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CALDWELL'S MANUAL OF ELOCUTION 
 
 DESIGNED FOR SCHOOLS, ACADEMIES, 
 
 AND COLLEGES; ALSO, FOR 
 
 PRIVATE LEARNERS. 
 
 From the Methodist Quarterly Review. 
 
 This valuable and eminently practical 
 work supplies a want which has long ex- 
 isted in the American community, and 
 especially in literary institutions of all 
 grades. It is the only book we have seen 
 which treats of both branches of the 
 speaker's art, utterance and action; and 
 though the size of the volume is mo- 
 derate, these subjects are discussed and 
 illustrated with sufficient fullness to meet 
 the necessities of the learner, and with a 
 scientific precision which shows the hand 
 of a master. It is also equally adapted 
 to the wants of the private learner, and 
 of the student in a public seminary ; and 
 will be found as beneficial to him who 
 wishes to read well, as to him who as- 
 pires to be an orator. 
 
 The work consists of two parts and an 
 appendix. Part first treats of the Voice. 
 The author begins with an analysis of 
 the vocal sounds of our language, and 
 then proceeds to a full and perspicuous 
 exposition of the functions of the human 
 voice. In this chapter the learner will 
 find all the information he may need on 
 articulation, on the different kinds of 
 stress, and on the pitch, slides, waves, 
 force, quality, and melodies of the voice. 
 The author next applies the principles 
 which he has established to a great va- 
 riety of practical examples, aid treats of 
 accent, emphasis, drifts, expression, tran- 
 sition, and cadence. The section on Em- 
 phasis is a precise and clear analysis of 
 that important subject, with appropriate 
 examples of several kinds. The same 
 may be said of the section on Expression, 
 which teaches the application of the vocal 
 principles to the language of sentiment 
 and feeling. This subject is new in works 
 of this kind, and is treated with the co- 
 piousness and accuracy which its import- 
 ance demands. This portion of the book 
 will be found none the less instructive 
 because the author was compelled, in its 
 preparation, to draw from the resources 
 of his own mind, and to be guided by his 
 own experience and judgment, more ex- 
 
 clusively than in other parts of the vo- 
 lume. 
 
 In part second, the author treats o» 
 Gesture. His object is not only to assist 
 the learner in correcting the awkward- 
 ness of careless habits, and in acquiring 
 such command over his muscles that he 
 may take easy attitudes and make grace- 
 ful movements; but also to teach him 
 how to adapt his action to the illustra- 
 tion, embellishment, and enforcement of 
 his subject, and to the significant expres- 
 sion of every species of emotion. This 
 portion of the work contains numerous 
 wood cuts designed to illustrate those at- 
 titudes and gestures which ought to be 
 avoided, as well as those which are ap- 
 propriate. 
 
 The appendix contains some excellent 
 hints on the elocution adapted to the 
 pulpit, and on the action suited to the 
 imitative representation of human pas- 
 sions. The minister of the gospel who 
 desires to be "a workman that needeth 
 not to be ashamed," can hardly fail to 
 derive benefits from the careful perusal 
 of the first chapter of the appendix ; and 
 among these benefits, an inducement to 
 study the entire work will not be the 
 least valuable. 
 
 From the Philadelphia Inquirer. 
 "Is a good Elocution of sufficient im- 
 portance to deserve the attention of the 
 American scholar? And can the prin- 
 ciples of Elocution be so taught as to 
 become practically useful?" The author 
 of the book before us commences his in- 
 troduction with these questions. The 
 first of them any man can answer for 
 himself. The second must be answered, 
 if at all, by such books as the one before 
 us. Many have doubts upon the sub- 
 ject ; but we think they generally arise 
 from imperfect conceptions of the nature 
 of elocution itself. Of course, any merely 
 artificial elocution must be false ; but the 
 true design of the art is to develope and 
 employ properly the means with which na- 
 
CALDWELL S MANUAL OF ELOCUTION. 
 
 ture has endowed men for the expression 
 of their thoughts, feelings, and passions. 
 Professor Caldwell has evidently formed 
 a just idea of the functions and limits of 
 elocution; and presents it both as a sci- 
 ence and an art, in the work before us, 
 with admirable clearness. The proper 
 method of training the voice is a subject 
 rarely or never treated in elementary 
 books of Elocution, which are generally 
 mere compilations of rules more or less 
 valuable, but unconnected by any philo- 
 sophical principles. In Professor Cald- 
 well's book, the elementary sounds of the 
 language are analysed with rigid accu- 
 racy, and the whole theory of their ut- 
 terance, and the various modifications of 
 emphasis, stress, pitch, tone, and quality, 
 presented with admirable clearness and 
 method. The principles thus developed 
 are there applied in a series of practical 
 exercises, which cannot fail, if fairly pur- 
 sued, to insure every excellence in vocal 
 expression that can be desired. The se- 
 cond part of the work takes up the sub- 
 ject of Gesture, which is treated in the 
 same way, both theoretically and practi- 
 cally. A tone of excellent practical sense 
 pervades the treatise throughout. It does 
 not make vague promises never to be ful- 
 filled, but leads the pupil on, by a progres- 
 sive and connected series of exercises, to 
 the highest attainments of the art. We 
 could wish that all elementary books 
 were distinguished by as scholarly a tone 
 and as skilful an arrangement as this 
 work. The book is got up in excellent 
 style and illustrated by a large number of 
 wood cuts. The publishers, Messrs. Sorin 
 and Ball, seem determined to get the 
 good will of the community, by publish- 
 ing good books and no others. They de- 
 serve every encouragement. 
 
 From the Christian Advocate and Journal, 
 New York. 
 
 Professor Caldwell has given us, in the 
 preparation of this Manual, satisfactory 
 evidence of his qualifications as a teacher 
 of elocution. Acknowledging his indebt- 
 edness to the standard philosophical work 
 of Rush, and to Austin's " Chironomia," 
 the author has at the same time thought 
 for himself, and prepared a work not only 
 adapted for the use of students in colleges 
 and academies, but most especially,— 
 and this we deem its chief excellence, — 
 of those who are engaged in the active 
 duties of the ministry. 
 
 As a -practical work, we have no hesita- 
 tion to commend it as superior to any- 
 thing of the kind we have ever seen. 
 We doubt not, that a discerning public 
 will agree with us in opinion* Every 
 
 preacher who is not too old to learn, and 
 who is desirous of becoming an effective 
 speaker, and at the same time of so 
 training his voice that he may speak 
 with ease to himself, should at once pro- 
 cure this volume, and give to its practi- 
 cal lessons diligent attention. 
 
 From Wiley and Putnam's Literary News 
 Letter, Feb. 1845. 
 Merritt Caldwell, Esq., A. M., Profes- 
 sor of Elocution in Dickinson college, has 
 just published, "A Practical Manual of 
 Elocution: embracing "Voice and Ges- 
 ture. Designed for Schools, Academies, 
 and Colleges, as well as for Private 
 Learners." This valuable work, the re- 
 sult of sixteen years successful practice, 
 will be found to supply an obvious want, 
 at the present time, of a suitable text book 
 in Elocution, This work possesses a 
 great advantage over others — that of pre- 
 senting both branches of the subject in 
 the same volume, which must prove a 
 great convenience to the teacher, as 
 well as the learner. The section on Ex- 
 pression, it is believed, is a more full at- 
 tempt to present the vocal "language of 
 the passions," in intelligible terms, than 
 has ever before been made. We confi- 
 dently recommend the work. 
 
 From the Baltimore American. 
 This is a new work on Elocution, by 
 Professor Caldwell, of Dickinson college. 
 It is designed for instruction and disci- 
 pline in the use, management, and modu- 
 lation of the voice, and for facilitating 
 the other requisitions necessary to make 
 an accomplished reader or speaker. The 
 work seems to have been prepared with 
 great care and labor. The analysis of 
 the elements of vocal utterance and 
 power, is minute, and is in accordance 
 with the principles laid down by Dr. 
 Rush, in his "Philosophy of the Human 
 Voice." The student will find in Profes- 
 sor Caldwell's volume a valuable assist- 
 ant and guide, in a department of educa- 
 tion generally too much neglected. 
 
 From the Albany Daily Advertiser. 
 The author of this work is no tyro on 
 the subject of which he treats. He has 
 a mind not only adapted, but trained, to 
 physical analysis, and familiar with the 
 science of Elocution in all its progressive 
 stages. It is a work to be studied care- 
 fully rather than read cursorily— a work 
 for those who teach Elocution as well aa 
 for those who learn it; and, we cannot 
 doubt, that it is destined to perform an 
 essential service in leading to a more 
 
caldwell's manual of elocution. 
 
 general, intimate, and philosophical ac- 
 quaintance with this highly important 
 branch of learning.— S. 
 
 From the Albany Evening Atlas. 
 
 This treatise is constructed throughout 
 upon philosophical principles, and is evi- 
 lently the result of much profound re- 
 lection and laborious search. We doubt 
 not, that it is destined to be adopted in 
 our higher literary institutions, and we 
 trust it may contribute not a little to 
 elevate the standard of public speaking 
 .hroughout the land We have been 
 especially interested in the chapter on 
 the eloquence of the pulpit, which brings 
 much sound and excellent thought with- 
 in very narrow limits ; and we are quite 
 eure, that if our clergymen generally 
 would study it, and would reduce to 
 practice the rules which it contains, it 
 would be found an important auxiliary 
 both to their popularity and usefulness. — 
 
 From the Western Christian Advocate, 
 Cincinnati. 
 
 This work comes before the public, in 
 our opinion, with considerable claims for 
 very general use in colleges and acade- 
 mies. We cannot, however, claim much 
 value for our opinion in regard to the 
 best use of voice and gesture, unskilled 
 as we are in both these very important 
 parts of public speaking. Nevertheless, 
 unless we are mistaken, Mr. Caldwell's 
 book will be well and generally re- 
 ceived. 
 
 We cannot withhold the following ex- 
 tract of a letter from Dr. Durbin, to our- 
 self, in which he mentions Mr. Caldwell's 
 book, in the following terms. President 
 Durbin's opinion is of great value in this 
 case, as he has had much opportunity of 
 witnessing the practical utility of the 
 book, and is withal, a master in the very 
 department treated on. The annexed is 
 the extract : 
 
 " The Manual of Elocution, by Professor 
 Caldwell, of Dickinson college, has just 
 been published by Sorin and Ball, of Phila- 
 delphia. J have been intimately acquainted 
 with the principles laid down and illus- 
 trated by Professor Caldwell, and am satis- 
 fied that they are the true principles of Elo- 
 cution. Ihave seen them applied and illus- 
 trated in practical instruction in this college 
 during the last ten years ; and the success 
 attending their application has fully esta- 
 blished their value. I am persuaded that 
 you will find the book exceedingly well 
 adapted to instruction in colleges and aca- 
 demies, and of great service to private 
 learners. The pages on pulpit elocution 
 
 are valuable indeed, and would be ofeervic* 
 to all our preachers." 
 
 From the Southern Christian Advocate, 
 Charleston, S. C. 
 A cursory examination leads us to be- 
 lieve that this is a valuable manual, in 
 which the reader or student will find all 
 the important principles embodied, which 
 relate to the management of the voice 
 in reading or publie speaking, and a full 
 analysis of the elements of gesture in an 
 accomplished Elocution. The subject is 
 confessedly of the highest importance in 
 this country ; and we commend to the 
 favorable notice of Teachers and Profes- 
 sors, this publication. 
 
 From- Zion's Herald and Wesleyan Jour- 
 nal, Boston. 
 The chief excellencies of this work 
 are, first, It embraces the two subjects of 
 voice and gesture ; and, secondly, These 
 are thoroughly and minutely developed. 
 It makes a practical application of the 
 principles of Rush, in regard to the 
 former, and draws amply from the " Chi- 
 ronomia" of Austin for the latter. It is 
 a critical and technical text book, adapted 
 for the thorough drilling of the student. 
 He cannot pass through it without be- 
 coming master of the two great imple- 
 ments of Elocution— voice and gesture. 
 
 From the Christian Mirror, Portland. 
 
 The author of this Manual, who is well 
 known in this State as a faithful and ex- 
 perienced teacher, remarks that, "the 
 question was once asked by the Bishop 
 of Cloyne, in relation to Great Britain, 
 whether half the learning of the kingdom 
 was not lost for want of having a proper 
 delivery taught in our schools and col- 
 leges?" And, he adds, "a similar in- 
 quiry cannot but force itself on any 
 thoughtful observer, in regard to cur own 
 country." Permit a correspondent, Mr. 
 Editor, to suggest, that if he has formed 
 any correct estimate of this book, all 
 apology for the future neglect to teach 
 Elocution in our schools and colleges, is 
 removed. Having some slight familiarity 
 with other works on Elocution, I think I 
 cannot be mistaken in giving the decided 
 preference to this over any other I have 
 met with. It is simple in its plan, com- 
 prehensive in. the views it takes of the 
 requisites to a perfect orator, and is full 
 of precepts and lessons for practice, 
 which cannot be studied in vain. 
 
 Altogether, it appears to be a scholar- 
 like production ; is remarkably neat and 
 accurate in its typography; and though 
 modestly dedicated by the author, to 
 
CALDWELL S MANUAL OF ELOCUTION. 
 
 "those who have during the last sixteen 
 years, from time to time, been his pupils," 
 it is to be hoped, that it will soon find its 
 nay into the highest institutions oflearn- 
 inj in our State. That Elocution can be 
 learned, no longer admits of a doubt ; 
 and that when learned, it is one of the 
 most effective qualifications of the Ame- 
 rican scholar, requires no argument. 
 Why. then, with such a text book, should 
 it not be every where studied? 
 
 A Graduate of Bowdoin. 
 January, 1S45. 
 
 From the Portland Argus. 
 
 This is a book of many excellencies. 
 It is throughout practical, teaching all 
 ilong, precisely what the student in Elo- 
 cution most needs to know ; and, as he 
 needs them, giving him the exercises 
 which are necessary to enable him to dis- 
 cipline all the various functions of the 
 orator. 
 
 Its plan is good. It discusses the en- 
 tire subject ; and yet the various portions 
 are so arranged, that the learner dis- 
 tinctly comprehends each several point, 
 to which his attention is at the same time 
 culled. First come the Elements of Vocal 
 delivery, than their application ; second- 
 ly, the Elements of Gesture, and after- 
 wards their application ; and, finally, the 
 book closes with general precepts and in- 
 structions well suited to show the rela- 
 tion between the vo^al movements, and 
 the action of the body, and how they may 
 be made to conspire in the highest degree 
 to the accomplishment of the designs of 
 oratory. 
 
 The objects also, are precisely what it 
 is desirable to have accomplished by a 
 work on Elocution ; to wit, to make the 
 business of speaking effective, — to give 
 success to the efforts of the orator ; and 
 also to guard the speaker against the dis- 
 eases of the vocal organs, which are now 
 carrying so many to their graves. This 
 s\ stem almost demonstrates the feasibi- 
 lity of accomplishing these objects — of 
 actually learning "the orator's art." If 
 one desires to become an accomplished 
 singer, he must practice, and that notwith- 
 standing all that nature may have done 
 for him ; so also he must practice if he 
 would become a boxer, or acquire skill 
 in penmanship, or in performing on mu- 
 sical instruments. We are here told, that 
 in the same way, the speaker must learn 
 the art of managing his voice, and of giv- 
 ing ease and grace to his gestures. 
 
 All the principles presented in this 
 Manual, are illustrated by well selected 
 examples for practice ; and by this kind 
 of discipline, recommended in the book, 
 
 it would seem that not only the young 
 man can improve and strengthen his 
 vocal organs, as a preparatory training 
 for his future work ; but even the man 
 who is actively engaged in the bu>iiiess 
 of a profession, may successfully cul- 
 tivate all the excellencies of delivery. 
 We commend this volume to all who 
 would learn to read or speak well ; ar 
 especially to the Professors and Teacher* 
 in our colleges, academies and higher 
 schools, as a text book of rare excellence 
 
 From the JV". York Commercial Advertiser. 
 
 Elocution for Schools.— Professor 
 Caldwell, of Dickinson college, Carlisle, 
 (Pa.) has prepared a practical "Manual 
 of Elocution," including roue and ges- 
 ture, designed for schools, academies, and 
 colleges. It has been published in a neat 
 I2mo. volume, by Sorin and Ball, of Phi- 
 ladelphia. The author has availed him- 
 self of the materials and principles found 
 in Rush's celebrated work on the Philo- 
 sophy of the Voice, and Austin's Chiro- 
 nomia, so celebrated as a standard au- 
 thority in gesture. By a judicious con- 
 densation of the leading features of these 
 and other elaborate works in the differ- 
 ent departments of Elocution, he has suc- 
 ceeded in simplifying the subject so as to 
 furnish learners with a text book of great 
 practical merit. The success with which 
 Professor Caldwell has taught Elocution, 
 and his extensive experience thus ac- 
 quired, have enabled him to improve 
 upon his predecessors, especially in adapt- 
 ing the instructions of this volume to 
 both Teachers and learners ; and its ge- 
 neral use in our schools, academies, and 
 colleges, can scarcely fail to render the 
 art of public speaking a common acquire- 
 ment, which in our country will be most 
 desirable and useful, as it is now most 
 abominably neglected. 
 
 From the Christiaii Repository, Phila- 
 delphia. 
 
 In the preparation of this work, the 
 author seems to have taken advantage 
 of the valuable materials furnished by 
 others, and very handsomely notices in 
 his preface the assistance of such works 
 as "The Philosophy of the Human Voice," 
 by Dr. James Rush, and the "Chiro- 
 nomia," of Austin; besides which, his 
 own experience as a teacher for some six- 
 teen years, enables him to introduce such 
 improvements and simplifications as ;ire 
 wanted at the present day. The work is 
 progressive in its character, and numer- 
 ously illustrated with figures so arranged 
 that it might properly be called a self- 
 
caldwell's manual of elocution. 
 
 instructor. We hope that there are num- 
 bers of our young men, and especially 
 those who attempt public speaking, that 
 will avail themselves of this timely pub- 
 lication. It is comprised in one volume, 
 12mo., and contains nearly 350 pages, 
 neatly and substantially bound. 
 
 From the Pennsylvania Telegraph, Har- 
 risburg. 
 The impression has extensively ob- 
 tained, that all works on Elocution, are 
 solely intended for public speakers, or 
 such as are in a course of preparation for 
 profession. That money expended in 
 their purchase, and time occupied in then- 
 study, by others, are wholly wasted. 
 This, however, is a serious mistake. 
 Vocal powers are possessed and largely 
 used by men of every class, and in every 
 condition. Would it not be advantageous 
 to every man, to be able to use this power 
 in communicating with his fellows, to the 
 best advantage ? Education is necessary 
 to teach the fingers to write, and the 
 hands to execute their most ordinary bu- 
 siness. Even the mental powers must be 
 trained and exercised, or they cannot be 
 depended on, with any degree of cer- 
 tainty. And shall every other faculty be 
 duly improved while the vocal powers 
 are left in entire neglect ? The muscles 
 which form the voice, like those which 
 move the fingers, need and must have a 
 proper training, or they cannot be ex- 
 pected, to obey the will with promptness 
 and precision. The boy must be accus- 
 tomed to the use of tools before he can 
 be a good mechanic — so every one who 
 expects to be a good speaker, reader— or 
 even good in private conversation, must 
 learn the elementary sounds of which 
 words are composed, and so practice on 
 them as to make them familiar, natural, 
 and habitual, or he will always be blun- 
 dering. No one but he who has prac- 
 tised on these sounds, and used such 
 works as this, can tell the great advan- 
 tages to be derived from them. Experi- 
 ence has fully shown that the feeblest 
 eoice, and the least flexible organs of 
 speech, have been vastly improved by 
 practising on tables similar to those so 
 numerously furnished in this most valu- 
 able work. I most ardently hope, there- 
 fore, that the Professor's book, will be 
 extensively circulated and generally and 
 fcithfully studied. A. Atwood. 
 
 Harrisburg, Feb. 1845. 
 
 From the Herald and Expositor, Carlisle, 
 Penn'a. 
 
 This work, which we regard as a valu- 
 able one, is designed for schools, acade- 
 
 mies, and colleges, as well as for private 
 learners, and its preparation, says the 
 author, would not have been undertaken 
 but for the obvious want, at the present 
 time, of a suitable text book in Elocution 
 for the use of classes in our various in- 
 stitutions of learning. The Professor 
 also takes the ground that it is'within 
 the power of every man to make himself 
 an effective public speaker by careful 
 study of the elements of oratory, and 
 practice of the rules laid down for the 
 exercise of the Voice and Gesture. And 
 the time and labor bestowed upon this 
 important subject, will be amply repaid, 
 he futher contends, by the almost omni- 
 potent influence which powerful oratory 
 secures over the public mind, and the 
 enlarged prospects it holds out for acquir- 
 ing useful and honorable distinction in a 
 country like ours. 
 
 The Manual has been noticed in terms 
 of warm commendation by several of our 
 city contemporaries, who cordially agree 
 in pronouncing it a most valuable contri- 
 bution to the stock of elementary in- 
 struction on this subject. 
 
 From the Biblical Repertory and Princeton 
 Review. 
 This appears to be an elaborate and 
 able work. The author acknowledges 
 himself greatly indebted for his materials 
 to " The Philosophy of the i uman Voice, 
 by James Rush, JM. D. ;" and to the 
 '•Chironomia of Austin." The princi- 
 ples contained in these standard works 
 are here ciearly stated and copiously 
 illustrated. Elocution is so much an 
 im'tative art, that we do not know 
 whether such works as the one beibre 
 us, can enable a young man to make 
 himself a good reader or speaker ; but 
 we are convinced that far too little at- 
 tention is generally paid to this sul ject ; 
 and that it is of great importance that 
 those who expect to spend their lives in 
 addressing public assemblies, should 
 learn the principles which Professor 
 Caldwell has so well unfolded, and en- 
 deavor to gain correct habits of articu- 
 lation, modulation and emphasis. We 
 would therefore recommend this work 
 as an incentive and guide in this de- 
 partment. 
 
 From the Biblical Repository and Classical 
 Review. 
 We confess ourselves greatly pleased 
 with this manual. It is well digested 
 and comprehensive, embracing rules 
 both for the regulation of the voice, and 
 the cultivation of gesticulation. Dr. 
 
Caldwell's manual op elocution. 
 
 Rush's philosophical work on the voice, 
 and Austin's Chironomia, are the basis 
 of Professor Caldwell's system: but he 
 certainly is entitled to the' merit of com- 
 bining the two departments of elocution, 
 and exhibiting them lucidly, and with 
 sufficient extension for all practical pur- 
 poses. 
 
 A text-book of this description, in 
 order to be useful in accomplishing the 
 end for which it was written, must be 
 thoroughly and practically studied. Thus 
 used, we think its introduction into 
 schools and colleges would tend, at least, 
 to give a facility and appropriateness of 
 articulation and expression, which else 
 would not be attained. 
 
 From the Southern Christian Advocate, 
 Charleston, S. C. 
 
 This volume is intended for Schools, 
 Academies, and Colleges, as well as 
 private learners. A standard work of 
 the kind has long been wanted. As an 
 art, elocution has been but little studied 
 by our young men; and we hold, that 
 the acquisition of it is as essentially re- 
 quisite to a finished orator as polish is 
 necessary to bring out the beauty of the 
 diamond. The author has long been 
 engaged in teaching what he writes 
 upon, and, of course, understands it. 
 He has availed himself, moreover, of the 
 labors of Dr. Rush and Austin's " Chi- 
 ronomia ;" works which, from their scar- 
 city and price, are not always within 
 the reach of the student. The present 
 work, we think, both on account of its 
 completeness and cheapness, must come 
 into general use. 
 
 From the True Catholic, Louisville, Ky. 
 
 The author has drawn extensively 
 from the materials of " Rush's Philoso- 
 phy of the Human Voice," and "Austin's 
 Chironomia." But neither of the works 
 named professes to be a practical manual. 
 This work presents both branches in the 
 same volume. Numerous Diagrams and 
 Figures illustrate the subject. This 
 work presents to the reader and to the 
 student the most valuable portions of 
 Rush and Austin, which, on account of 
 their scarcity and their price, are with- 
 in the reach of few. With this advan- 
 tage is combined the practical expe- 
 rience of the author during a period of 
 sixteen years. We commend it to the 
 student, and to all who would become 
 good readers. 
 
 From the Woodville, (Miss.) Republican. 
 
 This work is intended, and we think 
 
 w»U calculated, to fill a vacuum long felt 
 
 by those engaged in public instruction. 
 It exhibits much thought, care, and 
 knowledge on the part of the author, 
 and we cheerfully commend it to the 
 attention of all those who would most 
 effectually teach themselves or others 
 the art of graceful and efficient reading 
 or speaking. 
 
 From the Baltimore Clipper. 
 "A Practical Manual of Elocution," 
 is the title of a late work by Merritt 
 Caldwell, A. M., one of the professors 
 in Dickinson College. — The admirable 
 treatise of •' Rush on the Human Voice," 
 and that of "Austin on Gesture" appear 
 to have furnished the author with many 
 valuable ideas. These and the sugges- 
 tions made during a long course of elocu- 
 tionary teaching have been made the 
 basis of the present volume, which is 
 at once philosophical and practical. The 
 rules and directions are perspicuous, 
 and arranged with great judgment, and 
 are not so multiplied as to deter the stu- 
 dent; and the selections for reading are 
 in excellent taste. It is gotten up very 
 neatly, is an excellent school-book, and 
 we presume will have an extensive cir- 
 culation. 
 
 From the Northern Christian Advocate. 
 
 No one can have examined this book 
 impartially, in connection with the other 
 publications on the same subject now 
 in use, but will justly pronounce it not 
 only far the cheapest, but decidedly the 
 best work of the kind now before the 
 public. 
 
 It is not the design of the author 
 
 to clothe one as David in Saul's armor ; 
 but rather to divest nature of all hurtful 
 and useless appendages, and so to cul- 
 tivate her own power, that she may be 
 seen and felt herself giving simple but 
 dignified utterance to the deep prompt- 
 ings of a feeling heart; and such should 
 be the character of pulpit discourse. — 
 He who studies this Manual thoroughly 
 cannot fail to become more fully skilled 
 in true persuasive eloquence. 
 
 Bowdoin College, May 17, 1S45. 
 Having carefully examined the Manual 
 of Elocution, by Professor Caldwell. I feel 
 no hesitation in expressing a decided ap- 
 proval of it. The vocal Exercises are well 
 adapted to give power and flexibility to the 
 voice; whihn judicious aid is also afforded 
 in the important department of Gesture. 
 A considerable porthn of the work is de- 
 voted to the Expression of Speech — a branch 
 of the subject in which little has hitherto 
 
caldwell's manual of elocution. 
 
 been attempted, but in which Professor 
 Caldwell has happily succeeded. 
 
 On the whole, I regard the work as hav- 
 ing superior claims to popular favor ; and 
 as supplying a want severely felt by both 
 Teachers and learners, in the art of which 
 it treats. 
 
 H. H. Boody, 
 Teacher of Elocution 
 in Bowdoin College. 
 
 It gives us pleasure to express our cordial 
 acquiescence in the I'iews expressed by Mr. 
 Boody, of the. merits of Professor Cald- 
 well's work on Elocution. 
 
 A. S. Packard, 
 Professor of Rhetoric 
 
 and Ancient Languages. 
 
 Thomas C. Upham, 
 Professor of Mental 
 
 Philosophy and Ethics. 
 
 Wesleyan University, 
 Middletown. (Conn..) May 23, 1845. 
 
 Messrs. Sorin and Ball : 
 
 The hasty perusal I have been able to 
 give Professor CaldwelVs " Manual of 
 Elocution," recently published by you, has 
 afforded me great satisfaction. It appears 
 to me better calcidated to facilitate the study 
 of this important branch of education than 
 any other work I have seen. 
 
 u Elocution," as the author very justly 
 remarks, u may be considered both as a 
 science and an art ;'■ and in his work he 
 has treated of it in this twofold light. And 
 while he has, with great clearness and pre- 
 cision, discussed the principles of the science, 
 he has also very successfully laid open to our 
 view the secrets of the art — the very arcana 
 of the orator, by means of which he wields 
 his wonderful power. 
 
 In his brief but trxdy excellent, " Intro- 
 duction? the. author has clearly shown the 
 importance, in this country especially, of 
 giving more attention to this neglected 
 branch of study, which I would earnestly 
 recommend to any who may be sceptical on 
 the subject. 
 
 Very respectfully yours, 
 
 John Johnston, 
 Professor of Natural Science. 
 
 Augusta College, (Ky.,) 
 October 24, 1845. 
 
 Messrs. Sorin and Ball : 
 
 " Orator fit" was a maxim upon which 
 the ancients practiced, and were therefore 
 successful in furnishing the most illustrious 
 examples of excellence in the art of Elo- 
 quence. We know that they were so im- 
 pressed with the importance of systematic 
 instruction, that they appropriated immense 
 
 sums from the public funds, for the salaries 
 of distinguished rhetoricians. On the con- 
 trary, the sentiment of the present day 
 seems to be. that the orator is born such. 1 
 confidently believe, however, that the '■'•Man- 
 ual of Elocution''' is destined, in connexion 
 with Rush's " Philosophy of the Human 
 Voice," (upon which the plan of the Manual 
 is based.) to work an important change in 
 public sentiment in regard to this much- 
 neglected subject. Hairing myself devoted 
 very particular attention to Elocittion for 
 many years, I have felt much embarrass- 
 ment in imparting instruction, from the 
 want of a suitable text-book ; — I therefore 
 hail the publication of the Manual prepared 
 by the hand of one so eminently qualified for 
 it as Professor Caldwell, with a high de- 
 gree of satisfaction. The subject is treated 
 in just the manner that I could have desired, 
 had I been consulted. I am particidarly 
 pleased that so much stress is laid upon con- 
 tinued exercise on one thing at a time, — the 
 only successful method of learning any 
 science. 
 
 I have introduced the Manual into our 
 Institution, and have carried a class through 
 a course of lessons with entire satisfaction. 
 I expect to see it acquire a success still greater 
 than that with which it has already been 
 greeted. Chandler Robbins, M. A., 
 
 Professor of Ancient Languages. 
 
 Amenia, N. Y., June 12th, 1845. 
 
 Gentlemen : 
 
 I have examined with interest and plea- 
 sure, the work of Professor M. Caldwell, re- 
 cently published by you, and have intro- 
 diiced it into our Institution as the regular 
 text-book on Elocution. 
 
 The work is founded on the philosophical 
 principles developed by Dr. Rush, but while 
 the professor has rendered, perhaps more than 
 due acknowledgment of his obligations to 
 that author and others whose works he has 
 considted, he has introduced very many 
 valuable precepts, evidently the result of his 
 own investigations and experience. 
 
 The arrangement is systematic, the vari- 
 ous subjects are sufficiently and clearly dis- 
 cussed, and the illustrations are selected with 
 good taste and judgment. The two great 
 branches of Elocution relating to Voice and 
 Gesture, are presented in the same volume. 
 In these and in several other respects I con- 
 sider the work superior to any other on the 
 same subject. It is well calculated to supply 
 what has been a great desideratum, a good 
 Practical Manual embracing both branches 
 of Elocution. It is a good text-book, and 
 also well calculated to aid the private 
 learner. It contains those principles of de- 
 livery, to the diligent study of which, nearly 
 all, wAo have gained the reputation of being 
 
8 
 
 caldwell's manual of elocution. 
 
 accomplished orators, owe their celebrity. 
 A^ it is now generally acknowledged, that a 
 good delivery can be attained by study and 
 ■practice, it is to be hoped, that this work 
 will come into ge>ieral use. and that more 
 attention will, be given to the subject than it 
 has hitherto received. 
 
 Yours respectfully, 
 Joseph Comings, A. M., 
 Principal of Ameiiia Seminary. 
 Messrs. Sorin and Ball. 
 
 Salisbury, (Furnace village.) 
 November 7, 1S45. 
 Messrs. Sorin and Ball : 
 I ought long since to have acknowledged 
 the reception, of a copy of Professor Cald- 
 well's Manual of Elocution. It is a mat- 
 ter of great gratification that Elocution is 
 beginning to receive that attention in our 
 schools, to which its substantial merits and 
 importance entitle it. The above ivork — to 
 which I have been devoting personal atten- 
 tion, and on whose principles I have been 
 exercising, is a thorough, clear, and emi- 
 nently practical exhibition of the true prin- 
 ciples of Elocution. I know of no other 
 work so well adapted to usefulness in our 
 seminaries. 
 
 Respectfully yours, 
 
 D. W. Clark. 
 
 From John Neal. Counsellor at Law, Port- 
 land, Maine. 
 
 To the Author. 
 
 Dear sir. — Allow me to thank you in be- 
 half of the people, and the children of the 
 people, for your "Manual of Elocution." 
 It appears to me exceedingly well adapted 
 to the wants of the hour. I might say of 
 the age. so far as we of this country are 
 concerned. It must greatly abridge the 
 labor of the Teacher, and generally help the 
 understanding, while it engages the feel- 
 ings of the scholar. Hoping it may be 
 worthily encouraged, not. after all. so much 
 for your sake as for the sake of those who 
 are to come after us. 
 
 I am. dear sir, yours, ivith respect, 
 John Neal. 
 
 Portland, Feb. 21, 1845. 
 
 From the same, to the Publishers, under 
 date of May 14, 1845. ' 
 
 My opinion of Professor Caldwell's 
 '•Manual of Elocution.''' is in the posses- 
 sion of the author himself; and you are 
 hearti! '/ welcome to make any use of it you 
 may taink proper. I have only to add. that 
 the more I see of the book in question, the 
 better I think of it. Clear, simple, well 
 digested, and weU arranged, it cannot be 
 
 misunderstood by the pupil, nor misrepre- 
 sented by life Tea 
 
 Yours, with respect, 
 
 John Neal. 
 Messrs. Sorin and Ball. 
 
 Philadelphia. 
 
 Philadelphia, April 4, 1845. 
 It affords me pleasure to testify to the ex- 
 cellence of the Manual of Elocution, by Pro- 
 fessor Caldwell. Tlie typography, style. 
 and arrangement, are very creditable, and 
 I hope its publication may cause youth at 
 an earlier age than usual to be exercised in 
 voice and gesture. The importance, in this 
 country, of a cultivated tone of action has 
 never been duly estimated by the larger ma- 
 jority of teachers. Alfred L. Kennedy, 
 Principal Central Institute 
 for Young Gentlemen. 
 
 fJ3PBesides these, numerous notices 
 of the Manual of Elocution, equally 
 favorable with the foregoing, have been 
 received, from the most respectable 
 sources. From some of these we will 
 present brief extracts: 
 
 We have examined this work with 
 much satisfaction, and feel pleased to 
 say that it bears marks of deep study, 
 and of a thorough acquaintance with the 
 subject. True eloquence has its seat in 
 the heart, but without some such aid as 
 this book affords, it cannot be brought 
 out. except in an uncouth and ill-adapt- 
 ed dress. — Mother's assistant and Young 
 Ladies' Friend. W. C. Brown, Editor. 
 
 Professor Caldwell has succeeded in 
 presenting, with perfect clearness, a 
 subject, which, to manv. is new. — Apple- 
 tons News Letter, for Feb. 1845. 
 
 The first subject Tthe Voice,] is illus- 
 trated in such a manner as to exhibit to 
 the eye nearly all the different move- 
 ments of the voice, as well as the differ- 
 ent tones suited to all kinds of compo- 
 sition ; suggesting many useful hints that 
 might be highly serviceable to the pubJc 
 speaker, by teaching him the art of so 
 managing his vocal organs as to preserve 
 his own health, while at the same time 
 his discourse would be rendered much 
 more effective. 
 
 The subject of Gesture is illustrated 
 by no less than one hundred different 
 figures, exhibiting as many different atti- 
 tudes and positions of the feet, lower 
 limbs, head, trunk, hands. &c. and point- 
 ing out many faults often committed by 
 public speakers. 
 
 In the appendix a short chapter is de- 
 voted to the Elocution adapted to the 
 
CALDWELL S MANUAL OF ELOCUTION. 
 
 9 
 
 pulpit, which contains some valuable 
 suggestions to young ministers, and in- 
 deed, to many thai have passed that pe- 
 riod. — Rev. Geo. Webber, Zion's Herald, 
 Boston. __ 
 
 There are some new principles laid 
 down, and old ones enforced, in this 
 work, in a way that has called forth tes- 
 timonials in its favor, from some eminent 
 teachers. — Daily Sun. Philadelphia. 
 
 From such an examination as we 
 have been able to make of this work, 
 we are induced to think it a very valu- 
 able one. containing the true principles j 
 of Elocution, suitably illustrated. It is 
 pronounced by persons best qualified to 
 judge, practical teachers, to be exceed- | 
 ingly well adapted to instruction in col- I 
 leges and academies, and of great ' 
 
 service to private learners. The chap- 
 ter on pulpit Elocution is highly valu- 
 able, and the. whole work might be 
 studied to great advantage by preachers 
 of the gospel. We know of no book of 
 the kind so well adapted to private learn- 
 ers as this one. — Pittsburg Christian Ad- 
 vocate 
 
 The work before us is valuable to pub- 
 lic speakers, and general readers, and 
 the remarks on pulpit Elocution are ad- 
 mirable. — United States Gazette, Philadel- 
 phia. 
 
 The present work comes recommend- 
 ed by the clear and systematic mode in 
 which the subject is treated. Its use may 
 be equally advantageous to the pupil of 
 ordinary schools, and to the private stu- 
 dent. — North American, Philadelphia. 
 
 THE MANUAL OF ELOCUTION, 
 
 IS PUBLISHED BY 
 
 SORIN & BALL: PHILADELPHIA, 
 
 HUNTINGTON &■ SAVAGE : NEW YORK. 
 GOULD, KENDALL & LINCOLN: BOSTON. 
 
 Within one year from the first publication of this work, two entire edi- 
 tions have been sold, and large orders have already been received, which 
 remain unanswered. The Publishers now present the Third Edition to 
 the public, much improved and enlarged. This edition contains 357 
 pages, — the trade price continuing as heretofore, one dollar, which is be- 
 lieved to be cheap, considering the style in which the book is got up, and 
 the number and perfection of its engraved illustrations. 
 
 The work is for sale by Sanborn & Carter, Portland, Me. ; at the 
 Methodist Book Room, New York ; by C. P. Bragdon, Auburn, N. Y. ; 
 at the Methodist Book Room, Cincinnati; J. L. Read, Pittsburg; 
 S. Hart, sen., Charles W. Stoy, Charlestown ; Parsons, Preston & 
 Kurtz, Baltimore ; E. H. Pease, Albany ; Morton & Griswold, 
 Wm. H. Bulkley, Louisville, Ky. ; and by booksellers generally, through- 
 out the United States. 
 
A PRACTICAL 
 
 MANUAL OF ELOCUTION: 
 
 EMBRACING 
 
 VOICE AND GESTURE. 
 
 DESIGNED FOR 
 
 ScllooU, 2Ua&emie0 anb dpllege^ 
 
 AS "WELL AS FOB 
 
 PRIVATE LEARNERS. 
 
 BY MERRITT CALDWELL, A. M., 
 
 fROFESSOR OF METAPHYSICS AND POLITICAL ECONOMY AND TEACHER OF ELOCUTION 
 IN DICKINSON COLLEGE. 
 
 THIRD EDITION, ENLARGED. 
 
 vt 
 
 PHILADELPHIA: 
 
 PUBLISHED BY SORIN & BALL. 
 
 NEW YORK :— HUNTINGTON & SAVAGE. 
 
 BOSTON:— GOULD, KENDALL & LINCOLN. 
 
 AND FOR SALE BY THE PRINCIPAL BOOKSELLERS THROUGHOUT THE UNITED STATES. 
 
 1846. 
 

 Entered according to Act of Congress, in the year 1845, by 
 
 MERRITT CALDWELL, 
 
 in the Clerk's Office of the District Court of the Eastern District of Pennsylvania. 
 
 L cn> s- 
 
 Printed by T. K. & P. G. Collins. 
 Stereotyped by L. Johnson & Co., Philadelphia. 
 
To Those, who during the last sixteen years have, from time to 
 
 time, been under my tuition, — many of whom are now occupying 
 
 posts of honor and usefulness, in the Church, in the State, and 
 
 in the various departments of Instruction, — th*s Manual is most 
 
 respectfully dedicated, by 
 
 THE AUTHOR. 
 
PREFACE. 
 
 The preparation of this Manual would not have been 
 undertaken, but for the obvious want, at the present time, of 
 a suitable, text-book in Elocution, for the use of classes in our 
 colleges, academies, and schools. And if undertaken, the 
 effort would have proved comparatively futile, but for the 
 existence of such works as " The Philosophy of the human 
 Voice" by James Rush, M. D., of Philadelphia, from the 
 valuable materials of which I have been permitted to draw 
 at pleasure, — and the " Chironomia" of Austin, which 
 for nearly forty years has been the common source from 
 which have been derived the principles of Gesture. I take 
 pleasure in acknowledging my obligations to these emi- 
 nently philosophical works ; and this acknowledgment I 
 wish to make in this preface in terms so general, as not 
 again to need to recur to the subject. Having used these 
 books for several years as works of almost daily reference, 
 nothing but the most studied affectation could prevent me 
 from employing the materials which they so richly furnish 
 for the use of all future learners in the principles of the voice 
 and of gesture. But aside from this general use of these 
 works, I have referred directly to them, in the preparation 
 of almost every chapter and section of this Manual; nor 
 could I otherwise have done justice to the ordinary learner, 
 since these books, both by their scarcity and their price, are 
 placed beyond his reach. 
 
 1* ▼ 
 
VI PREFACE. 
 
 The principles adopted as the basis of this Manual, and 
 which are developed in its successive pages, it is believed, 
 do not differ materially from those views of the subject 
 which have already received the stamp of public approba- 
 tion. But this concession is not intended to prejudice the 
 claim of this book to all the originality, as regards either ar- 
 rangement, method of illustration, or matter, which experi- 
 ence in the business of teaching could be expected to sug- 
 gest on such a subject. 
 
 The work of Dr. Rush, just referred to, relates to a single 
 branch only ; and neither this nor the Chironomia professes 
 to be a practical manual. Several practical works, both on 
 the Voice and on Gesture, are, however, before the public. 
 From the merits of these I would not wish to detract one 
 tittle. Had they fewer faults and greater excellences, the 
 future authors of text-books in this interesting but neglected 
 branch of science would find less formidable prejudices to 
 contend with. I have, as I trust, too just a sense of the 
 responsibility involved in the preparation of a Text-Book 
 for Learners, to dare to assume it with any feeling of care- 
 lessness or indifference. He who prepares a popular text- 
 book becomes the benefactor or the curse of the age in 
 which he lives ; and, in the last case, may be held answer- 
 able even to posterity for the injury inflicted on the world. 
 All these elementary works, also, which were within my 
 reach, have therefore been consulted ; and from them some 
 useful suggestions have been adopted. They possess very 
 different degrees of excellence ; but it is sufficient to au- 
 thorize another attempt at setting forth this difficult subject, 
 that no one of them presumes to bring in a claim to perfec- 
 tion. Neither does the present work; though it has at least 
 one advantage over others — that of presenting both branches 
 of the subject in the same volume, which must prove a great 
 convenience to the teacher, as well as to the learner. 
 
PREFACE. vn 
 
 Though some new technical terms will present them- 
 selves to the student of this Manual, as few such have been 
 used as the objects and nature of the work would possibly 
 allow ; and from among those employed by different writers, 
 such have been selected as were judged best fitted to ex- 
 press the ideas embraced in them. So far as the nomencla- 
 ture of this science is concerned, the authors before named 
 have left little for future writers to supply; and to their 
 works the faithful teacher will not fail to make frequent 
 reference, till he shall have fully imbibed their spirit.* 
 
 I am aware of the difficulty of setting forth with perfect 
 clearness a subject which is new ; and such will this be to 
 many into whose hands this book will fall. Yet I flatter 
 myself that I have succeeded in rendering the entire sub- 
 ject so simple that any person of ordinary resolution and 
 perseverance can master it, even without an instructor. This 
 object I have had constantly in view, with the hope that 
 many a young man, already engaged in the duties of the 
 holy ministry, may be induced to subject himself to a course 
 of private training, which may both prolong his life, and 
 make every portion of it more useful. Still, a few lessons 
 from a good teacher, when access can be had to one, will 
 greatly facilitate the progress of the learner. 
 
 * In describing the vocal phenomena, I have but rarely found occasion 
 to deviate from the technical forms of expression used by Dr. Rush ; and 
 still less frequently to dissent from the principles established in his mas- 
 terly work on the Human Voice. In setting forth the elementary sounds 
 of the English language, however, I have chosen to retain the old distinc- 
 tion into vowels and consonants, as well adapted to a popular text-book ; 
 and have used the term tonic, to designate a portion of the consonants, — 
 a term which he applies only to the vowel elements. The term Slide also, 
 is not employed by Dr. Rush, which proves that it is not indispensable 
 even in a full discussion of the functions of the voice. It is used in this 
 work merely as a matter of convenience, being both a short and expres- 
 sive designation of one of the most important functions of the speaking 
 voice. 
 
vm PREFACE. 
 
 To the intelligent and observing, the remark will appear 
 trite, that in our age, and particularly in our country, a good 
 delivery is one of the most important acquisitions to the 
 scholar. To the man who wishes to produce a strong im- 
 pression on the present age, what other acquisition promises 
 so much ? But the truth that a good delivery can be ac- 
 quired by study and practice, is now almost as generally 
 admitted by the intelligent as is the fact of its importance ; 
 and this Manual is presented but as a more perfect develop- 
 ment of the same system which has produced nearly all the 
 accomplished orators of our day. This is but a system of 
 principles, by which the learner is to be led into the very 
 arcana of the orator's art, instead of acquiring by mere imi- 
 tation the power of mimicking some of his tones and ges- 
 tures. 
 
 The section on Expression, it is believed, is a more full 
 attempt to present the vocal "language of the passions," in 
 intelligible terms, than has ever before been made. In this 
 it is not proposed to furnish a substitute for real feeling. In 
 oratory there can be no substitute for this. The object of 
 this section is, First, to do for the learner what is done for 
 the student in many other branches of science — to give him 
 a theoretical knowledge of that, the practice of which nature 
 may perhaps have taught him ; Secondly, to enable him, by 
 the use of the appropriate symbols of feeling, to awaken 
 within himself emotion, when perhaps it may not exist to 
 the extent he desires, — for the natural language of any 
 passion tends to excite that passion, as directly as the exist- 
 ence of the passion prompts to its natural expression ; 
 Thirdly, to assist him in overcoming bad habits, whether 
 of extravagance or of feebleness, in the vocal expression of 
 the passions ; and, Fourthly, to furnish what appears to me 
 the best system of training for the voice that can be de- 
 vised, — one that will best develop all its powers, at the 
 
PREFACE. ix 
 
 same time that it makes the learner familiar witi* their prac- 
 tical uses. 
 
 The art of engraving was little understood by the an- 
 cients. In modern works on elocution much advantage has 
 been taken of the improvements in this art ; and in regard 
 to gesture, abundant illustrations have been furnished, which 
 addressing the eye, make a stronger as well as a more de- 
 finite impression on the mind than could well be made by 
 words. The Chironomia, in particular, contains a very full 
 set of excellent illustrations of the principles of gesture, 
 which most of the later writers on elocution have very judi- 
 ciously used, instead of attempting to furnish new and infe- 
 rior drawings. From these I have selected such as would 
 fully answer my purpose ; but have added whatever I 
 judged necessary to a complete set of illustrations for my 
 work.* 
 
 While examples have been selected for illustrating all the 
 principles of vocal modulation and expression, the book has 
 not been encumbered with extracts from other authors merely 
 for practice. This part of the business has been well done 
 by others ; and there are books enough before the public 
 containing selections, both for reading and speaking. Per- 
 haps a book of selections might be made better suited to 
 improve the higher powers of elocution than any we now 
 have ; it was not, however, any part of the object of this 
 Manual to supply such defect. Without any such matter, 
 the pages of my book have multiplied beyond what was 
 contemplated when it was undertaken, — and that, though 
 brevity has been most assiduously studied. 
 
 If the objects proposed in this Manual have been accom- 
 
 * The Diagrams and Figures which illustrate the subject of this Ma- 
 nual have been engraved by J. Spittall, of Philadelphia. Most of them 
 have also been drawn by him ; though several of the Figures have been 
 drawn by C. Burton, of Carlisle, Pa. 
 
X PREFACE. 
 
 plished, the#rork now submitted to the public maybe studied 
 with advantage by every class of public speakers ; and the 
 practice it suggests is especially adapted to train the future 
 speaker for his responsible work. But many of the princi- 
 ples of reading and speaking are the same ; so that he, also, 
 who would become a good reader must study some such 
 work as this, to render him familiar with these principles. 
 Aside, however, from all these considerations, there are 
 reasons why elocution should be studied.. The natural 
 sciences are taught in all our schools, that those who study 
 them may be able to classify and give names to the various 
 objects of nature. Even the young lady studies Botany and 
 the Geography of the heavens, that she may be able to name 
 the plants and the stars. And is it a matter of no interest 
 to her to be able to speak intelligibly of the excellences and 
 defects of those whom from time to time she hears speak ?■— • 
 to 'give names to the qualities of the voice and of the action 
 which they employ ? It is not, perhaps, too much to say, 
 that the time will come, when the power to criticise a speech 
 shall be considered as essential to the scholar as is now the 
 ability to criticise a written composition,— when Elocution 
 and Rhetoric shall be studied as constituting sister depart- 
 ments, even in a common English education. Then would 
 every professed speaker cultivate his natural powers, so that 
 a failure in the management of his voice or in gesture 
 would be as rare as such a failure now is among professed 
 singers or performers on musical instruments. On the same 
 principle that men can learn to sing, or to handle the bow, 
 or touch the keys of an instrument for the production of 
 harmonious sounds, they can learn to manage the voice in 
 speaking, or the arms and hands in gesture. 
 
 Dickinson College, November, 1844. 
 
CONTENTS. 
 
 Pa?e 
 
 Dedtc ATIOX iil 
 
 Preface v 
 
 Introduction. — Importance of the study of Elocution. — How it 
 must be prosecuted. — Encouragement to the learner. — Plan of 
 the work 15 
 
 PART FIRST. 
 
 OF THE VOICE. 
 
 Chapter I. — Elementary Exercises of the Voice. 
 
 Sect. I. Of the Elementary Sounds of the English Language 31 
 
 Table I. Vowels 33 
 
 Table II. Consonants 34 
 
 Sect. II. Of Articulation 38 
 
 Table III. Combinations of Consonant Sounds. 40 
 
 Sect.ITI. Of the Time of the Voice 48 
 
 Sect.IV. Of Stress... 50 
 
 Radical Stress 51 
 
 Table IV. Combinations of the Tonic Conso- 
 nants with the Long Vowels 52 
 
 Table V. Combinations of the Atonies with 
 
 the Long Vowels 52 
 
 Table VI. Combinations of the Long Vowels 
 
 with the Tonic Consonants 53 
 
 Table VII. Combinations of the Long Vowels 
 
 with the Atonies 54 
 
 Table VIII. Combinations of the Short Vow- 
 els with the Tonic Consonants 54 
 
 Median Stress 55 
 
 Vanishing Stress 56 
 
 si 
 
xii CONTENTS. 
 
 Page 
 
 Sect. V. Of the Pitch of the Voice 57 
 
 The Diatonic Slides 63 
 
 Emphatic Slides 66 
 
 Interrogative Intonation 67 
 
 Sect. VI. Of the Waves of the Voice 71 
 
 Sect. VII. Of Force of Voice 75 
 
 Sect. VIII. Of the Quality of the Voice 81 
 
 The Orotund 82 
 
 The Tremor 83 
 
 The Aspiration 83 
 
 The Guttural 84 
 
 Sect. IX. Of the Melodies of the Voice 85 
 
 Sect. X. Recapitulation 90 
 
 Chapter. II. — Practical Application of Principles. 
 
 Sect. I. Preliminary remarks 97 
 
 Sect. II. Of Accent 98 
 
 Sect. III. Of Emphasis 100 
 
 Temporal Emphasis 102 
 
 Emphasis of Stress 103 
 
 Emphasis of Pitch 105 
 
 Emphasis of the Wave 109 
 
 Emphasis of Force 113 
 
 Emphasis of Quality 113 
 
 Relative Emphasis 117 
 
 Sect. IV. Of the Drifts of the Voice 122 
 
 Sect. V. Of Expression 126 
 
 Narrative, Description 128 
 
 Dignity, Solemnity, Gravity, &c. 128 
 
 Gayety, &c 133 
 
 Positiveness, Confidence, Authority, &c 1 38 
 
 Energy 144 
 
 Rage, Anger, Wrath 146 
 
 Malice, Hate, Revenge, &c 149 
 
 111 Humor. — Dissatisfaction, Peevishness, &c. . 153 
 
 Scorn, Sneer, Contempt, &c 153 
 
 Mirth, Raillery 154 
 
 Joy, Triumph, &c 155 
 
CONTENTS. xiii 
 
 Page 
 
 Sect. V. Astonishment, Admiration, Amazement 156 
 
 Plaintive Expression, Tenderness 157 
 
 Pain — Mental and Bodily 162 
 
 Secrecy, Apprehension, Fear, &c 163 
 
 Terror, Horror 164 
 
 Interrogation 164 
 
 Irresolution, Modesty, &c 167 
 
 Sect.VI. OfTransition 168 
 
 Sect. VII. Of Cadence 184 
 
 Chapter III. — General Precepts. 
 
 Sect. I. Of the Measure of Speech 193 
 
 Sect.II. Of Pauses 203 
 
 Sect. III. Of the Reading of Poetry 207 
 
 Sect. IV. Of the Grouping of Speech . 212 
 
 PART SECOND. 
 
 OF GESTURE. 
 Chapter I. — Elements of Gesture. 
 
 Sect. I. Preliminary Remarks 221 
 
 Sect. II. Of the Feet and Lower Limbs 226 
 
 Sect.III. Of the Head and Trunk 233 
 
 Sect. IV. Of the Eyes and Countenance 236 
 
 Sect.V. Of the Hand 241 
 
 Sect. VI. Of the Arm 246 
 
 Chapter II. — Practical Application of Principles. 
 
 Sect. I. Introductory Movements 258 
 
 Sect. II. Of Motion and Rest 260 
 
 Sect. HI. Of the Movements of the Hands and Arms 262 
 
 Sect. IV. Of the Qualities of Gesture 269 
 
 Chapter III. — General Precepts. 
 Sect. I. Of the Frequency, Moderation, and Intermission 
 
 of Gesture 273 
 
 Sect. n. Of Gesture as Connected with the Different parts 
 
 of a Discourse 277 
 
 2 
 
xiv CONTENTS. 
 
 APPENDIX. 
 
 Page 
 Chapter IV. — Hints on the Elocution adapted to the 
 
 Pulpit 281 
 
 Chapter V. — Of the Action adapted to Dramatic 
 Representation. 
 
 Sect. I. Of the Elements of Dramatic Action 292 
 
 Sect. II. Of Significant Gestures and Attitudes 305 
 
 Addenda — Tables 317 
 
 INDEX . 343 
 
A 
 
 PRACTICAL MANUAL 
 
 OF 
 
 ELOCUTION. 
 
 INTRODUCTION. 
 
 Importance of the study of Elocution. — How it must be prose- 
 cuted. — Encouragement to the learner. — Plan of the work. 
 
 Is a good Elocution of sufficient importance to deserve 
 the attention of the American scholar ? and can the princi- 
 ples of Elocution be so taught as to become practically 
 useful to the speaker, or to him who is destined to become 
 a speaker ? — These are important questions ; and while a 
 doubt remains in regard to them, even the youthful learner 
 must hesitate to enter on the subject with the zeal neces- 
 sary to ensure success in this or any other branch of useful 
 study. In regard to the first, I should be doing injustice 
 to the intelligence of the reader, to attempt to discuss it. 
 Who are the men that in our great republic are now 
 attracting universal attention? Who are they, to hear 
 whom our Senate Houses, our Halls of Justice, and out 
 Churches, are thronged to overflowing ? Who are they, 
 whom assembled multitudes, in our public halls, in the 
 
 15 
 
16 INTRODUCTION. 
 
 crowded squares and streets of our cities clamor for, and 
 whose voices they will hear ? They are not always the 
 most learned men among us, nor are they always the most 
 profound thinkers. Generally speaking, they are men of 
 good sound common sense, who have a good Elocution. 
 Eighteen hundred years ago, Quintilian said, " That even 
 an indifferent discourse, assisted by a lively and graceful 
 action [comprehending both voice and gesture] will have 
 greater efficacy than the finest harangue which wants that 
 advantage." So it has ever been ; so it will ever be. 
 
 But of what interest is all this to the American scholar — 
 to the reader of these pages ? The same that he has in any 
 question that concerns his future usefulness, or his future 
 fame. Ours is a land of civil liberty, where force is never per- 
 mitted to take the place of persuasion, where tyranny wrests 
 not from man his native freedom of thought and speech, 
 and where corruption and venality can never long hold the 
 control of public affairs. Our institutions then are such as 
 have ever fostered eloquence. We have a language, too, 
 superior in several important respects to any modern tongue, 
 and deficient perhaps in no single requisite to a strong and 
 effective eloquence. The demand of the public also for a 
 more spirit-stirring oratory is most obviously increasing. 
 The evidence of this is found in the public favor, just re- 
 ferred to, which is bestowed on those who have culti- 
 vated a good elocution. If we look out upon the stage of 
 political life, what attracts our eyes more strongly than the 
 conspicuous positions assigned to those who have the action, 
 the utterance, and the power of speech to stir men's blood ? 
 We see the same, if we look at the great moral movements 
 of the day. Whenever the eyes of the public centre on any 
 human agent, as destined under Providence to effect any 
 
INTRODUCTION. 17 
 
 great moral reform, who is he but some one who can wield 
 the omnipotent power of oral eloquence ? This demand ex- 
 tends even to the sacred desk ; and men begin to be restless 
 when the pulpit is dull and prosing. Whenever they else- 
 where see exhibited the attractions of an effective elocution, 
 their minds revert to that day, when the simple preaching 
 of righteousness, temperance and judgment could make 
 even a Felix tremble, and they pray for its return. 
 
 Nor is this a mere capricious movement of the times. 
 Intelligent men have begun to reason on the subject. They 
 have satisfied themselves, that we possess all the essential 
 elements of oratory which have ever been possessed by 
 any people ; and that the occasions for their development 
 are not wanting. They see the freedom of debate allowed 
 in our legislative h*alls ; the constantly recurring opportu- 
 nities for the statesman-orator to make his appeals directly 
 to the popular assembly ; the moral enterprises also, that 
 are to be carried by direct appeals to the popular ear ; the 
 vast interests involved in questions which are discussed in 
 our ecclesiastical assemblies, and which may well call forth 
 the orator's best powers ; and last, not least, they see the 
 pulpit, where from week to week thousands stand to ad- 
 dress their fellows, freely and unconstrained, on the sacred 
 truths of a sublime religion, to impress on them the claims 
 of a system of morality singularly pure and attractive, and 
 to discuss topics of the most elevating and interesting 
 nature. They see, too, that men cznfeel as well as reason, 
 and that they love the feelings which eloquence inspires ; — 
 that whenever a good elocution exhibits itself in the speaker, 
 the legitimate effects follow as certainly as when Demos- 
 thenes or Henry spoke in the senate house, or at the bar, 
 and as certainly as when Whitefield electrified the multi- 
 
 2- 
 
18 INTRODUCTION. 
 
 tildes who everywhere thronged — not more to hear the 
 tones of his voice, and to see his action, than to feel the 
 overwhelming power of his eloquence. A demand based 
 on the clear perception of such truths shall not decline ; 
 and green and unfading are the laurels already entwined 
 for the brows of those who — now rising into life — shall 
 prepare themselves to bear off the honors in such a contest 
 for usefulness and honorable distinction. 
 
 Eloquence, or even oratory, does not however consist 
 wholly in a good elocution. Elocution concerns only the 
 external part of oratory, and may be considered both as a 
 science and as an art. As a science, it teaches the prin- 
 ciples from which are deduced rules for the effective deli- 
 very of what is eloquent in thought and language ; as an art, 
 it is the actual embodying in delivery of every accom- 
 plishment, whether of voice or of gesture, by which ora- 
 torical excitement is superadded to the eloquence of thought 
 and language. In this last sense, it implies the culti- 
 vation of every external grace with which the delivery of 
 language should be accompanied, whether in reading, in 
 recitation, or in spontaneous utterance. As a science, then, 
 it relates to the knowledge and the taste necessary to direct 
 in the correct delivery of what is forcible in thought and 
 expression ; and as an art, to the ability practically to exe- 
 cute that which is dictated by a well-instructed taste. This 
 presents the general subject in a twofold light; and clearly 
 points out the double office of a teacher of elocution, and 
 the twofold excellencies of a perfect Text-Book in this 
 interesting branch of study. It should give the taste to 
 direct, and the power to execute. 
 
 These are perfectly distinct, though closely allied. Many 
 speakers fail, not so much from not knowing how a passage 
 
INTRODUCTION. 19 
 
 or discourse ought to be pronounced, as for want of the 
 ability to execute what their cultivated taste has learned 
 to admire ; while others, it is admitted, have no love 
 for what is excellent, whether in the intonations of the 
 voice, or in the action which accompanies them. The 
 latter blunder heedlessly along, and, without perceiving 
 it, are guilty of a thousand errors, which of course they 
 never attempt to correct ; while the former too often per- 
 ceive their errors and defects but to lament them, often 
 fail in their attempts at improvement, and at other times, 
 for fear of a failure, neglect to attempt what, had they 
 dared to risk the experiment, they might successfully 
 have performed. — It is the object of this Manual, to culti- 
 vate the taste ; and to give to all who will consent to make 
 it a study the ability to perform whatever a good taste can 
 direct. 
 
 It is generally admitted, that few persons can safely rely, 
 for the effect of their discourses, solely on a favorable 
 combination of circumstances, or on their weight of cha- 
 racter, or even on mere force of thought or eloquence of 
 language. The u ornaments of eloquence" must be super- 
 added. These consist in the various melodies of the voice 
 and in suitable gesture of the body. " He who arms him- 
 self with these," says one of the ancient Rhetoricians, 
 " assaults his hearers in three ways. He invades their un- 
 derstanding by his eloquence, he subdues their ears by the 
 charms of his voice, and their eyes by the attractions of 
 his gesture." — Whether ease and grace of gesture can be 
 acquired, cannot admit of one rational doubt. In general, 
 the gestures are performed by the action of the voluntary 
 muscles ; and thus gesture is as much an art, considered 
 with reference to the mode in which it is to be performed, 
 
20 INTRODUCTION. 
 
 as is penmanship, dancing, or any handicraft employ- 
 ment. 
 
 But can instruction improve the voice also? To this 
 interrogatory it might seem sufficient to reply, that the at- 
 tractions of the stage in all ages have depended very ma- 
 terially on the power of vocal execution possessed by the 
 actors — a power not unfrequently wholly acquired, and ac- 
 quired too, in the only schools where, in modern times, the 
 art of speaking has been cultivated. Besides this, the two 
 great orators of antiquity studied this branch of elocu- 
 tion in particular as an art. Demosthenes, whose voice 
 was weak, whose articulation was defective, and whose 
 tongue stammered, after an unsuccessful effort in which 
 he was hissed from the assembly, was persuaded by a 
 player whom he met, to undertake the study of elocution ; 
 and by a course of training such as few have ever sub- 
 jected themselves to, he demonstrated that the practical 
 application of the principles of this art can be learned. 
 Even his great adversary and rival in oratory, after reciting 
 before the Rhodians, at their request, the oration of Demos- 
 thenes for Ctesiphon, replied to their expressions of admi- 
 ration, " What would you have said if you had heard him 
 deliver it!" With Cicero, too, it was much the same. At 
 the age of twenty-seven, according to Plutarch, after having 
 arrived at some eminence as a pleader, " though his voice 
 had a variety of inflections, it was at the same time harsh 
 and unformed ; and as in the vehemence and enthusiasm 
 of speaking, he always rose into a loud key, there was rea- 
 son to apprehend that it might injure his health." He 
 consequently applied himself to teachers. At a subsequent 
 period, this writer tells us, " his voice was formed ; and at 
 the same time that it was full and sonorous, had gained a 
 
INTRODUCTION. 21 
 
 sufficient sweetness, and was brought to a key which his 
 constitution could bear." But — to show how elocution 
 was studied in ancient times — he stopped not here, but 
 visited Asia and Rhodes, to listen to the greatest orators, 
 and to receive instruction from the best teachers. And it 
 was at the latter place, when declaiming in Greek before 
 Apollonius, that the rhetorician, with sadness of heart at 
 the recollection of the wasted glory of his native land, the 
 country of Demosthenes, said, " As for you, Cicero, I 
 praise and admire you, but I am concerned for the fate of 
 Greece. She had nothing left her but the glory of elo- 
 quence and erudition, and you are carrying that too to 
 Rome." The ancient orators and rhetoricians all treated 
 of the voice as among the first objects of culture ; and 
 wherever great excellence was attained in its management, 
 it was duly appreciated. 
 
 This science has also been studied by many of England's 
 most eminent orators. Mr. Pitt learned elocution under the 
 tuition of his noble and eloquent father ; and it was of one 
 of his speeches that even Fox could say, " The orators of 
 antiquity would have admired, probably would have envied 
 it ;" and after listening to another, Mr. Windham says of 
 himself, that " he walked home lost in amazement at the 
 compass, till then unknown to him, of human eloquence." 
 The case of Sheridan is still more striking. To adopt 
 the language of Lord Brougham, — "With a position by 
 birth and profession little suited to command the respect 
 of the most aristocratic country in Europe — the son of an 
 actor, the manager himself of a theatre — he came into that 
 parliament which was enlightened by the vast and various 
 knowledge, as well as fortified and adorned by the most 
 choice literary fame of a Burke, and which owned the 
 
22 INTRODUCTION. 
 
 sway of consummate orators like Fox and Pitt." But he 
 had studied the elocution of the stage — his father had been 
 his teacher; and although he never acquired any great 
 eminence as a statesman, yet Pitt himself at one time 
 writhed under his eloquence. It was at the close of one 
 of his celebrated speeches before the House of Com- 
 mons, that the practice of cheering the speaker was first 
 introduced ; and it was on this occasion that Mr. Pitt, 
 then prime minister of England, besought the House, as 
 being incapacitated for forming a just judgment under the 
 influence of such powerful eloquence, to adjourn the deci- 
 sion of the question. Several of our distinguished Ameri- 
 can orators, also, it is asserted, are ever ready to acknow- 
 ledge their obligation to the study of the principles of 
 that art which is procuring for them so rich a reward of 
 fame. And some of those who have been most admired, 
 are far from being those for whom nature had done the 
 most. 
 
 The following system of instruction, both as regards 
 voice and gesture, consists of principles rather than of spe- 
 cific rules ; and of principles believed to be drawn from 
 nature, and which, when applied even fully to practice, 
 will leave the learner sufficiently in possession of all his 
 natural peculiarities. Their entire object is to refine and 
 perfect nature ; not to pervert it. The greatest orators, 
 even the most popular players, are those who have made 
 art subservient to the development of their own native 
 powers ; and who at least seem to have been formed on no 
 model. Here, as elsewhere, art is supposed to be but the 
 handmaid of nature. 
 
 It is believed that the careful study, on the part of the 
 learner, of the principles here presented him, even though 
 
INTRODUCTION. 23 
 
 thus restricted, if accompanied with proper practice on the 
 tables and exercises, will do for him all that study has ever 
 done, or can do, to make the speaker. 
 
 First, it will greatly assist to cultivate the taste, as re- 
 gards all the excellences of a good delivery. 
 
 Second, it will give him a distinct articulation ; and fur- 
 nishes the means by which even the more permanent 
 impediments in speech may be corrected. 
 
 Third, it will give him a distinct enunciation, by which 
 we mean nothing more than perfect distinctness of articula- 
 tion carried into the general delivery. 
 
 Fourth, it will give him the command of the various 
 elements both of voice and gesture, which give effect to 
 the expression of thought and feeling, and which, when 
 properly employed, constitute the external graces of elo- 
 quence. 
 
 Fifth, it will teach him the principles on which these 
 elements are to be employed the most successfully for the 
 purposes just named. 
 
 Sixth, it will give him such a familiarity with these ele- 
 ments, and such a command of all his vocal powers, as 
 will enable him practically to execute whatever he is dis- 
 posed to attempt. And 
 
 Seventh, it will do all this, by perfecting and improving 
 his own natural powers, rather than by substituting, or at- 
 tempting to substitute, others for them. 
 
 The taste may indeed be improved in various ways, — 
 by reading works and attending lectures on Elocution, as 
 also by studying living models of excellence in oratory; 
 but the power of execution can be learned only by practice. 
 If it can be acquired by other means, the author of this 
 Manual has not discovered them. On practice, and on that 
 
24 INTRODUCTION. 
 
 alone, we rely in the work before us. It was this alone 
 that perfected the orators of antiquity. But for this, Demos- 
 thenes and Cicero would not have been the master orators 
 of Greece and Rome ; yet we hesitate not to say, that the 
 text-books of Elocution to which the scholar of our day 
 can have access furnish him facilities for successful practice 
 which they never enjoyed, though they sought it long and 
 even in foreign lands. Much of the discipline of the 
 scholar must like theirs be preparatory and private, — must 
 consist in the practice of attitude and action, in loud read- 
 ing, and in declamation, continued till all the excellences of 
 a good elocution become a part of his own nature. Nor 
 will it in general be so long as might be supposed, before 
 he begins to experience these results. Then will he, with- 
 out the least embarrassment, as though they were the direct 
 gifts of nature, carry them into the practice of oratory. So 
 will he even who is already in public life — in the habit, it 
 may be, of daily public speaking — by such private prac- 
 tice find the graces of gesture imperceptibly incorporating 
 themselves with his public action, and all the defects of his 
 voice, whether natural or acquired, gradually supplanted by 
 the opposite excellences. Thus may one learn to speak 
 according to the strictest rules of art, and yet never be em- 
 barrassed in any of his public performances by the thought 
 of these rules. 
 
 The practice recommended in the first part of this Man- 
 ual has a further object than merely to give a command 
 of the various intonations and inflections of the voice ; 
 though this of itself would be sufficient to recommend it. 
 If it went no further than this, it would break up the dull 
 monotony of delivery, and demonstrate to the learner, that 
 the speaker's want of power < to stir men's blood' is not to 
 
INTRODUCTION. 25 
 
 be referred to any deficiency in the general provisions of 
 nature. The practice recommended in our future pages 
 will show that, without violating any law of the voice, an 
 endless variety is presented in the expedients which nature 
 has furnished to give power and efficiency to expression. — 
 The further purpose however to be secured by this practice 
 is that healthful discipline of the vocal organs, which it is 
 believed will make them almost proof against the diseases 
 by which so many speakers are now laid aside from their 
 labors in the very prime of their lives and of their useful- 
 ness. The young man who enters the ministry in parti- 
 cular, without having his vocal organs inured to the labor 
 involved in speaking, is always in danger of laying the 
 foundation, even in his early efforts, of his future decline, 
 and of his premature death. How many such cases can 
 the reader call to mind ! 
 
 In our definition of Elocution, we have made it relate to 
 all the graces of delivery, whether in reading, in recitation, 
 or in spontaneous utterance. This suggests what we deem 
 an important view in connection with this subject, to wit, 
 that the principles of reading and speaking are the same. 
 He who knows how to read well can speak well, so far at 
 least as concerns the management of the voice; and he 
 who can speak well is left without excuse, if he does not 
 read with correctness and rhetorical effect. The only dif- 
 ference between reading and speaking, as regards the 
 principles of this branch of elocution, is, that the latter 
 presupposes more emotion, and consequently admits a more 
 forcible application of its principles. 
 
 But Elocution, in the comprehensive signification we 
 have given to it, relates to gesture as well as to the voice. 
 Both the voice and the action of the body have a strong 
 
 3 
 
26 INTRODUCTION. 
 
 sympathy with the emotions ; in so much, that the state of 
 the mind can be confidently inferred from the muscular 
 movements of the individual, as also from the pecu- 
 liarities of his voice — its loudness or softness, together 
 with its tones and inflections — though his words may 
 not be heard. This suggests a strong correspondence 
 between the voice and the action in delivery ; and yet 
 they are so distinct, that it is presumed the learner will 
 study them most successfully, if treated separately. Thus 
 our treatise is divided into two Parts, to each of which is 
 appropriated one entire subject. 
 
 Something will be gained, if thus early the learner can 
 be impressed with the full belief, that the principles of this 
 work, both as regards the voice and gesture, are drawn 
 from nature, and are thus no work of invenlion. This is 
 the origin given of the principles of the orator's art by 
 Quintilian, who says, " As in physic, men, by seeing that 
 some things promote health and others destroy it, formed 
 the art upon those observations ; in like manner by per- 
 ceiving that some things in discourse are said to advantage, 
 and others not, they accordingly marked those things, in 
 order to imitate the one and avoid the other ;" and such 
 emphatically is believed to be the origin of all the princi- 
 ples embraced in the successive chapters of this Manual. 
 
 These principles, to be fully appropriated by the learner, 
 must, so far as they shall be new to him, be dwelt upon 
 till they become perfectly familiar — as familiar as the rules 
 of English syntax to the English scholar, or the principles 
 of logic to the reasoner. Where habits either of voice or 
 of gesture are to be overcome, other habits must be sub- 
 stituted. Nothing short of habits of correct speaking and 
 of correct action can meet all the demands of the speaker, 
 
INTRODUCTION. 27 
 
 as he stands up to deliver his sentiments before multitudes 
 of assembled men. He has no time then to make the in- 
 tonations of his voice or the movements of his body a 
 study. To secure the formation of these habits, it is indis- 
 pensable that the principles hereafter presented should be 
 contemplated as strictly practical, and be carried from the 
 exercises of the book into the daily practice of reading and 
 speaking. The success of the ancient orators, as also of 
 Pitt, of Sheridan, and many of the distinguished actors of 
 modern times — proves, as we have seen, the practicability 
 of thus learning the art of spealdng. 
 
PAET I. 
 OF THE VOICE. 
 
CHAPTER L 
 
 ELEMENTARY EXERCISES OF THE VOICE. 
 
 SECTION I; 
 
 OF THE ELEMENTARY SOUNDS OF THE ENGLISH LANGUAGE. 
 
 To one who had never thought on the subject, it might 
 seem strange to commence a treatise on Elocution, by re- 
 ferring to the elementary sounds of the language ; but a 
 moment's reflection will show its propriety. It is of these 
 elements that all speech is composed. These constitute the 
 very basis of all good delivery, and consequently should be 
 placed at the foundation of all instruction in this elegant 
 accomplishment. But where are these elementary sounds 
 to be found ? He who would discover them must divest 
 himself of the idea that they are faithfully represented by 
 the symbols composing our graphic alphabet. Much less 
 are they represented by the names of the alphabetic cha- 
 racters, nearly all of which are complex sounds. It is, 
 then, only by a careful analysis of our spoken language, 
 that the elementary sounds entering into it can be disco- 
 vered. 
 
 Having made this analysis, we shall find that some of 
 our alphabetic characters have no separate sound appropri- 
 ated to them, as c and x ; while others represent several 
 sounds. Thus a often represents four, and sometimes a 
 fifth ; and the other vowels, each two or more.* There 
 
 * Where the same character is used in the following tables to re- 
 present different elementary sounds, we shall distinguish it, for the 
 sake of future reference, by the marks which are used in Webster's 
 Dictionary. 
 
 31 
 
32 MANUAL OF ELOCUTION. 
 
 are still other sounds which have no single character to re- 
 present them, as ou, oo, oi and oq among the vowels, and 
 ng, th, sh, &c, among the consonants; yet which are as 
 elementary as the former. With each of these sounds we 
 shall present a short word in which it occurs, by the pro- 
 nunciation of which it is believed the learner will, without 
 much difficulty, discover the true element intended. The 
 way in which this is to be done, is to arrest the voice in the 
 very act of uttering the element in question, and then to 
 repeat that sound free from combination with any other. 
 Thus the true sound of a will be caught, by arresting the 
 voice on the word a-le, before the / is touched by the or- 
 gans of speech ; and thus also of b or /, before entering on 
 the vowel sound that follows them in the words 6-ow and 
 Z-ove. And so of all the others. 
 
 In arriving at these elementary sounds, the learner will 
 derive much advantage from a living teacher; but it is 
 believed he will find no great difficulty in discovering 
 the true sound of every element presented in the two fol- 
 lowing tables. Should there at first appear something ludi- 
 crous in the attempt, let him remember that it is only a 
 matter of habit, and that a little familiarity will make these 
 sounds as familiar as are the names now usually but erro- 
 neously given to our alphabetic characters. And when 
 these fundamental sounds are once fairly mastered, we shall 
 hereafter see that they can be turned to great account. Of 
 these sounds, as heard in the pronunciation of the English 
 language, there are forty-two, — sixteen vowel and twenty- 
 six consonant sounds. — If the following tables are not phi- 
 losophically correct, it is believed they are practically so. 
 
1 
 
 a 
 
 2 
 
 a 
 
 3 
 
 a 
 
 4 
 
 e 
 
 5 
 
 i 
 
 6 
 
 6 
 
 7 
 
 u 
 
 8 
 
 
 
 9 
 
 00 
 
 10 
 
 oi 
 
 11 
 
 a 
 
 12 
 
 e 
 
 13 
 
 i 
 
 14 
 
 
 
 15 
 
 u 
 
 16 
 
 oo 
 
 VOWEL ELEMENTS. 
 TABLE I.* 
 
 VOWELS. 
 
 Long.j 
 
 as in a-le, in'n-a-te. 
 
 « a-11, a-ltogeth'er. 
 
 " a-rni, al'ph-a. 
 
 ** €6-1, d-e-vout.' 
 
 " t-sle, t-den'tity. 
 
 " o-ld, p-o-lite/ 
 
 « r-u-de, in'terl-u-de. 
 
 " ou-r, pro'n-ou-n. 
 
 «* oo-ze, r-ou-tine/ 
 
 " o*-l, en'v-oy. 
 
 as m «-t. 
 
 " e-dge. 
 
 " t-t. 
 
 " 1-o-t, wh-a-t. 
 
 " u-p, d-o-ve. 
 
 " b-oo-k, f-u-lL. 
 
