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ELEMENTS OF EXPRESSION 
 
ELEMENTS OF EXPRESSION 
 
 VOCAL AND PHYSICAL 
 
 REV. PHILIP WILLIAMS, O. S. B. 
 
 M 
 
 FORMER PROFESSOR OF ELOCUTION 
 
 AT 
 
 St. Benedict's College, Atchison, Kansas. 
 
 And they read in the book of the law of God 
 distinctly and plainly to be understood ; and 
 they understood when it was read. 
 
 II. Esdras, VIII, 8. 
 
 THIRD REVISED EDITION 
 
 ABBEY STUDENT PRESS 
 
 ST. BENEDICT'S COLLEGE, ATCHISON, KANSAS. 
 
 1913 
 
-m*^ 
 
 o 
 
 Copyright 1913 
 by St. Benedict's College 
 
 0CU351827 
 
 - 
 
 
c? 
 
 
 To 
 
 THE STUDENTS 
 
 OF ST. BENEDICT'S COLLEGE 
 
 WHOSE INTEREST IN THE SCIENCE AND ART OF EXPRESSION 
 
 HAS ENCOURAGED US IN OUR LABOR, AND TO 
 
 ALL STUDENTS OF ELOCUTION, WE 
 
 RESPECTFULLY DEDICATE 
 
 THIS VOLUME. 
 
PREFACE 
 
 A third edition of "Elements of Expression" is herewith 
 presented to the public. The book has been carefully re- 
 vised as to its teachings, to make it abreast of all works on the 
 art; and we even hope somewhat superior for Catholic schools, 
 to other w 7 orks on elocution. 
 
 "Elements of Expression" is not intended as a self- 
 instructor in elocution. We doubt if there is any elocution 
 book published that can be truthfully called a self-instruct- 
 or. It is intended for those who wish a course in oratory. 
 Therefore there will be found in the book no trivialities, 
 none of those foibles of so-called elocution, such as dialect 
 pieces, comic recitations, humoresques, etc. Our work 
 is for a higher purpose, and so we have entirely disregarded 
 this class of speaking. We flatter ourselves that the student 
 preparing himself for a serious vocation in a college or an 
 academy, will find this book well suited to his needs. 
 
 The selections are air from good writers and are teem- 
 ing with that interest that will arouse the emotions and start 
 the genuine fires of oratory to blazing brightly. We have 
 added, in this edition, all of those genuine favorites that have 
 been making speakers of the young for many years. Many 
 of these are from Catholic sources, and all are from repu- 
 table literary authors. This judicious selection we claim 
 as an added feature of the book. The tenderest conscience 
 
will find naught to harm it and much to esteem. Clean and 
 classic, it can go into any hands without harm. 
 
 It has been our object to retain only essential theory, 
 to make a book that will help the earnest student of oratory, 
 and to give copious examples for practice. We have chosen 
 only the best of literature, mindful that it should all 
 
 "To one of these four ends conduce: 
 For wisdom, piety, delight, or use." 
 
 Each of these four has many select representatives 
 throughout the volume. We hope to create a craving for 
 more reading of the authors from whom we quote. Only 
 selections recommended by intrinsic worth should be 
 memorized. Students should be required to seek additional 
 examples from other sources. The book would be too bulky 
 for class use did it contain more selections. 
 
 Concert drills are recommended for economizing time 
 and labor. In this way, each student will receive some 
 practice every class hour. It is only by much practice 
 that skill may be acquired in an art. Let the professor 
 dictate some selection, show the correct interpretation 
 of it, the proper inflexions, the emphasis necessary, and the 
 gestures appropriate. Then let him spend a part of each 
 class hour, putting the whole class through a drill on the 
 piece. 
 
 Another genuine help to the student is to enter him and 
 interest him in amateur theatricals. It is a great help in 
 attaining ease before an audience, as also for developing 
 the emotions. 
 
 Persist in mastering each selection thoroughly. Have 
 members of the class criticise each other. It makes speaker 
 and hearer attentive, and a healthy rivalry soon starts that 
 will do the class good. 
 
If the principles here laid down further the power and 
 elegance of human speech, kindle the fires of eloquence 
 slumbering in many a youthful bosom, give to college grad- 
 uates a trustworthy vehicle to convey truth and a strong 
 weapon to defend right, our hopes will be realized. 
 
 August 16th, 1912. 
 
 THE AUTHOR. 
 
CONTENTS 
 
 Preface vn 
 
 Chapter I. — Breathing , i 
 
 Breathing Exercises 3 
 
 Chapter II. — Action 10 
 
 Position 13 
 
 Attitude 16 
 
 Chapter III. — Articulation 25 
 
 Elementary Sounds 26 
 
 Consonant Sounds 27 
 
 Exemplification of Vowel-Quality 28 
 
 Difficult Combinations 45 
 
 Correct Pronunciation 51 
 
 Chapter IV. — Gesture 54 
 
 Delsarte's Definition 54 
 
 Relaxation 55 
 
 Exercises in Relaxation 56 
 
 Chapter V. — Force 59 
 
 Forms of Force 60 
 
 Degrees of Force 64 
 
 Application of Force 70 
 
 Chapter VI. — Delsarte's Laws op Gesture 75 
 
 Chapter VII. — Pitch 79 
 
 Division of Pitch 79 
 
 Uses of Each Division 80 
 
 Chapter VIII. — Inflexion 88 
 
 Rules for Rising Inflexion 88 
 
 Rules for Falling Inflexion 90 
 
 Rules for Circumflex Inflexion 90 
 
 Chapter IX. — Quality 98 
 
 Kinds of Quality 100 
 
Pure Tone ioo 
 
 The Orotund 106 
 
 The Aspirate 109 
 
 The Guttural 112 
 
 The Pectoral 114 
 
 The Falsetto 116 
 
 Chapter X. — Planes of Gesture 122 
 
 Scale of Notation 122 
 
 Significance of Various Planes 123 
 
 Chapter XI. — Emphasis 152 
 
 Difference between Emphasis and Accent 152 
 
 Rules underlying Emphasis 155 
 
 Modes of Emphasis 158 
 
 Observations 164 
 
 Unemphatic Words 167 
 
 Climax 167 
 
 .Chapter XII. — Gesture of Different Members 171 
 
 The Head 171 
 
 The Eyes 174 
 
 The Mouth 176 
 
 Chapter XIII. — Pause 178 
 
 Influence of the Pause 178 
 
 Rules for Pausing 180 
 
 Chapter XIV. — Poetic Reading 188 
 
 Various Feet 190 
 
 Poetic Pauses . . . 193 
 
 Chapter XV. — Personation . . . \ 199 
 
 Rules for Personation 199 
 
 Chapter XVI. — Tone Color 206 
 
 What it Embraces 207 
 
 What it is Due to 208 
 
 Selections 217-314 
 
 Alphabetical Index 315 
 
 Index to Selections .317 
 
CHAPTER I. 
 
 Breatbing 
 
 Although it may seem strange, nay, unnatural, that 
 Breathing — that which everyone practices uninterruptedly 
 
 — that which was the beginning of life, and is its continuity, 
 
 — must be studied ; still, there are certain canons which 
 govern respiration for vocal ends, the observance of which 
 is not arbitrary. 
 
 The unstudied breathing by which life is sustained is 
 insufficient for vocalization. Voice is the result of an air- 
 shock on the vocal ligaments. The amount of air that we 
 unconsciously inhale for the support of life, answers ad- 
 mirably its specific purpose, but is inadequate for speaking. 
 
 Manifestly, therefore, if we desire to use our voice, we 
 must learn to breathe more copiously. 
 
 Breathing consists of Inspiration and Expiration. 
 Both are arts; both must be acquired. 
 
 A speaker who has not learnt to inhale correctly will 
 never possess a rich, substantial voice. One that has 
 mastered inhalation but neglects expiration, will soon find 
 his breath-expenditure greater than his receipts, and will 
 early end his career as a speaker with a ruined, banknipt 
 voice. We must have an income, or the outcome will be 
 
 — inevitable failure. 
 
 We can never afford to run out of breath when we are 
 speaking, for then, silence will ensue, painful alike to speaker 
 and hearer. Among the various methods of breathing the 
 
2 Elements of Expression, Vocal and Physical. 
 
 one recommended most by good results is this: " First, feel 
 that the diaphragm-region — the waist — expands. This 
 expansion is caused by the downward contraction of the 
 diaphragm. Secondly, at the same time feel an incipient 
 expansion of the whole trunk-region, from the lowest point 
 of the abdomen to the highest point of the chest and collar- 
 bone. This Expansion is felt in the entire circumference 
 of the trunk, as a complete oneness of action, not in sections 
 or broken. Thirdly, whether the amount of breath taken 
 be great or small, whether a half or a full expansion be re- 
 quired, it must always be done with the combined breathing- 
 apparatus and with oneness of action. The difference 
 between half and full, long and short breaths, is not in 
 method, but in time and the amount of expansion. This 
 is the only correct, natural, healthy way of breathing, for 
 by this method the w T hole of the lungs is used and venti- 
 lated and thus kept healthy. "(Leo Kofler) 
 
 It is obvious, from the above, that diaphragmatic, or 
 abdominal breathing, is the proper method. The diaphragm 
 must control the breath, otherwise the unreined air will 
 rush to the throat, and, in its hurry to gain freedom, will 
 make the tones "breathy," or if the throat endeavors to 
 control the efflux of the air, the effort will necessarily stif- 
 fen the muscles of the throat, and "throaty" tones will 
 be the result. Each one may experience this by trying 
 the following exercise. 
 
 Take a few heavy inspirations as you would when nearly 
 spent with running : note the effect on the diaphragm. You 
 will observe it pulsates; now, if, while taking one of the 
 rapid gulps of air, you stop quickly, you will feel the dia- 
 phragm grasp the air to check its exit. Never allow the 
 throat to share this office with the diaphragm — for the 
 diaphragm has been assigned this office by nature, and 
 nature never permits an infraction of her laws to go un- 
 punished. 
 
 Unless the breath is under perfect control, pure tone 
 
Breathing. 3 
 
 is an impossibility; for in its production all the air that 
 is liberated must be converted into sound. 
 
 The nose is the medium of inspiration. Avoid the 
 pernicious inversion, of which too many are guilty, of using 
 the nostrils as channels to convey your sentiments to long- 
 suffering audiences, and the mouth to convey air and dust 
 to short-enduring organs. An All-wise Providence has 
 so arranged the nose that it warms and " filters' ' the air 
 before it reaches the more delicate organs. Whereas, the 
 mouth, not being intended for inspiration, carries the cold 
 air directly to the delicate membrane, thereby causing 
 hoarseness, and eventually serious throat and lung-ailments. 
 
 Inspiration and Pausing in speaking go hand in hand; 
 neither should be indulged where they interfere with the 
 sense of the phrase. Nevertheless, never make any effort 
 to sustain a tone, or complete a sentence, when the air 
 in the lungs is well-nigh exhausted. Always stop at the 
 approach of fatigue. 
 
 Let the student practice the following exercises with 
 due moderation; as enthusiastic disciples, by violent practice, 
 might overtax the respiratory muscles and do themselves 
 irreparable injuries. 
 
 EXERCISE! 
 
 Stand erect, shoulders back and down — in which po- 
 sition they should remain during the whole exercise — -fill 
 the lungs comfortably by very short inhalations and then 
 quickly empty them in one blast. 
 
 EXERCISE II. 
 Fill the lungs with one energetic draught, then emit 
 the air in jets. 
 
 EXERCISE III. 
 
 Inhale and utter a and a, alternately. Employ half 
 the breath on a , the other half on a . Pronounce a high and 
 forcible, a low and subdued. 
 
4 Elements of Expression, Vocal and Physical. 
 
 EXERCISE IV. 
 
 Inhale deeply, prepare the lips as you would say "who," 
 then exhaust the lungs with puffs. 
 
 EXERCISE V. 
 
 Place thumbs on costal, fingers on abdominal muscles, 
 bending profoundly forward empty the lungs; in assuming 
 erect position, inhale vigorously, retain the air-supply a 
 few moments, then expel it vocally, with abdominal impulses, 
 in form of uh. uh, uh. 
 
 EXERCISE VI. 
 
 Repeat directions of the preceding number and use 
 the air in alternating uh, a h, in aspirate and pure tones. 
 
 EXERCISE VII. 
 
 Assume an erect attitude, heels together, toes turned 
 outward from 45 to 90 degrees apart. This is the "military 
 position/' With hands lightly pressed on the chest, fill the 
 lungs gently and emit the air in a lustrous prolongation of 
 the syllable sil. 
 
 EXERCISE VIII. 
 
 Take preceding position, inspire energetically, run the 
 speaking gamut upward, employing the word "up," in- 
 creasing gradatim the tone's intensity. 
 
 EXERCISE IX. 
 
 Vary the preceding exercise by running the speaking 
 gamut downward, using the word "down," gradually 
 decreasing the force. 
 
 EXERCISE X. 
 
 Repeat No. VIII., accompanying the raise for each 
 tone with a corresponding movement of each arm and 
 wrist, so that, when the rounding note of the octave is 
 reached, the arms be extended upward to their utmost. 
 
Breathing. 5 
 
 E X E R C I S E XI. 
 
 Leaving the arms extended as No. X. required, repeat 
 No. IX., and, with each descension in tone, lower the arms 
 with a gentle wave of the wrist, so that, on the concluding 
 "down," the arms reach the sides. 
 
 EXERCISE XII. 
 
 Take position as indicated in No. VII., inspire deep- 
 ly, tap the chest gently with the finger-tips in order to 
 drive the air into all the lung-cells, then, let the air escape 
 in a sound showing weariness, as a - uh. 
 
 EXERCISE XIII. 
 
 Observe the preliminaries of No. V.; when the lungs 
 are well inflated, expend the air with explosive force on the 
 sentence, 
 
 "Arise, ye more than dead!" {Dry den) 
 (or) "Rise, O Sun of Justice, rise!" {Rev. James Kent Stone) 
 
 EXERCISE XIV. 
 
 Comply with the injunctions of No. VII.; when the 
 lungs are well expanded, summon your brightest smile 
 and laugh out the vowels T, e,e, a, a, o, o, o, u, u, u, in a 
 
 low tone; occasionally introduce an open vowel. 
 
 This exercise is characteristically adapted to strengthen 
 the throat, invigorate and make more elastic the vocal 
 ligaments, deepen and mellow the voice. 
 
 EXERCISE XV. 
 
 Inflate the lungs fully, utter o, a , ou, in a soft, pure tone; 
 continue until the air supply is nearly consumed, then pro- 
 long the sound of o, gradually merging it into 00, and di- 
 minishing the force as the air-supply lessens, until, with the 
 last thin current, sound weds itself to silence. 
 
 (A breathing exercise should introduce every elocution hour.) 
 
Elements of Expression, Vocal and Physical. 
 
 EXAMPLES 
 where copious Breathing is required 
 
 Oh, perverse children of men, who refuse truth when offered you, 
 because it is not truer! Oh, restless hearts and fastidious intellects, 
 who seek a gospel more salutary than the Redeemer's, and a creation 
 more perfect than the Creator's! God, forsooth, is not great enough 
 for you; you have those high aspirations and those philosophical notions, 
 inspired by the original Tempter, which are content with nothing 
 that is, which determine that the Most High is too little for your wor- 
 ship, and His attributes too narrow for your love. Satan fell by pride: 
 and what was said of old as if of him, may surely now, by way of warn- 
 ing, be applied to all who copy him: 'Because thy heart is lifted up, 
 
 and thou hast said, I am God, and I sit in the chair of God, 
 
 whereas thou art a man and not God, and hast set thy heart as if it 
 
 were the heart of God, therefore I will bring thee to nothing, 
 
 and thou shalt not be, and if thou be sought for, thou shalt not be 
 found any more forever.' {Newman) 
 
 poUofc'6 ©cean Hpostropbe 
 
 Great Ocean ! strongest of creation 's sons ! 
 
 Unconquerable, unreposed, untired ; 
 
 That roll'd the wild, profound, eternal bass, 
 
 In Nature's anthem, and made music, such 
 
 As pleased the ear of God. Original, 
 
 Unmarr'd, unfaded work of Deity; 
 
 And unburlesqued by mortal's puny skill. 
 
 From age to age enduring and unchanged: 
 
 Majestical, inimitable, vast, 
 
 Loud uttering satire day and night on each 
 
 Succeeding race, and little pompous work 
 
 Of man. Unf alien, religious, holy sea! 
 
 Thou bow'dst thy glorious head to none, fear'dst none, 
 
 Heardst none, to none didst honor, but to God 
 
 Thy maker — only worthy to receive 
 
 Thy great obeisance. {Robert Pollok) 
 
Breathing. 7 
 
 "St. Paul was a vessel of election to bear the good odor of Christ 
 into the palaces of kings! A torrent of eloquence flowing into the 
 barren fields of a vain philosophy, to fertilize and adorn! A rich 
 exhibition of virtue, winning by its beauty, attracting by its symmetry, 
 and exciting to activity by emulation! A glowing meteor of bene- 
 diction, dissipating the clouds, and warming the hearts of the be- 
 holders to charity on earth, that they might be fitted for glory in 
 heaven! {Bishop England) 
 
 Iking Xear's IReproacbes 
 
 You heavens, give me that patience, patience I need! 
 
 You see me here, }^ou gods, a poor old man, 
 
 As full of grief as age: wretched in both! 
 
 If it be you that stir these daughters' hearts 
 
 Against their father, fool me not so much 
 
 To bear it tamely; touch me with noble anger! 
 
 O, let not women's weapons, water-drops, 
 
 Stain my man 's cheeks ! — No, you unnatural hags, 
 
 I will have such revenges on you both, 
 
 That all the world shall — I will do such things, — 
 
 What they are, yet I know not; but they shall be 
 
 The terrors of the earth. You think I'll weep; 
 
 No, I'll not weep: — 
 
 I have full cause of weeping: but this heart 
 
 Shall break into a hundred thousand flaws, 
 
 Or ere I'll weep: — O, fool, I shall go mad! (Shakespeare) 
 
 From Zbc Collegians 
 
 In the meantime Hardress, full of horror at the supposed catastrophe, 
 had hurried to his sleeping room, where he flung himself upon the bed, 
 and sought, but found not relief in exclamations of terror, and of 
 agony. "What!" he muttered through his clenched teeth, "shall 
 my hands be always bloody? Can I not move but death must dog 
 my steps? Must I only breathe to suffer and destroy?" 
 
 A low and broken moan, uttered near his bed-side, made him start 
 with a superstitious apprehension. He looked round and beheld his 
 mother kneeling at a chair, her face pale, excepting the eyes, which 
 were inflamed with tears. Her hands were wreathed together, as 
 
8 Elements of Expression, Vocal and Physical. 
 
 if with a straining exertion, and sobs came thick and fast upon her 
 breath, in spite of all her efforts to restrain them. In a few minutes, 
 while he remained gazing on her in some perplexity, she arose, and, 
 standing by his bed-side, laid her hand quietly upon his head. 
 
 {Gerald Griffin) 
 
 ffrancois' Speecb to IRicbelieu 
 
 Hastening from the house, 
 
 My footstep in the stirrup, Marion stole 
 
 Across the threshold, whispering, "Lose no moment 
 
 Ere Richelieu have the packet: tell him, too, 
 
 Murder is in the winds of night, and Orleans 
 
 Swears, ere the dawn the Cardinal shall be clay." 
 
 She said, and trembling fled within: when lo! 
 
 A hand of iron griped me! Thro' the dark, 
 
 Gleamed the dim shadow of an armed man: 
 
 Ere I could draw, the prize was wrested from me, 
 
 And a hoarse voice gasped, — "Spy, I spare thee, for 
 
 This steel is virgin to thy lord!" — with that 
 
 He vanished. — Scared and trembling for thy safety, 
 
 I mounted, fled, and kneeling at thy feet, 
 
 Implore thee to acquit my faith; but not, 
 
 Like him, to spare my life. (Sir Edward Bulwer Lytton) 
 
 Hpostropbe to Sleep 
 
 Sleep, gentle sleep, 
 Nature's soft nurse, how have I frighted thee, 
 That thou no more wilt weigh my eyelids down, 
 And steep my senses in forgetfulness? 
 Why rather, sleep, liest thou in smoky cribs, 
 Upon uneasy pallets stretching thee, 
 And hush'd with buzzing night-flies to thy slumber, 
 Than in the perfumed chambers of the great, 
 Under the canopies of costly state, 
 And lull'd with sounds of sweetest melody? 
 O thou dull god, why liest thou with the vile 
 In loathsome beds; and leav'st the kingly couch, 
 A watch-case, or a common 'larum bell? 
 Wilt thou upon the high and giddy mast 
 Seal up the ship-boy's eyes, and rock his brains 
 
Breathing. 
 
 In cradle of the rude imperious surge; 
 
 And in the visitation of the winds, 
 
 Who take the ruffian billows by the top, 
 
 Curling their monstrous heads, and hanging them 
 
 With deaf'ning clamors in the slippery clouds, 
 
 That with the hurly, death itself awakes? 
 
 Canst thou, O partial sleep! give thy repose 
 
 To the wet sea-boy in an hour so rude; 
 
 And, in the calmest and most stillest night, 
 
 With all appliances and means to boot, 
 
 Deny it to a king? Then, happy low, lie down! 
 
 Uneasy lies the head that wears a crown. (Shakespeare) 
 
 m 
 
CHAPTER II. 
 
 Hction 
 
 By Action we understand that part of Elocution which 
 
 speaks to the eye. 
 
 Cicero, perhaps the greatest orator that ever lived, 
 says on this subject: "It is of little consequence that you 
 prepare what is to be spoken, unless you are able to deliver 
 your speech with freedom and grace. Nor is even that 
 sufficient, unless what is spoken be delivered by the voice, 
 by the countenance, and by the gesture in such a manner 
 as to give it a higher relish." And again: "It is hardly 
 possible to express of how great consequence is the manner 
 in which the orator avails himself of tones of voice, gesture, 
 and the expression of the countenance. For even indif- 
 ferent speakers, by the dignity of their action, have fre- 
 quently reaped the fruits of eloquence; whilst those whose 
 language is that of an orator, often on account of the awk- 
 wardness of their action, have been reckoned indifferent 
 speakers." 
 
 Quintilian says: "If delivery can produce such an ef- 
 fect as to excite anger, tears, and solicitude in subjects we 
 know to be fictitious and vain, how much more powerful 
 must it be when we are persuaded in reality? Nay, I ven- 
 ture to pronounce that even an indifferent oration, recom- 
 mended by the force of action, would have more effect than 
 
Action. i i 
 
 the best, if destitute of this enforcement. " St. Francis of 
 Sales, who by his preaching of the word of God drew tens 
 of thousands into the true fold of Christ, gives studied 
 delivery a very decided commendation when he says, "that 
 the most eloquent composition, badly delivered, will produce 
 little or no effect ; whilst a very mediocre speech, eloquently 
 delivered, will often be attended with the most striking 
 results." And this is only natural, for good delivery makes 
 the impression deeper and more lasting. 
 
 Many labor under the false idea, that the orator is 
 born, not made. They declaim against all attempts at 
 acquiring oratory. They say it makes one artificial; and 
 still there is not a single orator of any renown who was not 
 aided by art. The greatest orators of ancient times were 
 Cicero and Demosthenes. Both of these were assiduous 
 in the study of the minutest details of the art. Demos- 
 thenes was not gifted by nature. The pre-eminence he 
 acquired in a nation of orators was the work of years of 
 close application. History tells of him spending years, 
 away from men, in desert places, perfecting his art. His 
 practice and belief agreed with Cicero\s, — that to be an 
 orator something more was needed than to be born. With 
 regard to the idea that the study of Elocution tends to 
 create an unnatural mode of delivery, we hold that it is 
 true only where the art is imperfectly acquired. It is the 
 same in all the arts. The man who has taken but a few 
 lessons in painting, will not be true to nature in his pictures. 
 No one condemns the pictorial art on this account. It 
 is just as insane to condemn Elocution on a judgment formed 
 from hearing one who is yet in the primer of Elocution. 
 Ars est celare artem. All of the odium that has come to 
 the lovers of Elocution has been invited by the half-baked 
 variety who were not sufficiently skilled to conceal their 
 art. The real art of Elocution lies in concealing art. Fol- 
 lowing up a line of argument based on the assertions of some, 
 
12 Elements of Expression, Vocal and Physical. 
 
 Demosthenes should have been the worst of orators, since 
 he pursued this study further than any other ancient or 
 modern speaker. 
 
 Amongst modern orators, we may point with national 
 pride to Henry Clay, the prince of American speakers. 
 He early began to prepare for the success he afterwards 
 attained. He acknowledges the pains he took to acquire 
 oratory. "I owe my success in life," he says, "to one 
 single fact, namely, that at an early age I commenced and 
 continued for some years, the practice of daily reading and 
 speaking the contents of some historical or scientific book... 
 It is to this early practice of the art of all arts that I am in- 
 debted for the primary and leading impulses that stimulated 
 my progress, and have shaped and moulded my whole 
 destiny. " In short, no man who has attained even pass- 
 ing renown as an orator, will admit that the thorough 
 study of action is not a positive necessity for success in oratory. 
 
