Wide open gesture with both arms. 29 Advance to right — 
 shade eyes with hand. 30 Point right. 31 Repeat 29 . 32 No. 7 hand plate. 
 33 Point in front — move head as if looking intently. 3i Toss one hand 
 over the other, making a circular movement. 35 Throw forward both hands. 
 36 Both hands, No. 5 arm plate. 37 Look intently to front and point. 
 38 Both hands — fingers as in No. 6 hand plate. 39 Both hands and fingers 
 pointing downward in front. 
 
SORROW FOR THE DEAD. 
 
 199 
 
 MEASURED. 
 
 SAD. 
 
 INTERROG- 
 ATIVE. 
 
 MONOTONE. 
 
 APOSTRO- 
 PHE. 
 
 85-SORROW FOR THE DEAD. 
 
 Washington Irving. 
 The sorrow for the dead is the 1 only sorrow 
 from which we refuse to be divorced. Every 
 other wound we seek to heal — 2 every other afflic- 
 tion to forget; but this wound we consider it a 
 duty to keep open 3 — this affliction we cherish and 
 brood over in solitude. Where is the mother* 
 who would willingly forget the infant | that per- 
 ished like a blossom from her arms, though every 
 recollection is a pang? 5 Where is the child that 
 would willingly forget the most tender of parents, 
 though to remember | be but to lament? 6 Who, 
 even in the hour of agony, would forget the 
 friend over whom he mourns? Who, even when 
 the tomb is 7 closing upon the remains of her he 
 most loved; when he 8 feels his heart, as it were, 
 crushed in the closing of its portal; — who would 
 accept of consolation that must be bought by for- 
 getfulness? a No, the love which survives the 
 tomb is one of the noblest attributes of the soul. 
 If 10 it has its woes, it has likewise its delights; 
 and when the overwhelming burst of grief | is 
 calmed into the gentle tear of recollection; when 
 the sudden anguish and the convulsive agony i 
 over the present ruins of all that we most loved, 11 
 is softened away into pensive meditation on all 
 that it was in the days of its loveliness — who 
 would 12 root out such a sorrow from the heart? 
 Though | it may sometimes throw a passing cloud 
 over the bright hour of gaiety, or spread a deeper 
 sadness over the hour of gloom; 13 yet | who would 
 exchange it, even for a song of pleasure, or the 
 burst of revelry? 14 ]STo, there is a voice from the 
 tomb | sweeter than song. There is a remembrance 
 of the dead, to which we turn even from the charms 
 of the living. 15 Oh, the grave! — the grave! It 
 buries every error — covers 16 every defect — extin- 
 guishes every resentment. From its peaceful 
 bosom spring none | but fond regrets and tender 
 
200 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 CHANGE 
 TONE. 
 
 PATHETIC. 
 
 SLOW. 
 
 CLIMAX. 
 
 ADMONI- 
 TION. 
 
 recollections. Who can look down upon the grave, 
 even 17 of an enemy, and not feel a compunctions 
 throb | that he should ever have warred | with the 
 18 poor handful of earth, that lies mouldering be- 
 fore him? 
 
 19 But the grave of those we loved — what a place 
 for meditation ! 20 There it is | that we call up, 
 in long review, the whole history of virtue and 
 gentleness, and the thousand endearments, lav- 
 ished upon us — almost unheeded — in the daily 
 intercourse of intimacy; 21 there it is | that we 
 dwell upon the tenderness — the solemn, awful 
 tenderness — of the parting scene. 18 The bed of 
 death, | with all its stifled griefs — its noiseless at- 
 tendance — its mute, watchful assiduities. The 
 last testimonies of expiring love ! The feeble, 
 fluttering, thrilling — 23 oh, how thrilling! — pres- 
 sure of the hand. 24 The last, fond look of the 
 glazing eye, turning upon us, even from the 
 threshold of existence ! 25 The faint, faltering ac- 
 cents, struggling in death to give one more assur- 
 ance of affection ! 
 
 26 Ay ! go to the grave of buried love, and medi- 
 tate ! There settle the account with thy con- 
 science, for every past benefit unrequited — every 
 past endearment unregarded — of that departed 
 being, who can 27 never — never — never return, to 
 be soothed by thy contrition ! 
 
 28 If thou art a child, and hast ever added a 
 sorrow to the soul, or a furrow to the silvered 
 brow, of an affectionate parent, — 29 if thou art a 
 husband, and hast ever caused the fond blossom 
 that ventured its whole happiness in thy arms, 
 to doubt one moment of thy kindness or thy truth, 
 — if 30 thou art a friend, and hast ever wronged, 
 in thought, or word, or deed, the spirit that gen- 
 erously confided in thee, — if thou art a lover, and 
 hast ever given one unmerited 31 pang to that true 
 heart | which now lies cold and still beneath thy 
 feet; — 32 then | be sure | that every unkind look, 
 every ungracious word, every ungentle action, will 
 
THE DEATH OF LITTLE DOMBEY. 201 
 
 moderate come thronging back upon thy memory, and 
 time. knocking dolefully 33 at thy soul; then \ be sure | 
 
 that thou wilt lie down, sorrowing and repentant, 
 on the grave, and utter the unheard 34 groan, and 
 pour the unavailing tear — more deep, more bitter, 
 because | unheard and unavailing ! 
 
 35 Then weave thy chaplet of flowers, and strew 
 the beauties of nature about the grave; 36 console 
 thy broken spirit, if thou canst, with these tender, 
 yet futile tributes of regret : but, take warning by 
 the bitterness of this thy contrite affliction over the 
 dead, and henceforth | be more faithful 2,1 and 
 affectionate in the discharge of thy duties to the 
 living. 
 
 1 Place hand on upper part of breast. 2 No. 1 hand plate. 3 Hand to 
 breast. 4 Turn to right — right hand out — then bring it to heart. 8 Hand 
 downward in front. 6 Both hands to front. 7 Wave index finger down- 
 ward. 8 Touch breast. 9 Right hand up — palm out — turn head to left. 
 10 No. 1 hand plate^slightly vary gesture. " Clasp hands — bend the head. 
 12 Send closed fingers of right hand from heart outward. 13 Left hand, 
 No. 7 hand plate — turn to left. 14 Point downward. 15 Clasp hands — 
 look down. 16 Repeat 15 . 17 Outward movement both hands — No. 5 arm 
 plate. 18 Point downward. 19 No. 14 hand plate — look down. 20 Continue 
 same position. 21 Hands together as in prayer. 22 No. 11 hand plate — 
 slowly shake head. 23 Clasp hands under chin. 24 Wave hand from the 
 eye outward. 25 Bend down — speak very low. 26 Advance three steps — 
 pointing down — head erect. 27 Wave hands three times perpendicularly. 
 28 Right hand. No. 1 hand plate. 29 Left hand, No. 1 hand plate. 30 Right 
 hand, No. 1 hand plate. 31 Bring hand to heart. 32 Shake finger at audi- 
 ence. 33 Touch breast twice. 34 Touch palms together twice. 35 Imitate 
 the weaving of flowers. 36 Bring hand to breast. 37 No. 1 hand plate. 
 
 86-THE DEATH OF LITTLE DOMBEY. 
 
 Charles Dickens. 
 descrip- Paul had never risen from his little bed. He lay 
 
 TI style "^here, 1 listening to the noises in the street, quite 
 tranquilly; not caring much how the time went, 2 
 but watching it, and watching everything about 
 him, with observing eyes. When the sunbeams 
 struck into his room through the 3 rustling blinds, 
 
202 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 RATHER 
 QUICK. 
 
 CONVERSA- 
 TIONAL. 
 
 CHANCE. 
 
 and quivered on the 4 opposite wall like golden 
 water, he knew that evening was coming on, and 
 that the sky was red and beautiful. As the re- 
 flection died away, and a gloom went 5 creeping 
 up the wall, he watched it deepen, deepen, deepen \ 
 into night. Then he 6 thought how the long streets 
 were dotted with lamps, and how the peaceful 
 stars were shining overhead. His fancy had a 
 strange tendency to wander to the river, which he 
 knew was flowing through the great city ; and now 
 he 7 thought how black it was, and how deep it 
 would look, Reflecting the hosts of stars — and 
 more than all, how ^steadily | it rolled away | to 
 meet the sea. 
 
 His only trouble was, the swift and rapid river. 
 He felt forced, sometimes, to try to stop it — to 
 stem it with 10 his childish hands — or choke its 
 way with sand; and when he saw it coming on | 
 resistless, he cried out ! But a word 11 from his 
 sister Florence, who was always at his side, restored 
 him to himself; and leaning his poor head upon 12 
 her breast, he told Floy of his dream, | and smiled. 
 
 13 The people round him changed unaccountably 
 — except Florence; Florence never changed — and 
 what had been the doctors was now his father, 
 sitting with his head upon 14 his hand. And Paul 
 was quite content to shut his eyes again, and see 
 what happened next without emotion. But this 
 figure, 15 with its head upon its hand, returned so 
 often and remained so long, and sat so still and 
 solemn, never speaking, | never being spoken to, | 
 and rarely lifting up its face, that Paul began to 
 wonder 16 | languidly | if it were real; and, in the 
 night-time, saw it sitting there, with fear. 
 
 17 "Floy ? " he said, "what is that?" "Where, 
 learest ?" 19 . 20 "There ! at the bottom of the bed." 
 "There's nothing there, except papa!" The fig- 
 ure | lifted up its head, and rose, and coming to 
 the bedside, said — "My own boy, 21 don't you know 
 me?" Paul looked it in the face, and thought, 
 Was this his father? But the face, so altered to 
 
THE DEATH OF LITTLE DOMBEY. 
 
 203 
 
 LOW TONE. 
 
 SLOW 
 
 PAussa. 
 
 NXIOUS. 
 
 QUICKER. 
 
 his thinking, thrilled while he gazed, as if it were 
 in pain; and, before he could reach out both his 
 hands to take it between them, and draw it to- 
 wards him, the figure | turned 22 away quickly from 
 a little bed, and went out of the door. 
 
 ^How many times the golden water danced 
 upon the wall; how many nights the dark, dark 
 river rolled towards the sea | in spite of him ; Paul 
 never sought to know. If their kindness, or his 
 sense of it, could have increased, they were more 
 kind, and he more grateful every day; 24 but | 
 whether they were many days, or few, appeared 
 of little moment now to the gentle boy. One 
 night he had been thinking of his mother, and her 
 picture in the drawing-room downstairs. 25 The 
 train of thought suggested to him to inquire if he 
 had ever seen his mother; for he could not re- 
 member whether they had told him yes or no — 
 the river running very fast, and confusing his 26 
 mind. 27 "Floy, did I ever see mamma?" 28iV N"o, 
 darling; why?" "Did I never see any kind face, 
 like a mamma's, looking at me when I was a baby, 
 Floy?" he asked, incredulously, as if he had some 
 vision of a face before him. 29 "Oh yes, dear!" 
 "Whose, Floy?" "Your old nurse's; often." 
 "And where is my old nurse?" said Paul. 30 "Is 
 she dead too ? Floy, are we all dead, except you?" 
 
 31 There was a hurry in the room, for an instant 
 — longer, perhaps; but it seemed no more — then 
 all was still again; and Florence, with her face quite 
 colorless, but smiling, 32 held his head upon her 
 arm. Her arm trembled very much. "Show me 
 that old nurse, Floy, if you please !" "She is not 
 here, darling. 33 She shall come to-morrow." — 
 "Thank you, Floy!" 
 
 Little Dombey closed his eyes, and fell asleep. 
 But he soon awoke — woke mind and body, and sat 
 upright in his bed. He saw them now about him. 
 There was no 34 gray mist before them, as there 
 had been sometimes in the night. He knew them 
 every one, and called them by their names. 
 
204 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 SOFTLY. 
 
 SLOW. 
 
 QUICKER. 
 
 SOLEMN. 
 
 35 "And who is this? Is this my old nurse?" 
 said the child, regarding with a radiant smile a 
 figure coming in. 36 Yes, yes ! No other stranger 
 would have shed those tears at sight of him, and 
 called him her dear boy, her pretty boy, her own 
 poor blighted child. No other woman 37 would have 
 stooped down by his bed, and taken up his wasted 
 hand, and 38 put it to her lips and breast, as one 
 who had some right to fondle it. No other woman 
 would have so forgotten everybody there but him 
 and S9 Floy, and been so full of tenderness and 
 pity. "Floy, this is a kind good face," said Paul. 
 "I am glad to see it again. 40 Don't go away, old 
 nurse ! Stay here!" 
 
 "Now lay me down," he said ; "and, Floy, come 
 close to me, and let me see you!" Sister and 
 brother wound 41 their arms around each other, 
 and the golden light came streaming in, and fell 
 upon them, locked together. "How fast the river 
 runs, between its green banks and the rushes, 
 Floy! But it's very near the sea. I hear the 
 waves ! They always said so." Presently he told 
 her that the motion of the boat upon the stream 
 was lulling him to rest. How green the banks 
 were now, how bright the flowers growing on them, 
 and how tall the rushes! Now the boat was out 
 at sea, but gliding smoothly on; and now there 
 was a shore before them. Who stood on the bank ? 
 42 He put his hands together, as he had been used 
 to do at his prayers. He did not remove his arms 
 to do it ; but they saw him fold them so | behind 
 her neck. "Mamma is like you, Floy; I know 
 her by the face! But tell them that the print 
 upon the stairs is not divine enough. The light 
 about the head | is shining on me as I go !" 
 
 43 The golden ripple on the wall came back again, 
 and nothing else stirred in the room. . . . The 
 old, old^ fashion ! The fashion that came in with 
 our first parents, and will last | unchanged | until 
 our race has run its course, and the 45 wide firma- 
 ment is rolled up like a scroll. The old, old fash- 
 
THE FUNERAL OF LITTLE NELL. 
 
 205 
 
 ion 46 — Death! Oh, thank 47 God, all who see it, 
 
 for that older fashion yet, of Iaqiortality I 
 And look upon ns, angels of young children, with 
 regards not quite estranged, when the 48 swift river 
 bears us to the ocean ! 
 
 1 Point down. 2 Raise head. 3 Point to right. * Hand to left and 
 slightly wave it. 5 Slowly raise hands in front — palms down. G No. 7 
 hand plate — wave the finger three times. 7 Both hands as in No. 3 arm 
 plate. 8 Raising finger from below, upward. ° Move siowly right hand 
 to the right. 10 Put quickly forward both hands — palms outward. u No. 
 1 hand plate. u Lean head on breast. 13 Two hands out — move head 
 sideways — siowly drop hands. 14 Rest head on hand. 15 Point to figure. 
 16 Hand holding chin — nod the head twice. 1T Quick start and point. 
 19 Two hands out — look about inquiringly. 20 Point. 21 Clasp hands — 
 bend down. 22 Quick movement of arm and body to right. 23 Waving 
 movement of hand to the left. 2i Drop hand slow — attitude of dejection. 
 25 Fingers of both hands to temples. 26 Slightly vary the previous gesture. 
 27 Clasp hands and look upward. 2S Downward patting movement of the 
 hand. 29 Clasp hands — pleased expression. 30 Slowly raise hands, then 
 clasp them. 31 Swing right arm quickly to right. 32 Bring right hand 
 across and touch left arm. which is extended. 33 Gesture of soothing. 
 
 34 Bring fingers of botb hands to eyes — then an outward movement. 
 
 35 No. 4 arm plate. 36 Bending down — speaking very softly. 37 No. 1 
 hand plate. 3S Bring right hand to lips. 39 No. 14 hand plate. 40 Extend 
 arms to front and upward. 41 Place hands on opposite shoulders — keep 
 this picture for some time. 42 Bring palms of both hands together. 
 "Point to - left. 44 Wave the hand up and down. 43 Bring fingers to- 
 gether over head, then let them drop either side, describing a circle. 
 46 Point downward. 47 Hands together prayerfully. 4S Send hands from 
 breast to the front. 
 
 NARRA- 
 TIVE. 
 
 MEDIUM 
 TONE. 
 
 87-THE FUNERAL OF LITTLE NELL. 
 
