i WaT Ti SUE TEAL Nit hy MH RH i wn i FEO SE 1B me) A ! ah Hi AH RE CO di ! Trent i it ti i ayia Meares ty i Hii a Ht Seite Se Rees rs ae Cornell Muiversity Library BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henry W. Sage 1891 Pehl B OID cesscssc comb OLI9. Cornell University Library | arV14404 TiN | 31924 031 321 189 ' olin,anx a a nce Advanced Elocution DESIGNED AS A PRACTICAL TREATISE FOR TEACHERS AND STUDENTS IN Vocal Training Articulation, Physical Culture »® Gesture BY Mrs. J. W. SHOEMAKER Principal of The National School of Elocution and Oratory AIDED BY GEORGE B. HYNSON »° JOHN H. BECHTEL “Art does not pervert, but refines and exalts Nature, and it is only by a combination of the two that we can produce perfection in anything that is the workmanship of man.” Mourpocx. Philadelphia The Penn Publishing Company 1896 & CopyRIGHT 1896 BY THE PENN PUBLISHING COMPANY PREFACE In these latter days much interest has been manifested in-the subject of Elocution. To know what is the natural as well as the artistic way of expressing one’s self, either by the voice or in gesture, is rapidly becoming a demand of the American people. This interest is seen and felt in colleges, in schools, and even in society. It is greater than any which has pertained to delivery since the days of Grecian and Roman oratory and acting. Truly it may be said that this is the Renaissance period in the history of Elocution, and the outlook is hopeful and en- couraging. It is evident also that teachers, however their methods may differ, are to-day centralizing about this ob- jective point—the enlargement and elevation of human personality through the proper cultivation of the power of expression. This book is not intended to introduce any new system, but simply to present in a more modern form, thoughts that are believed to be in touch with all that has proved to be of value in things both new and old. In some degree it is asynthetization of the inheritance of the past and of the wealth of thought of the present, the latter crystallized from such writers and philosophers as Austin, Rush, Darwin, Delsarte, Engel, Brown, and others. Upon such a foundation, aided by an experience obtained in schoolroom and platform work, as well as in the every- day walks of life, has been framed a system or method which has proved to be helpful to the many pupils who have been under our special training. It is believed that 4 PREFACE this advanced method will prove no less valuable to all who may be inclined to study these pages. At least it will be as valuable to a student as any work on a similar topic is, in the absence of the living instructor. Elocution is the art of speaking naturally and artistically. Training supplies to others that which the born orator pos- sesses under all circumstances, but which few persons ever indicate the possession of, until they have been taught what their resources are and have acquired skill to use these in their own delivery. It is true that in the matter of public speaking or delivery, as in all other pursuits, some will excel, but culture in this, as in all branches of education, is helpful to every one, and there is no person, unless he is physically disabled, who cannot be trained away from indistinct or defective enunciation, faulty tones, or ungainly, meaningless movements and attitudes. Any one who will make the effort may come to possess a pleasantly modulated and resonant voice, a distinct artic- ulation, and ease and grace of bearing, which if utilized only in the quieter walks of life, are in themselves an ac- complishment greatly to be desired. In regard to the selections contained in this volume, it has been the aim to choose such as are classic or standard, and at the same time interesting. They are divided into didactic, dramatic, oratoric, epic, lyric, grave and gay, and are suitable for reading, recital, declamation, and colloquy. Grateful acknowledgments are due to authors and pub- lishers for their courteous permission to use many of the selections. Acknowledgment is also made for the valuable assistance furnished by Professors John H. Bechtel and George B. Hynson. The former, from his careful study and his experience in teaching Orthoépy, has most accept- ably prepared the department of Articulation; and the latter has no less ably prepared the department of Voice Culture. PREFACE 5 Believing the book will receive the recognition it merits, be that little o1 great, the author sends it forth with the -humble request that a thorough inspection or a fair trial be given it before a judgment is pronounced. Mrs. J. W. SHOEMAKER. PHILADELPHIA, OcrosER Ist, 1895. CONTENTS i PAGE EXPRESSION. 6 sw ew eee eee eee ee ee ee ees 1B Mepia or EXPRESSION. «2 eee ee ee ee ewe ee eee 15 VOCAL EXPRESSION Tue Voice..... Slate ie aes ey AS ee Ge sowie 16 PUTLO yea i) Sine ak es Alera We a ws! ee ees i DS Bl@xaDUItY 236: ee elie we So es we ee . 19 POWER? a.345- 42 6) eerie Jah Sah ee a eh tw Create cp ay 9 Definitions: <<<: 6 w) eos ws SS - 20 General Observations .......-...2.24-- se o2L VocaL GYMNASTICS «2 0 ee wee ee ee ee ee ee 22 Vocal Charts ee scss ei hees ane Gras Bi Ger wee o« 23 Vocan PRAcTICE . 2 eee 2 ee ee ee ee eae a Pay fw, coo BB, Directions .....2.-.e eee ae a der ae das WY gh ah ahs 29 BREATHING . - - 2 we ee se ee aig ah La ee Wee way wt 930) The Nose ....-. ee. ee Se es Se ee, 88 Exercises... ...- Bx ais, ahaa ss Sinbece Res erste Oe Special Exercises - . 2 2... ee ee ee $ cetera BE INFLECTION . . 2. ee ee ca aan te ne Gl ras i RB 35 Shows Contrast. ...... ailigiy white: Ger tere weenie 39 Tellsthe Facts ....-..--.-5028-+8- aw 39 Length of Slide Shows Importance of the Fact. ... 39 Straight Slides . 2.6. ee fe ee ee ee ee ». 40 Inflections in Emotional Selections. ......... 41 Sharp Angles and Continuous Wave Movements in the Slide: (see: ag et ay RE A sie ee we SS 43 Long Rising Slide and Long Falling Slide ...... -44 Examples .. 2... ee ee eee ile oon eae oh 47 QUALIEY® ees 3a se Ae i Ge as a ay Nags Ge? eS ete Be ace Ne 48 Pure Voice. ......+.2- wiee Teh key eee Eee 50 Norinials © ci ses feos Ss ee a Se ee I ee, he 50 Orovund), = :ses ce eee es Ge le ww eS ee a ewe 53 Pectoral .. 1. 20 2 2 se eee Ce ee ASR -. 56 TremiOlo: a: go sa. Rie wR Soe we we a 88 viii ImpurE VoIcE CONTENTS Aspirate .. 2... Guttural. .... +e ee eee Nasal iif = ak dav ah Sos ee Slee lat Zea Sh See isk xe . Falsetto . 2.6 2 eee ee eee cat ae ees Ge Sa as Us 8 Oral. acs Bee Se ss seers A TMU SME a sks ey eee Bw eS) A SE Ta we See ee ‘ Examples .-- ++ se ees eee . Pech 6 Kh hw eH HE ee ee é Examples ..- see eee eee . ete Forcs, Votume, InrEnstTy .- arate rae ae Examples... + see ee ee eee o . RAYTHM 2. ee ee ee ee ee ee re tater Time aap ee Yer tare emcee ay eee Ge Gee te ‘ Accent .. 2... eee ar te a SES Movement. ....-- eee ee ee : Tone Color.....-. Pe eee ene ‘ ENUNCIATION . 2 +e ee ee ise Yon Ney, Cay 2 IMPERSONATION, . . + «© © « « st ee ies aaah ve 2 Examples .....- eae Sexe : STRESS . 2. 2 ee ee te es 6 we ot 8 CADENCE . 2 1 ee wee ee ee te ee es felts < Remarks. ....-. Crore ae , VERBAL EXPRESSION INTRODUCTORY «+--+ 2s ee ee eae aw te, ELEMENTARY SOUNDS «.- +--+ : : e The Alphabet... .. . Se O54: 7 Waves of Notation . . ‘ a: ghse is Digraphs .....-. ah de ees . Signsand Sounds.........-. ie Elementary ...-..... Sah lah Je Oe or 2 Wk eS Standard and Clipped Sounds. ... . Saris COpMates: 6 2%, oe ee ace wee ar Long and Short Sounds ............ cee Discussion or ELEMENTARY SoUNDS ... a e's ‘Vowel. Sounds Consonant.Sounds PAGE 59 62 64 64 65 70 71 74 76 78 80 82 83 83 84 87 88, 91 91 92 CONTENTS TasBie. or EqQurvaALENTS ... 2... cee eee eure Vowel Equivalents ......... 76, Gye as ix PAGE -. 118 - 118 Consonant Equivalents ............... 119 TABLE OF THE SEVERAL Sounps REPRESENTED BY THE SAME SYMBOL g 0% 6). se ais wo) Se! es as eae ace eee: DOL Vowel Symbols... 2. 2. wee ee ee ee ee ee 121 Consonant Symbols ..... i Yel eee Maye see ses ig ee UnusuaL SounDS . 22. ew ee ee ee et te eo - 123 ConsonANT COMBINATIONS 2. 06 ee ee ee ee ew ee 127 Initial Combinations .......226-..06..2.... 128 Terminal Combinations. ...........4... 129 SYLLABIGATION 6 2.<< sf Sw Se Ba ewe we ww we ee 8G ACCENT: 2. ee ee eee eu falcek oy Jet do) Becton ae A 2 ee Se eee 188 Discriminative Accent ...... sw wee ee a et ee 140 Antithetical Accent. .......22 2020220 141 Influence of Accent on Vowel Sounds ........ 141 UNACCENTED TERMINAL SYLLABLES . 2. 6 0 ue ee ee ee 147 PuHonetic ANALYSIS... 2.2... ee ee Say tei Sas ol ee we) 156 Exercisesand Rules. ......0.020.220... eae 157 GENERAL EXERCISES. - - 2 6 ee eee we eee ee ees 168 VISIBLE EXPRESSION GESTURE 54 i Wi SG se ER A ee ee AL GYMNASTICS. 2 we ee es eo eS "ee awe LZ The: Dress Gj sé. eh ape) Se: wR ee SE ee ay ZB The Practice ..... Rive! da Vascemertae ateriarare. aeL08 - 174 EDUCATIONAL GYMNASTICS . «1 2 ee ee ee ee ee eee 175 Nomenclature ...... hfe fan sats -ab 20k Naan aoe tes da Ze - 176 Positions a 6. we ol WS Sw a GE Aw we Sere 177 CaRRIAGE OF THE Bopy . .. 2.2. + eee ee eee ee es 178 Walking... ee eee ee eee ee eee oo es 181 Sitting .......-..-. Si eens Sonya 64 ee 184 Rising) 6S. se ae wae ee a RB ey ae . 184 Courtesying ...- 2.2. es eee gy a ae ae wes 184 Kneeling ........ CES SRS S oe. 184 Bowing .. 22 eee eee eee te ee ee vee 185 Frem WoRK 2 ee eee ee eee ee ee ee ee ee ee 185 x’ CONTENTS PAGE CAistHENICS, OR APPARATUS WORK «++ ss eee eet 198 Wands ..-+ 12+ ete ee Big ieee eo da te ar ge 2 on 98 Dumb-bells. . 2. 2 2 ee ee eee eee ~. 209 ZESTHETICAL GYMNASTICS. 6 ee ee et ee ee « « 221 Relaxing Exercises... + s+ eet ete 7 - 222 Energizing or Fundamental Exercises .. + +++: > 225 Regular Exercises ..- +++: << BG ere ee es 227 Opposition Exercises -- + ee eee ee rere 231 PRINCIPLES FoR Basic Positions. + + + eee eee ee es 235 - Exercises. -- +--+ +> Be desea fay vey ape ae a «2-236 PRINCIPLES FOR HEAD ATTITUDES. « « ot or ese were Ae Exercises... - +--+ oS aw SS ewe 3 244 THe ARMS ..- ee eee eau sas Gaitax AE ar ealce neh ah ede ae Sei See 249 Hanp INDICATIONS ».. ee eee te ee eee a a 4 feican io 2DA Exercises .. +e esse ee Si te syat wearer ge . 255 Tur CoUNTENANCE .. 6 eee eee ak ~ .. 259 Relaxing Exercises for the Face . ss eB - . 261 Tue EYE.....- Spree eAneee hee a See aE Book way wee ee ee: BZ Tarn Mourm .-. +e ee ee ee ee ewe te we wes » - + 263 Tur Nose ..-. +e se SES ene Se hah lien ene Se ae Se . 263 Facta, EXPRESSION. - + se ee ee et ee ee et es 264 Laughter. - + 6 eee ee ee ee ees = 264 Exercises 6 5. ee et ee ee es eee 264 Sorrow, Grief. 2 2 6 ee ee ee eee eee eee + 266 Exercises . ee ee ee ee eee we we ee te we 266 Anger ....- a BOR OR ele Sh Se oe A we ES Exercises «6 ee ee ee ee ee es aa me 3: 268 Sarna: 2) tsi les sees eo oa Gee hee ar FO “en Wein See! carr cee eet BS ZOD) Exercises 2. 2 ee ee ee were we wees 269 Surprise 2.6 0 ee ee ee et ee ee 270 EXOre@ls68 soca ai Ga Re we Rw Oa ee - . 270 MIscELLANEOUS EXERCISES IN ATTITUDE, GESTURE, AND FactaL IEEPRESSION edo 6,05. ke ate ee ep www aw ee sec QTL SuMMARY....... as ah ia a) Po a aad ay das dasa ys . 276 ELocutronary APOTHEGMS AND OUTLINES. ....... - 278 CONTENTS xi ba a SELECTIONS FOR READING AND RECITATION PAGE Afterwhiles .........006 James Whitcomb Riley 295 Ancient Greek Chant of Victory . . . Felicia D. Hemans .. 314 Astronomer’s Vision, The . Trans. by Prof. Mitchell . . . . 289 Boat Race, The ........... James Hogg ...+.. 367 Bob Cratchit’s Dinner ....... Charles Dickens... 315 Dangers to Our Republic .... - . Horace Mann ... . 335 Despondent Inventor, The ... . .E. Bulwer Lytton . . 308 Destruction of Pompeii . .... . .E£. Bulwer Lytton . . 327 Education ...... 2. «... «Horace Mann... . 353 Fire by the Sea, The ..... « « «Phebe Cary ..... 344 Forsaken Garden, The ....... Algernon C. Swinburne 310 Freedom’s Ahead ........- Robert Buchanan . . . 300 Good of It, The ........2-. Dinah Mulock Craik . 309 Good Son, The ......--.+25 R.H. Dana. .... 312 Grave,The ....2..58-+2eee Washington Irving. . 358 Hymns Saviour, I Followon .... . . Hastings. ...... 390 Lead, Kindly Light ...... Cardinal Newman .. 391 The Breaking Waves Dashed Fig B en gs sae ae a ae aie? Gee ce Felicia D. Hemans . . 391 Sometimes a Light Surprises. . . William Cowper . . . 392 My Faith Looks Upto Thee . .Ray Palmer ..... 393 Awake,MySoul .....-. Doddridge ...... 394 Abide With Me. ........ Lyte... ..-5-- 395 Rock of Ages... - ee eee Toplady ...-.+.+-. 396 Prayer is the Soul’s Sincere De- SITE 3 wh Se He Se Montgomery .... ~ 396 More Love to Thee ..... .~ - Mrs.Prentiss ....- 393 Softly Now the Light of Day . . Bishop Doane ... . 398 Knee-Deep inJune .....-+.-- James Whitcomb ae 332 Land of the Leal, The .....-.. Lady Nairn... . 355 Lawyer’s Lullaby, The .....-.-.- F. H. Coggswell . . . 356 TOSSCS 6 ae a eB Re a eS Frances Brown . . .. 352 . Man Overboard, A .....- » . . » Victor Hugo. .... 283° Metamora to His Warriors ..-- +--+ eee ee eee 364 Miller of Dee, The ........ + Eval, Ogden .... 340 Molly Carew .....- «+ +» «Samuel Lover... - 359 Mother’s Lament, A... .. ~~ + William Wordsworth . 348 xii CONTENTS - PaGE National Greatness... .. 6+: John Bright ... «+» ~ 855 Nature Designed for Our Enjoy- MCNbs 6 G He ke Henry Ward Beecher . . 293 Old Daddy Turner «1. 6 ee ee eee ee es 346 O—U-—G-H ..... .«. . » Charles B. Loomis . . . 326 Our Fallen Heroes ... +--+ > Chauncey M. Depew . . 304 Power of Free Ideas, The ....- George William Curtis. . 338 Power of Music, The .....+.. T. DeWitt Talmage . . . 350 Prospice 2. ee ee ee ee es Robert Browning . . . . 357 Queen Arjamand’s Dagger. .-. . Edwin Arnold «6... 285 Recollections of My Christmas Tree Charles Dickens... .. 371 Scripture Readings, Miscellaneous . ....+.- oe ee + 400 Shadow of the Cross, The. .... Edwin Ania Bae Si ae 321 Shakespearean Extracts Benedick’s Soliloquy ..... Much Ado About Nothing 375 Constance’s Denunciation of King Philip ........ King John «1... 376 Katharine’s Appeal to King Henry ........ . « King Henry VUI. . . . 377 Remorse of King Claudius . .Hamle......... 378 Portia’s Speech to Bassanio . . The Merchant of Venice . 379 Adam’s Warning to Orlando . N Paw eta Fa m Da nod p Bow wren. HB VERBAL EXPRESSION’ 119 what, lough, knowledge. extraordinary, George, board, door, pour. beauty, neuter, few, lieu, view, your, cue, suit. dungeon, gorgeous, cushion, son, does, porpoise, blood, touch, gallows. worm, cupboard, journey. caowtchouc, rheum, grew, do, shoe, manwuyre, group, rude, true, fruit. wolf, would, pull. bourgeois, toy. Macleod, now. : CONSONANT EQUIVALENTS ebb violoncello. bdellium, add. ‘laugh, phase, sapphire, staff. egg, ghost. gem, exaggerate. can, chasm, mock, hough, khan, queen. mill, kiln. drachm, apothegm, numb, crammed, limn. gnash, knee, mnemonics, pneumonia, Ann. handkerchief, ink. hiccough, naphtha. purr. cede, psalm, schism, science, waltz. ocean, chaise, social, pshaw, schist, conscience, missiun, sure, position. asked, ptisan, phthisic, thyme. phthisis, Matthew. of, Stephen. zouave, guano. onion, hallelujah, surveillance. suffice, has, raspberry, Xerxes. rouge, bijoutry, measure, abscission, transition, azure. 120 ADVANCED ELOCUTION It will be noticed that A and the digraphs wh and vocal th have no equivalents. When these sounds are needed these letters are themselves present to represent them. It will also be observed that many of the letters in the com- binations marked as equivalents are silent letters, and perfectly useless so far as the pronunciation is concerned. Instead of assisting in determining the pronunciation they often constitute a hindrance. The a in aisle, the ¢ in foreign, the < in plaid, the o in leopard, and the wu in build, can scarcely be said to aid in the pronunciation of these words. The d in bdellium, the h in ghost, the ch in drachm, the p in raspberry, are equally useless. In phonetic analy- sis stich letters should be regarded as silent, and not essen- tial to the representation of the sound. A rigid table of equivalents would exclude all such combinations as are composed in part of silent letters, and retain only those words where letters are necessary to represent the equiva- lent sound, as a in what, e in there, i in pique, o in son, u in busy, ch in chasm, gh in hough, ph in phase. The fuller table, as presented above, may have its uses, however, in showing the inconsistencies of English orthog- raphy and the need of an improved mode of spelling. The above table, which shows the various letters and combinations of letters employed to represent the same sound, would hardly be complete without a supplementary table showing the various sounds represented by the same symbol. This table is given on the next two pages, and furnishes a strong argument in favor of the Spelling Re- form movement, VERBAL EXPRESSION 121 TABLE SHOWING THE SEVERAL SOUNDS REPRE- aa ae ai ao au ay ea eau ee ei eo ew ey ie i io oa oe ol 00 ou ow ua SENTED BY THE SAME SYMBOL VOWEL SYMBOLS cane, can, car, call, care, cast, comma, any, what. Aaron, Isaac, sailisan, mnaletaeit, Cesar, diezresis. aid, plaid, fair, said, aisle, captain. gaol, Pharaoh, extraordinary. gauge, launch, sauce, draught, hautboy. hay, aye (yes), prayer, says, quay. mete, met, her, re, sergeant, there, English. great, sergeant, heart, bear, heat, bread, dearth. beau, beauty, beaufin. . meet, melee, e’er, been. vein, heir, seize, hezfer, height, foreign. people, leopard, feod, yeomen, George, dungeon, Mac- leod. new, sew, grew. they, eyre, key, eye, monkey. pine, pin, str, pique. field, friend, vie, steve. Pompeti, Hawaii. cushion, onion. note, not, nor, woman, women, do, son, wor boat, broad, board, cupboard. esophagus, Gidipus, goes, does, shoes. oil, choir, tortoise, porpoise. _ food, foot, door, poor, blood. found, group, sought, soul, pour, your, lough, touch. journey, could, zouave. now, grow, knowledge, gallows. | cube, cub, cur, bury, busy, rude, pull. assuage, guaranty, guard, quay, guano. 122 ue ui uy ch oo Bee. Do we & ADVANCED ELOCUTION bouquet, Portuguese, guess, guerdon, cue, true. guile, guild, suit, fruit. buy, plaguy. CONSONANT SYMBOLS cat, cent, suffice, ocean, violoncello. chin, chasm, chaise. day, asked. fine, of. go, gem, rouge. laugh, lough, ghost. jest, bijou, halleiujah. let, surveillance. not, ink. phial, Stephen, naphtha. queen, quay. thrill, far. silk, was, sure, leisure. schism, schist, school. conversion, intrusion. tone, negotiate. thin, them, thyme. position, transition. tax, xiphias, ezist, lurury. yes, by, myth, myrrh. zone. azure, waite, VERBAL EXPRESSION 123 UNUSUAL SOUNDS In the speech of many persons, educated and uneducated, the sounds of intermediate a and coalescent ¢ are never heard. Intermediate a is found chiefly in monosyllables ending in ff, ft, ss, st, sk, sp, nce, and nt, and in their deriva- tives. The following list of words, if frequently and care- fully practiced under proper guidance, will serve to estab- lish the correct use of a very beautiful and musical sound: quaff mass pasture hasp staff pass plaster rasp abaft lass cast advance aft grass vast answer after glass repast chance craft class forecast dance draft blast ask enhance draught fast bask glance graft bombast basket lance haft contrast cask prance raft disaster casket trance rafter aghast flask ant shaft ghastly mask chant waft last task grant amass mast asp pant surpass mastiff clasp slant alas past grasp blanch brass pastor gasp branch A skillful use of the coalescent e contributes much to the elegance and polish of a speaker’s diction. This sound is made in the front part of the mouth, and with a mouth position approaching that of short e. The coalescent u, which is too often confounded with it, is a deeper sound, more guttural, and is made with projected lips. 124 ADVANCED ELOCUTION In the effort to avoid the coalescent u the student is apt to fall into the habit of making coalescent a. The annexed exercise will be helpful. Read across the page thus: fazr, Jir, fur. Then repeat the line backward, fur, fir, fair. Do not suffer any word to encroach upon the orthoépic prov- ince of its neighbor. ér ér ar fair fir fur bairn earn urn pair pearl purl Baird bird burred Sayre serge surge The following words will furnish additional practice: berth her perfect sir certain herb perfume skirt certify herd perhaps smirk circle hermit permit sperm circuit hearse perplex squirm clerk hirsute person stern deart] jerk perspire stir dirge Jersey persuade superb dirt kernel pervert submerge earth kersey quirk term earn learn refer terminal earnest merchant reverse tern ermine mercy rehearse terse erse merge reserve thermal ferment mermaid search, thermometer fervid. mirth serf third - firm myrrh sermon thirst first myrtle serpent thirty germ nerve service universe germinate nervous shirk verb gherkin perch shirr verbal VERBAL EXPRESSION 125 verdant vernal vertex whirl verbose verse virtue whirlwind verge version were yearn The next four sounds to be considered (4, 8, %, %) cannot be regarded in a general sense as unusual, but under cer- tain conditions other sounds are frequently incorrectly substituted for them. Italian a, when followed by r and another consonant, as in arm, barb, card, harm, yarn, is usually correctly sounded, but when not accompanied by r, the short a is often incor- rectly used instead ; as in balm, calm, palm, psalm, qualm, calf, half, ha, wrath, aunt, daunt, dauntless, flaunt, gaunt, gauntlet, jaunt, haunt, taunt, launch, staunch, haunch, salve, halve, bath, path, wrath, gape, laugh, laundry, jaundice, mustache. Their derivatives take the same sound. The sound of short 0, when followed by g, n, ng, ff, ft, ss, st, is often incorrectly sounded like broad a; as in log, dog, hog, fog, on, gone, long, prong, song, strong, thong, throng, off, coffee, soft, loft, croft, loss, moss, cross, lost, cost. Some orthoépists give to o in such words as the above a distinct place in the table, but the propriety of so doing is questionable since the modification is no greater than other vowels are subject to, and there is no physical diffi- culty in forming a close union of the short o with the con- sonant following it. The sound of long wu, when preceded by d, g, j, l, n, 8, t, ch, th, wh, 2, is frequently incorrectly changed to long oo ; as in: deuce duel gewgaw June dew duet gubernatorial July dual duke jew jury dubious dupe jewel juvenile ducal durable jubilee junior due duty juice juniper 126 ADVANCED ELOCUTION lubricate new stupendous Tuesday lucid nucleus stupid tuition lucrative nuisance sue . tulip ludicrous numeral suicide tumult luminous nutriment suit tune lunacy nutritious suitable tutor lurid sluice superficial chew lute slew superintend chewing Lutheran stew supreme thews Lucifer steward superior enthusiasm neuter student tube whew neutral stupefy tubular zuche Except in a few derivatives as furry, currish, purring, occurring, concurring, recurring, when ur terminates an ac- cented syllable and the next syllable begins with a vowel or another r, the wu takes its regular short sound. This rule is quite general and applies to a, e, 7, and 0, as well as to wu. Car is changed to car in carol, carry ; hér is changed to her in herring, heroine ; sir (sé) is changed to str in strup, strrah ; for is changed to for in forest; far is changed to fur in fur- row. Some persons have difficulty in uttering the short u in such a situation. The following suggestion may prove helpful. Pronounce hut with a firm and decided short u. Drop ¢, and pronounce hit several times vigorously. Then add ry, separating the syllables quite widely at first, and holding firmly to a sharply defined short u. Gradually, and with many repetitions of the word, bring the two syllables closer together until hurry is pronounced with a good short u. The following words should be practiced frequently and carefully until the habit of a correct pronunciation be- comes fully established: borough, burrow, currant, current, eurricle, curry, curried, furrow, flourished, flourishing, hurry, VERBAL EXPRESSION 127 hurrying, hurricane, murrain, nourish, nowrishment, surrogate, turret, worry, thorough, Examples for Practice 1. The fair girl placed her fur coat beneath the fir tree. 2. The pretty bairn climbed up to the urn and took out a pearl. 3. The earnest clerk sold herbs, gherkins, and sperm-oil. 4. Her aunt laughed to see the calf quaff a draught from the purling brook. 5. Tom Sayre cast his serge coat into the surging bil- lows to soothe the wrath of the mermaids. 6. The hermit launched his raft, curled his mustache, and played a dirge upon his flute. 7. The wild current hurried past, carrying disaster in its path. 8. The dutiful merchant calmly awaited the return of his partner. 9. The enthusiastic tutor forbade the use of chewing- gum by his junior students, declaring that it neither nour- ished their bodies nor illumined their minds. 10. Strong coffee often disturbs the nerves. Suggestion Pronounce the words in the above sentences as indi- vidual words. This will be found to be a good preparation for the reading of the sentences. If,in this practice, pupils are disposed to utter the words too rapidly, have them begin at the end of the sentence and read backward, pronouncing each word with the utmost precision. CONSONANT COMBINATIONS Sounds which in themselves are easy enough often be- come difficult in combination. The & sound is easily made as a single sound, but in asked it is frequently omitted, the word being pronounced ast. The sound of th is not difficult when standing alone, but wedged in be- 128 ADVANCED ELOCUTION tween f and s, it is made to suffer, and the word fifths is erroneously pronounced ifs, or jifts, and sometimes fiths. In all finished speech the proportions of the constitu- ent parts of a word need to be carefully regarded. In the mouths of careless speakers little attention is paid to this important matter. Difficult sounds are unhesitat- ingly exchanged for others of easier utterance that most nearly approach them, or they are so slighted as scarcely to be heard. In short, these people take the most un- bounded liberties with spoken language, considering their limited acquaintance with it. It is the purpose of the following exercises to furnish such opportunities for drill and practice as will secure and preserve the culture and polish of our English speech, and to beget in the coming generation a higher appreciation of the beauty and value of our mother tongue than the former generation has witnessed. The following exercises should receive careful drill until the pupil is able to utter the difficult combinations with the greatest ease. The individual sounds should be given first, then the combination, and after that the words con- taining the combination. INITIAI, COMBINATIONS . dw.—dwarfed, dwelt, dwelling, dwindle. . fr.—trail, frame, fraud, fraught, freeze, fresh. . gl.—gladden, glance, gleam, glide, glisten, gloat. . gr.—grace, grasp, gratis, grease, grief, grimace. kl.—claim, clang, clarion, clasp, clause, cleanly, clerk. . pl.—placid, placard, plaid, plait, plant, plead, pleura. spr.—sprung, sprawl, spread, sprig, sprinkle, sprout. sf —sphere, spherical, spheroid, spherule, sphinx. . str.—straight, stream, stride, striped, strong, stroll. 10. shr.—shred, shrewd, shriek, shrill, shrivel, shrub. 11. tw.—twain, tweed, twelve, twine, twirl, twist, twitch. 190 the —thrach thraad thean thetwa ¢hunnt hanna OMNA NMR WDHE VERBAL EXPRESSION 129 TERMINAL COMBINATIONS Suggestion—In the following exercises the pupil should give the individual sounds represented by the italicized letters, then the combination, after which he should utter the words under- neath, bringing out distinctly and boldly in the utterance of each word, the combination of sounds at the head of the column. After the four columns of the exercise have been thus disposed of, the pupil should repronounce the words in order, from left to right, across the page. The distinction between the third and fourth word of each line should be carefully noted. Be sure to pronounce the d as ¢ in all cases where the simple past tense ter- mination ed takes the ¢ sound; as quaffed, snuffed, asked, gasped, helped, chirped, thanked, marked, matched, searched. This will be found difficult at first in the contracted past tense forms as mark’ dst, match’ dst, stretch’dst, but a little careful practice will soon enable the student to pronounce all such words with ease, and the general articulation will be greatly improved thereby. Vary the exercises as soon as the first evidence of weariness is manifest, for the diffi- cult nature of these drills demands that the organs of articulation be in their best condition for effective work. 1. be bd bst bdst robs robbed robb’st robb’dst robes robed. rob’st rob’dst probes probed prob’st prob’dst sobs sobbed sobb’st sobb’dst rubs rubbed rubb’st rubb’dst 2. gz gd gst gdst begs begged bege’st bege’dst lags lagged lage’st lage’dst jogs jogged joge’st joge’dst lugs lugged luge’st F lugg’dst 3. blz bld blst bldst humbles humbled humbl’st humbl’dst troubles troubled troubl’st troubl’dst crumbles crumbled crumbl’st crumbl’dst doubles doubled doubl’st doubl’dst 9 130 ADVANCED ELOCUTION 4, gle gid gist gldst struggles struggled struggl’st strugel’dst mangles mangled mangl’st mang) dst mingles § mingled mingl’st mingl’dst bungles bungled bungl’st bungl’dst 5. fla jid fist fidst trifles trifled trifl’st trifi’dst baffles baffled baffl’st baffl’dst shuffles shuffled shuffl’st shuffl’dst stifles stifled stifl’st stifi’dst 6. diz did dist didst bridles bridled bridl’st bridl’dst saddles saddled saddl’st saddl’dst handles handled handl’st handldst bundles bundled bundl’st bundl’dst 7. dna dnd dnst dndst hardens hardened hard’n’st hard’n’dst saddens saddened sadd’n’st sadd’n’dst gladdens gladdened_ gladd’n’st _—gladd’n’dst widens widened wid’n’st wid’n’dst 8. tnz tnd inst tndst brightens brightened bright’n’st _ bright’n’dst sweetens sweetened sweet’n’st sweet’n’dst shortens shortened short’n’st short’n’dst fattens fattened fatt'n’st fatt’n’dst 9. knz knd knst kndst blackens blackened _ black’n’st black’n’dst thickens thickened __ thick’n’st thick’n’dst awakens awakened awak’n’st awak’n'dst slackens slackened slack’n’st slack’n’dst 10. 11. 12. 18. 14. 15. Jnz deafens stiffens softens toughens js quafts sniffs snuffs stuffs UZ waves lives loves moves lvz delves shelves solves revolves vlz drivels snivels shovels grovels alz dazzles frizzles muzzles puzzles VERBAL EXPRESSION jnd deafened stiffened softened toughened tt quaffed sniffed snuffed’ stuffed vod waved lived loved moved lud delved shelved solved revolved ud driveled sniveled shoveled groveled ald dazzled frizzled muzzled puzzled Jnst deaf'n’st stiff'n’st soft’n’st tough’n’st fst quafi’st sniff’st snuff’st stuff’st vst wav’st liv’st lov’st movy’st lust delv’st shelv’st solv’st revoly’st vlst driv’)’st sniv lst shov’l’st grov’l’st alst dazzl’st frizzl’st muzzl’st puzzl’st 131 Jndst deaf’n’dst stifi’n’dst soft’n’dst tough’n’dst ist quaff’dst sniff’dst snufi’dst stuff’dst vdst wav’dst liv’dst lov’dst mov’dst lwdst delv’dst shelv’dst solv’dst revolv’dst vldst driv’l’dst sniv’l’dst shov’l’dst grov dst aldst dazzl’dst frizz’dst muzzl’dst puzzl’dst 132 16. mz dims hems crams drums 17. le hurls furls twirls whirls 18. rmz harms charms forms squirms 19. rnz earns learns churns spurns 20. = rue carves nerves serves swerves 21. klz cackles speckles tickles buckles ADVANCED ELOCUTION md dimmed hemmed crammed drummed rld hurled furled twirled whirled rma harmed charmed formed squirmed rnd earned: learned churned spurned rod carved nerved served swerved kid cackled speckled tickled buckled . mst dimm’st hemm’st cramm’st drumm’st rist hurl’st furl’st twirl’st whirl’st rmst harm’st charm’st form’st squirm’st rnst earn’st learn’st churn’st spurn’st rust carv’st nerv’st serv’st swerv’st - klst cackl’st speckl’st tick] ’st buckl’st mdst dimm’dst hemm’dst cramm’dst drumm/’dst rldst hurl’dst furl’dst twirl’dst whirl’dst rmdst harm’dst charm’dst form’dst squirm’dst rndst earn’dst learn’dst churn’dst spurn’dst rvdst carv’dst nerv’dst serv’ dst swerv’dst kldst cackl’dst speck! dst tickl’dst buckl’dst \ 22. 23. 24. 25. 26. 27. ple tramples cripples crumples scruples tlz rattles settles throttles scuttles 2NZ blazons reasons poisons prisons sks asks tasks risks husks sps gasps clasps grasps lisps lps scalps helps gulps yelps VERBAL EXPRESSION pla trampled crippled crumpled scrupled tld rattled settled throttled scuttled end blazoned reasoned poisoned prisoned skt asked tasked risked husked spt gasped clasped grasped lisped lpt scalped helped gulped yelped plst tram pl’st crippl’st crumpl’st scrupl’st tlst rattl’st settl’st throttl’st scuttl’st enst blaz’n’st reag’n’st pois’n’st pris’n’st skst ask’st task’st risk’st husk’st spst gasp’st clasp’st grasp’st lisp’st lpst scalp’st help’st gulp’st yelp’st 133 pldst tram pl’dst crippl’dst crumpl’dst scrupl’dst tldst rattl’dst settl’dst throttl’dst scuttl’dst andst blaz’n’dst reas’n’dst pois’n’dst pris’n’dst sktst ask’dst task’dst risk’dst husk’dst spist gasp’dst clasp’dst grasp’dst lisp’dst Iptst scalp’dst help’dst gulp’dst yelp’dst 1384 28. rps carps harps chirps warps 29. ngz bangs hangs wings throngs 30. ngks thanks clanks links clinks 31. Tks milks bilks bulks skulks 82. rks marks shirks works jurks 33. rbz barbs curbs absorbs disturbs ADVANCED ELOCUTION rpt carped harped chirped warped ngd banged. hanged winged thronged ngkt thanked clanked linked. clinked Ikt milked bilked bulked skulked rkt marked shirked worked lurked rbd barbed curbed absorbed disturbed rpst carp’st harp’st chirp’st warp’st ngst bang’st hang’st wing’st throng’st ngkst thank’st clank’st link’st clink’st lkst milk’st bilk’st bulk’st skulk’st rkst mark’st shirk’st work’st ‘ lurk’st rbst barb’st curb’st absorb’st disturb’st rptst carp’dst harp’dst chirp’dst warp’dst ngdst bang’dst hang’dst wing’dst throng’dst ngktst thank’dst clank’dst _ link’dst clink’dst lktst milk’dst bilk’dst bulk’dst skulk’dst rkist mark’dst shirk’dst work’dst lurk’dst rbdst barb’dst curb’dst absorb’dst disturb’dst 34, 35. 36. 37. thz sheathes swathes breathes wreathes z cage pledge bridge grudge ch stretch match pitch touch rch search lurch march perch VERBAL EXPRESSION thd sheathed swathed breathed wreathed jd caged pledged bridged grudged cht stretched matched pitched touched recht searched lurched marched perched thst sheath’st swath’st breath’st wreath’st jst cag’st pledg’st bridg’st grudg’st chst stretch’st match’st pitch’st touch’st rehst search’st lurch’st march’st perch’st 135 thdst sheath’dst swath’dst breath’dst wreath’dst jdst cag’dst pledg’dst bridg’dst grudg’dst chtst stretch’dst match’dst pitch’dst touch’dst rehtst search’dst lurch’dst march’dst perch’dst 186 ADVANCED ELOCUTION SYLLABICATION “ Point thy tongue on the anvil of truth.’’—PInDaR. A syllable is a word or part of a word uttered with a single impulse of the voice. A monosyllable is a word of one syllable, a dissyllable of two syllables, a trisyllable of three syllables, a polysyl- lable is a word of four or more syllables. The last syllable of a word is called the ultimate; the next to the last, the penult; and the third and fourth from the end are called respectively the antepenult and pre- antepenult. Many words that are written as monosyllables are pro- nounced as dissyllables. This arises from the fact that the sounds which necessitate the two vocal impulses will not combine with sufficient closeness to permit their utterance with a single impulse. The words our, hour, sour, flour are spoken with two impulses as certainly, as cower, dower, tower, flower. The words chasm, spasm, prism, have as many vocal syllables as cousin, basin, prison. Even in such words as elm, helm, film, culm, in which the J and m unite much more closely, the uncultivated are apt to interpose a vowel in order to secure greater ease of utterance, hence we fre- quently hear these words pronounced, ellum, hellum, ete. The uneducated, and even many among the cultivated classes of society, are apt to omit syllables that should be sounded. Ev'ry for every, his’try for history, sev’ral for several, mem’ry for memory, fam’ly for family, illustrate a class of errors that abound in nearly every community. While it is possible to find such extravagances of pronun- ciation as Dickens so happily caricatures in his “Martin Chuzzlewit,” the opposite fault of slighting and omitting syllables is much more common. VERBAL EXPRESSION 137 One of the most charming characteristics of instru- mental music is known as “delicacy of touch.” Nothing so quickly marks the finished artist. To be able to strike each syllable of a word and each sound of every syllable with due force and give to it its proper character and quantity is as truly a token of cultivated speech as is the other of musical excellence. Words are divided into syllables for the purpose of showing either their pronunciation or their etymological composition. As more persons are interested in the pro- nunciation of words than in their derivation, the syllabi- cation as found in most dictionaries is based upon the orthoépical principle. Every sounded vowel marks a syllable. A word will have at least as many syllables as it has vowel sounds. In-di-vid-u-al-i-ty has seven sounded vowels, and it has, therefore, seven syllables. The vowels ¢ and 7 are sometimes silent, leaving the consonants of the written syllable to represent the spoken. syllable; as e-v’l, bri-dil, ba-s’n, cous-’n, giv-’-n. A word may, therefore, have more syllables than it has vowels sounded. Orthoépists differ in opinion concerning the number of syllables in certain classes of words. The vowels ¢ and 7 are, by some authorities, made silent or they are blended with other vowels. By other authorities they are given separate sounds. Some pronounce such words as glacial, series, sentient, hygiene, tedious, trivial, junior, with three syllables, others pronounce them with two. The close relationship existing between i and y is shown in the words tedious, trivial, junior. When pronounced with two syllables the 7 changes to y, forming the spoken words ted-yus, triv-yal, jun-yor. In such words as glacial, series, sentient, hygiene, when pronounced with two syllables, the ¢ becomes silent. 138 ADVANCED ELOCUTION ACCENT In the English language every word of more than one syllable is pronounced with a stress of voice, called accent, upon one of its syllables. In words of three or more syl- lables there are usually two accents, one light and the other stronger. The greater stress is called the primary accent; the lighter, the secondary. In words of six or more syllables there are often found three accents, one strong and the others light. Orthoépists generally mark the two light ac- cents alike and call both secondary. The acute ear will dis- cover that there is frequently a difference in the degree of stress or force with which the syllables of lighter accent are struck, so that we would be justified in designating the accented syllables as primary, secondary, and tertiary, and in giving each a distinctive mark. These accents exert considerable influence upon the vocal sounds. In monosyllables and in accented sylla- bles the vowels are uttered with distinctness; in un- accented syllables they are often more or less obscured. The character of the sentiment has also much to do in determining the sharpness or the obscurity of the vowel sounds. In colloquial language they are not only ob- scured, but often lean toward sounds of easier utterance; in the more dignified forms of discourse the sharpness of both vowel and consonant sounds is more fully preserved. “Those who wish to pronounce elegantly,” as Walker truly remarks, “must be particularly attentive to the unaccented vowels, as a neat pronunciation of these forms one of the greatest beauties of speaking.” Nouns of two syllables generally take the accent upon the first; as, almond, bellows, brigand, caisson, currant, dahlia, decade, expert, falcon, frontier, sachem, orchid, squalor, strata, truffle. The ordinary reader or speaker, though ignorant of the VERBAL EXPRESSION 139 above and other general laws of accent, instinctively obeys them. When, therefore, he meets with an exception to the rule, unless he is very familiar with the true pronun- ciation of the word, he is almost certain to mispronounce it. For this reason the exceptions are more important for study than the words falling under the rule. Examples: address, adept, adult, allies, annex, ascent, bouquet, cabal, con- tour, divan, excess, research, resource, morass, recess, romance, compeer, finance, recourse, routine, grimace, meleé, mustache, pretence, pretext, surtout. Adjectives of two syllables, like nouns, take the accent upon the first; as, currish, diverse, extant, jocund, piquant. Exceptions: canine, expert, robust, verbose, condign, occult, prolix, jocose, rotund, saline, supine. “Verbs of two syllables take the accent upon the second; as, amass, digest, erase, suffice, surname, ferment, purloin. Exceptions: construe, donate, sojourn, preface, ransack, com- ment, gyrate, harass, locate, vacate. In words of three or more syllables, the place of most frequent accent seems to be upon the antepenult. This is called by Walker the favorite accent of the language. Examples: dogmatist, duplicate, earnestness, elliptical, econo- mist, exterminate, simultaneous, ammoniacal, homeopathy, hypochondria, idiosyncrasy, dicotyledonous, impracticability, monocotyledonous, valetudinarian, incommensurability, unintel- ligibility. The exceptions to this rule are many and various. Words ending in tion, cion, sion, usually take the accent upon the penult; as, attraction, interjection, coercion, compre- hension, multiplication, personification. Many words of classical origin retain the original accent; as, acu’men, abdo'men, lyce’um, muse'um, bitu’men, hori'zon, sonor’ous, deco’rum, athenz’um, mausole'um, parago’ ge. Many derivatives retain the accent of the words from which they are derived. From censure we have censur- 140 ADVANCED ELOCUTION ing, censurable; from contribute we have contributor, con- tributory. To this rule we also find many exceptions. The above rule for terminations in tion always supersedes the law of derivatives, hence we have contribution, confisca- tion. Such exceptions as the following are also very com- mon: chastisement, comparable, disputable, lamentable, invpi- ously, irreparable. In many cases the accent seems to be quite arbitrary. In the following words it is very often misplaced: deficit, hos'pitable, for'midable, con'tumely, des'picable, no'menclature, per'emptory, ex'emplary, con’tumacy, or’thoépy, or’thoépist, obligatory, indis’putable, indis'solubly, manumit', magazine’, accli’mated, defal’cate, inun'date, excul’pate, inqui’ry, expo'- nent, condo'lence, oppo'nent. DISCRIMINATIVE ACCENT Accent is sometimes employed to discriminate between words of the same spelling, but with a difference in mean- ing or use. In accordance with the rule previously stated, the noun and adjective forms take the accent on the first syllable and the verb forms on the last. Noun Verb Noun Verb ab’stract abstract’ des’ert desert’ ac’cent accent’ es’cort escort’ af’ fix affix’ es’say essay’ cem’ent cement! ex’port export’ col’lect collect’ ex’tract extract’ com’pact compact’ fer’ment ferment’ con’tract contract’ fore’cast forecast’ con’cert concert’ im’port import’ con’duct conduct’ im’press —_— impress’ con’ fine confine’ in’cense incense’ con’sort consort’ in’sult insult’ con’tést contest’ ob’ject object’ con’vert convert’ out/law outlaw’ VERBAL EXPRESSION 141 Noun Verb Noun Verb per’fume perfume’ trans’fer transfer’ permit permit’ trans’port transport’ pre’fix prefix’ guillotine guillotine’ pres’ent present’ quarantine quarantine’ pro’test protest! reb’el rebel’ Adjective Verb rec’ord _ record’ ab’ject abject’ refuse _ refuse’ ab’sent absent’ sub’ject subject’ fre’quent frequent’ sur’vey survey’ pres’ent present’ tor’ment torment’ com’pound compound’ ANTITHETICAL ACCENT When the accent is transferred from the syllable upon which it properly belongs, to another syllable, in order to show contrast of thought, it is called antithetical or rhetor- ical accent. All literature abounds in these antitheses, so that the reader of even ordinary ability instinctively adapts himself to the change of accent. Examples: He must in’crease but I must de’crease. Pardon our sins of o’mission as well as of com’mission. This corrupt'ible must put on in’corruption, and this mor’tal must put on im’- mortality. INFLUENCE OF ACCENT ON THE VOWEL SOUNDS 1, Obscure a.—The vowel a, when it forms or terminates an unaccented syllable has the sound of obscure a; as in a-mong, bi-na-ry, i-de-a. When the a is followed by an accented vowel it takes a shortened form of long a; as in G-e-ri-al, cha-otic. When h follows a in a final unaccented syllable, the vowel takes the sound of obscurea; as in Je- hé-vah, Mes-si-ah. 2. ar.—In the unaccented terminal syllables ar and ard the vowel has the sound of Jtalian a, slightly obscured. - 142 ADVANCED ELOCUTION Some orthoépists give these terminations the sound of ur and urd, but this places a premium upon slovenliness of pronunciation. The Jtalian a is easily preserved, and when lightly, yet distinctly, uttered, will not offend the most fastidious ear. Examples: liar, cellar, pillar, collar, dollar, scholar, solar, polar, lunar, regular, circular, popular, particular, niggard, sluggard, tankard, drunkard, dullard, spikenard, leopard, dotard, dastard, leeward, homeward, stew- ard, backward, awkward, coward, froward, upward, cdown- ward, forward, vineyard, hazard, lizard, wizard. 8. ate.—In the unaccented final syllable ate, the vowel takes the sound of long a. In verbs of this termination the sharpness of the vowel is fully preserved ; as in vacate, dedicate, calculate, articulate. In nouns and adjectives the long a is more obscure ; as certificate, duplicate, advocate, man- date, agate, frigate, surrogate, opiate, articulate, licentiate, pre- late, chocolate, pirate, primate, delicate, intricate, roseate, deso- late, ultimate, intimate, fortunate. The distinction between the sharper and the more ob- scure forms of long a is brought out most clearly in the use of the same word; as in articulate (adjective), articu- late (verb), separate (adjective), separate (verb). It will be observed, too, that the most obscure form of this unaccented termination occurs in nouns and adjec- tives of two syllables ; as in climate, legate, private. This is due to the fact that the syllable of greatest stress is usually - followed by that having least stress. In words of more than two syllables the primary accent frequently occurs on the antepenult or pre-antepenult, so that by the time the terminal syllable is reached, there is a gain in stress almost or quite equal to a secondary accent. The degree of the stress largely determines the sharp- ness or obscurity of the vowel. In the terminal syllable of the words calculate, advocate, duplicate, delicate, chocolate, private, the a represents a series of fine gradations of VERBAL EXPRESSION 143 sound, apparent to every acuteear. To assign a separate symbol to each of these would greatly mystify the average student, and would so complicate the table of sounds as to impair its utility. Many orthoépists have been perplexed by these obscure vowels, and have adopted various expe- dients to meet the difficulty. The siniplest, and perhaps the best method of disposing-of the problem is to make the pronunciation conform as nearly as possible to the orthography, uttering the vowel sound with that degree of lightness which the absence of the accent demands. This will preserve the long ain the unaccented terminal syl- lable ate, as in the words just named. It will preserve the Italian a in such words as dollar, nectar, pillar ; it will preserve the coalescent e in such words as mutter, tapir, nadir, martyr; it will preserve the coalescent o in actor, victor, captor ; and give to coalescent u only such words as sulphur, murmur. 4. e.—The letter ¢ has the same sound in unaccented syllables that it has when under the accent. When it forms or terminates an unaccented syllable it has the sound of long e, given with a shortened quantity and with a light, yet distinct stroke. This sound and that of unac- cented short i afford the finest opportunity for the exercise of that “delicacy of touch,” which marks the cultured reader or speaker. Never suffer long ¢ to degenerate into short u, in such words as elegant, appetite, elegy, enemy, so- ciety, genesis, antecedent, Cicero, vertebrate. The sound of short i is sometimes incorrectly substituted for short e in such words as wicked, riches, basket, honest. In French words as elite, me-lee, de-but, de-bris, re-ginie, pro- te-ge the e takes the sound of long a. The unaccented er should not change to ur in such words ag robber, suffer, offer, barber, hatter, vesper, aster, either, neither. 5. i.—Unaccented 7, when it forms or terminates a 144 ADVANCED ELOCUTION syllable, takes the sound of short 1, as in dif-fi-dent, wit-ti-ly, hap-pi-ly, pret-ti-ly, mer-ri-ly, Ftal-ian, in-el-i-gi-ble, wn-in- tel-li-gi-bil-i-ty, in-di-vis-i-bil-i-ty. To this rule there are many exceptions. Webster says, “The ¢ is usually long in the initial syl- lables i, bi, chi, cli, cri, pri, tri.” To the first of these there are few if any exceptions other than iguana, Italian, italicize, and their derivatives. To the second there are no ex- ceptions among words in ordinary use other than bt-tu’- men and its derivatives, bi-tu’-min-ous, bi-tu’-min-ate, etc. The word biography is often incorrectly pronounced with short i or long ¢ in the initial syllable. The initial syllable cht is sounded like kz in all words in which r begins the second syllable, as in chirog'raphy, chirol'ogy, chi'romancy, chiron’omy, chirop'odist, and their derivatives. The initial syllable cli has but few exceptions, the most important of which are climacter’ic (or climac’- teric), climacter’ical, clinomet’ric. The syllable cri conforms very closely to the rule, as in crinoid’al, crinoid’ean, crite’- rion, crinig’erous, crinose’. The word critique is an exception. The initial syllable pri has few if any exceptions, but is oftener mispronounced than most of the others. The sound of long i should be preserved in primacy, primate, primeval, primogeniture, primordial. In accordance with the rule, the sound of long i should be preserved in triassic, tribunal, tricennial, trident’ ate, triennial, tri’fid, trifur'cate, trigram'mic, trigyn'ia, trilem’ma, trilo'bate (or tri’ lobate), tri’lobite, trilobit'ic, tri’meran, trimes'ter, trimet'rical, trinerv'ate, trindd’al, trio, tripartient, triphyl’lous (or trtph’yllous), triplicity, trisperm’- ous, triter'nate, triumphant, trium'vir. In a few of the above words the accent falls upon the initial syllable, which in itself, would tend to preserve the long i sound. The i of the initial syllable of the following words is short: tri- syllable, trichi’na, trichino'sis, trij’'ugous (or triju'gous), tris- planchnic, trigynous. VERBAL EXPRESSION 145 The unaccented terminal 7 of other initial syllables is often incorrectly sounded. In accordance with the general rule, it should be short, unless there is some special reason to the contrary. The following and their derivatives re- quire short i: didactic, didactyl, digest (verb), digress, di- gression, dilapidate, dilate, dilemma, dilute, dilution, diluvial, dimension, diminish, diploma, direct, directly, divan, diverge, divert, divest, divine, divulge, divide, fidelity, finance, financial, Jinancier, hilarity, minute (adjective), miraculous, piano, piazza, pilaster, tirade, virago, vituperate, vivacious. The following, contrary to the general rule, require long 4: divaricate, sinecure, siren, tiny, dioptrics, diurnal, dizresis, diocesan. 6. o.—The letter 0, when it forms or terminates an un- accented syllable has its regular long o sound, often shortened by the omission of the oo vanish, as in hero, motto, crocodile, syllogism, volcano. 7. u.—The letter wu, when it forms or terminates an un- accented syllable takes its regular long wu sound, frequently modified by its surroundings. When it forms a syllable and the preceding syllable ends with r, as in er-u-di-tion, vir-u-lent, orthoépists differ concerning the vowel sound. The r is too potential to suffer its influence to be bounded by a syllable or stayed by a hyphen. It is safe, therefore, to assume that the vowel sound should be long 00, just as in rude, brute, crude, in which r precedes u in the same syl- lable. 8. y.—The letter y, when a vowel, takes the sound of 7, and is subject to all the laws governing that letter. When it forms or terminates an unaccented syllable, it becomes short i, as in a-nal'-y-sis, syn-on'-y-my, a-poc'-ry-pha, ap'-a-thy, pit'-y. In the unaccented final syllable fy of verbs it has the sound of long i; as in gratify, testify, ratify. In other terminal syllables of verbs it also takes the sound of long ; as in multiply, occupy, prophesy. It will be observed that, 10 146 ADVANCED ELOCUTION although the dictionaries place no accent upon the ter- minal syllables in the above verbs, yet they actually possess a strongly marked secondary accent. 9. eiiThe unaccented vowel digraph ¢i has the sound of short 1; as in foreign, mullein, forfeit, surfeit. 10. ey.—The unaccented vowel digraph ey has the sound of short i; as in alley, galley, valley, honey, money, journey. The noun survey is an exception to this rule. 11. ie.—In the plurals of nouns ending in y preceded by a consonant, and also in the third person singular, present tense, and in the past tense and past participle of most verbs that end in y, preceded by a consonant, the unaccented vowel digraph ie has the sound of short 7; as in treaties, cities, qualities, carries, hurries, worries, married, buried, palsied. But in the third person singular present tense, and also in past tense and past participle of verbs ending in fy, and of the verbs multiply, occupy, prophesy, this digraph has the sound of long 4. 12. ou.—The vowel digraph ou in the unaccented final syllable ous has the sound of short wu; asin anxious, zealous, famous, ruinous. Guard against the fault of inserting an additional syl- lable in such words as tremendous, stupendous, mountainous, pronouncing them tre-men'-di-ous (or tre-men-jus), stu-pen’- di-ous, moun-tain'-i-ous. Even where the vowels e and iare prefixed to the terminative ous, thus seeming to justify the additional syllable, the e or i is suppressed in pronun- ciation. Examples: herba’ceous, outra’geous, coura’geous, spa'cious, gracious, saga’cious, vexa'tious, conta'gious, re- lig'ious. 13. ow.—The vowel digraph ow, in an unaccented final syllable, takes the sound of long 0, without the vanish; as in narrow, meadow, fellow, window, borrow, sorrow, furrow. Guard carefully against the common faulty pronunciation, narrth, meadith, felltth, etc. VERBAL EXPRESSION 147 UNACCENTED TERMINAL SYLLABLES 1. The organs of articulation should be trained to strike the vowels in unaccented syllables with accuracy and ease, but with that inferior emphasis which should always distinguish the unaccented from the accented vowels. The consonants should also be neatly and properly struck, with a degree of force proportioned to the stress required upon the syllable. 2. al.—In such words as cymbal, verbal, medical, magical, logical, comical, typical, physical, practical, recital, ornamental, pentecostal, sacerdotal, preserve the sound of short a slightly obscured. Do not suffer the a to become a silent letter, as in cymb’l, verb’l, nor allow it to be changed to short u, as in cymbul, verbul. Make a proper distinction between the words medal, meddle; metal, mettle; pedal, peddle; bridal, bridle; dual, duel; radical, radicle; capital, capitol. 3. as.—In such words as pancreas, boreas, bias, alias, capias, atlas, Christmas, copperas, the vowel in the terminal syllable takes the sound of short a, verging slightly toward short u. 4, ain.