BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrn W. Sage 1891 AffM'im ^ rjl/q^ Cornell University Library arV14398 A new and practical system o' .'Ije culfuf 3 1924 031 321 122 olin.anx Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 924031 321 1 22 ^tto ant( ^mtml ^gstem OF THE CULTUBE OF \rOIGE AND ACTIO]^^, AND A COUPLETS ANALYSIS OP THE HUMAN PASSIONS, APPENDIX OF READINGS AND RECITATIONS. DBSIQNED FOR PPBLIO SPEAKE-BS, TEACHEBS, AND 8TT7DE1ITB, PEOP. J. E. FEOBISHEK. DIBECTOB OF THE COIXEOE OF OBATOBT AND ACTINO, NEW TOI^. IMPROVED EDITION. BABNSST EXFBBSSION : HOT DELICATE DECLABIATIOK. IVISON, BLAKEMAN & COMPANY, PITBLISHESS, NEW YORK AND CHICAGO. Entered according to Act of Congrcsg, in tbe year 1807, liy 1VI80N, PHINNEY, BLAKEMAN, & CO., In the Clerk's Office of the District Court of the Uc'ted States, for the Southern District of Ifew York. PREFACE. Havinq been professionally engaged a number of years, as a Reader in Public, and also as a Teacher of Elocution in New York, I have frequently been consulted with reference to various works upon the subject. When a thorough inves- tigation, a complete analysis was desired, I have heartily recommended "Thb Philosopht or the Human Voice," by Dr. Rush; otherwise, I have suggested different text- books, according to the intentions of those making the in- quiries. At times, in the latter case, I have had misgivings as to the results of my advice ; for, in none of the lesser works I have recommended, would all the means of vocal expression suf- ficiently correspond in style to those I inculcated, and it semed to be the foem alone that many persons PABTicnLARi.T desired. Furthermore, I have needed a manual by which instruc- tion, in a method which I claim in many respects to be new in its plan and arrangement, coald be imparted more reliably than by oral means alone. I have, therefore, prepared this volume, as an improvement upon my former eflforts, the last published five years ago, which I now send forth' to accom- plish what it may in the furtherance of the noble art of read- ing and speaking well. In the following treatise I have inserted, occasionally, quo- tations from authors on art and painting, as well as eloeu- 4 PREFACE. tion; but as, in many instances, I have mry considerably changed their phraseology to adapt them to my meaning, I have omitted entirely the usual punctuative marks, which, if used, -wonld be variously scattered throughout, as well as placed at the sides of the pages, and thus tend to dis3gure their typographical appearance. I have borrowed incidentally another's Vehicle, making the necessary alterations, to transmit my own impressions at a smaller sacrifice of time than by contriving a means alto- gether original. If the critic chooses, however, to be captious and illiberal with such an arrangement he may be so at his pleasure. Witli the more indulgent of mankind I sincerely hope my intentions will justify tlie course I have pursued, I have drawn from numerous sources, but my chief inapira- ration is due to a thorough, laborious study of " The Philoso- phy" of Dr. Hush. Many of the ilhistrations, though in a. form of my own, are from the above-mentioned work. In the practical part of this system I have so enla/rged upon the elements, and mechanized the examples, that many will doubtless pass a hasty judgment upon its eflBcacy. My own observation and daily experience satisfies me, however, that the art of elocution can be successfully taught only in some such manner as I herein suggest. I also feel satisfied that a CAREFUL study and trial of this system, not a meuk PERUSAL, will induce others to believe as I do. Spealiing is an art; and in one sense all arts are mechan- ical. They liave all seemixglt arbitrary principles, or laws. Music, Painting, and Sculpture, have an infinitude of details ; and there is no reason wliatever why Elocution should be exempt from some such similar restraints, or limits, -which do not enfeeble art by this necessary restriction, but guide PEEFACB. 6 and IMPEL it in the proper direction only to increase its NATURAL tendencies. In this method I have simply done what the conjoined experiments of voice, ear, and eye, have suggested to be tlie BEST means of showing others how to practice by analysis, instead of relying on mere impulse and instinctive nnguided effort. To be sure, I have multiplied the combinations of principles in a great variety of ways, but if the student will remember that there are but five great leading principles, and the object is to develope them more sucoessfnily, he will not become alarmed at the abundance of means befoi-e him. These five principles, as enumerated by Dr. Kush, embrace EVKETTHiNO. They are as follows : — Quality, which includes the NATURAL, the falsette, the whispemno, and the oro- tund VOICES ; force, which comprehends the different stresses &c. ; QUANTITY, whlcli refers to the time of syllables and PAUSES in discourse ; abruptness, the staccato of speech, which differs essentially from slow or rapid time ; and pitch, to which belong the skips, slides, and waves, of whole tones and semitones. The great trouble of studying Elocution without the living teacher arises, principally, from the novitiate mistaking com- binations and the higher graces for the peinciples them- selves, and thus becoming disheartened at the seeming amount of work before him. If properly pursued, Elocution becomes one of the most delightful of studies, and it is hoped that these pages may tend to prove it such. The selections for reading and speaking, in the latter part of this Manual, were chosen, in most instances, because less frequently found in works of this kind. The author has only taken such old pieces, for practice with pupils, as he deemed necessary, and then endeavored, as far as possible, to add rieut PEEFACE. material, of a humorous as well as serious style, hoping there- by to suit a variety of tastes. How far he has succeeded in this attempt he leaves others to judge. In this improved edition, besides important changes in the selections for reading and recitation, a number of physical exercises have been introduced, and also numerous corrections made in the practical portion relating to the cultivation of the voice. Since the first issue of Voice aitd Actioh it has been sup- plemented by various lesser productions, such as the Serial Kbadings, Blood and Bkbath, and Popular Recitals. These are now to be followed by a much larger and more com- prehensive work than all, embracing, in the aggregate, over fifteen years of labor and research, entitled Acting and Okatoky. J, E. F. New Toek, January, 1878, CONTENTS. PAQB. CcLTVBE OP THE VoiCE. — ^Public Speaking. — The Throat and Lungs how used. — ^Irritation of the Throat. — Energizing the Voice.— Healthy Lungs and Loud Spealting. — Voice for Dis- tance. — Clear, Sonorous Sounds. — Capacity of the Lungs. — Retentive Breath. — Increase of Volume and Power 11 The Silent Practice. — Inward Mental and Outward Physical Force. — Subdued Vooality. — Intense Will. — ^Vehement Ges- ticulation. — Pacing the Room. — To prevent straining. 21 Expression. — Eeality and Sensibility. — ^Earnest Orators, Delicate Declaimers. — Simplicity. — The Two Extremes. — Commisera- tion. — Artlessness in Vehemence. — Kapid Speech. — The Most Eloquent Manner. — Extraordinary Means. — The Dis- play of Self. 22 Beading. — Dramatic, Theatrical. — ^Far-Fetohed Expression. — Familiar Conversation. — ^Defects and Excellencies. — The Voice in Public. — Another's Opinion. — Reasoning out tlie Language. — The Ruling Passion ; Prevailing Sentiment 29 Beading of poetry. — ^Pausing. — Sing-Song. — Dwelling on Rhymes. — ^Blank Verse 82 Personation. — Changing the Voice. — The Face and Chest. — An- alysis of Characters. — Peculiarities of Expression. — ^Two or more persons. — Humorous styles. — Garrick, Webster, Clay. — The Most Successful— To be a Well-Balanced Orator 82 Action. — Awkward Attitudes. — Retention of Expression, Atti- tude and Action. — The Graces of Gesture. — The Habits of Students. — Different Styles. — Dropping Gestures. — Alter- nating. — Watching Children. — The Hawk and Eagle ,. 86 8 CONTENTS. The Passions.— Developed and Trained. — To Counteract Exag- geration.— The Greatest Effects.— Servilely Copying.— The Eloquence of a look. — Highly Intensive States. — Imitation. — Orators and Actors 40 The Features. — ^The Eyes, the Eye-Brows, the Nose, the Mouth, and lips 44 The Great Masters.— The Great Orators and Actors. — The Stage. — ^Mrs. Siddons. — Edmund Kean. — The Elder Booth... 46 Habits of the Orator. — Smoking and Chewing. — Tlie Food.— Speaking after Bating.— The Teeth.— The Clothing.— The Muscles of the Throat. — Clergymen. — Things to Improve the Voice. — Hoarseness. — Nostrums. — Drinking Water 48 Especially for Students. — Going on to the Stage. — ^Bowing. — The Correct Way. — Commencing. — Heading an Essay. — Eeasons for Gestures.— The Method of Study. — After an Oration is Committed. — Prompting, on Public Occasions 50 General Directions. — ^Beginning. — Feeling at Ease. — ^The Way to Acquire Assurance. — The Manner of Looking at an Audi- ence. — Changing position. — A Listening Audience. — ^Uncon- scious Breathing 64 Short Hints. — Beading and Feeling. — Declaiming and Talking. — Force and Rant. — Suppressed Power. — Concentration. — Beauties of Delivery 61 Practical Elocution-. — Bkeathing. — Inner Lining and Muscles of the Throat, — Method of Breathing. — Dizziness. — Time Occrapied in Breathing. — Expansion of the Lungs.— Elas- ticity of the Chest. — Breathing Through the Nostrils. — Audible ; Forcible Breathing. — Sighing, Gasping, Panting. — The Loud Whisper 69 Articulation. — Method of Practice. — Pure Tone. — All the diffi- cult Combinations 61 FoKOB. — Nine Degrees. — The Stresses „ 83 P'tch.— Singing and Speaking.— Skips, Slides, Waves,— Ques- tions and Answers. — High Notes. — Conversation, Public CONTENTS. 9 PAGE. Speaking, Drawling and Monotony. — Kadical and Vanishing Movement. — Modulation and Melody. — ^The Six Cadences. — Intonation at Pauses 87 Time. — Quantity. — Pausing. — Supplying the Lungs. — Rules for Pausing. — Rythmus 100 Expression. — Quality. — Tones. — The Natural, Orotund, Falsette and Whispering Voices 104 Grouputg op Speech and Emphasis. — Syllables 108 Intonation. — Expressive Intonation , 10? Action and Gesture. — Six Gestures. — The Fingers, Palm, Arms, — Motion, Direction, Manner. — The Face, Feet. — Explana- tions. — Examples 108 The Passions. — A Graduated Scale. — A Complete Analysis of the Passions. — With Examples 123 Readings fob Pkactice 143 The Pocket Gymnasium. — Exercises 163 Free Exercises 170 Selections. The Devil and the Lawyers 171 Very Dark 173 Pat and the Pig , 173 The Old Man Dreams O. W. Holmes. 174 Popping Corn 175 The Battle Geo. W. Birdseye. 177 The Birth of Erin 180 Metaphysics 183 E Pluribus Unum 185 A Scene in Ventriloquism 186 The Old Chapel Bell ; John Q. Saxe. 190 The Frenchman and the Flea Powder 193 Pat and his Musket 194 Mulrooney 195 10 CONTENTS. FAOE. Early Rising John Q. Saxe. 196 Human Dominion 398 Supposing 199 The Cavalry Charge 199 The First and Last Dinner. 201 Mary Stuart. — Scene from 204 Cromwell and Charles 1 208 The Creation of Man 210 White Devil 211 Aunt Tabitha 214 The Last Redoubt 215 Zara's Earrings 217 Sir Huon and the Sultan 218 The Pipe 221 Uncle's Love- Life 222 Roland Gray 226 The Beggar and his Dog 228 Leedle Tawcob Strauss 230 The Face against the Pane 231 Love and Latin 234 Sebastian Gomez 335 Killed at the Ford 238 Paso Del Mar 240 A Categorical Courtship 242 Mutual Assistance 243 TheCourtin' J. R. Lowell. 344 Jonteel Homme 246 Billy and Betty 248 The Clearin' 250 Love came Flying in at the Window 258 Swerting's Revenge 255 Psalm 137th 257 Slain at Sadowa 257 Children in the Moon 259 Maud and Madge 260 Classes — Readings 263 Testimonials , 353 CULTURE OF THE VOICE. To one wlio has paid but little attention to the subject the study of Elocution seems to be a great undertaking. Much has been said, and many panegyrics have been pronounced upon the art ; indeed a vast amount has been written also upon the necessity of study and prac- tice of elementary elocution in order to become a good reader or speaker ; and yet all that has been said and ■written, in both ancient and modern times, can be con- densed into the very concise and limited expression — Be Natueal. Nature is harmonious, and, being governed by im- mutable laws, produces only sweet concords of sound and motion. When these laws are violated, discord is the inevitable result. This holds good — particularly so —in human speech. Man, when closeted from active life, engaged in the depths of philosophic pursuits and studies, becomes a passive receptacle of thought. He thus perverts and violates Nature's laws by the expan- sion of his mental, at the sacrifice of his vocal and physical powers. Public speaking should be energetic in its character. The larger public spaces are to be filled with a fulness and strength of voice that comes from a more than mere every-day conversational power of expression ; and unless persons have already this character of voice, they must of necessity, by an elementary and persistent thorough practice, tone up their vocal organs requisite 12 VOICE AND ACTION. to the demand, prior to any considerable effort in the use of them, or failure will be inevitable. Articulate words, to be heard agreeably by an audience, must be Avell filled and made round, with air expelled fi-om. strong, active lungs. It behooves us, therefore, in the first place, to see that the breathing apparatus is in good working order. To regulate this portion, and to see that it works easily and appropriately, should be our first eflfort toward improvement in this noble art. By training our lungs so that we can breathe deeply and thoroughly, and fill the very lowest air-cells in them, and thus speak with the whole, as it were, of ourselves and not simply with the lips and throat, we shall expe- rience none of those distressing feelings which so har- ass the larger portion of our public speakers, in the shape of bronchitis and other annoying throat-diseases. The throat should very rarely be used other than as an extended or widened passage, straight in its direction, for breath to come up from the lungs, and thus be made a secondary instrument in forming articulate ex- pression of our thoughts. All irritation of the throat, as far as regards its use in public speaking, arises from the comparative exclu- siveness of its employment, and thus making it do nearly all the work, when it should be used merdy as an assistant. This straining the throat, instead of energizing the voice, proves the ruin and misery of many who might, under proper cultivation, become celebrated among the gifted. The lungs are the great means ; the throat, mouth, tongue, teeth, lips, and even the nose, only assist in forming that wonderful feature, the human voice. They would all work with comparative ease and comfort to their individual owners, from the first beam of intelli- VENTILATION AND BEEATHIJTG. 13 gence upon infantile mind, even into advanced age, were they not cramped by enervating, artificial habits. The atmosphere of ill-ventilated, over-heated school-rooms, dwellings, churches, places of business, public halls, colleges, arid, in short, all sedentary pursuits, have the strongest tendency to weaken the lungs and prevent their proper action. The air breathed in such places, and under such circumstances, becomes greatly insuf- ficient and impure ; the lack of exercise also lessens the animal heat of the body, and artificial heat is supplied and kept in the rooms with closed doors and windows, till it is breathed over and over again, and rendered fearfully poisonous and totally unfit for further use. This weakens all parts of the system, but chiefly the lungs, and the muscles, membranes, and delicate linings of the throat. These lose their vigor, and become doubly susceptible to the slightest chafing. Now the sooner a person learns to breathe, and learns that the air must be fresh and pure, the sooner he will feel what it is to have sound lungs and throat, and furthermore, what it is to speak at least with ease and comfort, if not with skill and elegance. In order that the lungs and vocal apparatus may be strengthened correctly, they should- first be exercised independently of language, by a series of vocal gym- nastic exercises. But, even with healthy lungs and a strong voice, there is great liability to mismanagement of the vocal powers in loud speaking ; for, when uncultivated, the voice seems inclined naturally, when energetically used, to rise to a high and piercing pitch in vociferation, making the efibrt extremely painful to the speaker and unpleasant to the hearer. This manner of speaking tears the sides of the throat, producing infiammation and bronchitis. In the immediate exercise it over-exhausts 14 VOICE AND ACTION. the air from the lungs, causing an inward pressure and sinking of the chest, which gives rise to sharp, acute pains. Those who speak from pure excitement alone, espe- ciaUy novices in the art, are most likely to affect this style. They lose all command of the voice, and make sad havoc of themselves by the very powers which, if cultivated to the necessary standard, would prove won- derfully effective. How many clergymen do we see that have broken themselves down by an improper management of the lungs and voice ! They have struggled on in the vio- lence of their excitement until they have prematurely ruined themselves. By a just application of principles, they could have controlled their voices at pleasure, and made them subserve any reasonable and satisfactory demand. Many a voice is said to be feeble because it is formed in the throat, with the least perceptible assist- "ance of the lungs, and an improper use is made of the vocal organs. At the very time such a voice may be strong, but its power is smothered by erroneous appli- cation of means. Demosthenes, whose voice was weak, whose articu- lation was defective, by a course of systematic training such as few have ever subjected themselves to, demon- strated that the practical application of the principles of this art can be learned. Cicero, even after he had attained to some eminence as a pleader, his voice being harsh, and as in high excitement he rose to a high pitch, fearing he might strain himself, applied to teachers, and even went to Asia and other places, to hear the best, and receive further instruction. The ancient orators thought the cultui-e of the voice the matter of first importance. VOCIFEEATION. 