Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027198823 Cornell University Library PN 4165.089 1902 3 1924 027 198 823 W' * ^' f ' '^MB^WPWH HHHj ll^ -"^^SL^nfe wm ^■^ w ^.. . u..^,. „,„ f '^HjH^U^^B ^^|^s|l il^^al ^^^H ^^^^^^^^^HiK'^^ /,>%j^^B klH tjR- '' '' 'ii'ii^^^^^^^^i ^r^^sB 191 ^Hf^B^HPIS^^^^ ,^^^^^1 BKi^^l ^^^Ss Bp^^ pifi^HH ^^^K!^!FV ^^> Jl^l BY EDWARD AMHERST OTT PRESIDENT OF OTT's SCHOOLS OF EXPRESSION, CHICAGO, ILL. AUTHOR OF ** HOW TO USE THE VOICE IN BEADING AND SPEAKING " Revised and Illustrated Edition HINDS & NOBLE, Publishers 31-33-35 West 15TH Street, New York City COPYKIGHT, 1892, BY ED. AMHERST OTT COPYRIGHT, 1902, BY HINDS & NOBLE PREFACE This book is designed to help those who wish simply to become good speakers, as well as ambitious students of oratory. While not written for the theorist, the author believes it to be scientific. It goes only so far into the ideal in oratory as is consistent with utility. It employs the method of teaching gesture by using sym- bols with typical sentences, a method whose usefulness has been amply demonstrated by its many successes. The author does not claim originaUty. The method is used by many teachers East and West. One feature, however, should particularly commend it, — the prac- tice work employs quotations so familiar that every one will recognize them and all should memorize them. Thus the student acquires, apparently without effort, hundreds of maxims, apt ideas well put; and, better still, he comes under the reflex influence of the many good thoughts well expressed. This feature alone, simply by imparting a certain facility in smoothness of phrase, should render the work invaluable to every interested student of the art of pubUc speaking. E. A. O. CmcAGO, Illinois, September i, 1902. m CONTENTS PAGE Introduction vii CHAPTER I. Exhortation i II. Beginnings 6 III. Presence 8 IV. Legs and Feet 13 V. The Arms and Hands as a Unit 18 VI. The Elbows and Hands 26 VII. Shoulders, Chest, and Head 31 VIII. Walking the Platform 35 IX. Pictures on the Platform 43 X. Descriptive Action 50 XI. The Will in Expression 54 XII. Transition 58 XIII. Gestures made with Both Hands .... 63 XIV. Gestures in which the Preparation is Long Con- tinued 67 XV. Exercises for Review Practice 71 XVI. Alternate Gestures 76 XVII. Special Motions and Positions 79 XVIII. Attitudes 84 XIX. Judgment in Gesture 90 XX. General Rules and Suggestions 95 XXI. Quotations 100 XXII. Quotations from the Bible 102 XXIII. Quotations from the Latin 105 XXIV. Quotations and Studies from Various Authors . 109 XXV. Miscellaneous Quotations and Studies . . . 124 V LIST OF ILLUSTRATIONS Christ and the Doctors (A Study in Earnestness') ■ Frontispiece PAGE PAiX2!a?im\Sv!XQa\a. {A Study of Poise and Dignity) . . 8(a) Christopher Columbus Before the Court of Isabella {A Study of Grouping and Poise) lo {a) The Quarrel {A Lesson in Feet Position) . ■ ■ .18 (a) TuUia Passes over the Corpse of her Father {Gesture Lesson) 26 (a) The Hiding Model {A Lesson in Grouping and Attitudes) 36 (a) A Domestic Scene {A Study in /mper sanation) . . 44 {a) The Wine Cellar {A Lesson in Extravagant Action) . . 52 (a) The Strike {A Lesson in the Expression of Intense Moods) 60 (a) A Cavalry Encounter 68 (a) A Wonderful Story {A Lesson in Listening) . . 76 {a) A Labor of Love {A Study in the Expression of the Hands) 84 (a) The Last Hope 92 {a) Saved {A Lesson in the Walk, and Expression of the Arms and Hands) ........ 100(a) Listening (A Lesson in Attitude and Grouping) . .106 (a) A Ba.sh{u.l Ma.n (A Study of Eccentric Types) . . . 114(a) Reading from Homer {A Lesson in Listening) . . . 122 (a) INTRODUCTION This book does not aim at presenting a philosophy of expression. Its design is, by a method of practice, to teach how to gesture. The method involved has grown out of studies founded on the expression of the emotions of men and animals as illustrated by the most successful scientists and artists. It is thus really a book on bodily expression. Gesture is a term which, in its widest sense, covers all of the bodily movements by which man expresses thought and emotion. Distinction has been made be- tween gesture and facial expression. The latter is not touched upon in this text. Gymnastic drills also are omitted from the discussion. Physical culture should help the student materially in his work of expression. The two studies should corre- late ; yet it would be better, perhaps, if physical culture drills that do not lead to expression, were not allowed in our school gymnasiums. However, all purely physical culture drills are omitted from our text, and the student must get them either from his teacher or from hand- books on the subject. It does not seem best to formulate a theory of acting or of oratory, but to embody our method in the drills VIU INTRODUCTION laid down. If to satisfy the mind, a student is desirous of having a philosophic basis for his work, he may read to advantage Darwin's book. The Expression of the Emotions of Men and Animals, and kindred books. The best advice, however, that can be given to one really ambitious to appear well upon the platform, who desires to make useful and effective gestures, is to prac- tice much and theorize Uttle. The anxious theorist rarely speaks well. An art cannot be read ; it must be experienced; it must be practiced. A man of the philosophic school is in the author's mind; he knows why a man winks, why a dog barks or wags its tail, but he was never known to make an effective speech. The world gives him no credit as an artist, nor should it. He studies the science of oratory, but does not practice its art. He is not a success as an orator. Gesture is that subtle language which conveys im- pressions which words are powerless to express. Grace- ful and expressive motions are a delight in themselves. Who has not been thrilled by the pantomimic work of some consummate actor, who filled his dramatic pauses with motions so grand and effective that every hearer felt his touch and breathed his inspiration } An instru- ment so powerful should be unde;rstood. A mob has been hushed to awe by a single sweep of the arm. Wendell Phillips mastered the storm of Faneuil Hall by presenting his palm. A look, a wave of the arm, and all was still; Boston was ready to listen. How was it done.? Learn. INTRODUCTION ix The student needs, most of all, guidance for develop- ing his own powers, — prescribed practice, — practice toward definite ends. Only disappointment will follow a system of practice not prescribed under the laws of an intelligent method. Impression and Expression As every gesture is but the muscular response to some activity of the mind, it will readily be understood that every drill prescribed in the book should be exe- cuted with mental and moral sympathy, or the practice will result in artificiality and affectation. The lessons from the text must be given life from the spirit of the student. Every motion should be subordinated to its purpose. Imitation. Individuality " True expression must ever begin with the study of ideas and the awakening of emotion." However, the awakening of emotion sometimes comes before ideas, and whether thought or emotion comes first has not yet been determined. Certain passions certainly lead to certain gestures, and eventually to certain thoughts. Again, certain thoughts lead to passion and to action. When will we learn that thought and emotion in ex- pression are a unit .■" We have assumed that the student has a mind and has already done some thinking; that he knows the feelings of gladness and sadness, anger and kindness. X INTRODUCTION In Other words, he is not to move for the first time. He has been making gestures for years; but, by a process of practice, he is to perfect his manner of expression. He is to deepen his emotions, beautify his actions, enlarge upon his individuality. If, in the practice of any lesson, the teacher is imi- tated to an extent which means the disregarding of the student's own personality, a serious mistake is made. But the mannerisms of the student cannot be retained if he would improve. Is a student's gesture awkward, or his manner halting.? the awkwardness must be over- come, else grace and ease cannot be acquired. Then fear imitation, and avoid it most when it cramps indi- viduality. Individuality is to be commended, but only when it is graceful, rugged, strong, beautiful, worthy. Suggestion to Pupils and Teachers Practice all the gestures with varying breadth or sweep to express the degrees of intensity. Adapt the important lines to a parlor, then to a large auditorium. Also practice the model sentences both while standing and while sitting. "5« enthusiastic^ CHAPTER I Exhortation The study of expression cannot be pursued in a care- less ox indifferent manner. It is only when the whole man is aroused that the imagination does its best work and the muscles respond to the impulses of the heart and of the brain. It is necessary, therefore, in all the work to be thoroughly alert, gloriously alive. After a thorough rest, one should be able to do good work. If the temperament of a student is at all lethargic, a brisk run or walk, or a series of gymnastic drills will be a good preliminary to an hour's practice in gesture. There should be no lack of enthusiasm in such an interesting work. There are two distinct purposes that may constantly be kept before the mind : first, to realize one's best self in expression ; second, to study the prin- ciples of expression as revealed in the actions of people we meet. Special lessons for the study of habits and movements will be given in the text, but here we simply make the general statement that the student should ever observe the manner in which people do their work, and how far the work expresses the emotions and character of the 2 EXHORTATION individual. All of the observations should be made with a minuteness that shall make them of service. The student should be particularly careful to note the char- acteristics of strong men and women as indicated by their movements : how they enter a room and leave it ; even how they turn the pages of a book. The decision and firmness with which the acts of intense peopie are performed are in themselves a lesson. Inasmuch as the intensity of every action but ex- presses the hfe that is back of it, there must constantly be a reserve force, a good supply of energy upon which to draw. Hence the following advice : live a hygienic life, eat good food, seek comfortable environments, let rest be undisturbed. Nervousness must be wholly eUmi- nated. To do this the student must learn to rest well, to reserve the force, to control the nerves. It is necessary to store the energy through self-control in order that the voice may vibrate with vigor. With a good supply of vital force it will be possible to avoid speaking mechani- cally. Careless speaking, talking without aim, robs the personality of dignity and the voice of its magnetism. Having good vitality, there should also be definiteness of purpose. Without definiteness of purpose the ges- tures will be lacking in character. Moral Purpose mid Affectation As there is always some affectation and artificiality in the world, and since even the elocutionist is not always EXHORTATION 3 exempt, it is appropriate to say that the study of gesture will not lead to artificiality, but that affectation will de- stroy the most beautifully conceived gesture. Affecta- tion is a condition of the mind and heart which reflects itself in the body. None of the drills in this book should be practiced in a mechanical manner. The student will need to make every word of the drill sen- tences, as well as the spirit back of the words, his own. He must not simply remember the words, he must real- ize them. His voice will not express what it should unless he realizes within himself the truth of every sen- tence he uses. There is indeed a beautiful work before the student, — to train the body in definite directions, to make it the servant of the brain instead of the master. The human form, uncramped by habit, or dress, or sin, is magnifi- cent. See the beautiful curves, the elastic muscles, the fine action, when the body is instinct with holy life ! The marble statue is wonderful too, but it is inanimate. We want life. Expression is the sign of life. The character of one determines the form of the other. Our aim must be to build up worthy characters, and then demand that our bodies truly represent us. The body plainly expresses three different phases of the man : mind, emotion, and force. In the present work we shall aim to teach the mental and emotive manifestations, and to these add force. 4 EXHORTATION Mental Manifestations The mental manifestations or gestures are those which portray thought, locate objects, and paint pictures for the imagination. They are used most frequently in descriptions and in general speech-making. We some- times call them oratorical gestures. Emoti ve Manifestations The emotive gestures or manifestations reveal the physical and moral conditions. As they express emo- tion of all kinds, they are as various in shade and tint as the lights that burn and die in the heart of man; and as they express the moral and physical condition only, they are not necessarily directed by the thought. The contracting of the eyebrows in facial expression would be an example. The trembling of the hand in passion or the striking of a blow indicate something of the emotion or excitement, and yet would not express the thought causing the emotion. These gestures show the inward man. The orator who can artistically com- bine and use both the mental and emotive gestures is most powerful. He who draws the picture and stimu- lates sympathy for it by showing the effect it produces on himself, is an artist indeed. Note to Teachers. — The teacher must understand that all emo- tion feeds upon blood circulation. It is absolutely impossible to get good action work from a class that is not thoroughly awake. EXHORTATION 5 Each day before undertaking even the "life studies," referred to later, the entire class should be given a series of physical exercises to stimulate the life forces. This requirement is absolutely vital, and should therefore never be omitted. It is more essential to have the class enthusiastic than for the teacher to waste energy and enthusiasm for the class. " Observe life while living your life. CHAPTER II Beginnings It will be necessary for the student who has not had some opportunity of looking upon beautiful statuary and fine paintings, and who has not been observant while mingling with people, to notice very carefully and constantly the movements of people in order to make the following chapters of real service to him. A part of each day may profitably be spent in watching the labors of different classes of people, noticing the difference of expression in face and body. Notice the minute, careful action of the manufacturing jeweler as compared with the cruder labor of the ordinary work- shop. The workman's method is the expression of his character. The reluctant spirit or the bright gladness with which he finishes a task is indicative of his men- tal attitude. It would be impossible to teach the art of gesture to a student who cannot see character mani- fested by the movements of the people about him. This practice of observing riien in action and repose should become a habit at once, or the following lessons will lose much of their value. The student is to use his body as a means of expres- 6 BEGINNINGS 7 sion. Movement is language; motions speak. The voice tells something of the condition of the mind, but the hand-pressure, the look, the expressive action, mean quite as much. We take up in detail and in the follow- ing order our study of the body in expression : — The Body as a 3. The Arms. 4. Head. Whole. {a) Elbows. 5. Shoulders. The Legs. lb) Hands. 6. Chest. {a) Knees. {c) Fingers. 7. Hips. {b) Feet. All the members of the body as given in the above outHne are brought into service, and although all but one of them may be inactive, the other members may be quite as expressive in their repose; an attitude may enforce what the hand is saying. Extreme care must be taken always to have all action graceful and appro- priate ; the attitude strong, but easy. It will not be difficult to learn what to do, but art consists in doing things well, without crudeness, and without artificiality. In all the work there must be a sincerity and an earnest- ness which will warrant every action. " Not what a man does, but what he is^ CHAPTER III Presence Presence is defined as the united personal qualities of an individual as revealed by his general bearing. The appearance of the body taken as a unit is always signifi- cant. General bearing is more eloquent than any move- ment. It. tells more of temperament and character. For that reason much of an orator's power depends on his presence. To manage well the body as a whole is the first desideratum. Hence, before learning the more particular uses of hands, feet, shoulders, and head, in gesture, we must consider the movements of the body as a whole. The man of strong character impresses us first of all and most by his presence. He may offend our taste by some movement ; but he is ever a man who stands like one. The student of oratory must learn to stand easily, without motion and without stiffness. A good practice is to speak for several minutes without moving hands or feet. After this can be done easily, the student is ready for the movements that are to follow. ABRAHAM LIN'COLN. Note the Poise and Dignity of tills Statue. ! ( CO M r > PRESENCE 1 1 the stage again, that is, toward the back, in order that he may have stage room for his work. These technical movements have no dramatic significance, and are ac- complished usually by turning to the people at the sides of the room and while rendering some unimportant line, where a slow and gradual movement up the stage would be unnoticed. These movements toward the back of the stage must not be confounded with the ones that are given below. The emotions which throw the body backward are fear, horror, defiance, and all shades of these. The word back, as used in this connection, does not mean up the stage. It means back from the object or situation which inspires the emotion. Caution. — The judgment of the student must determine how ex- treme the movement of the body may become and still not violate the laws of good taste. He must remember never, never to overdo. Model sentences to illustrate backward movements of the body follow : — 1. Disdain. " I, to herd with narrow foreheads, vacant of our glorious gains, Like a beast with lower pleasures, like a beast with lower pains ! " 2. Defiance. " Go, show your slaves how choleric you are ! " 3. Fear. "Art thou some god, some angel, or some devil ?" 4. Depression. " Why should I struggle on ? " 12 PRESENCE Suggestions. — i. Practice each sentence many times carefully, and while imagining circumstances natural to the sentiment. 2. Let the student add his own examples under each exercise, and practice these as well as the ones given. mte to Teachers. — Embarrassment, fear, and a feeling of inferi- ority are the greatest hindrances to good expression. These should therefore be eliminated as soon as possible. Tact in the handling of a class, asking several students to take the platform at one time, mingling the most confident with the most diffident students, is a good method by which to overcome these hindrances. A group of students taking the platform in this way may then be seated on the stage and asked to do individual work, or the entire group asked to exchange seats and thus become familiar with the stage and being upon it and talking to the class. The addressing of an audience later will become an easy task. The ends to be attained are tabu- lated below, and the student's attention may well be called to these ends as worthy of his ambition. Ends to be Attained 1. The overcoming of stiffness in standing or sitting before an audience. 2. Familiarity with the platform. 3. The elimination of embarrassment on the one hand and of overconfidence on the other. 4. A careful training of the eye in the study of ex- pression from life, and from picture study. '■^ stand right and look rights CHAPTER IV Legs and Feet As the strength of a building depends upon its foun- dation, so the carriage of the body depends upon the strength and firmness of the legs and feet. The old sculptors were as careful in determining the correct placing of a foot or the proper slant of a leg as in work- ing out the expression of a face. See the fine balance in the engraving on p. i8 («), and note how far the ex- pression of the figures depends on the placing of the feet. We judge men, somewhat, by their walk and by their manner of standing. The very position of the feet predisposes us to think either well or ill of a man. How much do weak knees detract from his power and dignity ! As a rule, all movements of the feet should be firm and definite. Many speakers step from side to side, forward and backward, without reason. These unneces- sary movements should be avoided. The student should also be cautioned against standing on the side of one of the feet, or rising either on the toes or on the heels. The rule is to have both feet on the floor in all attitudes. 13 14 LEGS AND FEET Rules and Observations Before practicing the examples that follow, the stu- dent should understand a few simple rules to apply at all times when he is not acting or impersonating. In large gestures advance the right foot while using the right hand in front of the body, and the left foot while using the left hand. When the action is small, it does not matter which foot is advanced in the use of either hand. Rules for Position A. Speaker's Position. 1. Stand with one foot advanced sufficiently to give the body a firm foundation, the larger part of the body's weight being on the retired foot. 2. All of the positions of the feet should appear easy to the observer and actually be comfortable to the speaker. 3. In sitting, both feet should be kept on the floor, but the position must not become strained or affected. 4. The position of the feet looks strained and boorish if the toes point in the same direction. 5. Never stand as if weak-kneed. Note. — The above rules apply not only to class-room and plat- form work, but to everyday life as well. B. Change of Position. — The student may some- times wish to turn to the side to address his audience. LEGS AND FEET 1 5 To change gracefully in the speaker's position, let him turn the heel of the advanced foot outward, at the same time shifting the weight of the body to that foot; then let him turn the heel of the other foot inward until he has the correct speaker's position. If, as the student stood at first, facing the audience, the weight was on the right foot, retired, he will now find himself facing to the right ; if the weight was on the left, he will be facing left. When facing the audience directly, to change the weight from one foot to the other, a speaker should take a short step either forward or backward. Observation Lesson Each student will bring to the class a written report of the observations of feet and leg positions made during the time allotted to this work by the teacher and will illustrate, upon the platform, the different positions observed. The eccentric or the peculiar should not take up too much attention in these observa- tion lessons. Aim to profit by the graceful and the correct rather than by the faulty.' Illustrations of the Attitudes of the Legs Below is a chart of some feet and leg positions. The lesson involved in these examples will be suggestive, not final. In taking the examples the student should walk into them ; that is, walk down or up the stage and stop i6 LEGS AND FEET in the manner indicated. So far as possible, the walk should partake of the character of the attitude to be taken. This idea, however, will be elaborated later in the text. I. Weight on Both 2. Weight on Both 3. Weight on Both Legs. Legs Spread Apart Legs. Heels Together.' Laterally. One Forward and " Inferiority," also "Weakness" also the other Back. Military Position. "Drunkenness." "Indecision." 4. Weight on Ad- 5. Weight on Ad- 6. Weight on Ad- vanced Leg. vanced Leg. vanced Leg in a Forward Knee Bent. Forward Knee Stiff. Lateral Direction. "Excitement." " Earnestness." " Rest." 8. Weight on Retired Leg. 9. Weight on Retired 7. Weight on Retired Retired Knee Stiff, Leg. Retired Knee Leg. Advanced Knee Both Knees Stiff. Slightly Bent. Bent. "Defiance." "Refinement." " Depression." " Dispassionate Address." Exercises Illustrating the Attitudes of the Legs 1. Inferiority, Respect, Reverence. " Bless you, my lord, for that one smile." 2. Vertigo, Drunkenness, Boorishness. (a) " Mr. Speaker, where was I at ? " (J}) " Everything is moving round — trees, houses, people.' (c) " I am just as good as any man here, if I do say so." LEGS AND FEET 1 7 3. Indecision, Deliberation. (a) " To be, or not to be." (d) " Well, we shall see." 4. Excitement. (a) " Up the hillside, down the glen, Rouse the sleeping citizen ! " (^6) "The U.S. is ahead!'' 5. Earnestness, Ardor. (a) " Sleep not another night in Paris. Go ! " (6) " In one moment there did pass into this withered frame the might of France." 6. Rest. (a) " God gives quietness at last." (^) " Rest is sweet after strife." 