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 Copy 1 
 
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PRACTICAL WORK 
 
 :()N = 
 
 ELOCUTION, 
 
 = BY = 
 
 Ji 
 
 1/ 
 
 O. L- fcrYON, 
 
 i 
 
 ii 
 
 
 TEACHER OF 
 
 ELOCUTION, LANGUAGE AND LITERATURE, 
 
 STEELVILLE NORMAL AND BUSINESS INSTITUTE. 
 
 STEKTA ILLE, MO., 
 CRAWFORD MIRROR PRINT, 
 

 Entered according to Act oi" Congress, in the year 1890 by 
 
 O. L. LYON, 
 in 1 1n* Office of I he Librarian of Congress at Washington. 
 
PREFACE. 
 
 In order to meet the demands of my students for 
 a practical work on Elocution I have written this 
 little work on the subject. It is designed especially 
 for class use. 
 
 In it I have endeavored to be plain and practical, 
 eschewing as far as possible all Latin terms which in 
 themselves, in most works on the subject, only tend 
 to obscure. The student will find no adornment 
 here, but only that which will be really helpful to 
 Mm in the study of gesture and breathing. 
 
 As the voice needs a living teacher, I have said 
 nothing about it. 
 
 O. L. L. 
 
 March 31, 1890. 
 
CONTENTS. 
 
 PAiitt. 
 
 Articulations of the Body, ;">. 
 
 Carriage of Body, 7. 
 
 Poise of Body, 8. 
 
 Exercise Preparatory to Gesture, iL 
 
 Attitudes of the Hand, '' 11. 
 
 Functions of the Hand, 13. 
 
 Further Decomposing Exercises, K>. 
 
 Attitudes of the Body, 17. 
 
 Harmonic Exercises, 19. 
 
 Affirmations, 22. 
 
 Gestures Showing Primary Opposition, 23. 
 
 Attitudes of the Head, 2o. 
 
 Inflections of the Head, 27. 
 
 Action of the.Eyeball, 29. 
 
 Combination of Lid and Brow, 30. 
 
 Lower Jaw, 31. 
 
 Expressions of the Mouth, 31. 
 
 Chest, 32. 
 
 Head and Shoulders, 33. 
 
 Zones of the Body, 35. 
 
 Gymnastics, 39. 
 
 Laws Governing the Significance of Motion 
 
 in the Human Body, _ 41. 
 
 Breathing Exercises, 43, 
 
 Miscellaneous Principles, 4o. 
 
E 
 
 LOCUTION^p?^ 
 
 fxESTUKE. 
 
 Elocution is the outward manifestation of the 
 emotions of the soul by means of voice and action. 
 
 Gesture — Any visible manifestation of emotion by 
 the agency of the hands, face or any other part of the 
 body. 
 
 Articulations of the Body — It is easy for one to 
 contract the muscles but not so to relax them. Ee- 
 laxing exercises should be practiced until perfect 
 control of the muscles is secured. Grace of action 
 depends exclusively upon relaxation. 
 
f> PRACTICAL WORK ON ELOCUTION. 
 
 EXERCISE I. 
 
 With arms in front, move them up and down 
 rapidly, allowing wrists to dangle. Continue the 
 movement from right to left: then pass the wrists 
 over one another, observing all the time that they are 
 perfectly relaxed. 
 
 EXERCISE II. 
 
 Shake the hands, allowing the lingers to dangle. 
 Do not shake them so vigorously as to throw energy 
 in them. 
 
 EXERCISE III. 
 
 Swing the arms, allowing them gradually to 
 come to rest. First both, then each separately. 
 exercise iv. 
 
 1. Let the body, down to the ankles, be relaxed. 
 Shake the body, gradually increasing the movement, 
 allowing the arms to dangle around the body as they 
 will. 
 
 2. Give the body a sudden twitch to either right or 
 left, allowing the arms to move as though they were 
 clubs hanging to the shoulders. 
 
 EXERCISE V. 
 
 1. Drop the head slowly on the chest to the count 
 of five and then raise it to the same count. 
 
 2. Drop the head slowly backward and raise. 
 
 3. Allow the head to fall over on the right shoulder 
 and then raise. 
 
 4. The same to the left. 
 
 5. Rotate the head on the collar to the count often. 
 
 EXERCISE VI. 
 
 Go through with the same exercises with the body 
 in concert with the head as given in Exercise V. 
 
 Remark : It is the opinion of our best teachers of 
 Elocution that a student should practice a year on re- 
 laxing exercises to accomplish the best results. 
 
PRACTICAL WORK ON ELOCUTION. 
 
 Carriage or the #ody. 
 
 Appearance cannot be well over-estimated in the 
 reader or speaker. To have good appearance the 
 carriage of his body must be graceful. All slovenness 
 must be avoided. Ease of movement is what is 
 sought for. 
 
 EXERCISE 1. 
 
 First Position. — Weight on the left foot. Eight 
 foot with heel a little in front of the hollow of the 
 left foot. Angle (30 Q . Tne head inclines a little to 
 the left, while the torso inclines in the opposite di- 
 rection. 
 
 Second Position Change weight to the right foot, 
 
 observing the same directions as given in first posi- 
 tion. 
 
 Third Position Weight on both feet. Head per- 
 fectly erect. Heels together, or nearly so. 
 
 EXERCISE II. 
 
 Place the hand on the chest and elevate it as though 
 lifting a load with the chest. Depress them as low 
 as possible. 
 
 Eemark : As a prominent chest is manhood's man- 
 liest part and as it is that which speaks most strongly 
 to an audience, this exercise should be kept up for at 
 least six months, or until the chest can be elevated 
 and depressed, with ease, three inches. 
 
 EXERCISE III. 
 
 Stand on both feet. With body and head well 
 poised, turn at the ankles one-fourth way around. 
 First to right and then to left, to the count of five 
 each time. 
 
8 PRACTICAL WORK ON ELOCUTION. 
 
 EXERCISE IV. 
 
 Standing with active chest, turn the head to the ■ 
 right until it looks directly over the right shoulder. 
 Keep the head in a good position all the time. Go 
 through with the same exercise to the left. 
 
 EXERCISK V. 
 
 Change the weight from one foot to the other in 
 rapid succession, not allowing the shoulders or hips 
 to sway but very little. 
 
 Eemark: In standing, even though the weight 
 should be on one limb, the other limb should be per- 
 fectly straight. 
 
 exercise vr. 
 
 Practice walking, allowing chest to move upward 
 and forward, body not swaying. Make each foot 
 describe a semicircle and put the ball of the foot 
 down first. Barbarous heels prevent this though. 
 
 ■®oise or :£OX)Y. 
 
 This is closely related to the carriage of the body. 
 As is the poising of the planets to the order of the 
 Universe, so is the poising of the body to the appear- 
 ance of the actor. Observe how gracefully an actor 
 walks on the stage. How did he acquire this i By 
 thorough training. The folloving exercise should be 
 practiced for months: 
 
PRACTICAL WORK ON ELOCUTION. 9 
 
 EXERCISE I. 
 
 1. Weight is on both feet, head up, eyes fixed on 
 some definite point. Bending only at the ankles, 
 poise forward to the count of four. Let the chest 
 raise as the body comes forward. Raise on the toes, 
 allowing the body to remain in this position a little 
 while. Let the body sink on the heels but notice the 
 body is still swaying forward. Sway back to posi- 
 tion. Then backwards not allowing the toes to tip 
 any. Let the body come back to position again. 
 
 Each movement should be made slowly and to 
 count. 
 
 2. Same exercise with the weight on right foot and 
 then the same with weight on the left foot, the dis- 
 engaged foot being raised entirely from the floor. 
 
 'NKOo 
 
 £:xercises Preparatory to i&esture. 
 
 EXERCISE I. 
 
 Keeping the fingers in one place, elevate and de- 
 press the wrist. This should be practiced until the 
 wrist moves with perfect ease. Too much attention 
 cannot be paid to this exercise. 
 
 EXERCISE II. 
 
 Arms extended in front with wrists together and 
 fingers pointing in opposite directions, move the arms 
 from each other, keeping them in the same horizontal 
 position and allowing the wrists to move out first, 
 until the arms are extended at either side of the body. 
 Move the wrists back to the first position. Keep 
 this up for some time, gradually increasing the speed 
 of the movement. 
 
