Jilll: riiiiliill iUilUll !, iUiuutumudui uinunmiuumHimmuHi fuuuiiiuiuauutuui iiiiiniuiiiifrnnmiiTninitifiiiiKiMiniiiiiiiniiiiiuiitiriiiitiririiiiiiiiiiwiiiiiitiiiiiiirdiiiiniiiiuir «|,flj'ii|;;ii,.^«^;;.«&.l?i!!!iii'"'"'«ls:'l';:!!^^ 'iiiimiiriiuiiiiiiitniiiiiiiiiiiiimiiriiitiiiiiiiiiiiiiiiiniiiiiiiiiiKiiiiiiiiiiiiHiiiiiiiiiiiiiiiniiiiiiriiiiiiiiiiiiiiiii: I iiiiniiiiiiiiiiiHiiiiiiiiiiiiiiiiiiniiifiiriiiiiiniitfiiiiiiiuiiiiiiiiiiiiiiiiiiniimiiiiiiiiiiiiinniiiiirKitiinrriiniinrrfiuiiTfrtiiii: UNIVERSITY OF CALIFORNIA AT LOS ANGELES •(» 4> / V EMMA DUNNING BANKS'S ORIGINAL RECITATIONS WITH LESSON-TALKS - . » ' • • • ' • • • * * • • • • . - 1 ' •• :• • •• '. • « « ]£nIaroc^ lEMtion EDGAR S. WERNER ."v- COMPANY NEW YORK Copyright, 1890, iqo8. bv Ehoar S. Wbrnbr j ^Jj^r I ii PREFACE. ' I ' HE demand fnr something new and for something especially adapted to the needs of the reeitatioiiist is the raison d'etre for many of the selections to be found between the covers of this book. The rare delight experienced when reading some gem of fertile fancy, some choice bit of imagery embodied in verse, is, if the one partaking of the enjoy- ment be a public reader, only equalled by the keen regret with which he or she acknowledges that in most puV>lic work such exquisite things do not respond to the general need. They are like choice bric-d,-brac, too dainty and fragile for anything but the closest study and inspection and the most careful touch; demanding eyes educated to their beauties and (juick to discern them, and hands accustomed to such handling. Read the.se choice gems in the drawing-room to the apitreciative few, and the enjoyment will benmtual and your reward obtained; but given the difTiculties of added sjiJice and of a large audience who cannot in the brief interval allowed for a reading, appreciate beauties they have not been accu.stomed to study, and the pearls are too often felt to be thrown away. In my df)uble work of teacher and recitationist, I have carefully noted the points embodied in the most pf)pular selections; and in writ- ing recitations for pul»li(r work, 1 have endeavored to make use of the knowledge thus gained. That so?in' nif.isiire of success h;ts attended my efforts is |)roviMi by tlie ImcI th.il the selections liave be<'oine popu- liir, regardless of their f.iuHN. <>f whifli I .im only too conscious; and, therefore, these se]e(;t ions are olTered not as poems, hut siiii|)l\ as " reci- tations in rhyme." Later I hope to ofTer some practi<-al talks on working-topics for the iv PREFACE. elocutionist. I cannot refrain from one brief hint here and now. It is this : Were I allowed but one rule to use in teaching, one bit of ad- vice to offer luy pupils, one "elocutionary fhng" in the field, and were I limited to the fewest words possible in my rule, in my advice and in my ■' elocutionary fling," those words could be limited to four, and would read thus: "FLAT ABDOMEN, HIGH CHEST." I should insist on having them capitalized, and should place them in that order, because I should want the chest made high by the use of the abdominal muscles; as the abdomen recedes and becomes flat, the chest should become corresponTtingly elevated. I shall stop with just this hint, because if I were to keep on I could talk a whole volume, and that is not my purpose in the present edition of my " recitations in rhyme." EMMA DUNNING BANKS. CONTENTS. PAGE Abou Ben Adhein 136 Aline's Love Song 130 Aunt Rhody's Dream 134 Basting Thread, A 124 Battle Cry 59 Bridget's Mission Jug 7J) Country Dancing 67 Diamond Cut Diamond 20 Dot's Christmas ; or, TheSober Hat 120 Elf-Child, The 100 Emma Dunning Banks's Medley 11 Flil>l)ertygil)bet and Me 14!) Flossie Lane's Marriage 84 Flying Jim's Liist Leap 47 For the Slumber Islands, Ho ! 1.% I'imiiy Story, The 54 (irandma llohhins's Temperance Mission 36 Her Name !)0 His Mother's Cooking 10 How Congress Fought for Sheridan 55 Jack's Valentine 1G4 Kittens and l^ahies 42 Laiin-aiiM> Tin* .Marble I )rcam (50 Ijegend ot |{n>-<- Siitnlay, A 114 Lesson of OI>«'«lit'ii<'«', Tin- lo;} Little Hoy liliic IIG Man's Story, A 78 vi CONTENTS. FAGK Mein Katrine's Brudder Hans 43 Memorial Day at the Farm 146 Mt'n-antile Transaction, A. . . 83 Money Musk 142 Mother's Easter Scarf, The 137 Off for Shimber-Land 141 Old, Old Story, The 40 One Thanksgiving Day Out AVest 68 Only Playing 64 Pat and the Yankee l'>8 Pride of Battery B, The 104 Prince Eric's Christ-Maid 31 Princess Inira and the Goatherd 6 Quart of Milk, A 154 Roman Valentine, A 91 Russian Christmas, A.. . 96 Ruthie's Faith in Prayer 65 Society Flirtation ^^ Soldier's Joy, The 72 Spinning- Wheel Song, The 125 Squeeze in the Dark, A 117 Statue in Clay, The 46 St. Valentine's and St. Patrick's Day 159 Tit for Tat 152 Total Annihilation • • • • 129 Two Thanksgiving Dances 107 Valentine, A 19 Van Bibber's Rock 1 EMMA DUNNING BANKS'S ORIGINAL REGMIONS MD LESSON-TALKS. VAN BIBBER'S ROCK. I. You ask the name of that huge rock which juts out overhead, And looms a hundred feet or mure above that whirlpool's bed? You're not a native here, sir, or you'd surely know that spot — " Van BiVjber's Rock," we call it. and I know you'd never tho't A man could leap from off that height, down in that raging strife, And rise again with breath enough to last a good long life. You don't Ijelieve it! Well, 'twas true; ask any hereabout. The man's name was Van Bibber — but FU tell the story out, II. I s'po.se you know your bearings? We.st Virginia? Just below Kanawha Falls? You do. AVell, then, 'twas fourscore years ago Since settler Rube Van Bibber made that awful dive for life, Lca|)('d madly from that rocky dilT, and l»ravt'(l the wliirlpool's .strife. \'ati liibber was a man <>( note, who owed no one a ilime; A mull who.se worth was valued, sir, in that old, stirring time. When Indians prowled around at night, to steal and kill and burn; For vengeance joined with justice then and maiU" Van Bibber stern. III. And Kate Van Bibl)er! His young wife! They said "t was nire .ind line 'I'o look into her glad l)hif' eyes, note clieek and lips like wine; To see her golden, Hhining hair float almost to her feet ; And, best of all, to know this wife w.is true and jiure and sweet. L 2 EMMA DUNNING BANKS'S Vail Bibber's wife! She saved his Hfe from Indian raj;e and spite; He\i proved himself their hitter foe, yet always won the lifj:hr. For this they hated Kate's 4^ood man, as oidy Indians liate. And vowed an awful Indian oath to scalp him soon or late. IV. One day they chased him— cut him off from help on every side. Yet, when he'd turn and fire his fj^un, they'd quickly run and hide. They pressed and drove him, 'till upon that rock he stood at last, The whirlpool raging mad below, the red fiends coming fast. He turned his head, and looked across the river wide and blue, Saw friends and neighbors on the sliore, despairing what to do; Convulsed with grief, within their mitlst his wife and Ijaby stood, And back of him those demons red, came yelling from the wood. V. I tell you, sir, e'en in that hour he thought would prove his last. Defiance breathed within him still, still blazed his rifle's blast. Death screamed behind, death lay below ; he made a voiceless prayer. When, sharp and clear, a woman's cry pierced all the shuddering air. 'Twas she, his wife, his bonnie Kate, the lass he loved so well; He bent his ear to catch the sound he thought her last farewell, "When strong and sweet came up these words : " Leap from that rocky brink; Leap in, and, if you strike alive, I will not let you sink ! " VI. Down in the grass Kate placed her babe. With one quick glance above A feverish prayer for help she made; with courage born of love Ran lightly down the river's bank; sprang in her skiff alone; While all the frightened settlers stood as turned to men of stone. Yet when one moved as if to aid, she made a motion back, — "No! I, and I alone, will brave the ]joisoned arrow's track; But no one else nuist risk a limb. Sir, ijntrvf a home and wife; I only a.sk you — if — I — die — to guard — my — bal;y's life." VTI. She sped her fragile bark along, until midway the stream; Then looked. The Indians, like a cloud, rushed down with fiendi.sh scream. Two hundred of them f.n one man . the cowards held at bay By just his gun. When that gave out. They thought they'd win the day. ORIGINAL RECITATIOXS AND LESSON-TALKS. 3 Once more above their savage yell rang out that true wife's cry : " Leap down, dear Reuben, take the chance, you only once can die!" His body shuddered at the leap, but never flinched his soul. He measured that dread distance, from rock to water's roll ; VIII. Then," Wife," he cried, " I'm coming ; keep your courage good and stout." Then, straight and sudden from the crag, his body darted out, And down into the raging pool he dropped with lightning speed. The settlers, watching, raised a shout : " G-od help him in his need! " Kate rested one dread moment, while the redskins yelled for blood. Her frail skiff " bobbing like a cork upon that boiling flood;" And all the thousand years gone by seemed in that moment pressed, To one, who watched to see him rise upon the water's crest. IX. i3he darted her bark lower ; then she gave a sudden start, One exclamation followed: "Courage! I am here, true heart!" He ro.se up close beside her, and she drew him in right brave, 'Mid showers of deadly arrows, from what seemed a watery grave ; Nor word, nor breath, nor sound gave she, but faster plied the oar; Her strength was almost wasted, and she worked as ne'er before. The cruel arrows thicker fell, — one .struck and pierced her hand! " Dear God," she prayed, "oh, give me strength, just strength to reach the land." X. She reached the shore. The men came down, and from their throats a shout : "Three cheers for Riil)e \'an Bibber's wife, and settler Rube," rang out. You a.sk ine if she fainted then? Well, no, — she never tried; Like any other woman would, she sat right down and — cried! The Iii(li;iiis let flint iiian .-done. " His life was charmed," they said. ■ .N'aiij^ht f-lsc h:i(l s.ivcd him from a grave, beneath the wliirliJOoPs bed." The baby Kate laid on the grass, in that first awful shock. Lived long, and 'tis his child that tells of old Van Bibber's Rock. LESSON TALK. "Van Bililicr's Rock" is intended to he somewhat in the vein of a char.'icter- recitation. Imagine a man, bhifT, hearty, earnest, and hom-st in nil th.it he says and docs; not a ixdisherl gcntlem.'in, not a boor, hut 4 ' EMMA DUNNING BANKS'S a man who, standing on the historical spot where the event took place, Mould havo sufficient (Inviiiatic intensity Avitliin, to impersonate at tiiiu's, even in description, as the excitement of his narration grew upon him. This done, you have the key-note to the mood into which I wish }()u to thi'ow yourself before uttering a word of the selection. (1) Try to feel as thougli you were going to have a talk, to tell a story to some one. Locate the rock above you on the right, in an ob- lique direction, simply glancing toward it, and the whirlpool beneath (luring the first two lines; then, with a preliminary negative shake of the head, repeat line 3. Allow yourself a gesture in line 5, by point- ing to the rock al)ove and tlie wliirli)ool l)eneath, turning the hand over and bringing it up supinely, in a somewhat impassioned manner on the words " and rise again." Delsarte says, " C(mj unctions are ellip- tical;" therefore, fill in the pause after the word " but," in line 8, with an inquiring look and sliglit movement of the head, as nmch as to say, " if you'll allow me," and the action of the first stanza is finished. (2) No gestures are necessary in this stanza, but I should like you to bear in mind the fact that words are picturesque. The word "stirrmg" with the repeated*/' and the word "prowl," have, when properly uttered, a sound just illustrating their meaning. (3) Make a bright, sunshiny picture of the young Avife, by coloring your tone with admiration, in a light, cheerful manner. You can here be permitted a double gesture (one, according to Delsarte, coming under the genus " moral ") to illustrate her floating, golden hair. The two emotions,. love and hate, color this stanza with alternate light and shade. (4) Increase of rate, making due allowance for rhetorical pauses, marks the first half of the fourth stanza. In line 5, throw the weight well forward on the advanced right foot, the left merely resting on the toes, and the head forward in sympathy with the strong leg. The left hand and arm will recede in opposition to the right, which will come forward and up. the hand shading the eyes while looking "across the river wide and hhie." Keeping tlie same attitude, let the hand slowly leave the brow, and, going forward, point out the " friends and neigh- bor.s." A slight gasp and start of recognition before the word "con- vulsed" will l)ring you back, with weight slightly predominating upon retired limb. You nuist let the pathos of this line form a strong con- trast with the abhorrence expressed in the last. (o) Again remember the picturesque in enunciating the words "de- fiance" and "blazed" in line 2 of the fifth stanza. A quick rearward glance, a sudden recoil, and brief upturning of the eyes will illu.strate the three Jictions permissible in line 3. The womanly cry, fidl of an- guish, yet strong to carry encouragement (lengthening the vowel- ORIGINAL RECITATIONS AND LESSON-TALKS. 5 sounds to give the effect of distance), will suggest itself to any close student or analytical reader. Turn to the right and look upward toward the rock, when giving the call of wifely encouragement. (6) Push out the arm full length, hand vertical, to make the " mo- tion back ; " then say, " No ! I, and I alone,'''' and so on. There is another slight vertical movement of the hand on the words " no one else." Still keeping the arm extended, in statuesque pose, allow the hand to be- come prone, and the arm and forefinger tense and full of feeling, as you say, " Sir, yoii'i'e a hojue and wife." Now let the muscles relax, the arms drop, take a step forward, clasp the hands together and utter the last line brokenly, tearfully, and with a world of prayerful entreaty and pathos struggling through each and every word. (7) Contemptuous hate and scorn have their part to play in the seventh stanza. Then comes once more the imploi'ing wifely cry, with head uplifted and arms outstretched toward the beloved one in peril. In impersonating the wife, look upward toward the right as in the fifth stanza. (8) The husband's answering call in the eighth stanza nmst be full, heavy, and strong, paying diie attention to the lengthening of the vowel-sounds, to keep up the idea of the distance to which the voice must be carried. Naturally, he would look down, as he is upon the rock, far above his wife. In lines 2 and 3, the straight and sudden dramatic gesture is suggested. If you make it double, you unist finish with a right-hand, single gesture. Then comes the hoarse, comV)ined shout of the settlers. You know that the past Is Ix-liind; yow can, therefore, make an effective backward movement of the hand and arm on the words, "and all the thousand years gone by." (9) One word of caution is necessary in the ninth stanza. You will see that the faithful wife needs both hands for work; do not, in the prayer in the last line, clasp or move the hands in .iny way; intense, agorn'zed facial expression and pleading, prayerful strengtli of time are what the student nmst rely ujjon. (10) With the exception of the ringing sliout of tlie settlers, tiie re- maining stanza is finished in a cheerful and exceedingly plain, conver- sational manner. There, fellow-students, have I jjartially succeeded in ^^iving a brief outline for action-.study? Would that 1 coidd convey to you the soid- power, the jtathos and (at times) tragical emphasis which you can infu.se into this .selection ! I can only say; He enthusiastic, Im! analyti- cal, and abandon yourself to every impidse of line fi'('li)i(j, and you will never he criticised a.s heiiig " theatrical." This s<-lection is founded upon fact, and its rendition takes ahout eight minutes. EMMA DUNNING ^ANKS S PRINCESS IMRA AND THE GOATHERD. I. CLOTHED in puri)le and fine linen, Princess Imra from her tower ^'ote.s tlu' snowy .siunnier cloudlets, counts the nioiiiciits of each hour, Till a silvery, tinkling jingle from some distant green-clad hill Nearer comes, and nearer, nearer, making all her pulses thrill. Jingle, lingle, lingle, linglc, tinkle faster, tinkle slow; Jingle, tingle, rush and mingle pride ami love in one wild throe. II. Clothed in purple and fine linen. Princess Imra paces now U{) and down her i)alaee-tower, clasps her hands, and knits her brow- Shall she meet him? No — she may not. She — the royal princess born; He — forsooth — a loAvly goatherd! Such as he were made for scorn. So she sits her at her casement; woman like, she bends her ear. Curves her snowy neck to listen to the jingling l)ells, so clear. III. Tiooms a picture now before her, memory's artist paints the thing. Picturesquely paints a goatherd, paints him like a very king. Paints a frightened, fallen princess, thrown from ofif her snow-white horse. Rears a frightened steed behind her; can the goatherd stop its course? Death seemed destined then for Imra. AVhen tiiat pic-ture fades from view Artist memory brings another; touches it with coloi-s true. IV. Snow-white horse and steed have vani.shed, and the Princess Imra fair Bends above a death-like goatherd. Willing hands with teiiderest care Bear him to King Runid's palace, and no prince of royal race Ever yet had more attenti<;n than this goatherd with a face Sculptured like some fair, young Greek god ; godlike, too, in grace of liml>; Raved he all times of the princess. Imra's starry eyes grew diuj, V. Recollecting how he wandered. Languages of other climes Rolled from otf his tongue delirious, and sometimes he spoke in rhymes. ORIGINAL RECITATIONS AND LESSON-TALKS. 7 Runid's daughter, Princess Imra, wondered much within her heart, What could send a goatherd's fancy through tlie cultured reahus of art. Convalescence proved a foeman dangerous in the lists of love ; Cupid used him m this battle. lun-a, like some gentle dove, VI. Often came and cheered the goatherd as he brighter grew and strong. Hushing all her heart's proud weakness, murmuring " 'twill not be for long," Till an hour came when love's madue.ss burst all channels, sprang forth free. "Princess Imra,'" cried the goatherd, "stifle pride, and come with me; Trust your heart, 'twill not deceive yon, love for me is reigning there. Love for thee reigns here, triumphant, — Imra, Princess, love and dare. VII. " Love and dare the Avorld's cold chitling.'' lun-a rose iip like a queen, Royal princess from her forehead to her arching foot, I ween. Dusky, veil-like, all her tresses, purple in their midnight hue, Rijipled pearl-twined lengths behind her, reaching to her jewelled shoe. Blood-red rubit^s formed lier girdle, (b'anionds on each round, white arm Gleamed and sent out fiery sparkles. Everywhere, to lend a charm, \iil. When she moved, there fla,shed a jewel ; pearls embroidered all her robe ; 'Twa« as though .some hand had gathered, from all quarters of the globe, AH the rarest of earth's jewels, showering tliem n])()n this girl Standing tlicrc beside tlic goatiierd, in her r()l)e of "l)roidered pearl. Queen-like in her wrath, she stopped him with a gesture haughty, grand, Laughing as she saw the sparkle leap from diamonds on her iiand : IX. " Princess Imra wed a goatherd? She was born for jjomj) like this; What can yon, sir, have to olTer" — quick be stopjied lier witii a kiss, Cla.sj)e(l lier closely in his strong arms, — "OlferV tins, and tliis, and this! Offer If)ve that outweighs diiinionds, love tliou art too poor to miss." Fhi.slied an, is re- quired during the utterance of the word " No," in line 3. Just before the word " bends " a pause and slight movement of the head in a listen- ing attitude are permi.ssible in line 5. (3, 4) Gesture, as though the mental pictures seen by liura were actually, for the time being, }>efore the narrator. Double gesture, the left hand following the right as though bearing something to King Runid's jmlacc, is aiio\va})l(' in line 3 of the fourth stanza. (5) Conversational and devoid of gesture. (6) During the impersonation of the young lover, let the voice be clear, deep and ringing, tin* IimikIs outstretched and impassioned. Place left hanpri;it(' wonis in the l.isf line. (7) A suddf-n cessation of the lover's speeeii asfhougii iMt<'rrupIe(i by Imra, A double gesture, made slowly and beginning almost from the crown of the head, during line '.'>. This gest ure descends slowly until t h(i closing words of the line, tlu-n linishes on the next line, with a move- lO EMMA DUNNING BANKS'S meat of both hands, to iUustrate the floating lengths of hair behind her. Other fresturos, if desired, are suf^^ested by the remaining hnes. (8) No jrest'ires necessary ; facial expression must supply action-work entirely. (9 10, 11) The gesture of repulsion — "haughty, grand," with arm outstretched full length from the shoulder, hand repellent, vertical; the whole body poised in sympathy with this mood of outraged pride, — should be made before, and yet almost simultaneously with the open- ing words of the ninth stanza. Contrast well the voices of Princess Imra and her lover. The former should ring out sweet and scornful; that of the latter should be deep, full, thrilling with f«'('ling, which tlie goatherd vainly strives to suppress. In the last line of the tenth stanza, the voice of the princess is sweet and low, rising slightly and with a firm emphasis on the word "will" occurring in line 1 of the eleventh stanza, and ringing forth with a glorious decision throughout line 2. Quick, impetuous movements of the hands, as if casting off her robe and jewels, will constitute the remainder of the action-work. (12, 13, 14, IT)) Once more listen and once more ring out the bells, as you listen. Rei^eat the words quickly again and again, connecting them and letting them die away in the distance, if you choose. The work will be jileasing if man.agetl artistically. I know whereof I speak, for it has been tried with marked success. In fact, the remainder of the selection depends upon this artistic jingling of the bells, also a care- ful distinction in the quality of the voices while impersonating the characters, so that a blind person could distinguish the voice of the man from that of the maiden. The alternate ringing of the bells and interruptions, mado by the uttered descriptions inserted between, can be made exceedingly pretty. HIS MOTHER'S COOKING. HE sat at the dinner-table there, with a discontented frown: " The potatoes and steak were underdone, the V>read was baked too brown ; The pie too sour, the pudding too sweet, and the roast was much too fat. The soup so greasy, too, and salt, 'twas hardly fit for the cat. " I wish you cf)uld eat the breaing and wringing of the hands, will keep one busy with action-work during line 1. AVhile impersonating Deacon Smith, change the voice to a deep, kindly, consolatory tone, and make use of slight ((uivering, ])rone movements of the right hand, as though soothing some one in distress. Entirely different is the voice employed for the independent, unsympa- thetic character of the deacon's wife. A palm-leaf fan unght be made to do good work in emjjhasizing her peculiarities. Somewdiat jerky, and, at times, extremely spiteful emphases, mark the delivery of the words. Once more a thin, pathetic, humbled wail, announces Widow Brown. The deacon and wife speak to the right, the widow to the left, and the twang of Yankee dialect predonnnates in all three of the widely different (pialities of voice employed. That of the deacon is deep and kindly, and of the wife harsh and pre-eminently self-asserting, in strong contrast to the humble, pathetic speech of Widow Brown. (2) Her little pleading bid for the sympathy of Mrs. Smith is all in vain. Sharp, decisive, pitiless as fate, the stronger woman lays down the law to her weaker sister, waxing more and more emiihatic, and at the same time more lavish of her pauses, using them to gather addi- tional strength for the final annihilation embodied in her closing words. During her pauses the fan-movement becon^es aggressively furious. Rise as you say " massy." The last words and culnunating stab of Mrs. Smith are given with unmistakable satisfaction. (3) The rasping voice ceases, and once more come the soothing tones of the deacon. His confusion, as he finds himself on the brink of pro- fanity, is capaT)le of producing nnich merriment. The irritable, pro- longed call of " Jo-si-ah " proves a welcome relief for his embarrassment. (4, 5, 6) The fourth and half of the fifth stanza are to be given while standing. The fourth stanza consists chiefly of simi)le, earnest narra- tion, largely dependent upon facial expression and (>m])hasis for effect. Strong Yankee dialect introduces the comedy sketch of Simeon (jireen, who demands that plenty of " vim " be put into his " I vum " and " Je- whittaker, it hurt." Then, after sinking into the chair, use the palm of the hand jus an imaginary letter-page, and read the letters with the utmost sweetness and tenderness of expression. (7) After the utterance of the name "Simeon Green," rise slowly, and impersonate him in a patrorn'zing, pf)nipous style. In line 3, a.s- cending gestures, expressive of admiration are j)ermissil)le, with a little wave of the hand from the wrist upAvard, and droi)ping down on the words " frf)m dome to j)ave." Silent i>antomime to illustrate the elaij- ping of hands will explain the latter part of line 0. ORIGINAL RECITATIONS AND LESSON-TALKS. ij (8) In the merry, rippling laughter of Lady Gay Spanker give as many " ha-ha's" as you please, and \vith her first words put a sort of shake-of-the-hand tone into her jolly, rollicking, musical voice. De- liver "how did my fllly behave herself, Gay?" in a mascuhne tone. Now comes the dashing, ringing, jubilant and famous racing speech. It is a psean of victorious glee. There is an involuntary step forward to the right, with a swift indrawing of the breath and gathering to- gether of the forces in a sort of racing ecstasy, just before ringing out the words "gloriously. Max, gloriously." The right hand comes out supinely and emphatically on the words " sixty horses in the field," and stiffens in sympathetic rigidity, so to speak, on the words " all mettle to tlie bone." Away goes the hand upward in tlie air, as you say, " the start was a picture — away we flew in a cloud," with little turns and excited waves of the hand back and forth for " pell mell " and " helter skelter." Make a gesture of attention, and let exultation throb in every syllal)le of " the fools first, as usual, using themselves up." Point to an imaginary Max, then to self, finishing with a back- ward wave as you say, " first your Kitty — then my Blueskin — and Craven's colt last." Bring out with intensity the words "then came the tug." Now draw the body well back, curving the right hand pronely to the waist-line in a preparatory movement for a pushing, forward gesture on the prolonged cry '* Kitty skimmed the walls." Do the .same with left hand for "Blueskin." Crowd on the excitement; stand still farther back, and with imaginary rein do some determined driving, as you say, "the colt neck-and-neck, and half a nn'le to run." Oh, if I could only inspire you here with the truly racy, vividly glow- ing feeling that this glorious speech demands! You should thrill with sjjjrit and enjoyment to your very finger-tips, while with the utmost (piickness of transition each phase of feeling, each pose and gesture, must melt and merge into the one which follows. "At last the colt balked a leap and went wild" leaps out exultantly. The exultant ex- citement contirnies; make a forward gesture on " three lengths ahead;" "six feet if an inch " raises the han above. When well rendered the effect is beautiful. (12) Negro dialect should be studied from a real old-time southern specimen if i^os-sible; failing that, from the very best teacher that can be procured. The word " chi-ile," in line 2, runs from a low tone in the first syllable to a squeak in the .second. The darkey-laugh at the end may be prolonged at will. Noav comes a bit of boisterous grief and extravagant wailing and rocking to and fro, in the form of Irish dialect. The four lines of the " Soldier's Joy " should be intoned to the second strain of the nuisic known by that name. [See page 72.] (13) Now comes the effort to climb from the comedy element to the tragic heights embodied in the " Curse from Leah." The voice is low and vibrant with the majesty arising from outraged womanly feeling. She turns to the right, and with asuperl), dominant, coiiipclling gesture cries: "Silence, perjured one." In the rush of words that follow, the hand and arm play a silent, active, eloquent part in obedience to the outlet of long jHMjt-up feeling. A shuddering wave of hand and body and inclining to the left suggest themselves on the words " no, no," as do al.so the final wanling off and decided .step to the left as you .say, " the stamp of divinity no longer rests there." Rudolfs roice is at once masculine and hesitating. Leah turns on him in a j)erfect l>laze of de- nunciation as she cries, " and — you — believed — 1 had taken it ! " Words cannot express the emphasis on the word " believed," nor the indcscrilj- able execration that leaps forth and concentrates it.self on that hated word " Christian." If there exi.sts a pathos w ithout weakness that can be exemijlified in the " fury of a wc^uan .scorned," it should color the words, " this, then, is thy work ; this the eternity of love you {promised ORIGINAL RECITATIONS AND LESSON-TALKS. 