7. Defiance. (a) " Shall I be frightened when a madman stares?" (6) " I, an itching palm? " 8. Self-respect, Refinement. " Hear me for my cause ; and be silent that you may hear." 9. Despondency, Prostration. " There is no creature loves me, and if I die no soul shall pity me." Original Work for the Student Make an extemporaneous speech on the position of the feet and legs, and illustrate by observations made from life. Picture Study. — Study the feet positions in the pictures on pp. 8 (3), 18 ia), 36 (o), 60 Co). " Do not saw the air too much with your hands, but use all gently." CHAPTER V The Arms and Hands as a Unit If Chapters III. and IV. have not been well learned, the practice of gestures with the hands can bring only disappointment. A graceful movement of the arm is lost if the body is stiff and the feet do not sympathize with the action of the arm. It will be understood, then, that while studying and practicing the gesture lessons which follow, the action of the entire body is to be in unity, else the gesture will have no grace or expressive value. Grace is usually understood to mean beauty of action. Its constituent elements are ease, freedom, strength, and correct lines of movement. Beauty of form and grace of action lend a charm to all pubUc speech and to con- versation as well. Symbols In order to indicate the place of a gesture, and the direction, it is necessary to use some arbitrary markings in a text-book. The ones given here are convenient, but others might be used just as well. These symbols should be memorized and well understood, or confusion will be sure to arise as the study proceeds. > r THE ARMS AND HANDS AS A UNIT 19 The symbols are placed under the word where the gesture comes. The student must decide for himself where it should begin. Dictionary of Symbols E Elevated O . . . Oblique H , , Horizontal S . . . Side D . • • Downward B . . . Back F . . . Front P Manner of Presenting Palm . . . . Prone. Palm down s . . . Supine. Palm up n . . . Inward. Toward the body . . . Outward V . . . . Vertical General Terms c . I . Imp St Rep Clenched hand Index Impulse Stroke Repeat or repetition Note. — When two letters are tied by a dash (E — D, or F — S), it indicates the wave or sweep from the position indicated by the first letter to the position indicated by the second letter. When the dash precedes the symbol, it indicates a long preparation. (See Chapter XIV.) 20 THE ARMS AND HANDS AS A UNIT EXPLANATION AND USES OF SYMBOLS The Three Altitudes or Zones 1. Elevated. — On this plane we place the good, the exalted, the grand, dreams, visions, and superstitions. Note. — The student must remember that although the word elevated is intended to refer to the zone above the shoulders, it does not mean that the arm is extended upward at its full length. It simply means that the hand in its final sweep is upward. If the gesture, for instance, were made while the speaker is seated, or if for any other reason it needed to be very small and modest, the hand might not come above the shoulder line, and stiU you would call it in the elevated plane. Some judgment must be exercised with reference to all the other zones. 2. Horizontal. — On this plane, level with the shoulder, we place all that is on our own level — geog- raphy, science, history. 3. Downward. — We put down all that is bad, worth- less, mean, or beneath us. The Four Transverse Positions The four transverse positions made from a point directly in front of the body to a point just back of the line of the shoulder, are indicated as follows : — 1. Front. — Objects of direct address are usually immediately in front in one of the zones, E, H, or D, according to the nature of the object addressed. Things of vital importance are also placed in this longitude. 2. Oblique. — We indicate things near us in fact or thought or interest, halfway between the front and side. THE ARMS AND HANDS AS A UNIT Si 3. Side. — Things unimportant, foreign to our inter- est, or of general interest only, are referred to as at the side. 4. Back. — Reference to things remote in time or space is made back of the shoulder line. Note. — These four transverse positions are taken on all altitudes and with either hand. There are, then, twelve positions named. These positions blend more or less with one another ; and yet, when- ever position is vital, the distinction should be clearly made. Character of a Gesture We have defined gesture as any motion of the body used to express thought and feeling. The character of a gesture, then, may be as varied as the motions of the body; sometimes a little trembling of the hand, some- times the stroke of the clenched fist, sometimes the long easy sweep of the arm, as in the description of landscapes, sometimes a gentle stopping, or, in emphatic gestures, a sudden stop of the hand when it is swiftly descending. In other words, a student is to be alert to the fact that he will never have learned all of gesture, and that there is no quick way to teach him the limit of variety. After all instruction by text and teacher is past, there will still be plenty of room for personal taste and individual judgment. Divisions of the Gesture Every gesture is divided into three parts — the prepa- ration, the gesture proper, and the return. The gesture 22 THE ARMS AND HANDS AS A UNIT proper the student will understand to be a stroke, a sweep, a sudden stopping, or whatever motion the line he is reading may require. It will also be remembered that the preparation and the return are sometimes quite - as expressive as the gesture proper. Rules Rule i. — Unless the pantomimic element is intro- duced, the gesture usually ends on the thought word. The excitement which leads to a gesture may manifest itself some time before real preparation is made, but the sweep ends with the last emphatic impulse of the voice. Rule 2. — The preparation is usually made in an opposite direction from that which the gesture is to take. Note. — The preparation for the gesture is similar to the lifting of a hand in the striking of a blow, or the placing of the hand above some object with the thought of taking it up. The preparation for the gesture is often more conspicuous and effective than the gesture ■* itself. There should be as much variety in the preparation as there is variety in thought and emotion. There must be variety of strength, speed, and breadth, to give the preparation life. Sometimes the preparation for the gesture is simply an agitation out of which the gesture springs, and may begin long before the gesture is made. The agitation may continue through a number of sentences ; but when the preparation is simply a lifting of the hand, it would be ridiculous thus to prolong it. Rule 3. — Variety, appropriateness, and ease must always be considered. THE ARMS AND HANDS AS A UNIT 23 Gestures of Refer etice The expression " Gestures of Reference " will be understood if the following explanation is borne in mind. There are many times when the speaker's mind thinks of things as objective realities, but he does not wish to describe or locate them, although they stand out clearly in the mind. In such cases the mental processes are strong enough to demand a gesture, yet the eye neither follows nor precedes a gesture of reference, as it does all gestures in descriptive speaking. An example may make the explanation clear. The gesture of direct address is made directly in front, H.F., whereas the direction of a gesture of direct address off the platform would be determined by circumstances. The person addressed might be above, or beside, or even behind, the person speaking, but in gestures of reference, in personification, in appeal, the position would always be made H.F. The following twelve sentences are given as simple illustrations of the four different positions on the three different planes : — Sentences illustrating the Planes and Positions 1 . " What trade art thou ? " H.F. Note. — The hand is always supine unless otherwise indicated. 2. "Why dost thou lead these men about the streets? " H.o. 3. " What do you care for their opinions ? " H.S, 24 THE ARMS AND HANDS AS A UNIT 4. " Must we go back to Greece for a precedent?" H.B. 5. "We praise thee, O GodV E.F. 6. " Kindness is a magnificent thing." E.o. 7. " We are such stuflf as dreams are made of." E.s. 8. " Hunt half a day for ?i forgotten dream." E.B. 9. " Laziness is a viper that frights us from the path of our ambition." °-^- 10. "Great men, too, lie where they /a//." D.O. 11. "Man yields to custom as he bows tofatey — D.s. Note. — The hand is drawn up slowly and strongly from the beginning of the sentence and then takes the line of gesture, ending on "■fatey 11. "A wrong cannot be sacred because it is an old wrong.'''' D.B. Note. — Write or select ten sentences under each division. Practice each one many times, very carefully, and without allowing the mind to wander from the thought in the sentences. Rotary Motion of the Hand It will be noticed in the preparation for most of the gestures given below, that the palm of the hand is down, and that when the gesture is finished, the palm is up, that is, the hand turns while the arm is in motion. To turn it before the arm starts, makes the gesture look stiff ; and to turn the hand before the arm starts on its return, is also bad. This rotary motion is ever present, and yet unnoticed except as an element of grace. When it becomes conspicuous, it defeats its own purpose. THE ARMS AND HANDS AS A UNIT 2$ Examples 1 . " Sail forth into the sea, O ship ! " H.O.S. Note. — The hand moves out prone and smoothly, and almost imperceptibly turns on the last words. 2. "How sweet the moonlight sleeps upon this bank!'''' D.O.s. 3. " Light as the down of the thistle, H.F.-H.O.p. Free as the winds that blow." H.O.-H.S.s. 4. " Heaven's thunders melt in music.'''' E.O. E.O.-H.S.p. 5. " Where through the long drawn aisle and fretted vault H.O.p. The pealing anthem swells the note of praise.'''' E.O.s. " Even to the delicacy of the hand there was resemblance, such as true blood knows.'''' CHAPTER VI The Elbows and Hands The Elbow " The elbow is the thermometer of the affections and self-will." We simply call the attention to the action of the elbow as a study in expression. There is little danger of using it wrongly. There are three marked positions, which we illustrate thus : — 1. Meanness, Selfishness. — The elbows are close to the sides. The words for practice are: — " I want it all for myself." 2. Poise, Calmness. — Carried out from the body but a little. " Give him his share, that is right.'' 3. Tenderness and Self-will. — Lifted well out. When the hands go forward, the expression is affection- ate ; but should they go back, even akimbo, the meaning is self-assertive, boasting. (a) " Ah ! I am so glad you have come." (b) " Well, I can look out for number one." 26 TULLIA PASSES OVER THE CORPSE OF HER FATHER. Note the Expression of the Flands. THE ELBOWS AND HANDS 27 The Hands Many pages of interesting matter could be written on ■the expression of the hand. The hand is a study in itself. An artist can see nearly as much in the hand as in the face. Many gestures are destroyed because the hand is held in the wrong manner. The different locations on the different planes have already been indi- cated, but the manner of presenting the hand has not been mentioned, nor the shape or form. The sentences below are to illustrate these. Sentences illustrating Different Positions of the Hand in Oratorical Gestures 1. Prone. « There, little girl, don't cry." D.H.p. 2. Supine. " See this old coiny H.F.s. 3. Inward. " I shall keep it for myself ^ Falm on Chest, u. 4. Vertical. " Detest sport that owes its pleasure to another's pain." D.o. .. Different Forms of the Hand in Dramatic Gestures (a) Prostration. — Thumbs near the palm. " There is nothing in this world can make me joy." 28 THE ELBOWS AND HANDS (d) Abandon. — Thumbs a little out, but carelessly held near first finger. " This is good enough for me." (c) Frankness. — The thumbs well out, giving the meaning of openness or frankness. " Well, honor is the subject of my story." {d) Conscious Power. — The thumb is at the side of the first finger. The hand is loosely closed. " I know that I can succeed." (e) Resolution or Conflict. — The thumb on second finger, the hand tightly clinched. " With the opening and clinching of this little hand I will crush the small venom of these stinging courtiers." (/) Anger. — The hand is nearly closed. The strug- gle is between will and excitement ; one would close it, the other would open it; as a result the muscles are convulsed. " I, an itching palm ? " (g) Earnestness and Excitement. — The hand is open, the fingers slightly apart. " I want free life and I want fresh air." {k) Excitement. — This is an intensified form of the last, and differs from it only in degree. " Boot, saddle, to horse, and away ! " (z) Fear and Horror. — The widely extended fingers are much bent ; the degree is determined by the cause of excitement. " There were blows that beat blood into my eyes." THE ELBOWS AND HANDS 29 The Index Hand By Index Hand we mean the hand with forefinger extended. When it is used to point out definite objects and to indicate place and direction, the fingers, except the first, are nearly closed. In argumentation, the hand is H.F. as to position. The index hand is also used in warning and in ridi- cule. In the latter case the thumb is turned up, and the hand is open and usually H.S. in position. Examples of Index Hand The student must imagine the situation which would naturally suggest the lines. 1 . "A sapling pine that grows on the edge of a Kansas bluffy E.o.l. 2. ^'■Two and two are four, don't you see." H.F.I. H.F.I. H.F.s. 3. " And first with nicest skill and ar^." H.F.I. H.F.I. 4. " Sleep not another night in Paris. Go!" H.S.I. 5. "Green! Why, sir, d'ye think I've lost my eyes ?" "'Twere no great loss." H.O.I. Here is ridicule, even scorn. The finger points to object, the hand is open, thumb up. Vertical Gestures The vertical gestures are used to push from us thoughts that are unworthy or beneath us. When the hand is uplifted and vertical the meaning becomes 30 THE ELBOWS AND HANDS solemn. The position is taken in oaths, in adjuration and solemn declarations. 1. "There's the old man looking white and awful." ^ H.O.v. 2. "And the silken, sad, uncertain rustling of each purple curtain thrilled me, filled me with fantastic terrors never felt before." H.S.v. 3. "Be that word our sign of parting.'''' E.F.v. 4. " Sir, before God., the hour has come.''^ E.F.v. D.F.C. 5. "Let us own it — there is One above who sways the harmo- E.F.V. nious mystery of the world.'''' H.O.Bo. Each exercise should be practiced at least twenty- five times, and the exercises many times duplicated. Picture Study. — Notice the character and position of the hands in pictures on pp. 26 (a), 60 {a), 76 (a), 84 (a), 92 (fl), 100 (a), 114 (o). " T!ie entire body must be royal.'''' CHAPTER VII Shoulders, Chest, and Head The Shoulders "The shoulders of every man who is moved or agitated rise in exact proportion to the intensity of his emotion." The degree to which they are lifted indicates the intensity of the passion. We need no illustration under this head, as all people use the shoulders in the same way and cannot use them wrongly. The only difference is one of degree. Insincerity, however, may result in a bad habit of lifting the shoulders constantly ; but this fault is a matter of the heart and lies beyond the province of our drill. We can only warn the student against the habit. Affectation is a poisonous shadow that falls over any work of art only to blight and destroy. Be sincere. The Chest Of the chest there is little to say, but that little is vital. The chest has a large part to play in all attitudes and in the general presence of the orator. I. Humility and Weakness tend to contract the chest. 31 32 SHOULDERS, CHEST, AND HEAD 2. Courage and Pride tend to expand the chest. Rule. — Always carry the chest high ; not out, but up. The Head A large part of the expressive power of the body lies in the proper attitudes and movements of the head. The head does not move alone. All of its movements are communicated to the remainder of the expressive organs of the body. It controls and determines all action. It finishes all attitudes. Poise would lack finish without the level head. The harmony and beauty of attitudes is often utterly destroyed simply because the head is not in sympathy with the prevaiUng idea. We give below nine positions. The student must practice each one many times, passing slowly and easily from one to another, using appropriate sentiments. 1. Normal Poise. — The head is erect, level. It indicates calm repose, indifferent and dignified rest. 2. Depression. — The head is depressed, but inclines to neither side. The expression is that of thought, humility, shame, or scrutiny. 3. Exaltation. — The head is lifted very high, but inclines to neither side. The idea is one of triumph and exaltation, especially of self. It may indicate arro- gance when this becomes an incorporated trait of the man. It is only too often that the head is thrown into this position because there is lack of ballast to keep it normal. Dignity and thought are not the possession of him who constantly takes this position. SHOULDERS, CHEST, AND HEAD 33 4. Affection or Regard. — The head is neither depressed nor exalted, but inclines toward the object. 5. Adoration. — The head is toward the object, but depressed, as in humility. We have, then, a union of humility and regard, which gives us veneration or ado- ration. The love of a timid maiden would express itself in this attitude, but adoration with a spirit of prayer lifts the face. 6. Confidence in Affection. — The head is toward the object, but is exalted. This is the lofty expression of regard for an equal. 7. Doubt. — The head is inclined from the object, but is neither exalted nor depressed. 8. Jealousy and Suspicion. — The head is inclined from objects, as above, but is down in scrutiny. The eyes are toward the person or thing. Hate, envy, jeal- ousy, and suspicion are all expressed by this attitude. 9. Arrogance and Lofty Distrust. — The head is back and inclined from the object. Of the nine head positions given above, three express regard ; three, doubt or distrust ; three, normal or per- sonal qualities. Any of them is lifeless and insipid without the proper facial expression, and use of the eyes. We cannot ex- plain facial action in this work, yet the student should have a good command of facial expression or the head attitudes will not be effective. Having learned these positions, the student's atten- tion is directed to the actions of the head, or inflections, 34 SHOULDERS, CHEST, AND HEAD as they are called. The best rule is not to use them except in comedy. The head should be well poised and should not follow every gesture or nod at every motion. The constant movement of the head indicates weakness. The most difficult and the most important lesson is to avoid those shakings and jerking of the head which characterize the weak ; but this must be learned. The head must rule. It should not be jarred by gesture nor bob at every stroke of the hand. '■'■Let no one know how you cross the platform.''^ CHAPTER VIII Walking the Platform Among actors, the expression " walking the stage " is current. It refers to all movements by which an actor changes his location on the stage. The same term applies to the movements of an orator. Little has been said about the stage walk of an orator, but the effect of a speech is marred very much if one does not know how to walk the stage. Some people learn stage- walking easily, others need long practice. Before giving the rules, we will state some principles of the dramatic walks. Principles governing Dramatic Walks I. Short steps belong to youth. II. Short steps in older persons indicate insipidity and simpering weakness. III. Seriousness tends to make the steps slower than the normal walk. IV. Earnestness tends to make the step faster than the normal. V. When an appropriate cause is wanting, the lengthened step indicates loftiness and pomposity. 35 36 WALKING THE PLATFORM Rules Note. — The following rules should be well understood before the exercises are attempted. It would be well to memorize them. I. Do not walk the stage on a parallel with the front, thus turning the side to the audience. II. All movements up or down the platform must be made " on the lines " and not during a pause. (See note below.) III. The continual taking of short steps from side to side should be avoided as weak. IV. In moving to the right, take the first step with the right foot and thus avoid the appearance of walking over the advanced foot. V. Do not start or stop abruptly. VI. Learn to stop as you intend to stand and thus avoid taking the short steps that give the appearance of unrest. VII. The speaker should never take his eyes from the audience to see where he is going to step. Note a. — It may not be entirely clear what the expression "walk- ing the lines" means. The student will remember that he was told • to make his gesture end on the thought word of a line. When a walk becomes expressive, the same rule applies to it. The student will think of a walk as a gesture. Of course it is not necessary to begin ^to walk on the first word of a sentence and stop on the last word, nor is it desirable to finish an important statement and then, without any excuse, walk across the stage ; for this attracts the attention of the audience from the thought. All movements, then, up or down the stage, even though they may have no definite bearing on the WALKING THE PLATFORM 37 expression of the selection, are made while reciting or speaking ; or as actors say, "on the lines." Note b. — The speaker sometimes desires to make a sudden change in his thought and enter upon a new phase of his subject. A sudden change of position becomes necessary. If he has been moving down the stage, he will now go either back or quickly to one side. If the last movement of the previous paragraph was up stage, it will be necessary to go down stage in order to break the previous effect. Such a change should never be made unless it is desired to attract the attention of the audience to the new thought. EXERCISES FOR PRACTICE First Picture " Into Hiawatha's wigwam Came two other guests, as silent As the ghosts were, and as gloomy. Waited not to be invited. Did not parley at the doorway, Sat there without word of welcome In the seat of Laughing Water ; Looked with haggard eyes and hollow At the face of Laughing Water. And the foremost said : ' Behold me ! I am Famine, Bukadawin ! ' And the other said : ' Behold me ! I am Fever, Ahkosewin ! ' And the lovely Minnehaha Shuddered as they looked upon her, Shuddered at the words they uttered, Lay down on her bed in silence, Hid her face, but made no answer ; Lay there trembling, freezing, burning At the looks they cast upon her. At the fearful words they uttered. Forth into the empty forest Rushed the maddened Hiawatha." 38 WALKING THE PLATFORM Suggestion. — As the weird guests enter on the left, the narrator falls slowly back into the shadow of the stage and shows them look- ing at Minnehaha on the right. The speaker stays here until Hia- watha rushes from the wigwam and then goes to the front on the line, " Forth into the empty forest rushed the maddened Hiawatha." Second Picture " Stillness reigned in the vast amphitheater, and from the count- less thousands that thronged the spacious inclosure not a breath was heard. Every tongue was mute with suspense, and every eye strained with anxiety toward the gloomy portal where the gladiator was momentarily expected to enter. At length the trumpet sounded, and they led him forth into the broad arena. There was no mark of fear upon his manly countenance, as with majestic step and fear- less eye he entered." Suggestion. — Locate the portal at the right and back, retire well toward the back, and then as the gladiator appears, sympathetically impersonating him, walk to the front, but on the left side, on the words " As with majestic step and fearless eye he entered." Third Picture " But, ah ! my dream is broken by a step upon the stair. And the door is softly opened, and — my wife is standing there ; Yet with eagerness and rapture all my visions I resign To greet the living presence of that old sweetheart of mine." Suggestion. — On the first line the body is slowly carried up the stage and to left, the body facing right. On the last line the reader walks toward the right front and stops with easy poise in or near the center front. Individual Taste Each fragment of literature presents its own scene. As long as the student of these pages keeps the platform he will be compelled to study this subject. Every new WALKING THE PLATFORM 39 play, recitation, lecture, or speech, involves new work. There is no place for stagnation in the study of this art. Note to the Teacher. — At this stage of the work, students will not be able to make all of the gestures correctly. The thought is simply to suggest the necessity of movement upon the platform in order to develop descriptive power and ease of movement. Criticism should, then, be very largely on the speaker's position in the differ- ent parts of the picture, and the thought should be for the speaker not to allow his own position on the platform to interfere with the imaginary scene which he is trying to portray. All of this belongs to the art phase of platform work and good results will come only after much practice. Attention, however, must be called to this subject at the beginning, or much work will have to be done twice, and that from different standpoints. The Stage Walk in pi-esenting Dialogues The most difficult stage work for the public speaker to learn, is that which develops from the effort of one person to represent the different persons in a conversa- tion of a dialogue. In this some readers fail so com- pletely, and some teachers are so utterly unable to secure good results from their students, that it has been alleged that this should not be attempted. Those who fail assume a change in voice and a slight difference in ges- ture, but overlook the importance of changing position on the platform. Some public readers have been quite successful in introducing stage positions and walks in the dialogue of most difficult parts, and have done so to the delight of great audiences ; and that, too, without confusion in the mental pictures. No definite rules have been laid down for this work 40 WALKING THE PLATFORM in any text as yet, hence that task still remains open. Before we give the suggestions which may lead to cor- rect methods in the presentation of the different char- acters in dialogue, it may be well to say to the student : Do not attempt to portray more than two or three char- acters upon the stage at one time. In adapting a book or play for the reading platform, this can be provided for by a proper arrangement of the exits and entrances of the characters impersonated. The first lesson may be learned in this way. Imagine a straight line running up and down the stage. Stand on one side to make the first speech. Then step across the line, and while stepping turn so that the second speech can be made in the direction of the position occu- pied by the first character. Do this several times, and you will observe how awkward and formal and affected such stage movements would be. Now, stepping back some distance from the line, use the first sentences of the dialogue, and no matter how short or how long the speech may be, have the speech end just as you step across the line. Then turn and stop short to make the speech of the second character, falling into absolute poise only as you begin this second speech. This one lesson, with the variety that comes by prac- tice, suggests this principle : that when one person car- ries the different parts in a dialogue, nearly all speeches should be ended while he is moving, so that the sudden stopping and starting which attract attention to stage movement, will be avoided. WALKING THE PLATFORM 41 It is not necessary, in dialogues, to stand facing the imaginary characters, unless a thought is very important. Talk as nearly to the front, that is, toward the audience, as you