10 PRACTICAL WORK ON ELOCUTION. 
 
 EXERCISE ITT. 
 
 'Right arm extended in front. Allow it to move 
 around to the right, elevating and depressing the 
 wrist all the time. The fingers must be kept in one 
 plain. Do the same with left hand then with both. 
 
 EXERCISE IV. 
 
 Take first position. At an angle of 45^, move the 
 arm one foot from the body, palm down, and then 
 turn the hand over and extend the fingers. Let the 
 arm fall to the side again. 
 
 2. Raise the arm to the level of the shoulder. 
 Turn the hand over and extend the fingers. Let the 
 arm fall to side again. 
 
 3. Raise the arm, palm down, to 45° above level of 
 shoulder. Turn the hand over and extend the fingers. 
 Let the hand drop again. 
 
 Take second position and go through the three ex- 
 ercises with the left hand. Take third position and 
 go through the same exercises with both hands. 
 
 Preserve accurately the angle of 45° in all these 
 exercises and let every movemeni be made with pre- 
 cision. The count should be three. Go through 
 with the same exercises with palm down. 
 
 exercise v. 
 Bring the hand relaxed up in front. Energize the 
 forefinger. Energize the little finger. Depress the 
 wrist. The two middle fingers should be slightly 
 bent at each joint and thus fall below the other two 
 fingers. The thumb should stand out so as to oppose 
 the fingers. We thus have the proper position of 
 the hand in gesture. 
 
 EXERCISE VI. 
 
 Arm at the side. Elevate it at full length. De- 
 press the wrist. Energize the fingers; at the same 
 time spread them. Turn the hand over stiffly. Re- 
 lax fingers and arm. Put fingers on the shoulder and 
 
PRACTICAL WORK ON ELOCUTION. 11 
 
 and arm against the side. Allow the forearm to fall 
 down horizontally in front, keeping arm still against 
 the side. Bring the forearm again to the vertical 
 with flexible wrist, fingers pointing away from the 
 body. Arm is still against the side. Extend the 
 arm and energize the fingers violently. Do this to 
 the count of nine. This exercise should be practiced 
 with each hand separately and then with both. 
 
 EXERCISE. VII. 
 
 Let the second, third and fourth fingers be easily 
 bent until the tips of the fingers come within three- 
 fourths of an inch of the palm. The forefinger is not 
 nearly so much bent. Thus we have the condition 
 of the hand in beginning most gestures. 
 
 o>©<o 
 
 Attitudes of the Sand. 
 
 1. Convulsive. 
 
 2. Power. 
 
 3. Struggle. 
 
 4. Generous. 
 ;"). Abandon. 
 
 6. Prostration. 
 
 7. Exasperation. 
 
 8. Exaltation. 
 
 9. Glorification. 
 
 Convulsive. — The fingers are very much ener- 
 gized and so bent that if the hand is vertical the ends 
 of the fingers will point towards the floor. 
 
 Ex.— "Just let me get him home with a good grip in his hair 
 And I'll be blest if he have a whole bone in his skin." 
 
 — Lost Heir. 
 
12 PRACTICAL WORK ON ELOCUTION. 
 
 Power. — Fists closed with thumbs straight over 
 the forefingers. Firmness in the face. 
 Ex.— I know my power. 
 
 Struggle. — Fists closed as in fighting. Head is 
 lowered. Struggle in the face, arms and body. 
 Walking rapidly backwards and forwards adds to it. 
 "Ex. — Curfew shall not ring to-night." 
 
 Generous — Hand with the palm to the audience. 
 
 Ex. — I freely give. 
 
 Abandon. — Arms hang easily at the side. The 
 hands are supine or prone. 
 
 Prostration. — Fingers closed together, but other- 
 wise relaxed. Thumbs drop in under the palms. 
 Palms are down. Hands now resemble an animal's 
 paw. 
 
 Ex.— "When you want a great song for your Italy free, 
 Let none look at me."— Mother and Poet. 
 
 Exasperation. — Fingers spread to the fullest ex- 
 tent and are energized. They are not so much bent 
 as in convulsion. Look as if about to strike to in- 
 jure as with claws. 
 
 Ex.— "You called me misbeliever, cut-throat, rto^."— Skylark. 
 
 Exaltation. — The hand makes a partial circle in 
 front of the face and then sweeps back to vertical 
 position at the right, a little above the head. Palm 
 to the audience. If the exaltation is to God, the 
 head should be thrown back and towards the right 
 shoulder. A look of adoration should be on the 
 countenance. 
 
 E\\ -''Hurrah! hurrah for Sheridan!"— Sheridan's Bidr. 
 
 Glorification — The same movement as in Exalta- 
 tion except it is preceded by two entire sweeps of 
 the hand in a circle, before the upward movement. 
 The look is much more animated. 
 Ex.— 'In, 'ip, hurrah ! 
 
PRACTICAL WORK ON ELOCUTION. 13 
 
 The Functions or the Hand. 
 
 1. To define or indicate. 
 
 2. To affirm or deny. 
 
 3. To mould or detect. 
 
 4. To conceal or reveal. 
 
 5. To Guirender or hold. 
 
 6. To accept or reject. 
 
 7. To inquire or acquire. 
 
 8. To support or protect. 
 D. To Cfifess or assist. 
 
 10. To invite or repel. 
 
 11. To distribute or inclose. 
 
 12. To entreat or repel. 
 
 13. To picture or form a spiral. 
 
 14. To deny impatiently or deny frivolously. 
 Defines. — Hand drawn up in front, wrist de- 
 pressed, first and fourth fingers energized. The hand 
 tips a little above the horizontal. Edge of the hand 
 is to the floor. 
 
 Ex.— As a reproof — "Handsome is as handsome does." 
 Indicates. — The lady usually indicates with palm 
 up. The first finger is prominent and points towards 
 the object indicated. The gentleman follows the 
 same rule, only with palm down. 
 
 Ex.— "There it stood years afterward, above the warehouse door, 
 Scrooge it Marley."— Dickens. 
 
 Affirms. — The motion is downward. The palm 
 
 is up. The hand relative to the elbow is a little lower 
 
 when it stops. 
 
 Ex.— I denounce him as a traitor. 
 
 Denies. — The hand starts from the left chest. It 
 sweeps around, with palm down, in a horizontal plain, 
 until it is extended at the side of the body. The 
 head moves in the opposite direction. 
 
14 PRACTICAL WORK ON ELOCUTION. 
 
 Remark : In all gesture there should be perfect 
 opposition of movement between the head and hand. 
 This harmony of action should be carried on in the 
 bearings of the body as well. 
 
 Ex. — T deny the accusation. 
 
 Moulds. — The hand makes a movement as if 
 moulding a soft substance, as clay. The little linger 
 starts first followed by the rest. 
 
 Ex. — "Oh Brutus, thou art noble, yet I see thy honorable metal 
 may be wrought from what it is disposed. "—Julius Ccusar. 
 
 Detects. — Pass the thumb over the tips of the 
 fingers as if detecting the quality of cloth. (A move- 
 ment often made in following a train of thought.) 
 
 Conceals. — Bring the palm of the hand towards 
 the body, meeting it just below the left chest. The 
 fingers are gently closed on the palm. 
 
 Reveals. — Reverse the above movement, expos- 
 ing the palm. 
 
 Surrenders. — The closed hand opens. The palm 
 is down. The action is as if dropping something on 
 the ground. 
 
 Ex. — I give up. 
 
 Holds. — The hand closes as if to retain an object. 
 
 Ex. -I am as firm as the everlasting hills. 
 
 Accepts. — The fingers, all moving at the same 
 time, partially close upon the upturned palm as if 
 receiving something. 
 
 Ex. — I aceept the proposition. 
 
 Rejects. — The hand starts from the left chest. 
 The hand stops in the same position as in denying, 
 but the palm is away from the body. The movement 
 is as if pushing something away. 
 
 The gesture may be made by unclosing the down- 
 turned palm as if throwing something away. 
 
 Ex. — "Warning all human sympathy to keep its distance." 
 
