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LIBRARY OF CONGRESS. 
 
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 UNITED STATES OF AMERICA. 
 
WILSON'S ELOCUTION 
 
 A Book of Instruction in the 
 Use of the English Language 
 
 EXERCISES IN ARTICUTATION 
 
 AND TIIR 
 
 Development of Pitch, Power and Quality of Voice, 
 
 ADAPTED To 
 
 USE IN CLASSES AND PRIVATE INSTRUCTION 
 
 By D. WILSON. 
 
 15 1891 
 
 Fillmore Bros., Publishers, 
 
 141 West Sixth Street, No. 40 Bible House, 
 
 Cincinnati, O. New York. 
 
 Copyright 1n91, by Pillmork Bros. 
 
 PRICE, 25 Cents. 
 
PREFACE. 
 
 .v^7 
 
 SOME years ago I issued a little book of "Exercises 
 in Elocution," which was used in classes and in 
 private instruction with gratifying success. The basis 
 of the instruction in this little volume is the same as 
 was used in the former book, but by added j^ears of 
 experience and observation, I have been enabled to 
 greatly improve it, and now offer it, with confidence, as 
 a guide to a better knowledge of our language, and as a 
 means of attaining a pure, clear and forceful utterance 
 of speech in declamation and song. 
 
 It is designed that the book be used in connection 
 with teaching singing in classes, as well as with private 
 pupils. 
 
 It is proverbial that singers do not speak their words 
 so as to be understood. The practice of the exercises 
 in this book will remedy this fault by developing a clear 
 and forceful enunciation of the words, without in the 
 least disturbing the quality or power of the musical 
 tone ; in fact, these exercises cultivate the voice as well 
 as the articulatory organs. 
 
 A special feature of the book is the full instructions 
 accompanying the exercises, which direct the teacher in 
 the use of them. A teacher who has never taught voice 
 culture and elocution, may, by reading these instruc- 
 tions carefully, do the work successfully. 
 
 I am indebted to Rev. C. H. McKee, of Shurtleff Col- 
 lege, Alton, 111., for valuable suggestions and exercises. 
 
 D. WILSON. 
 Paris, III., May, 1891. 
 
INTRODUCTION. 
 
 POSITIONS OF THE MOUTH. 
 
 All letters of our alphabet are classified 
 into two general divisions — vowels and con- 
 sonants. 
 
 We talk with consonants ; we sing with vowels 
 
 There are three positions of the mouth in talk- 
 ing; there are 'six in singing. 
 
 The tongue teeth and lips are the organs with 
 which we make words. To speak distinctly and 
 forcibly it is necessary that we learn to use 
 these organs skillfully. 
 
 First in order, we consider the consonant ele- 
 ments of our language. 
 
 Man}' of the letters go in pairs. It is not a 
 difficult matter to find letters which are closely 
 allied 
 
 The sound of the letter p is made by pressing 
 the lips tightly together and parting them quickly. 
 Care should be taken, or more breath will escape 
 than is necessary. 
 
 A letter made entirely of breath is called an 
 aspirate. It has no vocality, and can not be sung. 
 
 The letter p has a mate or cognate, as it is 
 commonly called. 
 
 To find the cognate of p, press the lips to- 
 gether, the same as in making the letter p, but 
 
4 WILSON'S ELOCUTION. 
 
 instead of pressing the breath against the lips, 
 it should press through the larynx where the 
 vocal chords are located. If the larynx (or 
 Adam's apple) moves downward, the sound pro- 
 duced will be the cognate of p, which is the 
 letter b. 
 
 If the larynx does not move downward, the 
 sound will eminate from the nasal passages, and 
 will be of a thin, reedy quality. Both teacher 
 and pupil should be careful to see that the sound 
 is produced by the proper organs. 
 
 The letter b has vocality, from the fact that it 
 is made by the action of the vocal chords, and 
 can be sung. 
 
 The letter f is formed by placing the upper 
 teeth on the lower lip, and forcing the breath 
 (through) between the teeth and lip. It is one 
 of the difficult letters to make. When the teeth 
 and lip are placed firmly together, and the 
 breath on the inside of the mouth is pressing 
 hard against them, they are liable to part too 
 soon, and an undue amount of breath escape. 
 The lip and teeth should not part till after the 
 letter is finished. 
 
 In order to find the cognate of f, place the 
 upper teeth and lower lip together, and change 
 the pressure of the breath to the larynx, and we 
 have the letter v. 
 
 There are but few teachers in our public schools 
 who give the letters f and v correctly. For the 
 
POSITIONS OF THE MOUTH. 
 
 letter f they open the mouth too soon, and 
 enough breath escapes to make two or three f ' s. 
 
 Quite a good deal of sound can be given to v 
 without any action of the vocal chords. There 
 is not the depth to it, however, that the letter is 
 entitled to. See to it that the sound conies from 
 the larynx. 
 
 The letters p, b, f and v are in the first posi- 
 tion of the mouth, as one or both lips are neces- 
 sary in forming them. 
 
 The second position of the mouth is easily 
 located by saying the letter t. This letter is 
 made by placing the tip of the tongue firmly 
 against the upper teeth and touching the gums. 
 If too much of the tongue is used, the sound 
 will not be positive and bright. 
 
 The cognate of t can be determined in the same 
 manner as in p and f. Place the tongue as if you 
 were going to say t, but force the larynx down, 
 and the sound produced will be d, cognate of t. 
 
 The letter s is the most disagreeable sound 
 in our language. Its shape is serpentine, and 
 its sound is said to have originated from the 
 hissing of the serpent. When we wish to mani- 
 fest our displeasure at any public performance, 
 we use this hissing sound. 
 
 This is the only pure consonant that should 
 be given in a weak and feeble manner. The 
 edges or sides of the tongue should be placed 
 lightly against the teeth on both sides, and the 
 
6 WILSON'S ELOCUTION. 
 
 breath pressed through a slender orifice between 
 the tongue and the roof of the mouth. This will 
 produce the most disagreeable of all sounds — s. 
 It occurs in our language more frequently than 
 any other consonant, and commences more words 
 than any other letter in the language. 
 
 Its cognate, z, is made by causing the end of 
 the tongue to become more rigid, and trans- 
 ferring the breath pressure from the end of the 
 tongue to the larynx. 
 
 The act of changing the breath pressure from 
 the lips or tongue to the larynx, should be em- 
 phasized. Pure vocality cannot eminate from lips, 
 teeth or tongue. All vocalized sounds come from 
 the larynx where the vocal chords are located, 
 
 In order to be certain of giving pure vocal- 
 ized sound, place the finger on the larynx and 
 go through the act of swallowing. The larynx 
 will move upward. In producing a vocalized 
 sound it should move slightly downward. 
 
 The letters p, f, t and s are aspirates (made of 
 breath), and no action of the larynx is required. 
 
 The letters b, v, d and z are vocalized, and in 
 producing them the larynx should move down- 
 ward. 
 
 Th has two sounds — the aspirate, as in the 
 word think; the vocalized, as in the word this. 
 
 The aspirate th is made by placing the end of 
 the tongue between the teeth, while the edges 
 rest against the upper teeth on either side. The 
 
POSITIONS OF THE MOUTH. 7 
 
 breath flows through a larger orifice than for 
 the letter s. 
 
 The vocalized th is made by simply changing 
 the breath pressure from the front part of the 
 mouth to the larynx. 
 
 Ch is made by pressing the tongue against the 
 roof of the mouth firmly till the breath pressure 
 forces it suddenly down. Transfer the breath 
 to the larynx, and we have dj, the cognate of ch. 
 