 These remarks are inserted here, as the hue and cry 
 of ignorance has arisen against this part of the study of 
 oratory in particular. Let the student of oratory heed 
 rather the words of Shakespeare than those of men whose 
 delight is to carp: 
 
 "Pleads he in earnest! Look upon his face, 
 
 His eyes do drop no tears; his prayers are jest; 
 
 His words come from his mouth, ours from our breast; 
 
 He prays but faintly and would be denied; 
 
 We pray with heart and soul." 
 
 We will treat this division of Elocution under the fol- 
 lowing heads, — Position, Relaxation, Delsarte 's Laws, 
 and Planes of Gesture. To these we subjoin a few re- 
 marks on the limits of Personation. 
 
Position. 13 
 
 position 
 
 The study of Position is the first point we call attention 
 to, as it is the first point which catches the eye when a speaker 
 appears. Is he ungraceful in his bearing? If so, he has 
 implanted in the minds of the audience a point against 
 him at the very start. The old saying has it, "first impres- 
 sions are generally lasting." It holds good here as well 
 as anywhere — hence, the importance of this subject. 
 
 In laying down rules for Position, elocutionists have 
 in view two points — the correct and expressive balance, or 
 poise of the body, and a becoming appearance. 
 
 There are Three Positions. We shall call them the 
 Unexcited, the Excited, and the Military. Each of these 
 forms the basis of one or more attitudes. By Attitude is 
 meant the enlargement of a Position. In the Unexcited 
 Position, the speaker stands erect in an easy, dignified 
 manner, with the hands hanging naturally at the sides, 
 and the feet nearly together. The weight of the body 
 should be principally on the ball of the left foot, and the 
 right should be three or four inches in advance. The left 
 limb is straight; the right, slightly bent at the knee. As 
 a change and rest, reverse the position, throwing the weight 
 on the right and placing the left in advance. 
 
 It is used in all unexcited speech, such as narration 
 and the portrayal of the gentler emotions. In the following 
 examples the unexcited position is employed. 
 
 EXAMPLES 
 IKtgbttall 
 
 Alone I stand; 
 
 On either hand 
 In gathering gloom stretch sea and land; 
 
 Beneath my feet, 
 
 With ceaseless beat, 
 The waters murmur low and sweet. 
 
14 Elements of Expression, Vocal and Physical. 
 
 Slow falls the night: 
 
 The tender light 
 Of stars grows brighter and more bright, 
 
 The lingering ray 
 
 Of dying day 
 Sinks deeper down and fades away. 
 
 Now fast, now slow, 
 
 The south winds blow, 
 And softly whisper, breathing low; 
 
 With gentle grace 
 
 They kiss my face, 
 Or fold me in their cool embrace. 
 
 Where one pale star, 
 
 O'er waters far, 
 Droops down to touch the harbor bar, 
 
 A faint light gleams, 
 
 A light that seems 
 To grow and grow till nature teems 
 
 With mellow haze; 
 
 And to my gaze 
 Comes proudly rising, with its rays 
 
 No longer dim, 
 
 The moon; its rim 
 In splendor gilds the billowy brim. 
 
 I watch it gain 
 
 The heavenly plain; 
 Behind it trails a starry train — 
 
 While low and sweet 
 
 The wavelets beat 
 Their murmuring music at my feet. 
 
 Fair night of June! 
 
 Yon silver moon 
 Gleams pale and still. The tender tune, 
 
 Faint-floating, plays, 
 
 In moonlit lays, 
 A melody of other days. 
 
Position. 15 
 
 'Tis sacred ground; 
 A peace profound 
 Comes o'er my soul. I hear no sound, 
 Save at my feet 
 The ceaseless beat 
 Of waters murmuring low and sweet. (W. W. Ellsworth) 
 
 From TCicbelieu Act L 
 
 Adrian de Mauprat, men have called me cruel; 
 
 I am not; I am just. I found France rent asunder; 
 
 The rich men despots and the poor banditti; 
 
 Sloth in the mart and schism within the temple; 
 
 Brawls festering to rebellion; and weak laws 
 
 Rotting away with rust in antique sheaths. 
 
 I have re-created France; and from the ashes 
 
 Of the old feudal and decrepit carcass, 
 
 Civilization on her luminous wings 
 
 Soars, phoenix-like, to Jove! What was my art? 
 
 Genius, some say; some, fortune; witchcraft, some: 
 
 Not so; my art was justice! Force and fraud 
 
 Mis-name it cruelty: you shall confute them! 
 
 My champion you! You met me as your foe. 
 
 Depart my friend. You shall not die: France needs you. 
 
 You shall wipe off all stains; be rich, be honored; 
 
 Be great. (Sir Edward Btdwer Lyttori) 
 
 From HS J^OU Xlfce *fft Act II. 
 
 Duke S. Now, my co-mates and brothers in exile, 
 Hath not old custom made this life more sweet 
 Than that of painted pomp? Are not these woods 
 More free from peril than the envious Court? 
 Here feel we but the penalty of Adam. 
 The seasons' difference; as, the icy fang, 
 And churlish chiding of the winter's wind, — 
 Which, when it bites and blows upon my body, 
 Even till I shrink with cold, I smile, and say, — 
 This is no flattery. — these are counselors, 
 That feelingly persuade me what I am. 
 Sweet are the uses of adversity; 
 Which, like the toad, ugly and venomous, 
 Wears yet a precious jewel in his head; 
 
1 6 Elements of Expression, Vocal and Physical. 
 
 And this our life, exempt from public haunt, 
 Finds tongues in trees, books in the running brooks. 
 Sermons in stones, and good in every thing. (Shakespeare) 
 
 From WL0X&6 
 
 I have known a word more gentle 
 Than the breath of summer air; 
 In a listening heart it nestled, 
 And it lived forever there. 
 Not the beating of its prison 
 Stirred it ever, night or day, 
 Only with the heart's last throbbing 
 Could it fade away. 
 
 Words are mighty, words are living; 
 Serpents with their venomous stings, 
 Or bright angels crowding round us, 
 With heaven's light upon their wings: 
 Every word has its own spirit, 
 True or false, that never dies; 
 Every word man's lips have uttered 
 Echoes in God's skies. (Adelaide A. Procter) 
 
 The First Attitude is only the enlargement of the 
 first position. The feet should be separated some distance, 
 thus giving a firmer basis. A rest and change from this 
 attitude is made by advancing the left foot and throwing 
 the weight of the body on the right. The first attitude 
 is used while giving utterance to grandeur, heroism, and 
 strong oratorical thought. As an example on which to practice, 
 an excerpt from the speech of Hon. J. R. Chandler on the 
 Know Nothing Movement is here inserted. 
 
 "If, Mr. Chairman, I had not long been a member of this House, 
 I might startle at the risk of presenting myself as the professor of a 
 creed evil spoken of. But I know the House is composed of gentle- 
 men. I stand here alone in defence of my faith, but I stand in the 
 Congress of the nation. I stand for truth and my soul is undaunted." 
 
Position. 1 7 
 
 In the Second Position , the Excited , the left foot is ad- 
 vanced and most of the weight is thrown on the ball. The 
 right heel is entirely off the floor, and the ball of the right 
 foot, touching the floor, balances the body. The left leg 
 is slightly bent at the knee. A rest is taken by reversing 
 the position, bringing the right foot to the front, etc. The 
 body is inclined forward as if about to take a step. The 
 Excited Position is assumed in any speech implying earnest 
 appeal and solicitude, and, also, as "Practical Elocution" 
 says: "When the speaker is impelled by some emotion which 
 causes him to step forward towards his audience, as if to 
 get nearer to them that he may impart, with more power 
 and emotion, that which he utters. " 
 
 EXAMPLES 
 From IRomeo anD Juliet Act II. 
 
 But, soft! what light through yonder window breaks? 
 It is the east, and Juliet is the sun. (Shakespeare) 
 
 From QLeonore 
 
 But see! what throng, with song and gong 
 Moves by, as croaks the raven hoarse! 
 Hark! funeral song! Hark! knelling dong! 
 . They sing, "Let's here inter the corpse!" 
 And nearer draws that mourning throng, 
 And bearing hearse and bier along, 
 With hollow hymn outgurgled like 
 Low reptile groanings from a dyke. 
 
 "Entomb your dead when midnight wanes, 
 
 With knell, and bell, and funeral wail! 
 
 Now homeward to her dim domains 
 
 I hear my bride — so, comrades, hail!" (J.C. Mangan) 
 
1 8 Elements of Expression, Vocal and Physical. 
 
 From XZhe ©boat's petition 
 
 "There's a footstep coming; look out and see." — 
 
 "The leaves are falling, the wind is calling; 
 
 No one cometh across the lea." — 
 
 "There's a footstep coming: O sister look." — 
 
 "The ripple flashes, the white foam dashes; 
 
 No one cometh across the brook." (C. G. Rossetti) 
 
 From Zbe TIMbite Sail 
 
 A wreath of smoke, fast-driven against a flame 
 Yon by the crimsoning east the dark ship moved, 
 Her herald noises strangely borne ashore: 
 'Joy* joy!' and interlinked: 'O joy, O joy, 
 Athens our mother! joy to all thy gates!' 
 And thunderous firm acclaim of minstrelsy, 
 Laughter, and antheming, and salvos wild 
 Outran the racing prow. (L. /. Guiney) 
 
 The Second Attitude differs from the second position in 
 extension and also in the position of the feet. The left 
 is extended as in the second position, but the right does 
 not balance on the ball. It is planted firmly on the floor. 
 The whole body leans forward as in the Excited position, 
 and the muscles are rigid, forming straight lines and angles 
 rather than curves. This attitude may also be reversed. 
 It is correctly used in defiant threatening and very emphatic 
 thought. 
 
 EXAMPLES 
 From XLbe /llbercbant of Venice Act III. 
 
 Salarino. Why I am sure, if he forfeit, thou wilt not take his 
 flesh: what's that good for? 
 
 Shylock. (Emphatic) To bait fish withal; if it will feed nothing 
 else, it will feed my revenge. The villainy you teach me, I will exe- 
 cute; and it shallt go hard, but I will better the instruction. 
 
 (Shakespeare) 
 
Position. 19 
 
 Speecb of Sempronius 
 
 My voice is still for war. 
 
 Gods! can a Roman senate long debate 
 
 Which of the two to choose, slav'ry or death? 
 
 No, let us rise at once, gird on our swords, 
 
 And, at the head of our remaining troops, 
 
 Attack the foe, break through the thick array 
 
 Of his thronged legions, and charge home upon him. 
 
 Perhaps some arm, more lucky than the rest, 
 
 May reach his heart, and free the world from bondage. 
 
 Rise, fathers, rise! 'tis Rome demands your help; 
 
 Rise, and revenge her slaughtered citizens, 
 
 Or share their fate! The corpse of half her Senate 
 
 Manure the fields of Thessaly, while we 
 
 Sit here delib 'rating in cold debates 
 
 If we .should sacrifice our lives to honor, 
 
 Or wear them out in servitude and chains. 
 
 Rouse up for shame! Our brothers of Pharsalia 
 Point out their wounds, and cry aloud, "To battle!" 
 Great Pompey's shade complains that we are slow, 
 And Scipio's ghost walks unrevenged among us! (Addison) 
 
 From XLhe Collegians 
 
 "Talk not to me, sir," she said, "of your regret or your reluctance. 
 You have already done your worst to fix a stigma on our name and a 
 torture in our memories. For months, for weeks, and days, my son 
 spoke with you, laughed with you, and walked freely and openly 
 among you, and then you laid no hand upon his shoulder. You waited 
 for his wedding-day to raise your lying cry of murder; you waited to 
 see how many hearts you might crush together at a blow. You have 
 done the worst of evil in your power; you have dismayed our guests, 
 scattered terror amid our festival, and made the remembrance of this 
 night, which should have been a happy one, a thought of gloom and 
 shame." 
 
 "My duty," murmured the magistrate, "obliged me to sacrifice — " 
 "Complete your duty, then," said the mother haughtily, and do 
 not speak of your personal regrets. If justice and my son are foes, 
 what place do you fill between them? You mistake your calling, 
 Mr. Magistrate; you have no personal feelings in this transaction. 
 You are a servant of the law, and, as a servant, act." (Gerald Griffin) 
 
20 Elements of Expression, Vocal and Physical. 
 
 From Zhe f)rt>&en <3em Acta. 
 
 Proculus. Bah! 
 
 You came to act a part and well have acted! 
 The sleek smooth-faced palmer, unrepining 
 At a snug berth. Some patience is good pay 
 For five years' shelter, clothing, food and alms. 
 Where is the beggar that can't bear a taunt, 
 Aye, or a blow, for one coin? But five years' 
 Living upon the sweat of others' brows, 
 Must be a beggar's paradise! 
 
 Eusebius. Shame! shame! 
 
 Proc. A}^e, shame enough! that a young sturdy vagrant 
 Should eat the bread of honest, toiling folk. 
 Shame, that he should be sitting all day, 
 As if at home, within another's house 
 Instead of putting out his strength to interest, 
 And drawing food from his strong, sinewy arm. 
 Can I who bear the burden of this house, 
 With patience see a lazy parasite 
 Feed on its fatness? suck its very blood? — 
 Now, hear my answer: under just reproach, 
 Scorn well deserved, blows well merited, 
 You may have wisely bent — not low enough 
 By one good fathom, for my deep disdain. (Cardinal Wiseman) 
 
 From /ifoacbetb Act V. 
 
 Macduff. Tyrant, show thy face! 
 
 If thou be'st slain and with no stroke of mine, 
 My wife and children's ghosts will haunt me still. 
 I cannot strike at wretched kerns, whose arms 
 Are hired to bear their staves: either thou, Macbeth, 
 Or else my sword, with an unbatter'd edge, 
 I sheathe again undeeded. There thou shouldst be; 
 By this clatter, one of greatest note 
 Seems bruited. Let me find him, fortune! 
 And more I beg not. (Shakespeare) 
 
Position. 2 1 
 
 The Third Attitude is based on the Excited position 
 likewise. The weight is thrown on the left foot. The 
 right leg is straight; the left, bent at the knee. The right 
 foot is forward and separated from the left by a space of 
 about twice the length of the foot. The body inclines 
 backward. This attitude is generally used in dramatic 
 oratory where horror or extreme terror are to be expressed, 
 
 EXAMPLES 
 
 From /l&acbetb Act III. 
 
 A vaunt! and quit my sight! Let the earth hide thee! 
 
 Thy bones are marrowless, thy blood is cold; 
 
 Thou hast no speculation in those eyes 
 
 Which thou dost glare with! {Shakespeare) 
 
 From 3-uliue Caeaar Act IV. 
 
 > Brutus. How ill this taper burns. Ha! who conies here? 
 I think it is the weakness of my eyes 
 That shapes this monstrous apparition. 
 
 It comes upon me: — Art thou anything? 
 Art thou some god, some angel, or some devil, 
 That mak'st my blood cold, and my hair to stare? 
 
 (Shakespeare) 
 
 From XLbe Spectre Caravan 
 
 Twas at midnight, in the desert, where we rested on the ground; 
 There my Bedouins were sleeping, and their steeds were stretched around; 
 In the farness lay the moonlight on the mountains of the Nile, 
 And the camel bones that strewed the sand for many an arid mile. 
 When, behold ! — a sudden sandquake — and atween the earth and 
 
 moon 
 Rose a mighty host of shadows as from out some dim lagoon: 
 Then our coursers gasped with terror, and a thrill shook every man, 
 And the cry was, "Allah Akbar ! 'tis the Spectre Caravan ! 
 
 (/. C. Mangan) 
 
22 Elements of Expression, Vocal and Physical. 
 
 In the Third Position which is called the Military , the 
 heels are together or nearly so. We can describe it best 
 by saying it is the Soldier's Position. The weight of the 
 body is about equally divided on each foot. The elocutionist 
 finds most use for this position in personating characters, 
 and in practicing breathing exercises, etc. Sometimes it 
 is used as the position of respect. When Proculus enters 
 in the first act of the Hidden Gem, he assumes this position 
 and says, "Iamat your bidding.' ' 
 
 EXAMPLES 
 From Gimon of nthene Act I. 
 
 Servant. Please you, my lord, that honourable gentleman, lord 
 Xucullus, entreats your company to-morrow to hunt with him: and 
 has sent your honour two brace of greyhounds. (Shakespeare) 
 
 From nntony ano Cleopatra Act I. 
 
 Messenger. Thy biddings have been done; and every hour, 
 Most noble Caesar, shalt thou have report 
 How 'tis abroad. Pompey is strong at sea; 
 And it appears, he is beloved of those 
 That only have feared Caesar; to the ports 
 The discontents repair, and men's reports 
 Give him much wronged. (Shakespeare) 
 
 The Fourth Attitude is based on the preceding posi- 
 tion. It is principally used in personations, and is ex- 
 pressive of impudence, self-assertion, etc. As examples 
 on which to practice, we cite the following: 
 
 EXAMPLES 
 
 From Ifttttg IfoetUE fit). Part I. Act II. 
 
 Poins. Come, your reason, Jack, your reason. 
 
 Falstaff. What, upon compulsion? No; were I at the strappado 
 or all the racks in the world, I would not tell you on compulsion. Give 
 you a reason on compulsion ! if reasons were as plenty as blackberries, 
 I would give no man a reason upon compulsion, I. (Shakespeare) 
 
Position. 23 
 
 From ITntenuew witb president Xtncoln 
 
 "Go home, you miserable men, go home and till the sile! go to 
 peddlin tinware — go to choppin wood — go to bilin ' sope — stuff 
 sassengers — black boots — go to lecturin at 50 dollars a nite — im- 
 bark in the peanut biziniss — write for the Ledger — saw off your legs 
 and go round givin concerts, with tuchin appeals to a charitable public, 
 printed on your handbills — anything for a honest living, but don't 
 come round here drivin Old Abe crazy by your outrajis cuttings up! 
 Go home. Stand not upon the order of your goin', but go to onct! Bf 
 in five minits from this time," sez I, pullin' out my new sixteen dollar 
 huntin cased watch and brandishin it before their eyes, "Ef in five 
 minits from this time a single sole of you remains on these here pre- 
 mises, I'll go out to my cage near by, and let my Boy Constructor 
 loose!" You ought to have seen them scamper, Mr. Fair. They run 
 orf as tho Satan hisself was arter them with a red hot ten pronged 
 pitchfork. In five minits the premises were clear. (Artemus Ward) 
 
 GENERAL EXAMPLES 
 
 From Count CanDespina's StanDarD 
 
 Gonzalez in his stirrups rose: 
 
 "Turn, turn, thou traitor knight! 
 
 Thou bold tongue in a lady's bower, 
 Thou dastard in a fight!" 
 
 But vainly valiant Gomez cried 
 
 Across the waning fray: 
 Pale Lara and his craven band 
 
 To Burgos scoured away. 
 
 "Now, by the God above me, sirs, 
 
 Better we all were dead, 
 Than a single knight among ye all 
 
 Should ride where Lara led! 
 
 "Yet ye who fear to follow me, 
 As yon traitor, turn and fly; 
 
 For I lead ye not to win a field; 
 
 I lead ye forth to die." (G. H. Boker) 
 
24 Elements of Expression, Vocal and Physical. 
 
 From GEtnbeline Act III. 
 
 Imo. I see, a man's life is a tedious one: 
 I have tir'd myself; and for two nights together 
 Have made the ground my bed, I should be sick, 
 But that my resolution helps me. — Milford, 
 When from the mountain-top, Pisanio show'd thee, 
 Thou wast within a ken; O Jove! I think, 
 Foundations fly the wretched; such, I mean, 
 Where they should be relieved. Two beggars told me 
 I could not miss my way : Will poor folks lie, 
 That have afflictions on them; knowing 'tis 
 A punishment or trial? Yes, no wonder, 
 When rich ones scarce tell true: to lapse in fulness 
 Is sorer than to lie for need ; and falsehood 
 Is worse in kings than beggars. — My dear lord ! 
 Thou art one o' the false ones: Now I think on thee, 
 My hunger's gone; but even before, I was 
 At point to sink for food. — But what is this, 
 Here is a path to it: 'Tis some savage hold: 
 I were best not call; I dare not call: yet famine, 
 Ere clean it o'erthrow nature, makes it valiant. 
 Plenty, and peace, breeds cowards; hardness ever 
 Of hardiness is mother. — Ho, who's here? 
 If anything that's civil, speak; if savage, 
 Take or lend. — Ho! — No answer? then I'll enter. 
 Best draw my sword, and if mine enemy 
 But fear the sword like me, he'll scarcely look on 
 Such a foe, good heavens! {Shakespeare) 
 
 The professor can profitably employ the time of the 
 students by having them illustrate the various positions 
 and attitudes with the numerous selections at the end of 
 this book. 
 
CHAPTER III. 
 
 Hrticulation 
 
 Articulation, derived from articular e — to divide into 
 single members or joints, to furnish with joints, hence, 
 to utter distinctly, giving each joint its due value and 
 prominence, demands precedence, being the basis of just 
 Elocution. 
 
 Jonathan Barber says: "Students of elocution should 
 always attend to articulation as the primary object; and 
 in the first instance, it should be prosecuted alone, as a 
 distinct branch of the art, and prosecuted until perfection 
 in it is attained." 
 
 The acquisition of an accurate and distinct articulation 
 is wholly mechanical. It demands nothing more than 
 industry and persevering elementary practice. Wherein 
 does it consist? 
 
 "In just articulation, the words are not hurried over, 
 nor precipitated, syllable over syllable; nor, as it were, melted 
 together into a mass of confusion. They should neither 
 be abridged nor prolonged, nor swallowed, nor forced; 
 they should not be trailed nor drawled, nor let slip out 
 carelessly. They are to be delivered out from the lips as 
 beautiful coins, newly issued from the mint; deeply and 
 accurately impressed, perfectly finished, neatly struck by 
 the proper organs, distinct, in due succession and of due 
 weight" {Austin's Chironomia) 
 
26 
 
 Elements of Expression, Vocal and Physical. 
 
 Although it is impossible to classify all the elements 
 of syllables and words exactly, the following classification 
 will be found comprehensive and accurate enough for cul- 
 tivating the articulatory organs. Theory, however, will 
 prove useless, unless swallowed up in practice. 
 
 Practice, and frequent practice only, in every department 
 of elocution, is the magic watchword that insures success. 
 As practice in articulation, try to read in a whisper so as 
 to be heard and understood at a distance. This is one of 
 the best aids to good articulation that we can give. An- 
 other commendable exercise is for two or more students 
 of the art to stand a goodly distance apart, out in the open, 
 and talk, not shout, so as to be understood. 
 
 JElementatE Sounoe 
 
 [S 
 
 as in arm 
 
 a 
 
 as in pharos 
 
 e e as in merger 
 
 a 
 
 " path 
 
 a 
 
 " Italian 
 
 u " null 
 
 a 
 
 " rare 
 
 e 
 
 " helm 
 
 u " burnish 
 
 a 
 
 " tang 
 
 e 
 
 " premier 
 
 T " rift 
 
 [?. 
 
 " guffaw 
 
 
 
 " junto 
 
 oo " rook 
 
 ia 
 
 " notary 
 
 o 
 
 11 loam 
 
 oo " loon 
 
 Bipbtbongs 
 
 ou — a glide from a to oo, pout 
 
 u — a compound of i and oo, student 
 
 7 — a glide from a to i , prize 
 
 a — a vanish in i or e, ray 
 
 o — a vanish in oo or OO, hones. 
 
Articulation. 
 {Table of Consonant SounDe 
 
 27 
 
 Place of Articulation 
 
 Continuous 
 
 Q 
 
 CO 
 
 < 
 
 O 
 CO 
 
 Momentary 
 
 CO 
 
 O 
 
 CO 
 
 Lips 
 
 Lips and teeth 
 
 Tongue and teeth 
 
 Tongue and hard palate (forward) . 
 Tongue and hard palate (back) .... 
 
 Tongue, hard, and soft palate 
 
 Tongue and soft palate 
 
 Various places 
 
 th(in) 
 s 
 sh 
 
 w 
 
 V 
 
 th(y) 
 z, r 
 zh, r 
 
 y, 1 
 
 t 
 eh 
 
 d 
 J 
 
 k 
 h 
 
 Consonants are styled Momentary and Continuous, because 
 the mute consonants, surds as well as sonants, are incapable 
 of any appreciable duration; whereas the continuants may 
 be sustained until the breath expires. 
 
 Consonants delivered with impeded tone, owing to their 
 tone quality, are called " sonants;" consonants produced 
 with breath sounds only, and those made by mute action, 
 are called surds, because they are " toneless." 
 
 For the oral consonants, the passage through the nose 
 must be wholly obstructed. It is the property of the soft 
 palate to do this by being pressed like a valve on the wall 
 of the pharynx, thus clearing the passage into the mouth. 
 
 The nasal consonants, m, n, ng, which are solely ' "so- 
 nants," require the soft palate to be depressed, thus cut- 
 ting off the passage to the mouth and rendering it neces- 
 sary for the air to escape through the nostrils; e.g., twang, 
 sing, wrong, lamb, etc. 
 
 The examples which follow have been culled with care- 
 ful hand from Catholic gardens, and form a bouquet, exhal- 
 ing the most wholesome fragrance. While the specific 
 object of their insertion was the exemplification of vowel- 
 quality, withal, the teacher will find a broad field wherein his 
 
28 Elements of Expression, Vocal and Physical. 
 
 pupils may profitably explore for specimens of various 
 kinds of Pitch, Force, Inflection, Emphasis, etc. 
 