 — Dickens. 
 
PRACTICAL WORK ON ELOCUTION. 15 
 
 Inquires. — Palm is to the front. Fingers move 
 tremulously backwards and forwards as if feeling in 
 the dark. 
 
 Acquires. — The hand reaches out and then draws 
 toward the body. The fingers are spread out and 
 are curved toward the down-turned palm. 
 
 Supports. — Hand makes a downward sweep and 
 stops with the arm extended in front on a level with 
 the shoulder. Palm is up and level as though sup- 
 porting something. It is the champion's gesture. 
 
 Protects — Palm is down. The movement is as if 
 covering what you protect. 
 
 Ex.— He put his hand gently down on the sick child's forehead. 
 
 Caresses — The movement of the hand is up and 
 down as if stroking an object. If an animal is the 
 object the movement is from side to side. 
 
 Assails. — The fingers are very much energized. 
 They are bent. They make a convulsive movement 
 of clutching. 
 
 Invites. — The hand is brought up as in accepting, 
 but the second, third and fourth fingers fall in nearly 
 to the upturned palm, while the forefinger points 
 nearly straight up when the hand stops. The arm in 
 the final position should be easily bent at the elbow 
 and wrist. The fingers and wrist must be perfectly 
 relaxed in making the exercise. 
 
 Repels. — Weight is on the ball of the right foot. 
 
 The hands start in front of the face and as it moves 
 
 out in front the body sinks back on left heel and the 
 
 head drops dow r n on the chest at the same time. 
 
 The movement is pushing yourself away from the 
 
 object. Disgust should be in the face. 
 
 Ex. — *'A tisherman stood aghast." — Longfellow. 
 
 "The aged minister started back in 'horror from that look." 
 
1() PRACTICAL WORK ON ELOCUTION. 
 
 Distributes. — The Imnd is somewhat closed as if 
 containing something. It starts in front of the body 
 and moves around to the right. The movement is 
 as if sowing wheat. Then gradually open. The palm 
 
 is up. 
 
 Incloses. — The palm is to the body. The move- 
 ment is as if shutting yourself from that which is in 
 front of you. 
 
 Entreats. — This may be made with one or both 
 hands. The arm is extended in front and at the same 
 time the breast heaves. The head moves up and 
 down. A look of entreaty should be in the face. 
 
 Ex. — (1) I do entreat you to spare his life. 
 
 (2) "Oh come, my white-erowned hero, come! 
 Oh come, and I will be your bride." 
 
 —Sioux Chiefs Daughter. 
 
 Pictures. — Hand is vertical. The wrist moves 
 from side to side. 
 
 Eemakk: This should be practiced until the wrist 
 moves with perfect freedom. 
 
 Spiral Gesture. — The wrist is made to rotate. 
 At the same time the hand should move upward. 
 The wrist itself performs the spiral movement. 
 
 Ex.— "The old mayor climbed the belfry tower."— High Tide. 
 
 Further Decomposing Exercises. 
 
 exercise T. 
 Withdraw vital force from the lingers. Xow shake 
 them, allowing them to strike against one another. 
 
 EXERCISE II. 
 
 Withdraw vital force from wrist and elbow. The 
 arm, upper part, is horizontal with shoulder. The 
 forearm hangs perpendicularly down. Let now the 
 movement be as if rubbing out something with the 
 elbow. Let the forearm and wrist dangle. Fist use 
 one arm and then both. 
 
PRACTICAL WORK ON ELOCUTION. 17 
 
 EXERCISE III. 
 
 Arms raised directly over head. Xow withdraw 
 force. They will drop as lifeless. 
 
 EXERCISE IV. 
 
 Withdrawing force from the ankles, agitate the 
 foot as the wrist has been. 
 
 EXERCISE v. 
 
 Stand with one limb on a foot-stool. Swing the 
 disengaged limb in the same manner as were the 
 arms. 
 
 EXERCISE VI. 
 
 Withdraw the energy from the body. Let it fall 
 forward, then to one side and then the other. This 
 is better practiced sitting. 
 
 EXERCISE, vii. 
 
 Let the eye-lids fell as in sleep. 
 
 EXERCISE VIII. 
 
 Let the jaw fall loosely down. 
 Remark : These should be practiced several hours 
 a day until they can be executed with ease. 
 
 0>^0c- 
 
 t^TTITUDES Or THE jBODY. 
 
 1. Despair. 
 
 2. Keflection. 
 
 3. Defiance. 
 
 4. Shame. 
 o. Vertigo. 
 
 6. Indecision. f a . 
 
 » Seem * 
 
 7. Eestrained Attention ] „ .*' 
 
 8. Ceremony. . '- Hea ™g- 
 
 9. Animated Attention. 
 
 Despair — The weight sinks back on left heel. 
 The right foot is placed immediately in front of the 
 
18 PRACTICAL WORK ON ELOCUTION. 
 
 left. The chest and shoulders are relaxed. The head 
 drops upon the chest. If one would fall, it would 
 be backward. Let there be despair in the face. The 
 condition shown is prostration. 
 
 Reflection. — As to the feet, first position. The 
 left elbow rests in the right hand. The tips of the 
 lingers of the left hand support the slightly inclined 
 head/ Brows are wrinkled as in thought. Really 
 think about something. 
 
 Defiance — Place the right foot at least a foot in 
 front and a little to the right of the left foot. Let 
 the weight be on the ball of left foot. Both limbs are 
 straight. Head thrown back. Arms locked on chest. 
 The condition is antagonistic ; the sentiment, de- 
 fiance, irritation, splenetic emotion. 
 
 Shame. — Weight is on heels of both feet. Heels 
 are together. Angle between the feet 30 u . Head 
 drops on the chest. Arms and shoulders draw in 
 and the body is put into as little space as possible. 
 Shame in the face. 
 
 Vertigo. — Limbs, some distance apart. Weight 
 on both feet equally balanced. Arms akimbo. Head 
 may be to one side if preferred. Fatigue and intoxi- 
 cation are but modifications of this exercise. 
 
 An attitude may be a sign both of a physical con- 
 dition and a sentiment. Thus the above exercise as 
 a physical condition represents fatigue, vertigo, or 
 intoxication; as a sentiment, vulgar boorishness. 
 This attitude might do in privacy but not in public 
 unless acting such a character. 
 
 Indecision. — Let limbs be some distance apart. 
 The weight is equally balanced on balls of both feet. 
 Feet not quite in front of each other. Left hand a 
 little apart from the body in the rear. The right, the 
 same in front. Head up. Action alert. Look un- 
 decided. The condition is indecision, while the 
 sentiment is deliberation. 
 
PRACTICAL WORK ON ELOCUTION. 19 
 
 Restrained Attention. — Feet are at right angles. 
 Heels are together. Poising forward with the body 
 in the direction of the right foot, shade the eyes with 
 right hand while the left is a little from the body in 
 the rear as if balancing it. Look intently. 
 
 Now come back to position. Poising in the direc- 
 tion of the left foot, put the left hand over the ear 
 as if to catch the sound. Eyes looking in the direc- 
 tion of right hand which is a little in the rear of the 
 body as if balancing it. 
 
 Ceremony. — Weight is on the left foot. Right 
 foot is thrown behind left so that the limb rests on 
 the toe, which is to the left of the left foot. Arms 
 are folded. Look of calm repose on the face. 
 
 Animated Attention. — Take a step forward. 
 Let the left foot drag up behind the other on the toe. 
 Weight now all on right foot. Left heel off the floor. 
 Head up. Animation in the face. 
 
 The condition is vigor. The sentiment is passional 
 tendency. 
 
 Remark: The count should be ten in all these ex- 
 ercises. 
 
 0*^0 
 
 Harmonious Bxekcises. 
 
 
 EXERCISE I. 
 
 The three positions observing the head inclines to- 
 ward the strong limb, while the torso inclines in the 
 opposite direction. 
 
 Remark: In all the exercises given in this section 
 there must be perfect opposition of movement. 
 
20 PRACTICAL WORK ON ELOCUTION. 
 
 EXERCISE IT. 
 
 Stand with weight on both feet. Advance one 
 limb. The head inclines forward in sympathy. The 
 torso moves in the opposite direction, thus hollow- 
 ing the back. It elevates the chest. 
 
