LIBRARY OF CONGRESS. ■ 3 Philosophic Elocution: voice culture. A TREATISE ON THE STRUCTURE, DEVELOPMENT AND THOROUGH CULTIVATION OF THE VOICE For Oratory, Reading, etc. Cure of Stuttering, Stammering, Lisping, Clergy- man's Sore Throat, etc. WITH APPROPRIATE EXERCISES, PRAXIS AND SELECTIONS. V BY JAMES J. VANCE, LL. D. Barrister at Law, Etc. Prof, of Elocution, &-°c, Union Theological Seminary, Va. tl 3 "Fiunt Oratores." „AMt\ bcx Bjforfrag madjt 5es %ebnets 6 fit eft." %y.STD vJyJ BALTIMORE: / Press of The Sun Printing Office. TIH-i" Entered According to Act of Congress in the Year 1882, BY JAMES J. VANCE, LL. D. In the Office of the Librarian of Congress, at Washington. PREFACE. TO TEE READER : r The principal purpose in the publication of this treatise in separate form is to supply to the author and his pupils, students and others in large classes, an approved manual or textbook on VOICE CULTURE, and to this, as the grand essential of Elocution, it is confined. A practical, comprehensive and instructive treatment of the subject of Voice, its structure, development and easy man- agement is, in my estimation, still wanting among books on this science, and while approving much that has been written on this and other features of Elocution by Messieurs Rush, Russel, Murdoch, Vandenhoff, Raymond, Mcllvaioe, Lewis, Mrs. Taverner Graham, and very few others, there is much elsewhere to which I would not assent — much that were better unwritten. To voice culture, this special and most desirable study of the orator or reader, it appears to me too little attention is given. Not that I wish to make a hobby of this, for, to the scholarly instructor, the other and more intellectual parts are much the more pleasing work, but that I would denounce the neg'ect of this for the more empiric process of " piece reading," and what some teachers call " principles." Philosophy and true principles of the science are of course invaluable when properly taught, as they sometimes are. Yet they often become comparatively valueless because of the mis- PREFACE. management of voice, or as frequently from absolute failure of voice quality and force to execute the thought which claims interpretation, even Avhen the judgment is most cultivated. Instead of affectedly seeking originality, which, under treatment of many, serves only to confuse and obscure, I have conformed, as nearly as I can approve, to desirable and best understood construction and arrangement of the matter discussed; and herein, as otherwise, I acknowledge indebtedness to other writers. For a few extracts, corrected, adapted and employed, I have especially drawn upon the old and too-much neglected work of Dr. Bronson, which, with allowance made for structural peculi- arity, etc., is certainly a wonderful epitome of Elocution and kindred art. In short, the "Burton's Anatomy" of that subject. I find that the want of proper voice culture, voice management, voice action and true pronunciation — not mental obtuseness or perverted judgment — is the underlying fault of readers, and the petty habit of rushing them into recitations is the prevailing trouble. I am almost ashamed to be obliged to insert many of the exercises under articulation and other subjects, while pleased to admit that our various series of school-books are superior, in that respect, to those of any other national system. My apology must be that they are so carelessly treated in our schools — in truth, their best parts most frequently passed over— that as children we get no good of such, and in our riper years we do not return to school- books for instruction. Also, as will be seen, the Exercises are not directed to articulation only, but contain italicized corrections of large numbers of words improperly pronounced amongst educated classes; and in addition to these features, the Exercises are con- PREFACE. structed. of sounds, syllables and words necessary and peculiarly adapted, beyond others, to the development, up-building and estab- lishment of voice, under its severally employed forms and demands. The student may rely upon the physiological portions as no loose opinions, but the pith and substance of volumes; the reasoning of most skilled and noted specialists, who have philosophized and written on the subject of vocal mechanism, amongst them Gordon Holmes, Mackenzie, Draper, Paget and Carpenter. .The knowledge thus acquired may be said to be supplemented by a judgment, which experience in practical results has led to the selection, of what seemed best and most warranted practice to effect the end in view. I may now refer to my treatise on "Philosophic Elocution and Gesture," partly published and in course of publication, where all that pertains to the more properly intellectual and philosophic portion of oratory and reading may be pursued, and where the voice, here prepared, will be found treated as the exponent of the mind, the symbol of its passions, emotions, etc. Without wishing to force the present volume on the public, but believing that it is required — that it will serve many besides my- self, and that it contains value lor all that it will sell for— I risk the cost, and without hackneyed apology present it far acceptance, A TREATISE ON VOICE CULTURE. JA3. J. VANCE. Baltimore, January, 1882. CONTENTS. PAGE INITIAL CHAPTER— Which many would do well to con- sider 1-16 CHAPTER II. PHYSIOLOGY OF THE VOICE (anatomical chart) 18 i. Voice Organs. Nose and Mouth 16 Hard Palate and Uvula 17 Pharynx and Larynx 18 The Vocal Cords 19 The Glottis 20 The Epiglottis 21 Trachea, Bronchial Tubes, Lungs. . 22 Pleura and Diaphragm 25 Abdominal, Dorsal Muscles, &c 25 ii. Forms of Voice , 26 Effusive Expulsive Explosive in. Voice Qualities , 27 Pure Tone, Orotund Guttural, Pectoral, Aspirate iv. Attributes of Voice 28 Form, Quality, Force Stress, Pitch, Movement v. Voice Timbre 28-30 CONTENTS. CHAPTER III. PAGE BREATHING.— Physiology, &c 31 Instructions for Exercise, &c 33 Three Forms of— Effusive 33 Expulsive. , 35 Explosive 36-37 Positions for Exercise 38-39 CHAPTER IV. ARTICULATION 40 Key to Correct Vowel Sounds and Groups.. . 44 i. Correctness of Articulation 45 Voice Exercises — On Italian a 49 On Sound of e Short 50 On Sound of i Short 51 On Sound of o Short 51 ii. Distinctness of Articulation 52 Voice Exercises on Sound of Wh, Th 53 Sound of G, hard, k and gii. . . . 54 Sound of G as Zh 55 # Sound of X, soft as Gz 55 Sound of F and V, cognates 56 Sound of D and P 56 Sound of D and T 57 in. Ease of Articulation 53 Voice Exercises — Sibilaut Sounds 59 Sounds of R, smooth, R, trilled. . 59 Mixed Articulations Gl iv. Elegance of Articulation 63 Mispronunciations — A and the 64 of With and Wirhe, and Monosyllables . 64 of Numerous Words to be avoided 64 Important Notes, Instructions and Examples 65-70 CONTENTS. CHAPTER V. PAGE DEFECTS OF VOICE 71 i. Nasal Tones 71 The Nasal Cavities and their office 71 Nasal Harmonics, their Value in Voice 70 Offensive Nasal Tones, explained 72 Their certain remedy. , 73 Voice Exercises therefor, &c 74-76 ii. Stuttering, or Psellism 76 Various causes 78 Treatment, Exercises and Cure 80-88 in. Stammering. Its Cause, &c 83 Treatment and Cure 84-85 iv. Lisping and Cause 85 Treatment, Exercises and Cure 86 v. Labia- Vocal Defects. Exercises and Cure 87 vi. Hoarseness. Its Cause, &c 88 Dysphonia Clericorum, &c 88 Cold Water while Speaking, Evil Effects of. 89 Lubricating Drink as Relief .90 CHAPTER VI. VOCAL FLEXIBILITY 93 Voice Exercises, Slides and Undulations 93 Scales for Pitch and Modulations 95-96 Volume, Force, Swell 96 General Examples 98 CHAPTER VII. FORCE AND STRESS, defined as principles 99 Force, Loudness, Volume, defined 100 Executive Forms and Elements of Stress. ....... 100-101 CONTENTS. - PAGE I. Radical Stress. Its Philosophy, &c 102 Its Power and Oratorical Necessity 103-104 Voice Exercises, Graduated Scale 105-108 Its Subtle Power in Expression 109 Its Neglect, grave fault 98 Examples for Practice 99 II. Radical Diminuendo Stress. Its Philosophy 100 Its Office, Instructions, Examples 101-106 in. Vanishing Stress Its Philosophy 107 Its Office and Instructions 108 Examples, useful notes, &c 109-111 iv. Compound Stress. Its Phrosophy Ill Instructions for practice 112 Examples, notes, &c 113 v. Median Stress. Its Philosophy and Symbolizalion. 126 Instructions for practice 127 Exercises, notes, &c 128-129 vi. Thorough Stress. Its Rationale 130 Its Office, Instructions, &c 131 Examples, notes, &c 132 Abuse thereof, Schools, &c 133-134 vn. The Tremor. Its Philosophy 134 Instructions for its production 135 Its Office in Expression, &c 136 Examples for practice, &c 137 Its Power, Prevalence, &c. 139-141 vni. Force and Stress Their General Power, &c... Selections for Exercises and Cultivation thereof, and Eradication of Vocal Defects.. 142 Macauley — Battle of Naseby 142 Bryant— Song of the Stars 144 Hemans— Voice of Spring 145 Moore — Wreathe the Bowl, etc 146 CONTENTS. CHAPTER VIII. PAGE QUALITIES OF VOICE 147 I. Pure Tone, defined, Instructions, &c 148 Voice Exercises— Praxis in Pare Pronunciation.. 148 On correct sound of a, long 149 Sound of e, long 139 Sound of i and y, long.. . 150 Sound of o, long 150 Sound of o, long and close 151 Refined Pronunciation and Abuses 151 Correct sound of u, long 153 Its manifold abuses, Illustrations 154-156 Selections for practice on Pure Tone : Nearer, my God, to Thee 156 The Lost Chord 159 The Sculptor Boy 160 ii. The Monotone, denned, &c 161 Instructions for Praxis Its province, exercises, &c 163 in. The Orotund. Its Philosophy, Analysis, etc 165 Instructions for its production 168 Favorable Combinations and Exercises 169 Voice Practice h, aspirate 170 Sound of a, broad, etc 170 Notes and General Exercises 171 ( -per - 1 Selections, Examples 172 . & aubi ve , i instructions, notes, and Forms. Expulsive,! ig Sunder, oratori- [ E *P losive - j cal, dramatic, &c. 172-182 iv. The Guttural. Its Physiology and Province 183 Instructions to cultivate 154 ( Effusive, ) Selections, Examples 185 Forms. •! Expulsive, ;- Instructions, notes, and (Explosive.) praxis, oratorical, &c. ..185-190 CONTENTS. Page v. The Pectoral. Its Physiology, Character, &c. . . . 190 • Its Formation, Office, &c 191 {Effusive, ) Selections, notes, examples, Expulsive, [• &o, oratorical and dram- Explosive. ) atic 191-194 vi. The Aspirate. Its Philosophy and Office 194 Instructions for its formation 195 The Whisper, defined and exemplified 196 ! Effusive, ) Full praxis, selections and Expulsive, > examples, oratorical, Explosive. ) dramatic, &c 197-203 Miscellaneous Selections for Praxis 203-240 Resume of Exercises on Elements. Vowels.— A (Italian) 49; A short, 7G; A long, 76, 149; A broad r 170 E short, 50; E long 149 I short, 51 ; I long 150 O short, 51 ; O long 150-151 U long, &c 153 Diphthongs.— Oi, Ou, Ow 68-75 Consonants.— C, K, Q 05 D 57 F 56 G, Gh, &c 54-55 H 53,70,169 M 87 N,Ng 75 P 56-57 R 59-61 S 59,67,85 T 53,57 V 56 W,Wh 53 X 55 PREFACE TO SECOND EDITION. TO THE READER : I need add little to the present beyond my acknowledgement of the kindly manner in which my former edition has been received and the constant demand necessitating thus early another issue. To this revised edition have been added several sections on Vocal Defects and a clear presentation of the disorders known as Stuttering, Stammering, Lisping, &c, with directions and exercises for their infallible cure; also exercises for facial mus- cular defects and repair, together with most important instructions to speakers and readers troubled with diseases of the throat. To this is added, from most reliable scientific sources, a simple and approved relief, which to many will be an invaluable boon. Although I have avoided making the work a book of selections, I have yielded to the expressed wishes of patrons — individuals and institutions — by adding a few more such as I would advise for practice upon matter discussed in the text. JAS. J. VANCE. June 1st, 1882. PHILOSOPHIC ELOCUTION. Initial Chapter. The present portion of this treatise is neces- sarily so mechanical compared with the intellec- tual that one almost hesitates in laying before the student the preliminary work and exercises which succeed it. Good Elocution may be simply defined as the intelligent, intelligible, correct and effective inter- pretation and expression of thought and emotion in speech and action. Slight reflection and a proper apprehension of these terms will allow us to proceed with that which must be considered as the substratum, the sine qua non of all elocutionary study, effort and grace. The Orthoepy of our Language. The art by which are attained its precise syllabication, cor- rect articulation, proper accent and pure enunci- ation, must be life-long study, perfected only by l PHILOSOPHIC ELOCUTION. close, earnest labor. The greatest good a teacher can be expected to effect therein is to awaken observation, application, thought; and if possible excite determination to mark, constantly, distinc- tions, subtleties and niceties that lie between words employed ; to note the chasteness, the pre- cise pronunciation, of our language when well spoken; and to know that upon these features more perhaps than on any others depends the difference between good and bad elocution. The pupil should understand that the work must at first be his till, under an awakened judgment, it become a second nature. Then with full rapidity of thought he will see errors in himself and others ; as pleasant pastime will arrest the words as they present themselves for utterance; and with easy care provide that without proper form they pass not into speech. Nothing is perhaps more irksome to a teacher ; nothing more liable to provoke the smile and laughter of the pupil than the inevitable drill and exercise which very few, if any, can dispense with or forego. Were it possible to avoid it the author would himself eschew that part of the instructor's office and also would omit much of the following. INITIAL CHAPTER. But it must be done by all who would succeed ; and those who fail to recognize the essential traili- ng of the voice until it thereby acquire softness, flexibility, rotundity and other qualities which adapt it to full natural expression; until thus moving, without apparent care or effort, in obedi- ence to the mind within, it can interpret truly the varied shades and colorings of thought, mistake at once and positively the basis of practical elocu- tion. The want of experience or knowledge of this was the defective premise in Archbishop Whately's reasoning against an art which, other- wise, he might so capably have judged. Wherever he touches elocution he is troubled with the fear that he who devotes himself thereto becomes incorrigibly attentive to his voice and manner rather than to the matter of his work; the proper comprehension of which latter, the Archbishop would contend, is all that is necessary to successful reading or delivery. How shallow an objection he would have thought it against a study of his rhetoric and logic that the person would necessarily fail thereafter in his composi- tion, reasoning or oratorical attempts because that, instead of engaging its power in the thought, the 3 PHILOSOPHIC ELOCUTION. polished and educated mind would be busying itself with his rules for its expression. No, let us be just to the learned doctor, as he should have been to the sister art. The years the scholar spent in the true stud}' of those sub- jects have prepared the mind against necessity to halt and blunder in the work. So if the mind's conceit would be expressed in voice ; it may surely be admitted that the same nerve machinery that conveys the intelligence to fingers, dealing with the keys and vents of flute, which sometimes in wild rapidity move with ten times the velocity of voice, can also, without clumsy halting or apparent action, move the vents and stops of that more delicate wind instru- ment which God attunes and gives us power to manage. The cases are precisely parallel, and action in each is taken from the same centre. The musi- cian — the mind — wills a slow or rapid note of such a tone, or pitch, or quality; the knowledge — obtained by long practice — is present, that the lifting or closing of such fingers in their combina- tion will effect the wish ; quicker than lightning- flash the mental nerves convey to muscles the 4 INITIAL CHAPTER. command, and fingers move and notes in sweet succession fill surrounding space. Who ever stops to think what process has been undergone ? And yet we know that upon every note that whirled in such wild speed the following process has been taken : " I require a certain tone ; D, F, G,- or C, is the representative or exponent of that sound. To obtain such note I raise or close certain fingers. I shall raise or close them." He does so and 'tis done. In like manner the mind is cognizant that certain conditions of the vocal organ, closed or opened, expanded or contracted, tense or lax, will express the character of thought intended. It wills such character of expression and supplies the words. The nerves, which are simple tele- graphic wires of the brain battery, flash the mes- sage, and muscles, in obedience, form the vocal parts to shapes that issue forth the sounds. The true natural interpretation is given, and all despite the opinion and objection of my lord the Arch- bishop* Whately. This you may do, says one, without knowing the names of the parts or their construction. True, and so also may the flutist play who does not know a note. But both know the principles • both have practised on the instru- 5 PHILOSOPHIC ELOCUTION. ments, understand their management and keep them tuned. Archbishop Whately has made many very sen- sible remarks upon the subject of elocution, but he took very contracted view of its philosophy when he limited to rule and symbol the agencies employed by the true, educated teacher of this art ; as also when he thought that a correct and even profound comprehension of the author is suf- ficient for interpretation to an audience. The learned men of his own church, many of whom no doubt as thoroughly as himself understood the text of their print ox manuscript, but who, from Sunday to Sunday, continued, and whose successors still continue the mutilation and distortion of speech and thought through most unnatural and offensive forms of delivery, should be in them- selves sufficient answer to his charge against an art he certainly did not thoroughly understand. And yet some carping followers, on all sides, who not only mouth and drone and drawl, but mis- pronounce, derange and disarticulate the words of hymns and texts of Scripture, turn up the nose at elocution without really considering the true meaning and comprehensiveness of the term. 6 INITIAL CHAPTER. However, elocution has in this, perhaps, its teach- ers much to blame, as it is sometimes no better taught than sermons are delivered. The True Study of Yoice Culture, as at- tempted in this work, is to tune and prepare the voice intelligently for action so that when it moves it moves with dignity and strength, not needing mental supervision lest it slip or stumble. It should be unnecessary to urge the subject of cul- ture in the speaking voice, yet nothing, perhaps, in our education is more recklessly neglected. Every parent thinks his daughter should be taught to sing whether she has tune or not ; she must learn the piano though years of time and hundreds of dollars be squandered in the effort ; but no at- tempt is made to cultivate the speaking voice al- though in every case possible and immediately within our reach. The sweetest inflections of conversational tones, the softest and most attractive modulations of the reader and the most forceful captivating orotund of the speaker, are essentially artificial, i. e., the result of proper exercises for the conservation or development of the natural power possessed ; and as simple and certain in acquirement as any study 7 PHILOSOPHIC ELOCUTION. of our schools. The richest voice in sweetness, compass and power, that the author has heard for years was developed from very weak condi- tion by one of his pupils, inside of ten weeks ; and in majority of well directed cases it demands but little longer time, though more is required for its perfection and establishment. Half-educated elo- cutionists whose "system" consists of parrot-like imitation, pay little or no attention to the para- mount fact long since expressed by Cicero, that " For effectiveness and glory of delivery the cultiva- tion of the voice holds undoubtedly first place " and that by proper exercise very inferior voices may in short time reach fair excellence. They take but little note of the recorded labors of men of ancient or modern times who excelled in eloquence and expression ; and they overlook the truth that Greek and Roman orators submitted to long years of study on this single subject. They disregard the fact that there were three distinct classes of instructors for the speaking voice, and they think nothing of the Greek jphonctshos whose seperate office was to teach the pupils the most refined mode of pronunciation, the proper modulations and inflections, and to i INITIAL CEAPTEE. superintend systematic exercises for the develop- ment and cultivation of the voice. Cicero after completing his studies in Rome, retired to Athens, where he spent four years in the study of elocution — and afterwards hvo years more under one of the most celebrated tragedians. What would a young lawyer of the present day think if such course were imposed on him ? For Cicero he knows was only the most polished and successful forensic orator of antiquity — some say of all time. We are perhaps tired of these hackneyed stories and others of the eight years labor of Demosthenes to overcome his vocal disabilities, even although we know his speeches to have been more power- ful than armies, and his efforts nothing more than the grandest oratorical successes of the past. Let us look then to facts of our own time, and bear cheerfully in mind this, which is laid down as fact, that the graxdest quality of the speak- IXG VOICE MAY BE ARTIFICIALLY DEVELOPED in man. Nor do we mean to say that in order to succeed as orator or reader a teacher of elocution is in all cases necessary any more than is the professor to the intelligent student of classics or the musical 9 PHILOSOPHIC ELOCUTION. instructor to the diligent amateur of harmony. The aim would be attained if we could secure to elocution proper, the well directed effort now so much denied and which must be given for success. Let us ask the opinion or question the lives of men around us, eminent in the pulpit, in the forum, on the platform, on the stage : Henry Ward Beecher, whose voice and action not un- frequently have moved a hemisphere ; Edward Everett, whose fascinating tones and gesture spell- bound halls and senates ; Wendell Phillips, whose sweet, sonorous voice, with graceful poise and chaste gesticulation may well be offered as a plat- form model for the nation ; Edwin Booth, the impersonation of ideal grace and finished action, which, even dissociated from his truly inspired voice management, would eloquently speak. Let us ask these did they not devote years of pleasant labor mixed with active thought to the study of correct intelligent elocution, which means also gesture, and we may stake our belief in this art upon their honest answer in the affirmative. These successes are not accidents : nor upon the thoroughly understood definition of elocution as "Pronunciation, Expression, Action," held by 10 INITIAL C II AFTER. Greek and Roman two thousand years ago, would it be much exaggeration to attribute such successes to this reviving art. It is astonishing that such apathy, one might almost say stupidity, should prevail in this mat- ter not only amongst those whose successful life- work is dependent chiefly on the effective oral exposition of their thought, but amongst educators who control the last and the best years of the student's college course ere he passes out to take his place in the pulpit, at the bar, or in public life. Colleges exact five or six years in classics, ad- ditional years of toil in Hebrew for the pulpit ; yet during those six or eight years the student has not, save in the most rudimentary manner or at accidental times, had six or eight tveeks instruc- tion in the art of oratorical delivery or reading, the basis of his life success. Some educated men are thoughtless enough to believe that this will naturally come to them, even in presence of the fact that majority of ripest scholars are therein deplorably deficient as many of their most super- ficial juniors. Men excel one another in general talent and 11 PHILOSOPHIC ELOCUTION. capacity, but a scholar by inspiration has never yet been found. So one excels another in speak- ing, but the orator must yet be born to take high rank without preparation and earnest labor. Suppose some orators were named who had be- come such without instruction; would it be stronger reason for denouncing