 Vowels having identical sounds or closely allied, have 
 been combined; for their correct pronunciation Webster 's 
 dictionary will afford the rules. 
 
 An answer, not that you long for, 
 But diviner, will come one day; 
 
 Your eyes are too dim to see it, 
 Yet strive and wait and pray. 
 
 (Adelaide A. Procter) 
 
 Weep on, weep on, your hour is past, 
 
 Your dreams of Pride are o'er; 
 The fatal chain is round you cast 
 
 And you are men no more. 
 In vain the hero's heart hath bled, 
 
 The sage's tongue hath warned in vain 
 Oh, Freedom! once thy flame hath fled, 
 
 It never lights again! 
 
 Faith's meanest deed more favor bears 
 
 Where hearts and wills are weigh'd, 
 Than brightest transports, choicest prayers, 
 
 Which bloom their hour and fade. 
 Heaven but faintly warms the breast 
 
 That beats beneath a broider'd veil; 
 And she who comes in glittering vest 
 
 To mourn her frailty, still is frail. 
 
 Those hearts of ours — how strange! how strange! 
 How they yearn to ramble, and love to range 
 Down through the vales of the years long gone, 
 Up through the future that fast rolls on. 
 
 (Father Ryan) 
 
 God is in all places; therefore, we owe Him respect in all places. 
 There is no place in the universe which is not consecrated by the pre- 
 sence of His majesty: and in what place soever I am, I may say with 
 Jacob: "This place is holy, and I knew it not." 
 
Articulation, 29 
 
 IVeJlived to know my share of joy, 
 
 To feel my share of pain, 
 
 To learn that friendship's self can cloy; 
 
 To love, and love in vain; 
 
 To feel a pang and wear a smile, 
 
 To tire of other climes; 
 
 To like my own unhappy isle, 
 
 And sing the gay old times! 
 
 Old times! Old times! 
 
 The very earth, the steamy air 
 
 Is all with fragrance rife; 
 And grace and beauty everywhere 
 
 Are flushing into life. 
 Do you ask me the place of this valley, 
 
 To hearts that are harrowed by care? 
 It lieth afar between mountains, 
 
 And God and His Angels are there; 
 
 And one is the dark mount of sorrow, 
 
 And one the bright mountain of prayer. 
 
 Oh, England's fame! Oh, glorious name! 
 
 And one, that France most cherished, 
 
 On marble bare are written there — 
 
 Their names and how they perished! 
 
 Its summit high against the sky, 
 
 Like sentinel defending, 
 
 Points from the sod to where, with God, 
 
 Their spirits now are blending! {Joseph K. Foran) 
 
 And mine, O brother of my soul 
 
 When my release shall come; 
 Thy gentle arms shall lift me then, 
 
 Thy wings shall waft me home. 
 
 We trample grass and prize the flowers of May: 
 Yet grass is green when flowers fade away. 
 
 What laud, what people, has the sun ever illumined more worthy 
 of the heart's deep affection than our own? Here, where Nature, 
 
3° Elements of Expression, Vocal and Physical. 
 
 who never hastens and never tires, has stored, through countless ages, 
 whatever may be serviceable to man, divine Providence has given 
 us a country as large as all Europe, with a soil more fertile, and a 
 climate more invigorating. 
 
 In the city hallowed by the name of Washington, in the Capitol 
 of the freeest people on earth, the Roman Catholic Church made to 
 our country the magnificent gift of a great university, where science 
 and art, where religion and morality will ever find a home, and where 
 our people will learn the grand lesson that loyalty to God means loy- 
 alty to the state. 
 
 Had Whashington, Franklin, Carroll, and their illustrious brethren 
 failed in the work which God had laid out for them, it would have 
 been a dire calamity to humanity itself. 
 
 Then what this world to thee, my heart? 
 Its gifts nor feed thee nor can bless; 
 Thou hast no owner's part 
 In all its fleetingness. 
 
 In the dark hour of the night, just before day, 
 
 In the rear of the camp, 'twas marching my beat 
 
 When a gentle voice murmured, "Forgive them, I pray, 
 
 For this, O my Lord! I bow at thy feet." 
 
 To the tent of the penitent I moved on tiptoe, 
 
 I thought some mortal was stricken with grief. 
 
 'Twas a Sister of Charity, face all aglow, 
 
 Praying for us and our country's relief. {John F. Scanlan) 
 
 Every one has some sweet face 
 
 Prisoned in a picture case, 
 
 Or by memory's magic art 
 
 Photographed upon the heart: 
 
 And we all in gloomy days, 
 
 Steal apart and on them gaze. {Michael O'Connor) 
 
 Now from the overcrowded streets, 
 
 Whose torrid heat the city parches, 
 The multitudes seek cool retreats 
 
 By breezy shores or woodland arches. {W. D, Kelly) 
 
Articulation. 3 1 
 
 It dawned on my soul like a picture of light, 
 Or a star that illumines the azure of night, 
 Sparkling and beautiful, winsome and fair 
 The pink of perfection of all that were there. (/. C. Keegan) 
 
 The temple is a cross; its centre the tabernacle, and Christ is a- 
 dored forever in the divinest symbol of His love, which is borne upward 
 on aerial spires far above all monuments of human pride, shedding 
 benediction and gentler life through the world's waste. 
 
 Seek thy salve while sore is green, 
 
 Fester 'd wounds ask deeper lancing; 
 
 After-cures are seldom seen, 
 
 Often sought, scarce ever chancing: 
 
 In the rising stifle ill, 
 
 Lest it grow against thy will. (Robert Southwell) 
 
 Another year — the curfew rings; 
 
 Fast cover up each coal, 
 
 The old year dies, the old year dies, 
 
 The bells its requiem toll. 
 
 A pilgrim year has reached its shrine, 
 
 The air with incense glows; 
 
 The spirit of another year 
 
 Comes forth from long repose. (Thomas O'Hagan) 
 
 Swift fly the years, and rise th' expected morn! 
 
 O, spring to light, auspicious babe be born! (Pope) 
 
 O, Religion of peace! thou hast not like other systems, inculcated 
 the precepts of hatred and discord; thou hast taught men nothing 
 but love and harmony. 
 
 In awe she listened, and the shade 
 
 Passed from her soul away: 
 In low and trembling voice she cried, 
 
 "Lord help me to obey!" 
 
32 Elements of Expression, Vocal and Physical. 
 
 The waves were white, and red the morn 
 
 In the noisy hour when I was born, 
 
 And the whale it whistled, and the porpoise rolled, 
 
 And the dolphins bared their backs of gold: 
 
 And never was heard such an outcry wild 
 
 As welcomed to life the ocean child! 
 
 All nature manifests the infinite skill of its Author. 
 
 See how pale the moon rolls 
 
 Her silver wheel; and, scattering beams afar 
 On earth's benighted souls, 
 
 See wisdom's holy star; 
 Or, in his fiery course, the sanguine Orb of war. 
 
 Star of the deep! when angel lyres 
 
 To hymn thy holy name essay, 
 In vain a mortal harp aspires 
 To mingle in the mighty lay! 
 Mother of God! one living ray 
 Of hope our grateful bosom fires, 
 When storms and tempests pass away, 
 To join the bright immortal choirs. 
 Ave Maris Stella! 
 
 Fall in! fall in! fall in! Every man in his place 
 Fall in! fall in! fall in! Each with a cheerful face 
 Fall in! fall in! 
 
 How calm, how beautiful comes on 
 The stilly hour, when storms are gone; 
 When warring winds have died away, 
 And clouds beneath the glancing ray, 
 Melt off, and leave the land and sea 
 Sleeping in bright tranquillity, — 
 Fresh as if day again were born, 
 Again upon the lap of morn. 
 
 In some things all, in all things none are crossed; 
 Few all things need, and none have all they wish. 
 Unmingled joys here to no man befall; 
 Who least hath some; who most hath never all. 
 
Articulation. 33 
 
 a o ow 
 
 Anxious thoughts in endless circles roll, 
 Without a centre where to fix the soul: 
 
 In this wild maze their wild endeavors end; 
 How can the less the greater comprehend? 
 
 Or finite reason reach infinity? 
 For what could fathom God were more than He. 
 
 Peace o'er the world her olive wand extend, 
 
 And white-robed Innocence from heaven descend. 
 
 Hark! a glad voice the lonely desert cheers: — 
 
 "Prepare the way! a God, a God appears!" 
 
 "A God, a God!" the vocal hills reply; 
 
 The rocks proclaim th' approaching Deity. {Pope) 
 
 Knowledge is the light which comes down from the throne of the 
 Eternal. 
 
 Passed from this world with sin and sorrow rife, 
 
 A world unfitted for a soul like hers — 
 
 Pure in each sphere — as sister, mother, wife — 
 
 To mingle with God's holiest worshippers, 
 
 And round his throne to join the myriad throng 
 
 Who praise His holy name in ceaseless song! (J. C. Curtiri) 
 
 Down, down they- come — those fruitful stores! 
 Those earth-rejoicing drops! 
 A momentary deluge pours, 
 Then thins, decreases, stops. 
 
 Freedom all solace to man gives; 
 He lives at ease who freely fives. 
 
 The beginning of matter, the elements into which it may ulti- 
 mately be resolvable, how the cycles of the heavenly bodies began, 
 the unspeakable intricacy of their checks and counter-checks, the 
 secular aberrations and secular corrections of the same, the secret 
 of life, the immateriality of the soul, where physical science ends, 
 
34 Elements of Expression, Vocal and Physical. 
 
 — all these questions are discussed in a thousand books in a spirit 
 and tone betokening the most utter f orgetf ulness that we are little crea- 
 tures, who got here, God help us! where He chooses and when. {Father 
 Faber.) 
 
 And the music flows down the dim valley 
 Till each finds a word for a wing; 
 That to men, like the doves of the deluge, 
 The message of peace they may bring. 
 
 ee 
 
 They shall safely steer who see; 
 Sight is wisdom. Come to me! 
 
 Hunted elsewhere, God's Church with thee found rest: — 
 Thy future Hope is she — that queenly Guest. 
 
 Oh be not thine such strife! there heaves no sod 
 
 Along thy fields, but hides a hero's head; 
 
 And when you charge for freedom and for God 
 
 Then — then be mindful of the mighty dead ! 
 
 Think that your field of battle is the bed 
 
 Where slumber hearts, that never feared a foe 
 
 And while you feel, at each electric tread, 
 
 Their spirit through your veins indignant glow, 
 
 Strong be your sabre's sway for freedom's vengeful blow. 
 
 Oh, might I see but once again, as once before, 
 
 Through chance or wile, that shape awhile, and then no more! 
 
 Death soon would heal my griefs! This heart, now sad and 
 
 sore, 
 Would beat anew a little while, and then no more! 
 
 Ah! thus when Death shall close the scene, ma}^ Heaven's eternal Spring 
 Around the soul her fadeless wreaths her sacred roses fling; 
 And when she looks in truimph back, will not her world of bliss 
 Seem happier, for the gloom that rests on all that's found in this. 
 
Articulation. 35 
 
 Dear emblem of my native land, 
 
 My fresh fond words kept fresh and green 
 
 The pressure of an unfelt hand 
 
 The kisses of a lip unseen. 
 
 A throb from my dear mother's heart — 
 My father's smile revived once more — 
 Oh, youth! oh, love! ph, hope! thou art 
 Sweet shamrock, from the Irish shore! 
 
 The Saviour's image sanctifies the ancestral hall, the closet and 
 bed-chamber; it is the subject for the exercise of the highest genius 
 in the imitative arts: it is worn next to the heart in life: it is held be- 
 fore the failing eyes in death. 
 
 The whole universe is a temple filled with the glorious presence 
 of the Deity. 
 
 Not always full of leaf, nor even spring; 
 Not endless night, nor yet eternal day, 
 The saddest birds a season find to sing; 
 The roughest storms a calm may soon allay. 
 Thus, with succeeding terms God tempereth all; 
 That man may hope to rise, yet fear to fall. 
 
 But ah! on sudden, Famine's breath brought direful desolation; 
 Whilst tyrants cast their cruel laws around the dying nation, 
 And spurn 'd the wasted, wither 'd poor, for help, for mercy crying, 
 The Saxons smiled with joy to hear that Celtic sons were dying. 
 
 O! grant that when again 
 
 A year has fled, 
 And 'mid the haunts of men 
 
 My time has sped, 
 My retrospective look 
 
 May not rebuke. 
 
36 Elements of Expression, Vocal and Physical. 
 
 Fairer the inward perfection of a soul which God has renewed, 
 than all the gorgeous but evanescent loveliness of earth's most lovely 
 scenes. 
 
 See! see! th' Eternal Hands 
 
 Put on her radiant crown, 
 And the sweet Majesty 
 
 Of mercy sitteth down, 
 Forever and forever 
 
 On her predest'n'd throne! 
 
 Softly woo away her breath, 
 
 Gentle Death! 
 Let her leave thee with no strife, 
 Tender, murmuring, mournful Life! 
 
 Every word has its own spirit — 
 True or false — that never dies; 
 Every word man's lips have uttered 
 Echoes in God's skies. 
 
 From vast Niagara's gurgling roar 
 
 To Sacramento's golden shore, 
 From east to western wave 
 
 The blended vows of millions rise, 
 Their voice re-echoes to the skies — 
 
 "The Union we must save!" 
 
 Serve, then, that King, immortal and so full of mercy, who will 
 value a sigh and a glass of water given in His name, more than all 
 others will ever do the effusion of all your blood; and begin to date 
 the time of your useful services from the day on which you shall 
 have given yourself to a master so beneficent. (Bossuef) 
 
 The Lord knows best; He gave us thirst for learning; 
 
 And deepest knowledge of his work betrays 
 
 No thirst left waterless. Shall our soul-yearning 
 
 Apart from all things be a quenchless blaze? (/. B. O'Reilly) 
 
Articulation. 37 
 
 Generosity, tenderness, and refinement of nature are especially 
 cherished by poesy; while the hardier virtues, courage, perseverance, 
 and self-sacrifice, the constituents of the heroic character, have at 
 all times been the great objects to which it directs our admiration. 
 
 Deny me wealth, far, far remove 
 
 The lure of power or name; 
 Hope thrives in straits, in weakness, love, 
 
 And faith, in this world's shame. 
 
 He beheld his wife and his infant weep for unknown joy: soon yield- 
 ing to an irresistible impulse, he fell at the foot of the cross, and mingled 
 torrents of tears with the regenerating waters that were poured upon 
 his head. 
 
 Has there been any form of government ever devised by man to 
 which the religion of Catholics has not been accommodated? 
 
 Man must not be permitted altogether to despise himself; lest, 
 believing, with the impious, that life is but a game in which hazard 
 reigns, he follow without rule and without guidance, the will of his 
 blind desires. 
 
 Lead kindly light, amid the encircling gloom 
 
 Lead thou me on! 
 The night is dark, and I am far from home; 
 
 Lead thou me on! 
 
 Ye heavens! from high the dewy nectar pour, 
 And in soft silence shed the kindly shower. 
 
 Rise! for the day is passing, 
 
 And you lie dreaming on; 
 
 The others have buckled their armour 
 
 And forth to fight are gone. 
 
38 Elements of Expression, Vocal and Physical. 
 
 O source of uncreated light, 
 The Father's promised Paraclete! 
 Thrice holy fount, thrice holy fire, 
 Our hearts with heavenly love inspire. 
 Come and thy sacred unction bring 
 To sanctify us while we sing. 
 
 Yet higher powers must think though they repine 
 When sun is set, the little stars will shine. 
 
 Vain are thy offerings, vain thy sighs 
 Without one gift divine 
 Give it my child, thy heart to me, 
 And it shall rest in mine! 
 
 The Catholic procession is the overflowing of religious joy beyond 
 the vessel that usually contains it. It is the mystical stream which 
 Ezechiel saw flowing from the Altar of the holy place, and issuing 
 abroad, through the temple gates; deepening and swelling, as it flows 
 along, till it becomes a mighty torrent, bounding forward in exultation, 
 and making a joyful noise as the sound of many waters. 
 
 He from thick films shall purge the visual ray, 
 And on the sightless eye-ball pour the day; 
 'TBs He th' obstructed paths of sound shall clear 
 And bid new music charm th' unfolding ear. 
 
 Why should I shiver beside the dim river 
 Which the feet of Christ have coasted? 
 For the angel of death can deliver 
 Grief-laden souls that are yearning to soar. 
 
 Oh! land of sorrows, Innisfail! the saddest, yet the fairest! 
 
 Though ever-fruitful are thy breasts — though green the garb thou 
 
 wearest, 
 |n vain thy children seek thy gifts, and fondly gather round thee; 
 They live as strangers midst thy vales since dark oppression bound thee. 
 
 {Rev. A. Bullet) 
 
Articulation. 39 
 
 What an awful state of mind must a man have attained, when he 
 can despise a mother's counsel! Her very name is identified with every 
 idea that can subdue the sternest mind; that can suggest the most 
 profound respect, the deepest and most heartfelt attachment, the most 
 unlimited obedience. 
 
 Humility is one of the most difficult of virtues, both to attain and 
 to ascertain. Ancient civilization had not the idea, and had no word 
 to express it; or rather, it had the idea, and considered it a defect of 
 mind, not a virtue, so that the word which denoted it conveyed a re- 
 proach. (Newman) 
 
 O, then, let thy magical fingers glide lightly, 
 
 The slumbering strings rouse to melody true, 
 
 And thy own gentle voice chime with every vibration 
 
 As on fragrant flowers falls the soft soothing dew. 
 
 (Rev. M. B. Brown) 
 
 Soar up my soul unto thy rest. 
 Cast off this loathsome load; 
 Long is the death of thine exile, 
 Too long thy strict abode. 
 
 The old proverb "Charity begins at home" so often quoted and so 
 little understood, means this: the first act of charity is like the expan- 
 sion of the circle in the water; it springs from its centre, it cannot 
 Overleap the intermediate space. Depend upon it, therefore, that if 
 our hearts conceive great thoughts of charity, and of some work at a 
 distance, while we are not doing the work of charity which lies at our 
 feet it is a mere illusion. 
 
 Still, still in those wilds may young liberty rally, 
 And send her strong shout Over mountain and valley; 
 The star of the west may yet rise in its glory, 
 And the land that was darkest, be brightest in story. 
 
40 Elements of Expression, Vocal and Physical. 
 
 In this sweet spot the loved are sleeping; 
 The sculptured angel pure as snow, 
 Is, like the living mourner, weeping 
 For those who rest in death below! 
 On the white marble fond affection, 
 Above the buried and the cold, 
 Hath traced — ah mournful retrospection! 
 Their praise in characters of gold. 
 
 Oh no, — not a heart that e'er knew him but mourns, 
 Deep, deep, o'er the grave, where such glory is shrined- 
 O 'er a monument fame will preserve, 'mong the urns 
 Of the wisest, the bravest, the best of mankind! 
 
 oo 
 
 Those hearts of ours — what fools! what fools! 
 
 How they laugh at wisdom her cant and rules! 
 
 How they waste their powers, and, when wasted, grieve 
 
 For what they have squandered but can not retrieve. 
 
 {Father Ryan) 
 
 Oh! well was it said, tho' the king rule the nation, 
 
 Tho' the making of laws to the statesman belongs, 
 
 Who reigns first, who reigns last in the hearts of creation 
 
 Is the god-given poet who maketh our songs. (E. C. Donnelly) 
 
 Are our hearts lighter for the roses bloom? 
 Or sad life fairer for their odorous breath? 
 Or tangled threads upon Fate's busy loom, 
 More deftly straightened by the hands of death? 
 
 (S. T. Smith) 
 
 o oo u 
 
 That mother viewed the scene of blood; 
 Her six unconquer'd sons were gone; 
 Fearless she viewed — beside her stood 
 Her last — her youngest — dearest one; 
 He looked upon her and he smiled; 
 
 
Articulation. 41 
 
 Oh! will she save that only child? 
 
 Her loyal subjects, low and high, 
 
 Full many a costly tribute bring; 
 
 The glories of her kingdom, I, 
 
 Her humble poet laureate sing. (E. J. McPhelip) 
 
 Trust not him thy bosom's weal, 
 
 A painted love alone revealing; 
 
 The show, without the lasting zeal; 
 
 The hollow voice, without the feeling. (Gerald Griffin) 
 
 I had a dream: yes: some one softly said; 
 
 "He's gone; and then a sigh went round the room. 
 
 And then I surely heard a priestly voice 
 
 Cry Subvenite; and they knelt in prayer." (Newman) 
 
 Judge not; the workings of his brain 
 And of his heart thou canst not see; 
 What looks to thy dim eyes a stain 
 In God's pure light may only be 
 A scar, brought from some well-won field, 
 Where thou wouldst only faint and yield. 
 
 Hours are golden links, God's token, 
 Reaching heaven; but one by One 
 Take them, lest the chain be broken 
 Ere the pilgrimage be done. 
 
 There's nothing dark, below, above, 
 But in its gloom I trace thy love, 
 And meekly wait that moment when 
 Thy touch shall turn all bright again. 
 
 Truth can understand error, but error cannot understand truth. 
 
 Another year — with tears and joys 
 
 To form an arch of love. 
 Another year to toil with hope 
 
 And seek for rest above: 
 
42 Elements of Expression, Vocal and Physical. 
 
 Another year winged on its way 
 
 Eternity the goal 
 Another year — peace in its train, 
 
 Peace to each parting soul. 
 
 It is a day to date from, when we first come to see, that the very 
 fact of God having created us is in itself a whole magnificent reve- 
 lation of eternal love, more safe to lean upon than what we behold, 
 more worthy of our trust than what we know, more utterly our own 
 than any other possession we can have. {Father Faber.) 
 
 01 oy 
 
 "Then ye tarry with me," cried the g} r psy in joy, 
 "And you make of my dwelling your home. 
 Many years have I prayed that the Israelite boy 
 (Blessed hope of the Gentiles) would come," 
 
 To leafless shrubs the flowering palms succeed, 
 
 The od'rous myrtle to the noisome weed. 
 
 The lambs with wolves shall graze the verdant mead, 
 
 And boys in flow'ry bands the tiger lead. {Pope) 
 
 While I, embroidering here with pleasant toil 
 
 My imaged traceries around my name, 
 
 This banner weave (in part from hostile spoil), 
 
 And pay my fealty to thy highest claim. {Cardinal Wiseman) 
 
 ou ow 
 
 A vacant hour is always the devil's hour. When time hangs 
 heavy, the wings of the spirit flap painfully and slow. Then it is 
 that a book is a strong tower, nay a very Church, with angels lurking 
 among the leaves, as if they were so many niches. 
 
 In the stillness of awe and wonder, a clear bold voice cried out, 
 from a group near the door: "Impious tyrant, dost thou not see that 
 a poor, blind Christian hath more power over life than thou or thy 
 cruel masters?" 
 
Articulation. 43 
 
 Away, away! our hearts are gay, 
 
 And free from care, by night and day, 
 
 Think not of summer pleasure; 
 
 The merry bells ring gayly out 
 
 Our lips keep time with song and shout 
 
 And laugh in happy measure. 
 
 The sea! the sea! the open sea! 
 
 The blue, the fresh, the ever free! 
 
 Without a mark, without a bound, 
 
 It runneth the earth's wide regions round, 
 
 It plays with the clouds; it mocks the skies; 
 
 Or like a cradled creature lies. 
 
 Ye fields of changeless green, 
 
 Cover' d with living streams and fadeless flowers, 
 
 Thou paradise serene, 
 
 Eternal joyful hours 
 
 My disembodied soul shall welcome in thy bowers. 
 
 May never was the month of love 
 
 For May is full of flowers 
 But April rather wet by kind, 
 
 For love is full of showers. (Robert Southwell) 
 
 From harmony, from heavenly harmony, 
 
 This universal frame began: 
 
 From harmony to harmony 
 
 Through all the compass of the notes it ran, 
 
 The diapason closing full in man. (Dryden.) 
 
 The spirit of the world can call to order sin which is not respectable. 
 It can propound wise maxims of public decency and inspire whole- 
 some regulations of police. Or, again, there it is, with high principles 
 on its lips, discussing the religious vocation of some youth, — while 
 it urges discreet delay — and more considerate submissiveness to those 
 who love him, and have natural rights to his obedience. (Father Faber) 
 
44 Elements of Expression, Vocal and Physical. 
 
 The pure, pale star of the autumn eve 
 Beams from the blue like an angel's eye, 
 And softly the wayward wavelets heave 
 And sink on the strand with a weary sigh! 
 
 Justice pales, truth fades, stars fall from heaven; 
 Human are the great whom we revere; 
 No true crown of honor can be given, 
 Till the wreath lies on a funeral bier. 
 
 Oh! His rest will be with you in the congress of the great, 
 
 Who are purified by sorrow, and are victors over fate; 
 
 Oh, God's rest will be with you, in the corridors of Fame, 
 
 Which were jubilant with welcome, when Death called out your name. 
 
 And hark! I hear a singing: yet in sooth, 
 I cannot of that music rightly say 
 Whether I hear or touch, or taste the tones. 
 O, what a heart-subduing melody! 
 
 There has not been a sound to-day 
 To break the calm of nature 
 Nor motion, I might almost say, 
 Of life or living creature. 
 
