■ ■ THE JUYENILE SPEAKER; COMPRISING ELEMENTARY RULES EXERCISES IN DECLAMATION, WITH A SELECTION OF PIECES FOR PRACTICE. y BY FRANCIS T. RUSSELL, INSTRUCTOR IN ELOCUTION, AT PRINCETON AND RUTGERS COLLEGES, ETC. ^ i-^ NEW YORK: HARPER & BROTHERS, PUBLISHERS, 82 CLIFF STREET. 7 1847. / ™#' Entered, according to Act of Congress, in the year one thousand eight hundred and forty -seven, by Harper & Brothers, in the Clerk's Office of the District Court of the Southern District of New York. / r?4 si PREFACE. The author of the following manual, when engaged, as he occasionally is, in teaching classes in schools, has felt, in common with others, the want of a book of regular in- struction in declamation, adapted to juvenile speakers.* For, although there are, already, before the public, several collections of pieces, designed for young classes, there are none which furnish a systematic course of rules and direc- tions, to guide the learner in the management of the voice and the practice of gesture. The plan of the following work, is designed to present, 1st, the most important elements of elocution, as they apply to the practice of boys in declamation ; 2d, to fa- cilitate the reduction of every principle to immediate practice, by introducing one or more appropriate exam- ples designed as exercises ; 3d, to present the primary rules of feeling and of taste, which apply to the practice of gesture, as comprehending attitude and action; 4th, to furnish young speakers with a supply of pieces ', from which to select matter for a more extended application of the rules of elocution, or for their customary school exercises in speaking. The compiler of the present volume, would not under- rate any of the works already in use, whether as treatises on elocution, or selections of pieces for declamation. His * Students at academies and colleges are sufficiently provided with elo- cutionary aids, in the volume entitled, "The American Elocutionist," and in that on " Orthophony," — prepared by Mr. William Russefl, or in simi- lar volumes by other writers. The intention of the author of the present work, is to furnish a corresponding text-book on declamation, for younger speakers. VI PREFACE. wish is merely to secure the convenience of a work em- bodying his own system of instruction .* He will feel gratified, if, at the same time, he may thus facilitate the labors of other teachers who are desirous of receiving the aid of a text-book containing rules and principles along with examples. The pupil's progress may, in this way, be rendered systematic and definite ; and the instruction which he receives, may be rendered more effectual, by assuming a permanent form, for reference and practice. A work of this description was indispensable to the author, as a class-book for his own pupils, and he has endeavored to make it serviceable to all teachers who, either regular- ly or occasionally, give instruction in declamation. The American School Reader and Speaker, and the Introduction to the same, by Messrs. John Goldsbury and William Russell, are, — so far as the author can judge, — the best books of their kind, for the general purposes of school instruction in elocution, — combining rules for read- ing and pieces for practice. The present volume differs from these in two respects : it furnishes rules and exam- ples adapted exclusively to the exercise of speaking, and extended to the departments of attitude and gesture. The pieces, also, which the book contains, are intended, ex- clusively, for practice in recitation or declamation. The author does not wish that this work should supersede any of a more general character, as regards the rules of elo- cution, or the selection of pieces. His sole intention is to provide a book which boys will find useful, as a guide * The reference above is not made as claiming originality of method. The author would acknowledge himself indebted, for whatever merit his system possesses, to the elaborate theory of Dr. Rush, in his Philosophy of the Human Voice, — to the personal instructions, also, of Mr. James E. Murdoch, while that gentleman was engaged in the business of training the vocal organs, for the practice of public speaking, and to the superin- tendence and directions of the compiler's father, Mr. William Russell, whose modes of instruction are developed in his various works on the subject of elocution. PREFACE. Vll in their usual weekly or monthly school exercises in speaking. The directions for the cultivation of the voice, which are contained in the following pages, will, it is hoped, be found of essential service to the pupil. By a few weeks' diligent practice on the exercises, he will be enabled to secure a healthy expansion of the chest, a firm, round, and full tone of voice, and a distinct articulation, all which are indispensable to effective elocution. A considerable space, in the following pages, has been assigned to a plain statement of the main principles of gesture, as they apply to juvenile exercises in declamation and recitation. This much-neglected branch of practical oratory, deserves particular attention during the period of education. It is one for which boys possess a peculiar aptitude, and one, also, in which the early formation of correct habit, is of unspeakable value, to all whose duties, in subsequent life, render impressive speaking an im- portant attainment. CONTENTS. PART I. PRINCIPLES OF ELOCUTION. LESSON I. Page Preparatory Exercises . . 