A TEN WEEKS COURSE OF STUDY IN ELOGUTION WITH SELECTIOHS FOR PRACTICE BOUGHT WITH THE INCOME FROM THE SAGE ENDOWMENT FUND THE GIFT OF Henrg W. Sage M-mibO L^/h/.Lf.M.. A Jen weeks' course in elocution. ,. 3 1924 031 386 489 olin.anx Cornell University Library The original of tiiis 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/cu31924031386489 A TEN WEEKS' . , , Course in Elocution' BY J. V. gOOMBS FoRMERLv Professor of English Literature and Elocution IN Eureka College, Eureka, III. ASSISTED BY VIRGIL A. PINKLEY Principal op the Department of Elocution in School of Music, Cincinnati, Ohio REVISED AND ENLARGED C. H. ^ARNE Professor of ELOCUTibN and Reading in Salina Normal University, Salina, Kan. Copyright 1884, by J. V. Coombs Copyright i8gi, by J. E. Skerrill Copyright 1899, by Hinds «5^ Noble HINDS & NOBLE, Publishers 4-5-6-12-13-14 Cooper Institute • New York City School Books of All Publishers at One Store Of Interest To You We have a more -thoroughly per- fected system and better facilities for furnishing promptly books of all pub- lishers than any other house in the country. Our business is divided into de- partments, each under a superintend- ent, so that every detail is carefiiUy looked after. We deal only in School and College books, of which we carry an immense stock. We are able to supply at re- duced prices any schoolbook published. We issue a complete catalogue of these books, with a classified index. Send for one. HINDS & NOBLE 4;-5-I3-t4 Cooper Institute, New York Qty CONTENTS, PAGE. Preface 1 Introduction 3 PAET I. Bow to Teach a Child to Bead «-,,.^ 5 PAKT 11. DICTIONARY WORK. 1. Pronunciation 17 2. Key to Pronunciation 19 3. Elementary Sounds 22 4. Principles of Pronunciation 27 5. Articulation ,..., 30 6. Words often Mispronounced , 32 PART III. 1. How to Teach Beading..... 34 2. Examples for Practice 43 PAET IV. ELOCUTION. 1. Art of Deliyeiy ...<- 49 2. Outline of Elocutio'i u 51 3. Plan of Studies 51 i. Elements 52 5. Bespjration 54 6. Breathing 55 7. Formulas 57 8. Articulation 64 9. Orthoepy 73 10. Vocal Culture 88 11. Exercises forDri]) „ 90 12. Quality 106 13. Vocal Expression : 112 14. Volume 116 VI CONTENTS. 15. Bate H^ 16. Gesture 123 17. Suggestions 138 1. To Ministers • • 138 2. To Lawyers 139 PART V. AIiPHABETICAI. LIST OF SELECTIONS. A Abou Ben Adhem 148 Ambition of a Statesman 340 Annabel Lee 145 Asleep at the Switch 321 AtElberon 160 Awfully Lovely Philosophy 224 B Baby's First Toot 240 Bald-Headed Man, The 310 Barbara Frietehie. 188 Bangs 206 Baron's Last Banquet, The 209 Bells, The 165 Bells of Shandon.The 281 Bill and 1 262 Blacksmith's Story, The 173 Boot-Blacks 254 Botany 200 Brakeman at Church : 336 Bridge, The. 334 Broken Hearts 267 Brutus and Cassius 217 Bugle Song '. 150 Burr's Trial 255 C Cato's Soliloquy 276 Chewing Gum 233 Coquette Punished 230 Courtship Under DifiSculties 284 CONTENTS. Vn Creeds of the Bells, The 370 Crime Its Own Detecter 331 Curfew Must not Ring To-Night 313 Curing a Cold 183 D David-B Lament over Absalom 222 Demagogue, The 362 Dot Baby of Mine 232 DotLambsVotMary Haf Got 272 Dutchman's Serenade 269 E Entertaining Sister's Beau 234 Eulogy on Garfield 352 Extract from a Sermon on the Death of Abraham Lincoln... 372 F Fall of Pemberton Mills 175 Famine, The 166 Farm-Yard Song 374 Forty Years Ago 143 Foxes' Tails, The 344 Freckled-Faced Girl, The 283 Fretting 260 G Gape-Seed 251 Good Beading 359 Grattau's Reply to Mr. Corry 319 Grave, The 266 Gray's Elegy 161 Green Mountain Justice 228 H Hamlet's Instruction to the Player 365 Henry V. at Harfleur 352 Horatius at the Bridge 360 How He Saved St. Michael 366 How «Ruby"Played 297 How We Hunted a Mouse 291 I If We Knew 146 Interesting Traveling Companion, An 148 viii CONTENTS. E Katie Lee and Willie Gray 318 Kentucky Belle — " ^^^ Kentucky Philosophy 1^0 L Lady Clara Vere de Vere 171 Last Hymn, The 270 Little Hatchet Story, The 306 Liberty and Union 242 Literary Nightmare, A. 235 Little Jim 173 M Maclaine's Child 329 Maud Muller 190 Man's a Man for a' That, A 193 Marmion and Douglas 223 Marco Uozzaris 157 Mark Twain and the Interviewer 152 Massachusetts and South Carolina 355 Model American Girl 249 Moneyless Man, The 309 Modulation 376 Mrs. Lofty 164 My Trundle Bed 273 N Naughty Little Girl 211 O Oh! Why Should the Spirit of Mortal be Proud? 274 Our Folks 312 Over The River 158 Owl Critic 226 P Paul Revere's Ride 381 Paul's Defense before Agrippa 384 Paradise and the Peri 203 Purrhasins J98 Pilot, The Z.Z 151 Pitt's Reply to Walpole 252 Polish Boy 34I Pyramids not all Egyptian 577 CONTENTS. IX B Bainy Day, A „ 183 Baven.The 386 Bide of Jennie McNeal, The 185 Biding on the Bail 325 Bising of 1776..,. 247 Bock of Ages 147 Bural Life in England 246 S Scene From Hamlet 302 Schooling a Husband 243 Scott and the Veteran 364 Scrooge and Marley 369 Seven Sticks, The 160 Setting a Hen 215 Sheridan's Bide 389 Ship on Fire, The 305 Shores of Tennessee, On the 219 Sister and 1 390 Soath Carolina 354 Stay on the Farm 214 Spartacus to the Gladiator 315 Speak Gently 159 Spoopendyke's Burglars 276 Supposed Speech of James Otis 323 T Thanatopsis 357 Tom the Drummer Boy 327 Too Late for the Train 256 Transportation of Mitchell 263 Trial of Endurance, A 293 U Uncle Daniel's Introduction 179 Uncle Tom and the Hornets 279 V Vagabonds, The 393 W Water Mill 271 Western School-Ma'am, The y 290 Whistle, The 247 Woman's a Woman for a' That, A 194 Workingmen's Song 265 SCHOOL BOOKS of all publishers^ new and second-hand. Send for Catalogue. 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A Text Book on Letter Writing, 75c How to Punctuate Correctly, 25c. A Book of Synonyms and Antonyms, 50c. Debates (Both Sides of Live Questions Fully Discussed), $1.50. A New Speaker, $J.0O. Teachers' Class Register, 50c HINDS & NOBLE, Publishers Never too busy to anstuer questions *-5-i3-J4 Cooper Institute New York City PREFACE. In teaching elocution the author has felt the need of a hook dif- ferent from what he could secure. Many good hooks on theory are to be found. Choice selections are abundant. But to secure a book that contained proper exercises for drills, and also a variety of popular selections, is impo.ssible. In order to select fifteen or twenty selections for a reading class, or an elocutionary contest, many books would have to be used. To meet this want this vol- ume has been prepared. In Part I. the author has given what he considers the best way to teach beginners how to read. Part II. gives a full discussion of Dictionary work. Part III. contains hints and suggestions to teachers of Reading. Part IV. is a full discussion of the elements of Elocution. Part V. contains the most popular selections now in use. Among them the entire programme of most of the popu- lar elocutionists and readers can be found. The author has col- lected all grades and sentiments of recitations — Humorous, Dra- matic, Oratorical, and Didactic. The author desires to make grateful acknowledgments for the assistance he has received. Prof. V. A. Pinkley prepared all of Part IV., and is entirely responsible for the same. This part is a condensed eloeittion, and it will certainly do much to elevate the art of elocution. Prof. Warren McBroom, of Crawfordsville, Ind., prepared the chapter on Elementary Sounds. The article. How TO Teach EEADiua, was prepared by S. E. Thomas, President of Kentucky University, Paducah, Ky. That this book may aid teachers in their work is the sincere hope of the author. J. VINCENT COOMBS. (1) INTRODUCTION. Eloctttion is the expression of thought by word and action. In order to become a good reader three things are necessary : A good VOICE, A CORRECT PRONUNCIATION, A FORCIBLE EXPRESSION. To obtain a forcible voice is not difficult. Some say : " My voice is too feeble ; I can never become a speaker." Should they lie in the shade one year without exercise or sunshine, they would have feeble muscles. Practice will give any one a voice of sufficient force to be heard clearly in any hall in the land. Go to work at once and acquire a good voice. Put the voice to its severest test. In balmy weather, go out in the groves and practice on a high key. Then on a low key. Do not be alarmed should you get hoarse the first time. Try again. If a person has not been accustomed to walking, the first few hours' walk will greatly fatigue him. But let him practice walking each day and he will become accustomed to it. Occasionally the race-horse is put to his severest test. So the voice must occasionally be tested. This will give the voice flexibility and ease. The greater part of practice should be on a conversational key, but occasional practice in shouting tones will develop the voice rapidly. Many speakers find their voices harsh and uncontrollable at the beginning of an address, but at the close the voice is in " fine condition." Much annoyance may be avoided by practicing on diflerent pitches of the voice for a half hour. The practice may be severe. Begin lightly and increase to shouting tones. The last part of the practice should also be moderate. This should be done one or two hours before the time for delivering the address. To break up bad articulation practice with the mouth full of pebbles, marbles, or smooth hickory nuts. The author has tried this plan often, and. is satisfied that it is worthy attention. Fill (3) 4 INTRODUCTION. the mouth full and attempt to read one or two pages. Then remove the pebbles and read a few pages. The organs of speech will now be as " sportive as the swallow and as versatile as the streamlet. Let public speakers who are annoyed with indistinct articulation try this plan. A correct pronunciation is a necessary element to good reading. Often an uncouth pronunciation ruins the effect of an entire ad- dress. Speakers should carefully guard against vulgar pronuncia- tions. This subject is fully discussed in Part II. A vivid expression is necessary. Thought is antecedent to everything. First get the thought. Expression is giving out. Many persons aJUempt to give out before they have anything to give out. Before reading a selection ask yourself the following ques- tions : 1. Who wrote this selection ? 2. Why did he write it? 3. Under what surroundings did he write it? 4. What would be the condition of the mind of a person who would write such a selection? 5. How would he express it? 6. How would I feel under similar surroundings ? 7. How would I express that feeling were I under similar sur- roundings ? It is not enough to tell a person to read naturally. Suppose a man has walked in a stooped condition for ten years, and you tell him when he goes before an audience that he must stand up straight and be natural. He would certainly assume a very awk- ward and unnatural attitude. Before he can give ymisr idea of naturalness you mast elevate the creature. He must practice standing straight behind the counter, in the parlor, and iralk straight upon the street. If a person never laughed it would be impossible to teach him elocutionarily how to laugh. On the con- trary, you would be compelled to place the person in cheerful so- ciety, and first have him laugh from the heart. To be natural io to be what you are. If you are not a model in naturalness you must elevate the creature. PART I. HOW TO TEACH A CHILD TO READ. Close observers conclude that the surest way to se- cure a nation of temperance people is to educate the children in the habits of sobriety. Neglected home training necessitates temperance laws. So the best way to secure good readers is to begin correctly in the pri- mary school. Bad teaching in primary grades neces- sitates elocutionists. The chief work of the elocution- ist is to undo what the primary teacher has done; to right what has been thus made wrong. The child comes into the school room heralding the mastery of its first day's journey with that ringing laugh and sportive speech that challenge the admira- tion of the most gifted orator or polished elocutionist. The teacher makes rapid haste to destroy this natural sweetness of expression. In a few days this sportive expression is changed to a drawling school style. Ten years pass. The elocutionist comes forward to reap a rich harvest from the bad teaching in the pri- mary department. The child has learned to talk well. One thing I would impress upon the teacher ; let the child continue to talk well ; let the silvery speech heard on the play-ground be heard in the reading class. The teacher who can not teach reading can not teach (5) 6 TEN "WEEKS IN ELOCUTION. school, for reading is the key to knowledge. Most of the failures in reading can be traced to the bad teach- ing of primary and intermediate teachers. When the child gets thought by the eye (written words), it should express the sentiment in the same easy manner that it does when it gets the thought through the ear. I would have the teacher to reinem- ber, and to keep on remembering, that the eye is as quick to know a word as is the ear, and Jf properly trained the child will comprehend the word cat just as quickly by seeing it as by hearing it. LANGUAGE. Learning to Talk. — The child learns to talk before it is sent to school. Its parents are its teachers. Happy is the child whose parent-teachers instruct it correctly I The child's first lesson in language is learning to talk. It hears words used and learns them by imitation and association. How a Ghild Learns to Talk. — ^We have numerous methods of teaching children to read, but mothers do not meet in state associations and discuss the best meth- ods of teaching the child to talk. Common sense guides the mother. She certainly does her work well. She does not begin by teaching the child the elementary sounds of the language, neither does she begin with an entire sentence. How ludicrous it would be to see a mother attentively teaching the child the sounds of the word papa. Common sense tells her that the child first acquires ideas (words), then relations (sentences). The child learns the word as a whole. After it has learned a few object-words, papa, hat, book, cat, bed, etc., it begins to learn relations. It does not learn the spoken word cat by hearing it. It must see the object. You might repeat the word cat a thousand times, yet the child gets no idea. But say cat, and point to the cat, and the child will, in its baby way, say "catty." HOW TO TEACH A CHILD TO READ. 7 It gets the idea by association. It associates the spo- ken word cai, with the real object. After a few words have been learned the child begins to acquire thought. The mother says, " the cat is on the bed." The child sees the position of the cat and at once says, " cat on bed." Purely by hearing the words and seeing the re- lations it learns the sentence. No mother teaches a child such words as is, here, the. The child learns these in the sentence and by imitation. Learning to Read. — After the child has learned to talk fluently and acquired a vocabulary of spoken words, it may take a second lesson in language, learning to read. This work should not begin too early in life. It is not wise to begin teaching a child to read until it has ac- quired much knowledge of objects and relations of ob- jects. Children are greatly injured in being sent to school too early. The questions that now confront us are : How shall we begin ? What method shall we adopt? Let me say right here, that the proper place to begin is where the mother left off. No new way is necessary. Let us here recapitulate : In learning to talk the child acquires knowledge, as follows: 1. It learns ideas, the words as wholes. 