—Many words ending in unaccented ain are mis- pronounced, The vowel is short i, sharply defined but lightly uttered. Examples: villain, chaplain, chamberlain, murrain, chieftain, plantain, fountain, mountain, captain, cer- tain, curtain. A few exceptions occur. The words chil- blain and cordwain require long a. Authorities differ greatly in the pronunciation of porcelain. Some give it three’ syllables; others two. A few give the vowel in the terminal syllable the sound of short 1, in accordance with the rule, but the larger number preserve the sound of long a. Usage is also divided on the word quatrain, the weight of authority being in favor of long a, while some excellent authorities prefer short 7. The nautical terms boatswain and cockswain, in dignified 148 ADVANCED ELOCUTION discourse, should be pronounced with long a; but collo- quially and in the language of the sailor they are usually pronounced bé’sn and cock'sn. 5. any.—The termination any is the subject of much dispute among orthoépists. In words like miscellany, chatellany, castellany, the primary accent usually falls upon the pre-antepenult, or earlier, so that when the a of this termination is reached, the stress upon this syllable justifies the use of long a. Some orthoépists, however, regard the n of the last syllable as having an influence upon the a, which, in their estimation, justifies the use of short e as the proper sound for the penult. The words any and many are the only ones that should be sounded with short e. In words of three syllables, like company, litany, botany, the a either terminates or forms an unaccented syllable, and should have the sound of obscure a in accordance with the rule. 6. ary.—In words of four or more syllables ending in ary, like lapidary, legendary, subsidiary, vocabulary, extra- ordinary, valetudinary, disciplinary, the secondary accent, which usually falls upon the penult, gives a long quantity to the vowal a; but the 7, the most potent of all the con- sonants, reaches back to the preceding vowel, and changes what would otherwise have been long a to coalescent a. The orthographic division of the syllables places the r in the ultimate, but the orthoépic syllabication refers it to the penult. Most words of three syllables ending in ary take the accent on the first, as diary, salary, primary, summary. This makes the a to form or terminate the unaccented syllable, hence it takes the sound of obscure a. The words canary, vagary, unwary are exceptions. In the polysyllables peniten'tiary, infirm’ary, anniver'- sary, parliamentary, testament'ary, element'ary, supplement’- VERBAL EXPRESSION 149 ary, the primary accent falls upon the antepenult, which gives to the vowel in the penult the sound of obscure a, as in the trisyllables before referred to. Following the general rule that a vowel forming or ter- minating an accented syllable is long, the orthoépists and lexicographers mark such words as vary, wary, Mary, canary, vagary, with long a in the penult. It is a question whether the softer form of coalescent a would not be better. The latter sound is not only much more agreeable to the ear, but it is also used in the above and similar words by a great many cultivated people. 7. el.—In the unaccented terminal syllable el the ¢ is generally sounded ; as in: angel damsel model timbrel barbel duel mongrel tinsel barrel fardel morsel towel bowel flannel newel trammel brothel fuel nickel | travel bushel funnel novel trowel camel gavel panel tunnel cancel gospel parcel vessel cartel gravel pommel vowel carvel gruel quarrel apparel chancel hovel rebel asphodel channel jewel revel calomel chapel kennel rowel caravel charnel kernel satchel citadel chisel label scalpel doggerel corbel laurel scoundrel enamel counsel level sequel infidel crewel libel sorrel mackerel cruel lintel squirrel philomel cudgel marvel tassel sentinel In the following words thee of the el termination is 150 ADVANCED ELOCUTION not sounded : bevel, betel, chattel, drazel, drivel, dishevel, easel, grovel, hazel, mantel, mussel, mispickel, mangel-wurzel, ouzel, ravel, rivel, scovel, shekel, shovel, shrivel, snivel, swingel, swivel, teasel, toggel, towsel. The el termination of these words is, therefore, sounded like the le termination of beetle, mantle, muscle, mangle. 8. en.—Such forms of pronunciation as are unusual or out of the regular order are much more frequently vio- lated than those that are easy and follow the beaten track. The words that fall under the above rule for the el ter- mination are, therefore, more important to the student than those that come under the exceptions. It requires somewhat more care and effort to say an-gel or ves-sel than to say an-g’l or ves-s’l and hence the words which require the sounding of the e are very often mispronounced. The rule for the en termination requires the suppres- sion of the ¢, and is, therefore, just the opposite of that for el. So few persons mistake the pronunciation of the words falling under the rule, and so many are at fault in respect to the exceptions, that it is necessary to emphasize the importance of drill and study upon the latter. Under the rule we have such words as golden, garden, burden, heathen, blacken, spoken, broken, and many others. The words often, soften, fasten, hasten, chasten, listen, glisten, moisten, christen, suppress both t and ¢, and must be pro- nounced of’n, sof’n, ete. The exceptions to this rule consist of words ending in unaccented en, preceded by the liquids 1, m,n,r. Under lwe have pollen, sullen, woollen, but the common words fallen, stolen, swollen suppress the e, and come under the general rule. Under m we have flamen, hymen, omen, women, and the trisyllables abdomen, acumen, bitwmen, cerumen, legumen, regimen, specimen, and the polysyllable catechuwmen. Under n we have linen and under r the words barren, siren, warren, VERBAL EXPRESSION 151 There are a few scattering words that retain the e, and that cannot be grouped under any head. The more common are aspen, chicken, Eden, hyphen, kitchen, lichen, marten. Some admit of two pronunciations, one sounding the e, the other suppressing it; as, mitten, sloven, sudden. The following are of rare occurrence: bounden, jerken, batten, mynchen, paten, patten, platen, roven, ticken, wicken, yewen. 9. ery.—When the e takes the secondary accent it is short; as in monastery, dysentery, presbytery. When the primary accent falls on the antepenult the e is coalescent; as in mastery, livery, lottery, discovery, flowery. 10. il—Words ending in unaccented @d sound the i. These words, like those ending in ed and the exceptions in en, are, by many readers and speakers, often incorrectly pronounced. A diligent practice upon the following words will therefore be profitable: anvil, cavil, civil, council, fossil, fusil, pencil, peril, pupil, lentil, vigil, When two con- sonant sounds precede the iin the same syllable, and in words of three or more syllables, the short i sound is less liable to be slighted or omitted ; as in April, nostril, tendril, tranquil, codicil, utensil. In the three words, evil, weevil, devil, the 7 is silent. 11. in.—The sound of short i should be carefully pre- served in cabin, bobbin, robin, griffin, coffin, muffin, virgin, urchin, dolphin, welkin, gherkin, firkin, goblin, javelin, muslin, pippin, florin, resin, rosin, latin, matin, satin, spavin, ruin. The words raisin, basin, cousin, ravin suppress the ¢ in the terminal syllable. 12. ide.—Among the most uncertain and unsatisfactory subjects in the realm of orthoépy are the terminations ide, ile, ine, and ite. In most monosyllables and accented syl- lables the silent e in such a situation reaches back over the intervening consonant, and makes the ¢ long; as in wide, file, pine, site. But in unaccented syllables and in 152 ADVANCED ELOCUTION those having a secondary accent there is but little to guide us in determining whether the vowel sound is long 4, or short i. To increase the difficulty the dictionaries and orthoépists are themselves greatly at variance. The chemical terms bromide, chloride, iodide, oxide, sul- phide, should be pronounced with short i. While author- ity may be found for pronouncing them or some of them with long i, the tendency is toward short i, and uniformity of usage is thereby secured. To pronounce some of them with long i and others with short i only increases the con- fusion and uncertainty already existing. Where uni- formity and simplicity of pronunciation can be secured without a violation of the forms sanctioned by the best authorities, there should be a willingness on the part of readers and speakers to conform to such usage, even at the sacrifice of a preferred form of pronunciation. 18. ile.—Accent on the penult tends to make the é in the terminal syllable tle short; as in agile, fragile, facile, docile, subtile, reptile, fertile, hostile, futile, servile, sterile, pro- jectile, bis-sextile. To this rule there are a few exceptions; as in edile, exile, gentile. When the primary accent falls upon the antepenult there is a gain of stress by the time the ultimate is reached that is almost or quite equal to a secondary ac- cent. This tends to make the 7 in the terminal syllable long; as in reconcile, crocodile, chamomile, eolipile, infantile (or -t). To this rule there are some exceptions; as in imbecile, juvenile, versatile, mercantile, in which the ¢ is short. 14, ine.—The pronunciation of this terminal syllable is the most irregular, uncertain, and unsatisfactory of all. The influence of accent, according to the previous note, should make thei short in the ine termination of dissyllables whose accent falls on the first syllable. The following words conform to that rule, although some of them are often mispronounced : henitsine, bro’mine, chlorine, corvine, VERBAL EXPRESSION 153 citrine, destine, doctrine, engine, ermine, famine, jasmine, mar- line, lupine (or 7), morphine, myrrhine, pristine, rapine, san- guine, turbine, vulpine. But the following require long i: bovine, carbine, carmine, cervine, co-sine, errhine, feline, out- line, quinine, strychnine (or ~nine), vaccine (or -cine). Even those dissyllables that take the accent on the ultimate are often mispronounced either by misplacing the accent or changing the vowel in the last syllable to long ¢. The fol- lowing should be pronounced as marked: calcine’, canine’, saline’, supine’, trephine’ (or -éne). The following trisyllables and polysyllables also require long i: asinine, aquiline, brigandine, brigantine (or -tin), calcimine, cannabine, capitoline, celandine, columbine, concu- bine, crystalline, eglantine (or -tin), infantine (or -tin), anterne’cine, leonine, metalline, muscadine, porcupine, saccha- rine (or -rin), saturnine, serpentine, sibylline, superfine, syca- mine, turpentine, valentine. The following proper adjectives and nouns, often mispronounced, also take long i: Appe- nine, Argentine, Palestine, Palatine, Alpine (or -pin), Aldine (or -din), Byz'antine (or By-zan’tine), Clementine (or -tin), Florentine (or -tin), Lev'antine (or Le-van'tine). Many words of three or more syllables require short i. The following take the accent on the penult: adamantine, Alexandrine, amaranthine, Augustine, clandestine, determine, examine, elephantine, hyacinthine, Euxine, ilumine, imagine, intestine, predestine. These also require short i, and take ° the accent upon the antepenult: alkaline (or -line), celestine, coralline, discipline, feminine, gelatine, genuine, heroine, todine (or -dine), Jacobine, jessamine, libertine, masculine, medicine, nectarine, nicotine, palatine, paraffine, vespertine, Philippine, Tripoline, tourmaline. In a comparatively few words the i of the ine termina- tion takes the sound of long ¢. The following are the most important: machine, marine, ravine, routine, sabine’, sar’dine (or -din), bombazine, gabardine, guillotine, magazine, quaran- 154 ADVANCED ELOCUTION tine, submarine. Guard carefully against sounding the 7 like long ¢ in the following: ben’zine, bro’mine, brig'antine (or -tin), eglantine (or -tin), calcine’, car'bine, morphine, nico- tine, paraffine, pristine, quinine, rapine, strychnine (or -nin), turbine, vac'cine Cor -cin). 15. ite.—Less difficulty is encountered with this termi- nation than with any other of this group. Most of the common words require short i; as definite, exquisite, favorite, hypocrite, infinite, opposite, perquisite, requisite, respite. The exceptions, as expedite, parasite, recondite, which require long i, are so familiar as rarely to be mispronounced. Nearly all the medical and chemical terms, as aconite, sul- phite, require long i, as also do the terms. in geology and mineralogy ; as albite, anthracite, andalu'site, apatite, bromite, chlorite, chondrodite, diorite, dolomite, graphite, hepatite, in'- dicolite, iolite, kyanite, lepid’olite, malachite, oo'lite, rubellite, scapolite, stalac'tite, stalag'mite, syenite, zeolite. 16. on.—When the unaccented terminal syllable ends in.on the o leans toward short u, but in most cases it should be pronounced as short o; as in ribbon, cordon, dragon, gal- lon. When the o is preceded by ¢, ck, s, t, 2, it is usually sup- pressed ; as jn bacon, beacon, deacon, falcon ( faw'kn), beckon, reckon, reason, treason, season, mason, benison (-zn), venison .C-en), poison, prison, garrison, damson (-2n), crimson (-zn), parson, person, lesson, cotton, button, glutton, mutton, blazon. To this rule there are some exceptions; as piston, lexicon, hori'zon, which sound the o. 17. ort.—The o Of the unaccented terminal syllable ort should be pronounced with coalescent 0, tending slightly toward coalescent u; as in effort, comfort, but in such botan- ical terms as liverwort, spearwort, feverwort, milkwort, pipe- wort,and many others ending in wort, the terminal syllable is pronounced like wu~t. 18. ory.—In words ending in ory, if the accent falls on VERBAL EXPRESSION 155 the antepenult, the vowel is long 0, with a short quantity, and tends slightly toward coalescent wu; as in theory, mem- ory, cursory, illusory, satisfactory. If the accent falls on the pre-antepenult, or earlier, there is such gain in stress by the time the o is reached as to amount almost or quite to a secondary accent, and the sharpness of the long o is much more fully preserved ; as in predatory, prefatory, ob'ligatory, supererog’atory, signif’icatory. 19. ure.—This termination is somewhat uncertain. The more precise orthoépists require a well-preserved long u, slightly clipped, so as to make a close and smooth union with ¢, or d, or whatever consonant may precede. The more lenient and careless authorities permit almost any pronunciation that will suggest the meaning of the word. While we occasionally hear that pedantic and affected pronunciation which puts the ¢ and d into the penult in such words as nature, verdure, often with a slight hiatus before the wu, we much more frequently hear that coarse articulation which changes the ¢ to ch, and the d to j, a8 in na’-chur, ver’-jur. With practice it is possible for the clumsiest tongue to form a close and easy union of the consonants ¢ and d with the long u, slightly clipped, and thus to preserve a chaste and elegant pronunciation of that long list of words ending in ure. Practice upon the following words will tend to establish a correct habit in the use of this termination: verdure, figure, tenure, feature, creature, stature, fracture, lecture, picture, structure, culture, vulture, venture, capture, rapture, scripture, torture, pasture, gesture, moisture, posture, future, fixture, ligature, miniature, . temperature, literature, ‘legislature, agriculture, architecture, peradventure, intermiature. Those who would change long u into long oo after 7, as in. June, jurist, juniper, would also change the long u in such words as injure, perjure, into long or short oo, and some, perhaps, into coalescent u. But long u may follow] 156 ADVANCED ELOCUTION in monosyllables and accented syllables, and there is no good reason for changing it in the unaccented syllables above referred to. The absence of the accent will obscure the vowel slightly, and cause it to bend toward short oo. As long u cannot follow the sound of sh, or its cognate zh, the vowel sound in the ure termination of such words is changed by some authorities to long 00, by others to short oo, and by still others to coalescent u. The best cur- rent usage is quite uniform in favor of shur and zhur as applied to the words in frequent use, and, for the sake of uniformity, the words less commonly used should follow the same law; as censure, pressure, fissure, tonsure, pleasure, measure, treasure, leisure, closure, composure, exposure, erasure, seizure. 20. tle.—In the termination tle following s, the ¢ and e are both suppressed, leaving / to form the last syllable ; as in castle, nestle, pestle, trestle, wrestle, thistle, whistle, epistle, bristle, gristle, jostle, apostle, bustle, hustle, rustle. PHONETIC ANALYSIS There is no exercise superior to that of phonetic analy- sis for securing correctness, as well as distinctness of pro- nunciation. The clearly defined enunciation of the in- dividual sounds, the close and smooth union of these sounds in syllables with attention to the modifications of the sounds which such combination implies; the proper division of the word into syllables; the correct accent as applied to the several syllables of the word; the due sub- ordination of the unaccented syllables, all combine to render the subject of phonetic analysis the most important in the whole realm of orthoépy. In the class-room it will also be found very helpful as a means of enabling the teacher to test the pupils’ knowl- VERBAL EXPRESSION 157 edge of pronunciation. To hear each member of a class of forty or fifty pupils pronounce a list of thirty words would involve much more time than is commonly as- signed to a single recitation ; but a class of a hundred or more persons could write the analysis of that number of words, compare them with the teacher’s analysis on the blackboard and report the result, all within an hour. A wide experience in the work of orthoépy leads the writer to conclude that, notwithstanding the noble efforts that are being put forth in the elementary schools, many persons have a very limited knowledge of the elements of spoken language. The work of phonetic analysis, as set forth in this volume, will, therefore, begin with the very first steps, and gradually lead to the more advanced work. If the pupils already have some knowledge of the work, the first eight or ten exercises may be taken hur- riedly or be entirely omitted, as the teacher may deter- mine. SUGGESTIONS. 1. Prolong each word in the following exercise, and listen care- fully to the sounds made in its utterance. 2. Make the prolonged sounds of equal length so far as possible. 3. Note that the sounds in the syllables no and lo have vocality, and that the first element in the syllables so and ho is merely breath unvocalized. 4, Ear training is the important thing at this stage of the work. The teacher should, therefore, ask only such questions and make such suggestions as will stimulate interest and inquiry, but should not confuse the mind of the pupil with a multiplicity of details. Exercise 1 no man sun net map lo fan fun let lap 80 men sin sip met ho fen fin lip set * 5. The explosive aspirates ¢ and p cannot be prolonged, but they should be neatly struck. 158 ADVANCED ELOCUTION 6. The short e and short i in the previous exercise should be held firmly, and not suffered to slide into long a and long e. 7. To inspire confidence, the first three or four exercises may be first spelled by the class in concert, but this should be followed in the same lesson by individual work. With children who have had no instruction in word analysis it is better, in the first eight or ten exercises, to limit the work to the analysis for sound, and afterward review with instruction in the application and use of the diacritical marks. With adult students and with children who have had previous instruction in sound analysis, the use of diacritical notation may begin with the first exercise and continue regularly. throughout. EXxErcise 2 lad beg bid band bold mad get din snug dust sad keg not glad yelp pad wed win jest wend 8. The above exercise introduces several new elements, includ- ing the difficult sounds of }, d, and g. Strive to secure a strong, firm, vocalized sound of these three letters, being careful to avoid the very common error of beginning or ending the sounds with an obscure form of short u. 9. Except k, p, and ¢, prolong the sounds, as before, giving as much quantity as possible to b, d, and g. EXxercisE 3 cash both when marsh midst shun thin whelp charm thump bench blush smash trench bunch child shrub tramp chest thrash 10. Call attention to the aspirate digraphs, sh, ch, th, and wh, and explain how certain sounds require two letters to represent them. 11. The letter r has a trilled sound before a vowel as in shrub, tramp, trench, thrash, but is smooth after the vowel, as in marsh, charm. Drill upon the two forms until the distinction i is not only clearly understood but also easily made. Such words as begin VERBAL EXPRESSION 159 with thr, as thread, three, thrice, thrill, etc., have been found helpful in getting the trilled r. Exercise 4 toil found sing than bide spoil bound fling them dine broil ground song thus note soil south swung that wine 12. Call attention to the vowel digraphs (diphthongs) oi and ou in the first and second columns; and to the consonant digraph ng in the third. The ng is a simple elemementary sound and must not end with a g sound. 13. Note the difference between the vocal th of the fourth col- umn, and the aspirate th in the third exercise." 14. Note the silent terminal e in the fifth column and its influ- ence upon the preceding vowel of the same word. Compare these words with those of the third column in Exercise 2. Exercise 5 seek moon wall fare far weed rood hall pare par spleen spool yawl * care car green doom pawn tare. tar 15. Note the vowel digraphs ce and oo; the influence of WU upon a; the influence of silent w upon a; and of silent e upon the pre- ceding vowel in the fourth column. Compare columns four and five. EXERcIsE 6 feat cull shown daunt earth great full drown pause hearth bear rush grown said road fear bush brown braid broad 16. Note how ea in the first and fifth columns represents five different sounds ; how u in full and bush represents short 00; how ow, au, ai, and oa, in the third, fourth, and fifth columns repre- 160 ADVANCED ELOCUTION sent various sounds. State which are the usual and which the exceptional sounds, and illustrate by the use of additional words. EXeERcIsE 7 sail deign brief guide soul plaid seize friend build rout said eight died suit route aisle sleight sieve suite would 17, Beginning with the above, the exercises may profitably be used for oral pronunciation as well as for written analysis. Exercise 8 quaff brass last clasp prance staff mass mast gasp trance craft pass past grasp ant draft lass cast rasp chant graft grass ask chance grant haft glass bask dance pant raft fast cask lance blanch shaft blast task glance branch 18. In districts where the use of intermediate a is not current, practice upon the above list should be repeated until every pupil can strike the vowel sound with accuracy and confidence, and, if possible, until he has learned to use it unconsciously in his reading and conversation. Refer to the rule governing the use of inter- mediate a, page 101. EXERCISE 9 balm calf bath first burst palm half path serge surge calm aunt laugh earn urn psalm daunt launch pearl purl. 19. In all the written analyses after the third exercise the words should be rewritten by the pupil, omitting all silent letters, and making the necessary substitution of the letters in order to secure VERBAL EXPRESSION 161 the best representative characters for the several sounds. For how use ou, and not ow; for gem use j, and not g; for cat use k, and not ¢, etc. 20. Remember that constant repetition is indispensable to the establishment of the habit of correct pronunciation. 21. Carefully avoid the substitution of short a for Italian a in the first three columns of the foregoing exercise. See Note 18 under Exercise 8. Insist upon the vowel distinctions in the fourth and fifth columns. Exercise 10 car carry carol carter mar marry marital martyr her herring herald herbage sir sirrah sirup sirloin for torrid foreign formal fur furrow borough furnace myrrh myrrhine myriad myrtle 22: Note the normal sound of the vowels a, ¢,1, 0, u, y, when ‘fol- lowed by 7, asin the first column. The a is Italian; the e, 0, and utake the coalescent sound; thei and y in the first column are identical with e. While Jtalian a is often found unaccompanied by 7, as in bath, calf, palm, all the other vowel sounds in the first column are determined by the letter r, and are called coalescents. 28. Note that the accented vowels in the second and third col- umns are short a, ¢,i, 0, u, quite unlike the vowel sounds of the first column. The change is in conformity to the following law, which is very broad in its application: WHEN A VOWEL FOLLOWED BY fT TERMINATES AN ACCENTED SYLLABLE, AND THE NEXT SYLLABLE BEGINS WITH 7 OR A VOWEL, THE VOWEL IN THE ACCENTED SYLLA- BLE TAKES ITS SHORT souND. To this rule we have a few excep- tions, consisting chiefly of derivative adjectives ending in ry and ish, as térry, starry, furry, currish, in which the vowel sound in the primitive word undergoes no change. 24, Note that when the ris followed by another consonant the vowel before the r has its normal sound. See fourth column. 25. The sound of short u with r, as in furrow, borough, hurry, is not found in the utterance of many persons, although in strict con- formity with the law as stated in Note 23 above. Give it careful practice until the pupil is able to sound it correctly and easily. 162 ADVANCED ELOCUTION Exercise 11 chance chants patience patients ‘ tense tents presence presents dense dents commence comments sense cents frequence frequents mince mints penitence penitents prince prints affluence affluents 26. After the written and oral analysis of the above words, pro- nounce them in pairs, as chance, chants, tense, tents, and bring out the distinction clearly and sharply. Exercise 12 anger conquer vanquish congratulate banquet congress extinguish congressional finger hunger congregation congruity linguist bungle manganesian concomitant 27. Note that when n terminates an accented syllable and the next syllable begins with the sound of g or &, the letter n repre- sents the sound of ng. Even the secondary accent, as in the last two words of the third column, preserves the ng sound, but when there is no accent on the syllable ending with n, as in the words of the fourth column, the n takes its own sound. EXERCISE 13 bomb bombard bombazine knowledge come comely company hautboy some comfort comfiture financier plover compass somebody guaranty 28. Note that o frequently represents the sound of short u, as in the words of the first three columns. Exercise 14 exact exhale - exhalation excellence exert exhaust exercise expedition exist exhibit exhibition extem porize example exhort execrate extravagance VERBAL EXPRESSION 163 29. Note that x takes the sound of gz when it is immediately followed by an accented syllable beginning with a vowel (see first column); also, when the accented syllable following begins with h (see second column). When z is followed by a syllable beginning with h or a vowel, but which does not have the accent, or when it is followed by a consonant, regardless of the place of the accent, it takes the sound of ks (see third and fourth columns). Exercise 15 disaster dismal within forthwith discern disdain without herewith disease dishonest withhold therewith dissolve dishonor withstand wherewith 30. In many monosyllables the terminal s represents the sound of z, as in as, is, has, his, was, does, goes. In a few words the s of the prefix dis also takes the z sound (see first and second columns). On many words, however, the authorities are divided. 81. The th of the prefix with takes the subvocal sound, as in that, them. When employed as a suffix, usage is divided. Exercise 16 aspen ~ hymen fallen gospel chicken omen stolen rebel hyphen - women swollen squirrel kitchen abdomen soften chattel lichen acumen chasten shekel marten bitumen listen shrivel 32. See rules for en and e/ terminations, pages 149 and 150. Exercise 17 assuredly amazedness cavil pupil confessedly composedness civil evil designedly blessedness fossil weevil confusedly confusedness pencil devil 38. Adverbs formed by adding ly; and nouns formed by adding ness to verbs ending in ed, sound the e in the ed syllable. 34, See rules for i? termination, page 151. 164 ADVANCED ELOCUTION Exercise 18 lengths plough hough manceuvre breadths dough through extraordinary widths cough weight telegraphy depths tough height sardonyx 35. Avoid the faulty forms lens, lenths, lenkths in the pronuncia- tion of the first word ; brets, bretths, breds in the pronunciation of the second ; wits, witths, wids in the third; and deps, debths in the fourth. Exercise 19 with placard bronchitis circuit booth bouquet meningitis blackguard beneath tartaric laryngitis spouse bequeath research peritonitis blouse 36. The first four words require vocal th, and are frequently mispronounced. 37. Medical terms ending in itis, like those in the third column, take long i with the accent on the penult. Do not substitute dong e. rs EXERCISE 20 cracked crutch thoracic splenetic decked blotch spasmodic politic ‘ blocked much soporific catholic picked such balsamic climacteric 38. Silent c usually intervenes between a single vowel and £; as in flecked, knocked. Between a vowel digraph and & the c does not appear ; as in soaked, leaked, looked. / 39. Between a single vowel and the consonant digraph ch, the letter ¢ usually intervenes; as in catch, wretch, hitch. In such case the t must be regarded as silent, and the digraph ch be given its normal sound, as in chin; or, if the t be sounded, the digaph ch must be regarded as an equivalent, for sh, as in chaise. The words much, such, which, rich, ave exceptions to a very general rule. Like cin the words of the first column, the ¢ is omitted before ch when a vowel digraph precedes ; as in peach, broach, crouch. VERBAL EXPRESSION 165 40. Adjectives ending in ic usually take the accent upon the penult-; as intrinsic, forensic, antarctic. There area few exceptions ; as impolitic, lunatic, and the words found in the fourth column. EXERCISE 21 think sugar truths blatant clank coffee youths swarthy uncle truffle breaths stolid monkey cupboard heaths strata 41. Note that n before & in the same syllable represents the sound of ng. Compare the sound as represented by n in the words thin and think. See Note 27 under Exercise 12. 42. In forming the plural of nouns whose singular ends in aspi- rate th, this sound usually changes to vocal th and the s sound changes to z, as in baths, wreaths, oaths, paths, mouths. Such excep- tions as truths, heaths, broths, are often mispronounced. EXERCISE 22 viscount borealis wiseacre troche squalor tribunal transition tepid sojourn truculent trilobite plover suffice tyrannic sepulture conjure feline acclimated horizon adverse canine chastisement albumen adult brigand communist amateur allies basalt antarctic contrary adept 43. In such words as suffice, tyrannic, acclimated, communist, allies, the student is often in doubt whether to use a single or a double consonant in his analysis. Orthoépists themselves are‘at vari- ance. Ti we hear but one n in any, it is evident that. we hear but.one in penny. There are as many é sounds in pity as in pretty. There are more p sounds in oppose than in choppy; more in appear than in happy. The following rule will meet the case: When the accent falls upon the first of a double consonant, use but one in the written analysis ; when the accent falls upon the second, use both. 166 address archives assets aroma caloric occult extant ally diverse contour penult pretence portent compeer . frontier construe excise quinine ornate overt decade recess bestial genius ADVANCED ELOCUTION EXERCISE 23 composite colportage subsidence promulgate mischievous enervate gondola sacristan condolence sulphuric defalcate objurgate controvert illustrate vehement orchestra EXERCISE 24 connoisseur umbrageous allegiance convenient herbaceous immediate surveillance congenial pyramidal allopathist camelopard contumacy periphrasis reparable secretory secretary Exercise 25 hegira excretory ambrosia suicidal biennial coliseum aphelion capillary convivial isotherraal courteous provocative peculiar quadrupedal bounteous legislative coquetry corridor lethargic. integral overseer virago expletive inquiry aureola sublunary officinal matutinal atheneum telegraphist prolocutor hymeneal perfunctory approbative legislature capitoline recognizance compensative chalcedony mediseval. VERBAL EXPRESSION 167 Exercise 26 surnamed combatable pedagogy reconnoissance tedious ambrosial neuralgia inconvenience caisson conservator ameliorate receptivity nuncio comparable emollient pharmaceutist patois recitative palliative | ignominious suavity photographer rationale irrefragable satiate refutable egregious christianity fealty respirable parhelion homeopathic Exercisre 27 alien apotheosis reciprocity portfolio series demoniacal omniscient peculiarity genial appreciate irrefutable ingratiate ratio magnesia. plagiarism sociality trivial bestiality fiduciary indicatory spaniel ingenious impartiality magnolia sentient ingenuous discourteous auxiliary jovial pecuniary octogenary irrevocable EXERCISE 28 hideous finale sociable substantiate cordial junior bivouac ingredient zouave glacial guardian superficies jujube folio mollient prescience morale ordeal casualty nescience banian premier breviary initiate nausea javelin nauseous flageolet hygiene inertia unctuous beauteous 168 ADVANCED ELOCUTION EXERCISE 29 irreparably monocotyledonous incommensurability fragmentarily — trigonometrically hypochondriacally illimitable obligatorily ‘indemonstrableness peremptorily chirographically —_intercartilaginous dicotyledonous encyclopediacal irrefragability inexplicably. | exemplarily paleontologically indissolubly incomparably unparliamentarily Jamentably’ incorporeality plenipotentiary Those who find difficulty in pronouncing long words having many syllables should practice upon the above list until an easy enunciation is secured.* GENERAL EXERCISES. L 1. He uttered a sharp, shrill shriek and was lost in the shroud of shifting mists. 2. He burst his bonds and sprightly sprang upon the furious foe. 3. His hand in mine was fondly clasped as we stiffly stood and gasped for breath. 4, He twists his texts to suit the sects. 5. Rejoiceth not in iniquity, but rejoiceth in the truth. 6, As a man thinketh, so is he. 7. Why did the fly fly? Because the spider spied her. 8. The cross old dog sat on a log and watched the frog as he croaked in the bog. A convenient little volume, entitled ‘‘ Handbook of Pronun- ciation,” published by The Penn Publishing Company, Philadel- phia, will be found helpful in determining the pronunciation of the unusual words in the foregoing lists. VERBAL EXPRESSION 169 9. His song was strong though not very long, and then it grew soft and was lost in the loft. 10. The stupid duke grew enthusiastic over the super- ficial gewgaw. II. 1. The superintendent presented the juvenile students with tulips and chewing gum. 2, The jubilant suitor played his lute under the spread- ing juniper tree. 3. The dubious duke duped the tuneful junior and created a ludicrous tumult. 4, The hurrying current furrowed a path through the slumbering borough. 5. Jack Strapp took Jack’s strap to mend Jack’s trap. 6. It will pay nobody. It will pain nobody. 7. Deep in unfathomable mines He treasures up his bright designs. 8. Goodness centers in the heart. Goodness enters in the heart. 9. His cry moved me. His crime moved me. 10. That morning, thou that slumber’dst not before, Nor sleep’st, great Ocean, laid’st thy waves at rest, And hush’dst thy mighty minstrelsy. qi. 1, The advancing lance chanced to glance and passed the panting mastiff’s head. 2. The dancing lass quaffed off her glass, and danced and pranced to the entrancing lute. 3. This shaft was grasped by the gasping class, who passed the flask and quaffed a draught. 4. The learned hermit stirred the herbs with certain earnestness. 170 ADVANCED ELOCUTION 5. He read the thirty-third chapter and the first verse with earnest fervor. 6. The nervous merchant served the thirsty Jerseyman with gherkins, perfumes, sperm-oil and thermometers. 7. The universal verdict was first rehearsed by the ner- vous clerk. 8. The turbulent furrier burst the bars and hurled his purse into the seething surge. 9. The dauntless captain of. the staunch and jaunty launch laughed at his wrathful aunt, twirled his mustache and proceeded to take his bath. - 10. The last stanza, describing the severest storm of the season, was the best. VISIBLE EXPRESSION OR GESTURE ‘\Her flesh was the soft, seraphic screen of a soul.”—ROBERT BROWNING. (visibte Expression is that which addresses itself to the eye. )It mirrors thought and feeling in attitudes of the body, directions of the arm, positions of the hand, and ex- pressions of the face. In a sense, it is a universal lan- guage, and although the characteristic manifestations may differ among different nationalities, the spirit thereof can- not be mistaken. What is true regarding nationalities is also true of the individual. Heredity, temperament, and environment may, and do modify the mode, but every human being expresses himself by the same Natural Laws. The mode may be finished, easy, and artistic, or it may be crude, faulty, and ungraceful, while not infre- quently, in those who have little command of muscle or nerve force, it degenerates into meaningless motions and grimaces, so that the entire tract of visible expression, like an “unweeded garden,” is in need of cultivation. True, one with an untutored manner, possessing a keen, analytic mind, a kind and generous heart, and a finished rhetoric, may convince and please his hearers; but if his expressive powers are made commensurate with his other gifts he will not only satisfy his audience, but by this added irresistible force, will turn conviction and .pleasure into entrancement and delight. Expression, both visible and vocal, has attracted the attention of many minds since it became one of the lost arts of the Greeks. By some it is regarded as belonging only to the stage; by others asa spontaneous outgrowth of instant thought or feeling, and consequently not susceptible of being taught. On the con- trary, it is not restricted in any sense to the public plat- form, but enters into all life everywhere, whatever its con- 171 172 ADVANCED ELOCUTION dition or surroundings. Consciously or unconsciously, it is the factor in the majority of our impressions of others, and its powers may be greatly enlarged and enriched and made highly demonstrative. In cultivating the Physical part of our Being so as to reflect the thought and feeling, it is needful, first, to acquire command of muscle and nerve force ; second, to understand the Principles or General Laws controlling Expression and, third, to apply these principles in exer- cises for practice, allowing the speaker to express the varying degrees which belong to the different conditions and emotions, according to his conceit or fancy. All art is more or less imitative; yet, after certain me- chanical processes have been learned, the speaker should cease to think of principles and allow his mind and feel- ing to play at will, for he has become strong in his own liberated powers. GYMNASTICS “ All means that conduce to health can neither be too painful nor too dear.” -—MONTAIGNE. Valuable as is physical exercise for every one, it be- comes especially so, for all who aim to move the masses, by the power of thought and feeling, as it is manifested through grace, eloquence, and potency of expression. It is through the outward or physical nature that the inner part of the being manifests itself, and whatever can be done to render the outer more pliable and more re- Sponsive is preparing the way to free and effective de- livery. In no way can this be done so well as through physical training—not indeed, through growth of power- ful muscle but through the education and mastery of muscle and the training of nerve force. Gymnastics as now taught in this country, under the VISIBLE EXPRESSION OR GESTURE 173 German, Swedish, and French or Delsarte systems, is naturally divided into Medical, Martial, Educational, and Aisthetical gymnastics, and each of these has its appro- priate place and value in reference to grace, health, and physical development. The exercises presentéd in this work are divided into Educational and Asthetical Gym- nastics, and are formulated upon the systems already named. Educational Gymnastics, for their distinctive purpose, aim to secure mastery of the muscles through the agency of the will; to give them tone, vigor, and pliancy ; to render the body elastic in balancing and poising and to give gen- eral freedom of movement; all of which, in addition, are conducive to health. Aisthetical Gymnastics, which are likewise cxoanent as health exercises, contribute more specifically to ease of posture, to harmony and rhythm (the constituent ele- ments of grace), and to the training of the body and its members as instruments of Expression. Suggestions Preliminary to the Practice of Exercises The Dress A regulation costume, such as is used in gymnasiums, can be adopted if desired, and the whole effect made pleasing to the eye, though it is not necessary for successful practice; but it is very essential that the clothing be light in weight, and so adapted as not to restrict the move- ments. Full freedom must be given to neck and limbs, and no abnormal pressure or weight should bear upon the more vital parts. For ladies a loose underwaist should be worn to which the skirt of the dress is attached, and a blouse waist or sailor jacket may complete the dress. In these days, when women are taking a just pride in being healthful, it is not to be presumed that any one with 174 ADVANCED ELOCUTION common sense, will attempt to practice any gymnastics in society dress, tight waist, or stays. Gentlemen, in practicing, should lay aside cuffs, collar, coat, vest, and suspenders; or what is better still, wear a negligee shirt, with pantaloons adjusted by a belt. The shoes for both sexes should be light, low ones without heels, in order that the ankles may be unrestricted and strengthened. The Practice A word of advice may be given here to the novice. In exercising, avoid extremes. Begin and close exercises gently, doing the more vigorous work between. Avoid standing in drafts, but have the air in the room cool and pure. Exercise symmetrically, so that the different parts of the body may be evenly developed. Do not call into action muscles that are not required in a given exercise. Be careful to tension and stretch muscles, with the inter- vening relaxation, but avoid jerks. Whether exercising yourself or directing others, make the exercises a positive pleasure—enjoy them, enter into them with enthusiasm, and study with an artist’s eye the precision and harmony of motion and poise. Practice patiently and regularly, and do not be discouraged if the looked for results are not at once apparent. Both time and labor are required to render the muscles pliant and plastic. In all exercises, breathe freely and deeply through the nostrils and not through the mouth, and never practice until wearied. If after exercising a few times dizziness occurs, accompanied by sharp pains under the shoulder blades, or if there is a too rapid or irregular heart beat, consult a physician before proceeding further, as serious complications may ensue, VISIBLE EXPRESSION OR GESTURE 175 EDUCATIONAL GYMNASTICS Educational Gymnastics are divided into Free Work and Calisthenics. Nore.—No attempt is made to include heavy apparatus work— this belongs specifically to the gymnasium, and is not essential to the object in view, in this book. In Free Work the various exercises are performed with- out the use of any apparatus. In Calisthenics the apparatus is moved by the body, and consists of exercises or drills with dumb-bells, wands or bar-bells, rings, clubs, pulley weights, poles, hoops, ropes, foils, and broadswords. Exercises of special use to students in oratory are limited to free work, wands, and dumb-bells, and these for convenience and development are arranged in groups con- sisting of . Preliminary Exercises. . Head Exercises. Trunk and Abdominal Exercises. Shoulder Blade Exercises. . Arm Exercises. . Balance Movements and Leg Exercises. Pom opr The Preliminary Exercises are for the purpose of secur. ing muscular control, correcting basic positions, and attaining poise through due observance of the law of pravity. The Head Exercises are for the purpose of correcting a hollow chest and protruded chin, and to give nobility of carriage to the entire body. The Trunk and Abdominal Exercises serve to expand the chest, straighten the spine, strengthen the parts about the waist and the walls of the abdomen, and conduce to greater healthfulness of the internal organs. 176 ADVANCED: ELOCUTION The Shoulder Blade and Arm Exercises give strength and tone to the muscles of the upper extremities, and correct the faulty habit of drooping shoulders and protruding shoulder blades. The Balance Movements and Leg Exercises serve to give ease, grace, and celerity in motion, as well as dignity to carriage of body. Norz.—The exercises given in the above classification, either singly or in combination, are arranged in various groups or orders, and will be found in their proper connection in the succeeding pages. Nomenclature For Free Work and Calisthenics the following nomen- clature, now used mainly in Gymnasiums, is adopted. This, if followed, in connection with the additional ex- planations and illustrations, will lead to a ready compre- hension of the exercises. The term Lateral, both for position or exercise, means directly to the side, either to right or left, as may be indi- cated. Vertical means perpendicular to the plane of the horizon, or in same direction as the spine. Horizontal means parallel to the horizon in any direction from the body. Prone means turned toward the earth. Supine means turned from the earth. Rotation means moving with the axis. The parts or members of the body which can be rotated are head, trunk, arms, and thighs. Circumduction means moving about the axis. The parts or members of the body which can be circumducted are head, trunk, and upper and lower extremities. The Flexors and Extensors are muscles belonging ex- clusively to the upper and lower limbs, hence the terms VISIBLE EXPRESSION OR GESTURE 177 flexion and extension apply only to exercises relating to them; as we flex or extend forearms, hands, and fingers, thighs, legs, and feet. Half-flexion means to flex the limb to right angle. Bending applies to exercises of head and trunk. Toe-touch means toe alone touches the floor. Lunge or Fall-out means that the foot is advanced two or three times its own length, and the charging limb is bent at the knee, with line of gravity in charging limb. An Oblique or Diagonal motion or position of upper or lower limbs is in a direction midway between front and lateral, or lateral and back, as may be indicated. Arms down means arms hanging down at side, little finger almost touching thigh. Rigid means limbs or body stiffened. Heels closed means ‘placed together, toes out at an angle of about sixty degrees. Hips firm means hands on hips, fingers front, thumbs back, elbows in line with shoulders. Knees firm means lower limbs unbent at knees. Positions First position or fundamental position is standing with heels closed, knees firm, hips in, and arms down at side, little finger almost touching thigh. Second position, or wing standing position, is same as the first position, except hips are firm. Stride position means separating the closed heels once the length of the foot sidewise. Parade rest position is right foot back of left, with hollow of foot near left-heel, line of gravity in right limb, left knee slightly relaxed. Standing in lengths means one foot in advance of the other according to distance indicated. 12 178 ADVANCED ELOCUTION Standing in widths is same as stride position, except according to distance indicated. In teaching a class the command Class—Aitention ! means that when the second word is given the pupils take position and remain quiet for the next order. Hold! or Halt! means a pause in walk, march or exercise. The command Break ranks—March! means that the class is dismissed. The teacher should count aloud for the class until the order of exercises is easily remembered. Good music is not only a great attraction, but inspiring and helpful to both pupils and instructor, but care must be exercised that it does not lead the pupils to become mechanical or jerky. Yor Free Work use marches and polkas ; for wands, marches ; for dumb-bells, marches and waltzes; for march- ing and fancy steps, slow and quick marches and galops. Notz.—Preliminary to the regular order of exercises, and as an adjunct in securing the most satisfactory results therefrom, atten- tion is directed to the importance of standing and walking pro- perly, practice in each constituting, also, a pleasing and healthful gymnastic. With these may be fittingly included the most approved way to sit, to rise, to courtesy, to kneel, and to bow. CARRIAGE OF BODY “No harmonious movement of body is possible without a correct action of the muscles.’’—GuUTTMANN, It is not necessary when saying “that good health de- pends upon a proper carriage of the body,” to substantiate the statement by argument, yet, how few persons while admitting the fact practice what they believe. Ever ready to recognize and admire the elastic step and majestic mien, yet they fail to utilize the natural endowments of which they are possessed. While it is not desirable that every one should stand, sit, or move in precisely the same manner, VISIBLE EXPRESSION OR GESTURE 179 there are certain rhythmic laws in regard to both posture and attitude, the observance of which will conduce to health of body and beauty of form, without in the least interfer- ing with diversity in manner, bearing, or personality. As the proper carriage of the body, especially of its vital organs, is both healthful and graceful, it is neces- sary first to learn the appropriate position that each of its members should take. The simplest position is to place the heels as closely together as the contour of the lower limbs will permit, with toes turned outward at an angle of about sixty degrees; the knees should be jirm, hips inward, shoulders on line with hips, head easily erect, with crown of head highest; chest raised—that is, drawn upward, thus liberating respiratory organs and abdominal viscera. Allow weight of body to rest on balls of feet. Standing thus, the line of gravity falls between the feet near the line of the toes. In this position see that no part of the body is unduly tensioned, and that all the sustaining muscles are in tone, but pliant. This is not only a good position for a proper carriage, but it is afundamental posi- tion in the regular gymnastic exercises, and from this other and more complex positions are taken. The line of gravity, however, must not be broken nor distorted in passing from one basic position to another, for if this hap- pens, the entire body is thrown out of the lines of both strength and grace. The lower limbs being controlled by special laws relating to the centre of gravity, the line of gravity becomes a controlling influence in standing or in moving, and any variation of it mars the whole posture.* * The great care which painters and sculptors exercise upon this very point when placing inanimate figures upon canvas, or in chiseling them in marble, shows how important in their estima- tion is the observance of this rule. Should not at least the same care be taken by every one concerning his own physical being, when the object is health, comfort, capability, and beauty ? 180 ADVANCED ELOCUTION Usual Faults in Standing . Protruded chin. Hollow or relaxed chest. . Protruded hips and abdomen. . Toes not at proper angles. Both knees relaxed. Arms hanging too far forward. Looseness in all parts of the body. Over-nicety in all parts of the body. Stiffness in all parts of the body. NID OR go Exercises Corrective of Faults in Standing 1. Stand with heels closed and rise on toes. 2. Extend arms obliquely forward and downward, palms of hands toward earth, at same time head and chest drawn upward, crown of head highest. Sustaining this position, let hands fall easily to side. 3. Walk about room with light weight upon head. 4. Walk about room on toes with stiff knees. 5. Poise body forward without bending in hips or knees, carrying line of gravity to toes, from toes to heels, then to right side, then to left side. Repeat many times. 6. Place one foot three or four inches in advance of the other and rise on toes. 7. Stand at the side of a room, which has neither sur- base nor other projection: let the back of head, shoulders, rump, and heels touch the wall: from this position ad- vance several paces, retaining the upright carriage of the body. Nore.—The carriage or position should be that in which one can rise upon the toes without swaying the body forward from the ankles or bending in the hips. VISIBLE EXPRESSION OR GESTURE 181 WALKING “The natural gait arises, not from strength of muscle (false activity of the muscles), but from the law of gravity.’"—GUTIMANN. Some one has said that all created things having the power of locomotion, except man, move in harmonious correspondence with the law of their nature. He alone hops and halts, trudges and strides, limps and ambles, and moves over the ground in a variety of other ways, all of which are in opposition to the rhythmus of his being. Much of this, without doubt, is due to the environment incident to civilized life, more to the burdens imposed upon humanity by the dicta of fashion, and still more to carelessness and ease of self. The need to man of walking no one will question. It is an absolute necessity. To walk easily and well, should be desired by every one on account of comfort and health; to walk elegantly, should be coveted, for it is an art. When the right muscles are exercised and a proper pendulous action takes place, walking becomes a pleasure, because the exercise is made easy, because, in itself, it is exhilarating, and, being mostly in the open air is, for both sexes, a most healthful gymnastic. Faults in Walking . Walking with weight on heels, thus jarring spine. . Bobbing body up and down. . Rolling gait. . Pitching gait. . Strutting. gait. . Loose or shuffling gait. . Hip action. . Stiff lee (muscles between knee and ankle strongly tensioned). 