1 LESSON II.— Orthoepy. Articulation 2 LESSON ni.— Orthoepy. Enunciation . 5 LESSON IV.— Orthoepy. Pronunciation 6 LESSON V.— Quality of the Voice. " Pure Head Tone" 8 Exercises 8 LESSON VI. Practice of Pure Head Tone on the Elements 10 LESSON VII. " Orotund," or Round Tone 11 Exercises 11 LESSON VIII. Practice of Round Tone on the Elements 13 LESSON IX. Force of Voice . . .13 Exercises 13 LESSON X. Practice of Force on the Elements 15 LESSON XI. " Stress" 15 Exercises . . .16 LESSON XII. Practice of Stress on the Elements 19 LESSON XIII. Pitch 20 Exercises 20 LESSON XIV. "Movement" .21 Exercises - 22 LESSON XV. "Expression" .25 Exercises 26 LESSON XVI. Review of Expression 29 X CONTENTS. LESSON XVII. Page Inflection, or Slides 29 Exercises 32 LESSON XVIII. Emphasis o„ Exercises 34 LESSON XIX. Pauses 36 Exercises 37 PRINCIPLES OF GESTURE. LESSON I.— Attitude . . . .38 Rules and Examples 39-44 Common Faults . 44 LESSON II.— Action. Common Errors 47 General Rules 49 Analysis of Gesture . . . 52 Key to the Analysis 53 Examples 54 Application of Principles 59 PART II. PIECES FOR PRACTICE. xercise I. Ambition, false and true .... Anonymous. 63 II. Nature's Gentleman .... Eliza Cook. 63 III. Casabianca Mrs. Hemans. 64 IV. The Savoyard's Return .... H. K. White. 66 V. The Removal Anonymous. 67 VI. Spring: VII. The Little Philosopher (Dialogue) . Anonymous. 68 Aikin. 69 VIII. The Pioneer Brainard. 71 IX. Address to General Lafayette Everett. 72 X. The Trooper's Dirge .... U.S.Lit.Gaz. 72 XL The Battle of Blenheim. Southey. 73 XII. Vision of Belshazzar .... Byron. 75 XIII. Economy Walcot. 76 XIV. Morning Thoughts Mary Howitt. 77 XV. The Nightingale Mrs. Hemans. 78 XVI. Eulogium on William Penn . Duponceau. 79 XVII. Landing of the Pilgrims Mrs. Hemans. 80 XVIII. The Burial of Arnold .... Willis. 82 XIX. The Wind in a Frolic .... Win. Howitt. 83 XX. Loss of the Royal George Coivper. 84 XXI. General Putnam Flint. 85 XXII. The Falls of Lodore .... Southey. 86 XXIII. Arnold Winkelried .... Montgomery. 88 XXIV. App e al for the survivors of the Revolution Everett. 89 XXV. Hodge and the Vicar . Anonymous. 90 XXVI. The Philosopher's Scales Jane Taylor. 91 XXVII. Death of the Old Year .... Tennyson. 93 XXVIII. Speech of Logan Ashe. 95 XXIX. Dirge for the Beautiful Anonymous. 95 XXX. Selkirk in his Solitude .... Cowper. 96 CONTENTS. XI Exercise Page XXXT. Christmas Eve C. Moore. 98 XXXII. The Ship-Builders . . . . J.G. Whittier. 99 XXXIII. The Launch Anonymous. 101 XXXIV. The Mariners . . . . .P. Benjamin. 101 XXXV. Grandiloquence Anonymous. 102 XXXVI. The two Robbers (Dialogue) . . Dr. Aikin. 104 XXXVII, Seneca Lake Percival. 105 XXXVIII. Greek "Welcome to the Swallow . Anonymous. 106 XXXIX. The Sound of the Sea . . . . Mrs. Hemans. 107 XL. Speech of the Scythian Ambassadors to Alexander the Great . . . Translation. 108 XL I. How to tell Bad News (Dialogue) . Anonymous. 109 XL II.. The Grave of the Indian Chief . . W. C.Bryant. 110 XLIII. Old Ironsides O.W. Holmes. Ill XLIV. Grecian Fable Foote. 112 XLV. The Bended Bow Mrs. Hemans. 113 XLVI. David and Goliah (Dialogue) . . H. More. 114 XL VII. Destruction of Sennacherib . . . Byron. 116 XL VIII. The Pilgrim Fathers . ., . .J. Pierpont. 116 XLIX. Lament of Alpin Macplierson. 118 L. The Siege of Calais (Dialogue) . . Fielding. 119 LI. Spectacles, or " Helps to Read" . . Byrom. 121 LII. Columbus Everett. 122 LIII. The Soldier's Dream .... Campbell. 123 LIV. The Duel Hood. 124 LV. Outalissi Campbell. 126 LVI. The Dying Chief Anonymous. 127 LVII. Address to the Surviving Veterans of the Revolution D. Webster. 128 LVIII. The Murdered Traveller . . . W.C. Bryant. 130 LIX. Cupid's Warning . . . . H F. Gould. 131 LX. Boadicea Coxoper. 132 L XL Song of the Stars .... W. C.Bryant. 133 L XII. The Dorchester Giant . ". . . O. W. Holmes. 134 LXIII. Green River W.C. Bryant. 136 LXIV. General Wolfe to his Army . . Aikin. 137 LXV. The Cameleon Merrick. 138 LXVI. An Indian at the Burial-place of his Fathers W.C.Bryant. 140 L XVII. The Seminole's Reply . -. . G. W. Patten. 1 42 LXVIII. The Gladness of Nature . . . W. C.Bryant. 143 LXIX. The Tragical Histoiy of Major Brown Hood. 144 LXX. The Fishermen J.G. Whittier. 147 LXXI. On the Shortness of Lif6 . . . Cowper. 149 LXXII. The Directing Post .... Lovell. 150 LXXIII. Song of Marion's Men . . . .W.C. Bryant. 151 LXXIV. Washington's Statue . . . Tuckerman. 153 LXXV. " Seventy -six" W.C.Bryant. 154 LXXVI. To the Eagle Percival. 155 LXXVIL The Affair of Lexington and Concord . Everett. 156 LXXVIII. The Vision of Liberty . . . . Ware. 157 LXXIX. The Greek Partisan .... W. C. Bryant. 160 LXXX. Rolla's Address to the Peruvians . Sheridan. 161 - LXXXI. Malt Sermon Anonymous. 162 LXXXII. The Cold-water Man . . . . Anonymous. 163 LXXXIII. The African Chief . . . .W.C. Bryant. 164 L XXXIV. Eloquence of James Otis . . . Mrs. Child. 166 LXXXV. The Death of Aliatar .... W.C.Bryant. 168 LXXXVI. The Exile of Erin .... Anonymous. 170 LXXXVII. The Fathers of Massachusetts . . Everett. 171 Xll CONTENTS. Exercise Pago LXXXVIIT. " Lodgings for Single Gentlemen" . Colman. 172 L XXXIX. To the Evening Wind . . . . W. C Bryant. 173 XC. Norval and Glenalvon (Dialogue) . Home. 174 XCI. Military Glory Marmontel. 177 XCII. Battles on the Rio Grande . . . T. B. Thayer. 178 XCIII. The Soldier's Anticipation of Peace . Coleridge. 179 XCIV. Peace Thomson. 180 XCV. Peace and War Shelley. 181 XCVI. The Colonists (Dialogue) . . .Dr. Aikin. 