15 Curran cultivated his powers with the utmost assi- duity. His voice and utterance were naturally shrill and impeded ; or, as he remarked, in a state of nature. He daily read aloud, slowly and distinctly, and studi- ously observed and imitated skilful speakers. The success of this exercise was so complete that his greatest excellencies were the clearness of his articulation and a graduated intonation. His person was without grace or dignity, short and ill-proportioned, and to conceal these deficiencies he practised continually before a mir- ror to acquire the proper action. He debated questions alone, as if he were before the club. He declaimed from Junius, Milton, Shakspeare and others. By industry he rose to eminence. Dr. Rush says, few persons are aware of the influ- ence that loud speaking or vociferation has on the quality of the voice. It is one of the artificial modes of producing the orotund. It takes the voice from its meagre mincing about the lips, and transfers it, at least in semblance, to the back of the mouth, or to the throat. It imparts a grave fulness to its quality ; and, by creating a strength of organ, gives confidence to the speaker in his more forcible efibrts, and an unhesitating facility in all the moderate exertions of speech. When the mind is prepared by elementary and by systematic practice, the feeling which prompts expres- sion will find the confirmed and pliant organ ready to effect a satisfactory and elegant accomplishment of its designs. The organs of speech are capable of a certain range of exertion. To fulfil all the demands of a complete Elocution, they should be carried to the full extent ol that capability. No one can read correctly or with elegance, if he does not both understand and feel what 16 VOICE AND ACTION. he utters. Bat these are not exclusively the means of success. Sense and feeling must have a well-tempered material in the voice. In speaking of the mental requisites for good read- ing, -we must not overlook our frequent neglect to dis- criminate between strong feelings and delicate ones. The mind, or nervous temperament, must furnish the design of Elocution ; the ear must watch over the lines and coloring of its expression. An ability to measure nicely the time, force, and pitch of sounds, is indispensable to the higher excel- lencies of speech. It is impossible to say how much of the musical ear, properly so called, is the result of cultivation. The voice, for public speaking, must be labsee than for conversation, and be properly proportioned. In illustration, to a certain extent, might be cited the story of the statues. A large public edifice required a statue as the crowning piece upon its loftiest tower high above the rest of its architectural designs. Orders were issued that the various sculptors of the country might compete in furnishing an appro- priate figure. The day appointed at length arrived, and among the rest was a huge, rough, but well- proportioned statue, giant-like in size, which was not only rejected by the judges without deliberation, but was the ridicule of all. The finest and most suitable of the others was then selected ; it was raised aloft to the tower, but it was too small to be in keeping with the great height, and its polished surface so reflected the rays of the sun as to make it an undistinguishable mass of stone. It was lowered to the ground, and after some hesi- tation it was decided at last to try the large one so rudely rejected. To the surprise of all it was none too SONOROUS SOUNDS. 11 large, and its roughness only served to absorb the glare of the sun and to give a just and agreeable reflection to the eyes of those who gazed upon it. Thus it is with public speaking ; an ordinary voice is too small. Distance and large spaces require a large voice. As regards the application of the foregoing illustration, the voice has decidedly the advantage, for it can be cultivated to a strong sonorous condition, and be used with the utmost delicacy in conversation, and sound immeasurably richer than a puny voice, or it can be applied in the most energetic manner to pub- lic speaking, with equal facility. Its public exertion need not destroy its private delicacy. The clear and robust sounds depend upon breath- ing gently ; not forcing the breath, but sparing it, that the delicate muscles of the throat and palate may not be irritated, but become more elastic, and expand into an arch-like shape. Sounds are more sonorous and clear from the space they vibrate in. Thus know- ing how to spare and make good use of the breath i& of the greatest importance, as this gives the power of expanding and sustaining firm sounds, of sending forth the voice in the most energetic or most delicate m,anner, and so coloring every emotion the sense requires. Sometimes early defective example places the stu- dent in a painful and embarrassing position. , When his manner is formed, and the organs of speech are hardened into almost inflexible rigidity, he discovers something wrong. He then applies himself to the study of Elocution, in hope of effacing, in a few les- sons, the habits, and acquiring, in a short time, the mastery of an art, which, from the union it requires of judgment, taste, and feeling with natural qualifications and mechanical skill, is, perhaps, surpassed by none in diflBculty of acquisition. Discredit is thrown upon the 18 VOICE AND ACTION. art, which properly belongs to the artist, at such a time. He has, it is true, an arduous, though not insvper- able task. He must retrograde and begin again. Let him labor steadily and perseveringly in private, but cast aside all attention to manner when in public Let improvement be the gradual and unconscious result of previous practice. He should avoid all appearance of display, and of a puerile preference of the means to the great ends to be attained. Elocution cannot be taught by rules. One is sure to employ the inflections of voice that are natural and suitable, the shortest and easiest way, if the voice is sufficiently trained, and the meaning understood. Aim directly at becoming a good speaker. When this end is attained, rules are needless. All have the public voice but with most it is undeveloped. With such it requires faithful, systematic, long-continued practice. A young man once applied to a celebrated vocalist for instruction. The agreement was that he would be received one year on condition that he would patiently faithfully practise as he was directed. The instruction commenced on a plain but irksome exercise, which was repeated day after day without the least variation, except ^as to a rigid, exacting increase of ykill in its execution. This continued for three, for six months, and then the pupil thought there would certainly be some change. But no; the entire year was exhausted, on this one, simple, but ail-efficient exercise. .Now what? The pupil agreed to another year, and to Lis sur prise it was merely another feature for the entire twelve months. One more year of equal perseverance he was told would finish his instruction. To the utter FOEMING THE VOICE, 19 astonishment of the young man, another year passed with not even a new exercise, but a combination of those of the preceding years. Three years of toil had expired and he awaited the advice of the vocalist. He was told that he had received all that it was in the power of his teacher to impart as regarded the culti- vation of his voice, and he was urged to go forth into the world and use it. Thus it is with reading and speaking; the voice IS first to be formed. It is to be strengthened by an increased capacity of the lungs, and an acquired strong respiratory action. Its thorough discipline must be mastered, from the lightest whisper to the loudest shouting ; not with a view to actual use, but for secur- ing a command over every degree of force and pliancy. Even in a few weeks a stentorian power can be im- parted to a comparatively weak voice. This practice, if understood, is highly invigorating and enables a person to operate easily with either the lightest or the most energetic efforts. When I speak of the capacity of the lungs, I do not mean a large chest simply, for the chest may be broad but the lungs may resemble the dried up meat of a filbert. Dumb-bells do not expand the lungs but merely enlarge their chamber. The only true means is by systematic, artistic breathing ; and hardening the muscles around the neck by wearing the clothing sufficiently loose to allow the air to cu-culate freely around them. It is absolutely necessary, before fluent and easy utterance, to have command over a greater quantity of air in the lungs, and to invigorate and brace up the muscles around the throat, to give them an expansive energy to admit and expel air to any degree of inten- sity whatever, without injurious effects. 20 VOICE AND ACTION. To make speech sonorous and metallic in its charac- ter the sides must be practised to expand well with the head erect, the chest forward and the lungs kept filled. The kings are like the bellows to an organ ; for it will not emit full, musical sounds unless the bellows freely supply the air. In reading even in a sitting posture never huddle up or bend over, but sit erect, and keep otherwise as near as possible to a standing posture. Whether the voice is used as by a reader or not, those who value their lungs and vocal powers should attend particularly to the ventilation of their apart- ments, especially those in which they sleep. They should never sit or sleep in a room that is not properly aired. The author, even in mid winter has his windows lowered several inches, both day and night, or in some manner a door ajar, leading to another apartment or to a hall way, through which fresh air is 'constantly ad- mitted. The vocal organs become enervated and paralyzed for want of action, but a far worse fate awaits them if deprived oipure air, for then they become diseased. When actually speaking do not mistake loudness for intensity. The one is merely voice or bellowing : the other is the meaning deeply imbued with the bright hues of feeling. The orator may gesticulate with the desperation of a lunatic and shout loud enough to tear the welkin, out this is monstrous ; all that is needed when the voice is strong, is earnestness. The practice of the voice is one thing; its application, very nearly another. The voice must be practised to its fullest capability to render it strong and flexible, but no one need to shout while actually speaking. He who vociferates at any time without judgment, will injure the vocal organs ; THE SILENT PRACTICE. ^ 21 he who smothers the voice will be heard with difficulty. It must be clear and penetrating ; everj' stroke of the voice should be perceived, every vibration instantly apprehended. Pure, firm, decided tones are formed only on a full, retentive breath and by a quick opening of the mouth; like the foot promptly lifted as in marching Avithout shuffling. Deep tones express our inmost feelings ; and it is by a perfect control, a power to economize the breath, that great speakers hold audiences in breath- less expectation, as they alarmingly but gradually increase the volume and deepen the tones of their voices, and then delicately diminish the power to almost a mere breathing expression. When the student has at last learned the right Tvay he will gladly leave the tones of conversation, when in public, and set utterance free from trammels, and urge it forth in broad emphatic speaking, the only style that sways and carries along an audience. THE SILENT PEACTICE. The best practice is in the open air; the next in a large hall or well-ventilated room. But if a person is so circumstanced as not to be able to practise aloud, without greatly annoying people, he can use a means, which I call the silent peactice, by which the voice can be even skilfully improved. In this exercise he is to sufficiently intone the words to give them audibil- ity, and by intense will and a determined inward mental and an outward physical force, seevi to shout and gesticulate as if in the very depths of the forest or c n the wild and lonely sea shore. It requires, how- ever, rigid and exacting application ; and thus effects nearly all that may be needed. Practice of this kind 22 VOICE AND ACTION. cannot be heard even by those in an adjoining room, but great skill is necessary to prevent straining even by this method. The exercise must be gradually and not directly powerful, and yet be earnest enough in its character to produce th6 desired results. To equalize and divide the labor with the voice, it is advisable to pace the room in a seemingly furious manner, to gesticulate freely and lustily, with the eyes full of fire and expression ; and all this, even though the whole frame be excited to a glow of enthusiasm and animation, can be done without the least disturbance to others in the immediate vicinity. If the room is well aired, and the person deeply inflates the lungs, and concentrates his mind on the purpose, it is impossible not to derive immense benefit. Personal experience with pupils, has demonstrated that a radically weak voice can be made strong by such a method. Breathing alone would do much toward the attainment of the end proposed, but a com- bination with the eflforts of the body tends to facilitate the matter. This apparently extravagant exercise is merely for practice, and it renders all the speaking powers ex- tremely strong and pliant. In private, the breath may be violently drawn in and as violently expelled, but in public, it must be imperceptibly supplied. The same with action; if either is obtruded it mars the expression. The public use of both should be mainly characterised by simplicity and strength. EXPEESSION. When the voice is prepared by elementary training, and is capable of fulfilling all demands, then public SIMPLICITY. 23 speaking should be earnest ; not merely with a louder noise and more vehement gesture, as in practice, but with reality and sensibility. It is difficult to acquire the habits which induce that native feeling, and fresh- ness of expression. It must be living, soul-kindling. It can be professedly cultivated, and even mechanically, but with the sincerity and earnestness of a man bent on great effects; as of realities which he understands and feels in the very depths of his soul. This is the only means of producing what the age demands — powerful, earnest orators, and not graceful, delicate declaimers. The simplest truths when communicated powerfully come to us warm and living from the speaker's soul. Sometimes a single sentence uttered in this manner goes deep into the hearer's heart and teaches more than could be gathered in hours from the written page. There is not an atom to spare in the works of nature, and its greatest structures are its simplest. Simplicity is the highest and the most enduring of all qualities. It is the mean of extremes and exactly answers to its end. The orator should have his language red-hot with passion, but everything like effort should disappear j and even the most exciting expressions should be given with a smooth, severe simplicity that is delicate as well as energetic. The two extremes of speaking, between which is found this exact simplicity, are raM and apathy. The object of Elocution is to explain those natural prin- ciples already created, which properly control expres- sion ; to develope and cultivate voice and feeling to the extent desired ; and to refine, not pervert nature ; and the greatest orators are those who have this art subservient to native powers. Even in the calmest and most subdued expression there should always be 24 VOIOE AND AOriOlC evinced a great susceptibility of emotion and energy, or it will assume the character of sluggishness. In the gentlest mood, however light the feeling, to influ- ence and move others we must ourselves be influenced and moved. In every shade of emotion persons should guard watchfully against styles — the bombastic, the theatrical, the lofty — which betray themselves by the tones of the voice failing to penetrate to the very bottom of the soul, and which are ready instantly to die away in the ear of the auditor which derives no internal animation from the efibrt. Cicero says he requires not a feigned compassion, nor incentives to sorrow, but that which is real, flow- ing from the sighs of" a wounded heart. He also remarks that commiseration ought to be of short dura- tion, for nothing dries up sooner than a tear. Even in pathos and emotions of pity the orator himself must not weep, but control his feelings, or the delivery is degraded. The poet cannot see to write when his eyes are filled with tears ; he must rise superior to his grief before he can sublimate his grief in song. The artist is a master, not a slave ; he wields his passion, he is not hurried along by it. He possesses and is not possessed. Art enshrines the great sadness of the world, but is itself not sad. Ilazlitt says, that whatever is genuine in art must proceed from the impulse of nature and individual genius. The ideal is not the preference of that which exists only in the mind to that which is fine in nature, but to that which is less so. There is nothing fine in art but what is taken almost immediately, and as it were in the mass, from what is finer in nature. "Where there liave been the finest models in nature, there have been the finest works in art. • In the study of this art, the VOICE AND FEELING. 