 Incline all parts of the body in the same direction 
 and notice the effect. 
 
 exercise in. 
 
 Put one foot behind you and carry the weight on 
 to it. The head inclines back. The torso forward. 
 Experiment by inclining all parts in the same direc- 
 tion. 
 
 exercise iv. 
 
 At the ankles rotate the body to the right simul- 
 taneously rotating the head to the left. ■ 
 
 Eeverse the movement. 
 
 Continue this exercise by rotating the torso at the 
 waist-line and at the same time rotate the head in the 
 opposite direction. Eeverse the movement. 
 
 Remark: These exercises or especially this one 
 should be long and carefully practiced. 
 exercise v. 
 
 Sit squarely. Incline torso forward. Let the 
 head incline in the opposite direction. Reverse the 
 movement. 
 
 EXERCISE VI. 
 
 Remain sitting. Incline torso to the right, the 
 head to the left. Reverse this. Take care that the 
 body bends neither to right or left. 
 exercise vir. 
 
 Incline torso forward and to the right. At the 
 same time incline head backward and to the left. 
 Reverse this. 
 
 EXERCISE VIII. 
 
 Incline torso backward and to the left ; at the same 
 time incline the head forward and to right. Reverse 
 this. 
 
PRACTICAL WORK ON ELOCUTION. 21 
 
 EXERCISE IX. 
 
 Sway slowly from extreme left to extreme right. 
 Reverse this exercise. Notice opposition of move- 
 ment. 
 
 EXERCISE X. 
 
 Sway gently from extreme forward to extreme 
 back. Reverse this. 
 
 EXERCISE XL 
 
 Sway from forward-left to back-right. Sway from 
 back-right to forward-left. Sway from back-left to 
 forward-right. Reverse this. See that head and 
 torso move in opposite directions. 
 
 EXERCISE XII. 
 
 Bring hand around to meet the right shoulder, 
 causing the shoulder and head to move in opposite 
 direction to the moving hand. Each should move 
 in proportion to their size. Do the same with the 
 left hand. 
 
 EXERCISE XIII. 
 
 Touch the tip of the fingers to the forehead, allow- 
 ing the head to move down to meet the hand. Do 
 the same with the left hand. 
 
 Remark: These movements should be practiced 
 until the opposition of the hand, head and torso in 
 gesture becomes, as it were, second nature. 
 
22 PRACTICAL WORK ON ELOCUTION. 
 
 Affirmations. 
 
 1. Affirmation Appealing to God 
 
 2. Affirmation Appealing to Man. 
 
 3. Colorless Affirmation. 
 
 4. Teacher's Affirmation. 
 
 5. Orator's Affirmation. 
 
 6. Seer's Affirmation. 
 
 7. Tyrant's Affirmation. 
 H. Bigot's Affirmation. 
 9. Vital Affirmation. 
 
 Affirmation Appealing to God.— The hand per- 
 forms an upward sweep back of the head. It turns 
 and moves to a position at arm's length above and a 
 little in front of the head. Palm to the face. Atti- 
 tude of the head accentric superior. Another way 
 of making it is for the hand to be turned to the front. 
 The position otherwise is the same. 
 
 Afflmatioii Appealing to Man. — Same as in a 
 former list. 
 
 Colorless Affirmation. — The movement is down- 
 ward. The hand is about a foot from the body. 
 Palm is to the earth. Arm at full length. Another 
 form is made with palm to the front. 
 
 Teacher's Affirmation.— Same as given before. 
 
 Orator's Affirmation The hand is elevated in 
 
 front or a little to the right of front. The wrist is 
 depressed and fingers extended. 
 
 Seer's Affirmation The hand is somewhat 
 
 above and in front of the right eye. Thoughtful ex- 
 pression. It mystifies. 
 
PRACTICAL WORK ON ELOCUTION. 23 
 
 Tyrant's Affirmation. — The hand starts from 
 the left chest. It follows down and to the right of 
 the body, moving obliquely. It stops at full length 
 of the arm. The hand is then only a short distance 
 from the body. Palm is down. Look the tyrant. 
 
 Bigot's Affirmation. — The movement is the same 
 as in the above except the hand starts from just be- 
 low the chest. The facial expression is slightly dif- 
 ferent. 
 
 Vital Affirmation.— /The head trembles with en- 
 ergy as it is brought up a considerable height above 
 the head. Then it turns and sweeps, palm first, 
 downward. It stops directly in front of the torso. 
 Near its stopping point the- hand closes vigorously. 
 
 i&ESTUKES 
 
 0HOWING SKIMAKY 
 
 Opposition. 
 
 1. 
 2„ 
 
 Q 
 
 »>. 
 
 4. 
 5. 
 f>. 
 7. 
 
 8. 
 9. 
 
 Salutation. 
 Appeal to Heaven. 
 Accusation. 
 Imprecation. 
 Remorse. 
 Deep Thought. 
 Pathetic Reproach. 
 Pathetic Repulsion. 
 Benediction. 
 
 
 Salutation. — Let the hand move up toward the 
 head. The head at the same time moves downward 
 to meet the hand. The hand should touch the head. 
 The movement is then reversed, the hand going back 
 nnd the head to position. The fingers gently fall in 
 
24 PRACTICAL WORK ON ELOCUTION. 
 
 toward the palm as the hand comes up. They 
 straighten as the hand goes back. The eye should 
 rest on the party addressed unless especial homage 
 is desired to be paid to the person. 
 
 Appeal to Heaven. — The weight moves forward 
 on the ball of the right foot. The position of head 
 is accentric superior. The chest is active. The 
 right hand is down and somewhat back of the body 
 with palm extended to the front. As the body moves 
 forward, let the head move up and the hand move 
 back in perfect opposition. 
 
 Accusation.— Bring the arm up in front, palm up, 
 to its full length. Stop the arm when in a horizontal 
 position. As the arm is coming up, the head should 
 drop down to meet it. Look straight out over the 
 palm in an accusing way. 
 
 Ex.— You know you did it. 
 
 Imprecation. — From the attitude of accusation 
 cause the hand to move on up to a perpendicular. 
 Turn the hand around so that palm is to the front. 
 Energize the hand as in exasperation. Feet some 
 distance apart and firmly planted. A furious look 
 in the face. At the sametime the hand is moving up- 
 ward, cause the head to move farther down on the 
 chest. 
 
 Ex. — "Cursed, thrice may you be evermore. " 
 
 — Leahy the Forsaken. 
 
 Remorse. — From the preceding allow the hand to 
 move down and rest on the top of the head. Pull 
 the head down on the chest until the back part is 
 horizontal. 
 
 Ex.— Shylock leaving the stage the last time in the Merchant <>t 
 Venice. 
 
 Deep Thought. — From the former position allow 
 
 the hand to pass down over the top of the head and 
 
 clasp the face in front of the eyes. Let there be 
 
 effort. Rest right elbow in palm of the left hand. 
 
PRACTICAL WORK ON ELOCUTION. 25 
 
 Pathetic Reproach. — From the former allow the 
 hand to drop slowly from the eyes to the left arm. 
 The head at the same time moves in the opposite di- 
 rection. Gently fold arms on the chest. Look as if 
 you hated to reproach the person. 
 
 Pathetic Repulsion. — Starting with the last po- 
 sition, the right hand performs a movement as in re- 
 jection, only much more slowly. The head moves in 
 the opposite direction simultaneously. Same look 
 is in the face as in the preceding. 
 
 Benediction. — The head moves down to accentric 
 inferior ; simultaneously the hand, palm up, moves in 
 direct opposition to the head. The hand stops when 
 a little above the level of the head. 
 
 Attitudes or the Head. 
 
 1. Accentric Inferior. 
 
 2. formal Inferior. 
 
 3. Excentric Inferior. 
 
 4. Accentric formal. 
 
 5. formal formal. 
 
 (k Excentric Normal. 
 
 7. Accentric Superior. 
 
 8. Normal Superior. 
 
 9. Excentric Superior. 
 
 Accentric Inferior. — Head is lowered, inclined 
 toward the object and is not rotated. It indicates 
 reverence, faith in object of love. 
 