182 XC VII. Scenes from the "Little Merchants" . M. Edgeworih. 185 XCVIII. Scene from William Tell . . . Knowles. 190 XCIX. Lochiel's Warning (Dialogue) . . Campbell. 195 C. Cato and Decius (Dialogue) . . Addison. 197 CI. The Greek Emigrant . . . . J. G. Percival. 199 CII. War Song of the Greeks . . . Campbell. 200 CIII. Hotspur's Answer to King Henry . Shakspeare. 201 CIV. Rienzi to the Romans .... Moore. 202 CV. Scene from Brutus (Dialogue) . . Payne. 204 CVI. Goldau Neal. 20G CVTI. Valedictory Address .... Putnam. 208 C VIII. Debate on the Character of Julius Caesar Knoicles. 209 CIX. Scene from King Richard II. . . Shakspeare. 244 CX. Scene from the Merchant of Venice . Shakspeare. 2 48 CXI. Scene from the Vespers of Palermo . Mrs. Hemans. 252 CXII. Successful Attempt to Raise the Wind Dickens. 255 CXIII. The Alehouse Orator .... Anonymous. 259 CXIV. "Excelsior" Longfellow. 262 THB JUYENILE SPEAKER. PART I. PRINCIPLES OF ELOCUTION. LESSON I. PREPARATORY TRAINING. Proper Attitude* for Practice of Vocal Exercises. The proper attitude for the practice of exercises de- signed to cultivate the voice, requires attention to the fol- lowing directions for firm, easy, and graceful position: Advance the right foot, about a hand's breadth from the left. Let the left limb be straight, so as to givefrm sup- port to the body ; but let the right knee bend a little, so as to keep the attitude easy; and, for the same purpose, let the toes point moderately outward — not straight forward. When practising exercises designed for strengthening the vocal organs, the arms should be placed akimbo, with the elbows thrown back as far as possible, so as to open the chest. The shoulders should be held back and down — the head, perfectly erect. The pupil will perhaps ask, " Why all this attention to posi- tion ?" The answer is, that the weight of the body cannot rest easily, if planted upon both feet, equally. This position is, for the purposes of speech, stiff and awkward. We bend the knee, therefore, of one limb, and throw the weight of the body on the other. This posture gives us an easy and unconstrained atti- tude, without which the breath cannot be drawn freely and fully, and, consequently, the voice cannot sound clear. The arms are placed. akimbo, and the shoulders held back and down, * The teacher can never be too attentive to this preliminary point. The weak and imperfect voices which boys so often betray in their declama- tion, are mainly caused by the faulty habit of imperfect breathing, owing to wrong positions of the body. An erect attitude, an open chest, and full breath, are all indispensable to full voice, and easy, energetic speaking. A 2 JUVENILE SPEAKER. to keep the chest open, to secure a full supply of breath, and to make the voice ring in the chest and head, and thus give it a true and full sound. If the head is allowed to droop, and the chest to sink, it partly shuts up the organs, and so prevents the sound of the voice from coming forth clearly. But when the head is held erect, and the chest is raised and expanded, the organs are freely opened, and the voice fully let out. Exercises in Breathing. To prepare the organs for full efforts of voice, it is important to acquire the habit of full and deep breathing ; as public speak- ing demands a much stronger voice, and, consequently, a larger supply of breath, than private reading or conversation. Before commencing the subsequent exercises, therefore, let the pupil practise the following modes of respiration : 1st. Draw in the breath very slowly and fully, till the chest is completely expanded, and the lungs are fully dis- tended. Repeat this three times, with strict attention to the proper attitude. 2d. Let out the breath very slowly and sparingly, mak- ing the issue of the breath last as long as possible. Re- peat, as before. 3d. After drawing in the breath, as before, send it out, with energy, in the style of a long-drawn, whispered cough. Repeat, as before. 4th. Expel the breath with a sudden, short, whispered cough. Repeat, as before. LESSON II. ORTHOEPY. ARTICULATION. The pupil's attention is now to be directed to the prac- tice of orthoepy, comprising the following branches : 1st. Articulation, which regards the position and action of the organs of speech, as creating distinctions in the sounds of the voice. 2d. Enunciation, which regards the ?node of ut- tering the sounds of letters and syllables, with reference to the exact quality and character of each. 3d. Pronuncia- tion, which regards the sounds of letters and the accent of syllables, as combined in words, according to the rules of custom, in spoken language. The following exercises are meant to attract the pupil's at- tention to the exact sound of every vowel and consonant in the EXERCISES IN ARTICULATION. 