LIBRARY OF CONGRESS. (SHpqt..- ®op| ri 3¥ 1° Shelf SMJl\ V \ J&> UNITED STATES OF AMERICA. J. M. J. D. ELOCUTION AS AN ART ITS PRECEPTS AND EXERCISES, ARRANGED FOR COLLEGES AND ACADEMIES A MEMBER OF THE/DOMINICAN ORDER. NEW ORLEANS, DOMINICAN ACADEMY. St. Charles Avenue. I8 9 3- Til 4-1 ii Copyrighted by the author, 1S92. CONTENTS. Page Preface. ix Introduction i PART FIRST. CHAPTER I. FORMATION OF THE VOICE 5 Anatomical Cut — Voice Organs and Relations. CHAPTER II. ELEMENTARY SOUNDS 8 Exercises for Lips, Jaws, Tongue and Palate. Non-Articulates, Tonics; Articulates, Atonies and Sub-Tonics. CHAPTER III. BREATHING II Position for Exercises ; Effusive Form; Expulsive Form; Explosive Form. CHAPTER IV. THE VOICE 12 Movements — Rapid, Slow, Moderate. Forms of Voice — Effusive, Expulsive and Explosive. Explanatory Clauses or Parenthesis. Voice Qualities. ii CONTENTS. CHAPTER V. ZONES OF THE HUMAN FRAME 1 5 Zones of the Head, Torso, Upper and Lower Limb Sections. Their Significance. CHAPTER VI. EXERCISES TO ACQUIRE EASE OF POSE 17 Excentric and Concentric Movements. CHAPTER VII. ARTICULATION 2 1 Position for Exercise. Italian Sound of A. Short Sounds of E and I. Distinctness; Labial Semi- Vocal Sounds of wh; Lingua-Dental Sounds of th Soft and th Sharp; Guttural and Palatal Cognates G, K, C, Hard, ch (hard) O; Sound of X Soft; Labia-Dental Cognates F and V; Labial Cognates B and P; Lingua-Dental Cog- nates D, T. Two Sounds of D; Sibilant Sounds; Lingua-Palatal Sounds of R, Rough and Smooth; Mixed Articulation; Elegance of Articulation; Gene 1 Rule for the Articles the and a; Pronunciation of the terminations el, ed, merit, est, ness, ml, d, t, r and o; Dental bibilant Cognates C, Z, X, S; Exercises. The Italian A; Long E; Long O and Short O. CHAPTER VIII. DEFECTS OF VOICE 37 Nasal Tones; Lingua-Palatal and Nasal Sound of N. Nasal-Palatal ng\ Diphthongs on, ou>; oi, and oy\ Sound of A Short and A Long before R; Stuttering, Exercises — Hamlet's Soliloquy. CONTENTS. iii Summary; Stammering, Lisping; Labia-Vocal Defects, Exercises on Labials. CHAPTER X. 46 Key-note; Verbal Relations; is — Quality and Substantive; 2nd — Verb and Adverb; 3rd — Agent and Action; 4th — Active Verb and Pas- sive Substantive; 5th — Particles; Summary; Where we Can Pause; Where we Cannot Pause. Inflections; Falling Inflection ; Rising- Inflection; Positive Matter; Negative Matter; Circumflex Inflection. CHAPTER XI. GESTURE 54 The Graces of Gesture; Expression; Why we Em- ploy Gesture; Suspended Gesture. CHAPTER XII. SPHERES OF GESTURE 57 Arm Movements; the Hand; the Chest; the Should- ers; External Signs of Emotions: Voluntary and Involuntary Signs. Their Subdivisions CHAPTER XIII. THE HEAD AND FACIAL EXPRESSION 60 Divisions of the Head; Divisions of the Face; the Eye; the Nose; the Mouth. CHAPTER XIV. POINTS 64 Useful Hints for Facial Expression and Pose. iv CONTENTS. SELECTIOITS. AUTHOR PAGE The Sculptor Boy Anon 69 The Burial of Moses Mrs. Alexander 69 The Lost Chord Miss Proctor 72 The Relief of Lucknow - R. Lowell 73 Discipline Anon 76 The Glove and the Lions - Leigh Hunt 77 The Battle of Ivry Macatdey 77 The Skylark /. Hogg 80 The Patriot's Song IV. Scott. . . 80 Waiting for the May D. F. McCarthy 81 The Jackdaw W. Cowper 81 Freedom R. Lowell 82 Crescentius L. E. L ; ... 83 Columbus ' /. Miller 84 Christophus Columbus - E. A. Starr 85 The World-Giver M. F. Egan 87 The Battle of New Orleans, — E. E 139 The Builders, — Longfellow 141 Sand of the Desert in an Hour Glass, — Longfellow 143 CHAPTER XVI. DIALOGUE 89 Its Nature, Niceties and Difficulties. Scene from Scott's Lady of the Lake\ Argument; Cos- tumes; Academic Fencing Salute. Scene from Fabiola; (Cardinal Wiseman) 101 Introduction; Costumes. CONTENTS. PART SECOND PAGE CHAPTER I. VOCAL FLEXIBILITY I05 Transition, Slide, Modulation, Pitch. CHAPTER II. FORCE AND STRESS 112 Effusive, Expulsive, Explosive; Symbols for Stress. Radical Stress; Scale for Exercise in Force, Pitch and Modulation. Exercises on Radical Stress. CHAPTER III. RADICAL DIMINUENDO STRESS 121 Its Nature. Exercises XVIII, XIX, XX. CHAPTER IV. VANISHING STRESS I 27 Its Uses; Exercise XXI. CHAPTER V. COMPOUND STRESS I29 Its Nature; Exercise XXII. CHAPTER VI. MEDIAN STRESS Its Nature and Uses; Exercise XXIII. CHAPTER VII. THOROUGH STRESS I33 Its Quality and Use; Exercise XXIV. vi CONTENTS. CHAPTER VIII. THE TREMOR I 37 Its Quality; its Natural Expression. Exercise XXV. CHAPTER IX. QUALITIES OF VOICE. PURE TONE 144 Exercise, Long Souud of A ; Occasional Sound of E ; Long Sound of E ; Occasional Sound of I and Y; Long Sound of I; Strong Sound of Y; Long Sound of O, Open; Long Sound of O, Close; Long Sound of U. CHAPTER X, THE MONOTONE 148 Its Characteristics; Exercise XXXI. CHAPTER XI. THE OROTUND ~. . . . 150 Necessity tor Its Study; Exercise XXXII. Sound of H and of Broad A; Exercises from Shakespere and Bryant's Thanatop- sis; Tennyson's Charge. of the Light Brigade. CHAPTER XII. GUTTURAL TONES 158 Their Nature and Uses; Exercise XXXII. CHAPTER XIII. PECTORAL QUALITY l6l Its Character; How Produced; Exercise XXXIV. CHAPTER XIV. THE ASPIRATE 162 CONTENTS. vii Its Nature and Uses; Exercise XXXV, The Baron's Last Banquet\ Scene from The Mer- chant of Venice. CHAPTER Xv^. HARMONY OF THOUGHT AND EXPRESSION. . 169 Resemblance between Sounds and their Word- Expression ; Resembling Causes. CHAPTER XVI. VERSIFICATION 171 Note; Poetry; Hexameter Verse. CHAPTER XVII. QUANTITY, ACCENT AND RHYTHM. 1 74 CHAPTER XVIII. VERSE 177 Specific Names. Measurement. CHAPTER XIX. RHYME 180 Alliteration. Perfect and Imperfect Rhyme. CHAPTER XX. GENERAL RHYMING 183 Systems in Use. Their Structure. CHAPTER XXI. POETIC PAUSES 189 Their Orders and Positions. CHAPTER XXII. GENERAL OBSERVATIONS 192 viii CONTENTS ^CHAPTER XXIII. INFLECTIONS I 95 Antithetical Matter. Interrogative Matter. CHAPTER XXIV. EMPHASIS 198 General Rule for Emphasis. Its Six Executive Forms. SELECTIONS. Dickens in Camp. Bret Harte 201 Lady Clara Vere de Vere.- Tennyson 203 Hallowed Ground. Campbell. 205 Annabel Lee. - - E. A. Poe 209 Scene from Hamlet. Shakspere 219 AUTHOR'S PREFACE These pages are a modest contribution to the great object of Elocutionists — to assist students in acquiring a knowledge of its precepts, to inspire them with a love for the art and to perfect their expression of thought. This work shall enable students interested in the study to make rapid progress; and, while gaining excellence herein, to advance in other branches closely allied to Elocution. The author has chosen and adapted what is best in our modern writers on the subject. The exercises, and chapters on voice and its qualities have been taken from Professor Vance's "Voice Culture," now out of print. The poses are partly from Delsarte. To render the work practical, to bring it within the scope of students of ordinary talent has been the chief object of the author. It goes forth cheered by the best wishes of one devoted to the art and anxious to promote its interests. Dominican Convent, St. Charles Ave. New Orleans, Feb. 2nd, 1893. PART I. ELOCUTION AS AN ART. INTRODUCTION. Elocution may be defined as the intelligent, intelligi- ble correct and effective interpretation of thought and emotion in speech and action; it can not be learned by precept alone, it requires the assistance of a teacher. Orthoepy, or the art by which we obtain a precise syl- labication, correct articulation, proper accent and pure enunciation of our language, may be a life-long study, perfected only by close earnest labor. The greatest good a teacher can effect herein, is to awaken observation, and thought, and thereby give greater impetus to appli- cation; also, if possible, to excite determination to mark distinctions, subtleties and niceties that attend words; to note the chasteness, the precision of our language when correctly spoken, and to know that, these are the objects of the Elocutionist. To one beginning this study we would say be natural; the artist is a master, not an imitator. Art enshrines the great passions of the soul, but is not itself passion ; whatever is genuine in art must proceed from the impulse of nature and individual genius; nothing is fine therein, that has not been taken from something finer in nature. Ideals are based on eclectics. The student who chooses the finest models in nature, shall have the finest work in art. In the study ot this art, the proper objects, when a good foundation has been lcdd in the voice training, are to acquire just proportion and grace of expression. An elocutionist must appear artless even when most artful, else power is lost and effect destroyed. In the 2 ELOCUTION AS AN ART. most exciting expressions, emotions must be sustained, words pronounced distinctly and proper emphases main- tained. Precipitation kills force. The student's aim should be repose of expression; this, taste shall refine, and culture perfect. Sincerity, vigor and power can never be harmonized until softened by taste. If inter- preters feel sentiment, gesture, even with a poor voice, shall reveal its import, for sentiment never plays false and there is no snbstitute for reality. Success depends upon the mighty purpose to excel and to shrink from no labor demanded by the study of this art. ELOCUTION AS AN ART, FORMATION OF VOICE, CHAPTER I. FORMATION OF THE VOICE. ANATOMICAL SECTION VOICE ORGANS AND RELATIONS i Cavities or fissures, in the head bones ( frontal and sphenoidal cells ). 2. Channels of the Nose ( sup. mid. and inf. meatus). 3. Hard Palate. 4. The Nostril. 5. The Tongue. 6. The Tongue up-lifted, in action. 7. The Larynx, with thyroid cartilage in front. 8. The Ventricle of Larynx. 9. Vocal cords, or bands. 10. Points to the glottis, or slits between the cords through which the breath passes. 11. Trachea ( or windpipe). 12. The upper part of Epiglottis, in act of shutting down. 13 The Tonsils on each side of palate. 14. The Uvula, or soft end of palate (lax or pendent). 15. Dotted lines — The soft palate raised. 16. The Eustachian Tube, opening to the ear. 17 — 17. The Pharynx. The organs that give form to voice are divided in- to voluntary and semi-voluntary. To the first belong the breathing muscles, throat, tongue, lips etc; to the second, the abdominal and dorsal muscles, diaphragm, thorax, pleura, lungs, bronchial tubes, trachea, larynx, glottis, epiglottis vocal cords, pharynx, uvula, hard palate, mouth and nose. The cavity of the nose may be regarded as a collection of six small tubes, each nostril being separated into three channels running horizontally from before, back- wards and opening into the pharynx. The base of the nose, is formed by the roof of the mouth, The mouth requires no description and is noted here simply as among the principle organs connected with 6 ELOCUTION AS AN ART. the voice. Its capacity varied and affected by other members, has especially to do with the character of vo- cal sounds. The hard palate is the arch or sounding board of the mouth, and extends from the front teeth to the soft pal- ate, which falls like a curtain separating the front part of the mouth, from the back part or pharynx. The uvula or soft palate is seen at the back part of the mouth, overhanging the tongue and pendent from the soft palate, at each side of which lie the tonsils, surround- ed by fauces. Between the fauces on each side, opens a tube ( the Eustachian) leading to the ear, and which ranks among resonant organs, modifying the voice. The pha?ynx or swallow forms the open space at the back of the mouth, with varying dimensions in different persons. Its enlargement gives depth of tone and reserve force; its contraction gives high tone and shrillness to the voice. The larynx is directly in front of the pharynx and is commonly called ''Adams Apple." The cavity within is bell-like, its principle vocal function being, resonance. Upon its dimensions, in a great measure, depends the depth, power and strength of voice. It shall be found that the person, who has it largely developed, other things being equal, possesses strong vocal ca- pacity. The vocal cords are a portion of the larynx, making it the general instrument of sound. They are two in num- ber, triangular in shape, broader and flatter on the upper surface. They lie about half an inch from the top of the larynx and consist of strong, white and highly elastic tissue. In vocalization they approach a parallel posi- tion; subject to the action of the larynx, they elongate or contract as it increases or diminishes, and upon such FORMATION OF VOICE. 7 changes depend the pitch of the voice — extension giving deep tones, contraction — high. The glottis is the slit between the vocal cords and is distended by their lateral action. The epiglottis is a valve or lid employed, in the act of swallowing, to cover the glottis. It stands immediately behind the tongue. The trachea, or windpipe, is the con- tinuation of the larynx, in the form of a gristly duct, running about four inches from the lower portion of the larynx. The bronchial tubes are a continuation of the trachea, divided into two branches, one that leads to the right, an other to the left, both ultimately termin- ate in spongy air cells — the lungs, which are situated on each side of the chest and are the receptacles of the air we breathe. At every expansion of the chest the air rushes into these cells and is again driven out by muscular contraction. The pleura is the thin membrane which surrounds the lungs contracting and expanding as it is operated upon, in harmony with the diaphragm, abdominal and pectoral muscles. The diaphragm serves as partition between the chest and the abdomen. It moves in harmony with the abdominal muscles, and separates the upper from the lower register. In breathing the lower register brings into action the abdom- inal and dorsal muscles — the upper plays on those of the thorax. We should breath as much as possible from the lower register, it gives fulness and power to the voice and preserves health. The abdominal, dorsal and pec- toral muscles act in harmony with the diaphragm to produce a forceful and complete respiration. The more control we obtain over abdominal and diaphragmatic muscles, the more perfect shall be our breathing, the more complete our command of voice. FORMA TION OF VOICE. CHAPTER II. ELEMENTARY SOUNDS. An elementary sound is one that requires a fixed position of the vocal organs; as, b. p. d. t. 1. m. etc. The number of sounds to be called elementary and their precise characters, are unsettled questions among Lexi- cographers and Phonologists. 'Three conditions char- acterize each sound: ist Its organic formation. 2nd Its character as sound. 3rd Its relative capacity for elocutionary purposes. Articulate sounds, called consonants, require the contact, application and action of the vocal organs upon each other; this is articulation, as contradistinguished from vocalization, which is common to lower animals. Non-articulates, called vowels, require merely a fixed position of the mouth and organic parts, but no contact. The division of sounds into tonics, atonies and sub- tonics, refers to the musical capacity of those sounds which are clearly musical tones; tonics are singing tones for the musician; for the elocutionist, those letters or syllables susceptible of tension, or sustained sound force; atonies cannot be applied in singing, nor sus- tained in elocution ; subtonics have a subdued musical tone — a minor murmur, that comes immediately under the tonics employed by musician and elocutionist. The organic formation of sound is effected by the mutual action of the organs of speech and their adjustment, also by the general shaping of the mouth in their forma- tion. Improvement herein can be effected by teaching, by close observation and practice. FORMATION OF VOICE. g Sound, as light and heat, is a radiant force. It has its circles, centres and radii; as they, it can be focused, re- flected and refracted. Suppose the sound oo falls on a diameter of a circle, then shall E. A. Ah! Awe, Oh! fall on arcs as shown in diagram. EXERCISE FOR LIPS AND JAWS. Pronounce the vowel e, extend lips sidewise — show tips of teeth. Pronounce ak, drop jaw, open mouth wide. Pronounce oo y (as in cool) contract the lips. Practise the following: E-A-OO; E-OO-AH; AH-E-OO; OO-AH-E; OO- E-AH. Repeat several times consecutively. EXERCISE FOR LIPS AND TONGUE. Set the teeth half an inch apart, form the above sounds, taking care not to move the jaw. EXERCISE FOR JAW. Whisper alternately the sounds e and ah. Allow the jaw free movement. EXERCISE FOR LIPS, TONGUE AND PALATE. Pronounce IP, with a smart percussive recoil ; IT, the tip of the tongue, touches upper teeth and promptly re- coils; IK, the tongue shuts against the soft palate and promptly recoils. Combine and repeat as in former exercise. In this manner the pupil may be exercised in aspirates, sub-vocals and liquids. ELOCUTION AS AN ART. Observe the organs employed to produce the follow- ing elementary sounds, also the characteristics of mouth formation. NON- ARTICULATES TONICS. Shot. Long. Coakscent. p-I-t Ee-1 p-E-t E-re A-le p-A-t A-ir I-ce p-A-n-t A-rm Ou-t c-O-t A-ll Oil p-U-t O-re O-ld b-U-t Oo-ze Urn ARTICULATES. U-se Atonies Subtonics Fat Thin Gag Then Church When Did Zone Cook Hero Bob Azure Fife Hot Judge Valve Err To improve voice compass the above sounds may be practiced thus: Begin at i, left hand, ascend to 8 ; then descend to i, right hand, tonics first. Atonies. Tonics. Subtonia Short. Lorn Coakscent. 8 Fat 8 Pi t Eel 8 Did 8. 7 When 7 Pet 7 Ale 7 Ere 7 Bob 7 6 Pop 6 Pant 6 Ice 6 Air 6 Valve 6 5 Thin 5 Pat 5 Out 5 Arm 5 Then 5 4 Fife 4 Cot 4 Oil 4 Urn 4 Azure 4 3 Cook 3 Let 3 Old 3 Ore 3 Sing 3 Hot 2 Put 2 Use 2 Rule 2 Zone 2 Church 1 But 1 Ooze 1 Or 1 Gag For coalescent begin 1 Left ha nd and ascend to 7, . FORMATION OF VOICE. it and descend to i right hand ; or, begin at 7 above arid de- cend to 1, raising the pitch as you ascend and lowering it as you descend. CHAPTER III. BREATHING. Voice is breath converted into sounds by muscular action. The more breath and the greater power of the muscles, the stronger and fuller the voice. The forms of breathing are as the forms of voice, the effusive, ex- pulsive and explosive. Position for Exercise. — Let the student stand erect, body straight, chest full, shoulders back, one foot slightly in advance of the other, and from two to four inches apart. The retired limb should be straight and well braced — never stiff; weight resting on retired foot, arms lateral or a-kimbo; fingers forward, thumb back on dorsal muscles, head exactly poised. — Inhale — then proceed to exercise. The Effusive Form. — To practise the effusive, in- hale and exhale slowly through the nostrils ; repeat the same forcibly and abruptly. Inhale, through the nos- trils, and retain the air as long as possible. Do this several times, on each occasion expel the air in a long, deep whisper of the vowels A. E. I. O. U., or count from 1 to 10, or expel with a great sigh, rendering audible the sound hay ! Inhale as before, against pressure of hands on walls of chest. Retain the air and position of hands, then expel the air forcibly, whis- pering the same sounds as above. The Expulsive Form. — Practice the inhalation as before, through the nostrils. Retain the air in the lungs 12 ELOCUTION AS AN ART. for a moment ami then with rapid action of the abdomin- al muscles expel it with force, throwing the column of air against the back part of the roof of the mouth, with the sound "huh" clearly audible. To this may be added forms of sighing; viz: a full and rapid inspiration and expulsive expiration; first through the nostrils and then through the mouth. Again with the air drawn in and ex- pelled with tremulous action in form of shortened sobs. This exercise shall be found most essential in the sub- sequent rendering of emotional passages. The Explosive Form. — Draw in the breath as first directed. After a momentary suspension allow a slight effusion so that the passage below the larynx be not quite filled. Then open the mouth as before, (three- fourths to one inch,) and with strong, rapid action of the abdominal and dorsal muscles and diaphragm, drive the breath suddenly, forcibly and sharply, with an ex- plosive " hoh," against the palate or roof of the mouth. This may be practiced about a dozen times at once as a most effective means of opening up the voice, strengthen- ing and getttne more instantaneous control of weakened functional muscles, but should not be practiced more than once or twice daily. The main thought in the above exercises must be to breathe strongly and naturally, keeping the vocal organs well open and making the lower muscles do the work, without anv movement of shoulders or bodv. CHAPTER IV. THE VOICE. The functions of the voice are twofold: to transmit words to the ears of others, and to convey or awaken emotion in their hearts. In transmission the speaker FORMATION OF VOICE. 13 must attend to pitch, tone, distinctness and movement. The voice has three pitches; the high, the low and the middle, which is generally the conversational and that which students should most assiduously cultivate. In speaking before an auditory the voice should be pitched high enough to reach the members farthest from the speaker. Voice power does not lie in loudness, but in distinct- ness of enunciation and correctness of pronunciation. The teeth must cut every syllable sharply and precisely, so that every sound be produced perfect in its kind, and carried to the ear separately from every preceding and every following sound. To acquire skill in this, we must give attention to movement which may be slow, or rapid, or moderate, as the mode of the subject varies. As a rule, the movement corresponds with the style of the subject, the quantity of syllables, and their capa- cities for prolongation. Light, playful matter is quick, sometimes rapid ; strong emotion, awe and reverence, — slow; passion and deep earnestness, quick or very rapid but — always distinct, clear and cutting. Remark — voice- strokes can be made only on consonants. Rapid Movement. Passion. — "Ye gods! Ye gods! must I endure all this? " Rapid. — Earnestness. — " There is a drop, " said the Peri, " that down from the moon, " Falls through the withering airs of June, " Of so healing a power, so balmy a-breathe " That e'en in the hour, that drop descends." Slow. — " Contagion flies and health reanimates earth and skies." Moderate. — " The air, the earth, the water, teem with delightful existence." 14 ELOCUTION AS AN ART. The voice has three forms: the effusive, which it employs in pathos, pleasing thoughts, reverence, devo- tion, etc. Pathos. — " And now farewell, 't is hard to give thee up, " With death so like a gentle slumber on thee." Reverence. — " As if an angel spoke, " I feel the solemn sound." Pleasing". — " The curfew tolls the knell of parting day! 11 The lowing herd winds slowly o'er the lea." The expulsive, which serves to expel the voice with force, through impassioned, oratorical earnest., decisive thought. Impassioned. — Earnest. — We hope to make the sender blush for it. Therefore, my lords, omit no happy hour That may give furtherance to our expedition ; For we have now no thought \n us but France. (Shakespear's Hen. V. act I. Scene I.) Oratorical. — " Shall an inferior magistrate, a govern- or who holds his power of the Roman people, in a Roman province, within sight of Italy bind, scourge torture with fire and red hot plates of iron, and at last put to the infamous death of the cross a Roman citizen ? Shall naught restrain the wanton cruelty of a monster, who, in confidence of his riches strikes at the root of liberty and sets mankind at defiance? " The explosive drives the voice out with violence and power, as in strong command, passion, alarm, etc. Strong Command. — " I say thou shaltl " Passion. — " By all my hopes, most falsely doth he — lie." ZONES OF THE HUMAN FRAME. 