LIBRARY OF CONGRESS, Efjnp. ... . Sojujrmljl T)c, , Shelf ..S-jJ-V UNITED STATES OF AMERICA. LESSONS IN EXPRESSION AND PHYSICAL DRILL BY DARIEN A. STRAW Principal of Preparatory Department,- and Professor in Wheaton College, Illinois. DRAWINGS BY GEORGE MARMON. ( SEP 15 1892 Jf7Sfx CHICAGO! ' ' ALBERT, SCOTT & CO. j^ 1892. h -prK! tf *7- f^ Copyright 1892, By Darien A. Straw. CONTENTS. Charts of Interpretation— Elements of Voice. -Elements of Action. Part First — Studies in Voice; Physical Exercises. Lesson I. Expression, in general; Drill Position. II. Elements of Voice; Speaker's Position. III. Quality; Flexion of the Arm. IV. Quality; Coiling the Arm. V. Exercises in Quality; Foot Movement. VI. Force; Scroll Movement of the Hand. VII. Pitch; Abdominal Breathing. VIII. Movement; Costal Breathing. IX. Inflection; Chest Breathing. X. Form; Flexion of the Waist. XL Stress; Flexion of the Neck. XII. Stress; Torsion of the Body. XIII. Articulation of the Vowels; Torsion of the Arms. XIV. Articulation of the Consonants; Torsion of the Neck. XV. Articulation; Percussion of the Chest. XVI. Obscure Sounds; Percussion of the Neck. XVII. Pauses; Tip-toe Exercise. XVIII. Pauses; Dead-still Exercise. XIX. Climax; Tracing Exercise of the Hand. XX. Emphasis; Circular Arm Movement. XXI. Poetic Reading; Extension Exercise. XXII. Sound and Sense; Foot Movement. XXIII. Sentiments; Finger Exercise. Part Second— Studies in Action ; Vocal Exercises. Lesson XXIV. Direction of Gesture; Exercise in Emo- tional Voice. Supine Hand; Laughing Exercise. Averse Hand; Salutation Exercise Index Hand; Response Exercise. Clenched Hand; Projecting the Voice. Prone Hand; Interrogation Exercise. Reflex Hand; Exclamation Exercise. The Arm; Invitation Exercise. Positions of the Feet: Exercise in Com- mand. Positions of the Body: Recitation Exer- cise. XXXIV. The Head; Recitation Exercise. XXXV. The Head; Recitation Exercise. XXXVI. The Countenance; Recitation Exercise. ' XXXVII.. The Countenance; Recitation Exercise. Part Third— Selections For Analysis and Practice. XXV. XXVI. XXVII. XXVIII. XXIX. XXX. XXXI. XXXII. XXXIII. Lesson XXXVIII. XXXIX. XL-XLI. XLII-XLIII. XLIV-XLVI. XLVII-XLVIII. XLVIX-L. General Index. Alphabetical Index of Authors Quoted Styles of Composition: The Open Window. The Open Window. Hohenlinden. The Main Truck, or A Leap for Life. Having a Clean Mouth. The American Flag. Liberty. CHART OF INTERPRETATION, Showing the Primary Meaning of the Elements of Voice. T. Quality. — 1. Pure Tone Xormal 2. Orotund Xoble Sentiment. 3. Aspirate Secrecy. 4. Oral Weakness. 5. Pectoral Scorn. 0. Guttural Hate. 7. Nasal Carelessness. II. Force. — 1. Subdued Quietness. 2. Moderate Xormal. 3. Energetic Animation. 4. Impassioned Passion. III. Pitch. — 1. High Ungoverned. 2. Medium Xormal. 3. Low Power. IV. Movement. — 1. Rapid Lightness. 2. Moderate Xormal. 3. Slow Heaviness. V. Inflection. — 1. Rising Advance. 2. Falling Cessation. 3. Circumflex — a. Rising. . .Appreciation. b. Falling . .Depreciation. 4. Monotone Sublimity. VI. Form. — 1. Effusive Steadiness. 2. Expulsive Xormal. 3. Explosive Excitement. VII. Stress.— 1. Radical Xormal. 2. Median Gentleness. 3. Final Determination. 4. Compound Double meaning. 5. Thorough Sublimity. 6. Tremor Sorrow. 4 CHART OF INTERPRETATION, Showing the Primary Meaning of the Elements of Action. I. Hand. — 1. Position — a. Supine Friendliness. b. Averse \ version. c. Index Definiteness. d. Prone Super-position. e. Clenched Force /. Reflex — Contained in the hand. 2. Direction— a. In Longitude: (1) Front Directness. (2) Oblique. . .In general. (3) Lateral Breadth. (4) Oblique Backward . .The past. (5) Backward 6. In Latitude: (1) Up. (2) Upper Superior. (3) Horizontal.. Ordinary. (4) Lower Inferior. (5) Down. II. Arm. — 1. Full Arm Oratorical. 2. Fore Arm Conversational. III. Feet.— 1. First Position Normal. 2. Second ' • " 3. Third " Animated. 4. Fourth " 5. Fifth •• Dramatic. G. Sixth " IV. Body. — 1. Composed Normal. 2. Forward Progress. 3. Backward Revulsion. 4. Wavering Embarrassment. V. Head. — 1. Erect Self- Possession. 2. Inclined — a. Forward Care. b. Backward Freedom, c. Sidewise Questioning. :>. Projected — a. Forward Submissiveness. b. Backward Will. • 4. Firm Positi veness. 5. Lax Rest. VI. Countenance.— 1. Eye— a. Active Objective. b. Passive Subjective. i. Brow — a. Tranquil Normal. b. Knit Perplexity. c. Raised Admiration. d. Lowered Dislike. e. Furrowed Sorrow. 3. Lips — a. Firm Precision. b. Drooping Vacancy. c. Curled Scorn, 5 PREFACE. To make a book on a subject which has been publicly discussed ever since the classic days of Greece, without largely using the thoughts of others, would probably be unwise if not impossible. But changed conditions and new methods of instruction constantly call for the putting of old thoughts into new form. This little book is an effort to answer one of those calls. I have here embodied a series of lessons which I have used for some years past in classes of beginners. I have found a number of the most excellent books to be designed for use in schools of oratory, and therefore not suited for the ordinary school or academy; others were manuals rather than text-books for class use. In order to put into the hands of the class a book setting forth, as nearly as possible, the work that they would be ex- pected to do, this volume was prepared. Instead of making a mere orderly treatise I have combined in each lesson theory and practice ; also both vocal and physical work. The practical advantages in this plan are apparent in preserving the enthusiasm of the class by a change from one exercise to the other, in avoiding weariness of weak bodies or voices, and in keeping their skill nearly at a par with their knowledge, for if a pupil sees too many faults in his performance he is likely to give it up in disgust. Neither voice nor action should be cultivated without the other, for, in the first place, each aids the other, and, secondly, if a pupil attains PREFACE. proficiency in one without the other he is likely to dis- parage the part he has omitted and thus fail ever to attain to his best. Yet, while following this plan, I have not been unmindful that classification and relation of parts are of the utmost importance in a text-book. I have therefore made the lessons to proceed continu- ously and progressively in a two-fold chain throughout Parts First and Second, and combined the several ele- ments of expression in the practice of Part Third. Realizing the difficulty of conveying on paper a def- inite idea of sounds, yet knowing that special teachers are not available in a large majority of the schools called upon to teach the art of Expression, I have un- dertaken, by definite statement, by illustration, by example and by suggestion, to make the subject clear to the ordinary reader. It is hoped, therefore, that it will enable any teacher of fertile mind to conduct a class successfully in this most used and most abused of all arts. The varying nomenclature which is used by different authors on this subject adds another element of diffi- culty. I have followed that which seemed most likely to commend itself for general use. Considerations of health, culture, and every-day necessity, all emphasize the desirability of giving to every American youth some course of training that shall develop his natural powers of expression. This book is not designed to make elocutionists nor to in- trench on the work of the specialist. It aims to apply fundamental principles to a universal need. To com- municate one's thought truly, requires his voice and body to be under control of his own will. This is a 8 PREFACE. physical culture which implies soul culture. Helping young people to discover ill temper in the voice, care- lessness in the walk, selfishness in the bearing, and laziness in the words, and giving them facility to avoid these, avails more than business proverbs and social precepts. This, then, is an effort to help teachers in giving to pupils the power of self command. I desire to express indebtedness to J. B. Lippincott Co., Houghton, Mifflin & Co. and others for kind per- mission to quote from their publications, and to make grateful acknowledgment to all whose writings have suggested ideas herein contained. I do not claim to have originated any part of the science of expression, but trust I may have developed it a little in the direction of what seems to be the present need, and hope that this book may aid in the more general and more satis- factory teaching of that science. D. A. Straw. Wheatoti, III, Aug. 15,1892. HINTS TO TEACHERS. It will be found desirable: Often to join with the pupils in the exercises; To secure promptness without haste; To not call too much attention to errors at first ; To use concert work to reduce peculiarities; To require individual work to secure accuracy; To evolve other questions in the line of those sug- gested; To encourage pupils to apply the principles evolved to cases that occur to them; To urge free criticism under the teacher's direction; To constantly review; review, review. PART FIRST. Studies in Voice; Physical Exercises. LESSON I. ELOCUTION. POSITION. 1. At the beginning of onr study let us learn defin- itely what it is. Elocution is the Expression of Thought by- Voice and Action. In fact, it is a study of how best to do our talking. Some thoughts can be adequately expressed by words alone, as: "This is the first day of the school year. 1 ' But other thoughts are more fully expressed by the aid of some action, as a pleasant look when one says, " I am glad to see you." Say it with a stern face and see if it expresses the same meaning. Again there are thoughts which are best expressed without any words, as a teacher's quick look and uplifted hand when he wishes sudden silence. A little observation will show us that the hand, the head, the eye, the brow, the body and the feet all talk or help to express our thought, together with that wonderful organ, the voice — an organ with a thousand stops, or changes of expression. 2. Now rise and take the Drill Position, heels to- Drill Position. Fig. 1. p. 10 DRILL POSITION. 11 gethor, toes turned out from 45 to 90 degrees apart,, knees straight, body erect, head well back, chin slightly curbed, chest expanded, arms down at the side witli the edge of the hand forward. A good test of erect position is to stand with the back against a door or other vertical plane so that you touch it in four places — with the heels, the hips, the shoulders, and the head. If you find it difficult to do this there is the more reason for persevering in an erect position. 3. Practice on the vocal, o. Pronounce it as you would speak. Now prolong it. Again, making it as smooth as possible. Practice this till it is smooth, mellow, and round as a flute tone. The same in con- cert till all the voices harmonize as one full tone. Avoid any attempt at loudness, but listen to the tone . to see if it is correct. Suggestive questions: — According to the definition, where is Elocution useful? In public speaking? In conversation? In business? In society? In the home? Have you noticed those whose voice or action in speak- ing pleased you? And others whose voice or action was disagreeable to you? Can you tell why? Can you get one's thought as well when you dislike his manner of expressing it? 12 STUDIES in voice; physical exekcises. LESSON II. ESSENTIAL, ELEMENTS OF VOICE. POSITION. 4. With the Drill Position (p. 10) repeat the prac- tice in Art. 2. 5. We have seen that thought is expressed by voice and action. Now, pursuing our study we shall see that there are several attributes of voice which may be changed. For instance, one will answer a question very differently as it pleases him or arouses other feelings. See if you answer these questions with the same kind of voice. "Would you like to have a school picnic the next pleasant day ? " " Would you like to have a dog bite you on your way home? " If you can see a difference in the tone, tell what the difference is. Possibly you could tell it better if you had some names for tones. 6. Voice varies in Quality, Force, Pitch, Movement, Inflection, Form, and Stress. 7. Quality is the Kind of Tone. The quality of our ordinary tone should be clear, smooth, and mel- low like that of a flute — Pure Tone. For examples see Arts. 9, 28, 281. 8. Take the Speaker's Position — body and head erect, chest expanded, one foot advanced so that the Speaker's Position. Fiff. 2. P. 13 14 STUDIES IX A'OICE; physical exercises heel is toward the hollow of the other and one or two inches from it, toes turned out as in the Drill Position. If you stand long, change by a single step forward or back so that the feet occupy one of these positions, that is, with the right foot advanced, which we will call 1st Position (Fig. 2), or with the left foot ad- vanced, which we will call 2nd Position. 