3 language, and thus to avoid the common faults of omitting, ob- scuring, or slighting the sounds of letters. The prevailing care- lessness of conversational usage, in our daily habits of speech, is apt to produce a corresponding faulty style in reading and de- claiming. The words moment and political, for example, are, in the current negligence of conversation, corrupted into " mo- ment," " politick," and, in the still greater negligence of puerile habit, the latter is corrupted into " pHiticle." Nothing is so effectual a guard agaiust such tendencies, as the habit of a close and watchful attention to the exact quality and character of sound, as associated in the ear with the form of eveiy letter to the eye. This result can be obtained only by vigorous practice on the elementary sounds and combinations of spoken language, as presented in the following or similar analyti- cal exercises. Much time should be occupied in practising and repeating these tables ; and for the care and labor thus bestowed, both teacher and pupil will be amply rewarded in the acquisi- tions of the latter. Nothing is more grateful to the ear of true taste, or more important to the purposes of speaking, than a dis- tinct and finished style of enunciation, as contrasted with one which is slovenly and low. The habits of the man, in this re- spect, are usually laid in boyhood ; and he who would be a cor- rect and graceful speaker, must be willing to toil for acquirement by juvenile effort. EXERCISES IN ARTICULATION. I. — Voivcls and Diphthongs — Vocal or " Tonic" Elements* SIMPLE SOUNDS. 1. AW ;t 2. Arm ; 3. An; 4. Eve; 5. Ooze, Look ; 6. .Err: 7. End; 8. In; 9. Air; 10. Up; 11. Or; 12. On. COMPOUNDS. The following elements are formed by combining two sounds, and, on that account, are called compound elements. A in ale, for instance, has two sounds : the sound commences with the letter a, and closes with a slight approach to the sound of ee. I in ice is a compound of a in a n and e in eve .% O in old, of an * Sounds which admit of vocal tone. t The teacher should have the pupil enunciate, in every instance, first, the word, then the sound of the letter in Italic type, without the word ; — repeating every word and the sound of eveiy letter, three times, with the utmost exactness, clearness, and fullness of sound. X The broad initial sound, in this compound element, as prescribed by Walker, is now obsolete, both in Ens-land and Amorica. JUVENILE SPEAKER. opening sound, followed by a slight approach to oo in ooze ; Ou in our is compounded of o, as in come, (or u in up.) and oo in ooze ; Oi in oil, of o in on and e in ere ; U in wse, of e in ere, and oy in ooze or foo&. II.—' 13. .41e ; 17. Oil; 14. Ice; IS. £7se, (^Ae verb;) Use, 15. Old; (&4e noun.) 16. Our; -" Suhtonic"* " Subvocal," or Semivowel Elements, SIMPLE SOUNDS. 1. Lull;] 10. Fake; 2. Maim; 11. Zone; 3. Nun; 12. A^ure; 4. .Rap; 13. Ye; 5. Far; 14. IFbe; 6. Siwgv 15. Thine; 7. Babe; compound of 8 and 12. 8. Did; 16. Joy. 9. £a£-; III. — "Atonic"% "Aspirate" or Mute Elements. SIMPLE SOUNDS. 1. Pipe; 6. .He; 2. Tent; 7. Thin; 3. Cake; 8. Pus/*; 4. Fife; compound of 2 and 8. 5. -Cease ; 9. Church. Elements Classified, by the Organs. The Tonics are all formed by the action of the larynx, and by various positions of the different parts of the mouth, which, during the utterance of every tonic element, remains open; while in the utterance of the Subtonics and Atonies the mouth is more or less s7mt, or obstructed. f^y Repeat the tonic elements, and observe attentive- ly the position and action of the organs, in articulating them. * So called by Dr. Rush, on account of their imperfect susceptibility of intonation, compared with the " tonic" elements. t The sound of each letter is obtained by commencing the word in which •he letter stands, and stopping on the first letter, and, sometimes, on the ast — when the letter occurs twice in the same word. t Toneless or muta elements. ORTHOEPY. 5 I. "LABIAL" SOUNDS, FORMED BY THE LIPS. 1. Babe; 4. Woe ; 2. Pipe-, 5. Valve; 3. Maim j 6. Fife. II. "DENTAL" SOUNDS, FORMED BY THE TONGUE AND TEETH. 1. Did 3 2. Tent 3 3. T7mi; 4. Thine 5. Azure ; 6. Pus&; 7. Cease; 8. Zone. compound of 1 and 5. compound of 2 and 6. 9. Jay; 10. Church. III. " PALATIC" SOUNDS, FORMED BY THE TONGUE AND PALATE. 1. C, " hard," and K, as in Cake ; 2. Cr, as in Gag 3 3. Y, as in Ye. IV. " ASPIRATED" ELEMENT, WHISPERED BREATHING. H, as in He. V. "NASAL" SOUNDS, FORMED IN THE HEAD AND NOSTRILS. 1. N, as in Nun ; 2. iVif, as in Sing, or iV, as in Irak. VI. " LINGUAL" SOUNDS, FORMED BY THE TONGUE. 1. L, as in Lull ; 2. R, as in .Rap ; 3. R, as in Far. LESSON III. ORTHOEPY. ENUNCIATION. Combinations of Letters in Syllables. The practice of enunciating, with great exactness, syllabic combinations of consonants, is the only effectual means of at- taining a distinct manner of pronouncing words. The force of voice, in the practice of the following exercises, should be that of bold declamation. But the consonants should receive more attention, in the utterance, than the vowels. The utmost ex- actness should be observed in every sound. COMBINATIONS IN INITIAL SYLLABLES. * Bl, cl, f, gl, pi, spl, si 3 as in blame, clime, few, glide, please, spleen, slew. * The combinations in Italics to be articulated very forcibly, after pro- nouncing the words, and to be enunciated simultaneously by the class, af- ter the teacher. 6 JUVENILE SPEAKER. Br, cr, dr,fr,gr, pr, spr, tr, sir, shr ; as in brave, cried, dread, frown, grind, pray, sprung, true, stray, shriek. Sm, sn, sp, st ; as in small, snow, spare, step. COMBINATIONS IN FINAL SYLLABLES. Ld, If, Ik, Im, lp, Is, Ise, It, Ive; as in hold, haiZ' d, gulf, silk, elm, scalp, toils, wells, else, melt, elve. M'd, 7ns, nd, ns, nk, nee, nt ; as in maim'd, gleams, and, dens, bank, once, ant. Rb, rd, rk, rm, rn, rse, rp, rt, rve, rVd, rk'd, rm'd, m'd, r'st, rv'd; as in barb, lord, hark, arm, urn, horse, warp, mart, carve, orb'd, marked, arm'd, scorn'd, dar'st served. Sm, s'n, sp, st, ks, ct, k'd,ft, pt, p'n, tfn, d'n, v'n, fn ; as in chasm, reas'n, chos'n, lisp, mast, casks, act, wak'd, oft, apt, op'n, weap'n, tak'n, ev'n, bright. L'st, m'st, nst, rst, dst, rd'st, rm'dst, rn'dst; as in heaV st, arm'st, canst, worst, midst, guard'st, arm' dst, burn'dst. Ble, pie, die, rl, bVd, dVd, pVd, rid ; as in able, triple, idle, hurl, troubl'd, cradVd, toopVd, world. Ngs, ngst, ng'd, ng'dst ; as in rings, singst, hang'd, wrong'dst. LESSON IV. ORTHOEPY. PRONUNCIATION. Elements combined in Words. The main points requiring attention in the following exercises are, 1. The exact sound of every letter; 2. The true accent of every syllable ; the force of the utterance being as in the full style of public speaking or bold declamation. Exercise I. — words containing " tonic" elements. 