Class L Book £a A'. -, Copyright^ LEU^L COPYRIGHT DEPOSIT. ESSENTIALS OF PUBLIC SPEAKING FOR SECONDARY SCHOOLS SECOND EDITION BY ROBERT I. FULTON DEAN OF THE SCHOOL OF ORATORY AND PROFESSOR OF ORATORY IN THE OHIO WESLEYAN UNIVERSITY THOMAS C. TRUEBLOOD PROFESSOR OF ORATORY IN THE UNIVERSITY OF MICHIGAN GINN AND COMPANY BOSTON • NEW YORK • CHICAGO • LONDON Copyright, 1909, 1910, by Robert I. Fulton and Thomas C. Trueblood ALL RIGHTS RESERVED ilO.8 gfte atftenaum gretcg GINN AND COMPANY- PRO- PRIETORS • BOSTON • U.S.A. ©CI.A273125 PREFACE The growth of interest in public speaking in the secondary schools throughout the United States during the past decade s, has been phenomenal. The principal high schools and acade- mies are not only supporting vigorous debating societies and oratorical associations, but are engaging in friendly contests in debate and oratory with their rivals. This has led to a demand for systematic instruction in the fundamentals of good reading and good speaking, and leading secondary schools, recognizing this demand, are establishing courses to that end. The aim of the authors of this volume is to meet this need, to present sufficient instruction for practical purposes, and not to overburden the student with too extended discussions of the philosophy of expression. It has been the endeavor to discuss simply and to the point the essential elements of good delivery, to give short illustrations for applying the principles, and then to provide whole selections for practice. We have tried so to simplify instruction that the average teacher who has been chosen to do this work, whether he has had extended technical instruction or not, shall be able to acquire sufficient skill from the discussions contained in these pages to become of material service to young students of public speaking. We^have followed mainly our plan published in 1893 in the Practical Elocution, and we trust that this newer and simpler treatment, designed for younger students, will add interest to the study of the elements of effective delivery, and inspire con- fidence in those who would acquire proficiency in the art of persuasive speaking. CONTENTS Page Preface ' iii Index to Illustrative Selections xi Introduction i PART I. THE SPEAKER CHAPTER I. MAN'S TRIUNE NATURE 4 1. Vital Nature 4 2. Mental Nature 5 3. Emotive Nature 5 CHAPTER II. THE VOCAL ORGANISM 6 Section I. Organs 6 1. The Lungs 6 2. The Trachea and Bronchi 6 3. The Larynx 6 4. The Pharynx 7 5. The Nasal Cavities 7 6. The Mouth 7 Section II. Muscles 7 1. The Diaphragm 7 2. The Abdominal Muscles 8 3. The Rib Muscles 8 Section III. Respiration 8 1. Inspiration 8 2. Expiration 9 3. Method of Breathing 9 4. Breathing Exercises ' .... 10 Section IV. Vocal Culture 12 1. Care of the Voice 13 2. Vocal Exercises 14 v vi ESSENTIALS OF PUBLIC SPEAKING Page CHAPTER III. PRONUNCIATION 16 I. Phonetic Sounds 16 i. Tonics 16 2. Subtonics 16 3. Atonies 16 II. Time Value of Sounds 17 1. Stopt Sounds • 17 2. Continuant Sounds 18 III. Requisites of Pronunciation 19 Section I. Quality of Vowel Sound 19 Defects in Vowel Quality 19 Section II. Articulation 22 1. Oral Position of Consonants 23 (1) Labials . . 23 (2) Linguals 23 (3) Palatals . .' 23 2. Cognates 24 3. Exercises in Articulation 25 Section III. Syllabication 27 1. Syllables as to Etymology and Euphony • . 27 2. Syllables as to Number 27 3. Syllables as to Position 28 4. Time Value of Syllables 28 (1) Immutable Syllables 28 (2) Mutable Syllables 28 (3) Indefinite Syllables 28 Section IV. Accentuation 28 1. Kinds of Accent 29 (1) Primary Accent 29 (2) Secondary Accent . . . .' 29 (3) Tertiary Accent 29 2. Variation of Accent 29 Section V. Exercises in Pronunciation 30 CHAPTER IV. EMPHASIS 31 Section I. Emphasis of Sense 32 1. Absolute Emphasis ^^ CONTENTS vii Page 2. Antithetic Emphasis 33 3. Cumulative Emphasis 34 4. Distributive Emphasis 34 Section II. Emphasis of Emotion 35 Section III. Emphasis of Pulsation 36 PART II. ELEMENTS OF VOCAL EXPRESSION Table of Vocal Elements 41 CHAPTER V. TIME 42 Section I. Pause 42 1. Physical Necessity 42 2. Mental Necessity 42 3. Law of Use 44 4. Explanation and Illustrations 44 Section II. Quantity 53 1. Long Quantity 54 2. Medium Quantity 56 3. Short Quantity 58 4. Vocal Culture of Quantity 61 Section III. Movement 64 1. Slow Movement 65 2. Moderate Movement 65 3. Rapid Movement 65 CHAPTER VI. QUALITY . 75 Section I. Normal Quality j6 Section II. Orotund Quality 81 Section III. Oral Quality 83 Section IV. Nasal Quality ; 85 Section V. Falsetto Quality 93 Section VI. Guttural Quality . 96 Section VII. Pectoral Quality 98 Section VIII. Aspirate Quality 100 Section IX. Summary and Vocal Culture 103 viii ESSENTIALS OF PUBLIC SPEAKING Page CHAPTER VII. FORCE 107 Section I. Form 108 1. Effusive Form 108 2. Expulsive Form no 3. Explosive Form 112 4. Combinations of Form and Quality (with Table) ... 114 5. Vocal Exercises 115 Section II. Degree 118 1. Subdued Degree 118 2. Moderate Degree 118 3. Energetic Degree 118 4. Vocal Culture in Degrees of Force 127 Section III. Stress . 131 1. Radical Stress 132 2. Final Stress 134 3. Compound Stress 135 4. Median Stress 137 5. Thorough Stress 139 6. Intermittent Stress 145 7. Vocal Exercises in Stress 149 CHAPTER VIII. PITCH 154 Section I. Degree of Pitch 154 1. Low Degree 155 2. Middle Degree 155 3. High Degree 155 4. Vocal Culture of Degrees of Pitch 161 Section II. Change of Pitch 163 1. Inflection 164 (1) Rising Inflection 164 (2) Falling Inflection 165 2. Waves 168 (1) As to Number of Slides 168 (2) As to Length of Slides 169 (3) As to Direction of Slides 170 (4) Vocal Culture of Waves 170 CONTENTS ix Page 3. Intervals 172 .(1) The Semitone 173 (2) The Second 176 (3) The Third ' 178 (4) The Fifth 180 (5) The Octave 182 (6) Vocal Culture of Intervals 185 Section III. Melody 188 1. Current Melody 188 (1) Chromatic Melody 189 (2) Diatonic Melody 189 (3) Broken Melody 189 2. Cadence 192 (1) Monad 193 (2) Duad 193 (3) Tliad 193 (4) Tetrad 194 (5) Pentad : 194 PART III. ELEMENTS OF ACTION CHAPTER IX. CONCEPTION OF ACTION 199 Section I. Impulse to Action 199 Section II. Suppression of Self 199 Section III. Limits of Personation 200 1. First Law ■ 200 2. Second Law 201 Section IV. Action in Figurative Language .... 202 CHAPTER X. REQUISITES OF ACTION 202 Section I. Grace 202 Section II. Force 202 Section III. Precision 203 1. The Preparation 203 2. The Stroke 203 3. The Return 204 Section IV. Economy 204 x ESSENTIALS OF PUBLIC SPEAKING Page CHAPTER XI. LAWS GOVERNING ACTION .' . . . . 204 Section I. Zones of the Body 205 1. The Head 205 2. The Torso 205 3. The Limbs 205 Section II. The Arms 205 1. The Upper Arm 206 2. The Forearm 206 3. The Hand 206 Section III. Principles of Gesture 206 1. The Index 207 2. The Supine 208 3. The Prone 209 4. The Reflex . . . . '. 210 5. The Clasped 211 6. The Averse . . 1 212 7. The Clenched 213 Section IV. Planes of Gesture 215 1. Plane of Equality 216 2. Plane of Superior 216 3. Plane of Inferior 217 Section V. The Legs 219 1. The Foot 219 2. The Lower Leg 219 3. The Upper Leg 219 Section VI. Positions and Attitudes 219 1. First Position 220 2. Second Position 221 p 3. First Attitude 223 4. Second Attitude 225 (1) Second Attitude, Forward 225 (2) Second Attitude, Backward 227 Section VII. Technique of Action 229 1. Exercises for Freedom of Gesture 229 2. Exercises in Principles of Gesture 231 3. Exercises in Positions and Attitudes 231 APPENDIX THE SPEECH Page CHAPTER I. THE OCCASION AND THE AUDIENCE . 236 Section I. Variety of Occasions and Audiences . . . 237 Section II. List of Occasions and Audiences .... 238 1. Educational Associations 238 2. Social Institutions 238 3. Religious Meetings. . 239 4. Judicial Bodies 239 5. Legislative Assemblies 240 6. Political Gatherings 240 7. Commemorative Occasions 240 CHAPTER II. THE KIND OF SPEECH AND THE SUB- JECT OR PROPOSITION 241 Section I. Kinds of Discourse 241 1. Announcements and Other Business Remarks .... 241 2. Committee Reports 242 3. Essays 242 4. Debates 242 5. Topical Speeches 242 6. Addresses 243 7. Lectures 243 8. Orations 244 Section II. The Subject or Proposition 244 1. Question for Debate 245 2. Preparation for Discussion .- . 245 xi Xli ESSENTIALS OF PUBLIC SPEAKING Page CHAPTER III. THE PLAN OF THE SPEECH AND ITS ESSENTIAL QUALITIES 246 Section I. The Plan 247 1. Introduction 247 2. Main Discussion * 247 (1) Historical Order 247 (2) Logical Order 248 (3) Distributive Order 248 3. Conclusion or Peroration . . • 248 (1) Summary 248 (2) Eloquence . . 249 (3) Brevity 249 (4) Termination 249 Section II. The Qualities of Discourse 249 1. Clearness 249 2. Force 250 3. Persuasiveness 250 ILLUSTRATIVE SELECTIONS Appeal in Behalf of Ireland . Prentiss . Arena Scene, The, from "Quo Vadis," . . . Seinkiewicz Battle Hymn of the Republic Howe . . Blacksmith's Story, The Olive . . Blue and the Gray, The . Lodge . . Boat Race, The Hughes Burial of Moses, The Alexander Caught in the Quicksand Hugo . . Character of Washington Webster . Child's Dream of a Star, A ....... Dickens . Commercial Expansion . . . ... . . . McKinley . Crossing the Bar Tennyson . Dagger Scene, The, from " Macbeth "... Shakespeare Darius Green and his Flying Machine . . . Trowbridge Darkness Byron . . Dedication of Gettysburg Cemetery .... Lincoln Elements of National Wealth . . ' . . . . Blaine . . Fool in the Forest, A Shakespeare Galileo . . Everett Garden Scene, The, from " Mary Stuart " . Schiller . Grief of Ophelia, The Shakespeare Hamlet's Advice to the Players Shakespeare Hamlet's Self-Reproach Shakespeare Henry V to his Troops Shakespeare Hero of the Furnace Room, A Anonymous Horatius at the Bridge Macaulay . Horrors of Savage Warfare Chatham . How we hunted a Mouse . . Jenkins Impartial Arbitration Bryan . . Irish Disturbance Bill, The 0' ' Connell Isle of Long Ago, The Taylor . . Lady Clare Tennyson Last Leaf, The Holmes Leper, The Willis . . xiii XIV ESSENTIALS OF PUBLIC SPEAKING Macbeth at Dunsinane Shakespeare Mary's Night Ride Cable . . Murder Scene, The, from " Macbeth "... Shakespeare My Ships Wilcox . . National Flag, The Beecher National Morality Beecher . New South, The Grady . . Ocean Burial, The Saunders . Power of Habit, The Gough . . Protestations of Love, from " Much Ado about Nothing " Shakespeare Quarrel of Brutus and Cassius, The, from "Julius Caesar" Shakespeare Resignation Longfellozv Ring Out, Wild Bells Tennyson . Sailing beyond Seas ' . . Ingelow Second Trial, A Kellogg Shylock's Rage, from " Merchant of Venice " . Shakespeare Sky, The Ritskin Soldier's Reprieve, The Bobbins Song of the Brook Tennyson . Sun of Liberty, The Hugo . . University the Training Camp, The .... Grady . . Wit and Repartee of Benedick and Beatrice, from " Much Ado about Nothing " . . . . Shakespeare Page 161 128 101 109 37 232 190 83 "3 185 150 157 159 138 77 182 158 145 59 181 179 171 ESSENTIALS OF PUBLIC SPEAKING INTRODUCTION Elocution is the science and art of expression by voice and action. As a science it treats of the elements or principles underlying all expression ; as an art it embodies the correct use of these principles in the particular phase of expression demanded of the reader or speaker. Just as the musician must master the technique and principles of music before he can attain the highest skill in his art, or as the civil engineer must know the science of mathematics before he can succeed in the art of calculation, so the speaker must understand the elements of elocution and become skilled in their use if he would pass beyond the point of accidental success in the art of public speaking. True, a person may sing without a technical knowl- edge of music, or speak reasonably well in imitation of a favor- ite speaker, but he can never rise to the highest plane except through the study and practice of correct expression. The purpose of training in elocution is to develop individuality so that the speaker may be original and not imitative in his methods, to correct his bad habits of speech and gesture by fixing good habits in their stead, and to make the body a responsive instrument to obey the activities of the mind and the impulses of the heart. Skill in the use of the principles of expression is an accom- plishment in ordinary conversation. Exercises in articulation, voice and action necessary to the highest perfection in public speaking have an agreeable effect upon the conversational voice 2 ESSENTIALS OF PUBLIC SPEAKING and manner. The tones are deepened, the resonance improved, the pronunciation chastened; all of which are accomplishments greatly to be desired in everyday life. Training in expression is also valuable as a means of literary interpretation and entertainment. It is a source of pleasure and culture to listen to the skillful reading of passages from the masterpieces of literature, whether in public or in the home or social circle. Such exercise of one's skill is not only enter- taining and instructive but is a mark of courtesy and a means of refinement to a community. But skill in speaking is still more valuable as a means of persuasion. The time will never come when people will not flock to hear men plead causes of vital interest. There will always be a demand for those who can speak well, for business interests require men who can present cases well in the courts. The effective jury lawyer will secure a much larger share of the business of the courts than the man of equal learning and high character who is not effective as a speaker. Leaders in committees, conventions, and other deliberative assemblies are almost invariably effective speakers, for it is a well-known fact that most of the important business of life is shaped by pithy, energetic, short speeches. The testimony of the great orators is overwhelming in sup- port of faithful and vigorous practice in the art of public speaking. Gladstone declares that " time and money spent in training the voice and body is an investment that pays a larger interest than any other"; and Spurgeon says, "I believe that every one should train his voice and body, first, for the health it affords ; second, for its educating effects ; third, for the advantage it gives over others for usefulness." And Wendell Phillips, in defense of such training, a very important factor in his own education, declares that " it is useless to waste words on any man ignorant of the vast power of agree- able and eloquent speech in a republic." INTRODUCTION 3 The problem of how to teach the subject in a practical way has puzzled the schoolmen and vexed the instructor whose duty it has been to trair%students in elocution. Clearly the best way to teach the art of public speaking is through the science underlying that art and through practice of its prin- ciples, which may be taught and applied as are the principles of other liberal sciences. That one may progress rapidly and consistently it is neces- sary that voice and action should be developed simultaneously. To this end every lesson should call forth exercises in vocal culture, breathing, pronunciation, emphasis, and technique of action, drills as necessary to artistic expression as drills in music and painting are to those arts. But the major part of the hour should be given to the study of the principle of expression under consideration and the practice of the illus- trative selection embodying that principle. The arrangement of the elements and illustrations affords ample room for the individual methods of the instructor. Each principle is treated as a whole and in combination with other elements in their natural sequence, so that if one has not time for the full course it is complete and logical as far as one goes. The judicious admixture of text drill and illustrative material throughout the course makes the study of elocution both practical and effect- ive. To treat the subject in a dogmatic, " lesson-leaf " fash- ion would be to discredit the good taste and judgment of the teacher and limit him to a set, mechanical method. The instructor is given the largest freedom in the assignment of work and in the adaptation of the text to the individual needs of his students. We shall treat the subject under three heads: (1) the speaker, his formation and use of language; (2) the elements of vocal expression by which he is to make himself effective orally ; (3) the principles of action by which he satisfies the eye of the audience and reenforces his vocal utterance. PART*I THE SPEAKER In this division of the book we shall treat certain subjects relating to the speaker and his use of language which are inseparably connected with the art of public speaking but which cannot be classed as elements of elocution. They are (i ) Man's Triune Nature, which deals with the avenues through which one receives and gives out impressions ; (2) the Vocal Organism as an instrument of expression ; (3) Pronunciation, which deals with the formation of sounds and words ; and (4) Emphasis, which relates to the enforcement of the ideas of language. CHAPTER I MAW'S TRIUNE NATURE Impression is essential to expression. We must possess be- fore we can give. The object of elocution is to aid the speaker to give correct outward expression of his inner consciousness. Before the student can hope to master the laws of expression he must know something of this inner nature and the avenues through which he receives his impressions. An analysis of the psychic being reveals the well-established theory that man is one in consciousness and three in manifesta- tion ; that the one being, the ego, has three natures, (1) the Vital, (2) the Mental, and (3) the Emotive. 1. The Vital Nature is made up- of bone, muscle, sinews, nerves, the brain, and other organs, all of which are susceptible alike to the buoyant thrills of health and the aches and pains 4 MAN'S TRIUNE NATURE 5 "flesh is heir to." The body is the seat of the appetites, the dwelling place of the mind, and the "temple of the soul." Through this part of his being man reveals the phenomena of life which lasts while the heart beats and respiration con- tinues. The gymnastic exercises and athletic sports so prom- inent in high-school and college life are a response to the demand that the Vital Nature be properly developed. 2. The Mental Nature is that part of the being through which man perceives, remembers, reflects, invents, reasons, and attains knowledge. It is presided over by the mind, which in turn has its seat in the brain. The manifestation of this nature is evident in all the mental activities. Its cultivation forms a large part of school and college education. 3. The Emotive Nature is that part of man's being through which his affectional or passional life is manifested. Through it he loves or hates, is sympathetic or bears antipathy, is loyal to his concepts of truth and duty or violates law, order, and morality. It is presided over by the soul, the cultivation of which is the aim of all spiritual education. These three natures, — the Vital, the Mental, and the Emo- tive, — presided over by life, mind, and soul, and revealing sensation, thought, and feeling, all living and blending in one being, form the triangle on which the science of elocution, or, speaking more broadly, the philosophy of expression, is based. Through these three natures man receives all his varied and complex impressions, and through the elements of elocu- tion responding to these natures he may hope to express his own thoughts and feelings and touch responsive cords in the life, mind, and soul of his audience. It then becomes our task in this volume to discover the elements of expression by test- ing their relation to Man's Triune Nature and showing their revelatory power in the art of expression. 6 ESSENTIALS OF PUBLIC SPEAKING CHAPTER II THE VOCAL ORGANISM The voice as an instrument consists of (i) Organs and (2) Muscles. SECTION I. ORGANS The organs of voice are (1) the Lungs, (2) the Trachea and Bronchi, (3) the Larynx, (4) the Pharynx, (5) the Nasal Cavities, and (6) the Mouth. 1. The Lungs constitute the bellows of the voice. Their function is to receive and supply air for the sustaining of life, and for the purposes of speech. 2. The Trachea and Bronchi form the air passages to the lungs and act as resonators for the voice. The flexible rings of cartilage which compose the Trachea, or windpipe, and the muscles which connect them, are capable of being distended or narrowed, lengthened or shortened, so as to affect materially the pitch and resonance of tone. 3. The Larynx, or voice box, is situated at the top of the Trachea. It consists of five cartilages. Some of these act as a Fig. 1. Position of Cords Fig. 2. Position of Cords in Tone Production in Deep Breathing 1, 1, vocal cords I, I, vocal cords shield to the more delicate parts of the vocal instrument, and others lengthen or shorten, open or close, the vocal cords. These cords are two pearly white ligaments which are attached •MUSCLES 7 to muscles at the side of the Larynx. The cords stand in a horizontal position across the voice box, and their thin inside edges vibrate as the air is sent over them from the lungs, and thus produce voice. In the production of pure tone the cords stand very close together, but in ordinary breathing they are wide apart, as shown in the accompanying figures. 4. The Pharynx is that part of the throat between the larynx and the nasal cavities. It may be seen when the mouth is well open, the tongue depressed, and the soft palate lifted. The dome of the Pharynx just back of the soft palate is one of the most important cavities of vocal resonance. 5. The Nasal Cavities are two irregularly constructed pas- sages separated by a bony partition and having for their base the hard palate. They constitute the chief air passages in normal breathing, and act as resonators, giving ring and char- acter to the voice. These cavities temper and filter the air we breathe and prevent dryness of the mouth occasioned by mouth breathing. 6. The Mouth contains the articulating organs, — the tongue, the lips, and the palate. The dome of the mouth is one of the chief resonators of voice, and the soft palate at the back of this dome consists of a flexible fold which acts with the tongue in placing and shaping tone. SECTION II. MUSCLES The chief muscles used in voice production are (1) the Dia- phragm, (2) the Abdominal Muscles, and (3) the Rib Muscles. 1. The Diaphragm is a heavy muscle which separates the, chest from the abdomen. It stands like a vaulted arch, with the front side higher than the back. Its function is to contract and flatten in inspiration so as to enlarge the cavity of the chest, and to relax to its normal position in expiration so as to decrease the chest cavity. 8 ESSENTIALS OF PUBLIC SPEAKING 2. The Abdominal Muscles form the front wall of the abdo- men. This wall presses out as the diaphragm contracts, and moves back as the diaphragm rises. In quiet breathing the diaphragm and abdominal wall act and react alternately upon each other. At such times the abdominal muscles are only passively engaged ; but in forcible expiration, as in coughing, laughing, or shouting, the muscles of the abdomen strike inward with great vigor. 3. The Rib Muscles are divided into the outer and the inner muscles. The outer muscles contract and lift the ribs out and up. The inner muscles, in forced expiration, draw the ribs down and in to the position of repose. In tranquil breathing the inner muscles are not actively engaged, as the ribs fall by their own weight. SECTION III. RESPIRATION Respiration is the process of drawing in and expelling the breath, primarily to sustain life and incidentally for the purposes of speech. The two acts are (1) Inspira- tion and (2) Expiration. 1 \\ C3j4 i. Inspiration In Inspiration the process is as follows : (1) The diaphragm contracts and sinks. (2) The wall of the abdomen pushes forward. (3) The ribs and sternum move out and up. (4) The upper chest is expanded later- ally and vertically (see Fig. 3). V / As these four acts of inspiration pro- Fig. 3. Inspiration grass the air rushes in to equalize the 1, trachea; 2, sternum; p ressure anc l expand the lungs. Thus ill- 3, diaphragm ; 4, ab- dominal walls spiration is an active process. RESPIRATION 2. Expiration In Expiration the process is reversed : (i) The diaphragm relaxes and rises. (2) The wall of the abdomen is drawn in. (3) The ribs and sternum move down and in. (4) The upper chest sinks to its nor- mal position (see Fig. 4). Expiration may be active or passive. It is active in vigorous speaking, laugh- ter, or coughing, when the expiratory muscles outrun the relaxation of the in- spiratory muscles. It is passive in ordi- nary breathing, when the muscles, made tense in inspiration, relax suddenly to their normal position. Fig. 4. Expiration 1, trachea; 2, sternum; 3, diaphragm ; 4, ab- dominal walls 3. Method of Breathing The Law of Correct Breathing for voice production is as fol- lows : In inspiration there should be an increase, in expiration a decrease, in the size of the waist and the lower part of the chest. The chest should begin to enlarge from its lowest depths. The depression of the diaphragm and the outward movement of the abdomen lower the floor of the chest and enlarge its vertical diameter. The outward and upward move- ment of the ribs and sternum enlarges the chest laterally and vertically. The lungs are the bellows of the vocal apparatus, and the force should be applied around the waist, at the largest part of the bellows, — the part farthest from the voice box. These parts are the most flexible, and, the bony structure of the chest being suspended from the shoulders, may be moved back and 10 ESSENTIALS OF PUBLIC SPEAKING forth by the muscles without being lifted. This method will enable the speaker to conserve his strength and grow steadily in vocal power. If the abdomen be drawn in and the chest raised in inspira- tion, the natural movement is reversed and respiration becomes fatiguing because the chest must expand at its smallest and least flexible part, and because the shoulders must be lifted and sustained. In voice production it is difficult to sustain this weight and supply the air steadily. This accounts for the fact that persons who habitually use the upper-chest method produce breathy tones and do not progress in vocal power. 4. Breathing Exercises (1) For the Lungs: a. Inhale slowly through the nostrils until the lungs are full, and then exhale with the prolonged sound of — h — . Occupy about ten seconds. b. Inflate the lungs, hold the breath 5-10 or 15 seconds, so that the heat of the body may expand the air, and then expel the breath in about one second with the whispered sound of — hah — . c. Fully inflate the lungs, retain the breath, strike the chest gently ten times with the open palms, and then pour out the breath quickly in the whispered sound of — haw — . d. Inhale and retain the breath while striking forward, right and left, and up and down, vigorousfy with the fist as follows : right arm four times, left arm four times, alternately four times, and simultaneously four times ; exhale quietly. e. Place the arms akimbo, inhale and sustain the breath while bending the body to the right four times, to the left four times, then alternately four times ; exhale. In like man- ner bend forward four times, backward four times, then alternately four times. RESPIRATION II ^2) For the Vocal Cords : a. Inflate the lungs and exhale slowly with the sharpest possible whisper of — ah — . b. Repeat the above, emitting the sound in glottal strokes. (3) For the Pharynx and Nasal Cavities : a. Inflate the lungs and exhale slowly through the nostrils with a sharp aspirated sound. (4) For the Abdominal Muscles : a. Inflate the lungs and, with inward strokes of the ab- dominal wall, expel the breath in partially vocalized coughs of — uh — . b. With a slight occlusive cough of — uh — , sound each of the syllables ha, he, hi, ho, hu, three times, thus : uh-ha, uh-ha, uh-ha ; uh-he, uh-he, uh-he, etc. Take breath after each set. c. Inflate the lungs, and with abdominal impulses expel the breath through the nostrils in a suppressed or aspirated laugh. d. Laugh out each of the vowels a, e, 1, o, u, o, beginning slowly and accelerating the abdominal strokes. (5) For the Diaphragm : a. Draw in the breath with vigor through the smallest pos- sible opening of the lips. Exhale with equal vigor through the compressed lips (abdominal action). (6) For the Rib Muscles : a. Take breath, distending the ribs laterally as far as pos- sible, then contract them in expiration. (7) Catch-breath Exercises : a. Catch the breath quickly and inaudibly, first through the mouth, then through the nostrils. b. Count by threes, by fives, and by tens, inhaling after each group. It is better to take partial breaths at frequent intervals than full breaths at long intervals. The habit of taking short, in- audible inspirations between the phrases of speech should be carefully cultivated. 12 ESSENTIALS OF PUBLIC SPEAKING SECTION IV. VOCAL CULTURE It is the Purpose of Vocal Culture to develop that which is good in the voice, correct its imperfections, and acquire skill in its use. The chief attributes of a good voice are (i) Purity, (2) Strength, and (3) Flexibility. If well developed in these directions a voice is capable of responding to every require- ment in expression. 1 . Purity of tone requires free vibration of the vocal cords, healthfulness of the resonant cavities, and the vocalization of all the breath used. 2. Strength depends upon the breadth of vibrations and the power to project and sustain tones. 3. Flexibility is dependent upon the elasticity of the vocal cords and the power to vary tones through the scale of Pitch. Vocal culture is dependent upon correct breathing. If the method of breathing is correct, vocalization becomes voice culture. But even with the best of methods the voice must not be overworked. The speaker should not strain to reach a degree of intensity beyond his vocal strength. The voice is a delicate instrument and must be developed gradually. It must have rest, and time to grow. Training should be vigor- ous but not violent, and one should cease practice when the organs are tired. A speaker who fails to replenish his vocal powers or produces tone by wrong methods draws upon his stock of vitality whenever he speaks, and his ultimate breaking down is only a question of time. Voice culture is more reasonable and more progressive if given under the mental condition implied in the tones used. As the brain controls the vital functions of the body one should think the thought and feel the emotion embodied in the sounds given. This idea should be kept steadily in view not only in the exercises given in this section but in those which follow each of the vocal elements treated in Part II. VOCAL CULTURE 1 3 1. Care of the Voice Diseases of the vocal organs come quite as much from gen- eral disturbances as from colds and sore throat. Sickness of any kind weakens the voice, and nothing so surely as a disor- dered digestion. If the voice be subjected to heavy strain when the body is in a weak condition, it tends to weaken the voice permanently. Nothing promotes vigor of vocal power so much as good health, and nothing is so essential to good health as regular habits of eating, sleeping, bathing, and exercise. Physical exercise should be vigorous, but not violent or ex- cessive. Those exercises are best which develop the chief fac- tors of good health, — (1) the heart, (2) the lungs, (3) the digestive apparatus, and (4) the nervous system. These exercises should be carried on regularly and with intelligence. The best exercise is a game of some kind, pref- erably in the open air, which keeps the mind intent on the point to be gained and not on the exercise necessary to health. The best of such games are golf and tennis. Other forms of exercise are walking, wheeling, rowing, fencing, and, what is less exhilarating, the various forms of exercise in a well-equipped gymnasium. In all these exercises the end sought should be vitality and not brawn. After vigorous exer- cise the body should not be exposed to draughts but should be allowed to assume its normal temperature gradually. The public speaker should not use the voice vigorously very soon after a meal, or in a cold room, or in the open air in raw, cold weather. The body should be warmly clothed but the neck and throat should not be too closely bound up. The very prevalent habit of drinking cold water during the progress of a speech is much to be condemned. A prominent physician says : " To drink cold water during a speech has much the same effect on the throat as pouring water on a red- hot stove." It produces congestion. 14 ESSENTIALS OF PUBLIC SPEAKING We would caution also against the habit of using troches to clear the voice. Many of them contain opiates, which for a time may stimulate the voice, but which in the end are a posi- tive injury. It is gratifying to note that educators are more fully appre- ciating the value of physical education ; and along with opportunities for mental development large, well-equipped gymnasiums and athletic fields are being provided for students and placed under the direction of men skilled in the art of phys- ical development. All such development tends to strengthen the voice. 2. Vocal Exercises In practicing the following exercises first give the phonetic sound four times and then pronounce the word containing the sound. For example, a — a — a — a — arm ; g — g — g — g — gun • p — p — p — p — pope. (i) For clearness, strength, and evenness of tone : e as in me a as in ale a as in air a " " arm a " " all " " old e " " eve oo " " ooze a " " arm 1 " " ill e " " end a " " at u. " " use u " " pull 6 " " son oi " " oil I " " isle ow " " owl (2) For development of the trachea, lary?ix, a7id pharynx : b as in bob d as in did g as in go (3) For reehforcing vibrations v as m vine j " " judge (4) For the nasal cavities : z as m zone 1 " " lull m as in mum n as in none zh as in azure r " " roar ng as in sing VOCAL CULTURE 15 (5 ) For economy of breath : p as in pope t as in tut th " " thin f " " fife ch h church k as in kick sh " " shun s " " sauce (6) For placing tone : Begin with a humming sound of — m — and glide into e-I-o-a, swelling out on the last vowel. Practice this exercise in notes of song on C, E, and G of the musical scale. Follow this drill with the sounds of a, a, a, 0, given separately with tones placed as suggested. ' (7) For range and flexibility of voice : Sound the vowels a, e, 1, 0, ii, oi, ou, up and down the scale in spoken tones, as though in question and answer, thus : Did I say a c/ or a \ ; e c/ or e \ . After using the words of the question a few times omit them and speak the vowels, thus : ac/ora \; ec/ore \, etc. In this exercise let the tone cover at least five notes of the scale. (8) For flexibility of articulating organs : b with a zh w th a k with a d " e w 1 e f " e g " i y 1 i P " i m " th ' t " n " u J « u s " u v " oi 1 ' oi ch " oi z " ou V ' ou sh " ou a. In the above table of exercises combine each consonant singly with all the vowels in the opposite column, as ba, be, bi, bo, bu, boi, bou; da, de, di, do, etc. 16 ESSENTIALS OF PUBLIC SPEAKING b. Reverse the order of exercises, combining each vowel singly with all the consonants in the opposite column, as ab, ad, ag, am, an, av, az ; eb, ed, eg, em, etc. These may be given in speech notes as in exercise (7), rising and falling on each combination. CHAPTER III PRONUNCIATION Pronunciation is the utterance in a single impulse of the elements that constitute a word. To pronounce well one must hear good pronunciation. It must become a habit, — a second nature, — and so easy as not to attract attention. The pronunciation of words is established by the usage of people of high social and intellectual culture. The dictionary is a record of that usage and should be followed by the masses. I. PHONETIC SOUNDS The phonetic sounds used in pronunciation are divided into three classes, — (1) Tonics, (2) Subtonks, and (3) Atonies. 1. Tonics are clear, open, unobstructed tones. All vowels and diphthongs are of this class, e.g. a, e, 0, ae, oi, etc. 2. Subtonics are tones modified by the articulating organs. All consonants that have tone are of this class, e.g. b, 1, m, ng, z, etc. 3. Atonies are sounds without tone. They are breath modi- fied by the articulating organs. All consonants that have no tone belong to this class, e.g. f, h, k, p, t, sh, etc. The number of phonetic sounds has been variously estimated at from forty to forty-seven, but for all practical purposes the number may be placed at forty-three, as follows : PRONUNCIATION 17 Table of English Sounds Tonics SUBTONICS Atonics a as in ale b as in bob f as in fife a " arm d did h 1 has a " all g gag k < < kick a " air J judge P ' ' pope a " ask 1 lull s ' ' sauce a " at m " mum t < tut e " e " e " eve end err n " r " V nun roar vivid sh ' ch ' th ' 1 shun ' church ' thin i " i " isle ill y " z " ng " yet zone sing " old- " do th " then " son z(zh) " azure u " tcse u " pull oi " oil ou " owl II. TIME VALUE OF SOUNDS When examined as to their quantity, the phonetic sounds are of two classes, — (1) Stofit and (2) Continuant. 