9. With the Speaker's Position, using Pure Tone, recite the following as if they were your own words: Under a spreading chestnut tree The village smithy stands; The smith, a mighty man is he, With large and sinewy hands; And the muscles of his brawny arms Are strong as iron bands. — H. W. Longfellow. Suggestive questions :— Which of these two positions do you habitually use most, Drill Position or Speaker's Position? Which would soonest weary you if you were to remain standing? Have you seen people stand in any other position while talking? In Article 9, to whom is the speaker represented as speaking- — to a friend, to a public audience, or to himself? Did you speak it in that way? Is the speaker excited or calm? Interested or indifferent? Note. — If sufficient time can be given to this study, all the examples for practice should be memorized. If this is not pos- sible, some selection in each lesson should be committed to memory, thus enabling the pupil to deliver it more entirely as his original thought. He should accustom himself to talk with- out anything in his hands. He can also give more perfect ex- pression to the ej T es and hands if he is not hampered with a book. Give much practice to every exercise. If a pupil acquires skill in criticizing, much faster than he gains power to execute, he sees his own faults too prominently and is liable to become discouraged. QUALITY. 15 LESSON III. FLEXION MOVEMENT OF THE ARM. QUALITY. 10. Take the Drill Position- now without moving the shoulders, chest or head, swing the amis slowly from the shoulder, letting the elbow, wrist, and finger joints be entirely limp. Let them flap clear around the body as if there was not a bone in them except the upper arm. Swing first the right arm eight times, then the left arm eight times, then both together eight times. Repeat. Per- severe in this Flexion Movement of the arm until you can swing it with- out the wrist or hand seeming stiff.* 1 1. Quality is either — Pure Tone, used in ordinary speaking (see Art. 7)j Orotund, large, full and round; Aspirate, whispering, simply breath without tone; Oral, falsetto, used in extreme weakness, etc. ; Pectoral, hard, shrill tone, expressing scorn, etc. ; Flexion Exercise. Fig. 3. *Xote. — All the drill exercises and examples for practice should be drilled over and over throughout the term as often as opportunity permits. 16 STUDIES ix voice; physical EXERCISES. Guttural) throat tone, expressing hatred, or Nasal, nose tone, talking through the nose. 12. With the Speaker's Position practice o in Pure Tone (Art. 3.) 13. Now practice o in Orotund Quality. Let the larynx and mouth cavity be enlarged, the tongue down out of the way, the tone thrown forward full and round as if talking to a thousand people. Do not cramp the voice or make an apparent effort, but " just open the mouth and let it come out," free, smooth, and easy. Pure Tone and Orotund should be practiced much and every day as they are the best qualities. (For examples see Arts. 29, 72, 171.) 14. Now practice o in a whisper, Aspirate Quality. You will notice that you can give it loud enough to be heard by any ordinary audience. (See Arts. 30; 209, b, and first words of 261.) 15. Now if you can imitate the tone of a little child you will have Oral Quality. It is clear but thin and small, just the counterpart of Orotund. It is usually pitched higher than Pure Tone, and may vary in loud- ness from the scarcely audible to a scream. (See Art. 31.) 16. Repeat Article 9. Suggestive questions: — How would it do to speak the quotation in Art. 9 in Orotund Quality? In Oral Quality? Why does not one quality render it as well as another, since the words remain the same? Which QUALITY. 17 quality best expresses noble thought? Grandeur? Secrecy? Sudden fright? Which would be used by a sick person who was so weak he could hardly speak? What sentiment would be expressed if you combine Aspirate with Pure Tone? 18 STUDIES ix voice: physical exeecises. LESSON IV. ARM EXERCISE. QUALITY— Continued. 17. Repeat Article 10. 18. With the Drill Position, extend the right arm horizontally at the side; arm, hand, and fingers straight. Now, slowly and steadily, coil the arm, commencing by closing the fin- gers; then fold in the wrist in the same direction, then the elbow, and last the shoulder, till it is all coiled in upon the chest as tightly as possible. But be sure that you do not bend any joint until in the order named. Com^the aS. Now > gradually mi- Fig. 4. coil, commencing QUALITY. 10 with the shoulder, and straighten each joint in succes- sion to the fingers. Now drop the arm from the hori- zontal down at the side. Pursue the same order with the left arm, then with both together. In these arm movements, as in all, keep the chest and head still. 19. With the Speaker's Position, repeat Articles 12, 13, 14 and 15. 20. To get Pectoral Quality use the vocal a. Prac- tice it until your tone expresses perfect scorn — a hard, penetrating, resonant tone. It is called Pectoral or chest tone, because when it is fully used you can feel the chest vibrate. (See Arts. 32, 75; first part of 204, ( Falling ^-v ) 71. Practice on the vocal o, sliding the voice as indi- cated in the lines above until you can direct the inflection at will. Practice the following examples: — 72. The heavens declare the glory of God; and the firma- ment showeth His handiwork. Day unto day uttereth speech, and night unto night showeth knowledge. There is no speech nor language where their voice is not heard. Their line is gone out through all the earth; and their words to the end of the world. 19th Psalm. 73. " Are you going home? " "No, to town." "To town?" ' ' Yes, why ? " "I like company." " Then why not ride to town? '' "Why not? I will." 74. " Do you know me, my lord? " "Excellent well. You are. a fishmonger." " Not I, my lord." 34 studies in voice; physical exercises. " Then I would you were so honest a man." •' Honest, my lord? " " Ay, sir; to be honest, as this world goes, is to be one man picked out of ten thousand." — Shakespeare . 75- Banished from Rome! What's banished, but set free From daily contact with the things I loathe ? "Tried and convicted traitor? " Who says this? Who'll prove it, at his peril, on my head? Banished — I thank 3011 for 't. It breaks my chain ! "Traitor! " I go — but I return. This — trial ! Here I devote your senate! I've had wrongs To stir a fever in the blood of age, Or make the infant sinews strong as steel. — Groly. Suggestive questions: Explain the various meanings suggested by saying the word, " What? " with different inflection — Rising, Falling, Rising Circumflex, Fall- ing: Circumflex. With what inflection do you say "What?" when you doubt the truth of what was said? How do you say "What?" so as to rebuke a speaker for his statement ? When you are gladly sur- prised at the statement ? When you are disagreeably surprised by the statement ? When you answer a call in such a way as to show that it was an unwelcome interruption ? EXERCISE OF THE WAIST. 35 LESSON X. EXERCISE OF THE WAIST. FORM. 76. Repeat 67, and remember that the tendency with most people is to breathe in that way too ranch, failing to use the lower part of the lungs; so be sure that your ordinary breathing is abdominal and costal. 77- Drill position. Hands at the waist. Bend the body, at the waist only, forward slowly and gradually. Let it bend down as low as you can comfortably with- out bending the knees. Then slowly straighten up to erect position. Then bend backward similarly and return to erect position. Now in a similar manner to the right and to the left, bending only at the waist. Repeat. 78. Form is the manner in which the voice issues from the vocal organs: that is, whether suddenly or gradually. The words may burst forth with the suddenness of a pistol shot, or flow forth smoothly as oil. Between these extremes the voice varies. 79. Effusive Form — Smooth and flowing. Expulsive Form — Medium, used in ordinary voice. Explosive Form — With the greatest suddenness. 36 STUDIES in voice; physical exercises. Distinguish clearly between Form and Movement. The former refers to the words individually, the latter to the combination of words. The words may be spoken in Effusive Form and the Movement at the same time may be Rapid. Practice the following, throwing yourself into the spirit of the author and uttering the thought as your own. 80. Effusive:— Now fades the glimmering landscape on the sight. And all the air a solemn stillness holds, Save where the beetle wheels his droning flight. And drowsy tinklings lull the distant folds. Gray. (Other examples, Arts. 98, 100, 255, 271.) 81. Expulsive: — Society is the great educator. More than univer- sities, more than schools, more than books, society educates. Nature is the schoolhouse. and many les- sons are written upon its Avails; but man is the effective teacher. — Orville Dewey. (Other examples, Arts. 245, 277.) 82 Explosive: — a. Ring, happy bells, across the snow. — Tennyson: In Memoriam. b. Halt J the dust brown ranks stood fast. Fire! out blazed the rifle blast. — Whittier: Barbara Fritchie. c. But hush! hark! a deep sound strikes like a rising knell. — Byron. (Other examples, Arts. 89, 101. 258, 279.) EXERCISE OF THE WAIST. 37 83. Repeat 72-75. Su \g (jestive questions: If someone should suddenly frighten you so that you said " Oh ! " what Form of voice would you use? In what Form do you laugh ? What Form expresses quiet peacef ulness ? Urgent business? Weariness ? Sublimity ? What Quality and Force in Art. 80 ? What Pitch in Art. 82, a? What Quality and Inflection in Art. 82, c ? STUDIES IN VOICE; PHYSICAL EXERCISES. LESSON XL EXERCISE FOR THE NECK. STRESS. 84. Repeat Article 11. 85- Drill Position. Very slowly and steadily let the head drop forward upon the chest. Let there be no movement of the body; only the neck is to bend in this exercise. When the head is dropped forward as low as it can be comfortably, raise it with the same steady movement to erect position. Now drop the head back- ward in a similar manner and return. Then to the right and to the left in the same way. 86. *Stress is the manner in which Force is applied to a tone; it depends on which part of the tone is made the most forcible. The ordinary hearer does not notice what makes the difference in a change of stress, because the words are spoken so quickly, but all recognize the difference in expression when the stress is varied. Ordinarily the greatest force is put on the beginning of each word but it changes a* occasion requires so that we have six definite varieties of Stress, as indicated by the accompanying diagrams: — *See note to Art. 69. STRESS. 39 a. 87- Stress :- Badical, ordinary b. Median, r. Final, d. Compound. e. Thorough, f. Tremor. Fig. 8 88- In order to distinguish Radical Stress, pronounce the word, O, as you ordinarily speak. Again, prolonging the sound a little. Strike it forcibly at the beginning and let it fade out as the tone of a bell. Now try the same on the words, bang, ring, drum, bell, toll, yell. Now try Final Stress, commencing the tone gradually and ending abruptly with full force. Practice on the words, halt, stop, drop, quit, chuck. A practical illus- tration of this change from Radical to Final is heard in the answer a canvasser receives from one who does not wish to buy. At first it then it becomes "No "iVo" and finally, 40 STUDIES ix voice; physical exercises. 89. Radical Stress: — Go ring the bells and fire the guns And fling the starry banner out. (Other examples, Arts. 142; 150, a; 156.) 90. Final Stress: — We will never submit, never! never! NEVER! (Other examples, Arts. 150, c; 193, a and b.) Suggestive questio?is: What difference in Stress between, Ha! as in laughing, and, Ha! as said in reproof ? Which better expresses freedom from care, Radical Stress or Final? Which better expresses determination ? Will ? What stress in the tone of a bell ? In the chuh! chuh! chuh ! chuh ! of the rail- road engine ? What Pitch and Movement are best for Art. 89 ? Why ? Note. — The difference between Inflection and Stress may be illustrated by the violin: If the player slides his finger up or down the string, he gives to the tone rising or falling Inflection. If now he gradually increases the pressure on the bow through- out a tone he gives it Final Stress. Gradually decreased pressure on the bow throughout a tone would give Radical Stress. In general, sliding the finger on a string gives Inflection to the tone, while pressure on the bow determines the Stress of the tone. EXERCISES IN STRESS. 41 rfs? LESSON XII. TORSION OF THE BODY. STRESS— Continued. 91. Repeat Article 85. 92- Drill Position. Without moving the feet or bend- ing from erect position, twist the body slowly to the right so that the chest turns ninety degrees or more, then steadily return. The same to the left. Repeat several times. 