25 proper object, when a good foundation is laid in the voice, is the directness of one's endeavor to acquire that exacting habit which is able to exclude all that is foreign and omit nothing in expression that is essential to its just and elegant proportions. A speaker should be artless, even in vehemence; and have a negligent air of naturalness, and , yet be able to fill even plain truths with feeling. In the most exciting expressions the words must not be given so rapidly as to prevent the proper emphasis and thor- ough intonation of each syllable. Precipitation kills the meaning. Sensibility will move even ordinary men to speak well at times ; it is this which prompts the words that burn, but it must be genuine. It must be delicate, not tampered with ; it cannot be forced. It must be an urgent thirsting for truth, a tortured mental strug- gling within tor outward vocal life. The voice can be cultivated to work out the feel- mgs which are already in the soul ready to be sum- moned into action. It can breathe them out with a glow of animation and purpose that eventually assumes a character of reality. A few words show the presence of the orator; as with a painter the roughest sketch betrays the hand of the master. The most eloquent manner of speaking is the most easily acquired, for it is as simple as it is natural. Many overreach and work themselves up by extraordinary instead of gentle means beyond the fervid and simple style to a bombastic and frigid declamation. The aim should be the repose, not absence of ex- pression. Taste will refine a sufiiciently cultivated voice; and sincerity, vigor, and power can never be harmonized until softened by taste. When expression is the result of mere feeling., tri;i,th 2 26 VOICE AND ACTlOir. is sacrificed for its appearance ; show is mistaken foi substance ; and the result is violent, bizarre, capricious There is also great danger of overdoing the tech- nical principles, and mere imitation is imbecility. Here imitation is used as the end instead of the cor rective, the improvement and bringing out of natural powers. To imitate, for something beyond the principles will exalt not degrade originality. When a pupil has once laid hold of a principle he will see where his teacher deviates, and even be able to correct him. Principles will also .guide in the study of deformities for the very purpose of avoiding them. The rules of criticism are not arbitrary. In the mind there is an innate power which only requires development to appreciate the true, and separate it from the false. Wayward prejudices may for a time esteem even deformities as excellencies, and even take delight in distortion. Eye and ear may become the slave of habit and receive most pleasure from the peculiarities to which they have been accustomed. Public speakers of all kinds, especially lawyers and clergymen, from the fact of their occupying high intel- lectual positions, have a great controlling influence over younger aspirants in the same directions. Many speakers have faults peculiar to themselves, and they become, by their examj)les, the instructors of herds of worthless imitators. The youthful De- mosthenes is told to watch the best (?) speakers; he copies alike both good and bad habits and the result IS merely a confirmed imitation ; the bad habits of course display themselves to a very disagrbeable extent, as the idiosyncracies of the former do not sit well on the latter. DISCIPLINE. 2T The only sure means is by a study of the principles, refon-ing constantly to nature for their application Nature is varied, refined, and subtle beyond retention, therefore refer to her continually; recur to her at every step and in this way daily renew strength. The principles of art endue nature with an air of intellect and sentiment. If we are not natural we are repulsive. Affectation will be detected. Sometimes we put on airs when striving to be natural ; this is absurd, for we ought rather to ascertain faults with a determination to remove them. If the speaker feels the sentiment, even a bad voioe will show it in every degree, for it tiever -p^ajs false, and there is no substitute for reality. We can seem to be real till living reality comes, and is gracefully natu- ral. Discipline will effect this, and will awaken dormant energies to an extent little suspected by most people. Success depends npon filling the soul with the mighty purpose of excelling ; of shrinking from no labor that is essential to the purpose, and keeping constantly in view the reality and simplicity of nature. There should be a right-onwardness in expression ; a rushing to the end, which keeps the mind awake and on the alert. There should be a freedom from superflousness of feeling, and a point or focus to which all should tend ; everything foreign to this is ruinous, yet it should have all that is necessary to completeness. Anxious, critical study, however, is apt, unless properly directe^i, to interfere with nature ; for we study principles merely as such, and apply them to words merely as words, instead of cultivating the voice to bring out the meaning and feeling from thosts other- wise silent symbols 28 VOICE AND ACnOlf. The voice, from improper application, is apt to be lovcd, instead of intense, dignified, and eonversational in tone. This makes a speaker unnatural, no matter how natural his common utterance, and he displays himself like an actor ; for there are so few good actors that it is generally conceded that in the mass they do display themselves to the entire neglect of the charac- ters they vainly strive to sustain. The ancients represented eajjsie/icies, we the effects ; they portrayed the terrible, we terribly. Hence our exaggeration, mannerism, false grace, and excess. For when we, strive after effect we never think we can be effective enough. Feeling c innot be expressed by words alone, or even by tones of voice ; but by the flash on the cheek, the look of the eye, the contracted brow, the com pressed lip, the heaving breast, trembling frame, rigid muscle, the general bearing of tlie whole body. A slight movement of the bead, a turn of the Land, a judicious pause or interruption of gesture, or change of position of the feet, often illuminates the meaning of a passage and sends it glowing into the understand- ing ; and yet, there are times when even the wonders of the eye will lose much of their charm, if not sup- ported by the still more imposing organ of the voice. We are told by an author that it made the blood run cold and the hair almost stand on end to hear Edward Irving read the 137thPsalm, in the old Scotch version, (see Contents,) and it was the richest treat to hear him repeat the Lord's Prayer. Mr. Windham, after hearing Pitt, walked home lost in amazement at the compass of human eloquence. But even Pitt writhed under the eloquence of Sheridan. On one occasion the House was adjourned, so as not to decide a question under the influence of such powerful eloquence. KEADIMG. 29 Discipline must be preparatory and private ; must consist in practice of action, in loud reading and speak- ing, tUl all the excellencies of a good elocution become part of one's nature. (Nor will it be as long as we may hare supposed, before we begin to experience these results.) Then we shall,, as though they were gifts of nature, carry them into general use. Our pri- vate training will bring the graces imperceptibly into our public action, and all our defects will be gradually supplanted by them. Thus may we learn to speak by principles, yet we never need be embarrassed by them. With a competent teacher, the learner may aim directly at great excellence. Avoid bad habits and awkward restraints ; thus, indirectly, the beauties and graces will ensue. When, at last, through severe labor, and patient, assiduous toil, the powers are capable of exemplifying the sublime in oratory, the mind is so overpowered and taken such possession of that no room is left for minute details ; and the more intense the man's intellectual am emotional life becomes at the same time, the more he demands those effects which call forth such harmoniouh energizing of the soul, and constitute the highest luxury of expression. Reading. — The only difference between Reading and Speaking is in the degrees of force by which the principles are applied. Reading is necessarily more restrained than Speaking, but it is advisable to culti vate acute susceptibility in both. Reading should have a dramatic character, whtch is not of necessity stage-like. Animated, earnest, expres- sive reading is not theatrical. It is like the conversa- tion of an earnest person thinking to himself aloud y and if one far-fetched, over-done expression is given the charm is gone. 30 VOICE AND ACTION. It will be far removed from artificial or reading tones, and, though natural, will be superior to the familiar tones of conversation. Dr. Rush says, that to read as we talk — that is, naturally and with expression — is an excellent rule ; but if our natural manner or accent be faulty, we should endeavor to correct rather than imitate it. In this art a vulgar ear may perceive defects in the finest examples, but it takes a high degree of culture really to appreciate excellencies. We should read slowly and distinctly, with the same pains that we take in talking; so that if another were listening he would think we were talking instead of reading. In public we simply increase the power of this same manner. Reading is mei-ely speaking what one Rees in a book, just as he would express his own ideas as they flow in conversation ; and no one reads well until he does it in this natural way. Children read like parrots, for they never understand what they read ; they merely pronounce the words. Pay no attention to the voice in public, but dwell intently on the sense, trusting all the rest to nature and prior practice for tones, emphasis, and inflections. He who understands and fully feels, who earnestly occupies his mind with the matter, and is exclusively absorbed with that feeling, will be likely to communi- cate the same impression to his hearers. But this can- not be the case if he is occupied with the thought of what their opinion will be of his reading, and how his voice ought to be regulated ; if, in short, he is thinking of himself, and of course thus detracts his attention from Ihat by which it should be altogether occupied. In reading the Scriptures, or similar composition, we should use great judgment. The sentiments in such are not intended to appear as our own. In such ex- VOCAL UNITY, 31 ceptions pay close attention to the meaning, and leave the utterance to nature. As you read reason out the language particular by particular, and yet do not give a feeble catalogue of terms, for that weakens the force. Do not be too pre- cise, and yet have everything accurate. The sense should be studied thoroughly, by atten- tion to the various positions of the verbs and their nominatives, especially : then to the conjunctions, rela- tive pronouns, adverbs, and prepositions, as being the next most important parts of speech. By these particulars learn to grasp each period, and from them pass to paragraphs, until you can master the comprehensive whole of all the matter before you, and thus give the ruling passion or prevailing sentiment. By this method the mind can be assisted in holding the periods together, as the particulars are understood, by the tones of voice, gestures, looks of the eye, and a gentle swaying of the body. After the periods are formed, it is a very simple operation to unite them into paragraphs, and finally, by a similar but less intricate process, to combine them all together in one perfect whole. All can be summed up in a few words. At the outset, a person has so much to i-ead ; and he must pre- sent each part as belonging intimately to what may have gone before and what is to follow. The smoother and less fragmentary and disjointed the effort appears, the more agreeable will it be to both hearer and reader. It differs very essentially from the "pumping pro- cess." Each part of a statue is carcfally and accurately wrought out as belonging to a whole. In its appear- ance as a figure we see a perfect unity, and yet each detail will bear th'^ closest scrutiny. In a painting we observe the same effects ; all the parts form the pic- 32 VOICE AND ACnOlT. ture. Disjoint the one, or rend the other, and we have only the fi-agments and the pieces. So it is with reading ; each word was written with a view to some other word, each period to another period, and yet everything with an idea to a whole, and as such should all be read. Every part of the subject, to its minutest detail, should be given, and the unity of the whole be pre- served unbroken. If a man has no enthusiasm, how- ever, all will avail him nothing, for rules will be only rules to him, and be will display the words obtrusively, coldly, and unfeelingly. When tenible or lofty feelings are pent up in the soul, then is a proper time to look within and carefully study those emotions — to be auditor, as it were, to them, to yourself. Habits of this kind will enable you, when you un- derstand thoroughly the meaning, to commune with and study the appropriate expression. Poetry should be read very nearly like prose ; and whatever pauses are made as to the melody alone, especially at the end of every line, should be of the sus- pensive kind denoting a continuation of the sense ; this prevents that abominable sing-song style so common among cultivated persons, but not correct readers. The reader should not dwell on the rhymes, but read them smoothly, aiming at the sense, and preserv- ing just enough of the melody to distinguish the po- etry from prose. Great skill and frequent practice are equired to enable a persoii to read blank verse correct- PEKSONATION. Dialogues are excellent for practice, as, in readmg them, the voice must frequently be changed in its tones fKRSOUATlON. 