 Sh is made by placing the tongue loosely 
 against the roof of the mouth, and blowing the 
 breath through, making a rather unpleasant 
 sound. Change the breath pressure to the larynx, 
 and we have the cognate of sh, which is zh. 
 
 The letter k is in the third position of the 
 mouth. It is made by the back part of the tongue 
 and the soft palate coming together, parting with 
 a sudden snap. Its cognate, g, is produced by 
 changing the current of air to the larynx. 
 
 The letters p, f, t, s, th, ch, sh and k are aspir- 
 ates, and are formed in the mouth, principally 
 near the front teeth — b, v, d, z, th, dj, zh and g 
 have vocality, and are made in the larynx. 
 
 There are three places where the breath is 
 shut off — first, by the lips, as in the letter p ; 
 second, by the tongue in the upper part of the 
 mouth back of the teeth, as in the letter t; third, 
 by the soft palate and the back part of the tongue 
 coming together, as in the letter k. 
 
 In producing the letters m, n and ng, the 
 
wii^son's elocution. 
 
 breath is shut off at the same points, and the 
 sound is forced through the nasal passages. 
 
 The three places in the oral passage where the 
 breath is shut off, is well illustrated in the words 
 pipe, tate, kirk. In the nasal passages, by the 
 words mum, nun, sing 
 
 This shows that there are but three positions 
 of the mouth necessary for talking. 
 
 The following exercises, if properly practiced, 
 will do more towards strengthening the organs 
 of speech than any that can be given : 
 
 First 
 
 of the 
 Mouth. 
 
 P and b are cognates. 
 F and v are cognates. 
 
 ep, lp, ap, op, up. 
 eb, ib, ab, ob, ub. 
 
 ef, if, af, off, uf. 
 ev, iv, av, of, uv. 
 
 Second 
 Position 
 of the 
 Mouth. 
 
 ^ f et , it, at, ot, t 
 
 T and d are cognates. \ . 
 
 I ed, id, ad, od, 
 
 S and z are cognates. 
 
 ( 
 
 ut. 
 ud. 
 
 Th, aspirated 
 Th, vocalized 
 
 es, iss, ass, os, us. 
 ez, iz, az, oz, uz. 
 
 eth, ith, ath, oth, uth. 
 eth, ith, ath, oth, uth. 
 
 Ch and dj are f ecn > icn > ach > och > uch - 
 cognates, {edj, idj, adj, odj, udj. 
 
 Sh and zh are f esh, ish, ash, osh, ush. 
 cognates. \ ez h, izh, azh, ozh, uzh. 
 
POSITIONS OF THE MOUTH. V 
 
 [ ek, ik, ak, ok, uk. 
 the Mouth. { cognates. [ e g ; ig ? a g ? g } ug> 
 
 Position of \ 
 uth.1 
 
 How to Practice the Foregoing Exercises. — 
 In practicing these exercises, do not allow the short 
 vowel sound to slide about in the mouth. Make tt 
 quick and sharp. Finish the letter p with a positive 
 percusion of the lips. Use only enough breath to make 
 the sound. This rule applies to every aspirate. 
 
 Each vocalized letter should end with a faint vanish 
 of its cognate. The letter b should end with its cog- 
 nate p, d with t, and g with k. 
 
 It will be profitable practice to make the aspirate 
 much stronger than is necessary, in order to develop 
 the muscles of the lips and tongue. 
 
 But one letter and its cognate in each of the positions 
 of the mouth is mentioned in the preceding exercises; 
 but what is said about these apply to all the rest. 
 
10 WILSON'S ELOCUTION. 
 
 CONSONANT EXERCISES, ALPHABETICALLY 
 ARRANGED. 
 
 B. Born to be a bishop, but by butchers bred. 
 
 C. Cents and sense sound something the 
 same. 
 
 D. Deeds of darkness were done during day. 
 
 F. Fondness for fame is avarice for air. 
 
 G. Go, get your gayest garb of green. 
 
 H. How high his holiness holds his haughty 
 head. 
 
 J. Jingle, jingle, go the bells. 
 
 K. Crafty creatures crawl in crowds. 
 
 L. Lonely and lovely is the silent dell. 
 
 M. Murmuring mellow notes are mine. 
 
 N. None knew the nun, nor named a name. 
 
 P. Pigmies are pigmies still tho' perched on 
 Alps. 
 
 Q. Querulous questioners are quite queer. 
 
 R. Round the rude rink the rapid rollers 
 rang. 
 
 S. Soft summer sounds seem sighing sadly. 
 
 T. Time turns torment when man turns a 
 fool. 
 
 V. Virtue, friend of friends; vice, foe of foes. 
 
 W. The wide, wide world weeps with woe. 
 
 Z. From zone to zone the breeze resounds. 
 
CONSONANT EXERCISES. 11 
 
 Th. Think thoughtful thoughts through the 
 day. 
 
 Th. Then shalt thou find that thou wilt 
 loathe thy life. 
 
 Ch. The charming church bells chime cheer- 
 ily. 
 
 Dj. The judge and jury join in the joke. 
 
 Sh. The shout, the shock, the crash of steel. 
 
 Zh. She hath leisure and treasure and pleas- 
 ure without measure. 
 
 How to Practice the Foregoing Exercises. — 
 When an exercise commences with a vocalized sound, 
 like "Born to be a bishop, etc., read very slowly and 
 bring out the vocalized sound of b quite strongly. In 
 your imagination, reach down into your throat and 
 bring up the b in every word beginning with that letter. 
 See to it that there is a vigorous action of the larynx. 
 
 The same action of the larynx must be observed in 
 the sentences commencing with d, g, v, z, th, dj and zh. 
 The sentences beginning with other letters should be 
 made as bright and clean-cut as possible. 
 
12 
 
 WILSON S ELOCUTION. 
 
 ELEMENTARY SOUNDS. 
 
 The following chart contains nearly every sound in 
 the English language : 
 
 a, as in ate. 
 a, as in air. 
 a, as in arm. 
 a, as in at. 
 a, as in ask. 
 
 a, as in all. 
 
 b, as in bibe. 
 
 c, as in cent. 
 
 c, as in can. 
 
 ch, as in church. 
 
 d, as in did. 
 
 e, as in eve. 
 e, as in ebb. 
 
 e, as in earth. 
 
 f, as in fife. 
 
 g, as in get. 
 g, as in gem. 
 i, as in ice. 
 
 i, as in in. 
 o, as in old. 
 6, as in odd. 
 
 00, as in ooze, 
 do, as in foot, 
 p, as in pipe. 
 
 1, as in lull. 
 
 m, as in maim, 
 n, as in nun. 
 qu, as in queen, 
 r, as in roar, 
 sh, as in shun, 
 t, as in tate. 
 th, as in thin. 
 th, as in this, 
 u, as in union, 
 oi, as in boy. 
 ou, as in out. 
 dg, as in edge, 
 zh, as in measure, 
 ng, as in sing. 
 x, as in exist, 
 wh, as in what. 
 
ELEMENTARY SOUNDS. 13 
 
 Accent short vowel sounds by force, and long ones 
 by quantity. 
 
 Short Vowels. Long Vowels. 
 
 Atic. (force.) Armor, (quantity.) 
 
 Etna " Even. 
 
 Ink. " Ice. 
 
 Onward, " Ocean. 
 
 Utmost. " Union. " 
 
 How to Practice the Elementary Sounds.— 
 Have the pupils first say the word that contains the 
 sound, and then the sound of the letter alone. For 
 example: Let all say "arm" — they should all say it 
 firmly and strongly. Afterward let each pupil say it 
 alone. Then together they start to say "arm," but 
 omit the " rm," thus producing only the sound of the a 
 in " arm." Then let each pupil say the a alone. In this 
 manner of practice, each pupil is taught to produce the 
 pure sound of the letter under consideration. 
 