93- The grace that is added to the voice by a line use of Median Stress is worthy of tireless effort. Stress seems to be the principal attribute of voice by which will is expressed. Radical Stress is the common voice in which the will of the speaker is not manifest; Final Stress indicates the positive deter- mination of the speaker's will; while Median Stress indicates that moderate degree of will which constitutes self- possession. Say, " No, I will not," in Radical, Median, and Final Stress and observe the changed meaning. p. 94. Practice Median Stress at first on the vocal, o. 42 STUDIES ix voice; physical exercises. Let there be no abruptness at the beginning or end of the tone but full force in the middle. Then try such words as, beautiful, happiness, crystalline, abundant, mighty, highest. 95. Compound Stress is used in cases of double mean- ing, as sarcasm and irony. 96. Thorough Stress is suggestive of lofty emotion combined with a noble will. Keep the force equal throughout the tone. 97. Tremor Stress is the trembling or wavering of the voice common in excessive emotion, as grief or pity. The expression of pathos is impossible without Tremor Stress. Persevere in your practice of it. Picture in the imagination an occasion which would require it. The following examples for practice will aid you in varying the Stress. — 98. Median Stress: — Noiselessly as the spring-time Her crown of verdure weaves. And all the trees on all the hills Open their thousand leaves — So, without sound of music. Or voice of them that wept, Silently down from the mountain's crown The great procession swept. — Mrs. A lexa nder (Other examples, Arts. 143; 1*70; 209.) EXJEBCISES in STRESS. 4:i 99- Compound Stress: — Authority! It' you wanted authority over me, you should' have adopted me, and not married me. My extravagance! I'm sure I'm not more extrava- gant than a woman ought to be. — R. B. Sheriden. (Other examples, Arts. 75, 240.) 100- Thorough Stress. Hast thou a charm to stay the morning star In his steep course? so long he seems to pause On thy bald, awful head, O sovereign Blanc! — Coleridge. (Other examples, Arts. 72, 287.) 101. Tremor Stress:— He's sinking, he's gone — O God, it is I, It is I, who have killed him — help, help! — he must die. — Hoppin. (Other examples, Arts. 199, e; 216, b; 258, c.) Suggestive questions : What Movement in Art. 98 ? What sentiment prevails in each quotation in this lesson ? Which requires Orotund Quality ? Which needs an Aspirated Quality, that is, slightly breathy, to denote fear or dread ? What Stress expresses quiet- ness V Sublimity ? Beauty ? Ridicule ? What In- flection is wanted with the Compound Stress in Art. 99 ? Which two examples in this lesson need Effusive Form ? 44 STUDIES IN VOICE! PHYSICAL EXERCISES. LESSOjS XIII. TORSION OF THE ARMS. ARTICULATION OP THE VOWELS. 102. Repeat Article 92. 103. Drill Position. Keeping the hands down at the side, twist the arms inward so that the hands turn through 180 degrees, bringing the little fingers forward. Return, and twist the arms outward 180 degrees, bring- ing the little fingers forward again, thus turning the hands through a complete cir- cuit by simply twisting the arms on their axes. Continue this exercise four times. Then extend the arms horizontally at the side and twist them as before. Then ex- tend the arms horizontally forward and repeat the same. 104. Besides the seven attributes of voice (Art. 6), already studied, the expres- sion of thought requires particular atten- tion to Articulation, Pauses, Climax and Emphasis. 105. By Articulation is meant the utterance of all the sounds. Few people articulate well; although few need be deficient in that important matter. How few people in giving you a stranger's name make AIM l< II, AlloN. 45 it distinct! In conversation one is frequently compelled to ask for a repetition. Often public speakers annoy their audience by not making themselves heard. In nearly all these cases the trouble is in articulation. The listener hears a part of what is said, but the sounds which are lost are essential to an understanding of the word. It requires more skill to produce some sounds than others, but all are produced by muscular effort. Only until the hand is trained is it easier for a boy with a hammer to miss a nail than to hit it. Just so it is not absence of vocal power but lack of vocal training that makes so many indistinct speakers. 1 06- There are usually no difficulties in uttering the vowel sounds if the pupil knows definitely what the sounds are. The Principles of pronunciation in the unabridged dictionary are very explicit on this matter and furnish perhaps the best available authority as to what those sounds are. It is always an advantage to the pupil to hear some one give those sounds cor- rectly; at any rate they must be clearly recognized in some way. 107- Give especial drill to the following sounds which are frequently given incorrectly: — •• • <— > — * __ — x>> «, a, a, e, %, oo 3 u. *l, ic, (Webster's system of marking is here used.) 108. In holding or prolonging such sounds as a, t, <>i. ou, let the first part of the tone be prolonged, and 46 studies in voice; physical exercises. not the latter. They are compound sounds and the open part of the sound should receive the " hold." For the same reason in the sound, u, the latter part only should he held. 109. Practice all the vocals in Pure Tone, Moderate Force, Medium Pitch, Expulsive Form, Falling Inflec- tion, and Radical Stress. 110. Repeat Articles 98-101. Suggestive questions: In distinct conversation, are all the sounds uttered with equal prominence ? Which word is least prominent when we say, There comes a man 9 Which syllable is more prominent when we say. Washington t Which sound is least prominent when you say, holds ? Have you noticed that people some- times speak too loud to be understood? And that others whose voices are not nearly so noisy are easily understood '? What is the reason ? ARTICULATION. 47 LESSON XIV. TORSION OF THE NEOK. ARTICULATION OF THE CONSONANTS. 111. Repeat Article 103. 112. Drill Position. Keeping the head erect, turn it slowly to the right so that the face is over the shoul- der; return slowly. Then turn to the left the same. Do not turn the chest any but keep it still. 113. Give the sounds of all the consonants in order with especial drill on the following: — *> <*>/> 9>'j> s > v > x > «■ Practice until you can give each consonant sound alone; b, d and g, maybe combined with a vowel at first, as, ib, id and ig. After practicing a while the con- sonants can all be sounded full and clear without any vowel in combination. 114. Observe what organs of voice are used in pro- ducing each sound. You will then understand why it requires practice to articulate strongly. The muscles of the lips, tongue and palate must be developed by use the same as those of the arm if they are to be strong. Compare b and p; in what are they alike, and in what do they differ? Also d and t; g and k; sand 2; th and tft. 115- Make a list of the sounds which the lips aid in 48 STUDIES in voice; physical exercises. forming — Labials. Another list formed by the tongue — Linguals. A list of those which the teeth aid in forming — Dentals. Another list formed by the palate — Palatals. Another list of those sounds in which the air column is forced through the nose, as n — Nasals. A list of those sounds in which the air column is entirely stopped — Mutes. A list of those sounds which may be easily prolonged indefinitely — Liquids. A list of the sounds which consist of breath not vocalized, p, t, etc. — Aspirates. A list of the sounds which consist of tone, vocalized breath, modified by the teeth, lips, tongue or palate— Sub-vocals. A list of the sounds consisting of tone unmodified by the lips, the tongue or the palate — Vocals. 116. Practice the sounds in each of the above lists, as directed in Art. 109. Suggestive questions. Where are the vowel sounds formed? Have you ever heard a man talk who had no front teeth? Did he talk plainly? If not, why not? Do you like to hear a person talk when his tongue seems to fill his whole mouth? How shall he avoid that? Why is it necessary to open the mouth well in order to talk distinctly? Can you sound all the letters in a whisper — Aspirate Quality? CHEST PERCUSSION. 49 LESSON XV. PERCUSSION OF THE CHEST. ARTICULATION— Continued. 117- Repeat Article 112. 118. Drill Position. Hands on the chest. Throw the shoulders up and back. Draw a full breath, as in Art. 67, hold it while you rap the chest sharply and quickly with the open palms sixteen times. After prac- tising this Chest Percussion for a few days regularly the strokes may be made heavier until the rapping can be done with the hands clenched. Keep the lungs full during the percussion. Repeat. 119. When one can readily produce all the elemen- tary sounds, there are still some combinations that will need much attentive practice, especially cumulations of consonants. 120- One common fault in Articulation is the skip- ping too lightly and quickly over small words. The fact that they are least important does not mean that they are unimportant. No unimportant word should be used at all, and a word that is worth using is worth speaking distinctly. 50 STUDIES IN VOICE: PHYSICAL EXERCISES. 121. With natural voice, pronounce each of the following words four times in succession: — adz dearth pusillanimity aids duty quaintness asks distinctness rock-ribbed asked elms rarity able elocution rearward abler empty Seth ablest earth scythe abdal famed spent athlete fifthly splint althea fulfilleth splashed Alps faithfully singed ampler faithlessly sinning abominable gasped singing bald ginger sea-shells boldly gnarled succinctly bedlam holily somnambulist begged healthfully texts blended inimitably tenths blending innumerable truths blamable judged thither blamably jingling vine boastest Kaskaskia vivacious broiled lamentable valvular cask Lilliputian whales clasps minimum whence clasped memorable which ' called'st nonentity whilst community overwhelmed waxest depths passeth whisked did'st pumped EXERCISES IN ARTICULATION. 51 Suggestive questions. Do you commonly find your self refreshed or exhausted after the physical drill ex- ercises? Do your muscles weary as quickly as they did in Lesson I? In Art. 121, can you make the lungs push the air till it is compressed by the vocal organs, making the tone tense and firm? Can you direct the words so as to throw them directly to the one to whom you are speaking? 52 STUDIES in voice; physical exekcises. LESSON XVI. PERCUSSION OF THE NECK. PROMINENT AND OBSCURE SOUNDS. 122- Repeat Article 118. 123- Drill Positon. With the open palm of the right hand rap lightly and rapidly for five seconds the right back part of the neck. Then with the left hand the left side similarly. Then with the right hand the left front side of the neck. Now with the left hand rap the right front side of the neck. Let this exercise be done lightly until a few days regular practice have hardened the muscles a little, after which the rapping may be made more brisk. Keep the head erect. 124. While a good Articulation requires every sound to be made distinct, it does not require all to be equally prominent. Words commencing or ending with the unaccented vowel, a, furnish a good example of this fact. The words, ahead and America, are equally sj^oiled by having all the syllables pronounced with the same prominence, and by having the ends clipped — Go a-head Amer-i-ca, is as bad as — Go 'head 'merica. In some dictionaries, obscure rowels are unmarked. A correct speaker will give these that nice subordination to the principal sounds which produces an easy, graceful yet clear effect. ARTICULATION. 53 125- The same principle applies to phrases. Articles should be subordinated to their nouns. A man, should be spoken almost as if it were one word. Phrases, con- sidered grammatically, are elements, and in proper speech they are spoken as such. To avoid on one side the error of carelessness^ which slights the subordinate sounds, and on the other side the error of pedantry or affectation which over-does the Articulation, will require you to criticise yourself persistently until you have formed a correct habit, unless you have had the rare good fortune not to fall into a bad habit. 126. Apply the suggestions on Articulation to the following exercises for practice: — a. Consider the lilies of the field, how they grow, they toil not, neither do they spin; and yet, I say unto you that even Solomon in all his glory was not arrayed like one of these. — Matthew. b. Thou comest, Autumn, heralded by rain. With banners by great gales incessant fanned. Brighter than brightest silks of Samarcand, And stately oxen harnessed to thy wain. — Longfellow. <•. Some shun sunshine. . Speaking it with subdued force. c. Giving it more effusive form. <7. Giving it a peculiar stress. e. Pausing before it, or after it, or both. f. Changing the quality. g. Gesture or facial expression, or any other device which makes it specially prominent. 