33 to represent the different persons ; and furthermore, the reading of them very nearly resembles ordinary con- versation, or natural expression, and thus an interest is awakened. In this style of reading, in public, as a general rule, the face must be turned a little aside, presenting to the audience only about a three-quarter's view, while the chest is kept directly to the front. Each time a change of character occurs, the reader must so change his voice, his position, and direction of face, as to keep before the hearer a distinct picture of the entire group. The fa,ce must be alternated according to circum- stances, so as to show its right or left side to the audi- ence; and also regulated as to the distance it shall turn. The face must not front the audience, nor be turned at exactly right angles from them, but have a direction between these extremes, in a general relationship with the characters represented. But, above everything else, see that the chest has a fvR front to the auditors ; never turn the side to them if it can be helped, and what is far worse, the bach. The audience wish to see the face and chest, not the side and book of the reader. It is a difficult study to represent truthfully various men and women, both old and young. The author would recommend, as a practice, first to analyze each character by itself, as regards the tones of the voice, or the peculiarities of expression that may be- long to the person represented. In the meantime, the last lines of each character that directly precedes it can be given, if desired, to assist the appearance of con- versation with another. In the recitation of poetry combining description 2* 3 1 VOICE AKD ACTION. and colloquy, the descriptive parts, even to the minutest details, should be given directly to the audience. Each word of either character ig given as in dia- logue, with the face partly turned from the audience, as though no one but yourself and the seeming charac- ters were present, and yet with the full impression that they hear and thoroughly understand the sentiments, as if delivered directly to them. The following will illustrate this style: — Burned Marmion's swarthy cheek like fire, And shook his very frame for ire, And — " This to tae," he said ; " An 'twere not for thy hoary beard, Such hand as Marmion's had not spared . To cleave the Douglas' head." All except what Marmion is made to utter should be delivered directly to the audience ; but the instant he is represented as speaking, the voice should change, and the head turn to an angle from the hearers, to represent him as talking to Douglas ; but the words " he said," should be given with the face to the front again, and immediately, in continuing the colloquy, the angle should be resumed as before. When two or more persons read or speak in dialogue they should feel the sentiments, listen to the language, and look at each other, as in earnest conversation. Each speaker should be interested in all that is said. This gives it an air of reality, and brings out the full mean- ing. Shakspeare furnishes the best examples for practice in pure dialogue; Milton (Paradise Lost) for lofty de- scription and colloquy combined. The practice of humorous description, and also amus- ing dialogue are by no means to be neglected, as their exercise is still more naturalizing in its effects, if not degraded into buffoonery, than any other means. THE COMIC STYLE. 35 The practice of the lighter kinds of expression, em- bracing wit, especially in the form of satire and irony, gives one a greater ease and confidence in the grander flights of fancy and imagination, as it takes away the tendency to rigidity and mock solemnity, so likely to be induced by reading the sober and dignified styles of language. Gan-ick, the great tragedian, -was admirable in comedy, and even in farce. Daniel Webster, with all his profundity, Henry Clay, with all his skill, were hoth remarkable for their wonderful powers of mimicry, and either could " set the table in a roar." Shakspeare excelled in writing comedy as well as tragedy ; he courted the comic as well as the tragic muse ; and in the midst of the highest tragedy he gives us the lowest comedy. He puts the crazed King Lear and the IJpol out in the same terrible storm ; and in Hamlet he gives us the unhappy Prince and the witty grave-diggers, even amidst the solemnities of burial, in jocular repartee. Our best and most successful orators are those who are witty as well as wise. Their finest arguments are set ofl' with illustrations of the most diverting and amusing character. The young are too frequently discouraged in their attempts at wit, or in the recitation of humorous selec- tions, from the fear of contracting light and frivolous habits. But this is wrong and highly injudicious. To be a weW-balaneed, not a owe-sided orator, a person should have an unerring command over expres- sions of both wit and gravity. Dry-as-dust oratory is QOt for the present age. iSb VOICE AND ACTION. ACTION. Action is infinitely various, and requires to be weD set off by great propriety of motion, by study !»nd minuteness in the disposition of the body. Awkward attitudes and gestures detract the mind from the mat- ter to the manner. As it is in reading with expression, so the basis of real effective action is real feeling. So important is this that it will compensate defects ; but there is no incon- gruity between feeling and the highest grace in action. When the feelings are truly enlisted these graces will increase their power, for they will come spontaneously from previous practice. Even in pausing, the speaker should retain the expression, attitude and action, for they fill the chasm as though more were coming. By suspending the voice and changing to silence, the attention is arrested, and it seems as though nature were dictating; as though the speaker were reflecting. Cicero says, that the boat moves on from its momentum after the row- ers have ceased their efforts. In highly dramatic styles of language, attitudes are ravishing when graceful, appropriate, and occasional ; but disgusting when crowded and awkward. It is highly improper to get ready to start, in a passion. In nature sudden terror has no action of its own, but rivets us to the posture we are in ; or at most averts the head from, or projects the arm against the object. There should be no anticipation of sprawling, jerk- ing, or distortion. In reading Shakspeare's Hamlet, for example, it is outrageous to make preparation to boldly stare the ghost in the face. It would be far GESTURE. 37 better for the reader to forget for a moment his own power a little, and think of the shadow. The graces of gesture and action are simplicity, smoothness, and variety. They consist in changing from one position to another in the free, untrarameled movements of the ductile limbs, added to general sym- metry and harmony ; but before variety of grace can be obtained there must be flexibility. The most awkward person may give expression, but rigidity of muscle and stiffness of body destroy grace- ful action. The habits of students are especially awkward and ungraceful, from their physically inactive life which is continually cramping and restraining nature. They daily weaken vocal and muscular power and lose con- fidence in themselves as speakers. There should be no restriction on the mind such as uncertainty, bash- fulness, and timidity. The head should slightly imitate the hands in every motion. The speaker should not stand too erect, but gently wind his body in graceful keeping with the sen- timents, using great judgment. The lower limbs should change with the ideas, but great caution must be ob- served, especiiiUy in dignified discourse. Imitative gesture should be limited to the light styles of expression and never used in serious delivery. When a man clenches one fist the other does not lie in a quiescent condition. While the face is stern and vindictive, there is energy in the whole frame; when a man rises from his seat in impassioned feeling, there is a certain tension and straining in every limb and feature. If one of those parts were active while the others were in repose, he would present a cramped and spasm- like appearance. The character must be uniform or there will be no 38 VOICE AND ACTION. truth in the expression. Even in the most animated language some persons are like statues. There should l^e nothing violent, no contortions, no forced attitudes for effect, but we should do just as we would even in tlie most exciting situations. Exagger- ation of physical action is often mistakenly given for the quiet of deep mental emotion. By long practice we acquire the power to appear perfectly natural, easy, and unlabored, without rule or apparent effort. Different styles of language require different styles of gesture. Tragedy, epic poetry, lyric odes and sublime description require bold, magnificent, graceful, and varied action in their highest cultivation. Orations, generally speaking, especially those abound- ing with plain arguments, need merely enei'getic, sim- ple and slightly varied movements. The gestures of the public speaker must be few and vary according to circumstances of situation, audience, . and language, but they must be decided rather than merely graceful ; earnest and manly, not delicate and effeminate. The speaker should be cautious of adding the slightest trait to the simple but grand character of natural action, for instead of making the appeal stronger it is sure to weaken it. Each gesture should have a sufficient reason for its being used. Vigor is given by excitement of the breast, lips, and nostiTis ; while the posture and the look of the eye add direction and meaning. By a just energizing of the functions we can work out all the capability of expression in the words as they severally make up the sense. We must never drop a gesture until the period has closed ; but vary the movement in a suspensive manner as we continue until the voice falls at a cadence in the language. GESTURE. 39 The speaker must not alternate his gestures, by using one hand and then the other, in the same period of language. In speaking of lake and river, of hill and valley, of the east and the west, use but one hand, in indicating the direction of each feature ; or, what may sometimes be still better, in denoting extreme distance, bring up one hand to mark the first object or direction, and sus- pend it while the other is also raised to denote the opposite idea, and keep both hands out until the sense is concluded. In noting several conseeutire objects, the one hand or both should be used in the same man- ner as in representing opposites. Sometimes the eye follows the gesture for a very short time, but never continuously. We should closely watch children be- fore they become cramped and enervated by artificial habits. We should patiently, carefully observe statues and paintings from the best masters. We should not seem to have studied gestures, but conceal the art so as not to present the least appearance of design. The bold flight of the hawk and the eagle might be given as illustrations of bold, free, and sweeping gestures. In private, lay about lustily, to acquire the bold, sweeping, graceful style ; in public, use gesture spar- ingly, but when used make it effective. The speaker should learn to stand still; to move to the word; to know how and when to move. Sometimes he must change instantly ; at other times modulate through the language. If the ideas are numerous, but similar, the gestures and actions should be few and similar; if dissimilar, then the actions should be varied. The practice of gesture and action may be cultivated to the highest state. Every part of the body and limbs must be 40 VOICE AND ACTION. carefolly and patiently exercised ; even the nnok can be used effectively in some situations ; great flexibility of the fingers is positively needed in elegant ar.^ refined expression, and the eye can add wonders i* properly used, THE PASSIONS. The passions are the impelling forces of life ; and without these, a man is as useless in the world as if he were without brains. He cannot be good, he is only innocent. God gave us passions for a full, natural, symmetrical development ; and the grandest type is one with these thorougly trained. Eloquence is a complete paradox ; one must have the power of strong feeling, or he can never command the sympathy of a varied, crowded auditory ; but one must control his own sen- sations, for their indulgence would enfeeble execution. One must practise effects beforehand in his own mind. The actor never improvises a burst of passion; everything is the result of pre-arrangement and fore- thought. The instantaneous agony, the joy that gushes forth involuntarily, the tone of the voice, the gesture, the look, all which pass for sudden inspiration, have been rehearsed again and again. He who expects to excel must Ptudy from himself, and compare his own proved sensations under grief, happiness, anger, pain and all ordinary variations of human events and feelings, with the emotions he rep- resents. His skill lies in the excellence of the imitative reality ; for he is not natui-e, but art producing nature. But whatever the sublimity, the terror or beauty, the necessary vigor of the action to convey the passion, we must not forget that there is a limit to ^11 human expression, beyond which is distortion and grimace. NATtTEAX LAWS. 41 Men are subject to the laws of nature, and the most frenzied fancy is compelled to abide by them. To counteract exaggerative eifects, we should pay attention to living, breathing models ; we should take eveiy opportunity in the streets and in the social cii-cle, to argue with persons and watch them. We should learn expression, by observing men and children — anxious, active, eager to talk ; we should especially notice the terror and anguish of persons in scenes of danger and trouble ; see their faces, hear their voices, particularly when their movements are unconscious. We should also turn to the calmer scenes of life and study the nobler but subdued passions, so greatly touching ; the repressed softness of strong, great souls. Both should be well understood. In the thorough acquirement of these extremes great skill is necessary, for every excellence borders on some deformity; the simple upon the cold and inanimate, the bold and expressive upon the blustering and overcharged, the graceful upon the precise and affected ; the one becomes, the other distorts expres- sion. The greatest effects can be produced naturally by rules, yet as if unconsciously. Nature will show you nothing if you set yourself up as her master. You must forget self and try to obey her ; you will thus find obedience easier than you think. Instead of servilely copying the style of another, imitate conceptions; do not tread in footsteps, but keep the same road ; labor on principles to get the spirit. Study not only the effect of the passions upon others. but also the effect upon your own face, that you may distinguish the difference between an alteration of the features expressing the feelings, and the grimaces t2 VOICE AND ACTION. that attend a play of the muscles. Errors will continu- ally offend not only the informed, but even the unculti- vated, although they cannot tell the reason. "Want of simplicity is destructive of dignity. There is a pure, chaste modesty, as it may be called, in opposition to a bold, impudent, glaring color of passion ; but some think they cannot have enough of this violent contrast. There is frequently more eloquence in a look than It is possible for any one to express in words. We are charmed, awed, incensed, softened, grieved, rejoiced, raised, or dejected according as we catch the fire of the speaker's passion from his face. The look muscularly stamped on the face makes the same impression on the body. When a passion is lengthy in expression, stop and decrease the power; then burst again to shade the emphatic parts. Highly intensive states of mind, such as alaim, terror, anger, and similfir conditions, suppress the force of utterance ; feeling gets control, and the whole soul, mind and heart are to be thrown into a few words. Perturbation, confusion, perplexity, and like states of excitement have an aspirated, explosive energy ; not pure quality or vocality. In terrible paroxysm the soul quivers in majestic nakedness. In frenzy the tones of voice are dignified but terrible ; although just before it the person is some- times quiet. In great excitement and intense feeling, the eye has a wild, frantic, savage, leopard-like glare. But the most awful idea of agony is a forcible burst of passion and then a sinking into the utmost softness. By a strong effort the outward tokens of passionate gFirf must be restrained, for men wiJl not have its IMITATING THE VASSIONS, 43 violence obtruded upon them. To preserve the dig- nity of his "character" the true actor permits those uncontrollable signs of suffering, alone, to escape which betray how much he feels and how much he restrains ; and in quivering motions, gentle smiles, slight con- vulsive twitchings he shows the truth of nature. It is then that we have the most afflicting picture of human anguish. It is effected by a perfect, harmonious action of the heart, lungs, chest, neck and face. Pausing in passion, when properly used, gives one an idea of vastness; if too frequent, it tortures the ear of the hearer. To re-commence after a pause with a single blow — a crash, is startling in its effects. Imitate the passions until the habit becomes reality. As an assistant, conceive strongly first the image, or idea of the passion in fancy to move the same impressive springs within your own mind which form that passion when it is undesigned and natural. Exercise very cautiously — ^be delicate even in the boldest expression ; powerful, unguided emotion kills at a stroke. Public speakers have died in a burst ot eloquence. Though a person be in perfect health, mental agony will force blood from the nostrils, and cause instant death. Culture regulates and balances excessive ten- dencies ; it teaches us to avoid apathy on the one hand, aud overstrained energy on the other. By their amazing powers of eloquence many orators have surpassed the best of actors. The orator incul- cates great living truths; the actor plays only the semblance. Mentally, Shakspeare illustrates the passions in their highest possible condition ; he not only givcb them, from the most delicate to the most furious, but he also minutely describes their appearance and effects. 