19 me ! " Drop quickly to the right knee with hand upraised in invocation to heaven for vengeance, in the explosive lava-like burst of passion that follows, rising to the fullest majesty of stature, with hand high in air, pealing out the words " love is false, unjust; hate endless, eternal," prolonging the syllable " end " and letter " e " of the latter words. After Rudolf's speech, Leah is like a treuuilous sheet of white flame in the terrible grandeur of her wrath. If you can feel yourself quivering, glowing and consuming with this awful intensity, you will not fail in the work which follows. "Blasphemer" is whispered. As a threaten- ing wind rises gradually before an awful tempest, so the words that fol- low become more and more intense, until a sort of sobbing, despairing Avail runs through the sentence, " what of life have you left me," and, turning to the left, she covers her face with her hands. Rudolf speaks; she turns, and now the molten volcanic stream of passion knows no withholding; it is literally poured upon him in all its scorching, seeth- ing blast. All the depth and majesty of tone and gesture at conuuand will be needed to attempt to express in the three " aniens " the grandeur and desolation of the despair of " Leah, the Forsaken." (14, 15) The hardest of the work is over, and I feel like drawing a long Vjreath with and for you. If Yankee dialect comes easily, what follows is but play, and is to be delivered in easy, conversational .style, with any little gesture preferred to render emphatically the words, " any kind o' jjlace." A VALENTINE. I STOOD at Rimmers window, and I saw that there were signs That the festival approaching was the bold St. Valentine's; Then I sutldenly remembered that the worthy Mrs. D., Ljwt year had very kindly sent a Valentin*' to me. (^uick I stepped uj) to the (counter, and a smiling maiden brought All tlif best of tlif <'oll<'i-ti(in, tliinking one (jf thcni I sought. ■■ For a sweetheart," said she coyly, " here's a l)eaiitiful design;' 'TwjiH a fan with painted roses, and the legenil " 1 am thine." ■' .No, it isn't for a sweetheart, ijut my wife," 1 shyly .said. Hack that maiden put the boxes, and she tossed her little liead, Orying: "()h. I i)eg your pardon! " while she smiled at the mistake, ■' That's tlie .sort of thing you want, sir — iVs flic i:/ii'(ij>i'st -»- ^■ ^ as? t £E ^ E3 ^i * ts=S; *: ilj^ T ^if-^ 'tis but a pen - ny to Twick - en ham Town, The how sliall I get 7no to Twick - en - ham TownPSlie'da think 'twas a jour - ney to Twick - en- liani Town. O dt /r\ s ^^ 's ^-J- EE^ Ji If ^ 22 EMMA DUNNING BANKS'S pgslg^feaiiiESJpgp^ Fer - ryman's slim and the Fer - ryman'syounp, And lie's rose in her bon - net, and oh, she look'd sweet As the hoi, and O ho, you may call as you will. The ^ w ^->P=F -h 3tc 5 -V just a softtwang in the turn of his tongue, And he's lit - tie pink flow - er that grows in tlie wheat; With hor moon is a - ris - iug on Pe - tursham Ilill, And with iifcJ^S 9iS^ ^h & « * 5= :^^ 3^F=it=t; f r 1 -A — , T pi^^ l=(^=^-=t3 :i=il^ :^d fresh as a pip - pin and brown as a her - ry. And cheeks like a rose and her lips like a cher-ry, And Love like a rose in the stern of the wher-ry,There's \ ^^^i^^JEE^^ £:3.=^i=a^ -J 1— 9^ V. : ^^ t- I^^^F=|^ r If- !== ORIGINAL RECITATIONS AND LESSON-TALKS. 23 H- ^^-^ ^^- it- •^^^ -^-iv- :i- 'tis but a pen - ny to Twick - en - ham Town, sure and you're wel- come to Twick - en - ham Town, dan - ger in cross - ing to Twick - en - ham Town. Efe: i- -i- -J- 9^— ^- lit -J. 1^ — I E :i ^ /r- ?± I --Bi "^ --i- ye - ho, Ho - ye - ho, Ho - ye - ho Ho! rail. i i^ S o 1 [r/^e italicized lines are to he sung.] I. /~)fl, Hni-ye-ho, Ho-ye-ho, irhn'sfor the ferry f {The hrivn was your name, and well done this surprise; 'Twas diamond cut diamond, 'tis plain to be seen. But marriaji^e will end our sharp-shooting, I ween." The answer Kate made him Avill never be told; 'Twas something like " pardon," and something like "bold." Aunt Belle — just imagine it!— startled them, so, Ve-Hoi-ye, ho, Ho-ye-ho, Ho-ye-ho, Ho!^'' LESSON-TALK. fi) When you have made your bow and listened to the premdf playecT by the accompanist, you are ready for the opening words of the song, fiive them with expression; make them light and gay, teeming witn Duoyant life and spirit. Sustain and prolong the words begin- ning witu the capital letter " h.*' and also the word "who's," in the first line. In line 3 treat likewise the words " row " and " quick." With the cessation of the song comes the impersonation of Aunt Belle. The voice eaujioyed is refined, but higli-pitched and nervous. Turn .sliglitly to the leit with an annoyed expre.ssion of countenance, and little im- patient cla.sping and unclasping of the hands. At times turn slightly a.s if to /ise and leave the room. The word ".screech" is brought out with a spitefulness, as if to obtain .sati.sfaction in that manner for the annoyance sulTered through her wilful niece. (2) Admiration colors line 1. After the conjunction "and," begin- ning line 2. introduce the following action-work: Holding up the dress daintily on either side, point the right foot well forward and rest the weight upon it, leaning forward as though bending over some on* Ascertain i.f you are w<"ll poised by lifting the left foot from the ground. If you can maintain your position on one foot you are perfectly bal- anced, i.ct the whole i)oise of the body and the expression of the face become the emlxxliuieiit of archness anil mischief as you givt' line 4, and the snatch of .sontr introduced inunediately after. The "ho" reaching to H> must break and abandon itself in a silvery peal of prol.onged, rip- pling laughter, so full of geiuiine mirth as to become contagious, run- ninir ii'^" and making' the two following lines fairly tingle with fun Stand •"« thoMgli convulse.! wiih uiiitli. (he forefingers pointing to the earh, aji vou describe the exit made i)\ Aunt Belle. Finish ph'a.santly and naturally. (:') No i)relu(le is desirable: only thi' acc<)iiipiiniment is neces.sary. Sing .softly the fust line of the sonir. but let the facial expn'ssion be v«ry merry and ki. vowing. Fun ropriate gesture. A quick upward flourish of the hand near the head on the words " rose in her cap " will be finished by a corresponding ■wave downward near the dress. A slight hesitation during lines 3 and 4 will show a little doubt as to the probable station of this masquerad- ing belle. In line 5 decision, combined with a warding-off movement of the hand, as though forbidding thought of anything else, constitute the facial expression and action-work. During line G let the tones adapt themselves to the words employed, seendng to float upon the air during the latter part of the line. The gesture, too, must be harmoni- ous; a little, quick tossing movement on the word "tossed," then a subtle, floating wave during the remainder, which must still itself into a prone position of the hand on the words ".stilled its soft breath;" finish by simply pointing toward the imaginary shore. (5) The last two lines of the song are given in a deprecating, self- pitying, appealing manner. You must actually seem to see the picture of the sparkling moonlit water, as the right hand sweeps upward toward the supposed golden ball, and then, lowering, suggests the lumi- nous waves beneath. Turn the head to the left, and let the attitude picture the idea of listening intently to the notes of the baritone, heard from the right. (6) A gesture as though rowing a boat, and a rhythnncal beat of the voice on the words "keeping time," in line 1, also on the expression "surer and faster" will be found admissible. During line 4 assume once more the listening attitude, as though fascinated by the song. Let the word " Oh," in the song, be brought out in a burst of admira- tion born of appreciation, and enunciated in a staccato manner. *' Sure and you're welcome " is given in a hearty, rollicking manner. (7) Leaning over, move slightly from side to side, as if to obtain a better view of the boatman and the maid. By the expression of the eye, make the scene seem quite distant; a mere suggestion of shading the eyes with the hands will serve to aid the illusion. You are supposed to be in sympathy with the lovers, and repeat almost unconsciously the actions you witness for the benefit of the audience. Therefore, as you see the boatman push the boat, you show what his action was by a swift drawing in and raiiid jiushing out of both hands. Prolong the last note of this line of song, and let it float and die away in a mere murmur of musical tone. In the la.st line, make a pause where the ORIGIXAL KECITATIONS AND LESSON-TALKS. 29 dash is, and reserve the words "Aunt Belle " as a sort of mirthful sur- prise. (8) Mischievous merriment sparkles in every note of the song. A quick shading of the eyes before you announce that "he's not — rowing quick, and he's not — rowing steady." The jiauses introduced and rep- resented by the dashes are filled in l)y a very naive and amused expres- sion. During the last line i^at and clasp and unclasp the hands, and suggest a walking to and fro, expressive of irritability and nervousness. (9) That a teasing, bantering mood prevails in the song Avill be seen at a glance. Wave the hand gracefully upward as you picture the moon's rising; designate the boat in the distance \y\ a lower movement. During last line of song shake the finger in an emphatically amused and knowing manner on the words " danger*' and " cro.ssing; " finish by pointing out the ilirection^of Twickenham Ferry. Make an extended gesture to the left on the word " far," returning the hand on the word "near." A somewhat shrill voice, with, however, a hushed effect and a drawing-down of the mouth and raising of the eyes in holy horror to impersonate a go.ssiping old maid, will amuse during lines G and 7. (10) Make the word " unflinching" picturesque by a certain firmness in the tone, and an uplifted bearing of the body. The girlish, fun- loving spirit of Kate must evince itself in the last two lines. (11) Simple narraticm. (12) Backward gesture to illustrate the flight of Aunt Belle; amused expression of couiitciiaiice. During description of tlie young fellow, evince the following emotion.s, vi/,., pride in his manliness, surprise at his fine dress, and atlmiration of his personal characteristics. Use a deep voice in personating L<;rd Cuthbert Adair, and speak obliquely to the left. The forefinger of the right hand might drop into the palm of the left in an explanatory manner, as you .say, "lilanned in this wise." (13) The liands and arms widen somewhat apart as you say "all pride." During lines :{ and 4 let the strongest suggestion of patlios and despairing agitation control the tone. EndeaAor to convey the idea of W)me terrible news to tell; fliendisi)el tlie illusion and di.sclosethe farce by a laugh wiiich ninst run all through the words "your rom.ince fell through." A bow ushers in the name " ( iithhert Adair." Megin line 7 a.s though it w;u* an afterthought, something almost forgotten, and as though you desired her attention yet a nioUK lit longer; then triumph- antly enumerate the means by whii-h Kates identity w.is made clear. (1J) Siiif the aetion to the word as you say " My lord then stepped l).'urk ; " then courtesy for Kate in a mocking, sweeping, stately manner; flash the glance iipwa'd as the Ixxly becomes more erect. In sweet, easy tones, indicative 01 well bred composure, begin Kate's speech. 30 EMAfA DUNNING BANKS'S Point alternately to self and Lord Cuthbert as you speak to the right and say, " I will follow your lead." (15) Make this assertion brij^htly and audaciously, with a sort of pride in the spirit of the girls of to-day. A quietly amused, subdued sort of triumph runs thronjjfli line 2. There is a i)rolonf;:ed wavering stress on the wt)rd " strange ; " where tlie dash is employed after " were," pause and laugh as though irresistibly on the words " too soft." Ring out line 5 in triumph, and during the last line pat the foot upon the floor, and look down in a pretty fit of girlish confusit)n. (l(i) Once more let the deep, soft voice of ]jord Cuthbert be heard. Bring out the words with a manly glow of admiration and decision. Each grouping of words in line 7 is stamped with greater stress and more enjoyment of the denouement than those preceding. Finish the bit of song as you courtesy with Bb or high C, according whether you sing it in the key of W? or key of F. Only at the commencement need the prelude be played ; at all other times the accompaniment should commence promptly with the singer. By skilfully introducing the notes of the air in the accompaniment th^ singer, if a little doubtful, may feel easy about singing correctly. The selection may also be intoned to the nnisic if one does not desire to sing. The utmost brightness and vivacity must characterize the work. SOCIETY FLIRTATION. a A ^ ^^^^ straw to drift and whirl at mercy of the wind? ■«»■ Ah no" (intoned decisively) " such fate were too unkind; No aim, direction, hope, or will? A vain and useless thing!" " You wrong the straw," he cried; " its aim is made one with its king; Sans fear, sans doubt, it Avith King Wind sails buoyantly along." She caught her breath: "And if the wind," she sighed, "the wind be strong?" Her eyes elude his searching gaze; he bends and speaks more low: " Kismet!" he cries, " which will you be, the wind or straw?" " Ho-ho! " Ha-Hal" her laugh rings out. " T just was wondering whether We'd better just commence again; you see — I think — a feather A far more dainty simile, more airy, light, and gay. .Just think it o'er," she laughed again. He turned and walked away. And thought: " No depth is there to sound; I will not even try." Her i>ul.ses .stirred and beat this tune: " Far better laugh than sigh." Flirtation's fun if one keeps cool, holds sure and firm the reins; But lest one slip witli tongue or lip, 'tis better one refrains. Emma Dunning Banks. ORIGINAL RECITATIONS AND LESSON-TALKS. 31 PRINCE ERIC'S CHRIST-MAID. I. i i DKING me lilies," cried Prince Eric — kingly Eric, tall and fair— D " Whitest lilies, breathing fragrance, to adorn the golden stair Leading to the cross and altar, in our chapel Easter day : — 'She who l)rings the fairest blossoms shall be crowned my bride come May." II. Spoke his eyes, this message telling, as they rested looking down On a lady fair and youthful : " There is where I'll place my crown." Gentle Constance caught his love glance; flushed her face like budding rose. All the ladies caught it likewise, and— they all became her foes. III. For her skill with all things blooming was a wonder through the land: "Twas a.s though Prince Eric olfered, then and there, the girl his hand Highly born, but poor, was Constance; from an old patrician race Her inheritance was honor ; all her wealth, a lovely face. IV. Quf)th the stately Blanche, her cousin, she with eyes like cold blue stone. To herself solihxiuizing: " Poor is Constance and alone; For her bread on me dei)endent ; not a coin hath she to spend Of her own. Ah, ha! I'll manage that she doth no lilies tend." V. All tlic hulic's of the court then, ladies fair, of high degree. Took to ganTning with a good will; 'twas a sight full rare to see IjU.strous silks and rarest hwes, hands iishiue with twinkling gems Seeking 'mong tlic l)uil)s of lilies for Prince Eric's diadem. VI. How he laughed, this grand young Eric;: "Let them work and Irnve their way, CoiiHtance' lilies will outljiooiii them every one on r<]aster day." Ah! he little drciimcd the sad truth; dreamed his gentle lady fair Sat alone, and v<'ile(l her white face with her floating, shining hair. VII. Sat alone in bitter angnif-li. for the Lady HIanelie had said. " Not a blossom shall you own. girl; you depend on me for tin'amise of svich l)looming known before throughout the land. But the tender, gentle Coii.stance sickened as the lilies grew; Fainting, jjraying, 'neath her burden, wearing heart and soul in two, XIV. Till, at la.st, her strength departed, left her on a bed of pain. Then she called her cousin to her; told her it was all in vain; She couM no more watch the lilies. " But you shall," burst forth a cry From her suxjer.stitious cou.sin. " You shall tend them, though vou die) ORIGINAL RECITATIONS AND LESSON-TALKS. 33 XV. " There is magic in your fingers; none like you can coax their bloom. You shall watch them, you shall tend them, though it drive you to the tomb." At her mandate, servants lifted, bore the sick girl from her Ijed Wt\en the lilies needed water, till, at last, they bore her — dead. XVI. For on Friday before Easter— day our Lord was crucified — All her gentle spirit left her, and she closed her eyes and died. Then the maids said : " We will cover her with lilies while we may, And we'll take her to the chapel to be bui-ied Easter day. XVII. " But we'll keep her death a secret." So the Lady Blanche knew not, When she ordered each fair lily to be taken from its pot And in her name sent to chapel, what a snow-white bride there lay Covered o'er with fragrant lilies, for Prince Eric, Easter day. XVIII. All the Easter be!ls were ringing, tolling, ringing, peal on peal. As Blanche glided down the church aisle, as she thought, " Let Con- stance kneel To the God she loves to worshii), let her kneel and let her pray; I have conquered; she will see me Eric's princess, come what may." XIX. O'er the long, long box of lilies, Eric stooped with saddened eyes, Wondering much why Constance sent none; then he paused in mute surprise, — Something stirretl and moved beneath them; quick he tore the blooms away, — "Constance!" cried he, "true, sweet Constance! you have brought me flowers to-day." XX. As from ndsniaid," take the attitude of humility, liands at side, heels together, and bend the body, retaining the pose until the cloHC of the line, rising erect on line 3. Fill in the i)ause after the conjunction "but" with a reverent ujjward glance; make an as- cending gesture (HI the word ' (lod;" keei) the liand raised a.s if to invoke the miracle. On the phra,se "save for her Prince Eric's love," let the left hand follow, making a similar but not entirely parallel gesture, and sway forward with he;id uplifted and facial expression prayerful and hopeful. While reciting the i>rayer, do not kneel; facial 36 EMMA DUNNING BANKS'S expression and movements of the hand can be made to reveal all the desolation and pleading: anjiruish of the appeal. (i;?) Throii^hout tho first two lines this stanza is bright and cheer- ful, growinji; in i)ath(»s toward the close. (14, 15) In these stanzas we find an imperious burst of command from Blanche, tinged with superstitious alarm, for she believes that none save Constance can make the lilies blossom as they should. (18) A trained elocutionist will make line 1 of this stanza very effec- tive; one not well versed must be careful about overdoing, which, in this instance, would produce a tedious, straiiu'd effect. The line was written with reference to tones requireil in bell-imitations ; note, there- fore, the number of " lis," vowel-sounds, and " ngs" in the line. Strike heavily on the vowels, make the tone pulsate again and again on the " lis," growing gradually fainter and fainter, and prolong the phonetic, hunnning .sound of the " ngs." (19) In the last line of this stanza you have once more the rich, deep voice of Eric. The remainder of the selection is conversational and cheerful. GRANDMA ROBBINS'S TEMPERANCE MISSION. I. OLD Grandma Robbins bent down low and smoothed the curling hair. Then kis.sed the brow of one who knelt in tears beside her chair. " What is it, dearie, can't you tell old grandma all your fears? There, there, don't cry;" her own voice l)roke to see the flood of tears. And hear the wild, heart-rending sobs Imrst forth from that young wife, The bride of grandson Charlie, whom she loved more than her life. II. Her splendid boy! his generous heart, his loving glance and clear. His manly ways enshrined him in her heart of hearts most dear. And now sweet ISfay was weeping so; her heart grew sad and chill. The old voice faltered as she said, " O May, is Charlie ill?" The sobs came faster, then May spoke: " Oh, no, grandma, not so; Indeed, I almost wi.sh he were; far better that, you know, III. " Than see him go down, .step by step, to fill a drunkard's grave. O grandma, grandnial can't you tell me .some sure way to .save Our Charlie? This month past, his staggering step and reeking breath Are all I've had to welcome home, until I longed for death. ORIGINAL RECITATIONS AND LESSON-TALKS. 37 The temperance meetings do much good, but some men, don't you know, You can't get near them. Charhe's one; I've coaxed, but he won't go. IV. " He'll promise, grandma, oh, so fair, to let the drink alone; I fear he cannot help it. 'Tis so sad to hear him groan And curse himself for being weak; I know he means to try. I've hid it from you, grandma, till I had to tell or — die.'' Poor grandma's whitened, silvery locks with May's gold tresses blent, .\.nd when she raised her sweet old face, ten years o'er it seemed spent. V. " Well, dearie," through the patient voice a note of sorrow fell. As when a minor chord is struck in some sad, softened swell, — " Well, dearie, when th« mother of our Charlie died I said, ' O Lord, why is itV' Now I know and thank Him she is dead. Perhaps the boy can't help it, for his father was the same; But bring him here on Sunday, and we'll pray in Jesus' name. VI. " He used to love his grandmii, and I know he loves you, May; Perhaps our prayers together, dear, may help him win the day." And thus our handsome f 'harlie. wlio did temperance meetings scorn, Strolled unsusi>ecting into one that pleasant Sabbath morn. His young face .saddened, and the tears were very near his eye When grandma said : " My dear, dear boy, you know the old must die. VII. " My call may come at any time; and, dear, I want to pray With you to-day, and have you kneel down here with me and May." What could he do )jut kneel right down and hear the prayer she made? " Dear (io»l! forgive me, for the Ijoy you in these old arms laid Has gone jistray. I sadly fear that I aJii much to l)lanie; I should h;- »'e taught hiui, all his life, to dread the cup of shame. VIII. " I gave him cider, home-made wine, without a thought of harm; And yet I knew his father fell a victim to driidv's charui. I know I am in fault, de.ir Lord : oh, |)Uiiish ///' .ind save Our brave, iiright hoy from thedrejul I'.ite ol a low drunk.ini's grave. And luore than this, 1 pray 'I'hee, Lord, uiake him a ('hrisfian, too; He cannot stand without Thy help." "Amen," sigheeak but think them, allowing the head, torso and limbs to evince your emotion in pantomime. By "limbs" I mean arms and legs. Tliis pantomime -work I have found most effective in teaciiing. Tiie voice becomes more anrei|ominat ing iti line :!. If the last line l>e ehanteil liy invisible voices, while tlie s|»eakrT Stands in a listening attitude, the t'fTecl is very pleas- ing. If tliis suggestion he not praci icalile. recite or chant it yourself, using, if possible, while ciianting, deep contralto tones. 42 EMMA DUNNING BylNKS'S I (3) Negative movement of head and hand on the words "no snow." A ritjht-hand gesture of location on the word " land " in line 2. A floating iiu)ti»)n on tlie word " wafted," combined with a circling move- ment above the head on the words " golden halo," will Ihiissh this stanza. (4) Moods are subtle things; but when I say, s{)eak as though feeling the glow of that " magic-like enchantment," I know I shall be under- stood by the intelligent majority. On line 3 make a backward gesture to the left, to locate the homes of the wise men. Let the right hand ascend and point to the left, and, as the speech progresses, move slowly across the front to the right, as though led by the glittering path of the star. A pause after " wondering," in last line, and slight movement of the hand to make it vertical upon the wrist, and recoil of the body in sympathy, will illustrate the word "awestruck;" then, and not until then, let the hand drop from the ascendant. (5) Conversational, descriptive tones begin this stanza. During last half of line 2, l)ring both hands together preparatory to throwing them widely apart on the words " world's great heart." (6, 7) A tender seriousness predominates during the si.xth stanza, and A glad excitement through the seventh. (8) An ascending gesture during last half of line 2, combined with graceful downward movement toward the head, on the jjhrase " floats down to us," and ending in a listening attitude, with hand some dis- tance ])ack of ear, head bent forward in sympathy while yourself chant- ing or listening to chanting of the last line, will close the selection. KITTENS AND BABIES. Two kittens there were, a black and a gray, and grandmamma said with a frown : " Don't cry, litfle Bess, we can't keep both ; the black one we'd better drown." The morrow dawned, and rosy and sweet came little Bess from her nap. The nur.se said, " Go into mamuia's room and look in grandma's laj)." " Come here," said grandmamma, with a smile, from the rocking-chair where she sat ; "Come see the twin sisters Ood has sent; now, what do you think of that ! " Bess looked at the babies a moment, touclicd the wee heads, golden and brown ; Then looking at grandmamma soberly .said: " Which one are you going to drownV LlZ7AK M. Hadlet. ORIGINAL RECITATIONS AND LESSON-TALKS. 