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Cornell University Library arV14501 Lessons in expression and physical drill 3 1924 031 387 529 olln,anx Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31 924031 387529 LESSONS IN EXPRESSION AND PHYSICAL DRILL BY DARIEN A. STRAW Principal of Preparatory Department, and Professor in Wheaton College, Illinois. DRAWINGS BY GEORGE MARMON. CHICAGO: SCOTT, FORKSMAN AND CO. 1896. copybtgiit j 892, Ly £>abien ^. Stkay/. CONTENTS. Charts of Interpretation— Elements uf Voice. -Elements of Action. Part First— Studies in Voice; Physical Exercises. Lp;sson I. Expression, in general; Drill Position. II. Elements of Voice; Speaker's Position. III. Qualitj'; Flexion of the Arm. IV. Quality; Coiling the Arm. V. Exercises in Quality; Foot Movement. VI. Force; Scroll Movement of the Hand. VII. Pitch; Abdominal Breathing. " VIII. Movement; Costal Breathing-. " IX. Inflection; Cliest Breathing. " X. Form; Flexion of the Waist. XI. Stress; Flexion of the Neck. Xn. Stress; Torsion of the Body. XIII. Articulation of the Vowels; Toi'sinn (if the Arms. " XIV. Articulation of the Consonants; Torsion of the Neck. XV. Articulation; Percussion of the Chest. XVI. Obscure Sounds; Percussion of the Neck. XVII. Pauses; Tip-toe E.xercise. " XVIII. Pauses; Dead-still Exercise. XIX. Climax; Tracing Exercise of the Hand, " XX. Emphasis; Circular Arm Movement. XXI. Poetic Reading; Extension Exercise. XXII. Sound and Sense; Foot Movement. " XXIII. Sentiments; Finger Exercise. CHART OF INTERPRETATION, SnOWTNG THE PlUMARY MeANINO OF THE ELEMENTS OP VOTOE. 1 . Quality. — 1 . Pure Tone Normal 3. Orotund Noble Sentiment. H. Aspirate Secrecy. 4. Oral Weakness. 5. Pectoral Scorn. <;. Guttural Hate. 7. Nasal Carelessness. II. Force. — 1. Subdued Quietness. 3. Moderate Normal. fi. Energetic y\nimation. 4. Impassioned Passion. III. Pitch. — 1. High Ungoverned. 3. Medium Normal. 3. Low Power. IV Movement. — 1. Rapid Lightness. 3. Moderate Normal. 3. Slow Heaviness. y. Inflection. — 1. Rising Advance. 3. Falling C^essation. ■i. Circumflex — «, Rising. . .Appreciation. b. Falling . .Depreciation. 4. Monotone Sublimity. V I . Form.— 1 . Effusive Steadiness. 3. E.\pulsive Normal. 3. Explosive Excitement. Vll. Stress.— 1. Radical Normal. 3. Median ( ientleness. 3. Final Determination. 4. Compound Double meaning. ^1. Thorough Sublimity. 0. Tremor Sorrow. 4 CHART OF INTERPRETATION, Showing the Primaby MbaninCt op the Elements of Action. 1. Hand. — 1. Position — a. Supine Friendliness. b. Averse Aversion. c. Index Definiteness. d. Prone Super-position. e. Clenched Force. /. Refle.v'.. . .Contained in the hand. 2. DiRE(n'i0N— «. In Longitude: (1) Front Directness. (3) Oblique. . .In general. (3) Lateral Breadth. (4) Oblique Backward . .The past. (5) Backward h. In Latitude: (1) Up. (3) ITppor Supei-ior. (3) Horizontal. .Ordinary. (4) Lower Inferiur. (5) Down. Full Arm Oratorical. Fore Ann Conversational. First Positi( m Normal. Second " Third " Animated. Fourth " Fifth •■ Dramatic. Sixth " \\. Body. — I. (Jomposed Normal. 3. Forward Progress, li. Backward Revulsion. 4. Wavering Embarrassment. V. Head.— 1. Erect Self-Possession. 3. Inclined — a. Forward Care. b. Backward Freedom, c. Sidewise Questioning. 3, Pro,jected — (I. Forward Submissiveness, b. Backward Will. 4. Firm Positiveness, ,■"), Lax li'-st. \1, Countenance. — 1, Eye — a. Active Objective, b. Passive Subjective, 2. Brow — n. Tranquil Normal. b. Knit Perplexity, e. Raised Admiration, d. Low(;red Dislike, e. Furrowed Sorrow. 3. Lips — a. Firm Precision. b. Drooping Vacancy. c. Curled Scorn. 5 II, Arm.- -1, 3, [11. Feet. -1, 3, 3, 4, .5, 0, PREFACE. To make a book ou a siiljjeot wliioh has been publicly discussed ever since the classic days of Greece, without largely using the thoughts of others, would probably be unwise if not impossible. But changed conditions and new metliods of instruction constantly call for the putting of old thoughts into new form. This little book is an effort to answer one of those calls. I have liere embodied a series of lessons which I have used for some years past in classes of beginners. I have found a numljer of the most excellent liooks to be designed for use in scliools of oratory, and therefore not suited for the ordinary school or academy; otiiers were manuals rather than text-books for class use. In order to put into the hands of tlie class a book setting forth, as nearly as possible, the work that they would be ex- pected to do, this volume was prepared. Instead of making a mere orderly treatise I liave combined in each lesson theory and practice ; also both vocal and physical work. The practical advantages in this plan are apparent in preserving the enthusiasm of the class by a change from one exercise to the other, in avoiding weariness of weak bodies or voices, and in keeping their skill nearly at a par with their knowledge, for if a pupil sees too many faults in his performance he is likely to give it up in disgust. Neither voice nor action should be cultivated without the other, for, in the first place, each aids the other, and, secondly, if a pupil attains PREFACE. 7 proficiency in one without the other he is likely to dis- parage the part he has omitted and thus fail ever to attain to his best. Yet, while following this plan, I have not been unmindful that classification and relation of parts are of the utmost importance in a text-book. I have therefore made the lessons to proceed continu- ously and progressively in a two-fold chain throughout Parts First and Second, and combined the several ele- ments of expression in the practice of Part Third. Realizing the difficulty of conveying on jmper a def- inite idea of sounds, yet knowing that special teachers are not available in a large majority of the schools called upon to teach the art of Expression, I have un- dertaken, by definite statement, by illustration, by example and by suggestion, to make the subject clear to the ordinary reader. It is hoped, therefore, that it will enable any teacher of fertile mind to conduct a class successfully ia this most used and most abused of all arts. The varying nomenclature which is used by difilerent authors on this subject adds another clement of diffi- culty. I have followed that which seemed most likely to commend itself for general use. Considerations of health, culture, and every-day necessity, all emphasize the desirability of giving to every American youth some course of training that shall develop his natural powers of expression. This book is not designed to make elocutionists nor to in- trench on the work of the specialist. It aims to apply fundamental principles to a universal need. To com- municate one's thought truly, rc(4uires his voice and body to be under control of his own will. This is a 8 physical culture which implies soul culture. Helping young peojjle to discover ill temper in the voice, care- lessness in the walk, selfishness in the bearing, and laziness in the words, and giving them facility to avoid these, avails more than business jjroverbs and social precepts. This, then, is an effort to heljj teachers in giving to pupils the power of self command. I desire to express indebtedness to J. B. Lii^pincott Co., Houghton, Mifflin & Co. and others for kind per- mission to quote from iheir publications, and to make grateful acknowledgment to all whose writings have suggested ideas herein contained. I do not claim to have originated any part of the science of expression, but trust I may have developed it a little in the direction of what seems to bo the present need, and hope that this book may aid in the more general and more satis- factory teaching (if that science. 1). A. Straw. Wiie,iti>i,, III, All,/, injsoa. HINTS TO TEftGHERS. It will be found desirable: Often to join with the pupils in the exercises; To secure promptness without haste; To not call too much attention to errors at first; To use concert work to reduce ])eeuliarities; To require individual M'ork to secure accuracy; To evolve other questions in the line of those sug;- gested; To encourage pupils to apply the principtles evohed to cases tliat occur to them; To urge free criticism under the teacher's direction; Tn constantly I'evicw; n-riciv, jikvikw. PAET FIRST. Studies in Voice; Physical Exercises. LESSON" I. ELOCUTION. POSITION. 1. At the beginning of our study let lis learn defin- itely what it is. Elocution is the Expression of Thought by Voice and Action. In fact, it is a study of how best to do our talking. Some thoughts can be adequately expressed bywords alone, as: "This is the first day of the school year." But other thoughts are more fully expressed by the aid of some action, as a |)leasant look when one says, " I am glad to sec you." Say it with a stern face and see if it expresses the same meaning. Again there are thoughts which are best expressed without any words, as a teacher's quick look and uplifted hand when he wishes sudden silence. A little observation will show us that the hand, the head, the eye, the brow, the body and the feet all talk or help to express our thought, together with that wonderful organ, the voice — an organ with a thousand stops, or changes of expression. 2. Now rise and take the Drill Position, heels to- Drill Position. Fiff. ]. DRILL POSITION. 11 gether, toes turned out from 45 to fio degrees apart, knees straight, body erect, head v/ell back, chin slightly curbed, chest expanded, arms down at the side with the edge of the hand forward. A good test of erect position is to stand with the back against a door or other vertical plane so that you touch it in four places — with the heels, the hijjs, the shoulders, and the head. If you find it difficult to do this there is the more reason for persevering in an erect position. 3. Practice on the vocal, o. Pronounce it as you would speak. Now prolong it. Again, making it as smooth as possible. Practice this till it is smooth, mellow, and round as a flute tone. The same in con- cert till all the voices harmonize as one full tone. Avoid any attempt at loudness, but listen to the tone to see if it is correct. Suggestive questions: — According to the definition, where is Elocution useful? In public speaking? In conversation? In business? In society? In the home? Have you noticed those whose voice or action in speak- ing pleased you? And others wtose voice or action was disagreeable to you? Can you tell why? Can you get one's thought as well wherK you dislike his manner of expressing it? 12 STUDIES IN voice; physical bxbecises. LESSON II. ESSENTIAL ELEMENTS OP VOICE. POSITION. 4. With the Drill Position (p. 10) repeat the prac- tice ill Art. 2. 5. Wo have seen that thought is expressed by voice and action. Now, pursuing our study we shall see that tliere are several attributes of voice which may be changed. For instance, one will answer a question very differently as it pleases him or arouses other feelings. See if you answer these questions with the same kind of voice. "Would you like to have a school picnic the next pleasant dayV" "Would you like to have a dog bite you on your way home? " If you can see a difference in the tone, tell what the difference is. Possibly you could tell it Vjctter if you had some names for tones. 6. yhice varies in Quality, Force, Pitch, Movement, Inflection, Form, and Stress. 7. Quality is the Kind of Tone. The quality of our ordinary tone should be clear, smooth, and mel- low like that of a flute — Pure Tone. For examples see Arts. 9, 28, 281. 8. Take the Speaker'' s Position — body and head erect, chest expanded, one foot advanced so that the Speaker's Position. Fig, 2. 14 STITTHES IN voice; I'lTYSICAL EXEROTSES heol is toward the liollow of the otlicr and one or two inches from it, toes tttnied out as in the Drill Position. If you stand long, change by a single step forward or liack so that the feet occupy one of these positions, that is, with the right foot advanced, which we will call 1st Position (Fig. 2), or with the left foot ad- vanced, which we will call '2nd Position. 9. With the Speaker's Position, using Pure Tone, recite the following as if they were your own words: Under a spreadhig chestnuts tree The village smithy stands; The smith, a mighty man is he. With large and sinewy hands; And the muscles of his brawny arms Are strong as iron bands. — 11. W. Longfellow. Siifirjestive questions: — Which of these two positions do you habitually use most, Drill Position or Speaker's Position? Which would soonest weary you if you were to remain standing? Have you seen people stand in any other position while talking? In Article 9, to whom is the speaker represented as speaking — to a friend, to a public audience, or to himself? Did you speak it in that way? Is the speaker excited or calm? Interested or indifferent? NoTi-;. — If sutficient time can be given to this study, all the examples for practice should be memorized. If this is not pos- sible, some selection in each ]i>ss(in should be committed to memory, thus enabling the pupil to deliver it more entirely as Ills original thought. He should accustum himself to talk with- out anytliing in his hands. He can also give more perfect ex- pression to the eyes and hands if he is not hampered with a book. Give mucli practice t.o every exercise. If a pujiil acquires skill in criticizing, much t'ast(.T than he gains power to execute, 111' si'es his own faults too promincntlj' and is liable to become (liscoura.aed. QUALITY. 15 LESSON III. FLEXION MOVEMENT OF THE ARM, QUALITY. 10. Take the Urill Position- now without moving the slioulders, chest or head, swing the arms slowly from the shoulder, letting the elbow, wrist, and finger joints be entirely limp. Let them flap clear around the body as if there was not a bone in them except the upper arm. Swing first the right arm eight times, then the left arm eight times, then both together eight times. Repeat. Per- severe in this Flexiox. Ilomment of the arm until you can swing it with- out the wrist or hand seeming stifE.* 11. Quality is either — Pure Tone, used in ordinary speaking (see Art. V); Orotund, large, full and round; As2nrate, whispering, simply breath without tone; Oral, falsetto, used in extreme weakness, etc. ; Pectoral, hard, shrill tone, expressing scorn, etc. ; Flexion Exercise. Fig. 3. *NoTE. — All the drill exercises and examples for practice should be drilled O'i'er and over throughout the term as often as opportunity permi . 16 r.TUDiKS TN voice; pnTSTrAi, exercises. GiMnrdl, throat tone, expressing hatred, or Rdsal, nose tone, talking throngh the nose. 12. Witli the Spealier's Position practice o in Pure Tone (Art. 3.) 13. Now practice o in Orotund Quality. Let the larynx and mouth cavity be enlarged, the tongue down out of the way, the tone thrown forward full and round as if talking to a thousand 2)eople. Do not cramp the voice or make an apparent effort, l)ut " just open the mouth and let it come out," free, smooth, and easy. Pnre Tone and Orotund should be practiced much and every day as they are the best qualities. (For examides see Arts. 29, 72, lYl.) 14. Now practice o in a whisper. Aspirate Quality. You will notice that you can give it loud enough to be heard by any ordinary audience. (See Arts. 30; 209, h, and first words of 261.) 15. Now if you can imitate the tone of a little child you will have Oral Quality. It is clear but thin and small, just the counterpart of Orotund. It is usually pitched higher than Pure Tone, and may vary in loud- n(\ss from the scarcely audible to a scream. (See Art. 31.) 16. Repeat Article 9. Suggestive ipiestions : — How would it do to speak the quotation in Art. 9 in Orotund Quality? In Oral Quality? Why does not one quality render it as well as another, since the words remain the same? Which QUALITY. 17 quality best expresses noble thought? Grandeur? Secrecy? Sudden fright? Which would be used by a sick person who was so weak he could hardly speak? What sentiment would be expressed if you combine Aspirate with Pure Tone? IS STUDIES i>f voice: physical exercises. LESSON IV. ARM EXERCISE. QUALITY— Continued. 17. Repeat Article 10. 18. With the Drill Position, extend the right ised you can feel the chest vibrate. (See Arts. 32, 7.5; first part of 204, <(.; 240.) 21. We must now give the Guttural Quality, for it is needed sometimes; but our chief reason for study- ing it is that we may know it and avoid it. You will get it most easily with tlie vocal u. It is expres- sive of hatred, and is well exemplified in the growl of a dog. It is the throat tone. (See Arts. 33; last part of 204, a.) 22. The Nasal Quality does not express anything, unless it is carelessness, and yet a great many people use it habitually. We must practice till we learn it and then avoid it in our talking. The vocal o is easy to give in Nasal — through the nose. Observe how dis- agreeable some voices are because of this quality, like a cracked bell or a violin with a coml) on the strings. 20 STUDIES IN VOICE, PHYSICAL EXERCISES. 23. Try each quality on the stanza in Art. 9 and see which suits it best. Suggestive questions: — What quality do you use when asked to do some task which you dislike ? If you wish to make people happy with whom you talk, what quality will you use ? If you wish to make them angry? If you wish to silence a troublesome fellow '? Do you think a dog understands best the words, or the tone ? What quality would you use to coax him ? To com- mand him V To drive him off ? What quality has the tone of a bass drum ? The railroad engine's whistle '? A boy's whistle ? A canary bird's voice ? A crow's voice ? A donkey's voice ? Different bells with which you are familiar 'i EXEKCISKS IN QUALITY. 21 LESSON V. FOOT MOVEMENT. EXAMPLES FOR PRACTICE IN QUALITY. 24. Repeat Article 18. 25. Take First Positioji (Art. 8) and by slow, easy movement take one step forward to Second Position (Art. 8). Let it lie graceful, without any jerk or jar at starting or stopping. Now one step forward to First Position. One step) backward to Second Position. One step backward to First Position. This exercise should be frequently practised until the transitions can be made with the " suppleness and grace with which a catwalks." 26. Practice o in each Quality, individually and in concert. 27. Repeat the following quotations as the thought demands, noting the fitness of the (Quality indicated to express the sentiment of each example. 28. Pure Tone: — All Mi-e architects of Fate, Working ill theses walls of Time ; Some with massive deeds and great, Some with ornaments of rhj-me. — Tjong fellow _ 29. Oi-otund: — Roll (jn, tliiju ileep and dai-l< lihie ocean, roll, Ten thousand Heels swnep o\'er thee in \'ain. 22 STUDIES IN" voice; physical exercises. Man marks the earth with ruin. His control Stops with the shore. — Byron. 30. Aspirate: — Hush ! liarl< I did stealing steps go by ? Came not faint whispers near? 31. Oral:— Gi\e me three grains ot corn, mother, Only three grains of corn. To keep the little life I have Till the coming of the morn. 32. Pectoral: — 1 ne'er will ask ye quarter, And I ne'er will be your slave ; But I'll swim the sea of slaughter Till I sink beneath its wave. — Geo. W. PatUm. 33. Outtural: — I hate him for he is a christian : If I can catch him once upon thi- hip. I will feed fat the ancient grudge I bear him. — SJiakespeare. 34. Nasal:— Then, as to your spellin'; I've hearn tell By them as has looked into this. That you turn the u out o' your labour, An' make the word shorter than 'tis. — Garlcton. Strive to make the thought in the above examples your own, and speak them as if the original occasion were ])resent. Give the voice freedom in expression, even to enthusiasm. 35. Select or invent other examples to illustrate the EXERCISES I>f QUALITY. 23 different Qualities. Notice tlie Quality used in conver- sation, in the play-ground and on the street. Cultivate the habit of using only pure tone unless the occasion requires some other. Notice the shades of feeling which each Quality will represent. Suggestive questions: Which quotation contains the most emotion, Art. 28 or Art. 29 V What emotion is it ? What seems to be the situation which occasioned vVrt. 30 ? How does the speaker feel ? Who is talking in Art. 31 ? In what condition is he ? In Art. 32 who is speaking ? To whom ? What sentiment in it ? How woxdd it do to read Art. 33 in Pure Tone V What do you judge as to the culture and education of the speaker in Art. 34 ? Would it fairly represent such a man to speak his words with a cultured tone of voice ? 24 STUDIES IN voice; PHYSICAL EXEECISES. LESSON VI. ARM AND HAND EXERCISE. STUDIES IN FORCE. 36. Repeat Article 25. 37. Drill Position. Right hand raised nearly to the horizontal in front. Pass the liand to the right in a double curve and return it to the place of starting so Fig 5. as to describe a figure 8, as shown in Fig. 5. Let the movement be slow, steady, easy and graceful, and keep the front edge of the hand ahead — let the first finger lead. Follow this circuit several times, keeping the liand open and the wrist flexible. Now, left hand the same. Then both hands together. 38. Force is the intensity with which a tone is produced. This is not the same as what we mean bj' loudness, although it is the ]>i'iiicipal element in it. The degrees of Force are very many, i-anging all the way from the STUDIES IN POKCE. 25 Least to the greatest ; but for our purpose four degrees will be sufficient to name : 39. Siibdued: — Primarily indicating quietness. Moderate: — Used in ordinary speaking. Energetic : — Indicating animation. Impassioned : — Used in shouting or passionate expression. 40. Practice on the following examjjles, aiming always to firing out as fully as j)0ssible the author's thought: — 41. Subdued:— It was a night of holy calm when tlie zeph_\TS swa.yed the j'ouiig spring' leaves and whispered tlieir dreainj' music among the hollow reeds. — Kelloiig. (Other examples Arts. 54, 80 and 98.) 42. Moderate: — This was the best store we had come across yet; it had everything in it, in small quantities, from anvils and dry goods all the way down to fish and pinchbeck jewelry. ^-Mark Twiiin. 43. Energetic: — Tvike lieatli-bird when the hawks pursue, A barge across Loch Katrine tlew. High stood the henchman on the prow: "Speed, Malise, speed! the dun deer's hide On fleeter foot was never tied. Speed, Malise, speed ! such cause of haste Thine active sinews never braced." —SrotL (Other examples Arts. 16:5, 171, 287.) 26 STUDIES IX voice; physical exercises. 44. Impassioned: — *Forwai'd tlie light brigade! Gliarge for the guns! lie said. — Tennyson. Up drawbridge! groom. AVli.-it, warder, ho! Let the portculli.s fall! —Scott. (Other examples Art-a. 52, 204, a.) 45. Repeat exercises in Articles 28-34. Suggestive questions: — What force woukl be most appropriate iu a sick room '? In a house afire V In a parlor social V In asking for a holiday ? To whom would Art. 41 seem to be addressed ? Is Art. 42 the language of business or sentiment ? What Quality should be used in Art. 43 and Art. 44 V Should all parts of Art. 44 be given with equal force V What different persons are addressed in the latter quotation ot Art. 44 V Explain the meaning of the four nouns in the last quotation. What occasion would warrant such talk ? *NoTE, — A number of exercises which require a loud tone have been purpose!}' inserted for the reason tliat a powerful \-oice can- not be acquired witliout full exercise. Many cliildren, especially in cities, live wliere they cannot shout without disturbing the neighbors, so all their games and sports ha,\e been comparatively quiet. Tlie result is weaiv voices. 8ome sliouting exercise slionkl be introduced every d:u' in tliis studv. The relief that it affords ni the midst of school worlc will eniible them to bi^ (|uieter after it. A famou.s reader entered the newsboj'S' ranks and sold papers to develop Ijis ^•l)ioe. EXERnSK.S IX PITCH. 27 LESSON VII. BREATHING EXBROISES. PITCH. 46. Before going further wo must give some atten- tion to the manlier of breathing. Although all people breathe, few breathe to the best advantage. We should use all 2>('>'ts of tlie lung^ in breathing. There is a common tendency to use only the upj^er portion. When this habit is formed the lungs become weak, and disease is apt to follow. Furthermore, such breathing immedi- ately injures the voice so that bronchitis and other " throat troubles " are a common result. 47. Drill position, hands above the hips with the fingers forward about the waist. Inhale slowly through the nose and exhale through the mouth with the sound of li. Keep the shoulders and chest still and breathe to the depth of the lungs so that you can feel the abdo- men expand as you inhale. When the lungs are as full as they will comfort- ably hold, gradually exhale, keeping the sound of A steady until the air is well exhausted. You will notice that the abdomen contracts as you exhale. Fig. 6. Continue this steady deep breathing 28 STUDiKS IN a'Oice; physical exercises. for two minutes; provided that if you feel any unpleas- ant sensation in the head resulting from it, you should sit down and rest a moment. After this exercise, prac- tice inhaling suddenly, holding the breath a moment, then exhaling suddenly. Be sure that the breathing is abdominal, however, keeping the chest and shoulders still. 48. Repeat Article 3 "7. 49. Pitch is the place on the musical scale at which a tone is produced. Pitch varies in different voices, each one covering nearly an equal range which might be divided into many grades but five will be sufficient fur our purpose. 50. Very IliijU. Commonly indicating passion. High. Medium. Ordinary pitch. Loio. Very J^oin. Gloomy thought or jiowcr. 51. Very high pitch may be exemplified in the screain of fright — "O-o-o! the mouse!" The cry of pain — " O-o-o! Johnnie hit me with a snow- Ijall! o-o-o-o! " The shout of glee — "O! hurra! we'll all ride down hill on one sled! " The cry of anger — "-O! you struck me on purpose! I'll pay you for that! " Practice on the following: — EXERCISES IN PITCH. 29 52. High Pitch:— Ye orates and p(.'aks, I'm with you (Jiice as'ain. I call to yiiu with all my voice. (Other examples, Arts. 216,5/ 236; 15*7; 2-41.) 53. Medium:- Full many a gem ot purest ray serene, Tlie darlv unfathomed caves of ocean bear; Full many a flower is born to blusli unseen, And waste its sweetness on the desert air. — Gray. 54. Low: — "Tis midnight's holy hour, and silence now Is brooding lilvo a gentle spirit, o'er The still and pulseless world. — Geo. D. Prentir.e. (Other examples, Arts. 64; 82, c; 100.) 55- Very Low: — 1 am tliy fatlier's ghost, doomed for a time to walk the night, and by the day to last in fires 'till the foul crimes done in my life are burnt and purged awaj'. — Shalcespeare. 56. Repeat Articles 41-44. Suggestive questions: — Aljout how much do we in- hale at an ordinary breath ? In the deepest breath ? What different effect on the blood and the brain '? What Pitch is most quieting to the nerves V What Pitch expresses most authority in giving a command ? In what Quality can you give the highest Pitcli 't Which use higher Pitch, men or women ? Children or grown people ? In what pitch do peoj^le laugh ? Cry '? Grumble ? Quarrel ? Comfort ? Coax '? Tease V 3U STUDIES IN voice; PHYSICAL EXERCISES. LESSON VIII. BXBROISB IN OOSTAL BREATHINQ. MOVEMENT. 57. Repe.it Article 41. 58. Drill Position. Hands at the waist v.'ith the fingers backward. Breathe as before except that you expand the waist at the back instead of in front. This we shall remember as Costal Breathing. It gives the lungs their fullest capa- city, and gives the voice its greatest strength. 59- Repeat Article 18. 60. Movement is the rate of utterance. 