154. Ordinarily, in every sentence some words are more important than others. In speech these words are shown by the way in which they are spoken — they are 66 STUDIES in voice; physical exercises. emphasized. In speaking thought previously prepared, or the thoughts of another, as in reading, one is liable to give a wrong emphasis because the thought is not fully realized and made one's own. Every different shade of meaning changes the emphasis, so if the mean- ing is not fully and accurately grasped, the emphasis will be wrong. Saying over words without any empha- sis is not much worse than throwing in the emphasis arbitrarily — without reference to the meaning. Every phrase has its emphatic word, every long sentence its emphatic phrase or clause, and nearly every paragraph its emphatic sentence. The reader should always run his eye ahead of his tongue to see what is coming. See how many differences of meaning you can give to the following by changing the emphasis. Keep thy tongue from evil, and thy lips from speaking guile. —34th Psalm. 156. Practice the following, and study to give all parts proper emphasis. What conscience dictates to be done. Or warns me not to do, This teach me more than hell to shun. That more than heaven pursue. — Popes Universal Prayer. 157. I come. I come! ye have called me long: I come o'er the mountains with light and song, Ye may trace my steps o'er the waking earth By the winds which tell of the violet's birth. By the primrose stars in the shadowy grass. By the green leaves opening as I pass. — Felicia Hitman*. EXERCISES I.N EMPHASIS. (57 158. There is a tide in the affairs of men, Which, taken at the flood, leads on to fortune; Omitted, all the voyage of their life Is bound in shallows and in miseries. — Shakespeare. 159. Repeat Article 150. Sag yestive questions. What method of Emphasis is used mostly as you speak Art. 156? on " conscience? " on "not?" on "this?" on "heaven?" In Art. 157, which is more emphatic, "primrose" or " stars?" "leaves" or "opening? " What Pitch and Inflection on "come " to give proper emphasis? Do you notice a tendency to throw too much emphasis on the last word of a line or sentence? (For example, the second line in the quotation from Pope). Did you emphasize "is" and " the " in the first line of Art. 158? 68 STUDIES in voice; physical exercises. LESSON XXI. BODY EXERCISE. POETIC READING. 160. Repeat Article 152. 161. Drill Position. Hands on the chest. Rise on tiptoe and reach straight up as far as possible with both hands. Return them to position on the chest while the heels return gradually to the floor. Bend forward and down at the waist and reach as near the floor as possi- ble without bending the knees. Return to position with hands on the chest. Repeat the same slowly four times. 162. In reading poetry, Emphasis, Inflection and Pauses are often improperly combined to produce what is commonly called sing-song. The sense should never be sacrificed for poetic effect. With this caution, the reader should " bring out " the rhythm, the meter, and all the poetic art to its best advantage. Poetry that is well written will sound poetic if the thought is expressed to the best advantage. The reader should pause at the end of every line of poetry, but if there is no punctu- ation at the end of a line make the pause brief, and do not let the voice fall. By keeping the Inflection right you may make as long a pause as you wish and the chain of thought will not be broken. The poetic effect is chiefly aided by the proper management of the time — Movement and Form — while Inflection and Emphasis must be determined alone by the sense. POETIC READING. 89 163. Avoid sing-song in your practice of the follow- ing. Apply the suggestions in Art. 162. *Upfrom the south at break of day, Bringing to "Winchester fresh dismay, The affrighted air with a shudder borr Like a herald in haste, to the chieftain's door, The terrible rumble and grumble and roar, Telling the battle was on once more, And Sheridan — twenty miles away. — T. B. Read 164. Repeat Articles 156-158. Suggestive questions: What Inflection on "day"? (Art. 163) What brought "to Winchester fresh dis- may "? What Inflection on " bore "? The air « bore " what? Whither? What sound is imitated in the fifth line? What Pitch, Force and Movement to best repre- sent it? What is the effect of Rising Inflection on "Sheridan," and a long pause after it? Where was this battle? What is the story that explains this stanza? (If you do not know, consult an encyclopedia, or ask older people. In order to read well, the thought must be understood.) ♦Copyrighted by J. B. Lippincott Co. 70 STUDIES IN VOICE! PHYSICAL EXERCISES. LESSON XXII. FOOT MOVEMENT. SOUND AND SENSE. 165. Repeat Article 161. 166. Drill Position. Keeping the toes turned out at the same angle, advance the right foot one step to the front and then return to position, then one step to the right lateral, and back to position. Pro- ceed in the same way to the four points front, right lateral, back- ward, left lat- eral (See Art. 180. ) Make each step prompt and graceful, and throw the weight of the body on the active foot at each step. Pursue the same circuit in reverse order with the left foot. 167. Many words by their sound convey somewhat Fig n. SOUND AM) SENSB. 71 of their meaning, as, ring, slush, broad, tiny, roar. The speaker by his voice should aid this effort of lan- guage to interpret itself. So far as possible, the thought should be given to the hearer without any effort on his part. 168. Two classes of words may be noticed under this subject: Onomatopoetic, or those which imitate the sounds described; and Characteristic words, or those which give an idea of size or quality. Pronounce the following so as to bring out their meaning as fully as possible: Onomatopoetic — Ring, jingle, toll, crash, thump, rattle, rustle, whistle, roar, thunder. Characteristic — Little, large, noble, mean, far, happy, merri- est, round, grand, old, sneak, vagabond, nobleman, king, villainy, treachery, honor, magnanimity. 169. Imitate the sound of the wind as it swells and dies away, sighs and moans successively in the following: The loud wind dwindled to a whisper low, And sighed for pity as it answered — No. 1 70. Bring out the effect of the smooth sailing and slight swaying of the boat in the following: *Round purple peaks it sails, and seeks Blue inlets and their crystal creeks, Where high rocks throw, through deeps below. A duplicated golden alow. — •• Drifting," by '/'. B. Bead. ♦Copyrighted by .). K. Lippincott Co. *72 STUDIES IN voice: physical exercises. 171. Express the sublimity in this passage from "God's First Temples:" OGod, when Thou Dost scare the world with tempests, set on fire The heavens with falling thunderbolts, or fill, With all the waters of the firmament, The swift dark whirlwind, that uproots the woods And drowns the villages, spare me and mine. — W. G. Bryant. 1 72. Hear the sledges with the bells, — silver bells; What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! — Edgar A. Poe. Suggestive questions: When you say, "lam glad to see you," do you say it as if you meant it? Can you say " No " as the wind does? (Art. 169. ) What Inflec- tion on " sighed"? Should we emphasize "and" in the second line of Art. 1*70? What Stress on Art. 171? Should the Inflection be on short and frequent or long and continuous slides? What Movement to imitate the sleigh bells in Art. 172? SENTIMENT. 73 LESSON XXIII. FINGER MOVEMENT. SENTIMENT. 1 73. Drill Position. Hands down at the side. With- out moving the arms, clench both hands quickly and firmly. Now open them fully so the fingers and thumbs are straight. The same eight times. Now repeat with the arms horizontal at the side. Again with the arms straight up. Again repeat with the arms horizontal forward. 174. We have now had an outline of the elements of tone, and the changes which the voice undergoes. We have learned to produce those changes; to classify and name them. We are prepared to enter more into a consideration of the causes and meaning of those changes. Words express ideas; tones express feelings, senti- ments, states of mind. You can understand anger, fear, joy and peace in a man's voice, though he speaks in a foreign tongue and you do not know a word of it. Even a horse understands the language of the emotions. This is the universal hmguage. A mob will be more influenced by a man's tones than by his words. Child- ren in the home and in the school are more controlled by feelings than by ideas. Hence, "A soft answer turneth away wrath; but grievous words stir up anger/' 14 STUDIES ix voice; physical exercises. It is the tone, rather than the words, which commands, entreats, questions, decides, offends, attracts, comforts or irritates us. 175. Speaker's Position. Practice on O, expressing the following sentiments. Repeat again and again, pursuing the list forward and backward. Conversational : — a. Business. b. Friendly. c. Intimate. d. Confidential. e. Questioning. f. Protesting. cj. Deciding. h. Entreating. L Despairing. 176. Repeat Articles 169-172. Suggestive questions. Can you drive off ill feelings by speaking and acting pleasantly? Do we become like the character we assume? How do children tease and pout: with words, tone, action, or with all? What Movement and Stress in Art. 175, a? What Quality and Force in Art. 175. d? PART SECOND. Studies in Action; Vocal Exercises. LESSON XXIV. ACTION. DIRECTION OF GESTURE. 177. Repeat Article 173. 178. Speaker's Position. Practice the syllable, ah, expressing the following emotions. Repeat as in Art. 175. Passionate: — a. Command. f>. Question, c. Challenge. (7. Anger. e. Apology. f. Chagrin. g. Pity. h. Joy. L Surprise. j. Fear. 1 79. Action is the complement of voice in expressing our thoughts. As a rule no action should be used where the voice is sufficient. Too much 75 76 STUDIES ix action; VOCAL exercises. action is distasteful, whether it he the grimaces of af- fected conversation or the spread-eagle delivery of the stump speaker. With this caution at the beginning, we may proceed to the study of where and how to use ac- tion as an aid to expression. The subject naturally divides itself into that of the hands, the arms, the feet, the trunk, the head, and the countenance. 180. The Hand in gesture may take any direction, but we must have a few terms by which to designate the different points. If you stand erect and imagine yourself somewhat as the axis of a large geographical globe of which your fingers, when swung at arm's length in every direction, describe the surface, yon can easily imagine that sur- face as marked by the circles of latitude and longtitude. Sweeping the arm around horizontally you describe the equator. Raising the arm 45 degrees, yonr hand may describe another circle parallel with the equator, and 45 degrees below the horizontal yon may describe another parallel. From these circles we can locate all gestures in Latitude, as Horizontal, Upper and Lower. Xow sweeping the hand from pole to pole on the surface of our imaginary globe you may describe eight meri- dians 45 degrees apart, which will be sufficient to locate gestures in Longtitude. Thus we derive the following table of directions: — DIRECTION OF GESTURE. 77 GESTURES. In Longtitude. In Latitude. F._ Front. Up. Ob.-Oblique j Lef t h _L Rt ' Upper-U. ( Right Lat. — Lateral ■< Horizontal-Hor. 1 Left. ! Right. Lower-Low. Left. B. -Backward. Down-D. Number and quantity increase from the Front to the Lateral; "All the world" is included by a Lateral gesture. If gestures were used on the sentence, " Mil- lions for defense, but not a dollar for tribute," a gesture with both hands near the Lateral might be used on " Millions," while one hand in Front would indicate "a dollar." Front gestures are most definite. Oblique Backward and Backward are used to represent the past in time or place, also the disagreeable, as shown when we turn our back on that which is despised. Upper direction is given to objects, real or imaginary, located above, also to elevated and noble emotions and ideas. Lower direction is given to objects located below, and to that which is humble, base or despised in thought. Horizontal gestures are given to the ordinary in thought or place. 7s STUDIES in action; VOCAL exercises. 181. Point to the twenty-six directions indicated in Art. 180, — Down, Lower Front, Rt. Hor. Lateral, Rt. Oblique Upper, Left Ob. Backward Horizontal, etc. 182. Repeat Article 175. Suggestive questions. What words would indicate the direction of a gesture to the moon? In a gesture to the horizon would the raising or lowering of it one inch spoil it — in other words, must the gesture be pre- cise? Where shall we locate the horizon, level with the shoulder, or level with the eye? In speaking of the Deity if we use a gesture shall it be over the head, over the shoulder, or farther out? THE SUPINE 11 AN J). 79 LESSON XXV. LAUGHING EXERCISE. THE SUPINE HAND. 183. Repeat Article 178. 