43 MEIN KATRINE'S BRUDDER HANS. I. MEIN shveetheardt haf von brudder Hans, von vicked leedle poy. Py Shinks ! I vish me dot his folks vould make heem some em- ploy; Gif heem some shobs or somedings else; fill heem mit vork, I mean, He make me alvays shudder so, ven e'er I courdt Katrine. II. Katrine she vash hees seester nice ; Hans say, I vash her beau ; He shumps oudt ven I kiss Katrine, und call it " von big show." I hundt heem under tal)le legs; he hide heem back of chair. Den bush it so I tumble down, und den he bulls mein hair. III. Von tay he dakes der glue-pot down und paste all up der chair; I sits me down — I naifer knew how long I must shtay dere. Katrine, she vants her soam ice-cream, I say: " Veil, ve vill go." I start, but oh — I get not up. Hans make anudder " show." IV. Py grashious! dot chair steeks mit me, und dance me roundt der room; Den Katrine tries to knock it f)fT, righdt off me, mit a broom. I yell. " Holdt on! dondt poke so Jiardt, dot hurdts me like der dooce!" Hans lafT und say : " Yust soak it off, hot vater make dot loose." V. Hans run und bring dot vater quvick, und pour it on der chair; Und d.»n heem run. 1 vasli so mad, I make lieeni awfid shcare. Dot diair dondt move, ocI ladder falls with crashing sound, IV. A crackling, treacherous m.iss. High leap the flames to light .1 ilmililc grave. Then s<»ni<' one sol)s : " Dear < ind ' too young was she to dif, and lie (00 brave." Lending upon sym- patlietic feeling within for efTfct. Tlic only gestures permissible are those of location, to designate the brook and the man lying on the ground. 52 EMMA DUNNING BANKS'S (8) On the words " am I sane " let the tone be half aspirate and half vwal. The words must strugt^le faintly forth. In tlie impersonation of Flossie use sweet, Iiij^h, ehiklish tones. Make her very younf^, not more than four or live years of age, and deliver the lines in a coaxing, tender tone of voice. (9) While repeating tliis line, turn as though about to depart, and make an asv-endiiig gesture while speaking of the Deity. A faster rate and an intensity evincive of great feeling marks the descriptive element. (10) On line 2 make alternate gestures, ascending and descending, first with left and then with right hand, on the words " her God " and also on " his own." The last-mentioned gesture should be prone. Then comes again the iuipersonation of the little one. (11) During Flossie's repetition of the " Bible task," make use of the forefinger of the right hand in what is called " the teacher's" or defini- tive gesture. Repeat the words " love your enemies" in sweet, childish accents ; then let the deep voice of the man, hoarse and broken with emotion, take up the same slowly and wonderingly. Take the next two words " and those" in the same manner. Let the little teacher re- peat each time as far as the dash, and then her strange pupil must take the words after her. This bit of work is very pretty and effective. Separate the two characters by moving the head obliquely to right and left. Pause before beginning the work of ScEXE Second. (1) Step slightly forward with face uplifted and hand upraised, as though just discerning the "sunlight." Finish with a rounded, curv- ing movement on the remaining words of the line, the torso swaying gently in sympathy. A movement suggestive of a colossal figure 8 lying ui)on its side, thusoo, would be graceful and suggestive. The jispiration of the voice and the listening attitude, with which line 3 begins, will suggest themselves, as will also the facial expression and action-work necessary to disclose to the audience what the ear imagines itself to hear, and the eye to see. (2) Deep, haughty, arrogant voice; quick, impatient, imperative gestures for this character, and fast, inten.se, emi)hatic utterance dur- ing the description. (3) lUu.strate })y action the manner in which the tramp felled the father, making a quick, double, prone gesture to the left; the body stoops obiicjuely \n that direction, the riglit leg forward and knee very much bent. This attitude must be strongly dramatic. Now, make a (juick movement of the hand from belt, as though drawing a knife and raise it high above the head to gain force, for the terrible blow. Every ORIGINAL RECITATIONS AND LESSON-TALKS. 53 nerve must be tense as though strung with steel, and so much strength and energy put into it that the body and hand must tremble. The facial expression is suggestive of savage, relentless purpose, — all this during the first line and a half. Then gradually let the nerves and muscles relax ; if you have made this sufficiently strong, you will feel a corresponding weakness and reaction come over you. Imagine the knife to drop, and slowly assume an upright pose. Both hands should rise tremblingly to heaven, while in broken accents the words of the last line are delivered. Pause between the scenes. ScEXE Third. (1) Picture the lighted sky by an ascending gesture and face up- turned. Listen, with hand to ear, while the voice peals and rings out in the cries of " fire."" Point again to the sky, and then, using explosive force, explode each word, commencing with " red like blood," to the end of the line. (2) Hush the voice to low, despairing accents, while describing Flossie's danger. Tlie outstretched arms, and imploring, agonized cry of the father need no comment, save to suggest that there be a move- ment indicative of looking wildly from one to another of the crowd for help. (3) Fix the gaze as though scanning the crowd in front, then say: "Ijook! one steps forth with nmffled face!" Make a swift gesture to tlie right on the words " leaps through the flames." Wat-ch and describe what follows with intense interest. Lower the voice during the closing sentence of line 3, using a prone front gesture, neither high nor low, while describing silence. Make the words " burst " and " sobbing wail " very picturesque, cla.sping the hands despairingly. Sluidder and shrink ))ack, as the ladder falls. Enunciate the word "crashing,"" and also in the fourth stanza the word " crackling," in a harsh voice, to make them j)icturcsfjue. (4) On th«' \vords " liigli leap"' make an ascending gesture. After the conjunction " and," fill in the pause by a vertical gesture to the right as though pushing something away, at the same time turning tlie head in opj»ositi()ii, ju< though th«' siglit was tof) much to bear. ("lasp the hands higli, uplift the f.icc with an expression of agony, during line 2. Move the liead slowly tf) the right, as though impelled, yet dread- ing to do so. Then let th(^ voice ring out in high tones of joyful ('xcitement on the words "Sec! seel" and the words following. Clasp again the hands and turn the head, making the wonls " (jod lielp him yet to save" an inten.se, jjrayerful, jigonized ajiiKJal. 54 EMMA DUNNING BANKS'S Scene Fourth. (1) Ring forth this cry, as though imitating the man in his excite- ment, pointing liim out on the words " he cries." The gestures consist of swift passages of the liaud and arm in iqjward air. (2) The voice of the man sliouting from tlie crowd must be rough and full of exultant glee, at discovering the whereabouts of the escaped prisoner. On the words "jail-bird," " outlaw," put the hand out su- jiinely. as though shownig or granting the point, then make the hand prone and use a descending movement on the words "thief indeed." Let the hand and arm circle proudly overheard, to show that he took "kingly lead." (3, 4, 5. G) The gasping, choking utterances constitute the difliculty of impersonation in these stanzas. Half-closed eyes, and clutching motions at the throat and breast, as though struggling for breath and air, will be found effective; also staggering movements l)ackward. Verj' artistic work is required at this point, as it is the clima.\ of the pathetic work of the selection ; and let me enjoin the utmost care in the rendition of the words of the dying man. A descending prone gesture, .slow and quiet on the words "sealed it there," and an ascend- ing movement equally slow on the words "sent to God," finish the action-work of the selection. THE FUNNY STORY. IT was such a funny story, I wish you could have heard it, For it set us all to laughing, from the little to the big. I'd really like to tell it, but 1 don't know how to word it, Though it traveled to the nnisic of a very lively jig. If 8ally just began it, then Matilda Jane would giggle, And Mehitable and Susan try their veiy broadest grin; Anil the baby, Zachariah, on his mother's lap Avould wriggle And add a lusty chorus to a very merry din. It was such a funny story, with a cheery snap and crackle, And Sally — she could tell it with so nuich dramatic art That the chickens in the door-yard would l)egin their cackle, cackle, cackle, cackle, As if in such a frolic they were anxious to take part. But Sally she could tell it looking at you so demurely, With a woe-begone expression that no actress would despise, That, if you had never heard it, why youM imagine surely. You'd need your pocket liandkerchief to wi^je your weeping eyes. It was all al)f)ut a — lui, lia, ha, ha, and a — ho, ho. ho, lio! Weil, really — he, lie, he, he! i never ccjuld begin to tell you half The nonsense there was in it, for I just remember clearly, It began with — ha, ha, ha, lia, and ended with a laugh. JosKi'iiiNE Pollard. ORIGINAL RECITATIONS AND LESSON-TALKS. 55 HOW CONGRESS FOUGHT FOR SHERIDAN. I. OLD Winchester and " Little Phil,'' our Sheridan's glorious ride, Will long, long be remembered; and ever with patriot pride Will swell the hearts of soldiers; brave heroes yet unborn Will rise and call him grand, indeed, for that fierce battle morn, Like meteor glancing quick through space, or lightning's flash through night, " Dare-devil Phil," and wild black horse, as pictured in that fight. II. For many weeks this soldier grand a fiercer battle fought ; The courage and relentless will with which his spurs were bought Were still his own. The foe was Death, remorseless, grim and sure, A foeman who each fight must win with high, low, rich or poor. The first morn of a fair June month dawned fresh and clear and bright, Upon a bed of restless pain our general tossed all night. III. Those watching how he fought with Death, so bravely down life's hill. Thought sometimes he bad rejiched the foot, he lay so weak and still; When, suddenly, he whispered low for cooling drink; a glass Untf) the feverisli lips was held; he drank — " Oh, did it pass?" He .said, they bent low down to catch the words, " my bill — you know- It passed — the House — oh— did it not?" They sadly answered, "No." IV. He sank upon the couch again, trust mirrored on his face; " They'll not so slight me, it will come," he said with i)atient grace. Dear hero, how you trusted all! 'Twere everlasting shame If e'er our nation had refused your great, undying name The place which frii-iuls demanded it upon the roll of fame, A " general of tlie army,'' " fearless ann come pleadingly forth, as the voice wails out the longing cry " Cleonis," in line ;}. The impersonation of the remembered speech of Attella is sneering, haughty and arbitrary to the close. (")> The int<'rjection "ugh "and words following in line 3 may be strongly rendcn'd. A shudder of repulsion seems to thrill through the whole i)hysi(iue, and the hands lor an instant cover the face, as though to slnit that horror out. Ivxtend the right arm and hanil in a reiiellent gesture, and let the " mighty will" speak forth in every word which follows. (6) On line 3, an oblique gesture jus though designating the studio of Cleoriis may. perhajts, be allowed. Drop upon one knee, during the iiiipii>sioned invoc;ition to the gods, .iikI ring out the tones plendiiigly, forc<*fMlly, and with resistless eloquence in their .ippe.il. Sometimes cljisp the IimihIs. anon separate and rai.se them on \\\\i.\\ in t he inteiiM^ excitement here prevailing. The hands may be powerful, elo(|ii('n1 .'liils in this despjiiring, oiitniged cry for lielp anro is an orchestra, soft, slow luusic* would form an t'llVctivc accomp.iiiiiiH'ul. The calls of " Lau- reaiiie"iu the ninth stanza should be U'n^tlicncd, and would be greatly helped by the musie takinjr them up and seeiiiiu}^ to repeat, prolouff, and echo the effect. Clasp hands to breast during last two lines of the tenth stanza. (11) The voice is vibrant with love and pride. In line 4, an impulsive double gesture, with the hands thrown caressingly, winningly out, on the words, " behokl i-,aureame." (12) A long-drawn s^gh serves to usher in the words "Ah nie!" and the same wearied, longing spirit characterizes the first four lines. Then some one from behind the scenes must be trusted with the prolonged cry of " Laureame! " She starts with hand pressed convulsively to her heart, and murmurs the next few words. Again comes the cry " Lau- reame! '" She motnits the .steps of the pedestal, as directed l)y the gods, and exclaims " 'tis he," with one hand behind the ear in listening atti- tude. Once more comes the cry; and, as she repeats the last words, the arms come slowly forward and are extended in loving welcome to Cleonis, and thus we leave our statue " Laureame, the Marble Dream." Curtain falls. ONLY PLAYING. A LITTLE old woman ])efore me Avalked slowly down the street, Moving as if a-weary were her feeble, tottering feet. In the folds of her rusty mantle sudden her footstep caught, Antl I sprang to keej) her from falling, with a touch as quick as thought. When under the old poke-bonnet peeped out a winsome face, Framed with tfie flaxen ringlets of my wee daughter, Grace. Mantle and cap in a twinkling dropped off at my very feet, And there stood rhe little fairy, beautiful, blu.shing, sweet! Will it be like this, I wonder, when at last we come to stand On the ringing golden pavement of the l)lessr'd heavenly land? Losing the ru.sty garments we wore in our "old age" time, — Will our better selves spring l>ackward, serene in a youth sublime? Instead of the shape that hid us and made us old and gray. Shall we get our child-hearts back again, with a brightness that will stay? I thought but my little daughter slipped her dimpled hand in mine; " I was only playing," she whispered, " that I was ninety-nine." ORIGIXAL RECITATIONS AND LESSON-TALKS. 65 RUTHIES FAITH IN PRAYER. I. RUTH'S mamma sang out: "Ruthie! Ruthi-e! Ru-th-i-e!" Called her thrice, Then said : " I wish the child Avas here, for I've got something nice To show to her." Now /thought Ruth was in the arbor green Anil found her; listened, peeped, and then I caught these words, un- seen: II. " I fink I'll set my table now, and ask some folks to tea. Ze first s'all be my jiussy tat, an' s'e s'all sit by me; Ze next s'all be my bow-wow dod — b'ess his white turly head; An' zen my Lady Lillie doll — oh, I fordot, s'e's dead! III. " I jiut her in her toffiii V)Ox, an' jessed ze rest in black. AVhat s'all I do? What s'all I do? I muss, nmss det her back. I know ! I'll p'ay ze dear, dear Lord to make her live aden Like Laz'rus did! I'll p'ay weel hard, an' zen I'll say ' amen.'" IV. Dear, dimpled, little, baby saint. She made a picture rare, K> tlown .'^he knelt; her ro.sel)ud face, enframed h\ shining hair, Uprai.sed, in earnest pleading grace; above clasped waxen hands. She looked some floweret lent to eai'th, Ijy radiant angel bands. V. Sweet baby Ruth ! Her " Lillie doll " in truth to lier seemed dead. So when she prayed, " Dod dive her life,".she me.int each word she s.-iid. 'i'liat little, lisping prayer of faith! Was't answered? Who shall say? Within the house sat all the d(jlls in finery so gay. VI. It put to sliame their former robes, the " Lady Lillie doll" Wore dress .iiid hat of i),ile blue silk, with rose-lined j)arasol; Her " tollln b(jx "' of purest \\ liitc, \v;is to be seen no more. But in its stead a carriage lined witli pink stood on the floor. VII. Ruth's inaiiuna kissed her; then slic s.iid : " My dearie, this surprise I ina- your trusting hearts, this anj^el faith-drop rare So guard, that when old age shall come, 'twill prove a fountain fair. LESSON-TALK. (1) The .<5weet, high head-tones assumed in the impersonation of the mother are held a little longer with each successive call of"Kuthie!" for each time she imagines the child farther off, and the distance to which her voice must reach i)rolonged. The remainder of her speech render simply and naturally, with no element of impatience, but a shade of disappointment tingeing the tone. In the beginning of the new sentence in line 3, drop the characterization of the mother and give an additional emphasis to the tcme, and a slight conversational gesture on the pronoun " I," by pointing to yourself. Gestures allow- able on " listened, peeped '' suggest themselves. (2) In this stanza we come to the impersonation of the baby girl, and do not, I pray, pass lightly over her burden of sorrow. Children's griefs, we must remendjer, seem to them, for the time being, extremely heavy, and equally hard to bear. The voice, of course, must be light and of purest front placing, and the impersonation is made earnestly. She commences in a very hapi)y manner, as though filled with some sud- den, pleasant thought. In planning whom she shall invite to her little impromptu tea, she counts them on her fingers. " Ze first s'all be my pussy tat," and down comes the forefinger of the right hand upon the corresponding one of the left, with a cuiniing little nod of the head as she says " an' s'e s'all sit by me." She counts her " bow-wow dod " as second; and, then, proceeding to the third finger, is about to enumerate lier best-beloved among her dolls. Her .start of utter l)ewildermentand grief as she remembers her dollie's death, and the sense of her bereave- ment coming home to her, can be made very effective, and the children will like to imitate it. Clasp the head with both hands on the phrase, " Uh, I fordot, s'e's dead ! " (3) In line 2 the clasping of the hands together and the childish grief are real and earnest as she cries out imploringly: "Whats'aZZ I do! what s'all I r/o?" In strong contra.st is the relief evinced in her facial e.xpression and attitude as she realizes that she may caiTy her trouble to "ze dear, dear Lord," that she can "p'ay weel hard," and "zen say 'amen.'" (4) This stanza is a description, having for coloring a strong admira- tion, called forth Vjy the memory of the pretty picture made by the ORIGINAL RECITATIONS AND LESSON-TALKS. 6y little Ruth. If the recitation be given by a child, I think I should ad' vise a gesture made descending, right hand prone, on " lent to earth," letting the hand ascend and wave gently upward on " radiant angel bands." (5) Clasp the hands and give the lisping prayer, " Dod dive her lif^" very earnestly. A gesture as though designating the house, in line 4, and the action-work of the fifth stanza is completed. (6) Use an easy conversational tone through this stanza. (7, 8) la the seventh stanza make sufficient change in the voice to impersonate the brief speech of the mother. In the next few words re- sume your own manner; then once more adopt the sweet, childish tones and quaint earnestness of the little Ruth, and finish the selection easily and naturally. COUNTRY DANCING. n n~AKE your places !''^ Goodness gracious ! Don't go like a flock of geese. "Honors all!''' Keziah ]\Iuggin, take your hat off, if you please. "Forward four and hack again!'''' Jerry, go the other way. "Balance all ! " Jake, how you topple ; have you lost your balance-- say? "Lemonade all!'*'' Bless me, Hiram, don't kick up your heels so high. "Swing your partners ! '''' John and Sally, stop your courtin'on the aXy. "liiylit and left all round!''' Not that way; you're a-gittin' mixed up tli.ir. " Sashay all ! "' Them cornfield gaiters make more noise than I can b'ar. "Forward two and back again!'''' Jim, don't throw yourself away. " Dos a do!''' Ket'jt the st<»i» there, boys, I pray. "Eight hands roniid !'' ^Jow mind your eye there — Jake, you lu-ver danced before. "Ladies change!''' See Polly Simmons, there she goes upon the floor! "Gentlemen balance to your ^^rrr^/ier.s/"— Sua i»— there goes my little string. " Sashay /larliicr.s dninillii' iniddl' .'" Ike, (piit i)incliiM" Poll) Kiii;^-. "Lemonade all !" Wliew! it'sw.inii licre. Pete, you dance likt' clinil)- irig stair>. "Ladies—" Tliere! my E-string's busted. " Swingyonr p;irtners totlieir chairs ! " 68 EMMA DUNNING BANKS'S ONE THANKSGIVING DAY OUT WEST. I. '' I "'WAS a merry, frlad Tliaiikssivitip:, and r<>lations from the west i Helped us eat our turkey dinner, pumpkin pies and all the rest. Round the hearth we watched the tire-gleams, lighting faces young and old. l^ahy Alice strove to catch them, as they flickered, shy yet bold, >'()W retreating, now advancing, now in shadow, now in light, Till at last the baby caught one, and held on with all her might. How we laughed aloud as grandpa roused up quickly from his doze, For the rav of dancing firelight babv caught was — on his nose. 'p' II. 'Twas a simple thing to laugh at, but it made us all feel bright. So we clapped our hands and shouted, when somebody said : " To-night Is the time for grandpa's stoiy that he promised us last week." Then we grouped ourselves to listen, while he cleared his throat to speak. Now, perhaps you'll think that grandpa was some very ag6d man, But, although we called him "grandpa," he was really — Uncle Dan. Baby Alice was the grandchild, and we fell into her way " (Trandpa-ing" a man not lifty, with his dark locks not yet gray. III. How I wish I could repeat it just as he did, with his vim; AVhy, at times he looked not twenty, in the firelight's flickering glim, And his wife, our dear Aunt Mary, looked so lovely and so young As she bent and listened fondly to that story from his tongue. He began it something this way: " Let me see, 'tis thirty year, Thirty-six, ago last evening, and a night to make one fear. We had left the ea-st in spring-time for the lonely western wild; Nancy's parents brought me with them, for I was an orphan child. IV. " Quick we built our lone log-cabin, thirty miles from any town, And our Nan, a bright-haired fairy, danced about in blue stuff gown. I was twelve, and she but eight then, but I loved her all the same; Though a boy, I hoped to win her. hoped some time she'd bear my name. Thrf)Ugh the golden-hearted sununer hard we worked and were content. An old settler from the city, where he said his life was spent, Came and helped us, and f)iir Nancy's eyes would open wide and stare At his tales of western wild life, tales of wolf and snake and bear. ORIGINAL RECITATIONS AND LESSON-TALKS. 69 V. " Of the first she seemed most fearful, for she then began to pray, In her simple childisli fashion : ' Please, Lord, keep the wolves away.' Well, the fall came on right early, and it seemed to me that Nan Pined a httle ; when 1 asked her if 'twas so she said : ' Now, Dan, Don't tell mamma, 'cause she'd worry, but I wish I had a pet — P'rhaps you'll think I'm ahvays wishing for something I cannot get — But, indeed, I think if only I'd a dog or little cat, When I can't get girls to play with, I would be content with that.' VI. "After that I'd lie at night-time, wide awake, and think and think How to get those pets for Nancy, for I could not sleep a wink Till the riddle was all solved out. Then one day with boyish pride Straight I went and asked the master could I take the team and ride To the city, and gave reasons why it seemed that I must go ; And he said I'd worked so faithful that he could not say me no. So two days before Thanksgiving, with a load to sell in town. And instructions from the mistress how to purchase a new gown, VII. " Off I started. Well, I got there, sold my load, and then began The real object of my journey — how to get those pets for Nan. Finally I found and bought them, shepherd dog with puppies six, And the man threw in some kittens, full of cunning little tricks. When my queer load was all ready it was very near to night, But I hoped I and my cargo would reach home before daylight. Soon I had the stars for company, and the moon rose bright and mild ; For an hour or so it lasted, then there came a change so wild, VIII. "And a storm loomed up so sudden, I was forced to take a rest And seek shelter in the forest, and, if I tlie truth confessed. E'en though fear and I were strangers, it seemed ghostly in that wild. And I then and there remembered, I was then and there a child. How the wind liowled out its lierceness, wailing like some soul in pain; Then a lull came througli the blackness, and the storm seemed on the wane ; So I started f)nce morf lK)HH'\var(1, talking tf) my cats ;ind dogs, And I cheered the frightened horses, when they stumbled over logs IX. "Which the storm laid in our |)ath\vay. Thus we jogged some time along, While the wind kf])t up its liowling. and I'd fry to sing a song 70 EMMA DUNNING BANKS'S Just to make it seem more ' folksie.' Then the stars came out once more, Everythinj; was .smooth and peaceful, till I heard a sullen roar So blood-curdling in its horror that it chilled iiic then and there, 'Twas SI) lierce antl so unearthly; then — 1 tl)ou';iit ot ISaiicy's prayer; HuT no time was left for prayiufj^, all tilings now meant 'do and dare,' For the famished wolves wei'e coming, starved and screaming from their lair. X. ■' ( )h, to hear the tortured howling of that snarling, snapping band; Oh, the blows I gave my horses, with no .sparing, shrinking hand, As I .stood up and cried: ' Faster! go it, fa.ster! O my (iod!' How it all romes back upon me — till I'm buried 'neath the .sod Will at times the awful terroi-, of that horrid, threatening death Overwhelm me, agoiu'ze me, almost seem to stop my breath. I made gooil u.se of my i)istol, till I'd fired off every shot. And the brutes would stop and wrangle, o'er the one slain from their lot. XI. " So at times I gained upon them, then again the horrid fray "Was so close I cried like Nancy, ' Dear Lord, keep the wolves away.' Came a flash of inspiration, and the mother with one pup Quick I threw the snarling devil.s, to light over and eat up. Then Fd goad the frantic horses, lash them to still greater speed, Threw out pupijies, threw out kittens, though it seemed a coward's deed. Till we reached the dear log-cabin, with the daybreak's eastern light, Just as my great hero horses sank down dead — gave up the fight. XII. " I'd one kitten and a puppy in my arms, as through the door In I staggered, and fell f.iinting, senseless, on the old oak floor. Ma.ster .said his little Nannie had been praying ail tiie day: ' Bring Dan back toeat Thank.sgiving, and, Lord, keep the wolves away.' One Thank.sgiving, eight years later, Nancy, here, became my wife. That wee kitten and that I>iippy. rolling rf)und in playful strife. Are des<-en(lants of the ones I brought from town for |)ets for Nan, When the wolves so nearly made an end of uncle ' grandpa' Dan." LESSON-TALK. (1) A cheerful, animated, conversational manner should characterize the greater part of this se!ecti(jn. Endeavor tf) i)i(rtiirray('r in line 2 the head is ui)lifted. A double gesture, as though throwing something 1)ack\vard, is permissible on line 4, and on the hist half of line 5 another gesture .as though lashing tlie horses maybe made. Rapid rate jn-evails in the voice, and the gestures must be made quickly. Designate the cabin by a forward ges- ture, and iihI tlie stanza sadly. (12) .