1. Stopt sounds are those that may not be held profitably to any considerable extent. They are capable of slight dura- tion but are not all of the same length. For example b, d, and g are longer than p, t, and k, but not sufficiently long to be called continuants. The sounds of s and sh may be excepted occasionally for the purposes of expression, as in the hiss or the injunction to silence, when they may be prolonged to advantage. i8 ESSENTIALS OF PUBLIC SPEAKING Table of Stopt Sounds Vowels Consonants a as in at b as in bob a " ask d " did e " met g " g a g i . " it f " fife o " son h " hat u " put J " Pg k " kick P " pop s " sat t " tat th " thin ch " chat ■ sh " shtin wh " when 2. Continuant sounds are such as may be prolonged to ad- vantage. Examples : 1, m, r, v, a, a, o, I, etc. Table of Continuant Sounds Vowels Consonants a as in ale 1 as in lull a " arm m " me a " all n " nun a " air r " roe e " eve v " vie e " err w " woe i " isle y " yet " old z " zone 00 " ooze th " then u " use ng " sing oi " oil zh " azure ou " our QUALITY OF VOWEL SOUND 19 III. REQUISITES OF PRONUNCIATION In the application of the phonetic sounds in pronunciation there are four prime requisites : (1) Correct Quality of Vowel Sound, (2) Clear Articulation, (3) Correct Syllabication, and (4) Proper Accent. SECTION I. QUALITY OF VOWEL SOUND Quality of Vowel Sound is the shading given to the vowels by different positions of the articulating organs. To illustrate : there are six different qualities or sounds of a given in stand- ard dictionaries, as follows : a (ale*), a (arm), a (all), a (ask), a (air), a (at). The careful distinction given to these and other vowel sounds is the groundwork of correct pronunciation. The dialects and provincialisms heard in different sections of this and other English-speaking countries come chiefly from wrong sounding of the vowels. Defects in Vowel Quality The following are some of the most common defects in vowel quality : (1) ^(ale) is frequently modified to short Italian a (ask), with e to close, thus : day = dae. Pronounce the following with the positive long sound of the vowel : day stay gray way clay pray may fray hay play spray tray (2) Italian a (arm) is often modified to short Italian a (ask) ; to short a (at) ; to broad a (all) ; or even to flat a (air). Re- tain the Italian sound in the following : vaunt haunt launch calm daunt jaunt haunch palm gaunt stanch balm psalm 20 ESSENTIALS OF PUBLIC SPEAKING (3) Broad a (all) and its equivalent (order) are often given with Italian a (arm) ; thus thought becomes thdt. Pre- serve the broad sound. all awful sought taught call lawful thought wrought daughter straw caught fought (4) Short Italian a (ask) is often given as Italian a (arm) under the mistaken belief that the Italian #'s are of the same quality ; more often it is made short a (at), and very often a (air). Preserve the short Italian sound in the following : ask blast brass calf answer vast grass laugh after fast pass staff (5) Short a (at) is frequently sounded like one of the Italian «'s, especially by singers who find them more agreeable for song notes. Thus man and stand become man and stand. Short a before r is quite often given as short *(met). Thus marry becomes merry. Preserve the short sound in the following : and mad marry carry stand glad Harry character hand bad Harrison parasite (6) In pronouncing e, i, u, and y before r no effort need be made to distinguish between them. This conclusion is reached after careful perusal of the latest standard dictionaries. her sir urn myrrh fern stir turn myrtle mercy bird fur Hyrcan (7) Long 00 (moon) and u (rude) are often given the sound of short 00 (foot). Retain the long 00 in the following : root soon rude fruit boot noon rule brute moon roof truth rue love mother gun done flood sun blood son fun QUALITY OF VOWEL SOUND 21 (8) The equivalent sounds, o (son) and u (up), are often given the sound of o (got) ; not infrequently n.n-sin-ane hill. Till Birnam forest come to Z?z/ /z-sinane. — Ibid. The bride had consented, — the gallant came late. — Scott. (4) For dialect reading. The broken English of a Frenchman, for example, would be accented somewhat as follows : Ah, genteelmen, you come wis us. I show you beautiful, O, magnificent bust Christopher Colombo, splendid, grand, magnifi- cent . . . beautiful bust, beautiful ped'istal. . . . Discover America, discover America, O, ze devil. — Mark Twain. SECTION V. EXERCISES IN PRONUNCIATION The student should consult a standard dictionary, mark the following words diacritically, and then pronounce them repeat- edly with distinctness and accuracy : Abject, acclimate, acumen, address, adept, aeronaut, afflatus, albumen, allopathy, alternately, amenable, amenity, anchovy, ant- arctic, area, asphalt, assets, athlete, aversion, awry, banquet, bes- tial, betroth, biography, blouse, bouquet, bravado, brigand, broom, burlesque, chasten, chastisement, clangor, clematis, clique, com- peer, communist, cognomen, condolence, contumely, consummate, coterie, cyclamen, decadence, demolition, demoniacal, desperado, desuetude, deficit, disputant, divan, dolorous, donkey, dramatist, edile, equipoise, esplanade, exponent, explicable, exquisite, facet, fetish, fief, flageolet, fulsome, gaunt, granary, grimace, gratis, halibut, harass, hirsute, hypocrisy, homeopathic, ignoramus, im- placable, indicatory, industry, indissoluble, indisputable, interest- ing, intrigue, integral, inquiries, inexplicable, jocund, juvenile, EXERCISES IN PRONUNCIATION 31 lamentable, lithography, longevity, lyrist, lyceum, magazine, Ma- lay, mediocre, mischievous, millionaire, misconstrue, misanthrope, monad, molecule, museum, mustache, naked, nasal, nectarine, nepotism, nescience, nuptial, obligatory, oligarchy, obsolete, oc- cult, onerous, orotund, opponent, ordeal, overt, overseer, oxalic, organization, palmistry, parliament, pastel, paresis, pedagogue, pedagogy, pedagogical, persistent, peremptory, picturesque, quaes- tor, quay, quoit, quote, rapacious, recess, requiem, resource, re- search, revolution, ribald, rinse, romance, sagacious, salmon, sedative, seine, sinecure, spoliation, spontaneity, squalor, suffice, suit, swaths, syringe, telegraphy, thews, thither, thought, tonsil- itis, treble, tremendous, tribune, truths, tune, tympanum, ubiquity, ultimatum, umpirage, ursuline, usurer, uxoricide, vagary, vapid, vehement, verbose, viceroy, virago, virulent, vituperative, volumi- nous, wherefore, with, woman, wroth, xylophone, youths, yolk, zither, Zouave. CHAPTER IV EMPHASIS Emphasis is the special prominence given to words or phrases in relation to other parts of the sentence. It is to a clause or phrase what accent is to a word, and, when properly given, discloses the exact meaning intended. It teaches one discrimination and perspective, — to pass lightly over the unim- portant and give weight to the important parts. The significance of Emphasis is mental, emotive, or vital in response to the intellect, the feelings, or the physical activities. This special prominence given to ideas is reached through the elements of vocal expression and action, and responds sympathetically to the demands of the three natures of man. Accordingly we have named the kinds of Emphasis as follows : (1) Emphasis of Sense, (2) Emphasis of Emotion, and (3) Emphasis of Pulsation. When these divisions are classified as 32 ESSENTIALS OF PUBLIC SPEAKING to their relation to the threefold nature of man we have the following diagram : ['Sense Mental ~| Emphasis -4 Emotion Emotive I Man [Pulsation Vital J SECTION I. SENSE Emphasis of Sense is mental in nature and appeals to the intellect. It explains and intensifies the meaning of the pas- sage without addressing the feelings. It is objective in charac- ter and shows the comparative strength of words in relation to the context. Any word may become emphatic under certain conditions, but as a class, nouns, verbs, adjectives, and pronouns receive most emphasis; prepositions, conjunctions, and the article rarely receive emphasis. Law of use : When a word introduces or becomes an important part of a new idea it is emphatic. This law implies that when ideas have been expressed, or pre- supposed, words reintroducing them, except for the purpose of emphasis, are subordinated. This subordination is accomplished by passing easily and quickly over parts already brought out or taken for granted. Sentences illustrating : Let me have a country, or at least the hope of a country, and that a free country. — Webster. This question is larger than a party question. It is an American question. It is a world question. — Beveridge. At the proudest blood in Europe, the Spaniard, ... at the most warlike blood in Europe, the French, ... at the pluckiest blood in Europe, the English. — Phillips. The Divisions of Sense Emphasis are (i) Absolute, (2) An- tithetic, (3) Cumulative, and (4) Distributive. SENSE 33 i. Absolute Emphasis occurs upon the keywords of the sentence. These are the thought words which designate or particularize new ideas. In writing a telegram one uses thought words and only such connectives as are absolutely necessary for clearness. If we pronounce aloud the underscored keywords of the following sentences, without uttering the connecting particles, we will have a good understanding of the meaning to be conveyed : The King was confined in the palace of St. James, but the place selected for the scaffold was the street before the palace of Whitehall. — Goldsmith. Now, blue-eyed Saxon, proud of your race, go back with me to the commencement of the century and select what statesman you please. — Phillips. 2. In Antithetic Emphasis the new ideas are brought out by special weight on the terms contrasted. There are two divi- sions, (i) Expressed Antithesis, and (2) Implied Antithesis. (1) In Expressed Antithesis all the terms' of the contrast appear in the sentence. There may be one, two, three, and even four terms in each phrase or clause of the contrast. To illustrate : Let us be sacrificers, but not butchers. — Shakespeare. Do men gather grapes of thorns, or figs of thistles ? — Bible. Kings will be tyrants from policy, when subjects are rebels from principle. — Burke. The wounds of a sincere friend are faithful ; the kisses of a scheming foe are deceitful. — Anonymous. (2) In Implied Antithesis only one part of the contrast is expressed; the opposing terms must be mentally supplied. This form of emphasis is extremely effective because of the stimulation given the hearer to supply the contrast. To illus- trate : " Roosevelt favored the policy of reciprocity " The part to be supplied is did not oppose. If the emphasis had been placed on 34 ESSENTIALS OF PUBLIC SPEAKING the word reciprocity , the implied antithesis would have been not the policy of exclusiveness. If the word Roosevelt had been empha- sized, the part implied would have been as did others. " We all stand up against the spirit of Caesar." The idea im- plied is not against his perso7i. " I should like to speak with the gentleman of the firm." This was addressed to one member of a firm of two lawyers. The im- plication is plain, — that the man addressed was not a gentleinan. 3. Cumulative Emphasis is employed to bring out a climax. When the members of a series or climax rise in gradation, each stronger than the preceding one, progressive energy should be applied until the climax is reached. When judi- ciously used this emphasis is very effective in argument and appeal. To illustrate : There is Boston and Concord and Lexington and Bunker Hill, and there they will remain forever. — Webster. You blocks, you stones, you worse than senseless things. — Shakespeare. Pluck down benches, pluck down forms, windows, anything. — Shakespeare. 4. In Distributive Emphasis the meaning is brought out by spreading the energy over an emphatic group of words. The other forms of Emphasis are generally confined to single words in the sentence ; but occasionally two or more words of equal importance come together making an emphatic group, in which case the idea is enforced by placing the emphasis on all the words of this emphatic group. This is called Distributive Emphasis, and may be illustrated thus : America has been a great world-power for years. — Jefferson. Man dies and goes to his long home. — Anonymous. Give him orders to hang all traitors. — Anonymous. Here is the will, and under Caesar's seal : To every Roman citizen he gives, To every several man, seventy-five drachmas. — Shakespeare. EMPHASIS OF EMOTION 35 In order to determine the proper place of emphasis in a sentence one should ask what the central idea is, and what words one can least afford to dispense with. Instead of be- ginning to declaim it, think how one would say the sentence colloquially to a friend. Another effective way of finding the emphasis is by changing the words about in the sentence or by paraphrasing it. One thus ascertains the purpose of the sentence before giving expression to it. A grievous fault to guard against is excessive emphasis, which defeats its own purpose by particularizing too much. When one tries to make everything emphatic nothing is em- phatic. It is like excess of color, — there is no light and shade, no perspective. It becomes bombastic mouthing, — a strained, overdone style ; for "None emphatic can that speaker call, Who lays an equal emphasis on all," SECTION II. EMPHASIS OF EMOTION Emphasis of Emotion addresses itself to the feelings and the will. While it carries with it the sense of the passage, it is not always applied to the sense words. The emotional words re- ceive the chief emphasis. For example, in the sentence, " Must I endure all this?" the chief sense word is endure, and the chief emotional word is must. While both are strong, the emotional word takes precedence. In the following sentences the emotional words are under- scored and the sense words italicized : Have you not love enough to dear with, me ? — Shakespeare. Portia, art thou gone ? — Shakespeare. What a blunt fellow is this grown to be ! — Shakespeare. That it should come to this \ . . . Let me not think on it ! — Shakespeare. Emphasis of emotion is a law unto itself and varies with individuals and with varying moods. 36 ESSENTIALS OF PUBLIC SPEAKING SECTION III. EMPHASIS OF PULSATION Emphasis of Pulsation, or Pulsative Emphasis, is that by which a word or emotion is enforced by some bodily impulse or action. The law of pulsation is inherent in the physical organism. It manifests itself in the beating of the heart, in respiration, in walking, in running, and in all the activities of the muscular system ; hence it represents the vital nature. Its expressive character may be seen in the glance of the eye, the nod of the head, the gesture of the hand, the stamp of the foot, and the physical act of the vocal organs in the light and heavy syllables of rhythmical language. To illustrate : My answer would be a blow. — Grattan. Inhuman wretch, take that, and that, and that. — Anonymous. Methinks I see him stamp thus, and call thus, "Come on, you cowards ! " — Shakespeare. That you, at such times seeing me, never shall, with arms encumbered thus, or this head-shake . . . note that you know aught of me. — Shakespeare. The following are illustrations of the regular recurrence of pulsations in the rhythm of poetry : Her children, hid the cliffs amid, Are gambolling with the gambolling kid, Or down the walls, with tipsy calls, Laugh on the rocks like waterfalls. — Read. Come and trip it as you go On the light fantastic toe. — Milton. It should be borne in mind that action of some kind may accompany any of the forms of Emphasis. But Emphasis and expression by means of action will be discussed fully in Part III. Selections illustrating Emphasis : Note. In the following selection let the student seek out and un- derscore the strongly emphatic words ; then read the selection aloud, tripping easily and freely over unemphatic words and phrases. EMPHASIS OF PULSATION 37 THE NATIONAL FLAG Henry Ward Beecher A thoughtful mind, when it sees a nation's flag, sees not the flag, but the nation itself. When the French tricolor rolls out to the wind, we see France. When the new-found Italian flag is unfurled, we see unified Italy. When the united crosses of St. Andrew and St. George, on a fiery ground, set forth the banner of old Eng- land, we see not the cloth merely ; there rises up before the mind the idea of that great monarchy. This nation has a banner, too; and wherever this flag comes, and men behold it, they see in its sacred emblazonry no ramping lion and no fierce eagle, no embattled castles or insignia of imperial authority ; they see the symbols of light. It is the banner of dawn. It means liberty; and the galley slave, the poor, oppressed conscript, the trodden-down creature of foreign despotism, sees in the Amer- ican flag the very promise of God. If one, then, asks me the meaning of our flag, I say to him : It means just what Concord and Lexington meant, what Bunker Hill meant. It means the whole glorious Revolutionary War. It means all that the Declaration of Independence meant. It means all that the Constitution of our people, organizing for justice, for liberty, and for happiness, meant. Our flag carries American ideas, American history, and Amer- ican feelings. Beginning with the colonies, and coming down to our time, in its sacred heraldry, in its glorious insignia, it has gath- ered and stored chiefly this supreme idea : divine right of liberty in man. Every color means liberty ; every thread means liberty ; every form of star and beam or stripe of light means liberty — not lawlessness, not license, but organized, institutional liberty — liberty through law, and laws for liberty ! This American flag was the safeguard of liberty. Not an atom of crown was allowed to go into its insignia. Not a symbol of authority in the ruler was permitted to go into it. It was an ordinance of liberty by the people for the people. That it meant, that it means, and, by the blessing of God, that it shall mean to the end of time ! 38 ESSENTIALS OF PUBLIC SPEAKING Under this banner rode Washington and his armies. Before it Burgoyne laid down his arms. It waved on the highlands at West Point. When Arnold would have surrendered these valuable for- tresses and precious legacies, his night was turned into day and his treachery was driven away by the beams of light from this starry banner. It cheered our army, driven out from around New York, and in their painful pilgrimages through New Jersey. In New Jersey, more than in almost every other state, grows the trailing arbutus. May I not think it is sacred drops of Pilgrim blood that come forth in beauteous flowers on this sandiest of soils ? For this sweet blos- som that lays its cheek on the very snow is the true Pilgrim's May- flower I This banner streamed in light over the soldiers' heads at Valley Forge and at Morristown. It crossed the waters rolling with ice at Trenton, and when its stars gleamed in the cold morning with victory, a new day of hope dawned on the despondency of this nation. Our states grew up under it. And when our ships began to swarm upon the ocean to carry forth our commerce, and Great Britain arrogantly demanded the right to intrude her search warrants upon American decks, then up went the lightning flag, and every star meant liberty and every stripe streamed defiance. The gallant fleet of Lake Erie — have you forgotten it ? The thunders that echoed to either shore were overshadowed by this broad ensign of our American liberty. Those glorious men that went forth in the old ship Constitution carried this banner to battle and to victory. The old ship is alive yet. Bless the name, bless the ship, bless her historic memory, and bless the old flag that waves over her yet ! How glorious, then, has been its origin ! How glorious has been its history ! How divine is its meaning ! Accept it in all its fullness of meaning. It is not a painted rag. It is a whole national history. It is the Constitution. It is the government ; and for the sake of its ideas rather than its mere emblazonry, be true to your country's flag. Note. In the selection which follows the rhythmical impulses of Pulsative Emphasis are especially illustrated. EMPHASIS OF PULSATION 39 THE LAST LEAF Oliver Wendell Holmes I saw him once before, As he passed by the door ; And again The pavement-stones resound As he totters o'er the ground With his cane. They say that in his prime, Ere the pruning-knife of time Cut him down, Not a better man was found By the crier on his round Through the town. But now he walks the streets, And he looks at all he meets So forlorn ; And he shakes his feeble head, That it seems as if he said, "They are gone." The mossy marbles rest On the lips that he has press'd In their bloom ; And the names he loved to hear Have been carved for many a year On the tomb. My grandmamma has said — Poor old lady ! she is dead Long ago — That he had a Roman nose, And his cheek was like a rose In the snow. But now his nose is thin, And it rests upon his chin Like a staff ; And a crook is in his back, And a melancholy crack In his laugh. I know it is a sin For me to sit and grin At him here ; But the old three-corner'd hat And the breeches, and all that, Are so queer ! And if I should live to be The last leaf upon the tree In the spring, Let them smile, as I do now, At the old forsaken bough Where I cling. PART II THE ELEMENTS OF VOCAL EXPRESSION "An Element," says Webster, "is one of the essential parts or principles upon which the fundamental powers of anything are based." The notes of the song bird and the roar of the mountain storm, so different in significance, accord with na- ture's elements of expression. These elements are as old as nature itself. The principles of man's vocal art are no less traceable to nature, — the original source from which we must draw our knowledge of applied elocution. All the elements of elocution herein set forth are heard in the sounds of nature, and we must learn to use them correctly if we would be natural in public speech. Furthermore, there is a close relation be- tween these elements and the triune nature of man previously discussed (Part I, p. 4), so that each element has its foundation in our inward consciousness as well as in the external realms of nature. There are four fundamental vocal elements, — (1) Time, (2) Quality, (3) Force, and (4) Pitch. Briefly denned, Time is the duration of utterance ; Quality is the kind of sound ; Force is the power with which sound is emitted ; and Pitch is the elevation or depression of the notes on the scale. These are essential to all utterance, since no sound can be made that does not embody all of them, while in their various modifications and combinations every shade of expression can be traced. As a tabular view of all the vocal elements and their triune relation, and for use as a reference page as each element is discussed, we subjoin the following diagram : 40 VOCAL ELEMENTS 41 Pause Rhetorical. TIME- (Vital) Quantity. Movement. Lc-ng_ -MAN H W w w J< u o > w E H I Normal \ Orotund__- jOral > QUALITY-/ Nasal _.V_: «■— » a? /PectoraL.r ( Aspirate— - Form (Emotive) -Mental___ i^Ttal --Es^MAN r£=i.Emotive FORCE— (Vital) Degree. (Vital) Stress (Mental) Degree — (Emotive) I Effusive.... Expulsive _ Explosive.. ( Subdued__ ■I Moderated / Energetic, - Radical j CompouncC-1 Median,—-- Final,—— -' Thorougfilr; ^Intermittent. High_ Middle. Low.—- .Emotive -Mental \ -Vital „ \ \ : Vital . .Mental,-'''',-;; • Emotive-''',"'' : *»MAN »,Vital." .Emotive PITCH,../ (Mental) ' Change... (Mental) Inflections- cental) Waves- (Vital) Intervals — (Emotive) Current- Melody- (Vital) "{ Fallil|-:=- Men tal\ /Single ) \ Double > Vital Continued I \ \ -I Equal ) \ V ) Unequal ( Emotive^\\ / Direct > "l^MAN I Inverted ( Mental-" / / ^Semitones,. _ ff Seconds,- -> Emotlv ^ ■< Thirds.__ll%Mental«* / Fifths.."'' lOctavesl1~--yital/ (Chromatic— Emotive Diatonic.— .Mental N Broken Vital \\ Cadence— C Monad. Duad„ X - o 3 Slow 3 Syllables • • • Moderate 9 « Rapid i5 « Slow. Fare thee well ! Moderate. She was conquered by her own factions. Rapid. Through his ear the summons stung As if a battle-trump had rung. One great cause of monotony in delivery is the lack of variety in Movement. This is so simple an element that it often escapes the attention of the student. It demands the 66 ESSENTIALS OF PUBLIC SPEAKING greatest care until the habit of changing the speed to suit the changes of sentiment becomes fixed. The much-quoted injunc- tion of the great Mrs. Siddons to all aspiring readers, "Take time," is often misconstrued into "Read slowly," and applied to all kinds of reading; but, while one should "take time" and give the proper Quantity to the expressive words of the sentence, the utterance of the unimportant words may be rapid. In other words, the rate of Movement should change with every change of thought or emotion. The criticism, " You speak too fast," is usually a criticism upon articulation which has failed to keep pace with the Movement. Not many persons read or speak too rapidly ; Rapid Movement, even in pathos or solemnity, is generally pleasing if the articulation is clear and sufficient Time is given to the emotional words. Illustrative Selections. Note. In Slow Movement the Pauses and Quantities will necessarily be long, in Moderate Movement they will be of ordinary length, and in Rapid Movement of short duration. The variations will of course depend upon the states of feeling expressed. (i) Selection for Slow Movement. THE BURIAL OF MOSES C. F. Alexander By Nebo's lonely mountain, on this side Jordan's wave, In a vale in the land of Moab, there lies a lonely grave ; But no man dug that sepulcher, and no man saw it e'er, For the angels of God upturned the sod, and laid the dead man there. That was the grandest funeral that ever passed on earth ; But no man heard the tramping, or saw the train go forth ; Noiselessly as the daylight comes when the night is done, And the crimson streak on ocean's cheek grows into the great sun, — MOVEMENT 6? Noiselessly as the springtime her crown of verdure weaves, And all the trees on all the hills open their thousand leaves, — So, without sound of music, or voice of them that wept, Silently down from the mountain crown the great procession swept. Lo ! when the warrior dieth, his comrades in the war, With arms reversed, and muffled drum, follow the funeral car. They show the banners taken, they tell his battles won, And after him lead his masterless steed, while peals the minute gun. Amid the noblest of the land men lay the sage to rest, And give the bard an honored place with costly marble dressed, In the great minster transept, where lights like glories fall, And the sweet choir sings, and the organ rings, along the embla- zoned wall. This was the bravest warrior that ever buckled sword ; This the most gifted poet that ever breathed a word ; And never earth's philosopher traced, with his golden pen, On the deathless page, truths half so sage, as he wrote down for men. And had he not high honor, the hillside for his pall ; To lie in state while angels wait with stars for tapers tall ; And the dark rock pines, like tossing plumes, over his bier to wave ; And God's own hand, in that lonely land, to lay him in the grave ? Oh, lonely tomb in Moab's land, oh, dark Beth-peor's hill, Speak to these curious hearts of ours, and teach them to be still. God hath his mysteries of Grace — ways that we cannot tell ; He hides them deep, like the secret sleep of him he loved so well (2) Selection for Moderate Movement. ELEMENTS OF NATIONAL WEALTH James G. Blaine The territory which we occupy is at least three million square miles in extent, within a fraction as large as the whole of Europe. The state of Texas alone is equal in area to the empire of France 68 ESSENTIALS OF PUBLIC SPEAKING and the kingdom of Portugal united ; and yet these two monarchies support a population of forty millions, while Texas has but six hun- dred thousand inhabitants. The land that is still in the hands of the government, not sold or even preempted, amounts to a thousand million of acres, — an extent of territory thirteen times as large as Great Britain, and equal in area to all the kingdoms of Europe, Russia and Turkey alone excepted. Combined with this great expanse of territory, we have facili- ties for the acquisition and consolidation of wealth — varied, mag- nificent, immeasurable. The single state of Illinois, cultivated to its capacity, can produce as large a crop of cereals as has ever been grown within the limits of the United States, while Texas, if peopled but half as densely as Maryland even, could give an annual return of cotton larger than the largest that has ever been grown in all the southern states combined. Our facilities for commerce and exchange, both domestic and foreign, — who shall measure them ? Our oceans, our vast inland seas, our marvelous flow of navigable streams, our canals, our net- work of railroads more than thirty thousand miles in extent, — these give us avenues of trade and channels of communication both natural and artificial such as no other nation has ever enjoyed. Our mines of gold and silver and iron and copper and lead and coal, with their untold and unimaginable wealth, spread over mil- lions of acres of territory, in the valley, on the mountain side, along rivers, yielding already a rich harvest, are destined yet to increase a thousandfold, until their everyday treasures, . . . familiar grown, Shall realize Orient's fabled dream. These are the great elements of material progress, and they comprehend the entire circle of human enterprise, — agriculture, commerce, manufactures, mining. They give into our hands, under the blessing of Almighty God, the power to command our fate as a nation. They hold out to us the grandest future reserved for any people ; and with this promise they teach us the lesson of patience, and render patience and fortitude a duty. With such amplitude and affluence of resources, and with such a vast stake at issue, we should be unworthy of our lineage and MOVEMENT 69 our inheritance if we for one moment distrusted our ability to main- tain ourselves a united people, with "one country, one constitution, one destiny." (3) Selection for Rapid Movement. THE BOAT RACE, FROM "TOM BROWN AT OXFORD" Thomas Hughes The crew had just finished their early dinner. Hark ! the first gun ! The St. Ambrose crew fingered their oars, put a last dash of grease on their rowlocks, and settled their feet against the stretchers. "Shall we push her off?" asked "bow." "No, I can give you another minute," said the coxswain, who was sitting, watch in hand, in the stern ; "only be smart when I give the word. Eight seconds more only. Look out for the flash. Remember, all eyes in the boat." There it comes, at last — the flash of the starting gun. Long before the sound of the report can roll up the river the whole pent- up life and energy which has been held in leash, as it were, for the last six minutes is let loose, and breaks away with a bound and a dash which he who has felt it will remember for his life, but the like of which will he ever feel again? The starting ropes drop from the coxswain's hands, the oars flash into the water, and gleam on the feather, the spray flies from them, and the boats leap forward. The crowds on the bank scatter and rush along, each keeping as near as it may be to its own boat. Some of the men on the towing path, some on the very edge of, often in, the water — some slightly in advance, as if they could help to drag their boat forward — some behind, where they can see the pulling better — but all at full speed, in wild excitement, and shouting at the top of their voices to those on whom the honor of the college is laid. "Well pulled, all !" "Pick her up there, five !" "You're gaining, every stroke !" "Time in the bows!" "Bravo, St. Ambrose!" On they rushed by the side of the boats, jostling one another, stumbling, struggling, and panting along. JO ESSENTIALS OF PUBLIC SPEAKING For the first ten strokes Tom Brown was in too great fear of making a mistake to feel or hear or see. His whole soul was glued to the back of the man before him, his one thought to keep time, and get his strength into the stroke. But as the crew settled down into the well-known long sweep, consciousness returned. While every muscle in his body was straining, and his chest heaved, and his heart leaped, every nerve seemed to be gathering new life and his senses to wake into unwonted acuteness. He caught the scent of the wild thyme in the air, and found room in his brain to wonder how it could have got there, as he had never seen the plant near the river or smelt it before. Though his eye never wandered from the back of the man in front of him, he seemed to see all things at once ; and amid the Babel of voices, and the dash and pulse of the stroke, and the laboring of his own breathing, he heard a voice coming to him again and again, and clear as if there had been no other sound in the air : " Steady, two ! steady! well pulled ! steady, steady ! " The voice seemed to give him strength and keep him to his work. And what work it was ! he had had many a hard pull in the last six weeks, but "never aught like this." But it can't last forever; men's muscles are not steel, or their lungs bull's hide, and hearts can't go on pumping a hundred miles an hour long without bursting. The St. Ambrose's boat is well away from the boat behind. There is a great gap between the accompanying crowds. And now, as they near the Gut, she hangs for a moment or two in hand, though the roar from the banks grows louder and louder, and Tom is already aware that the St. Ambrose crowd is melting into the one ahead of them. " We must be close to Exeter ! " The thought flashes into him and into the rest of the crew at the same moment. For, all at once, the strain seems taken off their arms again. There is no more drag. She springs to the stroke as she did at the start ; and the coxswain's face, which had darkened for a few seconds, light- ens up again. "You're gaining ! you're gaining !" now and then he mutters to the captain, who responds with a look, keeping his breath for other matters. Isn't he grand, the captain, as he comes forward like lightning, stroke after stroke, his back flat, his teeth set, MOVEMENT 71 his whole frame working from the hips with the steadiness of a machine ? As the space still narrows, the eyes of the fiery little coxswain flash with excitement. The two crowds are mingled now, and no mistake ; and the shouts come all in a heap over the water. " Now, St. Ambrose, six strokes more !" " Now, Exeter, you're gaining ; pick her up !" " Mind the Gut, Exeter!" "Bravo, St. Ambrose !" The water rushes by, still eddying from the strokes of the boat ahead. Tom fancies now he can hear the voice of their coxswain. In another moment both boats are in the Gut, and a storm of shouts reaches them from the crowd. "Well steered, well steered, St. Ambrose!" is the cry. Then the coxswain, motionless as a statue till now, lifts his right hand and whirls the tassel round his head : " Give it her now, boys ; six strokes and we are into them ! " And while a mighty sound of shouts, murmurs, and music went up into the evening sky, the coxswain shook the tiller ropes again, the captain shouted, "Now, then, pick her up!" and the St. Am- brose boat shot up between the swarming banks at racing pace to her landing place, the lion of the evening. (4) Selection for all Movements. Note. It is suggested that the student make a close study of the following selection and read it aloud for the instructor, observing the changes in the rate of Movement suggested by the context. Such prac- tice will soon fix the habit of a correct use of this principle. THE LEPER N. P. Willis " Room for the leper ! Room ! " and as he came The cry passed on. " Room for the Leper ! Room ! " And aside they stood — Matron, and child, and pitiless manhood — all Who met him on the way — and let him pass. And onward through the open gate he came, A leper with the ashes on his brow. Sackcloth about his loins, and on his lip 72 ESSENTIALS OF PUBLIC SPEAKING A covering -— stepping painfully and slow, And with difficult utterance, like one Whose heart is with an iron nerve put down, Crying, " Unclean ! unclean!" For Helon was a leper. Day was breaking, When at the altar of the temple stood The holy priest of God. The incense lamp Burned with a struggling light, and a low chant Swelled through the hollow arches of the roof, Like an articulate wail ; and there, alone, Wasted to ghastly thinness, Helon knelt. The echoes of the melancholy strain Died in the distant aisles, and he rose up, Struggling with weakness ; and bowed down his head Unto the sprinkled ashes, and put off His costly raiment for the leper's garb, And with the sackcloth round him, and his lip Hid in the loathsome covering, stood still, Waiting to hear his doom : " Depart ! depart, O child Of Israel, from the temple of thy God ! For he has smote thee with his chastening rod, And to the desert wild, From all thou lov'st, away thy feet must flee, That from thy plague his people may be free. " Depart ! and come not near The busy mart, the crowded city more ; Nor set thy foot a human threshold o'er ; And stay thou not to hear Voices that call thee in the way ; and fly From all who in the wilderness pass by. "Wet not thy burning lip In streams that to a human dwelling glide; MOVEMENT 73 Nor rest thee where the covert fountains hide ; Nor kneel thee down to dip The water where the pilgrim bends to drink, By desert well, or river's grassy brink. "And pass thou not between The weary traveler and the cooling breeze ; And lie not down to sleep beneath the trees Where human tracks are seen. Nor milk the goat that browseth on the plain, Nor pluck the standing corn, or yellow grain. " And now depart ! and when Thy heart is heavy, and thine eyes are dim, Lift up thy prayer beseechingly to Him Who, from the tribes of men, Selected thee to feel his chastening rod : Depart, O leper ! and forget not God." And he went forth, — alone ! Not one of all The many whom he loved, nor she whose name Was woven in the fibers of the heart, Breaking within him now, to come and speak Comfort unto him. Yea, he went his way, — Sick and heartbroken, and alone, — to die ! For God had cursed the leper. It was noon, And Helon knelt beside a stagnant pool In the lone wilderness, and bathed his brow, Hot with the burning leprosy, and touched The loathsome water to his fevered lips, Praying he might be so blest, — to die ! Footsteps approached, and with no strength to flee, He drew the covering closer on his lip, Crying, " Unclean ! unclean ! " and in the folds Of the coarse sackcloth, shrouding up his face, He fell upon the earth till they should pass. Nearer the stranger came, and bending o'er 74 ESSENTIALS OF PUBLIC SPEAKING The leper's prostrate form, pronounced his name, "Helon ! " The voice was like the master tone Of a rich instrument, — most strangely sweet ; And the dull pulses of disease awoke, And for a moment beat beneath the hot And leperous scales with a restoring thrill. "Helon, arise !" And he forgot his curse, And rose and stood before him. Love and awe Mingled in the regard of Helon's eye As he beheld the stranger. He was not In costly raiment clad, nor on his brow The symbol of a princely lineage wore ; No followers at his back, nor in his hand Buckler, sword, or spear ; yet in his mien Command sat throned serene, and if he smiled, A kingly condescension graced his lips, The lion would have crouched to in his lair. His garb was simple and his sandals worn ; His statue modeled with a perfect grace ; His countenance, the impress of a God, Touched with the open innocence of a child ; His eye was blue and calm, as is the sky In the serenest noon ; his hair unshorn Fell to his shoulders ; and his curling beard The fullness of perfected manhood bore. He looked on Helon earnestly awhile, As if his heart was moved, and, stooping down, He took a little water in his hand And laid it on his brow, and said, "Be clean !" And lo ! the scales fell from him, and his blood Coursed with delicious coolness through his veins, And his dry palms grew moist, and on his brow The dewy softness of an infant stole. His leprosy was cleansed, and he fell down Prostrate at Jesus' feet, and worshiped him. QUALITY 75 CHAPTER VI QUALITY Quality is the kind or character of sound, — the purity or impurity of voice. This vocal element is easily recognized in various voices and is peculiar to each individual. We soon learn to know a person by the sound of his voice. A child's voice, a woman's voice, a man's voice, or the voice of a dog, a horse, or a song bird are essentially different in Quality because of the size and shape of the vocal organs of each. Our states of mind and feeling are shown in these Qualities. If we say "Good morning," in a pleasant, happy frame of mind ; then utter the words, "Oh ! I'm so tired," in a weary, languid manner; then give the words, "I hate you!" in an angry mood ; then whisper the secret injunction, " Boys, be still"; and lastly, if we scream, under the influence of fright or terror, we easily recognize different Qualities of voice. A distinguishing characteristic of each Quality is its reso- nance, which is the strengthening or reenforcing of vibrations in the cavities of the head, throat, and chest. Repeat the words of Darius Green, "The birds can fly and why can't I ?" in a nasal, twanging tone ; then utter in a peaceful, tranquil manner, "How sweet the moonlight sleeps upon this bank"; then give in a bold, patriotic way the sentence, "Thou too sail on, O Ship of State ! Sail on, O Union, strong and great !"; and lastly, speak in a deep, hollow, sepulchral tone the words "'Tis midnight's holy hour"; and we clearly detect a deep- ening of the resonance from the first to the last quotation. It will be seen, then, that we have the power to change resonance at will, and, by this process, change the Quality of voice in a natural and effective way. This may be likened to the stops of the pipe organ, by which the musician changes the Quality of the tone, though the key, time, and melody remain unchanged. The reader, like the organist, must "know his stops." j6 ESSENTIALS OF PUBLIC SPEAKING Every person at any period of life has a normal, predomi- nant Quality of voice and seven other distinct Qualities in various stages of development ; these are technically called, (i) Normal, (2) Orotund, (3) Oral, (4) Nasal, (5) Falsetto, (6) Guttural, (7) Pectoral, and (8) Aspirate. Relation to Man's Triune Nature. We have seen that Quality, broadly speaking, represents the Emotive nature of man ; but a closer analysis reveals the fact that each Quality responds more especially to some one , T . or two of our three na- Normal.. \ Orotund .--"-- :: ""' Mental J tures. These relations Oral.. ^ \ / are shown in the follow- m \l.tv < Nasal ~- :::v ^vitai )man in § diagram, and will be x Falsetto V>' Guttural.^' Pectoral !Tl;-_v Emotive more fully explained as each Quality is studied Aspirate,--" / and illustrated. Note. The Qualities of voice are no more difficult to learn nor less practical in application than the essential elements of any other science prescribed in a curriculum. In fact, it has been shown that every stu- dent is already in possession of them, but, like all other powers, they need cultivation and intelligent application so that the speaker may use them correctly, effectively, and unconsciously while speaking. The teacher will understand that any given Quality of one voice may be quite unlike that of another voice ; the care will be to. have each stu- dent make his own Qualities at their best. The secret of successful use of these and all elements of expression lies in the practice of them with a full realization of the sentiments or emotions they imply. SECTION I. NORMAL QUALITY The Normal is the ordinary, predominant Quality of voice peculiar to each individual. It is the basis of all the other Qualities, each of which is some modification of or variation from the Normal. A speaker's Normal may be very harsh and NORMAL QUALITY yy impure, yet it is no less his own habitual tone. The most agreeable and effective Normal is pure in Quality ; the vibra- tions of the vocal cords are smooth and even, the resonance is in the upper and back part of the mouth, and there is but little escape of unvocalized breath. In the sounds of nature this Quality is heard in the rippling brook, the song of birds, the prattle and laughter of children, and in the common conversation of all peoples. It belongs to the Mental division of man's triune nature because it is the natural expression of our ordinary thoughts and moods when we are not influenced by any unusual restraint or strong emotion. It is used then to express ordinary thought and emotion such as solemnity, tranquillity, mild pathos, conversation, didactic thought, gladness, joy, mirth, and laughter. The use of a pure Normal is an economic method, for it has greater carrying power than any other Quality, requires less effort and less expenditure of breath, and is more easily heard by the audience, to say nothing of the pleasing impression of a good voice. To acquire it, practice on the vowel sounds, use a pure Normal habitually in conversation, and, with a full reali- zation of the sentiment, read aloud or recite such selections as the following : Selection illustrating Normal Quality. Note. When the illustrative selection contains a great predomi- nance of the element under consideration, the lines are unmarked; but when a few words of the selection illustrate the particular element in question they will be underscored. A SECOND TRIAL Sarah Winter Kellogg It was Commencement at one of our colleges. The people were pouring into the church as I entered it, rather tardy. Finding the choice seats in the center of the audience room already taken, I yS ESSENTIALS OF PUBLIC SPEAKING pressed forward, looking to the right and to the left for a vacancy. On the very front row of seats I found one. Here a little girl moved along to make room for me, looking into my face with large gray eyes, whose brightness was softened by very long lashes. Her face was open and fresh as a newly blown rose before sunrise. Again and again I found my eyes turning to the roselike face, and each time the gray eyes moved, half smiling, to meet mine. Evidently the child was ready to "make up" with me. And when, with a bright smile, she returned my dropped hand- kerchief, and I said, "Thank you!" we seemed fairly introduced. Other persons, now coming into the seat, crowded me quite close up against the little girl, so that we soon felt very well acquainted. "There's going to be a great crowd," she said to me. "Yes," I replied; "people always like to see how school boys are made into men." Her face beamed with pleasure and pride as she said : " My brother's going to graduate; he's going to speak; I've brought these flowers to throw to him." They were not greenhouse favorites ; just old-fashioned domestic flowers, such as we associate with the dear grandmothers ; " but," I thought, "they will seem s*weet and beautiful to him for little sister's sake. " "That is my brother," she went on, pointing with her nosegay. "The one with the light hair?" I asked. "Oh, no," she said, smiling and shaking her head in innocent reproof; "not that homely one; that handsome one with brown wavy hair. His eyes look brown, too ; but they are not — they are dark blue. There ! he's got his hand up to his head now. You see him, don't you ?" In an eager way she looked from me to him, and from him to me, as if some important fate depended upon my identifying her brother. "I see him," I said. "He's a very good-looking brother." "Yes, he is beautiful," she said, with artless delight; "and he's so good, and he studies so hard. He has taken care of me ever since mamma died. Here is his name on the programme. He is not the valedictorian, but he has an honor, for all that." NORMAL QUALITY 79 I saw in the little creature's familiarity with these technical col- lege terms that she had closely identified, herself with her brother's studies, hopes, and successes. "His oration is a real good one, and he says it beautifully. He has said it to me a great many times. 