 * Note to the Teacher. — On this and all the following- Tables 
 and other exercises for practice, the first business of the teacher is 
 to exemplify and illustrate to the learner or to his class the principle, 
 or principles involved ; and let the practice on these constitute the 
 preparation for the next interview. Then let the learner, or, in case 
 of a class, each pupil separately, repeat the proposed exercise, with 
 such correction and further instruction as may be called for. For 
 securing 1 a greater familiarity with the exercise, a class may then 
 repeat it together, under the teacher's direction. Mutual correction 
 is recommended in this and all the future exercises, when practiced 
 by a class. 
 
 ■{■These sounds, though called long, are actually protracted only 
 when under the accent. — For further practice on the elementary 
 sounds of the language, see Tables commencing on page 317. 
 
34 MANUAL OF ELOCUTION. 
 
 
 
 TABLE II. 
 
 
 
 
 CONSONANTS. 
 
 
 
 
 Tonic Consonants.* 
 
 
 1 
 
 b 
 
 as in 
 
 J-ow, lo-be. 
 
 2 
 
 d 
 
 a 
 
 c?-are, ai-rf. 
 
 3 
 
 g 
 
 U 
 
 g-ive, rau-^. 
 
 4 
 
 J 
 
 tt 
 
 /-ew, G-eor-ge. 
 
 5 
 
 1 
 
 tt 
 
 /-ove, a-//. 
 
 6 
 
 m 
 
 tt 
 
 wz-ay, ai-m. 
 
 7 
 
 n 
 
 U 
 
 7i-o, ow-n. 
 
 8 
 
 r (vibrant) " 
 
 r-oe, p-r-ay. 
 
 9 
 
 r (smooth) " 
 
 wa-r. 
 
 10 
 
 V 
 
 li 
 
 v-ile, ii-iv. 
 
 11 
 
 w 
 
 a 
 
 ty-oe. 
 
 12 
 
 y 
 
 ft 
 
 y-e. 
 
 13 
 
 z 
 
 tt 
 
 2 -one, ra-ze. 
 
 14 
 
 *2 
 
 (( 
 
 si-ng. 
 
 15 
 
 TH 
 
 it 
 
 M-en, brea-^Ac. 
 
 16 
 
 zh 
 
 t< 
 
 a-z-ure. 
 
 ■» 
 
 
 Atonies, 
 (mutes.) 
 
 
 17 
 
 k 
 
 as in 
 
 /oing, \\-ke* 
 
 18 
 
 P 
 
 tt 
 
 7?-ine, ni-p. 
 
 19 
 
 t 
 
 (aspirates.) 
 
 f-ake, pi-/. 
 
 20 
 
 f 
 
 as in 
 
 /-ine, i/. 
 
 21 
 
 h 
 
 u 
 
 /*-e. 
 
 22 
 
 s 
 
 (« 
 
 s-in, ye-s. 
 
 23 
 
 thi 
 
 'aspirate) " 
 
 M-in, brea-^. 
 
 24 
 
 Sll 
 
 tt 
 
 s^-ine, pu-sA. 
 
 25 
 
 ch 
 
 tt 
 
 cA-in, ch-ur-ch. 
 
 * These may be called su6-tonics, with reference to the vowels, 
 all of which possess the character of tonics in a higher degree. 
 
REMARKS ON THE TABLES. 35 
 
 On the foregoing Tables we shall make only the follow- 
 ing practical remarks : — 
 
 1. By prolonging the sounds of the long vowels, and 
 dwelling upon them, the learner will perceive, that except 
 (/, a, e, and oo, they are not pure, but pass into other 
 sounds; thus a, % and oi pass into e; 6, u and ou, into oo. 
 It appears, therefore, that these latter are strictly diphthongs. 
 This characteristic of these elements cannot fail to become 
 apparent even to the unpracticed student, by making each 
 of them terminate an interrogative sentence. Thus, Is this 
 called a? Is that called i? &c. — This peculiarity in the 
 structure of these sounds needs to be carefully marked and 
 attended to ; otherwise, when they are prolonged, they may 
 lose their true pronunciation. The sound with which they 
 commence must not be dwelt upon too long, nor must they 
 be allowed to pass on to the final sound too soon ; as, in 
 either case, the true sound of these elements as heard in 
 speech is lost. 
 
 2. There follows the utterance of the consonant elements, 
 a breathing or little voice, which has been conveniently de- 
 signated the vocula, or vocule. This is most apparent after 
 the utterance of the mutes, to which indeed it is essential. 
 As a function of the voice, it possesses a power in speech 
 which will be referred to hereafter. In the utterance of 
 these elements however, the vocule should not occupy a 
 prominent place. 
 
 3. Except the first four, the tonic consonant elements 
 are most obviously capable of being prolonged at pleasure. 
 These also may be prolonged by practice, and may acquire 
 a considerable degree of fulness and force. When thus 
 protracted, they exhibit a guttural murmur which, when 
 sounded alone, has no peculiar beauty, but in the com- 
 
36 MANUAL OF ELOCUTION. 
 
 pounds of speech often adds much to the grace, as well as 
 to the effect of utterance. 
 
 4. R should be made vibrant, whenever it is followed 
 by a vowel which is articulated ; and in energetic expres- 
 sion, may be thus uttered even when followed by a conso- 
 nant. The peculiarity here referred to, in the articulation 
 of this element, consists in giving a single percussion of the 
 tongue against the roof of the mouth. If, in common dis- 
 course, the vibration of the tongue is continued, or if the r 
 is made vibrant at all, except before the open vowels, it 
 savors of affectation, or presents the provincialism which 
 so strongly characterizes the dialect of the Irish. The full 
 beauty of this sound can be developed only by much prac- 
 tice ; and cannot be mistaken, when heard in such words 
 as ruin, pray, &c. 
 
 5. The z is one of the most agreeable sounds to the ear 
 that our language furnishes. But its agreeable qualities are 
 developed only as the tongue recedes from the teeth. It 
 should be entirely divested of the hissing sound of s ; and 
 this can be done only by withdrawing the tongue, in its 
 utterance, not only from a contact with the teeth, but from 
 a close approximation to them. — It is worthy of remark, that 
 in our written composition, this element is sometimes repre- 
 sented by x, as in exhibit, &c. ; and much more frequently 
 by s than by z, its proper representative. Thus the aspi- 
 rated hiss heard in the words sin, yes, &c, even though 
 sometimes represented by c, and even by x, does not occur 
 in our language nearly so often as its appropriate sign pre- 
 sents itself to the eye. 
 
 6. The atonies, — including the mutes and aspirates, — 
 take the name we give them from the fact of their being 
 destitute of vocality in their utterance. The learner will 
 
REMARKS ON THE TABLES. 37 
 
 not then expect to produce a sound, in his attempts to utter 
 these elements. 
 
 7. In the attempt to utter the mutes, nothing can be 
 heard but the vocule of which we have before spoken. 
 
 8. In practicing on the elements, as well as in ordinary 
 speech, the aspirates should be passed over lightly. All 
 prolongation of these is a defect in utterance. 
 
 9. In the exercises on these simple elements, as well as 
 on all the future tables, great care should be taken to open 
 the mouth so as to afford a free passage for the sound. 
 The lips should never be compressed in speaking. Ex- 
 cept in the pronunciation of the elements 5, oo, and ow, all 
 protrusion of the lips however should be avoided. It is 
 this erroneous position of the lips that produces the fault of 
 articulation called Mouthing* 
 
 Before leaving this section, the learner should be certain 
 that he has the exact sound *of each of the alphabetic 
 elements fully at his command ; and when he has become 
 entirely familiar with them, he may be assured that he will 
 not be likely to fail in any of his attempts to utter them in 
 the compounds of speech. Unfortunately, the graphic 
 characters employed in our language do not, except in a 
 few cases, of themselves indicate the exact sound to be 
 given to them in the words in which they occur. This 
 must be learned from Dictionaries, and by observing the 
 best usage. But when this is done, the learner has but to 
 employ his already disciplined organs in the execution of 
 what usage and taste shall dictate. 
 
 * Sheridan uses this term differently. " By Mouthing" he says, 
 " is meant dwelling upon syllables that have no accent, and ought 
 therefore to be uttered as quickly as consistent with distinct articu 
 lation ; or prolonging the sound of the accented syllables beyond 
 their due proportion of time." 
 
 4 
 
38 MANUAL OF ELOCUTION. 
 
 SECTION II. 
 
 OF ARTICULATION. 
 
 A good articulation is a rare excellence even among 
 those who are called good speakers; and such is its 
 value, that it can even atone for many other deficiencies. 
 It is of great service to the speaker , as it enables him to 
 make himself heard anywhere, without any great effort of 
 the lungs, and also secures to him the attention of his 
 hearers. A good articulation can scarcely fail to secure 
 attention. And to the hearers also, it is a matter of much 
 interest ; since it enables them distinctly to hear what is 
 said, and that with an agreeable satisfaction, instead of 
 having to put forth a painful effort. When the alphabetic 
 elements found in the tables of the last section can be ut- 
 tered with facility, and with accuracy and neatness, a 
 foundation deep and broad has been laid for a good articu- 
 lation. For these are the very sounds which occur in 
 speech, though not such as are heard in the pronunciation 
 of the names of ihe graphic characters composing our 
 alphabet. When once, then, the learner has them at 
 command, he can rarely fail in his articulation for want of 
 ability to utter them as they occur in the compounds of 
 speech. As regards the vowel sounds, though not difficult 
 of utterance, yet, inasmuch as the letters by which they 
 are represented have no uniform sound, and are often not 
 sounded at all, in vulgar pronunciation they are not unfre- 
 quently substituted the one for the other, or suppressed alto- 
 gether. Thus we are compelled to hear sudden, hyphen, 
 sloven, mountain, uncertain, Latin, satin, gospel, chapel, 
 poem, pronounced as if spelled — suddn, hyphn, slovn y 
 mountn, uncertn, Latn,satn, gospl, chapl, pom; and so of a 
 
ARTICULATION. 39 
 
 great number of words of similar pronunciation. The e and 
 the o are likewise often suppressed in the whole class of 
 words beginning with pre and pro, as in predict ^prevent, pro- 
 duce, promote, pronounced — prdict, prvent, prduce, prmote. 
 The unaccented u is also often suppressed, or made to sound 
 like e, in such words as particular, regular, singular, &c. ; 
 and on the contrary, the unaccented e and a are as often 
 suppressed, or converted in pronunciation to u, in the final 
 syllable of words ending in ent, ar, ant, ence and ance, as 
 in — government, auricular, inhabitant, evidence, igno- 
 rance. Indeed bad habits of articulating the vowels 
 are liable to deform in utterance almost every word and 
 syllable of the language. The effect of the exercise recom- 
 mended in the different sections of this chapter will be to 
 correct all such errors of articulation. If however after 
 practicing these exercises, the learner shall detect himself 
 in any error of this kind, he should make out a list of such 
 words as he fails to articulate correctly, and practice on 
 them daily, not only till he can utter them, but till he can 
 do it with naturalness and ease. 
 
 Many of the combinations of consonant sounds, which 
 occur in our language, are really difficult of utterance, and 
 may be appropriately exhibited here for the express pur- 
 pose of practice on them. — The following list will be found 
 to contain all the difficult combinations that can occur in 
 speech. To many, some of them will seem almost impos- 
 sible to be uttered ; but let such recollect that the difficulty 
 is not produced by us. We select only combinations which 
 actually exist, and which any one is constantly liable to 
 meet with in reading or speaking. Many of these can be 
 rendered easy of utterance only by familiarity with them. 
 At first, they will probably be pronounced by the learner 
 
40 MANUAL OF ELOCUTION. 
 
 in a stiff, affected, and perhaps awkward manner. Practice 
 however will overcome all the difficulty ; and ease and 
 grace may be combined in the utterance with dignity and 
 force. And with most persons this can result only from 
 practice, — practice, the same that gives ease and grace in 
 the exercise of any of the other physical functions. Na- 
 tural impediments, or defective organs of speech, are much 
 more rare than is usually supposed. 
 
 TABLE III. 
 
 COMBINATIONS OF CONSONANT SOUNDS.* 
 
 Combinations. Examples, 
 
 Bd, bdst. Or-6V, ipro-b'dst. 
 
 bl, blst, bid; bldst, biz. trou-ble, trou-bFst, troxk-bFd, tron-bPdst, 
 
 trou-bles. 
 
 br. fcr-and. 
 
 bz. pro-ies. 
 
 bst. Yob-b'sL 
 
 dl, dlst, did, didst, dlz. han-tf/e, hzxi-dVst, han-dTrf, han-dFdst, han- 
 
 dles. 
 
 dn, dnst, dnd, dndst, har-tfen, har-d'nV, har-dVcf, har-dV<fe/, 
 
 dnz, hardens. 
 
 dr. dr-ove. 
 
 dz. dee-ds. 
 
 dsL &i-dst. 
 
 dth, dths. brea-tf/A, brea«d^s. 
 
 gd, gdst. brag-gV, brag-g'dsJ. 
 
 gl, gist, gld, gldst, gl-ow, man-g/c, man-gfc/, mzn-gPd, man- 
 
 glz. gVdst, man-g/es. 
 
 gr. gr-ow. 
 
 gz. wa-gs. 
 
 gst. wag-gV. 
 
 jd. he&-g J d. 
 
 * For the basis of this Table the author is indebted to Barber's 
 Grammar of Elocution. — It is here corrected and enlarged. 
 
CONSONANT SOUNDS. 41 
 
 lb, Jbd, Ibz. bu4b, bu-TC, bu-/&*. 
 
 Id, Idz, Idst. ho-ld, ho- Ids, ho-lcTst. 
 
 Ij, Ijd. bu-lge, bxk-lg'd. 
 
 Im, Imd, Imz. whe-Im, whe-lm'd, whe-lms. 
 
 In. fa-/fn. 
 
 Iv, Ivd, Ivz. she-foe, she-lv'd, she-lves. 
 
 Iz. ba.-lk. 
 
 Ik, Iks, Ikt, Ikts. si-Ik, si-Iks, mu-lct, mn-kts, 
 
 lp, Ipt, Ips, Ipst. be-lp, be-lp'd, he-Ips, he-Ip'st. 
 
 It, Its, list. ba-lt, ha-/te, ba-Wst. 
 
 fi jTs. ] fU tffoi Iftte* gu-^, gn-Ifs, de-lft, twe-lfth, twe-lfths. 
 
 h, 1st. fa-lse, fa-lPst. 
 
 lih, Iths. hea-lth, hea-lths. 
 
 kh, IchU fi-lch, fi-M'c?. 
 
 md, mdst. enio-mVd, exiio-mV dst. 
 
 mz. to-mbs. 
 
 mp, mps, mpt, mpts. i-mp, i-mps, atte-mpt, atte-mpfe. 
 
 mf, mfs. ny-mph, ny-mphs. 
 
 mst. ento-m&V. 
 
 nd, ndz, ndst. se-nd, se-nds, se-ntPst. 
 
 n j\ n jd» Ta-nge, iz-nged. 
 
 tiz. fi-ns. 
 
 ngd, ngdst, ngz, ngth, hz.-ng'd, ha.-ng'dst, ha-ngs, stre-ngth, 
 
 ngths. stre-ngths. 
 
 nk, nkt, nks, nkst. wi-nk, -wi-nJc'd, vri-nks, vri-nk'st. 
 
 nt, nts, ntsU wa-nf, vra-nts, wa-nfU 
 
 ns, nst. wi-nce, wi-nc'c?. 
 
 nth, nths. hyaci-nth, hyaci-n$s. 
 
 rich, ncht. fli-ncA, fii-ncWd. 
 
 rb, rbst, rbd, rbdst, rbz. ba-rb, ba-rb'st, ba-r&'d, ba-rVdst, ba-r&s. 
 
 rd, rdst, rdz. hea-rrf, hea-rd'st, ba-rds. 
 
 rg, rgz. bu-rgh, bu-rghs. 
 
 rj, rjd. u-rge, u-rg'd. 
 
 rl, rht, rid, rldst, rlz. hu-r/, bM-rVst, hu-rZW, hu-WV.tf, hu-r&. 
 
 rm, rmst, rmd, rmdst, wa-rm, wa-rm's/, wa-m'rf, wa-m'<fe/, 
 
 rmz, rmth. wa-rms, wa-rmth. 
 
 rn, rnst, rnd, rndat, bu-rr», bu-rn'st, bu-rn'rf, bn-rridst, bu-rnf, 
 
 rnt, rnz, bu-rns. 
 
 4* 
 
42 MANUAL OF ELOCUTION. 
 
 rv, rvst, rvd, rvdst, rvz. cu-rve, cu-rvV, eu-rv'd, cu-rv'dst, cxk-rves. 
 
 rz. wa-rs. 
 
 rk, rks, rkst, rkt, rkist. ha-r&, ha-rks, ha-r&V, ha-r&V, ha-r&Vs*. 
 
 rp, rps, »ps/, rp<, rptst. ha-rp, ha-rps, ha-rp's/, ha-rp'd, ha-rp'efe*. 
 
 r/, rte, r/sf. hu-r£, hu-rte, hu-rPst. 
 
 rf, rft, rfs. tu-rf, tu-rfd, txi-rfs. 
 
 rs, rs£, rsts* hea-rse, bu-rst, bu-rate. 
 
 r^, rths, hez-rth, hea-r/fo. 
 
 rsA. ha-rsA. 
 
 rch, rcht. sea-rc^, sea-rc/a'c?. 
 
 wZ, vdst. liVc?, li-u'rfsJ. 
 
 v/, v/s*, vld, vldst, viz. driV/, dri-u'f sJ, dri-vTrf, driV/Wstf, driVZs. 
 
 vn, vnz, vnthf vnths. hea-v'n, hea-r'm, ele-v'n/A, ele-v'nths. 
 
 vz. li-ves. 
 
 vsU liVs/. 
 
 zd. ama-zW. 
 
 zl, zlst, zld, zldst, zh. muz-z/e, muz-zl'st, muz-z/W, mxkz-zFdst, 
 
 umz-zles. 
 
 zm, zmz. spa-sm, spa-sms. 
 
 zn, znst, znd, zndst, pri-son, impri-sonV, impri-sem'tf, impri- 
 
 znz. sortdst, prisons, 
 
 rud, thz, tbsL wrea-th'd, wrea-ths, wrea-th's£. 
 
 kl, klst, kid, kldst, klz. truc-kle, tx\ic-kl J st, truc-Ar/'rf, truc-kPdst, 
 
 tme-kles. 
 
 kn, knst, knd, kndst, blac-^en, blao&en'stf, blac-fon'tf, blac- 
 
 knz. ken'dst, blackens. 
 
 kr. cr-oney. 
 
 kt, Ms, klst. z.-ct, a-cfe, li-k'dst. 
 
 ks, kst, ksts, ksih, ksths. ra-c&s, te-xt, te-xts, si-xth, si-xths. 
 
 pi, phi, pld,pldst,plz. pl-uck, rip-pie, rip-pPst, rip-pl'd, xvp-pVdst, 
 
 rip-pies, 
 
 pr. pr-2iy. 
 
 pt, pts, ptst. cry-pt, cry-pts, sle-ptst. 
 
 ps, pst. c\i-ps, clip-j^V. 
 
 pth, pths. de-pth, de-pths. 
 
 tl, tlst, tld, tldst, tlz. set-tie, set-tPst, set-tPd, aet-tPdst, set-ties, 
 
 tr, tw. tr-ust, tw-ist. 
 
 ts, tst, #A, tths. comba-fo, comba-to'/, eigh-M, eigh-M*. 
 
CONSONANT SOUNDS. 43 
 
 fi, Jlst, fid, Jldst, fllz. fl-ame, tri-Jle, trie's*, tri^'rf, in-JVdst, tn-fles. 
 
 fr. /r-ame. 
 
 ft, fts, ftsU wa^f, wa-fts, vta-ffst. 
 
 fs, fst. lau-gAs, lau-gA'sf. 
 
 fth, fths. n-fth, n-fths. 
 
 si, slst, sld, sldst, slz. sl-ay, nestle, nestVst, nestPd, nestVdst, 
 
 nestles. 
 
 sm. sm-6ke. 
 
 sn, snz. sn-ail, basin, basins. 
 
 sk, skt, sks, skst, skr. sk-in, mask, masked, masks, mask'st, scr-ew. 
 
 sp, spt, sps, spr, spl. sp-ot, rasp, rasped, rasps, spr-ing, spl-ash. 
 
 st, sts, sir. st-aj, bust, busts, str-eet. 
 
 thm, ihmz, thr, tht, ihs. logari-^m, logari-^ms, thr-ough, svm-th'd, 
 
 you-ths. 
 
 shr, sht, shtst. shr-ink, nush'd, ipxish'dst. 
 
 cht. fet-cA'c?. 
 
 The following sentences, in most of which some of these 
 combinations occur, and all of which present some difficul- 
 ties to the untutored organs of speech, may be practiced to 
 advantage. He whose articulation is already perfect will 
 find little occasion to delay on them : he who finds any 
 difficulty should not, till this is removed, pass to another 
 section. 
 
 1. The evening was fine, and the full orbed moon shone 
 
 with uncommon splendor. 
 
 2. And oft false sounds sunk near him. 
 
 3. Who ever imagined such an ocean to exist ? > 
 Who ever imagined such a notion to exist ? S 
 
 4. The man of talents struggles through difficulties severe. 
 
 5. The youth hates study. 
 
 6. It was the act of all the acts of government the most 
 
 objectionable. 
 
MANUAL OF ELOCUTION. 
 
 J 
 
 7. He is content in either place. 
 He is content in neither place. 
 
 8. That lasts till night. 
 That last still night. 
 
 9. He was amiable, respectable, formidable, unbearable, 
 
 intolerable, unmanageable, terrible. 
 
 10. And there the finest streams through tangled forests 
 
 stray. 
 
 11. Can you say crackers, crime, cruelty, crutches 9 
 
 12. It was the severest storm of the season, but the masts 
 
 stood through the gale. 
 
 13. The severest storm that lasts till morn. 
 
 14. Thou probht my wound instead of healing it. 
 
 15. The steadfast stranger in the forest strayed. 
 
 16. He was branded as a traitor. 
 
 17. The wild beasts straggled through the vale. 
 
 18. The word burgh signifies a town or city that sends a 
 
 member or members to parliament. 
 
 19. That morning, thou that slumber'dst not before, 
 Nor sleptst, great ocean, laidst thy waves at rest, 
 And hush'dst thy mighty minstrelsy. 
 
 20. He watch? d and wept, he felt and prayed for all. 
 
 21. They weary wandered over wastes and deserts. ) 
 They weary wandered over waste sand deserts. ) 
 
 22. FalVn, falVn, falVn, falVn, falVn from his high 
 
 estate. 
 
 23. When Ajax strives some rock's vast weight to throw, 
 The line, too, labors, and the words move slow. 
 
 24. Thou found* st me poor at first and keep'st me so. 
 
 25. From thy throne in the sky, thou lootfst and laugtfst 
 
 at the storm, and guid'st the bolt of Jove. 
 
SENTENCES. 45 
 
 26. Do you mean plain or playing cards? 
 
 27. The seas shall waste, the skies in smoke decay, 
 Rocks fall to dust, and mountains melt away ; 
 But fired his word, his saving power remains: 
 Thy realm for ever lasts, thy own Messiah reigns. 
 
 28. Those who lie entombed in the public monuments. 
 
 29. Then shrieked the timid and stood still the brave. 
 
 30. Nipt in the bud. 
 
 31. What thou wouldst highly, thou xoouldst holily. 
 
 32. The hidden ocean showed itself anew, 
 And barren wastes still stole upon the view. 
 
 33. Think'' st thou so meanly of my Phocion ? 
 
 34. He never winced, for it hurt not him. 
 
 35. He begged pardon for having troubled the house so 
 
 long. 
 
 36. 'Twas twilight, for the sunless day went down, 
 
 Over the waste of waters, like a veil 
 Which, if withdrawn, would but disclose the frown 
 Of one who hates us. — 
 
 37. The wolf, whose howPs his watch. 
 
 38. They next reef'd the top-sails. 
 
 39. Thou wagg'st thy tongue in vain. 
 
 40. The word filch is of doubtful derivation. 
 
 41 . I do not flinch from the argument. 
 
 42. Where does the river Elbe arise ? 
 
 43. His deeds speak his praise. 
 
 44. And first one universal shriek there rushed, 
 
 Louder than the loud ocean, like a crash 
 Of echoing thunder ; and then — all was hushed, 
 
 Save the wild wind and the remorseless dash 
 Of billows : but at intervals there gushed, 
 
 Accompanied with a convulsive splash, 
 
46 MANUAL OF ELOCUTION. 
 
 A solitary shriek, the bubbling cry 
 Of some strong swimmer in his agony. 
 
 45. Racked with whirlwinds. 
 
 46. Thou chuckled? st over thy gains too soon. 
 
 47. He was hedged in on every side. 
 
 48. No one dared do it. 
 
 49. Thirty-three thousand things. 
 
 50. But he was to be stretched upon the bed of Procrustes, 
 
 51. PercivaVs acts and exttacts. 
 
 52. Thou liv'st — liv'st, did I say ? appear' st in the senate. 
 
 53. The magistrates ought to prove it. 
 
 54. Have you a copy of Smith's Thucydides? 
 
 55. He truckles to power. 
 
 56. He twists the texts to suit the several sects. 
 
 57. The one extremity was pointed, the other bulbed. 
 
 58. This meteorous vapor is called Will o' the wisp. 
 
 59. Foreign travel enlarges and liberalizes the mind. 
 
 60. He sawed six sleek slim saplings. 
 
 61. The bulbs should be immersed in rain water. 
 
 62. The policy of this prince was to mulct the rich Jews. 
 
 63. Thou stumbVst on amidst the mists. 
 
 64. His attempts were fruitless. 
 
 65. The sounds of horses' hoofs were heard at a distance. 
 
 66. Your healths, gentlemen. 
 
 67. He thrusts his fists against the posts. 
 
 68. He mulcts his subjects. 
 
 69. He holds his trust from the people. 
 
 70. Overwhelmed with whirlwinds and tempestuous fire. 
 
 71. When a twister, a twisting, will twist him a twist, 
 For twisting his ftm'stf he JAree tones doth intwist; 
 But if one of the twines of the ftaistf doth untwist, 
 The faroe £W untwisteth, untwisteth tJie twist. 
 
SENTENCES. 47 
 
 72. His kindness overwhelms me. 
 
 73. They were wrenched by the hand of violence from a 
 
 congenial soil. 
 
 74. He barbed the dart by which he fell. 
 
 75. Thou openest thine hand, and satisfiest the desire of 
 
 every living thing. 
 
 76. Whose mouth speaketh vanity. 
 
 77. The culprit was hurled from the Tarpeian rock. 
 
 78. Are the goods wharf ed°l 
 
 79. The heights , depths, and breadths of the subject. 
 
 80. Pluck from the memory a rooted sorrow. 
 
 81. Thrice he walked by their oppressed and fear-surprised 
 
 eyes. 
 
 82. A sudden day of joy, that thou expecVst not, nor I 
 
 looked not for. 
 
 83. Think? st thou we shall ever meet again ? 
 
 84. I heard thee say but now, " Thou lik?dst not that." 
 
 85. The ZordZy /ion /eaves his ZoneZy Zair. 
 
 86. He was Zong, Zean, and Zank, and Zaughed ZoudZy. 
 
 87. How sweetZy sZow the. Ziquid Zay 
 In hoZy haZZeZujahs rose. 
 
 88. .Ruin seize thee, ruthless king. 
 
 89. Around the hearth the crackling faggots blaze. 
 
 90. Approach thou, like the rugged .Russian bear, 
 The armed rhinoceros, the Hyrcan tiger. 
 
 91. The master current of her mind 
 i?an permanent and free. 
 
 92. .Round and round the rugged rocks 
 The ragged rascal ran. 
 
 Examples not unlike the foregoing can be found on 
 every page of many books. The teacher should not fail 
 
48 MANUAL OF ELOCUTION. 
 
 to direct the special attention of the learner to their execu- 
 tion, whenever they occur in his reading exercises. A 
 vicious articulation is sometimes more apparent in the cur- 
 rent of discourse, than in the pronunciation of single sylla- 
 bles or words. This is not unfrequently induced by the 
 animal and intellectual temperament ; and the habit, if it 
 has been otherwise formed, is always rendered more in- 
 veterate where there is a sluggish action of the mind, or an 
 excess either of vivacity or of sensibility. In the one case, 
 the sounds proceed from the organs of speech half-formed, 
 and indicate to every one that the reader or speaker is too 
 slothful to make the necessary effort for distinct enuncia- 
 tion ; while in the others the confusion arises from too 
 much haste. In either of these cases, after all the practice 
 recommended in this and in succeeding sections, additional 
 exercises may be found necessary ; and these may consist 
 simply in reading aloud an hour each day, in a slow and 
 distinct manner, and in the presence of some one who will 
 notice and correct the slightest tendency to let fall a conso- 
 nant or a syllable from the organs of speech unfinished, or 
 to hasten the rate of utterance beyond that of the utmost 
 deliberation. — An attention to this whole matter is the more 
 important, as our language furnishes none of those expe- 
 dients for preventing difficult collisions of sound, or for 
 facilitating their articulation, which the Greek afforded and 
 in which several of the modern languages abound. 
 
 SECTION III. 
 
 OF THE TIME OF THE VOICE. 
 
 Time means the same with quantity ; and syllables are 
 considered as long or short, according to the time given 
 
OF THE TIME OF THE VOICE. 49 
 
 them in utterance. When, however, time is spoken of with 
 reference to the utterance of a sentence or of a discourse, 
 it is designated as slow or quick. The power to prolong 
 the sound of syllables capable of quantity is of infinite im- 
 portance to the effect of delivery, at the same time that 
 it may be considered an elegant accomplishment in the 
 speaker, 
 
 In music there are terms to express the nicest shades of 
 quantity, — from the demi-semiquaver to the semibreve. In 
 elocution, the same phenomena exist, though we have no 
 terms to express them. Every elementary sound however, 
 or every syllable, is not equally capable of protraction. 
 The short vowels, for example, cannot be prolonged like 
 the long vowels ; and when one of these standing alone is 
 followed by a mute, the syllable is of the shortest kind. 
 Thus ak, ap, at, ac-count, op-point, at-tic. These are 
 called Immutable syllables. If however, even in this situ- 
 ation, the short vowel is preceded by a tonic consonant, it 
 is lengthened somewhat. Thus trap, des-trac-tion, grat- 
 itude. These, with syllables ending in b, d,g,orj,as 
 also those ending in the aspirates, are called Mutable sylla- 
 bles. But if the syllable terminates with a long vowel, or 
 with any tonic consonant except b, d, g, j, it may be pro- 
 longed, or shortened, to any desired extent; and hence, 
 they are called Indefinite syllables. 
 
 Quantity, although most obviously a distinct element, 
 and deserving of this separate consideration, yet can never 
 be represented free from combination with other elements. 
 Hence we shall not present any exercises for practice under 
 this head ; but having now obtained a distinct idea of its 
 nature, without delaying at this point to set forth its useful 
 
 5 
 
50 MANUAL OF ELOCUTION. 
 
 applications, shall pass to consider another of the attributes 
 of good delivery.* 
 
 SECTION IV. 
 
 OF STRESS. 
 
 Every sound capable of prolongation, uttered without 
 excitement, and in a natural manner, commences full and 
 somewhat abrupt, and gradually decreases in fulness, till it 
 becomes a mere breathing. Though this movement of the 
 voice may be varied almost at pleasure, yet it has suggested 
 the designation of the Radical movement as applicable to 
 the first part of the sound ; while the last part — the gradual 
 decrease and final termination of the sound — has been 
 called the Vanishing movement of the voice. And these 
 designations continue the same, on whatever part of the 
 sound the principal force of the voice is laid. This force 
 of voice however is called stress ; and, when given at the 
 opening of the sound, is called Radical stress, because 
 given on the radical part of the vocal movement. The 
 stress may be given so as to fall on the middle of the move- 
 ment, when it is called the Median stress ; or it may fall 
 at the vanish, that is, at the close of the sound, in which 
 case it is called the Vanishing stress. A command of the 
 several functions here described, is of the utmost importance 
 to the speaker, since they each have their peculiar signifi- 
 cancy, and since, with few exceptions, some one of them must 
 enter into the pronunciation of every syllable forcibly ut- 
 tered. We shall therefore propose some exercises which, 
 
 * The exercises proposed in the next section on Stress are equally 
 well adapted to the improvement of the voice, as regards Quantity. 
 
OFSTRESS. 51 
 
 while they illustrate this subject, will give the learner the 
 command of quantity, and lay a foundation for general 
 improvement in all the vocal powers. 
 
 Radical Stress. — This is the kind of stress heard in the 
 successive strokes upon the keys of a piano. It may also 
 be given by the voice, on both the long and the short 
 vowels ; and is the only kind of stress which the Immuta- 
 ble syllables can take. The exercise, however, on sounds 
 or syllables of short quantity, we shall reserve for another 
 section ; and here use only such as combine both stress and 
 quantity. And we shall use, for this purpose, the simple 
 elements, and the simplest combinations ; because, though 
 we might employ short words, we could scarcely find 
 words embracing all the various elementary sounds, and 
 thus the learner would lose the improvement in articulation, 
 which we purpose to combine with the exercises of this 
 and several of the following sections. Let the learner then 
 refer to Table I; and striking each of the long vowels 
 successively full at the opening, let the voice gradually die 
 away till it becomes inaudible. This will exhibit the sim- 
 plest modification of quantity ; and may perhaps be repre- 
 sented with sufficient accuracy to the eye thus : — 
 
 Let this exercise be continued till the learner has acquired 
 perfect smoothness of voice, and the command of the equa- 
 ble movement which decreases gradually till it dies away 
 in silence. When all the beauties of this vanishing 
 movement are developed in execution, the ear is scarcely 
 less delighted than in listening to the higher excellences of 
 music. This function of the voice should then be carefully 
 cultivated ; and to aid in its further training, and at the same 
 
52 MANUAL OF ELOCUTION. 
 
 time to cultivate other excellences of the art of speaking, 
 we propose the following additional tables of exercise. 
 
 TABLE IV. 
 
 Combinations of the Tonic Consonants with the Long 
 Vowels.* 
 
 ba 
 
 da 
 
 ga 
 
 ja 
 
 la 
 
 ma 
 
 na 
 
 ra 
 
 va 
 
 wa 
 
 ya 
 
 za 
 
 THa, 
 
 zha 
 
 ba 
 
 da 
 
 &a 
 
 ja 
 
 la 
 
 ma 
 
 na 
 
 ra . 
 
 va 
 
 wa 
 
 ya 
 
 za 
 
 THa 
 
 zha 
 
 ba 
 
 da 
 
 ga 
 
 ja 
 
 la 
 
 ma 
 
 na 
 
 ra- 
 
 va. 
 
 wa 
 
 ya 
 
 za 
 
 THa, 
 
 zha. 
 
 be 
 
 de 
 
 &e 
 
 je 
 
 le 
 
 me 
 
 ne 
 
 re 
 
 ve 
 
 we 
 
 ye 
 
 ze 
 
 THe 
 
 zhe 
 
 bi 
 
 di 
 
 gi 
 
 ji 
 
 li 
 
 mi 
 
 ni 
 
 ri 
 
 vl 
 
 Wl 
 
 yi 
 
 zl 
 
 THl 
 
 zhi 
 
 bo 
 
 do 
 
 go 
 
 jo 
 
 16 
 
 mo 
 
 no 
 
 ro 
 
 vo 
 
 wo 
 
 yo 
 
 zo 
 
 THO 
 
 zho 
 
 bii 
 
 du 
 
 ga 
 
 ju 
 
 lu 
 
 mu 
 
 nu. 
 
 ru 
 
 vu 
 
 wu 
 
 yu 
 
 zti 
 
 THU 
 
 zhii 
 
 bou dou gou jou lou mou nou rou vou wou you zou tiiou zhou 
 boo doo goo joo loo moo noo roo voo woo yoo zoo thoo zhoo 
 boy doy goy joy loy moy noy roy voy woy yoy zoy Tnoy zhoy 
 
 TABLE V. 
 
 Combinations of the Atonics with the Long Vowels. 
 
 ka 
 
 pa. 
 
 ta 
 
 ta 
 
 ha 
 
 sa 
 
 tha 
 
 wha, 
 
 sha 
 
 cha 
 
 ka 
 
 pa 
 
 ta 
 
 fa 
 
 ha 
 
 sa 
 
 tha 
 
 wha 
 
 sha 
 
 cha 
 
 ka 
 
 pa 
 
 ta 
 
 fa 
 
 ha 
 
 sa 
 
 tha 
 
 wha 
 
 sha 
 
 cha, 
 
 ke 
 
 pe 
 
 te 
 
 fe 
 
 he 
 
 se 
 
 the 
 
 whe 
 
 she 
 
 che 
 
 ki 
 
 Pi 
 
 tl 
 
 ft 
 
 hi 
 
 si 
 
 thi 
 
 whl 
 
 shi 
 
 chi 
 
 ko 
 
 po 
 
 to 
 
 fo 
 
 ho 
 
 so 
 
 tho 
 
 who 
 
 sho 
 
 cho 
 
 ku 
 
 pu 
 
 tu 
 
 fu 
 
 hu 
 
 su 
 
 thu 
 
 whu 
 
 shu 
 
 chu. 
 
 kou pou tou fou hou sou thou whou shou chou 
 koo poo too foo hoo soo thoo whoo shoo choo 
 koy poy toy foy hoy soy thoy whoy shoy choy 
 
 * Note to the Teacher — This and the four following Tables 
 are carried out so as to embrace all the possible combinations, for 
 the purpose of detecting in the learner any defects of articulation, 
 should such exist. On any combination which proves difficult of 
 utterance, the practice should be continued till the sound is per- 
 fectly familiar to the organs of speech.— -For the mere purpose of 
 exercise in regard to stress or quantity, where no such difficulty of 
 articulation presents itself, a few only of the most common and 
 agreeable combinations may be used. 
 
TABLES FOR PRACTICE. 53 
 
 For practice on these Tables, 
 
 1 . Let each of the consonant sounds be successively taken 
 and fully uttered; but without prolonging them, let the 
 voice abruptly burst upon the vowels, taken one by one, 
 which are to be protracted as in the exercise recommended 
 on Table I. 
 
 2. Repeat the combinations in Table IV, protracting the 
 sound of both the consonants and vowels.* 
 
 
 
 
 
 TA 
 
 BLE VI. 
 
 
 
 
 Combinations of 
 
 THE 
 
 Long Vowels with 
 
 the Tonic Conso- 
 
 
 
 
 
 naNts. 
 
 
 
 
 
 ab 
 
 ab 
 
 ab 
 
 eb 
 
 ib 
 
 6b 
 
 ub 
 
 oub 
 
 oob 
 
 oyb 
 
 ad 
 
 ad 
 
 ad 
 
 ed 
 
 id 
 
 6d 
 
 ud 
 
 oud 
 
 ood 
 
 oyd 
 
 ag 
 
 ag 
 
 ag 
 
 eg 
 
 is 
 
 °£ 
 
 ug 
 
 oug 
 
 oog 
 
 oyg 
 
 aj 
 
 aj 
 
 aj 
 
 ej 
 
 ij 
 
 oj 
 
 Ai 
 
 ouj 
 
 ooj 
 
 oyj 
 
 al 
 
 al 
 
 al 
 
 el 
 
 il 
 
 61 
 
 Gi 
 
 oul 
 
 ool 
 
 oyl 
 
 am 
 
 am 
 
 am 
 
 em 
 
 Im 
 
 6m 
 
 urn 
 
 oum 
 
 oom 
 
 oym 
 
 an 
 
 an 
 
 an 
 
 en 
 
 In 
 
 on 
 
 un 
 
 oun 
 
 oon 
 
 oyn 
 
 ar 
 
 ar 
 
 ar 
 
 er 
 
 ir 
 
 or 
 
 ur 
 
 our 
 
 oor 
 
 oyr 
 
 av 
 
 av 
 
 av 
 
 ev 
 
 iv 
 
 6v 
 
 uv 
 
 ouv 
 
 oov 
 
 oyv 
 
 az 
 
 az 
 
 az 
 
 ez 
 
 iz 
 
 6z 
 
 uz 
 
 ouz 
 
 00^ 
 
 oyz 
 
 ang 
 
 ang 
 
 ang 
 
 eng 
 
 ing 
 
 ong 
 
 ung 
 
 oung 
 
 oong 
 
 oyng 
 
 §.th 
 
 aTH 
 
 a.TH 
 
 §TH 
 
 1TH 
 
 OTH 
 
 UTH 
 
 OUTH 
 
 OOTH 
 
 oyTH 
 
 azh 
 
 azh 
 
 azh 
 
 ezh 
 
 izh 
 
 6zh 
 
 uzh 
 
 ouzh 
 
 oozh 
 
 oyzh 
 
 In the practice on the foregoing Table, let both the 
 vowels and consonants be protracted as much as possible, 
 consistently with a neat pronunciation. 
 
 * Though this exercise of the vocal organs is here recommended, 
 the learner should be cautioned against habitually protracting the 
 initial consonants in ordinary delivery. When thus prolonged, the 
 enunciation becomes disagreeable and affected. This is sometimes 
 heard in the pulpit ; and Dr. Rush speaks of having heard this de- 
 fect in the pronunciation of the following words of Macbeth, by a 
 distinguished actor- 
 Canst thou not m-inister to a m-ind diseased ; 
 Pl-uck from the m-emory a r-ooted s-orrow, &c. 
 
 5* 
 
54 MANUAL OF ELOCUTION. 
 
 TABLE VII. 
 
 Combinations of the Long Vowels with the Atonics. 
 
 ak 
 
 ak 
 
 ak 
 
 ek 
 
 ik 
 
 ok 
 
 uk 
 
 ouk 
 
 # 
 
 oyk 
 
 ap 
 
 ap 
 
 ap 
 
 ep 
 
 ip 
 
 op 
 
 up 
 
 oup 
 
 oop 
 
 °yp 
 
 at 
 
 at 
 
 at 
 
 et 
 
 It 
 
 6t 
 
 ut 
 
 out 
 
 oot 
 
 oyt 
 
 af 
 
 af 
 
 af 
 
 ef 
 
 If 
 
 of 
 
 uf 
 
 ouf 
 
 oof 
 
 oyf 
 
 as 
 
 as 
 
 as 
 
 es 
 
 Is 
 
 6s 
 
 us 
 
 ous 
 
 oos 
 
 oys 
 
 ath 
 
 ath 
 
 ath 
 
 eth 
 
 Ith 
 
 6th 
 
 uth 
 
 outh 
 
 ooth 
 
 oyth 
 
 ash 
 
 ash 
 
 ash 
 
 esh 
 
 Ish 
 
 6sh 
 
 iish 
 
 oush 
 
 oosh 
 
 oysh 
 
 ach 
 
 ach 
 
 ach 
 
 ech 
 
 Ich 
 
 6ch 
 
 iich 
 
 ouch 
 
 ooch 
 
 oych 
 
 In the practice on the foregoing Table, let the vowels 
 be protracted as much as possible; but the consonants 
 only enough for distinct utterance. 
 
 TABLE VIII. 
 
 Combinations of the Short Vowels with the Tonic Conso- 
 
 ab 
 
 eb 
 
 ib 
 
 ob 
 
 ub 
 
 
 ad 
 
 ed 
 
 id 
 
 od 
 
 ud 
 
 99df 
 
 ag 
 
 eg 
 
 *g 
 
 og 
 
 ug 
 
 ??&t 
 
 aj 
 
 ej 
 
 ij 
 
 oj 
 
 uj 
 
 
 al 
 
 el 
 
 il 
 
 ol 
 
 ul 
 
 m 
 
 am 
 
 em 
 
 im 
 
 om 
 
 um 
 
 pomf 
 
 an 
 
 en 
 
 in 
 
 on 
 
 un 
 
 
 ar 
 
 er 
 
 ir 
 
 or 
 
 ur 
 
 
 av 
 
 ev 
 
 iv 
 
 ov 
 
 uv 
 
 
 az 
 
 ez 
 
 iz 
 
 oz 
 
 uz ' 
 
 
 ang 
 
 eng 
 
 ing 
 
 ong 
 
 ung 
 
 
 aTH 
 
 eTH 
 
 JTH 
 
 OTH 
 
 UTH 
 
 
 azh 
 
 ezh 
 
 izh 
 
 ozh 
 
 uzh 
 
 
 * Oo before k is always short ; also before the atonics p and /, 
 in the words hoop and foot. 
 
 f The short sound represented by oo is heard only before the tonic 
 consonants d, g, /, and m, as in the words should, sugar, full, and wo- 
 man ; nor has oo this sound before the tonic consonants, except in the 
 five words good, hood, stood, twod, and wool. In all others it is Ion* 
 
TABLES FOR PRACTICE. 65 
 
 In the foregoing Table the vowels are to receive short 
 quantity, while the consonants are lengthened as much as 
 possible. In this, as in the Vlth Table, the learner will 
 find the consonant elements b, d and g more difficult of 
 prolongation than the others, and more difficult than in 
 the other exercises ; but the ability to extend the quantity 
 of these elements is so desirable, that the practice on them 
 as well as on the others is here recommended. 
 
 In all these exercises, the learner should be careful to 
 exhibit a distinct articulation of the elements, composing the 
 syllabic combinations, to give the usual relative quantity to 
 these elements, and carefully to execute the delicate vanish 
 which should terminate the vocal movement. Most of the 
 combinations thus formed, however strange to the ear they 
 may sound on receiving this separate pronunciation, actu- 
 ally occur in the regular flow of ordinary speech ; and he 
 who leaves these exercises, either from their inherent diffi- 
 culty of execution or from disgust, leaves them but to find 
 them again, where, from inability to execute them, he may 
 experience the chagrin of a failure, for having avoided the 
 trouble of a preparation. 
 
 Median stress. — This is designated in music by the term 
 swell ; and in works of music is represented to the eye by 
 the following sign : — 
 
 The sound here indicated gradually swells to a full vo- 
 lume, and then gently subsides, exhibiting all the charm 
 connected with the vanishing movement as before described. 
 It is suited only to syllables of long quantity, and therefore 
 the long vowels of Table I, and Tables IV, V, VI, and VII, 
 are all that can be used for exercise on this form of stress , 
 
56 MANUAL OF ELOCUTION. 
 
 and they may be used under these two conditions : First, 
 care should be taken that the middle point of the sound 
 have the greatest fulness, and that the swell and vanish be 
 smoothly and equably formed ; and secondly, that in the 
 Vth and Vllth Tables, embracing the atonies, the protrac- 
 tion of sound should be confined to the vowels, while in 
 the others, it should extend to the consonants. 
 
 Vanishing stress. — This can be given only on syllables 
 of long quantity ; and is the exact reverse of the Radical 
 stress when combined with quantity. This then would be 
 represented to the eye thus : — 
 
 It consists of a gradual increase in the fulness of the 
 sound from the radical to the extreme of the vanish, which 
 should exhibit a high degree of abruptness. For practice, 
 use the long vowels of Table I, and Tables IV, V, VI and 
 VII. 
 
 There is another kind of stress occasionally though 
 rarely used, which is laid on both the radical and vanish 
 of a syllable of long quantity ; and is called the Compound 
 stress. This has its peculiar force in delivery, as will be 
 seen under the head of Emphasis ; but its recurrence is not 
 sufficiently frequent to suggest in relation to it any system 
 of practice. There is still another form of stress which 
 consists simply in the addition of force to the natural con- 
 crete movement, and which is designated as the Loud 
 Concrete. This is employed particularly in accent. 
 
 It may not be amiss to remind the inexperienced learner 
 that all these forms of stress, not less than the combinations 
 of elements employed in the Tables of this section, are 
 among the constantly recurring phenomena of actual speech. 
 
PITCH OF THE VOICE. 57 
 
 The lessons of this section are then of the most practical 
 character, whatever the learner may be inclined to think 
 of them ; and thus should not be hastily abandoned even 
 in the first place, and then should be often recurred to as a 
 discipline of the voice. 
 
 SECTION V. 
 
 OF THE PITCH OF THE VOICE. 
 
 Pitch has exclusive regard to the place of the sound 
 with reference to the musical scale ; thus its variations are 
 denoted by the terms high and low, rise and fall. Dif- 
 ferences in pitch are always presented by touching different 
 keys of a piano ; and the extent to which the learner can 
 rise or fall on the musical scale determines the compass of 
 his voice. The Natural or Diatonic scale to which we 
 here refer consists of a succession of eight sounds either 
 in an ascending or descending series. A simple sound 
 produced at any point in the scale, is called a note ; and 
 the first of these sounds in an ascending series is called 
 the keynote. The distance between any two points of the 
 scale, whether proximate or remote, is called an interval. 
 The intervals between the proximate points are called tones, 
 except between the third and fourth, and the seventh and 
 eighth ; in which cases they are but half the length of the 
 others, and are called semitones. 
 
 The intervals between the first or keynote and the others 
 successively are called the second, the third, the fourth, 
 the fifth, the sixth, the seventh and the eighth or octave ; 
 and this irrespective of the point assumed on the scale as 
 the keynote. 
 
 Compass of voice, or the power to rise and fall at plea- 
 
58 MANUAL OF ELOCUTION. 
 
 sure through a wide scale, is of great importance to the 
 speaker. It relieves his vocal organs from the fatigue of 
 efforts long continued on the same pitch, and also furnishes 
 the basis of an agreeable variety in his intonation. The 
 compass of the voice may be sufficiently extended by 
 proper exercise on the Tables of the foregoing sections, on 
 words, or on sentences. First, let the example be uttered 
 on as low a note as possible ; then let it be repeated, gra- 
 dually rising to the highest pitch of which the voice is ca- 
 pable. This exercise judiciously and perseveringly prac- 
 ticed cannot fail to give the learner the command of a suffi- 
 ciently extensive compass of voice. 
 
 The changes of pitch produced by striking the different 
 keys of the piano are called discrete changes of pitch. The 
 same may be produced by drawing a bow across the differ- 
 ent strings of a viol. The space between these successive 
 notes is called a discrete interval. Another kind of change 
 may be produced by sliding the finger along the string of the 
 viol at the same time the bow is drawn, which is called a 
 concrete change of pitch ; and it is this which is heard in 
 every effort of the human voice at speech as distinguished 
 from song. In song, as produced by instruments, the 
 sound is continuous on the same note ; and it is the same 
 with the human voice also, after the intended note is once 
 reached by a slight upward movement. The continuity 
 of sound on the same line of pitch is peculiar to song. 
 This never properly belongs to speech; but, as a defect in 
 delivery, is sometimes heard in the pulpit exercises of some 
 of the minor Christian sects. This " puritanical whine," or 
 system of " speech singing," which prevailed so generally 
 two hundred years ago, is now however passing away. 
 
 This peculiarity of speech we shall illustrate. Let the 
 
SLIDES OF THE VOICE. 59 
 
 learner propose to himself in a familiar manner, this question : 
 Do I say a, or a? and he will perceive a difference in the 
 successive modes of uttering this vowel. In the first, the 
 movement is upward, and in the latter it is downward. 
 And now if he shall attempt to repeat the vowel elements, 
 he will find that the voice will naturally fall into the one or 
 tne other of these modes of utterance ; that is, it will either 
 rise or fall on each successive effort. And the result will 
 be the same, if he shall attempt to pronounce syllables or 
 words. 
 
 Having satisfied himself of the existence of a rise or fall in 
 these cases, let him repeat the same question with different 
 degrees of earnestness ; and he will find that the rise and 
 fall will become greater, as the energy with which he pro- 
 poses the question increases. The space in all these cases 
 between the radical and vanish is called a concrete interval. 
 And these movements, according as they are upward or 
 downward, are called upward or downward Slides of the 
 voice.* 
 
 The slides of the voice which occur mostly in speech, 
 are those of the semitone, of a full tone or second, of the 
 third or two full tones, of the fifth, and of the octave ; all 
 of which, except the first, may be represented by the aid of 
 the musical scale. 
 
 to 
 
 |*3 
 
 T3 
 
 "- 1 • 
 
 C S3 
 
 £-o 
 
 II 
 
 *S 
 
 p*J3 
 
 P02 
 
 t>H 
 
 6* 
 
 O _G 
 
 W~\ * — y~M* 
 
 * Called in our old books on Elocution rising and falling Inflection*. 
 
60 
 
 MANUAL OF ELOCUTION. 
 
 
 -d 
 
 
 'S 
 
 
 CJ 
 
 
 03 
 
 * 
 
 £ 
 
 T3 • 
 
 £ 0> 
 
 03 . 
 
 A -I 
 
 rt > 
 
 c > 
 
 ££ 
 
 ^^ 
 
 *2 
 
 £2 
 
 oJa 
 
 oha 
 
 O,o 
 
 o o 
 
 E>fa 
 
 Ofe 
 
 &>o 
 
 GO 
 
 
 
 y^ 
 
 * 
 
 ( 
 
 ^ 
 
 1 
 
 I 
 
 J 
 
 V 
 
 i 
 
 I 
 
 w 
 
 
 J 
 
 \ 
 
 1. 77ie s&de o/*a Semitone. — This is heard in the com- 
 plaints of children, and is also the element which gives the 
 peculiar expression to the language of grief, or of pity. It 
 should be at the command of every speaker, and yet there 
 is danger of using it too freely. It can be caught by 
 the experienced ear, in the attempt to imitate the tender 
 emotions, and can then be readily transferred to any desired 
 syllable or word ; but the exercise will be most successful 
 if confined to passages expressing complaint, grief or pity. 
 This element, when extended beyond mere words or 
 phrases, is called the Chromatic melody. 
 
 2. The slide of the Second. — This is the slide employed 
 in the reading of simple narrative, and in unimpassioned 
 discourse, and when used continuously constitutes the Dia- 
 tonic melody. 
 
 3. The slides of the Third, Fifth, and Octave. — Exercise 
 on these several functions of speech, after the extent of each 
 shall be determined, is peculiarly important; and the ex- 
 ercise may extend to both the upward and downward 
 movements. The upward movement may be given either 
 with the radical or vanishing stress ; the downward usually 
 though not always requires the radical. 
 
 The musical scale will suggest to the learner the means 
 of measuring the extent of a slide, by fixing in the mind 
 the radical and vanishing points and thus determining the 
 
SLIDES OF THE VOICE. 61 
 
 interval. It will also enable him to fix beforehand the ex- 
 tent of the slide which he wishes to practice. Suppose it 
 to be a Third, he will rise two notes above the key— thus 
 fa — sol — la, or do — re — mi, discretely ; and then, instead, 
 of going up by skips, will rise on the sound fa or do con- 
 cretely up to the place of la, or mi ; and thus fix for him- 
 self the limit of the desired slide. Then it may be repeated 
 on one of the vowel elements, or on any syllable or word 
 at pleasure. The same, if it be a fifth or an octave. And 
 when he has learned to determine these points, he is pre- 
 pared for practice on this branch of the subject ; and prac- 
 tice obviously is all that is necessary to enable the learner 
 to extend the slides from any one point to anothei within 
 the compass of his voice. 
 
 For practice on these slides, both upward and downward, 
 w T e would recommend to the learner, 
 
 1. To use the long vowel elements of Table I. 
 
 2. To use the words employed in the same Table to 
 illustrate these elementary sounds; thus, ale, all, arm, &c, 
 This table of words may be extended at pleasure. 
 
 3. It is recommended to the learner, to apply these slides 
 to words, as they occur in current discourse. In the fol- 
 io wins: exercises, the acute accent — ' is used to denote the 
 rising slide, and the grave accent — * the falling. And 
 whenever this latter inflection occurs, it is to be specially 
 borne in mind, that the downward movement does not 
 commence on the same line of pitch with the current 
 melody, but always on a line above it. 
 
 1. Will you go — or stay 1 Will you ride— or walk 1 Will you 
 go to-day — or to-morrow 1 
 
 2. King Agrippa, believest thou the prophets 1 I know that thoa 
 believest. 
 
 6 
 
62 MANUAL OF ELOCUTION. 
 
 3. Ar'med, say you ] Armed, my lord. From top to toe? My 
 lord, from head to foot. 
 
 4. By honor, and dishonor; by evil report and good report; as de- 
 ceivers, and yet true; as unknown, and yet well known; as dying, 
 and behold we live ; as chastened, and not killed ; as sorrowful, yet 
 always rejoicing; as poor, yet making many rich ; as having no- 
 thing, and yet possessing all things. 
 
 5. Whither shall I turn ? to what place shall I betake myself? 
 Shall I go to the capitol 1 Alas ! it is overflowed with my brother's 
 blood! Or shall I retire to my house? Yet there I behold my 
 mother plunged in misery, weeping and despairing ! 
 
 6 And though I have the gift of prophecy, and understand all 
 masteries, and all knowledge ; and though I have all faith, so that 
 I could remove mountains, and have not charity, I am nothing. 
 
 7. The man who is in the daily use of ardent spirit, if he does not 
 become a drunkard, is in danger of losing his health and character. 
 
 8. True charity is not a meteor which occasionally glares ; but a 
 luminary, which, in its orderly and regular course, dispenses a be- 
 nignant influence. 
 
 9. Caesar, who would not wait the conclusion of the consult 
 speech, generously replied, that he came into Italy not to injure the 
 liberties of Rome and its citizens, but to restore them. 
 
 10. If any man sin, we have an advocate with the Father, Jesus 
 Christ the righteous : and he is the propitiation for our sin ; and 
 not for ours only, but also for the sins of the whole world. 
 
 11. These things I say now, not to insult one who is fallen, but to 
 render more secure those who stand ; not to irritate the hearts of the 
 w T 6unded, but to preserve those who are not yet wounded, in sound 
 health ; not to submerge him who is tossed on the billows, but to 
 instruct those who are sailing before a propitious breeze, that they 
 may not be plunged beneath the waves. 
 
 12. But this is no time for a tribunal of justice, but for showing 
 mercy ; not for accusation, but for philanthropy ; not for trial, but 
 for pardon ; not for sentence and execution, but compassion and 
 kindness. 
 
 13. If the population of this country were to remain stationary, a 
 great effort would be necessary to supply each family with a Bible. 
 
THE DIATONIC SLIDES. 63 
 
 The teacher, or learner, can multiply these examples at 
 pleasure ; and the subject should not be passed over, till 
 the ear of the learner can distinguish instantly between the 
 rising and the failing slide, as it occurs in speech ; nor till 
 he can execute them at pleasure. 
 
 The learner need scarcely be reminded, though we treat 
 the different functions of the voice separately and devote to 
 them different sections in our Manual, yet that in speech 
 they'are often united. Thus, the slides can never be 
 given without involving quantity t and some one of the dif- 
 ferent kinds of stress. But though so closely allied, still 
 they are entirely distinct elements. 
 
 Before leaving this subject, we proceed to notice some 
 of the practical uses of the slides, and the rules which 
 direct their employment. 
 
 I. The Diatonic Slides. 
 
 These are slides through a single tone only, ai^d are not 
 used for purposes of Expression. These slides distinguish 
 speech from song, and in discourse belong to the utter- 
 ance of every syllable, which does not take in a wider con- 
 crete interval for the purpose of Emphasis or Interrogation. 
 In the simple melody of speech, the rising slide greatly 
 predominates over the falling ; as the latter occurs only at 
 the close of sentences, or members of sentences, nor always 
 there. Rules then are only requisite to determine the slide 
 before pauses. These have been multiplied by writers on 
 Elocution ; but, reserving the rales for Emphasis and Inter- 
 rogation for another place, it is believed that the rules for 
 the Diatonic Slides may be briefly summed up thus : — 
 
 Rule I. — The proper Cadence, at the close of a com- 
 plete sentence, requires that the last syllable, and in some 
 
64 MANUAL OF ELOCUTION. 
 
 constructions several of the concluding syllables — rarely 
 however exceeding five, — should take the Falling Slide. — 
 This principle will find ample illustration in the section on 
 Cadence. 
 
 Rule II. — Members of sentences which express a com- 
 plete and independent sense, require the Falling Slide on 
 the last accented syllable, and on all that follow it. 
 
 Examples. 
 
 1. Charity suffereth long, and is kind; charity envieth not; cha- 
 rity vaunteth not itself; is not puffed up; doth not behave itself 
 unseemly ; seeketh not her own ; is not easily provoked ; thinketh 
 no evil. 
 
 2. The wind and rain are over ; calm is the noon of day ; the 
 clouds are divided in heaven ; over the green hill flies the incon- 
 stant sun ; red through the stony vale comes down the stream of 
 the hill. 
 
 3. The soul can exert herself in many different ways of action : 
 she can understand, will, imagine — see and hear — love and dis- 
 course — and apply herself to many other like exercises of different 
 kinds and natures. 
 
 4. I observed that those who had but just begun to climb the 
 hill, thought themselves not far from the top ; but as they proceed- 
 ed, new hills were continually rising to their view ; and the sum- 
 mit of the highest they could before discern, seemed but the foot of 
 another : till the mountain, at length, appeared to lose itself in the 
 clouds. 
 
 Rule III. — Members of sentences which do not express 
 a complete and independent sense require the Rising Slide. 
 — The pauses which follow such members or clauses — are 
 called Pauses of Suspension. 
 
 Examples. 
 1. If some of the branches be broken off, and thdu, being a wild 
 olive-tree, wert grafted in among them, and with them partakest 
 
THE DIATONIC SLIDES. 65 
 
 of the root and fatness of the olive-tree; boast not against the 
 branches. 
 
 Note. — This rule may be applied, even when the hypothetical 
 member occupies the last place in the sentence ; as in the follow- 
 ing : — We are bound to set apart one day in seven for religious 
 duties, if the fourth commandment is obligatory on us. 
 
 2. His father dy'ing, and no heir being left except himself, he 
 succeded to the estate. 
 
 3. To be pure in heart, to be pious and benevolent, constitutes 
 human happiness. 
 
 4. My lord, I think I saw him yesternight. 
 
 5. If we exercise upright principles, (and we cannot have them, 
 unless we exercise them,) they must be perpetually on the increase. 
 
 Note. — Here, the parenthetic clause, though expressing a perfect 
 sense, cannot take the Falling Slide, because the sense of the mat- 
 ter which immediately precedes it is suspended, and thus the mind 
 is not prepared for the rest indicated by such a slide. 
 
 6. So when the faithful pencil has designed 
 Some bright idea of the master's mind ; 
 Where a new world leaps out at his command, 
 And ready nature waits upon his hand ; 
 When the ripe colors soften and unite, 
 
 And sweetly melt into just shade and light; 
 When mellowing years their full perfection give, 
 And the bold figure just begins to live, — 
 The treacherous colors the fair art betray, 
 And all the bright creation fades away !* 
 
 In practice, a single exception to Rule II is sometimes 
 heard, and is allowable, though rarely demanded : — When, 
 in a sentence expressing a complete sense, the emphasis of 
 the Rising Slide is given to some word or syllable preceding 
 the last, the syllables which follow it may all take the dia- 
 
 * It is not a little surprising, that Mr. Walker, and after him Mr. 
 Knowles, have referred the Rising Slides in the reading of this pas- 
 sage, to the influence of tender or pathetic sentiment. 
 
 6* 
 
66 MANUAL OF ELOCUTION. 
 
 tonic rise ; as the syllables which follow the rising emphasis 
 in the following examples : — 
 
 1. You are not left alone to climb the arduous ascent. 
 
 2. It was an enemy, not a friend, who did this. 
 
 The occasions for the recurrence of this form of emphatic 
 distinction will be fully illustrated in. the section on Em- 
 phasis. 
 
 There is another apparent exception to this Rule, which 
 however is not real. It is, when the matter, which would 
 express a perfect sense if it should stand alone, is closely 
 connected with other matter; and in reading may, or may 
 not, take the Rising Slide, though it often does. Thus, 
 
 1. There was a man in the land of U'z, whose name was Job. 
 
 2. The dew of night falls, and the earth is refreshed. 
 
 The words, in such cases, may be considered but as con- 
 stituting part of a proposition, and thus as not coming un- 
 der the rule. But separate these introductory clauses, so 
 that they shall of themselves constitute entire propositions 
 expressing a complete sense, and they will then take the 
 Falling Slide. Thus,— 
 
 There was a man of distinguished excellence in the land of ITz ; 
 his name was Job. 
 
 The dew of night falls ; and by its fall the earth is fertilised and 
 refreshed. 
 
 It is believed the learner will find these rules and re- 
 marks sufficient for his purpose ; and that he could not, till 
 he becomes acquainted with the principles of Emphasis, 
 prosecute the subject further to advantage. 
 
 II. Emphatic Slides. 
 All the slides enumerated in this section as employed in 
 speech, except that of the Second, may be used for pur- 
 
INTERROGATIVE INTONATION. 67 
 
 poses of Emphasis. This subject will be found illustrated 
 at some length, in Section III, Chapter II. — The employ- 
 ment of the wider intervals of the Third or Fifth, instead 
 of the Second, in the current melody, is inconsistent with 
 dignified utterance, and is a very marked defect in delivery. 
 
 III. Interrogative Intonation. 
 Before leaving this section, we wish to see how its 
 principles can be applied to the expression of Interroga- 
 tion. The question is usually indicated by the form of the 
 sentence ; but in order to exhibit the power of intonation 
 alone, it is necessary to take a sentence which has not the 
 interrogative form. Let the following passage be read as 
 an imperative order ; — 
 
 Give Brutus a statue with his ancestors ; 
 
 and it will be perceived that each syllable takes the down- 
 ward inflection. If now, without any change in phrase- 
 ology, the same line be repeated with the rising slide 
 of the third or fifth on each syllable, it will at once ap- 
 pear to the ear to take the character of sneering interroga- 
 tion. From this it may be confidently inferred, that the 
 rising slide is the prime element in interrogation. This 
 may be further illustrated by the following passage from 
 the Coriolanus of Shakspeare. 
 
 Serv. Where dwellest thou? 
 
 Cor. Under the canopy. 
 
 Serv. Under the canopy ? 
 
 Cor. Ay. 
 
 Serv. Where's that? - 
 
 Cor. In the city of kites and crows. 
 
 Serv. In the city of kites and crows? 
 
 But the rising inflection does not prevail throughout the 
 whole of all interrogative sentences. To illustrate this, as 
 
68 MANUAL OF ELOCUTION. 
 
 also to ascertain the law which regulates this matter, we 
 will present the following questions selected at random. 
 
 1. What night is this? 
 
 2. Must I leave thee, Paradise ? 
 
 3. What ! threat you me with telling of the king ? 
 
 4. Sir, are you my father ? 
 
 5. How can you say to me I am a king ? 
 
 6. Who's there? 
 
 7. Who ever knew the heavens menace so ? 
 
 In the natural reading of these examples, it will be per- 
 ceived that the second, third and fourth take the rising in- 
 flection throughout, and close also with the rising slide ; 
 while the others close with the falling. The characteristic 
 element in those which take the rising inflection through- 
 out, is the direct inquiry they contain ; by which we mean, 
 that they are such questions as demand for an answer — yes, 
 or no. The others, not admitting the answers, yes and no, 
 may be called indirect questions. This first form of vocal 
 movement we shall denominate the Thorough Interrogative 
 Intonation, as opposed to the other, — which may be called 
 the Partial. The rule then which we deduce from these 
 principles maybe expressed thus; — The Direct Question 
 takes the Thorough Interrogative Intonation, while the Indi- 
 rect Question takes the Partial. 
 
 These two forms of question may be presented to the 
 eye thus : — 
 
 Thorough Interrogative Intonation. 
 What! threat you me with tell- ing of the king? 
 
 y-i^+i+J^ t 
 
INTERROGATIVE INTONATION. 69 
 
 Partial Interrogative Intonation. 
 How can you say to me, I am a king? 
 
 =/=£** 
 
 * * * \ 
 
 This last form of the interrogation admits the use of the 
 concrete slide of a third or fifth on one or a few of the syl- 
 lables, while the rest, and particularly those near the close, 
 take the melody of common discourse, and constitute a 
 regular cadence. 
 
 We add the following practical remarks : — 
 
 1. In interrogation, the extent of the upward slide on 
 those syllables that receive it, varies from the third to the 
 octave, with the degree of earnestness with which the 
 question is put. 
 
 2. Some expressions which have the grammatical form 
 of the direct question, as in earnest appeals, exclamatory 
 sentences, and argument, are intended to express only 
 positiveness of conviction ; and thus they take the partial in- 
 tonation only. 
 
 Examples. 
 
 Judge me, ye Gods! wrong I mine enemies? 
 And if not so, how should I wrong my brother I 
 
 You all did see, that on the Lupercal, 
 1 thriee presented him a kingly crown, 
 Which he did thrice refuse. Was this ambition ? 
 
 He now appears before a jury of his country for redress. Will 
 you deny him this redress ? 
 
 Do you think that your conditions will be accepted ? Can you 
 even imagine they will be listened to ? 
 
 Such interrogations open with a rising slide of a fifth or 
 octave, but immediately change to the deep downward 
 
70 MANUAL OF ELOCUTION. 
 
 concrete, or the direct wave — soon to be explained. This 
 downward movement furnishes the appropriate expression 
 of positive conviction, as the rising does of doubt and un- 
 certainty. 
 
 3. Even the Direct Question, if very long, and especi- 
 ally if at the same time it concludes a paragraph or a dis- 
 course, may take the Partial Intonation. 
 
 4. In questions which admit the Thorough Intonation, 
 though the syllables generally are pronounced with the 
 rising concrete of a given interval which prevails through- 
 out the whole, yet those which are emphatic may pass 
 through a wider interval than the others. This will be 
 illustrated under the head of Emphasis. 
 
 5. The mere form in which the question is stated does 
 not always determine whether it is Direct or Indirect. 
 Thus, the question, — " Did you see him or his brother ?" — 
 has two meanings, according as or is understood disjunc- 
 tively or conjunctively. If the latter, the question is direct 
 and takes the rising slide ; if the former it is indirect and 
 takes the falling. — In this case, however, the first member 
 always takes the intonation of the Direct Question. 
 
 Though we have dwelt thus long on the Diatonic and 
 Interrogative Slides, we are not prepared to affirm, that the 
 sense is always or even generally dependent on these inflec- 
 tions of the voice. Sometimes they do determine the sense ; 
 but the English, the Scotch, the Irish and the Americans 
 all use them differently and yet understand each other. In 
 some portions of our own country, even the direct question 
 universally receives only the partial interrogative intona- 
 tion, — terminating with the falling slide, or perhaps the 
 inverted wave of a second — soon to be described. Dif- 
 
WAVES OF THE VOICE. 71 
 
 ferences in the use of these inflections, more perhaps than 
 any thing else, mark the provincial peculiarities which 
 characterize the speech, in different parts of our country. 
 The rules here laid down, it is believed, correspond with 
 the best usage of the country ; and a conformity to such 
 usage alone can guard the speaker against the charge of 
 provincialism, or impropriety. 
 
 SECTION VI. 
 
 OF THE WAVES OF THE VOICE. 
 
 The Rising and the Falling Slides are often united on 
 the same long syllable, and this complex movement of the 
 voice is called a Wave* The parts of which it consists 
 are called constituents. These upward and downward 
 movements may pass through the same, or through different, 
 intervals ; for example, the wave may be formed by the 
 rising and falling third conjoined ; or by a rising third, 
 passing into and being terminated by a falling fifth. This 
 gives rise to the designation of waves as equal or unequal. 
 Whether equal or unequal, they may consist of two, three, 
 or more constituents ; and this gives rise to the distinction 
 of waves as single, double or continued. And whether con- 
 sisting of constituents of equal or of unequal length, or of 
 two constituents or more, the wave may commence with 
 an ascending or descending slide. The wave commencing 
 with an upward movement is called the Direct Wave, the 
 other the Inverted Wave. 
 
 When it is suggested that all the slides which we have 
 
 described, varying from a semitone to an octave, enter as 
 
 _— ^____ — _ — , t . 
 
 * This is called by Steele and Walker the circumflex accent. 
 
72 MANUAL OF ELOCUTION. 
 
 constituents into these waves, it will appear, that, in theory 
 at least, the wave may be almost endlessly varied. It is 
 found however, that in the practice of those who speak the 
 English language, the variations employed are not very 
 numerous, and of these the following are the most im- 
 portant. 
 
 The Equal Wave of the Semitone. — This cannot be re- 
 presented to the eye in a manner to make the subject any 
 more plain. If, on any long syllable, the learner will com- 
 bine the Median Stress with the expression of pathetic or 
 solemn sentiment, he cannot fail to give either the direct or 
 inverted wave of the semitone. These are both heard in 
 the slow utterance of the tender emotions, serving beau- 
 tifully to vary this melody of the voice. 
 
 The Equal Wave of the Second. — This movement of the 
 voice, aside from the consideration of stress, may be repre- 
 
 Direct. Inverted. sented to the eye thus ; — the heavy 
 part simply marking the radical 
 point, which may or may not be 
 characterized by fulness of sound. Indeed the median stress 
 rather than the radical prevails in the wave of the second. 
 It is by the frequent recurrence of these waves, that grave 
 discourse, even where the words cannot be attended to, is 
 distinguished from the gay and sprightly. They occur on the 
 syllables of long quantity, and, for the sake of variety the 
 direct and the inverted are interchanged instinctively by a 
 well-trained voice. Whenever the waves of the semitone 
 or of the second become double, it is for the purpose of 
 lengthening the quantity, on a word which is intended to 
 be strongly marked. 
 
 The Equal Wave of the Third. — This is often heard in 
 ordinary spirited conversation. It may be represented to 
 
WAVES OF THE VOICE. 
 
 73 
 
 the eye, as may also the equal waves of the higher inter- 
 vals, thus : — 
 
 Of the Third. 
 Direct. Inverted. 
 
 Equal Waves. 
 
 Of the Fifth. 
 Direct. Inverted. 
 
 Of the Octave. 
 Direct. Inverted. 
 
 The Waves of the Fifth and the Octave, as also the Un- 
 equal Waves, are reserved for the expression of the stronger 
 passions, as exhibited in dramatic dialogue, and in the 
 higher efforts of the orator. Irony, scorn and strong sur- 
 prise cannot be expressed without their aid. 
 
 To aid the learner in acquiring the command of the vo- 
 cal movement here called the Wave, the following illustra- 
 tions are given, the substance of which is found in the 
 Grammar of Elocution. 
 
 " Pity the sorrows of a poor old man." 
 
 If long quantity and a plaintive tone be given to the 
 words " poor" and " old," in the foregoing example, they 
 will exhibit the direct wave of the semitone : and if the 
 word " man" receive a plaintive expression and extended 
 quantity, and the voice be made to rise on the second 
 part of the wave, it will show the inverted wave of the 
 semitone. 
 
 "Hail! holy light." 
 
 If the word " hail" is uttered with long quantity, with a 
 perceptible downward ending, and without any emphatic 
 stress, it will show the direct equal wave of the second. 
 
 "High on a throne of royal state." 
 
 7 
 
74 MANUAL OF ELOCUTION. 
 
 If this line be pronounced in a similar manner, it will 
 exhibit the inverted equal wave of a second on the syllables 
 " high," " throne," and " roy." 
 
 " I said he was my friend." 
 
 Let this sentence be slowly uttered, with long quantity 
 upon " my," accompanied with such an emphasis as to 
 contrast it with your — friend, and the word " my" will 
 show the direct equal wave of a third. 
 
 "Ah! is he your friend, then ?" 
 
 Let this last sentence be uttered as a reply to the pre- 
 ceding, and with an air of surprise, though with long 
 quantity and a natural emphasis upon " your," and it will 
 display the inverted equal wave of a third. 
 
 " Yes, I said he was my friend." 
 
 If this sentence be reiterated with a strong positive em- 
 phasis upon " my," and with extended quantity, it will 
 exhibit the direct equal wave of a fifth. 
 
 " Is he solely your friend ?" 
 
 By increasing the emphasis of surprise, making the in- 
 terrogation more piercing, and extending the quantity of 
 the w r ord " your" in this sentence, the inverted equal wave 
 of the fifth will be heard. 
 
 If, in the sentence, " I said he was my friend," the word 
 " my" be uttered with a strongly taunting and at the same 
 time positive expression, that word will show the direct 
 unequal wave. 
 
 If, in the sentence, "Is he your friend?" the word 
 " your" be uttered with a strong expression of scorn and in- 
 terrogation, it will exhibit the inverted unequal wave. 
 
 When these "waves have once become familiar to the 
 ear, the voice may be trained to their execution, by com- 
 bining them with the long vowel elements, or with any of 
 
FORCE OF VOICE. 75 
 
 the combinations which admit of protracted quantity. The 
 uses of these functions of the voice will be pointed out in 
 the sections which treat of Emphasis and Expression, in 
 Chapter II* 
 
 SECTION VII. 
 
 OF FORCE OF VOICE. 
 
 By Force of Voice, we mean simply strength or power 
 of voice. The lion has more force of voice than the dog. 
 The sound of the bugle or the organ has more force than 
 the flute. Great force of voice is not always needed ; but 
 
 * Note to the Teacher. — The learner should, at this point, be 
 subjected to something like the following system of exercise. Let 
 some one of the elements, say a, be selected, or some word suscepti- 
 ble of long quantity, and the learner be required, without the aid of 
 the teacher's voice, to pronounce it — 
 
 1st. With the Radical [Median or Vanishing] stress. 
 
 2nd. On a high [or low] pitch. 
 
 3rd. With the Falling [or Rising] Slide of the Second, [Third, 
 Fifth, or Eighth.] 
 
 4th. On the Equal Direct [or Inverted] Wave of the Second, 
 [Third, or Fifth.] And let this exercise be continued on these sim- 
 ple functions of the voice, at pleasure. 
 
 Then let him be required to combine such of these functions as 
 are susceptible of combination: as, for example, to pronounce the 
 designated element — 
 
 1st. With Radical Stress, and on the Low Pitch. 
 
 2nd. With the Radical Stress, and with the Falling Slide of a 
 Third. 
 
 3rd. With the Median Stress, and in the Equal Inverted Wave 
 of a Third. 
 
 4th. With the Vanishing Stress, and the Rising Slide of a Fifth. 
 
 5th. With Long Quantity, and on the Direct Wave of the Semi- 
 tone, &c. 
 
 This exercise may likewise be advantageously continued, till the 
 learner has acquired a facility — not in imitating, but in executing 
 for himself, under the teacher's direction, all these vocal functions, 
 both singly and in combination. 
 