 In each case, first use the word that contains the 
 sound of the letter, making a positive, strong tone, 
 then, when the position of the vocal organs are well 
 established, produce the sound of the letter itself with- 
 out the balance of the word. 
 
14 WILSON'S ELOCUTION. 
 
 DIFFICULT CONSONANT COMBINATIONS. 
 
 Here is a variety of sentences containing difficult 
 consonant combinations that should he practiced thor- 
 oughly. The organs of speech should he adjusted with 
 the greatest care : 
 
 1. A few fixed facts. 
 
 2. His meat was locusts and wild honey. 
 
 3. He accepts the office, and expects by his 
 acts to conceal his faults. 
 
 4. Stick six, thrifty, thick, thistle sticks. 
 
 5. The little tattler tittered. 
 
 6. Time, with tempests, tides and stars, waits 
 for no man. 
 
 7. He boasts he twists the texts to suit the 
 sects. 
 
 8. Take your hat and put it on your head. 
 
 9. The battle lasts still for the hosts still 
 stand. 
 
 10. The sounding darts, in iron tempests flew. 
 
 11. Pluma placed pretty pewter platters 
 properly. 
 
 12. Life's gayest scenes tell man's mortality. 
 
 13. Amidst the mists and coldest frosts, 
 
 With barest wrists, he stoutest boasts, 
 And thrusts his fists against the posts, 
 And still insists he sees the ghosts. 
 
DIFFICULT CONSONANT COMBINATIONS. 15 
 
 14. Some shun sunshine, and some shun shade. 
 
 15. The grave's bands must burst. 
 
 16. The groves were God's first temples. 
 
 17. He who laughs last laughs best. 
 
 18. Birds make nests of sticks, and wasps, of 
 clay. 
 
 19. She bought a yard of broad black dress 
 braid binding. 
 
 20. He who grasps most, gets most. 
 
 21. Six sixths and three thirteenths. 
 
 '2'1. She sat in the shade, to shun the sun- 
 shine. 
 
 23. Thirty-three thousanths. 
 
 24. Sysethis and Sysesith say the south wind 
 ceaseth, and that sufficeth us. 
 
 25. Sisyphus and Sithonis were Greeks. 
 
 2b\ She sells sea shells. Does she sell sea 
 shells? 
 
 27. She sought shelter, shelter sought she. 
 
 28. Five wise wives weave withes with which 
 to make knapsack straps. 
 
 29. Booby Boobies baby buggy. 
 
 30. Three gray geese grew grayer. 
 
 31. A host most mild and tender. 
 
 32. This specific, specific, specificates specifi- 
 cally the specificness of the specific of which 
 specific this specific is a specific specimen. 
 
16 
 
 WILSON'S ELOCUTION. 
 
 33 <! 
 
 34 
 
 f Chance, chants. 
 
 Sense, cents. 
 
 Close, clothes. 
 
 Feels, fields. 
 
 Scion, zion. 
 
 Coals, colds. 
 I Tax, tacts. 
 
 Unfathomable. 
 
 Despicable. 
 
 Particularly. 
 
 Multiplicative. 
 
 Indomitably. 
 
 Determinableness. 
 
 Infmitesimally. 
 
 Vivify. 
 
 Here, hear. 
 
 Prince, prints. 
 
 Falls, false, faults. 
 
 Presence, presents. 
 
 Holy, wholly. 
 
 Seas, seize, sees. 
 
 Sex, sects. 
 
 Jocularly. 
 
 Statistically. 
 
 Peculiarly. 
 
 Indefatigableness. 
 
 Irrevocably. 
 
 Unquestionably. 
 
 Congregationalism 
 
 Incomprehensibility. 
 
 The word, "Unquestionably," contains all the vowels. 
 "Incomprehensibility" is perhaps the longest word in 
 the language. It has eight syllables and " strength " 
 and "thoughts" each have eight letters and but one 
 
 syllable. 
 
 How to Practice the Foregoing Sentences. — 
 In the first sentence — "A few fixed facts" — note that the 
 letter a, when it stands as a syllable, if not emphatic, 
 has the sound of a as in " art." The following words 
 illustrate: "Arise," "afar," "away," "aloft," etc. The 
 sound of ed in "fixed" takes the sound of its cognate t. 
 In the word "facts," the c has the sound of k, the third 
 position of the mouth, while the t requires that the end 
 of the tongue be pressed firmly against the front part 
 of the mouth, to be suddenly relaxed for the letter s. 
 This is one of the most difficult combinations, and re- 
 quires much practice. 
 
DIFFICULT CONSONANT COMBINATIONS. 17 
 
 The sentences commencing, "He accepts the office, " 
 "He boasts he twists," and "Amidst the mists," should 
 be thoroughly practiced. 
 
 The sentence — "This specific," etc., is a good exer- 
 cise for the practice of passing from the second position 
 of the mouth to the first, then back to the second, and 
 then to the first, ending with the third. Pupils often 
 drop the s in " specific." Care should be taken to 
 avoid this. 
 
 Sometimes a word ends with a position of the mouth 
 that begins the next. In such cases the one articulation 
 answers for both words. For instance, in the words 
 "good deal," the tongue should not be taken down on 
 the word "good," but extended to the d in deal — both 
 d's are spoken as though there were but one. The same 
 rule obtains also in such words as "good night,", "am- 
 ber," "chil-dren," "dark green," etc. 
 
18 WILSON'S ELOCUTION. 
 
 PROPERTIES OF TONE. 
 
 Every tone has four properties : Pitch, Power, 
 Time and Quality. 
 
 A Plan for Developing the Above Facts.— 
 Write upon the black-hoard the words : 
 
 Pitch, 
 Power, 
 Time, 
 Quality.! 
 
 By questions such as — " What do you understand by 
 pitch?''' draw out the answer: "High or low;" and also 
 the fact that every tone has pitch — it is either high, low 
 or intermediate. 
 
 Then ask what they understand by power. If they 
 can't get it down to monosyllables, assist them by sug- 
 gesting — loud or soft. 
 
 Then ask about time, finally developing the fact that 
 it is long or short, fast or slow. 
 
 And as to quality \ learn that tones may be good or 
 bad; or, in the manner of expressing ideas, the quality 
 may be appropriate or inappropriate. 
 
 Develop the fact that every tone possesses all these 
 properties, that it could not be produced without them. 
 
 The pupils being seated, write on the board the sen- 
 tence, "From the highest heavens to the deepest sea." 
 Ask which of the properties of tone is most prominent 
 in this sentence? They will generally answer almost 
 unanimously, pitch. Then ask what kind of pitch, 
 bringing out the answer that the first part should be 
 high and the last part low. Then find out where the 
 change from high to low should take place. Show 
 
PROPERTIES OP TONE. 19 
 
 them that the voice is at liberty to change pitch on a 
 copulative, as on the word "to" in this sentence — that 
 is, on prepositions or conjunctions. 
 
 After the class has described how it should be read, 
 ask them what is the next thing to do. They will at 
 once answer — to do it. We learn to do by doing. They 
 ma}- stand and all read it in concert ; each will likely 
 have a different pitch. Then call upon them individually. 
 Tell them to make it ring out as high and as low as they 
 can, carrying it to an extreme for the purpose of devel- 
 oping the voice. After all have tried it a few times, if 
 they do not get it as perfectly as is desired, the teacher 
 may read it for them. 
 
