HI 30 
 
 U18 
 
LIBRARY OF CONGRESS. 
 
 Shelt'PJM.^.vao 
 
 UNITED STATES OF AMERICA. 
 
MANUAL OF ELOCUTION, 
 
 FOR 
 
 CLASS AND PRIVATE INSTRUCTION. 
 
 MRS. D. M. WARREN, 
 
 LATE TEACHER OF ELOCUTION IN VASSAR COLLEGE. 
 
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 ^ kjjftfj. 
 
 PHILADELPHIA : 
 
 W. S. PORTESCUE & CO., 
 
 (Successors to E. C. & J. Biddle,) 
 
 No. 811 Arch Street. 
 1878. 
 
 
h 
 
 ,«7* 
 
 W3 
 
 Entered, according to Act of Congress, in the year 1877, by 
 
 W. S. FORTESCUE & CO., 
 
 in the Office of the Librarian of Congress, at Washington. 
 
% 
 
 DEDICATED 
 
 TO 
 
 THE LATE PROF. WILLIAM RUSSELL, 
 
 TO WHOSE PRACTICAL WORKS AND INSTRUC- 
 TION IN ELOCUTION I AM INDEBTED 
 FOR MUCH OF MY INTEREST 
 IN THIS NOBLE ART. 
 
PREFACE. 
 
 rpHE design of this Manual is to furnish the principles 
 -*- of Elocution in a comprehensive and practical form. 
 They are adapted to all grades of students and schools 
 under the direction of a judicious teacher. Part I. em- 
 braces the principles necessary to Mechanical Voice Train- 
 ing and Intelligible Beading. Part II. illustrates the 
 principles of Expressive Reading, which, in its highest 
 sense, implies, on the part of the reader, intellectual devel- 
 opment and innate emotional power. The mechanical drill 
 is designed to develop taste in regard to expressive tone, 
 and may be appropriately introduced to students of various 
 grades. 
 
 The selections under Emotional Analysis are designed as 
 tests of the student's ability to determine the feeling em- 
 bodied in written language, and to apply correct elements 
 of expression in the reading. This Manual may be used 
 with any Reader which the student or teacher may select. 
 
SUGGESTIONS TO TEACHERS. 
 
 ORDER" is said to be "Heaven's First Law" and no- 
 where can it be more appropriately true than in Read- 
 ing Classes. 
 
 " Teach your pupils to cultivate good taste and good man- 
 ners, and the car of improvement will make a glorious start 
 towards the desired goal, Classification." 
 
 Arrange a class in a tasteful manner, and, when once 
 arranged, let them understand that you always expect to 
 meet them in that position. 
 
 Have them come in order, as well as remain in order. 
 
 Grading is indispensable, if you wish to secure progress. 
 
 Qualification should be made the standard of promotion. 
 
 Require an erect position, either in sitting or standing. 
 
 Book in left hand. Right hand at liberty to turn leaves. 
 
 Do not assign too long lessons. 
 
 It is far better to read one verse or paragraph understand- 
 ingly than to call words through a dozen pages, and neither 
 express nor even conceive the meaning of a line read. 
 
 Select such pieces as shall best serve to illustrate any 
 particular characteristic, or what may be best adapted to 
 the capacity of your pupils. 
 
 Care must be taken that the exercise is not above (he com- 
 prehension of young readers, or not adapted to their taste. 
 
 The pupil's own attentive study of the meaning of what 
 he reads is essential to secure natural force and variation 
 of tone. 
 
 Simple narrative, descriptive, and conversational pieces 
 should be first mastered. 
 
Vlll SUGGESTIONS TO TEACHERS. 
 
 The most undivided attention of the Teacher should be 
 given to a class in Reading. 
 
 Children learn much by imitation, and the voice of the 
 teacher must be frequently heard in a correct manner. 
 
 Never allow a child to utter any word or sound in reading, 
 recitation, or conversation in a listless manner ; " Wliatever 
 is worth doing at all, is worth doing well." 
 
 It is not enough that a half hour once a week be given to 
 this exercise. It should receive daily attention. 
 
 Vocal Practice is essential after a thorough analysis of 
 the piece. 
 
 See to it that your pupils study Reading lessons aloud at 
 home, in the open air, on the play-ground. 
 
 The Analytical Study of a lesson possesses many advan- 
 tages, viz. : 
 
 1st. As a means of general information it is invaluable. 
 
 2d. As a preparation for oral utterance it is necessary 
 that the reader should fully comprehend the meaning of the 
 author. 
 
 3d. By it the child's mind becomes familiarized with the 
 derivation and meaning of words, and thus learns to appre- 
 ciate their beauty and force. 
 
 Let as much of the thinking be done by the class as 
 possible. 
 
 Dictionaries are indispensable in determining pronuncia- 
 tions and definitions. 
 
 Encyclopaedias and other works of reference are valuable 
 aids to the intelligent analysis of the piece. 
 
 Various Methods for Securing the Interest 
 of a Class. 
 
 Let one pupil read a sentence, then call for criticisms 
 from class. 
 
 Let teacher read a sentence in a faulty manner, asking 
 class to note defects. If an advanced class, call on some 
 member of the class to state some of the facts contained in 
 
SUGGESTIONS TO TEACHERS. \7 
 
 the lesson. Give a short sketch of it, if descriptive, nar- 
 rative, or biographical. Sometimes require the study of a 
 selection, especially for emphasis; again, for its pauses; for 
 the sounds of letters ; for inflections : the latter may be taught 
 by arranging a class in two sections, one asking questions, 
 and the other answering. 
 
 Occasionally require a list of words which scholars hear 
 mis-pronounced. Many exercises may be taken with profit 
 in concert It brings out the voices of the diffident, and 
 encourages them to greater effort, 
 
 Boys and girls alternate, teachers and scholars alternate, 
 each calling a word, or reacting to a rhetorical pause. 
 
 Volunteer reading. 
 
 Call for selected passages illustrating some principle of 
 expression. 
 
 Let scholar write a sentence upon the blackboard, then 
 pronounce in a natural manner. 
 
 Dialogues and dramatic pieces tend to awaken . interest, 
 and, if judiciously selected, are of great utility as a means 
 of imparting animation and variety of tone. 
 
 Sameness of tone arises usually from too exclusive atten- 
 tion to words. 
 
 Make frequent and unexpected changes in conducting a 
 Reading exercise. 
 
 Variety is everything, and unless you awaken an inter- 
 est in this, as in other departments of study, you must not 
 expect success. 
 
 Reading is an intellectual and emotional process, and 
 there can be no good reading, no matter how well the voice 
 is trained, unless there are intellects to think, and hearts 
 to feel. 
 
 " The best instrument will make poor music, if the performer 
 be unskilful." 
 
CONTENTS 
 
 PAOR 
 
 Suggestions to Teachers vii 
 
 Introductory Remarks - xiii 
 
 PART I. 
 
 ^ttfymtytl ami jhttetttttoitl $x\\l 
 
 CHAPTER I. 
 Preparatory Exercises 17 
 
 CHAPTER II. 
 Production of Tone 20 
 
 CHAPTER III. 
 Articulation 24 
 
 CHAPTER IV. 
 Exercises in Articulation 35 
 
 CHAPTER V. 
 Pronunciation 51 
 
 CHAPTER VI. 
 Pauses fl7 
 
 CHAPTER VII. 
 Inflections, or Slides, and Cadence .... 62 
 
 zi 
 
Xll CONTEXTS. 
 
 CHAPTER VIII. 
 Emphasis 75 
 
 CHAPTER IX. 
 Thought Analysis of Unimpassioned Language . . 79 
 
 CHAPTER X. 
 Registers of the Voice . . . * . . . .82 
 
 PART II. 
 
 $m* and %tiMm 
 
 CHAPTER XI. 
 Foece and Stress ....*... 91 
 
 CHAPTER XII. 
 Pitch 97- 
 
 CHAPTER XIII. 
 Rate or Movement . . 100 
 
 CHAPTER XIV. 
 Emotional Analysis 103 
 
 CHAPTER XV. 
 Hints and Suggestions on the Use of the Voice . .117 
 
INTRODUCTORY REMARKS. 
 
 ELOCUTION is an art which implies the management of 
 the voice in speaking, and, like music, or any other art, 
 is based upon principles which must be taught and learned. 
 
 It is to some extent an imitative art. As the ear is the 
 vehicle of sound, young persons, especially, readily acquire 
 habits of tone or speech, good or bad, according to the 
 models furnished them. 
 
 The speaking voice, in common with the singing voice, 
 needs careful and systematic training to secure the best 
 results. No person can produce tones in singing, in a false 
 or imperfect manner, without injury to the organs of voice, 
 and even, oftentimes, permanent injury to health. It is 
 just as true of the speaking voice. Hundreds of profes- 
 sional people suffer with bronchial and throat diseases, 
 and often from broken down, enfeebled health, simply 
 because they have exerted the muscles and organs of 
 voice in the wrong direction. They have never learned 
 the secret of managing the breath, and producing tones 
 according to correct principles. 
 
 Nature's laws cannot be trampled upon without doing 
 violence to a part, or perhaps the whole, of the physi- 
 cal machinery. 
 
 The study of Elocution seeks to remedy this imperfect 
 use of the vocal organs, and apply appropriate remedies 
 for establishing correct habits. 
 
 The correct and systematic exercise of the vocal organs 
 serves to give tone and vigor to the whole physical being, 
 and is an important aid in arresting and preventing pul- 
 monary disease. 
 
XIV INTRODUCTORY REMARKS. 
 
 To the student, the teacher, the clergyman, and all 
 whose employments are sedentary, the exercises prescribed 
 in this manual are invaluable as a means of health. 
 
 Too much stress cannot be given to the importance of 
 the cultivation of agreeable tones of voice. The nasal 
 quality of tone is perhaps the most offensive to the ear, 
 and yet it largely prevails. 
 
 The feeble oral tone existing to a great degree among 
 girls and young women, especially in the school-room, is 
 a habit resulting partly from a false delicacy in the use of 
 the voice, and partly from physical languor and weakness. 
 
 The compressed waist is a serious hindrance to attaining 
 vocal power, and, indeed, it is quite impossible to secure a 
 full, round, deep resonance without a free play of the 
 muscles of the chest and waist. 
 
 The benefits arising from the study of Elocution are no 
 less perceptible in conversation than in reading or public 
 speaking. Agreeable tones and correct speech indicate cul- 
 ture, whether heard in the social and home circle, or in the 
 pulpit or school-room. 
 
 To read well implies, in the first place, an intelligent 
 comprehension of the meaning of the author, which involves 
 study. And in the second place, such a facile control of the 
 organs of voice and speech, and such a knowledge of princi- 
 ples of expression, as shall enable the student to read with 
 understanding and feeling. As an accomplishment, correct 
 and impressive oral reading is unequalled. " The essence 
 of language lies in its living utterance^ says an eminent phil- 
 ologist. 
 
 It is only in the expressive tone, look, and action that 
 the various shades of thought and feeling can find their 
 completest power and force, and language must ever be 
 imperfectly appreciated except in oral speech. 
 
PAET I. 
 «|nttual and '(hrtdltdwl j$M< 
 
 xv 
 
Manual of Elocution, 
 
 CHAPTER I. 
 
 PREPARATORY EXERCISES. 
 
 Gymnastic exercises, especially such, as bring into 
 action the muscles of the chest and waist, are excellent 
 preparatives to attaining energy in vocal functions. 
 
 The vigor and power of the voice depend, to a great 
 extent, upon the vigor of the physical system ; hence, 
 whatever exercise tends to expand the chest and in- 
 vigorate the body, helps to give strength and purity 
 of tone to the voice. 
 
 Correct habits of breathing are of the utmost im- 
 portance, as the lungs depend for their power, as a 
 vocal organ, upon the quantity and management of the 
 breath. 
 
 The position of the body, in speaking as in singing, 
 must be such as in no way to interfere with the easy 
 drawing in and giving out of the breath. 
 
 An erect posture implies that the shoulders are 
 drawn downward and backward, chest expanded and 
 2* B 17 
 
18 A MANUAL OF ELOCUTION. 
 
 projected, abdomen slightly drawn in, head erect, and 
 chin slightly elevated. 
 
 In sitting, the lower part of the spine should rest 
 against the back of the chair, the feet resting firmly 
 on the floor, with toes outward and one foot slightly in 
 advance of the other, the hands resting easily in the lap. 
 
 In standing for gymnastics, place the heels together, 
 hands at the side, toes turned outward, forming an 
 angle of about sixty degrees 
 
 In the speaker's position, support the weight of the 
 body on the left foot, keeping the leg perfectly 
 straight ; advance the right foot about three inches ; 
 the knee of the right leg should be slightly bent for- 
 ward. Turn the toes of both feet outward, forming 
 an angle of forty -five degrees. Eeverse this position. 
 Support the body on right foot, etc. 
 
 In reading, hold the book in the left hand at a 
 moderate distance from the chest, not so high as to 
 obstruct the voice, nor so low as to require a bending 
 forward of the head in order to see the page. 
 
 Respiration. 
 
 Breath is the material of voice. No effort of suction 
 is required to effect this; the chest has but to be 
 expanded, and the air will rush into the air-cells of 
 the lungs, and distend them to the full extent of the 
 cavity created in the thorax. 
 
 A full inspiration elevates and expands the chest, 
 and, by a descent of the diaphragm, slightly protrudes 
 the abdomen. In the process of expiration, the abdo- 
 men is compressed ; the diaphragm, by an upward 
 impulse, received from the abdominal muscles, and 
 
PREPARATORY EXERCISES. 19 
 
 imparted to the pleura, forces the breath from the air- 
 cells into the bronchi, and thence into the trachea and 
 larynx. 
 
 Breathing should be inaudible in the process of 
 speech. The abdominal, intercostal, and dorsal mus- 
 cles at the lower part of the chest and waist are chiefly 
 exercised in the natural process of breathing; hence, 
 great care should be taken that the clothing be loose, 
 that these muscles may act freely and easily. 
 
 Exercises in Breathing. 
 
 PURE AIR IS INDISPENSABLE. 
 {Erect position. Stand with heels together, arms ahimlo.) 
 
 1. Deep Breathing through Nostrils. — Inhale and 
 exhale the breath slowly through nostrils, keeping 
 mouth closed. Let the breathing be deep and tranquil. 
 
 2. Abdominal Breathing. — Inhale slowly through 
 nostrils. Let the waist be expanded in front, and the 
 abdomen distended. Exhale forcibly through the 
 mouth by an energetic use of the abdominal muscles, 
 imparting a powerful action to the diaphragm. 
 
 3. Intercostal Breathing. — Inhale as before. Let the 
 waist be expanded sidewise, distending the ribs. Ex- 
 hale the breath slowly through the nostrils. 
 
 4. Explosive or Abrupt Breathing. — Inhale as before ; 
 then by a sudden and powerful effort emit the breath 
 in a short, quick sound of the letter h. 
 
 5. Panting. — Breathe rapidly and gently from base 
 of lungs. 
 
 Note. — Five or ten minutes devoted to one or more of these exercises 
 each day before vocal practice, would result in great benefit not only to 
 the vocal organs, but to the general exhilaration and activity of body 
 and mind. 
 
CHAPTER II. 
 
 PRODUCTION OF TONE. 
 
 Sound is of two kinds, viz., tones and noises. The 
 former are produced by regular vibrations in a sound- 
 ing body, the latter by irregular vibrations. In speech, 
 the air rushes more directly out of the mouth than in 
 singing, and with somewhat irregular vibrations. The 
 more perfect we can produce the vibrations in speak- 
 ing, or, in other words, the more musical we can make 
 the speaking voice, the more agreeable and audible 
 will it become. 
 
 Form of Vibrations in Speaking. 
 
 Form of Vibrations in Singing. 
 
 The right management of the breath is essential in 
 the production of tone. The character of the tone 
 may be pure or impure. A good tone, one that is 
 pure, round, smooth, and ringing, depends upon the 
 
 20 
 
PRODUCTION OF TONE. 21 
 
 free vibration of the vocal chords, upon the direction 
 of the vocal current, and upon the formation and posi- 
 tion of the sounding apparatus. 
 
 A good voice, with respect to its quality or " timbre," 
 is smooth, clear, round, pure, full, and musical. 
 
 An impure voice is rough, harsh, nasal, oral, guttural, 
 thin, reedy, hollow, shrill, or flat. 
 
 The larynx is the seat of voice, and by the vibra- 
 tion of the vocal chords, the breath is converted into 
 sound. The character of this sound is determined by 
 the place of resonance. 
 
 The bronchi, trachea, larynx, pharynx, mouth, ear 
 tubes, and nostrils are the resonant cavities of voice, 
 and in order 'that they present a good resonant surface, 
 they must be in a healthy condition, or free from secre- 
 tion. 
 
 The size and formation of the vocal organs vary, 
 of course, in different individuals, but the shape of the 
 mouth and throat can be greatly- modified by the 
 action of the will. 
 
 To secure a pure tone, the mouth must be freely 
 opened, the soft palate partially suspended in the 
 throat, allowing free passage to the mouth and nos- 
 trils. If it is too much raised, the passage to the nos- 
 trils is obstructed, and the voice lacks that ringing 
 property resulting from the resonant cavities of the 
 head. If it is too much lowered, the vocal current 
 passes into the nostrils, producing a nasal tone. The 
 position and action of the base of the tongue are con- 
 trolled by the elevation or depression of the soft 
 palate. If the palate is raised the tongue is lowered, 
 thus forming an open throat. If the palate is lowered, 
 
22 A MANUAL OF ELOCUTION. 
 
 the base of the tongue is raised, forming a closed 
 throat. In the latter condition, guttural and oral 
 tones are the result. 
 
 (The position and action of these organs should be carefully 
 studied before the mirror in the production of tone.) 
 
 Exercise for Palate. 
 Eaise the palate and sound the vowels ah — aw. 
 Hold the palate in same position and sound the lip 
 vowels e — 6. 
 
 Repeat these several times with one breath. 
 
 Exercise for the Pharynx. 
 Practise the syllables j ?' "f* fy 
 
 ( Up, Ut, UK. 
 
 Practise the sounds j •?' Z,' LJ 
 
 Purity of tone requires that the breath be perfectly 
 vocalized. In order to secure a pure and perfectly 
 sonorous tone, the fine edges of the lips of the glottis, or 
 mouth of the larynx, must be brought to a perfect state 
 of tension, and no breath allowed to escape un vocal- 
 ized. In other words, there must be a momentary 
 closing of the glottis, preparatory to the sudden and 
 abrupt explosion of sound. 
 
 Directions for Securing a Clear, Crisp, In- 
 stantaneous Vocalization. 
 Hold the breath for an instant, then suddenly ex- 
 plode the syllables at, It, it, op, up with open mouth, 
 directly from the throat. Practise the vowels singly. 
 
PRODUCTION OF TONE 
 
 23 
 
 Directions for Securing Purity of Tone. 
 