15 Explanatory Clauses or Parentheses are of two kinds; light and heavy; or, important and unimpor- tant; the former should be pronounced in quicker time and lower tone than the sentences in which they occur; the latter should be slower in time and more emphatic in expression. Voice qualities are five: Pure tone, arotund, guttural, pectoral, aspirate. The attributes are six : Form, be it effusive or explosive. Quality, be it pure, guttural, arotund, aspirate. Force, be it abrupt, subdued or impassioned. Stress, be it radical, final, median, compound. Pitch, be it high, low, middle, very high. Movement, be it slow, rapid, moderate. The compass of any voice is that range of sounds as measured in the musical scale, which reaches from the lowest to the highest clear sound that can be made. The degree of this range, in elocution, depends upon the pitches, force and expression which the student can acquire and use with ease to him or herself and with pleasure to hearers. No one can master these without earnest and diligent practice. CHAPTER V. Zones of the Human Frame. "Art," write? Delsarte, "is at once the knowledge, the possession, and the free direction of the agents by virtue of which are revealed the life, soul and mind. It is the relation of the beauties scattered through nature to a superior type. It is not, therefore, a mere imitation of nature. Man is the great promoter of art — its in- ventor and improver. For the convenience of pupils, Elocutionists divide 1 6 ELOCUTION AS AN ART. the human frame into three grand zones, each of which is subdivided into three smaller — this is what Delsarte calls the ninefold accord. These zones are points of arrival or departure for ges- ture; as, are also the sub-zones of head and torso. The head has three active and three passive zones. Active: — Frontal (from the Latin, Frontis, forehead). — Mental. Buccal (from the Latin, Bucca, cheek). — Moral. Genal ( from an old French word, pertaining to the mouth or chin). — Vital. Passive: — Temporal (from the Latin Tempus, time) two hollow bones above the eye, or anteriorly between eye and ear. — Mental. Parietal (Latin Pareitis, wall) two large irregular bones, occupying the lateral and upper parts of the skull— Moral. Occipital. (Latin, Occiput, back part of the head,) a bone that runs at the base of the brain. — Vital. The zones of the Torso or trunk are: Thoracic. — Chest or upper Register — Mental. Epic astric. — Middle — Moral. Abdominal. — Lower Register. — Vital. The diaphragm separates the upper from the lower register. Upper Limb Sections: — Hand. — Mental. Forearm. — Moral. Humerus. — Vital. If we notice the hand moves with the mind, the fore- arm, and the elbow with emotions and affections. The upper arm or humerus with passions. Lower Limb Section:— Foot. — Mental. EXERCISES TO ACQUIRE EASE OF POSE. 17 Knee and Leg. — Moral. Femur. — Vital. The foot works with the mind — An angry person stamps, a nervous person moves his feet incessantly — A thoughtful person taps; a musical person beats time etc. We bend the leg in reverence, veneration, love, respect etc. Through its movement we express obedience sub- ordination. The femur or thigh is the source of locomotion, the im- pelling force in walking and running. The shoulder meas- ures our emotions or passions. It marks their degrees of intensity or vehemence, but it scarcely determines their kind, though if observed closely we believe it also per- forms this function. In all cases it harmonizes with the head. In grief, love and joy, it is raised and slightly contracted. In pride, scorn, indignation it is depressed and thrown back. In anger, revenge, dire jealousy and other passions it is contracted in proportion to the vehemence of the passion. Give attention to yourself and you shall find the above verified ; or watch an orator or a preacher when he forgets himself in his subject. CHAPTER VI. EXERCISES TO ACQUIRE EASE OF POSE. There are four rudimentary positions of the feet and lower limbs which students should practice from the beginning and to which teachers should give special attention, as ease in these adds much to the grace and elegance of motion. In the first position let the student stand with his full front to the audience, the weight of the body resting on 1 8 ELOCUTION AS AN ART. the left foot and the right two inches or three in ad- vance, or one toot nearly at right angles to the other. The second position is effected by gracefully swaying the body from right ( 2 ) to left ( 1 ) — from first position, or that of rest, until the right foot bears the weight of the body, which then assumes the appearance of action in that direction. The third position is the reverse of the first; the fourth the reverse of the second. We have also four simple movements of the feet. Slip the right foot forward, bring its heel almost on a line with the toe of the left; then slip the left until you resume your first position: slip the right side-wise or backward the same distance as you slipped it forward, then move the left as before, when both feet re- sume the first position, you find yourself either two steps forward, or two steps to left or right of where you stood previous to your move. To regain your place re- peat the movements, begin with the left foot. To move from a place — begin with the right foot; to regain that place — begin with the left foot. Never lift your feet, always slip or glide. Observe how artists move on the stage. Grace and elegance of bearing are natural to many persons, whether of high or low sphere, those whom na- ture may have deprived of these gifts shall acquire them, to a degree, by the practice of calisthenics and by such simple exercises as the following, based on the four primary positions of the limbs. All gesture which has relation to external objects, or is from oneself as a center is, excentric — or from the center. All in ourselves, subjective, concentric (con with or to- EXERCISE TO ACQUIRE EASE OF POSE. 19 gether) with the center. Gesture balanced is termed normal — natural, unbiased. Gesture may be influenced by training, age, habit and constitution. We believe gesture cannot be taught — it is evolved by the character of the speaker and the nature of the subject! but grace and ease of manner can be acquired by practice. Attention ! At this command the pupils throughout the exercises shall resume the first or initial position. Attention ! Exercise I. — Stand at ease, weight distributed equally on both limbs, arms lateral, head and form erect, eyes looking straight before. Attention! Exercise II. — Cast weight on right limb, incline head to right, torso to left. This gives Hogarth's curve of grace and Delsarte's Harmonic Poise. Attention ! Exercise III. — Change weight slowly from right to left, preserve, if possible, proportion of grace or curve. Practice these movements vice versa five or six times. Attention ! Exercise IV. --Advance right foot, cast whole weight on right limb. Incline head forward, torso slightly the reverse. This inclination depresses the waist line and raises the chest — still curvilinear motion. Reverse these motions. Attention! Exercise V. — Carry left foot back. Cast weight thereon, head slightly back, torso forward. Sway gently forward until weight rests on right limb — allow head and torso also to move in opposite direction. Bring right 2o ELOCUTION AS AN ART. foot towards left, head incline therewith, torso incline to right. The slowness, evenness aud ease with which changes are effected produce the grace and elegance of motion required. Attention ! Exercise VI. — Weight on both limbs, feet together, sway gently forward until weight rests on ball of feet — heels on ground — head slightly forward, torso propor- tionately backward. From above, sway gently back until weight rests on heels, head slightly backward, torso in opposition, toes on ground. Repeat and reverse. Attention! Exercise VII. — Turn torso to right, head at the same time to left. The thighs do not move. Reverse and repeat. Attention ! At this command pupils shall take position as in exercise VIII. Exercise VIII. — Seat yourself at ease. Incline torso forward, head- back, make both movements at once. Reverse and repeat. Attention ! Exercise IX. — Simultaneously incline torso to right, head to left. Reverse and repeat. Also incline torso forward and to right, simultaneously head back and to left. Reverse and repeat. Attention! Exercise X. — Combine forward side movements with rotatory movements of waist and head. Sway gently from back-left, to forward- rig tit. preserve oblique lines, these are always graceful. AR TICULA TION. —CORRECTNESS. 2 1 CHAPTER VII. ARTICULATION. Articulation is the proper and distinct enunciation of elementary sounds. The organs of articulation are the pharynx, the palate, tongue, teeth and lips. The or- gans engaged in these are divided into active and passive. The active are the soft palate, tongue, lower jaw and lower lip; the passive, or those to and from which the others act, are the hard palate, upper gum, upper teeth and upper lip. To be good, articulation requires correctness, distinctness, ease and elegance. Correctness as an essential of articulation must be based upon a true understanding and intelligent practice of the sounds and combinations of elements in words. Attention to the following syllabic groups shall im- prove the students: Group. Pronounced. Examples. Tion ) like Shun j Nation 1 Pension Sion f Sion like Zhun Confusion Cean ( Cian j like Shan j Ocean j Optician Geous | Gious \ like Jus j Courageous ( Religious Cial | Sial j like Shal j Commercial \ Controversial Tial Partial Ceous ( Cious f like Shus j Farinaceous ( Capacious Tious Sententious We now proceed with exercises upon words which we think and trust shall repay the student for the time bestowed. 22 ELOCUTION AS AN ART. Position for Practice. — Stand erect. Use full breathing, clear tone, slow time, moderate pitch, give but no more breath than is converted into pure sound. First, take the element with its catch-word, pronounce it several times; then proceed with the exercises. The italicised words and syllables in the exercises are those intended for practice and shall be found to consist not only of those embracing the vowel or element proper, but other cognate or equivalent sounds. Correctness. Italian or grave sound of A, as Ah, Far, Aunt. Ex. I. — Pa-pa ca/ms mam-///tf, and ai/nt com///a//(/s Charles to craunch the «/-moads in the /iaa/i-led p<2/hs; his w^-ster de-///11 the ^ spr///g is sul-//-*bns or persua^/ons. Palatal Cognate of G are k, c hard,CH (hard) q. Ex. VIII. — Zbs-ci-us-£o £ept his romrades in the /£itch'en ror'ridor with the Tartar A'han as ar//imer'- ical c/Hme'ra of the Chan who romplaisant'ly ^on'- templated the Maotic coquet'ry of the lime-^iln co- terie who pi^wed on account of pi^//ant mosses and quay in yiunich practised pi^//e't <7/iroman'cy and r/Hron'omy despite of magna-^//arta and courted a co^ette' who wore the queue and m^a-tfsins of Louis Quatorze in Chem nitz. AR TICULA TION. —DISTINCTNESS. 2 7 Sound of X soft or flat, as gz— Example, Ex-ist. X has generally this sound when immediately preced- ing the accented syllable and followed by a vowel sjund or letter h in words of two or more syllables. Ex. IX. — The jf the sinciput si ' multa neous\y with the d ELOCUTION AS AN ART. or to dwband the pmnires which resumed their harness in the grisly beard of Xenophon and Xerxes. Do not give to the Italian A, when unaccented the sound of short u. Nor to long E, when unaccented, the sound of short u. Nor to long O, when unaccented, the sound of short u. Nor to short O, when unaccented, the sound of short u. Ex. XXIII. — They abated and bridged the fanatic character in which the report bounds, and awused themselves by traducing and aggravating society . with a variety of impieties and emotional events which provoked and promoted opinions ^rcasionally opposed to sobriety. He ^served and obeyed the renditions, ustic halls the y^/nted joists were jw'led with w^/some 0/1 contained a bower in which the gzVwur ens//r#//ded in power, endowed the Gent's prowess and /3s, and dared not in despair offer a prayer for a larger share' The (airy pair c/iarily prepared their la/r in (airy land, and scarcity was scarcely ever there. The iair spoken, but careworn fair-one (air- ly rent the air, and garish eyes out-.r/ared the ganshness of glaring glariness. CHAPTER IX. STUTTERING. The most careful investigations have proved that spellism, or stuttering is the result of imperfect action of one or more of five different groups of muscles: those of the chest, of the larynx, of the tongue, of the jaw, of the lips. Additional causes may arise from mental in- fluence, nervous derangement or momentary want of co-ordination between nerves and muscles of speech, which intercept volitional, concerted action of the vocal organs. Sometimes, the effect is spasmodic when the organs become rigid ; again, it is chronic when the organ moves against the will of the speaker; the first form is found mostly among females, the second among males. These defects may be overcome by care, attention and diligent practice of certain exercises. Make the student thus inconvenienced familiar with the physiology of voice and breathing, then insert between his front teeth a small wedge, about three-quarters of an inch square, to keep the mouth fairly open. Select exercises that will compel and facilitate breathing freely, between VOCAL DEFECTS.— STUTTERING 41 every syllable or word in expulsive or explosive form — As No. 1, page 22; or count from 1 to 20 and so forth. Ex. XXXIII. — To be-or n'ot to be ;-that is the question' : Whether-'t is nobler-in the mind-to suffer' The slings-and arrows-of outrageous fortune' — Or-to take arms-against a sea-of troubles, And-by opposing'-end v them? — To die;-to sleep r ; No mere; and-by a sleep'-to say-we end The heart-ache-and-the-thousand-natural shocks That flesh-is heir to,-'t is a consummation Devoutly to be wished. To die;-to sl£ep;- To sleep -perchance to dream — ay ' there is the rub ; For-in that sleep of death-what dreams may come (When-we have shuffled off-this mortal coil) Must-give us pause :-there's the respect That-makes-calamity-of so long life\ To summarize: 1st. — True practice in breathing, with occasional regular whispering exercises. 2nd. — Intelligent use of the wedge between the teeth and proper exercises to energize, support and raise the tongue towards the palate in its action. 3rd. — Economical retention of breath; a regular, slow exactitude in its emission, with correct exercise in syllabic articulation. 4th. — Full inspiration at the beginning of each sen- tence and regular supply of air at breathing in- tervals. 5th. ---Rhythmic and metrical voice accent, with regu- lar movements and appropriate gestures. For this latter purpose the following or like well- measured selections, with gesture, will answer: 42 \^ ELOCUTION AS AN ART. Ex. XXXIV. — For-who-would bear-the whips-and scorns-of time\ The oppressor's wrongs\-the proud man's-cOn- tiimely\ The pangs-of despis'd love, -the law's delay', The insolence-of office\-and-the spurns That patient merit-of the unworthy-takes', When-he himself-might-his quietus make With a bare bodkin'?-Who'-would fardels-b£ar, To grunt-and sweat-under a weary life'; But that the dread-of something-after death, The undiscovered country'-from whose bourn No traveler-returns', puzzles the will And-makes us rather bear-the ills we have Than fly-to others-that-we know not of? Thus conscience-does make-cowards of us all'; And thus-the native hue-of resolution Is sicklied o'er-with the pale cast-of thought, And-enterprises-of great pith and moment With this regard-their currents-turn away', And lose-the name of action. Also King Henry's prayer, on the eve of Agincourt. Afterwards energetic selections with action. With those, properly directed, success is certain where the pupil is in earnest, — which is the primary essential. The second is, that exercises should be continuously and not irregularly pursued with long intervals between. In all first efforts the teacher must lead the pupil, who at this stage proceeds by observation and imitation as in all art, and which is in this, as in other cases, simply supplemented and perfected by reflection and reproduc- tion. VOCAL DEFECTS.— STAMMERING. 43 Stammering. This is simpJy an indistinctness of pronunciation, arising from defective muscular action. Its treatment, therefore, under an intelligent teacher, is very simple. Let him cause the pupil to repeat the alphabet slowly, and then read aloud for a few minutes, during which the teacher should carefully note the de- fective letters and confused or mispronounced combina- tions of syllables and words. Then if the instructor is a good orthoepist and understands the physiology of the vocal parts, or true basis of phonation, so that he can practically instruct the pupil in the management of the tongue, lips and other organs of speech, there will be no difficulty in finding amongst the exercises contained herein such as, in short practice, will thoroughly cure any case of stammering. Defects arising from malformation of certain elements give to them technical names which, however, do not concern us here: e. g. the undue pronunciation of G is termed "Gammacism;" of L " Lambdacism ;" of R " Rhotacism," etc. But having discovered the elements or sounds upon which the pupil is faulty, let the teacher intelligently select the exercises herein used for the correction of ordinary defective enunciation of such sounds. Then make the pupil commence, with the Teacher, counting the cardinal numbers, breathing properly between each and beating time thereon with his hand, foot or otherwise in musical manner. After short practice in this, change immediately into elemental exercises, and divert his attention by mechan- ical action in marking time. 44 ^ELOCUTION AS AN ART. Lisping. Lisping is really the improper substitution of one sound or letter for another; viz., th for s, hence technic- ally termed "Sigmatism." The basilar cause of this defect is allowing the tongue to be thrust against or between the front teeth when it should be withdrawn therefrom. Its cure is very simple under the following practice. Take the sound E short and breathe it clearly forth with teeth slightly open. Then, when distinctly heard, close the teeth suddenly, withdraw the tongue, and make a hissing sound through the closed teeth. This will give the proper sibilant sound of s instead of th. Let the teacher illustrate that the defect consists as above explained, in substituting the sound of th for s. Ask, Asks, Assets. Asylum, Balsam, Basket, Best, Blessed, Chasm, Chest, Chinese, Conse- quence, Cars, Calls, Constantly, Causes, Cre- dence, Desist, Disease, Disgust, Dust, Dismiss, Exercises, Exhaust, Excise. East, First, Friends, Fist, Gospel, Glisten, Guns, Haste, Hospital, Hesitate, Insects, Inside, Music, Kissed, Past, Murmurs, Wishes. These and general exercise in reading and conversa- tion under correction of teacher shall, in a very short time, repair the defect of lisping. Labia-Vocal Defects. We have a class of readers in which a contraction of the muscles of the upper lip not only prevents the true, easy pronunciation of certain elemental sounds, but LABIA-VOCAL DEFECTS. 45 unduly uncovers and exposes the teeth. This contrac- tion even in a state of rest offensively disfigures the features. Anatomy justifies the statement, and experience as- sures, that proper practice on appropriate exercises will give such pliancy to the lips that in reasonable time both defects shall be cured. For this purpose a continuance of the following exercises shall be found invariably suc- cessful. Let the pupil practise with a short peg, say three- quarters to one and a quarter inch in length, placed between the front teeth so as to force stronger duty on the muscles, and the end will be more rapidly attained. Ex. XXVI. — We pickled the blue berries and/ut the plum pits among black beans, but some one broke the bottle and A?hold when we came back beans, forries and bits of butter were daubed and partly mixed with potatoes, mess-pork and Boston beans. Much might have been picked up and many comments made, but poor mamma's wither was /resent, and we kept mum, while we wiped away the rubbish, sowing more dumb than many a mute. Ex. XXXVII.- — We wi\\ not Castor brag of bonnets, but we prefer the /roper //ofitable blue bombazine with white and black and brown between the purple ribbon bows. Before we went to Washington we fought blue, brown and black berries, which we put upon the muslin trimmings, and many people pro- nounced them most superbly pretty. But one some- times possibly presumes too much upon prepossession, prejudice or preference, for some will not wear big plumes of black and blue upon their best summer bon- nets when November or December suits them better. 46 ^ELOCUTION AS AN ART. When the pupil improves with exercises, let him choose some strongly marked rhythmic prose or verse, which requires a full rotund voice. Practise this at first slowly; afterwards try to declaim. Be careful, before commencing, to take a full breath, and to replenish this during pauses. A few months of such practice, made regularly, shall produce satisfactory results. CHAPTER X. PAUSES. In every complete thought, the members are mutually related; some slightly, others Intimately. To give such thoughts expression, words must be exact: all relations in the thought must be placed according to their de- grees of intimacy. The strict preservation of this in- timacy gives clearness and strength, essential qualities for every well arranged sentence. In reading, relation- ship should be preserved; this is called Grouping. The reader, who groups correctly, reads with ease and grace. The tone, with which one begins to read or to speak, is termed Key-note or Tonic, and all voice modulations carried higher or lower than this tone, Inflections, which, combined with Pauses, give color and expression to the thoughts enunciated. It is not a matter of taste where we shall pause; rules determine what words are separable and what, inseparable. To ascertain these rules, let us run over the Verbal Relations, which are intimate and necessary. irst. — That of Quality and Substantive: or, Ad- jective and Noun, which are the most intimate of all, as a quality to exist must inhere in a subject; these are PAUSES. 