1. A, as in AW. — All, war, law, awful, water, dawning. 2. A, as in Arm. — Harm, bar, mart, balm, daunt, launch. 3. A, as in An. — Add, band, mass, last, slant, dance. 4. E, as in jEve. — Theme, feel, heed, *week, feet, deep. 5. Oo, as in Ooze; Oo, as in Look. — Cool, boom, moon, *hook, hoop, boot. 6. E, as in JErr. — Erst, serve, earth, firm, mercy, person. 7. E, as in End. — Elk, hence, let, bell, den, bed. * The same sound shortened. ORTHOEPY. 7 8. 7, as in In. — Din, dim, bid, ill, lip, bit. 9. A, as in ^4ir. — Bare, fare, hair, stare, barely, aware. 10. Z7, as in Up. — Up, bud, gum, dun, but, done. 11. O, as in Or. — Orb, born, cork, sort, form.. 12. O, as in On. — On, mob, bog, rod, top, loss. 13. A, as in ^41e. — Ace, day, hail, lade, make, came. 14. I, as in Ice. — Dice, bide, life, lime, file, mine. 15. 0, as in Old. — Oh, go, bold, home, lone, hope. 10. Ou, as in Our. — Out, loud, how, cow, fowl, crown. 17. Oi, as in Oil. — Boil, toil, joy, coin, broil, rejoice. 18. U, as in Use, [long, as in the verb, — short, as in the noun.] — Pule, tune, fume; mute, duke, dupe. II. " SUBTONIC" ELEMENTS. 1. L, as in Lull. — Loll, lie, lad, all, weal, dull. 2. M, as in Maim. — Mime, may, move, am, him, hum. 3. N, as in Nun. — Nine, nay, now, an. den, din. 4. R, as in Rarj. — [R initial, before a vowel, or after a consonant: — hard, but not rolled^ — Raw, red, rid, ream, robe, rude, rub. 5. R, as in Far : [r final, or before a consonant: — soft, not silent.] — Hare, bar, ear, ire, ore, lure, bur. Exercise on words containing both sounds of R. Rare, rear, roar, reared, roared, rarely, drier, error, horror, terror, brier, prior, truer, crier. 6. Ng, as in Sing ; [or n, before g hard or k.] — King, gong, hang, anger, bank, ink. 7. B, as in Babe. — Babe, ball, bead, blab, mob, curb. 8. D, as in Did. — Did, dawn, den, laid, mad, bed. 9. G, as in Gag.— Gig, gave, gall, gull, hag, log. 10. V, as in Valve.— Valve, vaunt, cave, leave, velvet, survive. 11. Z, as in Zone, [or s flat.] — Zone, maze, has, daisies, disease. 12. Z, as in Azure, [or s, as in measure?^ — Seizure, meas- ure, vision, composure, derision. 13. Y, as in Ye. — Ye, yes, young, yawn, yearly. 14. TF, as in Woe. — Way, was, ware, wed, wine. 15. Th, as in Thine. — They, than, then, thee, bathe, beneath. 16. J, as in Joy, [and G soft.] — Joy, jar, jilt, page, giant, judge. 8 JUVENILE SPEAKER. III. "ATONIC" ELEMENTS. 1. P, as in Pipe. — Pulp, pall, pile, pale, paper, pulpy. 2. T, as in Tent. — Tight, tall, top, mat, tatter, total. 3. C, hard, and K, as in Cake; and Q, as in Queen. — Key, cane, queen, creak, deck, cork. 4. F, as in Fife.— Fade, fell, file, off, hoof, fly. 5. S, (sharp,) and C, soft, as in Cease. — Say, see, sauce, mass, source, ceaseless. 6. H, as in He. — Hail, had, heel, hit, what, whet. 7. Th, as in Thin. — Thank, through, thong, thrust, hath, breath. 8. Sh, as in Tus7i. — Sham, shine, share, shroud, ash, hush. 9. Ch, as in Church. — Chair, check, march, chine, fetch. LESSON V. aUALITY OF THE VOICE. "pure" or "head" tone. Pure head tone* is voice so formed as to resound in the head. A clear, smooth sound, and, commonly, a high, or, at least, a moderately high pitch of voice, are used in this form of tone. It is the kind of voice which we use in singing treble notes. It implies a vocal sound free from all harshness and impurity, such as we hear in gut- tural and nasal, and other faulty tones. RuLE.f — Pure "head" tone, is used in the utterance of any passage which contains pathetic, melancholy, and sorrowful emotions. It belongs also to tranquillity and to joyous feeling, in all its various degrees. EXERCISES IN PURE HEAD TONE. Exercise I. — Chief. t[From the Orphan Boy.]§ And now they've tolled my mother's knell, And I'm no more a parent's joy : O lady ! I have known too well What 'tis to be an orphan boy ! * The phrase "pure tone" is often used, in elocution, to denote the ef- fect of "head tone," in music. t This rule, in substance, is to be impressed on the mind of the pupil. X The teacher may read these exercises, first, himself, to exemplify the style, then have the class read with him, simultaneously, and then have every pupil read each example, separately. § The pieces from which these exercises are taken, niay, in general, be found by referring to the Contents. TONE. II. — Pathos. [From Charity.