2. Relations of words. 3, It associates the spoken word with the idea. 4. The child forms these words into sentences and has thoughts. In talking, the child has learned words by hearing; now it is to learn by seeing. The child should not be permitted to read a sentence until it recognizes the writ- ten word by seeing it just as perfectly as it does the spoken word by hearing it. In one case the word is heard ; in the other it is seen. In teaching a child to read, there should be the slightest change possible from the general method of learning to talk. If we follow out this plan there will not be much dispute about methods. Methods. — There are several methods of teaching a 8 TEX WEEKS IN ELOCUTION. child to read. Those most generally used are as fol- lows: 1. Alphabetic. 2. Phonic. 3. Sentence. 4. "Word Method. 1. Alphabetic— The alphabetic method begins by- teaching the child the letters. The child repeats the letters from A to Z, and from Z to A. This method is objectionable ; it is in opposition to the plan used in learning to talk. Letters are fractions of words, and we should not begin with fractions. It would be just as sensible to begin the study of arithmetic at fractions. The word is the unit of language. 2. Phonic Method. — The phonic method begins with the sound of the letters. This certainly is the correct way to learn pronunciation, but it is not the way to learn to read. The child learns to talk without think- ing of the elements of the word. It should learn to read in the same way. It would be as reasonable for the mother to begin to teach the child to talk by first giving it a lesson in the elementary sounds of the lan- guage as to begin teaching reading in that manner. 3- Sentence Method. — The sentence method be- gins with the sentence as the unit of language. This is objectionableu It assumes that the sentence is the unit of language. Certainly the word is the unit. We should begin with units, and ifot with their combina- tion. 4. Word Method. — The word method is the true method, for the following reasons : 1. Tt coincides with the manner of learning to talk. The child first learns the word as a whole. You do not teach the child that this is a leg, this a head, this a foot, this a tail, and after learning all its parts say " these things make a cat." No ! You teach the word cat as a whole. 2. Language begins with words, and not letters or sentences. 3. This method proceeds from the known to the un- HOW TO TEACH A CHILD TO EEAD. 9 known. We begin with the spoken word and pass to the written. 4. It passes from the whole to the part analytically. Learning a Vocabulary of Printed Words. — Learning to read is learning a vocabulary of Words. The ques- tion is, what is the best way to learn a vocabulary of words? It is plain common sense to continue as in learning to talk, by presenting the object to the eye of the child. The word must be learned as a whole. What words should be taught first? 1. Familiar Spoken Words. — The child has ac- quired a vocabulary of spoken words, and these words should be the first to be presented. Meaningless words, ba, be, bi, etc., should be discarded. 2. Object Words. — The first words taught should be the names of objects. Manner of Teaching a Vocabulary. — The teacher holds up a hat and says : " What is this ? " The correct an- swer follows. Here a few words may be said to create an interest. The teacher now draws the picture of the hat on the board and continues: "What is this?" All will say, "That is a hat." Well enough. Do not worry the patience of pupils in making an elaborate explanation, showing the difference between a real hat and the picture of the hat. The child knows the dif- ference. Ideas are what you are after now. Once tell- ing a child is sufficient. With chalk in hand* the teacher says : " Now, you watch me and I will make the word hxd. This word here on the board is the word hat. When you see this (referring to the object hat) you think of what?" " We think of a hat." " When you see this picture, you think of what?" "We think of a hat also." " Yes, that is correct. Well, now, when you see this word you think of what ? " " We think of a hat again." " Yes ; now watch me make the word. Do you think you can make it ? You may try it'shortly. Will you know the word hat whenever you see it ? Let 10 TEN -VVHEKS IN ELOCUTION. US see. I will write several words as follows : Gat, man, hat, cap, dog, fan, cap, hat, bat, hat. Who can show me the word hat?" Here let the children notice differences. Most of them will select the correct word. If some point out the wrong word^ let the class get into debate about the matter. The teacher continues : "You may now go to your seats, take your slates and see if you can draw that word hat." In the same way teach other words. It is remarkable how rapidly children will learn these words. After ten or t\\elve words have been learned, the teacher may say : " Now let us have a chalk talk. You bring me wliat I write on the board." The teacher writes hat, cap, book, fan, and several ob- jects accessible, and different membersof the class bring him the objects. After fifteen or twenty words have been perfectly learned, words that are not names of ob- jects may be presented. All words that are not names of objects should be learned in phrases and sentences. Never attempt to teach the article the, the adjectives, conjunctions or verbs by themselves, but always teach them in the sentence. The child, in learning to talk, was never taught the, is, run, etc. It simply learned these words by relations. The teacher, holding up a fan, says : " What kind of a fan is this?" "A black fan," is the reply. "Now I will say, with the chalk, what you have said. What does the chalk say ? " "A black fan." " Yes, that is right. I will now change the word. What does the chalk say?" The teacher erases fan, and writes hat. The pupils will then say, a black hat. Several words may be substituted instead of fan, leaving A black the same all the time. I said before that after fifteen or twenty words are perfectly learned, the sentence might be introduced. I want to emphasize the word perfectly. The child must learn these object words so well that when it sees the word hat it knows it just as quickly as if you should have spoken the word. There is no reason why the child ought not to get the idea Aai just HOW TO TEACH A CHILD TO READ. 11 as quickly by seeing the word as by hearing the word. So see to it, that before the sentence is introduced, the child has learned perfectly fifteen or twenty names of objects. After a few words of quality, black, red, white, etc., have been taught in phrases, lead the child to say, " The hat is black." Here you have introduced .one new word. When the child has said the hat is - black, write the sentence on the board and continue : "What does the chalk say ?" " The chalk said, ' The hat is black.'" Very well. Tell me now what the chalk says: " ITie cat is black" "What does the chalk say ? " " The cat is black." This exercise may be continued to suit the teacher. Change one word, then the other, Jeaving is the same all the time. When fifteen or twenty changes have been made, call the. child's attention to the new word. Ninety-nine times out of a hundred the child will tell you what the word is. It has learned is in the sentence just as it did in learning to talk. No one taught it. Never let the child stop to call a word. Let the words be thoroughly familiar. The child does not stop to think of the words in the sentence, " The man is in the house," when talk- ing. It must see the sentence as clearly as it hears it. When from one hundred to one hundred and fifty words have been learned, let the teacher say to the children: "To-day we will have a chalk-talk. You may do just what the chalk says. Ready." The teacher, remaining perfectly 'silent, writes, and the children per- form : "Stand up," "Sit down," "Come here," "Go to your seat," " Lift your right hand," " Put your 'hand on your head," " On your nose," " Bring me a book." This exercise may be continued at the pleasure of the teacher. Never continue any exercise until it becomes irksome. When the child has learned its little vocabu- lary, write fifteen or twenty words on the board, and permit the child to make sentences. Here the child takes its first lesson in original composition. This is 12 TEN WEEKS IN ELOCUTION. the proper place to begin composition. Should the teacher write cat, hat, black, tame, is, on, a table, the chair, the, a, runs, etc., the child will quickly learn to form sentences. Never write the articles without the nouns. Let the children tell (read) what they have written on the slate. Allow no drawling. Stop it. THE FIEST READER. When the child has learned from one hundred to one hundred and fifty words perfectly, the First Reader may be introduced. Begin the first reading lesson with a chalk-talk. Teach all new words according to the word method. After all new words (if there be any) are taught, permit the children to copy two or three sen- tences on their slates. Let them, then read, in a pure conversational manner, these sentences. The reader may now be used. Be sure that the child reads natur- ally. Halting at words should not be tolerated un- der any consideration. If proper care has been taken in teaching the vocabulary of one hundred and fifty words, but few new words will need to be taught, and you will be surprised that the chjld will read fluently the first twenty pages of the First Reader. Before a lesson is read, have the pupils write it upon slates. Pay special attention to writing, spelling, capi- talization and punctuation. You will see that the First Reader, slate and pencil are all th^ child needs. You can teach spelling and writing better in this manner than by making them separate studies. Some may ask, "What do you mean by saying teach the child to write?" I mean just what I say; I would begin the work with script. Let the child learn the script. When you desire to change to print write a short story on the board. Let it remain all day. Next morning print the same story and the children will read it off at once. If you prefer it, change a few words at first. Let these be words in which the script letters and print letters re- HOW TO TEACH A CHILD TO READ. 13 semble. These simple means will be sufficient to make the transition, yet many prefer to begin with the printed characters. With them I shall have no quarrel. Every one uses his own opinion. I do not know as one method has much advantage of the other. Question the child upon the lesson. Do not permit the child to give a thought before it gets the thought. Emphasis and Inflection. — Pay no attention to em- phasis and inflection. This may seem strange doctrine to some, but yet I think I am correct. When you hear the child make a wrong emphasis you know that it has missed the thought. Lead it to get the thought and it will use proper expression. Thought controls em- phasis. Children have enviable modulation in talk- ing. Let them see the thought and they will read it with the same charm. Do not mar their natural sweet expression by trying to teach mechanical emphasis. The mother says to the child: "Run into the room and tell papa that the knife is on the table." The child rushes into the room and says: "Papa, the knife is on the table." The mother does not pause to teach the little fellow to emphasize knife and table. It' has the thought, and it gives the sentiment as perfectly as a Forest or a Keats. Reading is getting thought by means of printed words. The child may call the words fluently, and yet not read. The emphasis and inflection tell you whether the child has the thought. Every reading lesson ought to be a lesson in com- position. I hope to see the day when reading and composition will be taught together. One will aid the other. The child