61. This may be Rapid, as in haste or excitement, Moderate, as in ordinary speaking, or Sloio, as expressing greatness of thought, or depression of spirits. Vocal Practice. 62- Rapid Movement: — A liurry of hoofs in a village street, A shape in the moonlight, a bulk in the darl<. And beneath from the pebbles in passing, a sparl< Struck out by a steed that flies fearless and (feet. — Longfellow. (Other examples, Arts. 157; 163; 111; 258, «.) Fig. 7. MOVICJIENT. 31 63. Moderate Movement:— O, a wonderful stream is the liver Time, As it flows througli this n-alm of tears; With a faultless rythm and a musical rhj'me, And a boundless sweep and a surge sublime, As it blends with the Ocean of Years. —B. F. Tiiylor. 64. Slow Movemeut: — O! thou that roll'st above, round as the shield of my fathers, whence are thy beams, O, Sun? thine everlasting light? — Ossian. (Other examples, Arts. 100; 171; 199, e; 216,5.) 65. Repeat Articles 52-55. Suggestive qtiestioiis : — Can you read Art. 62 bo as to imitate the sound of the horse's hoofs ? Can you ex- press the thought best if you see the horse in imagin- ation ? What Quality should be used in Art. 64 ? Which needs greater Force, Art. 63 or Art. 64 V Will a youth or a man talk with more rapid Movement ? What Movement to express grand thoughts ? Joyful thoughts ? 32 STUDIES INT voice; physical exercises. LESSON IX. EXERCISE IN CHEST BREATHING. INFLECTION. 66- Repeat Article 58. 67- Drill Position. Hands on the chest. Breathe as before except that yon nse chiefly the upjier part of the kings, expanding the chest as you inhale — cliest breatliing. 68. Repeat Art. .37. 69. Inflection is a slide in the pitch of a tone. Note. — In tlio. application of Inflection or Stress to our spcecli, cacli unit of thought is a unit for the Inflection or Stress. Thus what is said of "atone" in the definitions (Arts. 69 and 80) may be continuous through a word or phrase, or even a clause. For Illustration, the sentence, " Tlie bird | in the tree-top | sings | as it swings," consists of four thought-units: the subject with its article, the subject modifier (phrase), tlie verb (one word), the modifier of tlie verb (a clause). Each of these would receive one slide of Inflection, and one impulsi' of Stress. In other cases of greatly condensed or very emiihatic sjiecch each word may be individualized as a thought-unit requiring its own Inflection or Stress. When we speak, the voice is almost continually sliding in pitch. In singing, the pitch usually remains un- changed throughout the tone. Herein consists the principal difference between singing and speaking. 70. Under this subject we may consider: — a. Monotone: Tlie ahsence of inflection, ex- pressive of sublimity. INFLECTION. 33 b. Rising Inflection. / Prevails in hope and joy. (Examples, Arts. 89; 187, c.) o. Falling Inflection. \ Prevails in sad- ness and discouragement. (Examples, Arts. 148; 193, c.) [ Rising ^_^ d. Circumflex. J ( Falling /-»s 71- Practice on the vocal 5, sliding the voice as indi- cated in the lines above until you can direct the inflection at will. Practice the following examples: — 72. The heavens declare the gloiy of God; and I, In- finiia- meiit shoYi'eth His handiwoilc. Day unto day utteretli speech, and ni,;;lit unto ni^;lil showeth knowledge. There is no speech nor language wliere tlieii- vnici' is not heard. Their line is gone out tlimugli all the earth; and their words to the end of the world. 10th Psalm. 73. " Are you going home V " " No, to town." "To town?" "Yes, why?" "I like company." " Then why not ride to town? " "Why not? I will." 74. " Do you know me, my lord? " " E.xcellent well. You are a fishmonger." "Not I, my lord." 34 STUDIES IN voice; physical exercises. "Thfin 1 wcpuld yoii witc so honrst a man." " Honr.st,, my lurd'.' " "Ay, sir; tii be lioncst, as this world {,'oes, is to Iwone mim picl<.ed out of ten tliousuud." — Shakespeiire . 75- lianislicd from Rome! What's banished, but set free From daily contact with the things I loathe V "Tried and convicted traitor? " AYho says this? Who'll prove it, at his peril, on ni.y head ? Banished — I thank you for 't. It breaks my chain! "Traitor!" I go — but I return. This — trial! Here i devote your senate! I've had wrongs To stir a fe\'er in the blood of age. Or make the infant sinews strong as steel, — Groly. Suggestive questions: Explain the variou.s meanings suggested by saying the word, "What?" with different inflection — Rising, Falling, Rising Circumflex, Fall- ing- Circumflex. With what inflection do you say "What?" when you doubt the truth of what was said? How do you say "Wliat?" so as to rebuke a speaker for his statement ? When you are gladly sur- prised at the statement ? When you are disagreeably surprised by the statement ? When you answer a call in such a way as to show that it was an unwelcome interruption ? EXERCISE OF THE WAIST. 36 LESSON X. EXERCISE OF THE "WAIST. FORM. 76. Repeat 6*7, and remember that the tendency with most people is to breathe in that way too much, failing to use the lower part of the lungs; so be sure that your ordinary breathing is abdominal and costal. 77. Drill position. Hands at the waist. Bend the body, at the waist only, forward slowly and gradually. Let it bend down as low as you can comfortably with- out bending the knees. Then slowly straighten up to erect position. Then bend backward similarly and return to erect position. Now in a similar manner to the right and to the left, bending only at the waist. Repeat. 78. Form is the manner in which the voice issues from the vocal organs: that is, whether suddenly or gradually. The words may burst forth with the suddenness of a pistol shot, or flow forth smoothly as oil. Between these extremes the voice varies. 79. Effusive Form. — Smooth and flowing. Expulsive Form — Medium, used in ordinary voice. Explosive Form — With the greatest suddenness. 30 STUDIES IN voice; physical exercises. Distinguish clearly between Form and Movement. The former refers to the words individually, the latter to the combination of words. The words may be spoken in Effusive Form and the Movement at the same time may be Rapid. Practice the following, throwing yourself into the spirit of the author and uttering the thought as your own. 80- Effusive: — Now fades the glimmering landscape on the sight, And all the air a solemn stillness holds, Sa\e where the bi'etle wheels his droning tlight, And drowsy tinklings lull the distant folds. (Other examples, Arts. 98, 100, 256, 271.) 81- Expulsive: — Society is the great educator. More than univer- sities, mori' than schools, more than boots, society educates. Nature is the schoolhouse, and many les- sons are written upon its walls; but man is the etfective teacher. — Orville Dewey. (Other examples. Arts. 24.5, 277.) 82 Ex]ilosivo: — a. Rin;!. h.apiiy bells, across the snow. — Tennyson: In Memorutm. I}. IliiU ! the chist brown ranks stood fast. Fire! (.iit bl.azed tlie ride blast. — Whittlcr: Barhitrit. Pritclde. e. Rut hush ! liiirk! a deep sound strikes like a, rising knell. — Byron. (Other ex.amples. Arts. 8f), 101, 258, 27t). ) EXEKCISE OF THE WAIST. 3 "7 83. Repeat 72-75. Suggestive qtiestions: If some one should suddenly frighten you so that you said "Oh!" what Form of voice would you use? In what Form do you laugh V What Form expresses quiet peacef ulness '? Urgent business? Weariness ? Sublimity ? What Quality and Force in Art. 80? What Pitch in Art. 82, «? What Quality and Inflection in Art. 82, c ? 38 STUDIES IN voice; physical exbkci.ses. LESSON XI. EXERCISE FOB THE NECK. STRESS. 84- Repeat Article 11. 85. Drill Position. Very slowly and steadily let the liead drop forward ujion the chest. Let there be no iiiovenient of the Ijody; only the neck is to bend in this exercise. When the head is dropped forward as low as it can be comfortably, raise it with the same steady iiiovement to erect position. Now drop the head back- ward in a similar manner and return. Then to the right and 1o the left in the same way. 86- *S tress is the manner in which Force is applied to a tone; it depends on which part of the tone is made the most forcible. The ordinary hearer does not notice what makes the difference in a change of stress, because the words are spoken so quickly, but all recognize the difference in expression when the stress is varied. Ordinarily the greatest force is put on tlie beginning of each word Init it changes as occasion re, quit, clmck. A practical illus- tration of this change from Radical to Final is heard in the answer a canvasser receives from one who does not wish to buy. At first it is "iVb" then it becomes "JVb" "AV/- and finally, 40 STUDIES IN voice; PHYSICAL EXEBCISES. 89. Radical Stress: — Go ring the bells and fire tlie guns And tling tlic starry banner out. (Other examples, Arts. 142; 1.50, a; 15G.) 90. Final Stress: — We will «e»cr submit, never! NEAfEKl NEVERl (Other examples. Arts. 1.50, c; 193, a and b.) Suggestive questions: What difference in Stress between. Ha! as in laughing, and. Ha! as said in reproof ? Which better expresses freedom from care. Radical Stress or Final? Which better expresses determination ? Will V Wliat stress in the tone of a bell ? In the chuh! chuh! chuh ! chuh ! of the rail- road engine ? What Pitch and Movement are best for Art. 89 ? Why ? Note. — The difference between Inflection and Stress may be illustrated by the violin: If the player .slides his finger up or down the string, he gives to the tone rising or falling Inflection. If now he gradually increases the pressure on the bow through- out a tone he gives it Final Stress. Gradually decreased pressure on the bow throughout a tone would give Radical Stress. In general, sliding the finger on a siring gi\'i'S Inflection to the tone, wliile ijressure on the bow determines the Stress of the tone. BXEEOISES IN STRESS. 41 LESSON XII. TORSION OP THE BODY. STRESS— Continued. 91. Repeat Article 85. 92. Drill Position. Without moving the feet or bend- ing from erect position, twist the body ■slowly to the right so that the chest turns ninety degrees or more, then steadily return. The same to the left. Repeat several times. 93. The grace that is added to the voice by a fine use of Median Stress is worthy of tireless effort. Stress seems to 1)e the iirincipal attribute of voice by which will is expressed. Radical Stress is the common voice in which the will of the speaker is not manifest; Final Stress indicates the positive deter- mination of the speaker's will; while Median Stress indicates that moder.ate degree of will which constitutes self- possession. Say, " No, I will not," in Radical, Median, and Final Stress and L observe the changed meaning. pj„_ g_ 94. Practice Median Stress at first on the vocal, o. 44 STUDIES IN voice: FHYKICAL EXEBCISES. LESSON XIII. TORSION OF THE ARMS. ARTICULATION OP THE VOMTELS. 102- Kt'peat Article 92. 103. Drill Position. Keeping the hands down at the side, twist the arms inward so that the hands turn through 180 degrees, bringing the little fingers forward. Return, and twist the arms outward 180 degrees, bring- ing the little fingers forward again, thus turning the hands through a complete cir- cuit by simply twisting the arms on their axes. Continue this exercise four times. Then extend the arms horizontally at the side and twist them as before. Then ex- tend the arms horizontally forward and rej)eat the same. 104- Besides the seven attributes of voice (Art. 6), already studied, the expres- p:, ](, si on of thought requires particular atten- tion to Articulation, Pauses, Climax and Emphasis. 105. By Articulation is meant the utterance of all the sounds. Pew people articulate well; although few need be deficient in that important matter. How few people in giving you a stranger's name make AKTICITLATION. 45 ft disthict! In conversation one i^v frequently compelled to ask for a repetition. Often public speakers annoy their audience by not making themselves heard. In nearly all these cases the trouble is in articulation. The listener hears a part of what is said, but the sounds which are lost are essential to an understanding of the word. It requires more skill to produce some sounds than others, but all are produced by muscular effort. Only until the hand is trained is it easier for a boy with a hammer to miss a nail than to hit it. Just so it is not absence of vocal power but lack of vocal training that m.akes so many indistinct speakers. 106. There are usually no difficulties in uttering the vowel sounds if the pupil knows definitely what the sounds are. The Principles of Pronunciation in the unabridged dictionary are very exjjlicit on this matter and furnish perhaps the best avail.ablo authority as to what those sounds are. It as always an advantage to the pupil to ])ea.r some one give those sounds cor- rectly; at any rate they must be clearly recognized in some way. 107. Give especial drill to the following sounds which are frequently given incorrectly: — a, a, a, e, %, oo, to. u, u. (We"bstcr's system of marking is hero used.) 108- In holding or j^rolonging such somids as a, i, oi, ou, let the first jsart of the tone be prolonged, and 46 STITDIKS IN voice: PHYSICAL EXEBCISKS. not the latter. They are eouipoimd Koiinds and the open |)art of the sound should receive the " hold." For the same reason in the sound, -m, the latter part only should lie held. 109- Practice all the vocals in Pure Tone, Moderate P'orce, Medium Pitch, Expulsive Form, Falling Inflec- tion, and Radical Stress. 110. Repeat Articles 98-101. Suggestive questions: In distinct conversation, are all the sounds uttered with equal prominence V Which word is least prominent when we say. There comes u man ? Which syllable is more prominent when we say, Washington ? Which sound is least prominent when you say, holds ? Have you noticed that people some- times speak too loud to be understood V And that others whose voices are not nearly so noisy are easily understood ? What is the reason ? ARTICULATION. 47 LESSON XIV. TORSION OF THE NECK. ARTICULATION OF THE CONSONANTS. 111. Repeat Article 103. 112. Drill Position. Keeping the head creut, turn it slowly to the right so that the face is over the shoul- der; return slowly. Then turn to the left the same. Do not turn the chest any but keep it still. 113- Give the sounds of all the consonants in order^ with especial drill on the following: — *, 'h.t\ thh 'S '-', ■'-', f-- Practice nutil you can give each conscjuant sound alone; h., d and y, may be combined with a vowel at first, as, ih, id and ig. After practicing a while the con- sonants can all be sounded full and clear without any vowel in combination. 114. Observe what organs of voice are used in j)ro- ducing each sound. You will then nuderstand why it requires practice to articulate strongly. The muscles of the lips, tongue and palate must be developed by nse the same as those of the arm if they are to Ije strong. Compare Jj and 2?; in what are they alike, and in what do they differ? ALso d and t; g and 7i-'; sands,- tli and *^. 115. Make a list of the sounds which the lips aid in (-8 STUDIES IX tdice; piiywicai. exercises. forming — Luhiida. Another list formed by the tongue — Lbi.ijuah. A list of th(jso which the teeth aid in forming — Dentals. Another list formed by the palate — Paldtah. Another list of those sounds in which the air column is forced through the nose, as 7i — JVasais. A list of those sounds in which the air column is entirely stopped — Mutes. A list of those sounds which may be easily prolonged indefinitely — Liquids. A list of the sounds which consist of breath not vocalized, p, t, etc. — Aspifdtes. A list of the sounds which consist of tone, vocalized breath, modified by the teeth, lips, tongue or palate— Sub-vocals. A list of the sounds consisting of tone unmodified by the lips, the tongue or the palate — Vocals. 116- Practice the sounds in each of the above lists, as directed in Art. 109. Suiji/KStwe questions. Where are the vowel sounds formed':' Have you ever heard a man talk who had no front teeth? Did he talk plainly? If not, why not? Do you like to hear a person talk when his tongue seems to fill his whole mouth? How shall he avoid that? Why is it necessary to open the mouth well in order to talk distinctly? Can you sound all the letters in a whisper — Asjjirate Quality ? CHEST PERCUSSION. 49 LESSON XV. PERCUSSION OF THE CHEST. ARTICULATION— Continued. 117- Repeat Ai-ticle 112. 118- Drill Position. Hands on the chest. Throw the shoulders np and l.iaek. Draw a full breath, as in Art. OT, hold it while j'ou rap the chest sharply and ijuickly with the open palms sixteen times. After prac- tising this Clirst Pcfciiiision for a few days regularly the strokes may be made heavier until the rapping can be done with the hands clenched. Kee)> the lungs full during the percussion. Rejieat. 119. When one can readily ]jroduce all the elemen- tary sounds, there are still some combinations that will need much attenti\'e practice, especially cumulations of consonants. 120. One common fault in Articidation is the skijj- ping too lightly and ijuickly over small words. The fact tliat they are ht linportaut does not mean that they are unim2Mrt(int. No unimportant word should Ije used at all, and a word that is worth using is worth speaking distinctly. 50 STimiES iM" voice: physical exercises. 121. With natural voice, pronounce each of the followino; words four times in succession: — adz deartli pusillanimity aids duty quaintness asks distinctness rock-ribbed asl<;ed elms rarity able elocution rearward a))Ier empty Seth uhlest earth scythe a)),Ial famed spent atlilete fifthly splint althca fulfilleth splashed Alps faithfnlly singed ampler faithlessly sinning a)>ominable gasped singing ))ald ginger sea-shells boldly gnarled succinctly bedlam holily somnambulist begged liealthfuHy texts blended inimitaldy tenths blending innumerable triitlis blaniable judged thither blamably jingling vine boastest Kaskaskia •\'ivaoious broiled lamentable valvular cask Lilli]iutian whales clasps miuinunn whence clasped memoi-able which called'st noneutiiy whilst conimunit)' overwhelmed waxest depths passetli whisked did'st pinnpcd EXEKOISES IX ARTICULATION. 51 Suggestive questions. Do you commonly find your self refreshed or exhausted after the physical drill ex- ercises? Do your muscles weary as quickly as they did in Lesson I? In Art. 121, can you make the lungs jiush the air till it is compressed by the vocal organs, making the tone tense and firm? Can you direct the words so as to throw them directly to the one to whom you are speaking? 52 STUDIES IN voice; physical exercises. LESSON XVI. PERCUSSION OP THE NECK. PROMINENT T ' OBSCURE SOUNDS. 122. Repeat Article 118. 123- Drill Poslton. With the open palm of the i-ight hand rap lightly and rapidly for five seconds tlie right back part of the neck. Then with the left hand the left side similarly. Then with the right hand tiie left front side of the neck. Now with the left hand rap the right front side of the neck. Let this exercise be done lightly until a fcAV days regular practice have hardened the muscles a little, after which the rapping may be made more brisk. Keep the head erect. 124. While a good Ai'ticnlation requires every sound to be made distinct, it does not require all to be equally jirominent. Words commencing or ending witli tlic unaccented vowel, a, furnisli a good example of this fact. The words, ahead and America, are equally sj)oileil l)y having all the syllables pronounced with the same prominence, and by having the ends clipped — Go a-head .Iwier-Z-cw, is as bad as — Go ''head ^meriea. Li some dictionaries, obscure vowels are unmarkeil. A correct speaker will give these that nice subordination to the principal sounds which produces an easy, graceful yet clear effect. AETICULATION. 53 151125. The same principle applies to phrases. Articles should be subordinated to their nouns. jL man, should bo spoken almost as if it were one word. Plirases, con- sidered grammatically, are elements, and in proper speech they are sjjoken as such. To avoid on one side the error of carelessness which slights the subordinate sounds, and on the other side the error of pedantry or affectation which over-does the Articulation, will require you to ci-iticise yourself persistently until you have formed a correct habit, unless you have had the rare good fortune not to fall into a bad haljit. 126. Apply the suggestions on Articulation to the following exercises for practice: — a. f^onsider the lilies of the field, how they grow, they toil not, neither do they spin; and j'et, I say uritu you that even Solomon in all his glory was not arrayed like one of these, — Matthew. h. Thou comest. Autumn, heralded by rain. With banners by great gales incessant fanned. Brighter than brightest silks of Samaroand, And statel.y oxcu harnessed to thy wain. — Longfellow. e. Some shun sunshine. d. Philip Phifer filled a pit full of pilfered pippins. e. When loud surges lash the sounding shore, the hoarse, rough verse should like the torrent roar. /. Theophilus Thistle, the successful thistle-sifter, thrust three thousand thistles through the thick of his thumb, therefore thou, when thou siftest a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thy thumb. 54 STUDIES IN voice; physical exercises. 127. Repeat a part of Ai-ticle 121. S'U(igestive questions. What elements of voice will express the kindly comfort of Art. 126, a? What dif- ference in the voice to express "great gales" and " Ijrigh test silks? " Do "loud surges" move fast or slow? What Stress represents their lashing the shore? Which is harder for you to pronounce, repetitions of tlie same sound or combinations of different sounds? Wlii<'h exercise in the lesson do you find tlic most diffi- cult'; 55 LESSON XVII. EXERCISE FOR THE LOWER LIMBS. PAUSES. 128. Repeat Article 123. 129. Drill Position. Slowly and steadily raise the heels from the floor, l>rinp;ing the body as high as possible on tiptoe. Slowly descend to position. Strive to do this without any jerking or staggering. The same four times. In a similar manner lift the toes, supporting the body on the heels. The same four times. 130. A Pause is a temporary cessation of the utterance. Do not confuse Pauses with ]iunctu- ation marks; these sometimes indicate where Pauses should be made, though not always. The correct use of Pauses can only be learned by personal studj' of tlie thought, but a few hints may aid the learner. 131. A common fault in reading and speaking is the irregular halting with every few words, then jerking along through the next group without regard to the thought. In reading, this may arise from uufamiliarity with some of the words; in speaking, from embarrass- ment or a lack of words at easy command. V/hen thi^ habit is formed it produces the imjiression of vreak thought or nervousness on the part of the speaker, 56 STLTDIES IN VOICE; PHYSICAL EXEKCISES. Notice the effect if this sentence from Chalmers is read in that manner: — The first — great obstacle — to the extinction — of war — is the way — in whicli — the lieart — of man — is carried oft — from its barbarities — and its liorrors— by the splendor-of its deceitful — accompaniments. Now read it as indicated below, using only one breath after the word, war. 132. Tile first great obstacle to the extinction of war — is tlie way in whicli the heart of man is carried olf from its bar- barities and ils horrors by the splendor of its deceitful accom- paniments. 133. As already hinted, the failure to manage the breath properly is a frequent cause of incorrect pausing. A Pure Tone uses the breath very slowl}', so that if ])roperly managed, it ought never to be necessary to pause for breath. 134. In order to avoid unnecessary pauses, practice the following exercises in their proper Movement (Art. CO), without ]>ausing except where the dashes indi- cate. 135. So live — that when thy summons comes — to join The innumerable caravan that moves To the pale realms of shade — where each shall take His chamber in thi' silent halls of death — Thou go, not like the (juarry-sla\'e at night — Scourgi-d to his dungeon — but sustained and soothed By an unfaltering trust — approach thy gra\e Tjiki' one wlio wra])S the drapery of his couch About him — and lies down to pleasant dreams. — Bri/iint. PAUSES. 5Y 136. How bright are the honors which await those who witli sacred fortitude and patriotic patience have endured all things that they might save their native land from division and from the power of corruption! — the honored deadl — They that die for a good cause are redeemed from death — Tlieir names are gathered and garnered — Their memory is precious. — Beecher. 137. Repeat Article 126. Suggestive questions: What sound of ?« in " innuuier- able," "endured"'::' What sound did you give the <^ in " silent " when you read it? What inflection on "So live," " of death," " About him," " all things "? What Movement is needed in Art. 135? Wnat sentiment pi'e- vails throughout it? Which should have more Force, Art. 135 or Art. 13GV What preceding word does " approach " most nearly relate to? By what element of voice do you make it relate back projjcrly? 5R STUDIES IN" voice; PHYSICAL EXERCISES. XV] II. DEADSTILL EXERCISES. PAUSES. 138. Repeat Article 129. 139. Sitting Posture. Trunk and head erect. Keep yourself absolutely still: do not move a voluntary muscle; do not even wink. Sit deadstill as long as you can without discomfort; try it at first for twenty seconds, then try it for thirty seconds, and so gradually iucrease the time. If the eyes water, rest them. After trying it with the eyes open, try it with the eyes shut. Then stand and take the same exercise with the Drill liosition and with Sj)eakCT\s Position. This exercise may 1)0 occasioiiitlly practiced with profit l>y pupils i)i their seats. It helps one to get himself under control when the "fly-away feeling" possesses him. 140. It should be observed hero that freijuent wink- ing, drumming with the fingers, swinging the feet, fumbling the watch chain or pencil, and other similar habits are the expression of uncontrolled nerves, and are not only ai- with me, Jly lieart is in tlie cottin tiiei'i- witli (.'lesar, And t must pause till it come back to me i)Ut yesterday tlie word of (":e,sar might Ha\'e stood .against tlie world: now lies lie there. — Shakespeare. (See Art. 258, c.) 145. Practice on the examples given, also apply Rhetorical Pause in the following. Study the effect of changing the pausing until you get tlie most perfect ex- pression of tlu^ thought. Tlii-ri' fislievs wi'iit sailing out into the west, — Out into tlie wi'st as the sun went down; Eaeli thought oil the woman wlio lo\'ed liim the besl. ,\iid the cliildreii stood watcliing IhiMii nutof the Iciwn; For men must woi-l<:, and women must weeji. Anil tliere's little to earn and many to keep, Though the harbor bar be moaning. — C'hii.H. luiif/nlei/. 146. Repeat Articles 13.5 .and 1.30. SiujtjeMve questlDtia. Wliat is the meaning of ''Oh!" in 14:3, thought oi- sentiment? Wliat Form, Inflection and Pitch make it most expressiveV What meaning Wdidd be expressed by putting Falling Circumflex (Art. 10, (L) on " honorable" in 7\rt. 142, a.? What would u be the effect of a Rhetorical Pause after " ci'ime" '' IIo w can you speak the word " cease " to make it sarcastic':" Would it be an advantage to pause and listen after " harbor bar," in Art. 145 ':" What is the meaning if you make no pause after "each"? Should you make a [lause there? 62 STUDIES IN voice; rilY.SlOAL EXERCISES. LESSON XIX. ARM EXERCISE. CLIMAX. 