26 PRACTICAL WORK ON ELOCUTION. 
 
 Ex.— Thou knowest best! 
 
 "My sins as scarlet are; let me go hence, 
 And in some cloistered school of penitence, 
 Across those stones that pave the way to heaven 
 Walk barefoot, till my guilty soul be shriven!" 
 
 —Robert, of Sicily. 
 
 Normal Inferior — Head lowered, inclined 
 neither to right nor left. Indicates reflection, con- 
 centration, sadness, grief, dejection. 
 
 Ex. — "Three thousand ducats;— 'tis a good round sum, 
 
 Three months from twelve,— then let me see the rate — " 
 
 — Shylock. 
 
 Excentric Inferior — Head still lowered, inclined 
 
 from the object but not rotated. Look toward the 
 
 object. It indicates suspicion, stratagem, jealousy, 
 
 envy. 
 
 Ex. — "These, then, my Lord of Leicester, are the charms 
 Which no man with impunity can view, 
 Near which no woman dare attempt to stand." 
 
 —j\{ary Stuart. 
 
 Accentric Normal. — Head is neither thrown 
 back nor depressed, but is perfectly level. It in- 
 clines or leans laterally toward object. It is not 
 rotated. Indicates affection, love from the soul. 
 
 Examples: (1) "When you miss what you would like me to be, 
 and what I should like to be, and what I think E never can be, say, 
 'Still my foolish child- wife loves me: For indeed I do/ "—Dickens. 
 (2) ''When married in the Spring, 
 
 Dear Tom, let's live so quiet ! 
 
 Let's have our pleasant little place, 
 
 Our books, a friend or two; 
 
 No noise, no crowd, but just your face 
 
 For me, and mine for vou. 
 
 Won't that be nice." * —Tom's Little Star. 
 
 Normal Normal. — Head level, inclined neither to 
 right nor left. It indicates neutrality, calm repose. 
 
 Ex. — "8he stood like fixed, impassive fortitude." 
 
 —Sioux Chiefs Daughter. 
 
 Excentric Normal. — Head in normal plain, leans 
 laterally from the object. It does not rotate. The 
 cheek is thus presented prominently to the object. 
 It indicates sensuality, distrust. 
 
 Ex.— Yon Cassius has a lean and hungry look." 
 
 —Julius Caesar. 
 
PRACTICAL WORK ON ELOCUTION. 2i 
 
 Accentric Superior. — Head thrown back, in- 
 clined laterally toward object. Does not rotate. 
 Look of adoration on the countenance. 
 
 Signification: Adoration, abandon, confidence. 
 
 Ex.— "Let the words of my mouth and the meditations of my 
 heart be acceptable in thy sight, Oh Lord, my strength, and my re- 
 deemer." 
 
 Normal Superior. — Head thrown back, inclines 
 neither to right nor left. 
 
 Signification : Vehemence, exaltation, passional 
 state. 
 
 Ex.— Hail! holy light! 
 
 Excentric Superior. — Head thrown back, in- 
 clines laterally, away from object. Does not rotate. 
 
 Signification: Pride, arrogance, noble or base 
 scorn. 
 
 Ex.— I'm just as good as you. 
 
 Remark : In all these exercises the inclination of 
 the head should be but little. 
 
 0^40 
 
 Inflections or the H?ead. 
 
 
 1. 
 
 Interrogation. 
 
 
 2. 
 
 Resignation. 
 
 
 3. 
 
 Yes. 
 
 
 4. 
 
 Threat of a Resolute Man. 
 
 
 0. 
 
 Threat of an Irresolute Man. 
 
 
 6. 
 
 Exaltation. 
 
 
 7. 
 
 Regret. 
 
 
 8. 
 
 No, 
 
 
 9. 
 
 Exalted Sentiment. 
 
 Interrogation. — Movement of head forward and 
 
 upward. 
 
 Let eagerness and hope be in the face. 
 
28 PRACTICAL WORK ON ELOCUTION. 
 
 Examaples: (1) What was that ? 
 (2) Do you think so? 
 
 Resignation. — Head moved forward and down. 
 Let humbleness be expressed in the face. 
 
 Ex.— I feel perfectly resigned. 
 
 Yes. — Head sways up and down as in giving as- 
 sent. 
 
 Ex.— Sir, I agree with you in the matter. 
 
 Resolute Threat. — Head thrust forward and up 
 brusquely. Menace in the face. Head may shake 
 fiercely. Let attitude of the body and hands be an- 
 tagonistic. 
 
 Ex.— "I'll have my bond. I will not hear thee speak." 
 
 — Shylock. 
 
 Irresolute Threat. — Expression of face similar 
 to the former and the body is the same, only instead 
 of thrusting head up and forward and leaning for- 
 ward, the head is thrust down and backward. The 
 body leans backward. 
 
 Examples :f (1) He may think I forget, but I will pay him back. 
 (2) I'll seeVou again. 
 
 Exaltation. — Head tossed back. 
 
 Ex.— "I see the star."— Child and the Star.— Dickens. 
 
 Regret. — Head rotated from one shoulder to the 
 other, sad or impatient expression on the face. 
 
 Examples: (1) O, I haven't any patience with you. 
 
 (2) '*Go way please." — Dickens. 
 
 (3) "Oh, death is all mystery. Out past its gateway 
 
 of silence 
 What waiteth no mortal can tell, but contently I 
 
 vision 
 A valley of rest, w hither tortured hearts never 
 
 are carried." — Fnlvia. 
 
 No. — Head shakes from side to side. If the mo- 
 tion ends with the face to the interlocutor the nega- 
 tion is simple. If the face stops away from the ob- 
 ject, positiveness of negation is indicated, or it may 
 be dislike. 
 
 Ex.— No, your efforts are fruitless to make me believe that. 
 
PRACTICAL WORK ON ELOCUTION. 29 
 
 Exalted Sentiment. — Head thrown back and 
 while in this position rotate from side to side. 
 
 Ex.— "Oh, Lord, our Lord, how excellent is thy name in all the 
 eartb."— Psalms. 
 
 SECTION Or THE fhfOALL. 
 
 I. 
 
 Eyeball is calm and is equally distant from the 
 corner. 
 
 Signification : Neutrality. 
 II. 
 
 Eye is turned to the object, neither raised nor 
 lowered. 
 
 Signification: Obscure observance of object, 
 in. 
 
 Eye turned from object, neither raised nor lowered. 
 
 Signification: Obscure attention to subject. 
 
 IV. 
 
 Eye is lowered midway between the two corners. 
 Signification: Subjection of subject to self. 
 
 v. 
 Eye lowered and turned to object. 
 Signification: Exaltation of self in obscure ob- 
 servance of object. 
 
 VI. 
 
 Eye lowered and turned from object. 
 Signification: Exaltation of self in obscure atten- 
 tion of subject. 
 
 VII. 
 
 Eye raised equally distant from the two corners. 
 Signification: Subjection of self to object. 
 
30 PRACTICAL WORK ON ELOCUTION. 
 
 VIII. 
 
 Eye raised and turned to object. 
 Signification: Subjection of self to obscure ob- 
 servance of object. 
 
 IX. 
 
 Eye raised and turned from object. 
 Signification: Subjection of self in obscure at- 
 tention to subject. 
 
 x£©io 
 
 Combination or jj$n> and Show. 
 
 i. 
 
 Brow down, eye nearly closed. 
 Signification: Concentration, subjective state of 
 mind. 
 
 II. 
 
 Brow down, eye natural. 
 Signification : Ill-humor. 
 
 ill. 
 Brow down, eye wide open. 
 Signification: Determination. 
 
 IV. 
 
 Brow natural, eye nearly closed. 
 Signification : Grief. 
 
 v. 
 
 Brow normal, eye normal. 
 Signification : Neutral state of mind. 
 
 VI. 
 
 Brow normal, eye wide open. 
 Signification : Stupidity. 
 VII. 
 
 Brow raised, eye nearly closed. 
 Signification: Scorn. 
 
PRACTICAL WORK ON ELOCUTION. ?A 
 
 VTTI. 
 
 Brow raised, eye normal. 
 Signification : Disdain. 
 