\ descending pro?ie gesture on the words " fainting, senseless" is suggested for line 2. On line 5 a slight movement of the hand toward "Aunt Nancy," and the kitten and piq)i»y may be pointed out in lino 8, and so ends the a ii-iip l)oy, To remember nie, a lonely child, and dance the ' Soldier's .Joy.'" [Repeat second strain very soflly and more slowly. J Years had pa-ssed, our Nell w.is Iwciitv; .Tack h;ul I)irf hdays twenty- eight; Tiiiic found Sue a i)hiiiii» yoiin^^; iiiatron, wliilc jjoor Fred had met his fate Fightiiit; hr.ivcly for our I'liion. .Jjick w;is witli liiiii when lie fell. And he took his dying message home to Sue and (Jousin Nell. 74 EMMA DUXNING BANKS'S V. When the war was over Jack came home and found the child he'd known So fair and sweet, he hoped and tried to win her for his own. Jnst a l)it ro(juettish was she and his heart she sorely tried, Tantalized and teased liiui till he thought she ne'er would be his bride. But they spent one glad Thanksgiving in the country at a farm; In the evening they had dancing, and Jack offered Nell his arm Just as tir inspiring music of the " Soldier's Joy" l)n)ke out. And the promi)ter raised his voice and gave the old familiar shout VI. [First strain.] Of "Salute your partnerft,'^ "Balanee ally Ah. quickly time flew back; Nellie felt herself a child once more with dear, old, honest Jack. She remembered how .Jack glanced with her and left the merry crowd. Thought of Sue and Fred the while her step kept time to fiddling loud. [Repeal first strain.] Now it's "Swing your partners,''— did Jack hold her closer, closer still? Misty tear-drops veiled her bright eyes as she looked up 'gainst her will, For she saw determination in the eyes of trusty Jack, Felt that he as well as she had swept along time's backward track. VII. [Second strain.] Now it's "Sides cross over, bal-an-c^,'''' the heads may take a rest, Jack resolves that be it " yes" or " no" he'll put his fate to test. So between the giddy ma/.es of the dance he woos his wife As he asks that she, his childish sweetheart, will be liis for life. [Repeat second strain.] All her flirting ways forsook her at the tremble in his voice, But the glance and smile she gave him, made his faithful heart rejoice. Prompter called "Rifjht hand to partner,'^'' as she gave her answer coy, Promised that in place of " soldier's," she would be a husband's joy. LESSON-TALK. Were you to ask me what mood .should predominate when giving this selection, I should answer, a dancing mood, and add that a merry, mirthful, sparkling spirit should characterize and give color, life and expres.sion to the work. (1) Begin in even, conversational voice, giving e.special emphasis to the words "prettiest" and "you" in line 1, making the pronoun still more marked by a playful shake of the flnger at .some imaginary ac- quaintance in the audience. In line 2, give the word " laughing" a bright, merrj- inflection, and linger long enough on the words " deepest, ORIGINAL RECITATIONS AND LESSON-TALKS. 75 truest " to brin^ out their full meaning. Let the hands separate from the front and widen somewhat apart as you say, " all have lived once more." Then let the head droop in mock pity, lingering strongly on the word " woful," as you depict the spirit of the child. As a prelim- inary to line 5, sway the body till the weight rests fully on the forward right foot, the right hand poised as though to aid in the act of listen- ing, not, however, too close to the ear; then let the hand drop from the wrist and dart obliquely forward, to illustrate the supposed direction of '• the fiddle ''cross the way." The word " floated " should be prolonged in a manner descriptive of its meaning, accompanied by a sympathetic wave or floating of the hand back to the listening attitude. Before re- peating the first half of line 7, let the hand move nearer the right ear; seem to listen for a brief space, then turn the head to the audience, give a little nod and say, "she could hear the prompter shouting;" tlien turn the face obliquely to the right, shade the eyes, pause, then finish the line as though announcing the result of your observations. Give the last line as though in sj'mpathy with the child. (2) Place special stress on the words "coaxed," "pleaded" and '■ begged." The sister should speak to the left in a precise, firm and decidedly admonitory manner, helping the emphasis with the forefinger of the right hand while saying "no, no." Little jerks of emphasis on the words "very, very foolish," and a strong suspicion of displeased .1 iiiazement colors line 4. In the same line, after the conjunction " and " ;i pause is made emi)hatic, and the climax of old-maidish horror is at- tained by throwing both liands high and to the left, as though to ward off some dreaded calamity, at the same time turning the head to the right, and rolling the eyes upward in virtuous disgust, while ejaculating the words "young men." Durinj^ line 5 let the body sway forward, weight on right foot, hand shading the eyes at first; then, leaving them, move forwjird horizontally from the shoulders to point out the dancers. Coniliinc this gesture with a backward movement of tlie hand on the words " fjeliind her," and let the body Ijecome erect. Imi)erson- ate Jack's speech by a deep voice and merry, natural manner. Gestures will suggest themselves on the words " me and Cousin Sue and Fred." (3) Now cfjincs the difTicult part f)f the wf)rk, whicli cftiisists in inton- ing the words in iierf'ect time, having ce imbued witli this idea. Slu* hears flie merry music, and in an <'(iually merry mood endeavors to fit her words to it, as a dancer suits his steps to the time and melo(l\ of the violin. Tliis thorontrlily in your mind, if you play at ail, learn the melody of " The Soldiers Joy ; " if not, Lave .some one <1<. it for you, y6 EMMA DUNNING BANKS'S playing: the first strain through twice for the third stanza. Patiently tit the syllables of the words to the notes of the music. As a rule, one syllable is intoned to one eighth-note, except tlie bist syllable of the hne, which requires to be held while two eighth-notes or one quarter- note is played, as the case may be. During the third stanza it is the rule to end each line with a quarter-note. The division of the words at the end of the Unes and the quarter-notes belonging to them are as follow : Line 1 (words) playing — Soldier's — Joy (notes) d — g — g; Line 2 (words) be a — drummer — boy (notes) c — a — a; Line 3 (wortls) soon will — say good — by (notes) .? — g — g; Line 4 (words) that's what — made me — cry (notes) g — g — g; Line 5 (words) 'fore you — went a — way (notes) d — g — g. Line 6 is an exception, requiring a quarter-note for each syllable of the word " bal — an — c(5 " (notes) e — a — a. Line 7 (words) now it's — la-dies' — chain (notes) d — g — g; Line 8 (words) dance it — all a — gain (notes) g — g — g. (4) During this stanza the second strain is played twice. For every quarter-note allow two syllables, and for every syllable at the end of lines 1, 3, 5, 7, play two eighth-notes. The words " last " and " fate " in lines 2 and 6 are intoned to the time of the quarter-note d in the fifth measure. Lines 4 and 8 end precisely as do the lines in the third stanza, allowing a quarter-note for the last syllable. By following these direc- tions implicitly, you cannot fail to intone the words in time to the music ; by jiractice you can render them as fast as you choose, and by clo.se attention you can give them rapidly, in time, and also with ex- pression; the gesture and feeling mirrored in the countenance will greatly aid in the latter. Do not make the mistake of sacrificing time and rate, in this selection, to infiection, pauses and rhetorical rules; if you do, the character of the selection will be lost. All is to be made subservient to the lightness and brightness of the melody. We must not endeavor to make a march out of a jig. (3) Intone the first half of line 1 without action. Then sway lightly forward and oT)liquely, and clap the hands in time to the words " they're playing "Soldier's Joy,'" and shake tlie finger knowingly as you .say " it's ju.st the thing." During line 3 turn to the left, and while twi.sting the rings \i\Hm the finger, pout and swing the skirts after the manner of a spoiled child; then, with a sudden impid.se of confession, turn to the right again, throw out both hands and intone line 4. Line 5 re- quires for gesture a .shake of the finger and toss of the head on the ■words " I knew." In line the right hand goes to the ear on the word "listen." Then comes a .swift imitation of the old fiddler holding the violin and drawing the bow, combined with an instantaneous change ORIGINAL RECITATIONS AND LESSON-TALKS. yy to a heavy, stentorian voice while giving the prompter's call of • all salute your pai-tners."' Keep up the heavy voice as you say " bal— an — ct'," ])ut let the fidiller's gesture give place to a dainty catching of the skirts with both liauds. and a backward dancing movement. During line 7 take swaying, dancing steps alternately to the left and right toward imaginary vis-a-vis, giving lirst the right hand and then the left, according to the figure of " ladies' chain." Keep time with eyes, head, l)ody and feet during the next line, bringing the hands joyously and excitedly together on the word " Sue." (4) As you once more assume the prompter's voice in the call, sway one step to the right, Ijend or dip with the knee, and whM completely around to the right again in time to the music ; then use a high, child- ish treble and shake the finger as though scolding, when you say, "Jack, you must not whirl so fast." During line 2 assume the heavy voice and the fiddler's attitude and gesture; lighten the voice as the gesture changes to combine with one of the clasped hands on the wonl " how." Daring line 3 balance to the left, looking over the shoulder to the right and tidking to Jack; then turn and balance to the right toward Jack and finish line 4. During the four remaining lines the nmsic should be gradually softened and subdued. On the word " fell," ending line 7, a downward, prone gesture will suggest itself, to be changed to a wave of direction on the word " home" in the last line. (5) The words " fair and sweet," " hoped and tried," should be deHv- ered with a strong emphasis and feeling. A laughing impulse running through the voice combined with a merry shake of the head and fore- finger will give character to the lirst half of line 8. Strongly emphasize the words "tantalized," "teased" and "ne'er." Use the left arm for ge.sture illustrating Jack's courtesy in line 6. Bring out the word " in- spiring" strongly. (()) 'J'lie rules for time and intonation given for the third stanza ajiply here; so, referring you to them, we will proceed Avith the action-work. Once more seem to hold the violin, to draw the bow, and to call out in stentorian voice after th(^ prompter's fashion, "Salute your partners," and once more catch the dress daintily on either side and dance back- ward JUS you say " Balance all" in the same heavy voice; then let the gesture melt into a third as yon make a backward jnovemont with the hand to illnstrate the flight of time. This art of combining gestures, of letting one (Iis.solve into anotlier, so to speak, once learned will never be regretted. Keej) time and step involunt.irily, liftintr the lieni of the dress a tiny I)it during line \. Again use the heavy voice and bring to view the picture (A the old fiddler, while calling out "Swing your I)artner8;" then suddeidy cross both arms at the wai.st and Inat your- self to an api)reciative, 8ugg<*stive hug, the eyes dancing with fun, as y% EMMA DUNNING BANKS'S you say, syini)athetically, "closer, closer still." Deliver the next line delicately ami tciuU'rly. Straighten firmly and proadly on the word " determination," and linish the action-work of the stanza by a bacii- ward gesture. (7) The heavy voice and action of the fiddler drawing his bow, fol- lowed by the catching of the skirts and the dancing-steps backward on the word " bal — an — c<5'' are again repeated, combined with a ges- ture which might mean "take good heed," when you ainiounce "the heads may take a rest," and therefore give the lovers time to talk. De- termination characterizes line 2. A little wave of the hand, as though casting something away, is pernussible on the words " foi-sook her." In line 7 are again demanded the heavy voice and impersonation of the fid- dler as you call out, "right hand to partner," changing to a gesture as though giving or promising something, by extending the right hand as you say "gave her answer coy." In the last line, introduce dancing- steps in jierfect time to the music, finishing all by a little courtesy. Do not sing this selection; intone it with expression, remend)ering that the strong beats of each measure come on the first and tliird counts and accenting the syllables accordingly. Start in a low pitch; you will find a tendency to go up, but keep the voice down, or it will prove a meaningless attempt at singing. Fight against the tendency to raise the voice with the music, and remember tliat wliile tlie time must be perfect and the rate rapid, the true expression of the words need not be lost sight of. The changes of voice must be smooth, in- stantaneous and in perfect time. This selecticm is certain to please, if the recitationist can eonnuand s[)irit, fire, and perfect self-abandon to the required mood. In that subtle word " abandon," lies the secret of magnetism and success. It is a gift, desired by the many, vouchsafed to the few. A MAN'S STORY. A MAN told of a woman fair — a wondrous woman she, Who never ran her neighbors down when she went out to tea. Slie never gossiped after church of dresses or of hats, tShe never met the .sewing-school and joined tliem in their spats. She never beat the salesinan down, nor asked for i)n'tty plaques; She never a.sked the thousaixl tilings whicli do his patience tax. And then this wretched, wicked m.an — his punishment will come — Paused, shrugged his shoulders, and then said, " Tliis woman's deaf and dumb!" ORIGINAL RECITATIONS AND LESSON-TALKS. 79 BRIDGET'S MISSION JUG. THERE were six little girls in the Sunday-school class With faces like roses in June. Bright, clear voices and merry, had each little lass, But one rang a different tune. 'Twas a rich Ii-isli brogue, and it tripped from her tongue Both coaxing and saucy by turns. Irish blue were her eyes, should you ask for her name, She'd say — " Och shure jist— Biddy Burns." II. The rich banker's child, Edith, tossed proudly her curls AVhen Biddy first entered the class : "Why! her mother does washing; does teacher expect We'll mix with this wild Irish lass?" "Shure, I niver will ax yez, I'll lave yez alone, ril thry by mesilf not to sin." Her voice trembled with tears; then the teacher spoke out: "The Saviour will count Biddy in. III. " My dear children, you grieve me. Now, tell me, I pray, In what are you better than she? Finer hollies? RicluM- clothes? Why, if sucli be the cause. You humbly should drop on your kni-e To than'k God, who has given you all of this wealth, And use it for Christ's highest good. You must help raise the igiioniiit, succor tlie poor, My children, am 1 understood?" IV. "Oh, yes, yes," they all cried; .it Ic.ist all e\('e]»t one And she hung her head ;ind lookccl down. All the re.st held out hands with a smile. ;iiid made room For Biddy, and Biddy's worn gown. Soon her liritrht, merry wjiys won her el;issni!ites, ;ilthough They hmtrlied ;it her (|ii;iiiit Irish bro^rne. All save Edie; sln^ hardemd her iiciirt, hut at last 'Twas won by this dear litth; rogue. 8o EMMA DUNNING BANKS'S V. Chiming bells filled the air with sweet sounds floating out, And seeming tt) peul forth " Come here" Unto Biddy, as trudging with book 'neath her arm, She thought of her Sunday-sehool dear. Just beyond her tripped Edie, with golden bronze shoes (These shoes were her pride and delight), And unconsciously Biddy had mimicked her walk, Put her left foot out first and then right. VI. Then again otit with left, and then— well, she stopped short, For Edith had paused in dismay, Looking first at her shoes, and then down at the nmd. Which lay ankle deej) in her way. " Shure, it won't hurt me brogans; I'll lift her right up And save the foine shoes on her fate." Said our Bridget, then cried : " Oh, Miss Edie, jist wait, Shure, I'll help yez over the strate." VII. Edith felt herself lifted by strong little arms And landed quite free from the mire. " There now, darlint, ye're safe," Biddy cried, while her cheeks Blushed rosy and red as a fire. " Oh, now, Biddy," said Edie, " when I've been so mean 1 don't see how you could be kind. Oh, I thank you so much, I'll remember all this—" ' Miss Edie, jist stop, do ye mind ! VIII. " Don't the Saviour jist say, we're to love wan and all. An' do {IS we would be done by? Shure, if I had thim .shoes, I'd be glad of a lift If any wan chanced to be nigh." That same Sabbath in cla.s.s, a small jug ii a le of stone. To hold mission mites for a school Far away off in India, was given each girl. And "save all you can," was the rule. IX. Edith bent low and whispered to Biddy, " I'll help So yours may be full as the rest." "Shure, I thank yez," .said Biddy, " I'll pray to the Lord, • 'Tis him shure will fill it the be.st." ORIGINAL RECITATIONS AND LESSON-TALKS. 8l Oh, the sweet childish faith, trusting all to the Lord ; Could we do the same 'twould l)e well. Just how oft through the day Biddy breathed forth a prayer I'm sure it would prove hard to tell. X. " Oh, Lord ! fill up me jug," was her prayer at her work, " Oh, help me to save and to earn ; " And her mother one night to her wee brother Pat O'erheard her say, " Patsey, now learn Afther sisther these words: ' Lord, pray fill up the jug,' " " Pay bill for de jug," lisped the boy. Biddy laughed : "Arrah, darlint, shure that isn't right, I don't think your prayers I'll employ." XI. Biddy's mother the story told round where she worked, And many the dollar it won. With instructions to put it quite sly in the jug So Biddy should not know 'twas done. One kind lady a box kept, these words on the lid, " Gold dollars for missions, left here." Wealthy friends left her many, and all found the way To Biddy's jug cherished so dear. XII. Well, the day came for l)reaking the jugs, and each gii'l Pressed fcjrward, right eager to see. Edith's jug, broken first, proved eight dollars to hold; The next contained eight, the next three. Nine and five the next two, tlien (;ame Bridget's, and all Turned heads with a sigli, for they thought: " The poor girl can't have much ; we won't make her feel bad I^y noting the pennies she brought." XIII. Crack! crack! crack! went the jug. "Oh! oh! oh!" they all cried, For peiniics and dollars were there. I-'ifty golden bright coins jiiixcd with one hundred cents Proved Biddy's faifli right in her prayer. May we each takt; this lesson light home in our hearts That (jod will do nmch tor ns all, If we only will trust him. \>u\ tailh in our prayers And believe lie will aiiswci- our call. 6 82 EMMA DUXXIXG BANKS'S LESSON-TALK. (1) Begin the selection in a simple, easy, conversational manner, making it bright and animated, so as to interest at once. Make a .«:liglit pause after the word "like," in line 2, as though hesitating, for a siiiiiU' bright enough to picture the little faces. In line 4 make a ges- ture of attention with forefinger, to add enii)hasis to the fact you are disclosing. In line 8, fill in the pause, represented by the dashes, by a trusively done. " Suit the action to the words," will be .suggestion enough to .show that the left foot and then the right is alternately slid forth. Careful glances must alternate also, frf>m the imaginary Edith to the feet, as the ORIGINAL RECITATIONS AND LESSON-TALKS. 83 action-Avork goes on. Should the dress be long, hold it daintily to one side with tips of the fingers. (6) Imitate by facial expression and appropriate pauses the dismay of Edith. Then let the face beam with the delight Biddy felt at the prospect of doing a good deed. Raise the voice in the last line and fairly shout out the words in a sweet childish treble, but don't forget the brogue. (7) Do not forget to impersonate Edith at the left and Bridget at the right. Make the interruption at the close of line 7 and first of line 8 very suddenly. The transition from the smooth tones of Edith to Bridget's quaint brogue must also be quickly done. (8) The rpinarks about transition apply to this stanza also. A wave of the right hand backward can be made suggestive on the words " far away off in India." (9, 10) Aspirate the speech of Edith, render the baby's in high, sweet tones, and make Biddy's closing wordy full of laughter and mirth. (11) Make use of a pleasant, colloquial style and slight movements at times with the hands to add emphasis. On line 6 use the left hand supinely, as though it were the lid of the box, tracing the words with the forefinger of the right hand, raised in the air, above it. (12) Deliver these lines in a bright, interested manner. The last two lines are given somewhat pityingly and sadly, in s>Tiipathy with the mood prompting them. (13) Now all becomes bustle and eager excitement. The three " cracks " are brought out joyously and explosively, each " oh " ringing out brighter and clearer. The movements of l)ody and limbs are all forward and animated. Clear, exultant, emphatic tones are employed during lines 3 and 4. The remaining lines are to be delivered simply and earnestly, with a strong touch of reverence pervading the utterance of each word. A MERCANTILE TRANSACTION. < ' A POUND of jumps! " The clerk looked in surprise ■'»• At little black Rose, witli licr shining eyes. "A pounr heart more worth tlian all the clink Of f?ol(l or treasures wealth can fj^ive? You say " it may be sol " You hesitate. I'll make you sure ; I've proved it, so I know. II. You see, 'twas this way : My papa was very rich indeed. Possessiufi: so much wealth, you know, high birth became his creed; Blue blood and ancient lineage alone his child should win, And I was taught religiously to think all else a sin. in. And so one day pa said to me : " Now, Flossie dear, prepare To take a trip to England soon, for you must never dare To think of wedding ought but rank; so, daughter, have a care, Your bonnie face and wealth, my child, shall win a title there." IV. Of course, it was a pleasant task to dream of some young earl Who'd vow he'd give his coronet for just one golden curl. All eaih were handsome — so I thought. But when Earl Vandelrim, Full seventy odd, pa chose for me— 1 cried my bright eyes dim. V. One night, at Lady Blanche Desard's, I met him, young Lance Lane ; And from that instant, heart and love were ne'er my own again. He had no fortune, all his gold curled in his shining hair; His eyes were laughing, large and dark, his manner deljoimaire. VI. And easy, witty, full of grace— and oh! his voice so low Thrilled all my being when he .said, to lose me were "death's blow." Manly and tall, with white, set face, he asked my sire for me. And papa raved, called it " disgrace," and said he " could not see, VII. " How T, his daughter born and bred, should chose a handsome scamp. With naught of wealth and naught of rank, in short— an artist tramp!" My blood within me stirred— I ro.se and told bim face to face I'd marry Lance and counted it an honor, not disgrace. ORIGINAL RECITATIONS AND LESSON-TALKS. 85 VIII. My darling caught me to his breast and kissed me twice and thrice, As turning proud to him I said : " Love ranks above all price." Lance turned to papa then, and spoke : "An honest man's no scamp ; And one who earns his daily bread you must not call a tramp. IX. " I plead with you for Flossie's hand, but not her father's wealth ; All that, please God, I'll win for her if he but grant me health." And once again papa broke in, vowed Lance and I should part, And took no notice when I said I'd die with broken heart. X. We made a trip 'cross ocean old, returning home again, And papa growled : " You'll ne'er more see that fortune-hunter Lane." Ah ! now the lonely days come back, the nights so full of tears My young life seemed to have no lack of jealous doubts and fears, XI. You see my Lance was king 'mong men, others might love him too ! Might win from me his love away! what could a poor girl do But weep, and wail, and wring her hands at thoughts of ladies fair Until she really wicked grew, just longed — to — tear their hair! XII. One day there came unto our door a pedler, bent — like this. Who limped — just so— and iiiuiiibled low, " buy .something, pretty Miss; Here's ribbons blue to tie yoni- liair, and match your eyes again." Then, brown eyes flashed and laughed in mine — it was — it was Lance Lane! xin. His own low voice then thrilled my heart with just one word — " elope." He snatched a kiss and then ]inii)ed off, and I — I — well I hope It wasn't wrong, for oh, my heart w.is l('aj)iiig mad with joy; 1 held it fa.st for fear 'twould start and follow him, my boy! XIV. And then I read the note he left, wrapped round a golden pin. H(»w coiijil I choose? Say, do you think e]f)piiig is a sin? That's what w(! did! We started for a station far away; An accident — 'twas fate, of cour.se — detained us half tiie day. XV. Two roads. O'er one the engine fli<'s; tlic other, off some ways^ Kcrids clouds of dust behind the feet of pMp.i's fjiinous ))Mys i)i<'k, Harry, Sat;in, .ind Hay Floss'- she's iiiimed for me, you see. Pa's fifteen thou.sanil four-in-hand in maddening chase for me. 86 EMMA DUNNING BANKS'S XVI. 1 iMung: to Lance, his brown eyes flashed from watch he held in hand To nie, to train, tlien o er the road ! Ah ! hut those bays were grand ! Pa shouted, swore, as on tliey tore, and faster made them run, ■■ Hi-i— go it, Flossie! Satan lly ! Ye devils! They have won! " XVII. The train rushed in, we leaped on board, I laughed and blew a kiss ; " Uood-by, papa, — it is too bad — the bays this train should miss." I laughed again, as we flew ofT, hut still dear Tiance looked grave. Anil when he whispered — ' tek-graiu," 1 felt no longer brave. XVIII. Lance sat with knitted brow and thought, then stood erect as any lord, His young voice rang out clear — " Is there a clergyman on board?" A sudden hush, each traveler turned and gave a wondering glance. And then a tall, large man arose and looked right straight at Lance. XIX. Lance showed our license, told him all, and every one was stirred To sympathy. The good divine consented with one word To marry us; antl then occurred a strange, strange scene indeed- A marriage rite performed on board a train at lightning speed. XX. The good man asked me if I'd take my Lance for weal or woe. And I said " Yes" with all my heart. Now — wouldn't yon, do so? But when he asked dear Lance the .same, the tender, linn " I will" Shot through my being like a flame, made all my pulses thrill. XXI. A cheer from all the passengers !)urst forth wifli joj^ous sound; Some signed riglit there as witnesses and crowded close around Just as the brakeman at tiie door called out the station loud And — sure enough — pa'd telegraphed ; there— a policeman bowed, XXII. Said, " I arrest Miss Flossie Reed." " Not so, upon my life," Cried Lance; "a grand mistake you've Tiiade; this lady is — my wife! " Papa gave in. He offered us a (iffy-thousand lK)nd ! Lance wouldn't take it ; no, not he. He said : " Love ranks beyond XXIII. "All price. I've won you for my own, and my OAVn hands shall try To win wealth, fame and la.sting name before we l)oth shall die." r)ur <'Ottage is the prettiest fiiace in all the country round, With just the cutest window buy where birds and flowers abound. ORIGINAL RECITATIONS AND LESSON-TALKS. 