147. Repeat Article 1:J;J. 148. speaker's position. Point with your right hand to tlio corner of the ceiling in front of you or a little lo the left. Now very slowly and steadily move the liand toward the right, following accurately the margin of the ceiling. Let the hand pass over the line of the ceiling very slowly — about as fast as a fly would run along. Then in a similar manner return the hand along the same line to the ])oint of starting. Then perform the same exercise with the left hand. Afterward some other line lower down may be taken. Point to a train of cars, real or imaginary, at full speed half a mik> away. 149. Climax is the regular increase of power in a series of expressions. iViiti-climax is the reverse of climax, the power being gradually decreased. As climax, well used, is one of tlie finest aids to speech, so anti-climax is a common means of spoiling it. If the speaker has liis beginning well thought out, and starts in vigorously, but flags as lie proceeds, the effect is generally worse than if he had not done the first so well. This applies either to what we call public speech or to a recitation in class, CLIMAX. 63 a short speech or a long one. If one increases in power as he advances, it gives the impression of strength yet in reserve, Avhile flagging energies betray weakness. Climax may be used in a series of words, in successive sentences, or in a succession of paragraphs. In a long climax, however, it must not be a continuous ascent; but a scries of flights, each one rising a little higher than the preceding. 150. Practice the following example. Manage your voice so that you do not reach yoar limit before you get to the end. a. At midnight in his guarded tent, Tlic; Turlv lay dreaming of the liour When Greece, her knee in suppliance bent, Should tremble at his power. In dreams, tlirough camp and court, he bore The trophies of a conqueror; In dreams his song of triumph lieard; Then wore liis monarcli's signet ring; Then pressed that monarch's throne — a Iving: As wild his thoughts, and gay of wing, As Eden's garden bird. h. At midnight, in the forest shades, Bozzaris ranged his Suliote band, True as the steel of their tried blades, Heroes in heart and hand. There had the Persian's thousands stood, There had the glad earth drunk their blood On old Platea's day; And now there breathed that haunted air The sons of sires who conquered there, With arm to strike and soul to dare, As quick, as far as they. 64 STUDIES IN voice; physical exercises. c. An hour passed on — the Turk awoke; That bright dream was his last; He wolie to hear his sentries sliriek, "To arms! — they come/ the Greek! the Greek/" H(^ wolio — to die midst flame, and smoke, And shout, and groan, and saber stroke, And death-shots falling thick and fast As lightnings from the mountain cloud; And heard with voice as trumpet loud, Bozzaris cheer his band: "Strike till the last armed foe expires; Strike — foryour altars and your fires; STRIKE — for the green graves of your sires-, God — and your native land." — Fitz- Oreen Halleck. Suggestive questions. What words in Art. 150 sliould have Explosive Form? What part needs Median Stress? Is the same party referred to in the first and second stanna? What sentiment prevails in each stanza? Is "Eden's bird" (150, a.) supposed to be different from other birds? What line shows climax in phrases (150, c. )? Whose words in the last four lines? What Stress on "Strike"? What difference in Pitch on " shout " and "groan " ? Why ? EMPHASIS. 65 LESSON XX. CmCULAR ARM MOVEMENT. EMPHASIS. 151. Repeat Article 148. 152. Drill Position. Without bending the arm, swing it from the shoulder forward, up, back, and down describing a circle. Let the movement be slow and steady. Perform it first with the right arm, then with the left, then with both together. Keep the trunk still, and make the circles as nearly parallel as possible. 153. Emphasis is any peculiar impressive- ness of expression. It is a mistake to suppose that Emphasis is only secured by lomlness. Anything which calls special attention to a word, emjjhasizes it. This may be done by:- tf. Speaking it with greater force. h. Speaking it with subdued force. c. Giving it more effusive form. (7. Giving it a peculiar stress. e. Pausing before it, or after it, or both. f. Changing the quality. g. Gesture or facial expression, or any other device which makes it specially prominent. 154. Ordinarily, in every sentence some words are more imjjortant than others. In speech these words are shown by the way in which they are spoken — they are 6G STUDIES IN voice; physical exercises. emphasized. In speaking thouglit previously prepared, or the thoughts of another, as in reading, one is liable to give a wrong emphasis because the thought is not fully realized and made one's own. Every different shade of meaning changes the emphasis, so if the mean- ing is not fully and accurately grasped, the emphasis will be wrong. Saying over words without any empha- sis is not much worse than throwing in the emphasis arbitrarily — without reference to the meaning. Every phrase has its emphatic word, every long sentence its emphatic phrase or clause, and nearly every paragraph its emphatic sentence. The reader should always run his eye ahead of his tongue to see what is coming. See how many differences of meaning you can give to the following by ch.anging the emphasis. Keep thy tonn'iie from evil, and thy lips from speaking guile. —SJi-lU Psalm. 156. Practice the following, and study to give all parts proper emphasis. What conscience dictates to bi- done. Or warns me not to do, This teach me more than hell to shun, That more than heaxcn pur.sue. — Pope's Universal Prtiyer, 157. L come, I come! yet have caJled me long; [ come o'er the mountains with light and song, \'r may trace my steps o'er the waldng earth By the winds which tell of the violet's birth, Bj' the jjrimrose stars in the shadowy grass, By the green leaves opening as I paps. — F'elicia Ilemnns. EXERCISES IN EMPHASIS. 61 158. Till rii is ii tide; in thu affairs of men, Which, taken at the fiood, leads on to fortune; Omitted, all llie voyage of their life Is bound in shallows and in miseries. — Shakespeare. 159. Rejieat Article 150. Sugijestive questions. What method of Emphasi.s is used mostly as you speak Art. 156? on " conscience? " on "not?" on "this?" on "heaven?" In Art. 157, which is more emphatic, "primrose" or "stars?" "leaves" or "opening? " What Pitch and Inflection on "come " to give proper emphasis? Do you notice a tendency to throw too much emphasis on the last word of a line or sentence? (For example, the second line in the quotation from Pope). Did you emphasize "is" and " the " in the first line of Art. 158? 68 STUDIES IN voick; physical exercises. LESSON XXI. BODY EXERCISE. POETIC READING. 160. Repeat Article 152. 161. Drill Position. Haiicls on the chest. Rise on tiptoe and reach straight up as far as possible with both hands. Return them to position on the chest while the heels return gradually to the floor. Bend forward and down at the Avaist and reach as near the floor as possi- ble without bending the knees. Return to jwsition with hands on the chest. Repeat the same slowly four times. 1 62- In reading poetry, Emphasis, Inflection and Pauses are often improperly combined to produce what is commonly called sing-SOng. The sense should never be sacrificed for poetic effect. With this caution, the reader should "bring out " the rhythm, the meter, and all the poetic art to its best advantage. Poetry that is well written will sound poetic if the thought is expressed to the best advantage. The reader should pause at the end of every line of poetry, but if there is no punctu- ation at the end of a line make the pause brief, and do not let the voice fall. ]5y keeping the Inflection right yon may make as long a })ause as you wish and the chain of thought will not be broken. The poetic effect is chiefly aided by the proper management of the time — Movement and Form — while Inflection and Emphasis must be determined alone by the sense. POETIC KEADING. 69 163. Avoid sing-song in your practice of the follow- ing. Apply the suggestions in Art. 162. *Up from the south at hreak of day, Bringing to Winchester fresh dismaj', The afTrighted air with a sliudder bore Like a herald in haste, to the chieftain's door, The terrible rumble and grumble and roar. Telling the battle was on once more, And Sheridan — twenty miles away. — T. B. Bead 164. Repeat Articles 1.56-158. S'ugge&tive fpiestions: What Inflection on "day"? (Art. 163) What brought "to Winchester fresh dis- may"? What Inflection on "bore"? The air "bore" what? Whither? What sound is imitated in the fifth line? What Pitch, Force and Movement to best repre- sent it? Wliat is the effect of Rising Inflection on "Sheridan," and a long pause after it? Where was this battle? What is the story that explains this stanza? (If you do not know, consult an encyclopedia, or ask ohicr people. In order to read well, the thought must be understood.) ♦Copyrighted b}' -J. B, Lippincott Co. 10 STUDIES IN voice; PHYSICAL EXEKCISES. LESSON XXTI. FOOT MOVEMENT. SOUND AND SENSE. 165. Repeat Article IGl. 166. Drill Position. Keeping tlie toes turned out at the same angle, advance the right foot one step to the front and then return to position, then one step to the right lateral, and back to position. Pro- ceed in the same way to the four points front, right lateral, hack- ward, left lat- eral (See Art. ISO.) Make each ste]) pnniipt and graceful, and tlirow tlie weight iES IN' voiok; physical exercises. It is tlie tone, rather than tlie words, which commands, entreats, questions, decides, offends, attracts, comforts or irritates us. 175. Speaker's Position. Practice on (9, expressing the following sentiments. Repeat again and again, pursuing tlie list forward and backward. Conversational : — a. Business. h. Friendly, c. Intimate. (I. Conlidential. e. Questioning. f. Protesting. f/. Deciding. //. Entreating. /. Despairing. 176. Repeat Articles 1G9-172. Suggestive qiiestions. Can you drive off ill feelings by speaking and acting pleasantly? Do we become like the character we assume? How do children tease and pout: with words, tone, action, or with all? What Movement and Stress in Art. 175, a? What Quality and Force in Art. 175, d? PART SECOND. Studies in Action; Vocal Exercises. LESSON XXIV. ACTION. DIRECTION OF GESTURE. 177. Repeat Article 173. 1 78. Speaker's Position. Practice tlie syllable, rtA, expressing the following emotions. Repeat as in Art. 1 75. Passionate: — a. Command. b. Question. c. Clialleiijjje. d. Anger. e. Apology. f. Chagrin. g. Pity. Ji. Joy. i. Surprise. j. Fear. 1 79. Action is the complement of voice in expressing our thoughts. As a rule no actior. should be used where the voice is sufficient. Too much 75 VC STUDIES IN action; vocal exekcises. action is distasteful, whether it be the grimaces of af- fected conversation or the spread-eagle delivery of the stump speaker. With this caution at the beginning, we may proceed to the study of where and how to use ac- tion as an aid to expression. The subject naturally divides itself into that of the hands, the arms, the feet, the trunk, the head, and the cmintenance. 180. The Hand in gesture may take any direction, but we must have a few terras by which to designate the different points. If you stand erect and imagine yourself somewhat as the axis of a large geographical globe of which your fingers, when swung at arm's length in every direction, describe the surface, you can easily imagine that sur- face as marked by the circles of latitude and longtitude. Sweeping the arm around horizontally you describe the equator. Raising the arm 45 degrees, your hand may describe another circle parallel with the equator, and 45 degrees below the horizontal you may describe another parallel. From these circles we can locate all gestures in Latitude, as Horizontal, Upper and Lower. Now sweeping the hand from pole to j)ole on the surface of our imaginary globe you may describe eight meri- dians 45 degrees apart, which will be sufficient to locate gestures in Longtitude. Thus we derive the following table of directions: — DIBECTION OF GESTURE. 71 GESTURES. In Longtitude. In latitude. F.— Front. Up. Ob.-Obhque I Le!t-L. Upper-U. f Right Lat. — Lateral J. Horizontal-Hor. ( Left. Right. Ob. B. -Oblique Backward -J Lower-Low. Left. B. -Backward. Down-D. Number and quantity increase from the Front to the Lateral; "All the world" is included by a Lateral gesture. If gestures were used on the sentence, " Mil- lions for defense, but not a dollar for tribute," a gesture with both hands near the Lateral might be used on " Millions," while one hand in Front would indicate "a dollar." Front gestures are most definite. Oblique Backward and Backward are used to rejjresent the past in time or place, also the disagreeable, as shown when we turn our back on that which is despised. Upper direction is given to objects, real or imaginary, located above, also to elevated and noble emotions and ideas. Lower direction is given to objects located below, and to that which is humble, base or despised in thought. Plorizontal gestures are given to the ordinary in thought or place. Ifi STUDIES IN ACTION-, VOCAL EXEKCISES. 181. Point to the twenty -six directions indicated in Art. 180, — Down, Lower Front, lit. Hor. Lateral, Rt. Oblique Upper, Left Ob. Backward Horizontal, etc. 182. Repeat Article 175. Siu/gestive questions. What words would indicate the direction of a gesture to the moon? In a gesture to the horizon would the raising or lowering of it one inch spoil it — in other words, must the gesture be pre- cise'? Whore shall we locate the horizon, level with the shoulder, or level with the eye? In speaking of the Deity if we use a gesture shall it be over the head, over the shoulder, or farther out? TUE SUPINE HANI). 79 LESSON XXV. LAUGHING EXERCISE. THE SUPINE HAND. 183. Repeat Article 178. 184. Speaker's jjosition. Pronounce the syllable, ha, in ordinary manner. Raise the Pitch and make the Form Explosive. Now twice in succession. Three times. Xow give it Force enough to make it a genuine hearty laugh. If some one laughs with the syllable, Te-he-he! all take that syllable and make the laugh as natural as the genuine. If you hear, Oh-ho-ho-ho! or Ili-hi-hi-hi ! or Ilu-hu-hu-hu! practice it. Try to enter into the spirit of it. See if you can discover what varying sentiment enters into different laughs. Which suits you individually best? Do you use different kinds at different times'? This "laughing practice" is one of the most valuable vocal exercises; it is healthful; and, as the laugh indicates the character, it is worth while to cultivate a proper hal;)it of laughing. 185. Tltepositions of the hmni are, Hiqiine, Averse, Index, Clenched, Prone, and Keflex. 186. The Supine Hand (See Figures vi, id, 20, '■31,) is most used. It is friendly, considerate and un- impassioned. It appeals to the judgment of the hearer. When the Supine Hand is used iu direct address the hand should always he drooped from the wrist enough so the person addressed can see the palm. Extend the 80 STITHIES IN Al'TIOX; VOCAL KXERCISES. hand supine toward a comj^any. Hold it a little too high so they cannot see the palm and they are omitted. Hold it so those in the center can seethe palm, but those Fig. 13. at the side cannot, and these last are excluded. The first finger should be straight; the others slightly and loosely curved. Practice until you get it just right. Anyone can tell when it looks right. To criticise your- THE SUFIXE IIANli. 81 self, practice before a mirror. In all stud)' of Action your glass may be made yom- greatest lielper. 187- Practice the following with supine hand as in- dicated: rt. "I am very glad to see vou. (y—Ann S. Stnvn.s. c. ( ), I h.-i\'i' passi'd a misi'i-ablc iiiu'lit. Lift Obl. Lower. So rullof ii'j:]y si;,dits, of ghastly dreams. 'itotli Obl. Lower." Botli Lateral Lower. — Sliiikespeiire. 194- Avoid all quick, nervous action. Do not thrust the liand out, but let it be limp till it comes to jiosition. The front edge of the hand should lead in all graceful gesture. If the back id' the liand leads, it will seem more as if you are going to slaj) sonn-tliiiig. 195- Repeat Article Iw*?. THE AVERSE HAND. 84 Suggestive questions. Which should be most used in Dpeech, Supine or Averse hand? What Quality is most needed with Averse hand? Which of your hands makes gestures with the greater ease? Why should the gesture l)e horizontal in Art. 19.3, h? Would the Supine or Averse better express hope? Contempt? Courage? Fear? Entreaty? What is the meaning of a gesture made too quick? Can you give Art. 193, a, with strength, authority, and firmness? Fis;-. 14. Opp. 85 THE INDEX HAND. 85 LESSON XXVII. EXERCISE IN " NO." THE INDEX HAND. 196. Repeat Ai'ticle 190. 197. Practice on the word, No: (I. Give conversational " No." //. Business " No ", (Make your questions wliort.) c. Questioning "No", (Is that so'/) a. Doubtful " No ", ( Perhaps ' ' Yes ". ) e. Positive "No ", (No dou.lit of it.) /. Resentful "No", ( You slioulJ not ask, ) //. Impatient " No ", (Don't bother me.) h. Inquisitive "No", (Do tell me about it.) i. Emphatic "No", (A thousand times, No!) You have heard of people who cannot say " No ". Which of the above do they use? Can you say " No" firmly, positively, and yet i)leasantly ? 198. The primary meaning of the Index Finger in gesture is deflniteness. In position and direction (objectively) it locates definitely. In ideas (subjectively) it denotes the same precision, or deflnite- ness of thought. By it the debater calls attention to the exact point at issue, the teacher explains particularly. In a downward gesture it asserts. Held erect in a front horizontal, it Avarns. Pointed at an object with the back up it expresses contempt, hence arises the phrase, " the fino-er of scorn ". It would be hard to use words 86 STUDIES IN action; vocal E\t.::;ciSES that would stir you to the same degree as to have one point the finger of scorn at you. Pointed at an object witli the edge of the liand up it only designates, with- out expressing any ill feeling. In all these cases it means detinitencss. 199- Practice the following with Index Finger: If. TjOciLtion. Thr (li'ceiit church that to])S tlic iiiMi.;iibi)riiin' hil:, Ohl. Upiiur. l>. iSroni. Let tliat plfbiuu talk; 'tis not uw traiie. lit. Hor l.;it. c. Ari/nnient. Consider this, Ut. Fr. Hor. Fore Ann. That, in the course of lusticc, ncmeof us Should see salvation. — Shakespeare. il. Affirifiatinn. ]!ut this 1 will avow, tha.t i liavc scorned, l;t. Fv. Uowli. And still ilo scorn t.i liidi' iii\' sense of wrong. — Orolii. c. M'linihiij. Ijoidiiel, Jjochiel, bewan; of the 'la>', l''r. Hor. When the lowlands shall meet theu in battle array. — Campbell. 200. Repeat Article 10.3. Sii.fif/e.ttive qiietstinns: AVhich exercise in Art. 19!) re- quires Effusive Form? Wh,at Inflection is wanted in Art. 199, b'i Should c be spoken in an arguing tone or authoritatively':' Should d be given with dignity or petulance'::' Why does a speaker point out on ids linger tips the sever.al divisions of liis topic':' Do you make all your g(>stures gracefully':' What constitutes grace of inovciuent ':' Fig. 15. Opp. 86. 87 sTUDiKs IN action; tocal bxeecises. LESSON XXVIII. PROJECTING THE VOICE. THE CLENCHED HAND. 201. Repe.at Article 197. 202. PiM.ctice on the words, " Over the boat." (Ijiiiig the boat over the river). Im.agine yourself by the side of a stream and desiring to get across. On the other side is a man with a boat. At first let the stream be narrow — tlie widtli of the school room. Then gradually increase the distance till you shout across a river half-a-:nile wide. Let the purpose be to throw the voice directly to the point aimed at, .as defi- nitely as you would fire a bullet. Loudness is not desirable so much as reaoliing power — the penetrative voice. It is this power which enables one to make him- self heard in a large room or by a large audience out of doors. Use I'ure Tone. Open the month round. Throw the tone forward. You may add to the value as well as interest in the exercise, by varying the expression from request to entreaty, command, etc. 203. The Clenched Hand expresses, prim- arily, force. It is not admitted in calm conversation. Passion and especially strong will make use of it. The THE CLENCHED HANT). conviction by the orator enforces liis .strongest clenched hand. Thi.s position of the hand is limited to two direc- tion.s — the horizontal front which is antagonistic, and the vertical downward which expresses con- oiction and v;ill. 204. Practice on the follow- ing. Let the gestures he slow and firm. A quick movement in gesture is weak. Great bodies move slowly. Let the hand come to the front liefore beginning the gesture. The front ('.s tJie atarting point for all graceful gesture. Never move the hand out in a straight line from the side. The skillful hand almost cdways moves in carves. Tlie clenched hand is an exception to this, but it should not be clenched until the " stroke"' F'S- l'^- of the gesture. a. yintagonistic: — I tell tlici; thoii'rt defied 1 And if thou said'st I am not peer To any lord in Scotland here, Lowland or highland, far or near, Lord Angus, thou hast lied. lit. Front. Hor. CI. — Marmiun- -Scott. 89 STUDIES TX action; yocai. exercises. b. Coiiniclloii : — W(-^ iiuist fii;lii: I iv]i,'at il. Sir: Wr uiust fiKht! Rt. Fr. li.iwii,Cl. c. (JoiiviiMon and Will: — I know not what course others may takr, but, as for me, give me liberty or <];ive me dcatli! " Buth Fr. Down CI. — Piitrirk Ilenyji. It is not to be understood that the gestures indicated in the examples given are the only ones that should he used. In the e.xauiples in this lesson from Scott's Mar- mion and Patrick Henry's speech, the context would be full of action. 205. Repeat Article 199. Sitgijestiue questions. Should a man, or a woman, use Clenched hand the more? Should Supine hand be used at all in Art. 204, a? If so, on what words? AVhat movement of the hand to indicate the change from far to near? -What is the feeling in b! Would patriot ism or anger most become the words in b and c? What (Quality in «, b, cf THE PKOXE HAXIl. 90 lp:s.s()X XXIX. AN INTERROGATION EXERCISE. THE PRONE HAND. 206. Kepeat Article 202. 207- Practice on the words, " Will you close the door? " a. Ask the question as if you ex|>ected an answer. b. Ask it as if you expected it done audnot answered. c. Ask it with authority. d. Ask it as a favor. e. Speak it as a command. f. As emphasizing a command which was disoheyed. //. Command it in a threatening tone. k. Speak it as a helpless person entreating for mercy. i. As a challenge, threatening the person if he does close it. j. Sjjeak it fawningly. Which of these do you think best for home useV 208. The primary meaning of the Prone Hand is repression or covering. It is the re- verse of the Supine hand, the palm is turned down. It has a great variety of uses, but all related to this ^;'?-<- niary meaning. The idea of the snow spread upon the earth contains also the idea of a covering. The idea of peace, (juict or stillness contains at the same time the Fig. 17. Opp. 91. THE PRONE IIx\.ND. 91 f^uppressiou of iioi.se or niovciiient and may be expressed by tlio Prone Hand. There is a gradual shading of tbis position into that of Averse Hand, as we would repress an action or thought which is disagreeable. As our emotions shade into one another, so our action combines different expressions. Hurpnse frequently combines somewhat of the disagreeable with an impulse to sujDpress it, so the hand expresses it by a jsosition be- tween Averse and Prone. Surprise, it is true, is often pleasing, but the pleasure follows the first impulse. 209- Practice the following as indicated: a. Covering. Under tho sort and the dew, Both Hand-s Prone Obi. Lower. Waiting the judgment day; Under the one the Blue; Under the other the Gray : —V. M. Finch, h. Repreimion. And soldiers whisper: " Boj's, be still; Lett. Fr. Hor. Prone. There's some bad news from Grainger's folks." — Ethel Lynn. 210. Combine the different gestures indicated in the following: On Ijinden when the sun was low, Rt. Hor. Fr. Supine. All bloodless lay the untrodden snow; Both Hor. Prone Fr. to Obl. And dark as winter was the flow Rt. Lower Pr. Av. Of Iser, rolling rapidly. Tracing the course of the river. — Hohenlinden — Campbell. 92 sTuiirBS IN action; vocal kxbrcisks. 211. Let the gestures be slow ami glide from one to the other gracefully. Avoid stiffness. The first line receives a gesture of direction, the second contains the idea of the ground being covered all over with new- fallen snow. Both of these are pleasing. The dark river has a forbidding aspect expressed by the jjartly Averse hand and yet jjartly Prone, as if repressing the dreadful scene that is to follow in the next stanza. Curiosity is thus awakened by the suggestion. The gesture iu the fourth line is descriptive, beginning with Prone and changing gradually, as the hand moves from left to right, into Supine. Locate the river as flowing across the scene so as to make the picture complete. Arrange it definitely in your mind as an artist who must paint it, then make your siiectators see it. You must see it yourself or they will not. 212. Repeat Article 204. /Suf/r/estive questions: Li Art. 207 could any of those ideas be better expressed by the aid of a gesture? What sentiment prevails in Art. 209, a? Should the gesture be more gentle than in ordinary business? Can you l>ring the hands to that jjosition without turning any angles? Do you avoid the apiKvaranoo of stiffness ill the hand? In Art. 209, b, do you change the tone at once when you leave the words of the narrator to give the words of the soldiers? THE EKFLEX HAND. 93 LESSON XXX. AN EXERCISE ON " HURRAH ! " THE REFLEX HAND. 213- Repeat Article 207. 214. P;actice on the word, " Hurrah! " a. Speak it in the oi clmary manner. h. As an expression of pleasant surprise .'. Expressing joy at good news, as the announcement of a holiday. d. As a signal for a frolic, for all to join. e. As a cheer for the victor in a game. ./'. - As exulting over an- other's defeat. y. As cheering a noble sentiment or action — a rousing cheer. 215. The Reflex Hand has the fingers bent up, as if holding something in the 94 STUDIES IN action; \-ocai, hxercises. hollow of it. It is only imitative and not much used. It may express giving, receiving, or holding. 216. Practice the following with gesture as indicated. a. Holding: — I hold in my hand a quantitj' nf saurt fr(.)m tho br>ti,jm Lett. Fr. Lower Eot. of llio sea, -which vicwL'd ^vitli a microscope becomts a liandful of pearls and shells of rare beautj'. h. JB egging: — Pity the sorrows of a poor old man, Whose trembling limbs have borue him to your door; Who.se days are dwindled to the shortlist S|)an, Oh, give relief, and heaven will bless your store. Fr. Hor. Ki-f. 217. Supplementary to the subject of the hand in gesture is the question, what to do with the hands when Iiefore an audience and not gesturing. Young S2:)eakers frequently find their hands to he in tlie way so that they feel awkward. Shall we keep them down at the side all the time? No, except the time he short. That is the normal position, but, long continued, would be wearisome to the audience as well as to the speaker. A dignified, graceful position, strong but not stiff, should be cultivated. One hand or both behind tho back for a change is allowable; also one hand with the thumb resting in the watch chain, or one hand in the bosom of the coat when it is buttoned, but not in the pockets or fumbling the chain. Go before a glass, see what posi- tions of the hands are becoming, then by force of will keep them in those positions without too frequent THE KEFLEX IIANTI. 95 changes. When the habit is formed tliey will cease to feel awkward. 