elocution and its study than it would be to abolish our national schools, our colleges and professorial chairs because some "self-made" men without opportunities of school or college have held high places in the world of letters, art and science; higher than graduates, fellows, and wranglers of university or college? Because a self-educated blacksmith outstripped all linguists of the age, should it follow that we require no chair of languages in educational insti- tutions ? Puerility is a term too worthy under which to catalogue such reasoning ; yet men with as bald unreason discuss the subject of elocution. We may accept it as a truth that the successful orator has made faithful study of elocution and gesture, sometime, somewhere, either by himself or under an efficient master ; and the only sensi- ble, debatable question, in the premises is : Should 12 INITIAL CHAPTER. it not like every other study be prosecuted under competent instructors; should it like Rhetoric and Belles-Lettres hold a chair in our colleges; or is it the only known exception to the instruc- tive art? There is no more blundering delusion than the contracted estimate apparently entertained by col- lege faculties, school commissioners, professional and general pupils, of the sphere and responsibility of the elocutionist. There are notable cases all around us of engagements between learned fac- ulties and " professors of elocution," whose chief educational attainments consist of some prac- tised tricks of voice and a few catch-pieces that they teach as "readings" to classes, which they treat like so many parrots ; perpetrating, during their ^instruction" the grossest mispronunciations and grammatical mistakes ; besides, exhibiting such general ignorance of the language, with whose highest, deepest, fullest, subtlest forms they are supposed intelligently to deal, as should immediately cancel their appointment. The author has lately been addressed by no ordinary scholar, at the head of a university, requesting his terms ""to drill the boys of the graduating 13 PHILOSOPHIC ELOCUTION. class for about a week preceding commencement." Such is the scant consideration given to this subject sometimes in high quarters. Thus huckstered for and taught, it is an em- piric evil rather than instructive art or science; and while thus misunderstood and valued, while ten or twenty accidental lectures on the broad subject of elocution and gesture are considered in oratorical training equivalent to six or eight years in classics, nothing better may be hoped for among speakers. Just lately has come to the knowledge of the author another of numerous like cases where a minister was dismissed by his congregation because of his intolerable reading and delivery. His fellow- students and the faculty exclaimed, "That is a great pity ! Why, he was one of the best stu- dents and theologians that ever passed out of our halls !" Yet reason cannot blame his congrega- tion, which had reasonably borne with him, nor withhold, without intended harshness, the admis- sion, "served him right." It is a pleasing fact, however, that in our best educational institutes it is finding more apprecia- tion, and that chairs are being established for it 14 INITIAL CHAPTER. in our Universities and Theological Colleges. In these last, without insinuating ivhat would not be true, that they require it more than others? much good must be the result where properly taught For there is no place on earth so wide and elevated for the orator as the Christian pulpit; no themes so inexhau stable or inspiring as man deals with there, and few places, perhaps, where so much learning and some slovenly elocution are unduly mixed. This should not continue. Is it not a duty of the minister to devote himself to any study that would enable him more truly, intelligently and intelligibly to interpret gospel texts , to read with earnest grace the hymns of service, and to interest his hearers in the soul of poetry that breathes in sacred song ! How r aptly here apply the words of the learned Dr. McNeile, Dean of Eipon, published some few years since. Differing from his fellow- churchman, Arch- bishop Whately, he states, * * * * " in what- ever department of his labors you contemplate the minister of the church, it would be difficirft to estimate the advantage that might, under Divine blessing, be derived from elocution classes in our 15 PHILOSOPHIC ELOCUTION. universities, where under competent professors our young men might be traine 1 in recitation, both of selections from standard authors and of their own compositions, on set subjects. Instead of superseding any of the present process this might be added to all, and I if candidates for Orders were thereby delayed a year there would be more than compensation for the delay in the increased competency for the work." Some good educational institutions say we have not room for it. We have no time. Then bet- ter abandon some less valuable item in the cur- riculum and make room for a study which when correctly taught becomes not only the grace of speaker and reader, but the exegesis of the exe- gete whereby half-blundering commentators are corrected and explained. It needs no hesitation to assert that in a chair of Rhetoric and Belles- Lettres the educated elocutionist accomplished in the grace of gesture would, cceteris paribus, be a threefold better teacher than one unskilled therein ; and it may be fairly questioned if there can be thorough and effective instruction in the former branches unless supplemented by the latter. 16 INITIAL CHAPTER. Let students consider how widely elocution reaches, mixing and blending with all they know and learn, not of English only but of all tongues, not shown alone in li readings " or orations, but in composition and in conversation, giving finish, polish, grace and attractiveness to all things educational in school or college, because it refines tlie mind. It will be better understood. 17 Plate 1 Anatomical Section— Voice Organs and Relations. 1. Cavities, or fissures, in the head bones (frontal and sphenoidal cells). 2. Channels of the Nose (sup. mid. and inf. meatus). 3. Hard Palate. 4. The Nostril. 5. The Tongue. 6. The Tongue up-lifted, in action. 7. The Larynx, with thyroid cartilage in front. 8. The Ventricle of Larynx. 9 Vocal Cords, or bands. 10 Points to the glottis, or slit between the cords through which the breath passes. 11. Trachea (or Windpipe). 12. The upper part of Epiglottis, in act of shutting down. 13. The Tonsils on each side of palate. U. The Uvula, or soft end of palate (lax or pendent). 15. Dotted lines— The soft pulute raised. 16. The Eustachian Tube, open- ing to the ear. 17—17. The Pharynx. CHAPTER II. Physiology of Yoice. It is so common to speak of vocal organs, vocal cords, etc., without any true conception of their operation or construction, that we will find it here expedient to take a concise survey of portion of the organism preliminary to further discussion of the subject of voice. The deeper student may refer to works on physiology, etc., but out of the much larger number of distinct members which perform important functions in our speech we must here content ourselves with principal ones, some proper comprehension of which will largely facilitate our action and progress in the practice and exercises which are to follow. These organs may be divided into the voluntary and semi- voluntary, the former of which, as the breathing muscles, tongue, lips, etc., being so immediately subservient to the will, need not at present be discussed, as they will be more fully dealt with 19 PHILOSOPHIC ELOCUTION. in proper place hereafter. The principal parts with which we should be practically familiar, as the voice is the resultant of their action, are the Abdominal and Dorsal Muscles, the Diaphragm, Thorax, Pleura, Lungs, Bronchial Tubes, Tra- chea, Larynx, Glottis, Epiglottis, Yocal Cords, Pharynx, Uvula, Hard Palate, Mouth and Nose. I. The Nose. — This organ is too little understood or too much overlooked in its influence, good or bad, upon the voice. Its cavity is peculiar, and may be regarded as a collection of six small tubes, each nostril being separated into three channels running horizon- tally from before backwards and opening into the upper part of the pharynx. (See plate i). The base of the nose, so to speak, is formed by the upper part of the palate or roof of the mouth, II. The Mouth requires no special description, and is noted here simply as among the principal organs directly connected with the voice. Its capacity, varied and affected by other members, has especially to do with the character of vocal sounds, for by its accommo- dation as resonance chamber, supplemented by the eustachian tubes, the nose and fissures in the bony structure of the head or face, the most harmonious tones of voice are obtained. Besides this, the enlarge- ment of this cavity and the forceful direction of the air column against the solid arch of the hard palate, greatly augments the power and volume of voice. This enlargement is easily affected by muscular action upon the soft* palate, the pharynx, and parts adjacent. 20 PHYSIOLOGY OF VOICE. III. The Hard Palate. — This is the arch or sounding- board of the mouth, and extends from the front teeth backwards until it terminates in the soft palate, which falls like a curtain, separating the forepart of the mouth from the backpart or pharynx. (See 3, plate 1.) IV. The Uvula, or Soft Palate. — This is the member seen at the back part of the mouth, overhanging the tongue and pendent from the centre of the soft palate at each side of and immediately behind which lie the glands called tonsils, surrounded by two ridges of muscles called the pillars of the fauces. Between the fauces again, on each side, opens a tube (the Eustachian) leading to the ear, and which ranks among the resonant organs, modifying tones of voice. 16, plate 1. The swollen, the lax or sluggish condition of the uvula or tonsils has much effect upon voice, as in the case of cold, etc., hereinafter explained. V. The Pharynx, or Swallow, forms the open space at the back of the mouth, with varying dimensions in different persons. Its size and shape can be altered by movements of the parts by which it is bounded, and its contraction or enlargement has much to do with the capacity of the voice, through the resonant space thus offered. Its enlargement gives depth of tone and reserve force, and its contraction high tone and small- ness to the voice. Its average length in adults is about three and a half inches, reaching from the base of the skull back of the nares, or nasal ducts, behind the uvula, or palate, then directly to the stomach. VI. The Larynx, directly in front of the pharynx and leading to the lungs, is that protuberance seen on the neck immediately below the chin, and familiarly known as "Adam's Apple." The cavity within is bell-like, its principal vocal function being that of resonance Upon its dimensions depend very much the depth, power and strength of voice, and when largely developed and 21 PHILOSOPHY ELOCUTION. prominent to sight it will be found that the individual, other things being equal, possesses strong vocal capa- city. In women it is about one-third smaller than in men, rarely showing itself outwardly, and hence the fact of their finer and weaker voice. So as to facilitate its enlargement or contraction, and thus the power and character of sound, it is constructed of a series of gristly rings and cartilage so bound and controlled by muscles as to be remarkably elastic. By the adjustment of another set of muscles it is also moved upwards and downwards about an inch, thus giving in its descent a deeper and graver tone, while the opposite is effected by its elevation. VII. The Vocal Cords are in fact a portion of the larynx, making it the immediate locality and general instrument of sound. They are two in number, somewhat prism- like or triangular in shape, broader and flat on the upper surface, more resembling what the Germans call them — vocal bands (Stimmbander), They lie about half an inch from the top of the larynx, and consist of strong white and highly elastic tissue. They are fastened anteriorly to what is called the thyroid cartilage, pos- teriorly to the arytoenoid, and at rest lie quite close together with a mere thread-like chink between. From the nature of their attachment they can be only sepa- rated posteriorly, so that when open widest, as in case of strong in-breathing, the aperture takes triangular form, the sides about four-fifths of an inch and the base about half an inch. In vocalization they approach a parallel position. Subject to the action of the larynx, they are capable of elongation or contraction as it enlarges or diminishes, and upon such changes, in a great degree, depend again the character and quality of vocal sounds. Their extension, making fewer vibrations, gives deeper tones, and their contraction, with conse- quent increased vibration, higher and sharper tones. At 22 I PBYSIOLOGY OF VOICE. greatest length in man they rarely exceed four-fifths of an inch, and in woman about one-third less. Hence again the difference in power, pitch and tone of their respective voices. VIII. The Glottis is'simply the aperture or slit between the approximating edges of the vocal cords already mentioned, and is capable of distension by their lateral movement. In strong inspiration it opens most, taking the form of an isosceles triangle, but in ordinary vocal- ization presenting a parallel chink-opening, much less than generally believed, even in our strongest or loudest vociferation. The obvious difficulty of scientific inspection of these parts during life and in action leaves our knowledge of the modus operandi a simple philo- sophical induction, but so ingenious withal as to amount to satisfactory demonstration. Physio- logical detail is beyond the scope of the present work, but the pupil should understand the term as if with his knife he made a slit in a sheet of paper, and that slit represent the glottis. IX. The Epiglottis is a small member employed as valve or lid, covering when necessary the glottis, upon which it closes at the slightest action of the muscles which elevate the larynx in the act of swallowing. It stands immediately behind the tongue, being attached thereto, and by its closure not only prevents the possibility of food or liquids entering the larynx and passage to the lungs, but in its motion modulates at times the tones of voice. Thus by slight deflection it may throw the air 23 PHILOSOPHIC ELOCUTION. column, in its upward passage, against the back part of the pharynx and mouth cavity; or in upright position allow its more direct action against the hard palate or sounding board of the mouth. X. The Trachea, commonly known as the windpipe, is the continuation of the larynx in form of a gristly or cartilaginous duct running about four inches from the lower portion of the larynx. XI. The Bronchial Tubes. — These are again a continu- ation of the trachea, dividing itself into two branches leading right and left, then gradually into numerous other smaller branches ultimately no thicker than a pin, and terminating in groups of little spongy air cells. XII. The Lungs are the connection and collection to- gether into one mass on each side of the chest of these very elastic spongy cells, so well known as the recep- tacle of the air we breathe. At every expansion of the chest the air rushes into these cells and is again driven out by muscular contraction. The measure of the lung power, as a vocal organ, is the quantity of air contained therein, and this can be largely augmented by correct breathing, the process to be presently explained ; for no fact is better established in elocution or medical science than this, that a very consider- able proportion of the cells composing the lungs are not, even in the very large majority of healthy persons, brought into use, expanded or filled in respiration. 24 PHYSIOLOGY OF VOICE. XIII. The Pleura is the thin muscular membrane which surrounds and embraces the lungs, contracting and ex- panding as it is operated upon and in harmony with the diaphragm, abdominal and pectoral muscles. By- its contraction it presses around the lungs and, as the hand would squeeze the water from a sponge, expresses the air therefrom through the bronchial tubes upwards through the glottis. XIV. The Diaphragm, so called (from Diaphragma, a partition,) because it serves as a partition between the chest and the abdomen, separating the heart, lungs, etc., from the lower viscera — is a large flat and thin muscle or plexus of muscles shaped like a fan and attached all around to the inside of the lower ribs, known also as the floor of the chest. It moves in harmony with the abdominal muscles, and when relaxed its upper surface arches into the thorax, contracting that cavity and caus- ing pressure upon the pleura which in its contraction presses the lungs. Thus in tranquil respiration the changing of the air is accomplished by the alternate elevation and depression, or relaxation and contraction of this muscle — the diaphragm. XV. The Abdominal and pectoral muscles around the chest — or thorax — and adovvn the abdominal region, are said t ) consist of three layers of muscles, which are thus strongly multiplied for the purpose of aiding in the work of breathing. By their contraction and relax- ation in harmony with the diaphragm a more forceful and complete respiration is performed, which again in strongest efforts are supplemented by the action of the dorsal muscles in the same direction. These dorsal muscles lie, as their name imports, at the back in the region of the waist. Thus, for a full inspiration, the , whole of those muscles relax, the diaphragm descends, the air rushes in and fills up the lungs, which inflate in proportion to their capacity, and the enlarged thoracic 25 PHILOSOPHIC ELOCUTION. cavity, and herein is effected the most perfect inspira- tion — the preparation for strongest vocal effort. This is effected in the expiration, as follows : The abdominal, pectoral and dorsal muscles are contracted with rapidity and force, the muscular walls of the abdominal cavity press upon the viscera, which in turn press upon and force upwards the relaxing diaphragm; this compresses and lessens the cavity of the chest and forces the con- tracting muscular action of the pleura upon the lungs, which thus, being grasped and squeezed, give forth the air ; and this rushing through bronchial tubes, trachea and larynx, strikes the vocal cords into vibrations. These vibrations result in voice, which is then modified and turned to language by palate, tongue, teeth, lips, etc. Thus is seen the history of speech creation ; and thus it is obvious that the more complete control we obtain of the abdominal and diaphragmatic muscles^ the more perfect will be our breathing, the more complete our command of voice. Section II. — Forms or Voice. The voice, created as above, employs itself in three different forms of expression, which, as they will be more clearly dealt with hereafter, need only now be mentioned. Their names here given will be, in the meantime, sufficiently ex- plicit of their character and office. 26 PHYSIOLOGY OF VOICE. 1st. The Effusive — " Pouring out," as its name imports, the voice softly, tranquilly, solemnly in pleasing thoughts, pathos, rev- erence, devotion, &c. 2d. The Expulsive — u Serving to expel " the voice with force through impassioned, ora- torical, earnest, decisive thought, &c. 3d. The Explosive — "Driving or bursting out" with violence and power, as in strong command, passion, alarm, &c. Section III. — Voice Qualities. For purposes of true elocution it will be suffi- cient to treat of voice under the following qualities as distinguished from character or condition. They will find exposition in due place, but are inserted in the present connection as part of the mechanical substructure of this work. Those qualities are : Pure Tone, Orotund, Guttural, Pectoral, Aspirate. 27 PHILOSOPHIC ELOCUTION. Section IV. — Attributes of Voice. Of these there are six, and so called because they are cumulative essential properties of ex- pression, necessary to the utterance of every sen- tence spoken, and without the service of every one of which no vocal expression can be had. They are Form, Quality, Force, Stress, Pitch, 'Movement, and of which a simple analysis will illustrate their inevitable use. There is no sen- tence so simple that it can be spoken without employing Form, be it effusive, expulsive or explosive. Quality, " pure, guttural, orotund, aspirate. Force, " abrupt, subdued or impassioned. Stress, " radical, final, median, compound. Pitch, '" high, middle, low, or very high. Movement, be it slow, rapid or moderate. Section V.— Voice Timbre, Lastly^ in the present sequence, may be noted vocal idiosyncrasy. It is not more singular than other features of our nature that no two voices can be found alike, and we know that such pre- vails as positively as the changing lineaments of 28 PHYSIOLOGY OF VOICE. the human face, the differing leaf of tree and flower. This idiosyncrasy, by the French called " timbre, " and which word we adopt, is the result of the peculiar construction of the vocal cords in each human being. These cords, two in number, extending as we have seen across the upper part of the larynx, forming as it were the lips of the glottis, receive the shock of the air as it is ex- pelled from the lungs through the trachea and larynx. The force of concussion causes them to vibrate, and this vibration produces sound, or voice. The tension, relaxation, health, length, strength, thickness and other conditions of these cords are the chief elements which give peculi- arity to vocal sounds. Voice timbre, however, is the result more par- ticularly of complex relations herein, and may be illustrated as follows : Stretch a wire or string tensely between two points, and after striking it, say in the middle, listen to the sounds produced. You will discover one strong or fundamental sound, and on each side of this lighter sounds, growing finer and dying as you reach either end. If the ear be sharp enough, still finer sounds will be heard running from each of the points of PHILOSOPHIC ELOCUTION. vibration toward the end and interfusing them- selves in delicate harmony with the others. These lighter or finer sounds, to distinguish them from the strong or fundamental, are termed harmonics. Thus, then, as to the voice ; the column of air propelled through the trachea reaches and strikes the vocal cord, producing exactly those phe- nomena, except that instead of being struck at one point the vocal cords are struck along the entire line, and so the result is more ingeniously modified and complex. The main sound heard is the fundamental tone, and the harmonious blending of the lighter ele- ments therewith, as they shape themselves in the surrounding resonance chambers, gives to the complete voice that idiosyncrasy or timbre so unbounded in variety and so positive withal that we rarely, if ever, find two voices fully corres- ponding. CHAPTER III. Breathing. Trusting that the foregoing may sufficiently indicate the philosophy of Voice or true Phona- tion, we may now proceed to the practical uses of its machinery : Breathing is, as above exemplified, the result- ant of muscular action /the force and element out of which voice is created through its action on the vocal bands. Paradoxical as it may appear, it is a truth that the indisposition to inhale our allotted proportion of air so freely offered us is the main cause of voice failure or defect. If we would strengthen, invigorate and improve the voice we must begin by a due cultivation of the means of supply, and through it the cultivation of the power and capacity of organism upon which such results depend. It is quite certain that the majority of students overlook such, and will overlook these suggestions in their haste to reach the grand desideratum, the ability to read attractively. But it is quite as certain that before 31 PHILOSOPHIC ELOCUTION. they can reach any such consummation they will be obliged to return to and make this subject a chief study of their effort. There are therefore here laid down such instructions and exercises as may be sufficient for the purpose intended. As the character, force and quality of voice and action will largely depend upon the health, strength and grace of body, it is proper to men- tion that to all wishing to excel as readers or speakers appropriate gymnastic or calisthenic exercise and training are desirable, if not neces- sary. It is not here expedient to consume space in treating of such beyond suggesting that from experience and knowledge of the gymnasium, the art of fencing embraces by far the most graceful, elastic and healthful movements prac- tised by youth, and that next thereto light Indian club exercise not only may but ought to be learned by both sexes as preliminary to a healthful life, apart from elocutionary considerations. Properly directed gymnastics should always, when avail- able, be practised, and are invaluable aids to thorough voice development. So the intelligent teacher may introduce or advise what he knows best suited to the occasion. 