— By Mrs. S. N. Coleridge.] Open your hospitable door, And shield me from the biting frost ; Cold, cold it blows across the moor, The weary moor that I have crossed. III. — Tranquillity. [From Wilson's Lines on a Highland Glen.] To whom belongs this valley fair, That sleeps beneath the filmy air, Even like a living thing, — Silent, as infant at the breast, Save a still sound that speaks of rest, — That streamlet's murmuring? IV. — Happiness, [From the Poor Man's Garden. — By Mary Howitt.] Ah ! yes, — the poor man's garden, It is great joy to me, This little, precious piece of ground, Before his door to see. V. — Animation and Cheerfulness. [From Spring. — Anonymous.] The little brooks run on in light, As if they had a chase of mirth ; The skies are blue, the air is balm ; Our very hearts have caught the charm That sheds a beauty over earth. VI. — Humor and Gayety. [From Hodge and the Vicar. — Anonymous.] Hodge, a poor honest country lout, Not over-stocked with learning, Chanced on a summer's eve, to meet The vicar home returning. " Ah ! Master Hodge," the vicar cried, " What ! still as wise as ever ? The people in the village say That you are wondrous clever." A 2 10 JUVENILE SPEAKER. " Why, Master Parson, as to that, I beg you'll right conceive me ; I do not brag ; but yet I know A thing or two, believe me." VII.— Joy* [From Wordsworth's Idiot Boy.] But when the pony moved his legs, Oh ! then for the poor idiot boy ! For joy he cannot hold the bridle, For joy his head and heels are idle- He's idle all for very joy. His heart it was so full of glee, That, till full fifty yards were gone, He quite forgot his holly whip, And all his skill in horsemanship ; Oh ! happy, happy, happy John ! LESSON VI. PRACTICE OF PURE HEAD TONE ON THE ELEMENTS. Turn back to the elements, and repeat the tonic ele- ments in tones of 1, pathos; 2, tranquillity; 3, anima- tion ; 4, joy ; as they occur in the preceding examples.! Repeat each element three times, in succession ; being careful, meantime, to preserve perfect purity of tone. These should be practised as the exercises preceding; first, the teacher giving an example, then the teacher and the pupils reading together, and then each pupil separ- ately. * The teacher should endeavor, in every way, to aid his pupils in enter- ing, with fall spirit, into every feeling which they express, so as to obtain full and true tones. There is but little danger of their overdoing the ex- pression. No fault is more common with boys than a dry, inexpressive style of voice, caused by inattention, want of feeling and interest, or false restraint. t To secure a perfect exemplification of every tone, in the practice of the elements, select, from one of the examples, any emphatic word, con- taining a long vowel; repeat this word three times, so as to fix its tone definitely in the ear. Then repeat the elements in the same tone. Pro- ceed, in the same way, with all the other examples. ROUND TONE. 11 LESSON VII. " OROTUND," OR ROUND TONE. Round Tone is a stronger and deeper voice ; and it de- mands a wider opening of the organs than that which is merely pure or smooth tone. It causes the voice to re- sound in the chest and throat, as well as the head ; and resembles the upper bass notes and lower tenor notes, in music. It requires a full and free opening of the mouth and throat. Head tone is not capacious enough to ex- press deep and powerful feeling. In all such emotions, therefore, round tone is used, as producing a fuller effect of voice. The two great divisions in the " quality" of the voice, are head tone and round tone. Head tone is used wher- ever the piece expresses but the single emotion of pathos , tranquillity, or joy ; but round tone is requisite wherever there is expressed, in addition to one of these feelings, grandeur or sublimity. Pathos, for example, when ex- pressed separately, is uttered with smooth tone ; but when combined with grandeur, the round tone must be used, to express it fully. The pupil should practise the tonic or vocal and diphthongal elements, in the round tone, before commencing the following examples. No exercise is more conducive to the formation of that manly fullness of voice which is required in all energetic and bold declamation.* Rule. — Orotund or round tone, is used when solemnity, pathos, or tranquillity, is blended with sublimity and grandeur. It characterizes the tone of reverence : it is used, also, in bold declamation, and in the expression of joy, when mingled with noble and exalted emotion. EXERCISES IN OROTUND, OR ROUND TONE. Exercise I. — Pathos, Solemnity, and Grandeur. [From the Loss of the Royal George. — By Cowper.] Toll for the brave ! The brave that are no more ; * Nothing is more important to an impressive elocution than the perfect command of round tone ; and this is a trait of voice in which boys brought up in cities are apt to be extremely deficient, owing to their usual seden- tary and inactive habits. 12 JUVENILE SPEAKER. All sunk beneath the wave, Fast by their native shore ! IT. — Sublimity and Joy. [From the Sunbeam. — By Mrs. Hemans.] Thou art no lingerer in monarch's hall, A joy thou art, and a wealth to all ; A bearer of hope unto land and sea ; — Sunbeam, what gift hath the world like thee 1 Thou walkest the billows, and Ocean smiles : Thou hast touched with glory his thousand isles ; Thou hast lit up the ships and the feathery foam, And gladdened the sailor like words from home. III. — Reverence. O Lord, my God, Thou art very great! Thou art clothed with honor and majesty ; who coverest thyself with light as with a garment ; who stretchest out the heavens like a curtain : who layeth the beams of his chambers in the waters ; who maketh the clouds his chariot ; who walketh upon the wings of the wind ; who laid the foundations of the earth, that it should not be re- moved forever. IV. — Declamatory Style. — Courage and Boldness. [From Gustavus Vasa's Address to the Swedes.] Come, come ye on, then ! Here I take my stand ! — Here on the brink, the very verge of liberty. Although contention rise unto the clouds, Mix heaven with earth, and roll the ruin onward, Here will I fix, and breast me to the shock, Till I or Denmark fall. Haste, brave men ! Collect your friends to join us on the instant j Summon our brethren to their share of conquest; *And let loud echo, from her circling hills, Sound Freedom ! till the undulation shake The bounds of utmost Sweden. * The orotund voice is here extended to an impassioned shout. FORCE OF VOICE. 