will express its own thoughts cor- rectly. When a story has been read, ask the class to write on the slate one thing that has been said. Per- mit each pupil to read what has been written. Give the class a picture, and ask each one to write one thing that she sees in the picture ; two things, three things, all. 14 TEN WEEKS IN ELOCUTION. The child has now learned to read the ea^ lessons in the First Reader. Let some of the class bring lit- tle stories from other First Readers and read to the class. No reader affords sufficient easy reading lessons. Phonics. — When the child can read the easy lessons, phonics should be introduced in order to aid the child in prononncing new words. Henceforth, the Word Method and Phonic Method "should be combined. Be- fore this the children will have learned all the letters. When teaching the word hat, talk about h, a, and t. The child will learn the names by hearing them used. Now you must teach the sounds. I can not enlarge upon this point. If the teacher desires further in- struction, I refer him to the chapter on Dictionary Work in this volume. I would not tell pupils that I was teaching phonics. That sounds too big. Col. Parker calls the exercise slotv pronunciation. Let the teacher say : " We will now have an exercise in slow pronunciation (or if preferred), spelling by sounds. You listen, and tell me what I say. C — a — t. " What did I say ? " Most of the pupils will say " cat." Let the teacher pronounce slowly several words and ask the children to imitate. Arrange a list of words contain- ing similar sounds. Drill the class daily upon the elementary sounds. This exercise will serve a double purpose — a lesson in phonics, and a drill in voice cul- ture. A MODEL LESSON. THE HEN AND CHICKENS. Oh, mamma; I see a hen and six little white chickens. They are under the rose-bush. May I go out and see the chickens and get me a red rose ? The art of questioning is of high value to the teacher. Let the teacher begin as follows : 1. Who are the per- sons talking in this lessons. (This lesson should be HOW TO TEACH A CHILD TO BEAD. 15 preceded by a picture containing a little girl, her moth- er, hen and chickens and a bunch of rose bushes.) 2. What are they talking about? 3. How many chick- ens ? 4. What color are the chickens ? 5. Where are they ? 6. What is the color of the roses. 7. What did the little girl want to do ? 8, Of whom did she ask this question ? After a thorough questioning the child is ready to read, and it can read with the understanding. These lines will be sufficient for one lesson. Strive to make the pictures as real as possible. Draw many mental pictures. See that the child has the same expression when it talks from the book that it has when it talks from pictures and real objects. The little girl is out at play. She sees the cat on the gate, and she runs into the house and says : " Oh, ma, I see the ccd on the gate!" She has obtained the thought by seeing the objects. Now you draw the pic- ture, and looking at it the girl repeats the same thought, "the cat is on the gate." The next day her mother sees the cat on the gate and says to the little girl : " Go tell Willie the cat is on the gate." The little girl runs out in the back yard and says to Willie : " The cat is on the gate." She has expressed the thought three times. Each time the ex- pression was faultless. Now, the mother writes on the slate "the cat is on the gate." The child gets the thought by written words, and she will say still in her cheerful way, " the cat is on the gate." She has ob- tained the thought in four ways : 1. By seeing the objects. 2. By seeing the picture. 3. By hearing the sentence spoken. 4. By seeing the sentence written. She should express the thought just as agreeably in one case as in the other, and she will unless some person attempts to drill her to read according to the rules of elo- GuMon. Let the teacher take little lessons like the fol- lowing and bring out all the mental pictures. Many 16 TJEN WEEKS IN BLOCUTIOK. teachers would be profited by going back and learning to read these easy lessons : " Kitty has a nice pet. It can sing a sweet song. She has just fed it. She will now put it in the cage, and hang the cage up. Then the cat can not catch it." THE STAE. " Mamma, I can see a pretty star. Did you ever go to a star, mamma ? O no, I never went to a star. If I get into the cars, and ride, ever so far, can I get to the star ? No, the cars never go to the star. If I had wings, like a, bird, I would fly to the star. What? Go so far from mamma? O, but mamma, you would go too." THE CHAIK. " Do you see the chair ? What kind of chair is it? It is an arm-chair. Can the boy sit on the chair ? The chair has four legs and a back. This chair has two arms. We have some chairs like this at home. We can sit on them when we want to rest. You must not cut the chair with your knife. Let the chair stand near the stove." Question pupils upon the lessons. What has Kitty ? What is she doing? Why does she keep the bird in a cage ? Occasionally write a funny little story on the board and let pupils read it. Permit children to copy their lessons. " Teach the child to do ; educate the hand." PART II. DICTIONARY WORK. PRONUNCIATION. Pbonttnciation does not receive the attention which its impor- tance demands. Where one mistake in grammar occurs, ten occur in pronunciation. Very few persons can read a page of plain Eng- lish without making numerous errors in pronunciation. Indeed it is a rare thing to listen to a speaker who does not make several mistakes in an address of one hour. Persons who would be deeply mortified to make a mistake in grammar or spelling, go on mispronouncing ordinary words with- out any apparent shame. Correct pronunciation is of more im- portance than correct spelling. One offends the eye, the other the ear. Bad spelling offends the eye that sees the wrong spelling; bad pronunciation offends the ear of an entire audience. Again, pronunciation is in constant use; spelling is occasionally used. An untiring effort should, therefore, be made to break up incorrect pronunciation. » CAUSES OF INCORRECT PEONTINCIATIOlf. The causes of incorrect pronunciation are three : Carelessness, Laziness, Ignorance, and the greatest of these three is Ignorance. Carelessness. — Manypersons are careless in their pronunciation. They go treading the road their fathers have trod. They say Idea, grSss, root, c6st, etc., without one thought as to the correctness of the pronunciation. , ^ 2 (17) 18 TEN WEEKS IN ELQCUTION. Laaness. —Many persons are simply too confirmed lazy to consult the dictionary. For months they have been halting between tw^o opinions, not sure that either is correct. Every time the word is met it is shunned or half pronounced. Yet there is the diction- ary, and these lazy people have not the energy to walk to the desk. /jmorance.— Ignorance is a prolific cause of incorrect pronuncia- tion. Many persons do not know what the correct pronunciation of a word is. They can not distinguish between sounds. Once a Boston lady came in a reading circle of which I was a member. I was mijch amused at her peculiar pronuncia- tion. She said to the manager of the circle : '' What is the difier- ence in pronunciation between far /a, and iorfdf " She pronounced them both alike, leaving off an r on both. I laughed at her and thought she was silly. The next day I was leading the reading and pronounced bird, burd, and the " Boston girls" laughed at me. It was purely ignorance on my part. I did not know there was ny difierence in sound between fir and fur, earn and urn. Some persons make no distinction between a in fame and S, in care and fair. Others pronounce caret a and short & just alike. Should hey realize that caret S, is diphthongal the difficulty would be re- jioved. In the old English fair was spelled with two syllables, fa-Ir, and pronounced as marked, long a, and tilde 1, or short u. These sounds were finally coalesced but still retain the diph- thongal sound. Long u suflTers shamefully. We say tootor, for tutor; dooty, for duty; nooze, for news,-nuz; constitootion, in- stitoote, etc. Tooter is a fellow that blows a horn. If n-e-w-s spells nooze, why does not p-e-w-s spell pooze ? Broad a is greatly neglected either through nicety or ignorance. Br6d for br6ad ; cOU for call. We have no more naughty boys but tie them up to"(k)nOtty boys; no more daughters, but we reduce them to dOtters. Let us have a. race of broad a's. Much of this is afiectation. Some go to the other extreme, and give broad a in many words where Italian a is needed. The writer once heard a normal girl say, "I laughed and I laughed, and I nearly died a ' laughin.' " To destroy these unpleasant pronunciations let pupils be thor- oughly drilled upon the elementary sounds. DICTIONARY WORK. 19 KEY TO PRONUNCIATION. VOWEM. S,, as in ate. s, as n there. a, " at. e, ti they. a, " ' far. 1, it ice. p,, " • call. I, (( it. a, " ask. I, •' sir. a, " care. I, (( pique a, " was. o, " no. e, " me. 6, 11 not. e, " met. o, i( for. e, " term. Q, it do. CONSONANTS. e, as in call. g, as in get. 5, " cite. g> 1 ' sem. ch, " child. s, ' so. eh, " chorus. Sf ' has. fh, " chaise. th ' with 6, as m son. 0, wolf. 60, moon. 0^0, brook u, duty. Q, tub. u, rude. u. urge. u, put. th, as in withe. ng, ( sing, link. ?. exist. X, az. The teacher will find that the above table contains all the dia- critical marks. Drill pupils thoroughly upon these sounds. Pro- nounce the word, then give the sound. Teach carefully all the sounds not in the table. Teach by imitation the consonants. Show the class how to produce the sound of b, c, t, etc. Follow up the alphabet, and give every consonant sound. Teach the names of the diacritical marks. NAMES. - Macron. •• Diseresis. - Breve. - Tilde. * Caret. , Cidilla. • Semi-diseresis. -•-Suspended bar. It is not enough to' drill upon the tables. The class must be made to see the difference between sounds. 1. a, S,, and L Pupils must see the difference between these Bounds. Spell many words phonically, as follows : Pronounce bat slowly, b-a-t. Drop b, at. Drop t, a. Drill on the following: Mate, mat, c^re, fMr, fame, map, dare, day, rat, pay-er, p&n, fan. 20 TEN WEEKS IX ELOCUTION. 2. 6, 6. Alternate sounds as follows : Bot, bought, cost, cause, farm, f6r. 3. 6 and a. Far, fdr, 6r, are, f6rin, farm. 4. 6, a. C6t, caught, n6t, naught, knOtty, naughty, dtttter, daugh. ter, fin, awe. 5. u and u (oo) rue, pure, rule, use, duty, ruby, new (nu, rude. 6. 65 and o6, moori, look, book, roof. EXEECISES IN PHONICS. The teacher will do well at this time to refer to the chapter on elementary sounds, prepared by Prof. Warren McBroom. Spell several words by sounds. When pupils can give the elementary sounds readily, begin work on diacritical marking. Pronounce ten or fifteen common words and request the pupils to mark them correctly. Mark vowels and consonants. 6. Form. 7. prove. 8. nSt. 9. Ms. 10. gite. This will be sufficient for one lesson. Next lesson give atten- tion to silent letters. Mark words diacritically and cross out all silent letters. 1. Fame. 4. Koar. 2. knife. 5. fiften. 3. adieu. 6. coal. After a few lessons similar to the above have been given, it will be well to have a lesson in written phonic spelling. PHONIC SPELLING. Write no representative sounds. To illustrate : Should the pu- pil make rue ru it would be. incorrect, for u represents oo. So write 00, roo. 1. Cat = Kat. 6. Phthisic = tjzik. 2. advertise = advertiz. 7. new = nu. > 3. knowledge = nol-dj. 8. cal-i-co = kal-i-ko. 4. his = hiz. 9. they = tha. 5. beau = bo. lo. Said = sed. 1. Bat. 2. can. 3. air. 4. tue. 5. game. mCTIONAEY WORK. 21 The teacher will now be prepared to show the class the import- ance of Dictionary Work. Write the word bat on the board and ask, "How many pronunciations can you give this word?" Some will guess one number, some another. Put the matter to test. Write the word several times, asking the class to pronounce as you mark. Bat, bat, bat, bat, bat, b&t, bat. The class will see at once that the word has as many pronunciations as the letter u has sounds, which is seven. Ask how many pronunciations can be given to the word me. Mark the word five times. Continue as follows: "How many sounds has cat?" Some will say seven, others eight. Put it to test : Hard C — Cat, cat, cat, cat. cat, c&t, cat = 7 ^at, pat, fat, fat, fat, fat, fat =: 7 14 The class will then see that the word has been written 14 times, and that every word has a different pronunciation ; hence the word eat can have 14 pronunciations. For amusement, to incite interest and to show the wonders of English pronunciations, introduce words of two and more syllables. Take the word fatal. Some will say that you can give it 7 sounds, some 14, still others will say 28. Try it. 1. Fatal, fatal fatal, fatal, fatal, iaXil, fatal=:7"with long a in first syl- 2. a in the first syllable will give 7 more. [lable. g jj « II ■( II « « 7 <■ 4 jj « « C< « U tl IJ « g A « K « « « " 7 « g * (( u a tt tt (t fjr « 7. a, " " " " " " 7 " Total 49. You will see then that we have 49 words all differently pro- nounced, all accented on the first syllable ; change the accent to the last syllable and we have 49 more, which added to the first list we have 49 + 49 = 98, the number of pronunciations that can ac- tually be given to the word fatal. While curiosity is on tip-toe derive a rule by which the number of pronunciations in any word may be found. KULE. Multiply all the vowel sounds together, multiply this result by* the number of sounds any consonant may have, and this by the 22 TEN^ WEEKS IN ELOCUTION. number of syllables. It only one syllaMe, the product will not be changed by multiplying by 1. If a consonant has only one sound no multiplication is necessary. 