9. Unequal or irregular step. Walking may be termed a series of arrested fallings, DAO hr WN 182 ADVANCED ELOCUTION and has been uniquely defined as “a steady forward movement of the torso through a regularly repeated action of the lower limbs.” In other words, when there is an impulse to move the body forward, the line of gravity immediately passes to one foot alone; the other foot is then loosened from the earth (the heel rising first) and the knee is relaxed; the muscles between the knee and ankle are relieved of tension, and the limb is thrust forward or pried over in a lever-like way by the powerful muscles of the thigh, in which the principal action in walking takes place. The foot is next set upon the ground, the ball of the foot touching first, if there is no artificial heel to prevent; if there is, the heel will touch the ground first, but it should be the inner part of the heel—that is, the part nearest the ball of the foot, and almost simultaneously with this should be the touch of the ball of the foot. In a similar manner the other foot is carried forward, the repeated movement resulting in a pendulous action of the body—induced by the forward shifting of the line of gravity. The body inclines slightly forward, to accommodate itself to these changes, but must not be bent at the hip. The head should be held easily but not stiffly erect, and in line with the continu- ously advancing limbs. The hands, unless supporting or carrying some object, should be down, at the side, and allowed to share the easy pendulous action of the body, so as to aid rather than hinder the elasticity of the step. For comfort and grace of movement the length of the step should not extend beyond the length of one’s own foot— that is, the advancing foot should be carried forward until the heel is distant one foot-length from the toe of the stationary one. Of course when pupils are moving in line this cannot be so previsely followed. Then a regulation step must be adopted. In presenting the mechanical processes of good walking no attempt is made to correct individual peculiarities, but VISIBLE EXPRESSION OR GESTURE 183 simply to render it possible for each person to move in accord with the law by which all are governed; nor is there any attempt to repress the mood which may be dominating the mind and which often influences the gait. The perfection of walking lies in a movement so steady, that one is reminded of the gliding of a boat over a still stream, or the skimming of a swallow through the air. All exercises, either in walking or marching, should be taken in gymnastic shoes, or in easy shoes of light weight, without heels, so that the foot may have as nearly as pos- sible the freedom of a natural step. For out-door exercise the shoe should be stouter, with broad soles and low, flat heels. Walking Backward The backward step is especially valuable as an exercise in acquiring ease of gait and agility in the use of the feet. It should be carefully practiced by all who are engaged in any kind of platform work, and also by those in other walks of life. In walking backward the inner part of the great toe should touch the floor first, then the entire foot sinks downward in its place, the knees being turned outward to preserve the equilibrium. Care should be taken not to displace the line of gravity by drawing head and shoulders forward. Exercises Conducive to a Free and Elastic Step 1. Walking or marching in regular step (quick and slow). 2. Walking or marching on toes. 3. Walking or marching on toes with stiff knees. 4. Walking or marching on toes with alternate knee bending. 5. Walking or marching with toe-touch and step. 184 -ADVANCED ELOCUTION 6. Walking or marching with cross step. 7. Walking or marching on toes with cross step. 8. Walking or marching with toe-touch and cross step. 9. Walking or marching with foot crossing and knee bending. 10. Running on toes. 11. Walking backward. 12. Running backward. Norz.—From the above many other useful combinations in marching may be made. SITTING To assume an easy and upright attitude or position in sitting, the following directions should be observed : Place one foot two or three inches back of the other, toes of both feet outward, the heel of the advanced foot toward the hollow of the backward one. Then with line of gravity in backward limb, with torso inclined forward, and head slightly backward, evenly sink to seat. RISING In preparing to rise, place the feet in position similar to that taken in preparing to sit, with weight in back limb and with a like inclination of torso and head. COURTESYING In courtesying assume the same general position and inclination of body and head, bending the limbs also in the same manner as in preparing to sit; except that the lengthwise position of the feet should be increased, espe- cially if the courtesy be profound. While the posture is held, there must be ample bend in hips and back knee. KNEELING To kneel easily and gracefully place one foot backward as in courtesying ; then with a similar inclination of body VISIBLE EXPRESSION OR GESTURE 185 and head, the line of gravity in forward limb, and with slight pressure on toes of backward one, sink upon re- treated knee. In so doing let both limbs sustain the weight of body; the line of gravity thus falls between the feet. On assuming an upright posture slowly carry rear foot forward to a normal position. BOWING Bowing is the most common of all salutations, and con- sists ordinarily of simply a slight inclination of the head, but if occasion demand, it may be the deeper and more reverential one of bending the body at the hips. Which- ever mode is used, it should be executed evenly, avoiding a quick or hesitating jerk. FREE WORK Preliminary Exercises Assume first position, viz.: Stand with heels closed, knees firm, hips in and arms down at side, little finger almost touching side. 1. Exercise the various joints of the body and limbs by flexion, bending, rotation, and circumduction. . Carry right hand to hip three or four times. . Carry left hand same. . Carry both hands same. . Raise right arm rigid to horizontal front, palm prone. . Left, same. . Both, same. Hipe ‘fii: See page 177. 8. Walking in place. (That is, stand in place and ex- -ercise limbs as in walking.) 9. Running in place. (That is, stand in place and ex- ercise limbs as in running.) 10. Hopping in place. je a Se Pe 186 ADVANCED ELOCUTION 11. Extend right limb rigid to right, toes pointing downward. 12, Left, same. 13. Advance right foot twice or three times its length, to oblique-front right and fall-out by bending right knee. (Be careful to preserve harmony of muscular action from head to feet. ) 14. Return to position and do same with left foot. Assume stride position. See page 177. 15. Rise on toes and heels alternating. 16. Rise on toes and flex knees to sitting position, thighs touching upturned heels; rise and quickly recover position. 17. Cross right foot over and beyond left foot, toes touching floor. 18. Left foot same over right. 19. Rise on toes with closed heels and flex knees. 20. Respiratory exercise. (Inhale freely and deeply through nostrils.) Regular Exercises The following exercises are in groups, arranged in sys- tematic order, each group being intended to call into action different sets of muscles. First Order Assume wing standing position. See page 177. 1. Heel elevation (rise on toes) eight counts; with music, four accented beats. 2. Toe elevation, eight counts; with music, four accented beats. 3. Heel and toe elevation (alternating), eight counts; with music, four accented beats. 4. Trunk bending forward, eight counts; with music, four accented beats. VISIBLE EXPRESSION OR GESTURE 187 5. Trunk bending backward, eight counts; with music, four accented beats. 6. Trunk bending to right, eight counts; with music, four accented beats. 7. Trunk bending to left, eight counts; with music, four accented beats. 8. Trunk bending and rotation, eight counts; with music, four accented beats, Expianation.—In eighth exercise bend trunk forward on first count, then without elevating body rotate to right on second count, backward on third count, left on fourth count, front on fifth count, again to left on sixth count, backward on seventh count, right on eighth count, and lift body to position. Arms folded behind back. 9. Head bending forward, eight counts; with music, four accented beats. 10. Head bending backward, eight counts; with music, four accented beats. 11. Head bending to right, eight counts; with music, four accented beats. 12. Head bending to left, eight counts; with music, four accented beats. 13. Head rotation to right, eight counts; with music, four accented beats. 14. Head rotation to left, eight counts; with music, four accented beats. 15. Head bending and rotation, eight coumie; with music, four accented beats. Follow same order for No. 15 as that given for trunk bending and rotation, No. 8 Hands clinched on chest. 16. Arm extension downward, sixteen counts or eight accented beats. ExpLaNATION.—Extend right arm downward with 188 ADVANCED ELOCUTION clinched hand, four counts; left, four counts; alternate, four counts; simultaneous, four counts. 17. Arm extension, horizontal lateral, sixteen counts, eight accented beats. 18. Arm extension, vertical, sixteen counts, eight ac- cented beats. 19. Arm extension, horizontal front, sixteen counts, eight accented beats. Arms down. See page 177. 20. Flex right knee (toes of right foot on floor), eight counts or four accented. beats. 21. Flex left knee (toes of left foot on floor), eight counts or four accented beats. 22. Alternate right and left knee flexion (foot on floor), eight counts or four accented beats. Hands closed in fists, palms facing front. 28. Finger extension (spread fingers widely apart), eight counts or four accented beats. 24. Finger extension (arms horizontal, lateral), eight counts or four accented beats. 25. Finger extension (arms vertical), eight counts or four accented beats. 26. Finger extension (arms horizontal, front, palms prone), eight counts or four accented beats. Arms down. 27. Alternate foot crossing, arms vertical, finger-tips touching, sixteen counts or eight accented beats. ExpLanation.—On first count cross left foot over right, toes touching floor, at same time arms rise to vertical, finger-tips of both hands touching over head; on second count return to position; on third count right foot over left, hands again to vertical, return to position on fourth count; repeat thus through sixteen counts. 28. Balance exercise, right foot forward, eight counts or four accented beats. VISIBLE EXPRESSION OR GESTURE 189 In this position sway forward and backward, alter- nately raising heel of left and toe of right foot. 29. Balance exercise, left foot forward eight counts or four accented beats. 30. Stride standing position, with heel elevation, eight counts or four accented beats. EXPLANATION.—Separate feet ten or twelve inches and rise on toes. Second Order Postiion: stand with closed heels, finger-tips to shoulders, elbows lateral. Arm extension. 1. Extend right arm to horizontal front, palm prone, eight counts. 2. Left same, eight counts. 3. Both same, eight counts. 4. Extend right arm to vertical, palm facing front, eight counts. 5. Left same, eight counts. 6. Both same, eight counts. 7. Extend right arm to horizontal lateral, palm prone, eight counts. 8. Left same, eight counts. 9. Both same, eight counts. Wing standing position. Foot extension. 10. Extend right foot forward, toes pointing. downward, eight counts. 11. Left same, eight counts. 12. Extend right foot backward, eight counts. 13. Left same. 14. Extend right foot forward and backward alternately, eight counts. 15, Left same. 190 ADVANCED ELOCUTION Arms down. Arm, flexion and extension. 16. Right hand to shoulder and horizontal front, eight counts. ExpianatTion.—On first count carry finger-tips of both hands to shoulders; on second count carry left arm to horizontal front, palm prone; on third count back to shoulder; on fourth count arms down. Repeat through remaining four counts. : 17. Left arm same. 18. Both arms same. 19. Right arm to vertical, palm facing front, following same general order as in sixteenth exercise. 20. Left arm same, eight counts. 21. Both arms same, eight counts. 22. Right arm to horizontal lateral, following same general order as in sixteenth exercise. 23. Left arm same, eight counts. 24. Both arms same, eight counts. Lunges with arm flexion and extension. 25. Lunge or charge with right foot, eight counts. ExpLaNaTion.—On first count finger-tips to shoulders, second count, right arm to horizontal front, palm prone, same time charging directly forward with right foot, right knee bent; on third count recover foot position ; on fourth count hands down. 26. Same exercise réversed— that is, with left foot and left arm, eight counts. 27. Same with right foot and right arm to right lateral, eight counts. . .28. Same reversed, eight counts. 29. Same with right foot and right arm diagonally back, right, eight counts. 30. Same reversed, eight counts. VISIBLE EXPRESSION OR GESTURE 191 Trunk bending with arm flexion and extension. 31. Combination to right, eight counts. ExpLaNation.—On first count finger-tips to shoulders; on second count pivot on ball of left foot to right, at same time place right foot three or four inches forward to right, turning trunk in same direction ; on third count bend trunk, extending arms downward until finger-tips nearly or quite touch the floor; on fourth count straighten body, and carry finger-tips to shoulders; on fifth count do same as on third count; on sixth same as on fourth ; on seventh recover foot position ; on eighth count arms down. 32. Same exercise reversed, or to left, eight counts. 33. Same as thirty-first exercise, except to oblique back, right, eight counts. 34. Same exercise reversed, or to oblique back, left, eight counts. Wing standing position. Foot Stretch: Exercise. 35. Right foot—stretch, eight counts. ExpLanation.—On first count place right foot two or three inches backward on toes; on second count lift.foot off floor and stretch it backward making it as nearly straight with limb as possible, at same time incline for- ward at hips, and slightly bend knee of left limb ; on third: count straighten body and place foot as in first count; on fourth count return to position. Repeat exercise through remaining four counts. 36. Left foot—stretch, eight counts. 37. Standing knee flexion, eight counts. ExpLANATION.—On first count rise on toes; on second count bend knees outward, and sink about half distance downward, keeping heels close together ; third count same as first; on fourth count recover position. Repeat-exercise through remaining four counts. 192 ADVANCED ELOCUTION Stretch Exercises. Arms down. 38. On first count raise right hand to vertical, palm facing to left ; on second count place left foot directly forward three times its length and fall out; on third count recover posi- tion; on fourth count, arm down. Repeat through eight counts. 39. Do same, reversely, eight counts. 40. On first count raise right arm as in No. 38; on second count stretch left limb directly backward and bend body forward at hips, body and left limb being directly on line; on third count recover position; on fourth count right arm down. Repeat through eight counts. 41. Do same reversely. Third Order Position: neels closed, arms folded behind back. Diagonal short step. 1. Right foot diagonally forward, right, eight counts. Expianation.—On first count place right foot diago- nally forward (midway between front and lateral) about three inches, retaining line of gravity in left foot; on second count recover position ; repeat the exercise through eight counts. 2. Left foot same, eight counts. 3. Right foot diagonally backward, eight counts. 4. Left foot same, eight counts. Arms down. Rigid arm extension. 5. Right arm rigid to vertical via front, eight counts. - Expianation.—On first count carry right arm with straight elbow and wrist to perpendicular, palm facing to: left ; on second count return it to position ; repeat through eight counts. VISIBLE EXPRESSION OR GESTURE 198 6. Left arm same, eight counts. 7. Both arms same, eight counts. 8. Right arm rigid to vertical, via lateral, eight counts. 9. Left arm same, eight counts. 10. Both arms same, eight counts. Arms horizontal front, palms facing. 11. Rigid arm extension to horizontal lateral, eight counts. EXxpLanation.—On first count carry both arms with straight elbow and wrist from front to lateral; on second count again to front; repeat the exercise through eight counts. 12. Lateral trunk bending with pendulous arm action, ‘sixteen counts. EXpLANATION.—Bend body at hips well over to right, head and trunk facing front, at same time carry arms with graceful swing from front to horizontal lateral, right, and circling upward and back again to horizontal front as body regains position (this will occupy two counts); with- out pausing front, carry body and arms in same way to left; repeat through sixteen counts. Arms down. Foot crossing with toe-touch, front and back, sixteen counts. 13. Right foot crossing with toe-touch, eight counts. ExpLanaTion.—On first count carry right foot over left foot until it is opposite left side of left ankle, toe touching floor; retain position on second count; on third count swing right foot round to fullest extent of right limb until foot is back and to left of left foot, toe again touching floor; hold position on fourth count; repeat the exercise’ through three counts, regaining position on eighth count. 14. Do same with left foot, eight counts. Lateral arm-swing overhead. 15. Right arm swing, eight counts. Expianation.—On first count carry right arm via 13 194 ADVANCED ELOCUTION lateral, with palm outward, up and over head, loose elbow and wrist, finger-tips directed downward and almost touching top of head; on second count return hand.down to side; repeat through eight counts. 16. Do same with left arm, eight counts. 17. Do same with both arms, eight counts. Arms down front, fingers loosely intertwined. 18. Courtesy exercise, twenty-four counts. ExpLaNation.—On first count place right foot once or more its length back and somewhat to left of left foot; on second count bend body strongly in hips and right knee, at same time extending hands forward and downward, with fingers interlocked and palms outward; on third count straighten body and knee, and on fourth count return to position; repeat through remaining four counts. Do same in reverse order, eight counts; do same alter- nately, eight counts. Arms down. 19. Poising exercise with knee flexion, twenty-four counts. ExpLanation.—On first count flex right knee outward, carrying heel of right foot to knee of left, at same time bring right hand gracefully up, via front, overhead and pendant, and left-hand gracefully near chest, finger-tips directed inward; on second count return to position;, repeat the exercise through eight counts. Then do same in reverse order, eight counts, and same alternately, eight counts. 20. Poising exercise with heel elevation, thirty-two counts. ExpLaNATion.—On first count place right foot once its length forward, and carry hands to same position as in No. 19; on second count rise on toes; on third count heels again to floor; on fourth count return to position; repeat exercise through remaining four counts. Do same re- VISIBLE EXPRESSION OR GESTURE 195 versely, eight counts, then turn to oblique-back right, following same order, eight counts; do same reversely, eight counts. Arms down front, fingers loosely intertwined. 21. Attitudes diagonally forward, sixteen counts. ExpianatTion.—On first count place right foot once its length over and beyond left foot, with line of gravity in right foot, left on toes, at same time bring hands, with intertwined fingers over head and palms upward, head raised and eyes looking upward, hold attitude through seven counts, on eighth return to position. Do same reversely, eight counts. 22. Attitudes diagonally backward, sixteen counts. ExprLaNnaTion.—On first count place right foot twice its length diagonally back right, and carry hands with interlocked fingers up, over, and back of head, allowing head to lie in hands, thus giving it support, incline trunk backward on line with left limb and hold position through seven counts, returning on the eighth count to position. Do same reversely, eight counts. Fourth Order Wing standing position. 1. Right knee flexion, eight counts. ExpLaNnaTion.—Raise right foot backward and upward as far as possible, keeping right knee parallel with left knee; repeat through eight counts. 2. Left knee flexion, eight counts. Thigh flexion. 3. Flex right thigh, eight counts. EXxpLANATION.—Raise right limb forward, knee flexed until toes are nearly on line with knee of left limb. 4, Flex left thigh, eight counts. 196 ADVANCED ELOCUTION Rigid limb extension. 5. Right limb rigid to right (toes pointing downward), eight counts. 6. Left limb rigid to left, eight counts. Oblique fall-outs.. See page 177. 7. Right oblique fall-out, eight counts. ExpLanation.—On first count place right foot three times its length forward to oblique-right ; on second count, fall out, by bending knee of right limb; on third count straighten knee; on fourth count recover position. Repeat the exercise through remaining four counts. 8. Do same reversely, eight counts. 9. Do same backward to oblique-right (pivoting on ball of left foot), eight counts. 10. Do same backward to oblique-left (pivoting on ball of right foot), eight counts. Shoulder blade exercises. 11. Clasped thrusts, eight counts. EXPLANATION.—With clasped hands, behind back at waist line, thrust downward four times. 12. Palm slide, eight counts. EXPLANATION.—With arms extended, horizontal front, and hands palm to palm, slide hands backward and for- ward without bending elbows or wrists. Arms down. 13. Arm extension and shoulder shrug, twenty-four counts. EXPLANATION.—On first count shrug right shoulder; on second count return shoulder to position; on third count raise right arm to horizontal lateral, palm prone; on fourth count, arm down. Repeat through eight counts. 14. Left same, eight counts. 15. Both same, eight counts. 16. Right hand to arm-pit and shoulder (alternating), eight counts. VISIBLE EXPRESSION OR GESTURE 197 EXpLANATION.—On first two counts carry fingers of right hand to right arm-pit, elbow outward; on next two counts carry arm outward and upward and inward until finger-tips rest on shoulder. Repeat the exercise through remaining four counts. 17. Do same with left hand, eight counts. 18. Do same with both hands (alternating), eight counts. 19. Do same with both hands simultaneously, eight counts. _. Arm extension rigid. 20. Right arm rigid, eight counts. Expianation.—On first count raise right arm, with rigid elbow and wrist to horizontal front, palm upward ; on second count, carry it in same position to horizontal lateral; third count as on first, and on fourth count down to side. Repeat through remaining four counts. 21. Do same with left arm, eight counts. 22. Do same with both arms, eight counts. 23. Swimming exercise, thirty-two counts. Expianation.—Place hands close to chest and palm to palm, fingers directed forward. On first count advance tight foot forward, twice its length, knee firm, left foot on toe, at same time carry hands palm to palm directly for- ward ; on second count carry them to horizontal lateral, palms outward; on third count bring hands again near chest. Repeat exercise through fifteen counts, recover position on sixteenth count, then advance left foot and repeat the exercise through fifteen counts. Diagonal fall-out attitudes. 24, Right diagonal fall-out, eight counts. ExpLanation.—On first count step three times lerigth of foot to oblique front, right, with right foot, pivoting round to left on balls of both feet. until heel of left is on line with hollow of right, right limb supporting, knee 198 ADVANCED ELOCUTION slightly bent, carry clasped hands to left shoulder, head thrown back, chin up, hold attitude, recovering position on eighth count. 25. Do same reversely, eight counts. 26. Do same diagonally back to right, looking over left shoulder, eight counts. 27. Do same diagonally back to left, looking over right shoulder, eight counts CALISTHENICS, OR APPARATUS WORK Wands Explanation of Wand Positions. Carry Wand means wand perpendicular and resting against right shoulder, lower part (about ten inches from end) held between first two fingers and thumb of right hand. Wand Down means wand horizontal and at arm’s length, down in front, hands clasping wand as far apart as arms are at shoulders, with back of hands front. Wand Overhead means wand clasped as in wand down, but held at arm’s length and parallel with shoulders over head. Parade Rest means that one end of wand is placed on floor near ball of left foot, the other end of wand clasped with both hands near waist line—basic position, same as described under Parade Rest Position in Nomenclature. Exercises First Order Wand down. 1. Wand to horizontal front, eight counts. EXPLANATION.—On first count carry wand with both hands and extended arms to horizontal front; on second VISIBLE EXPRESSION OR GESTURE 199 coun return wand to position ; repeat the exercise through eight counts. 2. Wand overhead and parallel with shoulders, eight counts. ExpLaNATion.—Follow same order as in Exercise 1, ex- cept to overhead. 3. Wand to chest, eight counts. EXpLaNnaTion.—On first count carry wand up to and parallel with chest, with elbows outward and above-wand ; on second count wand down. Repeat through eight counts. Wand overhead. See page 198. 4. Wand down to chest, eight counts. ExpLaNaTion.—On first count carry wand from overhead down to chest, elbows as in Exercise 3; on second count back to position over head. Repeat through eight counts. 5. Wand downward, with forward trunk bending, eight counts. ExpLanation.—On first count carry wand forward and downward, with arms extended, bending body at hips, knees firm; on second count straighten body and return wand to position overhead. Repeat through eight counts. 6. Wand to shoulders, eight counts. ExpLanation.—On first count carry wand back of and parallel with shoulders; on second count return it to posi. tion overhead. Repeat through eight counts. 7. Wand to chest and back to shoulders alternating, six- teen counts. ExpLanation.—Wand to chest, as in fourth exercise, except alternating with wand to shoulders, as in sixth exercise. Repeat through sixteen counts. 8. Wand to hips, eight counts. ExpLanation.—On first count extend right hand to extreme end of wand; on second count do same with left; on third count extend wand horizontally backward and 200 ADVANCED ELOCUTION downward to hips; on fourth count again to position overhead; on fifth count again to hips, repeating thus through eight counts. , 9. Wand forward with trunk bending, and backward to hips, sixteen counts. ExpLaNnaTion.—On first count carry wand forward and downward, as in fifth exercise; on second count wand to position overhead; on third count same as in eighth exer- cise; on fourth count overhead, repeating through sixteen counts. . 10. Wand perpendicular, with lateral trunk ‘bending, sixteen counts. Expianation.—On first count bend trunk to right, at same time carrying wand from position overhead to per- pendicular on right side, right hand holding end of wand down at arm’s length near thigh, left clasping other end of wand, with forearm above head, palm facing front; on second count straighten body and carry wand to position ‘overhead; on third count do same to left. Repeat the exercise through sixteen counts. 11. Wand reversed overhead, eight counts. EXPLANATIoN.—On first count carry one end of wand, with right hand, to front, overhead; on second count carry the other end of wand with left hand to front, over- head. Reverse through eight counts. Wand down. 12. Wand to chest with forearm flexion, eight-counts. Expianation.—On first count bring wand: horizontally to chest, elbows against intercostal muscles; on second count wand down. Repeat through eight counts. Second Order Wand in carry position. See page 198. 1. Wand perpendicular to chest, eight counts. - Expnanation.—On first count carry wand perpendicular VISIBLE: EXPRESSION OR GESTURE 201 at arm’s length in front of chest, both hands (right under. left) clasping lower end of wand; on second count bring wand in to chest, elbows strongly outward. Repeat through eight counts. 2. Wand perpendicular to shoulders, sixteen counts. EXPLANATION.—With wand perpendicular at chest where it is brought at close of preceding exercise, on first and second counts, carry wand perpendicular in front of, and against right shoulder, right hand clasping wand at arm’s length down at thigh, left hand fingers pressing wand against right shoulder; on third and fourth counts do same reversely, changing hand position in front of chest. Repeat exercise through remaining twelve counts. Wand down. 8. Wand overhead with foot crossing, sixteen counts. Expianation.—On first count carry wand parallel with shoulders at arms’ length overhead, at same time crossing right foot over left, with toe-touch ; on second count, wand down, and foot to position; on third count, wand again overhead and left foot over right; on fourth count return to position. Repeat thus through eight counts. Then do same with one foot crossing back of the other through eight counts. 4. Wand horizontal on shoulder blades with lateral charge, twenty-four counts. ExpLanation.—On first count carry wand to horizontal position on shoulder blades, elbows down near ribs, at same time charge directly to right with right foot; on second count return to position, retaining wand on shoulder blades. Repeat the charge through eight counts; then same to left, eight counts; same alternating, eight counts. 5. Wand on shoulder blades with forward and back-: ward, trunk bending. ExpLaNnaTion.—On first count bend body forward and 202 ADVANCED ELOCUTION downward, knees firm ; on second count recover position ; on third count bend body backward ; on fourth count same as second.. Repeat through eight counts. 6. Wand on shoulder blades with lateral trunk bending, eight counts. ExpLanation.—Follow same order as in fifth exercise, except bending alternately to right and left. Wand down. 7. Wand perpendicular to shoulders and horizontal over- head, sixteen counts. ExpLaNnaTion.—On first two counts carry wand per- pendicular to right shoulder, right hand clasping wand at arm’s length downward at thigh, left clasping wand at right shoulder, palm of hand facing front; on third and fourth counts wand horizontal overhead; on fifth and sixth a perpendicular to left shoulder ; on seventh and eighth counts wand down. Repeat through remaining eight counts. 8. Wand to horizontal front and overhead with foot placing. EXpLANATION.—On first count carry wand at arm’s length to horizontal front, at same time place right foot once its length forward; on second count carry wand at arm’s length overhead and backward, again placing foot once its length forward; on third count same position of wand and foot as on first count; on fourth count wand down and foot to first position. Repeat through remaining four counts, then do same with left foot forward, eight counts. 9. Wand horizontal to chest with front fall-out, eight counts. ; ExpLanation.—On first count carry wand horizontally to chest, and at same time step forward three times length of foot and fall-out; on second count wand down and recover position; on third count step forward with left VISIBLE EXPRESSION OR GESTURE 203 foot and recover position. Repeat thus through eight counts. 10. Wand horizontal to chest with lateral arm exten- sion, sixteen counts. EXpLaNnation.—With wand to chest and elbows down on first two counts carry wand horizontally to right with right arm fully extended along barrel of wand and left hand clasping wand at chest; on third and fourth counts do same to left. Alternate thus through sixteen counts. 11. Wand perpendicular with knee rest and. charge, sixteen counts. ExpLanation.—On first count lunge forward with right foot and rest end of wand, which is clasped by right hand, on right knee, wand perpendicular, left hand clasping upper end of wand; on second count bring wand. down and return to position; on third count do same oblique- front, right; on fifth count same to right lateral; on seventh count same oblique-back, right and return to position ;*then do same reversely, eight counts. 12. Wand oblique, with oblique-front charges. Expianation.—On first count carry wand obliquely- back of trunk as far as arms can be extended, right hand clasping upper end of wand back of neck, and left clasping lower end of wand back of left thigh, at same time lunge to oblique-front right and hold attitude two counts, return to position, and bring wand down on fourth count. Repeat exercise four counts. Do same reversely, eight counts. Third Order Wand down. 1. Wand horizontal with forearm rotation, sixteen counts. ExpLANATION.—On first count place wand with: one hand back of and against waist; then, on next-two counts, 204 ADVANCED ELOCUTION clasp ends of wand with both hands and rotate forearms through remaining thirteen counts. 2. Wand reversed front of waist, sixteen counts. Expianation.—On first count carry wand horizontally with both hands from preceding position back of waist over head and down in front of waist; on second and third counts change hand positions, bringing them within twelve inches of each other on the wand; on fourth count reverse wand by placing right forearm along and over left forearm ; on fifth count reverse wand by placing left forearm along and over right forearm. Repeat thus through remaining sixteen counts. 3. Wand horizontal overhead, with lateral lunge, twenty-four counts. Expianation.—On first count carry wand to horizontal overhead and toward right, at same time lunge to right twice length of foot; on second count return to position, wand resting in horizontal position back of neck. Repeat through eight counts; same to left, eight counts; same alternating right and left, eight counts. 4. Wand horizontal at shoulder blades, with arm-exten- sion downward, sixteen counts. . Expianation.—On first count carry wand, with right hand only, backward to and horizontal with shoulder blades ; on second count grasp wand with left hand, back of hands facing front, thrust downward through remaining sixteen counts. 5. Wand horizontal front and to chest, sixteen counts. EXPLANATION.—On first count carry right hand from its preceding position at shoulder blades to end of wand, changing hand position so that palm faces front; on sec- ond ‘count similarly change left hand position; on third count carry wand horizontally overhead, extending it at arm’s length in front of chest; on fourth count, with hands as far apart as arms are at shoulders, bring wand VISIBLE EXPRESSION OR GESTURE 205 horizontally inward to chest, elbows down close to side. Repeat through remaining counts. Wand down. 6. Wand overhead, with lateral trunk bending and rota- tion, thirty-two counts. EXPLanation.—On first count carry wand horizontally overhead ; on second count retain wand in same position, but rotate trunk to right; on third count bend trunk downward, with knees firm; on fourth count straighten body ; on fifth count do same as third ; on sixth count as on fourth; on seventh count as on first; on eighth count wand down. Repeat the exercise through eight counts, then do same reversely sixteen counts. 7. Wand with arm extension forward and balance movement, sixteen counts. . EXpLaNnation.—On first count carry wand at arms’ length to horizontal front, at same time place right foot twice its length forward, with line of gravity in right foot; on second count sway line of gravity into backward limb and bring wand horizontally to chest, sway forward and backward thus through eight counts with a motion of body and arms somewhat like that used in rowing; then place left foot forward and repeat exercise through eight counts. 8. Wand perpendicular with balance movement and head turn, sixteen counts. EXPLanaTion.—On first count with hands at ends of wand, place the latter horizontally at shoulder blades; on second count advance right foot twice its length toward oblique-right and bend trunk slightly in right hip, with head turned backward looking downward over right shoulder. Repeat through eight counts. Same reversely, eight counts. Stride position, wand down. 9. Wand perpendicular with right and left pivot, eight counts. 206 ADVANCED ELOCUTION ExXpLaNaTion.—On first two counts, pivot on balls of feet, facing toward right, at same time carry wand per- pendicularly in front of and against right shoulder, right hand extended downward along barrel of wand, left hand grasping wand at right shoulder, palm facing front; on next two counts pivot to left with wand perpendicular at left shoulder. Repeat exercise through remaining four counts. 10. Wand perpendicular, with front and back pivot, eight counts. Expianation.—Place right foot about six inches back of left, and pivot back directly to rear, via right, with wand perpendicular, as in preceding exercise; then on next two counts pivot to front with wand to left shoulder, repeating through eight counts. 11. Wand perpendicular with trunk rotation, eight counts. ExpLanation.—On first two counts carry wand to per- pendicular on outside of right shoulder, grasping wand as in Exercise 9, and rotating trunk to right, but head turned to left, looking over left shoulder; on next two ‘counts do same reversely; alternate thus through eight counts. 12. Wand perpendicular with forward and backward lunges, sixteen counts. Expianation.—With wand, trunk, and head as in pre- ceding exercise lunge with left foot three times its length over and beyond right foot, then on third and fourth counts lunge oblique-back, left, eyes looking over right shoulder. Repeat through four counts, then do same re- versely, eight counts. VISIBLE EXPRESSION OR GESTURE 207 Fourth Order Attitudes In the following order each attitude may be held eight counts, corresponding to one strain of music. The left foot is stationary, except as it pivots on ball of foot or rises on toes to accommodate the action of the other foot. Wand down. I Wand horizontal and at arms’ length front, right foot fully twice its length forward and supporting body, left foot on toes, eyes looking front. II Wand horizontal and at arms’ length over head, right foot carried four times its length backward from preced- ing position and supporting body, both feet on floor, knees firm, head back, eyes looking upward. II Wand perpendicular at right shoulder, left hand grasping wand at right shoulder, palm facing front, right grasping wand at arm’s length, down and against thigh, basic position retained from preceding attitude, eyes looking over left elbow. (Illus. I.) IV Same as preceding, except wand perpen- dicular to left shoulder, and eyes looking _over right elbow. Illus. II. ADVANCED ELOCUTION Vv 3 With wand obliquely backward and up- ward, left hand grasping it at arm’s length, right grasping it near left shoulder, charge to oblique-front right, also bending body strongly forward, eyes looking toward floor at point indicated by lower end of wand. (Illus. IT.) VI With wand same as in preceding atti- tude, except at right shoulder, charge with fall-out and body-bend to oblique- front left; this will carry right foot over and beyond left foot. VII With right hand grasping wand high overhead, and left grasping it back of and above head, wand pointing upward, charge right foot backward, eyes jlonking forward and down- ward. (lIllus. III.) held With wand pointing forward and downward, left hand grasping it in front, and right hand re- taining it backward and high overhead, pivot on balls of feet via right until body faces to rear, eyes as in preceding atti- tude. With one end of wand VIII (Tus. IV.) IX by both hands at Sig IV. VISIBLE EXPRESSION OR GESTURE 209 chest, pivot round to front, charge directly forward and kneel on left knee, at same time pointing wand about ninety degrees upward to oblique-front right, right hand extended at arm’s nner along barrel of wand, hold attitude through a eight counts, then without rising direct wand to oblique-front left, hold eight counts, and rise to feet. x With right hand grasping wand at right hip, and elbow well back, left hand supporting wand, at nearly arm’s length front, charge directly backward with right foot, left knee flexed, right one firm, eyes looking forward in direction indicated by wand. (Illus.V.) XI Retain wand position as in preceding attitude and charge directly forward without body turn, knees firm. XII Bring wand to carry, and feet to fundamental position. Dumb-Bells—Wooden Norz.—The three-quarter pound bells may be used by ladies, the pound bells by gentlemen. Rest Positions with Bells 1. Bells on hips. 2. Bells down—that is, arms down at side, palms toward thighs, unless otherwise indicated. 3. Bells down and back of thighs, one bell crossing the other and clasped by both hands, feet in parade rest posi- tion. See page 177. 14 210 ADVANCED ELOCUTION Time. Unless otherwise indicated, use the last one or two counts of each exercise for passing from one exercise to the next throughout each order. This is especially necessary where music is used. Exercises First Order 1. Bells vertical and front, forearm flexion and rotation. ExpLaNnaTion.— With elbows against intercostal muscles, forearms directly forward and palms facing each other, turn bells with backs of hands downward seven counts, leaving eighth count to carry bells to next position. 2. Bells horizontal at shoulders, with forearm flexion and rotation. ExpLaNnaTion.—With elbows as in preceding, and palms near to and facing shoulders turn bells, with palms facing front, seven counts. 3. Bells down, with arm rotation. EXPLANATION.— With back of hands facing front, turn bells outward till palms of hands face front, bells close to thighs, turn through seven counts; on eighth count carry bells vertical to chest. 4. Bells to horizontal lateral, with arm rotation. ExpLaNATIon.— With arms extended to horizontal lateral and palms facing upward, turn bells, palms downward, seven counts; on eighth count again to chest. 5. Bells horizontal overhead, with arm rotation. EXpLaANATION.—With arms extended overhead and palms facing front, turn bells with backs of hands front, seven counts. On eighth count, bells to chest. 6. Bells horizontal front, with arm rotation. ExpLANATION.—With arms extended directly front and palms upward turn bells (palms downward), seven counts ; on eighth count bells to hips. VISIBLE EXPRESSION OR GESTURE 211 7. Bells oblique with alternate knee flexion. EXPLANation.—With right arm extended to right and midway between horizontal and perpendicular, holding bell with palm upward, and left arm extended on same line downward, holding bell with palm downward, charge directly to right, and flex right knee; on second count flex left knee, alternating knee flexion thus through seven counts. Return to position and do same reversely. 8. Bell thrust from shoulder with lateral trunk bend- ing. Expianation.—With left bell on hip bend trunk to left, and with right bell at shoulder, palm facing inward toward neck, thrust bell upward seven counts, return to position and do same reversely. 9. Bells vertical on chest with chest expansion. EXPpLANATION.—With bells lying side by side on chest carry elbows backward, ~flattening shoulder blades and expanding chest seven counts. Stride position—bells on shoulders. 10. Bells to perpendicular with heel elevation. EXPLANATION.—With bells as indicated, separate feet about six inches, then thrust bells upward, palms facing, at same time rising on toes. Repeat through seven counts. Bells down and heels closed. 11. Bells to horizontal lateral with knee flexion. Expuianation.—Carry bells upward to shoulder-high, palms down, at same time flexing or bending knees and rising on toes. Repeat through eight counts. 12. Attitude. EXxpLanaTIon.—On first two counts remain in funda- mental position; on third count step diagonally forward to right and fall-out, with right bell on hip and left bell extended at arm/’s. length, oblique-back to left, halfway 212 ADVANCED ELOCUTION between perpendicular and horizontal, palm upward, head turned, eyes looking at left bell; hold attitude through five counts, return to position on eighth count, and do same reversely through eight counts. Second Order Bells vertical on chest. 1. Bells with arm-sweep from lateral. to front. EXxpLaNnaTion.—On’ first count draw right arm back- ward from chest and outward to horizontal lateral, bell vertical ; on second count forward to horizontal front and inward upon chest; repeat through eight counts. Do same with left arm. 2. Bells with arm-sweep from front to lateral. * ExpLanaTion.—On first count extend right arm to horizontal front, bell vertical; on second count extend right arm outward to horizontal lateral and inward upon chest; repeat through eight counts. Do same with left arm. 3. Bells with arm extension and trunk rotation. ExpLaANATion.—On first two counts rotate trunk to right, extending right bell at arm’s length forward, bell vertical; third and fourth counts rotate trunk to left, ex- tending left.bell forward and bringing right bell in upon chest. Repeat the exercise through eight or sixteen counts. Bells on chest. 4. Bells clasped with trunk bending. Expianation.—To clasp the bells draw them vertically together upon the chest, interlocking the fingers of both hands. With bells thus clasped, on first two counts, ex- tend bells downward at arms’ length near right knee, bending trunk ; on third and fourth counts describe a half circle overhead and then bend downward in same way to VISIBLE EXPRESSION OR GESTURE 213° left, then overhead again to right, repeating thus through either eight or sixteen counts. Bells on hips. 5. Bells to perpendicular with short step. EXpLANaTion.—On first two counts remain in posi- tion; on third count advance one foot-length toward oblique-front right, at same time bring bells to shoulders, and thrust at arms’ length to perpendicular, palms facing each other; on fourth count return bells to shoulders; on fifth count again to. perpendicular and so on until eighth count, when return to position. Then do same oblique-front left, then same oblique- back right, without turning body, then same oblique- back left. Bells down. 6. Bells pendant overhead with lateral fall-out. ExprianatTion.—On first count carry left bell to hip and extend right bell to horizor-tal lateral, palm down; on second count step to left, body facing front and fall-out, at same time swing right bell forward and upward overhead, and pendant; on third count, bell and position are same as in first count; on fourth count, bell down. Repeat exercise through remaining four counts. Then do same in reverse order. 7. Bell alternately from chest i shoulder with head rotation. EXPLANATION.—On first two counts place left bell on left hip and right bell vertical on left chest, head turned to right; on next two counts swing right bell downward and outward to lateral, and in upon right shoulder, elbow outward, at same time rotate head to left; on fifth and sixth counts return right bell to left chest, and head turned to right. Continue the exercise through sixteen counts, recovering position on last two counts. Do same reversely sixteen counts. 214 ADVANCED ELOCUTION Bells down. 8. Bells with foil exercise. Expianation.—Remain in position two counts; on third count carry right bell to hori- zontal lateral, palm upward, and left bell overhead with hand pendant, at same time lunge three foot-lengths to right; on fourth count re- cover position; repeat the exercise through remaining four counts. (Illus. VI.), Then > do same in reverse order eight counts, then same, alternating right and left, eight counts. Bells vertical on chest. 9. Bells to horizontal front with knee flexion. ExpLanaTion.—Remain in position two counts ; on third count place right foot twice its length forward to oblique- right, knee flexed, at same time carrying bells to hori- zontal front, palms facing each other; on fourth count, flex left knee and straighten right knee, carrying bells to -horizontal lateral and vertically in upon chest; on fifth count do same as on third; on sixth, same as on fourth; on seventh as on third, and ‘return to position on eighth count. Then do same oblique-front left. 10. Bell thrust from chest with oblique-back fall- outs. ExPLANATION.—Remain in position on first two counts; on third count place right foot twice its length, oblique-~ back right and fall-out, at same time thrusting right bell to horizontal front; on fourth count thrust left bell forward and carry right bell in upon chest; alternate thus through remaining three counts, returning to position on eighth ~~ lus, VI. VISIBLE EXPRESSION OR. GESTURE 215. count. Then do same reversely. Body should face toward oblique-front in this exercise. Bells down. 11. Attitude. foot directly to left, ats same time step- ping back to right with right foot, right limb supporting body, knee flexed, left knee firm; place right bell on right hip and left bell on chest near right shoulder, eyes looking outward over left shoulder, re- turn to position on eighth count. lus. VT. (Illus. VII.) Do same reversely. 12. Attitude. EXpLaNnation.—Place right foot twice. its length, oblique-front right, and carry left bell vertically back of neck and right bell vertically back of waist, support body on left limb, knee flexed, at same. time bend obliquely-back in left hip, return to position on eighth count, and lee Sa do same reversely. (Illus, VIII.) Third Order Attitudes and Exercises In all attitudes of the third order use for each attitude eight. counts, in this way: Stand in fundamental position during first two counts, then assume attitude, holding the same through five counts ; recover position on eighth count. The charges should be fully three times the length of the foot. 216 ADVANCED ELOCUTION Arms down. Attitudes. Expianartion.—On third count charge three foot- lengths to oblique-front right, at same time extend right bell at arm’s length forward and upward, and on line with body, palm up- ward, and left bell on same line downward, palm down- ward, eyes looking upward at right bell. (Illus. TX.) Hold attitude through five counts, return to position on eighth count. Do same reversely. Recover position and charge same distance oblique- back right, right limb supporting, but knee flexed, left knee firm, right arm extended downward, outward, and backward, palm downward, left hand clasping bell near forehead, palm facing front. (Illus. X.) Hold five counts, recover position on eighth count, and do same reversely. Bells on shoulders, palms downward, elbows outward. Exercise. ExpLanation.—Carry right bell via lateral, palm facing outward, downward to thigh, four counts, then do same with left, four counts, same alternately, four counts, same simultaneously, four counts. Repeat in same order to horizontal lateral, then to vertical, palms fac- ing inward, then to horizontal front, palms facing up- ward. Tilus, X. VISIBLE EXPRESSION OR GESTURE 217 Arms down. Attitudes. ExpLaNaTion. — Charge three times length of foot to right, right knee flexed, left knee firm, at same time right arm to vertical, hand grasping bell with © palm facing outward and upward, left bell on hip, head well back, eyes look- ing at right bell (Illus. XI); do same re- versely. Then charge oblique-back right, bells to hips and head: turned to left (illus. ATE do same reversely. P Arms down. Exercise. EXPLANATION.—Extend right bell to horizontal lateral, palm downward, four counts, left, four counts, therf alternately, four counts, then both, four counts, then follow same order with bells to vertical, palms facing outward, then follow same order to horizontal front, then same order carrying bells g to armpits. Attitudes. Expianation.—Charge with right foot toward oblique-front right, knee flexed,at same time extend both bells forward and downward, palms facing each other, then quickly draw left . bell to shoulder, elbow back, eyes looking forward and downward in direction of right bell. (Illus. XIII.) Do same reversely, then follow same order, charging oblique- Tus. XII. “Tiius, XI. Illus. XII. 218 ADVANCED ELOCUTION back right, but with arm extension forward and upward, then same oblique-back left. Bells with one lobe resting on chest, the other extended for- ward. Exercise. Expianation.—Carry right bell via front down to side, four counts, then do same with left, same alternating, then both same. Follow this order with bells to horizontal lateral, palms facing upward, then to vertical, palms facing inward, then to horizontal front, bells vertical. Bells down. Attitudes. ExpiaNnation.—Hold position two counts, charge to oblique-front right, right knee flexed, left knee firm, trunk well forward, bells vertical and rest- ing on back of neck, eyes looking downward. (Illus. XIV.) Do same reversely, then follow same order oblique-back right with bells on right shoulder, head turned toward oblique-front left. Do same reversely. Illus. XIV. Fourth Order Striking Bells 1. Stand in parade rest position eight counts. 2. Assume fundamental position, and salute with right bell. This is done in four counts, and by carrying right bell to left shoulder, palm of hand facing outward, then sweep arm outward and downward to side. Then hold fundamental position, another four counts. 8. Forearm exercise, with alternating stroke on alter- nating bell lobes: VISIBLE EXPRESSION OR GESTURE . 219 EXPLANATION.—With elbows close to intercostal muscles and forearms extended forward, right palm downward and left upward, strike inner lobes of bells, one count, _then reverse hand position, striking the other lobes, alter- nate thus through six counts; use remaining two counts for assuming next position. 4. Striking bells over and under, sixteen counts. EXpLanation.—Carry left bell to hori- zontal front, bell vertical; at same time @ place right bell above and near right @ shoulder, lower lobe almost touching shoulder. On first count sweep right & bell upward, forward, and downward striking upper lobe of left bell. (Illus. XV.) As soon as the left bell is struck, sweep left arm downward and backward and then upward, and on second count near top of left shoulder, right bell taking the horizontal front position. Alternate the sweep of arms and striking of bells thus through eight counts. Then reverse the order by alter- nating sweep of arms backward and down- ward and front, and striking the lower lobe of bell under- neath. Repeat through eight counts. 5. Striking bells over and under, eight counts. Same as preceding, except right bell is struck over once, then left over once, then right under once, then left under once. Arms down. 6. Striking bells with toe-touch, eight counts. EXPLANATION.—On first count sweep bells outward, then high overhead striking inner lobes of bells to- gether, and at same time extending right foot two or three inches toward oblique-front right, toe only touching floor ; on second count return to position. Repeat through four 220 ADVANCED ELOCUTION counts, then do same with left toe-touch, but on fourth count assuming position for next exercise. 7. Repeat Exercise 5. Arms down. 8. Repeat Exercise 6 with toe-touch oblique-back, right and left. 9. Repeat Exercise 5. 10. Striking bells front and back of thighs, eight counts. ExpLanation.—On first count carry bells downward and at arms’ length front, striking inner lobes together; on second count strike bells together back of thighs, palms down. Repeat through seven counts. 11. Repeat Exercise 5. 12. Striking bells overhead and back of thighs, eight counts. : ExpLANATION.—This exercise is same as Exercise 10, except that bells are struck overhead instead of front of thighs. 18. Repeat Exercise 5. 14. Striking bells with lateral lunge, eight counts. ExpLaNnaTion.—On first count lunge to right, extending right bell horizontally at arm’s length in same direction, at same time striking it on side of upper lobe with left bell, thumb-lobe of left bell downward ; on second count swing line of gravity into left limb, bending left knee, straighten- ing right one, and sweeping left arm strongly backward, then upward and forward, striking right bell, which should be kept stationary through the exercise. Recover posi- tion on eighth count. 15. Repeat Exercise 5. 16. Repeat Exercise 14 reversely. 17. Repeat Exercise 5. 18. Striking bells with right and left pivot. EXPLANATION.— On first count pivot to right; on second count sweep bells upward from side, striking inner lobes VISIBLE EXPRESSION OR GESTURE 221 together overhead ; on third count strike bells together at arms’ length downward in front of thighs, palms facing front. Repeat through seven counts, then pivot to left, repeating exercise on left side. 19. Repeat Exercise 5. 20. Striking bells with knee support, sixteen counts. EXpLanatTion.—On first count place right foot once its length forward with lower lobe of left bell resting on right knee, which should be slightly bent; on second count sweep right arm over shoulder as in Exercise 4, striking upper lobe of left bell. Repeat through seven counts, recover position, and do same reversely. 21. Repeat Exercise 5. 22. Repeat Exercise 3. 23. Repeat Exercise 5. 24. Repeat Exercise 4. 25. Parade rest position. ZESTHETICAL GYMNASTICS “Grace is to the body what good sense is to the mind.’’