would if you were walking down the stage with the other character at your side. An effort to face the imaginary characters keeps the speaker's face from the audience, and the stage picture presented to the audi- ence is stilted. It is also well to note that the entire scene may be shifted up the stage, down, or to the sides, by repre- senting a character as moving to the desired place while speaking; but care must be taken in doing this not to walk over or beyond the position of another character that has already been definitely located. When it is desired to present a new scene, the speaker may, by a sudden change of position, or by a word of explanation to the audience, destroy the old scene held only by the mental vision, and begin anew. This may be done repeatedly during a single perform- ance ; but whenever a speaker fails to dissolve the old picture before painting a new one, he does violence to the imagination of the people before him. Skill in grouping Characters In each dramatic scene one character predominates. His positions, walks, and attitudes should attract the main attention and the lines of the other characters should be given with only a partial energy and intensity. By this process the leading character may be well 42 WALKING THE PLATFORM developed. In the effort to develop two or more in one scene, as a rule, none is done well. These few points the author hopes will be suggestive, but he is frank to say a pupil will find it difficult to do the work described without the aid of a teacher. The giving of a few speeches of dialogues in a lecture or reading, can be learned from the suggestions given, but extended dialogue should be prepared under the direction of a thorough instructor. ^^ Paint on the white canvas of the imagination^ CHAPTER IX Pictures on the Platform Stage Settings An audience is moved through the eye quite as much as through the ear, and expression is effective and powerful only when by means of it the picture in the mind of the speaker is clear to the mind of his hearers. A speaker's surroundings should always be in harmony with the occasion. Every orator should be as particular about his platform as the actor is about his stage. He may not demand the same kind of accessories ; but if he is ambitious to move a people, he will insist on appropriate settings. A little preacher standing by a tall pulpit is incongruous. A great tall man bending over a low table to see his notes is gro- tesque. So the platform with the man upon it is a picture in itself, and good effects should be provided for. Mental Pictures It is fortunate for orators that there is "a mind's eye." If a man had no imagination, half the power and beauty of oratory were lost. The imagination 43 44 PICTURES ON THE PLATFORM unrolled is a broad white sheet, on which the skillful artist can paint the glow of life or the gloom of death. Of all the deUghts that proceed from strong speech none is more profitable or pleasurable than that which results from a passage well rendered. The pictures that appear to the. mind's eye may be clearer than any we see with the physical eye, just as a song im.agined may be sweeter than one heard. The skilled orator can make an audience forget the present and wander through the ruins of the past. Shut in by walls, he can make you see the grasses bending on the prairies. With a roof between him and the skies, he can make you see the words of God trembling in the heavens. To the skillful no thought is too subtile, no combination too complex, — he can make you see it all. But before this can be done, the orator himself must first see clearly the picture he would present. Then he must know how to make others see it. It is necessary to have a well-trained imagination. Power of the Imagination As to the power of imagination — it is unlimited. " The man of imagination, of genius, having seen a leaf and a drop of water, can construct the forests, the rivers, the seas. In his presence all the cataracts fall and foam, the mists rise and the clouds form and float. To really know one fact is to know its kindred and its neighbors. Shakespeare, looking at a coat of mail, instantly imagined the society, the conditions that pro- >5 O a S " I § o pq PICTURES ON THE PLATFORM 45 duced it, and what it, in its turn, produced. He saw the castle, the moat, the drawbridge, the lady in the tower, and the knightly lover spurring over the plain. He saw the bold baron and the rude retainer, the trampled serfs, and the glory and the grief of feudal life. The man of imagination has lived the life of all people, of all races. He has been a citizen of Athens in the days of Pericles ; listened to the eager eloquence of the great orator, and has sat upon the cliff, and with the tragic poet heard ' the multitudinous laughter of the sea.' He has seen Socrates thrust the spear of question through the shield and heart of falsehood — was present when the great man drank hemlock, and met the night of death tranquil as a star meets morning. He has followed the peripatetic philosophers, and has been puzzled by the sophist. He has watched Phidias, as he chiseled shapeless stone to forms of love and awe. " He has lived by the slow Nile, amid the vast and monstrous. He knows the very thought that wrought the form and features of the Sphinx. He has heard great Memnon's morning song — has laid him down with the embalmed dead, and felt within their dust the expectation o,f another life, mingled with cold, suffocat- ing doubts — the children born of long delay. " He has walked the ways of mighty Rome, has seen great Caesar with his legions in the field, has stood with vast and motley throngs, and watched the triumphs given to victorious men, followed by uncrowned kings, the captured hosts and all the spoils of ruthless war. 46 PICTURES ON THE PLATFORM He has heard the shout that shook the Coliseum's roofless walls when from the reeling gladiator's hand the short sword fell, while from his bosom gushed the stream of wasted life. " He has lived the life of savage men — has trod the forest's silent depths, and in the desperate game of life or death has matched his thought against the instinct of the beast. " He has sat beneath the bo-tree's contemplative shade, rapt in Buddha's mighty thought, and he has dreamed all dreams that Light, the alchemist, hath wrought from dust and dew, and stored within the slumbrous poppy's subtle blood. "He has knelt with awe and dread at every prayer; has felt the consolation and the shuddering fear; has seen all the devils ; has mocked and worshiped all the gods; enjoyed all heavens, and felt the pang of every hell. He has lived all lives, and through his blood and brain have crept the shadow and the chill of every death; and his soul, Mazeppa-like, has been lashed naked to the wild horse of every fear and love and hate. "The imagination hath a stage within the brain, whereon is set all scenes that lie between the mom of laughter and the night of tears, and where his players body forth the false and true, the joys and griefs, the careless shadows, and the tragic deeps of human life." Cautions. — Do not minimize a picture. It is a serious mistake to point out an ocean as thougli it were a pan of water at the feet; to crowd a range of mountains onto tlie platform, or to contract a PICTURES ON THE PLATFORM 47 landscape into a cabinet photograph. The speaker must not only see things, but he must see them as they are. Again, in shifting scenes where objects are described as changing positions, incongrui- ties must be avoided. Characters must not be confused. All posi- tions must be kept clearly in mind. Moreover, distances are to be taken into consideration. All objects are to be truly located. There are no walls to the imagina- tion ; if an object is a long distance away, it must be so indicated. How to make an Audience See 1. You make others see your mental pictures just as you make them see real objects. Indicate directions, distance, movements, as though the objects were before you, life size. Be true to your pictures. 2. Place your scene for the convenience of your audience. This is a most important matter. People in an audience cannot see a picture behind them. Locate your objects at the front and sides, and so turn the body as to make this convenient. 3. Watch your audience, to make sure they see your picture. 4. Stimulate interest in your scene by showing its effect on yourself. Examples In the following examples locate the characters and objects for the convenience of the audience. A. When the speaker is part of the picture. I. "Jack, I hear you've gone and done it." Note. — The characters must be so located that the hearers can see both the speaker and the person addressed. 48 PICTURES ON THE PLATFORM 2. "Give me joy, dear mother, I've won the prize. Is it not handsome, this gun ? " ^•°" Studies for Original Work 1. " Well, there in our front-row box we sat Together, my bride betrothed and I ; My gaze was fixed on my opera hat. And hers on the stage hard by." 2. "See, this is her image — painted from memory. Oh! how the canvas wrongs her ! " Note. — Make the audience see the man studying the picture, with the easel located at the side. 3. "It's all dark, excepting a pine knot flickering in the ashes." B. When the picture is apart from the speaker. 1 . "It is only a sudden wind shower. Isn't it grand ? See that gigantic dust-colored cloud rolling before the wind." 2. " This music, thrilling all the sky. From all the morning birds, is thine." 3. "The mountain mists uproUing let the waiting sunlight down." 4. " At the doorway of his wigwam Sat the ancient arrow maker." 5. " Hand in hand they went together, Through the woodland and the meadow, Left the old man standing lonely At the doorway of his wigwam." A word picture is not necessarily long. A single sentence may present a landscape. An orator should not go out of the path of his subject to describe in detail any scene, but a sentence here and there to enliven and intensify the interest may be thrown in to good effect. PICTURES ON THE PLATFORM 49 Theory When it is best to describe and when simply to tell a story without adding the vivid element of description, is the one field of contention among artists. The ungrace- ful and inartistic speaker usually prefers the narrative style ; and if he makes any gestures, describes the scene straight in front of himself and wins his audience by his intensity rather than by skill. This is certainly true, however, that even in a descriptive passage everything is not vital. For instance, in the description of a horse race, it is not necessary to follow the horses around the track. Vignettes of the race can be given : striking features of the start; the dramatic elements of the finish. If it is desirable to indicate that they have passed entirely around the track, it can be done with one strong, quick sweep of the arm and the horses located either as going beyond the grand stand or com- ing in. This thought of selecting the most striking ele- ments in description is probably the safest one to offer, not only to the beginner, but to the finished artist. To all who are unwilling to learn graceful floor work, fine description will be an impossibility. However, an in- tense narrative style can be made effective. Studies " Hymn to Mount Blanc " CoLERmcE. "How the Old Horse Won the Bet" . . . Holmes. " The Bugle Song " Tennyson. " The Battle of Waterloo " {Les Miserables) . . Hugo. " The imagination and the hand move together.'''' CHAPTER X Descriptive Action The purpose of a gesture is to intensify the appeal to the mind by the accessory appeal to the senses, that is, to move heart and brain through the eye as words appeal through the ear. It will be understood that sim- ply pointing at an imaginary tree will do little to present the tree to the mind of the hearer. There are many little motions which would help to give the outline and height, the sweep of the branches, the dignity of the trunk, the motion of the leaves, and so add a distinct- ness to the picture. For that reason descriptive ges- tures have a very important place in all speaking. The actor does not resort to them as often as does the ora- tor ; because the actor's pictures, his scenery, have been painted on canvas, while the orator must paint his on the hearer's imagination. Descriptive actions can follow no general rule. They are suggested by the thought in mind. We indicate outline, form, and peculiar positions, by actions which conform to no rule except that of good taste. These actions may do much to enliven a production, but re- quire a great deal of thought and practice. Speakers 5° DESCRIPTIVE ACTION ' 5 1 often try to make gestures of this character, and fail. This results from the fact that they do not understand the limits of descriptive action. The cautions given in the chapter on " Pictures on the Platform " (p. 46), all apply here. In addition, it may be said, that in rendering descriptive passages, it often becomes necessary for the speaker to change his view point. Where this is done the fact must be indicated to the audience, else every gesture he makes will but add to the confusion. Nor should he enter too much into detail. In this connection it is well to bear in mind the fact that it takes much more time to imagine than it takes to see. Therefore in description it is frequently well to repeat a gesture. For instance, in the " Charge of the Light Brigade," in the line reading, " Cannon in front of them," it is not enough simply to point to the front ; but a gesture should be made indicating the can- non ranged along the horizon, and showing the battle line whose limits are perhaps a half mile apart. Then by letting the hand travel bapk and forth, quickly and nervously, the gesture can be carried over to the words " Volley and thunder," thus presenting the entire pic- ture to the audience. The thought, briefly stated, is this : pointing out things does not necessarily describe them to the imag- ination. The gestures should be sustained until the audience really sees the picture. The following examples may be practiced before a glass, the student being careful to avoid affectation and 52 DESCRIPTIVE ACTION stiffness. The arms should not be held out at full length, straight and stiff, but gracefully flexed at the elbow. Examples Caution. — It is spmetiiines necessary to describe an object, por- tray shape or size, without making a platform picture. The gesture in the sentence, " The hand paints smoothness," should not be fol- lowed with the eye, as the purpose is not to present an imaginative portrayal, but simply to give an idea of smoothness. 1 . " The hand paints smoothness!'' H.F.-H.O.p. Rep. Rep. (See note.) 2. " It indicates y?«z>^." H.F.-H.O.p. Rep. Rep. 3. "It indicates 71 plain." H.F.-H.O.p. Rep. Rep. 4. " It indicates support." D.-E.s. 5. "It indicates ascent." D.-E.s. 6. " It indicates Xhs perpendicular." D.-E. with Rep. 7. " The sun was slowly setting." E.O.-H.O.p. 8. " All heaven and earth are still." E.F.-H.O.p. Rep. Rep. Suggestion. — There is a long wave from the begirming of the sentence, ending on the last word. The action must not be. hasty, but smooth and well timed. Note. — Repetition does not mean that the additional sweeps of the gesture are as long as the first, or that they begin or end where the first one did. The first sweep may be carried only half of the way, the hand coming back part of the distance, then moving for- ward and back again, and onward to the end of the passage. These sentences should be practiced hundreds pf times aii4 Vk different Yfays unti) ease and grace are secured, THE wixp: cellar. A LesSLin in Extravagant AutioTi. 52 (■•) DESCRIPTIVE ACTION 53 9. " Spring unlocks the flowers to paint the laughing wz7." Rep. Note. — It must be remembered that the symbol is always placed under the word upon which the action ends. The student must determine where it is to begin. In the last example the wave follows the surface of the fields. 10. " The moon, cold and pale, sinks in the western ivavey — E.O.-H.O.p. 11. "The West is crimson with retiring day ; H.F.-ir.o.p. And the North gleams with its own native lights'' H.O.-E.B. 12. "The world is dark with tempests, the thunders roll, and lightnings _;?c.'' — E.F.-E.S. 13. " The breeze fluttered down and blew open \}a& flowers^'' E.F-H. O.p. H.O.-D.O.s. 14. " A single white cloud, to its haven of rest. On the white wings of peace, floated off in the west." ~- E.F.-E.S.p. 15. " The mists /orw and^oat." H.-E. E.F.p.-E.O. " He who is firm in will moulds the world to himself P — Goethe. CHAPTER XI The Will in Expression The composite of personality which results from the union of the various qualities and characteristics of the individual, must ever be enforced by intensity, or much of the power of the individual is lost. The will, perhaps, is after all the man. It is very seldom that gestures are made purely indicr.tive of the will power and determi- nation. The one gesture which is least colored with the expression of other qualities of the mind, is the straight, descending sweep from the elevated to the descending- plane (E to D). This gesture is indicated throughout the book in the same way that the descending gestures of emphasis are marked. The action of the will intensifies whatever movement the thought or sentiment of the selection may require. The brow is contracted, the lips are compressed, the hand is clinched, the knee is strong, while the will is active. The will determines the firmness of the speech, the steadiness of the eye, the strength of the arm. Straight, angular lines are indicative of will power. The student will note the intensity of the action in the picture on p. i8 ia). It is usually true that where the will 54 THE WILL IN EXPRESSION SS dominates in a line, the emphasis falls toward the end of the sentence and the gesture usually goes over to the last word ; because the energy does not fail, but increases to the last. The Preparation, an Expression of the Will A steady, long-continued preparation is in itself an expression of energy and will power. The excitement and resolution of the mind is revealed by the contrac- tion of the muscles. The will vibrates in every tone. After the blow or sweep of the gesture comes the re- laxation. In any passage where will power or the action of the will is very marked, there should be signs of its activity some little time before the line is reached in which the gesture is made. The firm planting of the feet, a tightening of the hands, any of the little motions which indicate inward agitation, can be intro- duced appropriately. The Different Manifestations of the Will Speed of motion, slowness, any departure from the normal action may be controlled by the will or be a manifestation of it. Patience is of itself one of the highest manifestations of will. In the midst of a mob, the man who can stand absolutely quiet and master it, has the strongest will. It must not be understood from what has been said that tempestuousness in expression stands for will power. 56 THE WILL IN EXPRESSION Self-control requires will power of the highest type. The ability, then, to hold a dramatic pause, to be mas- terful and steady, must also be considered in the study of will power in expression. Life Study. — Watch a number of laborers at differ- ent tasks. Note the resolution with which they insist on carrying out their ideas, the firmness with which they grasp their tools, and the character they put into every effort. The doing of good work is in itself the highest expression this life can know. Sentences for Practice 1 . " You cannot defeat the determined mind of the peasants — Confucius. -o.Vi. 2. " That what he wills, he doesy -F.D. " We will fight it out on this line, if it takes all summer.'''' -F.D. " Dare to be a Daniel.'''' F.D. " Dare to be in the right though you stand alone.'''' F.D. " Nations, as well as men, fail in nothing which they boldly H.O. D.O. undertake.'' 7. " Now for the fight ! Now for the cannon peal! " H.O. . Rep. 8. " Theirs but to do and die.'' CD. 9. " Half a league, half a league, Half a league onward.'" H.F.p. Picture Study. — See pp. 60 (a), 68 (a). THE WILL IN EXPRESSION 5/ 10. "Where law ends, tyranny begins.'''' -D.S. 11. "Man resolves in himself he will preach, and he preaches.''^ D.O. 12. '' And falls a cursing, like a very drab." D.S. 13. " Nothing but death shall stay me." D.F. 14. " I hate him, for he is a Christian.'''' D.O. 15. "I would rather have been that man and gone down to the H.o. tongueless silence of the dreamless dust.'''' -D.O. Studies (i) "Ben Hur's Chariot Race" . . . Lew Wallace. (2) " Soliloquy of Richard Third " . . . Shakespeare. (3) " Address to his Soldiers on the Charge, Henry V." . . ... Shakespeare. " There is a twilight between night and day.'''' CHAPTER XII Transition Transition is the movement made in passing from one gesture or attitude to another. A good workman does not drop his hand to his side after every stroke of the hammer, but strikes until the nail is driven home. The artistic speaker, the earnest speaker, does not recover his hand to his side after each gesture, but fre- quently allows the hand to pass from one action to another until the entire scene has been pictured, the incident told, the argument enforced, the story illus- trated. We encounter the greatest difficulty here, and any native awkwardness or stiffness is sure to reveal itself. Grace and ease must ever be considered ; intense earnestness and life are absolute requisites ; and to keep the hands close in toward the body, not to saw the air, is a necessary injunction. Here only constant practice and careful study can give that ease and eloquence which betoken the artist. If the composition of a speech or reading is very much broken, good transitions will be impossible. One effect will not naturally lead to another. The elements of a picture may be so mixed as to make good transi- 58 TRANSITION 59 tions impracticable. The most impossible changes are sometimes suggested by the words which an unimagina- tive author has thrown together in slavish conformity to the rules of rhetoric. In rendering original matter, when some passage is discovered that offers incongrui- ties of position or attitude, the speaker can change his lines. Actors sometimes take this liberty with the plays they present; but in rendering selections from litera- ture, in which these errors sometimes occur, this cannot be done, and the student must omit some of his action, and do the best he can under the circumstances. Life Study. — The easy movements of some skilled artisan as he lays down one tool, and without raising the hand picks up another, or gives some new touch to his work ; an artist gracefully handling his brushes ; a ready salesman eager to show you just the thing you want to see, — all afford splendid opportunity for the study of transition. Examples Aim at Graceful Transitions 1. "Accuse not nature, she has done her part: do thou but thine:' ^■°- H.F. 2. "Let us own it, — there is One above who sways the harmo- nious mystery of the world.'''' ^■V■^■ H.O.Bo. 3. " That bright dream was his &rf." E.o. D.s. 4. " Quick ! Man the life-boat ! See yon bark ^ ^E.v. ' H.O.I. That drives before the blast." 60 TRANSITION ;. "O good painter, tell me true, H.F. Has your hand the cunning to draw Shapes of things you never saw ? " -H.S.o. 6. "I feel, to-day, as if I would give all, provided I through H O Bo. fifty years might reach and kill and bury that one half-minute speech.'" "-^^ ''^■ D. 7. "WzsthdX thunder? A^o, by the Lord ! H F.v, H.B Then I sprang to my saddle without a word." H.o. 8. "At midnight lambent lurid flames light up the sky with fiercest beams, and wild cries of '■Fire'.'' ^FireV ring through -H.F.-E.S. E. the air." 9. "And lol from far, as on ^Vj pressed, H F.v. H.O.p. There came a glittering band." 10. " Up from the ground he sprang and gazed?'' D.-H.O. E.O.I. 11. " Look at the heavens, God's star writing, the primeval tra- dition of our z>«»?(7?-/a//'/j/." " -E 0.1. 12. " Man has knelt with awe and dread at every prayer ; enjoyed DO.v. all heavens ; felt the pang of every hell?'' E O. D.O. 13. " The man of genius, having seen a leaf and a drop of water, can construct the forests, the rivers, and the seas?^ H.F.I. -H.S.Bo. 14. " The heavens declare the glory of God, and the firmament showeth his handiwork?^ e.-h.o p. HO.s. i;. " Men would be angels, angels would be gods.'''' H.O. E.F. TRANSITION 6 1 16. "Who shall say which works the most good toward our growth, the liquid harmonies of music or crystal facts ? " H.0.B0. H.F.-H.O. D.O. 17. "It takes more than brains to make a man, more than HO, purpose, more than love, more than religion ; it takes them all. " H.O. H.O. H.O. H.S.Bo. IVote. — Although several gestures are marked H.O., the student need not make them precisely in .the same place. The hand may move gracefully forward or back on each one as he proceeds. 18. "Thou didst tell me, Love was a star to lead us on to heaven." E.O.I. Come then, O come! its rays glitter before us." H.F.Bo. Rep. 19. " The clang of arms, and war and victory for me ! — Away with idle dreams! " ^■^' E.S.V. 20. " See, this is her picture — painted from memory. Oh, how HO. the canvas wrongs her ! I shall never be a painter! " D.S.o. 21 . I shall join the armies of the republic — I shall rise H.O.Bo. E.O. — I shall win a name that beauty will not blush to hear." HO. 22. "Oh, how my heart swells within me! Oh, what glorious prophets of the jfuture are youth and hope I " E.O.Bo. Transition and Stage Walking The transition from one attitude to another, or from one character into another character in a dialogue, usually requires more movement on the stage. The rules for this action have already been laid down in 62 TRANSITION the chapter on "Walking the Platform." We empha- size here, however, the principle that when several characters are to be presented, the action of each one is to end in such a place on the platform, and in such a manner, that the positions required for the next speech can grow out of it. In the study of attitudes we shall speak of this at greater length. Before taking up the more difficult dramatic changes, the student should practice the exercises given above until he can do them perfectly. Note to the Teacher. — In all the succeeding lessons, any awk- wardness shown in transition, any stiffness or lack of ease, should be referred to as an effort in transition, and the student asked to modify the work as far as possible himself. There is danger of cramping individuality by showing the student too much. There is also the greater danger of mere imitation. Original Studies (i) Scene between Portia and Nerissa. — Merchant of Venice. Act. I, Scene 2. (2) Closet scene, Hamlet and his mother. — Hamlet. Act III, Scene 4. " She saluted the assembly with both hands^ CHAPTER XIII Gestures made with both Hands Most of the occupations in life require the activity of both hands, and yet it is seldom that both are making the same kind of motions. We may hold an object upon which we are working in the left hand while the right is really doing the work. Usually the activity of one hand is accessory to that of the other. This sug- gestion will be helpful in the further contemplation of the subject of this chapter. The constant idleness of one hand indicates an indifference that is more serious than over-excitement. The delicate yet constant sym- pathy of the left hand with what the right hand is doing, may always be appropriate ; but every sense of propriety and delicacy is outraged by those repeated and meaningless sweeps of the arms which the major- ity of untrained speakers use so much. Both hands, then, may be employed in gesture quite as appropriately as one, but there is much useless " sawing of the air," which indicates an ignorance of the meanings which can be expressed by this movement. Speakers are frequently criticised for making too many gestures, and certainly constant motion on the 63 64 GESTURES MADE WITH BOTH HANDS platform becomes tiresome to an audience. This criti- cism is especially true when both hands are used in gesture at the same time. Laws that govern the Gestures made with both Hands 1. We do not emphasize with both hands in polite speech. 