 Brow raised, eye wide open. 
 
 Signification : Astonishment, 
 
 Remark: The eyes are the most expressive part 
 of the face but still the least used. To read or 
 speak well the eyes must be well controlled. They 
 should not wander about over an audience aimlessly. 
 
 '^9^_- 
 
 ■£owER Saw. 
 
 1. Dropped slightly — Relaxation of energy. 
 
 2. Entirely dropped — Paralysis of energy. 
 
 3. Brought rigidly up — Anger, determination. 
 
 
 —**-■?©* *« 
 
 Expressions or the Mouth. 
 
 i. 
 
 Lips slightly separated. 
 Signification: Abandon, suspense. 
 
82 PRACTICAL WORK ON ELOCUTION. 
 
 II. 
 
 Lips tightly closed. 
 
 Signification: Firmness, dermination. 
 
 in. 
 Lips entirely apart. 
 Signification : Astonishment, surprise. 
 
 IV. 
 
 Lips slightly apart, corners of mouth lowered. 
 Signification : Grief. 
 
 v. 
 
 Lips tightly closed, corners of mouth lowered. 
 Signification : Discontent. 
 
 VI. 
 
 Lips entirely apart, corners of mouth lowered. 
 Signification : Horror. 
 
 VII. 
 
 Lips somewhat apart, corners raised. 
 Signification: Joy, pleasure. 
 
 VIII. 
 
 Lips tightly closed, corners of mouth raised. 
 Signification : Approval. 
 
 IX. 
 
 Lips entirely apart, corners of mouth raised. 
 Signification: Laughter. 
 
 O^OO 
 
 
 1. Active — Strength, courage. 
 
 2. Normal — Naturalness. 
 
 3. Passive — Pain, struggle. 
 

 PRACTICAL WORK ON ELOCUTION. 33 
 
 Head and Shoulders. 
 
 i. 
 
 Shoulders elevated high, head sunken between. 
 Signification: Hate, revenge, vital laughter. 
 
 Ex. — "Curse on him," quoth false Sextus; 
 "Will not the villian drown?" 
 
 —Horatius at the Bridc/e. 
 II. 
 
 Droop the shoulders as much as possible. 
 Signification: Depression, dejection, overwhelm- 
 ing grief. 
 
 Ex. — u O, smite us gently, gently God! 
 
 Teach us to bend and kiss the rod, 
 And perfect grow through grief. 
 Ah, how we loved her, Godcan tell; 
 Our hearts are broken, Babie Bell." 
 
 —Babie Bell. 
 III. 
 
 Shoulders and head drooping slightly. 
 
 Signification : Pity, sympathy. 
 
 Ex.— "I looked at John's old garments worn, 
 I thought of all that John had borne 
 Of poverty, and work and care 
 Which I,* though willing, could not share!" 
 
 — Which. 
 IV. 
 
 Shoulders and head lifted moderately. 
 
 Signification : Happiness, j oy. 
 
 Ex. — "When I look from my window at night, 
 And the welkin above is all white- 
 All throbbing and panting with stars — 
 Among them majestic is standing 
 Sandalphon, the angel, expanding, 
 His pinions in nebulous bars." 
 
 — Sandalphon. 
 
 Shoulders and head depressed according to the 
 feeling. 
 
 Signification: Gentle sorrow. 
 
34 PRACTICAL WORK ON ELOCUTION. 
 
 Ex.— "Twenty years ago last May, I came to live in this bit of a 
 house by the great eoal-mine, to be' near my husband and two boys. 
 Xot that I felt there was any great danger when I lost sight of them 
 going down into the shaft in the morning; but then, you see, T 
 could have them by me a bit longer in the morning, and then it was 
 so pleasant to watch for them coming up at night; and more 
 than all little crumbs of news would come up from time to time, all 
 day. "— Miner'' s pprih* 
 
 VI. 
 
 Head and shoulders in normal position. 
 Signification: Neutral state of mind. 
 
 Ex. — "I stood on the bridge at midnight, 
 
 As the clocks were striking the hour. 
 As the moon rose over the city 
 Behind the dark church tower." 
 
 —The Bridge. 
 VII. 
 Shoulders lifted high, head thrown back. 
 Signification : Amazement, rapture great explosion. 
 
 Ex. — "O warder! guard the watch-lights well — 
 Not a star's to be seen to-night, 
 But the breezes swell, and the signals tell 
 That the fleet of my lord is in sight." 
 
 VIII. 
 
 Head and shoulders lifted, chest hollow. 
 Signification : Physical pain. 
 
 Ex. — ' 4 Why not reform ? That's easily said ; 
 
 But I've gone through such wretched treatment, 
 Sometimes forgetting the taste of bread, 
 And scare remembering what meat meant, 
 That my poor old stomach is past reform; 
 And there are times when, mad with thinking, 
 I'd sell out heaven for something warm 
 To prop this horrible inward sinking." 
 
 — The Vagabond*. 
 IX. 
 
 Head and shoulders lifted, thrown sidewise back 
 from object. 
 
 Signification: Distrust, scorn. 
 
 Ex— "I scorn forgiveness, haughty man ! 
 
 You've wounded me before the clan, 
 And naught but blood shall wipe away 
 The shame I have endured to-day." 
 
 —Maclaine r s Child. 
 
PRACTICAL WORK OX ELOCUTION, Bg 
 
 Zones or the Sody, or the TPhinity. 
 
 Careful observation will show the student that 
 everything in Elocution goes by three or some mul- 
 tiple of three. There seems to be a sacred signifi- 
 cance in the number three. In the bible we find the 
 Holy Trinity, Father, Son and Holy Ghost. Looking 
 back to Druidism we find their triad was infinite 
 plenitude of life, infinite knowledge, and infinite 
 power. 
 
 The three principles of our being are life, mind and 
 soul. Again, psychologists have divided the mind 
 into three parts or divisions, viz : intellect, sensi- 
 bility and the will. This principle of trinity is sup- 
 posed to run all through nature. 
 
 In dividing the body into zones this principle is 
 strictly adhered to. If one thoroughly familiarizes 
 himself with the zones of the body it will ma - 
 terially aid him in gesture, for knowing this princi- 
 ple, that all gestures are either named from the point 
 of starting or point of ending, he is enabled by the 
 zones of the body to analyze all gestures. 
 
 Human Body. 
 
 1. Head — Mental or intellectual. 
 
 2. Torso — Moral or volitional. 
 8. Limbs — Vital or physical. 
 
 The head has three active and three passive zones. 
 Active Zones. 
 
 1. Forehead and Eyes — Mental. 
 
 2. Cheeks and Xose — Moral. 
 :>. Month and Chin — Vital. 
 
36 practical work on elocution. 
 
 Passive Zones. 
 
 1. Temporal — -Mental. 
 
 2. Parietal— Moral. 
 
 3. Occipital — -Vital. 
 
 The parts about the eye have three zones : 
 
 1. Brow — -Mental; shows the state of the mind. 
 
 2. Upper lid — Moral ; shows the state of will. 
 
 3. Lower lid — Vital ; shows the state of the senses. 
 
 The eye is divided into three zones: 
 
 1. Pupil — Mental. 
 
 2. Iris — Moral. 
 
 3. White— Vital. 
 
 The torso has three zones : 
 
 1. Upper part of thorax, including whole of the 
 lungs— Mental. 
 
 2. Lower part of thorax— Moral. 
 
 3. Abdomen — Vital. 
 
 The arm contains three zones : 
 
 1. Hand— Mental. 
 
 2. Forearm — Moral. 
 
 3. Upper arm — Vital. 
 
 The hand has three zones : 
 
 1. Palm— Vital. 
 
 2. Back — Moral. 
 
 3. Side— Mental. 
 
 The hand may be still further divided. 
 
 1. Forefinger — Mental. 
 
 2. Next two — Moral. 
 
 3. Thumb— Vital. 
 
 Remark: The little finger is too tricky to be 
 classified and is therefore said to be subtle. 
 
 
PRACTICAL WORK ON ELOCUTION. 37 
 
 The leg contains three zones: 
 
 1. Foot — Mental. 
 
 2. Lower leg — Moral. 
 
 3. Upper leg — Vital. 
 
 The foot might be divided in a similar way to the 
 hand. 
 