1 'most know it by heart. Oh ! it begins so pretty and so grand. This is the way it begins," she added, encouraged by the interest she must have seen in my face: "'Amid the permutations and combinations of the actors and the forces which make up the great kaleidoscope of history, we often find that a turn of Destiny's hand — ' " "Why, bless the baby!" I thought, looking down into her bright, proud face. I can't describe how very odd and elfish it did seem to have those big words rolling out of the smiling, childish mouth. As the exercises progressed, and approached nearer and nearer the effort on which all her interest was concentrated, my little friend became excited and restless. Her eyes grew larger and brighter, two deep red spots glowed on her cheeks. "Now, it's his turn," she said, turning to me a face in which pride and delight and anxiety seemed about equally mingled. But when the overture was played through, and his name was called, the child seemed, in her eagerness, to forget me and all the earth beside him. She rose to her feet and leaned forward for a better view of her beloved, as he mounted to the speaker's stand. I knew by her deep breathing that her heart was throbbing in her throat. I knew, too, by the way her brother came up the steps and to the front that he was trembling. The hands hung limp ; his face was pallid, and the lips blue as with cold. I felt anxious. The child, too, seemed to discern that things were not well with him. Some- thing like fear showed in her face. He made an automatic bow. Then a bewildered, struggling look came into his face, then a helpless look, and then he stood staring vacantly, like a somnambulist, at the waiting audience. The moments of painful suspense went by, and still he stood as if struck dumb. I saw how it was ; he had been seized with stage fright. Alas! little sister! She turned her large, dismayed eyes upon me. "He's forgotton it," she said. Then a swift change came 80 ESSENTIALS OF PUBLIC SPEAKING into her face ; a strong, determined look ; and on the funeral-like silence of the room broke the sweet, brave child-voice: "'Amid the permutations and combinations of the actors and the forces which make up the great kaleidoscope of history, we often find that a turn of Destiny's hand — '" Everybody about us turned and looked. The breathless silence ; the sweet, childish voice ; the childish face ; the long, unchildlike words, produced a weird effect. But the help had come too late ; the unhappy brother was already staggering in humiliation from the stage. The band quickly struck up, and waves of lively music rolled out to cover the defeat. I gave the little sister a glance in which I meant to show the intense sympathy I felt ; but she did not see me. Her eyes, swim- ming with tears, were on her brother's face. I put my arm around her, but she was too absorbed to heed the caress, and before I could appreciate her purpose, she was on her way to the shame- stricken young man sitting with a face like a statue's. When he saw her by his side the set face relaxed, and a quick mist came into his eyes. The young men got closer together to make room for her. She sat down beside him, laid her flowers on his knee, and slipped her hand in his. I could not keep my eyes from her sweet, pitying face. I saw her whisper to him, he bending a little to catch her words. Later, I found out that she was asking him if he knew his "piece" now, and that he answered " Yes." When the young man next on the list had spoken, and while the band was playing, the child, to the brother's great surprise, made her way up the stage steps, and pressed through the throng of professors and trustees and distinguished visitors, up to the college president. "If you please, sir," she said with a little courtesy, "will you and the trustees let my brother try again? He knows his piece now." For a moment the president stared at her through his gold- bowed spectacles, and then, appreciating the child's petition, he smiled on her, and went down and spoke to the young man who had failed. OROTUND QUALITY 8 I So it happened that when the band had again ceased playing, it was briefly announced that Mr. would now deliver his oration, "Historical Parallels." A ripple of heightened and expectant interest passed over the audience, and then all sat stone still, as though fearing to breathe lest the speaker might again take fright. No danger ? The hero in the, youth was aroused. He went at his "piece" with a set pur- pose to conquer, to redeem himself, and to bring the smile back into the child's tear-stained face. I watched the face during the speaking. The wide eyes, the parted lips, the whole rapt being said that the breathless audience was forgotten, that her spirit was moving with his. And when the address was ended with the ardent abandon of one who catches enthusiasm in the realization that he is fighting down a wrong judgment and conquering a sympathy, the effect was really thrilling. That dignified audience broke into rapturous applause ; bouquets intended for the valedictorian rained like a tempest. And the child, the child who had helped to save the day, — that one beaming little face, in its pride and gladness, is something to be forever remembered. SECTION II. OROTUND QUALITY The Orotund is a clear, smooth, voluminous Quality, the resonance of which is in the upper part of the chest. It has the purity of the Normal but is larger in volume and greater in strength. As a manifestation of our being it carries all the mentality of the Normal with the added vitality of this the strongest of Qualities; so it represents both the Mental and Vital natures. It is heard in nature in the roar of the ocean, the sound of thunder, the booming of distant cannon, and the low, deep tones of the pipe organ. As an agent of expression it is used to convey thoughts and emotions of a sublime and lofty nature, such as reverence, sublimity, grandeur, patriotism, lofty oratorical thought, courage, defiance, and alarm. 82 ESSENTIALS OF PUBLIC SPEAKING The acquisition of this Quality adds greatly to the powers of the speaker who would reach the strong climaxes of impassioned oratory. Like all other elements, it must be employed only in the utterance of its appropriate sentiments. Most speakers need to cultivate this Quality. To produce it one should keep in mind grand and lofty thoughts, open wide the cavities of the pharynx, larynx, and chest, and so project and reflect the sound that it shall be clear and full and especially reenforced by the resonant vibrations of the upper chest. Selection illustrating the Orotund. Note. As conceptions of the lines of any selection differ, so the rendition of readers must differ; but it will generally be agreed that the greater part of the following poem will be most appropriately given in Orotund Quality. BATTLE HYMN OF THE REPUBLIC Julia Ward Howe Mine eyes have seen the glory of the coming of the Lord ; He is trampling out the vintage where the grapes of wrath are stored ; He hath loosed the fateful lightning of his terrible swift sword : His truth is marching on. I have seen Him in the watch fires of a hundred circling camps ; They have builded Him an altar in the evening dews and damps ; I can read His righteous sentence by the dim and flaring lamps : His day is marching on. I have read a fiery gospel writ in burnished rows of steel : "As ye deal with my contemners, so with you my grace shall deal ; Let the hero born of woman crush the serpent with his heel, Since God is marching on." He hath sounded forth the trumpet that shall never call retreat, He is sifting out the hearts of men before His judgment seat. Oh ! be swift, my soul, to answer Him ! Be jubilant my feet ! Our God is marching on. ORAL QUALITY 83 In the beauty of the lilies Christ was born across the sea, With the glory in his bosom that transfigures you and me ; As He died to make men holy let us die to make men free, While God is marching on. SECTION III. ORAL QUALITY The Oral is a thin, feeble Quality, with the resonance in the forward part of the mouth. It is the opposite of the Orotund in strength, resonance, and significance, and is produced by a weak projection of breath, a feeble vibration of the vocal cords, and a shallowness of the resonant cavities. In fact, it is the physical result of feebleness or exhaustion, and always repre- sents a low state of inherent or exerted vitality ; therefore it logically belongs to the Vital division of our triune nature. It is heard in nature in the voice of a human being or lower animal when exhausted by sickness or fatigue. It is used generally in an impersonative sense to express sickness, feeble- ness, idiocy, timidity, languor, and fatigue. The Oral wrongly used, or as a fixed habit of voice, becomes a serious fault in expression, and as such should be avoided ; but its correct use in the portrayal of the above-named condi- tions is unmistakable. Selection illustrating Oral Quality. Note. The impersonative parts of the following selection should be read with different degrees of Oral Quality. Strive for a weak, thin tone in this impersonation. THE OCEAN BURIAL Captain William H. Saunders, U.S.A. "O, bury me not in the deep, deep sea ! " These words came low and mournfully From the pallid lips of a youth who lay On his cabin couch, at the close of day. 84 ESSENTIALS OF PUBLIC SPEAKING He had wasted and pined, 'till o'er his brow The death-shade had slowly pass'd ; and now, When the land and his fond-loved home were nigh, They had gather'd around to see him die. "O, bury me not in the deep, deep sea, Where the billowy shroud will roll over me, Where no light will break through the dark cold wave, And no sunbeam rest upon my grave ! It matters not, I have oft been told, Where the body shall lie when the heart is cold ; Yet grant ye, O, grant ye this one boon to me, O, bury me not in the deep, deep sea ! "For in fancy I've listen'd to the well-known words, The free wild winds, and the songs of the birds ; I have thought, of home, of cot and bower, And of scenes that I loved in childhood's hour : I have even hoped to be laid, when I died, In the churchyard there, on the green hillside ; By the bones of my fathers my grave should be : O, bury me not in the deep, deep sea. "Let my death slumbers be where a mother's prayer And a sister's tear shall be mingled there : O, 'twill be sweet, ere the heart's throb is o'er, To know, when its fountains shall gush no more, That those it so fondly hath yearn'd for will come To plant the first wild flowers of spring on my tomb ; Let me lie where those loved ones will weep o'er me : O, bury me not in the deep, deep sea. "And there is another; her tears would be shed For him who lay far in the deep ocean bed : In hours that it pains me to think of now, She hath twined these locks and hath kiss'd this brow : In the hair she hath wreathed shall the sea snake hiss, And the brow she hath press'd shall the cold wave kiss? NASAL QUALITY 85 For the sake of the bright one that waiteth for me, O, bury me not in the deep, deep sea. "She hath been in my dreams," — his voice fail'd there. They gave no heed to his dying prayer ; They lower'd him slow o'er the vessel's side ; Above him has closed the dark, cold tide, Where to dip their light wings the sea-fowls rest, Where the blue waves dance o'er the ocean's crest, Where billows bound, and the winds sport free : They have buried him there in the deep, deep sea. SECTION IV. NASAL QUALITY The Nasal is an impure, twanging head tone, with the reso- nance in the front nasal cavities. It is made by lowering the soft palate and projecting the sound at such an angle that it finds its reenforcing vibrations in the forward parts of the nasal cavities. It is heard in the lazy call of the street peddler, the discordant braying of the donkey, and in the wheezing tones of an imperfect bagpipe. As an habitual tone it is the result of careless habits of speech or of obstructions due to a diseased condition of the nasal cavities, and as such it is a grave defect in the speaker. Representing thus a strongly marked condition of the vocal organs, and bearing the stamp of the physical result in vocality, it must be placed in the Vital division of the triune nature. Under control of the will it is used in an imper- sonative sense to express laziness, mimicry, mockery, burlesque, or drollery; and in the expression of more serious thought it is often employed to give special pungency to irony, sarcasm, sneer, and contempt. Selection illustrating Nasal Quality. Note. From the descriptions of Darius Green in the following poem it is generally conceded that all personations of him should be given in Nasal Quality. 86 ESSENTIALS OF PUBLIC SPEAKING DARIUS GREEN AND HIS FLYING MACHINE J. T. Trowbridge If ever there lived a Yankee lad, Wise or otherwise, good or bad, Who, seeing the birds fly, didn't jump With flapping arms from stake or stump, Or, spreading the tail of his coat for a sail, Take a soaring leap from post or rail, And wonder why he couldn't fly, And flap and flutter and wish and try, — If ever you knew a country dunce Who didn't try that as often as once, All I can say is, that's a sign He never would do for a hero -of mine. An aspiring genius was Dary Green : The son of a farmer, — age fourteen ; His body was long and lank and lean, — Just right for flying, as will be seen ; He had two eyes as bright as a bean, And a freckled nose that grew between, A little awry ; for I must mention That he had riveted his attention Upon his wonderful invention, Twisting his tongue as he twisted the strings, And working his face as he work'd the wings, And with every turn of gimlet or screw Turning and screwing his mouth round too, Till his nose seenrd bent to catch the scent, Around some corner, of new-baked pies, And his wrinkled cheeks and his squinting eyes Grew pucker'd into a queer grimace, That made him look very droll in the face, And also very wise. And wise he must have been, to do more Than ever a genius did before, NASAL QUALITY 87 Excepting Daedalus of yore And his son Icarus, who wore Upon their backs those wings of wax He had read of in the old almanacs. Darius was clearly of the opinion, That the air is also man's dominion, And that, with paddle or fin or pinion, We soon or late shall navigate The azure as now we sail the sea. The thing looks simple enough to me ; And, if you doubt it, Hear how Darius reason'd about it : "The birds can fly, an' why can't I ? Must we give in," says he with a grin, " That the bluebird an' phcebe are smarter'n we be ? Jest fold our hands, an' see the swaller An' blackbird an' catbird beat us holler ? Does the little chatterin', sassy wren, No bigge'rn my thumb, know more than men ? Jest show me that ! ur prove 't the bat Hez got more brains than's in my hat, An' I'll back down, an' not till then ! " He argued further : "Nur I can't see What's th' use o' wings to a bumblebee, Fur to git a livin' with, more'n to me ; — Ain't my business important's his'n is ? That Icarus made a pretty muss, — Him an' his daddy Daedalus ; They might 'a' know'd that wings made o' wax Wouldn't stand sun-heat an' hard whacks: I'll make mine o' luther, ur suthin' ur other." And he said to himself, as he tinker'd and plann'd, "But I ain't goin' to show my hand To nummies that never can understand The fust idee that's big: an' grand." 88 ESSENTIALS OF PUBLIC SPEAKING So he kept his secret from all the rest, Safely button'd within his vest: And in the loft above the shed Himself he locks, with thimble and thread And wax and hammer and buckles and screws, And all such things as geniuses use ; — Two bats for patterns, curious fellows ! A charcoal pot and a pair of bellows ; Some wire, and several old umbrellas ; A carriage cover for tail and wings ; A piece of harness ; and straps and strings ; And a big strong box, in which he locks These and a hundred other things. His grinning brothers, Reuben and Burke And Nathan and Jotham and Solomon, lurke Around the corner to see him work, Sitting crosslegg'd, like a Turk, Drawing the wax'd end through with a jerk, And boring the holes with a comical quirk Of his wise old head, and a knowing smirk. But vainly they mounted each other's backs, And poked through knot holes and pried through cracks. With wood from the pile and straw from the stacks He plugg'd the knot holes and calk'd the cracks ; And a dipper of water, which one would think He had brought up into the loft to drink When he chanced to be dry, Stood always nigh, for Darius was sly ! And, whenever at work he happen'd to spy At chink or crevice a blinking eye, He let the dipper of water fly : "Take that ! an', ef ever ye git a peep, Guess ye'll ketch a weasel asleep ! " And he sings as he locks his big strong box ; "The weasel's head is small an' trim, An' he is little an' long an' slim, NASAL QUALITY 89 An' quick of motion an' nimble of limb, An 1 , ef you'll be advised by me, Keep wide awake when ye're ketchin' him !" So day after day He stitch'd and tinker'd and hammer'd away, Till at last 'twas done, — The greatest invention under the Sun ! "An' now," says Darius, "hooray fur some fun!" 'Twas the Fourth of July, and the weather was dry, And not a cloud was on all the sky, Save a few light fleeces, which here and there, Half mist, half air, Like foam on the ocean went floating by, — Just as lovely a morning as ever was seen For a nice little trip in a flying machine. Thought cunning Darius, "Now I shan't go Along 'ith the fellers to see the show : I'll say I've got sich a terrible cough ! An' then, when the folks 'ave all gone off, I'll hev full swing fur to try the thing, An' practice a little on the wing." "Ain't goin' to see the celebration?" Says brother Nate. "No; botheration! I've got sich a cold — a toothache — I — My gracious ! — feel's though I should fly ! " Said Jotham, " 'Sho ! guess ye better go." But Darius said, "No ! Shouldn't wonder 'f you might see me, though, 'Long 'bout noon, ef I git red O' this jumpin', thumpin' pain 'n my head." For all the while to himself he said, — " I tell ye what ! I'll fly a few times around the lot, 90 ESSENTIALS OF PUBLIC SPEAKING The hang o' the thing, ez likely's not, I'll astonish the nation, an' all creation, By flyin' over the celebration ! Over their heads I'll sail like an eagle ; I'll balance myself on my wings like a sea gull ; I'll dance on the chimbleys ; I'll stand on the steeple I'll flop up to winders an' scare the people ! I'll light on the liberty pole, an' crow ; An' I'll say to the gawpin' fools below, 'What world's this 'ere that I've come near?' Fur I'll make 'em b'lieve I'm a chap f 'm the Moon ; An' I'll try a race 'ith their ol' balloon!" He crept from his bed ; And, seeing the others were gone, he said, " I'm gittin' over the cold 'n my head." And away he sped, To open the wonderful box in the shed. His brothers had walk'd but a little way, When Jotham to Nathan chanced to say, " What is the feller up to, hey ? " "Don'o', — the's suthin' ur other to pay, Ur he wouldn't 'a' stay'd to hum to-day." Says Burke, "His toothache's all 'n his eye ! He never'd miss a Fo'th-o'-July, Ef he hedn't got some machine to try." Then Sol, the little one, spoke : " By darn Le's hurry back, an' hide 'n the barn, An' pay him fur tellin' us that yarn ! " " Agreed ! " Through the orchard they creep back, Along by the fences, behind the stack, And one by one, through a hole in the wall, In under the dusty barn they crawl, Dress'd in their Sunday garments all ; And a very astonishing sight was that, When each in his cobwebb'd coat and hat NASAL QUALITY 91 Came up through the floor like an ancient rat. And there they hid ; and Reuben slid The fastenings back, and the door undid. " Keep dark ! " said he, " While I squint an' see what the' is to see. As knights of old put on their mail, — From head to foot an iron suit, Iron jacket and iron boot, Iron breeches, and on the head No hat, but an iron pot instead, And under the chin the bail, (I believe they call'd the thing a helm,) — Then sallied forth to overwhelm The dragons and pagans that plagued the realm ; So this modern knight prepared for flight, Put on his wings and strapp'd them tight, — Jointed and jaunty, strong and light, — Buckled them fast to shoulder and hip, — Ten feet they measured from tip to tip ! And a helm had he, but that he wore, Not on his head, like those of yore, But more like the helm of a ship. " Hush ! " Reuben said, " he's up in the shed ! He's open'd the winder, — I see his head ! He stretches it out, an' pokes it about, Lookin' to see 'f the coast is clear, An' nobody near ; — Guess he don'o' who's hid in here ! He's riggin' a springboard over the sill ! Stop laffin', Solomon ! Burke, keep still ! He's a climbin' out now — Of all the things ! What's he got on ? I van, it's wings ! An' that t'other thing ? I vum, it's a tail ! An' there he sets like a hawk on a rail ! Steppin' careful, he travels the length 92 ESSENTIALS OF PUBLIC SPEAKING Of his springboard, and teeters to try its strength. Now he stretches his wings, like a monstrous bat ; Peeks over his shoulder, this way an' that, Fur to see 'f the' 's any one passin' by, But the' 's on'y a ca'f an' a goslin' nigh. They turn up at him wonderin' eye, To see — The dragon ! he's goin' to fly ! Away he goes ! Jimminy ! what a jump ! Flop — flop — an' plump to the ground with a thump ! Flutt'rin' an' flound'rin', all'n a lump ! " As a demon is hurl'd by an angel's spear, Heels over head, to his proper sphere, — Heels over head, and head over heels, Dizzily down the abyss he wheels, — So fell Darius. Upon his crown, In the midst of the barnyard, he came down, In a wonderful whirl of tangled strings, Broken braces and broken springs, Broken tail and broken wings, Shooting stars, and various things, — Barnyard litter of straw and chaff, And much that wasn't so sweet by half. Away with a bellow fled the calf, And what was that ? Did the gosling laugh ? 'T is a merry roar from the old barn door, And he hears the voice of Jotham crying, " Say, D'rius ! how do you like flyin' ? " Slowly, ruefully, where he lay, Darius just turn'd and look'd that way, As he stanch'd his sorrowful nose with his cuff. " Wal, I like flyin' well enough," He said ; "but the' ain't sich a thunderin' sight O' fun in't when ye come to light." I just have room for the moral here : And this is the moral, — Stick to your sphere ; FALSETTO QUALITY 93 Or, if you insist, as you have the right, On spreading your wings for a loftier flight, The moral is, — Take care how you light. SECTION V. FALSETTO QUALITY The Falsetto is a pure, shrill, penetrating Quality ranging above the ordinary Pitch, with the resonance in the upper part of the pharynx. It is literally the "false voice," and begins where the ordinary tone "outruns its compass" and breaks into a very high tone, which may range over an additional octave or more of Pitch. It is heard in nature in the cry of a whipped dog, the feeble voice of old age, the scream of a frightened child, the shriek of intense pain, and in the excited cheers of a crowd. It shows a condition of physical excitability in which the impelling emotion has unpoised the vital powers for the moment and the vocal utterance has outrun the natural compass ; so this Quality plainly represents a physical condition of utterance and belongs to the Vital class in our triune divi- sion. It is sometimes due to a weakness and lack of control of the vocal cords, and habitual breaking of the voice is the result ; such a habit is a serious fault and should be overcome by judicious vocal culture. In expression the Falsetto is used to express great excitement such as fright, yelling, screaming, and shouting. Selection illustrating Falsetto. Note. The underscored parts of the following selection may very appropriately be given in Falsetto Quality. The excitement carries the voice above the natural compass. HOW WE HUNTED A MOUSE Joshua Jenkins I was dozing comfortably in my easy-chair, and dreaming of the good times which, I hope, are coming, when there fell upon my ears a most startling scream. It was the voice of my Maria 94 ESSENTIALS OF PUBLIC SPEAKING Ann in agony. The voice came from the kitchen, and to the kitchen I rushed. The idolized form of my Maria was perched on a chair, and she was nourishing an iron spoon in all directions, and shout- ing " Shoo," in a general manner at everything in the room. To my anxious inquiries as to what was the matter, she screamed, "O ! Joshua, a mouse, shoo — wha — shoo — a great — ya, shoo — horrid mouse, and — she — ew — it ran right out of the cupboard — shoo — go away — O Joshua — shoo — kill it, oh, my — shoo." All that fuss, you see, about one little harmless mouse. Some women are so afraid of mice. Maria is. I got the poker and set myself to poke that mouse, and my wife jumped down and ran off into another room. I found the mouse in a corner under the sink. The first time I hit it I didn't poke it any on account of getting the poker all tangled up in a lot of dishes in the sink ; and I did not hit it any more, because the mouse would not stay still. It ran right toward me, and I naturally jumped, as anybody would ; but I am not afraid of mice, and when the horrid thing ran up inside the leg of my pantaloons, I yelled to Maria, because I was afraid it would gnaw a hole in my garment. There is something real disagreeable about having a mouse inside the leg of one's pantaloons, especially if there is nothing between you and the mouse. Its toes are cold, and its nails are scratchy, and its fur tickles, and its tail feels crawly, and there is nothing pleasant about it, and you are all the time afraid it will try to gnaw out, and begin on you instead of on the cloth. That mouse was next to me. I could feel its every motion with startling and suggestive distinctness. For these reasons I yelled to Maria, and as the case seemed urgent to me, I may have yelled with a cer- tain degree of vigor; but I deny that I yelled fire, and if I catch the boy who thought that I did, I shall inflict punishment on his person. I did not lose my presence of mind for an instant. I caught the mouse just as it was clambering over my knee, and by pressing firmly on the outside of the cloth I kept the animal a prisoner on the inside. I kept jumping around with all my might to confuse it, so that it would not think about biting, and I yelled so that the mice would not hear its squeaks and come to its assistance. A man can't handle many mice at once to advantage. FALSETTO QUALITY 95 Maria was white as a sheet when she came into the kitchen, and asked what she should do, — as though I could hold the mouse and plan a campaign at the same time. I told her to think of some- thing, and she thought she would throw things at the intruder; but as there was no earthly chance for her to hit the mouse, while every shot took effect on me, I told her to stop, after she had tried two flatirons and the coal scuttle. She paused for breath ; but I kept bobbing around. Somehow I felt no inclination to sit down anywhere. " Oh, Joshua," she cried, " I wish you had not killed the cat." Now I submit that that wish was born of the weakness of woman's intellect. How on earth did she suppose a cat could get where that mouse was ? Rather have the mouse there alone, any- way, than to have a cat prowling around after it. I reminded Maria of the fact that she was a fool. Then she got the teakettle and wanted to scald the mouse. I objected to that process, except as a last resort. Then she got some cheese to coax the mouse down, but I did not dare let go for fear it would run up. Matters were getting desperate. I told her to think of something else, and I kept jumping. Just as I was ready to faint with exhaustion, I tripped over an iron, lost my hold, and the mouse fell to the floor very dead. I had no idea a mouse could be squeezed to death so easily. That was not the end of trouble, for before I had recovered my breath a fireman broke in one of the front windows, and a whole company followed him through, and they dragged hose around, and mussed things all over the house, and then the foreman wanted to thrash me because the house was not on fire, and I had hardly got him pacified before a policeman came in and arrested me. Some one had run down and told him I was drunk and was killing Maria. It was all Maria and I could do, by combining our eloquence, to prevent him from marching me off in disgrace, but we finally got matters quieted and the house clear. Now when mice run out of the cupboard, I go outdoors, and let Maria " shoo " them back again. I can kill a mouse, but the fun don't pay for the trouble. 96 ESSENTIALS OF PUBLIC SPEAKING SECTION VI. GUTTURAL QUALITY The Guttural is a harsh, grating, impure Quality, the reso- nance of which is in the upper part of the throat. It is heard in nature in the snarl of a dog, the growl of an angry tigress, or the crash of a violent storm. It is the natural expression of man when hostile passions produce that tense, rigid condition of the body experienced by an angry or infuriated person. This rigidity of body which hardens the whole vocal organism into a harshness of tone is produced by the intensity of the con- trolling emotion ; so we may safely conclude that this Quality represents about equally the Emotive and Vital natures of man. It is used, then, to express the malignant emotions and passions, such as malice, scorn, detestation, anger, revenge, viole?it hate, and uncontrollable rage. In oratorical invective or in certain strong dramatic situations the Guttural is indispensable. Selection illustrating the Guttural. Note. We should hate the false as well as love the " good, the true, and the beautiful," and therefore this Quality, so different from the ideal Normal in purity and significance, is not to be despised in expres- sion. It is one of the extreme Qualities to be used sparingly, and only when needed to emphasize the particular word which embodies the malignant emotion. Indeed, one word uttered in Guttural Quality is often 'sufficient to portray the anger of the entire sentence. In the first paragraph of the following selection we have underscored some of the words which should take this Quality; the student should indicate such words throughout the selection, and, with a realization of their meaning, give them in Guttural Quality. HORRORS OF SAVAGE WARFARE William Pitt, Earl of Chatham I am astonished, shocked, to hear such principles confessed, to hear them avowed in this House, or even in this country ! principles equally unconstitutional, inhuman, and unchristian ! My lords, I did not intend to trespass again upon your attention, but I cannot repress my indignation, — I feel myself impelled by GUTTURAL QUALITY 97 every duty. We are called upon as members of this House, as men, as Christian men, to protest against such notions, standing near the throne, polluting the ear of Majesty. " That God and Nature put into our hands ! " 1 I know not what ideas that Lord may entertain of God and Nature ; but I know that such abominable principles are equally abhorrent to religion and humanity. What ! attribute the sacred sanction of God and Nature to the massacres of the Indian scalping knife, to the cannibal savage, torturing, murdering, roasting, and eating, — literally, my Lords, eating, the mangled victims of his barbarous battles ! Such horrible notions shock every precept of religion revealed or natural, and every generous feeling of humanity ; and, my Lords, they shock every sentiment of honor ; they shock me as a lover of honorable war and a detester of murderous barbarity. These abominable principles, and this more abominable avowal of them, demand the most decisive indignation. I call upon the Right Reverend Bench, those holy ministers of the Gospel and pious pastors of our Church, — I conjure them to join in the holy work, and to vindicate the religion of their God. I appeal to the wisdom and the law of this Learned Bench to defend and support the justice of their country. I call upon the bishops to interpose the unsullied sanctity of their lawn, upon the learned judges to interpose the purity of their ermine, to save us from this pollution. I call upon the honor of your Lordships to reverence the dignity of your ancestors, and to maintain your own. I call upon the spirit and humanity of my country to vindicate the national char- acter. I invoke the genius of the Constitution. From the tapestry that adorns these walls the immortal ancestor of this noble Lord frowns with indignation at the disgrace of his country 1 In vain he led your victorious fleets against the boasted Armada of Spain ; in vain he defended and established the honor, the liberties, the religion, — the Protestant religion of his country, — against the arbitrary cruelties of Popery and the Inquisition, if these worse than popish and inquisitorial practices are let loose 1 Lord Suffolk, one of the Secretaries of State, defending the employment of Indians in the American war, had declared, in the House of Lords, that " it was perfectly justifiable to use all the means that God and Nature put into our hands." 98 ESSENTIALS OF PUBLIC SPEAKING amongst us, to turn forth into our settlements, among our ancient friends and relations, the merciless cannibal, thirsting for the blood of man, woman, and child. To send forth the infidel savage, — against whom? Against your Protestant brethren ! to lay waste their country, to desolate their dwellings, and extirpate their race and name with these horrible hellhounds of savage war ! — hellhounds, I say, of savage war ! Spain armed herself with bloodhounds to extirpate the wretched natives of America ; and we improve on the inhuman example of even Spanish cruelty : we turn loose these savage hellhounds against our brethren and countrymen in America, of the same language, laws, liberties, and religion, endeared to us by every tie that should sanctify humanity. My Lords, this awful subject, so important to our honor, our Constitution, and our religion, demands the most solemn and effectual inquiry. And I again call upon your Lordships, and the united powers of the state, to examine it thoroughly and decisively, and to stamp upon it an indelible stigma of the public abhorrence. And I again implore those holy prelates of our religion to do away these iniquities from among us. Let them perform a lustration ; let them purify this House and this country from this sin. My Lords, I am old and weak, and at present unable to say more ; but my feelings and my indignation were too strong to have said less. I could not have slept this night in my bed, or have reposed my head on my pillow, without giving this vent to my eternal abhorrence of such preposterous and enormous principles. SECTION VII. PECTORAL QUALITY The Pectoral is a deep, hollow, sepulchral Quality, with the resonance in the lower part of the chest. Under the emotion appropriate to this Quality the glottis is opened as wide as will admit of vocalization, the larynx is lowered, and the reenforcing vibrations are confined to the spongy cavities of the lungs, pro- ducing a veiled, hollow, half-whispered chest tone. It is heard in nature in the deepest groan of sorrow, the apprehensive PECTORAL QUALITY 99 tones of dread or horror, the most solemn utterances of spir- itual devotion, the lowest notes of a large pipe organ, and in the rumbling sounds of an earthquake or an active volcano. It is never used except under the influence of the strongest emotions, and belongs distinctly to the Emotive division of the triune nature. In expression it is the language of deepest solemnity, awe, veneration, dread, amazement, and horror. Selection illustrating Pectoral. Note. In the scene used to illustrate this element, the student should note the words and phrases most expressive of amazement and horror, and color them with Pectoral in expression. We have underscored a few such in the beginning. THE DAGGER SCENE FROM "MACBETH" William Shakespeare Macbeth. Go bid thy mistress, when my drink is ready, She strike upon the bell. Get thee to bed. — \Exit Servant. Is this a dagger which I see before me, The handle toward my hand ? Come, let me clutch thee : — I have thee not, and yet I see thee still. Art thou not, fatal vision, sensible To feeling as to sight ? or art thou but A dagger of the mind, a false creation, Proceeding from the heat-oppressed brain ? I see thee yet, in form as palpable As this which now I draw. Thou marshall'st me the way that I was going ; And such an instrument I was to use. Mine eyes are made the fools o' the other senses, Or else worth all the rest. I see thee still, — And on thy blade and dudgeon gouts of blood, Which was not so before. There's no such thing : It is the bloody business which informs Thus to mine eyes. Now o'er the one half-world Nature seems dead, and wicked dreams abuse 100 ESSENTIALS OF PUBLIC SPEAKING The curtain'd sleep ; now witchcraft celebrates Pale Hecate's offerings, and wither'd murder, Alarum'd by his sentinel, the wolf, Whose howl's his watch, thus with his stealthy pace, With Tarquin's ravishing strides, towards his design Moves like a ghost. Thou sure and firm-set earth, Hear not my steps, which way they walk, for fear The very stones prate of my whereabout, And take the present horror from the time, Which now suits with it. Whiles I threat, he lives : Words to the heat of deeds too cold breath gives. [A bell ?