2. The abstract idea of greatness, and definiteness of size, are expressed with both hands. 3. Growth and expansion of scenes and influences are expressed with both hands. 4. Gestures with both hands are used in strong appeal and invocation. Both hands are extended in affection, and quite frequently in concession and yielding. 5. Make gestures with both hands very sparingly. The Preparations for Gestures made with both Hands By standing before a mirror and lifting both hands close to the body preparatory to the gesture indicating largeness, and holding them thus for a moment, the student will observe the danger of awkwardness, and a stilted action of the arms. Try the same gesture again by allowing the right hand to be lifted nearly to the front of the left shoulder, and then by a quick, graceful sweep of the arm, carry it to the extreme right, while the left arm rises in sympathy and completes its sweep to the left. A few trials will help the student to appre- GESTURES MADE WITH BOTH HANDS 6$ date the necessity of always allowing one hand to lead, not only in the preparation, but in the sweep of the gesture itself. Exercises for Practice 1 . " The earth is the Lord^s and the. fullness thereof. E.o. H.O.Bo. 2. " The man of hnagination has lived the life of all people, of all races.''^ H.S.Bo. 3. "Stillness reigned in the vast amphitheater, and from the H.F.v. E.S.Bo. countless thousands that thronged the spacious inclosures, not a breath was heard." 4. " The wide world is all before us." H.S.Bo. 5. " The thought has been unfolding ever since." H.S.Bo. 6. " This restless world is full of chances.'''' H.S.Bo. Note. — In this sentence the thought is one of abundance and the gesture is carried over to the last word. 7. "All may have, if they dare try, 2l glorious life.'''' E.O.Bo. 8. " Too low they build who build beneath the stars.''"' E.S.Bo. Note. — Here the gesture expresses something which is in no one word, but in the general elevation of the thought. 9. " I shall see you again, — a better man than a prince, — a H.o. man who has bought the right to high thoughts by brave deeds." E.O.Bo. 10. " The reputation of my deeds resounds throughout these mountains.'''' H.S.Bo. 66 GESTURES MADE WITH BOTH HANDS 11. "Ye crags 3.nA peaks, I'm with you once again." E.O.Bo. JVote. — The feeling may demand two hands where the thought would suggest but one. Openness, frankness, and kindred ideas take both hands, only when the feeling is very marked or intense. 12. "In thee, O Lord, do I put my trust." E.O.Bo. 13. "My native land, I turn to you with blessings and with H.O.Bo. prayers." 14. " I grant all your claims." D.O.Bo. " Concentrated passion tends to explosion.''^ CHAPTER XIV Gestures in which the Preparation is Long Continued By a long preparation is meant one that covers some seconds of time. The sweep of the moving arm may be very short, but the activity should be indicative of a lively energy. It is manifest that when the gesture is to be a powerful one the preparation should be a long one, as it takes time to arouse deep emotion. In the description of flowing streams, floating clouds, and all beautiful scenes and visions, a hasty or quick prepara- tion would mar the effect. Long preparations predominate in heavy passages. The frequent use of light gestures is weak, and should be avoided ; and when one strong gesture can be used as the preparation for the next, it should be done. The untrained speaker drops his hand back to the side after each gesture and sends it out again and again, thus making many unnecessary preparations which give a weak effect. Whenever it is possible, therefore, a ges- ture should be sustained, and the energy transmuted into the next expression. 67 68 LONG PREPARATIONS In the description of fair scenery, it is often necessary to make a long preparation to add to the expression of quietness, and in doing this there is much danger that the attention of the audience will be attracted to the hands. To avoid this, whenever it is possible, the hand should be lifted close to the body until nearly level with the shoulder line, and then be allowed to take the direc- tion of the gesture. Broken Preparation When the passion is very intense, as is often the case in argument, and the orator wishes to hold the mind of the hearer over to the last effect, the hand may gradu- ally rise, making small impulses at the end of the various clauses, verses, or words of the passage being delivered, until the final preparatory sweep for the gesture is made. Thus the preparation for one gesture may be a series of contractions and sweeps of the arm ; but such extrava- gant action, of course, is only employed in the most vehement passages. The first example given below illustrates the broken preparation. In the following examples, the symbols are placed under the word upon which the action ends. The stu- dent will remember that the dash placed before the first letter indicates that the preparation is a long one. He must also determine when to begin the action. No important gesture should come out of a colorless bearing. LONG PREPARATIONS 69 Examples I- " The mustang flew, and we urged him o«." -H.O.p. 2. " The young girl stood for a moment as if paralyzed •m^h.horror." -H.O.v. Note. — In Example 2 the hand is lifted directly in front of the body to a point on a level with the shoulder. It reaches this point after several impulses, usually short and quick, and then takes the line of gesture indicated. 3. "Let me tell you, Cassius, you yourself are much condemned to have an itching palm." -H.F. 4. "Ah ! distinctly I remember, it was in the bleak December, And each separate dying e?nber wrought its ghost upon the flooj..,, D.OI. -H.F.-D.O,p. Note. — Example 4 is a fine study. The main gesture, which is made with the right hand, ends on the words "its ghost." The hand is lifted in front of the body and pictures the shadow on the word " ghost.'' The gesture ending on the words " dying ember" is made with the left hand and begins later, but ends first. The left hand simply points out the dying embers in the ash-strewn grate. Poe's " Raven " is full of the weird and melancholy, and many lines require action similar to that described above. Whenever pas- sion is intense, its expression is usually slow. The muscles contract steadily until the body chakes and trembles with the effort; then follows the climacteric. explosion, after which the body again passes into a state of rest. 5. "'Be that word our sign ai parting, bird or firiend,' I shrieked, upstarting, " ' Get thee back into the tempest ! ' " -E 0.0. 6. " And my soul from out that shadow that lies floating on the • ploor -D.O.I. Shall be lifted nevermore." 70 LONG PREPARATIONS 7. " I am but a jockey, but shout upon shout went up from the people who watched me ride out." -E. F.-E. S. 8. " But know, ye cannot fright my soul ; for it is based upon a foundation stronger than the adamantine rocky -D. F. 9. " God put that royal soul into a body as royal." -H. o. 10. "An' better than that, I was steady and true, An' put my good resolutions through.''^ -D. F. ^^ Practice, Practice, Practice.^' CHAPTER XV Exercises for Review Practice 1 . " Blaze with your serried columns ! " H.F. ./Vofe. — This expresses challenge. 2. " Do you refuse mt justice ? " H.F. 3. " Give me my rights, 1 claim them." H.F. Rep. 4. " By this time to-morrow thou shalt have France, or I, thy i. D.F. head:' "■°' J. " They cannot understand your heart." H.S. 6. " My thoughts go back to the old home.'''' H.B. 7. "Thou, coward, crawl like a worm.''' D.F. 8. "He shall be likened unto a foolish man who built his house upon the sandP D.O. 9. " Away with such follies ! " D.S.o. 10. " These ideas are the relics of barbarism.'" D.B. Note. — Here the idea of inferiority places the gesture on D., while remoteness of time places it on B. 71 72 EXERCISES FOR REVIEW PRACTICE 11. " What are ye, orbs ? The words of God? E.F. Rep. The scriptures of the skies f " E.F.-E.O. 12. " The star of hope &r£j o«." E.F. 13. " You ask me for your husband? H.F. There — where the clouds of heaven look darkest o'er the E.O.I. domes of the Bastile." -E.F.v.-E.O.I. N'ote. — The wave of the preparation in the third gesture describes " clouds of heaven " and the gesture terminates on " Bastile." The student must fill the pause between the first and second gestures by dramatic action. This must be done impressively or it will be ridiculous. 14. " The skies are painted with unnumbered sparks.'''' -E.O.I. 15. " Glory, hwWt E.o. On selfish principles, '\S shame and guilt.'''' D.S.o. 16. "'Tis but a dream — let it pass — let it vanish like so many others." ^■^■°- 17. " Memory retains the hope of childhood.'''' E.B. 18. " The morning was as fragrant as an old dream.'''' E.B. 19. " Old superstitions are as vicious as new religions.'''' E.B. D.O. N'ote. — Downward movements are sometimes made simply in opposition to a previous gesture. In the last example the D. is given in opposition to the E. and also to give the emphasis to the general thought. The ideas are not necessarily opposed to each other. We must make a difference in the gestures, and the law of grace demands the opposition. EXERCISES FOR REVIEW PRACTICE 73 Prone Hand 20. " We wonder what city the pathway of glory, That broadens the way to the limitless west, Leads up to.'''' -E.O.p.Rep. Rep. Rep. JVote. — The hand is drawn up across the body, then passes slowly on the line of gesture, picturing the path of light. 21. "And I saw him at St. Helena, with his hands behind him, gazing out upon a sad and solemn sea" -H.H.O.p. Rep. Rep. 22. "The bordering turf was green with May." D.O.p. 23. " In teaching me the way io live, E.O. It taught me how to die.'''' Descending, p. Supine Hand 24. " Lift her up tenderly.'''' H.O.s. 2;. " Support the strong and protect the weak." H.O.s. H.O.p. 26. " Our hearts, our hopes, are all with thee.'''' H.F.s. 27. "Nay I beseech you, sir, be not out with me." H.F.s. 28. " Our faith triumphant o'er our fears." H.O.s, Note. — In the last example the gesture is simply an upward wave of the hand. The action is that of support. 29. " His genius dominates and controls.'''' H.O.s. Imp. Imp. Imp. 30. "I shall be /ra»^ with you." H.F.s. 31. ^'■Behold, how great a matter a little fire kindleth." Bo.H,0.s. 74 EXERCISES FOR REVIEW PRACTICE Vertical Hand 32. "Avaunt! and quit my siM" H.F.v. Rep. 33. " I am athirst for God, the living God.'''' E.F. E.F.v. 34. " I have taken an oath.'''' E.F.v. 35. " I warn you, come not near." E.F.v. 36. " The eager sun rushed /orM to kiss away the bashful blush of morning^ ^■^• E.F.v.-E.O.v. Palm Inward 37. " My happy heart with rapture swells.'' H.F.n. 38. " In the silence of the night, How we shiver with affright.'''' H.F.n. Note. — The hand is close to the body and lifted near the neck. 39. " I feel once more the impulse of a man.'''' H.F.n. H.O. 40. " When all are selfish, the sage is no better than the fool, D.F.n. and only rather more dangerous." Palm Outward 41 . " Put down the unworthy feeling." D.S.o. 42. " Heaven has no rage like love to hatred turned." D.S.o. 43. "Nothing is more deplorable than a gesture without a motive." D.S.o. 44. " The motive is unworthy.'''' D.S.o. EXERCISES FOR REVIEW PRACTICE 75 45. " Never hune poison on -3. fouler toad.'''' D.S.o. Note. — The gestures in which the hand is turned outward, usually have a dramatic element in them combined with that of reference. 46. " I hate the idle pleasures of the day ! " D.S.o. "£(?/ grace and earnestness wait on beauty.''^ CHAPTER XVI Alternate Gestures When gestures are made with both hands, but suc- cessively, they are said to be alternate. By careful observation it will be noticed that many of the activities of life require actions that are made with both hands used successively. We often sustain the gesture of one hand by some movement of the other in complex descrip- tion, and very often in dramatic passages. While one hand is appealing for attention, the other may show the cause of interest or agitation. Hamlet, standing by a grave, holds a skull in one hand, while with the other he emphasizes his speech. The jeweler holds a watch in the left hand, while with his right he handles the tools with which he does his work. In such cases the alternate gestures become easy enough, but when .there is nothing to hold, when unassisted the orator stands before an audience and all is imaginary, the task is more difficult. Laws Law I. — Alternate gestures are used whenever the time is too short for the moving hand to make a good transition. 76 ALTERNATE GESTURES "J^ ^- " Now on the far-off sea some ships appear. Let us hail them." H-°-i- H.F. 3- "I? Iz. slave? When Ingorasx sAaU fall. H.F. D.s. Unconquered will he mount among the gods.'''' E.O. 3. " Shall we look to the^aj^ for light on the future?"" H.B. ■' H.F. 4. " What's past is past; there is 2. future left to all men." D.B. H.F. 5. "Too often the guide posts of one age become the hitching /(jj^jof thenext." 'A.V-^- H.B. Law II. — Often when dramatic and oratorical gestures are combined, one hand takes the descriptive work, or the appeal or invocation, while the other portrays the emotions. 1. "I pray thee, God, that I may be beautiful within.'''' E.F. H.F.n. 2. " Back into the chamber turning, H.S. All my soul within me burning." , H.F.n. -^fr^ 3. "I sometimes have thoughts in my loneliest hours, That lie on my heart lilce the dew on \\ie. flowers.'''' H.F.n. D.O.p. 4. " Peace, break thee off; look where it comes again." H.F.p. H.O.I. Law III. — In energetic passages, while one hand sus- tains or holds a strong idea, the auxiliary action is taken by the idle hand. 78 ALTERNATE GESTURES I . " We are working for an end, and no little thing shall keep us '.ccesi D.F. r „ H.F. D.S Irom success. 2. " The furious storm with its black rolling clouds cast a shadow on every heart ere it swept rumbling over the hills." Note. — The right hand takes the first and last gestures, while the subordinate gesture is taken with the left. The right hand goes on with its work regardless of the slight motion of the left. 3. "A thing of beauty is a joy forever, Its loveliness increases; it will never H.o. Pass into nothingness.'''' D.S. Law IV. — Alternate gesttires may be introduced at times for variety and artistic effect. 1. " Stand here by my side and turn, I pray, on the lake below thy gentle eyes." "-^^ ^-^-f- 2. "To weave a garland for the rose. And think thus crown'd 'twould lovelier be, H.o. Were fer less vain than to suppose That silks and gems add grace to thee.'''' H.F. Note. — The body is turned toward an imaginary flower on the first gesture and comes back on the last. This action often accompanies alternate gestures ; or rather, these gestures grow out of the larger action of the body. " The observations of the artist must be as minute as those of the scientist.'''' CHAPTER XVII Special Motions and Positions In addition to the dramatic positions and gestures already given, there are many small motions and some positions which elude classification, but are quite im- portant in expression. They add much to the dramatic spirit and life of both oratory and acting. Most of these will be easily understood. All have a philosophical basis, and students may use them with confidence. It must be remembered that while this book does not teach a theory or give discussions, yet the student is urged to trace, so far as possible, expression of face or body, and seek to understand its cause. The study of gesture is an endless one ; and the observation of every Uttle mo- tion is as interesting as any other science. Rich reward will be found along the way. The reading of books on action will help, but the greatest and best book, the book of nature, is open before us all. It is wise to study there carefully and persistently. Many of the positions suggested by the following ex- amples cannot well be taken by the student while stand- ing. The student's own taste will have to be exercised to know which ones should be practiced while sitting. 79 80 SPECIAL MOTIONS AND POSITIONS Life Study 1. Let half of the members of a class be invited to the platform to look at some interesting object. No two would take the same attitude, nor express pleasure in the same way. Something of the individuality of each student would reveal itself. Now let another group of students be asked to take the platform and give as far as possible by imitation, the attitudes and expressions of the first group. 2. With the class acting as critics, let each student represent some character found in real life, presenting the peculiarities of walk and posture, and the little char- acteristic motions. This practice may serve as the first step in good impersonation. Special Actions of the Hand 1. When the hand is placed on the forehead, thought is indicated. " It must be so, Plato ; thou reasonest well." 2. When the hand supports the cheek, tenderness is indicated. " I like to dream of our friendship." 3. The hand upon the brow ^\^'oSS\.e^ perception. " I can see the whole matter now." 4. Weeping is indicated by pressing the hand upon the eyes. SPECIAL MOTIONS AND POSITIONS Si 5- The hand over the mouth indicates energetic thinking. "We must study this out ; we will." 6. The hand pressed upon the temple signifies dis- tressing thought. " This thought will drive me mad." 7. In suppressed fear the hand seeks the neck under the chin. "I have no fear, I am quite calm." 8. Strangling or stifling is indicated by grasping the throat. 9. When the hand rests on the top of the head, serious thought is indicated. "What is my duty to my God, my neighbors, and myself?" 10. When the hand is thrown upon the back of the neck, agony is expressed. « O God, my child, my child ! " 11. Beating any part of the body, signifies violent excitement. " Salvator, Salvator, it's the race of your life ! " 12. Hands behind the body, lightly clasped, gives us abandon. " I can easily yield to such enchantment." 13. An outward wave of the hand carrying it to the zenith, indicates exultation. " Victory is ours, victory ! " 82 SPECIAL MOTIONS AND POSITIONS 14. The hand up, palm out, expresses inquiry and attracted attention. "What sights are these?" 15. A downward stroke from E. to D. signifies affir- mation or conclusion. " My voice is still for war." 16. The hand thrown out horizontally, signifies denial. When this is made downward it rejects that which oppresses ; when it is made H. or E., it throws off trifles. (a) " The gentleman is mistaken." (b') " This is all nonsense." 17. Moving the hand horizontally back and forth, palm down, signifies impatient denial. 18. The same motion, with palm up, signifies distri- bution. 19. The hand descending slowly from above, signifies regret and hopelessness. " This can easily be done — but no, there is no hope, /or me." E.o. D. 20. Grasping and crushing are indicated by closing the hand. 21. The hands clasped indicate deep feeling. 22. Wringing the hands signifies suffering. " A poor old king, with sorrow for my crown." 23. Pulling fingers signifies impatience. " Say ma' — say, can't I go ? " 24. The arms folded on the chest indicate composure. SPECIAL MOTIONS AND POSITIONS 83 Special Motions and Affectations The dangers of affectation are so great that another warning here may not be out of place. It must be remembered that every gesture is supposed to express some thought or emotion aheady in activity. In mak- ing use of the gestures taught through the examples above, there must always be energy and emotion suffi- cient to warrant the actions. The entire body must respond, or the audience will feel a lack of sincerity and earnestness on the part of the speaker. It is not enough to say "practice each example many, many times " ; practice with the entire nature submerged in the sentiment or situation involved in the example. " Corinne was so well acquainted -with an- tique paintings and sculpture, that her posi- tions were so many studies for the votaries of art:' CHAPTER XVIII Attitudes An oration, a play, a declamation, or even a conver- sation is more than the expression of thought and emo- tion. A great speech, apart from its direct moral purpose, is a work of art — a painting in which every gesture is a line, every word a color. It is an art gal- lery in which every posture is a statue. Public speak- ing is, in its last analysis, the art of arts. There is a wide difference between a crude harangue and the polished speech of a real orator. There is no way of expressing the great difference between the wigwam of a savage and the home of a civilized man. One is a work of necessity ; the other is necessity adorned by art. So there is in the higher types of oratory an element which nature never gave — something pleasing and powerful, which grows out of study and practice. No man was ever born an orator. All who have won laurels from the fickle but generous public, have done 84 3- > 4 Ti ATTITUDES • 85 SO by the aid of art. Study, practice, persistent effort — these make the orator. On the other hand, art cannot make a granite column out of sandstone. To make a speaking statue requires not only a skillful hand, but a block of pure material. The art of elocution can perform wonders, but not im- possibilities. Given in crude form, a tender heart, a strong brain, a good imagination, a resolute will — the electric touch of art can call forth the most magnificent handiwork of God — an expressive man. In oratory as in all other departments of human activity there is a point where nature stops and art begins. Each has its place. Nature must not, and indeed cannot, oppose art ; art must not violate nature. Nothing is artistic which violates natural law. These few words are full of warning for the student. He must be artistic, but not artificial. He must make his art the handmaid of nature, not the usurper or destroyer of all the native excellence that comes first- hand from the Creator. It is the province of art to see that all attitudes assumed by the orator add something to his power. A sentiment is most powerful when we see it grandly em- bodied. The orator's influence is largely determined by the intensity of his life and by the form in which his pas- sions manifest themselves to others. Written thoughts are powerful, but the writer's pen cannot sway a people as the orator can. To live a great thought before an audience, to make the timid see a great courage, to 86 ATTITUDES make the passive feel a mighty emotion as revealed by the thoroughly animate personality, is the privilege of the public speaker. What has been said here about art seemed necessary. So many public speakers, endowed with emotional life, try to storm the gates of influence with their untrained impulses. It seemed wise, therefore, to call the attention to the fact that noble impulses can be expressed in beau- tiful form and so be made more effective. All the dramatic positions have been given in previous chapters. The student must now learn how to pass from a passive state into one of extreme excitement, to embody for a moment a great passion, and then return to a state of rest again, without annoying an audience. A taste for the highest form of embodiment can best be learned by the study of classic art. The student must train the eye to an appreciation of form. He must understand beauty, strength, and pas- sion as they are expressed by the best artists. He must understand the value and appeal of pictures, or he will never know how important it is to keep the man on the platform out of the grotesque positions some speakers assume. Attitude and Literary Material Attitude and gesture are ever dependent on the material of a speech. If the lines embody nothing, the best-trained reader or speaker will be powerless. An oration should be full of truth, warmth, vital force; ATTITUDES 8y it may contain fun and comic bits ; but it must be a work of art as well. Every memory of it, every inspi- ration born of it, should be connected with the time, the place, the man. The speaking attitude, the flashing eye, the uplifted hand, the heaving chest, the burning words, are the instruments by which the great orator impresses his thoughts upon his hearers. Indifferent material cannot be impressed by the best speaker. In a good production, the whole train of thought is living there before you, not a cold, dead thing, but an em- bodied, living reality. This you cannot forget. To hear, to see a really good orator or actor, is an event; to hear a poor one is a punishment. A man on the platform who lives less than we do, is insipid and uninteresting to us. Principles I. Attitudes are dramatic, expressive of emotion. II. Dramatic actions terminate in attitudes. III. Dramatic attitudes coming at the end of cli- macteric passages are held during applause. IV. Do not "strike an attitude," but let the action develop into the desired position without a jar. V. The deeper the emotion, the stronger the attitude. VI. Attitudes must not be dropped, but the energy which creates them should sustain the position of the speaker. Note. — A careless bearing after some great dramatic movement in a speech is very disappointing to an audience. 88 ATTITUDES WaT^ings Do not be grotesque. See that all is in proportion and in harmony. Do not use a strong gesture of the hand while the knees are weak. Especial care should be taken not to spoil the effect of a good position in passing to the next. Guard against awkwardness in transition. Sentences Note. — Assume proper attitude while using the sentences below. 