 As soon as they get it pretty well, ask them if they 
 can introduce any gestures that will help it. Let them 
 all together read it, introducing appropriate gestures. 
 After a trial or two, let all sit but one, aud that one 
 alone repeat it with gestures. Then the next one alone, 
 and so on till all have tried it. When the teacher 
 thinks they have spent all the time on it that is profit- 
 able, he may call their attention to any little thing that 
 may have looked ungainly in gesture, and show them 
 what would be better, having them try his way a few 
 times. 
 
 • After a lesson or two, have them try another of the 
 sentences in the book under the heading "high and 
 low." By writing sentences on the board, the pupils have 
 more freedom of person. By reading from the book, 
 one hand is confined and the face is turned downward. 
 
 Next write a seutence on the board in which power 
 is prominent. For instance: "In one peal of loud 
 eternal praise they thunder their applause." Develop 
 the subject in the same manner as was done with pitch. 
 
 Then time may be considered in the same way, with 
 a sentence like this — " Slow tolls the village clock the 
 drowsy hour," etc. 
 
20 WILSON'S ELOCUTION. 
 
 Pupils will soon catch the idea, and when a sentence 
 is put on the board, they will at once begin studying 
 which of the properties prevail. 
 
 The teacher should never read the sentence first. 
 Let the pupils work on it a reasonable time first, and if 
 they do not get out of it all there is in it, then help 
 them by calling attention to the thought that is in it, 
 and question them as to the words that ought to be 
 emphasized to bring out all its meaning. If they fail 
 then, it is time enough for the teacher to read it. 
 
 Treat the matter of gesture the same way. If they 
 should point downward when speaking of the stars, ask 
 in which direction the stars are from us, and suggest 
 also that it would be well to look in the direction that 
 we point. The teacher should not read the sentences for 
 them till every device for leading them up to its proper 
 performance has failed. 
 
 Some sentences require a high pitch to begin with 
 and a gradual working down to a low pitch, touching, 
 in the descent, every intermediate pitch. The same 
 graduation is sometimes required in the use of power. 
 A sentence may begin w T ith a soft tone, and, as it pro- 
 ceedes, require a loud and still louder tone. The same 
 is also true of time. Sentences of this kind require the 
 exercise of the best judgment of both teacher and pupil. 
 
 Some sentences seem to be of a quiet nature, and it 
 may sometimes be a little difficult to decide to which 
 class they belong. It will help, in cases of this kind, to 
 ask — which are the acti ve words in the sentence? and, 
 are there any words in the sentence which imply more 
 action than others? and, what kind of action? etc. 
 
 For example, write on the board : " Nature hears the 
 shock and hurls her fabric to the dust." Question as 
 to which of the three properties — pitch, power or time — 
 prevails in this sentence? Pupils will very likely be 
 unable to tell. Ask them which are the active words in 
 
PROPERTIES OF TONE. 21 
 
 the sentence, and they will soon decide on " shock " 
 and "hurls." Then ask which of the two implies the 
 most action ; the reply will be "hurls." Then ask if it 
 would be proper to say, " I'll hurl a pin ?" The answer 
 will be, uo; then ask, why? In this way draw out the 
 pupils till they see that the word " hurls " is associated 
 with large bodies, and requires vehement action. 
 
 JSxercises iu Pitch. 
 
 But few persons use as much compass of voice 
 in reading or speaking as they should. They 
 confine themselves to a "narrow strip" of voice, 
 which makes the exercise monotonous. By 
 modulating the voice as the sentiment demands, 
 the thought will be better expressed and the 
 monotony relieved. 
 
 The following exercises, properly practiced, will get 
 the voice of the pupil out of the rut that it may have 
 been running in for years. The sentences have been 
 selected with two purposes in view — one, that the pupil 
 may be enabled to determine the pitch of voice to use, 
 and two, that the sentences may contain a thought that 
 is interesting and useful. 
 
 As a preliminary practice, the pupils may say " Mr. 
 President" in as low a tone as possible, then repeat 
 it one degree higher, and continue this way till the 
 voice reaches its highest pitch. At the highest point 
 repeat some sentence like the following: "I'm afloat, 
 I'm afloat on a very high note." It will sound loud 
 and noisy, but do not hesitate on that account. Ladies 
 may have to make considerable effort to reach a high 
 pitch, but keep trying — laugh at your mistakes and try 
 again. 
 
WILSON'S ELOCUTION. 
 
 In the following exercise, begin the first sentence at 
 as low pitch of voice as possible, and read each succeed- 
 ing sentence a degree higher: 
 
 Hark! the deep voice replying, swear, O swear] 
 
 The deep toned bells are ringing! 
 
 Hundreds of years go thundering on ! 
 
 This is a pleasant morning! 
 
 Ha! ha! we've stemmed the stream! 
 
 John, come here, quick! 
 
 Rouse, ye Romans, rouse! 
 
 Young man, ahoy ! 
 
 Io, Io, they come! they come! 
 
 In the following sentences, the first part requires a 
 high pitch, and the last low. The voice should be 
 carried to extremes, for practice, both in pitch and 
 power, but take care not to strain the voice. Observe 
 the quality, and make it as good as possible. 
 
 1. From the highest heavens to the deepest 
 sea. 
 
 2. We leap at stars and stick in the mud. 
 
 3. Like the outposts of winter, dull and gray. 
 
 4. The lightning flashed and the thunder 
 roared. 
 
 5. At glory grasps and sinks in infamy. 
 
 6. There, suns shine unseen, and thunders 
 roll unheard. 
 
QUANTITY AND QUALITY. 23 
 
 QUANTITY AND QUALITY. 
 
 The sentences and vowels given below are to be 
 spoken in nine different ways. The diagrams over the 
 vowels will give some idea as to how they are to be said. 
 The first four sentences differ in degrees of power, the 
 balance differ in other respects as well. Try to adapt 
 the voice to the sentiment expressed, giving the same 
 expression to the vowels : 
 
 The Whisper. 
 
 Whisper softly, A E I o u. 
 
 The Suppressed Tone. 
 
 Speak in a suppressed tone, A E i o u. 
 
 The Ordinary Talking Voice. 
 
 • • • • • 
 
 This is a pleasant day, A E I o u. 
 
 Full Power of Voice. 
 
 • • • • • 
 
 Speak with a full, round voice, A E i o u. 
 
 Sustained Tones. 
 
 Prolong your tones, A E i o u. 
 
 Expulsive Tones. 
 
 > > > > > 
 
 Sink or swim, live or die. A E i o u. 
 
 The Swell. 
 
 O O O O O 
 
 O thou eternal one. A E i O u. 
 
 Explosive Tones. 
 
 Up, up, my boys, up. A E I o u. 
 
 Alternating from Low to High. 
 
 L,ow or high, down or up, A E i o u 
 
24 WILSON'S ELOCUTION. 
 
 Light and Heavy Voice. 
 
 In these exercises the pupil will notice the changes 
 of sentiment, and accommodate the voice to them as 
 well as possible. For instance, in the first sentence : 
 "Still as the breeze," should be spoken softly, while 
 " dreadful as the storm " should be loud and boisterous. 
 "How vast is art!" should be spoken in a large voice, 
 while "how narrow human wit!" should be spoken in 
 a little, pinched up tone, etc. 
 
 1. Still as the breeze, but dreadful as the 
 storm. 
 
 2. Little, thin, wiry tone; deep, round, oro- 
 tund tone. 
 
 3. How vast is art! how narrow human wit! 
 
 4. Millions for defense, but not one cent for 
 tribute. 
 
 5. From birth's feeble cry, to death's deep 
 dismal groan. 
 
 6. Let peace and love on earth abound, 
 While time rolls on, and years roll round. 
 
 7. Truth cuts keen like lightning flashes 
 amidst the roll of deepest toned thunder. 
 
 8. Let the star clusters glow, 
 Let the deep waters flow. 
 
 9. "Ye knew your duty, but ye did it not,'' 
 loud echoed through the caverns of despair, and 
 poured in thunder on the ear of woe. — Pollock. 
 