 Charles Dickens. 
 Anon the bell — 1 the bell she had so often heard, 
 by night and day ; 2 and listened to | with solemn 
 pleasure almost as a living voice — rang its re- 
 morseless toll, for her, so young, so beautiful, so 
 good. 3 Decrepit age, and vigorous life, and bloom- 
 ing youth, and helpless infancy, poured forth — 
 on crutches, — in the pride of strength and health — 
 in the full blush of promise — in the mere dawn 
 of life — 4 to gather | round her to ml). Old men 
 were there, 5 whose eyes were dim, and senses fail- 
 ing — 6 grandmothers, who might have died ten 
 years ago, and still been old — 7 the deaf, the blind, 
 the lame, the palsied, the living dead in many 
 shapes and forms, to see the closing of that 8 early 
 grave. What was the death it would shut in, to 
 ^hat which still could crawl and creep above it ? 
 
206 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 RATHER 
 BLOW. 
 
 SOLEMN. 
 
 BRISKER. 
 
 SUBDUED. 
 
 10 Along the crowded path they bore her now; 
 pure as the newly-fallen snow that covered it; 
 whose day on earth had been as fleeting. Under 
 the porch, where she had sat, when Heaven, in its 
 mercy, brought her to that peaceful spot, she 
 passed again; and the old church received her in 
 its quiet shade. 
 
 n They carried her to one old nook, where she 
 had many and many a time sat musing, and laid 
 their burden 12 softly | on the pavement. The light 
 streamed on through 13 the colored window — a 
 window where the boughs of trees were ever rus- 
 tling in the summer, and where the birds sang 
 sweetly all day long. With every breath of air 
 that stirred among those branches in the sunshine, 
 some trembling, changing light would fall upon 
 her 14 grave. 
 
 lb "Earth to earth, ashes to ashes, dust to dust!" 
 Many a young hand dropped in its little wreath, 
 many a stifled sob was heard. Some, and they 
 were not a few, knelt down. All were sincere 
 and truthful intheir sorrow. 
 
 16 The service done, the mourners stood apart; 
 and the villagers closed round to look into the 
 grave, before the pavement-stone should be re- 
 placed. One called to mind how he had seen her | 
 sitting on that very spot, and how her book had 
 fallen on her lap, and she was gazing with 17 a 
 pensive face upon the sky. Another told how he 
 had wondered much that vone so delicate as she, 
 should be so daring; how s\e had never feared to 
 enter the church alone at night, but had loved to 
 linger there when all was quiet, 18 and even | to 
 climb the tower stair, with no more light than that 
 of the moon's rays stealing through the loopholes 
 in the thick old wall. A whisper went 19 about 
 among the eldest, that she had seen and 
 talked with angels ; and when they called to mind | 
 how she had looked and spoken, and her early 
 death, some thought it might be so, indeed. 20 
 Thus, coming to the grave in little knots, and 
 
THE FUNERAL OF LITTLE NELL. 
 
 207 
 
 NARRA- 
 TIVE. 
 
 DIRECT. 
 
 LOUDER. 
 
 glancing down, and giving place to others, and 
 falling off in whispering groups of three or four, 
 the church was cleared in time, of all but the 
 sexton and the mourning friends. 
 
 21 They saw the vault covered, and the stone 
 fixed down. 22 Then, when the dusk of evening had 
 come on, and not a sound disturbed the sacred 
 stillness of the place — when 23 the bright moon j 
 poured her light on tomb and monument, on pillar, 
 wall, and arch, and most of all (it seemed to 
 them) 24 upon her quiet grave, — in that calm time, 
 when outward things and inward thoughts teem 
 with assurances of immortality, 25 and worldly 
 hopes and fears are humbled in the dust — then, 
 with tranquil and submissive hearts, 26 | they turned 
 away, | and left the child 27 with God. 
 
 28 0h ! it is hard to take to heart | the lesson that 
 such deaths will teach; but let no man reject it, 
 for it is one that we must all learn, and it is 
 a mighty, universal Truth. When Death | 
 29 strikes down the innocent and young, for every 
 fragile form from which he lets the panting spirit 
 free, 30 a hundred Virtues rise, in shapes of Mercy, 
 Charity, and Love, to walk the world, and bless it. 
 Of every 31 tear that sorrowing mortals shed on 
 such green graves, some good is born, some gentler 
 nature comes. In the Destroyer's steps there 
 spring up bright creatures that defy his power, 
 and his dark path becomes a way of 32 light to 
 Heaven. 
 
 1 Point up to right — look to left. 2 Bring right hand to ear. 3 Both 
 hands extended to front. 4 Use same gesture, pointing downward. B Right 
 hand, No. 1 hand plate. 6 Left hand, No. 1 hand plate. 7 Point to ear 
 and eye. 8 Point down. 9 Both arms well extended downward — palms 
 down. 10 Bring right hand from left shoulder— sweep it right. lx Still 
 pointing right — walking to the right four steps. 12 Point slowly down- 
 ward. 13 Point and turn well to right — head erect. 14 Point down with 
 left hand. 1B Hands clasped as in No. 13 hand plate — head on breast — 
 keep this picture for four lines. 16 Throw hands apart — then bring them 
 together. 17 Look upward. 1S Point and look upward. 19 Turn mysterious- 
 ly from side to side. 20 No. 1 hand plate. 21 Bring hands together down- 
 ward. 22 Elevate hands and slowly drop them. 23 Point upward and look. 
 24 Point downward. 25 Hand on breast and slowly drop it. 26 Hand to 
 heart. 27 Point up — action of reverence. 28 Clasp hanas. 29 Bring right 
 hand down forcibly. 30 Throw both hands up — keep them there till period. 
 81 Hand to eye — then point down, 32 Advance — point and look up. 
 
208 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 88-GOD IS LOVE. 
 
 ARGU- 
 MENTA- 
 TIVE. 
 
 DIRECT. 
 
 FULL 
 VOICE. 
 
 EMPHATIC. 
 
 Richard Watson. 
 
 Where 1 shall we go for manifestations of the 
 tenderness, the sympathy, the benignity of God? 
 2 The Philosopher of this world leads us to Na- 
 ture, its benevolent final causes, and kind con- 
 trivances to increase the sum of animal happiness ; 
 and there 3 he stops — with half his demonstration ! 
 But the 4 Apostle leads us to the Gift bestowed by 
 the Father for the recovery of man's intellectual 5 
 and moral nature, 6 and to the Cross endured by 
 the Son on this high behalf. Go 6 to the heavens, 
 which canopy man with grandeur, cheer his steps 
 with successive light, and mark his festivals by 
 their chronology ; 7 go to the atmosphere, which in- 
 vigorates his spirits, and is to him the breath of 
 life ; 8 go to the smiling fields, decked with verdure 
 for his eye, and covered with fruits for his sus- 
 tenance; go to 9 every scene which spreads beauty 
 before his gaze, which is made harmoniously vocal 
 to his ear, which fills and delights the 10 imagina- 
 tion by its glow or by its greatness : we travel with 
 you, we admire 11 with you, we feel and enjoy with 
 you, we adore with you, — but we stay not with 
 you.' 12 We hasten onwards, in search of a demon- 
 stration more convincing that "God is love:" we 
 rest not till we press into the strange, the mourn- 
 ful, the joyful scenes of lz Calvary; and amidst 
 the 14 throng of invisible and astonished angels, 
 weeping disciples, and the mocking multitude, 
 under the arch of the darkened 15 heaven, and with 
 16 earth trembling beneath our feet, we gaze 17 upon 
 the meek, the resigned^ but fainting Sufferer; 
 and exclaim, 18 "Herein is love!" — herein, and no- 
 where else, is it so 18 affectingly, so unequivocally 
 demonstrated, — 19 "not that we loved God,, but that 
 
THE CRUCIFIXION. 209 
 
 God loved us, and sent His Son to be the propitia- 
 tion for our sins." 
 
 iNo. 5 arm plate, both hands — turn completely, taking in entire audi- 
 ence. 2 Right hand out. 3 Lower the arm, still pointing. 4 Left hand 
 out, then upward. 5 Touch forehead and breast. « Advance and use No. 
 4 arm plate. 7 Wave upward both hands — throw the head back. s No 5 
 arm plate. 9 Repeat s . 10 Touch right temple. " Advance— look around— 
 use No. 13 hand plate. 12 Wave hand from breast outward. 13 Point up- 
 ward — look of reverence. 14 No. 5 arm plate. 15 Describe arch above head 
 with both hands. 10 Shake right hand in front. 17 Advance to right — 
 hands crossed on breast — look up. 1S Same position. 1<J Send both hands 
 from breast upward — bring them back to breast — hold till finish. 
 
 89-THE CRUCIFIXION. 
 
 Translation from Bossuet. 
 E declama When our Eedeemer Expired on the cross, sym- 
 tion. pathizing nature was convulsed ! The sun 2 was 
 suddenly enveloped in midnight darkness, and 
 ^confusion reigned! But I shall pass these ter- 
 rific events, in order to lead your attention to more 
 important objects. 4 The Cross erected on Mount 
 Calvary was the standard of victory, to which 
 even ^Thought was to be led captive, and before 
 which Imaginations were to be cast down; — that 
 is to say, human wisdom and skeptic reluctance. 
 No voice sublime was heard 6 sounding from a 
 thunder-bearing cloud, as of old from the heights 
 of Sinai! No approach was observed of that 
 formidable Majesty, before whom the mountains 
 melt as wax! 8 Where, where was the warlike 
 preparation of that power, which was to subdue 
 the world? See the whole artillery collected on 
 Mount Calvary — in the exhibition 9 of a Cross, of 
 of an agonizing Sufferer, and a crown of thorns ! 
 Eeligious truths was exiled from the earth, and 
 idolatry sat 10 brooding over the moral world. The 
 "Egyptians, the fathers of philosophy; 12 the 
 Grecians, the inventors of the fine arts ; 13 the Ro- 
 
210 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUD. 
 
 FORCEFUL. 
 
 OBSERVE 
 PUNCTUA- 
 TION. 
 
 mans, the conquerors of the universe; were all 
 unfortunately celebrated for the perversion of 
 religious worship, — 14 for the gross errors they ad- 
 mitted into their belief, and the indignities they 
 offered to the true religion. 15 Minerals, vege- 
 tables, animals, the elements, became objects of 
 adoration; even abstract visionary 16 forms, such 
 as fevers and distempers, received the honors of 
 deification: and to the most infamous vices, and 
 dissolute passions, altars 17 were erected. The 
 world, which God had made to manifest His 
 power, seemed to have become a temple of idols, 
 where everything was god 18 but God Himself ! 
 
 The mystery of the crucifixion was the remedy 
 the 19 Almighty ordained for this universal 
 idolatry. He knew the mind of man, and knew 
 that it was not by reasoning that an error must 
 be destroyed, which reasoning had not established. 
 20 Men gave the Divinity their own figure, and 
 attributed to Him their vices and passions. Sea- 
 soning 21 had no share in so brutal an error. It 
 was a subversion of reason, a delirium, a frenzy. 22 
 Argue with a frenetic person, you do but the more 
 provoke him, and render the distemper incurable. 
 Neither will reasoning cure the delirium of idola- 
 try. 23 What has learned antiquity gained by her 
 elaborate discourses? her reasonings so artfully 
 framed? 24 Did Plato, with that eloquence which 
 was styled divine, overthrow 25 one \ single \ altar j 
 where monstrous divinities were worshipped? 
 
 Experience hath shown that the overthrow of 
 idolatry could not be the work of reason alone. 
 Far from committing to human wisdom the cure 
 of such a malady, God 26 completed its confusion 
 by the mystery of the Cross. Idolatry (if rightly 
 understood) took its rise from that 27 profound 
 self-attachment inherent in our nature. Thus it 
 was | that the Pagan mythology 28 teemed with 
 deities, who were subject to human passions, weak- 
 nesses, and vices. 29 When the mysterious Cross 
 displayed to the world an agonizing Redeemer, 
 
ON INFIDELITY. 211 
 
 incredulity exclaimed, it was foolishness ! 30 But 
 the darkening sun, Nature convulsed, the dead 
 arising from their graves, said, it was wisdom! 
 
 1 Slowly raise hand — finger pointing upward. 2 Place hands before 
 face — palms out — then separate them. 3 Throw hands downward — wrist 
 movement. * Same as K 5 Touch forehead. 6 Shake finger of right hand, 
 pointing upward. 7 Sweep hands majestically. 6 Step to right— right hand 
 out — commanding bearing. 9 Hand up almost perpendicular — shake finger 
 three times. 10 Put out both hands — fingers as in No. 6 hand plate. 
 11 Put out right hand — turn to the right. 12 Turn and gesticulate toward 
 left. 1S Both hands to the front. 14 Bring right hand down forcibly. 
 15 No. 1 hand plate. 16 Touch forehead and wave hand outward. 17 Ele- 
 vate right hand as in No. 4 arm plate. 1S Point upward — advance. 10 Re- 
 peat 1S . 20 Bring hands to breast. 21 Hand to forehead — then wave out- 
 ward. 22 No. 12 hand plate. 23 Walk four steps to left — left hand ex- 
 tended. 2i Turn right to center — use right hand. 25 Bring hand down 
 three times on emphatic words. 2S Use very dignified posture — point up- 
 ward. 27 Both hands on breast. 2S Throw both hands forward — pal»^ 
 out. 29 Point up. 30 Hold out both hands — palms out. 
 
 90-ON INFIDELITY. 
 
 Dr. Andrew Thomson. 
 TE A<syE R ~ ft * s amidst trials and sorrows 1 that infidelity 
 
 appears in its just est and most frightful aspect. 
 When subjected to the 2 multifarious ills "which 
 flesh is heir to," what is there to uphold 3 our spirit, 
 but the discoveries and the prospects that are un- 
 folded to us by revelation ? What, for this pur- 
 pose, can be compared with the belief 4 that every- 
 thing here below is under the management of 
 Infinite Wisdom and Goodness, and that there 
 is an Hmmortality of bliss awaiting us in another 
 world? If this conviction be taken 6 away, what 
 is it that we can have 7 recourse to, on which the 
 mind may patiently and safely repose in the sea- 
 son of adversity? 8 Where is the balm which I 
 may apply with effect | to my wounded heart, after 
 I have rejected the aid of the Almighty Physician? 
 9 Impose upon me whatever hardships you please; 
 give me nothing but the bread of sorrow to eat; 
 take from me the friends in whom I had placed 
 my confidence; lay me in the cold hut of poverty, 
 
212 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 ENER- 
 GETIC. 
 
 REGRET- 
 FUL. 
 
 and on the thorny bed of disease; set 10 death be- 
 fore me in all its terrors; do all this, — only let 
 me trust 11 in my Saviour, \ and "pillow my head 
 on the bosom of Omnipotence/' — and I will "fear 12 
 no evil" — I will rise superior to affliction, — "I will 
 rejoice in my tribulation/' But, let infidelity in- 
 terpose between 13 God and my soul, and draw its 
 impenetrable 14 veil over a future state of exist- 
 ence, and limit all my trust to the creatures of a 
 day, and all my expectations to a few years as 
 uncertain as they are short; and how 15 shall I 
 bear up, with fortitude or with cheerfulness, under 
 the burthen of distress? Or, where shall I find 
 one drop 16 of consolation to put into the bitter 
 draught, which has been given me to drink? 17 I 
 look over the whole range of this wilderness in 
 which I dwell ; but I see 18 not one covert from the 
 storm, nor one leaf for the healing of my 19 soul, 
 nor one cup of water to refresh me, in the weari- 
 ness and the faintings of my pilgrimage. 
 
 1 Slowly shake head — hand on breast. 2 Both hands, No. 5 arm plate. 
 8 Hand on breast. * Send both hands outward — palms up — turn to both 
 sides. 6 No. 4 arm plate. 6 Look inquiringly at audience — hands as in 
 No. 11 hand plate. 7 Touch forehead. 8 Put out right hand and then 
 place it over heart. 9 Lay open palms on chest — slowly turn head from 
 side to side. 10 Fingers apart as in No. 6 hand plate. 1X Slowly raise 
 hand over head — raise eyes. 12 Falling movement of hand — No. 3 arm 
 plate. 13 Clasp hands fervently at breast. 14 Wave right hand outward. 
 15 Step forward — look of inquiry — hand on breast. 16 No. 12 hand plate. 
 17 Swing right arm outward — follow gesture with look. 18 Shake finger 
 several times. 19 Hand to breast. 
 
THE DEATH OF THE WICKED. 
 
 213 
 
 RATHER 
 QUICK 
 AND 
 LOUD, 
 
 EARNEST. 
 
 91-THE DEATH OF THE WICKED. 
 