218. Repeat Article 210. Suggestive questions. If you used a gesture on Art. 214, g, what direction should it take and what position of the hand? Can you speak Art. 216, a, as if it were real and your own thought, or do you give it a little as if you were declaiming it? What Stress and Move- ment in Art. 216, h? Can you stand and speak to the class with erect position, the hands where you want them, and yet feel easy, not stiff . 96 STUDIES IN action; vocal exercises. LESSON XXXI. AN INTERROGATION EXERCISE. THE ARM. 219. Repeat Artii-le 214. 220. Practice on the words, " Will you come in?" Aim to make this practice trulj^ represent different situ- ations and different people. If we could hear the re- ception of oanvassors and intimates, beggars and digni- taries, at the doors of the lofty and tlie lowly, we should notice many more varieties of sentiment than are here given. n this pipi.''.' OuUdenstern. My lui-il. I i':iii- iiot. Hum. I pray yoii. (Inil. liclii'vi' 1111', I ciiniinl,. Hum. 1 i\t> bi'Si'''Cli you. (I nil. I hiivi- nil tiiucli nf it, my liird. Hum. 'Tis as I'asj- as l\iiii;'. GiiNiTu tlii'Sc \'i'iita,u'i'S witli \ iiiii- fiiii^'i'i'S aiiil thumb, t;'i\'i' it ln'ratli witli yijur iiiiiuth, .-iinl it will (liscmu'Si' must fliKiuriit iniisir. — Hliakespeiiri'. 223. Oratorical— Full Arm. II). Forr.arm Gesture. My manors, bowers anil lialls, shall still lit. F. Hiir. Sup. Rt. Olj. Hor. Sup. lit. Hor. Lat. Sup lioMi Lat. Be opt'ii at my sovereign's will — Low. Su|i. Mv castles are m\' kiii.y's alone, lit. F. Hoi-. Sup. ■ Prom tiin-etto foundation stone. lit. U. Ob. Inil. Kt. Lowoioli,.Sup. -Scott. 224. Repeat Article 210, SiKji/estiuc qaestioiin : Would it he advantageous to use a gesture on any of the exercises of Art. 220? If 98 STUDIES IN action; vocal exercises. so, should it be forearm or full-arm gesture? Should the gestures in Art. 222 be on the more emphatic or less emphatic portion? Which requires the lower position of Supina hand, inviting or protesting? Would you use any imitative gesture on the last sentence of Art. 222? (Jan you make the transition smoothly from one tresture to another in Art. 223? POSITIONS OF THE FEET. 99 LESSON XXXII. AN EXERCISE IN COMMAND. POSITIONS OF THE FEET. 225. Repeat Article 220. 226. Practice on: — Forward, the Light Brigade I Charge fbr the guns! Orotund Quality: — a. Subdued Force. h. Moderate Force. c. Energetic Force. d. Impassioned Force. e. Rapid Movement. /. Moderate Movement. g. Slow Movement. Which Force and Movement best represent the com- mand to an army? 227. The feet of a speaker should ordin- arily occupy the First or Second Position (see Art. 8), but four other positions are sometimes used in very animated discourse and the higher flights of thought. In the Third Position the right foot is advanced a little more than in the First Position, the weight of the body is thrown on the advanced foot, and the heel of Third Position of the Feet Fig, 20. Bk. «9. Fifth Position of Feet. Fig-. 21. Bk. 100. 100 STUDIES IN action; vocal exercises. tlie left foot is slightly raised. The Fourth Position is similar to this with the left foot advanced. The Fifth Position differs from the First only in having the right foot farther advanced, and with it the right knee is bent. The Sixth Position advances the left foot similarly. These two are used only in strong passion or highly dramatic action. 228- The speaker should be free to change his ])Osi- tion but should avoid too frequent moving about, which indicates nervousness. A few steps advance direct or in a diagonal as one takes up a new phase of thought or rises to the stronger argument adds life and energy to his discourse. A retiring movement in concession or after the close of a paragraph is frequently a relief if formalism or sameness be avoided. The occasion and the character of the discourse determine the amount of action required. 229. Practice tlu', following from Rienzi's Address: — Rouse, yi: Komans! Roii.sc, yc shi\rsl AdvaiiL'C, Both Hi>r. Ob. Sup. 'M P. Rejiyut KL'stiirr. Have ye brave sons? Look in the next fierce brawl Rt. Ob. Hur. Sup. To see them die! Have ye daugliters fair? Loolv ]U. K. I>. Sup. Both Low. Ob. Sup. 6th 1'. (Fig 21.) To sei' tliem live, torn from your arms, distained. L. llor. 6b. Av. L. Low. OI>. Av. Dislionored! and, if ye dai-e call for iustice. L. 1). Lat. Av. " J{t, Hor. V. Sup. Jie answered by tlie lasli! Yet this is Rome Rt. n. K. Sup. Rotire. Tlial, sat \i|io]i lier seven hills, ;i,ik1 frcjm lier throne Of beaulA' ruled I lie woild. Moth llor. Lr,t. Su],. —Mitford. P0RITT07\TS OF THE FEET. 101 Suf/j/estive questions : What gestures should he used in giving Art. 226 as a command to an army? Is the object of action to express thought, or to attract atten- tion to the gesture';' Can you so enter into the spirit of Art. 229 that you hold the attention of the hearers on the thought and that they shall not think of you? You can see by their looks if you do. What position of the feet on the first lino of Art. 229? How long shall you continue that position? ] )2 STUDIES IX action; vocal exercises. LESSON XXXIII. A RECITATION EXERCISE. THE TRUNK, 231. Repeat Aiticle 2l!'J. 232. Practice on the following: He praycLh best, who lovcth best All things both great and small: For the dear God who loveth iis, He made and loveth all. — The Ancient Moriiur — Goleridgi. Give it, <(. Solemnly, very slow. l>. Sternly, Moderate Movement. c. Meditatively, Slow Movement. d. Reproachfully, Slow Movement. e. Kindly, Moderate Movement. f. As it should be; name the elements used. 233. The Positions of the Trunk or Body are four: Composed, Forward, Backward and Wavering. The Coinpose cun- versp ; Xut more disuiict rruin li:iriii!)ny rlivinc, Th(! constant cri-aking of a comilry sign. — Cmepir. Speak it in the tone tliat will most impress it on the miuil of the hearer, in the tone that would give instruction in the Make the tone pure and g'eiitle, yet forceful. Speak it slowly with Effusive Form. 249. The head is poised easily erect in normal thought. The head is inclined, — ti. Forward in thoughtfulness (see Fig. 23). h. Forward and downward in care. c. Fonvard with the neck di'oop- ing ill sadness. Pi,, 24. d. F'orward with the chin curbed in sullenness(Fig. 24 ). c. With the face upward in happines,s (Fig. 25). Pig. 23. most acrreeable form. 108 STUDIES IN action; Ydl^M, EXERf'ISES. /'. Backward witli tlie neck tinu in pride. //. Backward with tlio chin curbed in haughtiness. h. Backward with the neck relaxed in carelessness. /. Sidewise in questioning with one's self (Fig. 26). 250. Will expresses itself in the rigidness of the neck and curbing of the chin. Haughtiness and obstinacy both include a large degree of will, the one combining a sentiment of victory, the other of defeat. A lack of will, on the contrary, expresses itself in a limp neck and a protruding chin (Fig. 18.) 251. The carriage of the head thus becomes a very prominent indicator of char- acter. By cm-recting it, faults in the line indicated above may be overcome, while indulging in the ex- pression of any characteristic tends to confirm the charac- ter in that direction. You can also see that if you have allowed any wrong senti- ment to predominate, you should criticise yourself studiously, for otherwise it is possible for all men to read that fault in you. As y^ POSITION OP THE HEAD. 109 a practical hint: a good situation often turns upon the way the applicant holds his head. 252. Apply tlie aViove suggestions to practice on the following: — a. Thoughtful:— M}' tliouglits an- wliirled like a potti-r's wlji.-rl. — fi]inJ,-e.ipiu!re. h. Careless: — On Avitli the dunce! I^i't jny he iincoulineil. — Tii/rim. c. CTrumljling: — Lafly Teiisle, Laily Teasle, I'll not bear it! d. Teasing: — Sic Peter, Sir Peter, you may bear it or not as yna ])]easi'. I ovight to have my own way in everytliiiig, ami what's more, I will, too. — S/ieridnn. e. Sad, Questioning: — To be or not t.i be, that is the question. — Shakespeare. 253. Repeat Article 24.5. Stigf/estive ques- tions. What qual- ity, Stress and In- flection would be used to make Art. 248 a personal s a t i r e V How does a lazy man hold his head 'i The energetic Fig- 26. business man':' The dreamy sentimentalist':' The generous, noble-hearted 110 STUDIES IN action; yooai, exercises. man? The pouting boy? The arrogant one? What Stress in Art. 252, oy? What Pitcli" in Art. 2.52, h? WhatQnality in Art. 252,6'.^ What Movement in Art. 252, d? THE C(.)U>fTEXAJfCE. Ill LESSON XXXVI. A RECITATION EXERCISE. THE COUNTE- NANCE. 254- Repeat Article 24S. 255. Vocal Practice: — The melanehiily davs arr come, tlii' s.-idrlcst of tin- yi'iir, (>f wailiii,!;' wiiiils, ami naked svixuls, and Tiieadows brown and srrc. Heaped in llie hollows of Uie "Toni-, tlii' autiuiin lea\'i'S lied.-ad; They rustli'lo tlie eddying' i;iist. and to the rabbil."s tread. — Bryant. Put sadness anel nielaiiclioly into tlie voice. Each succeeding phrase expresses a change in the sentiment; let tlie voice Ijring out the wailing of the wind, the sereness of the meadows, the rustling of the leaves. The poet has chosen very fitting words to represent these ideas. Picture in your mind the situation and add to the pioet's art the expressiveness of voice. 256. Facial expression is the most potent of all action. But while it is the most potent it is the most difficult to direct arbitrarily. The eye has been called the window of the soul, and we all know how difficult it is to prevent the soul's real sentiment from showing itself in the face. Emerson says, "An eye can threaten like a loaded and leveled gun, or can insult like hissing or kicking; or in its altered mood, by beams of kind- 112 STUDIES IN action; A'OCAL hxbkcisbs. ness, it can make the heart dance with joy." And it is not our province to counteract that expressive nature, but to cultivate and to control it. We should not aim to make the face a blank or a falsehood, but to so direct our minds that we shall feel the sentiment that we wish and then express it in all its fullness by a truth-telling countenance. The whole study of elocution is largely a study in soul-culture. To make the voice or the action express happy, noble or refined sentiments we mast experience and cherish those sentiments. 257. The Eye is ordinarily free and flexible in its position, though not vacillating (rig. 2'7). A fixed position of the eye, or stare, || denotes abnormal thought. In abstraction and subjective thouglit the eyes have a blank look (Fig. 2:!). Tf you attract the attention of a person thus occin)ied to some external ob- ject of interest you may notice the markeersons. E\-ery yonng ])erson sliould study the expression of the conntenance until he can criti- cise himself and avoid liavintr bin THK COUXTENANCE. 115 Fis?. 30. face written over ■^'ith faults in temper. 263. The Mouth . or lipsflrmly set (Fig. 28) indi- cate positivenesR, and lax or drooping (Fig. 25) indicate light-lieartedness or vacancy of mind. Despondencj', pouting and anger all show themselves in the appearance of the mouth, so that we say one is " down in the mouth," " his lips curl " or "quiver." Also we say " tliere is a smile on the lips," or " the lips are saucy." 264. Every feature does its part iu telling the con- dition or the character of the soul. The cheeks Ijlush with modesty or shame and blanch with fear. The nostrils dilate with courage or generosity, and contract with meanness or stinginess. Delicacj', or hardness, patience or peevishness, kindliness or churlishness, cul- ture or crudeness, sweetness or sourness, breadth, inflen, when tlif sun was low, 1 ■Ml bloodless lay tlie untrodden snow, And dark as -winter was the flow Of Iser rolling rapidly. But Linden saw another sight, -t When the drum beat at dead of night, Commanding fires of death to liglit The olarkness of her scenery. \'>\ torcli and 1ruiii])et fast arrayi'd, Eacli horseman drew his battle blade. Anil furious every charger n; ighed To join the dreadful revelry. Thi'U shook the hills with thunder rivrn, 11! Then rushed the steed to battle drivi'n, And louder than the bolts of heaven, Far flashed the red artillery. Goncluihd in next lesson. 274. What style of composition is this? (Art. 2'iR.) What sentiment in the first stanza? Note the (liffereiicc hetween the first and secoiifl stanza as to sen- timent. The beautiful scene in the first with only a suggestion as to the carnage that shall follow makes the battle all the more vivid by the contrast when it comes. Let the delivery be in harmony with this effort of the ])oet. Picture to yourself a winter scene with its hills, HOHEXUXDEX. 123 woods, river and fresh-fallen snow. Would a gesture on the second line help to picture the snow all smoothly spread? Do not make the gestures too close to you, thus making the scene too small. Shall the culmination of the gesture be a fixed point or moving, as over a sur- face? Let the movement be outward from the front as a center. Nearly all graceful gestures start from tlie front as a center. Let the voice be Effusive on the first stanza. Did you emphasize " when " in the fii'st line or " was " in the third? You should not. Never sacrifice sense to meter. Why is the river said to be dark? Is winter darker than summer? Let the hand, Prone, trace the course of the river throughout the fourth line. Did you make it run up hill? Did you look at the river or your hand while you said it? Locate every- thing precisely and consistently as an artist would, and see it. On commencing the second stanza, what change in all the Elements of Voice? Did your voice sound like a "drumbeat"? What different sentiment would it arouse at "dead of night" and in day time? What were the " fires of death " ? Locate them with the hand. Supine or Prone? Are they pleasing or not? See the light Hashing on the undulating tree tops. Will a gesture aid that idea? Final Stress in the third stanza. Increase of Force. Say "rushed" so as to mean it. Also, "battle", "driven", "shook", "thunder", "riven". What vividness is gained by the poet's 124 ANALYSIS AND INDUCTTVE STUDY. assigning the soinid (loudness) to tlie iiash which attracts the eye! Do you jjersonate an actoi- in this scene, or a spectator? Is your countenance and Avhole body alert when you give it, as it would he if you wit- nessed the real scene'? Designate the artillery by the Prone hand, and indicate the " iiash " by suddenly rais- ing the hand from the wrist, giving it the Averse position. HOHENLINDBN. 125 LESSON XLI. ANALYSIS AND INDUCTIVE STUDY. HOHENLINDEN, Coiicluded. 275. But redder yet those fires shall glow, 17 On Linden's hills of stained snow; And darker yet shall be the flow Of Iser rolling rapidlj-. 'Tis morn, hut scarce yon lurid sun 31 Can pierce the war clouds rolling dun. Where furious Frank and fiery Hun Shout in their sulphurous canopy. The combat deepens. On, ye bra\i', 35 Who rush to glory or the grave! Wave, Munich! all thy banners wave. And charge with all thy chivalry! All! few sliall part where many meet ! 39 The snow shall be their winding slieet, And every turf beneath their feet Shall be a soldier's sejjulchre. ThomuK Camphell. 276. Where is the .sun? In front, oblique, or lat- eral, as you face the battle field? What is meant by "war clouds"? What Form and Stress in "furious Frank"? Meaning of "Frank" and "Hun"? Do the adjectives indicate their national characteristics? It may seem as if the last question has nothing to do with elocu- tionary expression, but this is a historic poem and we need to remember that the true interpreter of thought must appreciate its relation to other things in order to 126 sni.ErxiONS for analysis and practick. give it its fullness of meaning. For this reason the reader should know the history of this battle. What gesture on " sun '"? With the Prone hand, the upward "rolling" of the smoke could he designated. What change in voice to express, " Tlie combat deepens "? Enter into the spirit of it as a spectator who would cheer them on in the words, " On, ye brave." Suit a gesture to that idea including encouragement, advance, and great encrgjr. "On" is the imperative word and should receive the gesture. Let the body incline forward and join in the action. Avoid any tendency to turn the body sidewise to the scene; face it squarely. Let the countenance — the eye, the Virow and the lips be all alive to the desj.)erate culmination of the battle. (Arts. 2.5*7, 262, 2«.3.) Try a Front, Supine, upward gesture, and voice climacteric throughout the line. Withdraw tlie hand to position before the next line, on which a gesture of both hands Horizontal Supine may be used. Is the emphatic word, "charge", or "cliivalry"? What Quality, Sti-ess and Form do you give to "cliarge"? About how many people is it addresse energy TIOHENLI^r^)EN. 127 is gone. That little word, "Ah", should tell the whole tale of sadness and horror. Interjections give expres- sion to feeling when feeling overpowers thought. Suit the gestures to the succeeding thoughts. Do not let the body liecome at once composed. 128 SELECTIOlSrS FOR ANALYSIS AND PRACTICE. LESSON XLTI. ANALYSIS AND INDUCTIVE STUDY. 277. The Main Truck, ok A Leap For Life. Old Ironsides at anchor lay. In the harbor of Mahon; A dead calm rested on tlie bay, — The waves to sleep had goni;; When little Hal, the captain's son, A lad botli brave and good. In sport, np mast and risginn' ran. And on the main truck stood. A shudder shot through every vein, — All eyes "were turned on high I There stood the boy, with dizzy brain, lictween the sea and sl<}'; No liold had he above, below. Alone he stood in air; To that far height none dared to go, — Ko aid could reacli him tliiTe. Continued in, the ni'xt lexurin. 278. Wliat stylo of composition? (Art. 2(;R.) What sentiment in the first jiarf? To one who liad observed this scene wouhl it be visible in imagination as he related it? So sh.all it be to you. Conceive defi- nite ideas of it at each successive step. What sort of a vessel do you think "Old L-onsides " was — large or small? A pleasure boat, a freight carrier, a passenger vessel oi- a w.ar ship? Suit the voice to that idea. What beauty is suggested in tlie quiet water scene! THE MAIN TRUCK. 129 No wonder a boy would jjlay about the ship. What position of the hand in a gesture to indicate a " dead calm "? (Art. 208.) Were there any waves when they had " gone to sleep"? Can you show by your coun- tenance your admiration of " little Hal " ? Can you indicate the ascent with the Supine hand, clianging it to Index as you reach the top of the mast? At what point does the idea of danger first strike the mind? If you have felt a real admiring interest in the boy, that sense of danger is the more fearful when it conies. Tliat " shudder " shows itself in your voice and every feature. The hands at once assume the half-Averse position. The whole expression from that point through the stanza is one of hoi-ror and questioning what to do. At the same time one would w.atch the boy's every move. Note in what elements the voice is changed from what it was in the first part. The (Quality is changed from Pure to slightly Aspirated, the Pitch is lower, the Force is subdued as if fearing to distract tlie boy and cause him to fall. Action? Yes, or rather the repression of action. The hearer feels when the soul is stirred, even though the speaker suppress his emotion. To read that stanza with the soul un- moved is to make the reading belie the words, for all humanity is aroused with sympathy for a child in danger. Let the scene portrayed occu]iy your whoh> mind and let not present surroundings confuse the clear picture in vour imagination. 130 SELECTIONS FOR ANALYSIS AND PRA.CTICE. LESSON XLIII. ANALYSIS AND INDUCTIVE STUDY. 279. Ttih Main Truck, or A Leap for Life. Concluded. AVe gazed, but not a man could speak! With horror all aghast — Tn groups, witli iiallid brow and c.lieek. We watched the quivering mast. The at)iii)sphere gri'W tliick am! hot. And of a hu-id hue; — As riveted unto the spot. Stood officers and crew. The father came on deck: — he gasped, '■ O, God! tlw will be done! " Then suddenly a ritle grasped. And aimed it at his son. ".Tump, far out, boy, into the wave! .Tum|i, or I Are," he said, " That only chance your life can save; .Tump, jump, boy! " He obeyeil. ITe sunk — hi' rose — hi- lived— he moved — And for tlie sliip sti-iick out. ( >n b(jard we hailrd the lad beloved. With many a manly shout. His father drew, in silent joy, Those wet arms round his neck. And folded to liis heart his boy, — Tlien fainted on tlie deck. Walter Colton. 280. Is it' true thut sucli a situation takes one's breath away':" Tlu^ management of the ]iausino' is oiu'. of tlie diief studies in this lesson. Do not let the THE MAIN TRUCK. 131 etuotion subside, but ratlier increase to the climax. What made the '• atmosphere thick and hot? " Have you any idea what time of day it was? Is there another reason for that expression? Ordinary language repre- sents impressions rather than literal facts, for example, the fourth stan/.a of Art. 2*73, "Then shook the hills with thunder riven," also Psalm 114, 4. Would it add an element of hope to have the "father come on deck? " A new interest is aroused to see what he will do. When you speak the father's words shall you say them as he did, as nearly as possible? What sentiment prevails in his first statement of exclamation? What in his command? Let the words ring out in Explosive Form, almost Impassioned Force, and Final Stress. The scene indicates a man of quick decision and powerful will — a captain in fact as well as in name. Give the narra- tive words, "he said," and "he obeyed," in your own tone; do not project the father's tone into them. Did your eyes follow the Ijoy in his downward course as he jumped? They would if you really saw him. With what eager suspense you would watch for him when lie sunk till he rose. Almost despair, turned into hope and increased to joy as he lived and moved. Let the action be such as an interested spectator would use if the scene were real — body forward, hands half raised almost Averse as he sinks, changing to Supine and rising toward the horizontal as he rises, &c. And when he is saved there is a happy relaxation of mind and body. 132 SELECTIONS FOR ANALYSIS AND PRACTICE. LESSON XLIV. ANALYSIS AND INDUCTIVE STUDY. 281. HavinCt a Clean Mouth. My boy, the first thing you want to learn — if you haven't learned to do it alrcad}' — is to tell tlie truth. The pure, sweet, refreshing, wholesome truth. The plain unvarnished, simple, everyday, manly truth, with a little "t". Truth with a big "T" — the vague, intangible, unmeaning Truth of a man with an " ism " and the woman with a fad— has been arrayed by her votaries in so many robes of garish hues and ever-varying colors, that Joseph in his Sunday coat, would look like a nun in mourning along side of her. Just you tell the truth. — Continued in the next lesson. 282. Wliat is the style of composition? What Ek'inents of voice suit that style in general. Who is represented as speaking? What idea do you form of his character, age, disposition toward boys? The tone in this example, as well as the manner, must be entirely personal and yet very kindly. The speaker feels a genuine friendship for this boy. His talk has none of the apparently distant feeling which boys sometimes call " lecturing" them. Did you speak it as if you had a real interest in tlie boy's welfare so that " My boy " seemed like a father's words rather than the words of an owner? That same first sentence could be said in such a way as to reprove the boy for an untruth just told, but that would hanlly be in keeping with the gen- eral temper of the talk. The body should not be rigidly HAVIN(; A CLEAN MOUTH. 133 erect. Theru is more iu liow you say it than in what is said, to make the right inijjression on a boy. If there is action of the hands — and there probably would be in really free conversation — it should be not demonstrative but easy, graceful Forearm gesture; not the full large gesture of public address, not the Oblique or Lateral gesture, whicli would be impersonal in its object and more general in its thought, not a downward gesture of emphasis or positivoness, which would indicate authority or compulsion, while in fact anyone coAi tell untruths if he will do it. The poise of the head will need attention too. Do not yield to the feeling that the more you try, the less you succeed, in being easy and graceful. There is a grace that comes from self-f orgetf ulness, but it is the grace of the sleep walker, and not much safer for the speaker to rely upon. For just at the critical moment some untoward circumstance may compel his attention to what he is doing, and occasion a fall, unless his powers are trained to act at the direction of his will. 134 HELECTIONS FOB ANALYSIS AND PBACTICB. LESSON XLV. ANALYSIS AND INDUCTIVE STUDY. 283. ILvviNci A Clean Mouth, C/Oiitiuued. Foi'diie thing it will save you so mvicli trouble. Oh, heaps nf trouble. And no end of hard work. And a terribh; strain upon your memory. Sometimes — and when I say sometimes, I mean a great many times — it is hard to tell the truth the first time. But when you have told it, there is an end of it You have won the victory; the fight is over. Ne.xt time you tell that truth you can tell it without thinking. Your memory may be faulty, b\ii you till your story without a single lash from the stinging whip of that stiTu old task-master. Conscience. You don't have to stop and remember how j'ou told it yesterday. You don't get half through with it and then stop with the awful sense upon ,MJU that you are not telling it as you did the other time, and cannot ri'member just how you did tell it then. Yo\i won't have to look around to see who is there before you begin telling it. And you won't have to invent a lot of new lies to re-(>nforce tln' old one. After .Vnanias told a lie his wife had to tell another just like it. You see if yovi tell lies you are apt to get your whole family into trouble. Lies always travel along in a gang with their coequals. — Continued in the next lesson. 284. Notice the effect of many short sentences — making it simply conversational, vivacious, with frc- ijuent lively turns in the thought. Strive to preserve these same qualities in speaking it. Avoid the arguing tone — the tone which tries to convince him of what you are saying. Rather assume that he believes you, that be trusts every word, and use the tone and manner that would simply call to mind that which will commend itself HAVING A CLEAN MOUTH. 135 to his own judgment. Be tlio friend that would point outtoliini the be.st road with a confidence that he would choose tliat road himself if he knew the facts. With all the humor that the author has put into this selection it is wo written as to leave a serious impression. You have heard serious things so said as to make them ridiculous, here we have the exact converse of that. Can you analyze those two cases and tell what it is in the voice and action that makes people laugh at what is meant to be serious, and how it differs from this case V This selection will need much practice to make it life-like. The voice is modulated most frequently in the simple conversational style of speaking. The changes are slight but frequent. The Inflection is con- stant and varied. Emphasis must be correct, and Pauses are important. There are two common faults in speak- ing this kind of thought, the monotonous, in which the voice is not modulated enough, and the mechanical, in which the voice is modulateil arbitrarily — without re- gard to the sense. The latter is sometimes called Inton- ation. 13tj SELECTIONS FOR ANALYSIS AND PKACTICE. LESSON XLVI. ANALYSIS AND INDUCTIVE STUDY. 