—RocHEFOUCAULD. Asthetical gymnastics contribute both to health and grace. While largely instrumental in promoting the former, they are especially valuable in rendering the mus- cles pliable and in giving proper direction and control to the nerve force, thus fitting the whole physique to become asuitable agent of expression. Grace is the result of equi- librium, and equilibrium results from perfect balance or poise, therefore it follows that any one not physically deformed may be able to secure this muscular control, and that no one need sit, stand, or move in an awkward way. Grace is charm of manner, is above personal adornment, and may be considered a desirable inheritance. It is one of Nature’s best gifts to the human race. It must not, 222 ADVANCED ELOCUTION however, be confounded with affectation; the two are antipodal. A few persons retain this gift of grace from childhood, but the vast majority lose it through the arti- ficialities and incumbrances of environment. That pliancy may be secured it is first necessary to rid the body of undue rigidity; hence certain relaxing exer- cises are necessary. In these, as well as in the energizing exercises, the so- called Delsarte exercises are largely utilized, as it is believed there are none more valuable for attaining the end sought. Norre.—Exercises upon the same plan were introduced a century ago by Engel, a German writer, but Madame Geraldy, the daughter of Delsarte, when in America in 1892, declared that these exercises were not a part of her father’s philosophy, nor did he make any use of them in his course of instruction. It would seem, however, that credit is due to Mr. Steele Mackaye for the fundamentals at least of this class of exercises, as he certainly was the first to utilize them in this country. Relaxing Exercises * For Fingers 1. Elbows near intercostal muscles, hands near waist, left hand lying relaxed upon tips of fingers of right, thumb of right in palm of left; in this position continue to shake left fingers with right hand a number of times, then shake right fingers in same manner. 2. Same as preceding, except palm of relaxed hand is turned inward toward chest. 3. Palm of left hand turned to- | right finger, thumb of righton back % of left. Shake as above indicated. Mh : TMD Yi yy * By relaxing is meant the removal of nerve force or tension from certain sets of muscles, VISIBLE EXPRESSION OR GESTURE 223 4. Relax fingers, separate hands three or four inches, palms facing, and shake fingers with quick fluttering motion inward and outward. If this exercise is properly executed, it will be found that the centre of action is in the partial rotation of the radius, and may be detected by touching its point of attachment at the elbow. For Hands 1. With right hand relaxed from finger-tips to wrist and unsupported, palm toward earth, shake upward and down- ward and inward and outward. Left same. Both same. Both alternating. 2. With elbow extension six or eight inches outward, and palms facing chest, follow same order as in preceding exercise. For Forearm 1. Raise elbow outward about halfway to shoulder-level, right forearm and hand pendulous and relaxed. Shake. _Same with left forearm. Same with both. 2. Extend entire right arm at shoulder-level front, then relax forearm and hand, letting them fall, and vibrating until motion ceases. Do same with left arm. Same with both arms. Be careful that shoulder is not thrown out of its natural position in this exercise. For Entire Arm 1. Arms downward at side. Relax to shoulder. Shake right arm. Shake left. Shake both. 2. Bend trunk slightly downward to right and extend right arm to horizontal front, then relax to shoulder, letting arm fall, vibrating of itself until motion ceases. Do same left. 3. Extend arms to vertical, withdraw energy in quick succession from finger-tips to shoulder—arms will fall relaxed at side. 224 ADVANCED ELOCUTION For Ankles Raise right foot slightly forward and without touch- ing floor, relax to ankle and shake. Same left. For Leg Nors.—Both leg and thigh exercises should be done by standing upon a step, platform, or other solid elevation, in order to extend foot downward and to have it free from incumbrance. 1. According to above suggestion relax right limb to knee and shake. Same left. 2. Carry right foot forward and upward with knee flexion, relax muscles and let foot fall downward. Same left. For Entire Limb 1. Standing as above indicated, shake entire limb, first the right,.then the left. 2. Raise limb forward, remove energy and let limb fall with pendulous action until motion ceases. For Head and Neck 1. Close eyelids and relax muscles of neck, allowing head to fall on chest, gently carry head to position; relax muscles of neck, allowing head to fall backward, on spine, return head to position, then let head fall toward right shoulder, then toward left shoulder. .2. Allow head to fall forward on chest, then sway trunk so as to let head roll to right shoulder, then back on spine, then to left shoulder, and forward again to chest, and gently lift to position. For Trunk . 1. First relax by letting head fall forward to chest, then relax in shoulders and chest and allow trunk to fall lifelessly forward and downward, head leading, VISIBLE EXPRESSION OR GESTURE 225 without bending knees; slowly rise to position first by energizing hips; second, shoulders and chest, and lastly head. Then follow same order backward with slightly- ‘bent knees, and heels separated four or five inches, to relieve any undue strain on spine. Do not relax beyond a point of ease. Lift trunk to position. Do same to right, same to left. 2. Let head and trunk fall forward, as in preceding exercise, then to right, then back on spine, then to left and front, the carrying impulse proceeding from the lower limbs. Nore.—The exercises of the head and trunk, relaxing and energizing, while not the most pleasing, are nevertheless of great importance, as they have to do with the vital organs. Especially are they of value to persons in middle life, when the muscles are apt to be stiffened or set. If these exercises prove too severe they can be done by sitting on a stool, the feet resting upon the floor. For Entire Body Place one foot about one and one-half times its length in rear of the other, with heel of advanced foot on line with instep of back one, toes at right angles, then bend knee of back limb, inclining trunk forward, and head on line with back limb, then bend both knees until hip on side of back limb is near to floor, relax muscles and body will sink to floor. This is an excellent exercise, but should first be practiced by falling upon lounge or soft cushions. Energizing or Fundamental Exercises Upon the flexibility of the wrist irf its rise and fall, the rotation of the forearm and circumduction and rotation of the whole arm depends the flowing, graceful motion of the entire arm. To attain this, practice the subjoined 1K 226 ADVANCED ELOCUTION fundamental exercises slowly and evenly, many times ; first with one arm, then the other, then with both. For Wrist Raise hand pendant (hanging relaxed from wrist), to front, near chest, elbow nearly on level with wrist, allow- ing finger-tips of one hand to rest in palm of the other. From this position lower entire arm by depressing sup- ported hand at wrist. For Forearm With finger-tips near shoulders, hand pendant and turned inward, elbow near side, rotate forearm until fingers are turned front, hand remaining pendant, then carry forearm forward and downward to side, wrist leading. Repeat same exercise in different altitudes and in differ ent directions from front. For Upper Arm With arm hanging relaxed at side, back of hand toward thigh, rotate arm at shoulder until palm of hand faces front. With forearm and hand pendant and relaxed ro- tate upper arm at various altitudes and in various direc- tions from the front. For Entire Arm With arm down as in preceding exercises, rotate upper arm, at same time carrying elbow forward, then raise fore- arm with hand relaxed and pendant, until finger-tips are near shoulder, same time lowering elbow, then energize forearm, at same tinte extending it forward, lastly ener- gize and extend hand forward, palm upward. Again fold hand inward toward wrist, then carry forearm relaxed and inward, with lowered elbow and with finger-tips again VISIBLE EXPRESSION OR GESTURE 227 near shoulders, then raise elbow sufficiently to permit hand to descend to side. Practice in various altitudes, and in various directions from the front. Regular Exercises For Arm and Hand Posrrion.—Stand with heels closed, toes out at usual angle—that is, about sixty degrees—line of gravity falling between balls of feet, entire body erect, without rigjdity, shoulders and hips in line, but free to move; vital organs high, arms pliant and down at side. All these exercises must be executed slowly, evenly, and rhythmically. In these exercises in all motions of the arm,as it rises from the side except one, whether the altitude to which it is lifted be great or little, the movement must be executed with hand pendant and relaxed from wrist, and conversely in all the movements downward from any altitude to any point below, the hand should be energized, with palm turned outward and finger-tips upward, the wrist leading. If the fundamental exercises have been properly practiced, the regular exercise can be readily attained ; if not, awkward- ness and rigidity are sure to follow. 1. Carry one arm frontward and upward to shoulder level; as arm assumes this position energize hand and return arm by same track to side. Do same with other arm, then same with both. Then follow same order oblique-front and lateral. 2. Same as preceding, except raising arm to vertical. 3. Same as Exercise 1, except that one arm precedes the other in the movement; thus, making an opposition ex- ercise—that is, when one arm reaches shoulder level and is returning to side, the other is moving up to shoulder level, and so on continuously throughout oblique-front and lateral. 228 ADVANCED ELOCUTION 4. Same as preceding exercise, except that arm rises to vertical. 5. Raise arm to shoulder level, lateral, energize wrist and turn it in a radius of half circle, until palm faces -outward, finger-tips backward. Then, with wrist leading, carry arm to horizontal front; with wrist again leading, but bent outward, carry arm again to horizontal lateral ; repeat at will, then let arm float downward to side. Do same with other arm; same with both. Repeat the exercise in various depths and heights from shoulder level. 6. With both arms extended to right, hands at hip-level and wrists leading as in preceding .exercise, carry hands to hip-level, left, then again to right; continue repeating the exercise, each time at greater altitude, until hands move on level with head. In executing this movement note that the wrists are in opposing positions. 7. With arm and hand in flowing motion trace in space the figure eight thus: 8, and thus 69, through three or more continuous movements from front to lateral in various altitudes with each hand; with both hands. Out- line in similar manner ellipticals and circles, large and small. 8. Raise arm to vertical and describe through space a descending spiral. Be careful that elbow descends with each towering movement of arm, keeping arm near body; when hand reaches shoulder level extend arm to lateral and then down to side. 9. With right arm describe a full circle from left to right, then continue the spiral upward, narrowing it each time a circle is made, when finally all motion may cease; the hand and index finger for a moment remaining rigid, then let arm float outward and downward to side. Do same with left. Follow the same order of exercise to horizontal front, then to horizontal lateral. VISIBLE EXPRESSION OR GESTURE 229 10. Raise arm to horizontal front, and with three undu- lating motions carry it to lateral. If done properly the hand will seem to float “as a feather is drifted down- ward.” From this similarity the exercise is sometimes designated the Feather Movement. Repeat at will with one hand, with both hands, and in varying altitudes. Similarly to the preceding trace varying forms of water waves. 11. Carry pendant hand to horizontal front, then as hand is energizing draw upper arm partially backward ; again extend hand forward with finger-tips upward, palms facing front, at same time turn hand through half circle until finger-tips point downward, palm facing front, fold hand inward and relaxed toward wrist, carry elbow downward, folding forearm inward until finger-tips are near shoulder, raise elbow and allow hand to move in front of shoulder downward to side, then raise arm again as before, and repeat the exercise at will. Practice in various altitudes, and in various directions from front to lateral. This exercise, from the graceful motion of one part of the arm with that of another, is sometimes called the Serpentine Movement. 12. Bring extended arm and energized hand, with palm supine, to horizontal front, then lower elbow and bring hand inward until wrist almost touches shoulder, relax hand and fold it inward, at same time raising elbow, then energizing hand in front of shoulder, carry it with decided motion oblique-back to right, at shoulder level, palm downward, index finger strong, then let arm float downward to side. -Repeat in different alti- tudes. 13. A very beautiful and graceful exercise is that of carrying imaginary gossamer threads through space and delicately attaching them with one or both hands to fancied objects in various altitudes and directions from 230. ADVANCED ELOCUTION the body, stepping, bending, and tiptoeing to accomplish the object. Norz.—Combinations may be made from parts or all of the pre- ceding exercises. They are valuable not only for the control of nerve forceand muscle, but also as affording opportunity for the free play of the imagination. For Head and, Neck The head and neck exercises, though necessarily few, are none the less valuable. They strengthen and develop the chest muscles, they correct the stoop in shoulders so prevalent among students and those of sedentary habits, and conduce to graceful contour of neck and noble carriage of head. 1. From its normal position—that is easily erect, in- clined neither to right nor left,.nor up nor down—carry head slowly and evenly forward to chest and back again to position. Do same backward, same to right, same to left. 2. Lower head about one-third of distance to chest, and in this position carry it toward right shoulder, then turn face upward, bringing back of head toward left shoulder, then bow head-downward to former depression at right shoulder, again front, and back to position. Do same to left. Repeat the exercise with head two-thirds of distance to chest. Repeat the exercise with head carried down- ward upon chest. 3. Carry head forward and downward to chest, rotate to right shoulder, again turn face upward with back of head on left shoulder, slowly rotate head until it rests upon right shoulder, then carry face downward to left shoulder, and rotate head to front, and lift to position. Do same reverse order. VISIBLE EXPRESSION OR GESTURE 231 Opposition Eaercises For Head and Hands 1. With arms down bring right hand inward upon chest, same time bowing head. Slowly. return both to position. Do same with left hand and head, same with both hands and head. 2. Bring right hand to chest, then turn head to left, at same time carrying right hand aversely to horizon- tal right lateral; return hand to chest and head to position. Turn head to right and right hand aversely to left. Do same reversely. Do same with head to left and both hands aversely to right, and repeat in re- verse order. 8. With right hand pendant, carry arm forward and upward at full extension overhead, at same time bowing head, then energize hand, palm facing front, index finger strong. Reverse the order by carrying hand downward and face turned upward. Then do same with head and left hand. 4, 1st—-Bring right hand pendant via front overhead, at same time head to chest, then energize hand, palm facing front. 2d—Reverse position of hand and head. 3d.—Carry head to normal position and bring right hand upward and pendant to horizontal lateral. 4th—Return head and right hand to chest. 5th.—Oppose each by carrying hand averse to right and head bowed to left. 6th.—Let right hand float downward to side and simul- taneously bring left hand, palm supine, and arm extended lateral, upward and inward until palm of hand rests upon back of head. 7th.—Raise left hand upward and out- ward, permitting it to float downward to side, at same time turn face upward until back of head rests midway ’ between spine and right shoulder. 8th—Carry hands 232 ADVANCED ELOCUTION pendant upward to horizontal lateral, at_ same time rotat- ing head to right until the back of head rests on spine. 9th.—Rotate arms until palms of hands are supine. 10th.—Bring head and hands to chest. 11th——Head back again on spine, at same time elbows rising upward. 12th.—Unfold arms, extending them upward, oblique- front, hands supine. 13th—Arms to lateral and float- ing downward to hip-level and head to normal posi- tion. 14th.—Circle arms inward to oblique-front, then to lateral, palms facing front, and lastly, let them float downward to side. Do same reversely. Practice this exercise until its various parts are as one connected whole. For Trunk 1. With arms down, depress head to chest, then lower trunk at shoulders and finally in hips, draw: ing head and trunk as close to lower limbs as contour of body will permit. Assume normal position. Bend similarly to right, left foot rising at heel. Same to left. 2. With hands well back on hips, feet separated twelve inches at heels, knees relaxed, head resting on spine slowly bend trunk backward to any point easily attained. Do not overdo. 8. With arms down and right foot advanced once its length toward oblique-front right, bend trunk downward on line with right knee. Do same reversely. 4, With hands again on hips and right foot, once its length, oblique-back right, bend trunk backward on line with right heel. Do same reversely. For Lower Limbs 1. With heels closed and toes at usual angle, carry line of gravity forward to toes and backward to heels, taking ‘ : VISIBLE EXPRESSION OR GESTURE 233 care not to bend or tip the body. Repeat a number of times, 2. Separate heels about ten inches, carry line of gravity to right side of ball of right foot, then to left side of ball of left foot. Again to right, then forward to toes and to left and back to heels. . Repeat several times. 3. With heels closed, rise slowly upon balls of feet. Hold position while counting ten, fifteen, twenty, or more. 4, Rise as before, then slowly bend knees, permitting body to come to sitting posture on heels. Hold position as in preceding. 5. Separate heels as in Exercise 2, with line of gravity in right foot slowly pivot on balls of feet to left. Then with line of gravity in left foot pivot to right. Repeat several times. 6. Do same with one foot once its length, in advance of the other, pivoting to rear. 7. Place right foot once its length, oblique-front right and with line of gravity centered in ball of foot; left foot on toe, heel falling inward toward heel of right. Standing thus, count ten, twenty, or more. Do same reversely. "8. Place right foot once its length oblique-back, right, line of gravity and heel as indicated in Exercise 7. Count as before. Do same reversely. 9. Advance right foot once its length forward, line of gravity as in Exercise 7. Left foot on toe, with hollow of foot toward heel of right. Count as before. Do same reversely. 10. Carry right foot once its length backward, with line of gravity centered in ball of right foot, toes pointing to right, hollow of foot toward heel of left. Count as before, and do same reversely. 234 ADVANCED ELOCUTION For Entire Body Exercise 1.—Place left foot once its length back of right foot, then place hands one upon the other on chest, at same time bowing head ; next carry head backward upon spine, then carry right hand forward and upward to ver- ' tical with palm facing front, at'same time bring head to normal position, and sway line of gravity forward into right limb, then bring right arm forward and downward to middle realm, then both arms outward and down- ward to side, at same time carrying line of gravity into left limb. 2. Imperceptibly advance right foot once its length to oblique-front, right, then bring head and hands to chest, then carry hands aversely, midway between shoulder level and per- pendicular to right lateral, at same time turning head over left shoulder to oblique- left backward, bending strongly in left hip and knee. Recover position and do same reversely. l 3. Place right 7. foot once its length forward, knee firm and supporting body, then carry hands inward, and then the right one forward to middle realm front, with palm averse, and left to lower realm lateral, palm prone, head at same time turned to right, looking over right shoulder. Recover position and do same in reverse order. VISIBLE EXPRESSION OR GESTURE 235 4. Advance one foot once its length front, then carry head and hands to chest and kneel, from this position extend arms upward to oblique-front, palms supine, then clasp hands, bow- ing head upon knuckles ; lastly, carry head to position and rise with hands floating outward and downward to side. 5. Place right foot twice its length to lateral, toes pointing directly to right, turn face upward, at same time carry arms with hands pendant to shoulder level, then describing a circle, carry them horizontally forward, palms facing, head and body strongly in same direction, right knee bent. Then pivot round to left, bringing right arm with head pendant overhead and left hand prone to left downward, face turned upward, body support in right limb. Do same reversely. Notr.—Many beautiful combinations in posing may be made from the exercises which have been presented. These will be valu- able not only to the pupil, but pleasing for entertainment. For posing in regard to sentiment, see Delsartean Pantomimes, by the author of this volume. PRINCIPLES FOR BASIC POSITIONS “ Let your attitude, as well as gesture and face, foretell what you would make felt.’’—DELSARTE. Mechanical positions and movements of different mem- bers of the body, having received proper attention by means of the preceding gymnastic exercises; the pupil is 236 ADVANCED ELOCUTION - prepared to enter upon the study of visible expression, or gesture. This can be best accomplished by considering certain principles founded upon psychic indications, using at the same time the exercises, which illustrate them. The first in order pertain to attitudes from the base. Norr.—In basic positions, with few exceptions, one limb be- comes the sustaining agent and the other the balancing agent, and all changes from one foot to the other, exclusive of certain kinds of haracterization, should be marked with the utmost simplicity. Again, all forward positions in any direction from a centered point—whether it be directly front,obliquely front,or lateral—that is, if the sustaining foot moves forward in any one of these direcs ’ tions, the action is a Progressive or Eccentric one, and conversely if the sustaining member moves backward, either directly back- ward or obliquely backward, the action becomes a Retrogressive or Concentric one. In practicing the exercises intended to illus- trate these or any other principles, always endeavor not only\to ascertain, but also to feel, the sentiment embodied in them. PRINCIPLE I Standing on narrow base, with weight upon foot, directly under the body, the other slightly advanced, toes outward at the usual angle, knee of forward limb slightly relaxed, torso easily erect, the indication is that of dignity, calm- ness, passivity, or repose. Exercises 1. “The city and republic of Carthage were destroyed by the termination of the third Punic war, about one hun- dred and fifty years before Christ.”—From “ Destruction of Carthage ”—Anonymous. 2. “Calm and deep peace in this wide air, These leaves that redden to the fall; . And in my heart if calm at all, If any calm, a calm despair.” From “ In Memoriam ”— Tennyson. VISIBLE EXPRESSION OR GESTURE 237 3. “ Now came still evening on, and twilight gray, Had in her sober livery all things clad ; Silence accompanied, for beast and bird, They to their grassy couch, these to their nests Were slunk—all but the wakeful nightingale; She all night long her amorous descant sung.” From “ Paradise Lost »—Milton. PrincrpLe II With similar bearing of torso, and foot placed as in Prin- ciple I, but with weight upon forward foot, and backward one slightly lifted at heel, and knee a little relaxed, the in- dication is that of quiet interest, attention, or intention. Exercises 1. “ Near yonder copse, where once the garden smiled, And still where many a garden flower grows wild, There, where a few torn shrubs the place disclose, The village preacher’s modest mansion rose. A man he was to all the country dear, And passing rich—with ferty pounds a year!” From “ The Deserted Village ””—Goldsmith. 2. “Paul had never risen from his little bed. He lay there, listening to the noises in the street, quite tranquilly ; not caring much how the time went, but watching it, and watching everything. When the sunbeams struck into his room through the rustling blinds, and quivered on the opposite wall like golden water, he knew that evening was coming on, and that the sky was red and beautiful. As the reflection died away, and a gloom went creeping up the wall, he watched it deepen, deepen, deepen into night.”—From “ Dombey and Son ”—Dickens. 3. “The way was long, the wind was cold, The Minstrel was infirm and old; His withered cheek and tresses gray Seemed to have known a better day ; 238 ADVANCED ELOCUTION The harp, his sole remaining joy, Was carried by an orphan boy ; The last of all the bards was he, Who sung of Border chivalry.” From “Lay of the Last Minstrel ”—Scott. PrincIpLE III With basic position same as in Principle I, but feet more separated in the lengths, and with line of gravity in heel of backward foot, with torso somewhat relaxed in shoulders, the indication is that of meditation, abstraction, or concentrated thought. Exercises 1. “If it were done, when ’tis done, then ’t were well It were done quickly: if the assassination Could trammel up the consequence, and catch With his surcease success; that but this blow Might be the be-all and the end-all here, But here upon this bank and shoal of time, We'd jump the life to come.” From“ Macbeth’s Soliloquy ”—Shakespeare. 2. “It must be so! Plato, thou reason’st well: Else, whence this pleasing hope, this fond desire, This longing after immortality ; Or, whence this secret dread, and inward horror, Of falling into nought?” From “Cato’s Soliloquy ”—Addison. 3. “ Farewell, a long farewell, to all my greatness ! This is the state of man; to-day he puts forth The tender leaves of hopes; to-morrow blossoms, And bears his blushing honors thick upon him; The third day comes a frost, a killing frost, And, when he thinks, good easy man, full surely His greatness is a-ripening,— nips his root, And then he falls as I do.” From “ Wolsey’s Soliloquy ”—Shakespeore, VISIBLE EXPRESSION OR GESTURE 239 PrincipLe 1V With basic position same as in Principle II, but feet more separated in the lengths, unsupporting foot on toe, its heel turned inward toward heel of sustaining foot, thus giving greater length to the limb, chest strongly raised, the indication is that of active interest, desire, earnestness, eagerness, courage, boldness, enthusiasm, or vehemence. Exercises 1. “The war is inevitable; and let it come! I repeat it, sir, let it come! It is in vain, sir, to extenuate the matter. Gentlemen may cry ‘Peace! Peace!’ but there is no peace! The war is actually begun! The next gale that sweeps from the north will bring to our ears the clash of resounding arms !’— From “On British Government in America ”—Patrick Henry. 2. “ Hurrah for Merrie England now! Hurrah for France, the grand ! As we charge the foe together, all abreast, and hand to hand. Hurrah, the mighty host doth melt before our fervent heat; And against our side the ebbing flood does faint and fainter beat.” From “The Battle of Inkerman ”—Massey. 8. “The blood of our fathers calls to us from the soil which we tread; it beats in our veins; it cries to us not merely in the thrilling words of one of the first victims in this cause-——‘ My sons, scorn to be slaves !’"—but:it cries with a-still more moving elogquence— My sons, forget not your Fathers !’”—On “National Character ”—Everett. PRINCIPLE V With feet considerably separated, backward limb sup- porting, knees relaxed, and torso retracted, with shoulders 240 ADVANCED ELOCUTION drawn forward and chest correspondingly inward, the in- dication. is that of fear, dread, anguish, or terror. Exercises 1. “Angels and ministers of grace defend us !”—From “Hamlet ’—Shakespeare. 2. “Whence is that knocking ?”—* Macbeth ”—Shake- speare. 38. “No more! No more! I don’t wish to see it. Show me no more!”—From “Christmas Carol” —Dickens. Principle VI With feet considerably separated, weight on backward imb, but both limbs'rigid, torso raised and tense, the in- dication is that of independence, resistance, defiance, scorn, contempt, or derision. Exercises - 1. “I’ve scared ye in the city; I’ve scalped ye on the lain ; Go, Saaik your chosen where they fell beneath my leaden rain | I scorn your proffered treaty! the paleface I defy! Revenge is stamped upon my spear, and ‘blood’ my battle-cry !” From “The Seminole’s Defiance” —G. W. Patten. 2. “ But here I stand and scoff you; Here I fling hatred and full defiance in your face! Your Consul’s merciful—for this all thanks. He dares not touch a hair of Catiline !” From “The Tragedy of Catiline»—Croly. 3. “ You say you are a better soldier: Let it appear so; make your vaunting true, And it shall please me well. For mine own part, T shall be glad to learn of noble men.” From “Julius Cesar ”—Shakespeare. VISIBLE EXPRESSION OR GESTURE 241 PrincipLe VII With heels closed, toes outward at the usual angle, both limbs supporting torso easily erect, the indication is that of respect, obedience, or deference. Exercises 1. “General, I await your orders.”—Anon. 2. “Gentlemen, my master Antonio is at his house and desires to speak with you both.".—From “Merchant of Venice” —Shakespeare. 3.“ Most potent, grave, and reverend signiors, My very noble and approv’d good masters— That I have ta’en away this old man’s daughter, It is most true; true, I have married her: The very head and front of my offending Hath this extent, no more.” From “Othello’s Apology ”»—Shakespeare. Principe VIII With feet somewhat separated, and nearly parallel, both limbs supporting, the indication is that of weakness, in- fancy, decrepitude, or old age. Exercises 1. “I’m Feddie an’ I’m most free years ole, an’ I can walk nearly as good as gan’pa.” ; 2. “Pardon me, gentlemen, but I have come here in great feebleness of body to plead my case before you.” 3. “ Pity the sorrows of a poor old man, Whose trembling limbs have borne him to your door.” ‘PrincrpLe IX With feet close together, and parallel, knees relaxed, chest and elbows inward, the indication is that of timidity or want of self-assertion. 16 242 ADVANCED ELOCUTION Exercises 1. “Good gracious me! What a complication of misery ! How—de—do? I—I—I’m afraid you must have got very wet.”—Toots in “Dombey and Son ”—Dickens. 2. “I am, sir, sensible—I am, indeed,—that, though— I should—want—words—I must proceed; and, for the first time in my life, I think—I think—that—no great orator should shrink ;—and, therefore, Mr. Speaker, I for one—will speak out freely. Sir,—I’ve not yet done. Sir, in the name of those enlightened men who sent me here to—speak for them—why then, to do my duty—as I said before—to my constituency—I’ll say no more.”— From “An Orator’s First, Speech in Parliament ”—Alexander Bell. PRINCIPLE X With feet somewhat separated, toes pointing forward or turned slightly inward, and torso distorted, the indication is that of boorishness or rusticity. Exercises 1. “Wall, I'll let yee hev the hoss an’ kerridge fer twenty-five cents an hour, an’ thet’s about as cheap as you'll git it any whor in these diggins.” * 2. “Truly shepherd in respect of itself it is a good life; but in respect that it is a shepherd’s life, it is naught. In respect that it is solitary, I like it very well; but in re- spect that it is private, it is a very vile life."°—The Clown, from “As You Like It ”—Shakespeare. PRINCIPLE XI With base broad, heels parallel, both limbs supporting, torso well drawn upward, the indication is that of famil- iarity, bravado, or astonishment. VISIBLE EXPRESSION OR GESTURE 243 Exercises 1. “Eleven men in buckram set upon me from the front ; Three knaves in Kendal green came at my back, and let drive at me. I paid them well.” Falstaff, from “ Henry I V”—Shakespeare. 2. “ By your leave, Miss Snooks, I’ll say what I please Of my houses, my lands, my gardens, and my trees.” PrincipLe XII With short, cat-like movement, on balls of feet, torso inclined forward and slightly bent at hips, the indication is that of caution, secrecy, or scrutiny. Exercises 1. “Hush! let us approach with the greatest caution.” 2. “Stop laffin, Solomon Burke; keep still.” 3. “Move cautiously and slowly, lest we rouse the sleepers.” PrRINcIPLE XIII With frequent changes of balance from one foot to the other, the indication is that of anxiety, nervousness, or embarrassment. Exercises Childish Embarrassment 1. “ You’d scarce expect one of my age To speak in public, on the stage; But if I chance to fall below Demosthenes or Cicero, Don’t view me with a critic’s eye, But pass my imperfections by.” Norr.—Other basic positions may and do occur, especially such as evolve themselves from some peculiar habit or gait. It is well to observe these eccentricities in others, as they often prove avail- able in characterization. 944 ADVANCED ELOCUTION PRINCIPLES FOR HEAD ATTITUDES “Give the sign, and you suggest the mood, for every mood has its maturar sign.”’-—MoskEs TRUE BROWN. The correct carriage of the head has been described in the gymnastic exercises. There remains now to show its position or inclination under some of the dominating States of the Being, and here, as in the basic positions, according to the state or condi- tion, so is the manifestation. Do not conclude that the following principles sum up the head positions. They do not; they are merely aids to the pupil in obtaining command of himself in expression. The numberless and beautiful complexities in this, as in all manifestation, can- ot be detailed. ( It will be observed that when the forehead acts, as it were, as a leader, the condition is conspicuously a mental one; when the lower part of the head or jaw acts as leader, the condition is conspicuously a vital one, and when the head is poised or normal the condition is conspicuously a moral one. ] PRINCIPLE I Head level between shoulders, inclined neither to right nor left, nor up nor down ; the indication is that of calm- ness, dignity, or repose. Exercises 1. “O, pleasant breast of waters, quiet bay, Like to a quiet mind in the loud world.” From “The Lover’s Tale” — Tennyson. 2. “ From the cool cisterns of the night my Spirit drinks repose.” VISIBLE EXPRESSION OR GESTURE 245 PRINCIPLE II Head inclined toward object addressed or contemplated ; the indication is that of interest, sympathy, confidence, admiration, or love. Exercises 1. “ Have I not been nigh a mother To thy sweetness—tell me, dear? Have we not loved one another Tenderly from year to year, Since our dying mother mild Said, with accents undefiled, Child, be mother to this child !” From “Bertha in the Lane” —Mrs. Browning. 2. “Will you trust me, Katie, dear ? Walk beside me without fear? May I carry, if I will, All your burdens up the hill?” From “Katie Lee” —Anonymous. PrincreLe JIT Head carried away from object addressed or contem- plated ; the indication is that of disdain, contempt, haughti- ness, suspicion, or scorn. Evcercises 1. “You sought to prove how I could love, And my disdain is my reply. The lion on your old stone gates Is not more cold to you than I.” From “Lady Clara Vere de Vere” —Tennyson. 2. “But you—wretch! you could creep through the world unaffected by its various disgraces, its ineffable mis- eries, its constantly accumulating masses of crime and sor- row—you could live and enjoy yourself, while the noble- noinded are betrayed !”—From “Death of Morris” —Scott. 246 ADVANCED ELOCUTION PRINCIPLE IV With‘head forward and chin upward; the indication is that of hope, desire, petition, or worship. Exercises’ 1. “Give your children food, O Father! Give us food, or we must perish ! Give me food for Minnehaha, For my dying Minnehaha !” From “Hiawatha ””—Longfellow. 2. “ Mother, mother, up in heaven, Stand up on the jasper sea, And be witness I have given All the gifts required of me— Hope that bless’d me, bliss that crown’d, Love that left me with a wound— Life itself that turneth round !” From “ Bertha in the Lane”—Mrs. Browning. PRINCIPLE V Head down, chin in; the indication is that of resigna- tion, humility, reverence, meditation, modesty, abasement, or shame. Exercises 1. “Go, get thee from me, Cromwell ; I am a poor, fallen man, unworthy now To be thy lord and master!” From “Henry VIII” —Shakespeare. 2. “ My sins as scarlet are ;’ let me go hence, And in some cloister’s school of penitence, Across those stones, that pave the way to heaven, Walk barefoot, till my guilty soul be shriven!” From “King Robert of Sicily ”»—Longfellow. VISIBLE EXPRESSION OR GESTURE ‘247 Princrete VI Head held erect; the indication is that of joy, exulta- tion, courage, or triumph. Exercises 1. “Hurrah! hurrah! a single field hath turned the chance of war, Hurrah! hurrah! for Ivry, and King Henry of Navarre !” From “ The Battle of Ivry”” —Macaulay. 2. “It is my living sentiment, and by the blessing of God, it shall be my dying sentiment.’ Independence now, and independence forever !—From “ Supposed Speech of John Adams ”— Webster. PrincrpLe VII Head same as preceding, but carried a little further backward; pride, anger, or defiance. Exercises 1. “And if thou said’st I am not peer To any lord in Scotland here, Lowland or Highland, far or near, Lord Angus, thou hast lied.” From “Marmion” —Scott. 2. “ My lords, I care not, if my actions Were tried by every tongue, every eye saw them, Envy and base suspicion set against them, J know my life so even.” From “Queen Katharine, Henry VIII”—Shakespeare. PrincipLe VIII The nod of the head forward is indicative of approval, affirmation, approbation, emphatic declaration. 248 ADVANCED ELOCUTION Exercises 1. “Yes, you have my full, free, and hearty approval.” 2. “This needs, must and shall be done.” 3. “ Ay, my liege, so please you give no leave.” PRINCIPLE IX The shake of the head, or “rotation,” is indicative of doubt, denial, negation, exasperation, regret. Exercises 1. “No, believe me, I saw none.” 2. “ Blow, winds, and crack your cheeks! rage! blow!” 3. “O Absalom, my son, my son!” PRINCIPLE X _ Head inclined toward either shoulder, is indicative of weariness, languor, or doubt. Exercises 1. “O, I am aweary, and I would that life were ended.” 2. “I am amaz’d, methinks, and lose my way Among the thorns and dangers of this world.” From “ King John” —Shakespeare. PRINCIPLE XI Head somewhat drooped, is indicative of sorrow, depression, or discouragement. Exercises 1. “Gone—my lord! Gone thro’ my sin to slay and to be slain! And he forgave me, and I could not speak. Farewell? I should have answer’d his farewell, His mercy choked me.” From “Guinevere” — Tennyson. VISIBLE EXPRESSION OR GESTURE 249 2. “ Farewell, O my Laughing Water! All my heart is buried with you, All my thoughts go onward, with you! Come not back again to labor, Come not back again to suffer, Where the famine and the fever Wear the heart and waste the body.” From “ Hiawatha ”—Longfellow. PrincreLte XII Head thrust forward ; the indication is that of scrutiny or curiosity. Exercises 1. “ He’s up in the shed! He’s opened the winder,—I see his head; He stretches it out, An’ pokes it about, Lookin’ to see ’f the coast is clear, An’ nobody near ;— Guess he do’ no’ who’s hid in here!” From “ Darius Green” —Trowbridge. 2. “Something to landward, sure I view; Far ahead, I can just behold Silken sails, with a border of gold.” From “Sailing of King Olaf”—Brotherton. THE ARMS ** Man is not only in the centre of the universe, but he possesses a human centre within himself, toward which, from which, or with which his manifestations necessarily move.”—FULLERTON. - While gesturing may be defined, in a general way, as ex- pression through the various members of the body, in its more restricted sense, it means that which is done through the motions of the arm and positions of the hand. The arm centres of motion are the shoulder, elbow, and wrist, and from these centres the arm radiates from the body in 250 ADVANCED ELOCUTION various directions; or from an outward direction or posi- tion it is brought inward and upon the body, thus be- coming reflexive, both in action and meaning. According to natural law, every human being, in rela- tion to the universe, stands, as it were, upon the earth’s centre, and all his motions and positions are necessarily in accordance with this law. Therefore all our concep- tions of the real or the ideal, both literal and figura- tive, must necessarily be from this standpoint. Hence, if above us, the movements of. the arms and hands in gesticulation will be upward, if below us the movements will be downward; or horizontal, if on the same plane with us, using one, two, or three sets of arm levers as may best convey the meaning. For convenience these three planes or realms may be represented as follows: that which is above, as the “ Realm of the Superior ;” that which is below, as the “ Realm of the Inferior,” and that which surrounds, as the “ Realm of Equality.” The following Principles then may be for- mulated in regard to arm directions. PRINCIPLE I The Mental side of the Being largely dominates the Realm of Equality; hence ordinary statement of facts, general, geographic, and historic references, and address to the human or the superhuman, either existing or sup-. posed to exist on our planet, are usually indicated or ren- dered impressive by gestures somewhere in this Realm. Princrpte II The Moral side of the Being largely dominates the Realm of the Superior; hence reference or address to sub- stance, real or imagined, conceived to exist above us; that which ennobles, refines, glorifies, deifies, and ideas VISIBLE EXPRESSION OR GESTURE 251 prompted by an approving conscience are usually indi- cated or made impressive by gestures somewhere in this Realm. Principe III The Vital side of the Being largely dominates the Realm of the Inferior; hence reference or address to substance, real or imagined, conceived to exist below us, as that which destroys, degrades, debases, brutalizes—shows de- cision and determination, and ideas prompted by a disap- proving conscience, are usually indicated or made impres- sive by gestures somewhere in this Realm. These Principles are not absolute; the manifestations through complexities may cause the arm to invade either of the other realms than the one to which the Principle ascribes it; nevertheless, in the primary conditions, the Principle will hold true. , As the arms move upward or downward, in the expres- sion of thought or feeling, they move correspondingly out= ward or inward in any of the realms. The gesture in any realm anywhere along the line of the front of the person gesticulating, is indicative of especial nearness, directness, address, appeal, and unity; away from the front, toward the oblique, it is indicative of indirectness, generalization, and plurality ; toward the lateral it indicates separation, withdrawai, plenitude, completeness, vastness, and univer- sality. Nore.—These gestures do not refer to those which bring the hand inward upon the body, and are termed reflexive. In all that pertains to natural and effective: delivery: when the hands are carried upward or downward, outward. or inward, to any given point, the arms will move, either in a direct line, or will be deflected from a direct line, moving through parts of an arc or circle, according to the character of the thought or feeling expressed. Both the 252 ADVANCED ELOCUTION direct and deflected movements are in harmony with the vocal movement, which is also direct, or in waves or in- flections. Again both voice and action harmonize in this respect. Ifthe sentiments be unimportant or trivial the syllabic utterance and the arm movement will be corre- spondingly limited or shortened, using in the arm move- ment only wrist, or wrist and elbow centres. On the con- trary, if the Being is dominating some noble theme, or intense passion, the syllabic utterance will be through wide ranges of intonation, direct or inflected, and the arm move correspondingly, either in a direct or deflected way, through wide ranges of space. Gesture in relation to State of the Being may be divided into descriptive, imitative, emphatic, and passional. Descriptive gestures are used in locating, pointing out, or describing objects, either literally or figuratively. Such gestures have value,’but too often the reader or reciter makes so constant and free use of them as to lose sight of the more important parts of his theme. Imitative Gestures, if controlled by good judgment, impart a graphic power to recital or delivery, but when used by the “ unskillful they do make the judicious grieve.” Fre- quently imitation or mimicry is introduced in recitals im- properly and falsely. In doing so the law of suggestion is violated and the too literal representation falls like a slow nightmare upon an audience. Such pernicious rep- resentations cannot be too strongly condemned. Literal representation may be used in a literal characterization, or in an acted part, though not even then if it is likely to shock the sensibilities of the hearers. It may also be allowed where the language has led up to a climax, requiring a delineation commensurate with the vocal expression. Except in these cases imitative gestures should not be attempted. VISIBLE EXPRESSION OR GESTURE 253 Emphatic Gestures are used to assist the voice in enforcing or emphasizing thought or feeling, and contribute largely to the effectiveness of the orator or speaker who is discrim- inating in their use. Passional Gestures are pre-eminently the representation of strong emotion, and mark the highest phases of dra- matic and oratoric art. A gesture is made up of three parts, the preparation, the ictus or stroke, and the return; or if not the return, the passing of the hand by transition from one form of gesture to another. The stroke should be simultaneous with the vocal impulse given to the more important parts of the language, the stroke of the gesture being to the eye what emphasis and inflections of the voice are to the ear. Al- though a gesture is made up of three parts, the greatest simplicity should be observed in passing from one part to another, so that the thought or feeling is made pre-eminent and not the action. It is better to allow the voice alone to express the sentiment than to have the attention distracted by the manner. A display of ornate or meaningless ges- ticulation often weakens the thought. Transition in gesture is a movement in which the hand is carried from one form of gesture to another without first returning to a rest point. Its place is to assist the voice when there is continuity of thought. Especially is its value seen in the rhetorical climax, for a climax in thought and feeling should have a corresponding climax in voice and action. 254 ADVANCED ELOCUTION HAND INDICATIONS “The hand may properly be called the second tongue, because Nature has adapted it, by the most wonderful contrivance, for illustrating the art of per. suasion.’’—ARTEMIDORUS. In the ages past, when the mechanism of the human frame was little understood; the power and capability of the hand was recognized as an agent of expression. Ancient orators said of it: “It speaks for itself; it is a uni- versal language; without it is no eloquence.” We of to- day, in the light of a higher civilization, should not under- estimate this means of communication with which man has been so graciously endowed. The hand as a part of the arm, is carried by the latter to certain objective or subjective points, wherein by posi- tion or significant movement, it conveys a meaning. As with all the media of expression, there must be secured first, mastery of muscle through control of nerve force, and second, appropriateness in manifestation, before the highest results in delivery can be attained, or the multi- tudinous variety of hand indications be left, with any degree of confidence, to the individuality of the speaker or reciter. The hand, like other parts of the body, indexes the three States of the Being, and makes use of the same modes of motion, the eccentric, concentric, or nor- mal, or their various blendings; for whatever state or condition dominates the centre, must perforce liberate itself in the same way through all the avenues of the body, even to the finger-tips. It not infrequently happens that an untrained speaker possesses only a meagre variety of hand gesticulation; but as the rhetorician makes use of an extended and choice vocabulary, to give the finest and most impressive utterance of his thoughts, so the speaker, to attain the greatest success in delivery, should have all varieties of symbolization at his command. VISIBLE EXPRESSION OR GESTURE 255 In gesturing there is no choice as to which hand shall be used. The action of the left arm is as necessary as that of the right, except in certain conventional forms, as ex- tending the hand to another in welcome, or in solemn adjuration, etc. Both hands, in simultaneous action, indi- cate a greater degree of intensity than is shown by one alone. The palm is the most expressive part of the hand; from it the outer parts receive their action, and in the free opening and closing of the hand is found a primary con- dition of visible eloquence, for the palm, well presented to the hearer, is capable of great power of expression. Notz.—Only a few of the hand indications are given here, such as are most frequently used and are plainly expressive of the sentiment. These, if properly practiced, will lead to ease and finish in other forms of hand gesticulation. In these exercises as well as in all instruction regarding de- livery, the pupil is placed at a disadvantage, unless he has the living instructor. The Hand Supine (palm away from earth) is exceed- ingly broad in its signification. It is the giving and deciding hand—it is free, open, genial; therefore it may be said that it , affirms, invites, declares, invokes, petitions, ‘ accepts, defines, concedes, reveals, entreats, acknowledges, permits, dismisses, intensifies, and persuades. Nore.—Here introduce silent practice exercises (that is, exercises without words) of hand supine, in the various arm realms, with both direct and deflected arm movements, in different altitudes and different directions from the front, in the three planes pre- viously explained. Then follow with word exercises. * Exercises 1. “Hath Britain all the sun that shines? day, night, Are they not but in Britain ?” 2. “The war is inevitable.” 256 ADVANCED ELOCUTION 3. “ From eastern rock to sunset wave, The Continent is ours.” 4, “ King Agrippa, believest thou the prophets ?” 5. “ Come forth, O ye children of gladness, come !” 6. “ Be ready, gods, with all your thunderbolis, Dash him to pieces !” 7. “Dreams are but the children of an idle brain.” . “O Living Will, that shalt endure . . . When all that is shall suffer shock, Rise in the spiritual rock, Flow through our deeds and make them pure.” co The Hand Prone (palm toward earth) is the controlling hand—it is protective, restrictive, secre- tive, mystical ; hence its indications are that of guardianship, benediction, de- pendency, suppression, cessation, pro- hibition, imprecation, hopelessness, concealment, and awe. Notsz.—Here use silent practice exercises, then follow with word exercises. Exercises 1. “Noon descends around me now; Tis the noon of autumn’s glow.” 2. “The winds, with wonder whist, Smoothly the waters kissed.” 3. “ Peace! Peace! you durst not so have tempted him.” 4, “The Prohibition of the rum traffic will prove a safe- guard to our people.” 5. “ Cease a little while, O wind! Stream, be thou silent.” 6. “ Down, soothless insulter, I trust not the tale!” VISIBLE EXPRESSION OR GESTURE 257 7. “The cloud of adversity threw a gloom over his pros- pects.” 8. “Thy threats I scorn; thy mercies I despise !” Hand vertical (palm outward, finger- tips upward,) is evasive, repellent, aver- sive; its indications are that of calamity, surprise, amazement, fear, terror, disdain, loathing, also that of separation, disper- sion, and disruption. Norr.—Introduce here silent practice exercises, followed by word exercises. Exercises 1. “Away! Ido condemn mine ears that have so long attended thee.” 2. “O horror, horror, horror! Tongue nor heart cannot conceive nor name thee!” 3. “Fly, fly, my lord!” 4. “O, ruined piece of nature!” 5. “Get you hence, for I must go Where it fits you not to know.” 6. “ Far from our hearts be such inhuman feelings.” 7. “Celestial light dispels the gloomy shades of night.” 8. “ Bursts the wild cry of terror and dismay !” The Index Finger may indicate scorn, contempt, accusation, de- p rision, warning, threatening ; it may be used in discriminating, and forcibly asserting, and in making conspicuous some one object among : a number or collection. 17 258 ADVANCED ELOCUTION Exercises . “Lochiel! Lochiel! beware of the day !” “ Now, infidel, I have thee on the hip.” “ Beware! Beware !” yee 09 IN: “See’st thou across the sullen wave, A blood-red banner, wildly streaming ?” 5. “Thou little valiant, great in villainy !” 6. “ Note this point, in particular.” 7. “By this sun that shines, I’ll thither!” Other equally strong and graphic meanings are ex- pressed through the agency of the fingers. Among them may be named various forms of enumeration and measurement— as the apparent testing or detecting of granulated sub- stances, between the thumb and forefinger, or a more deli- cate manipulation with the thumb and third finger, or with the thumb and little finger. A continuous line of thought or chain of reasoning is indicated by the linking of the index fingers or of the little fingers; while touching their tips only indicates a still closer and more delicate union. Similarity of meaning is . shown by all the finger-tips of one hand touching those of the other. Again, the closing of the fingers upon the palms, denotes condensation or retention ; or the fingers extended and spread widely apart, signify exasperation, when stiffly crooked, they evince retraction and rage. In regard to the hand itself, its wave or flourish is a sign of victory, exultation or jubilation ; clinched, it shows anger, deter- mination, and defiance; applied—that is, palms pressed together, near chest—humility, VISIBLE EXPRESSION OR GESTURE 259 self-abasement, and prayer; folded (palms together and fingers of one hand laid be- tween thumb and forefinger of the other), veneration, humility, and adoration; clasped 4 —that is, fingers of one hand inserted between those of the other—entreaty, supplication; wrung (first clasped and elevated, then de- pressed without disengaging the fingers), agony; rubbing of hands, palm to palm, eagerness, Joyousness, gloating. Again, the hand may be reflexive in its action—that is, placed upon some part of the body, it is expressive of either mental or emotional excitation—as for instance, hand on chest, shows an appeal to conscience, or to one’s higher and better self; or crossing of both hands on chest, shows veneration, trust; hand on heart is suggestive of sadness, affliction ; hand on forehead, or one or both hands on head, is indicative of weariness, confusion, pain. In addition to the above, various forms of imitative or mimicking gestures may be practiced with profit, such as the drawing or sheathing of an imaginary sword or dagger; putting on gloves, or adjusting other parts of dress, etc. Norr.—In practicing the various hand positions entertain some thought in harmony with that which each is said to express. THE COUNTENANCE “Survey the soul-beaming countenance ; the thoughtful brow, the penetrat- ing eye, the spirit-breathing lips, the deep intelligence of the assembled features. How they ali conspiring speak.’’