32 / BREATHING. These, however, being absent, let the student stand erect, not stiff, body straight, chest full, shoulders back, one foot slightly in advance of and about four to six inches distant from the other, forming therewith an angle of about eighty degrees, as in annexed first position. Let the retired limb be straight and well braced, but not stiff, with weight resting on retired foot, arms akimbo, fingers forward on abdominal and thumb back on dor- sal muscles, head properly poised, leaning neither forward, backward or sideward, and thus proceed to exercises : FIRST POSITION, There are three forms of breathing or em- ploying the breath which also apply as modes of using the voice in all its qualities. These forms are respectively the Effusive, the Expulsive and the Explosive, and may be properly introduced in first efforts of Voice Culture. The Effusive Form is that strong, full, tran- PHILOSOPHIC ELOCUTION. quil action of the abdominal muscles in their ex- pansion, letting down the diaphragm, relaxing the pleura, and inflating the cells of the lungs by the in-rushing air, and then out-pouring or effus- ing it smoothly and gently, without abruptness, from the vocal organs. Let the student occasionally practice this about a dozen times, inhaling through the nostrils, until the chest becomes expanded to its full capacity ; then at each expiration let the mouth open roundly, the teeth about three-fourths of an inch apart, and the muscles quietly contract, pressing the breath effusively and lightly as possible from the lungs just sufficiently to make audible the aspirate sound of h — (hay), and keeping up the effusion as long as possible. Additional Exercises — Effusive Form. I. Inhale and exhale slowly through the nostrils. " " forcibly " " " " abruptly " " II. Inhale through the nostrils and retain the air as long as possible. Do this several times, on each occasion ex- pelling the air in long deep whisper of one of the long vowels, A, E, I, O, U. III. Inhale as before, against pressure of hands on walls of chest. Retain the air and knead the chest with palms of hands; then expel air forcibly, whispering same sounds, A, E, I, O, U. 34 BREATHING. IV. While walking or running contract and retain con- tracted, occasionally, the abdominal muscles. V. Inhale fully through the nostrils and hold the air while walking or running. Note. — The use and advantage of Effusive Form is to give smoothness to tone and a mildness to voice utter- ance, which are necessary in the expression of devotion, love, pathos, solemnity and all the purer and nobler feel- ings and emotions. The Expulsive Form. — Practice the inhalation as before, through the nostrils. Retain the air in the lungs for a moment, and then with rapid action of the abdominal muscles expel it with lively force in form of light cough, throwing the column of air against the back part of the roof of the mouth with the sound "huh'' clearly au- dible and forceful. To this may be added, as a most approved ex- ercise, the various forms of sighing, viz., a full and rapid inspiration and expulsive expiration, first through the nostrils and then through the mouth. Again with the air drawn in and ex- pelled with tremulous action in form of short- ened sobs. Also practice the ordinary act of sobbing which in light convulsive form draws in and ex- pels the air. 35 PHILOSOPHIC ELOCUTION. Note. — This exercise, while much improving the means of supplying and supporting the voice, will be found most essential in subsequent rendering of emotional passages, the pathetic, etc. The Explosive Form. — Draw in the breath as first directed, (through nostrils.) After a momen- tary suspension allow a slight effusion so that the passage below the larynx be not quite filled. Then open the mouth as before, (three-fourths to one inch,) and with strong rapid action of the abdom- inal and dorsal muscles and diaphragm, drive the breath forcibly, sharply, suddenly, with an ex-- plosive ■" hah," or "hoh," against the palate or roof of the mouth, thence to be projected outward in compact volume. This may be continued, occasionally, for about a dozen explosions as a most effective means of opening up the voice, strengthening and getting more instantaneous control of weakened func- tional muscles ; but should not be indulged exces- sively or more than two or three times daily. This form may be judiciously practised in ex- plosive hearty laugh "ha! ha! ha!" or in short cough, which it closely resembles. Also in sudden strong inspirations and expira- tions as if panting after rapid running, etc. 36 BREATHING. Also in form of long violent gasping for breath with inhalation so strong as to be fully audible in its vibrations on the vocal cords, such as may be heard from man in deep agony. Note. — The last two will form useful exercise should the reader or speaker at any time require to interpret vio- lent emotions or passions. The student who has heard Edwin Booth utter the line " Wake Duncan with thy knocking ! I would thou could'st !" and heard him draw that fearful gasp — when quitting the stage with Lady Macbeth after the murder — will require no assurance of the perfec- tion to which it may be cultivated ; nor will he be likely to forget its awful power in execution, or to grudge the discipline that trains the organs for its effective use. Note. — The main thought in the above exercises must be to breathe strongly and naturally as possible, keeping the vocal organs well open and making the lower mus- cles do the work, without any movement of shoulders or body. Keep the tongue flat as possible in the mouth and well down at root so as to offer no obstruc- tion to free passage of the air, and the above exercises will be quite sufficient for all practical purposes, espe- cially as they are intended to be supplemented in each subsequent chapter of this portion of the work. There are four rudimentary positions of the 37 PHILOSOPHIC ELOCUTION. feet and lower limbs of which the annexed cut shows the first position. In this the whole figure may be supposed to be in attitude, page 33, full front to audience, the weight ' of the body resting on the left foot, as shown by darker shading underneath, and the right just an sition. infa or two in advance ; the heels about four or six inches apart, and the whole foot forming nearly a right angle with the other. The second position is effected by gracefully swaying the body from left to right; from first position, j or that of rest, until the right foot bears the weight of the body, which then assumes appearance of action first posi: second position, in that direction. THIRD POSITION. The third position is the opposite of the first ; viz., the weight of the body resting on the right foot, and the left in manner and position above described, forming the like angle with the other as shown in figure. BREATHING. The fourth position is again the reverse of the second. The body swaying to the left from its rest on the right foot until the weight is shifted to the left or forward fourth position, foot and the body assuming the appearance of motion in that direction. Let the pupil practise each of these positions during the various exercises, so as to acquire ease and grace of posture and motion. If these atti- tudes and movements were properly taught and insisted on in schools and institutes, nine-tenths of the nonsensical action of calisthenics practised to no purpose might be dispensed with. It is a patent fact that not one out of one hundred of the strongest drilled in calisthenic classes takes up a proper position at rest or makes a graceful motion in gesture. Note. — The pupil should before entering upon above and following exercises measure the girth of his chest, and he will find, in addition to his vocal power, an increase of from one to two inches in chest measurement at the end of two months fair practice. CHAPTER 17. Articulation. Good Articulation involves four essentials or qualities — Correctness, Distinctness, Ease and Elegance — giving to every letter its due propor- tion and making syllabic distinction so accurate as to avoid all fusion and confusion. It is feared that this portion of the subject of Elocution will be more or less neglected by stu- dents ; yet would they faithfully consider its utility as preliminary to the thorough acquisition of the object sought, they would undoubtedly accept the advice here given and accord it full attention, satisfied how great its influence on the true mastery of the art. The deplorable fact that many from such neglect never become even reasonably good readers or speakers, and the further fact that many teachers for like causes go blundering along, misleading others and per- petuating errors and mispronunciations which 40 ARTICULATION. might have been avoided or repaired, should warn the beginner against like oversight. There can be no greater mistake than this neglect, and here upon the threshold the student is cautioned against it. An Arrangement of Exercises differing from the ordinary is proposed in this portion of the work ; one which will certainly be much more ser- viceable than the system generally pursued. It is, of course, necessary that we should know the true vowel and elementary sounds of our lan- guage; but it is manifest to all that there is less ignorance in this respect than in their practical application. Very few school teachers, for in- stance, could be found unfit to pass a reasonable examination upon those elementary sounds ; per- haps as few teachers of elocution; and yet it is a discreditable truth that large majorities of both are constantly abusing those sounds much more frequently than they would wish to believe. In most published works on elocution large space is allotted to the parade of elements with numerous examples and exercises set forth for practice upon the individual letters under their natural and modified sounds. 41 PHILOSOPHIC ELOCUTION. There is very strong doubt of any adequate return practically obtained for the time and labor thus expended, for its supporters pay such slight attention to those individual elements when found combined in words; and so much bad enunciation and pronunciation exist among comparatively educated men and teachers who have followed it, that it is time to conclude against a system in which most certainly the error lies. The student will find below a key, as given by Worcester, and can have no difficulty in learning therefrom, or from his dictionary, the true sound or character of any given element, which, with the aid of simple catch- words there set forth, he can determine and settle upon the voice in a few minutes so as to give it due pronunciation in syllables and words. The pure elementary sounds are thus quite as easily made, and more truly exhibited in syllables than alone. Exer- cises, thus, with words constructed and em- ployed, become more useful for our purpose. Their true syllabic articulation and enuncia- tion, their accurate accentuation marked and mas- tered in this manner, supply us terms of speech 42 ABTIOULATION. about which we have some security, and we pro- ceed to read or speak without fear of exposing our ignorance. Note. — The following table with above suggestions will serve every necessity, and the author would never advise the waste of time and consequent injustice done to pupils in arranging the lips and distorting the visage with mouth wide enough, as laid down by most authors, to admit, side-wise, the two fore-fingers. Many render themselves ridiculous ; but none except with abnormal facial apertures, are successful readers through such pro- cess. It is not necessary, and is unnatural. Try it before a mirror. Pupils do not need to be pouted and puckered up in lip and mouth and features to make correct sounds. In almost every case, even if awkward, they can, in a few minutes, learn correct natural sounds and expression from a teacher; and it is doubtful if a more ludicrous exhibition could be witnessed than that presented by a class of young ladies and gentlemen submissively undergoing these distortions. Avoid it. Moliere aptly satirizes the practice in a short scene of his Bourgeois Gentilhomme between Le Mditre de Phil- osophie and his pupil Mo?is. Jourdain. Le Mditre. — La voix, O, se forme en rouvrant les machoires, et rapprochant les levres par les deux coins, le haut et le bas — O. Mom. J. — O, O. II n'ya rien de plus juste. O, O. Cela est admirable ! O, O. Le Mditre. — L'ouverture de la bouche fait justement comme un petit rond qui represente un O. Mons. J. — O, O, O. Vous avez raison. O. Ah ! la belle chose que de savoir quelque chose ! Le Mditre. — La voix U se forme en rapprochant les dents sans les joindre entierement et allongeant les deux levres en dehors, les approchant aussi l'une de l'autre, sans les rejoindre tout-a-fait. U. Mons. J. — U, U. II n'ya rien de plus veritable — U. 43 PHILOSOPHIC ELOCUTION. Le Mditre. — Vos deux levres s'allongent comme si vous faissiez la moue ; d'oii vient que si vous la voulez faire a quelqu'un et vous moquer de lui, vous ne sauriez lui dire que — U. Mom. J. — U, U. Cela est vrai. Ah! que n'ai-je etudie plutot pour savoir tout cela ! PRINCIPLES OF PRONUNCIATION. ADAPTATION OF WORCESTER'S KEY TO SOUNDS OF LETTERS. VOWELS. Examples. Examples. A long .... FATE, AID, LACE. 5 long .... NOTE, TOW, SORE. A short .... FAT, MAN, CARRY. 6 short . . ■ . . NOT, ODD, BORROW. A long before R . FAKE, PAIR, BEAR. 6 long and close . MOVE, FOOD. A Italian or grav ' FAR, FATHER. O broad, likebr'd A NOR, SORT, OUGHT. A. broad .... FALL, HAUL, WARM. o like short V . , SON, DONE, MONEY. E long .... METE, FEAR, KEEP. V long .... TUBE, TUNE, SUIT. E short .... MET, MEN, FERRY. u short .... TUB, HUT, HURRY. E like A . . . . HEIR, THERE, WHERE. u middle or obtuse BULL, PULL, PUSH. E short and obtuse HER, HERD, FERVID. Vs short and obtuse FUR, MURMUR. i long .... PINE, FILE, FIND. u like 6 in move . RULE, RUDE, BRUTE. I short .... PiN, MISS, MIRROR. y long .... TYPE, LYRE. I like long e . . MIEN, MACHINE. y short .... SYLVAN, SYMBOL. 1 short and obtuse SIR, BIRD, VIRTUE. Y short and obtuse MYRRH, MYRTLE. 51 and oy B5lL, TOIL, BOY, TOY. ou and Ow B5t T ND, town, NOW ew like long u . . FEW, NEW, DEW. SYLLABIC GROUPS. Examples. Examples. TION ) ... I- like SHUN SION ) \ NATION. C!AL j /• COMMERCIAL. ( PENSION. SIAL > like SHAL . / CONTROVERSIAL. sion like ZHUN . CONFUSION. TIAL J (. PARTIAL. CEAN j ... } like SHAIs CIAN > \ OCEAN. ( OPTICIAN. CEOUS ") cious > like shus /• FARINACEOUS. / CAPACIOUS. GEOUS ) ... \ like jus . GIOUS ) j COURAGEOUS. TIOUS ) (. SENTENTIOUS. ( RELIGIOUS. 44 AR TIGULA TION— CORRECTNESS Note. — The author accepts the responsibility of omitting certain sounds given by Worcester, disputed by some good authorities, and which, in their doubtful condition may be deemed cumbersome. For instance, the so- called " intermediate " sound of " a " — between a in mast and a in masticate, etc. — and which is made to run through about one hundred words in our language. It is a distinction very few make, few can make, and just as few understand when made. Elements had better be understood as of substantial sound than balancing between any two. Those, therefore, are omitted. The others are the "obscure" sounds which he attaches to all vowels in addition to the "obtuse" — e. g. Max, pakce, etc. There is no necessity for this obscurity in certain words. There is too much of it in all our pronuncia- tions, and the care should be to avoid it. If obliged to use the term liar it may just as well be clearly spoken War as obscurely liur or otherwise ; and so of palace, etc. Therefore, to avoid unnecessary difficulty, and tend towards definite principle, " obscure " sounds are omitted, leaving those who are not sufficiently confused with the " obtuse " to seek the former in the dictionary. Section I. — Correctness. Correctness as an essential of articulation must be based upon a true understanding and intelli- gent practice of the sounds and combinations of elements in speech ; and the above table supply- ing as it does the common, simple means of ascertaining such sounds, we may proceed with 45 PHILOSOPHIC ELOCUTION. exercises upon words which we think and trust will repay the student for the time bestowed. We sometimes little suspect the many errors we are guilty of and which orthoepists point out, even amongst hourly used expressions. There- fore, in selecting exercises in sounds and vocal tones, if the student learn to correct occasional inaccuracies which bad teaching, inattention or habit may have fixed upon him, there will be, at least, a double good effected. Where speakers or pupils have any peculiar fault of vowel or other pronunciation arising from carelessness, provincial, local or other cause, it is absolute loss of time and effort to attempt eradication or reform by written instruction; when for instance, as frequently found, among edu- cated classes — Cow is pronounced Caow — and Car is pron. Cah. Gale is pron. G^-el — and Gate is pron. G#et. Door is D^er-or Dj-/-eth for the path of dea//z, and win-ke//z at his thank-less thefts, as the a-the-ist doth of the-o-ret-i-cal truths; for//z-vvith the thrift-less throng, threw thongs over the mouth of Frith or Fourth, and z'/zwar-ted the wrath of the z'/zrz7-ling thun-dex; faith, quo//z the youth, the ba//z is my berth, the hearth is my throne. Guttural and Palatal Cognates G. K. Sound of g hard or guttural, before a, o, u, I, r, and often before e and i, as in get, give, gift. Ex. — A giddy goose got a ci-gar, and gave it to a gan-grene beggar ; Scro^-gins, of Brob-^/zg--;z<7g-, growls over his green-glass g#g--gles, which the big - ne-gro gath-er-ed from the bog-gy quag-mixe ; a gid-dy g"zg"-gling gixl glides into the grog-ery, and gloats over the gru-el in the great pig-g\n of the rag-ged grand-mothex, ex- claim-in g, dig or beg, the game is gone to the gz^bous moon. Gh in a few words has this sound : The g"/zast-ly hux-ghex stood a-ghast to see the ghost of the ghyll, eat the ghas- tly-gher-Y\ns in the ghos-tly burgh. Note. — Gh final is generally silent, as high, nigh, sleigh, weigh, &c. ; but the foreigner who attempts our tongue alone can realize their inexplicable pronunciations when preceded by certain diphthongs — as in bough, plough, dough, though, through, thoxough, boxough, xough, enough, txough, cough, chough, laugh, hough, shough, tough, dough, slough. Learn their eight different sounds as follow : 54 ARTICULATION— DISTINCTNESS. Tis not an easy task to show How o-u-g-h sound: — since though And hough (ck) and \ough (ch) and also slough (ou) And cough and hiccough all allow Differ as much as tough and through With no good reason why they do. Note. — G has sometimes the palatal sibilant sound of ZH, which comes into our language from the French; or, perhaps, all words wherein it is thus pronounced are direct importations from that language, and not yet Anglicised. Ex. — It was of his oro-i.e-ge\ (oro-tz-zha) I spoke, but as you have mistaken it for pro te-gee your bad-i-nage (bad-e-nazh) does not effect the prestige of the men-age (men-azh); The charge d'affaires went to the menagerie and put rouge (roozh) and g&m-boge (boozh) on his face before the mir-age. Z has generally this sound. S has it frequently. The az-ure ad-/z/eas-ures ; the sei-zure of the viz-ier is an in-^^-sion of the g/a-zier's di-w-sions ; the hosier takes the Mz-zier's cro-sier with a bra-sions and cor-w-sions by exposure, and treas-ures it up with- out e-/fo-ions or persuaj/on. Palatal Cognates of G are k c hard, ch (hard) q. Ex. — iTos-ci-us-/£o kept his comrades in the ^itch'en cor'- ridor with the Tartar j^Than as a r/mner'ical chime'ra. of the Chan who ^omplaisant'ly ^on'templated the chaotic coquzt'ry of the limekiln roterie who piaued on amount of pi^/ant mosses and quays in Munich practised piquet chiromancy and chiron'omy despite of magna- <:/zarta and courted a co^ette who wore the queue and moccasins of Louis Qiiatorze in C//em v nitz. Sound of x soft or flat, as gz — example, ex-ist. Note. — It has generally this sound when immediately 55 PHILOSOPHIC ELOCUTION preceding the accented syllable and followed by a vowel sound or letter h in words of two or more syllables. Ex. — The £#-iled shorter is ex-haust-ed by his ex-u-ber- ant ex-or-di-um, and desires to be ex-o/i-er-a,-ted from ex-am-'m-mg the ux-o-ri ous ex-ec-u-tive ; an ex-Sid ex- tf//z-in-a-tion into the ^£-ag-ger-a-tions of the aux-il-li-a.- ries ex-hib-its a lux w-ri-ant ex-ile, who ex-ist-ed an ex-ot-ic in ^^-em-pla-ry ex-a\ ta-t\on. The verb to exile has this sound, but the substantive, exile, has not. Labia-dental Cognates f and v — fife, vivify, fifth. Note. — There is occasional difficulty in these sounds owing to hasty pronunciation. Let the upper teeth positively strike and rest upon the lower lip in com- mencing each enunciation, and the difficulty vanishes. Ex.— The gaffer li/ted his wife's father from the coffin with hisjfalchion in T^bruary, and forced they^rrule ot hisy^rule in fetid fi gures be/ore the /ace of the/iitile ^feticide. The /usil (z) /uchsia (or fooksia) was /acile proof of the/reeman's/ranchise (z) and the/ugueyfew tauntingly from hisyfage'olet. My lively nephew Philip Vandevanter believes in wga'ries and mtic'inal z^'rioloid. He taunts to have visited the wear and improved his wlvet wlise with wva'cious wrdigris (es) zwbose unison and z/^hement vzriYity. The mcounts visor, w-lute and wgnette are virtual mdence of the virtu (oo) of this w-lant z/2>-tuo-so. Labial Cognates B and P. Ex. — A ro^-in im-bib-ed ^lu^-bers from a bob-bin and ^-bled for r^-bage ; the rob-ber ^la^-bed bar-ba.- rous-ly, and ba.m-boo zled the tab-by na-bob ; J^a-cob dab-bled in ribbons, and played hob-nob with a cob-ler; the bab-oon ba-by gab-bled its gib-ber-ish, and made a hub-bub for its bib and black- ber-ries; the ra^-ble's hob-by is to brow-bedX the bram-ble bushes for bit-ber- ries, and bribe the boo-by of his bom-bas-tic black-bird; I AR TICULA TION-DISTINCTNESS. peo-p\e put pep-per in j&^-per-boxes, #/-ple-pies in Clip- boards, and wh#/-ping pap-poo -ses in o/r^-pers ; the hap-py pi-per /laced his pee-rless pup-py in Pom-pey's s/op-shop, to be pur-chased for a /eck of pap-py pip- pins, or a/ound of /?//-ver-iz-ed /k-en ribs, or cry ing children ; raund and r-* I. Tho' you untie the zvinds and let ^ Howe'er you come to know it, answer me : ^ Macb. I conjure you, by that which you profess, % Let the pupil also practice the out-pouring or out-rolling of the voice in the manner symbolized below — on mid- dle, high and low pitch — using one of the long vowels as a vehicle of sound, pouring it full of air, by muscular action, swelling and diminishing. -tTtf]^^ High, Middle, [> Awe. I Low. 3 Ex. Use the subjoined Ex. as follows : Commence on high pitch, drop one note on each of the first four lines ; then commence ascending on fifth line and raise one note on each to close of tenth line. Then on eleventh line descend or drop the voice six notes, and descend again from that pitch one note on each of the other lines. 96 VOCAL FLEXIBILITY. To the deep, down. To the deep, down. 5. Through the shades of sleep — Through the cloudy strife Of death and of life ; Through the veil and the bar Of things that seem and are , 10. Even to the steps of the remotest throne, — 11. Down ! Down ! Down ! Down ! The following extract from the " Veiled Prophet," (Lalla Rookh) and like passages pre- sent good opportunity for practice in flexibility. Do not be afraid to let the voice have easy play through the lines, as the chief beauty of the reading depends upon the freedom of the slide and undulating action. "Mokanna" is repre- sented "pondering," and — At length, with fiendish laugh, like that which broke From Eblis, at the fall of man, he spoke — " Yes, ye vile race, for hell's amusement given " Too mean for earth yet claiming kin with heaven " God's images forsooth ! — Such gods as he " Whom India serves, the monkey-deity : " Ye creatures of a breath ! proud things of clay! " To whom if Lucifer, as grandams say, " Refused — though at the forfeit of heaven's light — " To bend in worship, Lucifer was right ! # # # # # * 97 PHILOSOPHIC ELOCUTION. "Ye wise! ye learned, who grope your dull way on, " By the dim twinkling gleam, of ages gone "Ye shall have honors -wealth, yes sages, yes — " /know, grave fools, your wisdom's nothingness : " Unddzzled, it can track yon starry sphere " But a gilt stick, a bauble, blinds it here " How I shall laugh, when trumpeted along " In lying speech and still more lying song " Their wits bought up, their wisdom shrunk so small " A sceptre's puny point, can wield it all ! " Ye, too, believers, of incredible creeds / " Whose faith enshrines the monsters which it breeds. " Ye shall have miracles, aye, sound ones, too, " Seen, heard, attested, everything — but true. Etc., throughout the passage. So also in this extract from Virginius, Act i, Sc. ii. Virgifiia. Well, father, what's your will ? Virginius. I wished to see you To ask you of your tasks — how they go on — And what your masters say of you — what last You did? I hope you never play The truant ! Virg. The ttuant ! No, indeed, Virginius. Vir. I am sure you do not — kiss me. Virg. O my father ! I am so happy when you're kind to me ! Vir. You are so happy when I'm kind to you ! Am I not always kind ? I never spoke An angry word to you in all my life, Virginia ! You are happy when I'm kind ! That's strange — and makes me think you have some reason To fear I may be otherwise than kind Is 't so my girl ? 