 League not with him in friendship's tie, 
 Whose selfish soul is bent on pleasure; 
 For he from joy to joy will fly, 
 As changes fancy's fickle measure. 
 
 Behold her, ye worldly! behold her, ye vain! 
 Who shrink from the pathway of virtue and pain 
 Who yield up to pleasure your nights and your days 
 Forgetful of service, forgetful of praise. {Gerald Griffin} 
 
Articulation. 45 
 
 For disciplining the organs, and for acquiring facility 
 in the distinct enunciation of difficult combinations, the 
 following exercises are invaluable. 
 bd, robb'd, sobb'd, mobb'd. 
 
 He was mobb'd by men whose doctrine was, " Might makes Right. " 
 bst, dubb'st, drubb'st. 
 
 Why dubb'st thou wise— a dullard? 
 biz, marbles, troubles, foibles. 
 
 The foibles of life tickle the sides of Mirth. 
 blst, tremb'lst, assemb'lst, enfeebl'st. 
 
 Thou enfeebl'st the cause by temporizing. 
 bid, mumbl'd, fumbl'd, humbl'd. 
 
 'Tis but the humbl'd plaint of pride. 
 bldst, nibbld'st, grabbld'st, dissembld'st. 
 
 Dissembld'st thou, or didst thou tell the truth? 
 bz, tubes, fobs, robes. 
 
 Oh robes of the rich and great! Your texture often dazzles and 
 
 bedims the eyes of justice! 
 dlst, meddl'st, handl'st, addl'st. 
 
 Thou meddl'st with all affairs, save thine own. 
 did, paddl'd, wheedl'd, fondl'd. 
 
 Many were the fools he wheedl'd. 
 didst, dwindl'dst, fondl'dst, kindl'dst. 
 
 Thou kindl'dst in the breast of youth a flame that ne'er will die. 
 dnd, glad'n'd, quick'n'd, slack'n'd. 
 
 The sweet whisperings of grace glad'n'd his heart and quick'n'd 
 
 his fervor. 
 dnz, burd'ns, lad'ns, gladd'ns. 
 
 Guilt burd'ns the mind. 
 dr, dream, drunk, drown, drizzle. 
 
 His dreams were all of fame and wealth — His life, devoid of both. 
 dst, would'st, drudg'ds't, hadst. 
 
 When thou didst hate him worst, thou lov'dst him better 
 
 Than ever thou lov'dst Cassius. 
 dth, width, breadth. 
 
 The breadth of the world will not satisfy ambition. 
 dths, hundredths, wreaths, breadths. 
 
 Six widths of one only equalled four breadths of the other. 
 
46 Elements of Expression, Vocai, and Physical. 
 
 dzh, allege, ledge, fledge. 
 
 Allege not reasons to which you give no credence yourself. 
 dzhd, privileg'd, enrag'd, gorg'd. 
 
 His barbarity could be gorg'd with blood alone. 
 fist, rifl'st, shuffl'st, muffl'st. 
 
 Thou shuffl'st in vain the cards of error: they always come forth 
 with the counterfeit value on their faces, and can only take the mean- 
 est tricks. 
 fldst, rifl'd'st, shuffl'd'st, muffl'd'st. 
 
 Thou rifl'd'st the homes of the weak and unprotected, and 
 count 'd'st it an honorable deed? 
 fnz y tough 'ns, puffins, deaf'ns. 
 
 The religion of Christ soft'ns the heart of the most barbarous 
 
 nation. 
 
 fnd, fright 'n'd, strenght'n'd, height 'n'd. 
 
 In vain that cause is strenght'n'd that has not justice for 
 its basis. 
 
 fts, handicrafts, drafts, rafts. 
 
 And lo! the crafts are mercilessly seized by hungry waves that 
 roar themselves hoarse with glee as they view the floating 
 timbers of the once united rafts. 
 
 fst, doff'st, scoff 'st, quaff 'st. 
 
 Vile slave! doff'st thou not thy fusty castor to the king, thy liege 
 lord and master? 
 
 ftst, ingraft 'st, draught 'st, waft'st. 
 
 O Patriotism, thou ingraft 'st upon the tree of liberty the scions 
 of religious toleration! 
 
 fths, fifty-fifths, twelfths. 
 
 Two fifths and seven twelfths=:fifty nine sixtieths. 
 gd, digg'd, shrugg'd, wagg'd. 
 
 Deep he digg'd into the stubborn earth until greeted by the glitter- 
 ing ore. 
 
 gdst, tugg'dst, lagg'dst. 
 
 Thou tugg'dst in vain with fortune; the hope of riches which thou 
 hugg'dst is illusory. 
 gld, strangl'd, spangl'd, wrangl'd. 
 
 The captive's hope was strangl'd by the stern demeanor of his 
 judge. 
 
 gist, tingl'st, inveigl'st, struggl'st. 
 
Articulation. 47 
 
 Thou struggl'st bravely with adversity and wilt not be overcome. 
 gldst, juggl'dst, jingl'dst, bungl'dst. 
 
 If thou bungl'dst this care 
 From thy office forbear. 
 
 gst, bring'st, sing'st, lagg'st. 
 
 O childhood! thou bring' st the most fragrant, unselfish, and ac- 
 ceptable offerings to the altar of friendship! 
 
 kid, tinkl'd, rankl'd, sparkl'd. 
 
 The tiny bells which sweetly tinkl'd, 
 Sweet thoughts of home evoked. 
 
 kldst, tinkl'dst, rankl'dst, sparkl'dst. 
 
 Thou, mercy, more brightly sparkl'dst in the royal diadem than 
 any precious stone. 
 klz, wrinkl's, trickl's, stickl's. 
 
 He stickl's for injustice more zealously than the champions of 
 truth for their cause. 
 
 klst y cackl'st, speekl'st, sprinkl'st. 
 
 Thou cackl'st, but unlike the cackling of the geese of Rome, thine 
 arouses — laughter. 
 
 knd, heark'nd, dark'nd, lik'nd. 
 
 He heark'nd to the voice of mourning, 
 And dried the tears of distress. 
 
 kndst, reck'nd'st, beck'nd'st, wak'nd'st. 
 
 Oh, Power! When thou beck'nd'st flattery and hypocrisy, arm 
 in arm, hasten to comply. 
 
 kst, text, ach'st, break'st. 
 
 Thou break'st the laws of heaven and of earth and yet thou talk'st 
 of harmony. Harmony begins to pine when estranged from 
 order. 
 
 Jets, erects, protects, cataracts. 
 
 He erects a monument, which never shall crumble, and which the 
 future shall not cease to admire, and whereon is written! — Spotless 
 
 Reputation. 
 ktst y lock'dst, peck'dst, hack'dst. 
 
 Thou lock'dst thy heart against the gentle knocks of grace and 
 now 'tis stony grown. 
 
 IdZy scolds, scalds, unfolds. 
 
 His life unfolds the inward peace and beauty of the just. 
 Idsty yield'st, mouldst, withhokTst. 
 
48 Elements of Expression, Vocal and Physical. 
 
 Yield 'st thou without a struggle to such a craven? 
 Imst, calm'st, embalm 'st, overwhermst. 
 
 Thou unwritten music of nature, calm'st the troubled heart and 
 burdened soul. 
 Ipsty gulp 'dst, help'dst, yelp 'dst. 
 
 O Charity! thou help'dst those who could not help themselves. 
 Iths, commonwealths, filths, healths. 
 
 The glory of commonwealths is bright honor and justice. 
 Itst, moult'st, revolt 'st, exalt'st. 
 
 Religion! thou exalt'st humanity to the skies. 
 Ivst, revolv'st, delv'st, absolv'st. 
 
 Delv'st thou in knowledge mines 
 With hopes of fame or wealth? 
 mdst, maim'dst, inflam'dst, defam'dst. 
 
 Thou maim'dst virtue when thou defam'dst R. D. — 
 
 mfs, nymphs, lymphs, triumphs. 
 
 The greatest triumphs are those silent, unpretentious ones o'er self. 
 
 mpst, bump'st, romp'st, damp'st. 
 
 Why damp'st thou youthful enthusiasm? 
 mst, proclaim'st, redeem 'st, bloom'st. 
 
 Thou proclaim'st thyself valiant thou white-livered braggart. 
 ndgst, sting' dst, prolong' dst, ring'dst. 
 
 With thy cruelty thou prolong 'dst warfare while peace was mourn- 
 ing and imploring for reunion. 
 ndzh, cringe, singe, expunge. 
 
 Cringe, cringe sycophants! beneath the glance of Power! 
 ndzhd, sing'd, aveng'd, estrang'd. 
 
 His manes aveng'd, he ceased commerce with mortals. 
 ntsht, munch 'd, pinch 'd, quench 'd. 
 
 He ne'er quench 'd his thirst at the Pierian spring. 
 nths, sixteenths, labyrinths, months. 
 
 Months are labyrinths of time. 
 ntst, print 'st, grunt 'st, haunt 'st. 
 
 Haunt 'st thou the editor with a still-born poem? 
 nz, rains, refrains, feigns. 
 It rains, it rains, 
 The sweet refrains 
 Of crystal drops on window panes, 
 My heart and soul enchains. 
 
Articulation. 49 
 
 pldst, sampl'dst, crumpl'dst, toppl'dst. 
 Thou easily toppl'dst Error's Monument. 
 
 plz, temples, dimples, ripples. 
 
 The buoyant ripples chased one another in glee and flirted with 
 the coquettish sunbeams that peeped through the gently-stirring 
 foliage of the tamarind. 
 
 plst, toppl'st, sampl'st, rippl'st. 
 
 Thrice thou sampl'st the hospitality of thine enemy and found it 
 generous and ample. 
 
 pt, hopp'd, kept, equipp'd. 
 
 Ye are all equipp'd? We are. Farewell then, Home! with the 
 charms, which make thee dear. 
 
 pts, adepts, precepts, excepts. 
 
 Adepts are rare, where diligence and persevering practice are rare. 
 rbdst, disturb' dst, absorb' dst, curb'dst. 
 
 Thou absorb 'dst attention, but the hearts of thy auditors remain 
 cold and clayey. 
 rdz, chords, rewards, girds. 
 
 The minor chords of humility breathe greater peace and joy than 
 the loftiest majors of exultation. 
 rdst, bombard 'st, retard 'st, disregard 'st. 
 
 Disregard 'st thou the ingenuous voice of friendship? 
 rdzh, purge, surcharge, scourge. 
 
 A scourge should be placed in every loyal American hand, to lash 
 the traitor around this Land of Liberty. 
 rktst, embark'dst, perk 'dst, smirk 'dst. 
 
 Thou embark'dst pilotless in a boundless sea. 
 rldst, twirl 'dst, purl 'dst, uncurl 'dst. 
 
 O Fate, thou uncurl 'dst the locks of time. 
 rmdsty harm 'dst, inform 'dst, alarm 'dst. 
 
 Thou harm 'dst not me by depriving me of life, the loss is all thine 
 own. 
 rndsty yearn 'dst, discern 'dst, suborn 'dst. 
 
 O youth, thou yearn 'dst for home — it is thy world! 
 rstSy bursts, worsts, thirsts. 
 
 The beacon of faith bursts through the doubtful darkness and 
 illumines the perilous way. 
 rtst, pervert 'st, depart 'st, convert 'st. 
 
 Depart 'st thou without a single word to cheer thee on the way? 
 
50 Elements of Expression, Vocal and Physical. 
 
 rvdst, observ'dst, starv'dst, subserv'dst. 
 
 Avarice thou starv'dst thyself for the sake of that which thou shalt 
 not enjoy. 
 
 rvst, starv'st, deserv'st, reserv'st. 
 
 Thou prudently reserv'st thy strength for the final onset. 
 sf, sphacel, sphex, spheral. 
 
 The spheric beauty of the dome evoked the admiration of all. 
 hr, shroud, shrivel, shrift. 
 
 The shroud may soon envelop the graceful form we praise. 
 skr, scrape, screed, scrimp. 
 
 He was such a scrimp that any screed against him would be justi- 
 fiable. 
 
 sks, basilisks, burlesques, masks. 
 
 Doggerel is best adapted to burlesques in poetry. 
 skst, bask'st, husk'st, ask'st. 
 
 Husk'st thou the golden ears? 
 slst, bustl'st, tussl'st, nestl'st. 
 
 Thou bustl'st around as officiously as a person who has know- 
 ledge for his guide. 
 snz y lessens, heightens, havens. 
 
 The havens of peace are nigh to the turbid waters of contention. 
 snst, moist 'n'st, height 'n'st, quick 'n'st. 
 
 Thou moist 'n'st the brow of suffering with tears of sympathy. 
 spSy wasps, wisps, cusps. 
 
 It is strange that wasps which feed on the sweets of flowers should 
 have such sour dispositions. 
 sts, breasts, outcasts, nests. 
 
 On the last day when the breasts of all shall be unburdened before 
 all, we shall know our friends. 
 stst, forecast 'st, persist 'st, overcast 'st. 
 
 Forecast 'st thou consquences in accordance with the dictates of 
 prudence? 
 ths, troths, drouths, wreaths. 
 
 Time hath not made one cycle ere their plighted troths were 
 broken. 
 thd, bequeath 'd, smooth' d, sheath' d. 
 
 He bequeath 'd his family that priceless inheritance — a noble ex- 
 ample, an unsullied name. 
 thz, scath's, swath's, tith's. 
 
Articulation. 5 1 
 
 He scath 's the memory of the man whom he feared when living. 
 thst, breath 'st, loath'st, smooth 'st. 
 
 Thou loath'st climbing and yet wouldst fain ascend? 
 tlst, whittl'st, battl'st, prattl'st. 
 
 Battl'st thou against fortune's decrees? 
 tldst, whittl'dst, battl'dst, prattl'dst. 
 
 Thou prattl'dst the drowsy hours away. 
 tsht, attach'd, sketch 'd, couch'd. 
 
 He that is attach'd truly to virtue's cause must be virtuous. 
 tshst, vouch 'dst, scorch' dst, search' dst. 
 
 Vouch 'dst thou for the character of X — ? Then thine own char- 
 acter needs a voucher. 
 vdst, engrav'dst, retriev'dst, behoov'dst. 
 
 Thou retriev'dst by thy kindness innumerable faults. 
 vlst, swivTst, lev'l'st, rev'l'st. 
 
 Thou rev'l'st while dear ones at home are weeping and starving. 
 viz, hovels, grovels, travels. 
 
 Visit hovels, and contemplate human misery. 
 vz, hives, groves, sleeves. 
 
 The groves are musical with living hives. 
 vst, improv'st, conniv'st, pav'st. 
 
 Thou improv'st thy mind and heart by closely observing the 
 beauties of nature. 
 znd, impris'n'd, reas'n'd, seas'n'd. 
 
 It is only the seas'n'd bark that may safely tempt the wave. 
 znz, treasons, mizzens, emblazons. 
 
 Treasons, treasons! brood of irreligion! 
 
 Although not strictly within the domain of articulation 
 we submit some remarks here on correct pronunciation, 
 that may be of aid to speakers. The student of oratory 
 should strive for an absolutely correct pronunciation. 
 
 Constantly consult the best dictionaries. If you make 
 lists of words that you ordinarily hear mispronounced and 
 frequently consult the list, and if you take the time to read 
 the authorities when you hear other speakers differ from 
 
52 Elements of Expression, Vocal and Physical. 
 
 your custom of pronouncing, you will soon avoid many 
 faults that are daily committed by even the educated 
 classes. 
 
 We insert here a few of the ordinary mistakes that have 
 come under our notice, in a short time, while associating 
 with otherwise educated and cultured friends. The use 
 of the short sound of a where the Italian a alone is permitted, 
 in such words as calf, half, palm, aunt, laugh, etc. The 
 use of oo sound for u in words like duke, news, duty, lute, 
 sue, tune, etc. It should never be pronounced like long 
 oo unless preceded by the sound of r, ch, sh, or zh, v. g., 
 brute, (the oo sound) as also in chew, azure, sure, etc. 
 Frequent mispronunciations of the short o are common ; v. 
 g., dawg for dog, off, often, soft, etc. 
 
 We do not ask the student of oratory to be overly fasti- 
 dious. Many who use this manual may appear in the 
 pulpit and we point out to them a greater authority than 
 our own in this matter. St. Paul says: "Let all things 
 be done decently and according to order." Incorrect 
 pronunciation is neither "decent nor according to order" 
 for it is as bad as incorrect grammar in the pulpit. Any 
 clergyman would be ashamed of the utterance of the sen- 
 tence: "The good angels done the holy will of God." Why 
 is this any less "decent or according to order" than the 
 saying of plenary for plenary, groat for grawt, heenyous 
 for haynous, Gethsemanee for Gethsemani, Jairus for 
 Jal"rus, a trisyllable, Dives for Dives, a dissyllable. Cyrene 
 is a word of three syllables accented on the second. 
 
 In contending for correctness of pronunciation we are 
 in good company, for we are joining hands with one of 
 the oldest and most scholarly magazines for clergymen, 
 The American Ecclesiastical Review, which admits very 
 extended articles on the subject into its valuable space. 
 A writer therein lately called attention to the bad ortho- 
 
Articulation. 53 
 
 epy of the clergy. He claims that many mistakes are made 
 in this commonplace sentence: "My dear brethren, it is 
 ordinarily a good plan for those who are conversant with 
 the Douay version of the Bible to read therein the ver- 
 nacular rendering of the introit, the epistle, and the gospeL 
 of each Sunday's mass." This sentence contains no un- 
 common words and yet five out of ten speakers will make a. 
 number of mistakes in pronunciation while rendering it«- 
 Our writer calls attention to the ordinary errors thus: 
 "Brethren" is a word of two syllables, with the accent on 
 the first, and with the vowel sound of short e (as in met) 
 in both; yet, who has not heard it pronounced "Bruthrun" 
 or " Breth-eren " ? "Ordinarily" has the primary accent 
 on the first, not the third syllable; "conversant" is also 
 accented on the first and "with" is not a rhyme for pith, 
 its th being vocal as in "breathe." "Douay" has the. 
 accent on the second syllable; the third vowel in "verna- 
 cular" is the modified long u, not short u or short T; "in- 
 troit" is a word of three syllables with the accent on the se- 
 cond; 
 
 "Though perhaps you don't know it, 
 
 Still the word is introit ;" 
 and finally the t in epistle is silent. 
 
 This very brief lesson on pronunciation is intended to 
 take away the self-assurance some have in themselves where 
 it is not at all justified. 
 
 IBB 
 
CHAPTER IV. 
 
 (Sesture 
 
 Probably the best definition of gesture ever given is that of 
 Delsarte: "Gesture is the manifestation of the being through 
 the activities of the body." Accepting this definition, we 
 acknowledge that Gesture should come in answer to the inward 
 impulse, or motive, and should be an outward expression of 
 that motive or emotion. 
 
 The student who would rest satisfied with mastering a 
 number of formal Gestures, expressive of different meanings 
 would utterly fail to grasp the correct idea of gesture. It is 
 such as he who bring odium on the art of Elocution by put- 
 ing on gestures instead of allowing them to flow from within. 
 A gesture put on is as inartistic as a purple patch on a pair 
 of jeans. The Gesture must portray some emotion existing 
 in the being. If the emotion within does not move the speak- 
 er to action, he is soulless and all the grace of a Roscius 
 would not make a good speaker of him. There is, no doubt, 
 such a thing as the cultivation of those emotions, those im- 
 pulses to action. The training of the soul in virtue, and of 
 the mind in the arts and sciences, tends to develop in man 
 keener perception and stronger emotions. The better our 
 lives are the quicker do we shrink from evil; the more thor- 
 ough our education is, the more easily do we distinguish be- 
 tween truth and falsehood. It may be noticed that artists, 
 owing to to their refined sensibilities, are more sensitive 
 
Gesture. 55 
 
 than others. They have unconsciously developed this sen- 
 sitive nature by close application to the niceties and fine 
 points of their art. 
 
 However the development of the emotions in man is not 
 the chief aim of elocution. Elocution is to teach the correct, 
 and therefore, the artistic portrayal of the emotions. 
 
 Professor Brown, in his ''Philosophy of Expression," 
 says: "A single caution should be whispered in the ear of 
 the earnest student of technical gesture. We put our 
 suggestions in two apothegms: I. Conscious technique 
 kills expression. II. A gesture put on is a grimace. It has 
 no art-expression." 
 
 N aturalness in gesture is only present when self is sup- 
 pressed and the inward emotion spurs us on to action. 
 Before you will be able to express the emotions of the soul 
 correctly, you must become as the child, without self-con- 
 sciousness. What is truer to nature, and at the same 
 time more graceful than the little child! It manifests 
 artlessly and, yet, artistically, the emotions it feels. We 
 will say, its mother is returning home. The little eyes 
 light up with interest, the face begins to smile, and the 
 whole impulse of the little body is forward to the loved 
 one. Here you have gesture and its correct sequence; 
 eye, face, arm, and posture of body. In applying our- 
 selves to the study of gesture, we should copy this model: 
 for here nature speaks untrammeled by art. He that is 
 always straining after effect, will lose in the impression he 
 would make. We must relax, not strain. We must learn 
 to suppress self, and let the inward emotion give the impulse 
 to action. 
 
 A course in the Relaxation of the different muscles of 
 the body is, therfore, highly necessary in order to fit us for 
 portraying the emotions. By Relaxation is meant the 
 taking of the will power away from the muscles and allowing 
 the limb to hang as if dead. We try by this means to 
 
56 Elements of Expression, Vocai, and Physical. 
 
 get rid of self-consciousness in the muscles, in order to let 
 nature take its place. In other words, it is the relaxation 
 of that tension which opposes natural grace of motion. 
 By practice of the exercises in relaxation given below, the 
 student will invigorate the muscles, and free the joints of 
 the body so that each part of it will be not only free, but 
 fitted to give the most exact response to the promptings of 
 the inner emotion. These exercises are based on the laws 
 laid down by Francois Delsarte, the great Catholic phi- 
 losopher of expression. We do not give all that might be 
 given; but exercises for the other muscles of the body will 
 suggest themslves to the earnest student. Be not back- 
 ward in practicing them, for relaxation, far from produ- 
 cing an artificial mode of expression, enhances it vastly 
 by giving the speaker a body fitted and eager to portray 
 the inmost emotions of the soul spontaneously and har- 
 moniously. Diligent practice of the following Exercises 
 will tend to remove all awkwardness. 
 
 Exercises in IRelaxation 
 %cge 
 
 Stand with weight of body on right foot. Withdraw 
 energy from the muscles of the left leg and swing it by 
 a rotary movement of the upper body. Change to left 
 foot and go through same motion with right. Practice 
 each of the movements given for about thirty seconds. 
 Energize from hip to knee-joint and raise the leg having 
 lower part relaxed, or decomposed. Drop the leg as if lifeless. 
 
 Zoxeo 
 
 Stand in Fourth Attitude. Withdraw energy from 
 the neck muscles and let the head drop to the breast. With- 
 
Gesture. 57 
 
 draw energy from the torso, or waist, and drop the trunk 
 forward as far as it will go. Swing the relaxed part in a 
 rotary motion, the energy coming from the lower limbs. 
 
 IRecfc 
 
 Decompose the neck and allow the head to drop for- 
 ward. Raise and allow it to drop as if lifeless to the right 
 and to the left sides and backward. By movements of 
 the body cause the head to rotate. You must be careful 
 not to carry the head to these different directions. Incline 
 the body that way and let the head drop to its place. 
 
 Hrms 
 
 Raise the arms from the side toward each other till the 
 fingers touch above the head. Withdraw will-power from 
 the muscles and allow them to drop. Raise the arms in 
 front and when the hands point to the zenith drop life- 
 lessly as before. De-energize arm from shoulder down, 
 and sway the body causing arm to swing loosely in all di- 
 rections. Raise arm from shoulder, bend elbow, causing 
 fore-arm to hang at right angle to upper arm, de-energize 
 fore-arm and shake up and down. 
 
 DanD anD THariat 
 
 Grasp the right hand firmly with the left, placing left- 
 thumb on palm of right hand and the fingers of left hand 
 on back of right. Decompose fingers of right hand and 
 shake vigorously with the left. Exercise the fingers of 
 left hand in the same manner. Withdraw the energy from 
 right hand and, with palm toward the floor, shake up and 
 down by means of the fore-arm muscles. Hold the hand 
 with the side to the floor. Shake on the wrist as before. 
 Hold it with the palm upward and shake. Put the left 
 hand through the same relaxing exercises. 
 
58 Elements of Expression, Vocal and Physical. 
 
 These exercises should be practiced daily, devoting about 
 fifteen minutes of each class hour to the purpose for a num- 
 ber of days, until the limbs and joints are under the perfect 
 control of the will. Then the outward expression of the 
 different emotions will be ready to be artistically produced. 
 It will no longer be mechanical expression, but nature 
 speaking through the unobstructed channels of action. 
 This is true art in oratory as defined by the great American, 
 Daniel Webster, when speaking of the eloquence of action: 
 ''It comes, if it come at all, like the outbreaking of a foun- 
 tain from the earth, or the bursting forth of volcanic fires, 
 with spontaneous, original, native force." 
 
 11 1 
 
CHAPTER V. 
 
 ffovce 
 
 Force is the degree of power used in the production of tone. 
 Stress is the application of force. 
 