—HERDER. Of all the symbols employed by man to show his inward or outward impressions, none is so pre-eminent as that of the face. It is the “ magic mirror” wherein the moods of thought and feeling are reflected, with unerring faithful- 260 ADVANCED ELOCUTION ness. There is to the eye, in a fine, expressive or speak- ing face, a harmony quite as enjoyable, as is musical harmony to the ear. A fine face is not necessarily a beautiful one, but one which shows a kind and honest heart. An expressive face is one in which a lively fancy receives impressions from without and within, and transmits their effects to the countenance. Lavater, who so attentively studied all the powers of the face, makes this distinction in regard to it which is worthy: the attention of readers and speakers. “Physiognomy is the knowledge of the signs of. the powers and inclinations of men,” hence it treats of the character at rest. “Pathognomy is the knowledge of the signs of the passions of men,” hence it treats of the character in excitation. Few, indeed, read character from the former standpoint, but every one reads the countenance pathog- nomically ; therefore how necessary an expressive counte- nance becomes to a speaker or reader. When he fails in this he presents either a frigid or barren aspect, accom- panied sometimes by twitching of the facial muscles, and although the voice may instruct, the speaker can never excite great interest, pleasure, or enthusiasm. Again, it not infrequently occurs, that the face appears distorted, or exaggerated, or is forced into a set smile; or it may be so masked under a covering of cosmetics that it cannot reveal a feeling if it would, and the whole effect reminds one of the old lady’s wig, described in one of Dickens’ novels, “Such a gloomy deception that it ceases to be one, and takes nobody in.” All unnatural grimaces, and all tricks of affectation and all artificiaiities should be stren- uously avoided. Good facial expression requires vivid imagination and promptness in response on the part of the facial muscles. In acquiring this, if the capability be wanting, as it fre- ~ VISIBLE EXPRESSION OR GESTURE 261 quently is, the first means to be employed is relaxing the facial muscles. Relaxing Exercises for the Face 1. Relax muscles of eyelids, slowly open eyes. 2. Relax frontal muscles, longitudinally and trans- versely. 8. Relax orbicular or cheek muscles. 4, Relax lip muscles. 5. Relax jaw muscles, allowing jaw to drop. Practice each a number of times. A gentle massage of the various parts of the face tends also to muscular repose and pliability. Notr.—The gymnastic exercises to which the facial muscles are sometimes subjected by over-zealous teachers, are no doubt harm- ful. Their tendency is to force the muscle into unnatural tension, causing the face to assume a grotesque and even horrible aspect. A practice so pernicious should be severely condemned. In this enumeration are not included directing the eyes, the gentle expansion of the nostrils, the opening of the mouth, as in a yawn, nor the distention of the cheeks with air. A second means for securing an expressive countenance is to allow some mood or fancy to dominate the mind, setting the features in accord, as though a veritable experi- ence were actually occurring at the moment,.the whole becoming a sort of pantomimic action. A third means is the practice exercises of short pas- sages of prose or verse, which embody various sentiments. By conceiving the thought or feeling contained in them as being actually experienced, the facial muscles will be brought into responsive action. The mental, moral, and vital States of the Being, in all their complexities and blendings, make themselves known 262 ADVANCED ELOCUTION by the countenance, through the same modes of motion, ag they do in all the other media of expression. Physiologists state that there are, in the head, fifty-five muscles which, with their multiplicity of nerves, control the face. These muscles are grouped principally about the eyes, nose, and mouth; forming thus three expressive centres. According to Delsarte, to the frontal region, or forehead, including the eyes, is ascribed the Mental State of the Being; to the nasal region, including the cheeks, the Moral; and to the maxillary region, or lower part of the face, the Vital. These divisions are not arbitrary, but each is more or less blended with the other two, all human ex- pression, as already stated, being more or less complex. THE EYE “The light of the body is the eye.”—Marr. vi, 22. Of the three centres of facial expression, undoubtedly the strongest is the eye. It is the first to indicate activity or inactivity of mind and heart. Probably for this reason, when estimating the character of another, especially one with whom we are to have dealings of im- portance, we endeavor to read the inner meaning through the eye, and the lack of candor, if it exist, is quickly de- tected in the averted or unsteady look. Pliny, fittingly says, that it is in the eyes we discover moderation, clemency, compassion, love, hate, sorrow, joy ; they burn, they strain, they shine, they twinkle; from them drops the tear of repentance, and when we kiss them we seem to touch the very soul. The eyebrows contribute to give form and expression to the eye, and completely control the forehead, contracting, raising, or lowering it. VISIBLE EXPRESSION OR GESTURE 263 THE MOUTH “The mouth is the vestibule of the soul.””—CRESOLLIUs. Next to the eye, the mouth is the most important part of the countenance, if visible expression alone is con- sidered. But, if to this is added expression by verbal utterance, it becomes the dominating power. A mouth indicating high character, is greatly to be de- sired, and unless there is physical deformity, it is not un- attainable. Being interlaced with nerve tissue, and withal, probably, the most mobile of any of the features, it is the most impressionable, and is made beautiful by what- ever is true, and noble, and good in the heart; or it is rendered coarse and brutal by whatever is bad. Every evil habit, it has been said, disfigures the mouth, and leaves its impress indelibly stamped thereon. The stain of intemperance discolors it, ill-nature wrinkles it, envy deforms it, and voluptuousness bloats it. On the contrary, it is sweetened by benevolence, conformed by wisdom, chiseled by taste, composed by discretion ; and these traces. once habitually fixed, remain in all their softness and charm, through every varying stage of life. THE NOSE “Sharp jets of anger puffed her fairy nostrils out.” The nose is of more importance as an agent of expres- sion, than a first thought would indicate. Situated between the eyes and mouth, it harmonizes with both in delineating passion or feeling, showing their accordant effects by the curl, dilation, or contraction of the nostrils. 264 ADVANCED ELOCUTION FACIAL EXPRESSION Certain phases of manifestation, appertaining to facial aspects, such as have a primary or clearly defined mean- ing, are here presented. They will prove interesting, not only as a study, but, in connection with pantomimic action and the practice exercises, will be helpful in securing muscular control and facial changes. LAUGHTER Laughter, as far as it relates to the mechanical process, is produced by the contraction of three sets of muscles, namely, the orbiculars, surrounding the eyes; the large circular muscle (orbicularis oris), forming the mouth, and cer- tain minor muscles, running to the upper lip. Their con- traction raises the eyebrows, eyelids, nostrils, and angles of the mouth—the latter being opened more or less widely, the corners drawn backward and the upper lip upward. Thus a shortened appearance is given to the nose, wrinkles are produced below the lower eyelids, or in older persons at the outer edges; the cheeks are puffed outward, causing the eyes to appear smaller, which, with the hilarious effect of laughing, renders them vivacious and sparkling. A smile is the first stage in the development of a laugh, and its varying phases may be classified under cheerfulness, affection, courtesy, gayety, happiness, joy, delight, rapture, and ecstasy and each of these has it varieties or modifica- tions. Exercises Cheerfulness “Now, my co-mates and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? VISIBLE EXPRESSION OR GESTURE 265 Here feel we not the penalty of Adam. The seasons’ difference—as the icy fang And churlish chiding of the winter’s wind, Which, when it bites and blows upon my body, Even till I shrink with cold, I smile and say This is no flattery—these are counsellors That feelingly persuade me what I am.” From “As You Like It”—Shakespeare, Gayety “With many a curve my banks I fret, By many a field and fallow, And many a fairy foreland set With willow-weed and mallow. “T chatter, chatter, as I flow To join the brimming river, For men may come and men may go, But I go on forever.” From “The Brook” —Tennyson. Mirth “ Well then, take my life, And nail me like a weasel on a grange For warning ; bury me beside the gate, And cut this epitaph above my bones: * Here lies a brother by a sister slain, All for the common good of womankind.’” : From “The Princess ”—Tennyson. Joy “T come! I come! ye have called me long— I come o’er the mountains with light and song! Ye may trace my step o’er the wakening earth, By the winds which tell of the violet’s birth, By the primrose-stars in the shadowy grass, i By the green leaves opening as I pass.” From “ Voice of Spring ”—Mrs. Hemans. 266 ADVANCED ELOCUTION Rapture—Spiritual “ The world recedes! it disappears ! Heaven opens on my eyes! my ears With sounds seraphic ring! Lend, lend your wings! I mount! I fly! O Grave! where is thy victory ? O Death! where is thy sting ?” From “ The Dying Christian to his Soul”—Pope. SORROW, GRIEF As joyous feelings cause an increased circulation of the blood, and tend to brighten the eye, so sad feelings tend to retard the circulation and diminish the lustre of the eye. These in turn produce their accordant effects upon the features, as well as through the whole body. In sor- row or depression the inner ends of the eyebrows are raised, and in the more extreme states of feeling there is contrac- tion’ of the frontal muscles, causing transverse wrinkles across the forehead. The corrugating muscles contracting simultaneously with the frontal, bring the eyebrows near together, producing a mark in the forehead not unlike a horse-shoe. The corners of the mouth, at the same time, are more or less depressed, causing the cheek muscles to relax, giving to the face an elongated and hollow appear- ance. Under sorrow may be included all the lights and shades:of feeling pertaining thereto, as seriousness, solem- nity, melancholy, regret, sadness, grief, despair, etc. Exercises Seriousness “Tn the room Of this grief-shadowed present there shall be A Present in whose reign no grief shall gnaw The heart, and never shall a tender tie VISIBLE EXPRESSION OR GESTURE 267 Be broken—in whose reign the eternal Change That waits on growth and action shall proceed With everlasting Concord hand in hand.” From “The Flood of Years” —Bryant. Solemnity “The golden ripple on the wall came back again, and nothing else stirred in the room. The old, old fashion! The fashion that came in with our first garments, and will last unchanged until our race has run its course, and the wide firmament is rolled up like a scroll. The old, old fashion—Death. O, thank God, all who see it, for that older fashion yet, of Immortality! And look upon us, angels of young children, with regards not quite estranged, when the swift river bears us to the ocean.” From “ Dombey and Son ”—Dickens. Sadness “Little Nell was dead. No sleep so beautiful and calm, so free from trace of pain, so fair to look upon. She seemed a creature fresh from the hand of God, and wait- ing for the breath of life; not one who had lived and suffered death.” From “Old Curiosity Shop ”—Dickens. Grief “ Grief fills the room up of my absent child, Lies in his bed, walks up and down with me; Puts on his pretty looks, repeats his words, Remembers me of all his gracious parts, Stuffs out his vacant garments with his form ; * * * * * * O, my boy, my Arthur, my fair son! My life, my joy, my food, my all the world! My widow-comfort, and my sorrow’s cure.” From “King John ”—Shakespeare. 268 ADVANCED ELOCUTION ANGER Anger is an intense form of feeling. By it the circulation of the blood is more or less disturbed, the face, sometimes, as in rage or fury, becoming alternately purple and livid, while the veins on the forehead and neck are distended. In this excited state the eyes burn or glare, the corru- gating muscles lower the brows, bringing them near to- gether; the lower jaw is firmly set to the upper one; the nostrils are dilated, and lips closed, except in extreme _cases, where the teeth are uncovered. Under anger may be included all the lights and shades of feeling from earn- estness, determination, indignation, to hatred, rage, and fury. Exercises Earnest Resolve “On such occasions, I will place myself on the extreme boundary of my right, and bid defiance to the arm that would push me from it.” From “Freedom of Debate "— Webster. Indignation “A word, but one, one little, kindly word, Not one to spare her; out upon you flint! You love nor her, nor me, nor any; nay, You shame your mother’s judgment, too. Not one? You will not? Well—no heart have you!” From “ The Princess ””—Tennyson. Anger “ Read o’er this: And after, this! And then to breakfast—with What appetite you have!” From “ Henry VIII” —Shakespeare. VISIBLE EXPRESSION OR GESTURE 269 Hatred “ Poisons, be their drink Gall—worse than gall, the daintiest meat they taste; Their sweetest shade, a grove of cypress trees ; Their sweetest prospects, murd’ring basilisks ! Their music—tfrightful as the serpent’s hiss, And boding screech owls make the concert full, All the foul terrors of dark-seated hell !” From “ Henry VI”—Shakespeare. Rage “T trample on your offers, and on you; Begone! we will not look upon you more!” From “ The Princess ””— Tennyson. SCORN Closely allied to anger is scorn and its associated feelings of disdain, contempt, defiance, derision, and disgust. In these emotions, however, there is often a partial closure of the eyelids, the nose is more or less elevated, the nostrils partly closed, the canine tooth on one side of the face, wholly or partly uncovered, the contraction of the muscle on that side of the face usually making a furrow in the cheek, and wrinkles under the eye; in disgust, the upper lip is strongly raised. Exercises Contempt “Thou slave! thou wretch! thou coward! Thou little valiant, great in villainy ! Thou ever strong upon the stronger side!” From “ King John ”—Shakespeare. 270 ADVANCED ELOCUTION 7 Disdain “You have done well and like a gentleman, And like a prince; you have our thanks for all; And you look well, too, in your woman’s dress ; Well have you done, and like a gentleman.” From “ The Princess ””—Tennyson. Derision “So, fare you well, my little, good lord cardinal.” From “ Henry VILI”—Shakespeare. SURPRISE In surprise, the eyebrows are raised, and eyes and mouth sometimes widely open. Modifications of surprise, or its attendant lights and shades, are found in attention, interest, wonder, astonishment, amazement, terror, and horror; in the latter cases, there is strong dilation of nostrils, and eyes seeming to start from their sockets. Exercises Attention— Listening “Hush! hark! Did stealing steps go by, Came not faint whispers near?” Anon. Amazement “As sure as there’s breath in man, it’s auld Ellangowan risen from the dead !” From “ Guy Mannering ”—Scott. Terror “And now, from forth the frowning sky, From the Heaven’s topmost height, I heard a voice,—the awful voice Of the blood avenging Sprite!” From “ Dream of Eugene Aram ”—Hood. VISIBLE EXPRESSION OR GESTURE 271 Any of the facial conditions already named may be manifested in their separateness, or may be blended with others; as there is complexity of feeling, so will there be complexity in manifestation. Darwin fittingly remarks: “Many complex conditions emanate from the passions, which will hot admit of description, and in regard to the feelings of jealousy, envy, avarice, revenge, suspicion, deceit, slyness, guilt, vanity, ambition, pride, and humility, it is doubtful if the conditions of mind are revealed with any fixed expression, to be described or delineated, but many of them can be detected by the eye.” Miscellaneous Practice Exercises for Attitude, Gesture, and , Facial Expression. I “ Never stoops the soaring vulture On his quarry in the desert, On the sick or wounded bison, But another vulture, watching From his high aerial look-out, Sees the downward plunge, and follows; And a third pursues the second, Coming from the invisible ether, First a speck, and then a vulture, Till the air is dark with pinions. So disasters come not singly ; But as if they watched and waited, Scanning one another’s motions, When the first descends, the others Follow, follow, gathering flock-wise Round their victim, sick and wounded, First a shadow, then a sorrow, Till the air is dark with anguish.” From “ Hiawatha ”—Longfellow. IT “Tf we work upon marble, it will perish; if we work upon brass, time will efface it; if we rear temples, they 272 ADVANCED ELOCUTION will crumble into dust; but if we work upon immortal minds, if we imbue them with right principles, with the just fear of God and love of our fellow-men, we engrave on those tablets something which will brighten to all eternity.” —Daniel Webster. Il “ The winds, as at their hour of birth Leaning upon the wingéd sea, Breathed low around the rolling earth With mellow preludes, ‘ We are free.’ The streams through many a lilied row Down carolling to the crispéd sea, Low-tinkled with a bell-like flow Atween the blossoms, ‘ We are free. From “We Are Free” —Tennyson. IV “Like unto ships far off at sea Outward or homeward bound are we, Before, behind, and all around Floats and swings the horizon’s bound, Seems at its distant rim to rise And climb the crystal wall of the skies, And then again to turn and sink As if we could slide from its outward brink. Ah! it is not the sea It is not the sea that sinks and shelves, But ourselves That rock and rise With endless and uneasy motion, Now touching the very skies, Now sinking into the depth of ocean. Ah! if our souls but pause and swing Like the compass in its brazen ring, Ever level and ever true To the toil and the task we have to do, We shall sail securely, and safely reach The Fortunate Isles, on whose shining beach The sights we see and the sounds we hear, Will be those of joy and not of fear.” From “Launching of the Ship ”—Longfellow. baer. VISIBLE EXPRESSION OR GESTURE 273 Vv “There came a stirring of wind from the east, and the sea began to moan ; and then there was a strange noise in the distance ; in the awful silence between the peals of thunder it- would be heard. It came nearer and nearer—a low murmuring noise, but full of secret life and thrill—it came along like the tread of a thousand armies and then the gale struck its first blow! ... Blinding showers of rain swept over, hissing and roaring! The white tongues of flame were ’ shooting this way and that across the startled heavens! and there was a more awful thunder than even the falling of the Atlantic surge booming into the great sea-caves. In the abysmal darkness the spectral arms of the ocean rose while in their angry clamor; and then another blue gleam would lay bare the great heaving and writhing bosom of the deep. Surely ‘it cannot be Ulva—Ulva the green-shored island, that is laughing aloud with -wild laughter, on this awful night ? And Colonsay, and Lunga, and Fladda—they were beau- tiful and quiet in the still summer-time ; but now they have gone mad, and they are flinging back the plunging sea in white masses of foam ; and they are shrieking i in the fierce joy of the strife. And Staffa—Staffa is far away and alone: she is trembling to her core; how long will the shuddering caves withstand the mighty hammer of the Atlantic surge? And then again the sudden wild gleam startles the night and one sees with an appalling vivid- ness, the driven white waves and the black islands; and then again a thousand echoes go booming along the iron- bound coast !”—From “MacLeod of Dare” —Wm. Black. VI ; “ Flag of the free heart’s hope and home! By angel hands to valor given ; Thy stars have lit the welkin dome, And all thy hues were born in heaven. Forever float that standard sheet! Where breathes the foe, but falls before us, With Freedom’s soil beneath our feet, And Freedom’s banner streaming o’er us.” From “ The American Flag ”—Drake. 18 274 ADVANCED ELOCUTION VII “Rum, we yield not to thy unhallowed influence, and together we have met to plan thy destruction. And by what new name shall we call thee, and to what shall we liken thee, when we speak of thy attributes? Others may call thee the child of perdition, the base-born progeny of sin and Satan, the murderer of mankind, and the de- stroyer of immortal souls; but I will give thee a new name among men, and crown thee with a new horror, and that new name shall be the sacramental cup of the Rum-Power, and I will say to all the sons and daughters of earth— Dash it down! And, thou, Rum, shalt be my text in my pilgrimage among men; and not alone shall my tongue utter it, but the groans of orphans in their agony, and the . eries of widows in their desolation shall proclaim it the enemy of home, the traducer of childhood, and the de- stroyer of manhood, and whose only antidote is the sacra- mental cup of temperance—Cold Water !” From “ Water and Rum”—Gough. VII “Tt is the dead of night; ‘Yet more than noon-day light Beams far and wide from many a gorgeous hall. Unnumbered harps are tinkling, Unnumbered lamps are twinkling, In the great city of the fourfold wall, ‘By the brazen castle’s moat, The sentry hums a livelier note, The ship-boy chants a shriller lay From the galleys in the bay. Shout, and laugh, and hurrying feet Sound from mart, and square, and street, From the breezy laurel shades, From the granite colonnades, From the golden statua’s base, From the stately market-place, Where upreared by captive hands, The great Tower of Triumph stands, VISIBLE EXPRESSION OR GESTURE 275 All its pillars in a blaze, With the many colored rays, Which lanterns of ten thousand dyes, Shed on ten thousand panoplies.” From “ The Marriage of Tirzah and Ahirad ”—Macaulay. Ix ‘Tis the middle of the night by the castle clock, And the owls have awakened the crowing cock ; Tu-whit! Tu-whoo! And hark, again! the crowing cock, How drowsily it crew. “The night is chilly, but not dark; The thin gray cloud is spread on high, It covers, but not hides the sky. The moon is behind, and at the full; And yet she looks both small and dull. The night is chill, the cloud is gray; Tis a month before the month of May, And the spring comes slowly up this way. “ The lovely lady, Christabel, Whom her father loves so well, What makes her in the wood so late, A furlong from the castle gate? She had dreams all yesternight Of her own betrothéd knight; And she in the midnight wood will pray, For the weal of her lover, that’s far away. “She stole along, she nothing spoke, The sighs she heaved were soft and low, And naught was green upon the oak, But moss and rarest mistletoe ; She kneels beneath the huge oak tree, And in silence prayeth she. The lady sprang up suddenly, The lovely lady, Christabel ! 276 ADVANCED ELOCUTION “Tt moaned as near as near could be, But what it is she cannot tell,— On the other side it seems to be, Of the huge, broad-breasted, old oak tree. “The night is chill, the forest bare ; Is it the wind that moaneth bleak? There is not wind enough in the air To move away the ringlet curl From the lovely lady’s cheek ; There is not wind enough to twirl The one red leaf, the last of its clan That dances as often as dance it can, Hanging so light, and hanging so high On the topmost twig that looks up at the sky.” From “Christabel "—S. T. Coleridge. SUMMARY “ Flocution, in order to be perfect, must convey the meaning clearly, forcibly, and agreeably.’’—WHATELY. Nature, as respects Voice and Action, having been guided by careful cultivation, with the help of mechan- ical processes. and exercises expressive of sentiment, the reader or speaker is prepared to convey to others, truth- fully and artistically, what he himself understands, feels, and desires; for the agents of Expression are now sup- posed to act reciprocally with Intellect, Sensibility, and Will. How exceedingly important then it becomes that he who would please and persuade others should have his mind well-furnished and well-balanced, and have his heart and purpose intent only on what is true, and beauti- ful, and good. Otherwise how utterly trivial are all the grace and effectiveness of elocution. To impress the theme, whatever it may be, clearly, forcibly, and vividly, there must be both mental concept and penetration— wings must be given the imagination, the heart must be VISIBLE EXPRESSION OR GESTURE 277 warmed, and glow, and sympathize, and all must be dominated by a refined taste and a true artistic instinct. The orator should exercise judgment in the choice of his theme, and the reader in the choice of his selection. In regard to the latter too much cannot be said in condem- nation of a style of literature which is too frequently foisted upon public audiences, while, on the other hand, every effort should be made to cultivate a taste for chaste and elegant English. What is more pleasing and instruct- ive than graceful, ingenious, illuminative rendering of choice literature? Finally, add to knowledge and culti- vation of body, mind, and soul, the power of repose, which is the emblem of self-control; these conditions complied with, there stands forth the artist to please, per- suade, convince, and delight. 278 ADVANCED ELOCUTION ELOCUTIONARY APOTHEGMS AND OUTLINES J. W. SHOEMAKER “When the man is made the orator is almost com- plete. Language and voice are the easier attainments. Covet, therefore, above all things a full, rounded man- hood.” “Expression must- be an echo of the state of the mind, and the mind is never twice in exactly the same state, therefore the expression cannot be true and be twice alike.” “The body in itself is worthless, and it is only the Divinity within us which gives it significance. We are like the cipher, a form, but without value of oyrselves, and our value is determined by the Divine Power or the God value back of us. The cipher thus becomes the expres- sion of a value and that value is in proportion to the amount or power of Divinity back of it.” “Natural expression may be divided into reflected thought, articulated thought, and acted thought. A thought revealed or manifested through the countenance is reflected thought ; through speech, articulated thought ; and through movement, acted thought; and in any of these cases the process is but the means and not the end. The coun- tenance must be so transparent that the thought will be seen and not the countenance; the voice so transparent that the thought will be seen and not the voice; and the action so transparent that the thought will be seen and not the action, all like the fluid in a vessel of pure glass, where the vessel is not seen but only the fluid in it.” ELOCUTIONARY APOTHEGMS AND OUTLINES 279° “There is a truthful simplicity in childhood, to which few ever return. True -art is the pathway to a second childhood which is much to be desired.” “ Individuality— You can say what nobody else can say. You can do what nobody else ¢an do as yourself. You can never do what he does whom you would imitate.” “ Avoid invidious comparisons in criticism ; also ostenta- tious display of knowledge on the one hand and obse- quious humility on the other.” “ The brain is dependent upon the body for its supplies, therefore the neglect of body culture is the neglect of mind culture. This is true in the twofold sense of power and grace. The natural increase of bodily power, and the in- crease of polish and grace of body will give corresponding refinement and polish to mental action.” “Tn reading and speaking let the separate thought be well defined ; let it be expressed with full meaning and due proportion.” “Two important elements are especially essential to the teacher of elocution,—adaptation and inspiration. The first brings the student into harmony and sympathy; the second, infuses motive to thought, and stimulates action.” “The teacher should never forget that it is easier to criticise than to correct faults. Rather correct one fault than criticise a dozen. Profuse criticism will discourage and confuse.” “The teacher is an assistant, a helper, a friend, whose business it is to make the student happier for what he gives him.” 280 ADVANCED ELOCUTION “ High attainments are preceded by high ideals, but they are reached by humble processes. , If our aim is a high expression, we must seek a high manhood to be expressed. It requires a mountain to express a mountain, a character to express a character, but a, high manhood must be pre- ceded by a higher ideal. There is-only one worthy our copy and emulation, the Son of Man, the Son of God.” Luther’s Rule for Speaking “Rise up cheerily ; Speak up bravely ; Leave off quickly.” Lyman Beecher’s Rule “ Begin low, Go slow; Rise higher: Take fire!” SELECTIONS FOR READING AND RECITATION SELECTIONS A MAN OVERBOARD. (From Les Miserables.) MAN overboard ! i What matters it? the ship does not stop. The wind is blowing; that dark ship must keep on her destined course. She passes away. The man disappears, then reappears; he plunges and rises again to the surface; he calls, he stretches out his hands. They hear him not; the ship, staggering under the gale, is straining every rope; the sailors and passen- gers see the drowning man no longer ; his miserable head is but a point in the vastness of the billows. He hurls cries of despair into the depths. What a spectre is that disappearing sail! He looks upon it; he looks upon it with frenzy. It moves away; it grows dim; it dimin- ishes. He was there but just now; he was one of the crew; he went and came upon the deck with the rest; he had his share of the air and of the sunlight; he was a living man. Now, what has become of him? He slipped, he fell; and it is finished. He is in the monstrous deep. He has nothing under his feet but the yielding, fleeing element. The waves, torn and scattered by the wind, close round him hideously ; the rolling of the abyss bears him along; shreds of water are flying about his head; a populace of waves spit upon him ; confused openings half swallow him; when he sinks he catches glimpses of yawning precipices full of darkness; fearful unknown vegetations seize upon him, bind his feet, and draw him to themselves; he feels that he is becoming 283 284 ADVANCED ELOCUTION the great deep; he makes part of the foam; the billows toss him from one to the other; he tastes the bitterness ; the greedy ocean is eager to devour him ; the monster plays With his agony. It seems as if all this were liquid hate. But yet he struggles. He tries to defend himself; he tries to sustain himself; he struggles; heswims. He—that poor strength that fails so soon—he combats the unfailing. Where now is the ship? Far away yonder. Hardly visible in the pallid gloom of the horizon. The wind blows in gusts; the billows overwhelm him. He raises his eyes, but sees only the livid clouds. He, in his dying agony, makes part of this immense insanity of the sea. He is tortured to his death by its immeasurable madness. He hears sounds which are strange to man, sounds which seem to come not from earth, but from some frightful realm beyond. There are birds in the clouds even as there are angels above human distresses, but what can they do for him? They fly, sing, and float, while he is gasping. He feels that he is buried at once by those two infini- ties, the ocean and the sky; the one is a tomb, the other a pall. Night descends. He has been swimming for hours; his strength is almost exhausted. That ship, that far-off thing, where there were men, is gone. He is alone in the terrible gloom of the abyss; he sinks, he strains, he struggles; he feels beneath him the shadowy monsters of the unseen; he shouts. Men are no more. Where is God? Heshouts. Help! help! He shouts incessantly. Nothing in the horizon. Nothing in the sky. He implores the blue vault, the waves, the rocks; all are deaf. He supplicates the tempest ; the imperturbable tempest obeys only the Infinite. QUEEN ARJAMAND’S DAGGER 285 Around him are darkness, storm, solitude, wild and unconscious tumult, the ceaseless tumbling of the fierce waters; within him, horror and exhaustion; beneath him, the engulfing abyss. No resting-place. He thinks of the shadowy adventures of his lifeless body in the limitless gloom. The biting cold paralyzes him. His hands clutch spasmodically and grasp at nothing. Winds, clouds, whirlwinds, blasts, stars, all useless! What shall he do? He yields to despair; worn out, he seeks death ; le no longer resists; he gives himself up; he abandons the contest, and he is rolled away into the dismal depths of the abyss forever. O implacable march of human society.! Destruction of men and of souls marking its path !_Ocean, where fall all that the law lets fall? Ominous disappearance of aid! O moral death ! The sea is the inexorable night into which the penal law casts its victims. The sea is the measureless misery. The soul drifting in that sea may become a corpse. Who shall restore it to life? Victor Hvao. QUEEN ARJAMAND’S DAGGER. (Abridged and adapted from ‘‘With Sa’di in the Garden.”) HEY tell this story of Queen Arjamand: So fair she was, so debonnair, so wise, The heart of Shah Jahan slept in her lap: Her mouth issued the King’s decrees, her hands Gave provinces away, and great commands. No night but at her feet did Shah Jahan Lay down his cap of lordship and his sword To take soft counsel from her faithful lips. Which many grudged, and most those other ones The Afghan Lady—she that hath her grave 286 ADVANCED ELOCUTION In the Kandhari Bagh—and Zan-i-Noor, Grandchild of Abdurrahim, Prince of the Blood : “Tf we could turn His Majesty,” said these, “From Mumtaz, that were well wrought for the State, Whose banner is become a Persian shift ! Mashallah! will nought dull those dazzling eyes?” And some one whispered: “ Best find newer eyes More dazzling, killing passion with its like ; Since one love chamber have these hearts of men, And she who enters thrusts the other forth. There is that slave-girl, come from Jessulmere, A brown pearl of the Prophet’s Paradise, Wondrously fair—as none e’er saw ; give word They deck her with the garments of Mumtaz, And hang the Queen’s pearls round her throat, and bring The Rajpootni into the Queen’s own room When she is gone—so may my Lord the King Be tenderly beguiled, and Mumtaz scorned.” And this the Palace Ladies swore was good. Surely, twas perilous. The girl Knew—for they told her—she must die, or gain Life, and long favor, and large wealth in gold, At moment when her veil should drop, and show Full moonlight of her face. To reign, see you, First in that Court, to win the eyes of him Who ruled upon the “ Peacock-throne,” and stretched Hands of command from Balkh to Himalay, Was worth some risk, it seemed of fierce farrash. * Therefore—half willing, half constrained—she sat Trembling, upon the silks of Mumtaz’s bed, In vestments of the beauteous Queen, her face Wrapped in the golden chiddur.. Oh! ’tis known What fell, because a Palace maiden heard— * The Executioner. QUEEN ARJAMAND’S DAGGER 287 Listening outside the marble jali-work— And told it, word for word, to Arjamand. * * * * * * The Sultan came Clad in his private dress—white muslin clasped With one great pearl, white cap and jewelled shoes— And, throwing down his scimitar and shaw], Spake with a gentle smile: “ Light of my life! Once more I shut the great loud world away And come to reign in this one realm I love, The heart of Mumtaz!” Rose the Rajpootni, All quaking underneath her rich disguise, And bent full lowly to the King of Hind, And kissed his feet ;—then, let her chuddur fall, And—lo! it was not Mumtaz there! his queen, But that strange, lovely, frightened girl, with throat Heaving, eyes gleaming, hands on bosom clasped, Who murmured: “ Lord of all the world! thy slave Waiteth thy will that she may live or die.” Doubtless, you think he drew his blade and slew her there ! He was a man, ‘tis writ, of gravity ; Nice in his pride, terrible in his wrath, But oh! you do not know how fair she was! Otherwise who had ventured? On his lips Ended even ‘in beginning those dread words Which leaped from royal anger. At mid-rage The charm unspeakable of that sweet slave Melted his mounting fury! Allah makes Sometimes a face and form to smite man’s soul With witchery of subtlest symmetry, And she was such! That Lady of the Taj Owned not such lustrous orbs, nor could have shown Stature so cypress-like, such arms, such limbs, Such eloquence of beauty, touched by fear 288 ADVANCED ELOCUTION Into bewitching grace. Nay! and she marked The first wrath in the Sultan’s countenance Flicker and pass as flame doth pass away When rain falls on the sparkling of a brand: So, gently dropped upon his mind the rain Of wonder, pity, will of gentilesse ; And, when she sank upon her face, and sobbed, “Lord of the Age! forgive me! Send me hence Alive! I was not told how great thou art, How terrible! how base and bold my deed !” He raised the Rajpoot girl, gazed on her face With softening eyes, and, while her heart beat quick, Touched—with strange tremble of his hands—her hair, Her brows, her ears! then, conquering himself, Spake: “Get thee hence, alive! Fairest, thou art Of Allah’s works! and I—I am a man, Albeit Lord of men and Shah Jahan; Yet one thing fairer is than even thou, And sweeter far for me to have and keep, The faith I held and hold to her whose name Thou art not meet to hear! Rajpootni! see, I close mine eyes, not longer to behold Thy beauty, lest it tempt my rebel blood To traitorousness like thine. Begone! begone! Before I look again ; for I shall slay, Or I shall love, and both were deeds indign !” * * * * * * She glided forth, Seeking escape; but those that heard the words And saw all done, laid hands on her, and haled The weeping maid to angry Arjamand, Decked as she was in the Queen’s cloth of gold, Wearing the Palace-pearls, ungirt, new-bathed, Painted, and henna-stained, and scented sweet. THE ASTRONOMER’S VISION 289 They told what passed, and how the Sultan spake, She cowering at the proud Sultana’s feet. ok * ** * ** * Then the Queen drew the dagger from her waist, A knife of watered steel, hafted with jade, And on the hilt a ruby worth three lakhs, Pigeon-blood color, marvelous, the gift Of Shah Jahan in some soft hour of love— An unmatched stone. And, when they looked to see The keen point pierce the satin skin Stripped of its veil—Arjamand stooped and placed The dagger-blade beneath her sandal, snapped The bright steel short, and, drawing near to hers That Rajpoot’s face, kissed tenderly her mouth, And gravely spoke: “Go! thou hast given me The richest, best, last gift which earth could give In comfort of my great Lord’s constancy. Take thou this jewel of my dagger, Friend !— Nowise its point !—and a Queen’s thanks therewith For treason dearly done to Arjamand !” Epwin ARNOLD. THE ASTRONOMER’S VISION. OD called up from dreams a man into the vestibule of heaven, saying, “Come thou hither and see the glory of my house.” And to the servants that stood around His throne He said, “Take him, and undress him from his robes of flesh: cleanse his vision, and put a new breath into his nostrils: only touch not with any change his human heart—the heart that weeps and trembles.” It was done: and, with a mighty angel for his guide, the man stood ready for his infinite voyage; and from the terraces of heaven, without sound or farewell, at once 19 290 ADVANCED ELOCUTION they wheeled away into endless space. Sometimes with the solemn flight of angel wing they fied through infinite realms of darkness, through wildernesses of death, that divided the worlds of life; sometimes they swept over frontiers that were quickening under prophetic motions from God. Then, from a distance that is counted only in heaven, light dawned for a time through a sleepy film; by unut- terable pace, the light swept to them, they, by unutterable pace, to the light. In a moment, the rushing of planets was upon them: in a moment, the blazing of suns was around them. Then came eternities of twilight, that revealed, but were not revealed. On the right hand and on the left toward mighty constellations, that by self-repetitions and answers from afar, that by counter-positions, built up triumphal gates, whose architraves, whose archways— horizontal, upright—rested, rose at altitude, by spans that seemed ghostly from infinitude. Without measure were the architraves, past number were the archways, beyond memory the gates. Within were stairs that scaled the eternities below; above was below—below was above, to the man stripped of gravitating body: depth was swallowed up in height insurmountable, height was swallowed up in depth un- fathomable. Suddenly, as thus they rode from infinite to infinite, suddenly, as thus they tilted over abysmal worlds, a mighty ery arose—that systems more mysterious, that worlds more billowy—other heights and other depths— were coming, were nearing, were at hand. Then the man sighed, and stooped, shuddered, and wept. His overladen heart uttered itself in tears, and he said: “ Angel, I will go no farther. For the spirit of man acheth with this infinity. Insufferable is the glory of God. Let me lie down in the grave and hide me from THE SONG OF THE LOTUS-EATERS 291 the prosecution of the infinite; for end, I see, there is none.” And from all the listening stars that shone around issued a choral voice: “The man speaks truly: end there is none, that ever yet we heard of.” “ End is there none?” the angel solemnly demanded. “Is there indeed no end ?—and is this the sorrow that kills you?” But no voice answered, that he might answer himself. Then the angel threw up his glorious hands to the heaven of heavens, saying, “End is there none to the universe of God. Lo! also, there is no beginning.” TRANSLATED BY Pror, MircHELL. THE SONG OF THE LOTUS-EATERS. (The lotus of the lotus-eaters is probably a tree found in Northern Africa, the fruit of which is mildly sweet. It was fabled by the ancients, to make strangers who ate of it forget their native country, or lose all desire to return to it, and to give themselves up to pleasure-seeking.) MERE is sweet music here that softer falls Than petals from blown roses on the grass, Or night dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies Than tired eyelids upon tired eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And through the moss the ivies creep, And in the stream the long leaved flowers weep, And from the craggy ledge the poppy hangs in sleep. e * * * * * * Propt on beds of amaranth and moly, How sweet (while warm airs lull-us, blowing lowly) ~~ With half-dropt eyelids still, 292 ADVANCED ELOCUTION Beneath a heaven dark and holy, To watch the long bright river drawing slowly His waters from the purple hill— To hear the dewy echoes calling From cave to cave through the thick-twined vine— To watch the emerald-colored water falling Through many a woven acanthus-wreath divine ! Only to hear and see the far off sparkling brine, Only to hear were sweet, stretched out beneath the pine. The Lotus blooms below the barren peak ; The Lotus blows by every winding creek ; All day the wind breathes low with mellower tone; Through every hollow cave and alley lone, Round and round the spicy downs the yellow Lotus dust is blown. We have had enough of action, and of motion we, Rolled to starboard, rolled to larboard, when the surge was seething free, Where the wallowing monster spouted his foam-fountains in the sea. Let us swear an oath, and keep it with an equal mind, In the hollow Lotus-land to live and lie reclined On the hills like gods together, careless of mankind. For they lie beside their nectar, and the bolts are hurled Far below them in the valleys, and the clouds are lightly curled Round their golden houses, girdled with the gleaming world ; Where they smile in secret, looking over wasted lands, Blight and famine, plague and earthquake, roaring deeps and fiery sands, Clanging fights, and flaming towns, and sinking ships, and praying hands. NATURE DESIGNED FOR OUR ENJOYMENT 293 But they smile; they find a music centered in a doleful song Steaming up, a lamentation and an ancient tale of wrong, Like a tale of little meaning, though the words are strong ; Chanted from a race of ill-used men that cleave the soil, Sow the seed, and reap the harvest with enduring toil, Storing yearly little dues of wheat, and wine, and oil, .Till they perish and they suffer—some, tis whispered— down in hell Suffer endless anguish, others in Elysian valleys dwell, Resting weary limbs at last on beds of asphodel. Surely, surely, slumber is more sweet than toil, the shore Than labor in the deep mid-ocean, wind and wave and oar; O rest ye, brother mariners, we ‘all not wander more. ALFRED TENNYSON. NATURE DESIGNED FOR OUR ENJOYMENT. From “ Lectures to Young Men,’ by permission of Messrs. Fords, Howard & Hulbert, New York. HE necessity of amusement is admitted on all hands. There is an appetite of the eye, of the ear, and of every sense, for which God has provided the material. Gayety of every degree, this side of puerile levity, is wholesome to the body, to the mind, and to the morals. Nature is a vast repository of iaamly enjoyments. The magnitude of God’s works is not less admirable than its exhilarating beauty. The rudest forms have something of beauty ; : the ruggedest strength is graced with some charm; the very pins and rivets and clasps of nature are attractive by qualities of beauty, more than is necessary for meré utility. The sun could go down without gorgeous clouds; evening could advance without: its evanescent brilliance: trees might have flourished without symmetry; flowers have existed without odor, and fruit without flavor. ‘When 294 ADVANCED ELOCUTION I have journeyed through forests, where ten thousand shrubs and vines exist without apparent use; through prairies, whose undulations exhibit sheets of flowers in- numerable, and absolutely dazzling the eye with their prodigality of beauty—beauty, not a tithe of which is ever seen by man—lI have said, it is plain that God is Himself passionately fond of beauty, and the earth is His garden, as an acre is man’s. God has made us like Him- self, to be pleased by the universal beauty of the world. He has made provision in nature, in society, and in the family, for amusement and exhilaration enough to fill the heart with the perpetual sunshine of delight. Upon this broad earth, purfied with flowers, scented with odors, brilliant in colors, vocal with echoing and re- echoing melody, I take my stand against all demoralizing pleasure. Is it not enough that our Father’s house is se full of dear delights, that we must wander prodigal to the swine-herd for husks, and to the slough for drink ?—when the trees of God’s heritage bend over our head and solicit our hand to pluck the golden fruitage, must we still go in search of the apples of Sodom, outside fair and inside ashes ? Men shall crowd to the circus to hear clowns, and see rare feats of horsemanship, but a bird may poise beneath the very sun, or flying downward, swoop from the high heaven; then flit with graceful ease hither and thither, pouring liquid song as if it were a perennial fountain of sound—no man cares for that. Upon the stage of life, the vastest tragedies are perform- ing in every act; nations pitching headlong to their final catastrophe; others, raising their youthful forms to begin the drama of existence. The world of society is as full of exciting interest as nature is full of beauty. The great dramatic throng of life is bustling along—the wise, the fool, the clown, the miser, the bereaved, the broken- AFTERWHILES 295 hearted. Life mingles before us smiles and tears, sighs and laughter, joy and gloom, as the spring mingles the winter storm and summer sunshine. To this vast Theatre which God hath builded, where stranger plays are seen than ever author writ, man seldom cares to come. When God dramatizes, when nations act, or all the human kind conspire to educe the vast catastrophe, men sleep and snore, and let the busy scene go on, unlooked, unthought upon... . It is my object then, not to withdraw the young from pleasure, but from unworthy pleasures; not to lessen their enjoyments, but to increase them, by reject- ing the counterfeit and the vile. . . Henry Warp BrEcHer. AFTERWHILES. Permission of The Bowen-Merrill Company, Indianapolis, Ind. HERE are they—the Afterwhiles— Luring us the lengthening miles Of our lives? Where is the dawn With the dew across the lawn Stroked with eager feet the far Way the hills and valleys are? Where the sun that smites the frown Of the eastward-gazer down? Where the rifted wreaths of mist O’er us, tinged with amethyst, Round the mountain’s deep defiles? Where are all the afterwhiles? Afterwhile—and we will go Thither, yon, and to and fro— From the stifling city-streets To the country’s cool retreats— 296 ADVANCED ELOCUTION From the riot to the rest Where hearts beat the placidest; Afterwhile, and we will fall - Under breezy trees, and loll In the shade, with thirsty sight Drinking deep the blue delight Of the skies that will beguile Us as children—afterwhile. Afterwhile—and one intends To be gentler to his friends— To walk with them, in the hush Of still evenings, o’er the plush Of home-leading fields, and stand Long at parting, hand in hand: One, in time, will joy to take New resolves for some one’s sake, And wear then the look that lies Clear and pure in other eyes— He will soothe and reconcile His own conscience—afterwhile. Afterwhile—we have in view A far scene to journey to,— Where the old home is, and where The old mother waits us there, Peering, as the time grows late, Down the old path to the gate. How we'll click the latch that locks + In the pinks and hollyhocks, And leap up the path once more Where she waits us at the door! How we'll greet the dear old smile, And the warm tears—afterwhile! A VISIT TO BELLE YARD 297 Ah, the endless afterwhiles ! Leagues on leagues, and miles on miles, In the distance far withdrawn, Stretching on, and on, and on, Till the fancy is footsore And faints in the dust before The last milestone’s granite face, Hacked with: Here Beginneth Space. O far glimmering worlds and wings, Mystic smiles and beckonings, Lead us, through the shadowy aisles Out into the afterwhiles. JAMES WHITCOMB RILEY. A VISIT TO BELLE YARD. “From “ Bleak House.” (Adapted.) HILE my guardian and I were in London we were constantly beset by home missionaries to visit Belle Yard, a narrow alley some distance from our hotel, so one bright morning we repaired thither. We soon found the chandler’s shop. In it was a good- natured looking old woman with a dropsy or an asthma, or perhaps both. ; “ Neckett’s children?” said she, in reply to my inquiries. “Yes, surely, Miss. Up three pair, if you please. Door right opposite the stairs,” and she handed me the key across the counter. I glanced at the key and glanced at her; but she took it for granted that I knew what to do with it. As it could only be intended for the children’s door, I came out with- out asking any more questions and led the way up the dark stairs. We went to the top room; I tapped on the 298 ADVANCED ELOCUTION door, and a little shrill voice inside said: “ We are locked in. Mrs. Blinder’s got the key !” I applied the key on hearing this and opened the door. In a poor room, with a sloping ceiling, and containing very little furniture, was a mite of a boy, some five or six years old, nursing and hushing a heavy child of eighteen months. There was no fire, though the weather was cold; both children were wrapped in some poor shawls and tip- pets as a substitute. Their clothing was not so warm, however, but that their noses looked red and pinched and their small figures shrunken, as the boy walked up and down, nursing and hushing the child with its head on his shoulder. “Who has locked you up here alone?” we naturally asked. “Charley,” said the boy, still gazing at us. “Ts Charley your brother ?” “No; she’s my sister Charlotte. Father called her Charley.” “ Are there any more of you beside Charley ?” “Me,” said the boy, “and Emma,” patting the limp bonnet of the child he was nursing, “and Charley—she’s out a-washing.” We were looking at each other and these two children, when there came into the room a very little girl, childish in figure, but shrewd and older looking in the face—pretty faced, too—wearing a womanly sort of bonnet much too large for her, and drying her bare arms on a womanly sort of apron. Her fingers were white and wrinkled with wash- ing, and the soapsuds, which she wiped off her arms, were yet smoking. She had come running from some place in the neighborhood and had-made all the haste she could. “Oh! here’s Charley,” said the boy. The child he was nursing stretched forth its arms and cried to be taken by A VISIT TO BELLE YARD 299 Charley. The little girl took it in a womanly sort of man- ner belonging to the apron and bonnet, and stood looking at us over the burden that clung to her most affection- ately. “Ts it possible,” whispered my guardian, as we put a chair for the little creature, “that this child takes care of and works for the rest? Look at this! For Heaven’s sake, look at this!” It was a thing to. look at. The three children, close together, and two of them relying on the third, and the third so young and yet with an air of age and steadiness that sat so strangely on the childish figure. “Charley,” said my guardian, “ how old are you?” “ Over thirteen, sir,” replied the child. “What a great age!” said my guardian; “what a great age! And do you live here alone with these babies? How do you live ?” “Yes, sir,” replied the child, looking up into his face with perfect confidence; “since father died. I go out to work. I’m a-washing to-day.” “ And when did your mother die? Poor mother!” “ Mother died just after Emma was born,” said the child, glancing at the face upon her bosom. “Then father said I was,to be as good a mother to her as I could. AndsolI tried and worked at home. And that’s how I know how. Don’t you see, sir?” “ And do you often go out and lock the babies up ?” “Yes, as often as Ican. I lock the door to keep ’em safe. Tom ain’t afraid of being locked up, are you, Tom ?” “No-o,” said Tom, stoutly. “Then he’s as good as gold,” said the little creature. « And when Emma is tired he puts her to bed, and when he gets tired he goes to bed, too. And when I come home and light the candle and has a bit of supper, he gets up again and has it with me. Don’t you, Tom ?” 