7X7X2 accent. 1. Papal = 98. 7X2 sounds of s. 2. has = 14. 2X6X2=24. 3. Cos = 24. 2X7X2X6X2. 4. Cargo = 336 pronunciations. 7X2X2X7X3X5X2X5X5X4. 5. Massachusetts = 588,000. So if the pupil did not know something about pronunciation he might guess 587,000 times, and still be wrong. ELEMENTARY SOUNDS, WITH DIAGRAMS AND VOCAL DRILLS. BY J. WARREN m'BROOM. A knowledge of the Elementaey Sounds of our language is of much importance to the student of Reading and Elocution. An Elementary Sound is one that can not be analyzed into two or more distinct sounds, just as an elementary substance is one that can not be analyzed into two or more distinct substances. Examples. — The sound known as long e is an elementary sound, just as carbon is an elementary substance. The sound known as long i is not an elementary sound, because it may be analyzed into Ital- ian a and long e, just as water is not an elementary substance, it may be analyzed into oxygen and hydrogen. The Elementary Sounds of the English language are forty in number. Other languages contain a few sounds not heard in Eng- lish, as the French u and the German ch. Elementary Sounds are divided into two classes. Vowels and Consonants. The two classes are very different from each other, "both in their mode of formation and in their relation to words. The Consonants form the skeleton, the framework of words, and DICTION AKY WORK. 23 give to them strength and energy. The Vowels are the muscle and tissue of words and give to them individuality. The conso- nants brd form the common framework of bread, broad, bird, bride bared, bard, beard and board. It is the vowels that make them different words. THE VOWELS. The elementary vowel sounds are sixteen in number. Each vowel has its own position of the vocal organs, just as each tone bias its own position on the key-board of the piano. The diagram is designed to represent a section of the mouth. When the vocal current passes forward after leaving the vocal cords (where it is set into vibration) until it strikes the roof of the mouth just at the gums of the upper teeth, the sound of long e is produced. With the position of the vocal organs giving this direction to the vocal current this sound will always be produced, and no other vowel sound can be produced. But if ^ the angle of direction be slightly changed so that the vo- cal current shall impinge a little farther back in the mouth, short is produced. The angle is changed by dropping slightly the jower jaw, by the action of the tongue, by the rounding of the lips, antil we have in succession short e, long a, caret a (heard in air), 24 TEN WEEKS IN ELOCUTION. short Italian a (as in mask), Italian a, siiort broad a (as in what)^ broad o, long o, long double o, short double o, tilde i (as in fir), caret u (as in hurt), and, lastly, right up out of the throat, the gn ttural, short u. And these are all the elementary vowel sounds heard in our language. Long i is not found in the diagram, but draw a line from Italian a to long e (like a tie in music), and pass connectedly from one sound to the other, and a deep, rich, long i is produced. Passing in the same way from short a to short i and a flat, thin, long i is produced. In the same way pass from long e to long double o. Note the result. Pass from broad a to short i. From Italian a to long double o> Notice also that in giving any one sound in the diagram the vo- cal organs hold one position. But no one can give long i or long u without passing from one position of the vocal organs to another. Try it and see. This is because they are not elementary sounds, 'jut really diphthongs. Caret a may, also, be considered a diph- Ihong. Before taking up the subject of diphthongs it is best to explain the vowel substitutes. For the same elementary sound may be represented by two or three different letters. Long e (e) has two substitutes ; i, pique ; ay, quay. Short i (I) has five substitutes ; y, hymn ; e, England ; u, busy ; o, women ; ee, been. Short e (S) has three substitutes ; ay, says ; ai, said ; u, bury. Long a (a) has two substitutes ; ei, feint ; ey, they. Short a (&) has no substitute. Caret a (a) has two substitutes ; 6, there ; ei, their. Short and long Italian a (a, a) have no substitute. Short broad a (a) has one substitute ; o, not. Broad a (a) has one substitute ; 6, nor. Long o (6) has two substitutes ; eau, beau ; ew, sew. Long double o (oo) has two substituties ; o, do; u, true. Short double o (o6) has two substitutes; o, wolf; u, pull. Tilde i (1) has one substitute; e, term. Caret u (ft) has one substitute ; o, word. Short u (a) has one substitute; 6, love. (In studying the above let the diacritical marks be fixed in mind. It will assist the mind to note that the caret (^) is associated with the sound that a vowel has when r follows, as c^re, thfire, 6r, fftr. The same is true of the tilde (~) fir, her.) DICTIONARY WOEK. 25 DIPHTHONGS. The word diphthong is from two Greek words that, united, mean a double sound. Two elementary sounds uttered in a single im- pulse of the voice constitute a diphthong. In English words five diphthongs may be recognized : a + e = i, as in pine, e + 00 = u, as in tube. 1 + 00 = ew, as in new. a + 00 = 6u or ow, as in house, cow. a + 1 = 61 or 6y, as in boil, boy. _ Note. — It may be objected that long e and long double o do not give us long u. They do not exactly. This is because long e is not an exact equivalent for the consonant y, but it is very nearly. So also_ long double o is almost identical with the consonant w. Phonetically, e-6-n is very nearly yon, and oo-a-n is very nearly wan. But e-e is not ye, and oo-oo is not woo. It would seem that the consonants y and w are the connecting links between the vowels and the consonants. the consonants. If we consider the organs employed in their utterance, the con- sonants maybe arranged naturally into four classes; the Labials, or "lip sounds, the Lingua-dentals, or tongue-tooth sounds, the Lingua-palatals, or tongue-palate sounds, and the Gutturals, or throat sounds. Again, some consonants are mere whisperings, as the sound of p. Some are obstructed tones, or undertones, as the sound of d. From this fact as a basis of classification we have all consonants divided into Aspirates, or whispered sounds, and Sub-vocals, or undertones. Let it be noticed that most Aspirates have a corres- ponding Sub-vocal, as the Aspirate p, and the Sub-vocal b, the Aspirate f, and the Sub-vocal v. Consonants are classified from still another point of view. Some consonants may be prolonged, as the Sounds of f and s; but others can not be prolonged, as t and k. They are touch and go, like the explosion of gunpowder. Hence, consonants are divided into Ex- plosives and Continuants. By some authors the Explosives are called Mutes, and the Continuants, Semi-vowels. The following table shows clearly the three-fold classification of 26 TEN WEEKS IK ElOCTJTIOK. consonants, and should be placed on the board for vocal drill on the consonant sounds. Let the leader first follow th« horizontal lines till all the sounds can be given accurately and readily, then let him follow the vertical lines. Every pupil should become able to reproduce this table from memory. TABLE OF CONSONANTS. Labi- als. Lingua- dentals. Lingua- palatals. Palatals or Gutturals. Explosives Mutes. ■ Aspirates. P t ch k . Sub-vocals. b d J g ' Aspirates. f th, s sh h Continuants or (16)- Semi-vowels. Sub-vocals. V ill, z * Sub-vocals. m n 1 r "g Sub-vocals. w y Sometimes two letters are used to represent a single elementary sound, as ch, th, zh, etc. A list of consonant substitutes is important also; ch has one substitute ; ti, question ; k has three substitutes ; c, can ; ch, chorus, and q, quick; j has two substitutes ; g, gem; di, soldier; f has two substitutes ; gh, tough ; ph, Philip. S has two substitutes ; f, city; z, quartz. Sh has six substitutes; ce, ocean; ei, gracious; si, losion; ti, potion ; ch, chaise ; s, sugar. V has two substitutes ; f, of ; ph, Stephen. Z has three substitutes ; c, sacrifice ; s, hers ; x, Xerxes. Zh is a combination of letters never met with; but the sound of zh is represented by «i in fusion ; by zi in brazier ; by « in azure, and by a in rasure. Ng has one substitute ; n before most palatals, as in ink, uncle, conquer. W has one substitute ; u in quick ; itis understood before o in one. Y has one substitute ; i in onion. For valuable drill in vocal culture and phonic spelling, place the following diagram on the board. Let the leader of the exer- DICTIONARY WOEK. 27 oise point to any consonant on the circumference, then to the vowel at the center, then to any other consonant, the class giving in concert the sounds to which the leader points, and then pronounc- ing the word spelled. Spell each word twice. A great numher of words mjy be formed thus, and the number may be multiplied by changing the vowel at the center. It is not necessary that all the consonants be used in any one diagram. It is best that some be omitted. So also in placing the vowel diagram on the board for vocal drill, it is best to omit those sounds that are verysimilar to other sounds, such as caret a, short Italian a, short broad a, and tilde i. These finer distinctions con- fuse beginners. PEINCIPLES OF PEONUNCIATION. Pronunciation consists of two things : Articulation and accent. Articulation is the correct utterance of the elementary .sounds. 28 TEN WKEKS IN ELOCUTIOX. (1). a, 6, 6 and ft are always followed by r. Examples.— Ctie, ftre, parent, thSre, their, f6r, 6r, f6rm, tin. (2). u (35) is never heard unless it is preceded by the sound oi r, sh, or zh. Sure is not an exception to this rule, for the sound sk is heard. Susan seems to be an exception. (3). ii is a diphthong. When it begins a syllable it is equivalent to y + 00. When preceded by a consonant it is equivalent to e + 5o. There are a few words in which the u is difficult to utter, and will likely become u (oo). Examples. — Blue, lute, iiute. Blue is difficult, bloo is not. Pronounce rue, rule, fruit, dupe, dude, duty, constitution, tutor, student. (4). ft has no equivalent. It differs from e and I. U is a gut- tural sound. Pronounce earn, ftrn, fir, fftr, ftrge, verge. (5.) A constituting or ending an unaccented syllable has a brief sound of a. Exception, A is long when followed by a vowel or diphthong, as chaotic. Pronounce America, alas, Anna, Indiana, aorta. (6.) E and O constituting or ending a syllable is long. In the accented syllable the quantity is longer than in the unaccented. Ex- amples.— yiemoiiaX, event, the-sis, notorious, society. (7.) E is silent before n. Given, token. (8.) C is soft before e, i and y and hard in other cases. Pro- nounce caret, pite, fider, pelebrate, cot, pynic. (9.) G is generally soft before e, i and y and hard in other cases. (10.) X followed by an accented vowel or h has the sound of gz. When it begins a word it has the sound of z. In other posi- tions it has the sound of ks. (11.) Q standing alone has no sound. (12.) Ai when accented has the sound of o ; when not accented it has the sound of short i. Examples. — Aid, remain, fountain (in), captain, mountain. ACCENT. Accent is a stress of voice upon a syllable of a word. Accent is of two kinds, primary and secondary. The primary accent is the stronger. Primary accent is marked with a heavy stroke, the secondary with a lighter stroke. iZcomptes.— Leg^isla'ture, Av'a- lanche'. Let pupils accent clearly the following words: Inquiry, ac- cented, coquetry, artificer, complex, idea, execrable, pyramidal. DICTIONARY WORK. 29 My first lessons in elocution were received from Prof. J. I. Hop- kins. He gave special attention to accent, and the benefits of those lessons are highly valued. To break up difficult accents he would cause the class to accent forcibly all the syllables of a word, then return to the proper accent and give the pronunciation several times. I have found this simple exercise sufficient to correct any incorrect accent. JHjtsirafiore.^-Per'sonification, person'ification, personi'fication, personifi'cation, personifica'tion, personification'. Now pronounce the word several times with the proper accent per- sonifica'tion. " Take execrable and begin as follows : Execrable', execra'ble, exe'crable, ex'ecrable. In same manner pronounce peculiarity, congratulation, emphatically, octogenarian. HINTS TO TEACHERS. It is one thing to say that there are forty elementary sounds, and quite another thing to show by actual work that there are forty. Ask the class what is meant by saying forty elementary sounds. The probability is that the class will not have any definite mean- ing. Place a table of sounds on the board. Let this table con- tain all the vowels and consonants and number of sounds that each has. Then begin to erase or cross out all equivalents. ILLUSTEATION. CONSONANTS. 1. bc9dfgghj klmnpqrss soft tvwixyz = 25. VOWELS. a3.aaaS,aee€deiIIio66Qo 6 00 00 u fi u (oo) A u = 29. Now ask the class the number of sounds, and you will likely get the answer, 54. Rewrite and cut out all equivalents. b (c hard = k, 9 = s) d f g {g soft = j) j k 1 m n p (q has no sound) r s (g = z) t u T w (x = ks, j = gz) y z = 18. a 3, a a a Si (short broad a = 6) e 6 e (6 = 9,, e = a) (i = S -|- I) i (I = e, i = e) 6 6 (6 =~ a) (9 = 00) (6 same Hv TEN "WEEKS IN ELOCUTION. 66) oo 66 (u = y + 60) ii (u as in rue = 60) as ft) (o as in wolf ft (u as in put =66) = 16 vowel sounds. This, now, gives 18 consonants and 16 vowels, or 34 in all, children find out other sounds if possible. Let DOTTBIiE CONSONANTS. ch, as in child, ng, th, th, sh and zh = 6. Add this to 34 and we have 40, the number of elementary sounds in the English language. Some interest may be created by asking pupfls to try to make other sounds. 