 Every-day experience shows that different sentiments 
 require a different use of Force. Dr. Rush, in his admirable 
 work on the human voice, speaking on this matter, says: 
 "Secrecy muffles itself against discovery by a whisper; 
 and doubt, while leaning toward a positive declaration, 
 cunningly subdues his voice, that the impression of his 
 possible error may be least exciting and durable. Cer- 
 tainty, on the other hand, in the confident desire to be 
 heard, is positive, distinct, and forcible. Anger declares 
 itself with energy, because its charges and denials are made 
 with a wide appeal, and in its own sincerity of conviction. 
 A like degree of force is employed for passions congenial 
 with anger; as hate, ferocity, revenge. All thoughts un- 
 becoming or disgraceful, smother the voice, with a desire 
 to conceal even the voluntary utterance of them. Joy 
 calls aloud for companionship in the overflowing charity 
 of its satisfaction. Bodily pain, fear and terror, are also 
 forcible in their expression; with the double intention, of 
 summoning relief, and repelling the offending cause when 
 it is a sentient being." 
 
 In treating of Force, we must consider first, the mode of 
 exerting it, or Form, and second, the amount of force which 
 we employ, or Degree. 
 
60 Elements of Expression, Vocal and Physical. 
 
 JForm 
 
 The form of force may be Effusive, Expulsive, or Ex- 
 plosive. 
 
 The Effusive Form manifests itself by a smooth flow of 
 sound, avoiding all abrupt and sudden utterance. As an 
 example from nature we adduce the moaning of the wind. 
 
 It is principally used in giving expression to pathos, 
 awe, reverence, repose. 
 
 EXAMPLES 
 
 Xincoln's Xetter to a /Bbotber 
 
 Executive Mansion, 
 Washington, Nov., 21, 1864. 
 To Mrs. Bixby, Boston, Mass. 
 Dear Madam: 
 
 I have been shown in the files of the War Department a statement 
 of the Adjutant General of Massachusetts that you are the mother of 
 five sons who have died gloriously on the field of battle. I feel how 
 weak and fruitless must be any word of mine which should attempt 
 to beguile you from the grief of a loss so overwhelming. But I can- 
 not refrain from tendering you the consolation that may be found 
 in the thanks of the republic they died to save. I pray that our Hea- 
 venly Father may assuage the anguish of your bereavement, and leave 
 you only the cherished memory of the loved and lost, and the solemn 
 pride that must be yours to have laid so costly a sacrifice upon the 
 altar of freedom. 
 
 Yours very sincerely and respectfully, 
 
 A. Lincoln 
 
 From XLbe Xost Cboro 
 
 I do not know what I was playing, 
 Or what I was dreaming then; 
 But I struck one chord of music; 
 Like the sound of a great Amen. 
 
 I have sought, but I seek it vainly, 
 That one lost chord divine, 
 Which came from the soul of the organ, 
 And entered into mine. 
 
Force. 6i 
 
 It may be that Death's bright angel 
 
 Will speak in that chord again, 
 
 It may be that only in Heaven 
 
 I shall hear that grand Amen. (A. A. Procter) 
 
 From *>amlet Act III. 
 
 To be, or not to be, — that is the question: 
 Whether 'tis 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 them. (Shakespeare) 
 
 From Ht peace 
 
 Clasp close the wearied hands, O Rest! 
 Poor hands, so thin and feeble grown 
 With all the task which they have done; 
 Now they are finished, everyone. 
 
 O happy Rest, 
 Fold them at last from laboring, 
 In quiet on the quiet breast, 
 
 O Rest, sweet Rest! 
 Press close unto her heart, O Death! 
 So close, not any pulse may stir 
 The garments of her sepulchre; 
 Lo, life hath been so sad to her! 
 
 O kindest Death, 
 Within thy safest sheltering 
 Nor pain nor sorrow entereth — 
 
 O Death, sweet Death! (Ina Coolbrith) 
 
 The Expulsive Form of voice is that in which the sound 
 is emitted as in conversation, not smooth-flowing but sud- 
 denly and quickly. In nature the expulsive sound is heard 
 in the gurgling waters of a brook passing over some slight 
 obstructions or in the chattering of a flock of birds. It 
 is a median between the effusive and the explosive, and 
 hence we find it used in all ordinary speech, such as de- 
 scriptive and colloquial language. 
 
62 Elements of Expression, Vocal and Physical. 
 
 EXAMPLES 
 From ©tbellO Act II. 
 
 Iago. What, are you hurt, lieutenant? 
 
 Cassio. Ay, past all surgery. 
 
 Iago. Many, heaven forbid! 
 
 Cas. Reputation, reputation, reputation! O! I have lost my repu- 
 tation. I have lost the immortal part of myself, and what remains 
 is bestial. — My reputation, Iago, my reputation! 
 
 Iago. As I am an honest man, I thought you had received some 
 bodily wound; there is more offence in that, than in reputation. Re- 
 putation is an idle and most false imposition, oft got without merit, 
 and lost without deserving; you have lost no reputation at all, unless 
 you repute yourself such a loser. What, man! there are ways to re- 
 cover the general again; you are but now cast in his mood, a punish- 
 ment more in policy than in malice; even so as one would beat his 
 offenceless dog, to affright an imperious lion. Sue to him again, and 
 and he's yours. (Shakespeare) 
 
 From Gbe 2Hrm£ of tbe XorD 
 
 Where sin and crime are dwelling, hid from the light of day, 
 
 And life and hope are failing at Death's cold touch away, 
 
 Where dying eyes in horror see the long forgotten past; 
 
 Christ's servants claim the sinner, and gain his soul at last. 
 
 Where the rich and proud and mighty God's message would defy 
 
 In warning and reproof His anointed ones stand by; 
 
 Bright are the crowns of glory God keeepeth for His own, 
 
 Their life one sigh for heaven, their aim His will alone. (A. A. Procter) 
 
 From tbamlet Act III. 
 
 Speak the speech, I pray you, as I pronounced it to you, trip- 
 pingly on the tongue; but if you mouth it, as many of your players 
 do, I had as lief the town-crier spoke my lines. Nor do not saw the 
 air too much with your hand, thus: but use all gently: for in the very 
 torrent, tempest, and (as I might say) whirlwind of passion, you must 
 acquire and beget a temperance, that may give it smoothness. O! 
 it offends me to the soul, to hear a robustious periwig-pated fellow 
 tear a passion to tatters, to very rags, to split the ears of the ground- 
 lings; who, for the most part, are capable of nothing but inexplicable 
 
Force. 63 
 
 dumb shows and noise; I would have such a fellow whipped for o'er 
 doing Termagant; it out-herods Herod; pray you avoid it. — 
 
 {Shakespeare) 
 
 From Cbe Jla^ anD tbe Cross 
 
 Lift up the flag, yes, set it high beside yon gleaming Cross, 
 
 Close to the standard of the cause that never shall know loss. 
 
 Lift praising voice, lift pleading hand, the world must hear and see 
 
 The soldiers of the Cross of Christ most loyal, dear flag, to thee. 
 
 But wherefore speak of loyalty? Who fears a watching world? 
 
 When have we flinched or fled from thee since first thou wert unfurled? 
 
 Carroll and Moylan spoke for us, and Barry on the seas, 
 
 And a third of thy sturdy cradle guard — no Arnold among these. 
 
 And yet they call us Aliens, and yet they doubt our faith — 
 
 The men who stood not with our hosts when test of faith was death: 
 
 Who never shed a drop of blood when ours was shed like rain, 
 
 That not a star should fall from thee nor thy great glory wane. 
 
 {Eleanor 0' Grady) 
 
 The Explosive Form is illustrated in nature by the boom 
 of a cannon, the clang of the smith's hammer and the 
 clapping of hands. In this form of voice the sound is emit- 
 ted with great abruptness. It is most commonly used to 
 express extreme joy, hate, defiance, anger, terror. 
 
 EXAMPLES 
 
 Hail, St. Gabriel! hail! a thousand hails 
 For thine whose music still prevails 
 In the world's listening ear! 
 Angelic Word! send forth to tell 
 How the Eternal Word should dwell 
 Amid His creatures here! {Father Faber) 
 
 From Zbe prince's progress 
 
 "Up, up," called the watchman lark, 
 In his clear reveille; "Hearken, O hark! 
 Press to the high goal, fly to the mark. 
 
 Up, O sluggard, new mom is born; 
 If still asleep when the night falls dark. 
 
€4 Elements of Expression, Vocal and Physical. 
 
 Thou must wait a second morn. 
 "Up, up, up," sad glad voices swelled: 
 * "So the tree falls and lies as it's felled. 
 
 Be thy hand loosed, O sleeper, long held 
 In sweet sleep whose end is not sweet." (C. G. Rossetti) 
 
 From /Hbercbant of IDentce Act III. 
 
 Shylock. How now, Tubal? what news from Genoa? hast thou, 
 found my daughter? 
 
 Tubal. I oft came where I did hear of her, but cannot find her. 
 
 Shy. Why there, there, there, there! a diamond gone, cost me 
 two thousand ducats in Frankfort. — No ill luck stirring, but what 
 light's o' my shoulders: no sighs but o' my breathing; no tears but 
 o' my sheddding. 
 
 Tub. Yes, other men have ill luck too. Antonio, as I heard in 
 Genoa — 
 
 Shy. What, what, what? ill luck? 
 
 Tub. — hath an argosy cast away coming from Tripolis? 
 
 Shy. I thank God! I thank God! Is it true? is it true? 
 
 Tub. I spoke with some of the sailors that escaped the wreck. 
 
 Shy. I thank thee, good Tubal. — Good news, good news! ha! ha! 
 
 (Shakespeare) 
 
 From ©tbellO Act I. 
 
 Othello. Holla! stand there! 
 
 Roderigo. Signor, it is the Moor. 
 
 Brabantio. Down with him, thief! 
 
 Oth. Keep up your bright swords, for the dew will rust them.- — 
 Good signor, you shall more command with years than with your 
 weapons. (Shakespeare) 
 
 2)egree 
 
 Degree, for practical purposes, may be divided into 
 Subdued, Moderate, Energetic, Impassioned. 
 
 Peaceful, sad, and tender emotions are correctly ren- 
 dered in the Subdued Force. 
 
Force 65 
 
 EXAMPLES 
 From Zbe GbirO Dolor 
 
 Three days she seeks her child in vain; 
 He Who vouchsafes that holy woe 
 And makes the gates -of glory pain, 
 He, He alone its depths can know. 
 
 She wears the garment He must wear, 
 She tastes His Chalice! From a cross 
 Unseen she cries, Where art thou, where? 
 Why hast thou me forsaken thus? 
 
 With feebler hand she touches first 
 That sharpest thorn in all His Crown 
 Worse than the Nails, the Reed, the Thirst, 
 Seeming Desertion's icy frown. {Aubrey Be Vere.) 
 
 From Gbe (Stave 
 
 The Grave, it is deep and soundless, 
 And canopied over with clouds; 
 And trackless and dim and boundless 
 Is the Unknown Land that it shrouds. 
 
 Yet everywhere else shall mortals 
 For peace unavailingly roam: 
 Except through the Shadowy Portals 
 Goeth none to his genuine home! 
 
 And the heart that Tempest and Sorrow 
 
 Have beaten against for years, 
 
 Must look for a sunnier morrow 
 
 Beyond this Temple of Tears. (J. C. Mangan) 
 
 From fn /ifcemotE of 1foie ffrieuO 
 
 A shadow slept folded in vestments, 
 
 The dream of a smile on his face, 
 
 Dim, soft as the gleam after sunset 
 
 That hangs like a halo of grace, 
 
 Where the daylight hath died in the valley, 
 
 And the twilight hath taken its place — 
 
66 Elements of Expression, Vocal and Physical. 
 
 A shadow! but still on the mortal 
 
 There rested the tremulous trace 
 
 Of the joy of a spirit immortal, 
 
 Passed up to its God in His grace. 
 
 A shadow! hast seen in the summer 
 
 A cloud wear the smile of the sun ? 
 
 On the shadow of death there is flashing 
 
 The glory of noble deeds done: 
 
 On the face of the dead there is glowing 
 
 The light of a holy race run; 
 
 And the smile of the face is reflecting, 
 
 The gleam of the crown he has won. {Father Ryan) 
 
 From Soutb Sea ITD^Ie 
 
 I shall never see little Joe again, with his pitiful face, growing grad- 
 ually as dreadful as a cobra's, and almost as fascinating in its hid- 
 eousness. I waited, a little way off in the darkness, waited and 
 listened, till the last song was ended, and I knew he would be looking 
 for me to say good night. But he did not find me, and he will never 
 again find me in this life, for I left him sitting in the dark door of his 
 sepulchre — sitting and singing in the mouth of his grave — clothed 
 all in Death. {Charles W. Stoddard) 
 
 The Moderate differs only in a slight degree from the 
 Subdued. It is commonly used in conversation and un- 
 excited speech. 
 
 EXAMPLES 
 From Julius Ceasar 
 
 Brutus. Sheathe your dagger. 
 
 Be angry when you will, it shall have scope; 
 Do what you will, dishonor shall be humor. 
 O Cassius! you are yoked with a lamb, 
 That carries anger as the flint bears fire, 
 Who, much enforced, shows a hasty spark, 
 And straight is cold again. {Shakespeare) 
 
 From Down at Gaiton'6 
 
 Things great and grand must be left unto that day when the poet, 
 untrammelled by worldly care, shall write his heart's dream. If the 
 
Force 67 
 
 time ever comes, the poet learns in sorrow that his dreams will never 
 float into human speech, for the hand has lost its cunning. So the days 
 of youth and manhood pass, blowing bubbles or decorating platitudes. 
 Death snatches the poetling, and oblivion is his coverlid, The song 
 he sang died with the rabble. The new generation asked for a poet 
 that could drill into the human heart and bring forth its secrets — a 
 listener to nature, her interpreter to man. (Walter Lecky) 
 
 From XLbc (3arfcen £bat 1f %ox>e 
 
 I have no desire to invent anything, but only to preserve and 
 perpetuate those things which have long been found good. The 
 society of days gone by is the most friendly and congenial of all forms 
 of companionship, for one peoples and composes it according to the 
 humour of one's imagination. I have never been able to understand 
 why, seeing that one's mother is the most sacred of all human figures, 
 people's grandmothers should have become a theme for poor and pro- 
 fane wit. Grandmothers, great-grandmothers, great-great-grandmoth- 
 ers, I know, and delight in knowing, had sat in the ingle-nooks of 
 what I that day resolved should be my home: all comely, all with 
 spotless lace caps and cuffs and 'kerchiefs, all kindly, all deferred to, 
 all the real guardian angels of the place. (Alfred Austin) 
 
 The Energetic is used in patriotic, bold and grand senti- 
 timents. 
 
 EXAMPLE vS 
 From Iking Hear Act IV. 
 
 Edgar. Draw thy sword; 
 That if my speech offend a noble heart 
 Thy arm might do thee justice: here is mine. 
 Behold it is the privilege of mine honours, 
 My oath, and my profession: I protest, — 
 Maugre thy strength, youth, place, and eminence, 
 Despite thy victor sword, and fire-new fortune, 
 Thy valor and thy heart, — thou art a traitor; 
 False to thy gods, thy brother, and thy father; 
 Conspirant 'gainst this high illustrious prince; 
 And from the extremest upward of thy head, 
 To the descent and dust beneath thy feet, 
 A most toad-spotted traitor. Say thou, No, 
 This sword, this arm, and my best spirits, are bent 
 
68 Elements of Expression, Vocal and Physical. 
 
 To prove upon thy heart, whereto I speak, 
 Thou liest. {Shakespeare) 
 
 From Zhc ITrtsb Disturbance JBtll 
 
 If ever I doubted before of the success of our agitation for repeal 
 this bill, this infamous bill, the way it has been received by the House, 
 the manner in which its opponents have been treated, the personalities 
 to which they have been subjected, the yells with which one of them 
 has this night been greeted — all these things dissipate my doubts, 
 and tell me of its complete and early triumph. Do you think those 
 yells will be forgotten? Do you suppose their echo will not reach 
 the plains of my injured and insulted country; that they will not be 
 whispered in her green valleys, and heard from her lofty hills? Oh! 
 they will be heard there! Yes and they will not be forgotten. The 
 youth of Ireland will bound with indignation; they will say, "We are 
 eight millions; and you treat us thus, as though we were no more to 
 your country than the isle of Guernsey or of Jersey! (D. O'Connell) 
 
 From 2Hn HDDreee to tbe American Catboltc Congress 
 
 The shadow of an imposing event begins to move. The people 
 of the United States and of the hemisphere are about to celebrate 
 the four hundredth anniversary of the discovery of America. We 
 heartily rejoice in this resolve. That tremendous event, that with 
 reverence I may call the second creation, the finding of a new world, 
 and the vast results that have flowed to humanity, can be traced di- 
 rectly to the Catholic Church and the Roman Catholic Church alone. 
 Protestantism was unknown when America was discovered. Let the 
 students and the scholars search the archives of Spain, and the li- 
 braries of Europe, and the deeper the search the more glory will adorn 
 the brow of Catholicity. It was a pious Catholic who conceived the 
 mighty thought. It was when foot-sore and down-hearted at the 
 porch of a monastery that hope dawned on him. It was a monk 
 who first encouraged him. It was a Cardinal who interceded with the 
 sovereigns of Spain. It was a Catholic King who fitted out the ships. 
 It was a Catholic Queen who offered her jewels as a pledge. It was 
 the Catholic Columbus and a Catholic crew that sailed out upon an 
 unknown sea where ship had never sailed before. It was to spread 
 the Catholic faith that the sublime risk was run. It was the prayer 
 to the Blessed Mother that each night closed the perils of the day and 
 inspired the hopes of the morrow. It was the Holy Cross, the emblem 
 of Catholicity, that was carried to the shore and planted on the new- 
 
Force. 6q 
 
 found world. It was the Sacrifice of the Mass that was the first, 
 and for a hundred years, the only Christian offering upon this virgin 
 land. (Daniel Dougherty) 
 
 The greatest degree of force, the Impassioned, is used 
 in extremes of vehemence, terror, and the fiercer passions; 
 also in calling or shouting. 
 
 EXAMPLES 
 
 From 5ultus Caesar Act I. 
 
 And do you now put on your best attire? 
 
 And do you now cull out a holiday? 
 
 And do you now strew flowers in his way 
 
 That comes in triumph over Pompey's blood? 
 
 Be gone! 
 
 Run to your houses, fall upon your knees, 
 
 Pray to the gods to intermit the plague 
 
 That needs must light on this ingratitude. {Shakespeare) 
 
 From /Iftercbant of Venice Act III. 
 
 I'll have my bond; I will not hear thee speak: 
 
 I'll have my bond, and therefore speak no more. 
 
 I'll not be made a soft and dull-eye'd fool, 
 
 To shake the head, relent, and sigh, and yield 
 
 To Christian intercessors. Follow not; 
 
 I'll have no speaking: I will have my bond. (Shakespeare) 
 
 From /Ifoacbetb Act III. 
 
 Avaunt! and quit my sight. Let the earth hide thee! 
 
 Thy bones are marrowless, thy blood is cold; 
 
 Thou hast no speculation in those eyes, 
 
 Which thou dost glare with. (Shakespeare) 
 
 From Gbe IfoiDfcen (Sem Act I. 
 
 Bibulus. Farewell, sycophant! farewell, indeed? No, not yet. — 
 There shall be moaning over death in this house before / go to en- 
 
7o Elements of Expression, Vocal and Physical. 
 
 counter it. After this cruel doom, who will blame me if I seek to escape 
 it? — Yet there again comes the question who is doing this? Proculus. 
 Then ought not my vengeance to fall on him? 
 
 Warily, calmly — let us weigh this. {Cardinal Wiseman) 
 
 Force must be applied judiciously. The use of great 
 force, in a small auditorium, would indicate a poor speaker, 
 for above all, a speaker should be a man of culture and 
 only a boor would try " to split the ears of the groundlings. " 
 Nothing so bespeaks the tyro as impassioned force used 
 injudiciously. The common conversational pitch is the 
 tone to build from. In a large hall, care must be taken 
 that sentences spoken in subdued force are audible to the 
 entire audience. In this matter, there may be three dif- 
 ficulties to overcome. First, the size of the hall, second, 
 the defective acoustics, and third, the presence of a large 
 audience. In any of these three cases an increase of force 
 is necessar}^. Besides this, you may aid yourself greatly 
 by speaking more slowly and articulating more distinctly. 
 Never allow the pitch of voice to increase to a shout, unless 
 some particulai passage demands it. Speak to those that are 
 farthest from you. In this way the sound will be projected, 
 and by not shouting you will avoid disgusting those closest 
 to you. A person adapting his force to the surroundings 
 can pronounce the scrongest of invectives in a parlor with- 
 out offending any one. A rule of judging as to whether 
 one is using sufficient force is to watch those farthest from 
 you. If you see them lean forward, the hand to the ear, 
 it is significant language. The force, or the pitch, or better 
 still the articulation needs more care. 
 
 Another tendency to error in force, which you must 
 avoid, is imitation. Do not think that because some 
 ideal of yours brings out a passage in thunder tones, that 
 you must do the same or fail entirely. Your voice may 
 be inadequate to the effort. Ape no man. Use your own 
 
Force. 71 
 
 scale; bestow your force, so that there is a reserve power 
 left to you, and he content. The most vociferous is by no 
 means the best or the most appreciated. Everyone is ac- 
 quainted with the fact that the empty wagon rumbles most. 
 In order to strengthen your force so that you may be 
 heard well in any ordinary assembly, practice daily in the 
 middle pitch, on some energetic passages. Avoid rasping 
 sounds, use the pure tone, and be careful not to rise in pitch. 
 Strengthening the foundation, the middle pitch, will streng- 
 then your voice along the whole range. 
 
 GENERAL EXAMPLES 
 From Gbe Giant TRaft 
 
 "I will tell you nothing," returned Torres: "Joam Dacosta de- 
 clined my propositions! He refused to admit me into his family! 
 Well! now that his secret is known, now that he is a prisoner, it is I 
 who refuse to enter his family, the family of a thief, of a murderer, of a 
 condemned felon, for whom the gallows now waits ! ' ' 
 
 "Scoundrel!" exclaimed Benito, who drew his manchetta from 
 his belt and put himself in position. 
 
 Manoel and Fragoso, by a similar movement, quickly drew their 
 weapons. 
 
 "Three against one!" said Torres. 
 
 "Xo! one against one!" answered Benito. 
 
 "Really! I should have thought an assassination would have bet- 
 ter suited an assassine's son!" 
 
 "Torres!" exclaimed Benito, "defend yourself, or I will kill you 
 like a mad dog!" 
 
 "Mad! so be it!" answered Torres, "but I bite. Benito Dacosta, 
 and beware of the wounds!" (Jules Verne.) 
 
 From Cbe Cross an£ tbe Crescent 
 
 Brave Tancred! thy courage will win thee success — 
 The hopeful in spirit sweet heaven will bless; 
 The Christian shall triumph the cross shall prevail. 
 God wills it! God wills it! His words cannot fail. 
 
72 Elements of Expression, Vocal and Physical. 
 
 He wills the blest triumph of right over wrong, 
 He wills that the just in the strife shall be strong; 
 Though the clouds may be dark, yet His light can shine 
 through — 
 
 God wills it! God wills it! His promise is true! 
 'Tis to chasten, to humble, He sendeth delay — 
 Though the journey be long, shall we faint by the way? 
 No! onward and upward, with hearts strong and pure! 
 God wills it! God wills it! His word shall endure! 
 
 {Harriet M. Skidmore) 
 
 From H /Hbotber's Sacrifice 
 
 "Think of these things when you remember my perfidy, but more 
 than all" — his voice sank to a deep, low tender tone, as if the swell 
 of feelings which had grown with every word, had obtained now com- 
 plete mastery — "remember it was a woman's holy pleadings with 
 another — her devotion, so like Heaven's own love in its pure dis- 
 interestedness; her unswerving loyalty to the teachings of her faith; 
 her complete sacrifice of self, which brought to me at last the strength 
 to do right; — that caused desperate struggles in my soul, that fre- 
 quently made a confession spring to my very lips, and that brought 
 back the memory of my mother, and the religious practices of my 
 childhood as they had been brought back never before. 
 
 "In my future of voluntary penance, the thought that you both 
 have fully pardoned, have even perchance sometimes kind memories 
 of me, will be a nucleus about which to gather the prayers and deeds 
 of the remainder of my life." (Christine Faber) 
 
 From Gallieta 
 
 "My dear uncle," said Agellius, "I give you my solemn word 
 that the people whom you so detest do pray for the welfare of the 
 imperial power continually, as a matter of duty and as a matter of 
 interest." 
 
 "Pray! pray! fudge and nonsense!" cried Jucundus, almost mimick- 
 ing him in his indignation; "pray! who thanks you for your prayers? 
 what's the good of prayers? Prayers indeed! ha, ha! A little loyalty 
 is worth all the praying in the world. I'll tell you what, Agellius; 
 you are, I am sorry to say it, you are hand and glove with a set of 
 traitors, who shall and will be smoked out like a nest of wasps. You 
 don't know; you are not in the secret, nor the wretched slave, poor 
 
Force. 73 
 
 beast, who was pulled to pieces yesterday at the Flamen's, nor a multi- 
 tude of other idiots. But, d'ye see," and he chucked up his head 
 significantly, " there are puppets and there are wires. Few know 
 what is going on. They won't have done (unless we put them down; 
 but we will) till they have toppled down the state. But Rome will 
 put them down. {Newman) 
 
 From 1Rosemat£ 
 
 "Rose? "•he said at last in a deep and awful whisper. 
 