184. Speaker's position. Pronounce the syllable, ha, in ordinary manner. Raise the Pitch and make the Form Explosive. Now twice in succession. Three times. Now give it Force enough to make it a genuine hearty laugh. If some one laughs with the syllable, Te-he-he! all take that syllable and make the laugh as natural as the genuine. If you hear, Oh-ho-ho-ho! or Hi-hi-hi-hi! or Hu-hu-hu-hu! practice it. Try to enter into the spirit of it. See if you can discover what varying sentiment enters into different laughs. Which suits you individually best? Do you use different kinds at different times? This "laughing practice" is one of the most valuable vocal exercises; it is healthful; and, as the laugh indicates the character, it is worth while to cultivate & proper habit of laughing. 185- The positions of the hand are, Supine, Averse, Index, Clenched, Prone, and Reflex. 186. The Supine Hand (See Figures 12, 19, 20, 21,) is most used. It is friendly, considerate and un- impassioned. It appeals to the judgment of the hearer. When the Supine Hand is used in direct address the hand should always be drooped from the wrist enough so the person addressed can see the palm. Extend the 80 STUDIES IN ACTION; VOCAL EXERCISES. hand supine toward a company. Hold it a little too high so they cannot see the palm and they are omitted. Hold it so those in the center can see the palm, but those "Be a hero in the strife." Fig. 12. at the side cannot, and these last are excluded. The first finger should be straight; the others slightly and loosely curved. Practice until you get it just right. Anyone can tell when it looks right. To criticise your- iiii: SUPINE hand. SI self, practice before a mirror. In all study of Action your glass may be made your greatest helper. 187- Practice the following with supine hand as in- dicated: a. 'i am very glad to see you. (Jood even, sir." R1 Hand Front. Hor. b. "Be a hero in the strife." lit. Up Obi. c. Is there for honest poverty, Left, Hor. Fr. Wha hangs his head, and a' that? — Bums. d. Come unto me, all ye that labor and Both Hands,*Hor. ObL are heavy laden, and I will give you rest. —Bible. Do not make the gestures rapid; let the hand move slow, gracefully, reaching its fullness or culmination, just at the point of emphasis. Hold it in position while the thought requires it, then withdraw it gracefully; do not drop it. Both hands have the same general meaning as one hand, but are more emphatic 188. Repeat Article 181. Suggestive questions: Can you stop laughing at will? I low can one acquire that power if he does not have it? How do you acquire any power? Can you express the thought as fully in Art. 187, 6, without a gesture as with it? Will one hand do as well in Art. 187, (/? What Stress in 6? What sentiment in c? Quality? Note. — It should be understood that there are different ways of rendering the same thought. No two persons would use pre- cisely the same gestures on any extended speech, and yet both may be equally good. The gestures that are assigned to partic- ular passages in this book are not to be considered the only ones that could be used. 82 studies ix action; vocal exercises. LESSON XXVI. SALUTATION EXERCISE. THE AVERSE HAND. 189. Repeat Article 184. 190. Take the Speaker's Position and practice on the words, Good morning. a. Say, " Good morning " as you do to the teacher. b. As you do to your chum. c. As you do to a stranger. d. A friendly " Good morning." e. A business " Good morning." f. A hostile " Good morning." g. A haughty " Good morning." h. A condescending " Good morning. " i. A nattering " Good morning." j. An honest, cordial " Good morning." Notice how a slight change of the voice and manner gives an entirely different character to these words. Carry this study in your mind through the day; observe the varying sentiments that are expressed in the greet- ings on the streets and by different people. Character- ize them in your review of this exercise to-morrow. Try to make your own "good mornings" mean what they should — kindly, happy, cordial good wishes. 191. The Averse Position of the hand is that which would push away a repulsive object — Fig. 13. Opp. 82. 83 STUDIES IX ACTIOX; VOCAL EXERCISES. the back of the hand toward your own face, the wrist sharply bent back, and fingers straight. As it is the position which would push away a repulsive object, so, it represents ideas that are repulsive, 192. Every gesture that is applied to ma- terial things has its correlated gesture applied to mental objects. As we speak of a lofty moun- tain and a lofty thought, both might receive the same gesture. A miry pit and a loathsome character might both receive the same gesture of aversion. A point on the book and a point of an idea might both be brought to one's attention by the aid of similar gestures. 193. Practice the following with Averse gesture as indicated: — a. False wizard, avaunt. Rt. Hor. Obl. b. Back, ruffians, back ! nor dare to tread Both Hands, Front, Horizontal. Too near the body of my dead. — The Polish Boy — Ann S. Stevens. o. (), I haw passed a miserable night. Left Obl. Lower. So full of ugly sights, of ghastly dreams. Both Obl. Lower. Both Lateral Lower. — Shakespeare. 194- Avoid all quick, nervous action. Do not thrust the hand out, but let it be limp till it comes to position. The front edge of the hand should lead in all graceful gesture. If the back of the hand leads, it will seem more as if you are going to slap something. 195- Repeat Article 187. THK AVERSE HAND. 84 Suggestive questions. Which should be most used in speech, Supine or Averse hand? What Quality is most needed with Averse hand? Which of your hands makes gestures with the greater ease? Why should the gesture be horizontal in Art. 193, bf Would the Supine or Averse better express hope? Contempt? Courage? Fear? Entreaty? What is the meaning of a gesture made too quick? Can you give Art. 193, a, with strength, authority, and firmness? Fig. 14. Opp. 85. THE INDEX HAND. 85 LESSON XXVII. EXERCISE IN " NO." THE INDEX HAND. 196. Repeat Article 190. 197. Practice on the word, No: a. Give conversational " No." b. Business " No ", (Make your questions short.) c. Questioning " No ", (Is that so?) d. Doubtful " No", ( Perhaps < < Yes ». ) e. Positive " No ", (No doubt of it.) /. Resentful "No", (You should not ask.) g. Impatient " No ", (Don't bother me.) h. Inquisitive " No ", (Do tell me about it. ) i. Emphatic "No", (A thousand times, No!) You have heard of people who cannot say "No". Which of the above do they use? Can you say " No" firmly, positively, and yet pleasantly? 198. The primary meaning of the Index Finger in gesture is definiteness. In position and direction (objectively) it locates definitely. In ideas (subjectively) it denotes the same precision, or definite- ness of thought. By it the debater calls attention to the exact point at issue, the teacher explains particularly. In a downward gesture it asserts. Held erect in a front horizontal, it warns. Pointed at an object with the back up it expresses contempt, hence arises the phrase, " the finder of scorn ". It would be hard to use words 86 STUDIES IN ACTION; VOCAL EXELICISES that would stir you to the same degree as to have one point the finger of scorn at you. Pointed at an object with the edge of the hand up it only designates, with- out expressing any ill feeling. In all these cases it means definiteness. 199. Practice the following with Index Finger: a. Location. The decent church that tops the neighboring hill. Obl. Upper. b. Scorn. ] c. Argument. Let that plebian talk; 'tis not mv trade. Rt. Hor. Lat. Consider this, Rt. Fr. Hor. Fore Arm. That, in the course of justice, none of us Should see salvation. — Shakespeare. d. Affirmation. But this I will avow, that I have scorned, Rt. Fr. Down. And still do scorn to hide my sense of wrong. — Crohj. e. Warning. Lochiel, Lochiel, beware of the day, Fr. Hor. When the lowlands shall meet thee in battle array. — Campbell. 200. Repeat Article 193. Suggestive questions: Which exercise in Art. 199 re- quires Effusive Form? What Inflection is wanted in Art. 199, b? Should c be spoken in an arguing tone or authoritatively? Should d be given with dignity or petulance? Why does a speaker point out on his finger tips the several divisions of his topic? Do you make all your gestures gracefully? What constitutes grace of movement? Fis. 15. Op p. 86. 8*7 STUDIES IX ACTION ; VOCAL EXERCISES. LESSON XXVIII. PROJECTING THE VOICE. THE CLENCHED HAND. 201. Repeat Article 197. 202. Practice on the words, " Over the boat." (Bring the boat over the river). Imagine yourself by the side of a stream and desiring to get across. On the other side is a man with a boat. At first let the stream be narrow — the width of the school room. Then gradually increase the distance till you shout across a river half-a-mile wide. Let the purpose be to throw the voice directly to the point aimed at, as defi- nitely as you would fire a bullet. Loudness is not desirable so much as reaching power — the penetrative voice. It is this power which enables one to make him- self heard in a large room or by a large audience out of doors. Use Pure Tone. Open the mouth round. Throw the tone forward. You may add to the value as well as interest in the exercise, by varying the expression from request to entreaty, command, etc. 203. The Clenched Hand expresses, prim- arily, force. It is not admitted in calm conversation. Passion and especially strong will make use of it. The TIIK CLENCHED HAND. 88 conviction orator enforces his strongest clenched hand. This position of the hand is limited to two direc- tions — the horizontal front which is antagonistic, and the vertical downward which expresses con- viction and will. 204. Practice on the follow- ing. Let the gestures be slow and firm. A quick movement in gesture is weak. Great bodies move slowly. Let the hand come to the front before beginning the gesture. The front is the starting point for all graceful gesture. Never move the hand out in a straight line from the side. The skillfid hand almost always moves in curves. The clenched hand is an exception to this, but it should not be clenched until the " stroke" of the gesture. a. Antagonistic: — I tell thee thou'rt defied! And if thou said'st I am not peer To any lord in Scotland here, Lowland or highland, far or near, Lord Angus, thou hast lied. Kt. Front. Hor. 01. — M c? Ill 1C PHONE HAND. 90 LESSON XXIX. AN INTERROGATION EXERCISE. THE PRONE HAND. 206. Repeat Article 202. 207. Practice on the words, " Will you close the door? " a. Ask the question as if you expected an answer. b. Ask it as if you expected it done and not answered. c. Ask it with authority. d. Ask it as a favor. e. Speak it as a command. f. As emphasizing a command which was disobeyed. g. Command it in a threatening tone. h. Speak it as a helpless person entreating for mercy. i. As a challenge, threatening the person if he does close it. j. Speak it fawningly. Which of these do you think best for home use? 208. The primary meaning of the Prone Hand is repression or covering. It is the re- verse of the Supine hand, the palm is turned down. It has a great variety of uses, but all related to this pri- mary meaning. The idea of the snow spread upon the earth contains also the idea of a covering. The idea of peace, quiet or stillness contains at the same time the Pig. 17. Opp. 91. THE PRONE HAND. '.I I suppression of noise or movement and may be expressed by the Prone Hand. There is a gradual shading of this position into that of Averse Hand, as we would repress an action or thought which is disagreeable. As our emotions shade into one another, so our action combines different expressions. Surprise frequently combines somewhat of the disagreeable with an impulse to suppress it, so the hand expresses it by a position be- tween Averse and Prone. Surprise, it is true, is often pleasing, but the pleasure follows the first impulse. 209. Practice the following a.-; indicated: a. Covering. Under the sod and the dew, Both Hands Prone Obi. Lower. Waiting the judgment day; Under the one the Blue; Under the other the Gray: — F. M. Finch, b. Rejyression. And soldiers whisper: " Boys, be still; Left. Fr. Hor. Prone. There's some bad news from Grainger's folks." — Ethel Lynn. 210. Combine the different gestures indicated in the following: On Linden when the sun was low, Rt. Hor. Fr. Supine. All bloodless lay the untrodden snow; Both Hor. Prone Fr. to Obi. And dark as winter was the flow Rt. Lower Pr. Av. Of Iser, rolling rapidly. Tracing the course of the river. — Hohenlinden — Campbell. 92 STUDIES IV ACTfoN; VOCAL KX ERCISEs. 211. Let the gestures be slow and glide from one to the other gracefully. Avoid stiffness. The first line receives a gesture of direction, the second contains the idea of the ground being covered all over with new- fallen snow. Both of these are pleasing. The dark river has a forbidding aspect expressed by the partly Averse hand and yet partly Prone, as if repressing the dreadful scene that is to follow in the next stanza. Curiosity is thus awakened by the suggestion. The gesture in the fourth line is descriptive, beginning with Prone and changing gradually, as the hand moves from left to right, into Supine. Locate the river as flowing across the scene so as to make the picture complete. Arrange it definitely in your mind as an artist who must paint it, then make your spectators see it. You must see it yourself or they will not. 212. Repeat Article 204. Suggestive questions: In Art. 207 could any of those ideas be better expressed by the aid of a gesture? What sentiment prevails in Art. 209, a? Should the gesture be more gentle than in ordinary business ? Can you bring the hands to that position without turning any angles? Do you avoid the appearance of stiffness in the hand? In Art. 209, b, do you change the tone at once when you leave the words of the narrator to give the words of the soldiers? I III'. REFLEX HAND. 93 THE REFLEX LESSON XXX. AN EXERCISE ON "HURRAH !" HAND. 213- Repeat Article 207. 