98 CHAPTER VII. Force and Stress. As all our motions, actions, passions, take their form and direction from the nerve centres, so the dynamic stroke which indicates the mental con- dition, the action or ictus given to the voice its agent in expression, is discovered in the force of ■ utterance. The organic sympathy of our nature act- ing from brain-nerve to muscle, produces at the mind's demand action voluntary or involun- tary, that from diaphragm through lungs expels the air in compact volume and decisive move- ment, making it full, strong and effective. It is this that in all tones of voice gives body and power more serviceable to the speaker than in- creased height of pitch or loudness^ and is to be thoughtfully considered and practised in contra- distinction thereto. Force correctly understood means power to the voice. Loudness is more like noise. Force under proper management gives volume and dignity, whether the tones he high or low. Loudness de- PHILOSOPHIC ELOCUTION. pends too much upon high pitch, throat-labor and falsetto tones without full action of the ab- dominal muscles as the propulsive power. The former gives the true os rotundum, or pure tone and orotund. The latter leads to reduudant gut- tural and aspirate qualities, injuring both voice and organs. Force is the result of full-supplied breath in compact, unbroken column. Loudness favors that fitful, spasmodic action which, shaking and rattling through partially filled trachea and larynx, chafes and abrades the delicate mem- branes, thus leading to their debility and disease. Force and volume relate to space and power, filling all around and heard with pleasure, like the organ tone. Loudness pertains to distance, and, though sometimes heard as far, causes grating on the ear like fife or whistle, while the nearer we approach the more repulsive is the sound. Force faithfully practiced under its various modifications strengthens the vocal organs and gives them flexibility and vigor. Its forms are : The Effusive — which is smooth and subdued. Expulsive — " abrupt and earnest. Explosive — " energetic and impassioned. In these executive forms, each of which may be more or less modified, force is supplemented 100 FORCE AND STRESS, by its cognate element stress, which completes the character of voice action; and here, therefore, let us consider in conjunction the subject of stress, which is, in fact, specially applied vocal force. It is used' by Dr. Kush to exemplify the mode in which force is rendered perceptible and effective in its application to single sounds. Thus it bears to force the same relation that accent bears to emphasis exhausting its action on single sounds as accent does on single syllables. While force like emphasis runs through words, phrases or sentences. Stress represents activity, energy, decision, etc. Force represents intensity, duration, power, etc. Volume represents pomp, dignity, majesty, etc. Stress we here classiy under seven different forms, the correct comprehension and manage- ment of which are indispensable to good reading. These are as follow, and may be represented by the subjoined symbols: Radical, or initial, Stress > Radical diminuendo Stress >• Vanishing or final Stress < Compound Stress. >< Median or middle Stress <^> Thorough Stress - Tremor . - Thus employed they indicate the character and action of the voice required, or the thought they 101 PHILOSOPHIC ELOCUTION. symbolize as clearly as do notes or signs in music the tone, quality, or execution, sought by the com- poser; and the pupil should accept and study them as such exponents. Radical stress is the most useful and neces- sary perhaps to the reader or speaker. Its proper use necessitates expulsive or explosive breathing in one of two forms, as > which sym- bolizes the abrupt burst of voice in full force or strength at the opening of the mouth on the pronunciation, and a rapid closing of the sound into nothing upon the word or syllable as indi- cated in form by its symbol. The other we would represent as >, more nearly resembling the musical diminuendo and figuring the voice as gradually moving from the initial burst through a softening and diminishing tone to nothing. It is a philosophic fact that the emotion raised in the mind by thoughtive force, resembling, as it does, its effect, is felt as if force were exerted there; and it is just as strong a fact that force will physically follow, and psychologically the emotion be transmitted to hearer or spectator. But the mind that exerts no force conveys listless- ness of purpose, and excites or enlists no emotional sympathy, earnestness or interest in the hearer. Force is especially required in 70cal action to 102 FORCE AND STRESS. save it from emptiness, dullness, heaviness; and we cannot too much urge upon the student a due consideration and perfection of this most valuable elocutionary accomplishment, which mixes itself in every effort of the orator or reader. Force, radical, and diminuendo stress are to him the most essential power next to that of vocal utterance, speech, judgment and education. Judi- ciously used, with voice qualities, they form the true weapons or vocal outfit of the educated orator, giving point and edge and life, spirit and dignity and decision, sweetness, earnestness and power to his utterance. Without them speaking and reading under ordinary emotion become weari- some, weak, insipid and monotonous, securing our pity rather than respect. Without such, under strong emotion, passion, etc., the speaker rushes on through rant, vociferation and confusion of thought, which entitle him to the jeers rather than the plaudits of his audience. Thus the un- skilled actor rants through Hamlet's challenge to Laertes at Ophelia's grave. " Dost thou come here to whine ? To outface me, by leaping in her grave ? Be buried quick with her and so will I ! And if thou prate of mcunta.\ns — let them throw Millions of acres on us, till our ground 103 PHILOSOPHIC ELOCUTION. Singeing his pate against the burning zone Make Ossa. like a wart\ Nay an' thou'lt mouth. I'll rant as well as thou." And in fact such wild outbursts of passion can only be saved from rant and mouthing-vocifera- tion by the correct use of stress, tempering and regulating their time and inflections. It is the absence or unskilled use of rad. stress that begets the whining, sing-song tones which grow into rant, and scream, and howl, occasionally heard in pulpits, on the platform and elsewhere; which speakers never discover in themselves until friendly teacher point them out ; and with- out the judicious use of which all sermons and speeches, especially if written, or when read, must be more or less tinged with monotony. The Ead. Stress, then, is the exponent of well directed, thoughtive energy, decision, force, firm- ness, determination, etc., yet requires to be con- sidered and managed with much discretion. Care must be exercised lest the student fall into its abuse or extreme use, which is a fault almost as serious as its entire absence. Bad taste, want of thought or judgment, may lead to a habit of employing this stress upon every few words, thus giving to the voice a jerky, spasmodic, chopping action, which conveys arrogance, assumption, 104 FORCE AND STRESS. self-conceit. This, of course, must be avoided by limitation of its action to essential words. As a means of practising and acquiring the rad. stress, the student may be able to adopt no better formula than the following exercises, which should be continued for some time and occasion- ally returned to for discipline. First. — Count the cardinal numbers slowly and clearly. i 2 3 4 5 6 7 8 9 iod Second. — Count as before, but with increasing force and pitch on each number. i 2 3.43 6 7 8 9 IO Fourth. — Occasionally, after the manner of a clear, hearty laugh, use the sounds — Ha, ha, ha, ha, ha, ha. Fourth. — Run the notes of the gamut in staccato form as high as the speaking voice will reach, taking good care to give to each the clear radical stroke, and to avoid any ap- proach to prolonged or singing tones. >> >>>>>>> Do. re, mi, fa, sol, la, si, do, re, &c. Then in same manner descend. Repeat three times. Note. — These will form best exercises for clearing, strengthening and giving to the voice sparkle and preci- sion of stroke. For the following Ex. let there be a full inspiration through the nostrils, then a moment's occlu- sion of the larynx, barring the breath for a full and sudden discharge. Then opening the mouth expel the air by rapid action of the abdominal muscles, explod- ing the voice and closing it immediately, Use such words as " halt ! " " fall ! " " forward ! " etc. 105 PHILOSOPHIC ELOCUTION. A fair practice on these will give the student the correct idea of stress, which, as before stated, is force applied to single sounds. From this it will not be difficult 'to carry its action into sen- tences, provided the facile stroke of voice has been mastered in the word or single sound. > > > Cas. Brutus, bay not me ; I'll not endure it : you forget yourself, To hedge me in ; I am a soldier — /", Older in practice, abler than yourself To make conditions. Bru. Go to; you are not, Gwsius. Cas. I am. Bru. I say you are not. Cas. Urge me no more, I shall forget myself. One of the most irksome duties of a teacher is to be reminding pupils of facts which they some- times know as well as he, and upon which in practice or exercise they are possibly quite as perfect ; and one of the greatest faults of readers, one of the greatest troubles of a teacher, is that they will not put into practical execution those features so thoroughly known to and practised by them in other places. For instance, counting the cardinal numbers as above, one of the sim- plest and most natural uses of stress, is com- mon to the merest tyro as to the practised elocu- tionist. About this, mistake can hardly occur in 106 FORCE AND STRESS. management of breath and voice, yet the pupil that may be perfect therein, will often make much ado when required to import the same features of force and stress into an oratorical or argumenta- tive reading. The most difficult management of force and stress appears to be in their natural application to changing hues and shades of thought as such pass before the reader's eye ; requiring sometimes swell and volume in effusive orotund, indicating majesty, sublimity and grandeur. Again that low, effu- sive, pure, subdued and median control, that speaks a change to serious or pathetic ; perchance the high, expulsive, energetic force and impas- sioned stress whose hastened movements tell of joy, etc., and all of which, as well as others, often occur in single sentences. To effect grace and facility in this a most valu- able practice may be had upon the following scale or ladder, which will be found the most certain guide to the order of thought and expression indicated in the corresponding column. The mode of practising the scale is simply to strike the key note, and with proper force applied to voice, read each selection from below upwards; then down; then promiscuously until the result 107 PHILOSOPHIC ELOCUTION. is certain and the voice pitch force and transition easy. Scale for Exercise in Force, Pitch and Modulation. 8th (Octave.) 7th (Semitone.) | If thou speak'st false, upon the next tree shalt thou hang, alive. Page 179. What man dare, I dare ! Take any shape but that and my firm nerves shall never tremble, etc. Page 198. Impassioned or- otund, excite- ment, &c. Energetic oro- tund, alarm, &c. 5th Tone (Dominant pitch.) 4th Tone (Sub dom- inant.) Wreathe the bowl with flowers of soul The brightest wit can I Joy or humor find us ! Page 146. | Therefore, my lords omit no happy hour, that may give fur- therance to our expedition, etc. Page 173. I speak to time and to eternity, of which I grow a portion, not to man. Page 218. 3d (Semi- tone.) O, Thou that rollest above! round as the shield of my fath- ers. Whence are thy beams, O Sun. Page 128. Bold orotund. Grave Tone. Solemn & earnest appeal. 2d Tone. 1st Tone (Key- Thus conscience does make cow- ards of us all: and thus the native hue of resolution is sick- lied o'er, etc. Page 83. To be, or not to be : question, etc. that is the Page 81. Solemn orotund Tone of solemn awe. This adaptation is only another form of the gamut, but highly useful in aiding the pupil to practical application of the exercises under the other forms, which seems generally the difficulty presented. 108 FORGE AND STRESS. Force and steess may be said to rank among the most subtle agencies in expression, at least to the uninitiated, who fail to see the mode of execu- tion whereby such strength and full development of thought and significance are given ; and not unfrequently good readers detect a majesty, or power, an elegance and finish about the reading of another as distinguished fi om their own ; and do not know that in the application of these ele- ments consists the difference. A very fine illus- tration and test of this is found in the lines of Alfred Evelyn in the following extract from " Money,'' Act II., Sc. 1 — mark the italics: Eve. Zeft /tz^erless, when but a boy, my poor mother grudged herself food to give me education. Some one had told her that /earning was better than house and land — that's a lie, Graves ! Graves. A scandalous lie, Evelyn ! Eve. On the strength of that lie I was put to school — sent to college, a sizar. Do you know what a sizar is? In pride he is a ge?i\\em\x\ — in knowledge he is a scholar — and he crawls about, amidst gentlemen and scholars, with the livery of a pauper on his back ! I earned off the great prizes — I became distinguished — I looked to a high degree, leading to a fellowship; that is, an inde- pendence for myself— a home for my mother. One day-a young lord insulted me — I retorted — he struck me — refused apology — refused redress. I was a siz2x\ — a /frriah! a thing— to be struck! Sir, I was at least a 77ian, and I horsevjhXv^ed him in the hall before the ey(S of the whole College ! — A few days, and the lord's chas- 109 PHILOSOPHIC ELOCVTION. tisement was forgotten. The next day-the sizax was ex- pelfed — the career of a life blasted '! — That is the differ- ence between Rich and #wy it takes a ze/^/rwind to m^e the one — a bieath may uproot the > > > > / am the Lord — thy God — which, have brought thee out of the land of Egypt, out of the house of b#« dage. Thou shalt>have>;/<7>^^r> < ^?^>before>me. ThovC>shalt nof>make unto>thee any^>graven>image, or any likeness of any thing that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. Thou shalt not^>bow>down thyself to them, nor>serve them : for /the Lord thy God am a jealous God, visiting the iniquity of the fathers upon the children, unto the third and fourth generation, of them that hate me ; And shewing mercy unto thousands of them that love me, and keep my commandments. Thou shalt not>/#/£name of they Lord thy God in >vain: for the Lord will not hold him guiltless that taketh his name in vain. Remember the> sabbath-day \o>keep it holy. Honour thy father and thy mother ; that thy days may be long — upqn the land which the Lord thy God giveth thee. Thou shalt not>kill. Thou shalt noi>commit adultery. Thou shalt noi>steal. 110 FORGE AND STRESS. Thou shalt not heary false witness against thy neighbour. Thou shalt x\o£>covet thy neighbour's house, thou shalt not covet thy neighbour's wife, nor his man-servant, nor his maid-servant, nor his ox, nor his ass, nor>any thing that is \kiy>neighbour's. Note. — A most serious and frequent fault in readers and speakers is to let the voice die out at the closing of sentences. It springs from one of the absurd "rules" laid down that there the falling inflection is used, with- out truly knowing what the falling inflection practically is. Nothing is more annoying to the hearer than this habit. Besides in majority, perhaps, of well constructed sentences, especially seen in the last example, the strength of thought and force of expression are reserved, frequently too in climatic form, for the close. In all such cases of course, the habit is not only monotonously disagreeable, but highly destructive of sense. The' only way to avoid this is by proper distribution of force, radical stress, and consequent vocal support, w T hich will give infallible cure. It only requires a little care to avoid the opposite extreme. The voice may fall 2X the close, but it must not faWflat, nor fall to pieces. Under what has been said, and with the knowledge the pupil has thus far acquired, it may be unnecessary to add anything further upon this form of stress, more than to urge its practice as a chief element in good articulation, which gives to oratorical display that decisive, graceful word-finish, sparkle and brilliancy that avoids vociferation and confusion, therefore espe- cially essential in strong impassioned passages. Subject to appropriate qualities of voice and 111 PHILOSOPHIC ELOCUTION. other features of delivery not yet reached in our work, and requiring perhaps elucidation by the teacher ; let the student attempt the following examples as exercises in close of this element — radical stress. Hurra/?/ the foes are moving ! I/ark to the mingled din Of fife, and steed, and trump, and drum, and roaying culverin ! The fiery Duke is pricking fast across Saint Andre's plain, With all the /«;rling chivalry of Guelders and Almayne. Now, by the lips of those ye love, fair gentlemen of France, Charge for the golden lilies 1 — Upon them zvith the lance! A thousand spurs are striking d^p, a thousand spears in rest, A thousand knights are pressing close behmd the snow-white crest; And in they burst, and on they rushed, while, like a guiding star, Amidst the thickest carnage, blazed-the helmet of Navarre. Right well fought all the Frenchmen who fought for France to-day ; And many a lordly banner God gave them, for prey. But-TCA? with it, high ; un/awl it, wide — that all the host may know How God hath humbled the proud ru?«se which wr^ght his church such woe. Th dreams ! You threaten^ here in>vain ! Conscience, avaunt! i?^ard's>himi"(?^> again/ So also the following from Richard III ; King R. — A flourish J trumpets! Strike the alarum drums ! Let>;/0t the>/zdYzvens hear these>/^men Rail on the Lord's anointed /> Strike, Y>say / ***** Richmond. — Fight, gentlemen of England ! Fight, bold yeomen ! Draw, archei's, draw your arrows to the head! Spur your proud horses hard and tide in bWd; Amaze the welkin with your broken staves! Section II. Radical Diminuendo Stress. — There is per- ceptible in all children's voices until spoiled by school recitations, etc., as there is also in all cul- tivated voices a sweet and soft sound, the coun- terpart of the musical diminuendo. This sound, which is the consequence of mental desire to have the expressed thought clear, distinct and pleasing to the hearer, strikes in full, strong 113 PHILOSOPHIC ELOCUTION. purpose, like more abrupt rad, stress, on the opening of the word. This is with intent to be heard and not lost. But because of the pleasure it proposes to convey it gradually softens down into finer, sweeter, more insinuating form as it closes, giving to the voice its most attractive fin- ish. It is therefore the symbol of pleasant, or pretended pleasant, mental action in its expression of love, tenderness, persuasisn ) seductiveness, com- pliment, flattery and the many-colored sentiments ranged under this generic thought Would the orator with strong argument con- vince, he uses radical stress>; would he persuade, seduce or wheedle others to his views, he aban- dons the strength and deiscion of that element and employs the softer strains of the diminuendo>. The former is always used in command, the latter in solicitation. The signs here employed to designate them give to the eye an intelligible idea of the voice tone, which the student must formulate or learn from teacher, and they are in such common use in natural expression that the very best exercise is upon passages requiring them. Those who have observed in themselves or others the movements of the voice when they have endeavored to make themselves agreeable 114 RADICAL DIMINUENDO STRESS. will have no difficulty, with natural care, in re- suming the tones. Ex. — Indeed, madame, I wish not to be forward, but women always seemed to me less calculated for retire- ment than men. We have a thousand employments, a thousand amusements, which you have not. We>-ride, we>-hunt, we>-play.>-read.>-write. But dare I>-ask what sne^-your employments for a day ? O, my lord, you cannot imagine how quickly time passes when a certain uniformity guides the minutes of our life ! How often do I ask, " Is Saturday come again so soon ?" On a bright cheerful morning my books and breakfast are carried out upon the grass plot. Then, is the sweet picture of reviving industry and eager inno- cence always new to me. The bird's notes, so often heard, still waken new ideas; thes herd are led out into the fields ; the peasant bends his eye upon his plough; Everything lives and moves, and in every creature's mind it seems as it were morning. Towards evening I begin to roam abroad, from the park into the meadows; and, sometimes, returning I pause to look at the village boys and girls at play. Then do I bless their innocence and pray to Heaven those laughing, thoughtless hours could be their lot forever. Ex. — There is a>^//— in evex-f^-flower K^sweetness — in esich)> spray And every simple^ frird — hath>»power To)>please me, with its>-lay And there is^music on the breeze That>-sports, along the>glade The crystal dew> drops, on the trees, Are>-g^;;/i" — by fancy made O, — there is>-joy and>happiness In>- everything I see Which bids my>-.fc?#/>rise up and bless The>God — that blesseth me. 115 PHILOSOPHIC ELOCUTION. The following extracts from Act iii, sc. ii, Henry VIII, afford good example of blending the argumentative and persuasive — or attempted wheedling ; also of the tone of respect, even in high position, due and expressed to superiors. The scene is between Cardinal Wolsey, Cam- peius and Queen Katharine in the endeavor to obtain her consent to a divorce from the King. All the effective words should be marked by the rad. dim> : Enter the two Cardinals. > > Wol. Peace to your highness ! Q. Kath. Your)> graces find me here part of a housewife, I would be all, against the worst may happen. What are your //*madam, to withdraw Into your private>~chamber, we shall give you The full)>cause of our>»coming. Q. Kath. Speak it here ; There's nothing I have done yet, o' my conscience, Deserves a corner : * * * * Wol. Tantz est ^rga te //^/ztis in^ritas, regina. sere;//i"sima — In the Queen's reply will be marked the change of manner to the decisive, assertive, and the consequent natural change to the more abrupt radical stress> in its expression : Q. Kath. O, good my lord, no Latin; I am not such a /rwant since my coming, As not to k?iow the /ar/zguage I have lived in : 116 RADICAL DIMINUENDO STRESS. A strange tongue makes my cause more strange, suspicious; Pray, speak in English ; here are some will thank you, If you speak truth, for their poor mistress' sake ; Believe me, she has had much wrong : lord ordinal, The willing'st sin I ever yet comwzVted May be absolved in English. Then again the flexure, the conciliatory turn of the cardinals, the admitted cause of grievances, employs while also marking their humility, (as- sumed or earnest), the deeper form of the dimin- uendo aided also by quality of voice and time necessary to due interpretation. WoL >Noble>lady, I am sorry — my integrity should breed, — (And service to his majesty and you), So deep suspicion — where, all faith was meant. We come not by the way of accusation To taint that honour every good /honour'd>-madam, My Lord of York, out of his noble nature, Zeal and obedience he still bore your grace, Forgetting — like a good man — your late censure Both of his truth and him — which was too far^ Offers, as I do, in a sign of peace, His service and his counsel. The tones of Campeius are conceived and exe- cuted in deepest form of this element conveying 117 PHILOSOPHIC ELOCUTION. as it were apology for his interposition — from his lower sphere than the prime minister. To both the queen rejoins in deprecating thought and words. * * * Wol. Madam, you wrong — the king's love, with these fears Your hopes and friends, are infinite. Cain. I would your>-grace Would leave your griefs and take my counsel. Q. Kath. How> sir ? Cam. Put your main cause — into the king's pro/tells you>-rightly. Here the queen, incensed, again changes to the rad. stress which the voice in stern denuncia- tion always assumes. Queen. Ye tell me what — ye wish for both — my ruin. Is this your Christian counsel ? >Out upon ye !. Heaven is above all yet; there — sits a judge That no king can corrupt. Ex. — Tender, loving persuasion. Hamlet, Acti , sc. v. Queen. Let not thy mother lose her prayers. Hamlet. I pray thee stay with us ; go not to Wittenberg. Ex. — Love — Expressions — Compliment, etc. MERCHANT OF VENICE.