285. Having A Clean Mouth, Continued. iVnd then, it is su foolish for you to lie. You cannot pass a lie oir for the truth, any more than you can get counterfeit money into circulation. The leaden dollar is always detected before it goes verj' far. A bogus quarter is always found out in a little while. When you tell a lie it is known. Yes, you say "God knows it?" That's right; but he is not the only one. So far as God's knowledge of it is concerned, the liar does not care very much. He doesn't worry himself about what God knows — if he did, he wouldn't be a liar; but it does worry the man, or boy, who tells lies to think that everybody else knows it. Tlic otlier boys know it; your teacher knows it; people who hear you tell "whoppers" know it; your mother knows it, but she won't say so. And all tlie people who know it, and don't say anything about it to you, talk about it to each other, and— dear! dear! the things they say abovit a boy who is given to telling big stories.' If he could only hear them it would make him stick to the trutt like flour to a miller. — Robert J. Burdettc. 286. Now, please do not become impatient because you have this third lesson on the same selection. The only trouble is that there is not more time to give to every selection. A fortnight of persistent, energetic practice, drill and study on such a selection is the least with which you should hope to master it. Which is more emphatic, " so " or " foolish V " Will it be an advantage to put a circumflex slide on " foolish 'i " Should "money" or "circulation" have the greater HAVING A CLEAN MOUTH. 137 emphasis? Let the reading bring out the comparison between, "leaden dollar," "bogus quarter" and "tell a lie." Also you can add to the effect l)y a slight climax (Art. 149), in speaking those three sentences. Do not use a circumflex on " God knows it." That would be suggesting that the boy is a scoffer, which is not in harmony with the general character that is given him. It is assumed that he is more noble than that, even if it be only assumed. How do you bring out the contrast between what "doesn't worry " and " docs worry " the liar? More, or less force on " but she won't say so?" What reason is implied why she won't say so, since the others tell it among themselves? In the expression, "and — dear! dearl" do not emphasize "and." Very few pupils can read right uji to a dash as if there were no dash there, but the very purpose of the dash is to indicate an unj)remeditated break in the speech. What feeling should l)e expressed by the interjection, "dear! dear!"? Petulance? Chagrin? Exultation? Sorrow? Dread, or something else? Can you suit a gesture to the exclamation that will help to express the feeling? A very slight turning away of the head together with Averse hand may sometimes be used even in conversa- tion to express a disagreeable thought. 138 SELECTIONS FOK ANALYSIS AND PKACTICE. LESSON XLVII. 287. The AjiEPacAN Flag. WliPii Freedom from ln'r mountain heisbl, Unfurled her standard to the air, She tore the azure robe of night, And set the stars of f;lory there! Slie mingled with its gorgeous dyes The milky baldric of the skies. And striped its pvire celestial white With str(-'akings of the morning light; Then, from his mansion in the Sun, She called her eagle bearer down. And gave into his mightj' hand, The symbol of her chosen land ! Majestic monarch of the cloud! Who rear'st aloft thj' regal form. To liear the tempest-trumpings loud. And see the lightning lanci'S drivim When strive the warriors of the storm, And rolls the thunder-drum of heaven, — Child of the Sun! to thee 'tis given To guard the banner of the free, To hover in the sulphur smoke. To ward away tlie battle-stroke. And bid its bhmdings shine afar. Like rainbows on the eloud of war. The harbingers of \ictoryl — CJnntUiUAd in th,e iii'ji lessor. 288. Style of composition':' Prcv.ailing seutiiuenl? Mucli emotion, or little? What general difference between the first and second stanzas'? As a rule, the voice at the beginning of every speech should be keyed near to the common sentiment of the audience. Unless THE AMEEICAX FLA(J. 139 something has already raised their thoughts above the commonplace the speaker should commence in an unim- jjassioned tone. It may be dignified, it may be strong, it may be snergetic or joyous, but it should not be far above the general sentiment of the hearers lest they be taken by surprise and fail to follow the thought. As when, without any apparent cause of alarm, a speaker starts with a torrent of passion, the people wonder what has happened to him that he should take on so, and fail to enter into the spirit of what he is saying. And if he once runs away from them it is not so easy again to get command of their minds. The occasion may have already stirred all hearts with emotion, in which case the speaker will be in no danger of over- reaching them. For the reasons just stated, no gesture will probably be wanted on the first two lines of this selection. Freedom is here personified as a majestic woman, and the leading idea is, where she got the design and the colors for the flag. For this reason the gesture on the third line should not be imitative of the " tearing " nor of placing the stars on the flag, but rather a simple gesture of direction to the broad ex- panse of blue sky, the scattered stars, the Milky Way, and the morning glow, successive. Do not put the first gesture too high. We do not ordinarily see the sky directly overhead. Study each point in the picture and let the expression increase in loftiness to the full sublime in the second stanza. 140 SELECTIONS FOB ANALYSIS AND PKACTICB. LESSON XLVIII. 289. The Amebioan Flag, Continued. Flag of the brave! thy folds shall fly, The sign of hope anrl triumph liigh! Wlicn spealietare, or declara- tive, giving force and clearness to declarations? 144 SELECTIONS FOE ANALYSTS AND PRACTICE. Tliis is a style of delivery that is worthy of much atten- tion, since real life affords so many occasions for using it. In all affairs where men deliberate for united action there is need of this persuasive style — in business, in politics, in religion, in public and in private life. It is argument, though not deliate. It is full of noble emo- tion, luit not impassioned. Occasions are rare in which impassioned oratory is demanded. But occasions are ever ])resent which demand emotion to stir men's sours and cause them to act. The action in this speech should be sti'ong rather than abundant. It should be free, graceful and dignilied. It should indicate decision and earnestness rather than determination; it should be Front to Oblique in Ijongitude, and in the upper plane as well as the lower and downward lines. It is an ap- peal to men's juilgment which recpiires mostly the Sujiine hand. There is definiteness in the third para- grajih which may call for the Index finger. There is hope, and there are great interests at stake demanding heroism, both of which express themselves in ujiper- plane gestures. But more than all else there is an earnestness and loftiness of ])urpose which express themselves in the carriage of the body, the ]>oise of the head and the soul-fire in the ey(^. LIUEETY. 145 LESSON L. 293. Liberty, Continued. In the universe tliere is no trust bo awful as moral freedom; iUjil all giJDil civil freedom depends upon the usi; of that. But look at it. Around every human, every rational being, is drawn a circle; the space within is cleared from obstruction, or, at least, from all coercion; it is sacred to the biiing himself who stands there; it is .secured and consecrated to his own responsi- bility. May I say it? — God himself does not penetrate there with any absolute, any coercive power! He compels the winds and waves to obey him; he compels animal instincts to obe}' him; but he does not compel m-an to obey. That sphere he leaves free; he brings iullui.'jices to bear upon it; but tlie last, final, solemn, infinite question between riglit and wrong, lie leaves to man himself. Ah! instead of madly delighting in his freedom, I could imagine a man to protest, to complain, to tremble tliat such a tremendous prerogati\'e is accorded to him. But it is accorded to him; and nothing but willing obedience can discliarge that solemn trust; uotliing but a heroism greater than that which lights battles, and pours out its blood upon its country's altar — the heroism of self-renunciation and .self-control. Come that liberty! I invoke it 'with all the ardor of tlie poets and orators of freedom; with Spenser and Milton, with Hampden and Sidney, with Kienzi and Dante, with Hamilton and Wash- ington, I invoke it. Gome that libert3'! Come none that does not lead to that! Come the liberty that shall strike off every chain, not only of iron, and iron-law, but of painful constric- tion, of fear, of enslaving passion, of mad self-will; the liberty of perfect truth and love, of holy faith and glad obedience! — OrvWe DeiDey. 294. In this selection we have a climacteric advance from beginning to end — not continuous, each paragraph 14G SELBCTIOXS FOR ANALYSIS AND PEACTICB. constitutes a climax, ami the mind relaxes somewhat before beginning the next; but each paragraph as a whole is a step higher and stronger than the preceding. The delivery should conform to this character of the composition. Manage the breath in the long sentences so as to give them smoothness. Manage the Inflection so as to avoid sameness and yet preserve continuity of the thought. To preserve the thoughtfulness of this selection — the philosophic, compact thought, and yet give it all the energy of powerful emotion; to reiterate, to illustrate, and yet make every word add to what has gone before; and all the while to keep the emotion sub- ject to accurate reasoning; will give scope to all the powers of tlie orator. You can do it. Study the author's thought till you have it clear. Criticise your every tone; prune every gesture; enter into the spirit of responsibility that the thought calls for, into sym- pathy with the noble land and time in which you live; and then drill, JrlU, dktlt,, till you express it. Supplementary Selections. ASPIRATIONS OF YOUTH. Higher, higher, will we climb, UiD the mount of glory, That oiir names may live through time In our country's story: Happy, wlien her welfare calls, He who conquers, he who falls. Deeper, deeper, let us toil In the mines of knowledge; Nature's wealth and learning's spoil, Win from school and college; Delve we there for richer gems Than the stars of diadems. Onward, onward, may we press Through the path of duty ; Virtue is true happiness, Excellence true l)eauty. Minds are of celestial hirth, Make we then a heaven of earth. Closer, closer, let us knit Hearts and hands together Where our fireside comforts sit, In the wildest weather; O! they wander wide who roam For the joys of life from home. — James Moiii (joinery. 147 148 SUPPLEMENTAKY SELECTIONS. THE ORGAN IN WESTMINSTER ABBEY. The sound of casual footsteps liad ceased from the abbey. I could only hear, now and then, the distant voice of the priest repeating the evening service, and the faint responses of the choir ; these paused for a time, and all was hushed. The stillness, the desertion and obscurity, that were gradually prevailing around, gave a deeper and more solemn interest to the place. " For in the silent grave no conversation, No joyful tread of friends, no voice of lovers, No careful father's counsel — nothing's heard. For nothing is, bxit all oblivion. Dust, and an endless darkness." Suddenly the notes of the deep-laboring organ burst upon the ear, falling with doubled and re- doubled intensity, and rolling, as it were, huge billows of sound. How well do their volume and grandeur accord with this mighty building ! With what pomp do they swell through its vast vaults, and breathe their awful harmony through these caves of death, and make the silent seimlcher vocal ! And now they rise in triumphant acclamation, heaving higher and higher their accordant notes, and piling sound on sound. And now they panse, and the soft voices of the choir break out into sweet gushes of melody. They soar aloft, and warble along the roof, and seem to play about these lofty vaults like the pure airs of heaven. Again the pealing organ heaves its thrilling thunders, compressing air into EACH AND ALL. 149 music, and rolling it forth upon the soul. What long-drawn cadences ! What solemn, sweeping con- cords ! It grows more and more dense and powerful ; it fills the vast inle. and seems to jar the very walls. The ear is stunned, the senses are overwhelmed. And now it is winding up in full jubilee ; it is rising from earth to heaven. The very soul seems rapt away and floated upwards on this swelling tide of harmony ! — Washington Irving. EACH AND ALL. Little thinks, in the field, yon red-cloaked clown Of thee from the hill- top looking down; The heifer that lows in the upland farm, Far-heard, lows not thine ear to charm; The sexton, tolling his bell at noon. Deems not that the great Napoleon Stops his horse, and lists with delight. While his files sweep round yon AlxDUie height; Nor knowest thou what argument Thy life to thy neighbor's creed has lent. All are needed by each one; Nothing is fair or good alone. I thought the sparrow's note from heaven, Singing at dawn on an alder bough ; I brought him home, in his nest, at even; He sings the song, but it pleases not now, For I did not bring home the river and sky; — He sang to my ear — they sang to my eye. 150 SUPPLEMENTAEY SELECTIONS. The delicate shells lay on the shore; The liubbles of the latest wave Fresh pearls to their enamel L;ave, And the bellowinsj; of the savage sea Greeted their safe escax^e to me. I wiped away the weeds and foam, I fetched my sea-born treasures home; But tlie poor, unsightly, noisome things Had left their beauty on the shore, With the sun, and the sand, and the wild uproar. The lover watched his graceful maid, As "mid the virgin train she strayed, Nor knew her beauty's best attire Was woven still by the snow-white choir. At last she came to his hermitage. Like the bird from the woodlands to the cage; — The gay enchantment was undone — A gentle wife, but a fairy none. Then I said, '' I covet truth; Beanty is unrii^e childhood's cheat; I leave it behind with the games of youth." — As I spoke, beneath my feet The ground-pine curled its pretty wreath. Running over the cIul.)-mo,ss l)urrs; I inhaled the violet's breath; Around me stood the oaks and tirs; Pine-cones and acorns lay on the ground; Over me soared the eternal sky. Full of light and of deity. SLEEP. 151 Ai^-aiu I saw, again I heard The rolling river, the morning bird; — Beanty through my .sense.s stole: I yielded myself to the perfect whole. — Ralph Waldo Emerson. SLEEP. The siesta is the short sleep after dinner, and fif- teen minutes' worth of it is one of the best daily in- vestments of time a busy man or woman can make. Slumber is the light sleep, varied by startling facial contortions and sudden spasmodic motions of the lind)s, accompanied by compulsory silence all over the house, which is the rest of infants. Insom- nia is sleeping wide awake in a state of irritable im- liecility. It is the coumion lot of actresses and liter- ary people who are in need of rest or advertising. A "nap" is the passing rest of a school teacher who is just far enough "gone" to appear dt^ceitful, and wide enough awake to catch the smart boy who thinks that all things are what they seem. A '"doze" is the hid- eous sleep of a man who goes to sleep with his eyes wide open while you are talking to him, hxing upon you a glassy stare that curdles your blood and makes you forget what you were trying to say. To ■■just droji off for a second" is the term aj^plied by the of- fender to the act of going sound asleep in church with one's head hanging over the back of the pew, the mouth wide open, and the operator snoring like a 152 SUPPLEMENTARY SELECTIONS. house alire until the deacon hits him on the head with a collection basket, or the choir rises to sing the last hynni. To jam yourself up against your father's back, crowd him out of bed twice or thrice during the night, and to lie habitually across the middle of the bed, is the "'sound sleep"' of boyhood. To make ter- rific noises with the nose all night long, while lying like a log in cme xjosition. is the "sweet sleep'' of the laboring man. To punctuate one's slumber by sud- den blood curdling yells in the middle of the night, is called "sleeping" by people who quaff a flagon of the New England national drink called pie for a night cap just before going to sleep. To lose sound of the voice of the person addressing you, to have the room pass in a misty blur before your eyes, and to sink into utter oblivion for about ten minutes is called " yawning " by very polite i^eople. " To feel a little drowsy " is the term applied to his condition by the man who sleex^s seven stations past the iDlace where he wants to get off'. To fold the hands upon the breast, nestle the head i)i the folds of a snowy pil- low, straighten the sha^jely limbs, and arrange the figure gracefully, with lightly closed eyes to pass the night in a mist of pleasant dreams and entrancing visions, with an accompaniment of soft, regular breatliijig, scarce audiljle to i^eople on the next block, is to sleep like a Christian, as I do. — Bobcii J . JJurdctte. THE TOWN OF " USED-TO-BE." 153 THE TOWN OF " USED-TO-BE." Grandma lives in a funny place, The town of " Used-to-be," Where streets are '' turnpikes," and peoxale are "folks, And a nice hot supper a '■ tea." '' Where is the town of ' Used-to-be?' " In grairdnia's memory iDriyht. " The way?" Upstairs, to o-randma's room (The cosy one on the right). " When can you go there?" Twilight's best, For the dreamy glow in the grate Lights the way to the town of " Used-to-be," And nobody need to wait. Then ho, for an hour in the dear old town, And hey, for the husking-bee. And oh, the dancing in stiff brocade. And ah! the trysting-tree. And ugh! the sermons, two hours long. And three of them. Sabbath day. In a '■ meeting-house," so cold and drear. Where the "foot stove" held its sway. But if grandma shows you a summer scene In a farmhouse and orchard fair. With rows of cheeses ou dairy shelves. And bees in the clover=sweet air. 154 SrPPLEMESTAEY SELECTIONS. Aiicl there beyond, in the kitchen wide, (Jifindnia, herself, at the wheel, Spinning-, RinL;-ins, a fair young- bride, You say, for you can but feel — " What a dear, dear town of ' Used-to-be T" But grandma's voice drops low. And slie says, with a half-sad, half-sweet smile, " 'Twas all so long ago." — Selected. A THUNDER STORH ON THE ALPS. Clear placid Leman! thy contrasted lake. With the wide world I dwell in, is a thing Which warns me with its stillness to forsake Eartli's troubled waters for a purer spring. This (juiet sail is as a noiseless wing- To waft me from distractions; once I loved Torn ocean's roar, but thy soft murmuring Sounds sweet as if a sister's voice reproved. That I with stern delight should e'er have been so moved. All heaven and earth are still; though not in sleep. But breathless, as we grow when feeling most; And silent, as we stand in thoughts too deep: All heaven and earth are still: from the high host Of stais, to the lulled lake and mountain-coast. All is concentered in a life intense, Whci-e Dot a beam, nor air, nor leaf is lost. A THUNDEE-RTOKM ON THE ALPS. 155 But hath a part of bein^. and a sense Of that which is of all, creator and defense. The sky is changed! and such a change! O night, And storm and darkness, ye are w(jndrous strong! Yet lovely in your strength, as is the light Of a dark eye in woman! Far ahjng, From peak to peak, the rattling crags among. Leaps the live thunder! — not from one lone cloud. But every mountain novi' hath found a tongue; And Jura answers through her misty shroud, Back to the joyous Alps, who call to her aloud! And this is in the night: — Most glorious night! Thou wert not sent for slumber! let me lie A sharer in thy tierce and far delight — A portion of the tempest and of thee! How the lit lake shines! — a phosphoric sea! And the big rain comes dancing to the earth! And now again, 't is black; and now, the glee Of the loud hills shakes with its uKjuntain mirth, As if they did rejoice o'er a young earthquake's birth. Now, where the swift Rhone cleaves his way between Hights, which apijear as lovers who have parted In hate, whose mining dexjths sf) intervene. That they can meet no more, though broken- hearted; Ir56 SUPPLEMENTARY SELECTIONS. Thous-li in their souls, which thus each other thwarted, Love was the very root of the fond rat!:e. Which blighted their life's bloom, and then — dexjarted! — Itself expired, Ijut leaving them an age Of years, all winters — war within themselves to wage; Now, where the quick Rhone thus hath cleft his way. The mightiest of the storms has ta'en his stand! For here, not one, but many make their play. And Hing their thunder-liolts from hand to hand, Flashing, and cast around! Of all the band. The brightest through these parted hills hath forked His lightnings — as if he did understand, That in such gaps as desolation worked. There the hot shaft should blast whatever therein lurked. — Lord Byron. THE CHRISTMAS TREASURES. I count my treasures o'er with care, — A little toy that baby knew — A little sock of faded hue — A little lock of golden hair. THE CHEISTMAS TEEASUEES. 157 Long years ago this Cliristmas time, My little one — my all to me — Sat robed in -vvliite, upon my knee, And heard the Merry Christmas chime. " Tell me, my little golden-head, If Santa Glaus should come to-night. What shall he bring my l)al)y In'inht — What treasure for my boy? " I said. And then he named the little toy. While in his round and truthful eyes There came a look of glad surprise That spoke his trustful, childish joy. And as he lisped his evening prayer. He asked the boon with baby grace, And toddling to the chimney place. He hung his little stocking there. That night, as length iiing shadows crept, I saw the wdiite-winged auLjvIs come With music to our huml)le home And kiss my darling as he slept. They must have heard his baliy prayer. For in the morn, with giowins;' face. He toddled to the chimney place And found the little treasure there. They came again one Christmas tide — That angel host, so fair and white — And singing all the Christmas night, They lured my darling from my side. 158 SUPPLEMENTARY SELECTIONS. A little sock, a little toy — A little lock of golden hair — The Christmas nnisic on the air — A watchino- for my baby boy. But if again that angel train And golden-head come back for me, To l)ear me to eternity, My watching \\\\l not be in vain. — Eiificm' Field. CHARACTER AND ITS REVELATORS. The human face antl form are clothed with dignity in tlud the tleshly pages of to-day show forth the soul's deeds (jf yesterday. Experience teaches us that occupation atlVcts the body. Calloused hands betray the ai-tisaji. The grimy face proclaims the collier. He wIkjsc garnKmts exhale sweet odors need not tell xis that he has lingered long in the fragrant garden. But the face and foim are ecjually sensitive to the .spirit's finer woikings. Menial brightness makes facial illuminatinn Mural obliquitj' dulls and deadens the featui'es. There never was a handsome idiot. There nevei' can be a Ijcantifnl fool. But sweetness and wisdom will glorify the plainest face. Physicians tell us no iidcnsity of disease avails for expelling dignity and majcsly from a good man's countenance, nor can physical suffering destroy the sweetness and jnuity of a noble woman's. It is said that after his forty days in the mount Moses' face CHAEACTEE AND ITS EEVELATOES. 159 shone. All the artists paint St. Cecilia with face uplifted, listening to celestial music, and all glowing with light, as though sunbeams falling from above had transfigured the face of the sweet singer. Those who beheld Daniel Webster tluring his delivery of his oration on the pilgrim fathers say that the states- man's face made them think of a transparent bronze statue brilliantly lighted from within, with the lumi- nosity shining out through the countenance. But the eyes are the souhs chiefest revelators. Tennyson spoke of King Arthur's eyes as "pools of purest love." But as there is sediment in the bottom of a glass of impure water, so there is mud in the bottom of a bad man's eye. Thus, in strange ways, the body tells the st(jry of the soul. Health hangs its signals out in rosy cheeks ; disease and death foretell their story in the hectic flush, even as reddeinng autumn leaves foretell the winter's heavy frost ; anxious lines upon the mother's face betray her secret Irardens ; the scludar's pallor is the revelation of his life, while the closely knitted forehead of the mer- chant interprets the vexing problems he must solve. Thinking of the pathetic sadness of Lincoln's face, all seamed as it was and furrowed wdth care and anxiety, Secretary Stanton said that the President's face was a living page, upon which the full history of the Nation's battles and victories was written. We are told that when the Waldenses could no longer sustain the ghastly cruelty of the inquisitors, they fled to the mountain fastnesses. There, worn out by sutfering. the brave leader was struck with death. Coming forth from their hiding places, the fugitives 160 SUPPLEMENTARY SELECTIONS. gathered around the hero's bier. Stooping, one lifted the hair from the forehead of the dead youth and said : "This boy's hair, grown thin and white through heroic toil, witnesseth his heroism. These, the marks of his fidelity." Thus, for those who have skill to read the writing, every great man's face is written all over with the literature of character. His body condenses his entire history, just as the declaration of independence is condensed into the limits of a tiny silver coin. Calm majesty is in the face of Washington ; pa- thetic patience and divine dignity in that of Lincoln ; unyielding granite is in John Brown's face, though sympathy hath tempered hardness into softness; intellect in Newton's ; pure imagination is in Keats' and Milton's ; heroic substance is in the face of Cromwell and Luther ; pathetic sorrow is found in Dante's eyes; conscience and love shine in the face of Fenelon. Verily the body is the soul"s interpreter. Like Paul, each man l)ears about in his body the marks, either of ignoiance and sin. of fear and re- morse, or the mai'ks of heroism and virtue, of love and integrity. To the gosjjel of the page let us add the gospel ()f the face, But let none count it a strange thing that the soul within registers its experiences in the body without. God hates secrecy and loves oijenness. He hath ordained that nature and man sliuuld publish their secret lives. Each seed ami germ hath an instinctive tendency toward self-revelation. Every rosebud aches with a desire to unroll its petals and exhibit its scarlet secret. Not a singh^ piece of coal but will CHAEACTEE AND ITS EEVELATOES. 