13 LESSON VIII. APPLICATION OF ROUND TONE TO THE ELEMENTS. Repeat the elements, 1st, in the tone of solemnity, pa- thos, and sublimity, as in the line of the first example of round tone : " Toll for the brave !" 2, in the tone of sublimity and joy, as in the lines of the second example : " Thou hast lit up the ships and the feathery foam !" 3, in the tone of reverence, as in the address, " O Lord, my God, thou art very great !" 4, in the tone of bold declamation, as in the exclamation, " Come, come ye on, then!" 5, in the shouting tone, as in the lines, " And let loud echo, from her circling hills, Sound Freedom !" LESSON IX. FORCE OF VOICE. The following exercises are designed to aid in securing a per- fect command of every degree offeree of voice, from whispering to shouting. They are meant for a thorough discipline of the organs, as well as an indispensable means of effective expres- sion. Exercise I. — Whispering, as in Terror. Step softly ! All's hushed as midnight yet. II. — The Half-whisper, as in extreme Anxiety. This is the room of the sick man. Make no noise ; he must not, on any account, be disturbed. Shut the door gently ; step softly ; and speak low. 14 JUVENILE SPEAKER. III. — Softened Force. — Sadness. [From Charles and his Father. — By Mrs. Follen.] The birds are flown away ; The flowers are dead and gone : The clouds look cold and gray Around the setting sun. The trees, with solemn sighs, Their naked branches swing ; The winter winds arise, And mournfully they sing. IV. — Moderate Force, as in quiet and placid address. [Hints on Companionship. — Anonymous.] Let your companions be select : let them be such as you love for their good dispositions, and whose habits you wish your own to resemble. V. — Energetic Force, as in earnest and vehement address. [From the Address of Manillas, reproaching the Roman people for re- joicing at the triumph of Ceesar over Pompey.] And do you now put on your best attire 1 And do you now cull out a holyday 1 And do you now strew flowers in his way, Who comes in triumph over Pompey's blood ? VI. — Bold Force, as in impassioned exclamation. [From Arnold Winkelried. — By Montgomery.] Make way for liberty ! This day, this hour, Annihilates the oppressor's power ! All Switzerland is in the field; She will not fly, she cannot yield, — She must not fall. VII. — Shouting, as in an alarm. [From Belshazzar. — By Croly.] King of the East ! the trumpet calls, That calls thee to a tyrant's grave ; A curse is on thy palace walls, — A curse is on thy guardian wave. FORCE. 15 Behold a tide of Persian steel, A torrent of the Median car : Like flame their gory banners wheel, — Rise, king, and arm thee for the war !* LESSON X. PRACTICE OF FORCE ON THE ELEMENTS. Let the pupil repeat each of the tonic elements, through all the degrees of force indicated below, — commencing with a whisper; then proceeding to a half- whisper, and so on to a shout; breathing after every sound; and pay- ing strict attention to the directions given before, about position. whisper. half whisp. soft voice. moderate. loud. very loud. shouting. calling. • • •# + •'# Let the pupil now repeat, with a constantly increasing force, as noted above, the tonic elements, in succession ; passing, at each stage of force, from one element to an- other. Next, commence each long vocal element with a whis- per, and swell on to the strongest force of which the voice is capable,! as represented to the eye, thus : LESSON XL " STRESS." In the utterance of single sounds, there are various modes of giving out the force of the voice, more or less gradual, or abrupt. And these modes of voice have been termed "stress" in the nomenclature of Dr. Rush, the great author on the voice. * As a means of strengthening the voice, and securing power of utter- ance, the last of the above lines should be repeated with the utmost at- tainable force ; but always with a perfectly smooth tone. Shouting strengthens the organs and clears the voice. But vociferation and scream- ing hurt the organs and weaken the voice. T The above exercises should never be prolonged to the extent of fatigue. 16 JUVENILE SPEAKER. I.—" RADICAL- STRESS." In the impassioned style of utterance, this mode of the voice opens abruptly, and lies upon the very beginning of each sound. This style is perfectly exemplified, when, in juvenile play, one boy wishes to startle another by the sudden exclamation, " Boh /" It is a sudden burst of sound, and is the natural mode of expressing all abrupt and violent emotions. In wiimpassioned style, it merely gives unusual decision and distinctness to enunciation, as in explaining, and arguing or reasoning. Rule. — Anger, fear, terror, and courage, require im- passioned radical st?