2. Drill often on the exercises in articulation. 3. Have pkonouncing matches. Pass over to the chapter on Words often Mispbonotjnced, or to Test Words in Pronunciation. Bequest two pupils to arise and pronounce alternately. When one makes a mistake let the other try it. If he be successful an- other comes forward to contest. One person may pronounce down several contestants. EXEECISES IN ARTICULATION. Sex, sects. Sense, cents. Tense, tents. False, faults. Taps, sips. Ba be bi Da dS dl bo da folds, molds. obed, robed. fast, vast. whit, wit. twelve, twelfths, bu boo boi. dil doo doi. rob'dst, prob'dst. barbst, warmst. curvedst, loveth. settleth, remaineth. ba-pa fa-va be-pe fe-vS bi-pi fi-vl bo-po f6-v6. bu-pu fii-vtt bo'o-poo f66-v66 boi-poi. foi-voi. Ceaseth, approacheth, rejoiceth, ceaseth, Approacheth, rejoiceth, ceaseth, approacheth, Eejoiceth, ceaseth, approacheth, rejoiceth. 1. Six brave maids sat on six broad beds braiding broad braids. 2. The rain ceaseth. 3. I saw a saw that could outsaw any saw that I ever saw saw. 4. Up the high hill he heaved a huge round stone. DICTIONARY WORK. 31 5. The listlessness and laziness of the government. 6. He thrusts his fists against the posts. And still insists he sees the ghosts. 7. Socks and shoes shock Susan. 8. I said sex, not sects. 9. Eight great gray geese gazing gayly into Greece. 10. Bring me some ice every hour. 11. Five wise wives weave withered withes. 12. She sells sea-shells ; shall she sell sea-shells ? 13. A big black bug bit a big black bear. 14. Bound the rude ring the ragged rascals ran. 15. Execrable Xantippe exhibited extraordinary and excessive irritability. 16. Thrice six thick thistle sticks thrust straight through three throbbing thrushes. 17. Prithee, blithe youth, do not mouth your words when you wreathe your face with smiles. 18. He rules with regal reign. 19. He sawed six long, slim, sleek, slender saplings- 20. Whelply Whewell White was a whimsical, whining, whis- pering, whittling, whistler. 21. Some shun sun-shine. Do you shun sun-shine ? 22. I said, " a knap -sack strap," not a " knap-sack's strap." 23. Henry Hingham has hung his harp on the hook where he hitherto hung his hope. 24. Gibeon Gordon Grelglow, the great Greek grammarian, graduated at Grilgrove College. 25. Did you say you saw the spirit sigh, or the spirit's eye, or the spirit's sigh ? I said I saw the spirit's eye, not the spirit sigh, ■nor the spirit's sigh. 26. Theophilus Thistle, the successful thistle sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb ; now, if Theophilus Thistle, the successful thistle sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb, see that thou, in sifting a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thy thumb. Success to the successful thistle sifter. 27. Seeing Sam she stopped starching and saluted Sam smilingly. Sam stammered shockingly: " Sp-sp-splendid summer season, 32 TEN WEEKS IN ELOCUTION. Sophia." "Somewhat sultry," suggested Sophia. "Sar-sartin, Sophia," said Sam. (Silence seventeen seconds.) " Selling sad- dles still, Sam?" " Sar-sar-sartin," said Sam, starting suddenly. "Season's somewhat soporific," said Sam, stealthily staunching streaming sweat, shaking sensibly. " Sartin," said Sophia, smil- ing significantly. " Sip some sweet sherbet, Sam ? " (Silence sixty seconds.) " Sire shot sixty shel-drakes, Saturday," said Sophia. " Sixty ? sho I " said Sam. (Silence seventy-seven seconds.) " See sister Susan's sunflowers," said Sophia, sociably scattering such stifi"silence. Sophia's sprightly sauciness stimulated Sam strangely; so Sam suddenly spoke sentimentally : " Sophia, Susan's sunflow- ers seem saying, 'Samuel Short and Sophia Sophronia Spriggs, stroll serenely and seek some sequestered spot, some sylvan shade. Some sparkling spring shall sing soul-soothing strains ; sweet song- sters shall silence secret sighing ; super-angelic sylphs shall ' " Sophia snickered ; so Sam stopped. " Sophia,'' said Sam, solemnly. " Sam," said Sophia. " Sophia, stop smiling. Sam Short's sin- cere. Sam's seeking some sweet spouse, Sophia. Speak, Sophia, speak 1 Such suspense speeds sorrow." " Seek sire, Sam, seek sire." So Sam sought sire Spriggs. Sire Spriggs said, " Sartin." Seven short Sabbaths later saw Sophia Sophronia Spriggs the smiling spouse of Simon Short's son Samuel. WORDS OFTEN MISPRONOUNCED. 1. Accepted, acclimate, accost, advertise, alibi, acorn, almoner, aeronaut, alms, alternate, analogous, Arab, aroma, aft, arrow, ap- palachiau, allopathy, adult, area. 2. Bastile, behemoth, beneficent, Belial, biography, bomb, bra- vado. Burgundy, hot, bought, bronchitis, bouquet. 3. Calf, calliope, calm, Caucasian, chastisement, communist, consummate, concise, critique, contumely, coquetry, crochet, cost, courtesy, camelopard. 4. Dahlia, Danish, deficit, defalcate, dew, due, diphthong, dis- arm, dolorous, debut. 5. Eclat, epizootic, European, eyry, exponent. 6. Finance, frankincense, franchise. 7. Geyser, gallows. 8. Haughty, herculean, hymeneal, half, horizon. 9. Idea, illustrate, inquiry, institute, isothermal, implacaWe industry. DICTIOJS'AEY WORK. 33 10. Jocose. 11. Lamentable, laths, leisure, lien. 12. Magazine, maniacal, mirage, misanthropy, months, mouths, mercantile. 13. National, nomenclature. 14. Or, on, orgies, orison, often, ogle, oaths, opponent, ought. 15. Pageant, Palestine, palm, panorama; parquet pedagogy, Persian, Philistine, piquant, plateau. 16. Quadrupedal, quaggy, quagmire. -17. Radish, raillery, reparable, rinse, roof, root, routine. 18. Saciiflce, salient, seine, sew, shire, shrub, sleek, slough (a scab), slough (mud hole), snout, soft, sough, strata, subtle, subtile. 19. Uranus, usurp. 20. Vagary. 21. Were, wife's, wreaths. 22. Xenophon. 23. Yea, your. 24. Zoology. FIFTY-FOUE TEST WOEDS. 4. 5. 6. 7. 1. Are 2. area 3. accented all aye for far 8. lost 9. ally 10. spirit 11. baths 12. truths 13. dupe 14. inquiry 15. horizon 16. finance 17. zoology 18. isothermal ■ 1. Aunt 2. on 3. tilde 4. precise 5. daughter 6. Danish 7. bomb 8. bouquet 9. courtesy 10. geyser 11. exponent 12. opponent 13. Persia 14. bronchitis 15. museum 16. national 17. impious 18. vehemence 1. Fir <.2. fur 3. earn 4. urn 5. caught 6. cot 7. grass 8. coquetry 9. Appalachian 10. allopathy 11. indisputable. 12. homoeopathy 13. acclimate 14. communist ' 15. epizootic 16. pyramidal 17. illustrate 18. contumely. 3 PART III. HOW TO TEACH READING BY S. E. THOMAS, R-esident of Keniueley University, Padvmh, Ey. The key to all learning is study. That method which causes the pupil to study what he reads is surely the true one. The mere calling of words advances the stu- dent but little. Class reaching, where each pupil reads a different verse, has many serious defects and but few advantages. Many times there is no complete thought in a single verse. When the pupil reads such a verse he is compelled to do it in a machine-like way ; he has no mental picture, and hence there is nothing to in- spire him to make an effort. He soon has the idea that calling words is reading, and he further believes that the one who can call all the words in a verse the quick- est is the best reader. This kind of reading makes parrots and not thinkers. The teacher, by questioning his pupils, may bring out the thought of the selection, but that thought is naked and cold. There is but little in this plan to stimulate the pupil to secure the thought for himself, but merely (34) HOW TO TEACH READING. 35 for recitation. The grand object of a teacher's work is to make the pupil think for himself. There must be something "about teaching reading that will make the pupil give careful attention to every word and sentence in his selection. In the study of words he must be constantly searching the dictionary for pronunciation and meaning. It is not, or should not be expected that the teacher is to pronounce every word on which the pupil may stumble. If he does, he takes self-reliance away from his pupils, and they resort to him for help under all circumstances. In teaching primary reading, the teacher is com- pelled to assist his pupils in pronouncing some words, but such help sjiould be under the utmost discretion. Articulation is miserably neglected in many schools. There is no possible chance for a pupil to pronounce correctly when he has not yet learned the sounds of the letters and how to produce them. Too much at- tention can not be given to this part of the work. Not only should the sounds be given separately but com- bined. The pupil may iind no trouble in making the sounds of s and h separately and still be unable to pro- nounce correctly the words shrink, shriek and shrill. It is not really necessary that the student be supplied with a book containing articulating exercises. A teacher can have better interest in his classes, and his pupils will have more confidence in him, if he makes his own exercises and puts them on the black-board. Great attention should be given to final consonant words. Take such words as bat, cat, hat, content, and use particular care in giving the final t sound. In such words as back, rack, crack, and hack, the k sound should be distinctly uttered. The word insists is a good word on which to practice. Be sure and get the t sound where it belongs. Below are a few sentences for class or private drill. 36 TEN WEEKS IN ELOCUTION. EXERCISES. He rejoiceth when it raineth, and he laugheth when it ceaseth. Some shun sunshine. She sells seashells. Shall she sell seashells? She shall sell six slick seashells. Swift the streamlet's soft struggles sent strong strings, stopt stuffs of stammering stones. He was amiable, respectable, formidable, unbearable, intolerable, unmanageable, terrible. A hint has been previously given in this article about dictionary work. A few more thoughts here would, no doubt, be useful. Many teachers are not very careful about pronunciation, and guess many times when assisting their pupils in pronouncing words. If we are in doubt about a word, we should not be sat- isfied until the doubt is removed. The only way to learn how to pronounce correctly is to make a constant use of the dictionary and do not allow yourself to be put off. Either make a memorandum of the word or seek authority at once. Teach the pupils that learn- ing to pronounce words is a part of the reading les- son, and when they study the reading lesson they must acquaint themselves with all the words in the lesson, must learn their pronunciation, their meaning and their use. Bad pronunciation is a crime ! It is a sure test of ignorance. We give below a list of words which are generally mispronounced unless authority be consulted. If a student wants to find out the necessity of referring to a dictionary, let him use his own judgment in pro- nouncing these words, and then let him look up their pronunciation and find out how many he has missed. While the list is only a few out of the many which are often mispronounced, yet several of these have sent the writer to the dictionary as many as four times for each Sow TO TEACH READING. 37 pronunciation. The words are all in general use, and are found in school books, histories and newspapers. EXERCISE. Encore Comparable lava lyceum debris chagrin scallop nuptials museum chalice corps banquet corpse crochet acoustics suite debut pronunciation bronchitis bologna facade pharmaceutics niche pedagogy debauch pedagogics gape nonchalance patron syrup dessert falcon. The manner of conducting a reading class so as to bring out the principles already mentioned, is probably of the most importance. The larger a reading class the more interest there will be in it. All pupils, from the second reader up to the highest grade, can be put into one class. It is not necessaiy that each member of the class reads every day ; hence, if the class contains thirty pupils, arrange it into three sections of ten each. Have one section to read one day, another the next, and so on. Devote one hour to this class. Have each pupil to read a different selection. Let him choose his se- lection if he will. He has three days to study and practice on his selection. In that time he can look after the pronunciation and meaning of all doubtful words. He can study the thought and become famil- iar with it and the words wh-ich express it. When he 38 TEK WEEKS IN ELOCUTION. comes to read it to the class he does not merely have to confine himself to the calling of words, but he can read in a clear, forcible and impressive manner. He is so familiar with his selection, and he feels so fully the thought which he is expressing, that he looks away from his book and casts his eyes into his " little audience," and as he gets deeper into the thought of his selection, he calls forth suitable expressions of his face and eyps and the next moment his hand paints a picture or adds em- phasis, to a word, and in this creditable manner he fin- ishes his selection, and this progress has been made from the right kind of study and practice before coming to class. His articulation was clear, his pronunciation was good, and his hearers were entertained, because they understood the thought of his selection, and he had given it to them in a delivery that was pleasing and im- pressive. The whole section reads in like manner, all having their selections well studied and prepared. Those who belong to the other sections can be taking notes and criticisms on the reading. All should keep a watch for mispronounced words, wrong slides of the voice, lack of emphasis and energy, and ungraceful po- sition. Have these criticisms given when the section is done reading. Use the two sections not reading as an audience for the other section. This audience will stimulate the reader to make a more careful prepara- tion. Two months of this kind of reading is worth five years of the old way, where pupils get up and read by verses and the teacher pronounces all the "hard words." There is never any interest in such classes, and their study of the lesson is a miserable farce. _ For five years the writer has been using the " sec^ tion plan," of which he is the originator, and he has never failed in making good readers of all his pupils. The primary object of reading is to secure thought, and if the reader does not understand what he reads there must be something wrong in his training. Grasp- ing thought rapidly is the result of practice. If pu- HOW TO TEACH BEADING. 