161 whisper to the microscope the full story of that far-off scene when buds and odorous boughs and t)lossoms were pressed together in a single piece of shini])g crystal. The great stone slabs with the bird's track set into the rock picture forth for us the winged creatures of the olden time. But habits also reveal personality. First the river digs the channel, then the channel controls the river, and when the faculties by repetition have formed habits, those habits become grooves and channels for controlling the faculties. What grievous marks were in poor Coleridge. Once this scholar, called " the most myriad-minded man since Shakespeare," spent a fortnight upon an annual address. But while his au- dience was assemliling. Coleridge left his friends and stepped out the rear door of the hall to go forth in search of his favorite drug, leaving his audience to master its disappointment as best it could. And here is Robert Burns, bearing about in his body also the marks of his ownership. For this matchless genius was wrecked and ruined ni.it by the wiles of him of the cloven foot, but by temptations that have been called "godlike." This glorious youth was not beguiled from the path by a desire to be a cold and calculating villain in his treatment of Jean, or to die of drink in his prime, or to leave his widow and orphans in poverty. Burns loved upward, loved noble tilings and beautiful; and his very love of beauty and grace, his love of good company, of wit and laughter and song, and all the stormy splendors of youth at springtide — these are the snares and wiles that caught his beautiful genius and led it away 162 SrPPLEMENTARY SELECTIONS. captive. And today for him who hath eyes to see, the mavks of a like iiiiuKjderation are ui^oii our gener- ation also. What a revehition of tlie taste of our age is found in the new love of highly spiced literature! All history holds no nobler literature than that in the English tongue. Our jjoetry furnishes nectar for angels! Our philosophers bread for giants! The essayists furnish food for the gods! Nevertheless, a multitude have turned from this glorious feast to the highly spiced literature of ticticjn. A tiavtder tells of watching l>ees linger so lung beside the vats of the distillery that they became maudlin. And the hjve of high stimulaids in litera- ture is one of tlie cliai-acter marks of our generation. Excess tlncatens our people. Men are anxious to be sch(_)lars and hurry a](jng a pathway that leads straight t(j the grave. Men ai'e anxious to iiud pleas- ure, but they find the flowers were grown in the churcliyard. J\Ien are feverishly anxious for wealth, and coining all time and strength into gold, they tind they have no health with which to enjoy the gathered sweetness. Haste in cooking the dinner has de- stroyed the ap])etite. We ai-e told that ''moderation and poise are the si'crets of all successful art," as they are of all successful life. Give the rein to appetite and xjassion, and satiety, disenchantment, and the grave quickly come. Hcrdth, happiness, and char- acter are thrcmuli resti-aint. Tlius truly, habit and trait in the individual ov the generation becomes a mark in the l)ody tliat is the revelator f)f character. Similarly, history tells us e a caljbage? It is! it is that deeply injured fiower, Ifift SUPPLEMENTARY SELECTIONS. Wliieli boys do flout us with; but yet I love thee, Thou o'iaut rose wrapped in a greeu surtout! Doubtless ill Eden thou didst blush as bright As these, thy puny brethren; and thy breath Sweetened the fragrance of her spicy air; But now thou seemest like a bankrupt beau, ytrix^ped of his gaudy hues and essences. And growing XJortly in his sober garments. Is that a swan, that rides upon the water? Oh, ikj! it is that other gentle bird. Which is the patron of our noble calling. I well remember, in my early years, When these young hands first closed upon i\ goose ; I have a scar -upon my thimble-finger, Which chronicles the hour of young ambition. My father was a tailor, and his father, And my sire's grandsire — all of them were tnih^rs They had an ancient goose ; it was an heirloom From some remoter tailor of our race. It happened I did see it on a time When none was near, and I did deal with it And it did burn me, oh, most fearfully ! It is a joy to straighten out one's limbs. And leap elastic from the level counter, Li';i\ iiig the petty grim'auces of earth. The ijreaking thread, the din of clashing shears, And all the needles that do wound the spirit, For such a pensive hour of soothing silence. TO A SKY-LARK. 167 Kind Nature, shuffliiiic in her loose undress, Lays hare her sliady Ijosoni. I can feel With all around nie ; I can liail tlie flowers That sprig earth's green mantle; and yon cjuiet l3ird, That rides the stream, is to me as a brother. The vulgar know not all the hidden pockets Where Nature stows away her loveliness. But this unnatural posture of the legs Cramps my extended calves, and I must go Where I can coil them in their W(jnted fashion. — Oliver Wendell Holmes. TO A SKY-LARK. Ethereal minstrel! pilgrim of the sky! Dost thou despise the earth where cares abound? Or, while the "wiugs aspire, are heart and eye Both with thy nest upon the dewy ground? Thy nest which thou canst drop into at will. Those quivering wings composed, that music still. Leave to the nightingale her shady wood: A xJi'ivacy of glorious light is thine; Whence thou dost pour upon the world a flood Of harmony, with instinct more divine: Typ)e of the wise who soar, but never roam. True to the kindred i3oints of Heaven and Home! — William, JVurdsiroiih. 168 SUPPLEMENTAEY SELECTIONS. WHERE'S MOTHER. Bursting in from school or play, This is what the children say; Trooping, crowding, big and small, On the threshold, in the hall — Joining in the constant cry. Ever as the days go by, "Where's mother?" From the weary bed of pain This same cpiestion comes again; From the Iwy with sparkling eyes Bearing home his earliest prize; From the bronzed and bearded son. Perils past and honors won: "Where's mother?" Burdened with a lonely task. One day we may vainly ask For the comfort of her face, For the rest of her end)race; Let us love her while we may, Well for us that we can say " Where's mother?" Mother with uidiriug hands At the post of duty stands, Patient, seeking not her own, Anxi(jus for the good alone Of the children as tliej^ cry. Ever as the days go by, "Where's mother? -J. E. Eastwood. A NIGHT AT SEA. 169 A NIQHT AT SEA. It is a dreadful uit^bt. The passengers are clustered, trend )liu,L;', below. Every plank shakes; and the oak riljs groan, as if they suffered with their toil. The hands are all aloft; the captain is forward shouting to the mate in the cross-trees, and I am clinging to one of the stanchions by the binnacle. The ship is pitching madly, and the waves arc top- pling up, sometimes as high as the 5'ard-arui, and then dipping away with a wdnrl under our keel, that makes every timber in the vessel quiver. The thun- der is roaring like a thousand cannons; and at the moment, the sky is cleft with a stream of fire that glares over the toi^s of the waves, and glistens on the wet decks and the spars, — lighting up all so plain that I can see the men's faces in the main-top, and catch g]ini]3ses of the reefers on the yard-arm, cling- ing like death; — their all is horrible darkness. The spray spits angrily against the canvas; the waves crash against the weather-bow like mountains; the wind howls through the rigging, or, as a gasket gives way, the sail, bellying to leeward, splits like the crack of a musket. I hear the captain in the lulls screaming out orders; and the mate in the rigging, screaming them over; until the lightning conies, and the thunder, deadening their voices, as if they were chirping sparrows. In one of the flashes, I see a hand upon the yard- arm lose his foothold, as the ship gives a plunge; but his arms are clenched around the spar. Before I can see any more, the blackness comes, and the thunder, 170 SUPPLEMENTARY SELECTIONS. with a crash that half deafens me. I think I hear a low cry, as the mutterin^s die away in the distance; and at the next tlash of lightning, which conies in an instant, I see npon the top of one of the waves along- side, the poor reefer who has fallen. The lightning glares ujjon his face. But he has caught at a loose bit of running rigging as he fell; and I see it slipping off the coil upon the deck. I shout madly — "Man overboard!"— and catch the rope, when I can see nothing again. The sea is too high, and the man too heavy for me. I shout, and shout, and shont, and feel the persi)iration Ftart- ing in great beads from my forehead, as the line slips through my fingers. Presently the captain feels his way aft, and takes hold with me; and the cook comes, as the coil is nearly spent, and we pull together upon him. It is des]ier;ite work for the sailor; for the ship is drifting at a prodigicms rfite; but he clings like a dying man. By and by, at a flash, we see him on a crest, two oars' length away from the vessel. "Hold on, my man! " shouts the captain. "For God's sake, be quick!" says the poor fellow; and he goes down in a trough of Ihe sea. We xjull the harder, and the caj^tain keeps calling to him to kee]5 up courage, and hold sti'ong. But in tlie hush, we can hear him say — " I can't hold out nnicli longer; — I'm 'most gone! " Presently we have biought the man where we can lay hold of him, and we are only wjiiting for a good lift of the sea to biing him up. when the jioor fellow groans out, — "It's of no use- I can't — Good-bye!" THE PEOPLE VirTOEIOUS. 171 And a wave tosses the end of the rope clean upon ilie bulwarks. At the next tlash, I tte liini f^oing- do-^n under the water. I grnpe my way below, sick and faint at heart; and wedt^iiiLf myself into my narrow berth, I try 1o sleep. Ent the ihmider and the tossing of the ship and the face of the drowning man, as he said good-bye, — peering at me from every corner, will not let me sleep . THE PEOPLE VICTORIOUS. The people always conquer. They always iimst conquer. Armies may be defeated, kings may be overthrown, and new dynasties imposed, by foreign arms, on an ignorant and slavish race, that cares not in what language the covenant of the subjection runs, nor in whose name the deed of their barter and sale is made out. But the X)eople never invade, and when they rise against the invader are never subdued. If they are driven from the x^lains, they fly to the moun- tains. Steep rocks and everlasting hills are their castles; the tangled, pathless thicket their palisado; and Nature, God, is their ally. Now He overwhelms the hosts of their enemies beneath His drifting mountains of sand; now He Inuies them beneath a falling atmos^jhere of polar sjiows; He lets loose His tempest on their fleets; He puts a fully inlo their counsels, a matlness into the hearts of their leaders; 172 SUPPLEMENTAEY SELECTIONS. He never ^fve, and never will give, a iiual triumph over a virtiions and gallant people, resolved to be free. " For Freedom's battle, once begun, Bequeathed from lileeding sire to son. Though baffled oft, is ever won," — Eihravd Ereveti. WAGES. Glory of warrior, glory of orator, glory of song. Paid with a voice flying by to l)e lust on an end- less sea — (ilory of Virtue, to flght, to struggle, to right the wrong — Nay, but she aim'd not at glory, )io lover of glory she: Give her the glory of going on, and still to be. The wages of sin is death: if tlie wages of Virtue be dust, Would she have heart to endure for the life of the worm and the fly? She desires no isles of the blest, no quiet seats of the just. To rest in a golden grove, or to basic in a sum- mer sky: Give her Ihe wages of going on, and not to die. — A If I -cil Ten itijson. KISSING THE ROD. 173 KIS5INQ THE ROD. O heart of mine, we shonldu't Worry so! "What we've missed of cahu we cunldir't Have, you know! What we've met of stormy jjain, And of sorrow's driviiii,' rain, We can better meet again If it bkjw. We have erred in tliat (hirk hnnr We have known, When our tears fell with the shower, All alone — Were not shine and shower blent As the gracious Master meant? Let us temper our content With His own. For, we know, not evrry morrow Can be sad; So, ff)rgetting all the sorrow We have had. Let us fold away our fears. And ijut by our foolish tears, And through all the coming yeai's Just be glad. — JtDiic^ M'liilcoiiih Kilcy, 174 SUPPLEMENTARY SELECTIONS. ENTERTAINMENT. '■ Wages " in the full sense don't mean " pay " merely, but the lewaitl. whatever it may be, of pleas- ure as well as profit, and of various other advantages, which a man is meant by Providence to get during life for work well done. Even limiting the idea to " pay," the question is not so much what quantity of coin you get, as - what you can get for it when you have it. Whether a shilling a day be good pay or not. depends wholly on what a "shilling's worth" is; that is to say, what quantity of the things you want may be had for a shilling. And that again depends on what yon do want; and a great deal more than that depenils. V)esides. on " what you want." If you want only drink, and foul clothes, such and such pay may be enough for you: if you want good meat and good clothes, you must have larger wage; if I'lean rooms and fresh air. larger still, and so on. You say, perliaps, " every one wants better things." Wo far from that, a wholesome taste for cleanliness and fresh air is one of the final attainments of humanity. There are now not many European gentlemen, even in ilic higbi^st classes, wlio have a pure and right love of fresh air. They would put the filth of to- bacco even into the first breeze of a May morning. But there are better things even than these, whicli one may want. Grant that one has good food, clothes, lodging, and breathing, is that all the pay one ought to have for one's work? Wholesome means of existence, and notliing more? Enough, perhaps, you think, if everybody could get these. It may be so; EXTEETAIXMENT. 175 I will not, at this moment, dispute it; ueveitlieless, I will boldly say that you should sometimes want more than these: and for one of many things more, you should want occasionally to be amused! You know the upper classes, most of them, want to be amused all day long. They think "()ne moment loiamused a misery Not made foi' feeble men.'' Perhaps you have been in the habit of despising them for this; and thinking how much worthier and nobler it was to work all day, and care at night only for food and rest, than to do no useful thing all day, eat unearned food, and spend the evening as the morning, in "change of follies and relays of joy." No, my good friend, that is one of the fatalest de- ceptions. It is not a noble thing, in sum and issrre of it, not to care to be amused. It is indeed a far higher )iior(il state, but it is a much lower crcdhire state than that of the upper classes. Yonder po(jr horse, calm slave in daily chains at the railroad siding, who drags the detached rear of the train to the front again, and slii3s aside so deftly as the butfers meet; and, within eighteen inches of death every ten minutes, fulfils his dexterous and changeless duty all day long, content for eternal re- ward with his night's rest and his champed mouthful of hay; —anything more earnestly moral and beau- tiful one cannot imagine — I never see the creature without a kind of worship. There are three things to which a man is boi'n — labor, and sorrow, and joy. Each of these three 176 SUPPLEMENTAEY SELECTIONS. things lias its baseness and its nobleness. There is base labor, and noble labor. There is base sorrow, and noble sorrow. There is base joy and noble joy. But yon must not think to avoid the t'orriixjtiou of these things by doing without the things themselves. Nor can any life be right that has not all three. La- bor without joy is base. Labor withoirt sorrow is base. Sorrow without labor is base. Joy without labor is base. — John Euskin. THE CLOUD. I bring fresh flowers for the thirsting flowers, From the seas and the streams; I bear liuht shade for the leaves when laid In their noonday dreams. From my winys are shaken the dews that waken The sweet birds every one. When rocked to rest on their mother's breast. As she dances about the sun. I wield the flail of the lashinj;- hail, And whiten the green xalains under: And then again I dissolve in rain, And laugh as I pass in thunder. I sift the snow on the mountains below, And their great pines groan aghast: And all the nin'lit "tis my pillow white, Wliile I slet'p in the arms of the blast. Sul)linu> on the towers t>f my skyey bowers THE CLOUD. 177 The lightning, my pilot, sits; In a cavern under is fettered the thunder, It struggles and howls at tits; Over earth and ocean, with gentle motion, This jjilot is guiding me. Lured by the love of the genii that move In the dei^ths of the purple sea; Over the rills, and the crags, and the hills, Over the lakes and the plains, Wherever he dream, under mountain or stream, The Spirit he loves, remains; And I all the while bask in heaven's blue smile, Whilst he is dissolving in rains. The sanguine sunrise, with his meteor eyes. And his burning plumes oirtspread, Leaps on the back of my sailing rack When the morning star shines dead. As on the jag of a mountain crag, Which an earthquake rocks and swings. An eagle alit, one moment may sit In the light of its golden wings; And when sunset may breathe from the lit sea beneath. Its ardours of rest and of love. And the crimson pall of eve may fall From the dei^th of heaven above. With wings folded I rest on mine airy nest. As still as a brooding dove. That orbed maiden with white fire laden. Whom mortals call the moon, Glides glimmering o'er my fleece-like floor. 178 SUPPLEMENTAEY SELECTIONS. By the midnitjht breezes strewn; And wherever the beat of her unseen feet, Which only tlie angels hear, May have broken the woof of my tent's thin roof, The stars peep behind her and peer; And I hmiih to see them whirl and tlee. Like a swarm of cjoldeu bees. When I widen the rent in my wind-lmilt tent, Till the calm river, lakes, and seas. Like strips of the sky fallen tlironoh me on hii;h. Are each paved with the moon and these. I bind the sun's throne with a burning zone. And the moon's with a girdle of peai-l; The volcanoes are dim, and the stars reel and swim. When the whirlwinds my banner unfurl. From cape to cape, with a bridge like shape. Over a torrent sea, Sunbeam proof, I hang like a roof. The mountains its colunnis be. The triumphal arch through which I march. With hurricane, fire, and snow, When the powers of the air are chained to my chair; Is the million-coloured bow; The sphere-fire above, its soft colouis wove, VVliile the moist earth was laughing below. — SlicUcij. WHO STEUCK MY MARY? 179 WHO STRUCK MY MARY? I have seen her again, to-day, Poor Mary; Still and cold and white she lay, — Sweet, gentle Mary; So soon! and the day is forever tlown When I loved with a love she might have known; And she was then almost my own — Almost my Mary. But he had riches and I had none For Mary. My poor love lost and riches won The love of Mary; Like a fairy boat, they sailed away; 1 tried to be haiDx^y; for they were gay; And I have looked on the wreck to-day. Of poor lost Mary. For .she did not know the cnrse so nigh. For Mary,— Coiled in the golden cup, so sly, For the loving Mary; I . . . loved them both, and would not trust A word of warning, or seem unjust; And now both friend and love are lost; — My good friend, Harry, And our dear Mary They brought him there; and they let him look On Mary; 180 SUPPLEMENTARY SELECTIONS. O bow his wretched body shook, As be u;'azed on Mary. And when they showed him, treniblint;' so, The empty l)ottle that strocli the 1)1(jw, He answered, ''Why?"' and "How?" and "Who?"— " Who struck my Mary?" Gently the warden led him back From Mary;— All that was left — a maniac — My old friend, Harry; And, all the way to the madman's cell, One bitter cry, unceasing, fell Upon oxiY ear — "Tell me, O tell. Who struck my Mary?" Hear, bear him, fathers, lovers, — you Wlio boast of p(jwer; and answer true, And tell him why and how and who — Who struck poor Mary? Hear ye who rule in high debate The weal or woe oi home and State, Whose crime does woman expiate ? Who struck poor Mary? —.4. J. Vlulteiulen. IMAGINATION. That which men suppose the imagination to be, and to do, is often frivolous enough and mischievous IMAGINATION 181 enouft'li; but that which God meant it to h& in the mental economy is not merely noble, but superemi- nent. It is the distinguishing element in all refine- ment. It is the secret and marrow of civilization. It is the very eye of faith. The soul without imag- ination is what an observatory would be without a telescope. As the imagination is set to look into the invisi- ble and immaterial, it seems to attract something of their vitality; and though it can give nothing to the body to redeem it from years, it can give to the soul that freshness of youth in old age which is even more beautiful than youth in the young. It al- ways seems to me that, before we leave this realm, deep affections take hold of the life to come l>y the hands of ideality, so that this quality in the old, hovers upon the edge and bound of life, the morn- ing star of immortality. Thus it is with men as with evening villages. The lights in some dwellings are extinguished soon after twilight; in othe-rs, they hold till nine o'clock; one by one they go out, until midnight; but a few houses there are where the student's lamp or lover's watching torch holds bright till morning pours their light into the ocean of its own. 80 such men bring through the flooded hours of darkness the light of yesterday into to-day. and are never dark and never die. Thu.s it comes to pass as it is written, " Upon those who sat in the region and shadow of death a great light is arisen." — Hcnru Ward Bccchcr. 182 SUPPLEMENTARV SELECTIONS. TRAY. Boyhood has its ^xiet too. You love the old dog: Tray. He is a noble old fel- low, with sha<;ory hair, and lon^- ears, nnd In^ paws, that he will pnt into your hand, if you ask him. And he never i?ets angry when you play with him, and tumble liim over in the long grass, and pull liis silken ears. Sometimes, to be sure, lie will oi)en his mouth, as if he would bite, but when he gets your hand fairly in his jaws, he will scarce leave the print of his teeth upon it. He will swim too. bravelj^ and bring ashore all the sticks you throw upon the water; and when you tling a stone to tease him. he swims round and round, and whines, and looks sorry ihat he cannot tind it. He will carry a heaping basket full of nuts, too, in his mouth, and never spill one of them; and when yon come out to yoirr uncle"s home in the spring, after staying a whole winter in the town, he knows you — old Tray does! And he leaps upon you. and lays his paws on your shoulder, and licks your face; and is almost as glad to see you as cousin Bella her- self. And when you put Bella on his back for a ride, lie only prete7ids to bite her little feet; — but he wouldn't do it for the world. Aye, Tray is a noble old dog! But one sunnner the farmers say that some of their sheep are killed, and that the dogs have worried tljem; and one of them comes to talk with my uncle about it. But Tray never worried sheep; you know he never TBAY. 183 did; and so does nurse; find so does Bella; -for in the spriuo she had a pet lamb, and Tray never worried little Fidele. And one or two of the dogs that belong- to the nei.L;hbors are shot; though nobody knows who shot them: and you have great fears about poor Tray; and try to keep him at home, and fondle him more than ever. But Tray will sometimes wander off; till tin- ally one afternoon lie comes back whining piteously, and with his shoulder all bloody. Little Bella cries aloud; and you almost cry, as nirrse dresses the wound; and poor old Tray whines very sadly. You pat his head, and Bella pats him; and you sit down together by him on the flcjor of the XJorch and bring a rug for him to lie upon; and try and tempt him with a little milk, and Bella brings a piece of cake for him,— but he will eat nothing. You sit up till very late, long after Bella has gone to bed, jjatting his head, and wishing you coidd do something for poor Tray; — but he only licks your hand, and whines more piteously than ever. In the UKirning, you dress early, and hurry down- stairs; but Ti'ay is not lying on the rug; and you run through the house to lind him, and whistle, and call — Tray!- Tray! At length yorr see him lying in his old place, out by the cherry tree, and yorr run to him: — but he does not start; and you lean down to pat him, — but he is cold, and the dew is wet upon him: — poor Tray is dead! You take his head upon your knees, and pat again those glossy ears, and cry; bvd you cannot bi'ing him to life. And Bella comes, and cries with yoir. You 184 SUPPLEMENTARY SELECTIONS. can hardly bear to have him put in the ground; but uncle says he must be buried. So one of the work- men digs a grave under the cherry tree, where he died — a deep grave, and they round it over with earth, and smooth the sods upon it — even now I can trace Tray's grave. You and Bella together put up a little slal) for a tombstone; and she hangs flowers ui^on it, and ties them there with a bit of ribbon. You can scarce play all that day; and afterward, many weeks later, when you are rambling over the tields, or lingering by the l)rook, throwing off sticks into the eddies, you think of old Tray's shaggy coat, and of his big paw, and of his hoirest eye; and the memorj at youi boy- ish grief comes upon you; and you say with tears, "Poor Tray!" And Bella too, in her sad, sweet tones, says " Poor old Tray, he is dead!" — Ik. Murvel. THE ISLE OF THE LONG AGO. O a wonderful sireani is Ihe river I'ime. As it runs through the reaini of tears. With a fairltless rhytlim and a musical rhyme. And a boundless sweep and a surge sublime, As it blends with the Ucean of Years. How the Winters are drifting, like dakei- -if snow, And the Summers like buds between. And the year in the .sheaf; so they come and I hey o-o, THE ISLE OF THE LONG AGO. 185 On the river's breast, with its ebb and tiow, As it glides in the shadow and sheen. There's a magical isle np the river Time, Where the softest of airs are playing; There's a cloudless sky and a tropical clime, And a song as sweet as a vesper chime, And the Junes with the roses are straying. And the name of that Isle is The Long Ago, And we bury our treasures there; There are brows of beauty and l)osoms of snow; There are heaps of dirst, — but we loved them so! There are trinkets and tresses of hair; There are fragments of song that nobody sings. And a part of an infant's prayer; There's a lute unswept, and a harp without strings: Thei'e are broken vows and pieces of rings, And the garmeids that she rrsed to wear. There are hands that are waved when the fairy shore, By the mirage is lifted in air; And we sometimes hear through the turbulent roar Sweet voices we heard in the days gone before, When the wind down the river is fair. O, remendjer'd for aye be the blessed Isle, All the day of our life uidil night; When the evening comes with its beautiful smile. And our eyes are closing to slumljer awhile. May that " Greenwood" of tSoul be in sight. —Benj. F. Taijlor. 186 SUPPLEMENTAEY SELECTIONS. A MISUNDERSTANDINQ. " Mrs. Bardell," said Mr. Pickwick. " Sir," said Mrs. Bardell again. '■ Do yoii think it a much greater expense to keep two people than to keep one?" '■ La, Mr. Pickwick," said Mrs. Bardell, cohjriug up to the very border of her cap, as she fancied she ob- served a species of matrimonial twinkle in the eyes of her lodger — "la, Mr. Pickwick, what a question!" " Well, but (k) you?" inquired Mr. Pickwick. '■ That depends," said Mrs. Bardell, approaching the duster very near to Mr. Pickwick's elbow, which was planted on the table — " that depends a good deal upon the person, you know, Mr. Pickwick; and whether it's a saving and careful person, sir." "That's very true," said Mr. Pickwick, "but the person I have in niy eye ( here he looked very hard at Mrs. Bardell) I think possesses these qualities; and has, moreover, a considerable knowledge of the world, and a great deal of sharpness, Mrs. Bardell; which may be of material use to me." " La. Mr. Pickwick!" said Mrs. Bardell; the crim- son rising to tier cap-border again. " I do," said Mr. Pickwick, growing energetic, as was his wont in sjoeaking of a sirl)ject which inter- ested him — " I do, indeed; and. to tell y(.)n the truth, Mrs. Bardell, I have made uj) my mind." " Dear me sir!" exclaimed Mrs. Bardell, "You'll think it very strange now." said I he amia- ble Mr. Pickwick, with a good-humored l;'L-iiic(> at Ins coiiipHnion, " that I never consulted you about this A MISUNDERSTANDING. 