44 VOICE AND ACTIOIT. Intellectually, Shakspeare was the Master of the passions and the human heart. The Features. — When the soul is at rest the features are tranquil. Their proportion, harmony and union seem to mark the serenity of the mind. When the soul is excited the visage becomes a living picture. Each emotion is designated by some corresponding feature, where every impression anticipates the will and betrays it. The Exes. — The passions are particularly painted and soonest perceived in them. The eye seems to share every emotion, and belong to the soul more than any other feature ; it receives and transmits impressions rmtil general. The whole heart sometimes looks from the eyes, and speaks more feelingly than all the bursts of eloquence. The Eye-brows. — The eye-brows are the most apparent feature, and are seen farther than any other. Le Brun thinks they are the most expressive. The more movable they are in elevation and depression the more noticeable they become. The other features are not so much at command in this respect. In pride and pleasure they are raised ; in pain and thought, depressed. Those who have this feature most at command are most likely to excel in expression ; but an excessive and improper use is disgusting. • The Nose. — The nose has slight motion in strong passions. Widening, it adds boldness. The Mouth and Lips. — The passions have great power over them in different degrees. The face with its muscles does more in expressing the passions, than the whole human frame besides. In Anger it is red, or pale; in Fear, pale. The mouth opened shows one state, and shut, another ; the forehead smooth shows one, wrinkled, another. ACTORS AND ORATOES. 45 The eyebrows can he arched,, or drawn down. The eye has a different appearance in every different state. Joy opens and Grief half closes it ; while it flashes in Hatred and Anger. Animation will light even heavy features. The expression of the face goes beyond and incrfcases vooality in its effects. THE GEEAT MASTKES OF THE PASSIONS. Those who seem to have had the greatest command of the passions were Demosthenes, Cicero, Bourdaloue, Massillon, Curran, Grattan, Pitt, Henry, Kossuth, Webster and Clay as orators ; and Garrick, Mrs. Sid- dons, Talma, the elder Kean, the elder Booth, and Macready as actors. We can append only a few ideas gathered from various sources that relate particularly to the passions, as illustrated only by actors. We have no traditional account of orators in this particular respect. But first a word from the celebrated Dr. Rush. He says : " The actor holds, both for purpose and opportu- nity, the first and most observed position in the art of Elocution, and should long have been our best and all- sufficient Master in its school. The Senate, the Pulpit, and the Bar, with the verbal means of argument or persuasion almost exclusively before them, have so earnestly or artfully pursued these leading interests, that they have not observed nor indeed wished to observe, how far the cultivated powers of the voice might have assisted the honest or the ambitious purpose of their oratory. But with the stage, distinction is attained through speech alone. The stage, however, has not fulfilled the duties of its position; for though hold- ing the highest place of influential example in the art, and enjoying the immediate rewards of popularity, it 46 VOICE AND ACTION, has done little more than keep up the tradition (-f itK business and routine; without one serious thought ot turning a discriminative ear to their vocal excellence, and thereby affording available instruction on the means of their success." MKS. SIDDONS DE, BUSH. " If she could now be heard, I would point in illus- tration to Britain's great mistress of the voice ; since that cannot be, let those who have not forgotten the stately dignity, of Mrs. Siddons, bear witness to the effect of that swelling energy by which she richly en- forced the expression of Joy, and Surprise, and Indig- nation. A whole volume of elocution might be taught by her instances. " All that is smooth and flexible, and various in in- tonation, all that is impressive in force, all that is apt upon the countenance, and consonant in gesture gave their united energy, and gracefulness and grandeur to this one great model of Ideal Elocution." EDMUND KEAN. His acting was a return to nature. lie produced startling and wonderful effects, the most extraordinary and sudden contrasts. His acting was electric, vivid, ten-ific. He had the power of sending forth super- natural glances of the eye, which gave his utterance » fearful reality. G. V. BROOKE. He had a majestic carriage and delicate tenderness. He could evince subdued, yet most appalling despair, on discovering innocence after murder. (Othello.) In Sir Giles Overreach, he was an incarnate demon, blasted, paralyzed by lightning at the moment of triumph. ACTOES AND THE PASSIONS. 47 M4.CEEADY. In the fifth act of Werner he could utter a cry or yell of agonized despair that was horrible ; like the fearful utterance of a disembodied wretch upon the rack. It was -wrung by Gabor from miserable, shrinking Werner, with his heart torn and lacerated till it breaks. • THE ELDEE BOOTH. Everything he uttered came with all the point and effect of which the matter was susceptible ; every thought seemingly concentrated on the subject. His hate was violent and unrelenting. His villainy, bold and roniantic, and he gloated in the sweet satisfaction of revenge. ISABELLA GLTNN. Her death-scenes were poetic in conception, and supernatural in manner. Emotions by her were carried to the terrible. In Margaret, the Prophetess, her in- spiration was marvellous, towering above till the be- holder shrunk with shuddering dread; awfulness to her became familiar. In Cleopatra, in the death-scene with the asp, there was a glory upon her countenance as she anticijiated the meeting in the shades. She had a sublime, fearful energy in jealousy and rage, and possessed a physical nerve little suspected. She had great judgment, how- ever, in deferring manifestation of power. Upon the whole it was rather that she was informed by meta- physical power, interpreted by mental indications, than material forces. Her mind was masculine, and endow ed with extraordinary intellectual strength. She had a strong sense of independence and honor. Her life was 48 VOICE AND ACTION. spent in close study and practice. Her excellence was founded upon principles ; each cliaracter was a new application of them. She knew toe value of long pauses ; had great flexibility of voice, and not a word was lost in quick or Blow time. HABITS OF THE OEATOE. The Public Speakee should bathe frequently, and after drying the body, apply a gentle friction, for a few moments, by rubbing or patting the chest to keep the lungs healthy and active. He should also take exer- cise in the open air. He should stoutly resist the temptations of smoking or chewing tobacco, as decidedly iiuurious to the pure quality of the voice The excessive use of sweetmeats, nuts, and confec- tions of any kind, has a clogging character on the vocal organs. Warm bread, pastry, rich puddings, cake, and highly-seasoned, greasy, or salt food, affect the voice through the instrumentality of the stomach. In short anything that injures the latter aGEects the formei*. It is highly injurious to speak just after a hearty meal, for the digestive and mental powers cannot ope- rate well at the same time. The blood is drawn to the brain and throat at such a time, when it is needed to warm the stomach to aid it in assimilating the food. The teeth should be kept clean as an aid to distinct articulation. It is well to brush them a short time be- fore speaking. Have the clothing loose to allow a free circulation of the blood. I?e especially careful about the neck ; FOE SPECIAL OCCASIONS. 49 have the collar-hand very loose, and never bandage nor muffle the throat. The muscles of the throat become soft and unolastic when kept from the air. A speaker absolutely needs them strong and firm, or he caanot intone his syllables with accuracy and purity of sound. Clergymen abuse their throats by winding thick cloths about them, which produces a cramped and tender condition of the muscles, and induces irritation, huskiness, and " clergymen's sore throat " — the disease so prevalent among them. A f&w things that tend ^;o improve the quality of the voice for any special occasion, are figs, apples, soft-boiled eggs, oysters, raw — or, if cooked, without milk or butter — stale bread, crackers, or similar diet ; no milk, tea or coffee, but plain water, and by no means, stimulants. Plain sugar clears the voice. The ancients used onions and garlic freely, to pro- mote the tone and purity of the voice, but the age has so advanced in some respects that we might deem them objectionable. For hoarseness do not take troches, or similar nos- trums. They contain drugs which stimulate for the moment, but eventually destroy the voice. Habit begets the necessity of using them. Instead, take simple re- medies ; drink cold water at night, or use plain syrup or molasses, or some other means as simple. Do not eat lemons or use acids for such a purpose just before speaking ; such things only clog the stomach, inflame the throat, and, consequently, cannot instantly improve, but rather injure, the voice. If necessary to walk about much, or to any distance, before speaking, do it gently, not rapidly, so as to be- come fatigued and exhausted. Sit quiet, if possible, a short time before speaking, 3 50 VOICE AND ACTIOS. Abstain from the use of water while speaking. It requires digestion to a certain extent, and must, there- fore, more or less interfere with the oratorical powers. It is only a vicious habit to stop every lew moments to swallow a large draught of water. A person must reform this habit, which he blindly commenced, if he desires an untrammeled use of his mental and vocal powers. Even in the warmest weather, and when perspirar tion is freely induced, there is no necessity of drinking at the time of speaking, even if it should occupy an hour or more. A moderate quantity of water, not too cold, may be drunk half an hour before, or very soon afterward. Form the habit of breathing while going to the place of public speaking. Sound the voice gently, in deep undertones, that you may appear in good condi- tion when you commence to speak. All this can be done without attracting the attention of passers by on the road or street, whether in the vil- lage or the city. DESIGNED ESPEOIALLT FOK STUDENTS. In moving from your seat to the stage, rise easily, but firmly. As you approach the place, feel your whole weight, by a manly, dignified, yet simple walk. Do not bend the knees mincingly, but swing the lower limbs easily and gracefully at each step. Let the lungs be slowly, quietly filled, until the moment of commencing ; this efforts sends the blood to the brain, and gives it power to act with firmness and decision. It prevents nervousness, and gives the voice fulness to start well. It prevents a burst of loudness, so com- mon to young orators iu commencing their orations. JfOE STUDENTS. 61 In bowing to the President and other officers, (on public occasions,) let the movement be one of great respect. The whole form should bend slightly, and the hands should hang loosely by the side. To the audi- tors, however, as you turn to them, the effort should be but a slight inclination of the head. The orator at that moment should see his audience, even to the farthest person before him, and above him, if the building have galleries. The motion should be general in its character ; not with the mere formal idea of bowing, but feeling that the motion is really but the opening expression of the first sentence of the oration. It should be a kind of looking around the place, and a gathering together of the attention of the hearers immediately preparatory to the positive use of the voice. There should be hardly a perceptible difference of effect between the bow and the beginning of the speech. Students, especially, often err in isolating the bow, by a protracted time in its application, from the vocality that follows. It is a part of the oration, not a separate, dis- tinct feature , and if not given properly, there is a void — a something that cannot be agreeably filled, but must be forgotten as the orator proceeds. The only way of doing this correctly is, slightly and slowly to bend the head, not the body, searching around with the eyes, and see j«<7 the audience, and then to step forward and begin to speak, while the head is gradually resuming its natural upiight position, thus beginning with the bow itself, and not after it is made. Tou look into the eyes of persons with whom you converse, and you must do the same with an audience, from the moment you turn to them until you leave them. Ordinarily there should be no gestures in commenc- o2 VOICE AITO &CTIOX. ing ; the look of the eye and the slight movements and swaying of the head and body being sufficient. In reading an essay it is proper to make a slight bow, but seeing the audience as in speaking. While utter- ing the first sentence move easily forward a few steps. When you become deeply interested in your subject move occasionally, but do not step and walk needlessly about. Either extreme, of standing still, or of walking all over the stage, is to be avoided. There is a simple mean, which is, moving as though you were impelled to do so. Become so thoroughly imbued with your subject, by frequent and repeated communings with it, that standing still will become almost impossible, and step- ping about will disturb rather than assist you. Be careful that every vocal expression is to the pur- pose, and that you have a good reizson for every ges- ture, look, and movement. Speak and gesticulate as though you could not help speaking, and in just that manner, as though any other could not possibly answei the purpose. Do not make mere motions, but study the necessity of gestures. Avoid alternating gestures ; use the same hand for pointing out different objects and localities, when enumerated in the same period of language. Vary the direction of the hand, and give another form to the motion, but do not drop one hand and raise the other, but if necessary use both. Be sure to sustain each gesture, by varying its direction, until the idea has closed with a cadence of the voice. In preparing an oration or exercise for a public oc- casion, the first thing is to have a general understand- ing of the whole composition, by reading it all over carefully a number of times. Think of its prevailinjj spirit, and get a plan of it fixed in your mind. PEOMrTING. 53 Do not begin by memorizing the first sentence and then the second. That begets the depraved habit of only knowing the words. Study the entire oraiion in meaning first ; next separate the ideas ; then talce the phraseology, and lastly the words. It is only in some such manner that you will ever get the spirit of the language ; and learn to listen to yourself, with the assurance of having others listen to you with gratification and pleasure. Even after the oration is well committed, review and reflect upon it sentence by sentence, until you get all you can out of each, especially just before using it in public, or it will only sound like a mere declamation. The night before is an excellent time to make it fresh for the next day, no matter how often you may have previously looked at it. Search it through and through in a variety of ways. Study the words as so many links, and have their tone and full grammatical and expressional meaning. Keep it together as a whole in your mind. Be especially cautious in the pronunciation of com- mon words, such as been, again, against, often, little, and, none, nothing, ignorant, patriot, patriotism, na- tional, government, &c., which are often frightfully dis- torted by students. Peompting. — Of this I wish to make a special noie. Above all things never allow yourself to he prompted. It is extremely annoying and disagreeable to refined and sensitive people to feel that a person has committed merely so many words, but it is far worse to know that another is ready with a manuscript to prompt his un- certain memory. With such an exhibition, one "spouting," another prompting, " primary" children might be pardoned but students ought to be ashamed. 