76 MANUAL OF ELOCUTION. 
 
 to the speaker it is sometimes of infinite importance, while 
 it cannot interfere with any other vocal function. To him 
 who is called to address large assemblies, or to speak in the 
 open air, a powerful voice gives the double advantage of 
 making himself distinctly heard, and of exhibiting what is 
 always strongly demanded by a popular audience — evi- 
 dence of earnestness and sincerity. Its acquisition, then, 
 should be among the first objects of him who would pre- 
 pare for the practice of the orator's art. The capabilities 
 of the human voice, in point of power, are rarely deve- 
 loped, for the simple reason that they can be brought out 
 only by education ; and education, in any proper sense of 
 the term, is here rarely applied. The hand is trained to 
 penmanship, and even the voice is sometimes slightly dis- 
 ciplined in regard to some of its functions, by the teacher 
 of music ; but who now thinks of giving the voice a full 
 system of training for the high and responsible duties con- 
 nected with oratory? Had it been thus in Greece, she 
 would have had no Demosthenes: had it been thus in 
 Rome, Cicero would have lived for nought. Unless per- 
 chance we should except a very few of those trained for the 
 stage, the practical speaker is not now to be found, who 
 has been trained as was either of these men whose oratori- 
 cal powers have made them immortal. 
 
 If I mistake not, the learner has already thought that our 
 exercises and suggestions for practice were becoming too 
 numerous and too tedious. But there is no " royal road" 
 to the orator's proud elevation. We suggest the system of 
 elementary practice, because we know of no other in which 
 the future orator can learn to execute the high principles of 
 his art. It is a very different thing to judge of a good 
 piece of workmanship in the handicraft arts, from what it 
 
FORCE OF VOICE. 77 
 
 is to execute such a piece. There is the same difference 
 between the mere theoretical and the practical orator ; — 
 between him who has learned the principles of good speak- 
 ing by study and by listening to lectures, and him who has 
 been instructed on such a system as is here taught. 
 
 In no respect is the voice more capable of improvement 
 than in regard to its force ; and this may be combined with 
 long or with short quantity r , with all the kinds of stress, 
 with every variety of pitch, and with all the slides and 
 waves of the voice. Thus for the purpose of training this 
 function of the voice, the learner may repeat all or any of 
 the lessons suggested for practice in the preceding sections, 
 only with greater fulness and energy. But while a careless 
 and transient recurrence to these lessons will be of little 
 service in developing the full powers of the voice, an inju- 
 dicious exercise on them may produce permanent injury. 
 An hour spent in vociferating the elements or syllabic 
 combinations, and that perhaps on an improper pitch, or 
 without due regard to the proper radical and vanishing 
 movements of the voice, might with subsequent exposure 
 of itself produce the results we are preparing to guard 
 the future speaker against. These exercises, when pro- 
 perly conducted, have a twofold operation : first, they teach 
 how the various functions of the voice can be employed 
 the most successfully, and with the greatest ease ; and 
 secondly, they habituate the voice to the exercise of its 
 powers. That the greatest good however may result from 
 the training here proposed, the following rules ought to be 
 observed. 
 
 1. Let the exercise be repeated daily, or perhaps twice 
 each day, if it is found the voice will bear it. 
 
 2. Let not the exercise at first be long continued, not 
 
 7* 
 
78 MANUALOF ELOCUTION. 
 
 more than ten or fifteen minutes, — nor till any degree of 
 hoarseness is produced. 
 
 3. Let not the voice at first be exercised to the full ex- 
 tent of its powers ; nor the exercise be long continued, 
 either on the highest or the lowest pitch of the voice. 
 
 4. Special care should be used to guard against harsh- 
 ness or hoarseness of voice in these exercises. The voice 
 should be formed low down in the throat, the tongue being 
 retracted and depressed, and the mouth sufficiently open to 
 emit a smooth volume of sound. 
 
 5. The articulation of every element employed in the 
 exercise should be perfect. Austin in his Chironomia says, 
 in regard to the articulation of words, " They are not to be 
 hurried over; nor precipitated syllable over syllable; nor 
 as it were melted together into a mass of confusion. They 
 should be neither abridged nor prolonged ; nor swallowed, 
 nor forced ; they should not be trailed, nor drawled, nor 
 let to slip out carelessly, so as to drop unfinished. They 
 are to be delivered out from the lips as beautiful coins 
 newly issued from the mint, deeply and accurately im- 
 pressed, perfectly finished, neatly struck by the proper 
 organs, distinct, in due succession, and of due weight." 
 But the articulation of the words depends on the articula- 
 tion of the elements which compose them. 
 
 6. When in these exercises force is connected with long 
 quantity, whether radical or median stress is employed, 
 special care should be given to the utterance of the vanish. 
 The gentle and gradual decline of sound, as heard in the 
 finely executed vanish, delights the ear scarcely less than the 
 higher graces attending musical execution. 
 
 7. At first, these exercises should be remitted during a 
 period of feeble health, or during the hoarseness attendant 
 
FORCE OF VOICE. 79 
 
 on a cold ; or else abated in energy, so as not greatly to 
 fatigue the vocal organs. With a little familiarity however, 
 and special care to preserve the erect position, and to use 
 chiefly for the production of sound the abdominal and in- 
 tercostal muscles, this will be found a most healthful exer- 
 cise. It should not follow immediately a hearty meal, 
 nor be preceded or followed by stimulating drinks ; nor, 
 if the exercise has been violent, should it be followed by a 
 careless exposure to the cold or damp air. 
 
 8. There is a period of youth, when the voice begins to 
 break and to assume the manly tone, during which no vio- 
 lent exertion of the voice should be made. While all the 
 other exercises of this Manual may be practiced during 
 this period, those of this section should be reserved till 
 the voice becomes confirmed and established. 
 
 9. Any successful effort to attain great power of voice 
 must presuppose an observance of all the rules essential to 
 the general health. Intemperance in drink, the use of to- 
 bacco, or excess of any kind, injures the voice, not less 
 than the other powers of both body and mind. 
 
 But there is an exercise still to be suggested, which 
 aids perhaps in a higher degree the acquisition of a powerful 
 voice, than any of those already proposed. It is on what 
 Dr. Rush calls the explosive power of the vowel elements. 
 To commence this exercise, let each of these elements as 
 presented in Table I, be uttered with a suddenness like 
 that presented in the abrupt vocality heard in the cough. 
 The organs of speech must be open and free from com- 
 pression, according to one of the foregoing directions, and 
 each sound must be produced by a single instantaneous 
 effort of the voice ; which is neither more nor less than the 
 forcible application of the radical stress, with the shortest 
 
80 MANUAL OF ELOCUTION. 
 
 possible quantity. And when a facility of thus producing 
 these sounds has been acquired, let the learner repeat 
 them with increasing degrees of force on all the different 
 degrees of pitch from the lowest to the highest of which 
 his voice has the command. This exercise may be con- 
 tinued and varied by using Table IV, and extending it by 
 adding to the foot of each vertical column the six short 
 vowel elements as found in Table I. Then let it be re- 
 peated, sometimes giving the shortest possible quantity 
 both to consonants and vowels ; and at others, protracting 
 the consonants as much as possible, and bursting with 
 sudden full explosive force on the vowel sounds, giving 
 them as before the shortest possible quantity. 
 
 Table V, extended as it has just been proposed to ex- 
 tend Table IV, may also be used for practice, never at- 
 tempting however to protract the atonic elements. 
 
 Energy and perseverance can alone overcome difficulties, 
 and it seems the decree of Heaven that real value cannot 
 be procured but by labor. If the learner supposes that 
 the full benefits proposed by this and the preceding exer- 
 cises are to be obtained by the few occasional exercises 
 of the lecture room, or in an ordinary course of lessons by 
 a master, he has mistaken the nature of his undertaking. 
 It is not in this way that the arts of penmanship, of fencing, 
 or horsemanship are brought to their perfection. The 
 business of the teacher here is to direct the learner how to 
 educate his own powers ; and this discipline, conducted in 
 the way we have proposed, may be advantageously carried 
 on for years. And what would men think of the clergy- 
 man, the lawyer, or the physician, who should count his 
 education finished, when he entered on the practice of his 
 profession ! 
 
QUALITY OF THE VOICE. 81 
 
 Before leaving this subject, it may be suggested that 
 loud and rapid reading or speaking also furnishes a very 
 valuable kind of training for the purpose of giving force 
 and energy to the voice. These cannot however fully 
 supply the lack of a prior discipline of the voice on the 
 elementary sounds of our language, and on the simple 
 combination of these elements ; since without this the 
 enunciation will be apt to be indistinct. A few speakers 
 have acquired wonderful power of voice, mainly by the 
 exercise of speaking. Dr. Porter says, — " The habit of 
 speaking gave to the utterance of Garrick so wonderful an 
 energy, that even his underkey was distinctly audible to 
 ten thousand people. In the same way the French mis- 
 sionary Bridaine brought his vocal powers to such strength, 
 as to be easily heard by ten thousand persons, in the open 
 air; and twice this number of listening auditors were 
 sometimes addressed by Whitefield." Thousands, less for- 
 tunate than these, have broken down in the attempt to ac- 
 quire this power by other means than we here recommend, 
 and have been compelled to retire from public life, or have 
 gone prematurely to their graves. 
 
 SECTION VIII. 
 
 OF THE QUALITY OF THE VOICE. 
 
 The Quality of the voice is usually designated by such 
 terms as rough, smooth, harsh, soft, full, slender, musical, 
 shrill, nasal, &c. Without going into any definition of 
 these terms, we may remark that the quality of the voice, 
 as regards all its general characters of excellence, cannot 
 but be improved by the exercises and practice suggested 
 in the preceding sections. In this section, instead of going 
 
82 MANUAL OF ELOCUTION. 
 
 into an explanation of these popular terms, it will better 
 subserve the interests of the learner to examine the quality 
 of the voice under the following heads ; — the Orotund, the 
 Tremor, the Aspiration, the Guttural, the Falsette, and the 
 Whisper. 
 
 1. The Orotund. — The quality of voice implied in this 
 term is possessed naturally by some, but more frequently 
 has to be acquired by exercise and practice. It is pos- 
 sessed in »o degree by a very large part even of public 
 speakers, and in very different degrees by actors and ora- 
 tors of eminence. When fully deTeloped by the requisite 
 practice, it possesses numerous advantages. It is more 
 musical, and fuller in volume, than the common voice; 
 and is thus equally adapted to the delicate attenuation of 
 the vanishing movement, and to the full body of the radical. 
 It has a pureness of vocality, that gives distinctness to pro- 
 nunciation ; at the same time that it has a greater degree 
 of strength than the common voice. From the discipline 
 of cultivation, it is more under command than the common 
 voice ; and its dignity and energy can alone meet the de- 
 mands of the orator or the actor, in their higher efforts. 
 And, what is to be specially noticed, the acquisition and 
 use of this kind of voice does not destroy the ability to 
 use at will the common voice ; thus their contrast may be 
 made to throw a sort of vocal light and shade over the 
 other means of oratorical coloring and design. 
 
 In the training for the practical acquisition of this qual- 
 ity of voice, three points need to be carefully observed. 
 First, It is indispensable that the sound proceed from the 
 throat, and that the organs of speech be kept open and 
 free. Indeed this is the most important characteristic of 
 the orotund voice. Second, The exercise, hitherto confined 
 
THE ASPIRATION. 83 
 
 to the elements and their simplest combinations, must be 
 extended to words and sentences. Third, There must be 
 much practice ; and that with different degrees of force, 
 and on all the various degrees of pitch within the compass 
 of the voice. Such a course of discipline cannot fail to 
 improve the voice of the learner. 
 
 2. The Tremor. — This expresses the tremulous move- 
 ments of the voice heard in the act of laughing and of 
 crying, and is naturally associated with the language of 
 mirth and of sorrow. It is an important function of the 
 voice, and may be readily caught by the learner from the 
 voice of the teacher, from the feigned effort of laughing, 
 or from the affected expression of a feeling of mirthfulness 
 or of deep sorrow. This function may be practiced on any 
 element, syllable, or word of long quantity : but when ac- 
 quired the learner should recollect that it has its peculiar 
 significancy, and can never be properly introduced into 
 ordinary delivery, when the feelings it expresses are want- 
 ing. Indeed, like the other most expressive elements of 
 speech, it requires to be used with great caution. 
 
 3. The Aspiration. — The basis of the quality of voice 
 here designated is found in the element A, which has been 
 pronounced to be only a breathing. In the sigh we hear 
 the sound of this single element associated with quantity, 
 and can mark its radical and vanishing movement. There 
 are several other elements which, admitting only of a whis- 
 per, are called aspirates ; but these have a character and ex- 
 pression of their own, and are not to be confounded with 
 the form of aspiration under discussion. When we speak 
 of this as a quality of the voice, it is implied that this ele- 
 ment is capable of so blending with the other elements 
 employed in speech, as to give a distinct character to the 
 
84 MANUAL OF ELOCUTION. 
 
 utterance. For example, let the following lines be read 
 with suppressed force, and with an expression of apprehen- 
 sion, or fear : — 
 
 "Hah ! dost thou not see by the moon's trembling light; 
 Directing his steps, where advances a knight, 
 
 His eye big with vengeance and fate ?" 
 
 If the learner does not on this passage spontaneously ex- 
 press the quality of voice here described, it will at least 
 indicate to him one of the principal sentiments of which this 
 is the symbol. 
 
 If he succeed, he will find that such words as " dost," 
 "moon," "trembling," "vengeance," and "fate," are 
 uttered as though spelled dAost, mAoon, trAembling, vAen- 
 geance, fixate ; and this process of aspiration is carried on 
 according as the feeling rises, till the voice may be almost 
 or entirely sunk in whispers. — This function of the voice 
 requires to be used with caution. 
 
 4. The Guttural. — The quality of the voice here referred 
 to is thus designated, because it is formed in the throat. It 
 should never be employed in the current of discourse, nor 
 as a function of the voice does it ever stand alone. It is 
 usually combined with the radical or vanishing stress, and 
 the aspiration ; and is thus used on the word " detestable," 
 in the following passage : — 
 
 " Nothing I'll bear from thee 
 
 But nakedness, thou detestable town." 
 
 Any words of the same general import, such as despica- 
 ble, dastardly, contemptible, scorn, &c, uttered with an 
 affectation of the feeling which the use of them often im- 
 plies, will for the sake of practice on this function bear the 
 same modes of pronunciation. Dr. Rush says, " when 
 this element is compounded with the highest powers of 
 
THE MELODIES OF THE VOICE. 85 
 
 stress and aspiration, it produces the most impulsive blast 
 of speech." 
 
 5. The Falsette. — This term is used and is well under- 
 stood in vocal music, as indicating the kind of voice em- 
 ployed by the singer when he wishes to rise above the 
 compass of his natural voice. This admits of cultiva- 
 tion and . may by a little practice be employed on many 
 of the notes which the natural voice can reach. In speech 
 however it is always a defect, either heard in the current 
 melody of discourse, or in the breaking of the natural voice 
 of the public speaker. It is not uncommon in the voices 
 of women ; and men of feeble voices, particularly if they 
 have occasion to speak to large assemblies, are in danger 
 of falling into it. It has its peculiar expression in the 
 whine of peevishness, the high tremulous pitch of mirth, 
 and in the scream of terror and of pain. 
 
 6. The Whisper. — This may be called a kind of voice, 
 but needs no illustration here. It is the symbol of secresy. 
 
 The voice generally used in common conversation, and 
 which differs from any which we have described as em- 
 ployed to give effect to delivery, may be called the natural 
 voice. 
 
 SECTION IX. 
 
 OF THE MELODIES OF THE VOICE. 
 
 In speaking of the slides of the voice, in the section on 
 Pitch, the Slide of the Second was appropriated to simple 
 narrative and to unimpassioned discourse. The object of 
 this section is to develope the phenomena which occur, 
 when the movements of the voice extend only to intervals 
 of a single tone, as is the case always where neither feel- 
 
 8 
 
86 MANUAL OF ELOCUTION. 
 
 ing nor emphasis enters into the expression. As the con- 
 crete movement of the voice on the successive syllables is 
 made through the interval of a tone, so the discrete move- 
 ment from syllable to syllable is made only through the 
 same space. This may be presented to the eye by calling 
 again to our aid the musical scale. 
 
 
 4 
 
 
 4 
 
 4 
 
 
 
 d 
 
 
 a£ 
 
 4 
 
 
 4 
 
 
 
 4 
 
 4 
 
 
 4 
 
 
 With 
 
 - in 
 
 a 
 
 long 
 
 re- 
 
 cess 
 
 there 
 
 lies 
 
 a 
 
 bay, 
 
 
 W 
 
 4 
 
 4 
 
 4 
 
 
 4 
 
 ■rf 
 
 
 *f 
 
 4 
 
 
 
 
 
 
 
 
 4 
 
 ■-&■- 
 
 
 
 4 
 
 
 4 
 
 4 
 
 4 
 
 4 
 
 4 
 
 
 £ 
 
 4 
 
 
 4 
 
 
 
 
 
 
 4 
 
 
 An 
 
 isl - 
 
 and 
 
 shades 
 
 it 
 
 from 
 
 the 
 
 rol - 
 
 ling 
 
 sea, 
 
 
 
 4- 
 
 4 
 
 4 
 
 4 
 
 
 tf 
 
 rf 
 
 4 
 
 # 
 
 4 
 
 
 
 
 
 4 
 
 
 
 i 
 
 
 
 off 
 
 
 4 
 
 
 4 
 
 4 
 
 4 
 
 
 i 
 
 4 
 
 
 4 
 
 
 4 
 
 
 
 
 4 
 
 §k 
 
 And 
 
 forms 
 
 a 
 
 port 
 
 4f 
 
 se - 
 
 cure 
 
 for 
 
 ships 
 
 to 
 
 ride. 
 
 4 
 
 4 
 
 4 
 
 
 4 
 
 ** 
 
 4 
 
 4 
 
 <4 
 
 
 W ^ 
 
 The learner, especially if accustomed to read music, will 
 readily catch the melody of the two readings here sug- 
 gested ; and can satisfy himself that others might still be 
 given which would not differ from what we often hear in 
 
PHRASES OF MELODY. 
 
 87 
 
 plain discourse. They both contain the conditions pro- 
 posed as to the concrete and discrete changes of pitch ; 
 and however the order of the concrete tones may at first 
 seem to vary, they will all be found reducible to the six 
 following combinations. 
 
 Where two or more successive notes occupy the same 
 place of radical pitch, it is called the phrase of the Mono- 
 tone. 
 
 Where, of two successive notes, the one is next in radi- 
 cal pitch above the other, the phrase is called the Rising 
 Ditone; and where next below, the Falling Ditone. 
 
 Where the radicals of three successive notes ascend, it 
 is called the Rising Tritone, and where they descend, the 
 Falling Tritone. 
 
 Where there is a succession of three or more notes alter- 
 nately a tone above or below each other, it is called the 
 Alternate Phrase. 
 
 Where the falling tritone occurs at the end of a sen- 
 tence, it is called the Triad of the Cadence. 
 
 These several Phrases of Melody are thus presented by 
 Dr. Rush, on the following lines. 
 
 That quar - ter most the skil-ful Greeks an - noy ; 
 
 < r * € 
 
 ^+ 
 
 Monotone. Falling Ditone. Rising Tritone. Rising Ditone. 
 
 Where yon wild fig trees join the walls of Troy. 
 
 <n? ~^ z: 
 
 Falling Tritone. 
 
 Alternation. 
 
 Triad of the Cadence. 
 
88 MANUAL OF ELOCUTION. 
 
 Thus, even for the expression of plain thought, has na- 
 ture furnished an interesting and beautiful variety in the 
 elements provided for the use of the human voice. Yet 
 under the influence of bad habits, this rich provision is 
 often entirely disregarded, and the ear is literally pained 
 by listening to the sentiments of those who might be good 
 speakers, doled out in an infinitely extended monotone, or 
 varied only to exhibit at set intervals the uniform recur- 
 rence of the same phrases of melody, — producing thus a 
 mechanical variety scarcely less inexpressive, or less offen- 
 sive to the improved ear than the dullest monotony. 
 
 We now proceed to enumerate some of the more simple 
 Melodies of the Voice, and to show how they are consti- 
 tuted. 
 
 1. The Diatonic Melody. — This is produced by the 
 varied succession of all the phrases just enumerated ; and 
 is the only one adapted to the expression of plain 
 thought, interrupted neither by interrogation, emphasis, 
 nor emotion. 
 
 2. The Melody of the Monotone. — This is produced 
 whenever the Phrase of the Monotone predominates, as it 
 naturally and properly does in all dignified and solemn 
 subjects. — When the speaker rises near to the top of his 
 Natural Voice, his utterance is apt to degenerate into the 
 monotone, simply because he cannot take a higher pitch 
 without falling into the Falsette. And, in passing, we may 
 express the belief, that this defective intonation of the 
 voice, from whatever cause it arises, produces more of 
 disease in the vocal organs, and brings more speakers to 
 an untimely grave, than all the causes connected with the 
 healthful use of these organs, and with necessary fatigue 
 and exposure conjoined. 
 
MELODIES OF THE VOICE. 89 
 
 3. The Melody of the Alternate Phrase. — This designa- 
 tion is applied to the melody, where the Alternate Phrase 
 predominates. It is well suited to the expression of the 
 higher passions, and to facetiousness. 
 
 4. The Melody of the Cadence.— -This indicates the me- 
 lody at the close of sentences ; and in unimpassioned dis- 
 course, it is usually produced by the Falling Tritone, — the 
 last constituent, at least, taking the downward slide. — This 
 subject will be treated at length in another place. 
 
 To these may be added two other forms of melody not 
 arising immediately out of the principles laid down in this 
 section. 
 
 5. The Chromatic Melody. — This designates the plain- 
 tive melody in which there is a predominance of the 
 semitone. The term is borrowed from music. 
 
 6. The Broken Melody. — This marks the peculiar ex- 
 pression of pain, deep grief, and of extreme exhaustion or 
 weakness ; where the current melody, whatever it may be, 
 is broken by frequent pauses, beyond what the grammatical 
 connection requires or allows. 
 
 Here we shall close what may be called the technical 
 part of our work. We have now presented all the elements, 
 so far as the voice is concerned, which we deem essential 
 to an effective elocution ; and most of those which are de- 
 veloped in perfect oratory. And the learner who has gone 
 carefully over the preceding pages, successfully mastering 
 the difficulties he has had to meet, and training his voice 
 by the exercises which have been suggested for his prac- 
 tice, may feel assured that the course thus commenced will 
 soon place at his command all the vocal functions necessary 
 for the expression of every passion of the human heart, and 
 
 8* 
 
90 MANUAL OF ELOCUTION.' 
 
 for the execution of whatever a good taste can dictate as 
 excellent in the highest efforts of the finished orator. 
 
 That these vocal functions may again be brought before 
 the mind and with some additional suggestions, we shall 
 close this chapter with a brief enumeration of such as are 
 hereafter to be applied to the execution of the principles of 
 the orator's art. 
 
 SECTION X. 
 
 RECAPITULATION. 
 
 In Section I, after enumerating the alphabetic elements, 
 the Vocule was referred to as an incident connected with 
 the utterance of several of the consonants, and of the mutes 
 in particular. It will also be heard in the utterance of all 
 w T ords terminating with one of these elements, and will be- 
 come more full and distinct just in proportion to the energy 
 with which the word is pronounced. From this it appears, 
 that the vocule is not only a means of giving emphasis, 
 but is the exact measure of the emphasis given on such 
 words. 
 
 It is the improper use of this element that is sometimes 
 heard at the close of each sentence, most frequently in the 
 language of prayer. Thus employed it is a great defect ; 
 and is always the result of habit, which generally arises 
 from a slovenly mode of articulation, but may however 
 have its origin in the imitation of some bad model. 
 
 Section II is devoted exclusively to practice for the 
 purpose of acquiring a distinct and ready articulation. 
 
 In Section III, Time as appropriated to syllables was 
 treated as long or short ; but it should be borne in mind 
 
RECAPITULATION. 91 
 
 that Quantity, -which is but another term for Time, varies 
 from the most hurried articulation of the syllable, to the 
 most protracted note implied in the term long quantity. 
 Syllables are called Indefinite, Mutable, and Immutable, 
 according as they are more or less susceptible of quantity. 
 This is an important function of the voice ; and is always 
 employed in connection with others. When long quantity 
 is used to express sentiments which require short time, its 
 employment is characterized as Drawling. 
 
 In Section IV, Stress was considered under the designa- 
 tions Radical, Median, Vanishing and Compound. The 
 last three require long quantity for their execution ; and 
 they are all supposed to be symbols fitted by nature to be 
 the representatives of distinct emotions and passions. To 
 these was added the Loud Concrete employed in accent. — 
 No form of stress is perhaps so frequently misapplied as 
 the Vanishing. This as a fault is most frequently heard in 
 the pronunciation of the Irish. 
 
 In Section V, Pitch was the term used to represent the 
 movements of the voice with reference to the musical scale ; 
 and the changes in pitch as heard in speech, are limited 
 only by the compass of the natural voice of the speaker. — 
 In common reading, and in ordinary discourse, what may 
 properly be called the Middle Pitch of the voice is em- 
 ployed ; and this is the note also on which sermons and 
 public addresses should be commenced, so as to allow an 
 elevation of pitch, as the speaker becomes warm in his 
 subject, without the danger of transcending the compass 
 of his natural voice. 
 
 The Diatonic Scale was said to consist of eight sounds 
 either in an ascending or descending series, embracing 
 seven Proximate Intervals, five of which are Tones, and 
 
92 MANUAL OF ELOCUTION. 
 
 two Semitones. Each sound is called a Note; and the 
 changes of pitch from any one note to another are either 
 Discrete or Concrete, and may be either rising or falling. 
 Concrete Changes of Pitch are called Slides ; and of these 
 movements there are appropriated to speech the slides 
 through five different intervals, — the Semitone, the Second, 
 the Third, the Fifth, and the Octave. The command of 
 all these slides is essential to an effective elocution ; and 
 especially the higher, as they occupy a prominent place 
 among the symbols of emotion, and properly constitute the 
 lights and shades of discourse. — The Semitone, when mis- 
 applied, gives origin to the fault called Whining. 
 
 In this section the learner was introduced successively 
 to the Diatonic Slides — those which belong to common 
 discourse, and which distinguish speech from song ; to 
 the Emphatic Slides, employed for the purposes of Em- 
 phasis ; and to the Interrogative Intonation, which was 
 said to depend on the rising slide. This Intonation is 
 called Thorough, when the question is direct, and the 
 rising slide extends to each syllable of the question ; and 
 Partial, when the question is indirect, and the interrogation 
 closes with the downward slide. — We may here repeat the 
 important practical remark, that in reading or speaking, 
 when the slide is downward, the radical point of the 
 movement, except when employed in the cadence, should 
 always be struck above, and in case of the emphatic 
 slides, considerably above, the key of the current melody. 
 The attempt to give the downward concrete from the line 
 of the current melody constitutes one of the most common 
 errors, particularly in reading. 
 
 In Section VI, the Waves or circumflex movements of 
 the voice are fully discussed. They are considered first as 
 
RECAPITULATION. 93 
 
 Equal and Unequal, according to the relative length of the 
 different constituents. These, then, are either Single, 
 Double, or Continued, according to the number of consti- 
 tuents which enter into them. And all of these may be 
 varied by giving to the first constituent an upward or a 
 downward inflection, which gives rise to the designation 
 of waves as Direct and Inverted. It is believed that these 
 distinctions in the form of the wave are founded in nature, 
 and that they are all heard in the delivery of accomplished 
 speakers. 
 
 As to the intervals to which these waves extend, it is 
 obvious that the only limit fixed by the capabilities of na- 
 ture is the compass of the voice. Nature however does 
 not always work to the full extent of her powers, but gra- 
 duates the application of those powers to the wants of the 
 case. So it seems to be here. Perhaps the wave never 
 extends in any of its constituents beyond the octave, nor 
 does it usually exceed the interval of the third. 
 
 Though so essential to the expression of its appropriate 
 sentiment, the learner should be reminded that even this 
 element cannot be indiscriminately used. Dr. Barber has 
 remarked of this, " that it is incompatible with a sustained 
 impression of dignity ;" and thus that " persons prone to 
 the circumflex, can never read Milton or Shakspeare well." 
 By the same fault the dignity of the Holy Scriptures may 
 be obscured ; and thus it is, that their sacred truths but too 
 often reach only the ear, even when read amidst all that is 
 impressive connected with the sanctuary of God. — This 
 element occurs as a fault in the colloquial dialect of New 
 England, where the waves are often heard, instead of the 
 simple rising and falling slides. 
 
94 MANUAL OF ELOCUTION. 
 
 Section VII is devoted to the improvement of the voice 
 with reference to Force. In practice, great force of voice 
 is generally connected with elevation of pitch ; and thus 
 these elements though entirely distinct are often con- 
 founded with each other. The terms piano and forte, in 
 music, have no reference to key or pitch, but refer to force 
 alone. Neither great force nor a high pitch are at all times 
 demanded in delivery ; indeed these are never required at 
 the opening of any ordinary address. The best practical 
 rule for the speaker as to force, is — to commence as though 
 addressing a person occupying about the middle of his 
 audience ; thus avoiding the consequences of excessive 
 efforts of the voice too long continued, and at the same 
 time leaving room for such increase of force as sentiment 
 may demand. 
 
 Force of voice is the principal element in what is called 
 Ranting. It is however generally accompanied by other 
 excesses — violence in the use of the radical or vanishing 
 stress, or too high a pitch. And when from such causes, 
 the utterance of the speaker becomes obviously difficult, 
 the interest of his audience will soon become that of sym- 
 pathy for himself, when they can be expected to have little 
 feeling but that of anxiety for his relief and their own. 
 
 In Section VIII, the learner is presented with the voice 
 in which conversation is usually carried on, under the de- 
 signation of the Natural Voice. The full development of 
 the vocal powers essential to the higher displays of a per- 
 fect oratory, and which is acquired only by a system of 
 training, constitutes what is called the Orotund, — the kind 
 of voice, it may be remarked, by the aid of which some of 
 the masters of song charm and astonish an admiring audi- 
 ence. The other kinds of voice occasionally used and with 
 
RECAPITULATION. 95 
 
 great effect are the Tremor, the Aspiration, the Guttural, 
 the Falsette, and the Whisper. 
 
 It is seen in Section IX, that by a careful analysis of the 
 speaking voice, its movements can be measured and set to 
 the musical scale ; and that however various the combina- 
 tions of these vocal movements may at first appear, they 
 may readily be reduced to six, called Phrases of Melody. 
 These are the Monotone, the Rising and Falling Ditone, 
 the Rising and Falling Tritone, and the Alternate Phrase. 
 By a more careful analysis, we ascertain ttiat some of the 
 simpler styles of delivery take their character from the pre- 
 dominance of some one of these phrases of melody. Thus 
 we have the Diatonic Melody, the Melody of the Monotone, 
 of the Alternate Phrase, and of the Cadence ; and to these 
 are added the Chromatic Melody which arises from the 
 predominance of the Semitone, and the Broken Melody. 
 
 The Mechanical Variety in the employment of the Phrases 
 of Melody, referred to in this section, is often rendered still 
 more offensive, by being combined with a corresponding 
 variety in pitch and force. Thus, sentences are sometimes 
 successively commenced on a high note and with a full 
 voice, which however gradually falls and dies away in force, 
 till it becomes nearly inaudible ; and at the same time the 
 melody will almost necessarily be mechanically varied. — 
 The learner will infer from this, that errors and faults of 
 delivery, not less than excellences, admit of combination ; 
 and indeed he may at this point be reminded, that such 
 faults as these rarely occur single. These faults thus oc- 
 curring both single and in combination, how varied are the 
 means of deforming the beautiful simplicity of nature's 
 workmanship ! 
 
 We close this enumeration of the elements of the speak- 
 
96 MANUAL OF ELOCUTION. 
 
 ing voice with the single remark, that whatever of intricacy 
 or of complexity has appeared in this chapter, it has not 
 been produced by us. 
 
 Speech is the characteristic of man. Nature has been 
 profuse in those gifts which are connected with this divine 
 power. The learner can find nothing here of our own, or 
 of invention. If indeed he finds here delineated all the 
 resources which nature has placed at man's command, it is 
 perhaos more than we ought to hope. We shall see how- 
 ever, as we proceed with the next chapter, that even with 
 these resources the power and variety of human expression 
 may become almost infinite. 
 
PRELIMINARY REMARKS. 97 
 
 CHAPTER II. 
 
 PRACTICAL APPLICATION OF PRINCIPLES. 
 
 SECTION I. 
 
 PRELIMINARY REMARKS. 
 
 We have now presented to the reader what we deem to 
 be the most important functions of the speaking voice. 
 These are not matters of invention, nor can any of the ele- 
 ments of effective delivery be properly such. They must 
 be dictated by nature herself, and must be drawn out from 
 her great store-house. When by analysis we have disco- 
 vered and examined them, and by practice and familiarity 
 have made them our own, we then ourselves become mas- 
 ters of the resources of nature. 
 
 The exercises of the foregoing chapter have had refer- 
 ence chiefly to the mechanical part of the orator's art ; still 
 we have as yet little more than presented the learner with 
 the implements of his future trade. The principal office of 
 Elocution remains, — which is, to teach their use — to teach 
 the application of these principles to practice. And then, 
 if the organs of speech, or indeed any of the vocal organs, are 
 defective, even the mechanical part cannot be performed ; 
 but if they are perfect, and yet there is a defective intel- 
 lect, a bad taste, or a feeble will, they cannot make a per~ 
 feet orator. Great excellence in oratory must doubtless 
 have as a basis a well-balanced mind : — an intellect capa- 
 ble of a full development, sensibilities lively and suscep- 
 tible of powerful action, and the elements of a will ade- 
 
 9 
 
y» MANUAL OF ELOCUTION. 
 
 quate to the control and regulation of all the powers of the 
 mind. The possession of these must be accompanied with 
 judicious and various exercise: the mind must be stored 
 with knowledge, the reasoning power improved, the judg- 
 ment matured and perfected, the powers of invention and 
 memory strengthened, and the imagination cultivated and 
 chastened ; the original susceptibility of emotion must be 
 kept alive and a good taste grafted thereon ; and the will 
 must be trained to a perfect self-possession. If to these 
 natural powers, thus trained, we add a knowledge of human 
 nature, a command of language, a sound body and a good 
 moral character, little can be wanting — but the power of 
 mechanical execution. 
 
 The lessons of this chapter, it is believed, will have a 
 tendency further to discipline the voice, at the same time 
 that they improve the judgment, and chasten and correct 
 the taste. The attention of the learner will be successively 
 called to Accent, Emphasis, Expression, the Drifts of Me- 
 lody, Transition, and Cadence. 
 
 SECTION II. 
 
 OF ACCENT. 
 
 Accent consists in distinguishing one or more syllables 
 of a word from the others, by some peculiarity in the utter- 
 ance ; and such are the laws of the English language, that 
 every word which consists of more than one syllable, has 
 at least one to be thus characterized, whether uttered singly 
 or in current discourse. Accent then must be given irre- 
 spective of feeling or expression ; and hence may be de- 
 fined the inexpressive distinction made between the syllables 
 
OFACCENT. 99 
 
 of a word. This obviously plays but a subordinate part 
 in speech ; but yet it is a great source of variety, at the 
 same time that it is the principal instrument in our versifi- 
 cation. 
 
 In determining what syllables are to be marked by ac- 
 cent, taste or feeling has nothing to do ; this is settled by 
 usage. Words however, spelled in the same way but 
 having different meanings, often have the place of their 
 accent changed: Thus desert, a wilderness; desert', 
 merit or demerit; — con'duct, behavior ; conduct', to lead 
 or manage. And so of many others. But though good 
 taste has nothing to do with determining what syllables are 
 to receive the accent, it has much to do with the manner 
 in which they are to be thus distinguished. 
 
 There are three ways in which accent may be given ; by 
 extending the natural time of the syllable, by giving it 
 throughout more than its natural force, and by laying a 
 stress on the radical point of the syllable. Here we are 
 presented with time, and two of the forms of stress, be- 
 fore explained, to wit, the loud concrete and the radical, 
 as elements which may be used in accent. The three forms 
 of accent thus defined may be designated as the Temporal, 
 the Forcible, and the Radical. The Temporal accent is 
 confined to syllables of indefinite quantity ; but since in 
 English the accented syllables are generally the longest in 
 the word, this form of accent in current speaking and reading 
 is the most common. The accent of force may be given 
 to all but the immutable syllables, and to these the Radical 
 accent is specially appropriated, 
 
100 
 
 MANUAL OF ELOCUTION. 
 
 1. Temporal Accent. 
 Be-hav-ioi. 
 Jlw-M. 
 A\-arm. 
 Be-lieve. 
 Isl-and. 
 Be-hove. 
 Je-ru-sa-leim 
 A-rouse. 
 Be-fool. 
 En-joy. 
 
 Examples. 
 2. Forcible Accent. 3. Radical Accent. 
 
 Hate-fuh ^-titude. 
 
 06-ject. Be-se/-ment. 
 
 Em-bark. Tick-le. 
 
 Pro-ceed. Bot-t\e. 
 
 lYight-ful. Jft-ter-ance. 
 
 Dis-robe. Fool-lock. 
 
 Con-elude. Fig-tiee. 
 
 A-bout. En-act. 
 
 Root-ed. Em-&t7-ter. 
 
 An-oint. A-&u/-ment. 
 
 The principal point to be observed here is, that the Tem- 
 poral accent is more melodious than either of the others, 
 while the Radical accent is least agreeable of the three. 
 To substitute either of the others for the first is, then, ob- 
 viously a violation of melody; and the last should be 
 confined to immutable syllables. It is a great accomplish- 
 ment in the poet, so to arrange his verses that the accent 
 shall in all cases be that of quantity ; and just so far as he 
 approaches to this, will his lines, when properly read, flow 
 softly and strike musically upon the ear. But even this 
 excellence of an author might be annulled by the defective 
 mode of giving the accent, on the part of the reader. To 
 him then who is found inclined to substitute either of the 
 others for the Temporal accent, set exercises should be as- 
 signed in the reading of dignified prose and verse. 
 
 SECTION III. 
 
 OF EMPHASIS. 
 
 While accent is employed without regard to feeling or ex- 
 pression, Emphasis on the contrary implies emotion. Em- 
 
EMPHASIS. 101 
 
 phasis like accent is a stress laid on syllables, and usually 
 on the same syllables which take the accent. When how- 
 ever the claims of accent come into conflict with those of 
 emphasis, the former must yield ; as " He must increase, 
 but I must decrease." " This mortal shall put on immor- 
 tality." Of the two, then, it is obvious that Emphasis 
 holds the higher rank. 
 
 The following are the purposes for which Emphasis is 
 mainly used. First , to distinguish words which are spe- 
 cially significant, either in themselves considered, or from 
 the relation in which they stand. Secondly, to mark the 
 antithetic relation existing between the words composing a 
 sentence, or the ideas embraced in it. Thirdly, to make 
 the sense of an elliptical sentence obvious, as addressed to 
 the ear ; and fourthly to mark the syntax, in cases where 
 words holding a close grammatical relation are separated 
 by parentheses and interposed clauses. The occasions for 
 emphasis then are of constant recurrence ; — either of these 
 circumstances serving as a sufficient reason for its use. 
 And emphasis is often required on several words in succes- 
 sion, constituting a phrase or member of a sentence. How 
 then can emphasis be defined ? In what does it consist ? 
 and what are the means by which it is executed ? 
 
 Emphasis may be defined — The Expressive but occa- 
 sional distinction of syllables, and consequently of the words 
 of which they form a part. The degree of distinction 
 which is essential to constitute emphasis but slightly ex- 
 ceeds the natural accent ; but the higher forms of emphasis 
 are strongly marked, and by whatever means this distinc- 
 tion is imparted to the word, its character cannot be mis- 
 taken. 
 
 The dash placed under the word is the visible symbol 
 
 9* 
 
102 MANUAL OF ELOCUTION. 
 
 of emphasis in writing, as a change of type is in printing; 
 the italic letter marking the slighter degrees of emphasis, 
 and the capital the stronger. Good taste directs that these 
 symbols which are addressed to the eye should rarely be 
 used : and thus it is left to the discrimination of the reader 
 alone to determine the place of the emphasis, as well as 
 the kind of emphasis to be employed. 
 
 The object of emphasis being to distinguish some words 
 from others for the purpose of giving them more import- 
 ance in utterance, it is clear that whatever will serve to 
 arrest the ear and fix the attention upon a word performs 
 this office ; and this may be done by the use of any of the 
 following elements, explained in the last chapter ; — to wit, 
 Time, the various kinds of Stress, Pitch both concrete and 
 discrete, the Waves, Force, and several of the modifica- 
 tions of Quality, as the term is applied to the voice. We 
 proceed to give a few examples of these different kinds of 
 emphasis, in the order in which the elements employed 
 were introduced to the learner, in the last chapter. And 
 here the fact must force itself upon the attention, that if 
 emphasis can be given in so varied a manner, all apology 
 for monotony in spirited delivery is at once removed. In 
 no department of observation do we find that nature has 
 lavished her gifts in greater profusion, than in furnishing 
 the materials of an effective delivery. 
 
 I. Temporal Emphasis. 
 
 The element of Time or Quantity, though never discon 
 nected from all other elements which contribute to empha- 
 sis, is yet the predominant characteristic in the expression 
 of serious dignity. It can be given only on syllables 
 which admit of indefinite extension. 
 
EMPHASIS OF STRESS. 103 
 
 Examples.* 
 
 1. Roll on, thou deep and dark blue ocean — roll. 
 
 2. Nine times the space that measures day and night 
 To mortal men, he with his horrid crew- 
 Lay vanquished. 
 
 3. For soon expect to feel 
 His tkun-dex on thy head, de-uour-ing fire. 
 Then who created thee lamenting learn, 
 When who can un-create thee thou shalt know. 
 — — So spake the seraph Abdiel, faithful found 
 Among the faithless, faithful on-ly he. 
 
 II. Emphasis of Stress. 
 Among the modes of distinguishing syllables are the 
 different modes of stress ; and these are varied both with 
 the sentiment, and with the character of the syllable on 
 which the stress is to be employed 
 
 Examples. 
 Radical Emphasis. — This form of Emphasis is suited to 
 the expression of anger and all the violent emotions ; and 
 is the one usually employed in rapid utterance. The Radi- 
 cal is the only kind of stress which immutable syllables 
 will bear, but it may be given on syllables of indefinite 
 time. 
 
 1. The prison of his tyr-anny who reigns 
 By our delay. 
 
 2. Back to thy joun-ishment, 
 False fugitive. 
 
 8. The universal cry is — Let us march against Philip, let usjight 
 for our /t6-erties — let us con-quer or die ! 
 
 * Note to the Teacher. — In the exercises of this section, the 
 learner should first be permitted to employ his own skill in exe- 
 cution. Afterwards he may read them with his teacher. 
 
104 MANUAL OF ELOCUTION. 
 
 Median Emphasis. — This form of Emphasis is more dig- 
 nified than the last, and is consequently well suited to the 
 expression of lofty and sublime sentiments, and to the lan- 
 guage of veneration and prayer. It can be given only on 
 syllables of indefinite quantity. 
 
 1. Wonder not, sovereign Mistress, if perhaps 
 Thou canst, who art sole wonder ! 
 
 2. Oh swear not by the moon, the inconstant moon? 
 That monthly chan-ges in her circling orb. 
 
 3. Hail, ho-ly light, offspring of Heaven first-born ! 
 Or of the Eternal co-eternal beam 
 
 May I express thee unblamed 1 
 
 4. Spare thou those, O God, who confess their faults. — Res-tfore 
 
 thou them that are penitent. 
 
 Vanishing Emphasis. — This form of Emphasis usually 
 expresses impatience, angry complaint, or some other mo- 
 dification of ill humor. It is especially adapted to hasty 
 interrogation, and may be given on any but the immutable 
 syllables. — The tent scene between Brutus and Cassius 
 furnishes numerous examples of this. 
 
 1. Brutus. Let me tell you, Cassius, you yoxn-self 
 
 Are much condemned to have an itching palm ; 
 
 To sell and mart your offices for gold 
 
 To undeservers. 
 Cassius. I an itching palm ? 
 
 You know that you are Bru-tus that speak this, 
 
 Or, by the Gods, this speech were else your last. 
 Brutus. The name of Cassius honors this corruption, 
 
 And cAas-tisement doth therefore hide his head. 
 
 2. Brutus. Must /give way and room to your rash choler? 
 
 Shall /be frighted when a mad-man stares'? 
 Cassius. O ye gods ! ye gods ! must I endure all this 1 
 
EMPHASIS OF PITCH. 105 
 
 3. Hamlet, Saw who P 
 
 Horatio. My lord, the King, your father. 
 HamleL The King, my /o-ther ? 
 
 Compound Emphasis.— This consists in an application 
 of the compound stress to a syllable of indefinite time ; ana 
 is the most forcible form of emphatic stress. — It is particu- 
 larly appropriate to the forcible expression of earnest or 
 angry interrogation. 
 
 1. Arm, warriors, arm for fight. 
 
 2. Dost thou come here to whine? 
 
 To outface me by leaping in her grave ! 
 
 III. Emphasis of Pitch. 
 The melody of unimpassioned discourse consists of a 
 succession of syllables, whose concrete movement is only 
 through a single tone, the discrete movement from syllable 
 to syllable being also through the same interval. This is 
 called the Diatonic melody. Any deviation from this 
 movement, like a slide or a skip through a third, fifth, or 
 octave, on any syllable, would most obviously produce 
 such a distinction as to answer the purpose of emphasis, 
 and that whether this movement were upward or down- 
 ward, whether concrete or discrete. As the rising and 
 falling movements of the voice have different expressions, 
 they will be treated separately. 
 
 1. Emphasis of the Rising Intervals. 
 
 The appropriate expression of the rising intervals is in- 
 terrogation. This subject has been introduced to the 
 learner in Sec. V, of Chap. I; and will be further dis- 
 cussed under the head of Expression. But beside the in- 
 terrogative expression, the rising movements both of a third 
 
106 MANUAL OF ELOCUTION. 
 
 and a fifth may be used for purposes of emphasis merely ; 
 while that of the octave probably always combines em- 
 phasis with the thorough interrogative intonation. — The 
 slide through the wider intervals should be struck on a 
 line below the current melody. 
 
 Examples. 
 Emphasis of the Rising Concrete Third, — This is the 
 emphasis of simple interrogation ; and is also employed to 
 express the lower shades of emphatic distinction, as they 
 occur in the diatonic melody. 
 
 1. Gavest thou the goodly wings to the pea-cocks? or wings and 
 
 feathers unto the os-trich? 
 
 2. I love not man the less, but nature more, 
 From these our interviews. 
 
 3. Yet Bru-tus says he was ambitious. 
 
 Emphasis of the Rising Discrete Third, — This has the 
 same expression with the concrete rise of a third, and is 
 rarely used but on immutable syllables. 
 
 1. Canst thou draw out leviathan with a hook? 
 2.' Which, if not vic-toiy, is yet revenge. 
 
 3. Why then their loss deplore, that are not lost ! 
 
 4. Why should that name be sounded more than yours 1 
 
 Emphasis of the Rising Concrete and Discrete Fifth. — 
 The examples which illustrate the two preceding forms 
 may be used for illustration here, by adding to the energy 
 with which they are pronounced. The intervals of the 
 fifth are of more rare occurrence than the third. The fol- 
 lowing additional examples must suffice. 
 
 Concrete. 
 
 1. Wouldst thou he King? 
 
EMPHASIS OF PITCH. 107 
 
 - 2. Tears like the rain-drops may fall without measure, 
 But rapture and beauty they cannot recall. 
 
 3. Time writes no wrinkle on thine azure brow. 
 
 4. /am at liberty, like every other man, to use my own language. 
 
 5. You are not left alone to climb the arduous ascent — God is 
 
 with you ; who never suffers the spirit which rests on him 
 to fail, nor the man who seeks his favor to seek it in vain. 
 
 6. What though the field be lost ? all is not lost. 
 
 Note 1. — When the emphatic rise, as in this last example, oc- 
 curs on the last syllable or word of a declarative sentence, it must 
 of course annul the cadence. — So also, if it occurs near the close. 
 
 Note 2. — This emphatic rise, and the consequent suspension of 
 the cadence, may occur in the Indirect Question ; as, What is that? 
 Who do you say that is] — These cases however are too rare to un- 
 settle the general rules of Interrogative Intonation laid down in the 
 first chapter. 
 
 Discrete. 
 
 1. Let me have men about me that are fat, 
 Sleek-headed men, and such as sleep o' nights. 
 
 2. Or when we lay 
 Chained on the burning lake ! That sure was worse. 
 
 Emphasis of the Rising Concrete and Discrete Octave. — 
 This is the most earnest expression of interrogative intona- 
 tion ; and is never used in grave discourse. Its appropriate 
 expression is that of sneer or raillery. — The rise is concrete 
 when it occurs on long syllables ; when on short or immu- 
 table syllables, it is formed by a change of radical pitch. 
 
 Concrete. 
 
 1. Moneys is your suit. 
 What should I say to you? Should I not say % 
 Hath a dog money 1 Is it possible 
 
 A cur can lend three thousand ducats 1 
 
 2. A King's son 1 You Prince of Wales 1 
 
 Discrete. 
 
 Zounds, show me what thoul't do : 
 WouVt weep? wouYt fight? woul't fast? woul't tear thyself? 
 
108 MANUAL OF ELOCUTION. 
 
 2. Emphasis of the Downward Intervals. 
 
 As the rising movements of the voice express doubt and 
 uncertainty, so the downward intervals are the appropriate 
 symbol of surprise and positiveness. When the accented 
 syllable is susceptible of being protracted, the movement 
 is concrete ; and in this case the radical point of the slide 
 is struck on a line above that of the current melody, the 
 vanish descending below it, when the force of the emphasis 
 is considerable. — On immutable syllables, the fall can be 
 made only by a discrete skip of the voice. 
 
 The fall for the purpose of emphasis, may be through a 
 third, a fifth or an octave, according to the degree of posi- 
 tiveness or surprise contemplated by the emphasis. 
 
 Examples. 
 
 Emphasis of the Downward Concrete Third. — 
 
 1. Does beauteous Tamar view, in this clear fount, 
 Herself, or heaven ? 
 
 2. You are the queen, your husband's brother's wife. 
 
 3. The fault, dear Brutus, is not in our stars, 
 But in ourselves, that we are underlings. 
 
 4. The curfew tolls, the knell of parting day. 
 
 Emphasis of the Downward Concrete Fifth. — 
 
 1. Seems, madam! nay, it is; I know not seems. 
 
 2. Before the sun, before the heavens, thou wert. 
 
 3. Upon the watery plain 
 The wrecks are all thy deed. 
 
 4. The man who is in the daily habit of using ardent spirits, if 
 
 he does not become a drunkard, is in danger of losing his 
 health and character. 
 
 Note. — The sense itself, as well as the force of the expression, 
 often depends, as in the last example, on the giving of the down- 
 ward emphatic slide. 
 
EMPHASIS OF THE WAVE. 109 
 
 Emphasis of the Downward Concrete Octave. — The 
 learner scarcely need be informed, that this expresses the 
 highest degree of this species of emphasis, or that it is of 
 rare occurrence. Dr. Rush thinks that the following pas- 
 sage cannot be uttered with dramatic effect, but by giving 
 this form of emphasis on the word " hell." 
 
 So frowned the mighty combatants, that Hell 
 
 Grew darker at their frown. 
 
 The following example will illustrate the discrete rise of 
 a third on " that," and the discrete fall of the same inter- 
 val on " too." 
 
 Cassius. They shouted thrice ; what was the last cry for ? 
 
 Casca. Why, for that too. 
 
 The downward discrete fifth or octave^ for the purpose 
 of emphasis, is believed to be very rare. They cannot be 
 made from the current melody ; nor is the voice ever suffi- 
 ciently high to admit of such a fall, except when it has 
 been carried up to give emphasis to a preceding word ; and 
 then the fall is generally to be considered only as a simple 
 return to the current melody. If in any case, such return 
 is made on an immutable and emphatic syllable, then such 
 discrete fall may be construed as a form of emphasis, and 
 would be the only one that could properly be used. 
 
 IV. Emphasis of the Wave. 
 
 In practice, as in theory, it is believed that the number 
 and variety of the waves is very great. They may be 
 equal or unequal, single or double, direct or inverted ; and 
 in any of these, the individual constituents may be varied 
 from a semitone to an octave, though the intermediate in- 
 tervals of a second, third, or fifth. A full illustration o! 
 this subject will not be attempted. 
 
 10 
 
110 MANUAL OF ELOCUTION. 
 
 This form of emphasis can only be used on syllables of 
 long quantity ; and expresses, according to its forms, sur 
 prise and admiration, sneer and scorn. 
 
 1. Emphasis of the Equal Wave. 
 Examples. 
 Equal Wave of the Semitone. — When the semitone "is 
 employed to give distinction to long syllables, it usually 
 takes the form of the wave. This however gives it no new 
 expression : it remains the symbol of plaintiveness. 
 I heard the bell tolled on thy burial day, 
 And turning from my nursery window drew 
 A long, long sigh, and wept a last adieu. 
 
 Equal Wave of the Second. — This has no peculiar ex- 
 pression of its own. It is exhibited in all the examples,- 
 when properly read, which illustrate either the Temporal 
 or the Median Emphasis; to these the learner would do 
 well again to reCur. 
 
 Equal Wave of the Third, and of the Fifth. — 
 
 1. Yond' Cassius has a lean and hun-gry look. 
 
 2. Hadst thou alleged 
 To thy deserted host this cause of flight, 
 Thou surely hadst not come sole fugitive. 
 
 3. Beyond that, I seek not to penetrate the veil. God grant, that 
 
 in my day, at least, that curtain may not rise. God grant, 
 that on my vision, never may be opened what lies behind. 
 
 The foregoing may be considered as good examples of 
 the wave of the third. The following may be read with 
 the same wave on the emphatic syllables, though their 
 full power cannot be developed but by the use of the 
 wave of the^A. 
 
EMPHASIS OF THE WAVE. Ill 
 
 1. And breath'st defiance here and scorn 
 Where I reign King ] and to enrage thee more 
 Thy King and lord ! 
 
 2. So much the rather thou, celestial Light, 
 
 Shine inward, and the mind through all her powers 
 Irradiate. 
 
 3. I formed them free — 
 
 They themselves ordained their fall. 
 
 In the following example, the first two syllables in italics 
 may receive the direct equal wave of the second; "I" 
 should take the wave of the third, and " We" of the 
 fifth. 
 
 Brutus. 'Tis very like : he hath the falling sickness. 
 
 Cassius. No, Cse-sar hath it not ; but you and i", 
 
 And honest Casca, we have the falling sickness. 
 
 Note. — In general it is believed, the Double wave has the same 
 expression indicated by the single wave, and only heightens it by 
 increasing the quantity of the syllable which receives the emphasis. 
 Nor does the Inverted wave always give a different expression from 
 the Direct; but sometimes seems to be used for the sake of variety. 
 W T hen however the last constituent of the wave, whether single or 
 double, rises through the interval of a fifth or octave, it gives the 
 expression of interrogation; as when it takes the falling through 
 these intervals, it gives the expression of strong surprise. 
 
 2. Emphasis of the Unequal Wave. 
 
 The natural expression of inequality in the constituents 
 of the wave, is scorn and contempt. In dignified dis- 
 course this sentiment is expressed by combining with the 
 equal wave the vanishing stress, or the aspiration. With- 
 out the employment of these elements, the language of sar- 
 casm and irony loses all its point. 
 
 Dr. Rush gives the following as examples of the Unequal 
 Single Wave. — The word "boy," in the first, is pro- 
 nounced with the rise of a fifth, and the subsequent fall of 
 an octave. 
 
112 MANUAL OF ELOCUTION. 
 
 False hound ! 
 If you have writ your annals true, 'tis there 
 That, like an eagle in a dove-cote, I 
 Fluttered your Voices in Corioli; 
 Alone I did it. — Boy ! 
 
 In the following, " yea" may be read with the rise of a 
 tone or a third, connected with the fall of a third or fifth. 
 
 For, from this day forth, 
 I'll use you for my mirth, yea, for my laughter, 
 When you are waspish. 
 
 The second " wrong" in the following line, may be read 
 with the rise of a semitone and a fall of a third or fifth. 
 You wrong me every way, you wrong me, Brutus. 
 
 Emphasis of the Unequal Double Wave. — To be properly- 
 uttered, the waves all require quantity ; but the double 
 wave especially requires that the syllable on which it is 
 given should be susceptible of indefinite time. It is heard 
 in peevish expression, in the colloquial cant of common 
 life, and often heightens the effect of dramatic sentiment. 
 
 This element may be exhibited on the word " they," as 
 repeated in the following example: — 
 
 They tell us to be moderate, while they, they revel in profusion. 
 
 It may be suggested to the learner, as one of the modes 
 of exhibiting the sentiment and feeling of the above pas- 
 sage, to pronounce " us" with a rapid movement of the 
 voice through the direct double wave of the second ; the 
 first " they," with the direct single wave of the third ; and 
 to give to this word when repeated the double wave 
 having its first constituent the rising third, the second the 
 falling fifth, and the third the rise of a second. — Other 
 modes of inflection might be suggested. 
 
EMPHASIS OF QUALITY. 113 
 
 V. Emphasis of Force. 
 This form of emphasis is specially suited to short sylla- 
 bles, and differs but little in its sound or its expression 
 from the radical emphasis when combined with short quan- 
 tity. This however is characterized by the same fullness 
 of force throughout its whole extent, without the gradual 
 vanish of the radical emphasis. The following will suffice 
 as examples : — 
 
 1. Tell your invaders this, and tell them, too, we seek no change; 
 
 and least of all such a change as they would bring us. 
 
 2. Therefore as far 
 From granting he, as I from beg-glng peace. 
 
 The Emphasis of the Vocule, is but the Emphasis of 
 Force applied to a word consisting mainly of atonies, and 
 terminated by a mute. When such a word is followed by a 
 pause, this seems one of the most forcible modes of em- 
 phasis. The employment of this element, however, re- 
 quires great care, as it is so much more frequently used im- 
 properly than otherwise. Nothing short of the most vehe- 
 ment feeling authorizes its use. 
 
 Examples. 
 * 1. Whether upheld by strength, or chance, or fate. 
 2. What though the field be lost ? 
 
 All is not lost; the unconquerable will, 
 And study of revenge, immortal hate, 
 And courage never to submit or yield, — 
 That glory never shall his wrath or might 
 Extort from me. 
 
 VI. Emphasis of Quality. 
 Of the different kinds of voice mentioned in the last 
 chapter, but three seem to be employed for purposes of 
 
 10* 
 
114 MANUAL OF ELOCUTION. 
 
 emphatic distinction, viz., the Tremor, the Aspiration, and 
 the Guttural voice. 
 
 1. Emphasis of the Tremor. 
 
 The tremulous movement of the voice described in the 
 last chapter is sometimes heard throughout short sentences ; 
 but is often confined to single words, in which case it be- 
 comes one of the elements of emphatic distinction. When 
 combined with any other element than the semitone, it is 
 the symbol of joy and exultation ; and when combined 
 with this, it expresses tenderness and grief. 
 
 Examples. 
 
 1. Thou art the ruins of the noblest man, 
 That ever lived in the tide of times. 
 
 2. Now give the hautboys breath, he comes, he comes. 
 
 3. Forsake me not thus, Adam ! 
 
 Bereave me not, 
 Whereon I live, thy gentle looks, thy aid, 
 Thy counsel in this uttermost distress, 
 My only strength and stay. Forlorn of thee, 
 Whither shall I betake me, where subsist? 
 
 2. Emphasis of Aspiration. 
 
 Examples. 
 
 1. Brutus. What means this shouting 1 ? I do fear, the people 
 
 Choose Caesar for their King. 
 Cassius. Ay, do you fear it? 
 
 Then must I think you would not have it so. 
 
 2. Brutus. The name of Cassius honors this corruption, 
 
 And chastisement doth therefore hide his head, 
 Cassius. Chastisement ! 
 
 3. Brutus. Peace, peace ; you durst not so have tempted him. 
 Cassius. I durst not ! 
 
EMPHASIS OF QUALITY. 115 
 
 3. Guttural Emphasis. 
 
 Examples. 
 
 1. 1 know thee not, nor ever saw till now 
 Sight more de-/es/-able than him and thee. 
 
 2. Whence these chains ? 
 Whence the vile death, which I may meet this moment 1 
 Whence this dishonor, but from thee, thou false one 1 
 
 The learner will find examples for his further practice in 
 this important branch of elocution, in every piece of spirited 
 composition he reads. He should first mark the words 
 which are emphatic in the selection under examination, 
 should satisfy himself, as to the most effective kind of em- 
 phatic distinction to be employed on each ; and then should 
 endeavor to execute the emphasis in the best manner of 
 which he is capable. If the piece is to be recited, he 
 should be careful to lay the stress on those words only 
 which he had before so marked. The following additional 
 remarks may render the learner further assistance in such 
 practice. 
 
 1. Though the elements of emphasis have been treated 
 separately, they are often combined on the same word or 
 syllable ; and some of them never occur alone : thus the 
 Wave is always associated with Quantity, and usually with 
 the Median Stress ; and the Guttural voice is generally as- 
 sociated with the Aspiration. 
 
 2. The emphatic words are often, in themselves consi- 
 dered, very unimportant. Thus : — 
 
 If you did know to whom I gave the ring-, 
 
 If you did know for whom I gave the ring", 
 
 And would conceive for what I gave the ring-, 
 
 And how unwillingly I left the ring, 
 
 When nought would be accepted hut the ring-, 
 
 You would abate the strength of your displeasure. 
 
116 MANUAL OF ELOCUTION. 
 
 3. Emphasis sometimes extends to several words, or an 
 entire clause ; as, " I came not to baptize, but to preach the 
 gospel" — "Heaven and earth will witness, if Rome must 
 /all, that we are innocent." 
 
 4. One of the objects of emphasis is to point out the an- 
 tithetic relation of words ; and to exhibit this most strongly, 
 the emphasis of the Rising and Falling Slides and of the 
 Direct and Inverted Wave are often opposed to each other, 
 on the words thus related. — When the emphasis falls on a 
 single word, in consequence of its importance in the sen- 
 tence, it is called absolute emphasis ; in case of antithesis, 
 it is called relative emphasis. Several of these relations 
 frequently occur in the same passage. Thus, — " The young 
 are slaves to novelty, the old to custom." — " The hope of 
 the righteous shall be gladness ; but the expectation of the 
 wicked shall perish." 
 
 5. The emphasis of the Upward and Downward Slides, 
 as also of the Waves, is often heightened by extending the 
 movement to the unaccented syllables of the word on 
 which it occurs. Examples : — 
 
 What is it that a Roman would not suffer 
 That a Venetian prince must bear 1 
 For no narrow frith he had to cross. 
 Though he will not rise and give him, because he is his friend, 
 yet because of his importunity he would rise and give him as 
 much as he needeth. 
 
 6. In the employment of emphasis, two cautions may 
 be given to the learner ; viz., — First, that he should never 
 allow himself to use the Wave — particularly the Unequal 
 Wave — where only the simple Slides are called for ; and 
 Second, that he should avoid all excessive formality, in 
 marking the emphatic words. This seems to imply, on the 
 
RELATIVE EMPHASIS. 117 
 
 part of the speaker, a distrust of the ability of his audience 
 to perceive the force of his language unless accompanied 
 with peculiar efforts to exhibit it. 
 
 Having explained at length the means by which em- 
 phatic distinction is imparted to words, and the general 
 principles on which the emphasis depends, it may be ex- 
 pedient to give the learner the advantage of some more 
 specific rules in relation to — 
 
 Relative Emphasis. 
 
 To mark the relative distinction of words, the emphasis 
 of the Rising and Falling intervals is generally used. No 
 new element of emphasis then remains to be here intro- 
 duced. Under this head it is proposed simply to develope 
 a subordinate principle in emphasis, which makes the kind 
 of emphatic distinction employed, sometimes to depend on 
 the structure of the sentence, or at least to be coincident 
 with it. This should be considered only as a secondary 
 principle, having reference, like the Diatonic Slides, rather 
 to the sound than to the sense ; and liable, therefore, at 
 any time, to be interrupted by the recurrence of the abso- 
 lute emphasis. Having only euphony for its basis, as 
 might be expected, there is not a perfect uniformity in the 
 directions of elocutionists respecting it, or in the usage of 
 good speakers. The following, it is believed, are all the 
 rules that the learner can profit by, or that can be laid down 
 without the danger of giving to speech an affected stiffness 
 which ought not to belong to it. 
 
 Rule I. When the successive members of a sentence 
 consist of two clauses which correspond to each other, the 
 first clause in each takes the Rising, and the latter the Fall- 
 ing Slide. 
 
118 MANUAL OF ELOCUTION. 
 
 Examples. 
 
 1 . Here regard to virtue opposes insensibility to shame ,- purity to 
 pollution ; integrity to injustice ,• virtue to villany ; resolution to rage ; 
 regularity to riot. The struggle lies between wealth and want ,• the 
 dignity and degeneracy of reason ; the force and the phrenzy of the 
 soul; between well-grounded hope and widely extended despair. 
 
 2. By fomor and dishonor ,- by m7 report, and good report ; as de- 
 ceivers, and yet true ; as unknown, and yet well known ; as dying, 
 and behold we live; as chastened, and not killed; as sorrowful, yet 
 always rejoicing ,- as poor, yet making many ncA ; as having no- 
 thing, and yet possessing all things. 
 
 3. We are troubled on every side, yet not distressed ; perplexed 
 but not in despair,- persecuted but not forsaken,- cast down, but not 
 destroyed. 
 
 4. In the suitableness or ^suitableness, the proportion or ^pro- 
 portion of the affection to the object which excites it, consists the 
 propriety or impropriety of the action. 
 
 Note. — By observing these examples, it will be perceived, that 
 this rule holds good without regard to the nature of the relation be- 
 tween the clauses. — By the last, it appears, that when words which 
 are derived from the same root stand in opposition to each other, on 
 one of them at least the emphasis falls on the distinguishing sylla- 
 ble, without regard to the place of the ordinary accent. 
 
 Rule II. — When any sentence has corresponding mem- 
 bers, expressing any other single relation than the antithesis 
 of negation and affirmation, the first member generally 
 takes the Rising and the latter the Falling Slide. 
 
 Examples. 
 
 1, Homer was the greater genius,- Virgil, the better artist.- in 
 the one, we more admire the man ; in the other, the work. Homer 
 hurries us with a commanding impetuosity ; Virgil leads us with an 
 attractive majesty. Homer scatters with a generous prof usion ,- Vir- 
 gil bestows with a careful magnificence. Homer, like the Nile 
 pours out his riches with a sudden overflow ; Virgil, like a river in 
 its banks, with a constant stream. 
 
RELATIVE EMPHASIS. 119 
 
 2. I am found, said virtue, in the vale, and illuminate the moun- 
 tains. 1 cheer the cottager at his toil, and inspire the sage at his 
 meditation .- I mingle in the crowd of cities, and bless the hermit in 
 his cell. 
 
 3. Dryden knew more of man in his general nature, and Pope in 
 his local manners. The notions of Dryden were formed by compre- 
 hensive speculation, those of Pope by minute attention. There is 
 more dignity in the knowledge of Dryden, and more certainty in 
 that of Pope. 
 
 4. Never before were so many opposing interests, passions, and 
 principles, committed to such a decision. On one side an attach- 
 ment to the ancient order of things, on the other a passionate desire 
 of change ,• a wish in some to perpetuate, in others to destroy every 
 thing; every abuse sacred in the eyes of the former, every founda- 
 tion attempted to be demolished by the latter ; a jealousy of power 
 shrinking from the slightest innovation, pretensions to freedom 
 pushed to madness and anarchy ,- superstition in all its dotage, im- 
 piety in all its fury ,- — whatever, in short, could be found most dis- 
 cordant in the principles, or violent in the passions of men, were 
 the fearful ingredients which the hands of Divine justice selected 
 to mingle in this furnace of wrath. 
 
 5. Therefore, the world knoweth us not, because it knew him not. 
 
 6. Custom is the plague of wise men, and the idol of fools. 
 
 7. Caesar was celebrated for his great generosity , Cato for his un- 
 sullied integrity. 
 
 Note. — When the members are long, and especially if they ex- 
 press a complete sense, as in the last example, — both members are 
 often terminated with the falling inflection; nor do I consider that 
 objectionable. In that case, however, the antithesis may be pre- 
 sented on the leading words of the members; as, in this example, on 
 ' Caesar' and ' Cato.' The following examples may also illustrate 
 the same point: — "The power of delicacy is chiefly seen in dis- 
 cerning the true merit of a work ; the power of correctness, in re- 
 jecting false pretensions to merit." — "The Spartan [Lycurgus] 
 aimed to form a community of high-minded warriors; the Athenian 
 [Solon] sought rather a community of cultivated scholars." 
 
 Rule III. — When a sentence consists of two corres- 
 ponding members, the one negative, the other affirmative, 
 
120 MANUAL OF ELOCUTION. 
 
 the negative member takes the Rising Slide ; — Except 
 when overruled by the absolute Emphatic Stress. 
 
 When the negative member comes first, it is obvious 
 that this rule is entirely coincident with Rule II, as in the 
 following examples: — "I did not say a better soldier, but 
 an elder?'' — " These things I say now, not to insult one 
 who is fallen, but to render more secure those who 
 stand." — " He came not with the aspect of vengeance, but 
 of mercy." 
 
 The following examples, in which the negative member 
 occurs last, will show that the principle is of universal ap- 
 plication. 
 
 1. The duty of a soldier is to obey, not to direct his general. 
 
 2. It was an enemy, not a friend, who did this. 
 
 3. I came to bury Caesar, not to praise him. 
 
 4. You were paid to fight against Alexander, not to rail at him. 
 
 Examples of exception to Rule III, founded on the abso- 
 lute emphasis : — 
 
 1. If we have no regard for our character, we ought to have 
 some regard for our interest. 
 
 2. If you will not make the experiment for your own satisfac- 
 tion, you ought to make it for the satisfaction of your friends. 
 
 3. The man who is in the daily use of ardent spirit, if he does 
 not become a drunkard, is in danger of losing his health and 
 character. 
 
 4. If we have no regard for religion in youth, we ought to have 
 some respect for it in age. 
 
 Note 1.— When the negative is implied though not expressed, 
 the negative member still takes the Rising Slide: thus, — "A coun- 
 tenance more in sorrow than in anger." Here the inflections are as 
 though it were read,— "A countenance in sorrow, not in anger." 
 The following examples will further illustrate this principle :— " He 
 is more knave than fool." — " Napoleon merits praise, rather than 
 dispraise." — " Caesar deserves blame, instead of fame." 
 
 Note 2. — When only the negative part of such sentence is ex- 
 
RELATIVE EMPHASIS. 121 
 
 pressed, if the antithetic part is plainly obvious, it may take the 
 Rising Slide. Examples : — 
 
 True politeness is not a mere compliance with arbitrary custom ; 
 [it is the expression of a refined benevolence.] 
 
 God is not the author of sin, [but of moral excellence.] 
 
 To these rules may be added two others for the Falling 
 Slide ; and they are given here, because, like the foregoing, 
 they seem to depend sufficiently on the structure of the 
 sentence, to receive some illustration from that principle 
 
 Rule IV. A succession of emphatic particulars takes 
 the Emphasis of the Falling Slide. 
 
 Examples. 
 
 1. Absalom's beauty, Jonathan's love, David's valor, Solomon's 
 wisdom, the patience of Job, the prudence of Augustus, the eloquence 
 of Cicero, the innocence of wisdom, and the intelligence of all, — 
 though faintly amiable in the creature, are found in immense per- 
 fection in the Creator. 
 
 2. The soul can exert herself in many different ways of action. 
 She can understand, will, imagine, — see and hear, — love and dis- 
 course, — and apply herself to many other like exercises of different 
 kinds and natures. 
 
 3. His hopes, his happiness, his very life, hung upon the next 
 word from those lips. 
 
 4. Valor, humanity, courtesy, justice, and honor, were the charac- 
 teristics of chivalry. 
 
 Note. — On each successive word of the emphatic series, the 
 slide should be made through a wider interval, and with increased 
 force.* 
 
 * Several eminent writers on elocution have laid down the rule, 
 that the last member of a commencing series, or, more generally, 
 the penultimate clause of a sentence, should take the Rising Inflec- 
 tion. Thus, 'honor,' in the last example, according to this rule, 
 should receive the Rising Slide, instead of presenting to the ear 
 the climax which exists in the sense; and some very insufficient 
 reasons are assigned why it should be so. I would suggest, how- 
 ever, that a slight pause, after the last emphatic word, prepares the 
 
 11 
 
122 MANUAL OF ELOCUTION. 
 
 Rule V. — Emphatic repetition requires the Falling Slide. 
 
 Examples. 
 
 1. And the angel of the Lord called unto him out of heaven; and 
 said, Abraham, Abraham. And he said, Here am I. 
 
 2. O Jerusalem, Jerusalem, thou that killest the prophets, and 
 stonest them which are sent unto you, how often would I have 
 gathered thy children together, even as a hen gathereth her chick- 
 ens under her wings, and ye would not! 
 
 SECTION IV. 
 
 OF THE DRIFTS OF THE VOICE. 
 
 Preparatory to the next two sections, we here intro- 
 duce what Dr. Rush has well designated the " Drifts of the 
 Voice." In the first chapter of this Manual are enume- 
 rated and described all the elements which are supposed to 
 be essential to a perfect elocution. The learner must feel 
 an interest in knowing whether they are limited in their 
 application and use to the emphasis, as described in the last 
 
 way for a more melodious cadence than can be produced in the 
 way proposed ; and this is believed to be the manner of many of 
 our best speakers. — Who ever hears, in the spirited utterance of 
 any of our most accomplished speakers, such specimens as occur in 
 the notation of Porter's Analysis? Witness the following, for ex- 
 ample. 
 
 "What, Tubero, did that naked sword of yours mean, in the 
 battle of Pharsalia 1 At whose breast was its point aimed 1 What 
 was the meaning of your arms, your spirit, your eyes, your hands, 
 your ardor of soul]" 
 
 "Thou shalt love the Lord thy God, with all thy heart, and with 
 all thy soul, and with all thy strength, and with all thy mind, and 
 thy neighbor as thyself." 
 
 The mere presentation of these examples furnishes a sufficient 
 refutation of the principle, as susceptible of general application 
 The exceptions which should be made to it in practice are sufficient 
 to render it entirely nugatory. 
 
DRIFTS OF THE VOICE. 123 
 
 section ; or whether they can be applied to entire periods, 
 paragraphs, or discourses; and thus give a character to 
 their expression. The answer to this interrogatory is, that 
 some of them are confined to single words, while others 
 may be extended to phrases, and still others to paragraphs, 
 or entire discourses. It is this repetition of the same ele- 
 ment, producing a style which runs through and character- 
 izes the utterance of entire passages of discourse, that is 
 called a drift of speech. 
 
 We shall here do little more than enumerate the elements 
 which belong to these three classes, leaving it to the 
 application which is to be made in following sections to 
 explain the import of these several drifts, and the circum- 
 stances which should determine their employment ; as also 
 to furnish the practice necessary to their execution. 
 
 The Temporal Drift. — This designation of itself will 
 suggest to the learner no particular rate of utterance. In 
 fact, this is a general term ; embracing the Drift of Quantity 
 or Slow Time, and the Drift of Quick Time, together with 
 the Natural Drift of unimpassioned speech. The Time of 
 the voice in any of its modifications may be applied to 
 portions of discourse of any extent. 
 
 The Drifts of Radical Stress, of Median Stress, and of 
 Vanishing Stress, can be extended throughout a discourse, 
 in as much as the sentiments which they severally represent 
 are restricted neither to words nor phrases. 
 
 The Drift of Pitch. — The different degrees of pitch, as 
 well as the different kinds of Stress, may be employed on 
 passages of some length, without any considerable variation. 
 
 The Drift of the Semitone, and the Diatonic Drift, only 
 indicate the prevalence of the elements necessary to con- 
 stitute their respective melodies. 
 
124 MANUAL OF ELOCUTION. 
 
 The Drift of the Downward Slides. — The downward 
 movements of the voice, though not limited to any parti- 
 cular interval, are sufficient to give a peculiar character to 
 the expression. The interval of the downward octave 
 however is never employed but for emphasis. 
 
 The Drifts of the Wave of the Semitone, and of the Wave 
 of the Second, are distinguished by *the prevalence of their 
 respective elements, and are always connected with 
 Quantity. 
 
 The Drift of Force. — Like the temporal drift and the 
 drift of pitch, this may be characterized by difference in de- 
 gree. Loudness and Softness constitute styles of utterance, 
 as well marked as almost any other elements of speech. 
 
 The Drift of Quality. — Of the kinds of voice enume- 
 rated, perhaps none are adapted to produce drifts but the 
 Natural voice and the Orotund. 
 
 Those elements of speech which are suited only to 
 phrases, or very short portions of discourse, but which are 
 employed for purposes more extended than mere emphasis, 
 give rise to what Dr. Rush has called Partial Drifts of 
 Speech. They are as follows: — 
 
 The Partial Drift of the Rising Slides. — This is em- 
 ployed in Interrogation. 
 
 The Partial Drift of Quality, as heard in the Tremor, 
 the Aspiration, the Guttural, and the Falsette. 
 
 The Partial Drift of the Phrases of Melody. — Of these 
 none perhaps are appropriated to purposes of expression, 
 but the Monotone, and the Alternate Phrase. 
 
 The following are never heard as Drifts of Speech, nor 
 jsed but for the mere purpose of emphasis on single words, 
 except as a fault of delivery: — The Vocule, the Compound 
 
DRIFTS OF THE VOICE. 125 
 
 Stress, the Downward Octave, and the Waves of the Third, 
 Fifth, and Eighth. The use of these elements, then, has 
 been sufficiently set forth in the last section. — It remains to 
 show how the Drifts of Speech may be further employed 
 for the purpose of Expression. 
 
 As a further suggestion preparatory to the application of 
 the principles here developed, it may be remarked, that 
 these drifts, or styles of speech, are often found united in 
 the same melody, though they have been treated thus sepa- 
 rately, and as distinct elements. There are few of them 
 that are incongruous the one with the other, and no one of 
 them but admits of a combination with some other. As 
 examples of such combination, it will be found that Dig- 
 nity requires the union of the Drifts of Quantity, of the 
 Median Stress, of the Wave of the Second, and of the 
 Orotund, together with the Partial Drift of the Monotone; 
 and that Anger combines the Drifts of Quick Time, 
 the Radical Stress, the Downward 'Slides, and of Force, 
 with the Partial Drifts of the Guttural voice and the 
 Aspiration. 
 