1 . "Be that word our sign of parting, bird or friend, I shrieked, upstarting.'' ' '''' 2. "To thy knees and crawl for pardon." D.F.I. 3. "Avaunt 1 My name is Richelieu! I defy thee !" H.F.v. 4. "Justice is satisfied and Rome \%freey E. (Above the head.) 5. " You owe me no thanks. In defending you, it is my honor that I defend." "•^■^- H.o. Studies (i) Quarrel scene between Brutus and Cassius. Shakespeare's "Julius Ccesar}'' Act IV, Scene 3. (2) Court scene. S>\a!sss,^t^t\ '■'■ Merchant of Venice^'' Kz\.V . Life Study The larger part of impersonation is involved in the study of attitudes. Of course, the peculiarities of voice and gestures must be learned, but these are absolutely ATTITUDES 89 inseparable from the attitudes. Each student in a class should be required to impersonate a number of different characters, especial emphasis being given to the higher types. The comic types may be introduced, but when this is done, considerable discrimination and taste will be necessary. The student must guard against a waste of time in the study of characters that are not really interesting, and types that could not be presented upon the stage. Character Scrapbook A scrapbook of character pictures could be arranged by the student in such a way as to make his progress more rapid and his impersonations of greater value. The leading magazines are constantly printing charac- ter pictures, done by the leading artists. These could be cut out and arranged under appropriate heads in a scrapbook so as to become a classified list of types : a department devoted to old men ; one to old women ; another to children ; one on simple characters ; another on affected ones. These carefully studied would make a clearer impression upon the mind than reading about similar characters could possibly do. Picture Study. — pp. 10 (a), z6 (o), 36 (a), 44 (a), 76 (o), 84 (a), 122 (a), and Frontispiece. " Suit the action to the word, the word to the action" CHAPTER XIX Judgment in Gesture The amateur and the professional are easily distin- guished. When they use the same action there is a difference in execution so marked that all can see and feel it. The action of the amateur is hasty, and nervous, and characterless. His gestures are not timed, do not begin where they should, nor do they end on the right word. The artist glides from one position to another, easily and grandly. There is no blundering, no mean- ingless motion, no hesitancy, no inappropriateness, no artificiality ; the transitions from rest to strong activity are unnoticed ; the hearers are lifted smoothly, but with power, and are easily brought back from the ecstatic delights of some grand climax. The artist walks the stage with judgment; he regulates his steps, stops at the right time and in the right place. His whole bear- ing and his actions are pleasing and effective. In oratorical, and particularly in dramatic gestures, we need the exercise of taste. Taste is educated judg- ment. One passion blends with another : one action is modified by another. Gestures are not controlled by rules as definite as the laws of mathematics. In some go JUDGMENT IN GESTURE 9 1 the motion is slow and easy ; in others, slow and strong ; again, in others it is swift and light ; while at times it is swift and strong. How is the student to know ? He must exercise judgment. We can give a few rules, but the best one of all is the motto at the head of this chapter. The student will find most difficulty m regarding the rules for speed and distance. Rules for Velocity and Distance Velocity. — Mathematical appropriateness must be determined by the mass to be moved and the moving power. (a) " Toss your cares to the winds.'''' H.s. (^) " We know it is a great temptation, but push it aside.'''' D.s. (c) " See yon humming bird, how he darts away." H.O.I. H.O.-H.S. (d) "Yon eagle's flight is calm." Distance. — The distance of an object is indicated to the eye by the length of preparation and the speed of gesture. (a) "The train went thundering by us." (b) " The train moves swiftly across the prairies." (c) " The flames went leaping higher, higher, higher." All the gestures can be made with many degrees of intensity. E. does not always mean as high as one can reach. A cultured reader will use the same action that 52 JUDGMENT IN GESTURE appears grotesque when used by an amateur, but he does it with such modifications of force and extent that unity will result. We leave the student to apply judgment in the meas- ure with which he has been endowed. Each class of gestures should be tried with several degrees of force. Much good can result from this drill. The ability to proportion the action — to weigh the passions and give each one its proper importance — is to be coveted; it marks a fine organism, a sensitiveness that every orator should possess. The absence of the ability thus to dis- criminate in the use of both gesture and voice results in monotony and ranting. The preacher who announces a hymn in the same tone that he uses in the impas- ■ sioned parts of his sermon, will soon weary his hearers. " Suit the action to the word, and the word to the action." Stage "Business " Much judgment and good taste are required in deter- mining just how far the orator or elocutionist may ap- proach the art of the actor. If circumstances require it, the actor sits, lies down, rolls on the stage, perhaps ; but the best readers and entertainers avoid any action which might be regarded as extravagant. An orator never sits in a chair to illustrate a situation ; he never moves the furniture to illustrate a scene — he is sup- posed to address the imagination. But he has a right to demand the setting for his platform which will best 'i-&m^ .tr,;;>i?5;;- JUDGMENT IN GESTURE 93 suit his oration. A great barnlike stage would defeat the finest effort. A parlor scene is usually the best. In the smallest village some good pieces of furniture can be secured to decorate a stage for a public enter- tainment or lecture. Kneeling When an actor kneels on the stage, the knee nearest the audience is the one which approaches or touches the floor. The toe is not doubled under the leg, but is thrown back. In presenting a scene where kneeling is required, it would be ridiculous for the actor to omit it. It would be quite as ridiculous for a declaimer to intro- duce such an action, and an orator will never so far forget himself. Sitting When reading to friends from a book, it is best to sit, unless the company is a large one. A few good public readers have tried to read sitting before large audiences. They have usually failed. In an impersonation a chair may be used for variety, but such liberty is usually dangerous : an orator cannot afford to sit even in telling a story, unless he wishes to depart from the serious purpose of oratory. Vulgar Characters The common walks of life furnish excellent character studies. Often in impersonating these, some vulgar habit attracts the attention, and is in reality a good 94 JUDGMENT IN GESTURE dramatic point. If imitated too closely, however, it becomes a vulgarism in art, and the audience thinks no longer of the character, but of the habit, and is annoyed. We find in all characters something important and necessary to them, and to reproduce this something is to succeed in impersonation. " Individualize." Manuscript If a speaker is to use manuscript, he should hold it in his hands or lay it on a pedestal or desk high enough to enable him to see the lines without stooping or even bending the neck. Any cramping of the throat is injurious. No one who is anxious to move an audience, or to accomplish the highest purpose by speech, will use a manuscript, but will address his people face to face. " It is better to go by rule than by chance.'''^ CHAPTER XX General Rules and Suggestions In the following rules the author intends to sum up what the student has already learned — to condense the chapters into sentences. A few rules on grace will be added. The student need not fear that these rules will cramp him or rob him of individuality. They simply state the conditions under which individuality may be most effective and useful. Note to Teachers. — As each positive rule is given, some student may be called upon to illustrate it before the class. Rules and Suggestions 1. Always face the audience. 2. A speaker should never put his hands in his pockets except in impersonation. 3. Nervousness should never be displayed by toying with articles of dress, or by constantly shifting the feet. 4. Do not emphasize a thought by nodding the head. This is weak and must be avoided. 5. Avoid all mannerisms and habits likely to attract the attention from your subject to yourself. 95 g6 GENERAL RULES AND SUGGESTIONS 6. Never allow the feet to be equally far forward, either while standing or sitting. 7. The toes should not point in the same direction. 8. In sitting, allow the knees neither to touch nor to spread widely apart. g. Never stand so as to give the impression of weak knees. 10. In approaching a person or an object, the last step should be taken with the foot " up the stage," or farthest from the audience. 11. When you step forward, go directly front; if you wish to go to the side, turn the body at an easy angle, and then move directly to the point on the stage which you wish to reach. 12. Do not make too many gestures with one hand; but balance the action of one by gestures with the other. 13. Never change position during a pause. It attracts attention from your thought, and shows the speaker's lack of self-control. 14. Always rise from a sitting position by support- ing the entire weight upon the retired foot. As the body is inclined back of this foot, the center of gravity must, in the act of rising, be swayed forward so as to correspond with the position of the retired foot. 15. In the act of sitting, stand square in front of the chair, with the back toward it, so as to avoid any side- ling motion as the body descends. The weight should be upon one foot only, and that the retired foot. The GENERAL RULES AND SUGGESTIONS 97 body, in the act of descending, should be supported by the limb nearest the chair, the knee bending, but still sustaining the weight until the sitting posture has been nearly reached. A sudden dropping may thus be avoided. 16. In all your actions, avoid monotony. 17. In going up or down a stair, hold the body erect and do not hasten. In going up, lift the body firmly, step by step ; in descending, be quite as firm. The Speaker's Appearance What disappointment would fill the heart of a large majority of speakers if they could see themselves on the platform ! Men do not know how they appear, yet they should want to know. The grotesque attitudes and meaningless actions which often accompany the delivery of good matter, rob a speech of half its power. From the time a man steps upon the platform the audience has a right to see his face. He must not look at the floor ; he must not turn his side to the front, but walk the stage in angles ; he must not make a gesture across his body or before his face ; he must not talk to the walls, but to his hearers, — in fact, he must be a gentleman. Nervousness A man should never attempt to speak until he can stand still. Note well the following advice : Stand before your audience, complete master of yourself. 98 GENERAL RULES AND SUGGESTIONS Keep your hands at your sides until you need them for a gesture. Your handkerchief should be in your pocket and not in your hands ; if you have occasion to use it, do so while you are speaking — on no account pause for such a reason. It should be returned to the pocket and allowed to remain there. A nervous speaker has been known to go through the process of taking out his handkerchief, using and returning it to his pocket twenty-two times in one speech. Your watch chain should either be left at home or receive none of your attention. Never lean on a desk nor touch the furniture of the stage to move it. If you feel nervous, stand still and no one will know it. Mannerisms grow out of nervousness, and should be avoided. Never cross the legs on the platform, nor present the sole of the shoe to the audience. Neither hands nor feet should be in constant motion. If you desire to button your coat, do so ; if not, leave it unbuttoned, and do not change your mind about the matter after you get upon the platform. If you need to time yourself, have your watch in your hand when you come out, lay it down, and do not move or touch it again until you have finished. Do not play with anything. The few things suggested will call to mind many others. We leave the student to observe the effect the things we have mentioned have upon a speaker, to note others, and to discover his own faults. GENERAL RULES AND SUGGESTIONS 99 Shall we Bow ? A preacher never bows to an audience. A lecturer should do so at the end of a speech, but rarely at the beginning, unless he is celebrated, and the audience greets him warmly. On retiring he may bow to the front and both sides, but only when he is very popular, and can see this by the demonstrations of his audience. An elocutionist, coming before an audience to read or recite, may or may not bow, as he pleases ; he should bow modestly, however, as he leaves the platform. Never bow so low as to hide the face from the audi- ence, or so quickly as to appear flippant. Finally, before an audience, be sincere, be honest, be earnest, be on fire, and your fire will warm the great heart of humanity. " By necessity, by proclivity, and by delight we quote y CHAPTER XXI Quotations The orator needs a full list of short quotations, and he must have them at ready call. They are a nectar at the feast of eloquence. Not only should they be short, but appropriate. We give in the following chapters a list of quotations to which the student may add others. However, he must exercise judgment in his selections. There are various opinions as to the propriety and advisability of quoting. One says : " To copy beauties forfeits all pretense to fame ; — to copy faults is want of sense," and " Quotation, like much better things, has its abuses. One may quote till one compiles." Another says : " The wisdom of the wise, and the experience of ages, may be preserved by quotation." " A great man quotes bravely, and will not draw on his invention when his memory serves him with a word as good." Emerson says : " Next to the orginator of a good sentence is the first quoter of it. We are as much informed of a writer's genius by what he selects as by what he origi- nates." He also says : " All minds quote." It is therefore wise for us to take this hint, "Genius bor- rows nobly." 100 QUOTATIONS Id In making selections we have had to keep in mind the purpose of our text, and give such selections as can be used in exercises. Long extracts from classic ora- tions could have been added to the text, but the author took it for granted that the student would be studying these as a part of his general and literary education. "When quoting, quote the best."" CHAPTER XXII Quotations from the Bible 1. Be of good courage, and he shall strengthen /(7«r ^«flr^, all y^ ^3.\.ho-^e. in the. Lord. ^•^' E.0.B0. 2. Blessed is he whose transgression is forgiven, whose sin is covered. ^^'^■ D.S.p. 3. Oh that men would praise the Lord for \£^% goodness, and for his wonderful works to the children of men. ■^'°- H.O.Bo. 4. Wisdom is the principal thing ; therefore get wisdom : and with all thy getting, get understanding. D.F. 5. Take fast hold of instruction; let her not go: keep her; for she is thy /y^e. ^-^^ '^- ^=p- 6. But the path of the just is as the shining light, that shineth E.o. more and more unto the perfect day. E.S.Bo. 7. Ponder all the paths of thy feet, and let all thy ways be es- tablished:' ^O- D.F. 8. For wisdom is better than rubies; and ail the things that may D.S. be desired are not to be compared to it. E.O.Bo. QUOTATIONS FROM THE BIBLE IO3 9. Wisdom hath builded her house, she hath hewn out her seven pillars. "•°- H.o. She hath killed her beasts; she hath mingled her wine; she HO. ° H.O.I. hath also furnished her table. H.O.p. She hath sent forth her maidens : she crieth upon the highest places of the city. -^•°- ^■°- 10. The fear of the Lord is the beginning of wisdom; and the knowledge of the holy is understanding. ^■'-'• E.o. D.O. 11. A wise son xa.'^^^ 2, glad father: but a foolish son is the heaviness of his mother. H.-D. 12. Treasuries of wickedness profit nothing: but righteousness delivereth from death. ^■^• H.O. 13. The rich man's wealth is his strong city; the destruction of the poor is their poverty. ^•'-'' D.S. 14. The tongue of the just is as choice silver: the heart of the wicked is little worth. ^■^• D.S. 15. A talebearer revealeth secrets: but he that is of a faithfiil spirit concealeth the matter. ^"*^' H.O.p. 16. He that walketh with wise men shall be wise : but a companion of fools shall be destroyed. D.S. 17. A soft answer turneth z^z.^ wrath: but grievous words stir up anger. ■ '°' 18. He that is slow tcj anger is better than the mighty; and he that ruleth his spirit, than he that taketh a city. ^^^• C. H.o. iq. The slothful man saith, there is a lion without, I shall be slain . ^, . . H.O.V. in the streets. 104 QUOTATIONS FROM THE BIBLE 20. Seest thou a man diligent in his business ? he shall stand before kings; he shall not stand before mean men. H.O. D.S. 21. He that turneth away his ear from hearing the law, even his prayer shall be abomination. E.O. D.S.o. 22. And beside this, giving all diligence, add to your faith virtue; H.F. H.F.I. and to virtue knowledge; and to knowledge temperance; and to H F.I. H.F.C. temperance patience ; and to patience godliness ; and to godliness H.F.p. E.O. brotherly kindness ; and to brotherly kindness charity. D O.Bo. E.O. 23. Let us lay aside every vpeight, and the sin which doth so -D.So. easily beset us, and let us run with patience the race that is set before us, looking unto/«jaj-, the author and the finisher of our faith. H.O. E.O. E.-D. " They spoke wisely and well.'''' CHAPTER XXIII Quotations from the Latin Classic Authors 1 . Control your passion, or it will control you. H.F.C. D.F. 2. Even virtue is fairer when it appears in a beautiful person. -H.o. 3. Poverty wants much; but avarice everything. H.o. H.S.Bo. 4. He believed that he was born, not for himself, but for the •whole world. H.F.n. H.o. Bo. 5. Setting raillery aside, let us attend to serious matters. D.S. H.F. 6. The mind conscious of innocence despises false reports. E.o. D.S.o. 7. Do not care how many, but whom, you please. H.S. H.F.I. 8. Nothing is more annoying than a low jnan raised to a high position. ° H.O. g. In a moment the sea is convulsed, and on the same day vessels are swallowed up where they lately sported on the waves. H.o. H.F. -H.o. 10. Be firm, or mild as the occasion may require. H.F.C. H.F.-H.O.p. H.O.s. 11. We measure great men by their character, not by their success. P-S, 105 100 QUOTATIONS FROM THE LATIN 12. Other men's sins are before our eyes; our own behind our backs. H-^-'- H.B. 13. He is most powerful, who has himself in his power. H.o. C. 14. The coming years bring many advantages with them ; retiring they take away many. H.B, 15. Be this thy brazen bulwark, to keep a clear conscience, and never turn pale with ^z7/. ^-^^ ■ D.b. 16. Live with men as if God saw you ; converse with God as if H.o. Bo. E.G. Rep. men heard you. H.o. 17. The circumstances of others seem good to us, while ours seem good to others. Rep. H.S. 18. The more corrupt the state, the more laws. D.S. D.O.Bo. 19. Remember to be calm in adversity. H.F.p. 20. Courage leads to heaven ; (ear, to death. E.F. D.S. 21. Fortune favors the ^raf*. E.O. 22. Envy assails the noblest; the winds howl around the highest peaks. ^O- E.F. -E.O.I. 23. There is nothing raore friendly than a friend in need. H.o. H.-D. Proverbs 1. Truth gives wz«gj to strength. E.O. 2. The best of ^^z«gj are difficult /o ^«/. E.O. E.-D.C. 3. I would wish to be rather than to seem. H.O. H.S.O. > r QUOTATIONS FROM THE LATIN IO7 4. A pleasing countenance is a silent recommendation. H.F. 5. The drop hollows the stone not by its force, but by the fre- quency of SXs, falling. ^■'^■^■ Rep. Rep. Rep. 6. Many will \iz\^you if you \ove yourself . D.F. H.F.n. 7. Bring nothing base to the temple. D.S. 8. Not for self but for country. H.F. H.O.Bo. 9. Everything unknown is taken for magnificent. 10. It matters much whether you are really ^oorf, or only wish to appear so. ^■'^■ H.S. 11. Mirtne alone is invinciile. H.O.-D.O. 12. Virtue is stronger than a battering ram. H.O.C. 13. Virtue is the way of life. E.o. 14. Virtue survives the grave. H.-E.O. Law Terms and Phrases 1. No man is bound to accuse himself except before God. E.O.V. 2. Outward acts indicate the inward secrets. H.O.Bo. 3. He who receives the benefit should also bear the disadvantage. H.o. D.o. 4. When the proofs are present, what need is there of words f D.S.o. ;. A right sometimes sleeps, but never dies. H.F.p. H.-D. 6. Let justice be done, though the heavens should /a//. E.O. E.-D. 108 QUOTATIONS FROM THE LATIN 7. A right cannot arise from a nvrong. H.O. D.S 8. Justice knows neither father nor Tnother; justice looks to truth alone. ^■^• E.F. orE.O. 9. The law provides for ih^ future; the judge, for Xh^past. E.F. H.B. 10. Reason is a ray of divine light. E.G. 1 1 . The king is given for the kingdom, not the kingdom for the king. H.8.B0. H.S. "Fine words! I wonder where you stole them.''^ CHAPTER XXIV Quotations and Studies from Various Authors Lowell 1. In a small chamber, friendless and unseen, Toiled o'er his types one poor, unlearned young man ; The place was dark, unfurnitured, and mean ; ^'^' H F.-H.S. Yet there the freedom of a race began. H.O.Bo. 2. O Truth! O Freedom! how are ye still born In the rude stable, in the manger nursed! H.S. DO.I. What humble hands unbar those gates of morn Through which the splendors of the New Day burst! E.O.Bo. 3. Then to side with Truth is noble when we share her wretched crust, D.o. Ere her cause bring fame and profit, and 'tis prosperous to be just. H.0.B0. 4. Count me o'er earth's chosen heroes, — H.F.-H.O. They were souls that stood alone. H.-D. c. Turn those tracks toward Past or Future, H.B. That make Plymouth Rock sublime ? 109 no QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS 6. New occasions teach new duties ; Time makes ancient good uncouth : D.S. They must upward still, and onward, who would keep abreast of Truth. E.F. 7. Our country claims our fealty ; we grant it so ; but then, Before man made us citizens, sreat nature made us men. H.o. ^ E.O. 8. I have no dread of what Is called for by the instinct of mankind; H.O.Bo. Nor think I that God's world will fall apart Because we tear -i. parchment more or less. D.S. STUDY The First Snow Fall The snow had begun in the gloaming, And busily all the night Had been heaping field and highway With a silence deep and white. Every pine and fir and burdock Wore ermine too dear for an earl ; And the poorest twig on the elm tree Was ridged inch deep with pearl. From sheds new roofed with Carrara Came chanticleer's muffled crow ; The stiff rails were softened to swan's down ; And still fluttered down the snow. I stood and watched by the window The noiseless work of the sky. And the sudden flurries of snow birds, Like brown leaves whisking by. QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS III I thought of a mound in sweet Auburn, Where a little headstone stood ; How the flakes were folding it gently, As did robins the babes in the wood. Up spoke our own little Mabel, Saying, "Father, who makes it snow?" And I told of the good All-father, Who cares for us here below. Again I looked at the snow fall. And I thought of the leaden sky. That arched o'er our first great sorrow, When that mound was heaped so high. I remembered the gradual patience That fell from the cloud like snow. Flake by flake, healing and hiding The scar of our deep-plunged woe. And again to the child I whispered, " The snow that husheth all, — Darling, the merciful Father Alone can make it fall." Then, with eyes that saw not, I kissed her ; And she, kissing back, could not know, That my kiss was given to her sister, Folded close under the deepening snow. James Russell Lowell. Studies from Bryant So live, that when thy summons comes to join The innumerable caravan, that moves To that mysterious realm where each shall take His chamber in the silent halls of death. Thou go not like the quarry-slave at night 112 QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS Scourged to his dungeon ; but, sustained and soothed By an unfaltering trust, approach thy grave Like one that wraps the drapery of his couch About him, and lies down to pleasant dreams. 2. Truth, crushed to earth, shall rise again : The eternal years of God are hers ; But Error, wounded, writhes with pain, And dies among his worshipers. 3. Stand here by my side, and turn, I pray, On the lake below, thy gentle eyes ; The clouds hang over it, heavy and gray, And dark and silent the water lies ; And out of that frozen mist the snow In wavering flakes begins to flow ; Flake after flake, They sink in the dark and silent lake. 4. Yet grieve thou not, nor think thy youth is gone, Nor deem that glorious season e'er could die. Thy pleasant youth, a little while withdrawn, Waits on the horizon of a brighter sky ; Waits like the morn, that folds her wings and hides, Till the slow stars bring back her dawning hour ; Waits, like the vanish'd spring, that slumbering bides Her own sweet time to waken bud and flower. There shall he welcome thee, when thou shalt stand On his bright morning hills, with smiles more sweet Than when at first he took thee by the hand. Through the fair earth to lead thy tender feet. He shall bring back, but brighter, broader still. Life's §arly glory to thine eyes again, Shall clothe thy spirit with new strength, and fill Thy leaping heart with warmer love than then. QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS II3 Goldsmith 1 . Where'er I roam, whatever realms to see, H.S. My heart, untravel'd fondly turns to thee. H.F. 2. And wiser he whose sympathetic mind Exults in all the good of all mankind. H.S.Bo. 3. Press the bashful stranger to his food. And learn the luxury of doing good. H.o. 4. Oh, then how blind to all that truth requires, Who think it freedom when apart aspires. H.F.I. E.G. 5. Unpractic'd he to fawn, or seek for power By doctrines fashioned to the varying hour, For other aims his heart had learned to prize — More skilled to raise the wretched than to rise. D.