 Use little breath. Vocalize all the breath, and 
 direct the vocal current well forward in the mouth : 
 
 Scro 
 
 a 
 
 a 
 
 as in arm. 
 
 d 
 
 a 
 
 a 
 
 all. 
 
 a 
 
 a 
 
 u 
 
 hat. 
 
 a 
 
 a 
 
 a 
 
 fate. 
 
 i 
 
 l 
 
 a 
 
 pine 
 
 i 
 
 i 
 
 a 
 
 pin. 
 
 e 
 
 e 
 
 u 
 
 eve. 
 
 6 
 
 6 
 
 a 
 
 not. 
 
 
 
 
 
 it 
 
 old. 
 
CHAPTER III. 
 
 ARTICULATION. 
 
 "Articulation is the formation and joining together 
 into syllables of the elementary sounds of speech." 
 
 Good articulation is a primary excellence of good 
 reading and speaking. 
 
 It is effected by the action of the larynx, lips, 
 tongue, palate, teeth, and nostrils. 
 
 The position and action of these organs should be 
 carefully noted in the production of each sound. A 
 free and easy play of the mnscles of the mouth is 
 necessary to secure exactness and distinctness of 
 utterance. 
 
 Careful attention to the process of breathing is es- 
 sential. 
 
 The breath must be freely expelled, as well as freely 
 inhaled. 
 
 The Elementary Sounds. 
 
 An elementary sound is the simplest sound in the 
 language. 
 
 The Sounds of the English language number, for 
 practical purposes, forty-seven, and are divided pho- 
 netically into vocals, sub-vocals, and aspirates. 
 
 The Vocals consist of pure vocality or toyie, and are 
 formed by a free opening of the mouth and throat, and 
 
 24 
 
ARTICULATION 
 
 25 
 
 by careful attention to the direction of the vocal cur- 
 rent. 
 
 The Vowels in the following table are each arranged 
 so as to proceed from the most open to the most closed 
 sound. 
 
 The first vocal, a, is the broadest, most open sound 
 in the language, and requires a full lowering of the 
 under jaw, forming a space between the teeth at least 
 the space of an inch and a half. 
 
 Vocals. 
 Practise the following with energy, precision, and purity of 
 tone. Pronounce first the word, and then the vocal. 
 
 Simple Sounds. 
 a as in arm. e as in eve. 
 
 a 
 
 u 
 
 all. 
 
 i 
 
 u 
 
 pin. 
 
 a 
 
 a 
 
 ask. 
 
 
 
 (( 
 
 on. 
 
 a 
 
 a 
 
 hat. 
 
 
 
 a 
 
 nor. 
 
 a 
 
 u 
 
 care. 
 
 
 
 u 
 
 ooze 
 
 e 
 
 u 
 
 met. 
 
 u 
 
 a 
 
 but. 
 
 e 
 
 u 
 
 her. 
 
 u 
 
 a 
 
 full. 
 
 Compound or Diphthongal Elements. 
 
 A Diphthong is the union of two vowels in one sound. 
 The initial sound is called the radical; the final, the 
 vanish. 
 
 a as in ale is compounded of a — e. 
 
 " a — i. 
 " " 5 — 6. 
 
 " i — 6. 
 
 " o — 6. 
 " " o — i. 
 
 1 " 
 
 " 
 
 pine " 
 old " 
 
 u " 
 
 use " 
 
 Oil " 
 
 out " 
 
 oi " 
 
 oil " 
 
26 
 
 A MANUAL OF ELOCUTION. 
 
 Intermediate Vocals. 
 
 a in air, care, rare, etc., lies between a in ale and e 
 in end. It is usually followed by r. a in ask is an in- 
 termediate sound between a in arm and a in at. e in 
 such words as err, earth, mercy, and in all words where 
 it precedes r, should be distinguished from u, as in 
 burr, urn, etc. The sound of e in such cases begins 
 with short e, and terminates instantly in that of r. 
 
 o in nor, usually followed by r, is not so broad as a 
 in all, nor so short as o in not. u preceded by r, as in 
 rude, fruit, truth, also by I combined with a consonant, 
 as in flute, plume, takes a short sound of oo, as in 
 ooze. 
 
 Select the vocals in the following, and utter with pure tone. 
 Alternate each word with syllable scroo. 
 
 "The sea! the sea! the open sea! 
 The blue, the fresh, the ever free ! 
 Without a mark, without a bound, 
 It runneth the earth's wide regions round ; 
 It plays with the clouds, it mocks the skies, 
 Or like a cradled creature lies." 
 
 Subvocals. 
 The Subvocals consist of voice articulations, and are 
 formed by a more energetic and varied use of the or- 
 gans of speech than the vowels. 
 
 Y as in yet. 
 
 Z as in azure. 
 
 Nh as in ink. 
 
 W " way. 
 
 Z " zone. 
 
 M 
 
 " may. 
 
 Wh " when. 
 
 Th " then. 
 
 N 
 
 " nay. 
 
 R " roll. 
 
 J " joy. 
 
 a 
 
 " gay. 
 
 R " far. 
 
 V " vile. 
 
 D 
 
 " day. 
 
 L " lay. 
 
 Ng " sing. 
 
 B 
 
 " babe. 
 
ARTICULATION. 27 
 
 Aspirates. 
 The Aspirates consist of breath articulations. 
 
 H as in hay. T as in tent. 
 
 Th " thin. P " pipe. 
 
 Sh " shun. F " fife. 
 
 # " see. Ch " church. 
 K " kite. 
 
 Cognate Sounds. 
 
 If the position of the vocal organs be closely ob- 
 served while sounding the element represented by b, 
 it will be seen that a similar position of the lips, as 
 well as a similar effort of the mouth, will also produce 
 the sound represented by jp, thus establishing a cer- 
 tain relationship between these sounds ; hence they 
 are called cognates. 
 
 There is a triple correspondence of some of these 
 sounds. 
 
 M, N, Ng, subvocals. 
 
 B, D, G, V, Z, in zone, Th, J, Z, in azure, subvocals. 
 
 P, T, JT, F, S, Th, Ch, Sh, . aspirates. 
 
 Y, H, L, R, Ch, W, Wh, are exceptions. 
 
 One sound is often incorrectly substituted for an- 
 other, as b for its cognate p, in such words as Jupiter, 
 Baptist, pronounced Jubiter, Babtist. Sometimes d is 
 incorrectly pronounced like its cognate t, as in dread- 
 ful, dreatful. The aspirate th for the subvocal th, as 
 beneath, underneath, etc. 
 
 Formation of Subvocal and Aspirate 
 
 Sounds. 
 Y is the sound of long e uttered abruptly. 
 W is the sound of 6 shortened. 
 
28 A MANUAL OF ELOCUTION. 
 
 Wh begins with the expulsion of the whispered 
 breath, and ends with a vocalized W. 
 
 R, initial, or before a vowel, is formed by the quick 
 vibration of the tip of the tongue against the upper 
 front gums. 
 
 R, smooth, is formed by turning the tongue back 
 in the mouth towards the roof, but not touching it, 
 and uttering a smooth, hollow tone, with a gentle 
 vibration. 
 
 L. Place the tip of the tongue gently against the 
 upper front gums, and allow the sound to escape freely 
 over the sides of the tongue. 
 
 Z in azure. Bring the teeth almost together, the 
 tongue against the roof of the mouth, and emit a 
 buzzing sound. 
 
 Z in zone. Place the tongue against the upper 
 front gums and utter a buzzing sound. 
 
 Th. Place the tongue between the teeth and par- 
 tially vocalize the breath. 
 
 J. Organs in nearly the same position of z in azure. 
 except that the tongue is brought a little further for- 
 ward in the mouth. 
 
 V. Place the under lip in contact with the upper 
 front teeth and emit a gentle undertone. 
 
 Ng. Place the flat surface of the tongue against the 
 roof of the mouth and vocalize the breath in the nos- 
 trils. 
 
 Nk. The organs in same position as for ng, and then 
 stop off the sound with the aspirate K. 
 
 M. Compress the lips and produce a murmuring 
 sound in the mouth. 
 
 N. Place the end of the tongue against the upper 
 gums and emit the voice through the nose. 
 
ARTICULATION. 29 
 
 G. Place the middle of the tongue against the back 
 part of the roof of the mouth, and produce a quick, 
 explosive murmur in the throat. 
 
 D. Place the tip of the tongue firmly against the 
 upper gums, and separate them suddenly by a forci- 
 ble pressure of vocalized breath against the point of 
 contact. 
 
 B. Press the lips closely, and separate suddenly by 
 a forcible pressure of vocalized breath against them. 
 
 H. Emit the breath through an open mouth. 
 
 Th. Place the tongue against the upper front teeth 
 and force the breath between them. 
 
 Sh. Organs in same position of z in azure. Emit 
 the breath between the teeth, slightly parted. 
 
 S. Organs in same position of z in zone. Hiss 
 the breath. 
 
 K. Organs same as for g. Explode the breath from 
 the throat. 
 
 T. Press the tongue against the upper gums and 
 explode the breath. 
 
 P. Compress the lips and explode the breath be- 
 tween them. 
 
 F. Lips same as for v. Expel the breath. 
 
 Exercise on Consonants and Vowels 
 Combined. 
 
 ( W and v to exercise muscles of lips. One sound is often sub- 
 stituted for the other.) 
 
 wa — va va — wa 
 
 we — ve ve — we 
 
 wi — vi vl — wl 
 
 wo — vo vo — wo 
 
 w6 — vo vo — wo 
 3* 
 
30 A MANUAL OF ELOCUTION. 
 
 ( B and p for the lips, t and &, d and g for tongue and palate.) 
 
 ba — pa da — ga ta — ka 
 
 be — pe de — ge te — ke 
 
 bi — pi dl — gi tl — kl 
 
 bo — po do — go to — k5 
 
 bo — po do — go to — ko 
 
 cla — ka tha — sa shra — sha 
 
 cle — ke tbe — se shre — she 
 
 ell — kl tbl — si slirl — slii 
 
 clo — ko tbo — so shro — sho 
 
 clo — ko tlio — so sliro — sho 
 
 ab — ap ad — at av — af ag — ak 
 
 eb — ep ed — et ev — ef eg — ek 
 
 lb — Ip id — it iv — if Ig — Ik 
 
 ob — op od — ot 6v — of og — ok 
 
 ub — up iid — ut uv — (if ug — uk 
 
 ash ath ang 
 
 esh eth eng 
 
 ish ith ing 
 
 osh oth ong 
 
 ush uth ung 
 
 Exercises upon Consonant Sounds in 
 Combination. 
 
 The necessity of daily practice upon the consonants 
 is apparent from the many difficult combinations 
 which the English language presents. 
 
 The rule of practice should be to articulate with 
 such energy, deliberatcness, and precision, that every 
 
ARTICULATION 
 
 31 
 
 sound may be fully and 
 heard. 
 
 exactly fo 
 
 rmed, and 
 
 distinctly 
 
 Pronounce first the word, and then the* 
 
 ,consonan 
 
 sound. 
 
 
 
 
 
 
 Initial 
 
 Syllabi 
 
 ,ES. 
 
 
 hi — blow, 
 cl — clime, 
 
 bled, 
 clan, 
 
 bloom, 
 
 cling, 
 
 blue, 
 claim, 
 
 blame, 
 claw. 
 
 fl — flame, 
 
 fleet, 
 
 flume, 
 
 flight, 
 
 fleet. 
 
 c/Z — glide, 
 pi — place, 
 si — slain, 
 
 glaze, 
 plain, 
 sleet, 
 
 gleam, 
 
 plod, 
 
 slime, 
 
 glow, 
 
 plume, 
 
 sled, 
 
 glue, 
 play, 
 slim. 
 
 spl — splice, 
 
 split, 
 
 splash, 
 
 spleen, 
 
 splay. 
 
 br — brim, 
 
 brave, 
 
 brown, 
 
 broom, 
 
 brute. 
 
 cr — creep, 
 
 crow, 
 
 crime, 
 
 crutch, 
 
 cram. 
 
 dr — draw, 
 
 drive, 
 
 drown, 
 
 dream, 
 
 dram. 
 
 fr — frame, 
 
 freeze, 
 
 fruit, 
 
 friend, 
 
 from. 
 
 yr— grim, 
 
 green, 
 
 growl, 
 
 grind, 
 
 ground. 
 
 pr — prop, 
 shr — shrill, 
 
 pray, 
 shred, 
 
 proud, 
 shriek, 
 
 prune, 
 shrewd, 
 
 prime, 
 shrink. 
 
 scr — scrip, 
 
 scream, 
 
 scroll, 
 
 scrub, 
 
 screech. 
 
 spr — spring, 
 str — strain, 
 
 sprite, 
 stream, 
 
 spring, 
 string, 
 
 spread, 
 strand, 
 
 sprung, 
 strait. 
 
 sf — sphere, 
 sh — skate, 
 sm — smite, 
 
 sphinx, 
 ' skill, 
 smooth 
 
 spheroid 
 skip, 
 , smith, 
 
 skein, 
 smart, 
 
 sphene. 
 
 skiff. 
 
 small. 
 
 sn — snap, 
 
 snare, 
 
 snow, 
 
 snag, 
 
 snarl. 
 
 sp — speak, 
 
 st — stain, 
 
 thr — thrive, 
 
 speed, 
 
 stop, 
 
 thrum, 
 
 spike, 
 sting, 
 throb, 
 
 spade, 
 
 stag, 
 
 thrill, 
 
 space. 
 
 staff. 
 
 thrice. 
 
 tr — trip, 
 
 trade, 
 
 trance, 
 
 trash, 
 
 trick. 
 
32 
 
 A MANUAL OF ELOCUTION. 
 
 
 Two Le 
 
 rTERS. — 
 
 Final. 
 
 
 bs — rubs, 
 
 cabs, 
 
 gibes, 
 
 tubes, 
 
 clubs. 
 
 ds — bids, 
 
 buds, 
 
 pads, 
 
 sods, 
 
 pods. 
 
 ^5— bags, 
 
 %s, 
 
 dogs, 
 
 rags, 
 
 kegs. 
 
 ms — aims, 
 
 dimes, 
 
 seems, 
 
 arms, 
 
 dooms 
 
 ns — dens, 
 
 nuns, 
 
 shuns, 
 
 bans, 
 
 shins. 
 
 rs — bars, 
 
 cars, 
 
 spurs, 
 
 purs, 
 
 tears. 
 
 vs — dives, 
 
 caves, 
 
 paves, 
 
 loves, 
 
 roves. 
 
 Is — bells, 
 
 dells, 
 
 sells, 
 
 tells, 
 
 pills. 
 
 fs — reefs, 
 
 fifes, 
 
 puffs, 
 
 miffs, 
 
 cuffs. 
 
 hs — six, 
 
 mix, 
 
 bricks, 
 
 axe, 
 
 looks. 
 
 Is — false, 
 
 pulse, 
 
 else, 
 
 pulse, 
 
 else. 
 
 ps — droops, 
 
 lips, 
 
 tips, 
 
 mopes, 
 
 deeps. 
 
 rs — horse, 
 
 worse, 
 
 purse, 
 
 terse, 
 
 verse. 
 
 ts — writes, 
 
 boots, 
 
 cots, 
 
 shuts, 
 
 slats. 
 
 nd — hand, 
 
 land, 
 
 sand, 
 
 bond, 
 
 wend. 
 
 nk — think, 
 
 tank, 
 
 plank, 
 
 junk, 
 
 brink. 
 
 nt — tent, 
 
 sent, 
 
 lent, 
 
 pent, 
 
 rent. 
 
 ns — dance, 
 
 lance, 
 
 since, 
 
 glance, 
 
 pence. 
 
 Id — hold, 
 
 fold, 
 
 bold, 
 
 sold, 
 
 gold. 
 
 v-idt, 
 
 elf, 
 
 pelf, 
 
 self, 
 
 wolf. 
 
 Ik — silk, 
 
 milk, 
 
 bulk, 
 
 hulk, 
 
 yelk. 
 
 Zra — realm, 
 
 elm, 
 
 film, 
 
 whelm, 
 
 helm. 
 
 Ip — help, 
 
 y el P> 
 
 gu ] P> 
 
 scalp, 
 
 whelp. 
 
 Is — calls, 
 
 falls, 
 
 bells, 
 
 sells, 
 
 wells. 
 
 rh — orb, 
 
 curb, 
 
 verb, 
 
 herb, 
 
 barb. 
 
 rd — lord, 
 
 ford, 
 
 cord, 
 
 bird, 
 
 bard. 
 
 rf — surf, 
 
 dwarf, 
 
 scarf, 
 
 turf, 
 
 serf. 
 
 rg— urge, 
 
 forge, 
 
 merge, 
 
 purge, 
 
 barge. 
 
ARTICULATION 
 
 33 
 
 rlc — bark, 
 
 hark, mark, stark, 
 
 lark. 
 
 rl — snarl 
 
 twirl, girl, furl, 
 
 churl. 
 
 rra — warm, 
 
 arm, farm, storm, 
 
 harm. 
 
 rn — burn, 
 
 learn, turn, corn, 
 
 fern. 
 
 rp — harp, 
 
 sharp, warp, carp, 
 
 sharp. 
 
 rt — hurt, 
 
 mart, flirt, girt, 
 
 fort. 
 
 rv — carve, 
 
 serve, nerve, thrive 
 
 , strive. 
 
 rz — fears, 
 
 tears, hears, wares 
 
 bears. 
 
 hi — trouble. 
 
 si — rustle. In— 
 
 -fairn. 
 
 dl — handle. 
 
 tl — startle. pn— 
 
 -op'n. 
 
 /—trifle. 
 
 vl — marvel. sn— 
 
 -list'n. 
 
 yl — mangle. 
 
 zl — dazzle. tn— 
 
 -sweet'n. 
 
 hi — buckle. 
 
 dn — gladd'n. vn— 
 
 -heav'n. 
 
 pi — scruple. 
 
 hn — black'n. zn— 
 
 -blaz'n. 
 
 Three Letters. — Final. 
 
 
 Us — nobles, 
 
 tables, cables, 
 
 ambles. 
 
 dls — ladles, 
 
 handles, bridles, 
 
 saddles. 
 
 fls — muffles, 
 
 trifles, ruffles, 
 
 baffles. 
 
 gls— juggles, 
 
 eagles, shingles, 
 
 mingles 
 
 his — pickles, 
 
 buckles, sickles. 
 
 cackles. 
 
 pis — apples, 
 
 dapples, dimples, 
 
 samples 
 
 tls — nestles, 
 
 bottles, hustles, 
 
 pestles. 
 
 vis — ravels, 
 
 shovels, grovels, 
 
 weevils. 
 
 zls — dazzles, 
 
 frizzles, puzzles, 
 
 muzzles 
 
 Four Letters. — Final. 
 
 bdst — proVdst. hist — humbl'st. ftst — left'st. 
 
 ddst — add'st. dlst — kindl'st. Mst — lik'dst. 
 
 gdst — laggd'st. gist — mingl'st. stst — enlist'st. 
 
 C 
 
34 a ma: 
 
 KUAL < 
 
 DF ELOCUTION 
 
 • 
 
 Idst — shield'st. 
 
 plst- 
 
 -dimpl'st. dnst— 
 
 -burd'n'st. 
 
 rdst — regard'st. 
 
 zlst- 
 
 -dazzl'st. hnst— 
 
 -beck'n'st. 
 
 vdst — lov'dst. 
 
 zlst- 
 
 — puzzl'st. snst- 
 
 -less'n'st. 
 