187 matter, and never even mentioned it, till I sent your little boy out this morning — eh? Mrs. Bardell could only reply by a look. She had long worshiiDped Mr. Pickwick at a distance, but here she was all at once raised to a pinnacle to which her wildest and most extravagant hopes had never dared to aspire. Mr. Pickwick was going to propose — a deliberate jplan, too — sent her little boy to the Borough, to get him out of the way — how thought- ful! how considerate! " Well," said Mr. Pickwick, " what do you think? " '• Oh, Mr. Pickwick," said Mrs. Bardell, trembling with agitation, " you're very kind, sir." " It'll save you a good deal of trouble, won't it?' said Mr. Pickwick. ' Oh, I never thought anything of the trouble, sir," replied Mrs. Bardell; " and. of course, I should take more trouble to please you then than ever; but it is so kind of you. Mr. Pickwick, to have so much consider- ation for my loneliness." "Ah, to be sure," said Mr. Pickwick; "I never thought of that. When I am in town, you'll always have somebody to sit with you. To be sure, so you will." " I'm sure I ought to be a very happy woman," said Mrs. Bardell, " And your little boy — " said Mr. Pickwick. " Bless his heart! " interposed Mrs. Bardell, with a maternal sob. " He, too, will have a companion," resumed Mr, Pickwick. " a lively one, who'll teach him, I'll be bound, more tricks in a week than he would ever 188 SUPPLEMENTARY 8ELECTI0NK. learn in a year,'' And Mr. Pickwick smiled placidly " Oh, you dear — " said Mrs. Bardell. Mr. Pickwick started. "Oil, you kind, good, playful dear!" said Mrs. Bardell; and vvitliout more ado, she rose froiir her chair, and flung her arms round Mr. Pickwick's neck, with a cataract of tears and a chorus of sobs. "Bless my sold!" cried the astonished Mr. Pick- wick; Mrs. Bardell, my good woman — dear nie, what a situation — pray consider — Mrs. Bardell, don't — if anybody should come — " "Oh, let them come!" exclaimed Mrs. Bardell, frantically; I'll never leave you — dear, kind, good soul!" and, with these words. Mrs. Bardell clung the tighter. " Mercy upon me! '' said Mr. Pickwick, struggling violently, '" 1 hear somel)ody coming up the stairs. Don't, don't, there's a good creature, don't!" But entreaty and remonstrance were alike unavailing; for Mrs. Bardell had fainted in Mr. Pickwick's arms; and before he could gain time to deposit her on a cliair, Master Bardell entered the room, ushering in Mr. Tupman, Mr. Winkle, and Mr. Snoilgrass. Mr. Pickwick was struck UKjtionless and speech- less. He stood with his lovely burden in his arms, gazing vacantly on the countenanci'S of his friends, without the slightest attempt at recognition or ex- planation They, in their turn, stared at him; and Master Bardell, in his turn, stared at everybody. "Oh. I am better now," said Mrs. Bardell, faintly. "Let me lead you down-stairs.'' said (lie ever- gallant Mr. Tupman. HIS EN.JOYMKNT BRIEF. 189 "Thank you, sir — thank yon," exclaimed Mrs. Bardelh hysterically. And down-.stairs she was led accordinoly, accompanied by her affectionate son. " I cannot conceive," said Mr. Pickwick — -"! can- not conceive what has been the matter with that woman. I had merely announced to her my inten- tion of keeping a man-servant, when she fell into the extraordinary paroxysm in which you found her. Very extraordinary thing." " Very," said his three friends. " Placed me in such an extremely awkward situa- tion," continued Mr. Pickwick. " Very," was the reply of his followers, as they coughed slightly, and looked dubiously at each other. This behavior was not lost upon Mr. Pickwick. He remarked their incredulity. They evideidly sus- pected him. — Charles Dickens. HIS ENJOYMENT BRIEF. " Come, let us walk down this way again." "Why?" " Don't you see that fellow over yonder?" "Yes, what of it?" " Well, I want to meet him as often as possible." "I don't understand you." " I'll explain. Yon know that I am the worst man in the country for owing jieople?" " Yes." "And that when I owe a man I dodge him?" " I believe that I have noticed that." 190 SUPPLEMENTARY SELECTIONS. " Well, I've got revenge." "How so?" "Wliy, yoti see, the fellow over there owes me, When I see him dodge me it tickles me nearly to death. I have been so hampered by men whom I owe that I now enjoy being owed. See how he gets aroimd the corner? Let's go over that way. Say hold on — let's go back." "What's the matter?" "See that fellow?" "Yes, what of it?" "Nothing; only I owe him. Confound it, a man never begins to enjoy himself bnt that some unfor- tunate thing arises." — Arkavsaw TvdXH'llcr. POVERTY AND DEBT. There is nothing ignominious about poverty. It may even serve as a healthy stimulus to great spirits. " Under gold mountains and thrones," said Jean Paul, " lie buried many sijiritual giants." Richter even held that poverty was to be welcomed, so that it came not too late in life. And doubtless Scott's bur- den was all the heavier to bear because it came upon him in his declining years. Shakespeare was a jjoor man. '' It is a question," says Carlyle, " whether had not want, discomfort, and distress-warrants been busy at Stratford-on-Avon, Shakespeare had not lived killing calves or combing wool." To Milton's and Dryden's narrow means we probably owe the best part of their works. POVERTY AND DEBT. 191 Jolinson was a very poor man, and a very brave one. He never knew what wealth was. His mind was always greater than his fortune; and it is the mind that makes the man rich or poor, happy or mis- erable. Johnson's gruff' and blutf exterior covered a manly and n(jble nature. He had early known x^ov- erty and debt, and wished himself clear of both. When at college, his feet appieared through his shoes, but he was too poor to buy new ones. His head was full of learning, but his pockets were empty. How he struggled through distress and difficulty during his first years in London, the reader can learn from his "Life." He bedded and boarded for four-pence-half- penny a day, and when too poor to pay for a bed, he wandered with Savage whole nights in the streets. He struggled on manfully, never whining at his lot, but trying to make the best of it. These early sorrows and struggles of Johnson left their scars upon his nature; but they also enlarged and enriched his experience, as well as widened his range of human sympathy. Even when in his great- est distress, he had room in his heart for others whose necessities were greater than his own; and he was never wanting in his hel^j to those who needed it, or were poorer than himself, Men who live by their wits, their talents, or their genius, have, somehow or other, acquired the charac- ter of being improvident. Charles Nodier, writing about a distinguished genius, said of him, '• In the life of intelligence and art, he was an angel; in the coinmon practical life of everyday, he was a child." The same might be said of many great writers and 192 SUPPLEMENTAEY SELECTIONS. artists. The greatest of tliem have been so devoted — heart and soul— to their special work, that they have not eared to think how the efforts of their gen- ins might l.)e converted into pounds, shillings, and pence. Had they placed the money consideration first, pn)l)al)ly the world woidd not have inherited the jjrod- ucts of their genius. Milton would not have labored for so many years at his " Paradise Lost," mei'ely for the sake of the five pounds for which he sold the first edition to the publisher. Nor would Rchiller have gone on toiling for twenty years up to tlie topmost ]3innacles of thought, merely for the sake of the bare means of living which he earned by his work. — Sdiiiiu'l Smiles. SUMMER STORM. Untremulous in the river clear, Toward the sky's image, hangs the imaged bridge; tSo still the air that I can hear The slender clarion of the unseen midge; Out of the stillness, with a gathering creej), Like rising wind in leaves, which now decreases, Now lulls, now swells, and all the while increases, The huddling tramp of a drove of sheep Tilts the loose planks, and then as gradually ceases In dust on the other side; life's emblem deej), A confused noise between two silences. Finding at last in dust ])recarious peace. . On the wide marsli the pniple-blossomed grasses iSoak up the sunshine; sleeps the brinnning tide, SDMMEE STOEM. 193 Save when the wedge-shaped wake in silence passes Of some slow water-rat, whose sinuous glide Wavers the long green sedge's shade from side to side; But up the west, like a rock-shivered surge. Climbs a great cloud edged with sun-whitened spray; Huge whirls of foam boil tox^pling o'er its verge, And falling still it seems, and yet it climbs alway. Suddenly all the sky is hid As with the shutting of a lid. One by one great drops are falling Doubtful and slow, Down the pane they are crookedly crawling, And the wind breathes low; Slowly the circles widen on the river. Widen and mingle, one and all; Here and there the slenderer flowers shiver, Struck by an icy rain-drop's fall. Now on the hills I hear the thunder mutter, The wind is gathering in the west; The upturned leaves first wliiteu and flutter, Then droop to a fitful rest; Up from the stream with sluggish flap Struggles the gull and floats away; Nearer and nearer rolls the thunder-clap, — We shall not see the sun go down to-day: Now leaps the wind on the sleepy marsh, And tramples the grass with terrified feet, The startled river turns leaden and harsh. You can hear the c^uick heart of the tempest beat. 194 SUPPLEMENTARY SELECTIONS. Look! look! that livid iiasli! And instantly follows the rattling thnnder, As if some cloud-crag, split asunder, Fell, sjplintering with a ruinous crash, Oil the Earth, which crouches in silence under; And now a solid gray wall of rain Shuts off the landscape, mile by mile; For a breath's space I see the blue wood again, And ere the next heart-beat, the wind-liurled pile, That seemed Imt now a league aloof. Bursts crackling o'er the suu-xDarched roof; Against the windows the storm comes dashing. Through tattered foliage the hail tears crashing, The blue lightning flashes, The rapid hail clashes, The white waves are tumbling, And, in one baffled roar, Like the toothless sea mumbling A rock-bristled shore. The thunder is rumbling And crashing and crundjling, — Will silence return nevermore? Hush! Still as death, The tempest holds his Iweath As from a sudden will; The rain stox^s short, but from the eaves You see it drop, and hear it from the leaves, All is so bodingly still; Again, now, now, again Plashes the rain in Jieavy gouts. The crinkled lightning HOME AND COUNTRY. 195 Seems ever brightening, And loud and long- Again the tliunder shouts His battle-song, — One quivering flash. One wildering crash, Followed by silence dead and dull, As if the chjud, let g(j. Leapt bodily Ijelow To whelm the earth in one mad overihrow, And then a total lull. Gone, gone, so soon! No more my half-crazed fancy there. Can shaxje a giant in the air. No more I see his streaming hair, The writhing portent of his form; — The pale and quiet moon Makes her calm forehead bare. And the last fragments of the storm, Like shattered rigging from a fight at sea, Silent and few, are drifting over nie. — James Russell Lowell. HOME AND COUNTRY. There is a land, of every land the pride, Beloved by heaven o'er all the world beside; Where brighter suns disj)ense serener light, And milder moons emparadise the night; A land of beauty, virtue, valor, truth, 196 SUPPLEMENTAEY SELECTIONS. Time-tutored age, and love-exalted youtli. The wandering mariner, whose eye explores The wealthiest isles, the most enehanting shores, Views not a realm so bountiful and fair, Nor breathes the spirit of a purer air; In every clime the magnet of his soul, Touched by rememln'ance, trembles to that pole; For in this land of heaven's peculiar grace, The heritage of nature's noblest race. There is a spot of earth sirpremely blest, A dearer, sweeter spot than all the rest. Where man, creation's tyrant, casts aside His sword and sceptre, pageantry aird pride, While in his softened looks benignly blend The sire, the son, the hirsband, brother, friend; Here woman reigirs; the mother, daughter, wife, tStrew with fresh flowers the narrow way of life! In the clear heaven of her delightful eye, An angel-guard of loves and graces lie; Aroirnd her knees domestic duties meet, And fireside pleasures gambol at her feet, Where shall that land, that spot of earth be found! Art thou a man? — a patriot? — look around; U. thou shall find, howe'er thy footsteps roam, That land thy country, and that spot thy home! ■ — Mo'utyotucry. TEE FUTURE OF THE NATION. 197 THE FUTURE OF THE NATION. Unborn ages and visions of glory crowd upon my soul, the realization of all which, however, is in the hands and good pleasure of Almighty God; but, un- der his divine blessing, it will be dependent on the character and the virtues of ourselves, and of our posterity. If classical history has been found to be, is now, and shall continue to be, the concomitant of free institutions, and of po])iilar eloquence, what a field is opening to us for another Herodotus, another Thucydides, and another Livy! And let me say, gentlemen, that if we and our posterity shall be true to the Christian religion, — if we and they shall live always in the fear of God, and shall respect his conniiandments, — if we and they shall maintain just, moral sentiments, such conscien- tious convictions of duty as shall control the heart aird life, — we may have the highest hopes of the future fortunes of our couidry; and if we maintain those institutions of government and that political union, exceeding all x^raise as much as it exceeds all former examples of political associations, we may be sure of one thing — that, while our country furnishes materials for a thousand masters of the historic art, it will afford no topic for a Gibbon. It will have no Decline and Fall. It will go on prospering and to prosper. But, if we and our posterity reject religious in- struction and authority, violate the rules of eternal justice, trifle with the injunctions of morality, and recklessly destroy the political constitution which 198 SUPPLEMENTAKY SELECTIONS. holds US together, no man can tell how sudden a catastrophe may overwhelm us, that shall bury all our glory in profound obscurity. Should that catas- trophe happen, let it have no history! Let the hor- rible narrative never be written! Let its fate be like that of the lost books of Livy, which no human eye shall ever read; or the missing Pleiad, of which no man can ever know more, than that it is lost, and lost forever ! But. gentlemen, I will not take my leave of you in a tone of despondency. We may trust that Heaven will not forsake us, nor permit us to forsake our- selves. We must strengthen ourselves, and gird up our loins with new resolution ; we must counsel each other; and. determined to sustain each other in the support of the Constitution, prei^are to meet man- fully, and united, whatever of difficrrlty or of danger, whatever of effort or of sacrifice, the providence of God may call upon us to meet. Are we of this generation so derelict, have we so little of the blood of our revolutionary fathers cours- ing through our veins, that we can not preserve what they achieved? The world will cry out '■,s7( «(»('" upon us, if we show ourselves unworthy to be the descendants of those great and illustrious men. who fought for their liberty, and secured it to their pos- terity, by the Constitution of the United States. Gentlemen, inspiriug auspices, this day. surround us and cheer us. It is the anniversary of the birth of Washington. We should know this, even if we had lost our calendars, for we should be reminded of it by the shouts of joy and gladness. The whole atmos- THE FUTURE OF THE NATION. 199 phere is redolent of his name; hills and forests, rocks and rivers, echo and reecho his praises. All the good, whether learned or unlearned, high or low, rich or poor, feel, this day, that there is one treasure comnioii to them all, and that is the fame and character of Washington. They recount his deeds, ponder over his principles and teachings, and resolve to be more and more guided by them in the future. To the old and the young, to all born in the land, and to all whose love of liberty has brought them from foreign shores to make this the home of their adoption, the name of Washington is this day an exhilarating theme. Americans by birth are proud of his character, and exiles from foreign shores are eager to participate in admiration of him; and it is true that he is, this day, here, everywhere, all the world over, more an object of love and regard than on any day since his birth. (xentlemen, on Washington's principles, and under the guidance of his example, will we and our children uphold the Constitution, Under his military leader- ship our fathers conquered; and under the outspread banner of his political and constitutional princix)les will we also conquer. To that standard we shall adhere, and uphold it through evil report and through good report. We will meet danger, we will meet death, if they come, in its protection; and we will struggle on, in daylight and in darkness, ay, in the thickest darkness, with all the storms w-hich it may bring with it, till " Danger's troubled night is o'er, and the star of Peace return." — Daniel Wchsfrr. Delivered before the N. Y. Historical Society, February 23, 1852. 200 SUPPLEMENTAKY SELEfTIONS. A LAUGH IN CHURCH. She sat on the slidin"- cushion, The dear wee woman of four; Her feet in their shiny sli^jpers Hung- dangling over the floor. 8he meant to be good; she had promised; And so, with her big brown eyes. She stared at the meeting-house windows, And counted the crawling tlies. She looked far up at the preacher; But she thought of the honey bees Droning away in the blossoms That whitened the cherry trees. She thought of the Ijroken basket, Where curled in a dusky heap. Three sleek, round pupjDies, with fringy ears, Lay snuggled and fast asleep. Such soft, warm bodies to cuddle, Such queer little hearts to beat, Siicli swift, round tongues to kiss. Such sprawling, cushiony feet! She could feel in her clasping hngers The touch of the satiny skin. And a cold wet nose exploring The dimples under her chin. Then a sudden ripple of laughter Kan over the x^arted lips. So quick that she could not catch it With her rosy huger tips. LIFE AND USEFULNESS. 201 The people whispered: "Bless the child!" As each one waked from a nap; But the dear wee woman hid her face For shame in her mother's lap. — Selected. LIFE AND USEFULNESS. An oak tree for two hundred years grows solitary. It is bitterly handled by frosts; it is wrestled with by ambitious winds, determined to give it a downfall. It holds fast and grows alone. " What avails all this sturdiness?" it saitli to itself. "Why am I to stand here useless? My roots are anchored in rifts of rocks; no herds can lie down under my shadow; I am far above singing birds, that seldom come to rest among my leaves; I am set as a mark for storms, that bend and tear me; my fruit is serviceable for no appetite; it had been better for me to have been a mushroom, gathered in the morning for some poor man's table, than to be a hundred year oak, good for nothing." While it yet si^oke, the axe was hewing at its base. It died in sadness, saying as it fell, " Weary ages for nothing have I lived." The axe completed its work. By and by the trunk and root form the knees of a stately ship, bearing the country's flag around the world. Other i^arts form keel and ril)s of merchantmen, and having defied the mountain storms, they now equally resist the thunder of the waves and the murky threat of scowling hurri- 202 SUPPLEMENTAEY SELECTIONS. canes. Other parts are laid into floors, or wrought into wainscoting, or carved for frames of noljle pictures, or fashioned into chairs that embosom the weakness of old age. Thus the tree, in dying, came not to its end, but to its beginning of life. It voyaged the world. It grew to parts of temj^les and dwellings. It held upon its surface the soft tread of children and the tottering steps of XDatriarchs. It rocked in the cradle. It swayed the limbs o:? age by the chimney corner, and heard, secure within, the roar of those old, unwearied tempests that once surged about its mountain life. Thus, after its growth, its long uselesHiiess, its cruel prostration, it became universally helpful, and did by its death what it could never have diine by its life. For, so long as it was a tree, and belonged to itself, it was solitary and useless; but when it gave up its own life, and became related to others, then its true life liegan. — Henri/ Ward Beechcr. A STREET SCENE. I want to tell you about a row of houses that I p)ass every day. There are four buildings, and they sta]id by themselves. Tlie first one, beginning at the east, is a restaur- ant where you get a meal for twenty cents and can al- ways know what they are cooking for you before they bring it in. The second is a saloon, with the usual fi'ee-lunch signs outside and the bottles in the window. The AMBITION. 203 third is a kind of concert-ball adjunct to the saloon. Jn the evening there is music in the place and they have a few variety performers that they ring in on a little stage to entertain the crowd. The fourth place is an undertaking establishment with a casket in the window. An undertaker's place doesn't often hap^jen to be right next to a noisy con- cert hall, and the contrast between the two establish- ments first attracted my attention and made me in- terested in the row. It seemed to me, though, the oftener I passed along the street that there was something familiar about the row of places. It reminded me of something, but I couldn't think what it was, until one day it came to me like a flash. I was standing across the street from the four places, and all at once that old quotation came into my head, ' Eat, drink and be merry, for to-mor- row ye die.' 'That's it,' I said to myself. 'That's what those places have always reminded me of. Eat in the res- taurant, drink in the saloon, be merry in the concert- hall, for to-morrow ye die and the undertaker will be called in,' Those four plac'es told the whole story. —Selected. AMBITION. We need a loftier ideal to nerve us for heroic lives. To know and feel our nothingness without regretting it, — to deem fame, riches, personal happiness, but 204 SUPPLEMENTARY SELECTIONS. shadows, of which human good is the substance, — to welcome iDain, jji'ivation, ignominy, so that the sphere of human knowledge, the empire of virtue, be thereby extended, — such is the soul's temper in which the heroes of the coming age shall be cast. When the stately monuments of mightiest conquerors shall have become shapeless and forgotten ruins, the hum- ble graves of earth's Howards and Frys shall still be freshened by the tears of fondly admiring millions, and the proudest epitaph shall be the simple en- treaty : " Write me as one who loved his fellow-men.'' Say not that I thus condemn and would annihilate ambition. The love of approbation, of esteem, of true glory, is a noble incentive, and should be cher- ished to the end. But the ambition which p>oints the way to fame over torn limbs, and bleeding hearts, which joys in the Tartarean smoke of the battle-field, and the desolating tramp of the war-horse, — that ambition is worthy only of " arch-angel ruined." To make one conqueror's rex^utation, at least one hun- dred thousand bounding, joyous, sentient beings must be transformed into writhing and hideous frag- ments, must perish untimely Ijy deaths of agony and horror, leaving half a million widows and orphans to bewail their loss in anguish and destitution. This is too mighty, too awful a price to be paid for the fame of any hero, from Nimrod to Wellington. True fame demands no such sacrifices of others; it requires us to be reckless of the outward well-being of but one. It exacts no hetacomb of victims for each tri- SUNRISE ON THE HILLS. 205 umphal pile; for the more who covet and seek it, the easier and more abundant is the success of each and all. With souls of the celestial temper, each human life might be a triumph which angels would lean from the skies delighted to witness and admire. — Horace Greelrjj. SUNRISE ON THE HILLS. I stood upon the hills, when heaven's wide arch Was glorious with the sun's returning march, And woods were brightened, and soft gales Went forth to kiss the sun-clad vales. The clouds were far beneath me; bathed in light. They gathered mid-way round the wooded height. And, in their fading glory, shone Like hosts in battle overthrown. As many a pinnacle, with shifting glance, Through the gray mist thrust up its shattered lance, And rocking on the clifP was left The dark pine, blasted, bare, and cleft. The veil of cloud was lifted, and below Glowed the rich valley, and the river's flow Was darkened by the forest's shade Or glistened in the white cascade; Where upward, in the mellow blush of day, The noisy bittern wheeled his spiral way. I heard the distant waters dash, I saw the current whirl and flash. And richly, by the blue lake's silver beach. The woods were bending with a silent reach. 