— Act V., Scene I. Lorenzo and Jessica. > Lor, The moon shines bright ! ******* In ^such a ^-night Did ^fessica steal from the wealthy ^*Jew RADICAL DIMINUENDO STRESS.. And with an unthrift ^love did run from ^*- Venice As far as Belmont. Jes. In such a night Did young ^Lorenzo )>szvear he gloved her well, Stealing her ^-soul with many ^vows of ^faith And ne'er a ^-true ^one. Lor. In such a night. Did pretty ^Jessica, like a little ^s/irezv, ^Slander her love, and ^>/zt? ^p-forgave it her. y^j. I would out-night you, did no body come : But ^>-hark, I hear the footing of a man. * ***** * Lor. How ^sweet the ^moonlight ^sleeps upon this *p-bank ! Here will we sit and let the ^sounds of music Creep in our ears : soft stillness and the night Become the touches of sweet harmony, *^-Sit ^Jessica. Look how the floor of ^heaven Is thick inlaid with ^patines of bright ^gold : There's not the smallest ^-ord which thou ^de/iold 'st But in his motion like an ^-angels-sings, Still quiring to the young-eyed cherubim; Such ^-harmony is in immortal ^>-souls ; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. Section III. — Vanishing Stress. This represents the closing or vanish of the voice as it explodes in loud broken sound, scat- tering, as it were, rather than dying away. Its symbol < conveys correctly the idea of its open- ing sharp, rapidly swelling and bursting or breaking off abruptly without diminish. Thus it is the voice of petulance, querulousness, impa- tience, anger, revenge and malignant passions, which, observation shows us, all express them- selves in these abrupt conclusions. It is used 119 PHILOSOPHIC ELOGVTIOm only in explosive form, and marks always, where dominant, a peevish, " crossed-grained " temper. Yet it marks also good qualities in our nature, and essentially tones and energizes the voice in strong manly resolve, argumentative remonstrance, resolute resistance, repulsion of wrong, etc. So as a part of our nature it becomes a necessary ele- ment of elocution in the artistic presentation of such emotions and passions. Note. — In its lower form of petulance and minor passions let the pupil, in assumed peevish or querulous mood, as that of a spoiled child, practice the words " I shant" holding for a moment on the first and then bursting on the second thus, I< shant. Again, in the higher order, supposing himself wronged, imposed upon and resisting improper demand in strong, manly tones, his indignation exploding itself on the words "I will not, or "I< wont," and thus a correct idea is obtained of its action. This may then be run through the voice in all cases where opposing, objecting, and as it were antagonizing the thought interpreted, or offen- sively expressed by another, and which will be better understood when the pupil advancing far- ther becomes conversant with qualities of voice, especially the impure with which it is much associated. Ex. — O, nonsense, don't< as the voice-form of expression. It closely symbolizes 123 PHILOSOPHIC ELOCUTION. the radical burst and explosive vanish of sound thus vocalized, as we may observe, in exposition of the passions it interprets. These are chiefly scorn, disagreeable surprise, strong mental antago- nism, contempt, aversion, mockery, sarcasm, raillery. It is truly or simply the application of the falling and rising slides of voice, hereafter to be dis- cussed, but in this form embodying the volume of the radical and vanishing explosive elements ; thus giving intensity to passion which the more attenuate and bodyless circumflex inflection can- not fill up in power. It is confined to impassioned expression, but much used in our speech. The following exer- cise will be sufficient for voice discipline. >< .>"< >< Oh indeed what The rest may be practised in speech and ex- amples requiring for a few weeks due attention to their management. Ex. — Indignant surprise. Thou can'stXnot ! Ex. — Playful surprise, assumed indignation. >< " Gray temples at twenty ?" yes! white if you please; Where the snow-flakes fall thickest, there's nothing can freeze. 124 COMPOUND STRESS. Ex. — "There is, however, one man, who distinctly and audaciously tells the Irish people that they are not en- titled to the same privileges as Englishmen, and pro- nounces them, in race, identity, and religion, to be aliens, — to be aliens in race, to be aliens in country, to be aliens in religion! AliXens ? GoodXGod ! was >Arthur, Duke of Wellington, in the> House of Lords, and did he not start up and exclaim, > * Hold ! I have seen the aliens do their> duty.' " The following from Croly's Catiline, replying to the decree of the Senate, offers good example of the rise from strong inflections into compound stress. The whole speech is full of force, expul- sive and explosive orotund, radical and vanishing stress. W w > > Ex. — Banished from Rome ! What's banished, but set free From daily contact with the things I loathe ? "Tried and convicted traitor!" Who says this ? Who'll prove it, at his peril, on my head ? Banished I I thank you for't. * * * Then when the consul has read the decree and orders the lictors to drive the traitor from the temple; repeating the opprobrious word in rage and indignation, he gives it the burst and body of the compound stress. "TraiXtor!" Kgo; but — Ire clearly indicates to the eye the movement of the voice in its execution. Used with care it is one of the happiest vocal efforts, but if carried to excess becomes a marked mannerism. It is the symbol of thought expressed in tran- quil, reverential, pathetic, sublime, and solemn emotions, and, therein, with effusive form, never abrupt or explosive. Note. — It is upon this swell that teachers depend for purifying, mellowing, developing and giving flexibility to the voice of the singer; and in conservatories of music years are frequently given to its practice. If, therefore, weeks or months be asked from the reader, whose voice in speech-action, more rapid than in song, has not the opportunity in execution with the singer, it cannot be considered a too long labor — if he be in earnest. Let the pupil take the syllable ah, awe, oh, and occa- sionally practice with clear full breathing ; beginning softly, gradually increasing to the middle and then di- minishing to the close. mh^> ^<^mere^> <^0&^> MEDIAN STRESS. Let the practice be in low and softer forms at first, then varied by stronger tones and swell, which will furnish in itself all necessary praxis. From this let him turn always to the practical application in reading or speaking such passages as follow : Ex. — Slow time, loiv pitch, median stress, orotund. ■o -o- <> Oh thou whose balance does the mountains weigh. Whose will the wi^O^ld tumul-<>tuous seas obey. Ex. — O sing unto the Lo-<>-rd a new song; sing unto the Lord, all the earth. For the Lord is great and greatly praised; He is to be feared above all gods. For all the nations are idols ; but the Lord made the heavens. O worship the Lord in the beauty of holiness ; fear before him all the earth. Ex. — You, sir, know That you, on the canvass, are to repeat Things that axe fairest, things most sweet — Woods, and cornfields, and mulberry tree, The mother — the lads — with their birds — at her knee. But o-O-h ! that look of reproachful woe ! High as the heavens your name I'll shout If you paint me the picture, and leave that out. Ex.— Ho-Oly, ho-Oly, ho<>ly Lo-O-rd ! God of Sabaoth. Holy, holy, holy Lord 7 In the highest heavens adored, Author of all nature's frame, — Father ! hallowed be Thy name. 127 PHILOSOPHIC ELOCUTIONS When the emotions above referred to swell into grandeur or majesty the median takes more of the expulsive form, higher pitch, stronger force, and thus its appropriate and limited use gives pomp, dignity and power to expression, which adapts it to grand and lofty thought, courage, command, wonder, admiration, enthusi- asm, high indignation, remonstrance, adoration, devotion, and kindred emotions. It is peculiar to prayer, sacred thought and poetry, which with- out it seem always commonplace and charac- terless. Note. — Its abuse or excessive use, like that of thorough stress, leads to a form of stereotyped intonation and " sing-song," as also to an inflated stilted strut of voice that becomes offensive as a mouthing affectation, which must be avoided. All forms of grand, solemn or sublime thought in prose and poetry present opportunity for praxis, so that many examples need not be added. The following few will make good exercises : Ex. — Ossian's address to the sun. Expulsive orotund, strong median stress, slow time O thou that roll-C^est above ! round as the shield of my fathers. Whence, are thy beams, O sun, thy ever- lasting light ? Thou comest forth in thy awful beauty ; the stars hide themselves in the sky ; the moo?i, cold and pale, sinks in the Western wave. But, thou, thyselj movest alone. Who can be a companion of thy course 128 MEDIAN STRESS. The oaks of the mountains fall; the mountains them- selves decay with years; the ocean shrinks and grows again ; the moon herself is lost in heaven. But thou art forever the same, rejoicing in the brightness of thy course. When the world is dark with tempests ; when thunder rolls and lightning files ; thou lookest in thy beauty from the clouds and laugliest at the storm. Ex. — And 0,-O-if, perchance, there should be a sphe-^re Where, all is made right, which so puzzles us here, Where, the glare, and the glitter, and tinsel of time Fade and die, in the light of that region, sublime Where, the soul, disenchanted, of flesh and of sense Unscreened by its trappings, and shows, and pretence Must be clothed, for the life, and the service above With purity, truth, fait h, meekness, and love; O, daughters of Earth / Foolish virgins / Beware / Lest, in that upper realm, you have nothing to wear / Ex. — "Motionless tor^C>-rents ! silent cat-O-aracts ! Who, made you glorious, as the gates of Heaven Beneath the keen, full moon ? Who, bade the sun Clothe you with rain^O^ifows ? Who, with living flowers Of loveliest blue, spread garlands at your feet? God J let the torrents like a shout of nations Answer; and let the ice plains echo, God!" Ex. — Prayer of Henry V. before Agincourt. Effus. and expul. orotund, strong median, imp. force. o o o o o K. Hen. O God of battles ! steel my soldiers' hearts; Possess them not, with fear ; take from them now The sense of reckoning, if the opposed numbers Pluck their hearts from them — Not to-day, O Lo^C^rd, O, not to-day, think not upon the fault My father made in compassing the crown ! 129 PHILOSOPHIC ELOCUTION. I Richard 's body have interred new; And on it have bestow' d more contrite tea-Q^rs Than from it issued forced drops of blood; Five hun^C^dred poor I have in yearly pay, Who, twice a day, their wither'd hands hold up Toward heaven, to pardon blood ; and, I have built Two chatty-tries, where, the sad and solemn priests Sing sti^O^H, for Richard's soul. More wi^O^ll I do ; Though all that I can do is nothing worth, Since, that my penitence, comes, after all, Imploring par-0~don. Strong orotund, high pitch, full median stress. Ex. — " Bra-O-vo," cried Frances, "right-O-ly do-One! " Section VI. — Thorough Stress. This element is properly used only where the voice, requiring to be strengthened for distance, fills up the tone with body of air and gives it prolonged character which thoroughly sustains and bears the words along ; thus closely resem- bling force as before defined. We rarely hear it in ordinary life, except from the mouths of street pedlars and others crying out their wares. It is altogether out of place in ordinary conversation, reading or discourse, and always marks coarseness or want of true cultiva- tion. It is the ground work of the intoning style 130 THOROUGH STRESS. ■which long reach of sound necessitated in large cathedrals, and which still spoils so much good reading. It is evidence of power in vocality, and is useful in open-air speaking to large crowds and in very large buildings ; though its office of former years, which was chiefly to aid the army- herald in conveying messages, standing at safe distances beyond the reach of weapons of those times, is nearly obsolete. Its perfection consists simply in the avoidance of throat- tones ; working the abdominal and dorsal muscles ; clearly articulat- ing and distinctly forming consonant sounds* In reading, it is necessary in the interpretation of such passage as the following — one of its most hackneyed examples. Ex. — Expul. orotund — Thorough Stress, high pitch. Rejoice, you men of Angiers ! ring your BELLS : King John, your king and England's, doth approach; — Open your gates, and give the victors way! So Rich. Ill enters, the scene Bosworth Field, seeking and calling with all his voice for Rich- mond — King R. What ho/ young Richmond, ho! 'tis Richard calls; I hate thee, Harry, for thy blood of Lancaster. 131 PHILOSOPHIC ELOCUTION. Now, if thou dost not hide thee from my sword — Now, while the angry trumpet sounds alarms And dying groans transpierce the wounded air — Richmond, I say ! come forth and singly face me ! Richard is hoarse — with daring thee to arms. With such stress also and expulsive orotund should be read the following lines of Henry V— calling from below to the governor of Harfleur and citizens on the city wall. King Henry. How yet resolves the governor of the town? This, is the latest parte, we will admit; Therefore to our best mercy, give yourselves ; Or like to men, prond of destruction, Defy us to our worst : for, as / am a soldier, A name that in my thoughts becomes me best, If I begin the battery once again, I will not leave the half-achieved Harfleur Till, in her ashes, she lie buried. The gates of mercy shall be all shut up, And the flesh' 'd soldier, rough and hard of heart, In liberty of bloody hand shall range With conscience wide as hell, mowing like grass Your fresh-fair virgins and your flowering infants. Owing to the inflexibility which the high pitch employed with this stress gives to the voice, it is, when much used, destructive of the grace and finish that other forms of stress tend to develop. It is deplorably too much used in the school- 132 THOROUGH STRESS. room where the shouting character of voice ordinarily practised or indulged in class recita- tions not only vitiates the tastes and manners of the pupils, but also their relish for literature. And it requires no great intelligence or philosophy to trace to this undoubted school abuse and habit the foundation and establishment of the mo- notony, rigidity, want of modulation and flexi- bility which mark the speakers from pulpit, bar and platform all over our country. Note. — The author is satisfied that many writers, copying it is feared, one from another, mistake the character of this element and confound it with force. Thus a very intelligent elocutionist defines it as exhibiting in one and the same sound that marked force of utterance which, radicaf, median and vanishing stress would sepa- rately apply; and then he attributes to it the expression of rapture, joy, triumph, exultation, lofty command, indig- nant emotion, disdain and excessive grief (already covered by tremor or other forms of stress), and gives it as follows : u Examples of thorough stress:" u Rapture, joy, triumph, exultation." " Expulsive orotund, Impassioned force, Powerful stress." From the Dying Christian. Lend, lend your wings! I mount, I fly!. O grave ! where is thy victory ? O Death ! where is thy sting ? 133 PHILOSOPHIC ELOCUTION. One may imagine how the ' 'dying christian' who a few lines before exclaims — What is this absorbs me quite — Steals my senses, shuts my sight, Drowns my spirit, draws my breath ? may, in the ecstasy of death with pure tone at- tenuated by weakness to partial aspirate quality utter with the tremor of exultation and joy those lines. But how that condition or he, is to assume the explosive orotund as one sensible writer sug- gests, or the tones and expression of the above example, formulated by a very intelligent writer, the present author admits to lie beyond his com- prehension; and he prefers to confine thorough stress to the limits herein defined. Ex. One touch to her hand and one word in her ear, When they reached the hall door and the charger stood near, So light, to the croupe, the fair lady he swung, So light, to the saddle, before her he sprung. She is won ! We are gone ! Over bank, bush and scaur, They'll have fleet steeds that follow, quoth young Lochinvar. Section VII. — The Tremor. This, by some, is regarded as a quality of voice, but under such arrangement a difficulty 134 THE TREMOR. presents itself in the question, " What quality?" It is rather a condition or intermittent stress of voice, common, and perhaps about equally used with, or applied to all qualities. It is the process resulting from a nervous or irregular motion of the diaphragm, owing to mental disquietude or feeling which conveys through nerve to muscle its negative, deranged, excited or uncertain action. Thus, through their irregular expansion and con- traction, the diaphragm quivers or trembles, so to speak, in short rapid elevations and descents, expelling the air spasmodically from the lungs in form of continuous, hysterical pulsations. It resembles the trill, shake or tremolo of the sing- ing voice, and may be thus symbolized . Under the above process it is created deep down in the throat, first dropping the jaw and after the manner of light laughter, throwing rapid percussive action on the diaphragm and thereby into voice, thus breaking impassioned force into abrupt stress, and ejecting it like little balls or jets of SOUnd ooooooooooooo Note. — Take the sound hoh— let the jaw fall, and at- tempt a light, hearty laugh; then a little stronger — again still stronger, keeping the air in forceful pressure 135 PHILOSOPHIC ELOCUTION. from the lungs, and continue long as possible. Thus for full exercise, practice upon the various elemental sounds, syllables and words in varied pitch until the tremor become easy and natural in its execution. If difficult to effect by the pupil a few minutes illustration by the teacher is worth pages of written instruction, as no difficulty is really present when the voice action is once acquired. It is the natural expression of physical weak- ness, enfeebled age, infirmity, grief and consequent emotions, but is employed with varied qualities of voice expressing many passions — exultation, joy, mirth, rapture, grief, sorrow, deep distress, scorn, contempt, sarcasm, derision, mockery, fiend- ish glee, chuckling revenge, etc, It must always be accompanied by feeling or passion, and generally strikes the emphatic words, except in extreme age, great excitement, strong emotion, debility, when it may pervade almost the entire utterance, as in the following old ballad : Pity the sorrows of a poor old man Whose trembling limbs have borne him to your door, Whose days are dwindled to the shortest span, Oh, give relief! and heaven will bless your store. Oh, take me to your hospitable dome ! Cold blows the wind and piercing is the cold; Short is my passage to the friendly tomb, For I am poor and miserably old. THE TREMOR. The other extreme is exhibited in malignant thought, fiendish glee or joy, as in Shylock's impassioned exultation and chuckle over the news of Antonio's losses which he thinks are to bring about his plotted revenge. Voice qualities, guttural and aspirate, high pitch, rapid movement. Tremor throughout. Tub. Yes, other men have ill luck too : Antonio, as I heard in Genoa, — Shy. What, what, what ? ill luck, ill luck? Tub. Hath an argosy cast away, coming from Tripolis. Shy. I thank God, I thank God. Is't true, is't true ? Tub. I spoke with some of the sailors that escaped the wreck. Shy. I thank thee, good Tubal : good news, good news ! ha, ha ! where ? in Genoa ? So also it is shown in the rapid revulsion to deep grief which seizes Shylock in the next sen- tence when reminded of his own loss. Tub. Your daughter spent in Genoa, as I heard, in one night fourscore ducats. Shy. Thou stickst a dagger in me : I shall never see my gold again : fourscore ducats at a sitting ! fourscore ducats ! Tub. There came divers of Antonio's creditors in my com- pany to Venice, that swear he cannot choose but break. Shy. I am very glad of it : I'll plague him ; I'll torture him : I am glad of it. 137 PHILOSOPHIC ELOCUTION. And so in his grief which pervades the follow- ing — the voice movement retarded, as it always is in grief — supplemented also in this example by rising slides and querulous tone. Shy. Why, there, there, there, there! a diamond gone, cost me two thousand ducats in Frankfort ! The curse never fell upon our nation till now; I never felt it till now: two thousand ducats in that; and other precious, precious jewels. Again in pure grief, as Milton P. L., Book x, 914, makes Eve address— u With tears that ceased not flowing, and tresses all disordered," her contemptibly mean and selfish husband ; who while spurning and cursing her for generous, lov- ing act — overlooks his own brainless indiscretion. Ex. — Pure tone, slow time and tremor throughout. Forsake me not thus, Adam ! Witness heaven What love sincere— and— reverence in my heart I bear thee, and — unweeting have offended Unhappily deceived — thy suppliant 1 beg, and clasp thy knees. Bereave me not Whereon I live — thy gentle looks — thy aid — Thy counsel, in this— uttermost distress— My only strength and stay ; forlorn of thee Whither — shall I betake me, where— subsist? While yet we live — scarce one short hour perhaps — 138 THE TREMOR. Between us two, let there be peace, # # * * # On me exercise not Thy hatred for this misery, befallen — On me already lost — me, than thyself, More miserable ; both have sinned, but thou Against GWonly, I, 'gainst God and thee; And, to the place of judgment, will return There — with my cries — importune heaven, that all The sentence from thy head, removed — may light On me t sole cause — to thee — of all this woe Me, only me — just object of his ire. It is worth the effort of the reader and speaker to dwell on this element of stress, for it is nature's true exponent of her most sensitive and expressive sympathy. So universal is its action that it is hardly confined to humanity, but finds its counterpart in lower nature. The bleating of the lamb and other symbols in the inferior ani- mal are of like physiology, and convey to our ear the sense of similar emotions there. Its pres- ence speaks the thrill that moves the lover's heart; the delicate sensibility that trembles in the sympathy of friend ; the penitential thought that bursts from sinner's breast ; and without it many of the most beautiful and captivating pas- sages of our literature fail of the charm which inspired their authors. 