39 pils are taught that they must understand what they read before they can read it intelligently to any one else, and that they must study to get the thought when they are preparing their selection, then they are prac- ticing just what they will want to use all through life. That method which makes the pupils study for the thought of the. author, and then practice how to ex- press that thought, is surely the true method of teach- ing reading. STEPS IN EEADING. A child's first lesson in language is learning to talk ; the first lesson in school is learning to read. It is the source of all knowledge. Many methods have been given for teaching reading, some of which are good, while others are unnatural. The first lessons in read- ing are the same as those in language. The old ABC method, by which all the older teach- ers were taught to read, is now obsolete. It is no longer used by the progressive teacher. It is so abnor- mal that we wonder at what it has accomplished. It is well for the children of to-day that they are taught by more natural methods. The best method now in use is the word or object method. It is superior to all others in that it is the method of nature. Children in the country have a correct idea of a great many objects. They receive the idea as a whole, and have not yet analyzed them into their component pafts. A child can have no idea of what it has not seen. The race acquired the use of lan- guage by objects. There were no new words around until there was an idea for them to represent. Nature begins with objects, then the idea, then the sign, and the ability to make the sign. This is the manner in which language has been developed, and from this we may learn the method of teaching the use of it to a child. In teaching the word method, it is first necessary to 40 TEN WEEKS IN ELOCUTION. have an object. It matters not what word is first used, but it should be an object with which the children are familiar. Words that do not represent an object should not be used first. Talk about the object. Encourage conversation. A pupil will not learn to read before it can talk. "When thfey have a complete idea of the ob- ject, present the picture of the object. It is well to draw this on the board. After they have comprehended this, write the word on the board. Tell them the word represents the object the same as the picture. Have the pupils write the word on the slate. It is not nec- essary to have them print the word. It is best to teach the script letters, as they will use them in after life. The child knows nothing about the letters. The word is the word ! When it is once learned it is not likely to forget it. Teaoh several words in this man- ner, and then form sentences. Words that are not the signs of objects may be. illustrated by examples. If you want to teach the word "old," show a new object. Use the real object wherever you can. When the sentences are formed, have the pupils read as they talk. Great care should be taken in this. A bad habit formed in the primary grades is hard to be broken. Insist upon correct pronunciation. It is well to drill pupils upon the elementary sounds, after they have learned several words. Do not stick too closely to any one method, but try and use the best of all. Adapt the method to suit yourself and the school. It is not so much the method -that is used in the primary grades as how it is used. The child is led in the path of knowledge, and all the difficulties antici- pated. If the child is interested in the work, it will learn to read, whatever method is used. In teaching primary pupils the teacher is superior to the methods. HOW TO TEACH BEADING. 41 ADVANCED READING. There is nothing so poorly taught in our country schools as reading. So much has this study been neg- lected that it is almost impossible to find a good reader anywhere. It is impossible for a teacher who can not read himself to teaoh others to read. A child talks natural enough, but when it begins to read it is no longer itself. That is the best reading which is near- est like common conversation. Talk to the pupils about what they are going to read. No one can read what they do not thoroughly understand. Ask questions until, they know what ideas they should express, and then have them read as they talk. No two persons will read the same piece alike. That is good reading which conveys the idea clearly to the mind of another. Do not depend too much upon imitation to make a good reader. . The teacher expresses his idea and the pupils express theirs. No one can read a selection with which he is not familiar. Every lesson should be thoroughly studied before being read. Teachers should prepare the read- ing lesson the same as arithmetic' There will never be good reading done until there is more interest aroused, and there will not be increased interest until there is more study on the lesson. It is not expected that you shall make elocutionists out of your pupils, but intelligent readers. Most of the reading that is dbne in our schools is purely me- chanical, the pupils having no idea of what they are reading. It is necessary that pupils should be able to call words at first sight, but that is not the chief use of reading. Words are nothing only as they convey thoughts. Insist upon correct pronunciation, but do not lose sight of the thought. That pupils may give close attention to the reading lessons, it is well to have them copy a paragraph of each lesson on their slates in. the intermediate grades. 42 TEN WEEKS IN ELOCUTION. Teach the meaning of words in the connection in which they are used. See that they comprehend the meaning of all words in the lesson, and also know how to spell them. This is especially important in the lower grades. Have them use the dictionary in con- nection with the reading, but be careful that they se- lect the correct definition. Give frequent exercises in the pronunciation of dif- ficult words. Spare no pains to secure correct articula- tion. It is well to give frequent exercises in breathing and articulation. Have the pupil stand erect when reading. No one can read well in an unnatural posi- tion. The greater part of the reading in the world is done silently and mentally. The object of the teaching in the higher grades is to teach the pupils to think as they read and gather in the thoughts from the printed page. To do this, it is well to give the pupil a selection to read silently, and then have him tell what he has read. Encourage a spirit of reading among your pupils. There is no way to learn how except to read. It is no use in having children read the same thing over and over after they have once learned it. Give them some- thing new to read. In the lower grades they should read at least two series of readers instead of one. In the higher grades let them read some story in the class or selections from the newspapers occasionally. The teacher should make the selections. Irving's "Sketch- book" would be good for the higher grades. They would not only learn to read, but would become famil- iar with some of the finest prose writings in the lan- guage. Do not permit a pupil to be interrupted by criticisms jvhile he is reading. Encourage pupils to criticise each other, but do not allow criticisms to run into needless fault-finding. Be careful how you criticise. All errors should be corrected, but be more anxious to commend than to find fault. HOW TO TEACH BEADING. 43 Concert reading should be used occasionally as a drill. It will encourage the backward and restrain the for- ward. Concert reading will never take the place of individual instruction, however. In poetry it is well, sometimes, to have each pupil read only one line. It arouses attention. Do not call upon pupils to read in regular order. Let them read occasionally to a pause and then call on some one else to read. The class should be able to understand every word spoken by the pupil reading without looking on their books. There is no excuse for pupils not speaking so they can be heard. Take a short story of some kind and cut it into sec- tions, and distribute the parts to the members of the class. Call on the one who has the first part to read. As the story is new to them, it will require close atten- tion to tell which one will read next. In advanced reading, the same as primary reading, more depends upon the teacher than the method. It is your duty to interest the pupils in the reading les- son? Until the pupils are interested in their lessons, they will never become good readers. EXAMPLES FOB PEACTICE. SUBDUED, VERY SLOW, VERY LOW. 1. Slowly and sadly we laid him down, From the field of his fame, fresh and gory ; We carved not a line, we raised not a stone, But we left him alone in his glory. GIVE ALMS. 2. Pity the sorrows of a poor old man. Whose trembling limbs have borne him to your door; Whose days are dwindled to the shortest span ; Oh ! give relief, and heaven will bless your store. The curfew tolls the knell of parting day ; The lowing herd winds slowly o'er the lea. The plowman homeward plods his weary way, And leaves the world to darkness and to me. — Oray. 44 TENS WEEKS IN ELOCUTION. \ 4. I come ! I come ! you have called me long, I come o'er the moilptains with light and song, You may trace my steps o'er the wakening earth, By the winds which tell of the violet's birth. By the primrose stars in the shadowy grass, By the green leaves opening as I pass. — Hemans. DREAM or DARKNESS. 5. I had a dream which was not ill a dream. The bright sun was extinguished, and the stars Did wander darkling in the eternal space, — Kayless and pathless ; and the icy earth swung Blinding and blackening in the moonless air ; Morn came and went and brought no day. The world was void, y 6. lo ! they come, they come. "i^ 7. His extortion is not like the rapacity of the princely eagle that snatches away its living, struggling prey ; he is a vulture that feeds upon the prostrate, the dying, and the dead. — Burke. 8. Forward the light brigade. Charge for the guns. 9. I tell you, though you, though the whole world, though an angel from heaven, were to declare the truth of it, I would not believe it. 10. Whence, and what art thou, execrable shape? 11. Ah! mercy on my soul! What is that? My old friend's ghost ? No nearer, I pray ! 12. Leave me ! Thy footstep with its lightest sound. The very shadow of thy waving hair. Wakes in my soul a feeling too profound. 13. Soldiers, you are now within a few steps of the enemy's outposts ! Our scouts report them slumbering around their watch fires, utterly unprepared. Swift and noiseless we are upon them, we capture them without resistance. 14. O I have passed a miserable night ! So full of fearful dreams and ugly sights. HOW TO TEACH READING. 45 15. The father came on deck, he gasped, " Oh, God ! thy will be done ! " Then suddenly a rifle grasped. And aimed it at his son ; " Jump far out boy, into the wave ; Jump or I fire," he said ; " This chance alone your life can save, Jump, jump 1 " the boy obeyed. 16. Princes, potentates, warriors ! Awake, arise, or be forever fallen 1 17. If I were an American, as I am an Englishman, while a single foreign troop remained in my country I would never lay down my arms, never, never, NEVEE. 18. Thou too, sail on, O Ship of State ! Sail on, O Union, strong and great ! Humanity, with all its fears. Our hearts, our hopes, our prayers, our tears, Are all with thee, are all with thee. 19. We watched her breathing through the night, Her breathing soft and low, As in her breast the wave of life Kept heaving to and fro. 20. Haste me to know it, so that With wings as swift as meditation, I may sweep to my revenge. 21. "Good morning, Lizzie, I am glad to see you. When did you arrive ? " " I came on last train." "Are you well?" "Quite well; I thank you." 22. Hamlet. Hold you the watch to-night ? All. We do, my lord. Ham. Armed, say you ? AU. From head to foot. Ham. Then saw you not his face ? Hot. O ! yes, my lord, he wore his beaver up. Shakespeare. 46 TEN- -WEEKS IN ELOCUTIOX. 23. I know the more one sickens, the worse at ease he is — that the property of rain is to wet, and fire to burn, and that the great cause of the night is the lack of the sun. Shakespeare. 24 Children prattle, ladies smile, men talk, goats s^amj. dogs yelp, and geese hiss. Accept your classifi- ation. 25. They are gone, thev are gone, the glimmering sparks hath fled! The wife and child are numbered with the dead. 26. And now farewell ! 'Tis hard to give thee up, With death so like a gentle slumber on thee ! And thy dark sin ! Oh ! I could drink the cup, If from this woe its bitterness had won thee. May God have called thee, like a wanderer, home. My lost boy, Absalom ! ' WUlis. 