 Translation from Massillon. 
 The remembrance of the past, and the view of 
 the present/ would be little to the expiring sinner, 
 could he confine himself to these ; but the thoughts 2 
 of a futurity convulse him with horror and de- 
 spair. That futurity, 3 that incomprehensible 
 region of darkness, which he now approaches, 
 ^conscience his only companion; that futurity, 
 that 5 unknown land | from which no traveller has 
 ever returned, where he knows not whom he shall 
 find, nor 6 what awaits him; that futurity, that 
 fathomless 7 abyss, in which his mind is lost and 
 bewildered, and into which he must now 8 plunge, 
 ignorant of his destiny; that 9 futurity, that tomb, 
 that residence of horror, where he must now oc- 
 cupy his place amongst the ashes and the carcasses 
 of his ancestors; 10 that futurity, that incompre- 
 hensible eternity, even the aspect of which he can- 
 not support; 11 that futurity, — in a word, that 
 dreadful judgment, to which, before the wrath 
 of God, he must now appear, and render account 
 of a life | of which every 12 moment almost has 
 been occupied by crimes: — Alas! 13 while he only 
 looked forward to this terrible futurity at a dis- 
 tance, he made an infamous boast of | not dread- 
 ing it; 14 he continually demanded, with a tone of 
 blasphemy and derision, 15 Who is returned from 
 it? 16 He ridiculed the vulgar apprehension, and 
 piqued himself upon his undaunted courage. But, 
 17 from the moment that the hand of God is upon 
 him; from the moment that death approaches 
 near, that the gates of eternity 18 open to receive 
 him, and that he touches upon that terrible fu- 
 turity against which he seemed so fortified — 19 ah ! 
 lie then becomes either 20 weah, trembling, dis- 
 solved in tears, 21 raising up suppliant hands to 
 Heaven ! — or, gloomy, 22 silent, agitated, revolving 
 within himself the most dreadful thoughts, and 
 
214 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 RATHER 
 QUICK. 
 
 SOLEMN 
 TONE. 
 
 BORROW. 
 
 no longer expecting more consolation or mercy 
 from his weak tears and lamentations, 23 than from 
 his frenzies and despair! 
 
 24 In vain | the minister of the Church en- 
 deavors to soothe his terrors, by opening to him 
 the bosom of Divine mercy; — a ^secret and ter- 
 rible voice resounds from the bottom of his heart, 
 and tells him that there is no 2G salvation for the 
 impious: his friends and relations are 27 assembled 
 round his bed to receive his last sighs, and he 
 28 turns away from them his eyes, because he finds 
 still amidst them | the remembrance of his crimes. 
 Death, however, approaches: the minister en- 
 deavors to support by prayer that spark of life 
 which still remains: 29 "Depart, Christian soul!" 
 says he: he says not to him, "Prince, grandee of 
 the world, depart!" During his life, the public 
 monuments were hardly sufficient for the num- 
 ber and pride of his titles. 30 In his last moment, 
 they give him that title alone which he had re- 
 ceived in baptism; the only one to which he had 
 paid no attention, and the only one which can re- 
 main to him for ever. 31 "Depart, Christian soul !" 
 32 You had looked upon the Earth as your country, 
 and it was only a place of pilgrimage from which 
 you must depart. The Church thought to have 
 announced the glad tidings to you, — the expira- 
 tion of your exilement, — in announcing the dis- 
 solution of your earthly frame. Alas ! and it 
 only brings you 33 melancholy and frightful news, 
 and opens the commencement of your miseries 
 and anguish. 
 
 Then | the expiring sinner, finding, in the re- 
 membrance of the past, 34 only regrets which, over- 
 whelm him; in all which takes place around him, 
 only ^images which afflict him; in the thoughts 
 of futurity, 36 only horrors which appal him; no 
 longer knowing to whom to have recourse; 
 37 — neither to created beings, who now leave him; 
 nor to the world, which vanishes; nor to men, 
 who cannot save him from death ; 38 nor to the just 
 
THE DEATH OF THE WICKED. 
 
 215 
 
 \BAPID. 
 
 CLIMAX. 
 
 God, whom he looks upon as a declared enemy, 
 and from whom he has no indulgence to expect: 
 — a ^thousand horrors, occupy his thoughts; he 
 torments, he agitates himself, in order 40 to fly 
 from Death which grasps him, or at least to fly from 
 himself. From his expiring eyes issues something 41 
 I know not what, of dark and gloomy, which ex- 
 presses the fury of his soul; in his anguish he 
 utters words, 42 interrupted by sobs, which are un- 
 intelligible, and to which they know not whether 
 repentance or despair gives birth. 43 He deeply 
 sighs; and they know not whether the remem- 
 brance of his past crimes, or the despair at quit- 
 ting life, forces from him such groans of anguish. 
 44 At last, in the midst of these melancholy exer- 
 tions, his eyes 45 fix, | his features change, | his 
 countenance becomes disfigured, his livid lips con- 
 vulsively separate; his whole frame quivers; and, 
 by this last 46 effort, his unfortunate soul tears 
 itself reluctantly from that body of clay, falls into 
 the hands of its God, and 47 nnds itself | alone at 
 the foot of the awful tribunal I 
 
 1 Stand erect — left foot back — chest out — use No. 1 hand plate. 
 2 Touch the forehead and lift the hand upward. 3 Still pointing up. 
 4 Tapping the forehead twice. 5 Point up. 6 Falling movement of arm as 
 in No. 3 arm plate. 7 Arm straight to front — finger pointing down. 
 8 Throw hands forward and downward — imitate the act of plunging. 9 No. 
 7 hand plate. 10 Repeat same. X1 Raise right hand up — palm out. 12 Roth 
 hands out, No. 5 arm plate. 13 Clasp hands and slowly rock body from 
 side to side. 14 No. 2 hand plate. 15 Same as 14 , but shake the hand. 
 
 16 Sway hand outward from breast — -then bring fingers back to breast. 
 
 17 No. 12 hand plate. 18 Both hands in front of face — palms out — then 
 separate them on the word "open." 19 Nod the head twice. 20 Let the 
 hands tremble. 21 Raise both hands higher than head. 22 Clasp head with 
 both hands. 23 Wring both hands. 24 Fold the arms — shake head. 25 Shake 
 index finger of right hand. 26 Forcibly bring down right fist. 27 No. 5 
 arm plate, both hands- — look around, turning body. 28 Wave hand to 
 right — turn face and body to left. 29 Hands together prayerfully. 30 No. 
 1 hand plate. 31 Clasp hands. 32 No. 3 hand plate. 33 Clasp hands — shake 
 head sorrowfully. 34 Head back — eyes up — opened hands laid on each 
 cheek. 35 Hands in front of face — palms out— fingers apart — look of horror. 
 86 Repeat 85 . 37 Right hand out — quickly turn it to right. 38 Point up. 
 39 Both hands placed on back of head — look up. 40 Hands and arms out 
 horizontally — hands clinched. 41 Touch eyes — move hands outward. 42 Hand 
 grasping throat. 43 Hand on breast — sigh. 44 Clasp fiands — advance — 
 look of intense emotion. 45 Touch eye — face — lip. 46 Hands clutching 
 breast — throw them violently forward. 47 Shake right index finger up- 
 ward solemnly — stand on the toes. 
 
216 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUD AND 
 QUICK. 
 
 UPWARD 
 INFLEC- 
 TION. 
 
 tQUIGK 
 AND 
 DIRECT. 
 
 ARGU- 
 MENTA- 
 TIVE 
 STYLE. 
 
 92-ON THE AMERICAN WAR. 
 
 Lord Chatham. 
 
 I cannot/ my Lords, I 2 will not, join in con- 
 gratulation on misfortune and disgrace. This, my 
 Lords, is a 3 perilous and tremendous moment. It 
 is not a time for adulation; the smoothness of 
 flattery cannot save us in this rugged and awful 
 crisis. It is now necessary to instruct the 4 throne 
 in the language of truth. We must, if possible, 
 ^dispel the delusion and darkness which envelope 
 it; and 6 display, in its full danger and genuine 
 colors, the ruin which is brought to our doors 
 7 Can ministers still presume to expect support in 
 their infatuation? Can Parliament be so dead 
 to its dignity and duty, as to give its support to 
 measures | thus obtruded and forced upon it? 
 8 Measures, my Lords, which have reduced this 
 late flourishing empire to scorn and contempt! 
 'But yesterday, 9 and Britain might have stood 
 against the 10 world: now, 11 none so poor as do her 
 reverence !" — 12 The people, whom we at first de- 
 spised as rebels, but whom we now acknowledge 
 as enemies, are abetted against us, supplied with 
 13 every military store, have their interests con- 
 sulted, and their ambassadors entertained, by our 
 inveterate enemy; and ministers u do not — and 
 dare not — interpose with dignity or effect. The 
 desperate state of our army abroad is in part 
 known. 15 No man | more highly esteems and 
 honors the British troops than I do ; I know their 
 virtues and their valor; I know they can achieve 
 16 anything but impossibilities; and I know | that 
 the conquest of British America 17 is an impossi- 
 bility. You cannot, my Lords, 18 you cannot 
 conquer America. 19 What is your present situa- 
 tion there? We do not know the worst; 20 but we 
 know that, in three campaigns, we have done 
 nothing, and suffered much. You may swell 
 21 every expense, accumulate every assistance, and 
 22 extend your traffic to the shambles of every 
 
VERY 
 
 ON NAPOLEON BONAPARTE. 217 
 
 German despot; your attempts will be for ever 
 2z vain and impotent — doubly so, indeed, from this 
 mercenary aid on which you rely; for it irritates, 
 to an incurable resentment, the minds of your 
 adversaries, to overrun them with the mercenary 
 sons of rapine and plunder, devoting 24 them and 
 their possessions to the rapacity of hireling cruelty. 
 24 If I were an American, as I am an Englishman, 
 while a foreign troop was landed in my country, 
 26 I never would lay down my arms; — never, 
 
 LOUD. NEVER, NEVER ! 
 
 1 No. 1 hand plate. 2 Repeat the same, but with force. 3 Swing out 
 both hands as in No. 5 arm pldte. 4 Point upward to the left and look 
 toward the right. 6 Both hands in front of face — palms outward — send 
 them apart. 6 Turn both hands — palms up. " Take three steps to the 
 right — shake hand — position as in No. 7 hand plate. 8 Both hands out — 
 palms up — look about. v No. 7 hand plate. 10 Both arms wide apart and 
 out. n Shake the right index finger downward. IZ No. 5 arm plate — 
 look around. 13 Repeat 12 . 14 Forcible downward gesture on the two em- 
 phatic words. 15 No. 12 hand plate. 1G Both arms open. 17 Bring right 
 fist down strongly. 18 Slap the left palm with the right three times. 
 19 Quick turn to the right — hand extended. 20 No. 12 hand plate. 21 No. 
 5 arm plate. 22 Right arm out straight — shake the hand. 23 Drop hand 
 and retire two steps. 2 * Both hands extended to front. 25 Draw yourself 
 to full height — strike the breast several times. 26 Bring fist downward 
 on the first "never" — then shake the fist in the air on the others (never). 
 
 ORDINARY 
 
 93-ON NAPOLEON BONAPARTE. 
 
 Charles Phillips. 
 He is fallen! 1 We may now pause before that 
 Tofi&r~ splendid prodigy, which 2 towered amongst us 
 like some ancient ruin, whose frown | terrified the 
 glance its magnificence attracted. 3 Grand, 
 gloomy, and peculiar, he sat upon the throne, a 
 sceptred hermit, wrapped in the solitude of his 
 own originality. 4 A mind bold, independent, and 
 decisive 5 — a will, | despotic in its dictates, — 
 an energy that distanced expedition, and a con- 
 science | pliable to every touch of interest, marked 
 the outline of this extraordinary character — 6 the 
 most extraordinary, perhaps, that, in the annals 
 of the world, ever 7 rose, or reigned, or fell. 
 
218 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUDER. 
 
 EMPHA. 
 SIZE. 
 
 CLIMAX 
 LOUD. 
 
 Flung 8 into life in the midst of a Revolution j 
 that quickened every energy of a people who ac- 
 knowledged no superior, he commenced his course 
 a stranger by birth and a scholar by charity. 
 With no friends but his sword, 9 and no fortune 
 but his talents, he rushed 16 into the lists where 
 rank and genius had arrayed themselves; and 
 competition fled from him as from the glance of 
 destiny. He knew 11 no motive but interest — he 
 acknowledged no criterion but success — he wor- 
 shipped no God 12 but ambition; and with an East- 
 ern devotion he knelt at the altar 13 of his idolatry. 
 Subsidiary to this, there was no creed that he did 
 not profess — there was no opinion that he did not 
 promulgate. In the hope of a dynasty, he 14 up- 
 held the Crescent; for the sake of a divorce, he 
 bowed 15 before the Cross ; the orphan of St. Louis, 
 he became the adopted child of the Republic ; and, 
 with a parricidal ingratitude, 16 on the ruins both 
 of the crown and the tribune, he reared 17 the 
 throne of his despotism. A professed Catholic, 18 
 he imprisoned the Pope; a pretended patriot, he 
 impoverished the country; and under the name of_ 
 Brutus, he 19 grasped without remorse, and wore 
 without shame, the 20 diadem of the Caesars! 
 
 21 Cradled in the field, he was to the last hour 
 the darling of the army ; and whether in the camp 
 or the cabinet, he never forsook a friend, or for- 
 got a favor. Of all his soldiers, not one abandoned 
 him, till affection was useless; and their 22 first 
 stipulation was | for the safety of their favorite. 
 They knew well that, if he was lavish of them, 
 he was prodigal of 23 himself; and that if he exposed 
 them to peril, he repaid them with plunder. For 
 the soldier, 24: he subsidized every people; to the 
 people, he made even pride pay tribute. The 
 victorious veteran glittered with his gains; and 
 the capital, 25 gorgeous with the spoils of art, be- 
 came the miniature metropolis of the universe. 
 In this wonderful combination, his affectation of 
 literature must not be omitted. The gaoler of 
 
ON NAPOLEON BONAPARTE. 
 
 219 
 
 QUICK IN- 
 CREASE 
 TONE. 
 
 MORAL. 
 
 the press, 26 he affected the patronage of letters; 
 the proscriber of books, he encouraged philosophy ; 
 the persecutor of authors, and the murderer of 
 printers, he yet pretended to the patronage of 
 learning. Such a medley of contradictions, and at 
 the same time such an individual consistency, 
 were never united in the same character. 27 A 
 royalist, | a republican, and an emperor | a Mahom- 
 etan, | a Catholic, | and a patron of the Syna- 
 gogue, | a traitor and a tyrant, | a Christian and 
 an Infidel — he was, through all his vicissitudes, 
 the same, 28 stern, impatient, inflexible original 
 — the same mysterious, incomprehensible self — 
 the man without a model, and without a shadow. 
 29 His fall, like his life, baffled all speculation. 
 In short, his so whole history was like a dream to 
 the world ; and no man can tell how or why he was 
 awakened from the reverie. 
 
 31 Kings may learn from him | that their safest 
 study, as well as their noblest, is — the interest of 
 the people; the 32 people are taught by him that 
 there is no despotism, however stupendous, against 
 which they have not a resource ; and to those who 
 would rise 33 upon the ruins of both, he is a living 
 lesson, that, if ambition can raise them from 34 the 
 lowest station, it can also prostrate 35 them from 
 the highest. 
 
 1 No. 2 hand plate on the word "pause." 2 Elevate hand perpendicu- 
 larly. 3 No. 8 arm plate. 4 Touch forehead. 5 Touch head again. 6 Wave 
 left' hands downward in front — palms up. 7 Elevate hand and drop it. 
 8 Walk three steps to the left — both hands toward audience. 9 Touch 
 left side of body where sword should hang. 10 Step forward — throw hands 
 outward. xl Hand on breast. 12 Point upward. 13 Point downward. 
 14 Close left hand and hold it over head. 15 Right hand to breast — bow 
 head. 16 Point down. 1T Raise the hand. 18 Turn to right — use No. 1 
 hand plate. 19 Gesture of grasping. 20 Make circular movement with 
 finger for the crown. 21 Both hands in front — palms up. 22 No. 12 hand 
 plate. 23 Touch the breast. 24 No. 1 hand plate. 25 No. 5 arm plate. 
 26 Left hand, No. 6 arm plate — afterward swing arm to left. 27 Slight 
 downward movement of right hand on the nouns following. 28 Shake 
 finger. 20 Point downward. 30 Both hands in front — palms up. 31 No. 4 
 arm plate. 32 No. 5 arm plate. 33 Hands hanging — bring them up higher 
 than head. 34 Send hand up. 35 Send the hand down. 
 