47 not separable even in thought unless by abstraction, and the result is an abstract noun that exists only in the mind: absolute adjectives, we treat as nouns. When adjectives follow nouns, we can separate them by a pause; for nouns exist independent of some quali- ties, but no quality exists ( the Blessed Sacrament excepted) independent of its subject. 2d. — The Verb and the Adverb are in the same condi- tion as the substantive and adjective. An adverb, which modifies the action expressed by the verb, is not separ- able from the verb, even in imagination. But, an action may be conceived with some of its modifications, omit- ting others, precisely as a noun may be conceived with some of its qualities, leaving out others; therefore, when by inversion, the verb is first, we may interject a pause between it and the adverb that follows. 3d. — Between the Agent and its Action, or Subject and Verb, we may pause ; for, an active being is not always in motion, and is, in idea, separable from its action. When a substantive takes the lead in a sentence, we know not that action is about to follow; but, when the verb comes first and the agent second, we cannot sepa- rate them ; for, action is not in idea separable from an agent, no more than a quality is from its subject. 3d. — The pause of greatest delicacy regards the Act- ive Verb and its Passive Substantive, or its Object. These placed in their natural order should not be sepa- rable, as the object acted upon defines the limits of the action; but, should a parenthetical clause come between the verb and the object, we pause before and after such clause. When by inversion, the passive substantive comes first, we pause between it and its verb, for the same reason as before the active substantive and its verb or action. The same rule governs both: viz, " A verb 48 ELQCUTION AS AN ART. cannot be separated in idea from the substantive which governs it, and scarcely from that which it governs." Substantives can always be conceived independent of verbs. When the object precedes the verb, we do not know that action is to be exerted on it, therefore we may pause until the action commences. 5th. — Particles which do not of themselves represent an idea, as Articles and Prepositions, cannot be sepa- rated from the words that render them significant. Such particles were invented to unite and limit words, signifying things occasionally united in thought, but which have no natural union; also to show the relation between terms not only separable in idea, but really distinct in nature. These particles, therefore, separated from distinct terms are unmeaning.; hence the mind cannot bear a momentary pause which destroys the sense and is contrary to common mental action. It is questioned whether " to ", the sign of the Infinite Mood, is separable from its verb. We consider it a part of the verb and inseparable, except when lawfully omit- ted and when subject to poetic license. In such verbs as, cast up, shut down, march ou, etc., the added words may be regarded as a part of the verb and admit no pause between them and the verb. SUMMARY. We Can Pause. — 1st, Between the subject and its verb in the natural order: e. g. , The bell | rang out a merry peal. 2nd. — Before and after the noun absolute: e. g. The general | having fallen | the army | retreated. 3rd. — Before and after the vocative case; e. g. Tell me truly | mother | why | our landlord came. INFLECTIONS. 49 4th. — Between a noun and adjective in the order of inversion : e. g. Jewels | costly and brilliant | shone in her ain 5th. — Between a passive substantive and its verb in the order of inversion: e. g. No happier task | these strong hands perform. 6th. — When the verb precedes the adverb: e. g. The river flows [ swiftly, smoothly on. 7th. — Before and after adjuncts of cause, time, place, manner, etc. 8th. — Before and after adversative conjunctions: e. g. Bowed to no idols | but | his money bags. 9th. — Before and after antithetical, parenthetical and inverted words, clauses and members: e. g. Glows in the stars | and blossoms in the trees. Washington | as other men | had his faults. Not for their grief I the Grecian host | I blame. 10th. — When climax is produced by repetition of terms: e. g. By foreign hands | thy dying eyes were closed. By foreign hands | thy decent limbs composed. By foreign hands | thy humble grave adorned, nth. — Before and after several conjunctions, as they indicate more than that, or for this reason, and still more frequently, ellipses which serve to beautify our language. 1 2th. — Between the cognates b, p, d, t; g, k ; f , v and c. We add in general, suppose the connection admit a pause, it follows not, that a pause may, in every case, be admitted. We give one rule to which every other must bend: "The sense must never be obscured, nor sa- 5o ^XELOCUTION AS AN ART. crificed to expression." Many terms that cannot bear separation in the natural order are separable in the rhetorical. We Cannot Pause. — ist, Between an adjective and substantive, when the former immediately precedes the latter; if several adjectives precede, we pause between each except the last: — The beautiful bird has flown. A calm | bright | warm day. 2nd.— Between an adverb and a verb when the former immediately precedes the latter: as, Brightly glows the evening fire. 3rd. — Between an active verb and its object when in- troduced without an adjunct', or, when the object is not emphatic. John I bought these books. 4th. — Between a preposition and its object: With discontented air | the boy approached. 5th. — Between a verb and subject, when the subject is inverted : Stole Helen | softly down the stair. INFLECTIONS. Inflection in Voice Culture means a rising of tone above that called the key-note \ or, a depression below the same. The key-note is the basis of modulation. How matter should be inflected is a subject on which Elocu- tionists disagree. Inflection is the exponent of emo- tion and dependent on its modes, yet it can be acquired by art. Delsarte calls it the language of sensitive nature. We shall treat here of the Rising, Falling and the Circumflex Inflections. inflections: 51 We are all in some manner related to objects around us. This relationship is either positive or negative, We continually perceive objects which either give pleas- ure, or arouse displeasure — outside of these modes of mind objects act, and the mind perceives; but, it gives no attention — it is neutral: with these we shall not deal. Every train of thought that is pleasant to the mind, or that satisfies any exp ion raised therein, we term positive, and give it, when expressed in words, the Falling Inflection. Every train that is z/;zpleasant or that seeks informa- tion to satisfy expectancy, we term negative, and give it, when spoken, the Rising Inflection. Emotional, modifications of exclamitory and indirect interrogative clauses, members and sentences also sup- plication, prayer and petition take Rising Inflections. We remark, when one expresses approbation of any- thing, he or she speaks in a subdued tone and employs falling inflections; when one speaks of things which one disapproves, one uses rising inflections. A few homely examples shall prove this: Falling Inflection. — This child' is very pretty'; ccme' to me, my dear\ Rising Inflection.— Oh! you ugly' little thing'; go away' ! These two rules, though very simple, ramify through every branch of our language, and often assume forms so much unlike the originals, that unskilful students are scarcely able to recognize them ; but when passages, which contain them, are analyzed, they are as easily un- derstood as the examples above. - In our Grammars we have: " Every question that can 5 2 ELOCUTION AS AN ART. be answered by yes or no, should have rising inflection; every reply, falling inflection." Illustration. — If we expect two persons, named Mary and Kate; one of them enters our room, from our position, we cannot see which one, we may ask: Question.- Is' that Kate'? Reply. — No\ it is Mary\ In the question we find rising inflection, not merely because the question can be answered byjr^s- or no, but because the mind of the questioner is in negative rela- tion to the object; that is, it is ignorant as to who enter- ed, consequently the rising inflection is employed. The reply, on acconnt of the positive form of thought it expresses, and the mind's full knowledge thereof, receives the falling inflection. We give a few instances of positive and negative. Students may indefinitely extend the list. Positive. Negative. Approbation. Disapprobation. Concord. Discord. Love. Hatred. Pleasant. Unpleasant. Praise, Dispraise. Please. Displease. Life. Death. Superior. Inferior, etc. etc. We may use a falling inflection at the close of a sen- tence, when we perceive the sense is complete, but let it be understood that this inflection must not interfere with the sense of the passage read, nor must the voice in any case become indistinct or inaudible; for, frequently, the principal thought is relegated to the final clause of a sentence, and by too great drop of voice becomes lo^tto INFLECTIONS. 53 the hearers. At the close of a negative assertive sen- tence the voice should take the rising inflection; because something is always understood. Neg. Assert. — It is not' my fault': Implied: it is some one else's. Very often we shall meet a number of such sentences in succession, all depending on one final sentence; which sentence is of a positive nature. When this occurs, all negative clauses receive the upward slide, the closing affirmative, the downward : — Ex. — Ye' are not wood', ye' are not' stone', Ye v are men\ Ex. — Tis not the face', 'tis' not the form', 'Tis not' the heart', however warm'; 'Tis not' these', though all combined', That' win' true love' : It r is the mind\ These examples close with a positive affirmative sen- tence on which the sense of the foregoing negatives de- pends; this positive completes the thought and receives a falling inflection. The Circumflex Inflection is a combination of the rising and falling. The motion of the voice in this case glides almost imperceptibly from one to the other with variations of tone, pitch, stress and force, according to the strength of the emotion, humor or passion ex- pressed. Circumflexes give emphatic distinction to words which may be increased to any degree by the range we give the component slides. In styles expressive of gentle or strong enthusiasm, profound sentiment, reverence, awe, conscious dignity and power, also in those of raillery, irony, fun, humor and burlesque, circumflexes frequently take the places of 54 ELOCUTION AS AN ART. simple inflections. They are among the finest graces of Elocution and should be well mastered by students. Circumflexes derive their leading significance from the last slide which is modified by the preceding, so that in a subtile way both are combined on one syllable or word. If we desire earnestness, gravity, reverence, force the last slide is falling; if raillery, uncertainty, inquiry, suspense, ridicule, we close with rising, e. g. : "I do not care for her** so much as for you *" N " You-* are all that is excellent'*' forsooth ! " Beauty,*' Herr Doctor, trust in me, " No chemistry* will win you; " Chans'* still rises from the sea; " If you*' can't find, mights it be, " Because you seek within* you?" — Lowell. CHAPTER XI. GESTURE. Gesture is the true interpreter of sentiment ; or a means employed to render emphatic, or more explicit some im- portant expression of thought. It is, writes Delsarte, "the immediate language of emotion or soul," is infini- tely varied and requires careful study. An easy disposition of I ody imparts much elegance and grace to speakers. Gesture is not pantomime, as some erroneously sUj pose: it springs from nature and when properly employed, leads to the natural expression of what had been artificially acquired. When an artist, through want of proficiency, renders gesture panto- mimic, he reduces it to a species of Calisthenic drill, wherein physical development is sought, rather than GESTURE. 55 philosophical emphasizing of a formal act of the mind expressed in words. We practise gesture from the cradle to the grave. Nor are we conscious, often times that, we employ it as an aid to enforce the signification of our thoughts. The force of all gesture is drawn from analogy and not from resemblance, or imitation — such analogies em- phasize thought and feeling, but do not describe them. The Graces of gesture are Simplicity, Appropriate- ness, Smoothness and Variety ; every gesture should be made from the shoulder out, always in curves, freely energetically and precisely; simplicity and variety must proceed from one's own sincerity ; grace and elegance, from habit and taste. No single member is active while all the others remain in repose; if one hand clenches, the other does not re- main quiescent; if the face be stern and passionate, the whole frame shows energy; the emotion of the mind moves the members of the physical being simultaneous- ly — when the art of the spe.aker enables him to utilize this movement, the effect is the perfection of art, ren- dered subject to will and reproducing nature. This harmony between the action of the mind and that of the members is what we term Expression. The principles of gesture should be studied under a skilful master; written instructions are insufficient, they shall assist an earnest student, but they never can per- fect — perfection springs from the living model. Never alternate gestures in the same period. If the ideas be numerous and similar, the gestures should be few and striking; if dissimilar, the gestures should still be few, but dissimilar. By long practice, we acquire power to appear perfectly natural, easy and unlabored, without rule or apparent effort. 56 ELOCUTION AS AN ART. Different styles of language require different styles of gesture; each gesture should have a sufficient reason for its being made. We must never drop a gesture until the period closes; but vary the movement in a suspensive manner. To succeed herein one must practise effects beforehand. The artist never improvises, everything is the result of pre-arrangement and forethought. The instantaneous agony, the joy that gushes forth involuntarily, the tone, gesture, look, — all, that pass for sudden inspiration are the results of long and earnest practice. Hence one, who expects to excel must observe, reflect and endeavor to reproduce the variations of emotion and passion which one perceives in human beings that come within one's observation. Skill lies in the excellence of imita- tive reality — skill is not nature, but art reproducing nature. CHAPTER XII. Spheres of Gesture. Gesture has three distinct spheres: the Upper ^ Middle^ and Lower. All gestures, whose field lies be- low the waist, are in the lower sphere and employed in the majority of cases to emphasize whatever belongs to the lower passions, whatever may degrade our nobler nature, and may tend to show the weaker portion of our animal nature. Gestures, moving horizontally, or, occupying the field between the waist and the head, are employed to enforce all ideas that are light, animated, didactic, scientific, philosophic — that tend to reasoning and de- monstration. SPHERES OE GESTURE. 57 Gestures, that play in the field of the upper sphere, or what we term ascending, are used when dealing with ennobling, dignified, spiritual, philosophical and other subjects. These three spheres embrace all forms of oratorical and dramatic gesture that can be employed at the bar, in the pulpit, on the stage, in drama, and interpretation of prose or verse. The Arm, in emotional recitations, in respect to the frame, has three relative positions: the Forward, Lat- eral and Oblique ; the forward and lateral are at right angles to the frame, which may be regarded as the centre of the circle; the oblique at an angle of 45 de- grees. Each relative motion has three sub-motions, viz: the Descending - Forward, Horizontal -Forward, and Ascending-Forward, also the Descending-Oblique, etc. All other motionsare modifications of these, varied according to the character of the interpretor and the in- tensity of passion or emotion required by the subject The Hand is almost as expressive as language. It demands, promises, appeals, condemns, calls, dismisses, threatens, implores — expresses joy, sorrow, shame, re- sentment, etc. But as a rule, the hand supine, that is, extended with palm upwards, indicates positive forms of thought. The hand prone, the palm downwards, indi- cates negative forms, which if not absolutely negative, yet are relatively so — pay special attention to the natur- al opening of the hand and the curve of the wrist. The Chest. — There are , three chest attitudes, eccen- tric, concentric and normal. 1. If the chest is greatly dilated, this is the eccen- tric case — the military attitude, the sign of energy. 2. The normal, when the chest is in a natural state. s LOCUTION AS AN ART. 3. The concentric, when the chest is hollow, with the shoulders elevated and inclining forward. The chest need not be lowered; it is here that all energy concentrates. The Shoulders. — Every sensitive, agreeable or painful form, says Delsarte, is expressed by an elevation of the shoulders. The shoulders are the thermometer of the sensitive and passional life. If a man's shoulders are raised very decidedly, we may know that he is de- cidedly impressed. The head tells us whether this impression is joyous or sorrowful. Then the species belongs to the head, and the genus to the shoulders. The face specifies the nature of the emotion, whose value the shoulders have determined. The shoulder is one of the great powers of the orator. By a simple movement of the shoulder, he can make infinitely more impression than with all the outward gestures which are almost always theatrical, and not of a convincing sort. Written laws for gesture are absurd and plates that illustrate the pose for certain emotions, laughable. Herein the living model alone can be of service. External Signs of Emotion. — External signs of emotion are, Voluntary and Involuntary. The vol- untary are of two kinds: 1st — Arbitrary; 2nd — Natural. Words are voluntary signs, and they are also arbitra- ry, except a few simple sounds, indicative of internal emotions which are the same in all languages; as, sudden exclamations of admiration, pity, resentment, despair. The second kind of voluntary signs are certain ges- tures, generally those that accompany certain emotions: SPHERES OF GESTURE. 59 as, joy, elevation of the body, lightness; grief, depres- sion of body, slowness. These signs, when prompted by passion, can be restrained only with the utmost force of will. Involuntary signs are all natural; some peculiar to one passion, others common to many. Vivid emotions have more decided outward expression than those less vivid: thus, fear, intense joy, etc, have more facial expression than the mere experience of an ordinary anxiety or daily contentedness. Involuntary signs are two, Temporary and Lasting. The first appear on the countenance with the emotions that produce them, and pass with them, leaving no trace of their having existed; the second are formed gradually by the recurrence of some violent passion and gradually become permanent signs of that passion, and thus serve to denote disposition or temper. In external signs of passion, actions must receive spe- cial attention; for, though singly they afford no clear light, they are, when combined with facial expression, the best interpreters of heart, and are thus in the con- duct of life, the surest expression of internal disposition. It may be asked what effects are produced on specta- tors by these signs? We answer, very important and sympathetic effects! All tending to good and wise ends; and forming a capital branch in the study of human nature. External signs of joy produce cheerful emotion; external signs of grief, pity; of rage, terror; and so for the rest. External signs of painful emotions or passion are divided into Attractive and Repulsive. Of every painful passion that is also disagreeable, the external signs are repulsive, repelling the spectator; and the emotion raised by such signs must be also repulsive. 60 ELOCUTION AS AN ART. Painful passions, that are agreeable, produce external signs that are attractive, drawing the spectator and pro- ducing in him benevolence to the person in whom these signs appear. CHAPTER XIII. THE HEAD AND FACIAL EXPRESSION. Want of simplicity is destructive to dignity. A look is frequently more eloquent than words. We are charm- ed, awed, incensed, softened, grieved, rejoiced, raised or dejected as we watch a speaker's facial expression. When a passion is lengthy in expression, stop and de- crease the power, then increase again to shade emphatic parts, the most awful idea of passion is conveyed by a forcible burst that gradually subsides to the utmost softness — this is natural, common even to the elements around us. Notice the coming and the going of storms, the condition of the atmosphere before and after. If you would excel imitate Nature, both animate and in- animate. When excited the face becomes a living pic- ture. Every emotion in the mind is designated by some external change of feature, wherein every impression anticipates the will and betrays the soul. The eye seems to be more intimate with the soul than any other fea- ture, it receives and transmits impressions more rapidly than others, has an eloquence unknown to the tongue and a power of appeal that super- edes all words in our language. The elevation and depression of the eye- brows are also impressive and of much service to the artist. Some Elocutionists divide the top and back of the THE HEAD AND FACIAL EXPRESSION. 