8/ XXIV. At thought of that exciting chase between the train and bays We often laugh ; and, well, life seems made up of happy days. And now, if you are not convinced love outranks worldly pelf, Stop in to tea at Flossie Lane's, and find out for yourself. LESSON-TALK. Studying elocution in a large city, and passing many spare hours in the art -galleries, one day my attention was especially attracted by a large picture entitled " The Elopement/' The scene was a rude railway station, just a mere shed, such as is often seen in country localities not much frequented. On one of the benches outside was a lady's satchel and traveling shawl. A man and a woman stood on the platform. The maiden had clasped both hands eagerly about the arm of her com- panion. He held a watch in his hand, and was anxiously scanning a road, on which, in the far distance, was an approaching locomotive. Near this road stretched another; and, although almost smothered in dust, could be discerned a furiously driven team of horses. The future welfare, or misery, of the young people seemed to depend on which got there first — the train or the father. The memory of that picture led to the writing of " Flossie Lane's Marriage." The character and mood shoultl be cheerful, arch and Ijuoyant throughout. A happy girl-wife tells the story, and though at times touched with a tinge of sadness, it is, in the main, one of innocent gladness. (1) Hegin in the simplest, most natural manner possible, and ask the question indicated in lines 1 and 3 with all honestncss and sincerity. A little assumption of hesitation in speech ends line 3. Finish the line brightly and with a pretty, little positive air of importance and asser- tion. (2) A little definitive, converstional movement of the right hand and forefinger on the first few words; a backward gesture on the words "ancient lineage" will constitute the action-work, as regards tor.so and limbs, necessary in this stanza. Facial expression and the pi'oper em- phasis of the words naust be relied on for the rest. (3) Now comes a bit of charact(»ri/,iition, and one requiring a voice somewhat unusual in themajority of recitations. The father is a testy, cholcrii" old gentleman, very autocratic and arbitrary over his house- hold and (laughter, and extremely fond, wit hal, of riding his pet hoV)by, viz. ; rank and ancient lineage. Iinaginc liini old, stout and inclined to gout, very wheezy, asthmatic and exceedingly pompous and domineer- ing. Let the cheeks put!' and swell: use extra effort to maintain a dig. 88 EMMA DUNNING BANKS'S nity desired but not possessed, stundinj? nieanwiiile in the breadths, with feet wide apart. You remember we are told tliat conscious weak- ness assumes stron his saiiitship to ^rant my modest hope, I'll show a master spirit, lit with your own to cope. Now, twice you have repulsed me, the third time I shall win, And ' hate's' a word Bassanius will teach you is a sin." Alonj^: the mar])le echoed his haup:hty footsteps' stride, While Maro spoke out boldly: " Ere 1 will be your bride, VI. " I'll flinf? this frail, fair lH)dy from some tall mountain's heipfht; Morn may not wed with evenin}^', nor darkness mate with lij^ht." The Lupercalia daw^ning, a messenger there came, With news that old Bassanius with Edonis laid claim Upon the hand of Maro. The emperor declared That he who within four days the brav^est deed had dared Should wed the lovely maiden, and from this high decree No change should be permitted, though sued for on the knee. •VII. On that same night an illness put Edonis to bed, And Flavia wailed . " Bas.sanius, Maro will have to wed." The third day dashed the emperor, with six grand horses Avhite, Adown the street, and sudden the beasts ran mad with fright. The coward crowd fled shrieking. Valerian's death .seemed near, A hand grasped foremost bridle! Bassanius doth appear! The iron of his pressure, each frantic, rearing beast Acknowledges. Bassanius is taken home to feast VIII. With all the emperor's family. Sank Maro's heart like lead: Firmly she vows within her: " Edonis' wife, or — dead!" 'Twa.s noontime on tlie fourth day. A jeering crowd stood round A woman, mud-bedraggled, with iron fetters bound ; Her long >>lack hair was streaming, the ripples hid her face, She .shuddered when Bassanius cried: "A nice thing to embrace! The emprt'.^s must be maddened to olTer her her life. If some high-bred ijatrician will take her home to wife. IX. " Come, jailor, pitch your beggar back to her ])rison cell; Such lives are not worth saving." Down on her knees she fell; ORIGINAL RECITATIONS AND LESSON-TALKS. ' I pray you, ^"^ntle Roman, I pray you heed my cry; For she who kneels before you ere many days will die. Disease is fastened on me, I long to end my life Not by an execution, but in some home, a wife." The rabble flout and spui-n her. " AVhat! Stoop us down so low To pick the dht beneath us, when one may win the snow X. " Of some fair, dainty maiden! Ah, no!" and " No! no! no! Back, wretch! back, low-born traitress! back to your cell you goi" Edonis burst among them, with crimson flushed his cheek ; His eyes were black with anger. " Ye cowards ! I am weak And worn with recent illness, else would my strong right hand Strike right and left among you, ye craven, brutal band ! This poor, defenceless woman I will take home to wife ; Bassanius weds with Maro. Come, friend. Til save your life." XI. Deep silence fell among them. Edonis reached his hand Df)wn to tlie lonely woman — that gesture made him ,'Tand. " From daring deeds," he murmured, " my illness held me back; 'Twas fate sent out Bassanius to stop the horses' track." " Not so, my brave Edonis," a voice like music cried; " Fate sent me here to try you. and fate makes me your bride." He turned, and lo! 'twas Maro, fair, innocent and sweet; The jetty tresses vanished, her tatters at her feet. XII. " 'Twas love"'8 disguise, Edonis, the empress bade me wear. To prove if deed so godlike, your spirit brave would dare." A burst of martial music. Valerian's chariot came, A lioniid's voice cried loudly: " Tliis died, like some Avhite flame, h('ai»s high o'er muscle l)ravery, and in Valerian's name Proclaim I that Edonis fair Maro's hand shall claim." "The gods be pniiscd," cried ^Miiro, "and jjraise St. Valentine, Aiul prai.se the empress; through her, Edonis, 1 am thine I" 93 LESSON-TALK. The valentine custom f)riginated witli the ancient Romans. On the Mth day of iM-bruary, the day licfore the feast of the Lupen-alia, the "lames of a select number of one sex were put in a receptaele and chosen Ly an equal number of the otlier sex. Tlie person who.se name was 94 EMMA DUNNING BANKS'S «lr;nvn was known as the " valentine" of tho one who drtnv the name, and in one f«)rMi or another the custom hiis \ivtn\ and spread over many lands until the present day. (1) l^e^in the selection in a cracked, quaverinp: voice, indicative of a^e, and speak to the left. Sorrow and ^rief must color the tones. In the gestures, the hands are sometimes thrown out despairingly, and then Avrung in distress and despair. This is continued during the first four lines. The attitude is bent and feeble, the eyes half shut, and the entire facial expression may be clianged, and the cracked voice of the old nurse simulated to better advantage if the upper lip is drawn clo.sely over the teeth, thus giving the appearance of toothlessness and old age. Finish the stanza without further gesture. If preferred, thetirst stanza may be transiwsed, putting the last four lines first, and closing the stanza with the impersonation of Flavia, the nurse. (2) Let Maro speak oliliquely to the right. The words, " .''poke the maiden," give directly to the audience, then proceed with Maro. On line 2, a confident nod of the head nmst be given on the word "sure," and a loving tenderness thrills through the remaining wtwds, finishing by a charming gesture by letting the hands move slowly up, and a little moretiian the tips of the fingers loosely interlace themselves against tne breast on the words " his wooing mine." Again comes the impersonation of Flavia. This time she makes quick little definitive gestures of the hand and fingers; for instance, holding two fingers to enumerate the suitors. In line 8, pause after " you," and fill it in by an uijward warding off of both hands and a shaking of the head, expressive of utter hopelessness. (3) Flavia must seem to creep slightly nearer, now, and bring out her words as if desirous of making them convincing. Lines 3, 5 and 6 will illustrate the position, sentiment and gesture required in line 4. AVhen the word "this" is repeated for the first time, let the right hand grji.sp an imaginary djigger in the left belt, then let it rise swiftly in air and hold it on the repetition of the word " this " and those following. (4) Slightly bend to show that the girl would help Flavia to rise. The tone is distre.s.sed during lines 1 and 2, as though striving to rea.s.sure herself. The form is erect, and the tone alive with pride on " I am Galleo's daughter." More confidence creeps in with the loved name of " Kdonis," and unfaltering detorminfition rings through the remainder. Lines 7 and 8 belong to Bas.sanius. He takes a i)roud attitude, laying one arm aV)Ove the other on the chest. His voice is low, sardonic, ten.se, and expressive of the Vjitterest revenge and scorn. (."j) "With the word "but," the arms unfold, hands clinch, each word comes forth with stinging, galling strength of emphasis. On the words "slip your name Avithin it," the right hand unclinches and comes for- ORIGINAL RECITATIONS AND LESSON-TALKS. 95 ward, seeming to grasp exviltantly an imaginary slip of paper. Let both hands come forth mockingly during liist half of line 2. AVhen speaking of his " saintship," a high upAvard sweep of right hand and arm is permissible. This pose may be maintained, and the hand given an additional impulse to evince the "master spirit." As you say, "fit with your own," let the arm come down horizontally with the shoulder, and the hand be outstretched supinely; and on the words "to cope," let them drop to the side. Deliver lines 7 and 8 as if about to leave, looking over the shoulder. (6) Ring Maro's words out defiantly, boldly. Remainder is explana- tory. (7) Wring the hands while impersonating Flavia's distress. Then let the right hand unclasp and come forward with the body to insure atten- tion. Now comes a somewhat excited gesture, as though seeing the horses dasli down the road. After the conjunction "and," in line 4, start back as you imagine the frightened horses. Make a somewhat scornful movement to begin line 5. The hand closes in sympathy with the one who grasps the bridle, then slowly relaxes and drops to the side as you .say somewhat hojjelessly, for you have no sympathy with him, " Bassanius doth api)ear." (8) Strongly emphasize the words "sank" and "lead," also ring out the word " firmly" in such a manner as to color its meaning decisively. liiNnncible will marks the words, " Edonis' wife or — dead." Introduce sneering Aa, haa during the speech of Hassanius, and strong, full-arm gestures as he points out the woman in deriding scorn. (9) Do not kneel during the pleading of the uidviiown woman. Standing, the bent knee is equally ellective, except in e.\treme cases of exalte voice of Maro. Joyful exultation peals through that ot l he lierald, while Maro's closing words ar(f filled with thankfulness and peiu^e, making an obeisance to the left when ilesigiiatitig the empress, and closing with hands out- stretched to the right. C)6 EMAfA DUNNING BANKS'S A RUSSIAN CHRISTMAS. I. THROUGHOUT Russia in December glitter icicles and snow From the peaks of the ice-mountains to the skating-grounds below. Jinglo ^lei^-h bolls, crashes music, lloat forth peals of uierry mirth, Rhigiiig t'ri»m the lips of maitlens, rose-lijjped girls of Russian birth. (Jlidiug o'er the sparkling ice-ground, sAvaying with a dainty grace, Hol)ed in sable fur and velvet, comes the queen of all the race. From au azure velvet background glints her curling golden hair; Men (Iraw breath in rapture, wonder, as they note the form so fair. II. As she whirls with laughing challenge, one leaps forward to her side, Clasps her hand, and to the music dashes on with daring stride. 'Tis a fete day for the nobles, and the swiftest racing pair Froui the czar receive at Christmas for their skill some gift most rare. Swifrer glide the foremost skaters; swifter dart those in the rear; AVhirl they now before the judges — now — the second goal they clear. "Steady, llva!'' "Swifter, Othmar!" "They will pass you ere you know ! "' Then for answer the contestants faster — faster — faster go. III. Laughing gladly, skating madly, but with swaying grace secure, Countess llva and Prince Othmar gauge their powers to endure. 'Tis the last rounil now, and so far they have held the winning place; Leaning forward, all the i)eople breathlessly now watch the race. " Oh ! oh ! oh ! " broke forth in horror ; " oh ! oh ! oh ! " burst forth in wrath. As some hand in jealous fury slid a log across their path. "Will it stop them? Will itthrowthem? Will it i)reak or maim alimb? Then all turn their gaze on Othmar, for all hoi)es depend on him. IV. Othmar's fpiick glance saw the danger, and, like lightning-flash, liis eyes Turn one searching ray on llva. " Dearone, trust my strength, be wise- Lean upon my side one instant, with your weight thrown off the ground," Tlirills he 'neath her arm's swift pre.ssure, as with one impulsive bound Skilful, graceful, daring, certain, he has leaped the dangerf)us place; In his arms the fainting llva, but — tlie pair have won the race! Bravos filled the air around them, cheers uprose on every side; Some one cried: " My curse on Othmar; llva ne'er shall be his bride!" ORIGINAL RECITATIONS AND LESSON-TALKS. 97 V. Quick the curse and quick the speaker, for he vanished soon as heard, Tho' all searched they could not find him, and all soon forgot his word, All but Ilva. She remembered, and she shuddered as she said : • Log and curse speak one dread message; act and word wish Othmar dead." Petersburg's grand winter palace blazed with sparkling, twinkling light. When a royal ball was given by the czar on Christmas night. All the air was sweet with perfume, diamonds glittered, jewels rare (j learned from snowy, dimpled shoulders; women dainty, maidens fair, Yl. Linked their perfect arms with soldiers in their uniforms arrayed. But the fairest Russian floweret was our erstwhile skater maid. Countess Ilvarene di Gfloski, with her lover at her side. Brave Prince Othmar ; and all Russia knew that soon she'd be his brida But a week scarce passed ere Russia, all of Russia heard this news- That the czar the hand of Ilva to Prince Othmar did refuse. More : that guilty of high treason, to Siberia he'd been sent. There to languish all his life-time, all his years in labor spent. VIL Ilva moaned : " "Tis false and cruel ! Othmar's loyal to the core! Trace the man whose jealous fury threw that log, and at his door Will be found the crime of treason." Then throughout that long, long year Ilva never smiled; but pined so, that her friends began to fear That her reason soon would leave her, mourning so beneath her Ijlow. Then one noonday caiiic a iiiaiidate from the czar that she must go With her friends and join the skaters; must contest once more a rac<'. But this year the game was diflferent, each contestant masked his I'aci- VIIT. And until the ball at Christmas in the palace hall took place. It would not be known which skaters, 'mong them all, had won the race. Ilva went reluctant, angry. Once more on the skating-gronnd, .Ml Ikt Russian pride upheld her. and she felt her pulsi's bound As she thought; " Pli try and win it. and for gift at Christmas time, 1 will pli'ad that I be banished, hanishetl to Siberia's clime." Once more whirled the merry skater.s, once more some one gained her side. Clasped her hand and l<-d her boMlv, swept on with familiar stride. 7 ^ EMMA DUNNING BANKS'S IX. , Onoo sho oaufrht her breath and held it with a joy akin to pain, l\>r the skater's clasp seemed Othiuar's; Otiiiiiar seemed with her again. Through her veins the blood flew dancing, wilder whirled the skaters' jiaee. And a voieeehimed through theniusie, singing: " Win.vnn. win the race; You've a noble skater with you, almost has lie Othmar's skill; Win and ask the czar to banish, banish you at your own will." Needless 'tis to tell they won it, or to i)aint once more the l)all. Or the scenes where saddened llva still shone fairest of them all. X. Oh, the hush that fell among them when right loudly 'twas proclaimed : " Silence! that the race-contestants and the winners may be named. Silence! 'Tis the czar connnands it, and desires it to be read That the winners in the race shall, by his royal wish, be wed!" Down upon her knees fell llva : " Sire, I crave your pitying grace; Wed me not unto this stranger, who did help me win the race. Sire, I worked and strove to win it; hoped to offer j'ou this prayer: That my wretched self you'd banish, let me Othmar's trials share." XI. Then a smile warm as the sunshine, lighted up the czar's sad face: " Countess llva, be of good cheer, 'twas Prince Othmar won the race. Othmar's innocence was proven, and I sent him glad recall, Planned to give him Princess llva at our merry C'hristmas ball." All unmasked. Prince Othmar stepped forth, led fair llva by the hand Where within the old Greek chapel, incense burned. A golden band Placed upon her marriage finger; 'neath the glittering waxen light Of the Greek cross wedded llva, on that Russian Christmas night. LESSON-TALK. (1) Line 1 is easy description without gesture, that the action-work mayconnnence with an ascending gesture on " ice-mountains," merg- ing into a slit,'htly spre.iding. desceiKling iiiovenieiit to designate "the skating-grounds below.'" The music and mirthfulness of the next two lines depend entirely upon voice-effect guided by feeling. During the next four line.s, while describing the pretty i)icture of the young queen of the skating-race, point her out with plea.sed attention, seeming to abandon yourself in sympathy with her swaying, graceful motion. (2, 3) With the eyes fixed on the merry scene in the distance, a sort of semi-circular movement accoinpanied by a rotary motion of torso at the waist-line will serve to illustrate the whirling challenge; then to ORIGINAL RECITATIONS AND LESSON-TALKS. 99 point out her companion in the race, the right hand darts forth and the whole attitude is forward and vehement. In Une 5 begins the de- scription of the race; and in order to render it effectively you must feel yourself unbued with a truly racing spirit ; gesture, body, eyes and face all express fire and animated attention. Picture an imaginary ring; locate your goals, your judges' stand; start the competitors from a certain point, and let voice and torso seem to sway with them as they circle round. With strong, steady voice call, " Steady, Ilva! " '" Swifter, Othmar!" etc. Continue the excitement through third stanza. Bring out the " Oil's " in line 5 of the third stanza strongly, coloring them with alternate horror and wrath, and let the same sentiments commingle in line 7. (4) Othmar's voice is deep and rings with determination. As the result of the leaj) is watched for, bring out the adjectives in line 5, in a manner strongly evincive of admiration and exultation. A harshlV defiant tone is employed for the line embodying a curse. (5, 6) Ilva's voice is womanly, and vibrant with tearful emotion and dread. Without gestures, and relying solely upon tone-coloring for its beauty, picture the ball-room scene at the winter palace of St. Peters- burg. During the last four lines of the sixth stanza, a darker, stronger tone is employed; gestures of attention are used, and one of location, sweeping vaguely in the distance to designate Siberia. (7, 8, 9) Witli hands clinched at the sides in seeming agony, Ilva's first line i.s delivered ; then the right hand unclinches and comes for- ward on the words " trace the man whose jealous fury threw that log," and letting the hand wave slightly on the words "his door," and fall heavily and despairingly on the word "treason." In the last two lines of the eighth stanza begins anew the dashing, impetuous whirl of the race, with its strongly-drawn tension of voice, manner and excitement in description. In rendering the imaginary voice diiming through the nnisic and <>xisting only in the overwrought brain of the fair contestant, use a rliythmic, effusive, chanting tone, prolonging the vowels and swaying subtly at waist in sympathy with the skaters. In- toned to soft music, this might be made very effective. (10) The prolonged, sustained voice and demand for attention to the wishes of the czar, must be strong and full. Ilva's speech l)urns with the pa&sioriate piea metim('s long pauses ensue, as the cliild"s eyes arc arrested l>y .something and slu; holds on t(j a word and almost forgets the story; then recovering herself with a jerk she goes on with the speech. The conjunction "an".'" which is very liberally introduced, will afford ex- cellent oiijiortuin'ty for this business. Deliver line 1 rocking back and forth, witli a somewhat briiggadocio drawl. e(|uival<'nt to saying: " Tve got something that yon have not."" Sing out the next line, swaying from side to side at the close. In line W bring the left shouMer forward, incline the head and softly nil* the cheek against it, while lingering on the word "an"'" long enough to count ten; then sudilenly push the 102 EAfAfA DUNNING BANKS'S head forward and out, as though memory had resumed her sway, and linisli tlif line briskly and with renewed interest. After the words • bjikt> the broad." let a puz/li'd look flit over the face; try to think of something' else for "Annie" to do, and then nod the head vi^^'^orously as thouj,'h sayinf,', " you understand," and finish the line. I'reliniinary to Hue 5 move about, settle the skirts and evince considerable interest. Sj)rea-staiis," make an as- cending right-hand gesture. Emphasize strongly tlie words "heerd," "holler "and "l)awl,"as they con.stitute proofs of the boy's presence. Make a gesture illustrative of turning " the kivvers down." Make a long pause after the word " there," and fill it in by numerous negative shakes of the head; then say in a hushed, awe-struck tone "at all," and so finish line 4. Count oflf the places searched for the l)oy, ])y tapping the fingers of the left hand with the forefinger of tiie right. Begin your enumeration with the little finger. Line 5 will take three fingers, leav- ing the forefinger , lium with the jihonetic sound of n, as you Unger upon it, looking dubiously meanwhile at the forefinger with a comical expression of bewilderment, as much as to say to the finger: What's your name? What place do you stand for? Glance alternately from audience to finger, then tap it delightedly and repeatedly, as, with a flash, the place comes to you and you say : " They seeked him up the chimbly flue."' At this i)oint stop and introduce the following business: Beginning with little finger of left hantl, tap it with fore- fimrer of right and in a loud whisper .say "one;" proceed to next finger and whisper "two;" next "three;" and, lastly, the forefinger and whisper "four." Do this somewhat laboriously, then look completely nonplus.sed, Jis if you knew there were more places, ])ut could not think of them; then throw off all worry, and with a sigh of satisfaction em- brace them all in the w(^rds " every wheres, I guess." The laughter of your audience- will proliably force you to pause after the word " pants." Atldnd force and earnestness are given the warning, " ef— you— don't — watch— out!" a.s the child regards with wonder her mirthful audience. (3; Di.Kgust at the conduct of the naughty little girl is evmced ORIGINAL RECITATIONS AND LESSON-TALKS. 103 throughout this stanza. Pauses after " mocked 'eui," also after " shocked "em," are filled in by vehement little afTinnative nods. Shake the head negatively as you say. "said she didn't care." Begin line 6 with a Uttle groan, and shrink in terror at the picture conjured up. Make a trembling upward gesture with both hands on the words "through the ceilin'," and deliver the warning Avith great force. (4) A fluttering of the hands will illustrate the word "sputters." Then cross the arms, hug yourself as though cold with terror, letting the right hand creep tremblingly up to the shoulder of left arm, begin- ning at the elbow, and do the same with left hand and right arm, as in a childish wail you say, '■ woo-o — woo-o,"' imitating the wind. Do not mistake this place as one suitable for an attempt at display, and give an elaborate imitation of the whistling and howling of the storm-tossed winds. Tliose things are beautiful when well done, and it is a tempta- tion to do them ; but it would be in bad taste in this childish character- ization and decidedly inartistic. The childish voice can be made to give the eflfeet of a baby wind whistling through the chinniey in such a manner and with such force as a child would be apt to employ. Daring lines 3 and 4 show a nervous, fluttering excitement by facial ex- pression and movements. During the next three lines, fold the hands in demure, good-girl fashion, bringing out the rules as though thoroughly convinced of the necessity of conforming to them. The last warning is delivered with an amusing mixture of solicitude and earnest vehemence. THE LESSON OF OBEDIENCE. i ' /^^OME hither, you madcap dariin;,'-! "' 1 said to my four-year-old, ^^-> " I say, what shall be done to the naughty girl who will not do as she's told ? " So I told her how Casabianca on the burning ship stood brave, Of the l)oy who would not di.so))ey, oven In's life to .save. Then her eyes grew bright as the morning, and they seemed to look me through ; Ah, ha' tlioii^cht I, yon tiiidcrstaiid (lie lesson T have in view. "Now, wiiat do you think of this lad, my lovcV Ti'll mi' ■•illtliat'.s in your heart." " I fink," she .said, " h<' wa.s dregful good, l)n( he wjisu't the least bit smart." 