220 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 ORATORI- 
 CAL, 
 
 ASSUME A 
 SERIOUS 
 MANNER. 
 
 EMPHATIC. 
 
 94-SPEECH OF SERJEANT BUZFUZ. 
 
 Charles Dickens. 
 
 Never, 1 in the whole course of my professional 
 experience — never, from the very first moment 
 of my applying myself to the study and practice 
 of the law — have I approached a case with feel- 
 ings of such deep emotion, or with such a heavy 
 sense of the responsibility imposed upon me; 2 
 a responsibility, I will say, which I could never 
 have supported, were I not buoyed up and sus- 
 tained by a conviction 3 so strong, that it amounts 
 to positive certainty, that the cause of truth and 
 justice, or, in other words, the cause of my much 
 injured and most Oppressed client, must prevail 
 with the high-minded and intelligent 5 dozen of 
 men whom I now see in that box before me. 
 
 6 The plaintiff, gentlemen, the plaintiff is a 
 widow: yes, gentlemen, a widow. The late Mr. 
 Bardell, after enjoying, for many years, the esteem 
 and confidence of his sovereign, as one of the guar- 
 dians of the royal revenues, glided 7 almost im- 
 perceptibly from the world, to seek elsewhere for 
 that repose and peace which a custom-house can 
 never afford. 
 
 With her | Hittle boy, Mrs. Bardell shrunk 
 from the world, and courted the retirement 
 and tranquility of Goswell street; and here 
 she placed in her front parlor 10 window, a 
 written placard, bearing this inscription, — 
 u " Apartments, furnished, for a single gentleman. 
 Enquire within." I entreat the attention of the 
 jury to the wording of this document — u Apart- 
 ments, furnished, for a single gentleman!" Mrs. 
 Bardell' s opinions of the opposite sex, gentlemen, 
 were derived from a long contemplation of 12 the 
 inestimable qualities of her lost husband. 13 She 
 had no fear — she had no distrust — she had no sus- 
 picion. Mr. Bardell, said the widow ; Mr. Bardell 
 
SPEECH OF SERJEANT BTJZFUZ. 221 
 
 was a man of honor — Mr. Bardell was a man of 
 his word 14 — Mr. Bardell was no deceiver — 15 Mr. 
 Bardell was once a single gentleman himself: 
 16 to single gentlemen I look for protection, for 
 assistance, for comfort, for consolation; — in 
 single gentlemen I shall perpetually see some- 
 thing to remind me of what Mr. Bardell was, 
 17 when he first won my young and untried affec- 
 tions; to a single gentleman, then, shall my lodg- 
 ings be let. Actuated by this beautiful and touch- 
 ing impulse, (among the best 18 impulses of our 
 imperfect nature, gentlemen), 19 the lonely and 
 desolate widow dried her tears, furnished her first 
 floor, caught her innocent boy 20 to her maternal 
 loud. bosom, and put the bill up in her parlor window. 
 
 21 Did it remain there long ? 22 No. The serpent 23 
 was on the watch, | the train was laid, | the mine 
 was preparing, the sapper and miner was at work. 
 Before the bill had been in the window three days 
 — three days, gentlemen — a being, erect upon two 24 
 legs, and bearing all the outward semblance of a 
 man, and not of a monster, 25 knocked at the door 
 of Mrs. BardelFs house. He enquired within; 
 he took the lodgings; and on the very next day 
 he entered into possession of them. That man 
 was 26 Pickwick — Pickwick the defendant. 
 
 I shall show you, 27 gentlemen, that for two years 
 Pickwick continued to reside constantly, and with- 
 out interruption or intermission, in Mrs. BardelFs 
 house. I shall show you | that Mrs. Bardell, dur- 
 ing the whole of that time, waited on him, attended 
 to his comforts, cooked his meals, looked out his 
 linen for the washerwoman when it went abroad, 
 darned, aired and prepared it for wear, when it 
 came home, and, in short, enjoyed his fullest trust 
 and confidence. I shall show you that, 2s on many 
 occasions, he gave halfpence, 29 and on some oc- 
 casions even sixpences, to her little boy; and I 
 shall prove to you, by a witness 30 whose testi- 
 mony it will be impossible for my learned friend 
 to weaken or controvert, that on one occasion he 
 
222 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 LOUD. 
 
 -CEREMONI- 
 OUS 
 READING. 
 
 EMPHAT- 
 IC. 
 
 patted the boy on the head; and, after enquiring 
 whether he had won any alley tors or commoneys 
 lately (both of which I understand to be partic- 
 ular species of marbles much prized by the youth 
 of this town), made use cf this remarkable ex- 
 pression, — 32i 'I-Iow should you like to have an- 
 other father?' 
 
 And now, gentlemen, but one word more. 33 Two 
 letters have passed between these parties; letters 
 which are admitted to be in the handwriting of 
 the defendant, and which speak volumes indeed. 
 These letters, too, bespeak the character of the 
 man. They are not open, fervent , eloquent 
 epistles, breathing nothing but the language of 
 affectionate attachment. 3i They are covert, sly, 
 underhanded communications; but, fortunately, 
 far more conclusive than if couched in the most 
 glowing language and the most poetic imagery — 
 letters that must be viewed with a cautious and 
 suspicious eye — letters that were evidently in- 
 tended at the time, by Pickwick, to mislead and 
 delude 35 any third parties into whose hands they 
 might fall. Let me read the first : 36 "Garraway's, 
 twelve o'clock. — Dear Mrs. B. Chops and tomato 
 sauce. Yours, Pickwick/' Gentlemen, what does 
 this mean? Chops and tomato sauce! yours, 
 Pickwick! 37 Chops! gracious heavens I and 
 tomato sauce ! Gentlemen, is the happiness of a 
 sensitive and confiding female to be trifled away 
 by such shallow artifices as these? 38 The next 
 has no date whatever, which is in itself suspicious. 
 — "Dear Mrs. B., I shall not be at home till to- 
 morrow. Blow coach." And then follows this 
 very remarkable expression— "Don't trouble your- 
 self about the warming-pan." 39 The warming- 
 pan! Why, gentlemen, who does trouble himself 
 about a warming-pan? 40 When was the peace 
 of mind of man or woman broken or disturbed 
 by a warming-pan, which is in itself a harmless, 
 a useful, and I will add, gentlemen, a comforting 
 article of domestic furniture? 41 Why is Mrs. 
 
SPEECH OF SERJEANT BUZFUZ. 
 
 223 
 
 INCREASED 
 TOXE. 
 
 CLIMAX. 
 
 Bardell so earnestly entreated not to agitate her- 
 self about this warming-pan, nnless (as is no 
 doubt the case) it is a * 2 mere cover for hidden 
 fire — a mere substitute for some endearing word 
 or promise, agreeably to a preconcerted system of 
 correspondence, artfully contrived by Pickwick 
 with a view to his contemplated desertion, and 
 which I am not in a condition to explain ? 43 And 
 what does this allusion to the slow coach mean? 
 For ought I know, it may be a reference to Pick- 
 wick himself, who has most unquestionably been 
 a criminally slow coach during the whole of this 
 transaction; but whose speed will now be very 
 unexpectedly accelerated, and whose wheels, gen- 
 tlemen, as he will find to 44 his cost, will very soon 
 be greased by you. 
 
 45 But, gentlemen, enough of this; it is difficult 
 to smile with an 46 aching heart; it is ill jesting 
 when our deepest sympathies are awakened. My 
 clients hopes and prospects are ruined; and it is 
 no figure of speech to say that her occupation is 
 gone indeed. The bill 47 is down — but there is no 
 tenant. Eligible single gentlemen pass and 4S re- 
 pass — but there is no invitation for them to en- 
 quire within, or without. All is gloom and silence 
 in the house ; even the voice of the child is hushed ; 
 his infant sports are disregarded when his mother 
 weeps. His alley tors and commoneys are alike 
 neglected; he forgets the old familiar cry of 
 knuckle down! and at tip cheese, or odd and even, 
 his hand is out. 50 But Pickwick, gentlemen, 
 Pickwick, the ruthless destroyer of this domestic 
 oasis in the desert of Goswell street — 51 Pickwiek, 
 who comes before you to-day with his heartless 
 tomato sauce and warming-pans — Pickwick still 
 rears his head with unblushing effrontery, and 
 gazes without a sigh on the ruin he has made. 
 52 Damages, gentlemen — heavy damages are the 
 only punishment with which you can visit him; 
 the only recompense you can award to my client. 
 53 And for those damages she now appeals to an 
 
224 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 enlightened, a high-minded, a right-feeling, a con- 
 scientious, a dispassionate, a sympathizing, a con- 
 templative jury of her civilized countrymen. 
 
 1 Assume a serious but pompous manner — left hand resting on hip — 
 right hand extended with elbow resting against body. 2 Strike left palm 
 with right hand. 3 Right hand on breast and bending toward audience. 
 4 Point to her. 5 Turn and put out both hands toward jury — bow to them. 
 6 Gesticulate toward right — indicate her 7 Send right hand out front 
 horizontally. 8 No. 12 hand plate. 9 Indicate his size by outstretched 
 hand. 10 Point front. " Emphasize with finger the different words 
 italicized. 12 Clasp hands. 13 Repeat 1 . 14 No. 1 hand plate — bring hand 
 downward. 15 Repeat. 16 Both hands out — bend forward. 17 Raise right 
 hand. 18 Touch breast and bow to audience. 19 No. 1 hand plate. 20 No. 
 14 hand plate v 21 Point front. 22 No. 8 hand plate — bring hand down 
 forcibly. 23 Wave the index finger snake-like. 24 No. 1 hand plate — stand 
 very erect. 25 Action of knocking on door. 26 Put out right hand and use 
 it emphatically. 27 Both hands toward jury — keep this gesture, making it 
 emphatic for six lines. 2S Turn right — right hand extended. 29 Pretend 
 dropping money into hand of receiver. 30 Right hand elevated in oratorical 
 fashion. 31 Imitate patting boy's head. 32 Place hands on hips — bend 
 forward. 33 No. 12 hand plate. 34 Repeat 33 . 35 Point finger. 3fi Holding 
 paper in hands. 37 Crushing paper in hands. 38 Open another paper. 
 39 Crush that paper. 40 No. 2 hand plate — shaking hand for three lines. 
 41 Left hand out — turn to left. 42 Place hand horizontally in front — palms 
 down. 43 Advance to right — right hand extended. 44 Rest hands on hips — • 
 smile. 45 Wave right hand carelessly. 4B Hand on heart — then put right 
 hand forward. 47 Elevate hand — point and drop it. 49 Sweep right hand 
 from left side toward right. 50 Slap the right hand on the left. 51 Repeat 
 the same and look around. 52 Advance to front and shake fist violently. 
 63 No. 5 arm plate — keep gesture until the end. 
 
 95-THE BASHFUL MAN. 
 
 I labor 1 under a species of distress, which, I fear, 
 will at length drive me utterly from this society, 
 in which I am most ambitious to appear; but I 
 shall give you a short sketch of my origin and 
 present, situation, by which you will be enabled to 
 judge of my difficulties. 
 
 NA sty'le VE 2 My father was a farmer of no great property, 
 and with no other learning than what he had ac- 
 quired at a charity-school; but, my mother being 
 dead, and I an only child, he determined to give 
 me that advantage which he fancied would have 
 made him happy — that is, a learned education. 
 3 I was sent to a country grammar-school, and 
 from thence to the university, with a view of 
 qualifying myself for holy orders. Here, having 
 
 RA quick. but a small allowance from my father, and being 
 naturally of a timid, bashful disposition, I had no 
 opportunity of rubbing off that native awkward- 
 
THE BASHFUL MAN. 225 
 
 ness, which is the fatal cause of all my unhappiness, 
 and which, I now begin to fear, can never be 
 amended. You must know, I am of such ex- 
 treme* susceptibility of shame, that, on the slight- 
 est subject of confusion, my blood all rushes into 
 my cheeks, 5 and I appear a perfect full-blown 
 rose. The consciousness of this unhappy failing 
 made me avoid society, and I became enamored 
 of a college life ; particularly when I reflected that 
 the uncouth manners of my father's family were 
 little calculated to improve my outward conduct. 
 I had therefore resolved on living at the university, 
 and taking pupils; when Hwo unexpected events 
 greatly altered the posture of my affairs — namely, 
 my father's death, and the arrival of a rich uncle 
 from the Indies. 
 
 This uncle also died, after a short illness ; leav- 
 ing me heir to all his property. 7 And now, be- 
 hold me, at the age of — no matter what, — well 
 stocked with Latin, Greek, and mathematics — pos- 
 sessed of an ample fortune — but so awkward, and 
 unversed in any gentlemanlike accomplishment, 
 that I am pointed at by all who see me, as the 
 wealthy 8 learned clown. 
 
 I have lately purchased an estate in the country, 
 which abounds with what is called a fashionable 
 neighborhood ; and when you reflect on my parent- 
 age and uncouth manners, you will hardly think 
 how much my company is courted by the surround- 
 ing families — especially by those who have mar- 
 riageable daughters. From these 9 gentlemen I 
 have received familiar calls, and the most press- 
 ing invitations; and though I wished to accept 
 their offered friendship, I have repeatedly excused 
 myself, under the pretence of not being quite 
 settled; but the truth is, when I have ridden or 
 walked with full intention to return their several 
 visits — 10 my heart has failed me as I approached 
 their gates, and I returned homewards, resolving 
 to try again to-morrow. 
 
 However, I at length determined to conquer my 
 
226 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 \BRISK 
 MOVE- 
 MENT, 
 
 NERVOUS. 
 
 timidity, and, three days ago, accepted of an in- 
 vitation to dine, this day, with one, whose open, 
 easy manner left me no room to doubt a cordial wel- 
 come. Sir Thomas Friendly, who lives about 
 three miles distant, 11 is a baronet, with an estate 
 of about two thousand pounds a year, adjoining 
 that which I purchased. He has two | small \ 
 sons and five | tall daughters, all grown up, and 
 living at Friendly Hall, dependent on their father. 
 Conscious of my unpolished gait, I have, for some 
 time past, taken private lessons from a professor, 
 who teaches 12 "grown-up gentlemen to dance;" 
 and although I at first found wondrous difficulty 
 in the art he taught, yet my knowledge of the 
 mathematics was of prodigious use in teaching 
 me the equilibrium of my body, and the due ad- 
 justment of the centre of gravity to the five posi- 
 tions. Having now acquired the art of walking 
 without 13 tottering, and learned to make a how, 
 14 I boldly ventured to accept the Baronet's invita- 
 tion to a family dinner; not doubting but my 
 new acquirements would enable me to see the ladies 
 with tolerable intrepidity : 15 but alas ! how vain are 
 all the hopes of theory, when unsupported by 
 habitual practice ! As I approached the house, 
 a dinner-bell alarmed my fears, lest I had spoiled 
 the dinner by want of punctuality. Impressed 
 with this idea, I blushed the deepest crimson, as 
 my name was repeatedly announced by the several 
 livery servants, who ushered me into the library, 
 hardly knowing whom or what I saw. At my first 
 entrance, I summoned all my fortitude, and made 
 my newly-acquired bow to Lady Friendly; but, 
 unfortunately, 16 bringing back my left foot into the 
 third position, I trod upon the 17 gouty toe of poor 
 Sir Thomas, who had followed close at my heels 
 to be the nomenclator of the family. 18 The con- 
 fusion this accident occasioned in me is hardly to 
 be conceived, since none but bashful men can judge 
 of my distress. The Baronet's politeness by de- 
 grees dissipated my concern ; and I was astonished 
 to see how far good-breeding could enable him to 
 
THE BASHFUL MAN. 
 
 227 
 
 suppress 19 his feelings, and to appear at perfect 
 ease after so painful an accident. 
 
 The cheerfulness of her ladyship, and the 
 familiar chat of the young ladies, insensibly led 
 me to throw off my reserve and sheepishness, till, 
 at length, I ventured to join in the conversation, 
 and even to start fresh subjects. The library 
 being richly furnished with books in elegant bind- 
 ings, I conceived Sir Thomas to be a man of litera- 
 ture ; and ventured to give my opinion concerning 
 the several editions of the Greek classics — in 
 which the Baronet's ideas exactly coincided with 
 my own ! To this subject I was led by observing an 
 20 edition of Xenophon, in sixteen volumes; which 
 (as I had never before heard of such a thing) 
 greatly excited my curiosity, and I approached fo 
 examine what it could be. Sir Thomas saw what 
 I was about, and (as I supposed) willing to save 
 me trouble, rose to take down the book, which 
 made me more eager to prevent him; and, hastily 
 laying my hand on the first volume, 21 I pulled dt 
 forcibly — when, lo ! instead of books, a board, 
 which, by leather and gilding, had been made to 
 look like sixteen volumes, came tumbling down, 22 
 and, unlucky, pitched upon a Wedgewood inkstand 
 on the table under it. In vain did Sir Thomas 
 assure me there was no harm done. I saw the ink 
 streaming 23 from an inlaid table on the Turkey 
 carpet ; and, scarce knowing what I did, attempted 
 to stop its progress with my cambric handkerchief. 
 In the height of this confusion, we were informed 
 that dinner was served up. 
 