 The ease with which the learner will make these com- 
 binations will depend on his familiarity with these elements 
 in their uncombined state. In the examples, however, 
 which will be given for practice in the next section, it 
 will not be best to attempt the employment of all the sym- 
 bols at the first reading. For illustration, in a passage 
 containing angry sentiment, let the learner first read it with 
 Force and in Quick time, then repeat it in connection with 
 the Radical Stress and the Downward Slides. And when 
 this can be done with ease, as he becomes imbued with 
 the sentiment of the passage, let him add the Guttural 
 harshness and the Aspiration on such words and clauses 
 
 11* 
 
120 MANUAL OF ELOCUTION. 
 
 as will best bear their application. Indeed the effective 
 employment of the higher elements of speech, whether 
 single or in combination, will depend essentially on the 
 susceptibility of the reader or speaker to feel the sentiments 
 he utters.— This exercise will do much to prevent any 
 misapplication of the functions of the voice, and thus to 
 protect him who might otherwise be guilty of such misap- 
 plication from the charge of affectation. 
 
 SECTION V. 
 
 OF EXPRESSION. 
 
 Intonation has much to do with the expression of senti- 
 ment and passion. Some of the sensibilities, it is true, 
 can be expressed only by words ; while others, on the con- 
 trary, can receive a full expression only by the tones of the 
 voice. These are often sufficient, even without any aid from 
 articulate words. Thus the tones expressive of want and 
 distress in the domestic animals are instinctively understood, 
 and have a wonderful power over the human heart. The 
 sigh and the groan produce in the hearer an emotion of pain, 
 which the substitution of words however full of grief or an- 
 guish tends to relieve. These tones, so expressive in them- 
 selves, cannot fail to be impressive when united with words. 
 
 The "Expression of the Passions" has been a favorite 
 subject with all writers on Elocution. Little has been done 
 however in the real development of the subject, — formerly 
 for the want of terms to express the various functions 
 of the voice. This defect having been supplied by Dr. 
 Rush, we see no reason why the learner may not now suc- 
 cessfully be taught the application of the principles set forth 
 
EXPRESSION. 127 
 
 in the first chapter, to the expression of sentiment and feel- 
 ing. We do not here propose a full exposition of this sub- 
 ject, because we do not deem it necessary. He who 
 acquires the full command of the elements already de- 
 scribed, who is free from bad habits, and possesses the 
 power of feeling deeply what he utters, will, we admit, 
 need little instruction in the application of these elements 
 to his purpose. So, on the contrary, he who is destitute 
 of the susceptibility of emotion, in view of the sentiments 
 which he reads, or of the thoughts which fill his mind in 
 extemporaneous utterance, will make but a poor piece of 
 work in the attempt to counterfeit this emotion, even after 
 studying all that can be said as to the modes of express- 
 ing it. 
 
 Frequently, however, the susceptibility of feeling is not 
 wanting ; but yet has been suppressed, either by habits of 
 dull and monotonous delivery, or by a natural diffidence 
 which has refused a full expression of the language of 
 emotion. In such cases, it is believed the exercises of 
 this section will prove sufficient to put the learner upon the 
 right course of practice, while it is as confidently believed, 
 that nothing short of this would meet his wants. The 
 ready use of the natural language of emotion secures two 
 objects ; first, to bring into active operation the suscepti- 
 bility of emotion which may exist in the speaker ; and 
 second, to enable him to awaken in others what he him- 
 self feels. The first of these objects — the reaction of elo- 
 quent expression upon the mind of the speaker — is often 
 overlooked. 
 
 Before entering formally upon this part of our work, the 
 learner should be reminded, that while the voice alone 
 does much in the expression of feeling, much is also left 
 
128 MANUAL OF ELOCUTION. 
 
 for language to do. The same element of vocal expression 
 is often used for sentiments widely different from each 
 other ; he, then, who expects to find a vocal element pecu- 
 liarly adapted to every different sentiment, expects too 
 much. It will not be our object here fully to develop this 
 subject ; nor in the development we shall give to it, shall 
 we have any reference to a scientific classification of the 
 passions. Our view will be strictly practical. Most of 
 the points will be illustrated by examples, which it is be- 
 lieved will prove sufficient for all the preliminary practice 
 of the learner. When these can be perfectly executed, 
 then further examples may be sought for and everywhere 
 found. 
 
 Narrative, Description. 
 Common discourse or colloquial dialogue, which has for 
 its object the expression of thought without any admixture 
 of feeling, calls into use — The Natural Voice, and the Dia- 
 tonic Melody ; and admits the Wave of the Second on 
 syllables susceptible of long quantity. These are the sim- 
 plest elements used in speech, and their combination 
 scarcely deserves a place under the head of Expression. 
 Even emphasis or interrogation breaks in on this simple 
 melody of speech. 
 
 Dignity, Solemnity, Gravity, &c. 
 
 Dignified, solemn, and grave subjects are most naturally 
 and fully expressed by the Orotund voice, the Partial Drift 
 of the Monotone, Slow Time, and Long Quantity com- 
 bined with the Single Equal Wave of the Second, both 
 Direct and Inverted, and with the Median Stress. 
 
 The same symbols are also employed to express Re- 
 spect, Reverence, Veneration, and Adoration, as also Solemn 
 
EXPRESSION. 129 
 
 Rebuke, serious A dmonition and Reproach; and they aid 
 in giving utterance to all other sentiments which embrace 
 the idea of Deliberation, 
 
 Examples.* 
 
 1. High on a throne of royal state, which far 
 Outshone the wealth of Ormus and of Ind, 
 Or where the gorgeous east with richest hand 
 Showers on her kings barbaric pearl and gold, 
 Satan exalted sat, by merit raised 
 
 To that bad eminence : and, from despair 
 
 Thus high uplifted beyond hope, aspires 
 
 Beyond thus high, insatiate to pursue 
 
 Vain war with Heaven ; and, by success untaught, 
 
 His proud imaginations thus displayed. 
 
 2. Hail, holy Light! offspring of Heaven first-born! 
 Or of the Eternal co-eternal beam 
 
 May I express thee unblamedT since God is light, 
 
 And never but in unapproached light 
 
 Dwelt from eternity, dwelt then in thee, 
 
 Bright effluence of bright essence increate. 
 
 Or hear'st thou rather, pure ethereal Stream, 
 
 Whose fountain who shall tell 1 Before the sun, 
 
 Before the heavens thou wert; and, at the voice 
 
 Of God, as with a mantle, didst invest 
 
 The rising world of waters dark and deep, 
 
 Won from the void and formless infinite. 
 
 3. And the heaven departed as a scroll, when it is rolled together': 
 
 and every mountain and island were moved out of their places 
 
 And the kings of the earth, and the great men, and the rich men, 
 
 and the chief captains, and the mighty men, and every bondman, 
 
 * In the execution of the examples of this section, the teacher 
 must use a discretionary power, as to how far he will throw the 
 student upon his own resources. Before, however, leaving the ex- 
 ercises, under each head, he should present to his pupil the true 
 intonation, and thus lead him to the most perfect execution by the 
 aid of his example, as well as his instructions. 
 
130 MANUAL OF ELOCUTION. 
 
 and every free man, hid themselves in the dens and in the rocks of 
 the mountains; and said to the mountains and rocks, Fall on us, 
 and hide us from the face of him that sitteth on the throne, and 
 from the wrath of the Lamb :— For the great day of his wrath is 
 come ; and who shall be able to stand 1 
 
 4. Thou glorious mirror, where the Almighty's form 
 Glasses itself in tempests ; in all time 
 
 Calm or convulsed — in breeze, or gale, or storm, 
 
 Icing the pole, or in the torrid clime 
 
 Dark-heaving; — boundless, endless, and sublime — 
 
 The image of eternity — the throne 
 
 Of the Invisible; even from out thy slime 
 
 The monsters of the deep are made; each zone 
 
 Obeys thee ; thou goest forth, dread, fathomless, alone. 
 
 5. Fathers, we once again are met in council : 
 Caesar's approach has summoned us together, 
 And Rome attends her fate from our resolves. 
 How shall we treat this bold aspiring man 1 
 Success still follows him, and backs his crimes: 
 Pharsalia gave him Rome. Egypt has since 
 Received his yoke, and the whole Nile is Caesar's. 
 Why should I mention Juba's overthrow, 
 
 Or Scipio's death 1 ? Numidia's burning sands 
 
 Still smoke with blood. 'Tis time we should decree 
 
 What course to take ; our foe advances on us, 
 
 And envies us even Lybia's sultry deserts. 
 
 Fathers, pronounce your thoughts; are they still fixed 
 
 To hold it out and fight it to the last 1 ? 
 
 Or are your hearts subdued at length, and wrought, 
 
 By time and ill success, to a submission ? 
 
 Sempronius, speak. 
 
 6. I appeal to the immaculate God — I swear by the throne of 
 Heaven, before which I must shortly appear — by the blood of the 
 murdered patriots who have gone before me — that my conduct has 
 been, through all this peril, and through all my purposes, governed 
 only by the convictions which I have uttered, and by no other mo- 
 
EXPRESSION. 131 
 
 tive than that of their cure, and the emancipation of my country 
 from the superinhuman oppression under which she has so long and 
 too patiently travailed ; and I confidently hope, that, wild and chi- 
 merical as it may appear, there are still union and strength in Ire- 
 land sufficient to accomplish this noblest enterprise. 
 
 7. All that breathe 
 Will share thy destiny. The gay will laugh 
 When thou art gone, the solemn brood of care 
 Plod on, and each one as before will chase 
 His favorite phantom ; yet all these shall leave 
 Their mirth and their employments, and shall come 
 And make their bed with thee. As the long train 
 Of ages glide away, the sons of men, 
 
 The youth in life's green spring, and he who goes 
 In the full strength of years, matron and maid, 
 And the sweet babe, and the gray-headed man, — 
 Shall one by one be gathered to thy side, 
 By those who in their turn shall follow them. 
 
 So live, that when thy summons comes to join 
 The innumerable caravan, that moves 
 To that mysterious realm, where each shall take 
 His chamber in the silent halls of death, 
 Thou go not, like the quarry-slave at night, 
 Scourged to his dungeon ; but, sustained and soothed 
 By an unfaltering trust, approach thy grave, 
 Like one who wraps the drapery of his couch 
 About him, and lies down to pleasant dreams. 
 
 8. Go, Sun, while Mercy holds me up 
 
 On Nature's awful waste 
 To drink this last and bitter cup 
 
 Of grief that man shall taste — 
 Go, tell that night that hides thy face, 
 Thou saw'st the last of Adam's race, 
 
 On earth's sepulchral clod, 
 The dark'ning universe defy 
 To quench his immortality, 
 
 Or shake his trust in God ! 
 
132 MANUAL OF ELOCUTION. 
 
 9. Two hundred years ! — two hundred years . — 
 
 How much of human power and pride, 
 What glorious hopes, what gloomy fears, 
 
 Have sunk beneath their noiseless tide ! — 
 God of our fathers, — in whose sight 
 
 The thousand years, that sweep away 
 Man, and the traces of his might, 
 
 Are but the break and close of day,— 
 Grant us that love of truth sublime, 
 
 That love of goodness and of thee, 
 That makes thy children, in all time, 
 
 To share thine own eternity. fc 
 
 10. Thy path is high in heaven ; — we cannot gaze 
 
 On the intense of light that girds thy car; 
 There is a crown of glory in thy rays, 
 
 Which bears thy pure divinity afar, 
 
 To mingle with the equal light of star ; 
 For thou, so vast to us, art, in the whole, 
 
 One of the sparks of night that fire the air; 
 And, as round thy centre planets roll, 
 So thou, too, hast thy path around the central soul. 
 
 11. O Thou that rollest above, round as the shield of my fathers ! 
 whence are thy beams, O Sun! thy everlasting light 1 ? Thou 
 comest forth in thy awful beauty; the stars hide themselves in the 
 sky ; the moon, cold and pale, sinks in the western wave. But 
 thou thyself movest above ! Who can be a companion of thy 
 course 1 The oaks of the mountains fall : the mountains them- 
 selves decay with years : the ocean shrinks and grows again : the 
 moon herself is lost in the heavens : but thou art for ever the same, 
 rejoicing in the brightness of thy course. W T hen the world is dark 
 with tempests, when thunder rolls, and lightning flies, thou 
 lookest in thy beauty from the clouds, and laughest at the storm.— 
 But to Ossian thou lookest in vain; for he beholds thy beams no 
 more, whether thy yellow hair floats on the eastern clouds, or thou 
 tremblest at the gates of the west. But thou art, perhaps, like me, 
 for a season; thy years will have an end. Thou shalt sleep in thy 
 
EXPRESSION. 133 
 
 clouds, careless of the voice of the morning. Exult then, O Sun ! 
 in the strength of thy youth — Age is dark and unlovely: it is like 
 the glimmering light of the moon, when it shines through broken 
 clouds, and the mist is on the hills ; when the blast of the north is 
 on the plain, and the traveler shrinks in the midst of his journey. 
 
 12. Night, sable goddess! from her ebon throne, 
 In rayless majesty, now stretches forth 
 
 Her leaden sceptre o'er a slumbering world. 
 Silence how dead ! and darkness how profound ! 
 Nor eye nor listening ear can object find : 
 Creation sleeps. 'Tis as the general pulse 
 Of life stood still, and Nature made a pause, 
 An awful pause, prophetic of her end. 
 
 13. This is the place, the centre of the grove : 
 Here stands the oak, the monarch of the wood. 
 How sweet and solemn is this midnight scene ! 
 The silver moon, unclouded, holds her way 
 Through skies where I could count each little star; 
 The fanning west-wind scarcely stirs the leaves ; 
 The river rushing o'er its pebbled bed, 
 
 Imposes silence with a shrilly sound. — 
 In such a place as this, at such an hour, 
 (If ancestry can be in aught believed,) 
 Descending spirits have conversed with man, 
 And told the secrets of the world unknown. 
 
 Gavety, &c. 
 
 Gayety is the exact opposite of dignity , and consequently 
 demands another class of elements for its expression. 
 Sprightliness of sentiment therefore, calls into requisition 
 the Natural Voice, Quick Time, and Short Quantity, the 
 Radical or Vanishing Stress, and the frequent recurrence 
 of the Alternate Phrase of Melody. Facetiousness, Eager 
 Argument, and Earnest Description employ these symbols, 
 
 12 
 
134 MANUAL OF ELOCUTION. 
 
 Examples. 
 
 1. Those two together long had lived 
 In mansion prudently contrived, 
 Where neither tree nor house could bar 
 The free detection of a star ; 
 And nigh an ancient obelisk 
 Was raised by him, found out by Fi.sk, 
 On which was written, not in words, 
 But hieroglyphic mute of birds, 
 Many rare pithy saws concerning 
 The worth of astrologic learning. 
 From top of this there hung a rope, 
 To which he fastened telescope, 
 The spectacles with which the stars 
 He reads in smallest characters. 
 It happened as a boy, one night, 
 Did fly his tarsel of a kite, 
 The strangest long-winged hawk that flies, 
 That, like a bird of Paradise, 
 Or herald's martlet, has no legs, 
 Nor hatches young ones, nor lays eggs ; 
 His train was six yards long, milk-white, 
 At the end of which there hung a light, 
 Inclosed in lantern, made of paper, 
 That far off like a star did appear : 
 This Sydrophel by chance espied, 
 And with amazement staring wide, 
 Bless us ! quoth he, what dreadful wonder 
 Is that appears in Heaven yonder ] 
 A comet, and without a beard ! 
 Or star that ne'er before appeared 1 
 I'm certain 'tis not in the scrowl 
 Of all those beasts, and fish, and fowl 
 With which like Indian plantations, 
 The learned stock the constellations ; 
 Nor those that drawn for signs have been 
 To the houses where the planets inn. 
 
EXPRESSION. 135 
 
 It must be supernatural, 
 
 Unless it be that cannon-ball 
 
 That, shot i' th' air point-blank upright, 
 
 Was borne to that prodigious keight ; 
 
 That, learned philosophers maintain, 
 
 It ne'er came backwards down again, 
 
 But in the airy regions yet 
 
 Hangs, like the body of Mahomet : 
 
 For if it be above the shade 
 
 That by the earth's round bulk is made, 
 
 'Tis probable it may from far 
 
 Appear no bullet, but a star. 
 
 2. My poem's epic, and is meant to be 
 
 Divided in twelve books ; each book containing, 
 
 With love, and war, a heavy gale at sea, 
 
 A list of ships and captains, and kings reigning, 
 
 New characters ; the episodes are three : 
 A panorama view of hell's in training, 
 
 After the style of Virgil and of Homer, 
 
 So that my name of epic's no misnomer. 
 
 All these things will be specified in time, 
 
 With strict regard to Aristotle's rules ; 
 The vade mecum of the true sublime, 
 
 Which makes so many poets, and some fools ; 
 Prose poets like blank-verse, I'm fond of rhyme, 
 
 Good workmen never quarrel with their tools ; 
 I've got new mythological machinery, 
 And very handsome supernatural scenery. 
 
 'Twas the night before Christmas, when all thro' the house 
 
 Not a creature was stirring, not even a mouse : 
 
 The stockings were hung by the chimney with care, 
 
 In hopes that St. Nicholas soon would be there ; 
 
 The children were nestled all snug in their beds, 
 
 While visions of sugar-plums danced through their heads ; 
 
 And mamma in her 'kerchief and I in my cap, 
 
 Had just settled our brains for a long winter's nap — 
 
136 MANUAL OF ELOCUTION. 
 
 When out on the lawn there arose such a clatter, 
 
 I sprang from the bed to see what was the matter : 
 
 Away to the window I flew like a flash, 
 
 Tore open the shutters and threw up the sash. 
 
 The moon, on the breast of the new fallen snow, 
 
 Gave the lustre of mid-day to objects below. 
 
 When, what to my wondering eyes should appear 
 
 But a miniature sleigh, and eight tiny reindeer, 
 
 With a little old driver, so lively and quick, 
 
 I knew in a moment it must be St. Nick. 
 
 More rapid than eagles his coursers they came, 
 
 And he whistled, and shouted, and called them by name : 
 
 " Now, Dasher ! now, Dancer ! now, Prancer ! now, Vixen ! 
 
 On, Comet! on, Cupid! on, Donder and Blixen — 
 
 To the top of the porch ! to the top of the wall ! 
 
 Now, dash away, dash away, dash away all !" 
 
 4. Law is law — law is law ; and as in such and so forth and 
 hereby, and aforesaid, provided always, nevertheless, notwithstand- 
 ing. Law is like a country dance, people are led up and down in 
 it till they are tired. Law is like a book of surgery, there are a 
 great many desperate cases in it. It is also like physic, they that 
 take least of it are best off. Law is like a homely gentlewoman, 
 very well to follow. Law is also like a scolding wife, very bad 
 when it follows us. Law is like a new fashion, people are be- 
 witched to get into it: it is also like bad weather, most people are 
 glad when they get out of it. 
 
 5. Come, dance, elfins, dance! for my harp is in tune, 
 
 The wave-rocking gales are all lulled to repose ; 
 And the breath of this exquisite evening of June, 
 
 Is scented with laurel and myrtle and rose. 
 Each lily that bends to the breast of my stream, 
 
 And sleeps on the waters transparently bright, 
 Will in ecstasy wake, like a bride from her dream, 
 
 When my tones stir the dark plumes of silence and night. 
 My silken-winged bark shall career by the shore, 
 
 As calmly as yonder white cloud on the air; 
 
EXPRESSION. 137 
 
 And the notes ye have heard with such rapture before, 
 Shall impart new delight to the young 1 and the fair. 
 
 6. Oh ! water for me ! bright water for me, 
 And wine for the tremulous debauchee ! 
 It cooleth the brow, it cooleth the brain, 
 It maketh the faint one strong again ; 
 It comes o'er the sense like a breeze from the sea, 
 All freshness, like infant purity. 
 Oh ! water, bright water for me, for me ! 
 Give wine, give wine to the debauchee! 
 
 Fill to the brim ! fill, fill to the brim, 
 Let the flowing crystal kiss the rim ! 
 For my hand is steady, my eye is true, 
 For I, like the flowers, drink nought but dew. 
 Oh ! water, bright water's a mine of wealth, 
 And the ores it yieldeth are vigor and health. 
 So water, pure water for me, for me ! 
 And wine for the tremulous debauchee ! 
 
 Fill again to the brim ! again to the brim ! 
 For water strengthened life and limb ! 
 To the days of the aged it addeth length, 
 To the might of the strong it addeth strength, 
 It freshens the heart, it brightens the sight, 
 'Tis like quaffing a goblet of morning light! 
 So, water, I will drink nought but thee, 
 Thou parent of health and energy ! 
 
 When over 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. 
 
 But when evening has quitted her sheltering yew, 
 Drowsily flying and weaving anew 
 12* 
 
138 MANUAL OF ELOCUTION. 
 
 Her dusky meshes o'er land and sea, 
 
 How gently, O sleep, fall thy poppies on me ! 
 
 For I drink water, pure, cold, and bright, 
 
 And my dreams are of Heaven, the live-long night; 
 
 So hurrah ! for thee, Water ! hurrah, hurrah ! 
 
 Thou art silver and gold, thou art riband and star ! 
 
 Hurrah ! for bright water ! hurrah, hurrah ! 
 
 Positiveness, Confidence, Authority, &c. 
 
 All expressions of full and settled Conviction or Confi- 
 dence on the part of the speaker, have their appropriate 
 symbols ; and the same elements which express Certainty 
 are very naturally employed to express Authoritative Com- 
 mand. They will be found to be the same ; and the ele- 
 ments for denoting these sentiments are the Downward 
 Slides, and the Radical Stress ; and, in energetic expres- 
 sion, these are generally combined with Force. These 
 characteristics of speech belong also to Denying, Reprov- 
 ing, Refusing and Forbidding, to Reprehension and De- 
 nunciation, and to Defiance and Adjuration, as well as 
 to strong Affirmation ; and even to warm Argument, when 
 employed in defence of one's own rights. Also in their 
 moderate degrees, these elements are suited to Instruc- 
 tion and Precept. — It is not perhaps surprising, that the 
 confidence even of Despair and Resignation should express 
 itself by the Downward movements of the voice. 
 
 Vaunting Authority, and a degree of positiveness which 
 implies Self- Admiration, require a Harsh Voice, and the 
 Vanishing Stress ; and admit the Equal Direct Wave, com- 
 bined with the Median Stress on syllables which are em- 
 phatic and admit of long quantity. 
 
 Examples. 
 1. Your grace shall pardon me, I. will not back ; 
 I am too high born to be propertied, 
 
EXPRESSION. 139 
 
 To be a secondary at control, 
 
 Or useful serving-man and instrument 
 
 To any sovereign state throughout the world. 
 
 Your breath first kindled the dead coal of war 
 
 Between this chastised kingdom and myself, 
 
 And brought in matter that should feed this fire ; 
 
 And now 'tis far too huge to be blown out 
 
 With that same weak wind which enkindled it. 
 
 You taught me how to know the face of right, 
 
 Acquainted me with interest to this land ; 
 
 Yea, thrust this enterprise into my heart ; 
 
 And come ye now to tell me, John hath made 
 
 His peace with Rome ? What is that peace to me ? 
 
 I, by the honor of my marriage-bed, 
 
 After young Arthur, claim this land for mine ; 
 
 And, now it is half conquered, must I back, 
 
 Because that John hath made his peace with Rome ? 
 
 Am I Rome's slave ? What penny hath Rome borne, 
 
 What men provided, what munition sent, 
 
 To underprop this action? Is't not I 
 
 That undergo this charge ? Who else but I, 
 
 And such as to my claim are liable, 
 
 Sweat in this business, and maintain this war? 
 
 Have I not heard these islanders shout out, 
 
 Vive le roy ! as I have banked their towns ; 
 
 Have I not here the best cards for the game, 
 
 To win this easy match played for a crown ? 
 
 And shall I now give o'er the yielded set? 
 
 No, on my soul, it never shall be said. 
 
 However heaven or fortune cast my lot, 
 There lives or dies true to King Richard's throne, 
 A loyal, just, and upright gentleman: 
 Never did captive with a freer heart 
 Cast off his chains of bondage, and embrace 
 His golden, uncontrolled enfranchisement, 
 More than my dancing soul to celebrate 
 This feast of battle with mine adversary. — 
 
140 MANUAL OF ELOCUTION. 
 
 Most mighty liege, — and my companion peers, 
 Take from my mouth the wish of happy years : 
 As gentle and as jocund, as to jest, 
 Go I to fight, — truth hath a quiet breast. 
 
 3. Let them lay by their helmets and their spears, 
 And both return back to their chairs again : — 
 Withdraw from us, and let the trumpet sound 
 While we return these dukes what we decree. — 
 Draw near, 
 
 And list what with our council we have done. 
 
 For that our kingdom's earth should not be soiled 
 
 With that dear blood which it hath fostered ; 
 
 And for our eyes do hate the dire aspect 
 
 Of civil wounds, ploughed up with neighbors* swords ; 
 
 Therefore we banish you our territories : 
 
 You, cousin Hereford, upon pain of death, 
 
 Till twice five summers have enriched our fields, 
 
 Shall not regreet our fair dominions, 
 
 But tread the stranger paths of banishment. 
 
 4. On pain of death no person be so bold 
 Or daring hardy as to touch the lists ; 
 Except the marshal, and such officers 
 Appointed to direct these fair designs. 
 
 5. Met. Most high, most mighty, and most puissant Caesar, 
 
 Metellus Cimber throws before thy feet 
 An humble heart. 
 Cass, I must prevent thee, Cimber: 
 
 These crouchings, and these lowly courtesies 
 
 Might fire the blood of ordinary men, 
 
 And turn pre-ordinance, and first decree, 
 
 Into the law of children. Be not fond, 
 
 To think that Caesar bears such rebel blood, 
 
 That will be thawed from the true quality 
 
 With that which melteth fools ; I mean sweet words, 
 
 Low-crooked curt'sies, and base spaniel fawning. 
 
 Thy brother by decree is banished ; 
 
EXPRESSION. 14t 
 
 If thou dost bend, and pray, and fawn for him, 
 I spurn thee like a cur out of my way. 
 Know, Caesar doth not wrong, nor without cause 
 Will he be satisfied. 
 
 6. But wherefore do you droop 1 Why look you sad % 
 Be great in act as you have been in thought ; 
 
 Let not the world see fear and sad distrust 
 
 Govern the motion of a kingly eye : 
 
 Be stirring as the time ; be fire with fire, 
 
 Threaten the threatener, and outface the brow 
 
 Of bragging horror: so shall inferior eyes, 
 
 That borrow their behaviors from the great, 
 
 Grow great by your example, and put on 
 
 The dauntless spirit of resolution ; 
 
 Show boldness and aspiring confidence. 
 
 What, shall they seek the lion in his den, 
 
 And fright him there, and make him tremble there t— 
 
 Oh, let it not be said ! — Forage, and run, 
 
 To meet displeasure farther from the doors, 
 
 And grapple with him ere he come so nigh. 
 
 7. How comes it, Cassio, you are thus forgot, 
 That you unlace your reputation thus, 
 And spend your rich opinion for the name 
 Of a night brawler ! Give me answer to it. 
 
 8. As I was banished, I was banished Hereford ; 
 But as I come, I come for Lancaster : 
 
 An^, noble uncle, I beseech your grace, 
 Look on my wrongs with an indifferent eye : 
 You are my father, for, methinks, in you 
 I see old Gaunt alive; O, then, my father ! 
 Will you permit that I should stand condemned 
 A wandering vagabond ; my rights and loyalties 
 Plucked from my arms perforce, and given away 
 To upstart spendthrifts T Wherefore was I born ? 
 If that my cousin king be king of England, 
 It must be granted, I am duke of Lancaster. 
 
142 . MANUAL OF ELOCUTION. 
 
 You have a son, Aumerle, my noble kinsman ; 
 Had you first died, and he been thus trod down, 
 He should have found his uncle Gaunt a father, 
 To rouse his wrongs, and chase them to the bay. 
 I am denied to sue my livery here, 
 And yet my letters-patent give me leave : 
 My father's goods are all distrained and sold, 
 And these, and all, are all amiss employed. 
 What would you have me do 1 I am a subject, 
 And challenge law : attorneys are denied me ; 
 And therefore personally I lay my claim 
 To my inheritance of free descent. 
 
 9. To whom the goblin full of wrath replied : 
 " Art thou that traitor Angel, art thou he, 
 
 Who first broke peace in heaven and faith, till then 
 
 Unbroken, and in proud rebellious arms 
 
 Drew after him the third part of Heaven's sons, 
 
 Conjured against the Highest, for which both thou 
 
 And they, outcast from God, are here condemned 
 
 To waste eternal days in wo and pain % 
 
 And reckon'st thou thyself with spirits of heaven, 
 
 Hell-doom'd, and breath'st defiance here and scorn 
 
 Where 1 reign king? and, to enrage thee more, 
 
 Thy king and lord \ Back to thy punishment, 
 
 False fugitive, and to thy speed add wings, 
 
 Lest with a whip of scorpions I pursue 
 
 Thy lingering, or with one stroke of this dart 
 
 Strange horrors seize thee, and pangs unfelt before.'* 
 
 10. I conjure you by that which you profess, 
 (Howe'er you come to know it,) answer me ; 
 Though you untie the winds, and let them fight 
 Against the churches ; though the yesty waves 
 Confound and swallow navigation up ; 
 
 Though bladed corn be lodged, and trees blown down ; 
 Though castles topple on their warders' heads ; 
 Though palaces and pyramids do slope 
 Their heads to their foundations ; though the treasure 
 
EXPRESSION. 143 
 
 Of nature's germins tumble altogether, 
 Even till destruction sicken, answer me 
 To what I ask you. 
 
 11. Thou slave, thou wretch, thou cow T ard, 
 Thou little valiant, great in villainy ! 
 Thou ever strong upon the stronger side ! 
 Thou fortune's champion, that dost never fight 
 But when her humorous ladyship is by 
 
 To teach thee safety ! 
 
 Note. — It is by the use of these symbols of expression, that man 
 maintains his authority over the domestic animals ; and these are 
 among the first which children learn to interpret. So universally 
 are these employed to express their appropriate sentiments, that 
 they are sometimes heard on a clause occurring in a member whose 
 current melody presents the Rising Slide; thus, — "If a brother or 
 sister be naked, and destitute of daily food, and one of you say 
 unto him, Depart in peace, be ye warmed and filled — notwithstanding 
 ye give them not those things which are needful to the body : what 
 doth it profit?" 
 
 12. The following directions of Hamlet to the players, 
 exhibit a good specimen of the Didactic style of delivery. 
 
 " Speak the speech, I pray you, as I pronounce it to you, trip- 
 pingly on the tongue. But if you mouth it as many of our players 
 do, I had as lief the town-crier spoke my lines. And do not saw 
 the air too much with your hand, thus; but use all gently; for 
 in the very torrent, tempest, and, as I may say, whirlwind of your 
 passion, you must acquire and beget a temperance that may give it 
 smoothness. 
 
 " Be not too tame neither ; but let your own discretion be your 
 tutor. Suit the action to the word, the word to the action ; with 
 this special observance, that you overstep not the modesty of nature : 
 for any thing so overdone is from the purpose of playing; whose 
 end, both at the first and now, was and is, to hold as 'twere the 
 mirror up to nature ; to show Virtue her own feature, Scorn her 
 own image, and the very age and body of the Time his form and 
 pressure. Now this overdone, or come tardy off, though it make 
 the unskilful laugh, cannot but make the judicious grieve; the 
 
144 MANUAL OF ELOCUTION. 
 
 censure of one of which, must in your allowance overweigh a whole 
 theatre of others. 
 
 " And let those that play your clowns speak no more than is set 
 down for them ; for there be of them that will themselves laugh, to 
 set on some quantity of barren spectators to laugh too; though in 
 the meantime, some necessary part of the play be then to be consi- 
 dered. That's villainous, and shows a most pitiful ambition in the 
 fool that uses it." 
 
 Energy. 
 Energy in the expression of any of the passions, and 
 earnestness of utterance, are uniformly characterized by 
 Force or Loudness, combined with the Downward Slides, 
 and the Radical or Compound Stress. Great vehemence of 
 feeling authorizes the full exhibition of the Vibrant _R, and 
 of the Aspiration, as well as the use of the Emphatic Vo- 
 cule at the close of those emphatic words which end with 
 a mute. Energetic expression sometimes passes into the 
 Falsette, but then it loses all its dignity. 
 
 As energy is a quality of utterance which never exists 
 but in connection with some passion or excitement as its 
 cause, it will more properly find its general illustrations 
 under other heads. A single example, however, will be 
 presented of the application of each of the last mentioned 
 symbols of expression. 
 
 1. In the following example, the r is put in italics, 
 wherever it should be made vibrant as a symbol cf 
 energy. 
 
 Pent in this fortress of the North, 
 
 Think'st thou we will not sally forth, 
 
 To spoil the spoiler as we may, 
 
 And from the robber rend the prey ? 
 
 Ay, by my soul ! — while on yon plain 
 
 The Saxon rears one shock of grain ; 
 
 While, of ten thousand herds, there strays 
 
 
EXPRESSION. 145 
 
 But one along 1 yon river's maze — 
 
 The Gael, of plain and river heir, 
 
 Shall with strong hand, redeem his share. 
 
 Where live the mountain chiefs who hold 
 
 That plundering lowland field and fold 
 
 Is aught but retribution true 1 
 
 Seek other cause 'gainst .Roderick Dhu. 
 
 2. The Aspiration should be distinctly heard on the 
 word fear, in the following earnest interrogation. 
 
 Brutus. What means this shouting ? I do fear, the people 
 
 Choose Caesar for their king. 
 Casstus. Ay, do you fear it ? 
 
 Then must I think you would not have it so. 
 
 3. The Vocule may be slightly heard in the following 
 example, on the words in italics. When heard too dis- 
 tinctly, or in improper places, it is a decided fault of de- 
 livery. 
 
 " Sir, I in the most express terms deny the competency of parlia- 
 ment to do this act. I warn you do not dare to lay your hand on 
 the constitution. I tell you, that if circumstanced as you are, you 
 pass this act, it will be a nullity, and that no man in Ireland will 
 be bound to obey it. 
 
 " I make the assertion deliberately. I repeat it, and call on any 
 man who hears me, to take down my words ; you have not been 
 elected for this purpose, you are appointed to make laws, not legis- 
 latures ; you are appointed to exercise the functions of legislators, 
 and not to transfer them ; and if you do so, your act is a dissolu- 
 tion of the government ; you resolve society into its original ele- 
 ments, and no man is bound to obey you. — Are you competent to 
 transfer your legislative rights to the French council of five hun- 
 dred 1 Are you competent to transfer them to the British parlia ■ 
 ment ? I answer, — No. When you transfer you abdicate, and the 
 great original trust reverts to the people from whom it issued. 
 Yourselves you may extinguish, but parliament you cannot ex- 
 tinguish." 
 
 13 
 
146 MANUAL OF ELOCUTION. 
 
 Rage, Anger, Wrath. 
 
 The expression of these malevolent feelings, combines 
 with the elements of Energy, Quick Time and Short Quan- 
 tity. Great violence in the expression of these emotions is 
 also characterized by frequent and great Discrete Changes 
 of Pitch and by wide Downward Intervals on the emphatic 
 words, which may at the same time be marked by the 
 Guttural Voice and by strong Aspiration. This is also the 
 expression of Severe Rebuke. 
 
 Examples. 
 
 1. Tut! tut! 
 
 Grace me no grace, nor uncle me no uncle, 
 
 I am no traitor's uncle ; and that word — grace 
 
 In an ungracious mouth is but profane : 
 
 Why have those banished and forbidden legs 
 
 Dared once to touch a dust of England's ground ? 
 
 But more than why — Why have they dared to march 
 
 So many miles upon her peaceful bosom ; 
 
 Frighting her pale-faced villages with war, 
 
 And ostentation of despised arms 1 
 
 Com'st thou because the anointed king is hence ? 
 
 Why, foolish boy, the king is left behind, 
 
 And in my loyal bosom lies his power. 
 
 Were I but now the lord of such hot youth 
 
 As when brave Gaunt, thy father, and myself 
 
 Rescued the Black Prince, that young Mars of men, 
 
 From forth the ranks of many thousand French ; 
 
 Oh, then, how quickly should this arm of mine, 
 
 Now prisoner to the palsy, chastise thee, 
 
 And minister correction to thy fault ! 
 
 2. Cassius. That you have wronged me doth appear in this ; 
 
 You have condemned and noted Lucius Pella, 
 For taking bribes here of the Sardians ; 
 Wherein, my letters, praying on his side, 
 Because I knew the man, were slighted of. 
 Brutus. You wronged yourself to write in such a case. 
 
EXPRESSION. 147 
 
 Cassius, In such a time as this, it is not meet 
 
 That every nice offence should bear his comment. 
 
 Brutus. Let me tell you, Cassius, you yourself 
 
 Are much condemned to have an itching palm ; 
 To sell and mart your offices for gold, 
 To undeservers. 
 
 Cassius. I an itching palm ? 
 
 You know that you are Brutus that speak this, 
 Or, by the gods, this speech were else your last. 
 
 Brutus. The name of Cassius honors this corruption, 
 
 And chastisement doth therefore hide his head. 
 
 Cassius. Chastisement J 
 
 Brutus. Remember March, the ides of March remember! 
 Did not great Julius bleed for justice' sake ? 
 What villain touched his body that did stab 
 And not for justice 1 What, shall one of us, 
 That struck the foremost man of all this world, 
 But for supporting robbers ; shall we now 
 Contaminate our fingers with base bribes? 
 And sell the mighty space of our large honors 
 For so much trash as may be grasped thus 1 — 
 I had rather be a dog, and bay the moon, 
 Than such a Roman. 
 
 Cassius. Brutus, bay not me, 
 
 I'll not endure it ; you forget yourself, 
 To hedge me in ; I am a soldier, I, 
 Older in practice, abler than yourself 
 To make conditions. 
 
 Brutus. Go to ; you're not, Cassius. 
 
 Cassius. I am. 
 
 Brutus. I say, you are not. 
 
 Cassius. Urge me no more, I shall forget myself; 
 
 Have mind upon your health, tempt me no further. 
 
 Brutus. Away, slight man ! 
 
 Cassius. Is't possible? 
 
 Brutus? Hear me, for I will speak. 
 
 Must I give way and room to your rash choler? 
 Shall I be frighted, when a madman stares ? 
 
148 MANUAL OF ELOCUTION. 
 
 Cassius. O ye gods ! ye gods i Must I endure all this ? 
 
 Brutus. All this ? ay, more ; Fret till your proud heart break ; 
 Go, show your slaves how choleric you are, 
 And make your bondmen tremble. Must I budge 1 
 Must I observe you ? Must I stand and crouch 
 Under your testy humor T By the gods, 
 You shall digest the venom of your spleen, 
 Though it do split you : for, from this day forth, 
 I'll use you for my mirth, yea, for my laughter, 
 When you are waspish. 
 
 Cassius. Is it come to this % 
 
 Brutus. You say you are a better soldier : 
 
 Let it appear so ; make your vaunting true, 
 
 And it shall please me well : For mine own part 
 
 I shall be glad to learn of noble men. 
 
 3. Let me look back upon thee, O thou wall, 
 That girdlest in those wolves \ 
 
 Plagues, incident to men, 
 
 Your potent and infectious fevers heap 
 On Athens, ripe for stroke T thou cold sciatica, 
 Cripple our senators, that their limbs may halt 
 As lamely as their manners ! lust and liberty 
 Creep in the minds and marrows of our youth ; 
 That 'gainst the stream of virtue they may strive, 
 And drown themselves in riot I itches, blains, 
 Sow all the Athenian bosoms ; and their crop 
 Be general leprosy ! breath infect breath ; 
 That their soeiety, as their friendship, may 
 Be merely poison ! Nothing I'll bear from thee, 
 But nakedness, thou detestable town! 
 Take thou that too, with multiplying banns ! 
 Timon will to the woods, where he shall find 
 The unkindest beast more kinder than mankind. 
 The gods confound (hear me, ye good gods all,) 
 The Athenians both within and out that wall ! 
 And grant, as Timon grows, his hate may grow 
 To the whole race of mankind, high and low. 
 
EXPRESSION. 149 
 
 Malice, Hate, Revenge, &c. 
 
 These modifications of the malevolent feelings, "with the 
 kindred sentiments, Indignation, Aversion, Abhorrence, 
 Envy, Jealousy, Disgust, and the language of Shaming 
 Rebuke, have less of Energy in their expression than the 
 preceding, and more of Deliberation. Combined with 
 Force, the Aspiration, and a harsh Guttural voice then, we 
 here employ a Longer Quantity, which admits both the 
 Wave and the Vanishing Stress ; and with the Wave even 
 the Median Stress may be combined. These elements 
 properly combined furnish a form of expression of great 
 power and significancy. 
 
 Examples. 
 
 1. How like a fawning publican he looks : 
 I hate him, for he is a Christian, 
 
 But more for that in low simplicity 
 
 He lends out money gratis, and brings down 
 
 The rate of usance here with us in Venice. 
 
 If I can catch him once upon the hip, 
 
 I will feed fat the ancient grudge I bear him. 
 
 He hates our sacred nation ; and he rails 
 
 Even there, where merchants most do congregate, 
 
 On me, my bargains, and my well-won thrift, 
 
 Which he calls interest. Cursed be my tribe, 
 
 If I forgive him. 
 
 2. Poison be their drink, 
 Gall, worse than gall, the daintiest meat they taste ; 
 Their sweetest shade a grove of cypress trees, 
 Their sweetest prospects murdering basilisks, 
 Their softest touch as smart as lizard's stings, 
 Their music frightful as the serpent's hiss, 
 
 And boding screech-owls make the concert full; 
 All the foul terrors of dark-seated hell. 
 13* 
 
150 MANUAL OF ELOCUTION. 
 
 3. I know not ; if they speak but truth of her 
 
 These hands shall tear her ; if they wrong her honor, 
 
 The proudest of them shall well hear of it. 
 
 Time hath not yet so dried this blood of mine, 
 
 Nor age so eat up my invention, 
 
 Nor fortune made such havoc of my means, 
 
 Nor my bad life 'reft me so much of friends, 
 
 But they shall find awaked in such a kind, 
 
 Both strength of limb and policy of mind, 
 
 Ability in means, and ehoice of friends, 
 
 To quit me of them thoroughly. 
 
 4. Aside the devil turned 
 For envy, yet, with jealous leer malign, 
 
 Eyed them askance, and to himself thus plained. 
 " Sight hateful, sight tormenting ! thus these two 
 Imparadised in one another's arms, 
 The happier Eden, shall enjoy their fill 
 Of bliss on bliss ; while I to hell am thrust, 
 Where neither joy, nor love, but fierce desire, 
 Among our other torments not the least, 
 Still unfulfilled, with pain of longing pines." 
 
 5. This fellow's of exceeding honesty, 
 
 And knows all qualities with a learned spirit 
 Of human dealings ; if I do prove her haggard, 
 Though that her jesses were my dear heart-strings, 
 I'd whistle her off and let her down the wind 
 To prey at fortune. Haply, for I am black, 
 And have not those soft parts of conversation 
 That chamberers have ; or, for I am declined 
 Into the vale of years ; — yet that's not much ; — 
 She's gone, I am abused, and my relief 
 Must be — to loathe her. Oh the curse of marriage, 
 That we can call these delicate creatures ours, 
 And not their appetites ! 
 
 6. Thou slave, thou wretch, thou coward, 
 
 Thou little valiant, great in villainy ! 
 
EXPRESSION. 151 
 
 ITiou ever strong upon the stronger side ! 
 Thou fortune's champion, thou dost never fight. 
 But when her humorous ladyship is by 
 To teach thee safety ! thou art perjured too, 
 And sooth'st up greatness. What a fool art thou, 
 A ramping fool ; to brag, and stamp, and swear, 
 Upon my party ! Thou cold-blooded slave, 
 Hast thou not spoke like thunder on my side, 
 Been sworn my soldier 1 bidding me depend 
 Upon thy stars, thy fortune and thy strength 1 
 And dost thou now fall over to my foes ? 
 Thou wear a lion's hide ! doff it for shame 
 And hang a calf's skin on those recreant limbs. 
 
 7. I remember a mass of things, but not distinctly ; a quarrel, 
 nothing wherefore. O that men should put an enemy in their 
 mouths to steal away their brains ! that we should with joy, plea- 
 sure, revel, applause, transform ourselves into beasts ! I will ask 
 him for my place again ; he shall tell me I am a drunkard : Had I 
 as many mouths as Hydra, such an answer would stop them all. 
 To be now a sensible man, by and by a fool, and presently a beast ! 
 O strange ! every inordinate cup is unblessed, and the ingredient 
 is a devil. 
 
 8. What though the field be lost] 
 All is not lost ; the unconquerable will, 
 
 And study of revenge, immortal hate, 
 And courage never to submit or yield, 
 And what is else not to be overcome ; 
 That glory never shall his wrath or might 
 Extort from me. To bow and sue for grace 
 With suppliant knee, and deify his power, 
 Who from the terror of this arm so late 
 Doubted his empire ; that were low indeed ! 
 That were an ignominy and shame beneath 
 This downfall ! since by fate the strength of gods 
 And this empyreal substance cannot fail, 
 Since, through experience of this great event, 
 
152 MANUALOF ELOCUTION. 
 
 In arms not worse, in foresight much advanced, 
 We may with more successful hope, resolve 
 To wage, by force or guile, eternal war ; 
 Irreconcilable to our great foe, 
 Who now triumphs, and in the excess of joy, 
 Sole reigning, holds the tyranny of heaven. 
 
 9. Banished from Rome ! what's banished, but set free 
 From daily contact of the things I loathe 1 
 "Tried and convicted traitor !" Who says this ? 
 Who'll prove it, at his peril, on my head 1 
 Banished 1 I thank you for't. It breaks my chain ! 
 I held some slack allegiance till this hour — 
 But now my sword's my own. Smile on, my lords ; 
 I scorn to count what feelings, withered hopes, 
 Strong provocations, bitter, burning wrongs, 
 I have within my heart's hot cells shut up, 
 To leave you in your lazy dignities. 
 But here I stand and scoff you : — here I fling 
 Hatred and full defiance in your face. 
 Your Consul's merciful. For this all thanks. 
 He dares not touch a hair of Catiline. 
 "Traitor!" I go— but I return. This— trial ! 
 Here I devote your senate ! I've had wrongs, 
 To stir a fever in the blood of age, 
 Or make the infant's sinews strong as steel. 
 This day's the birth of sorrows ! — This hour's work 
 Will breed proscriptions. — Look to your hearths, my lords. 
 For there henceforth shall sit, for household gods, 
 Shapes hot from Tartarus ! — all shames and crimes ; — 
 Wan treachery, with his thirsty dagger drawn ; 
 Suspicion poisoning his brother's cup ; 
 Naked rebellion with the torch and axe, 
 Making his wild sport of your blazing thrones ; 
 Till anarchy comes down on you like night, 
 And massacre seals Rome's eternal grave. 
 
EXPRESSION. • 153 
 
 III Humor. 
 
 Under this head we may enumerate Dissatisfaction,' 
 Peevishness, Discontent, Impatience, Petulance, Repining, 
 Vexation and Chagrin. The elements essential to the ex- 
 pression of these sentiments are the Guttural harshness of 
 voice and the Wave of the Semitone. The Radical or 
 Vanishing Stress prevails according as the utterance is 
 hurried or more slow ; and on emphatic syllables of long 
 quantity the use of the Double and Unequal Wave height- 
 ens the effect of the expression. Impatience sometimes 
 raises the voice to Loudness, and the Falsette even may be 
 heard in the whine of peevishness. As these sentiments 
 never occur in grave delivery, we shall illustrate them by 
 but a single example. 
 
 Troilus. What, art thou angry, Pandarus ? What, with me? 
 
 Pandarus. Because she is kin to me ; therefore she's not so fair 
 as Helen ; an she were not kin to me, she would be as fair on Fri- 
 day, as Helen is on Sunday. But what care 1 1 I care not an she 
 were a blackamoor, 'tis all one to me. 
 
 Troi. Say I, she is not fair 1 
 
 Pan. I do not care whether you do or no. She's a fool to stay 
 behind her father : let her to the Greeks — and so I'll tell her the 
 next, time I see her — for my part, I'll meddle nor make no more in 
 the matter. 
 
 Troi. Pandarus, 
 
 Pan. Not I. 
 
 Troi. Sweet Pandarus, 
 
 Pan. Pray you speak no more to me ; — I will leave all as I 
 found it, and there's an end. 
 
 Scorn, Sneer, Contempt, &c. 
 Dignified Scorn, and the Sneer require for their expres- 
 sion Long Quantity, a good degree of Force, and, on the 
 emphatic words, the Vanishing Stress or Aspiration, com- 
 
154 MANUAL OF ELOCUTION. 
 
 bined with the Concrete Rise or Fall through a Third or 
 Fifth, or with the Single Waves, either Direct or Inverted. 
 In the stronger expression of these sentiments, as also in 
 Derision, Scoffing, Mockery, and Execration, the Vanishing 
 Stress, the Aspiration, the Guttural Emphasis and the Tre- 
 mor may all be combined on the Downward Concrete or 
 the Waves, which may be extended through an Octave. 
 And the effect will be greatly heightened, if, instead of the 
 Equal and Single Waves, the Unequal Double Waves be 
 employed. When however the Aspiration or the Guttural 
 force is given on the Waves, it must be understood to be 
 confined to its last constituent. 
 
 Examples. 
 
 1. Satan beheld their plight, 
 
 And to his mates thus in derision called : 
 
 " O friends, why come not on those victors proud % 
 
 Ere while they fierce were coming-; and when we, 
 
 To entertain them fair with open front 
 
 And breast, (what could we morel) propounded terms 
 
 Of composition, straight they changed their minds, 
 
 Flew off, and into strange vagaries fell, 
 
 As they would dance : yet for a dance they seemed 
 
 Somewhat extravagant and wild, perhaps 
 
 For joy of offered peace ; but I suppose, 
 
 If our proposals once again were heard, 
 
 We should compel them to a quick result." 
 
 2. Gaoler, look to him ; — Tell not me of mercy ; — 
 This is the fool that lent out money gratis ; — 
 Gaoler, look to him. 
 
 Mirth, Raillery. 
 
 Mirth and Raillery require Quick Time and Short Quan- 
 tity, Loudness, and the Concrete Rise of the Second, com- 
 bined with the Radical Stress. 
 
EXPRESSION. 155 
 
 If these sentiments become excessive, they may raise the 
 voice to the Falsette, either by a Concrete rise of the Oc- 
 tave, or by the Direct Wave of the same interval. — The 
 combination of the Tremor also heightens the effect. 
 
 Example. 
 
 A fool, a fool ! — I met a fool i' the forest, 
 
 A motley fool, a miserable varlet ; 
 
 As I do live by food, I met a fool, 
 
 Who laid him down, and basked him in the sun, 
 
 And railed on lady Fortune in good terms, 
 
 In good set terms, and yet a motley fool. 
 
 Good morrow, fool, quoth I ; no, sir, quoth he, 
 
 Call me not fool, till heaven hath sent me fortune : 
 
 And then he drew a dial from his poke, 
 
 And looking on it with lack-lustre eye, 
 
 Says, very wisely, it is ten o'clock ; 
 
 Thus may we see, quoth he, how the world wags ; 
 
 'Tis but an hour ago since it was nine, 
 
 And after one hour more 'twill be eleven, 
 
 And so from hour to hour we ripe and ripe, 
 
 And then from hour to hour we rot and rot, 
 
 And thereby hangs a tale. When I did hear 
 
 The motley fool thus moral on the time, 
 
 My lungs began to crow like chanticleer, 
 
 That fools should be so deep-contemplative ; 
 
 And I did laugh, sans intermission 
 
 An hour by his dial — O noble fool ! 
 
 A worthy fool ! motley's the only wear. 
 
 Joy, Triumph, &c. 
 
 Joy and Delight are more dignified in their expression, 
 employing a longer Quantity, the Median Stress, and the 
 Alternate Phrase of Melody. — Rapture, Triumph or Exul- 
 tation adds to these elements the Tremor. 
 
156 MANUAL OF ELOCUTION. 
 
 Example. 
 
 O my soul's joy ! 
 If after every tempest come such calms, 
 May the winds blow till they have wakened death ! 
 And let the laboring bark climb hills of seas 
 Olympus high, and duck again as low 
 As hell's from heaven ! If it were now to die, 
 'Twere now to be most happy, for I fear 
 My soul hath her content so absolute, 
 That not another comfort like to this 
 Succeeds in unknown fate. 
 
 Astonishment, Admiration, Amazement. 
 
 The dignified expression of these sentiments requires 
 Long Quantity, a good degree of Force, and the Emphasis 
 of the Downward Concrete, or of the Equal Direct Wave 
 of the Third or Fifth combined with the Median Stress. 
 
 Mirthful Wonder, or Surprise, may require the Down- 
 ward Octave, or the Equal Single Direct Wave of that 
 interval; and as the utterance becomes more rapid, the 
 Radical or Vanishing Stress is used. 
 
 Aspiration may be connected with the simple Downward 
 Slides ; though with the Waves it would express scorn, 
 sneer, or contempt. 
 
 Example. 
 
 Sir Richard, w r hat think you 1 Have you beheld, 
 
 Or have you read, or heard ? or could you think 1 
 
 Or do you almost think, although you see, 
 
 That you do see 1 Could thought, without this object, 
 
 Form such another 1 This is the very top, 
 
 The height, the crest, or crest unto the crest 
 
 Of Murder's arms : This is the bloodiest shame, 
 
 The wildest savagery, the vilest stroke, 
 
 That ever wall-eyed Wrath, or starving Rage, 
 
 Presented to the tears of soft Remorse. 
 
EXPRESSION. 157 
 
 Plaintive Expression, Tenderness. 
 
 The elements employed to express pathetic sentiments 
 or tender emotion are few, but strongly marked. They are 
 Softness of voice, Long Quantity, Slow Time and the 
 Semitone, or the Direct and Inverted Waves of that inter- 
 val, combined with the Median Stress. 
 
 The sentiments which require the Chromatic Intonation 
 are various and widely different from each other. The 
 difference however is marked by the language rather than 
 the intonation. Among other sentiments which may be 
 thus expressed are, Awe, Complaint, Contrition, Penitence, 
 Petition, Submission, Supplication, Fondness, Love, Pity, 
 Compassion, Commiseration, Condolence, Mercy, Grief, 
 Lamentation, and Sorrow. 
 
 The simple rise and fall of the Semitone, or the Wave 
 of that interval, is the most effective of the elements enu- 
 merated above, for the expression of the tender and pathetic 
 sentiments. The choice between the Simple Concrete and 
 the Wave is determined by the degree of Dignity, in the 
 sentiment expressed ; and this may be still further enhanced 
 by combining with the other elements the Partial Drift of 
 the Monotone. 
 
 Many of the expressions which go under a common 
 name, as Complaint and Supplication, vary essentially at 
 different times in the degree of plaintiveness which they 
 express. When this emotion is wanting, the Simple Con- 
 crete and the Wave of the Second are substituted for those 
 of the Semitone ; and on the contrary, when this emotion 
 becomes painfully strong, the Tremor and Aspiration are 
 added to the Semitone, on the emphatic words of Long 
 Quantity. Further to heighten the effect, the clauses may 
 
 14 
 
158 MANUAL OF ELOCUTION. 
 
 terminate with the Rising Slide, or the Inverted Wave of 
 the Semitone ; and the Broken Melody may be employed. 
 In the case of plaintive Exclamation, or whenever Sur- 
 prise or Positiveness are to be connected with the Chroma- 
 tic Melody, the Unequal Direct Wave is employed, the 
 first constituent being a Semitone. 
 
 Examples. 
 
 1. We have erred and strayed from thy ways, like lost sheep. 
 We have done those things which we ought not to have done, and 
 have left undone those things we ought to have done, and there is 
 no health in us. But thou, O ! Lord, have mercy upon us misera- 
 ble offenders. Spare thou those, O ! God, who confess their faults. 
 Restore thou those who are penitent, according to thy promises de- 
 clared unto mankind in Christ Jesus our Lord. And grant, O ! 
 most merciful Father, for his sake, that we may hereafter live a 
 godly, righteous, and sober life, to the glory of thy holy name. 
 
 2. Ah, Richard ! with the eyes of heavy mind, 
 I see thy glory like a shooting star, 
 
 Fall to the base earth, from the firmament ! 
 Thy sun sets weeping in the lowly west, 
 Witnessing storms to come, wo, and unrest ; 
 Thy friends are fled, to wait upon thy foes, 
 And crossly to thy good all fortune goes. 
 
 3. Seems, madam ! nay, it is ; I know not seems. 
 'Tis not alone my inky cloak, good mother, 
 Nor customary suits of solemn black, 
 
 Nor windy suspirations of forced breath ; 
 No, nor the fruitful river in the eye, 
 Nor the dejected 'havior of the visage, 
 Together with all forms, modes, shows of grief, 
 That can denote me truly : These indeed seem, 
 For they are actions that a man might play; 
 But I have that within, which passeth show ; 
 These but the trappings, and the suits of wo. 
 
EXPRESSION. 159 
 
 4. Grief fills the room up of my absent child, 
 Lies in his bed, walks up and down with me, 
 Puts on his pretty looks, repeats his words, 
 Remembers me of all his gracious parts, 
 Stuffs out his vacant garments with his form ; 
 Then have I reason to be fond of grief. 
 
 5. My mother! when I learned that thou wast dead, 
 Say, wast thou conscious of the tears I shed? 
 Hovered thy spirit o'er thy sorrowing son, 
 Wretch even then, life's journey just begun? 
 
 I heard the bell tolled on thy burial day, 
 I saw the hearse that bore thee slow away, 
 And, turning from my nursery window, drew 
 A long, long sigh, and wept a last adieu. 
 
 6. The laurel shoots when those have passed away, 
 Once rivals for its crown, the brave, the free ; 
 The rose is flourishing o'er beauty's clay, 
 
 The myrtle blows when love has ceased to be, 
 Green waves the bay when song and bard have fled, 
 And all that round us blooms, is blooming o'er the dead. 
 
 7. Death found strange beauty on that polished brow, 
 And dashed it out. There was a tint of rose 
 
 On cheek and lip ; — he touched the veins with ice 
 And the rose faded. Forth from those blue eyes 
 There spake a wishful tenderness — a doubt 
 Whether to grieve or sleep, which innocence 
 Alone may wear. With ruthless haste he bound 
 The silken fringes of those curtaining lids 
 For ever. There has been a murmuring sound, 
 With which the babe would claim its mother's ear, 
 Charming her even to tears. The spoiler set 
 The seal of silence. But there beamed a smile 
 So fixed and holy from that cherub brow — 
 Death gazed, and left it there ; — he dared not steal 
 The signet-ring of heaven. 
 
160 MANUAL OF ELOCUTION. 
 
 8. Sleep on — sleep on — above thy corse 
 
 The winds their Sabbath keep, — 
 The wave is round thee — and thy breast 
 
 Heaves with the heaving deep ; 
 O'er thee, mild eve her beauty flings, 
 And there the white gull lifts her wings ; 
 And the blue halcyon loves to lave 
 Her plumage in the holy wave. 
 
 Sleep on — thy corse is far away, 
 
 But love bewails thee yet — 
 For thee the heart-wrung sigh is breathed, 
 
 And lovely eyes are wet : — 
 And she, the young and beauteous bride, 
 Her thoughts are hovering by thy side : 
 As oft she turns to view with tears 
 The Eden of departed years. 
 
 9. The thoughts are strange that crowd into my brain, 
 While I gaze upward to thee. — It would seem 
 
 As though God poured thee from his hollow hand, 
 And spake in that loud voice which seemed to him 
 Who dwelt in Patmos, for his Saviour's sake, 
 The sound of many waters, and had bid 
 Thy flood to chronicle the ages back, 
 And notch his centuries in the eternal rock. 
 
 10. In this example the words in italics, to be read with 
 dramatic effect, should receive the Tremor. 
 
 Forsake me not thus, Adam ! Witness, Heaven, 
 What love sincere, and reverence in my heart 
 I bear thee, and unwitting have offended, 
 Unhappily deceived ! Thy suppliant, 
 I beg and clasp thy knees ; bereave me not, 
 Whereon I live, thy gentle looks, thy aid, 
 Thy counsel in this uttermost distress, 
 My only strength and stay. Forlorn of thee, 
 Whither shall I betake me, where subsist 1 
 
EXPRESSION. 161 
 
 While yet we live, scarce one short hour perhaps, 
 
 Between us two let there be peace, both joining 1 , 
 
 As joined in injuries, one enmity 
 
 Against a foe by doom express assigned us 
 
 That cruel Serpent. On me exercise not 
 
 Thy hatred for this misery befallen ; 
 
 On me already lost, me than thyself 
 
 More miserable 1 Both have sinned ; but thou 
 
 Against God only, I, against God and thee, 
 
 And to the place of judgment will return, 
 
 There with my cries importune Heaven, that all 
 
 The sentence, from thy head removed, may light 
 
 On me, sole cause to thee of all this wo ; 
 
 Me, me only, just object of his ire! 
 
 11. The dignity and deep pathos of the following stanzas 
 cannot be fully expressed, but by the frequent union of the 
 Monotone and the Tremor with the simpler elements of 
 the Chromatic Melody. 
 
 The king stood still 
 Till the last echo died ; then, throwing off 
 The sackcloth from his brow, and laying back 
 The pall from the stiff features of his child, 
 He bowed his head upon him, and broke forth 
 In the resistless eloquence of wo : — 
 " Alas ! my noble boy ! that thou shouldst die! 
 
 Thou, who wert made so beautifully fair ! 
 That death should settle in thy glorious eye, 
 
 And leave his stillness in this clustering hair ! 
 How could he mark thee for the silent tomb, 
 
 My proud boy, Absalom ! 
 Cold is thy brow, my son ! and I am chill, 
 
 As to my bosom I have tried to press thee. 
 How was I wont to feel my pulses thrill 
 
 Like a rich harp-string, yearning to caress thee, 
 And hear thy sweet — • my father,' from these dumb 
 And cold lips, Absalom ! 
 
 14* 
 
162 MANUAL OF ELOCUTION. 
 
 The grave hath won thee. I shall hear the gush 
 
 Of music, and the voices of the young ; 
 And life will pass me in the mantling blush, 
 
 And the dark tresses to the soft winds flung; — 
 But thou no more, with thy sweet voice shall come 
 
 To meet me, Absalom ! 
 But, oh ! when I am stricken, and my heart, 
 
 Like a bruised reed, is waiting to be broken, 
 How will its love for thee, as I depart, 
 
 Yearn for thine ear to drink its last deep token ! 
 It were so sweet, amid death's gathering gloom, 
 
 To see thee, Absalom ! 
 And now, farewell ! 'Tis hard to give thee up, 
 
 With death so like a gentle slumber on thee :— 
 And thy dark sin ! — Oh ! I could drink the cup, 
 
 If from this wo its bitterness had won thee. 
 May God have called thee, like a wanderer, home, 
 
 My erring Absalom !" 
 He covered up his face, and bowed himself 
 A moment on his child : then, giving him 
 A look of melting tenderness, he clasped 
 His hands convulsively, as if in prayer ; 
 And, as a strength were given him of God, 
 He rose up calmly, and composed the pall 
 Firmly and decently, and left him there, 
 As if his rest had been a breathing sleep 
 
 Pain. 
 
 Mental Suffering and Bodily Pain, when not excessive, 
 employ the vocal symbols of deep plain tiven ess, even the 
 Semitone, the Tremor, the Aspiration, and the Broken 
 Melody. 
 
 Excessive bodily pain however, often substitutes for 
 feebleness of voice great Force — sometimes even on the 
 Falsette. 
 
EXPRESSION. 163 
 
 Example. 
 Search there ; nay, probe me ; search my wounded reins — 
 
 Pull, draw it out 
 
 Oh, I am shot ! A forked burning arrow 
 
 Sticks across my shoulders : the sad venom flies 
 
 Like lightning through my flesh, my blood, my marrow. 
 
 Ha ! what a change of torments I endure ! 
 
 A bolt of ice runs hissing through my bowels : 
 
 'Tis, sure, the arm of death, give me a chair ; 
 
 Cover me, for I freeze, and my teeth chatter, 
 
 And my knees knock together. 
 
 Secrecy, Apprehension, Fear, &c. 
 Secrecy is expressed by that perfect Aspiration which we 
 call the Whisper. 
 
 Apprehension and Mystery combine the Aspiration with 
 a suppressed voice. Curiosity, Suspicion, Eagerness, and 
 Hope employ the same elements. 
 
 Suppressed Fear speaks in an under tone, and combines 
 with this kind of vocality both the Tremor and the Aspi- 
 ration. 
 
 Examples. 
 lib Angels and ministers of grace defend us — 
 Be thou a spirit of health, or goblin damned, 
 Bring with thee airs from heaven, or blasts from hell, 
 Be thy intents wicked or charitable, 
 Thou comest in such a questionable shape 
 That I will speak to thee. 
 Save me and hover o'er me with your wings, 
 You heavenly guards! — What would your gracious figure? 
 
 2. Hah ! dost thou not see, by the moon's trembling light, 
 Directing his steps, where advances a knight, 
 
 His eye big with vengeance and fate ? 
 
 3. Then first, with amazement, fair Imogene found, 
 That a stranger was placed by her side ; 
 
164 MANUAL OF ELOCUTION. 
 
 His air was terrific, he uttered no sound ; 
 
 He spoke not, he moved not, he looked not around, 
 
 But earnestly gazed on the bride. 
 
 4. Now, fair Hypolita, our nuptial hour 
 Draws on apace, four happy days bring in 
 Another moon ; but oh ! methinks, how slow 
 This old moon wanes ! She lingers my desires, 
 Like to a step-dame, or a dowager, 
 Long-withering out a young man's revenue. 
 
 5. Alas ! I am afraid they have awaked, 
 
 And 'tis not done ; the attempt, and not the deed, 
 
 Confounds us Hark! — I laid the daggers ready, 
 
 He could not miss them. Had he not resembled 
 My father as he slept, I had done it. 
 
 Terror, Horror. 
 
 When danger becomes imminent, fear bursts through all 
 restraints, and the state of mind ensues which is called 
 Terror; and this is expressed by great Force of voice com- 
 bined with the Downward Inflection and a strongly marked 
 Aspiration. The voice of Terror sometimes breaks on the 
 ear in the scream of the Falsette. 
 
 Horror combines Force of voice and the Aspiration with 
 the Guttural Harshness, which as an element of speech is 
 never properly used but to give expression to the highest 
 emotions of the mind. 
 
 Interrogation. 
 
 In Section V, of Chap. I, we deduced the principle that 
 the Rising Slide is the prime element in Interrogation ; and 
 though this is the universal symbol of doubt and uncer- 
 tainty, yet that the Thorough Interrogative Intonation is 
 given only in the case of the Direct Question. 
 
 We are now to show how this Thorough form of Into- 
 
' EXPRESSION. 165 
 
 nation is modified by the conditions under which it is 
 employed. 
 
 The Unimpassioned Interrogation should employ the Con- 
 crete Third and the Radical Stress. 
 
 The more earnest question carries the voice through the 
 Fifth, and may employ the Vanishing Stress; as in the 
 
 following example : — 
 
 What ! shall one of us, 
 That struck the foremost man of all this world 
 But for supporting robbers ; shall we now 
 Contaminate our fingers with base bribes % 
 And sell the mighty space of our large honors, 
 For so much trash, as may be grasped thus 1 — 
 I had rather be a dog, and bay the moon, 
 Than such a Roman. 
 
 Dignity or Solemnity of expression will never allow the 
 use of a wider interval than the Fifth ; and where the 
 question is characterized by these, Long Quantity and the 
 Median Stress should prevail, and the Inverted Wave may 
 take the place of the simple concrete. — Example : 
 
 Are these the pompous tidings ye proclaim, 
 Lights of the world, and demi-gods of Fame 1 
 Is this your triumph — this your proud applause, 
 Children of Truth, and champions of her cause ? 
 For this hath science searched, on weary wing, 
 By shore and sea— each mute and living thing ? 
 Launched with Iberia's pilot from the steep, 
 To worlds unknown, and isles beyond the deep ? 
 Or round the cope her living chariot driven, 
 And wheeled in triumph through the signs of Heaven ? 
 Oh! star-eyed science, hast thou wandered there, 
 To waft us home the message of despair ? 
 
 Vaunting or Mirthful Interrogation carries the voice 
 through an Octave ; and the Vanishing Stress increases the 
 intensity of the inquiry, as in the following : — 
 
166 MANUAL OF ELOCUTION. 
 
 Moneys is your suit. 
 What should I say to you ] Should I not say, 
 Hath a dog money 1 Is it possible 
 A cur can lend three thousand ducats 1 
 
 Derision and Exultation are heightened by the combina- 
 tion of the Tremor with these symbols. 
 
 The inquiry of Apprehension or Suspicion is characterized 
 by the Aspiration. Examples :— 
 
 1. Horatio. My lord, I think I saw him yesternight. 
 Hamlet. Saw ! who 1 
 
 Horatio. My lord, the king, your father. 
 Hamlet. The king, my father 1 
 
 2. Pray you, once more — 
 Is not your father grown incapable 
 
 Of reasonable affairs ? Is he not stupid 
 
 With age and altering rheums'? Can he speak, hear, 
 
 Know man from man, dispute his own estate ? 
 
 Lies he not bed-rid, and again does nothing 
 
 But what he did being childish ? 
 
 Angry or Authoritative Inquiry employs Loudness of 
 voice, and the Radical or Compound Emphasis, according 
 to the degree of emotion and the quantity of the emphatic 
 syllable. Example : — 
 
 'Zounds, show me what thou'lt do 1 
 
 Woul't weep 1 woul't fight 1 woul't fast 1 woul't tear thyself? 
 
 Woul't drink up Esil ] eat a crocodile 1 
 
 I'll do't. — Dost thou come here to whine ? 
 
 To outface me by leaping in her grave 1 
 
 Be buried quick with her, and so will I. 
 
 Contempt and Surprise, add to the Compound Stress the 
 Aspiration ; and Scorn, if strongly expressed, combines 
 with these the Guttural quality of voice. 
 Example of Surprise : — 
 Gone to be married, gone to swear a peace ! 
 False blood to false blood joined ! Gone to be friends ' 
 
 
EXPRESSION. 167 
 
 Shall Lewis have Blanch 1 and Blanch those provinces ? 
 It is not so : Thou hast mis-spoke, mis-heard ; 
 Be well advised, tell o'er thy tale again. 
 
 Plaintive Interrogation is the exact opposite of plaintive 
 Exclamation, and calls for the use of the Inverted instead 
 of the Direct Wave ; — the first constituent being a Semi- 
 tone and the last a Rising Third, Fifth, or Eighth. 
 
 Irresolution, Modesty, &c. 
 
 There is a class of emotions, not very closely allied to 
 each other in their nature, yet which are expressed by 
 nearly the same natural symbols. They have to be dis- 
 tinguished by the artificial language to which the voice 
 gives utterance. 
 
 Irresolution, Doubt, Caution, Jlpathy, Humility, Modesty, 
 Shame, Tranquillity, Fatigue, Drowsiness, and Weakness, 
 though usually expressed in the Diatonic Melody, yet are 
 characterized by Feebleness of voice, Slow Time, and oc- 
 casionally by the Wave of the Second. Weakness indeed 
 often employs the Broken Melody, and sometimes the Wave 
 of the Semitone. 
 
 Examples. 
 
 1 . Adam. Dear master, I can go no farther : Oh, I die for food ! 
 Here lie I down and measure out my grave. Farewell, kind master. 
 
 Duke. Welcome : set down your venerable burden, 
 
 And let him feed. 
 Or la. I thank you most for him. 
 Adam. So had you need ; 
 
 I scarce can speak to thank you for myself. 
 
 2. And wherefore should this good news make me sick ? 
 I should rejoice now at this happy news, 
 
 And now my sight fails, and my brain is giddy : — 
 
 me ! come near me, now I am much ill. 
 
 1 pray you take up and bear me hence 
 
168 MANUAL OF ELOCUTION. 
 
 Into some other chamber ; softly, pray — 
 Let there be no noise made, my gentle friends, 
 Unless some dull and favorable hand, 
 Will whisper music to my weary spirit. 
 
 For further practice in Expression, judicious selections 
 from dialogues and dramatic pieces are specially recom- 
 mended. 
 
 SECTION VI. 
 
 OF TRANSITION. 
 
 By Transition is meant those changes of style which 
 may occur in the same discourse, and which depend en- 
 tirely on the changes of sentiment which take place. And 
 here is called into effective use every various element of 
 melody. There is no capability of the human voice which 
 may not be brought into requisition, for the expression of 
 the varying sentiments of a single discourse. Here also 
 may be brought near together the most opposite varieties 
 of intonation. Few are aware how much depends on an 
 agreeable variety in the melodies as well as in the into- 
 nation of the voice. And it may with great propriety be 
 remarked in passing, that the varying sentiment of what is 
 uttered furnishes a basis of modulation, which, from the 
 very nature of the case, excludes monotony and every 
 species of mechanical variety. Indeed variety in intona- 
 tion, depending on any other principle than this, becomes 
 not less disagreeable than the most inflexible monotony ; 
 and in fact, usually degenerates into a species of monotony, 
 arising from the repetition of the same succession of 
 sounds; thus constituting a sort of regular tune. The 
 more violent transitions are confined to the stage. In 
 
TRANSITION. 169 
 
 poetry they are often called for, and should be more 
 strongly marked in declamation than in reading. Even in 
 ordinary prose composition, changes of sentiment occur, 
 but are less violent and abrupt. 
 
 After what has been said of the various elements of ex- 
 pression, and of the mode of their combination, the learner 
 cannot be at a loss to apply the principles already laid 
 down, to the purposes of Transition. The following will 
 serve as good examples for exercise ; and, except the first, 
 they are left without rhetorical notation, that the learner 
 may test his ability to detect changes of sentiment as they 
 occur, as well as to apply the various symbols of emotion 
 to their expression. 
 
 Examples. 
 1. Alexander's Feast. 
 
 Narrative. 
 
 1. 'Twas at the royal feast for Persia won 
 By Philip's warlike son ; 
 
 Dignity. 
 
 Aloft in awful state, 
 The godlike hero sate 
 On his imperial throne. 
 Narrative. 
 
 His valiant peers were placed around, 
 
 Their brows with roses and with myrtle bound : 
 
 Positiveness. 
 
 So should desert in arms be crowned. 
 
 Gayety. 
 The lovely Thais, by his side, 
 Sat like a blooming 1 eastern bride, 
 In flower of youth and beauty's pride. 
 
 Delight. 
 
 Happy, happy, happy pair : 
 None but the brave, 
 None but the brave, 
 
 Triumph; 
 None but the brave, deserve the fair. 
 15 
 
170 MANUAL Of* ELOCUTION. 
 
 Narrative. 
 
 2. Timotheus, placed on high, 
 
 Amid the tuneful choir, 
 
 With flying fingers touch'd the lyre : 
 The trembling notes ascend the sky, 
 
 And heavenly joys inspire. 
 The song began from Jove, 
 Who left his blissful seat above — 
 
 Dignity. 
 
 Such is the power of mighty love ! — 
 A dragon's fiery form belied the god : 
 Sublime on radiant spheres he rode, 
 When he to fair Olympia pressed, 
 And stamped an image gf himself, a sovereign of the world. 
 The listening crowd admire the lofty sound : 
 
 Admiration. 
 
 "A present deity !" they shout around ; — 
 " A present deity !" the vaulted roofs rebound. 
 Narrative. 
 With ravished ears 
 The monarch hears, 
 
 Dignity. 
 Assumes the god, 
 Affects to nod, 
 And seems to shake the spheres. 
 
 Narrative. 
 
 3. The praise of Bacchus, then the sweet musician sung; 
 Of Bacchus ever fair and ever young ! 
 
 The jolly god in triumph comes ! 
 
 Gayety. 
 
 Sound the trumpets ! beat the drums ! 
 Flushed with a purple grace, 
 He shows his honest face. 
 
 Rapture. 
 
 Now give the hautboys breath ! — He comes ! he comes ! 
 Bacchus, ever fair and young, 
 Drinking joys did first ordain. 
 Delight. 
 Bacchus' blessings are a treasure ; 
 Drinking is the soldier's pleasure : 
 
TRANSITION. 171 
 
 Rich the treasure, 
 Sweet the pleasure ; 
 Sweet is pleasure after pain ! 
 Narrative. 
 
 4. Soothed with the sound, the king grew vain ; 
 Fought all his battles o'er again : 
 
 Dignity. 
 
 And thrice he routed all his foes, and thrice he slew the slain ! 
 
 Narrative. 
 
 The master saw the madness rise ; 
 
 Earnest Description. 
 His glowing cheeks, his ardent eyes : (rapidly,') 
 
 Dignity. 
 And while he heaven and earth defied, 
 Narrative. 
 
 Changed his hand, and checked his pride. 
 
 5. He chose a mournful muse, 
 
 Dignity. 
 Soft pity to infuse : 
 He sung Darius great and good ! 
 By too severe a fate, 
 
 Dignity and Compassion. 
 Fallen! fallen! fallen! fallen!— 
 Fallen from his high estate, 
 And weltering in his blood ! 
 Deserted at his utmost need 
 By those his former bounty fed, 
 On the bare earth exposed he lies, 
 With not a friend to close his eyes ! 
 With downcast look the joyless victor sate, 
 Revolving, in his altered soul, 
 
 The various turns of fate below; 
 And now and then a sigh he stole, 
 And tears began to flow ! 
 Narrative. 
 
 6. The mighty master smiled, to see 
 That love was in the next degree : 
 'Twas but a kindred sound to move ; 
 For pity melts the mind to love. 
 
172 MANUAL OF ELOCUTION. 
 
 Gayety. 
 Softly sweet, in Lydian measures. 
 Soon he soothed his soul to pleasures. 
 
 Dignity. 
 
 War, he sung, is toil and trouble ; 
 Honor, but an empty bubble ; 
 Never ending, still beginning, 
 Fighting still, and still destroying. 
 
 Gayety. 
 
 If the world be worth thy winning, 
 Think, oh think it worth enjoying! 
 Lovely Thais sits beside thee, 
 Take the good the gods provide thee. 
 
 Earnest Description. 
 
 The many rend the skies with loud applause : 
 So love was crowned ; but music won the cause. 
 
 Narrative. 
 
 7. The prince, unable to conceal his pain, 
 
 Dignity. 
 Gazed on the fair, 
 Who caused his care, 
 And sighed and looked, sighed and looked, 
 Sighed and looked, and sighed again : 
 At length, with love and wine at once oppressed, 
 
 Drowsiness. 
 