 She was not prepared for his speaking. She knew that he had 
 not spoken for months. She drew near and took his hand, saying; 
 "Grandpapa!" 
 
 "Has a spirit such soft hands?" said grandpapa tremulously. 
 
 "It is not a spirit — it is your Rosemary herself," said the girl in 
 a soothing voice; and bending down kissed him. 
 
 "Stand back — stand in the light!" said grandpapa, rising on 
 one elbow with astonishing vigor, "You were to have been married?" 
 he said, glancing at her dress. "Have you just risen from the grave? 
 Did you lie six months in that gloomy vault? Once I heard your 
 voice there. Is this too a strong hallucination?" 
 
 The old man sank back on his pillow and gazed at her wildly: — 
 "Phantom! Begone!" — in a terrible voice. 
 
 "It is I. your very Rosemary" said the girl. "It was my voice 
 you heard in the vault, dear grandpapa." (/. V. Huntington) 
 
 From Zbe /Hbercbant of Antwerp 
 
 "Ah! dear Papa. The happy time has come! See the young 
 peas are already in flower. You love them so much! The first are 
 for you. They will be ready to eat in a few days. Then new potatoes 
 will soon follow. New potatoes, green peas, fresh butter — what a 
 feast it will be. How kind it is in our good Lord, papa, to make the 
 first fruits of earth, which are given to rich and poor, so delicious." 
 
 These artless remarks of his child's gentle voice touched the old 
 man, and restored quiet and reason for a time to his mind. 
 
 He stopped, took his daughter's hands, looked into her eyes, and 
 said gravely: 
 
 "How pure your heart is, how sincere your love! You watch 
 over your father's troubled spirit like a guardian angel. You sacrifice 
 for him not only your inclinations, but your youth, your future, your 
 life. Yes, I know it. It is not always within. — Alas! I am powerless, 
 fortune has deserted me; but this is nothing, Felicite. 
 
74 Elements of Expression, Vocal and Physical. 
 
 There is one in heaven who pays the debts of fathers to children. 
 Yes, yes my noble and generous child, believe your father's words: 
 some day, you will be happy; for God is just and forgets nothing!" 
 
 (H. Conscience) 
 
 From Zbe Confederate Chieftains 
 
 "Chieftain of Uriel," said he, "be not cast down with mournful 
 recollections — there is still hope for your brother, and even were there 
 none, you have cause to rejoice in that the first sacrifice of propiti- 
 ation was demanded and accepted from your noble and ever faithful 
 house." 
 
 "Alas! Colonel," replied the chief sadly, "you speak as one who 
 never had a brother — you know not, cannot know how I loved that 
 light-hearted brother of mine, and oh God! to think what torments 
 he hath undergone since last mine eyes beheld him — had he fallen 
 in honorable warfare, ay! though it were but in the Spanish wars, me- 
 thinks I could resign him into the hands of Providence without a sigh, 
 but this living death to which he is doomed — nay, talk not to me of 
 being resigned, — I can not, will not be resigned while my brother 
 languishes in a noisome vault of Dublin Castle. Oh! the heavy, 
 heavy sorrow." 
 
 "Heavy it may be, Art," said the princely O'Rourke with a deep- 
 drawn sigh, "but — but the load is not all your own to carry — others 
 have had brothers — oh, how dear! and lost them, too, since this war 
 began." (Mrs. J. Sadlier) 
 
CHAPTER VI. 
 
 Belsarte's Xawe of (Sesture- 
 
 Having familiarized ourselves in previous chapters, with 
 the bodily agents of expression, we proceed to the laws 
 governing them. We give the Laws of Delsarte on the 
 subject. 
 
 Xaw ot Succession 
 
 " Let your attitude, gesture, and face foretell what you 
 would make felt." 
 
 In other words, facial expression and gesture should 
 precede speech. The expression begins at the eye, commu- 
 nicates itself to the face, and then passes to the rest of the 
 body, successively throwing into motion each articulation 
 as it passes down. For instance, along the arm it would 
 start with the shoulder and upper arm, then follow the 
 elbow and lower arm, lastly wrist, hand, and fingers. As 
 a proof that this is the law of nature, we refer you to the 
 child. Observe it and you will see that on its face is mir- 
 rored the pleasure, pain, anger, etc., which stirs it, before 
 it gives those emotions voice. The little face often assumes 
 lines of pain, long before the voice has given evidence of 
 grief. 
 
 Xaw ot Opposition 
 
 "When two limbs follow the same direction, they can not 
 be simultaneous without an injury to the law ot opposition. 
 
76 Elements of Expression, Vocal and Physical. 
 
 Therefore, direct movements should be successive, and opposite 
 movements simultaneous." 
 
 In order to make the law more intelligible we place it thus: 
 I. Opposite movements should be simultaneous; 
 
 II. Parallel movements should be successive. 
 As an example of the I., suppose something repulsive to 
 be situated to the right oblique of the speaker. In making 
 a gesture to show his feeling of disgust toward the object, 
 he would move the head to the left, and with the right hand 
 make a movement as if to push it away from him. The 
 movement of both head and hand should be simultaneous. 
 An illustration of the II. part of the law may be seen in 
 the salutation of two friends. The body bends forward 
 and then only the hand is extended for the other's grasp. 
 Care should be taken that these laws be followed or awk- 
 ward movements will ensue. 
 
 Xavv ot Duration 
 
 This law cautions us against multiplying gesture. But 
 one gesture is necessary for the expression of a single thought. 
 This gesture should be held till the thought is completed. 
 Notice, we do not affirm that it must be held till the sentence 
 is completed. There may be many modifications of the 
 thought contained in a sentence. Until a new impression 
 dawns upon us, the gesture must not be changed. 
 
 OLaw of tt)elocit£ 
 
 1 1 The rythm of gesture is proportional to the mass to be 
 moved.'" 
 
 Interpreting this we have: The velocity of the gesture 
 should be proportionate to the thought or emotion. Hence 
 grandeur demands gestures of majestic dimensions. In 
 this law 7 , gesture follows nature as seen in the swinging of 
 a pendulum. If a pendulum is set so that it swings only 
 a short distance, the motion will be quick; place it lower 
 on the rod, and permit it to swing with a large sweep, and 
 
Delsarte's Laws of Gesture. 77 
 
 the motion is slow. Take the following example from 
 Pope, and notice the change in the velocity of gesture. 
 
 When Ajax strives some rock's vast weight to throw, 
 
 The line too labors and the words move slow. 
 
 Not so when swift Camilla scours the plain, 
 
 Flies o'er the unbending corn and skims along the main. 
 
 Xawof HltituDe 
 
 Positiveness rises, hesitancy descends. If you are abso- 
 lutely certain of your assertion, the arm will be carried 
 straight toward the zenith in testifying to it. If you make 
 an assertion with hesitancy, the gesture will not proceed 
 above the shoulder line. The more doubtful you are, the 
 lower is the altitude of the gesture. Try the Law of Altitude 
 on the following sentences. 
 
 Possibility. He may be false. 
 
 Assertion. I believe him false. 
 
 Certainty. I have evidence proving him false. 
 
 Absolute Certainty. I swear that he is false. 
 
 In pronouncing these sentences, the first and second 
 call for gestures of different altitudes below the shoulder 
 line. The third is made above the shoulder line; the last 
 points straight to the zenith. 
 
 Xaw ot fforce 
 
 "Conscious strength assumes weak attitudes. Conscious 
 weakness assumes strong attitudes.'" 
 
 The broad base is the physically strong attitude. This 
 may be noticed in the child just learning to walk. Its legs 
 are spread wide to steady it in moving along. Observe, the 
 broad base is used also by one who has imbibed too freely. 
 In order to keep from falling, he assumes this, the physically 
 strong attitude. It is this attitude, likewise, which con- 
 scious weakness will assume in order to have at least the 
 semblance of strength. On the other hand, conscious 
 strength has nothing to fear, and hence relaxes all tension 
 
78 Elements of Expression, Vocal and Physical. 
 
 and show of power. This relaxation tends to moderate 
 the position. The bully will assume broad gesture and 
 position to put on a show of power which, of course, he is 
 conscious he does not possess. The athlete, confident in 
 his own powers, does not need to assume physically strong 
 attitudes, for he knows that when the trial comes his strength 
 will not be found wanting. Observe these two classes of 
 individuals and you will not hesitate as to where the strength 
 lies. 
 
 There is a dispute as to how many laws Delsarte laid 
 down for gesture. Some of his disciples claim nine as the 
 number, others six, and others do not give any category. 
 Delsarte died before issuing any printed matter. Hence 
 we have no means of certifying ourselves as to the number. 
 We take the foregoing to be laws in consonance with nature 
 and applicable to all gesture. Other laws attributed to 
 him we omit, as being unnecessary. 
 
 These brief general laws of action are the essential 
 philosophy of correct gesture. In other chapters the proper 
 application of these basic laws will be given that the student 
 may have ample practice in this division of eloquence. We 
 recommend highly that he take part in amateur theatricals. 
 It is the best method of developing the emotions. It teaches 
 him to profit by the mistakes of his companions and the 
 advice of his instructor. It is a great aid to attain ease 
 before the public. Above all it will tend to give a natural 
 method of speech and action and thus help him to " conceal 
 his art." Remember " Ars est celare artem," The speaker 
 who has not learned "to conceal his art" is just a beginner. 
 
CHAPTER VII. 
 
 pttcb 
 
 Pitch is the point, in the gamut of expression, at which 
 a tone is uttered. 
 
 We may call the human voice a musical instrument. 
 It has, as the piano, three kinds of notes: the high, the 
 medium, and the low. Its range is not like that of the 
 piano in six or seven octaves, but generally in a little less 
 than two. The voice, in delivery, may not be used in the 
 higher, middle, or lower registers arbitrarily, but must 
 be confined to that which the nature of the sentiment in- 
 tended to be expressed, demands. In order, therefore, that 
 the student may learn how to use the different pitches of 
 the voice correctly, — for like the piano the human voice is 
 an instrument we must learn to play on, — we subjoin rules 
 for his guidance. 
 
 Pitch is divided into High, Middle, and Low tones. 
 Of these the most used is the middle. Legouve, in his ad- 
 mirable work, "The Art of Reading," says: "The middle 
 pitch, in fact, is our ordinary voice, and is therefore the 
 best and truest delineator of our truest and most natural 
 sentiments. The low notes are not without great power; 
 the high notes are occasionally brilliant; but to neither should 
 recourse be had frequently: they should be employed only 
 when certain unusual effects are to be produced — that is 
 to say, only exceptionally and sparingly. As an illustration 
 I should compare our high notes to cavalry, whose peculiar 
 
80 ELEMENTS OF EXPRESSION, VOCAL AND PHYSICAL. 
 
 province is to make dashing charges and initiate strong 
 attacks; the low notes I should compare to the artillery, 
 as denoting strength , effort, and the putting forth of unusual 
 power; but the main body of the army, its real working 
 strength and spirit, the element on which the tactician 
 relies the most and employs the oftenest, is the infantry. 
 The middle voice is our infantry. The chief precept, there- 
 fore, which I would most earnestly impress upon you is this: 
 to the middle voice accord the supremacy, first, last, and al- 
 ways!" 
 
 In the scale, b flat beginning below the leger line, the 
 four notes, b, c, d, e, would be the range of the low pitch; 
 /, g, a, b, c, would be the middle pitch, and d, e, f, g, above, 
 would be the range of the high pitch. 
 
 High Pitch is used to express buoyant, gay, energetic, 
 animated, and impassioned thought, and the height of terror. 
 
 EXAMPLES 
 From /HMD6ummer=1Rigbrs Dream 
 
 I know a bank whereon the wild thyme blows, 
 
 Where ox-lips and the nodding violet grows; 
 
 Quite over-canopied with luscious woodbine, 
 
 With sweet musk-roses and with eglantine: 
 
 There sleeps Titania, sometime of the night, 
 
 Lull'd in these flowers with dances and delight; 
 
 And there the snake throws her enamell'd skin. 
 
 Weed wide enough to wrap a fairy in: 
 
 And with the juice of this I'll streak her eyes, 
 
 And make her full of hateful fantasies. {Shakespeare) 
 
 From Sweet /HbaE 
 
 The summer is come! — the summer is come! 
 
 With its flowers and its branches green, 
 
 Where the young birds chirp on the blossoming boughs, 
 
 And the sunlight struggles between. (D. F. McCarthy) 
 
Pitch. 8i 
 
 From ©tbellO Act II. 
 
 Oh God, that men should put an enemy in their mouths to steal 
 away their brains! that we should, with joy, pleasure, revel, and ap- 
 plause, transform ourselves -into beasts. {Shakespeare) 
 
 From IRigbtfall 
 
 With mellow haze; 
 
 And to my gaze 
 Comes proudly rising, with its rays 
 
 No longer dim, 
 
 The moon; its rim 
 In splendor gilds the billowy brim. 
 
 I watch it gain 
 
 The heavenly plain; 
 Behind it trails a starry train — 
 
 While low and sweet 
 
 The wavelets beat 
 Their murmuring music at my feet. 
 
 Fair night of June 1 
 
 Yon silver moon 
 Gleams pale and still. The tender tune, 
 
 Faint-floating, plays, 
 
 In moonlit lays, 
 A melody of other days. 
 
 'Tis sacred ground; 
 
 A peace profound 
 Comes o'er my soul. I hear no sound, 
 
 Save at my feet 
 
 The ceaseless beat 
 Of waters murmuring low and sweet. (W. W. Ellsworth) 
 
 From /IftOOre 
 
 Joy to Ierne, joy, 
 
 This day a deathless crown is won, 
 
 Her child of song, her glorious son, 
 
 Her minstrel boy 
 
 Attains his century fame, 
 
 Completes his time-allotted zone 
 
82 Elements of Expression, Vocal and Physical. 
 
 And proudly with the world's acclaim 
 Ascends the lyric throne. (D. F. M'Carthy) 
 
 From Zneeo'e IRecoven? of Jerusalem 
 
 Then loud he cries, "Oh what a dust ariseth. 
 O, how it shines with shields and targets clear! 
 Up, up, to arms, for valiant heart despiseth 
 The threat'ned storm of death, and danger near; 
 Behold your foes: then further thus deviseth: 
 Haste, haste, for vain delay increaseth fear, 
 These horrid clouds of dust that yonder fly, 
 Your coming foes do hide, and hide the sky." 
 
 (E. Fairfax) 
 
 From Iking IRicbarfc f f . Act II. 
 
 Why have those banish' d and forbidden legs 
 
 Dar'd once to touch a dust of England's ground? 
 
 But more than that, — Why have they dared to march 
 
 So many miles upon our peaceful bosom, 
 
 Frighting her pale-fac'd villages with war, 
 
 And ostentation of despoiling arms? (Shakespeare) 
 
 Middle Pitch is used to express all unimpassioned nar- 
 rative and description. 
 
 EXAMPLES 
 
 From 1b am let Act III. 
 
 Speak the speech, I pray you, as I pronounced it to you, trip- 
 pingly on the tongue; but if you mouth it, as many of your players do, 
 I had as lief the town- crier spoke my lines. Nor do not saw the 
 air too much with your hand, thus; but use all gently. (Shakespeare) 
 
 From <3ranfcmotber'6 Geacbing 
 
 "God neither progresses nor changes, dear, as I once heard you rashly 
 
 say: 
 Your schools and philosophies come and go, but His word doth not 
 
 pass away. 
 
Pitch. 83 
 
 We worship Him here as we did of old, with simple and reverent rite: 
 
 In the morning we pray Him to bless our work, to forgive our trans- 
 gressions at night. 
 
 To keep his commandments, to fear His name, and what should be 
 done, to do, — 
 
 That's the beginning of Wisdom still: I suspect 'tis the end of it too." 
 
 (A. Austin) 
 
 From JBesay on Criticism 
 
 But see! each Muse, in Leo's golden days, 
 Starts from her trance, and trims her withered bays; 
 Rome's ancient Genius, o'er its ruins spread, 
 Shakes of! the dust, and rears his reverend head. 
 Then sculpture and her sister arts revive: 
 Stones leaped to form, and rocks began to live; 
 With sweeter notes each rising temple rung: 
 A Raphael painted, and a Vida sung. (Pope) 
 
 Low Pitch is appropriate to sentiments of reverence, 
 solemnity, grandeur, and gravity. 
 
 EXAMPLES 
 
 From 5uliu5 Caesar Act II. 
 
 It must be by his death; and for my part, 
 
 I know no personal cause to spurn at him, 
 
 But for the general. He would be crown'd: 
 
 How that might change his nature, there's the question. 
 
 It is the bright day that brings forth the adder, 
 
 And that craves wary walking. Crown him? — that; 
 
 And then, I grant, we put a sting in him, 
 
 That at his will he may do danger with. (Shakespeare) 
 
 From XTbe pillar lowers of IfrelanD 
 
 The pillar towers of Ireland, how wondrously they stand, 
 By the lakes and rushing rivers through the valleys of our land: 
 In mystic file, through the isle, they lift their heads sublime, 
 These gray old pillar temples, these conquerors of time! 
 
 (D. F. M'Carthy) 
 
84 Elements of Expression, Vocal and Physical. 
 
 From ©mens presaging tbe Bowntall of 1Ttal£ 
 
 Last night, between the hour of twelve and one 
 
 In a lone aisle of the temple while I walked 
 
 A whirlwind rose, that, with a violent blast, 
 
 Shook all the dome. The doors around me clapt; 
 
 The iron wicket, that defends the vault 
 
 Where the long race of Ptolemies is laid, 
 
 Burst open and disclosed the mighty dead. {Dry den) 
 
 From 1b am let Act I. 
 
 Ghost. I am thy father's spirit; 
 
 Doomed for a certain time to walk the night, 
 
 And, for the day, confined to fast in fires, 
 
 Till the foul crimes, done in my days of nature, 
 
 Are burn'd and purged away. {Shakespeare) 
 
 From XLO JEbevt 
 
 O, Ebert! if all have perished, and under shroud and pall 
 
 Lie still and voiceless in Death's abyss — 
 If thou and I be lone and withered survivors of all, 
 
 Art thou, also, speechless at this? 
 Glazes not horror thine eye? Glares it not blank without soul? 
 
 So from mine too departed the light, 
 When first this harrowing phantom over the purple bowl 
 
 Struck my spirit with thundermight. 
 O ! in the depth of night I saw the death-pageant arise ! 
 
 And, Ebert! — the souls of our friends were there, 
 Horrible dream! from which, as in chains, I struggle to waken, 
 
 Terrible as the Judgment-hour 
 And as Eternity solemn! My spirit, appalled and shaken, 
 
 Can wrestle no longer against thy power. (/. C. Mangan) 
 
 Note. — Variations in pitch will be treated under the head of Inflexion. 
 
 GENERAL EXAMPLES 
 
 From /Hbacbetb Act V. 
 
 To-morrow, and to-morrow, and to-morrow, 
 Creeps in this petty pace from day to day, 
 To the last syllable of recorded time; 
 
Pitch. 85 
 
 And all our yesterdays have lighted fools 
 
 The way to dusty death. Out, out, brief candle! 
 
 Life's but a walking shadow; a poor player, 
 
 That struts and frets his hour upon the stage, 
 
 And then is heard no more: it is a tale 
 
 Told by an idiot, full of sound and fury, 
 
 Signifying nothing. (Shakespeare) 
 
 From 3For tbe people 
 
 "There's a serf whose chains are of paper; there's a king with a parch- 
 ment crown, 
 
 There are robber knights and brigands in factory, iield and town, 
 
 But the vassal pays his tribute to a lord of wage rent; 
 
 And the baron's toll is Shylock's, with a flesh and blood per cent. 
 
 Ye have shorn and bound the Samson, and robbed him of learning's 
 light; 
 
 But his sluggish brain is moving, his sinews have all their might, 
 
 Look well to your gates of Gaza, your privilege, pride and caste! 
 
 The Giant is blind and thinking, and his locks are growing fast. " 
 
 (/. /. Roche) 
 
 From Dick SanDs 
 
 Whilst he was speaking, Negoro had gradually drawn nearer to 
 the prisoner, until their faces were almost in contact. Exasperated 
 by Dick's calmness, his countenance assumed an expression of the 
 utmost ferocity, and at last he burst forth in a paroxysm of rage. 
 
 "It is my turn now! I am master now! I am captain here! You 
 are in my power! Your life is in my hands!" 
 
 "Take it then," said Dick quietly; "death has no terrors for me, 
 and your wickedness will soon be avenged." 
 
 "Avenged!" roared Negoro; "do you suppose there is a single soul 
 to care about you? Avenged! who will concern himself with what 
 befalls you?" 
 
 "Hercules is free," said Dick. 
 
 "Hercules!" sneered Negoro; "he has been food for lions and 
 panthers long ago. I am only sorry that I did not get the chance 
 of disposing of him myself." (Jules Verne) 
 
 From H Cbouan 
 
 From the school-porch at Yannes 
 Weaponed, the children ran; 
 
86 Elements of Expression, Vocal and Physical. 
 
 One little voice began,. 
 Lark-like ascended; 
 
 'Treason is on the wing. 
 
 Black vows and menacing: 
 March, boys! God save the king!' 
 
 Allio ended 
 
 Nay, more: — 'God save the king!' 
 
 With a last clarion ring, 
 Shot ere he ceased to sing, 
 
 Allio sang it. 
 
 (L. I. Guiney) 
 
 From /Hb£ Clerical JrienDs 
 
 My father was a dignitary of the Church, and not unfrequently 
 had bishops for his guests. Among these was one of whom my per- 
 sonal reminiscences are not cheerful. I am sure he had great merits 
 — or how could he have become a bishop? — and that it was my own 
 fault if I did not discover them; but the day of his departure from my 
 father's house was always to me a festal one. I often detected my- 
 self, not without self reproach, gazing intently upon his face, which 
 really had no expression whatever, except that of general approval 
 of the world, in which he seemed to feel that he occupied a place not 
 wholly unequal to his merits. He ate a good deal, but in a solemn 
 way, and as if he was doing a favor to somebody by eating at all. I 
 never saw him in bed, but am persuaded that, even in that difficult 
 position, his attitude was full of dignity. He is dead now ; and I hope 
 he is as well satisfied with the other world as he was with this. 
 
 (T. W. M. Marshall) 
 
 From %\tC atlfc XanD 
 
 Lo! what other shape is this self -poised in upper air, 
 With wings like trailing comets, and face darker than despair? 
 See! see! the bright sun sickens into saffron in its shade, 
 And the poles are shaken at their ends, infected and afraid — 
 It is the Spirit of the Plague, and round and round the shore 
 It circles on its course, shedding bane forevermore — 
 And the slave falls for the tyrant, and the suff'rer for the sin, 
 And a wide inhuman desert is, where Ireland has been. — 
 
Pitch. 87 
 
 'T was a vision — 'tis a fable — I did but tell my dream — 
 Yet twice, yea thrice, I saw it, and still it seemed the same. 
 Ah! my soul is with the darkness, nightly, daily overcast — 
 And I fear me, God permitting, it may fall out true at last. 
 God permitting, man decreeing! What, and shall man so will, 
 And our unsealed lips be silent and our unbound hands be still? 
 Oh! countrymen and kindred, make yet another stand, — 
 Plant your flag upon the common soil — be your motto, 
 Life and Land. (T. R. M'Gee) 
 
 From Zhe Circue IRifcer'6 Daugbter 
 
 "Come, come!" called out the director impatient ly, leading the 
 wa} r to his office. "Well, what news?" he asked before the door was 
 closed. 
 
 "Here are some letters," said Landolfo, throwing a package on 
 the table. 
 
 "But the banker?" asked Karsten excitedly. 
 
 "A severe loss at best. Two thirds at least must go, if not more." 
 
 What a blow!" cried the director. " What a terrible loss ! I don't 
 see how I can meet it. The troupe is doing moderately well, but 
 the expenses this winter have been enormous." 
 
 Landolfo silently puffed curls of smoke into the air. 
 
 "Two thirds lost — that means ruin!" muttered Karsten. 
 
 "One good season would make it up," replied Landolfo quietly. 
 
 "But can I dig a good season out of the ground?" cried the director 
 angrily. "That fellow will ruin me; he will leave nothing untried." 
 (Mary A. Mitchell's Translation) 
 
CHAPTER VIII. 
 
 flnflexion 
 
 As in the art of painting we find a ground color, or 
 basis, on which to bring out the lights and shades, so in 
 the art of expression. Every man has a certain pitch of 
 voice in which he is most agreeable to his hearers and most 
 comfortable to himself. This is the ground-tone from which 
 he is to build, from which all advancement is to be made. 
 We call this pitch the conversational tone. The variations 
 from the key-note of this conversational pitch we call Inflexions. 
 We might then define inflexion as: The changes of pitch to 
 suit the sentiment. 
 
 Every piece has a predominating pitch. The judicious 
 variation from this pitch relieves the voice from an incessant 
 strain, begets and holds attention, and adds a pleasing 
 variety to delivery. The extent of the rise or fall in pitch 
 is governed by the amount of emotion contained in the 
 thought. 
 