 24 In walking through the hall and suite of apart- 
 ments to the dining-room, I had time to collect 
 my scattered senses; till I was desired to take my 
 seat at table, betwixt Lady Friendly and her eldest 
 daughter. Since the fall of the wooden Xenophon, 
 my face had been continually burning like a fire- 
 brand : and I was just beginning to recover myself, 
 and to feel comfortably cool, when an unlooked- 
 for accident rekindled all my heat and Ylushes. 
 Having set my plate of soup too near the edge of 
 
228 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 the table, in bowing to Miss Dinah, who politely 
 complimented the pattern of my waistcoat, I 
 tumbled the whole scalding 25 contents into my lap. 
 In spite of an immediate supply of napkins to 
 wipe the surface of my clothes, they were not 
 stout enough to save me from the painful effects 
 of this sudden fomentation, and, for 26 some min- 
 utes, my legs and thighs seemed stewed in a boil- 
 ing caldron ; but recollecting how Sir Thomas had 
 disguised his torture when I trod upon his, gouty 
 toe, I firmly bore my pain in silence, and sat with 
 my lower extremities parboiled, amidst the stifled 
 giggling of the ladies and servants. I will not re- 
 late the several blunders which I made during the 
 EJ t/on ERA ~ ^ rs ^ C(mrse ; or the distresses occasioned by my 
 being desired to carve a fowl, or help to various 
 dishes that stood near me, spilling a sauce-boat, 
 and knocking down a salt-cellar; rather let me 
 hasten to the second course, where fresh disasters 
 quite overwhelmed me. 
 
 27 I had a piece of rich sweet pudding on my 
 fork, when Miss Louisa Friendly begged to trouble 
 me for part of a pigeon that stood near me. In 
 my haste, scarce knowing what I did, I whipped 
 the pudding 28 into my mouth — hot as a burning 
 coal ! it was impossible to conceal 29 my agony ; 
 my eyes were starting from their sockets ! At last, 
 in spite of shame and resolution, I was obliged to — 
 drop the cause of torment on my plate. Sir 
 Thomas and the ladies all compassionated my 
 misfortune, and each advised a different applica- 
 tion. One recommended oil, another water, but 
 all agreed that wine was perhaps the best for draw- 
 ing out the heat ; and a glass of sherry was brought 
 me from the sideboard— I snatched it up with 
 eagerness: but oh! 32 how shall I tell the sequel? 
 Whether the butler by accident mistook, or pur- 
 posely designed to drive me mad, I know not; but 
 he gave me the strongest brandy, with which I 
 filled my mouth, already flayed and blistered. 
 Totally unused to every kind of ardent spirits, 
 
FROM THE PLAY OF THE "IRON CHEST." 
 
 233 
 
 VERY LOUD 
 
 INTENSE. 
 
 QUICK AND 
 LOUD. 
 
 and the sharp terrors of a guilty mind poison your 
 aged days ! while all your nights, as on the earth 
 you lay your houseless head, out-horror horror! 
 May you quit the world abhorred, self hated, hope- 
 less for the next — your life a burden, and your 
 death a fear ! 
 
 Wilf. 13 For mercy's sake, forbear! you terrify 
 me! 
 
 Sir E. Hope this may fall upon thee : — 14 swear 
 thou hop'st it, by every attribute which heaven or 
 earth can lend to bind and strengthen conjura- 
 tion, if thou betray' st me. 
 
 Wilf. [After a pause.'] 15 I swear, by all the ties 
 
 that bind a man, divine or human, never to 
 
 divulge! 
 
 Sir E. Eemember 16 you have sought this secret : 
 yes, extorted it. I have not thrust it on you. 'Tis 
 big with danger to you ; and to me, while I prepare 
 to speak, torment unutterable ! 17 Know, Wilf ord, 
 that 0, torture! 
 
 Wilf. Dearest sir! 18 collect yourself. This 
 shakes you horribly: yon had this trembling, it is 
 scarce a week, at Madam Helen's. 
 
 Sir E. There it is — her uncle 19 
 
 Wilf. Her uncle ! 
 
 Sir E. Him. She knows it not; — none know 
 it. — 20 You are the first ordained to hear me say, I 
 am — 21 his murderer. 
 
 Wilf. horror! 22 
 
 Sir E. His assassin. 
 
 Wilf. What! you that — mur — the murderer — 
 23 I am chohed! 
 
 Sir E. Honor, 24 thou blood-stained god! at 
 whose red altar sit war and homicide : ! to what 
 madness will insult drive thy votaries! In truth, 
 in the world's range, there does not breathe a man, 
 whose brutal nature I more strove to soothe with 
 long forbearance, kindness, courtesy, than his who 
 fell by me. But he disgraced me, stained me 25 oh, 
 death and shame! — the world looked on, and saw 
 this sinewy savage strike me down, rain blows 
 upon me, drag me to and fro, on the base earth, 
 
284 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 like carrion. Desperation, in every fibre of my 
 frame, cried 26 Vengeance ! I left the room which he 
 had quitted: chance, (curse on the chance!) while 
 boiling with my wrongs, thrust me against him, 
 darkling, in the street — 27 I stabbed him to the 
 heart — and my oppressor rolled lifeless, at my foot. 
 
 Wilf. Oh ! mercy on me ! 28 How could this 
 deed be covered ? 
 
 Sir E 29 Would you think it? E'en at the mo- 
 ment when I gave the blow, butchered a fellow crea- 
 ture in the dark, I had all good men's love. But my 
 quick. disgrace, and my opponent's death thus linked 
 
 with it, demanded notice of the magistracy. They 
 summoned me, as friend would summon friend, 
 to acts of import and communication. We met 
 — and 'twas resolved, to stifle rumor, to put me 
 on my trial. No accuser, no evidence appeared, 
 to urge it on — 'twas meant to clear my fame. — 
 How clear it then? How cover it? — you say. — 
 Why, by a lie — 30 guilt's offspring, and its guard. 
 I taught this breast, which truth once made her 
 throne, to forge a lie, this tongue to utter it; — 
 rounded a tale, smooth as a Seraph's song from 
 Satan's mouth; so well compacted, that the o'er- 
 thronged court disturbed cool Justice in her judg- 
 ment-seat, by shouting S1 " Innocence!" ere I had 
 finished. The court enlarged me; and the giddy 
 rabble bore me, in triumph, home. 32 Ay! — look 
 upon me — I know thy sight aches at me. 
 
 Wilf. Heaven 33 forgive you ! It may be wrong 
 — indeed I pity you. 
 scorn. Sir E. I disdain all pity, — 34 I ask no consola- 
 
 tion. Idle boy ! think' st thou that this compulsive 
 confidence was given to move thy pity? — Love of 
 fame (for still I cling to it), has urged me, thus 
 to quash thy curious mischief in its birth. Hurt 
 honor, in an evil cursed hour, drove me to murder 
 — lying; — 'twould again! My honesty, — sweet 35 
 peace of mind, — all, all, are bartered for a name. 
 I will maintain it / 38 — Should Slander whisper o'er 
 my sepulchre, and my soul's agency survive in 
 death, I could embody it with heaven's lightning, 
 
 CLIMAX. 
 
FROM THE PLAY OF THE "IRON CHEST." 
 
 235 
 
 SURPRISE. 
 
 STRONG. 
 
 and the hot shaft of my insulted spirit should 
 strike the blaster of my memory dead, in the 
 churchyard. 37 Boy, I would not kill thee; thy 
 rashness and discernment threatened danger! to 
 check them there was no way left but this — save 
 one — your death: — you shall not be my victim. 
 
 Wilf. My death! 38 What, take my life? — my 
 life ! to prop this empty honor ? 
 
 Sir. E. Empty? Grovelling food! 
 
 39 Wilf. I am your servant, Sir, child of your 
 bounty, and know my obligation. I have been 
 too curious, haply : ? tis the fault of youth — I ne'er 
 meant injury: if it would serve you, I would lay 
 down my life : 40 Fd give it freely : could you then 
 have the heart to rob me of it ? You could not — 
 should not 
 
 Sir E. How? 
 
 Wilf. You dare not. 41 
 
 Sir E. Dare not ! 
 
 Wilf. Some hours ago, you durst not. ^Pas- 
 sion moved you — reflection interposed, and held 
 your arm. But, should reflection prompt you to 
 attempt it, my innocence would give me strength 
 to struggle, and 43 wrest the murderous weapon from 
 your hand. How would you look to find a peas- 
 ant boy return the knife you levelled at his heart ; 
 and ask you which in heaven would show the best 
 — a rich man's honor** or a poor* 5 mans honesty ? 
 
 1 Sir Edward, who is standing on right side of stage facing audience, 
 beckons Wilford, who is on the left side. 2 Hang the head. 8 Left hand, 
 No. 1 hand plate. 4 Right hand, No. 1 hand plate. "Left hand, No. 7 
 hand plate. 6 Point upward. 7 Hand on breast. 8 Both hands clasping 
 head. 8 Turn toward W. — left hand extended. 10 Bring down forcibly 
 the right hand on "swear." " Advance to Sir E. 12 Turn full upon him — 
 raise hand threateningly — keep it shaking till end of speech. 13 Bend 
 toward Sir E., clasping hand. 14 Pointing up — eyes glaring. 15 Raise 
 hand in act of swearing. 16 Left hand, No. 1 hand plate. 17 Clasp hands 
 in anguish — cross quickly down to left corner and back to position. 18 Fol- 
 lowing Sir E. — hands extended. 18 Quickly turn to him. 20 Point to 
 Wilford. 21 Hands on breast — look up. 22 Clasp hands. 23 Clutch throat. 
 24 No. 5 arm plate. 25 Both hands to head. 26 Raise up quickly right arm. 
 27 Plunge forward — stabbing downward. 28 Clasping hands. 29 Left hand, 
 No. 1 hand plate. 80 Clinch both hands and drop them by the sides. 31 Wave 
 right hand in air. 32 Cover face with hands. 33 Shake head sadly. 34 Walk 
 down to right corner — return — left hand out. 35 Hand on breast, then 
 on the forehead. 36 Point down. 8T Approach W. — both hands in the posi- 
 tion of grasping. 88 Step backward in surprise. 39 Lay hand over heart. 
 40 Advance toward Sir E. — arms wide apart. 41 Elevate hand — stand erect. 
 42 Right hand, No. 2 hand plate. 43 Snatch arm back quickly. 44 No. 4 
 arm plate. 45 Hand on breast. 5 
 
236 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 COMMAND. 
 
 SCORN. 
 
 98-FROM THE PLAY OF "WILLIAM TELL." 
 
 Knowles. 
 1 [Four Speakers: Tell, Albert, (his son), Gessler, 
 Sarnem, and Attendant.] 
 
 Sar. [To Tell.] Behold the governor. 2 Down, 
 slave, upon thy knees, and beg for mercy. 
 
 Ges. Does he hear ? 
 
 Sar. He does, but braves thy power. 3 Down J 
 slave, and ask for life. 
 
 Ges. [To Tell] Why speak'st thou not ? 
 
 Tell. For wonder! 4 Yes, for wonder — that 
 thou seem'st a man. 
 
 Ges. What should I seem ? 
 
 Tell. A monster! 
 
 Ges. Ha ! Beware ! — think on thy chains. 
 
 Tell. Think on my chains! 5 How came they 
 on me? 
 
 Ges. Dar'st thou question me? 6 Beware my 
 vengeance. 
 
 Tell. Can it more than kill? 
 
 Ges. Enough; it may do that. 
 
 Tell. No, not enough : — 7 it cannot take away the 
 grace of life — the comeliness of look that virtue 
 gives — its port erect, with consciousness of truth — 
 its rich attire of honorable deeds — its fair report 
 that's rife on good men's tongues: — it cannot lay 
 its hand on these, no more than 8 it can pluck his 
 brightness from the sun, or with polluted finger 
 tarnish it. 
 
 Ges. But it may make thee writhe. 
 
 Tell. 9 It may, and I may say, "Go on!" thougli 
 it should make me groan again. 
 
 Ges. Whence com'st thou? 
 
 Tell. From the mountains; 10 there they watch 
 no more the avalanche. 
 
 Ges. Why so? 
 
 Tell. Because they look for ^thee! The hur- 
 ricane comes unawares upon them: from its bed 
 the torrent breaks and finds them in its track 
 
 Ges. What then? 
 
FROM THE PLAY OF "WILLIAM TELL." 
 
 237 
 
 SCORN. 
 
 FEAR. 
 
 GUTTURAL. 
 
 Tell. They thank 12 kind Providence it is not 
 thou ! — Thou hast perverted nature in them. The 
 earth presents her fruits to them, and is not 
 thanked. 13 There's not a blessing Heaven vouch- 
 safes them, but the thought of thee doth wither 
 to a curse — as something they must lose, and had 
 far better lack. 
 
 Ges. 'Tis well. Fd have them as their hills — 
 that never smile, though wanton summer tempt 
 them e'er so much. 
 
 Tell. But they do sometimes smile. 
 
 Ges. Ah ! — when is that ? 
 
 Tell. When they do pray for vengeance ! and 
 the true hands are 14 lifted up to Heaven, on every 
 hill, for justice on thee! 
 
 Ges. [To Sarnem.'] Now will I take exquisite 
 vengeance. [To Tell.] I would see thee make a 
 trial of thy skill with that 15 same bow. 'Tis said 
 thy arrows never miss. 
 
 Tell. What is the trial? 
 
 Ges. Thou look'st 16 upon thy boy as though in- 
 stinctively thou guessedst it. 
 
 Tell. Look upon my boy ! 17 What mean you ? 
 Look upon my boy as though I guessed it ! — 
 Guessed at the trial thou wouldst have me make ! 
 — Guessed it instinctively ! Thou dost not mean ! 
 — 18 no, no ! — Thou wouldst not have me make a, 
 trial of my skill upon my child ? Impossible ! 
 I do not guess thy meaning. 
 
 Ges. 19 Fd see thee hit an apple on his head, 
 three hundred paces off. 
 
 Tell. Great Heaven! 
 
 Ges. On this condition I will spare his life a ad 
 thine. 
 
 Tell. Ferocious monster ! ^make a father mur- 
 der his own child ! — 'Tis beyond horror ! His too 
 much for flesh and blood to bear ! 
 
 Ges. Dost thou consent? 
 
 Tell. My hands 21 are free from blood, and have 
 no gust for it, that they should drink my child's. 
 
 Fll not murder my boy for Gessler ! 
 
238 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 PLEADING. 
 
 SARCASM. 
 
 CONVERSA- 
 TIONAL. 
 
 Boy. 22 You will not hit me, father. You'll be 
 sure to hit the apple. Will you not save me, 
 father ? 
 
 Tell. Lead me forth — Fll make the trial. 
 
 Boy. Father 23 
 
 Tell. Speak not to me ; 24 — let me not hear thy 
 voice — thou must be dumb, and so should all 
 things be — Earth should be dumb, and heaven, 
 unless its thunder muttered at the deed, and sent 
 a bolt to stop it. — 25 Give me my bow and quiver. 
 
 Ges. Then all is ready. Sarnem, measure 
 hence the distance — three hundred paces. 
 
 Tell. Will he do it fairly? 
 
 Ges. What is't to thee, fairly or not? 
 
 Tell. 0, nothing! a little thing! a very little 
 thing! I only shoot at my child! [Sarnem pre- 
 pares to measure.] 26 Villain, stop ! You measure 
 against the sun. 
 
 Ges. And what of that? What matter whether 
 to or from the sun? 
 
 Tell. I'd have it at my back. The sun should 
 shine upon the mark, and not on him that shoots : 
 — I will not shoot against the sun. 
 
 Ges. Give him his way. 
 
 [Sarnem paces and goes out.] 
 
 Tell. I should like to see the apple I must hit. 
 