214. Practice on the word, " Hurrah! n a. Speak it in the or- dinary manner. b. As an expression of pleasant surprise. c. Expressing joy at good news, as the announcement of a holiday. d. As a signal for a frolic, for all to join. e. As a cheer for the victor in a game. f. As exulting over an- other's defeat. g. As cheering a noble sentiment or action — a rousing cheer. 215. The Reflex Hand m 18 has the fingers lent up, as if holding something in the 94 STUDIES IN ACTION'; VOCAL EXERCISES. hollow of it. It is only imitative and not much used. It may express giving, receiving, or holding. 216, Practice the following with gesture as indicated. a. Holding: — I hold in my hand a quantity of sand from the bottom Left. Fr. Lower Ref. of the sea, which viewed with a microscope becomes a handful of pearls and shells of rare beauty. b. Begging: — Pity the sorrows of a poor old man. Whose trembling limbs have borne him to your door; Whose days are dwindled to the shortest span, Oh, give relief, and heaven will bless your store. Fr. Hor. Ref. 217. Supplementary to the subject of the hand in gesture is the question, what to do with the hands when before an audience and not gesturing. Young speakers frequently find their hands to be in the way so that they feel awkward. Shall we keep them down at the side all the time? No, except the time be short. That is the normal position, but, long continued, would be wearisome to the audience as well as to the speaker. A dignified, graceful position, strong but not stiff, should be cultivated. One hand or both behind the back for a change is allowable; also one hand with the thumb resting in the watch chain, or one hand in the bosom of the coat when it is buttoned, but not in the pockets or fumbling the chain. Go before a glass, see what posi- tions of the hands are becoming, then by force of will keep them in those positions without too frequent THE REFLEX HAND. 95 changes. When the habit is formed they will cease to feel awkward. 218. Repeat Article 210. Suggestive questions. If you used a gesture on Art. 214, g, what direction should it take and what position of the hand? Can you speak Art. 216, a, as if it were real and your own thought, or do you give it a little as if you were declaiming it? What Stress and Move- ment in Art. 216, bf Can you stand and speak to the class with erect position, the hands where you want them, and yet feel easy, not stiff . 96 studies in action; vocal exercises. LESSON XXXI. AN INTERROGATION EXERCISE. THE ARM. 219. Repeat Article 214. 220. Practice on the words, " Will you come in?" Aim to make this practice truly represent different situ- ations and different people. If we could hear the re- ception of canvassers and intimates, beggars and digni- taries, at the doors of the lofty and the lowly, we should notice many more varieties of sentiment than are here given. a. Say "Will you come in?" interrogatively. b. Inviting to come in. c. Inviting to stay out. d. Cordially. e. Coolly. f. Happily surprised. (I am delighted to see you.) g. Dreadfully surprised. (I was afraid you'd come.) h. To a little child. *. To a venerable man. 221. You have doubtless noticed that some gestures need a fuller sweep of the arm than others. Unim- passioned conversation uses chiefly the Fore- arm; there is not much movement of the arm at the shoulder. Bold, passionate thought, and that which is highly oratorical requires free Full- THE ARM. 97 arm gestures. (See Figs. 16, 17, 20, 21.) The Larger the audience and the greater the theme, the fuller the sweep of the arm in gesture. Two extremes must be avoided — the cramping of the arm that makes it angular, and the extension of the arm that makes it appear stretched. 222. Conversational practice — Fore Arm: Hamlet. Will you play upon this pipe? Guildenstern. My lord. I can- not. Ham. I pray you. Quit. Believe mo. I cannot. Ham. I do beseech you. Guil. I have no touch of it, my lord. Ham: 'Tis as easy as lying. Govern these ventages with your fingers and thumb, give it breath with your mouth, and it will discourse most eloquent music. — Shakespeare. 223- Oratorical— Full Arm. Fig. 19. Forearm Gesture. My manors, bowers and halls, shall still Rt. V. Hor. Sup. Rt. Ob. Hor. Sup. Rt. Hor. Lat. Sup. Both Lat. Be open at my sovereign's will — Low. Sup. My castles are my king's alone, Rt. F. Hor. Sup. From turret to foundation stone. Rt. U. Ob. Ind. Rt. Lower Ob, Sup. —Scott. 224. Repeat Article 216. Suggestive questions: Would it be advantageous to use a gesture on any of the exercises of Art. 220? If 98 STUDIES ix action; vocal exercises. so, should it be forearm or full-arm gesture? Should the gestures in Art. 222 be on the more emphatic or less emphatic portion? Which requires the lower position of Supine hand, inviting or protesting? Would you use any imitative gesture on the last sentence of Art. 222? Can you make the transition smoothly from one gesture to another in Art. 223? POSITIONS OF THE FEET. 99 LESSON XXXII. AN EXERCISE IN COMMAND. POSITIONS OF THE FEET. 225- Repeat Article 220. 226. Practice on: — Forward, the Light Brigade! Charge fbr the guns ! Orotund Quality: — a. Subdued Force. b. Moderate Force. c. Energetic Force. d. Impassioned Force. e. Rapid Movement. f. Moderate Movement. g. Slow Movement. Which Force and Movement best represent the com- mand to an army? 227. The feet of a speaker should ordin- arily occupy the First or Second Position (see Art. 8), but four other positions are sometimes used in very animated discourse and the higher flights of thought. In the Third Position the right foot is advanced a little more than in the First Position, the weight of the body is thrown on the advanced foot, and the heel of Third Position of the Feet Pie, 20. Bk. y». Fifth Position of Feet. Fiff. 21. Bk. 100. 100 STUDIES IN ACTION; VOCAL EXERCISES. the left foot is slightly raised. The Fourth Position is similar to this with the left foot advanced. The Fifth Position differs from the First only in having the right foot farther advanced, and with it the right knee is bent. . The Sixth Position advances the left foot similarly. These two are used only in strong passion or highly dramatic action. 228- The speaker should be free to change his posi- tion but should avoid too frequent moving about, which indicates nervousness. A few steps advance direct or in a diagonal as one takes up a new phase of thought or rises to the stronger argument adds life and energy to his discourse. A retiring movement in concession or after the close of a paragraph is frequently a relief if formalism or sameness be avoided. The occasion and the character of the discourse determine the amount of action required. 229. Practice the following from Rienzi's Address: — Rouse, ye Romans! Rouse, ye slaves! Advance, Both Hor. Ob. Sup. 3d P. Repeat gesture. Have ye brave sons? Look in the next fierce brawl Rt. Ob. Hor. Sup. To see them die! Have ye daughters fair? Look Rt. F. D. Sup. Both Low. Ob. Sup. 5th P. (Fig 21.) To see them live, torn from your arms, distained. L. Hor. 6b. Av. L. Low. Ob. Av. Dishonored! and, if ye dare call for justice. L. D. Lat. Av. Rt. Hor. F. Slip. Be answered by the lash! Yet this is Rome Rt. D. F. Sup. Retire. That sat upon her seven hills, and from her throne Of beauty ruled the world. Both Hor. Lat. Sup. —Mitford. POSITIONS OF THE PBBT. 10 1. Suggestive questions: What gestures should be used in giving Art. 226 as a command to an army? Is the object of action to express thought, or to attract atten- tion to the gesture? Can you so enter into the spirit of Art. 229 that you hold the attention of the hearers on the thought and that they shall not think of you? You can see by their looks if you do. What position of the feet on the first line of Art. 229? How long shall you continue that position? 102 STUDIES IX ACTION; VOCAL KXJ&RCISES. LESSON XXXIII. A RECITATION EXERCISE. THE TRUNK. 231. Repeat Article 226. 232. Practice on the following: He prayeth best, who loveth best All things both great and small: For the dear God who loveth us. He made and loveth all. — The Ancient Mariner — Coleridge. Give it, a. Solemnly, very slow. b. Sternly, Moderate Movement. c. Meditatively, Slow Movement. d. Reproachfully, Slow Movement. e. Kindly, Moderate Movement. f. As it should be; name the elements used. 233. The Positions of the Trunk or Body are four: Composed, Forward, Backward and Wavering. The Composed or erect position is used in all ordi- nary speaking. (Figs. 2, 13.) The Forward Position indicates animated, progress- ive thought or motion. (Figs. 20, 21.) The Backward Position is the counterpart of For- ward Position. If the forward action is aggressive, the same with backward position would be defensive. If the forward is friendly, the backward is reserved. 1IIK IKl'NK. 103 If one gives, the other withholds. The former is hope- ful and bouyant, the latter is conservative. One achieves, the other withstands. The Wavering Position indicates embarrassment — a lack of self-possession. It is frequently illustrated when a boy makes his first speech. The remedy for it is practice. 234. The body should front the audience squarely. Turning edgewise to the person addressed indicates dis- favor. (See Fig. 14.) Even in description, as a rule, one should not turn farther than sidewise to the audience. 235. Examples for practice. Composed. The bravest battle that ever was fought, Shall I tell you where and when ? On the maps of the world you will find it not ; 'Twas fought by the mothers of men. — Joaquin Miller. 236. Forward. Come over, come over the river to me, If ye are my laddie, bold Charlie Machree. I see him, I see him: he's plunged in the tide, His strong arms are dashing the big waves aside. — William J. Hop pin. 237. Backioard. Blow winds, and crack your cheeks! rage! blow! You cataracts and hurricanes, spout TiJl you have drenched our steeples, drowned the cocks ! You sulphurous and thought-executing fires, Vaunt-ccuriers to oak-cleaving thunder-bolts, Singe my whitehead. — King Lear — Shakespeare. 104 STUDIES in action; vocal exercises. 238. Repeat Article 22 ( .h Suggestive questions: What position of the feet suits the Composed Attitude? The Forward Attitude? Will gestures aid any in Art. 232? Do not use them unless they help. Who is represented as speaking in Art. 236? How do the body and voice express the senti- ment of admiration in Art. 236? Shall the gestures be graceful in Art. 237? What is Lear's state of mind? Should there be much action in his speech? POSITION OF J III: HEAD. 105 LESSON XXXIV. A RECITATION EXERCISE. THE HEAD. 239. Repeat Article 232. 240. Vocal Practice: — Am I a dog that thou comest to me with staves ? Come to me and I will give thy flesh unto the fowls of the air and to the beasts of the field. — I. Sam, 17: 43, 44- Speak it in, a. Pure Tone, Expulsive Form. b. Orotund, High Pitch. c. Aspirated, Explosive. d. Pectoral, High. e. Pectoral, Medium Pitch, Rapid. f. Pectoral, Medium Pitch, Slow. g. As it should be. 241. The Position of the Head is very signifi- cant of character and sentiment, every slight change conveying a different impression. The varieties thus possible to the speaker are almost unlimited. It is well to classify a few of these. 242. Before an audience the normal position of the head should be well up and erect, a position of strength to command, and grace to be at ease (See Fig. 2). 243- When reading aloud the position of the head should be the same as when speaking without a book, then bring the book up and out from the body to the point 106 studies in action; vocal exercises. of view which suits the eye. 244. Pupils are apt to get a habit of carrying the head too far forward. This, as well as cramped chest with rounded and drooping shoulders, needs to be guard- ed against by those who are much occupied at the desk. 245. Recite the follow- ing with the head in a con- versational position; then bring the head upward and back just a little to the oratorical position and notice the difference in expression. And what was it, fellow-citizens, which gave to our Lafay- ette his spotless fame? The love of liberty. "What has conse- crated his memory in the hearts of good men? The love of liberty. What nerved his youthful arm with strength, and inspired him, in the morning of his days, with sagacity and counsel? The living love of Liberty. — Edward Everett. 