3800 ADVANCED ELOCUTION “ Oh, yes! Charley,” said Tom ; “that I do!” and either in this glimpse of the great pleasure of his life or in grati- tude and love for Charley, who was all in all to him, he laid his face among the scanty folds of her frock and passed from laughing into crying. It was the first time since our entrance that a tear had been shed among these children. The little orphan girl had spoken of their father and mother as if all that sorrow were subdued by the necessity of taking courage, and by her childish importance in being able to work and by her busy, bustling way. But now, when Tom cried, although she sat quite tranquil, looking quietly at us, and did not by any movement disturb a hair of the head of either of her charges, I saw two silent tears fall down her face. I stood at the window pretending to gaze at the house tops when Mrs. Blinder came up. My guardian and she had a long talk about the little folks, and the former took it upon himself to see that their condition in the future should be different We kissed Charley and took her down-stairs with us and stopped outside the house to see her run away to her work. I don’t know where she was going, but we saw her run, such a little, little creature in a womanly bonnet and apron, through a covered way at the bottom of the court, and melt into the city’s strife and sound, like a dew- drop in an ocean. CuarLes Dickens. FREEDOM’S AHEAD. .OW that Tom Dunstan’s cold, Our shop is duller; Scarce a story is told! And our chat has lost the old Red republican color! FREEDOM’S AHEAD 301 Though he was sickly and thin, He gladdened us with his face. How, warming at rich man’s sin, With bang of the fist, and chin Thrust out, he argued the case! He prophesied folk should be free, And the money-bags be bled ;— “She’s coming, she’s coming!” said he; “Courage, boys! Wait and see! Freedom’s ahead !” All day we sat in the heat, Like spiders spinning, Stitching full, fine, and fleet, While the old Jew on his seat Sat greasily grinning; And there Tom said his say, And prophesied Tyranny’s death ; And the tallow burnt all day, And we stitched and stitched away In the thick smoke of our breath, Wearily, wearily, so wearily With hearts as heavy as lead ;— But, ‘‘ Patience! she’s coming!” said he; “Courage, boys! Wait and see! Freedom’s ahead !” And at night when we took here The pause allowed to us, The paper came with the beer And Tom read, sharp and clear, The news out loud to us. And then in his witty way He threw the jest about. 302 ADVANCED ELOCUTION The cutting things he’d say Of the wealthy and the gay! How he turned them inside out! And it made our breath more free To hearken to what he said ;— “She’s coming, she’s coming !” says he; “Courage, boys! -Wait and see! Freedom’s ahead !” But grim Jack Hart, with a sneer, Would mutter, “ Master! If Freedom means to appear, I think she might step here A little faster !” Then it was fine to see Tom flame And argue and prove and preach, Till Jack was silent for shame, Or a fit of coughing came O’ sudden to spoil Tom’s speech. Ah! Tom had the eyes to see When Tyranny should be sped ;— “ She’s coming, she’s coming!” said he; “Courage, boys! Wait and see! Freedom’s ahead !” But Tom was little and weak; The hard hours shook him; Hollower grew his cheek, And when he began to speak The coughing took him. Ere long the cheery sound Of his chat among us ceased, And we made a purse all round That he might not starve, at least. FREEDOM’S AHEAD 303 His pain was sorry to see, Yet there—on his poor sick-bed, ““She’s coming in spite of me! Courage and wait,” cried he, “ Freedom’s ahead !” A little before he died, Just to see his passion ! “ Bring me a paper!” he cried, And then to study it tried In his old sharp fashion ; And with eyeballs glittering, His look on me he bent, And said that savage thing Of the lords of the Parliament, Then darkening, smiling on me, “What matter if one be dead? She’s coming, at least,” said he; “Courage, boys! Wait and see! Freedom’s ahead !” And now Tom Dunstan’s cold The shop feels duller ; Scarce a story is told ; Our talk has lost the old Red republican color! But we see a figure gray, And we hear a voice of death, And the tallow burns all day, And we stitch and stitch away, In the thick smoke of our breath ; Ay, here in the dark sit we, While wearily, wearily, We hear him call from the dead: 304 ADVANCED ELOCUTION “She’s coming, she’s coming,” says he, “ Freedom’s ahead | How long, O Lord, how long Doth Thy handmaid linger ? She who.shali right the wrong— Make the oppresséd strong— Sweet morrow, bring her! Hasten her over the sea, O Lord, ere hope be fled ; Bring her to men and to me; O slave, pray still on thy knee For the freedom ahead ! Rosert BucHANAN. OUR FALLEN HEROES. HE distinction of our volunteer army over all other armies of all times was its intelligence. Behind every musket was a thinking man. On the march, around the camp fire, in the hospital and the prison, and in letters to friends at home, these men discussed the issues at stake and the results that would follow defeat or victory with as much statesmanship and prophetic fore- sight as their representatives in Congress. Of the million volunteer soldiers, thousands were fitted by culture, ability, and character to be Presidents of the United States. Latour d’Auvergne was a grenadier of Napoleon’s Old Guard. Bravest of the brave on every battle-field, he was tendered for distinguished services a sword bearing this inscription, “To the first grenadier of France ;” but he re- fused it, saying, “Among us soldiers there is neither first nor last.” Constantly declining promotion, and ever win- ning fresh laurels, he fell fighting gloriously for his coun- OUR FALLEN HEROES 805 try, and an imperial decree gave him a distinction never enjoyed by the proudest marshal of the empire. His name continued on the roll of his company, and when it was called the oldest sergeant answered, “ Died on the field of honor.” And this year and the next, and for the next decade, and centuries after, on the anniversary of this Decoration Day, when the roll-call in every churchyard and village cemetery of the men who died in the conflict is read, the answer of a grateful people will be, “Died upon the field of honor.” There is an old epitaph in an English churchyard which quaintly says that “he who saves, loses; he who spends, saves; and he who gives away, takes it with him.” These men gave away their lives, and took with them immortal glory and the gratitude of endless generations, They may repose in unknown graves south of the Potomac, or sleep beneath the sea, and yet theirs is a deathless fame. Poetry and eloquence will embalm their memories, and keep ever bright the recollection of their heroic deeds. “They never fail who die In a great cause. The block may soak their gore; Their heads may sodden in the sun, their limbs Be strung to city gates and castle walls ; But still their spirit walks abroad. Though years Elapse, and others share as dark a doom, , They but augment the deep and sweeping thoughts Which overpower all others, and conduct The world at last to freedom.” CHauncEY M. DEpPEw. 20 306 ADVANCED ELOCUTION WHY THEY TWINKLE. Permission of “‘ Thu Outlcok,” New York. HEN Eve had led her lord away, And Cain had killed his brother, The stars and flowers, the poets say, Agreed with one another To cheat the cunning tempter’s art And teach the race its duty, By keeping on its wicked heart Their eyes of light and beauty. A million sleepless lids, they say, Will be at least a warning— And so the flowers would watch by day, The stars from eve to morning. On hill and prairie, field and lawn, Their dewy eyes upturning, The flowers still watch from reddening dawn Tili western skies are burning. Alas! each hour of daylight tells A tale of shame so crushing, That some turn white as sea-bleached shells, And some are always blushing. But when the patient stars look down On all their light discovers— The traitor’s smile, the murderer’s frown, The lips of lying lovers— A TRIBUTE TO MOTHERHOOD 307 They try to shut their saddening eyes, And in the vain endeavor We see them twinkling in the skies, And so they wink forever. OLIVER WENDELL Hogs. A TRIBUTE TO MOTHERHOOD. (From ‘“ The Princess.’’) LONE, from earlier than I know, Immersed in rich foreshadowings of the world, I loved the woman ; he, that doth not, lives A drowning life, besotted in sweet self, Or pines in sad experience worse than death, Or keeps his wing’d affections clipt with crime: Yet was there one thro’ whom I loved her, one Not learned, save in gracious household ways, Not perfect, nay, but full of tender wants, No Angel, but a dearer being, all dipt In Angel instincts, breathing Paradise, Interpreter between the Gods and men, Who look’d all native to her place, and yet On tiptoe seem’d to touch upon a sphere Too gross to tread, and all male minds perforce Sway’d to her from their orbits as they moved And girdled her with music. Happy he With such a mother! Faith in womankind Beats with his blood, and trust in all things high Comes easy to him, and tho’ he trip and fall, He shall not blind his soul with clay. TENNYSON, 308 ADVANCED ELOCUTION THE DESPONDENT INVENTOR (XVI CENTURY). (From the “ Last of the Barons.’’) WFUL is the duel between Man and the Age in which he lives! For the gain of posterity this inventor, Adam Warner, had martyrized existence—and the children had pelted him as he passed along the streets! . . . Again he paced restlessly to and fro the narrow floor of his room. At last he approached the Model—the model of a mighty and stupendous invention; the fruit of no chi- merical and visionary science—a great Promethean Thing, that, once matured, would divide the Old World from the New, enter into all operations of Labor, animate all the future affairs, color all the practical doctrines, of active men. He paused before it, and addressed it as if it heard and understood him: “My hair was dark, and my tread was firm, when one night, a Thought passed into my soul—a thought to make Matter the gigantic slave of Mind. Out of this thought, thou, not yet born after five- and-twenty years of travail, wert conceived. My coffers were then full, and my name honored; and the rich re- spected and the poor loved me. Art thou a devil, that has tempted me to ruin; ora god that has lifted me above theearth? I am old before my time—my hair is blanched, my frame is bowed, my wealth is gone, my name is sullied. And all, dumb Idol of Iron and the Element, all for thee! I had a wife whom I adored—she died ; I forgot her loss in the hope of thy life. I have a child still—God forgive me—she is less dear to me than thou hast been. And now—” the old man ceased abruptly, and folding his arms, looked at the deaf iron sternly, as on a human foe. By his side was a huge hammer, employed in the toils of his forge; suddenly he seized and swung it aloft. One blow, and the labor of years was shattered .THE GOOD OF IT 309 into pieces! One blow!—But the heart failed him, and the hammer fell heavily to the ground. “Ay!” he muttered, “ true—true; if thou, who hast de- stroyed all else, wert destroyed too, what were left me? Is it a crime to murder Man ?—a greater crime to murder Thought, which is the life of all men. Come—I forgive thee !” And all that day, and all that night, the Enthusiast labored in his chamber, and the next day the remem- brance of the hootings, the pelting, the mob, was gone— clean gone from his breast. The Model began to move— life hovered over its wheels, and the Martyr of Science had forgotten the very world for which he, groaning and re- joicing, toiled ! E. Butwer Lyrron. THE GOOD OF IT. (A CYNIC’S SONG.) OME men strut proudly, all purple and gold, Hiding queer deeds ‘neath a cloak of good fame; I creep along braving hunger and cold To keep my heart stainless as well as my name. . So, so, where is the good of it? Some clothe bare Truth in fine garments of words, Fetter her free limbs with cumbersome state. With me, let me sit at the lordliest boards, “T love” means, I love; and “I hate” means, I hate. But, but, where is the good of it? Some have rich dainties and costly attire, Guests fluttering round them and duns at the door. T crouch alone at my plain board and fire, Enjoy what I pay for and scorn to have more. Yet, yet, what is the good of it? 810 ADVANCED ELOCUTION Some gather round them a phalanx of friends, Scattering affection like coin in a crowd. I keep my heart for the few Heaven sends, Where they’ll find my name writ when I lie in my shroud. Still, still, where is the good of it? Some toy with love; lightly come, lightly go; A blithe game at hearts, little worth, little cost. I staked my whole soul on one desperate throw, A life ’gainst an hour’s sport. We played and I lost. Ha, ha, such was the good of it! MORAL, ADDED ON HIS DEATH-BED. Turn the past’s mirror backward ; its shadows removed, The dim, confused mass becomes softened, sublime; I have worked, I have felt, I have lived, I have loved, And each was a step towards the goal I now climb. Thou, God, Thou sawest the good of it! Dinan Mutock CRAIK. THE FORSAKEN GARDEN. N a coign of the cliff, between lowland and highland, At the sea-down’s edge, between windward and lea, Wall’d round with rocks as an inland island, The ghost of a garden fronts to the sea. A girdle of brushwood and thorn encloses The steep, square slope of the blossomless bed, Where the weeds that grew green from the graves of its roses, Now lie dead. THE FORSAKEN GARDEN 811 The fields fall southward, abrupt and broken, To the low, last edge of the long lone land. If a step should sound, or a word be spoken, Would a ghost not rise at the strange guest’s hand? So long have the gray, bare walks lain guestless, Through branches and briars if a man make way, He shall find no life but the sea-wind’s, restless Night and day. The dense, hard passage is blind and stifled, That crawls by a track none turn to climb To the strait, waste place that the years have rifled Of all but the thorns that are touch’d not of time. The thorns he spares when the rose is taken ; The rocks are left when he wastes the plain. The wind that wanders, the weeds wind-shaken, These remain. Not a flower to be prest of the foot that falls not; As the heart of a dead man the seed-plots are dry: From the thicket of thorns whence the nightingale calls not, Could she call, there were never a rose to reply. Over the meadows that blossom and wither Rings but the note of the sea-bird’s song: Only the sun and the rain come hither All year long. The sun burns sere and the rain dishevels One gaunt, bleak tlossom of scentless breath ; Only the wind here hovers and revels In a sound where life seems barren as death. Here there was laughing of old, there was weeping, Haply, of lovers none ever will know, Whose eyes went seaward a hundred sleeping Years ago. * * * * * * 312 ADVANCED ELOCUTION All are as one now, roses and lovers, Not known of the cliffs and the fields and the sea. Not a breath of the time that has been, hovers In the air now soft of a summer to be. Not a breath shall there sweeten the seasons hereafter, Of the flowers or the lovers that laugh now and weep, When, as they that are free now of weeping and laughter, We shall sleep. Here death may deal not again forever: | Here change may come not till all change end. From the graves they have made they shall rise up never, Who have left nought living to ravage and rend. Earth, stones and thorns of the wild-ground growing, When the sun and the rain live, these shall be Till a last wind’s breath upon all these blowing Roll the sea. Till the slow sea rise and the sheer cliff crumbles, Till terrace and meadow the deep gulfs drink, Till the strength of the waves of the high-tides humble The fields that lessen, the rocks that shrink, Here now in his triumph when all things falter ; Stretch’d out on the spoils that his own hand spread, As a god self-slain on his own strange altar, Death lies dead. ALGERNON CHARLES SWINBURNE. THE GOOD SON. dl gaa is no virtue without a characteristic beauty to make it particularly loved of the good,and to make the bad ashamed of their neglect of it. To do what is right, argues superior taste as well as morals; and those whose practice is evil feel an inferiority of intellectual power and enjoyment, even where they take no concern for a principle. THE GOOD SON 313 Doing well has something more ir it than the fulfilling of aduty. It is a cause of a just sense of elevation of char- acter ; it clears and strengthens the spirits; it gives higher reaches of thought ; it widens our benevolence, and makes the current of our peculiar affections swift and deep. * * * * * * No creature in the world has this character so finely marked in him as a respectful and affectionate son—par- ticularly in his relation to his mother. Every little atten- tion he pays her is not only an expression of filial attach- ment and a grateful acknowledgment of past cares, but is an evidence of a tenderness of disposition which moves us the more, because not looked on so much as an essen- tial property in a man’s character, as an added grace, which is bestowed only upon a few. His regards do not appear like mere habits of duty, nor does his watchfulness of his mother’s wishes seem like taught submission to her will. They are the native courtesies of a feeling mind, show- ing themselves amidst stern virtues and masculine energies, like gleams of light on points of rocks. They are delight- ful as evidences of power yielding voluntary homage to the delicacy of the soul. The armed knee is bent, and the heart of the mailed man laid bare. Feelings that would seem to be at variance with each other meet together and harmonize in the breast of a son. Every call of the mother which he answers to, and every act of submission which he performs, are not only so many acknowledgments of her authority, but also so many instances of kindness and marks of protecting regard. The servant and defender, the child and guardian, are all mingled in him. The world looks on him in this way; and to draw upon a man the confidence, the respect, and the love of the world, it is enough to say of him, he is an excellent son. R. H. Dana. 314 ADVANCED ELOCUTION ANCIENT GREEK CHANT OF VICTORY. O! they come, they come! Garlands for every shrine! Strike lyres to greet them home; Bring roses, pour ye wine! Swell, swell the Dorian flute Through the blue triumphant sky ! Let the cittern’s tone salute The sons of victory. With the offering of bright blood They have ransomed hearth and tomb, Vineyard, and field, and flood; Io! they come, they come! Sing it where olives wave, And by the glittering sea, And o’er each hero’s grave— Sing, sing, the land is free | Mark ye the flashing oars, And the spears that light the deep? How the festal sunshine pours : Where the lords of battle sweep! Each hath brought back his shield ;— Maid, greet thy lover home! Mother, from that proud field, Io! thy son is come! Who murmured of the dead ? Hush, boding voice! We know That many a shining head Lies in its glory low. BOB CRATCHIT’s DINNER 315 Breathe not those names to-day ! They shall have their praise ere long, And a power all hearts to sway, In ever-burning song. But now shed flowers, pour wine, To hail the conquerors home! Bring wreaths for every shrine— Io! they come, they come! Mrs. HEmMans, BOB CRATCHIT’S DINNER. {An extract from ‘‘ A Christmas Carol.’’) Sook the steeples called good people all to church and chapel, and away they came, flocking through the streets in their best clothes and with their gayest faces. And at the same time there emerged from scores of by- streets, lanes, and nameless turnings innumerable people carrying their dinners to the bakers’ shops. Up then rose Mrs. Cratchit, Cratchit’s wife, dressed out but poorly in a twice-turned gown, but brave in ribbons, which are cheap and make a goodly show for sixpence ; and she laid the cloth, assisted by Belinda Cratchit, second of her daughters, also brave in ribbons, while Master Peter Cratchit plunged a fork into the saucepan of potatoes, and, getting the corners of his monstrous shirt-collar (Bob’s private property, conferred upon his son and heir in honor of the day) into his mouth, rejoiced to find himself so gallantly attired, and yearned to show his linen in the fashionable Parks. And now two smaller Cratchits, boy and girl, came tearing in, screaming that outside the baker’s they had smelt the goose and known it for their own; and, basking in luxurious thoughts of sage and onion, these young Cratchits danced about the table and 316 ADVANCED ELOCUTION exalted Master Peter Cratchit to the skies, while he (not proud, although his collar nearly choked him) blew the fire, until the slow potatoes, bubbling up, knocked loudly at the saucepan-lid to be let out and peeled. “What has ever got your precious father then?” said Mrs. Cratchit. “ And your brother Tiny Tim! and Martha warn’t as late last Christmas day by half an hour!” “‘Here’s Martha, mother,” said a girl, appearing as she spoke, : “ Here’s Martha, mother!” cried the two young Cratchits. “Hurrah! There’s such a goose, Martha!” “Why, bless your heart alive, my dear, how late you are!” said Mrs. Cratchit, kissing her a dozen times and taking off her shawl and bonnet for her. “We'd a deal of work to finish up last night,” replied the girl, “and had to clear away this morning, mother!” “Well! Never mind so long as you are come,” said Mrs. Cratchit. “Sit ye down before the fire, my dear, and have a warm, Lord bless ye!” “No, no! There’s father coming,” cried the two young Cratchits, who were everywhere at once. “ Hide, Martha, hide!” So Martha hid herself, and in came little Bob, the father, with at least three feet of comforter, exclusive of the fringe, hanging down before him; and his threadbare clothes darned up and brushed, to look seasonable ; and Tiny Tim upon his shoulder. Alas for Tiny Tim, he bore a little crutch, and had his limbs supported by an iron frame! “Why, where’s our Martha?” cried Bob Cratchit, look- ing round. : “Not coming,” said Mrs. Cratchitt. “Not coming!” said Bob, with a sudden declension in his high spirits; for he had been Tim’s blood-horse all the way from church, and had come home rampant—“ not coming upon Christmas day !” BOB CRATCHIT’S DINNER 317 Martha didn’t like to see him disappointed, if it were only in joke; so she came out prematurely from behind the closet door, and ran into his arms, while the two young Cratchits hustled Tiny Tim, and bore him off into the wash-house, that he might hear the pudding singing in the copper. “ And how did little Tim behave?” asked Mrs. Cratchit, when she had rallied Bob on his credulity and Bob had hugged his daughter to his heart’s content. “As good as gold,” said Bob, “and better. Somehow he gets thoughtful, sitting by himself so much, and thinks the strangest things you ever heard. He told me, coming home, that he hoped the people saw him in the church, because he was a cripple, and it might be pleasant to them to remember, on Christmas day, who made lame beggars walk and blind men see.” Bob’s voice was tremulous when he told them this, and trembled more when he said that Tiny Tim was growing strong and hearty. His active little crutch was heard upon the floor, and back came Tiny Tim before another word was spoken, escorted by his brother and sister, to his stool beside the fire; and while Bob, turning up his cuffs,—as if, poor fel- low, they were capable of being made more shabby,—com- pounded some hot mixture in a jug with gin and lemons, and stirred it round and round and put it on the hob to simmer, Master Peter and the two ubiquitous young Cratchits went to fetch the goose, with which they soon returned in high procession. Mrs. Cratchit made the gravy (ready beforehand in a little saucepan) hissing hot; Master Peter mashed the potatoes with incredible vigor ; Miss Belinda sweetened up the apple-sauce; Martha dusted the hot plates; Bob took Tiny Tim beside him in a tiny corner at the table; the two young Cratchits set chairs for everybody, not forget- 818 ADVANCED ELOCUTION _ ting themselves, and, mounting guard upon their posts, crammed spoons into their mouths, lest they should shriek for goose before their turn came to be helped. At last the dishes were set on and grace was said. It was suc- ceeded by a breathless pause, as Mrs. Cratchit, looking slowly all along the carving-knife, prepared to plunge it into the breast ; but when she did, and when the long-expected gush of stuffing issued forth, one murmur of delight arose all round the board, and even Tiny Tim, excited by the two young Cratchits, beat on the table with the handle of his knife, and feebly cried, Hurrah ! There never was such a goose. Bob said he didn’t be- lieve there ever was such a goose cooked. Its tenderness and flavor, size and cheapness, were the themes of univer- sal admiration. Eked out by apple-sauce and mashed potatoes, it was a sufficient dinner for the whole family; indeed, as Mrs. Cratchit said with great delight (surveying one small atom of a bone upon the dish), they hadn’t ate it all at last! Yet every one had had enough, and the youngest Cratchits in particular were steeped in sage and onion to the eyebrows! But now, the plates being changed by Miss Belinda, Mrs. Cratchit left the room alone—too nervous to bear witnesses—to take the pudding up and bring it in. Suppose it should not be done enough! Suppose it should break in turning out! Suppose somebody should have got over the wall of the back yard and stolen it while they were merry with the goose—a supposition at which the two young Cratchits became livid! All sorts of horrors were supposed. Hallo! A great deal of steam! The pudding was out of the copper. A smell like a washing-day! That was the cloth. A smell like an eating-house and a pastry- cook’s next door to each other, with a laundress’s next door to that! That was the pudding! In half a minute BOP CRATCHIT’S DINNER 319 Mrs. Cratchit entered—flushed, but smiling proudly— with the pudding, like a speckled cannon-ball, so hard and firm, blazing in half of half a quartern of ignited brandy, and bedight with Christmas holly stuck into the ., top. " , O, a wonderful pudding! Bob Cratchit said, and calmly too, that he regarded it as the greatest success achieved by Mrs. Cratchit since their marriage. Mrs. Cratchit said that, now the weight was off her mind, she would confess she had had her doubts about the quantity of flour. Everybody had something to say about it, but nobody said or thought it was at all a small pudding fora large family. Any Cratchit would have blushed to hint at such a thing. At last the dinner was all done, the cloth was cleared, the hearth swept, and the fire made up. The compound in the jug being tasted and considered perfect, apples and oranges were put upon the table and a shovelful of chest- nuts on the fire. Then all the Cratchit family drew round the hearth, in what Bob Cratchit called a circle, and at Bob Cratchit’s elbow stood the family display of glass—two tumblers and a custard-cup without a handle. These held the hot stuff from the jug, however, as well as golden goblets would have done; and Bob served it out with beaming looks, while the chestnuts on the fire sputtered and crackled noisily. Then Bob proposed :— “A merry Christmas to us all, my dears. God bless us !” " Which all the family re-echoed. “ God bless us every one!” said Tiny Tim, the last of all. CuHarLes DICKENS. 320° ADVANCED ELOCUTION SUNRISE. UCH, however, as we are indebted to our observatories for elevating our conceptions of the heavenly bodies, _ they present even to the unaided sight, scenes of glory which words are too feeble to describe. I had occasion, a few weeks since, to take the early train from Providence to Boston; and for this purpose rose at two o’clock in the. morning. Everything around was wrapt in darkness and hushed in silence, broken only by what seemed at that hour the unearthly clank and rush of the train. It was a mild, serene, midsummer’s night—the sky was without a cloud—the winds were whist. The moon, then in the last quarter, had just risen, and the stars shone with a spectral lustre, but little affected by her presence. Jupiter, two hours high, was the herald of the day; the Pleiades, just above the horizon, shed their sweet influence in the east; Lyra sparkled near the zenith; Andromeda veiled her newly-discovered glories from the naked eye, in the south; the steady pointers, far beneath the pole, looked meekly up from the depths of the north, to their sov- ereign. Such was the glorious spectacle as I entered the train. As we proceeded, the timid approach of twilight became more perceptible; the intense blue of the sky began to soften ; the smaller stars, like little children, went first to rest; the sister beams of the Pleiades soon melted to- gether; but the bright constellations of the west and north remained unchanged. Steadily the wondrous trans- figuration went on. Hands of angels, hidden from mortal eyes, shifted the scenery of the heavens; the glories of night dissolved into the glories of the dawn. The blue sky now turned more softly gray; the great watch-stars shut up their holy eyes; the east began to kindle. Faint THE SHADOW OF THE CROSS 321 streaks of purple soon blushed along the sky; the whole celestial concave was filled with the inflowing tides of the morning light, which came pouring down from above in one great ocean of radiance; till at length, as we reached the Blue Hills, a flash of purple fire blazed out from above the horizon, and turned the dewy tear-drops of flower and leaf into rubies and diamonds. In a few seconds, the everlasting gates of the morning were thrown wide open, and the lord of day, arrayed in glories too severe for the gaze of man, began his state. I do not wonder at the superstition of the ancient Magians, who in the morning of the world went up to the hill-tops of Central Asia, and, ignorant of the true God, adored the most glorious work of His hand. But I am filled with amazement when I am told that in this enlight- ened age, and in the heart of the Christian world, there are persons who can witness this daily manifestation of the power and wisdom of the Creator, and yet say in their hearts, “ there is no God.” Epwarp Evererr. THE SHADOW OF THE CROSS. (Abridged.) (Suggested from the well-known picture of Mr. Holman Hunt, in which the uplifted form of Christ, resting with extended arms from His labor in the car- penter’s shop at Nazareth, throws upon the wall of the Virgin's house a figure 02 @ Cross.) IGHT and Shadow! Shadow and Light! Twins that were born at the birth of the sun! One the secret of all things bright ; The secret of all things sombre, one. One the joy of the radiant day ; One the spell of the dolorous night: One at the dew-fall bearing sway ; One at the day-break, rosy and white. 21 322 ADVANCED ELOCUTION Sister and brother, born of one mother, Made of a thought of the Infinite One, Made by the wisdom of God—and none other— In times when the times were not begun. One with the morning star for its gem, Glad Eésphorus, herald of beams ; One that wears for its diadem Pale, sad Hesperus, planet of dreams. One for the glory and one for the gloom; One to show forth and one to shroud ; One for the birth and one for the tomb; One for the clear sky and one for the cloud. Sister and brother, for ever and ever,. Nowise disparted, and nowhere a-twain ; Mysteries no man’s thinking shall sever ; Marvels none can miss or explain. Light, which without a shadow shines not! Shadow, which shows not unless by light! (For that which we’'see to sight combines not, Except by the sides that escape the sight.) Is this the parable? this-the ending? That nothing lives for us unless with a foil; That all things show by contrast and blending— Pleasure by Pain, and Rest by Toil? Strength by Weakness, and Gladness by Sorrow ; Hope by Despair, and Peace by Strife ; The Good by the Evil, the Day by the Morrow; Love by Hatred, and Death by Life? * * * * * * THE SHADOW OF. THE CROSS 323 Far off—worlds off—in the Pleiads seven Is a Star of Stars—Alcyone— The orb which moves never in all the Heaven The centre of all sweet Light we see. And there, thou Shadow of Earth’s pale seeming! The wisest say no shadow can be, . But perfect splendors, lucidly streaming, And Life and Light at intensity. Then why did the artist show it thus— The Sorrow of Sorrows personified— Painting the carpenter’s Son for us : And the Shadow behind of the Crucified ? Meek and sweet in the sun He stands, Drinking the air of His Syrian skies; Lifting to heaven toil-wearied hands, Seeing “ His Father ” with those mild eyes; Gazing from trestle and bench and saw, To the Kingdom kept for His rule above. O Christ, the Lord! we see with awe! Ah! Joseph’s Son! we look with love! Ah! Mary Mother! we watch with moans Marking that phantom thy sweet eyes see, That hateful Shadow upon the stones, That sign of a coming agony! Did it happen so once in Nazareth? Did a Christmas sun show such a sight, Making from Life a spectre of Death, Mocking our “ Light of the World ” with Light? $24 ADVANCED ELOCUTION He tells us—this artist—one Christmas-tide, The sunset painted that ominous Cross ; The shadows of evening prophesied’ The hyssop to Him, and to us the loss. For, her pang is the pang of us, every one: Wherever the Light shines the Shadow is; Where beams a smile must be. heard a moan; The anguish follows the flying bliss. Yon crown which the Magi brought to her, It makes a vision of brows that bleed ; Yon censer of spikenard and balm and myrrh, It looks on the wall like a “sponge and reed.” And, therefore, long ago was it written— Of a Christmas to come in the realms of Light— “The curse shall depart and death shall be smitten, And then there shall be no more night.” O Christ, our Lord, in that Shadowless Land, Be mindful of these sad shadows which lie! Look forth and mark what a woful band Of glooms attend us across Thy sky ! “ Christmas!” and hear what wars and woe! “Christmas!” and see what grief o’er all! Lord Christ! our suns shine out to show Crosses and thorns on Time’s old wall! So, if Thou art where that star gleams, Alcyone, or higher still, Send down one blessed ray which beams Free of all shadows—for they kill. Epwin ARNOLD. UTILIZING OUR FAILURES 825 UTILIZING OUR FAILURES. Permission of ‘‘ The Outlook,’’ New York. Le man or woman who feels the responsibility of making the best use of opportunities, and who has high standards of work, feels at times a great depression from a sense of falling below the level of occasions and of doing the worst when the occasion called for the best. It happens very often to such persons that, after the most thorough preparation, the performance falls lamentably below the aim and leaves behind it a sense of utter disap- pointment. This humiliation of spirit, which is the lot at times of all sensitive people who care more for their work than for themselves, may either become a source of weak- ness or a source of strength. It is the evidence of the divine possibilities of life that the defeats of to-day may be made the forerunners of the victories of to-morrow, and that the consciousness of failure may become in itself a new element of success. It was said of Peter the Great that he learned the art of war at the hand of his enemies, and that he was taught how to win victories by suffering a long and discouraging series of defeats. To say this of a man is to pay him the very highest tribute. As a student in the great school of life, it is to credit him with that openness of mind, that forgetfulness of self, and that ab- sence of personal vanity which characterize the true learner in any field. For failure, if it comes through no fault of our own, drives us back upon our hold on ultimate aims. It makes us aware how variable and uncertain is our own strength, and it teaches us to rely, not upon our- selves, but upon the greatness of the things with which we identify ourselves. A great object persistently pursued has power to unfold a noble out of a very commonplace man or woman, and to develop an almost unsuspected 826 ADVANCED ELOCUTION strength out of a mass of weakness. The shocks to our pride drive us out of ourselves into the greatness of the causes which we espouse; and the defeats which we suffer, if we take them aright, confirm us in our loyalty to the things for which we fight. It is painful to fail when we have made every preparation to succeed ; it is humiliating to produce an impression of weakness when we wish to make an impression of strength; but the supreme thing in life is to get our work done and to make the truth which we love prevail; and if the discipline of failure can be made to work for this end, it is a discipline neither to be dreaded nor to be avoided. LyMAN ABBOTT. —— O-U-G-H.° I'M taught p-l-o-u-g-h Shall be pronounce “ plow :” * Zat’s easy wen you know,” I say; “ Mon Anglais I'll get through.” My teacher say zat in zat case O-u-g-h is “00.” And zen I laugh and say to him, “ Zees Anglais makes me cough.” He say, “ Not coo, but in zat word O-u-g-h is ‘ off’ ” Oh! sacre bleu! such varied sounds Of words make me hiccough! He say, “ Again, mon friend ees wrong! O-u-g-h is ‘up’ In hiccough.” Zen I ery, “No more! You make my throat feel rough.” DESTRUCTION OF POMPEII 827 “Non! non!” he cry, “you are not right— O-u-g-h is ‘ uff. ” I say, “I try to speak your words, I can’t prononz them, though !” “In time you'll learn, but now you're wrong, O-u-g-h is ‘owe,’ ” “Tl try no more. I sall go mad— Tl drown me in ze lough !” “ But ere you drown yourself,” said he, “ Q-u-g-h is ‘ock.” He taught no more! I held him fast! And killed him wiz a rough! Cuarzzs B. Loomis. DESTRUCTION OF POMPEII. (From ‘‘ Last Days of Pompeii.’’) ee cloud, which had scattered so deep a murkiness over the day, had now settled into a solid and im- penetrable mass. It resembled less even the thickest gloom of a night in the open air than the close and blind darkness of some narrow room. But in proportion as the blackness gathered, did the lightnings around Vesuvius increase in their vivid and scorching glare. Nor was their horrible beauty confined to the usual hues of fire; no rainbow ever rivalled their varying and prodigal dyes. Now brightly blue as the most azure depth of a southern sky— now of a livid and snake-like green, darting restlessly to and fro as the folds of an enormous serpent—now of a lurid and intolerable crimson, gushing forth through the columns of smoke, far and wide, and lighting up the whole city from arch to arch—then suddenly dying into a sickly paleness, like the ghost of their own life! 328 ADVANCED ELOCUTION In the pauses of the showers, you heard the rumbling of the earth beneath, and the groaning waves of the tor- tured sea; or, lower still, and audible but to the watch of intensest fear, the grinding and hissing murmur of the escaping gases through the chasms of the distant mountain. Sometimes the cloud appeared to break from its solid mass, and, by the lightning, to assume quaint and vast mimicries of human or of monster shapes, striding across the gloom, hurtling one upon the other, and vanishing swiftly into the turbulent abyss of shade; so that, to the eyes and fancies of the affrighted wanderers, the unsub- stantial vapors were as the bodily forms of gigantic foes— the agents of terror and of death. The ashes in many places were already knee-deep; and the boiling showers which came from the steaming breath of the volcano forced their way into the houses, bearing with them a strong and suffocating vapor. In some places, immense fragments of rock, hurled upon the house roofs, bore down along the streets masses of confused ruin, which yet more and more, with every hour, obstructed the way; and as the day advanced, the motion of the earth was more sensibly felt—the footing seemed to slide and creep—nor could chariot or litter be kept steady, even on the most level ground. Sometimes the huger stones, striking against each other as they fell, broke into countless fragments emitting sparks of fire, which caught whatever was combustible within their reach; and along the plains beyond the city the darkness was now terribly relieved; for several houses, and even vineyards, had been set on flames; and at vari- ous intervals, the fires rose sullenly and fiercely against the solid gloom. To add to this partial relief of the dark- ness, the citizens had, here and there, in the more public places, such as the porticos of temples and the entrances to the forum, endeavored to place rows of torches ; but these DESTRUCTION OF POMPEII 329 rarely continued long; the showers and the winds ex- tinguished them, and the sudden darkness into which their fitful light was converted had something in it doubly ter- rible and doubly impressive on the impotence of human hopes, the lesson of despair. Frequently, by the momentary light of these torches, parties of fugitives encountered each other, some hurrying toward the sea, others flying from the sea back to the land ; for the ocean had retreated rapidly from the shore— an utter darkness lay over it, and, upon its groaning and tossing waves, the storm of cinders and rocks fell without the protection which the streets and roofs afforded to the land. Wild—haggard—ghastly with supernatural fears, these groups encountered each other, but without the leisure to speak, to consult, to advise; for the showers fell now frequently, though not continuously, extinguishing the lights, which showed to each band the death-like faces of the other, and hurrying all to seek refuge beneath the nearest shelter. The whole elements of civilization were broken up. Ever and anon, by the flickering lights, you saw the thief hastening by the most solemn authorities of the law, laden with, and fearfully chuckling over, the pro- duce of his sudden gains. If, in the darkness, wife was separated from husband, or parent from child, vain was the hope of reunion. Each hurried blindly and con- fusedly on. Nothing in all the various and complicated machinery of social life was left save the primal law of self-preservation ! * * * * * * In parts, where the ashes lay dry and uncommixed with the boiling torrents, cast upward from the mountain at capricious intervals, the surface of the earth presented a leprous and ghastly white. In other places, cinder and rock lay matted in heaps, from beneath which emerged the half-hid limbs of some crushed and mangled fugitive. 330 ADVANCED ELOCUTION The groans of the dying were broken by wild shrieks of women’s terror—now near, now distant—which, when heard in the utter darkness, were rendered doubly appalling by the crushing sense of helplessness and the uncertainty of the perils around; and clear and distinct through all were the mighty and various noises from the Fatal Moun- tain ; its rushing winds; its whirling torrents; and, from time to time, the burst and roar of some more fiery and fierce explosion. And ever as the winds swept howling along the street, they bore sharp streams of burning dust, and such sickening and poisonous vapors, as took away, for the instant, breath and consciousness, followed by a rapid revulsion of the arrested blood, and a tingling sensation of agony trembling through every nerve and fibre of the frame. * * * * * * Suddenly the place became lighted with an intense and lurid glow. Bright and gigantic through the darkness, which closed around it like the walls of hell, the mountain shone—a pile of fire! Its summit seemed riven in two; or rather, above its surface there seemed to rise two mon- ster shapes, each confronting each, as Demons contending for a World. These were of one deep blood-red hue of fire, which lighted up the whole atmosphere far and wide; but below, the nether part of the mountain was still dark and shrouded, save in three places, adown which flowed, serpentine and irregular, rivers of the molten lava. Darkly red through the profound gloom of their banks, they flowed slowly on as toward the devoted city. Over the broadest there seemed to spring a cragged and stupendous arch, from which, as from the jaws of hell, gushed the sources of the sudden Phlegethon. And through the stilled air was heard the rattling of the fragments of rock, hurtling one upon another as they were borne down the fiery cataracts—darkening, for one instant, the spot where DESTRUCTION OF POMPEII 331 they fell, and suffused the next, in the burnished hues of the flood along which they floated ! * * * * * * But suddenly a duller shake fell over the air, and be- hold! one of the two gigantic crests, into which the sum- mit had been divided,-rocked and wavered to and fro; and then, with a sound, the mightiness of which no language can describe, it fell from its burning base, and rushed, an avalanche of fire, down the sides of the moun- tain! At the same instant gushed forth a volume of blackest smoke—rolling on, over air, sea, and earth. Another—and another—and another shower of ashes, far more profuse than before, scattered fresh desolation along the streets. Darkness once more fell upon the earth. * * * * * * Meekly, softly, beautifully, dawned at last the light over the trembling deep !—the winds were sinking into rest— the foam died from the glowing azure of that delicious sea. Around the east, thin mists caught gradually the rosy hues that heralded the morning; Light was about to resume her reign. Yet, still, dark and massive in the distance, lay the broken fragments of the destroying cloud, from which red streaks, burning dimlier and more dim, betrayed the yet rolling fires of the mountain of the “Scorched Fields.” The white walls and gleaming columns that had adorned the lovely coasts were no more. Sullen and dull were the shores so lately crested by the cities of Herculaneum and Pompeii. Century after cen- tury shall the mighty Sea stretch forth her azure arms, and know them not—moaning round the sepulchres of the Lost! sas E. Butwer Lytton. 832 ADVANCED ELOCUTION KNEE-DEEP IN JUNE, Permission of The Bowen-Merrill Company, Indianapolis, Ind. ELL you what I like the best— *Long about knee-deep in June, *Bout the time strawberries melts On the vine,—some afternoon Like to jes’ git out and rest, And not work at nothin’ else! Orchard’s where I’d ruther be— Needn’t fence it in fer me! “Jes’ the whole sky overnead, And the whole airth underneath— Sorto’ so’s a man kin breathe Like he ort, and kindo’ has Elbow-room to keerlessly Sprawl out len’thways on the grass Where the shadders thick and soft As the kivvers on the bed Mother fixes in the loft Allus, when they’s company ! Jes’ a sorto’ lazein’ there— S'lazy, ’at you peek and peer Through the wavin’ leaves above, Like a feller ’ats in love And don’t know it, ner don’t keer! Ever’thing you hear and see Got some sort o’ interest— Maybe find a bluebird’s nest Tucked up there conveenently Fer the boys ’ats apt to be Up some other apple-tree! KNEE-DEEP IN JUNE 833 Watch the swallers skootin’ past *Bout as peert as you could ast; Er the Bobwhite raise and whiz Where some other’s whistle is. Ketch a shadder down below, And look up to find the crow; Er a hawk away. up there, *Pearantly froze in the air! Hear the old hen squawk, and squat Over every chick she’s got, Suddent-like !—And she knows where _ That-air hawk is, well as you! You jes’ bet yer life she do! Eyes a-glitterin’ like glass, Waitin’ till he makes a pass! Pee-wees’ singin’, to express My opinion’s second class, Yit you'll hear ’em more er less; Sapsucks gittin’ down to biz, Weedin’ out the lonesomeness ; Mr. Bluejay, full o” sass, In them base-ball clothes o’ his, Sportin’ ’round the orchard jes’ Like he owned the premises! Sun out in the fields kin sizz, But flat on yer back, I guess, In the shade’s where glory is! That’s jes’ what I’d like to do Stiddy fer a year er two! Plague! ef they aint sompin’ in Work ’at kindo’ goes ag’in My convictions !—long about 334 ‘ADVANCED ELOCUTION | Here in June especially !— Under some old apple-tree, Jes’ a-restin’ through and through, I could git along without Nothin’ else at all to do Only jes’ a-wishin’ you Was a-gittin’ there like me, And June was eternity ! Lay out there and try to see Jes’ how lazy you kin be!— Tumble round and souse yer head In the clover-bloom, er pull Yer straw hat acrost yer eyes, And peek through it at the skies, Thinkin’ of old chums ’ats dead, Maybe, smilin’ back at you In betwixt the beautiful Clouds o’ gold and white and blue! Month a man kin railly love— June, you know, I’m talkin’ of! March aint never nothin’ new! April’s altogether too Brash fer me! and May—lI jes’ ’*Bominate its promises,— Little hints o’ sunshine and Green around the timber-land— A few blossoms, and a few Chip-birds, and a sprout er two— Drap asleep, and it turns in ’Fore daylight and snows agin! But when June comes—Clear my throat With wild honey! Rench my hair In the dew! and hold my coat! DANGERS TO OUR REPUBLIC 335 Whoop out loud! and throw my hat! June wants me, and I’m to spare! Spread them shadders anywhere, Tl git down and waller there, And obleeged to you at that! JAMES WuItcomsB RILEY. DANGERS TO OUR REPUBLIC. HO are this host of voters crowding to use the free- man’s right at the ballot-box? In all the dread catalogue of mortal sins there is not one but, in that host of voters, there are hearts that have willed and hands that have perpetrated it. The gallows has spared its victims, the prison has re- leased its tenants; from dark cells, where malice had brooded, where revenge and robbery had held their nightly rehearsals, the leprous multitude is disgorged and comes up to the ballot-box to foredoom the destinies of this nation. But look again, at that deep and dense array of igno- rance, whose limits the eye cannot discover. Its van leans against us here, its rear is beyond the distant hills. They, too, in this hour of their country’s peril, have come up to turn the folly of which they are not conscious into measures which they cannot understand by votes which they cannot read. Nay, more, and worse! for, from the ranks of crime emissaries are sallying forth toward the ranks of ignorance, shouting the war-cries of faction, and flaunting banners with lying symbols, such as cheat the eye of a mindless brain; and thus the hosts of crime are to lead on the hosts of ignorance in their assault upon Liberty and Law! What now shall be done to save the citadel of freedom, 386 ADVANCED ELOCUTION where are treasured all the hopes of posterity? Or, if we can survive the peril of such a day, what shall be done to prevent the next generation from sending forth still more numerous hordes, afflicted with deeper blindness and in- cited by darker depravity ? Are there any here who would counsel us to save the people from themselves by wresting from their hands this formidable right of ballot? Better for the man who would propose this remedy to an infuriated multitude that he should stand in the lightning’s path as it descends from heaven to earth. And answer me this question, you who would re-conquer for the few the power which has been won by the many— you who would disfranchise the common mass of man- kind, and re-condemn them to become helots and bondmen and feudal serfs—tell me, were they again in the power of your castes, would you not again neglect them, again op- press them, again make them slaves ? Better that these blind Samsons, in the wantonness of their gigantic strength, should tear down the pillars of the Republic, than that the great lesson which Heaven, for six thousand years, has been teaching to the world should be lost upon it—the lesson that the intellectual and moral nature of man is the one thing precious in the sight of God, and therefore that, until this nature is cultivated and enlightened and purified, neither opulence nor power nor learning nor genius nor domestic sanctity nor the holi- ness of God’s altars can ever be safe. Until the immortal and godlike capacities of every being that comes into the world are deemed more worthy, are watched more tenderly than any other things, no dynasty of men nor form of government can stand or shall stand upon the face of the earth; and the force or the fraud which would seek to uphold them shall be but “as fetters of flax to bind the flame.” Horace Mann. A TRIBUTE TO WOMAN 337 A TRIBUTE TO WOMAN. (From “ Drama of Exile.’’) “ TT ENCEFORWARD, woman, rise To thy peculiar and best attitudes Of doing good and of enduring ill; Of comforting for ill, and teaching good, And reconciling all that ill and good Unto the patience of a constant hope. .... Ifsin came by thee, And by sin, death, the ransom, righteousness, The heavenly life and compensative rest Shall come by means of thee. If woe by thee Had issue to the world, thou shalt go forth An angel of the woe thou didst achieve ; Found acceptable to the world instead Of others of that name, of whose bright steps Thy deed stripped bare the hills. Be satisfied ; Something thou hast to bear through womanhood— Peculiar suffering answering to the sin ; Some pang paid down for each new human life, Some weariness in guarding such a life; Some coldness from the guarded; some mistrust From those thou hast too well served ; from those beloved Too loyally, some treason; feebleness Within thy heart and cruelty without ; And pressure of an alien tyranny, With its dynastic reasons of larger bones And stronger sinews. But go to! thy love Shall chant itself its own beatitudes, After its own life-working. A child’s kiss Set on thy sighing lips, shall make thee glad. A poor man served by thee, shall make thee rich; An old man helped by thee shall make thee strong; Thou shalt be served thyself by every sense Of service which thou renderest.” 