 Ges. There, take that. 27 
 
 Tell. You've picked the smallest one. 
 
 Ges. I know I have. Thy skill will be the 
 greater if thou hittest it. 
 
 Tell. True!— True! I did not think of that. 
 I wonder I did not think of that. A larger one 
 had given me a chance to save my boy. — 28 Givc 
 me my bow and quiver. 
 
 Ges. . . [To an attendant.] Give him a single 
 arrow. 
 
 Tell. [Looks at it, and breaks it.] Let me see 
 my quiver. It is not one arrow in a dozen I 
 would use to shoot with at a dove, much less a 
 dove like that. 
 
 Ges. Show him the quiver. 
 
FROM THE COMEDY OF "THE RIVALS." 
 
 239 
 
 quiet in- [Sarnem takes the apple and leads out the boy 
 
 tensity. £ pj ace i\ em - meanwhile Tell conceals an 
 
 arrow under his garment. ILe then selects 
 
 another arrow.] 
 
 Tell. Is the boy ready ? 29 Keep silence now for 
 
 Heaven's sake, and be my witnesses, that, if his 
 
 life's in peril from my hand, 'tis only for the 
 
 chance of saving it. For mercy's sake, | keep 
 
 motionless and silent! 
 
 [He aims and shoots in the direction of the boy. 
 
 Sarnem enters with the apple on the arrow's 
 
 point.'] 
 
 Sar. The boy is safe — no hair of him is touched ! 
 
 Tell. 30 Thank Heaven ! [As he raises his arms 
 
 the concealed arrow falls.] 
 
 Ges. Unequalled archer! Ha! why this con- 
 cealed? 
 very loud. Tell. 31 To kill thee, tyrant, had i slain 
 
 MY BOY. 
 
 1 Positions are : Sarnems, right corner ; Gesser, right center ; Tell, left 
 center ; Albert, left corner — supposed to be facing audience. 2 Point down. 
 8 Repeat gesture. 4 Arms folded. 5 Put out both arms. 6 Shake fist. 
 7 No. 5 arm plate. 8 Point upward. 9 Arms folded. 1o Point upward to 
 back of stage. X1 Point directly at Gesser. 12 Both hands raised up. 
 13 Point up again. 14 Shaking finger — No. 4 arm plate. 15 Point to Tell's 
 shoulder. 16 Point at Albert. 17 Look around. 1S Clasp hands in anguish. 
 
 19 Point at Albert's head. 20 Rush quickly toward Gesser. 21 Look at 
 hands. 22 Both hands extended toward Tell. 23 Advance near Tell — clasp 
 hands. 24 Left hand as in No. 6 hand plate. 25 Quick turn up stage. 
 
 20 Raise hand. 2T Hands apple. 28 Puts out hand to take them. "Goes 
 up stage — takes position — with left hand motions for silence. 30 Clasp 
 hands — put them up — look up — drops arrow. S1 Come down stage and 
 shake finger at Gesser. 
 
 99- FROM THE COMEDY OF "THE RIVALS." 
 
 Sheridan. 
 [Four Speakers: Sir Anthony Absolute, Captain 
 Absolute, Fag, and Boy.] 
 Fag. Sir, 1 there is a gentleman below desires to 
 see yon. — Shall I show him into the parlor ? 
 Abs. Ay — yon may. 2 But stay ; who is it, Fag ? 
 Fag. Your father, sir. 
 
240 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 PLEASANT, 
 
 COMPLA- 
 CENT. 
 
 AMAZE- 
 MENT. 
 
 Abs. You puppy ! 3 why didn't you show him up 
 directly? [Exit Fag.] Now for a parental lec- 
 ture. — [Enter Sir Anthony Absolute.] — 4 Sir, I 
 am delighted to see you here, looking so well! 5 
 Your sudden arrival at Bath made me apprehen- 
 sive for your health. 
 
 Sir Anth. Very apprehensive, I dare say, Jack. 
 — What, 6 you are recruiting here, eh? 
 
 Abs. Yes, sir, I am on duty. 
 
 Sir Anth. Well, Jack, I am glad to see you, 7 
 though I did not expect it ; for I was going to write 
 to you on a little matter of business. — Jack, I have 
 been considering that I grow old and infirm, and 
 shall probably not trouble you long. 
 
 Abs. Pardon me, sir, I never saw you look more 
 strong and hearty. 
 
 Sir Anth. Well, then, Jack, I have been con- 
 sidering that I am so strong and hearty, I may 
 continue to plague you a long time. Now, 8 Jack, 
 I am sensible that the income of your commission, 
 with what I have hitherto allowed you, is but a 
 small pittance for a lad of your spirit. 
 
 Abs. Sir, you are very good. 
 
 Sir Anth. And it is my wish, while yet I live, 
 to have my boy make some figure in the world. 
 I have resolved, therefore, to fix you 9 at once in a 
 noble independence. 
 
 Abs. Sir, your kindness overpowers me; — 10 I 
 cannot express the sense I have of your munifi- 
 cence. — Yet, sir, I presume you would not wish 
 me to quit the army? 
 
 Sir Anth. Oh, that shall be as your wife 
 chooses. 
 
 Abs. My wife, sir! 11 
 
 Sir Anth. Ay, ay, settle that between you — 
 12 settle that between you. 
 
 Abs. A wife, sir, did you say? 
 
 Sir Anth. Ay, 13 a wife — did I not mention her 
 before ? 
 
 Abs. Not a word of her, sir. 
 
 Sir Anth. I mustn't forget her, though. — Yes, 
 
 
FROM THE COMEDY OF "THE RIVALS. 
 
 241 
 
 QUICK 
 DIA- 
 LOGUE. 
 
 DECIDED. 
 
 LOUD 
 
 PASSION- 
 ATE, 
 
 14 Jack, the independence I was talking of is by 
 marriage; — the fortune is saddled with a wife — 
 but I suppose that makes no difference. 
 
 Abs. Sir ! You amaze me ! 
 
 Sir Anth. Why, what's the matter with the 
 fool ? 15 Just now you were all gratitude and duty. 
 
 Abs. I was, sir ; — you talked to me of independ- 
 ence and a fortune, but not a word of a wife. 
 
 Sir Anth. Why, what difference does that 
 make ? Tut, tut, sir ! if you have the estate, 16 you 
 must take it with the live stock on it, as it stands. 
 
 Abs. Pray, 17 sir, who is the lady? 
 
 Sir Anth. 18 What's that to you, sir? — 16 Come, 
 give me your promise to love and to marry her 
 directly. 
 
 Abs. Sure, sir, this is not very reasonable, to 
 summon my affections for a lady I know nothing 
 of! 
 
 Sir Anth. I am sure, sir, 'tis more unreasonable 
 in you to object to a lady you know nothing of. 
 
 Abs. 20 Then, sir, I must tell you plainly, once 
 for all, that on this point I cannot obey you. 
 
 Sir Anth. Hark'ee, Jack; — 21 I have heard you 
 for some time with patience — I have been cool — 
 quite cool; 22 but take care — you know I am com- 
 pliance itself when I am not thwarted; — no one 
 more easily led, when I have my own way; — but | 
 don't put me in a frenzy. 
 
 Abs. Sir, I must repeat it — in this I cannot 
 obey you. 
 
 Sir Anth. Now, hang me! 23 if ever I call you 
 Jack again while I live ! 
 
 Abs. Nay, sir, but hear me. 
 
 Sir Anth. Sir, I won't hear a word — not a 
 word ! not one word ! — so give me your promise 
 by a nod — and I'll tell you what, Jack, if you 
 don't 2* 
 
 Abs. What, sir, promise to link myself to some 
 mass of ugliness ! 
 
 Sir Anth. 26 Zounds! sirrah! the lady shall be 
 as ugly as I choose : she shall have a hump on each 
 
242 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 shoulder ; she shall be as crooked as the Crescent ; 
 her one eye shall roll like the bull's in Cox's 
 museum ; she shall have a skin like a mummy, and 
 the beard of a Jew — she shall be all this, sirrah ! — 
 yet I will make you ogle her all day, and sit up 
 all night to write sonnets on her beauty. — None 
 of your sneering, puppy! No grinning, jack- 
 anapes ! 
 
 Abs. Indeed, sir, I never was in a worse humor 
 for mirth in my life. 
 
 Sir Anth. 'Tis false, sir ! I know you are laugh- 
 ing in your sleeve : 27 I know you'll grin when I am 
 gone, sirrah! 
 quiet. Abs. Sir, I hope I know my duty better. 
 
 28 Sir Anth. None of your passion, sir! none 
 of your violence, if you please ! — It won't do with 
 me, I promise you. 
 
 Abs. Indeed, sir, I never was cooler in my life. 
 
 Sir Anth. I know you are in a passion in your 
 heart ; I know you are, you hypocritical young dog ! 
 but it won't do. 
 
 Abs. Nay, sir, upon my word 
 
 very loud. Sir Anth. So you will fly out ! ^ Can't you be 
 cool like me? What good can passion do? — 
 Passion is of no service, you impudent, insolent, 
 overbearing reprobate ! — There, you sneer again ! 
 don't provoke me ! — but you rely upon the mildness 
 of my temper — you do, you dog ! — you 30 play upon 
 the meekness of my disposition ! — Yet take care — 
 the patience of a saint may be overcome at last ! 
 — But mark! I give you six hours and a half to 
 consider of this: if you then agree, without any 
 condition, to do everything that I choose, why — 
 I may in time forgive you. 31 If not, zounds ! 
 don't enter the same hemisphere with me ! don't 
 dare to breathe the same air, or use the same light 
 with me ; but get an atmosphere and a sun of your 
 own ! I'll strip you of your commission ! I'll dis- 
 own you ! I'll disinherit you ! and, hang me ! 32 
 if ever I call you Jack again! [Exit.] 
 
 Abs. Mild, gentle, considerate father ! 33 I dare 
 
FROM THE COMEDY OP "THE RIVALS," 243 
 
 not trust him with the truth, that I am already 
 engaged. 
 
 Fag. [Enters.] Assuredly, sir, your father is 
 wroth to a degree ; he 34 comes down stairs eight or 
 ten steps at a time — muttering, growling, and 
 thumping the banisters all the way: I and the 
 cook's boy stand bowing at the door — 35 rap! he 
 gives me a stroke on the head with his cane, bids 
 me carry that to my master; 36 then kicking the 
 poor turnspit into the area, curses us all for a 
 puppy triumvirate. 
 
 Abs. Cease your impertinence, sir. — Did you 
 come in for nothing more? — Stand out of the 
 way! 37 [Pushes him aside and exit.] 
 
 Fag. So ! Sir Anthony trims my master ; and 
 he vents his spleen 38 on poor Fag! — When one is 
 vexed by one person, to revenge one's self on an- 
 other, who happens to come in the way, is the vilest 
 injustice ! Ah ! it shows the worst temper — the 
 basest 
 
 Boy. [Enters.] Mr. Fag ! Mr. Fag ! your master 
 calls you. 
 spirited. Fag. 39 Well, you little dirty puppy, you need 
 
 not bawl so ! 
 
 Boy. Quick, Mr. Fag! 
 
 Fag. Quick ! you impudent jackanapes ? Am I 
 to be commanded by you, too ? 40 you little imperti- 
 nent, insolent, kitchen-ored 
 
 [Exit kicking and heating him.] 
 
 1 Capt. Absolute at right of stage — Fag left — facing audience. 2 Fag 
 going left. 8 Shake fist at him. 4 Sir Anthony enters left. 5 Shakes 
 hands. 6 Looking around the room. 7 Cane under arm — rubbing hands 
 together. 8 No. 12 hand plate. 9 Take the left corner — rubbing hands. 
 10 Bowing quite low. 1X Start back — raise arm — turn to right. 12 Make small, 
 careless gesture — face audience. 13 Turn toward him full — No. 2 hand 
 plate. 14 Twirling cane. 15 Strike stage with cane. 16 Strut down to left 
 corner. 17 No. 5 arm plate. 18 Strike stage again with cane. 19 No. 1 
 hand plate. 20 Place both hands behind back. 21 Both characters facing. 
 22 Shake finger. 23 Take left corner. 2i Turn and raise arm. 25 Both hands 
 toward Sir Anthony. 28 Strike stage again — gesticulate with cane until 
 the end of speech. 27 Shake cane in his face. 28 Repeat action. 29 Swing 
 cane and left hand wildly in air. 30 Strikes his own chest with cane. 31 Open 
 arms wide apart. 32 Walk very quickly up and down stage. 38 Turn to 
 right. 84 Imitate Sir Anthony coming down stairs. 35 Bring hand down 
 forcibly from the head. 36 Kick forward the right foot. 87 Kick Fag 
 around room. 38 Feeling his bruises. 89 Shakes fist. *° Kicks boy out of 
 room. 
 
244 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 NATURAL 
 TONES 
 BUT SAD. 
 
 EARNEST 
 QUES- 
 TIONING. 
 
 100-FROM THE TRAGEDY OF "MACBETH." 
 
 1 [Three Speakers: Macduff, Prince Malcolm, and 
 Eosse.] 
 
 Macd. See/ who comes here? 
 
 Mal. My countryman ; but yet 1 know him not. 
 
 Macd. My ever-gentle cousin ! — Welcome hither. 2 
 
 Mal. I know him now. Kind Powers! be- 
 times remove the means which make us strangers ! 
 
 Eosse. Sir, amen. 
 
 Macd. Stands Scotland where it did? 3 
 
 Eosse. Alas, 4 poor country, almost afraid to 
 know itself ! — it cannot 5 be called our mother, but 
 our grave; where nothing, — but who knows 
 nothing, — is once seen to smile; where sighs and 
 groans, and shrieks that rend the air, are made, 
 not marked ; where violent sorrow seems 6 a modern 
 ecstasy : the dead man's knell is there scarce asked, 
 nor whom; and good men's lives expire before the 
 7 flowers in their caps — dying, or ere they sicken. 
 
 Macd. Oh, relation too nice, and yet too true! 
 
 Mal. What is the newest grief? 8 
 
 Eosse. That of an hour's age doth hiss the 
 speaker; each minute teems a new one. 
 
 Macd. How does my wife? 9 
 
 Eosse. Why, well. 
 
 Macd. And all my children? 10 
 
 Eosse. Well too. 
 
 Macd. The tyrant has not battered at their 
 peace ? 
 
 Eosse. No ; they were well at peace, when I did 
 leave them. 
 
 Macd. n Be not a niggard of your speech: how 
 goes it? 
 
 Eosse. 12 When I came hither to transport the 
 tidings, which I have heavily borne, there ran a 
 rumor of many worthy fellows that were out, — 
 which was to my belief witnessed the rather, for 
 that I saw the tyrant's power a-foot : 13 now is the 
 time of help: your eye in Scotland would create 
 
FROM THE TRAGEDY OF "MACBETH.'' 
 
 .245 
 
 INTER- 
 ESTED. 
 
 LOW. 
 
 LOUD. 
 
 LOW. 
 
 soldiers,, and make women tight to doff their dire 
 distresses. 
 
 Mal. Be't their comfort we're coming thither: 
 gracious England 14 hath lent us good Siward and 
 ten thousand men; an older and a better soldier, 
 none that Christendom gives out. 
 
 Eosse. Would I could answer this comfort with 
 the like ! But I 15 have words, that would be 
 howled out in the desert air, where hearing should 
 not catch them. 
 
 Macd. 18 What concern they ? the general cause ? 
 or is it a fee-grief, due to some single breast? 
 
 Eosse. No mind that's honest but in it shares 
 some woe; though the main part pertains to you 
 alone. 
 
 Macd. If it be mine, keep it not from me; 17 
 quickly let me have it ! 
 
 Eosse. Let not your ears despise my tongue for 
 ever, which shall 18 possess them with the heaviest 
 sound that ever yet they heard. 
 
 Macd. Ah ! I guess at it ! 
 
 Eosse. Your castle is surprised; your wife and 
 babes savagely slaughtered ! — to relate the manner, 
 were, on the quarry of these murdered deer, to add 
 the death of you. 
 
 Mal. Merciful powers ! 19 What, man ! ne'er 
 pull your hat upon your brow; give sorrow | 
 words; — the grief, that does not speak whispers 
 the o'er-fraught heart, and bids it break. 
 
 Macd. My children too? 20 
 
 Eosse. Wife, children, servants, all that could 
 be found. 
 
 Macd. And I must be from thence ! — 21 My wife 
 hilled too ? 
 
 Eosse. I have said. 
 