 IJcst — milk'st. 
 
 ndst- 
 
 -send'st. rvst— 
 
 -preserv'st 
 
 Ipst — scalp'st. 
 
 rbst- 
 
 — curb'st. skst- 
 
 -ask'st. 
 
 Ivst — dissolv'st. 
 
 rmst- 
 
 — charm'st. tlst- 
 
 -nestl'st. 
 
 mdst — doom'dst. 
 
 rnst- 
 
 — turn'st. tlist- 
 
 -writk'st. 
 
 dths — hundredths, fttis — fifths. rmth — warmth. 
 Iths — healths. nths — tenths. ngth — strength. 
 
 pths — depths. rths — hearths. hsth — sixth. 
 
CHAPTER IV. 
 
 EXERCISES IN ARTICULATION. 
 
 Good Articulation will enable a person to speak with 
 comparative ease ; and, combined with purity of tone, 
 will be far more effective than strength or power of 
 voice. 
 
 The chief object of the following exercises is to 
 strengthen and discipline the organs of speech, and 
 also to eradicate, by constant repetition, false modes 
 of utterance which early training or neglect may have 
 established as habitual. 
 
 In order to secure the desired result, the following 
 exercises should be uttered with great clearness, pre- 
 cision, and energy. 
 
 Vowel Elements. 
 EXERCISE I. 
 
 Italian a, marked a, as in arm, represented by a, au, 
 
 ah, ua, ea, e. 
 Far, launch, daunt, aunt, father, palm, charge, psalm, 
 
 ah, car, heart, guard, sergeant, hurrah, piano. 
 
 Launch thy bark, mariner. Far down the glen 
 stood armed men. In their far blue arch sparkled 
 the crowd of stars, less brightly, when day is done. 
 
 firmed, say you ? 
 -4rmed, my lord, from head to foot. 
 
 35 
 
36 A MANUAL OF ELOCUTION. 
 
 EXERCISE II. 
 
 Broad a, marked a, as in all, represented by a, an, 
 aiv, oa, ou. 
 
 Hall, awe, autumn, walk, chalk, water, law, broad, 
 
 thought. 
 
 Up, comrades, up, in Rokeby's halls, ne'er be it said 
 our courage foils. He was a man, take him for all in 
 all. 
 
 Draw, archers ; draw your arrows to their heads. 
 
 My advice is to send Charles abroad. Let him go 
 abroad, by all means. 
 
 EXERCISE III. 
 
 Intermediate a, marked a, as in ask, represented by 
 a, aw, ua. 
 
 Past, dance, France, grass, draught, quaff, task, waft, 
 
 after. 
 
 For now we see through a glass darkly. Prove all 
 things, hold. fast that which is good. We stood aghast 
 at the vast mass of brass which formed an impassable 
 barrier to our task. 
 
 EXERCISE IV. 
 Short a, marked a, as in hat, represented by a, ai. 
 
 Hat, lad, back, has, scrap, gland, man, gather, patent. 
 
 abode, abound, adapt, plaid. 
 
 Nor doth remain a shadow of man's ravage save 
 his own. Is this a dagger which I see before me. 
 
 CO ' 
 
 the handle toward m}^ hand ? Reading maketh a full 
 man, conference a ready man, and writing an exact 
 man, conference a ready man, and writing an exact 
 man. Alas ! for the rarity of Christian charity. 
 
EXERCISES IN ARTICULATION. 37 
 
 EXERCISE V. 
 
 Long a before r, marked a, as in care, =e, repre- 
 sented by a, ai, ay, ea, ei. 
 
 Bare, fare, bare, ware, air, hair, stair, prayer, snare, 
 careful, pear, wear, prepare, compare, there. 
 When freedom from her mountain height, unfurled 
 
 her standard to the air, she tore the azure robe of 
 
 night, and set the stars of glory there. He is the hezr 
 
 apparent to the throne. 
 
 Call you me fair? that fair again unsay. Demet 
 
 rius loves your fair ; O, happy fair ! 
 
 EXERCISE VI. 
 
 Long a, marked a, as in fate, = a+e, represented by 
 a, ai, ey, ei, an, ea, ao, ay. 
 
 Age, ale, aim, sail, faith, daily, raiment, obey, they, 
 sleigh, freight, greatness, neighbor, array, gauge, 
 yea, gaol, player, straight, neigh. 
 On ye brave, who rush to glory, or the grave. So 
 
 stately her bearing, so proud her array, the mam she 
 
 will traverse forever and aye. As idle as a painted 
 
 ship, upon a pamted ocean. 
 
 Nay, your name is Kate, 
 And bonny Kate, .... 
 But Kate, the prettiest Kate in Christendom. 
 
 EXERCISE VII. 
 
 Long i, marked i, as in pine, =a-j-i, represented by t, 
 y, ie, ei, ai, ui, uy, eye. 
 
 Time, wine, nine, fife, child, thyme, consign, type, fie, 
 deny, height, aisle, buy, guide, chyme, nigh, sleight 
 
38 A MANUAL OF ELOCUTION. 
 
 A simple child that lightly draws its breath. Minds- 
 that have nothing to confer, find little to perceive. 
 Silence that dreadful bell ; it frights the isle from 
 her propriety. 
 
 The master saw the madness rise ; 
 His glowing cheeks, his ardent eyes ; 
 And while he earth and heaven defy'd, 
 Chang'd his hand, and check'd his pn'de. 
 
 EXERCISE VIII. 
 
 Short t, marked i, as in pin, = y, represented by u, ai, 
 ei, ui 1 ee, ia, ei/, le, oi. 
 
 Sin, dim, film, intend, timid, mystery, fountain, moun- 
 tain, hypocrite, surfeit, biscuit, been, carriage, busy, 
 empty, adversity, quality, gloomy, valley, rallied, 
 tortoise, minwte. 
 
 That mward eye, which is the bliss of solitude. 
 Trim Tristram Trotter trampled on the trim trades- 
 man's trimmings. Consider the lilies of the field. 
 For riches often take to themselves wings. 
 
 EXERCISE IX. 
 
 Short e, marked e, as in met, represented by ea, ai, ay, 
 ie, a, eOj ei, ae. 
 
 Bend, rend, send, defend, measure, prelude, prelate, 
 knell, said, again, maintain, says, friend, any, leop- 
 ard, realm, heaven, nonpareil. 
 
 My tongue is the pen of a ready writer. And soon 
 from guest to gwest the panic spread. Independence 
 now and independence forever. The noblest mind the 
 best contentment has. 
 
EXERCISES IN ARTICULATION. 39 
 
 EXERCISE X. 
 
 Short and obtuse e, marked e, as in her, = i = }?| rep- 
 resented by ea. 
 
 Germ, term, learn, heard, person, mercy, firm, service, 
 virtue, perfect, disperse, universal, pearl, myrtle, 
 therefore. 
 
 Give me liberty or give me death. ^Earth's noblest 
 thing a woman perfected. The quality of mercy is not 
 strained. 
 
 Learn from the birds what food the thickets yield ; 
 Learn from the beasts the physic of the field — 
 Thy arts of building from the bee receive ; 
 Learn of the mole to plough, the worm to weave ; 
 Learn of the little nautilus to sail, 
 Spread the thin oar and catch the driving gale. 
 
 EXERCISE XL 
 
 Long e, marked e, as in eve, = i, represented by ey } nay 
 ee, ea, ez, ?'e, eo. 
 
 Mete, me, feel, seem, feat, tea, yield, leisure, ceiling # 
 shriek, liege, pique, police, people, mien, quay, seine, 
 key. 
 
 My tears must stop, for every drop hinders needle 
 and thread. O what a tangled net we weave, when 
 first we practice to deceive. Seems, madam! nay, it 
 is : I know not seems. 
 
 For me the mine a thousand treasures brings, 
 For me health gushes through a thousand springs; 
 Seas roll to waft me, suns to light me rise, 
 My footstool, earth ; my canopy, the skies. 
 
40 A MANUAL OF ELOCUTION. 
 
 EXERCISE XII. 
 Broad o, marked o, as in nor, represented by eo. 
 
 For, orb, storm, scorn, forlorn, mortal, former, fortune, 
 morn, horse, ornament, George. 
 
 I have searched the hills of the stormy north. Be 
 not forgetful to entertain strangers. By evil report 
 and good report. The Lord gave and the Lord hath 
 taken away ; blessed be the name of the Lord. 
 
 No more the farmer's news, the barber's tale, 
 ISTo more the woodman's ballad shall prevail ; 
 No more the smith his sooty brow shall clear, 
 Relax his pond'rous strength and list to hear. 
 
 EXERCISE XIII 
 
 Short o, marked o, as in on, represented by a. 
 
 Stop, not, loss, toss, softly, costly, lofty, fossil, god, god- 
 dess, often, obsolete, oppose, occur, squalid, squadron, 
 halibut. 
 
 Music hath charms to soothe the savage breast, to 
 soften rocks, or bend a knotted oak. Othello's occu- 
 pation 's gone. A soft answer turneth away wrath. 
 And oft when the summer sun shone hot, on the new- 
 mown hay in the meadow lot. 
 
 The clock strikes one ! we take no note of time, 
 But by its loss. 
 
 EXERCISE XIV. 
 
 Long o, marked o, as in old, = o+o, represented by o«, 
 
 ou, eau 1 oo, ow, au, ew, oe, eo. 
 
 Dome, fold, home, boat, coach, four, source, dough, 
 snow, window, shoulder, soldier, solely, whole, beau, 
 shew, sew, yeoman, soul, hautboy, toe, door. 
 
EXERCISES IN ARTICULATION. 41 
 
 How it rolls and rolls, 'tis to warn home-bound 
 ships off the shoals. I have bought golden opinions 
 from all sorts of people. Unfading Hope, when life's 
 last embers burn. When soul to soul and dust to dust 
 return. 
 
 I have that within, which passeth shew, 
 These but the trappings and the suits of woe. 
 
 EXERCISE XV 
 
 Long and close o, marked 6, as in move = (u preceded 
 by r, and by I preceded by another consonant), repre- 
 sented by cm, oe, wo, ui, eiv, oo, ue. 
 
 Lose, prove, mood, rude, prune, ruby, who, two, smooth, 
 moon, fruit, shoe, improve, tomb, remove, bruit, flute, 
 yew, rue. 
 
 Who love too much, hate in the like extreme. 
 Grand, gloomy, and peculiar, he sat upon the throne. 
 She went on a tour to prove that the cool mountain air 
 would improve her health. 
 
 EXERCISE XVI. 
 
 Short w, marked u, as in but = o, represented by oe, ou 
 (ea and zo, in the final terminations cean and tion). 
 
 Up, run, muff, such, undone, conduct, son, touch, pious, 
 cousin, ocean, notion, covetous, covered, seldom, does. 
 
 This was the most wnkind cut of all. Spirits are 
 not finely torched, hut to fine issues. Here, Skwgg lies 
 snwg as a hug in a rug. The summer sun gilds old 
 ocean's bosom. 
 4* 
 
42 A MANUAL OF ELOCUTION. 
 
 EXERCISE XVII. 
 Middle or obtuse u 7 marked w, as in full, represented by 
 
 00, Oil, 0. 
 
 Pull, bush, put, foot, wood, good, could, should, cushion, 
 
 cuckoo, sugar, woman, wolsey. 
 
 Except wind stands as never it stood, it is an ill 
 wind turns none to good. Wo?/ld that the cizckoo on 
 yonder hush, would bring us good tidings. The cushion 
 is made of worsted. 
 
 EXERCISE XVIII 
 
 Long Uj marked w, as in use = i-}-6, represented by u, 
 eu, ew, ui, ieu, iew, eau, ue. 
 
 Lute, tune, fume, mute, human, feud, eulogy, dew, 
 few, new, sinew, suit, sluice, view, adieu, Tuesday, 
 purlieu, beautiful, studious, endure, opportunity, 
 articulate, feature, nature, legislature, calculate, 
 purview, ensue. 
 
 There is a pleasure in the pathless woods; 
 
 There is a rapture on the lonely shore ; 
 There is society where none intrudes, 
 
 By the deep sea and music in its roar. 
 
 EXERCISE XIX. 
 ou as in our, ow as in now = o-fo. 
 
 Round, bound, house, mouse, ground, ounce, owl, town, 
 shower, growl, allow, coward. 
 
 How boiled the woods beneath their sturdy stroke. 
 Confounding, astounding, dizzying and deafening the 
 ear with its roar. Sound the loud timbrel. The \o\a\ 
 sound echoes through the town. 
 
EXERCISES IN ARTICULATION. 43 
 
 EXERCISE XX. 
 
 oi as in oil, oy as in toy = + 1. 
 
 Boil, toil, soil, coil, exploit, employ, annoy, joyfal, 
 oyster. 
 
 The com was void of alloy. Ambition scoffs at useful 
 toil and homely joys. Rejoice and shout for jo?/, ye 
 men of Angiers. 
 
 Consonant Elements. 
 
 Sub-Vocals. 
 
 EXERCISE I. 
 
 y as in yet = I (very short), represented by y, i, u, j. 
 
 Year, yeast, yeoman, yield, yoke, yonder, banian, bil- 
 ious, guide, guest, hallelujah. 
 
 Ye glittering towns, with wealth and plunder crown'd ; 
 Ye fields, where summer spreads profusion round ; 
 Ye lakes, where vessels catch the busy gale; 
 Ye bending streams, that dress the flowery vale, 
 For me your tributary stores combine, 
 Creation's tenant, all the world is mine. 
 
 EXERCISE II. 
 w as in way = (very short), represented by u J 
 (IF is silent before r, and sometimes before /?, as in 
 who, whoop, wrath). 
 
 Wane, wail, wayward, away, awake, unwashed, wanton, 
 wicked, assuage, suite, quiet, choir, conquest. 
 
 We would not seek a battle as tee are ; 
 Nor as we are, we say ice will not shun it. 
 
 TFe wandered where the whirlpool wends its icind- 
 
44 A MANUAL OF ELOCUTION. 
 
 EXERCISE III. 
 wh as in when = (h-fw). 
 Whither, which, whirl, wheeze, whence, whistle, 
 whisper. 
 
 JT7ience and 10I12X art thou, execrable shape ! 
 
 TF^en music, heavenly maid, was young, 
 While yet in early Greece she sung. 
 
 EXERCISE IV. 
 r as in roll, or trilled r before a vowel. 
 Eich, round, rush, ring, rural, rhetoric, library, pro- 
 trude, dreary, spirit, ragged, roaring. 
 
 ifend with tremendous sound your ears asunder, 
 With gun, drum, trumpet, blunderbuss, and thunder. 
 
 Proud Cumberland prances, insulting the slain. 
 
 The rough and rugged rocks rear their hoary heads 
 
 high in air. 
 
 EXERCISE V. 
 
 r as in far, or smooth r before a consonant. 
 
 Harm, farm, merchant, expire, murmur, warm, rear, 
 roar. 
 
 Liberty ! shout for liberty ! shout for liberty ! 
 Poor patriots partly purchased, partly pressed. 
 
 EXERCISE VI. 
 I as in lull. (It sometimes forms a perfect syllable of 
 itself, as in the terminations le ) il. In many words 
 it is silent, as in bafon, caff.) 
 
 Lily, bell, lullaby, able, middle, evil. 
 Xist ! Zist ! O fist ! 
 We traveled on a level road of grave?. 
 
EXERCISES IN ARTICULATION. 45 
 
 Stand up firmZy, perpendicuZarZy and independently, 
 when thou sadd'Zst and brid'Zst the horse. 
 Hear the Zoud aZarum beZZs. 
 
 EXERCISE VII. 
 z as in azure = zh represented by <y, s. 
 
 Seizure, glazier, regime, rouge, composure, derisiun, 
 scission. 
 
 z as in zone = s represented by x, c. 
 Zebra, horizon, venison, Xenophon, disease, xebec, 
 • suffice, sacrifice, usage, grease, leisure. 
 
 Come coz ; come coz ; we stay for you ; a word with 
 
 you coz. 
 
 But thou, O Hope, with eyes so fair, 
 What was thy delighted measure ? 
 Still it whispered promised pleasure. 
 
 EXERCISE VIII. 
 
 th as in then (flat or vocal). 
 
 Though, beneath, thither, paths, bathe, writhe, mouths. 
 
 () thon that with surpassing glory crown'd, 
 Look'st from thy sole dominion, like the God 
 Of tins new world ; — To thee I call. 
 
 EXERCISE IX. 
 
 j as in joy = g (soft). 
 
 Jewel, jeer, gibbet, jostle, gymnast, gesture, gyve, 
 bridge, village. 
 
 The jeering and jostling of the village r/ypsies at 
 the sight of the gymnasts' feats were prodigious. 
 Most learned judge, I call for justice. 
 
46 A MANUAL OF ELOCUTION. 
 
 EXERCISE X. 
 
 v as in vile, represented by/, ph. 
 
 Vaunt, vivify, valve, of, nephew, Stephen, velvet, 
 reviv'dst. 
 
 And thou hast talk'd 
 0/ sallies, and retires ; of trenches, tents, 
 0/ palisades, frontiers, parapets ; 
 0/ basilisks, of cannon, culverin : 
 0/ prisoners' ransom, and of soldiers slain. 
 
 EXERCISE XI 
 
 ng as in sing, 7iJc as in ink, and n before the sound of 
 g, k, or c hard, qu or x. 
 
 Kinging, anguish, stronger, anchor, ankle, conquer, 
 uncle, England, larynx, sphinx, blink, shrink. 
 
 Sweet Portia, 
 If you did know to whom I gave the rin<7, 
 If you did know for whom I gave the rin^, 
 And would conceive for what I gave the ring, 
 And how unwillingly I left the ring, 
 When nought would be accepted but the rin<7, 
 You would abate the strength of your displeasure. 
 
 And glittering and frittering and gathering and feathering, 
 And whitening and brightening' and quivering and shivering, 
 And hurrying and skurryin<7 and thunderi/?^ and floundering. 
 
 EXERCISE XII 
 
 m as in may. 
 
 Mummy, commencement, monument, mimic, mammal, 
 phlegm. 
 
 The communications of the competitors were com- 
 pared. 
 
EXERCISES IN ARTICULATION. 47 
 
 I '11 give ray jewels for a set of beads ; 
 My gorgeous palace for a h'erraitage ; 
 My gay apparel for an almsman's gown ; 
 My figured goblets for a dish of wood ; 
 My sceptre for a palmer's walking-staff'; 
 My subjects for a pair of carved saints ; 
 And my large kingdom for a little grave. 
 
 EXERCISE XIII. 
 n as in nine (n is silent when it follows Z, m in same 
 
 syllable, as kiln, hymn). 
 Never, ninny, concave, sloven, sudden, seven, kitchen, 
 heaven, shovel, chicken. 
 
 Whoever imagined such an ocean to exist ? Who- 
 ever imagined such a notion to exist ? 
 
 Lewd, lewd your wiwgs ! I mourct, I fly ! 
 
 EXERCISE XIV. 
 
 g as in gay (hard) is represented by x = gz. 
 
 Guard, giggle, gargle, glimpse, suggest, cognizant, 
 
 exhaust, exhilarate, exotic, exile. 
 