 10. Sons of bliss! behold ten thousand 
 worlds ! 
 
EXERCISES. 25 
 
 11. One murder makes a villain; millions, a 
 hero. 
 
 12. One sun by day, by night ten thousand 
 shine. 
 
 13. An angel's arm can't snatch me from 
 the grave, legions of angels can't confine me 
 there. — Young. 
 
 14. "Victoria" sounds the trumpet, "Victoria" all 
 
 around. 
 "Victoria," in tones of thunder, it rolls along 
 the ground. 
 
 15. It comes silent as the dew, it is mighty 
 as the storm. 
 
 1(3. Let him lightning away, but I'll thun- 
 der on. 
 
 Bright and Somber, 
 
 To these sentences, the proper facial expression 
 should be added as well as the pitch and quality. 
 
 1. The sunshine of sunshine and gloom of 
 gloom. 
 
 2. How bright the day; how dark and dreary 
 the night! 
 
 3. The bright sunlight is shut out by dark 
 clouds, and darkness settles down upon the 
 earth. 
 
 4. Ha! ha! We've stemmed the stream, a 
 thousand years along thy stormy course ; Oh 
 time! 
 
26 WILSON'S ELOCUTION. 
 
 5. The lightning flashed, the thunder roared, 
 and the winds howled across the lea. 
 
 0. Good bye ! happy fields where joy forever dwells, 
 Hail! dismal horrors ; hail! infernal hell. 
 
 — Milton. 
 High Pitch. 
 
 " Run up the stars and stripes," should be given 
 above the medium pitch, and in rather fast time. " Now 
 wave the flag on high," slower, in high pitch and firm 
 voice. "Fling to the breeze our shattered flag" — the 
 pitch should be high; hold on to the word "fling," but 
 the rest of the sentence should go rapidly. As to ges- 
 tures — throw up the hand on the words "run up," wave 
 the hand on "wave," and throw both hands high and 
 quickly on the word " fling." 
 
 1. Run up the stars and stripes. Now wave 
 the flag on high. Fling to the breeze our shat- 
 tered flag. 
 
 2- Joy, joy forever, my task is done. 
 
 3. To arms, to arms! they come, they come! 
 the Greek ! the Greek ! 
 
 4. Ring out the old, ring in the new, 
 
 Ring happy bells across the snow. 
 The year is going, let it go. 
 Ring out the old, ring in the new. 
 
 5. Flag of Freedom and Union, wave; Heigh- 
 ho! heigh-ho! 
 
 6. There Heaven's high host on hallelujahs 
 live. 
 
 7. Hurrah! hurrah! for bright water, hurrah! 
 
EXERCISES. Zt 
 
 Light and Bright Quality of Voice. 
 
 1. Oh, what a rapturous thought! 
 
 2. Yes, in my spirit doth thy spirit shine, as 
 shines the sunbeam in a drop of water. — Address 
 to Deity. 
 
 3. Glittering waves flash in the bright sun- 
 light. 
 
 4. I saw a bright bird on a beautiful morning 
 perched near upon a maple tree. One of God's 
 brightest creatures, I said to myself, as it warbled 
 one of its sweetest songs to me. 
 
 5. Oh, what a jolly time we'll have. 
 
 Suppressed Tone. 
 
 Whisper all of the words in the first exercise. In the 
 second, speak in a subdued voice till the words " They 
 come!" occur, then whisper. 
 
 1. "Hark! Silence along the line there !" he 
 muttered in a wild absent tone. "Silence along 
 the lines! Not a word on peril of our lives!" — 
 Be?iedict Arnold. 
 
 2. The dreamer heard the muffled drum 
 harshly whisper, "They come! they come!" 
 
 3. Be still, sad heart, and cease repining! 
 
 4. But hush ! What sound is it I hear? 'Tis 
 the stealthy tread of the wiley foe. 
 
 o. Tread softly! Bow the head! In rever- 
 end silence bow ! No passing bell doth toll ; yet 
 an immortal soul is passing by ! 
 
2% WILSON'S ELOCUTION. 
 
 6. Hark! I hear the bugles of the enemy. 
 They are on the march along the banks of the 
 river. Be still!. Keep close to the hedge, and 
 stoop as you run. 
 
 High to Low. 
 
 1. He stood on an eminence, covered with 
 glory; but now he has fallen; fallen to rise no 
 more. 
 
 2. All my fortune at thy feet I lay. 
 
 3. I look adown the dim aisles of passing 
 years. 
 
 4. The moon, cold and pale, sinks in the 
 western wave. 
 
 5. Come, Mariner, down in the deep with 
 me. 
 
 6. Slow tolls the village clock the drowsy 
 hour. 
 
 7. Blow! bugle, blow! Set the wild echoes flying. 
 Hear them answer, dying, dying, dying. 
 
 8. Where are the Republics that clustered 
 around immortal Rome, Greece and Carthage? 
 They have fallen; fallen only to exist 'on the 
 pages of history. 
 
 9. In all our wars, the stars and stripes have 
 never known defeat, although they have been 
 trailed in the dust of a hundred battle-fields. 
 
EXERCISES. 29 
 
 Firm and Determined. 
 
 1. Be assured; be assured that this declara- 
 tion will stand. 
 
 2. Let us have faith that right makes might, 
 and in that faith let us to the end dare to do 
 our duty. (Lincoln in '60, at Cooper Institute.) 
 
 3. With our hands upon the altar, we swear 
 eternal fealty. 
 
 4. Go, then, earthly fame and treasure; 
 Come, disaster, scorn and pain. 
 
 5. Whatever else this war may fail to do, one 
 thing is certain, it will shake every negro out of 
 his chains. {Phillips, at Chicago, in '00.) 
 
 6. "Right!" Who says "right? My con- 
 science, and that is enough. 
 
 7. Here I stand ready for trial. I dare, I 
 defy the government ; I defy the whole assem- 
 bly. Let them come forth. 
 
 8. The charge is utterly, totally and MEAN- 
 LY false. 
 
 Degrees in Pitch and Power. 
 
 1. Be a soldier! Be a hero! Be a man! 
 
 2. Rise! rise! ye wild tempests, and cover 
 his flight. 
 
 3. I was born an American, I'll live an 
 American, and I'll die an American. 
 
 4. I will not, must not, dare not grant your 
 wish. 
 
30 Wilson's elocution. 
 
 5. For the truth of this assertion I appeal to 
 you Mr. Chairman; I appeal to this aiidience ; 
 yea, to the whole world. 
 
 6. He buys, he sells, he stkals, he KILLS 
 for gold. 
 
 7. Rise! freedom, rise! and break from thy trance; 
 Wave the dread banner, and seize the glittering 
 
 lance. 
 
 8. Beyond, beyond, beyond, where sorrow 
 never comes. 
 
 9. I say you, though all the world, though an 
 angel from heaven should declare the truth of it, 
 I would not BELIEVE it. 
 
 10. Flashed, all their sabers have 
 Flashed, as they turned in air. 
 
 11. Stay, speak, speak, I charge thee SPEAK. 
 
 12. Days, weeks, months, years and ages 
 rolled away. 
 
 13. Delay is bad, doubt worse, desponding 
 worst. 
 
 High, Medium, and Low Pitch. 
 
 1. "John Maynard!" cries the captain's voice once 
 
 more; 
 "Stand by the wheel five minutes!" and we'll 
 reach the shore. 
 