-ess. Exercise I. — Anger. [From the Little Lord and the Ploughboy.] His little lordship furious grew, — For he was proud and hasty too : " I'll break your bones /"* he rudely cries. II. — Terror and Alarm. [From Halleck's Death of Bozzaris.] He woke to hear his sentries shriek, " To arms ! They come ! the Greek ! the Greek /" III. — Courage. [From the Speech of Sempronius, in Addison's Cato.] My voice is still for war. Gods ! can a Roman senate long debate Which of the two to chose, slavery or death ? No / let us rise at once, gird on our swords, And at the head of our remaining troops Attack the foe, break through the thick array Of his thronged legions, and charge home upon him. IV. — Explanation and Reasoning.] [From an Essay on the Immortality of the Soul. — By Addison.] A brute arrives at a point of perfection which it cannot pass. In a few years it has all the endowments of which * The words in italics exemplify the " radical" stress. t An example of unimpassioned radical stress, or that which merely causes a peculiar exactness and distinctness of enunciation, by the clear and decisive manner of opening every sound. STRESS. 17 it is capable ; and were it to live ten thousand more, it would be the same thing that it is .at present. — Were a human soul thus at a stand in her attainments, were her faculties full-blown, and incapable of farther enlargement, I could imagine that she might fall away insensibly, and drop into a state of annihilation. But can we believe that a thinking being, which is in a perpetual progress of improvements, and travelling on from perfection to per- fection,— after having just looked abroad into the works of its Creator, and made a few discoveries of his infinite goodness, wisdom, and power, — must perish at her first setting out, and in the very beginning of her inquiries ] II.— MEDIAN STRESS. The second form of stress is termed median, because, in this, the force lies on the middle of the sound. It com- mences soft, stvells in the ?niddle, to either strong or moder- ate, as the case may be, and ends soft. Rule. — Median stress is used in solemn and grand emotions, also in gentle and pathetic feeling. I. — Solemnity and Grandeur. [From Addison's Cato.} *The stars shall fade away : the sun himself Grow dim with age, and Nature sink in years ; But thout shalt flourish in immortal youth, Unhurt amid the war of elements, The wreck of matter, and the crush of worlds. II. — Pathetic Feeling. [From the Sailor Boy's First Voyage. — Anon.] " Farewell ! farewell !" Ah ! who can tell, — Save those, who've loved, as I, A mother dear, — What 'tis to hear, And say to her, " Good-by V 1 III.— VANISHING STRESS. The force of voice, in this style of stress, lies upon the last part of the sound. This mode of stress commences * "Median stress," or the "swell'' and "diminish" of voice, occur in every considerable word of the above examples, bat especially on all the long sounds of vowels and diphthongs. t The souL 18 JUVENILE SPEAKER. softly, but ends abruptly and strongly; as in the impatient, or decisive expressions, "You shall /" or, " You shan't!" when uttered very impetuously. Rule. — Vanishing stress expresses impatient feeling, and deep determination and obstinacy. Exercise I. — Impatient Feeling. [From Lodgings for Single Gentlemen.] Next night 'twas the same, — and the next, — and the next : He perspired like an ox ; he was nervous and vexed. II. — Deep Determination and Defiance. [From the Seminole's Reply.— By G. W. Patten.] Blaze, with your serried columns ! I will not bend the knee : The shackles ne'er again shall bind The arm which now is free ! IV.— COMPOUND STRESS is that in which the voice forces itself out, in a jerking style, at the beginning and the end of a sound ; as in an exclamation of great surprise, or wonder. Rule. — Compound stress expresses surprise, wonder, scorn, and derision. Exercise. — Indignant Astonishment. [Bratus to Cassius. — From Shakspeare's Julius Caesar.] Shall one of us that struck the foremost man Of all this world, but for supporting robbers, Contaminate our fingers with base bribes, And sell the mighty space of our large honors For so much trash as may be grasped thus ? I'd rather be a dog, and bay the moon, Than such a Roman ! V.— THOROUGH STRESS is that in which the voice bursts out boldly at the begin- ning of a sound, swells onward to the middle, and also ends boldly, as in expressions of intense excitement and bold command. Rule. — Intense emotions of a bold character, are ex- pressed by thorough stress. STRESS. 19 Exercise.— Battle Shout. [From Campbell's Hohenlinden.] On, ye brave ! Who rush to glory or the grave ! Wave, Munich, all thy banners wave ; And charge with all thy chivalry ! VI.— TREMOR. This term signifies a trembling and quivering of the voice, as in the utterance of sorrow and of old age. Exercise. — The Tremor of Feebleness. [From Charity.— By Sarah N. Coleridge.] My eyes are weak, and dim with age, — No road or path can I descry ; And my poor rags ill stand the rage Of such a keen, inclement sky. So faint I am, — these tottering feet No more my palsied frame can bear ; My freezing heart forgets to beat ; And drifting snows my tomb prepare ! LESSON XII. PRACTICE OF STRESS ON THE ELEMENTS. Commence with radical stress, and repeat the tonic ele- ments, with radical, median, vanishing, compound, thorough stress, and the tremor ; sounding each element three times. If the black board is used in prescribing exercises, Radical stress may be represented thus Cr=-, all the force on the first part of the sound ; Median thus