-ings. I go, and it is done ; the bell invites me. Hear it not, Duncan ; for it is a knell That summons thee to heaven or to hell. SECTION VIII. ASPIRATE QUALITY The Aspirate is a hissing, breathy, whispered Quality, the resonance of which varies somewhat according to the position in which the vocal organs and resonant cavities are held. It is heard in the secret whisper of all peoples, the escape of steam, and the hissing sound of the volcano in eruption. As a distinct Quality it is the unvocalized whisper which may be given in different degrees of intensity, in which case the resonance is confined to the cavities of the mouth. But the Aspirate, when partly vocalized, may combine with and color the tone and expression of all the other Qualities, which gives it a wide range of resonance and significance. For example, the resonance of an aspirated Normal would be in the back part of the mouth, that of an aspirated Orotund in the chest, and that of the aspirated Guttural in the upper part of the throat. This aspi- ration of any given Quality always adds to the emotive signifi- cance of that Quality; it is the intensity of' the emotion that forces out more breath than can be vocalized, thus producing ASPIRATE QUALITY IOI aspiration. This Quality, then, plainly belongs to the Emotive class. Its use in elocution ranges from the gentlest whisper expressing the merest secrecy or caution to the intensest fear, terror, or consternation. Selection illustrating the Aspirate. Note. An appreciation of the secrecy and intense fear portrayed in the following selection will enable the student to apply the Aspirate Quality in expression throughout the scene. THE MURDER SCENE FROM "MACBETH" William Shakespeare Lady Macbeth. That which hath made them drunk hath made me bold ; What hath quench'd them hath given me fire. Hark ! Peace ! It was the owl that shrieked, the fatal bellman, Which gives the stern'st good-night. He is about it: The doors are open ; and the surfeited grooms Do mock their charge with snores : I've drugg'd their possets, That death and nature do contend about them, Whether they live or die. Macbeth. [Withiti] Who's there ? what, ho ! Lady M. Alack, I am afraid they have awaked, And 'tis not done. Th' attempt and not the deed Confounds us. Hark! I laid their daggers ready; He could not miss 'em. Had he not resembled My father as he slept, I had done 't. My husband ! Enter Macbeth Macb. I have done the deed ! Didst thou not hear a noise ? Lady M. I heard the owl scream and the crickets cry. Did not you speak ? Macb. When? Lady M. Now. Macb. As I descended? Lady M. Ay. 102 ESSENTIALS OF PUBLIC SPEAKING Macb. Hark! Who lies i' the second chamber? Lady M. Donalbain. Macb. This is a sorry sight. [Looking on his hands. Lady M. A foolish thought, to say a sorry sight. Macb. There's one did laugh in 's sleep, and one cried " Murder ! ' That they did wake each other : I stood and heard them : But they did say their prayers, and address'd them Again to sleep. Lady M. There are two lodg'd together. Macb. One cried "God bless us !" and "Amen !" the other ; As they had seen me, with these hangman's hands. Listening their fear, I could not say "Amen," When they did say "God bless us!" Lady M. Consider it not so deeply. Macb. But wherefore could not I pronounce "Amen"? I had most need of blessing, and "Amen" Stuck in my throat. Lady M. These deeds must not be thought After these ways ; so, it will make us mad. Macb. Methought I heard a voice cry "Sleep no more ! Macbeth does murder sleep," the innocent sleep, Sleep that knits up the ravelPd sleave of care, The death of each day's life, sore labour's bath, Balm of hurt minds, great nature's second course, Chief nourisher in life's feast, — Lady M. What do you mean ? Macb. Still it cried "Sleep no more!" to all the house: " Glamis hath murder'd sleep, and therefore Cawdor Shall sleep no more ; Macbeth shall sleep no more ! " Lady M. Who was it that thus cried ? Why, worthy thane, You do unbend your noble strength, to think So brainsickly of things. Go get some water, And wash this filthy witness from your hand. Why did you bring these daggers from the place ? They must lie there : go carry them, and smear The sleepy grooms with blood. Macb. I'll £o no more : ASPIRATE QUALITY 103 I am afraid to think what I have done ; Look on 't again I dare not. Lady M. Infirm of purpose ! Give me the daggers : the sleeping and the dead Are but as pictures : 'tis the eye of childhood That fears a painted devil. If he do bleed, I'll gild the faces of the grooms withal ; For it must seem their guilt. [Exit. Knocking within. Macb. Whence is that knocking? How is't with me, when every noise appals me ? What hands are here ? ha ! they pluck out mine eyes. Will all great Neptune's ocean wash this blood Clean from my hand ? No, this my hand will rather The multitudinous seas incarnadine, Making the green one red. Re-enter Lady Macbeth Lady M. My hands are of your colour ; but I shame To wear a heart so white. [Knocking within.'] I hear a knocking At the south entry : retire we to our chamber : A little water clears us of this deed : How easy is it, then ! Your constancy Hath left you unattended. [Knocking within.'] Hark ! more knocking : Get on your night-gown, lest occasion call us, And show us to be watchers. Be not lost So poorly in your thoughts. Macb. To know my deed, 'twere best not know myself. [Knock. Wake Duncan with thy knocking! I would thou couldst ! [Exeunt. SECTION IX. SUMMARY AND VOCAL CULTURE While the student of vocal culture must make each Quality separate and distinct as a discipline of the voice he must remember that there are blends and shadings of Quality in expression to meet the demands of varying thoughts and 104 ESSENTIALS OF PUBLIC SPEAKING emotions. For example, the Oral may shade into the Normal, the Normal into the Orotund, the Orotund into the Pectoral, and the Pectoral into the Aspirate, according to one's concep- tion of the lines to be interpreted. In like manner the artist combines his colors at will to represent on canvas his ideals of light, shadow, tint, or color ; and the musician, though defi- nite and exacting in his technical drill, blends his tones into harmonies to express the emotions and passions of his soul. i. Exercises. (i) Practice a, e, I, o, u, in alternating notes of speech in the several Qualities. (2) Give the words all, arm, o?ir, roar, roll, in alternating notes in all the Qualities. (3) Give the same sounds and words in notes of song in Normal and Orotund Qualities for purity and strength of tone. 2. Selection illustrating Quality. Note. This extract from Quo Vadis contains a great variety of emo- tion. The student should analyze it, note the shades of feeling portrayed, and express them in their appropriate qualities. All but the Oral, the Nasal, and the Falsetto will be needed in its interpretation. THE ARENA SCENE FROM "QUO VADIS" Henryk Sienkiewicz At last the evening arrived. The sight was in truth magnificent. All that was powerful, brilliant, and wealthy in Rome was there. The lower seats were crowded with togas as white as snow. In a gilded podium sat Nero, wearing a diamond collar and a golden crown upon his head. Every eye was turned with strained gaze to the place where the unfortunate lover was sitting. He was exceed- ingly pale, and his forehead was covered with drops of sweat. To his tortured mind came the thought that faith of itself would spare Lygia. Peter had said that faith would move the earth to its foundations. He crushed doubt in himself, compressed his whole being into the sentence, "I believe," and he looked for a miracle. SUMMARY AND VOCAL CULTURE 105 The prefect of the city waved a red handkerchief, and out of the dark gully into the brightly lighted arena came Ursus. In Rome there was no lack of gladiators, larger by far than the com- mon measure of man ; but Roman eyes had never seen the like of Ursus. The people gazed with the delight of experts at his mighty limbs, as large as tree trunks ; at his breast, as large as two shields joined together, and his arms of a Hercules. He was unarmed, and had determined to die as became a follower of the Lamb, peacefully and patiently. Meanwhile he wished to pray once more to the Saviour. So he knelt on the arena, joined his hands, and raised his eyes towards the stars. This act displeased the crowd. They had had enough of those Christians, who died like sheep. They understood that if the giant would not defend himself, the spectacle would be a failure. Here and there hisses were heard. Some began to cry for scourgers, whose office it was to lash com- batants unwilling to fight. But soon all had grown silent, for no one knew what was waiting for the giant, nor whether he would not defend himself when he met death eye to eye. In fact, they had not long to wait. Suddenly the shrill sound of brazen trumpets was heard, and at that signal into the arena rushed, amid the shouts of the beast keepers, an enormous German aurochs, bearing on his head the naked body of a woman. Vinicius sprang to his feet. " Lygia ! Oh, ... I believe ! I believe ! Oh, Christ, a miracle ! a miracle ! " And he did not even know that Petronius had covered his head at that moment with a toga. He did not look ; he did not see. The feeling of some awful emptiness possessed him. In his head there remained not a thought. His lips merely repeated as if in madness, " I believe ! I believe ! I believe ! " This time the amphitheater was silent, for in the arena some- thing uncommon had happened. That giant, obedient and ready to die, when he saw his queen on the horns of the wild beast, sprang up, as if touched by living fire, and, bending forward, he ran at the raging animal. From all breasts a sudden cry of amazement was heard, as the giant fell on the raging bull and seized him by the horns. And then came deep silence. All breasts ceased to breathe. In the 106 ESSENTIALS OF PUBLIC SPEAKING amphitheater a fly might be heard on the wing. People could not believe their own eyes. Since Rome was Rome no one had ever seen such a spectacle. The man's feet sank in the sand to his ankle ; his back was bent like a bow ; his head was hidden between his shoulders ; on his arms the muscles came out so that the skin almost burst from their pressure ; but he had stopped the bull in his tracks. The man and the bull remained so still that the spec- tators thought themselves looking at a group hewn in stone. But in that apparent repose there was a tremendous exertion of two struggling forces. The bull's feet, as well as the man's, sank in the sand, and the dark, shaggy body was curved so that it seemed a gigantic ball. Which of the two would fail first ? Which would fall first ? Meanwhile a dull roar resembling a groan was heard from the arena, after which a brief shout was wrested from every breast, and again there was silence. Duller and duller, hoarser and hoarser, more and more painful grew the groan of the bull as it mingled with the whistling breath from the breast of the giant. The head of the beast began to turn in the iron hands of the barbarian, and from his jaws crept forth a long, foaming tongue. A moment more and to the ears of the spectators sitting nearer came, as it were, the crack of breaking bones ; then the beast rolled on the earth, dead. The giant removed in a twinkling the ropes that bound the maiden to the horns of the bull. His face was very pale ; he stood as if only half-conscious ; then he raised his eyes and looked at the spectators. The amphitheater had gone wild. The walls of the building were trembling from the roar of tens of thousands of people. Everywhere were heard cries for mercy, passionate and persist- ent, which soon turned into one unbroken thunder. The giant understood that they were asking for his life and lib- erty, but his thoughts were not for himself. He raised the uncon- scious maiden in his arms, and, going to Nero's podium, held her up and looked up imploringly. Vinicius sprang over the barrier, which separated the lower seats from the arena, and, running to Lygia, covered her with his toga. FORCE 107 Then he tore apart the tunic on his breast, laid bare the scars left by wounds received in the Armenian war, and stretched out his hands to the multitude. At this the enthusiasm passed everything ever seen in a circus before. Voices choking with tears began to demand mercy. Yet Nero halted and hesitated. He would have preferred to see the giant and the maiden rent by the horns of the bull. Nero was alarmed. He understood that to oppose longer was simply dangerous. A disturbance begun in the circus might seize the whole city. He looked once more, and, seeing everywhere frowning brows, excited faces and eyes fixed on him, he slowly raised his hand and gave the sign for mercy. Then a thunder of applause broke from the highest seats to the lowest. But Vinicius heard it not. He dropped on his knees in the arena, stretched his hands toward heaven and cried: " I believe ! Oh, Christ ! I believe ! I believe ! " CHAPTER VII FORCE Force is the power or energy of utterance. It relates to the manner, the amount, and the location of energy with which sounds are sent forth from the vocal organs. It must not be confused with loudness. Figuratively speaking Force is the exploding powder behind the ball, while loudness is the momen- tum or carrying power of the projectile. For example, we may give strong Force with Aspirate Quality and not be heard very far, while a moderate degree of Force with a pure Normal Quality would fill a large auditorium. Loudness is force plus vibration. Force has three specific divisions, — (1) Form, (2) Degree, and (3) Stress, — which correspond respectively to the Emotive, Vital, and Mental natures, thus : ' i' Form Emotive" Force i Degree .... Vital j> Man [_ Stress Mental 108 ESSENTIALS OF PUBLIC SPEAKING SECTION I. FORM Form is the manner of exerting Force, and relates to the smoothness or abruptness with which a sound, word, or syllable is begun and ended. The manner reveals the motive, hence Form represents the Emotive nature. There are three Form's in nature, — (i) the Effusive, (2) the Expulsive, and (3) the Explosive, — which correspond to man's triune nature, thus : f Effusive .... Emotive 1 Form ( ~~ — — — Expulsive Form, Notes of Speech ^ ^\ Illustrative Selection. Note. The Expulsive corresponds to the Medium Quantity which should be given on all words not demanding a prolongation even though they are composed of continuant sounds. In other words, a syllable should not be unduly prolonged when no special significance is implied. It is very important to be able to read in a natural, colloquial manner. The following selection read aloud in such a manner will prove a good exercise for Expulsive Eorm. CHARACTER OF WASHINGTON 1 Daniel Webster America has furnished to the world the character of Washing- ton ! And if our American institutions had done nothing else, that alone would have entitled them to the respect of mankind. Wash- ington ! " First in war, first in peace, and first in the hearts of his countrymen ! " Washington is all our own ! The enthusiastic veneration and regard in which the people of the United States 1 From the .Second Bunker Hill Oration, delivered June 17, 1843. FORM III hold him, prove them to be worthy of such a countryman ; while his reputation abroad reflects the highest honor on his country. I would cheerfully put the question to-day to the intelligence of Europe and the world, What character of the century, upon the whole, stands out in the relief of history, most pure, most respect- able, most sublime ; and I doubt not, that, by a suffrage approach- ing to unanimity, the answer would be, Washington ! The structure now standing before us, by its uprightness, its solidity, its durability, is no unfit emblem of his character. His public virtues and public principles were as firm as the earth on which it stands; his personal motives, as pure as the serene heaven in which its summit is lost. But, indeed, though a fit, it is an inad- equate emblem. Towering high above the column which our hands have builded, beheld not by the inhabitants of a single city or a single state, but by all the families of man, ascends the colossal grandeur of the character and life of Washington. In all the constituents of the one, in all the acts of the other, in all its titles to immortal love, admiration, and renown, it is an American production. It is the embodiment and vindication of our trans- atlantic liberty. Born upon our soil, of parents also born upon it ; never for a moment having had sight of the Old World ; instructed, according to the modes of his time, only in the spare, plain, but wholesome elementary knowledge which our institutions provide for the children of the people ; growing up beneath and penetrated by the genuine influences of American society ; living from infancy to manhood and age amidst our expanding but not luxurious civilization ; partaking in our great destiny of labor, our long con- test with unreclaimed nature and uncivilized man, our agony of glory, the war of Independence, our great victory of peace, the formation of the Union, and the establishment of the Constitution, — he is all, all our own ! Washington is ours. I claim him for America. In all the perils, in every darkened moment of the state, in the midst of the reproaches of enemies and the misgivings of friends, I turn to that transcendent name for courage and for consolation. To him who denies or doubts whether our fervid liberty can be combined with law, with order, with the security of property, with the pursuits and advancement 112 ESSENTIALS OF PUBLIC SPEAKING of happiness ; to him who denies that our forms of government are capable of producing exaltation of soul and the passion of true glory ; to him who denies that we have contributed anything to the stock of great lessons and great examples ; — to all these I reply by pointing to Washington ! 3. Explosive Form. The Explosive is that Form in which the Force is applied instantaneously, causing the sound to burst forth in a very abrupt and intense manner. It is heard in the crack of a whip, the stroke of a hammer, the report of a gun, a clap of thunder, a shout of triumph, and in the ringing laughter of children. Explosion implies the action of strong force ; hence this Form represents man's Vital nature. It is used to express those in- tense emotions in which physical vitality is aroused, such as great earnestness, joy, defiance, alarm, terror, violent hate, or rage. To acquire a strong Explosive Form the student should practice on syllables which open with tonic sounds, as all, our, isle, out, and on immutable syllables, which begin with the subtonics b, d, and g, and the atonies p, t, and k, in notes of song and notes of speech, as indicated in the following illus- trative figures : Explosive Form, Note of Song t> ] ^~~- — - — Explosive Form, Note of Speech fy ^A Illustrative Selection. Note. The Explosive Form corresponds to Short Quantity, though it may be appropriately given with longer Quantity, as in the case of an excited call, a cry of joy, or a shout of triumph. The student should remember that, even in sentiments requiring this Form, very few words are to be given in the Explosive. In the following selection such words as " Youngmen, ahoy ! " " Beware ! " given in Explosive Form would be quite sufficient to convey the intense sentiment of the piece. In all cases the Form should change to express the changing sentiments of the selection. FORM 113 THE POWER OF HABIT John B. Gough I remember once riding from Buffalo to the Niagara Falls. I said to a gentleman, " What river is that, sir ? " " That," he said, " is Niagara River." "Well, it is a beautiful stream," said I ; "bright and fair and glassy. How far off are the rapids ? " " Only a mile or two," was the reply. " Is it possible that only a mile from us we shall find the water in the turbulence which it must show near the falls ? " " You will find it so, sir." And so I did find it ; and, the first sight of Niagara I shall never forget. Now launch your bark on that Niagara River ; it is bright, smooth, beautiful, and glassy. There is a ripple at the bow ; the silver wake you leave behind adds to your enjoyment. Down the stream you glide, oars, sails, and helm in proper trim, and you set out on your pleasure excursion. Suddenly some one cries out from the bank, "Young men, ahoy!" "What is it?" "The rapids are below you" " Ha ! ha ! we have heard of the rapids ; but we are not such fools as to get there. If we go too fast, then we shall up with the helm, and steer to. the shore ; we will set the mast in the socket, hoist the sail, and speed to the land. Then on, boys ; don't be alarmed, there is no danger." "Young men, ahoy there!" " What is it ? " "The rapids are below you." " Ha ! ha ! we will laugh and quaff ; all things delight us. What care we for the future ! No man ever saw it. Sufficient for the day is the evil thereof. We will enjoy life while we may ; we will catch pleasure as it flies. This is enjoyment ; time enough to steer out of danger when we are sailing swiftly with the current." " Young men, ahoy ! " "What is it?" 114 ESSENTIALS OF PUBLIC SPEAKING " Beware ! beware ! the rapids are below you ! " Now you see the water foaming all around. See how fast you pass that point ! Up with the helm ! Now turn ! Pull hard ! Quick 1 quick ! quick ! pull hard for your lives ! pull till the blood starts from your nostrils, and the veins start like whipcords upon your brow ! Set the mast in the socket ! hoist the sail ! ah ! ah ! it is too late ! Shrieki?ig, howling, blaspheming, over they go. Thousands go over the rapids of intemperance every year through the power of habit, crying all the while, "When I find out that it is injuring me, I will give it up ! " 4. Combinations of Form and Quality. We have now had three vocal elements and can begin to make combinations showing the more delicate shadings of thought and emotion as each Quality is modified by the Form in which it is given. For the special guidance of the student and the teacher, and without entering into a discussion of the philosophy embodied, we subjoin a complete table of the com- binations of Form and Quality showing the appropriate class of sentiments for each combination. Because of its importance in the work of analysis, preparatory to expressive reading and speaking, we term this the " Multiplication Table" of Elocution. It should be thoroughly committed to memory for ready use in the analysis of any selection, and faithfully applied in the vocal interpretation of it. Normal Quality Orotund Quality "MULTIPLICATION TABLE" OF ELOCUTION ( Effusive Form = Solemnity, tranquillity, pathos. < Expulsive " = Narration, didactic thought, gladness. [Explosive " = Joy, laughter, great earnestness. {Effusive " = Reverence, sublimity, devotion. Expulsive " = Grandeur, patriotism, lofty oratory. Explosive " = Courage, defiance, alarm. Oral ( Effusive " = Sickness, feebleness, idiocy. Quality ^Expulsive " = Timidity, languor, fatigue. FORM 115 f Effusive " = Droll pathos, indifference, laziness. ■i Expulsive " = Irony, mimicry, buffoonery. V [ Explosive " = A sharp taunt or snarl of contempt. f Effusive " = Senility, whining, whimpering. Falsetto j _ . . l _ <_ J' ,. . s ' / . ° 4 Expulsive " = Ecstatic delight, unrestrained weeping. Quality ,, , . . r . r . ,, * (^Explosive " = A scream of joy, fright, or pain. Guttural J Expulsive " = Impatience, scorn, hate, revenge. Quality ^ Explosive " = Violent hate, anger, or rage. Pectoral J Effusive " = Deepest solemnity, awe, veneration. Quality ^ Expulsive " = Dread, amazement, horror. . . f Effusive " = Stillness, secrecy, suppressed fear. J Expulsive " = Sudden fear, stealthiness, secret command. [ Explosive " = Intense fear, terror, consternation. 5. Vocal Exercises. (1) For Effusive Form. Give the continuant tonics, a in ale, a in arm, a in all, e in eve, and in old with notes of song in all the Qualities admitting of Effusive Form. Repeat with notes of speech in alternate rising and falling inflections. (2) For Expulsive. Give all the above-named continuant tonics with notes of song in all the Qualities. Give the same and their illustrative words with notes of speech in all the Qualities. (3) For Explosive. Give the same sounds and the words all, pull, toll, bell, dong, with notes of song in Normal and Orotund Qualities. Give the same with notes of speech. Note. It will be observed that the drills in vocal culture are made up of the elements of expression. It is suggested that the student keep in mind the meaning of these combinations of Forms and Qualities even while he is practicing the exercises, and thus familiarize himself with the "sound and sense" while tuning the vocal organs for the art of expres- sion. To this end he will find the above table of combinations helpful. Illustrative selectio7i for all Forms. Note. The illustration here used should be analyzed by the student under the direction of the teacher, and the various thoughts and emo- tions expressed orally in their appropriate Forms. Il6 ESSENTIALS OF PUBLIC SPEAKING A HERO OF THE FURNACE ROOM Anonymous The duty of the boiler-makers on warships is of the most danger- ous nature. In action, between actions, and out of action the repairs that they are called upon at a moment's notice to effect are sufficient to send a chill of fear through the hearts of most men. They will creep right inside a boiler or furnace which had but a few moments before been full of boiling liquid or red-hot coals. They will screw up nuts and fasten bolts or repair leaking pipes or joints in places that other men would consider impossible to approach. While the ship's big guns are making the vessel trem- ble, and the enemy's shells are bursting in every direction, these men, with positively reckless fearlessness, will venture down into the bowels of the fighting ship, amid roaring machinery, hissing steam, and flaming fires, to rectify an accident which, unrepaired, might send the ship and all her human freight to the bottom more surely and more quickly than shell or shot from the best guns of the enemy. These men are heroes. The Castine, when she went to work to batter the walls of San Juan, carried on board three of these boiler-makers, Fish, another, and one Huntley, of Norfolk, Virginia. The Castine went into action under full steam, her triple screws revolving at the fullest speed, and her battery of eight guns started her quivering with excitement and the fierce delight of battle. The furnaces were heated almost to white heat, and the forced draught was urging the flames to greater heat, the boiling water to the higher produc- tion of steam, the engines to increasing revolutions. Suddenly, without expectation, without warning, far down in the furnace hole, unheard by officer or man, amid the din of battle, the thundering reverberations of exploding gunpowder, there arose a fierce hiss- ing noise right inside one of the furnaces ; and those who heard it trembled as no guns or shot or shell had power to make them tremble. A socket bolt in the back connection at the very farthest inte- rior extremity of the furnace had become loose. A leak had been sprung ; the steam was pouring upon the fire, threatening in a few FORM 117 moments to put it out and stop the progress of the ship if it did not have the more awful effect of causing a terrible explosion and annihilation ! The faces of the men below, in that moment of terrible suspense, blanched beneath the grime that covered them. None knew what to do save wait the awful coming of the shock they knew must come. None? Nay, but there was one! The first to pull himself together, the first to whom returned the fear-driven senses, was Boiler-maker Huntley. His name does not appear on the navy list. Even his first name was unknown to his confrere, Fish. Only Boiler-maker Huntley, of Norfolk, Virginia ; but that is enough, and his deed should be sufficient to find for him a niche in the annals of fame whenever and wherever the story of the United States and her navy is told. One instant of startled horror — then, without hesitation, with- out trepidation, with stern-set jaws and fierce, devoted determina- tion on every line of face and form — " Turn off the force draught !" he cried. " Goodness, Huntley, what are you going to do ? " » Bank the fire ! Quick ! " " It's certain death ! " " For one — unless, for all ! Turn off the draught ! Bank the fire ! " The orders were carried out feverishly. " Now a plank ! " And before they could stop him this hero had flung the plank into the furnace, right on top of the black coal with which it was banked, and had himself climbed and crawled over the ragged mass, far back to where the steam was rushing like some hissing devil from the loosened socket. For three minutes he remained inside that fearful place, and then the work was done — the ship was saved — and his friends drew him out at the door. The force draught went to its work again, and in an instant the furnace was once more raging. But what of Huntley ? Scorched, scalded, insensible, well-nigh dead, he lay upon the iron floor of the furnace room, while around him stood his mates dousing him with water, and using every known means for his resuscitation. He did not die, but when once n8 ESSENTIALS OF PUBLIC SPEAKING more he opened his eyes, and was able to be carefully lifted into daylight, there arose such cheers from the throats of those dirty, grimy mates as never greeted taking of city or sinking of fleet. The story is briefly chronicled in the log of the Castine, and Huntley simply claims that he " did his duty." But while the United States remains a nation, so long as the banner bearing the silver stars on the field of blue, above alternate stripes of red and white, remains the symbol of purity, bravery, and patriotism to American hearts the whole world over ; so long, when her heroes are spoken of, one name should never be omitted, — that of Boiler- maker Huntley, of Norfolk, Virginia. SECTION II. DEGREE Degree of Force in Elocution is the amount of power with which sounds are sent forth from the vocal organs, and there- fore represents the vital nature of man. Though this is a very simple element, a mastery of it is essential, since the entire audience, large or small, must at least hear the speaker in order to understand or appreciate his speech. i. Scale of Force. There are three divisions of Degree, — (i) Subdued, {^Mod- erate, and (3) Energetic, which may be further divided, each into three degrees as represented in the following diagram : Subdued Moderate Energetic o o O OO Effusive Form Expulsive QO Form OO Explosive Form The first degree of Subdued Force may be the faintest utter- ance audible to an audience, while the last degree of Energetic DEGREE 119 Force may represent the most impassioned emotion of the speaker. This, like all scales in Elocution, is not absolute but relative, and is dependent upon (1) the individuality of the speaker, (2) the acoustic properties of the auditorium, and (3) the thought or emotion to be expressed. (1) Each individual has a natural or acquired range of vocal strength which is measured by his own scale of Degrees of Force. A weak-voiced person should not strain to the scale of a more vital speaker; nor should the strong- voiced speaker fall into the habit of reducing his Force to a weak, timid utterance. (2) Acoustic conditions are dependent first, upon the size and shape of the auditorium, and second, on whether or not it is filled with an audience. The speaker must at the start observe the size of his auditorium and adjust his scale accordingly. He must overcome echo, due to the shape of the room and to its furnishings, by a proper scale of Degrees, remembering always to adapt his scale to the audience, large or small. (3) The scale thus established, the speaker must remember that the different Degrees of Force express differing intensities of thought and feeling. These may be determined by observing the analogy between the three Forms of Force and the three Degrees of Force as indicated by the above diagram. To illus- trate : the gentler emotions, such as timidity, tranquillity, pa- thos, reverence, or veneration, are given in Subdued or Moderate Degrees; those states of mind expressed in ordinary conversa- tion, didactic thought, gladness, patriotism, amazement, scorn, or hate, range through the last of Subdued, the Moderate, and a part of Energetic ; while the more intense passions, such as ecstatic joy, defiance, alarm, terror, or rage, require the strongest Degree of Moderate and the Energetic Degrees of Force. By further associating Quality, Form, and Degree of Force, the student may easily determine the proper expression of all the sentiments he may wish to interpret. 120 ESSENTIALS OF PUBLIC SPEAKING 2. Illustrative Selections. (i) For Subdued Degree. Note. While Subdued Force is in general appropriate to these selec- tions, the student should take into account the range of Subdued and Moderate explained above, and change those Degrees to suit the senti- ments. Nothing would be more monotonous than to use one Degree of Force through an entire selection. CROSSING THE BAR Alfred Lord Tennyson Sunset and evening star, And one clear call for me ! And may there be no moaning of the bar, When I put out to sea. But such a tide as moving seems asleep, Too full for sound and foam, When that which drew from out the boundless deep Turns again home. Twilight and evening bell, And after that the dark ! And may there be no sadness of farewell, When I embark ; For tho' from out our bourne of Time and Place The flood may bear me far, I hope to see my Pilot face to face When I have crost the bar. THE GRIEF OF OPHELIA William Shakespeare O, what a noble mind is here o'erthrown ! Th' expectancy and rose of the fair State, The glass of fashion and the mould of form, Th' observed of all observers, — quite, quite down ! And I, of ladies most deject and wretched, DEGREE 121 That sucked the honey of his music vows, Now see that noble and most sovereign reason, Like sweet bells jangled, out of tune and harsh ; O, woe is me, T' have seen what I have seen, see what I see ! (2) For Moderate Degree. Note. Observe the range as well as the limitation of Moderate Force, and vary its degrees to suit the demands of the following selec- tion. The figure (p. 118) shows that all three of the Forms may be found in the Moderate Degree of Force. DEDICATION OF GETTYSBURG CEMETERY Abraham Lincoln Fourscore and seven years ago our fathers brought forth upon this continent a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure. We are met on a great battlefield of that war. We have met to dedicate a portion of it as the final resting-place of those who here gave their lives that that nation might live. It is altogether fitting and proper that we should do this. But in a larger sense we cannot dedicate, we cannot consecrate, we cannot hallow this ground. The brave men, living and dead, who struggled here have consecrated it far beyond our power to add or detract. The world will little note, nor long remember, what we say here ; but it can never forget what they did here. It is for us, the living, rather to be dedicated to the unfinished work that they have thus far so nobly carried on. It is rather for us to be here dedicated to the great task remaining before us ; that from these honored dead we take increased devotion to that cause for which they here gave the last full measure of devotion ; that we here highly resolve that these dead shall not have died in vain ; that this nation shall, under God, have a new birth of free- dom, and that government of the people, by the people, and for the people, shall not perish from the earth. 122 ESSENTIALS OF PUBLIC SPEAKING (3) For Energetic Degree. Note. But a few words given in the strongest Degree of Energetic Force will be quite sufficient for expressive purposes. The extreme degrees of any element are used less frequently than the moderate ranges. THE GARDEN SCENE FROM "MARY STUART" Schiller : Translated by Joseph Mellish Mary of Scotland pleads with Elizabeth, Queen of England, to spare her life ; failing in her plea she gives vent to fiercest wrath. Elizabeth. How, my Lords ! Which of you then announced to me a prisoner Bow 'd down by woe ? I see a haughty one, By no means humbled by calamity. Mary. Well, be it so : to this will I submit. — Farewell high thought, and pride of noble mind ! I will forget my dignity, and all My sufferings ; I will fall before her feet, Who hath reduced me to this wretchedness. — The voice of Heaven decides for you, my sister. Your happy brows are now with triumph crown'd ; I bless the Power Divine which thus hath raised you : \_Kneeling~] But in your turn be merciful, my sister ; Let me not lie before you thus disgraced : Stretch forth your hand, your royal hand, to raise Your sister from the depths of her distress. Eliza. You are where it becomes you, Lady Stuart ; And thankfully I prize my God's protection, Who hath not suffered me to kneel a suppliant Thus at your feet, as you now kneel at mine. Mary. Think on all earthly things, vicissitudes. O ! there are gods who punish haughty pride : Respect them, honour them, the dreadful ones Who thus before thy feet have humbled me ! Before these strangers' eyes, dishonour not Yourself in me : profane not, nor disgrace DEGREE 123 The royal blood of Tudor. In my veins It flows as pure a stream as in your own. ! for God's pity, stand not so estranged And inaccessible, like some tall cliff, Which the poor shipwreck'd mariner in vain Struggles to seize, and labours to embrace. Eliza. What would you say to me, my Lady Stuart? You wish'd to speak with me ; and I, forgetting The Queen, and all the wrongs I have sustain'd, Fulfil the pious duty of the sister, And grant the boon you wish'd for of my presence. Yet I, in yielding to the generous feelings Of magnanimity, expose myself To rightful censure, that I stoop so low : For well you know, you would have had me murder'd. Mary. O ! how shall I begin ? O, how shall I So artfully arrange my cautious words, That they may touch, yet not offend your heart ? 