 2, "I'm afloat, I'm afloat, on a very high note," 
 
 Sang the tenor on life's turbid stream. 
 The big base roared, as he stopped to quote, 
 "Things are not just what they seem." 
 
EXERCISES. 31 
 
 3. To the deep, down through the shades of 
 sleep, down, down, down. 
 
 4. Low murmuring sounds along their banners fly, 
 Revenge or death ! the watchword and reply ; 
 Then pealed the notes Omnipotent to charm, 
 And loud the tocsin tolled their last alarm. 
 
 5. " Beware, beware the pine tree's withered branch) 
 
 Beware, beware the awful avalanche!" 
 This was the peasant's last good night, 
 When a voice replying far up the height : 
 Excelsior! Excelsior! Excelsior! 
 
 b\ When the sunlight one century on conies 
 bounding o'er hill and dale, gilding the domes 
 and spires as they point silently heavenward, we 
 will all be in the silent tomb. 
 
 / . " Try not the pass," the old man said, 
 
 Dark lowers the tempest over head ; 
 
 The roaring torrents deep and wide, 
 
 And loud that clarion voice replied, 
 
 " Excelsior." 
 
 — t->*v -♦$*- • * -i-c- •— 
 
32 WILSON'S ELOCUTION. 
 
 QUALITY. 
 
 In the preceding pages, attention has been given 
 more particularly to pitch and power. Not much was 
 said of quality. It is not as easy at first for pupils to 
 mark the distinctions of quality as those of pitch and 
 power. The only practical way to reach the quality of 
 voice desired for the proper expression of a given sen- 
 tence, is to study well the thought that the writer in- 
 tends to convey. 
 
 Every emotion of the human heart requires its pe- 
 culiar quality of voice for its expression, and not only 
 must the voice be in keeping with the thought, but the 
 face should also speak. If the voice is joyous and the 
 countenance sad, the words will be ineffectual. If 
 the subject is a sad and sorrowful one, both the voice 
 and the face should express it. 
 
 Also gesture and manner will materially strengthen 
 the expression. Whatever emotion is to be expressed, 
 three things are necessary to bring it out in its full- 
 ness — voice, facial expression and gesture. When these 
 three things are properly brought to bear upon the same 
 thought, there is little doubt about its being well ren- 
 dered. 
 
 In the following sentences the thought stands out so 
 prominently, that there should be little difficulty in 
 adapting the voice to the sentiment. 
 
 The "orotund" quality of voice is the most impor- 
 tant. There is a depth and richness in it that can only 
 be brought out by culture. The pupil will at once see 
 that each exercise requires a roundness and fullness of 
 tone. Endeavor to give the meaning of the word by 
 the way you express it. The words " round " and " flat " 
 are very different in meaning, and should be in quality 
 
EXERCISES. 33 
 
 of voice as well. So of the words " rumble " and " ditty." 
 Repeat the words "deep," "dash," "awful," "fling," 
 " rovigh," "sleek," "rock," "thunder," "doom," "rolls," 
 etc., so as to convey their meaning. 
 
 1. Round, rolling, rich tone. 
 
 2. His awful voice thunders the doom of 
 nations. 
 
 3. Hundreds of years go thundering on. 
 
 4. Let the rock guard his rest, and the ocean 
 sound his dirge. 
 
 5. The hoarse, rough voice should like the 
 torrent roar. 
 
 (J. The deep toned thunder roars and roams 
 the woods around. 
 
 7. Oh, the firm old rock, the brave old rock. 
 X. Rocked in the cradle of the deep. 
 
 9. The religion of Christ is as solid, deep and 
 broad as eternity. 
 
 10. In one peal of loud eternal praise they 
 thunder their applause. 
 
 11. His deep, coarse voice through the cavern 
 sounds. 
 
 12. The bell's deep tones are rolling and 
 swelling along the mountain's side. 
 
 13. It floats on the breeze like the tones of a 
 bell. 
 
34 WILSON'S ELOCUTION, 
 
 14. Old ocean gather thy vast waves into one 
 mighty groan, and utter it. Long, loud, deep, 
 dolorous, piercing, immense. Nature dies; God 
 and angels lay her in her grave. — Pollock. 
 
 15. The breaking waves dashed high on a 
 stern and rock-bound coast. 
 
 16. Oh, tell me mighty mind ! where art thou? 
 Shall I dive into the deep, call to the sun, or ask 
 the roaring winds for their creator? Shall I 
 question loud the thunder if in that the Almighty 
 dwells? Or holds He furious storms in straight- 
 ened reins, and bids fierce whirlwinds wheel his 
 rapid car? No! 
 
 17. Time's enormous scythe, whose ample 
 sweep strikes Empires from the root. 
 
 18. The old owl hoots from her lonely home. 
 
 19. Hear, O ye nations ! Hear it, O }*e dead ! 
 He rose ! He rose ! He burst the bars of death ! 
 Oh, the burst gates; crushed sting; demolished 
 throne ! Last grasp of vaquished death ! Shout 
 earth and heaven ! 
 
 20. A mighty flood of orator} T rolled on, both 
 deep and wide. 
 
 21. The ocean may roll its waves, the thun- 
 der may shake the skies, the lightning may cut 
 the clouds, yet all these cannot disturb the se- 
 curity of the tomb. 
 
 22. Along the path of time, eternity rolled 
 its mighty years. 
 
EXERCISES. 35 
 
 23. Loud from its rocky cavern, the deep- 
 voiced ocean roared. — Evangeline. 
 
 24. Happy, proud America! The lightnings 
 of heaven yield to thy philosophy ; the tempta- 
 tions of earth cannot seduce your patriotism. 
 
 Anguish and Pain. 
 
 It is difficult to give directions where emotion is 
 prominent. The whole person must act. In the first 
 sentence below, let the pupil imagine that he has a 
 severe toothache ; couldn't sleep ; had to walk the floor 
 most of the night. How would he act? How would he 
 look under such circumstances ? With such a picture 
 before the mind, let the pupil put his hand to his jaw 
 and walk the floor, repeating the first sentence. 
 
 In all the exercises that follow, if the pupils can be 
 made to see, in their imaginations, the things spoken of 
 they will give good renderings. 
 
 1. Oh, I have passed a miserable night! 
 
 2. Oh, I die for food! Here I lie down and 
 measure out my grave. Farewell! 
 
 3. O King! I have no country. None, all is 
 lost! 
 
 4. Oh deserts dark and dreary ! Oh paths in 
 which these feet have trod! Oh, this strife so 
 long and hard and weary ! How long, Oh, how 
 long! 
 
 5. How frightful the grave! How deserted 
 and drear, with the howls of the storm-wind, the 
 creaks of the bier, and the white bones all clat- 
 tering together. 
 
WILSON S ELOCUTION. 
 
 6. Oh, my soul! be thou changed into little 
 water drops, and fall into the ocean, ne'er to be 
 found. 
 
 7. Oh, my head! my head! how shall I en- 
 dure the pain ! 
 
 Disgust. 
 
 1. Avaunt! avaunt and quit my sight! Let 
 the earth hide thee ! 
 
 2. Tell me, I hate the bowl ! Hate is a feeble 
 word. I loathe; abhor; m}' very soul with strong 
 disgust is stirred, when e'er I see, or hear, or tell 
 of the dark beverage of hell. 
 
 3. Away with an idea so absurd! 
 
 4. Go! thou meanest of them all. 
 
 5. Thou worm, thou viper, to thy native earth 
 return. 
 
 6. Rum makes young men loathsome, dis- 
 gusting sots. 
 
 Melancholy and Sadness. 
 