-H.O. 6. Truth from his lips prevailed with double sway, And fools who came to scoff remained to pray. H.O.v. H.O.p. 7. Ye friends to truth, ye statesmen who survey H.F. The rich man's joys increase, the poor's decay — 'Tis yours to judge how wide the limits stand H s. Bo. Between a splendid and a happy land. 8. If to the city sped — what waits him there ? To see those joys the sons of pleasure know, H.o. Extorted from his fellow-creature's woe. -D.o. 1 14 QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS Studies fro m Milton 1 . How often from the steep Of echoing hill, or thicket, have we heard Celestial voices, to the midnight air. Sole, or responsive, each to other's note Singing their great Creator ! 2. Beauty is nature's coin, must not be hoarded. If you let slip time, like a neglected rose It withers on the stock with languished head. 3. Beauty is excelled by manly grace, And wisdom, which alone is truly fair. 4. Beauty stands In the admiration only of weak minds Led captive ; cease to admire, and all her plumes Fall flat and shrink into a trivial toy ; At every sudden slighting quite abashed. 5. What honor that, But tedious waste of time, to sit and hear So many hollow compliments and lies, Outlandish flatteries ? 6. He that has light within his own clear breast May sit in the center, and enjoy bright day ; But he that hides a dark soul and foul thoughts, Benighted walks under the mid-day sun : Himself is his own dungeon. 7. By thy kind pow'r and influencing care. The various creatures live, and move, and are. 8. He seem'd For dignity composed, and high exploit ; But all was false and hollow. QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS IIJ 9. Man hath his daily work of body or mind Appointed, which declares his dignity ; While other animals unactive range, And of their doing God takes no account. Tennyson 1 . Mom, in the white wake of the morning star, E.G. Came furrowing all the orient into gold. -H.F.-H.O. 2. Pray Heaven for a human heart, E.O. And let your selfish sorrow go. D.s. 3. In the Spring a livelier iris changes on the burnished dove ; In the Spring a young man's fancy lightly turns to thoughts of love. H.O. 4. Many a night I saw the Pleiades, rising through the mellow shade, -H.0.-E.O. Glitter like a swarm of fireflies tangled in a silver braid. -E.F.-E.O. 5. Through the shadow of the globe we sweep into the younger day: H.F. Better fifty years of Europe than a cycle of Cathay. E.O. H.B. 6. Many an evening by the waters did we watch the stately ships, And our spirits rush'd together at the touching of our lips. 7. As the husband is, the wife is : thou art mated with a clown, H.S. And the grossness of his nature will have weight to drag thee down. D.F. 1 16 QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS 8. The splendor falls on castle walls, H.O.p. And snowy summits old in story ; EO. The long light shakes across the lakes, H.S.-H.F. And the wild cataract leaps in glory. E.O. H.S. 9. Man is man, and master of his /a^«. E.O.-D.O. Studies from Lytton 1. Shame is not in the loss of other men's esteem, — it is the loss of our own. 2. My friends — we must confess it — amidst the humors and the follies, the vanities, deceits, and vices that play their part in the Great Comedy of life — it is our own fault if we do not find such natures, though rare and few, as redeem the rest, brightening the shadows that are flung from the form and body of the time with glimpses of the everlasting holiness of truth and love. 3. In the tale of human passion, in the past ages, there is some- thing of interest even in the remoteness of the time. We love to feel within us the bond which unites the most distant eras — men, nations, customs, perish ; the affections are immortal ! — they are the sympathies which unite the ceaseless generations. The past lives again, when we look upon its emotions — it lives in our own ! That which was, ever is ! The magician's gift, that revives the dead — that animates the dust of forgotten graves, is not in the author's skill — it is in the heart of the reader ! 4. See, my liege — see thro' plots and counterplots — Thro' gain and loss — thro' glory and disgrace — Along the plains, where passionate Discord rears Eternal Babel — still the holy stream Of human happiness glides on ! 5. Oh, what glorious prophets of the foture are youth and hope ! QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS II 7 6. Our country is less proud than custom, and does not refuse the blood, the heart, the right hand of the poor man. 7. What is past, is past. There is a future left to all men who have the virtue to repent, and the energy to atone. 8. My father died : and I, the peasant born, Was my own lord. Then did I seek to rise Out of the prison of my mean estate ; And, with such jewels as.the exploring mind Brings from the caves of knowledge, .buy my ransom From those twin jailers of the daring heart, Low birth and iron fortune. For thee I grew A midnight student o'er the dreams of sages. For thee I sought to borrow from each grace. And every muse, such attributes as lend Ideal charms to love. I thought of thee. And passion taught me poesy — of thee. And on the painter's canvas grew the life Of beauty. 9. In the lexicon of youth, which Fate reserves For a bright manhood, there is no such word As fail ! 10. The mate for beauty Should be a man, and not a money chest ! Pope 1. The fur that warnjs a monarch, warm'd a hear. H.o. H.S. 2. 'Tis not a Up, or eye, we beauty call, H.F.I. Rep. But the joint force and full result of all. 3. Hear how the birds, on every blooming spray, With joyous music wake the dawning day. H. F.-H.o. Il8 QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS 4. We think our fathers fools, so wise we grow ; Our wiser sons, no doubt, will think t^s so. H.o. H.s. 5. True, conscious Honor, is to feel no sin, He's arm'd without that's innocent within ; Be this thy screen, and this thy wall of Brass. H.F. D.F. 6. Begone, ye critics, and restrain your spite. 7. Nature and nature's laws lay hid in night — H.F.p. God said, "Let Newton be ! " and all was light. H.o. Bo.H.O. 8. Distrustful sense, with modest caution speaks; But rattling nonsense in full volleys breaks. D.S. Bo.H.O. g. Be silent always when you doubt your sense ; H.F.p. H.F. -H.O. And speak, though sure, with seeming diffidence. H.D. Studies 1 . Those heads, as stomachs, are not sure the best, Which nauseate all, and nothing can digest. 2. I lose my patience, and I own it too, When works are censured, not as bad, but new. 3. Ah ! ne'er so dire a thirst of glory boast. Nor in the critic let the man be lost ! Good nature and good sense must ever join : To err is human ; to forgive, divine. 4. Some have at first for wits, then poets passed, Turn'd critics next, and proved plain fools at last. 5. But you with pleasure own your errors past, And make each day a critic on the last. QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS 1 19 6. Some ne'er advance a judgment of their own, But catch the spreading notion of the town. 7. Unblemish'd let me live, or die unknown ; O grant an honest fame, or grant me none. 8. Honor and shame from no condition rise; Act well your part : there all the honor lies. 9. Behold the child, by nature's kindly law, Pleased with a rattle, tickled with a straw ; Some livelier plaything gives the youth delight, A little louder, but as empty quite ; — Scarfs, garters, gold, amuse his riper stage. And beads and prayer-books are the toys of age. Pleased with this bauble still, as that before, Till tired, he sleeps, and hfe can charm no more. 10. Know then thyself, presume not God to scan: The proper study of mankind is man. 1 1 . Like leaves on trees the race of man is found. Now green in youth, now withering on the ground : Another race the following spring supplies ; They fall successive, and successive rise. Studies from Longfellow I. The heart Giveth grace unto every art. Bo. H.O. Thou, too, sail on, O ship of State ! Sail on, O Union, strong and great ! Humanity with all its fears. With all its hopes of future years. Is hanging breathless on thy fate ! We know what Master laid thy keel. What Workmen wrought thy ribs of steel, I20 QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS Who made each mast, and sail, and rope. What anvils rang, what hammers beat. In what a forge and what a heat Were shaped the anchors of thy hope ! 3. God sent his Singers upon earth With songs of sadness and of mirth. That they might touch the hearts of men. And bring them back to heaven again. 4. Then read from the treasured volume The poem of thy choice. And lend to the rhyme of the poet The beauty of thy voice. And the night shall be filled with music, And the cares that infest the day, Shall fold their tent, like the Arabs, And as silently steal away. J. Trust no Future, howe'er pleasant ; Let the dead Past bury its dead ! Act, — act in the living Present ! Heart within, and God o'erhead ! 6. Somewhat back from the village street Stands the old-fashioned country seat Across its antique portico Tall poplar trees their shadows throw ; And from its station in the hall An ancient timepiece says to all, — " Forever — never ! Never — forever ! " 7. Never here, forever there. Where all parting, pain, and care. And death, and time shall disappear, — Forever there, but never here ! QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS 121 The horologe of Eternity Sayeth this incessantly, — " Forever — never ! Never — forever !" 8. Were a star quenched on high, For ages would its light. Still traveling downward from the sky, Shine on our mortal sight. So when a great man dies, For years beyond our ken, The light he leaves behind him lies Upon the paths of men. Charles Mackey 1. Goodness is alone immortal ^ E.O. Evil was not made to last. D.S. 3. Lo ! the world is rich in blessings. Bo. H.o. 3. The more we work the more we win. H.O. C. 4. Standing still is childish folly, Going backward is a crime : None should patiently endure Any ill that he can cure ; Onward ! keep the march of Time. Onward ! while a wrong remains To be conquer'd by the right : While Oppression lifts a finger To affront us with his might : While an error clouds the reason Of the universal heart, Or a slave awaits his freedom, Action is the wise man's part. 122 QUOTATIONS AND STUDIES FROM VARIOUS AUTHORS S- Old opinions, rags and tatters ; Ye are worn ; — ah, quite threadbare ! We must cast you off forever : — We are wiser than we were : Never fitting, always cramping. Letting in the wind and sleet. Chilling us with rheums and agues, Or inflaming us with heat. We have found a mental raiment. Purer, whiter, to put on. Old opinions 1 rags and tatters ! Get you gone ! Get you gone'. 6. Men of thought ! be up and stirring Night and day : Sow the seed — withdraw the curtain — Clear the way ! Men of action, aid and cheer them, As ye may ! There's a fount about to stream. There's a light about to beam. There's a warmth about to glow. There's a flower about to blow ; There's a midnight blackness changing Into gray ; Men of thought and men of action, Clear the way ! Lo ! a cloud's about to vanish From the day ; And a brazen wrong to crumble Into clay, Lo ! the Right's about to conquer, Clear the way ! 7- And many live, and are rank'd as mad, And placed in the cold world's ban. For sending their bright far-seeing souls Three centuries in the van. > > K T- ^Dotations and studies from various authors ii^ 8. There's a good time coming, boys, A good time coming : The pen shall supersede the sword, And Right, not Might, shall be the lord In the good time coming. Worth, not Birth, shall rule mankind, And be acknowledged stronger ; The proper impulse has been given ; — Wait a little while longer. " These things are not judged of by their number but by their weight." CHAPTER XXV Miscellaneous Quotations and Studies 1. Applause is the spur of noble minds, the end and aim of weak ones. D.S. — C. C. COLTON. 2. Shall I ask the brave soldier who fights at my side In the cause of mankind, if our creeds agree ? Bo. H.O. D.S. —Moore. 3. Character is higher than intellect. ... A great soul will E.O. be strong to live as well as to think. Emerson. E.— D. 4. Comparisons are offensive. — Cervantes. 5- With one hand he put A penny in the urn of poverty, D.S. And with the other took a shilling out. ^•^- — Pollard. 6. I see the right, and I approve it, too. Condemn the wrong, and yet the wrong pursue. D.s.o. „ — Ovid. 7. There is a higher law than the constitution. — Seward. 8. We may live without poetry, music, and art ; We may live without conscience, and live vrithout heart ; We may live without friends ; we may live without books ; But civilized man cannot live without cooks. 124 MISCELLANEOUS QUOTATIONS AND STUDIES 125 He may live without books, — what is knowledge but grieving? He may live without hope, — what is hope but deceiving? He may live without love, — what is passion but pining? But where is the man that can live without dining? — Meredith. 9. I have found you an argument, I am not obliged to find you an understanding. — Samuel Johnson. 10. The true grandeur of nations is in those qualities which constitute the true greatness of the individual. — Sumner. 11. Man's inhumanity to man Makes countless thousands mourn. — Burns. 12. When a man dies they who survive him ask what property he has left behind. The angel who bends over the dying man asks what good deeds he has sent before him. — Koran. 13. What the superior man seeks is in himself ; what the small man seeks is in others. 14. To judge human character rightly, a man may sometimes have very small experience provided he has a very large heart. — Bulwer-Lytton. 15. I hope I shall always possess firmness and virtue enough, to maintain, what I consider the most enviable of all titles, the char- acter of an "Honest Man." — George Washington. 16. Labor to keep alive in your breast that little spark of celestial fire, called conscience. — George Washington. 17. It is in general more profitable to reckon up our defects than to boast of our attainments. — Carlyle. 18. Our grand business is, not to see what lies dimly at a dis- tance, but to do what lies clearly at hand. — Carlyle. 19. Affection is the broadest basis of a good life. — George Eliot. 126 MISCELLANEOUS QUOTATIONS AND STUDIES 20. The reward of one duty is the power to fulfil another. — George Eliot. 21. Sweet are the roses of adversity ; Which, like the toad, ugly and venomous. Wears yet a precious jewel in his head. — Shakespeare. 22. Be thou as chaste as ice, as pure as snow, thou shalt not escape calumny. — Shakespeare. 23. With malice towards none, with charity for all, with firmness in the right, as God gives us to see the right. — Lincoln. 24. Many men are mere warehouses of merchandise — the head, the heart, are stufifed with goods. . . . There are apartments in their souls which were once tenanted by taste, and love, and joy, and worship, but they are all deserted now, and the rooms are filled with earthy and material things. — H. W. Beecher. 25. Trust men, and they will be true to you ; treat them greatly, and they will show themselves great. — Emerson. 26. Breathes there the man, with soul so dead, Who never to himself hath said. This is my own, my native land! Whose heart hath ne'er within him burned, As home his footsteps he hath turned. From wandering on a foreign strand ! If such there breathe, go, mark him well ; For him no Minstrel raptures swell ; High though his titles, proud his name. Boundless his wealth, as wish can claim : Despite those titles, power, and pelf. The wretch, concentered all in self. Living, shall forfeit fair renown. And, doubly dying, shall go down To the vile dust, from whence he sprung. Unwept, unhonored, and unsung. — Scott. Our Own Publications Cloth unless otherwise stated 31-33-35 West Fifteenth Street Between Fifth and Sixth Avenues Schoolbooks o/" all publishers at one store Songs of All the Colleges. Words and music throughout. A welcome gift in any home I Everyone likes a college song, and this book is an ideal gift to place on the piano for one's friends to enjoy, even though one sings not himself . Attractive and durable cloth. $1.50. New edition with 104 songs added for 67 other colleges. 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CoinpIetel7 Parsed Oesar. Book ). Each page bears interlinear translation, literal translation, parsing, grammatical references. The long vowels are indicated throughout, both in the Latin text part, and in the parsing. All at a glance without turning a leaf . An ideal aid, compact, complete, unique. $t.50. Q>m^letely Scanned-Parsed Vergil's Aeneid Bk. t. Iden- tical in plan, scope, and arrangement with the Parsed ,Ccesar, while being scanned as, well as, parsed. $1.50. Completely Parsed Cicero, L The First Oration against Catiline. Same plan and scope as /'arjf $1.25 Miscellaaeous. TITLE A Battle, .... Alter Vacation, A Good Name, Americanism, As Tliy Day Thy Strength Shall Be, A Strange Experience, . A Swedish Poem, . At Oradaating Time, A Turkish Tradition, . Before Vicksboig, Beside the Railway Track, . Commencement Day, Compromise of Principle, Employ Toar Own Intellect, Tailed, Flattering Grandma, Forward, Setting the Bight Start, Olimpaes into Clondland, How the Ransom Was Paid, " I wai Help You," Manhood, .... Ueans of Acquiring Distinction, Mind Your Business, National Progress, Only a Little, Only a Little Thing, Only in Dreams, Our Country, Some Old School Books, Sparrows The Amen of the Rocks, The American Constitntion, The Angel of Dawn, The Barbarous Chief, The Beautiful in Creation, The Coast-Gnard, . The Daily Task, The Demon on the Boot, . AUTHOR Charlea Sumner, Joel Hawes, Henry Cabot Lodgi, JoeepHne Pollard, W. D. Potter. . Emry Ward Beecher, PluUipa Thompum, Sutan Coolidge, Joseph Gilbert Holland, H. W. LongfeUaw, Wolstan Dixey, George K. Hbrria, Sydney Smith, Woletan Dixey, William McEinley, Dora Goodale, Mrs. if. P. Handy, Joseph Gilbert Holland, Epet Sargent, Adeline D. T. Whitney, Christian Gilbert, Alexander Hamilton, J. S. Cutler. Ella Wheeler Wilcox, Timothy Dwight. Emily Huntington MHUr. Marianne farringham, Josephine Pollard, MiBoellaneovLS— Continued. AUTHOR llenry Abbey, Charles Mackay, Susan Coalidgs, Marianne famingham, James O. Blaine, TITLE The Drawbridge Keeper, The Friend of My Heart, Tlie Inquiry The Liglit-honse, .... The Little Qrave, .... The Little MesBengei of Love, The Monlf'B Vision, The Old Stone Baein, . The People's Holidays, . The Permanence of Qrant's Fame, The Silver Bird's Nest, . The Southern Soldier, .... Henry W. Qrady, The TTnconecious Greatness of Stonewall Jackson, Moses D. Bodges, D. Z>., The University the Training Camp of the ^ Future, Benry W. Grady, Things to Bememher ... True Heroism, .... True Liberty, r. W. Robertson, True Patriotism is Unselfish, . . Oeorge William Curtis, "Wash Dolly up Like That," . Eleanor Kirk Ames, What of Thatf .... "What's the Lesson for To-day ? ■ .... When Grandpa Was a Little Boy, . Malcolm Douglas, Concert Becitations. Cavalry Song Songs of the Seasons, Song of the Steamer Engine, Summer Storm, The Cataract of Lodore, The Charge at Waterloo, The Child on the Judgment Seat, The Coming of Spring, The Death of Oar Almanac, The Good Time Coming, The Sorrow of the Sea, The Two Glasses, . Two Epitaphs, WholBit? .... Edmund C. Btedman, Meta E. B. T/umu, C. B. LeBow, James Eussdl LoweU, Edbert Southey, Walter Scott, E. Charles, Wilhtlm Mutter, Benry Ward Beecher, Charles Mackay, C. B. A., . . C. B. A., . . Erom the Oerman, Selections for Musical Accompaniment. A Winter Song " St. Nicholas," Extract from Hiawatha's Wedding Feast, B. W. Longfellow, Hope's Song, BeUn M. Winslow, Bock of Ages Ella Maud Moore, Selections for Musical Accompaniment— Continued. TITLE AUTHOK The AngeluB, Frances L. Maee, The Coiicert Reheareal, . . . Wolstan Dixey, The SanriBe Never Palled Us Yet, . Celia Thaater, Poets' Birthdays. WiLUAM CULLBN BbTANT. A Bryant Alphabet, Extract conceming Bryant, Green Biyer, . The Hurricane, The Night Journey of a Biver, The Third of November, The Violet, To William Cnllea Bryant, Compiler, Bev. Benry W. BeBowi, John Bigelow, George William Curtil, Edwin P. Whipple, WiUiam CtUlen Bryant, Fitz- Greene Balleck, Balph Waldo Ehebsoh. Art, An Emereon Alphabet, Emerson, . . . . Extract concerning Emerson, " from " Compensation," " " "Works and Days," The Concord Fight, TheRbodora Balph Waldo Emerton, Compiler, Elizabeth C. Kinney, Ben. C. A. BarlM, George Willie Cooke, Oliver WendeU Holmes, Protap C. Mozoomdar, Horace E. Seudder, Balph Waldo Em^son, Oltveb Wendell Holmes. A Holmes Alphabet, Extract concerning Holmes, Compiler, George William Curtii, "... Charles W. Eliot, " " "... Wm. Sloane Kennedy, " " "... Bev. Bay Palmer, " " "... Frances H. Underwood, International Ode, .... Oliver WendeU Holmes, James Eussell Lowell's Birthday Festival, " " " Our Autocrat, John Greenleaf Whittier, The Two Streams, Oliver WendeU Holmes, Under the Washington Elm, . . " " " Poets' Birthdaja— Continued. TITLB AUTHOR HSHBY Wadsworth Longfellow. A Longfellow Alphabet, Charles Sumner, Extract concerning Longfellow, Benry Wadswortb Longfellow, Loss and Gain, Musings, The City and the Sea, . Compiler, . H. W. Longfaiow, Oeorge William Curtis, Rev. O. B. Frothingham, Re«. M. J. Savage, Richard H. Stoddard, John ereerdtttf Whittier, WiUiam W. Story, E. W. Longfellow, Jahes Busseli. Lowell. Abraham Lincoln, . A Lowell Alphabet, Extract concerning Lowell, Freedom, The First Snowfall, To James Rugsell Lowell, Wendell Phillips, . James BitsseU iMwelt, Compiler, . David W. Barttett, Ren. H. R. Haweis, " North British Review," W. C. Wilkinson, Frances H. Underwood, James Russell Lowell, Oliver Wendell Holmes, James Russell Lowell, JoHH Grkbnlbaf Whittibb. A Whittier Alphabet, Extract concerning Whittier, The Light that is Felt, . The Moi-al Warfare, To Children of Girard, Pa., John G. Whittier, . Compiler, . John Bright, Horace E. Seudder, Richard H. Stoddard, Frances B. Underwood, Rev. David A. Wasson, John Oreenleaf Whittier, James Russell Lowell, Temperance. It la Coming, . . . . The Cry of Personal iiiberty. The Great National Scourge, The Temperance Pledge, . Water, M. Florence Masker, Rt. Rev. Bishop Ireland, Thos. Francis Marshall, Words of Cheer, Thomas B. Barker, The Seasons. TITLB ' ATTTHOB 4n April Day Mrt. Sautheg, An Autumn Day Margaret E. Sangiter, A Song of Waking Katharine Lee Battt, A Snmmer Day, . . ■ • December, Louisa Parsone Hopiltu, harly Autumn Dart Fairthome, Faded LeaveB, Alice Gary, Frostwork, Mary E. Bradley, Indian Snmmer, John QreenteafWhUtiir, Jannary, Soialine E. Jones, June, .... Hay, .... NoTember EarOey Coleridge, October, WUliam Cullen Bryant, September, 1815 William Wordnmrth, Talking in Tbeir Sleep Edith M. Thomas, The Spring, Mary Eowitt, The Voice of Spring, .... Mrs. Eemans, Winter, Boiert Southey, Flowers. A Bunch of Cowslips .... A September Violet, .... .... ChryeanthemuniB Mrs. Mary B. Dodge, DafEodUB, Bobert Eerrick, Ferns ... Flower Dreams, ... Golden Rod, Lucy Larcom, No Flowers ... Oh, Golden Rod, W. L. Jaguitk, Bagged Sailors, ... Roses, ... Sweet Peas, ....... ... The Daisy, John Mason. Good, The Golden Flower, .... Oliver Wendell Eolmes, The Message of the Snow-Drop, . , .... The Trailing Arbutus John Oreenteaf Whittier, The Wild Violet Bannah F. Cfould, To the Dandelion James £ussell Loarelf, Lincoln's Birthday. Abrabam Lincoln, JamesA. Oarjletd, Abraham Lincoln's Place in History, . Bishop John P. Nevoman, Abraham Lincoln, the Martyr, . . Henry Ward Beecher, Lincoln's Birthday — Continued. TITLB ACTHOB AdareSB of Abraham Lincoln, Lincoln, .... liincoln'B Birthday Ida Tose Woodbury, The Beligions Character of President Lincohi Bev. P. O. QvxUy, D. D., Washington's Birthday. Crown Car Washington, . . . BezeUah Buiterworth, George Washington .... Original Maxims of Qeorge WasbingtOD Oar Washington, Sliza W. SurUn, The Birthday of Washington, . . Sufus Choate, . The Character of Washington, . . Benry Cabot Lodge, The Faith of Washington, . . . Frederic B. Coudert, The Memory of Washington, . . B. Everett, The Twenty-second of Febrnary, . William Cullen Bryant, The Unselfishness of Washington, , BObert TreSFalne, The Washington Monoment, . . Bobert Cigfinthrop, Washington, .... Washington a Model for Youth, . . Timothy Dwlght, Washington's Birthday, .... Margaret E. Sarigster, Washington's Fame Aiher Bobbim, Washington's Training, . . . CharUa W. Vpham, Arbor Say. Arbor Day History, .... K.O.WeOa, Bvery-day Botany, .... Katherine H. Perry, Song of Arbor Day, .... Barah J. Pettinoa, Song of the Maple B. M. Streeter, Plant a Tree, Lmy Larcom, The Cedars of Lebanon, . . . Zetitia E. Landon, The Little Brown Seed in the Furrow, Ida W. Benham, The Pine Tree, .... The Song of the Pine, .... James Buckham, The Tree's Choice, .... Qraee B. Carter, Three Trees Charles E. CrandaU, What Do We When We Plant the Treer Benry Abbey, Decoration Day. A Ballad of Heroes, .... Austin Doiton, Army of the Potomac, .... ... Between the Graves Barriet PrescoU Spojford, Decoration Day, Wallace Bruce, Decoration Hymn, William B. BandaU, Flowers for the Brave Ceiia Thaxier, Decoration timy— Continued. TITLE Flowers for the Fallen Heroes, For Oar Dead, Little Nan, Memorial Day, . . Ode for Decoration Day, O Martyrs Numberless, . Our Comrades, Our Heroes' Graves, Onr Honored Heroes, Sleep, Comrades, Sleep, The Heroes' Day, . The Silent Grand Army, Tlie Soldier's Boiial, E. W. Chapman^ Clinton HcoUard, Margaret Sidney, Benry Peterson, B. F. Smith, E. W. Longfellow, E. M. H. a, Caroline Sorton, Flag Day. No Slave Beneath the Flag, Ode to the American Flag, Our Cherished Flag, Our Flag " Rally Round the Flag] " The American Flag, The Flag, The Flag of Onr Conntry, The Flower of Liberty, . The Stars and Strip3B, . George Lansing Taylor, Joseph Rodman Drake, Montgomery, Benry Ward Beeclitr, A. L. Stone, Henry Ward Beecher, Eenry Lynden Flash, Bobert C. Wmthrop, Oliver Wendell Holmes, July Poiirth. A New National Hymn, "Fourth of July,'' . Freedom's Natal Day, . The Declaration of Independence, The Nation's Birthday, . The New Liberty Bell, . The Principles of the Revolution, F. Marian Crawford, J. Pierpont, Elizabeth M. Griswold, John Quincy Adams, Mary E. Vandyne, H. B. C, . . Josiah Quin£y, . Labor Day. Idleness a Crime, Eenry S. Carrington, Enights of Labor, T. V. Powderly, Labor Beit. Orville Dewey, No Excellence without Labor, . . William Wirt, Opportunity to Labor, .... Thomas Brackett Seed, The Dignity of Labor, .... .... Toil, .... Work Tfumuu Cartyle, Thanksgiving. TITLE A Thanksgiving Prsyer, For a Warning, Give Thanks, .... Harvest Hymn, How tlie Pilgrims Gave Thanks, Oar Thanksgiving Accept, . Tlianksgiving, " Among the Greeks, " Jews, " for His House, *' Hymn, " Ode, . . Thanksgivings of Old, . That Things are No Worse, Sire, The First Boston Thanksgivin;;— July, The First English Thanksgiving in York The First National Thanksgiving, The First Thankgiving Proclamation Issned by George Washington, The Day of Thanksgiving, The Old Thanksgiving Days, Washington's Proclamation, AUTHOR C. B. Le Bow, John Oreenieaf Whittier W. D. Bowait, Robert Herriek, 1631, New John Oreenieaf Whittier, E. A. Smvller, Belen Hunt Jackson, Benry Ward Beecher, Hmest W. Shuitkff, Christmas. A Christmas Thonght Z/ucy Larcom, " " abont Dickens, Bertha S. Scranion, ' Question, . . . Bev. Minot J. Savage, A Merry Christmas and A Glad New Year, George Cooper, A Schemer, Edgar L. Warren, A Secret, Mrs. G. M. Howard, A Telephone Message .... Bells of Yule, Alfred Tennyson, Christmas Bells H. W. Longfellow, " In Olden Time, . . . Sir Walter Scott, " Roses, May Biley Smith, Ode on Christmas, J. E. Clinton, . Old Christmas .... •' Quite Like a Stocking," . . . Thomas Bailey Aldrich, The Day of Days, .... The Christmas Peal Harriet Prescott Spofford, The Little Christmas-Tree, . . . Susan Coolidge, The Little Mud-Sparrows, . . . Elizabeth Stuart Phelps, The Merry Christmas-Time, . . George Arnold, The Nativity, Louisa Parsons Bopkim, The Star in the West Heaekiah Butterworth, New Year's. TITLE A-ddres s to the New Tear, A New Tear, . A New Year's Address, A New Tear's Guest, Another Tear, Dawn of the Century, Grandpa and Bees, 'New Year's Day, New Tear's Resolve, Next Year, One More Tear, Ou the Threshold, . EiBg, Joyful Bells! The Book of the New Year, The Child and the Year, The New Yea?