 Mal. Be comforted. Let's make us med'cines 
 of our great revenge, to cure this deadly grief. 
 
 Macd. 22 He has no children — All my pretty 
 ones ? Did you say all f what, all f— Oh, hell-kite ! 
 — all? What! all my pretty ones, at one fell 
 swoop ? 
 
246 STANDARD RECITATIONS WITH ACTIONS AND EMPHASIS. 
 
 QUICK. 
 
 PATHET- 
 IC. 
 
 Mal. Dispute it like a man. 
 
 Macd. 23 I shall do so! but I must also feel 24 it 
 as a man cannot but remember such things were, 
 most precious to me ! Did 25 Heaven look on, and 
 would not take their part? Sinful Macduff, they 
 were all struck for thee! Naught that I am; not 
 for their own demerits, but for mine, fell slaughter 
 on their souls ! 
 
 Mal. Be 26 this the whetstone of your sword ; let 
 grief convert to wrath: blunt not the heart; 
 enrage it. 
 
 Macd. 0, I could play the woman with mine 
 eyes, and braggart with my tongue. But, gentle 
 Heaven! cut short all intermission 27 front to 
 front, bring thou this fiend of Scotland and my- 
 very loud, self; within my sword's length set him! — if he 
 'scape, then Heaven forgive him too! 
 
 Position of characters : Macduff, center ; Malcolm, right ; Rosse, 
 enters left at beginning of dialogue. * Point left. 2 Takes his hand. 
 8 Left hand. No. 1 hand plate. 4 Shake head sadly. 6 Put out hand — 
 palm up — then point down. 6 Hand on breast. 7 Touch head with left 
 hand. 8 Left hand out toward Rosse. 9 Turn toward Rosse — clasp hands. 
 10 Repeat same. " Raise head — earnest manner. 12 No. 1 hand plate. 
 13 Raise clinched hand. 14 Right hand out. 15 Send hand from mouth 
 outward. 16 No. 5 arm plate — look from one to the other. 17 Repeat 
 same gesture. 18 Hang the head — great sadness. 19 Advance toward Mac- 
 duff — hands extended. 20 Clasping head with hands. 21 Turn toward Rosse. 
 22 Hands trembling violently. 23 Raise hand up — stand straight. 2 * Both 
 hands on breast — look up tearfully. 25 No. 4 arm plate. 28 Advance — 
 No. 8 arm plate. 27 Kneel — action of drawing sword — hold it aloft — keep 
 posture till finish. 
 
God-Speed * Wd ™ k ^T nw 
 
 'With an Appendix of Prose Compositions, 
 Salutatory Addresses and Valedictory Orations for School Festivals. 
 
 &RICE, Bound in Goth, 
 
 $1.00. 
 
 TABLE OF CONTENTS. 
 
 New Year's "Wishes : 
 
 To the Parents, 12 nos. 
 
 Father, 2 
 
 14 Mother, 2 
 
 To Grandparents, 2 
 
 I the Grandfather, 2 
 ■ ii Grandmother, 2 
 I Uncle or Aunt, 2 
 I Brother or Sister, 4 
 I Teachers, 5 
 
 " Clergymen, 1 
 
 I" a Friend. 3 
 
 Birthday Wishes: 
 
 To the Father, 9 
 " Mother, 10 
 
 " Grandfather, 5 
 I " Grandmother, 3 
 
 To Uncle or Aunt, 2 
 
 I Teachers, 5 
 
 " Clergymen, 1 
 
 Christmas "Wishes : 
 To Parents, 4 
 
 Verses for Engagements 
 
 and Marriages : 
 
 To an Engaged Couple, 3 
 " Bridegroom, 1 
 
 To Bride, 
 
 On the Wedding Day, 
 
 Home Coming of aYoung 
 
 Couple, 
 With Flowers, 
 
 Verses for Jubilees : 
 
 On Presentation of a Silver 
 
 Wreath. 
 For a Silver Wedding. 
 
 " Golden Wedding. 
 Grandparents' Golden 
 
 Wedding. 
 Anniversary of an Employee 
 Anniversary of a Clergyman 
 A Teacher's Anniversary. 
 
 Poems for various Cele- 
 brations : 
 
 Reception of a NewTeacher. 
 School Children's Welcome 
 
 to a Clergyman, 
 Iustallation'of a Clergyman. 
 Anniversary of a Society. 
 
 Verses of Farewell : 
 
 To a Friend. 
 " Teacher. 
 
 Epitaphs and Inscriptions 
 for Tombstones : 
 
 General Inscriptions. 
 
 Special Inscriptions ; 
 For a Child. 
 
 " Youth. 
 
 " Young Girl. 
 
 " Father. 
 
 " Mother. 
 For Parents. 
 For a Husband. 
 
 " Wife. 
 
 " Clergyman. 
 
 " Religious. 
 
 *' Teacher. 
 
 Elegies for Deaths and 
 Burials : 
 
 At the Grave of a Clergyman 
 At the Grave of a Teacher. 
 
 Prose Compositions: 
 
 Expressions of Faith, Grati- 
 tude, and Good Wishes 
 suitable for Addresses, 
 Betters, Memorials, 
 Resolutions, Testi- 
 monials, etc., to Teachers, 
 Clergymen, etc., etc. 
 
 Salutatory Addresses: 
 
 For School Festivals, 5. 
 
 Valedictory Orations : 
 
 For School Festivals, 5. 
 
 From the above description, and contents and specimens of GOD-SPEED found on next 
 page, the great usefulness and opportuneness of this entirely new and original book will be 
 apparent. 
 
 Ever}' piece in this book has been especially composed and written for it by competent 
 and gifted writers, and, while exaggerated and bombastic style has been scrupulously avoided, 
 care has been taken to render the pieces, in thought and expression, worthy of the name Poetry. 
 
 A book of like character and scope has not existed, in our language, previous to this. 
 
 This UNIQUE BOOK supplies appropriate sentiment, clothed in beautiful language, for 
 joyful and pathetic events in human life, and- there is hardly anybody to whom the book 
 would not be eminently serviceable on many occasions. 
 
 For Schools and Educational Institutions this book is altogether indispensable. The 
 appendix of SALUTATORY ADDRESSES and VALEDICTORY ORATIONS for School 
 Festivals will be to them of special service. 
 
 JOSEPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 
'Plays for Young Ladies. 
 
 (FEMALE) CHARACTERS ONLY.) 
 
 PRICE, J5 CENTS EACH. 
 
 NOTE —The following Plays are ENTIRELY FREE from any reference to 
 affairs of LOVE and COURTSHIP, except No. 78, where the subject is 
 referred to in a distant and unobjectionable way. 
 
 70. dlMss Uom Bo£. 
 
 (3 Characters.) 
 A Comedy in One Act. By NORAH DUNNE. 
 An amusing illustration of the mischief a 
 girl can get into by indulging in foolhardy 
 and reckless pranks. The concluding tableau 
 is exceedingly comical and laughable. 
 
 71. Ube jfortune teller. 
 
 (4 Characters.) 
 A Farce Comedy in One Act. By OLGA 
 STFJNER. 
 The story of three girl chums who, each 
 unknown to the others, go to consult a fortune- 
 teller. Each in turn mistifies the others by 
 assuming the role of the fortune teller. Very 
 funny and entertaining. 
 
 72. /totes IFtoncbalance, 
 
 (7 Characters.) 
 A Comedy in One Act. By OLGA STBINER. 
 Indifference and carelessness are the two 
 notable characteristics of the heroine. The 
 consequences are disastrous but amusing. 
 
 73. When tbe Gat's Bwap* 
 
 (8 Characters.) 
 Farce Comedy in One Act. By LOTTIE 
 SHIELDS. 
 Mrs. Johnson, principal of a boarding 
 school, leaves her charges during a short 
 absence under control of one of the pupils. 
 The girls are having all sorts of gambols 
 when Mrs. Johnson suddenly returns. 
 
 74. Carnival; er t mnxbi <3ras 
 
 in IRew Orleans. 
 
 (8 Characters.) 
 Comedy in One Ace. By DOROTHY REY- 
 NARTZ. 
 In order to swell their scant income, Emily 
 persuades her mother to let their room to 
 strangers coming to town to see the festivities. 
 In the course of events the room is let to differ- 
 ent parties at once. The complications arising 
 when the various parties arrive to take posses- 
 sion are very laughable. 
 
 75. lit 18 IFteper too 3Late to 
 
 /IDCU^ (3 Characters.) 
 Comedy in One Act. By DOROTHY REY- 
 NARTZ. 
 Grace is a spoiled child with a good heart, 
 who responds to the advice of her elder sister 
 with stubbornness. At length she repents and 
 is forgiven. A thoroughly enjoyable play, 
 affording splendid opportunity for emotional 
 acting, especially in Grace's part. 
 
 76. date's fl nfatuation- 
 
 A Comedy in One Act. By LOTTIE SHIELDS 
 Kate is "stage-struck" and much infatu- 
 ated with her ideal, a famous actress. In the 
 course of the play Kate is very effectively 
 cured of her infatuation. 
 
 77. XTbe Gbost in tbe 
 
 BoarMna Scbool. 
 
 (5 Characters.) 
 A Comedy in One Act. By OLGA STEINER. 
 Pranks played by the girls on a newcomer, 
 who turns the tables on them. 
 
 78. ADrs.lPiooofng's IFUeces; 
 or, ^Domestic Bccompltebments. 
 
 (9 Characters.) 
 A Comedy in One Act. By NORAH DUNNE. 
 Mrs. Plodding comes to visit her nieces who, 
 knowing that she is in search of a suitable 
 wife for her son, endeavor to deceive the old 
 lady by an affected display of domestic 
 accomplishments. Their efforts are sad fail- 
 ures, very enjoyable to the audience. 
 
 79. 
 
 Spools. 
 
 (3 Characters). 
 A Comedy in One Act. By HARRY PARKER. 
 The exposure of a thievish old cook who, 
 in an old "haunted" castle, finds it to her 
 advantage to play the part of a ghost. 
 
 so. H Mbite %ie. 
 
 (7 Characters.) 
 A Comedy inTwo Acts. By ELLA KEATINGE 
 Florence is led into telling a "White Lie," 
 and in consequence is forced in a manner 
 most amusing for the audience, but most per- 
 plexing for Florence, to tell a number of un- 
 truths to guard against being found out, plac- 
 ing herself in the most ludicrous positions. 
 Mademoiselle de Bassano's part is much 
 intermixed with French. A refined and most 
 enjoyable play. 
 
 8i. a Gup of Gotfee. 
 
 (8 Characters.) 
 A Comedy in One Act. By DOROTHY 
 REYNARTZ. 
 Mathilda returning home finds that a 
 friend has sent her some genuine Mocha- 
 Coffee. She has at once some prepared, but 
 is prevented from enjoying it by a succession 
 of annoying callers, presenting very funny in- 
 cidents. When at last relieved of all unwel- 
 come company, another dissappointment 
 awaits her in place of the anticipated delec- 
 tation. A number of really enjoyable scenes 
 are woven around the plot. 
 
 JOSEPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 
PLAYS FOR YOUNG LADIES.— PLAYS FOR CHILDREN. 
 
 82. jKaro of Wearing 
 
 (3 Characters.) 
 A Comedy in One Act. By OLGA STEINER. 
 Mrs. Everett has appointed Daisy directress 
 pro temp, during her absence. Daisy finds 
 occasion to admonish Lou. Just then Rose, a 
 new pupil, arrives, and in order to get her 
 revenge Lou informs Rose that Daisy is quite 
 deaf, telling Daisy the same story about 
 Rose. This results in very laughable efforts 
 on part of each of these two, to make them- 
 selves understood by the other, both of them 
 
 at the same time inwardly resenting the sup- 
 posed rudeness of the other. The play de- 
 velops most comical situations and winds up 
 with Lou getting her just dues. 
 
 83. H /IDeeting of tbe ©♦ %. 
 
 ClUb* (8 Characters.) 
 A Comedy in One Act. By EUGENE LATOUR 
 In a droll manner the proceedings at the 
 starting of a Young Indies' Club are pictured 
 in this comedy. The project has to be abon- 
 dened owing to each member laying claim to 
 the presidentship of the club. 
 
 For other PLAYS FOR FEMALE CHARACTERS see numbers 6, 11, 12, 14, 51 and 52 on 
 other pages of this Catalogue. 
 
 French fflays for Young Ladies. 
 
 Persons in charge of Institutes and Young Ladies' Circles must be familiar with the diffi- 
 culty of meeting with short French plays, fitted in all respects to be read or acted by young 
 ladies. The publishers have been induced to publish a few plays that will be found to be just 
 as suitable for acting as for reading with divided parts in French classes. 
 
 SU3annC* Come'die en un Acte (5 Characters). Price, per copy, 25 Cents. 
 
 %a Demoiselle oe Compaanfe. ComMieen p u e?* c py, (6 25 C cJnt? ers> ' Price 
 
 Children's 'Plays, 
 
 Children's plays, having so much attraction and fascination for young audiences, and affect- 
 ing deeply their minds, afford an excellent means of moral instruction and education. Our 
 purpose in publishing a number of children's plays is to supply material which will help to 
 impress little hearts and minds with filial love, respect of parents and superiors, generosity 
 toward the weak and humble, politeness toward all, patriotism, charity, the sense of duty, 
 and with a true understanding of the necessity of work. 
 
 The moral is, however, not so pointed as to render the plays dull ; on the contrary, THE 
 PLOTS ARE CLEVER, THE DIALOGUES BRIGHT, the language simple but refined, and 
 the interest well sustained. The plays are not above the ability and skill of the pupils, and 
 have stood the test of performance with success. They are NEW AND ORIGINAL. 
 
 f. Series, Complete, 40 Cents, 
 your Sbort iplags tor Cbfloren. 
 
 By ELLA KEATINGE. 
 
 1. Ube little ffiJagtclan. 
 
 2. Ube Stc& Doll. 
 
 3. Ubc Htgbttngale ani> tbe 2Latfc. 
 
 4. B Gbrtstmas Eve Bl»venture, 
 
 tlbe Xegeno ot tbe Cbrfatmas Zxcc 
 
 A Play for Children in Three Acts. 
 By ELLA KEATINGE. 
 
 Gbe Xittle $afeer. 
 
 A Play for Children in Two Acts. 
 By ELLA KEATINGE. 
 
 Zbe ©lo TFrunft in tbe ©arret. 
 
 A Play for Children in Two Acts. 
 By ELLA KEATINGE. 
 
 2. Series, Complete, 40 Cents. 
 
 Gbe Xittle Daugbter of tbe 
 IRegfment. 
 
 A Play for Children in Two Acts. 
 By JOSEPH ROSETTI. 
 
 Bt tbe 3f iresioe ; or, ube %ittic jbob jbiuc 
 
 A Play for Children in Three Acts. 
 BY ELIZABETH POLDING. 
 
 21 Ibarmonious 3famfl£. 
 
 A Play for Children in Three Acts. 
 By ELIZABETH POLDING. 
 
 1Fn tbe jforest. 
 
 A Play for Children in Three Acts. 
 By JOSEPH ROSETTI. 
 
 The complete collection, Series I. and II. together (eleven plays), 60 Cents. 
 Each of these plays may be had singly at 15 Cents per copy. 
 
 Tt\\P /HNSKAi/* *fiS^>Ff A Fairy Play in Three Acts for Children, with music, by 
 
 MtV*, liuayit* JVt>ll» WILLIAM PAILLER, Principal characters for 10 girls and 7 
 
 boys, also fairies, soldiers, lords and ladies of the King's court, etc. , etc. Price, per copy, 15 Cents. 
 
 Other Plays suitable for Children are found among PLAYS FOR YOUNG LADIES, ETC. 
 
 See also No. 21, THE DAWN OF REDEMPTI ON, (a Christmas Play). 
 JOSEPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 
*n;v 
 
 THE PIGEONS; Qt > rh ^ 
 
 nme Lass 
 rittany* 
 
 AN OPERETTA, 
 For the Stage and. the Drawing-Room. 
 
 By RICHARD HARDMAN, 
 Price, 60 Cts. 
 
 The characters (five) are Breton peasants, affording opportunity for pretty and 
 picturesque Costumes. 
 
 The text is of clever, dramatic construction, sparkling with wit and humor. An 
 exquisite, dashing and highly effective operetta. 
 
 Fifine's Song of 
 The Engaged Young Man. 
 
 A maiden's heart is often torn, 
 The orange blossom hides a thorn, 
 And who can teach the wisest plan, 
 That girls who fish may land their man ? 
 