 1. An old man, broken with the storms of 
 state, is come to lay his weary bones among ye. 
 
 2. Sorrow, that like an ocean, deep, dark, 
 rough and shoreless, rolls its billows o'er the 
 soul. 
 
 3. To-morrow! Where is to-morrow? In 
 another world, Thousands may see it, but sure 
 to none. 
 
EXERCISES. 37 
 
 Through the forest vast and vacant 
 Rang the cry of desolation ; 
 But there came no other answer 
 Than the echo of his crying, 
 Minehaha. Minehaha. 
 
 Oh lonely tomb of Moab's land ! 
 
 Oh dark Beth-Peor's Hill ! 
 Speak to these curious hearts of ours, 
 
 And bid them to be still. 
 
 Sad and lonely here I roam ; 
 Dark and dreary is my home. 
 Gone ! Yes, all is gone 
 And I am left alone. 
 
38 WILSON'S ELOCUTION. 
 
 READING. 
 
 To read well, the emphasis should be placed upon the 
 proper words in order to bring out the exact meaning. 
 Take the sentence, "John rode a horse to town this 
 week," and make it mean as many different things as 
 there are words. First, accent John. This means that 
 John rode, and that Harry did not. By accenting 
 " rode," it plainly sa}^s he did not. walk. If the word 
 "horse" is accented, we know he did not ride any other 
 animal. The whole sentence can be treated in this way, 
 and at least seven different meanings brought out. Just 
 where to place the accent depends upon the meaning 
 we wish to convey. In the sentence, " Paul determined 
 to sail by Ephesus." He evidently stopped at Ephesus, 
 or he did not. In order to have it so understood, the 
 word by must be accented. 
 
 We give a number of Scriptural quotations with the 
 accented words italicized. Most of these sentences have 
 been discussed by ministers and teachers who have been 
 in our classes, and we think they are, upon the whole, 
 correct. There is a greater diversity of opinion upon 
 Genesis i, 3, than any other : 
 
 1. If God be for us, who can be against us? 
 
 2. The evil that men do lives after them. The 
 good is oft interred with their bones. — Shakes- 
 peare. 
 
 3. If the Lord be God, serve him. If Baal, 
 serve him. 
 
 \. What manner of man is this? 
 5. Almost thou persuadest me to be a Chris- 
 tian. Acts xxvi, 28. 
 
EXERCISES. 39 
 
 6. Is not this he who sat and begged? He is 
 like him, but he said I am he. 
 
 7. Yea, though I walk through the valley of 
 the shadow of death, I will fear no evil; for thou 
 art with me. Psalms xxiii, 4. 
 
 8. They went out from us, but were not of us. 
 
 9. Thou shalt not bear false witness against 
 thy neighbor. 
 
 10. For it doth not yet appear what we shall 
 be. 
 
 11. Paul determined to sail by Ephesus. 
 
 12. Consider the lilies of the field, how they 
 grow. 
 
 13. The foxes have holes, the birds of the air 
 have nests, but the Son of Man hath not where 
 to lay his head. 
 
 14. The Lord is my helper, and I will not 
 fear what man shall do unto me. Heb. xiii, 6. 
 
 15. Whom say ye that I am. 
 
 16. The love of money is the root of all evil. 
 
 17. Let there be light ; and there was light. 
 Gen. i, 3. 
 
 In the following sentences, place the accent first on 
 "died," and then on "hadn't,'' and note the difference 
 in meaning. " The bird would have died, hadn't I cut 
 its head off." Read the sentences, ,( That man does not 
 half do his work ' in such a way as to show that it was 
 well done, and again that it was poorly done. 
 
40 WILSON'S ELOCUTION. 
 
 " The man who is in the daily use of ardent spirits, 
 if he does not become a drunkard, will lose his health 
 and reputation." In this sentence, all depends upon 
 the way in which the word " drunkard " is handled. 
 
 We can refer only to this important matter and give 
 a few exercises for practice. To be able to use the 
 hands and arms well, and move gracefully in parlor or 
 on rostrum, is no small attainment. - 
 
 The feet should be placed firmly upon the floor, with 
 the heel of the right foot within two or three inches of 
 the hollow of the left, the toe pointing to an angle of 
 forty-five degrees, while the toe of the left points more 
 to the front. Head erect, shoulders back, and chest well 
 in front. Hands at the side. In presenting the hand, 
 see that the thumb is in its natural position. Do not cup 
 the hand as if you had something in it. Use the index 
 finger when pointing to one particular thing, use both 
 hands when referring to things in general. The prone 
 hand (palms down) is sometimes used, but not as fre- 
 quently as the supine hand (palms up). 
 
 Examples for Index Finger. 
 
 1. And Nathan said unto David, thou art the 
 man. 
 
 2. I've touched the highest point of all my 
 greatness. 
 
 3. I look, and lo ! truth is stretching on and 
 on into the deeps of eternity. 
 
 4. Far aloft in that high steeple, sat the bell- 
 man old and gray. 
 
EXERCISES. 41 
 
 5. Look, look! Do you see that bird? There, 
 there it goes ! 
 
 6. There lurk three villains in yonder wood ! 
 
 Examples for Prone Hand. 
 
 1. A profound awe crept o'er the people. 
 
 2. We are in thy sight worms of the dust. 
 {Both hands prone). 
 
 3. With our ha?ids upon the altar we swear 
 eternal fealty. 
 
 4. The breath of God moved o'er them like 
 the soft wind through the leaves of summer. 
 {Open hand prone). 
 
 Examples for Supine Hand. 
 
 1. All my fortune at thy feet I lay. {Both 
 hands) . 
 
 '2. Listen! I implore you, to the voice of 
 reason. {Both ha?ids). 
 
 3. Higher, higher let us climb up the steep 
 of knowledge! 
 
 4. Speak forth! {Supine). Keep silence! 
 {Prone). 
 
 5. Ye golden lamps of heaven, farewell! {Both 
 hands). 
 
 6. Shout, earth and heaven, we are free! 
 {Both hands). 
 
 7. By the rivers of Babylon, there we sat 
 down. {Both hands). 
 
42 WILSON'S ELOCUTION. 
 
 8. All hail, thou lovely queen of night. {Both 
 hands) . 
 
 9. Friends, Romans, countrymen, lend me 
 your ears. 
 
 10. Columbia! Columbia! to glory arise ; [Both h.) 
 The queen of the world, and the child of the 
 
 skies. {Open hand). 
 
 In the following exercises, the pupil is left to his 
 own judgment and taste as to voice and gesture : 
 
 1. The glorious stripes and stars were torn 
 down, and a rebel flag hoisted to the breeze. 
 
 2. From hill to hill the mandate flew, 
 From lake to lake the tempest grew. 
 
 3. With the ballot in our hands, free schools 
 in our brain, and the Declaration of Independ- 
 ence in our hearts, the old Ship of State will 
 move grandly on. 
 
 4. Nature hears the shock, and hurls her 
 fabric to the dust. 
 
 5. Beneath whose shade things might mould- 
 er, and around whose summit eternity must 
 play. — Bunker Hill Monument. 
 
 (x The same heavens are over your head, the 
 same ocean rolls at your feet, but all else, how 
 changed ! — Webster, to aged soldiers. 
 
 7. Let the strong grip of the law go forth. 
 
 8. Bach warrior drew his glittering sword, 
 And waved it as he jumped aboard. 
 
EXERCISES. 43 
 
 0. He wrapped the flag around him, and lay- 
 down to die. 
 
 10. You shall die {stamp), base dog, and that 
 before yon (judex) cloud has passed over the sun. 
 
 11. (Joy). Well, well! there comes my old 
 friend Tom. 
 
 12. (Anger). I dare you! I dare you to lay 
 a hand on my child ! 
 