-, The Pa?-;ig "^ar, . AUTHOR Dinah Muloch Cralk, Margaret E. Sangster, Edward Brooke, Eliza F. Moriarty, Thomas O'Hagan, AnnaH. Thome, E. Bunttngdon Miller, Ella Wheder Wilcox, Nora Perry, A. Norton, A. R. Baldwin, Violet Fuller, Celia Thaxter, George Cooper, College Men's 3=minute Declamations $1.00— CLOTH, 381 PAGES, WITH INDEX— $1.00 Here at last is a volume containing just what college students have been calling for time out of mind, but never could find— something besides the old selections, which, though once inspiring, now fail to thrill the audience, because declaimed to death! Live topics pre- sented by live men 1 Full of vitality for prize speaking. Such is the matter with which this volume abends. To mention a few names — each speaking in his well- known style and characteristic vein : jf Chauncey M. Depew PresidenfflEirof (.Harvardi Abram S. Hewitt GeorgA, Parsons Lathrop Oarl Schurz Bishop Potter William E. Gladstone Sir Charles Russell Edward J. Phelps President Carter (lyiiiiams) Benjamin Harrison T. De Witt Talmage Grover Cleveland :> Ex-Pres. White (.Cornell) General Horace Porter Rev. Newman Smyth - Doctor Storrs Emilio Castelar Here, too, sound the familiar voices of George William Curtis, Lowell, Blaine, Phillips Btooks, Beecher, Garfield, Disraeli, Bryant, Grady, and Choate,^' Poets also :— Longfellow, Holmes, Tennyson, Byron, Whittier, Schiller, Shelley, Hood, and others. More than a^dndred other authors besides ! We have not space to enumerate. But the selections from them are all just the ttung. And all the selections are brief. In addition to a perspicuous list of contents^ the volume contains aconv- fletegenercU index hy titles and authors; and also a separate index of auth^St thus enabling one •who roTnembers only the title to find readily the author^orioho recalls only the author to find just as readily all o/ his telections. Another invaluable feature : — Preceding each selection are given, so far as ascertainable, the vocation, the residence, and the dates of birth and death of the author ; and the occasion to which we owe the oration, or address, or poem. Like the companion volume. College Girls' Readingrs, this work con- tains mauy " piices " suitable both for girls and boys, and the two books may well st2ad side by side upon the shelf of every student and every teacher, evi-r ready with some selection that is sure to please, and exactly Nited to ch« speaker and to the occasion. HINDS & NOBLE, PafaMers 3J-33-35 Vest I5th Street New York City Schoolbooks of All Publishers at One Store COi^tE^TS COLLEGE iviEN'6 t)ECLAMATIOlJS. 1 CLOTH — Price $i.oo Postpaid — 382 pages. The Two Spies, Andr€ and Hale Chauncey M. Depew Stavoren Helen S. Conant Two Cities Herman Grimm The Stranger's Alms . . Henty Abbey The Coronation of Anne Boleyri James Anthony Froude Cromwell on the Death of Charles the First. Sir Edward Bulwer Lytton The Inspiration of Sacrifice .James A. GarJieLd The Twins Robert Br&wning ■Hector and Achilles Homer An Appeal to the People John bright Keenan's Charge George P. Lathrop The Coyote Mark Twain The Olympic Crown Sir Edward Bulwer Lytton The Mission Tea Party Emma Huntington Nason Mercy Shakespeare Morituri Salutamus , . . , , .... Henry W. Longfellow Public Opinion Daniel Webster The Destructia&of Pompeii Sir Edward Bulwer Lytton Abraham Lincoft|. James Russell LoweU Martin Luther • Rev. Charles P. Ktauth The Brookiy^jiridge Abr am S. Hewitt The Minute iSffiii of '75 George William Curtis Poor Little Joe ..David L. Proudjii The Pilgrim Fathers Felicia D. Hemans Geology James D. Dana South Carolina and Massachusetts Daniel Webster The Monster Cannon ^ Victor Hugo Our Country Benjamin Harrison The Leper.... , JVathanielP. Willis The Silent Warriors Anonymous Ratisbon Robert Browning Old Faiths in New Light Rev. Newman Srnyth The High Tide at Gettysburg Will H. Thompson Richelieu and France Sir Edward Bulwer Lytton Farewell to England MEdward J. Phelps The Mysteries of Life iW. . . . Chateaubriand The Return of Regulus Elijah Kellogg The Charge of the Light Brigade , ■ Alfred Tennyson The First View of the Heavens • Ormsby M. Mitchel The Death-Bed of Benedict Arnold George Lippard The Eve of Waterloo Lord Byron A Eulogy on John Bright William E, Gladstone Cardinal Wolsey Shakespeare The Home Henry W. Gr-ady The Dedication of Gettysburg Cemetery . Abrc^am Lincoln The Pipes at Lucknow .John Greenleaf Whittier Pain in a Pleasure Boat ". Thomas Hood The Centennial of 1876 William M. Evarts Arnold Winkelried James Montgomery Christianity the Law of the Land Daniel Webster Raphael's Account of the Creation John Milton Tyre, Venice and England .John Ruikin Our Flag at Apia Annie Bronsov K.ng Defence of the Irish Party Sir Charles Russell Das Licht des Auges Schiller The Schools and Colleges of Our Country Pres. Charles W, Eliot The Battle of Ivry Lord Macaulay The Typical Dutchman Rev* Henry Van Dyke CONTENTS COLLEGE MEN'S DECLAMATlOfJs The Narrowness of Specialties Sir Edward Bulwer Lytton The Apple Dumplings and George the Third Dr. John U-olcott Alfred the Great to His Men james Sheridan Knowles N^'England Josiah Quincy Old Braddoclc Anonymous The Opening of the Brooklyn Bridge '.'.'.'.'.'.'.'.'.'Abram S. Hewitt Burial of &ir John Moore . Charles Wolfe The Monarchy of Ca;sar Theodor Mommsen What's Hallowed Ground \ Thomas Campbell Reply of Mr. Pitt to Sir Robert Walpole IVilhamPitt T*"*." <'!'^".... .. Joseph Warren The Constitutional Convention of 1787 Chauncey M. Depew The Burghers of Calais , Emily A. Braddock The Book and the Building Rev. Richar d S. Storrs The Declaration of Independence Carl Schurz The People of the Uniteff States Grover Cleveland TheHand .' .'. Rev. T. De Witt Talmage Sir Walter's Honor Margaret J. Preston American Battle Flags Carl Schurz The Chariot Race Sophocles The Revolutionary Alarm George Bancroft The Sacredness of Work Thomas Carlyle FloddenField Sir Walter Scott Death of Garfield .James G. Blaine Lord Chatham Against the American War William Pitt Rienzi to the Romans Mary Russell Miiford The Death of Moses John Ruskin The Noblest Public Virtue Henry Clay The Pond Dr. John Byrom f he Victories of Peace Charles Sumner Irish Aliens and English Victories Richard L. Shell Warren's Address John Pierpont The First View of Mexico William H. Prescott The Royalty of Virtue Henry C. Potter Marco Bozzaris Fitz-Greene Halleck The Future of America Daniel Webster Guilty or Not Guilty Anonymous Toussaint L'Ouverture Wendell Phillips Nations and Humanity George William Curtis The IvOSt Colors Mary A. Barr Freedom or Slavery Patrick Henry Abraham Lincoln a.^ Emilia Castelar CONTENTS COLLfiCE MEN'S DECLAMATIONS, Driving Home the Cows Kate Putnam Osgood The Sentiment of Reverence President Franklin Carter The Trial of Archery Virgil The Hero of the Gun Margaret J. Preston Chief Justice Marshall Edward J. Phelps The First Battle of the Revolution Anonymous Last Inaugural of Lincoln Ultima Veritas IVashington Gladden The Army of the Potomac Chauncey M Depew John Wycliflfe and the Bible Rev. Richard S Starrs The Fool's Prayer Edward R. Sill Palladium Matthew Arnold The Invisible Heroes Henry Ward Beecher , Scotland Edmund Flagg Non Omnis Moriar Horace Crispian's Day Shakespeare The Queen of France and the Spirit of Chivalry Edmund Burke The Necessity of Independence SamuelAdams The Treritou's Cheer to the Calliope Anonymous The Battle, . .i^ Schiller The First Pri^^ted Eclipse Ormsby M. Mitchei That Gray, Com Christmas Day Hezekiah Buiterworth Herv6 Riel Robert Browning The Dome of the Republic Andrew D. White St. Martin and the Beggar Margaret E. Sangster The Greatness of the Po^ George William Curtis The Highland Stranger T Sir Walter Scott The Black Horse and his Rider George Lippard TheShell Alfred Tennyson Youthful Valor Tyrtosus Permanency of Empire Wendell Phillips A Morning Landscape Sir Walter Scott Courage General Horace Porter Jerusalem by Moonlight .,^ . . . lA>rd Beaconsfield Ode to Duty , ^^^^illiam Wordsworth Caesar Rodney's Ride ^^Ibridge S. Brooks The Last Night of Pompeii Sir Edt&ard Bulwer Lytton The Palmetto and the Pme .... Manly H. Pike The Two Streams oi History Rev, Charles S. Thompson Fabius to ^milius Livy The Puritans Lor^ Macaulay The Petrified Fern Mary B. Branch The Wonders of the Dawn . . ; Edward Everett A Retrospect Richard D. Hubbard The Sovereignty of the People Edward J. Phelps The Lights of Lawrence Ernest W. Shurtleff Decoration Day Address at Arlington James A, Garfield Character of Justice Richard Brmsley Shendan American History . Gulian C. Verplanck The Prayer of Agassiz John Greenlea/ WhitUer The Present Age Victor Hugo The Temper and Aim of the Scholar William E. Gladstone Opportunity Edward R. Sill The Supreme Court and the Constitution Henry Hitchcock The Pride of Battery "B" Frank H. Gassaway The Marble Queen Susan Coolidge A Boy's Remonstrance Charles Perry The Toadstool Oliver Wendell Holmes Vidependence Bell Anonymous CONTENTS COLLEGE MEN'S DECLAMATIONS. In School-Days ....John GreenJeaf Whittter A Story of the Barefoot Boy J- T. Trowbridge The Drummer Boy Anonymous The Spinner Mrs. Clara D. Bates Trifles J. T. Trowbridge At Play Anonymous Tommybob's Thanksgiving Vision AnnaM. Pralt The Lost Child Anonymous The Nightingale and Glow-Wonn William Cowpcr The Fringed Gentian William Cullen Bryant Playing Bo-Peep with the Star Anonymous The Brook Alfred Tennyson Freaks of the Frost Hannah Flagg Gould The Fire-Fly Susan CoolMge The Kitten of the Regiment .James SueaKm The shining Little House Anov^mous The Council Held by the Rats La Fontaine The Motherless Turkeys Mnrian Douglas The Children's Hour Hen^dgti. Longfellow The Will and the Way J^^mhn (■. Saxe Mercy's Reply — M^^Sk' Anonymous 3' If you're looking for a " piece to speak •' j we don' t know of any kind ofe effort, ' ' from the school- boy 's "recitation" or the schoolgirl's "reading," and along through th^Hiole school and College career, down to the " responsepBoasts " at the last "class dinner," that is not provided sfor among : — Commencement Parts, including " efforts " for all other occasions. $1.50. Pros and Cons. Both sides of live questions. I1.50, ^w Dialogues and Plays. For school and parlor. |i.so. Gf^ge Men^s Three-Minute Declamations. $1.00. College Maids^ Three-Minute Readings. $1.00, Pieces for Prize-Speaking Contests. $1 .00, Acme Declamation Book, Paper, 30c. Cloth, 50c. Handy Pieces to Speak. 108 <.n separate cards. 50c. List of "Contents" of any or all of above free on request BINDS & irOBLE, Publishers, 31-33-35 West 15th Street, New York City. Schoolhooks of All Publishers at One Store, n Cen OleeKs' Course in elocution By J. V. Coombs, formerly Professor of English Literature and Elocution in Eureka College, Eureka, 111. Assisted by Virgil A. PiNKLEY, Principal of the Department of Elocution in School of Music, Cincinnati, Ohio. Revised and Enlarged by C. H. Haene, I'rofessor of Elocution and Reading in Salina Normal University, Salina, Kan- sas. Cloth, 415 Pages. Price^ $l.2S. Many good books on the Theory of Elocution have been published — choice selections are plentiful, but very few authors have combined, vfith the Essentials of Elocu- tion, a good variety of proper exercises for practice. In Part I , the author has briefly outlined the best way to teach a beginner to read. Part II contains a full discussion of Dictionary Work, the value of which cannot be over- estimated. Part III contains helpful suggestions to Teachers ofElocution. Part IV (the largest and most important J w tt') contains a thorough discussion of the Elements cfff^locution, each principle being carefully considered. Part V comprises a splendid collection of Humorous, Dramatic and Oratorical selections for prac- tice — the whole being an ideal work for teachers to use with classes which have only si brief period of time to devote to the subject. # The chapters devoted to Elocution have been so divided that they can be easily completed by a class in ten weeks' time as follows : %^ Jst Week. Outline of Elocution 2d ^eeb. Respiration and Breathing 3rd Week. Physical Culture (Cafisthenics) 4th Week. Articulation 5th Week. Orthoepy (Pronunciation) 6th Week. Vocal Culture 7th Week. Qualities of the Voice 8th Week. The Art of Vocal Expression 9th Week. Gesture JOth Week. Gesture A great variety of selections. Humorous, Dramatic and Oratorical, illustrating the various principles studied, immediately follow the Lessons. These are to be used to test the work that is done by the class from week to week. Sample copies -will be furnished to Teachers 0/ Elocution ana classes supplied at Sr.oo HINDS & NOBLE, Publishers 31-33^ West J5th Street New York City Schoolbooks of All Publishers at One Store Coflege Girls^ Three-minute Readings $1.00— CLOTH, 500 PAGES, WITH INDEX— $1.00 Here is a volume for American girls by American women — an ideal long in demand, now realized for the first time. In this book patriotism is the keynote domi- nating a series of new, Uesb,speakable selections, pathetic, humorous, descriptive, oratorical ; running, in fact, the gamut of the emotions. A book for the American girl and the American young woman in the college, the high school, the academy, and the home. This new book is new in every sense of the word, but particularly in voicing the golden thoughts of scores of the /jOTwij' representative women of America women edu- cators, women philanthropists, women reformers. Here is a, partial list of the contributors : Mrs. A, Giddings Park "Susan Coolidge" Eva Lovett Cameron {.Brooklyn Eagle) Agnes E. Mitchell Edith M . Thomas Rev. Anna H. Shaw Emma Lazarus Margaret Junkin PrestM Adelaide Procter Amelia Barr CeliaThaxter Norah Perry Christina Rosseiti Alice Can Anna Robertson Lindsay Adeline Whitney J. Ellen Faster Emily Warren Margaret E. Sangster Lucy Larcom Clara Barton Ella Wheeler Wilcox Frances E. Willard Harriet Beecher Stowa Kate Douglas Wiggin Mary Mapes Dodge Isabel A. Va\\imKLadits'HotHeJournati"^a:\\ Hamilton" and there are many others. A brief note, happiljr worded, conveying information not to be found elsewhere, regarding the author or the occasion, accompanies most of the selections. Teachers will find selections appropriate to Memorial Day, Arbor Day, Washington's Birthday, and all other patriotic occasions. And from the pages of this book speak the voices of many of our presidents, from Washington to McKinley. Besides a perspicuous list o/contentStthe volume contains a complete eren^ eral index by titles and authors; and also a separate index. 0/ authors, thus enabling one who rementhers only the title to find readily ike author^ or who recalls only the author to find just as readily all of her selections. Like the companion volume, College Men's Declamations, this work contains many "pieces" suitable both for girls and boys, and the two books may well stand side by side upon the shelf of every student and every teacher, ever ready with some selection that is sure to please, and exactly suited to the speaker and to the occa3l._ CONTENTS COLLEGE GIRLS' READINGS. t] CLOTH — Price $1.00 Postpaid — 506 pages. DESCRIPTIVE. A Tragedy of the North Sea „ .Joseph C. Powell Be True Robert CoUyer Children's Rights Kate D. W. Rrggs Country Life Robert G. IngersoU Gareth Alfred Tennyson My Great Aunt's Portrait Anonymous Life on the Moon ....Herbert A. Howe The Bell Benjamin F. Taj/lor The Field of Culloden William Winter The Fisherman's Hut Charles T. Brooks The Fragrant Timber of Her Fan Henrv Haniy Hay The Minuet Mary Mafes Dodge The Nature of True Eloquence Darnel Webster The Prairie Fire C. W. Hall The Queen's Year I.N.F.iN. Y. Tribune) TheSkeeRace Hjalmar Boyesen The Wanderer's Night Song TTtos. C. Porter ( Goethe) Victoria Alfred Austin DRAMATIC. • An Unknown Hero Ernest L. Bogart Brier Rose Hjalmar H. Boyesen David Shaw, Hero .James Buckham Five Minutes with a Mad Dog W. Pocklington Herv6 Rifel Robert Browning London House Tops E. Bulwer Lytton Mona's Waters Anonymous Nathan Hale FroTicis M. Finch The Angels of BuenaVista John G. Whittier The Atlantic Cable , James Thomas Fields The Ballad of East and West Rudyard Kipling- The Battle of Germantown George Lippard The Cardinal's Soliloquy E. Bulwer Lytton The Colonel's Story Robert C. Rogers The Drop of Water Barry Stackpole The Fight ot Paso Del Mar Bayard Taylor The Gladiator Anonymous The Island of the Scots W. E. Aytoun The Light on Dead Man's Bar Eben E. Rexford The New South .Henry W. Grady The Rising in 177S Thomas B. Reed The Unknown Speaker Anonymous HUMOROUS. A Difficult Problem. C. W. Thurston Ego et Echo John Godfrey Saxe Mouse Hunting Mary A. Dodge My Sister Has a Bean Rm F. Greene Sir Cupid F. E. Weatherly The Ballad oJ Titus Labienus Laura E. Richards The "Best Room" O.W.Holmes The Thirty-Nine Lovers London Graphic CaseofGoHang indialect Anonymous " Little Orphant Annie " in dialect James IV. Riley Mr. Haines' Able Argument. in dialect... ..ffifri^^rfiv Co/. E. B.Hay Muckle Mouth Meg in dialect Robert Byowning Nebuchadnezzar indialect Irwin Russell Xopsy INDIALECT. Jlarritt Beecker Stouie CONTENTS COLLEGE GIRLS' READINGS. JUVENILE. A Brave Little Girl Anmymous Don't Give Up.. /.^a-Ae cary Dorothy's Mustn'ts £//„ wheeler Wilcox Down in the Strawberry Bed Clinton Scollard HerGrandpa Charles D. Stewart HerMrijesty Edgar ff^ade Abbot in the King's Gardens , Abbie !•. Brown Little Blue Ribbons Henry A. Dobson Lullaby Thomas Davidson One, Two, Three! Henry Cuyler Bunner The Little Girl that Grew Up Anonymous The Wonderful Weaver Anonymous NATIONAL HOLIDAYS. (a) Arbor Day. Fern Song John B. Tabb The Earth's First Mercy .John Ruskin Who Plants a Tree Lucy Lar com (A) Fourth of July (See Patriotic). (c) Memorial Day. Address at Gettysburg , Abraham Lincoln Arlington ,. . James A . Garfield Decoration Day Hezekiah Butterworth Decoration Day . Susie M. Best Memorial Day Address IV. Jennings Brjyan The Great Remembrance Richard Watson Gtlder The Meaning of Victory Charles Devens The Nation's Dead Anonymous Two Colors Recited by Col. E. B. Hay (d) Washington's Birthday (See Patriotic). NATURE. An October Morning R. D. Blackmore Discontent ATionymous Nature Edward Everett Round . Charles Dickens The Maryland Yellow-Throat Henry Van Dyke The Thrush's Song W. Macgillivray When the Bloom is on the Heather Peter Grant (a) ORATORICAL. Abraham Lincoln M.W.Stryker Arbitration and Civilization Sir Charles Russell A Retrospect Henry Watterson Christian Citizenship Wendell Phillips Declaration of Rights Henry Grattan Higher Education for Women Chauncey M. Depew Labor Thomas Carlyle Moral Law for Nations John Bright National Life Rufus Choate Opportunity to Labor Thomas Brackett Reed Peace Charles Sumner Public Opinion Wendell Phillips TarifiF Reform William L. Wilson The Age of Improvement Daniel Webster The Battle of Bennington Edward J. Phelps The Bunker Hill Monument i .... Louis Kossuth The Constitution W. W. Henry ThePuritans Herman L. Wayland CONTENTS COLLEGE GIRLS* READINGS. The Reformer ,. Horace Greeley The Teaching of the Colleges Seik Low Two Voices , David J. Brewer What is a Minority? JoknB. Gough Woman's Rights George IV. Curtis Zenobia's Defense William Ware (d) ORATORICAL AND EULOGISTIC. Daniel Webster George F. Hoar Grant at Appomattox Eugene H. Levy Grant, the Soldier and Statesman Willtam McKinley The Faith of Washington , Frederic R. Coudert . The Hero- President Horace Porter The Martyr-Spy Charles D. Warner The Monument of William Pen n Robert J. Burdette PATHETIC, , A Christmas Camp on the San Gabr'el Ameha E. Barr A Court Lady..^*. E. B. Browning A Legend of Bri^^nz Adelaide A, Proctor An Order for a'Pfffcure Alice Cary At the Barricade Victor M. Hugo Daisy Emily Warren Euthanasia Margaret J. Preston Father's Voice , Anonymous His Mother's Song Anonymous Jim Nora Perry Little Boy Blue , Eugene Field OCaptainI My Captain Walt Whitman One of God's Little Heroes Margaret J. Preston Our Homemaker : A.D.T, Whitney Over the Crossing Anonymous Poor-House Nan Lucy M. Blinn Positively the Last Performance Recited by Col. E. B . Hay The Boy of the House. Jean Blewett The Relief of Lucknow Robert T. S. Lowell PATRIOTIC. American Nationality Ru/us Choate American Patriotism Horace Porter Chorus of Islanders Alfred Austin Columbia Edward Chapman Columbia's Banner Edna Dean Proctor England and Her Colonies Edmund Burke Liberty and Union Daniel Webster Marmara Clara Barton Now or Never , O. W.Holmes Our Country Benjamin Harrison Our Country .J. G. Whittier Patriotism Hannah More Patriot Sons of Patriot Sires Samuel Francis Smith Paul Revere's Ride H. W, Longfellow The filue and Gray Frances E. Willard The College and the Nation , . , Grover Cleveland The Glorious Constitution Daniel Webster The Hope of the Nation J. C. Schurman The Lone Star of Coba . . . , * - David Graham Adee The Love of Home Henry W. Grady The Man Without a Country Edward Everett Hale The Nashville Exposition William McKtnley CONTENTS COLLEGE GIRLS' READINGS. The National Flag Henry Ward Beecher The National Hymn janet E. H. Richards The New Americanism Henry Watterson The New Patriotism Richard Watson Gilder The Spartans' March F. D. Hemans Washington EHza Cook Washington '. John Paul Bocock Washington and the Nation William McKinley Washington's Birthday M.E.Sangster (a) REFLECTIVE AND DESCRIPTIVE. Americanism Theodore Roosevelt A Song of the Camp Bayard Taylor Close to Ninety J. H. Bryant Consider C, G. Rossetti Liberty E. M. Thomas Liberty i^John Hay Loyalty to Truth An& H. Shaw Mater Amabilis Emma. Lazarus My Rights Sarah C. Woolsey {"Susan Coolidge") The Happiest Time in Life Richard Salter Storrs The Lady of the Castle Anonymous The New Woman ; E. Matheson The Sand-Piper Celia Thaxter TheShell Alfred Tennyson The Tendencies of Self-Government . j[ , Lyman Abbott Though He Slay C Albion W, Tourgee Three Days in the Life of Columbus Delavigne What is Worth While? Anna R Lindsay When the Cows Come Home Agnes E. Mitchell Woman as Friend ..^ John Lord Woman in Politics J. Ellen Foster («) REFLECTIVE AND PHILOSOPHICAL. All Things Shall Pass Away Theodore Tilton Education John Ruskin Graduation Phillips Brooks Imagination and Fancy Charles C. Everett International Gopd Will New York Tribune Longing James Russell Lowell Self-Dependence Matthew Arnold Tempered Sarah C. Woolsey (" Susan Coolidge ") Thanatopsis William C. Bryant The Chambered Nautilus •"■ Oliver Wendell Holmes The Wisest Fool Eva Lovett To a Skeleton Anonymous (a) SENTIMENTAL. April'sFools Mrs. A. Giddings Park AuntTabitha Anonymous Lucinda'sFan Frank Lebby Stanton My Delflware Maid Ralph Alton The Cane-Bottomed Chair. William M. Thackeray The Tell-Tale Anonymous (i) SENTIMENTAL AND PATHETIC. A Doctor of the Old School Dr. John Watson (" Ian Maclaren ") Ginevra Samuel Roge-^\ The Night Watch Francois E. J. Cf^ "Uncle Todd" Isabel A. M^^ Fermo's Science and Art of Elocution 1 Row to Reaa and Speak Theory and Practice Combined The Science and Art of Elocution. Embracing a comprehensive and systematic series of exer- cises for gesture, calisthenics and the cultivation of the voice, together with a collection of nearly 150 Literary Gems for Reading and Speaking. Arranged in four parts and designed to be used as a text-book in the class room and for private study, as well as for the use of Readers and Speakers generally. By Frank S. Fenno, A.M., F.S.Sc, graduate of The National School of Elocution and Oratory, compiler of " Fenno's Favorites for Reading and Speaking,'' author of " The Chart of Elocution," "Lectures on Elocution," etc., etc. Price, $1.25. Designed to be Used as a Text-book and for Private Study HINDS & NOBLE, Publishets 3J-33-35 West I5th Street New York City Sckoolbooks of All Publishers at One Store Comm encement Parts. CLOTH — Price $1.50 Postpaid — twelvemo Here is a book full of the real thing, and con- taining nothing but the real thing t The models here — every one a complete address — are not composed by the compiler to show what he would say if he should happen to be called on for a class poem, or an ivy song ; a valedictory, or an oration ; a response to a toast, an essay, a recitation, or what-not. Not at all! But every one of the "efforts" in this book is real — in the sense that it is what some one did do on the particular occasion when he actu- ally had to stand up and speak. This entitles them to be designated models in a genuine sense. If you are called upon, for any occasion (no matter what) during your whole high-school or college career, and wish a model to show how some one else has risen to a similar opportunity, we think you will discover by a glance at the list of contents of Com- mencement Parts som? illustration of exactly what you require. Note also the lists of class mottoes, subjects for orations, essays, themes, toasts, etc. Besides the above we publish also the following, of interest to those who have to "appear in public on the stage." Andwecan't think of any "effort" throughout one's whole career that is not provided for — ^from the little tot's first curt'sy, and along through the school and college years, to the debate of important civic iroblems by the adult before his fellow citizens : — Pros and Cans. Both sides of live question!;. S1.S0. Playable Plays. For school and parlor. $1.50. CoUegeMen^s Three-Minute Declamations. 81.00. College Maids^ Three^Minute Readings. $1.00. Pieces for Prize-Speaking Contests. $1.00. Acme Declamation Book. Paper, 30c. Cloth, BOc. Handy Pieces to Speak. 108 on separate cards. 60c. List of " Contents " of any orall of above free on request if you ment.