54 VOICE AND ACTIOH'. It evinces the grossest indiffereneeto the feelings of the audience, and betrays a servile dependence upon mere terms, instead of having thoroughly, imbibed the true spirit of the subject. To be sure, the words are necessary, but let them be weU committed, and do not sacrifice, in the few minutes only, the patience of the many by the mere laziness of purpose in an individual. It is even better and far more manly to take the manuscript from your pocket and read, than to be prompted. The best way is, to study it so completely that you will not need to do even that. GENEEAI, DIRECTIONS. Begin with a moderate voice. Try to feel at ease by looking around, and shaking off any stifihess of po- sition. Keep your mind composed and collected. Guard against bashfulness, which will wear away by opposition. Think of what you are going to say, and not merely of the audience. Be manly but simple. Tou must acquire assurance — First, by thoroughly mastering your subject, and the consciousness that 'you can make what ji^ou are to deliver worth hearing. Secondly, by wholly engag- ing in it, with the mind intent on it, and the heart warmed with it. Never be influenced and moved by outside circum- stances. Be yourself and know yourselfl Have a presence that fills the limits. Whatever changes you may have occasion to make in voice and gesture, should be simple and easy, so as not to detract from the interest. Have your gestures in argumenta- tive language aimed directly to your audience ; look into their eyes and not into a vacuum. BEFOEE AN AUDIENCE, 65 Make them fed that it is to each of them that you are speaking ; yet speak to all at once. Search and penetrate the entire mass of listeners. Have the power to distribute expression. The tendency of youthful orators is to look point blank directly in front of them, and to lean with the body towards the right hand alone. The position should be imperceptibly changed sufficiently often to keep the attention of each hearer constantly on the alert. Be sure that every one is listening to you, and yet do not individualize, as it is extremely disagreeable to an auditor to find himself selected from the rest. Look around frequently from side to side, from end to end, quietly and easily, and control all your hearers. Instead of simply making them hear you, have them listen to each word by your pronouncing it clearly and distinctly. At each new idea note the pitch and cadence. Do not speak too loud, but have the intonations of the voice full, strong, and sonorous. Do not betray mannerisms in either voice or action. Whether you speak before a large assembly, or in a small room, do it naturally, but in either case have the requisite power to properly flU the space with your voice. Address yourself, at each moment, however light the sentiment, to the farthest person in the place, for everybody wishes to hear. When you have attained the strength beyond which you cannot go without forcing the voice, stop there until you have acquired the requisite power by ele- mentary drill. Never raise the pitch, but increase the force. In echoing buildings, speak slowly and distinctly, pause often, and try to adapt the voice to the peculi arities of the place. 36 VOICE AND ACTIOlf. Even under the most annoying circumstances, be com posed and listen to yonr own ideas as if you were an audi- tor instead of the orator. This will prevent declamation. Never get out of breath, nor appear to be fatigued. Breathe unconsciously, by forming the habit ; every kind of puffing and f)anting is disagreeable. By breathing deeply we stir the blood, animate the thinking powers, and prevent nervousness and hesita- tion. Never lose or relax entirely the grasp in expression ; increase or diminish the force, raise or lower the pitch, but never entirely slacken the nervous power that holds all together to the end. Even in the lightest sentiments breathe .5ut the ex- pression, so that the meaning of each word is felt by all. Deliberate, reflect, think, as it were, from head to foot, of what you are saying, word by word, and yet spanning it as a whole ; retaining the meaning, by in- tonations, looks, and actions, and still collecting ideas that follow, till the entire subject is brought to a satis- factory termination. This makes an audience listen rather than simply hear. They can then understand line by line, idea after idea, each, exactly and accurately as a part of the whole. The mmd must act comprehensively, and hold sway over the entire subject, as the voice intones and deals out the parts ; the sense is to be held suspended and Bwayingly, without break or interruption, to its close. Appropriate gesture and action will assist very ma- terially to hold and bind it together in this desired manner. It helps to point out, to note the meaning by the movement of the hands, the head, the eyes, the body and feet— in fact by all parts of the frame. Ges- EBADrNG lir PUBLIC. 57 ture is not albsolute, yet must not be merely impulsive motions. In reading from a book or manuscript, hold it low enough to allow everybody present to see your face ; a good rule is, that the top of it would touch your chin if inclined toward the body. In reading look from the book or paper as frequently as possible, as if you were speaking, but with less action. Practice first in private, in a conversational manner, and when in public give satisfactory force. In ending take great pains to give an appropriate cadence. (See page 98.) SHOET HINTS. Be natural ; do not aim at too much y do not try to read, but to feel ; do not declaim, but talk ; be collo- quial, yet not prosaic ; be /brc/Sfo, but not ranting. Be in earnest, profoundly in earnest. Be moderate in ges- ture ; be impetuous and ardent ; do not command by sympathy, but by power, passion, will — indomitable will. Keep the body Una and braced in high excitement ; keep the sinews braced up like the strings of a harp or violin ; be simple and without parade. Speak as though the whole thought was your own ; give passionate thoughts a rapid condensation ; give the words a vi- bratory intonation ; suppress force, and treasure strength and power. Concentrated tones of passion are better than the highest fury. Imbue each thought with aS its capability of expression, and conceive fuUest force in ea^h particular. Be intense Audi passionate in inton- ation, the whole soul absorbed. In the severest passions delineate to appal ; be real ; let the form fill the eye of -the listener. Effect by tone of voice, the power of the eye, the motion of the hand, and the quality of the sound given. Fervor is sure to effect. Read like one possessing good sense unconsciously ; be the character, 68 VOICE AND iOnON. forget self. Conception of character, or passion, comes long before execution, is not imitation but reality ot feel- ing. To be a hero, feel to be so. Do not despise trifles. Do not guess but determine abilities. Practice often, for the vocal organs become paralyzed for want of action. BKAUnES OF DBLIVEEY, (ABBEEVIATED). — ^DB. BAEBEE. Voice — fiill, strong, agreeabla Simple Melody — not monotonous. Enunciation — exact, audible ; not affected precise- ness. Recurrent Melody — not monotonous. High Tones — on emphatic words free from monot- ony. Radical Stress — effectively used. Quantity — not drawled, or sung. Consonants — fi-ee from drawl. Slides — ^Pitch, downward. Rad., positive. Van. Stress — not monotonous. Cadence — proper place. Parenthesis — Paragraphs — changed by transitions of Pitch, Time, and Quality of Voice. T/te ^e«se— vividly expressed by the vocal powers. PRACTICAL ELOCUTION. BREATHING. Voice is breath converted Into sound ; and the lungs, acted upon by the muscles of the diaphragm, as the handle to the blacksmith's bellows, are the principal organs of respiration. The more breath, and the greater the power of these muscles, the stronger and fuller the voice. There should be no more action of the inner muscles and lining of the throat than is absolutely necessary for complete and firm intonation, for in this manner the throat receives no injury. Practice this either in the open air, or be sure to have plenty of fresh air in your room. ExBEOisE. — Stand erect, throw the shoulders back, keep the neck straight, concentrate the mind on the lower muscles that propel the air from the lungs, giving them all possible space. Breathe a few times naturally. Then draw in air slowly, steadily, making little effort, through a very small orifice of the month, with the lips com- pactly "pursed" together. When the lungs are completely filled, retain the air for a moment, then breathe all out slowly and quietly, letting the chest down very gradually. Then breathe once full, then out, in the ordinary manner. It is well, during the breathing, to gently pat the lungs with the hands. Practice this very cautiously ' at first. If dizziness ensue, stop for a while, move about, and relief will follow. If the exercise is too severe, for beginners, do not repeat the effort often until custom has made it easier. When able to do this without injurious effects, practice it rigidly as of the first importance. 60 TOICE AND ACTIOlf. "KoTE.— The grtiiter length of time occupied in this exercise the better. The author can breathe easily for two or three minutes inwardly, and then, reversing the effort, breathe out, occupying very nearly the same amount ol time. ExEEOisE. — Breathe out all you can of tlie natural air that may he in the lungs; press the chest and ribs inwardly, and crowd them about under the arm-pits with the heels of the hands to squeeze out what air may be left, and breathe hack again quickly. Move the shoulders forward, when breathing out, and backward when breathing in to aid these efforts. A variety of these exercises should be devised by the pupil. They promote the expansion and capacity of the lungs, and the elasticity and mobility of the chest. Immense advantage will be derived from gymnastic drills of this character. ExEBOisE. — Arms forward at right angles with the chest ; breathe s-lowly till the lungs are comfortably filled. Draw the aims gently back, emptying tlie lungs, then project them. Then throw them violently forward, then haokwaid, closing the fists as they return. Do not overdo. If a ]ieison should practice nothing else than the foregoing exercises, he would find the voice improving wonderfully in strength iind fulness within a few weeJes. Eemaek. — As soon as practicable, learn to breathe through the nostrih instead of the mouth, especially when drawing in the air, as tliis process is less liable to parch the throat, and produce irritation. This manner of breathing will widen the nasal cavity, strengthen the muscles of the nostrils, keep the lungs healthy, and improve the quality of the voice. Persons unaocu.'-tomed to an energetic en^ployment of the lungs find it exceedingly difficult to use the nostrils effectively. The preceding exercises are designed to develope a little lung power first, and are not likely to prove injurious if the air is drawn very slowly, and through a very small aperture of the lips. Even when walking, especially if moving rapidly, learn to keep the moxith firmly shut, and breathe exclusively through- the nose. Lung and even otlier diseases, are brought on more frequently from an open mouth, particularly when sleeping, than from almost any other cause. By putting the mind upon BEEATHING EXEECISES. 61 it with a determvriation to succeed, the habit of keeping it shut can be acquired both for waking and sleeping ho'urs, for the results of what is resolutely done in the one time will un- consciously be carried into the other. There is a philosophy in this breathing process that perhaps need not be explained in a work of this character. EXERCISES. Audible. — Fill the lungs slowly through the nostrils ; then open the mouth, and slowly give the sound of K {Kh). FoEoiBLE. — Fill the lungs and cough, or explode the voice upon the sound of HA 1 ! ! or draw in tlie air and then expel it with the utmost vehemence without vocality. Sighing. — (An extreme condition.) Open the mouth, fill the lungs suddenly, and also emit suddenly. Gaspimg. — Similar t;o tighing, but the air cannot pass in fast enough through the mouth and nostrils combined; it is an unnatural, exhausted condition, a struggle for breath. Panting. — ^Is somewhat similar to sighing and gasping. The air is drawn in quickly and violently, and emitted loudly. Loud Whisper. — In this the voice is high, with pure aspira- tion. It is an excellent practice but must he indulged in with great caution. Count, 1, 2, 3, 4, 5, 6,. 7, 8, 9, 10. ExBEOisE IN VooALiTT. — Slowly fill the lungs through the nostrils, and then very deliberately count 1, — 3, — 3, — 4, — 5, — 6,— 7,— 8,-9,— 10. ExEBOisE. — Slowly fill the lungs, and then with the mouth WELL OPENED and AEOHED, gently repeat, in a pure, firm, steady-toned voice, a e i o u oi ou. Have the sounds strike the roof of the mouth. Note. — PerHons with wo&k lungs and throats sometimes re&ain from such exercises ; hut the practice is eren recommended as a cusb for bronchitis and pulmonary complaints. ARTICULATION". 1234 12 12 1234 12S Vowels. — a, a, a, a, — e, e, — i, i, — o, o, o, o, — u, n. u. Diphthongs. — oi, on. d2 VOICE AND ACTIOX. Consonants. — The consonants are given thus :— Stand firm, every mvscle 'braced, fill the hings with air, and then hold- ing them distended a moment, pronounce the word so as to feel the -mhole lody partaking of the sounds. The lungs should be the chief object of your attenti')n in these exercises. Dwell solidly on the initial sound a moment, then pass on to the vowel sound between, and finally, firmly bear the voice upon the closing sound. If properly given, these exercises will strengthen the muscles of the mouth and neck, and remove the least tendency to irritation of the delicate membranes of the throat. 4 B-a-b 3 J-o-j 2 P-i-p ou W-o-w 1 Sh-n-sh D-i-d 2 K-i-k 1 E-o-r oi T-o-y 2 Th-in-th 1 F-i-f 3 L-a-1 2 8-e-s 2 Z-U-Z 1 Th-o-th 4 G-o-g 2 M-u-m 4 T-a-t 2 Oh-ur-ch 2 Wh-u-wh 2 H-a-h 2 N-o-n 1 V-e-v 2 2 Si-ng-i-ng A-z-ure The vowels in the preceding are to be sounded as in fate, 234 1212 12 34 far, fall, fat, — me, met,— pine, pin, — no, move, nor, not, 12 3 tule, tub, bull. In these two exercises are all the elementary sounds of the English language, and also the combinations oi, ou, ch, ng, 8h, th, (light) th, (heavy) wh, and s (sh). 0, Q, and X are represented by other letters. [Note. -Pure tone should be aimed at in all these exercises. Persona may thus distingnish pure from impure tones. A word or sound spoken with pure tone is given in such a manner that all the breath thus employed, is convert- ed so completely into clmr vocality, that if a small lamp or candle were held within an mob even of the mouth, the flame would scarcely tremble. Imptire tone, on the contrary, would have so much respiration or breath as to immedi- ately extinguish the light thus held. If the candle is not at all times conve- nient, the experiment may be illustrated by using the hand. A nnre-toned sound cannot be felt when uttered against the back of the hand, for tie sound fririiw^ t°"'<.l """'"'■ ""* ■^''™"'"«t^^ within it. An impure tone is Iw^^w!v ' '°f° so*"" "• it^ i^P^ty or aspirated character. This shows that the more intonation the breath can have, the better, except in saoi expressions as call for aspiration.] <>*™iP6 m suoa AETICFLATION. 63 However desirable distinct articulation may be, yon should never dwell on a sound, but give it forcibly and instantly change to the next without appearing to interrupt the free course of the breath. Enunciation is the basis of the art ; it is this which gives nerve and energy to accomplished speakers : which fills lan- guage with VITALITY, and renders it eeal and livinb. 3241 111222 Tonics. — a, a, a, a, ou, i, o, e, o, e, i. BuBTONios.— B, D, G, V, Z, Y, W, Th, Zh, Ng, L, M, N, E» Atonios.— P, T, K, F, S, H, Wh, Th, Sh. Abrupt Elements. — B, D, G, P, T, K. ^See BusTi, on the Voice.) ARTICULATION.— VOWELS. oye, age, late, gale. — He gave to the gale his snow-white sail. bereave, redeem, agree. — Swift instinct leaps ; slow reason feeb- ly climbs. tie, rye, why, mine. — The primal duties shine aloft like stars. roll, dome, tone, woe. — ^The freed &ou\ soars to its home on high. t»be, hue, value, new. — ^There is miJsio in the deep blue sky. far, bar, palm, ah. — ^The calm shade shall bring a kindred calm. mat, man, and, at. — The good man has perpetual sabbath. met, let, well, end. — Thence the bright spirit's eloquence hath fled. captain, if, hit, bit. — The sick earth groans with man's iniqui- ties. all, call, walk, awe. — Of all that's holy, holiest is the good man's pall. trttth, doom, rule, trite.— Blows were our welcome, rwde brMises our reward. fwU, pttsh, wolf, fpot. — For his own good alone man showld not toiL wad, blot, odd, was.— The quality of mercy is not strained. 64 VOICE AND ACTION. up, come, run, muff.— Same fretful tempers wince at every touch. soil, point, voice, oiL — It is the voice of joy that murmurs deep, sound, loMd, vow, how. — Thou look'st beyond life's narrow boMnd. SIMPLE CONSONANTS. 6a5e, moJ, bii, soJ, roS. — ^Life may long Se Some ere sorrow drenks its chain, did, dead, deed, aid. — ^Z>eath /'*, foft, -waft. — Oft from ap[)arent ills our blessings rise. Fth.—yth, twel/iA.— For the &fth time I called in vain. Fts.—Wfts, rnfts, wn/it«.— Death lifts the veil that hides a brighter sphere. Ftst.—waffst. liffst. — O'er the desert drear thou waffst thy wa=te perfume. 6d. — hegg''d, rijrjr' J.— The very elements are leagued with death. Gdst. — hvagg^did, ivagg^dst. — Thou h&gg'dtt in vain the her- mit's blessing then. Gl. — ^teaiii, glove, uagle. — Through grZades and grZooms the minjrZing mea;-wnc, silk. — List to the miZimaid's song. Lks.— silks, elks, bufe — In silks and satins new we vvorsLiji in these days. 70 VOICE AND ACH:>1T. List.—milJcst.—ThoTi miWst the kine at early dawn. LU. — m\Wd.—The goats were milled at eve. Zm.— elm, Mm, realm.