246. Repeat Articles 235-237. Suggestive questions. What are the proper elements of voice in Art. 240? How does one hold his head when he is very weary? In oral reading and silent reading should one ordinarily hold his head the same? In pleasant conversation should one hold his head in a fixed position or should it move freely? In the quota- tion in Art. 245 would it be well to increase the force gradually as one proceeds from the beginning to the end? Fig. 22. POSITION OF THE HEAD. I<)7 LESSON XXXV. A RECITATION EXERCISE. THE HEAD. 247. Repeat Article 240. 248. Vocal Practice: Words learned by rote a parrot may rehearse; But talking is not always to con- verse: Not more distinct from harmony divine. The constant creaking of a country sign. — Cowper. Speak it in the tone that will most impress it on the mind of the hearer, in the tone that would give instruction in the most agreeable form. Make the tone pure and gentle, yet forceful. Speak it slowly with Effusive Form. 249. The head is poised easily erect in normal thought. The head is inclined, — a. Forward in thoughtfulness (see Fig. 23). b. Forward and downward in care. c. Forward with the neck droop- ing in sadness. d. Forward with the chin curbed in sullenness(Fig. 24 ), e. With the face upward in happiness (Fig. 25). Fiff. 23. 108 studies in action; vocal exercises. f. Backward with the neck firm in pride. g. Backward with the chin curbed in haughtiness. h. Backward with the neck relaxed in carelessness. i. Sidewise in questioning with one's self (Fig. 26). 250. Will expresses itself in the rigidness of the neck and curbing of the chin. Haughtiness and obstinacy both include a large degree of will, the one combining a sentiment of victory, the other of defeat. A lack of will, on the contrary, expresses itself in a limp neck and a protruding chin (Fig. 18.) 251. The carriage of the head thus becomes a very prominent indicator of char- acter. By correcting it, faults in the line indicated above may be overcome, while indulging in the ex- pression of any characteristic tends to confirm the charac- ter in that direction. You can also see that if you have allowed any wrong senti- ment to predominate, you should criticise yourself studiously, for otherwise it is possible for all men to read that fault in you. As Fio . 05 POSITION" <>F THE HEAD. ion a practical hint: a good situation often turns upon the way the applicant holds his head. 252. Apply the above suggestions to practice on the following: — a. Thoughtful:— My thoughts are whirled like a potter's wheel. — Shakespeare. b. Careless: — On with the dance! Let joy be unconfined. — Byron. c. Grumbling: — Lady Teasle, Lady Teasle, I'll not bear it! d. Teasing: — Sir Peter, Sir Peter, 3-ou may bear it or not as you please. I ought to have my own way in everything, and what's more, I will, too.— Sheridan. e. Sad, Questioning: - Pisr. 26. To be or not to be, that is the question. — Shakespeare. 253. Repeat Article 245. Suggestive ques- tions. What qual- ity, Stress and In- flection would be used to make Art. 248 a personal satire? How does a lazy man hold his head? T h e energetic business m a n? The dreamy sentimentalist? The generous, noble-hearted 110 studies in action; vocal EXERCISES. man? The pouting boy? The arrogant one? What Stress in Art. 252, a? What Pitch in Art. 252, b? What Quality in Art. 252, c? What Movement in Art. 252, df nil. COUNTENANCE. Ill LESSON XXXVI. A RECITATION EXERCISE. THE COUNTE- NANCE. 254- Repeat Article 248. 255. Vocal Practice: — The melancholy days are come, the saddest of the year, Of wailing - winds, and naked woods, and meadows brown and sere. Heaped in the hollows of the grove, the autumn leaves lie dead; They rustle to the eddying gust, and to the rabbit's tread. — Bryant. Put sadness and melancholy into the voice. Each succeeding phrase expresses a change in the sentiment; let the voice bring out the wailing of the wind, the sereness of the meadows, the rustling of the leaves. The poet has chosen very fitting words to represent these ideas. Picture in your mind the situation and add to the poet's art the expressiveness of voice. 256. Facial expression is the most potent of all action. But while it is the most potent it is the most difficult to direct arbitrarily. The eye has been called the window of the soul, and we all know how difficult it is to prevent the soul's real sentiment from showing itself in the face. Emerson says, "An eye can threaten like a loaded and leveled gun, or can insult like hissing or kicking; or in its altered mood, by beams of kind- 112 STUDIES IN ACTION; VOCAL EXERCISES. ness, it can make the heart dance with joy." And it is not our province to counteract that expressive nature, but to cultivate and to control it. We should not aim to make the face a blank or a falsehood, but to so direct our minds that we shall feel the sentiment that we wish and then express it in all its fullness by a truth-telling countenance. The whole study of elocution is largely a study in soul-culture. To make the voice or the action express happy, noble or refined sentiments we must experience and cherish those sentiments. 257. The Eye is ordinarily free and flexible in its position, though not vacillating (Fig. 2 7). A fixed position of the eye, or stare, denotes abnormal thought. In abstraction and subjective thought the eyes have a blank look (Fig. 23 ). If you attract the attention of a person thus occupied to some external ob- ject of interest you may notice the marked contrast as the eye lights up (Fig. 27). What we see in imagination affects the eye in much the same way as realities. This is especially true of children; older people restrain the expressiveness of the features, and often this is persisted in until they lose their power of Fig. 2' THE COUN1 i:\AMK. 1 13 expression so that imagination fails to kindle any light in the countenance. 258. Practice the following, applying the above principles: — «. Hi! Harry Holly! Halt— and tell A fellow just a thing or two. — Ethel Lynn. h. I would die together, and not my mind often, and my body once. — Bacon, c. Do not look upon me; lest with this piteous action you convert my stern effects. — Hamlet to the Qhoxt. 259. Repeat Article 252. Suggestive questions. What elements of voice express melancholy? What Inflection to represent the wailing wind? Can you say the word, wailing, in such a way as to imitate the sound of the wind? Can you tell by the looks of a person's eyes whether he is looking at something on the window pane or at something in the distance? When one has his eyes on a book can you tell whether he is reading and perceiving the thoughts of the book or thinking on some other matter — a vision of his own mind? 114 STUDIES in action; vocal exercises. LESSOK XXXVIL A RECITATION EXERCISE. THE COUNTENANCE. 260. Repeat Article 255. 26 1 . Vocal Practice : — Hark! Hark! — The horrid sound Has raised up his head! As awaked from the dead, And amazed he stares around. Revenge ! Revenge ! Timotheus cries — See the furies arise ! — Alexander's Feast — Dryden. 262. The Brow is knit in perplexity or concentration of thought (Fig. 28). It is raised in admiration or wonder (Fig.29). v & ; Fig. 28. It is lowered in contempt (Fig. 24) or anger. Sorrow or pity furrows the brow (Fig. 30). Some people have a habit of wearing a frown, others of knitting the brow severely — in fact, all these states of mind are indulged until they become habitual with differ- ent persons. Every young person should study the expression of the countenance until he can criti- cise himself and avoid having his Fh?. 29. THE COUNTENANCE. 11. "» Fig. 30. face written over with faults in temper. 263. The Mouth or lips firmly set (Fig. 28 ) indi- cate positiveness, and lax or drooping (Fig. 25) indicate light-heartedness or vacancy of mind. Despondency, pouting and anger all show themselves in the appearance of the mouth, so that we say one is " down in the mouth," " his lips curl " or "quiver." Also we say " there is a smile on the lips," or " the lips are saucy." 264. Every feature does its part in telling the con- dition or the character of the soul. The cheeks blush with modesty or shame and blanch with fear. The nostrils dilate with courage or generosity, and contract with meanness or stinginess. Delicacy, or hardness, patience or peevishness, kindliness or churlishness, cul- ture or crudeness, sweetness or sourness, breadth, depth or littleness, fashion the faces of the men and women and even the children that make up this multitudinous and ever-varying humanity. The expression of human thought and feeling combines harmoniously all the ele- ments of voice and action. 116 studies ix action; vocal exercises. 265. Practice the following in accord with the above principles: — " I pledge thee faith, my liege, my lord!— Oh! break my father's chain!" "Rise, rise! even now thy father comes, a ransomed man this day." His dark eye flashed, his proud breast heaved, his cheek's hue came and went, A lowly knee he bent to earth, his father's hand he took — He looked up to the face above — the face was of the dead ! " Came I not forth, upon thy pledge, my father's hand to kiss? Into these glassy eyes put light; — be still! keep down thine ire! " He loosed the steed, — his slack hand fell; — upon the silent face He cast one long, deep, troubled look, then turned from that sad place. — Extract from Bernardo del Carpio, by Mrs.Hemans- 266. Repeat Article 258. Suggestive questions. What difference of Quality before and after the dash in the first verse of Art. 261 ? What Quality, Force and Stress in, "Revenge!"? Do you meet some strangers to whom you are free to speak, and others with whom you will not start conver- sation unless you must? Why? Can you sometimes tell by the looks of a mate when he is planning mischief? Can you see when he has something good to tell you? How many speakers are represented in Art. 265? (Ber- nardo begs the release of his father. The king grants it, but first has the father killed. ) PART THIRD. Selections for Analysis and Practice. LESSON XXXVIII. ANALYSIS AND INDUCTIVE STUDY. 267. We now have the elementary principles of ex- pression. We have pursued the theory through its elements. It may be continued further with finer dis- tinctions, more precise analysis, and more specific application; but more than all these we need to put into practice what we have learned. By studious drill we must combine these elements of voice and action har- moniously to express thought. We have acquired the vocabulary and the principles of its use, so we are ready to begin a study which has no end. 268. The first thing in taking up an unfamiliar passage to read is to discover what Style of Composition it is. This may be done in an instant by the trained reader. The voice from the beginning should then be adapted to the style. For our study we may name a few of the more widely distinguished varieties: — a. Conversational. d. Didactic. b. Narrative. e. Argumentative. c. Descriptive. f. Oratorical. 117 118 SELECTIONS FOR ANALYSIS ANT) PRACTICE. g. Noble. k. Humorous. A. Stately. I. Joyous. i. Grave. m. Light. j. Pathetic. h. Dialectic. 269. The Open Window. The old house by the lindens 1 Stood silent in the shade, And on the gravelled pathway The light and shadow played. I saw the nursery windows 5 Wide open to the air; But the faces of the children, They were no longer there. The large Newfoundland house-dog 9 Was standing by the door; He looked for his little playmates. Who would return no more. Concluded in next lesson. 270. This is Descriptive composition, peaceful, with a tinge of sadness in the sentiment. Decide in your mind who is represented as speaking — man or woman, old or young. To whom does it seem to be addressed — to anyone in particular, to an audience, or is the speaker's attention all taken up with the scene? What do you judge of the character of the speaker as to kindness, sympathy, so me thing has already raised their thoughts above the commonplace the speaker should commence in an nnim- passioued tone. It may be dignified, it may be strong, it may be energetic or joyous, but it should not be far above the general sentiment of the hearers lest they be taken by surprise and fail to follow the thought. As when, without any apparent cause of alarm, a speaker starts with a torrent of passion, the people wonder what has happened to him that he should take on so, and fail to enter into the spirit of what he is saying. And if he once runs away from them it is not so easy again to get command of their minds. The occasion may have already stirred all hearts with emotion, in which case the speaker will be in no danger of over- reaching them. For the reasons just stated, no gesture will probably be wanted on the first two lines of this selection. Freedom is here personified as a majestic woman, and the leading idea is, where she got the design and the colors for the flag. For this reason the gesture on the third line should not be imitative of the " tearing " nor of placing the stars on the flag, but rather a simple gesture of direction to the broad ex- panse of blue sky, the scattered stars, the Milky Way, and the morning glow, successive. Do not put the first gesture too high. We do not ordinarily see the sky directly overhead. Study each point in the picture and let the expression increase in loftiness to the full sublime in the second stanza. 