„., this ad. HINDS & NOBLE, Publishers, 31.33.3g West isth Street, New York City. Schoolbooks of All Publishers at One Store. Contents of " Gsmmcncement Parts.** 1. Introduction to Commencement Parts. 2. The Orator and the Oration. (a) The Orator. (6) The Oration. (c) The Parts of the Oration. 3. Commencement Parts. (/) A Latin Salutatory. De Nostro Cum Aliis Civitatibus Agendi Modo. (2) Orations. (a) American Ideals. iij Culture and Service. (c) Education eis Related to Civic Prosperity. id) Hebraism and Culture. ie) Marc Antony. (/) Modem Knighthood. {g) The Negro and the South. (A) The Decisive Battle of the Rebellion. (i) The University and True Patriotism. (/) The Discipline of Life and Character. (i) The Liberalistic Temper. (/) The Spirit that Should Animate. ) Reverence Due from the Old to the Young Appropriate Subjects for the Oration (1-136). Valedictories. (a) " Perduret atque Valeat " (Latin). (ij Service. (c) For a Dental College. (d) For a College. (e) For a School. (/) For a College. {g) Good Day. LIBERALISM. (5) Mixed Valedictory and Oration : Catholid^. 4. Class Day Exercises. ii) Introduction. s) Class Poems. (a) O Years You Have Vanished. (i) The Breath of the Spirit. (c) Home. (d) A Vision. (e) Alma Mater. g) President's Address. ) Salutatoiy, a 4. C!as3 Day Exercises {continueiT). (5) Dux's Speech. (6) Ivy Oration. (7) Class Song. () A Thanksgiving Day Address. ( ^ ) An Exercise Around the Christmas Tree, (noniy, I 12 24 Qiiestioiis FiiUy Discussed in tlie Affimiative and tfie N^;ative. VI. VII. VIII. rx. X. XI. XII. XIII. xrv. XV. XVI. XVII. xvni. XIX XX. xxx 28 61 Resolved, That the Single Gold Standard Is for the Best Interests of the Coontry, Should Cuba be Annexed to the United States ? Resolved, That the Fear of Fnnishment Has a Greater loQnence on Haman Conduct than Hope of Reward, 77 Resolved, That the United States shoold Adi^ Penny Postage, 86 Resolved, That High License Is the Best Means of Checking Intemperance, Shonld the Government of the United States Own and Control the Railroads ? Shonld Hawdi have been -Armexed to the U. S. ? Resolved, That Woman Snfirage shonld Be Adopted by an Amendment to the Constita- tion of the United States, .... Resolved, That the World Owes more to Navi- gaticm than to R»lroads, - . . . Resolved, That the United States should Bnild and Control the Nicaragua Canal, Resolved, That Tariff for Revoine Only Is of Greater Benefit to the People of the United States Than a Protective Tarifi^ Resolved, That the Expensive Social Entertain- ments of the Wealthy Are of More Benefit than Injury to the Country, Resolved, That the Hypocrite Is 1 More Des- picable Character than the liar. Resolved, That the Government of the United States should Own and Control the Tele- phone and Tel^raph Systems, . Resolved, That the Average Young Man of To-day Has Greater Opportunities to make life a Success Financially than His Fore- fathers, ....... 199 Is Immigration Detrimoital to the United States ? 2o6 Are Large DepL Stores an Injury to the Conntiy? 219 94 106 122 127 135 148 160 172 179 185 Contents of "Pros and Cons." oBCTION XXII. XXIII. XXIV. XXV. XXVI. XXVII. fXVIII. XXIX. XXX. XXXI. XXXIl. Addresses XXXIII. XXXIV. XXXV. XXXVI. XXXVII. XXXVIII. XXXIX. XL. Should Greenbacks Be Retired and the Gov- ernment Go Out of Its Present System of Banking? ..... 232 Resolved, That Our Present System of Tax- ation is the Best that Can Be Devised, 250 Should the President and Senate of the U. S. be Elected by Direct Vote of the People ? 258 Resolved, That It Is Not Good Policy for the Government of the United States to Establish a System of Postal Savings, 286 Questions Outlined. Resolved, That It is for the Best Interests of All the People for the Government to Own and Control the Coal Mines, . 318 Resolved, That Trusts and Monopolies Are a Positive Injury to the People Finan- cially 327 Resolved, That Cities should Own and Con- trol All the Public Franchises Now Conferred upon Corporations, . . 337 Resolved, That Education as It Is Now Thrust upon our Youth Is Dangerous to Health and Good Government, . 351 Resolved, That National Banks should Be Abolished, 358 Resolved, That Bi-metallism and Not Pro- tection is the Secret of Future Pros- perity 366 Subjects for Debate. Two Hundred and Fifty Selected Topics for Discussion, ..... 376 for Salutatory, Valedictory, and other occasions. Oration — Decoration Day, . . .401 Essay — February 22, .... 407 Salutatory — Life, 420 Oration — Fourth of July, .... 426 Valedictory 434 Address — Christmas Eve, .... 440 A Temperance Address — The Nickel Behind the Bar, 444 Essay— Coast Defenses, .... 450 A Welcome Gift in Any Home FOUR GREAT SUCCESSES C o mp i 1 e d by college men Endorsed by college presidents Programed by college glee clubs Rah-rah d by college students Brothered by college alumni Sistered by college alumnae WORDS AND MUSIC THROUGHOUT Song's of AH the Colleges Attractive and durable cloth bindin^y $i. so Postpaid Ntw edit, with 104 songs added for 67 other colleges. Over 70 college presidents have actually purchased this volume to l^ve at their own homes, so they tell us, for the students on social occasions. Ten editions have gone into many thousands of homes. If you have a piano iut do not play ^ the pianola, apol- LO, CKCiLiAN, CHASE ft BAKER, and Other piano-players" "will play many 0/^ these songs for you and your friends to sing Songs of the Western Colleges Notable and durable cloth bindingy $1,23 postpaid Songs of the Eastern Colleges Novel and durable cloth bindings ^1.25 postpaid Ideally complete portrayal of the musical and social side, the joyous side, of the student life in our Western and Eastern col- leges respectively. Plenty of the old favorites of a// colleges, while crowded with the new songs which are sung~ma.ny never before in print. To own all three of above books is to possess the most complete, the most adequate illustration ever attempt- ed of this phase of the genius, the spirit, of young America u New Songs for College Glee Clubs Paper^ So CeniSy postpaid Not less than twenty humorous hits, besides numer- ous others, sentimental and serious. Not a single selection in this book but has been sung- by some glee dub locally to the delight of an *' encoring audience." Never before published, they are really new Glee club leaders will appreciate a collection every piece in which by the severe test of both rehearsal and concert, is right — the musical notation, the harmony of the voice parts, the syllabification, the rhythm, the rhyme, the instrumentation, I and last, but not least, with audiences, the catchonatiueness HINDS & NOBLE, Publishers 3J-33-35 West J5th Street New York City Schoolbooks of All Publishers at One Store NEW DIALOGUES AND PLAYS PRIMARY— INTERMEDIATE— ADVANCED Adoftedfrcm ^e popular works of well-known authors bg BINNEY GUNNISON Instructor in the School of Expyession, Boston formerly Instructor in Bhcutton in Worcester Acad- emy and in the Brooklyn Polytechnic Institute. Cloth, 650 Pages - - . Price, %\Sa Too many books of dialogues have been published with- out any particular reference to actual performance on plat- form or stage. There are no suggestions of stage business ; the characters neither enter nor leave ; while the dlalogua progresses, no one apparently moves or feels emotion. Noth- ing is said at the beginning of the dialogue to show the situa- tion of the characters; no hints are given as to the part about to be played. In plays, as ordinarily printed, there is very little to show either character or situation — all must be found out by a thorough study of the play. This may be ■well for the careful student, but the average amateur has no time, and often only little inclination, to peruse a whole play cr a whole novel in order to play a little part in an enter- tainment. Perhaps the strongest feature of our book is the carefully prepared introduction to each dialogue. Not only are the characters all named in order of importance, but the charao teristics, the costumes, the relation of one to another, age, size, etc., are all mentioned. Most important of all is what is called the "Situation." Here the facts necessary to a clear comprehension of the dialogue following are given very concisely, very briefly, but, it is hoped, adequately iot the purpose in hand. The story previous to the opening of the dialogue is related ; the condition of the characters at the beginning of the scene is stated ; the setting of the plat- form is carefully described. There has been no book of dialogues published containing so much of absolutely new material adapted from the best literature and gathered from the most recent sources — ^this feature will -be especially appreciated. May we send you a copy for inspection subject to your wproval?' HINDS & NOBLE Publishers of 3-Minute Declamations for College Men 3-Minute Readings for College Girls, Handy Pieces to Speak Acme Declamation Book, Pros & Cons (Complete Debates) Commencement Parts (Orations, Essays, Addresses), Pieces for Prize Speaking Contests (in press). 31-33-35 West isth Street . Kew York City LIST OF CONTENTS PRIMARY DIALOGUES Htimorotis Aunt Ellen's Hatchet The New Baby Frances Hodgson Burnett The Unburied Woman Playing Hookey Sophie May Hearsay Tired of Church The Inkstand Sophie May The Sword Berquin SeriotiS The " Blue and the Gray '' Elsie's Burglar Fauntleroy and the Earl .... Frances Hodgson Burnett The Reconciliation Louise M. Alcott Keeping House Sophie May The Lost Princess Selling the Image . . Mrs. C. V. Jamison The Sick Boy's Plan A Child's Love A Manly Boy A Tiny Quarrel Sophie May The Mouse Mrs. C, V. Jamison Nell's Christmas Stocking J. L. Harbour Father Time's Granddaughters . . Nathaniel Hawthorne INTERMEDIATE DIALOGUES Humorotis The Schoolmaster W. T. Adams A Confession of Love Not Quite John Poole Captain Kempthorn H. W. Longfellow The Restless Youth Testing the Suitors The Emperor and the Deserter Mike Gets a Job The Stupid Lover Our Daughter' , His Own Pills Louis XIV. and His Minister A. Coran Doyle The Challenge Richard Brinsley Sheridan Serious The Homeless Old Man ffall Caiue The Witch of Vesuvius Bulwer Lytton His Enemy's Honor Cleopatra and the Messenger Shakespeare The Bishop's Silver Candlesticks Victor Hugo The Peasant Boy's Vindication Dimond The Baron and the Jew Walter Scott In Love with His Wife Christian Forgiveness A Wife and a Home Aurelian and Zenobia William Ware ADVANCED DIALOGUES Humorous The French Duel Mark Twain Mrs. Hardcastle's Journey Oliver Goldsmith A Matter of Duty Anthony Hope Pride Against Pride Westland Marston Tom and Roxy Mark Twain A Disastrous Announcement Charles Dickens Miss Judith Macan Charles Lever Helen and Modus Sheridan Knowles Sam Weller and his Father Charles Dickens Extracting a Secret F. Marion Crawford Open or Shut Alfred de Musset Taming a Wife John Tobin The Prairie Princesses Serious The Suffering of Nehushta F. Marion Crawford " Gentlemen, the King ! " Robert Barr Ben-Hur and Iras Lew Wallace Savonarola and Lorenzo Alfred Austin Tito's Armor George Eliot Love Conquers Revenge Robert Byr Becket Saves Rosamund Alfred, Lord Tennyson. The Princess and the Countess R. L. Stevenson Queen Catherine Shakespeare Deacon Brodie Henley and Stevenson Pizarro and Rolla Richard Brinsley Sheridan Raimond Released Mrs. Felicia Hemans Mrs. Harwood's Secret Mrs. M. 0. W. Oliphant Innocence Rewarded Oliver Goldsmith AText=Book on Le tter=Writing CLOTH— 75 cents Postpaid— 163 pages Believing that the social and business career of our youth demands that as much attention should be bestowed upon Letter-Writing in our schools, as upon Grammar, Orthography, Penmanship, and other elementary studies, we have published a text- book showing the correct structure, composition, and uses of the various kinds of letters, including busi- ness letters. There have been added classified lists of abbreviations, foreign words and phrases most fre- quently used ; and important postal information. Our endeavor has been not only to produce just the book to guide the youth and the adult in social correspondence and the business man in commercial letter- writing, but also to provide the teacher with atext-book that can with confidence be placed in the hands of the pupils, boys and girls, to be studied by them like a text-book on any other subject for class recitations. That our book has been carefully planned for this purpose, and the matter conveniently arranged for class-room work, the following list of the CONTENTS bears evidence : Part I.— Letters, Notes, and Postal Cards. KINDS OF LETTERS. Social, Domestic, Introductory; Business, Personal, Official ; Miscellaneous; Public, orOpen. Postal Cards, STRUCTURE OF LETTERS. Materials; The Heading, The Intro- duction, The Body, The Conclusion, Folding, The Sflperscrip- tion, The Stamp. Type-writer Correspondence. THE RHETORIC OF LETTERS. General Principles, Special Ap- plications. Style and Specimens ot Social Letters; of Business Letters; of Notes. Part II. — Orthography and Punctuation. RULES. For Forming Derivatives, etc.; For Capitals; For Punctua- tion ; Special Rules. Part in. — MiSCFLLANEOUS. Classiiied Abbreviations ; Foreign Words, Phrases; Postal In- formation. To teachers we will send postpaid at 20% discount one examination copy with a view to introduction^ if this leaflet is enclosedwith the order. HINDS & NOBLE, Publishers of How to Punctuate Correctly, Price 25c. Likes and Opposites (Synonyms and AntonymsJ, Price 50c. Composition Writing Made Easy, Price 75c. Bad English, Price 30c. 31-33-35 West J5th Street New York City Schoolbooks of All Publishers at One Store CONTENTS OF HANDY PIECES TO SPEAK PUBLISHED BY HINDS & NOBLE, 31-33-35 West 15th St., New York City. Primary, 20 cents ; Intermediate, 20 cents ; Advanced, 20 cents. All three for 50 cents. Postage, 3 cents each. Primary Grade. Miscellaneous. The Story of a Little Red Hen, 6 v., 38 1. (for a girl) Cracked, 4 v., 30 1. (for a boy or girl) . ■ Naughty Kitty, 5 v., 20 1. (for a little girl) Lizzie Burt. Seasoned with a Kiss, 3 v. , 24 1. ( for a girl ) . . . A Lesson for Mamma, 6 v., 48 1. (for a little girl) . S. Dayre. The Little Teacher, 3 V., 18 1. (for a very little boy) Playing School, I v., 18 1 Lida Pickett Caskin. Dick's Valentine, 4 V., 32 1. (for a girl). . . .Mary £>. Brine. Mr. Finney's Turnip, J v., 20 1 Longfellow. The Boy and the Boot, 5 v., 20 1. (for a boy) . . Charlie's Story, 3 V., 24 1 Johnny's Opinion of Grandmothers, 9 v., 36 1. (for a boy) — Bed- Time, 6 v., 36 1. (for a little child) Stesan Coolidge, Seasons. Spring Flowers, 8 v., 28 1. (for ri little girls) . . Little Spring, 3 v., 18 1. (for a little boy or girl) ■ Pussy Willow, 2 v., 16 1. (for two little girls) . . . A Tiny Seed, 2 v., 16 1. (for a child) How tie Flowers Grow, l v., 12 1. (for a little child) Planting Himself to Grow, 5 v., 20 1 Grandpa's Bam, 7 v., 28 1. (for a boy) Mary D. Brine. On the Load of Hay, 4 v., 26 1 Mary D. Brine. October's Party, 3 V., 24 1 George Cooper. Nutting, 2 v., 16 1. (for a boy or girl) A Million Little Diamonds, i v., 8 1. (for a little girl) Popping Com, 3 v., 24 1 King Winter, 4 v., 16 1 Good-By, 4 v., 16 1. (for a child) Holidays. Baby Thankful, 7 v., 28 1. (for a girl) Children's Thanksgiving, S v., 20 1. (for a child) The Cat's Thanks'ng Day, 3 v., 24 1. (for a little boy ot girl) After Thanksgiving, 4 v., 32 1. (for a boy or girl) . Song of the Stockings, 3 v., 18 1 .Emily B. Ellis. Santa Claus and the Mouse, 12 v., 48 1. (for a boy or girl) The Christmas Gift, S v., 25 1, (for a girl) . .Mary D. Brine. What Ted Found in His Stocking, II v., 42 1. (for a boy) — Little Blue Eyes and His Christmas, 10 v., 40 1. (boy or girl) — Patty's l)ream, 32 lines (for a girl) Clara G. DoUiver. O Dear ! 3 v., 18 1. (for a little boy) The Dawn of New Year's Day, 6 v., 24 1. (for a little girl)— Intermediate Grade. Miscellaneous. All the Children, 6 v., 48 1., — A Botanical Lesson, 13 v., 40 1. (young lady and six children) The Twins of Italy, 13 v., 52 1 Mrs. Wm. S. Carter. The Maiden and the Rainbow, 10 v., 40 1. (forayoimglady) Selling the Baby, 12 v., 48 1. (for a boy) M. E. K. Hunting for Eggs, 9 v., 63 1. (for a boy or girl) Indignant Nellie, 6 v., 58 1. (for a girl) . .Julia A. Mathews. A Fowl Proceeding, 6 v., 36 1. (for a boy) ..H. A. Goodwin. The Coming Man, 6 v., 48 1. (for a young lady) The True Story of Little Boy Blue, 17 v., 68 1. (young lady) James' Methodism, 12 v., 48 1. (for a little boy) A. T. Criss. Artie's "Amen," 8 v., 55 I Paul Hamilton Hayne. Seasons. The First Fairy, 8 v., 32 1. (for a girl) Susan Coolidge. A Bad Beginning, but A Good Ending, 4 v. , 32 1. M. Eytinge. The Three Culprits, 4 v. , 24 1. ( for a young girl ) M. JO, Brine. Snowing, 6 v., 24 1. (for a young girl) Susan Coolidge. Adelaide Goes to the Coun&y, 60 Imes (for a little girl) Vacation Song, 8 v., 32 1 Katharine Lee Bates. Baby's Rose- Leaf, 5 v., 20 1. (for a little girl) E. L. B. The Children's Harvest Song, 5 v., 30 1. (for a child) Jack Frost, 4 v. , 32 1. (for a boy or girl) A Crystal Wedding, 8 v., 64 1. (for a boy or girl) J. Pollard. Outside and In, 3 v., 32 1. (for a girl) Good- By Winter, 2 v., 20 1., (for a cmld) , .Mary D. Brine. Holidays. Jim's Fourth of July, 5 v., 46 1. (for a boy). . George Cooper Thanksgiving Turkey, li v., 44 1. (for a little boy or girl) — How Robbie Shared Thanksgiving, 11 v., 44 1. (for a girl) — Baby's Christmas, 5 v., 40 1. (for a young lady) • A Letter to Santa Claus, 7 v., 42 1. (for a girl) Old Santa Claus, 9 v., 36 1. (for a little girl or boy) Santa Claus, 4 v., 32 1. (for a young girl) . . . John H. Yates. Sly Santa Claus, S v. , 59 1 Mrs. S. C. Stone. Bessie's Christmas Party, 10 v,, 60 1, (for a young girl) the Jolly Voung King, 3 v., 30 1. (for a boy) M. £>. brine. Lily's New Year's Calls, 9 v., 54 1. (for a little girl) G.Cooper. The Twelve Little Brothers, 4 v., 48 1 Helen G. Cone. ® Advanced Grade. Miscellaneous. What Ailed the Pudding? 9 v., 72 1. (for a young girl) Auctioning Baby, 6 v., 48 1. (young lady and four children)— The Little White Beggars, 6 v., 30 1. (for a young lady) Athirst, 10 v., 40 1. (for a young lady) Mrs. M. Ella Cornell. Fairy Folk, 6 v., 36 1. (for a young lady and a little girl) The Coast-Guard, S v., 40 1. (for a boy) . .Emily H. Miller. An Incident of the War, 83 lines (for a young man) Mine Shildren, 6 v., 36 1. (for a boy) . . Chas. Pollen Adams. Larrie O' Dee, 4 V., 40 1. (for a girl) W. W. Fink. An Open Letter to Henry Burgh, Esq., 7 v., 28 1. (young girl) How a Paper is Made, 6 v., 48 1. (for a boy). . . The Owl Critic, 6 v„ 77 1. (for a youth) , , .James T. Fields. Seasons. The Year, 7 v., 28 1. (for a boy or girl) — What Makes a Bluebird? 7 v., 28 1. (little girl and young lady ) Apple- Blossoms, 7 v., 28 1. (for a young girl) H. H. Arbutus, 7 v., 28 1. (for a girl) H. H. A Tell-Tale of Spring, 12 v., 48 1. (for a young ^x\)..H.H. The Little Quakeress, 13 v., 52 1. (for a girl) . . A Summer Day, 4 v. , 24 1. (for a young lady) . . The Foot of the Rainbow, 5 v., 49 1. (for a young lady) An Autumn Question, 8 v., 32 1. (for a young girl) Bidding the Sun " Good-night" in Lapland, 10 v., 40 1. (for a boy or girl) .J. Allison. Thankful, 5 v. , 40 1. (for a young lady) The Way of the World, 6 v., 36 1, (for a young lady) Holidays. Grandma's Story, 6 v., 44 1. (for a youth) , . . . A Wild-Goose Chase, 16 v., 64 1. (for a young lady) Where do you Live ? 7 v., 56 1. (for a boy) Josephine Pollard. A Winter Song, 4 v. , 24 1 Susan Hartley Swett. A Christmas Carol, 6 v., 48 1. (for a boy or girl) A. A. Proctor. Christmas Eve, 6 v., 48 1. (for a young man). . . McFlarity's Christmas Gift, 10 v., 60 1. (for a youth) Christmas, 5 v. , 30 1. (for a girl or boy) Susan Coolidge. After Christmas, 26 lines (for a young girl) What Santa was about Last Week, 102 lines (for a young lady) New Year's Day, 4 v., 32 1. (for a girl) New Year's Calls, 27 v., 81 1, .,,,,,,,,, , Liaie Burt- Mister Chairman! Not all of us are, but any of us may some day be on the directorate of a bank, a railroad, or even of a trust. When the directors' meeting-s are formal a knowledge of parliament- ary rules counts. If the farmers of a county wish to get together to talk over a plan for road mending, someone has to be spokesman, and unless someone knows the simple rules of procedure at meetings ' '■nuthin 's done ! " Even if the school girls in Miss Brown's class wish to decide on some token to present to her when they go to the " dee-poh " to see her off on one of " Cook's Teachers' Tours," the meeting must' have some semblance of order or else 't will be all talk and no token. Did any young man ever cut any figure at political primary or village caucus if ignorant of the rules of order ? Even the sewing circle and the young ladies' neighbor- hood literary guild and musical circle get into a dreadful tangle unless there is some pretense of observing the parliamentary amenities. Who knows that he will not some day be on the board of managers of a baseball nine or pigskin eleven, or even on the greens committee of a golf cliib ! Whatever the occasion, the waste of time is inevitable and the confusion endlessly discouraging if the proceedings are not conformed to the estab- lished rules of order. And can any of us recall a single acquaint- ance who will admit being ignprant of the simple rules governing the transaction of a deliberative body or even of a business meet- ing! Not one of us but would be ashamed to own up to total unfamiliarity with parliament- ary rules. Yet there is not one in a hundred of us whose knowledge of the rules is not humiliatingly hazy Why? Each rule is by itself simple enough. But "procedure" im- plies a sequence in the transactions, and this implies a beginning, and an ending with the intervening- stages of progress, and what ' ' tangles the meeting all up " is unfamiliarity with the proper relations to one another of the simple rules, the separate steps — each one simplicity itself. Is there any book which by clothing the rules of order in simple lucid English, and by arranging them according to their importance in simple lucid sequence, can enable any man or woman of ordinary intelligence, any boy or girl, to master them and to conduct a meeting without uproar, or even confusion, or even friction? Yes! Such a book is Palmer's New Parliamentary Manual POCKET SIZE— Price 7S cents postpaid— cloth HINDS & NOBLE, Publishers of Commencement Parts. $[.50. Pros and Cons. Complete debates. Both sides. §1.50. Pieces for Prize Speaking Contests. $1.25. Pieces for Prize Speaking Contests— Second Series. $1.25. Pieces for Every Occasion. $1.25. 31-33-35 West 15th Street, New York City. Schoolbooks of All Publishers at One Star?* Over one hundred pieces that have actually taken prizes la Prize Speaking Contests. Pieces That Have Taken Prizes Selected by A. H. Craig, author of "Craig's New Common School Question Book" (pt which over 189,- 000 copies have been sold) and Binney Gunnison, (Harvard), Instructor in the School of Expression, Boston, Mass., and author of "New Dialogues and Plays." The compilers spent"nearly three years' time in col- lecting the pieces for this book. All have actually taken one or more prizes at some Prize Speaking Contest. Among the selections will be found: The Aspir- ations of the American People ; The Storming of Mission Ridge; Opportunities of the Scholar; The Elements of National Wealth ; Duty of Literary Men to America; The Future of the Philippines; True Courage; The Boat Race ; The Teacher the Hope of America; A Pathetic Incident of the Rebellion ; The Permanence of Grants Fame; The Province of History; The Sermon; The Yacht Race; The Soul of the Violin; Opinions Stronger Than Armies ; Not Guilty. Bound in cloth. Price $1.2^ HINDS & NOBLE, Pofalishas 31-33-35 West I5th St. New Yorfc Gty These new pieces are just the kind that will arouse an audienctf to the highest pitch of enthusiasm. Pieces That Will Take Prizes Selected and adapted by Harriet Blackstone, Teacher of Elocution and Reading, Galesburg High School, Galesburg, 111. To satisfy the constantly increasing demand for new Pieces for Prize Speaking Contests, the author (with the permission of the authors and publishers) has adapted a number of the choicest selections from the most cele- brated works of our best known writers. Among others will be found: Alice's Flag — from Alice of Old Vincennes, by Maurice Thompson j The Wonderful Tar Baby — from Uncle Remits, by Joel Chandler Harris ; Through the Flood — from Beside the Bonnie Brier Bush, by Ian MacLaren ; The Shep- herd's Trophy — from Bob, Son of Battle, by Alfred Ollivant \ Grandma Keeler Gets Grandpa Keeler Ready for Sunday School — from Cape Cod Folks, by Sally Pratt McLean ; The Angel and the Shepherds — from Ben Hur, by Lew Wallace ; The Queen's Letter — from Rupert of Hentzau, by Anthony Hope ; etc. Each selection is especially suited for Prize Speaking Contests. Bound in cloth. Price $1.2^ HINDS & NOBLE, Pablishers 3J-33-35 West tSth St. New York City Books for your Ctbrary No Private School, High School or College Library is complete without having on its shelves one or more of the following books for its students to refer to. Teachers are ordering many of these books for their own personal use. Mistakes in Teaching (Preston Papers) • $i.oo Craig's New Common School Question Book, with Answers 1.50 Henry's New High School Question Book, with Answers 1.50 Gordy's New Psychology 1.25 Mackenzie's Manual of Ethics 1-50 Lind's Best Methods of Teaching in Country Schools 1,25 Page's Theory and Practice of Teaching 1.00 Character Building (Coler) i-oo A Ten Weeks' Course in Elocution (Coombs) 1.25 Commencement Parts (Valedictories, Orations, Essays, etc.) 1.50 Pros and Cons (Both Sides of Important Questions Discussed). . . 1.50 Three Minute Declamations for College Men 1,00 Three Minute Readings for College Girls 1.00 Pieces for Prize Speaking Contests (Craig & Gunnison) i.oo New Dialogues and Plays (Gunnison) 1.50 Classic French-English, English-French Dictionary 2.00 " German-English, English-German Dictionary 2.00 " Italian-English, English-Italian Dictionary 2.00 *' Latin-English, English-Latin Dictionary 2.00 '* Greek-English, English-Greek Dictionary. . . * 2.00 Handy Spanish-English, English-Spanish Dictionary 1.00 " Italian-English, English-Italian Dictionary i.oo Shortest Road to Caesar (Jeffers) 75 How to Prepare for a Civil Service Examination 2.00 How to Become Quick at Figures i.oo Likes and Opposites (Synonyms and Antonyms) 50 Hinds & Noble's New Letter Writer 75 Quizzism and Its Key (Southwick) 1,00 We will send postpaid, subject to your approval, any of the books on this list upon receipt of the price. Mention *' Books for your Library " when you write us. HINDS & NOBLE, Publishers 3J^33-35 West J5th Street New York Qty i;; :;;i!;;ii:»;'.;a