 The vanquish'd victor — sunk upon her breast ! 
 Energy. 
 S. Now strike the golden lyre again ! 
 A louder yet, and yet a louder strain ! 
 Break his bands of sleep asunder, 
 And rouse him like a rattling peal of thunder ! 
 Eagerness. 
 Hark ! hark ! — the horrid sound 
 Has raised up his head, 
 As awaked from the dead : 
 And, amazed, he stares around. 
 Anger. 
 9. Revenge ! revenge ! Timotheus cries — 
 See the furies arise ! 
 See the snakes that they rear, 
 
TRANSITION. 173 
 
 How they hiss in their hair, 
 And the sparkles that flash from their eyes ! {rapidly.) 
 Behold a ghastly band, 
 Each a torch in his hand ! 
 These are Grecian ghosts, that in battle were slain, 
 And, unburied, remain 
 Inglorious on the plain. 
 Give the vengeance due 
 To the valiant crew ! 
 Behold ! how they toss their torches on high, 
 How they point to the Persian abodes, 
 And glittering temples of their hostile gods. 
 
 Earnest Description. 
 
 10. The princes applaud, with a furious joy ; 
 
 And the king seized a flambeau, with zeal to destroy ; 
 Thais led the way, 
 To light him to his prey ! 
 Energy and Dignity. 
 And, like another Helen, fired — another Troy. 
 Narrative. 
 
 11. Thus, long ago, 
 
 Ere heaving bellows learned to blow, 
 While organs yet were mute, 
 Timotheus to his breathing flute 
 And sounding lyre, 
 Could swell the soul to rage, or kindle soft desire. 
 
 Narrative. 
 
 12. At last, divine Cecilia came, 
 Inventress of the vocal frame. 
 
 The sweet enthusiast, from her sacred store, 
 
 Enlarged the former narrow bounds, 
 
 And added length to solemn sounds, 
 With nature's mother-wit, and arts unknown before. 
 
 Dignity. 
 Let old Timotheus yield the prize, 
 
 Or both divide the crown : 
 He raised a mortal to the skies ; 
 Gayety. 
 She drew an angel down. — Dryden, 
 15* 
 
174 MANUAL OF ELOCUTION. 
 
 2. 
 
 I know that virtue to be in you, Brutus, 
 As well as I do know your outward favor. 
 Well, honor is the subject of my story.— 
 I cannot tell what you and other men 
 5. Think of this life ; but, for my single self, 
 I had as lief not be, as live to be 
 In awe of such a thing as I myself. 
 I was born free as Caesar, so were you : 
 We both have fed as well ; and we can both 
 
 10. Endure the winter's cold, as well as he. 
 For once, upon a raw and gusty day, 
 The troubled Tyber chafing with her shores, 
 Caesar said to me, ' Dar'st thou, Cassius, now 
 Leap in with me into this angry flood, 
 
 15. And swim to yonder point'?' Upon the word, 
 Accoutred as I was, I plunged in, 
 And bade him follow : so, indeed, he did : 
 The torrent roared, and we did buffet it 
 With lusty sinews ; throwing it aside 
 
 20. And stemming it with hearts of controversy. 
 But ere we could arrive the point proposed, 
 Caesar cried, ' Help me, Cassius, or I sink.' 
 I, as JEneas, our great ancestor, 
 Did from the flames of Troy upon his shoulder 
 
 25. The old Anchises bear, so from the waves of Tyber 
 Did I the tired Caesar: And this man 
 Is now become a god ; and Cassius is 
 A wretched creature, and must bend his body, 
 If Caesar carelessly but nod on him. 
 
 30. He had a fever when he was in Spain, 
 And, when the fit was on him, I did mark 
 How he did shake : 'tis true, this god did shake : 
 His coward lips did from their color fly; 
 And that same eye, whose bend doth awe the world, 
 
 35. Did lose his lustre : I did hear him groan : 
 
 Ay, and that tongue of his, that bade the Romans 
 Mark him, and write his speeches in their books, 
 
TRANSITION. 175 
 
 Alas ! it cried, * Give me some drink, Titinius,' 
 As a sick girl. Ye gods, it doth amaze me, 
 40. A man of such a feeble temper should 
 So get the start of the majestic world, 
 And bear the palm alone. 
 
 3. 
 
 1 . There was a sound of revelry by night ; 
 And Belgium's capital had gathered then 
 Her beauty, and her chivalry, and bright 
 
 The lamps shone o'er fair women and brave men : 
 A thousand hearts beat happily ; and when 
 Music arose with its voluptuous swell, 
 Soft eyes looked love to eyes which spake again, 
 And all went merry as a marriage-bell ; 
 Bat hush! hark ! a deep sound strikes like a rising knell I 
 
 2. Did ye not hear it? — No; 'twas but the wind, 
 Or the car rattling o'er the stony street : 
 
 On with the dance ! let joy be unconfined ; 
 No sleep till morn, when youth and pleasure meet 
 To chase the glowing hours with flying feet — 
 But hark ! — that heavy sound breaks in once more, 
 As if the clouds its echo would repeat ; 
 And nearer, clearer, deadlier than before ! 
 Arm! arm! it is — it is the cannon's opening roar! 
 
 3. Ah ! then and there was hurrying to and fro, 
 And gathering tears, and tremblings of distress, 
 And cheeks all pale, which but an hour ago 
 Blushed at the praise of their own loveliness : 
 And there were sudden partings, such as press 
 The life from out young hearts, and choking sighs 
 Which ne'er might be repeated ; — who could guess 
 If ever more should meet those mutual eyes, 
 
 Since upon night so sweet such awful morn could rise? 
 
 4. 
 
 Now when fair morn orient in heaven appeared, 
 Up rose the victor Angels, and to arms 
 
176 MANUAL OF ELOCUTION. 
 
 The matin-trumpet sang : in arms they stood 
 Of golden panoply, refulgent host, 
 5 Soon banded ; others from the dawning hills 
 
 Looked round, and scouts each coast light-armed scour, 
 Each quarter, to descry the distant foe, 
 Where lodged or whither fled, or if for fight 
 In motion or in halt : him soon they met 
 
 10 Under spread ensigns moving nigh, in slow 
 But firm battalion ; back with speediest sail 
 Zophiel, of Cherubim the swiftest wing, 
 Came flying, and in mid-air aloud thus cried. 
 
 "Arm, warriors, arm for fight; the foe at hand, 
 
 15 Whom fled we thought, will save us long pursuit 
 This day; fear not his flight : so thick a cloud 
 He comes, and settled in his face I see 
 Sad resolution and secure ; let each 
 His adamantine coat gird well, and each 
 
 20 Fit well his helm, gripe fast his orbed shield, 
 Borne even or high ; for this day will pour down, 
 If I conjecture ought, no drizzling shower, 
 But rattling storm of arrows barbed with fire." 
 
 So warned he them, aware themselves, and soon 
 
 25 In order, quit of all impediment ; 
 
 Instant without disturb they took alarm, 
 And onward move embattled : when behold 
 Not distant far with heavy pace the foe 
 Approaching, gross and huge, in hollow cube 
 
 30 Training his devilish enginery, impaled 
 
 On every side with shadowing squadrons deep, 
 To hide the fraud. At interview both stood 
 A while ; but suddenly at head appeared 
 Satan, and thus was heard commanding loud. 
 
 35 " Vanguard, to right and left the front unfold ; 
 
 That all may see who hate us, how we seek 
 Peace and composure, and with open breast 
 Stand ready to receive them, if they like 
 Our overture, and turn not back perverse : 
 
 40 But that I doubt ; however witness Heaven, 
 
TRANSITION. 177 
 
 Heaven witness thou anon, while we discharge 
 Freely our part ; ye who appointed stand, 
 Do as you have in charge, and briefly touch 
 What we propound, and loud that all may hear." 
 45 So scoffing in ambiguous words, he scarce 
 
 Had ended, when to right and left the front 
 Divided, and to either flank retired. 
 
 5. 
 And David sat between the two gates ; and the watchman 
 went up to the roof over the gate unto the wall, and lifted up his 
 eyes and looked, and behold a man running alone. And the 
 watchman cried, and told the king. And the king said, If he 
 5 be alone, there is tidings in his mouth. And he came apace, 
 and drew near. And the watchman saw another man running : 
 and the watchman called unto the porter, and said, Behold an- 
 other man running alone. And the king said, He also bringeth 
 tidings. And the watchman said, Methinketh the running 
 
 10 of the foremost is like the running of Ahimaaz the son of 
 Zadok. And the king said, He is a good man, and cometh 
 with good tidings. And Ahimaaz called, and said unto the king, 
 All is well. And he fell down to the earth upon his face before 
 the king, and said, Blessed be the Lord thy God, which hath 
 
 15 delivered up the men that lifted up their hand against my lord 
 the king. And the king said, Is the young man Absalom safe ? 
 And Ahimaaz answered, When Joab sent the king's servant and 
 me thy servant, I saw a great tumult, but I knew not what it 
 was. And the king said unto him, Turn aside, and stand here. 
 
 20 And he turned aside, and stood still. And, behold, Cushicame; 
 and Cushi said, Tidings, my lord the king: for the Lord hath 
 avenged thee this day of all them that rose up against thee. 
 And the king said unto Cushi, Is the young man Absalom safe ? 
 and Cushi answered, The enemies of my lord the king, and all 
 
 25 that rise up against thee to do thee hurt, be as that young man 
 is. And the king was much moved, and went up to the cham- 
 ber, over the gate, and wept : and as he went, thus he said, O 
 my son Absalom, my son, my son Absalom ! would God I had 
 died for thee, O Absalom, my son, my son ! And it was told 
 
178 MANUAL OF ELOCUTION. 
 
 30 Joab, Behold, the king weepeth and mourneth for Absalom. 
 And the victory that day was turned into mourning unto all the 
 people : for the people heard say that day, how the king was 
 grieved for his son. And the people gat them by stealth that 
 day into the city, as people being ashamed steal away when 
 
 35 they flee in battle. But the king covered his face, and the king 
 cried with a loud voice, O my son Absalom ! O Absalom, my 
 son, my son ! 
 
 6. 
 
 1. At midnight, in his guarded tent, 
 
 The Turk was dreaming of the hour, 
 When Greece, her knee in suppliance bent, 
 
 Should tremble at his power ; 
 In dreams, through camp and court, he bore 
 The trophies of a conqueror ; 
 
 In dreams his song of triumph heard ; 
 Then wore his monarch's signet-ring, — 
 Then pressed that monarch's throne, — a king; 
 As wild his thoughts, and gay of wing, 
 
 As Eden's garden bird. 
 
 2. An hour passed on — the Turk awoke ; 
 
 That bright dream was his last ; 
 He woke to hear his sentry's shriek, 
 " To arms ! they come t the Greek ! the Greek V* 
 He woke — to die midst flame and smoke, 
 And shout, and groan, and sabre-stroke, 
 
 And death-shots falling thick and fast 
 As lightnings from the mountain cloud ; 
 And heard, with voice as trumpet loud, 
 
 Bozzaris cheer his band ; 
 " 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 !" 
 
 3. They fought — like brave men, long and well, 
 
 They piled that ground with Moslem slain, 
 They conquered — but Bozzaris fell, 
 Bleeding at every vein. 
 
TRANSITION. 179 
 
 7. The Sinking Ship. 
 
 Her giant form 
 
 O'er wrathful surge, through blackening storm, 
 
 Majestically calm, would go 
 
 Mid the deep darkness white as snow! 
 
 But gentler now the small waves glide, 
 5 Like playful lambs o'er a mountain's side. 
 
 So stately her bearing, so proud her array, 
 
 The main she will traverse for ever and aye. 
 
 Many ports will exult at the gleam of her mast! 
 
 Hush ! hush ! thou vain dreamer ! this hour is her last. 
 10 Five hundred souls, in one instant of dread 
 
 Are hurried o'er the deck, 
 
 And fast the miserable ship 
 
 Becomes a lifeless wreck. 
 
 Her keel hath struck on a hidden rock, 
 15 Her planks are torn asunder, 
 
 And down come her masts with a reeling shock, 
 
 And a hideous crash like thunder. 
 
 Her sails are draggled in the brine, 
 
 That gladdened late the skies ; 
 20 And her pendant, that kissed the fair moonshine, 
 
 Down many a fathom lies. 
 
 Her beauteous sides, whose rainbow hues 
 
 Gleamed softly from below, 
 
 And flung a warm and sunny flush 
 25 O'er the wreaths of murmuring snow, 
 
 To the coral rocks are hurrying down, 
 
 To sleep amid colors as bright as their own. 
 Oh ! many a dream was in the ship, 
 
 An hour before her death ; 
 30 And sights of home with sighs disturbed 
 
 The sleeper's long-drawn breath. 
 
 Instead of the murmur of the sea, 
 
 The sailor heard the humming tree, 
 
 Alive through all its leaves, 
 35 The hum of the spreading sycamore 
 
180 MANUAL OF ELOCUTION. 
 
 That gTows before his cottage-door, 
 
 And the swallow's song in the eaves. 
 
 His arms enclosed a blooming boy, 
 
 Who listened with tears of sorrow and joy 
 40 To the dangers his father had passed ; 
 
 And his wife, — by turns she wept and smiled, 
 
 As she looked on the father of her child 
 
 Returned to her heart at last. 
 — He wakes at the vessel's sudden roll, 
 45 And the rush of waters is in his soul. 
 
 Astounded the reeling deck he paces, 
 
 Mid hurrying forms and ghastly faces ;— 
 
 The whole ship's crew are there. 
 
 Wailings around and over head, 
 50 Brave spirits stupified or dead, 
 
 And madness and despair. 
 
 Now is the ocean's bosom bare, 
 
 Unbroken as the floating air ; 
 
 The ship hath melted quite away, 
 55 Like a struggling dream at break of day. 
 
 No image meets my wandering eye 
 
 But the new-risen sun and the sunny sky. 
 
 Though the night-shades are gone, yet a vapor dull 
 
 Bedims the waves so beautiful ; 
 60 While a low and melancholy moan 
 
 Mourns for the glory that hath flown. 
 
 8. Ode on the Passions. 
 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 ; 
 5 Exulting, trembling, raging, fainting, 
 Possessed beyond the muse's painting. 
 By turns, they felt the glowing mind 
 Disturbed, delighted, raised, refined : 
 Till once, 'tis said, when all were fired, 
 10 Filled with fury, rapt, inspired, 
 
TRANSITION. 181 
 
 From the supporting myrtles round, 
 They snatched her instruments of sound ; 
 And, as they oft had heard apart, 
 Sweet lessons of her forceful art, 
 15 Each, for madness ruled the hour, 
 
 Would prove his own expressive power. 
 
 First, Fear, his hand, its skill to try, 
 Amid the chords bewildered laid ; 
 And back recoiled, he knew not why, 
 20 E'en at the sound himself had made. 
 
 Next, Anger rushed, his eyes on fire, 
 
 In lightnings owned his secret stings, 
 In one rude clash he struck the lyre, 
 
 And swept with hurried hand the strings. 
 
 25 With woful measures, wan Despair — 
 
 Low sullen sounds ! — his grief beguiled : 
 A solemn, strange, and mingled air ; 
 'Twas sad by fits, by starts 'twas wild. 
 
 But thou, Hope ! with eyes so fair, 
 30 What was thy delighted measure ? 
 
 Still it whispered promised pleasure, 
 And bade the lovely scenes at distance, hail. 
 Still would her touch the strain prolong ; 
 And from the rocks, the woods, the vale, 
 35 She called on Echo still through all her song : 
 And, where her sweetest theme she chose, 
 A soft responsive voice was heard at every close ; 
 And Hope, enchanted, smiled, and waved her golden hair. 
 
 And longer had she sung — but, with a frown, 
 40 Revenge impatient rose. 
 
 He threw his blood-stained sword in thunder down ; 
 And, with a withering look, 
 The war-denouncing trumpet took, 
 And blew a blast so loud and dread, 
 45 Were ne'er prophetic sounds so full of wo; 
 
 16 
 
182 MANUAL OF ELOCUTION. 
 
 And, ever and anon, he beat 
 The doubling drum with furious heat : 
 And though, sometimes, each dreary pause between, 
 Dejected Pity at his side 
 50 Her soul-subduing voice applied, 
 
 Yet still he kept his wild unaltered mien, 
 While each strained ball of sight — seemed bursting from his head. 
 
 Thy numbers, Jealousy, to nought were fixed ; 
 Sad proof of thy distressful state ! 
 55 Of differing themes the veering song was mixed : 
 
 And, now it courted Love ; now, raving, called on Hate. 
 With eyes upraised, as one inspired, 
 Pale Melancholy sat retired ; 
 And, from her wild sequestered seat, 
 60 In notes, by distance made more sweet, 
 
 Poured through the mellow horn her pensive soul, 
 And, dashing soft from rocks around, 
 Bubbling runnels joined the sound ; 
 Through glades and glooms, the mingled measure stole, 
 65 Or o'er some haunted stream, with fond delay, 
 
 Round a holy calm diffusing, 
 Love of peace, and lonely musing, 
 In hollow murmurs died away. 
 
 But, oh, how altered was its sprightlier tone ! 
 
 70 When Cheerfulness, a nymph of healthiest hue, 
 
 Her bow across her shoulder flung, 
 
 Her buskins gemmed with morning dew, 
 
 Blew an inspiring air, that dale and thicket rung, 
 The hunter's call, to Faun and Dryad known. 
 75 The oak-crowned Sisters, and the chaste-eyed Queen, 
 
 Satyrs and sylvan Boys were seen, 
 Peeping from forth their alleys green ; 
 Brown Exercise rejoiced to hear; 
 And Sport leaped up and seized his beechen spear. 
 
 80 Last, came Joy's ecstatic trial: 
 
 He with viny crown advancing, 
 
TRANSITION. 183 
 
 First to the lively pipe his hand addressed— 
 But soon he saw the brisk awakening- viol ; 
 Whose sweet entrancing- voice he loved the best. 
 85 They would have thought who heard the strain 
 They saw in Tempe's vale, her native maids, 
 Amidst the festal-sounding shades, 
 
 To some unwearied minstrel dancing : 
 While, as his flying fingers kissed the strings, 
 90 Love framed with Mirth a gay fantastic round v 
 Loose were her tresses seen, her zone unbound, 
 And he, amidst his frolic play, 
 As if he would the charming air repay, 
 Shook thousand odors from his dewy wings. 
 
 95 O Music, sphere-descended maid, 
 
 Friend of Pleasure, Wisdom's aid, 
 
 Why, goddess, why, to us denied, 
 
 Lay est thou thy ancient lyre aside ? 
 
 As in that loved Athenian bower 
 100 You learned in all-commanding power, 
 
 Thy mimic soul, O nymph endeared, 
 
 Can well recall what then it heard. 
 
 Where is thy native simple heart, 
 
 Devote to Virtue, Fancy, Art 1 
 105 Arise, as in the elder time, 
 
 Warm, energic, chaste, sublime! 
 
 Thy wonders, in that godlike age 
 
 Fill thy recording sister's page — 
 
 'Tis said, and I believe the tale, 
 110 Thy humblest reed could more prevail, 
 
 Had more of strength, diviner rage, 
 
 Than all which charms this laggard age, 
 
 Even all at once together found, 
 
 Cecilia's mingled world of sound — 
 115 Oh, bid our vain endeavors cease, 
 
 Revive the just designs of Greece ; 
 
 Return in all thy simple state ; 
 
 Confirm the tales her sons relate ! Collins, 
 
184 MANUAL OF ELOCUTION. 
 
 SECTION VII. 
 
 OF CADENCE. 
 
 In treating of the Melodies of the Voice, it was remarked, 
 that the falling tritone, when it occurs at the close of a 
 sentence, constitutes the Cadence, and is called the Triad 
 of the Cadence ; though we may now remark, that except 
 in a single case the fall is confined wholly to the last two 
 constituents. This suggests the peculiarity which charac- 
 terizes the close of sentences, indicating to the ear that the 
 sense is finished ; which is, a fall from the radical point of 
 the syllable which precedes the Cadence through three 
 tones, and terminating with a downward vanish. This is 
 all that is essential to the full Cadence. The only practical 
 questions which here arise for discussion are, — Where 
 should the Cadence be given ? has it different forms ? and 
 if so, what are they ? and by what principle is a preference 
 given to the one or the other, in practice ? 
 
 The Cadence always accompanies the period or full 
 close, except when overruled by the emphasis of the 
 rising intervals or of the inverted waves; and often ac- 
 companies the Exclamation, the Indirect question, and the 
 shorter rests usually marked by the dash, the colon, or 
 even the semicolon. 
 
 The form of the Cadence varies with the structure of the 
 sentence, and with the sentiment ; and particularly with 
 the quantity of the syllables of which it is constituted, and 
 the degree of emphasis given to them. The Cadence may 
 consist of three constituents, but more frequently has but two, 
 or only one. For the sake of distinction, these are called 
 the Triad, the Duad, and the Monad forms ; and under 
 these divisions, are found variations, which, though they 
 
CADENCE. 185 
 
 possess different degrees of perfection, yet add much to the 
 harmony and variety of spoken language. — The following 
 schedule, it is believed, presents even to the eye all the 
 different forms of the Cadence authorized by the best 
 usage; and it will be found most convenient, in general, to 
 refer to them as first, second, third, fourth, &c, in the order 
 in which they are here enumerated! In the following dia- 
 grams, the bar separates from the rest of the line the con- 
 stituents which form the Cadence. 
 
 I. The Triad. 
 
 1. The first form, or falling triad, has three constitu- 
 ents, with each the downward vanish. This produces the 
 most perfect repose of the voice, next to the Prepared 
 Cadence. 
 
 Mean - time I'll 
 
 keep 
 
 you 
 
 com 
 
 - pa 
 
 ■ ny. 
 
 ^r 
 
 «-r 
 
 * 
 
 * 
 
 €f W 4 ~ 
 
 
 ^ 
 
 % 
 
 Note. — When three or even four of the last syllables of a period 
 are unaccented, this fall, which commences with the accented 
 syllable, may be extended to all that follow it ; as, Thus did Job 
 con-/?tt-u-al-ly.— We soon lost our confidence in his dis-en-ter-es- 
 ted-ness. 
 
 II. The Duad Forms. 
 
 2. In this form of the Cadence, the first tone is passed 
 over by a discrete downward movement ; and each of the 
 two constituents takes the downward vanish. 
 
 Con - gress 
 
 was 
 
 then 
 
 in 
 
 ses 
 
 ■ sion. 
 
 Jf 
 
 «f 
 
 
 ^ 
 
 4 
 
 A 
 
 9 4 ' 
 
 ^ 
 
 ,m 
 
 3. The third form differs from the second, only in 
 16* 
 
186 MANUAL OF ELOCUTION. 
 
 giving the first constituent the rising vanish instead of 
 the falling. 
 
 The spir - it can - not al - ways sleep in dust. 
 
 _^_^ 1 4 4 4 4 4 \ 4 ^ 
 
 4. The fourth form appropriates a concrete fall of two 
 tones to the first constituent ; and terminates by a down- 
 ward vanish on the second. 
 
 Me -thought I heard Ho- ra - tio say to 
 
 mor - row. 
 
 / a * ' 
 
 «\ 
 
 * * 4 * * 
 
 A «*> 
 
 III. The Monad Forms. 
 
 5. This form passes over the first tone discretely, and 
 appropriates the fall through the last two tones to a single 
 syllable. 
 
 De - scent and 
 
 fall 
 
 to 
 
 us 
 
 is 
 
 ad - 
 
 verse. 
 
 4 
 
 4 
 
 
 d 
 
 4 
 
 4 
 
 A 
 
 4*4 
 
 
 4 
 
 
 
 
 \ 
 
 6. This form of the Monad cadence appropriates the 
 entire concrete fall to a single long syllable. 
 
 My sen ■ 
 
 ■ tence 
 
 is 
 
 for 
 
 o - 
 
 pen 
 
 war. 
 
 * 4 
 
 -^ 
 
 V 
 
 4 
 
 • 
 
 <• 
 
 4 
 
 w „ | x 
 
 7. The seventh form of the cadence passes over the first 
 two tones of the fall by a discrete skip ; and is called the 
 False Cadence. 
 
 Of wiles more 
 
 un - 
 
 ex - pert, 
 
 I 
 
 boast 
 
 not. 
 
 i gf 
 
 4 
 
 tC 
 
 • 
 
 4 
 
 
 I 4 * 4 
 
 
 4 * 
 
 
 
 «\ 
 
CADENCE. 187 
 
 The first three forms are the only ones adapted to sylla- 
 bles of short quantity, though they may be employed on 
 others. The choice between these forms depends in part 
 on the sentiment — whether it inclines to the rising or the 
 falling movements ; but more frequently on the place of the 
 accent. The fourth form requires the penultimate to be 
 long ; and the fifth and sixth require long quantity in the 
 final syllable. The seventh or false cadence is never given 
 but when the last two syllables are so short as neither of 
 them to admit of being prolonged through two tones; 
 nor then, unless, through the unskillfulness of the 
 reader, the penultimate syllable has been prevented 
 from dropping into its natural position, as presented in 
 the third form. 
 
 The Prepared Cadence, which for the sake of uniformity 
 may be designated the eighth form, is that which in good 
 delivery is often heard at the close of a subject — whether 
 of a paragraph, of a chapter, or a volume ; and it is un- 
 doubtedly important, that such a close should be marked 
 by some peculiar inflection which is readily cognizable by 
 the ear. This is effected by a discrete fall of a third on 
 some syllable preceding the close, and near enough to it 
 to be naturally connected with it, by its effect upon the 
 ear. This form of cadence is illustrated by the following 
 notation : — 
 
 Hope for a 
 
 sea- 
 
 son bade the 
 
 world 
 
 fare 
 
 ■ well; 
 
 *£ 
 
 *f 
 
 *& 4 
 
 # 
 
 
 
 f - ■*•'■* 
 
 
 4 m * 
 
 
 ^ 
 
 • 
 
 And free - dom 
 
 shrieked as Kos ■ 
 
 ■ ci - 
 
 us - 
 
 ko 
 
 fell. 
 
 • * * 
 
 «T * 
 
 d 
 
 ^ 
 
 
 
 "' 9 W 
 
 & 
 
 
 
 ■V 
 
 •v 
 
188 MANUAL OF ELOCUTION. 
 
 So also the following example : — 
 
 Let 
 
 this 
 
 be 
 
 done, 
 
 and Greece 
 
 is 
 
 safe. 
 
 4 
 
 <0 
 
 *d 
 
 
 <f * 
 
 # 
 
 
 %g V 
 
 — #- 
 
 
 
 «\ 
 
 The effect of this form of cadence, in producing a per- 
 fect close, may also be perceived in the following periods. 
 Let the discrete fall occur on the syllables in Italics. 
 
 1. So parted they; the angel up to heaven 
 From the thick shade, and Ad-am to his bower. 
 
 2. Strip him of his phi-mage, and you fix him to the earth. 
 
 3. It is my living sentiment, and, by the blessing of God, it shall 
 be my dying sentiment — independence now, and independence for 
 ever. 
 
 4. I have watched the fall of the last leaves in Underwalden ; I 
 shall return to see them put forth once more, but when they fall 
 a-gain, they will cover the grave of Hermann. 
 
 5. If there be a tribunal, where the sins and the follies of a fro- 
 ward child may hope for pardon and forgiveness this side heaven, 
 that tribunal is the heart of a fond and devoted mother. 
 
 6. The vestal flame of piety, lighted up by heaven in the 
 breast of woman, diffuses its light and warmth over the world ; — 
 and dark would be the world if it should ever be extinguished 
 and lost. 
 
 The only new element in this Prepared Cadence is the 
 discrete fall of a third before described ; and this may be 
 united with any of the first six forms of cadence enume- 
 rated in this section, and thus may be used at the close of 
 every paragraph. — It is also useful in giving notice of the 
 close of a succession of particulars, as in the following 
 examples : — 
 
CADENCE. 189 
 
 1. Go and tell John what things ye have seen and heard ; the 
 blind see, the lame walk, the lepers are cleansed, the deaf hear, the 
 dead are raised, and to the poor the gospel is preached. 
 
 2. Thrice was I beaten with rods, once was I stoned, thrice I 
 suffered shipwreck, a night and a day have I been in the deep. 
 
 3. Thou shalt love the Lord thy God, with all thy heart, and with 
 all thy soul, and with all thy strength, and with all thy mind, and 
 thy neigh-fror as thyself. 
 
 4. We are troubled on every side, yet not distressed ; perplexed, 
 but not in despair; persecuted, but not forsaken; cast down, but 
 not destroyed. 
 
 The principal defects observed in readers and speakers 
 in regard to the Cadence, are — its entire omission ; an 
 irregular fall near the close of the sentence, extending 
 through more than three syllables ; so great a descent be- 
 low the line of current melody, as to render the last con- 
 stituent of the cadence inaudible ; the monotony which 
 arises from using but one form ; and the more common 
 and perhaps less exceptionable error, of excluding quantity 
 from the cadence altogether, and using only the first three 
 forms. — The careful study of this section, combined with 
 suitable practice, cannot but correct all these defects where- 
 ever they exist ; and attention to the cadence is the more 
 important since it always occurs at the close of the sen- 
 tence, when the mind of the hearer is most at liberty and 
 most inclined to dwell on any defects that may be apparent 
 in the speaker. The following examples will show the 
 manner of applying in practice, the principles of this sec- 
 tion — the numerals marking the form of cadence which 
 may be used at each period. It is believed, the cadence 
 selected in each case is the most appropriate ; though it is 
 
190 MANUAL OF ELOCUTION. 
 
 not asserted, that in some cases there may not be liberty 
 of choice.* 
 
 I. Influence of the Dead on the Living. 
 
 The relations between man and man cease not with life. 5 The 
 dead leave behind them their memory, their example, and the 
 effects of their actions. 2 Their influence still abides with us. 2 
 Their names and characters dwell in our thoughts and hearts. 5 
 5 We live and commune with them in their writings. 4 We enjoy 
 the benefit of their labors. 2 Our institutions have been founded 
 by them. 1 We are surrounded by the works of the dead. 6 Our 
 knowledge and our arts are the fruit of their toil. 6 Our minds 
 have been formed by their instructions. 2 We are most intimately 
 
 10 connected with them by a thousand dependencies. 1 Those 
 whom we have loved in life, are still objects of our deepest and 
 holiest affections. 2 Their power over us remains. 6 They are 
 with us in our solitary walks ; and their voices speak to our 
 hearts in the silence of midnight. 2 
 
 15 Their image is impressed upon our dearest recollections, and 
 our most sacred hopes. 6 They form an essential part of our 
 treasure laid in heaven. 2 Far above all, we are separated from 
 them but for a little time. 6 We are soon to be united with 
 them. 1 If we follow in the path of those whom we have loved, 
 
 20 we too shall soon join the innumerable company of the spirits 
 of just men made perfect. 3 Our affections and our hopes are 
 not buried in the dust, to which We commit the poor remains of 
 mortality. 1 The blessed retain their remembrance and their 
 love for us in heaven ; and we will cherish our remembrance and 
 
 25 our love for them while on earth. 5 
 
 Creatures of imitation and sympathy as we are, we look 
 around us for support and countenance even in our virtues. 4 We 
 recur for them most securely to the examples of the dead. 5 
 
 * Note to the Teacher. — It is believed that the learner will 
 derive essential advantage from a careful review, at this point, of 
 the subject of the Diatonic Slides, p. 63 ; and, after having marked 
 the emphatic words in some selections of plain narrative, then let 
 him apply the rules and principles there developed, to the other por- 
 tions, at the same time with the principles of this section. 
 
CADENCE. 191 
 
 There is a degree of insecurity and uncertainty, about living 
 
 30 worth. 6 The stamp has not yet been put upon it, which pre- 
 cludes all change, and seals it as a just object of admiration for 
 future times. 5 There is no service which a man of commanding 
 intellect can render to his fellow-creatures, better than that of 
 leaving behind him an unspotted example. 2 
 
 35 If he do not confer upon them this benefit; if he leave a 
 character dark with vices in the sight of God, but dazzling with 
 shining qualities to the view of men ; it may be that all his 
 other services had better been forborne, and he had passed inac- 
 tive and unnoticed through life. 3 It is a dictate of wisdom, 
 
 40 therefore, as well as feeling, when a man, eminent for his virtues 
 and talents, has been taken away, to collect the riches of his 
 goodness, and add them to the treasury of human improvement.'* 
 The true Christian liveth not for himself, and dieth not for him- 
 self; and it is thus, in one res-pert, that he dieth not for him- 
 
 45 self. 8 Norton. 
 
 II. Cato's Soliloquy. 
 
 It must be so 6 — Plato, thou reasonest well ! 5 
 Else, whence this pleasing hope, this fond desire, 
 This longing after.immortality I 2 
 Or, whence this secret dread, and inward horror, 
 5 Of falling into nought] 6 Why shrinks the soul 
 Back on herself, and startles at destruction ] 2 
 'Tis the Divinity that stirs within us ; 
 'Tis Heaven itself that points out — an hereafter, 
 And intimates — eternity to man. 3 
 
 10 Eternity I 1 — thou pleasing — dreadful thought! 5 
 Through what variety of untried being, 
 Through what new scenes and changes must we pass ! 3 
 The wide, the unbounded prospect, lies before me ; 
 But shadows, clouds, and darkness, rest upon it. 2 
 
 15 Here will I hold. 6 If there's a power above us — 
 And that there is, all nature cries aloud 
 Through all her works — He must delight in virtue ; 
 And that which he delights in must be happy. 2 
 But when] or where ] This world — was made for Ceesar. 4 
 
192 MANUAL OF ELOCUTION. 
 
 20 I'm weary of conjectures — this must end them. 4 
 
 [Laying his hand on his sword* 
 
 Thus am I doubly armed. 1 My death and life, 
 
 My bane and antidote, are both before me. 4 
 
 This — in a moment, brings me to an end ; 
 
 But this — informs me I shall never die. 6 
 25 The soul, secured in her existence, smiles 
 
 At the drawn dagger, and defies its point. — 6 
 
 The stars shall fade away, the sun himself 
 
 Grow dim with age, and nature sink in years ; 
 
 But thou shalt flourish in immortal youth, 
 30 Unhurt amid the war of elements, 
 
 The wreck of mat-tei, and the crush of worlds. 8 
 
 Addison, 
 
MEASURE OF SPEECH. 193 
 
 CHAPTER III. 
 
 GENERAL PRECEPTS. 
 
 SECTION I. 
 
 OF THE MEASURE OF SPEECH. 
 
 It belongs rather to the physiologist than the elocutionist 
 to explain the mechanism of the voice, and the causes 
 which limit or regulate the exercise of its powers. It 
 entirely falls in with our purpose however, to state the prin- 
 ciples deduced from this mechanism, so far as it is under- 
 stood, and the rules, by which a conformity to the laws of 
 the voice is secured. Nor is this a matter of mere specu- 
 lative interest, in as much as a conformity to these laws is 
 absolutely essential to ease in the use of the vocal organs ; 
 and on it are often suspended the health and even the life 
 of the speaker. 
 
 In the proper places, the principles of Time and of Ac- 
 cent have been developed. It has long been conceived, 
 that by the aid of these, poetic numbers are capable of 
 being subjected to measure. But by the light which mo- 
 dern elocutionists have thrown on this subject, it appears 
 that even the harmonious arrangements of verse are capable 
 of a rhythmus in their vocal execution, which is not at 
 all recognised by the principles of Prosody. 
 
 The following lines are divided into prosodical feet, and 
 each syllable is marked as long or short* according to the 
 usual notation. 
 
 * The terms long and short are here employed, as used by Eng- 
 lish prosodists, with reference to accent and emphasis rather than 
 quantity. 
 
 17 
 
194 MANUAL OF ELOCUTION. 
 
 I" come-not friends-to steal-away-your hearts; 
 I" am-no 6r-ator,-as Bm-tus is ; 
 But as-you know-me all-a. plain-blunt man, 
 That 16ve-my friend ;-and that-they know-full well 
 5 That gave-me pub-lie leave-to speak-6f him. 
 For I"-have nei-ther wit,-nor words,-nor worth, 
 A"ction,-nor ut-terance,-nor the pow-er of speech, 
 To stir-men's blood. — I" 6n-ly speak-right on : 
 l u tell-you that-which you-yourselves-do know ; 
 
 10 Show you-sweet Cae-sar's wounds,-poor, poor-dumb mouths, 
 A"nd bid-them speak-for me. — But were I'-Brutus, 
 A u nd Bru-tus A"n-tony,-there were an-A~ntony 
 Would ruf-fle up-your spir-its, and put-a tongue 
 Tn ev-ery wound-6f Cae-sar, that^-should move 
 
 15 The stones-6f Rome-to rise-in mu-tiny. 
 
 By examining these measures, it will be seen, that they 
 vary in length from the hurried pyrrhic, consisting of two 
 short syllables, to the long drawn spondee, heard on the 
 words "men's blood." On the contrary, the measures 
 into which the good reader or speaker divides his periods 
 are, at least in theory, equal as to the time of their utter- 
 ance ; and that, whether he is pronouncing verse or prose. 
 The following divisions of the same passage will admit of 
 being read by the vibrations of a pendulum, observing 
 the rests indicated by the new symbol ~1, here introduced. 
 The poetic notation of heavy and light syllables is re- 
 tained for convenience of future reference. 
 
 **] I u J come not, J friends, j ^ to J steal a- J way your j 
 
 hearts ; | ^\ \ 
 I" am J no | orator, | "*] as | Brutus J is ; | < *]'*] | 
 But^ | "*] as you J know me | all, | H a | plain j blunt ^ | man, I 
 ^ That | love my | friend ; | ^ J ~] and | that' 1 -] | they | know | 
 
 full | well [ 
 5 "IThat | gave me | public | leave | ""] to | speak of | him. j T'] 
 
 mi 
 
MEASURE OF SPEECH. 195 
 
 ^ For | I" have | neither J wit, ^ | ^ nor | words, | ^ nor | 
 
 worth, | -f-J | 
 A"ction, | ^ nor | utterance, | "**] nor the J power of j speech, J 
 ^To | stir j men's | blood. | ^ | I" | only | speak ^ J right ^ 
 
 on: | Til 
 
 ^F J tell you | that""] J *"] which | you your- | selves do j know; 
 
 nil 
 
 10 Show you | sweety | Caesar's | wounds, | T] | poor, | poor | 
 dumb | mouths, | 
 ^ A u nd | bid | them | speak ^ | for me. | ^ | Tl M But 
 
 were j I" | Brutus, | 
 *"] A u nd | Brutus | A'ntony, | T | there were an | A'ntony | 
 "I Woiild | ruffle | up your | spirits, | ^ and | put a | tongue | 
 *"] Tn | every | wound of | Caesar, | ^] that should | move | 
 15 > "] The | stones of | Rome | ^to | rise in [ mutiny. | Tl | TI I 
 
 1. These measures may consist of from one to four sylla- 
 bles. The number may be extended to five, as in the 
 third measure of the following line : — 1 1n the | second | 
 century of the | Christian | era. | This occurs but rarely 
 in poetry ; and in deliberate reading, such measures would 
 be divided, and a rest interposed, thus : — 1 1n the | second 
 
 | century | 1 of the | Christian | era. | 
 
 2. Each measure contains one, and only one, heavy 
 or accented syllable ; or else a rest to occupy the time de- 
 voted to it. This will be seen by comparing the two 
 notations. 
 
 3. A single syllable of indefinite quantity may fill out a 
 measure ; while accented syllables of shorter quantity 
 standing alone should be followed by a short pause. 
 
 4. The heavy syllable opens the measure, and thus the 
 movement is in all cases from the heavy to the light sylla- 
 bles ; and this movement should be distinctly marked by 
 the voice, — a measure requiring but a single pulsative 
 effort of the voice. 
 
196 MANUAL OF ELOCUTION. 
 
 5. The measure, when consisting of a syllable of inde- 
 finite quantity, or of one accented and one or more unac- 
 cented syllables, — is called a Perfect Measure ; that which 
 contains a rest is called an Imperfect, or Defective Measure. 
 
 The principles of accent, as has been before said, de- 
 pend on usage. Thus no rules can be laid down here, 
 which would be of service to the learner. We may repeat 
 however, that such is the law of our language that every 
 word of more than one syllable has its accented syllable ; 
 and it may be added, that among monosyllables, the pri- 
 mary parts of speech are usually pronounced with the 
 accentual stress, while the particles, except when made 
 emphatic, fill the light portions of the measures. 
 
 In all smooth and flowing verse, except the anapaestic, 
 the measure of two syllables will prevail ; and in the ana- 
 paestic the trisyllabic measure will predominate. The 
 measure of Milton's and Shakspeare's verse will however 
 be found remarkably unconstrained and varied. The mea- 
 sures of common prose differ not from those of poetry, ex- 
 cept that they exhibit a greater variety without any regular 
 succession of similar measures ; and he whose ear has 
 been thoroughly attuned to the rhythmus of speech, as ex- 
 hibited in the principles and exercises of this section, at 
 the same time cannot but have improved his taste for the 
 beauties of composition. 
 
 These principles will now be illustrated by a few ex- 
 amples; and, in the absence of all accentual marks, we 
 may repeat, that the principles laid down require in the 
 perfect measure as also in the measure defective in 
 the last constituent, that the first syllable be accented ; in 
 measures defective in the first constituent, there is no ac- 
 cented or heavy syllable. By carefully observing these 
 
MEASURE OF SPEECH. 197 
 
 rules, the following exercises may be read by the learner, 
 but at first with great deliberation ; afterwards more rapidly, 
 and, when perfectly familiar with the notation, with entire 
 freedom. — The movement of the voice from the heavy to 
 the light syllables, so as to utter each measure by a single 
 pulsative effort of the voice, and the attention to the rests, 
 are considered more important than the perfect equality of 
 the time of the measures. 
 
 Examples.* 
 
 1. 
 
 Oh! j lives there, | Heaven! | ""] be- | neaththy | dread ex- | 
 panse, | ^ | 
 One | hopeless, | T\ | dark I- J dolater of | Chance, | ^ | 
 **] Con | tent to | feed ^ | "*| with [ pleasures | unre- | fined, | 
 **] The j lukewarm | passions | ^ of a | lowly | mind ; j ^p"] | 
 5 Who, | mouldering- | earthward | ^^ J 'reft of J every | trust, [ 
 s "| In j joyless | union j "^ | wedded to the | dust, | 
 "*] Could | all his | parting | energy | ^J dis | miss ""] j 
 *"*] And | call | this | barren | world J ~] suf | ficient J bliss 1 , "| | 
 
 Timi 
 
 ~] There | live, J ~] a- | las ! ~] | ~] of | Heaven di- j rected j 
 mien, | 
 
 10 """] Of | cultured | soul J ""j and | sapient | eye se- | rene, | 
 ^1 Who | hail | thee, | man! | ^jthe | pilgrim of a | day, | ""p] | 
 Spouse of the | worm, | "*] and j brother of the | clay ! | ^^ | 
 Frail as the | leaf "*] | "•] in | Autumn's | yellow | bower, | ^ j 
 Dust in the J wind | ^ or | dew upon the | flower ! | 
 
 15 ""J A | friendless | slave j ^] a | child with- | out a | sire, | "*[•] | 
 Whose | mortal | life ^ J **] and | momentary^ j fire, | "f^] | 
 Light to the [ grave | "*] his | chance-cre | area j form, | 
 ^ As | Ocean { wrecks ^ | ^ il- | luminate the J storm ; [ ""["J | 
 
 * Note to the Teacher. — These exercises may be read with- 
 out any disadvantage simultaneously by a whole class ; and indi- 
 viduals particularly, who have formed a habit of too rapid reading, 
 will be benefited by thus reading in concert. 
 
 17* 
 
198 MANUAL OF ELOCUTION. 
 
 **] And | when the | gun's | ^ tre | mendous j flash is | o'er, | 
 20 ^ To | Night and j Silence | sink ~j | ~| for | ever j more! | 
 
 ti nil 
 
 "*] Are J these | T ne I pompous | tidings | ye pro | claim, IT | 
 Lights of the | world, | ^ and | demi-gods of | fame? | TI | 
 *"] Is | this "1 | your | triumph, | TI | this your | proud ap- | 
 
 plause, | TI j 
 Children of j Truth, ^ | ""] and | champions J "*] of her J cause ? 
 
 i 11 I 11 I 
 25 ""j For J this hath J Science | searched | ^j on | weary | wing, 
 ^ By | shore and | sea — | "*] each | mute and J living | thing ? 
 
 I Til 
 
 Launched with I- J beria's | pilot | ^] from the | steep, ""] | 
 
 "1 To | world's un- | known, | ^ and | isles be- | yond the | 
 
 deep? | Til 
 "■j Or | round the | cope *"| | >- ] her | living | chariot j driven, 
 
 30 ^ And | wheeled in | triumph | ^ through the | signs of | 
 heaven? | T I 11 I 
 Oh ! | star-eyed | science, | ^ hast | thou | wandered | there, | 
 **] To J waft us j home j ""] the j message of de- | spair ? — J 
 
 111 
 Then J bind the | palm, | TI I tnv I sa g e ' s I brow to | suit,^| J 
 "I Of | blasted | leaf ^ | ^ and | death-dis- | tilling | fruit !~J | 
 
 11 I 11 I 
 35 Ah | me ! | ""] the | laureled | wreath that | murder | rears, | 
 
 111 
 Blood-nursed, | "*] and | watered | "*] by the | widow's | tears, 
 
 IT I 
 
 Seems | not so | foul, | T] so | tainted, | "*] and so | dread, 
 **] As | waves the J night-shade J Tl I round the | skeptic | 
 head. |T I 11 I Campbell 
 
 2. The Grave. 
 
 1. There is a | calm | ^ for | those who j weep, ^ J TI I 
 ^1 A | rest ~| | ""*] for | weary | pilgrims | found, J TI I 
 They | softly | lie | ^ and j sweetly | sleep/*] | TI I 
 Low | **] in the j ground. | 11 1 11 1 
 
MEASURE OF SPEECH. 199 
 
 2. T The | storm [ ""] that j wrecks the | wintery | sky | TI j 
 No | more dis- | turbs ^ | their | deep re- | pose, | 
 
 T Than j summer j evening's J latest | sigh, J 
 
 T That | shuts | ~] the | rose. | T I T I 
 
 3. ^| I | long to | lay n this | painful \ head T | 
 
 T And | aching | heart "*] | "*j be- | neath the j soil, | 
 T To j slumber J T in that j dreamless | bed T j 
 
 -1 From 1 all M my | toil. | TI IT1 1 
 
 4. "*] For | misery J stole me j "*| at my | birth T | 
 
 T And | cast me j helpless | T on the j wild : | TI j 
 T I j perish; | TI | 0, my | mother | earth ! "1 | "TI I 
 
 Take | home j T thy j child. | TI I TI I 
 
 5. "*] On | thy | dear | lap ■**] | these | limbs re- | clined, | 
 T Shall | gently | moulder | T into J thee : | TT I 
 
 '•J Nor J leave j TI I one I wretched | trace be- | hind, j 
 
 T | ~| Re- J sembling | me. j TI I TI I 
 
 6. Hark ! T j T a j strange J sound | "*] af- | frights mine j ear; | 
 
 TI 
 
 T My J pulse, | ""] my j brain J runs | wild, | ""j I | rave ; | 
 TI J An M wno art I ttl0U I "1 whose | voice I | hear? | TJ | 
 
 Til 
 
 " I | ~] am the | Grave ! | T I TI I 
 
 7. T The | Grave, ""j j ~] that | never | spake be- | fore, | 
 
 T Hath j found at | length a | tongue | "*] to | chide : J TI I 
 O | listen ! | T | I will j speak no [ more : | TI I 
 
 -1 Be | silent, | T I Pride. | TI I TI I 
 
 8. Art T | thou a j wretch, T J ""] of J hope for- | lorn, | 
 T The | victim | ""] of con- | suming | care 1 | TI | 
 Is j thy dis- j tracted j conscience j torn J 
 
 ~1By|fellde-|spair?|TITI 
 
 9. ^ Do | foul mis- | deeds T H of | former | times | TI I 
 Wring with re- | morse | T thy | guilty j breast 1 ? T | 
 
 T And | ghosts | ""j of | unfor- | given | crimes | TI | 
 Murder |~] thy | rest? T I TI I TI I 
 10. Lashed by the \ furies | T of the | mind,^ | 
 
 T From | wrath and | vengeance | "*] wouldst thou | flee ? ] Tl I 
 
200 MANUAL OF ELOCUTION. 
 
 Ah ! | think not, | hope not, | fool i ~] | ~] to | find ^ { 
 ~] A | friend | ^ in | me. | T | Tl 
 
 11. ^j By | all the J terrors | ~] of the | tomb, | 
 
 ^ Be- | yond the | power of | tongue | ""] to | tell ! | 
 ^*] By the | dread | secrets | ^j of my | womb, | 
 "-] By | death | ~] and | hell ! | 
 
 12. ^ I | charge thee, | live ! | ^ re- j pent and | pray ; | 
 ^ In | dust thine | infamy | ^ de- | plore ; | 
 
 There | yet is | mercy ; | T | go thy | way, | 
 
 ^ And | sin 1 |~] no | more. | Tl I Tl I 
 
 13. ^ What | e'er thy | lot,"-] | ^ who | e'er thou | be, | 
 ^ Con- [ fess thy J folly, | T | kiss the | rod, ^ | 
 And in thy J chastening | sorrows | T | see | 
 
 "-] The | hand | ~] of | God. ^|Y1| 
 
 14. ^ A | bruised | reed ^ ] ^ he | will not | break ; 1 | Tl I 
 ^ Af- | flictions | T | all his | children | feel, | Tl | 
 
 ""j He J wounds them | "*] for his | mercy's J sake,^] | 
 "*] He | wounds | ~] to | heal ! | T I 
 
 15. Humbled j ""j be- | neath his | mighty | hand, ^ j 
 Prostrate | ~] his | Providence a- | dore: | 
 
 "1 'Tis | done ! | >- | rise ! | T | He | bids thee | stand," - ] | 
 ~] To | fall | ~] no j more. | T | Tl J 
 
 16. Now, J traveler j ^ in the J vale of | tears ! | 
 
 ^] To j realms J "*] of | ever- | lasting j light,"*] | 
 
 **] Through J time's | dark "*] | wilderness | ""] of j years, | 
 
 -] Pur- | sue H thy | flight. -] j T I 11 I 
 
 17. ^ There | is "*] | ^ a | calm for | those who | weep, ""j | 
 ^ A | rest ""] | "*] for | weary | pilgrims J found : | 
 
 Tl | "*] And | while the j mouldering | ashes j sleep ^] J 
 Low | ""] in the J ground ; | 
 
 18. ~] The | soul, *] | ^ of | origin |~] di- | vine, j T | 
 God's | glorious | image, | T | freed from | clay, ^ | 
 ^1 In | heaven's | 1 e- | ternal | sphere shall | shine J 
 
 -|A|star|-lof|day!|TI11i 
 
MEASURE OF SPEECH. 201 
 
 19. *1 The | sun j ^ | is but a | spark of | fire, | ^ | 
 **] A j transient | meteor j ^ in the | sky ; | ^^j J 
 ^ The | soul, J ~] im- J mortal | "■] as its j sire, | 
 
 ^tl | Shall | ^ j never | die." | ^ | ~ft | 
 
 Montgomery. 
 
 3. Psalm cxxxix. 
 
 O J Lord, ""*] | thou hast j searched me, j ""*] and j known me. 
 I "T1 I "T1 I Thou J knowest my J down- | sitting } "*] and mine 
 | up- ~j | rising ; | > *[**] | thou under- | standest my J thoughts ""J 
 | ^ a- | far | off. "*| j ""p] | ^ | Thou|compassest my j path,"^ 
 5 J ^ and my J lying | down, ""*] | ^ and art ac- [ quainted with | 
 all my j ways, j "f] | ^ For there is J not a j word in my | 
 tongue, | ""] but | lo,""*] | | Lord,""] | thou | knowest it j alto- | 
 gether. | ~]~j | ^ | Thou hast be- | set me | ^ be- | hind and 
 be- | fore,^ | "*] and j laid thine | hand up- | on me. j ^p^ | ""]~] 
 
 10 | Such ^ ) knowledge is | too | wonderful for | me : j > f| | "*] it 
 is j high/*] | ^1 | cannot at- J tain unto it. | ^ | T1 | Whither 
 shall I ( go "■] j >g | from thy J spirit 1 | ^ j "*] or | whither shall 
 I | flee from thy | presence ? | ^ } ^ J ^ If I as- | cend ""j | 
 up into | heaven, | ""p] \ thou art j there : | ^\ | ^ if I | make 
 
 15 my | bed in | hell, Mbe- | hold"-] | thou art | there. | T! | T! 
 j "*] If I | take the | wings of the | morning | ""] and | dwell in 
 the | uttermost j parts of the | sea: j >- ] >- ] | Even | there [ """] shall 
 J thy | hand ""] | lead me, | ^ and thy | right ^ | hand shall j 
 hold me. | ^ | ^^ J ^If I | say, | Surely the | darkness shall 
 
 20 | cover me : j ~] ^| | even the | night "*] j >- j shall be | light a- | 
 bout me: | ^""j J Yea, | ^ the | darkness | hideth j not from j 
 thee; J ""j^ | "*] but the | night | shineth as the | day: | >- | ,- j j 
 ^ the j darkness j ^ and the J light *""] J ""j are J both a- J like to 
 | thee. | -H | T1 | 
 
 For further training on the principles of this section it 
 is recommended to the learner to score his own exercises 
 and then read them. Let him commence by marking the 
 heavy syllables in pieces selected for that purpose, both 
 prose and poetry. When he has acquired a facility in 
 
202 MANUAL OF ELOCUTION. 
 
 doing this, then let him in these same pieces determine the 
 places for the rests, which, it is important to add, will be of 
 more frequent recurrence in dignified than in sprightly style. 
 And when he has done this, he will be prepared to com- 
 mence dividing the matter into measures, and to test the 
 correctness of the division by attempts to read the pieces 
 thus scored. 
 
 This exercise will be of special service to those readers 
 who have fallen into the habit of giving an improper stress 
 to unimportant words, or of reading with a measured, 
 scanning movement of the voice. This error is more 
 common in the reading of poetry than of prose, and is 
 often acquired in childhood, while learning to read under 
 bad instruction. But in the training of the public speaker 
 it will perform a much more important part, as it will not 
 only adapt his delivery to the principles of good taste, but 
 to that regular action of the heart and lungs which is so 
 essential to the healthful exercise of the functions of life, 
 but which is always interrupted just so far as the principles 
 of this section are violated in speech. Persons of easy 
 and graceful delivery speak according to these principles, 
 though they may never have studied them ; and in view 
 of the consequences of their violation, we can scarcely 
 avoid wishing that the movements of the voice were as 
 little influenced by neglect, or subject to derangement by 
 bad habits, as are the movements of the heart. Then would 
 they always act in harmony, and health would at least 
 generally be promoted rather than injured I f the exercise 
 of speaking. 
 
PAUSES. 203 
 
 SECTION II. 
 
 OF PAUSES. 
 
 Rests in speech are to sentences, what the division into 
 syllables is to words ; — their object being to separate the 
 language by which thought is expressed, into portions cor- 
 responding with the sense ; for the purpose of presenting 
 to the ear an idea of the connection of the thought, as more 
 or less intimate and close. The clearness, and especially 
 the dignity of style depend materially on the minute ob- 
 servance of all the requisite rests. That the learner may 
 know what these are, the following enumeration is made. 
 
 The pauses marked by the comma, semicolon, colon, 
 period, and other points which divide discourse into sen- 
 tences, are for this reason called Sentential or Grammatical 
 pauses. Of these, important as they are in a grammatical 
 point of view, nothing need here be said, but that in the 
 language of emotion, they give no intimation as to tone or 
 inflection, nor even indicate with any definiteness the length 
 of the pause. The comma, for example, sometimes, when 
 it marks only the grammatical relation of words, indicating 
 no rest of the voice, as in " Yes, Sir," " No, Sir ;" and 
 at others, being used to mark a rest altogether beyond its 
 ordinary length. 
 
 In the last section another set of pauses was developed, 
 which depend entirely on the mechanism of the voice, and 
 are independent of the usual marks of punctuation. Con- 
 necting themselves necessarily with the natural measured 
 movement of the voice, they may be called by way of dis- 
 tinction Rhythmic pauses. Nothing need here be added 
 concerning these, except the remark, that these two classes 
 of pauses are from their very nature so interspersed in all 
 
204 MANUAL OF ELOCUTION. 
 
 correct delivery, as to furnish every necessary facility for 
 taking breath even in the most hurried utterance. It is 
 only from their disregard, that injury or even inconvenience 
 can arise to the speaker from too great an expenditure of 
 air from the lungs. 
 
 There is another pause connected solely with rhetorical 
 delivery, for the purpose of adding force to the expression 
 of the emotions, and which may be called the Rhetorical or 
 Emphatic pause. This pause, made immediately before or 
 after the utterance of some striking thought, commands the 
 special attention of the hearer, at the same time that it 
 gives him time to fix the thought more deeply in his me- 
 mory. It also indicates feeling on the part of the speaker. 
 It is a means of enforcing sentiment, which requires to be 
 used with caution, but which in the hands of a master is 
 an element of great power. Its effect is well understood 
 in music. 
 
 In the following examples this pause is marked by a 
 dash. 
 
 1 . Alexander wept : the great and invincible Alexander — wept at 
 the fate of Darius. 
 
 2. Industry — is the guardian of innocence. 
 
 3. Mirth — I consider as an act, cheerfulness — as a habit of the 
 mind. Mirth — is like a flash of lightning, that glitters for a mo- 
 ment ; cheerfulness — keeps up a kind of day-light in the mind. 
 
 4. Men will wrangle for religion ; write for it; fight for it; die 
 for it ; any thing but — live for it. 
 
 5. Vice — is a monster of so frightful mien, 
 As to be hated, needs but to be seen ; 
 Yet seen too oft, familiar with her face, 
 
 We first — endure, then — pity, then — embrace. 
 
 6. America — is full of youthful promise ; Europe — is rich in the 
 
PAUSES 205 
 
 accumulated treasures of age ; her very ruins — tell the history of 
 times gone by, and every mouldering stone — is a chronicle. 
 
 7. Let not a monument — give you or me hopes, 
 Since — not a pinch of dust remains of Cheops. 
 
 8. Contemporaries — appreciate the man, rather than the merit ; 
 but posterity — will regard the merit, rather than the man. 
 
 9. On whatever side we contemplate Homer, what principally 
 strikes us, is — his wonderful invention. 
 
 10. It is an honor to a man to cease from strife; but every fool 
 — will be intermeddling. 
 
 11. Some — place the bliss in actions, some— in ease; 
 Those — call it pleasure, and contentment — these. 
 
 The Pause which marks the Transition from one para- 
 graph or division of discourse to another is too important 
 to be overlooked. This may be called the Paragraphic 
 pause. As a mere pause, it is sufficient to remark that it 
 is longer than that which marks the division of periods, 
 which are more closely related to each other. It is how- 
 ever accompanied with several other agencies. — 1. It is 
 preceded by the Prepared Cadence. 2. It is followed by 
 a change in Pitch and usually by some change in the 
 Phrases of Melody. 3. It is the place where the Transi- 
 tions most frequently occur, which mark the changes of 
 sentiment in discourse, and which were made the subject 
 of a section in the last chapter. 
 
 In practice this pause will be found to furnish to the 
 speaker a very convenient occasion to return to a lower 
 note, a slower utterance, or a freer movement of the voice, 
 when he finds himself speaking on too high a pitch, too 
 rapidly, or in a monotonous and constrained manner. 
 
 There are two pauses which belong exclusively to verse, 
 18 
 
208 MANUAL OF ELOCUTION. 
 
 and are hence called Musical Pauses ; the cesural pause 
 which divides the line into two parts, and the final pause 
 at the end of the line. 
 
 1. The cesural pause is not essential to verse, as the 
 shorter kinds of measure do not recognise it; but in oui 
 heroic and blank verse, consisting of five feet, it can never 
 be omitted in reading, without destroying its euphony. 
 This pause may exist in any part of the line, but is most 
 agreeable when found in the middle ; that is, in the 
 middle of the third foot, as in the first five lines of the 
 following : — 
 
 Can that arm measure .... with an arm divine 1 
 And canst thou thunder .... with a voice like mine 1 
 Or in the hollow .... of thine hand contain 
 The bulk of waters, .... the wide spreading main, 
 When, mad with tempests, .... all the billows rise 
 In all their rage, .... and dash the distant skies 1 
 
 The cesural pause may be found at the end of the first, 
 second, or third foot, or in the middle of the second or 
 fourth. The euphony is diminished as the place of this 
 pause departs from the middle of the line — but is greater 
 when it occurs before the middle than after it. It is 
 however for the writer to determine the place of the 
 cesural pause, and for the reader to observe it, and mark it 
 with his voice. 
 
 2. The other pause peculiar to poetry occurs at the end 
 of the line, and is hence called the final pause. When 
 not coincident with the Grammatical pause, it is introduced 
 by the phrase of the monotone or the rising or falling di- 
 tone, with no downward slide of the voice. In the reading 
 of verse, the end of every line should be marked by such 
 a rest, unless forbidden by the closeness of the gramma- 
 
READING OF POETRY. 207 
 
 tical connection with the following line. As regards rhyme, 
 there is no doubt but the end of each line should be made 
 quite perceptible to the ear ; and if the same is not done 
 in blank verse, it often differs but little from prose. On the 
 stage, however, where the appearance of speaking in verse 
 should always be avoided, this resemblance to prose is not 
 a defect ; and the ends of the lines, where the sense does 
 not require it, need not be marked by a rest. 
 
 Great care should be taken by the reader in determining 
 the proper place of the cesural pause ; and the length to 
 be given to this, as also to the final pause, will furnish a 
 good exercise for his judgment, as it will afford a good 
 test of his taste. If made too long, or if accompanied 
 with any error of intonation, it gives a mechanical stiff- 
 ness to the movement of the verse, and passes into a de- 
 cided fault. 
 
 SECTION III. 
 
 OF THE READING OF POETRY. 
 
 The principles which are laid down in the several 
 sections of the second chapter of this manual, are- as 
 applicable to the reading of poetry as of prose ; but in 
 their application, there are some slight differences which 
 need to be noticed. 
 
 I. As regards Accent, we have made no difference 
 between prose and poetry. In either case, the laws are 
 determined by usage. But, 
 
 1. The poet may violate these laws in the expression of 
 some harsh sentiment, for the purpose of making the sound 
 to correspond with the sense. Thus Milton, — 
 
308 MANUAL OF ELOCUTION. 
 
 On a sudden open fly, 
 
 With impetuous recoil, and jarring sound, 
 The infernal doors ; and on their hinges grate 
 Harsh thunder. 
 
 The reader in such a case should yield to the preference 
 of the writer, in violation of usage. 
 
 2. Where, without any particular reason, the poet has 
 done violence to the laws of accent, there may in general 
 be a compromise of the jarring requisitions of the metrical 
 and the common accent, so as to avoid any considerable 
 harshness, by accenting both the syllables. Thus — 
 
 Our supreme foe, in time may much relent. 
 Of thrones and mighty seraphim prostrate. 
 Encamp their legions, or with obscure wing. 
 
 3. Where this compromise cannot be effected the cus- 
 tomary accent is to take precedence. 
 
 4. When the rhythm of verse seems to require an accen- 
 tual stress on unimportant words or syllables which would 
 have no such stress in prose, it should not be given. Thus 
 the and of, and the other particles with which our language 
 abounds, should never (except in rare cases where they are 
 made emphatic) be considered as long, or accented. 
 
 5. In poetry, the Temporal accent should be given on all 
 syllables of indefinite quantity ; and the Radical specially 
 avoided, except on the most abrupt syllables. 
 
 II. The principles of Emphasis, of the Drifts of Melody, 
 of Expression, and of Transition, are applied, in all re- 
 spects, the same in poetry as in prose. The learner how- 
 ever may be informed, that in poetry he will find a more 
 comprehensive field for their employment. Poetry is the 
 language of feeling. 
 
READING OF POETRY. 209 
 
 III. All the kinds of Pauses used in the reading of prose 
 are also common to poetry, as well as those described in 
 the last section as peculiar to verse. . 
 
 IV. The short syllables which would be pronounced in 
 the reading of prose, even though apostrophized by the 
 writer or the printer, should be pronounced also in poetry. 
 The occurrence of such syllables varies the melody ; and 
 is most common with the best poets. 
 
 The dactyl often adds a short syllable in the first foot of 
 the verse, thus : — 
 
 Furious he spoke, the angry chief replied. 
 Murmuring, and with him fled the shades of night. 
 
 The tribrach occurs frequently in the third and fourth 
 feet, thus: — 
 
 And rolls impetuous to the subject plain. 
 And thunders down impetuous to the plain. 
 
 And the anapaest is of frequent occurrence in any place 
 in the line, except the first. Witness the following : — 
 
 On every side with shadowy squadrons deep. 
 And hosts infuriate shake the shuddering ground. 
 
 V. In the reading of rhyme in particular, it may be 
 remarked, that there should be the same variety in the 
 Phrases of Melody and the Cadence, as in the reading of 
 blank verse, or prose. The regular recurrence of similar 
 sounds, superadded to the measure, exposes the reader to 
 the danger of too great uniformity in the employment of 
 the phrases of melody, or of a return to the same note at the 
 end of the lines. 
 
 It will often require great care and attention on the part 
 of the learner, to rid himself of bad habits of reading poetry, 
 
 18* 
 
210 MANUAL OF ELOCUTION. 
 
 acquired in early life. In view of the kind of instruction 
 usually given to children in our schools, and the real 
 difficulties attending the reading of verse, it is perhaps 
 not remarkable that so few read it well. — The follow- 
 ing exercises will introduce the learner to the practice on 
 the pauses peculiar to poetry, which he may carry to any 
 extent on examples of his own selection. The dots .... 
 indicate merely a vocal rest, with no expressive intona- 
 tion ; and are hence a fit emblem of the musical pause. 
 
 Examples. 
 
 1. Of Man's first disobedience, .... and the fruit . . . 
 Of that forbidden tree, .... whose mortal taste . . . 
 Brought death into the world, .... and all our wo, 
 With loss of Eden, .... till one greater Man . . . 
 
 5 Restore us, ... . and regain the blissful seat, 
 
 Sing, heavenly Muse, .... that on the secret top . . • 
 Of Oreb, or of Sinai, .... didst inspire . . . 
 That shepherd, .... who first taught the chosen seed, 
 In the beginning .... how the Heavens and Earth . . . 
 
 10 Rose out of Chaos ! . . . . Or, if Sion hill . . . 
 
 Delight thee more, .... and Siloa's brook, that flowed . . . 
 Fast by the oracle of God ; .... I thence . . . 
 Invoke thy aid .... to my adventurous song, 
 That with no middle flight .... intends to soar . . . 
 
 15 Above th' Aonian mount .... while it pursues . . . 
 Things unattempted yet .... in prose or rhyme. 
 
 2. O Muse ! . . . . the causes and the crimes relate ; 
 What goddess was provoked, .... and whence her hate, 
 For what offence .... the queen of heaven began . . . 
 To persecute so brave, .... so just a man; 
 
 5 Involved his anxious life .... in endless cares, 
 Exposed to wants, .... and hurried into wars ! 
 Can heavenly minds .... such high resentment show, 
 Or exercise their spite .... in human wo 1 
 
READING OF POETRY. 211 
 
 3. Oh ! Sacred Truth ! . . . . thy triumph ceased awhile, 
 
 And Hope, thy sister, ..... ceased with thee to smile, 
 
 When leagued Oppression .... poured to northern wars . . . 
 
 Her whiskered pandoors .... and her fierce hussars, 
 5 Waved her dread standard .... to the breeze of morn, 
 
 Pealed her loud drum, .... and twanged her trumpet horn; 
 
 Tumultuous horror .... brooded o'er her van, 
 
 Presaging wrath to Poland .... and to man! 
 
 Warsaw's last champion, .... from her height surveyed, 
 10 Wide o'er the fields .... a waste of ruin laid. — 
 
 Oh! Heaven! he cried, .... my bleeding country save; 
 
 Is there no hand on high .... to shield the brave? 
 
 Yet, though destruction .... sweep these lovely plains, 
 
 Rise, fellow-men ! . . . . our country yet remains ! 
 15 By that dread name, .... we wave the sword on high, 
 
 And swear for her to live! .... with her to die! 
 
 4. Lo, the poor Indian! .... whose untutored mind . . . 
 Sees God in clouds, .... or hears him in the wind; 
 His soul, .... proud Science never taught to stray . . • 
 Far as the solar walk, .... or milky way; 
 5 Yet simple Nature .... to his hope has given, 
 
 Behind the cloud-topped hill, .... an humbler heaven; 
 Some safer world .... in depth of woods embraced, 
 Some happier island .... in the watery waste, 
 Where slaves once more .... their native land behold, 
 10 No fiends torment, .... no Christians thirst for gold. 
 To Be, .... contents his natural desire, 
 He asks no Angel's wing, .... no Seraph's fire ; 
 But thinks, .... admitted to that equal sky, 
 His faithful dog .... shall bear him company. 
 
212 MANUAL OF ELOCUTION. 
 
 SECTION IV. 
 
 OF THE GROUPING OF SPEECH. 
 
 The idea involved in the Grouping of Speech, requires 
 for its full development a careful analysis of written lan- 
 guage. Such an analysis shows, that words sustaining a 
 close grammatical relation to each other are often separated 
 by intervening words and clauses. To the eye of the 
 reader the connection may be apparent, and the meaning is 
 generally obvious; but not so with the hearer. There 
 must be expedients adopted by the reader or speaker, to 
 present such sentences to the ear of the hearer as they na- 
 turally present themselves to the eye of him who reads, or 
 the sense may often remain obscure ; and particularly in 
 poetry, where the greatest involutions and transpositions of 
 style occur. Among these expedients may be enumerated : 
 
 1. The application of Emphatic force to words having 
 a close grammatical connection, but separated by other 
 matter.- — The following will serve as an example : — 
 
 Go preach to the coward, thou death-telling seer ! 
 Or, if gory Culloden so dreadful appear, 
 Draw, dotard, around thy old wavering sight! 
 This mantle, to cover the phantoms of fright. 
 
 2. The same object is secured by an abatement of the 
 force, and a quickening of the time in reading the matter 
 which intervenes between the related words or parts of a 
 sentence. — These circumstances of Force and Time, though 
 perfectly distinct, in such cases coincide, and constitute 
 what may be called the Flight of the Voice. We shall pre- 
 sent it to the eye thus : — 
 
 Thus saying, from her side the fatal key, 
 Sad instrument of all our wo, she took. 
 
GROUPING OF SPEECH. 213 
 
 Let US (since life can little more supply 
 Than just to look about us and to die) 
 
 Expatiate free o'er all this scene of man. 
 
 3. The same principle may extend to the shortening of 
 the pauses which intervene between words closely related 
 to each other. — This will be illustrated by a slur over the 
 pause thus shortened : — 
 
 Say first, for Heaven hides nothing from thy view, 
 Nor the deep track of hell. 
 
 4. Another expedient is, the employment of the Phrase 
 of the Monotone, (and sometimes of the Rising. Ditone,) 
 instead of allowing the voice to fall at the pauses which 
 intervene between the related parts. Example : — 
 
 On the other side, 
 Incensed with indignation, Satan stood 
 Unterrified, and like a comet burned, 
 That fires the length of Ophiuchus huge, 
 In the Arctic sky. 
 
 Though these are distinct elements, and each capable of 
 an independent illustration, no two are opposed to each 
 other, but any or all of them may be combined to secure 
 one common object. This the following examples will 
 sufficiently illustrate : — 
 
 1. So spake our sire, and by his countenance seemed 
 Entering on studious thoughts abstruse, which Eye 
 
 Perceiving, where she sat retired in sight, 
 
 With lowliness majestic from her seat, 
 
 And grace that won who saw to wish her stay, 
 
 Rose, and went forth among her fruits and flowers, 
 
 To visit how they prospered, bud and bloom, 
 
 HER NURSERY ; they at her coming SPRUNG, 
 And, touched by her fair tendance, GLADLIER GREW. 
 
214 MANUAL OF ELOCUTION. 
 
 2. The sun was sunk, and after him the star 
 Of Hesperus, whose office is to bring, 
 Twilight upon the earth, short arbiter 
 Twixt day and night ; and now from end to end 
 Night's hemisphere had veiled the horizon round : 
 When Satan, who late fled before the threats 
 
 Of Gabriel out of Eden, now improved 
 In meditated fraud and malice, bent 
 On man's destruction, maugre what might hap 
 Of heavier on himself, FEARLESS RETURNED. 
 
 3. As the VINE, which has long twined its graceful foliage about the oak, 
 and been lifted by it into sunshine, will, when the hardy plant is rifted by the 
 thunderbolt, cling round it with its caressing tendrils, and bind up its 
 shattered boughs ; so is it beautifully ordained by Providence, that 
 
 WOMAN, who is the mere dependent and orjiament of man in his happier hours, 
 should be his stay and solace when smitten with sudden calamity ; 
 winding herself into the rugged recesses of his nature, tenderly 
 supporting the drooping head, and binding up the broken heart. 
 
 4. So spake the false dissembler unperceived ; 
 For neither Man nor Angel can discern 
 Hypocrisy, the only evil that walks 
 Invisible, except to God alone, 
 
 By his permissive will, through heaven and earth. 
 
 5. May the LIKE SERENITY in such dreadful circumstances, and a DEATH 
 EQUALLY GLORIOUS, be the lot of all whom TYRANNY, of whatever deno- 
 mination or description, SHALL, in any age, or in any country, CALL to expiate 
 their virtues on the scaffold. 
 
 The exercise suggested in this section may well be con- 
 tinued, for which examples may everywhere be found. It 
 involves an analysis of written language, w T hich has to be 
 made mentally by him who understands what he reads, 
 whether he makes it sensible to the ear of the listener or 
 not. But to the speaker, or to him who is accustomed to 
 read aloud to others, it is not less necessary that he should 
 
CLOSING REMARKS. 215 
 
 be able to make others understand, than that he should 
 himself understand, what he speaks or reads. 
 
 But this is not the only advantage to be derived from 
 this kind of exercise. Dr. Barber, when treating of this 
 subject, takes occasion to speak of the intimate connection 
 between the arts of composition and delivery. He re- 
 marks : — " It must be obvious, that such an analysis as is 
 necessary to present a clear picture of thought in delivery, 
 cannot fail to reveal the latent beauties as well as defects 
 of composition. The art of Rhetoric cannot fail to derive 
 assistance from that of Elocution ; since a careful consider- 
 ation of the nice relations of thought in written language is 
 constantly necessary to its practice. Every exertion of it 
 consists in the application of a subtle test, by which com- 
 position, as a medium of conveying thought and sentiment, 
 is tried. The arts of Rhetoric and Delivery are therefore 
 intimately related and assist each other ; and we may remind 
 those who affect great zeal for the one, and contemn the 
 other, of what Bacon used to say, when he experienced a 
 temporary difficulty from two passages of Scripture, which 
 he could not immediately reconcile : — ' Ye are brethren, 
 why strive ye ?' " 
 
 The question was once asked by the Bishop of Cloyne, 
 in relation to Great Britain, "Whether half the learning of 
 the kingdom was not lost for want of having a proper de- 
 livery taught in our schools and colleges ?" and a similar 
 inquiry cannot but force itself on any thoughtful observer, 
 in regard to our own country. Our systems of education 
 seem to be based on the supposition, that nothing is essen- 
 tially necessary to language but words. The graphic art, 
 
216 MANUAL OF ELOCUTION. 
 
 as presented in our books — even the text-books furnished 
 for the use of children, exhibits nothing but words, and 
 marks indicating the rests of the voice. In regard to the 
 tones, emphases, quality of the voice, &c, they have no 
 visible signs. For these we depend entirely on nature, and 
 on the instructions of the living teacher. But in teaching 
 a language of words, in the absence of all effective instruc- 
 tion in regard to this other language, even the suggestions 
 of nature are countervailed ; and in reading what they do 
 not understand, children first learn to lay aside their natural 
 tones and inflections — the language which alone can truly 
 express the feelings. Thus early they acquire reading tones, 
 widely different from the natural tones of speech ; and these 
 too often, for want of correction, grow with their growth 
 and strengthen with their strength ; from reading are trans- 
 ferred to the rehearsal upon the stage of what they commit 
 from books; and thus not unfrequently the professional 
 man — the public speaker even — engages in the hopeless 
 task of sustaining the cause of injured innocence, of rous- 
 ing up an oppressed people to the avenging of their wrongs, 
 or the still harder task of moving the depraved heart to the 
 choice of a course of virtuous action, — by the use of a lan- 
 guage of words. 
 
 In view of such a state of things, Sheridan says, — " When 
 we reflect, that not only every thing which is pleasur- 
 able, every thing which is forcible and affecting in utterance, 
 but also the most material point necessary to a full and dis- 
 tinct comprehension of the sense of what is uttered, depends 
 upon the proper use of the Elements of Expression ; it may 
 well astonish us to think, that so essential a part of lan- 
 guage should in a civilized country be wholly neglected. 
 Nay worse, that our youth should not only be uninstructed 
 
CLOSING REMARKS. 217 
 
 in the true use of these, but in the little art that is used, 
 they should be early perverted by false rules, utterly repug- 
 nant to those which nature has clearly pointed out to us. 
 In consequence of which, all the noble ends which might 
 be answered in a free state, by a clear, lively, and affecting 
 public elocution, are in a great measure lost to us. And 
 how can it be otherwise, when we have given up the vivi- 
 fying, energetic language, stamped by God himself upon 
 our nature, for that which is the cold, lifeless work of art, 
 and invention of man ? and bartered that which can pene- 
 trate the inmost recesses of the heart, for one which dies in 
 the ear, or fades on the sight." This we have done; and, 
 strange to tell, have done it in the very face of the uni- 
 versal admission, that while few can be moved by reason, 
 all can feel. 
 