1 am a Queen, like you, yet you have held me Confined in prison. As a suppliant I came to you, yet you in me insulted The pious use of hospitality ; Slighting in me the holy law of nations, Immured me in a dungeon, tore from me My friends and servants ; to unseemly want I was exposed, and hurried to the bar Of a disgraceful, insolent tribunal. No more of this : .in everlasting silence Be buried all the cruelties I suffer'd ! See, I will throw the blame of all on fate ; 'Twas not your fault, no more than it was mine : An evil spirit rose from the abyss, To kindle in our hearts the flames of hate, By which our tender youth had been divided : It grew with us, and bad, designing men Fann'd with their ready breath the fatal fire. Now stand we face to face : now, sister, speak; 124 ESSENTIALS OF PUBLIC SPEAKING Name but my crime, I'll fully satisfy you : Alas ! had you vouchsafed to hear me then, When I so earnest sought to meet your eye, It never would have come to this, nor would, Here in this mournful place, have happen'd now This so distressful, this so mournful meeting. Eliza. My better stars preserved me. I was warn'd, And laid not to my breast the poisonous adder ! Accuse not fate ! your own deceitful heart It was, the wild ambition of your House. But God is with me, and the haughty foe Has not maintain'd the field. The blow was aim'd Full at my head, but yours it is which falls ! Mary. I'm in the hand of Heaven. You never will Exert so cruelly the power it gives you. Eliza. Who shall prevent me ? Say, did not your uncle Set all the Kings of Europe the example, How to conclude a peace with those they hate ? Force is my only surety ; no alliance Can be concluded with a race of vipers. Ma?y. O, this is but your wretched, dark suspicion ! For you have constantly regarded me But as a stranger, and an enemy. Had you declared me heir to your dominions, As is my right, then gratitude and love In me had fix'd, for you, a faithful friend And kinswoman. Eliza. Your friendship is abroad. Namejcw my successor ! The treacherous snare ! That in my life you might seduce my people ; And, like a sly Armida, in your net Entangle all our noble English youth; That all might turn to the new rising Sun, And I — Mary. O sister, rule your realm in peace : I give up every claim to these domains : Alas ! the pinions of my soul are lamed ; DEGREE 125 Greatness entices me no more : your point Is gain'd ; I am but Mary's shadow now ; My noble spirit is at last broke down By long captivity : you've done your worst On me ; you have destroy'd me in my bloom ! Now end your work, my sister ; speak at length The word, which to pronounce has brought you hither ; For I will ne'er believe that you are come To mock unfeelingly your hapless victim. Pronounce this word ; say, " Mary, you are free : You have already felt my power ; learn now To honour too my generosity." Say this, and I will take my life, will take My freedom, as a present from your hands. One word makes all undone ; I wait for it : O, let it not be needlessly delay'd : Woe to you, if you end not with this word ! For, should you not, like some divinity Dispensing noble blessings, quit me now, Then, sister, not for all this island's wealth, For all the realms encircled by the deep, Would I exchange my present lot for yours. Eliza. And you confess at last, that you are conquer'd. Are all your schemes run out ? no more assassins Now on the road ? will no adventurer Attempt again, for you, the sad achievement ? Yes, madam, it is over: you'll seduce No mortal more. The world has other cares ; None is ambitious of the dangerous honour Of being your fourth husband : you destroy Your wooers like your husbands. Mary. Sister, sister ! Grant me forbearance, all ye powers of Heaven ! Eliza. Those then, my Lord of Leicester, are the charms Which no man with impunity can view, Near which no woman dare attempt to stand ? In sooth, this honour has been cheaply gain'd ; 126 ESSENTIALS OF PUBLIC SPEAKING She who to all is common may with ease Become the common object of applause. Mary. This is too much ! Eliza. You show us now, indeed, Your real face ; till now 'twas but the mask. Mary. My sins were human, and the faults of youth Superior force mislead me. I have never Denied or sought to hide it : I despised All* false appearance as became a Queen : The worst of me is known, and I can say That I am better than the fame I bean Woe to you ! when, in time to come, the world Shall draw the robe of honour from your deeds. Virtue was not your portion from your mother ; Well know we what it was which brought the head Of Anna Boleyn to the fatal block. Mary. I've supported What human nature can support : farewell, Lamb-hearted resignation ! passive patience, Fly to thy native Heaven ! burst at length Thy bonds, come forward from thy dreary cave, In all thy fury, long-suppressed rancour ! And thou, who to the anger'd basilisk Impart'st the murderous glance, O, arm my tongue With poison'd darts ! A bastard soils, Profanes the English throne ! The generous Britons Are cheated by a juggler, whose whole figure Is false and painted, heart as well as face ! If right prevailed, you now would in the dust Before me lie, for I'm your rightful monarch ! [Elizabeth hastily quits the stage. Gone hence in wrath ! She carries death within her heart ! I know it. DEGREE 127 Now I am happy ! and at last, After whole years of sorrow and abasement, One moment of victorious revenge ! A weight falls off my heart, a weight of mountains ; I plunged the steel in my oppressor's breast ! I have abased her before Leicester's eyes ; He saw it, he was witness of my triumph. How I did hurl her from her haughty height ! He saw it, and his presence strengthen'd me. 3. Vocal Culture in Degrees of Force. (1) Give the sounds o, I, a, and the words, "Mr. President, Ladies and Gentlemen," in all the Degrees of Force suitable to a room seating twenty-five persons ; give the same in a scale for an audience of one hundred, five hundred, two thousand, and five thousand respectively. (2) Give sounds, words, and sentences in Effusive Form in all the degrees of Subdued and Moderate Force in a room seating five hundred people. (3) Give the same in Expulsive Form, last degree of Sub- dued, Moderate, and first degree of Energetic Force. (4) Give the same in Explosive Form in last degree of Mod- erate and all the degrees of Energetic Force. (5) Apply the scale of Force to each Quality in Expulsive Form, using the continuant sounds e, 00, a. (6) Give a, e, 1, o, u, through all Degrees of Force, with notes of speech alternating in rising and falling inflections. The student should vary these exercises and give them according to his strength and needs, and should not forget the suggestions (p. 12) in regard to the mental condition implied in the tones used. Selection for all Degrees of Force. Note. Here the student has opportunity for a free use of his knowl- edge of all the elements thus far studied; and since impression must 128 ESSENTIALS OF PUBLIC SPEAKING come before expression he should work out a clear conception of the thoughts, emotions, and passions of the whole selection. Conceptions of teachers and students will differ (and herein lies a great charm of the study of elocution), but the conception once determined upon, the laws of expression are definite enough to test the skill of the reader or speaker who tries to give that conception to his audience. MARY'S NIGHT RIDEi George W. Cable Mary Richling, the heroine of the story, was the wife of John Richling, a resident of New Orleans. At the breaking out of the Civil War she went to visit her parents in Milwaukee. About the time of the bombardment of New Orleans she received news of the dangerous illness of her husband, and she decided at once to reach his bedside, if possible. Taking with her, her baby daughter, a child of three years, she proceeded southward, where, after sev- eral unsuccessful attempts to secure a pass, she finally determined to break through the lines. About the middle of the night Mary Richling was sitting very still and upright on a large, dark horse that stood champing his Mexican bit in the black shadow of a great oak. Alice rested before her, fast asleep against her bosom. Mary held by the bridle another horse, whose naked saddle-tree was empty. A few steps in front of her the light of the full moon shone almost straight down upon a narrow road that just there emerged from the shadow of woods on either side, and divided into a main right fork and a much smaller one that curved around to Mary's left. Off .in the direction of the main fork the sky was all aglow with camp-fires. Only just here on the left there was a cool and grate- ful darkness. She lifted her head alertly. A twig crackled under a tread, and the next moment a man came out of the bushes at the left, and without a word took the bridle of the led horse from her fingers and vaulted into the saddle. The hand that rested a moment on the cantle as he rose grasped a "navy six." He was dressed in 1 From Dr. Sevier. DEGREE 129 dull homespun, but he was the same who had been dressed in blue. He turned his horse and led the way down the lesser road. "If we'd gone on three hundred yards further," he whispered, falling back and smiling broadly, "we'd 'a' run into the pickets. I went nigh enough to see the videttes settin' on their hosses in the main road. This here ain't no road ; it just goes up to a nig- ger quarters. I've got one o' the niggers to show us the way." "Where is he?" whispered Mary; but before her companion could answer, a tattered form moved from behind a bush a little in advance and started ahead in the path, walking and beckoning. Presently they turned into a clear, open forest, and followed the long, rapid, swinging stride of the negro for nearly an hour. Then they halted on the bank of a deep, narrow stream. The negro made a motion for them to keep well to the right when they should enter the water. The white man softly lifted Alice to his arms, directed and assisted Mary to kneel in her saddle, with her skirts gathered carefully under her, and so they went down into the cold stream, the negro first, with arms outstretched above the flood ; then Mary, and then the white man, — or, let us say plainly, the spy — with the unawakened child on his breast. And so they rose out of it on the farther side without a shoe or garment wet, save the rags of their dark guide. Again they followed him, along a line of stake-and-rider fence, with the woods on one side and the bright moonlight flooding a field of young cotton on the other. Now they heard the distant baying of house-dogs, now the doleful call of the chuck-will's- widow, and once Mary's blood turned, for an instant, almost to ice at the unearthly shriek of the hoot-owl just above her head. At length they found themselves in a dim, narrow road, and the negro stopped. " Dess keep dish yeh road fo' 'bout half mile, an' you strak 'pon de broad, main road. Tek de left, an' you go whah yo' fancy tek you." " Good-by," whispered Mary. " Good-by, Miss," said the negro, in the same low voice ; "good- by, boss ; don't you fo'git you promise tek me thoo to de Yankee' when you come back. I 'feered you gwine fo'git it, boss." 130 ESSENTIALS OF PUBLIC SPEAKING The spy said he would not, and they left him. The half mile was soon passed, though it turned out to be a mile and a half, and at length Mary's companion looked back, as they rode single file with Mary in the rear, and said softly : " There's the road," pointing at its broad, pale line with his six-shooter. As they entered it and turned to the left, Mary, with Alice again in her arms, moved somewhat ahead of her companion, her indif- ferent horsemanship having compelled him to drop back to avoid a prickly bush. His horse was just quickening his pace to regain the lost position, when a man sprang up from the ground on the farther side of the highway, snatched a carbine from the earth and cried, » Halt ! " The dark recumbent forms of six or eight others could be seen, en- veloped in their blankets, lying about a few red coals. Mary turned a frightened look backward and met the eyes of her companion. " Move a little faster," said he, in a low, clear voice. As she promptly did so she heard him answer the challenge, as his horse trotted softly after hers. " Don't stop us, my friend ; we're taking a sick child to the docter." " Halt, you hound ! " the cry rang out ; and as Mary glanced back three or four men were just leaping into the road. But she saw also her companion, his face suffused with an earnestness that was almost an agony, rise in his stirrups with the stoop of his shoulders all gone, and wildly cry : "Go!" She smote the horse and flew. Alice woke and screamed. " Hush, my darling," said the mother, laying on the withe ; " mamma's here. Hush, darling, mamma's here. Don't be fright- ened, darling baby. O God, spare my child ! " and away she sped. The report of a carbine rang out and went rolling away in a thousand echoes through the wood. Two others followed in sharp succession, and there went close by Mary's ear the waspish whine of a minie-ball. At the same moment she recognized, once, — twice, — thrice, — just at her back where the hoofs of her com- panion's horse were clattering — the tart rejoinders of his navy six. STRESS 131 " Go ! " he cried again. " Lay low ! lay low ! cover the child ! " But his words were needless. With head bowed forward and form crouched over the crying, clinging child, with slackened rein and fluttering dress, and sun-bonnet and loosened hair blown back upon her shoulders, with lips compressed and silent prayers, Mary was riding for life and liberty and her husband's bedside. " Go on ! Go on ! " cried the voice behind ; " they're — saddling up ! Go ! go ! We're goin' to make it ! We're goin' to make it ! Go-0-0 ! " And they made it ! SECTION III. STRESS Stress is the location of the strongest portion of a given degree of Force upon a certain part of the sound or syllable. A shifting of this location changes the sense of the phrase. To illustrate : if, in answering a direct question, the word " no " be given with the main Force on the first part of that mono- syllable, it is a simple negative answer ; now place the strongest Force on the last part of the word and the impression of determination or impatience is given; place it upon the first and last parts and it becomes irony or sarcasm ; with the strength applied to the middle of the word it becomes pathetic or mournful ; give the same Force throughout and it means a call; and finally, if the Force be applied tremulously, the utterance shows feebleness or agitation. It is evident that each change of the location of Force adds a new significance to the word "no." These illustrations prove our proposition ; and accepting it as a fact, we must know exactly the signifi- cance of each Stress and be guided by that knowledge in our study of expression. Broadly speaking, Stress belongs to the Mental Nature, but its varieties and kinds represent all three of the natures of man. 132 ESSENTIALS OF PUBLIC SPEAKING There are six Stresses, — (i) Radical, (2) Final, (3) Com- pound, (4) Median, (5) Thorough, and (6) Intermittent. Their relation to the Triune Nature is shown as follows : Radical, == ,Mental Compound,- —■"'' < Median ^..Emotive ^ ( Final,---"" Thorough . _~1~ ~ :r 2 = „Vi tal Intermittent-''" 1. Radical Stress. ,'<*? The Radical is that Stress in which the Force is applied strongest on the first part of the sound, syllable, or word, as shown in the following cuts : (^______m^==- Expulsive Radical < ^__^^ I J 7^m== Explosive It is heard in the tick of a clock, the tap of a drum, the clapping of hands, the report of a gun, and in animated con- versation. It is the ordinary Stress which conveys the meaning of the language, while each of the other Stresses conveys some special emotion or gives vitality to specially emphatic words ; it therefore belongs to the Mental division of Man's Triune Nature. It is given with the Expulsive and Explosive Forms, and is used to express narratio?i, joy, patriotism, courage, hate, anger, or dread, according to the Quality of voice in which it is given. The Radical Stress gives clearness and brilliancy to vocal utterance ; it gives a clean-cut edge to words, makes them penetrate space and fall with precision and force upon the ear of the audience. It is the most commonly used of the Stresses, and by its definiteness and clearness in impressing the ear it adds great charm to conversation and to public speech. STRESS 133 Illustrative Selection. Note. In reading the following selection the students should make clean-cut, definite strokes of voice at the beginning of the accented syllables throughout. As Radical is the Stress most frequently used, it should be practiced assiduously. HAMLET'S ADVICE TO THE PLAYERS William Shakespeare Speak the speech, I pray you, as I pronounced it to you, trip- pingly on the tongue : but if you mouth it, as many of our players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hand, thus, but use all gently ; for in the very torrent, tempest, and, as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness. O, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumb-shows and noise : I would have such a fellow whipped for o'erdoing Termagant ; it out-Herods Herod : pray you, avoid it. Be not too tame neither, but let your own discretion be your tutor : suit the action to the word, the word to the action ; with this special observance, that you o'erstep not the modesty of nature : for any thing so overdone is from the purpose of playing, whose end, both at the first and now, was and is, to hold, as 'twere, the mirror up to nature; to show virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve ; the censure of the which one must in your allowance o'erweigh a whole theatre of others. O, there be players that I have seen play, and heard others praise, and that highly, not to speak it pro- fanely, that, neither having the accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellowed that I have thought some of nature's journeymen had made men and not made them well, they imitated humanity so abominably. 134 ESSENTIALS OF PUBLIC SPEAKING 2. Final Stress. The Final is that Stress in which the Force is applied more strongly to the last part of the sound, syllable, or word, as indi- cated by the following cuts : ,-c^^^j Expulsive Final < -===^ZI^~~~\ Explosive It is heard in a sneeze, a hiccough, in the premonitory growl and angry snap of a dog, in the scoff of disgust, or in the determined tones of a resolute, self-willed person. It is one of the pivotal Stresses, and represents about equally the Mental and Emotive Natures of Man, when the thought has a very determined, self-assertive, or insistent motive impelling its utterance. It is given only with the Expulsive and Explosive Forms of Voice, as shown in the above cuts, and is used to express determination, defiance, peevishness, snarling, fright, revenge, amazement, or terror according to the Quality in which it is given. Illustrative Selection. Note. In the following selection certain words, a few of which we have underscored, show great determination and firm resolve. Such words should be read with the Final Stress, which gives an expression of firmness and insistency. HENRY V TO HIS TROOPS William Shakespeare Once more into the breach, dear friends, once more ; Or close the wall up with our English dead. In peace there's nothing so becomes a man As modest stillness and humility : But when the blast of war blows in our ears, Then imitate the action of the tiger ; Stiffen the sinews, summon up the blood, STRESS 135 Disguise fair nature with hard-favour'd rage ; Then lend the eye a terrible aspect ; Let it pry through the portage of the head Like the brass canon ; let the brow o'erwhelm it, As fearfully as doth a galled rock O'erhang and jutty his confounded base, Swill'd with the wild and wasteful ocean. Now set the teeth and stretch the nostril wide, Hold hard the breath and bend up every spirit To his full height. On, on, you noble English, Whose blood is fet from fathers of war-proof ! Fathers that, like so many Alexanders, Have in these parts from morn till even fought And sheathed their swords for lack of argument : Dishonour not your mothers ; now attest That those whom you call 'd fathers did beget you. Be copy now to men of grosser blood, And teach them how to war. And you, good yeomen, Whose limbs were made in England, show us here The mettle of your pasture ; let us swear That you are worth your breeding ; which I doubt not ; For there is none of you so mean and base, That hath not noble lustre in your eyes. I see you stand like greyhounds in the slips, Straining upon the start. The game's afoot : Follow your spirit, and upon this charge Cry " God for Harry, England, and Saint George ! " 3. Compound Stress. In the Compound Stress the Force is placed upon the first and last parts of the sound. It may be given in either the Expulsive or the Explosive Form : Compound f ^~^\ -Expulsive ^~^^CT"~| Explosive 136 ESSENTIALS OF PUBLIC SPEAKING It is heard in mimicry, mocking laughter, taunt, or when- ever one is impelled by a satirical motive. It is also a pivotal Stress (p. 132), and represents about equally the Emotive and Vital Natures. It is a "double-faced" Stress, and is character- istic of falsity of statement or ironical motive, and is used to ex- press irony, sarcasm, ridicule, mockery, satire, taunt, derision. Illustrative Selection. Note. A few words given in Compound Stress will tinge with sar- casm or irony the whole selection. Let the student seek out these expressive words and apply this stress to them; we have underscored a few of them. THE IRISH DISTURBANCE BILL Daniel O'Connell I do not rise to fawn or cringe to this house. I do not rise to supplicate you to be merciful toward the nation to which I belong, — toward a nation which, though subject to England, yet is distinct from it. It is a distinct nation ; it has been treated as such by this country, as may be proved by history, and by seven hundred years of tyranny. I call upon this house, as you value the liberty of England, not to allow the present nefarious bill to pass. In it are involved the liberties of England, the liberty of the press, and of every other institution dear to Englishmen. Against the bill I protest in the name of this Irish people, and in the face of Heaven. I treat with scorn the puny and pitiful assertions that grievances are not to be complained of, that our redress is not to be agitated ! for, in such cases, remonstrances cannot be too strong, agitation cannot be too violent, to show to the world with what injustice our fair claims are met, and under what tyranny the people suffer. There are two frightful clauses in this bill. The one which does away with trial by jury, and which I have called upon you to bap- tize : you call it a court-martial, — a mere nickname ; I stigmatize it as a revolutionary tribunal. What, in the name of Heaven, is it, if it is not a revolutionary tribunal ? STRESS 137 It annihilates the trial by jury ; it drives the judge from his bench, — the man who, from experience, could weigh the nice and delicate points of a case ; who could discriminate between the straightforward testimony and the suborned evidence ; who could see, plainly and readily, the justice or injustice of the accusation. It turns out this man who is free, unshackled, unprejudiced, who has no previous opinions to control the clear exercise of his duty. You do away with that which is more sacred than the throne itself, — that for which your King reigns, your Lords deliberate, your Commons assemble. If ever I doubted before of the success of our agitation for repeal, this bill, this infamous bill, the way in which it has been received by the House, the manner in which its opponents have been treated, the personalities to which they have been subjected, the yells with which one of them has this night been greeted, — all these things dissipate my doubts, and tell me of its complete and early triumph. Do you think those yells will be forgotten ? Do you suppose their echo will not reach the plains of my injured and insulted country ; that they will not be whispered in her green valleys, and heard from her lofty hills ? Oh, they will be heard there ! Yes ; and they will not be for- gotten. The youth of Ireland will bound with indignation ; they will say, "We are eight millions ; and you treat us thus, as though we were no more to your country than the isle of Guernsey or of Jersey ! " I have done my duty ; I stand acquitted to my conscience and my country ; I have opposed this measure throughout ; and I now protest against it as harsh, oppressive, uncalled for, unjust, — as establishing an infamous precedent by retaliating crime against crime, — as tyrannous, cruelly and vindictively tyrannous. 4. Median Stress. The Median is that stress in which the main Force is placed upon the middle of the sound, producing a swell of the voice which may be gentle or intense according to the sentiment 138 ESSENTIALS OF PUBLIC SPEAKING expressed. It may be given with notes of song and speech in various lengths of Quantity, and with the Effusive Form only, as represented in the following cut : Median— =- -Effusive It is heard in nature in the moaning wind, the howl of a dog, the groan of a child, the swelling notes of the pipe organ, and in the sigh of pathos or sorrow. The Median is a dis- tinctly Emotive Stress and may be used to express those senti- ments or emotions already ascribed to the Effusive Form and its appropriate Qualities (see table, p. 114), such as solemnity \ reverence, weakness, indifference, whining, awe, secrecy, etc. Illustrative Selection. Note. In practicing for Median Stress strive for smoothness and evenness of tone, and for swelling notes, not abrupt tones. Seek out the expressive words, those which best reflect the sentiment, and apply this Stress to them. We have underscored such words in the first stanza. SAILING BEYOND SEAS Jean Ingelow Methought the stars were blinking bright, And the old brig's sails unfurled ; I said: " I will sail to my love this night, At the other side of the world." I stepp'd aboard — we sail'd so fast — The sun shot up from the bourn ; But a dove that perch'd upon the mast Did mourn, and mourn, and mourn. O fair dove ! O fond dove ! And dove with the white, white breast — Let me alone, the dream is my own , And my heart is full of rest. My true love fares on this great hill, Feeding his sheep for aye ; STRESS 139 I look'd in his hut, but all was still, My love was gone away. I went to gaze in the forest creek, And the dove mourn'd on apace ; No flame did flash, nor fair blue reek Rose up to show me his place. O last love ! O first love ! My love with the true, true heart, To think I have come to this your home, And yet — we are apart ! My love ! He stood at my right hand, His eyes were grave and sweet ; Methought he said : " In this far land, O, is it thus we meet? Ah, maid most dear, I am not here ; I have no place, no part, No dwelling more by sea or shore, But only in thy heart." O fair dove ! O fond dove ! Till night rose over the bourn, The dove on the mast, as we sail'd fast, Did mourn, and mourn, and mourn. 5. Thorough Stress. In the Thorough Stress the Force is applied throughout the sound or syllable with nearly uniform intensity. It may be given in the Expulsive and Explosive Forms with notes of speech and notes of song: Thorough « f \ Expulsive 'Explosive It is heard in the crowing of the cock, the lowing of cattle, the call of the herdsman, and the shout of victory, all of which sustain our classification of the Thorough as representing most strongly the Vital Nature of Man. It is used under conditions 140 ESSENTIALS OF PUBLIC SPEAKING implying distance to be overcome by a prolonged, calling utterance, and is the appropriate Stress for ordinary calling, lofty appeal, apostrophe, a scream of fright, and a, cry of rage or alarm. Illustrative Selection. Note. In the selection chosen as an illustration only the calls and those parts addressed to the noisy crowd should be given in Thorough Stress. Continuant sounds and indefinite syllables of such parts most easily respond to this Stress. HORATIUS AT THE BRIDGE Lord Macaulay Now the Consul's brow was sad, And the Consul's speech was low, And darkly look'd he at the wall, And darkly at the foe : " Their van will be upon us Before the bridge goes down ; And, if they once may win the bridge, What hope to save the town ? " Then outspake brave Horatius, The captain of the gate : " To every man upon this Earth Death cometh soon or late. And how can man die better Than facing fearful odds For the ashes of his fathers And the temples of his gods ? " Hew down the bridge, Sir Consul, With all the speed ye may ; I, with two more to help me, Will hold the foe in play, — In yon strait path a thousand STRESS 141 May well be stopp'd by three. Now who will stand on either hand, And keep the bridge with me ? " Then outspake Spurius Lartius, — A Ramnian proud was he : " Lo, I will stand at thy right hand, And keep the bridge with thee." And outspake strong Herminius, — Of Titian blood was he : " I will abide on thy left side, And keep the bridge with thee." " Horatius," quoth the Consul, " As thou say'st, so let it be." And straight against that great array Forth went the dauntless Three. Now, while the Three were tightening Their harness on their backs, The Consul was the foremost man To take in hand an axe ; And Fathers mix'd with Commons Seized hatchet, bar, and crow, And smote upon the planks above, And loosed the props below. Meanwhile the Tuscan army, Right glorious to behold, Came flashing back the noonday light, Rank behind rank, like surges bright Of a broad sea of gold. Four hundred trumpets sounded A peal of warlike glee, As that great host, with measured tread, And spears advanced, and ensigns spread, Roll'd slowly towards the bridge's head, Where stood the dauntless Three. 142 ESSENTIALS OF PUBLIC SPEAKING But now no sound of laughter Was heard amongst the foes. A wild and wrathful clamour From all the vanguard rose. ' Six spears' lengths from the entrance Halted that mighty mass, And for a space no man came forth To win the narrow pass. But, hark ! the cry is Astur: And, lo ! the ranks divide ; And the great lord of Luna Comes with his stately stride. Quoth he, " The she-wolf's litter Stand savagely at bay ; But will ye dare to follow, If Astur clears the way ? " Then, whirling up his broadsword With both hands to the height, He rush'd against Horatius, And smote with all his might. With shield and blade Horatius Right deftly turn'd the blow ; The blow, though turn'd, came yet too nigh ; It miss'd his helm, but gash'd his thigh. The Tuscans raised a joyful cry To see the red blood flow. He reel'd, and on Herminius He lean'd one breathing-space, Then, like a wild-cat mad with wounds, Sprang right at Astur's face. Through teeth and skull and helmet So fierce a thrust he sped, The good sword stood a handbreadth out Behind the Tuscan's head. STRESS 143 But meanwhile axe and lever Have manfully been plied, And now the bridge hangs tottering Above the boiling tide. " Come back, come back, Horatius ! " Loud cried the Fathers all ; " Back, Lartius ! back, Herminius ! Back, ere the ruin fall ! " Back darted Spurius Lartius ; Herminius darted back ; And, as they pass'd, beneath their feet They felt the timbers crack ; But, when they turn'd their faces, And on the further shore Saw brave Horatius stand alone, They would have cross'd once more. But, with a crash like thunder, Fell every loosen'd beam, And, like a dam, the mighty wreck Lay right athwart the stream ; And a long shout of triumph Rose from the walls of Rome, As to the highest turret-tops Was splash'd the yellow foam>- Alone stood brave Horatius, But constant still in mind, — Thrice thirty thousand foes before, And the broad flood behind. " Down with him ! " cried false Sextus, With a smile on his pale face ; " Now yield thee," cried Lars Porsena, " Now yield thee to our grace ! " Round turn'd he, as not deigning Those craven ranks to see ; Nought spake he to Lars Porsena, 144 ESSENTIALS OF PUBLIC SPEAKING To Sextus nought spake he ; But he saw on Palatinus The white porch of his home ; And he spake to the noble river That rolls by the towers of Rome : " O Tiber ! Father Tiber ! To whom the Romans pray, A Roman's life, a Roman's arms, Take thou in charge this day ! " So he spake, and, speaking, sheathed The good sword by his side, And, with his harness on his back, Plunged headlong in the tide. No sound of joy or sorrow Was heard from either bank, But friends and foes in dumb surprise, With parted lips and straining eyes, Stood gazing where he sank ; And, when above the surges They saw his crest appear, All Rome sent forth a rapturous cry, And even the ranks of Tuscany Could scarce forbear to cheer. But fiercely ran the current, Swoll'n high by months of rain, Andfast his blood was flowing ; And he was sore in pain, And heavy with his armour, And spent with changing blows ; And oft they thought him sinking, But. still again he rose. And now he feels the bottom ; — Now on dry earth he stands ; Now round him throng the Fathers Intermittent STRESS 145 To press his gory hands. And, now with shouts and clapping, And noise of weeping loud, He enters through the River Gate, Borne by the joyous crowd. 6. Intermittent Stress. The Intermittent is that Stress in which the main Force is applied in alternating impulses throughout the sound or word. It may be given in all three of the Forms of Force with either notes of song or notes of speech : f<0000 -Effusive OOOOO E *P ulsi ve I DOOOC1 E *P losive It is heard whenever the body becomes tremulous, as in the chilling effect of cold or under the excitement of extreme fright or ecstasy. One speaking while riding in a wagon over a rough street would vocalize in an unavoidable Intermittent Stress. Since it is an expressional result of physical conditions it represents the Vital Nature of Man, and is used to express tenderness ; deep pathos, ecstatic joy, deep reverence, feebleness, whimpering, rage, horror, and intense fear, according to the Quality and Form used. Illustrative Selection. Note. The tender and pathetic parts of the following selection will be found to respond easily to this Stress. Remember that Intermittent is the broken, tearful voice of grief or other great excitement. Once in possession of this Stress the student should avoid its excessive use. THE SOLDIER'S REPRIEVE R. D. C. Robbins " I thought, Mr. Allan, when I gave my Bennie to his country, that not a father in all this broad land made so precious a gift, — no, not one. The dear boy only slept a minute, just one little 146 ESSENTIALS OF PUBLIC SPEAKING minute, at his post ; I know that was all, for Bennie never dozed over a duty. How prompt and reliable he was ! I know he only fell asleep one little second ; — he was so young, and not strong, that boy of mine ! Why, he was as tall as I, and only eighteen ! and now they shoot him because he was found asleep when doing sen- tinel duty ! Twenty-four hours, the telegram said, — only twenty- four hours. Where is Bennie now ? " "We will hope with his heavenly Father," said' Mr. Allan, soothingly. " Yes, yes ; let us hope ; God is very merciful ! " "'I should be ashamed, father!' Bennie said, 'when I am a man, to think I never used this great right arm ' — and he held it out so proudly before me — ' for my country, when it needed it ! Palsy it rather than keep it at the plow ! ' "'Go, then, go, my boy,' I said, 'and God keep you!' God has kept him, I think, Mr. Allan ! " and the farmer repeated these last words slowly, as if, in spite of his reason, his heart doubted them. " Like the apple of His eye, Mr. Owen, doubt it not ! " Blossom sat near them listening, with blanched cheek. She had not shed a tear. Her anxiety had been so concealed that no one had noticed it. She had occupied herself mechanically in the household cares. Now she answered a gentle tap at the kitchen door, opening it to receive from a neighbor's hand a letter. "It is from him," was all she said. It was like a message from the dead ! Mr. Owen took the letter, but could not break the envelope, on account of his trem- bling fingers, and held it toward Mr. Allan, with the helplessness of a child. The minister opened it, and read as follows : " Dear Father : — When this reaches you, I shall be in eter- nity. At first, it seemed awful to me ; but I have thought about it so much now, that it has no terror. They say they will not bind me, nor blind me ; but that I may meet my death like a man. I thought, father, it might have been on the battlefield, for my country, and that, when I fell, it would be fighting gloriously ; but to be shot down like a dog for nearly betraying it, — to die for neglect of STRESS 147 duty ! O father, I wonder the very thought does not kill me ! But I shall not disgrace you. I am going to write you all about it ; and when I am gone, you may tell my comrades. I cannot now. " You know I promised Jemmie Carr's mother I would look after her boy, and, when he fell sick, I did all I could for him. He was not strong when he was ordered back into the ranks, and the day before that night, I carried all his luggage, besides my own, on our march. Toward night we went in on double-quick, and though the luggage began to feel very heavy, everybody else was tired too ; and as for Jemmie, if I had not lent him an arm now and then, he would have dropped by the way. I was all tired out when we came into camp, and then it was Jemmie's turn to be sentry, and I would take his place ; but I was too tired, father. I could not have kept awake if a gun had been pointed at my head ; but I did not know it un^il — well, until it was too late." " God be thanked ! " interrupted Mr. Owen, reverently. " I knew Bennie was not the boy to sleep carelessly at his post." " They tell me to-day that I have a short reprieve, — given to me by circumstances, — ' time to write to you,' our good Colonel says. Forgive him, father, he only does his duty ; he would gladly save me if he could ; and do not lay my death up against Jemmie. The poor boy is broken-hearted, and does nothing but beg and entreat them to let him die in my stead. " I can't bear to think of mother and Blossom. Comfort them, father ! Tell them I die as a brave boy should, and that, when the war is Over, they will not be ashamed of me, as they must be now. God help me : it is very hard to bear ! Good-by, father ! God seems near and dear to me ; not at all as if He wished me to perish forever, but as if He felt sorry for His poor, sinful, broken-hearted child, and would take me to be with Him and my Saviour in a better — better life." A deep sigh burst from Mr. Owen's heart. " Amen," he said, solemnly, — " Amen." " To-night, in the early twilight, I shall see the cows all coming home from pasture, and precious little Blossom standing on the back stoop, waiting for me — but I shall never, never come ! God bless you all ! Forgive your poor Bennie." 148 ESSENTIALS OF PUBLIC SPEAKING Late that night the door of the " back stoop " opened softly, and a little figure glided out, and down the footpath that led to the road by the mill. She seemed rather flying than walking, turning her head neither to the right nor to the left, looking only now and then to Heaven, and folding her hands as if in prayer. Two hours later, the same young girl stood at the Mill Depot, watching the com- ing of the night train ; and the conductor, as he reached down to lift her into the car, wondered at the tear-stained face that was upturned toward the dim lantern he held in his hand. A few questions and ready answers told him all ; and no father could have cared more tenderly for his only child than he for our little Blossom. She was on her way to Washington, to ask President Lincoln for her brother's life. She had stolen away, leaving only a note to tell her father where and why she had gone. She had brought Ben- nie's letter with her; no good, kind heart, like the President's, could refuse to be melted by it. The next morning they reached New York, and the conductor hurried her on to Washington. Every minute, now, might be the means of saving her brother's life. And so, in an incredibly short time, Blossom reached the Capital, and hastened immediately to the White House. The President had but just seated himself to his morning's task of overlooking and signing important papers, when, without one word of announcement, the door softly opened, and Blossom, with downcast eyes and folded hands, stood before him. " Well, my child," he said, in his pleasant, cheerful tones, " what do you want so bright and early in the morning ? " " Bennie's life, please, sir," faltered Blossom. " Bennie ? Who is Bennie ? " " My brother, sir. They are going to shoot him for sleeping at his post." " Oh, yes," and Mr. Lincoln ran his eye over the papers before him. " I remember ! It was a fatal sleep. You see, child, it was at a time of special danger. Thousands of lives might have been lost for his culpable negligence." " So my father said," replied Blossom, gravely ; " but poor Ben- nie was so tired, sir, and Jemmie so weak. He did the work of two, STRESS 149 sir, and it was Jemmie's night, not his ; but Jemmie was too tired, and Bennie never thought about himself, that he was tired, too." " What is this you say, child ? Come here ; I do not understand," and the kind man caught eagerly, as ever, at what seemed to be a justification of an offense. Blossom went to him ; he put his hand tenderly on her shoulder, and turned up the pale, anxious face toward his. How tall he seemed, and he was President of the United States, too ! A dim thought of this kind passed for a moment through Blossom's mind ; but she told her simple and straightforward story, and handed Mr. Lincoln Bennie's letter to read. He read it carefully ; then, taking up his pen, wrote a few hasty lines, and rang his bell. Blossom heard this order given : "Send this dispatch at once." The President then turned to the girl and said : " Go home, my child, and tell that father of yours, who could approve his country's sentence, even when it took the life of a child like that, that Abra- ham Lincoln thinks the life far too precious to be lost. Go back, or, — wait until to-morrow ; Bennie will need a change after he has so bravely faced death ; he shall go with you." " God bless you, sir," said Blossom ; and who shall doubt that God heard and registered the request ? Two days after this interview, the young soldier came to the White House with his little sister. He was called into the Pres- ident's private room, and a strap fastened upon the shoulder. Mr. Lincoln then said : " The soldier that could carry a sick comrade's baggage, and die for the act so uncomplainingly, deserves well of his country." Then Bennie and Blossom took their way to the Green Mountain home. A crowd gathered at the Mill Depot to welcome them back; and as Farmer Owen's hand grasped that of his boy, tears flowed down his cheeks, and he was heard to say fervently, " The Lord be praised ! " 7. Vocal exercises in Stress. (1) Give the continuant tonic sounds a, a, a, e, o, and 00, with notes of song in all the Stresses; give the same with notes of speech. 150 ESSENTIALS OF PUBLIC SPEAKING (2) Do the same with the following words : ale, arm, all, eel, old, ooze. (3) Give the sounds o, 1, a, in the six Stresses in each of the eight Qualities, using the appropriate Forms of voice. (4) Give the same sounds in all the Stresses in the three Degrees of Force and the appropriate Forms. 8. Selection for all Stresses. Note. The "Quarrel of Brutus and Cassius" contains so great a variety of passion that all or nearly all the Stresses may be found in the selection. Let the student find these sentiments and read them in their appropriate Stresses. THE QUARREL OF BRUTUS AND CASSIUS FROM "JULIUS CAESAR" William Shakespeare Cassius. That you have wrong'd me doth appear in this : You have condemn'd and noted Lucius Pella For taking bribes here of the Sardians ; Wherein my letters, praying on his side, Because I knew the man, were slighted off. Brutus. You wrong'd yourself to write in such a case. Cas. At such a time as this it is not meet That every nice offence should bear his comment. Bru. Let me tell you, Cassius, you yourself Are much condemn'd to have an itching palm ; To sell and mart your offices for gold To undeservers. Cas. I an itching palm ? You know that you are Brutus that speak this, Or, by the gods, this speech were else your last. Bru. The name of Cassius honours this corruption, And chastisement doth therefore hide his head. Cas. Chastisement ! Bru. Remember March, the ides of March remember : Did not great Julius bleed for justice' sake ? STRESS 151 What villain touch'd his body, that did stab, And not for justice ? What, shall one of us, That struck the foremost man of all this world But for supporting robbers, shall we now Contaminate our fingers with base bribes, And sell the mighty space of our large honours For so much trash as may be grasped thus ? I had rather be a dog, and bay the moon, Than such a Roman. Cas. Brutus, bay not me ; I'll not endure it ; you forget yourself, To hedge me in ; I am a soldier, I, Older in practice, abler than yourself To make conditions. Bru. Go to ; you are not, Cassius. Cas. I am. Bru. I say you are not. Cas. Urge me no more, I shall forget myself ; Have mind upon your health, tempt me no farther. Bru. Away, slight man ! Cas. Is't possible ? Bru. Hear me, for I will speak. Must I give way and room to your rash choler ? Shall I be frighted when a madman stares .? Cas. O ye gods ! ye gods ! must I endure all this ? Bru. All this ! ay, more : fret till your proud heart break ; Go show your slaves how choleric you are, And make your bondmen tremble. Must I budge ? Must I observe you ? must I stand and crouch Under your testy humour ? By the gods, You shall digest the venom of your spleen, Though it do split you ; for, from this day forth, I'll use you for my mirth ; yea, for my laughter, When you are waspish. Cas. Is it come to this? Bru. You say you are a better soldier : Let it appear so ; make your vaunting true, 152 ESSENTIALS OF PUBLIC SPEAKING And it shall please me well : for mine own part, I shall be glad to learn of noble men. Cas. You wrong me every way ; you wrong me, Brutus ; I said an elder soldier, not a better : Did I say "better"? Bru. If you did, I care not. Cas. When Caesar lived, he durst not thus have moved me. Bru. Peace, peace ! you durst not so have tempted him. Cas. I durst not ! Bru. No. Cas. What, durst not tempt him ! Bru. For your life you durst not. Cas. Do not presume too much upon my love ; I may do that I shall be sorry for. Bru. You have done that you should be sorry for. There is no terror, Cassius, in your threats, For I am arm'd so strong in honesty That they pass by me as the idle wind, Which I respect not. I did send to you For certain sums of gold, which you denied me : For I can raise no money by vile means : B.y heaven, I had rather coin my heart, And drop my blood for drachmas, than to wring From the hard hands of peasants their vile trash By any indirection : I did send To you for gold to pay my legions, Which you denied me : was that done like Cassius ? Should I have answer'd Caius Cassius so ? When Marcus Brutus grows so covetous, To lock such rascal counters from his friends, Be ready, gods, with all your thunderbolts ; Dash him to pieces ! Cas. I denied you not. Bru. You did. Cas. I did not : he was but a fool that brought My answer back. Brutus hath rived my heart : A friend should bear a friend's infirmities, STRESS 153 But Brutus makes mine greater than they are. Bru. I do not, till you practise them on me. Cas. You love me not. Bru. I do not like your faults. Cas. A friendly eye could never see such faults. Bru. A flatterer's would not, though they do appear As huge as high Olympus. Cas. Come, Antony, and young Octavius, come, Revenge yourselves alone on Cassius, For Cassius is aweary of the world ; Hated by one he loves ; braved by his brother; Check'd like a bondman ; all his faults observed, Set in a note-book, learn'd, and conn'd by rote, To cast into my teeth. O, I could weep My spirit from my eyes ! There is my dagger, And here my naked breast ; within, a. heart Dearer than Plutus' mine, richer than gold : If that thou be'st a Roman, take it forth ; I, that denied thee gold, will give my heart : Strike, as thou didst at Caesar ; for, I know, When thou didst hate him worst, thou lovedst him better Than ever thou lovedst Cassius. Bru. Sheathe your dagger : Be angry when you will, it shall have scope ; Do what you will, dishonour shall be humour. O Cassius, you are yoked with a lamb That carries anger as the flint bears fire ; Who, much enforced, shows a hasty spark, And straight is cold again. Cas. Hath Cassius lived To be but mirth and laughter to his Brutus, When grief, and blood ill- temper 'd, vexeth him? Bru. When I spoke that, I was ill-temper'd too. Cas. Do you confess so much ? Give me your hand. Bru. And my heart too. Cas. O Brutus ! Bru. What's the matter ? 