139 PHILOSOPHIC ELOCUTION. Ex. — Luke xviii : 9. Two men went up into the temple to pray, &c. The Pharisee stood and prayed thus, etc. 13. And, the publican, standing afar off, would not lift up so much as his eyes unto heaven, but smote upon his breast, saying, God be merciful to me a sinner. Ex. — Pure tone, impassioned expulsive force, tremor throughout. Agonizing appeal. — Lalla Rookh. O, could'st thou but know With what a deep devote dness of woe I wept thy absence — o'er and o'er again Thinking of thee — still thee, 'till thought grew pain And memory, like a drop, that, night and day Falls cold and ceaseless, wore my heart away. Did'st thou but know, how pale I sat at home My eyes still turned the way thou wert to come And all the long, long night of hope and fear Thy voice and step still sounding in my ear — O God ! Thou would'st not wonder that at last When every hope, was, all at once, o'ercast When I heard frightful voices round me say Azim is dead ! my wretched brain gave way And I became, a wreck, at random driven Without one glimpse of reason or of heaven. Ex. — Triumph, Exultation, Rapture. Tremor, aspirated pure tone, quick time, subdued force. The Dying Christian. The world recedes — it disappears Heaven opens on mine eyes ! mine ears With sound seraphic ring Lend, lend your wings ! I mount ! I fly ! O grave ! where is thy victory ? O death ! where is thy sting ? TEE TREMOR. Ex. — Ecstacy, Joy. Jennie Brown, Relief of Luc know. Tremor, high pitch, quick time, expulsive force. "The Highlanders! O dinna ye hear The Slogan far awa ? The Macgregors ! O ! I ken it weel, Its the grandest o' them a ! " " God bless the bonny Highlanders! We're saved ! We're saved ! she cried, And fell on her knees and thanks to God Flowed forth like a full flood-tide. Ex. — Gladsome Joy. Tremor, rapid median stress, pure quality, high pitch. "You must wake and call me early, call me early, mother dear, To-morrow'll be the happiest time of all the glad New- Year; Of all the glad New-Year, mother, the maddest, merriest day ; For I'm to be Queen o' the May, mother, I'm to be Queen o' the May. " I sleep so sound all night, mother, that I shall never wake, If you do not call me loud when the day begins to break ; But I must gather knots of flowers, and buds and gar- lands gay, For I'm to be Queen o' the May, mother, I'm to be Queen o' the May. 141 PHILOSOPHIC ELOCUTION. Under force and stress let it be finally added that very many, with very good voices, make very bad reading owing to some mannerism; it may be a drawling -apathy, a monotonous intonation, a stereotyped cadence, a measured recurrence of in- flection, a want of sparkle or brightness in voice, etc., each or all of which must be broken up be- fore good reading can be effected. For such and for students generally the following selections are inserted as most salient exercises for cultivation of force and stress under various forms above dis- cussed, and therein for the certain eradication of the defects referred to. Note. — The special object of this work is not to teach certain pieces for recitation, but rather to prepare the voice for speaking, reading, or reciting all " pieces." The selections therefore have in addition to their force and beauty the higher purpose of applied utility. Ex. — The Battle of Naseby — Macaulay, Chiefly Expul. and Explo. Orotund — do. force and stress. > > > > Oh ! wherefore come ye forth in triumph from the North, With your hands and your feet and your raiment all red? And wherefore doth your rout send forth a joyous shout? And whence be the grapes of the zuine-pvess which ye tread ? Oh, evil was the root, and bitter was the fruit, And crimson was the juice of the vintage that we trod; For we trampled on the throng of the haughty and the strong, Who sate in the \i\g\i places and slew the saints of God. 142 FORGE AND STRESS— EXPULSIVE. It was about the noon of a glorious day of June, That we saw their banners dance and their cuirasses shine; And the man of Blood was there, with his long essenced hair, And Astley and Sir Marmaduke and Rupert of the Rhine ! Like a servant of the Lord, with his Bible and his sword, The General rode along us to form us for the fight, When a murmiwing sound broke out, and swelled into a shout, Among the godless horsemen upon the tyrant's right. And hark ! like the roar of the billows on the shore, The cry of battle rises along their charging line ! — For God ! for the Cause ! for the Church ! for the Laws ! For Charles King of England, and Rupert of the Rhine ! The furious German comes, with his clarions and his drums, His bravoes of Alsatia and pages of Whitehall ; They are bursting on our flanks ; — grasp your pikes ; — close your ranks ; — For Rupert never comes but to conquer or to fall. They are here ; — they rush on ! We are broken— we are gone ; — Our left is borne before them like stubble on the blast. O Lord, put forth thy might ! O Lord, defend the right ! Stand back to back, in God's name, and fight it to the last. Stout Skippon hath a wound ; — the centre hath given ground ; Hark ! hark ! What means the trampling of horsemen on our rear? Whose banner do I see, boys? — 'Tis he, thank God, 'tis he, boys! Bear up another minute. Brave Oliver is here ! Their heads all stooping low, their points all in a row, Like a whirlwind on the trees, like a deluge on the dykes, Our cuirassiers have burst on the ranks of the Accurst, And at a shock have scattered the forest of his pikes. Fast, fast, the gallants ride, in some safe nook to hide Their coward heads, predestined to rot on Temple Bar. And he — he turns, he flies ! — shame to those cruel eyes That bore to look on torture, and dare not look on war. Ho! comrades, scour the plain ; and ere ye strip the slain, First give another stab to make your guest secure ; Then shake from sleeves and pockets their broad-pieces and lockets, The tokens of the wanton, the plunder of the poor. 143 PHILOSOPHIC ELOCUTION. Fools ! your doublets shone with gold, and your hearts were gay and bold, When you kissed your lily hands to your lemans to-day; And to-morrow shall the fox, from her chambers in the rocks, Lead forth her tawny cubs to howl above the prey. Where be your tongues that late mocked at heaven and hell and fate, And the fingers that once were so busy with your blades ; Your perfumed satin clothes, your catches and your oaths, Your stage plays and your sonnets, your diamonds and your spades? Down, down, for ever down, with the mitre and the crown, With the Belial of the Court, and the Mammon of the Pope ; There is woe in Oxford Halls ; there is wail in Durham's Stall ; The Jesuit smites his bosom; the Bishop rends his cope. And She of the seven hills shall mourn her children's ills, And tremble when she thinks on the edge of England's sword ; And the kings of earth in fear, shall shudder when they hear What the hand of God hath wrought for the Houses and the Word. Ex. — From Song of the Stars. — Bryant. Rapid median and rad. stress, high pitch. " Away\ away y , through the wide, wide sky, The fair, blue fields that before us lie; Each sun, with the worlds that round him roll, Each planet, poised on her turning pole, With her isles of green, and her clouds of white, And her waters that lie like fluid lights " Away\ awayM In our blossoming bowers, In the soft air, wrapping these spheres of ours, In the seas, and fountains that shine with morn, See\ love is brooding, and life is born s , And breathing myriads, are breaking from night, To rejoice, like us, in motion and light\ " Glide on s , in your beauty, ye youtMul spheres, To weave the dance that measures the years. 144 FORCE AND STRESS— DIMW. Glide #/z\ in glory and gladness se?it To the farthest wall of the nrmament\ The found less, visible smile, of Him, To the veil of whose brow our lamps are dim." Ex — From The Voice of Spring. — Mrs. Hemans. Rapid movement, high pitch, orotund, rad. and dim. stress. > > > > I come, I come ! Ye have called me long, I come o'er the mountains, with light and song, Ye may trace my step o'er the wakening earth, By the winds which tell of the Volets birth, By the/rzwrose stars, in the shadowy grass, By the green leaves, ^ening, as I pass. ****** I have looked, on the hills of the stormy North And the larch has hung all his tassels forth, The fisher is out on the stormy sea And the reindeer bounds o'er the pastures free, And the pine has a. fringe of softer green And the «&?.?$ looks bright, where my foot hath been. ****** From the streams and founts I have loosed the chain They are jo/^ing on, to the silvery main, They are flashing down, from the mountain brows They are flinging spray o'er the forest boughs They are bursting, fresh, from their sparry caves And the earth resounds with the joy of waves ****** Away from the dwellings of care-worn #/th Their light stems //fcrz'//, to the wildwood strains And. youth is abroad in my green domains. 145 PHILOSOPHIC ELOCUTION. Both of these poems in full, with such spark- ling compositions as the following, and. others from Moore's melodies, are proper antidotes for the defective voice action last above mentioned. Hail to thee ! hail to thee kindling Power! Spirit of Love ! Spirit of Bliss ! Thy holiest time is the moonlight hour And there never was moonlight so sweet as this. By the fair and brave who blushing unite Like the sun and wave, when they meet at night, By the tear that shows when passion is high As the rain-drop flows from the heat of the sky By the first love beat of the youthful heart By the bliss to meet and the pain to part By all that thou hast to mortals given, Which — O could it last, this earth were heaven ! We call thee, hither, entrancing Power ! Spirit of Love, Spirit of Bliss ! Thy holiest time is the moonlight hour, And there never was moonlight so sweet as this. Lalla Rookh. Wreathe the bowl, with flowers of soul The brightest wit can flnd us We'll take & flight, toward heaven, to-night And leave dull earth behind us Should love amid the wreaths be hid, That Joy, the enchanter, brings us No danger fear, while wine is near, We'll drown him, if he stings us. Then wreathe the bowl, &c. 146 CHAPTER VIII. Qualities of Voice. — Pure Tone. The phenomenon of voice and its articulation being understood, the first thing to be sought in the commencement of proper elocutionary training is the ability to make pure, clear tones. And as this depends altogether upon correct management of breath, it may be desirable, espe- cially for older pupils, who as a rule do not relish long lessons in breathing, to adopt such exercises as with the above preliminary instruc- tions in the natural office of using the lungs and vocal organs, will serve to continue and enforce simultaneously the principles of breathing and voice culture. Pure Tone, which is the clear, untainted quality of the voice in healthy physical condition, pre- served from vicious influences of school training, nasal peculiarities, etc., commonly prevailing, is in fact a milder, softer, subdued form of that highest quality, the Orotund. But let us accept it as a distinct quality for structural purposes and 147 PHILOSOPHIC ELOCUTION. conditions, using it here, as above suggested, to perfect thorough breathing, and therein as a basis of larger voice development in the orotund. To enunciate clearly and carefully, to keep the breath moving regularly, to exercise a sparing economy in its emission, converting it into voice, is absolutely necessary to the formation of the soft and liquid quality of this tone. It is attained by much the same process as laid down for firm, natural breathing, namely: Keep the tongue fiat as possible in the mouth, the pharynx well expanded and pressed back, the head erect, the uvula raised; then with tranquil pressure of the abdominal muscles and diaphragm urge the air through the glottis in clear, smooth, compact volume against the palate. This will give the effusive pare tone, which is used in the expression of pleasing, tranquil thought, pathos, solemnity. And the best practice is upon words contain- ing long vowels, as in the following : Long sound of A as in fate, aid, lace. Occasional sound of E as in ere, also ei-in feint. Note.— Let the student mark and obey the instructions as to position and breathing in Chap. Ill, intended for all exercises. 148 VOICE QUALITY— PURE TONE. Ex. — The patriots ate the apricots and presented bracelets for latent patriotism, sapient magi and patriotic patrons who patronized or gave their patronage to the Caucasian race. They catered for the radiant stamens, salient, squalor and the halo gratis. The Malay matron tore the cambric and made a caret for the eighteen carat gold tiara which ere a decade the hz, etc. Precision in these matters requires care lest we carry such to excess, and relying too much on analogy commit grave blunders. There is no advice so good as that which suggests a constant consultation of your dictionary, for our language is only moving to perfection. No rules are yet formulated as absolute guides, and what often seems directly analogous pronunciation can- not be relied upon, for on highest authorities Fellows is pron. YtWoz. Yet Bellows is pron. Bellus. Fallows is pron. Falloz. Yet Gallows is pron. Gallus. It is very desirable and necessary to im- press upon readers the importance of avoiding slovenly pronunciation, and upon teachers the impropriety of permitting the establishment of such habits, which would not exist if word pro- 152 VOICE QUALITY— PURE TONE. nunciation were attended to instead of single ele- mental sounds. An extract from the letter of a reasonably intelligent boarding-school Miss pre- sents a fair illustration of this abuse. " I almost wish there were no vowels in our language, I " am so tired of puckering my mouth into such silly " forms for their pronunciation. We spent all last year " on them, I filled up two copy-books, and then knew " nothing of them till you taught me. Now we are " going over them again. While in the face of all, " our teacher in her reading and conversation says ' git ' " for get, and ' uv ' for of, ' toon ' for tune, ' en rowt ' for " l en route] etc., besides I am afraid I am getting those " horrid sepulchral tones ; I do not want any more les- " sons, but I am afraid of making her angry." And the worst feature of it is that the school- girl is correct. It is often cause of wonder that intelligent pupils tolerate so much. Long sound of U as in June, tube, suit, plume. " Ew flew, slew, new, dew. There is no vowel in our language so much abused as the long u, which in spite of the fact that no orthoepist or authority in English can be found to support such, is almost universally pronounced as "oo. v Americans so careful of their duties to the State, so justly proud of their constitution, yet regardless of all rule, are very rarely heard to pronounce either word correctly ; 153 PHILOSOPHIC ELOCUTION. but constantly talk of their " dooties " to the constitution, etc. There can be found no lexicographer to sanc- tion such pronunciation, and our own Webster and Worcester, the highest in the world, consume about half a quarto page in denouncing it. Still, educated ladies and gentlemen in drawing-rooms and in public ; teachers and professors in schools and in universities; ignorant elocutionists and learned theologians, on platform and in pulpit, continue its abuse in at least nineteen-twentieth s of the words where it is used. A lawyer talks of sooing a doo bill, or putting a note in soot as soon as it vnddoors. A teacher tells you of the dooty of scholars to footers as discussed at last Saturday's institoot. A public reader and professor of elocution will take the. stage, and following vile pronunciations prove himself unfitted for a teacher in hundreds of readings such as these : Shy. I have possess'd your grace of what I purpose; And by our holy Sabbath have I sworn To have the doo and forfeit of my bond : * # * * So can I give no reason, nor I will not, More than a lodged hate and certain loathing I bear Antonio, that I follow thus A losing soot against him. 154 VOICE QUALITY-PURE TONE. And a learned doctor of divinity does not seem ashamed to read : "Therefore they shall be as the morning cloud and as the early doo (dew) that passeth away." Some time ago, in teaching, the author im- provised for a class of ladies the following dog- gerel in order to arrest their attention in this regard, which, answering the purpose so well, has not since been changed, and is here sub- mitted as an exercise: I presume that the tune You assume to be new Was known to the duke And his flutist ere you Ever heard of a lute, Or the flute that he blew ; That the dew on the grass, And the note that is due, With the words constitution, And plume, flume and flew, With hundreds beside Which contain the long u, Sound just as absurdly, Pronounced as men do, To the ear of the scholar, The student, the muse, As to say we refoose it Instead of refuse. The intelligent reader will concede that the above is not intended as a sample of first-class 155 PHILOSOPHIC ELOCUTION. poetry; yet, as a matter of scholarship and taste, we might as well assert such as to be guilty of reading it after the manner of many teachers and reasonably educated people. I preswm that the toon You ass > Seated, one day, at the organ, . I was weary, and,-ill at ease, And my fingers wandered idly Over the noisy keys. I do not know, what I was playing, Or what I was dreaming then ; But — I struck one chord of music Like the sound of a great amen. It flooded the crimson twilight Like the close of an angel's psalm, And it lay, on my fevered spirit, With a touch, of infinite calm % It quieted pd'm and sorrow Like ldve overcoming strife — It seemed the harmonious echo Of our discordant life. It linked all perplexed meanings Into one perfect peace, And tre?nbled away into silence As if it were loth to cease. 159 PHILOSOPHIC ELOCUTION. I have sought, — but — I seek it vainly That one lost chord divine That came from the soul of the organ And entered into mine. It may be that Death's bright angel Will speak in that chord again, It may be-that-onlv-//z Heaven I shall hear — that grand amen. [ADELAIDE A. PROCTOR. THE SCULPTOR BOY. Pure tone. — slow time — moderate pitch — smooth median and dim. stress. Chisel in hand-stooA a sculptor boy With his marble block, before him, And, his face lit up, with a smile of joy As an angel dream passed o'er him. He carved that dream on the yielding stone With many a sharp incision; In Heaven's own light, the sculptor shone — He had caught — that angel vision. Sculptors of life are we, as we stand With our lives uncdrven, before us, Waiting the hour, when, at God's command Our life-dream passes o'er us. Let us carve it then, on the yielding stone With many a sharp incision ; Its heavenly beauty, shall be our own — Our lives — that angel vision. 160 VOICE QUALITY— MONOTONE. Section II. — The Monotone. This may be considered rather as a character or condition than as a distinct quality of voice. Yet it has one special office, as below treated^ and is, as an exercise, the most beneficial and po- tent in its effects on voice. The advantages arising from it cannot be overrated, and depend much upon faithful, continued practice, which should be started about middle register of voice and reduced at each repetition until barely audible. Note. — Keep the mouth formed as directed in pure tone, the tongue flat, uvula well raised, larynx depressed and a full volume of air passing through the well-opened glottis. Keep the tones always level, full and round, the vowels clear and pure in their enunciation, and free from fusion with the consonant sounds. Thus it is em- ployed in solemnity, sublimity, reverence, awe, etc. Ex. High-on-a-throne-of-ro-yal-state,-which-far Out-shone-the-wealth-of-Or-mus-and-of-Indj Or-where-the-gor-geous-east,-with-rich-est-hand, Showers-on-her kings,-bar-ba-ric pearl-and-gold, Sa-tan-ex-alt-ed-sat. This is one of the most effective exercises, and is to be read slowly in syllabic divisions as here given. Let it be a standing practice. 161 PHILOSOPHIC ELOCUTION. This character of voice, although properly a slow, continuous, level tone, is capable of some variety, and in deep solemnity it may be some- times moved from higher to lower key, and with also quick or slow movement, long and sustained quantity and organ tone, or with staccato action. There may be also an occasional exceptional syllable perceptibly departing from the monotone into slight inflection, as in cases of pause, termi- nation of sentences, etc.; for properly speaking, we can make no sound absolutely uninflected. In practice, however, maintain as clearly and nearly as possible the even level tone. The monotone has its special province, the supernatural, being the only quality or character of voice employed in such impersonation or inter- pretation. Hence, readings like the following in prolonged and level tones form the most effective practice, Note. — Let this mark — — - represent the monotone. Ex. Ghost. — I am thy father's spirit; Doomed for a certain term to walk the night, And, for the day confined to fast in fires, Till the foul crimes, done in my days of nature, Are burnt and purged away. But that 1 am forbid To tell the secrets of my prison-house, 162 VOI0E QUALITY— MONOTONE. 1 could a tale unfold, whose lightest word Would harrow up thy soul; freeze thy young blood; Make thy two eyes, like stars, start from their spheres; Thy knotted and combined locks to part, And each particular hair to stand on end, Like quills upon the fretful porcupine : But this eternal blazon must not be To ears of flesh and blood : — List — List — O List ! — If thou didst ever thy dear father love, Revenge his foul and most unnatural murder, etc. — Hamlet, Act i, Sc. 5. The voice, however, is confined to the rigid effusive only in the truly supernatural, where, as in the above example, it takes very little inflection or undulation. In truth, the confinement of the voice to one unchanging character is in itself the evidence of the unnatural or supernatural It is from this fact that elocution through simple phil- osophy deduces the principle for thus employing it, and therefore should monotonous readers take note of the unnatural condition to which they sometimes reduce themselves. In solemnity, sublimity, reverence and the like, the monotone in its effusive and expulsive forms is much employed in scripture reading, prayer, etc., of which the field of example is so' wide that the student may choose ad libitum. 163 PHILOSOPHIC ELOCUTION. Ex. — Man dieth and wasteth away; yea, man giveth up the ghost, and where is he ; as the waters fail from the sea and the flood decayeth and dryeth up, so man lieth down and riseth not ; till the heavens be no more ■ they shall not awake nor be raised out of their sleep. Ex. Holy ! holy ! holy Lord God of Sabaoth. Heaven and earth are full of the majesty of thy glory. The Lord is in his holy temple ; let all the earth keep silence before Him. When the wicked man turneth away from his wick- edness that he hath committed, and doeth that which is lawful and right, he shall save his soul alive. With an occasional rise into the orotund, this is the voice tone or quality essentially adapted to church service, and with the appropriate use of the median stress need never assume that drowsy, meaningless intonation too often heard. No tone is as reverent as that in which it may out-pour "the confession." Ex. Almighty and most merciful Father ; we have erred and strayed from thy ways like lost sheep ; we have followed too much the devices and desires of our own hearts. We have offended against thy holy law. We have left undone those things which we ought to have done ; and we have done those things which we ought not to have done, and there is no health in us. But thou, O Lord, have mercy upon us, miserable offend- ers. Spare thou those, O God, who confess their faults. Restore thou those who are penitent according to thy promises declared unto mankind in Christ Jesus our Lord. 164 VOICE QUALITY-TIIE OROTUND. Section III. — The Orotund. After a fair practice in the foregoing exercises for pure tone, etc., to which the pupil must occasion- ally return, it is next most desirable to pursue its larger development, application and manage- ment in the orotund. The praxis and instruction here is perhaps the most important duty of the teacher, certainly the most requisite study of the pupil. No greater mistake exists than the neg- lect of these preliminaries, and the teacher who simply proposes the recitation of pieces without due cultivation of the voice, should be warily dealt with. It is a very easy matter to make pupils believe they have fine voices and need not waste time in rudimentary exercises. In truth, even very intelligent and earnest pupils are gen- erally pleased to hear such and escape practice, so strong is the desire to plunge into the preparation of some "piece" for immediate exhibition; just as the beginner in a modern language is tickled with a few little phrases which he parades before friends to insinuate his progress or familiarity with the tongue. It is sufficiently known that the voice, like every other instrument, requires training and 165 PHILOSOPHIC ELOCUTION. being kept in tune ; so that our first duty in its management is to inform ourselves of the proper means by which this is effected. Therefore, throughout the various sections which deal with voice, it is proposed to set forth gradually and fully, by exercise and example, the developing and establishing process. The Orotund, which is only the more finished and enlarged pure tone, may be considered the true voice, of which all other qualities are modi- fications effected by the varied action of the vocal organism, producing changes which under their several names are employed as symbols of thought, representing or interpreting the varied emotions and passions of our nature. To produce this quality in its perfection, de- mands the most thorough action of the vocal mechanism, the fullest pressure of the muscles, giving increased energy to the lungs, and forcing or propelling through the glottis into the fully expanded resonance chambers of the voice the largest and most compact column of air. Thus the vocal cords are made to give full length and broad vibrations. The harmonics blend more softly and sweetly in the full-arched cavity of the 166 VOICE QUALITY— THE OROTUND. mouth, moulding and rounding all into those strong sonorous tones that shake the space around us when in form of words we send them forth. Being a combination of pure tone, volume and force, it is the true symbol of dignified and kin- dred emotions ; the voice in which the mind is wont to issue messages of grandeur, sublimity and conscious power, the tone of eloquence, high thought and fervor. In its impressive solemnity and force it is the medium of prayer and praise, of pulpit reading, and of pulpit speaking. It is, in short, the Voice of Oratory and the grandest quality of spoken sound. It is then the more satisfactory to know that it is purely the result, in nearly all cases, if not in all, of cultivation and effort. It is a too com- mon opinion and mistake, that a good voice is, like beauty, a gift, endowment or charm, only here and there bestowed. This is not admitted in training schools of music, which insist that every voice can and must utter pure tones under proper cultivation, and it is found universally true. So with the orotund; it is within the reach of all with whom no physical disability exists; and is, when acquired, not only less 16? PHILOSOPHIC ELOCUTION. fatiguing and free from danger to the organs than any, but is the most invigorating and easily sus- tained of any vocal action that our speech requires. Care should be taken for its proper acquirement under good instruction, and when acquired that it be not tortured into abuse, assuming forms of rant and bombast. This is too often the case, and close attention of the teacher is required to guard against it while practising. Note. — In view of remarks occasionally heard about ladies voices, it is here suggested before entering on these further exercises that lady pupils should consult Note, page 48; also VI, pages 21-22. Bearing now in mind that no mere theoretical knowledge will serve the reader or the speaker's purpose; that correct and properly directed ex- ercises can alone strengthen and purify the voice tones, and that the exercises must be fairly practised and adhered to for reasonable time, we may accept the following instructions as preliminary thereto : Keep the larynx well expanded and pressed back. the pharynx depressed or lowered. the tongue flat and well down at root. the uvula raised as seen in plate. the mouth fairly open and lips well rounded. the breath compactly directed against palate. 