 There are Three Inflexions: the Rising ('), the Falling 
 (>), and the Circumflex (~). It requires no little atten- 
 tion to learn where each is appropriately used, yet a close 
 observance of the following rules will aid us. 
 
 IRulee tor tbe XDlae ot IRieing 1Fnf leiion 
 
 i. The Rising Inflexion is generally used in asking a 
 direct question; e. g., 
 
 Have you pray'd to-night, Desdemona? 
 
Inflexion. 89 
 
 2. The Rising Inflexion is generally used in pathetic 
 supplication, in expressing tender sentiments, in denoting 
 servility, etc.; e. g., 
 
 r . r 
 
 O! save me, Hubert, save me! my eyes are out 
 
 r 
 
 Even with the fierce looks of these bloody men. 
 
 j. The Rising Inflexion is used in the expression of some- 
 thing about which we are doubting; e. g., 
 
 r 
 
 Is not that a man standing on that great peak far to the South of us? 
 
 4. The Rising Inflexion is used in answers that are slightly 
 disrespectful, careless, etc.; e. g., 
 
 r 
 
 Did you see him? I did. 
 
 5. The Rising Inflexion is used where the speaker is 
 supposed to have all of a succession of particulars in his mind 
 when he expresses the first; e. g., 
 
 Caesar is said to have been tall, slim, agile, and hardy. 
 
 6. The Rising Inflexion is generally used before the 
 disjunctive or; e. g., 
 
 r 
 
 Will you ride or walk? 
 
 7. The Rising Inflexion is used in the negative part of 
 all sentences where you have a negation and an affirmation; e. g., 
 
 r 
 
 Not that I loved Caesar less, but that I loved Rome more. 
 
 8. The Rising Inflexion is generally used in the last but 
 one of a series of clauses; e. g., 
 
 St. Benedict said to Totila: You do much evil; you have already done 
 
 X "V 
 
 much: cease at length to perpetrate injustice. You will actually take 
 Rome; you will cross the sea; you will reign nine years more, and die 
 in the tenth. 
 
90 Elements of Expression, Vocai, and Physical. 
 
 IRules for falling 1Tnf lexton 
 
 i. The Falling Inflexion is used in answer to a direct 
 question; e. g., 
 
 Must I endure all this? Aye more. 
 
 2. The Falling Inflexion is used where strength, com- 
 mand, positiveness are asserted; e. g., 
 
 Brutus bay not me, I'll not endure it. 
 
 3. The Falling Inflexion is vised where a series of par- 
 ticulars suggest themselves one after another as the speaker 
 proceeds in his discourse; e. g., 
 
 What a piece of work is man; how noble in reason! how infinite in 
 faculties! in form, and moving, how express and admirable! in action, 
 how like an angel! in apprehension, how like a god! the beauty of the 
 world! the paragon of animals! {Shakespeare) 
 
 4. The Falling Inflexion is used where the sense is com- 
 pleted whether the end of the sentence is reached or not; e. g., 
 
 X X 
 
 Oh Cassius! you are yoked with a iamb, 
 That carries anger as the flint bears fire. 
 
 5. The Falling Inflexion is used to express hate, disdain, 
 contempt, and other contrary sentiments; e.g., 
 
 X A 
 
 Poison be their drink! 
 
 XX X 
 
 Gall, worse than gall, the daintiest that they taste! 
 
 X 
 
 Their sweetest shade, a grove of cypress trees! 
 
 Their chief est prospect, murdering basilisks! (Shakespeare) 
 
 Gbe Circumflex Inflexion 
 
 The Circumflex Inflexion is generally used in the expression 
 of humor, irony, and sarcasm; e.g., 
 
 I have heard, 
 Where many of the best respect in Rome 
 
Inflexion. 91 
 
 Except immortal Caesar! — speaking of Brutus, 
 
 Have wished that noble Brutus had his eyes. (Shakespeare) 
 
 Before I would drown myself for the love of a guinea hen, I would 
 change my humanity with a baboon. (Shakespeare) 
 
 Application 
 
 Study your selection until you are perfectly acquaint- 
 ed with what the author wishes to say. The perfection 
 of good speech depends greatly on this principle. Then 
 speak the piece as though it were your own. 
 
 The student should be instructed that the punctuation 
 marks found in selections are not guides to the inflexion 
 at all. They are there to mark out the grammatical division 
 of the sentence and should not be heeded by the speaker. 
 Many readers are very monotonous because of invariably 
 following the old rules we heard in youth, to pause at a com- 
 ma, to raise the inflexion at an interrogation point, and to 
 drop it at a period. Be not influenced by these grammatical 
 pauses except in so far as the sense requires it. 
 
 GENERAL EXAMPLES. 
 
 From Iking Ibenxy TO. Part I. Act. V. 
 
 Falstaff. Can honor set a leg? No. Or an arm? No. Or take 
 away the grief of a wound? No. What is honor? A word. What is 
 in that word honor? What is that honor? Air. A trim reckoning! 
 — Who hath it? He that died o' Wednesday. Doth he feel it? No. 
 Doth he hear it? No. Is it insensible then? Yea, to the dead. 
 But will it not live with the living? No. Why? Detraction will 
 not suffer it: — therefore I'll none of it: honor is a mere scutcheon, 
 and so ends my catechism. (Shakespeare) 
 
 From Zbe IRape of tbe %oc\{ 
 
 See, fierce Belinda on the Baron flies, 
 
 With more than usual lightning in her eyes. 
 
 But this bold lord, with manly strength endued, 
 
92 Elements of Expression, Vocal and Physical. 
 
 She, with one finger and a thumb subdued. 
 
 Just where the breath of life his nostrils drew 
 
 A charge of snuff the wily virgin threw; 
 
 The gnomes direct, to every atom just, 
 
 The pungent grains of titillating dust. 
 
 Sudden with starting tears each eye o'erflows, 
 
 And the high dome re-echoes to his nose. 
 
 Restore the lock! she cries, and all around, 
 
 Restore the lock! the vaulted roofs rebound. 
 
 Not fierce Othello, in so loud a strain, 
 
 Roared for the handkerchief that caused his pain. 
 
 But see how oft ambitious aims are cross'd, 
 
 And chiefs contend till all the prize is lost! 
 
 The lock, obtained with guilt and kept with pain, 
 
 In every place is sought, but sought in vain, 
 
 Some thought it mounted to the lunar sphere, 
 
 Since all things lost on earth are treasured there. 
 
 There heroes' wits are kept in ponderous vases, 
 
 And beaux' in snuff-boxes and tweezer-cases, 
 
 There broken vows and death- bed alms are found, 
 
 And lovers' hearts, with ends of riband bound; 
 
 Cages for gnats, and chains to yoke a flea, 
 
 Dried butter- flies, and tomes of casuistry. 
 
 But trust the Muse! she saw it upward rise, 
 
 Though marked by none but quick, poetic eyes; 
 
 This lock the Muse shall consecrate to fame, 
 
 And 'midst the stars inscribe Belinda's name. {Pope) 
 
 From Zbe ffioyne Mater 
 
 An instant after, a man rushed into the hall, yelling forth, "The 
 Sassenachs!" 
 
 "I knew it," said Hogan, "by your signal horns — silence!" 
 As the throng of women in the hall gave meet response to the noise 
 abroad — "silence, and hear my orders! Half our men to horse. Half 
 of them, again, to the first gate of the avenue, the other to the second 
 gate. Let the rest of the men stay in the house; a dozen, only, to watch 
 at the back. But, first of all, let hatchet, saw, and pickaxe, and every 
 man that hears me, work, work, work, for dear life, to tear up the 
 ground before both gates, and fell trees and bushes to check them — 
 Speed! speed!" The hall was cleared in obedience to his orders: 
 the Whisperer only stayed with him. 
 
Inflexion. 93 
 
 "They will give us time for this," the general continued, "because 
 they will advance cautiously: or our ambushed pickets and videttes 
 will make them give"us~time. You, master Evelyn, are to remain by 
 my side. Fear nothing — we have faced greater odds before now, and 
 won the battle. If they force in upon us, I will still bother them; 
 the house over my head shall burn to charcoal ere they possess it — fear 
 nothing/' (Bavim) 
 
 From 13 am let Act I. 
 
 Hamlet. My father, — methinks I see my father. 
 
 Horatio. O! where my lord? 
 
 Ham. In my- mind's eye, Horatio. 
 
 Hur. I saw him once he was a goodly king. 
 
 Ham. He was a man, take him for all in all, 
 
 I shall not look upon his like again. 
 Hor. My lord, I think I saw him yesternight. 
 Ham. Saw whom? 
 Hor. My lord, the king your father. 
 Ham. The king my father! 
 
 Hor As I do live, my honor'd lord, 'tis true; 
 
 And we did think it writ down in our duty, 
 
 To let you know of it. 
 Ham. Indeed, indeed, sirs, but this troubles me. 
 
 Hold you the watch to-night? 
 All. We do, my lord. 
 
 Ham. Arm'd, say you? 
 All. Arm'd, my lord. 
 
 Ham. From top to toe? 
 
 All. My lord, from head to foot. 
 Ham. Then saw you not his face? 
 Hor. O! yes, my lord, he wore his beaver up. 
 Ham. What! looked he frowningly? 
 Hor. A countenance more 
 
 In sorrow than in anger. 
 Ham. Pale, or red? 
 
 Hor. Nay, very pale. 
 
 Ham. And fixed his eyes upon you? 
 
 Hor. Most constantly. 
 Ham. I would I had been there. [Shakespeare) 
 
94 Elements of Expression, Vocal and Physical. 
 
 From flfctoebtpman JSob 
 
 The next morning Mr. Ingersoll came to Bob with a very grave 
 face. 
 
 "Mr. Adair, I found this among the papers Mr. Haweis handed 
 me by } T our request. " 
 
 "How did it get there, sir?" asked Bob, in surprise; for it was a 
 long list of answers, copied figure for figure from the text-books, and 
 covering the hardest part of the examination. 
 
 "I don't know," said Ingersoll sorrowfully; "and I'd rather have 
 cut off my fingers than to have found it: for I shall have to report it." 
 
 "Why, you don't think — you don't believe — " stammered Bob, 
 his face flushing scarlet, and then turning deadly white, as the signi- 
 ficance of it all dawned upon him, — "you couldn't think, Mr. Inger- 
 soll, that I did it, or used it;*" 
 
 "Personally, I couldn't and wouldn't, Adair. But here's the paper; 
 and as it has fallen into my hands, I simply have to do my duty. " 
 
 Bob stood stupefied. Before him rushed his buoyant aspirations, 
 his joyous youth, his pride in his first uniform, his happy, honorable 
 Academy days, his future, his hopes, his mother : and now this disgrace- 
 ful suspicion, with the blighting, crushing penalty! (E. L. Dorsey) 
 
 From Zbe Granelatton of tbe ITiiaD] 
 
 Let me be foremost to defend the throne, 
 And guard my father's glories and my own. 
 "Yet come it will, the day decreed by fates, 
 (How my heart trembles while my tongue relates!) 
 The day when thou, imperial Troy, must bend, 
 And see thy warriors fall, thy glories end. 
 And yet no dire presage so wounds my mind, 
 My mother's death, the ruin of my kind, 
 Not Priam's hoary hairs, dehled with gore, 
 Not all my brothers gasping on the shore, 
 As thine, Andromache! Thy griefs I dread: 
 I see thee trembling, weeping, captive, led, 
 In Argive looms our battles to design, 
 And woes of which so large a part was thine; 
 To bear the victor's hard commands, or bring 
 The weight of waters from Hyperia's spring. 
 There, while you groan beneath the load of life, 
 They cry, 'Behold the mighty Hector's wife!' 
 
Inflexion. 95 
 
 Some haughty Greek, who lives thy tears to see, 
 
 Imbitters all thy woes by naming me. 
 
 The thought of glory past, and present shame, 
 
 May I lie cold, before that dreadful day, 
 
 Pressed with a load of monumental clay, 
 
 Thy Hector, wrapt in everlasting sleep, 
 
 Shall neither hear thee sigh nor see thee weep." {Pope) 
 
 From {TangleD ipatba 
 
 "No, madame, pardon me," he said. "I have done nothing except 
 my duty. I should offend the memory of my uncle by accepting a 
 reward, and from you! All that I desire is your thanks, and a line 
 acknowledging the receipt of that package." 
 
 "1 could only expect this from a relative of Carl Shsefer!" Na- 
 talie replied, respecting the sturdy burgher spirit that refused her gold: 
 then she turned to the table and wrote the acknowledgment he desired . 
 "A day may, however, come," she added, as she gave it to him, "when 
 I can show my gratitude without wounding your honorable sensibilities. 
 When do you return?" 
 
 "I shall get through my business here to-morrow morning, and 
 take the afternoon train to reach New York in time for the outgoing 
 German steamer, madame. Shall I call for letters?" 
 
 "No — Yes! I will write to the president of the bank, who has 
 now the management of my affairs. You have done me an inestimable 
 service, for which I again thank you." 
 
 "At what hour shall I call, madame?" 
 
 "At any hour after 12 o'clock. Just send up the name of Carl 
 Schaefer." 
 
 "That is my name, Madame — " 
 
 "It is a worthy name," she answered, with a far away look in her 
 eyes, as if sad memories had taken form and become visible; but re- 
 calling herself to the present, she said: "The letter will be brought to 
 you by the old servant who admitted you. I will say adieu now, with 
 the best wishes for your safe return home." (.4. H. Dorsey) 
 
 From dfoucb 2HD0 about IftOtblttG Act II. 
 
 Benedick. Boy, — 
 Boy. vSignor? 
 
 Bene. In my chamber- window lies a book: bring it hither to me 
 in the orchard. 
 
 Boy. I am here already, sir. 
 
 Bene. I know that: but I would have thee hence and here again. — 
 
96 Elements of Expression, Vocal and Physical. 
 
 I do much wonder that one man, seeing how much another man is 
 a fool when he dedicates his behaviours to love, will, after he hath 
 laugh/d at such shallow follies in others, become the argument of his 
 own scorn by falling in love: and such a man is Claudio. I have known 
 when there was no music with him but the drum and the file; and now 
 had he rather hear the tabor and the pipe: I have known when he 
 would have walk'd ten mile a- foot to see a good armour; and now 
 will he lie ten nights awake, carving the fashion of a new doublet. He 
 was wont to speak plain and to the purpose, like an honest man and a 
 soldier: and now he is turned orthographer ; his words are a very fantasti- 
 cal banquet.. — just so man}' strange dishes. May T be so converted, 
 and see with these eyes? I cannot tell; I think not: I will not be sworn, 
 but love may transform me to an oyster; but I'll take my oath on it, 
 till he have made an oyster of me, he shall never make me such a fool. 
 One woman is fair, — yet I am well: another is wise, — yet 1 am well; 
 another virtuous, — yet I am well : but till all graces be in one woman, 
 one woman shall not come in my grace. Rich shall she be that's 
 certain; wise, or I'll none: virtuous, or I'll never cheapen her; fair, 
 or I'll ne\er look at her; mild, or come not near me; noble, or not I 
 for an angel; of good discourse, an excellent musician, and her hair 
 shall be of what colour it please God. (Shakespeare) 
 
 From <3l8ippU0 Act III. 
 
 Pheax. Oh! Gisippus! 
 
 Gis. What is the matter? Give your wonder words. 
 
 Pheax. You are my friend. Oh! I have a tale for you; 
 Gisippus if you take my counsel 
 You'll not remain in Athens. 
 
 Gis. Not remain in Athens? 
 
 Pheax. No — 'tis known — 
 
 Gis. What's known? 
 
 Pheax. That you have given Sophronia to the Roman. 
 
 Gis. Oh! they know it? I am glad of it. They know 
 That T have given her to her ancient love, 
 And my first friend. What do their wisdoms say? 
 Upon this novel guilt? If it be a crime 
 To give my heart, life, soul, away — 
 For thou to me wert all, Sophronia — if it be crime 
 To tear up my own comfort by the roots, 
 To make a garland for another's head. 
 Then I have sinned most deeply, and my reason 
 Shall venerate their censure. 
 
Inflexion. 97 
 
 Pheax. Oh, Gisippus! you are in peril! 
 They have spoken loudly of your wants, my friend, — 
 And Fulvius' wealth. You start? Ay, that's the charge! 
 They trump it to the state that you have had 
 Mean views in this. But it has struck you deep — 
 You do not speak? You do not answer me? 
 
 Gis. I cannot speak nry thought! I'm wonder! rage 
 And wonder all ! {Pauses) 
 
 The furies tear their hearts — lash them with worse 
 Than the fell stings they've cast on mine! Gods! what! 
 Make venal that I gave my peace to purchase; 
 And to my friend! — give me the slanderer's name 
 That I may tear the lying tongue from out 
 His jaws, and " trample on the — I am choked: 
 I cannot find a voice to curse them, {Gerald Griffin) 
 
CHAPTER IX. 
 
 The voice is nature 's medium of expression. The human 
 voice is the vehicle of thought and feeling, the agent of the 
 soul, the bond of union betwixt man and man. It may be 
 trained to convey 
 
 "All thoughts, all passions, all delights, 
 Whatever stirs this mortal frame. " 
 
 The voice, being commonly in harmony with the nature 
 of its possessor, reveals much character. It is regarded 
 by some as an unfailing index. "A gruff, disagreeable 
 voice, " say they, "makes known a like nature; and a sweet, 
 soft, kind voice tells the story of corresponding inner traits 
 of character." Naturalists that have studiously observed 
 dogs, inform us, that each dog has a distinct or peculiar 
 bark, which invariably agrees with its well-known disposition 
 and characteristics. The owl and the raven are universally 
 regarded as birds of evil omen; their voices almost justify 
 the view. 
 
 The moderate observation of each one will furnish 
 like examples from nature. None will fail to detect the 
 mild character of the dove in its plaintive cooing, and the 
 loathsome character of the venomous serpent from its malig- 
 nant hiss. No one hesitates to pronounce the character 
 of a lamb from its bleating, and a mastiff from his bay. 
 
 The same tell-tales of character may be found in "the 
 
Quality. 99 
 
 paragon of animals." There are voices that enchain 
 attention, quell opposition, reach and win the heart; there 
 are others that estrange, provoke, and almost make 
 
 "Each particular hair to stand on end, 
 Like quills upon the fretful porcupine." 
 
 The attribute which enables us to distinguish the different 
 voices is called Quality, Character, or Timbre of voice. 
 
 "The voice is a living seolian harp. The vocal chords 
 are situated in the upper part of the larynx, where the 
 air from the lungs, called breath, passes through, and brings 
 to phonation the tones conceived in the brain. " 
 
 It is susceptible of much cultivation. True, all may 
 not attain the same mellowness, fullness, strength, and 
 flexibility of vocal power, but all can improve by judicious 
 vocal exercise. The voice is exposed to "the thousand 
 natural shocks, that flesh is heir to," and, hence, must be 
 employed with discretion. 
 
 Perfect organs are little more to the speaker than per- 
 fect tools to the mechanic — both must practice to become 
 skilful in their use. The golden rule of economy, never 
 let the expenditure exceed the supply, is especially applicable 
 to the voice. The supply essential to every speaker is a 
 supply of breath. Hence, correct vocal culture resolves 
 itself into the art of correct inspiration and expiration, the 
 difficult art of breathing. 
 
 The great value and necessity of a good voice, all admit. 
 The sermons with which a St. Bernard or a Bossuet kindled 
 devotion in the hearts of thousands would seem insipid, 
 if delivered in leaden tones by a hueless voice. Shakespeare 
 knew the value of a cultured voice when he said, 
 
 In law what plea so tainted and corrupt, 
 But, being season'd with a gracious voice, 
 Obscures the show of Evil? 
 
 The voice is the interpreter of the emotions. Each emo- 
 tion has its distinctive quality. If we would give adequate 
 
ioo Elements of Expression, Vocal and Physical. 
 
 expression to these innumerable emotions, we must be 
 able to govern with 
 
 "giddy cunning 
 The melting voice through mazes running, 
 Untwisting all the chains that tie 
 The hidden soul of harmony." 
 
 The Qualities of Voice are six: Pure, Orotund, Aspirate, 
 Guttural, Pectoral, and Falsetto, The first three of these 
 have the three forms of Force, Effusive, Expulsive, Explo- 
 sive. 
 
 The Guttural, owing to its nature, has no Effusive Form. 
 The Pectoral, for a like reason, lacks Explosive Form. The 
 Falsetto sometimes uses the Expulsive and Explosive Forms. 
 
 fl>ure Zone 
 
 Pure tone should be mastered before the others are attempted. 
 In it lie all genuine power, compass, and endurance. When 
 all the breath summoned for the production of a tone is 
 vocalized, the result is Pure Tone. 
 
 "The tones must be brought to the front of the mouth. 
 The brightness or bloom of the tone should sparkle upon 
 the lips, and the mouth should be filled with vibration. 
 The hard palate is the sounding board and the mouth 
 the resonance cavity of the voice." 
 
 In producing this tone, the mouth should be opened 
 as if about to yawn, and the tone projected to the front 
 of the mouth, against the hard palate. This done correct- 
 ly, will cause the sound waves to vibrate as the virtuoso 
 vibrates the strings of his violin and emits thereby a pure 
 tone that fills a spacious auditorium with sound waves. 
 But two things are necessary, viz., abdominal breathing 
 and the projection of the rounded tone against the hard 
 palate. Marchesi can tell you little more than this small 
 paragraph does about correct voice production. 
 
Quality. ioi 
 
 The vocal cords must be unconstrained, otherwise the 
 voice will be stiff and throaty. Use the throat for a channel 
 through which the tone-material merely passes. 
 
 Pure Tone is the exponent of a tranquil state of mind 
 and body: it is also used in expressing the tender emotions, 
 as love, melancholy, cheerfulness, etc. 
 
 EXAMPLES 
 From Zbe JSells ot StotiEburst 
 
 Now fold on fold 
 
 The sunset gold 
 Winds every westward vale in splendor; 
 
 And faint and far 
 
 To evening star 
 The turrets toll their ditty tender. 
 
 Wild College chimes 
 
 The vanished times 
 Live in your magic music air, 
 
 Within my heart 
 
 Old memories start 
 And wake anew your Ave Maria. {P. J. Coleman) 
 
 From "Plrietotle's poetics" 
 
 Revealed Religion should be especially poetical — and it is so in 
 fact. While its disclosures have an originality in them to engage the 
 intellect, they have a beauty to satisfy the moral nature. It presents 
 us with those ideal forms of excellence in which a poetical mind delights, 
 and with which all grace and harmony are associated. It brings us 
 into a new world — a world of overpowering interest, of the sublimest 
 views and the tenderest and purest feelings. The peculiar grace of 
 mind of the New Testament writers is as striking as the actual effect 
 produced upon the hearts of those who have imbibed their spirit. 
 At present we are not concerned with the practical, but the poetical 
 nature of revealed truth. With Christians, a poetical view of things 
 is a duty, — we are bid to color all things with hues of faith, to see a 
 Divine meaning in every event, and a superhuman tendency. Even 
 
102 Elements of Expression, Vocal and Physical. 
 
 our friends around us are invested with unearthly brightness — no 
 longer imperfect men, but beings taken into Divine favor, stamped 
 with His seal, and in training for future happiness. It may be added 
 that the virtues peculiarly Christian are especially poetical — meekness, 
 gentleness, compassion, contentment, modesty, not to mention the 
 devotional virtues; whereas the ruder and more ordinary feelings are 
 the instruments of rhetoric more justly than of poetry — anger, indig- 
 nation, emulation, martial spirit, and love of independence. (Newman) 
 
 From H IRigbt in 5une 
 
 O choir of silence, without noise of word! 
 
 A human voice would break the mystic spell 
 
 Of wavering shades and sounds; the lily bell 
 
 Here at my feet sings melodies unheard; 
 
 And clearer than the voice of any bird, — 
 
 Yes even than that lark which loves so well, 
 
 Hid in the hedges all the world to tell 
 
 In trill and triple notes that May has stirred. 
 
 "O love complete!" soft sings the mignonette; 
 
 "O heart of All!" deep sighs the red, red rose; 
 
 "O Heart of Christ!" the lily voices meet 
 
 In fugue on fugue; and from the flag-edged, wet, 
 
 Lush borders of the lake, the night wind blows 
 
 The tenor of the reeds — "Love, love complete!" 
 
 {Maurice F. Egan) 
 
 From /Rbercbant of Venice Act V. 
 
 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. {Shakespeare) 
 
Quality. 103 
 
 From Criterion 
 
 Every one ought to choose the profession for which nature has 
 most fitted him. This rule is of great importance; it has often been 
 neglected and the arts and sciences have suffered considerably in 
 consequence. Some men imagine that the word "talent" means 
 absolute ability. They suppose that a man who possesses abilities 
 for one particular study, must likewise possess them for every other 
 study. This is a great mistake. Experience teaches that some men 
 have extraordinary abilities for some one branch of human knowledge, 
 whilst in other branches they either do not succeed at all or their suc- 
 cess will be very limited, notwithstanding the most intense application. 
 Each talent has its own degree of strength and weakness. There 
 are few men, we might say there is not a single man, who would suc- 
 ceed equally well in all stations or professions. (Rev. J. Balmes.) 
 