22 Mrs. Brownine. “é 338 ADVANCED ELOCUTION THE POWER OF FREE IDEAS. HIE American Revolution was not the struggle of a class, but of a people. A two-penny tax on tea or paper was not the cause, it was only the occasion of the Revolution. The spirit which fought the desperate and disastrous battle on Long Island was not a spirit which could be guided by the promise of sugar gratis. The chance of success was slight; the penalty of failure was sure; but they believed in God; they kissed wife and child, left hens in His hand, and Kept their powder dry. Then to Valley Forge, the valley of the shadow of death, with feet bleeding upon the sharp ground, with hunger, thirst, and cold dogging their steps; with ghastly death waiting for them in the snow, they bore that faith in ideas which brought their fathers over a pitiless sea to a pitiless shore. Ideas were their food; ideas were their coats and camp-fires. They knew that their ranks were thin and raw, and the enemy trained and many; but they knew, also, that the only difficulty with the proverb that “God fights upon the side of the strongest,” is that it is not true. If you load your muskets with bullets only, the result is sim- ply a question of numbers; but one gun loaded with an idea is more fatal than the muskets of a whole regiment. A bullet kills a tyrant, but an idea kills tyranny. What chance have a thousand men fighting for a six- pence a day against a hundred fighting for life and liberty, for home and native land? In such hands the weapons themselves feel and think. And so the family firelocks and rusty swords, the horse-pistols and old scythes of our fathers thought terribly at Lexington and Monmouth, at Saratoga and Eutaw Springs. The old Continental mus- kets thought out the whole Revolution. The English and Hessian arms were better and brighter than ours, but they oo, THE POWER OF FREE IDEAS 839 were charged with saltpetre ; ours were loaded and rammed home with ideas. Why is it that of late years there is a disposition to smile at the great faith of our fathers, to excuse it, to ex- plain it away, or even to sneer at it as an abstraction or a glittering generality? Have modern rhetoricians found something surer than moral principles? Have they dis- covered a force in politics subtler and more powerful than the Divine law? or a cup es of human government than universal justice? You may pluck the lightning harmless from the clouds, but there is no conductor for the divine rage of a people demanding its national rights. What are your spears, O Xerxes? what are your slings, proud Persian, with your two million soldiers sheeting the plains of Greceo with splendor and roaring, like the jubi- lant sea, along the Pass of Thermopyle ? There stands Leonidas with his three hundred, rock-like; and they beat you back with an idea. Bourbon of Naples! You may extinguish AZtna, but the'fire that burns in the Sicilian heart is immortal, in- extinguishable. Yes! it is an idea, invisible, abstract, but it has molded all human history to this hop Liberty is justified of her children. Whom does the world at this moment fold to its heart? Who are held up before our eyes by Provi- dence, like bullets plainly displayed before they are dropped into the barrel and shot home to the mark of God’s purpose? Who now walk through the world, each step giving life and liberty and hope to the people? By the blessing of God, the contest has changed from the sword to the ballot; and the hope of liberty secured by * law was never in the history of man so bright as it is to- day] GrorcE WILLIAM CURTIS, 840 ADVANCED ELOCUTION THE MILLER OF DEE. LE moon was afloat, Like a golden boat On the sea-blue depths of the sky, When the miller of Dee, With his children three, On his fat, red horse rode by. “Whither away, O miller of Dee? Whither away so late?” Asked the tollman old, with cough and sneeze, As he passed the big toll-gate. . But the miller answered him never a word, Never a word spake he. He paid his toll, and he spurred his horse, And rode on with his children three. “ He’s afraid to tell!” quoth the old tollman, “ He’s ashamed to tell!” quoth he. “ But Pll follow you up and find out where You are going, O miller of Dee!” The moon was afloat, Like a golden boat Nearing the shore of the sky, When, with cough and wheeze, And hands on his knees, The old tollman passed by. “Whither away, O tollman old? Whither away so fast?” Cried the milkmaid who stood at the farm-yard bars, When the tollman old swept past. THE MILLER OF DEE 341 The tollman answered her never a word; Never a word spake he. Scant breath had he at the best to chase After the miller of Dee. “He won’t tell where!” Said the milkmaid fair, “But Dll find out!” cried she. And away from the farm, With her pail on her arm, She followed the miller of Dee. The parson stood in his cap and gown, Under the old oak tree. “And whither away with your pail of milk, My pretty milkmaid ?” said he; But she hurried on with her brimming pail, And never a word spake she. “She won’t tell where!” the parson cried. “Tis my duty to know,” said he. And he followed the maid who followed the man, Who followed the miller of Dee. After the parson, came his wife, The sexton he came next. After the sexton the constable came, Troubled and sore perplext. After the constable, two ragged boys, To see what the fun would be; And a little black dog, with only one eye, Was the last of the nine who, with groan and sigh, Followed the miller of Dee. 1 \ ' | i B42 ADVANCED ELOCUTION Night had anchored the moon, Not a moment too soon, Under the lee of the sky; For the wind it blew, And the rain fell, too, And the river of Dee ran high. He forded the river, he climbed the hill, He and his children three; But wherever he went they followed him still, That wicked miller of Dee! Just as the clock struck the hour of twelve The miller reached home again ; And when he dismounted and turned—behold ! Those who had followed him over the wold Came up in the pouring rain. Splashed and spattered from head to foot, Muddy and wet and draggled, Over the hill and up to the mill, That wet company straggled. They all stopped short; and then out spake The parson, and thus spake he: “What do you mean by your conduct to-night, You wretched miller of Dee?” “T went for a ride, a nice cool ride, IT and my children three; For I took them along, as I always do,” Answered the miller of Dee. “But you, my friends, I would like to know Why you followed me all the way?” They looked at each other—“ We were out for a walk. A nice cool walk !” said they. ’ Eva L. Oapen. SUCCESS 343 SUCCESS. By permission of and arrangement with Houghton, Mifflin & Co., Boston, Mass. VERY man must patiently bide his time. He must wait. More particularly in lands like my native land, where the pulse of life beats with such feverish and impatient throbs, is the lesson needful. Our national character wants the dignity of repose. We seem to live in the midst of a battle—there is such a din, such a hur- tying to and fro. In the streets of a crowded city it is difficult to walk slowly. You feel the rushing of the crowd, and rush with it onward. In the press of our life it is difficult to be calm. In this stress of wind and tide all professions seem to drag their anchors, and are swept out into the main. The voices of the Present say, “Come!” But the voices of the Past say, “Wait!” With calm and solemn foot- steps the rising tide bears against the rushing torrent up- stream, and pushes back the hurrying waters. With no less calm and solemn footsteps, nor less certainty, does a great mind bear up against public opinion, and push back its hurrying stream. Therefore should every man wait—should bide his time. Not in listless idleness, not in useless pastime, not in querulous dejection—but in constant, steady, cheer- ful endeavors, always willing and fulfilling and accom- plishing his task, that, when the occasion comes, he may be equal to the occasion. And if it never comes, what matters it? What matters it to the world whether you or I or another man did such a deed or wrote such a book, so be it the deed and book were well done? It is the part of an indiscreet and troublesome ambition to care too much about fame— about what the world says of us;-—to. be always looking- 344 ADVANCED ELOCUTION into the faces of others for approval ; to be always anxious for the effect of what we do and say ; to be always shouting to hear the echo of our own voices. H. W. Lonerettow. THE FIRE BY THE SEA. From Mary Clemmer Ames’ Life of Alice and Phoebe Cary. By permission of and arrangement with Messrs. Houghton, Mifflin & Co., pub- lishers of the works of Alice and Pheebe Cary. HERE were seven fishers, with nets in their hands, And they walked and talked by the seaside sands ; Yet sweet as the sweet dew fall The words they spake, though they spake so low, Across the long, dim centuries flow, And we know them, one and all— Aye! know them and love them all. Seven sad men in the days of old, And one was gentle, and one was bold, And they walked with downcast eyes; The bold was Peter, the gentle was John, And they all were sad, for the Lord was gone, And they knew not if He would rise— Knew not if the dead would rise. The livelong night, till the moon went out In the drowning waters, they beat about; Beat slow through the fog their way, And the sails drooped down with wringing wet, And no man drew but an empty net, And now ’twas the break of day— The great, glad break of day. “Cast in your nets on the other side!” (Twas Jesus speaking across the tide 3) And they cast and were dragging hard; THE FIRE BY THE SEA 345 But that disciple whom Jesus loved Cried straightway out, for his heart was moved: “Tt is our risen Lord— Our Master, and our Lord !” Then, Simon, girding his fisher’s coat, Went over the nets and out of the boat— Aye! first of them all was he; Repenting sore the dismal past, He feared no longer his heart to cast Like an anchor into the sea— Down deep in the hungry sea. And the others, through the mists so dim, In a little ship came after him, Dragging their net through the tide; And when they had gotten close to the land They saw a fire of coals on the sand, And, with arms of love so wide, Jesus, the crucified ! Tis long, and long, and long ago Since the rosy lights began to flow O’er the hills of Galilee; And with eager eyes and lifted hands The seven fishers saw on the sands The fire of coals by the sea— On the wet, wild sands by the sea. Tis long ago, yet faith in our souls Is kindled just by that fire of coals That streamed o’er the mists of the sea, Where Peter, girding his fisher’s coat, Went over the nets and out of the boat, To answer, “ Lov’st thou me?” Thrice over, “ Lov’st thou me?” , PH@BE Cary, 346 ADVANCED ELOCUTION OLD DADDY TURNER. i hee was the picture in front of “Old Daddy Turner's ” cabin in the “ Kaintuck ” quarter the other afternoon: Two colored men sitting on a wash-bench, silent and sor- rowful ; an old dog sleeping in the sun at their feet ; and a colored woman calling to a boy who was on the fence, “Now, Jeems Henry, you git right down from dat! Doan’ you know dat Daddy Turner am jist on de p’int of dyin’ and gwine up to hebben ?” Here was the picture inside. The poor old white- headed man lying on his dying bed, flesh wasted away and strength departed. N ear_h him sat his faithful old wife, rocking to and fro and inoaning and grieving. Farther away was a colored man and woman, solemn-faced and sad-hearted, and shaking their heads as they cast glances toward the bed. Fora long time the old man lay quiet and speechless, but at length he signed to be propped up. A sun as warm as spring-time poured into the room. He took notice of it, and a change came to his face as his eyes roe upon his grieving wife. “ze bin gwine back in my mind,” he whispered, as he reached out his thin hand for her to clasp. “ Fur ober fo’ty y’ars we’s trabbled ‘long de same path. We sung de same songs, we prayed de same prayers; we had hold of han’s when we ’lited in de gospel ranks, an’ sot our faces to’rds de golden gates of hebben. Ole woman, Ize gwine to part wid you! Yes, Ize gwine ter leave yer all alone.” “O Daddy! Daddy!” she wailed as she leaned over him. “Doan’t take on so, chile! It’s de Lawd’s doin’s, not mine. To-morrow de sun may be as bright an’ warm, but de ole man won’t be heah. All de arternoon Ize had glimpses of a shady path leadin’ down to de shor’ of a big OLD DADDY TURNER 347 broad ribber. Ize seen people gwine down dar to cross ober, an’ in a leetle time I’ll be wid em.” _ She put her wrinkled face on the pillow beside his, and sobbed ; and he placed his hand on her head, and said :— “Tt’s de Lawd, chile—de bressed Lawd ! Chile, Ize tried to be good to yer. You has been good tome. We am nuffin but ole cull’d folks, po’ in ebery ting, but tryin’ to do right by ebery body. When dey tole me I’d got to die, I wasn’t sartin if de Lawd wanted a po’ old black man like me up dar. Yes, chile, He will! Dis mawnin’ I heard de harps playin’, de rustle of wings, an’ a cloud sorter lifted’ up, an’I got a cl’ar view right frew de pearly gates. Isaw ole slaves an’ nayburs dar, an’ dey was jist as white as any- body; an’ a hundred han’s beckoned me to come right up dar ’mong ’em.” “O Daddy! T’ll be all alone—all alone!” she wailed. “Hush, chile! Izegwine to be lookin’ down on ye. Ize gwine to put my han’ on yer head an’ kiss ye when yer heart am big wid sorrow; an’ when night shets down, an’ you pray to de Lawd, I'll be kneelin’ ‘long side of ye. Ye won’t see me, but I'll be wid ye. You’s ole an’ gray. It won’t be long before yell git de summons. In a little time de cloud will lif’ fur ye, an’ I'll be right dar by de pearly gates to take ye in my arms.” “ But I can’t let you go; I will hold you down heah wid me!” “Chile! Izesorry for ye, but Ize drawin’ nigh dat shady path. Hark! I kin h’ah de footsteps of de mighty parade of speerits marchin’ down to de broad ribber! Dey will dig a grave, an'lay my ole bones dar, an’ in a week all de world but you will forgit me. But doan’ grieve, chile. De Lawd isn’t gwine to shet de gates on me’cause I’m ole an’ po’ an’ black. I kin see dem shinin’ way up dar—see our boy at de gate—ha’h de sweetest music dat angels kin play! Light de lamp, chile, ‘cause de night has come !” 348 ADVANCED ELOCUTION “Oh! he’s gwine—he’s gwine!” she wailed, as her tears fell upon his face. “Chile! hold my han’! Ober heah am de path. I kin see men an’ women an’ chil’en marchin’ long! Furder down am de sunlight. It shines on de great ribber. Ober de ribber am—de—gates—of ”— Of heaven! On earth, old and poor and low: beyond the gates, an angel with the rest. Detroit FREE PREss. A MOTHER’S LAMENT. HERE art thou, my beloved son! Where art thou! worse to me than dead? Oh! find me, prosperous or undone! Or, if the grave be now thy bed, Why am I ignorant of the same, That I may rest; and neither blame Nor sorrow may attend thy name? Seven years, alas! to have received No tidings of an only child; To have despair’d, have hoped, believed, And been forevermore beguiled— Sometimes with thoughts of very bliss! I catch at them, and then I miss; Was ever darkness like to this? He was among the prime in worth, An object beauteous to behold ; Well born, well bred; I sent him forth Ingenuous, innocent, and bold ; If things ensued that wanted grace As hath been said, they were not base, And never blush was on my face. A MOTHER’S LAMENT 349 Ah! little doth the young one dream, When full of play and childish cares, What power is in his wildest scream Heard by his mother unawares! He knows it not, he cannot guess; Years to a mother bring distress, But do not make her love the less. Neglect me! No, I suffered long From that ill thought, and, being blind, Said “ Pride shall help me in my wrong; Kind mother have I been; as kind As ever breathed ;” and that is true; I’ve wet my path with tears like dew Weeping for him when no one knew. My son, if thou be humbled, poor, Hopeless of honor and of gain, Oh! do not dread thy mother’s door; Think not of me with grief and pain; I now can see with better eyes, And worldly grandeur I despise, And fortune with her gifts and lies. Alas! the fowls of heaven have wings, And blasts of heaven will aid their flight ; They mount—how short a voyage brings The wanderers back to their delight! Chains tie us down by land and sea; And wishes, vain as mine, may be All that is left to comfort thee. Perhaps some dungeon hears thee groan, Maim’d, mangled by inhuman men ; Or thou, upon a desert thrown, Inheritest the lion’s den ; 350 ADVANCED ELOCUTION Or hast been summon’d to the deep; Thou, thou, and all thy mates, to keep An incommunicable sleep. I look for ghosts, but none will force Their way to me; ’tis falsely said That there was ever intercourse Between the living and the dead; For surely then I should have sight Of him I wait for day and night, With love and longings infinite, My apprehensions come in crowds; I dread the rustling of the grass; The very shadows of the clouds Have power to shade me as they pass; T question things, and do not find One that will answer to my mind, And all the world appears unkind. Beyond participation lie My troubles, and beyond relief. If any chance to heave a sigh, They pity me, and not my grief. Then come to me, my son, or send Some tidings that my woes may end. I have no other earthly friend. WiLtiam WorpDsworTH. THE POWER OF MUSIC. OME years since I attended the National Peace Jubilee held in Boston. Forty thousand people sat or stood in the great Coliseum erected for that purpose. Thousands of wind and stringed instruments. Twelve thousand trained THE POWER OF MUSIC 351 voices. The masterpieces of all ages rendered hour after hour, and day after day—Handel’s “Judas Maccabseus,” Spohr’s “ Last Judgment,” Beethoven’s “ Mount of Olives,” Haydn’s “ Creation,” Mendelssohn’s “ Elijah,” Meyerbeer’s “Coronation March,” rolling on and up in surges that billowed against the heavens. The mighty cadences within were accompanied on the outside by the ringing of the bells of the city and cannon on the commons, discharged by electricity, in exact time with the music, thundering their awful bars of a harmony that astounded all nations. Sometimes I bowed my head and wept. Sometimes I stood up in the enchantment, and sometimes the effect was so overpowering I felt I could not endure it. When all the voices were in full chorus, and all the batons in full wave, and all the orchestra in full triumph, and a hundred anvils under mighty hammers were in full clang, and all the towers of the -city rolled in their majestic sweetness, and the whole building quaked with the boom of thirty cannon, Parepa Rosa, with a voice that will never again be equaled on earth until the archangelic voice proclaims that time shall be no longer, rose above all other sounds in her rendering of our national air, the Star Spangled Banner. It was too much for a mortal, and quite enough for an immortal, to hear, and while some fainted, one womanly spirit, released under its power, sped away to be with God. O Lord, our God, quickly usher in the whole world’s peace jubilee, and all islands of the sea join the five con- tinents, and all the voices and musical instruments of all nations combine, and all the organs that ever sounded re- quiem of sorrow sound only a grand march of joy, and all the bells that tolled for burial ring for resurrection, and all the cannon that ever hurled death across the nations, sound to eternal victory, and over all the acclaim of earth 3852 ADVANCED ELOCUTION and minstrelsy of heaven there will be heard one voice sweeter and mightier than any human or angelic voice, a voice once full of tears, but then full of triumph, the voice of Christ, saying: “I am Alpha and Omega, the beginning and the end, the first and the last.” Then, at the laying of the top-stone of the world’s history, the same voices shall be heard as when at the laying of the world’s corner-stone “ the morning stars sang together.” T. DE Wirt TaLMaGE. LOSSES. PON the white sea-sand There sat a pilgrim band, Telling the losses that their lives had known; While evening waned away From breezy cliff and bay, And the strong tides went out with weary moan. One spake, with quivering lip, Of a fair freighted ship, With all his household to the deep gone down; But one had wilder woe— For a fair face, long ago Lost in the darker depths of a great town. There were who mourned their youth With a most loving ruth, For its brave hopes and memories ever green ; And one upon the west Turned an eye that would not rest, For far-off hills whereon its joy had been. Some talked of vanished gold, Some of proud honors told, EDUCATION 3538 Some spoke of friends that were their trust no more : And one of a green grave Beside a foreign wave, That made him sit: so lonely on the shore. But when their tales were done, There spake among them one, A stranger, seeming from all sorrow free; “Sad losses have ye met, But mine is heavier yet; For a believing heart hath gone from me.” “ Alas!” these pilgrims said, “For the living and the dead— For fortune’s cruelty, for love’s sure cross, For the wrecks of land and sea! But, however it came to thee, ; Thine, stranger, is life’s last and heaviest loss.” Frances Brown. EDUCATION. ERE a being of.an understanding mind and a benevo. lent heart, to see, for the first time, a peaceful babe reposing in its cradle, or on its mother’s breast, and were he to be told that that infant had been so constituted that every joint and organ in its whole frame might become the rendezvous of disease and racking pains; that such was its internal structure that every nerve and fibre beneath its skin might be made to throb with a peculiar torture ; that in the endless catalogue of human disasters, maladies, ad- versities, or shames, there was scarcely one to which it would not be exposed; that, in the whole criminal law of society, and in the more comprehensive and self-executing law of God there was not a crime which its heart might not at some time will, and its hand perpetrate; that, in 23 854 ADVANCED ELOCUTION the ghastly host of tragic passions—Fear, Envy, Jealousy, Hate, Remorse, Despair—there was not one which might not lacerate its soul, and bring down upon it an appropri- ate catastrophe—were the benevolent spectator whom I have supposed, to see this environment of ills underlying, surrounding, overhanging their feeble and unconscious victim, and, as it were, watching to dart forth and seize it, might he not be excused for wishing the newly-created spirit well back again into nonenity ? But we cannot return to nonenity. We have no refuge in annihilation. Creative energy has been exerted. Our first attribute, the vehicle of all our other attributes, is immortality. We are of indestructible mold. Do what else we please with our nature and our faculties, we cannot annihilate them. Go where we please, self-desertion is impossible. Banished, we may be, from the enjoyment of God, but never from His dominion. There is no right or power of expatriation. There is no neighboring universe to fly to. If we forswear allegiance, it is but an empty form, for the laws by which we are bound do not only sur- round us, but are in us, and parts of us. Whatsoever other things may be possible, yet to break up or suspend this perpetuity of existence; to elude this susceptibility to pains, at once indefinite in number and indescribable in severity ; to silence conscience, or to say that it shall not hold dominion over the soul ; to sink the past in oblivion; or to alter any of the conditions on which Heaven has made our bliss and our woe depend—these things are im- possible. Personality has been given us, by which we must refer all sensations, emotions, resolves, to our con- scious selves. Identity has been given us, by virtue of which, through whatever ages we exist, our whole being is made a unity. Now, whether curses or blessings, by these conditions of our nature we must stand; for they are appointed to us by a law higher than Fate—by the law of God. Horace Mann. NATIONAL GREATNESS 855 THE LAND O’ THE LEAL. ° wearing awa’, Jean, Like snaw when its thaw, Jean; Pm wearing awa’ To the land o’ the leal. There’s nae sorrow there, Jean; There’s neither cauld nor care, Jean ; The day is aye fair In the land o’ the leal. Ye were aye leal and true, Jean; Your task’s ended noo, Jean, And I'll welcome you To the land o’ the leal. Our bonnie bairn’s there, Jean ; She was baith good and fair, Jean; O, we grudged her right sair To the land o’ the leal! Then dry that tearfw’ e’e, Jean; My soul langs to be free, Jean, And angels wait on me In the land o’ the leal. Now fare ye weel, my ain Jean; This warld’s care is vain, Jean ; We'll meet and eye be fain In the land o’ the leal. Lapy Naren. NATIONAL GREATNESS. BELIEVE there is no permanent greatness to a nation except it be based upon morality. I do not care for military greatness or military renown. I care for the condi- tion of the people among whom I live. There is no man in 356 ADVANCED ELOCUTION England who is less likely to speak irreverently of the crown and monarchy of England than I am; but crowns, coro- nets, miters, military display, the pomp of war, wide colo- nies, and a huge empire are, in my view, all trifles light as air, and not worth considering, unless with them you can have a fair share of comfort, contentment, and happiness among the great body of the people. Palaces, baronial castles, great halls, stately mansions, do not make a nation. The nation, in every country, dwells in the cottage; and unless the light of your constitution can shine there, unless the beauty of your legislation and excellence of your state- manship are impressed there in the feelings and condition of the people, rely upon it you have yet to learn the duties of government. JoHN BricHt. THE LAWYER’S LULLABY. (From the Outlook.) BE still, my child! remain in statu quo, While I propel thy cradle to and fro, Let no involved res inter alios ' Prevail while we’re consulting inter nos. Was that a little pain in medias res? Too bad! too bad! we’ll have no more of these. T’ll send a capias for some wise expert Who knows how to eject the pain and stay the hurt, No trespasser shall come to trouble thee ; For thou dost own this house in simple fee— And thy administrators, heirs, assigns, To have, to hold, convey, at thy designs. Correct thy pleadings, my own baby boy; Let there be an abatement of thy joy; Quash every tendency to keep awake, And verdict, costs, and judgment thou shalt take. F. H. CogeswEnn. PROSPICE 357 PROSPICE. i death ?—to feel the fog in my throat, The mist in my face, When the snows begin, and the blasts denote I am nearing the place, The power of the night, the press of the storm, The post of the foe; Where he stands, the Arch Fear in a visible form, Yet the strong man must go: For the journey is done and the summit attained, And the barriers fall, Though a battle’s to fight ere the guerdon be gained, The reward of it all. I was ever a fighter, so—one fight more, The best and the last! I would hate that death bandaged my eyes, and forbore, And bade me creep past. No! let me taste the whole of it, fare like my peers The heroes of old, Bear the brunt, in a minute pay glad life’s arrears Of pain, darkness, and cold. For sudden the worst turns the best to the brave, The black minute’s at end, And the elements’ rage, the fiend-voices that rave, Shall dwindle, shall blend, Shall change, shall become first a peace out of pain, Then a light, then thy breast, O thou soul of my soul! I shall clasp thee again, And with God be the rest! Rosert BRownIine. 358 ADVANCED ELOCUTION THE GRAVE. Permission of G. P. Putnam's Sons, New York. H, the grave! the grave! It buries every error; covers every defect; extinguishes every resentment. From its peaceful bosom spring none but fond regrets and tender recollections. Who can look down upon the grave even of an enemy, and not feel a compunctious throb, that ever he should have warred with the poor handful of earth that lies moldering before him? But the grave of those he loved, what a place for meditation! Then it is we call up, in long review, the whole history of virtue and gen- tleness, and the thousand endearments lavished upon us, almost unheeded, in the daily intercourse of intimacy; then it is we dwell upon the tenderness, the solemn and awful tenderness of the parting scene; the bed of death, with all the stifled grief; its noiseless attendants, its mute, . watchful assiduities; the last testimonies of expiring love ; the feeble, fluttering, thrilling—oh, how thrilling !— pressure of the hand; the last, fond look of the glazed eye, turning upon us, even from the threshold of exist- ence; the faint, faltering accents struggling in death to give one more assurance of affection! Aye, go to the grave of buried love and meditate! There settle the account with thy conscience, for every past endearment, unregarded, of that departed being, who never, never, never can return, to be soothed by contrition ! If thou art a child, and hast ever added a sorrow to the soul, or a furrow to the silvered brow of an affectionate parent; if thou art a husband, and hast ever caused the fond bosom that ventured its whole happiness in thy arms, to doubt one moment of thy kindness or thy truth; if thou art a friend, and hast ever wronged in thought, or word, or deed, the spirit that generously con- fided in thee; if thou art a lover and hast ever given an unmerited pang to the true heart that now lies cold and MOLLY CAREW 359 still beneath thy feet; then be sure that every unkind look, every ungracious word, every ungenteel action, will come thronging back upon thy memory, and knocking dolefully at thy soul; then be sure thou wilt be down, sorrowing and repentant on the grave, and utter the un- heard groan, and pour the unavailing tear, more deep, more bitter, because unheard and unavailing. WasHincTon IRvING. MOLLY CAREW. CH hone! and what will I do? Sure my love is all crost Like a bud in the frost; And there’s no use at all in my going to bed, For ‘tis dhrames and not sleep comes into my head, And ’tis all about you, My sweet Molly Carew— And indeed ’tis a sin and a shame; Yowre complater than Nature In every feature, The snow can’t compare With your forehead so fair, And I rather would see just one blink of your eye Than the purtiest star that shines out of the sky, And by this and by that, For the matter o’ that, You're more distant by far than that same! Och hone! weirasthru! I’m alone in this world without you. Och hone! but why should I spake Of your forehead and eyes, When your nose it defies Paddy Blake, the schoolmaster, to put it in rhyme? Tho’ there’s one Burke, he says, that would call it snublime, 360 ADVANCED ELOCUTION And then for your cheek ! Troth, ‘twould take him a week Its beauties to tell, as he’d rather. Then your lips! oh, machree! In their beautiful glow, They a patthern might be For the cherries to grow. "Twas an apple that tempted our mother, we know, For apples were scarce, I suppose, long ago; But at this time o’ day, "Pon my conscience I’ll say Such cherries might tempt a man’s father ! Och hone! weirasthru ! I’m alone in this world without you. Och hone! by the man in the moon, You taze me all ways That a woman can plaze, For you dance twice as high with that thief Pat Magee, As when you take share of a jig, dear, with me, Tho’ the piper I bate, For fear the owld chate Wouldn’t play you your favourite tune ; And when yow’re at mass My devotion you crass, For ‘tis thinking of you Iam, Molly Cazew, While you wear, on purpose, a bonnet so deep, That I can’t at your sweet purty face get a peep :— Oh, lave off tliat bonnet, Or else I'll lave on it The loss of my wandherin’ sowl! Och hone! weirasthru |! Och hone! like an owl, Day iis night, dear, to me, without you! THE UNION 361 Och hone! don’t provoke me to do it; For there’s girls by the score That loves me—and more, And you’d look very quare if some morning you’d meet My weddin’ all marchin’ in pride down the sthreet ; Troth, you’d open your eyes, ‘And you’d die with surprise, To think ‘twasn’t you was come to it! And faith Katty Naile, And her cow, I go bail, Would jump if I'd say, “6 iat Naile, name the day.” And tho’ yow’re fair and fresh as a morning in May, While she’s short and dark like a cowld winther’s day, Yet if you don’t repent Before Easther, when Lent Is over I'll marry for spite ! Och hone! weirasthru ! And when I die for you, My ghost will haunt you every night. SaMvEL Lover. THE UNION. By permission of and arrangement with Houghton, Mifflin & Co., Boston, Mass. AS our love all died out? Have its altars grown cold? Has the curse come at last which the fathers fore- told? Then nature must teach us the strength of the chain, That her petulant children would sever in vain. They may fight till the buzzards are gorged with their spoil, Till the harvest grows black as it rots in the soil, Till the wolves and the catamounts troop from their caves, And the shark tracks the pirate, the lord of the waves. 362 ADVANCED ELOCUTION In vain is the strife! When its fury is past, Their fortunes must flow in one channel at last; As the torrents that rush from the mountains of snow, Roll mingled in peace through the valleys below. Our Union is river, lake, ocean, and sky, Man breaks not the medal when God cuts the die! Though darkened with sulphur, though cloven with steel, The blue arch will brighten, the waters will heal! OLrIveR WENDELL Hotmgs.. UNDER THE ROD. SAW the young bride, in her beauty and pride, Bedeck’d in her snowy array ; And the bright flush of joy mantled high on her cheek, And the future looked blooming and gay: And with woman’s devotion she laid her fond heart At the shrine of idolatrous love, And she anchor’d her hopes to this perishing earth, By the chain which her tenderness wove, But I saw when those heart-strings were bleeding and torn, And the chain had been severed in two, She had changed her white robes for the sables of grief, And her bloom for the paleness of woe. But the Healer was there, pouring balm on her heart, And wiping the tears from her eyes, And He strengthen’d the chain He had broken in twain And fastened it firm to the skies! There had whispered a voice—’twas the voice of her God, “T love thee—I love thee—pass under the rod !”’ I saw the young mother in tenderness bend O’er the couch of her slumbering boy, And she kissed the soft lips as they murmur’d her name, While the dreamer lay smiling in joy. UNDER THE ROD 363 Oh, sweet as a rose-bud encircled with dew, When its fragrance is flung on the air, So fresh and so bright to that mother he seemed, As he lay in his innocence there. But I saw when she gazed on the same lovely form, Pale as marble, and silent, and cold, But paler and colder her beautiful boy, And the tale of her sorrow was told! But the Healer was there who had stricken her heart And taken her treasure away, To allure her to heaven He has placed it on high, And the mourner will sweetly obey. There had whispered a voice—’twas the voice of her God, “T love thee—I love thee—pass under the rod !” I saw the fond brother, with glances of love, Gazing down on a gentle young girl, And she hung on his arm, and breathed soft in his ear As he played with each graceful curl. Oh, he loved the sweet tones of her silvery voice, Let her use it in sadness or glee; And he’d clasp his brave arms round her delicate form, As she sat on her brother’s knee. But I saw when he gazed on her death-stricken face, And she breathed not a word in his ear ; And he clasped his brave arms round an icy cold form, And he moisten’d her cheek with a tear. But the Healer was there, and He said to him thus— “ Grieve not for thy sister’s short life,” And He gave to his arms still another fair girl, And he made her his own cherished wife! There had whispered a voice—’twas the voice of his God, “T love thee—I love thee—pass under the rod !” 364 ADVANCED ELOCUTION I saw where a father and mother had leaned On the arms of a dear gifted son, And the star in the future grew bright to their gaze, As they saw the proud place he had won: And the fast-coming evening of life promised fair, And its pathway grew smooth to their feet, And the starlight of love glimmered bright at the end, And the whispers of fancy were sweet. But I saw when they stood, bending low o’er the grave, Where their heart’s dearest hope had been laid, And the star had gone down in the darkness of night, And the joy from their bosoms had fled. But the Healer was there, and His arms were around, And He led them with tenderest care ; And He showed them a star in a bright upper world, "Twas their star shining brilliantly there! They had each heard a voice—'twas the voice of their God, “T love thee—I love thee—pass under the rod !” Mary B. Dana. METAMORA TO HIS WARRIORS. ACHEMS, chiefs, and warriors! Metamora has told his brothers of the many aggressions and insults of the pale-faces, and the outrage upon his family. Metamora can- not lie.; He has told his brothers that the heart of the pale- face is like his skin, white and without blood—that good sap of the tree that makes its branches spread afar, and give shelter and fruit to all. Metamora cannot lie) He has told his brothers that the Great Spirit, who provides for all His creatures, made a land for the white man as well as for His red children. That land made by the Good Spirit must be good; and if these pale-faces were good in their hearts, they would live in their own land METAMORA TO HIS WARRIORS 865 that their Father gave them. If they are not good, the red man should treat them as he treats the panther, that comes to his wigwam to steal the deer that he has hunted, or the bird that he has shot with his arrow. Metamora cannot lie. When a red man makes a visit of peace to a brother’s wigwam, he feeds at his fire, drinks of his bowl, smokes of the prophet-plant, and departs in peace. We received the white man as we receive a brother; he fed at our fire, smoked of the friendly pipe, and danced with our squaws; but he never departs. /He still stays, eats of our meat, warms by our fires, craves more and more from us, measures the very ground that we loaned him to sport on, and claims it as his own. Was he not afraid to track even the deer of the hills, or the bear of the forest, for a meal? Did not the red man hunt the buffalo, the buck, the otter, and slay them to feed and keep him warm? ) And when the Great Spirit, angry at theif stay, talked - louder than the roar of their mighty rifles, and shook their big canoes in His wrath, did we not dive into the mad waters around them, and save them from going down to the water-spirit in their splintered barks? Did not the red men dry them by their fires, give them the soft fur of the otter to lie on, and shelter and protect them, till our prophets soothed the Great Spirit’s anger, and He talked no more in thunder? And now they stay long, and want more—more—more. Like the wolf-dog, feed him, and he’ll come again; give him our beds, and he bites us; fatten him, and he’ll drive us from our wigwam. “They show us books, which they say will tell us of the Great Spirit. We know the Great Spirit without books. He whispers to us in the breeze; He sings to us in the wind- cloud and the waterfall; He talks to us in thunder, and our hearts answer; we see His frown in the storm-cloud, His smile in the warm face of the eternal sun; the great 366 ADVANCED ELOCUTION blue tent above is His wigwam, and the stars are His watch-fires! The red men need no books to tell them this, for this is all truth. White men make books, and white men lie! )They take from us, while they tell us that they come to dL ; but the red man wants no gifts, save the gifts of Him who owns all, and who can give without taking from another. When the red man makes war upon his brother, he comes to him as his foe, and shows the tomahawk, the bow and arrow, and the plume of the eagle; but these pale-faces come with peace upon their lips, with their hands empty, but wear the little rifle and the knife, like a snake hid within their bosoms, to plunge into the heart of the red man. In this do they not lie? They are as false as the snow-bank in the spring; if we rest upon it it sinks with us. ) The white man talks of peace; but Metamora tells his brothers that their big canoes are still landing from over the salt lake, filled with rifles, thunder-guns, and their long knives of war. ‘Metamora cannot lie. When we ask the white man what all these are for, he tells us they are for hunting, and destroying the wolf, the panther, and the alligator; but Metamora again ‘tells his brothers ’tis a lie! They are to drive the red man from his lands, shoot him down like the deer herd, and fire his wigwam with their thunder-guns. Then let the red man rouse and scream like the eagle when the snake seeks his nest—join with his tribe, and dart upon his foe—protect the lands of his fathers, the gift of the Great Spirit; let the keen axe of vengeance defend their wives and the doves of their wig- wams from the fire-hail of the white skin. Bury not the hatchet, nor sling the rifle, while the track of the high moccasin insults the graves of our fathers! White man, beware! The wrath of the wronged Indian shall come upon you like the roaring cataract that dashes the uprooted oak down into the mighty chasm; the war- THE BOAT-RACE 867 whoop shall rouse you from your dreams at night, and the red tomahawk glare in the blaze of your burning dwell- ings! Tremble! from the east to the west, in the north and in the south, shall be heard the loud cry of ven- geance, till the lands you have stolen groan under your feet no more. Snakes of the pale-face, ye may slay the chief of the Wampanoags, but the soul of Metamora shall still live, and talk in the red sons of Manito. His blood shall be their war-paint of vengeance. They shall kill man for man and race for race. From the king of hills to the mighty vales and caverns, they shall betray you as you have the wronged red man, till your hot fire-water blood shall burn in millions of fires and light their dance of freedom. THE BOAT-RACE. From “ Queen Hynde.” OURTEEN fair barges in a row Started at once with heaving prow; With colors, flags, and plumes bedight; It was forsooth a comely sight! King Eric’s seven good rowers swarth, Chosen from all the sinewy north, Were men of such gigantic parts, And science in the naval arts, And with such force their flashes hurled, They feared no rowers of this world. King Eric, crowned with many a gem, Took station on his barge’s stem ; Secure of victory, and proud To shoot before the toiling crowd, And spring the first upon the shore ; Full oft he’d done the same before. B68 ADVANCED ELOCUTION Seven boats of either nation bore, In proud array from Keila’s shore, With equal confidence endow’d ; To each seven rowers were allowed ; But by the way they spied, with glee, That one Scots barge had only three, And she was bobbing far behind, As toiling with the tide and wind ; The rowers laugh’d till all the firth Resounded with the boist’rous mirth. Around an isle the race was set, A nameless isle, and nameless yet; And when they turn’d its southern mull, The wind and tide were fair and full; Then ’twas a cheering sight to view How swift they skimmed the ocean blue ; How lightly o’er the wave they scoop’d ; Then down into the valley swoop’d ; Like flock of sea-birds gliding home, They scarcely touch’d the floating foam, But like dim shadows through the rain, They swept across the heaving main ; While in the spray, that flurr’d and gleam’d A thousand little rainbows beam’d. King Eric’s bark, like pilot swan, Aright before the centre ran, Stemming the current and the wind For all his cygnet fleet behind, And proudly look’d he back the while, With lofty and imperial smile. O mariners! why all that strife? Why plash and plunge ’twixth death and life? When ’tis as plain as plain can be, That barge is mistress of the sea. THE BOAT-RACE 3869 Pray not so fast, Sir Minstrel rath ! Look back upon that foamy path, As Eric does with doubtful eye, On little boat that gallantly Escapes from out the flashing coil, And presses on with eager toil, Full briskly stemming tide and wind, And following Eric hard behind ; And, worst of all for kingly lot, Three rowers only man the boat! “Ply, rowers, ply! We're still ahead. Lean from your oars—shall it be said That the seven champions of the sea Were beat outright by random three! Ply, rowers, ply! She gains so fast, I hear their flouts upon us cast. Tis the small boat, as I’m on earth! That gave so much untimely mirth. “ Curse on her speed! Strain, rowers, strain |” Impatient Eric cried again ; “See how she cleaves the billow proud, Like eagle through a wreathy cloud: Strain, vassals, strain! If we’re outrun, ~ By moving thing below the sun, I swear by Odin’s mighty hand, Tl sink the boat and swim to land!” Hard toil’d King Eric’s giant crew; Their faces grim to purple grew ; At last their cheering loud ye-ho Was changed into a grunt of woe. For she, the little bark despised, And foully at the first misprised, 24 870 ADVANCED ELOCUTION Came breasting up with skimming motion, Scarce gurgling in the liquid ocean ; And by, and by, and by she bore, With whoop of joy and dash of oar! The foremost rower plied his strength On two oars of tremendous length, Which boards on further end reveal’d, Broader than Eric’s gilded shield; The monarch trembled and look’d grave To see the strokes that rower gave. Just then he heaved his oars behind, Like falcon’s wings lean’d to the wind As pass’d his little pinnace plain The monarch’s meteor of the main; And, as he bent his might to row, He struck King Eric’s gilded prow With such a bounce and such a heave, That back she toppled o’er the wave, And nigh had thrown, as nigh could be, Her king and champions in the sea, “Ho! oar-room, friends! your distance keep,” Cried that rude Hector of the deep ; “'Ye-ho! ye-ho! How well we go! Ours is the bark that fears no foe!” James Hoge. RECOLLECTIONS OF MY CHRISTMAS TREE 371 RECOLLECTIONS OF MY CHRISTMAS TREE. HAVE been looking on, this evening, at a merry com- pany of children assembled round that pretty German toy, a Christmas tree, Being now at home again, and alone, the only person in the house awake, my thoughts are drawn back, by a fascination which I do not care to resist, to my childhood. Straight in the middle of the room, cramped in the free- dom of its growth by no encircling walls or soon-reached ceiling, a shadowy tree arises; and, looking up into the dreamy brightness of its top—for I observe in this tree the singular property that it appears to grow downward towards the earth—I look into my youngest Christmas recollections. All toys at first I find. But upon the branches of the tree, lower down, how thick the books begin to hang! Thin books, in themselves, at first, but many of them with deliciously smooth covers. of bright red or green. What fat black letters to begin with! “A was an archer, and shot at a frog.” Of course he was. He was an apple pie also, and there he is! He was a good many things in his time, was A, and so were most of his friends, except X, who had so little versatility that I never knew him to get beyond Xerxes or Xantippe ; like Y, who was always confined to a yacht or a yew-tree ; and Z, condemned forever to be a zebra or a zany. But now the very tree itself changes, and becomes a bean-stalk—the marvellous bean-stalk by which Jack climbed up to the giant’s house. Jack—how noble, with his sword of sharpness and his shoes of swiftness! Good for Christmas-time is the ruddy color of the cloak in which, the tree making a forest of itself for her to trip 3872 ADVANCED ELOCUTION through with her basket, Little Red Riding-Hood comes to me one Christmas Eve to give me information of the cruelty and treachery of that dissembling wolf who ate her grandmother, without making any impression on his ap- petite, and then ate her, after making that ferocious joke about his teeth. She was my first love. I felt that if I could have married Little Red Riding-Hood I should have known perfect bliss. But it was not to be, and there is nothing for it but to look out the wolf in Noah’s Ark there, and put him late in the procession on the table, as a monster who was to be degraded. Oh, that wonderful Noah’s Ark! It was not found sea- worthy when put in a washing-tub, and the animals were crammed in at the roof, and needed to have their legs well ‘shaken down before they could be got in even then; and then ten to one they began to tumble out at the door, which was but imperfectly fastened with a wire latch ; but what was that against it? Consider the noble fly, a size or two smaller than the elephant; the lady-bird, the butterfly—all triumphs of art! Consider the goose, whose feet were so small and whose balance was so indifferent that he usually tumbled forward and knocked down all the animal creation! Con- sider Noah and his family, like idiotic tobacco-stoppers ; and how the leopard stuck to warm little fingers; and how the tails of the larger animals used gradually to re- solve themselves into frayed bits of string. Hush! Again a forest, and somebody up in a tree—not Robin Hood, not Valentine, not the Yellow Dwarf—I have passed him and all Mother Bunch’s wonders without men- tion—but an Eastern King, with a glittering scymetar and turban. It is the setting in of the bright Arabian Nights. Oh, now all common things become uncommon and enchanted to me! All lamps are wonderful! All rings RECOLLECTIONS OF MY CHRISTMAS TREE 373 are talismans! Common flower-pots are full of treasure, with a little earth scattered on the top; trees are for Ali Baba to hide in; beefsteaks are to throw down into the Valley of Diamonds, that the precious stones may stick to them, and be carried by the eagles to their nests, whence the traders, with loud cries, will scare them. All the dates imported come from the same tree as that unlucky one with whose shell the merchant knocked out the eye of the genii’s invisible son. All olives are of the same stock of that fresh fruit concerning which the Commander of the Faithful overheard the boy conduct the fictitious trial of the olive merchant. Yes, on every object that I recognize among those upper branches of my Christmas tree I see this fairy light! But hark! the Waits are playing, and they break my childish sleep! What images do I associate with the Christmas music as I see them set forth on the Christmas tree! Known before all the others, keeping far apart from all the others, they gather round my little bed. An angel, speaking to a group of shepherds in a field; some tray- elers, with eyes uplifted, following a star; a baby in a manger; a child in a spacious temple, talking with grave men; a solemn figure, with a mild and beautiful face, raising a dead girl by the hand; again, near a city gate, calling back the son of a widow, on his bier, to life; a crowd of people looking through the opened roof of a chamber where He sits, and letting down a sick person on a bed, with ropes; the same, in a tempest, walking on the waters; in aship, again, on a seashore, teaching a great multitude; again, with a child upon His knee, and other children around; again, restoring sight to the blind, speech to the dumb, hearing to the deaf, health to the. sick, strength to the lame, knowledge to the ignorant ; again, dying upon a cross, watched by armed soldiers, a darkness coming on, the earth beginning to shake, and 874 ADVANCED ELOCUTION only one voice heard, “ Forgive them, for they know not what they do!” Encircled by the social thoughts of Christmas time, still let the benignant figure of my childhood stand unchanged | In every cheerful image and suggestion that the season brings, may the bright star that rested above the poor roof be the star of all the Christian world! ‘ A moment’s pause, O vanishing tree, of which the lower boughs are dark to me yet, and let me look once more. I know there are blank spaces on thy branches, where eyes that I have loved have shone and smiled, from which they are departed. But, far above, I see the Raiser of the dead | girl and the widow’s son—and God is good. CHARLES Dickens. FROM MUCH ADO ABOUT NOTHING 875 EXTRACTS FROM SHAKESPEARE, IN THE FORM OF APPEAL, ADDRESS, SOLILOQUY, AND COLLOQUY. From Much Ado About Nothing. Benedick’s Soliloquy after casually overhearing a purposed parley of his three friends regarding the Lady Beatrice. HIS can be no trick; the conference was sadly borne. They have the truth of this from Hero. They seem to pity the lady; it seems her affections have their full bent. Love me! Why, it must be requited. I hear how I am censured: they say I will bear myself proudly, if I perceive the love come from her; they say, too, that she will rather die than- give any sign of affection. I did never think to marry: I must not seem proud; happy are they that hear their detractions and can put them to mending. They say the lady is fair; ’tis a truth, I can ‘bear them witness: and virtuous; ’tis so, I cannot reprove it: and wise, but for loving me; by my troth, it is no addition to her wit, nor no great argument of her folly, for I will be horribly in love with her. I may chance have some odd quirks and remnants of wit broken on me, because I have railed so long against marriage; but doth not the appetite alter? A man loves the meat in his youth, that he cannot endure in his age. Shall quips and sentences and these paper bullets of the brain awe a man from the career of his humor? No. When I said I would die a bachelor, I did not think I should live till I were married. If I do not take pity of her, I am a villain; if I do not love her, I ama Jew. I will go get her picture. 376 ADVANCED ELOCUTION From King John. Constance’s denunciation of King Philip of France and Lymoges of Austria. OU have beguil’d me with a counterfeit Resembling majesty, which, being touch’d and tried, Proves valueless; you are forsworn, forsworn ; You came in arms to spill mine enemies’ blood, But now in arms you strengthen it with yours. The grappling vigor and rough frown of war Is cold in amity and painted peace, And our oppression hath made up this league. Arm, arm, you heavens, against these perjur’d kings! A widow cries: be husband to me, heavens! Let not the hours of this ungodly day Wear out the day in peace; but, ere sunset, Set armed discord ’twixt these perjur’d kings! ... War! War! No peace! Peace is to me a war. O Lymoges! O Austria! thou dost shame That bloody spoil; thou slave, thou wretch, thou coward! Thou little valiant, great in villainy ! Thou ever strong upon the stronger side! Thou Fortune’s champion that dost never fight But when her humorous ladyship is by To teach thee safety! thou art perjur’d too, And sooth’st up greatness. What a fool art thou, A ramping fool, to brag and stamp and swear Upon my party. Thou cold-blooded slave, Hast thou not spoke like thunder on my side, Been sworn my soldier, bidding me depend Upon thy stars, thy fortune, and thy strength, And dost thou now fall over to my foes? Thou wear a lion’s hide! doff it for shame, And hang a calf’s skin on thy recreant limbs. FROM KING HENRY VMI. 377 From King Henry VIII. Queen Katharine’s appeal to King Henry, on the assembling of the ecclesiastical court, in regard to the question of the divorce. IR, I desire you do me right and justice, And to bestow your pity on me; for I am a most poor woman, and a stranger, Born out of your dominions ; having here No judge indifferent, nor no more assurance Of equal friendship and proceeding. las, sir, In what have I offended you? What cause Hath my behavior given to your displeasure, That thus you should proceed to put me off, And take your good grace from me? Heaven witness I have been to you a true and humble wife, At all times to your will conformable: Ever in fear to kindle your dislike, Yea, subject to your countenance; glad or sorry, As I saw it inclin’d. When was the hour I ever contradicted your desire, Or made it not mine too? Or which of your friends Have I not strove to love, although I knew He were mine enemy? what friend of mine, That had to him deriv’d your anger, did I Continue in my liking? nay, gave notice He was from thence discharg’d. Sir, call to mind That I have been your wife, in this obedience, Upward of twenty years, if in the course And process of this time, you can report, And prove it too, against mine honor aught, My bond to wedlock, or my love and duty, Against your sacred person, in Heaven's name, Turn me away; and let the foul’st contempt Shut door upon me, and so give me up To the sharp’st kind of justice. Please you, sir, 378 ADVANCED ELOCUTION The King, your father, was reputed for A prince most prudent, of an excellent And unmatch’d wit and judgment: Ferdinand, My father, King of Spain, was reckon’d one The wisest prince, that there had reign’d by many A year before: it is not to be question’d That they had gather’d a wise counsel to them Of every realm, that did debate this business, Who deem’d our marriage lawful. Wherefore I humbly Beseech you, sir, to spare me, till I may Be by my friends in Spain advis’d, whose counsel I will implore; if not, i’ th’ name of Heaven, Your pleasure be fulfill’d ! From Hamlet. Remorse of King Claudius. MY offense is rank, it smells to heaven; » It hath the primal eldest curse upon’t, A brother’s murther! Pray can I not, Though inclination be as sharp as will; My stronger guilt defeats my strong intent, And, like a man to double business bound, I stand in pause where I shall first begin, And both neglect. What if this cursed hand Were thicker than itself with brother’s blood, Is there not rain enough in the sweet heavens To wash it white as snow? Whereto serves mercy But to confront the visage of offense? And what's in prayer but this twofold force,— To be forestalled ere we come to fall, Or pardon’d being down? Then I'll look up; My fault is past. But, O, what form of prayer Can serve my turn? ‘Forgive me my foul murther?’ That cannot be; since I am still possess’d Of those effects for which I did the murther, FROM THE MERCHANT OF VENICE 379 My crown, mine own ambition, and my queen. May one be pardon’d and retain the offense? In the corrupted currents of this world Offense’s gilded hand may shove by justice, And oft tis seen the wicked prize itself Buys out the law; but ’tis not so above: There is no shuffling, there the action lies Tn his true nature, and we ourselves compell’d Even to the teeth and forehead of our faults To givein evidence. What then? what rests? Try what repentance can: what can it not? Yet what can it when one can not repent ? O wretched state! O bosom black as death ! O limed soul, that struggling to be free Art more engag’d! Help, Angels! Make assay! Bow, stubborn knees; and, heart with strings of steel, Be soft as sinews of the new-born babe |! All may be well. * * * * * * My words fly up, my thoughts remain below; Words without thoughts never to heaven go! From The Merchant of Venice. Portia’s Speech to Bassanio, on his choice of the Casket. OU see me, Lord Bassanio, where I stand, Such as I am: though for myself alone I would not be ambitious in my wish, To wish myself much better; yet, for you I would be trebled twenty times myself, A thousand times more fair, ten thousand times more rich, That only to stand high in your account, I might in virtues, beauties, livings, friends, Exceed account: but the full sum of me Is sum of nothing; which, to term in gross, 380 ADVANCED ELOCUTION Is an unlesson’d girl, unschool’d unpractice’d ; Happy in this, she is not so old But she may learn; happier than this, She is not bred so dull but she can learn ; Happiest of all is that her gentle spirit Commits itself to yours to be directed, As from her lord, her governor, her king. Myself and what is mine to you and yours Is now converted: but now I was the lord Of this fair mansion, master of my servants, Queen o’er myself; and even now, but now, This house, these servants, and this same myself, Are yours, my lord. I give them with this ring; Which when you part from, lose, or give away, Let it presage the ruin of your love, And be my vantage to exclaim on you. From As You Like It. * Adam’s warning and persuasion of. his Young Master Orlando. HAT, my young master? O my gentle master! O my sweet master! O you. memory Of old Sir Rowland! Why, what make you here? Why are you virtuous? Why do people love you? And wherefore are you gentle, strong, and valiant? Why would you be so fond to overcome The bonny priser of the humorous duke? Your praise is come too swiftly home before you. Know you not, master, to some kind of men Their graces serve them but as enemies? No more do yours: your virtues, gentle master, Are sanctified and holy traitors to you. O what a world is this, when what is comely Envenoms him that bears it! - « . Ounhappy youth! FROM AS YOU LIKE IT 381 Come not within these doors; within this roof The enemy of all your graces lives: Your brother—no, no brother; yet the son— Yet not the son, I will not call him son Of him I was about to call his father— Hath heard your praises, and this night he means To burn the lodging where you use to lie And you within it; if he fail of that, He will have other means to cut you off. T overheard him in his practices. This is no place; this house is but a butchery; Abhor it, fear it, do not enter it. . I have five hundred crowns, The thrifty hire I sav’d under your father, Which I did store to be my foster-nurse When service should in my old limbs lie lame And unregarded age in corners thrown ; Take that, and He that doth the ravens feed, Yea, providently caters for the sparrow, Be comfort to my age! Here is the gold; Though I look old, yet I am strong and lusty; For in my youth I never did apply Hot and rebellious liquors in my blood, Nor did not with unbashful forehead woo The means of weakness and debility ; Therefore my age is as a lusty winter, Frosty, but kindly. Let me go with you; I'll do the service of a younger man In all your business and necessities. * * eo, ae * * Master, go on, and I will follow thee, To the last gasp, with truth and loyalty. 