 One day he finds Miss Susan plain, 
 The next he walks with Mary Jane ; 
 He whispers Blanche, behind her fan, 
 And he kisses May— the engaged young man. 
 
 He tires of Nell ; at an early date 
 He gives a lock of his hair to Kate : 
 And he slips love verses ("that do not scan) 
 Into Maud's bouquet— the engaged young 
 man. 
 
 He finds that Clare is not his taste, 
 When his arm is round sweet Emmie's waist; 
 And he gives his photo next week to Ann, 
 For change is the motto of th' engaged 
 young man. 
 
 Francois" 1 Song 
 What a Crowd of Love Tokens, Etc. 
 
 What a crowd of love tokens I've promised 
 to keep ; 
 
 What ribbons and letters I've burned in a 
 heap! 
 
 I have cherished old gloves (with the thumb 
 of them torn), 
 
 When I thought that these frailties my pop- 
 pet had worn. 
 
 Brief days of remembrance and short- 
 lived delight, 
 
 In a fortnight at most I'd forgotten them 
 quite ; 
 
 Like the carte, yes the carte, by the sands 
 of the sea. 
 
 With my poppet of old, on the edge of the 
 
 deep, 
 I stood for my portrait — the likeness was 
 
 cheap ; 
 But the lady next day had grown weary of 
 
 me, 
 And the talented artist still waits by the sea. 
 As I wandered no more on those seaweedy 
 
 sands, 
 The* photographer's left with my carte on 
 
 his hands ; 
 My carte ! oh, my carte ! on the sands of the 
 
 sea, 
 Oh, I thought not, I thought not, of paying 
 
 for thee. 
 
 JOSEPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 
New Operettas, Musical Comedies, Etc* 
 
 Q&* Q&* Q&* t&* 
 
 COLUMBIAr 
 
 -THE TRIBUTE OF THE COLONIES. 
 A Patriotic Cantata for Boys. —By Alexander BirchalL 
 
 Words and Music 
 
 $0.60 
 
 A new and novel entertainment, in which delegates from Uncle Sam's new 
 wards, Porto-Rico, The Philippines, Guam, Hawaii and Cuba appear to pledge 
 their allegiance and avow their loyalty to Columbia. As a large number of 
 boys may appear in this cantata, it is specially suited for schools, and will 
 be found a most successful entertainment especially on patriotic occasions. 
 The cantata may also be very effectively performed by having girls take 
 part in it. 
 
 Clarissa's First Party. 
 
 A Musical Comedietta for Nine Young 
 Sadies. By Richard Hardman. 
 Words and Music - - $0.75 
 
 A charming entertainment, full of harm- 
 less fun and drollery. Ellen Pert, a bicycle 
 girl, and Jessie Quigg, a Vassar girl, figure 
 prominently in the proceedings. 
 
 A Comedy of Errors; or, 
 The Cousin and the Maid. 
 
 An Operetta for Young I^adies, in one 
 Act. — By George Atherton. 
 Words and Music - - $0.50 
 
 Written for three characters. The music 
 is easy and mirthful. The odd complications 
 are very laughable. No scenery required. 
 
 The Pigeons; or, The Bonny 
 Lass of Brittany. 
 
 An Operetta for the Amateur Stage 
 and the Parlor. By Richard Hardman. 
 Words and Music - - $0.60 
 
 The characters (five) are Breton peasants, 
 affording opportunity for pretty and pictu- 
 resque costumes. The text is 01 clever dra- 
 matic construction, sparkling with wit and 
 humor. An exquisite, dashing, and highly 
 effective operetta. 
 
 New Musical Drills and 
 
 Humorous Action Songs 
 
 For Boys and Girls. 
 
 Arranged by Richard Hardman. 
 ----- $1.00 
 
 Suitable Words ; Pleasing Airs ; Full Di- 
 rections and Diagrams. Novel, Amusing 
 and Effective for Schools and Entertain- 
 ments. Containing the famous ' ' Topsy- 
 turvy Song" and "Our Baby," musical 
 recitation, etc. 
 
 The Adventures of 
 Little Red Riding Hood. 
 
 An Operetta for the Young, in Four 
 Acts. By Richard Hardman. 
 Words and Music, - - $0.75 
 
 The characters are assumed by larger 
 and smaller children. The music while 
 merry and melodious, is very easy, 
 the chorus parts being in unison. A delight- 
 ful and successful entertainment. 
 
 A Frolic in the Cooking Class; or 
 Debutantes in the Culinary Art 
 
 A Musical Burletta for Eight Young 
 I^adies. —By Richard Thiele. 
 Words and Music, - - $0.75 
 
 A number of winsome young autocrats 
 of the kitchen, armed with cooking utensils, 
 which they use as "musical" instruments, 
 unfold, in charming and humorous musical 
 setting, the profound mysteries of their 
 noble art. A Kitchen-Polka and a Marion 
 Harland Hymn are among the features of 
 this frolic. 
 
 A Peaceful Assault. 
 
 A Musical Comedy for Boys, in One 
 Act. —By George Atherton. 
 Words and Music, - - $0.50 
 
 From thirty (or less) to sixty or more 
 boys may take part in this comedy, which 
 is especially suited to the needs of schools 
 and colleges. Brisk, tuneful music, and 
 pretty, quickly changing tableaux, ensure 
 for this operetta an enthusiastic reception 
 whenever performed. 
 
 New Drills and Dances for 
 Boys and Girls. 
 
 A New Series of Musical Drills and 
 Humorous Action Songs. By Richard 
 Hardman. - $0.75 
 
 The great success and popularity gained 
 by Hardman's "New Musical Drills and 
 Humorous Action Songs" has suggested 
 the issue of this new series, which will be 
 * found of the same excellence. For contents 
 of these two books of Drills see other pages 
 in this catalogue. 
 
 J08EPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 
Dttk M Wm Bood 
 
 MT OPERETTA IN FOUR 4CTS FOR •mTYOUm 
 
 RICHARD HARDMAN, 
 
 attOa of " &fru> SK^sictt IMUa j/k/ Humorous cActim*Smat t" "Vu VtgKuai or. Vu\ 
 Uit of 'B-.ttttv," Oixntti; "CLvlXi'a First »«*," Bbiicol C 
 
 Price, 
 
 $0.75. 
 
 CHARACTERS: 
 
 Little Red Riding Hood. 
 
 Red Riding Hood's Mother. 
 
 The Robber Wolf. 
 
 Grandmother. 
 
 Anthony (Red Riding Hood's 
 
 Playmate). 
 The Town Crier. 
 The High Sheriff. 
 
 The characters are to be assumed by larger and smaller children. The 
 music, while merry and melodious, is very easy, the chorus parts being in 
 unison. A delightful and successful entertainment. 
 
 Mary Anne and Jemima (Women 
 
 of the Village). 
 Peter and Patrick (Men of the 
 
 Village). 
 Huntsmen, Villagers, Bandits, 
 
 Dancers, Bride and Bridegroom, 
 
 etc., etc. 
 
 MUSIC NUMBERS: 
 
 No. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 VI. 
 VII. 
 
 Overture. 
 
 Chorus of the Villagers. 
 
 Hunters' Chorus. 
 
 Introduction to Act II. 
 
 Terzetto (Mother, Red Rid- 
 ing Hood and Anthony). 
 
 Introduction to Act III. 
 
 Butterfly Song (Red Rid- 
 ing Hood). 
 
 No. VIII. 
 
 IX. 
 
 X. 
 
 XI. 
 
 XII. 
 
 XIII. 
 
 XIV. 
 
 XV. 
 
 Duet (Robber Wolf and 
 Red Riding Hood). 
 
 Bridal Chorus and Dance. 
 
 Country Dance. 
 
 Introduction to Act IV. 
 
 Lullaby (Grandmother). 
 
 Duet (Anthony and 
 Patrick). 
 
 Hunters' Song. 
 
 Soli, Ensemble and Finale. 
 
 JOSEPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 
TWO CANTATAS FOR BOYS. 
 
 A New and Novel Entertainment for Patriotic Occasions* 
 
 COLUMBIA. 
 
 THE TRIBUTE OF THE COLONIES. 
 
 A Patriotic Cantata* By Alexander Bircha.lL 
 PRICE, - 60 Cents, 
 
 CONTENTS. 
 
 No. J. Hail Columbia. No. 2. Hawaii. No. 3. Cuba. No. 4. Philippines. 
 
 No. 5. Guam. No. 6. Porto Rico. No. 7. Finale. 
 
 No* 8. Star Spangled Banner. 
 
 Curtain rises upon a guard of American soldiers and sailors, grouped around 
 a centre formed by a soldier and a sailor, standing on an elevated platform, 
 and holding two U. S. flags crosswise. Hidden by these flags from the view of 
 the audience stands the figure of Columbia, personified by a girl or boy in 
 suitable costume. The colonies in their national costumes come marching in 
 upon the stage, with their standards, sing their number, and take position 
 in semicircles right and left of guard. After all the colonies are assembled, 
 the captain commands: "Attention, Present Arms!" At these words the flags are 
 brought apart, revealing Columbia, soldiers and sailors present arms; all others 
 kneel down, raising their weapons high toward Columbia and the Star Spang- 
 led Banner is sung by all, while red light is thrown on the tableau. Thus a 
 fine effect is produced, especially if the audience is made to join in the "Star 
 Spangled Banner." While in first place intended for boys, a very pretty 
 picture may be had by adding some girls in the national costumes to each 
 colony. 
 
 A PEACEFUL ASSAULT. 
 
 Musical Comedy for Boys. By George cAtherton. 
 PRICE, - 50 Cents. 
 
 The Mayor is candidate for a higher office, and his subjects surprise him 
 by waiting upon him in delegations, letter-carriers, policemen, cadets, chorus 
 boys, firemen, a drum and five corps, to assure him of their loyalty and support. 
 This comedy is specially suited for schools and colleges having at disposal a 
 LARGE NUMBER OF BOYS. The music is original, easy and melodious. 
 The various delegations marching upon the stage to the merry strains of music, 
 or singing spirited songs, present a pretty spectacle. A very amusing enter- 
 tainment, certain of enthusiastic reception. 
 
 "The audience went wild over the ' Peaceful Assault,' and it was hard to tell who were 
 the proudest, the young actors, or their parents and relations, etc." — From the letter of a Teacher. 
 
 JOSEPH R WAGNER, 41 UNION SQUARE, NEW YORK. 
 
Recitations <with Actions, For children. 
 
 By LUCY ALLEN. 
 
 "Prtce, 40 Cents. 
 
 Recitation should be included among the subjects taught to young children 
 for many reasons, but chiefly because it increases the child's stock of words. 
 
 The greatest difficulty in any school, especially in an INFANT'S SCHOOL, 
 is to battle with the limited knowledge of words, and hence with the limited 
 means of fixing or expressing ideas. Not only is our vocabulary increased by 
 learning poetry, but the mind is furnished with good thoughts and graceful 
 expressions. 
 
 The memory is also strengthened by this exercise, and, as a child's time is 
 valuable, care has been taken in this book to choose such pieces as will prove 
 fruitful of the greatest possible good to the learner. 
 
 The pieces are simple, as they are intended for the Very Youngest as well 
 as for those who have made a beginning. 
 
 All of them are accompanied by ACTIONS. This is necessary, as a young 
 child gains delight from mere motion of the limbs, while his love of imitation 
 is very strong. Moreover, he possesses a ceaseless activity of body, which must 
 be used if his mind is to be occupied for even a short time on any subject. 
 
 SPECIMEN OF CONTENTS. 
 
 A LITTLE COCK-SPARROW. 
 
 A little cock-sparrow, 1 i Cross the two forefingers so that the one 
 
 He sat on a tree, represents the bough and the other the 
 
 He hopped" and he skipped. , g§£Sd lower the right forefinger toimi- 
 
 So merry was he. tate hopping. 
 
 A little boy came 
 
 With bow and arrow 3 8 Curve the left arm to imitate the bow and 
 
 Atirl Qflirl " T will ohnnt* ' let the ri S ht ann form the arrow. 
 
 And said, l will snoot 4 Move the ri M arm ickl forward as in 
 
 That little COCk-Sparrow. ' ' shooting the arrow. 
 
 " His head 5 will make 5 point to each part as it is named.- 
 
 A nice little stew ; 
 His body will make 
 
 A nice pie too." 
 
 ' ' °\ I -?' " ° SaM ^sparrow, 6 shake the head- 
 
 "That never will do," 
 
 So he spread out his wings 7 7 Raise the armsand droop the hands, raise and 
 
 And away he liew. lower them to imitate the action of flying. 
 
 Etc. 
 
 JOSEPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 
THE FAMOUS TOPSY-TURVY ACTION SONG. 
 
 TWEW MDSI6HL DRILLS HND 
 
 k * HCM©R©US aen©N SONGS 
 
 For Boys and Girls. 
 
 Suitable Words, Pleasing Airs. Full Directions. 
 Novel, Amusing and Effective. &£> For Schools and Entertainments. 
 
 Arranged by RICHARD HARDMAN. Price, complete, $1.00. 
 
 TOPSY-TURVY SONG,— A Novel and Pleasing Action Song and Drill. 
 THE MIRROR DRILL,— Musical Exercise. 
 MY UNCLE'S FARM,— Humorous Action Song, with Chorus. 
 OUR BOOTBLACK BRIGADE,— Character Song, with Chorus. 
 UNCLE SAM'S LITTLE DRUM BOYS,— Character Song, with Action 
 and Chorus. 
 
 INDIAN CLUB DRILL, OR TAMBOURINE DRILL, 
 LITTLE LETTER CARRIERS,— Humorous Action Song, with Chorus. 
 THE CHILDREN'S FROLIC —Vocal Gavotte, Chorus and Dance. 
 THE PEDLAR,— Amusing Character Sketch, Action Song and Chorus. 
 THE MERRY DAIRYMAIDS,— Character Song, with Action and Chorus. 
 OUR BABY,— Musical Recitation for very little Children, Solo and Chorus. 
 RECESS DRILL,— Humorous and Lively. 
 MUSICAL FLAG DRILL, OR FAN DRILL. 
 THE RAINBOW RIBBON DRILL. 
 
 UNCLE SAM'S JOLLY TARS,— Action Song, with Chorus. 
 (NOT SOLD SINGLY.) 
 
 JOSEPH F, WAGNER, 41 UNION SQUARE, NEW YORK. 
 
jtJ>A New Collection of Musical Drills by Richard Hardman.jM 
 
 cN&w drills and dances 
 
 For Girls and Boys. 
 
 A NEW SERIES OF MUSICAL DRILLS 
 AND HUMOROUS ACTION SONGS* 
 
 BY RICHARD HARDMAN. 
 
 TRICE, 
 
 CONTENTS. 
 
 75 CENTS. 
 
 The Princess Gavotte. 
 
 A graceful Dance for Girls. 
 
 The Flag we Love. 
 
 Action Song and March. 
 
 Busy Little Workers. 
 
 (Housemaids and Cooks.) 
 Humorous Drill and Polka. 
 
 Spanish Minuet. 
 
 A Tambourine Dance Drill. 
 
 Drill of the (Hobby) Horse 
 Brigade. 
 
 Amusing Action Song. 
 
 Fond Little Mothers. 
 
 A Doll Drill. 
 
 Washing Day. 
 
 Amusing Laundry Scene. 
 
 The Broomstick Brigade 
 
 Humorous Action Song. 
 
 Ornamental Scarf March 
 and Drill. 
 
 Novel and very pretty. 
 
 Skipping Song. 
 
 Lively and Humorous. 
 
 Maypole Dance. 
 
 With Full Directions. 
 
 
 
 (Classical Art Balance Motions for Girls, 
 
 Physical Exercises accompanied fay Song and Music, 
 intended to Exercise all the Muscles and to give a 
 GRACEFUL DEPORTMENT to the Whole Body. 
 
 The above volume is sure to share the great success and popularity gained 
 by the same author's "New Musical Drills and Humorous Action Songs," some 
 of which, for instance, the "TOPSY-TURVY SONG," and 'OUR BABY," 
 have had an unprecedented success. This new collection is of the same ex- 
 cellence ; the* 'Drills" are novel and interesting — the "Dances" graceful, 
 and exceedingly pretty, and the airs lively and pleasing. The " Classical Art 
 Balance Motions" will be of great and special value as REFINED and GRACE 
 FUL CALISTHENICS. 
 
 JOSEPH F. WAGNER, 41 UNION SQUARE, NEW YORK. 
 

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