 1. "Head — Mental. 77 This really needs no explana- 
 tion. It is enough to say it contains the organ of 
 mind. 
 
 2. "Torso — Moral. 77 Custom locates the seat of 
 the affections within the breast. 
 
 3. "Limbs — Vital. 77 Power depends upon the 
 limbs. Xote the common expression, "The protect- 
 ing arm of the country. 77 
 
 1. "Frontal — Mental. 77 In thinking deeply it is 
 common to rub or tap the forehead with the fingers. 
 The eye is clearly seen to be more instructive than 
 it is moral or vital. 
 
 2. "Cheeks and nose — Moral. 77 The nose reveals 
 the will. The nose of different nations show the 
 leading desire of that nation. The Roman nose in- 
 dicates conquest. The Grecian nose indicates 
 beauty, and so on. If we caress a child with our 
 own face we apply cheek to cheek, thus showing the 
 cheek is moral. 
 
 0. "Mouth and chin — Vital. 77 If A. asks B. to dine 
 with him, and B. rubs his chin with palm of his hand 
 before answering, it shows clearly B. 7 s nature. 
 
 Throwing a kiss or kissing in itself is vital. 
 
 1. "Temporal — Mental. 77 If the head is prominent 
 at the temples, it indicates mentality. 
 
 2. "Parietal — Moral. 77 If the middle of the head 
 is high it indicates reverence. 
 
 o. "Occipital — Vital. 77 If the base of the brain 
 and top part of a man's neck are large we naturally 
 think of vitality* 
 
o8 PRACTICAL WORK ON ELOCUTION. 
 
 The divisions of the torso may be seen by taking 
 the sentence, " O, the agony of this hour," and re- 
 peating it as the hands are applied to each of the 
 zones. 
 
 1. "Hand — Mental." This is seen in the teacher 
 and philosopher, who are mental. 
 
 2. "Forearm — Moral." A lady (and ladies are 
 usually moral) in representing her own nature gest- 
 ures mainly with forearm. The minister makes this 
 the most prominent part. 
 
 3. "Upper arm — Vital." This is observed in phys- 
 ical men, such as blacksmiths, farmers, and me- 
 chanics who gesture with whole arm. 
 
 1. "Palm — Vital." One naturally rubs the chin 
 with palm of the hand. 
 
 2. "Back — Moral." If you lean your head on your 
 hand in expressing sentiment, naturally your cheek 
 will be the part touched and with the back of the 
 hand too. The rule is, mental to mental, moral to 
 moral, etc. 
 
 3. "Side — Mental." This is seen in the teacher's 
 affirmation. 
 
 1. "Forefinger — Mental." Observe the teacher 
 and see what finger is most prominent. 
 
 2. "Next two — Moral." Caress the child's face 
 with the hand and notice which fingers really do the 
 caressing. 
 
 3. "Thumb — Vital." The farmer taps you on the 
 shoulder and beckons you away with him. Does he 
 not use his thumb in the gesture ? 
 
 1. "Foot — Mental." Observe a person thinking 
 intently. Does he sometimes pat his foot? 
 
 2. Lower leg — Moral." Why do you kneel if the 
 knee is not moral ? 
 
 3. "Upper leg — Vital." This is seen in walking, 
 running, kicking. The power of the lower limbs is 
 in the thigh. 
 
PRACTICAL WORK ON ELOCUTION. 30 
 
 There are three kinds of gesture then ; viz. : mental, 
 moral, vital. 
 
 In didactic pieces mental gestures are used. The 
 teacher and philosopher use them nearly altogether. 
 
 In conversational pieces, mental and moral pre- 
 dominate. The sense of the piece should determine. 
 If representing a lady in her true sphere, moral gest- 
 ure predominates. If representing a physical char- 
 acter, vital gestures are used. 
 
 In pathetic pieces moral gestures are mainly used 
 when any. 
 
 In heroic, oratorical, and dramatic selections, vital 
 gestures probably predominate. The judgment will 
 always decide the nature of the character and de- 
 cide the gesture likewise. 
 
 **f?a 
 
 : &YMNASTICS. 
 
 EXERCISK I. 
 
 Place hand on forehead and say : 
 
 Such a thought as this ! 
 EXERCISE II. 
 
 The hand away from forehead, using it as a point 
 of departure for gesture and say: 
 
 I will not think of snch a thing! 
 EXERCISE III. 
 
 Place hand on cheek and repeat: 
 
 "Oh, Romeo, Romeo, wherefore art thon Romeo!" 
 
40 PRACTICAL WORK ON ELOCUTION. 
 
 EXERCISE IV. 
 
 Take the back of the hand away from cheek with a 
 slight gesture of negation and say : 
 
 "Alack, what heinous sin is it in me 
 To be ashamed to be my father's child !" 
 
 EXERCISE V. 
 
 Place chin in palm and say : 
 
 Yes, I'll go if your dinner be worth the eating. 
 EXERCISE VI. 
 
 Place the fingers on the forehead and repeat : 
 
 Why can't I remember his name ? 
 EXERCISE VII. 
 
 Carry fingers from forehead and say : 
 
 I do remember his name ! 
 
 EXERCISE VIII. * 
 
 Place hands on the top of your head and say : 
 
 "How wonderful are thy works, O, Lord!" 
 
 Repeat the same, carrying the hand away from that 
 zone. 
 
 EXERCISE IX. 
 
 Place hands at the back of the brain and repeat : 
 
 This torture is unbearable ! 
 EXERCISE X. 
 
 Place hands on the mental zone of the chest and 
 repeat. 
 
 No, I cannot do such a wrong. 
 EXERCISE XL 
 
 Place hands on the moral zone of the chest and say : 
 
 What, shall I be treacherous and turn to another! 
 EXERCISE XII. 
 
 Carry hands from heart and repeat : 
 "Take all myself." 
 EXERCISE XIII. m 
 
 Repeat as you slap the thigh: 
 
 Ha ! ha ! wasn't that fine ! 
 EXERCISE XIV. 
 
 Repeat as you kneel : 
 
 "O, speak to me, Stella!" 
 
PRACTICAL WORK ON ELOCUTION. 41 
 
 Saws #overning the |Iignifxcance or 
 Motion in the 3|uman JIlody, 
 
 1. Altitude. 
 
 '2. Force. 
 
 3. Motion. 
 
 4. Sequence. 
 
 5. Velocity. 
 
 6. Form. 
 
 7. Direction. 
 
 8. Eeaction. 
 
 9. Extension. 
 
 Law of Altitude. 
 
 Positive emotion rises. Negative emotion falls. 
 
 In proportion as you are positive about a thing the 
 hand comes about the level of the elbow. In propor- 
 tion as you negate a thing it comes below the level 
 of the elbow. 
 
 Beginning with hand straight above the head we 
 have these five degrees down to a level with the 
 elbow ; viz. : absolute truth, certainty, evidence, as- 
 sertion, and probability. Allowing the hand to pass 
 on down to the opposite from where it started and 
 we have four more degrees ; viz. : possibility, im- 
 probability, negation, and impossibility. 
 Law of Force. 
 
 Conscious strength assumes weak positions. 
 
 Conscious weakness assumes strong positions. 
 Law of Motion. 
 
 Excitement or passion tends to enlarge gesture. 
 
 Thought or reflection tends to contraction. 
 
12 PRACTICAL WORK ON ELOCUTION. 
 
 Affection tends to moderation. 
 
 That passion expands gesture may be seen in a man 
 who is angry, in dramatic, heroic, and oratorical 
 pieces. 
 
 An illustration of thought contracting gesture is 
 found in the teacher and philosopher. 
 
 Third law may be proven true by observing the 
 attitudes and gestures characteristic of love. 
 Law of Sequence. 
 
 Expression of face should precede gesture. Gest- 
 ure precedes speech. 
 
 The pantomimic language of emotion is the revela- 
 tion of the true man. Speech is more or less artifi- 
 cial. It sometimes takes many words to express one 
 look. Hence the importance of observing this rule. 
 
 ''Nothing so bad as a gesture out of place." 
 
 — Delsarte. 
 
 Law of Velocity. 
 