 Are they ^one, all gone from the sunny hill ? 
 All that flitters is not ^old. 
 
 EXERCISE XV. 
 d as in day. 
 
 Deduce, added, wedded, indeed, doubled, addition, 
 healed, sealed, dared, adds. 
 
 All that glitters is not gol^Z, 
 Often have you heard that told ; 
 Gilded tombs do worms enfold; 
 Had you been as wise as bohi, 
 Young in limbs, in judgment old, 
 Your answer had not been inscrol'^; 
 Fare you well, your suit is cold. 
 
48 A MANUAL OF ELOCUTION. 
 
 Crowds thronged the road through which the con- 
 queror passed. 
 
 EXERCISE XVI. 
 
 b as in bake (b is silent before t, and after m in same 
 syllable, as in lamb, debt). 
 
 Born, bubble, imbibe, abbot, abominable, hubbub, 
 robb'd. 
 
 Double, dou&le, toil and trou&le, 
 Fire 6urn and cauldron bubble. 
 
 2?ack, beardless boy ! Jack, minion ! 
 Who can behold such beauty and be silent ? 
 
 Aspirates. 
 EXERCISE I. 
 
 h as in hat (h is always silent after r, as in rhet- 
 oric, also at the beginning of many words, as heir, 
 honest). 
 
 Harm, hyphen, vehement, annihilate, human, hostess. 
 A horse ! a horse ! my kingdom for a ^orse ! 
 
 77b w poor, how rich, how abject, Aow august, 
 How complicate, how wonderful is man! 
 How passing wonder, he who made /rim such, 
 WAo center'd in our make such strange extremes. 
 
 EXERCISE II 
 th as in thin (sharp). (In some words the h is silent 
 
 as in thyme.) 
 Thank, thirsty, truths, breath, youths, growth, fifth, 
 method. 
 
 TVaeophilus IViistle, the thrlee thrifty bustle sifter, 
 in sifting a sieve full of unsifted th\ sties, ^rust three 
 Mousand ^istles through, the ^Aick of his thumb. 
 
EXERCISES IN ARTICULATION. 49 
 
 And dea^/i-shot, falling thick and fast, tinned the 
 ranks of ^ousands. 
 
 EXERCISE III. 
 
 sh as in shun, represented by s, ch ) ti, c, c«, ss. 
 
 Show, sheepish, machine, chaise, patient, pshaw, 
 oceanic, pronunciation, sure, sugar, sumach, Cassius, 
 nescient, nation, glacial. 
 
 Next anger rus7t'd — his eyes on fire, 
 In one rude c]ash lie struck the ly.re, 
 And swept with hurried hand the strings. 
 
 The last shred parted, a shriek burst upon the air. 
 Hush ! hush ! thou vain dreamer ! 
 
 EXERCISE IV. 
 
 s as in sing (sharp like g soft). 
 
 Sister, debase, assistance, seducest, police, cistern, 
 cycle, gas, dress, (mouse, use, grease as nouns,) dis- 
 place, dissuade, transfix, asthma, hostler. 
 
 /Sam /Slick sawed six sleek, slim saplings for sale. 
 He fixed stakes strongly, and the fixed stakes stood. 
 /Sleep, gentle sleep, nature's soft nurse, how have I 
 frighted thee. 
 
 EXERCISE V. 
 
 f as in fife, represented by ph, gh. 
 
 Fife, full, fifth, enough, phonetics, triumph, draught, 
 cough, trough, caliph, phosphorous. 
 
 On every lea/ and every /lower were insects /ound. 
 Few, few shall part where many meet. 
 They /ought not/or/ame, but for/reedom. 
 5 D 
 
50 A MANUAL OF ELOCUTION. 
 
 EXERCISE VI. 
 
 k as in kite = c (hard), represented by c&, q, ch, gti. 
 
 Kitten, kindred, cap, cone, chord, chronicle, architect, 
 
 quote, quake, eccentricity, beck, chlorine, lough, 
 
 conch, hough. 
 
 The clumsy, clicking, kitchen cloc& clic&ed, clic/cs, is 
 
 clic/ting. 
 
 Come bac&, come bac£, my cliildhood. 
 
 EXERCISE VII. 
 t as in tent, represented by ed final, when e is silent. 
 Intent, tame, destitute, stopped, stutter, rocked, 
 lightest, bright, piqued, yacht, indict. 
 A tell-tale, failing, teasing termagant, tha£ troubled 
 all the town. 
 
 Trim Tristram Trotter trampled on the tiim. trades- 
 man's brimming. 
 
 Time and tide wait for no man. 
 
 EXERCISE VIII 
 
 p as in pipe, represented by gh, ph. (It is silent before s 
 
 and t at the beginning of words, as psalm, Ptolemy.) 
 
 Pop, pulp, apple, supple, hiccough, diphthong, triph- 
 thong. 
 Peter Piper picked a peck of pickled peppers. 
 
 O, now you v/eep, and Ijoerceive you feel the dint of 7?ity, 
 With disappointment, penury and pa\n. 
 
 EXERCISE IX. 
 ch (soft) as in church ; ch (hard) as in chasm. 
 
 Chair, chime, satchel, charity, chorus, chyme, echo, 
 
 school. 
 
 Charge, CAester, charge! 
 
 His teeth they chatter, c/iatter still. 
 
CHAPTER V. 
 
 PRONUNCIATION. 
 
 Pronunciation, or Orthoepy, signifies correct speech, 
 and includes articulation, or the functions of the organs 
 of speech, and accentuation, or laws which polite usage 
 and analogy have assigned to words. The correct utter- 
 ance of the elementary sounds is the most essential 
 element of the formation of words. 
 
 Accent is the force with which we pronounce the 
 most prominent syllables of a word, as in ad'-a-mant ; 
 the greater force is here given to the first syllable. 
 The educated are distinguished from the illiterate by 
 their pronunciation of the language they speak. A 
 slovenly pronunciation is at once associated with a 
 deficiency in the very rudiments of a good education. 
 A standard dictionary should always be at hand, and 
 the majority of persons will find occasion to make fre- 
 quent appeals to it for authority in pronunciation. 
 
 Local peculiarities at variance with general usage 
 are so numerous that it is ouly by exercising great 
 caution, and by persevering effort in imitating the best 
 models, that the English language can be preserved 
 free from impurities. 
 
 There is a class of sounds which form an element 
 in the unaccented syllables of many words of more 
 than one syllable, requiring special attention, in order 
 to secure a graceful and elegant pronunciation. 
 
 51 
 
52 A MANUAL OF ELOCUTION. 
 
 These may be designated obscure vocals. 
 
 In " Worcester's Key " they are marked with a dot 
 underneath each letter, as a, e, i, etc. This mark may 
 indicate an indistinct sliort sound of the vowel, as 
 mental, travel, idol ; or in many cases a long sound, as 
 ebony, educate, emerge. 
 
 This mark indicates no particular quality of sound, 
 but rather a slight stress of voice in uttering the ap- 
 propriate sound of the vowel. 
 
 Correct Usage of Certain ^Words. 
 
 a as a word is pronounced a, obscure, except when 
 emphatic, as, give me a book, not give me a book. 
 
 o in on, toss, God, loss, etc., requires the short o, not 
 aivun, tavMSj gawd. 
 
 My, when emphatic and in solemn style, takes the 
 long sound of I; in all other cases short i, as my. 
 Myself should never have the long y. 
 
 The is pronounced thi before a vowel, and thu before 
 a consonant, as Thi earth is round, Thu bird has 
 flown. 
 
 In such phrases as " not yet" " don't you go" etc., 
 great care should be taken not to blend the sounds / 
 and y, equivalent to " don cJioo go" " no-chet." 
 
 The sound of o (o), in to, noon, moon, etc., is fre- 
 quently incorrectly given with the sound of u in use : 
 as tu, nun, mun. 
 
 The phrase of the, as, " The hour of the day," some- 
 times incorrectly given, " The hour o' the day." 
 
 And, in such phrases as " exercise and temperance," 
 often incorrectly rendered " exercise an 1 temperance" 
 or, " exercise 'nd temperance." 
 
P R O X U N C I A T I O N 
 
 53 
 
 Unaccented Syllables which are often Im- 
 perfectly Enunciated. 
 
 Initial. 
 
 In practising the following, give the italic letter 
 without prolongation. 
 
 e and o long, slightly obscure. 
 Say event', not wvent'; obey', not ubey'. 
 
 erect 
 
 behind 
 
 oblige 
 
 polite 
 
 elude 
 
 precede 
 
 obey 
 
 pronounce 
 
 erase 
 
 delight 
 
 omit 
 
 horizon 
 
 elect 
 
 begone 
 
 opaque 
 
 colossal 
 
 
 a, \ o (short), 
 
 slightly obscure. 
 
 Say abode', 
 
 not abode'. 
 
 
 
 abode 
 
 abash 
 
 occur 
 
 divide 
 
 abound 
 
 obtain 
 
 convince 
 
 diverge 
 
 abate 
 
 collect 
 
 mmute 
 
 bztumen 
 
 Middle. 
 
 e, \ o, and w, in middle syllable, often omitted. 
 
 Say ev'ery, not ev'ry ; family, not fam'ly ; his'tory, not 
 hist'ry ; reg'fdar, not reg'lar. 
 
 literal famzly agony artic?^late 
 
 several sagaczty canopy singular 
 
 traveller infirimty memory natural 
 
 reverence agility ebony educate 
 
 Final. 
 
 able and ably. 
 Avoid the too common error of inserting a sound 
 like u in up between the b and I of the syllable ble, 
 thus, peaceaoit? for peaceao/p. 
 5* 
 
51 
 
 A MANUAL OF ELOCUTION. 
 
 In tlie terminations able and ably, preserve the sound 
 of short a, as in battle, rendered slightly obscure, 
 however, from being unaccented, thus tolerably, not 
 tolerably. 
 
 amiable abominable commendably tolerably 
 
 formidable applicable respectably sociably 
 agreeable formidably immutably honourably 
 
 ible and ibly. 
 
 Incorrectly enunciated with the it of bubble, for the 
 i of nibble, slightly obscure, thus sensible for sensible, 
 forcibly for forcibly. 
 
 illegible audible audibly forcibly 
 
 forcible susceptible incredibly intelligiVv 
 invincible feasible contemptibly invincibly 
 
 ure. 
 
 Say feat'yure, not feach/ur. 
 
 nature meas*£re seizure incloswre 
 
 creature statnre erasi^re portraiture 
 
 treasi^re leisure departure legislature 
 
 tion, sion. 
 
 Say nash/im, not nash'n. Say man'slwn, not mansh'n. 
 addition oauft'on confess ion decision 
 
 institution st&tion subversion percep£io?2 
 
 option succession explosion solution 
 
 Say needless, e (short), obscure, not need'liss. 
 
 heed less lifeless harshness carelessness 
 
 care less fondness useless li klessness 
 
 kindness gladness goodness heedlessness 
 
PRONUNCIATION. 55 
 
 ful and fully. 
 Say need'fwl, not need'fwll. 
 
 playful hesLU.ti.fuUy fearful tuneful 
 
 peaceful artfully needful playful 
 
 fretful hopefully hurtful awful 
 
 ent and ence. 
 Say mo'ment, e (short), obscure, not mo'mmrt. 
 
 ardent diligence frequent crescent 
 
 convent influence punishment pungent 
 
 fragment eloquence pavement movement 
 
 y short — final. 
 Preserve the sound of short i as reven in revery, 
 not the sound of e as revere. 
 
 handy lottery gracefully needfully 
 
 wealthy forgery hopefully willingly 
 
 livery flattery cheerfully rightfully 
 
 e in final el is generally sounded, though obscure. 
 Say nov'e?, not nov'l. 
 
 cancel chape? reve? gospe? 
 
 travel leve? came? chance? 
 
 rebe? mode? squirre? nove? 
 
 Exceptions. 
 
 Grovel, shrivel, shovel, mantel, measels, ravel, 
 
 shekel, swivel, drivel, hazel, weasel, rivel, snivel, 
 
 navel, ousel. 
 
 en. 
 
 e in final en is generally silent. 
 
 sev'n gold'n elev'n froz'n 
 
 heav'n molt'n ev'n burd'n 
 
 giv'n gard'n quick'n doz'n 
 
66 
 
 A MANUAL OF ELOCUTION. 
 
 Exceptions. 
 Chicken, hyphen, aspen, marten, sudden, mitten, si- 
 ren, platen, patten, kitchen, abdomen, acumen, bitu- 
 men, catechumen, hymen, latten, legumen, linen, omen, 
 pollen, regimen, sloven, specimen, ticken, woollen, 
 women, cerumen. 
 
 o and ow final. 
 
 Say pota'to, not pota'tu. 
 
 Tobacco borrow window mellow; 
 
 motto merino meadow follow 
 
 fellow mosquito willow; pillow 
 
 sm, lm, rm. 
 
 Avoid inserting a sound like u in but, between the 
 m and the sound which precedes it, as chaswm for 
 chasm. 
 
 spasm phantasm overwhelm film 
 
 criticism exorcism alarm elm 
 
 fanaticism chasm disarm storm 
 
 r after a vowel. 
 
 Say farm, not fawm. 
 
 farm rampart market liberty 
 
 born depart lordly disorder 
 
 forlorn murmur orphan heartily 
 
CHAPTER VI. 
 
 PAUSES. 
 
 In pronouncing a word of more than one syllable, 
 we naturally make a slight, perhaps almost impercep- 
 tible pause between the syllables ; otherwise, the word 
 would be a succession of meaningless sounds : thus, in 
 the word nat-u-ral-ly, we have four syllables, each 
 group or syllable being detached from the others by a 
 slight pause. 
 
 In communicating thought by a succession of words, 
 pauses are still more necessary between the parts of a 
 sentence. 
 
 Pauses are the intervals observed between words, 
 clauses, sentences, and paragraphs, which serve to 
 make the meaning intelligible. 
 
 Another distinct office of the pause, as associated 
 with the time or movement as an element of expression, 
 is to give greater force to emotional utterance. 
 
 Awe and solemnity require slow movement and 
 long pauses. 
 
 Joy and cheerfulness, quick movement and short 
 pauses. 
 
 Pauses may be divided into grammatical, rhetor- 
 ical, and emphatic. 
 
 The first indicate the syntactical relation of words 
 and clauses, and are addressed to the eye. 
 
 The second indicate the relations between rhetorical 
 
58 A MANUAL OF ELOCUTION. 
 
 divisions of the discourse, and are determined by the 
 meaning and the ear. These pauses may, or may not 
 correspond to the first in giving expression to speech. 
 The emphatic pause is very effective before em- 
 phatic words, sometimes before and after an emphatic 
 word or phrase, as in the following example. (The 
 pause is marked with a dash.) 
 
 Example. Ye know too well the story of our thral- 
 dom ; we are — slaves. The bright sun rises to his 
 course and lights — a race of slaves ; he sets, and his 
 last beam falls — on a slave. 
 
 The shades of thought and feeling are so varied that 
 no exact rule can be given for the length of pauses. 
 The prevailing sentiment and emotion must be the 
 guide. 
 
 General Directions for Pauses. 
 
 I. General heads of discourse require longer pauses 
 between them than subordinate ones ; subordinate heads 
 longer than paragraphs • paragraphs than sentences • and 
 sentences than words, phrases, and clauses. 
 
 II. In narrative, didactic, and descriptive selections, 
 pauses are of moderate length. 
 
 III. In grave, solemn, pathetic selections, the pauses are 
 long. 
 
 IV. In joyous, animated, spirited selections, the pauses 
 are short. 
 
 V. Pause after the subject of a sentence when it con 
 sisls of several words, or of one word, if it be important. 
 
 Example. Knowledge | is power. 
 Example. The cheap defence of nations, the nurse 
 of manly sentiment and heroic enterprise | is gone. 
 
PAUSES. 59 
 
 VI. Any member of a sentence occurring between the 
 subject and predicate, is separated by a pause. 
 
 Example. Nymph | in thy orisons | 
 
 13e all my sins remembered. 
 
 Example. This | though it may make the unskilful 
 hugh | cannot but make the judicious grieve. 
 
 VII. After words in apposition or opposition to each 
 other. 
 
 Example. Sleep | gentle sleep | 
 
 Nature's soft nurse | how have I frighted thee. 
 
 Example. Some place their bliss in action | some — in ease; 
 Those | call it pleasure, and contentment— these. 
 
 VIII. Pause before a preposition, a relative pronoun, 
 conjunction, an adverb, and before the infinitive mood. 
 
 Example. What a piece | of work is man ! How 
 hoble | in reason! how infinite | in faculties! in form 
 and moving | how express and admirable ! In ac- 
 tion | how like an angel ! in apprehension | how like 
 a god ! 
 
 Example. The look | that spoke gladness and wel- 
 come was gone. The blaze | that shone bright in the 
 hall was no more. 
 
 Example. Who would not wish to be from wealth exempt, 
 Since riches point to misery | and contempt. 
 
 Example. I speak | as to wise men : judge ye what 
 I say. 
 
 Example. What eye has been permitted | to see ; 
 what ear | to hear; what heart | to conceive those 
 
60 A MANUAL OF ELOCUTION. 
 
 things which God has in preparation for snch as love 
 Him? 
 
 IX. Pause after the nominative independent. 
 
 Example. O liberty ! | liberty ! | how many crimes 
 are committed in thy name. 
 
 Example. These are thy glorious works, Parent of good, J 
 Almighty, | thine this universal frame. 
 
 X. Pause, before and after an adjective and before a 
 participle following the word which it limits, and between 
 the parts of a sentence that can be transposed. 
 
 Example. From pavement | rough, or frozen ground, 
 The engine's rattling wheels resound. 
 
 Example. To an American | visiting Europe, the 
 long voyage he has to make is an excellent pre 
 parative. 
 
 Example. With many a weary sigh and heavy groan, 
 
 Up a high hill | he heaves a huge round stone. 
 
 Determine the Pauses in the Following. 
 
 All floats on the surface of that river, which with 
 swift current is running towards a boundless ocean. 
 
 The price of improvement is labor. 
 
 That course if persevered in will secure the prize. 
 
 The experience of want enhances the value o? 
 plenty. 
 
 Eemember thy Creator in the days of thy youth. 
 
 His highest enjoyment was to relieve the distressed. 
 
 O ! sacred Truth ! thy triumph ceased awhile, 
 And Hope, thy sister, ceased with thee to smile. 
 
 The sentence is terrible, it is — death. 
 
PAUSES. 61 
 
 This castle hath a pleasant seat ; the air doth nimbly 
 and sweetly recommend itself unto our gentle senses. 
 It is more blessed to give than to receive.' 
 The man is an artist undoubtedly ; his specimens, I 
 think fine in the extreme. 
 
 To die — to sleep — 
 No more ; and by a sleep, to say we end 
 The heartache, and the thousand natural shocks 
 That flesh is heir to ; 'tis a consummation 
 Devoutly to be wished ! 
 6 
 
CHAPTER VII. 
 
 INFLECTIONS, OR SLIDES, AND CADENCE. 
 