 Children should never be permitted to read what they 
 cannot understand ; the school-boy should never be per- ■ 
 mitted to commit a piece for rehearsal upon the stage, till 
 he has been taught the principles on which it should be 
 read and spoken : and in our higher institutions of learning, 
 all that has been neglected in the preparatory training 
 should be supplied by a patient system of practical instruc- 
 tion, embracing every point which is essential to an effec- 
 tive and powerful delivery. But most of those who have 
 charge of the business of elementary instruction, are them- 
 selves ignorant of the very simplest elements of elocution ; 
 nor in many of our higher seminaries of learning, is any 
 but the most feeble attempt made to supply the defect of 
 early education arising from this source. Even in some of 
 our colleges, every attempt to set forth this subject will be 
 met with coldness and neglect. But may it not be hoped, 
 that the time is near, when a distinction shall be every- 
 
 19 
 
218 MANUAL OP ELOCUTION. 
 
 where made between those seminaries and colleges which 
 send out from their walls those who by a good delivery are 
 prepared to make effective use of all their other acquisi- 
 tions, and those whose sons have only their certificates and 
 diplomas to present to the public as evidence of their edu- 
 cation. While speech and reason are among the leading 
 characteristics of man, it is melancholy to reflect on the 
 enormous waste of reasoning power among the educated 
 class of society, arising from the neglect to cultivate the 
 power of speech ! Our country abounds in good writers, 
 while a good speaker is really almost a prodigy. The sole 
 reason of this is, that Rhetoric and all the elegances of 
 Composition are taught, while Elocution is left to nature 
 and to chance. 
 
1 
 
 PART II. 
 OF GESTUBE. 
 

CHAPTER I. 
 
 ELEMENTS OF GESTURE. 
 
 • SECTION I. 
 
 PRELIMINARY REMARKS. 
 
 Gesture is used in this Manual to include the whole of 
 the action of the orator ; and embraces that part of delivery 
 which addresses itself to the eye, as distinguished from the 
 Voice or that part which appeals to the ear. Besides, 
 therefore, what is more commonly understood by gesture, it 
 embraces the expression of the countenance and attitude, — 
 eveiy thing indeed by which the painter gives life to his 
 portrait or the parent communicates with his infant child. 
 
 The first thing to be remarked in regard to the action 
 appropriate to the expression of sentiment, and which con- 
 sequently falls under our notice in this part of our Manual, 
 is, that it is natural. As evidence of this, it is, next to the 
 tones, the earliest language employed and the earliest 
 learned by the child. The one has been called the speech, 
 the other, the hand-writing of nature. These constitute 
 the only language which never deceives ; and the only 
 language which is alike understood by all — the learned 
 and the unlearned. Though natural, it is to some ex- 
 tent voluntary. " Thus," in the language of Austin, 
 " anger threatens, affright starts, joy laughs and dances, 
 but nature does not by any means suggest (except it may 
 be to some chosen few) the most dignified or graceful ex- 
 pressions of those various passions ; as may be sufficiently 
 observed in the untutored extravagance and uncouth mo- 
 
 19* 221 
 
222 MANUAL OF ELOCUTION. 
 
 tions of the vulgar, — in the gesticulations of mirth in their 
 dances, and of anger in their quarrels. These, though 
 they may be perfectly intelligible, and strongly energetic, 
 degrade the person who uses them from all pretensions to 
 the character of liberality of mind, or of enlightened elo- 
 quence ; and are more likely to excite in the cultivated 
 spectator laughter or disgust, than the kindred passion of 
 the gesticulator." 
 
 The^rs^ stage of gesture, then, as it may be called, cor- 
 responds with the natural tones of the voice, and consists 
 of the involuntary visible symbols of expression which con- 
 nect themselves with the stronger passions of the mind, 
 such as the motion of some of the muscles of the face, the 
 change of the color of the countenance, and certain sudden 
 gesticulations which sometimes extend to the whole body. 
 These are the offspring of the natural sympathy which 
 exists between the action of the mind and the material 
 frame. But the effects of this sympathy do not stop here. 
 It prompts to a variety of movements which are much 
 more under the control of the will than those to which we 
 have referred. These constitute gesture in its second stage, 
 and by way of distinction may be called voluntary. Being 
 to a certain extent under the control of the will, they may 
 be influenced by the force of example, and may become 
 awkward by the imitation of some bad model, or by being 
 put forth under the constraints of natural diffidence, or by 
 the employment of a manuscript in delivery. From the 
 same causes, gesture may be altogether suppressed. — Ex- 
 cess of natural excitement too, may lead to too great rigid- 
 ity of muscle, and to a total inattention to the gestures ; 
 and this can scarcely fail to result in the entire absence of 
 every thing like grace in the action of the speaker. Ges- 
 
PRELIMINARY REMARKS. 223 
 
 ture, then, as an art, requires to be studied not less than 
 Grammar or Logic. 
 
 The voluntary gestures may well therefore become the 
 subject of instruction. The muscles by which they are 
 made are all voluntary muscles, not less than are those em- 
 ployed in penmanship, or in playing upon a musical instru- 
 ment ; and thus, by a course of private training similar to 
 that to which in these other cases they are subjected, they 
 may be brought perfectly under the control of the will, so 
 as to produce with all the precision of a natural habit such 
 action as shall please instead of offending the eye. Such 
 action, considered merely as a matter of taste, has the same 
 advantage over the awkward movements of the untutored 
 speaker, as a neat and elegant dress has over the slovenly 
 apparel of a clown: it bespeaks the favor and attention 
 of the hearer. But as the language of sentiment and feel- 
 ing, it performs the higher office of arousing the mind of 
 the speaker and inspiring him with feelings suitable to the 
 subject and the occasion, of giving force and impressive- 
 ness to the sentiments he utters, and thus of exciting and 
 keeping alive an interest on the part of his auditory. By 
 this feeling of interest alone, is the popular mind roused 
 up to a full appreciation of the importance of the matter in 
 hand. Yet all this is to be done, not by the employment 
 of any artificial means, but by the use of the cultivated na- 
 tural powers. No affectation can equal the simple dignity 
 of nature, which however rarely becomes visible till freed 
 from the rubbish of artificial defects and polished by art. 
 
 It may not appear perfectly obvious, that a neglect of the 
 principles of gesture may affect injuriously the character 
 even of written composition. Yet who, if wanting in an 
 effective elocution, would attempt rhetorical expression 
 
224 MANUAL OF ELOCUTION. 
 
 or eloquent arrangement, in a sermon or discourse in- 
 tended to be delivered by himself? So far from this, to 
 adopt the language of a distinguished writer on this subject, 
 "If even a figure or brilliant thought should occur to him, 
 he rejects it as not of a piece, or in the language of Sterne, 
 as ' intended for another man ;' and if in his researches on 
 his subject, he meets with any thing beautiful as well as 
 illustrative, he strips it of its ornaments, and clothes it in 
 the plain garb of household labor. He blushes to intro- 
 duce a figure too elegant to be reckoned of his society, 
 and which he knows not how to present as he ought. To 
 be able to write with spirit a rhetorical composition which 
 a man is to pronounce himself, he must also feel his own 
 ability to deliver it with spirit. And therefore the igno- 
 rance or neglect of rhetorical delivery must be considered 
 as one great impediment to the progress even of written 
 eloquence." 
 
 It should be remarked in passing, that feeling cannot be 
 expressed by words alone, or even by the tones of the 
 voice : it finds its best, and ofttimes its only expression in 
 the flash of passion on the cheek, in the speaking eye, the 
 contracted brow, the compressed lip, the heaving breast, 
 the trembling frame, — in the rigid muscle and the general 
 bearing of the entire body. And when emotion or passion 
 thus speaks, its language is often confined to no parti- 
 cular part of the- body, but the living frame as a whole 
 sympathizes in the action. Still, in treating of this part of 
 our general subject, to facilitate the imparting of instruction, 
 as well as to furnish the materials for giving an intelligent 
 description of the action of a speaker, an analysis of the 
 elements of gesture, as arising from different parts of the 
 body, will be first given. Such an analysis, — having a 
 
PRELIMINARY REMARKS. 225 
 
 reference however to the action of the orator rather than 
 the actor, — will be presented in the several sections of this 
 chapter ; while the attention of the learner is successively 
 called to the Feet and Lower Limbs, the Head and Trunk, 
 the Eyes and Countenance, the Hand, and the Arm. — Some 
 of the elements appropriated only to epic or dramatic ac- 
 tion, will be noticed in the Appendix. 
 
 This will lead to a somewhat minute detail of particulars, 
 with all of which however the learner should be made ac- 
 quainted, that he may have a full knowledge of all the 
 means which nature and the best usage have placed at his 
 command, not only for the purpose of enforcing sentiment, 
 but also for enabling him to give interesting variety to the 
 action by which this is to be effected. And he may here 
 be reminded, that oratory is no new art of mere modern 
 invention ; but that the principles which we present are 
 the same with those which have come down over the lapse 
 of more than two thousand years ; and that the best models 
 of excellence of our own time are those which approach 
 nearest to the great masters of antiquity, whose writings 
 and opinions have fortunately survived the wreck of much 
 other matter. These principles then come to us with all 
 the authority which time and experience can impart to 
 them. Had we competent teachers in this department, and 
 perfect models for the imitation of the young, the learner 
 might aim directly at the acquisition of great excellence in 
 oratory. As it is, his first object should be to free himself 
 from bad habits, and from all artificial constraints, then to 
 avoid faults, and thus indirectly by frequent and continued 
 practice to acquire the beauties and the graces which will 
 naturally engraff themselves on his delivery. To the ac- 
 complishment of fhis end, this Part of our work is directed. 
 
226 MANUAL OF ELOCUTION. 
 
 SECTION II. 
 
 OF THE FEET AND LOWER LIMBS. 
 
 The propriety of commencing this part of our subject 
 with a consideration of the Feet and Lower Limbs will 
 become obvious to the learner as we pass along. To the 
 orator nothing is unimportant which contributes to the 
 general impression he makes upon his audience ; and this 
 depends very materially on the dignity and grace of his 
 movements. And what particularly concerns us to remark 
 at this point is, that dignity and grace in the standing figure 
 are known to depend on the positions of the lower limbs, 
 which should be such as to give to the body both firmness 
 of support and facility of movement. Mere firmness or 
 stability can be secured, when combined with every degree 
 of awkwardness ; and rude strength most frequently per- 
 haps supports the weight of the body equally on both feet. 
 Firmness and grace however are combined, when the 
 weight of the body is principally supported on one leg, and 
 the other so placed as to preserve the balance of the body 
 and keep it from tottering, at the same time that it is left 
 free to move at will. Austin has remarked, that this is the 
 position adopted in the Apollo, the Antinous, and in other 
 beautiful and well-executed statues. In this position, the 
 foot which supports the body is to be firmly planted, and 
 the body so erect that a perpendicular line let fall from 
 the centre of the neck should pass through the heel of that 
 foot. Either foot may thus support the body, and may be 
 more or less advanced than the free foot ; thus giving four 
 positions which are the only ones suited to oratory. The 
 conditions of all these are, Jirst, that the feet are to be 
 separated from each other only three or four inches ; 
 
 
THE FEET AND LOWER LIMBS. 
 
 227 
 
 secondly , that the toes of the foot which supports the body, 
 as well as of the other, should be turned moderately out- 
 ward ; and thirdly, that the feet should be so placed, that 
 lines passing lengthwise through the two feet, shall cross 
 each other under the heel of the foot least advanced. 
 
 First Position of the Right Foot 
 
 In this position, the right foot is firmly 
 planted, and sustains the weight of the 
 body. The left foot forms nearly a right 
 angle with the other, and rests only on 
 the ball of the great toe. — In the ground- 
 plan of this figure, the right foot which 
 rests firmly on the ground is deeply 
 shaded ; the part of the left w T hich 
 touches the ground is shaded lightly. (See Fig 
 
 i-) 
 
 Fig. 2. 
 
 Second Position of the Right Foot. 
 
 In this position also, the right foot is 
 advanced, while the weight of the body 
 is on the left. — In the plan therefore, 
 the left foot is deeply shaded ; and the 
 right, though it rests upon the ground 
 throughout its whole extent, is shaded 
 more faintly. In this position, the an- 
 gle which the feet make with each other 
 is but about 75 degrees. (See Fig. 2.) 
 
 First Position of the Left Foot. 
 This is in all respects analogous to the first position of 
 the right foot. The plan presents that position reversed. 
 (See Fig. 3.) 
 
228 
 
 MANUAL OF ELOCUTION. 
 
 Fig. 3. Fig. 4. 
 
 Second Position of the Left Foot. 
 
 This position likewise is in all respects analogous to the 
 corresponding position of the right foot, as Fig. 4 will 
 show. 
 
 These are believed to be the most natural and easy posi- 
 tions which the speaker can assume ; and yet when first 
 attempted they may seem to require an effort. The learner 
 will soon however find himself perfectly at ease in them, 
 and familiarity will secure their adoption as a matter of 
 habit. With this familiarity, all attention to studied preci- 
 sion or measured exactness should be laid aside. Affecta- 
 tion and grace can never exist together. Though the 
 sustaining foot is to be planted firmly, and the knee of that 
 leg straightened, yet there should be no contraction or 
 rigidity of muscle ; and the other foot and limb must be 
 kept relaxed. 
 
 An observance of the foregoing rules will do much to 
 guard the learner against a variety of errors ; some of the 
 most common of which we shall here notice. 
 
THE FEET AND LOWER LIMBS. 
 
 229 
 
 Errors in the Position of the Feet. 
 
 Fig. 5. 
 
 1 . The sustaining of 
 the weight of the body 
 on both feet equally. — 
 This is objectionable 
 mainly, as rendering 
 changes of position in- 
 convenient. (See Figs. 
 5,6.) 
 
 2. The throwing of 
 the weight of the body 
 forward upon the ball 
 of the foot, instead of having it rest upon the heel. — This 
 has less of firmness and less of dignity than the erect atti- 
 tude. 
 
 3. The placing of the feet too close together. — This di- 
 minishes the base of support ; thus rendering the position 
 less stable, and of course restricting the free use of the arms 
 in gesture. (See Fig. 7.) 
 
 Fig. 7. 
 
 Fig. 8. 
 
 Fig. 9. 
 
230 
 
 MANUAL OF ELOCUTION. 
 
 4. The separating of the feet too far from each other. — 
 If thus placed, and on a line with each other, there is pro- 
 duced a very awkward and slovenly appearance ; and if 
 the one is placed in advance of the other, a swaggering 
 theatrical air is presented, entirely inconsistent with the 
 simplicity of the positions suited to the orator. (See Figs. 
 8,9.) 
 
 5. The pointing of the toes straight forward, or not 
 turning them outward to the extent of the angle above de- 
 scribed. — This may be combined with any of the faults 
 just named, and will greatly heighten the awkwardness of 
 those positions. By itself, it diminishes the base of sup- 
 port and thus renders the positions of the body less stable ; 
 and tends to expose the side of the speaker to his audience 
 instead of the full front. 
 
 6. The bending of the leg which should sustain the body, 
 or the keeping of the free one straight and rigid. — Either 
 of these errors of position throws the body into an ungrace- 
 ful attitude. (See Figs. 10, 11, 12.) 
 
 Fig. 10. Fig. 11. Fig. 12. 
 
 Without referring at this point to the occasions which 
 call for changes of position in the lower limbs, it may be 
 
THE FEET AND LOWER LIMBS. 231 
 
 remarked that the only changes of position which seem to 
 be required or admitted in oratory — are advancing and re- 
 thing. Either of these movements may be made from 
 either of the four positions before described ; and the di- 
 rections which follow are designed simply to insure that 
 these changes shall be made with the utmost simplicity, and 
 with an entire freedom from display. For this purpose they 
 must be made under the following conditions : — First, the 
 speaker must advance or retire, when on the stage, by a 
 step of only moderate length — something less than the ordi- 
 nary walking step. Secondly, the change must always 
 commence with the free foot. Thirdly, the outward direc- 
 tion of the toes noted in the several positions must be pre- 
 served during the changes ; and fourthly, the changes must 
 be in the following order: — 1st. The advance from the first 
 position of either foot — is made bypassing into the first 
 position of the opposite foot ; and the advance from the 
 second position, by passing into the first position of the 
 same foot. 2nd. To retire from the first position of either 
 foot, it is only necessary to pass into the second position 
 of the same foot ; and to retire from the second position, to 
 pass into the second position of the opposite foot. It may 
 assist the learner, to remember that the advance should thus 
 always bring him into the first position of one of the feet ; 
 while in retiring, he always falls into a second position.* 
 
 * Note to the Teacher. — These positions and changes of po- 
 sitions, being the most easy and simple, by a little practice become 
 perfectly natural. An entire class, or section of a class, may advan- 
 tageously be trained together in this kind of exercise. First, let the 
 class be required to take the second position of the right foot, (which 
 for convenience may here be designated by R. 2 ; and the other po- 
 sitions in a corresponding manner.) Then let them be required to 
 advance and retire, according to the following table, which may be 
 extended and combined, at the pleasure of the teacher, 
 
232 -MANUAL OF ELOCUTION. 
 
 The observance of these simple rules will render any 
 changes of position called for in oratory easy and natural, 
 at the same time that it will afford a guaranty against all 
 awkwardness or apparent affectation. The following are 
 among the most common errors in the employment of the 
 lower limbs. 
 
 Errors connected with Changes of Position, 
 
 1. The movement to the right or left, as distinguished 
 from the free movement forward and backward, in the re- 
 gular process of advancing and retiring. — Such sidelong 
 movements may be proper for the actor, though not called 
 for in oratory ; hence the notice of them is reserved for the 
 Appendix. 
 
 2. The making of the step too long or too short. — The 
 theatrical stride, and the short shuffling step of hesitating 
 timidity — are equally inconsistent with the true dignity of 
 the orator. 
 
 3. The attempt to change the position by moving the foot 
 which supports the body.— To move this foot requires two 
 successive efforts, — the first being necessary to set the foot 
 free. This complex movement is always unnecessary, and 
 consequently awkward. 
 
 From R. 2, advance to R. 1. 
 
 " R. 1, return " R. 2. 
 
 " R. 2, retire " L. 2. 
 
 " L. 2, advance " L. 1. 
 
 " L. 1, advance " R. 1. 
 
 " R. 1, advance " L. 1. 
 
 " L. 1, retire " L. 2. 
 
 " L. 2, retire " R. 2. 
 
 From L. 2, advance to L. 1. 
 
 " L. 1, return " L. 2. 
 
 " L. 2, retire " R. 2. 
 
 " R. 2, advance " R. 1. 
 
 " R. 1, advance w L. 1. 
 
 " L. 1, advance " R. 1. 
 
 " R. 1, retire " R. 2. 
 
 « R. 2, retire " L. 2. 
 
 At first, each of these changes should be made slowly, and the 
 position may be given which should succeed ; but after a very little 
 practice, the. only direction given should be — to advance or retire, 
 when care must be taken to see that it be done correctly. 
 
THE HEAD AND TRUNK. 
 
 4. The advancing with the toes pointing straight forward, 
 or turned outward by too small an angle. — This step, be- 
 sides appearing less graceful, leaves the body unsupported 
 on the side from which the toes are diverted. 
 
 5. The falling into a wrong position after advancing or 
 retiring. — Any other positions, or modes of changing the 
 position, than those already pointed out, are wanting both 
 in simplicity and grace. 
 
 SECTION III. 
 
 THE HEAD AND TRUNK. 
 
 The attitude and general bearing of the whole person 
 depend on the position of the head and trunk ; and the 
 position of these depends so materially on the management 
 of the feet and lower limbs, that if the rules of the pre- 
 ceding section are carefully observed, there is little danger 
 that in regard to this any thing shall be wrong. 
 
 In dramatic action, the head performs a very important 
 part. Shame, pride, dislike, horror, and many other pas- 
 sions and feelings do not admit of a full expression but by 
 the action of the head. Such action however has little to 
 do with grave delivery, either in declamation or in oratory 
 — whether in the pulpit, at the bar, or in the senate. 
 The dignified self-possession suited to oratory preserves the 
 head erect, permitting it neither to fall forward upon the 
 breast, to incline to the side, nor to be thrown back in the 
 attitude of haughtiness or defiance. — The positions of the 
 body too may be made in the highest degree significant, as 
 they may vary from the air of pride or disdain, which 
 throws the body back from the persons addressed, — to the 
 prostration, which marks the utmost degree of abasement 
 
 20* 
 
234 
 
 MANUAL OF ELOCUTION. 
 
 and humility. Oratory however requires only the erect 
 position of self-sustained dignity, and allows no marked 
 deviation from this position. 
 
 To be more particular, — the body of the speaker should 
 be well balanced and sustained erect on the supporting 
 limb ; the head likewise should be sustained with manli- 
 ness and grace ; he should front his audience — presenting 
 himself, as Quintilian expresses it, cequo pectore, and with his 
 face as well as his breast directed to those whom he ad- 
 dresses ; and the shrugging up of the shoulders should also be 
 carefully guarded against. — This perfectly erect position of 
 the body and the head should however yield to every gesture 
 of the arm. That which mainly distinguishes the move- 
 ments of the living body from those of the machine, is the 
 sympathy which produces a perfect correspondence in the 
 action of all the parts. A temporary inclination of the en- 
 tire body in the direction of the gesture of the arm is not 
 then opposed to the rules here laid down. 
 
 The following are among the common errors which, it will 
 be perceived, are at variance with the foregoing directions : 
 
 Errors in the Position of the Head and Trunk. 
 
 1. T/ie rigid square position of the body, 
 which arises from the constrained position 
 of the supporting leg. — However such atti- 
 tudes may be suited to a military man,, they 
 find no countenance in the rules laid down 
 for the orator. This is diametrically opposed 
 to what Cicero calls the virilis flexus late- 
 rum — the manly inclination of the sides, 
 which is represented in Fig. 13; where it 
 appears the supporting limb is not perpen- 
 
THE HEAD AND TRUNK. 235 
 
 dicular, but inclined so as to bring the centre of the body 
 into the line of the supporting foot. The perpendicular, 
 rigid position of the supporting leg produces the error we 
 would here describe ; and in this erroneous position of the 
 body, there will be less sympathy with the movements of 
 the arms, and consequently less of ease and grace, than in 
 the position represented in the figure. 
 
 2. The elevating and retracting of the head too much. — 
 This position presents an air of arrogance or at least of in- 
 difference ; and generally arises from the erroneous posi- 
 tion of the lower limbs represented in Fig. 12, page 230, 
 which position has a tendency to throw the body also 
 back too far from the audience. — The error opposed to 
 this, is the hanging of the head bashfully down. 
 
 3. The reclining of the head towards the shoulder, pre- 
 senting the appearance of languor or indolence. 
 
 4. The motion of the head in gesture, unaccompanied with 
 the arm and hand. — This error is more common with those 
 who have been accustomed to read from a manuscript, 
 than with those who have trained themselves properly to 
 the practice of oratory. Indeed some motion of the head 
 is allowable in situations where gestures of the hand are 
 not admitted, as in private conversation, or when one is 
 reading or lecturing in a sitting posture. 
 
 5. Tlie exposing of the side to the audience, instead of the 
 breast. — This generally arises from pointing the toes 
 straight forward in the movements which lead to changes 
 of position, instead of keeping them turned outward ac- 
 cording to the rule. 
 
 6. The inclination of the body forward, as when the 
 sustaining limb is bent at the knee, or the weight of the 
 body rests on the ball of the foot. 
 
236 MANUAL OF ELOCUTION. 
 
 Fig. 14. 7 > y/jg swaggering protrusion of the 
 
 body represented in Fig. 14, which most 
 commonly originates in too wide a sepa- 
 ration of the feet. 
 
 8. Tlie inclination of the body to one 
 side. — This may arise from a faulty posi- 
 tion of the feet, or from a habit of inclin- 
 ing too much in the direction of the arm 
 which is employed in gesture. 
 
 9. The shrugging of the shoulders , 
 Quintilian condemns ; and Demosthenes, 
 
 to cure this habit, practiced speaking with a spear hanging 
 over his shoulder. 
 
 SECTION IV. 
 
 OF THE EYES AND COUNTENANCE. 
 
 There is a singular sympathy between the real feelings 
 of the heart, and the expression of the countenance. Says 
 Lavater, — " When any passion is called into action, such 
 passion is depicted by the motion of the muscles, and these 
 motions are accompanied by a strong palpitation of the 
 heart. If the countenance be tranquil, it always denotes 
 tranquillity in the region of the heart and breast." " Hence 
 it appears," says the author of the Chironomia, "that the 
 orator who would move others, must appear to be moved 
 himself: that is, he must express his emotions in his coun- 
 tenance and by his manner ; otherwise his language will 
 be contradicted by his looks, and his audience will be more 
 inclined to believe them, which are the natural and sure 
 indications of the inward mind, than his words, which 
 
THE EYES AND COUNTENANCE. 237 
 
 may easily be feigned, and may differ much from his real 
 sentiments.' 5 
 
 The power of expression is not possessed equally by all ; 
 but when possessed, " it has," in the language of Sir Charles 
 Bell, "a great share in human beauty; whether in the 
 living countenance, or in that which the pencil presents. 
 How different the tame regularity of a merely placid coun- 
 tenance, from what strikes the spectator when he beholds 
 the indications of a great mind in that susceptibility of 
 emotion and energy, which marks the brow and animates the 
 eye of the hero even in the calmest scenes of life. How fas- 
 cinating, when compared with the insipid prettiness and re- 
 gular features of an inanimate beauty, is that susceptibility 
 which lightens up the countenance and plays upon the fea- 
 tures of a woman of sensibility, even while she is unmoved 
 by any particular affection. — The full clear eye, the arched 
 and movable eyebrow, the smooth and polished forehead, 
 as indicating this kind of capacity, this susceptibility of emo- 
 tion and power of expression, are grand features of human 
 character and beauty."* 
 
 The eyes, more than any other feature by far, give cha- 
 racter to the expression of the countenance. Thus children 
 early learn to look at the eyes of the parent or nurse 
 to determine the real meaning of the words they may 
 have uttered. Even the dog learns to read the human 
 countenance, and finds in his master's eyes the surest indi- 
 cations of his will. — Who cannot distinguish between the 
 honest look of conscious innocence, and the impudent gaze 
 of hardened guilt; or between the downcast eye of modesty, 
 and the averted and unsteady look of him whose heart is 
 
 * Bell's Anatomy of Expression, 
 
238 MANUAL OF ELOCUTION. 
 
 the seat of dark designs and purposes ? And how different 
 is the expression of the eye when suffused with tears, and 
 when flashing forth the expression of mirthfulness and of 
 joy ! — The eye-lids, the eyebrows — which are peculiar to 
 man, and even the cheeks, contribute to the production of 
 the various expressions of the eye. 
 
 The orator, then, should never wear spectacles, but as a 
 matter of extreme necessity. This, however, may perhaps 
 be preferable to the habitual squint of the eye, which, with- 
 out great care, is acquired by near-sighted persons. On the 
 contrary, the eyes should be uncovered, and always with a 
 calm and unaffected expression be directed to the audience, 
 though without being fixed on any individual so as to make 
 him a special object of address. 
 
 The power possessed even by the eye of the brute has 
 been recognised in all ages. To man alone, however, is 
 given the expressive forehead, the movable brow, the 
 blushing cheek, and the lip which can express derision, 
 contempt, and pride. In one respect, it is more important 
 to attend to the lips, than even to the eyes. The mouth in 
 particular being formed by soft parts, may, by bad habits 
 or by indulgence in any depraved passion, permanently 
 lose even its original characteristics of beauty ; while 
 homely features may acquire a beauty and symmetry not 
 their own, by the exercise of benevolence, candor, and 
 fidelity, and the habitual practice of self-control. It is not 
 to be doubted, that the innocent beauty which character- 
 izes the face of early childhood, in thousands of instances 
 has its soft outlines irretrievably marred and defaced by 
 habits acquired perhaps by imitation, or by excessive in- 
 dulgence in passion. In later life, habitual sorrow, or 
 anxiety, or envy, or a sour temper, as well as habits of in- 
 
THE EYES AND COUNTENANCE. 239 
 
 temperance and voluptuousness, may drive from the coun- 
 tenance even distinguished beauty, and may impart to it 
 traits which are not only devoid of all interest, but forbid- 
 ding and offensive.* 
 
 With the power possessed by the countenance of ex- 
 pressing the stronger emotions and passions, oratory rarely 
 has to do. But with its characteristics of grace — those 
 native lineaments which bespeak moral excellence, wis- 
 dom, integrity, and discretion, it has much to do. — Pliny 
 has described the mouth of Pompey as a " mouth of pro- 
 bity" — os probum ; and a foreign writer has spoken of the 
 mouth of our Washington, as presented in the picture by 
 Stewart, as strongly suggesting the idea of this os probum. 
 The orator then should not be indifferent to the expression 
 of the countenance; he should have even the forehead 
 bare, and should take special care that the mouth and the 
 lips be in no way distorted during delivery, but remain the 
 true emblems of a dignified self-possession. 
 
 Among the common errors to which these instructions 
 are opposed, may be mentioned the following : — 
 
 Errors relating to the Eyes and Countenance. 
 
 1. T}\e closing of the eyes ; the staring, the vague wan- 
 dering or the motionless abstraction of the eyes ; the fixing 
 of the eyes upon any individual of the audience ; or the turn* 
 ing of the eyes away from the audience. — No bad habits 
 would more certainly attract attention than these, and none 
 
 * "The parts of the human face the most movable and the most 
 expressive, are the inner extremities of the eyebrow, and the angle 
 of the mouth, and these are precisely the parts of the face which in 
 brutes have least expression ; for the brutes have no eyebrows, and 
 no power of elevating or depressing the angle of the mouth. It is 
 in these features therefore that we should expect to find the muscles 
 of expression peculiar to man." — Anatomy of Expression. 
 
240 MANUAL OF ELOCUTION. 
 
 would be more universally condemned. In pronouncing 
 an apostrophe however, or addressing some remote object, 
 or speaking of some distant scene, the eye may be for a 
 time withdrawn from the audience. 
 
 2. The indulgence in tears, except on occasions worthy of 
 such excitement. — Demosthenes is said often to have wept, 
 when engaged in pleading capital causes. A distinguished 
 Roman writer has said, " It was a common observation in 
 Greece, that worthy men are easily moved, and prone to 
 tears." A greater than the worthy men of Greece, our 
 Lord, wept at the grave of his friend ; and again when he 
 approached Jerusalem — that devoted city, he wept over it, 
 as he uttered the inimitably beautiful exclamation so worthy 
 of him " who spake as never man spake." Austin says, in 
 regard to this subject: — "When manly firmness must be 
 supposed to give way, under the irremediable loss of what 
 is most dear ; tears are allowed to speak the anguish of the 
 heart. The warlike Richmond in Shakspeare's Richard 
 III. is not lowered in the estimation of the audience, by his 
 effusion of tears on hearing of the murder of his family by 
 the tyrant. The tear of humanity is also a bright gem in 
 the eye of the judge who pronounces the awful sentence 
 of the law upon a criminal, who might have been expected 
 to fulfil better hopes." — Tears being the strongest symbol 
 of emotion, should thus be reserved for occasions worthy 
 of them. 
 
 3. The allowing of the forehead or any part of the face 
 to be covered, in consequence of a long growth of the hair. — 
 This bears the marks of effeminacy, and consequently de- 
 rogates from the dignity of the orator. 
 
 4. The unmeaning frown t or any occasional working of 
 the eyebrows. In like manner, the unmeaning smile, or ea?- 
 
THE HAND. 241 
 
 pression of scorn, the retracting of the corners of the mouth, 
 the protrusion or the compression of the lips, tlie biting them, 
 or folding them upon each other, as with a sort of self-com- 
 placency, — should be avoided as at least tending to dis- 
 tract the mind of the hearer, and as being often positively- 
 offensive. 
 
 SECTION V. 
 
 OF THE HAND. 
 
 The expressiveness of what is usually called gesture 
 depends on the hand. Next to the tones of the voice and 
 the countenance, the hand perhaps has the greatest variety 
 and power of expression. Says Sheridan: — "Every one 
 knows that with the hands we can demand, or promise ; 
 call, dismiss ; threaten, supplicate ; ask, deny ; show joy, 
 sorrow, detestation, fear, confession, penitence, admiration, 
 respect ; and many other things now in common use. But 
 how much farther their powers might be carried, through 
 our neglect of using them we little know." 
 
 The positions of the hand are described by Austin,* by 
 referring successively to the four following circumstances : 
 1. The disposition of the fingers. 2. The manner in which 
 the palm is presented. 3. The combined disposition of 
 both hands. 4. The parts of the body on which they are 
 occasionally placed. 
 
 1. The Disposition of the Fingers. 
 The natural state of the fingers, when the arm is hanging 
 freely by the side or employed in unimpassioned gesture, is 
 
 * Ckironomia, cbap. xiii. 
 
 21 
 
242 
 
 MANUAL OF ELOCUTION. 
 
 that in which the hand is fully open, with the fore-finger 
 nearly straight and separated from the middle finger ; the 
 middle finger is more bended, and rests partly on the third 
 finger, which it gently touches ; the little finger is still more 
 bended, and separated from the third finger; while the 
 thumb is withdrawn entirely from the palm, and without 
 constraint turned a little upward and outward. This posi- 
 tion is represented in Fig. 15. This 
 arrangement of the fingers is observed 
 in the Venus de Medicis, and in others 
 of the most eminent specimens of both statuary and paint- 
 ing. Even though it may at first seem difficult to some 
 learners, it will by a little practice become to them as it 
 indeed is — the natural state of the hand. 
 
 The extended position presents the fingers separated from 
 each other, and nearly straight ; and is indicative of warm 
 excitement. (See Fig. 16.) 
 
 Fig. 16. Fig. 17. Fig. 18. 
 
 The clenched state presents the hand closed, and the 
 thumb lapped over the middle finger. (See Fig. 17.) 
 
 The collected state is that in which the ends of all the 
 fingers are gently inclined towards, or touch the end of the 
 thumb. — (See Fig. 18.) This is the state of the fingers, 
 when the hand in gesture is brought up near to the oppo- 
 site shoulder, preparatory to being extended in the contrary 
 direction. 
 
 The index designates the pointing position, in which the 
 fore-finger is extended, while the others should all be 
 
THE HAND. 
 
 243 
 
 turned inward, and contracted with a degree of force pro- 
 portioned to the energy of the speaker. (See Figs. 19, 
 20, 21.) 
 
 Fig. 19. Fig. 30. Fig. 81. 
 
 2. The manner in which the Palm is presented. 
 
 The hand is said to be prone, when the palm is turned 
 downward. 
 
 It is said to be supine, when the palm is turned upward. 
 
 It is said to be inward, when the palm is turned toward 
 the breast, and the thumb erect. 
 
 It is said to be outward, when the palm is turned from 
 the body, and the thumb downward. 
 
 It is said to be vertical, when the plane of the palm is 
 perpendicular to the horizon, the fingers pointing upward. 
 
 These positions of the palm, though sufficiently signifi- 
 cant and expressive, are seldom employed in ordinary de- 
 clamation, or sober dignified delivery. For future reference 
 however, they are here noticed. — The position of the hand, 
 as regards the palm, most suitable to be adopted by the 
 public speaker, is that which presents an inclination from 
 the supine position of about 45°, and accompanied with a 
 slight bend of the wrist downward, in the direction of the 
 little finger. (See Fig. 22.) — This, possessing the elements 
 of freedom and grace, and being less Fi ?- 22 - 
 
 likely to weary any of the muscles of 
 the hand or wrist, may be designated 
 the natural position of the palm, and 
 should not be deviated from without 
 
244 
 
 MANUAL OF ELOCUTION. 
 
 Fig. 23. 
 
 good cause. In declamation and oratory, the natural posi- 
 tion of the fingers should be presented with this position of 
 the palm. 
 
 3. The combined Disposition of Both Hands. 
 
 As these positions belong to dramatic action, the con- 
 sideration of them is reserved for the Appendix. 
 
 4. The Parts of the Body on which the Hands are occasion- 
 ally placed* 
 
 These will be barely enumerated. The hand may be 
 placed — 
 
 On the Breast, in an appeal to conscience, 
 or in giving expression to any strong internal 
 emotion. (See Fig. 23.) 
 
 On the Eyes, to express shame or grief. 
 (See Fig. 86.) 
 
 On the Lips, as an injunction of silence. — ■ 
 The fore-finger on the lips expresses the same 
 thing. (See Fig. 87.) 
 
 On the Forehead, to indicate pain or dis- 
 tress. • (See Fig. 88.) — When the hand is 
 brought up to the forehead or to the eyes, the 
 head is moved forward to meet it. 
 
 On the Chin, in deliberation, or intense thought. (See 
 Fig. 89.) 
 
 These gestures are rare, and are always significant ; the 
 hand upon the breast being the only one ever called for in 
 ordinary address. This is performed with the arm in an 
 unaffected position, the hand inward, and the middle of the 
 second and third fingers directly upon the heart. 
 
THE HAND. 245 
 
 Errors connected with the Positions of the Hand. 
 
 1. The employment, in ordinary unexcited delivery, of 
 any other state of the fingers, than that designated as the 
 natural state ; also any faulty mode of presenting the ex- 
 tended, clenched, collected, or pointing positions. 
 
 2. The moving of the fingers about in an indefinite man' 
 ner, or upon themselves, or the clenching of the hand, when 
 it is hanging by the side, where it ought to be perfectly at 
 rest. 
 
 3. The too frequent presentation of the pr lm in the other 
 positions which have been described, instead of that which 
 is called its natural position. 
 
 4. The placing of the hand edgewise, equidistant from 
 prone and supine, as represented in Jfr- 24 - 
 Fig. 24 ; which has no meaning but 
 as a childish imitation of the act of 
 riving or splitting. 
 
 5. The hollowing of the palm, by approximating the 
 fingers and thumb to it. An open palm adds both grace and 
 energy to delivery. 
 
 6. The use of the tremulous motion of the hand, without 
 any assignable reason. 
 
 7. The bringing of the two hands together, as in clasping 
 them, laying the one in the other, crossing the fingers, &c. 
 To ordinary delivery, these are not appropriate, whatever 
 significance some of them may have as the symbols of 
 excited passion. 
 
 8. The bringing of the hand to the face, or the laying of 
 it on any part of tfie body, except when the sentiment ex- 
 pressly demands it. 
 
 9. Instead of placing the hand on the heart in the man- 
 
 21* 
 
246 MANUAL OF ELOCUTION. 
 
 ner prescribed, the touching of the breast with the thumb or 
 the tips of the fingers, the placing of the hand in the. wrong 
 place, as on the pit of the stomach, too far toward the left 
 side, or too high up on the breast, also a wrong position of 
 the arm, as when it is made to hug the body, or when the 
 elbow is unnaturally thrown out from the body. 
 
 10. The employing of the hand in adjusting any part of 
 the clothing, in brushing up the hair, in flourishing a hand- 
 kerchief, in moving a book or turning over its pages merely 
 as a matter of habit, and when no necessity demands it. — 
 The orator is denied no privilege of using his hand, in 
 helping himself to a glass of water, or using a handkerchief, 
 when his convenience demands it ; but then this should, as 
 far as possible, be done during the paragraphic rests, so as 
 not to obstruct or interfere with the regular current of his 
 delivery. And even in doing this, all affected, finical po- 
 sitions of the hand should be avoided, as well as those 
 which are peculiar and awkward. 
 
 SECTION VI. 
 
 OF THE ARM. 
 
 The arm performs but a subordinate part in gesture, it 
 being little more than the agent for moving the hand. The 
 performance of this office however is sufficient to give it 
 great importance in the action of the orator. Every natural 
 expression of feeling is characterized by its simplicity ; and 
 in their simplicity, the movements of the arm find the chief 
 element of grace. Ornament is not to be sought after, as 
 a primary excellence ; as a secondary excellence however, 
 it should not be undervalued. Awkward gestures detract 
 from the force of the sentiments delivered, instead of adding 
 
THE ARM. 247 
 
 to it, by withdrawing the mind from the matter to the man- 
 ner — from the subject in hand to the action of the speaker. 
 These then should be most sedulously avoided ; and to aid 
 the learner in adopting a free and graceful action of the 
 arm, the following suggestions are made. 
 
 First. — The action of the arm should always be free and 
 unconstrained, appearing to proceed rather from the shoul- 
 der than from the elbow ; though care should be taken, 
 that the elbow be neither straight, nor rigid and stiff. 
 
 Second. — The arm should be so moved, that the hand 
 should always describe curved lines, instead of those which 
 are straight and angular. The curve is the line of beauty ; 
 and grace in the action of the arm depends very materially 
 on the observance of this principle. 
 
 Third. — In all ordinary gestures, the motion of the hand 
 through vertical or horizontal curves is deemed more grace- 
 ful than that through lines oblique to these. — The lines 
 employed for this purpose are presented in Fig. 25. Let 
 the line z f r be considered a part of the vertical circle 
 passing down m front of the speaker's body. Let z e r e z 
 be another vertical circle crossing this one at z and r, and 
 passing each side of the speaker. This may be called the 
 primitive or extended circle. Half way between these two 
 circles, and cutting them at z and r, let two oblique cir- 
 cles, z o r b z and z c r b z, be supposed to pass — the dot- 
 ted part of the circles being back of the primitive circle. 
 And let the centre of the speaker's breast — the point from 
 which the movements of the arms may be conceived to 
 emanate, be supposed in the centre of this imaginary sphere. 
 These circles will represent the lines in which the vertical 
 movements of the hands are made, — without however in- 
 tending to imply, that mathematical precision in this respect 
 
248 
 
 MANUAL OF ELOCUTION. 
 
 is either practicable or desirable. The right hand may 
 move easily and gracefully anywhere in the lines z e r, z o 
 r, z f r, and occasionally, though with less ease or grace, in 
 the line z c r. The left hand moves through the corre- 
 sponding lines on the other side. 
 
 These circles are crossed by three others, the first HHff, 
 at the elevation of the speaker's breast, and here designated 
 as horizontal, another DDD, depressed 45° below, and the 
 other EE£ elevated 45° above the first, and both parallel 
 to it. — These latter circles represent the lines in which the 
 transverse movements of the hand are made, — the right 
 
THE ARM. 349 
 
 hand without difficulty passing from c on the left back to b 
 on the right, while the left may pass from o to b. These 
 movements are reversed and made inward when the hand 
 is to be placed upon the breast or other part of the body. 
 
 Fourth. — A mere swing of the arm, even though it is in 
 a curved line, and though it is in itself ever so graceful, 
 does not accomplish the most important objects of gesture. 
 In general, there should be a point, at which the gesture 
 of the hand should abruptly terminate. This remark ap- 
 plies more particularly however to the movement in the 
 vertical circles. And the points at which the gestures of 
 the hand should thus terminate are the points at which 
 these vertical and transverse circles cut each other. Allow- 
 ing the right hand then occasionally to cross the body to 
 the circle z c it, and also to be thrown back, as it some- 
 times is, to the circle z b r, there is presented the following 
 regular system of gestures, depending on the position of the 
 arm and hand at the time the gesture terminates, each of 
 which will be designated by a name for convenience of 
 future reference, and illustrated by a figure. 
 
 Systematic Positions of the Arms. 
 The hand directed 
 towards 
 
 d c, gives the Downward Cross gesture. See Fig. 26. 
 
 d f, " " Downward Front gesture. See Fig. 27. 
 d o, " " Downward Oblique gesture. See Fig. 28. 
 d e, " " Downward Extended gesture. See Fig. 29. 
 d b, " " Downward Backward gesture. See Fig. 30. 
 
 The hand directed 
 towards 
 h c, gives the Horizontal Cross gesture. See Fig. 31. 
 
250 
 
 MANUAL OF ELOCUTION. 
 
 H f, gives the Horizontal Front gesture. 
 h o, " " Horizontal Oblique gesture. 
 He, " " Horizontal Extended gesture. 
 h b, " " Horizontal Backward gesture. 
 
 The hand directed 
 towards 
 
 e c, gives the Elevated Cross gesture. 
 e f, 
 
 E0, 
 
 e e, " " Elevated Extended gesture. 
 e b, " " Elevated Backward gesture. 
 
 Fig. 26. Fig. 27. 
 
 " " Elevated Front gesture. 
 " u Elevated Oblique gesture. 
 
 See Fig. 32. 
 See Fig. 33. 
 See Fig. 34. 
 See Fig. 35. 
 
 See Fig. 36. 
 See Fig. 37. 
 See Fig. 38. 
 See Fig. 39. 
 See Fig. 40. 
 
 Fig. 28. 
 
Fig. 32. 
 
 THE ARM. 
 
 Fig. 33. 
 
 251 
 
 Fig. 34. 
 
252 
 
 MANUAL OF ELOCUTION. 
 
 Fig. 41. 
 
 With regard to these positions, though thus mathemati- 
 cally defined, the learner will understand, that an approxi- 
 mation to the points designated in Fig. 25 is all that is 
 intended. The gesture should doubtless terminate as near 
 these points as convenient ; though any apparent care in 
 regard to this is to be avoided ; and especially would the 
 following of the hands by the eye, as if to assist in adjust- 
 ing the gesture, be a great fault. 
 
 To complete this system of positions of the arm, there 
 should be added its positions in a state of rest, (see Fig. 
 13, p. 234 ;) and when pointing to the zenith. (See Fig. 
 
 41 -)_. .. 
 
 It should be added, that for every position 
 we have given of the right hand, there is a 
 corresponding one for the left ; and also that 
 both hands may be brought into these posi- 
 tions at the same time. — To indicate still 
 further the variety of gestures of which this 
 system furnishes the basis, it may be re- 
 marked that those already noticed have ex- 
 clusive reference to the relative position of 
 the hand at the termination of the gesture, 
 without regard to the extent of the sweep 
 by which the arm has been brought to this 
 position, or to the direction or the rapidity 
 of its movement. — And still further, these gestures have 
 been designated with reference to the direction of the hand 
 from the centre of the breast of the speaker, without regard 
 to the degree to which the arm is extended. In the system 
 of figures just given, (see Figs. 26 — 40,) the boldest posi- 
 tions were delineated, suited to excited and stirring elo- 
 quence ; whereas the colloquial elevations of the arm, as 
 
THE ARM. 
 
 253 
 
 they may be called, are much less strongly marked. For 
 examples of these moderate positions, see Figs. 42, 43, 44 ; 
 and compare them with Figs. 29, 34, 39. The peculiarity 
 
 Fig. 43. Fig. 43. 
 
 /* 
 
 ■e 
 
 Fig. 44. 
 
 \d 
 
254 MANUAL OF ELOCUTION. 
 
 of these positions is, that the arm is held nearer to the side, 
 and the elbow is more bended.* 
 
 Errors in the Positions of the Arms. 
 
 1. All constrained movements of the arm, proceeding 
 only from the elbow ; with the opposite fault of throwing 
 the arm out straight and rigid. — These are both opposed to 
 
 * Note to the Teacher. — The improvement of the learner 
 here, as elsewhere in many other parts of this Manual, depends 
 entirely on practice, and on such a familiarity as will make these 
 movements seem to him more natural than any others, when he 
 comes to the exercise of speaking-. This may he successfully ac- 
 complished by a course of training- something like the following : — 
 
 Let a class, or section of a class, take their position in the floor, — 
 all occupying the second position of the right foot, with the hands 
 at rest. Then, 
 
 1. Let them present the natural state of the right hand in several 
 of these positions of the arm ; while the left hand remains at rest. 
 
 2. Let the same be done with the left hand, — carefully observing 
 the position of the fingers, both in the hand which is employed in 
 gesture and in that which is at rest. — Let these exercises be con- 
 tinued, till the perfect command of the fingers is acquired in the 
 various positions of the arm. 
 
 3. Direct special attention to the positions of the arms, both right 
 and left, while the learner passes through the positions regularly, 
 as laid down in the system. — In Fig. 25, the Roman letters mark 
 the points to which the right hand may be directed ; those which 
 the left hand alone can reach are marked with Italics; while all the 
 points o, f, and c, are reached in common by both hands. 
 
 4. When these positions taken regularly can all be executed with 
 sufficient ease and grace, then the learner may be required to pass 
 from one to another indiscriminately, — with reference to making the 
 transitions gracefully and in curved lines, instead of passing from 
 the one to the other in a straight line, by the shortest course. 
 
 5. The learner maybe required to distinguish, in his preliminary 
 practice, between the colloquial gestures, or those of moderate ex- 
 tent, and the bolder gestures which bear the same name, suited to 
 the drama and the more elevated efforts of the orator. 
 
 Other exercises will suggest themselves to the teacher. When, 
 as in this case, habits of action are to be formed, he need not fear 
 varying or repeating the exercise too much. 
 
THE ARM. 255 
 
 freedom ; and while the former is feeble in its expression, 
 the latter is mechanical and awkward. 
 
 2. All movements of the arm which cause the hand to 
 describe straight lines or angles, instead of curves. — Some 
 such movements may be sufficiently significant, and as such 
 may be employed ; but they have little of grace or beauty 
 to recommend them. 
 
 3. The employment of any other lines of gesture than those 
 already pointed out ; or the too frequent use of any one or 
 two of these, either vertical or transverse, to the neglect of 
 the others. — The former is inexpressive ; the latter will not 
 only often be inexpressive, but must also be monotonous 
 and tiresome. 
 
 4. The inward sweep of the arm, instead of the outward, 
 downward, or upward. — When the arm moves in the trans- 
 verse curves, the movement of the hand should be clearly 
 outward from the body ; and when it moves in the vertical 
 lines, its movement should be downward or upward, but 
 not inward. The inward sweep of the arm is called for 
 only when the hand is to be placed upon some part of the 
 body ; unless perhaps it may incline slightly inward in the 
 cross gesture. 
 
 5. The disregard of the points at which the gesture should 
 terminate. — Indefinite sweeps of the arm are but unmeaning 
 flourishes, which more frequently disgust than please. 
 
 6. The too frequent use of the cross gestures. — The only 
 use of this gesture is to call attention to objects on the other 
 side of the speaker from that of the arm employed, or in the 
 expression of antithetic ideas ; and in neither case should 
 the arm often rise above the downward cross gesture. 
 
 As in the First Part of this Manual, so here, will the 
 attentive learner be struck with the extent of nature's pro- 
 
 v 
 
256 MANUAL OF ELOCUTION. 
 
 vision for the production of variety in the means of adding 
 to the effect of mere verbal expression. Already must it 
 be perfectly obvious, that there never can be occasion for 
 the dull repetition of the same gesture, or of any uniform 
 succession of gestures. The principles however on which 
 this variety is secured, will be much more fully developed 
 in the next chapter. 
 
PRACTICAL APPLICATION. 257 
 
 CHAPTER II. 
 
 PRACTICAL APPLICATION OF PRINCIPLES. 
 
 The symbols by the aid of which sentiment and feeling 
 are enforced, whether they belong to the tones or to the 
 gestures, can be judiciously applied only by study and 
 care. Even if it should appear that nature has in any in- 
 stance made an orator without these, no one ought in his 
 own case to make this an occasion of relying solely on the 
 uninstructed and unaided impulses of nature. All are not 
 equally gifted. Few who have attained any considerable 
 degree of excellence, but have had to cultivate their natural 
 powers by diligent application and persevering effort ; nor 
 will he who has any just estimate of the value of the prize 
 to be secured, complain of the price by which alone it can 
 be bought. 
 
 The chief object of these instructions is to train the orator , 
 and not the actor. Hence we place at the foundation of 
 all effective action — real feeling. To this we attach so 
 much importance, as to allow that it will compensate many 
 of the smaller blemishes of delivery, and many departures 
 from the rules of strict propriety in action. But the learner 
 should understand, that there is no incongruity between 
 feeling and the highest grace in action. To secure the 
 latter however, when the feelings are enlisted in the thought 
 and the occasion, habits of graceful gesture must have been 
 previously formed ; and these must be formed by private 
 practice. In this way also, personal defects may often be 
 concealed, by a judicious selection from among the various 
 positions and gestures allowed. 
 
 For the purpose of aiding the learner in his preliminary 
 practice, I shall show in the several sections of this chapter 
 
 22* 
 
258 MANUAL OF ELOCUTION. 
 
 how the elements of gesture already described can be best 
 applied to practice, so as to conform to the decisions of 
 good taste, and to the usage of our best speakers. 
 
 SECTION I. 
 
 INTRODUCTORY MOVEMENTS. 
 
 The importance of the introductory movements of the 
 public speaker will appear from two brief considerations. 
 First y — it is from these the audience receive their first im- 
 pressions of the speaker. If he is a stranger, they have 
 nothing else from which to judge of the man. Secondly, 
 their minds are then perfectly free to criticise his manner, 
 since they are not supposed to be occupied by any thing 
 else. These movements then demand special attention. 
 He should omit no proper mode of expressing respect for 
 those before him, and of bespeaking their favor. Affecta- 
 tion or display are peculiarly inappropriate at this time, 
 when the air of modesty alone can please. 
 
 In general terms, so far as movement and gesture are 
 concerned, the orator should present himself to the audience 
 modestly, and without any show of self-confidence ; at the 
 same time that he avoids obsequiousness, and every thing 
 opposed to true dignity and self-respect. His countenance 
 should be composed, and he should look at those before 
 him without any approach to a stare ; nor hasten to com- 
 mence his speech, which should seem to be dictated by a 
 consciousness of its importance. 
 
 First, then, with suitable deliberation, and with a step of 
 but moderate length, he should take his position ; and if, 
 from his first appearance, his face is not directed to the 
 audience, lie should bring himself into his position by a 
 
NTRODUCTORY MOVEMENTS. 
 
 259 
 
 Fig. 45. 
 
 gentle sweep, rather than turn abruptly on his heel or by a 
 swing of the body. 
 
 Secondly, the bow, which is the most marked and ap- 
 propriate symbol of respect, should be made while the 
 speaker advances to the first position of the right foot. This 
 is specially important in the case of the opening bow : the 
 final bow, before leaving the stage, may be made with the 
 left foot advanced, if such is his position on closing his 
 speech. 
 
 Thirdly. In the graceful bow, (1) there 
 should be a gentle bend of the whole 
 body ; (2) the equilibrium of the body 
 should be so adjusted as not to throw the 
 weight of the body forward upon the ball 
 of the foot ; (3) the eyes should not be per- 
 mitted to fall below those of the persons ad- 
 dressed ; and (4) the arms should slightly 
 incline forward and inward, as they naturally 
 do w T hen the body is bent, but without any 
 apparent voluntary effort. — This position is 
 represented in Fig. 45. 
 
 Fourthly, in the act of returning to the erect position, 
 from the introductory bow, the speaker should fall back 
 into the second position of the advanced foot. In this posi- 
 tion, without any delay, he commences speaking. Indeed 
 the address — "Mr. President," or "Mr. Speaker," when 
 it occurs, may be pronounced while in the act of falling 
 back into this — the speaking attitude.* 
 
 * Note to the Teacher. — In the training of the pupil, the bow 
 may at this stage of his progress be combined with the exercise on 
 the changes of the positions of the feet. As he advances from any 
 of the positions, let him occasionally be directed — to advance with 
 the bow and then fall immediately back into the speaking attitude. 
 In case of a class, this may be done by sections, till a good degree 
 
260 MANUAL OF ELOCUTION. 
 
 SECTION II. 
 
 OF MOTION AND REST. 
 
 While engaged in the act of speaking, there is no such 
 thing as a rest of the entire person. The motion however 
 is not indiscriminate ; hence we here bring together some 
 general remarks on the principles by which the action of 
 the speaker is to be regulated. The outline we here draw 
 will be left to be filled up by the taste and good sense of 
 the speaker. 
 
 As regards the Feet, there are two opposite errors, — that 
 of keeping them too fixed and immovable, and that of too 
 great restlessness. The only movements, as we have seen, 
 allowed in ordinary declamation, are advancing and retir- 
 ing. The speaker should advance in the more earnest 
 parts of the declamation, while he retires only in the less 
 animated parts, and at the close of the paragraphs. The 
 point at which the speaker advances, should be when the 
 hand is brought into one of the front positions, on some 
 emphatic word ; and the paragraphic rest should always be 
 made with the feet in the second position, either of the right 
 or the left foot. 
 
 Of the Head and Trunk, it may be remarked, that they 
 have but a slight motion, except merely in sympathy with 
 
 of correctness is acquired; then let them, one by one, in presence of 
 the class, enter upon the stage, present themselves to the audience, 
 fall back into the speaking attitude, retire, advance, &c, under the 
 direction of the teacher. This makes the learner familiar with the 
 stage, and gives him a power of self-possession, which can, it is 
 believed, in no other way be so readily acquired. This may be fol- 
 lowed by the rehearsal of very short pieces — mere paragraphs, for 
 the purpose of training him to the introductory movements, and to 
 entering upon and leaving the stage with ease and grace. — The 
 study of the next two sections will prepare him for practice on 
 longer pieces, after he shall be fully exercised in these more ele- 
 mentary lessons. 
 
MOTION AND REST. 261 
 
 the arms and lower limbs. Embarrassment sometimes 
 keeps the body fixed like a post, and makes the head mo- 
 tionless. These are faults ; and so also are all writhings 
 of the body, shrugging of the shoulders, and sudden turn- 
 ing and jerking of the head, as well as all gestures of the 
 head for the enforcing of sentiment, when not accompanied 
 with the hand. 
 
 The Eyes and Countenance of the speaker are always to 
 be employed. It is by these that an audience conceives 
 itself able to read the real feelings of the speaker, and to 
 judge of his sincerity. While in the act of speaking, the 
 eye of the speaker should search out the eye of every hearer, 
 to give to his address the character of a personal appeal ; 
 but without being fixed on any one so as to call the atten- 
 tion of others to him as the subject of remark. This cau- 
 tion is particularly necessary, when employing the language 
 of invective or public censure, lest individuals should be 
 offended with the idea of being publicly held up as exam- 
 ples of the vices condemned. Even during the rests of the 
 voice, and particularly during the emphatic pauses, the eye 
 and countenance of the orator are full of expression. That 
 which is uttered after such pause receives a part of its im- 
 pressiveness from the idea that it comes forth warm from 
 the heart, the very operations of which have been seen in 
 the countenance and the gesture. 
 
 Of the movements of the Hands and Arms I shall speak 
 more at length ; and for this purpose shall devote to them 
 the next section. Here however it may be remarked, that 
 the arms and hands of the speaker, when not employed in 
 gesture, should hang freely by the side, without the action 
 of a muscle. When entering upon the stage then, and till 
 they are called into requisition for gesture, the young de- 
 claimer is simply " to let them alone." If he can succeed 
 
262 
 
 MANUAL OF ELOCUTION. 
 
 in doing this, the idea of awkwardness, so far as they are 
 concerned, will occur only to himself. At the close of the 
 last gesture, likewise, prior to the termination of a piece or 
 paragraph, the hands should fall to rest by the side. — Thus 
 it appears that the rest of the hand, after it has once been 
 raised in gesture, has a meaning, not less than any other 
 action. 
 
 SECTION III. 
 
 OF THE MOVEMENTS OF THE HANDS AND ARMS. 
 
 1. Of the hand to be employed. — A full development of 
 this subject will involve a brief reference to a variety of 
 circumstances connected with delivery. — When the speaker 
 is reading the sentiments of another from the page of a 
 book, the book should be held in the left hand, directly in 
 front of the breast, and some six inches from the body ; and 
 should be so far depressed as not to conceal from the audi- 
 Fig. 46. Fig. 47. ence the face of the reader. 
 
 Any gesture made by the 
 reader thus embarrassed, must 
 be made with the right hand ; 
 and even this hand, when not 
 needed for purposes of ges- 
 ture, may gently touch the 
 margin or corner of the book, 
 to assist in turning over the 
 leaves. (See Fig. 46.) In 
 reading an original compo- 
 sition, more gesture is ex- 
 pected, but yet it must be confined to the right hand. 
 (See Fig. 47.) In either case the eyes should be taken 
 from the book as often as possible without producing 
 
GESTURES— THE HAND AND ARM. 263 
 
 embarrassment ; and this should be done particularly at the 
 close of the periods. — Any paper which the orator may 
 choose to hold should be held in the left hand ; and except 
 in cases of marked energy, this hand thus employed should 
 not be used in gesture ; and then, never except in connec- 
 tion with the other. — In reading from a manuscript, as in 
 the pulpit, the left hand should rarely be used. 
 
 Even in ordinary delivery, when both hands are free, 
 the right hand takes the decided precedence in gesture. It 
 will be sufficient, therefore, to enumerate some of the occa- 
 sions on which the left hand may be employed. — The mat- 
 te?' of the oration may furnish occasion for the use of the 
 left hand. When, in narrative or descriptive pieces, dif- 
 ferent persons or things are represented as variously dis- 
 posed, or as occupying different positions, the hands may 
 be alternately employed ; also when there is antithesis in 
 the sentiment, or even in the structure of the sentences. 
 On introducing a new argument, or on presenting some 
 new point of discussion, after one in which the right hand 
 has been for considerable time employed, the left hand may 
 even take the -principal gesture. Such alternation of the 
 hands, however, should not be frequent ; nor should the 
 gestures of the left hand be long continued. 
 
 The situation of the speaker may also lead to the employ- 
 ment of the left hand, — as when the persons addressed are 
 on his left side. This may occur on the stage ; and will 
 often occur both at the bar and in halls of legislation, where 
 the judges and the jury, in the one case, and the chair and 
 the house, in the other, — are to be addressed. The one or 
 the other of these will often be at the speaker's left hand. 
 So with the preacher, who wishes to address himself par- 
 ticularly to that portion of his hearers who are on his left. — - 
 Variety may occasionally though rarely. lead to the use .of. 
 
264 
 
 MANUAL OF ELOCUTION. 
 
 the left hand; as may also the attitude of the speaker. 
 Thus, when in earnest gesture, the left foot is projected 
 forward, as it must be, if in such case it is found to be the 
 free foot ; or when, in starting back, the right foot has left 
 the other far in advance, it would be improper to use the 
 right hand for the principal gesture 
 
 Fig. 48. Fig. 49. Fig. 50. 
 
 Both hands may be employed at the same time, in earnest 
 appeal, in expressing the ideas of extent or vastness, and 
 often in animated poetic recitation. In such cases, if the 
 persons addressed are precisely in front of the speaker, the 
 gestures of the two hands will correspond, and will be ex- 
 actly similar, (see Figs. 48, 49 ;) but if the body of the 
 speaker is presented a little obliquely, which is deemed 
 more graceful, then the right hand is usually more elevated 
 or more advanced than the left, (see Figs. 34, 50,)— that 
 of the one being called the principal, that of the other the 
 subordinate gesture. 
 
 2. Of Gesture as Principal and Subordinate. — When 
 both hands are employed in gesture, as just intimated, the 
 one is usually more advanced or more elevated than the 
 
GESTURES— THE HAND AND ARM. 265 
 
 other. Either hand may take the precedence, though this 
 honor is more generally conferred upon the right hand. 
 The hand which performs the principal gesture is called the 
 advanced, and the other the retired hand. The subordinate 
 gesture frequently imitates that of the other hand, and is 
 always in the same direction with it; but is more moderate 
 and reserved. The employment of both hands thus is 
 peculiarly graceful, and is more forcible and expressive 
 than the use of either hand alone. From the part which 
 this subordinate gesture performs, it is not inaptly compared, 
 by Austin, to the accompaniment in music. 
 
 3. Of the Accompaniments of Gesture. — The subordi- 
 nate gesture is one of the accompaniments of the principal. 
 But there are other accompaniments to be attended to. 
 The movements of the lower limbs, of the body, and of the 
 head must all join in harmony with the principal gesture 
 of the hand ; otherwise the movement will be but a mere 
 imitation of nature. And even though the body and limbs 
 should move in perfect concert, w T hile the countenance 
 should remain unmoved and unexcited, the entire action 
 would be but that of a well-contrived automaton. With 
 all of these at perfect command, and employed in harmony 
 with the diversified melodies of the voice, nothing 
 can be wanting for the enforcement of either thought or 
 feeling. 
 
 4. Of Gesture as Preparatory and Terminating. — Every 
 act of gesture consists of two parts — the preparatory and 
 the terminating movement. The last is that for which the 
 gesture is made ; and the former is but the preliminary 
 movement, which of necessity precedes it. The collected 
 state of the hand, for example, belongs exclusively to the 
 preparatory part of gesture. Again, the hand cannot be 
 brought downward in emphatic expression, till it has been 
 
 23 
 
266 MANUAL OF ELOCUTION. 
 
 elevated. The elevation of the arm and hand, then, is the 
 preparatory part of such a gesture. Though, in one sense, 
 this is entirely a subordinate part of gesture, yet on it de- 
 pend essentially the force as well as the grace of its termi- 
 nation. It must be executed, neither too early, so as to 
 leave the arm too long suspended ; nor too late, so as to 
 make the gesture short and hurried. It should appear easy 
 and natural, be made in curved rather than in straight lines, 
 and should seem to be prompted, as indeed it ought to be, 
 by the rising thought. — The terminating part of most ges- 
 tures furnishes an example of what is called the stroke of 
 the gesture. 
 
 5. Of the Emphatic StroJce and Time of Gesture. — When 
 speaking of the voice in the first part of this work, Em- 
 phasis was denned, — The expressive but occasional dis- 
 tinction of syllables, and consequently of the words of 
 which they form a part. It is perfectly obvious, that every 
 mode of giving emphasis by the voice should be suscepti- 
 ble of being accompanied by gesture. Such is the case ; 
 but not every form of emphasis can receive enforcement by 
 the same gesture. For example, in those forms of emphasis 
 of which quantity is the chief element, the hand moves in 
 the horizontal curves, or rises towards the zenith ; whereas 
 in all the forms in which short quantity prevails, the move- 
 ment is downward, and in the vertical circles. Even in 
 those forms of emphasis which require long quantity, the 
 accompanying movement varies with the point at which the 
 stress is laid. In the Median emphasis, the gesture may 
 have no abrupt termination ; while in the Vanishing em- 
 phasis, the gesture terminates abruptly, though with a full 
 extension of the arm outward or upward ; and not, as in the 
 Radical emphasis, with a descent to one of the points de- 
 signated. 
 
GESTURES— TBTE HAND AND ARM. 207 
 
 It is to gestures which have an abrupt termination, and 
 particularly to such as accompany the radical stress, that 
 the remarks under this head are devoted. The instrument 
 with which gesture is made is compound — consisting of the 
 upper arm, the fore arm, and the hand ; and each of these 
 has an independent motion. When the arm is brought 
 down in gesture, it does not, therefore, fall as though it had 
 only an articulation at the shoulder ; but the upper arm 
 first falls into its position, then the fore arm, and then the 
 hand and fingers. This finishes the gesture, and marks its 
 complete termination ; and this action of the hand is called 
 the stroke of the gesture. This is susceptible of every de- 
 gree of force, according to the velocity with which the 
 hand has moved, and the extent through which it has 
 passed ; and should correspond, both as to time and energy, 
 with the vocal emphasis, so that the emphatic distinction 
 given to any syllable by gesture may fall upon the eye at 
 the same point of time with the greatest stress of the voice, 
 and, as regards energy of expression, harmonize with it. 
 
 This requires care, as to the preparatory gesture, that it 
 be not commenced too soon, nor deferred too late ; yet such 
 is the sympathy between the feeling, the vocal expression, 
 and the action, that when once the command of all the 
 elements of expression has been acquired, and freedom of 
 feeling and action has been secured by well-directed prac- 
 tice, there will rarely be any jarring between them : the feel- 
 ing will find a ready and adequate expression, both in the 
 voice and in the accordant gesture. 
 
 6. Of Gesture as Significant and not Significant. — The 
 pointing of the index finger, the placing of the finger on the 
 eye, the laying of the hand on the head or on the breast, 
 would be examples of significant gestures. Gestures may 
 be significant by nature, or may become so by convention. 
 
MANUAL OF ELOCUTION. 
 
 The other class of gestures though less imposing are 
 more important. Of these, Austin says, — " They differ 
 from the others, because they may be used in any part of 
 an oration, and belong to every character of style and 
 speaking, and are as it were the elements and roots of ges- 
 ture, which by their combinations produce its whole power 
 of language and expression. These constitute the compo- 
 nent parts of every style of delivery, whether tame or vehe- 
 ment, argumentative or diffuse, ardent or indifferent, cold 
 or pathetic." To this class belong the gestures of which 
 we are chiefly speaking in this section, — all indeed which 
 are recognised in Fig. 25, and still further represented by 
 Figs. 26 — 40. — More will be said of the significant ges- 
 tures in the Appendix. 
 
 7. Transition of Gesture.- — When the hand has once 
 been brought into action in gesture, instead of dropping to 
 the side, and then being brought up again for a similar 
 purpose, it should generally remain in its position till re- 
 lieved by the other hand, or till it passes into a state of pre- 
 paration for a succeeding gesture. The term transition 
 may be applied to the passing thus from any one gesture to 
 another — whether from one principal gesture to another of 
 the same hand, or from the gesture of one hand to that of 
 the other. The rules for such transitions have been given. 
 The term is however used in a sense more analogous with 
 the same term as applied to the voice, when it is made to 
 
 refer to suoh changes as arise from transitions in the Send- 
 ee 
 
 ment, — whether they are sudden and abrupt; or more 
 gradual, like those which take place in the regular progress 
 of a discourse. At this point, it need only be remarked, 
 that these last-named transitions of gesture should never be 
 made, except when dictated by such transitions of thought 
 and sentiment as call for corresponding changes in the 
 
QUALITIES OF GESTURE. 
 
 vocal expression. Transitions, then, in the management 
 of the voice, and in gesture, are regulated by the same 
 principles.* 
 
 SECTION IV. 
 
 OF THE QUALITIES OF GESTURE. - }" 
 
 From what has been said, it is obvious, that we may 
 with propriety speak of different styles of gesture, suited to 
 different objects and occasions. The better to understand 
 the characteristic difference of these styles, we proceed to 
 enumerate the Qualities on which such difference depends. 
 Those qualities in which the excellence of gesture consists 
 are, Magnificence, Boldness, Energy, Variety, Simplicity, 
 Grace, Propriety, and Precision. These will be briefly 
 noticed, with an allusion to the imperfections to which they 
 are opposed. 
 
 1. Magnificence of Gesture — is secured by perfect free- 
 dom of movement. The arm moves from the shoulder, 
 and the hand is carried through an ample space. The head 
 moves freely, the body is erect, and the step is free and 
 
 * At this point, the attentive learner is prepared successfully to 
 prosecute privately, to any extent, the preparation for his public 
 declamations. First, he should apply the principles of expression 
 to the reading of the selected piece, — at the same time employing 
 with care the suitable emphases and forms of cadence. Secondly, 
 he should study the gestures best suited to all its different parts. 
 Thirdly, when well committed, he should rehearse it by himself — 
 in his study, in the woods, or, like Demosthenes, by the sea-shore; 
 nor need he stop till his execution equals his ideas of excellence, 
 though he may repeat it a thousand times over. Such practice 
 on a single piece well chosen, will benefit the learner more than 
 the mere repetition upon the stage of volumes of the most eloquent 
 matter ever issued from the press. 
 
 f Little more is attempted in this section, than to condense the 
 views of Austin, as set forth in Chap. xx. of the Chironomia. 
 
 23* 
 
270 MANUAL OF ELOCUTION. 
 
 firm. — Opposed to this are contracted gestures, constrained 
 motions, short steps, and doubtful and timid movements. 
 
 2. Boldness of Gesture — is exhibited in striking but un- 
 expected positions, movements, and transitions. It is the 
 offspring of a daring self-confidence, which ventures to 
 hazard any action which it is conceived may either illus- 
 trate or enforce. The courage thus to execute is only 
 valuable, when under the guidance of good taste. — The 
 opposite of this is tameness, which hazards nothing, is 
 distrustful of its powers, and produces no great effect. 
 
 3. Energy of Gesture — consists in the firmness and deci- 
 sion of the whole action ; and these depend very materially 
 on the precision with which the stroke of the gesture is 
 made to support the voice in marking the emphasis. Let 
 bad habits be overcome, and a ready command of all the 
 elements of gesture be acquired, — then will energy of ges- 
 ture be the necessary result of a clear head and a warm 
 heart. — Its opposites are feebleness and indecision. 
 
 4. Variety of Gesture — consists in the adapting of ges- 
 ture to the condition and ever-varying sentiment of the 
 speaker ; so as to avoid a too frequent recurrence of the 
 same gesture, or the same set of gestures. — It is opposed 
 both to sameness of gesture, and to mechanical variety. 
 
 5. Simplicity of Gesture — is perfectly free and unaffected, 
 and appears to be the natural result of the situation and 
 sentiments of the speaker, — presenting evidence neither of 
 studied variety nor of reserve. — Its opposite is affectation. 
 
 6. Grace of Gesture — is the result of all other perfec- 
 tions ; arising from a dignified self-possession of mind, and 
 the power of personal exertion practiced into facility after 
 the best models, and according to the truest taste. This 
 usually therefore depends more on art than on nature ; and 
 has more to do with pleasing the fancy than with producing 
 
QUALITIES OF GESTURE. 271 
 
 conviction. It suggests not a single movement, but sim- 
 ply preserves the gestures employed for other purposes from 
 all awkwardness. — The opposites of this are awkwardness y 
 vulgarity r , or rusticity. 
 
 7. Propriety of Gesture — always indicates some obvious 
 connection between the sentiment and the action. It im- 
 plies the use of such gestures as are best suited to illustrate 
 or to express the sentiment ; and thus often calls into use 
 the significant gestures. — The opposite of this is solecism in 
 gesture, implying the recurrence of false, contradictory, or 
 unsuitable gestures. 
 
 8. Precision of Gesture — arises from the just preparation, 
 the due force, and the correct timing of the action. The 
 stroke of the gesture must not only fall on the emphatic 
 syllable, but its force must exactly suit the character of the 
 sentiment and the speaker. This gives the same effect to 
 action, that neatness of articulation does to speech. — The 
 opposites are — gestures which distract the attention, while 
 they neither enforce nor illustrate the sentiment. Such are 
 most of those which consist in a mere swing of the arm, 
 while the stroke of the gesture is wanting. 
 
 The Styles of gesture, for all practical purposes, may be 
 reduced to three ; the Epic, the Rhetorical, and the Collo- 
 quial. 
 
 The Epic Style is suited to the delivery of tragedy, epic 
 poetry, and sublime description ; and calls into requisition 
 all the qualities of gesture just enumerated. Boldness is 
 peculiar to this style of gesture, and magnificence is rarely 
 admissible elsewhere ; hence these qualities are seldom ex- 
 hibited but in the theatre. 
 
 The Rhetorical Style requires energy, variety, simplicity, 
 and precision ; and cannot be exhibited in its highest per- 
 
272 MANUAL OF ELOCUTION. 
 
 fection, without grace of action. This is the style of oratory 
 — whether in the pulpit, in the senate, or at the bar. 
 
 The Colloquial Style is the opposite of the Epic. The 
 gestures of the hand, when employed, proceed mainly from 
 the elbow, and exhibit only the qualities of simplicity and 
 grace, except so far as precision will follow as a matter of 
 course. The emphasis however is more frequently marked 
 by a moderate nod of the head, than by the movements of 
 the hand. — This style is employed in the intercourse of 
 polite society, and by persons who deliver lectures in the 
 sitting posture. The principal dependence, in such cases, 
 for the effect required, is on the countenance, the direction 
 of the eye, and the intonation of the voice. 
 
GENERAL PRECEPTS. 273 
 
 CHAPTER III. 
 
 GENERAL PRECEPTS. 
 
 SECTION I. 
 
 OF THE FREQUENCY, MODERATION, AND INTERMISSION OF GESTURE. 
 
 Gesture is valuable, only as it illustrates or enforces 
 sentiment. It requires then to be managed with great dis- 
 cretion, lest it seem to take the lead of sentiment, or con- 
 flict with its expression. The absence of gesture is to be 
 preferred to either of these ; and this, it is presumed, is the 
 cause why so little gesture is used among speakers who 
 have not studied the art sufficiently to acquire a confidence 
 in their skill in its employment. The speaking without 
 gesture, or the uttering of exciting sentiments with only the 
 gestures which belong to the colloquial style, is an unna- 
 tural phenomenon — a violent sundering of what nature's 
 earliest and strongest dictates have joined together. The 
 cause of such unnatural disruption, if carefully sought for, 
 will probably be found in the almost total neglect of this 
 branch of elocution in our schools, connected with the idea 
 which most young speakers have, that it is better to use 
 little or no gesture, than to attempt the employment of an 
 agent whose power they have never learned to wield. To 
 avoid the practical errors, then, of speaking without action, 
 or of using too feeble a style of action, the young speaker 
 needs nothing but first to have the full command of the 
 elements of gesture, and then to have his mind strongly 
 imbued with the principles by which he should be guided 
 in their employment. It is to the further development of 
 these principles, that this chapter is devoted. 
 
274 MANUAL OF ELOCUTION. 
 
 One may be in possession of all the elements of the most 
 effective and graceful system of gesture, and yet fail in ap- 
 plying them to practice. The gesture may be varied, grace- 
 ful, and appropriate ; and yet fail of its legitimate effect, 
 from being too frequent or too violent. An important gene- 
 ral precept may be given in regard to both these errors, 
 viz. : — that the orator should never for a moment seem tc 
 lose x his self-possession, or to forget the respect due to the 
 audience whom he is endeavoring to instruct or persuade. 
 Constant action of such a character as to attract any atten- 
 tion, is not required even on the stage. Dr. Gregory says 
 of Garrick, — " He used less action than any performer I 
 ever saw." The orator then may well put himself on his 
 guard against all excess both as to frequency and violence. 
 By so doing, he will preserve his own dignity and secure 
 the respect of his audience, at the same time that he will 
 be able to keep the command of himself. With only mo- 
 derate gestures, accompanied with moderate tones of the 
 voice, the passions of the speaker can never get beyond his 
 control. 
 
 1. To be more particular, gesture should be in accord- 
 ance with the character of the speaker. — With the actor, the 
 character may be assumed ; and the action may thus vary 
 as the assumed character varies. The orator, except when 
 for a moment he would personate another, always appears 
 in his own — his true character ; and he should use caution 
 never to transcend the standard of manly decorum which 
 he deems suitable to himself. This standard however 
 should be fixed with reference to the age of the speaker, 
 and to his position in society ; — more vivacity and variety 
 being allowed in the young speaker than with one who is 
 aged, or in the pleader at the bar than with the judge oa 
 the bench. — Within this outermost limit of propriety fixed 
 
GENERAL PRECEPTS. 275 
 
 by the speaker's idea of decorum, there are many stages. 
 The gesture of the same speaker may then vary with his 
 feelings, never transcending them, even though he sup- 
 poses them below the interest of his subject. The voice 
 also, as the best index of the feelings, should do much to 
 regulate the action. If it be languid and dull, it will be 
 in vain to attempt any thing like energy or brilliancy in the 
 action. So also the sentiment and the style of the language 
 employed may determine the frequency and energy of the 
 action, within the limits prescribed. 
 
 2. The orator should adapt his style of gesture to the 
 character of his audience. — This is so obvious as scarcely to 
 need illustration. An address to a popular assembly admits 
 a boldness of action, which would be considered entirely 
 out of place in one delivered to a prince, or in an argument 
 before a bench of judges. The animated popular harangue 
 admits a style of gesture bordering on the very extreme 
 limit to which decorum allows the speaker to proceed. 
 