168 VOICE QUALITY— THE OROTUND. Let there be an energetic action of abdominal, and sometimes, in strong tones, of dorsal muscles, propelling a full column of air from the lungs through the glottis and open mouth. This, it will be seen, differs little from the organic arrangement for pure tone except in the depression of the larynx and action of the dor- sal muscles to give depth and additional power. There are sounds produced by certain favora- ble elemental combinations which, to establish this orotund quality, more thoroughly and rapidly operate upon the parts involved. Of these the following exercises may be accepted as among the best. The student must give them faithful practice, and the result will be satisfactory. Attending to above instructions and taking position and directions as before, read the follow- ing in middle pitch of voice, breathing between each word and throwing stress of voice on diph- thong sounds — Exjmlsive form. Sound of H — as in heart, hall, hate, how, had. Note. — This is the simple aspirate of our language, and consists in a forceful expiration against the vocal cords. It is one of the best breathing exercises, because almost any single word beginning with this letter will exhaust the breath and compel new supply. Say hold and satisfy yourself. 169 PHILOSOPHIC ELOCUTION. Ex. — His high-ness holds high his haugh-ty head and exhib- its himself to the /«-larious horde who exha/-ed hedxt-y hor-xor in the hti-mid hall. The hard heart-ed hedge hog heed-less of his hav-oc of the house-wiie's ham hies home-wards hap-py to have his head, his hands and his heart whole. The har?n-\ess hztm-ming bird hur-tles through the hot-house and ex-horts his ex-haust-ed hire- ling to hold his hob-by horse till har-vest home. Hold, hold, thy heart-less har-pmg, hear'st thou not ^z> ^^r- ried hope-less hu-mi\-ity. Zfo/d' and hie thee &?/&* -wards. Sound of broad A, as in fall, haul, walk, warm. Ex. — The splendor foils on castle walls and calls for shawls appalled the cow-ard hearts of all. His vault-mg daugh- ter haul-ed the dau phin in the satice-p&n and thought the haugh-ty tf^-thor dined on nauseous sausages. The pal-try sauce-hox waltz-ed on Cau- casus, and the au-\>nrr\ pal-fry drew lau-rel filau-dits, al-heit the naugh- ty dwarf got the ^watf through the fau-cet and taught his /al-con to thwart the ;;^2£//^-ish ^w-key if caught in #z/-tumn. He crossed the jdr# ze/#-ter in a squall and What's he that wishes so ? My cousin Westmoreland ? No, my fair cousin : If we are mark'd, to die, we are enow To do our country loss ; and if to live, 175 PHILOSOPHIC ELOCUTION. The fewer men — the greater share of honor. God's will ! I pray thee, wish not one man more. By Jove, I am not covetous for gold, Nor care I who doth feed upon my cost; It yearns me not, if men my garments wear; Such outward things dwell not in my desires : But, if it be a sin to covet honor, I am the most offending soul alive. No, faith, my coz, wish not a man from England : God's peace ! I would not lose so great an honour As one man more, methinks, would share from me For the best hope I have. O, do not wish one more! Rather proclaim it, Westmoreland, through my host, That he, who hath, no stomach to this fight, Let him depart ; his passport shall be made And crowns for convoy, put into his purse. We would not die, in that man's company That fears his fellowship to die with us. This day is called the feast of Crispian : He that outlives this day, and comes safe home, Will stand a tip-toe, when this day is named, And rouse him at the name of Crispian. He that shall live this day, and see old age, Will, yearly, on the vigil, feast his neighbours, And say, " To-morrow is Saint Crispian." Then will he strip, his sleeve, and show, his scars, And say, " These wounds I had on Crispin's day." Old men forget ; yet all shall be forgot, And he'll remember with advantages What feats he did, that day; the?i, shall our names, Familiar in their mouths as household words, Harry, the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, Be, in their flowing cups, freshly re?7iembet J d. This story, shall the good man, teach his son ; And Crispin Crispian shall ne'er go by, 176 VOICE QUALITY— THE OROTUND. From this day to the ending of the world, But we, in it, shall be remembered ; We few, we happy few, we band of brothers, For he to-day, that sheds his blood with me, Shall be my brother ; be he ne'er so vile, This day shall gentle his condition. And gentlemen, in England, now, a-bed, Shall think themselves, accursed, they were not here, And hold their manhoods cheap whiles any speaks That fought with us upon Saint Crispin's day. The expulsive voice action we have observed is properly the oratorical; but the explosive is also much used in mild and violent forms ; sometimes so modified as to be scarcely recog- nized as such. Its character, as sudden burst or explosion, would indicate association with inten- sity of passion under any order, whether of fear, dread, anger, hatred, love, grief, ecstasy, delight, etc., and whether in the language of the orator, the dramatist, the poet or the street. Hence we hear in the same form of utterance the cry of Fire ! Fire ! Fire ! and Othello's more subdued but quite as impassioned exclamation — Ecstasy of Love — Act III, Sc. 3. Excellent Wench ! Perdition Catch my Soul But I do love thee ! And, when I love thee not Chaos is come again. 177 PHILOSOPHIC ELOCUTION. Profound Grief or Dejection. — Scene 3. O, now, forever Farewell the tranquil mind ! farewell content ! Farewell the plumed troop, and the big wars, That make ambition virtue ! O, farewell ! Farewell the neighing steed, and the shrill trump, The spirit-stirring drum, the ear-piercing fife, The royal banner, and all quality, Pride, pomp and circumstance of glorious war! And, O you mortal engines, whose rude throats The immortal Jove's dread clamours counterfeit, Farewell ! Othello's occupation's gone ! Intense rage or anger, as developed in the progress of the scene. /ago. Is't possible, my lord ? Oth. Villain, be sure thou prove my love is false ; Be sure of it; give me the ocular proof; Or, by the worth of mine eternal soul, Thou hadst better have been born a dog Than answer my waked wrath ! /ago. Is't come to this ? Oth. Make me to see't; or, at the least, so prove it, That the probation bear no hinge nor loop To hang a doubt on ; or woe upon thy life ! /ago. My noble lord Oth. If thou dost slander her and torture me, Never pray more ; abandon all remorse ; On horror's head horrors accumulate ; Do deeds to make heaven weep, all earth amazed ; For nothing canst thou to damnation add Greater than that. 178 VOICE QUALITY— THE OROTUND. Intense passion, alarm, dread. — Macbeth, act v, sc. 5. Macb. Thou com'st to use thy tongue; thy story quickly. 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; 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. Ring the alarum-bell ! Blow, wind ! come, wrack ! At least we'll die with harness on our back. Note. — For expulsive and effusive orotund no better general reading can be had than Milton, Isaiah, the Psalms, besides what good oratorical selections the student may prefer. Further space needs not therefore be consumed in special extracts beyond the following, which, for voice practice, stands among the very best. The subjoined interpretation of Tennyson's glorious dithyrambic, " Charge or the Light Brigade," differs widely from accepted " read- ings " of elocutionists. The present author regards the first stanza as the argument of the poem after the manner of the earlier standard poets, and which is simply meant to set out the facts as if thus paraphrased : "At a certain time 179 PHILOSOPHIC ELOCUTION. and place in the history of war occurred the following glorious incident.' ' The usual form of rendering the fifth and sixth lines of this stanza in the shouting voice, as a command, seems simply absurd. These must be properly understood as the words of Capt. Nolan, who brings from the staff to Lord Lucan an order to advance. Lucan, in surprise, asks " whither," and Nolan ; repeating the instruc- tions, points towards the guns. This order Lucan now delivers to Lord Cardigan, commanding " the Brigade,'' as instructions sent. These are received and misapprehended, and here the poet assumes " some one had blundered." Now, in the first line of the second stanza, the poem properly opens, the explosive orotund with thorough stress and high pitch is there employed, and thus, as command is first heard, "Forward!" Besides the additional reasons which might be adduced, any other assumption, than the above, is against the discipline of the soldier, who, prompt to command, awaits no second " bidding ;" and had this been order given both horse and rider would instantly have plunged into action. 180 VOICE QUALITY— THE OROTUND. Half a league ', half a league — Half a league onward, All in the valley of death Rode the six hundred. " Forward the Light Brigade, Charge for the guns," he said. Into the valley of death Rode the six hundred. " FORWARD the LIGHT BRIGADE ! ' Was there a man dismay 'd ? No ! though the soldier knew Some one had blunder' d : Theirs, not to make reply', Theirs, not to reason why', Theirs, but to do and die. Into the valley of death Rode the six hundred. Cannon to right of them, Cannon to left of them, Cannon in front of them, Volleyed and thunder' d ; Storm'd at with shot and shell, Boldly they rode and well, Into the jaws of death, Into the mouth of hell Rode the six hundred. 181 PHILOSOPHIC! ELOCUTION. Flashed all their sabres bare, Flash'd as they turned in air, Sab'ring the gunners there, Charging an army, while All the world wonder* d : Plunged in the battery -smoke, Right through the line they broke; Cossack and Russian Reeled from the sabre-stroke Shattered and sunder 1 d, Then — they rode back, but — not Not the six hundred. Cannon to right of them, Cannon to left of them, Cannon behind them Volley'd and thunder'd ; Storm'd at with shot and shell, While horse and hero fell, They that had fought so well Came, through the jaws of death, Back from the mouth of hell, All that was left of them ; Left — of six hundred. VI. When — can their glory fade ? O THE WILD CHARGE THEY MADE ! All the world wonder'd. Honor the charge they made, Honor the Light Brigade, Noble six hundred ! 182 GUTTURAL TONES. Section IV. — Guttural Tones. Words as signs of ideas and mental action would be very ineffective if limited to one tone or quality of voice, not supplemented by inflec- tions, modulation, force, etc., to give character, form and shading to expression. Therefore, the various qualities of voice, the pure and impure, of which the latter, conveying the unpleasant, the distasteful, disapproved and negative or im- pure forms of thought, are as necessary as the former in their office to convey the pleasant, pure or positive condition of the mind. The guttural, although an impure tone and quality, is much used in speech. It is, when strong, cognate to the nasal tone, of a harsh, snarling, cynical order, and somewhat resembles the growling of the lower animals or the string vibration of the orchestral double bass. The mind of a strong, passionate nature, influ- enced by aversion, deep displeasure, extreme impatience, anger, disgust, contempt, etc., throws upon the voice impurity of thought that changes the quality of expression by such modification of the orotund as destroys its purity and smoothness. 183 PHILOSOPHIC ELOCUTION. The change is effected in the throat (whence its name) by such contraction of the larynx and relaxation of the vocal cords as interfere with the due passage of the column of air, which the energy of passion is strongly propelling against a partially closed glottis. The tongue is raised at the root, the uvula or veil of the palate par- tially dropped, and both further interfere with the air in its action on the vocal bands. Thus a sluggish, rumbling and discordant vibration is produced, which, falling in voice expression on emphatic words^ especially such as contain letters c, (hard) I, r, n, d, t, expressly fit it to the interpretation of all forms of the fierce savage, inimical, demoniacal or brutal. To exercise and cultivate this quality, let the mind assume unpleasant condition which will aid in the arrangement of the organs as above de- scribed. Then as the tone is cynical, take this single word, its cognate thought, cur, and prac- tise with a harsh smothered voice — cur-r-r-r! cur-rr-r ! — cur-r-r-r ! Then with a snarl in the voice apply it to the following example, which use also as an exercise. 184 GUTTURAL TONES. Let this sign, small and- larger CAPITALS, represent the guttural. Ex. Cor. — You common cry of CURS, whose breath I HATE As reek o' the rotten fens ; whose loves I prize As the dead carcasses of unburied men That do CORRUPT my AIR : I banish you. — Coriolanus, Act 3, Sc. 3. Note. — For this vibration of the vocal cords the above exercises are as good as a hundred ; and by practising thereon with a dog-like snarl in the tone there will soon be little difficulty. The chief desideratum is the prac- tical application to speech and reading. Keeping in mind the character of the thought which it interprets, let the pupils attempt the following — striking the gut- tural more or less strongly on words marked in small and larger capitals. Ex. — Irony. Henry V, Act I, Sc. 2. The King to French embassadors on discovering the in- sult offered in presentation of tennis balls. Curbing his temper. Dignified, Expulsive, Guttural, Orotund. K. Hen. We are glad the Dauphin is so pleasant with us ; His present and your pains we thank you for : When we have match' 'd our rackets to these balls, We will, in France, by God's grace, play a set Shall strike his father's crown into the hazard. Tell him he hath made a match with such a wrangler That all the courts of France will be disturb'd With CHACES. Ex.— Sarcasm. Henry V, Act III, Sc. 6. The King's reply to French herald who comes propos- 185 PHILOSOPHIC ELOCUTION. ing ransom. Chiefly expulsive, Orotund — with Gut- tural, on words in capitals. K. Hen. What is thy name ? I know thy quality. Mont. Montjoy. K. Hen. Thou dost thy office-fairly. Turn thee back, And tell thy king I do not seek him now; But could be willing to ?narch on to Calais Without impeachment : for r to say the sooth, — Though 'tis no wisdom to confess so much Unto an enemy of craft and vantage, — My people are-with. sickness-much enfeebled, My numbers lessened, -and those few I have Almost no better than so many — French ; — Who, when they were in health, I tell thee, herald, I thought upon one pair of English legs Did march three Frenchmen. Yet, forgive me, God, That I do brag thus! This your air of France Hath blown that vice in me :-I must repent. Go, therefore, tell thy master here I am ; My ransom is this frail and worthless trunk, My army but a weak and sickly guard; Yet,- God before, tell him we will come on, Though France himself and such another neighbor Stand in our way. There's for thy labour, Montjoy. Go, bid thy master well advise himself; If we may pass, we will; if we be hinder'd, We shall your tawny ground with your red blood Discolor: and so, Montjoy, fare you well. The sum of all our answer is but this : We would not seek a battle, as we are ; Nor,-as we are, we say we will not shun it : So TELL YOUR MASTER. Let the reader note the necessary and natural change from pure tone to guttural that takes 186 GUTTURAL TONES. place in the true interpretation of the thought in its transit from the first to the second stanza as underwritten from Scotts' Marmion. Canto iii.x. Where shall the lover rest, whom the fates sever From his true maiden's breast, parted forever ? Where, through groves deep and high, sounds the far billow, Where early violets die, under the willow ; There, through the summer day, cool streams are laving, There, while the tempests sway, scarce are boughs waving, There thy rest shalt thou take, parted forever ; Never again to wake ! never, O never ! Where, shall the traitor rest, he, the deceiver, Who could win woman's breast, ruin and leave her ? In the lost battle, borne down by the flying, Where mingles war's rattle with groans os the dying; Her wing shall the eagle flap, o'er the false-hearted, His warm blood the wolf shall lap, ere life be parted, Shame and dishonor sit by his grave ever, Blessing shall hallow it, never, O never! In moving through these passages of thought, it may be seen how useful are the impure tones — dropping tinge, and tint, and color, shadowed, cloudy, sombre, dark — creating* thus the clare- obscure of voice, and making it truly exegetical of passions and emotions. When used artificially we must be careful and not continue it on phrases or sentences to which 187 PHILOSOPHIC ELOCUTION. it does not apply, thereby misinterpreting that portion ; but lift it over purer thought and let it fall again upon its cognate or relational sequence as in the following : Ex. — Orotund, guttural, aspirated guttural, TREMOR. Glenvarloch gazed, and on his brow Remorse with pain and grief seemed blending-; A purse of gold, he flung beside The mother, o'er her dead child bending. Oh ! wildly laughed that woman then, Glenvarloch ! would ye dare to measure The holy life that God has given Against a heap of golden treasure ? u Ye spurned my prayer, for we were poor; But know, proud man, that God hath power To smite the king on Scotland's throne, The chieftain in his fortress tower. Frown on ! frown on ! I fear ye not; We've done the last of chieftain's bidding, And cold he lies, for whose young sake I used to bear your wrathful chiding. " Will gold bring back his cheerful voice, That used to win my heart from sorrow ? Will silver warm the frozen blood, Or make my heart less lone to-morrow ? Go back and seek your mountain home, And when ye kiss your fair-haired daughter, Remember him who died to-night Beneath the waves of Mona's water." 188 GTJTTUBAL TONES. Ex. Richard III, Act i, Sc. iii. Glou. The curse my noble father laid on thee, When thou didst crown his warlike brows with paper And with thy scorns drew'st rivers fro??i his eyes, And then, to dry them, gavest the duke a clout Steep d in the faultless blood of pretty Rutland, — His curses, then from bitterness of soul Denounced against thee, are all fall'n upon thee ; And God, not we, hath plagued thy bloody deed. The succeeding examples will sufficiently illus- trate the intensity of the Guttural quality. Merchant of Venice — Act i, Sc. iii. Shy. I will be assured I may; and, that I may be assured, I will bethink me. May I speak with Antonio ? Bass. If it please you to dine with us. Shy. Yes, to smell pork ; to eat of the habitation which your prophet the Nazarite conjured the devil into. I will buy with you, sell with you, talk with you, walk with you, and so following, but I will not eat with you, drink with you, nor pray with you. What news on the Rialto ? Who is he comes here ? Bass. This is Signior Antonio. Shy. [Aside\ How like a fawning publican he looks ! I hate him for he is a Christian, But more for that in low simplicity He lends out money gratis and brings down The rate of usance here with us in Venice. If I can catch him once upon the hip, I will feed fat the ancient grudge I bear him. He hates our sacred nation, and he rails, Even there, where merchants most do congregate, On me, my bargains and my well- won thrift, Which he calls interest. Cursed be my tribe If I forgive him ! 