 Inflection, in Elocution, signifies the sliding of the 
 voice upward or downward, upon a sound or syl- 
 
 lable, as in the question, Is it true ? the voice slides 
 
 upward on the sound u. In the answer, Yes, the voice 
 slides downward on the vowel e. 
 
 Without inflections, reading and speech become life- 
 less and monotonous, and language is divested of its 
 true meaning and force ; while an excessive use of 
 inflections renders the utterance harsh and formal. 
 
 The application of the falling inflection is based on 
 force and completeness of thought ; the rising inflec- 
 tion on incompleteness of thought or suspension of sense. 
 
 Diatonic slides indicate whole tones. 
 
 (The term diatonic is used for convenience, though we can- 
 not, in speaking, as in singing, fix any exact scale or limit for 
 the voice.) 
 
 The slides of the voice, up or down, must be deter- 
 mined by the meaning, and by the force and intensity 
 of emotion. 
 
 In unimpassioned utterance, the voice slides through 
 short intervals, or perhaps one tone ; as, I did not say 
 
 / \ 
 
 blame, but fame. 
 
 62 
 
INFLECTIONS, OR SLIDES. 63 
 
 In strong emotion, the slides are strongly marked ; 
 the voice sometimes extending through a fifth or oc- 
 tave, upward or downward. 
 
 The following diagrams will serve to illustrate the 
 comparative length of slides in the utterance of vary- 
 ing emotions: / 
 
 ^ h h ah i illustrating rising inflections. 
 
 The first, or slide of a tone, may characterize all 
 language of simple inquiry, suspension of sense, ad- 
 dress, and unimpassioned sentiment. The second, or 
 slide of a third, may apply to earnest inquiry, sur- 
 prise, etc. The third, or slide of a fifth, to wonder. 
 The fourth, or slide of an octave, to extreme surprise 
 or astonishment. 
 
 tvtX ^ ^ \ \ illustrating downward inflections. 
 ISO no no no ) ° 
 
 The slide indicated by the two shortest marks in 
 the above illustrations, may be called short, or unim- 
 passioned ; the others long, or emotional slides. 
 
 The Semitonic slides indicate half tones, and charac- 
 terize expressions of grief, sorrow, pity, pathos, etc., 
 and are illustrated by the acute and grave accents (' r ). 
 
 The Circumflex, or Wave, is the double inflection on 
 the same sound, and expresses irony, sarcasm, raillery, 
 mirth, humor, and wit, and is marked thus, (A), (V). 
 
 In its subdued form the wave is effective in mark- 
 ing close distinctions of sense ; also in imparting to 
 sublime and elevated sentiments an additional dig- 
 nity and power, in which form, care must be taken 
 that it be not used to excess. 
 
64 A MANUAL OF ELOCUTION. 
 
 The Monotone prevails in expressing emotions of 
 grandeur, vastness, and power, or when the speaker 
 is supposed to be incapable of human passion, as a 
 spiritual being or ghost, and is marked thus ( ~ ). It 
 must not be confounded with monotony. Monotone 
 means absence of slides, but not necessarily unvary- 
 ing pitch. 
 
 The Eising Inflection is Applied : 
 
 1st. To direct inquiry, except when repeated for em- 
 phasis. 
 
 Example. Are you sick, Hubert ? 
 
 Example. What ! looked he frowningly ? 
 
 2d. To incompleteness of thought, expression of a con- 
 dition, and suspension of sense. 
 
 Example. Destitute of resources, he fled in disguise. 
 
 Example. If Christ be not risen, then is our preach- 
 ing vain, and your faith is also vain. 
 
 Example. Your enemies may be formidable by their 
 
 numbers and their power ; but He who is with you 
 is mightier than they. 
 
 3d. To address and apostrophe, when not solemn or 
 emphatic. 
 
 Example. Sir, we have done everything that could 
 be done to avert the storm that is now coming on. 
 
 Example. And I have loved thee, ocean ! 
 
 Example. But thou, O hope, with eyes so fair, 
 What was thy delighted measure? 
 
 
INFLECTIONS, OR SLIDES. 65 
 
 4th. Repetition of another's words, expressing incre- 
 dulity or surprise. 
 
 Example. What ! surrender on terms so dishonor- 
 able ? 
 
 Example. If it be, 
 
 "Why seems it so particular with thee ? 
 
 Seems, madam ! nay, it is ; I know not seems. 
 
 5th. To the last member of a commencing series ; and 
 next to the last member of a concluding series. 
 
 Example. The young, the healthy, and the prosper- 
 ous should not presume on their advantages. 
 
 Example. True gentleness teaches us to bear one 
 another's burdens; to rejoice with those that rejoice; 
 to weep with those who weep ; to be kind and tender- 
 
 / 
 
 hearted ; to be pitiful and courteous ; and be patient 
 
 towards all men. 
 
 6th. To negative ideas. 
 
 Example. Labor not for the meat that perisheth ; 
 but for that meat which endureth unto everlasting 
 life. 
 
 Example. Lady, you utter madness, and not sorrow. 
 
 7th. To poetical thoughts, either in prose or poetry 
 
 Example. When Music, heavenly maid! was young, 
 
 While yet in early Greece she sung, 
 
 The Passions oft, to hear her shell, 
 Thronged around-her magic cell; 
 6* E 
 
66 A MANUAL OF ELOCUTION. 
 
 Exulting, trembling, raging, fainting, 
 Possessed beyond the muse's painting ; 
 By turns they felt the glowing mind 
 
 / 
 
 Disturbed, delighted, raised, refined; 
 
 Till once, 't is said, when all were fired, 
 
 Filled with fury, rapt, inspired, 
 
 From the supporting myrtles round 
 They snatched her instruments of sound ; 
 
 And, as they oft had heard apart 
 
 Sweet lessons of her forceful art, 
 
 Each, for Madness ruled the hour, 
 "Would prove his own expressive power. 
 
 Exceptions to any of the preceding rules may occur 
 in cases of marked emphasis. 
 
 The Falling Inflection is Applied: 
 1st. To the indirect question. 
 
 Example. When do you go to town ? 
 
 Example. What is it that gentlemen wish? what 
 
 would they have ? 
 
 2d. To completeness of thought. 
 
 Example. Nothing in man's wonderful nature can 
 be more wonderful or mysterious than his gift of 
 
 memory. 
 
 Example. Let your companions be select ; let them 
 
INFLECTIONS, OR SLIDES. 67 
 
 be such as you can love for their good qualities, and 
 whose virtues you are desirous to emulate. 
 
 3d. To positive thoughts. 
 
 Example. He was an enemy, not a friend. 
 
 4th. To the language of command, of abrupt exclama- 
 tion, denunciation, wonder, declaration, courage, calling, 
 shouting, and all fervid emotion and forcible expression. 
 
 Denunciation. 
 
 Example. Woe ! woe ! to the riders that trample them down. 
 
 Command. 
 
 Example. Arm! arm! it is, it is the cannon's opening roar! 
 
 Calling. 
 
 Example. Up drawbridge, groom ! What, warder, ho ! 
 Let the portcullis fall! 
 
 Wonder. 
 
 Example. Where should this music be ? V th' air, 
 or i' th' earth ? 
 
 Impatience. 
 
 Example. Alas, the day ! What shall I do with my 
 doublet and hose? What did he, when thou saw'st 
 him? What said he? How look'd he? Wherein 
 went he ? How parted he with thee ? And when 
 shalt thou see him again ? Answer me in one word. 
 
68 A MANUAL OF ELOCUTION. 
 
 Anger. 
 
 Example. Hear me, recreant ! on thine allegiance, 
 hear me. 
 
 Hatred. 
 
 Example. How like a fawning publican he looks ! 
 I hate him, for he is a Christian ! 
 
 5th. To repetition of emphatic clause and words. 
 
 Example. Yes, Athenians, I repeat it. Yon, your- 
 selves, are the contrivers of your own ruin. 
 
 Application of Both Inflections. 
 1st. Contrasted words take opposite slides. 
 Example. A friend cannot be known in prosperity, 
 and an enemy cannot be hidden in adversity. 
 
 Example. Not that I loved Caesar less, but Rome 
 
 \ 
 
 more. 
 
 2d. Words preceding the conjunction l or ' take the 
 rising inflection; words following, the falling inflection. 
 
 Sink or swim, live or die, survive or perish, I give 
 my hand and my heart to this vote. 
 
 The baptism of John, was it from heaven, or of 
 men ? 
 
INFLECTIONS, OR SLIDES. (59 
 
 Upward Circumflex. 
 
 Scorn. 
 
 V 
 
 Example. To ask him for a favor! I scorn it. 
 
 Downward Circumflex. 
 
 A 
 Example. A second Daniel, a Daniel, Jew; 
 
 A 
 
 Now, Infidel, I have thee on the hip. 
 
 Reproach. 
 
 A 
 
 Example. Hamlet, you have your father much offended. 
 
 A A 
 
 Mother, you have my father much offended. 
 
 Subdued Wave or Circumflex. 
 
 Solemnity. 
 
 A A 
 
 Leaves have their time to fall, 
 
 A A 
 
 And flowers to wither at north wind's breath, 
 
 A A 
 
 And stars to set, — but all, 
 
 A A A 
 
 Thou hast all seasons for thine own, O Death ! 
 
 The Distinctive Wave. 
 
 The day has been considered as an image of the 
 
 A V .A 
 
 year, and a year as the representation of life. The 
 
 A A V A 
 
 morning answers to the spring, and spring to child- 
 
 A A A 
 
 hood and youth ; the noon corresponds to the summer, 
 
 V A 
 
 and the summer to the strength of manhood. The 
 
 A. A V 
 
 evening is an emblem of autumn, and autumn of 
 
70 A MANUAL OF ELOCUTION. 
 
 A A 
 
 declining life. The night, with its silence and dark- 
 
 A 
 ness, shows the winter, in which all the powers of vege- 
 
 A V 
 
 tation are benumbed, and the winter points out the 
 
 A 
 time when life shall cease, with its hopes and pleasures. 
 
 The Monotone. 
 
 Awe and Reverence. 
 
 Example. Bless the Lord, "] 
 
 my soul ; 
 
 \ 
 
 and all that is within me, 
 
 bless his 
 
 holy name. 
 
 Horror and Gloom. 
 
 Example. I 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. 
 
 Upward Semitonic Slides. 
 
 Weakness and Pathos. 
 
 Give me three grains of c6rn, mother, 
 
 Only three grains of corn ; 
 It will keep the little life I have 
 
 Till the coming of the morn. 
 
 Downward Semitonic Slides. 
 
 Pity and Grief. 
 
 O, I have suffered 
 With those that I saw suffer! a brave vessel. 
 "Who had, no doubt, some ndble creatures in her, 
 Dash'd all to pieces. O, the cry did knock 
 Against my very heart ! Poor souls ! they perish'd. 
 
INFLECTIONS, OR SLIDES. 71 
 
 Had I been any god of power, T would 
 Have sunk the sea within the earth, or e'er 
 It should the good ship so have swallowed, and 
 The freighting souls within her. 
 
 Analyze the Following Examples, and 
 Apply Correct Inflections : 
 
 1. To arms ! they come : the Greek I the Greek ! 
 
 2. We must fight — I repeat it, sir, we must fight. 
 
 3. Great and marvellous are thy works, Lord God 
 Almighty ! 
 
 4. A countenance more in sorrow than in anger. 
 
 5. Who's here so base that he would be a bond- 
 man ? 
 
 6. How accomplish it ? Certainly not by never at- 
 tempting it. 
 
 7. Lily bells ! lily bells! swinging and ringing: 
 Sweet golden bells on the still summer air, 
 Are ye calling the birds to their matins of singing, 
 Summoning Nature to worship and prayer? 
 
 8. Mankind are besieged by war, famine, pestilence, 
 volcano, storm, and fire. 
 
 9. Eloquence is action — noble, sublime, godlike ac- 
 tion. 
 
 10. Milton is the most sublime, and Homer the most 
 picturesque. 
 
 11. Valor, humanity, courtesy, justice, and honor 
 were the characteristics of chivalry. 
 
 12. O, my son Absalom ! my son, my son Absalom ! 
 
 13. Know ye not, brethren (for I speak to them 
 that know the law), how the law hath dominion over 
 a man as long as he liveth ? 
 
 14. And Elijah mocked the priests of Baal, and 
 said : Cry aloud, for he is a God ; either he is talk- 
 
72 A MANUAL OF ELOCUTION. 
 
 ing, or he is pursuing, or lie is on a journey, or, per- 
 adventure, he sleepeth and must be awaked. 
 
 15. Holy ! holy ! holy ! Lord God of Sabaoth. 
 
 16. You blocks, jou stones, you worse than sense- 
 less things. 
 
 17. And were I an American, as I am an English- 
 man, while a single foreign troop was landed in my 
 country, / never would lay down my arms ; never, 
 never, NEVEK! 
 
 18. Saw who? 
 
 My lord, the king, your father. 
 The king? my father? 
 
 19. Mr. Chairman, I call on your interference to put 
 a stop to this uproar. 
 
 20. Oh, but he paused upon the brink ! 
 
 21. If we would be truly happy, we must be actively 
 useful. 
 
 22. Did you not hear it ? 
 
 No ! 't was but the wind, 
 Or the car rattling o'er the stony street. 
 
 23. Oh, sacred truth ! thy triumph ceased awhile 
 
 24. Take heed! take heed ! 
 They will fly with speed, 
 For I 've just new-strung my bow ; 
 My quiver is full, and if oft I pull, 
 Some arrow may hit, you know. 
 
 25. "I've seen it, sir, as well as you, 
 And must again affirm it blue. 
 At leisure I the beast surveyed, 
 Extended in the cooling shade." 
 "'T is green, 'tis green, sir, I assure ye." 
 "Green! " cried the other, in a fury. 
 
INFLECTIONS, OR SLIDES. 73 
 
 " Why, sir, d'ye tliink I 've lost my eyes? " 
 " 'T were no great loss," the friend replies ; 
 "For if they always serve you thus, 
 You '11 find 'em but of little use." 
 
 Cadence. 
 
 Cadence is the closing tone of a sentence, and, wnen 
 properly used, implies a completion of the sense. 
 
 It is among the chief sources of variety and nar- 
 mony in speech, and forms a chaste ornament in 
 reading. Much of the formal, tedious, unmeaning 
 reading is due to a uniform and mechanical use of 
 cadence, or perhaps to the absence of it, which pro- 
 duces the effect of a wandering tone at the end of a 
 sentence. 
 
 The too prevalent idea that the voice must fall at a 
 period is false. The inflection at the close of a sen- 
 tence must be determined by the sense ; thus, in the 
 following sentence : 
 
 It is not with finite beings like ourselves that we 
 hold intercourse. The negative character of the 
 thought, which implies a contrast, requires an upward 
 slide as the final tone. 
 
 Cadence applies, then, only to the completion of a 
 thought, which requires for its true expression a down- 
 ward slide. 
 
 In the utterance of forcible emotion, the cadence 
 is abrupt ; in gentle expressions it is gradual and mod- 
 erate. 
 
 One of the most frequent faults in the application 
 of the cadence is heard in the continually recurring 
 minor or semitonic slide at the end of every clause and 
 sentence. Another serious fault is the abrupt fall of 
 
<4 A MANUAL OF ELOCUTION. 
 
 the voice upon the last word of every sentence. A third 
 is the too gradual fall of the voice from the beginning 
 to the close of a sentence. 
 
 Attention to the thought and meaning of what is read, 
 together with judicious selections for practice, will do 
 much to remove such faults. 
 
 Examples Illustrating Errors in Cadence. 
 
 Minor Cadence. 
 
 Rejoice ! you men of Angiers; ring- your bells :\ 
 King John, your king and England's, doth approach ;\ 
 Open your gates, and give the victors way7\ 
 
 Abrupt Cadence. 
 
 Romans, countrymen, and lovers ;] hear me for my 
 cause, and be silent, that you may hear :| believe me 
 for mine honor, and have respect for mine honor, 
 that you may believe :| censure me in your wisdom, 
 and awake your senses, that you may the better judge. j 
 
 Gradual Cadence. 
 
 Yes, Athenians, I repeat it : 
 You, 
 
 yourselves, 
 
 are the contrivers 
 
 of your own 
 
 ruin. 
 
CHAPTER VIII. 
 
 EMPHASIS. 
 
 Emphasis is to the ear what color is to the eye ; it 
 gives light and shade, the great relief and variety in 
 speech. 
 
 Emphasis denotes the manner in which a word, 
 phrase, or clause is made prominent in a sentence, and 
 is effected in various ways. It is the application of 
 emphasis that decides the meaning of what is read or 
 spoken. 
 
 In the sentence, Did Brutus kill Coesar in the 
 senate? the meaning may be entirely changed ac- 
 cording to the word emphasized ; as, 
 
 Did Brutus kill Caesar in the senate ? 
 
 Did Brutus kill Caesar in the senate ? 
 
 Did Brutus kill Caesar in the senate ? 
 
 Did Brutus kill Caesar in the senate ? 
 
 Emphasis is closely allied to inflection, as every 
 emphatic word has a distinctive inflection ; but it 
 properly implies a knowledge of all the principles 
 which relate to expression in speech ; as one or many 
 may be requisite to produce the desired effect. 
 
 A whisper even may make a word emphatic. 
 
 A pause before, or before and after a word, is a very 
 effective means of emphasis. 
 
 A thorough mastery of the thought and emotion, em- 
 bodied in the language, is the only sure means of 
 determining the emphatic word or words. 
 
 75 
 
76 A MANUAL OF ELOCUTION. 
 
 The two distinguishing features of emphasis may- 
 be classed as — Emphasis of Sense and Emphasis of 
 Emotion. 
 
 The former is based on the antithesis of words or 
 ideas, and may be expressed or understood. 
 
 The latter is based on strong feeling, and must be 
 determined by the conception and taste of the reader. 
 
 Emphasis of Sense. 
 
 Contrast Expressed. 
 
 Example. The young are slaves to novelty ; the old, 
 to custom. 
 
 Example. The children of this world marry and are 
 given in marriage ; but they that shall be accounted 
 worthy to obtain that world neither marry nor are 
 given in marriage. 
 
 Example. It is a custom more honored in the breach, 
 than in the observance. 
 
 Example. I come to bury Csesar, not to praise him. 
 
 Example. As Caesar loved me, I weep for him ; as he 
 was fortunate, I rejoice at it ; as he was valiant, I honor 
 him ; but as he was ambitious, I slew him. There are 
 tears for his love ; joy for his fortune; honor for his 
 valor, and death for his ambition. 
 
 Contrast Implied. 
 
 Example. Common calamities and common blessings, 
 fall heavily upon the envious. 
 
 Example. Slight are the outward signs of evil 
 thought. 
 
 Example. We receive such repeated intimations of 
 decay in the world through which we are passing; de- 
 cline and change, and loss follow decline, and change 
 
EMPHASIS. 77 
 
 and loss in such rapid succession, that we can almost 
 catch the sound of universal wasting, and hear the 
 work of desolation going on busily around us. 
 
 Emphasis of Emotion. 
 
 Imprecation. 
 
 Example. Accursed be the fagots that blaze at his feet, 
 
 Where his heart shall be thrown ere it ceases to beat. 
 
 Joy and Exultation. 
 