61 head into three zones; That above the forehead, mental; that on top, moral ; that at back, vital. The two movements of the head may be studied under two relations: as an agent of expression through its own movements in relation to its objects, and as the relative centre for hand and arm gestures. As an agent. — In its normal or natural condition, the head is neither high nor low. In reflection, tenderness, love, joy or grief, it is lowered. In vehemence, anger, disdain and love tempered with joy, it is raised and slightly thrown back. In veneration, confidence and love, it inclines oblique- ly towards its object. In doubt, fear, suspicion and disaffection, it inclines obliquely from its object and is slightly thrown back. All other positions of the head are modifications of these, elicited by passion, sentiment and character — never alike in any two human beings; and, seldom a second time alike in the same individual. This fact confirms our belief in the power of preserving person- ality. The face is also divided into three zones: the forehead and eye, mental; nose and cheek, moral; the mouth and chin, vital. Hence if in emotion the hand seeks the chin, vital instincts predominate; if the forehead, mental ; if the cheek, moral. The Eye. — As facial positions are always horizontal with those of the head, the position of the eye varies as that of the head. When the head is normal, or erect, the glance may be elevated, lowered or directly in front. If the head inclines to the right, the eye lowered or with descending oblique glance, may follow like movement, or with glance upward may move in opposite 62 ELOCUTION AS AN ART. direction, that is ascending oblique; and so for left in- cline, but in reverse directions. The direct movement or glance may be taken as the centre of expression, whence all other movements start, or towards which they gravitate as their term. All expressions of the eye indicate the existing feel- ings of the soul and are subject to them, it expresses most lively sensations, tumultuous passions, delightful feel- ings and most delicate sentiments. It at once receives and reflects intelligence of thought and warmth of sensi- bility; it is the burning, flashing word-signal of the heart, that strikes , inflames and lights up whom it will. The Eyebrow. — As the eye is intimately connected with the soul, so the eyebrow is with the mind. Observe and you shall be convinced. It contracts, lowers, relaxes, elevates according to mental condition. It accompanies voice movement, tone and pitch, which are also expo- nents of mind and reason. Would we surprise, inspire awe, express admiration, confide, avow, — the brows elevate and the voice lowers. Would we threaten, scorn, reject, contemn, disdain, reproach, — the brows lower and contract; the voice be- comes intense, aspirate, guttural or loud, in proportion to intensity of character and passion. Would we express love, tenderness, pity, compassion, interest, etc., — the brows are normal or move slightly, the voice is sweetly low, or almost hushed, still propor- tionate to passion or sentiment. Flexibility of eyebrow may be acquired by practice. The Nose. — In serenity, calm description and indif- ference, the nostrils are in repose. In hate, insensibility, cruelty, the nostrils contract. In excitement, passion, sensibility, description of ac- tion, nostrils dilate. THE HEAD AND FACIAL EXPRESSION. 6 3 Practise. — Dilate and contract nostrils: "Move no other portion of the face." The Mouth. — Whatever is in the mind is communi- cated to the mouth. How full of character it is! How- expressive even when silent! Many organs assist in the formation of speech, the mouth and lips give it finish, and combined with senti- ment reveal its value. Turn of lips and tone have more to do with the sense of propositions, than mere position of verbal terms; words pass us by, tones remain and sting. In irony, anger, pique, jealousy, bantering, the lips expand horizontally as when sounding the letter T. In tenderness, devotion, affection, pity, admiration and joy, the lips part slightly, but retain their normal position. In grief, disappointment, disgust, disdain, scorn, con- tempt, the lips are drawn together tightly and depressed at both corners. In contentment, pleasure, satisfaction, neutrality, the lips appear in normal condition. In violent passions, whether pleasant or unpleasant, they move in accordance with the force, intensity and nature of the passion. The face is the mirror of the soul, because of its power to receive and reflect impressions. It indexes not only momentary emotions and propensities, but also enables the observer to determine the habits and tem- perament of its possessor. He who would have beauty of face must acquire virtuous habits of soul. 64 ELOCUTION AS AN ART. CHAPTER XIV. POINTS. The sense of discourse is not confined to words; it is partly in gesture and inflection. No author fully expresses his meaning in writing, hence interpreters may often be in error, since they know not the writers. Do not multiply gestures, this denotes lack of intelli- gence; we experience one sentiment at a time. One gesture suffices for an entire thought, as it is not the word but the thought which gesture emphasizes. The face is the index of the soul, its expression justi- fies gesture. Without facial expression all gesture becomes pantomime. If a thought requires two gestures, one should precede the proposition. Effects must not be multiplied, they belittle the grand. An interpreter identifies himself with the character he interprets. He who renders his word pictures most natural is the best artist. The suspension of a movement is a great source of effect. In it are force and interest. Rest upon the preceding gesture until a change in thought necessitates its change. You may vary facial expression and suspend a gesture: this is preparation for the coming gesture. The rhythm of gesture is proportioned to the mass to be moved. Gesture is expanded by sentiment and passion; con- tracted by thought and reflection; moderated by Jove and affection. POINTS. 65 If you would excel in Elocution, observe, reflect, re- produce — afterwards create. "He," says an Arabian proverb, " is the best orator who can turn men's ears into eyes. " The Elocutionist must possess a delicate, swifc, certain and extensive power of observation — this we may call the soul of his art. To observe is to note distinctions: to be attentive, to fix the mind on a particular object for a given time; through these we analyze, distinguish and finally reproduce with effect proportionate to our talents. " Art proposes three things: to move, to interest, to persuade." To affect this it must conceal its own form and assume nature's. Useful Hints for Facial Expression and Pose, in Drama, Dialogue and other Interpretations. Tranquility. Body. — Composed. Eyebrows. — Arched. Fact-. — Open. Mouth. — Nearly Shut, Brow. — Smooth. Eyes. — Glance Quietly Voice. — Pure. about. Cheerfulness, almost the same movements, mouth smiling, intensified as the emotion increases to joy or delight. Affection. Face. — Serene. Brow. — Smooth. Mouth. — Slightly Open. Eyes. — Sparkling. Body. — In Repose. Voice. — Pure, Clear and Tender. Desire. Body. — Incline Forw'd. Face. — Bright, Earnest, R. Foot. — In Advance. Grace as Sentiment Hands. — According to Requires. Sentiment. Lips. — Slightly Parted. 66 ELOCUTION AS AN ART. Voice. — Bright, Pure, Suppliant or High, Accord- ing to Sentiment, Grief or Sorrow. Countenance. — Deject'd. Arms. — Loose. Head. — Hung Low. Hands. — Opened or Lips. — Quiver. Clasped or Wrung. Eyes. — Down. Voice. — According to Strength of Passion. Pity. Voice. — Compassionate, Hands. — Prone or Supine Tender. According to Sentiment. Brows. — Contracted. Mouth. — Slightly Closed. Eyes. — Raised and Full. Countenance. — As if in Pain. Hope. Countenance. — Raised, Eyes. — Bright, Eager, Bright, Joyous. Wistful. Hands. — Open as if to Arms. — According to Clasp. Sentiment. Body. — Bent Forward. Head. — Raised. Voice. — Plaintive, Inclined to Eagerness. Courage and Confidence. Head. — Erect. Voice. — Firm, Even, Full, Countenance. — Open, Clear, Strong, Accents Clear. Round, Sometimes Ex- Chest. — Raised. plosive. Hands. — According to Body. — Graceful, Noble Sentiment. Mien. Pride and Self-Esteein. Head. — Thrown Back. Lips. — Contracted. POINTS. 67 Eyes. — Full, Lofty. Voice. — Slow, Pompous Brows. — Somewhat in Tone, Important. Drawn. Hatred. Body. — Drawn Back to Mouth. — Expressive of Avoid. Disdain. Face. — Stern, Turned Voice. — Guttural, Low, Away. Loud, Harsh, Sar- Eyes. — Angry, Flash. castic, Ve h e m e n t Brows. — Frown, Con- Passion, Abrupt, ac- tract. cording to Variations of Passion. Fear and Terror. Body. — Strained, or Eyes. — Staring, Wild. Crouching, Shrinks, Mouth.— Open. Trembling, etc. Steps. — Furtive. Face.- — Pale, Haggard. Voice. — Aspirate, Low, Moves with Sentiment. Anger. Head. — Elevated. Body. — Agitated. Bearing. — Haughty. Hands. — Clenched. Eyes. — Flashing. Voice. — Strong, High, Low, Brows, — Contracted. Guttural, Aspirate, Ex- plosive — according to Degree of Anger. Other passions and emotions, as, Love, Jealousy, Re- venge, Reproach, Despair, Admiration, etc., possess in some degree the qualities mentioned for the emotions we have given. All that is flexible and smooth in voice, various in strength of intonation impressive in force, apt in facial expression and consonant in gesture, shall unite their 68 ELOCUTION AS AN ART. energies for gracefulness, elegance and dignity in favor of students who give time and earnest labor to the art of Elocution. We leave the interpretation of the following poems and dialogues to the taste of the student. We give a brief definition of voice-qualities, to be more fully ex- plained in Part II. Pure Tone is that employed in ordinary conversation and in unimpassioned matter; as, descriptive narrative, tender, pathetic and sad. Orotund, a tone resembling that which one uses after a great yawn, deep, full and round. It is employed to interpret the grand, vast, sublime. Low pitch, aspirate voice and stress to suit emotion, are used for love, awe, admiration and surprise. The stresses in the following pieces, we limit to the radical and vanishing: the first may be either explosive or expulsive and falls on the initial word of phrase member or sentence. The second resembles the musical diminuendo, the voice gradually decreasing from the opening to the closing of the sentence. A student who has carefully pursued our course of instruction to this point and who is alive to the require- ments of interpretation, shall easily master the follow- ing poems and dialogues, designed by the writer as an aid to voice culture. Let her also practise the Harmonies of Pose — they shall increase her ease of bearing; they and the dialo- gues form a pleasant distraction for earnest and active students. SELECTIONS. 69 THE SCULPTOR BOY. Pure tone — slow time — moderate pitch — smooth median and dim. stress. < > Chisel in hand-stood a sculptor boy With his marble block, before him, And his face lit up, with a smile of joy As an angel dream passed o'er him. He carved that dream on the yielding stone With many a sharp incision; In Heaven s own light, the sculptor shone — He had caught — that angel vision. Sculptors" of life~ are we", as we stand With our lives uncarved x , before us, Waiting the hour, when, at God's command Our life-dream passes o'er us. Let us carve it then, on the yielding stone With many a sharp incision; Its heavenly beauty, shall be our own — Our lives — that angel' vision. THE BURIAL OF MOSES. " And he buried him in a valley in the land of Moab, over against Beth-peor,but no man knoweth of his sepul- chre to this day." — Deut. xxxiv: 6. By JVebo's lonely mountain, On this side Jordan's wave, Iii a vale in the land of Moab, There lies a lonely grave; 7o ELOCUTION AS AN ART. But no man dug that sepulchre And no man saw it e'er, For the angels of god upturned the sod, And laid the dead man there. That was the grandest funeral That ever passed on earth; But no man heard the tramping, Or saw the train go forth ; Noiselessly as the daylight Comes when the night is done, And the crimson streak, on ocean's cheek Grows into the great sun, — Noiselessly as the spring time Her crown of verdure weaves, And all the trees on all the hill Open their thousand leaves, — So, without sound of music Or voice of them that w T ept, Silently down from the mountain crown The great procession swept. Perchance the bald old eagle, On gray Beth-peor's height, Out of his rocky eyrie, Looked on the wondrous sight ; Perchance the lion, stalking, Still shuns the hallowed spot ; For beast and bird have seen and heard That which man knoweth not. We know when warrior dietli His comrades in the war. With arms reversed and muffled drum' SELECTIONS 71 Follow the funeral car. They show the banners taken, They tell his battles won, And, after him. lead his masterless steed, While peals the minute gun. Amid the noblest^ of the land Men lay the sage to rest, And give the bard' an honored place, With costly marble dressed, In the great minster transept Where lights like glories fall, And the sweet choir sings, and the organ rings Along the emblazoned wall. This was the bravesf warrior^ That ever buckled sword; This the most gifted poet v That ever breathed a word; And never earth's philosopher Traced, with his golden pen, On the deathless page, truths half so sage As he wrote down for men. And had he not high honor? — The hillside for his pall \ To lie in state while angels wait With stars for tapers tall ; And the dark rock pines, like tossing plumes, Over his bier to wave ; And God's own hand in that lonely land, To lay him in the grave, — In that deep grave, without a name, Whence, his uncoffined clay 72 ELOCUTION AS AN ART. Shall break again — O wondrous thought!- Before the judgment day, And stand, with glory wrapped around ^ On the hills he never trod, And, speak of the strife that won our life. With the incarnate Son of God. O lonely tomb in Moab's land ! O dark Beth-peor,s hill! Speak to these curious hearts of ours, And teach them to be still. — God hath his mysteries of grace, Ways that we cannot tell: He hides them deep, like the secret sleep Of him — he loved so well. — Mrs. Alexander. THE LOST CHORD. Pure tone — sloiv time — moderate pitch — smooth median and dim. stress. Seated, one day, at the organ, I was weary, and, -ill at ease, And my fingers wandered idly Over the noisy keys\ I do not know . what 1 I was playing. Or what I was dreaming" then ; But — I struck* one chord* of music* Like the sound K of a great amen/ It flooded the crimson twilight Like the close of an angel's palm, And it lay, on my fevered spirit. With a touch, of infinite calm. SELECTIONS 73 It quieted pain and sorrow* Like love' overcoming' strife — It seemed the harmonious echo Of our discordant' life. It linked all perplexed' meanings Into one perfect" J>eace\ And trembled away into silence" As if it were loth to cease. I have sought, — but — I seek it vainly That one lost chord divine" That came from the souV of the organ And entered into mine. It may be that Death's* bright angeP Will speak in that chord again, It may-be- that-only-//* Heaven I shall hear — that great a/nen\ — Adelaide A. Proctor. THE RELIEF OF LUCKNOW. Oh, that last day in Lucknow fort! We hiew that it was the last; That the enemy's lines crept surely on, And the end was coming fast. To yield to that foe meant worse than death, And the men and we all worked on; It was one day more of smoke and roar, And then, it would all be done. BLOC 74 ELOCUTION AS AN ART, There was one of us, a corporal's wife, A fair, young, gentle thing, Wasted with fever in the siege, And her mind was wandering. She lay on the ground, in her Scottish plaid, And I took her head on my knee; "When my father comes hame frae the pleugh." she said, " O, then please wauken me." She slept, like a child on her father's floor In the flicking of woodbine shade, When the house-dog sprawls by the open door, And the mother's wheel is stayed. It was smoke and roar and powder-stench. And hopeless waiting for death; And the soldier's wife, like a full-tired child, Seemed scarce to draw her breath. I sank to sleep, and, I had a dream Of an English village lane, And wall and garden; but one wild scream Brought me back to war again. There, Jesse Brown stood, listening, 'Till, a sudden gladness broke All over her face; and she caught my hand And drew me near as she spoke: "The Highlanders! O, din ?ia ye hear The slogan far awa'? The McGregor's; O! I kenitweel; It's the grandest o' them a/ "God bless the bonny Highlanders! We're saved ! we're saved! " she cried SELECTIONS. 75 And fell on her knees, and thanks to God Flowed forth like a full flood-tide. Along the Battery-line het cry Had fallen among the men, And they started back ; — they were there to die; But, was life so near them, then? They listened for life — the rattling fire Far off, and the far off roar^ Were all, and the colonel shook his head, And they turned to their guns once more. But Jesse said: "The slogan's done; • But, winna ye hear it noo; The Campbells are comiri 7 it's no a dream: Our succors hae broken through! " We heard the roar and the rattle afar, But the pipes we could not hear; So, the men plied their work of hopeless war, And knew that the end was near. It was not long ere it made its way — A thrilling, ceaseless sound; It was no noise from the strife afar, Or the sappers under ground. It was the pipes of the Highlanders! And now they played "Auld Lang Syne" It came to our men, like the voice of God, And they shouted along the line. And they wept, and they shook one another's hands, And the women sobbed in a crowd ; And every one knelt down where he stood, And we all thanked God aloud. 76 ELOCUTION AS AN ART. That happy time, when we welcomed them. Our men put Jesse first; And the general gave her his hand, and cheers Like a storm from the soldiers burst. And the pipers' ribbons and tartan streamed, Marching round and round our line, And our joyful cheers were broken with tears, As the pipers played "Auld Lang Syne.'" — Robert Lmvell. DISCIPLINE. I A block of marble caught the glance of Buonarotti's eye, Which brightened in its solemn deeps like meteor lighted sky, And one who stood beside him listened smiling, as he heard, "Yes — I will make an angel of it" — was the sculptor's word. II So mallet soon and chisel sharp the stubborn block assailed And blow by blow and pang by pang the prisoner unveiled. A brow was lifted, high and pure, the -waking eyes outshone; And as the master deftly wrought a smile broke through the stone. Ill Beneath the chisel's edge, the hair, escaped in floating rings; And plume by plume, was slowly freed the sweep of half furled icings The stately bust and graceful limbs their marble fetters shed And where the shapeless block had been an angel stood instead, IV O blows that smite! O hurts that pierce this shrinking heart of mine! X\\\aXare ye but the Master's tools, forming a work divine. O! hope that crumbles at my feet! O joys that mock and fly! What are j their heads to their foundations t/> 5. Tho' palaces and pyramids do slope their warders' heads: _ 4. Tho' castles topple on n> and trees blown down? o 3. Tho' bladed corn be lodged % and swallow navigation^/.? ** 2. Tho' the yesty waves confound & them fight against the churches? 1. Tho' you untie the winds and let g Howe'er you come to know it, answer me: Mac. I conjure you, by that which you profess, Ex. VI . — The following lines are also read from the bottom upward, with full sweep of voice. Take care that the first tone of each line agrees with the last of the line you have just repeated. ho""! what, warder,' grooms Up' drawbridge, nd~ '! By St. Bride of Bothwell No w ! And hop'st thou hence unscathed to go x ? The Douglas' in his hall'? To beard' the lion in his 'dcrif And dar'st thou then ELOCUTION AS AN ART. no Ex. VII. — a Roman citizen'? torture' 3 scourge', ^< bind'! i in sight of Italy', ~ in a Roman province', ? who holds power of the Roman people', Z. a governor , ^- Shall an inferior magistrate', £ Is it come to //*«■ .? -' Ex. VIII.— To the deep', down*. To the deep', down". 5. Through the shades of sleep — Through the cloudy strife Of death and of life; Through the veil and the bar Of things that seem and are, 10. Even to the steps of the remotest throne', — 1 1. Down ! Down ! Down ! Ex. IX. — Practise the following in the five lowest tones of voice the student is able to command. Begin above and descend : Hoarse' wintry blasts', . A solemn requiem sung, To the departed day'; Upon whose bier' the velvet pall of midnight had been flung', And nature mourned", through one wide hemis- phere'. VOCAL FLEXIBILITY. in The following extract from the '* Veiled Prophet," Lalla Rookh, and like passages present good opportunity for practice in flexibility. " Mokanna " is represented "pondering," and — Ex. X. — At length, with fiendish laugh, like that which broke From Eblis, at the fall of man, he spoke — ''Yes, ye vile race, for hell's amusement given ; 11 Too mean for earth' yet claiming kin with heaven\ " God's' images' forsooth! — Such gods as he "Whom India serves, the monkey'-deity' : Ye creatures of a breath! proud things of clay! "To whom if Lucifer, as grandams say, " Refused' — though at the forfeit of heaven's light — " To bend' in worship', Lucifer v was rightM " Ye wise' ! ye learned', who grope your dull way on, " By the dim twinkling gleam, of ages gone "Ye shall have honors' — wealth', yes sages, yes' — " I know v grave fools' , your wisdom's nothingness': " Undazzled, it can track yon starry sphere " But a gilt stick, a bauble, blinds it here' . " How I shall laugh, when trumpeted along " In lying speech and still more lying song " Their wits bought up, their wisdom shrunk so small 4 A sceptre's puny point, can wield it all? " Ye, too, believers of incredible creeds I *' Whose faith enshrines the monsters which it breeds '' Ye shall have miracles, aye, sound ones, too, "Seen, heard, attested, everything — but true. So also in this extract from Virginius, Act i, Sc. ii. Virginia. — Well, father, what's your will? Virginius. — I wished to see you, To ask you of your tasks — how they go on — 2 ELOCUTION AS AN ART. And what your masters say of you — what last You did? I hope you never play The truant ! Virg. The truant ! No, indeed, Virginius. Ver. I am sure you do not — kiss me. Virg. O my father! I am so happy when you're kind to me! Vir. You are so happy when I'm kind to you! Am I not always kind? I never spoke An angry word to you in all my life, Virginia! You are happy when I ' ;;/ kind ! That's strange — and makes me think you have some reason To fear I may be otherwise than kind. Is 't so my girl? CHAPTER II. Force and Stress. As all our motions, actions, passions, take their form and direction from the nerve centres, so the dynamic stroke which indicates the mental condition, the action or ictus given to the voice, its agent in expression, is discovered in the force of utterance. The organic sympathy of our nature acting from brain- nerve to muscle, produces at the mind's demand action voluntary or involuntary, that from diaphragm through lungs expels the air in compact volume and decisive movement, making it full, strong and effective. It is this that in all tones of voice gives body and power more serviceable to the speaker than increased height of FORCE AND STRESS. 