 3. The orator should vary his style of gesture, with the 
 objects of his address. — Abstract reasoning and demonstra- 
 tion have nothing to do with oratory ; and just so far as the 
 speaker makes his address to the understanding alone, so 
 far may he discard all the aids of rhetorical action. The 
 syllogisms of the logician, mere naked evidences of facts, 
 and law arguments, w T ould be examples of appeal to the 
 understanding alone ; and any considerable action would 
 in these cases be entirely out of place. Facts, statistics, 
 the details of calculation and finance, evidence, law, and 
 logical deductions, occupy a prominent place at the bar 
 and in the business of legislation ; and just so far as these 
 exclude appeals to the feelings, and to the heart, gesture is 
 unimportant. Only that of the most limited kind is called 
 into requisition. Of the same character also are those ser- 
 
276 MANUAL OF ELOCUTION. 
 
 mons or portions of sermons in which the doctrinal points 
 of Christianity are discussed and explained, where fidelity 
 and precision are chiefly requisite. — But if persuasion be 
 the object, as in most appeals from the pulpit, as on 
 many occasions which arise in the senate, and as is gene- 
 rally the case, when the advocate wishes to influence the 
 opinions of a jury, then will the orator use more graceful, 
 more flowing, and more various gesture. Feeling and 
 imagination constitute the only basis of gesture. In the 
 absence of these, it follows, then, that action should be 
 wholly intermitted. This may occur w 7 ith a transition in 
 the sentiment, in the very midst of a discourse, and after 
 the hands may have been fully employed in action. Such 
 intermission of gesture is usually preceded by a para- 
 graphic rest. All action of the hands and arms may like- 
 wise be intermitted during a burst of rapid utterance, or in 
 the expression of deep and overwhelming emotion, as in 
 despair and inconsolable grief. In the one case, the ges- 
 ture cannot be effectually applied, for want of time for the 
 preparatory movements ; and in the other, the soul seems, 
 in giving expression to its wo, to disdain all art, relying 
 solely on the tones of the voice and the expression of the 
 countenance, sometimes even refusing the aid of words. 
 Action would be as inappropriate at such times, as its ab- 
 sence would be in giving utterance to the active passions. 
 A more particular application of some of these principles 
 to the different parts of a discourse will be presented in the 
 next section. 
 
GENERAL PRECEPTS. 277 
 
 SECTION II. 
 
 OF GESTURE AS CONNECTED WITII THE DIFFERENT PARTS OF A 
 DISCOURSE. 
 
 All discourses are not alike in their structure and ar- 
 rangement ; hence no technical rules can be laid down — 
 such as can be applied by the speaker in any instance with- 
 out thought and reflection. But yet, all discourses have a 
 beginning and an end, and consist mainly of an introduction, 
 of narrative or explanation, of argumentation, of appeals ts 
 the feelings, and of a conclusion. These are not all found 
 in all discourses ; nor do they always occur in the same 
 order. In orations, sermons, lectures, and even popular 
 harangues, — indeed almost everywhere except in delibera- 
 tive bodies where the speaker is well known, and may 
 have previously addressed his fellow members on the 
 subject in hand, there will be with rare exceptions 
 something like an introduction, more deliberate and unim- 
 passioned than that which follows; and a conclusion, dif- 
 fering somewhat from that part which has preceded. If 
 the discourse has been mainly argumentative, then the 
 conclusion or peroration may, and generally will, be the 
 most impressive part. If, on the contrary, it has consisted 
 mainly of an exciting appeal, the conclusion may partake 
 rather of the nature of an address to the judgment, lest the 
 audience should too suddenly forget why they had been 
 moved. 
 
 In no speech, or discourse, does the orator change his 
 own character, in the sense in which an actor may do it. 
 Yet in a practical and very important sense he may change 
 his character. As a reasoner, engaged in the more deli- 
 berate parts of his discourse, he sustains a relation to his 
 audience quite different from that which he bears, as the 
 
 24 
 
278 MANUAL OF ELOCUTION. 
 
 exciter of their passions and the mover of their hearts. 
 Consistency of character does not then demand a perfect uni- 
 formity in the gestures of the orator. Neither does the rea? 
 character of an audience change in any very literal sense, 
 during the delivery of a discourse ; and yet practically 
 there is a change. Two distinct assemblies can scarcely 
 differ more, than the same audience when curiously 
 listening for the first time to the opening accents of a 
 speaker's voice, and when again they sit absorbed in 
 thought, their judgments convinced by his reasonings, and 
 their feelings swayed and moved in perfect sympathy with 
 his own. If we refer to the objects of the address, it is the 
 same. Almost every discourse has, or should have, some 
 leading object in view ; and yet this is perfectly consistent 
 with a series of subordinate objects — extending from the 
 first effort to conciliate the feelings of those whom the 
 speaker addresses, onward to the last impression which he 
 would leave on the minds of his audience. — No one of the 
 principles, then, developed in the last section, requires that 
 the gestures be uniform throughout a discourse. 
 
 Of the matter of the introduction to a discourse, it is 
 not my purpose to speak. But, obviously, the introduction 
 should have for its object to conciliate the audience, to be- 
 speak their favor, to secure their attention, or to prepare 
 them to receive the impression the speaker wishes to make. 
 In an introduction, these objects may all be united ; nor can 
 any of them be better secured than by an air of simple 
 modesty on the part of the speaker. No mark of respect 
 should be overlooked. The low pitch and the small 
 volume of voice heretofore recommended are indicative of 
 such respect ; and his entire action should accord with this 
 feeling. The eye should rather be downcast, than staring ; 
 the countenance should be composed ; and as to gesture, 
 
GENERAL PRECEPTS. 279 
 
 there should be none or but very little, nor should that 
 transcend the colloquial style. 
 
 That part of a discourse devoted to narration, as in 
 pleadings at the bar ; or to explication, as in most sermons, 
 has more of action, as it has more of earnestness ; and more 
 freedom of gesture, as the feeling of modesty on the part 
 of the speaker becomes absorbed in the interest of his sub- 
 ject. In this, therefore, as also in the argumentative parts 
 of a discourse, the colloquial style of gesture will often 
 yield to the rhetorical ; and the interest of the speaker, as 
 he approaches the conclusion of an argument, or the climax 
 of his successive trains of thought, will exhibit itself in a 
 freer movement of the arm, and a louder tone of voice. 
 
 The force and chief ornaments of gesture will be reserved 
 by the judicious speaker for those parts of his discourse 
 for which he reserves the brilliancy of language and of 
 thought ; that is, for those parts which are intended to ap- 
 peal to the feelings of his audience. On these parts alone 
 can the orator's powers be fully exhibited ; nor should any 
 attempt be made to protract the pathetic or exciting parts 
 of a discourse to any great length. Just so long, however, 
 as the voice and the language are in consonance with these 
 warm emotions, should the gesture remain free and uncon- 
 strained ; and till we find the place from which boldness 
 and magnificence of language are excluded, there will be 
 no occasion to exclude even the epic style of gesture. The 
 proper occasions for its employment, however, are rare, and 
 from the nature of the case must be of short continuance. 
 
 In passing, it may be remarked, that every part of an 
 oration or other discourse may have its digressions ; and 
 these, it is obvious, are to be pronounced with a voice and 
 gesture suited to their spirit, even though gesture be wholly 
 suspended by their recurrence. These, then, should but 
 
290 MANUAL OF ELOCUTION. 
 
 rarely, perhaps never, occur in those parts which are ad- 
 dressed to the passions. These interruptions turn aside the 
 current of feeling, and give the subject of the emotion time 
 to rally his powers of resistance. 
 
 Of the conclusion, it may be sufficient to say, that the 
 gestures should correspond with its spirit — its matter, and 
 the feeling with which it is pronounced. It may, or may 
 not, be accompanied with gesture ; and when it is, the ges- 
 ture may be more or less bold and free. — The final adjust- 
 ment of the hands to rest, at the close either of a paragraph 
 or a discourse, is most graceful, when immediately preceded 
 by a gesture of the right hand alone ; and that, some other 
 than a cross gesture. The gesture of both hands, or even 
 the cross gesture of the right, should then be avoided as a 
 concluding gesture. 
 
APPENDIX. 
 
 CHAPTER IV. 
 
 HINTS ON THE ELOCUTION ADAPTED TO THE PULPIT. 
 
 He who supposes that Elocution is to be studied for the 
 express purpose of producing a variety in the vocal move- 
 ments, and an amount of action in speaking, proportioned 
 to the profusion with which nature has furnished the ele- 
 ments of expression, has mistaken its object. The study 
 of Elocution has for its object to improve the taste and 
 correct the judgment as regards the extent to which into- 
 nation and gesture shall be carried, and also as to the kind 
 to be employed, as well as to furnish the materials from 
 which to make the selection. The principles of Elocution 
 are as necessary to teach one when to abstain from the 
 vocal expression of excited feeling and from action, as 
 when to use them ; and as necessary to direct him who 
 uses the least of oratorical expression, as him who uses the 
 most. " This art," says some one, speaking particularly 
 of gesture, "may serve the same excellent purpose to 
 the awkward gesticulator, for which the father sent his 
 clownish son to the dancing school, that he might learn to 
 stand still." 
 
 The just elocution of the pulpit, however, is as far re- 
 moved from a state of perfect inaction, as from the pas- 
 sionate and diversified action of the theatre. The latter, all 
 unite in condemning as unsuited to the true dignity of the 
 pulpit; while the former also is equally condemned by all 
 
 24* 281 
 
282 MANUAL OF ELOCUTION. 
 
 sensible men. Addison deemed it a just cause of com- 
 plaint, that the preachers of his time " stood stock still in 
 the pulpit, and would not so much as move a finger to set 
 off the best sermon in the world ;" at the same time that he 
 remarks on the " smooth continued stream" in which their 
 words flowed, and the " insipid serenity" of countenance 
 of their orators generally. Sheridan repeats the same 
 charge against the pulpit in particular; and says that on 
 this account, " the greater part of the members of the 
 English church are either banished from their places of 
 w T orship through disgust, or reluctantly attend the service 
 as a disagreeable duty." There must be an Elocution, 
 then, which is adapted to the pulpit, — which so harmonizes 
 with the place and with the subjects usually treated there, 
 as to please and gratify the eye, at the same time that the 
 ear is delighted with the melody of a well-trained voice. 
 To adopt the language of an old English divine, — " I ima- 
 gine, that through the regulations of taste, the improvements 
 of experience, the corrections of friendship, the feelings of 
 piety, and the gradual mellowings of time, — such an elocu- 
 tion may be acquired as is above delineated ; and such as 
 when acquired will make its way to the hearts of the 
 hearers, through their ears and eyes, with a delight to both 
 that is seldom felt ; whilst, contrary to what is commonly 
 practiced, it will appear to the former the very language of 
 nature, and present to the latter the lively image of the 
 preacher's soul." And with this same writer I will add, 
 « Were a taste for this kind of elocution to take place, it is 
 difficult to say how much the preaching art would gain 
 by it." 
 
 The pulpit furnishes the best field for a powerful oratory, 
 that the world has ever seen. The themes it presents for 
 discussion are sufficiently various, and all of them involving 
 
ELOCUTION OF THE PULPIT. 283 
 
 interests of the very highest moment — the interests not of 
 small portions of the audiences addressed, but "the uni- 
 versal and most important interests of mankind ! far beyond 
 those for which the thunder of Demosthenes rolled in 
 Athens — far beyond those for which Cicero shook the 
 senate-house in Rome." The pulpit orator also enjoys a 
 freedom of selecting and adapting his subjects to the case 
 in hand, and to his own taste and powers, which is 
 scarcely found elsewhere ; and these are such as to raise 
 him above the charge either of weakness or affectation, 
 however warm and ardent may be his appeals. Every one 
 knows that for him not to feel — would of itself prove him 
 unfit for the place he occupies. In proof of the inspiration 
 connected with the pulpit, many of the sermons which have 
 been preserved, in Latin, in English, and in French, are 
 enriched with all the taste of classic elegance ; and as 
 specimens of written eloquence, have scarcely been sur- 
 passed or even equaled. It is fortunate for the church and 
 the world, as well as for the cause we advocate, that there 
 have also been in the church those who were masters of all 
 the arts of oral eloquence, from the Patriarch of Constanti- 
 nople,* who was himself the pupil of the most celebrated 
 rhetorician of his time, down through every age of pros- 
 perity in the church, even to the present day. The perfect 
 union of the chaste style of many of the English divines 
 with an action which shall give to him who effects it a dis- 
 tinction equaled only by his usefulness, is an object which 
 may well excite the emulation of some of the many young 
 men of our country, who, called by God to the sacred 
 
 * He has been called the Homer of orators, and was surnamed 
 Cnrysostom, which signifies golden mouth, on account of his 
 eloquence. 
 
284 MANUAL OF ELOCUTION. 
 
 office, are preparing themselves for the responsibilities of 
 their high calling. 
 
 But what are the peculiar elements that belong to the 
 Elocution of the Pulpit ? — As regards the voice, very little 
 remains to be said here. The principles of vocal expres- 
 sion have been pretty fully discussed ; and nothing can be 
 more obvious, than that the preacher should have the per- 
 fect command of every pitch of his voice, of every degree 
 of force, and of all the elements of expression. Still the 
 elements of dignity and energy should greatly predominate 
 in most of the exercises of the pulpit. Portions of almost 
 every sermon, however, should be pronounced with the 
 natural voice, and in the diatonic melody; while there 
 are occasions of frequent occurrence, on which the success 
 of the preacher's appeal depends entirely on the employ- 
 ment of the elements of Plaintiveness. Without these, he 
 can neither make others feel, nor make them believe that 
 he has feeling himself. — With only some further incidental 
 allusions to the voice, we shall devote the section to an 
 enumeration of a few of the principles by which the action 
 of the pulpit should be regulated. 
 
 In general it may be remarked, as regards the sermon 
 merely, that just as far as it partakes of the character of an 
 oration, or ordinary discourse, so far are all the suggestions 
 of the last chapter applicable to it. I choose, however, for 
 the purpose of making this subject strictly practical, to 
 extend my remarks so as to cover all the action of the 
 Christian minister, while in the house of God ; and shall 
 reduce all I deem it important here to say, to a very few 
 general principles. 
 
 First. — The preacher should studiously avoid every 
 thing in his manner, which can have a tendency to divert 
 the attention of his hearers either from the sacredness of the 
 
ELOCUTION OF THE PULPIT. 285 
 
 occasion, or the matter of the subjects discussed. — The 
 most objectionable manner which he can assume, is that by 
 which he seems to make an effort to show off himself 'to 
 advantage. Thus if he enters the church, or ascends the 
 pulpit, or rises in it to address the assembly, with the air 
 of a fine gentleman, " as if he were practicing the lessons 
 of an assembly-room," his audience cannot but perceive the 
 incongruity, and lose their confidence in him as a divinely 
 inspired teacher.* For the same reason, any attempt to 
 adjust the hair or any part of the clothing is particularly 
 objectionable in the Christian minister. It suggests the 
 idea, that his thoughts are concerned about his personal 
 appearance. Nearly the same objection lies to the reading 
 of the hymn, or the performing of any of the other prelimi- 
 nary or closing exercises in a rJietorical manner, or with 
 any gesticulation ; or to the employment, at any time, in the 
 pulpit, of theatrical action, such as folding the arms, and 
 the like. This appears like an attempt to display his ora- 
 torical powers ; and is entirely at variance with the air of 
 modest dignity which should chiefly characterize these 
 exercises, f 
 
 * What ! — will a man play tricks — will he indulge 
 A silly fond conceit of his fair form, 
 And j list proportion, fashionable mien, 
 And pretty face 5 in presence of his God ? 
 Or will he seek to dazzle me with tropes, 
 As with the diamond on his lily hand, 
 And play his brilliant parts before my eyes, 
 When I am hungry for the bread of life 1 
 He mocks his Maker, prostitutes and shames 
 His noble office, and, instead of truth, 
 Displaying his own beauty, starves his flock. 
 
 How a body so fantastic, trim, 
 
 And quaint, in its deportment and attire, 
 Can lodge a heavenl}' mind — demands a doubt. Task. 
 
 j- Fenelon says, — " Sometime ago, I happened to fall asleep at a 
 ermon; and when I awaked, the preacher was in a very violent 
 
286 MANUAL OF ELOCUTION. 
 
 There are a thousand other ways in which the preacher 
 may, by carelessness, or by habit, divert the attention of his 
 audience from the matter in hand. Dr. Porter says, — " In 
 minor points, what constitutes decorum depends not on 
 philosophy nor accident, but on custom. From real or 
 affected carelessness on such points, the preacher may fix 
 on some trivial circumstance, that attention of his hearers, 
 which should be devoted to greater things. He may do 
 this, for example, by standing much too high, or too low in 
 the pulpit ; by rising, as in the act of commencing his ser- 
 mon, before the singing is closed ; or delaying for so long 
 an interval as to excite apprehension that something has 
 befallen him ; by an awkward holding his Psalm-book, or 
 especially his Bible, with one side hanging down or doubled 
 backwards ; by drawing his hands behind him, or thrusting 
 them into his clothes. " — He will as certainly accomplish 
 this object, by adopting awkward and false attitudes, by 
 any unusual contortions of the features of the face, by fin- 
 gering the leaves of the Bible, by handling his handker- 
 chief too frequently, or by any other misuse of his hands. 
 For a specification of particulars under these heads, see 
 lists of errors appended to Sections III, IV, and V, of 
 Chap. I, Part II. 
 
 The voice of the speaker also may be instrumental in 
 turning aside the attention of the hearer. The commencing 
 on too low or too high a note ; with too full or too feeble a 
 voice ; the employment of a drawling manner, or of any 
 peculiar tones or quality of the voice ; any unusual mode 
 of announcing the text, or the hymn, — these are but a 
 
 agitation, so that I fancied, at first, he was pressing some important 
 point of morality. But he was only giving notice, that on the 
 Sunday following, he would preach on repentance. — I was ex- 
 tremely surprised to hear so indifferent a thing uttered with so 
 much vehemence." 
 
ELOCUTION OF THE PULPIT. 287 
 
 few examples of the various ways in which the teacher 
 of divine truth may himself contribute to destroy the effect 
 of his own instructions. — Of the same character is the mis- 
 applied use of the Vocule,* as when heard at the close of 
 sentences in prayer, and sometimes in the delivery of ser- 
 mons from the pulpit, to the entire destruction of devotional 
 feeling in the heart of every one whose ear is not equally 
 insensible to all the beauties as well as the defects of 
 delivery. 
 
 Second. — The preacher's manner should be characterized 
 by reverence and modesty. — He should feel reverence for 
 the place, as the sanctuary of the Most High ; and modesty, 
 as being what he is, only by grace. In view of the first 
 of these principles, " Gesture," in the language of Dr. 
 Porter, " is felt to be unseasonable in personating God, 
 and in addresses made to him. When we introduce him as 
 speaking to man, or when we speak of his adorable per- 
 fections, or to him in prayer, the sentiments inspired demand 
 composure and reverence of manner. Good taste then can 
 never approve the stretching upward of the hands at full 
 length, in the manner of Whitefield, at the commencement 
 of prayer ; nor the frowning aspect and the repelling move- 
 ment of the hand, with which many utter the sentence of 
 the final judge, < Depart, ye cursed,' &c." Good taste, 
 on the same general principle, also cannot fail to condemn 
 any thing like a low anecdote, or a jest, in the pulpit. 
 
 'Tis pitiful 
 To court a grin, when you should woo a soul : 
 To break a jest, when pity would inspire 
 
 * 1 have recently seen this characterized, in some one of our reli- 
 gious newspapers, as the "pious grunt." By whatever name 
 called, it cannot but be in a high degree offensive to any but the 
 most perverted taste. 
 
288 MANUAL OF ELOCUTION. 
 
 Pathetic exhortation ; and to address 
 The skittish fancy with facetious tales, 
 When sent with God's commission to the heart! 
 So did not Paul. 
 
 In regard to the last of these principles, Austin, himself 
 a clergyman, remarks : — " If, on ordinary occasions, and in 
 the common business of life, modesty of countenance and 
 manner be a commendable grace in a public speaker ; such 
 modesty is much more to be desired, or is rather indispen- 
 sable, in the sacred orator. When he pours out the public 
 prayers to God, when he reads and expounds his laws ; he 
 cannot fail to recollect, that he is himself equally obnoxious 
 to their sanctions, and equally in need of mercy as his con- 
 gregation ; and that he kneels only as one among the sup- 
 plicants, and that he stands up only as one among the 
 guilty before his unerring judge. Vanity and presumption 
 in such a situation would be more than indecorous. Hu- 
 mility is the proper characteristic of a Christian minister." 
 «• But this humility," it is very properly added, « is not 
 incompatible with earnestness of manner, nor with the just 
 confidence which every public speaker should appear to 
 have in the truth of what he delivers." 
 
 It is on this general principle, that the use of the free 
 Diatonic Melody, or of the strongly marked Downward 
 Slides, would be improper in the language of prayer, or in 
 reading or repeating the words in which God has chosen 
 to address mankind. — It is thus that all personal invective, 
 whether by word or action, and every tone and look ex- 
 pressive of indignation, are excluded. — It is on this ac- 
 count likewise, that all the artifices of the stage — 
 All attitude and stare 
 And start theatric, practiced at the glass, 
 
 are excluded from the sacred desk. Cicero censures the- 
 
ELOCUTION OF THE PULPIT. 
 
 atrical action even at the bar ; how much less appropriate 
 is it to the pulpit ! Even the orator's art is employed here, 
 only to give expression to real feeling. Every species of 
 cant or affectation is then excluded from the pulpit ; and 
 why should it not be, when a firm belief in the truth of 
 the principles to be inculcated, and a serious feeling of 
 their importance, remove all necessity of any affectation, 
 either of voice or manner ? Such belief and such feeling, 
 on the part of the preacher, says Dr. Blair, « will always 
 give an earnestness and strength, a fervor of piety to his 
 exhortations, superior in its effects to all the arts of studied 
 eloquence ; and, without it, the assistance of art will seldom 
 be able to conceal the mere declaimer." 
 
 Without the Christian sensibility here referred to, and 
 that expansion and elevation of soul which can arise only 
 from a just feeling of religious truth, it is admitted that all 
 the arts of elocution are vain to constitute a Christian 
 minister. These are presupposed, as at the very basis of 
 Christian oratory; since, without them, preaching, with 
 every attraction that can be thrown about it, will be but 
 " as sounding brass or a tinkling cymbal." It is, however, 
 perfectly consistent with this admission, that the religious 
 teacher should do all in his power to improve his taste and 
 judgment, as to the most effective means of giving expres- 
 sion to his feelings ; and that he should train his voice to 
 the execution of all that a taste thus improved can direct. 
 And this can scarcely be done, but by the study of elocu- 
 tion according to some good system. Without such study, 
 Christian sensibility often expresses itself in an almost un- 
 broken Monotone, rendered perhaps still more offensive 
 by the constant employment of the Chromatic Melody, or 
 of the Tremor, — elements of great power when properly 
 employed, but never intended to be desecrated by constant 
 
 25 
 
290 MANUAL OF ELOCUTION. 
 
 use. Indeed the pulpit is very specially exposed to mo- 
 notony, while the dialogue of the stage almost effectually 
 excludes it ; and even in the senate and at the bar, a free 
 colloquial style of delivery is much more naturally and 
 universally adopted. 
 
 Third. — The preacher should never seem, by any pecu- 
 liarity of manner, to lose the command of himself. — In ad- 
 dition, then, to improving the taste and cultivating the voice 
 by study, the Christian orator should discipline his will to 
 a perfect self-possession. Calmness and collectedness of 
 manner alone seem accordant with the solemn grandeur of 
 his work. To such self-possession, a perfect command of 
 the gestures greatly contributes, because by restraining the 
 action when it is in danger of becoming excessive, a more 
 perfect control is preserved over the mental excitement ; and 
 even aside from this, such restraint may conceal the strong 
 workings of passions, which though the speaker may feel, 
 it may not be expedient for him fully to express. 
 
 The action of the pulpit differs from that of the stage 
 only in degree. It is performed by the same beings, by the 
 use of the same instruments, and for the same general pur- 
 poses. It cannot, then, be expected to differ, in all respects, 
 from the action of the theatre ; but only so far as it is put 
 forth under different conditions. One of these conditions, 
 and the one to which our attention is here chiefly directed, 
 is — that the preacher is not at liberty to indulge in any 
 public expressions of excitement, which can properly be 
 construed into a violation of the principles of self-respect, 
 or of true dignity of character. Such, I conceive to be all 
 bawling and vociferation in the pulpit — a vice of pulpit 
 oratory always condemned, yet practiced by too many, re- 
 gardless alike of its destructive effects on themselves, and 
 of its unfitness for their purposes. Such also is the smiting 
 
ELOCUTION OF THE PULPIT. 291 
 
 of the pulpit or the Bible with the hands, or stamping with 
 the ket; or, except under very special circumstances, weep- 
 ing so as to distort the countenance, or interrupt the regular 
 flow of delivery. — How different the effect of such exhibi- 
 tions, from that produced by the earnest but graceful action 
 of him who stands up in the true dignity of an ambassador 
 for Christ ; and, while perhaps the manly tears may dim 
 his eye or fall in rapid succession over his cheek, yet with 
 firm and unfaltering voice, prays his fellow men in Christ's 
 stead to be reconciled to God ! 
 
 I shall close these suggestions with a few words in re- 
 gard to the proper structure of pulpits. — From time imme- 
 morial, both in England and in this country, the local 
 situation of the preacher has been any thing but favorable 
 for either the graces or energies of delivery. The state of 
 things in this respect is improving ; and just as soon as the 
 principles of delivery are properly understood by those who 
 occupy our pulpits, will there be a universal change. — The 
 platform upon which the preacher stands, should be raised 
 only about as high as the breasts of the congregation ; and 
 for extemporaneous delivery, all that is required farther is 
 a chair or sofa, and a table not sufficiently high to embarrass 
 the action of the speaker. The lights also should be mov- 
 able ; and, if possible, should be so arranged as not to in- 
 terfere with the free action of the arms, even when in the 
 horizontal oblique or extended positions. Till our churches 
 shall be generally arranged according to some such plan, 
 our pulpit orators will have to modify their action to con- 
 form to the various situations in which they may be placed, 
 and sometimes almost wholly to refrain from gesture ; or else 
 become themselves the subjects of unpleasant criticisms, 
 which, however, properly belong not to them, but to the 
 place in which they officiate. * 
 
292 MANUAL OF ELOCUTION, 
 
 CHAPTER V. 
 
 OF THE ACTION ADAPTED TO DRAMATIC REPRESEN- 
 TATION. 
 
 SECTION I. 
 
 OF THE ELEMENTS OF DRAMATIC ACTION. 
 
 Of the vocal expression adapted to the Drama, nothing 
 remains to be said. The vocal elements have been so 
 fully presented, and so many hints have been given in re- 
 gard to their employment for purposes of expression, that it 
 is believed nothing but practice on proper examples is re- 
 quisite, to give to the learner all the vocal capabilities pos- 
 sessed by the most distinguished orators or actors. As 
 however this Manual has in view mainly to assist in form- 
 ing the orator, most of the examples given have been 
 selected with reference to this. — Even the elements how- 
 ever of Dramatic action have not all been presented. This 
 section is intended to supply this defect. 
 
 It would not perhaps be entirely easy to point out the 
 precise difference between the action suited to oratory, and 
 that of the stage. The principle, however, on which this 
 difference depends has been before hinted at : the actor 
 appears in an assumed character, while the orator appears 
 in his own. It is the part of the actor, then, to represent 
 and sustain the character which he has assumed ; and this 
 may be entirely at variance with the dignity of oratory. 
 The actor personates every passion and feeling which makes 
 up the human character, — from the nobler passions and 
 manners of the hero, down through those of common life, 
 even to the vulgarity of the buffoon ; hence the different 
 
DRAMATIC ACTION. 293 
 
 grades of actors, from the tragedian down to the performer 
 of low comedy. He may imitate nature ; while imitative 
 action is denied to the orator. He may be affected, he may 
 be extravagant, or exhibit the weakness of ungovernable 
 emotion ; while, as regards the orator, affectation defeats 
 his objects, extravagance disgusts his audience and renders 
 him ridiculous, and weakness gives him over to contempt. 
 
 We here find a sufficient reason, why the action of the 
 theatre can never be taken as a model for the orator. Yet 
 as in the theatre all the qualities of perfect gesture are re- 
 quired, the action of the stage may furnish many useful 
 hints to the discriminating orator. It has been well said, — 
 « He may learn from the theatre energy *, variety and preci- 
 sion of action. The simplicity of action he must derive 
 from his own unaffected sincerity; and grace from habit 
 and taste. And as to the other qualities, he must know how 
 to use them discreetly, or to retrench them altogether. But 
 he must carefully guard against attempting to introduce the 
 full license of theatrical action into rhetorical delivery of 
 any kind. If he be a mere imitator, and cannot discrimi- 
 nate, his gesture will be the subject of just reprehension." 
 
 Dramatic action, as distinguished from oratorical, consists, 
 then, primarily, in the exhibitions of other passions, or of 
 the same passions in a higher degree of excitement. The 
 tendency of this excitement is — to render the muscles rigid, 
 to lengthen the step, and to give rapidity to all the move- 
 ments of the body. A secondary element of difference may 
 now be presented, which is found in the fact, that the actor 
 has for his object to please rather than instruct. Hence, if 
 he can better accomplish his object thereby, his action may 
 take the lead of his sentiment, and become itself as it not 
 unfrequently does upon the stage, the chief object of attrac- 
 tion. To render it thus, he not only uses all Ihe varied 
 
 25* 
 
294 MANUAL OF ELOCUTION. 
 
 action allowed to the orator, but uses it more freely than 
 oratory allows ; and superadds to this, as we have just 
 suggested, other elements of gesture still, by the employ- 
 ment of which Boldness and Magnificence of gesture are 
 produced, which constitute the chief characteristics of the 
 Epic style. The principal of these new elements we shall 
 now enumerate. 
 
 The Feet and Lower Limbs. — Under the influence of 
 strong excitement, as when one advances with boldness 
 or retires in alarm, the positions of the feet before described 
 may be exhibited in what may properly be called an ex- 
 tended state, which consists simply in a wider separation of 
 the feet. The moderate step, which is most graceful in ora- 
 tory, in the theatre may often become a stride ; and while the 
 orator is limited to the simple movement of advancing and 
 retiring, and that by a single step, the actor may traverse 
 the whole stage, as he is moved by passion or by the cir- 
 cumstances of the scene. — Instead of moving on the stage 
 only backwards and forwards, in dramatic action and in all 
 dialogue the movement may be lateral. If it is in the 
 direction of the free foot, the person is said to traverse ', and 
 he falls into the same position as when he advances. If 
 the movement is in the contrary direction from the free foot, 
 he crosses ; — if from the second position, carrying the free 
 foot forward of the other, and falling into the first position 
 of that foot ; if from the first, carrying it behind the other 
 and falling into the second position of the advanced foot. — 
 It is by the aid of the lower limbs also, that the actor kneels, 
 or starts, or stamps. 
 
 The Trunk. — The erect posture has been presented as 
 the only one suited to the dignity of the orator. Indeed the 
 manly attitude of the body, which neither inclines nor 
 stoops, with the head in an erect and natural position, as 
 
DRAMATIC ACTION. 295 
 
 exhibited in the painting of Washington by Trumbull,* 
 may be presented as the very symbol of dignity. Grief 
 depresses the body, and the person under its influence is 
 said to be cast down ; while pride may throw the body back 
 too far. The expression of the passions however depends 
 more upon the head than upon the trunk, which rarely gives 
 any expression but in sympathy with the lower limbs, as in 
 kneeling or prostration, or with the head, or the arms and 
 hands. 
 
 The Head and Eyes. — When the head is hung down, 
 it expresses humility 7 ; when turned upwards, arrogance ; 
 and when inclined to one side, languor or indifference. Be- 
 side these, and, says Quintilian, « beside those motions, 
 which by a nod signify assent, or rejection, or approbation; 
 there are other motions of the head known and common to 
 all, which express modesty, doubt, admiration, and indig- 
 nation." These are expressions which oratory has little 
 occasion to exhibit : hence a reference to them has been 
 reserved for this place. — The positions of the head, which 
 have been distinctly designated, and most of which are used 
 only in theatrical expression, are as follows : — 
 
 The Head alone. The Head considered with reference 
 
 Inclined t0 the direction of tne Eyes. 
 
 Erect. ' Forward. 
 
 Assenting. Averted. 
 
 Denyino-. Downward. 
 
 Shaking. Upward. 
 
 Tossing. Around. 
 
 Aside. ° Vacuity, or Vacancy. 
 
 The Countenance. — " It is of man alone," says Sir 
 Charles Bell, "that we can with strict propriety say, the 
 
 * This portrait is in the gallery of paintings belonging to Yale 
 College; an engraving of it may be found in the National Portrait 
 Gallery, vol. i. 
 
296 
 
 MANUAL OF ELOCUTION.! 
 
 countenance is an index of the mind, having expression 
 corresponding with each emotion of the soul. Other ani- 
 mals have no expression but that which arises by mere 
 accident, the concomitant of the motions necessary to the 
 accomplishment of the object of the passions."* The ex- 
 pression of pride, of shame, of despair, of anger, of con- 
 tempt, of terror, or of any vehemence of passion, finds no 
 place in oratory. There is no passion however, or degree 
 of excitement, but may be exhibited on the stage. These 
 passions find a partial expression in words and in the tones 
 of the voice; but unaccompanied with the appropriate 
 expression of the countenance, the symbols of feeling would 
 make but a faint impression. 
 
 The Hand. — The positions of the hand have been pre- 
 sented to the learner as depending on four circumstances. 
 As regards the first — the disposition of the fingers, besides 
 the natural state, and the others which were described as 
 having an occasional place in oratory, others still may be 
 enumerated for purposes of significant expression. 
 
 The hand is said to be Hollow, when the palm is held 
 nearly supine, and the fingers turned inwards without touch- 
 ing. (See Fig. 51.) 
 
 Fig. 51. 
 
 Fig. 52. 
 
 Fig. 53. 
 
 In the Holding position, the finger and thumb are pressed 
 together, either the fore or middle finger, or both ; while 
 the other fingers are contracted more or less, according to 
 the degree of energy required by the sentiment. (See Figs. 
 52, 53, 54, 55.) 
 
 * JLnatomy of Expression* 
 
DRAMATIC ACTION. 
 
 297 
 
 Fig. 54. 
 
 Fig. 55. 
 
 The Thumb expresses the position of the hand, in which 
 the thumb is extended downward or upward, while the 
 fingers are clasped down. (See Figs, 56, 57.) 
 
 Fig. 56. Fig. 57. Fig. 58. 
 
 The Grasping position represents the fingers and thumb 
 as seizing the garments, or tearing the hair. (See Fig. 58.) 
 
 As regards the manner in which tlie palm is presented, no 
 new elements need to be introduced. Dramatic action 
 employs all the positions of the hand described on p. 243, 
 except the natural position, much more frequently than 
 they are used in oratory. This position is equally adapted 
 to both. 
 
 The positions of the hands which arise from — the com- 
 bined disposition of both hands, find little place in oratory ; 
 hence they are reserved for consideration here. Among 
 these it may be sufficient to enumerate the following. — The 
 hands are said to be — 
 
 applied, when the palms are pressed together, and the 
 fingers and thumbs of each are laid against those of the 
 other. (See Fig. 59.) 
 
298 
 
 MANUAL OF ELOCUTION. 
 
 Fig. 59. Fig. 60. 
 
 Clasped, when all the fingers are inserted between each 
 other, the hands pressed closely together, and one thumb 
 lapped over the other. (See Figs. 60, 96.) 
 
 Crossed, when one hand is laid on the breast, and the 
 other is laid over it crosswise. (See Figs. 61, 85, 94.) 
 
 Fig. 61. Fig. 62. 
 
 Folded, when the fingers of the right hand, at the 
 second joint, are laid between the thumb and forefinger of 
 the left, the right thumb crossing the left. (See Fig. 62.) 
 
 Inclosed, when the back of one hand, moderately bended, 
 is received within the palm of the other ; the thumbs lying 
 at length over each other. (See Fig. 63.) 
 
 Fig. 63. Fig. 64. 
 
DRAMATIC ACTION. 299 
 
 Touching, when the points of the thumb and fingers of 
 each hand are brought lightly into contact. (See Fig. 64.) 
 
 Wringing, when both hands are first clasped together 
 and elevated, then depressed and separated at the wrists 
 without disengaging the fingers. (See Figs. 65, 93.) 
 
 Fig. 65. Fig. 66. 
 
 Enumerating, when the index of the right hand is laid 
 successively upon the index and the different fingers of the 
 left. (See Fig. 66.) 
 
 The fourth class of positions of the hand arising from 
 the part qfilie body on which it is laid, enumerated on p. 
 244, are much more frequently employed on the stage than 
 in ordinary delivery. 
 
 The Arm. — Beside the systematic gestures of the arms 
 described as belonging to oratory, there are others peculiar 
 to dialogue, or to dramatic action. 
 
 The arms are said to be folded or encumbered, when 
 they are crossed and enclose each other, the fingers of the 
 left hand holding the right arm, and the right hand passing 
 under the left arm. (See Fig. 67.) 
 
 They are a-Irimbo, when one or both hands rest on the 
 hips, and the elbows are stuck out on either or both sides. 
 (See Figs. 68, 89.) 
 
 They are reposed, when the elbows are nearly resting on 
 the hips, and one hand holds the wrist of the other. This 
 is a female position. (See Fig. 69.) 
 
300 MANUAL OF ELOCUTION. 
 
 Fig- 67. Fig. 08. Fig. 69. 
 
 The Arm and Hand combined. — To designate the 
 manner of the motion of the arm and hand, a variety of 
 technical terms have been employed, whirh scarcely re- 
 quire to be explained merely for the purpose of assisting in 
 the acquisition of the plain dignity of the orator ; though 
 some of them may properly be exhibited in oratory. The 
 following, noted by Austin, will suffice, though others 
 might be given. — Gesture, then, may be considered as — 
 
 Noting, when the hand, in whatever position, is first 
 drawn back and raised, and then advanced and with a 
 gentle stroke depressed. (See Fig. 70.) 
 
 Projecting, when the arm is first retracted, and then 
 thrust forward in the direction in which the hand points. 
 (See Fig. 71.) 
 
 Retracting, when the arm is withdrawn preparatory to 
 projecting, as in the dotted hand and arm of Fig. 71, or in 
 the right arm of Fig. 75 ; — or in order to avoid an object 
 either hateful or horrible, as in Fig. 77. 
 
 Waving, when the fingers are first pointed downward, 
 
DRAMATIC ACTION. 301 
 
 Fig. 70. Fig. 71. Fig. 73. 
 
 and then, by a smart motion of the elbow and wrist, the 
 hand is flung upward in a vertical direction. (See Fig. 72.) 
 The flourish, when the hand describes a circular move- 
 ment, above the head. (See Fig. 73.) 
 
 Fig. 73. Fig. 74. 
 
 The sweep, when the hand makes a curved movement 
 descending from the opposite shoulder, and rising with 
 velocity to the utmost extent of the arm, or the reverse ; 
 
 26 
 
302 MANUAL OF ELOCUTION. 
 
 changing its position from supine to vertical in the first 
 case, and from vertical to supine in the latter. The sweep 
 is sometimes doubled by returning the arm back again 
 through the same arch. (See Fig. 74.) 
 
 Beckoning, when with the fore-finger, or the whole hand, 
 the palm being turned inward, a motion is made in the 
 direction of the breast. 
 
 Repressing^ when the fore-finger, or the whole hand, the 
 palm being turned outward, makes a motion in opposition 
 to the person addressed. This is the reverse of the pre- 
 ceding gesture ; and the motions in both these gestures are 
 often repeated. 
 
 Advancing^ when the hand, being first moved downward 
 and backward, in order to obtain greater space for action, 
 is then moved regularly forward, and raised as high as the 
 horizontal position, a step being at the same time made in 
 advance, to aid the action. 
 
 Springing) when the hand having nearly arrived at the 
 intended limit of the gesture, flies suddenly up to it by a 
 quick motion of the wrist ; like the blade of a pocket-knife 
 when it suddenly snaps into its proper situation by the re- 
 coil of the spring. 
 
 Striking) when the arm and hand descend with rapidity 
 and force, like a stroke arrested by having struck what it 
 was aimed against. 
 
 Bending) when the arm is brought into a position prepa- 
 ratory to striking. 
 
 Recoiling) when after a stroke, as in the former gesture, 
 the arm and hand return back to the position whence they 
 proceeded. 
 
 Throwing) when the arm by the force of the gesture is 
 flung as it were in the direction of the person ad- 
 dressed. 
 
DRAMATIC ACTION. 303 
 
 Clinching, when the hand is suddenly clinched, and the 
 arm raised in a posture of threatening or contempt. 
 
 Collecting, when the arm, from an extended posture 
 sweeps inward. 
 
 Sha/dng, when a tremulous motion is made by the arm 
 and hand. 
 
 Pressing, when, the hand being already laid on some 
 part, the effort of pressing is marked by raising the elbow, 
 and contracting the fingers. 
 
 Rejecting, when the hand, in the vertical position is 
 pushed towards the object, the head being at the same 
 time averted. 
 
 Whoever has observed the general system of action em- 
 ployed in the schools for the instruction of the deaf and 
 dumb, has some idea of the ancient pantomime, in which 
 the action to a great extent was imitative. The elements 
 of imitative action embrace all the movements which the 
 human body can perform ; and would scarcely be reduci- 
 ble to a system. But with these, oratory or dignified tra- 
 gedy has nothing to do. Leaving this kind of gesture 
 with the actor of low comedy, we may remark, that the 
 Abbe du Bos has drawn the proper distinction between this 
 kind of action and that suited to oratory: — "Nothing can 
 be more vicious in an orator, than to employ in his decla- 
 mation imitative gestures. The action of an orator ought 
 to be altogether different from that of a pantomime. An 
 orator ought to suit his gesture to the general sentiment 
 which he expresses, and not to the particular signification 
 of the word which he pronounces." 
 
 Because we have introduced, under the head of Dramatic 
 action, several elements of significant gesture, it is not 
 hence to be inferred, that all or even a great part of the 
 
304 MANUAL OF ELOCUTION. 
 
 action of the theatre is of this character. « The significant 
 gestures," says Austin, "however numerous and correct, 
 which a great actor makes in the representation of an 
 entire dramatic character, bear no proportion to the 
 greater number of his gestures, which are not significant, 
 and which are no less necessary, though not so splendid 
 nor imposing. The painter is struck by the boldest and 
 finest of the significant gestures which are called attitudes, 
 and he records them ; they are the proper objects of his 
 art ; they are striking and less evanescent than the other 
 gestures, which pass unnoticed by him, although they make 
 up by far the greater and more important part of the ges- 
 tures requisite for illustrating the sentiments. These less 
 prominent gestures give to the declamation its precision and 
 force. A slight movement of the head, a look of the eye, 
 a turn of the hand, a judicious pause or interruption of 
 gesture, or a change of position in the feet, often illuminates 
 the meaning of a passage, and sends it full of light and 
 warmth into the understanding. And the perfection of 
 gesture in a tragedian will be found to consist more in the 
 skilful management of the less showy action than in the 
 exhibition of the finest attitudes. Attitudes are dangerous 
 to hazard ; the whole powers of the man must be wrought 
 up to their highest energy, or they become forced and frigid. 
 Every one will recollect, that excellent players have been 
 seen, who have never ventured an attitude ; but none de- 
 serving the name of excellence have ever appeared, whose 
 declamation has been deficient in precision or propriety. 
 Where all the solid foundation of just and appropriate action 
 has been laid, attitude, when regulated with taste and discre- 
 tion, may be added to ornament the superstructure ; but in- 
 troduced unseasonably or overcharged, it is an evidence of 
 deficiency of understanding as well as depravity of taste." 
 
DRAMATIC ACTION. 305 
 
 SECTION II. 
 
 OF SIGNIFICANT GESTURES AND ATTITUDES.* 
 
 Significant gestures and attitudes, according to the sen- 
 timents of the last section, are to be considered but as the 
 mere " ornaments" of a system, of which the action suited 
 to the orator is the " superstructure." Yet with theatrical 
 action, whose chief object is to please, the ornament is very- 
 important. With oratory, on the contrary, whose principal 
 design is to instruct and persuade, the sentiment is the prin- 
 cipal thing, and gesture is employed only to enforce that ; 
 and this is done by the aid of a class of gestures which 
 rarely have any distinct signification when used without 
 words. They are not imitative, — they are not, in any pro- 
 per sense of the term, conventional, but are produced by 
 the promptings of nature, requiring only to be chastened 
 and polished by study and art ; while much of the action 
 of the stage, especially as it departs from the more digni- 
 fied exhibition of tragedy and epic poetry, is imitative and 
 artificial. With this additional suggestion as to the distinc- 
 tion between dramatic and oratorical action, we proceed to 
 some particulars touching the import of the significant ges- 
 tures of which we have been treating, when simple, and 
 also the mode of combining them for the production of 
 rhetorical effect. 
 
 Examples of Simple Significant Gestures. 
 
 The Head and Face. 
 
 The hanging down of the head denotes shame or grief. 
 The holding of it up, pride or courage. 
 To nod forward implies assent. 
 
 * See Chironomia, chap. xxi. 
 26* 
 
306 MANUAL OF ELOCUTION. 
 
 To toss the head back, dissent. 
 
 The inclination of the head implies bashfulness or languor. 
 
 The head is averted in dislike or horror. 
 
 It leans forward in attention. 
 
 The Eyes, 
 The eyes are raised in prayer. 
 They weep in sorrow. 
 They burn in anger. 
 They are downcast or averted in anger. 
 They are cast on vacancy in thought. 
 They are thrown in different directions in doubt and 
 anxiety. 
 
 The Arms. 
 The arm is projected forward in authority. 
 Both arms are spread extended in admiration. 
 They are both held forward in imploring help. 
 They both fall suddenly in disappointment. 
 
 The Hands. 
 The hand on the head indicates pain or distress. 
 On the eyes, shame. 
 On the lips, injunction of silence. 
 On the breast, it appeals to conscience, or intimates 
 strong emotion of some kind. 
 
 The hand waves or flourishes in joy or contempt. 
 Both hands are held supine, applied or clasped in prayer. 
 Both descend prone in blessing. 
 They are clasped or wrung in affliction. 
 
 The Body. 
 The body, held erect, indicates steadiness and courage. 
 Thrown back, pride. 
 Stooping forward, condescension or compassion. 
 
 
DRAMATIC ACTION. 307 
 
 Bending, reverence or respect. 
 
 Prostration, the utmost humility or abasement. 
 
 The Lower Limbs. 
 Their firm position signifies courage or obstinacy. 
 Bended knees, timidity or weakness. 
 Frequent change, disturbed thoughts. 
 They advance in desire or courage. 
 Retire in aversion or fear. 
 Start in terror. . 
 Stamp in authority or anger. 
 Kneel in submission and prayer. 
 
 These examples might be multipled ; but the object is 
 simply to furnish a sufficient number for illustration, with- 
 out attempting to make a complete list. 
 
 Examples of Complex Significant Gestures, or 
 Attitudes. 
 
 A few examples of the more complex significant gestures 
 will now be presented. The figures referred to will show 
 the precise attitude intended; while the description will 
 furnish the principles on which, by the application of a little 
 skill, the list can be extended so as to embrace the visible 
 expression of any and every passion or feeling, which 
 agitates the human breast. 
 
 Terror excites the person who suffers under it, to avoid 
 or to escape from the dreaded object. If it be supposed 
 to be some dangerous reptile on the ground, and very near, 
 the expression will be represented by the figure starting 
 back, and looking downward. If the danger threaten from 
 a distance, the terror arising will be expressed by the figure 
 looking forward, and not starting back, but merely in the 
 
308 
 
 MANUAL OF ELOCUTION. 
 
 retired position. But if the dread of impending death from 
 the hand of an enemy awakens this passion, the coward 
 fli es# — This passion needs no figure for its illustration. 
 
 Aversion is expressed by two gestures ; first the hand 
 held vertical is retracted towards the face, the eyes and 
 head are for a moment directed eagerly towards the object, 
 and the feet advance. (See Fig. 75.) Then suddenly the 
 eyes are withdrawn, the head is averted, the feet retire, and 
 the arms are projected out extended against the object, the 
 hands vertical. (See Fig. 76.) 
 
 Fig. 76. 
 
 Fig. 75. 
 
 Fig. 77. 
 
 Horror, which is aversion or astonishment mingled with 
 terror, is seldom capable of retreating, but remains petrified 
 in one attitude, with the eyes riveted on its object, and the 
 arm held forward to guard the person, the hands vertical, 
 and the whole frame trembling. (See Fig. 77.) The feel- 
 ing of Horror may exist when no object is present. This 
 is beautifully illustrated in one of Mr. Engel's figures. 
 Alluding to the " disposition of the mind to refer intellec- 
 tual ideas to external objects," he says : — " When King 
 Lear recollects the barbarous treatment of his daughters, 
 who in the midst of a stormy night had exposed his hoary 
 
DRAMATIC ACTION. 
 
 hairs to the inclemency of the weather, and when he im- 
 mediately exclaims, — 
 
 « O, that way madness lies ; let me shun that ; 
 No more of that,' — 
 
 there is not in reality any external object from which this 
 unhappy prince should avert his eyes with horror, and yet 
 he turns his head away to the side opposite that to which 
 it was directed before ; endeavoring, as it were, with his 
 hand reversed, to banish that cruel and afflicting recollec- 
 tion." (See Fig. 78.) 
 
 Fig. 78. Fig. 79. 
 
 Listening, in order to obtain the surest and most various 
 information, first presents the quick and comprehensive 
 glance of the eye towards the apparent direction of the 
 sounds ; if nothing is seen, the ear presents itself towards 
 the point of expectation, and the eye is bent on vacancy : 
 but all this passes in a moment. The hand and arm are 
 held vertical extended. If the sound proceeds from different 
 quarters at the same time, both arms are held up, and the 
 head alternately changes from one side to the other, with a 
 rapidity governed by the nature of the sound ; if it is 
 alarming, with trepidation ; if pleasing, with gentle emo 
 tion. Fig. 79 represents listening fear. 
 
310 
 
 MANUAL OF ELOCUTION. 
 
 Admiration, if of surrounding natural objects of a pleas- 
 ing kind, holds both hands vertical and across, and moves 
 them outwards to the position, extended as in Figure 80. 
 If admiration arises* from some extraordinary or unexpected 
 circumstances, the hands are thrown up supine elevated, 
 together with the countenance and the eyes. 
 
 Fig. 80. Fig. 81. 
 
 Veneration crosses both hands on the breast, casts down 
 the eyes slowly, and bows the head. (See Fig. 81.) 
 
 Fig. 82. Fig. 83. 
 
 
 
 Deprecation advances in an extended position of the 
 feet, approaching to kneeling, clasps the hands forcibly 
 
DRAMATIC ACTION. 
 
 311 
 
 together, throws back the head, sinking it between the 
 shoulders, and looks earnestly up to the person implored. 
 (See Fig. 82.) 
 
 In appealing to heaven, the right hand is first laid on the 
 breast, then the left is projected supine upward ; the eyes 
 first directed forward, and then upward. (See Fig. 83.) 
 
 In the appeal to conscience, the right hand is laid on the 
 breast, the left drops unmoved, the eyes are fixed upon the 
 person addressed. (See Fig. 23.) — Sometimes both hands 
 press the breast. 
 
 Shame, in the extreme, sinks on the knee and covers the 
 eyes with both hands : this is a feminine expression of it. 
 (See Fig. 84.) 
 
 Mild resignation falls on the knee, crosses the arms 
 on the breast, and looks forward and upward towards 
 heaven. This is also a feminine expression of this feeling. 
 (See Fig. 85.) 
 
 Resignation mixed with desperation stands erect and un- 
 moved, the head thrown back, the eyes turned upward and 
 fixed, the arms crossed. A fine instance is seen in the 
 figure from an attitude of Mrs. Siddons. (See Fig. 94.) 
 
312 MANUAL OF ELOCUTION. 
 
 Fig. 85. Fig. 86. 
 
 Grief arising from sudden and 'afflicting intelligence 
 covers the eyes with one hand, advances forward and 
 throws back the other hand. (See Fig. 86.) 
 
 Attention demanding silence holds the finger on the lips, 
 and leans forward, sometimes repressing with the left hand. 
 (See Fig. 87.) 
 
 Fig. 87. Fig. 88. Fig. 89. 
 
 Distress, when extreme, lays the palm of the hand upon 
 the forehead, throws the head and body back, and retires 
 with a long and sudden step. (See Fig. 88.) 
 
DRAMATIC ACTION. 
 
 313 
 
 Deliberation on ordinary subjects holds the chin, and sets 
 the arm a-kimbo. (See Fig. 89.) 
 
 Self-sufficiency presents the body erect, the lower limbs 
 rigid, and folds the arms. (See Fig. 67.) 
 
 Pride throws back the body, holds the head high, and pre- 
 sents the elbow a-kimbo, and thrown forward as in Fig. 68. 
 
 When the thoughts flow without difficulty or opposition, 
 the movement of the limbs is free and direct. But when 
 difficulties occur or obstacles are discovered, a man either 
 arrests his action entirely, or changes it to something alto- 
 gether different. The direction of his eyes and the action 
 of his head, are also, under such circumstances, quite 
 altered. The eyes, instead of moving freely from object 
 to object, become fixed, and the head is thrown back, if 
 before hanging down on the breast. As an example of 
 these effects, M. Engel refers to a scene in a play of Les- 
 sing, in which an old gentleman is very much puzzled how 
 to manage, under a situation of great difficulty and deli- 
 cacy. In the commencement of his deliberations he is 
 represented as in Fig. 90, and in the next period of them, 
 as in Fig. 91. 
 
 Fig. 91. 
 
 27 
 
314 
 
 MANUAL OF ELOCUTION. 
 
 Melancholy is a feeble and passive affection ; it is at- 
 tended by a total relaxation of the nerves, with a mute and 
 tranquil resignation, unaccompanied by opposition either to 
 the cause or the sensibility of the evil. The character ex- 
 ternally is languor without motion ; the head hanging at 
 the "side next the heart;" the eyes turned upon its object, 
 or, if that is absent, fixed on the ground ; the hands hang- 
 ing down by their own weight without effort, and joined 
 loosely together. (See Fig. 92.) 
 
 Fig- 92. Fig. 93. 
 
 Anxiety is of a different character ; it is restless and ac- 
 tive, and manifest by the extension of the muscles ; the eye 
 is filled with fire, the breathing is quick, the motion is hur- 
 ried, the head is thrown back, and the whole body is 
 extended. The sufferer is like a sick man who tosses in- 
 cessantly, and finds himself uneasy in every situation. (See 
 Fig. 93.) 
 
 I shall close this part of the subject and the work, by 
 presenting the learner with some of the attitudes of Mrs. 
 Siddons, copied from the plates of the Chironomia, from 
 which all the illustrations of this section have been taken. 
 
DRAMATIC ACTION. 
 
 315 
 
 These present both boldness and magnificence — qualities 
 of gesture which, as we have elsewhere remarked, are 
 rarely exhibited but in the theatre. They belong to the 
 Epic style of gesture ; and the passages are given, in the 
 pronunciation of which they were employed. 
 
 Fig. 94. Fig. 95. 
 
 Fig. 
 
 See Fig. 94. " See where she stands like Helen." 
 
 Fair Penitent, act 5, sc. 1. 
 
 See Fig. 95. " This arm shall vindicate a father's cause." 
 
 Grecian Daughter, act 1, sc. last. 
 
316 MANUAL OF ELOCUTION. 
 
 Fig- 98. Fig. 99. 
 
 See Fig. 96. " A widow cries, Be husband to me, heaven." 
 
 King John, act 3, sc. 1* 
 See Fig. 97. " Scorned by the women, pitied by the men, 
 " Oh ! insupportable !" 
 
 Fair Penitent, act 2, sc. 1. 
 
 See Fig. 98. " Wert thou the son of Jupiter." 
 
 Imogen, act 2, sc. 3. 
 
 See Fig. 99. " Jehovah's arm snatched from the waves and 
 brings to me my son." 
 
 Douglas, act 3, sc. 2. 
 
 See Fig. 100 "Pity and forgiveness." 
 
 Venice Preserved, act 5, sc. 1. 
 
ADDENDA. 
 
 TABLE I.* 
 
 EXHIBITING ALL THE ALPHABETIC CHARACTERS AND COMBINATIONS, WHICH IN ENGLISH 
 EEPBESENT THE VOWEL SOUNDS OF THE LANGUAGE. 
 
 Represent- X 
 
 edby ■"■• 
 
 a, in .#-ble, sa-vor, brava-do; Ba-al, a-orist, a-eronaut; ra- 
 diant, range, change, an-gel, &c. 
 Bare, care, dare, beware, declare, &c.j" 
 {Unaccented,) in dedicate, calculate, regulate, speculate, &c. 
 
 e, in Demesne [demane,] tete-a-tete, &c. 
 22re, there, where.f 
 
 aa, in Haak. [Better written hake.'] 
 
 * These Tables are intended, first, to afford additional practice to 
 those whose defective articulation may require it; and, second, to 
 correct peculiarities of pronunciation which may have had their 
 origin in colloquial carelessness, or an erroneous local usage. An 
 unvarying standard of perfection in pronouncing a living language 
 can never perhaps be attained ; but no public speaker, certainly no 
 one who would be considered an English scholar, should neglect to 
 cultivate himself with the greatest care in this branch of an English 
 education. 
 
 \ Whenever any of the long vowel sounds, except perhaps a and a, 
 are followed by r, in the same syllable, from the peculiar nature of 
 this letter, the single syllable sounds as though there were two: 
 thus, hire is identical in sound with higher, four with flower, &c. 
 This Smart pronounces to be "the distinguishing mark of an Eng- 
 lish pronunciation of such words." — In common usage, the proper 
 sound of a is never heard in this situation; but one resembling 
 the short, sound of the same letter, only lengthened and rendered more 
 open. Worcester expressly sanctions this pronunciation. It is 
 recognised by Perry, one of the English orthoepists ; and is rather 
 supported than otherwise by the analogy of the language, from 
 the effect which this consonant produces on the sound of several of 
 the other vowel elements. 
 
 27* 317 
 
318 MANUAL OF ELOCUTION. 
 
 Represent- X tr . . , . 
 
 ed by A. (Continued.) 
 
 ai, in Ai\, bail, gain, -wait, plait,* plain-tiff, rat-sin,* &c. 
 Air, fair, pair, chair,* affair, debonnair, &c}" 
 (Unaccented,) in Adonat, Sinai, Tolmat, &c. 
 
 ao, in Gaol ; [more properly written jail.'] 
 
 au, in Gauge. 
 
 ay, in Bay, day, hay, way, bewray, &c. 
 Prayer.f 
 {Unaccented,) in roundelay, gainsay, nosegay, &c. 
 
 aye, in Aye (ever,) [a.] 
 
 ea, in Great, steak, break. 
 
 Bear, pear, rear [not well cooked], swear, to tear, &c.f 
 
 ee, in E'er, ne'er, j [Contractions of ever and never.'] 
 
 ei, in Deign, vein, skein, weigh, freight, &c. 
 Their, heir, heir-ess.-|- 
 
 ey, in Bey, dey, hey, they, trey, grey, prey, whey, obey, convey, 
 purvey, survey, &c. 
 Eyre, Ey-rey.f 
 
 oei, in Coup d'oeil, [koodal.] 
 
 ue, in Bouquet, [booka.] 
 
 Represent- A« 
 
 ed by 
 
 a, in Call, hall ; instal, inthral ; talk, walk ; bald, scald ; wa- 
 ter, warm ; quar-ter, quart, &c. 
 {Unaccented,) in al-beit, al-together. 
 
 o, in Or, or-phan, orb, absorb, gorge, horse, fork, stork, &c. 
 {Unaccented,) in calor, sapor, stupor, fetor, motor. 
 
 ao, in Extraor-dinary. 
 
 * These words are sometimes erroneously pronounced plet, resin, 
 and cher. The same error is heard in the vulgar pronunciation of 
 Jemes for James, and ker for care. 
 
 | See the second note on the preceding page. 
 
ADDITIONAL TABLES. 319 
 
 Represent- A. (Continued.) 
 
 ed by • • v ' 
 
 au, in Jlu-dit, au-gur; haul, pause, sauce, sau-cer; aught, 
 caught, &c. 
 
 aw, in Jato, thato, law, withdraw, &c. 
 
 awe, in Awe. 
 
 eo, in George, Geor-gics. 
 
 oa, in Broad, abroad, groat. 
 
 ou, in Ought, bought, brought, sought, besought, fought, 
 thought, methought, wrought. 
 
 Represent- V 
 
 ed by . -^ • 
 
 a, in Far, star; arm, alarm; dark, embark, parch-ment, em- 
 bar-go, ar-bitrary, &c. 
 
 Car, card, cart, cargo, car-pet, discard, gar-den, regard, 
 &c* 
 
 Are, gape, papa, mamma, fa-ther, &c.f 
 
 Calf, half, calve, halve, salve, &c.f 
 
 Calm, palm, balm, alm-ond, qualm, psalm, &c.| 
 
 * There is a refinement sometimes heard in the pronunciation of 
 a, i, and a short, when following the sounds of k and g, which in- 
 terposes the sound of e between them ; thus card, guard, kind, guide y 
 guaranty, &c, are pronounced keard, gheard, keind, gheide, ghearanty, 
 &c. The best usage either rejects this sound of e altogether ; or 
 restricts it to a small number of words, and even in them touches it 
 very lightly. 
 
 f Contrary to all good authority, in these classes of words the sound 
 of a short is frequently employed ; and often rendered doubly offensive 
 to the ear by the attempt to protract it. There are some words, 
 however, closely allied to these, whose true pronunciation is not so 
 well established; such as the following: 
 
 raft, craft, waft, abaft, crafty, &c. 
 
 fast, last, mast, past, vast, master, after, &c. 
 
 ask, task, mask, unmask, flask, basket, &c. 
 
 lass, mass, pass, brass, class, glass, grass, &c. 
 
 gasp, hasp, rasp, clasp, grasp, &c. 
 
 path, lath, bath, wrath, &c. 
 
 command, demand, &c. 
 Walker gives the sound of short a in most of these words ; and 
 
330 MANUAL OF ELOCUTION. 
 
 ^ e by nt " A. (Continued.) 
 
 a, (Unaccented,) in alpha, comma, diploma, umbrella, &c. 
 e, in ser-geant. [In England, the e in clerk is pronounced in 
 the same way.] 
 
 aa, in Baa. 
 
 au, in JlunU haunt, jaunt, launch, jaun-dice, daunt, gaunt, 
 gaunt-let, &c. 
 
 ea, in Heart, hearth, heark-en. 
 
 ua, in Guard, guar-dian.* 
 
 Represent- "fr 
 
 ed by ■ Ej - 
 
 e, in 22-vil, que-ry, de-ity, Europe-an, ethe-real, de-viate, se- 
 crecy, glebe, scheme, &c. 
 Bere, here, mere, sere, sphere, sincere, &c.f 
 (Unaccented,) in pre-sent, pre-vail, pre-side, pre-fer, se-cede, 
 se-cure, &c. 
 Be-lieve, re-covery, se-verity, ge-ography, de-tect, inde- 
 pendent, de-monstrate, &c. 
 
 i, in Critique, Brastl, capuchin, quarantine, capnee, recitative, 
 sign-ior, &c. 
 Shtre.j 
 
 ae, in Cae-sar, pae-an, ae-dile, ae-gis, ae-rie, &c. 
 (Unaccented,) in .tfe-neas, ae-olian, ae-nigma, &c. 
 
 Reid, the latest English lexicographer, in all of them. Webster, 
 on the contrary, in all of them gives the sound of a ; and Worces- 
 ter, a sound intermediate between them. Nares and Jones agree 
 with Webster; as do also Perry and Fulton and Knight, in regard 
 to most of the words. Fulton and Knight, however, adopt the 
 intermediate sound in some of them. This is probably in accord- 
 ance with the general usage of this country; but here, as well 
 as in England, the tendency is doubtless toward the short sound 
 of a. 
 
 * See the first note on the preceding page. 
 
 f See the first part of the second note on p. 317. 
 
ADDITIONAL TABLES. 321 
 
 Id^by 1 " XL*. (Continued.) 
 
 ea, in Eat,* beat,* cleave, dream, freak, heave, sea, wean, ap- 
 peal, bea-con, fea-sible, underneath, &c. 
 Ear, dear, fear, rear,j- clear, j- drear, appear, wea-ry, &c.:J: 
 
 ee, in Seen, green, feet, meet, bee, settee, &c. 
 Beer, deer, cheer, &c.^: 
 (Unaccented,') in jubilee, pedigree, &c. 
 
 ei, in Ceil, deceit, leisure, obei-sanee, ez-ther, net-ther, &c. 
 
 eo, in People. 
 
 ey, in Key, ley. 
 
 ia, in Ratifia [ratife.] Walker. 
 
 ie, in Chief, lief, thief, thieve, grieve, fiend, &c. 
 Tier; financier, grenadier, fierce, &c.£ 
 
 oe, in Foe-tus, prosopopoe-ia, &c. 
 
 oi, in Turkois, [Turkes.] 
 
 nay, in Quay, [ke.] 
 
 ui, in Palanquin. 
 
 uoi, in Turquoise, [Turke's.] 
 
 Represent- T 
 
 ed by •*■• 
 
 i, in Pilot, li-Iach, mi-croscope, oblige, mind, mild, child, 
 nigh, sign, inquiry, &e. 
 Paradisi-acal, hypochondriacal, &c. 
 Kibe, kite, kine, kind, &c.§ 
 Fire, mire, wire, aspire, choir, &c.£ 
 
 * Eat, as a participle, and beat (when used in the sense of to outdo 
 as in a game,) are often vulgarly pronounced et and bet. 
 
 fin some of the Southern states, the vowel sound erroneously 
 given to these words is that of a described in the last part of the 
 second note on p. 317. 
 
 ^ See the first part of the second note on p. 317. 
 
 § See first note on p. 319. 
 
322 MANUAL OF ELOCUTION. 
 
 *ff£ ,t ' I. (Continued.) 
 
 i, (Unaccented,) in t-dea, dt-ameter, exile, archives, &c. 
 
 al, in 3is\e. 
 
 ei, in Height, sleight. 
 
 ey, in Z?y-as. 
 
 eye, in Eye, 
 
 ie, in Die, pie, flies, defied, replied, &c. 
 
 ui, in Guide, guile, guise, disguise, &c* 
 
 uy, in Buy, buy-er, guy t &c. 
 
 y, in Fly, defy, ally, my, thy, type, cy-nosure, &c. 
 Gyre, lyre, pyre, &c.f 
 (Unaccented,) in hy-pothetic, hy-potenuse, qualify, verify, 
 multiply, to prophesy, &c. 
 
 ye, in Bye, lye, rye, &c. 
 
 Represent- f\ 
 
 ed by KJ - 
 
 o, in 0-dor, go, hope, rogue, drove, gross, roll, so-journ, po-et, 
 emo-tion, o-rient, po-tentate, oppo-nent, &c. 
 
 Abode, code, mode, node, rode,:}: strode, &c. 
 
 Broke,:}: folk,:}: spoke,:}: stroke, yoke, &c. 
 
 Bold, fold, hold,:}: sold, told, &c. 
 
 Mole, stole, whole,:}: droll, control, bol-ster,^: &c. 
 
 Bolt,:}: colt,:}: dolt,:}: jolt,:}: mol-ten4 &e. 
 
 Dome, home, &c. 
 
 Alone, bone,:}: cone, stone,:}: only,:}: wont, [contraction for 
 toi7/ not,'] &c. 
 
 Most,:}: post, ghost, &c. 
 
 Mote, note, rote, vote, wrote,:}: both,}: &c. 
 
 Bore, gore, more, sore, snore, deplore, deco-rum, &c.f 
 
 * See first note on p. 319. 
 
 f See the first part of the second note on p. 317. 
 
 % These words, and perhaps some others of this class, have a 
 
ADDITIONAL TABLES. 323 
 
 **?%*• O. (Continued.) 
 
 o, (Unaccented,) in motto, hero,- o-bey, o-pinion; pro-cure, pro- 
 fane, &c. 
 
 ao, m Pharaoh, [Fdro.] 
 
 au, in Haut-boy, hau-teur, and haut-gout, [h<5boy, hdtur, h0- 
 goo.] 
 
 eau, in Beau, flambeau, bureau, portmanteau. 
 
 eo, in Yeo-man, yeo-manry. 
 
 ew, in Sew, shew, and strew, [now commonly written sow, &c.] 
 
 oa, in Coal, foal, goal, loaf, soak, soap, &c. 
 
 Oat, boat, coat,* goat, float, throat,* &c. 
 Load,* road,* toad,* goad, woad, &c. 
 Boast, coast, roast,* &c. 
 Hoar, roar, soar, board, &c.f 
 
 oe, in Doe, foe, sloe, toe, throe, hoe, &c. 
 (Unaccented,) in bilboes. 
 
 oo, in Door, and floor, f 
 
 ou, in Mould, soul, poul-tice,* poul-try,* though, &c. 
 Bourne, court, gourd, source, four, pour, &c.f 
 
 peculiar pronunciation in the Northern states. The vowel sound is 
 shortened ; and at the same time rendered more close by too great 
 a contraction of the organs of speech. The lips are not projected, 
 as in the true sound ; nor the tongue so far removed from the palate. 
 T?ius a new sound— one unknown in the pronunciation of the Eng- 
 lish — is produced, which characterizes the New-Englander, the 
 world over; and by looking over the words marked, it will be seen, 
 that this sound is given in violation of all analogy, as well as of 
 authority. — In Connecticut, and in parts of N. York and Northern 
 Pennsylvania, there exists a still wider deviation from the standard 
 pronunciation of some of these words ; in so much that stone, only, 
 wont, whole and home, are pronounced stun, unly, wunt, hul, and 
 hum. 
 
 * The erroneous pronunciation referred to in the last not« is 
 often heard in these words likewise. 
 
 f See the first part of the second note on page 317. 
 
MANUAL OF ELOCUTION. 
 
 ©u, (Unaccented,) in borough, thorough, furlough, four-teen, eon- 
 course, &c. 
 
 ow, in Blow, snow, throw, tow-ard,* tow-ards,* &c. 
 
 (Unaccented,) in arrow, billow, burrow, fellow, willow, win- 
 dow, &c. 
 
 owe, in Owe. 
 
 wo, in Sword.f 
 
 Represent- TT f 
 
 ed by U« + 
 
 u, in Dupe, tube, tune, impugn, eu-rate, hu-man, tu-tor, cu- 
 bical, mtt-riate, stu-pefy, Europe, &c. 
 Lute, flute, recluse, lu-cid, conclu-sion, absolu-tion, &c. 
 Brute, truth, ru-ler, ru-in, dru-id, cru-elty, &c. 
 Cure, lure, mure, pure, sure, endure, manure, sure-ly, 
 ensu-rance, &c.f 
 (Unaccented,) in deluge, peruke, prelude, globule, tribune, &c, 
 
 * There is a vulgar pronunciation of these two words, which joins 
 the w with the last syllable and misplaces the accent. 
 
 f See the first part of the second note on p. 317. 
 
 ^The vowel element represented by this letter seems to have 
 given orthoepists much trouble. When it begins a word or sylla- 
 ble, its sound is well defined ; but when coming after a consonant 
 in the midst of a syllable, it has been variously represented by eu, 
 yu, and (especially after r) by oo. 
 
 The best usage, we believe, gives it a sound in all such words, 
 which is better represented by the u alone, without the aid of e, or 
 any other letter ; and nearly the same sound after r, as after the 
 other consonants. To pronounce lute, lucid, as if spelled loot, loo- 
 eid, is deemed vulgar by all English orthoepists ; but in the best 
 usage of this country, there is the same difference between the pro- 
 nunciation of rude and rood. The true sound of this element can 
 scarcely fail to be attained by the unaffected pronunciation of the 
 examples which are here adduced ; and it may perhaps be safely 
 admitted, that if after certain consonants, particularly however such 
 as b, m, and p, which close the lips, the sound of e should be 
 slightly heard before reaching the proper sound of u, it can scarcely 
 be considered a fault. 
 
ADDITIONAL TABLES. 
 
 ^11^ £T. (Continued.) 
 
 eau, in Beauty, and its compounds. 
 
 eo, in Feud, feo-dal, feo-datory, [better written, feud, &c] 
 
 eu, in Feud, deuce, pleu-risy, Deuteronomy, &c. 
 
 ew, in Dew, few, new, new, knew, &c. 
 Blew, clew, flew, slew, &c. 
 Brew, crew, drew, grew, beshrew, &c. 
 
 ieu, in Adieu, lieu, purlieu. 
 
 iew, in View. 
 
 ou, in Youth. 
 
 ue, in Cue, due, hue, sue, blue, clue, glue, imbue, endue, en- 
 sue, pursue, &c. 
 True, rue, imbrue, accrue, &c. 
 {Unaccented,) in argue, revenue, residue, statue, virtue, &c. 
 
 ueue,in Queue, [Ku,] better written cue. 
 
 ui, in Juece, suit, sWce, pursuit, &c. 
 
 Bruise, cruise, fruit, bruit, recruit, &c. 
 
 we, in Ewe. 
 
 Represent- f\TJ * 
 
 ed by u u • 
 
 ou, in Out, about, rout, shout, round, abound, ground ; fount, 
 amount, bounty, ounce; arouse, espouse; oust, ac- 
 coustics, house, mouse; couch, avouch, doubt, devout; 
 proud, cloud, plough, &c. 
 Our, hour, scour, flour, devour, &c.f 
 (Unaccented,) in compound, paramount, pronoun, &c. 
 
 * The sound which in English is most commonly represented by 
 ou, is very clearly and strongly distinguished from any of the other 
 vowel sounds. It has however several provincial modifications in 
 the United States, which may require the correction of the teacher, 
 but which can be exactly and certainly represented by no combina- 
 tion of letters. It is the open full sound of the German au. 
 
 fSee the first part of the second note on p. 317. 
 
 29 
 
326 MANUAL OF ELOCUTION. 
 
 Ke efby Dt " OIL (Continued.) 
 
 o, in Accompt, accompt-ant, &c. [now written account, &c] 
 
 eo, in McLeod, [proper name.] 
 
 iaou, in Giaour, [/our.] 
 
 ow, in Now, how, avow, down, clown, aown-y, vow-el, &c. 
 Bow-er, noio-er, loio-er, pow-er, show-er, tow-er, &c. 
 
 owe, in Hoioe, [proper name.] 
 
 Represent- f\ f) 
 
 ed by yjKJ ' 
 
 oo, in Coo, woo,- boon, spoon,* soon;* noose, ooze; fool, cool; 
 root,* hoot; hoof,* proof; roof;* rood, food,* &c. 
 Boor, Moor, and poor.f 
 (Unaccented,) in cuckoo. 
 
 o, in Do, who,- move, behove; lose, whose; tomb, poltron, 
 sponton, bo-som,* &c. 
 
 u, in Pugh, [pooh.] 
 
 oe, in Shoe, canoe. 
 
 oeu, in Manoeu-vre. 
 
 ou, in Soup, sous, bowse, group, rouge, wound, uncouth, &c. 
 Tour, amour, fourbe, tour-ney, &c..f 
 (Unaccented,) in paramour, tou-pee, &c. 
 
 wo, in Two. 
 
 Represent- f\T 
 
 ed by VI. 
 
 oi, in OH, boil, coil, toil, ]oin, lozn, appotnt-ment, &c. 
 
 oy, in Boy, joy, toy, decoy, destroy, &c. 
 
 (Unaccented,) in envoy, viceroy, convoy, Savoy. 
 
 *In these words, the oo is frequently made short. In New 
 England, we often hear the pronunciation, soon, root, hoof, boosom, 
 &c. ; and in the Middle and Southern states, food. 
 
 f See the first part of the second note on p. 317. 
 
ADDITIONAL TABLES. 327 
 
 Represent- A . 
 
 ed by A short. 
 
 a, in Can, cabal, catch, fan-cy, gan-der, psal-mist, psal-mody, 
 nav-igation, na-tional, canal, plant, pat-ent, &c. 
 Bade, have, shall, mall [a public walk,] hath, &c. 
 . Bar-rel, car-ry, tar-ry, char-ity, clar-ify, &c. 
 Unaccented,) in ad-dress, ad-diticn, ac-complish, blas-pheme, 
 climax, piquant, paean, &c. 
 
 ai, in Platd, razl-lery. 
 
 ua, in guar-antee, gwar-anty.* 
 
 Represent- TP , " 
 
 ed toy -^ short. 
 
 e, in Bell, fel-Iow, sexton, des-pot, domes-tic, el-egant, mel- 
 ody, rec-oncile, gen-eral, spe-cial, rel-ish, &c. 
 Ber-ry, ve-ry, ter-rible, per-il, ster-il, sher-iff, inher-it, &c. 
 Feb-rile, leg-ate, less-er, mem-oir, prel-ate, prel-ude, pres- 
 age, tep-id, &c. 
 Get, yet, yes.f 
 {Unaccented,') in silent, learned, wanted, aged, hundred, ad- 
 vised-ly, avowed-ly, rec-ollect, &c. 
 Faces, praises, poet, poem, covet, duel, &c. 
 
 * See the first note on page 319. 
 
 fin these three words, this sound should be carefully distin- 
 guished from that of i short; but in words of more than one sylla- 
 ble, when not under the accept, it sometimes differs so little from 
 the sound of i, that the attempt to discriminate clearly between 
 them in speech might be considered affectation. Thus, for exam- 
 ple, faces, poet, duel, linen, should be made to differ very little in 
 pronunciation from faciz, pott, duil, linin. Indeed the short unac- 
 cented vowel sounds are not introduced into this Table so much to 
 teach the learner uniformly to discriminate between them, in his 
 practice, as to guard him against suppressing them altogether. In 
 some cases, they run into each other by shades so delicate as 
 scarcely to be distinguished even by the disciplined ear. In others, 
 however, the character of their enunciation precisely marks the 
 boundary between vulgarity and elegance; nor does their enuncia- 
 tion ever do this more certainly, than their indiscriminate use and 
 suppression. The law of correct usage is as uniform in this parti- 
 cular as in any other. 
 