27. Then this ebony bird, beguiling my sad fancy into smiling. By the grave and stern decorum of the countenance it wore, . "Though thy crest be shorn and shaven, thou," I said, " art sure no craven. Ghastly grim, and ancient raven, wandering from the nightly shore. Tell me what thy lordly name is on the night's Plutonian shore ! " Quoth the raven, " Nevermore." Poe. 28. Have ye hrave sons? Look in the next fierce brawl To see them die. Have ye fair daughters f Look To see them live, torn from your arms, distained, Dishonored; and if ye dare call for justice. Be answered by the lash. Yet this — is Borne, That sat on her seven hills, and from her throne Of beauty, ruled the world.' and we are Bomans. Why, in elder day, to be a Roman, Was greater than a hing.' 'And once again — Hear me, ye walls, that echoed to the tread Of either Brutus ! Once again, I swear, The eternal city shall be free. 29. O thou that roUest above, round as the shield jf my fethers ? whence are thy beams, O sun ! thy ever- lasting light? Thou comest forth in thy awful beauty; HOW TO TEACH READING. 47 the stars hide themselves in the sky; the moon, cold and pale, sinks in the western wave. — Ossian. 30. The quality of mercy is not strained ; It droppeth as the gentle rain from heaven Upon the place beneath ; it is twice blessed : It blesses him that gives and him that takes. — Shakespeare, 31. Oh, young Lochinvar has come Out of the west ; Through all the wide Borders his steed was the best. 32. 'Tis midnight's holy hour, and silence now Is brooding, like a gentle spirit o'er The still and pulseless world. — Prentice. 33. How like a fawning publican he looks, I hate him, for he is a Christian. 34. Let the woman demand the same exactness of manners from the man that he demands of her. If woman offends against chastity, she goes down forever; but man offends against chastity, and yet with unblush- ing countenance, stalks over the land with uplifted head. Here society is at fault. That act that will ban-ish woman from society, in the name of high heaven, let it banish man from society. C. 35. Tell me I hate the bowl, Hate is a feeble word. I loathe, abhor, my very soul With strong disgust is stirred Whene'er I see, or hear, or tell Of the dark beverage of hell. 36. Go from my sight, I hate And despise you. f 37. Hurrah ! the life-boat clashes on. Though darkly the reef may frown; The rock is there, the ship is gone- Full twenty fathoms down. But cheered by hope, the seaman cope With the billows single-handed, ■ They are all in the life-boat. Hurrah 1 they're afloat And now they are safely landed By the live-boat 1 Cheer the life-boat 1 48 TEN WEEKS IN ELOCUTION. 38. Oh, tell me, where did Katy live? And what did Katy do ? A.nd was she very fair and young, And yet so wicked, too ! Did Katy love a naughty man Or kiss more cheeks than one? I warrant Katy did no more Than many a Kate has done. J9. " King out the old, ring in the new, Eing happy bells, across the snow ; The year is going, let him go. Ring out the false, ring in the true." 40. My soul to-day Is far away, Sailing the Vesuvian Bay ; My winged boat A bird afloat Swims round the purple peaks remote. 41. If thou said'st I am not peer To any Lord in Scotland here. Lowland or Highland, far or near, Lord Angus, thou hast lied. EXAMPLES FOR GESTICULATIONS. 1. ^' I give thee in thy teeth the lie ! " 2. "Forward! Forward, let us range!" 3. " Eternal King ! author of all being." 4. "Give your children food, O, Father! " 5. "Ye crags and peaks, I'm with you once again." 6; "Thou shalt lie down with patriarchs of the in- fant world. 7. " We have no concessions to make, my lord." 8. "I prohibit the signing of such a paper." . 9. "The Angel of Death spread his wings on the blast." • PART IV. THE ART OF DELIVERY. BY VIEGIL A. PINKLEY, Conductor of the Ehmtiomry Department of the College of Mum, Mime HaU, Cmeimwk, Ohio, Oraduate of the National School of Elocution and Oratory. EEMAEKS. DuEiNG the past six years the author having had, perhaps, not fewer than ten thousand voices under his direction, it may be claimed, we think, with modesty, that he has, by experience, learned somewhat of the needs and desires of students throughout the country. It will be the purpose of this division of the work to respond, practically, to those demands. One of the first questions a pupil asks when a work on elocution is commended, is, "does it contain select- ions?" They wish something more than theory and short extracts illustrative of the points as they appear. And yet, in the great majority of instances, they object to buying a separate book of selections. In all our subdivisions that will admit, after giv- ing brief extracts bearing upon the point in question, 4 (49) 50 TEN WEEKS IN ELOCUTION. selections in fall, emphasizing the same, are added. Many of these selections the author has publicly tested, thereby proving their popularity. Many selections, fresh and winsome in humor, pathos, impersonation, dialect, character-sketching and descrip- tion, the book will be found to contain. Other select- ions of less modern origin which, by their ever-increas- ing hold upon the public favor, iattest their genuine merit, are also inserted. Especial endeavor has been made by the author to make it a lucid self-instructor for those who have no teacher, or who have had. but a few lessons in elocu- tion. INTKODUCTION. Elocution is the art of the vocal and visible express- ion of thought. Upon the voice depends vocal ex- pression. Upon the face, the action and the attitude, depends visible expression. Elocution is thus derived : " E," meaning out, "loqui," to speak, and " ion," the act of. Etymologically, then, elocution is the art, or the act, or the manner of speak- ing out. Thought is expressed or carried out along two great avenues, viz., speech and gesture. To the ear the former appeals, to the eye the latter. Elocution, in its broadest sense, means more than manner. It is quite important that one have something to say as well as to be able to say something well. The teacher of elocution, while justly laying great stress upon vocal and physical culture, should also in- sist on good, choice English in right rhetorical order, according to the laws of grammar. Webster, in sub- stance, thus defines elocution : 1. Expression of thought by speech and gesture. 2. Art of delivery. 3. Dic- tion in written and spoken discourse. Wooster, in other words, says the same. It is to the art of delivery I shall largely devote .this chapter. THE AET OF DELIVERY. 51 Manner of delivery. / X°'""" Elocution. ] Itjesture. Matter to be delivered, i Sf^"'- construction. ^. I. Khet. arrangement. Oratory -f Expression, vocal and visible. I Expression, rhetorical. Eloquence. J 1 Sf^'^'^K- What. I Thought. L L Arrangement. Ehetoric. Composition. {Th^«gW. Artofdelivery.{Vo^-^_ ^ According to standard authorities the terms Elocu- tion, Oratory, Eloquence and Ehetoric are in the main synonymous. Formerly, the most prominent division of rhetoric was what is now known as elocution. However, it has so far drifted from that position as now to be coniined almost wholly to written discourse. In a restricted sense, elocution refers to the delivery of the words of another. Oratory deals more particu- larly with the delivery of one's own thoughts. The training in the two is identical. Eloquence means more than either. Elocution and oratory are external. They are arts. Eloquence is both external and inter- nal. It is soul, quickened and projected by a magnetic delivery. Rhetoric is the silent theory underlying all the others. Elocution is the art of vocal and physical culture. Oratory is the application of elocution in delivering one's own words. Eloquence combines and immortalizes them all. PLAN OF STUDIES. I. Bespiration.j ^"^^P?;^*?°°; 52i2 TEN WEEKS IN ELOCUTION. INSPIEATORY MOVEMENTS. 1. Lateral expansion of chest. 2. Vertical expansion of chest. 3. Side expansion. 4. Back expansion. 5. Abdominal expansion. 6. Waist expansion. 7. Waist and chest expansion combined. 8. Inhalation prolonged to the utmost. 9. Full inhalation in quickest possible time. EXPIEATOBY MOVEMENTS. 1. Prolonged to the utmost effusivfely. 2. Prolonged to the utmost expulsively. 3. Qaickly given out explosively. C Vocal Gymnastics. n. Physical Calture. -j Breath Gymnastics. (. Body Movements. ni. Articulation— 1. Elemental Sounds. 2. Special treatment of Consonants. 3. Difficult combinations. 4. Phonetic Drill. 5. Fundamentals, applicable alike to all languages. IV Orthoenv ■[ ^^^^ which govern pronunciatioiu py- ■^^ Practice in pronunciation. Force. Eurity. Flexibility. Volume. Compass. Modulation. Expulsive control. Explosive contr(d. Prolonged tones. Tremulous tones. V. Vocal DrUl. Tones prolonged to the utmost. Evenness of tone. Smoothness of tone. Sameness of pitch. . Equality of vibrationB. THE AET OF DELIVERY. 53 VI. Quality. VII. Gesture. 1. Pure in conversation. 2. Pure in public address. 3. Pectoral. 4. Orotund. 5. Guttural. 6. Falsetto. 7. Nasftl. 8. Aspirated. I' Attitude. "I Action. ( Facial Expression. VIII. Delivery or Expression. (High. Pitch or Key. J. Middle. (. Low. Beading. Recitation. Declamation. Impersonation. Dialects. Character sketcliing. Dramatic, Heroic, Humorous and L Pathetic renditions. f Subdued. Physical Force, -j Moderate. I Intense. C Slight. Volume. -J Moderate. (.Full. Time. f Bate. \ Quantity. C Deliberate. Bate.-! Moderate. U f Prolonged. Quantity.-! Average. (.Brief; f Upward. Slide.-! Downward. I. Combined. T, I Syntactical. Pause.-! j4gt„^i^^l_ 54 TEN WEEKS IN ELOCUTION. CHAPTER I. EESPIRATION. In elocution, mastery of the breath is a fundamental and essential condition of success. The great actor, Talma, in his earlier efforts would, in the more violent passages, so exhaust himself that he would drop against the wings for support. One day he saw Dorival play in a part requiring much energy. He noticed that Dorival seemed to work with ease. "How does the man do it!" was his exclama- tion. "I am ten times stronger than he, but he gets ten times less tired than I." He asked Dorival why it was, but got no satisfac- tion. Determining to know his secret. Talma, in disguise, visited Dorival's next performance. During the sec- ond act Talma rushed out crying, " I've got it ! " It was by skillful management of breath that Dorival husbanded his strength. His lungs were kept well supplied with air and his breath was given out eco- nomically. TEACHEES. Ah ! how much weariness would be spared the teach- ers in our public schools, did they understand this matter of breath economy ! How many ministers might escape Monday morning prostration if they only understood the same ! Breathing exercises,moreo ver,are medicinal. Through them the feeblest circulation is quickened ; cold hands and feet grow warm ; the pallid face flushes ; the slug- gish pores will open, and the body will be thrown into THE AET OP DELIVERY. 55 a gentle perspiration. By them pure air is driven into lung-cells ; weak lungs are enlarged and strengthened ; indigestion is removed, and the entire being is invig- orated. BREATHING. DIBECTIONS. Fill the lungs quickly, deeply, reposefully. It is not necessary to lift the shoulders nor to gasp. The air will go into the lungs by virtue of its own weight, if given an opportunity. Do not try to keep the lungs over-extended with air. That is unnatural and tiresome, and cripples speech. INHALATIONS. Practice prolonging the inhalation to the utmost. Beginners rarely succeed in surpassing twenty seconds in their early efforts. A few weeks, with ten minutes practice each day, will enable the student to reach a full minute in a single inhalation. EXHALATIONS. Practice prolonged exhalations, after a quick, full inhalation. After a quick, deep inhalation, give out the breath expulsively, prolonging it to the utmost. Take six such exercises in rapid succession, unless interrupted by dizziness, by faintness, or by palpitation of the heart. In such cases, cease the exercise for a time, but resume and re-resume until such symptoms wholly vanish. Inhaling as above, give out the breath explosively. Repeat the effort a half dozen times, taking great care to open well the throat before expelling the breath. Otherwise the throat would be irritated by this prac- tice. For those who are accustomed to reading and speaking with congested throats, producing, as it in- 56 TEN WEEKS IN ELOCUTIOX. variably must, sore throat, the above practice will prove highly beneficial. Inhale noiselessly. To see a reader or speaker struggling, or to hear him gurgling over his inspira- tions, is most disagreeable. There are tragic, or deeply emotional passages, in the skillful rendering of which, audible inhalation enhances the effect. In this matter let " discretion be your tutor." WASTE NO BBEATH. Reading and speaking demand so much vitality that the strongest have no breath to fritter away. Convert all that escapes into voice, and you have learned the Secret which Talma sought. That is the key-note to repose and reserve force. LtrafGS. 1. With tape measure around bust at rest, see how many inches in circumference you can expand. Re- peat six times. WAIST. 2. With tape around the waist at rest, inhale, noting the amount of expansion. ^ In this exercise the lungs are lengthened vertically, their pushing down account- ing, in great part, for the waist enlargement. SIDES. 3. With fingers spread upon the sides, inhale deeply, swelling the costal muscles as much as possible. Repeat six times. Shoulders still. Chest passive. 4. Spreading fingers upon the back, take full inha- lation six times, noting each time the effect on the dor- sal muscles. Quiet shoulders. Passive lungs. THE ART OF DEIJVEEY. 57 5. Fingers pointing forward and downward from the belt, inhale six times deeply, cultivating the greatest possible action of the abdominal muscles. Don't lift the shoulders. Keep the chest quiet. 