154 ESSENTIALS OF PUBLIC SPEAKING Cas. Have you not love enough to bear with me, When that rash humour which my mother gave me Makes me forgetful ? Bru. Yes, Cassius ; and, from henceforth, When you are over-earnest with your Brutus, He'll think your mother chides, and leave you so. CHAPTER VIII PITCH Pitch is the location, variation, and succession of notes upon the scale. Location means the point in the compass of voice at which a sound is uttered ; variation means the transition from one Degree of Pitch to another ; and succession means the relative position and changes of the notes or words as they progress in utterance. Broadly speaking, Pitch represents the Mental nature. Man, the most intellectual of all beings, makes the most varied and complex use of Pitch to express his thoughts and emotions ; while all of a class or family of lower animals employ the same set of changes of Pitch to convey their limited range of vocal expression. The above definition implies three subdivisions of Pitch, — (i) Degree, (2) Change, and (3) Melody, — which correspond respectively to the Emotive, Mental, and Vital natures of man, as shown in the diagram which follows : ["Degree Emotive*] Pitch \ Change Mental L Man [Melody Vital J SECTION I. DEGREE OF PITCH Degree of Pitch is the range or compass of voice from the lowest to the highest note, and the position on the scale in which tones or words are uttered. Degrees of Pitch mark plainly DEGREE OF PITCH 155 High the speaker's Emotive state ; and the emotion to be expressed may range from the deeply serious and reverential emotions of very Low Degree to the cry of excitement, joy, alarm, or defi- ance of very High Degree. In no way does one's excitement or lack of poise manifest itself so clearly as in his speaking in too high a key; and the low notes of sorrow or grief are unmistakably Emotive. There are three Degrees of Pitch, — (1) Low, (2) Middle, and (3) High, — each of which may be further subdivided to suit the varieties of shading in expression. These Degrees are dependent upon the num- ber of vibrations in a given time, ranging from about 40 to 4000 in a second, — the higher the Degree, the greater the number of vibrations, as shown in the number of par- allel lines in the accompanying figure. 1. Scale of Pitch. This scale, like that in Movement and Force, is relative, and is dependent upon (1) individuality, (2) acoustic conditions, and (3) the sentiment to be expressed. (1) Each individual speaks on a scale of Pitch peculiar to himself, the normal scale of one being higher or lower than that of another. This individuality should be pre- served unless the scale is abnormally low or high, in which case the student should prac- tice in the various degrees of Pitch until he can raise or lower his voice at will. (2) The scale of Pitch of the individual should be regulated by the size and shape of each auditorium, which has a fundamental key of Pitch peculiar to itself. As the station master calls the trains in the different rooms of the Middle Low 156 ESSENTIALS OF PUBLIC SPEAKING building and out on the platform, it will be noticed that he uses different degrees of Pitch. In like manner, the speaker should " catch the Pitch " of his auditorium. (3) The scale of Pitch once established by the individuality of the speaker and the auditorium, he should suit his Degrees of Pitch to the sentiments and emotions he wishes to portray. There is a close relation between Degrees of Pitch and Degrees of Movement (p. 65). A small bell makes High Pitch and swings rapidly ; a large bell swings slowly and makes Low Pitch. A child's vocal organs are small ; he speaks rapidly and his scale of Pitch ranges High. A man's voice is lower in Pitch and he speaks more slowly. This is true of musical instruments of various sizes and shapes. 2. Law of use. Following this analogy we see that the large, deeply serious or reflective emotions, such as reverence, sublimity, devotion, solemnity, sorrow, gloom, pathos, awe, and veneration, take the Low Degrees of Pitch. When not moved by any unusual emotion we express narra- tive, didactic thought, calm reasoning, argumentative discourse, patriotism, and courage in the Middle Degrees of Pitch ; while joy, laughter, alann, fright, rage, or consternation are given naturally in the High Degrees of Pitch. Each Degree is associated and blended with the Degree next to it, — the High with the upper portion of the Middle, the Low with the lower portion, and the Middle usually with some notes in both the other Degrees. 3. Illustrative Selections. Note. In the selections illustrating the several Degrees of Pitch avoid the monotony which comes of confining the voice to too narrow a compass. The selection assigned to Low Degree may not all be appro- priately given in that Degree. The main purpose should be to give each sentiment its proper Pitch wherever it is found. DEGREE OF PITCH 157 (1) Selection illustrating Low Degree of Pitch. RESIGNATION H. W. Longfellow There is no flock, however watched and tended, But one dead lamb is there ! There is no fireside, howsoe'er defended, But has one vacant chair ! The air is full of farewells to the dying, And mournings for the dead ; The heart of Rachel, for her children crying, Will not be comforted ! Let us be patient ! These severe afflictions Not from the ground arise, But oftentimes celestial benedictions Assume this dark disguise. We see but dimly through the mists and vapor's ; Amid these earthly damps What seem to us but sad, funereal tapers May be heaven's distant lamps. There is no Death ! What seems so is transition ; This life of mortal breath Is but a suburb of the life elysian, Whose portal we call Death. She is not dead, — the child of our affection, — But gone unto that school Where she no longer needs our poor protection, And Christ himself doth rule. In that great cloister's stillness and seclusion, By guardian angels led, Safe from temptation, safe from sin's pollution, She lives, whom we call dead. 158 ESSENTIALS OF PUBLIC SPEAKING Day after day we think what she is doing In those bright realms of air ; Year after year, her tender steps pursuing, Behold her grown more fair. Thus do we walk with her, and keep unbroken The bond which nature gives, Thinking that our remembrance, though unspoken, May reach her where she lives. Not as a child shall we again behold her ; For when with raptures wild In our embraces we again enfold her, She will not be a child ; But a fair maiden, in her Father's mansion, Clothed with celestial grace ; And beautiful, with all the soul's expansion, Shall we behold her face. And though at times impetuous with emotion And anguish long suppressed, The swelling heart heaves moaning like the ocean, That cannot be at rest, — We will be patient, and assuage the feeling We may not wholly stay ; By silence sanctifying, not concealing, The grief that must have way. (2) Selection illustrating Middle Degree of Pitch. THE SKY John Ruskin It is a strange thing how little in general people know about the sky, and yet there is not a moment of any day of our lives, when Nature is not producing scene after scene, picture after picture, glory after glory, working upon exquisite and constant principles DEGREE OF PITCH I 59 of the most perfect beauty. And every man, wherever placed, however far from other sources of interest or of beauty, has this doing for him constantly. Yet, if in our moments of utter idle- ness and insipidity, we turn to the sky as a last resource, which of its phenomena do we speak of ? One says, it has been wet ; and another, it has been windy ; and another, it has been warm. Who among the whole chattering crowd can tell one of the forms and the precipices of the chain of tall white mountains that girded the horizon at noon yesterday? Who saw the narrow sunbeam that came out of the south, and smote upon their summits until they melted and moldered away in the dust of blue rain ? Who saw the dance of the dead clouds where the sunlight left them last night, and the west wind blew them before it like withered leaves ? All has passed unregretted as unseen ; or if the apathy be ever shaken off even for an instant, it is only by what is gross, or what is extraor- dinary. And yet it is not in the broad and fierce manifestations of the elemental energies, nor in the clash of the hail, nor the drift of the whirlwind, that the highest characters of the sublime are developed. God is not in the earthquake, nor in the fire, but in the still small voice. They are but the blunt and the low faculties of our nature which can be addressed only through lampblack and lightning. It is in quiet and subdued passages of unobtrusive maj- esty, the deep and the calm, and the perpetual ; that which must be sought ere it is seen, and loved ere it is understood ; things which the angels work out for us daily, and yet vary eternally ; which are never wanting, and never repeated, which are to be found always, yet each found but once ; it is through these that the lesson of devotion is chiefly taught, and the blessing of beauty given. (3) Selection illustrating High Degree of Pitch. RING OUT, WILD BELLS Tennyson Ring out, wild bells, to the wild sky, The flying cloud, the frosty light : The year is dying in the night ; Ring out, wild bells, and let him die. 160 ESSENTIALS OF PUBLIC SPEAKING Ring out the old, ring in the new, Ring, happy bells, across the snow : The year is going ; let him go ; Ring out the false, ring in the true. Ring out the grief that saps the mind, For those that here we see no more ; Ring out the feud of rich and poor, Ring in redress to all mankind. Ring out a slowly dying cause, And ancient forms of party strife ; Ring in the nobler modes of life, With sweeter manners, purer laws. Ring out the want, the care, the sin, The faithless coldness of the times ; Ring out, ring out my mournful rhymes, But ring the fuller minstrel in. Ring out false pride in place and blood, The civic slander and the spite ; Ring in the love of truth and right, Ring in the common love of good. Ring out old shapes of foul disease ; Ring out the narrowing lust of gold ; Ring out the thousand wars of old, Ring in the thousand years of peace. Ring in the valiant man and free, The larger heart, the kindlier hand ; Ring out the darkness of the land, Ring in the Christ that is to be. DEGREE OF PITCH 161 4. Vocal Culture in Degrees of Pitch. (1) Sound a, e, 1, o separately in alternate slides through each particular Degree, then in alternate slides through the entire compass, thus : DEGREES High ( W\\ \ ( Middle { c mi Low { lrJ"WrJ \ (2) In the same way sound the words all, arm, oil, our, roar. (3) Sound a, e, a, a, o in notes of song, with Median Stress, through the entire compass. 5. Selection for all Degrees of Pitch. Note. In the following scene there is need of great variety of Pitch. The greater part is in Middle Degree ; the commands and alarms of Macbeth are in High Degree, while his despair is in Low Degree. It should be analyzed closely as to sentiment, and the voice should be given free play in expression. MACBETH AT DUNSINANE William Shakespeare Within the Castle Enter, with Drum and Colours, Macbeth, Seyton, and Soldiers. Macbeth. Hang out our banners on the outward walls ; The cry is still " They come "; our castle's strength Will laugh a siege to scorn : here let them lie Till famine and the ague eat them up : Were they not forced with those that should be ours, We might have met them dareful, beard to beard, And beat them backward home. [A cry of women within. What is that noise ? 162 ESSENTIALS OF PUBLIC SPEAKING Seyton. It is the cry of women, my good lord. [Exit. Macb. I have almost forgot the taste of fears : The time has been, my senses would have cool'd To hear a night-shriek ; and my fell of hair Would at a dismal treatise rouse and stir As life were in't : I have supp'd full with horrors ; Direness, familiar to my slaughterous thoughts, Cannot once start me. Reenter Seyton Wherefore was that cry ? Sey. The queen, my lord, is dead. Macb. She should have died hereafter ; There would have been a time for such a word. To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day To the last syllable of recorded time, And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle ! Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more : it is a tale Told by an idiot, full of sound and fury, Signifying nothing. Enter a Messenger Thou com'st to use thy tongue ; thy story quickly. Mess. Gracious my lord, I should report that which I say I saw, But know not how to do it. Macb. Well, say, sir. Mess. As I did stand my watch upon the hill, I look'd toward Birnam, and anon, methought, The wood began to move. Macb. Liar and slave ! Mess. Let me endure your wrath, if't be not so: Within this three mile may you see it coming ; CHANGE OF PITCH 163 I say, a moving grove. Macb. If thou speak'st false, Upon the next tree shalt thou hang alive, Till famine cling thee : if thy speech be sooth, I care not if thou dost for me as much. I pall in resolution, and begin To doubt th' equivocation of the fiend That lies like truth : " Fear not, till Birnam wood Do come to Dunsinane : " and now a wood Comes toward Dunsinane. Arm, arm, and out ! If this which he avouches does appear, There is nor flying hence nor tarrying here. I gin to be aweary of the sun, And wish the estate o' the world were now undone. Ring the alarum-bell ! Blow, wind ! come, wrack ! At least we'll die with harness on our back. [Exeunt. SECTION II. CHANGE OF PITCH Change is the transition of sounds from one Degree of Pitch to another. Change is either concrete or discrete. The con- crete is a glide through Pitch, characteristic of the note of speech. The discrete is a step from one Degree to another, and is a vocal necessity in making concretes, for a strong falling concrete must be preceded by a step upward and a strong rising concrete by a corresponding step downward. Broadly speaking, Change of Pitch conveys the meaning and represents the Mental nature, though, like other elements, its subdivisions correspond more definitely to the three natures of man. There are three fundamental laws of expression which gov- ern all concrete changes of Pitch: (1) the direction of a concrete discloses its meaning, (2) the continuity of a concrete reveals its vitality, and (3) the length of a concrete determines its emotion. 164 ESSENTIALS OF PUBLIC SPEAKING This gives rise to the three subdivisions of change, — (i) In- flection, (2) Waves, and (3) l7ite?-vals, — and accounts for their triune classification as follows : C Inflections . . . Mental 1 Change <{ Waves .... Vital ^> Man (^Intervals . . . Emotive j 1. Inflection. Inflection is "a simple slide of voice from one Pitch to another. It is used in connection with all the other vocal elements to convey the meaning of the sentence, and is therefore Mental. There are two varieties of Inflection, (1) Hising and (2) Fall- ing, as represented with the three Forms of Force in the following cuts : Rising: Effusive Expulsive Explosive Falling: (1) The Rising Inflection is a slide from a lower to a higher Degree of Pitch, and is always anticipative in significance, ex- pressing i?iterrogation, hesitatio?i, indecision, conciliatio?i, begging, and incomplete sense. Illustrations. / / Questioning : " Have you that book I gave you ?" / / / / / v Hesitation: "So — yes — no — well, so be it." / Indecision : " I think she is honest." / / / Conciliation: "Well, well ! I only meant to put it off." / Begging: "Give me a piece of bread." / Incomplete sense: "Whatever may be our fate, — " CHANGE OF PITCH 165 (2) The Falling Inflection is a slide of the voice from a higher to a lower Degree of Pitch, and is always conclusive in significance, expressing the answer of questions, determination, positiveness, scorn, denial, and completion of sense. Illustrations. v Answering: " Yes, I have that book you gave me." v v Determination : "The war, then, must go on." v v Positiveness: "I know that to be a fact." V X V Scorn: "Thou slave, thou wretch, thou coward!" V V Denial: "We will proceed no further in this business." N Completion of sense : "The day is done." Selectioii for Rising and Falling Infections. Note. While anticipative thoughts will take Rising Inflections and conclusive thoughts the Falling in all language, these two changes of Pitch are clearly shown in the questions and replies in the colloquy between the Old Nurse and Lady Clare. LADY CLARE Alfred Tennyson It was the time when lilies blow, And clouds are highest up in air, Lord Ronald brought a lily-white doe To give his cousin, Lady Clare. I trow they did not part in scorn : Lovers long-betroth'd were they : They two will wed the morrow morn : God's blessing on the day ! " He does not love me for my birth, Nor for my lands so broad and fair ; He loves me for my own true worth, And that is well," said Lady Clare. 166 ESSENTIALS OF PUBLIC SPEAKING In there came old Alice the nurse, Said, " Who was this that went from thee ? " " It was my cousin," said Lady Clare, " To-morrow he weds with me." " O God be thank'd ! " said Alice the nurse, " That all comes round so just and fair : Lord Ronald is heir of all your lands, And you are not the Lady Clare." " Are ye out of your mind, my nurse, my nurse ? " Said Lady Clare, "that ye speak so wild?" "As God's above," said Alice the nurse, " I speak the truth : you are my child. " The old Earl's daughter died at my breast ; I speak the truth, as I live by bread ! I buried her like my own sweet child, And put my child in her stead." " Falsely, falsely have ye done, O mother," she said, "if this be true, To keep the best man under the sun So many years from his due." " Nay, now, my child," said Alice the nurse, " But keep the secret for your life, And all you have will be Lord Ronald's, When you are man and wife." "If I'm a beggar born," she said, " I will speak out, for I dare not lie. Pull off, pull off, the brooch of gold, And fling the diamond necklace by." "Nay, now, my child," said Alice the nurse, " But keep the secret all ye can." She said, " Not so : but I will know If there be any faith in man." CHANGE OF PITCH 167 " Nay, now, what faith ? " said Alice the nurse " The man will cleave unto his right." " And he shall have it," the lady replied, " Tho' I should die to-night." " Yet give one kiss to your mother dear ! Alas, my child, I sinn'd for thee." " O mother, mother, mother," she said, " So strange it seems to me. " Yet here's a kiss for my mother dear, My mother dear, if this be so, And lay your hand upon my head, And bless me, mother, ere I go." She clad herself in a russet gown, She was no longer Lady Clare : She went by dale, and she went by down, With a single rose in her hair. The lily-white doe Lord Ronald had brought Leapt up from where she lay, Dropt her head in the maiden's hand, And follow'd her all the way. Down stept Lord Ronald from his tower: " O Lady Clare, you shame your worth ! Why come you drest like a village maid, That are the flower of the earth ? " " If I come drest like a village maid, I am but as my fortunes are : I am a beggar born," she said, "And not the Lady Clare." " Play me no tricks," said Lord Ronald, " For I am yours in word and in deed. Play me no tricks," said Lord Ronald, " Your riddle is hard to read." 168 ESSENTIALS OF PUBLIC SPEAKING O and proudly stood she up ! Her heart within her did not fail : She look'd into Lord Ronald's eyes, And told him all her nurse's tale. He laugh'd a laugh of merry scorn : He turn'd and kiss'd her where she stood : "If you are not the heiress born, And I," said he, "the next in blood, — "If you are not the heiress born, And I," said he, " the lawful heir, We two will wed to-morrow morn, And you shall still be Lady Clare." 2. Waves. A Wave is the union of two or more concretes. An Inflection which rises and falls with one continuous impulse forms a Wave, and the extent of this continuity marks its vitality, hence it belongs to the Vital division. There are several varieties of Waves, designated according to (i) the Number, (2) the Length, and (3) the Direction of the slides. The relation of the kinds of Waves to the Triune Nature is as follows : Single. _^ Double. __ Irri-^Vital Continued-'"' < EqUal .Emotive ^ Unequal- ----""" Direct. _ -„ Mental Inverted---- - - (1) As to Number, showing the continuance of vitality, there are three : Single, composed of one upward and one downward slide; Double, having three slides; and Continued, having more than three slides. All these are here illustrated in the Expul- sive Form and Radical Stress, and are used merely to extend CHANGE OF PITCH 169 the quantity of an Inflection without overstepping the Degree of Pitch the sentiment demands. 1 ^ o. n a. Single Wave. I\ U A \i n n n She's a brave girl ! she rules herself. u u u Well, well, I think so. Double Wave. itrtfl- X Poor, poor indeed ! c. Continued Wave. (\n M VU O, he's returned ; and as pleasant as ever he was. (2) As to Length, there are two kinds of Waves : Equal, in which the Wave begins and ends on the same Degree of Pitch, expressing pleasurable, happy thoughts ; and Unequal, in which the slides up and down are of unequal length, conveying dis- agreeable or ironical motives. Evidently the Equal and Unequal Waves represent the Emotive Nature. a. Equal Wave. jiTjuit j u n n n When can their glory fade? n n n O, the wild charge they made ! b. Unequal Wave. ^^ U 1 U Has the gentleman done ? Has he completely done ? You, Prince of Wales ! You ! 170 ESSENTIALS OF PUBLIC SPEAKING (3) As to Direction there are two varieties : Direct, which ends in a falling slide and is therefore conclusive in significance ; and Inverted, which ends in an upward slide and is anticipative in meaning ; both of which belong to the Mental division. a. Direct Wave. -fr-J\ n n n Ben Hur turned the first goal, and the race was won. b. Inverted Wave. nj u ju u u I'm sure I'm not more extravagant than a woman ought to be. U U vj Dare you think me capable of so vile a deed ? (4) Vocal Culture of Waves. Give e, 00, a, andy&?' [Broken .... Vital J (1) Chromatic Melody is made up of inflections and waves which run through Semitonic and other minor intervals of the musical scale. It is largely composed of Semitones and minor Thirds and may occur on any degree of Pitch. We have seen that Semitones respond to the Emotive nature of man ; hence Chromatic Melody, composed so largely of Semitones, belongs to the Emotive division and is the medium of expression for sad emotions, plaintiveness, tenderness, pity, sorrow, and wailing. (2) Diatonic Melody is composed of inflections and waves made through Intervals of Seconds and Thirds, and represents the Mental nature already explained. It is used to express the ordinary and lively thoughts such as conversation, didactic thought, gladness, delight, grandeur, and oratorical fervor. (3) Broken Melody is composed of inflections and waves of wider slides and more broken changes of Pitch through the Intervals of Fifths and Octaves. As it manifests great vitality and energy, it clearly represents the Vital nature of man and is used to express his more dramatic and impassioned conditions, such as ecstatic joy, triumph, oratorical invective, amazement, alarm, and rage. Selection illustrating Current Melody. Note. In reading the following selection the student should strive for a pleasing variety in the arrangement of speech notes. As monotony shows lack of interest on the part of the speaker and destroys interest on the part of the audience, every effort should be made to acquire spirit and sprightliness of Current Melody. 190 ESSENTIALS OF PUBLIC SPEAKING THE NEW SOUTH Henry W. Grady A master hand has drawn for you the picture of your returning armies. You have been told how, in the pomp and circumstance of war, they came back to you, marching with proud and victo- rious tread, reading their glory in a nation's eyes ! Will you bear with me while I tell you of another army that sought its home at the close of the late war, — an army that marched home in defeat and not in victory, in pathos and not in splendor, but in glory that equaled yours, and to hearts as loving as ever welcomed heroes home. Let me picture to you the footsore Confederate soldier, as, but- toning up in his faded gray jacket the parole which was to bear testimony to his children of his fidelity and faith, he turned his face southward from Appomattox in April, 1865. Think of him as, ragged, half-starved, heavy-hearted, enfeebled by want and wounds; having fought to exhaustion, he surrenders his gun, wrings the hands of his comrades in silence, and, lifting his tear-stained and pallid face for the last time to the graves that dot old Virginia hills, pulls his gray cap over his brow and begins the slow and painful journey. What does he find — let me ask you — what does he find when, having followed the battle-stained cross against overwhelming odds, dreading death not half so much as surrender, he reaches the home he left so prosperous and beautiful ? He finds his house in ruins, his farm devastated, his slaves free, his stock killed, his barns empty, his trade destroyed, his money worthless, his social system, feudal in its magnificence, swept away, his people without law or legal status, his comrades slain, and the burdens of others heavy on his shoulders. Crushed by defeat, his very traditions are gone. Without money, credit, employment, material, or training, and, beside all this, confronted with the gravest problem that ever met human intelligence, — the establishing of a status for the vast body of his liberated slaves. What does he do, this hero in gray with a heart of gold? Does he sit down in sullenness and despair ? Not for a day. Surely God, who MELODY 191 had stripped him of his prosperity, inspired him in his adversity. As ruin was never before so overwhelming, never was restoration swifter. The soldier stepped from the trenches into the furrow ; horses that had charged Federal guns marched before the plow ; and fields that ran red with human blood in April were green with the harvest in June. But what is the sum of our work ? We have found out that the free negro counts more than he did as a slave. We have planted the schoolhouse on the hilltop, and made it free to white and black. We have sowed towns and cities in the place of theories, and put business above politics. The new South is enamored of her new work. Her soul is stirred with the breath of a new life. The light of a grander day is falling fair on her face. She is thrilling with the consciousness of growing power and prosperity. As she stands upright, full statured and equal, among the people of the earth, breathing the keen air and looking out upon the expanded horizon, she understands that her emancipation came because, through the inscrutable wisdom of God, her honest purpose was crossed and her brave armies were beaten. The South has nothing for which to apologize. I should be unjust to the dauntless spirit of the South and to my own convic- tions if I did not make this plain in this presence. The South has nothing to take back. In my native town of Athens is a monument that crowns its central hill — a plain white shaft. Deep cut into its shining side is a name dear to me above the names of men — that of a brave and simple man who died in a brave and simple faith. Not for all the glories of New England, from Plymouth Rock all the way, would I exchange the heritage he left me in his soldier's death. To the foot of that I shall send my chil- dren's children to reverence him who ennobled their name with his heroic blood. But, sir, speaking from the shadow of that memory which I honor as I do nothing else on earth, I say that the cause in which he suffered and for which he gave his life was adjudged by higher and fuller wisdom than his or mine, and I am glad that the omnis- cient God held the balance of battle in his almighty hand, that 192 ESSENTIALS OF PUBLIC SPEAKING human slavery was swept forever from American soil, and that the American Union was saved from the wreck of war. Now, what answer has New England to this message ? Will she withhold, save in strained courtesy, the hand which, straight from his soldier's heart, Grant offered to Lee at Appomattox ? Will she make the vision of a restored and happy people — which gathered above the couch of your dying captain, filling his heart with grace, touching his lips with praise, and glorifying his path to the grave — will she make this vision, on which the last sigh of his expiring soul breathed a benediction, a cheat and a delusion ? If she does, the South, never abject in asking for comradeship, must accept with dignity its refusal ; but if she does not refuse to accept in frankness and sincerity this message of good will and friendship, then will the prophecy of Webster, delivered in this very society forty years ago amid tremendous applause, be verified in its fullest sense when he said : " Standing hand to hand and clasping hands, we should remain united as we have been for sixty years, citizens of the same country, members of the same government, united, all united now and united forever." 2. Cadence is that part of Melody which marks the close of a clause or sentence when the rhetorical thought is complete. It consists of one or as many as five downward slides or steps, the last of which must be a Falling Inflection. It must reach the line of repose, and satisfy the ear with the sense of com- pleted thought. Cadence is easily detected. Count " twenty " by fives, pausing after five, ten, and fifteen, with lowered Pitch and Rising Inflection on the last syllable, and then end with the utterance of " twenty " with a positive Falling Inflection and the complete sense is fully realized. The distance of this fall of voice is relative, and is dependent upon the gentleness or tur- bulence of the Current Melody preceding it ; the more varied the Current the deeper the plunge of notes in the Cadence. There are five Cadences : (i) the Monad, in which there is but one syllable ; (2) the Duad, in which there are two; (3) the Triad, in which there are three ; (4) the Tetrad, in which there MELODY 93 are four ; and (5) the Pentad, in which there are five syllables. There are two varieties each of Duads and Triads. The use of the Cadence is determined by the accent and emphasis of the syllables composing the closing words of the sentence, as in- dicated by the heavier shaded notes in the following cuts : Duad Monad Triad 3^ o^ J :v v- \ ^v s a First Second Rising Falling Tetrad Pentad J \" ^L ^ ^. A ^T 3. "^ 3. (1) The Monad. The Monad is used when the last syllable of the closing word is strongly emphatic, or when the sentence ends in a very emphatic monosyllable. My answer would be a blow. (2) The Duad. a. The First Duad is used when the next to the last syllable of the sentence is accented. They all fired at ran - dom. b. The Second Duad is used when the last syllable of the sentence is moderately strong. Let me not hinder, Cassius, your de - sire. (3) The Triad. a. The Rising Triad is used when the last three syllables are about equally emphatic. Ah, good painter, you can' 7 paint sound 7 194 ESSENTIALS OF PUBLIC SPEAKING b. The Falling Triad is used when the second from the last syllable of the sentence is accented. The feast was boun - ti - ful. (4) The Tetrad is used when the third from the last syl- lable of the sentence is accented. The work was done beau - ti - ful - ly. (5) The Pentad is used when the fourth from the last syllable of the sentence is accented. He was prompted by pure dis - in - ter - est - ed - ness. FAULTS OF CADENCE In practicing Cadence students are cautioned against the following defects : a. Dropping the voice too suddenly at the close of the sentence, b. Allowing the voice to rise on the last syllable, c. Giving the last syllable with a note of song, d. Turning plain discourse into pathos by using the slide of the semitone on the last note, and e. Making Cadence where the thought is not complete, as is often the case in reading poetry. Selection illustrating Cadence. Note. Determine its class and execute each of the Cadences in the following selection. Strive for a positive and satisfactory close to each sentence where a Cadence is required. A FOOL IN THE FOREST FROM "AS YOU LIKE IT" William Shakespeare Jaques. A fool, a fool ! — - 1 met a fool i' the forest, A motley fool ; — a miserable world ! — As I do live by food, I met a fool, MELODY 195 Who laid him down and bask'd him in the sun, And rail'd on Lady Fortune in good terms, In good set terms, — and yet a motley fool ! ' Good morrow, fool,' quoth I. « No, sir,' quoth he, 1 Call me not fool till Heaven hath sent me fortune.' And then he drew a dial from his poke, And, looking on it with lack-lustre eye, Says very wisely, ' It is ten o'clock: Thus we may see,' quoth he, ' how the world wags : 'Tis but an hour ago since it was nine, And after one hour more 'twill be eleven : And so, from hour to hour, we ripe and ripe, And then, from hour to hour, we rot and rot ; And thereby hangs a tale.' When I did hear The motley fool thus moral on the time, My lungs began to crow like chanticleer, That fools should be so deep-contemplative ; And I did laugh, sans intermission, An hour by his dial. — O noble fool ! A worthy fool ! — Motley's the only wear. worthy fool ! — One that hath been a courtier, And says, if ladies be but young and fair, They have the gift to know't ; and in his brain, — Which is as dry as the remainder biscuit After a voyage, — he hath strange places cramm'd With observation, the which he vents In mangled forms. — O, that I were a fool ! 1 am ambitious for a motley coat. . . . It is my only suit ; Invest me in my motley ; give me leave To speak my mind, and I will through and through Cleanse the foul body of th' infected world, If they will patiently receive my medicine. Selection illustrating Melody. Note. Strive for a pleasing variety in the Current Melody and avoid the faults named above in the execution of the Cadences. 