206 SUPPLEMENTARY SELECTIONS. Then o'er the vale, with gentle swell, The nuisic of the village bell Came sweetly to the echo-giving hills; And the wild horn, whose voice the wood-land fills, Was ringing to the merry shout, That faint and far the glen sent out. Where, answering to the sudden shot, thin smoke, Through thick-leaved branches, from the dingle broke If thou art worn and hard beset With sorrows, that thou wouldst forget. If thou woiddst read a lesson, that will keep Thy heart from fainting and thy soul from sleep. Go to the woods and hills! No tears Dim the sweet look that Nature wears. — H. W. Longfellow. A TALE. What a pretty tale you told me Once upon a time, — Said you found it somewhere (scold me!) Was it prose or was it rhyme, Greek or Latin? Greek, yetting!) Yes, a bard, sir, famed of yore. Went where suchlike used to go, Singing for a prize, you know. A TALE. 207 Well, he had to sing, nor merely Sing but play the lyre; Playing was important clearly Quite as singing: I desire, Sir, yon keep the fact in mind For a purpose that's behind. There stood he, while deep attention Held the judges round; — Judges able, I should mention, To detect the .slightest .sound. Sung or played amiss: such ears Had old judges, it appears. None the less he sang out boldly. Played in time and tune, Till the judges, weighing coldly Each note's worth, seemed, late or soon, Sure to smile " In vain one tries Picking faults out: take the prize!" When, a mischief! Were they seven Strings the lyre possessed"? Oh, and afterwards eleven. Thank you! well, sir, — who had guessed Such ill luck in store? — it hapi^ed One of these same seven strings snapped. All was lost, then! No! a cricket (What "cicada?" Pooh!) — Some mad thing that left its thicket For mere love of music — flew 208 SUPPLEMENTARY SELECTIONS. With its little heart on tire, Lighted on the crippled lyre. So that when (Ah joy!) our singer For his truant string- Feels with disconcerted finger, What does cricket else but tiing Fiery heart forth, sound the note Wanted by the throbbing throat? Ay and, ever to the ending. Cricket chirps at need. Executes the hand's intending, Promptly, perfectly, — indeed. Saves the singer from defeat With her chirrup low and sweet. Till, at ending, all the judges Cry with one assent, "Take the prize — a prize who grudges Such a voice and instrument? Why. we took your lyre for harp, So it shrilled us forth F sharp! " Did the conqueror spurn the creature, Once its service done? That's no such uncommon feature In the case when Music's son Finds his Lotte's power too spent For aiding soul-development. No! This other, on returning Homeward, prize in hand. A TALE. 209 Satisfied his bosom's yearning: (Sir, I hope you understand!) — Said "Some record there must be Of this cricket's help to me! " So, lie made himself a statue: Marble stood, life-size; On the lyre, he pointed at you, Perched his partner in the prize; Never more apart you found Her, he throned, from him, she crowned. That's the tale: its application V Somebody I know Hopes one day for reputation Through its poetry that's— Oh, All so learned and so wise. And deserving of a prize! If he gains one, will some ticket. When his statue's built, Tell the gazer " 'Twas a cricket Helped my cri^opled lyre, whose lilt. Sweet and low, when strength usurped Softness' place i' the scale, she chirped. ' For as victory was nighest, While I sang and played, — With my lyre at lowest, highest, -Right alike, — one string that made ' Love ' sound soft was snapt in twain, Never to be heard again. — 310 SUPPLEMENTARY SELECTIONS. " Had not a kind cricket tluttered, Perched upon the place Vacant left and duly uttert'tl ' Love, Love, Love,' whene'er the bass Asked the treble to atone For its somewhat sombre ch-one.'" But you don't know music! Wherefore Keei^ on casting pearls To a — pioet? All I care for Is — to tell him that a o-ii-Fs " Love" comes aptly in when gruff Grows his singing. (There, enough!) — Rohcri Broirning. THE HEROIC AGE. I mean by an heroic age and race, one the course of wdiose history, and the traits of whose character, and the extent and permanence of whose influences are of a kind and power not merely to be recognized in after time as respectable or useful, but of a kind and of a power to kintUe and feed the moral imagina- tion, move the ea^jacious heart, and justify the intel- ligent wonder of the world. I mean by a nation's heroic age a time distin- guished above others, not by chronological relation aloue, but l)y a concurrence of giand and inrpj-essive agencies with large results; by some splendid and remai'kalile triumph of men over some great enemy, some great evil, some great lal)or. some great danger; THE AID OF A THEEE-YEAE-OLD NEPHEW. 211 by uncommon examples of the rarer virtues and qualities, tried liy an exigency that occurs only at the beginniiiL!;' of new e^Mjclis. the accession of new dynas- ties of dominion or liberty when the great bell of Time sounds another hour. — Eiifiis Choaic. THE AID OF A THREE YEAR OLD NEPHEW. I remembered suddenly, and with a sharp pang, that my vacation was nearly at an end, and that I must soon return to the city, and I found myself con- suming with imx^atieiice to know how much longer Alice would remain at Hillcrest. It would be cruel to wish her in the city before the end of August, yet I- " Uncle Harry," said Budge, " my papa says, 'tisn't nice for folks to sit down an' go to thinkin' before they've brushed their hair mornin's — that's what he tells me." " I beg your pardon, Budge," said I. '■ I was think- ing over a matter of a great deal of importance." " M-^hat was it — my goat?" "No — of course not. Doir't be silly, Budge.'' " Well, I thirdi about him a good deal, an' I don't think it's a bit silly. I hope he will go t(i heaven when he dies. Do angels have goat carriages, Uncle Harry?" "No, old fellow— they can go about without car- riages." " When Jgoesh to hebben," said Toddie, rising in 212 SUPPLEMENTARY SELECTIONS. bed, " Izhe goin' to have lots of goat-cawijes an' Izhe goin' to tate all ze andjels a widen." With many other bits of prophecy and celestial description I was regaled as I completed my toilet, and I hurried out of doors for an opportunity to think without disturbance. The flowers, always full of suggestion to me, seemed suddenly to have new charms and powers; they actually impelled me to try to make rhymes, — me, a steady white goods salesman ! The impulse was too strong to be resisted. "As radiant as that matchless rose Which i3oet-artists fancy; As fair as whitest lily-blows; As modest as the pansy; As pure as dew which hides within Aurora's sun-kissed chalice; As tender as the primrose sweet — All this, and more, is Alice." When I had composed these wretched lines I be- came conscious that I had neither pencil nor paper wherewith to preserve them. Should I lose them — my first self-constructed poem ? Never ! This was not the first time in which I had found it necessary to i^reserve words by memory alone. So I repeated my ridiculous lines over and over again, until the eloquent feeling of which they were the graceless expression inspired me to accompany my recital with gestures. Six-- eight — ten — a dozen — twenty times I repeated these lines, each time with THE AID OF A THEEE-YEAE-OLD NEPHEW. 213 additional emotion and gesture, when a tliin voice, very near me, remariied: — " Ocken, Hawwy, you does djnst as if you was swimmin'." Turning, I beheld my nephew Toddie — how long he had been behind me I had no idea. He looked earnestly into my eyes, and then remarked: — " Ocken Hawwy, your faysh is wed, djust like a wozy-pozy." " Let's go right in to breakfast, Toddie," said I aloud, as I grumbled to myself alaout the faculty of observation which Tom's children seemed to have. Immediately after breakfast I disx^atched Mike with a note to Alice, informing her that I would be glad to drive her to the Falls in the afternoon, and at two o'clock I drove up to the steps of Mrs. Clarkson's boarding house. Longer, more out-of-the-way roads between Hill- crest and the Falls I venture to say were never known than I drove over that afternoon, and my happy comiDanion never once asked if I was sure we were on the right road. Only a single cloud came over her brow, and of this I soon learned the cause. " Harry," said she, in an appealing tone, '" we liave been very hasty, for people who have been mere ac- quaintances. And mother is dreadfully opposed to such affairs — she is of the old style, you know." " It was all my fault," said I. " I'll apologize promptly and handsomely. The time and agony which I didn't consume in laying siege to your heart, 21i SUPPLEMENTARY SELEC'TIONfi. I'll devote to the task of gaiiiiiiy your mother's i^'ood graces." '■ You don't know what a task you have before you. jMother has a very tender heart, hut it's thorouti'hly fenced in by proprieties. In lier day and set, eourt- sliii) was a very slow, stalely affair, and mother be- lieves it the proper way now. I'm afraid .she won't be patient if she knows the truth. I'm her only child, you know." ■■ Doii'f keep it from her.'' said I, '• Let me tell the whole story, take all the responsibility, and accept the penalties, if there are any." But oh, what a cowardly heart was mine! Now for the first time in my life did I shrink and tremljle at the realization of what duty imperatively re(]^uired-- now for the first time did I l^'o through a harder bat- tle than was ever fought with sword and cannon, and a Ijattle with greater possibilities of danger than the field ever olfered. I could not help feeling consider- ably sobered on our homeward drive. " Let me talk to her vcnr, Alice, won't you? Delays are only cowardly." "Yes; if the parlor happens to be empty, I'll ask her if she won't go in anil see you a moment." As we passed from behind a clump of evergreens which hid the house from our view. I involuntarily ( xclaimed, " Gracious!" Upon the piazza stood Mrs. Mayton; at her side stood my two nephews, as dirty in face, and clothing, as I had ever seen them. '• Wezhe comed up to wide home wif you," ex- claimed Toddie. as Mrs. Mayfon greeted me with an odd mixture of C(jurtesy, curiosity and humor. Alice THE AID OF A THEEE-YEAE-OLD NEPHEW. 215 led the way into the parlor, ■whispered to her mother, and commenced to make a rapid exit, when Mrs. May- ton called her back, and motioned her to a chair. " Alice says you wish to speak with me, Mr. Bur- ton," said she. " I wonder whether the subject is one upon which I have this afternoon received a minute verbal account from the elder Master Lawrence." " Between the statements made by that child, and the hitherto unaccountable change in my daughter's looks during two or three days, I think I have got at the truth of the matter. If the offender were any one else, I should be inclined to be severe; but we moth- ers of only daughters ai'e apt to have a x^retty dis- tinct idea of the merits of young men, and— " The old lady dropped her head; I sprang to my feet, seized her hand, and reverently kissed it; then Mrs. Mayton, whose only son had died fifteen years before, raised her head and adopted me in the man- ner pieculiar to mothers. A few moments later, three happy people were oc- cupying conventional attitudes, and trying to com- X^ose faces which should bear the inspection of who- ever might happen into the parlor, and Mrs. Mayton observed: — ''My children, between us this matter is under- stood, but I must caution you against acting in such a way as to make the engagement public at once." " Trust me for that," hastily exclaimed Alice. " And me." said I. "I have no doubt of the intentions of either of you," resumed Mis. Mayton, "but you cannot possi- bly be too cautious." 216 SUPPLEMENTARY SELECTIONS. Here a loud laugh from the shrubbery under the windows drowned Mrs. Mayton's voice for a moment, but she continued: " Servants, children " — here she smiled, and I dropped my head — "persons you may chance to meet " — Again the laugh broke forth under the window. " What can those girls be laughing at?" exclaimed Alice, moving toward the window, followed by her mother and me. Seated in a semi-circle on the grass were most of the ladies boarding at Mrs. Clarkson's, and in front of them stood Toddie, in that high state of excitement to which sympathetic applause always raises him. " Say it again," said one of the ladies. Toddie put on an expression of profound wisdom, made violent gestures with both hands, and repeated the following: — " Azh wadiant azh ze matchless woze Zat poeck-artuss fanshy; Azh fair azh whituss lily-blowzh; Azh moduss azh a panzhy; Azh pure azh dew zat hides wifKn Awwahwah's sun-tissed tallish; Azh tender azh ze pwimwose fweet. All zish, an moali, izh Alish." I gasped for breath. "Who taught you all that, Toddie?" asked one of the ladies. " Nobody dodn't taught me — I lyned it " "When did you learn it?" " Lyned it zish mornin.' Ocken Hawwy said it THROUGH THE FLOOD. 217 over, an' over, an' over, djust yots of tiuiezli, out in ze garden." The ladies exchanged glances — my lady readers (or hearers) will understand just how. Alice looked at me inquiringly, and she now tells me that I blushed sheepishly and guiltily. Poor Mrs. Mayton staggered to a chair, and exclaimed: — "Too late! too late!" — From " Helen's Babies,^' hy John Hohberkm. [Printed by permission of the F. M. Lupton Publishing Com- pany, owneiK of the copyright.] THROUGH THE FLOOD. Doctor MacLure did not lead a solemn procession from the sick bed to the dining-room, and give his opinion from the hearthrug with an air of wisdom bordering on the supernatural, because neither the Drumtochty houses nor his manners were on that large scale. He was accustomed to deliver himself in the yard, and to conclude his directions with one foot on the stir- rup; but when he left the room where the life of Annie Mitchell was ebbing slowly away, our doctor said not one word, and at the sight of his face her husband's heart was troubled. He was a dull man, Tammas, who could not read the meaning of a sign, and labored under a perpetual disability of speech; but love was eyes to him that day, and a mouth. " Is't as bad as yir lookin', doctor? tell's the 218 SUPPLEMENTAKY SELECTIONS. truth; Willi Annie no come through"? and Tanimas looked MacLure straight in the face, who never flinched his duty or said smooth things. " A' wud gie onything tae say Annie hes a chance, but a' durna; a doot yir gaein' tae lose her, Tauinias." MacLure was in the saddle, and as he gave his judgment, he laid his hand on Tamnias' shoulder with one of the rare caresses that pass between men. "It's a sair business, but ye'ill play the man and no vex Annie; she 'ill dae her best, a'U warrant." " An a'll dae mine," and Tammas gave MacLure's hand a grip that would have crushed the bones of a weakling. Drumtochty felt in such moments the bi'otlierliness of this rough-looking man, and loved him, Tammas hid his face in Jess's mane, who looked around with sorrow in her beautiful eyes, for she had seen many tragedies, and in this silent sympiatliy the stricken man drank his cup, drop by drop, "A' wesna prepared for this, for a' aye thocht she wild live the langest , , . She's younger than me by ten years, and never wes ill , , , We've been mairit twal year laist Martinmas, but its juist like a year the day, , , , A' wes never worthy o' her, the bonniest, snoddest (neatest), kindliest lass in the Glen, , , , A' never end mak oot hoo she ever lookit at me, 'at hesiia hed ae word tae say aboot her till it's ower late, , , , She didna cnist up tae me that a' wesna worthy o' her. no her, but aye she said 'Yir ma ain gudeman, and nane cud be kinder tae me,' , , , An' a' wes minded tae be kind, but THROUGH THE FLOOD. 219 a' see noo mony little trokes a' miclit bae dune for her, and noo the time is bye. . . . Naebody kens boo patient she wes wi' me, and aye made the best o' me, an' never jjit me tae shame afore the fouk .... An' we never bed a cross word, no ane in twal year. . . We were mair nor man and wife, we were sweethearts a' the time. . . . Oh, ma bonnieln;;'s, what 'ill the bairnies an' me dae withoot ye, Annie?" The winter night was falling fast, the snow lay deep upon the ground, and the merciless north wind moaned tbrough the close as Tanimas wrestled with bis sorrow dry-eyed, for tears were denied Drum- tocbty men. Neither the doctor nor Jess moved hand or foot, but their hearts were with their fellow- creature. " Can naethin' be dune, doctor? Ye savit Flora Cammil, and young Burubrae, an' yon shepherd's wife Dunleitb wy, an' we were a' sae prood o' ye, an' pleased tae think that ye bed kepit deith frae anither bame. Can ye no think o' something to help Annie, and gie her back tae her man and bairnies?" and Tammas searched the doctor's face in the cold, weird light. " Ye needna plead wi' me, Tammas, to dae the best a' can for yer wife. Man, a' kent her laug afore ye ever luved her: a' brocht her intae the warld, and a' saw her through the fever when she was aljitlassikie; a' closed her mither's een, and it wes me bed tae tell her she wes an orphan, an' nae man wes better pleased when she got a gude husband, and a' belpit her wi' her fower bairns. A've naither wife nor bairns o' ma own, an' a'coont a' the fouk o' the Glen ma family. 220 SUPPLEMENTAKY SELECTIONS. Div ye think a' wndna save Annie if I end? If there wes a man in Muirtown 'at end dae niair for her, a"d have him this verra nicht, but a' the doctors in Perth- shire are helpless for this tribble." "Tamnias, ma puir fallow, if it could avail, a' tell ye a' wud lay doon this auld v\'orn-oot ruckle o' a body o' mine juist tae see ye baith sittin' at the fire- side, an' the bairns roond ye, couthy and canty again; but it's no tae be, Tammas, it's no tae be." " Its God's wuU an' maun be borne, but it's a sair vv'ull for me, an' a'm no nngratefn' tae you, doctor, for a' ye've dune and what ye said the nicht," and Tam- mas went back to sit with Annie for the last time, and the doctor passed at a gallop through the village, whose lights shone across the white frost-bound road. " Come in by, doctor; a' heard ye on the road; ye'ill hae been at Tammas Mitchell's; hoo's the gudewife? a' doot she's sober. " Annie's deein', Drumsheugh, an' Tammas is like tae brak his hert." " That's no lichtsome, doctor, no lichtsome ava, for a' dinna ken ony man in Drumtocliy sae bund xip in his wife as Tammas, and there's no a Ix.mnier wumman o' her age crosses cor kirk door than Annie, nor a cleverer at her wark. Man ye'ill need tae pit yir brains in steep. Is she clean beyond ye?" " Beyond nie and every itlier in the land but ane, and it wud cost a hundred guineas tae bring him tae Drumtocliy." "Certes, he's no blate; it's a fell chairge for a short day's work; but hundred or no hundred we'll hae hnn, an' no let Annie gang, and her no half her years.'' THROUGH THE FLOOD. 221 "Are ye meanin' it, Drumsbeugh?" and MacLure turned white below the tan. " William MacLure," said Drumsheugh, in one of the few confidences that ever broke the Drumtochty reserve. " a'm a lonely man, wi' naebody o' ma ain blude tae care for me livin', or tae lift me intae me coffin when a'm deid." " A' fecht awa at Muirtown Market for an extra pund on a beast, or a shillin' on the quarter o' barley, an' what's the gude o't? Burnbrae gaes aff tae get a goon for his wife or a buke for his college laddie, an' Lachlan Campbell 'ill no leave the place noo with- oot a ribbon for Flora." "Ilka man in the Kildrummie train has some bit fairin' in his pooch for the fouk at hame that he's bocht wi' the siller he won. "But there's naebody tae be lookin' oot for me, an' comin' doon the road tae meet me, and daffin' (joking) wi' me aboot their fairing, or feeling ma pockets. Ou ay, a've seen it a' at ither hooses, though they tried tae hide it frae me for fear a' wud lauch at them. Me lauch, wi' ma cauld, empty hame. MacLure felt beneath the table for Drumsheugh's hand, but neither man looked at the other. " Weel, a' we can dae noo, Weelum, gin we haena mickle brichtness in oor ain hames, is tae keep the licht frae gaein' oot in anither hoose. Write the tele- gram, man, and Sandy 'ill send it aff frae Kildrum- mie this verra nicht, and ye 'ill hae yir man the morn." "Yir the man a' coonted ye, Drum.sheugh, but ye ill grant me ae favor. Ye 'ill lat me pay the half, bit 222 SUPPLEMENTAKY SELECTIONS. by bit — a' ken yir ^yullin' tae daeH a', — but a' haena mony pleesures, an' a' wud like tae liae ma share in savin' Annie's life." Next morning a figure received Sir George on the Kildrummie platform, whom that famons snrgeon took for a gillie, but who introduced himself as " MacLure of Drumtochty." " It's a ricbt in here, for the wind disna get at the snaw, but the drifts are dee^D in the Glen, and th'll Ije some engineerin' afore we get tae oor destination." Four times they left the road and took their way over fields, twice they forced a passage through a slap in a dyke, thrice they used gaps in the paling which MacLure had made on his downward journej'. "A' seleckit the road this mornin', an' a' ken the dei^th tae an inch; we 'ill get through this steadin' here tae the main road, but oor worst job ill be crossin the Tochty. "Ye see the bridge hes been shakin' wi' this win- ter's flood, and we daurna venture on it, sae we hev tae ford, and the snaw's been melting up Urtach way. Tliere's nae doot the water's gey big, and it's threat- enin' tae rise, but we 'ill win through wi' a warstle. "It micht be safer tae lift the instruments oot o' reach o' the water; wud ye mind haddin' them on yir knee till we're ower, an' keep firm in yir seat in case we come on a stane in the bed o' the river," By this time they had come to the edge, and it was not a cheering sight. The Tochty had spread out over the meadows, and while they wailed they could see it cover anotlun' two inches on the trunk of a tree. There are summer floods wlien tlie water is THEOUGH THE FLOOD. ZZS brown and flecked with foam, but this was a winter flood, which is black and sullen, and runs in the cen- ter with a strong, fierce, silent current. Upon the opposite side hillocks stood to give directions by word and hand, as the ford was on his land, and none knew the Tochty better in all its ways. They passed through the shallow water without mishap, save when the wheel struck a hidden stone or fell suddenly into a rut; but when they neared the body of the river, MacLure halted to give Jess a minute's breathing. "It 'ill tak ye a'yir time, lass, an' a' wud raitlier be on yir back; but ye never failed me yet, and a wuni- nian's life is hangin' on the crossin'." With the first plunge into the bed of the stream the water rose to the axles, and then it crept up to the shafts, so that the surgeon could feel it lapjjing about his feet, while the dog-cart began to quiver, and it seemed as if ^t were to be carried away. Sir George was as brave as most men, but he had never forded a Highland river in flood, and the mass of black water racing past beneath, before, behind him, affected his imagination and shook his nerves. He rose from his seat and ordered MacLure to turn back, declaring that he would be condemned utterly and eternally if he allowed himself to be drowned for any person. "Sit doon," thundered MacLure; "condemned ye will be suner or later gin ye shirk yir duty, but through the water ye gang the day." Both men spoke much more strongly and shortly, 224 SUPPLEMENTARY SELECTIONS. but this is what they intended to saj'. and it was MacLure that prevailed, Jess trailed her feet along the ground with ciin- ning art, and held her shoulder against the stream; MacLure leant forward in his seat, a rein in each hand, and his eyes fixed on Hillocks, who was now standing up to the waist in the water, shouting direc- tions and cheering on horse and driver. "Haud tae the riclit, doctor; there's a hole yonder. Keep cot oH for ony sake. That's it; yir daein' fine, steady, man, steady. Yir at the deepest; sit heavy in yir seats. Up the cliannel noo, and ye'll be oot o' the swirl. Weel dune, Jess, weel dune, auld niare! Mak straicht for me, doctor, an' a'U gie ye the road oot. Ma word, ye've dune yir best, baitli o' ye this mornin'," 'cried Hillocks, splashing up to the dog- cart, now in the shallows. " Sail, it wes titch an' go for a nieenut in the mid- dle; a Heilan' ford is n kittle (hazardous) road in the snaw time, but ye're safe noo." Two hours later MacLure came out from Annie's room and laid hold of Tannnns, a heap of sx3eechle.ss misery by the kitchen fire, and carried him off to the Ijai'n, and spread some corn on the threshing floor and thrust a flail into his hands. " N(.io we've tae begin, an' we'ill no be dune for an ooi', and ye've tae lay on withoot stoppin' till a' come for ye, an' a'll shut the door tae haud in the ni)ise, an' keep yir dog beside ye, for there maunna lie a cheep aboot the lioose for Annie's sake." "A'U dae onything ye want me, l)ut if- if " "A'U come for ye, Tannnas, gin there be danger; THEOUGH THE FLOOD. 225 but what are ye feared for wi' the Queen's ain sur- geon here?" Fifty minutes did the flail rise and fall, save twice, when Tamnias crept to the door and listened, the dog lifting his head and whining. It seemed twelve hours instead of one when the door swung back, and MacLure filled the doorway, preceded by a great burst of light, for the sun had arisen on the snow. His face was as tidings of great joy, and Elspeth told me that there was nothing like it to be seen that afternoon for glory, save the sun itself in the heavens. " A' never saw the marrow o"t, Tammas, an' a'U never see the like again: it's a' ower, man, withoot a hitch frae beginnin' tae end, and she's fa'in' asleep as fine as ye like." " Dis he think Annie . . . 'ill live?" " Of course he dis, and be aboot the hoose inside a month; that's the gude o' bein' a clean-bluided weel- livin' " "Preserve ye, man, what's wrang wi' ye? it's a mercy a' kejDpit ye, or we wud hev lied anither job for Sir George. " Ye're a' richt, noo; sit doon on the strae. A'll come back in a whilie, an' ye'ill see Annie juist for a meenut, but ye mauinia say a word." Marget took him in and let him kneel by Annie's bedside. He said nothing then or afterwards, for sijeech came only once in his lifetime to Tannnas, Ijut Annie whispered, " Ma ain dear man." 226 SUPPLEMENTARY SELECTIONS. When the doctor placed the precious bag beside Sir George in our solitary first next morning, he laid a cheque beside it and was about to leave. " No, no," said the great man, "Mrs. Macfadyen and I were on the gossip last night, and I know the whole story about you and your friend, " You have some right to call me a coward, but I'll never let you count me a mean, miserly rascal," and the cheque with Drumsheugh's painful writing fell in tifty pieces on the floor. — I(H( ]\f(icl(ire)i. INDEX. Abdominal Breathing Art. 47 Action 179 Arm Exercises 10, 18. 37, 103, l-l.'^, 1.12. Kil Ann in Gesture 321 Articulation 10.1, 1 Ki, 119, 121 Aspirate Quality 14 Averse Hand 191 Backward Position 233 Body Bending Exercisi' 77, 101 Body Torsion 92 Breath, Management of 133 Breathing 40, ,58, 07 Brow, Expression of 202 Characteristic Words '. 108 Chart of Action Page 5 Chart of Vocal Expression Page 4 Chest Breathing Art. 07 Chest Percussion Exercise 118 Clenched Hand 203 Climax 149 Coiling the Arm 18 Compound Stress 9,"), 99 Command, An Exercise in 220 Comjoosed Position 233 Costal Breathing .58 Dead Still Exercise 139 Directions of Gesture 180 Drill Po.sition 2 Elocution, Definition of 1 Emphasis 153 Erect Position 2 Essential Elements of Ynici' Eve, Expression of 257 228 Facial Expression 350 Final Stress 88, 90 Finorer Exercise 173 First Position 8 Flexion Exercise of tlie Arm 10 Flexion Exercise of tlie Neck 85 Flexion Exercise of the Waist 77 Feet, Positions 337 Foot Exercise 35, 139, 101, 100 Force ?>S Fore Arm 331 Form 78 Forward Position 2H.i Full Arm 331 Guttural Quality 31 Hand, Positions 1 85 Hand in Kepose 317 Index Hand 198 Inflection (ii) Latitude in Gesture, 180 Laughing Exercise 184 Lips, Expression of 303 Longitude in Gesture 1 80 Median Stress 93. 98 Mouth, Expression of 30;! Movement 00 Nasal Quality 23 Neck Exercise 85, 112, 133 Onomatopoi'lic Words 108 Ural Quality 15 ( )rot\ind Quality 13 Pauses 130, HI Pectoral Quality 30 Pcii.'tiati\e Voice- 303 Percussicu Exri-ciscs 118, 133 Phrasing 135 Pitch 49 Poetic Readhig 163 INDEX. 229 Position, Drill 3 " Speaker's , H of Body 233 of the Feet, 1st 8 2nd S 3rd 227 4tli 227 frth 227 6th 227 of the Hand 1S5, 217 of the Head 311, 21!) Prone Hand 208 Pronunciation 10.^), 113, 119, 124 Pure Tone : 3,7 Quality 7, 1 1 Radical Stress 88, 8!) Reading Poetry lt)3 Reading, Position of Head in 343 Reflex Hand 315 Salutation Exercise UlO Second Position 8 Sing-song Reading 103 Speaker's Position 8 Stress 80 Supine Hand, 186 Thorough Stress 96, 100 Tip-toe Exercise 139, IGl Torsion of the Arm 103 of the Body 93 of the Neck 113 Tremor Stress 97, 101 Waist Exercise 77 Wavering Position 333 Alphabetk'AIj Index or Atthoks QiciteL'. I'AGE AluxaiiclcL, Mrw 42 Bacon, Francis 11;> Beeehcr, Henry "Wairt... 57 180, 201 Bible 3o, 53, Hli, 81, 105 Browning, Robert 20(j Bryant, William CuUen 56, 72. Ill Burdette, Robert J. .132, 151 Burns, Robert 81 Byron, George Gordon 21, 10!), 154 Cain])beli, Tliomas 8•. Mnn-el 169 Open Wiuduw, T}ic, — //. W. Longfellow '■ ■ 118 Organ in Westminster Abbey, The, — Wnslihujtim Irviiir). US People Victorious, The,- .Et'f/T« 171 Poverty and Debt, — Samuel Smiles. IIW) Skylarl^, To a,— IF. Wordsworth Ili7 Sleep,— flofcert J. Biirdettr. 151 Street Scene, A, 202 Suniiner Storm, — James Russell Lowell 192 Sunrise on the Hills,— i7. W. Longfellow 20.5 Tale, k,—Rohert Browiriug 20li Through the Flood,— /on Maehiren 217 Thunderstorm on the Alps, A, — Lord Byron l.il Town of Dsed-To-Be 1.59 Tray,- «■. Ma-rrel 182 AVages, — Tennyson 172 Where's Mother,—- ./. I\. Koshrood 168 Who Struck My Mary, — .4. J. GhUfeiiden 17'J FOtHittXMWttmUMNHBSiW4H»HBlUW4HHdtft)HHHWUti«DftB^^