104 EMMA DUNNING BANKS'S i THH PRIDH OF BATTHRY B. I. SOUTH MOUNTAIN towered upon our ri^'lit, far ofT the river lay, Aiul ovi'r on tlie wooded liei^^ht we held their hues at bay. At hist the uuitteriu>j: jj^uns were still ; the day died slow and wan ; At hist the jjuuners pipes did fill, the sergeant's yarns i>egan. 11. Wlien. as the wind a moment ])lew aside the frati:raut flood (^ur hrit'rwoods raised, within our view a little maiden stood. A tiny tot of six or .seven, from fireside fresh she seemed. (Of such a little one in heaven one soldier often dreamed.) III. And as we stared, her little hand Avent to her curly head In •rmve salute. "And wlio are i/oii V at lent;tli the sei'g-eant said. "And Where's your home?" he growled again. She hsi)edout, "Who is me? Why, don't you know? I'm little Jane, the Pride of Battery B. IV. " My home ? AVhy, that was burned away, and pa and ma are dead ; And .so I ride the guns all day, along with Sergeant Ned. And I've a drum that's not a toy, a eap with feathers, too; And I march beside the drummer-boy on Sundays at review. V. " But now our 'baeca's all give out, the men can't have their smoke, And so they're cross — why, even Ned won't play with me an«l joke. And the big colonel said to-day — I hate to hear him swear — He'd give a leg for a good pipe like the Yank had over there. VI. "And so I tlK)nght when beat the drum, and the big guns were still, I'd creep beneath the tent and come out here acro.ss the hill And beg, good Mi.ster Yankee men, you'd give me .some ' Lone .lack.' Plea.se do; when we get some again, I'll surely bi-ing it back. VII. " Indeed, I will, for Ned — .s.-iys he — if I do what I say, 111 be a general yet, maybe, and ride a i>ranciug bay." We brimmed her tiny apron o'er; you should have heard her laugh As each man from his scanty store shook out a genei'ous halt. VIII. To ki.xs the little mouth stooped down a score of grimy men, Until the sergeant's husky voice .said, "'Tintion, sijuadl'' and then \ ORTGINAL RECITATIONS AND LESSON-TALKS. 105 We gave her escort, till good-night, the pretty waif we bid, And watched her toddle out of sight — or else 'twas tears that hid IX. Her tiny form— nor turned about a man, nor spoke a word, Till after awhile a far, hoarse shout upon the wind we heard I We sent it back, then cast sad eyes upon the scene around ; A baby's hand had touched the ties that brothers once had bound. X. That's all — save when the dawn awoke again the work of hell, And through the sullen clouds of smoke the screaming missiles fell, Our general often rubbed his glass, and marvelled nuich to see Not a single shell that whole day fell in the camp of Battery B. — F. H. Gassawai. LESSON-TALK. (1) Begin the words " South Mountain towered upon our right," with an oblique, right-hand gesture, horizontal from the shoulder, swaying the body subtly forward until the weight i^redominates on the advanced right foot. Continue the line of this gesture slightly to the left as you point out where "the river lay." Following the same line to the left, designate " the wooded height."' Strengthen involuntarily both hands at the side and say with pride and vim, " we held their lines at bay." Make the word "muttering," also the word "slow," picturesque, deliv- ering the last half of the line in an effusive, lingering tone, in strong contrast to line 4, which is brisk in utterance, and son\ewhat jolly in tone. (2) The right-hand gesture in this stanza is continuous throughout the first three lines. A little conversational mov^ement of the liand near the centre of the wai.st-lino will suffice to engage attention on the first three words. Then, allowing the hand to turn, make a movement to the ritrht descriptive of soiiicthing iM'ing bnislied or waved aside. liCt this movement merge into a s^)ira], lloating, ascending gesture, illustra- tivi- of ."/reaths of smoke. Continue this till the hand reaches a point higher than the head, l<>tting it drop from tlie wrist, and lloating it upward again on the word " raised." Then iitiii/e the position attained by iookint,' down as tliongh at sonrething l)eneath, as you .say "within our view a little maiden stood." Tlie hand .and arm descend to illu.strate the size and prf)t)al)le age of the little one. Deliver line 1 witli a touch of solemnity and |)athos. making a full i)ause after the word "one," raising the face reverently and filling in the pause with an ascending right-hand gesture, before saying the words ' in heaven." (3) A mihtary gesture is suggested at the beginning of this stanza. Io6 EMAfA DUNNING BANKS'S Assnino and employ your stonipst facial expression and heaviest, p^-nfF- est {;ro%\ 1 on the words " who are you," and " wherc's your Iionie." In almost startlinjj: contrast pipes out the high, thin, sweet, childish, sil- very voice of "little Jane." The mistake commonly nude in childish characterizations is that the voice and manner emplofed are not far enoutrh removeil from the one used in ordinary converailion. It must be high, thin, sweet and silvery; and, in order not to se^m affected, one nuist throw himself, for the time being, into such a mood that he can "think as a child and act as a child." A little courtesy will introduce tlie child and close the third stanza. (4) A lingering, wondering element and a shade of sadness enter now into the child's voice, becoming more cheerful and l)rightening in line 2, and teeming with exultant boastfuluess in lines 3 and 4. A spirited, quick, little fling of the hand from the wrist toward the head, then outward and upward, will serve to give the idea of " a cap with feathers too;" and a little involuntary and alternate i)ush of the feet, if not done obtrusively, will suggest the childish jjleasure m the " march on Sundays at review." (5) Lean forward, with the voice lowered to a sort of confidential hush, and speak as though telling of some dire calamity as you utter line 1. Pout a little, looking downward and then ui)ward through the next line. After " to-day" give utterance to a litle grunting, proloriged "oh," shrug the shoulders, and shrink tf)gether in childish disgust, and say with distasteful intensity " I hate to hear him swear." Then give a juvenile imitation of the colonel's reckless mode of expression. (6) Let the confidence become more joyous, i)atting hands together in hajjpy excitement at thought of the plan to relieve the soldiers. Make a little jjrone, de.seending movement with both hands on the words " rd creep beneath the tent." In line 3 clasp the hands with im- ploring tightness on the word " beg," using a coaxing tone. Make the coaxing element especially i)rominent as you unclasp the hands and stretching them f have a dance to-night! " no £AL)L-1 DUNNING BANKS'S % [Play first strain twice.] Come, Haste to the Wedding. a-' -tJOi^^r^St eI^^^^^^^^H t:^Tr^# :f::i|^ S^^^l^^S^,^^^^ ^^ 9^ 0.0.0 .»^^.^^.m. -*— i •V-f- ^jj^- ^E^JE ^ m. ^^^^^^^^ tt^^^^^i^^^ i^^^^^liSi"^i ORIGIXAL RECITATIONS AXD LESSON-TALKS. \\i YII. Oh, right quickly they all took their place on the floor, When 'twas found that they wanted just one couple more. Then I offered my arm, smiled her blushes to see As I said : " Come, dance ' Haste to the Wedding' with me." Now it's "First couple lead out f^'' so stately her grace That I almost had feared her. " Swiuy partners to place ! " AVere it not for her countenance, rose-flushed and sweet, Now it's "Bal-au-ve, siciny !'' and swift twinkle her feet. VIII. [Play second strain twice.] Then I caught her and held her in one blissful whirl, And I found time to whisper, " My own little girl. Will you " — "First lady hal-an-c^ with secondment/ Turn with partners ! " Once more to my words I gave vent : '■ Do you love" — "Ladies'' chain!'''' " Can you love as of yore? Will you keep that old promise? Say yes, I implore." Then we finished our dance, as she courtseyed and said : " Let us ' haste to the wedding,' and — haste to be wed ! " LESSON-TALK. (1) The mood is retrospective. The voice employed should, there- fore, be effusive in order to prove sympathetic. Little conversational gestures of the right hand from the wrist will serve to illustrate the flames, {is they "' leap and dii', retreat, advance." As though the parlor was at the rear, let the gestures merge into a backward movement, holding and poising the head in listening attitude, as you say line 4. liriiig the hands together with impassioned swiftness on the word "Ah," letting a heart-thrill of earnestness Ijeat through the words that follow. " Back from out my past comes floating,'' suggests a beautifid backward free-arm gesture, and then a floating movement forward. A dreamy tone-movement colors line 7, anil the hands clasp on the worils, " 'Tis my lovely, laughing sweetheart." (2) The hand is held back w.nd and prone, as though enjoining silence, atid listening to tiic music from tlie jjarlor; wliile the voic(>, in a minor key, throbs, prolongs and trembles out "l^uei'nie! Cjueenie!" Fju'ial expression, together with empliasis pronii)led by true feeling, will render what follows effective. In line 7, with the word "Hark" let the h.ind go swiftly back as you listen to the music; then combine this gesture with the one following in line H, by passing the hand before the eyes and then forward and out, as though locating the vision of the 112 EMMA DUNNING BANKS'S dance in the airy distance. Assume a lively poise, right foot lorward remiy to boat time, as you say, " Now the dancing will begin." (3) Preliminary to entering upon the action-work for the stanzas to be intoned to nuisie, a few suggestions as regards intonation may i)rove acceptable. First, last and always, dt) not sing it; keep the voice down. If you play, sit at the piano, and very slowls intone each word to the music. Either in the treble or the ba.ss, you will lind a note for eveiy syllable in the stanzas. In the eighth stanza, with the air of "Conic, Haste to the Wedding," line 3 is intoned almost entirely to the eighth notes composing the bass, as is aLso line 7 in the same stanza. As you grow familiar with the work, increase your speed, never forgetting to give the tiddler's calls loud and deep If you do not play, get some one to play for you. Accent strongly with voice and piano the first and fourth coinits of each measure; then reuieml)er time and accent when you are practicing alone. It is well to practice some without music, as you can better watch the voice, keeping it down and checking inclina- tion to sing. During lines 1 and 2 beat time with the feet, while swaying sympa- thetically with every curve and line of the torso, and pointing out the details of the picture with right hand and arm extended. Continue this action during line 8, but let the head nod and eyes half close to illus- trate the liddler half asleep. Ply an imaginary bow over an imaginary fiddle vigorously, as you shout, " First three couples forward and back ! " in as deep a voice as possible. Suit the actions to the words in line 6. Lean forward as you bring in "I call Queenie 'a flirt;'" and, turning to the right, whirl completely around to that point again, and finish the stanza by a low, mocking courtesy as you say tantalizingly, " Don't feel surpri.se." (4) During line 1, dance and speak to the right, making use of .short polka .step.s, and bending the knee gracefully as you sway from side to side. Use a deep voice and speak to the left, as you say " that's not true." Again adopt the girlish treble, full of a spirit of spicy contra- diction. Line 3, during one-half, consists of the heavy voice of the prompter, and the playing of the imaginary fiddle. Speak to the left, with hands out.stretched, as you say, "Queenie, list to me, do." The girl trips saucily and eoquetti.shly to the right, holding skirts daintily on both sides, as she says, " No, I won't;" takes olf an imaginary circlet with, " Here's your ring;" then turns and balances to the left, looking provokingly over the right shoulder and shaking her finger as she says, " You can marry Miss Sue." Once more comes the impersonation of the old fiddler, and the remainder is finished by a[)propriate dancing-steps. (5) Suitable gestures for the fire-fiames will doubtless suggest them- selvet. When you come to line 4 phice the left hand upon the heart. ORIGINAL RECITATIONS AND LESSON-TALKS. "3 A backward gesture on the words " showing scenes of long ago " will conveniently change into a movement locating the sound of the voice, speaRing in ringing tones from the parlor, and to which you must seem to listen during the remainder of the stanza. (0) The words "golden circlets" demand a circular, right-hand ges- ture descriptive of the shape of a pie, with a turning of the hand in an explanatory supine front gesture as you say, " made of pumpkin." De- liver the speech in the last line clearly and somewhat loudly. (7) Once more begins the merry music, and this time the lilting strains of " Come, Haste to the Wedding," will serve to inspire you to the requisite energy for voice and action-Avork. Leaning forward, point out with animated enjoyment the dancers as they appeared when they "took their place on the floor." A spirit of archness and mischief should permeate the tone and ligh-t up the face when render- ing line 2. The gesture of offering the arm will suggest itself in line 3. There should be invitation in the glance and poise of the head as well as in voice as you say " Come dance ' haste, to the wedding' with me." Do not forget the fiddler's gesture, nor the imitation of his stento- rian voice as you give the call in line 5. As you say " so stately her irrace," sway obliquely to the right, leaning the weight gracefully upon the forward right foot, and let the hands merge from the fiddler's ges ture, to aid in a pose somewhat descriptive of a minuet figure. The right hand and arm should be held high and gracefully curved at the wrist. This dainty curving of the wrist should also mark the manner in which the left hand lifts the dress at the side. With the words "that I almo.st had feared her," reverse this action-work by swaying, with a long, light step, to the left, raising left hand, and dropi)ing right hand. The advice given for the position to the right is the same for position to the loft as regards hand and arm. Merge this work into the fiddler's gesture, as you call " swing partners to place." On the last line whirl or not, as you choose. (8) Begin with a double gesture descriptive of the sentiment em- bo«lied in the line. On tlie reciter's tcmiH'rament and power of abandon Ijirgciy depend the earnestness and grace of the gesture. During the long call in lines 3 and 4 you must adopt the shouting voice of the fid- dler; but using the imaginary bow is not arbitrary; djiricing-steps would f)erhaps he prclfM^hlc, as the call is so long, lilustratt' the call '■ la Practice before a mirror, a movement as though hugging your- ORIGINAL RECITATIONS AND LESSON-TALKS. 119 self with both arms, whieh you may use in Hne 2. A knowing nod and wink are permissible at the close of line 3, and will be explained while reciting line 4. (4) Suddenly push both hands obliquely to the right, on the word " jumped," occurring in line 2. Turn obliquely to the left on the words. " Och, she scolded ; " then to the right, with both hands supinely ex- tended, during the impersonation of Sandy McGee. (5) On line 2 Sandy is again introduced ; always in this impersona- tion speak to the right, as this character has most to say. Frown as you begin this speech. Rub the top of the head (which bends down- ward) as though in puzzled bewilderment and thought ; then let the face light up suddenly, as though the enigma was solved, before enun- ciating a word of line 3. Make a vital gesture with right thumb when pointing out his proposed hiding-place. Let the last line be strongly colored with a comical satisfaction and admiration of his own superior wit and cunning. (6) Begin in a manner quite confidential. The hugging gesture, if made after a droll fashion, may come in whenever the word hugging is used. The downward look and glance behind in lines 3 and 4 suggest themselves. (7) Now we come again to a characterization of that archplotter, Sandy McGee. Let the body sway to the right, use the aspirate voice, and blend earnestness, eagerness and a strong touch of the ludicrous artistically together in this speech, which continues throughout the first three lines of the seventh stanza. Render the " Oh, ho, ho," line 4, in a soft, sweet, musical head-tone, lingering long on the last syllable. Let the forefinger-tip of the right hand come to the lip, and also allow the eyes to roll quickly to and fro, as if to say : " I understand, and Til fix him." (8) This begins with an impersonation of Kitty; remember to speak to the left. After the conjunction " but," in line 2, make a slight pause, just long enough to blow, as though "ituffingout the light." Blow once more (this time with head to left) l>efore beginning line 3. Make gestun- on "hugged," and let a laugh run through the words of Kate's .'■peech, which en shoulder at him, let the right hand rise, making a full-arm movement horizontal with tlie shoulder, the foreHiiger of tlu^ jirone hand pointing despotically toward the door, and so finish line 3. Shake the hand knowingly and in a very pronounced ni.iniier, i)n(loiig juid ui.ike espcci;dly strong the emphasis on the word "fale," letting a triumphant, laughing tone ring through the 8i)eech. I20 EMMA JH'XXIXG BANKS'S DOTS CHRISTMAS, OR THE SOBER HAT. I. '■V A /AY down a narrow alley lived a little -^irl named Dot. V ' Her papa onee was Avealthy, but so lonj;- since, she'd l'orjj:()t The pleasant home and coiuforts, and the dainty clothes she wore, And only knew her papa as a man who drank and swore. For drink made all their misery :Mra^^'ed a once kind father down, Until Dot's pale-faced manniia shrank in fear beneath his frown. How Dottle loved her mamma! How her little heart did ache One morning as she started forth some sewing home to take' II. She knew her mamma's clothing had been pawned, her jewels sold, And .shivered as .she thought of conung frost and winter's cold. " If I,'' she nmsed, "could only eai-n a thick, warm woolen shawl I'd make it mamma's Chri.stmas." Just then a merry call Of " Morning ^.'ew.s, sir, Morning News, sir, all about the lire," Made roses leap into her cheeks, — gave birth to a desire To do the same — sell papers too ! She ran and caught the boy ; " Oh. won't you help me, please," she cried, "help me to get employ? III. " I want to earn for mamma dear, a nice, warm Christmas shawl ; She can't keep any money now, pa .steals and drinks it all. She coughs all night, and oh! her face I think is like her soul. So pure, so white, with just that light, that shines on heaven's own goal. ' " I'm 'fraid they won't take girls, sis, but I'll tell you wiiat I'll do — I'll give you my place; they won't know, so cheer up, don't feel blue; For I don't need it. You're a trump! no, you're a daisy, there! You look like one, with your white face and crown of golden hair." IV. Dot laughed and took the papers. Soon lu;r voice rang like a bell With " Morning News, sir; Morning News, sir! don't I cry them well?" Frf)ni tliat time on, with each new dawn, Dot gleaned a little time To sell th« pai)ers Thomas brought, and hoarded every dime. The people found her story out, and few would e'er refuse When little l)lue-eyed Dottie cried: "Plea.se Ijuy my Morning News!" She earned the money for the shawl, and found entrngh to spare For h»right red stockings and for shoes for her (nvn feet so bare. V. She bought a lovely, soft, warm shawl, f)nr sweet-faced little elf, And then, as children sometimes do, stood talking to herself; ORIGINAL RECITATIONS AND LESSON-TALKS. 121 '• You ought to have some shoes," she said, " Dottie, you know you ought. But then, there's papa; if for him a new hat should be bought— His old one gets m tipsy— and a note, like this, you write: ' Dear Papa : Pray to God for strength the awful drink to fight, And He will help you, if you try. O papa! I've forgot You ever had a sober hat— take this, from little Dot.' VI. " Perhaps he'd love me then, and try real hard to stop the drmk. I'll go right off and buy the hat before I've time to think. With feet so cold I might get mean and treat myself to shoes; I need them— but dear Jesus says, ' love them that ye abuse.'" VII. As Christmas dawns, upon the floor lies little Dot asleep. Her father bends above her— sight to make the angels weep! He grasps the hat, and then the shawl, and chuckles in his glee: "Just what I want; now I can have a jolly Christmas spree." Wee Dot sleeps on, and in her dreams the garret, mean and small, Turns to a palace many roomed, with carpets like her shawl. Red stockings dance a merry jig with a bright, new pair of shoes, Her father wears a sober hat, and reads the Morning News. VIII. The Christ Child's birthday floods the earth with sunshine bright and fair, As Dottie rises from her dreams, smooths out her golden hair And turns to greet her mother, w itli a happy smile and blush : "O mamma, did you like your shawl?" "What shawl'?— O Dottie, hush. Don't cry so; what's the trouble, dear?" Dot searches all around 'Neath chairs and under bedclothes, but in vain — no shawl is found. "O mamma, I have worked so hard to buy you something warm For ten long weeks, and now all's gone — " sobs shook the little form — IX. " If, as you say, the Lord is good, what makes us suffer so?" " My darhng, d will bring tilings riglit in liis own time, I know." Her mother's voice chimed sadly sweet, as silver bells might toll; While o'er her face there shone that light Dot thonght so like her soul. What darkened all the doorway? No, " lit it up," Dot said; For there stood jiapa! sol)er, too! The hat was on his head. He cl.'iHped the .shawl 'ronnd iii.iMiiiia witli a pressure close and snug, And then — with something like a sol)— gave Dot a kiss and hug. 122 EMMA DUNNING BANKS'S X. " Here, Dottie, take this basket, child/' Dot did, and raised a shout; Tlieii swunj; it hijj:h— red stocking's, slioes and cliicUcu tumbled out. Warm mittens, too, and a new dress. " O papa! tell me liow You t,'ot the money for the.se things." '• Ye.s, d(>;ir, Til tell you now. You know 1 was a lawyer once; well, just as 1 had signed The pled-e" " O papa'^" Husband" " one who knew me felt inclined To trust me witli a case right off. Of course he paid his fee. And my first thought was, ' now we'll have a jolly Christmas glee.' XL " For when I read Dot's little note, and .saw the sober hat, My old one did look tipsy; so I threw it— quick as that— And made resolve, with God's good help to live a better life; Try home and name to win again, for Dot and you, dear wife." And so he did. His practice soon became the best in town. Our newsboy studied with him, and in time won great renown. And Dot? She grew, and grew, and UREW! you never would believel And married that same newsboy, just a year this Christmas Eve I LESSON-TALK. (1) Let the tones of the voice be natural and sympathetic. Make a descending prone gesture on the word "down," in line 5, with a little, shrinking movement accompanied by corresjionding facial expression and knitting of the brows in the line following. A little movement for- ward with the right hand would be correct on the words " started forth " occurring in line 8. (2) Let a little suggestive shiver pervade your frame, as though in harmony with the feeling of the child, while reciting line 2; and then Icjoking down contemplatively in a musing sort of attitude, begin the soliloquy, interrupting it with a (juick glance at the audience, and a little explanatory nod on the words "she mused," then resume position and continue. Before the words " mannna's Christmas," make a little pau.se. Fill it in with the following jiction : Let the whole face light up, m though inspired by some sudden, joyful thought, and clasp the hands together with a swift movement expressive of delight, letting the tone ring out with feeling. Prolong the merry notes of the newsboy's call, using contralto or che.st-tones, saving the head-t(jnes for Dot later on. A rapid rate of utterance prevails throughout lines and 7, making ap- jjrojjriate pauses where the dashes occur, swaying slightly to the right and gesticulating in that dire<-tion as you say "she ran and caught the boy." Make the lines beginning Dot's .speech very pleading and sweet. ORIGINAL RECITATIONS AND LESSON-TALKS. 