— The heathen heel her heZw has ornshed. Lmd.—Mm'd, whelm\l.—Se was overwhelmed with doubts. Ims. — fiZms, realms. — Films slow gatliering dim the sight. Lmst. — overwheMst. — Thou uverwhelm^st them with the whirlwind. Ln. — atnl'n, snoVn. — ^Even our faU'ra fortunes lav in light. Lp.—help, ^nlp. — He shrieked for help in vain. Lps. — pulps, whelps. The alps Iiave pinnacled in clouds their snowy scalps. Lpst. — sca?p'«*, help''st. — Thou help''st me now in vain. Lpt. — help'd, sca^'A — I was the first that help'd him. Lptst. — help^dst. — Those crumbling piles thou help'dst to rear. Ls. — ialse. Anise, else. — Oft by fate learning is good sense de- faced. Lst rwVst, MVst, ialVst. — Life flutters convalsed in. his quiv- ering limbs. Lt. — holt, guiZi, wilt. — Misery is wed to guiZ<. Lth. — vieailth, Mth, tAealth. — HeaftA consists with temperance alone. Lths. — he<hs, Xilths. — In drinkiag healths, men but invite disease. Lts. — bote, raslts, fauZis.— The assaute of discontent and doubt repel. LtsU—halVst, meZ£'««.— Thou meWst with pity at another's woes. Lo.— twelve, valve, sohe.—O, fix thy firm resofoe wisdom lo wed. Lvd.—mvoh'd, res-oZe'd— No fate with mine invc Iv'd. Lbz.— wolves, elves, va.hes.—M.a,n resolves, and re-resoZB«», then dies the same. Lvst.—revoh-st, dis3oZ«'»«.-Thou solv'st the problem at the expense of life. Lz.-toih, steak, cai&.-Peace rufe, the day, when reason iMles tlie mind. Md.-{am'd, nam^d, bloomV.-Let us keep the soul embal»!«i in livmgvu-tue. DIFFICULT COirBINATIONS. 71 Mdst. — illum'^i, bloom' isJ. — Thou ples. — Age has on their tem^Zes shed her silver frost. put. — ^tram^jZ'si, rippZ'si. — Tliou tratn/)Z's«in scorn on the flower Pn. — deepen, op'n. — His ears are open to the softest crylT Pnd. — op'n'cZ, sharp'ra'cZ.— There stands the ri^'ra'rf grain. Pm. — sharp'Ms, op'na — The ceaseless flow of feeling deep'jw still. P)-.— pride, praise, ^rint.— Prompt to relieve, the prisoner siD;,'shis;t)raise. Ps.— li^s, traps, hops.— Thought stops and fancy droops. Ps«.— drool's*, ho;>'s«. — Thou wrapp'sS the world in clouds. Pt.—v/ept, sle^«,tri^^W.— The clouds be few that intercejo* the light. P^s.— precepis, intercepts.— Just preoepfe are from great exam- ples given. Ptst~a.ccept'8t, intercepfst.—Aooepfst thou in kindness the favor ? Ptt.—depea. mi-Wdat, ea-glea, hrea-thea, lu-rk'dat, s])ar-Mea, me-Wat, tem-plea, Rigidly practice upon these exercises until a distinct articu- lation is acquired 80 VOICE AND ACnOK. ANALYSIS OF THE SIMPLE AND COMBINED SOUNDS. Give each letter as it naturally sounds in the particular word. Obscure sound — short, y not like e, but i «hort. a, e, i, o, u, y, — obscure. a-m-i-a-b-i-l-M-y, b-S-r-b-S-r-i-t-y, 5-p-u-l-S-n-t-l-y, e-v-S-n-t-f-ft-1, A-l-t-e-r-S-b-l-y, p-ti-b-1-i-sh-e-r, i-d-g-n-t-i-c-a-l-l-y, S-o-ti-m-i-n-a-t-S-d, b-A-1-l-f-l-n-ch, C-p-S-l-S-s-o-8-n-t, f-oo-l-5-sh-l-y, c-ou-n-t-e-n-S-n-ge, u-t-1-l-i-t-a-r-i-S-n, &-d-5-r-n-i-ng, 6-r-n-a-m-6-n-t, BIFKOrrLT COMBINATIONS. p-r-o-b'-d-s-t, b-i-d-d'-s-t, d-r-a-g-g'-d-s-t, t-r-e-m-b-l'-d-s-t, h-u-n-d-r-e-d-th-s, m-i-ng-l-'d-s-t, b-u-b-b-l'-s, S-b-5-d'-s, j-u-g-g-l'-s, e-m-b-r-oi-l, b-a-f-f-l'-d-s-t, s-t-r-n-g-g-l's-t, w-e-b-a— r-i-b-s, r-i-f-1's, e-n-g-r-a-ve, r-o-b-b-Vt, s-t-i-f-l'-s-t, 1-o-g-s— b-o-grS, f-l-e-d-g'-d, s-o-f-t|-n'-d, c-i-r-c-le, f-o-n-d-l'-s-t, s-t-i-f-f-n-4 t-w-i-n-k-l'-d-s-t, b-u-n-a-l'-s, r-e-f-r-e-Bh, s-p-a-r-k-l'-s, k-i-n-d-l'-s-t, l-a-u-gh-'s-t, c-i-r-o-l'-s-t, g-Q-l-d'-n, w-a-f-t-e-d, t-o-k'-n, ga-r-d'-n-s, f-i-f-th, h-eS-r-k-n'-d-s-t^ d-r-Sa-d-f-u-l, l-i-f-t'-s-t, f-&-l-c'-n-s. UIPmOULT COMBINATIONS. 81 "W-a-i'-n'-S'st, b-o-l-t-e-d, 1-e-n-t, I-n-o-r-ea-se, h-Sa-l-th-s, l-au-n-ch'-d, 0-a-k-s, m-e-l-t'-^-t, a-g-ai-n-s-t, S-p-ea^k'-3-ti, i-n-v-o-l-V-cl, t-e-n-th-s, S-i-x-th, w-o-l-v'-B, w-a-n-t'-Srt,, E-o-ok-d — r-ark'-d. r-e-v-o-l-v'-s-t, g-1-e-n-s, L-i-k"-d-s-t, b-a-U-s, p-So-p4'-d, B-n-1-b-B, b-l-OQ-ii)'-d-s-t, t-r-4-m-p-l'-d.-^-V G-i-l-di-e-4, t-r-i-n-m-ph'-s-t, r-i-p-p-l'-s, F-o-l-d-s, t-r-i-n-m-ph'-d-s-t, s-o-r-n-p-V-a-t, H-o-l-d'-s-t^ B-w-a-m-p'-s,-t,, sh-a-r-p'-a'-d'S'* 9 G-ti-l-fr% g-e-m-s, — t-Q-mb-s, o-p'-n-s, I I-n-g-u-1-f-dj. s-ee-m'-Sit, e-m-p-r-e-s-8, T-w-e-^f-th, p-r-o-mp-t'-a-t,, g-t-o-p-s, I-n-d-u-l-g'-d, l-a-n-d-s, — ©rn-d-s,, d-r-oo-p'-s-t, M-i-l-k'-a-t, s-e-n-d'-s-t, r-a-p-t, M-u-1-c-t, s-i-ng-i-ng, i-n-t-e-r-c-^irprt'-s-t, O-v-o-r-whi-ei-l-mVd, s-o-ng-s,, d-e-p-tli^g, F-i-1-m-s, r-i-ng-s-t, b-a-r-b'-d-s-fc,. "Wb-e-l-m'-s-t, 1-e-ng-th-s, o-r-b-s, S-t-o-l'-D, th-i-n-k'-s-t, a-b-s-o-rnb'-Srt, If t H-e-l-p'-s-t,. r-a-n-k-d-srtj, a-b-s-u-r-dj, H-e-l-p'-d-s-t, h-i-n-g'-d, c-o-r-d-s, R-D-l-l'-s-t,. t-S-n-sej. r-e-g^'arr-d'^t,; 82 VOICE AND ACTIOIC. s-e-r-f-8, p-r-e-s-e-r-v'-d-s-t, s-t-r-e-ng-th'-n-Sj i-c-e-b-6-r-g-s, o-u-r-v-e-s, f-a-i-tn -s, t e-n-l-a-r-g'-d, p-r-e-s-e-r-v'-s-t, b-e-t-r-o-tli'-d, a b-a-r-k'-3-t, s-t-a-r-s — s-t-i-r-s, th-r-o-b'-d-s-t, b-a-l-k'-d-s-t, s-ph-§-r-e, b-r-6-a-th'-d-s-t, s — — n X w-0-r-l-d-s, sh-r-i-ll — sh-r-i-ne, p-a-th-s, o ■>> wh-e-n — wh-a-t, sh-r-a-n-k,sh-r-i-Te t-r-e-m-b-le, o-n-r-l'-s-t, s-c-r-e-a-m-i-ng, oh-a-r-m, 6-n-a-r-l-8, b-a-s-k'-s-t, w-a-t-oh'-d-s-t, a-l-a-r-ra-B, r-i-s-k'-d, sh-on-t'-s-t, ob-a-r-m'-d-s-t, wh-i-s-t-l'-d, s-a-v'-d-st, f-o-r-m'-s-t, m-u-s-c-I-e-s, r-a-v'-l-l'-d-s-t, Vf-a-r-m-th-s, n-e-s-t-l'-s-t, sh-o-v'-l'-s-t, h-o-r-n-8, B-m-i-1-e, e-v-i-l-s, • a r-e-t-u-r-n'-d-8-t, p-e-r-s'-n, h-e-a-v-e-n-s, 3 ~ s-o-o-r-n'-s-t, l-e-s-s-n'-d-s-t eJ-e-v-e-n-th, sb-a-r-p-s, l-i-s-t-n'-s-t, w-a-v-e-s, t h-a-r-p'-d-8-t, s-p-l-e-n-d-i-d, m-o-y'-s-t, h-o-r-8-e, s-p-r-i-ng-i-ng, e-x-p-o-s'-d, m-a-r-sh, g-r-a-s-p'-s-t, d-a-z-z-l'-d-s-l, b-n-r-s-t'-B-t, c-l-a-s-p'-d', p-n-z-z-l'-s-t, s-t-arr-t'-s-t, n-o-t-i-e'-d, m-u-z-z-l'-s. a ^ b-e-a-r-th-s, m-i-n-s-t-r-e-l-s, ch-a-s-m-s, B-l-a-r-oh'-d-s-t, e-n-l-i-s-t'-s-t, b-l-a-z-o-n-^ BEADING BY SOUNDS. 83 o-r-i-m-s-o-n'-d-a-t, r-a-tt-l'-d-s-t, m-i-tt'-n-s, p-e-a-s-o-n'-s-t, m-a-n-t-Ie-s, h-ow-e-v-e-r, B-in-oo-th-s-t, a-w-ee-t'-ri'-d, l-e-ng-th'-n'-d-s-t, Pronounce also daily from the columns of a standard Dio tionary. Exercises of this kind improve the vocal organs more rapidly than reading. Wastes and deserts ; waste sand deserts. He could I pain nobody. I pay nobody. He whet a wet razor on his strap. Whoever heard of such \ ^'^ °?.®^°- ( a notion. He ought to I Ppp^ovel such a position. He is content fi^ShLfpl-. EKADnfO BY SOUNDS. S 1 ,3 1 a te 1 y I h e r I b ea r i ng, I s o I p r ou d I h e r B rr ay, I th e [ m ai n | sh e | w i 11 | t r a v e r se | f o r- e V 8 r I a n'd I aye. H e | g a ve | t o | th e | g a le | h i s I s n ow I wh i te I s ai 1. Th e | ea r th | i s | v ei 1 ed | 1 n | sh a de s I o f I n i ght. Th e | s on n d i ng | als 1 es | of j th e I dim I w 00 d 9 | rang. Fo r| 1 i fe,( f or | cl i fe* j th ei r I f 1 i ght | th ey | p 1 y. F r o m [ c 1 i ff 1 1 o | o 1 i fif I th e I s m k i ng I 1 rr e n t B I sh i ne. Wild] winds a n d I m ad | w a ve s | d r i ve | th e | v e ss el | a wr e ok. FOBCE. ExEECisE. — Oommenoe with the lightest whisper and gradu- ally increase to the loudest waality; then reverse the practice, in either direction be careful not to change the pitch or alter the natural level of the voice ; also not to make the loudest sounds other than in a pure, round tone. When satisfied that they can be given properly then practice the forcible sounds with ALL the lung power you can possibly bear on them, 84 TOICB AND ACTION. Increasing to the last. If given in impure tones, the exeiolse will severely strain the throat and induce disease. When the sounds can be given pure and mellow, on the natural pitch, the voice improves wonderfully in strength in a very limited time. Pure tones will neoer affect the throat, let them be given ener so loudly. Even a few weeks' practice, when properly conducted, will make a great change in the voice. 1234567 8 9 8 7 654321 a a 9; a a .aaaaaa<^ lA Ctdaaaa,. ■With the foregoing severally unite Pitch, Time, Aspiration, (pure,) and the Tremor, and make a variety of exercises. Also add the same to the following: Awake ! arise ! or he forever fallen I Seize on Yam, furies, take him to your torments! I call to you with all my mice. Next Anger rushed, his eyes onjtre! He tlirem his Mood-stained sword in thunder down 1 Loud surges lash the sounding shore I ExEBOisE. — Let this be moderate at first; never foeoed; solidly, firmly, promptly, especially in the loudest tones. Do not raise the pitch of the natural voice. To vary the exercise, add separately, Pitch, the Tremor, Aspiration, (pure,) and the Semi- tone ; each constituting an independent practice, 1. As soft 8B possible. 2. Very soft. 3. Soft. 4. Rather soft. 6. MiDDLK, OH MEAH. |^ MARCH ! HALT 1 HALLOO I WOE ! 6. Rather loud. 7. Loud. 8. Very loud. 9. As loud as possible. FOBOE — STEESSBS. The EAMOAL STEEss is the explosive or bursting style of voice. It is used to express anger, rage, fear, impetuous cour- rOECE — STRESSES, 85 age, and startling emotions. " Ha I dost thou not see ? " "To ARMS I They come! theGsEEKl theGEEBKl" " Strike till the last armed foe expires 1 " "Vio-torvl vio-toryl their colors fall I" The MEDIAN commences easily, widens out to a full, round expression, then dies gradually away. It is used for pathos, dignity, deliberation, gentleness. " Hail ! universal Lord 1 " " All HAIL I thou 1-o-ve-l-y queen of night 1 " The TH0B0T7&H is the power placed alike on aU parts strongly and firmly, for vehemence, courage, determination " Up with my BAH-ners on the wall 1 " " Tried and convicted TEAiTOE." "Down soothless insulter." (Suppressed force and vanishing stress on soothless, and aspiration on insulter). The VANISHINO commences very lightly, widens out into a full, open sound, and ends abruptly. Used for obstinacy, fixed, sullen determination, anxious alarm, peevishness. " I will have my bond." " I nb'ek will ask ye quarter." "Ohl ye Gods I ye Gods ! must I endure all this?" The iNTEEMEDiATB is a feeble, trembling voice : " I can go no further." The COMPOUND (or Ead. and Van.). The radical begins and goes to the middle of the word or words, and then -the vanish- ing does its part by ending. It is rarely used. It is an unpleasant, jerking sound. It is a national characteristic among 'the Irish ; used in surprise, raillery, earnest questions, impor- tunate entreaty. " Abm warriors I aem for the fight 1 " "Gone to be MAEEiED, gone to swear a pbaob ? " " Dost thou come here to WHIN^?" THB SEMITONE. The semitone is simply a plaintive, pitiful expression. "Pity the sorrows of a poor old man." THK TBBMOB. Add a trembling, shaking voice to the above, and the effect will be greatly enhanced. "Thou g lo rious mirror," — a-a-a-, e-e-e, i-i-i, o-o-o, u-n-u, oi-oi-oi, ou-ou-ou. 86 VOICE AND ACTION'. THE LOUD WHISPEE. The lond whisper is a most admirable practice — no vocality ; a, e, i, o, u, oi, ou. It is very difficult, but will be found a a great means of improvement, Not too frequent, and stop when giddy or pain is felt. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. ExAMPM. — "Who comes here? Hal thou art the ghost of my murdered friend ! I cry you mercy. I implore you let me rest in peace. It harrows up my very soul with terror and amazement." Add Force, Pitch, Time, the Tremor, and the Semitone ; and practice each separately, EXPLOSIVES. The explosives are calculated to give depth and rotundity to the voice. The orotund is the orator's true voice. With some it is natural; with all ordinarily good voices it can be acquired to a remarkable degree. It is the only voice capable of rendering the more majestic and heroic styles of language. To practice the explosives, for' its acquirement, and to give the voice outline and edge, the position must be erect', and the lungs filled to the greatest capacity. Hold th« air thus accumulated until perfectly concentrated; then buia' upon the Bounds with a quick, percussive stroke of the voico. It is best to have consonants precede the vowel sounds. JjCt the burst of the voice come like a clear coughing sound, but be sure and have no aspiration. Let the sound be extremely pure, and no unpleasant efiFect will follow its emission. Hold the breath for a moment firmly on the consonant, and then burst it, like the report of a pistol, on the vowel. Explosives.— B-al B-el B-il B-oIBulB-oil B-out [^"Practice these also with Pitch, Aspiration, and thfc Semitone. Emphasis. — " I'm tortured to madness, to think of it." " A eultivated taste converses with a piotukb." " Better to reign in hell, than serve in heaven,'" " God said ' Let there be light ' — and there waa L.anx ' SKIPS, SLIDES, WAVES. 87 PITCH. Begin with the natural voice, and having the lungs com- pletely filled make the sounds rise one above the other, as you ■wo lid in music, except that the sounds must be spoken, and not sung. Make each sound, as you pass up this speaking scale, full and round. Rise as though counting 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, &o. The number of sounds will depend upon the slowness or rapidity of enunoiation. Rise beyond where the voice breaks into the falsette. Carry it up as high as it is possible to convert the air into sound. Begin again, with the natural voice, and pass down the speaking scale. Make each sound, as before, round, pure, and full, to the very lowest. Then pass up from the natural to the highest in uninterrupted sound, then down from the starting point to the very lowest note. The first manner of going up the scale may be called skipping, the latter sliding. The sounds may be called skips and slides, or discrete and concrete sounds. The skips or discretes, are used in the simplest forms of reading; the slides in very emphatic styles. The voice passing up the scale to any desired point, and then passing immediately down in one continuous movement, upon the same breath, is called a wave. It can be reversed, and commence by going down first and then rising. The greater the distance to which it rises and falls, or faEs and rises, of course varies its intensity of expression. [See Exercises, page 88.] Also, practice the Pitch with the Semitone, or Plaintive movement of voice, and afterward add the Tremor, or Trem- ulous style, and Aspiration. In singing, the voice continues on the same level for each, sound ; while in speaking, it never rests for a single instant on the same pitch, but rises, or falls, according to the direction given to it until the sound ceases. Tlie Slide has great beauty; endearing in tone, and some times plaintive and desolate to tears. 88 VOICE AND ACTION. QUESTIONS AND ANSWEBa Inditpeeknoe. — 2d. Que».—Ar0 those in commission yet returned I Am. — My liege, they are not yet come back. Inthbest. — 3d. Ques. — Did you not speak to it ? An», — My lord, I did. EAaEBNESS. — 5tli. Qites. — Do you then defy me ? Arts. — I do not fqar you. Passion. — 8th. Ques. — How now, are we turned Turks ? An^. — Let's kill, slay, slaughter. EisH PiTOH. — Oh I I conld mount with rapture to the very etars. Natubaj, YoioB,— aiorttis gleaming in the dappled east. Low Pitch.— Eternity 1 thou pleasing, dreadful thought I 89 SKIPS . . _ SLIDES 10 — a— -9 — a- -Oci. — 8 — a — 8-th, )1/]J]/iaJI/iaJ1aa.^^ 00 VOICE AND ACTIOIf. Sdiplb Wave — Direct ; and inverted, thus : — " I come to bury Caesar, not to praise him. (direct) (inverted) The waves of the thirdj fifth, and octave are rarely used, though, if practiced, tliej- wUl assist in developing the voire. Tiike the sounds, and give a longer, fuller expression, until tha thirds, fifths, and both octaves, direct and inverted, have been exemplified. DiEEOT AND IifVEKTED "Wavks — Of equal thirds, fifths, octaves ; unequal thirds, fifths, octaves : — a, e, i, o, u, oi, ou. You talk of grief? You a prince's son I (inverted unetiual) (direct unequal) The unequal waves are for different degrees of time and fblness of the contemptuous and sneering styles of expression. As represented in the diagram, the sides of the wave are of unequal length. OoNTiNtiED Wave — is a number of waves, seldom used — • a, e, i, o, u, oi, ou. But it is an excellent practice. High notes tire the muscles of the neck, but are excellent aids in deepening the tones of the voice, to strengthen, and invigorate the vocal powers. To whisper forcibly an octave ahove and then ielow, is exceedingly difiBcult, hut is highly beneficial. Conversation might be visibly represented by the size of the letters in which these lines are printed. Public Speaking is only a larger conversa- tion, and might proportiouably be thus exem- plified in larger type. Drawling and Monotony might be illustrated in the extended style here given. BABIOAL AND VANISHING MOVEMENT. ® « e e e e . a a a a a a a PITCH. 91 Each vowel sound has its rad. and van. however light tha latter. The following words exemplify it. b-a • t— (bat.) f-a • te— (fate.) d-a ' le — (dale.) 10. As high as possible. — (Vociferation.)— ^'' iSirilce, for the sires who left you free ! " 9. Extremely high. — "I repeat it sir, let it come! let it come ! " 8. Very high, spirited. — " Three millions of people armed in the holy cause of liberty." 1. High. — " The sounding aisles of the dim woods rang." C. Rather high. — " With music I come from my balmy home." 6. Middle. — (Firm, natural.)