113 pitch or loudness, and is to be thoughtfully considered and practiced in contradiction thereto. Force correctly understood means flower to the voice. Loudness is more like noise. Force under proper man- agement gives volume and dignity, whether the tones be high or low. Loudness depends too much upon high pitch, throat-labor and falsetto tones without full action of the abdominal muscles as the propulsive power. The former gives the pure tone and orotund. The latter leads to redundant guttural and aspirate qualities, injur- ing both voice and organs. Force is the result of full- supplied breath in compact, "unbroken column. Loudness favors that fitful, spasmodic action which chafes and abrades delicate vocal membranes, thus leading to their debility and disease. Force and volume relate to space and power; loudness pertains to distance. Force faithfully practiced under its various modifica- tions strengthens the vocal organs and gives them flexibility and vigor. Its forms are: The Effusive — which is smooth and subdued. Expulsive — " abrupt and earnest. Explosive — " energetic and impassioned. /// these executive forms, each of which may be more or less modified, force is supplemented by its cognate ele- ment stress, which completes the character of voice action; and here, therefore, let us consider in conjunc- tion the subject of stress, which is, in fact, specially ap- plied vocal force, Stress bears to force the same relation that accent bears to emphasis, exhausting its action on single sounds as accent does on single syllables. While force like em- phasis runs through words, phrases or sentences. Stress represents activity, energy, decision, etc. ii 4 ELOCUTION AS AN ART. Force represents intensity, duration, power, etc. Volume represents pomp, dignity, majesty, etc. We classify Stress under seven different forms, the correct comprehension and management of which are indispensable to good reading. We represent them by the subjoined symbols: Radical, or initial, Stress >> Radical Diminuendo Stress < Vanishing or Final Stress Thorough Stress '=■ Tremor Thus employed they indicate the character and action of the voice required, or the thought they symbolize as clearly as do notes or signs in music, the tone, quality, or expression, sought by the com- poser; and the pupil should accept and study them as such exponents. Radical stress is the most useful and necessary per- haps to the reader or speaker. Its proper use necessi- tates expulsive or explosive breathing in one of two forms, as >> which symbolizes the abrupt burst of voice full force or strength at the opening of the mouth on the pronunciation, and a rapid closing of the sound into nothing upon the word or syllable as indicated in form by its symbol. The other we would represent as >, more resembling the musical diminuendo and figuring the voice as grad- ually moving from the initial burst through a softening and diminishing tone to silence. It is a philosophic fact that the emotion raised in the mind by thoughtive force, resembles its effect; and it is FORCE AND STRESS. 115 just as strong a fact that force will physically follow, and psychologically the emotion be transmitted to hearer or spectator. But the mind that exerts no force conveys listlessness of purpose, and excites or enlists no emotional sympathy, earnestness or interest in the hearer. Force, radical and diminuendo stress are to inter- preters the most essential power next to that of vocal utterance, speech, judgment and education. Judiciously used, with voice qualities, they form the true weapons or vocal outfit of the educated orator, giving point and edge and life, spirit and dignity and decision, sweetness, earnestness and power to his utterance, The Radical Stress is the exponent of well directed, thoughtive energy, decision, force, firmness, determination, etc. Bad taste, want of thought or judgment, may lead to habit of employing this stress upon every few words, thus giving to the voice a jerky, spasmodic, chopping action, which conveys arrogance, assumption, self-co?iceit. As a means of practising and acquiring the radical stress, tne student may be able to adopt no better form- ula than "he following exercises, which should be con- tinued for some time and occasionally repeated for discipline. Ex. XI. — 1st — Count the cardinal numbers slowly and clearly. 1 2 3 4 5 6 7 8 9 io 2nd —Count as before, but with increasing force and pitch on each number. 123456789 10 3rd — Occasionally, after the manner of a clear, hearty laugh, use the sound: Ha, ha, ha, ha, ha. ha. 4th — Run the notes of the gamut in staccato form as high as the speaking voice will reach, taking good n6 ELOCUTION AS AN ART. care to give to each the clear radical stroke, and to avoid any approach to prolonged or singing tones. >>>> >>>>> Do, re, mi, fa, sol, la si, do, re, &c. Then in same manner descend. Repeat three times. These will form the best exercises for clearing, strengthening and giving to the voice sparkle and pre- cision of stroke. For the following exercise let there be a full inspira- tion through the nostrils, then a moment's occlusion of the larynx, barring the breath for a full and sudden dis- charge. Then opening the mouth expel the air by rapid action of the abdominal muscles, exploding the voice and closing it immediatelv. Use such words as ''HALT!" " FALL" " FORWARD!" "HOLD!" etc. A fair practice on these will give the student the cor- rect idea of stress, which, as before stated, is force applied to single sound. > > > Ex. XIII. — Cas. — B/7/tus, bay not me; I'll not end/ire it: you iorget yourself, To hedge me in; I am a sc?ld\er — /, Older in practice, abler than yourself To make com////ons. Bru. — Go to; you are not Celsius. Cas. — I am. Bru. — I say you are not. Cas. — U/xr me no more, I shall iorget myself. The most difficult management of force and stress ap- pears to be in their natural application to changing hues and shades of thought as such pass before the reader's eye; requiring sometimes swell and volume in effusive orotund, indicating majesty, sublimity and grandeur. Again that low, effusive, pure, subdued and median con- trol, that speaks a change to serious or pathetic; per- chance the high, expulsive, energetic force and impas- sioned stress, whose hastened movements tell of joy, etc., and all of which, as well as others, often occur in single sentences. FORCE AND STRESS. 117 To effect grace and facility in this a most valuable practice may be had upon the following scale or ladder, which will be found the most certain guide to the order of thought and expression indicated in the corresponding- column. The mode of practising the scale is simply to strike the key-note, and with proper force applied to voice, read each selection from below upwards; then down; then promiscuously until the result is certain and the voice pitch, force and transition easy. Ex. XIV.— Scale for Exercise in Force, Pitch and Modulation. 8th [ Octave. ] 7th [ Semitone. ] 6th Tone. 5th Tone [Domi- nant pitch.] 4th Tone [Sub- dominant.] 3rd [Semi-tone.] 2d Tone. 1st Tone [Key- note.] DO SI LA SOL FA MI RE DO If thou speak'st false, upon the next tree shalt thou hang, alive. What man dare, I dare! Take any shape but that and my firm nerves shall never tremble, etc. Wreathe the bowl with flowers of soul. The brightest wit can find us! Therefore, my lords, omit no happy hour, that may give furtherance to our expedition, etc I speak to time and to eter- nity, of which I grow a portion, not to man. O, Thou that rollest above! Solemn and round as the shield of my ' earnest ap- fathers. Whence are thy | peal, beams, O Sun! Impassion- ed orotund, excitement. E n e r getic orotund, alarm. Joy or hu- mor. Bold orotund. Grave Tone. Thus conscience does make cowards of us all; and thus the native hue of resolu- tion is sicklied o'er, etc. To be, or not to be: the question, etc. that is Solemn orotund. Tone of so- lemn awe 1 18 ELOCUTION AS AN ART. Force and stress may be said to rank among the most subtle agencies in expression, at least to the uninitiated, who fail to see the mode of execution whereby such strength and full development of thought and signifi- cance are given; and not unfrequently good readers de- tect a majesty, or power, an elegance and finish about the reading of another as distinguished from their own; and do not know that in the application of these ele- ments consists the difference. A very fine illustration and test of this is found in the lines of Alfred Evelyn in the following extract from "Money," act ii, sc. i — mark the italics: Ex. XV. — Eve. — Zeft fatherless, when but a boy, my poor mother' grudged! herself food* to give me edu- cation. Some one had told her that /earning was better th?>n house and land — that's a lie, Graves! Graves. — A scandalous lie, Evelyn! Eve. — On the strength of that lie I was put to school — sent to college, a sizar. Do you know what a sizar is 2 In J> ride he is a gentleman* — in knowledge he is a scholar — and he crawls about, amidst gentlemen and scholars, with the livery of a pauper on his back ! I carried off the great prizes — I became dis- tinguished — I looked to a high degree, leading to 3. fel- lowship; that is, an inde/>«&? is pricking fast across Saint Andre's plain, With all the hireling chivalry of Guelders and Al- mayne. Now, by the lips of those ye love, fair gentlemen of ¥ra7ice, Charge for the golden lilies] — Upon them with the lance ! A thousand spurs are striking d^p, a thousand spears in r^/, A thousand knights are pressing thought ! No, never be it said That fate itself could awe the soul of Richard. Hence ba //bli n g> dreams .' You ////r>here in > vain ! Conscience, araunt .' /?/V//ard's> himself > again ! So also the following from Richard III: King R. — A flourish: trumpets.' Strike the alarum drums .' Let>wt the>// ( \7vens hear these>/V7/-tale>v.:'<>men Rail on the Lord's anointed :> Strike, l>sayf RADICAL DIMINUENDO STRESS. 121 5}C IyC SfC 2JC 5(s IjC Richmond. — Fight, gentlemen of England! Fight, bold yeomen ! Draw, archers, draw your arroivs to the head ! Spur your proud horses hard and ride in bWd ; Amaze the welkin with vour broken staves/ CHAPTER III. Radical Diminuendo Stress. There is perceptible in all children's voices, as there is also in all cultivated voices, a sweet and soft sound, the counterpart of the musical diminuendo. This sound, which is the consequence of mental desire to have the expressed thought clear, distinct and pleasing to the hearer, strikes in full, strong purpose, like more abrupt, rad. stress, on the opening of the word. This is with intent to be heard and not lost. But because of the pleasure it proposes to convey it gradually softens down into finer, sweeter, more insinuating form as it closes, giving to the voice its most attractive finish. It is there- fore the symbol of pleasant, or pretended pleasant, mental action in its expression of love, tenderness, persua- sion, seductiveness, compliment, flattery and the many-colored sentiments ranged under this generic thought. Would the orator with strong argument convince, he uses the radical stress> ; would he persuade, seduce or wheedle others to his views, he abandons the strength and decision of lhat element and employs the softer strains of the diminuendo>. The former is always used in command, the latter in solicitation. 122 ELOCUTION AS AN ART. Ex. XVIII. — Indeed, madam,. I wish not to be for- ward, but women always seemed to me less cal- culated for retirement than men. We have a thousand employments, a thousand amusements, which you have not. We>ride, we>hunt, we > play, > read, > write. But dare I>ask what are>your emp/^yments for a day? O, my lord, you cannot imagine how quickly time passes when a certain uniformity guides the minutes of our life! How often do I ask: "Is Saturday come again so soon? " On a bright, cheerful morn- ing my books and breakfast are carried out upon the grass plot. Then, is the sweet picture of reviving industry and eager innocence always new to me. The bird's notes, so often heard, still waken new ideas; the herds are led out into the fields; the peasant bends his eyes upon his plough. Everything lives and moves, and in every creature's mind it seems as it were morning. Towards evening I begin to roam abroad, from the park into the meadows; and, some- times, returning I pause to look at the village boys and girls at play. Then do I bless their innocence and pray to Heaven those laughing, thoughtless hours could be their lot forever. In the following exercises the words in Italics receive the Radical Diminuendo Stress. There is a spell — in every flower A sweetness — in each spray And every simple bird — hath power To please me, with its lay And there is music on the breeze RADICAL DIMINUENDO STRESS. 123 That sports, along the glade The crystal dew drops, on the trees, Are gems — by fancy made O, — there is joy and happiness In everything I see Which bids my .«?«/< rise up and bless The God that blesseth me. The following extracts from Act iii, sc. ii, Henry VIII, afford good example of blending the argumentative and persuasive — or attempted wheedling; also of the tone of respect, even in high position, due and expressed to su- periors. The scene is between Cardinal Wolsey, Cam- peius and Queen Katharine in the endeavor to obtain her consent to divorce from the King. Ex. XIX. — Enter the two Cardinals. Wo I. — Peace to your highness ! Q. Kath. — Your graces find me here part of a house- wife, I would be all, against the worst may happen. What are your//msures with me, reverend lords? Wol. — May it please you, noble madam, to withdraw Into your private chamber, we shall give you The full cause of our coming. Q. Kath. — Speak it here, There's nothing I have done yet, o' my conscience, Deserves a corner: * * * * Wol. — Tanta. est in its expression : i2 4 ELOCUTION AS AN ART. Q. Kath. — O, good my lord, no Latin; I am not such a truant since my coming, As not to know the language I have lived in : A strange tongue makes my cause more strange, sus- picious; Pray, speak in English; here are some will thank you, If you speak truth, for their poor mistress' sake; Believe me, she has had much wrong: lord cardinal, The willing'st sin I ever yet com/«//ted May be absolved in English. Then again the flexure, the conciliatory turn of the cardinals, the admitted cause of grievances, employs while also marking their humility, (assumed or earnest), the deeper form of the Diminuendo aided also by qual- ity of voice and time necessary to due interpretation. Wol. — Noble lady, I am sorry- — my integrity should breed, (And service to his majesty and you), So deep suspicion- — where, all faith was meant. We come not by way of accusation To taint that honour every good tongue blesses, Nor, to betray you, any way, to sorrow You have too much, good lady — but — to know How you stand minded, in the weighty difference Between thy king and you; and, to deliver^ Like free and honest men, our just opinions And comforts to your cause. Cam. — Most honour d madam. My Lord of York, out of his noble nature, Zeal and obedience he still bore your grace. Forgetting — like a good man — your late censure Both of his truth and him — which was too far — RADICAL DIMINUENDO STRESS. 125 Offers, as I do, in a sign of peace, His .service and his counsel. The tones of Campeius are conceived and executed in deepest form of this element conveying as it were apol- ogy for his interposition — from his lower sphere than that of the prime minister. To both the queen rejoins in deprecating thought and words. * * * Wol. — Madam, you wrong — the king's love with these fears'. Your hopes and friends, are infinite. Cam. — I would your grace Would leave your griefs and take my counsel. Q. JCalh.—How>sir? Cam. — Put your main cause — into the king's pro/> Out upon ye! Heaven is above all yet; there — sits a judge That no king can corrupt. Ex. XX. — Tender, loving persuasion. Hamlet, act I, sc. v. Queen. — Let not thy motfrerlose herprayers, Hamlet. I pray thee stay with us;^ not to Wittenberg. Love, expression, compliment, etc. Merchant of Venice, act v., sc. I. 126 ELOCUTION AS AN ART. Lo?'. — The moon shines bright! "6 In such a night Did Jessica steal from the wealth}- Jew And with an unthrift love did ran from Voiice As far as Belmont. Jes.- In such a night Did young Lorenzo swear he loved her well, Stealing her soul with many vows of faith And ne'er a true one. Lor. — In such a night Did pretty Jessica, like a little shrew, Slander her love, and he forgave it her. Jes. — I would out-night you, did no bod)' come: But hark ! I hear the footing ot a man. ********* Lor. — How sweet the moonlight sleeps upon this bank] Here will we sit and let the sounds of music Creep in our ears: soft stillness and the night Become the touches of sweet harmony, Sit Jessica. Look how the floor of heaven Is thick inlaid with patines of bright gold: There's not the smallest orb which thou behold'st But in his motion like an angel sings, Still quiring to the young-eyed cherubim; Such harmony is in immortal souls; But whilst this muddy vesture of decay Doth grossly close it in, we cannot hear it. VANISHING STRESS. 127 CHAPTER IV. Vanishing Stress. This represents the closing or vanishing of the voice as it explodes in loud broken sound, scattering, as it were, rather than dying away. Its symbol. And what is death? I've dared him oft before the Arthur, Duke of Wellington, in the>House of Lords, and did he not stai t up and exclaim, > Hold ! I have seen the aliens do their>Y///r. ' ' The following from Croly's Catiline, replying to the decree of the Senate, offers good example of the rise from strong inflections into compound stress. The whole speech is full of force. ve and explosive orotund, rad- ical and vanishing stress. _ _ < > Banished from Rome! What's banished, but set free From daily contact with the thing I loathe? "Tried and convicted traitor! " Who says this? Who'll prove i:, at his peril, on my head? Banished! 1 thank thee for't * * * Then when the consul has read the decree and orders MEDIAN STRESS. 131 the lictors to drive the traitor from the temple; repeating the opprobrious words in rage and indignation, he gives it the burst and body of compound stress: "Traixtor!" — I Let the practice be in low and softer forms at first, then varied by stronger tones and swell, which will furnish in itself all necessary praxis. From this let him turn to these practical passages; Ex. XXIII.— Slow Time, Low Pitch, Median Stress, Orotund — <> <> <> Oh thou whose balance does the mountains weisfh 132 ELOCUTION AS AN ART. Whose will the wi<>ld tumul<>tuous seas obey. You, sir, know That you, on the canvas , are to repeat Things that are fairest, things most sweet — Woods, and cor?ifields, and mulberry tree, The mother — the lads — with their birds — at her knee But o<>h! that look of reproachful woe! High as the heavens your name I'll shout If you paint me the picture, and leave that out. When the emotions above referred to swell into gran- deur or majesty the median takes more of the expulsive form, higher pitch, stronger force, and thus its appro- priate and limited use gives pomp, dignity and power to expression, which adapts it to grand and lofty thought, courage, command, admiration, wonder, enthusiasm, high in- dignation, remonstrance, adoration, devotion, and kindred emotions. It is peculiar to prayer, sacred thought and poetry, which without it seem always commonplace and characterless. Ossiax's Address to the Sun. Expulsive Orotund, strong Median Stress, Slow Time — O thou that roll<> est above! rou<>nd as the shield of my fathers. Whence, are thy beams, O sun, thy everlasting light? 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 alone. And O, <>if, perchance, there should be a sphe<>re Where, all is made right, which so puzzles us here, Where, the glare, and the glitter, and tinsel of time Fade and die, in the light of that region, sublime Where, the soul, disenchanted, of flesh and of sense THOROUGH STRESS. 133 Unscreened by its trappings, and shows, and pretence Must be clothed, for the life, and the service above With purity, truth, faith, meekness, andjove; O, daughters of Earth ! Eoolish virgins ! Beware ! Lest, in that upper realm, you have nothing to wear ! Prayer of Henry V. before Agincourt. Effusive and Expulsive Orotund, Strong Median, Imp. Force. <> <> <> <> <> K. Hen. — O God of battles! steel my soldier s hearts; Possess them not, with fear j take from them ?tow The sense of reckoning, if the opposed numbers Pluck their hearts from them — Not to-day, O Lord, O, not to-day, think not upon the fault My father made in compassing the crown ! Strong Orotund, High Pitch, Full Median Stress— " Bra<>vo, " cried Francis, ' right<>ly do<>ne! " CHAPTER VII. Thorough Siress. This element is properly used only where the voice, requiring to be strengthened for distance, fills up the tone with body of air and gives it prolonged character which thoroughly sustains and bears the words along ; thus closely resembling force as before defined. We rarely hear it in ordinary life, except from the mouths of street pedlars and others crying out their 134 ELOCUTION AS AN ART. wares. It is altogether out of place in ordinary conver- sation, reading or discourse, and always marks coarse- ness or want of true cultivation. It is the ground- work of the intoning style which long reach of sound necessitated in large cathedrals, and which still spoils so much good reading. It is evidence of power in vocality, and is useful in open-air speaking to large crowds and in very large buildings; though its office of former years, which was chiefly to aid the army-herald in conveying messages, standing at safe distances beyond the reach of weapons of those times, is nearly obsolete. Its perfection consists simply in the avoidance of throat-tones; working the abdominal and dorsal muscles; clearly articulating and distinctly forming consonant sounds. In reading, it is necessary in the interpretation of such passages as the following. Expulsive Orotund, Thorough Stress, High Pitch — Ex. XXIV.— Rejoice you men of Angiers ! ring your BELLS: King John., your king and England 's, doth approach — Open your gates, and give the victors way! So Rich. Ill enters, the scene Bosworth Field, seeking and calling with all his voice for Richmond — Ki.ig. R. — What ho ! young Richmond, ho ! 'tis Richard call- ; I hate thee, Harry, for thy blood of Lancaster. Now, if thou doth not hide thee from my sword — Now, while the angry trumpets sound alarms And dying groans transpierce the wounded air — Richmond, I say! come forth and singly face me! THOROUGH STRESS, 135 Richard is hoarse — with daring thee to arms. With such stress also and expulsive orotund should be read the following lines of Henry V — calling from below to the governor of Harfleur and the citizens on the city wall. K. Henry. — How yet resolves the governor of the tow?i ? This, is lh.' litest parte, we will admit; Therefore to our best mercy, give yourselves; Or like to men, proud of destruction, Defy us to our worst: for, as I am a soldier, A name that in my thoughts becomes me best, If I begin the battery once again, I will not leave the \\-e\i -achieved Harfleur Till, in her ashes, site lie buried. One touch to her hand and one word in her ear, When they reached the hall door and the charger stood near, So light, to the croupe, the fair lady he swung, So light, to the saddle, before her he sprung. She is won! We are gone! Over bank, bush and scaur. They'll have fleet steeds that follow, quoth young Lochinvar. Owing to the inflexibility which the high pitch em- ployed with this stress gives to the voice, it is, when much used, destructive of the grace and finish that other forms of stress tend to develop. 