 Example. Awake ! awake ! put on thy strength, 
 O Zion ; put on thy garments, Jerusalem, the holy 
 city. 
 
 Bold Command. 
 
 On them, hussars! in thunder on them wheel. 
 
 Rapture. 
 
 Hark ! they whisper, — angels say, 
 " Sister spirit! come away ! " 
 
 Terror. 
 
 "The foe! they come! toet come ! " 
 
 Impassioned Interrogation. 
 
 Who is here so base that he would be a bondman ? 
 If any, speak ; for him have I offended. Who is 
 here so rude that would not be a Roman ? If any, 
 speak; for him have I offended. Who is here so 
 vile that would not love his country ? If any, speak ; 
 for him have I offended. I pause for a reply. 
 
 Test Exercise on Inflections and Emphasis. 
 Charity. 
 
 Though I speak with the tongues of men and of an- 
 gels, and have not charity, I am become as sounding 
 brass, or a tinkling cj-mbal. 
 
78 A MANUAL OF ELOCUTION. 
 
 And though I have the gift of prophecy, and un- 
 derstand all mysteries, and all knowledge ; and though 
 I have all faith, so that I could remove mountains, and 
 have not charity, I am nothing. 
 
 And though I bestow all my goods to feed the 
 poor, and though I give my body to be burned, and 
 have not charity, it profit eth me nothing. 
 
 Charity suffereth long, and is kind ; charity envi- 
 eth not ; charity vaunteth not itself, is not puffed up, 
 
 Doth not behave itself unseemly, seeketh not her 
 own, is not easily provoked, thinketh no evil ; 
 
 Kejoiceth not in iniquity, but rejoiceth in the truth ; 
 
 Beareth all things, belie veth all things, hopeth all 
 things, endureth all things. 
 
 Charity never faileth : but whether there be proph- 
 ecies, they shall fail ; whether there be tongues, they 
 shall cease ; whether there be knowledge, it shall van ■ 
 ish away. 
 
 For we know in part, and we prophesy in part. 
 
 But when that which is perfect is come, then that 
 which is in part shall be done away. 
 
 When I was a child, I spake as a child, I under- 
 stood as a child, I thought as a child ; but when I be- 
 came a man, I put away childish things. 
 
 For now we see through a glass, darkly ; but- "then 
 face to face: now I know in part; but then shall I 
 know even as also I am known. 
 
 And now abideth faith, hope, charity, these three ; 
 but the greatest of these is charity. 
 
CHAPTER IX. 
 
 THOUGHT ANALYSIS OF UNIMPASSIONED 
 LANGUAGE. 
 
 A thorough mastery of the meaning and sentiment 
 of the written language is essential to a correct ap- 
 plication of the principles of expression embodied in 
 Part I. 
 
 Note the special incidents in narration, objects in de- 
 scription, or subjects in the didactic and argumentative 
 styles ; give the etymology and derivation of words. 
 
 Begin at the end of a sentence, so as to prevent the 
 possibility of reading negligently. 
 
 Sound the vocals in each word. 
 
 Articulate the subvocals in each word. . 
 
 Articulate the aspirates in each word. 
 
 Enunciate the syllables in each word. 
 
 Pronounce each word correctly. 
 
 Make a list of the difficult words for a drill exercise. 
 
 Eead each sentence with reference to pauses. 
 
 Bead each sentence with special attention, to inflec- 
 xion and emphasis. 
 
 Lastly, combine all these elements, and read with an 
 easy, fluent enunciation, so as to express the meaning 
 clearly and intelligibly. 
 
 THE RHINE. 
 
 " My second day upon the Ehine was more interest- 
 ing than my first. The scenery was wilder; the castles 
 
 79 
 
80 A MANUAL OF ELOCUTION. 
 
 were gloomier. The rush of water was more rapid, 
 and in a narrower bed, through narrower denies. 
 
 " An excellent road runs all along the banks of the 
 river, at the foot of the mountains. The Englishman's 
 coach was often seen upon it. The bugle of the Prus- 
 sian postilion would sound now and then, and echo 
 from hill to hill. Here and there was a cross, with 
 some woman kneeling at its foot. The church -bell 
 would strike at times ; the drum of the soldier was 
 often rolled. Here, a chateau ; there, the thickly 
 clustering vineyards. Here, peeping over the cliffs 
 on the plains above, the rich, golden harvests waving 
 in the breeze; and there, the hills feathered with little 
 trees. Now the Ehine would branch off into the broad 
 lake in quiet beauty, and, pent up among the moun- 
 tains, hiding its ingress and egress too, quite deceive 
 you ; and anon it would foam, and fret, and chafe, in 
 anger, as it were, that it was passing in such a wild 
 defile. 
 
 " Glorious river ! glorious in fact, and in fancy, too. 
 Of all the things around, thou art alone unchanged. 
 Castles have fallen ; nations have thrown their flags 
 upon thy cliffs ; war has often vexed thy bosom ; but 
 thou art the same as ever, in perpetual youth and 
 beauty; and one does not marvel why feudal # lord 
 and fiery chief should seek thy sweet repose. 
 
 " The ancient fort of Eheinfeltz is now in view. The 
 best comment I can make upon it is — none at all ; for 
 silence often speaks what words cannot. Wilder and 
 wilder the country is. An enormous rock, called Lur- 
 leyburg, is on our left. A curious echo is here. Some 
 workmen on the road blew a blast on the bugle, to 
 
THOUGHT ANALYSIS. 81 
 
 astonish us. Our Captain fired off a small piece of can- 
 non ; the boatmen of the Rhine were crying, ' Lore-lei, 
 Lore-lei ! ' invoking the water spirit that has domain 
 here ; and ' Lore-lei ' responds from her rocky mouths. 
 " The Rhine seems to have been formed for the pur- 
 pose of charming the eye, in exhibiting delightful con- 
 trasts. As you begin your voyage towards its source, 
 all is dull; and your expectations are badly damped. 
 All at once comes the Drachenfelz, and ruin and ragged 
 cliff. Then the wild passes, of which I have written, 
 with their whirlpools and wilderness of rocks ; and 
 then, as you have had enough of this, the Rhinegau 
 opens with the panorama of everything you have seen 
 before, specimens of each, all grouped for one glance 
 of the eye. Wealth, taste, power, rank, in all times, 
 have sought a home within the Rhinegau, or near 
 about it." 
 
 QUESTION'S. 
 
 What is the character of the above extract ? Is it narrative or de- 
 scriptive? Is it lively or grave? Is it beautiful or sublime? 
 
 What is the general character of the inflections ? Of the emphasis ? 
 Where make the pauses in first paragraph, and why ? 
 
 Locate and describe the Rhine. What is a castle? Define the bed 
 of a river ; a defile. Who is a postilion ? What religion would you 
 infer prevailed in France, from the expression " here and there was a 
 cross," etc. ? 
 
 Describe a chateau ; meaning of the phrase " thickly clustering vine- 
 yards ; " of " ingress and egress ; " of " anon." 
 
 What sentiments characterize the third paragraph ? Why " glorious 
 in fact" ? 
 
 In fourth paragraph give some account of the Lore-lei. 
 
 Give meaning of feudal. What inflections on wealth, taste, power 
 rank? 
 
 F 
 
CHAPTER X. 
 
 REGISTERS OF THE VOICE. 
 
 The speaking voice is confined to two registers, 
 viz., Chest and Falsetto. The chest register may be 
 divided into first and second. The limits of these 
 registers are determined by the position and action of 
 the membranes, cartilages, and muscles of the larynx. 
 The changes in these movements are found to take 
 place at fixed points in the musical scale, differing in 
 the male and female voice, except at the transition 
 from upper chest to falsetto, which is alike in both. 
 
 A voice properly formed in the various registers, 
 either in speaking or singing, will never become 
 strained or weary from use. The bad results of an 
 undue forcing of the registers, or a perverted action 
 of the muscles of the throat, is exemplified in the 
 voices of many public speakers and teachers, whose 
 voices have become " worn out," as they say, and 
 whose physical health is "broken down." 
 
 In producing the chest tones, especially the lower 
 chest, a large column of breath is necessary. The 
 larynx is depressed, thus acting upon the rings of the 
 trachea, tending to widen them, and the cavity of the 
 throat is made as open as possible. The whole vocal 
 apparatus is brought into action, and the voice seems 
 
 82 
 
KEGISTERS OF THE VOICE. 83 
 
 to come from the lowest part of the lungs, whereas it 
 is the deep resonance which causes this sensation. In 
 producing the Falsetto Eegister, the larynx is in its 
 natural position, the cavity of the throat is somewhat 
 contracted, and the resonance is perceived in the 
 mouth and head. 
 
 (The term " Falsetto " is used in the same sense as in musical 
 nomenclature.) 
 
 The main points to be observed in learning to pro- 
 duce tones in the various registers are : 
 
 1st. Proper position. 
 
 2d. Control of the breathing. 
 
 3d. Control of the palate and organs of throat and 
 mouth. 
 
 4th. Eight direction of vocal current. 
 
 The Falsetto and the higher tones of the second chest, 
 are used in expressing pity, tenderness, tranquillity, 
 cheerfulness, animation, humor, calling, etc., in unim- 
 passioned narration, and description, and in didactic 
 forms of composition. 
 
 The Second Chest Register is used in expressions of 
 repose, solemnity, and pathos, united with grandeur 
 or sublimity, joy, adoration, reverence, courage, com- 
 mand, majesty, power, etc., etc. 
 
 The First Chest Register is used in expressions of 
 awe, deep solemnity, horror, melancholy, and gloom, etc. 
 
 Forms of Utterance. 
 
 Effusive utterance implies an easy, gentle emission 
 of the voice ; little breath is required. It is used in 
 the utterance of gentle, tranquil, sublime sentiments 
 and emotions. 
 
84 A MANUAL OF ELOCUTION. 
 
 Expulsive utterance demands an energetic action of 
 the muscles which control the breath. The voice is 
 full and ample in volume, and in its fullest effects is 
 one of the grandest functions of which it is capable. 
 
 It applies to declamatory and impassioned styles of 
 language ; to shouting and calling. 
 
 The explosive utterance implies a sudden, violent 
 action of the abdominal muscles, by which a large 
 column of breath is forced against the lips of the 
 glottis, producing a clear, sharp, cutting tone. It is 
 the language of the boldest and intensest passions. 
 
 This utterance serves to give depth and rotundity 
 to the voice. 
 
 Practise the following : 
 
 Inhale the breath, hold the consonant sound for an 
 instant, then burst upon the vocal sounds with a quick 
 percussive stroke of the voice, 
 
 Ba, Be, Bi, Bo, Bo. 
 
 Da, De, Dl, Do, Do. 
 
 Ga, Ge, Gl, Go, G5. 
 
 Sing the melody on page 85 in the registers in 
 which it is written to syllables ko, ro, la, spring. 
 
 Practise breathing and the long vowels in the three 
 forms of ■ utterance. 
 
REGISTERS OF THE VOICE. 
 
 85 
 
 If 
 
 ft ^ 
 
 i 
 
 B9 
 
 * 
 
 (0 
 
 a K " 
 
 n p. 
 
 1 
 
 S! 
 
 S 
 
 
 
 ! a - 
 
 ^ 
 
 \\ 
 
 
 P. 
 
 
 t 
 
 5 5 f 
 F 
 
 CO 
 
 ~% 
 
 * 
 
 § t - 
 
 1 
 
 
 n 
 
 
 
 O ' 
 
 
 d 
 
 "1 
 
 
 
 B Tf 
 
 % 
 
 < 
 
 CO 
 
 
 
 2. 1 
 
 » 
 
 
 a 1 
 
 
 
 * c ■ 1 
 
 
 * 
 
 J ? 
 
 to 
 
 1 
 
 
 S a JTI 
 
 ~% 
 
 VJ| 
 
 w 
 
 * 
 
 h 
 
 *4 
 
 J 
 I 
 
 M 
 
 B l 
 
 
 
 o -j- 
 
 * 
 
 
 
 
 
 l| 
 
 • 
 
 
 5 
 
 1 f 
 
 ft 
 
 
 s 
 
 1%' 
 
 * 
 
 
 -n 
 
 * 
 
 a 
 
 r 
 
 1l 
 
 ^ » rr 
 pi 
 
 I 
 
 i 
 
 < 
 
 c "11 
 
 tt4 
 
 i 
 
 * 
 
 > i ■ 
 
 
 a*E 
 
 II 
 
 % 
 'II 
 
 Hi 
 
 pi 
 p- 
 
 "? 
 
 
 B %. 
 
 ::t 
 
 *«Ly. \ 
 
 3 
 
86 A MANUAL OF ELOCUTION. 
 
 The following selections, in connection with the 
 singing exercise, page 85, may very appropriately be 
 practised as a mechanical exercise for acquiring com- 
 mand over the registers of the voice. 
 
 Falsetto and Second Chest. 
 
 EFFUSIVE UTTERANCE. 
 
 Subdued Force. 
 PITY AND TENDERNESS. 
 
 U I wandered on, scarce knowing where I went, 
 Till I was seated on an infant's grave. 
 Alas ! I knew the little tenant well ; 
 She was one of a lovely family, 
 That oft had clung around me like a wreath 
 Of flowers, the fairest of the maiden spring. 
 It was a new-made grave, and the green sod 
 Lay loosely on it ; yet affection there 
 Had reared the stone, her monument of fame. 
 I read the name I loved to hear her lisp : — 
 "T was not alone; hut every name was there 
 That lately echoed through that happy dome." 
 Moderate Force. 
 JOAN OF AEG. 
 
 " What is to be thought of her ? What is to be 
 thought of the poor shepherd girl from the hills and 
 forests of Lorraine, who rose suddenly out of the quiet, 
 out of the safety, out of the religious inspiration of 
 deep pastoral solitudes to a station in the van of armies, 
 and to the more perilous station at the right hand of 
 kings?" 
 
 EXPULSIVE. 
 Sustained Force or Calling. 
 
 " O captain of the Moorish hold, 
 Unbar thy gates to me ! 
 And T will give thee geins and gold, 
 To set Fernando free. 1 ' 
 
REGISTERS OF THE VOICE. 87 
 
 Gay or Brisk Style. 
 
 " Last came Joy's ecstatic trial, 
 He with viny crown advancing, 
 First to the lively pipe his hand addressed : 
 But soon he saw the brisk, awaking viol, 
 "Whose sweet, entrancing voice he loved the best." 
 
 Humorous or Playful Style. 
 ARTIFICIAL EDUCATION. 
 
 'Thus education (so called in our schools), 
 "With costly materials and capital tools, 
 Sits down to her work, if you duly reward her, 
 And sends it home finished, according to order." 
 
 Second Chest. 
 
 EFFUSIVE UTTERANCE. 
 Pathos and Sublimity. 
 
 " Roll on, thou deep and dark blue ocean, roll, 
 Ten thousand fleets sweep over thee in vain ; 
 Man marks the earth with ruin ; his control 
 Stops with the shore ! Upon the watery plain 
 The wrecks are all thy deed ; nor doth remain 
 A shadow of man's ravage, save his own. 
 When, for a moment, like a drop of rain, 
 He sinks into thy depths with bubbling groan, 
 Without a grave, unknelled, uncoffined, and unknown." 
 
 EXPULSIVE. 
 Declamatory Style. 
 
 11 The war is actually begun ! The next gale that 
 sweeps from the North will bring to our ears the clash 
 of resounding arms ! Our brethren are already in the 
 field. Why stand we here idle ? What is it that gen- 
 tlemen wish ? What would they have ? Is life so 
 dear, or peace so sweet, as to be purchased at the price 
 of cnains and slavery ? Forbid it, Heaven ! I know 
 
88 A MANUAL OF ELOCUTION. 
 
 not what course others may take, but as for me, give 
 me liberty, or give me death ! " 
 
 Shouting. 
 " Ye guards of liberty, 
 I 'in with you once again ! I call to you 
 "With all my voice ; I hold my hands to you, 
 To sliow they still are free ! I rush to you 
 As though I could embrace you ! " 
 
 EXPLOSIVE. 
 Terror. 
 
 "Ah ! what is that flame which now bursts on his eye ? 
 Ah ! what is that sound which now larums his ear? 
 'T is the lightning's red glare, painting wrath on the sky ; 
 'T is the crash of the thunder, the groan of the sphere ! " 
 
 Courage and Command. 
 
 "Strike! till the last armed foe expires; 
 Strike ! for your altars and your fires ; 
 Strike ! for the green graves of your sires — 
 God and your native land ! " 
 
 First Chest. 
 
 EFFUSIVE UTTERANCE. 
 Awe, extending to Fear. 
 
 "It thunders! Sons of dust, in reverence bow! 
 
 Ancient of days ! thou speakest from above; 
 Thy right hand wields the bolt of terror now: 
 
 That hand which scatters peace and joy and love. 
 Almighty ! trembling like a timid child, 
 
 I hear thy awful voice, — alarmed, afraid, 
 I see the flashes of thy lightning' wild, — 
 
 And in the very grave would hide my head ! " 
 
PAET II. 
 
 Part I. treats of single tones, as related to quality, pure or im- 
 pure ; and to those modifications of voice used in the expression of 
 thought. In Part II. we consider the tones as expressive of passion 
 or emotion, and considered singly as possessing the three properties : 
 first, Force ; second, Pitch ; third, Rate. 
 
 The force or strength of the tone depends upon the breadth of 
 its vibrations ; the pitch, upon the number of its vibrations ; the 
 rate, upon the quantity of vocal sounds, as long or short. 
 
 8* 89 
 
CHAPTER XI. 
 
 FORCE AND STRESS. 
 
 Force, as a property of voice, constitutes an element 
 of expression which may exist in single or consecutive 
 sounds. It implies strength or loudness of voice in 
 different degrees, from the gentlest whisper to the 
 boldest and most vehement forms of utterance. 
 
 The standard degree of force is that which we em- 
 ploy in ordinary conversation and in unimpassioned 
 utterance. Any departure from this, as softer or 
 louder, must be governed by the sentiment or emo- 
 tion. 
 
 Gentle, calm emotions, as grief, sorrow, love, tender- 
 ness, tranquillity, etc., require subdued tones. 
 
 Strong feelings, as anger, revenge, scorn, alarm, joy, 
 etc., call for loud force, varying in degree according to 
 the intensity of the emotion. 
 
 Extreme emotion and secrecy sometimes paralyze the 
 voice, and render it choked and muffled, in the form 
 of aspirated or whispered utterance. 
 
 Practise the elementary sounds, columns of words 
 and sentences, in all degrees of force, increasing grad- 
 ually from a whisper to the greatest volume of which 
 the voice is capable. Reverse the order, observing to 
 preserve the same key in each exercise. 
 
 The following selections illustrate the gradations in 
 
 91 
 
92 A MANUAL OF ELOCUTION. 
 
 force which may be practised in connection with the 
 sounds and words. 
 
 EXAMPLES. 
 
 Whisper. All silent they went, for the time was approaching. 
 Half whisper. For the boats! Forward! 
 Soft force. Hail, holy light ! offspring 
 
 Of heaven, first born! 
 Very soft force. Oh, lightly, lightly tread ! 
 Moderate force. Here will we sit, and let the sound of music 
 creep in our ears. 
 