189 PHILOSOPHIC ELOCUTION. Ex. Richard II, act i, scene i. Nor. Then, Bolingbroke, as low as to thy heart, Through the false passage of thy throat, thou liest ! Three parts of that receipt I had for Calais, Disbursed I duly to his highness' soldiers ; The other part reserved I by consent ; For that my sovereign liege was in my debt, Upon remainder of a dear account, Since last I went to France to fetch his queen. Now swallow down that lie. For Gloster's death, I slew him not; but to my own disgrace, Neglected my sworn duty in that case. For you, my noble lord of Lancaster, The honorable father to my foe, Once did I lay in ambush for your life, A trespass that doth vex my grieved soul ; But, ere I last received the sacrament, I did confess it, and exactly begg'd Your grace's pardon, and, I hope, I had it. This is my fault : As for the rest appeal'd, It issues from the rancour of a villain, A recreant and most degenerate traitor ; Which in myself I boldly will defend ; And interchangeably hurl down my gage Upon this overweening traitor's foot, To prove myself a loyal gentleman Even in the best blood chamber'd in his bosom. Section V. — Pectoral Quality. This condition or character of voice differs in its formation, or physiology, so little from the gut- tural as to make it questionable whether it should be considered a separate, or distinct, quality. As 190 PECTORAL QUALITY. with the monotone and orotund, they touch so closely sometimes as to be hardly distinguishable. It is formed as the guttural in the throat, and by the same action of the cords and other organs. It differs mainly therefrom by its resonance deeper down in the bronchial tubes or upper por- tion of the chest — thus deepening the voice to a growl rather than a snarl, and giving a more imbruted tone to vicious expression as sometimes heard from low, vulgar, besotted, animal natures, or others representing such. Thus it would interpret also repulsive horror, diabolical revenge, or threatening, and such pas- sions, in low growling expression as the aspirate effects in hissing form Ex. — Slow time — Pectoral and Guttural — low pitch. Beware, young raving thing ! In time beware! Nor utter what I cannot, must not bear, Even from thy lips. Go, try thy lute, thy voice, The boy must feel their magic. I rejoice To see those fires, no matter whence they rise, Once more illumine, my fair Priestess' eyes ; And should the youth, whom soon those eyes shall warm, Indeed resemble, thy dead lover's form, So much the happier, wilt thou find thy doom, As one warm lover, full of life and bloom, Excels ten thousand cold ones in the tomb. 191 PHILOSOPHIC ELOCUTION. Nay, nay, no frowning, sweet ! Those eyes were made For love, not anger. I must be obeyed. It is always properly associated with low pitch. In fact, it exists as a defective habit in some voices, arising from constant low tones, con- sequent upon lax or lazy movement of abdominal muscles, and is rarely, except through indolence of the speaker, connected with pure thoughts. Note — It is exemplified again in these lines of King John, {Act Hi, scene 3,) suggesting to Hubert the mur- der of young Arthur. The words in the first speech are characterized by aspirated orotund in tones just above the whisper. Those in the second speech are succeeded by deep pectoral, beginning, " If the mid- night bell." The whole somewhat broken and dis- jointed, as men speak when plotting and " feeling their way" to another's acquiescence. Ex, — K.John. Come hither, Hubert. O my gentle Hubert, We owe thee much ! Within this wall of flesh There is a soul, counts thee, — her creditor, And with advantage means to pay thy love : And, my good friend, thy voluntary oath Lives — in this bosom, dearly cherished. Give me thy hand. I had a thing to say But — I will fit it, with some better time — By heaven, Hubert, I am almost ashamed To say what good respect I have of thee. Hubert. I am much bounden to your majesty. K. John. Good friend, thou hast no cause to say so yet: 192 PECTORAL QUALITY. But, thou shalt have; and creep time ne'er so slow, Yet it shall come — for me to do thee good. I had a thing to say, but — let it go : The sun is in the heaven, and, the proud day, Attended with the pleasures of the world, Is all too wanton, and too full of gawds To give me audience. If — the midnight bell Did, with his iron tongue and brazen mouth, Sound on into the drowsy race ot night ; If — this same were a churchyard where we stand, And thou possessed, with a thousand wrongs, Or — if that surly spirit, melancholy, Had baked thy blood, and made it heavy-thick, Which else runs tickling up and down the veins, Making that idiot, laughter, keep men's eyes And strain their cheeks to idle merriment, A passion hateful to my purposes; Or — if that thou couldst see me without eyes, Hear me without thine ears, and make reply Without a tongue, using conceit alone, Without eyes, ears and harmful sound of words; Then — in despite of brooded watchful day — I would, into thy bosom, pour my thoughts : But, ah, I will not ! yet I love thee well; And, by my troth, I think thou lovest me well. Hubert. . So well, that what you bid me undertake, Though that my death were adjunct to my act, By heaven, I would do it. Ex. — Then, methought, the air grew denser, perfumed from an unseen censer Swung by seraphim, whose footfalls tinkled on the tufted floor. " Wretch ! " I cried, " thy God hath lent thee — by these angels He hath sent thee Respite — respite and ?iepenthe from thy memories of Lenore / 193 PHILOSOPHIC ELOCUTION. Quaff oh quaff this kind nepenthe, and forgt this lost Lenore / Quoth the Raven : " NEVERMORE." Ex. The Dream of Darkness. — Byron. I had a dream, which was not all a dream, — The bright sun was extinguished ; and the stars Did wander darkling in the eternal space, Rayless and pathless; and the icy earth Swung blmd and blackening in the moonless air. Section VI. — The Aspirate. The most malignant as well as the most gen- erous passions of our nature require occasional expression, hence the aspirate which in general cases we would seek to avoid. It is an impure quality, akin to the guttural and whisper, coming as it were between them, and next in attenuated quality to the latter. It means properly "sound emitted in rough breathings' ' or hissings, and is necessary as expressive of violent passion. It then becomes comparative excellence in the in- terpretation of hate, aversion, fear, anger, frenzy, horror and the like passions. Where these rage intensely the aspirate added to the guttural, still further corrupting and vitiating the orotund or fundamental voice, gives thereto that vicious, 194 THE ASPIRATE. fiendish character expressive of dire revenge and destructiveness, which is otherwise inexpressible. Note — This quality of voice may be created as follows : Raise the tongue at the root, high towards the palate, obstructing as much as possible the passage ; contract and close the glottis still more than in guttural tones ; make strong effort to obstruct the egress of air, while with strongest pressure of abdominal dorsal and pectoral muscles it is forced out through the closed glottis and obstructed passage. Thus, while uttering the words, there will be an escape of air which is not converted into speech, but, driven out with utmost force, accom- panies it with harsh and hissi?ig sound. This is the aspirate as used in the interpretation of the malignant passions. From this conflict it will be palpable to the hearer as well as speaker that it is very severe on the voice and vocal mechanism; and all who use it constantly soon disqualify themselves for pure tone qualities. This is noticeable in all actors who give themselves mainly to the im- personation of aged and other characters largely employing this quality, as Lear, Richelieu, Shy- lock, etc. Note. — The whisper is the basis or a form of the aspir- ate, and gives best preliminary practice under proper selections both for the cultivation of this quality, and for strengthening the voice. The simple reason is that to maintain a lengthened, audible whisper, requires 195 PHILOSOPHIC ELOCUTION. more continuous muscular strength and force of breath than any other vocal effort, and must be pursued with discretion, not too often, or too much. Ex. — Practice, in strong whisper, short exercises contain- ing aspirate — h, — He /zfard /terrible /fowls, halloo'mg, /z place; Then-threw the glove, but not with love, ri'ght in the la'dy's face ! "Bravo !" cried Francis, '"''rightly done !" and he rose from where he sat ; "No love? quoth he, "but vdnity sets love a task like that!" Leigh Hunt. - 212 SELECTIONS. THE BATTLE OF IVRY. Now, glory to the Lord of Hosts ! from whom all glories are, And glory to our sovereign liege, King Henry of Navarre ! Now-let there be the merry sound of music and of dance, Through thy cornfields green, and sunny vales, O pleasant land of France ! And thou Rochelle, our own Rochelle, proud / city of the waters, Again, let rapture light the eyes, of aU thy mourning daughters ; As thou wert constant, in our ills, be joyous, in our joy ; For cold-and stiff-and still, are they, who wrought thy walls annoy. Hurrah ! Hurrah ! a single field hath turned the chance of war ! Hurrah ! Hurrah ! for Ivry, and Henry of Navarre. Oh! how our hearts were beating, when, at the dawn of day, We saw the army of the League, drawn out in long array; With all its priest-led citizens, and all its rebel peers, And Appenzel's stout infantry, and Egmont's Flemish spears! There, rode the brood of false Lorraine, the CURSES of our land ; And dark Mayenne was in the midst, a TRUNCHEON in his hand ; And-as we looked on them-we thought of Seine's empurpled flood, And good Coligni's hoary hair all dabbled with his blood ; And we cried unto the living God, who RULES the fate of war, To fight for His OWN holy name, and Henry of Navarre. The King is come to marshal us, in all his armor dressed ; And-he has bound a snow-white plume, upon his gallant crest. He looked upon his people, and a tear was in his eye; He looked upon the traitors, and his glance was stern and high. Right graciously he smiled on us, as rolled from wing to wing, Down all our line, a deafening shout, "God save our lord, the King!" "And if my standard-bearer fall — as fall full well he may, — For never saw I promise yet of such a bloody fray, — Fress-wheve ye see my white plume shine, amid the ranks of war, And be your oriflamme to-day the helmet of Navarre!' Hurrah ! the foes are moving ! Hark to the mingled din Of fife, and steed, and trump, and drum, and roaring culverin ! The fiery Duke is pricking fast across Saint Andre's plain, With all the hireling chivalry of Guelders and Almayne. Now, by the lips of those ye love, fair gentlemen of France, Charge for the golden lilies, — upon them with the lance! A thousand spurs are striking deep, a thousand spears in rest, A thousand knights are pressing close behind the snow-white crest ; And in they burst, and on they rushed, while, like a guiding star, Amidst the thickest carnage, blazed-ihe helmet of Navarre. 213 PHILOSOPHIC ELOGLTIOHT. Now-God be praised-the day is ours ! Mayenne hath turned his rein, D' Aumale hath cried for quarter — the Flemish count is slain; Their ranks are breaking, like thin clouds before a Biscay gale ; The field is heaped with bleeding steeds \ a.nd fags, and cloven mail. And then-we thought on vengeance, and, all along our van, " Remember St. Bartholomew!" was passed from man to man ; But out spake gentle Henry, — " No Frenchman is my foe : Down, DOWN-with every foreigner, but let your brethren go." — Oh, was. there ever such a knight, in friendship or in war, As our sovereign lord, King Henry, the soldier of Navarre? Right well fought all the Frenchmen who fought for France to-day ; And many a lordly banner, God gave them, for a prey. But-7£/^ of the religion have borne us best in fight ; And the good Lord of Rosny hath ta'en the cornet white — Our own true Maximilian the cornet white hath ta'en, The cornet white with crosses black, the flag of false Lorraine. Up with it, high ; unfurl it, wide — that all the host may know How God hath humbled the proud house which wrought his church such woe. Then-on the ground, while trumpets sound their loudest point of war, Fling the red shred,-a foot-cloth meet for Henry of Navarre. Ho maidens of Vienna! Ho matrons of Lucerne ! — Weep, weep and rend your hair for those who never shall return ! Ho Philip ! send, for charity, thy Mexican pistoles, That Antwerp monks may sing a mass for thy poor spearmen's souls. Ho gallant nobles of the League ! look that your arms be bright ! Ho burghers of St. Genevieve ! keep watch and ward to-night ! For our God hath crushed the tyrant, our God hath raised the slave And mocked the counsel of the wise, and the valor of the brave. Then glory to His holy name, from whom all glories are ! And glory to our sovereign lord, King Henry of Navarre ! Macauley. SUPPOSED SPEECH OP JOHN ADAMS UPON THE DECLARATION OF INDEPENDENCE. Mr. Webster, in a speech upon the life and character of John Adams, imagines some one opposed to the Declaration of Independence to have stated his fears and objections before Congress, while deliberating on that subject. He then supposes Mr. Adams to have replied in language like the following; Sink or swim, live or die, survive or perish, I give my hand and my heart to this vote. It is true, indeed, that in the beginning we 214 SELECTIONS. aimed not at independence. But there is a divinity that shapes our ends. The injustice of England has driven us to arms ; and blinded to her own interest, she has obstinately persisted, till independence is now within our gra&p. We have but to reach forth for it and it is ours. 'Why then should we defer the declaration? Is any man so weak as now to hope for a reconciliation with England,which shall leave either safety to the country and its liberties, or safety to his own life, and his own honor. If we postpone independence, do we mean to carry on, or to give up the war? Do we mean to submit, and consent that we shall be ground to powder, and our country and its rights trodden down in the dust ? I know we do not mean to submit. We never shall submit ! The war, then, must go on. We must fight it through. And if the war must go on, why -put off the Declaration of Independence? That measure will strengthen us. It will give us character abroad. Nations will then, treat with us, which, they never can do, while we acknowledge ourselves subjects in arms against our sovereign. Nay, I maintain that England herself, will sooner treat for peace with us, on the footing of independence, than consent, by repealing her acts, to acknowledge that her whole conduct towards us has been a course of injustice and oppression. If ire fail, it can be no icorse for us. But, we shall not fail. The cause will raise up armies ; the cause wiil create navies. The people, the people — if we are true to them — will cirry us, and will carry tlu-mselves gloriously through this struggle. I cure not how fickle ot her people has been found. I know the people of these colonies ; and, 1 know that resistance to British aggression, is deep and set- tled in their hearts, and cannot be eradicated. Sir, the Declaration of Independence will inspire the people with increased courage. Instead of a long and bloody war for the restoration of privileges, for redress of grievances, for chartered immunities, held under a Briti-h king, set before them, the glorious object of Entire indepen- dence, and it will breathe iuto them anew the spirit of life. Reid this declaration at the he id of the army ; every sword will be drawn from its scabbard, and ihe solemn vow uttered to maintain it, or perish on the bed of honor. Publish it from the pulpit; religion icill approve it, and the love of religious liberty will cling around it, resolved to stand with it, or fall with it. Send it to the public halls; proclaim it there ; let them see it, who saw their brothers and their sons fall on the field of Bunker Hill, and in the streets of Lexington and Concord, and the very walls will cry out in its support. Sir, I know the uncertainty of human affairs, but, I see, I see 215 PHILOSOPHIC ELOCUTION. clearly through this clay's business. You and I, indeed, may rue it. We may not live to the time when this declaration shall be made good. We may die, die colonists; die slaves; die, it may be igno- miniously, and on the scaffold. Be it so. Be it so. It it be the pleasure of Heaven that my country shall require the poor offering of my life the victim shall be ready at the appointed hour of sacri- fice — come when that hour may. But — while I do live, let me have a country, or at least a hope of a country, and that a free country. But whatever may be our fate, be assured, be as*und, that this declaration will stand It may cost treasure, it may cost blo^d; but it will stand, and it will richly compensate for both. Through the thick, gloom of the present, I see the brightness of the future, as the sun in heaven. We shall make this & glorious, an immortal day. When we are in our graves, our children will honor it. They will celebrate it with thanksgiving, with festivity, with bonfires, and illu- minations. On its annual return, they will shtd tears, copious, gush- ing tears; not of subjection and slavery, not of agony and distress, but of exultation, of gratitude, and of joy. Sir, before God, I believe the hour is come. My judgment ap- proves the measure, and my whole heart is in it. All that I have, and all that I am, and all that I hope ia this life, I am now ready to stake upon it ; and I leave off as I began, that, live or die, survive or perish, /am for the declaration. It is my living sentiment, and by the blessing of God, it shall be my dying sentiment — Indepen- dence now, and Independence forever. — Daniel Webster. The following selection, Marino Faliero, act v, scene in, offers fine practice for the voice almost throughout its entire range and qualities; from the narrative through the explosive oro- tund, guttural and aspirate, with transitions well marked, So, now-the Doge-is nothing,-and at last I am again — Marino Faliero : Tis well-to be so,-though but for a moment. Here was I crown'd, and here, — bear witness, Heaven I 216 SELECTIONS. With how much more contentment I resign That shining mockery, the ducal bauble, Than I received the fatal ornament. ONE OF THE TEN. Thou tremblest, Faliero ! DOGE. 'Tis with age, then. BENINTENDE. Faliero ! hast thou aught further to commend, Compatible with justice, to the senate? I would commend my nephew to their mercy, My consort to their justice y for methinks My death, and such a death, might settle all Between the state and me. BENINTENDE. They shall be cared for ; Even notwithstanding thine unheard-of crime. Unheard oil — Aye, there's not a history But shows a thousand crown'd conspirators Against the people ; but to set them free One sovereign, only, died, and one is dying. BENINTENDE. And who are they who fell in such a cause ? The King of Sparta, and the Doge of Venice- Agis and Faliero ! 217 PHILOSOPHIC ELOCUTION. BENINTENDE. Hast thou more To utter or to do ? DOGE. May I speak ? BENINTENDE. Thou may'st; But recollect, the people are without, Beyond the compass of the human voice. I speak to Time and to Eternity, Of which I grow a portion, not to man. — Ye elements ! in which to be resolved I hasten, let my voice be as a spirit Upon you ! Ye blue waves ! which bore my banner ! Ye winds! which flutter 1 d o'er as if you loved it, And fill'd my swelling sails, as they were wafted To many a triumph! Thou, my native earth, Which I have filed for, and thou, foreign earth, Which drank this willing blood from many a wound! Ye stones, in which my gore will not sink, but — Reek up to Heaven ! Ye skies, which will receive it ! Thou sun ! which shinest on these things, and Thou! Who kindlest and who quenchest suns ! — Attest! I am not innocent — but are these guiltless ? I perish, but-not unavenged \—far ages Float up from the abyss of time to be, And show these eyes,-before they close, -the doom Of this proud city,-and-I leave my curse On her and hers for ever : Yes, the hours Are silently engendering of the day, When she, who built 'gainst Attila a bulwark, Shall yield, and bloodlessly and basely yield 218 SELECTIONS. Unto a bastard Attila, without Shedding so much blood in her last defence As these old veins, oft drain'd in shielding her, Shall pour in sacrifice. She shall be bought And sold, and be an appanage to those Who shall despise her! — She shall stoop to be A province for an empire, petty town In lieu of capital' with slaves for senates, Beggars for nobles, panders for a people ! Then, — when the Hebrews in thy palaces, The Hun in thy high places, and the Greek Walks o'er thy mart, and smiles on it for his / When thy patricians beg their bitter bread In narrow streets, and in their shameful need Make their nobility a plea for pity ! When all the ills of conquer'd states shall cling thee, Vice" without splendour, sin without relief Even from the gloss of love to smooth it o'er, But in its stead course lusts of habitude, Prurient yet passionless, cold studied lewdness, Depraving nature's frailty to an art; — When these-and more are heavy on thee, when Smiles without mirth, and pastimes without pleasure, Youth without honor, age without respect, Meanness and weakness, and a sense of woe 'Gainst which thou wilt not strive, and dar'st not murmur, Have made thee last, and worst of peopled deserts ; Then. -in the last gasp of thine agony, Amidst thy many murders, -think of mine / Thou den of drunkards with the blood of princes ! Gehenna of the waters ! thou sea Sodom ! Thus I devote thee to the infernal gods / Thee and thy SERPENT SEED ! 219 PHILOSOPHIC ELOCUTION. DISCIPLINE. A block of marble caught the glance of Buonarotti's eye, Which brightened in its solemn deeps like meteor lighted sky, And one who stood beside him listened smiling, as he heard, »« Yes— I will make an angel of it " — was the sculptor's word. II. So mallei soon and chisel sharp the stubborn block assailed And blow by blow and pang by pang the prisoner unveiled. A brow, was lifted, high and pure, the waking eyes outshone; And as the master deftly wrought a smile broke through the stone. III. Beneath the chisel's edge, the hair, escaped, in floating rings ; And plume by plume, was slowly freed the sweep of half furled wings. The stately bust and graceful limbs their marble fetters shed And where the shapeless block had been an angel stood instead. IV. O blows that smite ! O hurts that pierce this shrinking heart of mine ! What are ye but the Master's tools, forming a work divine. O ! hope that crimibles at my feet ! O joys that mock and fly ! What are ye, but the clogs that hold my spirit from trie sky. Sculptor of Souls! I lift to Thee encumbered heart and hand; Spare not the chisel ; set me free, however dear the bands. THE RELIEF OP LUCKNOW. Oh, that last day, in Lucknow fort ! We knew that it was the last ; That the enemy's lines crept surely on, And the end was coming fast. To yield to that foe meant worse than death, And the men and we all worked on ; It was one day more of smoke and roar, And then, it would all be done. 220 SELECTIONS. There was one of us, a corporal's wife, A fair, young, gentle thing, Wasted with fever in the siege, And her mind was wand She lay on the ground, in her Scottish plaid, And I took her head on my knee ; " When my father conies hatne frae the pleugh. ," she said, " O, then please wauken me." She slept, like a child on her father's floor In the flicking of woodbine shade, When the house-dog sprawls by the open door, And the mother's wheel is stayed. It was smoke and roar and powder -stench. And hopeless waiting for death ; And the soldiers wife, like a fall-tired child, Seemed scarce to draw her breath. J sank to sleep, and, I had my dream Of an English village lane, And wall and garden ; but, one wild scream Brought me back to the war again. There, Jesse Brown stood, listening, 'Till, a sudden gladness broke All over her face ; and she caught my hand And drew me near as she spoke : 4 The Highlanders I O, dinna ye hear The slogan far awa ' ? The McGregor's ; O ! I ken it weel ; It's the grandest d* them a) ! 1 God bless the bonny Highlanders ! We're saved ! we're saved ! " she cried, And fell on her knees, and thanks to God Flowed forth like a full flood-tide. Along the Battery-line her cry Had fallen among the men, And they started back ; — they were there to die; But, was life so near them, then? They listened for life— the rattling fire Far off, and the/lo§ fo food) unb befyr, SBeit glangt e3 iiber bte Sanbe bte an bay blaue 3D?ccr, Unb rings son buft'gen ©arten tin Miit&enret$er 5?ran$, jDrtnn fprangen frifc&e Siunnen in SRcgenbogenglanj. £)ort frt§ ctn jloljer ftb'ntg, an Sahjb unb Stegen retcf) ; @r fa§ nuf fetuem Sfyrone fo ftnftcr unb fo bletctj. £enn n?a3 pr fmnt, ift ©(fcretfett, unb wag pr bit eft, ifi 2Butt>, Unb mas pr fpricbj, tft ©etgel, unb »a$ pr fc&retbt, tft Slut. d-injr jog nacb btefem Scbjoffp Ptn eble» Sangprpaar, Xer Sin' in golbnen Socfcn, ber Slnbre gran son £>aar; £pr a(tP ntit ber £arft\ ber fa§ anf fdnnitcfcm 9to§, (£3 fc^ritt iljm fvifd) jur Sette ber blitt)cnbe ©enofL £er 21lte fpradj sunt 3ungen: „9fim fet bereft mein 3ofjn! £)enf unfrer tiefften Sieber, ftimm nn ten sollften Son ; 9?tmm alle toft jufantmen, bie Suft unb aucfo ben ©camera L £$ gilt un$ fyeut ju nifyren be3 -ftb'nigo freinent £>erj. " <2djon ftebn bte beiben Sanger tm Robert eaulenfaal, Unb anf bcm Sftronc ftfien bpr 5eb'ntg unb fetn ftjemabl; £er ftb'nig furcbtbar pracbtig roip blufger 9corbli$tfcbeitt, £)ie ^onigtnn fu§ unb nttlbe, al$ blicfte 23o(lmonb bretn. Ta fcfylug bpr ®rei3 bte fatten, er fcblug ftc founbersoCl, 5Dfljj reiser, tmtner retcber ber $lang jum Dtyre fcbrcoll, Tann ftrbntte rjimmlifcb belle beS ^ungltngS ©timme sot, *£)tv 9Uten (Sang bajtstfc^en role bumpfcr ©eiftcrcbor, (Ste ftttgen son 2enj unb Siebe, son fefger golbuer ^tit Son greifyeit, SDJanttertourbe, son JXreu unb £ciligfeit, @te ftttgen son aflent ©tigen, toaS ^enfcbenbruft burcbbebt, <5h ftngen son allem ^ofjen, was 2Q?enfcb,ent)erj ert)ebt. 241 PHILOSOPHIC ELOCUTION. •Die £oflinggf$aar tm Sreife tterlernet jeben ©pott, £)eg SonigS tro|3'ge JTrieger fie beugen ft$ »or ©ott, X)te Sbniginn, jerfloffen in SBefymutf) unb in £ufr, ©ie roirft ten tangent nieber Die 3ft ofe »on ifyrer 23rujr. „3^r fyabt mein Self ioerfu&ret, uerlocft ifyr nun mem 2Bei6 ?" 3Der Sonig [ti&reit es mittfyenb, er bebt am ganjen ?eib, (£r toirft fetn ©cbtoert, bag bli&enb beg 3iinglingg Srufi bur<$brtngt, £)raug, ftatt ber golbnen Nieber, ein SBlutflra^l tyocfcauf fpringt. Unb tm'e fcom (Sturm ^erftoben i\t all ber £>iirer ©cfyttarm, 3Der bungling l)at serrb'cbelt in feineg Tlti\tex$ Hxm, £)er fcfolagt urn iijn ben Mantel unb fe$t itm auf bag JKo§, <£r binb't i&n aufre^t fefre, oerlajjt mit ii)m bag Scblo§. Docb »or bem tyo&cn £i)ore, ba Ijalt ber ©angergreig, Da fa§t er feine £arfe, fie alter -£>arfen $reig ; Sin einer SDfarmorfaule, ba feat er fie jerfcljelU, £>ann ruft er, bap eg fcjjaurig burd; ©4>lo§ unb ©arten geflt : „2Bet)' eu$, t&r ftoljen fallen ! nie tone fiijjer Slang Durcb eure Dannie wiebcr, nie <5aite nocb ©efang, 3?ein, <5eufjer nur unb <5tbt)nm unb febeuer (sflattenfcfcritt/ 23tg eucb ju @$utt unb 9?fober ber 3?acf)egeijt gertrttt ! 2Be§ eu$, if)r buft'gen ©arten im fyolben 9ftaienli$t! (Sucb aeig' icb btefeg £obten entftellteg 2Ingefi$t, £a§ ifyr barob yerborret, ba§ jeber Quell aerjiegt, £a§ ii)x in fiinft'gen £agen serfteint, oerb'bet liegt. 28e§ bir, t>errud)ter WoxUx, bu glud) beg ©angertfjumg ! Umfonft fei ad bein 3ftingen nacb Sranjen blut'gen 3ftui)mg, £>ein 9?ame fei sergeljen, in ero'ge 9?acbt getaucfyr, . (get toie ein le£teg 3ftocfyeln in leere Suft Jjer&autyt !" Der 2lltc fyat'g gerufen, ber £>immel fyat'g gefyort, £)ie 9J?auem liegen nieber, bie fallen jlnb jerftb'rt, 9?o$ e i n e fyotie Saule jeugt son uerfc&wunbner $racjjt, Sludj biefe, fcfyon geborften, faun ftiirjen iiber Sftac^t. Hub rings, flatt buft'ger^Sarien, ein b'beg ^eibefanb : ilein S.aum werjireuet ^cbatten, fetn Quell burc^bringt ben Sanb, 33eS SonigS ^amen melbet fetn Sieb, fetn ^elbenbucb ; SSerfnnfen unb sergeffen ! bag tjr beg ©angers glucl;. Subnng U^Ianb. 242