136 ELOCUTION AS AN ART. CHAPTER VIII. The Tremor. This, by some, is regarded as a quality of voice, but under such arrangement a difficulty presents itself in the question, "What quality! " It is rather a condition or intermittent stress of voice, common, and perhaps about equally used with, or applied to all qualities. It is the process resulting from a nervous or irregular motion of the diaphragm, owing to mental disquietude or feeling which conveys through nerve to muscle its negative, de- ranged, excited or uncertain action. It resembles the trill, shake or tremulo of the singing voice, and may be thus symbolized™ Under the above process it is created deep down in the throat, first dropping the jaw and after the manner of light laughter, throwing rapid percussive action on the diaphragm and thereby into voic^, thus breaking impassioned force into abrupt stress, and ejecting it like jets of sound. Take the vowel sounds of a, e, i, o, u, let the jaw fall, and give them a light, tremulous sound; then a little stronger — again still stronger, keeping the air in forceful pressure from the lungs,and continue long as possible. If difficult to effect by the pupil, a few minutes illustration by the teacher is worth pages of written instruction. The tremor is the natural expression of physical weakness, enfeebled age, infirmity, grief, and consequent emotions, but is employed with varied qualities of voice expressing many passions — exultation, joy, mirth, rapture, grief, sorrow, deep distress, scorn, contempt, sarcasm, derision, mockery, fiendish glee, chuckling revenge, etc. TREMOR. 137 It must always be accompanied by feeling or passion, and generally strikes the emphatic words, except in ex- treme age, great excitement, strong emotion, debility, when it may pervade almost the entire utterance, as in the fol- lowing old ballad : Ex. XXV — Pity the sorrows of a poor old man Whose trembling limbs have borne him to your door. Whose days are dwindled to the shortest span, Oh, give relief! and heaven will bless your store. Oh, take me to your hospitable dome Cold blows the wind and piercing is the cold Short is my passage to the friendly tomb, For I am poor and miserably old. The other extreme is exhibited in malignant thought, fiendish glee or joy, as in Shylock's impassioned exulta- tion and chuckle over the news of Antonio's losses which he thinks are to bring about his plotted revenge. Voice qualities, guttural and aspirate, high pitch, rapid movement. Tremor throughout. Tub. Yes, other men have ill luck too: Antonio, as I heard in Genoa, — Shy. What, what, what? ill luck, ill luck? Tub. Hath an argosy cast away, coming from Tripolis. Shy. I thank God, I thank God. Is't true, is't true? Tub. I spoke with some of the sailors that escaped The wreck. i 3 8 ELOCUTION AS AN ART. Shy. I thank thee, good Tubal : good news, good news ! ha, ha! where? in Genoa? So also it is shown in the rapid revulsion to deep grief which seizes Shylock in the next sentence when reminded of his own loss. Tub, Your daughter spent in Genoa, as I heard, in one night fourscore ducats. Shy. Thou stickst a dagger in me: I shall never see my gold again: fourscore ducats at a sitting! fourscore ducats ! Tub There came divers of Antonio's creditors in my company to Venice, that swear he cannot choose but break. Shy. I am very glad of it: I'll plague him; I'll torture him : I am glad of it. Again in pure grief, as Milton P. L. , Book x, 914, makes Eve thus address Adam : — Ex. — Pure tone, slow time and tremor throughout. Forsake me not thus, Adam! Witness heaven What love sincere — and — reverence in my heart I bear thee, and — unweetin^ 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? EXPULSIVE. 139 Ecstacy, Joy. — Jennie Brown, Relief of Lucknow. Tremor, high pitch, quick time, expulsive force. "The Highlanders! O dinna ye hear The Slogan far avva? The Macgregors ! O! I ken it weel, Its the grandest o' them a! " 'God bless the bonny Highlanders! We're saved ! We're saved !" she cried. And fell on her knees, and thanks to God Flowed forth like a full flood-tide. Gladsome Joy. — Tremor, rapid median stress, pure qual- ity, high pitch, see Tennyson's '"Queen o' the May." From the BATTLE of NEW ORLEANS. Act II, Sc. II. Chiefly Expul. and Explo. Orotund — do. force and stress. (Enter Spirit of Battle.) Louisiana. (Quickly.) What of the battle? Spirit of Battle. Lady, ours the field. Louisiana. To God be thanks ! Quick, boy — what more, we list, Spirit of battle, Ere the day star had risen, a bird thrilled a song. The troops stood to arms, stood in valor as strong As oak of the forest. Oh ! that were a sight To fill every bosom with martial delight; Those patriot heroes arrayed in the might Of the cause they had wedded — Freedom and Right — No armor, with motto and legend enlaced, Threw protection around them — their forms embraced; No helmet, nor shield, nor warrior's lance. 4 o ELOCUTION AS AN ART. Was theirs, as they stood waiting orders " advance." O think ) r ou, did patriot's heart ever fail, Because he wore home-spun, tiot knights clanking mail? Did the strong nerve of arm, did the eyes' steady glance Relax or grow dazed, bearing musket not lance ? Oh ! Gaze on the marshes where Britons were seen, One hour ere I speak, in their pride and the sheen Of an armor that blazed, 'neath our fire, as a star On the brow of the heavens, or as beacon afar — And read there if helmet or iron wrought mail Proved aught in the hour when dangers prevail ? To the legions of Jackson their courage was mail ! Their legend of honor never, never to quail 'Fore danger or death, 'fore fire or steel. Freedom' and right to their hearts made appeal, The dawn was awaking, stern Jackson was there, His brow was illumined, his lips moved in prayer, Unequal seemed conflict; the Britons were strong, Men well used to battle — in skill, tried and long, — "My God," moaned his heart; then his spirit flashed out. His men met his eye, with proud glance and glad shout "Now lead us to battle, in God is our trust; •'The patriot s right is a cause reckoned just! "Veterans in arms and young volunteers ! "Brave are your words; never falter no fears. "Forward to battle for freedom, or chains, "If Britain be victor, with each it remains "New laurels to win, or to tarnish the fame "We erst bore for prowess — change glory to shame — "Then forward to battle ! ere yon rising sun "Hath kissed the horizon must freedom be won." On, on rushed the legions; on, on ere the dawn Had blushed into morning, ere sun lit the lawn, They sighted the foemen; they saw their brave front, Saw the proud chief, who had e'er borne the brunt Of red f elds of battle. Would this be to him, As theirs, one of glory ? or shall its dawn fling Death's shadows around him ! Oh ! which of us knows What the future may bear of joys light or death's throes ! Louisiana. Nay, nay, to the purpose speak; what of the strife ? OROTUND. 141 The result of this hour, is to me death or life. Spirit of Battle. Jackson raised his glasses, bade his men to halt, Scanned the British legions. it Fire ! no default" Instant hissed the musket, as thunder cannon roared, Fiercely flashed the sabre, galling fire poured, The friend, the foe alike, no more by men were seen; Seething waves of vapor blazed where they had been; No bulwarks now, nor terror, nor sword, nor scorching fame Could daunt their martial spirit; their soldier ardor tame. "Duty, Men !" cried Jackson, "Steady ! that is well — " Waste no ammunition, make every bullet tell ! " Then fought the troops as heroes — fought spite, shot and shell— Fought, till Britains valor before their valor fell . Then rose a cheer for Jackson, for New Orleans, for Thee. "Down, down, with Britain's Lion, raise the Flag of Liberty." Oh! 'twas a valiant feat, and brave, in half an hour 'twas won. With dawn began the struggle; rose freedom with the sun, List! List ! I hear their voices, 'tis Victory leads them on. Of country, home and freedom, is their triumphant song. THE BUILDERS. Moderate movement and pitch, orotund, rad. and dim. stress. All are architects of Fate, Working in these walls of Time; Some with massive deeds and great, Some with ornaments of rhyme. Nothing useless is, or low, Each thing in its place is best; And what seems but idle show Strengthens and supports the rest. 142 ELOCUTION AS AN ART. For the structure that we raise, Time is with material filled; Our to-days and yesterdays Are the blocks with which we build. Truly shape and fashion these; Leave no yawning gaps between ; Think not, because no man sees, Such things will remain unseen. In the elder days of Art, Builders wrought with greatest care Each minute and unseen part; For the gods see everywhere. Let us do our work as well, Both the unseen and seen; Make the house where God may dwell Beautiful, entire, and clean. Else our lives are incomplete, Standing in these walls of Time, Broken stairways, where the feet Stumble as they seeK to climb. Build to-day, then, strong and sure, With a firm and ample base; And ascending and secure Shall to-morrow find its place, Thus alone can we attain To those turrets, where the eye Sees the world as one vast plain. And one boundless reach of sky. — H. W. Longfellow OROTUND. 143 SAND OF THE DESERT IN AN HOUR-GLASS. A handful of red sand, from the hot clime Of Arab deserts brought, Within this glass becomes the spy of Time, The minister of Thought. How many weary centuries has it been About those deserts blown! How many strange vicissitudes has seen, How many histories known! Perhaps the camels of the Ishmaelite Tramped it and passed it o'er, When into Egypt from the patriarch's sight His favorite son they bore. Perhaps the feet of Moses, burnt and bare, Crushed it beneath their tread ; Or Pharaoh's flashing wheels into the air Scattered it as they sped; Or Mary, with the Christ of Nazareth Held close in her caress, Whose pilgrimage of hope and love and faith Illumed the wilderness. Or anchorites beneath Engaddi's palms Pacing the Dead Sea beach, And singing slow their old Armenian psalms In half-articulate speech; Or caravans, that from Bassora's gate With westward steps depart; Or Mecca's pilgrims, confident of Fate, And resolute in heart! 144 ELOCUTION AS AN ART. These have passed over it, or may have passed! Now in this crystal tower Imprisoned by some curious hand at last. It counts the passing hour. And as I gaze, these narrow walls expand; Before my dreamy eye Stretches the desert with its shifting sand, Its unimpeded sky. And borne aloft by the sustaining blast, This little golden thread Dilates into a column high and vast, A form of fear and dread. And onward, and across the setting sun, Across the boundless plain, The column and its broader shadow run, Till thought pursues in vain. The vision vanishes! These walls again Shut out the lurid sun, Shut out the hot, immeasurable plain; The half-hour's sand is run! —H. IF. Longfellow. CHAPTER IX. Qualities of Voice. — Pure Tone. The phenomenon of voice and its articulation being understood, the first thing to be sought is the ability to make pure, clear tones. Pure tone is the clear, untainted quality of voice in healthy physical condition, preserved from a milder, PURE TONE 145 softer, subdued form or that highest quality — the Orotund. To enunciate clearlv and carefully, to keep the breath moving regularly, to exercise a sparing economy in its emission, converting it into voice, is absolutely neces- sary to the formation of the soft and liquid quality of this tone. The best practice is upon words containing long vowels, as in the following; Long Sound of A, as in Fate, Aid, Lace. Occasional Sound of E, as in Ere, Also, EI in Feint. Ex. XXVI. — The patriots ate the apricots and pre- sented bracelets for latent patriotism, sapient magi and patriotic patrons who patronized or gave their patronage to the Caucasian race. They catered for the radiant stamens, salient, squalor and the halo gratis. The Malay matron tore the cambric and made a caret for «ghteen carat gold tiara which ked a pa'an on the lea. The Sheik's brard which preceded the you impawn our person. How you awake our sleeping sword of war: We charge you, in the name of God, take heed ; For never two such kingdoms, did contend. Without much fall of blood; whose guiltless drops Are, every one, a woe, a sore complaint OROTUND. 153 'Gainst him whose wrong gives edge unto the swords That make such waste in brief mortality. Under this conjuration, speak, my lord; And we will hear, note and believe in heart That what you speak is, in your conscience, wash'd As pure as si 71 with baptism. The above example is chiefly effusive orotund, In the same quality, but with expulsive action, read the follow- ing from the same scene; the words of Henry after dis- missing in indignation the French ambassadors. High Pitch — Quick Movement. Exe. — This was a merry message. King H. — We hope to make the sender blush at it. Therefore, my lords, omit no happy hour That may give furtherance, to our expedition ; For we have now no thought in us but France, (Save those to God, that run before our business.) Therefore let our proportions for these wars Be soon collected and. all things thought upon That may, with reasonable swiftness, add More feathers to our wings; for, God before, We'll chide this Dauphin, at his fathers door. Occasional practice on Bryant's Thanatopsis will much improve the monotone and orotund. So live, that — when thy summons comes to join The innumerable Caravan that moves To the pale realms of shade, where, each shall take His chamber in the silent hall of death — Thou go, not like the quarry slave, at night, Scourged, to his dungeon; but — sustained and soothed By an unfaltering trust — approach v thy grave v 154 ELOCUTION AS AN ART. Like one\ who wraps r the drapery^ of his couch^ Around him, and lies' down* to pleasant dreams". The whole field of oratorical literature furnishes prac- tice for the effusive and explosive, and occasional ex- plosive orotund, of which, however, the expulsive, with properly directed force and judicious use of rad., dim. and van. stress, is the chief element. The next is a fine example of dramatic oratory. Henry V., act iv, scene iii. Where entering the camp and overhearing remarks of the Duke of Westmoreland to the soldiers, which he fears may dispirit them, the king kindly and cheerfully remonstrates. Fullest Expul. Orotund, Rad. Stress, High Pitch, Time Moderate and Quick. West. — O that we now had here But one ten thousand of those men in England That do no work to-day! King H. — > What's he that wishes so? My cousin Westmoreland? No, my fair cousin : If we are mark'd, to die\ we are enow To do our country Joss; and if to liz'e^, The fewer men — the greater share of honor, God's will! I pray thee, wish not one man more. By Jove, I am not covetous for gold, Nor care I who doth feed upon my cost; It yearns me not, if men my garments wear; Such outward things dwell not in my desires: But if it be a sin to covet honor, I am the most offending soul alive. No, faith, my coz. wish not a man from England : God's peace' I would not lose so great an honour As one man more, methinks, would share from me For the best hope I have. O, do not wish one more! OROTUND. 155 Rather proclaim it, Westmoreland, through my host, That he, who hath, no stomach to this fight, Let him depart; his passport shall be made And crowns for convoy ', put into his purse. We would not die, in that man's company That fears his fellowship to die with us. This day is called the feast of Crispian; He that outlives this day, and comes safe home, Will stand a tip-toe, when this day is named, And rouse him at the name of Crispian. He that shall live this day, and see old age, Will, yearly, on the vigil, feast his neighbors, And say, "To-morrow is Saint Crispian." Then will he strip, his sleeve, and show, his scars, And say, " These wounds I had on Crispin's day." Old men forget; yet all shall be forgot, And he'll remember with advantages What feats he did, that day; then, shall our names, Familiar in their mouths as household words, Harry, the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, Be, in their flowing cups, freshly remember d. This story, shall the good man, teach his son; And Crispin Chrispian shall ne'er go by, From this day to the ending of the world, But we, in it, shall be remembered; We few, we happy few, we band of brothe/s, For he to-day, that sheds his blood with me, Shall be my brother; be he ne'er so vile, This day shall gentle" his condition. And gentlemen, in England, now, a-bed, Shall think themselves, accursed, they were not here, And hold their manhoods cheap while any speaks That fought with us upon Saint Crispin's day. 156 ELOCUTION AS AN ART. Tennyson's glorious dithyrambic is generally misin- terpreted. The first four verses of the first stanza are plain statement of fact. Then follow the words of Capt. Nolan, who brings from the staff to Lord Lucan an order to advance. Lucan, in suprise, asks "whither," and Nolan, repeating the instructions, points towards the guns. This order Lucan now delivers to Lord Cardigan, commanding " the Brigade," as instructions sent. These are received and misapprehended, and here the poet assumes "some one had blundered." In the first line, second stanza, use the explosive oro- tund with thorough stress and high pitch, for there command is first heard. I. Half a league, half a league — Half a league onward, And in the valley of death Rode the six hundred. "Forward the Light Brigade, Charge for the guns," he said. Into the valley of death Rode the six hundred. II. "FORWARD the LIGHT BRIGADE! " Was there a man dismay 'd? No! though the soldier knew Some one had blunder d : Theirs, not to make ref>ly\ Theirs, not to reason v,V/r\ Theirs, but to do and d/e\ Into the valley of death Rode the six hundred. OROTUND. 157 III. Cannon to right of them, Cannon to left of them, Cannon in front of them,' Volley 'd and thunder d Storm'd at with shot and shell, Boldly they rode and well. Into the jaws ot death. Into the mouth of hell Rode the six hundred. IV. Flash V all their sabres bare, Flash'd as they turn din air, Sab'ring the gunners there, Charging an army, while All the world wonder d : Plundged in the battery-smoke, Right through the line they broke; Cossack and Russian Reeled from the sabre-stroke Shatter d and sunder d, Then — they rode back, but — not Not the six hundred. V. Cannon to right of them, Cannon to left of them, Cannon behind them Volley'd and thunder'd ; Storm'd at with shot and shell, While horse and hero fell, 158 ELOCUTION AS AN ART. They that had fought so well Came, through the jaws of death, Back from the mouth of hell, All that was left of them ; Left — of six hundred. VI. When — can their glory fade t O THE WILD CHARGE THEY MADE ! All the world wonder'd. Honor the charge they made, Honor the Light Brigade, Noble six hundred! CHAPTER XII. Guttural Tones. These tones are called impure, as they are employed to convey negative forms of thought. The mind of a strong, passionate nature, influenced by aversion, deep displeasure, extreme impatience, anger, disgust, contempt, etc. , throws upon the voice negation of thought that changes the quality of expression by such modification of the orotund as destroys its purity and smoothness. To exercise and cultivate this quality, let the mind assume unpleasant condition which will aid in the arrange- ment of the organs as above described. Then as the tone is cynical, take this single word, its cognate thought, cur, and practise with a harsh smothered voice — cur-r-r-r .' In the following exercise the small capitals represent the guttural. GUTTURAL. 159 Henry V, act, i, sc. ii. — The King to French ambas- sadors on discovering the insult offered in presentation of tennis balls. Dignified, Expulsive, Guttural, Orotund. Ex. XXIII.— ( With Irony.)— K. Henry. — We are glad the Dauphin is so pleasant with us; His present and your pains we thank you for: When we have matclid our rackets to these balls, We will, in France, by God's grace, play a set Shall strike his father's crown into the hazard - Tell him he hath made a match with such a wrang- ler That all the courts of France will be disturb'd With CHACES. Henry V, act iii, sc. vi. — The King's reply to French herald who comes proposing ransom. Chiefly expulsive, orotund — with guttural, on words in small capitals. [With Sarcasm.) — K. Hen. — What is thy name'? I know v thy quality\ Mont. — M o n t j o y . K. Hen. — Thou dost thy office— fairly. Turn thee back, And tell thy king I do not seek him now; But could be willing to march on to Calais Without impeachment : for, to say the sooth, — Though 'tis no wisdom to confess so much Upon an enemy of craft and vantage, — My people are-with sickness-much enfeebled' My numbers lessened, and those few' I have' Almost no better than so many — French; — Who, when they were in health, I tell thee herald, I thought upon one pair of English legs Did march three Frenchmen. Yet, torgive me God, i6o ELOCUTION AS AN ART. That I do brag thus! This your air of France Hath blown that vice in me: I must repent. Go, therefore, tell thy master here I am; My ransom is this frail and worthless trunk, My army but a weak and sickly guard; Yet, God before, tell him we will come on, Though France himself and such another neighbor Stand in our way. There's for thy labour, Montjoy. Go, bid thy master well advise himself; If we may pass, we will; if we be hinder'd, We shall your tawny ground with your red blood Discolor: and so, Montjoy, fare you well. The sum of all our answer is but this: We would not seek a battle, as we are; Nor, as we are, we say we will not shun it : So tell your master. For other examples see "Merchant of Venice," act I, sc. iii, dialogue between Shylock and Bassanio. Also Norfolk's speech in "Richard II." act I, sc. I. CHAPTER XIII. Pectoral Quality This condition or character of voice differs in its formation, or physiology, so little from the guttural as to make it questionable whether it should be considered a separate, or distinct, quality. It is formed as the guttural in the throat, and by the same action of the cords and other organs. It differs mainly therefrom by its resonance deeper down in the bronchial tubes or upper portion of the chest. OROTUND. 161 Thus it would interpret repulsive horror, revenge or threatening. It is always properly associated with low pitch. It is exemplified in these lines of'King John," Act iii, Scene iii, suggesting to Hubert the murder of young Arthur. The words in the first speech are characterized by aspirate orotund in tones just above the whisper. Those in the second speech are succeeded by deep pec- toral, beginning: "If the mid-night bell." The whole somewhat broken and disjointed, as men speak when plotting and "feeling their way" to another's acquies- cence. Ex. XXIV.