 Loud force. Come one, come all ; this rock shall fly 
 From its firm base as soon as I. 
 
 Very loud force. To arms ! they come ! the Greek ! the Greek ! 
 
 MODERATE. 
 
 " Life is a great fact. We live. Here is a momen- 
 tous verity. Most mysterious, and yet most real, is 
 this solemn now. Out of the dread, dark, speechless 
 abyss of possibilities, we have come to be among 
 things which are to move, to breathe. Before us 
 lies the immense unknown, and deep silence is its 
 covering." 
 
 SOFT. 
 Repose and Solemnity. 
 
 " How hard he breathes ! over the snow 
 
 I heard just now the crowing cock. 
 The shadows flicker to and fro ; 
 The cricket chirps ; the light burns low ; 
 
 'T is nearly twelve o'clock. 
 
 Shake hands before you die ! 
 Old Year, we '11 dearly rue for you ; 
 What is it we can do for you ? 
 
 Speak out before you die. 1 ' 
 

 
 FORCE AND STRESS. 93 
 
 VERY SOFT. 
 Awe and Tenderness. 
 " Hush ! 't is a holy hour. The quiet room 
 
 Seems like a temple, while yon soft lamps shed 
 A faint and starry radiance through the gloom, 
 
 And the sweet stillness down on young, bright heads, 
 With all their clustering locks untouched by care, 
 
 And bowed, as flowers are bowed with night, in prayer." 
 
 WHISPER. 
 Horror at a Dreadful Apparition. 
 u IIow ill this taper burns! JIa ! who comes here? 
 I think it is the weakness of mine eyes, 
 That shapes this monstrous apparition. 
 It comes upon me : Art thou anything ? 
 Art thou some god, some angel, or some devil, 
 That mak'st my blood cold, and my hair to stare? 
 Speak to me, what thou art." 
 
 HALF WHISPER. 
 
 How dreadful is this place ! This is none other than 
 the house of God, and the gate of heaven ! 
 
 LOUD. 
 Animation. 
 
 " Oh, young Lochinvar is come out of the west — 
 Through all the wide border his steed was the best ; 
 And save his good broadsword he weapon had none, — 
 He rode all unarmed, and he rode all alone. 
 So faithful in love, and so dauntless in war, 
 There ne'er was a knight like the young Lochinvar." 
 
 INTENSE, SUSTAINED FORCE. 
 Shouting and Calling. 
 
 "Awake! awake! 
 Ring the alarm-bell : — Murder ! and treason ! 
 Banquo, and Donalbain ! Malcolm ! awake ! " 
 
94 A MANUAL OF ELOCUTION. 
 
 VERY LOUD. 
 Anger. 
 
 "Whence and what art thou? execrahle shape! 
 That dar'st, though grim and terrible, advance 
 Th j miscreated front athwart my way 
 To yonder gates ? Through them I mean to pass, — 
 That be assured, — without leave asked of thee." 
 
 Stress. 
 
 In the application of stress, the force of the voice 
 falls on some ■portion of the vowel sound in the accented 
 syllable of emphatic words. 
 
 The radical stress implies force on the beginning or 
 opening of the sound, and belongs to the expression of 
 abrupt and startling emotions ; also, in its gentler 
 form, to nnimpassioned language, to impart clearness 
 and life to the utterance. 
 
 The vanishing stress falls on the close or vanish of 
 me sound, and expresses impatience, vexation, deter- 
 mination, contempt, etc. 
 
 The median stress is force applied to the middle of a 
 sound, and belongs to slow movement, to expressions 
 of pathos, solemnity, grandeur, exultation, admiration, 
 reverence, awe, etc. 
 
 The compound stress is force upon the opening and 
 close of a sound. It expresses surprise, mockery, and 
 raillery. 
 
 Thorough stress implies equal force on all parts of 
 the sound, and is heard in language of bold command, 
 courage, joy, rapture. 
 
 The tremulous stress is a quivering of the voice on 
 a sound, and is used in excessive grief, fatigue, mirth, 
 joy, etc. 
 

 FORCE AND STRESS. 95 
 
 EXAMPLES. 
 
 Gentle. C Speak the speech, I pray you, as I pro- 
 Radical stress. < nounced it to you. 
 
 Strong. (^Next anger rush'd, his eyes on fire. 
 Vanishing stress. Oh, what a rogue and peasant slave am I! 
 Median stress. Whence are thy beams, O sun! thy everlasting 
 
 light ? 
 Compound stress. Gone to be married ? Gone to swear a peace? 
 Thorough stress. Wave, Munich, all thy banners wave. 
 Tremulous stress. Pity the sorrows of a poor old man. 
 
 GENTLE RADICAL. 
 Gay, Brisk Style. 
 " Here it comes sparkling, 
 And there it lies darkling, 
 Now smoking and frothing, 
 Its tumult and wrath in, 
 Till in this rapid race 
 On which it is bent, 
 It reaches the place 
 Of its deep descent." 
 
 STRONG RADICAL. 
 Command. 
 
 "Up, comrades, up! 
 In Rokeby's halls, ne'er be it said our courage falls." 
 
 VANISHING. 
 Defiance. 
 
 " And first, I tell thee, haughty peer, 
 He who does England's message here, 
 Although the meanest in her state, 
 May well, proud Angus, be thy mate ; 
 And, Douglas, more, I tell thee, here, 
 
 Even in thy pitch of pride, 
 Here in thy hold, thy vassals near, 
 (Nay, never look upon your lord, 
 And lay your hand upon your sword,) 
 I tell thee, thou »rt defied! " 
 
96 A MANUAL OF ELOCUTION. 
 
 MEDIAN. 
 Solemnity and Gloom. 
 
 " sailor-boy ! sailor-boy ! never again 
 
 Shall love, home, or kindred thy wishes repay ; 
 Unblessed and unhonored, down deep in the main, 
 Full many a score fathom thy frame shall decay." 
 
 COMPOUND. 
 Surprise and Astonishment. 
 
 " What ! to attribute the sacred sanctions of God 
 and nature to the massacres of the Indian scalping- 
 knife ! " 
 
 THOROUGH. 
 Distraction and Haste. 
 
 " Cannon to right of them, 
 
 Cannon to left of them, 
 
 Cannon in front of them 
 
 Volleyed and thundered ! 
 Stormed at with shot and shell, 
 Boldly they rode and well ; 
 Into the jaws of death, — 
 Into the mouth of hell, 
 Rode the six hundred." 
 
 TREMULOUS. 
 Mirth. 
 
 " Oh ! then, I see Qneen Mab hath been with you. 
 
 She comes 
 In shape no bigger than an agate-stone 
 On the forefinger of an alderman, 
 Drawn by a team of little atomies 
 Athwart men's noses as they lie asleep." 
 
CHAPTER XII. 
 
 PITCH. 
 
 Pitch is the predominating key-note used in reading 
 or speaking. 
 
 The middle pitch of the voice is that of our habitual 
 speech, and is the natural note of calm, unimpassioned 
 utterance, with the slight variation of perhaps a tone 
 above or below. 
 
 Strong emotions require greater or less variation in 
 pitch, according to the depth or intensity of feeling. 
 
 All degrees below the medium note are associated 
 with feelings of a grave or solemn character. All 
 degrees above are characteristic of gay, joyous, humor- 
 ous feelings, or of alarm, terror, and surprise. 
 
 Strictly defined, the speaking voice, considered with 
 reference to its compass, is capable of variation by 
 tones and half tones, as in the singing voice. 
 
 The varieties of pitch for mechanical drill may be 
 designated as low, very low, middle, high, very high. 
 
 Practise vowel sounds ; columns of words, and 
 sentences, on various degrees of pitch, beginning with 
 the middle key, then higher and higher until the 
 highest note of the speaking voice is reached without 
 straining it. 
 
 Reverse the practice, beginning with the middle 
 key. Adopt successively a lower and lower key until 
 the lowest note of the voice is reached. This exercise, 
 9 G 97 
 
98 A MANUAL OF ELOCUTION. 
 
 daily and persistently practised, will extend the com- 
 pass and pliancy of the voice, and serve to bring it 
 under facile control. 
 
 EXAMPLES. 
 
 Middle 'pitch. Lovely art thou, O Peace, and lovely are thy 
 children. 
 
 Low pitch. These are thy glorious works, Parent of good. 
 
 Very low pitch. How frightful the grave ! how deserted and 
 drear ! 
 
 High pitch. Last came joy's ecstatic trial. 
 
 Very high pitch. Come over, come over the river to me. 
 
 MIDDLE. 
 Descriptive. 
 
 " 111 the midst of wild mountain scenery, picturesque 
 but not magnificent, when compared with the White 
 Mountains of New Hampshire, the Adirondack and 
 Catskill range in New York, or the Alleghanies in 
 Western Pennsylvania and Virginia, is a bold prom- 
 ontory, called West Point, rising more than one hun- 
 dred and fifty feet above the waters of the Hudson ; 
 its top a perfectly level and fertile plateau, and every 
 rood hallowed by associations of the deepest interest." 
 
 LOW. 
 Reverence. 
 
 " On bended knee, 
 
 I recognize thy purpose clearly shown; 
 My vision Thou hast dimm'd, that I may see 
 Thyself, Thyself alone. 1 ' 
 
 VERY LOW. 
 Solemnity and Awe. 
 
 " Lord, thou hast been our dwelling-place in all gene- 
 rations. Before the mountains were brought forth, or 
 ever thou hadst formed the earth and the world, even 
 from everlasting to everlasting, thou art God." 
 
P T T O H . 99 
 
 HIGH. 
 Cheerfulness. 
 "Haste thco, nymph, and bring with thee 
 Jest and youthful jollity, 
 Quips and cranks, and wanton wiles, 
 Nods and becks, and wreathed smiles, 
 Such as hang on Hebe's cheek, 
 And love to live in dimple sleek : 
 Sport that wrinkled Care derides, 
 And Laughter, holding both his sides." 
 
 VERY HIGH. 
 Ecstatic Joy. 
 " Ring, joyous chords! ring out again ! 
 A swifter still and a wilder strain; 
 And bring fresh wreaths : we will banish all, 
 Save the free in heart from our festive hall." 
 
 Transitions in Pitch. 
 The following exercise in transition of pitch is de- 
 signed to illustrate the great compass of voice required 
 in reading a single stanza, from the lowest note of the 
 speaking voice to the extreme highest, or through 
 nearly an octave and a half. 
 
 Middle Titch. 1 High. 
 
 High. 1 
 
 Middle. High. 
 
 "Did ye not) hear it? 
 
 No: | 
 
 'twas but the | wind, 
 
 Middle. 1 High. 
 
 Middle Note. 
 
 Or the car 
 
 rattling o'e 
 
 • the stony street ; 
 
 Very High. 
 
 Very High. 1 
 
 High. 
 
 On with the dance ; 
 
 let joy | 
 
 be unconfined ; 
 
 Whisper. Very 
 
 Low. 
 
 Lew 
 
 But hark! | that heavy sound 
 
 breaks in once more, 
 
 Middle. 1 High. 
 
 High. 1 
 
 Middle. 
 
 As if the clouds 
 
 its echo I 
 
 would repeat ; 
 
 High. 1 Very High. 
 
 Very I 
 
 jOW. 
 
 And nearer, | clearer, 
 
 deadlier than before ! 
 
 Very High. 
 
 High. 
 
 
 Arm ! arm ! | it is — it is 
 
 — the cannon's opening roar ! " 
 
CHAPTER XIII. 
 
 RATE OR MOVEMENT. 
 
 Rate op movement relates to the utterance, as fast or 
 slow, and is regulated by the time in uttering the vowel 
 sounds, and by pauses. 
 
 Every emotion and sentiment has its appropriate 
 rate. 
 
 Moderate rate is characteristic of unimpassioned lan- 
 guage, of narrative and descriptive styles, of grave and 
 moderate sentiment. 
 
 Slow rate is required in expressing sublime, pathetic, 
 and tranquil emotions. 
 
 Very slow rate is exemplified in the expression of the 
 deepest emotions, as awe, gloom, horror, melancholy, rev- 
 erence, and adoration. 
 
 Rapid rate is heard in the utterance of animation and 
 cheerfulness. 
 
 Very rapid rate belongs to all excited, impassioned 
 feelings and sentiments, as haste, fear, alarm, anger, 
 revenge, etc. 
 
 Quantity. 
 
 A very important element of rate is quantity or 
 duration of vowel sounds. Thus, in the word vo-cal, 
 much more time is given to the vowel sound in the first 
 than in the last syllable. The former may be called a 
 long and the latter a short quantity. 
 
 100 • 
 
RATE OR MOVEMENT. 101 
 
 Without a proper use of long quantities, it is im- 
 possible to render passages expressive of grandeur, 
 solemnity, majesty, etc. ; so, on the other hand, any 
 attempt to prolong or swell the voice on short, im- 
 mutable quantities, produces only burlesque and affec- 
 tation. 
 
 Select sounds, words, and sentences as before, and 
 utter in various movements. Begin as slow as possible 
 (without drawling) ; increase the rate at each successive 
 utterance, until you shall have reached the greatest 
 possible speed at which the articulation is distinct. 
 
 Reverse the order, and deliver, in connection with 
 each stage of practice, the following exercises, illus- 
 trating five degrees of rate as associated with appro- 
 priate emotions. 
 
 EXAMPLES. 
 
 Slow rate. Leaves have their time to fall, 
 
 And flowers to wither at the North wind's breath. 
 Very slow rate. I had a dream, which was not all a dream. 
 Moderate rate. The quality of mercy is not strained; 
 
 It droppeth as the gentle rain from heaven 
 Upon the place beneath. 
 Rapid rate. Haste thee, nymph, and bring with thee 
 
 Jest and youthful jollity. 
 Very rapid rate. Send out more horses! skin* the country round ! 
 
 MODERATE RATE. 
 
 " The latest gospel in this world is, know thy work 
 and do it. ' Know thyself ; ' long enough has that 
 poor ' self ' of thine tormented thee ; thou wilt never 
 get to ' know ' it, I believe ! Think it not thy business, 
 this of knowing thyself, thou art an unknowable indi- 
 vidual : know what thou canst work at, and work at 
 it like a Hercules ! That will be thy better plan/' 
 9* 
 
102 A MANUAL OF ELOCUTION. 
 
 SLOW MOVEMENT. 
 
 Long Quantities and Long Pauses. 
 
 Solemnity and Awe. 
 
 "Hast thou a charm to stay the morning star 
 In his steep course ? So long he seems to pause 
 On thy bald, awful head, O sovereign Blanc ! 
 The Arve and Arveiron at thy base 
 Kave ceaselessly; but thou, most awful form! 
 Eisest from forth thy silent sea of pines, 
 How silently ! " 
 
 VERY SLOW. 
 Melancholy. 
 "To-morrow, and to-morrow, and to-morrow, 
 Creeps in this petty pace from day to day, 
 To the last syllable of recorded time ; 
 And all our yesterdays have lighted fools 
 The way to dusty death." 
 
 RAPID. 
 
 Short Quantities and Short Pauses. 
 
 Animation. 
 "When o'er the hills like a gladsome bride, ' 
 Morning walks forth in her beauty's pride, 
 And leading a band of laughing hours, 
 Brushes the dew from the nodding flowers. 
 Oh, cheerily then my voice is heard, 
 Mingling with that of the soaring bird, 
 Who flingeth abroad his matins loud, 
 As he freshens his wing in the cold gray cloud." 
 
 VERY RAPID. 
 Distraction and Terror. 
 
 "He springs from his hammock, he flies to the deck, 
 Amazement confronts him with images dire; 
 Wild winds and mad waves drive the vessel a-wreck : 
 The masts fly in splinters, the shrouds are on fire! " 
 
CHAPTER XIV. 
 
 EMOTIONAL ANALYSIS. 
 
 In order to read correctly and impressively, it is neces- 
 sary that the student should have a clear conception 
 of the prevailing sentiment of the piece. For this 
 purpose each lesson should be carefully analyzed with 
 reference to the various emotions, pauses, inflections, 
 emphases, and appropriate tone, — including all that 
 relates to pitch, force, stress, and rate, applied to the 
 utterance. 
 
 EXAMPLES FOR PRACTICE. 
 
 ADDEESS TO A MUMMY. 
 
 1. "And thou hast walked about (how strange a story) 
 In Thebes' streets, three thousand years ago, 
 
 When the Memnonium was in all its glory, 
 And time had not begun to overthrow 
 
 Those temples, palaces, and piles stupendous, 
 
 Of which the very ruins are tremendous. 
 
 "Speak ! for thou long enough hast acted dummy; 
 Thou hast a tongue. Come, let us hear its tune; 
 Thou 'rt standing on thy legs, above ground, mummy, 
 
 Revisiting the glimpses of the moon ; 
 Not like thin ghosts or disembodied creatures, 
 But with thy bones and flesh, and limbs and features." 
 
 THE FUTURE OF NEW ENGLAND. 
 
 2. " We bid you welcome to the healthful skies and 
 the verdant fields of New England. We greet your 
 
 103 
 
104 A MANUAL OF ELOCUTION. 
 
 accession to the great inheritance which Ave have en- 
 joyed. We welcome you to the blessings of good 
 government and religious liberty. We welcome you 
 to the treasures of science and the delights of learning. 
 We welcome you to the transcendent sweets of do- 
 mestic life, to the happiness of kindred and parents 
 and children. We welcome you to the immeasurable 
 blessings of rational existence, the immortal hope of 
 Christianity, and the light of everlasting truth." 
 
 SCENE FROM " SCIIOOL FOR SCANDAL." 
 
 3. Sir Peter. — Very well, ma'am, very well ; so a 
 husband is to have no influence, no authority ? 
 
 Lady Teazle. — Authority ! No, to be sure ; if you 
 wanted authority over* me, you should have adopted 
 me, and not married me ; I am sure you were old 
 enough. 
 
 Sir P. — Old enough ! ay, there it is. Well, well, 
 Lady Teazle, though my life may be made unhappy by 
 your temper, I '11 not be ruined by your extravagance. 
 
 Lady T. — My extravagance ! Sir Peter, am I to 
 blame because flowers are dear in cold weather ? You 
 should find fault with the climate, and not with me. 
 For my part, I 'in sure, I wish it was spring all the 
 year around, and that roses grew under our feet. 
 
 Sir P. — Zounds ! Madam, if you had been born to 
 this, I shouldn't wonder at your talking thus; but 
 you forget what your situation was when I married 
 you. 
 
 Lady T. — No, no, I don't ; 't was a very disagreeable 
 one, or I should never have married you, Sir Peter ! 
 Would } t ou have me be out of the fashion ? 
 
EMOTIONAL ANALYSIS. 105 
 
 Sir P. — The fashion, indeed ! What had you to do 
 with the fashion before you married me ? 
 
 Lady T. — For my part, I should think you would 
 like to have your wife thought a woman of taste. 
 
 Sir P. — Ay, there again, taste. Zounds ! Madam, 
 you had no taste when you married me. 
 
 Lady T. — That 's very true, indeed, Sir Peter ; and 
 after having married you, I should never pretend to 
 taste again, I allow ; but now, Sir Peter, since we have 
 finished our daily jangle, I presume I may go to my 
 engagement at Lady Sneerwell's. 
 