196 ESSENTIALS OF PUBLIC SPEAKING IMPARTIAL ARBITRATION W. J. Bryan A speech delivered before the Inter-Parliamentary Union, in London, July 26, 1906, on a resolution introduced by Mr. Bryan asking for an international commission of inquiry or the mediation of friendly powers, in case of disputes between nations. The first advantage of this resolution is that it secures an in- vestigation of the facts, and if you can but separate the facts from the question of honor, the chances are one hundred to one that you can settle both the fact and the question of honor without war. There is, therefore, a great advantage in an investigation that brings out the facts, for disputed facts between nations, as between friends, are the cause of most disagreements. The second advantage of this investigation is that it gives time for calm consideration. That has already been well pre- sented by the gentleman who has preceded me. I need not say to you that man excited is a very different animal from man calm, and that questions ought to be settled not by passion but by de- liberation. If this resolution would do nothing else but give time for reflection and deliberation, there would be sufficient reason for its adoption. If we can but stay the hand of war until con- science can assert itself, war will be made more remote. When men are mad they swagger around and tell what they can do ; when they are calm they consider what they ought to do. The third advantage of this investigation is that it gives oppor- tunity to mobilize public opinion for the compelling of a peaceful settlement, and 'that is an advantage not to be overlooked. Public opinion is coming to be more and more a power in the world. One of the greatest statesmen of my country — Thomas Jefferson, and, if it would not offend, I would say I believe him to be the greatest statesman the world has produced — said that if he had to choose between a government without newspapers and news- papers without a government, he would rather risk the newspapers without a government. You may call it an extravagant statement, and yet it presents an idea, and that idea is that public opinion is a controlling force. I am glad that the time is coming when public MELODY 197 opinion is to be more and more powerful; glad that the time is coming when the moral sentiment of one nation will influence the action of other nations ; glad that the time is coming when the world will realize that a war between two nations affects others than the nations involved ; glad that the time is coming when the world will insist that nations settle their differences by some peaceful means. If time is given for the marshaling of the force of public opinion, peace will be promoted. This resolution is presented, therefore, for the reason that it gives an opportu- nity to investigate the facts and to separate them from the question of honor, that it gives time for the calming of passion, and that it gives time for the formation of a controlling public sentiment. I will not disguise the fact that I consider this resolution a long step in the direction of peace, nor will I disguise the fact that I am here because I want this Inter-Parliamentary Union to take just as long a step as possible in the direction of universal peace.' We meet in a famous hall, and looking down upon us from these walls are pictures that illustrate not only the glory that is to be won in war, but the horrors that follow war. There is a picture of one of the great figures in English history (point- ing to the fresco by Maclise of the death of Nelson). Lord Nel- son is represented as dying, and around him are the mangled forms of others. I understand that war brings out certain virtues. I am aware that it gives opportunity for the display of great patriotism ; I am aware that the example of men who give their lives for their country is inspiring ; but I venture to say there is as much inspiration in a noble life as there is in a heroic death, and I trust that one of the results of this Inter-Parliamentary Union will be to emphasize the doctrine that a life devoted to the public, and ever flowing, like a spring, with good, exerts an influ- ence upon the human race and upon the destiny of the world as great as any death in war. And if you will permit me to mention one whose career I watched with interest and whose name I revere, I will say that, in my humble judgment, the sixty-four years of spotless public service of William Ewart Gladstone will, in years to come, be regarded as as rich an ornament to the 198 ESSENTIALS OF PUBLIC SPEAKING history of this nation as the life of any man who poured out his blood upon a battlefield. All movements in the interest of peace have back of them the idea of brotherhood. If peace is to come in this world, it will come because people more and more clearly recognize the indis- soluble tie that binds each human being to every other. If we are to build permanent peace, it must be on the foundation of the brotherhood of men. A poet has described how, in the civil war that divided our country into two hostile camps a generation ago, in one battle a soldier in one line thrust his bayonet through a soldier in the opposing line, and how, when he stooped to draw it out, he recognized in the face of the fallen one the face of his brother. And then the poet describes the feeling of horror that overwhelmed the survivor when he realized that he had taken the life of one who was the child of the same parents and the com- panion of his boyhood. It was a pathetic story, but is it too much to hope that as years go by we will begin to understand that the whole human race is but a larger family? It is not too much to hope that as years go by human sym- pathy will expand until this feeling of unity will not be confined to the members of a family or to the members of a clan or of a community or state, but shall be world-wide. It is not too much to hope that we, in this assembly, possibly by this resolution, may hasten the day when we shall feel so appalled at the thought of the taking of any human life that we shall strive to raise all ques- tions to a level where the settlement will be by reason and not by force. PART III ELEMENTS OF ACTION Action is that part of expression which addresses itself to the eye. It embraces position, attitude, gesture, and facial expression. Its purpose is to reenforce speech ; if it does not do this, it is superfluous. CHAPTER IX CONCEPTION OF ACTION Four considerations must be borne in mind in applying action, — (i) Impulse to action, (2) Suppression of self, (3) Limits of personation, (4) Action in figurative la?iguage. SECTION I. IMPULSE TO ACTION Impulse to Action is the desire to strengthen spoken lan- guage with gesture or some other movement. The impulse is more important than the form of action. Still it is necessary to cultivate form because action in good form is more forceful. To be effective, action must 'also be spontaneous, must have impulse behind it. Better no action than no impulse. SECTION II. SUPPRESSION OF SELF The speaker should make his theme more prominent than himself, should hide behind his subject, and lead his audiences to think and feel with him. Awkward or profuse gesture attracts attention to the speaker. People lose sight of the thought and 199 200 ESSENTIALS OF PUBLIC SPEAKING carry away the memory of inappropriate gesture and striking attitude. Gesture should be simple, sincere, and suited to the word. SECTION III. LIMITS OF PERSONATION Public readers and speakers are under great temptation to act out many things which should be left to the imagination. In no respect has the criticism of judicious minds been so severe as against undue impersonation. The following simple laws, if put into practice, will reduce such tendency to a minimum. i. First Law The speaker should personate 07ily when uttering the direct words or strong emotion of a character. In the following lines from " Horatius at the Bridge " one may very properly person- ate the strong soldier giving the command. He may take a manly, heroic, but modest attitude, such as this courageous Roman is supposed to have taken at the time : Hew down the bridge, Sir Consul, With all the speed ye may ; I, with two more to help me, Will hold the foe in play. In yon strait path a thousand May well be stopped by three. Now who will stand on either hand, And keep the bridge with me ? — Macaulay. Of a very different nature are the descriptive passages. In such there is a tendency with young students to personate, to act out the descriptions. The following lines are spoken about Astur and Horatius, and not by them. Hence they should not be personated : Then, whirling up his broadsword With both hands to' the height, He rushed against Horatius, LIMITS OF PERSONATION 201 And smote with all his might. He reel'd, and on Herminius He lean'd one breathing-space, Then, like a wild-cat mad with wounds, Sprang right at Astur's face. — Ibid. This does not mean that there should be no action, but that what is used should be suggestive, not personative, i.e. the acts may be pointed out by the describer and pictured to the imag- ination, but not actually done. Let the student apply this principle in the following passage from the same poem: So he spake, and, speaking, sheathed The good sword by his side, And, with his harness on his back, Plunged headlong in the tide. — Ibid. To act that which should be left to the imagination has much the same effect upon an audience as the explanation of a joke. 2. Second Law There must be a distinction between the reciter and the actor. While the vocal expression is practically the same, the action in the two .cases is very different. The actor is aided by the costume, the scenery, the support, and the accessories. He draws and sheathes his sword or dagger. He gives a letter, a book, or other material thing to the character addressed. The reader or personator does not depend on costume and stage trappings for effects. He draws upon the imagination for the scenes, characters, and accessories. He indicates the drawing of the sword and the using of it, but does not sheathe it or account for it afterwards. He extends the hand with an imaginary book or letter, or opens the palm to receive some material thing. He leaves to the imagination of the audience much which the actor produces. He should not therefore encroach upon the actor's art. 202 ESSENTIALS OF PUBLIC SPEAKING SECTION IV. ACTION IN FIGURATIVE LANGUAGE Literal action should not be used in figurative language. The violation of this law is common in the first stages of speech making. The youth who pointed to his own open mouth in speaking of the "jaws of the hydra-headed monster " violated this principle. The distinguished preacher who literalized " striking at the very gates of heaven," with a high jump and a violent swing of his fist at the pearly gates, was also doing violence to this law. " The heart of the nation," " A whirlwind of revolution," and " No friend of liberty who has not dropped his head " are expressions that need no literal action to make them impressive. CHAPTER X REQUISITES OF ACTION The Requisites or qualities of action are four, — (i) Grace, (2) Force, (3) Precision, and (4) Economy. SECTION I. GRACE Grace of action is the ease and freedom of bodily move- ments. It comes of the simple but harmonious action of all parts of the body. Grace requires that there be curve enough to overcome stiffness and awkwardness, but not enough for extravagance. SECTION II. FORCE Force is the energy put into gesture or other bodily move- ments. It may be gentle, moderate, or impassioned, depend- ent upon the feeling or emotion. Tranquillity, for example, requires gentle force ; didactic thought, moderate strength ; and rage, impassioned action. Ease may be acquired by persistent exercise in aesthetic physical culture, and especially in move- ments in technique of action (see page 229). PRECISION 203 SECTION III. PRECISION Precision is the proper timing of action. Gestures are often placed on the wrong word, the head stroke in the passing bow is not timed to the step, and the look is not suited to the word. Any gesture or other movement out of time is like a note of music out of time. It breaks the harmony. Precision of gesture embraces three acts, — (1) Preparation, (2) Stroke, and (3) Return. 1. The Preparation The Preparation of a gesture occurs on the three or four syllables immediately preceding the word to be emphasized. Gesture would better be prepared too early than too hastily, for the poise of the hand in the air creates expectancy on the part of the audience. In preparation the hand is usually relaxed and moves through an arch until it arrives at the point where the sweep or expressive part begins. One should guard against superfluous, out-of-the-way curves in preparation. The movement should be simple but free. 2. The Stroke The Stroke is the sudden impulse that ends the expressive part of the gesture. It comes from the elbow, wrist, and fingers, and occurs on the accented syllable of the emphatic word. Its force is gentle, moderate, or impassioned in accordance with the sentiment. In order to get the full effect of a gesture, the hand may be held in place a moment after the stroke, and may emphasize the thought by slight impulses on other leading words in the sentence. Such impulses are given from the elbow and shoulder without renewing the preparation, and with but little wrist action ; e.g. " There is Boston and Con- cord and Lexington and Bunker Hill and there they will remain forever " ; " Give generously and freely" 204 ESSENTIALS OF PUBLIC SPEAKING 3. The Return The Return of a gesture should be made when it has served its purpose and no other is to follow immediately. The hand should be brought easily but directly to the side or to some other position of repose. Two extremes should be avoided : first, drawing in the hand by some circuitous route and placing it away mechanically; and second, letting it fall so heavily as to attract attention. SECTION IV. ECONOMY Economy of action is the judicious use of appropriate action. There may be too little or too much gesture. Either is a viola- tion of economy. Well-executed gestures may tire by their frequency or attract attention by their infrequency. Two arms are often used where one would do. A favorite gesture often becomes a noticeable habit. The index finger may be shaken in rebuke once or twice with good effect, but if shaken con- tinually it loses force and grows monotonous. The amount of gesture depends upon the temperament of the speaker and the character of the speech. It may be curbed in one speaker and stimulated in another. True economy calls for just enough to reenforce the thought and no more. CHAPTER XI LAWS GOVERNING ACTION As the excellencies and faults of speech may be determined by a knowledge of vocal principles, so correct and incorrect gesture or attitude may be detected by the study of the under- lying principles or laws which govern action. We shall treat (1) the Zones of the Body, (2) the Arms, (3) Principles of Gesture, (4) Planes of Gesture, (5) the Legs, and (6) Positions a?id Attitudes. ZONES OF THE BODY 20$ SECTION I. ZONES OF THE BODY The Zones of the body or any of its members are those sec- tions or divisions which correspond to man's Triune Nature. The body as an expressive agent may be divided into three parts, — (i) the Head, (2) the Torso, and (3) the Limbs, — corresponding to the three natures of man, as follows : fHead . . . Mental 1 Body -j Torso . . . Emotive y Man [ Limbs . . . Vital J i. The Head, which contains the brain, the seat of the mind, belongs to the Mental division. The nod or shake of the head, the intelligent flash of the eye, the movements of the lips in articulation, are mental in significance. 2 . The Torso, containing the heart and popularly recognized as the seat of the affections and emotions, is Emotive in signifi- cance. The writhing, twisting, and swaying movements of the torso manifest the stronger workings of this nature. 3. The Limbs, which are the most muscular parts of the body and the active agents of physical exertion, are Vital in nature. Walking, running, dancing, fighting, etc., show the strong activ- ities of this nature. As agents of gesture and attitude there are two divisions, — (1) the Arms, and (2) the Legs. Note. The above are the Generic divisions of the body. For the purposes of the Secondary Schools we shall treat only the Vital division, leaving the fuller treatment for college and university work. SECTION II. THE ARMS Delsarte gives the following classification of the parts of the arm with reference to the Triune Nature. f Upper Arm . . . Vital "j Arm \ Forearm .... Emotive V Man [Hand Mental J 206 ESSENTIALS OF PUBLIC SPEAKING i . The Upper Arm contains the muscles which are brought into play in strong physical exertion, such as striking heavy blows, lifting, climbing, or rowing. The expression "strike out from the shoulder" is significant of the Vital character of this agent of expression. 2. The Forearm, hinging on the Emotive elbow, is brought into action in the cordial hand clasp, in supplication and aver- sion, all of which give evidence of its Emotive significance. 3. The Hand is the Mental agent of the arm. While it responds to all three of the psychic states, it is most significant of the Mental nature. As an agent of expression the hand is delicately articulated, affording the greatest mobility and skill in its use. We write and draw pictures with the hand. We enumerate upon the fingers. The deaf and dumb talk with the hands. The mental act of touching the keys of a piano is performed by the hands. So significant is the hand that it determines the meaning and therefore the principle of the ges- ture. ''Animals would have been men had they had hands," exclaimed the ancient Greek philosopher Anaxagoras. SECTION III. PRINCIPLES OF GESTURE The Principles of Gesture, as determined by the position of the hand, may be reduced to seven in number, — (1) the Index, (2) the Supine, (3) the Prone, (4) the Reflex, (5) the Clasped, (6) the Averse, and (7) the Clenched. Considered in relation to the Triune Nature, they may be classified as follows : Index... Supine Trr^Mental Prone <--" Hand / Reflex.-_ ^-^ „ . \ Man ~ ----...Emotive Clasped Averse^' .Vital Clenched.— PRINCIPLES OF GESTURE 207 1. The Index The Index is the pointer of the hand. The forefinger is extended and emphasized while the other fingers are turned in (see Figs. 5 and 6). The dominant significance of this prin- ciple is mentality. It calls attention to objects in whatever Fig. 5. Hand Index Fig. 6. Hand Index plane they may be located, or directs the intellect of an audi- ence in the close reasoning of debate. With the palm and fingers turned down and the forefinger extended forward in a horizontal position, it adds great emphasis to the directing power of the gesture. Held in a vertical position and slightly shaken forward and back, it admonishes, charges, and expostu- lates with. The Index, then, adds great force to the expression of caution, reproach, rebuke, solemn warning, and comma?id ; it directs, points put objects, e?iumerates facts, and designates argument. Sentences illustrating the Index : (1) Yonder comes my master, your brother. — Shakespeare. (2) Far along from peak to peak . . . leaps the live thunder. — Byron. (3) You knew, none so well, none so well as you, of my daughter's flight. — Shakespeare. 208 ESSENTIALS OF PUBLIC SPEAKING 2. The Supine In the Supine principle the palm is turned upward, usually at an angle of about 45 ° (see Figs. 7 and 8). The fingers are extended without being strained back. The thumb is ener- gized, the forefinger well opened, the other fingers slightly Fig. 7. Hand Supine Fig. 8. Hand Supine curved, and the whole hand is about as wide at the point as at the palm. When the gesture is high the palm may not be seen by the audience, but it may always be seen by the speaker. The Supine is the most commonly used of the principles of gesture. It is revelatory in character and corresponds most nearly to the Mental nature. It is appropriate in affirmation, welcome, giving, receivi?ig, asking, appeal, concession, submis- sion, humility, according to the plane in which it is made. Sentences illustrating the Supine : (1) Give generously and freely. Recollect that in so doing you are exercising one of the most god-like qualities of your nature. — Prentiss. (2) Good old man, thou art right welcome as thy master is. — Shakespeare. (3) I appeal from the spirit of trade to the spirit of liberty. — Hoar. PRINCIPLES OF GESTURE 209 3. The Prone In the Prone principle the palm is turned downward (see Figs. 9 and 10). It molds, shapes, caresses, and commands. It sweeps over an expanse, traces out distance, measures heights, and feels the way in darkness. The outstretched Fig. 9. Hand Prone Fig. 10. Hand Prone hands of the minister, at the close of a church service, are not an unmeaning benediction. The religious ceremony of the laying on of hands signifies blessing or the imparting of spirit- ual force. The Prone hand held upright in the act of taking the oath is the outward sign of submission and truth. While the Supine hand reveals, the Prone conceals or suppresses. The one affirms, the other denies ; one receives, the other rejects. In significance these are Mental states, but when expressing reproof, moral restraint, offering protection, blessing, and bene- diction, the action enters the Emotive realm. Sentences illustrati?ig the Prone : (1) Nor Heaven peep through the blanket of the dark to cry Hold, hold! — Shakespeare. (2) Peace! silence! Brutus speaks. — Shakespeare. (3) O name him not, . . . for he will never follow any thing that other men begin. — Shakespeare. 2IO ESSENTIALS OF PUBLIC SPEAKING 4. The Reflex In the Reflex principle the palm is directed toward some part of the body (see Figs. 11 and 12). The hand touches or strikes the head in deep thought, bewilderment, or dis- traction ; e.g. Hamlet in driving himself to devise means to Fig. 11. Hand Reflex Fig. 12. Hand Reflex " catch the conscience" of the King, exclaims, "About, my brain ! " The hand is directed toward the torso in referring to soul, affection, heart, self, as in the words, " Hold, hold, my heart ; and you, my sinews, grow not instant old, but bear me stiffly up." The hand clutches some part of the vital organs in physical pain, as in the words of King John, "O, I am poisoned." The Reflex, then, is used in concentration, reflectio7i, arrogance, self-abnegation, self-menace, convulsion. Such expression fully warrants that this principle be classed as Emotive in nature. Sentences illustrating the Reflex : (1) Uo I look like a cudgel? — Shakespeare. (2) I am the Emperor and the incomparable archer of Rome. — Thompson. (3) And for that name that is no part of thee take all myself. — Shakespeare. PRINCIPLES OF GESTURE 211 5. The Clasped In hands Clasped the palms are brought together and the fingers and thumbs are clasped or interlocked (see Figs. 13 and 14). This principle is seen when the hands are wrung in grief, anguish, and remorse ; and when they are extended upward in Fig. 13. Hands Clasped Fig. 14. Hands Clasped supplication, which is emphasized when the hands are drawn nearer to the body and the elbows raised and extended at a sharper angle. It is also recognized in the eager grasp of the hand and the hearty hand shake of friendship, in which the palms are pressed together in cordiality and sympathy. In expression, then, the Clasped hands respond to the Emotive nature, and are used in prayer, entreaty, supplication, ado- ration, deep sorrow, anguish, and remorse. Sentences illustrati7ig the Clasped : (1) Dead ! both my boys ! When you sit at the feast, and are wanting a great song for Italy free, let none look at me. — Mrs. Browning. (2) What wilt thou do ? Thou wilt not murder me ? Help, help, ho ! — Shakespeare . (3) Thou shalt judge. Thine, Jehovah, is the vengeance. Thou alone canst send it. — Daly. 212 ESSENTIALS OF PUBLIC SPEAKING 6. The Averse In the Averse principle the hand is turned away at a positive angle with the forearm (see Figs. 15 and 16). It is closely related to the Prone, though the exact angle at which the Prone ends and the Averse begins is not to be marked by hard-and-fast lines. It is necessary to distinguish between these two principles Fig. 15. Hand Averse Fig. 16. Hands Averse because of their wide divergency in expression. Benediction and aversion, so different in character, require different prin- ciples of gesture. This difference is shown at the wrist. At an obtuse angle the Averse expresses admonition, reproof, or repres- sion ; at a sharper angle, aversion, repulsion, and fear; at a still sharper angle, with the fingers spread apart, extreme fear, ter- ror, horror, and loathing. Because a part of these sentiments belong to the Emotive and a part to the Vital nature the Averse principle is classified as pivotal between the two. Sentences illustrating the Averse : (1) Away, slight man. — Shakespeare. (2) O most cursed fiend ! . . . Thou and my bosom henceforth shall be twain. — Shakespeare. (3) Avaunt, thou dreadful minister of hell ! — Shakespeare. (4) " Imperial?" Away with it. I do not like the sound of it. — fefferson. PRINCIPLES OF GESTURE 213 7. The Clenched In the Clenched principle of gesture the fingers are bound together by the thumb into a solid mass (see Figs. 17 and 18). Its significance is universally understood. All grades of civili- zation know that the Clenched fist signifies preparation for physical conflict, the enforcement of strong passion, determi- Fig. 17. Hand Clenched Fig. 18. Hands Clenched nation, or force of will. It is man's weapon of attack, and therefore responds most fully to the Vital nature. It is used in sentiments dominated by great physical energy, such as cour- age, defiance, hate, anger, and revenge. It is much used by the orator when he desires to enforce a thought with great vigor. Sentences illustrating the Clenched : (1) If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. — Shakespeare. (2) I will have the heart of him, if he forfeit. — Shakespeare. (3) Whether he be a privy councilor or a parasite my answer would be a blow. — Grattan. (4) Now let it work. Mischief, thou art a foot, take thou what course thou wilt. — Shakespeare. All the above principles are used in dramatic action, but the orator in public address seldom uses more than four of them, the Supine, the Prone, the Index, and the Clenched. 214 ESSENTIALS OF PUBLIC SPEAKING Selection illustrating the Principles of Gesture. Note. The student should analyze the following selection, determine from the foregoing discussion the principles of gesture to be employed, and apply them to delivery. CAUGHT IN THE QUICKSAND Victor Hugo It sometimes happens that a man, traveler or fisherman, walk- ing on the beach at low tide, far from the bank, suddenly notices that for several minutes he has been walking with some difficulty. The strand beneath his feet is like pitch ; his soles stick in it ; it is sand no longer ; it is glue. The beach is perfectly dry, but at every step he takes, as soon as he lifts his foot, the print which it leaves fills with water. The eye, however, has noticed no change ; the immense strand is smooth and tranquil ; all the sand has the same appearance ; nothing distinguishes the surface which is solid from that which is no longer so ; the joyous little crowd of sand flies continue to leap tumultuously over the wayfarer's feet. The man pursues his way, goes forward, inclines to the land, endeavors to get nearer the upland. He is not anxious. Anxious about what ? Only he feels, some- how, as if the weight of his feet increases with every step he takes. Suddenly he sinks in. He sinks in two or three inches. Decidedly he is not on the right road ; he stops to take his bearings ; now he looks at his feet. They have disappeared. The sand covers them. He draws them out of the sand ; he will retrace his steps. He turns back, he sinks in deeper. The sand comes up to his ankles ; he pulls himself out and throws himself to the left — the sand half-leg deep. He throws himself to the right ; the sand comes up to his knees. Then he recognizes with unspeakable terror that he is caught in the quicksand, and that he has beneath him the terrible medium in which man can no more walk than the fish can swim. He throws off his load if he has one, lightens himself as a ship in distress ; it is already too late. He calls, he waves his hat or his PLANES OF GESTURE 21 5 handkerchief; the sand gains on him more and more. He feels that he is being swallowed up. He howls, implores, cries to the clouds, despairs. Behold him waist deep in the sand. The sand reaches his breast ; he is now only a bust. He raises his arms, utters furious groans, clutches the beach with his nails, would hold by that straw, leans upon his elbows to pull himself out of this soft sheath ; sobs frenziedly ; the sand rises ; the sand reaches his shoulders ; the sand reaches his neck ; the face alone is visible now. The mouth cries, the sand fills it — silence. The eyes still gaze, the sand shuts them — night. Now the forehead decreases, a little hair flut- ters above the sand ; a hand comes to the surface of the beach, moves, and shakes, disappears. Sinister effacement of a man. SECTION IV. PLANES OF GESTURE There are three Planes of Gesture, — (1) the Plane of Equality, (2) the Plane of the Superior, and (3) the Plane of the Inferior. The approximate angle occupied by each of these planes is shown in Fig. 19. Plane of Superior Plane of Equality- Plane of Inferior Fig. 19 2l6 ESSENTIALS OF PUBLIC SPEAKING i. Plane of Equality The Plane of Equality is the plane of direct address. Its range vertically is through an arc of about thirty degrees, with the shoulder as a center. It is the normal zone in which men deal with their fellow-men. Gestures of ordinary conversation, de- scription, didactic thought, calm reasoning, ordinary public address, and direct appeal are in the Plane of Equality ; in fact, most gestures occur in this plane. Sentences illustrating the Plane of Equality. (i) Within our territory stretching through many degrees of latitude and longitude we have the choice of many products and many means of independence. — Story. (2) Do we mean to submit to the measures of Parliament, Boston-Port Bill and all ? — Webster. (3) Welcome, Icilius ! Welcome, friends! — Knowles. (4) Have I not cause enough for anger ? — Halm. 2. Plane of the Superior The Plane of the Superior is the plane of the ideal, of the imaginative and the poetic. It is called by some the elevated plane. Gestures range through an arc of forty or fifty degrees above the Plane of Equality. Sentiments of hope, beneficence, benediction, patriotism, triumph, liberty, and appeals to Heaven or Deity require gestures in the Plane of the Superior. Sentences illustrating the Plane of the Superior. (1) Some to the common pulpits and cry out "liberty, freedom and enfranchisement." — Shakespeare. (2) "Good speed!" cried the watch as the gate-bolts undrew, " Speed," echoed the wall to us galloping through." — Browning. (3) J U( lg e > O you gods, how dearly Caesar loved him. (4) Forbid it, Almighty God ! — Heniy. — Shakespeare. PLANES OF GESTURE 217 3. Plane of the Inferior The Plane of the Inferior is the plane of the debasing. Its range is through an arc of forty to fifty degrees below the Plane of Equality. Gestures putting down the bad, the low, the vile, or the contemptible culminate in this plane. Malevolence, hate, revenge, gloom, despair, horror, and aversion are enforced by gestures that conclude in this plane. Sentences illustrating the Plane of the Inferior. (1) Out of my sight, thou demon of bad news. — Aldrich. (2) I'll force out his last drachma. O, I'll not rest until I've had revenge. — Halm. (3) O, what a rash and bloody deed is this ! — Shakespeare. (4) Down, therefore, and beg mercy of the Duke. — Shakespeare. Selection illustrating the Planes of Gesture. Note. Analyze the following selection and apply gesture in accord- ance with the reasons set forth for the use of the different Planes. GALILEO Edward Everett There is much in every way in the city of Florence to excite the curiosity, kindle the imagination, and gratify the taste ; but among all its fascinations, addressed to the sense, the memory, and the heart, there was none to which I more frequently gave a med- itative hour during a year's residence, than to the spot where Galileo Galilei sleeps beneath the marble floor of Santa Croce ; no building on which I gazed with greater reverence than I did upon that modest mansion of Arceti : villa once, and prison, in which that venerable sage, by the command of the Inquisition, passed the sad, closing years of his life. Of all the wonders of ancient and modern art, statues and paint- ings, jewels and manuscripts, the admiration and delight of ages, there is nothing I beheld with more affectionate awe than that poor little spyglass through which the human eye first pierced the 2l8 ESSENTIALS OF PUBLIC SPEAKING clouds of visual error, which from the creation of the world had involved the system of the universe. There are occasions in life in which a great mind lives years of rapt enjoyment in a moment. I can fancy the emotions of Galileo, when, first raising the newly constructed telescope to the heavens, he saw fulfilled the grand prophecy of Copernicus, and beheld the planet Venus crescent like the moon. It was such another moment as that when the immortal printers of Mentz and Strasburg received the first copy of the Bible into their hands, the work of their divine art ; like that when Colum- bus, through the gray dawn of the 12th of October, 1492, beheld the shores of San Salvador ; like that when the law of gravitation first revealed itself to the intellect of Newton ; like that when Franklin saw, by the stiffening fibers of the hempen cord of his kite, that he held the lightning in his grasp ; like that when Leverrier received back from Berlin the tidings that the predicted planet was found. Yes, noble Galileo, thou art right, "it does move." Bigots may make thee recant it, but it moves, nevertheless. Yes, the earth moves, and the planets move, and the mighty waters move, and the great sweeping tides of air move, and the empires of men move, and the world of thought moves, ever onward and upward, to higher facts and bolder theories. The Inquisition may seal thy lips, but they can no more stop the progress of the great truth propounded by Copernicus and demonstrated by thee, than they can stop the revolving earth. Close, now, venerable sage, that sightless, tearful eye ; it has seen what man never before saw ; it has seen enough. Hang up that poor little spyglass ; it has done its work. Not Herschel nor Rosse have, comparatively, done more. Franciscans and Domin- icans deride thy discoveries now, but the time will come when, from two hundred observatories in Europe and America, the glo- rious artillery of science shall nightly assault the skies ; but they shall gain no conquests in those glittering fields before which thine shall be forgotten. Rest in peace, great Columbus of the heavens — like him scorned, persecuted, broken-hearted! In other ages, in distant THE LEGS 219 hemispheres, when the votaries of science, with solemn acts of consecration, shall dedicate their stately edifices to the cause of knowledge and truth, thy name shall be mentioned with honor. SECTION V. THE LEGS With reference to the Triune Nature the Leg is divided as follows : fFoot .... Mental "I Leg i Lower Leg . . Emotive [■ Man ^ Upper Leg . . Vital j i. The Foot and Ankle belong to the Mental zone of the leg. The foot taps the floor in impatience or irritation, twists about in confused thinking, picks the steps, finds the path, and gives direction to the punt of a ball. 2. The Lower Leg and Knee are Emotive in general signifi- cance. The knee bends in prayer or supplication, bows in submission, and shakes in strong emotion. The weak-kneed person lacks moral strength. 3. The Upper Leg and Hip correspond to the Vital nature. While the foot gives direction, the heavy muscles of the thigh give strength to the punt of a ball, to walking, running, or leaping. SECTION VI. POSITIONS AND ATTITUDES Viewed from the standpoint of the Triune Nature, the Posi- tions and Attitudes are classified as follows : ( Second Attitude Right and Left, Forward. j Positions j First.Attitude Right and Left.^__ ;==»Vita / and / First Position Right and Left ~_V_"_V_---- = .Mental \ Man Attitudes \ Second p osition Right and Left_, rrr:: --_-~~~~" ~ . / I Second Attitude Right and Left, Backward- ~-~ z -~' m ° 1VC I Note. We shall treat only those positions and attitudes which are essential to public speaking and most used on the rostrum. 220 ESSENTIALS OF PUBLIC SPEAKING i. First Position In the First Position either foot may be advanced : if the right, it is called First Position Right ; if the left, First Position Left. The heels are separated from three to six inches. The forward foot is directed from the heel of the back foot. The angle between the feet is about 75 . The legs are straight. The weight is placed most strongly upon the ball of the back- ward or " strong " foot and the body is poised on the forward foot without being thrown forward from an erect, easy position (see Figs. 20 and 21). 1 Fig. 20. First Position Right Fig. 21. First Position Left The First Position is more used than any other. It is the normal position. Its significance is that of ordinary mentality when the speaker is not moved by strong emotion. It is appro- priate then in 07'dinary discourse, argumentation, narration, description y didactic thought, and in the gentle emotions. The First Right and the First Left are used interchangeably in expression to avoid fatigue. 1 In all the cuts used to illustrate positions and attitudes those parts of the tracks which are most heavily shaded show where the greatest weight is placed. POSITIONS AND ATTITUDES 221 Selection illustrating the First Position. Note. The First Position may very properly be maintained through- out the following short speech. Variety may be had by a few changes from the First Position Right to the First Position Left, and vice versa. COMMERCIAL EXPANSION William McKinley The period of exclusiveness is past. The expansion of our trade and commerce is the pressing problem. Commercial wars are unprofitable. A policy of good will and friendly trade relations will prevent reprisals. Reciprocity treaties are in harmony with the spirit of the times ; measures of retaliation are not. If perchance some of our tariffs are no longer needed for revenue or to encour- age • and protect our industries at home, why should they not be employed to extend and promote our markets abroad ? Then, too, we have inadequate steamship service. New lines of steamers have already been put in commission between the Pacific coast ports of the United States and those on the western coasts of Mexico and Central and South America. These should be fol- lowed up with direct steamship lines between the eastern coast of the United States and South American ports. One of the needs of the times is direct commercial lines from our vast fields of production to the fields of consumption that we have but barely touched. Next in advantage to having the thing to sell is to have the convenience to carry it to the buyer. We must encourage our merchant marine. We must have more ships. They must be under the American flag, built and manned and owned by Ameri- cans. These will not be profitable in a commercial sense ; they will be messengers of peace and amity wherever they go. 2. Second Position In the Second Position either foot may be advanced : if the right, it is called Second Position Right ; if the left, the Second Position Left. The foot is set forward about its length from the First Position. The weight is on the forward foot. The 222 ESSENTIALS OF PUBLIC SPEAKING heel of the back foot is lifted slightly from the floor, and the foot rests upon its ball. The angle between the feet is about 90 (see Figs. 22 and 23). It is used where emotion is added to mentality and the speaker is impelled forward toward his audience to impart his Fig. 22. Second Position Right Fig. 23. Second Position Left thought with more friendliness and fervor. It is appropriate then in earnest interest, anxiety, welcome, appeal, supplication, and entreaty. The Second Right and Second Left are comple- mentary to each other, and are interchangeable in expression, except that in speaking far to the right the Second Right is more sympathetic and appropriate, and in speaking far to the left the Second Left gives the more graceful appearance. Sentences illustrating the Second Position. Note. In the following short passages where earnest appeal and supplication are used there is opportunity, now and then, for the use of the Second Position Right and Left. (1) In the name, then, of common humanity, I invoke your aid in behalf of starving Ireland. Give generously and freely. Recollect POSITIONS AND ATTITUDES 223 that in so doing you are exercising one of the most God-like quali- ties of your nature. — Prentiss. (2) But yesterday the word of Caesar might Have stood against the world ; now lies he there, And none so poor to do him reverence. masters, if I were disposed to stir Your hearts and minds to mutiny and rage, 1 should do Brutus wrong, and Cassius wrong, Who, you all know, are honorable men : I will not do them wrong ; I rather choose To wrong the dead, to wrong myself and you, Than I will wrong such honorable men ! — Shakespeare. 3. First Attitude An Attitude is a position extended and enlarged. The First Attitude is an extension of the First Position. It has a broader base and a firmer bracing of the lower limbs. The Fig. 24. First Attitude Right Fig. 25. First Attitude Left angle between the feet is the same and the weight is distrib- uted as in the First Position (see Figs. 24 and 25). There are 224 ESSENTIALS OF PUBLIC SPEAKING two divisions, — the First Attitude Right and the First Attitude Left. They are used interchangeably in the expression of courage, defiance, heroism, pride, and arrogance ; in grand, bold, lofty, or impassioned oratory. Because it is closely related in expression to both the Men- tal and the Vital natures we have placed it as pivotal between them. Selections illustrating. Note. In the heroic and lofty passages of the following paragraphs the First Attitude is indispensable. Variety may be had by changes now and then from the First Right to the First Left. When my eyes shall be turned to behold, for the last time, the Sun in heaven, may I not see him shining on the broken and dis- honored fragments of a once glorious Union ; on states dissevered, discordant, belligerent; on a land rent with civil feuds, or drenched, it may be, in fraternal blood ! Let their last feeble and lingering glance rather behold the gorgeous ensign of the republic, now known and honored throughout the Earth, still full high advanced, its arms and trophies streaming in their original luster, not a stripe erased or polluted, nor a single star obscured ; bearing for its motto, no such miserable interrogatory as "What is all this worth?" nor those other words of delusion and folly, " Liberty first, and Union afterwards " ; but everywhere, spread all over in characters of living light, blazing on all its ample folds, as they float over the sea and over the land, and in every wind under the whole heavens, that other sentiment, dear to every true American heart, — Liberty and Union, now and for ever, one and inseparable ! — Webster. Reunited ! One country again and one country forever ! Pro- claim it from the press and pulpit ! Teach it in the schools ! Write it across the skies ! The world sees and feels it ! It cheers every heart, North and South, and brightens the life of every American home. Let nothing ever strain it again. At peace with all the world and with each other, what can stand in the pathway of our progress and prosperity ? — McKinley. POSITIONS AND ATTITUDES 225 4. Second Attitude The Second Attitude is based upon the Second Position. The lines and angles are practically the same, though the feet are more widely separated, as seen in the accompanying figures. There are two divisions, — the Second Attitude ', Forward, and the Second Attitude, Backward. (1) Second Attitude, Forward. In this attitude the body is inclined forward, the knee is slightly bent, the forward foot is placed about twice its length in front of the back foot and receives the greater part of the weight of the body (see Figs. 26 and 2 7). Both feet are planted firmly upon the floor, and the back foot receives varying proportions of the weight. The angle between the feet is ap- proximately 90 , varying somewhat with the length of the step and the distribution of the weight. The farther forward the weight is shifted the more the heel of the back foot will be drawn in and the greater will be the angle, as shown in the dotted lines representing the back foot. In the Second Attitude either foot may be advanced : if the right, it is called the Second Attitude Right, Forward ; if the 90^ Fig. 26. Second Attitude Right, Forward 226 ESSENTIALS OF PUBLIC SPEAKING left, the Second Attitude Left, Forward. These two parts of the Second Attitude are used interchangeably in speaking and are the natural expression of great vitality, defiance, violent denunciation, exe- cration, malevolence, ag- gression, menace, attack. No better illustration of this attitude may be found than in the aggressive lunges of the fencer in his bouts with the rapier. On account of the char- acter of the sentiments which require this attitude it naturally falls to the Vital division of the Tri- une Nature. Sentences illustrating the Second Attitude, Forward. Note. In the following "**-• :••'•""" sentences the unusual vitality and aggressiveness give op- Fig. 27. Second Attitude Left, portunity for the use of the Forward Second Attitude, Forward. a. How now ! a rat? Dead for a ducat ! Dead ! — Shakespeare. b. Lay on, Macduff ! and damned be he that first cries, Hold ! enough ! — Shakespeare. c. O, pardon me, thou bleeding piece of earth, That I am meek and gentle with these butchers ! Thou art the ruins of the noblest man That ever lived in the tide of times. Woe to the hand that shed this costly blood ! — Shakespeare. POSITIONS AND ATTITUDES 227 (2) Second Attitude, Backward. In this attitude the back knee is slightly bent, the weight is thrown back and rests chiefly on the left leg and foot (see Figs. 28 and 29). As shown in these figures the angle between the feet varies from 90 to 125 — more than in any other position or attitude. As in- dicated by the dotted lines the forward foot varies in position according to the distribution of the weight of the body. The more the weight is shifted to the back foot the greater the angle. In the Second Attitude, Backward, either foot may be advanced : if the right, it is called the Second Atti- tude Right, Backward ; if the left, the Second Attitude Left, Backward. The two parts of this attitude are complementary to each other and are used inter- changeably in expression according to the location of the object which inspires the feeling. As we have already seen, the Forward Attitude is used in aggressiveness, menace, defiance, and attack; the Backward Attitude, on the contrary, is used in defense, timidity, shrinking, fear, dread, amazement, terror, horror, and cowardice. While the Forward Attitude is used by the fencer in his lunges or the broadswordsman in his attacks, the Backward Attitude is necessary m defense in parrying the thrusts of his adversary or in shielding his body from the heavy blows. Fig. 28. Second Attitude Right, Backward 228 ESSENTIALS OF PUBLIC SPEAKING In expression the torso, the arms, and the head must sustain sympathetic relation and move in harmony with the action of the lower limbs. In contrast with the For- ward Attitude, which is Vital in relation to the Triune Nature, the Backward Attitude is Emotive and defensive in character and expression. It goes with- out saying that in practice the student should fully realize the thought or emo- tion implied in the various attitudes used. Sentences illustrating the Second Attitude, Backward. Note. In the following short passages illustrating this principle the surprise, disgust, and horror shown in the words may well be expressed in the receding movement of the Sec- ond Attitude, Backward. a. Angels ! and ministers of grace, defend us ! — Shakespeare. b. O judgment ! thou art fled to brutish beasts, and men have lost their reason. — Shakespeare. c. Oh, horrible ! horrible ! most horrible ! — Shakespeare. d. ' Hereafter ! ' Ay, — hereafter ! A whip to keep a coward to his track ! What gave Death ever from his kingdom back To check the skeptic's laughter ? Come from the grave to-morrow with that story And I may take some softer path to glory. — Willis. Fig. 29. Second Attitude Left, Backward TECHNIQUE OF ACTION _ 229 SECTION VII. TECHNIQUE OF ACTION That the student may have ample practice in Action we here give a series of exercises in technique. They are given, not for physical culture, but for their expressional value. To this end the student should keep in mind the thought or feel- ing implied in the various movements. 