— K. John — Come hither, Hubert. O my gentle Hubert, We owe thee much! Within this wall of flesh There is a soul, counts thee, — her creditor, And with advantage means to pay thy love: And, my good friend, thy voluntary oath Lives — in this bosom, dearly cherished. Give me thy hand. / had a thing to say But — I will fit it, with some better time — By heaven, Hubert, I am almost ashamed To say what good respect I have for thee. Hub. — I am much bounden to your majesty. K. John. — Good friend, thou hasi, no cause to say so yet: But, thou sha/t have; and creep time ne'er so slow, Yet it shall come — for me to do thee good. I had a thing to say, but — let it go: The sun is in the heaven, and, the proud day, Attended w r ith the pleasures of the world, Is all too wanton, and too full of gawds To give me audience. If the midnight bell Did, with his iron tongue and brazen mouth, i6 2 ELOCUTION AS AN ART. Sound on into the drowsy race of night; If — this same were a churchyard where we stand. And thou possessed, with a thousand wrongs, Or — if that surly spirit, melancholy, Had baked thy blood, and made it heavy-thick, Which else runs tickling up and down the veins, Making that idiot, laughter, keep men's eyes And strain their cheeks to idle merriment, A passion hateful to my purposes; Or, if that thou couldst see me without eyes, Hear me without thine ears, and make reply Without a tongue, using conceit alone, Without eyes, ears and harmful sound of words; Then — in despite of brooded watchful day — I would into thy bosom, pour my thoughts : But, ah, I will not ! yet I loz'e thee well; And by my troth, I think thou lovest zwwell. Hub. — So well, that what you bid me undertake, Though my death were adjunct to my act, By heaven, I would do it. CHAPTER XIV. The Aspirate. The most malignant as well as the most generous passions of our nature find expression in the aspirate, which in general cases we would seek to avoid. It is an impure quality, akin to the guttural and whisper, coming as it were between them, and next in attenuated quality to the latter. It becomes comparative excellence in the interpretation of hate, aversion, fear, anger, frenzy, horror and the like passions. The whisper is the basis or a form of the aspirate, and ASPIRATE. 163 gives best preliminary practice under proper selections both for the cultivation of this quality, and for strength- ening the voice. Practice, in strong whisper, short exercises containing aspirate //. Ex. XXV. — He ^ -*' — • All the other measures are secondary. A poem may be formed of any of the primary feet alone, or they may be mixed with other measures, either primary or sec- ondary; but a poem cannot be formed of secondary feet alone. Although a trochee is but an iambus reversed, still it is quick and lively, while the latter is stately and proud. The anapest, the reverse of the dactyl, is more majestic than the iambus, while the dactyl is quicker than trochee. CHAPTER XVIII. Verse. Specific Names. Measurement A verse is a line made up of a certain number of feet. The term comes from the Latin, vertere, to turn, because the pen, at the close of each line, reverts to begin a new one. Its specific name comes from the kind of feet that predominate in its combination. In length verses may extend from one foot to eight feet. Those of seven feet are generally written in two lines, while those of two or three feet are by all writers of taste combined with others of greater length. Cardinal Newman instances this in his "Dream of Gerontius." ry8 ELOCUTION AS AN ART. The length of a verse is indicated by a Greek numeral compounded with the term nieter, from the Greek metron, a measure or standard. A verse of one foot is termed monometer, (/nonos, one) ; and metron, measure; of two feet, dimeter \ three feet, tri- meter; four feet, tetrameter; five feet, pentameter ; and so on. When verses are not exact monometer s, dimeters, etc. — that is when they have a syllable either over or under that required by the measure, they are styled catalectic^ hypercatalectic or hypermeters. Acatalectic has the full round number of feet. "To stain | my life | less face." Catalectic. — Wanting a syllable; as, "Sweet was its | blessing. Hypermeter. — Contains a syllable beyond the measure as, " Summer and | mirth | . The English hexameter verse, as a rule, is written in two trimeters, or in a tetrameter and dimeter; the kept a meter, in a tetrameter and trimeter, or in a pentameter and dimeter. Examples. — Seven Feet: — "Look on | the chil | dren of | our poor | on man- | y an Eng | lish child, Better that it had died secure by yonder river wild." First and third lines, four feet; second and fourth, three feet. Divided:— "Look on | the chil | dren of | our poor On man | y an Eng j lish child | , Better | that it | had died | secure By yonder river wild." — Laudon. VERSE. SPECIFIC NAMES. MEASUREMENT. 179 Again, take an odometer acatalectic trochaic verse : "And the only word there spoken was the whispered word, 'Lenore!' " Divided: — "And the only word there spoken Was the whispered w T ord, 'Lenore! ' " — Poe. To avoid monotony, we are allowed to mix primary and secondary feet. Verses composed of one species of feet are termed pure; those of two or more species, MIXED. For combining feet, we have no fixed rules; delicacy of taste and correctness of ear, with exact study of num- bers, must direct an author's choice. Spondees are admitted into iambic, trochaic and ana- pestic measures, e. g. : Iambic: — "I had | a dream | a strange j wild dream." Trochaic: — "Sixty pillars | each one | shining." Anapestic: — " Sweet vale of Avoca, how calm could I rest." The Py?'rhic is employed in iambic and trochaic meas- ure, eg.: Iambic: — "Or ear | ly in | the task to die." Trochaic: — ,, Then the | forms of | the de | parted Enter | at the | open door." Pyrrhic in the first part of an Iambic verse and ^spondee in the second, give a pleasing variety, e. g. : '''And the j loud laugh J that spoke the vacant mind. i8o ELOCUTION AS AN ART. The Tribrach is combined with the Iambic : "His country's suf | fei-ing and j his children's shame." The judicious intermixture of secondary feet in a verse, has a fine result, but the combining of the various principal feet is much more beautiful and effective. I. Iambic verses admit the trochee into every foot ex- cept the second and last, where the trochee would be inharmonious. The happiest place for the trochee or spondee is the first foot. II. Trochees admit the dactyl; and vice versa. Pure dactylic verses are rare. III. A very ordinary variety is formed by mixing iambuses and a napests — see "Gray's Elegy." An iam- bic verse may open with an anapest, and vice vsrsa. CHAPTER XIX. Rhyme. Rhyme, or relative correspondence in sound, is not essential in poetry, yet on account of its melodic effect and the beauty it imparts to verse, most of our English poets accept its aid in the expression of thought. Rhyme in its simpliest form is called alliteration, which has three forms. I. — That of the old Saxon, or the correspondence of sound between two initial consonants; as, "I love the /yric of the soaring /ark." II. — That of the Ers or Irish, the correspondence of sound between two initial vowels; as, "Charm ache with air. " RHYME. 181 III. — Where the correspondence includes both a con- sonant and a vowel; as, ' i Ridi n g, r/iym i n g ; fishxw g, yfofcl ling. £/>zwept, ^honored, and z/;/sung. " The perfection of rhyme calls for similarity in sounds, not identity; as, 'flows,' 'rose;' 'eyes,' 'skies.' Rhyme is divided into perfect and imperfect. To secure the former the following conditions must be fulfilled : I. — Similarity in the vowel sounds of accented syllables. II. — Similarity in the consonant sounds that follow the vowel. III. — Diversity in the consonant sounds that precede the vowel : a consonant must precede one of the vowels; e. g. , Beaux, rose, flows, sews, stows, blows, etc. Imperfect rhymes result from slight resemblance in sound ; they rise: I. — When vowel sounds are alike, but are not in an accented syllable. II. — When the vowel sounds are dissimilar; as, ears, bears. III. — When vowels are followed by dissimilar conso- nant sounds. IV. — When the vowel is immediately preceeded by the same consonant sound; as, procession, succession; perverse, for verse. The best authors occasionally use imperfect rhymes. Some words in English have two pronunciations, one for prose and another for poetry; wind, bound, wound, and a few others. To be pleasing, rhyme must fall on accented syllables; ELOCUTION AS AN ART. If the verse be iambic, or anapestic acatalectic, it closes with a long syllable accented ; if it be trochaic, the rhyme falls on the syllable preceding the last; if dactylic, it falls on the third from the close of the verse or line. Rhyme is single when it takes one syllable the last; as, glow, below, sniile, while, beguile, etc. Double when it takes two syllables, trochaic acatalectic, as, fairy, airy, merry, cherry, etc. Triple when it extends to three, the accented syllable similar in sound, the unaccented identical ; as, scorn- fully, mournfully; scrutiny, mutiny. A stanza is made up of several verses. The term comes from stare, to stop, as the sense stops or closes with the group of lines that gives it form. The following stanza contains the simple, double and triple rhymes: Perishing gloomily Spurred by contumely Cold inhumanity. Burning insanity Into her rest. Cross her hands /nimbly As if praying dumbly Over her breast. — Hood. The above lines may recur both in the middle and at the close of a verse, e. g. : "I sift the snow on the mountain below," etc. If two successive lines end in like sounds, they form a couplet. If three rhyme together, a triplet. If four, a quatrain. Alternate rhymes are most common: /. e. the first rhymes with the third; the second, with the fourth, or RHYME. 183 only the second with the fourth. We have also the first with the fourth ; the second with the third, and so on at the taste and fancy of the author. CHAPTER XX. General Rhyming Systems in Use. — Their Structure. These are: first, the short, the long and the common metres; second, the triplet stanza, the rhythm royal, the ot- tava rima, and terza rima; third, the Spenserian stanza and the sonnet, and fourth, the ode. Short metre has four iambic verses, rhyming alternately, three feet in the first, second and fourth; four feet in the third. Common metre has the same number, kind and arrange- ment of verse, with this difference: four feet for the first and third measures; three for the second and fourth; it is called ballad measure, as ballads were formerly written in this measure. In Long metre every verse is an iambic of four feet. The Triple Stanza may be of any kind and number of feet, but the three lines must have the same rhyme, The Elegiac Stanza is formed of four iambic pentameters, usuplly rhyming alternately. The Rhythm Royal, or seven-line stanza, invented by Chaucer, is an iambic of five feet; e. g. : "So on the tip of his subduing tongue, All kind of arguments and question deep, All replication prompt, and reason strong. For his advantage still did wake and sleep: To make the weeper laugh, — the laugher weep. i3 4 ELOCUTION AS AN ART. He had the dialect and different skill, Catching all passions in its craft of will." — Shakspere. Here the first verse rhymes with the third ; the second, with the fourth and fifth, the closing two form a couplet. Ottova Riiiia. — The Otiova Rima contains eight heroics; e. g : "Richard II." morn ing before his murder. "O happy man! says he. lo ! I see Grazing his cattle in those pleasant fields, If he but knew his good. How blessed he That feels not what affliction greatness yields! Other than what he is he would not be; Nor change his state with him that sceptre wields. Thine, thine is that true life: that is to live, To rest secure and not rise up to grieve." In this stanza, the first rhymes with the third and fifth ; the second, with the fourth and sixth; the seventh and eigth form a couplet. The Tcrza Rima, or triple rhyme, is, as the Sonnet, taken from the Italians. It was the strain of the trou- badours who flourished in the south of France and north of Italy during the Xlth, Xllth and XHIth centuries. It is not divided into stanzas, but prolonged at the will of the writer. The first verse rhymes with the third; after that the even lines rhyme three by three; the piece closing with a couplet. The Divina Com media of Dante is in this metre. Among our English poets, see Byron's "Ode to Italy." Spenserian Stanza. — This stanza, named from its in- ventor, Edmund Spenser, is formed of eight heroics RHYME. 185 and one Alexandrian, or eight verses of five feet and one of six. The following example is from the "Faerie Queene:" "A gentle Knight was pricking on the plain Ycladd in mightie armes and silver shielde Wherein old dints of deepe woundes did remaine, The cruel markes of many a bloody fielde; Yet armes tell that time did he never wielde: His angry steede did chide his foaming bitt, As much disdayning to the curbe to yielde: Full jolly Knight he seemed, and faire did sitt, As one for Knightly giusts and fierce encounters fit-t. " On studying the above, we see first, the stanza con- tains two ordinary quatrains with lines rhyming alter- nately ; second, that these are tied by the last line of the first, rhyming with the first line of the second. When quatrains are completed, a ninth verse is added, which gives to the whole a peculiar and happy effect. See Spenser's "Fairie Queene," Byron's "Childe Harold*' aud Campbell's '"Gertrude of Wyoming." The Sonnet. — The Sonnetto, or little song, is a com- plete poem in itself, consisting of fourteen lines and taken from the Italian, we believe first Dy Sir Philip Sidney. . Its verses throughout contain five iambic feet. It is divided into distinct parts, called major and minor. The major divison consists of eight verses, Octave, and has but two rhymes; the- minor division contains six verses, sestette, and has, at option, three or two rhymes. The octave is composed of two quatrains; in each qua- train, the first and fourth verses rhyme, the second and third; also, the rhyme of the first and fourth of one quatrain is the same as the rhyme of the first and fourth of the other quatrain. Thus the whole is knit together, while each part has its own organization. tS6 ELOCUTION AS AN ART. The sestette is not so rigid in its construction. It has three rhymes; the first verse rhymes to the fourth; the second, to the fifth; the third, to the sixth. Or the first may rhyme to the third; the second, to the fourth; the fifth and sixth form a couplet. To prevent the parts from swaying asunder, or to preserve the unity of the whole, care is usually taken to avoid a grammatical break in passing from one to the other; however, our best Sonnet writers of the present day violate this rule. They bring the figure to a close in the octave and introduce the object in the sestette, thus making a complete break in the parts. It is said that Maurice F. Egan, Notre Dame, Ind., and John Reade, of Montreal, are the best sonnet writers in America. The Ode. — Tne Ode is the most irregular poem in our language. It recognizes no fixed length nor system of construction; its only determined point is, it is gener- ally formed of iambics. See Collins' ''Ode to the Passions," and Dryden's to "St. Cecilia " Heroic Verse. — This verse is of two kinds, rhyme or metre and blank verse. In the former, the lines are con- nected couplets by similarity of sound in the last sylla- ble; in the latter, similarity of sound is avoided, conse- quently its stanzas are optional in number of verses or lines. In heroic metre, every line consists of ten syllables, five short and five long. Two exceptions; first, where each line of a couplet contains eleven syllables; as, "The price, you think is incorrect? Take it ; I'm all submission; what you'd have it, make it." Second, where the second line of a couplet is stretched out to an Alexandrian of twelve syllables: "A needless Alexandrian ends the song, RHYME. 187 That like a wounded snake, drags its slow length along." This form may be employed to close a period with pomp and solemnity, where the subject allows. With regard to quantity, it is unnecessary to mention a second time that quantities in verse are two: one double that of the other, and that every syllable is reducible to one or the other. Every language has syllables that may be pronounced long or short, at pleasure; but the English, above others, abounds in syllables of this kind. In words of three or more syllables, the quantity, for the most part, is inva- riable: the exceptions are more frequent in dissyllables; but monosyllables are, as a rule, at the will of the writer. This shows that the melody of our English verse must depend less upon quantity than other circumstances, in this it differs from the Latin, in which every syllable having but one sound strikes the ear uniformly. English Heroic verse is commonly iambic. To this we have two exceptions: the first foot may be either a trochee or a spondee; but the beginning with either foot affects not the order of the other feet in the line. English verse excludes many polysyllables, which are the most high sounding words in our language: very few of them have the alternate short and long syllables requir- ed by the metre. Accents have double effect: they contribute to melody, by giving it air and spirit; to sense, by distinguishing important words or syllables from ^//important. These effects cannot be separated without impairing the concord that subsists between thought and its expression. Particles and low words seldom call for accent, and then only for sake of con- trast. 1 88 ELOCUTION AS AN ART. Confining accents to long syllables renders English Heroic verse extremely simple, and admits five in each verse. But supposing every syllable in an Heroic verse to be accented, there is one accent that makes a greater figure than the rest, being that which precedes the cap- ital pause. It is of two kinds, one immediately before the pause, and one that is divided from the pause by a short syllable. First Kind. — "Smooth flow the waves || the zephyrs play, Belinda smiled || and all the world was gay. " Second Kind. — "Our humble province || is to tend the fair, Not a less pleasing || though less glorious care." It is a capital defect to put a word incapable of an accent in the place where the capital accent should fall. Blank Verse. —Verse without rhyme is termed Blank Verse. It is appropriate to grave, solemn, lofty and sublime subjects. It requires more depth of feeling, greater beauty of thought, a grander and more delicate finish of language, and finer touches of imagination than rhyme. It is written in stately metre, generally iambic pentameter, though it may appear in other measures. But this being the measure of Heroic Verse it affords it a more appropriate garb and imparts to it a more stately tread. POETIC PAUSES. 189 CHAPTER XXI. Poetic Pauses. The great variety of melody conspicuous in English verse arises chiefly from pauses and accents. In every line of poetry, we have one capital pause, which may fall after the fourth, fifth, sixth or seventh syllable. The place of the capital pause divides the English Heroic verse into four kinds, or orders, each with a melody pe- culiar to itself, and distinguishable by a delicate ear. This pause cannot be made indifferently after any of the syllables mentioned ; the sense regulates its position, consequently the sense determines the order of a line. We can have but one capital melodic pause in a line and this pause, when possible, should coincide with the sen- tential pause. Illustrations: First Order. — Pause after the 4th syllable: "Back through the paths || of pleasing sense I ran." Second Order. — Pause after the 5th syllable: "So when an angel || by divine command." Here the melodic pause falls on the first syllable of the word angel, we cannot split the word, and the pause is carried to its close. Third Order. — After 6th syllable: "Speed the soft intercourse || from soul to soul." Here we cannot separate an adjective from its noun, nor split a word, hence the pause falls after the trissyl- lable intercourse. Again after 6th syllable: "Then from his closing eyes || thy form shall part." We cannot separate a preposition from its object, nor an adjective from its noun, hence the pause falls after eyes. ioo ELOCUTION AS AN ART. Fourth Order — After the 7th syllable: "And taught the doubtful battle || where to rage." Battle is object of taug lit and coming immediately after its action, cannot be separated. Besides, the capital or melodic pause, called also the Coesural (from ccedere, to divide), we have inferior pauses, commonly two in each line; one, before the melodic and one after. The first comes ///variably after the ji^st long syllable, whether the line begins with a long syllable or a short one. The other imitates the capital pause: sometimes it falls after the 5th, 6th, 7th or 8th syllable. After the first and eighth : "Will I once more lift us up || in spite | of fate." First and seventh : " Thrones I and imperial powers || offspring | of Heaven." Second and eighth: "From storms I a shelter ] and from heat | a shade." Second and sixth : "Was known | in Heaven || for what] can 'scape God's eye." Second and fifth: "This place I our dungeon || not| our safe retreat." Second and seventh: "Above I all pain || all passion and pride." These examples show that the semi-pause, like the capital is directed by the sense. Its proper place with regard to melody, is after the 8th syllable, so as to finish the line with an iambus, distinctly pronounced, but some- times it follows the 6th and 7th, in order to avoid split- ting words or separating particles. In these cases melody is sacrificed to sense. These orders are not mere matters of fancy; each suits RHYME. 191 a certain mode of arrangement. The first is proper for sentiment that is bold, lively or impetuous; the second, for what is tender, delicate or melancholy, and in gen- eral for all the sympathetic emotions; the third, for subjects grave, solemn or lofty; the fourth, for sympath- etic and tender subjects, when tempered by the solemn and sublime. We do not pretend that any one order is confined to such subjects, we merely mention their sug- gestiveness. In verse it is laid down as a rule that: A full or cap- ital pause ought never divide a word. The semi pause, because of its shortness, may divide a word. e. g. : "Relent I less walls || whose darksome round contains." In these I deep solitudes || and awful cells." This division, though allowed, weakens melody. The capital or melodic pause is so essential to melody one cannot be too nice in the choice of its place. It is well to have it agree with the sentential pause. If a sentence require a comma after the fourth, fifth, sixth or seventh syllable, it suffices for the melodic pause. To make such pause essential would be to cramp versification, so we may introduce melodic pauses where sententials are not. We have shown in Part I. of this work where melodic and sentential pauses may be properly introduced. With distinction the rule that guides pauses for the division of a line, holds for those that close a line. In the first verse of a couplet the final pause resembles the capital pause in the line, and for that reason comes under the same rules. The final pause of the second verse of the couplet resembles that of the heroic verse, and generally closes the sense, hence both pauses increase beauty and grace, when they correspond to the senten- tial. This rule is seldom transgressed: e. g. ; i 9 2 ELOCUTION AS AN ART. " The spirits seemed exceeding tame, Call whom you fancied, and he came. || ' "Many a stipulating wight || Came || by express trains | day and night." An intellectual or sentential pause is required after an inverted member of a verse: e. g. "As with cold lips || I kissed the sacred veil." The same pause is made when a separation occurs at the close of the first line of a couplet, e. g. "For spirits, freed from mortal laws, with ease, Assume what sexes and what forms they please.'' Variety in pauses gives English verse its superiority over French. CHAPTER XXII. General Observations. We have said that English Heroic verse admits no more than four Capital pauses; that the Capital or melodic pause of every verse is determined by the sense to follow the 4th, 5th, 6th or 7th syllable. This holds good for melody, but it has exceptions that strengthen and enliven expression. Milton has fine verses, wherein the melodic pause falls after the 1st, 2nd, or 3rd syllable. Pope, in his translation of Homer, describes a rock broken off from a mountain and hurled down to the plain : "From steep to steep the rolling ruin bounds. At every shock the crackling wood resounds, Still gathering force it smokes; and urged amain. While leaps and thunders down impetuous to the plain GENERAL OBSERVATIONS. 