6. Combine the last three in a single inhalation, re- peating six times. Upon the tone and strength of these muscles depends projectile power in speech. Speakers of both sexes, large in chest and great in weight, sur- prise us often with their feeble voices. That their voices are so small and weak is due largely to the throwing of the burden of speech upon. the throat and upper chest muscles. Diseases of the throat and lungs and exhaustion of the vital functions must follow. In the production of the voice, the fulcrum of power should lie in the muscles of the waist. FOEMULAS. PROBLEM FIKST. 1. Weight to be lifted — The voice. 2. Fulcrum of power — A congested throat. 3. Lever short. 4. Quotient — Debility. Sore throat. Weak lungs. Feeble circulation. Torpid liver. Voice small and- frail. Life short. PBOBLEM SECOND. 1. Weight to be lifted — The voice. 2. FulCTum of power — Muscles of the waist. 3. Lever long. 4. Result — Strength. Health. Sound throat. Vig- orous lungs. Active circulation. Lively liver. Voice deep and resonant. Life prolonged. Choose ye which ye will. 7th and finally — Combine in one thoroughly pro- longed inhalation the waist and lung expansion. Be- gin by gradual enlargement of the waist. Without 58 TEN WEEKS IN ELOCUTION. allowing the waist to contract, continue the expansion throughout the entire range of the lungs. Invalids who, for years, have not experienced a healthful per- spiration will find this exercise causing to tingle their very finger's tips ; their feet to glow with warmth, and the lungs to thrill in every part with pleasure. Re- peated a half dozen times, it will scarcely fail to pro- duce some degree of perspiration. CHAPTER II. PHYSICAL CULTURE. One form of physical culture, breath gymnastics, has already been treated. Another form, vocal gymnastics, will be defined, in the main, under the head of Vocal Culture. SUGGESTIONS. 1. Place hands upon sides, fingers fronting forward. Give the vowels with full force and volume, with much costal action. 2. Hands on sides, fingers pointing backward. Give vowels as above, with much dorsal action. 3. Fingers pressing upon the abdominal muscles, bring them into active exercise by above methods. In all these exercises see that the shoulders remain quiet and the chest almost passive. The less they per- form the more active will be the waist. Even the most forcible utterances do not lift the shoulders unless some- thing in the nature of the sentiment demands it. Thou- sands are marred by this ungainly lifting and laboring with the shoulders. BODY MOVEMENTS. Body Movements is the name we have given the third form of physical culture. They may be divided into : THE AET OF DEI.IVEEY. 59 K Gesture. 2. Calisthenics. The former we will treat in a later division. CALISTHENICS. 1. Finger movements. 2. Wrist movemelnts. 3. Elbow movements. 4. Shoulder movements. 5. Full arm movements. 6. Head movements. 7. Trunk movements. 8. Ankle movements. 9. Knee movements. 10. Full limb movements. FINGEK MOVEMENTS. Arms extended. Front. Horizontal. Allowing the hands to droop, put the fingers into rapid vibration, moving them freely at all the joints. This may be continued for at least one minute at each drill. WRIST MOVEMENTS. Hands hanging limp from the wrists, move them rapidly up and down, from side to side^ and in circles. ELBOW MOVEMENTS. With all the muscles relaxed from the elbows down, carry the fore-arms and hands through the above series of movements. SHOTJLDEE MOVEMENTS. Transferring the pivoted point to the shoulders, movements as above. FIRST FULL ARM MOVEMENTS. Position. — Hands clinched and placed upon breast well back toward points of shoulders. 1. Bring right hand forcibly down in front, resting 60 TEN WEEKS IN ELOCUTION. for a moment at the side/ and return forcibly to the starting point. Repeat four times, counting "one" "and," "two" "and," "three" and," "foiir" "and." 2. Left hand through similar movements, counting, "five" "and," "six" 5 and," "seven" "and," "eight" "and." * 3. Alternately four times, sending the right hand down on "one," bringing right hand back and thrust- ing left hand down simultaneously on " and," reversing on "two," reversing on "and," reversing on "three," reversing on "and," reversing on "four," bringing, right hand back to join the left on chest on "and." 4. Both down on "five," back on "and," down on "six," back on "aud," down on "seven," back on "and," down on "eight" and back on "and." SECOND FULI, ABM MOVEMENT — CIBCULAB. Position. — Hands clinched on chest. 1. Both hands downward, forward, upward and back to starting point in an unbroken circular movement, counting "one," as the hands go down and completing the circuit on "and." Repeat through eight counts, or one strain of music. THIRD FULL ABM MOVEMENT. Position. — Hands clinched and arms extended hor- izontally. 1. Bring rigid right arm up in line with the ear and back to starting point. Do this four times, counting as above. 2. Left arm up and back four times. 3. Alternately four times, lifting right arm on "one," returning right arm and lifting left arm simultaneously on "and," reversing until "four" is counted, then on "and "-bring right arm back to keep company with the left in horizontal position. 4. Both arms up and back four times. THE ABT Oj? DELIVERY. 61 FOURTH FULL ARM MOVEMENT. Position. — Eight hand clinched, horizontal, front. 1. Describe a circle of two feet in diameter through "four," "and." 2. Left hand as above, through "five," "and," "eight," "and," inclusive. 3. Rotate both, simultaneously, right hand moving from right to left, and left hand the reverse, through "four," "and." 4. Both hands, simultaneously, from right to left, through "five," "and," "eight," "and," inclusive. FIFTH FULL ARM MOVEMENT. Repeat above movements with hands out at the sides. SIXTH FULL ARM MOVEMENT. Position. — Arms extended horizontally, front, hands open, palms together. 1. Throw arms straight back in the horizontal plane until backs of the hands come together behind. Re- peat through "eight," "and," the hands coming to- gether in front each time on "and." SEVENTH FULL ARM MOVEMENT. Position. — Hands clinched and resting in the arm- pits, with the wrists bending outward from the sides. 1 . Thrust right arm straight down along the side on " one." Back to the starting point on "and." Do the same four times. 2. Left hand the same. 3. Alternately, four times, thrusting the right hand down on "one," bringing it back while thrusting left hand down, alternating until the count of "and" after "four" brings the right at rest in arm-pit. 4. Both hands down and up, simultaneously, four times. 62 TEN WEEKS IN ELOCUTION. EIGHTH FULL AKM MOVEMENT. Position. — Hand clinched, resting on shoulders, thrusting up and bringing back, same order as above. NINTH FULL ARM MOVEMENT. •Position. — Hands clinched and resting against the hips, arms rigid. 1. Bring rigid right arm up at the side until it rests against the head. Back on "and." This four times. 2. Left arm, likewise, four times. 3. Alternately, four times, first lifting the right arm on "one" — then dropping right arm as the left is lifted. 4. Both up, simultapeously, bringing clinched hands into contact, both back to starting points on " and." Four times. TENTH FULL ARM MOVEMENT. Repeat above movements to the front, keeping head and body quiet, and not allowing the arms to bend at the elbows when brought to the front, head high. ELEVENTH FULL ABM MOVEMENT. Position. — Hands clinched and resting on chest. 1. Right hand to the front, resting at hip on "one," Ipack on "and " Then up, vertically from the shoul- fder, on "two," back on "and." Four times, thus down and back, up and back. 2. Left hand likewise. 3. Alternately four times, thrusting right hand down and left hand up, simultaneously, on "one," both back to chest on "and." 4. Both down on "one." Both back on "and." Both up on "two." Both back on "and." Four times, TWELFTH PQLL ABM MOVEMENT. Position. — Both bands clinched, resting on chest. THE ART OF DELIVERY. 63 1. Both hands thrust to the right side as far as pos- sible without moving the' feet, maintaining a perpen- dicular position with the body and head. Both hands back to chest on " and," with the face to the front in repose. Both hands thrust to the left, turning- body as far as possible without moving the feet, standing erect. Both hands back on " and," facing to front. Eepeat four times. 2. Both hands to the right side, turning body with the arms, feet stationary, on " one." Back to starting point on " and." Four times. 3. Same movements four time to the left. THIRTEENTH F0LL AKM MOVEMENT. Position. — Hands clinched, resting on chest, feet firmly together. 1. Without bending the knees forward, thrust both hands downward, touching the floor with the finger tips. To the starting point on-" and." Four times. CHIN AND "ADAm's APPLE." Position. — Natural. 1. Bring the two together on "one." To the start- ing point on "and." Push them far apart on "two" — starting point oh "and." Four times. " Adam's apple," chin and tongue. Position. — Natural. 1. Thrust all three forward to the utmost on " one." Starting point on "and." 2. Thrust all three as far back as possible on " two." Starting point on " and." Same movements four times. HEAD movements. Position. — Natural. 1. On "one" drop the head as nearly as you can to 64 TEN WEEKS IN ELOCUTION. the right shoulder. Starting point on "and." Same movement to the left on "two." Starting point on "and." Four times. 2. Drop the head forward on " one." Starting, point on "and." Backward on "two." Starting point on "and." Four times. 3. Right, back, left, front, left, back, right, up. Four times. TEUNK MOVEMENTS. Position. — Body erect, arms hanging loosely at the sides, hands open. 1. Bend body from the hips to the right side on "one." Starting point on "and." Same movement to the left on "two." Starting point on "and." Four times. 2. Bend body to the- front from hips on " one." Erect on "and." Same movement backward on "two." Erect on " and." Four times. 3. Right, back, left, front, left, back, right, up. Four times. These Calisthenic exercises, throughout, are intended to give tone and strength to all the muscles that should be used in vocal utterance.. For many of them I am indebted to my alma mater, the "National School of Elocution and Oratory." CHAPTER III. AETICULATION. In reading, in singing and in speech, distinct articu- lation is of the utmost importance. It is the duty of the performer to make himself easily understood. By so much as one absorbs the vitality of an audience in an effort to understand, by that much is one's effective- ness lessened. It is not only discourteous to an audi- THE AET OF, DELIVERY. 65 enne to so put it on a strain, but suicidal to the best interests of the speaker. The singer, or speaker, has no more right to present an audience with a faulty articulation, than he has to appear iu an unbecoming costume. A voice of moderate strength and volume, sustained by clear, distinct articulation, will make itself under- stood by a much larger number of people than could the most colossal volume, crippled by ill articulation. The only savior for those who inherit impetuosity, is careful articulation. Those who, by nature, do all things quickly, will find great safety in giving special attention to the consonants. Vowels frequently drown the consonants. Be sure you so vocalize the conso- nants that they will carry to the ears of the listeners. Then, however rapid the speech, you will surely make your words heard. SOUNDS -HOW MADE. 1. Long a. Tongue somewhat elevated and thickened, the sides resting against the upper side teeth. By parting well the teeth aud slightly projecting and rounding the lips, the quality of tone will be much improved. S. Short d. Made as is long a, except that the tongue is lowered and pushed further forward, accompanied by a similar change in the movement of the lower jaw. S. Long Italian a. Differs from long a in that the lips are somewnat more widely parted, and the tongue drawn further back with tip depressed. 66 TEN WEEKS IN ELOCUTION. 4. Short Italian d. Tongue almost at rest, teeth slightly apart and lips, more widely parted. 5. Long Flat d. Teeth and lips farther apart, with tongue higher and broader than for short Italian a. 6. Long e. Tongue elevated, flattened, and pressed against the upper side teeth. The sound is improved by widely parting the teeth and projecting and rounding the lips. In fact, this last suggestion is equally applicable to all the vowels. 7. Short «. Differs from long e, by a dropping of the tip of the tongue downward and forward, with a like action of the chin. 8. Tilde e. Tongue thickened, forward part pressing against the upper side teeth ; lips and teeth widely parted. 9. Long i. Compound movement oftongue and teeth. 1. Tongue pushed back, and thickened at the base, on the " ah" sound — teeth well apart. 2. Position as above de- fined for long e. 10. Short I. Like long e, except that the tip of the tongue is somewhat lower, and a little less broadened. il. Long 0. Tongue pressed far back into the roof of the mouth ; teeth very greatly parted;, lips puffed and rounded, leaving small opening. THE AET OF DELIVERY. 67 1^. Short d. Base of tongue less elevated, and lips much more widely parted than in long 6. IS. Broad 6. Same as long 6, except a larger mouth-opening, and less elevation of the base of the tongue. This sound requires larger mouth-room than that of any other one in the language. i4- Long u. Compound. For the first position see long i (No. 9). For the second see long oo (No. 17). 15. Short «. A wider opening of the lips, with a depression of the tip of the tongue, will convert long u into short ii. 16. Broad