 Sir P. — Ay, there 's another precious circumstance, 
 a charming set of acquaintances you have made there. 
 
 TIIE WRECK. 
 
 4. "But gentler now the small waves glide, 
 Like playful lambs o'er a mountain side ; 
 So stately her bearing, so proud her array, 
 The main she will traverse forever and aye. 
 Many ports will exult at the gleam of her mast ; 
 Hush! hush! thou vain dreamer, this hour is her last. 
 Five hundred souls, in one instant of dread, 
 Are hurried o'er the deck ; 
 And fast the miserable ship 
 i3ecomes a hopeless wreck. 
 Her keel hath struck on hidden rock, 
 Her planks are torn asunder, 
 And down come her masts with a reeling shock, 
 And a hideous crash like thunder." 
 
 OUTWARD BOUND. 
 
 5. " Hurrah ! hurrah ! how gaily we ride ! How 
 the ship careens ! How she leaps ! How gracefully 
 she bends ! How fair her white wings ! How trim 
 her hull ! How slim her tall, taper masts ! What a 
 
106 A MANUAL OF ELOCUTION. 
 
 beautiful, dancing fairy ! Up from my narrow shelf 
 in the close cabin have I crept for the first time since 
 Ave loosed cable and swung out upon the tide, and every 
 drop of blood in my veins jostles its neighbor drop ex- 
 ultingly, for here is sublimity unrivalled. 
 
 " The wild, shifting, restless sea, with its playful 
 waves chasing one another laughingly, ever and anon 
 leaping up, shivering themselves by the force of their 
 own mad impulse, and descending again in a shower 
 of pearls." 
 
 THE FIKE. 
 
 6. "When, hark ! Oh, horror ! What a crash is there ; 
 What shriek is that which fills the midnight air ? 
 'T is fire ! 't is fire ! She wakes to dream no more; 
 The hot blast rushes through the blazing door ! 
 The dun smoke eddies round ; and, hark ! that cry ! 
 ' Help ! help ! W T ill no one aid ? I die — I die ! ' 
 She seeks the casement ; shuddering at the sight, 
 She turns again ; the fierce flames mock her flight ; 
 Along the crackling stairs they fiercely play, 
 And roar, exulting, as they seize their prey. 
 ' Help ! help ! Will no one come ? ' She can no more ; 
 But, pale and breathless, sinks upon the floor." 
 
 GOD. 
 
 7. " O thou Eternal One ! whose presence bright 
 All space doth occupy, all motion guide ; 
 
 Unchanged through Time's all-devastating flight ; 
 Thou only God ! There is no God beside ! 
 
 Being above all beings ! Mighty One ! 
 
 Whom none can comprehend, and none explore 
 
 Who fill'st existence with thyself alone ; 
 
 Embracing all — supporting — ruling o'er - - 
 Being whom we call God — and know no more. 
 
EMOTIONAL ANALYSIS. 107 
 
 MACDL'FF, ON HEARING OF THE SLAUGHTER OF niS WIFE AND 
 CHILDREN. 
 
 8. Macd. — My children, too? 
 
 Rosse. — Wife, children, servants, all that could be 
 found. 
 
 Macd. — And I must be from thence ! My wife 
 kill'd, too? 
 
 Rosse. — I have said. 
 Mai. — Be comforted. 
 
 Let 's make us med'cines of our great revenge, 
 To cure this deadly grief. 
 Macd. — He has no children. All my pretty ones ? 
 Did you say all ? All ? 
 "What ! all my pretty chickens and their 
 dam at one fell swoop? 
 Mai. — Dispute it like a man. 
 Macd. — I shall do so. 
 
 But I must also feel it as a man. 
 
 I cannot but remember such things were. 
 
 That were most precious to me. Did heaven 
 
 look on, 
 And would not take their part ? Sinful 
 
 Macduff' ! 
 They were all struck for thee ! Naught that 
 
 I am; 
 Not for their own demerits, but for mine, 
 Fell slaughter on their souls. — Macbeth. 
 
 SCENE BETWEEN HUBERT AND ARTHUR. 
 
 9. " Alas! what need you be so boisterous, rough? 
 I will not struggle : I will stand stone-still. 
 For heaven's sake, let me not be bound. 
 !N"ay, hear me, Hubert; drive these men away, 
 
108 A MANUAL OF ELOCUTION. 
 
 And I will sit as quiet as a lamb ; 
 
 I will not stir, nor wince, nor speak a word, 
 
 Nor look upon the iron angrily. 
 
 Thrust but these men away, and I '11 forgive you 
 
 Whatever torment you may put me to." 
 
 PAUL EEVEEE'S EIDE. 
 
 10. "A hurry of hoofs in the village street, 
 
 A shape in the moonlight, a bulk in the dark ; 
 And beneath from the pebbles, in passing, a spark 
 
 Struck out by a steed flying fearless and fleet — 
 
 That was all! And yet through the gloom and the light, 
 The fate of a nation was riding that night: 
 
 And the spark struck out by that steed in his flight, 
 Kindled the land into flame with its heat. 11 
 
 BATTLE OF IIOHEXLINDEX. 
 
 11. " The combat deepens. On, ye brave! 
 
 Who rush to glory, or the grave ! 
 Wave, Munich ! all thy banners wave, 
 And charge with all thy chivalry. 
 
 " Few, few shall part where many meet ! 
 The snow shall be their winding-sheet , 
 And every turf beneath their feet 
 Shall be a soldier's sepulchre. 11 
 
 HYMN TO THE FLOWEES. 
 
 12. "And then I think of one who in 
 
 Her youthful beauty died, 
 The fair meek blossom that grew up 
 
 And faded by my side ; 
 In the cold, moist earth we laid her 
 
 When the forest casts the leaf, 
 And we wept that one so lovely 
 
 Should have a life so brief. 
 Yet not unmeet it Avas that one, 
 
 Like that young friend of ours, 
 So gentle and so beautiful, 
 
 Should perish with the flowers. 11 
 
EMOTIONAL ANALYSIS. 109 
 
 THE DYING CHRISTIAN TO HIS SOUL. 
 
 13. " Hark! they whisper — angels say, 
 1 Sister spirit, come away ; ' 
 What is this absorbs me quite ? 
 Steals my senses, shuts my sight, 
 Drowns my spirit, draws my breath ? 
 Tell me, my soul, can this be death ? 
 
 " The world recedes ! it disappearsj 
 Heaven opens to mine eyes ! mine ears 
 
 With sounds seraphic ring ! 
 Lend, lend your wings ! I mount ! I fly ! 
 O grave ! where is thy victory ? 
 
 O death ! where is thy sting ? " 
 
 KING LEAR BANISHING KENT. 
 
 14. " Hear me, recreant! on thine allegiance hear me ! 
 Since thou hast sought to make us break our vow 
 (Which we durst never yet), and with stain'd pride, 
 To come betwixt our sentence and our power, 
 (Which nor our nature nor our place can bear) ; 
 Our potency make good; take thy reward — 
 Five days do we allot thee for provision 
 To shield thee from diseases of the world ; 
 And on tire sixth, to turn thy hated back 
 Upon our kingdom; if, on the tenth day following 
 Thy banished trunk be found in our dominions, 
 That moment is thy death. Away! by Jupiter, 
 This shall not be revoked ! " 
 
 THE BORROWED UMBRELLA. 
 
 15. Bah ! that 's the third umbrella gone since 
 Christmas. What were you to do? Why, let him 
 go home in the rain, to be sure. I 'm very certain 
 there was nothing about him that could spoil ! Take 
 cold, indeed ! He docs n't look like one of the sort to 
 take cold. Besides, he 'd have better taken cold than 
 10 
 
110 
 
 A MANUAL OF ELOCUTION, 
 
 taken our umbrella. Do you hear the rain, Mr. 
 Caudle ? I say, do you hear the rain ? Do you hear 
 it against the windows ? Nonsense : you don't impose 
 upon me ; you can't be asleep with such a shower as 
 that ! Do you hear it, I say ? Oh ! you do hear it ! 
 Well, that 's a pretty flood, I think, to last for six 
 weeks ; and no stirring all the time out of the house. 
 Pooh ! don't think me a fool, Mr. Caudle ; don't insult 
 me ; he return the umbrella ? Anybody would think 
 you were born yesterday. As if anybody ever did 
 return an umbrella ! 
 
 THE CATAEACT OF LODOEE. 
 
 16. Here it comes sparkling, 
 And there it lies darkling; 
 Here smoking and frothing, 
 Its tumults and wrath in, 
 It hastens along, conflicting, strong, 
 Now striking and raging, 
 As if a war waging 
 Its caverns and rocks among. 
 
 Rising and leaping, 
 Sinking and creeping, 
 Swelling and flinging, 
 Showering and springing. 
 Eddying and whisking, 
 Spouting and frisking, 
 Twining and twisting, 
 Around and around, 
 Collecting, disjecting, 
 With endless rebound 
 Smiting and fighting, 
 In turmoil delighting; 
 Confounding, astounding. 
 Dizzying and deafening the ear with its sound. 
 
EMOTIONAL ANALYSIS. Ill 
 
 SONG OF THE SHIRT. 
 
 17. "Work — work — work, 
 
 Till the brain begins to swim ! 
 "Work — work — work, 
 
 Till the eyes are heavy and dim ! 
 Seam and gusset and band, 
 
 Band and gusset and seam, 
 Till over the buttons I fall asleep, 
 
 And sew them on in a dream! " 
 
 4 '0h, men with sisters dear! 
 
 Oh, men with mothers and wives ! 
 It is not linen you 're wearing out, 
 
 But human creatures' lives ! 
 Stitch — stitch — stiteh, 
 
 In poverty, hunger, and dirt, 
 Sewing at once, with a double thread, 
 
 A shroud as well as a shirt ! " 
 
 EXCELSIOR. 
 
 18. The shades of night were falling fast, 
 As through an Alpine village passed 
 A youth, who bore, 'mid snow and ice, 
 A banner, with the strange device, 
 Excelsior ! 
 
 His brow was sad ; his eye beneath, 
 Flashed like a falchion from its sheath ; 
 And like a silver clarion rung 
 The accents of that unknown tongue — 
 Excelsior ! 
 
 In happy homes he saw the light 
 Of household tires gleam warm and bright; 
 Above, the spectral glaciers shone, 
 And from his lips escaped a groan, 
 Excelsior ! 
 
 "Try not the pass," the old man said, 
 "Dark lowers the tempest overhead; 
 
112 A MANUAL OF ELOCUTION. 
 
 The roaring torrent is deep and wide ! " 
 And loud that clarion voice replied, 
 Excelsior I 
 
 "Oh, stay," the maiden said, " and rest 
 Thy weary head upon this breast ! " 
 A tear stood in his bright blue eye, 
 But still he answered, with a sigh, 
 Excelsior ! 
 
 " Beware the pine-tree's withered branch ; 
 Beware the awful avalanche ! " 
 This was the peasant's last good-night ; 
 A voice replied far up the height, 
 
 Excelsior ! 
 
 At break of day, as heavenward 
 The pious monks of St. Bernard 
 Uttered the oft-repeated prayer, 
 A voice cried through the startled air, 
 Excelsior ! 
 
 A traveller by the faithful hound 
 Half buried in the snow was found ; 
 Still grasping in his hand of ice 
 That banner, with the strange device, 
 Excelsior ! 
 
 There in the twilight cold and gray, 
 Lifeless but beautiful he lay, 
 And from the sky serene and far, 
 A voice fell like a falling star — 
 
 Excelsior ! 
 Henry W. Longfellow. 
 
 nYMN TO MT. BLANC. 
 
 19. " Ye ice-falls ! ye that from the mountain's brow 
 Adown enormous ravines slope amain — 
 Torrents, methinks, that heard a mighty voice, 
 And stopped at once amid their maddest plunge! 
 

 EMOTIONAL ANALYSIS. 113 
 
 Motionless torrents ! silent cataracts ! 
 
 Who made you glorious as the gates of heaven 
 
 Beneath the keen, full moon ? Who bade the sun 
 
 Clothe you with rainbows? Who, with living flowers 
 
 Of loveliest blue, spread garlands at your feet ? 
 
 God ! let the torrents, like a shout of nations, 
 
 Answer ! and let the ice-plains echo, God ! 
 
 God ! sing, ye meadow streams, with gladsome voice ! 
 
 Ye pine groves, with your soft and soul-like sounds ! 
 
 And they, too, have a voice, yon piles of snow, 
 
 And in their perilous fall shall thunder, God ! 
 
 " Ye living flowers that skirt the eternal frost ! 
 Ye wild goats sporting round the eagle's nest ! 
 Ye eagles, playmates of the mountain storm ! 
 Ye lightnings, the dread arrows of the clouds ! 
 Ye signs and wonders of the element ! 
 Utter forth God, and fill the hills with praise ! " 
 
 THE BATTLE OF IVRT. 
 
 20. 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 St. 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 now — 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 the helmet of Navarre." 
 
 THE BELLS. 
 
 21. Hear the sledges with the bells — 
 Silver bells ! 
 What a world of merriment their melody foretells ! 
 How they tinkle, tinkle, tinkle, 
 In the icy air of night ! 
 JO* H 
 
114 A MANUAL OF ELOCUTION. 
 
 While the stars that oversprinkle 
 
 All the heavens, seem to twinkle 
 "With a crystalline delight ; 
 
 Keeping time, time, time, 
 
 In a sort of Runic rhyme, 
 To the tintinnabulation that so musically wells 
 
 From the bells, bells, bells — 
 From the jingling and the tinkling of the bells. 
 
 Hear the mellow wedding bells — 
 
 Golden bells ! 
 What a world of happiness their harmony foretells ! 
 Through the balmy air of night 
 How they ring out their delight ! 
 From the molten, golden notes, 
 
 And all in tune, 
 What a liquid ditty floats 
 
 To the turtle-dove that listens, while she gloats 
 On the moon ! 
 Oh, from out the sounding cells, 
 What a gush of euphony voluminously wells ! 
 How it swells ! 
 • How it dwells 
 
 On the Future ! how it tells 
 Of the rapture that impels 
 To the swinging and the ringing 
 Of the bells, bells, bells — 
 To the rhyming and the chiming of the bells ! 
 
 Hear the loud alarum bells — ■ 
 
 Brazen bells ! 
 What a tale of terror, now, their turbulency tells 1 
 
 In the startled ear of night 
 
 How they scream out their affright ! 
 
 Too much horrified to speak, 
 
 They can only shriek, shriek, 
 Out of tune, 
 In a clamorous appealing to the mercy of the fire, 
 In a mad expostulation with the deaf and frantic fire. 
 
EMOTIONAL ANALYSIS. 115 
 
 Leaping higher, higher, higher, 
 With a desperate desire, 
 And a resolute endeavor 
 Now — now to sit or never, 
 
 By the side of the pale-faced moon. 
 
 Oh, the bells, bells, bells ! 
 What a tale their terror tells 
 
 Of despair! 
 How they clang, and clash, and roar! 
 What a horror they outpour 
 
 On the bosom of the palpitating air! 
 Yet the ear it fully knows 
 
 By the twanging, 
 
 And the clanging, 
 How the danger ebbs and flows ; 
 Yet the ear distinctly tells, 
 
 In the jangling, 
 
 And the wrangling, 
 How the danger sinks and swells. 
 By the sinking or the swelling in the anger of the bells, 
 In the clamor and the clangor of the bells ! 
 
 Hear the tolling of the bells — 
 
 Iron bells ! 
 What a world of solemn thought their monody compels! 
 In the silence of the night, 
 How we shiver with affright 
 At the melancholy menace of their tone ! 
 For every sound that floats 
 From the rust within their throats 
 
 Is a groan. 
 And the people — ah ! the people — 
 They that dwell up in the steeple, 
 
 All alone, 
 And who tolling, tolling, tolling, 
 
 In that muffled monotone, 
 Feel a glory in so rolling 
 
 On the human heart a stone — 
 
116 A MANUAL OF ELOCUTION. 
 
 They are neither man nor woman — 
 They are neither brute nor human — 
 
 They are Ghouls : 
 And their king it is who tolls ; 
 And he rolls, rolls, rolls, 
 
 Rolls 
 A paean from the bells ! 
 And his merry bosom swells 
 With the paean of the bells, 
 And he dances and he yells, 
 
 Keeping time, time, time, 
 As he knells — 
 
 In a happy Runic rhyme, 
 To the rolling of the bells, bells, bells, 
 To the tolling of the bells, bells, bells, 
 
 To the moaning and the 
 Groaning of the bells. 
 
 R A. Poe. 
 
CHAPTER XV. 
 
 HINTS AND SUGGESTIONS ON THE USE OF 
 THE VOICE. 
 
 1. Pure air is indispensable. 
 
 2. Let five minutes be devoted to breathing exer- 
 cises before each daily vocal drill. 
 
 3. If giddiness results from the breathing, discon- 
 tinue it. 
 
 4. The standing position is preferable to sitting. 
 
 5. Never use the voice directly after a full meal, or 
 on an empty stomach. 
 
 6. The clothing about the neck and waist should be 
 worn loose. 
 
 7. Do not practise too long at once. 
 
 8. Fifteen minutes are sufficient for beginners. 
 
 9. Daily and systematic drill will alone insure success. 
 
 10. Energy and will must accompany every exercise. 
 
 11. Attempt one thing at a time. 
 
 12. Use the voice without restraint. 
 
 13. Every means employed to build up a vigorous 
 physical condition is so much capital for good voice. 
 
 14. Practise frequently out of doors in mild weather. 
 
 15. Keep the passages of the throat and nostrils as 
 clear as possible. 
 
 16. Avoid using the voice in the open air in cold 
 weather. 
 
 117 
 
118 A MANUAL OF ELOCUTION. 
 
 Extempore or Sight Reading. 
 
 " To read a piece for the first time with, a good, dis- 
 tinct, and deliberate articulation, pronouncing the 
 words with boldness and force, and at the same time 
 with propriety and elegance, distinguishing the more 
 significant words by a natural, forcible, and varied 
 emphasis, and the subordinate words with a proper 
 degree of accent, together with a just variety of pause, 
 inflection, and cadence, accompanied by the emotions 
 and passions, with their correspondent tones, the reader 
 must be in possession of the principles embodied in the 
 preceding pages. 
 
 " To read well at sight is a difficult performance : 
 but it can be accomplished by daily effort, the same 
 as a skilful musician, after long, laborious practice, 
 performing a piece of music the first time, can throw 
 into it all the spirit, feeling, and pathos requisite. 
 
 " This fine accomplishment, from its very difficulty 
 of acquirement, is, perhaps, the highest excellence of a 
 reader ; and the time and labor bestowed in its acquire- 
 ment will richly repa}^ him in the pleasure he will 
 afford those who may hear him read. ■ 
 
 " To render sight reading possible, the reader must 
 cast his eye a little beyond the point at which he is 
 reading ; this will enable him to anticipate the sense 
 of what follows, and in time he will be able to take 
 into his mind a whole clause or sentence at a glance 
 of the eye." — Richard Culver. 
 
 THE END. 
 
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 LIBRARY OF CONGRESS 
 
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