 Velocity is inversely in proportion to the mass 
 moved and directly to the force moving. 
 
 Agents of expression with a short radius, as the 
 eye, move more rapidly than those with a long radius. 
 
 In proportion to the depth and majesty of emo- 
 tion, is the deliberation and slowness of the motion. 
 Again, in proportion to the superficiality and ex- 
 plosiveness of the emotion, is the velocity of its ex- 
 pression in motion. 
 
 Ex. — "Advance, then, ye future generations ! We would hail you 
 as you rise in your long succession to till the places which we now 
 fillj and to taste the blessings of existence where we are passing, and 
 soon shall have passed, our own human duration." — Webster, 
 
 Ex. — O then I see Queen Mab has been with you. She comes in 
 shape no bigger than an agate stone on the forefinger of an alderman. 
 
 Law of Form. 
 
 Straight forms of gesture are vital, passional, em- 
 bryonic, and plebeian. 
 
 Circular forms are mental, intellectual and re- 
 flective. 
 
 Spiral forms are moral and affectionate. 
 
PRACTICAL WORK ON ELOCUTION. 4o 
 
 Law of Direction. 
 Lengths are passional, or vital. 
 The height and depth are intellectual. 
 Breadth is volitional and moral. 
 This law applies to attitudes as well as inflections. 
 
 Law of Reaction. 
 
 "Every object of agreeable or disagreeable aspect which surprises 
 us, makes the body recoil. The degree of reaction should be pro- 
 portionate to the degree of emotion caused by the sight of the 
 object." — Delsarte. 
 
 Every extreme of emotion tends to react to its 
 opposite, concentrates passion and tends to ex- 
 plosion. 
 
 The only emotion that does not destroy itself is 
 that which is perfectly poised. 
 
 Law of Extension. 
 
 The extension of the arm in gesture is in propor- 
 tion to the surrender of the will in emotion. An ex- 
 ample of this is seen in entreaty. 
 
 #KEATHING. 
 
 One cannot hope to attain to any proficiency in the 
 voice without thorough control of the breathing 
 powers. If he wishes greater volume of tone he 
 must cause a larger stream of air to flow through the 
 voice-box. If a soft, mellow tone is desired, a very 
 small stream of air is all that is required. To do this 
 requires practice on breathing exercises until per- 
 fect control of the muscles of breathing is obtained. 
 It, as it were, should become a part of the person, 
 for he should be unconscious of any muscular effort. 
 
41 PRACTICAL WORK ON ELOCUTION. 
 
 EXERCISE I. 
 
 Place the right hand on the waist, and left hand on 
 the chest. Inhale a deep breath, allowing the right 
 hand to move out while the left is almost unmoved. 
 Exhale and cause the right hand to press in on the 
 waist. 
 
 Practice this until the waist moves properly with- 
 out any assistance. 
 
 See that the waist and not the abdomen is the ac- 
 tive center. 
 
 EXERCISE II. 
 
 Take three long breaths, observing the waist move- 
 ment, and rounding the lips, allow the breath to pass 
 out in a steady stream. 
 
 Xow take three breaths and each time expel the 
 air suddenly as if blowing out a candle. 
 
 EXERCISE III. 
 
 Place hands on the side- walls of the chest at lower 
 part. Inhale a deep inspiration and allow the chest 
 to expand under the hands. Exhale and aid the 
 movement by pressing with the hands. 
 
 EXERCISE IV. 
 
 Observing exercise in, take three deep inspira- 
 tions and each time expel air in a steady gentle 
 stream. Xow folloAY this by three, expelling air with 
 great force. 
 
 EXERCISE V. 
 
 Place hands in the small of the back. Inhale and 
 exhale, observing the contraction and relaxation 
 here. 
 
 EXERCISE VI. 
 
 Extend arms in front and inhale as the arms di- 
 verge. Let the arms move as far back as they will. 
 Breathe as long as the arms move. Exhale as the 
 arms come back to first position. Repeat this sev- 
 eral times. 
 
PRACTICAL WORK ON ELOCUTION. 45 
 
 EXERCISE. VII. 
 
 Place one arm over the top of the head and the 
 hand of the disengaged arm on the chest and inhale 
 observing which lung tills fullest of air. 
 
 EXERCISE XIII. 
 
 Expel all air from lungs possible. Breathe now, 
 filling with waist muscles first, then intercostals. 
 Raise shoulders to take in more air and open mouth. 
 When all the air is inhaled that can be comfortably, 
 exhale first with waist muscles and then with upper 
 muscles. 
 
 EXERCISE IX. 
 
 Inhale a deep inspiration and hold it for 45 seconds. 
 
 EXERCISE X. 
 
 Inhale deeply and percuss the chest by gently tap- 
 ping it with the tips of the fingers. 
 
 Caution. — Pupils that are delicate should beware 
 of continuing any of these exercises until they be- 
 come weak and dizzy. Stop whenever you feel at 
 all uncomfortable. If you have heart disease you 
 ought not to try them at all. Even a vigorous per- 
 son should stop when any sense of weariness is per- 
 ceived. 
 
 Beware of over crowding the lungs ; it is not the 
 amount but the control of breath that produces re- 
 sults. 
 
 IflSCELLANEOUS flRINCIPLES. 
 
 1. Let the eyes rest on the audience at the close of 
 the sentence for it is generally that which clinches 
 the rest. 
 
46 PRACTICAL WORK ON ELOCUTION. 
 
 2. Just before an accented word is spoken the 
 eyes should rest on the audience. If especially em- 
 phatic the breast should be slightly raised. 
 
 o. Action should characterize reading*. One 
 should stand as the war-horse, alert, ready in an in- 
 stant to move. In fact eloquence is action — action 
 — action. 
 
 When a piece is selected the first thing to do is to 
 be sure you can pronounce every word in it cor- 
 rectly. If at all doubtful consult dictionary. Then 
 study the piece until a clear conception is formed. 
 Study each character thoroughly until it stands out 
 before the mind a perfect definite mental picture. 
 Form your own conceptions. Don't be a copier 
 
 4. Articulation is the first and last thing in Elo- 
 cution. A student cannot hope to attain to any de- 
 gree of perfection in the subject of Elocution with- 
 out particular attention to this branch of the subject. 
 A word mispronounced is like a small batch of 
 mud thrown on a white sheet. 
 
 5. That part of a phrase which comes after the 
 emphatic word should be read in a lower and faster 
 tone of voice. 
 
 6. In reading or speaking, be active, be sincere, 
 be PLEASANT. 
 
 7. A speaker should never call attention to him- 
 self. We should see his subject and not him. 
 
 8. Do not contract the throat in speaking. It 
 should be perfectly easy. This is done by completely 
 relaxing the muscles of the throat. 
 
 9. In reading one should seem rather to restrain 
 his emotions than put on. 
 
 10. A phrase should be read as a many syllabled 
 word. It should be read with one breath. Particu- 
 lar attention should be given to phrasing. The sense 
 of the piece is tin* only true criterion. Punctuation 
 
PRACTICAL WORK ON ELOCUTION. 
 
 marks are only sign-boards stuck up for the one who 
 is going that way, but they are somewhat tricky and 
 are liable to mislead. 
 
 11. Agonizing sinuosities and airy nothingness are 
 characteristic of young Elocutionists. Avoid such. 
 Be natural. All mechanicality must be rooted out. 
 
 12. When before the public, forget all rules, or 
 rather make no effort to recall them. If they are not 
 a part of you, you will be stilted by making an effort 
 to recall them. Let your motto be heart work, not 
 head-work. 
 
ERRATA : 
 
 Page 7, Exorcise II, Line 2: For "them" rend "then." 
 
 Page 13, Line 0: For "To earless or assist" read "To earress 
 
 or assail." 
 Page 10, 2d line from bottom: For "Fist" read "First." 
 Page 19, Title: For "Harmonious" read "Harmonic" 
 Page 20, Exercise VI: For "or" read "nor." 
 Page 22, 6th line of first paragraph: For "hand" read "palm." 
 Page 23, 3rd paragraph, first line: For "head" read "hand." 
 Page 23, Last paragraph: Should read, "The hand should not 
 
 touch the head.*' 
 
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