 13. (Surprise). What! Did you say he was 
 going to Europe? 
 
 14. What a great people we are, a part of 
 which I am. 
 
 PROMISCUOUS EXERCISES. 
 
 1. By noble means, a noble end obtains. (Lips). 
 '2. Either in exile, or in chains. (Move the 
 tongue ou/j'). 
 
 3. The storm fiend prowls athwart the sky, 
 and heaven's artillery unceasingly roll. Fierce 
 lightning cuts keenly through the air. The 
 winds wildly frisk from crag to crag, and nature 
 moans, groans, rolls, and surges all day long. 
 
 4. Solomon, the son of David, who built the 
 temple, was the best king of Israel. Query: 
 Who built the temple? 
 
 o. Lysias promised his father never to aban- 
 don his friends. Whose friends? 
 
44 wilson'vS elocution. 
 
 j 
 
 6. Can a man think without a language to 
 think in? 
 
 7. "Christ had four brothers and two sisters. 
 They lived on a small farm of 39 acres in Naz- 
 areth . " — Geikie. 
 
 9. Science is a nice thing in an upper room, 
 provided you have common sense on the ground 
 floor. — Beecher. 
 
 10. Knowledge is not knowledge until you 
 can use it without knowing it. — Beecher. 
 
 11. Work, a condition of health, a law of 
 progress, a safeguard to virtue, and a necessity 
 of happiness. 
 
 12. Away with such an idea! Fling it to 
 the wind, or bury it in the dust! 
 
 13. The wild wind drives the crested foam 
 Far up the steep and rocky mountain. 
 
 14. Hear the deep toned bells ! 
 Hear the little tinkling bells ! 
 Hear the soft, mellow bells ! 
 
 Hear the wide-mouthed brazen bells ! 
 Hear the tolling of the funeral bells ! 
 Hear the loud alarm bells ! 
 Hear the bright silvery bells ! 
 Hear the doleful sounding bells ! 
 
 15. How high ye lift your heads into the 
 sky, oh, ye Alps! How huge you are! How 
 mighty and how free ! 
 
EXERCISES. 45 
 
 16. Iyoud shriek to the echo, and let the low 
 winds mourn. 
 
 17. See the eagle ! Up, up, up she goes ; 
 circles round, and darts down upon her prey. 
 
 18. Smooth, rough, quick, slow, dull, sharp, 
 round, flat, little, huge. 
 
 19. Far out on the wide, wild sea, where the 
 hurricane howls music and the big waves roll the 
 chorus, sweeping the march of God. There He 
 brews the pure beverage of life — water. — Gough. 
 
 20. God will throw back the dark cloud, and 
 you can see through to the other shore. 
 
 21. The lamp of the past is the only beacon 
 to guide us for the future. 
 
 22. Ye crags and peaks! I am with you 
 once again. Ye guards of Liberty! I call to 
 you with all my voice. I hold my hands to you 
 and rush to your embrace. 
 
 23. Now murmuring and rolling onward like 
 the waves of a mighty ocean. 
 
 24. {Love) Warms in the sun, refreshes in the breeze, 
 Flows in the stars, and blossoms in the trees. 
 
 25. Call down the astronomers from the sky; 
 call up the geologists from the earth ; summon the 
 mightiest intellect; enter cloistered halls; dis- 
 solve conclave and synod, and go forth and teach 
 the people. — Horace Mann. 
 
 26. Ditty, gurgle, pretty, bungle, slip, stumble. 
 
46 WILSON'S ELOCUTION. 
 
 27. {Sympathy and love). An eternity before 
 it; an eternity back of it. Worlds hang upon it 
 with the breath of an ocean and the dignit3 T of 
 the rising tide. 
 
 28. For health, a man will cross the broad 
 ocean, climb the highest mountain, and delve 
 into the lowest valleys. 
 
 29. All that tread the globe are but a handful 
 compared to the tribes that slumber on its bosom. 
 
 30. He springs from his hammock, he flies to the 
 
 deck ; 
 Wild winds and mad waves drive the vessel a 
 wreck. 
 
 31. Affrighted fled hell's spirits black in 
 throngs. Down they sink in the deep abyss to 
 endless night. 
 
 32. Conceit attends a little knowledge, but 
 modesty is the badge of wisdom. 
 
 oo. Ye angels from the stars come down, 
 
 And bear my soul away. 
 
 34. His voice so soft and low would deepen 
 like the sound of thunder, and again flashes of 
 wit would light up faces with bright smiles. 
 
 35. But denser, darker, round me closed the earth; 
 It was a day of death, and not of birth. 
 
 — Resurrection of Christ. 
 
 36. Cold drops of sweat hang on my quiver- 
 ing flesh. My blood grows chilly, and I freeze 
 with horror. 
 
EXERCISES. 47 
 
 37. How the weary wail of despair floats 
 down the centuries. — History of Egypt. 
 
 38. Ya in Chinese has five meanings — God, a 
 wall, excellent, stupidity and goose. 
 
 39. Thou slave! thou wretch! thou coward! 
 thou cold-blooded slave! Thou dost wear a 
 lion's hide! Doff it for shame, and hang a calf- 
 skin on those recreant limbs. 
 
 40. Oh, how sad I am! The weary winds 
 moan and howl around me. 
 
 41. Dog language: Bark, yelp and howl. 
 Whine, snap, snarl and growl. 
 
 4:2. A talent for hard work is the greatest 
 talent of all. Ninety per cent of those who 
 succeed do it by hard work. 
 
 43. It takes time to do a good thing; but 
 when done, it is worth more than the time it 
 takes to do it. 
 
 44. Listen! What is that I hear? I seized 
 my gun and entered the cave, and groped about 
 in the dark, and suddenly I heard a low growl, 
 and saw two glaring eye-balls fixed upon me. 
 Whall shall I do! What shall I do! 
 
 Pronounce the words "Come here" in such a way as 
 to convey: First, "authority;" second, "persuasion;" 
 and third, "anger." 
 
 Enunciation pertains to vowels more than conso- 
 nants, and articulation to consonants, as it is necessary 
 
48 wixson's elocution. 
 
 to join the organs of speech to produce them. Pronun- 
 ciation involves vowels and consonants both. 
 
 "Words commencing with st usually mean firmness ; 
 such as — stout, stamp, stop, stand. Str means violent 
 force — struggle, strive, stress, strike, Thr means forci- 
 ble motion — throw, thrust, thrill, throttle. Gl, smooth, 
 quiet motion- — glide, glow, gloss, glib, gloom. Sw, lat- 
 eral motion — sway, swing, sweep, swerve. Wr, distor- 
 tion — wrestle, wring, wrong, wrench. Sp, expansion — 
 spread, sprout, splash, spill. 
 
 It is said there is a harp of three thousand strings 
 spread over the labyrinth of the ear, each string re- 
 sponding to a certain pitch of tone. An octave covers 
 three hundred and ninty-six of these strings. From 
 "do" to "re" there are sixty-six. A sound may be of 
 such high pitch, or so low, as to pass beyond the limits 
 of this harp, and then it cannot be heard, it matters not 
 how loud the sound may be. Some persons hear all 
 sounds of ordinary pitch, but cannot hear the chirping 
 of a cricket or small bird, because of the high pitch, 
 and on the other hand, cannot hear very low tones. It 
 is possible that animals may converse in a way that the 
 human ear cannot hear, yet loud enough to be heard by 
 them some distance. 
 
 The Italian language is considered the most musical, 
 from the fact that it contains more long vowel sounds 
 than any other. The Portuguese, second; Spanish, 
 third; French, fourth ; German, fifth; and English sixth 
 
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