382 ADVANCED ELOCUTION Frome King Henry VIII. Buckingham’s address to the populace on his way to execution. LL good people, You that have thus far come to pity me, Hear what I say, and then go home and lose me. I have this day receiv’d a traitor’s judgment, And by that name must die; yet, Heaven bear witness, And if I have a conscience, let it sink me, Even as the axe falls, if I be not faithful. The law I bear no malice for my death, ’T has done upon the premises but justice ; But those that sought it I could wish more Christians: Be what they will, I heartily forgive ’em. Yet let ’em look they glory not in mischief, Nor build their evils on the graves of great men ; For then my. guiltless blood must cry against ‘em. For further life in. this world I ne’er hope, Nor will I sue, although the king have mercies More than I dare make faults. . . Commend me to his grace ; And, if he speak of Buckingham, pray tell him, You met him half in Heaven. My vows and prayers Yet are the king’s; and, till my soul forsake, Shall cry for blessings on him: may he live Longer than I have time to tell his years! Ever belov’d and loving may his rule be! And when old Time shall lead him to his end, Goodness and he fill up one monument. * * * eae * You few that lov’d me, And dare be bold to weep for Buckingham, His noble friends and fellows, whom to leave Is only bitter to him only dying, FROM AS YOU LIKE IT 3883 Go with me, like good angels, to my end; And, as the long divorce of steel falls on me, Make of your prayers one sweet sacrifice, And lift my soul to Heaven.—Lead on. | From As You Like It. The colloquy of Orlando and Rosalind, on unexpectedly meeting in the Forest of Arden. Orlando does not recognize Rosalind, who is dressed in the garb of a shepherd lad. dasa (aside). I will speak to him like a saucy lackey, and-under that habit play the knave with him. Do you hear, forester? Ortanpo. Very well; what would you? Rosauinp. I pray you, what is ’t o’clock? ‘ORLANDO. You should ask me what time o’ day ; there’s no clock in the forest. Rosauinp. Then there is no true lover in the forest; -else sighing every minute and groaning every hour would detect the lazy foot of Time as well as a clock. Orxtanpo. And why not the swift foot of Time? had not that been as proper ? Rosatinp. By no means, sir. Time travels in divers paces with divers persons. I'll tell you who Time ambles withal, who Time trots withal, who Time Belles withal, and who he stands still withal. Orxanpo. I prithee who doth he trot withal ? RosatinD. Marry, he trots hard with a young maid between the contract of her marriage and the day it is solemnized ; if the interim be a se’nnight, Time’s pace is so hard that it seems the length of seven year. ORLANDO. Who,ambles Time withal ? Rosatinp. With a priest that lacks Latin, and a rich man that hath not the gout; for the one sleeps easily because he cannot study, and the other lives merrily be- cause he feels no pain. 884 ADVANCED ELOCUTION Ortanpo. Who doth he gallop withal? Rosainp. With a thief to the gallows; for though he go as softly as foot can fall, he thinks himself too soon there. Ortanpo. Who stays it withal? RosaLinp. With lawyers in the vacation ; for they sleep between term and term, and then they perceive not how Time moves. Oranpo. Where dwell you, pretty youth ? RosaLinp. With this shepherdess, my sister; here in the skirts of the forest, like fringe upon a petticoat. Oruanpbo. Are you a native of this place? Rosatinp. As the cony that you see dwell where she is kindled. ’ ‘OrtaNpo. Your accent is something finer than you could purchase in so removed a dwelling. Rosauinp. I have been told so of many; but indeed an old religious uncle of mine taught me to speak, who was in his youth an inland man; one that knew courtship too well, for there he fell in love. I have heard him read many lectures against it, and I thank Heaven I am nota woman, to be touched with so many giddy offenses as he hath generally taxed their whole sex withal. Oruanpo, Can you remember any of the principal evils that he laid to the charge of women ? , Rosatinp. There were none principal; they were all like one another as half-pence are, every one fault seem- ing monstrous till his fellow-fault came to match it. Oruanpo. I prithee recount some of them. Rosattnp. No, I will not cast away my physic but on those that are sick. There is a man haunts the forest, that abuses our young plants with carving Rosalind on their barks; hangs odes upon hawthorns and elegies on brambles, all, forsooth, deifying the name of Rosalind ; if I could meet that fancy-monger, I would give him some FROM AS YOU LIKE IT 885 good counsel, for he seems to have the quotidian of love upon him. Ortanpo, I am he that is so love-shaked; I pray you, tell me your remedy. Rosatinp. There is none of my uncle’s marks upon you ; he taught me how to know a man in love; in which cage of rushes I am sure you are not prisoner. OrLanbo. What were his marks? Rosauinp. A lean cheek which you have not; a blue eye and sunken, which you have not; a beard neglected, which you have not; then your hose should be ungar- tered, your bonnet unbanded, your sleeve unbuttoned, your shoe untied; and everything about you demonstrating a careless desolation. But you are no such man; you are rather point-device in your accoutrements, as loving your- self than seeming the lover of any other. Ortanpo. Fair youth, I would I could make thee be- * lieve I love. Rosainp. Me believe it! You may as soon make her that you love believe it; which I warrant she is apter to do, than to confess she does. But, in good sooth, are you he that hangs the verses on the trees, wherein Rosalind is so admired ? Ortanpo. I declare to thee, youth, by the white hand of Rosalind, I am that he, that unfortunate he. RosaLinp. But are you so much in love as your rhymes speak ? OrLANDo. Neither rhyme nor reason can express how much. Rosatinp. Love is merely a madness, and, I tell you, deserves as well a dark house and a whip as madmen do; yet I profess curing it by counsel. Or.anpo. Did you ever cure any so? Rosatinp. Yes, one, and in this manner. He was to imagine me his love; and I set him every day to woo me; 25 386 ADVANCED ELOCUTION at which time would I, being but a moonish youth, grieve, be effeminate, changeable, longing and liking, proud, fantastical, apish, shallow, inconstant, full of tears, full of smiles, for every passion something and for no passion truly anything; would now like him, now loathe him; then entertain him, then forswear him ; now weep for him, then spit at him; that I drave my suitor from his mad humor of love to a living humor of madness ; which was, to forswear the full stream of the world, and live in a nook merely monastic. And thus I cured him; and this way will I take upon me to wash your liver as clean as a sound sheep’s heart, that there shall not be one spot of love in’t. Ornanvo. I would not be cured, youth. Rosatinp. I would cure you, if you would but call me Rosalind, and come every day to my cote and woo me. Ortanpo. Now, by the faith of my love, I will; tell me where it is. Rosatinp. Go with me to it; and I'll show it you; and by the way you shall tell me where in the forest you live. Will you go? OriLaNnpbo. With all my heart, good youth. From The Merchant of Venice. Colloquy between Portia and Nerissa regarding the suitors. ORTIA. By my troth, Nerissa, my little body is aweary of this great world. Nerissa. You would be, sweet madam, if your miseries were in the same abundance as your good fortunes are; and yet, for aught I see, they are as sick that surfeit with too much, as they that starve with nothing. It is no small happiness, therefore, to be seated in the mean; super- fluity comes sooner by white hairs, but competency lives longer. Portia. Good sentences, and well pronounced. FROM THE MERCHANT OF VENICE 387 Nerissa. They would be better, if well followed. Portra. If to do were as easy as to know what were good to do, chapels had been churches, and poor men’s cottages princes’ palaces. It is a good divine that follows his own instructions; I can easier teach twenty what were good to be done than be one of the twenty to follow mine own teaching. The brain may devise laws for the blood; but a hot temper leaps o’er a cold decree. But this reason- ing is not in the fashion to choose me a husband. O me, the word choose! I may neither choose whom I would, nor refuse whom I dislike; so is the will of a living daughter curbed by the will of a dead father. Is it not hard, Nerissa, that J cannot choose one, nor refuse none? Nerissa. Your father was ever virtuous, and holy men at their death have good inspirations; therefore the lot- tery that he hath devised in these three chests of gold, silver, and lead (whereof who chooses his meaning chooses you), will, no doubt, never be chosen by any rightly but one who you shall rightly love. But what warmth is there in your affection toward any of these princely suitors that are already come? Portia. I pray thee, over-name them, and as thou namest them, I will describe them; and according to my description, level at my affection. Nerissa. First, there is the Neapolitan prince. Portia. Ay, that’s a colt indeed, for he doth nothing but talk of his horse; and he makes it a great appropria- tion to his own good parts, that he can shoe him him- self. Nerissa. Then there is the County Palatine. Portra. He doth nothing but frown, as who should say, ‘An’ you will have me, choose.’ He hears merry tales and smiles not; I fear he will prove the weeping philoso- pher when he grows old, being so full of unmannerly gadness in his youth. I had rather be married to a 388 ADVANCED ELOCUTION death’s head with a bone in his mouth than to either of these. Heaven defend me from these two! Nerissa. How say you by the French lord, Monsieur Le Bon? Portia. God made him, and therefore let him pass for aman. In truth, I know it is a sin to be a mocker; but, he! Why he hath a horse better than the Neapolitan’s, a better bad habit of frowning than the Count Palatine; he is every man in no man; if a throstle sing he falls straight a-capering; he will fence with his own shadow. If I should marry him,I should marry twenty husbands. If he would despise me, I would forgive him ; for if he love me to madness, I shall never requite him. Nerissa. What say you, then, to Falconbridge, the young baron of England? Portia. You know I say nothing to him, for he under- stands not me, nor I him; I think he bought his doublet in Italy, his bonnet in Germany, and his behavior every- where. Nerissa. How like you the young German, the Duke of Saxony’s nephew ? Portia. Very vilely in the morning, when he is sober, and most vilely in the afternoon, when he is drunk ; when he is best, he is a little worse than a man, and when he is worst, he is little better than a beast. Nerissa. If he should offer to choose, and choose the right casket, you should refuse to perform your father’s will, if you should refuse to accept him. Portia. Therefore, for fear of the worst, I pray thee, set a deep glass of Rhenish wine on the contrary casket; for if the devil be within, and that temptation without, I know he will choose it. I will do anything, Nerissa, ere I will be married to a sponge. Nerissa. You need not fear, lady, the having any of these lords; they have acquainted me with their determi- FROM THE MERCHANT OF VENICE 389 nations; which is, indeed, to return to their home, and to trouble you with no more suit, unless you may be won by some other sort than your father’s imposition depending on the caskets. Portia. If I live to be as old as Sybilla, I will die as chaste as Diana, unless I be obtained by the manner of my father’s will. I am glad this parcel of wooers are so reasonable, for there is not one among them but I doat on hig very absence ; and I wish them a fair departure. 390 ADVANCED ELOCUTION FOR HYMN READING, AVIOUR! I follow on, Guided by Thee, Seeing not yet the hand That leadeth me; Hushed be my heart and still, Fear I no further ill, Only to meet Thy will My will shall be. Riven the rock for me Thirst to relieve, Manna from heaven falls Fresh every eve; Never a want severe Causeth my eye a tear, But Thou dost whisper near, “ Only believe !” Often to Marah’s brink Have I been brought ; Shrinking the cup to drink, Help I have sought; And with the prayer’s ascent, Jesus the branch hath rent, Quickly relief hath sent, Sweetening the draught. Saviour! I long to walk Closer with Thee; Led by Thy guiding hand, Ever to be; THE BREAKING WAVES DASHED HIGH 391 Constantly near Thy side, Quickened and purified, Living for Him who died Freely for me! Hastines. EAD, Kindly Light! amid th’ encircling gloom, Lead Thou me on; The night is dark, and I am far from home, Lead Thou me on; Keep Thou my feet; I do not ask to see The distant scene; one step enough for me. I was not ever thus, nor prayed that Thou Shouldst lead me on; I loved to choose and see my path; but now Lead Thou me on; I loved the garish day, and spite of fears, Pride ruled my will. Remember not past years. So long Thy power has blest me, sure it still Will lead me on O’er moor and fen, o’er crag and torrent, till The night is gone; And with the morn those angel-faces smile Which I have loved long since, and lost awhile. CaRDINAL NEWMAN. HE breaking waves dashed high On a stern and rock-bound coast, And the woods against a stormy sky Their giant branches tossed, And the heavy night hung dark The hills and waters o’er, When a band of exiles moor’d their bark On the wild New England shore. 392 ADVANCED ELOCUTION Not as the conqueror comes, They, the true-hearted, came ; Not with the roll of the stirring drums, And the trumpet that sings of fame; Not as the flying come, In silence and in fear; They shook the depths of the desert gloom With their hymns of lofty cheer. Amidst the storm they sang, And the stars heard and the sea! And the sounding aisles of the dim woods rang To the anthem of the free! The ocean eagle soar’d From his nest by the white wave’s foam, And the rocking pines of the forest roar’d— This was their welcome home! * * * * * * What sought they thus afar— Bright jewels of the mine? The wealth of seas, the spoils of war?— They sought a faith’s pure shrine! Aye, call it holy ground, The soil where first they trode! They have left unstain’d what there they found— Freedom to worship God. Fexicra D. Hemans. OMETIMES a light surprises The Christian while he sings; It is the Lord, who rises With healing in His wings: When comforts are declining, He grants the soul again A season of clear shining, To cheer it after rain. MY FAITH LOOKS UP TO THEE 393 In holy contemplation, We sweetly then pursue The theme of God’s salvation, And find it ever new; Set free from present sorrow, We cheerfully can say, Let the unknown to-morrow Bring with it what it may. It can bring with it nothing But He will bear us through ; Who gives the lilies clothing, Will clothe His people, too: Beneath the spreading heavens, No creature but is fed; And He who feeds the ravens, Will give His children bread. Though vine nor fig-tree neither Their wonted fruit should bear, Though all the fields should wither, Nor flocks nor herds be there; Yet God the same abiding, His praise shall tune my voice, For while in Him confiding, I cannot but rejoice. WILLIAM CowPER. Y faith looks up to Thee, Thou Lamb of Calvary, Saviour divine ! Now hear me while I pray, Take all my guilt away, Oh, let me from this day Be wholly Thine! 394 ADVANCED ELOCUTION May Thy rich grace impart Strength to my fainting heart; My zeal inspire. As Thou hast died for me, Oh, may my love to Thee Pure, warm, and changeless be, A living fire. While life’s dark maze I tread, And griefs around me spread, Be Thou my guide; Bid darkness turn to day, Wipe sorrow’s tears away, Nor let me ever stray From Thee aside. When ends life’s transient dream, When death’s cold, sullen stream Shall o’er me roll, Blest Saviour! then, in love, Fear and distrust remove ; Oh, bear me safe above, A ransomed soul ! Ray PAuMEr. AS my soul, stretch every nerve, And press with vigor on; A heavenly race demands thy zeal, And an immortal crown. A cloud of witnesses around Hold thee in full survey ; Forget the steps already trod, And onward urge thy way. ABIDE WITH ME 895 "Tis God’s all-animating voice, That calls thee from on high; "Tis His own hand presents the prize, To thine aspiring eye. Blest Saviour, introduced by Thee, Have I my race begun; And, crowned with victory, -at Thy feet I'll lay my honors down. DoppRIDGE. BIDE with me! Fast falls the eventide, The darkness deepens—Lord, with me.abide! When other helpers fail, and comforts flee, Help of the helpless, oh, abide with me! Swift to its close ebbs out life’s little day ; Earth’s joys grow dim, its glories pass away ; Change and decay in all around I see; O Thou, who changest not, abide with me! I need Thy presence every passing hour, What but Thy grace can foil the tempter’s, power ? Who, like Thyself, my guide and stay can be? Through cloud and sunshine, oh, abide with me! Not a brief glance I long, a passing word ; But as Thou dwell’st with Thy disciples, Lord, Familiar, condescending, patient, free, Come, not to sojourn, but abide with me! Hold Thou Thy cross before my closing eyes; Shine through the gloom, and point me to the skies: Heaven’s morning breaks, and earth’s vain shadows flee! In life, in death, O Lord, abide with me! Lyte. 396 ADVANCED ELOCUTION OCK of Ages, cleft for me! Let me hide myself in Thee ; Let the water and the blood, From Thy wounded side that flowed, Be of sin the double cure ; Cleanse me from its guilt and power.. Not the labor of my hands Can fulfill the law’s demands ; Could my zeal no respite know, Could my tears forever flow, All for sin could not atone, Thou must save, and Thou alone Nothing in my hand I bring, Simply to Thy cross I cling ; Naked, come to Thee for dress, Helpless, look to Thee for grace ; Vile, I to the fountain fly, Wash me, Saviour, or I die! While I draw this fleeting breath, When my eyelids close in death, When I soar to worlds unknown, See Thee on Thy judgment-throne, Rock of Ages, cleft for me! Let me hide myself in Thee. ToPLaDy. RAYER is the soul’s sincere desire, Uttered or unexpressed ; The motion of a hidden fire That trembles in the breast. MY COUNTRY! TIS OF THEE 397 Prayer is the burden of a sigh, The falling of a tear, The upward glancing of an eye, When none but God is near. Prayer is the simplest form of speech That infant lips can try ; Prayer the sublimest strains that reach The Majesty on high. Prayer is the Christian’s vital breath, The Christian’s native air : His watchword at the gates of death — He enters heaven with prayer. Prayer is the contrite sinner’s voice, Returnin;, from his ways; While angels in their songs rejoice, And cry—* Behold, he prays!” O Thou, by whom we come to God— The Life, the Truth, the Way ; _ The path of prayer Thyself hast trod ; Lord! teach us how to pray. MonrTG@oMERY. ORE love to Thee, O Christ! More love to Thee! Hear thou the prayer I make, On bended knee ; This is my earnest plea,— More love, O Christ! to Thee, More love to Thee! 398 ADVANCED ELOCUTION Once earthly joy I craved, Sought peace and rest; Now Thee alone I seek, Give what is best ; This all my prayer shall be,— More love, O Christ, to Thee, More love to Thee! Let sorrow do its work, Send grief and pain; Sweet are Thy messengers, Sweet their refrain, When they can sing with me— More love, O Christ, to Thee, More love to Thee! Then shall my latest breath Whisper Thy praise; This be the parting cry My heart shall raise, This still its prayer shall be, More love, O Christ! to Thee, More love to Thee! Mrs. PRENTISS. OFTLY now the light of day Fades upon my sight away ; Free from care, from labor free, Lord, I would commune with Thee! Thou, whose all-pervading eye Naught escapes, without, within, Pardon each infirmity, Open fault, and secret sin. SOFTLY NOW THE LIGHT OF DAY 399 Soon for me the light of day Shall forever pass away ; Then from sin and sorrow free, Take me, Lord, to dwell with Thee! Thou who, sinless, yet hast known All of man’s infirmity ; Thou, from Thy eternal throne, Jesus, look with pitying eye. BisHop Doane. 400 ADVANCED ELOCUTION FOR SCRIPTURE READING. For practice in the various forms of Scripture reading, the following-named chapters and parts of chapters are recommended. As every one in this Chris- tian age is supposed to possess a copy of the Bible, it is not necessary that the portions to which attention is directed have insertion here. JupAH’s APPEAL TO JosEPH.—Genesis, 44th chapter. Sone oF Mosss anp Miriam.—Exodus, 15th chapter. DepicaTIon oF THE TempLe.—I Kings, 8th chapter. Tue Partine or NAOMI WITH HER DAUGHTERS-IN-LAW.— Ruth, 1st chapter. THe DownFraLL or Haman.—Esther, 7th chapter. On THE Brevity or Lirr.—Job, 14th chapter. Psalms, 23d, 38th, 55th, 90th, 95th, 108d, 121st, 139th. Proverbs, 3d, 8th, 11th; and 12th chapters. THe Doom or Basyton.—Isaiah, 18th chapter. Curist’s SERMON ON THE Mount.—Matthew, 5th, 6th, and 7th chapters. PARABLE OF THE SowER.—Matthew, 13th chapter, Ist to 30th verses. PaRABLE OF THE TaLentTs.—Matthew, 25th chapter, 14th to 46th verses. PARABLE OF THE PropicaL Son.—Luke, 15th chapter, ‘11th to 32d verses. Partinc Worps or JEsus.—John, 14th chapter. Paut’s DEFENSE BEFORE Acrippa.—aActs, 26th chapter, 1st to 29th verses. Paut’s ARGUMENT FOR THE CuHRisTIAN’s Horr.—Ro- mans, 8th chapter. PauL’s ARGUMENT ON THE RESURRECTION.—I Corin: thians, 15th chapter. Tur BLEssepNEss oF THE REDEEMED.—Revelations, 22d chapter. Shoemaker’s Best Selections For Readings and Recitations. Num- bers 1 to 24 now issued. Teachers, Readers, Students, and all _ persons who have occasion to use books of this kind, concede this to be the best series of speakers published. The dif- ferent numbers are compiled by leading elocutionists of the country, who have exceptional facilities for securing selec- tions and whose judgment as to their merits is invaluable. No trouble or expense is spared to obtain the very best readings and recitations, and much material is used by special arrangement with other publishers, thus securing the best selections from such American authors as Long- fellow, Holmes, Whittier, Lowell, Emerson, Alice and Phoebe Cary, Mrs. Stowe, and many others. The fore- most English authors are also represented, as well as the leading French and German writers. The series is not only valuable for the readings and recitations it contains, but is also an attractive addition to the home library, as the selections make interesting reading as short stories, Paper binding, each 30 cents; cloth, 50 cents. sa@rSPECIAL—For a limited time we are offering the full set of 24 numbers, in paper binding, at the special price of $4.80, and in cloth binding at $8.00. For brief descriptions of a few of the most popular pieces in each number of this series, see pages immediately follow- ing. It is not to be understood that the pieces described are the only ones in the book. Each number contains from seventy-five to one hundred pieces, NUMBER ONE Abraham Lincoln, Ly Beecher. president, Annie and Willie’s Prayer, an excellent Christmas piece. Betsy and I are out, by Will Carleton. The Blue and the Gray. For Decora- tion Day. The Boys, by Oliver Wendell Holmes. The ever popular class poem. The Bridge. The celebrated poem by Longfellow. The Child Wife, humorous, from David Copperfield. : Bugle Song and Charge of the Light Brigade, by Tennyson. The Creeds of the Bells. Affords excel- lent opportunities for vocal display. Crossing the Carry. Humorous, by “ Adirondack ’’ Murray. Death of Little Joe and Death of Little Nell, by Charles Dickens. Both pa- thetic. Der Coming Man, German dialect, by Chas. Follen Adams. The Dying Christian, by Alexander Pope. Excellent for Sunday-schools. Evening at the Farm, by J. T. Trow- bridge. A beautiful pastoral poem, Experience with European Guides, by Mark Twain. Humorous. Independence Bell. For Fourth of July. Henry Ward A eulogy on the martyred The Irish Schoolmaster. Irish dialect, John Maynard, thrilling and heroic. Launch of the Ship, by Henry W. Long- fellow. Excellent for vocal training. Memory of Washington, by Edward Everett. For Washington’s Birthday. The Modern Cain. Strong temperance piece. Nobody’s Child. Exceedingly pathetic. The Old Yankee Farmer, Yankee Dia- lect. Palmerston and Lincoln. A striking piece of historical literature, Patrick Dolan’s Love Letter. Irish courting. Pat’s Excelsior. Irish parody on the origina] poem. A Piece of Bunting, The Relief of Lucknow and The Re volutionary Rising, strong patriotic selections. Scrooge and Marley. A most interest- ing extract from Dickens’ Christmas Carol. The Smack in School. Very amusing. Spartacus to the Gladiators. Known to every school boy, William Tell. Thrilling and dramatic. Will the New Year Come To-night, Mamma? Pathetic. Why he Wouldn’t Sell the Farm. Pa- thetic and patriotic. NUMBER TWO Abigail Becker. A thrilling description of a rescue at sea. Andrew Jackson, by George Lippard. Excellent for teaching. Arnold Winkelreid. A dramatic inci- dent in the history of Switzerland. The Barn Window, by Lucy Larcom. Good for reading classes. The Bells of Shandon, excellent for vocal culture. The Blacksmith’s Story. A thrilling incident as a result of the War of the Rebellion Black Ranald, by Phoebe Cary. Dra- matic. Buck Fanshaw’s Funeral, by Mark Twain. Humorous. A Christmas Carol. For Christmas. Darius Green and His Flying Machine, by J. T. Trowbridge. Humorous. Dowe’s Flat, 1856, by F. Bret Harte. A story of the early days of California. Eva’s Death. From Uncle Tom’s Cabin, pathetic. Excelsior, by Henry W. Longfellow. A oem of world-wide popularity. The Ghosts, by Henry W. Longfellow. Extract from Hiawatha. Kentucky Philosophy, sometimes known as the “ Watermillion Story.” Negro Dialect. Libe and Union. The celebrated speech of Daniel Webster, Lochinvar’s Ride, by Sir Walter Scott. Always popular. The Minute Men of ’75, by George Wil- liam Curtis. A beautiful patriotic address. Miss Maloney on the Chinese Question, by Mary Mapes Dodge. Jhish humor. The New Church Organ, by Will Carle. ton. Spinster characterization. A New Year’s Address, by Dr. Edward Brooks, A.M. North American Indians. for declamation. The Old Manin the Model Church. 4 pathetic old man characterization. Over the Hill to the Poorhouse, by Will Carleton. Pathetic. The Polish Poy. Nery dramatic. The Puzzled Dutchman, German dia- lect. The Red Jacket. A thrilling descrip- tion of a fire scene. Rum’s Maniac. Dramatic; strong tem- perance piece, Schnieder sees Leah. A German's ver- sion of a scene from Leah the For- saken. The Soldier’s Reprieve. A beautiful story told of President Lincoln. The Spanish Armada, by T. B. Macau- lay. Historic and dramatic, Washington as a Civilian. For Wash- ington's Birthday, Excellent NUMBER THREE The American Flag, by Joseph Rod- man Drake. Paiste. ees Bardell and Pickwick, by Charles Dickens. The famous trial scene. The Baron’s Last Banquet. Dramatic. The Battle of Beal an’ Duine, by Sir Walter Scott. A strong war poem. The Dutchman’s Serenade. German dialect. The Eagle’s Rock. Very dramatic. The Famine. From ‘“ Hiawatha.” A Florentine Letter ; From Exile ; The Gladiator ; all dramatic. Good-night, Papa. Beautiful temper- ance recitation. The Hypochondriac. Humorous, If I Should Die To-night. Suitable for Sunday-schools. The Indian Chief to the White Settler, by Edward Everett. Popular prose declamation. Kit Carson’s Ride, by Joaquin Miller. A stirring incident of prairie life. The Kitchen Clock, by James Vance Cheney. Humorous and exceedingly Popular. — Uaughin’ in Meeting, by Harriet Beecher Stowe. Humorous, Licensed to Sell; or, Little Blossom. Temperance. Maud Muller, by John G. Whittier. Always acceptable. The Monster Cannon, by Victor Hugo, Dramatic description. National Monument to Washington. For Washington's Birthday. Ode on the Passions, by Collins. Ex- cellent for voice culture. The Painter of Seville. very popular, Parrhassius and the Captive, by N. P. Strong and Willis. Dramatic. Poor Little Jim. Pathetic story of the mines. Power of Habit, by John B. Gough. Striking temperance selection. Reaching the Early Train, by Max Adler. Humorous. Reply to Mr. Corry, by H. Grattan. Forensic oratory. Rock of Ages. Contains singing parts. The Senator’s Dilemma, by James De Mille. Humorous. Signs and Omens. German dialect. Tell on His Native Hills. Patriotic. The Three Fishers, by Charles Kings- ley. Tender and pathetic. The Two Glasses, by Ella Wheeler Wilcox. Temperance. The Vagabonds, by J. T. Trowbridge, Pathetic, dramatic, and always ac- ceptable. Woman, by Tennyson. A pleasing tribute to the sex. NUMBER FOUR The Angels of Buena Vista, by John G. Whittier. A very dramatic battle scene, The Battle of Bunker Hill. patriotic poem. Battle of Lookout Mountain, by George H. Boker. A thrilling description. Battle Hymn of the Republic, by Julia Ward Howe. Stirring patriotic poem. The Black Horse and His Rider, by Charles Sheppard. A fine prose pa- triotic declamation. The Burning Prairie, by Alice Carey. Dramatic. The Cause of Temperance, by John B. Gough. Strong temperance piece. Centennial Oration, by Henry Armitt Brown. Fine prose declamation. The Christmas Sheaf. A Norwegian Christmas story. : Curfew Must Not Ring To-Night, by Rose Hartwick Thorpe. Familiar but always popular. Deacon Munroe’s Story. Humorous characterization. The Declaration of Independence. Very convenient for Fourth of July occa- sions. Dora, by Tennyson. acterization. The Fire. A dramatic description. The Gambler’s Wife. Pathetic and dramatic. Strong Dramatic char- The Ghost. Sometimes known as “Abel Law’s Ghost.” Quaint Yan- kee humor. Grandmother’s Story. An old wo- man's story of the Battle of Bunker Hill. The Great Beef Contract, by Mark Twain. Exceedingly humorous. Judge Pitman on Various Kinds of © Weather, by Max Adler. Humorous. Kentucky Belle, by Constance Feni- more Woolson. A very popular reci- sation describing an incident of the Civil War. : . ALeap Year Wooing, by David Macrae. Humorous, A Man’s a Man for a’ That, by Robert Burns, Populzr Scotch dialect oem. No God. Strong moral selection. Ode to the Deity. A fine oratorical piece. Ode to the Legislature, by John G, Saxe. A satirical poem. The Rationalistic Chicken. ous. The Raven, by Edgar Allen Poe. Fa- miliar to all but still given by the best readers. Rienzi’s Address. Humor- Stirring declama- tion. Tribute to Washington. For Wash- ington’s Birthday. _ The Union. A patriotic poem, NUMBER FIVE The Ager. A humorous description of a sufferer with chills and fever. Archie Dean, by Gail Hamilton. A selection of the coquettish order. Bannock-Burn, by Robert Burns. A stirring Scotch poem. The Bride of tae Greek Isle, by Mrs. Hemans. Dramatic. The Brook, by Tennyson. popular. Budge’s Version of the Flood, by Jolin Habberton. Child characterization. Very amusing. Cataline’s Defiance. always acceptable. Dedication of Gettysburg Cemetery. The celebrated speech of Abraham Lincoln. The Flood of Years, by William Cullen Bryant. Strong oratorical selection. Hans and Fritz. German dialect. He Giveth His Beloved Sleep, by Mrs. Browning. A beautiful spiritual poem. Heroes of the Land of Penn, by George Lippard. Patriotic. How We Hunted a Mouse. Humorous, John and Tibbie’s Dispute. Scotch dialect. The Last Hymn. Describes a wreck atsea. Parts to be sung. The Leak in the Dyke, by Phoebe Cary. Dramatic. Always Familiar but NUMBER Artemus Ward’s London Lecture. One of the best humorous pieces ever written. Asleep at the Switch. A thrilling in- cident in the experience of a switch tender. The Battle of Ivry, by T. B. Macaulay. A standard dramatic piece. The Bridge of Sighs, by Thomas Hood. A popular pathetic poem. A Day at Niagara, by Mark Twain. Humorous, The Deserted House, by Tennyson. Beautiful description of life and death. Doctor Marigold, by Charles Dickens. Sometimes known as Cheap Jack. Good for characterization. The Dukite Snake, by J. Boyle O'Reilly. Exceedingly dramatic. Easter Morning. For Easter. Extract from the Last Days of Hercu- laneum. Fine dramatic description. Father Phil’s Collection. One of the best of the Irish dialect recitations. Green Mountain Justice. Humorous. Jane Conquest. Very dramatic. The incident is that of a wreck at sea. The Little Hatchet Story. A humor- ous description of the incident of George Washington and the cherry tree. Very popular. Lost and Found. the Welsh mines. ' Magdalena ; or, the Spanish Duel. Hu- morous. : The Maiden Martyr. Pathetic. Membraneous Croup and the McWil- liamses, by Mark Twain. Humor- ous. Old Ironsides, by.O. W. Holmes, Pa- triotic. Over the Hills and Far Away, by Miss Mulock. Beautiful bit of pathos. The Prisoner of Chillon, by Byron. A very dramatic selection, The Puritans, by T. B. Macaulay. Strong prose description of our fore- fathers. Samantha Smith Becomes Josiah Allen’s Wife, by Josiah Allen’s Wife. Humorous, . The Schoolmaster’s Guests, by Will Carleton. Humorous. The Swell’s Soliloquy. Impersonation of a dude. . Uncle Daniel’s Introduction to a Mis- sissippi Steamer, by Clemens and Warner. One of the best negro dia- lect pieces ever written. Why Biddie and Pat Married. Amus- ing Irish dialect. SIX Miss Edith Helps Things Along, by Bret Harte. Humorous characteriza- tion of a pert child. The Old Sergeant. A pathetic story of the Civil War. A fig- A pathetic story of The Palmetto and the Pine. urative description of the North and South. Relentless Time, by Henry W. Long- fellow. Good for teaching purposes. The Ride of Jennie McNeal, by Will Carleton. A story of colonial days. Robert of Lincoln, by William Cullen Bryant. Introduces bird songs. Satan and the Grog Seller. A fine temperance piece. School Called. A pleasing poem, illus- trative of school life. Songs in the Night. sleeping car incident. St. John, the Aged. Beautiful spiritual oem. Thanatopsis, by William Cullen Bry- ant. Excellent for teaching. Always Popular as a recitation, A Thanksgiving, by Lucy Larcom. For Thanksgiving. Tom, by Constance Fenimore Woolson. Tells how a dog saved the life of a child. Valley Forge, by Henry Armitt Brown. Good for teaching. Zekle, by James Russell Lowell. Yan- kee courting. An amusing NUMBER SEVEN The American War, by Lord Chatham. A fine forensic sefection. The Crescent and the Cross, by T. B. Aldrich. A beautiful contrast be- tween Christianity and Mohammed- anism. Cuddle Doon. A pleasing bit of Scotch dialect. Daisy’s Faith. Popular child charac- terization. The Death of the Owd ’Squire. A fine dramatic piece. Scene in York- shire. The Death of the Old Year, by Tenny- son. For New Year's. The Death of Nelson, by Robert South- ey. Good for caine Fair Play for Women, by George Wil- liam Curtis. An appeal for the rights of woman. . The Gray Honors the Blue, by Henry H. Watterson. Good for Decoration Day. The Leper, by N. P. Willis. A strong dramatic recitation. Lighthouse May. Showing the hero- ism of a lighthouse keeper. Marco Bozzaris, by Fitz-Greene Hal- leck. Familiar and popular. Masters of the Situation, by James T. Field. Excellent teaching selection, Mount Blanc Before Sunrise, by S. T. Coleridge. A beautiful oratorical poem. The Night Before Christmas. Always popular for Christmas entertainments. The Night After Christmas. A humor- ous sequel to the foregoing selection. Old Robin, by J. T. Trowbridge. How a horse saves his master from moral ruin. Our Traveled Parson, by Will Carleton. Humorous. The Owl-Critic, by James T. Fields. Very clever humor. Paradise. An excellent encore piece. A Royal Princess, by Christina Ros- setti. A strong dramatic recitation. The Ship of Faith. An exceedingly good negro dialect piece. Sister and I. Pathetic and very popu- lar. The South Wind, by Henry W. Long- fellow. A pleasing description. Surly Tim’s Trouble. Pathetic and very popular. Lancashire dialect. Tom’s Little Star. A humorous poem describing the experience of a stage-. struck woman. . The Village Blacksmith, by Henry W. Longfellow. Always popular. The Voice in the Twilight, by Mrs. Herrick Johnson. Suitable for Sun- day-schools. Widow Brown’s Christmas. A pleas- ing Christmas story. The Wounded Soldier. Pathetic. The incident is that of a dying soldier. NUMBER EIGHT After Death, by Edwin Arnold. A beautiful spiritual poem. An American Specimen, by Mark Twain. Humorous. ; The Bald-Headed Man. Very funny, introducing an inquisitive child. Bay Billy. An incident of the Civil War. Good for Decoration Day. | Better in the Morning. Very pathetic. The Character of Washington. For Washington's Birthday. A Christmas Carol, by Father Ryan. A magnificent poem; parts to be chanted. Coney Island Down Der Pay, by Henry Firth Wood. German dialect. The Defense of Lucknow, by Tenny- son. A patriotic recitation. The Emigrant’s Story, by J. T. Trow- bridge. The incident is that of a storm on the prairie. The Everlasting Memorial, by Hora- tius Bonar. Good for Sunday-schools. The First Quarrel, by Tennyson. Dra- matic and pathetic. Her Letter, by Bret Harte. A story of early California days. How ‘‘Ruby’’ Played. A country- man’s very humorous description of the playing of Rubenstein. An International Episode. Good for encore, Little Feet. Pathetic. Mrs. McWilliams and the Lightning, by. Mark Twain. Humorous. Nations and Humanity, by George William Curtis. Oratorical. Over the Hill From the Poor House, by Will Carleton. A sequel to ‘Over the Hill to the Poor House.” An Order for a Picture, by Alice Carey. A very acceptable pathetic selection. Peace in God, by Harriet Beecher Stowe. For $unday-schools. A Practical Young Woman. Humorous. Reckoning with the Old Year. For New Year's. | Reply to Hayne, by Daniel Webster. Oratorical and good for one Rest, by George MacDonald. ood for Sunday-schools. Scene from Leah the Forsaken. Gener- ally known as the ‘‘ Curse Scene.” Setting a Hen. German dialect. Some- times known as Sockery Setting a Hen. The Sioux Chief’s Daughter, by Joa- quin Miller. Very dramatic and ex- ceedingly popular. A Tale of the Yorkshire Coast. A athetic selection in Yorkshire dia- ect. Vashti, by Julia C\|R.Dorr. Very popular, NUMBER NINE The Aged Stranger; or, I Was With Grant, by Bret Harte. Humorous incident of the Civil War. Awfully Lovely Philosophy. Charac- terization of a gushing, esthetic young girl. Baby’s Visitor. Encore. : Bertha in the Lane, by Mrs. Browning. Pleasing pathos... Brier Rose, by Hjalmar Hjorth Boye- sen. A thrilling Norwegian story. The Child on the Judgment Seat. Moral and spiritual. Good for Sun- day-schools. AChristmas Ballad. A pathetic Christ- mas story. Connor. Very pathetic and popular. The First Party. Humorous child characterization. Horatius at the Bridge, by T. B. Macaulay.: Heroic. Very popular Last Prayer of Mary Queen of Scots. Pathetic and dramatic. Lookout Mountain. German dialect. Master Johnny’s Next-door Neighbor, by Bret Harte. Boy characteriza- tion. - Mrs. Walker’s Betsy. A story of humble life told in graphic lan- es be Fi Mrs. Ward’s Visit to the Prince. Su- perior Yankee dialect. The National Ensign. A patriotic dec. lamation. The Palace of the King. Scotch dia- ect. Rover’s Petition, by James T. Fields. A good child's piece. : The Sailing of King Olaf. Beautiful sentiment. Sam’s Letter. An extract from ‘Our American Cousin,” School Begins To-day. Appropriate for the opening of schools. Selling the Farm. A pathetic story of farm life. Song of the Camp, by Bayard Taylor. Introduces the song of Annie Laurie. St. George and the Dragon. Dramatic. Terpsichore in the Flat Creek Quarters. Describes a dance among the ne- groes. Thoughts for a New Year. For New Year's. Tribute to Washington. For Washing- ton’s Birthday. The Truth of Truths, by Ruskin. Good for teaching. Unnoticed and Unhonored Heroes. Oratorical. The White Squall, by William M. Thackeray. Humorous. The Widow and Her Son, by Washing- ton Irving. Beautiful and pathetic. NUMBER TEN Armageddon, by Edwin Arnold. The war cry of the future. Balaklava, A dramatic incident in the Crimean war. The Blind Lamb, by Celia Thaxter. A pleasing child's recitation. Caught in the Quicksand, by Victor Hugo. Very dramatic. Chickamauga. Good for Decoration Day. The Death of Rowland. Heroic. Despair, by Tennyson. Dramatic. Dick Johnson’s Picture. An interest- ing temperance piece. Drifting, by Thomas Buchanan Read. A most pleasing recitation. Herve Riel, by Robert Browning. A fine dramatic recitation. The Irrepressible Boy. Introduces an inquisitive boy. Jamie, by R. C. V. Meyers. Dramatic and pathetic. Larrie O’Dee. Irish dialect. The Law of Death, by Edwin Arnold. Pathetic. Little Dora’s Soliloquy. Child charac- terization. Little Rocket’s Christmas, by Van- dyke Brown. A pleasing Christmas story, The Lost Found, by Henry W. Long- fellow. An extract from “ Evange- line.” Mick Tandy’s Revenge. Pathetic but with a pleasing ending. New England’s Chevy Chase, by Ed- ward Everett Hale. Patriotic. The Old Year and the New, by Eben Rexford. For New Year’s. The Phantom Ship, by Celia Thaxter. A tale of a slave ship. A Railway Matinee, by R. J. Burdette. Nery amusing. Rizpah. Pathetic. Parts to be sung. A Reminiscence of Exhibition Day, by R.J. Burdette. Humorous, Rev. Gabe Tucker’s Remarks. dialect. The Schoolmaster Beaten, by Charles Dickens. Dramatic. Excellent for characterization. The Shriving of Guinevere, by Dr. S. Weir Mitchell. Dramatic. The Sky, by Ruskin. A beautiful de- scription. Theology in the Quarters. Negro dia- lect Negro Tilghman’s Ride. How he brought the * news from Yorktown to Philadelphia. To the Survivors of the Battle of Bun- ker Hill, by Daniel Webster. Patri- otic and oratorical. The True Story of Little Boy Blue. A leasing child's piece. The Wayside Inn, by Adelaide Procter. Pathetic. NUMBER Apostrophe to the Ocean, by Byron. Excellent for vocal training. The Bobolink. Affords opportunities for bird tones. Catching the Colt. A good recitation for voung folks. The Clown’s Baby. A pleasing inci- dent of life ina mining camp. The Convict’s Soliloquy the Wight be- fore Execution. Exceedingly dra- matic. Death of Little Dombey, by Charles Dickens. Pathetic. The Dutchman’s Snake. Very amus- ing. Echo and the Ferry, by Jean Ingelow. A beautiful description. Flash, the Fireman’s Story, by Will Carleton. Humorous. The Foxes’ Tails ; or Sandy MacDon- ald’s Signal. One of the most de- servedly popular humorous pieces in print. The Freckle-Faced Girl. Humorous characterization of a pert young girl. The Froward Duster, by R. J. Burdette. Humorous. Garfield at the Wheel. Patriotic. The Grandmother’s Apology, by Tenny- son, Old lady characterization. Jerry. Newsboy impersonation. The Lisping Lover. Encore. NUMBER Aux Italiens, by Robert Bulwer Lytton. Contains singing parts. Very popular. Ballad of Cassandra Brown. A tra- vesty on some of the modern forms of eeapetaied elocution. The Battle Flag of Shenandoah, by. Joaquin Miller. the Civil War. The Bells, by Edgar Allen Poe. cellent for vocal culture. Bells Across the Snow, by Frances Ridley Havergal. A pleasing Christ- mas poem. The Blind Poet’s Wife, by Edward Coller. A pleasing narrative. The Book Canvasser, by Max Adler. Humorous. Earnest Views of Life, by Austin Phelps, D.D. An instructive dec- lamation. : 5 The Fall of Pemberton Mill, by Eliz- abeth Stuart Phelps. One of the most athetic, dramatic, and generally ef- fective recitations in print. AFly’s Cogitations. Humorous. Good-bye. A humorous illustration of how ‘women say good-bye to each A patriotic poem of Ex- other, ; . How Girls Study. Good piece for im- personation. ; How the Gospel Came to Jim Oaks. A pathetic story of a mining camp, Jesus, Lover of My Soul, by Eugene J. Hall. Very pleasing. Parts to be sung. ELEVEN Little Gottlieb’s Christmas. A pleas-. ing Christmas story of Germany. Mice at Play. Humorous. Mona’s Waters. Highly dramatic. No Kiss. Encore. The Old Year and the New, by Joseph- ine Pollard. For New Year’s. One Flower for Nelly, by Rose Hart- wick ees For Easter. The Prospects of the Republic, by Ed- ward Everett. Oratorical. Queen Vashti’s Lament. and _ pathetic. Rock Me to Sleep. Pathetic. Romance of aHammock. Very clever humor, The Shadow of Doom, by Celia Thax- ter. A dramatic recital, Song of the Mystic, by Father Ryan. A beautiful moral and religious poem. Sunday Fishin’: Negro diglect. Supposed Speech of John Adams on the Declaration of Independence, by Dan- iel Webster. Patriotic. A Telephonic Conversation, by Mark Twain. Humorous. Thora, by Hjalmar Hjorth Boyesen, A Norwegian story. Ticket o’ Leave, by George R. Sims. Dramatic. Where’s Annette? Dramatic. The Wonders of Genealogy. Humorous. Dramatic TWELVE Jimmy Brown’s Steam Chair. Highly. amusing. Lasca. Dramatic and pathetic. Scene on a Texas cattle ranch. 3 The Legend of the Beautiful, by Henry W. Longfellow. A strong spiritual piece. ; Lincoln’s Last Dream, by Hezekiah Butterworth. A pathetic poem. The Newsboy’s Debt, by Helen Hunt Jackson. Pathetic. Over the Orchard Fence. Old farmer characterization. 7 Popular Science Catechism. ous. Receiving Calls. A humorous experi- ence of a minister’s wife, _ Santa Claus in the Mines. A’ popular Christmas story of a mining camp. The Serenade. Encore. She Cut His Hair, by the Danbury News Man. Humorous. : The Skeleton’s Story. A fine dramatic description. Teddy MeGuire and Paddy O’Flynn. Irish dialect. Temperance, by the Rt. Rev. John Ire- land. A strong address on temper- ance. A Ter’ble ’Sperience, by Rev. Plato Humor- Johnson. Negro Dialect. Total Annihilation. A good encore piece. NUMBER THIRTEEN The Ancient Miner’s Story, by Will Carleton. Pathetic. Aristarchus Studies Elocution. A tra- vesty on some kinds of modern elo- cution. At Last, by John G, Whittier. A beau- tiful spiritual poem. Aunt Polly’s George Washington. Ne- gro dialect. Banford’s Burglar Alarm. Exceeding- ly amusing. Canada. A pleasing tribute to our cousins across the border. The Chase, by Walter Scott. Very dra- matic. A Child’s Dream of a Star, by Charles Dickens. Pathetic. Ego et Echo, by John G: Saxe. Affords .excellent opportunities for vocal dis- play. The ‘Humblest of the Earth Children, by Ruskin. A fine description. In the Signal Box, a Station Master’s Story, by George R. Sims. Very pa- thetic. The Little Quaker Sinner. child’s piece. Lead the Way, by Lyman Abbott. A fine declamation. The Tepend of the Organ Builder, by Julia C. R. Dorr. A pathetic descrip- tion. A ‘good NUMBER Ballad of the Wicked Nephew, by James T. Fields. Humorous. Battle of Morgarten, by Mrs. Hemans. Heroic. Be a Woman, by Dr. Edward Brooks, A.M. A beautiful poem, Bill and Joe, by Oliver Wendell Holmes. Pleasing and clever humor. Brudder Yerkes’s Sermon. Negro dia- lect. A Culprit, by Margaret Vandegrift. -Humorous. Daniel Gray, by J. G. Holland. Beau- tiful description. The Day is Done, by Henry W. Long- fellow. The ever pleasing and pop- ular poem. The Death of Steerforth, by Charles Dickens. Exceedingly dramatic. The Drummer Boy of Mission Ridge. Excellent for G. A. R. occasions. Going for the Cows, by Eugene J. Hall. Introduces various calls. The Great Issue, by Edward Everett. Oratorical. Good for face Jimmy Brown’s Sister’s Wedding. Very amusing. June, by James Russell Lowell. A well- known poem. Jupiter and Ten, by James T. Fields. Encore. King Harold’s Speech to his Army be- fore the Battle of Hastings, by Bul- wer Lytton. Heroic. Let the Angels Ring the Bells. “A pleasing Christmas poem. Lord Dundreary in the Country. A very taking extract from “Our Ameri- can Cousin.” Mary’s Night Ride. An extract from “ Dr. Sevier.” Dramatic. Mother and Poet, by Mrs. Browning. Dramatic and pathetic. ANew Cure for Rheumatism, by Robert . Burdette. Highly amusing. The Old Continentals. A pleasing trib- ute to the soldiers of colonial times. The Old Man Goes toTown. Excellent opportunities for old man character- ization. Our Relations to England, by Edward Everett. Oratorical. Out to Old Aunt Mary’s, by James Whitcomb Riley. One of this au- thor’s most popular poems. Regulus to the Carthagenians, by E. Kellogg. Familiar but always ac- ceptable. Song of the American Eagle. A good atriotic poem. The Spring Poet. Humorous. The Two Stammerers. Very amusing. The V-a-s-e. A humorous description of the different pronunciations of the word.. The Yosemite. A sublime description of the far-famed valley. FOURTEEN iin Life-Boat, by George R. Sims. Pa- thetic. The Miseries of War, by Chalmers. Oratorical. Money Musk. gro dance. A Mother’s Portrait, by Cowper. A very pathetic poem. Nearer Home, by Phoebe Cary. A beau- tiful spiritual post. The Night Watch, by Francois Cop- pee. Very dramatic. Pockets, by Julian Hawthorne. A strong descriptive piece. The Puritan, by George William Cur- tis. A tribute to our forefathers. The Romance of the Swan’s Nest, by Mrs. Browning. A beautiful descrip- tion. A Second Trial, by Sara Winter Kel- logg. How a boy almost failed in his commencement oration. The Ship of State. A patriotic decla- mation. The Sweetest Picture, by Alice Cary. A most acceptable poem. A Tear of Repentance, by Thomas Moore. A beautiful description, The Tender Heart, by Helen Gray Cone. Encore. The Widow Cummiskey. wit. Ulysses, by Tennyson. A pleasing de- Scription, A description of a ne- Clever Irish NUMBER America. A patriotic poem. The Bachelors. Excellent humor. The Bartholdi Statue, by Julian Haw- thorne. An eloquent tribute to the Goddess of Libeity. Becalmed. Very dramatic. ee Scenes. A beautiful descrip- ion. Christmas Guests. story. Commerce, by Edward Everett. strong declamatory selection. A Concord Love Song. Encore. David’s Lament for Absalom, by N. P. Willis. Pathetic and popular. Ex- cellent for teaching. The Death of Jezebel. Very dramatic. The Fading Leaf, by Gail Hamilton. A beautiful description. Fall In! 1860, by George W. Cable. An incident in the formation of the Southern Army. Flag of the Rainbow, by Thomas Dunn English, Patriotic. Grant’s Place in History. cal description. The Gray Champion, by Nathaniel Hawthorne. Embodies the spirit of American freedom. Guessing Nationalities, Twain. Humorous. In the Children’s Hospital, by Tenny- son. Pathetic. A good Christmas A An histori- by Mark NUMBER Back from the War, by T. DeWitt Tal- mage. Good for G, A. R. occasions. The Battle Hymn. good for teaching. Calls. A minister's somewhat curious boy endeavors to get an explanation of ministerial calls. Very funny. The Chariot Race, by Lew Wallace. One of the most popular pieces ever written. An extract from ‘‘ Ben Hur.” The Christening. An amusing incident of how a child was misnamed in the christening. The Curse to Labor, by T. V. Powderly. A strong appeal for temperance among the laboring classes. ___ The Day of Judgment, by Elizabeth Stuart Phelps. An amusing incident of two children who thought the world had come to an end. Decoration Day, by Wallace Bruce. A beautiful patriotic poem. : The Elf Child, by James Whitcomb Riley. Sometimes known as ‘‘ The Gobble-uns’ll Git You.” z Fraudvlent Party Outcries, by Daniel Webster. Oratorical. : An Invitation to the Zoological Gar- dens. A very funny stuttering piece. Jimmy Hoy, by Samuel Lover. A capi- tal Irish dialect prose selection. Oratorical and FIFTEEN Ireland to be Ruled by Irishmen, by William E. Gladstone, Irish patriot- ism. Good for declamation. King Arthur and Queen Guinevere, by Tennyson, A beautiful recitation. The Kiss Deferred. A pleasing pathetic poem. Very popular. La Tour d’Auvergne. Heroic. Little Foxes, by R. J. Burdette. An instructive sclection. Mrs. Picket’s Missionary Box. Good for missionary occasions. Musicin Camp. Frequently known as “Music on the Rappahannock.” Parts to be sung. Very popular. An Old Roundsman’s Story, by Mar- garet Eytinge. For Christmas. A Perfectly, Awfully, Lovely Story. An esthetic exaggeration. The Price of a Drink, by Josephine Pol- lard. Good for temperance occasions. She Wanted to Hear it Again. Encore, Speech Against the Stamp Act, by James Otis. Oratorical. eet A Strange Experience, by Josephine Pollard. A good girl's piece. ~ The Three Kings, by Henry W. J.ong- fellow. A good descriptive poem, ~ A Tragedy on Past Participles. Hu- morous. The Two Runaways, by H. S. Ed- wards. Negro dialect. Humorous. Very popular. Watch Wight, by Horatius Bonner. For New Year’s. SIXTEEN 5 Lily Servoss’s Ride, by Judge Tov.rgee- The incident takes pare at the close of the war during the ravages \,f the Ku-Klux. The Message of the Dove, by E. Nesbit. A dramatic Easter poem. The Mourner a la Mode, by John G. _Saxe. A satirical poem. The New South, by Henry W. ‘Grady. A graphic description of the present condition of the South. — An Old Sweetheart of Mine, by James Whitcomb Riley. A very popular oem. The Portrait, by Lord Lytton. Very dramatic and exceedingly popular. Praying for Shoes, by Paul Hamilton Hayne. Pathetic. | Song of the Mountaineers, by T. Bu- chanan Read. A patriotic poem. The Tell-Tale Heart, by Edgar Allen Poe. A murderer’s confession. Ex- ceedingly dramatic. The Thanksgiving in Boston Harbor, by Hezekiah Butterworth. A splen- did Thanksgiving piece. : Topsy’s First Lesson, by Harriet Beecher Stowe, An extract fsom “Uncle Tom’s Cabin.” Very funny. Toussaint L’Ouverture, by Wendell Phillips. Oratorical. NUMBER SEVENTEEN Alexander's Feast; or, the Power of Music, by Dryden. A beautiful rhyth- mical poem. Z Army of the Potomac, by Joaquin Miller. An excellent poem for G. A. R. occasions. Aunt Melissy on Boys, by J. T. Trow- bridge. The incident is that of tur- keys becoming intoxicated by eating corn soaked in rum, Dead on-the Field of Honor. A good declamation. Easter Morning, by Henry Ward Beecher. An Easter-tide oration. The First Thanksgiving, by Hezekiah Butterworth. A beautiful poem for Thanksgiving occasions. The Garfield Statue, by Hon. Grover Cleveland. An eloquent tribute to the martyred President. How We Fought the Fire, by Will Carleton. An amusing poem, descrip- tive of a fire in a country villiage. Inge, the Boy King, by Hjalmar Hjorth Boyesen. An excellent dramatic selection. Jimmy Brown’s Prompt Obedience. Humorous. Labor, by Thomas Carlyle. A prose declamation. : The Land of Thus and So, by James Whitcomb Riley. A fanciful poem, The Legend of Rabbi Ben Levi, by NUMBER Absolution, by E. Nesbit. poem. Dramatic and pathetic. - Appeal for Temperance, by Henry W. rady. An eloquent address on the subject of Temperance, Ballot Reform, by Hon. Grover Cleve- land. Oratorical. The Blind Man’s Testimony.