140 SELECTIONS EOR ANALYSIS AND PRACTICE. LESSON XL VIII. 289. The American Flag, Continued. Flag of the brave! thy folds shall fly. The sign of hope and triumph high ! When speaks the signal-trumpet tone, And the long line comes gleaming on, Ere yet the life blood, warm and wet, Has dimm'd the glistening bajxmet, Each soldier's eye shall brightly turn To where thy sky-born glories burn, And, as his springing steps advance, Catch war and vengeance from the glance. And when the cannon mouthings loud Heave in wild wreaths the battle shroud, And gory sabers rise and fall Like shoots of flame on midnight's pall, Then shall thy meteor glances glow. And cowering foes shall shrink beneath Each gallant arm that strikes below That lovely messenger of death. Flag of the seas ! on ocean wave Thy stars shall glitter o'er the brave; When death, careering on the gale, Sweeps darkl} r round the bellied sail, And frightened waves rush wildly back Before the broadside's reeling rack, Each dj-ing wanderer of the sea Shall look at once to heaven and thee. And smile to see thy splendors fly In triumph o'er his closing eye. Flag of the free heart's hope and home, By angel hands to valor given. Thy stars have lit the welkin dome. And all thv hues were born in heaven. THE A.MKKH AN FLAG. 141 Forever lloat that standard Bheel ! Where breathes the foe but falls before us? With Freedom's soil beneath our feet. And Freedom's banner Boating o'er us. — Joseph Rodman Drake. 290. In the apostrophe to the flag, face directly to- ward it. If you locate it obliquely to yourself and the audience you can face toward it when you address it, without turning too far away from the audience. Inci- dentally it may be mentioned here that we should never turn the back to our audience, nor turn the body further away from it than to the lateral. The flag should be located slightly above the horizontal to fit the senti- ment as well as the thought. Hear the " signal-trumpet tone". See the " long line". What is it that is "gleam- ing"? Thorough Stress, changing to Final on the fifth line of the stanza. Explosive Form. Medium Pitch, changing to Low on "the cannon mouthings". Here is a magnificent scene calling forth all the powers of expression — voice, body, eyes and hands. Where is the climax? Imitative gesture may be used to advantage here, on "heave in wild wreaths" and " g 01 T sabers rise and fall ". Do not change the point of view: personate a spectator throughout the stanza. Make an extended pause between the stanzas to allow a change of the scene. To this end change the position, relax the body and the voice. Commence the next stanza more effusively. Did yon articulate distinctly the second line? Give a clear, 142 SELECTIONS FOR ANALYSIS AND PRACTICE. clean-cut tone to "glitter"; a deep, stern tone to " death ". The author has chosen words which fit the sound to the sense. Let the voice bring out this char- acter till the sweeping of the death-ridden gale and the rush of the waves can be heard. Mark the difference between a " smile " of triumph and a smile of peace. Do not let the last stanza be weaker than the preceding. It indicates one's feelings when he has just won a vic- tory in a battle or in a storm — a feeling of awe, exult- ation, patriotism — rejoicing not in himself, but in his nation that makes his triumph possible. 143 LESSON XLIX. 291. Liberty. Liberty, gentlemen, is a solemn thing — a welcome, a joyous, a glorious thing, if you please: but it is a solemn thing. A free people must be a thoughtful people. The subjects of a despot may be reckless and gay if they can. A free people must be serious; for it has to do the greatest thing that ever was done in the world — to govern itself. That hour in human life is most serious, when it passes from parental control into free manhood; then must the man bind the righteous law upon himself, more strongly than father or mother ever bound it upon him. And when a people leaves the leading- strings of prescriptive authority, and enters upon the ground of freedom, that ground must be fenced with law; it must be tilled with wisdom; it must be hallowed with prayer. The tribunal of justice, the free school, the holy church must be built there to intrench, to defend, and to keep the sacred heritage. Liberty, I repeat, is a solemn thing. The world, up to this time, has regarded it as a boon — not as a bond. And there is nothing, I seriously believe, in the present crisis of human affairs, there is no point in the great human welfare, on which men's ideas so much need to be cleared up— to be advanced — to be raised to a higher standard, as this grand and terrible responsi- bility of freedom. — Continued in the next lesson. 292. What style of composition? For what sort of an occasion is it suited? What is the prevailing senti- ment? To whom is the speaker talking — himself, a few, or a large company? What elements of voice in gen- eral will it require? Will the gestures be descriptive, as in Lesson XL., aiding to bring out a picture, or declara- tive, giving force and clearness to declarations? 144 SELECTIONS FOR ANALYSIS AND PRACTICE. This is a style of delivery that is worthy of much atten- tion, since real life affords so many occasions for using it. In all affairs where men deliberate for united action there is need of this persuasive style — in business, in politics, in religion, in public and in private life. It is argument, though not debate. It is full of noble emo- tion, but not impassioned. Occasions are rare in which impassioned oratory is demanded. But occasions are ever present which demand emotion to stir men's soul's and cause them to act. The action in this speech should be strong rather than abundant. It should be free, graceful and dignified. It should indicate decision and earnestness rather than determination; it should be Front to Oblique in Longitude, and in the upper plane as well as the lower and downward lines. It is an ap- peal to men's judgment which requires mostly the Supine hand. There is definiteness in the third para- graph which may call for the Index finger. There is hope, and there are great interests at stake demanding heroism, both of which express themselves in upper- plane gestures. But more than all else there is an earnestness and loftiness of purpose which express themselves in the carriage of the body, the poise of the head and the soul-fire in the eye. LIBEBTY. 145 LESSON L. 293. Liberty, Continued. In the universe there is no trust so awful as moral freedom; and all good civil freedom depends upon the use of that. But look at it. Around every human, every rational being, is drawn a circle; the space within is cleared from obstruction, or, at least, from all coercion; it is sacred to the being himself who stands there; it is secured and consecrated to his own responsi- bility. May I say it? — God himself does not penetrate there with any absolute, any coercive power! He compels the winds and waves to obey him; he compels animal instincts to obey him; but he does not compel man to obey. That sphere he leaves free; he brings influences to bear upon it; but the last, final solemn, infinite question between right and wrong, he leaves to man himself. Ah! instead of madly delighting in his freedom. 1 could imagine a man to protest, to complain, to tremble that such a tremendous prerogative is accorded to him. But it is accorded to him; and nothing but willing obedience can discharge that solemn trust; nothing but a heroism greater than that which fights battles, and pours out its blood upon its country's altar — the heroism of self-renunciation and self-control. Come that liberty! I invoke it with all the ardor of the poets and orators of freedom; with Spenser and Milton, with Hampden and Sidney, with Kienzi and Dante, with Hamilton and "Wash- ington, I invoke it. Come that liberty! Conic none that does not lead to that! Come the liberty that shall strike off even- chain, not only of iron, and iron-law, but of painful constric- tion, of fear, of enslaving passion, of mad self-will; the liberty of perfect truth and love, of holy faith and glad obedience! — Orrille Dart //. 294. In this selection we have a climacteric advance from beginning to end — not continuous, each paragraph 146 SELECTIONS FOR ANALYSIS AND PRACTICE. constitutes a climax, and the mind relaxes somewhat before beginning the next; but each paragraph as a whole is a step higher and stronger than the preceding. The delivery should conform to this character of the composition. Manage the breath in the long sentences so as to give them smoothness. Manage the Inflection so as to avoid sameness and yet preserve continuity of the thought. To preserve the though tfulness of this selection — the philosophic, compact thought, and yet give it all the energy of powerful emotion; to reiterate, to illustrate, and yet make every word add to what has gone before; and all the while to keep the emotion sub- ject to accurate reasoning; will give scope to all the powers of the orator. You can do it. Study the author's thought till you have it clear. Criticise your every tone; prune every gesture; enter into the spirit of responsibility that the thought calls for, into sym- pathy with the noble land and time in which you live; and then drill, drill, drill, till you express it. INDEX. Abdominal Breathing Art. 47 Action 179 Arm Exercises 10, 18, 37. 103, 148, 152, 161 Arm in Gesture 221 Articulation 105. 113, 119, 124 Aspirate Quality 14 Averse Hand 191 Backward Position 233 Body Bending Exercise 77, 161 Body Torsion 92 Breath, Management of 133 Breathing 46, 58, 67 Brow, Expression of 262 Characteristic Words 168 Chart of Action Page 5 Chart of Vocal Expression Page 4 Chest Breathing Art. 67 Chest Percussion Exercise 118 Clenched Hand : 203 Climax 149 Coiling the Arm 18 Compound Stress 95, 99 Command, An Exercise in 226 Composed Position 233 Costal Breathing 58 Dead Still Exercise 139 Directions of Gesture 180 Drill Position 2 Elocution, Definition of 1 Emphasis 153 Erect Position "2 Essential Elements of Voice (> Eye, Expression of &5*J 147 148 INDEX. Facial Expression 356 Final Stress 88. 00 Finger Exercise 173 First Position 8 Flexion Exercise of the Arm 10 Flexion Exercise of the Neck 85 Flexion Exercise of the Waist 77 Feet, Positions 227 Foot Exercise 25. 129. 161. 166 Force 38 Fore Arm 221 Form 78 Forward Position 233 Full Arm 221 Guttural Quality 21 Hand, Positions 185 Hand in Repose 217 Index Hand 198 Inflection 69 Latitude in Gesture, 180 Laughing Exercise 184 Lips, Expression of 263 Longitude in Gesture 180 Median Stress 93. 98 Mouth, Expression of 263 Movement 60 Nasal Quality 22 Neck Exercise 85. 112, 123 Onomato poetic Words 168 Oral Quality 15 Orotund Quality 13 Pauses 130, 141 Pectoral Q uality 20 Penetrative Voice 202 Percussion Exercises 118, 123 Phrasing 125 Pitch 49 Poetic Readinsr 162 INDKX. L49 Position, Drill 2 Speaker's 8 of Body 233 of the Feet, 1st 8 2nd 8 3rd 227 4th 227 5th 227 6th 227 of the Hand 185, 217 of the Head 241, 249 Prone Hand 208 Pronunciation 105, 113, 119, 124 Pure Tone 3, 7 Quality 7, 11 Radical Stress 88, 89 Reading Poetry 162 Reading, Position of Head in 243 Reflex Hand 215 Salutation Exercise 190 Second Position 8 Sing-song Reading 162 Speaker's Position 8 Stress 86 Supine Hand, 1 86 Thorough Stress 96, 100 Tip-toe Exercise 129. 161 Torsion of the Arm 103 of the Body 92 of the Neck 112 Tremor Stress 97, 101 Waist Exercise , . . 77 Wavering Position 233 Alphabetic Index of Authors Quoted. Alexander. Mrs Art. 98 Bacon, Francis 258 Beecher, Henry Ward 13G Bible.... 72, 136, 155, 187, 240 Bryant, William Cullen 135, 171. 255 Burdette, Robert J 281 Burns, Robert 187 Byron, George Gordon.. 29, 252 Campbell, Thomas. 199,210.273 Carleton, Will 34 Chalmers, Thomas 132 Coleridge, Samuel T. . .100. 232 Colton, Walter 277 Cowper, William 248 Croly, George 75. 199 David 72 Dewey, Orville 81, 291 Drake, Joseph Rodman ... 28 Dryden, John 261 Everett, Edward 245 Finch. F. M 209 Gray. Thomas 53, 80 Halleck, Fitz Green 150 Hemans, Felicia I). . . .15 7. 265 Henry. Patrick 204 Hoppin, W. J 101, 23G 7 , Kellogg. Elijah 41 Kingsley. Charles 145 Longfellow, Henry W 9. 28, 62, 126. 269 Lynn, Ethel 209. 258 Miller. Joaquin 235 Mitford, Mary R 229 Ossian 64 Patton, George W 32 Pitt, William 142 Poe, Edgar A T. 172 Pope, Alexander 156 Prentice, George D 54 Read, Thomas B 163. 170 Samuel 240 Scott, Walter. .43. 44, 204. 223 Shakespeare. Wm..33, m. 74 144. 158. 193. 199. 222. 237 252. 258 Sheridan, R. B 99. 252 Stephens. Ann S 193 Taylor, B. F 63 Tennyson. Alfred 44. '82 Twain. Mark 42 Whittler. John G 82 Willis. X. P 143 150