193 There stops || so Hector. Their whole force he proved Resistless when he raged; and when he stopped, un- moved." In the penult verse, the proper place for the melodic pause is after the 5th syllable; but it enlivens expression to have it accord with sense. The stopping short of the melody strengthens the impression of the stopping short of the stone, and what may be lost in melody i restored in expression. Milton employs this license with happy effect, e. g. '** * * Thus with the year Season returns, but not to me returns Day || or the sweet approach of even or morn." Again : •'Celestial voices to the midnight air Sole J or responsive to each other's note." Again : "From his slack hand the garland wreathed for Eve, Down dropp'd || and all the faded roses shed." If we consider the above passages with regard to mel- ody alone, the melodic pauses are out of place, but united to the intellectual or sentential, they enhance ex- pression ; for, as we have already observed, beauty of expression is communicable to sound, which by a natural deception,- renders even melody more agreeable than it would be when subject to rule. Blank verse has the same pauses with rhyme and a pause at the close of every line, like that which concludes the first line of a couplet. The rules for melody in blank verse are the same as those for the couplet, but it is free from rhyme, we can sometimes run one line into another; however, we should be careful to use the melodic pause at. the close of each line. This pause should be so slight i 9 4 ELOCUTION AS AN ART. as not to interfere with the sense so the sense, may be carried on until a period of the utmost extent be com- pleted. The intellectual pause at the end of blank lines is necessary in order to preserve harmony between sense and sound. The lustre of inversion depends on pauses and accents. Rhyme confines inversion, Blank Verse gives it scope, hence the elevation, grandeur and sublimity of the latter. The loftiness of Milton's epic depends as much upon its blank verse metre and inversion as upon its sublimity of thought. Shakspere's blank verse is a sort of measured prose, admirably adapted to the stage, where labored inversion is improper, because in dialogue it is- unna- tural. The melody of blank verse is superior to that of rhyme; it is not confined by couplet?, but enjoys a com- pass great as that possessed by music proper. The in- terval between its cadences may be long or short, at pleasure; yet its melody, both in richness and in variety, equal, if not surpass, those of Greek and Latin Hexa- meter. Those who study Milton's "Paradise Lost" with intelligence, shall find our statement verified. True, Latin Hexameter verse has advantages over English Heroic: ist — In the latitude of its syllables; 2nd — In the majestic length of its line; 3rd — The high-sounding words it admits. To compensate these advantages, English Heroic verse possesses a greater number and greater variety of pauses and accents. These two sorts of verse stand pretty much in opposi- tion ; in Hexameter, great variety in arrangement, none in pauses and accents; English Heroic rhyme, great va- riety in pauses and accents, very little in arrangement. In Blank Verse are united the best qualities of both, with many melodic properties peculiar to itself. INFLECTIONS. 195 First. — It is not confined, like Hexameter, to a full close at the end of everv line; nor like English Heroic, at the end of a couplet. Second. — It sometimes runs one line into another, thus giving greater majesty of length than that enjoyed by the Hexameter. Third. — It admits inversions not permitted by Latin and Greek Hexameters. Fourth. — Its melody is more illustrious; that of Hexameter is circumscribed to a line; English rhyme, toacouplet; the melody of Blank Verse is unlimited! In a word. Blank Verse is superior to Hexameter in many points; equal to it in all, except in variety of arrange- ment and in the use of long words. Blank Verse is, therefore, the most appropriate dress for grand and lofty subjects. CHAPTER XXIII. Inflections. Antithetical Matter. — Antithetical terms are gov- erned by the rule of positive and negative matter — all positive theses or antitheses receiving the falling inflec- tion ; all negative, the rising inflection; e. g. ; "The baptism of John was it from Heaven or of earth? " In this sentence the "baptism of John" receives the rising inflection, because of the suspended sense; Heaven, the falling, because superior; earth, the rising, because inferior. "All that tread the globe are 196 ELOCUTION AS AN ART. But a handful to the tribes That slumber in its bosom." The sentence "All that tread the globe are but a hand- ful," is antithetical to the rest of the passage, and on account of the negative and positive forms of thought receives the rising inflection. "As by man came death, so by Man Came the resurrection and the life." In this we see at once the inferiority and superiority and mark it accordingly. Man, meaning Adam, negat- ive or inferior; Alan, Jesus Christ, positive, superior. Again : "lam in the old way, you're in the new. This is the false — that is the true." **:?;****** "You are in the old way and I am in the new. That is the false — this is the true." Interrogative Matter. — Interrogative sentences may be of many varieties, all of which can be reduced to three classes. First. — The unemotional. Second. — The emotional. Third. — The strong emotional. The first employs tones from the first to the third of the gamut; the second extends to the fifth; while the third sweeps from the first to the eighth. Unemotional. — Who did this? Emotional. — Name not the god, thou boy of tears! INFLECTIONS, 197 Strong Emotional. — Measureless liar! thou hast made my heart too great for what contains it. In those examples the character ot thought is denoted by the tones employed in its executive expression. Some readers give the rising inflection only to the last word of an entire interrogative passage, thus destroy- ing its beauty and conveying the impression that only the word immediately preceeding the mark is interrogative. Frequently the question is put long before the close of the sentence or introduction of the interrogation point; take the following, from "Julius Caesar," act I, sc. II. "In the name of all the gods at once Upon what meat does this, our Caesar feed, That he has grown so great?" The interrogation point appears at the end of the third line, still it is obvious the question was put before this, and properly its place falls after feed, as this line con- tains the substance of the inquiry, the remaining sentence is added to set off the tought, not to question. Horatio addresses the ghost in "Hamlet," the inter- rogation mark is placed at the close of the first line, yet the only inquiry in the whole is: What a?-e thou ? In regard to the interrogation mark, the Spaniards have a method which we might adopt with profit. They place the mark before the question, to prepare the reader. i 9 8 ELOCUTION AS AN ART. CHAPTER XXIV. Emphasis The whole philosophy of emphasis is contained in this simple rule: In the utterance of the same thought, we must not twice emphasize the same word or its equivalent. All essential facts when first presented are to be regarded as EMPHATIC. All facts drawn from facts already stated; all facts which are only repetition; all facts that are gathered by fore knowledge, and all subordinate facts are to be re- garded as ////emphatic. Shakespere's Merchant of Venice, act iv, sc. i, furnishes an example in the case of the bond. The Duke has finished reading the letter and speaks to the court. Portia enters, dressed as a doctor of laws. Having put some questions, she asks Shylock, "Do you, confess the bond?" This is the first time the bond has been men- tioned in her presence — it is new matter — therefore her question becomes emphatic. But though the term occurs frequently throughout the tcene, it is no more empha- sized. In reading the speech on Mercy, we emphasize him twice in the same line, also the word mightiest — but in each case the reference is different. ''It blesseth ///'/// that gives and ///'/// that takes; 'Tis mightiest in the mightiest.'" By transferring emphasis we avoid repetition and give additional significance to the word, phrase or sentence. Terms in these cases are logically different and are the product of a new creative act of the mind: e. g. EMPHASIS. 199 "From Camp to camp; steel clashes to steel; Bowl rang to bowl, " etc. Emphasis has six executive forms: First. — Emphasis by Pause, which is the simpliest and may be employed with any of the others: the length of the pause depends on the sense of the matter, whether gay, grave, solemn or important, etc. Hamlet, act — , scene, 1 : Queen. — Hamlet, ihou hast thy father much offended. Ham. — Mother — you — have my father much offended. Second. — Emphasis by Transfer. This prevents em- phasis from falling on repeated words used in the same sense. Merchant of Venice .-' Portia. — A quarrel, ho, already! What's the matter? Gratiano. — About a hoop of gold, a paltry ring. The first mention of the ring; afterwards Portia trans- fers emphasis: — Portia — If you had known the virtue of the ring, Or half her worthiness X.\\2X gave the ring, Or your own honor to contain the ring, You would not then have parted with the ring. Again Julius Caesar, act iii, sc. ii: Brutus. — Who is here so base that would.be a bond- man? If any, speak; for him I have offended. Who is here so rude that would not be a Roman? If any speak; for him I have offended. Who is here so vile that will not love his country? If any, speak; for him have I offended. I pause for a reply. Third. — Emphasis by Time. This is nearly allied to pause, but falls on the emphatic word or words by pro- longed quantity. Virginius, act iii, sc. v: Vir. — What then? What then? Tell me the matter. 2oo ELOCUTION AS AN ART. Lucius. Luc. — I have said — it shall be told you. Vir. — Shall! I stay not for that shall — •Fourth. — Emphasis by Massing. This consists in grouping a succession of words or phrases which, em- ployed to express one thought, must be read as a mental unit. "The Omnipotence of God." The grand army of the Republic. " Mirth "There was a sound of revelry by night. Brussels And Belgium's Capital hath gathered, etc." Time Backward, turn backward, O tide of the vears Vestments The intertissued-robe of gold and pearl. Majesty The farced title running before the king, Under the form of massing we include all adjectives and substantives immediately connected; the former colors thought, the latter gives it strength and substance We do not emphasize adjectives unless we have a spe- cific purpose, or repeat the subject, in which case the adjective is employed to develop a new idea, or when it stands in direct antithesis to some other either expres- sed or insinuated. Thus Norfolk sneeringly concludes his message to Wolsey: Norfolk. — The king shall know it, and, no doubt, shall thank you, So fare you well my little good Lord Cardinal. EMPHASIS. 20 1 Here the emphasized adjectives are ironical and by their inflection denote the weakest portion of the thought. The same remark applies to the adverb and its verb. Fifth. — Emphasis by Distribution. — This gives to words a distinct significance, so as to distinguish and separate the power and purpose of each. Henry V, act iv, sc. i. (Soliloquy.) " 'Tis not the balm, the sceptre and the ball, The sword, the mace, the crown imperial,'"' etc. Sixth. — Emphasis by Emotion. — This imparts force, strength and increased significance. It is the direct pulsation of the soul roused to sudden passion by suffer- ing, real or assumed. Merchant of Venice, act iv, sc. i. Por. — Then must the Jew be merciful. Shy. — On what compulsion — must — I? Tell me that. " Remark Ponia does not emphasize 'must' but 'merci- ful'; yet, therein ShylocKsees the danger and while duly emphasizing 'merciful', his emotion grapples with 'must' and the power of his opposing thought, is exerted. Of the closing selections now added for practice it may be said that some are old. So is all our best poetry. But they will be found quite new when properly read, DICKENS IN CAMP. Above the pines the moon was slowly drifting, The river sang below; The dim Sierras, far beyond, uplifting Their minarets of snow. The roaring camp fire with rude humor, pain-ted The ruddy tints of health 202 ELOCUTION AS AN ART. On haggard face and form, that drooped and fainted In the fierce race for wealth; Till one arose, and from his pack's scant treasure, A hoarded volume drew, And cards were dropped from hands of listless leisure, To hear the tale anew; And then, while round them shadows gathered faster. And as the firelight fell, He read aloud the book wherein the Master Had writ of 'little Nell.' Perhaps 'twas boyish fancy, — for the reader Was youngest of them all, — But, as he read, from clustering pine and cedar A silence seemed to fall; The fir trees, gathering closer in the shadows, Listened in every spray, While the whole camp with 'Nell', on English meadows Wandered and lost their way. And so, in mountain solitudes — o'ertaken As by some spell divine — Their cares dropped from them, like the needles shaken From out the gusty pine. Lost is that camp, and wasted all its fire; And he who wrought that spell, — Ah, towering pine and stately Kentish spire, Ye have one tale to tell ! Lost is that camp! but, let its fragrant story Blend with the breath that thrills SELECTIONS. 203 With hop-vines' incense all the pensive glory That fills the Kentish hills. And on that grave where, English oak and holly And laurel wreaths intwine, Deem it not at all a too presumptuous folly, This spray of Western pine. — Bret Harte. LADY CLARA VERE DE VERE. Lady Clara Vere de Vere, Of me you shall not win renown; You thought to break a country heart For pastime, ere you went to town. At me you smiled, but unbeguiled I saw the snare, and I retired : The daughter of a hundred Earls, You are not one to be desired. Lady Clara Vere de Vere, I know you proud to bear your name, Yourpride is yet not mate for mine, Too proud to care from whence I came. Nor would I break for your sweet sake A heart that doats on truer charms. A simple maiden in her flower Is worth a hundred coat-of-arms. Lady Clara Vere de Vere, Some meeker pupil you mwst find, For, were you queen of all that is, I could not stoop to such a mind. You sought to prove how I could love, And my disdain is my reply. 2o 4 ELOCUTION AS AN ART. The lion on your old stone gates Is not more cold to you than /. Lady Clara Vtre de Vere, You put strange memories in my head. Not thrice your branching limes have blown Since I beheld young Laurence dead. Oh, your sweet eyes! your low replies? A great enchantress you may be; But, there was that across his throat Which you had hardly cared to see. Lady Clara Vere de Vere, When thus he met his mother's view, She had the passions of her kind. She spake some certain truths of you. Indeed \ heard owe. bitter word That scarce is fit lor you to hear; Her manners had not that repose Which stamps the caste of Vere de Vere. Lady Clara Vere de Vere, There stands a spectre in your hall: The guilt of blood is at your door: You changed a wholesome heart to gall. You held your course without remorse, To make him trust his modest worth, And, last, you fix'd a vacant stare. And slew him with your noble birth. Trust me, Clara Vere de Vere, From yon blue heavens above us bent The grand old ga ? dener and his wife Smile at the claims of long descent. Howe'er it be, it seems to me, SELECTIONS. 205 'Tis only noble to be good. Kind hearts are more than coronets, And simple faith than Norman blood. I know you Clara Vere de Vere : You pine among your halls and towers: The languid light of your proud eyes Is wearied of the rolling hours. In glowimg health, with boundless wealth, But, sickening of a vague disease, You know so ill to deal with time, You needs must play such pranks as these. Clara, Clara Vere de Vere, If Time be heavy on your hands, Are there no beggars at your gate, Nor any poor about your lands? Oh! teach the orphan-boy to read, Or teach the orphan-^/;-/ to sew, Pray Heaven for a human heart, And let the foolish yeoman go. :o: HALLOWED GROUND. I What's hallowed ground ! Has earth a clod Its Maker meant not should be trod By man, the image of his God Erect and free, Unscourged, by Superstition's rod, To bow the knee? II. That's hallowed ground — where, mourned and missed, The lips repose our love has kissed : — 2o6 ELOCUTION AS AN ART But where's their memory's mansion] Is't Yon churchyard's bowers ? No .' in ourselves their souls exist, A part of ours. III. A &w can consecrate the ground, Where mated hearts are mutual bound: The spot where loves first links were wound, That ne'er are riven, Is hallowed, down to earth's profound, And, up to Heaven .' IV. For, time makes all but true love old; The burning thoughts that then were told Run molten still in memory's mould; And, will not cool, Until the heart itself be cold In Lethe's pool. V. What hallows ground where heroes sh\ 'Tis not the sculptured piles you heap! In dews that heavens far distant weep Their turf may bloom ; Or, Genii twine beneath the deep Their coral tomb: VI. But, strew his ashes to the wind Whose sword or voice has served mankind — And is he dead, whose glorious mind Lifts thine on high? — To live in hearts we leave behind. Is not to die. SELECTIONS. 207 VII. Is't death to fall for Freedom's right? Hes dead alone that lacks her light .' And murder sullies in Heaven's sight The sword he draws: — What can alone ennoble fight? A noble cause ! VIII. Give that I and welcome War to brace Her drums! and rend Heaven's space! The colors planted face to face, The charging cheer, — Though Death's pale horse lead on the chase, — Shall still be dear. IX. And place our trophies where men kneel To Heaven! — but, Heaven rebukes my zeal! The cause of Truth and human weal, O God above! Transfer it, from the sword's appeal To Peace and Love. Peace! Love! the cherubim, that join Their spread wings o'er Devotion's shrine! Prayers sound in vain, and temples shine, Where they are not — The heart alone can make divine Religion s spot. XI. Fair stars ! are not your beings pure ? Can sin, can death, your worlds obscure? 208 ELOCUTION AS AN ART. Else, why so swell the thoughts, at your Aspect above? Ye must be Heavens that make us sure Of heavenly love I XII. And, in your harmony sublime, I read the doom of distant time: That man's regenerate soul from crime Shall yet be drawn, And reason on his mortal clime Immortal dawn. XIII. What's hallowed ground? — Tis what gives birth To sacred thoughts in souls of worth! Peace! Independence! Truth! go forth Earth's compass round; And your high priesthood shall make earth A ll hallowed ground. «^%«* SELECTIONS. ANNABEL LEE. It was many and many a year ago, In a kingdom by the sea, That a maiden there lived whom you may know Bv the name of Annabel Lee; And this maiden she lived with no other thought Than to love and be loved by me. I was a child and she was a child, In this kingdom by the sea: But — we /ithin.] Give him the cup. Ham. — I'll play this bout first; set it by a while. Come. [They play. ~\ Another hit; what say you? Laer. — A touch, a touch, I do confess. King. — Our son shall win. Queen. — He's hot, and scant of breath. — Here, Hamlet, take my napkin, rub thy brows; The queen carouses to thy fortune, Hamlet, Ham. — Good madam! King. — Gertrude, do not drink. Queen. — I will, my lord; — I pray you, pardon me. King. — [aside.] It is the poison'd cup; it is too late. 2i 4 ELOCUTION AS AN ART. Ham. — I dare not drink yet, madam; by-and-by. Queen. — Come, let me wipe thy face. Laer. — My lord, I'll hit him now. King. — I do not think it. Laer. — [aside.] And yet it is almost against my con- science. Ham. — Come, for the third, Laertes :you but dally; I pray you, pass with your best violence; I am afeared you make a wanton of me, Laer. — Say you so? come on. [They play. Osr. — Nothing, neither way, Laer. — Have at you now. [Laer W(/////^' Hamlet ; then in scuffling they change rapiers and Ham. wounds Laer.] King. — -Part them, they are incensed, Ham. — Nay, come again. [The Queen falls.] Osr. — Look to the queen there, ho! Hor. — They bleed on both sides! How is it, my lord? Osr. — How is't, Laertes? Laer. — Why, as a woodcock to mine own springe, Osric ; I am lustly killed with my own treachery. Ham. — How does the queen? King. — She swoons to see them bleed. Queen, ---No, no, the drir,k, the drink, — O my dear Hamlet!— The drink, the drink; — I am poison'd! [Dies. Ham. — O villany! — Ho! Let the door be lock"d : Treachery! seek it out. [Laertes falls. Laer. — It is here, Hamlet: Hamlet thou art slain; No medicine in the world can do thee good, In thee there is not half an hour of life; The treacherous instrument is in the hand, Unbated, and envenom'd: the foul practice SELECTIONS. 2^5 Hath turned itself on me; lo, here I lie. Never to rise again ! thy mother's poison'd ; I can no more; the king, the king's to blame. Ham. — The point — envenom'd too! — Then, venom, to thy work. [Stabs the King. Ors. and Lords. — Treason! Treason! King. — O, yet delend me, I am but hurt. Ham. — Here, thou incestuous, murderous, damned Dane, Drink of this potion: — is thy union here? Follow my mother. [king dies. Laer. — He is justly served. It is a poison temper'd by himself. — Exchange forgiveness with me, noble Hamlet, Mine and my father's death come not upon thee, Nor thine on me! Ham. — Heaven make thee free of it! I follow thee. I am dead, Horatio. — Wretched queen, adieu! You that look pale and tremble at this chance, That are but mutes or audience to this act. Had I but time, (as this fell sergeant, death, Is strict in his arrest,) O, I could tell you — But let it be: — Horatio, I am dead; Thou liv'st; report me and my cause aright To the unsatisfied. Hor. — Never believe it.' I am more an antique Roman than a Dane, Here's yet some liquor left. Ham. — As thou'rt a man, Give me the cup; let go; by heaven I'll have it. O good Horatio, what a wounded name, Things standing thus unknown, shall live behind me! If thou didst ever hold me in thine heart, 2l6 ELOCUTION AS AN ART. Absent thee from felicity awhile, And in this harsh world draw thy breath in pain, To tell my story.