—" A vision of beauty appeared on the clouds." 4. Rather low.—" Friends, Romans, Countrymen I " 3. Low. — (Modest.) — And this is in the night! most glorious night ! " 2. Very low.— (Sublime.) — " Roll on, thou deep and dark blue Ocean, — ^roU!" 1. As low as possible.— (Solemn.) — " Eternity 1 thou pleas- ing, dreadful thought." Begin with — 1-10 the very highest and descend line by line to 3_8 the very lowest rote of the voice. — ^ ' Then reverse by commencing with the very — 6-5 lowest and rising to the very high- est. _ 8- 3 'This practice will -2-9 -5-6 — r-4 modulate ■ 9-2 the voice. — lO-l " Though you untie the winds, and let them fight Against the churches ; though the yesty waves Confound and swallow navigation up; Though bladSd corn be lodg'd and trees blown down; Though castles topple on their war- ders' heads ; Though palaces and pyramids do slope Their heads to their foundations; though the treasure Of nature's germins tumble all to- gether, Even till destruction sicken, answer me To what I ask you." 92 VOICE AND ACTION. MODULA.TION AND MELODY. MODULATIOK, is the Pitch of paragra/pfu and lentencet. MELODY, is the Pitch ot words and syllables in each sentence. The one is the general pitch, the other the puoaEESsivs. EXAMPLBB. (natural noiee.) {rather high.) The moon her- is lost in heaven ; | but art for ev-er self thou same, | the re-joio-ing in the brightness of thy conrse ; {low pitch.) tern- {firm, nat. voice.) When the world is dark with Trhen thunder rolls, flies, I {rather high.) clonds, and lightning thou lookest in thy beauty from the {Mgh.) est And laugh- at the {fiirm, nat. voice.) storm. I But, to Ossian, thou look-est in vain. ' house, {nat. voice.) field, y The fire blasted every consumed ever- and {rather low) destroyed every tem- ple. {rather low.) Then shook the hills with thunder riv'n, {rather high.) tie Then rush'd the steeds to lat- driv'n, {high.) heav- And louder than the holts of {rather low.) Far flashed the red aartillery. MODULATION AND MELODY. 93 (yafher high.) tower, Ye are the things that that shine, whose smile (high.) glad, kes (low.) ma- - whose frown is ter- ri- hie. (high.) (r.high.) ing, Ex-ult-ing, rag- faint- (n.v.) ing, trembling, ed, light- (r. h.) (n. «.) de- raised, re- (n. v.) Dis>-tnrh'd, fined. (rath, low.) less, (r. I.) less, less, man- life- Season- herhlesa, tree- less — death, — (low.) A lamp of a chaos of hard * clay. How poor, how how abject, how au- rieh, gust, cate, pU- How com- how wonderful is man. niirsTEATioirs, (in a new form^ feom db. ettsh. Ti- diinks, hut mon's sil- treads He er ver sp-on nev- his lip. 94 VOICE AND ACTIOW. drinks, nev-er but Ti- sil- He mon's ver treada up-on his lipi Ti- ver treads He nev- drinks, but mon's sil- up-on er his lip. That quar-ter most the skil- ful Greeks noy, Where yon wild trees the fig join walls of Troy. 1= Sweet' is' breath' {Tripartite.) the' of morn. 2= The' fanned' un' num' {Tripartite.) air' was' by' , ber'd' pinmea. 3=(1«« DvMd.) tur'— ret' and' am' el' ' With' crest' sleek' en'— Nd' neck. 4=(2i Duad.) The' mean- name'', r ing', not' the' ca" ~Nl' 5={Feeble Cadence.) by not' s'— \ No\ the' rood' ^o\ %={FaUe Cadence:) Of more' wiles' ex I' boast' pert' not. CADENCES AND PITCH. 95 (10) 9 (high.) 8 7 MELODY AND MODULATION. 6 ===NAT. TOIOB. 6 4 g BXTEAOr.— OTHELLO. (SHAKS.) 2 1 (low.) 'tnre' •and' tor' me', •dost' • 'der'her' 'If thou' dan' •re' 'Nev' — er* pray' more' : 'don' all' *a' — ^ban' — morse' ; •hor ror's' °lior' "ao' 'On' 'head' 'rors' oum'- — u'- *Iate' ; "weep', all' "n' 'earth' a' — *make' Heav" — 'maze— •deeds' to' d'; 'Do' 'For' •noth' — ing' 'to' 'canst' thou' dam' na' — tion' •add; •Great' er' •than' 'that.' j INTONATION AT PAtTSBS. the' aph' Ab' faith'— ful' So' spake' ser'— diet' ; found'^ mong' the' Faith' — on' A'- faith'— fnl' ly' Usi. he\ 9 INTBEEOOATIVB SENTENCES. (Suing Bth) in thorough Interrogation used on euery syllable. (&) t th B s si « I 1 W Jill \ a & 1 i e or- n I I V I I I I ve I a st I w h c t I (oo)— t ne I i- I (n) I n f ^ J 1 Br An Give Brutus a statue with his ancestors ? {Another form.) He said (oo)" were | pa— ra— blel u in (my you I com — PITCH. 97 He said you were incomparable ? M' («)• (4noney f Partial Intereogation. — Brother, good day ! what mean$ this armed gna/rOk That waits upon your grace 3 BBMITOKE AND TBEUOB. Pit — y the rows ofa^-o-o-j* Bor — o-l-i — ■ — (i) — maif O 'BANquo, 'BAirquo, Our Eoyal master's m-u-r-der'-d. DOWSrWAED OCTAVE. tio frown'd the mighty combatants that HEIX Grew darker at their frown. DOWirWASD riTTH. (Giyn/yreti) used for emphasis. mg,. ^e^--'^' mad— am, it nay Downward 5th on ( Hence', hor'ri'ble' sha'dow', each eyllable, \ Un'real' mock'er'y', hence' 5 VOICE AND ACTION. OOTATEfl. (e) ho (e) - — (0 - Heigh (oo) 1 DOWNWAED FIFTH. — (Discrete.) (ffrwve surprise^ he' amf bi' Brn/ ^ays' was' \ \ / \ioiis.' «tus| DOWNWAED THIED ( Conwefe.) bra'L but' the' None' the' TTone' brave' I but' Ifo^ ye' V^ but' ^^ de' serve' ^tf the' bra' fairi Another Example. — (Discrete?) (beginning of- the prepared cadence.) E' den' their' i'— ta'— Ihrongh' sol' — ry' HooTd 'va.j^ WAVES. {Higher intervals seldom used?) Equal Wave of the Sboond. — (Used on an average, in the loftiest description, on th^ee syllables in ten. If used oftener i/rawling is the result.) /"K /'O-v which f. r' H- gh' on' a' thr- ne' of r- f sta"- ^;;;o-^ al' te ', Ont' sh- ne' mus' and' of /-n- the' wealth" of 0- r'- f, d', ^er-' WAVES OP THE SECOND. 90 Or' whe- re' g- r'-geons' rich'— est' h- nd' the' East" with' ^ea^ rO^ /^i-N bar' — io'p- rland'go'- Sh- V ers' orf her' K- igs'bar'— kt, alt' Sa' — ex' ed' sat,' tan' (Another example of the same.) ty say' — ble' ke' he' gh', S'- 1'— a' no' stro'— lift' ed' hV- ^ with' t'- hu' — but' so" swift' em' — pest' fell', Which' ng' not', r(«)->, (^ou-^ O n pr- d' Sa' no' ght,' the' crest' of tan,' that' si'- tion' of thought', le'- Nor' mo' swift' ss' could" his' ^ie-<> sh- Id', ch' r- (po) ■ tep'- 6n' — ^""^ cept.' Some are not content with the beautiful simple melody of speech with an occasional wave or sUde of the octate^ fifth and third ; but must continually deal out the higher intervals esiMlw- tineli/, thus allowing no repose to the ear and producing a most disagreeable drawling, and monotonous delivery. Even in the loftiest and most imaginative styles of language, the simple rise and fall of the voice greatly preponderates : and the other intervals are applied occasionally to syllables, and are thus diffused through sentences. ' Proper pausing is better than the immoderate use of the wave and slide. 100 TOICE AND ACnOX. TIME. Bapid. — Moderate. — Slow. 1, 2, 3, 4, 6, 6, 7, 8, 9,10, 11, 12, 13, 14, 16, 16, 17, 18, 19, 20. 123412121234 123 a, a, a, a. e, e. i, i. o, o, o, o. u, u, u. oi,— on. Even in quick time, seem to be rapid, but not so quick as to make the hearer lose what he would gladly remember. He tlien hears but forgets. Have the syllables abrupt^ but yet take sufficient time in reading the words to be well understood. It requires great skill. Take the utmost pains to have each sound distinct. In slow time breathe deeply, make the sounds full and round, and if there is any tendency to drawling, it will disappear. QtnoK. Like adder darting from his coil, Like wolf that dashes through the toil. Like mountain-cat that guards her young, Fall at Fitz James's throat he sprung. UODEBATE. There were light sounds of reveling. "With music I come from my balmy home. There is no breeze upon the lake. The waves bound beneath me as a steed that knows his rider. A vision of beauty appeared on the clouds. The bells he jingled, and the whistle blew. Labor is but refreshment from repose. SLOW TIME — (GEBAT QTTANTITt). O thou Eternal One, whose presence bright All space doth occupy, all motion guide ; Being above all beings, mighty Onel "Whom none can comprehend and none explore, Who fill'st existence with thyself alone • Being whom we call God, and know no more. TIME — QUANTITY. 101 1. Ab quick as possible. — Quick as the lightning's flash that illumines the night. 2. Very quick. — Charge for the golden lilies, now, upon them with the lance. 3. Quick. — Hurrah 1 the foes are moving. 4. Bather Quick. — Wild winds and mad waves drive the vessel a- wreck. 6. Medium time. — ^What stronger breast-plate than a heart untainted. 6. Bather slow. — Slowly and sadly we laid him down. 7. Slow. — The bell strikes one I we take no note of time, but - from its loss. 8. Very slow. — Which like a wounded snake drags its slow length along. 9. The slowest time. — Slow tolls the village clock the drowsy hour. Then with Aspiration, the Tremor, and the Semitone, Force and Fitch. 1 2 s 4 s a, a, a, a, a. ar-e, a — e. a e. a e. a e. -e. (e) Now turn to some selection in the latter part of the book, and for practice, read first very slowly, then read the same piece in moderate time, and then just as fast as is possible to read and be distinct. The power of suspending the voice at pleasure, is one of the most useful attainments in the art of speaking. It enables the orator to pause as long as he chooses and still keep his hearers in expectation of what is to follow. When well done, the effects are wonderful. The speaker can take advantage of the pauses to inhale imperceptibly a copious supply of air, and collect his ideas. Tlie pauses relieve the ear from the incessant flow of sound, and animate the meaning; they also divide and enforce the harmony of language. 102 VOICE AND ACTION'. ETJLES FOE PATJSmG 1. Tlie nominative phrase. 2. Tlie objective phrase in an inverted sentence. 8. The emphatic word or clause of force. 4. Each member of a sentence. 6. The nonn when followed by an adjective. 6. Words in apposition. ■ 7. The infinitive mood. 8. Prepositions (generally). 9. Kelative Pronouns. 10. Conjunctions. 11. Adverbs (generally). 12. An Ellipsis. GENERAL ETIIB. Panse after every two or three words, and at the end of every line in poetry. Pauses are not breaks, they simply sus- pend the sense. They are short in rapid, long in Blow reading. Examples. — ^The passions' of mankind' frequently^ blind them. With famine" and death'' the destroying angel came. He exhibits* now and then* remarkable genius. He was a man' contented. The morn' was clear'* the eve° was clouded. It is prudent' in every man'' to make early provision 'against the wants of age'" and the chances' of accident. Nations" like men* fail' in nothing" which they boldly attempt" when sustained' by virtuous purpose'" and firm resolution. — E. Olay. A people "i once enslaved' may groan'^ ages' in bondage. Their diadems'^ crowns' of glory. They cried^ "Death' to the traitorsl" Note. — Never pause between the verb and its objective «se, in a direct sentence, unless other words intervene. The Middle Pause. — So called because it most frequently ■ •oours in the middle of a sentence. ExAUPLE. — These' are the men+to whom ++ arrayed' in mU tlie terrors' of Government+I would say+ +you shall not degrade us' into brutes. — BurJce. PATTSING. 103 MABOO BOZZABIS. A.t midnight + in his guarded -i- tent, The Turk+lay+dreaming+bf the hour+ When Greece, her knee+in suppliance+hent, Should tremble+at his power ; In dreams, through camp + and court, he bore+ The trophies + of a conqueror; In dreams, + his song + of triumph + beard; Then wore+his monarch's + signet-ring; Then pressed+that monarch's + throne— a king; As wild+his thoughts, and gay+of wing, As Eden's + garden bird. An hour + passed on, — the Turk + awoke; That bright + dream + was + his last ; He woke — to hear+his sen try's + shriek, " To arms ! they come ! the Greek ! the Oreeh f" He woke — ^to die+midst flame+and smoke, And shout + and groan + and sabre-stroke, + And death-shots+falling+thick+and fast+ As lightnings+from+the mountain-cloud ; And heard, with voioe+as trumpet+loud, Bozzaris+ cheer this band : " Stbike — till +the last+ armed +foe + expires ; STsrss—for your alia/rs+and your fires; %i-Bisxi—for the gre&n,*graroes\of your tire*; God, — and your natioe+land/" They fonght+like brave men, long+and well; They piled+that gronnd+with Moslem slain; They conquered, — but Bozzaris+fell, Bleeding + at every + vein. His few+surviving+comrades+saw+ His smile, when rang+their proud+hurrah, And+the red field+was won ; Then saw+in death+his eyelids + closet Oalmly+as+to a night's + repose. Like flowers + at set + of sun. ]04 VOICE AND ACHON. KTTHMTI8 OP SPEECH. (STBKLB.) + It is 1 now I six-teen or ] seven-teen \ years | + since I 1 saw the I queen of | I¥mee,->- | then the 1 Dasw-plii-ness, | + at Ver- I sailles: | + + j + and | sure-lj | nev-er \ Ught-tA | + on this I orb, \ +which8he | hard-]y | seemed to | touch, + | + a | more de- \ light-M | sis-ion. \ + + \ + + \*I\sauiher\ just a- I bove the ho- | ri-zon, | + + | dee-o- | + rat-ing | + and | cheer-lng | + the | eZ-e-vat-ed | spliere | + she | just he- | gan to I move in : I + + I glit-ter-ing \ + like the 1 mom-'mg | star: I + + {full of I life, + 1 + and I spleririor, | + and | joy. | Oh ! I what a | rev-o- \ ^u-tion I | + + | + and ] what a | heart + | wiaif I | have, \ + to con- | *eOT-plate | + with- | out e- I OTO-tion, ] that + \ + el-e- | «a-tion J + and | that ■¥ I /aZ2. I + In the I «ec-ond | cent-n-vj | + of the | GhrUt-\a,n | e-ra | + the | em-pire of | Rotm \ + com-pre- ] hend-ei the | fair-eet | part of the | earth + | + and the ] most + | civ- il-ized I por-tion \ + of man- | Mnd. BXPEESSION. — STYLES. Sojt and Delicate. — The swan's sweetest song is the last he sings. Brilliant, Sparhling. — ^Last came Joy's ecstatic trial. Fierce, Vehement. — Strike 1 till the last armed foe expires. Spirited.— A%wa. to the hattle, Achaians I QtJAUTT. TONES OF VOICE. j NATUKAl, or I puEE.^high.) Cheerfulness. — When cheerfulness, a nymph of healthiest hue. Joy. — Rejoice such tidings good to hear 1 Pathos. — Ahl poor soldier 1 Ah I fond mother, yon are sev- er'd now, for aye 1 Love. — ^The loyal winds that loved it well. Solemnity.— (at times.) — ^There is a world where there falls no Wight. iR^TOM.— Kindred, friends 1 and have I lost you all. EXPEESSION. lOS OEOTUND. PaiAo*.— And is this all that remains of Hamilton ? Solemnity. — Its solemn tones are ringing in my ear. Joy. — (when dignified.)— Earth with her thousand voic6» lalAi on God. FALBETTB. — (rarely used.) Terror. — ^Help 1 help I mercy, oh 1 save me I ASPIRATION — (lialf vocally.) Wonder. — Sir Eichard, what think you, have you beheld it? Amazement. — Gone to be friends? Thou hast mis-spoke mis-lieardi Excess of Anger. — ^Alive in triumph ? and Merontio slain ? Revenge. — If he 'scape. Heaven forgive him too I Fear. — ^Angels and ministers of grace defend usl {Pure aspiration.) Terror. — I've done the deed — did'st thou not hear a noise ? Haste. — Haste me to know it, that I may swoop to my revenge. Remorse. — I am alone the villain of the earth, and feel I am BO most. Despair. — Comb down his hair, look 1 look 1 it stands upright. GUmjEAL. Contempt. — Get thee gone, before I learn the worst. Malice. — ^How like a fawning publican he looks. Impatience. — ^He is my bane, I cannot bear him. £ate. — ^When forth you walk, may the sun strike you with livid plagues. Loathing. — I loathe ye with my bosom, I scorn you with min« eye. GBOUPINa OP SPEECH AXD EMPHASIS. Emphasis, is the whole life of expression. Try the sup- posed word or words, and fill in other words until satisfitd as to which are emphatic. 5* 106 VOICE AND ACTION. Examples of geoi7pin& -with emphatia words. — ^Art thou that traitor angel, art thou he who first broke p-eo-te — \a heaven, Aud-f-ai-th — till then wnbroken ? Say first, for H-ea-v-eit, — hides nothing from thy mem nor the deep tract of HELL. Having the wisdom to fore-a-ee — ^he took measures to pre- terit — the dis-as-ter. After he was so fortunate as to save himself rE-o-M — ^he took es-pecial care, never to fall again into — the — ^polldtbd — STBKAM — OF — AMBITION. Blew an inspiring ai-r — ^that dale and thicket ru-ng— The hunter's e-a-ll, — ^to Faun and Dryad known. Then wh-en — I am thy ca/p-time — talk of chains. For soon expect to feel His thun-Aisr on thy head, de-wwr-ing fire, Then, who ore-ated thee lamenting learn, "When who can ww-create thee thou shalt ibuw. INCENTIVES TO DEVOTION. Lo! the un-lett-ered (HIND), mAo never Tbmhb To raue his mind ex-ov/rsine to the hight Of abstract contem-plation, as he sits On the green hillock by the hedge-row side, What time the insect swarms are mv/rmuring. And masks, in silent thought, the broken clouds, That fringe, with loveliest hue, the evening sky, (FEELS) in his soul the HAND of natceb KOUSE The THRILL of gbatitude, to him who fobmed The goodly pbospeot ; he beholds the God Throned in the west : and his reposing ear Hears sounds angelic in the fitful breese That floats through neighboring copse or fairy brake. Or lingers playful, on the haunted stream. * * * * * ^ ^ And sh^ll it e'er be said, that a poor (HIND ) Nvrsed in the lap of ignorance, and bred In want and labor, (GLOWS) with noble zeal ISTONATION. 107 To LATJD his Maker's atteibtjtes, while (HE) Whom starry science in her cradle rocked, (CLOSES) his EYE upon the holy word, And, Hind to all but arrogance &u