123 (3) On lines 2 and 3, move a little to the right and lower the voice confidentially. A touch of awe and reverence must pervade line 4, finishing with an ascending gesture toward heaven. Let the tones throughout be light and childish, usmg a much deeper tone wliile ren- dering the woi-ds which characterize the newsboy. Look to the lett and begin with a negative shake of the head. The prevailing expres- sion should be one of pity, blended with amusement, when saying doubtfully '■ I'm "fraid they won't take girls, sis," remembering to pause before and after the conjunction "but," as though planning how to help the little girl. Then the face must glow with generous resolve. Raise the right hand, clinch the fist and let it come down on the palm of the left hand with a real manly and emphatic blow, as if to say "that's the ticket." The climax of this gesture should come on the words ^' my place." Turn to the right, with an indifferent manner, as though going to walk off, when you say "for I don't need it;" then turn again suddenly to the left, and with boyish enthusiasm and ex- uberance of manner finish the stanza. (4) Dot's call is an imitation, in the .soprano, of the newsboy's. The action-work for both consists in an alternate sAvaying of the body and hand to right and left, as though offering papers for sale in a busy thoroughfare. Extend right hand in a pleading gesture during Dot's speech in line 6. (5) A very pretty piece of work can be made of Dot's soliloquy as she stands there, looking down ruefully, first at one foot and then at the other. During the pause after the word ".papa," in line 4, bring the hands swiftly together once more, to express delight. Separate as swiftly, and make a gesture of repugnance with right hand, as though pu.shing something away, on the words "so tipsy." Use the forefinger of tlie right liand and tlie i)alin of tlie loft, as imaginary pen and ]iap('i-, while planning tlie i)i-op()S<'d letter, enumerating the words sonicwiiat slowly and with cunning, littde, positive jerks of emphasis here and there. (0) Summon the clasping gesture of delight once more to your aid. then separate and make a doubi«' g«'.sture to the right (one hand in ad- vance of the other) with an imi)ulsive movement, during line 2. On the words " with feet so cold." j»aiise as tliongli a little undecided still, hesitating and examining first one foot, then the otlu-r when you say: "I need them." As tin! struggle with .selfishness ends, raise the eyes and finish with an {i.scending right-hand gesture, holding the pose for a brief sf»a<'e after the lines an- finished. (7) To render this .scene correct h, imagine that you see the picture, and tliat y«)iir mi.ssion is to tell your audience what you .see. Do this by symi)athetic feeling and appropriate |)antomiMie work Tict the 124 EAf^r.i jyuwixG banks's father's voice rinj? out in his drunken f?lee, raisinji: the hfwid aiuilessly in air as tJiou^h shaking the shawl, ^ivinjj: vent at the same time to a \\ ittl, reckless lavish. AVhen l)e^'inninf; line 5, extend the ri<;:ht hand in a prone p'sture, as tliou^li over the place where Dot lies sleeping. In the next line, make curving movements on high to illustrate the idea of stately, arching rooms. Finish brightly and pleasantly. (8, !)) The mother's voice must be low, gentle and sweet, contrasting ■with the high, vivacious tones of the child. When personating the grief-stricken child, many pauses, sobs, gasi)ing breaths and clioked utterances must be introduced. Quick, startled astonishment and an almost incredulous joy color lines 5 and (5 of the ninth stanza, and the rest is simply conversational. Let feeling be your guide and the action- work will suggest it-self. It consists mainly in a qui<^k turning of the child to her mother; a pointing here and there to describe her search; a pitiful and intense wringing of the hands in grief, throwing them out in an abandonment of despair on the words " what makes us sufifer so?" Point to the doorway when beginning lin(> 5, giving a knowing little nod combined with a swift circling of the hand above the head to finish the line, and the action-work is comi)leted. (10) Deep voice for the father. Excited tones and rajjid utterance during description of the scene. ^ (11) A snapping of the fingers or any preferred gesture on the words " quick as that." A reverent uplifting of hands and eyes, on the words "God\sgood help." A gesture first to the right and then to the left, when alternately designating Dcjt and her niannna. Finish jjleasantly and with the utmost simplicity. G A BASTING THREAD. RANDMA was nocKling, 1 rather think; Harry, the rogue, sly, (piick as a wink, Climbed softly back in her great arm-chair, Nestling himself very cozily there. Grandma's dark locks were nnngled with white; Quickly this fact dawned on the boy's sight. Grandma felt a .sharp twinge in her hair. And woke with a start to find Harry there. " Why, what's Harry doing to grandma? " she said; He answered. " Is pullin' a bastiiT fread!" ORIGINAL RECITATIONS AND LESSON-TALKS. 125 THE SPINNING-WHEEL SONG. I. Mt^LLOW tlie moonlight to shine is l^eginning; Close by the window young Eileen is spinning. Benr o'er the fire, her blind grandmother, sitting. Is crooning, and moaning, and drowsily knitting. " Eileen, achora, I hear some one tapping." " 'Tis tiie ivy, clear mother, against the glass flapping." " Eileen, t surely he'ar somebody sighing." " 'Tis the «ound, mother dear, of the summer wind dying." II. Merrily, <*heerily, noisily whirring, zzz — zzz — zzz — zzz — Swings tne wheel, z-z-z-z, spins the reel, while the foot's stirring; Sprightly, and lightly, and airily ringing Thrills the sweet voice of the young maiden singing. What's this dull wheel ^q=:i: ::=» -•=^ i^liU bin's not here. ^jgiizg^^ He whom I wish'd to see, Eo - bin dair. III. " What's that noise that I hear at the window, I wonder?" " 'Tis the little birds chirping the holly-bush under." " What makes you i)e sliovin' and iiiovin' your stool there, And singiiT ;ill wrong that song ' Robin Adair?' " There's :i form at the casement — the form of her true love, And h(^ wliis|)ers, with fa^-c bent, "I'm waiting for you, love: Get up on the stool, through the lattice step lightly. We'll rove in the grove whiU? the moon's shining brightly." TV. Merrily, cheerily, noisily whirring, zzz — zzz — zzz — zzz — Swings the wheel, z-z-z-z, sjjins the reel, while the foot's stirring ; 126 EMMA DUNNING BANKS'S ^\n-\\x\\\\\\ and lightly, ami airily rinp^inp:, Tlirills the sweet voice of the young maiden singing. il^^l^ii^fip!ii^ilJl Ev - ery las - sie has her lad - die, None they say have I, f-^^mw^^^^MM^ Yet a' the lads they smile at me, When com-in' thro' the rye. V. The maid shakes her head, on her lip lays her fingers, Steals up from her seat, longs to go, and yet lingers; A frightened glance turns to her drowsy grandmother. Puts one foot on the stool, spins the wheel with the other. I.azily, easily, swings now the wheel round, Slowly and lowly is heard now the reel's sound; Noiseless and light to the lattice above her The maid steps — then leaj^s to the arms of her lover. VI. Zzz — slower — zzz — and slower — zzz — and slower the wheel swings; Zzz — lower — zzz — and lower — zzz — and lower the reel ring*^' Ere the reel and the wheel stop their ringing and moving, Through the grove the young lovers by moonlight are roving. —John F. Waller. LESSON-TALK. The young lady giving the recitation might, if she wishes to make up in any manner, wear a wig arranged in two braids hanging, juvenile fashion, to the waist. A short skirt of alternating stripes of .scarlet and white would combine prettily with a peasant bodice of either blar-k or red, and a guimpe or underwaist of white mull. Jaunty slii)i)ers and l>lack hose complete this simple and inexi)ensive costume. Thus .'ittired, let the young lady give the recitation with appropriate action-work, and then step behind the scenes and take her place in the table;iii-j)ictures, which are th<'ri displayed. First I'/r:t K re. —Th(^ scene should Ijc a kitchen interior. At the right is a large, high spinning-wheel, beside which the maiden stands to spin. ORIGINAL RECITATIONS AND LESSON-TALKS. 127 Bent o'er the fire the old grandmother sits, knitting, at the left. Her dress is of calico, a short, faded shawl reaches to the waist-line, and is crossed over her breast. The costume is completed by a quaint white cap bordered by an immense ruffle. A low window with stool con- veniently near, is at the right. Second Picture. — The grandmother is seen standing, bent with age, the forefinger of her right hand pointed menacingly at the girl, who stands the picture of roguish, saucy confusion, as she wards off with her right hand her lover at the lattice. Third Picture. — Grandma's suspicions are lulled; she has reseated herself; but the girl stands poised on the window-ledge, looking back over her shoulder at the old lady ere she makes her leap into the out- stretched arms of her lover, who stands waiting. Fourth Picture. — Ere the curtain is raised for the finale, the Avheel is started whirling vigorously and then the curtain remains raised until the wheel slowly stops. (1) A pleasantly natural rendition characterizes line 1. In line 2, a pau.se after the word " close " will be appropriately filled in by a gesture of location toward the right, where the maiden stands spinning at her wheel. After the word " bent," the same business is called for, toward the left, as the grandmother is pointed out. Make i)auses after the words "crooning" and "moaning," also just before uttering the words " drowsily knitting ; '' fill in the last pause by a double gesture as though knitting. The voice of the old lady is harsh, tremulous and croaking, and is formed by continuous and somewhat rapid strokes of the glottis. Her body is shaky with a^e, her chin wobbles, and her forefinger agi- tates uncertainly and menacingly in the air throughout her speech. The girl, after alternate glances from grandmother to window, puts both hands Ix'hind lier and dehvers line in an enjoyably miscliievous manner. Before uttering line 8, let 4ier shade her eyes witii iier hand and peer anxiously from tiie window, to see if her lover has come. (2) Tlie action-work (hirin;;the chorus or second stanza is exception- ally pretty and effective. Tlie feet are widely separated, the right lM>inting decidedly to the right, the K'ft to the front or audience. The body sways somewhat biu'k, and the weight is entirely on tlie left foot. Tlie ritrht foot is pr)ised on the heel with toes in the air, .ind (luring the treadle-motion they do not touch the lloor. To the words 'merrily, cheerily, noisily whirring," there are two l)eats of the foot on an imag- inary treadle, to each word. The knees bend and the body, from the waist-line down, dips in syiiip;ilhy with movement and sentiment ex- f)re.s.sed. This must and (•■•in !>(> m;ide very ^rr.iecful. Witiie.ich word, the right liand and arm start in .1 downwind inov cMicut Iroui the out- side, and coming to liie front, move npw.ird .ind tli.n ilownw.ird and 128 EMMA DUXXIXG BANKS'S biu'k. ill a iiianner descriptive of a large wheel or circle. This circling TiioviMiuMit is made once to every word of the first line, or every two beats of the foot. After line 1 continue the same action-work with the foot, and trace four more imaginary circles or large wheels in the air. Tlu'se wheels pass below the waist-line and above the head in their cir- cling course, and are very large. As you begin each one of the four I'ircles on the downward stroke make use of the phonetic; soinid of the letter 'z" to illustn-ate the heavy, buzzing sound of the wheel; then say, "swings the wheel." Jiow make four light hunnning tones, and four slight pushing, pointing movements toward the reel, the tones and gestures being made in time to the treading motion, which consists of two foot-beats to each turn of the wheel, and then you say " spins the reel," and let the forefinger drop as though pointing to the foot and say " while the foot's stirring." Please notice that no changes are to be made in the position.of the feet, except that of weight. During lines 4 and 5 tiie body sways to the right luitil the weight rests entirely upon the right foot. At the close of the stanza let the weight of the body sway back ujjon the left foot; lift the toes of the right foot; and resume all the spinning-wheel action again, the moving of the foot npoii the treadle, and the circling of the hand and arm for the wheel; at the same time singing " Ilobin Adair," here given. (3) Here the grandmother interrupts in the same harsh, tremulous croak as before. The maid again assures herself by glancing out of the window, and then turning in agitated confusion frames her reply. 1 have taken the liberty of substituting for the word " on," at the close of line 3, the word " there," and of making line 4 read thus : " that song Robin Adair." This change is made in order to introduce the title of the song sung In' the maiden. The lovers speech is aspirated through- out. (4) Action-work is similar to that of second stanza. The song intro- duced at the close is that of the chorus of "Comin' thro' the Rye." Using left hand, touch the breast lightly with an arch smile and nod on the word " me." Glance alternately from the wheel to the audience. (5) Appropriate a*;tion-work is suggested by the first three lines. After the word "puts" along pau.se is demanded, filled in by the fol- lowing a('tion-wf)rk: Taking iiold of the dress daintily on either side with both hands, slightly raise it, while glancing back and forth from the grandmother to the lover at the lattice, and furtively measuring the distance from the wheel to the .stof)l. Put the right foot farther and fartlit-r out; then, as it reaches its re.sting-place, say with a sugges- tion of work in the voice " one foot on the stool." Then let the skirts fall, and with a ripple of lauirliter. move the left foot and begin the treadle motion, laughing and pointing to it, as you say, " spins the ORIGINAL RECITATIONS AND LESSON-TALKS. 129 wheel with the other." Xow make four slow, heavy, huzzing sounds upon "z" using lift foot for treadle and Itft hand for the circling movement, and facing full front instead of to the right, as before. Now render line 5. Four faint, buzzing sounds are now made, and then line 6 is recited. An a.scending gesture and glance to the right during line 7 and the first three words of line 8. Utilize the pause after the word " steps " by shading the eyes with the right hand ; make a double ges- ture by flinging the arms to the right on the word " leaps,'' and finish the stanza. (6) The wheel moving by itself must now engage your attention. Pause, laugh and point to it, making a buzzing sound and circling movement of the arm ; then say " slower." As the wheel moves of itself, no foot motion is necessary. Repeat this action and buzzing sound where there are dashes. Before beginning line 3, incline the head, listen and make a faint buzzing, repeating this also where the dashes, which repre.sent pauses, occur. A mischievous laugh runs throughout the words and coloi-s the facial expression. The circling movement of the hand during line 4 finishes by a move backward and a little courtesy at the close. TOTAL AMNIHILATION. T. OH : he was a Bowery boot-black bold, and his years they numbered nine. Hough and unpolished was he, although he constantly aimed to shine. IT. .\s proud as a king on his box he sat, munching an apple red, While the boys of his set looked wistfully 011, and " (jive me a bite!" they said. III. Mut the boot-l>]ack smiled a lovely smile, " No free bites here!" he cried, -Xiid the l»oys, they sadly walked away, save one, who .stood l)y his side. "Hill, give MS tlie rofc." he u hisiM-rcil 1(,\\. 'J'liat l«i<>t black smiled once more, And a mi.s<'hievous dimple grew in his cheek, — "There ain't goin" ter >>e no core." — Maiiv 1). BuiAK. 9 30 ExMMA DUNNING BANKS'S ALINE'S LOVE SONG. I. How clelifxhtfully cozy the parlor now looks All alight, — sweet witii perfume from llower-scented nooks: Soft, rare pictures by masters adorning the walls. And — some one is wishing that sinat one would call. Ah! how daintily pink is the fair rose-leaf skin ; Blue-bell eyes all ashine, — listen! hark! from within Comes a voice raised in song. As she walks to and fro Her secret bursts forth in a trill sweet and low. II. " Tra-la-la-la-la-la — Ah I now what did he mean, When he laughingly called me his ' bonnie white queen?' To be queen o'er his heart would seem lujnor more great Than reigning o'er worlds, high in honor and state. Tra-la-la-la-Ia-la. Of my heart he is king, And liis voice low and sweet, seems with nmsic to ring. His brown eyes are so merry, their glance is so clear. One gleam from their depths speaks of sunshine and cheer. III. "Tra-la-la," — Hist! a step in the hall, — sudden hush in the song; A (piick scurry of dimples back where they belong; Snow-white hands give a smooth to the hair's golden wealth, And oh ! — so demure, — she asks " after his health. Glad to hear he is well, so nurprised at his call! How delightful the weather, this time in the fall." All heart blushes and dinqjles kept rigid in school, And voice is so pleasantly, properly cool. IV. His laugh rings out aloud, — " Ha-ha, pretty Aline, (^)r say rather, my own little bonnie white queen; You have named me your king, .so to me you belong, — I stayed at the door, love, and heard all your song." Now the curling gold hair meets the blu.sh on her cheek; The deep dimples chase simles. playing ' hide-and-go-seek" O'er the fair, girlish fa<-e, as he calls lici- his i)ride. And crowns her his queen, coim- wliatc'cr may l)etide. ORIGINAL RECITATIONS AND LESSON-TALKS. 131 V. How enticingly cozy the parlor now looks ; The light gliunuers but dimly o'er pictures and books. Closely drawn to the fire, a large Turkish arm-chair Proves blissfully equal — to — holding a pah. LESSON-TALK. Imagine two rooms, yourself in one of them. The room which you are in is separated from the well-lighted parlor beyond by an archway on your right. Now place yourself bj- the archway, it is but a step from where you are standing; you will notice the porti&re is drawn, ever so slightly, but still enough to enable you to peep within, and depict whatever you may see and hear to your audience, whom you must entleavor, by your manner, to make at once sympathetic and curious. Believe that you are going to see, hear, and disclose some- thing, imagine you do see it, and then, and then only, are you ready to tell it. (1) Incline the weight forward on the right foot, head in sympathy, and for an instant slightly shade the eyes, as if the light were too much for them, as you peer into the mysteries of the room V)eyond, and in a plea.sant conversational tone utter the first two lines, letting the eyes rove aViout as if scanning the " pictures " when you repeat line 3. In line 4 fill in the ellipsis after the conjunction "and" with a little knoAving, confi(>ni an' Baptist will yeoii die, But why— baptize— yeour— hat— my fiicnd— in— Mctli-o-dist mince- pie?" Jest then the door was opened wide, a gentle voice said " Why ! " I stopped my song— 1 wished that hat wa'n't daubed with that niince-pie. V. Twas parson's wife! She cleaned his hat; I felt most streaked small Tew think she caught me lightin' witli a neiglil)()r come tew call. We told eour story, an' she said : " There's one straight road tow heaven , Dew right in word, an' truth, an' deed, an' yeou will all he given A place with Got!, no matter what yeoiir church creeds here below, Fer .sake of Him wliose Ijlood was shed, tew wash yeour sins like snow." Wal, when they'd gone 1 thought aheout the churches all areound, An' reckoned that the Methodist was surely safe an' sound. VI. Episcopuls they 'low tew much fer dancin' an' fine dress, An' Catholics they give their priest God's place when they confess. Say what yeou will 'heout punishment, I tliink we might as well Keep with us, on eour eartliward way, a hullsum fear of hell. Some young uns dew their duty from a sense that sin is wrong; An' others need the rod laid on, at times most powerful strong. Wal, when 1 thought the matter o'er 1 straightened up with pride, An' reckoned tliat the Metliodisis wuz on the safest side. VII. That night I had a curus dream. I tho't my race wuz run, An' I had started off to find my home in heaven won. I found myself in a great hall with doors all on one side, An" pecjple pourin' in 'em all; I looked an' could hev cried. The biggest door wuz " 'piscopul " with winders of stained glass, An' oh! the creowds of dressy folks that in them doors did pass! The next one wuz the Baptist— an' the deacon jest wejit in; Some churches bed big doors, some small; 1 thought that eours must win — viir. When all at once I felt afraid, the doors all grew so small. '■ Oh. dear." I cried, " what sliall 1 do, eour door ain't here at all!" When in the farthest corner I a leetle door did .spy; I crep up clus— 'twas Methodist; an' then I hed tew cry. ORIGINAL ItECITATICNS AND LESSON-TALKS. 135 I pulled the bell, the door was oped, an' then I went inside, An' " Hallelujah tew the Lord! salvation's free! " I cried. Good people all, ef yeou dew right, ne'er he afraid of doom ; Yeour creed won't save yeou, fer them doors all opened in one room! LESSON-TALK. This is most emiihatically a character-selection, and demands good characterization in its rendering. It should also be given in costume. A plain black calico skirt, uuide long enough in the back to allow ttie Avearer to stoop considerably forwui'd, may be slipped over the or- dinary dress. A wide-bordered cap, an old-fashioned bonnet and shawl, black gloves and blue spectacles are also necessary, and last, but not least, a good-si/ed cotton umbrella. A wig may be dispensed with if the cap be edged with a wide box-plaited ruffle made double, and pulled well over the forehead. The shawl pinned on, the bonnet and cap- strings tied, the blue glasses adjusted, and you are ready to peep in the glass and have your friends tell you that " they Avould never have known you." You may make the facial change more complete by drawing the upper lip dovv^n and over and under the teeth in such a way as to appear actually toothless. Assume a cracked, quavering, tremulous voice, and keep it up throughout the selection. You are now ready to make your entrance, leaning heavily upon your umbrella, and shuffling laboriously along ; just before beginning make a comical obeisance to your audience. The success of this .^election depends largely upon the expression with whicii the words are rendered; action- work has little to do with it, and there is little action-work to do. The cracked tremor of the aged voice, the frecjuent pausing and little hesi- tations and repetitions of words, and emi)hatic nods of the head, are the most noticeable elements of the recitation. (1, 2) A gesture as of touching one's self on the breast may be made on "I was Methodist," and a jKiiise introchiced before aned from out the careless foldings, while a sheaf of hlies fair IL Spoke a silent message, telling how our mothei-, pure in thought, Sweet and holy in her living, had, with patient fingers, wrought All the stitches of the lilies, till it lay, a thing most rare, Perfect in artistic beauty, trailing from the ebon chair. Twins were we who bent above it, twin sons of a grand old race; Stalwart-shouldered like our father, like our mother fair of face. Ethelbert's physique was i)erfect; but— my good right arm was lost; "Amputation," said the doctors, " or your life must pay the cost." IlL lirother Bert sobbed like a woman. " Rex, O Rex! " he wildly cried, "All of this for me you suffer; better, far, that I had died." Well. 1 cannot .say 1 flinched much, as they bared me for the knife; Tliought I, " I have saved my brother— arms are better spared than life." (iod be thanked! the mad dog's fury turned on me, tore me instead; Tliis was why my brother murmured, " l)etter far that I was dead." ,Vli, my noble, loving l)rother: How he strove to give me care; Took my burden on his shoulders, ever took the lion's sliare. IV. Once I said " he inust not do it ; one arm's left, I am not weak." ■' \\ consoles Iniii," said my mother, "let him helj) you, do not spoak." Ah, that mother! How we loved her! Ne'er liad brothers truer f rieml ; 80 our ^rlaiicos told each other, as we lifted either end Of the snowy sc.irf of velvet, which our niofher bade ns j)lace Reverently upon the altar, .saying, with her soft embrace: '■ Every stitch I wrought, my dear ones, meant a prayer for each hi-.ive Kf»n ; Prayers for safety, pray«'rs for honor. fhroiit,'h life's liattles yet unwon. 12S EMAfA DUNNING BANKS'S V. " Every stitch I prayed, ' God love them, keep them ever 'neath Thine eye ; May the love they hear each other strengthen daily till they die. May they on each Easter moriiinfi^ think with tender, loving care, Of the lenten cloth whose lilies fastened each a mother's prayer.'" Deep within our young hearts ringing, fell these words of love and truth ; Voweti we then to hold tiieni sacn-d, in those long-past days of youth. Sacredly we kept our vowings, through the years that swift went by; Years of sunshine and of laughter, till we said our last good-by VI. To our gentle, high-bred mother, kissed her pale, death-stricken face ; Heard her niuniiur; " Love eaeh other; guard the honor of your race." (Jf the jjriest we begged this favor, while our young hearts throbbed with pain, Pleaded that the .altar scarflet back to us be given again. Reverently our hands received it, reverently we laid it down On The i)illows of tiie casivct, draped its .soft folds next her gown, Curved her taper fingers gently on the lilies 'broidered there ; Thrilled our hearts as we remembered, " each one fastens down a j^rayer." VII. CTOverned by the self-same impulse, silently we bent the knee, Prayed with silence, and with silence j'ose and parted silently. ****** Fatine — wliat a name to give her — sailed to us, the letter said. From a far-olT eastern country, like a message from the dead. Daughter of our father's .school-mate, djing lie besought our care; Craving that his eastern floweret " might bloom forth in English air." Bloom ! My startled .senses met her, as one greets the rose's breath, When from out an Iceland winter one has just escaped from death. VIII. Ethelbert was far in Egypt when she came beneath our roof; 1 was all alone to greet her, and my welcome amj»le proof Yielded her ride need strong protection, he could ne'er defend from harm." XL Maddened by his sneering answer, quick I sprang upon his breast. " Ha ! take that ! and that ! you coward ! die a traitor unconfessed ! " Once and twice and thrice I sta))bed him; ere I left him knew him dead; Then 1 tunicd to face the temptress; she had seize i her time and fled. What a horror froze within me as I marked my brother's face Softened to our mother's semblance, in her coflHn's sad embrace. Once again I heard her pr.iycr. " Keep them ever 'neath Thine eye, May the love they bear eacli other strengthen daily till they die." XII. Sinking on my knees Ijosidc Iniii, " Brother," moaned I, in remorse, " I will send my soul to fiml tine, die beside thy murdered corse." Raising high once more the (lMj,^ger, (piick I felt a grasp, a shake; Tiii-n a voice crieii, " Wake, old fellow! rouse up. Rex! wake, brother, wake! " Waking from that curse of ni^'ht mare, with a shuddering, joyful start, I beheld my twin, my hroMier, clasped him closely to my heart. "Tell me true," I cried to l-'atine, "do you love him?" She said, "yes." "Speak, my brother?" "Though it pains you, Rex, the same I must confess." 140 EMMA DUNNING BANKS'S \T1I. Liko tho iiorfniiiod hronth of lilios, a swoot poacp u|>on nie stole, As \vi> luard in tlie tar tiistaiice, the yhul KasttT joy hells toll. TolliiifT, tollintr, rolling, rolling, waves of calm throughout my soul-. Tolling, rolling, tolling, rolling, till I felt my heart made whole. Then 1 eried : " That dream 1 translate as a warning from above; Brother, you can never pain nie! Sister, I am glad you love." Through the bells our mother's last words, given witli lier last embrace, Floated, mingled : " Love each other; guard the honor of your race." LESSON7TALK. (1) A sliglit descending gestnn> during the latter half of line 1 will be followed by an ascending gesture in the next line, suggesting a wave to desigiiate an arch on the appropriate word in line 3. During the next four lines slightly waving and descending movements of the hand, ex]ilanatory of the appearance of the scarf lying upon the floor, will suggest themselves. (2) Few gestures are permissible in this stanza; repose will speak a better language. Pride of birth and lineage gives coloring to lines 5 and 6, broken by a dash of strongly repressed feeling after "but," in line 7. This is covered by the slight attempt at personification while utterirg the doctor's speech. (3) Considerable feeling is allowed to enter into lines 1 and 2, followed by a sort of dry self-control during the next three lines. Deep emotion characterizes the remainder of the stanza. (4, 5) A gesture with the right arm, clinching the fist and allowing the arm to come forward with strength during line 1. A soothing tone of voice, with deprecatory movements of the hand, will enter api)ro- priately into line 2. Use a double gesture, if you choose, to designate the lifting of the altar scarf, and an ()l)li and 4, and while not making the last btrongly like bell- tones, prolong it and let it float upon the air in a serene manner. OFF FOR SLUMBFR-LAND. PURT^LE waves of evening pl.iv upon tlic we.stern .shores of day. While ]);ibics s:iil. so s;if<' ;in(l Ircc, oxer the niysf ic shimlxT se;i. Their little boats are cradles liLrht ; 1 he sails are curtains, pure and white The rudders are sweet lullabies; the anchors, soft and sleepy sighs. They're outward-bound for siuniher-laiul where shining dreams li»' on the sand, Tj'ke whis|»"rinu' shells that inurunir low, the j)rettv fancies V)abies know. Atid there, among those dream shells bright, the little ones will play all night, Until the sleepy tide turns; then, lhe\il all come Hui ling home again. 