1. Exercises for Freedom of Gesture (1) Finger Movement. Clasp the right hand with the left thumb and finger. Relax the fingers of the right until they form an easy curve. Open and close them alternately several times to the accompaniment of music or counting. Let the forefinger lead in moving out, the little finger in moving in. Exercise the left hand ; then both together. (2) Wrist Movement. Grasp the right wrist with the left thumb and finger. Draw in the hand from the. wrist, partly closing the fingers as in exercise (1). Open and close alter- nately, keeping time to music or counting. Exercise the left wrist ; then both alternately. (3) Elbow Movement. Support the right elbow with the left hand. Draw in the forearm with the hand and fingers relaxed as in exercise (2). Open and close the arm to accu- rate time. The strokes of the elbow, the wrist, and the fingers should be simultaneous. To break the straight line there should be a slight curve at the elbow, a slight depression at the wrist, and a slight curve in the fingers. (4) Feather Movements. a. Vertical Movement. Extend the arms parallel, full length, diagonally downward. With hands hanging loosely let the wrists lead up and down several times through an arc of about 90 degrees. Let the hands float after the wrists, the palms being turned in on the upward and out on the downward move- ment. 230 ESSENTIALS OF PUBLIC SPEAKING b. Horizontal Moveme?it. Place the arms at full length with the palms facing each other. Move them outward and inward alternately through an arc of about 90 degrees, letting the hands float after the wrists. (5) Supine Movements. a. Low. Extend both hands, palms up, diagonally to the right, and level with the hips, giving the upper arm, forearm, and finger movements. Give the same movement to the left. b. Medium. Repeat the movement with the hands level with the shoulders. c. High. Repeat as before with the hands above and in front of the head. (6) Prone Movements. a. Low. Fulfill the conditions of the first supine movement except that the palms should be down. b. Medium. The same as the preceding exercise, with the arms level with the shoulders. c. High. The same as before, with the arms above and in front of the head. (7) Rotary Movements. a. Outward. Extend the arms, full length, in front of the shoulders, palms down. Move the hands upward and outward, describing as great a circle as possible from the wrists. Keep the palms down and use no finger movements. Make the circle four times. b. Lnward. Retrace the circle used in the last exercise four times, moving upward and inward. (8) Shaking Movements. a. Horizontal. Raise the forearms to a level, the palms facing each other. Withdraw all energy from the hands and shake them vigorously with the forearms. Repeat four times. b. Vertical. Raise the forearms as before, with the palms down. Shake them vertically. Do the same with the edges down. Repeat four times. TECHNIQUE OF ACTION 231 2. Exercises in Principles of Gesture (1) The Index. a. Give "the Index in the Plane of the Superior with three strokes at different angles. b. Give the same in the Plane of Equality. c. Give the same in the Plane of the Inferior. (2 ) Give the Supine, the Prone, the Clenched, and the Averse in like manner. (3) Practice consecutively with positive strokes in the Plane of Equality the following principles of gesture : The Index, the Supine, the Prone, the Clenched, and the Averse. (4) Give the Reflex to different parts of the Mental, Emotive, and Vital zones of the body. (5) Give the Clasped on, and also in front of, the Torso. (6) Practice the principles of gesture in the following order : a. The Supine in the Plane of Equality. b. The Reflex on the Torso. c. The Index in Plane of Equality. d. The Prone in Plane of Superior. e. The Averse in Plane of Inferior. f. The Clasped on the Torso. g. The Clenched in Plane of Inferior. 3. Exercises in Position and Attitude (1) First Positio ft. a. Alternate between the First Right and the First Left by moving forward a few paces. Keep the right foot on the right side of a line and the left on the left. b. Move backward a few paces, observing the same conditions. Changes may be made from the First Right to the First Left, and vice versa, by turning on the balls of the feet, but changes by steps attract less attention and are therefore more desirable. 232 ESSENTIALS OF PUBLIC SPEAKING (2) First and Second Positions. a. Change from the First Right to the Second Right. Return to the First Right. Repeat several times. Keep the body erect. b. Change from the First Left to the Second Left. Return to the First Left. Repeat several times. ( 3 ) Second Position . Move forward alternately from the Second Right to the Second Left in several short steps, as in ordinary walking. Halt after each step, with the weight on the forward foot. About face and retrace the steps. (4) First Position Fight and First Attitude Fight. Change from the First Position Right to the First Attitude Right. Return to the First Position Right. Repeat several times. (5) First Position Left and First Attitude Left. Change from the First Position Left to- the First Attitude Left. Return to the First Position Left. Repeat several times. (6) First Attitude. Move forward several steps, alternating between the First Attitude Right and the First Attitude Left. Move backward, retracing the steps. Selections illustratmg Action. Note. We have chosen two selections for practice, the first orator- ical, the second dramatic in character. It is believed that in the two there is opportunity for the application of all the principles of action. NATIONAL MORALITY Henry Ward Beecher The crisis has come. By the people of this generation, by our- selves, probably, the amazing question is to be decided : whether the inheritance of our fathers shall be preserved or thrown away ; . TECHNIQUE OF. ACTION 233 whether our Sabbaths shall be a delight or a loathing ; whether the taverns, on that hbly day, shall be crowded with drunkards, or the sanctuary of God with humble worshipers ; whether riot and pro- faneness shall fill our streets, and poverty our dwellings, and convicts our jails, and violence our land ; or whether industry and temper- ance and righteousness shall be the stability of our times ; whether mild laws shall receive the cheerful submission of freemen, or the iron rod of a tyrant compel the trembling homage of slaves. Be not deceived. Our rocks and hills will remain till the last conflagration. But let the Sabbath be profaned with impunity, the worship of God be abandoned, the government and religious instruc- tion of children be neglected, and the streams of intemperance be permitted to flow, and her glory will depart. The wall of fire will no longer surround her, and the munition of rocks will no longer be her defense. The hand that overturns our laws and temples is the hand of death, unbarring the gate of pandemonium, and letting loose upon our land the crimes and miseries of hell. If the Most High should stand aloof, and cast not a single ingre- dient into our cup of trembling, it would seem to be full of super- lative woe. But he will not stand aloof. As we shall have begun an open controversy with him, he will contend openly with us. And never, since the earth stood, has it been so fearful a thing for nations to fall into the hands of the living God. The day of vengeance is at hand. The day of judgment has come. The great earthquake which sinks Babylon is shaking the nations, and the waves of the mighty commotion are dashing upon every shore. Is this, then, a time to remove the foundations, when the earth itself is shaken ? Is this a time to forfeit the protection of God, when the hearts of men are failing them for fear, and for looking after those things which are to come upon the earth ? Is this a time to run upon his neck and the thick bosses of his buck- ler, when the nations are drinking blood, and fainting, and passing away in his wrath ? Is this a time to throw away the shield of faith, when his arrows are drunk with the blood of the slain ? to cut from the anchor of hope, when the clouds are collecting, and the sea and the waves are roaring, and thunders are uttering their voices, and lightnings 234 ESSENTIALS OF PUBLIC SPEAKING blazing in the heavens, and the great hail is falling from heaven upon men, and every mountain, sea, and island is fleeing in dismay from the face of an incensed God ? HAMLET'S SELF-REPROACH William Shakespeare Now I am alone. O, what a rogue and peasant slave am I ! Is it not monstrous that this player here, But in a fiction, in a dream of passion, Could force his soul so to his own conceit That from her working all his visage wann'd, Tears in his eyes, distraction in's aspect, A broken voice, and his whole function suiting With forms to his conceit ? and all for nothing ! For Hecuba ! What's Hecuba to him, or he to Hecuba, That he should weep for her ? What would he do, Had he the motive and the cue for passion That I have ? He would drown the stage with tears And cleave the general ear with horrid speech, Make mad the guilty and appal the free, Confound the ignorant, and amaze indeed The very faculties of eyes and ears. Yet I, A dull and muddy-mettled rascal, peak, Like John-a-dreams, unpregnant of my cause, And can say nothing ; no, not for a king, Upon whose property and most dear life A damn'd defeat was made. Am I a coward? Who calls me villain? breaks my pate across? Plucks off my beard, and blows it in my face ? Tweaks me by the nose ? gives me the lie i' the throat, As deep as to the lungs ? who does me this ? Ha! TECHNIQUE OF ACTION 235 'Swounds, I should take it: for it cannot be But I am pigeon-liver'd and lack gall To make oppression bitter, or ere this I should have fatted all the region kites With this slave's offal. Bloody, bawdy villain ! Remorseless, treacherous, lecherous, kindless villain ! O, vengeance ! This is most brave, That I, the son of a dear father murder'd, Prompted to my revenge by heaven and hell, Must, like a trull, unpack my heart with words, And fall a-cursing, like a very drab, A scullion ! Fie upon't ! foh ! About, my brain ! I have heard That guilty creatures sitting at a play Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions ; For murder, though it have no tongue, will speak With most miraculous organ. I'll have these players Play something like the murder of my father Before mine uncle : I'll observe his looks ; I'll tent him to the quick : if he but blench, I know my course. The spirit that I have seen May be the devil : and the devil hath power To assume a pleasing shape ; yea, and perhaps Out of my weakness and my melancholy, As he is very potent with such spirits, Abuses me to damn me : I'll have grounds More relative than this : the play's the thing Wherein I'll catch the conscience of the king. APPENDIX THE SPEECH Having studied the speaker as to his Triune Nature, his Vocal Organism, Pronunciation and Emphasis of language, and his delivery by means of the elements of vocal and actional expression, it now becomes necessary to study the speech in which he brings his message to the audience. True, he may gain much power in the use of his voice, much grace and freedom in gesture, and a clear knowledge of the philosophy of expression, and he may instruct, entertain, and even inspire his hearers by a faithful interpretation of the various illustrative selections contained in Parts I, II, and III. But the larger use of the power gained by a mastery of the foregoing principles lies in their application to that form of public speaking in which the speaker conveys his own ideas to the audience with a view to instruction, conviction, and persuasion. We shall treat this subject under three divisions as follows : (i) the occasion of the speech and the audience who hear it, (2) the kind of speech to make and the subject or proposition to be discussed, and (3) the plan of the speech and its essential qualities. CHAPTER I THE OCCASION AND THE AUDIENCE An intending speaker should first consider the occasion and object of his speech and the audience he is to address. His 236 APPENDIX 237 object may be to entertain, to instruct, to inspire; to convince, or to persuade the audience to accept his ideas, beliefs, and propositions. If the occasion is a debate before a deliberative body or a political meeting, the object would be to secure votes ; if the occasion is educational, religious, or patriotic, the object would be the improvement of methods or the elevation of ideals and standards of living. SECTION I. VARIETY OF OCCASIONS AND AUDIENCES As a rule, audiences are assembled by their own free will and are friendly to the speaker through acquaintance with him or by the reputation he brings, in which case they are open-minded, sympathetic, and receptive to his message. But a speaker is sometimes called upon to meet a group of people called together by the voice of authority, such as a school, college, or other insti- tutional audience, which may be cordial or indifferent to the speaker ; or he may even have to face a wholly unfriendly crowd, such as a mob of strikers, anarchists, or lynchers under the sway of passion, seeking redress for alleged wrong. Further- more, a friendly audience may manifest its varying moods, due to environment or physical conditions over which they have no control, and it is the task and test of the speaker's ability to change indifference into interest and bring about conviction and persuasion. It is plain that the speech should be the outgrowth of the occasion, of which there are many, such as educational associa- tions, social institutions, religious meetings, judicial bodies, legislative assemblies, political gatherings, and commemorative occasions, which require different kinds of speeches. For ex- ample, a political harangue would not be appropriate on a purely religious occasion, nor should a religious homily be imposed upon an audience gathered for the consideration of economic or social problems. 238 ESSENTIALS OF PUBLIC SPEAKING A full discussion of occasions and audiences would take us far beyond the limits proposed for this chapter, but we here subjoin an outline for the guidance of student and instructor. Note. The following outline of seven main headings, and as many- subdivisions each, is suggestive rather than inclusive, and each group is arranged in climactic order as to the formality of the occasion. The instructor may add to it according to conditions to be met, and submit the list to the students, allowing each to choose a different occasion and a different audience before whom he must speak after preparation. At the appointed time the whole class, under certain restrictions, may represent the audience selected and assume the conditions of the occasion. Then the speaker who has chosen his own subject delivers his own message and is thrown upon his own resources in controlling even the confusion which may arise out of the impersonative enthusiasm of his class audience. A suitable time limit may be set for the further discipline of the speaker, and to meet the requirements of classroom work. The exercises may be further varied by having a half dozen or more students speak to the same kind of an audience during the recita- tion hour, using many subdivisions of one general subject ; and in other ways the tact and judgment of a successful teacher may be employed. The plan suggested is one of the most interesting and effective methods of encouraging young speakers. SECTION II. LIST OF OCCASIONS AND AUDIENCES 1 . Educational Associations. (1) A Topical speech before a high-school class. (2) Chapel Address before the whole student body. (3) Inaugural Address in a literary society. (4) Salutatory or Valedictory at commencement. (5) Essay before a public-school teachers' association. (6) Lecture before a Chautauqua assembly. (7) Address before the National Speech-Arts Association or the National Educational Association. 2 . Social Institutions. (1) A Talk before a business men's club. (2) Speech before a municipal law and order league. APPENDIX 239 (3) A Toast on an assigned subject at a social banquet. (4) An After-dinner speech in honor of a great poet, statesman, hero, philanthropist, or explorer. (5) Speech of Welcome to a victorious or defeated inter- collegiate ball team, debate team, or oratorical contestant. (6) Anti-saloon or temperance speech before a popular or an unfriendly audience. (7) Address to an art league, a city sorosis club, or the Daughters of the American Revolution. 3. Religious Meetings. (1) Sunday evening service of a young people's league. (2) A review of the lesson at Sunday school. (3) Topical speech in a Young Men's Christian Associ- ation. (4) Address before a state or national Y.M.C.A. con- vention. (5) A Sunday morning Address to children or to old folks. (6) A popular and appropriate Sunday evening Lecture. (7) A church dedicatory, Thanksgiving, Christmas, or Easter • Address. 4. Judicial Bodies. (1) A case of discipline before a student senate. (2) Trial before a school, college, or church official board. (3) Speech in a city council for or against some municipal expenditure. (4) Plea in a property suit or criminal trial before a jury. (5) Prosecution and Defense in a murder trial before an appellate court. (6) Pleading in a suit or criminal case in the supreme court of any state or of the United States. (7) Address on an international question before the Hague conference. 240 ESSENTIALS OF PUBLIC SPEAKING 5. Legislative Assemblies. (1) Report of the chairman of a standing or special com- mittee. (2) Discussion of amendments to by-laws in a literary society. (3) Consideration and adoption of football rules in high school or college. (4) Introduction of a bill into the house or senate of a state legislature. (5) Debate on a measure before the United States House of Representatives. (6) Discussion of a resolution before the United States Senate. (7) Debate on some domestic or foreign policy in the House of Commons of the English Parliament. 6. Political Gatherings. (1) A " Stump speech " to the crowd at the primaries. (2) An out-of-door Campaign speech in a municipal or state election. (3) A Nominating speech in a national presidential con- vention. (4) Discussion of Party policies at the opening of a presi- dential campaign. (5) A speech on an act of Congress or a resolution of Parliament. (6) Celebration of a political party victory. (7) Inaugural Address of a governor or a president. 7. Commemorative Occasions. (1) Founders Day Address or Decoration Day Oration. (2) Oration on the twenty-second of February or Fourth of July. (3) Address at the unveiling of a monument or the formal opening of a public building. APPENDIX 241 (4) Oration on the laying of the corner stone of a memo- rial hall. (5) Welcome to a returning victorious or defeated army. (6) Panegyric Oration on a great teacher, preacher, states- man, or orator. (7) Civic Oration on some great event in our national history. CHAPTER II THE KIND OF SPEECH AND THE SUBJECT OR PROPOSITION The choice of a subject and the kind of a speech one is to make on a given occasion before a sympathetic, indifferent, or wholly unfriendly audience, is of great importance. In fact, the consideration of the occasion and the audience generally suggests the theme, which, in turn, requires the selection of just the right kind of speech in which the message is to be conveyed to the audience. SECTION I. KINDS OF DISCOURSE There are many kinds of speeches varying in construction and importance, from the simple utterance of business remarks to the formal delivery of some elaborate panegyric. It will be seen that the kind of discourse appropriate to one occasion or audience would be altogether inappropriate for another. It behooves us then to form some definite idea of the main characteristics of the different kinds of speeches, and we here present a brief treatment. 1 1. Announcements and Other Business Remarks. In a sense these are speeches, since they convey information orally to the audience, but this is a low form of public speaking. The chief 1 A full statement of the kinds of discourse would include the Sermon, which is a spoken discourse by a duly ordained clergyman on some theme or text from Holy Writ, and delivered as a part of a religious service ; but, for obvious reasons, this variety of public address is omitted here. 242 ESSENTIALS OF PUBLIC SPEAKING temptation is to make the occasion an opportunity for a set speech. Such remarks should be brief, clearly stated, devoid of personal display, and uttered loud enough to be heard by the entire audience. 2. Committee Reports. These are made through the chairman as spokesman for the committee, and are also a low form of public speaking though an important one. The report may be an extempore statement of the findings of the committee or a concisely written set of resolutions or recommendations. In no case should the chairman argue the points in a favorable or unfavorable way, or color statements with his own prejudices or convictions. 3. Essays. When read to an audience by the author, the Essay rises higher in the scale and is a much-used form of speech. Fundamentally it should be critical, didactic, and in- structive in style ; though 'with the added color of eloquent lan- guage and a high degree of mastery, so that the eye may not be confined too closely to the page, it may become a very effec- tive speech. 4. Debates. The Debate differs from all other forms of speech in that the speaker expects a reply from opponents who hear his statements, and an immediate decision of the question by vote of the judges, the verdict of the jury, or the voice of the people. He is in the attitude of attack or defense of some proposition or resolution to be established or disproved, with the resultant condition of victor or vanquished. The speech should be essentially truth seeking, statistical, constructive and logical in form, and destructive of experimental theories and impractical idealism. It is the most useful because the most used form of public speaking. 1 5. Topical Speeches. As the name implies, these are speeches on some topic or subject chosen by the speaker or assigned to him. They may be brief and informal,, but should rarely extend 1 See Note, p. 246. APPENDIX 243 beyond " three good points and three good illustrations." This form of speech has a wide range of subjects, some of which should be treated in a purely didactic way, while others may rise to the glow of conviction and give the flavor of good will, patriotism, or humor. There are a variety of Topical Speeches, such as Toasts or After-dinner speeches, of various degrees of importance ; short speeches of Introduction of a speaker to an audience ; and speeches before school and college classes, religious or benevolent associations, clubs, and literary circle's. To this class also belong the Gavel speech, in which the retiring president of an association presents that emblem of authority to the newly elected president, who is not yet ready to give a formal inaugural address ; and the Respofise by the president- elect, who acknowledges the honor and asks cooperation and support for his approaching administration. 6. Addresses. The Address is much more formal than the Topical Speech, and is better suited to larger assemblies. A half dozen varieties are here noted : the Salutatory or Address of Welcome; the Valedictory or Farewell Address ; the Com- mencement Address, before a high school or college ; the In- augural Address of the chairman of a large convention, the president of a society or of the nation, or the governor of a state ; the Political Address, dealing with the great principles of government and national welfare ; and various educational, social, and religious addresses before public assemblies. 7. Lectures. The Lecture is a well-recognized form of public speaking somewhat akin to the Address, but it bears the stamp of greater preparation and is used repeatedly in about the same form and language. There are two well-defined classes of Lectures : the Didactic lecture, which should be methodical in arrangement, progressive in development, and so presented that the whole audience may fully comprehend the subject treated and the student may take notes for future study ; and the Plat- form lecture, before popular audiences, in which the subject is 244 ESSENTIALS OF PUBLIC SPEAKING treated in an entertaining way with sufficient reduction of tech- nical terms to common phraseology and with ample illustration, the object being entertainment as well as instruction. 8. Orations. The Oration is the loftiest type of public speak- ing and marks the highest attainment of the public speaker. It is dignified and formal in style, clear in logic, forceful in thought, sound in philosophy, eloquent in language, persuasive in spirit, and, withal, it is constructed with the plot and motive of a great drama. Its object is to educate and inspire the masses, elevate the standards of morality and citizenship, and bring about great civic reforms and national movements. There are three kinds of Orations : the Commemorative Ora- tion, which celebrates some great event of history and aims to renew the memory of some noble deed or heroic action worthy of perpetuation ; the Panegyric Oration, which is an elaborate eulogy on some great person, and holds up the events of a fin- ished life as a guidance and inspiration to the living ; and the Civic or National Oration, which is a deep, earnest discussion of great ethical principles, civic laws, social relations, or economic movements necessary to the welfare and perpetuity of the state or nation, and has for its aim the elevation of the standards of citizenship, the promotion of national prosperity and the better- ment of international relations. SECTION II. THE SUBJECT OR PROPOSITION As before stated, the subject or proposition to be discussed naturally grows out of the consideration of the occasion and object of the speech, and the kind of speech one is to make. The printing of a list here would consume too much space, since the demand under so many conditions and under various school requirements could hardly be met in a single collection ; but there are many books available in all libraries, giving suggest- ive themes. The student is referred to References for Literary APPENDIX 245 Workers, by Henry Matson, for general subjects in history, biography, politics, political economy, education, literature, art, science, philosophy, ethics, and religion ; and to Brookings and Ringwalt's Briefs for Debates, or to almost any one of the many recent books on argumentation for propositions suitable for debate. It may be well, however, to 4 state here some of the conditions of a good question for discussion, and to suggest some methods of preparation for debate. 1. Question for Debate. A good question for debate should be a complete statement of a proposition of vital interest at the present time and well worth investigation and discussion. It must have two sides as evenly balanced as possible, so that a speaker on either side may form a definite conviction upon the merits of the question. It should be stated affirmatively in clearly defined terms, without ambiguity, and with a definite fix- ing of the Burden of Proof with the affirmative and the Pre- sumption with the negative side. The main issue should be specific and capable of solution. As a rule, social or economic questions that have some strong human interest at stake bring out the most spirited discussion among younger debaters. 2. Preparation for Discussion. The preparation for debate or the discussion of any subject should include a wide reading of books, magazines, and newspapers which give correct reports of public speeches and messages, accurate accounts of current events, and wise editorial discussions. The student must study both sides of the question and know what may be said for and against the proposition. He should examine his own mind, clear it of all prejudice, and distinguish between vague specula- tion and a clearly defined opinion based on experience, authority, or evidence. As he reads he should discriminate between strong and weak points, quote correctly, note the references so that they may be verified, and arrange the arguments in the form of a Brief which sets forth all the facts, evidence, and proofs in a logical, climactic outline suitable for a speech. 246 ESSENTIALS OF PUBLIC SPEAKING Note. Since the Debate is a much-used form of public speaking among secondary schools and colleges, as well, it may be further sug- gested as a method that the debate class be divided into an equal num- ber of affirmative and negative teams of two or three speakers each. After due preparation on some selected question, these teams should discuss the question, each speaker making a set speech of five to ten minutes of main argument followed by a round of extempore rebuttals of shorter duration. For the next meeting the teams might change sides, so that each speaker may study both sides of the question and have drill in both affirmative and negative discussion. At times the instructor may see fit to offer the question for general extempore de- bate, allowing each student choice of sides, but requiring a brief time limit for each speech. Interest may be added by the occasional service of local judges, who should render decision not on the merits of the question (which may or may not be evenly balanced), but upon the basis of effective debating. Further interest may be aroused by forming a triangular debating league with two other near-by schools ; in which case each school secures, by local competition, one affirmative and one negative team of three speakers and one alternate each, to meet the opposing schools. Each institution holds one debate at home and sends her other team against one of the other schools the same day and hour, — all three schools thus discussing the same question simultaneously. A presiding officer should enforce parliamentary rules, and a set of three or five judges should render decision by ballot on the merits of the debate. CHAPTER III THE PLAN OF THE SPEECH AND ITS ESSENTIAL QUALITIES No matter what the occasion and audience, the kind of dis- course or the subject discussed, all speeches should be con- structed according to a well-ordered plan and contain certain qualities which distinguish them from the language of the printed page intended only for silent perusal. A speech must be essentially speakable in structure, and in language which responds easily to oral expression. APPENDIX 247 SECTION I. THE PLAN 1. The Plan of a speech corresponds to the plot of a story or play. It prevents digression, insures logical sequence and growth, and secures proportion. All speeches, however simple or elabo- rate, should have at least an Introduction, a Main Discussion, and a Conclusion. The extent and development of these three divi- sions in their proper relation and proportion will depend largely upon the importance of the occasion, the personnel of the audi- ence, the kind of speech proposed, and the subject considered. The following characteristics of a somewhat formal speech may be noted : 1. The Introduction. The object of an Introduction is to put the speaker on good terms with his audience and awaken atten- tion and interest in his theme or proposition. It should be local as to time, place, and object of the occasion ; concrete in state- ment and not an announcement of abstract generalities ; defer- ential to the audience and to the preceding speaker if there be any, fair and conciliatory in motive if conciliation is needed, but devoid of apology or flattery ; and it should introduce the sub- ject as favorably as possible and with becoming brevity. The manner of the speaker should be modest, sincere, and dignified, but not strained into stiffness or over-formality. 2. The Main Discussion. Different kinds of speeches natu- rally require more or less elaboration of the main discourse, but we may here suggest a method that will apply alike to all kinds of speeches, namely, the Historical, the Logical, and the Distributive Order. (1) The Historical Order arranges all facts and incidents chronologically so far as their occurrence may conform to the unity of the speech and contribute to its main issue. This would be a good method for committee reports, certain topical speeches, valedictory and inaugural addresses, and commemora- tive orations. 248 ESSENTIALS OF PUBLIC SPEAKING (2) The Logical Order links all facts, propositions, testi- monies, evidences, proofs, and arguments into a complete chain of argumentation to convince and persuade. It must conform to the main canons of common logic and it may employ the intricate technicalities of Formal logic. This method is most suitable to Business Remarks, Debates, Didactic Lectures, and to Civic Orations of an economic nature. (3) The Distributive Order arranges related matters into groups and distributes these groups according to their relation to each other and to the general aim of the speech. This dis- tribution must conform unswervingly to the three great prin- ciples of Unity, Climax, and Proportion. This method requires the exercise of the clearest judgment, and has been much used by our greatest orators. It is especially appropriate to After- dinner speeches, Salutatory and Commencement Addresses, Platform Lectures, Panegyric Orations, and to Civic Orations of a sociological nature. 3. The Conclusion or Peroration. This is the place of peril for the speaker and his cause, and is a crucial test for the skill of the orator. " Here," as Dr. Sears puts it, " truth is to be established, the moral to be inculcated, the memory to be re- newed and perpetuated, . . . and the verdict to be secured." If the discourse is only the simplest Topical Speech, it should be rounded out in the Conclusion so that it does not " stop short " and leave an unfinished impression ; if it rises to the formality of a great Address or Oration, the Peroration should be carefully prepared in thought, language, and delivery. The main charac- teristics of the Peroration are Summary, Eloquence, Brevity, and TerminatioJi. (1) The Summary should be a brief epitome of the main points of the discourse in wholly different phraseology, that, as Cicero states, " the recollection may be revived, not the speech repeated." New matter should not be introduced here, as it would be too late to develop its discussion ; and care should be APPENDIX 249 exercised that the Summary shall not drivel into a mere cata- loguing of all the points of the Main Discussion. (2) Eloquence. There should be no appeals to the emotions that the promise of the Introduction and the discussions of the Main Discourse do not justify, nor should a speaker assume an emotion merely for effect or overdo one that is real ; but the touch of eloquence in the Peroration inspired by genuine conviction may be employed to clinch the nails of logic or cap the climax of persuasion. (3) Brevity. The conclusion of different speeches will, of necessity, vary in length according to the style and the time given to the body of the speech ; but in all cases the abundance of thought should be boiled down to the sweetest morsels and the conclusion be made as brief as the occasion will allow. (4) Termination. As technically used here, this word signify- ing " the act of ending or concluding " is intended to convey the idea of a certain cadential note or closing style which im- pels the audience to desire to know " the conclusion of the whole matter." That note, once sounded, implies a contract with the audience, who, in turn, have a right to expect the speaker to stop. The repeated utterance of such expressions as " lastly," " finally," or " in conclusion," is tiresome to the audience ; and a fresh start in the Peroration is fatally disappointing. To be a good speaker one should be a good " stopper." SECTION II. THE QUALITIES OF DISCOURSE The qualities of style have been variously treated by rheto- ricians, but all the terms thus far used may be included in the three words Clearness, Force, and Persuasiveness, which, in turn, correspond respectively to the Mental, Vital, and Emotive natures of man. 1. Clearness is that Quality of discourse by which a given thought is presented intelligibly to the particular mind addressed. Clearness is not an absolute but a relative term. All reasoning 250 ESSENTIALS OF PUBLIC SPEAKING cannot be made equally clear to all minds, but the speaker should so treat his subject as to make it clear to the average mind of his audience. Quintilian insists that the audience should not only be able to understand what is said, but not be able to misunderstand it. Clearness involves a study of diction for suggestive words, structure of sentences that there may be no ambiguity of statement or obscurity of language, and the habit of clear, definite thinking both on and off the platform. 2 . Force is that Quality of discourse which renders it capable of strong, vital utterance, and energetic, expressive* action. It does not apply alike in degree to all parts of a speech, but it is used to enforce expressions of spirited enthusiasm, great earnestness and strong Climaxes which conquer by their very intensity and power. Force demands the use of strong, idio- matic words, short sentences, epigrammatic expressions, figura- tive language, and directness of speech. 3. Persuasiveness is that Quality of discourse which appeals to the will through the emotions. It is the crowning essential of style ; for language may be " clear as crystal and as cold, force- ful as the strokes of a sledge hammer and as hard," but Persua- siveness is the culminating virtue of a great speech. This Quality requires the mastery of soul-stirring words, the proper use of the expletives of language, the sympathetic association of ideas and experiences, the clever use of striking illustrations, and, withal, its proper proportion to Clearness and Force. To secure this Quality the speaker must bring a genuine message of high motives and ennobling aims. Then Clearness, Force, and Persuasiveness will include, we think, all the essential Qualities of discourse, since they manifestly correspond to the triune nature of the orator and furnish the natural channels of spoken language through which his mentality, his emotions, and his vital states must find expression. OCT 1 WO One copy del. to Cat. 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