328 MANUAL OF ELOCUTION. 
 
 Be Pf^ y nt - E short. (Continued.) 
 
 e, {Unaccented,) in parallel; camel, enamel; flannel, tunnel, ken- 
 nel, scoundrel, umbrel, apparel, timbrel, &c. 
 
 Label, rebel, parcel, cancel, model, fardel, angel, satchel, 
 gospel, chapel, morsel, tassel, vessel, lintel, cartel, 
 novel, travel, gravel, jewel, vowel, &c* 
 
 Sullen, woollen ; women, hymen ; linen ; syren, barren ; 
 [and in all other words in which en follows /, m, n, 
 or r, except fallen, stolen, and swollen, in which the 
 sound of e is suppressed.] 
 
 Sudden, mynehen, kitchen, hyphen, chicken, ticken, 
 jerken, aspen, platen, paten, marten, latten, patten, 
 leven, sloven, mitten. j- 
 
 Lambent, ardent, dilligent, basement, abstinent, abhor- 
 rent, insolvent, frequent, present, complacent, impa- 
 tient, &c.:£ 
 
 Cadence, dilligence, abstinence, abhorrence, presence, 
 omniscience, &c.^: 
 
 a, in Jl-ny, ma-ny, pall mall, Thames [Terns.] 
 
 u, in Bu-ry, bu-rial. 
 
 ae, in Diaer-esis, Daed-alus, &c. 
 
 ai, in Said, saith ; again,§ against.§ 
 
 ay, in Says. 
 
 * The only words in which the sound of e is suppressed before 
 /, are shekel, navel, ravel, rivel, snivel, shrivel, swivel, drivel, shovel, 
 grovel, hazel, drazel, nozle, weasel, ousel, nousel. 
 
 j- Garden, and heathen, may be set down as of doubtful pronun- 
 ciation ; in all other words, such as deaden, golden, roughen, broken, 
 shapen, lessen, vixen, kitten, heaven, &c, the sound of e is suppressed. 
 
 ^:In some of these classes of words, the vowel sound is often 
 suppressed in the final syllable : thus, ardnt, cadnce, presnt, presnee, 
 complacnt, &c. Such contraction is in violation of all authority. 
 
 § In New England, these words are often pronounced agdn, and 
 agdnst. 
 
ADDITIONAL TABLES. 329 
 
 ^l T d e lT' E short. (Continued.) 
 
 ea, in Lead, head, behead, break-fast, endeav-or, weap-on, zeal- 
 ous, pleas-ure, meas-ure, clean-liness, &c. 
 (Unaccented,) in sergeant, pageant, vengeance, &c. 
 
 ee, in Keel-son. 
 
 ei, in Nonpareil, heif-er. 
 
 eo, in Leop-ard, jeop-ard, feoff. 
 
 ie, in Friend. 
 
 oe, in Foet-id, asafoet-ida. [Better written fetid, &c.] 
 
 ue, in Guess, gwest, coqwette. 
 
 i, in It, bit, begia, riv-er, riv-et, thith-er, whith-er, trib-une, 
 big-otry, tradi-tion, in-dustry, in-fluence, &c. 
 
 Live, give, vine-yard. 
 
 Spir-it, delir-ious, mir-acle, vir-ulent, &c. 
 (Unaccented,) in di-dactic, di-gestion, di-gression, fY-delity, 
 finance, financier, phi-lology, vi-vacity, classic, 
 timed, minim, restiff, sennight, &e. 
 
 Bevil, cavil, pencil, pupil, vigil ; griffin,urchin, resin, 
 germin, Latin, rum,* &c. 
 
 Cornice, pumice, practice, practise, cowardice, &c. 
 
 Fertile, futile, hostile, reptile, servile, versatile, juve- 
 nile, mercantile, puerile, &c. 
 
 Maritime. 
 
 Discipline, medicine, masculine, feminine, heroine, li- 
 bertine, genuine, alkaline, &c. 
 
 Respite, deposite, perquisite, favorite, &c. 
 
 Plaintive, sportive, offensive, indicative, &c. 
 a, {Unaccented,) in furnace, Wallace; cabbage, village, image, 
 postage, &c. 
 
 * The only exceptions in this class of words, to the pronunciation 
 here given, are — evil, devil,- cousin, raisin, and basin. " In all other 
 instances," says Smart, " i, before / and n, must be carefully pro- 
 nounced, the contrary utterance being gross and vulgar." 
 28* 
 
MANUAL OF ELOCUTION. 
 
 Be S^J*" I short (Continued.) 
 
 e, in Pret-ty, i?ng-land. 
 o, in Wo-men. 
 
 n, in Bu-sy, bu-siness. 
 
 {Unaccented, in lettuce, minute, 
 y, in Cyg-net, cym-bal, hyp-ocrite, chym-istry, syc-ophant, 
 typ-ographical, &c. 
 Ly-ric, pyr-amid, pyr-ites, tyr-anny, &c. 
 {Unaccented,') in city, marry, beauty, sully, prophecy, falsity, 
 charity, &c. 
 Dactyle, diastyle, &c. 
 aa, {Unaccented,) in Isaac. 
 
 ai, {Unaccented,) in cap tarn, curtain, certain, chieftain, fountain, 
 mountain, plantain ; wassail, travail ; [and in all other 
 words of like termination, except Britain, in which, 
 according to Walker, it has the sound of u short.*] 
 
 ea, {Unaccented,) in Guinea. 
 
 ee, in Been, breech-es, three-pence. 
 {Unaccented,) in coffee. 
 
 ei, {Unaccented,) in forfeit, counterfeit, surfeit; foreign, so- 
 vereign. 
 
 ey, {Unaccented,) in alley, galley, valley, jockey, money, &c. 
 
 ie, in Sieve. 
 
 {Unaccented,) in beauties, cities, varieties, he marries, &c. 
 * 
 oi, {Unaccented,) in tortoise. 
 
 ui, in Guild, build, &c. 
 
 {Unaccented,) in biscuit, gui-tar, &c. 
 
 uy, {Unaccented,) in plaguy, roguy. 
 
 * In some parts of New England, there prevails a vulgar pronun- 
 ciation of some of these words, as if they ended in ing. — In the 
 Middle and Southern states, the equally vulgar usage prevails of 
 suppressing the vowel sound altogether. 
 
ADDITIONAL TABLES. * 331 
 
 Re *f ^" O short. 
 
 o, in Bog, bond, lodge, hos-tile, extol, moth, cost, dross, shone, 
 bod-ily, com-edy, idol-atry, ob-ligation, sol-id, prog- 
 ress, pro-cess, prod-uce, prov-ost, nov-ice, &c. 
 Cor-al, or-ange, sor-ry, tor-rid, or-rery, cor-oner. 
 {Unaccented,) in com-mand, com-pensate, lap-dog, under- 
 plot, &c. 
 
 a, in ^51-ter, was, wan, wash, what, wan-ton, qual-ity, quan- 
 tity, &c. 
 Chaps, scal-lop, yacht, [yot.] 
 
 e, in En-core, [ongkor.] 
 
 au, in Lau-rel, laud-anum. 
 
 ou, in Cough, trough, lough, [lok,] shough, [shok,] &c. 
 
 ow, in Knoio-ledge. 
 
 ^Kf" U short. 
 
 u, in But, dumb, pump, pun-ish, stu-dy, sub-urb, cum-in, 
 consult, buck-ler, ful-some, ful-minate, &c. 
 Fur-ry, cur-ry, hur-ry, Sur-ry, Mur-ray, &c. . 
 Fur, cur, usurp, bur-nish, diur-nal, &c* 
 
 * In all syllables which take the accent, i2, except when it is fol- 
 lowed by another r, or by another vowel in the next syllable, opens 
 the sound of the vowel which precedes it. In this particular case, 
 for example, the sound of u in fur and cur is more open than in 
 furry and curry. So below, the same sound in world is more 
 open than in worry. It is not a little remarkable, that the r, thus 
 circumstanced, following e, i, or y, seems to give to them a sound 
 nearly or quite identical with this sound of u. To the same class 
 also is reduced the sound of ea, when followed by r, in several 
 words ; and most orthoepists also consider ue in guerdon as taking 
 the same sound, Mr. Nares gives to these letters the sound here 
 designated ; and Mr. Smart says, " The usual sound given to these 
 letters in this situation is u short." Walker gives this sound in a 
 few of these words as e short; but the Phonotypic Journal, published 
 in London, uniformly represents it as the same with u in cur. 
 Our latest lexicographer, Worcester, has also thus represented it ; 
 as, with one or two exceptions, Webster had done before him. 
 
332 "MANUAL OF ELOCUTION. 
 
 1U *f ^ nfc - U short. (Continued.) 
 
 u, {Unaccented,) in sub-lime, cherub, decorum, &c. 
 
 Sulphur, nature, lecture, fracture, scripture, &c. 
 
 a, (Unaccented,) in dollar, friar, trial, pagan, bias, &c* 
 
 Baal, trial, feudal, frugal, animal, annal, literal, rival, 
 
 papal, identical, fatal, offal, &c* 
 Giant, abundant, arrogant, vigilant, consonant, fragrant, 
 
 pleasant, significant, instant, infant, &c* 
 Defiance, abundance, arrogance, vigilance, temperance,' 
 contrivance, usance, significance, instance, &c* 
 
 e, in En, fern, cer-tain, mer-cy, ser-vice, per-son, ver-dant, 
 ver-dure; defer, prefer, deter-mine, inter-nal, &c.f 
 {Unaccented,) in chamber, member, power, robber, &c. 
 
 Acre, lucre, mitre, theatre, accoutre, &c, [as if pro- 
 nounced akur, theatur, &c] 
 
 This pronunciation, thus supported by the best authorities among 
 both English and American orthoepists, is also, we think, sus- 
 tained by the best usage of this country; and this Table is ar- 
 ranged accordingly. 
 
 There are those, we doubt not, who will think it very vulgar to 
 follow the authorities we have here cited; and unquestionably a few 
 very polite speakers do really pronounce some of these words 
 differently from what they are here represented. It should be 
 remarked, however, that the refinement in this sound which Nares 
 supposes " our ancestors" possessed, is certainly not the sound of e 
 short, as Walker represents it, nor that of a, which is often heard 
 among those who affect great precision in their speech ; but con- 
 sists doubtless in slightly contracting the organs of speech, so as 
 to render the sound of u a little more close than heard in fur, cur, 
 but without essentially changing or obscuring this sound. 
 
 * The sound assigned to the unaccented a in these classes of 
 words is that of colloquial pronunciation; in deliberate reading and 
 speaking it may sometimes approach its own short sound. There 
 is a vulgar practice of suppressing the vowel sound altogether in 
 many such words, which cannot be too carefully avoided. It is 
 not to be suppressed in any one of them; though on account of the 
 difference in the consonant sounds, it is not always heard with 
 equal distinctness. 
 
 fSee note on p. 331. 
 
ADDITIONAL TABLES. 333 
 
 ^Id e by nt " ^ Sh ° rt ' ( Continued ") 
 
 i, in irk-some, fir, dirk, gird, girl, whirl, mirth, birth, vir- 
 gin, v*'r-tue, cir-cumstance, &e.* 
 {Unaccented,) in nadir, elixir. 
 
 o, in Other, dove, above, come, one, done, none,-}- doth,-J- dost,f 
 bomb, rhomb, plover, &c. 
 
 Oven, sponge, com-bat, noth-ing, com-rade, con-jure [to 
 practice enchantment,] drom-edary, pom-egranite, 
 sov-ereign, &c.^: 
 
 Thor-ough, worry, &c. 
 
 World, worth, worse, worship, &c* 
 (Unaccented.) in synod, period ; pistol, carol ; custom, toil- 
 some; author, metaphor; pivot, carrot, &c. 
 
 Ribbon, sexton, tendon, wagon, abandon, &c. 
 
 Iron [iurn,] apron [apurn.] 
 
 y, in Myrrh, myrtle.* 
 
 {Unaccented,) in martyr, satyr, zephyr. 
 
 aa, {Unaccented,) in Balaam, Canaan. 
 
 ai, {Unaccented,) in Britain. 
 
 ea, in .Earn, learn, yearn; earl, pearl; earth, dearth; heard, 
 search, hearse, rehearse, ear-nest, &c* 
 {Unaccented,) in ocean.§ 
 
 eo, {Unaccented,) in surgeon, puncheon, dungeon, luncheon, &c.§ 
 
 eou, {Unaccented,) in gorgeous, argillaceous, &c. 
 
 eu, {Unaccented,) in grandeur. 
 
 ia, {Unaccented,) in social, partial, &c.§ 
 
 io, {Unaccented,) in cushion, faction, nation, adhesion, &c.§ 
 
 *See note on p. 331. 
 
 -(-The o, in these three words, is often vulgarly made long; or, 
 in New England, pronounced to rhyme with stone, both, and most. 
 See third note on page 322. 
 
 £ These words often very erroneously receive the sound of o short. 
 
 § In these classes of words, in the Middle and Southern States, 
 the unaccented vowel sound is often suppressed. 
 
334 MANUAL OF ELOCUTION. 
 
 ^IS 6 ^*" U short. (Continued.) 
 
 iou, {Unaccented,') in factious, facetious, noxious, specious, judi- 
 cious, &c. 
 
 oa, {Unaccented,) in cupboard [kubburd.] 
 
 oe, in Does. 
 
 oi, {Unaccented,) in avo«r-dupoise. 
 
 oo, in Blood, flood. 
 
 ou, in Scourge, joust, young, cou-sin, cour-tesy, youn-ker, 
 nou-rish, nou-zle, south-erly. 
 {Unaccented,) in mucous, pious, sojourn-er, &c. 
 Clamour, colour, honour, odour, labour, &c* 
 
 ue, in Guerdon, f 
 
 {Unaccented,) in chequer, exchequer, conqueT, &c. 
 
 uo, {Unaccented,) in liquor. 
 
 we, {Unaccented,) in answer. 
 
 Eepresent- 00. 
 
 ed by • • 
 
 oo, in Book, hook, look ; [and in all other words in which it is 
 followed by k.~\ 
 Good, hood, stood, wood; hoop; foot, soot, wool. 
 [Oo is long in all other words in the English language.] 
 
 o, in Wolf, wolves, woman, worsted ; and in the proper names 
 Wolsey, Worcester, and Wolverhampton. 
 
 u, in Bull, full, puss, push, bush, bul-let, bul-lion, butch-er, 
 cuck-oo, cushion, sugar, &c. 
 {Unaccented,) in careful, wonderful, &c. 
 
 ou, in Could, would, should. 
 
 * The u is dropped in the spelling of this entire class of words, 
 both by Webster and Worcester, 
 •j- See note on p. 331. 
 
ADDITIONAL TABLES. 335 
 
 TABLE II. 
 
 KXH I Itr nNG ALL THE ALPHABETIC CHARACTERS AND COMBINATIONS -WHICH IN ENGLISH 
 REPRESENT THE CONSONANT SOUNDS OF THE LANGUAGE. 
 
 Represent- "D 
 
 ed by r> - 
 
 b, in Bake, bare, ball, bar, beat, bite, boat, abuse, abound, 
 m boot, boil. 
 
 Band, bend, bit, borrow, bulb, bird, book. 
 
 bb, in Ebb, criWd, &c. 
 
 p, in Cu^-board-. 
 
 Represent- T\ 
 
 ed by *->. 
 
 d, in Date, dare, dawn, dark, deal, died, dome, dupe, down, 
 doom, doily. 
 Dandy, den, did, dodge, dungeon, dirk. 
 
 bd, in JBdellium. 
 
 dd, in Add. 
 
 Id, in Could, should, would. 
 
 Represent- (~i 
 
 ed by *-"• 
 
 g, in Gate, gairish, gone, guard, gear, guile, gourd, guberna- 
 torial, gown, goose. 
 Gap, get, gig, got, gust, girl, good. 
 
 gg, in Egg, drugg'd, &c. 
 
 gh, in Ghost, aghast, gherkin, hurgh, &c. 
 
 x, in Example [egzampl,] eo?ert, exist, &c. 
 
 Represent- T 
 
 ed by J • 
 
 j, in Jade, jaw, jar, jeer, jolt, Jew, jowler, joy. 
 Jane, jet, jilt, jog, judge, jerk. 
 
 d, in Grandeur, soldier, verdure, &c. 
 
 dg, in Badger, grudge, pledge, ridge, &c. 
 
 g, in Gender, genius, energy, surgeon, &c. 
 
336 MANUAL OF ELOCUTION. 
 
 Represent- T 
 
 ed by XJ - 
 
 1, in Late, lair, lord, lark, leap, line, lore, lure, loud, loop, 
 alloy. 
 Lash, led, limb, lot, lucky, lurk, look. 
 
 11, in All, full, thri//, well, &c. 
 
 gl, in Serag/io, &c. * 
 
 si, in Isle, is&md, aisle. 
 
 Represent- TV/T 
 
 ed by 1V1 - 
 
 m, in Made, mare, maul, mark, meet, mine, mode, mule, 
 mount, move, tur-moil. 
 Mad, medley, mint, moss, much, mirth. 
 
 mm, in Brimm'd, slamw'd, &c. 
 
 gm, in Phlegra, apothegm, diaphragm, &c. 
 
 1, in Sa/mon [Sammun.] 
 
 lm, in Calm, pa/m, -psalm, almond, &c. 
 
 mb, in Lamb, limb, nlumb, climb, &c. 
 
 mn, in Hymn, limn, condemn, mnemonius, JJfneus, &c. 
 
 tm, in TmaxxjiS, Tmolus. 
 
 chm, in Drachm. 
 
 Represent- "M" 
 
 ed by A 3 • 
 
 n, in Nail, ne'er, naught, nard, near, night, note, news, noun, 
 noon, noise. 
 Nab, net, nip, not, nut, nerve, nook. 
 
 en, in Cneus, Cnidus, Cnopus, Cnosus, &c. 
 
 nn, in Ann, ennui [onwe,] &c. 
 
 gn, in Gnash, gnaw, gnomon, sign, impugn, sovereign, &c. 
 
 kn, in Knack, knavery, kneel, knock, knight, &c. 
 
 mp, in AccoTwjot, comptroller. 
 
 pn, in Pnigeus, Pnyx. 
 
ADDITIONAL TABLES. 337 
 
 Represent- T? 
 
 ed by sx - 
 
 r, in Raven, rare, wrong-, wrath, wreak, writhe, throw, ruth- 
 less, round, rood, royal.* 
 Rack, shred, wring 1 , rope, run, rook.* 
 Fair, nor, barter, fear, hire, gore, pure, hour, poor; car, 
 ferry, virulent, fur, Worsted. 
 
 rr, in Burr, err, blurr'd, &c. 
 
 1, in Co/onel [kurnel.] 
 
 rh, in Rhomb, rheum, rhubarb, rAyme, &c* 
 
 rrh, in CatarrA, myrrA, &c. 
 
 rps, in Corps [kor.] 
 
 rt, in Mortgage. 
 
 wr, in JFrap, turath, wretch, bewray, &c.* 
 
 Represent- TT 
 
 ed by » • 
 
 v, in Vain, vault, vaunt, veer, vine, vote, view, vouch, voice. 
 Vat, vent, vivid, volume, vulgar, verdant. 
 
 f, in 0/. 
 
 lv, in Halve, calve, &c. 
 ph, in Stephen. 
 
 Represent- X\T 
 
 ed by vv • 
 
 w, in Waste, wear, war, weal, wine, woad, he wound, womb. 
 Whale, wharf, wheel, whine; whack, whet, whist, 
 what, whur.f 
 
 * In these examples, this element should be made vibrant, ac- 
 cording to the direction given on p. 36. This mode of articulating 
 it is common with the best English speakers, and is occasionally 
 employed with good effect by our own orators. The full instruc- 
 tions given by the best writers on English orthoepy, to aid in the 
 acquisition of this element of enunciation, sufficiently establishes 
 its importance. — See Smart's Grammar of English Pronunciation ; 
 Walker's Principles ; the Philosophy of the Human Voice, &c. 
 
 fThe sound of w is not heard in this combination, till after that 
 of h ; as if these words were written hwale, hwarf, &c. 
 
 29 
 
338 MANUAL OF ELOCUTION. 
 
 Re ^Ty nt " W. (Continued.) 
 
 w, in Wag, wedge, wisp, won, wonder, world, wood, 
 o, in One [wun,] once [wuns,] choir [kwir.] 
 u, in Suite, ennui, persuade, languid, &c. 
 
 Represent- "VT 
 
 ed by * • 
 
 y, in Yawn, yard, year, yoke, youth. 
 Yet, yon, yearn. 
 
 e, in Ewe, jEurope, &c. 
 
 i, in Darnel,* spam'el,* filial, auxiliary, &c. 
 
 u, in Cse, union, humor, unusual, &c. [In English, the 
 word or syllable commencing with u is always in- 
 troduced by the sound of y. — In humor, the h is not 
 sounded.] 
 
 j, in Hallelu/ah. 
 
 Represent- *7 
 
 ed by *** 
 
 z, in Zany, zarnich, zeal, zymology, zone, zeugma. 
 Zaccho, zest, zinc, zircon. 
 
 zz, in Buzz, whizz'd, &c. 
 
 c, in Suffice, sacrifice, discern, &c. 
 
 cz, in Czar, czarina. 
 
 s, in As, was, ease, hose, teas, decrees, &c. 
 
 Dissolve, possess, scissors, Israel,f hussar, &c. 
 Easy, greasy ; to grease, to house, to mouse, to use, to 
 premise, &c. 
 
 t, in Mistletoe [mizzlto.] 
 x, in JTenophon, -Xerxes. 
 
 * Often erroneously pronounced Danil, spaniL 
 f Some speakers very affectedly give the s in this word its hiss- 
 ing sound. 
 
ADDITIONAL TABLES. 339 
 
 Represent- "VT™ 
 
 ed by -^ g* 
 
 ng-, in Bang, thing, song, among, &c. 
 
 mp, in Aiddecawp [addekong.] 
 
 n, in Anguish, finger, congress, ink, bank, &c. 
 
 nd, in Handkerchief. 
 
 Represent- TIT 
 
 ed by J-il« 
 
 th, in They, there, these, thine, though, thou. 
 That, then, this, thus. 
 
 Bathe, breathe, sheathe, blithe, sithe, tithe, clothe, &c. 
 To wreath, to loath, to seeth, to sooth, to mouth, &c. 
 Baths, laths, paths, oaths, mouths, moths, cloths, 
 wreaths. [The only words that change the sound 
 of th in the plural.] 
 
 Represent- r T\ n 
 
 ed by £*"-. 
 
 z, in Azure, vizier, glazier, grazier, &c. 
 
 g, in Rouge. 
 
 s, in Occasion, precision, pleasure, erasure, Mcesia, &c. 
 
 Represent \T 
 
 ed by J^' 
 
 k, in Kayle, kaw, keel, kind, Koran. 
 Kangaroo, kedge, king, kirk. 
 
 c, in Care, cast, cubit, count, cool, coil]; cut, cook, &c. 
 
 ch, in CAaos, catecAism, school, monarch, &c. 
 
 ck, in Buck, back, pic&, beck, &c. 
 
 gh, in HougA [hok,] shougA, lough. 
 
 kh, in Khan. 
 
 Ik, in Talk, balk, chalk, folk [fok,] yolk [yok,] &c. 
 
 q, in Quick, §uite, giiake, quarter, &c. 
 
 x, in Exile [eksile,] exercise, &c. 
 
340 MANUAL OF ELOCUTION. 
 
 ed by x • 
 
 p, in Pail, pear, pall, part, piece, pipe, pour, pure, pound, 
 
 pool, poise. 
 Park, pet, pin, pop, pun, pearl, put. 
 pp, in Epps, [proper name,] hopp'd, trijap'd, &c. 
 ph, in ShepAerd ; and to this most orthoepists add— dipAthong, 
 
 trijoAthong, naphtha. 
 
 Represent- HT 
 
 ed by h? 
 
 t, in Take, tare, tall, tar, teal, tythe, told, tune, town, tool, toil. 
 Tan, tell, tin, top, tub, turn, took. 
 
 tt, in Bu#. 
 
 bt, in Debt, redoubt, suMe. 
 
 ct, in Indid, victuals [vittlz,] Meatus, Ctesiphon, &c. 
 
 cht, in Yacht. 
 
 d, in Facec?, dresserf, stuffed, &c. 
 
 ght, in Night, wight, drought, though, &c. 
 
 phth, in Phthisis, phthisic, phthisical, &c. 
 
 pt, in Ptolemy, Pfolederma, &c. ; also in receipt. 
 
 th, in Thames, thyme, as^Ama, &c. 
 
 z, in Mezzotinto [metsotinto,] mezzo-relievo, &c. 
 
 Represent- "C* 
 
 ed by £ • 
 
 f, in Fame, fare, fault, farm, feel, find, fold, fugue, found, 
 food, foil. 
 Fat, fend, fill, fop, fun, fern, full. 
 rT, in Bu/, cuff, sta/, &c. 
 gh, in Enoug-A, roug-A, loug-A, draug-At, &c. 
 If, in Calf, half,- [and in all the words in which If follows o.] 
 ph, in PAalanx, seraph, propAet, prqpAesy, &c. 
 pph, in Sapphire. 
 t, in Often, soften. 
 
ADDITIONAL TABLES. 341 
 
 Represent- TJ 
 
 ed by xx ' 
 
 h, in Hate, hare, hall, harm, heel, hire, hone, humid, house, 
 hoof, hoist. 
 Hat, head, him, hot, hull, her, hook. 
 Where, wheat, while ; whelm, whim, whirl.* 
 
 wh, in Whole, whom, who, &c. 
 
 Represent- CJ 
 
 ed by °* 
 
 s, in Same, sordid, saunter, seal, sign, soak, suit, sound, soup, 
 soil. 
 Sat, sense, sin, sock, such, serve, soot. 
 Cohesive, exclusive, design, precise, practise, &c.f 
 Suit, suitor, suitable, &c.^: 
 
 ss, in Mass, puss, glass, grass, &c. 
 
 c, in Cedar, cease, cell, placid, tacit, &c. 
 Financier, pincers, &c.:£ 
 
 ps, in Psalm, josychology, Psyche, &c. 
 
 sc, in Scene, scent, science, scymetar, &c. * 
 
 sch, in *ScAism. 
 
 st, in Chestnut, Christmas. 
 
 t, in Aposfle, hosier, cas/le, fasten, moisten, &c. 
 
 z, in Mezzotinto [metsotinto,] &c. 
 
 Represent- Tn, 
 
 edby xn * 
 
 th, in Thane, thought, theatre, thigh, thorax. 
 
 Thank, theft, think, thong, thumb, thermometer. 
 
 * In this combination, the aspiration should always be distinctly 
 heard before the sound of w, except when followed by 6 or oo.— 
 See the next examples. 
 
 f There is a slovenly mode of pronouncing many of the words 
 of this class, which gives to the s the sound of z. 
 
 \ The sound of s, in these classes of words, often degenerates in 
 pronunciation into that of sh. A similar carelessness sometimes 
 converts the u into oo, in the first class; and thus suit becomes 
 shoot, and suitors, shootors. 
 
342 MANUAL OF ELOCUTION. 
 
 Re Kf- Th. (Continued.) 
 
 th, in Bath, lath, path, oath, mouth, moth, cloth, wreath.* 
 Truth, youth, earth, birth, sabbath, death, &c. 
 Truths, youths, earths, births, sabbaths, deaths, &c. 
 
 h, in EightA [atth.] 
 
 phth, in Phthm, PAtfAiotis. 
 
 tth, in Ma^Aew. 
 
 Represent- OV. 
 
 ed by OI1 « 
 
 sh, in Shade, share, short, sharp, shield, shine, shore, shout, 
 shoot. 
 Shall, shed, shin, shot, shut, shirk, shook. 
 
 c, in Ocean, social, pronunciation, Sicyon, &c. 
 
 ch, in CAaise, cAagrin, cAarlatan, macAine, &c. 
 
 s, in #ure, sugar, sensual, censure, &c. 
 
 sc, in Ascii [ashei,] amphiscii, antiscii, &c. 
 
 sch, in EscAalot [shalot — the e being silent.] 
 
 ss, in Issue, tissue, passion, omission, &c. 
 
 t, in Nation, position, faction, &c. 
 
 x, in Anxious [ankshus,] luxury, &c. 
 
 Kepresent- f^y. 
 
 ed by ^ n ' 
 
 ch, in Chain, chair, chalk, chaff, cheek, chide, chose, chew, 
 chowder, choose, choice. 
 Chat, cherish, chin, chop, chuck, church. 
 
 c, in Vermicelli [vermechele,] violoncello, &c. 
 
 t, in Question, signatiire, &c. 
 
 tch, in MafcA, scraicA, watch, notch, cratch, &c. 
 
 * See the examples and the remark under TH, p. 339. 
 
INDEX. 
 
 Abhorrence, vocal expression of, 149. 
 Accent, discussed, 98 — 100. 
 defined, 98. 
 three forms of, 99. 
 Adjuration, vocal expression of, 138. 
 Admiration, vocal expression of, 156. 
 
 how expressed by action and attitude, 306, 310. 
 self — vocal expression of, 138. 
 Admonition, serious — vocal expression of, 129. 
 Adoration, vocal expression of, 128. 
 Affirmation, strong — vocal expression of, 138. 
 Alphabet, English — imperfect, 31. 
 Alternate Phrase, defined, 87. 
 
 Melody of — explained, 89. 
 Partial Drift of, 124. 
 Amazement, vocal expression of, 156. 
 Anger, vocal expression of, 146. 
 
 Anxiety, how expressed by action and attitude, 306, 314. 
 Apathy, vocal expression of, 167. 
 Apprehension, vocal expression of, 163. 
 Argument, eager — vocal expression of, 133. 
 warm — vocal expression of, 138. 
 Arm, employed in oratory, 246 — 256, 261. 
 
 employed in dramatic action, 299 — 303, 306. 
 systematic positions of, 249 — 254. 
 gestures of — considered as bold and moderate, 252, 253. 
 errors in the positions of, 254, 255. 
 Arm and Hand, manner of their motion illustrated, 200 — 203. 
 Articulation, importance of a good, 38. 
 examples of bad, 38, 39. 
 tables for practice in, 40 — 47, 50 — 54. 
 
 343 
 
344 INDEX. 
 
 Aspirate elements, table of, 34. 
 
 how they should be uttered, 37. 
 Aspiration, a quality of the voice — denned and illustrated, 83 
 Emphasis of, 114. 
 Partial Drift of, 124. 
 Assent, how expressed by action, 305. 
 Astonishment, vocal expression of, 156. 
 Atonic elements, table of, 34. 
 
 why so called, 36. 
 
 table of, combined with the long vowels, 52. 
 Attention, how expressed by action and attitude, 306, 312. 
 Attitudes, rarely to be employed in the pulpit, 285, 288. 
 condemned by Cicero even at the bar, 288. 
 not essential to the actor, 304. 
 figures illustrating, 307—315. 
 Authority, simple — vocal expression of, 138. 
 
 how expressed by action, 306, 307. 
 vaunting — vocal expression of, 138. 
 Aversion, vocal expression of, 149. 
 
 how expressed by gesture and attitude, 307, 308. 
 Awe, vocal expression of, 157. 
 
 Bashfulness, how expressed by aetion, 306. 
 Boldness of gesture, denned, 270. 
 Bow, elements of a graceful, 259. 
 Breast, hand on — significant, 244, 306. 
 
 rule for placing, 244. 
 
 errors in placing, 245, 246. 
 Broken Melody, phrase explained, 89. 
 
 Cadence, triad of — explained, 87. 
 
 Melody of — explained, 89. 
 
 subject of — discussed, 184 — 193. 
 
 Prepared, 187, 189. 
 
 faults in regard to, 189. 
 
 different forms of- 
 Caution, vocal expression of, 167. 
 Certainty, vocal expression of, 138. 
 Cesural Pause, defined, 206. 
 
INDEX. 345 
 
 Chagrin, vocal expression of, 153. 
 
 Chin, hand on — expressive, 244, 313. 
 
 Chromatic Melody, depends on the Semi-tone, 60, 89, 
 
 Cicero, studied Elocution, 20, 
 
 Colloquial style of Gesture, defined, 272. 
 
 uses of, 272. 
 Command, vocai expression of, 138. 
 Commiseration, vocal expression of, 157, 
 Compass of voice, defined, 57. 
 
 exercises on — suggested, 58. 
 Compassion, vocal expression of, 157. 
 
 how expressed by action, 306. 
 Complaint, vocal expression of, 157. 
 Compound Emphasis, defined and illustrated, 105. 
 
 Stress, defined, 56. 
 Concrete Changes of Pitch, defined and illustrated, 58. 
 
 Interval, defined, 59. 
 Condolence, vocal expression of, 157. 
 Confidence, vocal expression of, 138. 
 Consonant Elements, table of, 34. 
 
 sounds, combinations of— arranged in a table, 40 — 43. 
 Contempt, vocal expression of, 153. 
 Continued wave, defined, 71. 
 Contrition, vocal expression of, 157. 
 Countenance, expression of— employed in oratory, 236 — 241. 
 
 employed in dramatic action, 295, 296. 
 Courage, expression of— by action and attitude, 305, 306, 307. 
 Cross Gesture of the arm, not to be often used, 255. 
 
 a bad concluding gesture, 280. 
 Curiosity, vocal expression of, 163. 
 
 Defective Measure of Speech, defined, 196. 
 Defiance, vocal expression of, 138. 
 Deliberation, vocal expression of, 129. 
 Delight, vocal expression of, 155. 
 Demosthenes, studied Elocution, 20. 
 Denunciation, vocal expression of, 138. 
 Denying, vocal expression of, 138. 
 Deprecation, how expressed by action, 310. 
 
346 INDEX. 
 
 Derision, vocal expression of, 154. 
 Description, simple — vocal expression of, 128. 
 earnest — vocal expression of, 133. 
 Despair, vocal expression of, 138. 
 Diatonic or Natural Scale, denned, 57, 91. 
 
 Melody, depends on the Interval and the Slide of a Second, 
 
 60, 86, 88. 
 Slides, rules for the employment of, 63 — 66. 
 Drift, defined, 123. 
 Dignity, vocal expression of, 128. 
 Direct Question, defined, 68. 
 
 not always determined by the form, 69, 70. 
 if very long, takes only the Partial Intonation, 70. 
 Wave, defined, 71. 
 Disappointment, how expressed by gesture, 306. 
 Discontent, vocal expression of, 153,x 
 Discrete Changes of Pitch, defined, 58. 
 
 Interval, defined, 58. 
 Disgust, vocal expression of, 149. 
 Dislike, how expressed by action, 306. 
 Dissatisfaction, vocal expression of, 153. 
 Dissent, how expressed by action, 306. 
 Distress, (see Pain.) 
 
 Ditone, Rising and Falling — explained, 87. 
 Double Wave, defined, 71. 
 
 Equal — Emphasis of, 111. 
 Unequal — Emphasis of, 112. 
 Doubt, vocal expression of, 167. 
 
 how expressed by action, 306. 
 Downward Interval, explanation of, 59 — 61. 
 Emphasis of, 108, 109. 
 Slides, defined, 59. 
 
 Drift of, defined, 124. 
 Dramatic action, elements of, 292 — 303. 
 
 how it differs from oratorical action, 292 — 294, 305. 
 gestures and attitudes illustrating, 305 315. 
 Drawling, defined, 91. 
 Drifts of the Voice, 122—126. 
 
 Partial, 124. 
 Drowsiness, vocal expression of, 167. 
 
INDEX. 347 
 
 Eagerness, vocal expression of, 163. 
 
 Eighth, (see Octave.) 
 
 Elementary sounds of the English Language, 31 — 37. 
 
 Elocution, importance of a good, 15. 
 
 considered as a science and as an art, 18. 
 includes both Voice and Gesture, 18, 25. 
 the study of — what it can do for the learner, 23. 
 
 neglected, 215 — 218. 
 adapted to the pulpit, 281 — 291. 
 Eloquence, written and oral, 18. 
 
 written, dependent on the oral, 223, 224. 
 Emphasis, discussed, 100 — 122. 
 uses of, 101. 
 defined, 101. 
 modes of giving, 102. 
 elements of— often combined, 115. 
 may extend to clauses, 116. 
 Absolute — defined, 116. 
 Relative— defined, 116. 
 
 illustrated, 117—122. 
 cautions in the employment of, 116. 
 Emphatic Pause, defined, 204. 
 
 Slides, embrace all but that of the Second, 66. 
 Stroke of Gesture, defined and explained, 266, 267. 
 Energy, vocal expression of, 144. 
 
 of Gesture, defined, 270. 
 English Language, well adapted to eloquence, 16. 
 elementary sounds of, 31 — 37. 
 Envy, vocal expression of, 149. 
 Epic Style of Gesture, defined, 271. 
 
 principally employed in the theatre. 271. 
 Equal Waves, defined, 71. 
 
 illustrated, 72, 73. 
 Emphasis of, 110, 111. 
 Execration, vocal expression of, 154. 
 Explosive power of the Vowel elements, 79. 
 
 exercises for practice on, 79, 80. 
 Expression of the Passions, advantage of studying, viii. 
 illustrated, 126—168. 
 
348 INDEX. 
 
 Exultation, vocal expression of, 155. 
 Eyes, hand on — expressive, 244. 
 
 significant expressions of, 306. 
 Eyes and Countenance, employed in oratory, 236 — 241, 261. 
 
 employed in dramatic action, 295, 296. 
 
 errors relating to, 239, 240. 
 
 Facetioxtsh-ess, vocal expression of, 133. 
 
 Falsette, a quality of the voice— defined and illustrated, 85. 
 
 Partial Drift of, 124. 
 Fatigue, vocal expression of, 167. 
 Fear, vocal expression of, 163. 
 
 how expressed by action and attitude, 307, 309. 
 Feet and Lower Limbs, employed in oratorical action, 226 — 233. 
 employed in dramatic action, 294, 307. 
 positions of, 226—228, 294. 
 
 errors in, 229, 230. 
 changes in position of, 230—232, 260, 294. 
 errors in, 232, 233. 
 Fifth, Interval of— defined, 57. 
 
 Slide of, — defined and explained, 59, 60. 
 Equal Wave of— illustrated, 73. 
 
 Emphasis of, 110, 117. 
 Risiijg — Emphasis of, 106. 
 Falling — Emphasis of, 108. 
 Final Pause— defined, 206. 
 
 not to be observed on the stage, 206, 207. 
 Finger on the lips, expressive, 244. 
 Fingers, natural state of, 241, 242. 
 
 other modes of disposing, 242, 296, 297. 
 Flight of the Voice, defined and illustrated, 212. 
 Fondness, vocal expression of, 157. 
 Forbidding, vocal expression of, 138. 
 Force of Voice, discussed, 75 — 81, 94. 
 importance of, 76. 
 may be increased by practice, 76. 
 rules for practice, 77 — 79. 
 
 degree of— to be employed at the opening of a dis- 
 course, 94. 
 
INDEX. 349 
 
 Force of Voice — Emphasis of, 113. 
 
 Drift of, 124. 
 Forcible Accent, defined and illustrated, 99, 100. 
 Forehead of the orator, should be uncovered, 2-40. 
 hand on, expressive, 244. 
 
 Garbick, used little gesture, 274. 
 Gayety, vocal expression of, 133. 
 Gesture, a branch of Elocution, 18, 25. 
 
 denned, 221. 
 
 natural, 26, 221. 
 
 two stages of — Involuntary and Voluntary, 222, 223. 
 
 of instruction in, 223. 
 
 uses of, in speaking, 223. 
 
 essential to the expression of feeling, 224. 
 
 divided into Oratorical and Dramatic, 225. 
 
 elements of oratorical, 224 — 256. 
 
 elements of dramatic, 292 — 305. 
 
 must have feeling for its basis, viii. 257, 276. 
 
 considered as Principal and Subordinate, 264. 
 
 the accompaniments of, 265. 
 
 considered as Preparatory and Terminating, 265. 
 
 Emphatic Stroke and time of, 266. 
 
 considered as significant and not significant, 267, 268". 
 
 relative importance of these, discussed, 303, 304. 
 
 Transition of, 268. 
 
 Qualities of, 269—271. 
 
 to accord with the character of the speaker, 274. 
 the character of the audience, 274. 
 the objects of the address, 274. 
 
 as connected with thedifierent parts of a discourse, 277 — 280. 
 
 examples of Significant, 307 — 315. 
 Grace of Gesture, defined, 270. 
 
 not inconsistent with feeling, 257. 
 Grammatical Pause, defined, 203. 
 Gravity, vocal expression of, 128. 
 Grief, vocal expression of, 157. 
 
 how expressed by action and attitude, 305, 312. 
 Grouping of Speech, defined and illustrated, 212 — 215, 
 30 
 
350 INDEX. 
 
 Guttural Voice, illustrated, 84. 
 uses of, 84. 
 Partial Drift of, 124. 
 Emphasis, 115. 
 
 Hand, employed in oratory, 241 — 246, 261. 
 
 employed in dramatic action, 296—299, 306. 
 errors in the position of, 245, 246. 
 should move in curved lines, 247 — 249. 
 Right — should be principally used in gesture, 262, 263. 
 Left— when to be used, 263, 264. 
 Hands, both — examples of their combined disposition, 297 — 299 
 
 combined action of, rarely required in oratory, 245, 297. 
 may be employed at the same time, 264. 
 Hate, vocal expression of, 149. 
 Head, Significant Gestures of, 305. 
 
 and Trunk, employed in oratorical action, 233 — 236. 
 employed in dramatic action, 294, 295. 
 errors in the position of, 234 — 236, 260, 261. 
 Hope, vocal expression of, 163. 
 Horror, vocal expression of, 164. 
 
 how expressed by action and attitude, 306, 308, 309. 
 Humility, vocal expression of, 167. 
 
 how expressed by action, 307. 
 
 Ill-Humor, vocal expression of, 153. 
 Imperfect Measure of Speech, defined, 196. 
 Indignation, vocal expression of, 149. 
 Indirect Question, defined, 68. 
 Instruction, vocal expression suited to, 138. 
 Interrogation, intonation of, 67 — 70. 
 
 expressive — elements of, 164 — 167. 
 Intervals, defined, 57. 
 
 Proximate and Remote, defined, 57, 91. 
 
 Rising and Falling, explained, 59 — 61. 
 
 Emphasis of, 105 — 109. 
 Introductory movements of the speaker, 258, 259. 
 Inverted Wave, defined, 71. 
 
 Emphasis of, 111. 
 Irresolution, vocal expression of, 167. 
 
INDEX. 351 
 
 Jealousy, vocal expression of, 149. 
 Joy, vocal expression of, 155. 
 
 how expressed by action, 306. 
 
 Ket-note, denned, 57. 
 
 Lamentation, vocal expression of, 157. 
 Languor, vocal expression of, 167. 
 
 how expressed by action, 306. 
 Lips, hand or finger on — expressive, 244, 306. 
 Listening, how expressed by attitude, 309. 
 Loud Concrete Stress, defined, 56. 
 Love, vocal expression of, 157. 
 Lower Limbs. (See Feet and Lower Limbs.) 
 
 Magnificence of Gesture, defined, 269. 
 Malice, vocal expression of, 149. 
 Measure of Speech, discussed, 193 — 202. 
 Mechanical Variety, explained and illustrated, 88, 95. 
 Median Stress, defined and illustrated, 50, 55. 
 exercises on — suggested, 55. 
 Drift of— defined, 123. 
 Emphasis, illustrated, 104. 
 
 kind of gesture suited to, 266. 
 Melancholy, attitude illustrating, 314. 
 Melodies of the voice, 85 — 90. 
 Mercy, vocal expression of, 157. 
 Mirth, vocal expression of, 154. 
 Mirthful Wonder, vocal expression of, 156. 
 Mockery, vocal expression of, 154. 
 Modesty, vocal expression of, 167. 
 Monotone, Phrase of, defined, 87. 
 Melody of — defined, 88. 
 Partial Drift of, 124. 
 Mouth, expression of — requires attention, 238, 239, 241. 
 Mouthing, defined, 37. 
 
 Muscles, abdominal and intercostal — to be chiefly used in speak 
 ing, 79. 
 
352 INDEX. 
 
 Musical Pause, defined, 206. 
 
 Mutes, one class of the Atonic elements, 34. 
 
 Mystery, vocal expression of, 163. 
 
 i 
 Narrative, plain — vocal expression of, 128. 
 Natural or Diatonic Scale, defined, 57. 
 Voice, defined, 85, 94. 
 
 Drift of, defined, 125. 
 Note, defined, 57, 91. 
 
 Octave, Interval of — defined, 57. 
 
 Slide of — defined and explained, 59, 60. 
 Equal Wave of — illustrated, 73. 
 Rising — Emphasis of, 107. 
 Falling — Emphasis of, 109. 
 Orator, requisites to the perfect, 97. 
 
 action of— different from that of the actor, 292 — 294, 305. 
 Imitative action not allowed, 303, 305. 
 Orotund Voice, qualities of, 82. 
 
 how acquired, 83. 
 Drift of, 124. 
 
 Paik, vocal expression of, 162. 
 
 how expressed by action, 306, 312. 
 Palm, modes of presenting — in gesture, 243. 
 
 Natural State of, 243. 
 Paragraphic Pause, defined, 205. 
 
 practical uses of, 205. 
 Partial Drifts of the Voice, 124. 
 
 Interrogative Intonation, defined and illustrated, 68, 69. 
 Passions, vocal expression of — illustrated, 126 — 168. 
 Pauses in Speech, 203—207. 
 Peevishness, vocal expression of, 153. 
 Penitence, vocal expression of, 157. 
 Perfect Measure of Speech, defined, 196. 
 Petition, vocal expression of, 157. 
 Petulance, vocal expression of, 153. 
 Phrases of Melody, explained and illustrated, 87, 95. 
 Partial Drifts of, 124. 
 
INDEX. 353 
 
 Pitch of the voice, discussed, 57 — 71, 91. 
 
 adapted to the commencement of discourses, 91. 
 
 Emphasis of, defined and illustrated, 105 — 109. 
 
 Drift of, defined, 123. 
 Pitt studied Elocution, 21. 
 Pity, vocal expression of, 157. 
 Plaintive expression, elements of, 157. 
 Poetry, rules for the reading of, 207 — 211. 
 
 the Temporal Accent should be employed in reading, 100, 208. 
 Positiveness, vocal expression of, 138. 
 
 combined with plaintiveness — vocal expression of, 158 
 Prayer, vocal expression suited to, 128, 157, 288. 
 action and attitude suited to, 287, 306, 307. 
 Precept, vocal expression suited to, 138. 
 Precision of Gesture, defined, 271. 
 
 Pride, how expressed by action and attitude, 305, 306, 313. 
 Propriety of Gesture, defined, 271. 
 Pulpit, Elocution adapted to the, 281 — 291. 
 
 considered as a field for oratory, 17, 282. 
 
 rules for the action employed in, 284 — 291. 
 
 Orator — self-command essential to, 290, 291. 
 Pulpits, proper structure of, 291. 
 
 Qtjalitt, of the voice, 81 — 85. 
 
 Emphasis of, 113 — 115. 
 
 Drift of, 124. 
 
 Partial Drift of, 124. 
 Qualities of Gesture, 269—271. 
 Quantity, discussed, 48, 50, 91. 
 
 Emphasis of— defined and illustrated, 102, 103. 
 
 Drift of, 123. 
 
 R, when vibrant, 36. 
 
 vibrant — one of the elements of expression, 144. 
 Radical Stress, defined and illustrated, 50 — 55. 
 tables for exercise on, 51 — 55. 
 Drift of, defined, 123. 
 Accent, defined and illustrated, 99, 100. 
 Emphasis, defined and illustrated, 103. 
 kind of gesture suited to, 266. 
 30* 
 
354 INDEX. 
 
 Rage, vocal expression of, 146. 
 
 Raillery, vocal expression of, 154. 
 
 Ranting, denned, 94. 
 
 Rapture, vocal expression of, 155. 
 
 Reading, involves many of the principles of Elocution, ix. 25. 
 
 how far it admits of action, 262, 272. 
 Rebuke, vocal expression of, 128, 146, 149. 
 Refusing, vocal expression of, 138. 
 Relative Emphasis, denned, 116. 
 
 rules for, with illustrations, 117 — 122. 
 Repining, vocal expression of, 153. 
 Reprehension or Reproving, vocal expression of, 138. 
 Reproach, vocal expression of, 129. 
 Resignation, vocal expression of, 138. 
 Respect, vocal expression of, 128. 
 Revenge, vocal expression of, 149. 
 Reverence, vocal expression of, 128. 
 Rhetorical Pause, denned, 204. 
 
 Style of Gesture, denned, 271. 
 
 this the style of oratory, 271, 
 Rhythmic Pause, defined, 203. 
 Rhythmus. (See Measure of Speech.) 
 Rising Intervals, explanation of, 59 — 61. 
 
 Emphasis of— illustrated, 105 — 107. 
 Slides, defined, 59, 60. 
 
 Partial Drift of, 124. 
 
 Scoffing, vocal expression of, 154. 
 Scorn, vocal expression of, 153. 
 Second, Interval of — defined, 57. 
 Slide of — how used, 60. 
 Wave of — illustrated, 72. 
 
 Emphasis of, 110. 
 Drift of, 124. 
 Secrecy, vocal expression of, 163. 
 Self-sufficiency, attitude of, 313. 
 Semitone, defined, 57. 
 
 Slide of— its uses, 60. 
 
 exercises on, suggested, 60. 
 
INDEX. 355 
 
 Semitone — Wave of, 72. 
 
 Emphasis of, 110. 
 Drift of, 124. 
 Drift of, 123. 
 Sentential Pause, defined, 203. 
 Shame, vocal expression of, 167. 
 
 how expressed by action and attitude, 305, 306, 311. 
 Sheridan studied elocution, 21. 
 
 Siddons, Mrs. — illustrations of her attitudes, 314, 315. 
 Significant Gestures, defined, 267. 
 
 Simple — examples of, 305 — 307. 
 Complex — examples of, 307 — 315. 
 Simplicity of Gesture, defined, 270. 
 Single Wave, defined, 71. 
 
 Unequal — Emphasis of, 111. 
 Slides of the Voice, defined and illustrated, 59, 60, 92. 
 exercises for practice on, 60 — 62. 
 Sneer, vocal expression of, 153. 
 Solemnity, vocal expression of, 128. 
 Song, how it difiers from speech, 58. 
 Sorrow, vocal expression of, 157. 
 expressed by the eye, 306. 
 Speech, how it difiers from Song, 58. 
 Stress, defined and explained, 50 — 57, 91. 
 Styles of Gesture, 271, 272. 
 Submission, vocal expression of, 157. 
 Suffering, mental or bodily — vocal expression of, 162. 
 Supplication, vocal expression of, 157. 
 Surprise, simple — vocal expression of, 156. 
 
 combined with plaintiveness — vocal expression of, 158. 
 Suspicion, vocal expression of, 163. 
 Syllables, considered as Immutable, Mutable, and Indefinite, 49. 
 
 Tables for vocal exercise, 33, 34, 40 — 43, 52 — 54. 
 
 Teacher, suggestions to, 33, 52, 103, 129, 190, 197, 231, 254, 259. 
 
 Temporal Accent, defined and illustrated, 99, 100. 
 
 best suited to the reading of poetry, W0. 
 Emphasis, defined and illustrated, 102, 103. 
 kind of gesture suited to, 266. 
 
356 INDEX". 
 
 Temporal Drift, defined, 123. 
 Tenderness, vocal expression of, 157. 
 Terror, vocal expression of, 164. 
 
 how expressed by action and attitude, 307. 
 Third, Interval of — defined, 57. 
 
 Slide of— defined and illustrated, 59, 60. 
 Equal Wave of— illustrated, 73. 
 
 Emphasis of, 110. 
 Rising— Emphasis of, 106, 107. 
 Falling— Emphasis of, 108, 109. 
 Thorough Interrogative Intonation, defined and illustrated, 68. 
 Thought, deep, or deliberation, expressed by action and attitude, 
 306, 313. 
 
 disturbed, expressed by action, 307. 
 Time of the Voice. (See Quantity.) 
 Tone, defined, 57, 91. 
 Tonic consonants, table of, 34, 
 
 combined with the long vowels, 52. 
 Tranquillity, vocal expression of, 167. 
 Transition, in vocal expression, 168, 169. 
 
 illustrated by examples, 169 — 184. 
 of gesture, 268. 
 Tremor, defined and explained, 83. 
 Emphasis of, 114. 
 Partial Drift of, 124. 
 Tritone, Rising and Falling, explained, 87. 
 Triumph, vocal expression of, 155. 
 
 Trunk or body, performs a part in the action of the speaker, 233 — 
 236, 294, 295. 
 
 Significant attitudes of, 306, 307. 
 
 Unequal Wave, defined, 71. 
 
 Emphasis of, 111, 112. 
 
 Vanishing Stress, defined and illustrated, 50 — 56. 
 exercises on — suggested, 56. 
 often misused, 91. 
 Drift of— defined, 123. 
 Emphasis, defined and illustrated, 104. 
 kind of gesture suited to, 266. 
 
INDEX. 357 
 
 Variety of Gesture, denned, 270. 
 
 Mechanical, as applicable to the Voice — defined, 88, 95. 
 Veneration, vocal expression of, 128. 
 
 how expressed by attitude, 310. 
 Vexation, vocal expression of, 153. 
 Vocula or Vocule, defined, 35. 
 
 used for emphasis, 90. 
 caution required in use of, 90, 287. 
 Emphasis of, 113, 145. 
 Voice, susceptible of improvement, 20. 
 
 tables with directions for training, 33, 34, 40 — 47, 52 — 63, 
 79, 80. 
 Vowel elements, table of, 33. 
 
 diphthongal character of, 35. 
 
 Long — table of, combined with the Tonic conso- 
 nants, 53. 
 
 combined with the Atonies, 54. 
 Short — table of, combined with the Tonic conso- 
 nants, 54. 
 
 Waves of the Voice, 71—75, 92. 
 
 considered as Equal and Unequal, 71. 
 
 Single, Double, or Continued, 71. 
 Direct and Inverted, 71. 
 
 exercises on, suggested, 73, 74. 
 
 should be used with caution, 93. 
 
 Emphasis of, 109 — 112. 
 Weakness, vocal expression of, 167. 
 
 Weeping, not often to be indulged in by the orator, 240, 291. 
 Whining, defined, 92. 
 Whisper, a quality of voice, 85. 
 Wonder, mirthful — vocal expression of, 116. 
 Wrath, vocal expression of, 146. 
 
 Z, remarks on the sound of, 36. 
 
 THE END. 
 
RECOMMENDATIONS OF THE PICTORIAL HISTORIES 
 OF THE UNITED STATES AND FRANCE. 
 
 It is confidently believed that no books of the kind have ever been 
 offered to the Public, better adapted to Youth, or indeed even to general 
 readers than the present Series. The following recommendations of 
 competent Judges, Teachers, and others, it is hoped will be duly ap- 
 preciated by the Public. 
 
 Wilmington, Sept. 3rd, 1844. 
 
 I have read about two-thirds of "A pictorial history of the United States, 
 with notices of other portions of America, by S. G. Goodrich, author oi 
 Peter Parley's Tales." 
 
 I commenced reading the book for the purpose of examining the manner 
 of the execution ; I have proceeded because of the interest I have felt in the 
 history. It is not a dry compend, as I expected ; but it is history instructive 
 though condensed, communicating in small, but well filled space, all the im- 
 portant events in their proper connexion, requisite to correct, historical know- 
 ledge. It can be recommended to any citizen of our nation, as a book well 
 worthy of his perusal. 
 
 As a school book, its proper place is among the first. The language is 
 remarkable for simplicity, perspicuity and neatness. We could not wish 
 youth trained to a better taste for language, than this is adapted to impart. 
 The history is so written as to lead to geographical examination, and impress 
 by practice, the lesson, to read history with maps. 
 
 As a reading book, apart from its use for studying history, it is one of the 
 best that can be used. The reading lessons in common use, make very little 
 impression on the mind. A child learning to read by this book, would ac- 
 quire a treasure of historical knowledge, of which no citizen should be des- 
 titute, and would have desire awakened and taste formed to learn more fully 
 men and events with their characters, causes and consequences, while no 
 better lessons could be selected to teach the art of reading. Indeed it is im- 
 portant to teach reading, that the lessons should be interesting: hence too 
 much resort has been had to fiction, greatly injuring the mind. 
 
 This book introduced into our common schools, would probably produce 
 another benefit. In some cases it would reach parents, through their children, 
 and form in them a desire for knowledge which would be the most efficient 
 of all ways to bring them to appreciate the value of Schools and the education 
 of their children. 
 
 I should be glad to see this book introduced as a reading book into every 
 district School in this State. 
 
 WILLARD HALL, 
 Judge of the United States Court, District of Delaware. 
 
 The following resolution was adopted by the Common School Convention 
 of the State of Delaware held at New Castle, Sept. 1844. 
 Resolved. — That this Convention commend the " Pictorial History of 
 the United States." to the notice of Commissioners of common Schools and 
 Parents; and they also recommend its introduction into our Schools,as a reading 
 book, wherever it is practicable. 
 
 JOSEPH R. HAYES, Secretary. 
 
 WILLARD HALL, President of the Convention. 
 
Philadelphia, Sept. 20th. 1844. 
 Gent. — I have perused your admirable work, " The History of the United 
 States," with much satisfaction. In my opinion it is a work of great merit, 
 which deserves to be extensively circulated. 
 
 The Author has, by a judicious selection of interesting incidents, rendered 
 a study which is too ofien considered irksome to the student, entertaining 
 and instructive, and capable of impressing on the minds of American Ycuh, 
 a correct outline ol the History of their iNative Land. 
 
 The celebrity of Peter Parley's works is a sufficient guarantee, for its 
 being welcomed as an important addition to the means of elementary 
 education. Very Respectfully, 
 
 W. H. PILE. 
 Principal of N. E. Grammar School. 
 
 Wilmington, August, lZth, 1844. 
 Messrs. Sorin & Ball. 
 
 I have been much gratified in examining " A Pictorial history of the 
 United States," by S. G. Goodrich, recently published by yourselves. A 
 love ol country cannot be better promoted than by a study of our National 
 History: and from its popular adaptation I conceive this work well calculated 
 to promote such study. The strong points are given, and in a style render- 
 ing the study alike pleasant and profitable. It will make an excellent school 
 book. Every pupil should study it ; all should read it ; and none can own 
 it without finding it very convenient as a book of reference. 
 
 J. KENNADAY. 
 
 Philadelphia, Sept. 9th, 1844. 
 Messrs. Sorin & Ball. 
 
 Gent. — I have thoroughly examined your " Pictorial histories of the 
 United States, and of France," by S. Griswold Goodrich, and have been de- 
 lighted by the ease of style, simplicity of manner, and perspicuity of diction. 
 
 History is by some considered a dry study, and indeed our school histories 
 are most commonly of that class, and that from the fact, that they are too 
 verbose ; but the author of these histories, has hit that happy simplicity, and 
 avoided that length of detail which is so tiresome. 
 
 One peculiarity I will not pass by in silence, and that is, the beautiful vein 
 of moral reflection, found at the close of each chapter, which naturally 
 guides the pupil, to a proper estimate of the detailed transaction : this I 
 think to be a recommendation of superior order, for it necessarily leads, the 
 pupil to think. 
 
 The style of the Book as regards mechanical execution, is superior, and 
 I hope the effort to impart good instruction in a pleasant way, will be well 
 rewarded by a discerning public. 
 
 Yours truly, and sincerely, 
 
 W. G. E. AGNEW, 
 Principal of Zane Street Public School. 
 
 Dickinson College, July, 31si, 1844. 
 Messrs. Sorin & Ball. 
 
 Gentlemen, — I am delighted with the "Pictorial History of France, and 
 and also the Pictorial History of the United States," by Peter Parley, (S. G. 
 Goodrich of Boston.) They are books admirably calculated for the Common 
 Schools of our Country, and deserve to be generally adopted. I hope the 
 orher three volumes of the Series, (England, Greece, and Rome,) will 
 soon follow. 
 
 Yours Respectfully, 
 
 J. P. DtJRBIN. 
 
3 
 
 Philadelphia, 1844. 
 A "Pictorial History of the United States," with Notices of other parts of 
 America." By 3. G. Goodrich, author of Peter Parley's Tales. For the 
 use of Schools. This is, perhaps, the best book of its kind which has issued 
 from the press, for the purpose intended. The history is necessarily greatly 
 condensed, but the incidents are clearly stated, and in a perspicuous style 
 There are a great many cuts, illustrative of historical facts, or descriptive of 
 places rendered memorable by important events. But the celebrity of Peter 
 Parley renders our commendation superfluous. This is the first edition of 
 the work. A Pictorial History of France, by the same author, has been 
 also recently published by Sorin and Ball, for the use of Schools. — Zion's 
 Herald and Wesleyan Journal. 
 
 Belle- Vue Seminary, August, 17th, 1844. 
 I have carefully examined the "Pictorial History of the United States,' 
 edited by S. G. Goodrich, and do not hesitate to say, that I regard it as su 
 perior to any similar work that I am acquainted with, and as much better 
 adapted to public or private instruction. I design to introduce it as a text 
 book i,: this Seminary. 
 
 WILLI AiM H. GILDER. 
 
 Butler House, Chesnut Street, September, 24th, 1844. 
 Messrs. Sorin & Ball. 
 
 Gent. — T know of no works of their kind more worthy of commendation 
 than Goodrich's Histories. In style, arrangement, and general fitness 
 for its purpose. I think the "Pictorial History of the United States," the 
 best book on the subject used in the schools. 
 
 Yours Respectfully, 
 RUFUS W. GRISWOLP 
 
 Philadelphia, July, 22nd, 1844. 
 
 I have examined with much interest "The Pictorial History of the United 
 States, with notices of other portions of America, by S. G. Goodrich." 
 
 The author of this work has, in my opinion, admirably succeeded in pro- 
 ducing such a work as he aimed at — a full, accurate and attractive history of 
 the Western continent. Though intended particularly for youth, it may be 
 read with profit and pleasure by all, and cannot fail to inspire all with senti- 
 ments of patriotism and a love of virtue. 
 
 The work is illustrated by maps, plans of battles, portraits, and engravings 
 of scenes and incidents, equally creditable to the artist and profitable to the 
 student. 
 
 The style and arrangement are such as to render the facts and sentiments 
 most easy to be committed to memory. 
 
 JOSEPH P. ENGLES. 
 Principal of the Classical Institute. 
 
 From the Hon, Ovid F. Johnson, Attorney General of Pennsylvania. 
 
 Philadelphia, Nov. 25th, 1845. 
 Messrs. Sorin & Ball. 
 
 Gent. — I have to thank you for a copy of a "Pictorial History of tne 
 United States with notices of other portions of America," by S. G. Good- 
 rich, which I have read with much pleasure. The general design, and man- 
 ner of execution of this work are very similar to those of the Pictorial His 
 
tory of France, by the same Author, and in relation to which, I expressed 
 my opinion in a brief note commending that book. Making reasonable al- 
 lowance for a very few crude statements of facts, and for some sentences 
 hastily written, this history appears to me, to be one of extraordinary fidelity 
 and merit. 
 
 It places at once in the hands of American youth, the history of their coun- 
 try from the day of its discovery to the present time, written in a style that 
 all can understand, and exhibiting in a connected and clear arrangement, all 
 the great and good deeds of their ancestors; of whjch they now enjoy the 
 benefits, and inherit the renown. The struggles, sufferings, firmness and 
 piety of the first settlers are delineated with a graphic, master-hand, and can- 
 not fail to inspire every American Citizen with just pride, when he reflects, 
 that the foundations of our national prosperity, of our civil and religious liber- 
 ty, were laid and sustained by such men as the pioneers of Jamestown and 
 Plymouth. The gradual enlargement of our dominions, and development 
 of our national energies are traced with a minute accuracy which the gene- 
 ral plan of the work, would seem to have rendered almost impracticable— 
 The events and achievements of the revolution and of the last war are 
 brought out in a strong light, and the subsequent history of our national po- 
 licy and advancement strikingly portrayed, without being disfigured by that 
 tinge of party bias, which is so difficult to be guarded against by the histo- 
 rians of their own times',' and of the age immediately preceding. — 
 
 The details of the discovery of this continent by Columbus, and of the 
 early settlements by the Spaniards, Portugese and other European nations, 
 are all of essential interest to the student of American history, and will be 
 found to furnish on these topics, an adequate amount of information to render 
 the history of this continent complete. 
 
 The general observations interspersed throughout the work, sparing as 
 they are, are sound, judicious and useful, and when they censure, as they 
 sometimes do, the acts of our illustrious fathers, it is in a spirit of kindness, 
 but of justice, which must extort from us more respect, than if the historian 
 were indiscriminately to applaud them. 
 
 The great object of history, is to teach the truth, and let it be as boldly 
 proclaimed, if it gall our national pride, as if it flatter our national vanity. 
 
 I trust the day is not far distant when every American Youth can read the 
 history of his country, and when that day arrives, I would rejoice to see a 
 book like this placed in his hands. He will then learn in the compass of a 
 few pages, how much reason he has to be proud of his country, of its insti- 
 tutions, of its founders, of its heroes and statesmen, and by such lessons, 
 may we hope that those who come after us, will be instructed in their duty 
 as citizens and their obligations as patriots. 
 
 I cheerfully lend my humble sanction to your " Pictorial History" and shall 
 be pleased to hear, that its claims to public favor, are duly appreciated. 
 I am, very respectfully, Yours &c. 
 
 OVID F. JOHNSON. 
 
From Col. H. B. Wright, late Speaker of the House of Representatives of th$ 
 State of Pennsylvania. 
 
 Wilkeslarre, Nov. 18th, 1844. 
 Messrs, Sorin & Ball. 
 
 Gent. — I have very carefully examined the " Pictorial History of the 
 United State? " published by you, which you were pleased to send me, and 
 I most cheerfully recommend it to the schools of the American nation. It 
 possesses rare merits, and adds another obligation on the part of the friends 
 of education in the United States to the gifted author of "Peter Parley's 
 Tale's," The history ut the country connected with school exercises hag 
 been too long neglected : and there is scarcely a man who does not feel most 
 sensibly the neglect in lo.nswiiig the course of his preliminary studies. The 
 design is excellent, the language chaste and well suited to that class of youth 
 for which the work is designed, and the volume itself a well digested com- 
 pendium of the history of the United States. It cannot fail of success. Most 
 intimately should the history of this country be associated with the discipline 
 and exercises of our schools. A form of government based on the intelli- 
 gence of the people cannot be too well understood. Its character, nature and 
 history should be the first lessons in childhood, and the last one of mature 
 and ripened age. The cause of Juvenile education has long felt the impe- 
 rative necessity of just such a book as Goodrich's Pictorial History of the 
 United States. Let its circulation be general — let it reach the hands of every 
 teacher of the youth of the land ; and I feel confident the future benefits of 
 this little volume will be fully appreciated by the public, and be of lasting 
 utility. Very respectfully, your obedient servant, 
 
 HENDRICK B. WRIGHT. 
 
 Warren Green Boarding School, Warrenton, Va. Jan. 11th, 1845. 
 Messrs. Sorin & Ball. 
 
 Gent. — I have been much gratified by an examination of the Copy of 
 Goodrich's " Pictorial History of the United States," which you have had 
 the kindness to forward me. — It is written with the Author's well-known 
 ability ; and is, in my opinion, admirably adapted to the use of Schools. In- 
 deed few writers possess in an equal degree with Mr. Goodrich, the power 
 at once to interest, and instruct, the youthful mind. — The engravings which 
 embellish this production, are very numerous and finely executed; and all 
 appear to represent scenes and persons connected with important events ; — 
 an aid to memory which all readers of history will immediately recognize.— 
 Mr. Goodrich's history of recent political events and contests, is generally 
 worthy of high praise ; so that parents need not fear that the minds of their 
 children will be biased by the perusal of this volume. — I shall avail myself 
 of the first opportunity to introduce this work as a text book into my school. 
 
 Yours Respectfully, 
 
 R. M. SMITH. 
 
RECOMMENDATIONS TO THE "PICTORIAL HIS TOR V 
 OF FRANCE." 
 
 Philadelphia, April, 1st, 1844. 
 
 The reputation of the industrious and successful author of the " Pictorial 
 History of France," is so well established, that it needs no other commen- 
 dation to the public, than his popular name. In preparing books of this 
 eclectic character, the principal labor consists in the selecting of matter, and 
 demands the exercise of a sound judgment, directed by a correct, discrimi- 
 nating taste, as the materials from which such histories are compiled, are 
 exceedingly copious. From an examination of the plan, arrangement of 
 parts &c, of this work, I think that it has been executed with great discre- 
 tion. It is entertaining and instructive, as well as attractive to the eye, and 
 is well adapted to the object for which it was prepared. 
 
 I cannot doubt that the attentive reading of such a syllabus as is here fur- 
 nished, must excite an appetite, and prepare the mind for entering upon a 
 larger and more extended history of the European Nations. 
 
 I know of nothing of the kind, better suited to the use -of Schools, for 
 which it is "particularly designed," and can cordially recommend it to the 
 favorable regard of their supervisors and teachers. 
 
 S. JONES. 
 Principal of Classical and Mathematical Institute, 
 No. 17, South Seventh Street. 
 
 Philadelphia, December, 3rd, 1842. 
 Messrs. Sorin & Ball. 
 
 Gent, — Having examined with care, the " Pictorial History of France," 
 which you submitted to my inspection, I am prepared to commend it to the 
 favorable notice to the public. 
 
 The want of a good history of France, suitable for a Class book, has been 
 long felt, and this work seems to fill the vacuum. 
 
 I cannot better express my estimation thereof than by informing you thai 
 we have adopted it. 
 
 Yours, very Respectfully, 
 
 GILBERT COMBS. 
 Principal of the Spring Garden Institute, for Young Ladies. 
 
 Philadelphia, March, 30th, 1844. 
 Messrs. Sorin & Ball. 
 
 Gent, — It affords me pleasure to recommend the "Pictorial History 
 of France," lately published by you, to the favorable attention of teachers 
 and parents, as a work, eminently calculated, by the simplicity of its style, 
 the variety and interest of its facts, and the beauty and appropriateness of its 
 pictorial illustrations, to afford at once pleasure and profit, not only to youth, 
 for whom it is specially designed, but to readers of every class. 
 
 I am pleased to learn that you contemplate the publication of a History of 
 England, of the same attractive character. 
 
 Such works are a valuable acquisition to the cause of public and private 
 education, and cannot fail to be duly appreciated by those for whose benefit 
 they are intended 
 
 JOSEPH P. ENGLES. 
 Principal of the Classical Institute. 
 
Philadelphia, 1844. 
 Messrs. Sorin & Ball. 
 
 Gent. — A " Pictorial History of France," for Schools, by S. G. Goodrich, 
 author of Peter Parley's Tales. This volume seems well fitted to convey 
 to young readers a brief sketch of French History — being well arranged, the 
 prominent points clearly set forth and each chapter furnished with questions 
 adapted to direct the attention to the principal events and to fix them in the 
 memory. The book seems calculated to be of essential service in the early 
 study of history. The Publishers propose to publish similar histories of the 
 United States, of England, Rome, and Greece. 
 
 From the x\ T ew York TRIBUNE. 
 
 Philadelphia, November, 10th, 1842. 
 Gent. — I have examined with much satisfaction the "Pictorial History of 
 France," by S. G. Goodrich, on the basis of Markham's History of France, 
 and consider it well adapted to use in our Schools. 
 
 Yours Respectfully, 
 
 A. D. BACHE. 
 
 Messrs Sorin & Ball. 
 
 Gent. — I have given a partial examination to the "Pictorial History of 
 France." lately published by you ; and from what I have seen of the work, 
 I should think it sustains the reputation which its well known author haa 
 acquired as an interesting writer for the young. A comprehensive know- 
 ledge of the history of France is next in importance to a similar knowledge 
 of our own history and that of England. And I think the author of this 
 work has taken a judicious medium between the voluminous detail and the 
 Bcanty abridgement. 
 
 Yours, &e., R. W. GREEN. 
 
 Philadelphia, May, 10th, 1843. 
 Messrs. Sortn & Ball. 
 
 Gent. — I have looked over partially the "History of France," by S. G. 
 Goodrich, which you were kind enough to send me. From the slight ex- 
 amination I have been able to give it, it appears to me to possess most of the 
 qualities which have rendered the author's other works so popular, and to be 
 well adapted to the purposes of juvenile instruction. 
 
 Respectfully Yours, 
 
 E. C. WINES. 
 
 Philadelphia, September, 19th, 1844. 
 Messrs. Sorin & Ball. 
 
 Gent. — The "Pictorial History of France," recently published by you, 
 apnears to me to be an excellen* work, and well calculated for general use. 
 The simplicity and clearness of its style, the variety of its incidents, and the 
 number of its illustrations will tend to make it both interesting and useful. 
 
 Your obedient Servant, 
 
 A. B. HUTTON. 
 Deaf and Dumb Institution. 
 
 Philadelphia, September, 1842. 
 Messrs. Sorin & Ball. 
 
 Gent. — Having examined your edition of S. G. Goodrich's "Pictorial 
 History of France," I am gratified at being able to speak of it in terms of 
 warm commendation. Written with all the clearness, method, and tact of 
 Goodrich, the work is curiously illustrated by pictorial representations o." 
 
8 
 
 of almost every great man or important event of French story. The num- 
 ber, variety, and apDositeness of these illustrations, add greatly to the 
 usefulness of the book, which while it does not neglect any other mode of 
 impression, abounds in appeals to the great avenue to the memory, the eye. 
 Wishing you much success in your useful enterprise. 
 
 I am, very Respectfully, Yours. 
 
 J. K. MITCHELL. 
 
 From the Philadelphia, Saturday Courier, of September, 17th, 1842. 
 Is there a reader in the United States who has not read some of the pro- 
 ductions of Peter Parley ? If there is, he should immediately buy and read 
 them all. Few men of any age have done so much real good towards faci- 
 litating ihe easy acquirement of useful knowledge, as our much esteemed 
 friend, Mr. S. G. Goodrich. He has now brought out an embellished His- 
 tory of France, and we will tell our young friends that they will find it a 
 condensed and valuable one. The history of France is a very absorbing 
 one. — For years we have been deeply interested in it — and we are much 
 pleased that a natural, eloquent and pure writer like the renowned author 
 of Peter Parley, has taken it upon himse'f io present to the Youth of our 
 land a "Pictorial History," of a country with which all Americans should 
 be well acquainted. It is a single i2mo. volume, of 347 pages. 
 
 From the Philadelvhia, Saturday Evening Post, September \7th, 1842. 
 The "Pictorial history of France," by S. G. Goodrich, author of "Peter 
 Parley's Tales," one volume 12mo. Philadelphia, Messrs. Sorin and Ball. — 
 The great and well deserved popularity of all Mr. Goodrich's former works, 
 will secure for this history of France a favorable reception. It is designed 
 principally for schools, and is written in the author's peculiarly simple and 
 perspicuous style. The very large number of wood engravings with which 
 it is embellished are admirably executed, and will add much to its interest 
 and value, especially to the juvenile reader. We commend it heartily, as 
 well to the general reader, as to parents and teachers. 
 
 From the Pennsylvania Inquirer and National Gazette, September, KM, 1842. 
 The "Pictorial History of France." An excellent volume with this title 
 has just been published by Messrs. Sorin and Ball, of this city. It is from 
 the pen of S. G. Goodrich, the author of " Peter Parley's Tales-," and 
 seems to us from the hasty examination we have been able to give it, one of 
 the very best works for Schools that has been issued for a long time. While 
 the facts are strictly historical, they are connected together in a manner at 
 once captivating, agreeable, and especially suited for the youthful mind. 
 
 From ike Hon. Ovid F. Johnson, Attorney General of Pennsylvania. 
 
 Philadelphia, Oct. 5th, 1844. 
 Messrs. Sorin & Ball. 
 
 Gent. — I have read the " Pictorial History of France," by S. G. Good- 
 rich, author of Peter Parley's Tales, with much interest and gratification 
 It appears to me to be one of the most useful historical compends that has 
 ever fallen under my notice. In a brief space it comprehends a full and de- 
 tailed history of France, so far at least, as the great leading events associated 
 with tne history of that extraordinary nation are concerned. The facts are 
 collected with industry, arranged with judgment, and commented on in a 
 
9 
 
 manner to produce the deepest impression. The central position of France 
 among the nations of Europe ; the genius, enterprise and activity of the 
 French, have all conspired to give to its history an importance not easily 
 overrated. The mighty exploits and renowned works ol the long series of 
 distinguished kings, statesmen, warriors, philosphers and poets, that adorn 
 its annals and run back till they are almost lost in the night of the Third 
 Century, impart to this history all the freshness and curiosity of romance, 
 dignified and elevated by the sober reality of history. 
 
 Mr. Goodrich seems to have caught the true spirit, by which alone, life 
 and animation can be breathed into a dry mass of detached historical details, 
 extending through eighteen centuries, and to have stamped them on almost 
 every page of his work. 
 
 The style is neat and polished, and admirably adapted to the pur- 
 pose for which this book is designed. As a school book, I think that it 
 must be universally commended, The general reflections are lew, but 
 sound and judicious, and well calculated to impress upor; me mind and hearts 
 of youth, the great principles of Virtue, Patriotism and Religion. 
 
 I cannot doubt its successful reception by the public, and I heartily hope 
 that its popularity may equal its merits. 
 
 Yours, very respectfully, 
 
 - OVID F. JOHNSON. 
 
 From, the Hon. H. B. Wright, President of the late Democratic National 
 Convention. 
 
 Wilkesbarre, Nov. 18th, 1844. 
 Messrs. Sorin & Ball. 
 
 Gent. — I have hastily examined the "Pictorial History of France," by 
 the author of Peter Parley's Tales, which you were pleased to submit to me 
 for my opinion. 1 need scarcely add, it is a work admirably designed to con- 
 vey a correct impression of the history of a nation as much diversified, or 
 probably more, than any other on the face of the earth. The illustrations 
 are well calculated to make a vivid, as well as lasting impression, on tho 
 youthful mind — the language appropriate, and the whole design and execu- 
 tion excellent. The work strongly recommends itself to the teachers of the 
 schools of our country, and I can hardly entertain a doubt but that its use 
 must become general. I have taken occasion, as a Trustee of the Wilks- 
 barre Female Seminary, to recommend the use of it, as well as the " Picto- 
 rial History of the United States," in that Institution. In fact, the author's 
 name, with his acknowledged reputation, is enough to recommend the book. 
 Very respectfully, your obedient servant, 
 
 HENDRICK. B. WRIGHT. 
 

 
 
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