142 EMMA DUNNING BANKS'S MONEY MUSK. I. AH ! the buxom girls that helped the boys — The nobler Helens of humbler Troys— As they stripped the husks \vitli rustlinf^ fold From eight-rowed corn as yellow as gold, By the candle-light in pumi)kin bowls, And the gleams that showed fantastic holes In the (juaint old lantern's tattooed tin, From the hermit gleam set up within. II. By the rare, rare light in girlis> eyes, As dark as wells or as blue as skies ; I hear the laugh Avhen the ear is red, I see the blush when the forfeit's paid ; The cedar cakes with the ancient twist. The cider cup that the girls have kissed. And I see the fiddler through the dusk. As he twangs the ghost of " Money Musk." III. The boys and girls, in a double row, Wait face to face till the magic bow Shall wliip tlie tune from tlie violin, And the merry pulse of the dance begin. Dance. [Play first strain once.] jULEORETIO. rr?^ P « *-| f 1 , 1 r* ^ ttt~ 1 — ^ — •^ "ii — f~ * .. . m. -* m • ^n r- !l f ! -1 ' -t— f— 1 f iidJ- X 1 r 1 f -H # * J J -•- ■f — f^ {J:^-^ !-# '■ 1 X-4 — |-# 1 O— 1 — I-* 1 t* — . — 1 H — r ■ t* ■ ' ,(— d ^ — ip--- ORIGINAL RECITATIONS AND LESSON-TALKS. 143 In shirt of check, and tallowed hair, The fiddler sits in the bulrush chair Like Moses' basket stranded there On the brink of Father Nile. IV. [Repeat first strain.] He feels the fiddle's slender neck, Picks out the notes with thrum and check, And times the tune with nod and beck, And thinks it a weary \\rhile. [Play second strain.] "All ready ! " Now he gives the call, Cries, "Honor to the ladies all!'''' The jolly tides of laughter fall And ebb in a happy smile. V. [Repeat second strain.] D-o-w-n comes the bow on every string, "First couple join rigid hands and swing f'' As light as any bluebird's wing " iSwiug once and a half times round !^ [Play first strain.] Whirls Mary Martin, all in blue — Calico gown and stockings new. And tinted eyes that tell you true. Dance all to the dancing sound. VI. [Repeat first strain.] She flits about big Mo.ses Brown, "W'tin holds luT liands to keep her down. And thinks Iht iiair a golden crown. And his heart turns over onoe. [Piny Becoiid strain.] His cheek with Mary's breath is wet, It gives a second sfimerset ! He means to win the maiden yet, Alas: for the awkward duncel 144 EMMA DUNNING BANKS'S VII. [Repeat second strain.] " Your stop:a boot has crushed my toe ! I'd rather dance with one-legged Joe, You clumsy fellow ! " "Pass beloui' " And the first pair dance apaii;. [Play first strain.] Then "Fonrard six!'' advance, retreat, Like midges gay in sunbeam street ; 'Tis Money Musk by merry feet And Money Musk by hetirt I VIII. [Repeat first strain.] "Three quarters round your partner swing! Across the set! " The rafters ring. The girls and boys have taken wing, And have brought their roses out I [Play second strain.] 'Tis "Forwa rd six ! " With rustic grace, Ah ! rarer far ihun-^'' Stving to place ! " Than golden clouds of old point-lace. They bring the dance about. IX. [Repeat second strain.] Then clasping hands all — "Right and leftf'' All swiftly weave the measure deft Across the woof in loving weft, And the Money Musk is done ! — BENJA.MIN F. Taylor. LESSON-TALK. (1) Begin with a brisk conversational movement. A gesture as of rapidly husking an imaginary ear of com will enter ai)i)ropriately as action-work in line 3. No gestures necessary for rest of .stanza. (2) On the words "dark as wells," make a descending i)rone gesture with the right hand, merging into one in the ascendant on the words " blue as skies." Incline the head with right ear obliquely to the right as though listening, and poi.se the right hand in air in such a manner as to convey that idea, as you say " I hear the laugh when the ear is ORIGINAL RECITATIONS AND LESSON-TALKS. 145 red." Tarn the head swiftly, and shade the eyes with tlxe hand, as you say " I see the bhish when the," then make a brief pause and, using the fingers of the right hand to Hghtly waft a kiss, say " forfeit's paid " A httle twisting gesture is suggested in line 5. Lean forward with ani- mation as you point out "the fiddler through the dusk." Bring out the word " twangs" with the peculiar sound descriptive of its meaning. (3) Again lean forward, and with enthusiastic zeal point out and describe the pretty picture of "the boys and girls in a double row." As you say " whip the tune " make a gesture as of drawing the bow down the strings of an imaginary violin, and make the word "whip" bright and picturesque. Now comes the intoning to the music of Money Musk, and for particular directions regarding such work the reader is referred to the Lesson-Talks on " Two Thanksgiving Dances" and " The Soldier's Joy," on pages 107 and 72. It will suffice to repeat that you nuist patiently and carefully fit the words and syllables of words to the music, keei^ing the voice down, as it is not desired that you sing, but that you intone. AVitli the forward right foot, beat the time to words and music, as you point out and describe the fiddler. For these gestures use the right hand. (4) Left hand and arm are here outstretched to hold the violin, while the fingers suit the action to the word as you say, "He feels the fiddle's slender neck." Let the head nod in sympathy as he " times the tune," and " thinks it a weary while." The first strain of music is played twice while intoning the above. Call out " all ready " in stentorian tones, as the fiddler gives the call. Make the prompter's shout of " honor to the ladies all" very heavy, and accompany it with the gesture of drawing the bow up and down the strings. Pick up the skirts daintily, and in- troduce little dancing-steps as you intone the rest of this stanza, keep- ing your eyes upon the dancers and seeming to dance in sympathy with them. (5) Shout the calls in masculine tones, and make gesture of holding the fiddle and drawing the bow. Between the calls point out " Mary Martin" where she whirls "as light as any bhiebird's Ming." Whirl around and dance as you describe the coquettish young girl. This action-work may be made very pretty. (6) Beat time with right foot as you point out and describe tlic maiden flitting "about big Moses Brown." A swift, light gesture will give significance to tlie words "gf)lf)ic sun slione in the sky, and warmed the Ma> moiitlTs air; Sweet sang the hirds; soft breezes blew; Memorial JJay was fair! II. 'NVlien War her giant wings shook out, and wakened all our fears. Some quiet farm-folks in Vermont a brave son gave with tears. Sister and sweetheart, mother, sire, he bjide them all good-hy ; All " boyish" sobs the man choked down, brushed tear-drops from his eye. ORIGINAL RECITATIONS AND LESSON-TALKS. 147 III. He fought all down, sprang on his horse, then faltered : " If I'm killed — (There, mother, don't— now— do not cry) 'twill be as God has willed. But, if among the war's sad news you do hear that I'm dead, Please bring me home, and bury me, and lay me so my head IV. " Will rest beneath the old elm tree down by the meadow brook. Good-by, once more." Then off he dashed without one parting look. He fled from sight of weeping friends, from hearts that held him dear; But ne'er from battle's challenge flinched— his brave soul knew no fear, V. Where rolled the war-cloud's densest smoke, where loudest pealed the gun. Where comrades brave, on every side, were falling one by one, — There ever dashed our soldier boy. Full oft his brave, bright cheer Rang out, and courage lent to souls bowed 'neath the sway of fear. VI. Once when their color-bearer fell our flag he snatched on high; In clarion tones his young voice rang, pealed forth in one brave cry: " Come! Ra.lly, boys, for victory! we'll win this field or die!" That gallant charge was won, that day. But, when the southern sky VII. Was all a.shine with twinkling stars, the southern moon's sad face Beamed i)ityingly upon our boy, fast wrapped in death's embrace. His grave was made upon the farm, beneath the old elm tree, Wliere, on that fair Memorial Day, his mother bent her knee VIII. And thought : " He lies so far away, his resting-place unknown, No comrades brave will seek liim here; his grave will ne'er be strewn With l)looms from loyal soldier hands, that knew him in the fight." A drum's low Ix-at ft-ll on licr car, across her startled sight IX. A vision came of marching men, Grand Army boys a score; A lloral fliig, )i cross, a crown, wifh llicir hoii(|ticts they bore. Their hcaiitcoiis tributes they lairing element employed, (hi lines 2 and 3 asceniling gestures with the right hand are aliowaljle. (2) A stronger tone characterizes and strengthens line 1. A gesture of location with left hand indicates the direction of Vermont in line 2; the voice is more subdued, in sym])athy with the sentiment. Strong emphasis is needed on the word " man " in line 4. (3, 4) Make the word "all" very emphatic; give a little upward fling of the right hand on "sprang." Then make downward gestures of de- precation as if talking to some one much shorter than yourself, during line 2. Deliver the remainder of the stanzas with feeling. A forward gesture may be made on " off he dashed," as though watching some one ride olT into the distance. (5) An upward, spiral, floating movement with right hand will be found eflfeclive in picturing " the war-cloud's densest smoke." Let the voice ring out with i)atriotic fire when rendering the la.st half of line 1. Alternate side gestures will describe the excitement of line 2, and let the enthusiasm continue to vibrate through the voice to the end of the stanza. (H) The dash and spirited ring still color the tone. The call in line :'. must peal out. An upward gesture on "southern sky" will finish the action-work of the stanza. (7) The a.scending movement is continued from the last stanza into this. The hea to him though you loved me; brace up, Ben, this isn't the end ! Jack nuist thank you for saving his wife, Ben — why, Ben, look up, Ben ! can't you see? A-a-h! He's dead! Ben has ridden his last round with Flibbertygib- bet and me. —May R. Mackenzie. LESSON-TALK. This is an episode of the circus ring, and during the second, third, and fr>urth stanzas some bright, swinging strains of music, such as are connnonly heard in the circus while the riders are going around the course, could be introduced with happy effe(*t. (1) Conversational gestures of empliasis and location are to be used in this stanza, a little nervous shrug of the shoulders and half turning away in line 2. Point f)ut the circus ring in line 3. With the hesita- tion emjiloyed in the last half of this lin<', let a touch of pathos creep into the voice when speaking of the "little one." In the pauses repre- sented by the dashes in line 4 make a gesture as though brushing away tears and chr)king down emotion. To clo.se the .stanza, give a slight spring (not lifting the feet from the floor, liowever) after the word "so," and raise the right hand as you endeavor to repre.sent the circus rider's spring upon her horse. (2) Now. if you have no music, imagine it, and let your action-work adai)t and time it.self to the merry strains. Y'ou know how the rider uses her hands and arms to balance herself, and liow her feet will move ceaselessly to and fro ui>on the bare back of the lior.se. You must not ORIGINAL RECITATIONS AND LESSON-TALKS. 151 endeavor to do all she does, however ; merely to suggest it. This stanza is full of a certain wild, breezy sort of dash, and one who likes a spirited selection will enjoy studying and working it up. Practice before a mirror. The only way you can convey an impression of the horse run- ning around the circus ring is by a subtle pivoting and swaying of the torso at the waist-line, letting the hands and arms move in floating, curving gestures from right to left, then back again, as the waist, knees, a! id whole torso sympathize in the pivoting, circling movement before alluded to. Imagine the girl upon the horse's back, the right foot for- ward, and moving ever so little to and fro, as the hands and arms wave in balancing and accommodating the body to the supposed motion of the horse. Imagine all this and let the voice ring out in a joyous, ex- cited mood. , Describe the horse by gesture and movement as going to the left during line 3, and bend toward and seem to pat him as you say "listen, my Flip, we nnist win some more." With head and torso turned to the right and arms thrown upward, and voice pealing high in excitement, endeavor to picture the girl as she jumps through the hoops. Do not jump and overdo, hoAvever; always suggest things rather than make any attempt to actually do them. (3) The wild, reckles.s abandon of excitement still peals in the voice and is pictured in the gestures through the first four lines. Rippling, mocking laughter begins line 3. In lines 5 and (5 mood, and conse- quently voice, changes completely. For a brief interval the mask of merry liravado is dropped and the voice lowers and softens as gleams of a grave, gentle, symjjathetic womanhood shine forth. (4) The dash and excitement creep in once more during line 1, and still more in line 2. A little more attention after the supposed stumble is given to the movement of the horse and to guiding him with the voice, in lines 3 and 4. In lines 5 and 6 represent the horse as going to the left and, thrf)wing the head saucily, look back over the right slioul- der as you say "away witli a one, two, three!" By looking back is meant to imagine yourself as going to the left and talking to some one following, some one a little to the right; then when you look back over the right shoulder the facial expression, laughingly defiant, is fully dis- closed to the andience. (5) A touch of Kentucky dialect finishes the latter half of line 1. Lines 2 and :'. are spoken in a dazed inanner. The hand wanders over tiie head and forehead for action work in line 3. During these 3 lines the fm'e is turned to the left. Line 4 r<'«inins that yon start and turn to the riglit and bring ont the words (jniekly, as though impelled by sf)?ne intense alarm. On the words "yon are Imrt, then," drop to the left knee and lean «»ver the Ihto as yf old drcairis. For thiit scpiare of tinted .satin, with its golden rliytliniic Unes, Brought to mind a youth and maiden pledged of yore as valentines. V. Far r)(T in the old, old country, in fair Ireland's emerald isle. ,\II entranced he lives it over, yields him to the sp<'ll with smile. Once more 'neath her latticed casements plays the fiddler in the street, (tay"St. Patrick's Day "comes floating through the \vin«lo\v — lilting, sweet. VI. Once more plouls he as a wckht on the eve of Valentine, Plejuls and prays this shy, sweet maiden would unto his suit imline. i6o EMMA DUNNING BANKS'S With tho niolody upstarts slio, whirls with prncofnl, flying feet, iSwayiiii;. danoinp:, times her answer to the music's rhythmic beat: AiLxano. ^.i\i— l-^^ ^^ l± -»«SJ- J=.tt "^m 5=t ^ -m- ■»■■•- a -S-tt-)'- Tine -#-«^ ^: •— •- t-^ r=r- "D. S. a! «4 ^.=1= [Play music through once and theu repeat the hrststraiu. lutoue three ssiau^as to the music] VII. ' Oh, I'll be your valentine, I'll be your valentine, ril V)e your valentine, <^ive you my hand; Love words I'll sing to you, hapi)iness bring to you, Happiness greater than houses or land. VIII. " But first you must woo to me, then you must sue to me, Gift me with vit^lets, roses most rare, Make me believe in you, ere I receive in you One who, as valentine, must my life share. IX. "Then rij be your valentine, I'll ])e your valentine, rii he your valentine, give you my hand; Love wf»rds Til sing to you, happiness bring to you, When I, sm valentine, yield you my hand." (.Music stops.] ORIGINAL RECITATIONS AND LESSON-TALKS. i6l Scene III. — Her Room. X. Rat-tat-tat! ""WelU come in, Bridget, what is it you wish to know?" " Ef yez plaze, Miss, there's a gintlenian waithin' fer yez down below." "What's the name? You don't know? Well, then, show him up. I wonder who There I my vioUn has fallen Larry! is it — really — you?" XI. " Really me? Sure, yes, mavourneen, 'tis your Larry, Nora, mine. See, this bit of satin brought me back to be your valentine. Wilt thou have me? Still so shy, love? Then your answer you may sing While this violin's sweet music once more makes ' St. Patrick' ring." [Play music] XII. " Oh, I'll be your valentine, I'll be your valentine, I'll be your valentine, give you my hand ; Gladly I'll sing to you, try, love, to bring to you Happiness greater than houses or land. XIIL ■' Well have you wooed to me, well have you sued to me, Faithfulness shown me, exceedingly rare; Made me believe in you, so I'll receive in you (^ne who, as valentine, nuist my life share. XIV. •'So I'll be your valentine, I'll V)e your valentine, I'll be your valentine, give you my hand; I^ove words I'll sing to you, sweet kisses ])ring to you, When I, as valentine, yield you my hand ! " LESSON-TALK. Introduce thi.s selection with the words "Scene I.— At the Stationer's." (1) This stanza being, for the greater part, descriptive, will i-eipiire but little in the way of action-work. The voice employed should be that of the simple pure, and the tone-coloring expressive of admiration and animation. "The si)eaker's position," with w<'ight on the left foot and the right foot forwjinl, will s«'rve for line 1. In line 2, however, 11 1(52 EMMA DUNNING BANKS'S tluM-c is a siii;ij:ostion of .a subtle swayinfjof tlicwholo torso in sympathy Avith tliost'iitiiiient expressed, lii the same iiuuiiier, on the appropriate words in line 3, sHj^dit waves of the hand are allowable, finishing with a littUMuovenient from the wrist outward, on the words "just beyond." ('.3) In line 3 let the word "singing" ring out, and all the words, in like fashion, linger harmoniously on the air. Make a right-hand gest- ure to designate the " country o'er the sea." A masculine quality of voice should enter into the impersonation of the clerk. (3) To impersonate the stranger and make the characterization dis tinct from that of the clerk, a still deeper quality of voice should be as- sumed. Embarrassment and indecision should fill in the pauses repre- sented by the dashes, then with sudden determination utter line 2. The clerk speaks to the left, the stranger to the right. The words "Single! bless you" spring forth with impulsive, hearty gladness, and a strong tinge of this buoyancy colors the remainder of the stanza. (4) Preface this stanza by the words " Scene lI.-»Stranger's Room." To enliven line 1 make a quick movement illustrative of throwing open a door. First an ascending, then a descending riglit-hand gesture will depict the streaiiiing gaslight; then merge this gesture into a floating, waving movement of the hand on the Avord "drifting," finishing with a slight backward wave on the words " old dreams." In an explana- tory manner, trace imaginary lines on tne left palm with the index- finger of the right hand, during line 3. (5) On the words " old, old country " comes once more a right-hand backward gesture, which is held for the purpose of repetition on the words " fair Ireland's emerald isle." The imaginary vision of the fiddler 'neath the casement may be designatelayed f>n the violin or piano, as may be i)referred. (7) With gra<'eful. swaying movements of torso and hands in harmo- nious balance, dance liglitly forward from side to side during the into- nation of line 1. On the words "give you my hand," extend the right ORIGINAL RECITATIONS AND LESSON-TALKS. 163 hand. Both hands come forward during hne 2, and separate somewhat widely on the words " greater than houses or land." (8) With the beginning of this stanza dance backward, making an .archly repellent gesture with both hands vertical on the words " but just," turning them quickly and extending them supinely on the words " woo to me." Repeat the vertical repellent action on " then," clasping the hands with mocking, imploring intensity as you say, " you must sue to me." Extend the hand supinely during last half of line 1. Shake the forefinger knowingly as you say "ere I receive in you," and finish the dancing movement Avith a little saucy courtesy. (9) The action-work is similar to that of the seventh stanza. Pause after the music and say " Scene III. — Her Room." (10) A little tapping of the right hand with the left may begin this stanza. The voice emi)loyed for the lady should be sweet, pure, and full. She should speak to the left. Use a rich Irish brogue when im- personating Bridget, and speak to the right. Interrupt the words "I wonder who" quickly, as though startled by the sound of the falling violin, then say line 4. Astonishment colors the exclamatory emphasis of the word " Larry!" Dawning recognition is evinced in the next two words, and a delighted certainty in the final "really you?" (11) Use a deep, rich voice for Larry, and speak to the right with outstretched hands. In line 2 a gesture as of taking the bit of satin from the pocket and showing it, may be made if desired. Pleading gestures and emphasis characterize line II A gesture as of drawing the bow over the strings of an imaginary violin may conclude the stanza. (12, 13, 14) With the repetition of the music of " St. Patrick's Day" comes once more the swaying, dancing abandon of the torso. The hints given for stanzas 7, 8, 9 can be useil for these stanzas also, as the work is in the same vein, with this exception, that there is in this latter work no coquettish attempt at repelling the old-time lover and faithful val- entine. .xJJ3B»-^ 164 EMMA DUNNING BANKS'S JACK'S VALENTINE. To the men, young or old, this advice will prove true, If you'd win a maid's love, with sweet words you must sue; Should the maid be worth winning she ne'er will think twice Of position or gold — please remember advice. Four men came as suitors for one fair, sweet maid. The first was a minister, prim, grave and staid; The second a banker; the third Jack, his clerk; "While the fourth was a clubman who looked like a Turk. Each man was determined St. Valentine's day Should bring him an answer, plain "yea" or plain "nay." So each sent a valentine such as he thought "Would bring him full surely the answer he sought. II. The banker sent diamonds — diamonds galore; His liveried footman bowed low at her door. From clubman a horse. Such a pure thoroughbred! A jet-black Arabian — arched neck and proud head 1 The clergyman posted a discourse profound On "Wives and Their Duties; " he felt sure 'twas bound Her favor to win. Lastly, Jack, the poor clerk, A few minutes stole from his figures and work, III. To pen her a m5s.sive, not learned nor long, But so full of his love, that it read like a song, — A song from his heart; yet Jack felt very blue, For nothing he wrote seemed original or new. The crescent of gold, called the moon, peeped and bowed, As she played hide-and-seek with a blue, dusky cloud. Bright glances she cast, as the clerk with his song To the home of his lady-love wended along. IV. Jack twisted the valentine up like a dart, Then thrust it right into a crimson rose heart. ORIGINAL RECITATIONS AND LESSON-TALKS. 165 Ere he sent it he wrote, " I will wait here below, If it's 'yes' come yourself, sweet, but don't if it's 'no'." The maid read the letters, each one in its turn. The pompous old banker's helped make the fire burn; As the flames leaped and danced, she laughed, "Diamonds, forsoothi Does he think to thus easily buy love and youth?" V. She dearly loved horses — the clubman was gay — ■ He promised to pet her and give her her way; He pictured a life full of rollicking mirth, And everj'thing money coukl buy her on earth. She took up the parson's, just stifled a gape, Before she had finished was taking a nap. 'Twere wortli a bold venture, for just one wee peep, The picture she made, as she lay there asleep. VI. Purple velvet the chair, and her curling gold hair In waves like bright simshine gleamed forth from it there; On the rose of her cheek the long lashes lay low, ^^'hile her arm made a pillow that vied with tlie snow. The fireflames gleamed strangely, electrical, warm — The glowing coals shivered; from out them a form Evolved itself slowly — a round, rosy elf. With wings, bow, and quiver — Dan Cupid's own self I VII. Right quickly he wakened her pet bobolink, Opened the cage, and whispered a message, I think; Such a wild burst of music that wee quivering throat Trilled liciiiidiy forth, golden note after note. " Cher-weet-a-chee-chee ! Cher-a-weet-a-chee-chee I .Cher-a-wcct, read Jack's letter, clier-a-weet, wake and seel" Cupid vanished, the l)ird flew and perclied on lier chair, Then woke her, by pulling gold tlireads from her hair. viir. The roses blushetl deeper, the maid drew the dart. Untwisted and read: "To the Love of my Heart." 'Twas the clerk's little Inve-song. The bird sang out: "Swcctf I can read, 'Swcetl sweet! sweetl Dearest lovel Swcetl sweet! sweetl* " 1 66 EMMA DUNNING BANKS'S Now, Jack must have stiulieil the languacie of binls. For surely his love-song seemed full of pet words. 'Twas the oft old story — sweet words won the game, 'Gainst diamond3 and horses and parsons so tame. IX. The maid flew downstairs, with her "yes" to Jack's note. Discouraged he'd started to put on his coat, AN'heu she inunuured, this maiden his heart, longed to win, "Jack, button your coat, but my heart fasten in." " Sweetheart, is it you? " " Yes, dear Jack, I am thine, If you promise to love me as your valentine." He emphatically emphasized "this" with a kiss. As he said, "Yes, 1 promise, by this — and by this." LESSON-TALK. With exception of bird-tones, which may be omitted, "Jack's Valentine" presents few difficulties to the average platform entertainer. The selection is modern and up to date, with perhaps one fanciful touch, which strives to teach an old-fashioned truth, viz., "Love will win the day." By the Lesson-Talk notliiiig arbitrary is intended. If other conceptions or other gestures commend themselves, let the reciter be governed accordingly. Lesson-talks are simply hints for those who feel their need. Speaker's Position is one foot forward, with w^eight resting easily on rear foot. Rear foot, on which rests weight, should generally be right foot, because we naturally gesticulate more with forward movements of right arm than with left arm; by having right foot back during these move- ments, opposition of agents is maintained, and in that consists variety and a means of grace. Assuming Speaker's Position, begin selection in low, easy, conversational tone, yet with voice pitched so as to reach every part of auditorium. Edwin Booth's advice is: " Speak low, but speak to the gods in the gallery." (1) No gestures, save with head, as you say first three lines. As eye wanders, when aildressing audience, head should move easily, at times, to right an