 From JBible, Science, anD ffaitb 
 
 The book of Nature and the book of the Spirit, although appeal- 
 ing to us in different tongues, ever voice the same testimon}^ and pro- 
 claim the same truth. They both, in words eloquent and sublime, 
 tell us of a God infinite in wisdom and love and perfection, who or- 
 dains all things well, and who compasses His ends with infinite knowl- 
 edge and power One may indeed reject the truths of the Bible 
 
 and discard the teachings of faith, as the mariner may ignore the sav- 
 ing bell or the friendly pharos; but he does so at his peril. Far from 
 gaining anything by this mad assertion of independence— an inde- 
 pendence which means not liberty and life, but rashness and destruction 
 — he inevitably loses, and his loss carries with it the loss and death, 
 it may be, of others besides. There is too much of doubt and uncer- 
 tainty in the world of science for us to decline the undeniable helps of 
 revelation — too much fog and darkness enveloping many problems of 
 philosophy for us to close our eyes to the sun of Truth or for us to make 
 naught of the light of God's inspired word. (Rev, J. A. Zahm.) 
 
 From JBoofce anfc IReaDing 
 
 I have strayed into many fields of literature, and culled flowers 
 in many languages, and I can bear witness that, whilst there are cer- 
 tain works in other languages which I appreciate more highly than 
 works of the same grade in our own tongue, still, taking the literature 
 
104 Elements of Expression, Vocal and Physical. 
 
 of various countries as a whole, there is none of less objectionable 
 character and of more elevating tone than is English literature, in 
 its grand roll of authors from Widsith, the old English gleeman of 
 the fourth century, down to the present laureate. But for this boon 
 we are not to thank the Protestantism of England. It is rather due 
 to the fact that the roots of English literature struck deep in Catholic 
 soil, and the conservative character of the English people kept up the 
 Catholic spirit and the Catholic traditions long after the very name of 
 Catholic had become offensive. That Catholic spirit still lingers in the 
 cloistered aisles and corridors of Oxford. It hovers over the vacant 
 tomb of Edward the Confessor within the hallowed walls of Westminster 
 Abbey. It speaks in tower and pillared dome throughout the land 
 "of which every arch has its scroll teaching Catholic Wisdom, and 
 every window represents some canonized saint." It breathes through 
 the Catholic prayers still preserved in the Book of Common Prayer. 
 It has become transfused into some of the noblest passages in Para- 
 dise Lost; the Arianism and the Protestantism are Milton's own; but 
 his magnificent lines clothe many a sentiment of tenderness and sub- 
 limity culled from the pages of Caedmon, St. Avitus, Andreini, the 
 Catholic mediaeval miracle plays, and Lucifer, the Catholic drama 
 of Vondel, the great Catholic and national poet of Holland. 
 
 (Brother Azarias) 
 
 From lpataDiee Canto XXII. 
 
 Astounded, to the guardian of my steps 
 I turn'd me, like the child, who always runs 
 Thither for succour, where he trusteth most, 
 And she was like the mother, who her son 
 Beholding pale and breathless, with her voice 
 Soothes him, and he is cheer'd; for thus she spake 
 Soothing me: knowest not thou, thou art in heav'n? 
 And know' st thou not, whatever is in heav'n, 
 Is holy, and that nothing there is done 
 But is done zealously and well? Deem now, 
 What change in thee the song, and what my smile 
 Had wrought, since thus the shout had pow'r to move thee, 
 In which couldst thou have understood their prayers, 
 The vengeance were already known to thee, 
 Which thou must witness ere thy mortal hour 
 The sword of heaven is not in haste to smite, 
 Nor yet doth linger, save unto his seeming, 
 Who in desire or fear doth look for it. (Cary's Dante) 
 
Quality. 105 
 
 From /Hbartin Xutber anfc Ibis American IKnorsbtppere 
 
 (American Catholic Quarterly Review, July, 1884.) 
 
 Modern taste unfortunately — and we may thank Luther's teach- 
 ing for it — is no longer Christian, but pagan. Our heroes, too often 
 nowadays, are made and held up for worship, not on the score of religion, 
 virtue, or love of country, but because they are of the world, wordly, 
 mouthpieces in word, or patterns indeed of the bad passions and corrupt 
 inclinations that belong to unregenerate man. They have their use, 
 too; for they are put up by a few bad men, and stand on their pedestals 
 mute but eloquent witnesses of the cowardly servility that is an un- 
 failing mark of all degenerate communities and peoples. Thus Greece 
 of old, in her halls, groves, and high- ways, for one bust of Plato or 
 Leonidas, had full twenty of Aphrodite, Eros, Priapus and adulterous 
 
 Jove Luther deserves no statue at the hands of the American 
 
 people, nor in their chief city, for his teachings or any influence they 
 may have exercised on civil and religious liberty. The idle boast that 
 our political liberty has any connection with Martin Luther or his 
 Reformation is sufficiently disproved by the fact that the liberties of 
 Germany were effectually lost, after Lutheranism had brought Ger- 
 many under its influence, and nowhere more thoroughly than in Scan- 
 dinavian Europe, where it became supreme without a rival. (Mon- 
 signor Corcoran) 
 
 From Sweet ffnnistallen 
 
 Sweet Innisfallen, long shall dwell 
 
 In memory's dream that sunny smile, 
 
 Which o'er thee on that evening fell, 
 When first I saw thy fairy isle. 
 
 'Twas light, indeed, too blest for one, 
 Who had to turn to paths of care — 
 
 Through crowded haunts again to run, 
 And leave thee bright and silent there; 
 
 No more unto thy shores to come 
 
 But on the world's rude ocean tost, 
 
 Dream of thee sometimes as a home 
 
 Of sunshine he had seen and lost. {Moore) 
 
106 Elements of Expression, VocAiv and Physical. 
 
 Ube ©rotun& 
 
 The Orotund is a rich, deep, resonant chest-tone. It 
 is the Pure Tone amplified. The volume of Pure Tone is 
 increased when the sentiments, which Pure Tone conveys, 
 become more elevated. Thus, in expressing our esteem, 
 love, or mere admiration, we employ the simple Pure Tone. 
 But when esteem heightens to reverence, love to adoration, 
 admiration to awe, then the tone swells in harmon3^ until 
 it merges into what is called Orotund. 
 
 The Orotund requires deep breathing, great freedom, 
 and a liberal opening of the vocal apparatus. 
 
 EXAMPLES 
 From Gbe tnoDen <3em 
 
 Father! who here this thing of clay didst fashion 
 Into Thine Image's terrestrial frame, 
 Its dust together hold, or free disperse, 
 Where rest my fathers, or as outcasts flung; 
 Make it the earthworm's, or the vulture's feast, 
 So that from its corruption flash my soul, 
 Into the furnace of Thy purest fire: 
 Or rather, like a pearl, be gently dropped 
 Into the abyss of Thy great ocean-bosom, 
 To seek in vain for surface, depth, or margin, 
 Absorbed, yet unconsumed, entranced, yet, free. 
 
 (Cardinal Wiseman) 
 
 Hpoetropbe to tbe ©cean 
 
 Roll on, thou deep and dark blue ocean, roll! 
 Ten thousand fleets sweep over thee in vain; 
 Man marks the earth with ruin; his control 
 Stops with the shore; upon the watery plain 
 The wrecks are all thy deed, nor doth remain 
 A shadow of man's ravage, save his own, 
 

 Quality. 107 
 
 When, for a moment, like a drop of rain, 
 
 He sinks into thy depths with bubbling groan, 
 
 Without a grave, unknelled, uncoffined, and unknown. 
 * * * * 
 
 Thou glorious mirror, where the Almighty's form 
 Glasses itself in tempests; in all time, 
 Calm or convulsed — in breeze, or gale, or storm, 
 Icing the pole, or in the torrid clime 
 Dark-heaving; boundless, endless, and sublime — 
 The image of Eternity — the throne 
 Of the Invisible; even from out thy slime 
 The monsters of the deep are made; each zone 
 Obeys thee; thou goest forth, dread, fathomless, alone! 
 
 {Byron) 
 
 Gbe Xauncbing of tbe Sbtp 
 
 And see! she stirs! 
 
 She starts, — she moves, — she seems to feel 
 
 The thrill of life along her keel, 
 
 And, spurning with her foot the ground, 
 
 With one exulting, joyous bound, 
 
 She leaps into the ocean's arms! 
 
 Supposes Speecb ot 5obn HDams 
 
 Sir, before God, 1 believe the hour is come. My judgment approves 
 this measure, and my whole heart is in it. All that I have, and all 
 that I am, and all that I hope in this life, I am now ready here to stake 
 upon it; and I leave off as I began, that, live or die, survive or perish, 
 I am for the Declaration. It is my living sentiment, and, by the bless- 
 ing of God, it shall be my dying sentiment; independence now, and in- 
 dependence forever. 
 
 From fl>araDise Canto XXX. 
 
 O prime enlightener! thou who gav'st me strength 
 On the high triumph of thy realm to gaze! 
 Grant virtue now to utter what I kenn'd. 
 
108 Elements of Expression, Vocal and Physical. 
 
 There is in heav'n a light, whose goodly shine 
 
 Makes the Creator visible to all 
 
 Created, that in seeing him alone 
 
 Have peace: and in a circle spreads so far, 
 
 That the circumference wore too loose a zone 
 
 To girdle in the sun. All is one beam, 
 
 Reflected from the summit of the first, 
 
 That moves, which being hence and vigour takes, 
 
 And as some cliff, that from the bottom eyes 
 
 Its image mirror' d in the crystal flood, 
 
 As if to admire its brave apparelling 
 
 Of verdure and of flowers; so, round about, 
 
 Eyeing the light, on more than million thrones, 
 
 Stood, eminent, whatever from our earth 
 
 Has to the skies return' d. (Cary's Dante) 
 
 From TLbe JSells of Stongburet 
 
 Old College bells! 
 
 Your carol swells 
 Like angel chords, or voices fairy; 
 
 Within my soul 
 
 I hear you toll 
 In fancy still your Ave Maria. 
 
 Old bells, old bells! 
 
 Your music tells 
 Of joyous hours and friendships cherished, 
 Of smiles and tears, and golden years 
 And dreams and hopes that long have perished. 
 
 Ah, sweet and sad, 
 
 When evening glad 
 Gives rest to hearts with toiling weary, 
 
 By memories tolled, 
 
 Sweet bells of old! 
 To hear again your Ave Maria. (P.J. Coleman) 
 
 From St* *>erculanu6 
 
 "Perugians, stand! 
 Fight for the faith of the fatherland; 
 Your leader I; strike, strike for God, 
 Your altars and your native sod." 
 
Quality. . 109 
 
 His voice gives nerves the strength of steel, 
 Gives hearts the valor heroes feel; 
 One purpose gleams in every eye: 
 "On to the fight and victory!" 
 
 Brave heart! outstripping e'en the brave, 
 You fell, but in your fall you gave 
 Example fair of steadfast faith, 
 Of dauntless soul, of glorious death. 
 
 By craft, not arms, the city falls, 
 
 The foeman's sentries pace the walls: 
 
 Your veins a city's ransom hold — 
 
 What bliss ! you die to save your fold ! {Leo XIII) 
 
 From TLbe Buelist'0 Ibonor 
 
 Upon what ground can he who engages in a duel, through fear 
 of ignominy, lay claim to courage? Unfortunate delinquent! Do 
 you not see by how many links your victim was bound to a multitude 
 of others? Does his vain and idle resignation of his title to life absolve 
 you from the enormous claims which society has upon you for his 
 services; — his family for that support of which you have robbed them, 
 without your own enrichment? Go, stand over that body; call back 
 that soul which you have driven from its tenement; take up that hand 
 which your pride refused to touch, not one hour ago. You have in 
 your pride and wrath, usurped one prerogative of God — you have 
 inflicted death. At least, in mercy, attempt the exercise of another; 
 breathe into those distended nostrils, — let your brother be once more 
 a living soul! Merciful Father! how powerless are we for good but 
 how mighty for evil! Wretched man! he does not answer, — he cannot 
 rise. All your efforts to make him breathe are vain. His soul is 
 already in the presence of your common Creator. Like the wretched 
 Cain will you answer, "Am I my brother's keeper?" Why do you 
 turn away from the contemplation of your honorable work? Yes, 
 go far as you will, still the. admonition will ring in* your ears: // was 
 by your hand he fell! {Bishop England) 
 
 XTbe Hspirate 
 
 The Aspirate is used when the mind is stirred] with ap- 
 prehension, when we wish to caution others without being 
 
no Elements of Expression, Vocal and Physical. 
 
 overheard, when extremely affrighted, and in expressing every 
 form of secrecy. 
 
 It is a breathy quality demanding little or no vocality. 
 The production of this quality is an excellent voice exercise, 
 but we should stop before the organs become dry, and take 
 great care to economize the breath. 
 
 EXAMPLES 
 From /ifcacbetb Act II. 
 
 Macbeth. Whence is that knocking? — 
 
 How is't with me, when every noise appals me? 
 
 What hands are here! Ha! they pluck out mine eyes. 
 
 Will all great Neptune's ocean wash this blood 
 
 Clean from my hands? No! this my hand will rather 
 
 The multitudinous seas incarnadine, 
 
 Making the green one red. 
 
 Re-enter Lady Macbeth. 
 Lady M. My hands are of your color; but I shame 
 
 To wear a heart so white, (knock.) I hear a knocking 
 
 At the south entry: — retire we to our chamber. 
 
 A little water clears us of this deed: 
 
 How easy is it, then? Your constancy 
 
 Hath left you unattended. — (knock.) Hark! more knocking. 
 
 Get out your night gown, lest occasion call us, 
 
 And show us to be watchers. — Be not lost 
 
 So poorly in your thoughts. 
 Macb. To know my deed, 'twas best not know myself. (knock) 
 
 Wake Duncan with thy knocking: I would thou couldst! 
 
 (Shakespeare) 
 
 From Zbe 2>£tn0 Christian to 1foi6 Soul 
 
 Hark! they whisper: angels say, 
 
 Sister spirit come away. 
 
 What is this absorbs me quite, 
 
 Steals my senses, shuts my sight, 
 
 Drowns my spirits, draws my breath? 
 
 Tell me, my soul, can this be death? (Pope) 
 

 Quality . 1 1 1 
 
 From TLhe HM&fcen (3em 
 
 Bibulus. This wa}% masters, this way, we are now just at the 
 door. 
 
 I. Robber. Which way? 
 Bib . Why this way. 
 
 II. Rob. But which is this way? 
 Bib. Follow me, you — 
 
 /. Rob. Come, no sauce — where are you? 
 Bib. Follow your nose, then, straight across the court. 
 [They meet in the middle .] 
 Here we are at last all together, now take hold of one another, 
 and follow me. (Cardinal Wiseman) 
 
 From IkiWQ Jobtt Act IV. 
 
 Arthur. O! now you look like Hubert: all this while you were 
 disguised. 
 
 Hubert. Peace! no more, adieu. 
 
 Your uncle must not know but you are dead: 
 I'll fill these dogg'd spies with false reports; 
 And, pretty child, sleep doubtless, and secure, 
 That Hubert, for the wealth of all the world, 
 Will not offend thee. 
 
 Arth. O Heaven! — I thank you Hubert. 
 Much danger do I undergo for thee. (Shakespeare) 
 
 From :6ssa£ on Satire 
 
 Each fool to low ambition, poorly great, 
 
 That pines in splendid wretchedness of state, 
 
 Tired in the treacherous chase, would nobly yield, 
 
 And but for shame, like Sylla, quit the field: 
 
 The demon Shame paints strong the ridicule, 
 
 And whispers close, " The world will call you fool. " (Pope) 
 
 From Ibamlet Act J. 
 
 Angels and ministers of grace defend us ! — 
 
 Be thou a spirit of health, or goblin damn'd, 
 
 Bring with thee airs from heaven, or blasts from hell, 
 
 Be thy intents wicked or charitable, 
 
Elements of Expression, Vocal and Physical. 
 
 Thou com' st in such a questionable shape, 
 
 That I will speak to thee; I'll call thee, Hamlet, 
 
 King, father, royal Dane; O, answer me; 
 
 Let me not burst in ignorance! but tell 
 
 Why thy canonized bones, hearsed in death, 
 
 Have burst their cerements! why the sepulchre. 
 
 Wherein we saw thee quietly inurn'd, 
 
 Hath oped his ponderous and marble jaws, 
 
 To cast thee up again! {Shakespeare) 
 
 Zhc Guttural 
 
 The etymology of this word gives us a clue to its quality. 
 It is derived from the Latin word guttur — throat, because 
 it is of the throat, throaty. It is the result of a rigid con- 
 dition of the vocal organs arising from the intensity of the 
 passions it manifests. It is a gruff, discordant tone, emi- 
 nently fitted to express extreme anger, intense rage, deep 
 contempt, and merciless revenge. If we would give just ex- 
 pression to our hatred for detestable things, we must ac- 
 quire this quality. 
 
 EXAMPLES 
 
 From ftbe IbtDDen ©em 
 
 Again, and again, I have been vilely used, down to the last night ! 
 
 Aye, last night! That was the last drop! That can never be blotted 
 
 out except by one means. — Yes, in the intense solitude of that foul 
 
 dungeon, — in the Tartarus of that broiling furnace — in the murkiness 
 
 of that endless night — still more, in the bitterness of an envenomed 
 
 soul — in the recklessness of despair — yea, through gnashing teeth 
 
 and parched throat — I, Bibulus, vowed revenge — fatal revenge. My 
 
 manacles and gyves rung like cymbals, as my limbs quivered while 
 
 I uttered the burning words; and a hollow moan, or laugh — I know 
 
 not which — reechoed them through the vault. 
 
 * * * * 
 
 And when did an Asiatic heart retract such a vow? When did 
 it forego the sweet, delicious thought — the only luxury of a slave — 
 
Quality. 113 
 
 revenge? Down, ye growling curs of remorse! Hush! hissing 
 
 worms of conscience! You are too late — the potion is mixed, and 
 the fatal drug cannot be extracted. And then remember Ardea — 
 this afternoon — with its death of a mad hound foaming at the mouth, 
 or a viper shrivelled up on a scorching bank. No; no more qualms. 
 What I am going to do is a safe remedy of all my ills — the easiest 
 way of gaining all my ends. (Cardinal Wiseman) 
 
 From ©tbellO Act III. 
 
 Othello. O, that the slave had forty thousand lives, 
 One is too poor, too weak for my revenge: 
 Now do I see 'tis true. — Look here, lago; 
 All my fond love thus do I blow to heaven; 'tis gone. — 
 Arise, black vengeance from thy hollow cell! 
 Yield up, O love! thy crown, and hearted throne, 
 To tyrannous hate! swell, bosom with thy fraught. 
 For 'tis of aspics' tongues! 
 
 lago. Pray, be content. 
 
 Oth. O, blood, lago, blood! (Shakespeare) 
 
 From Zbe JSattle of Umocfctuaab 
 
 Then stept fierce Cathal to the front the Chieftains standing nigh; 
 "Proud stranger take our answer back, and this our reason why: — 
 Our wolves are gaunt for lack of food — our eagles pine away, 
 And to glut them with your flesh, lo! we stop }*ou here to-day!" 
 "Now, gramercy for the thought!" Calm Sir Hugolin replied, 
 And with a steadfast look and mien that wrathful Chieftain eyed: — ■ 
 "Yet should your wild birds covet not the dainty fare you name, 
 Then, by the rood, our Norman swords shall carve them better game! 
 
 By the Author of " The Monks of Kilcrea." 
 
 From Cortolanus Act V. 
 
 Measureless liar, thou hast made my heart 
 
 Too great for what contains it. Boy! O slave! 
 
 Pardon me, lords, 'tis the first time that ever 
 
 I was forc'd to scold. Your judgments, my grave lords, 
 
 Must give this cur the lie; and his own notion 
 
 (Who wears n^ stripes, impress' d upon him, that 
 
 Must bear my beating to his grave) shall join 
 
ii4 Elements of Expression, Vocal and Physical. 
 
 To thrust the lie upon him. 
 /. Lord. Peace both, and hear me speak. 
 
 Cor. Cut me to pieces, Voices; men and lads, 
 
 Stain all your edges on me. — Boy! False hound! 
 
 If you have writ your annals true, 'tis there, 
 
 That like an eagle in a dove-cot, I 
 
 Flutter'd your Volscians in Corioli; 
 
 Alone I did it. — Boy! {Shakespeare) 
 
 From Zbc Siege of /Ifta^nootb 
 
 The Earl heaped favors on thee? — Never heaped king more on Lord. 
 He loved thee? honored thee? — I was his heart, his arm, his sword! 
 He trusted thee? — Even as he trusted his own lofty soul! 
 And thou betray edst him? Base wretch! thou knowest the traitor's 
 
 goal ! 
 Ho Provost Marshal, hither! Take this losel caitiff hence 
 I mark, methinks, a scaffold under yonder stone defence. 
 Off with his head! By heaven, the blood within me boils and seethes! 
 To look on him! So vile a knave pollutes the air he breathes! 
 
 {J. C. Mangan) 
 
 XTbe pectoral 
 
 The etymology of this word also stands us in good stead. 
 It has its origin from pectus, the breast, because it derives 
 its resonance from the lower part of the chest. It is deeper 
 than the Orotund but lacks its strength and purity. It 
 is tinged with the Aspirate and the Orotund. In the ex- 
 pression of hatred, terror, remorse, awe, etc., it is very effective. 
 
 EXAMPLES 
 
 From Ibell Canto XXX. 
 
 "O ye, who in this world of misery, 
 Wherefore I know not, are exempt from pain," 
 Thus, he began, "attentively regard 
 Adamo's woe. When, living, full supply 
 
Quality. 115 
 
 Ne'er lacked me of what most I coveted; 
 
 One drop of water now, alas! I crave. 
 
 The rills, that glitter down the glassy slopes 
 
 Of Casentino, making fresh and soft 
 
 The hanks whereby they glide to Arno's stream, 
 
 Stand ever in my view; and not in vain: 
 
 For more the pictured semblance cfries me up, 
 
 Much more than the disease, which makes the flesh 
 
 Desert the shrivell'd cheeks." (Cary's Dante) 
 
 From <3ot> in tbe IRigbt 
 
 Deep in the dark I hear the feet of God: 
 
 He walks the world ; He puts His holy hand 
 
 On every sleeper — only puts His hand — 
 
 Within it benedictions for each one — 
 
 Then passes on; but ah! when e'er He meets 
 
 A watcher waiting for Him, He is glad. 
 
 (Does God like man, feel lonely in the dark?) 
 
 He rests His hand upon the watcher's brow — 
 
 But more than that, He leaves His very breath 
 
 Upon the watcher's soul, and more than this, 
 
 He stays for holy hours where watchers pray: 
 
 And more than that, He oftentimes lifts the veils 
 
 That hide the visions of the world unseen. 
 
 The brightest sanctities of highest souls 
 
 Have blossomed into beauty in the dark. (Father Ryan) 
 
 From <3o$ IRevealeD in IRature 
 
 God of Christians! it is on the waters of the abyss and on the vast 
 expanse of the heavens that Thou hast particularly engraven the char- 
 acters of Thy omnipotence! Millions of stars sparkling in the azure 
 of the celestial dome — the moon, in the midst of the firmament — a 
 sea unbounded by any shore — infinitude in the skies and on the waves 
 — proclaim with most impressive effect the power of Thy arm! Never 
 did Thy greatness strike me with profounder awe than in those nights, 
 when, suspended between the stars and the ocean, I beheld immensity 
 over my head and immensity beneath my feet ! 
 
 I am nothing ; I am only a simple, solitary wanderer, and often have 
 I heard men of science disputing on the subject of a Supreme Being, 
 without understanding them; but I have invariably remarked, that 
 
n6 Elements of Expression, Vocal and Physical. 
 
 it is in the prospect of sublime scenes of nature that this unknown 
 Being manifests Himself to the human heart. (Chateaubriand) 
 
 XTbe jfalsetto 
 
 The Falsetto is that thin, shrill voice which we use when 
 we exceed our natural compass. It is used in fright, affec- 
 tation, screaming, and in petulant emphasis. Men sometimes 
 employ this quality of voice in imitating women and chil- 
 dren. 
 
 EXAMPLES 
 
 From prologue to "£be dfoaiDen ©ueen" 
 
 Women like us passing for men you'll cry, 
 
 Presume too much upon your secrecy 
 
 The ladies we shall not so easily please: 
 
 They'll say, "What impudent bold things are these, 
 
 That dare provoke, } T et cannot do us right, 
 
 Like men, with huffing looks, that dare not fight. (Dryden) 
 
 From Zbc poet's Xtttle IRival 
 
 Then the poet leans and listens 
 
 With a quaint and tender air, 
 
 As the bird-like child goes darting 
 
 Through the beautiful parterre. 
 
 "Bravo! Bravo! little poet!" 
 
 (Startled, flushed with love's sunshine:) 
 
 "See my poem, papa darling! 
 
 Every word a blossom fine." 
 
 "Sweet," he says: "God bless thee daughter; 
 
 Ne'er was poem writ like thine ! ' ' (Eleanor C. Donnelly) 
 
 From JSilen dfciooleton 
 
 Julia was standing at the head of the stone, steps that I have de- 
 scribed as forming one of the extremities of the veranda ; and as she 
 placed her foot on one of the moss-covered slippery steps she called 
 
Quality. 117 
 
 out, " I'm going down — I'll have my own way now. " I seized her hand, 
 and drawing her back exclaimed, "Don't Julia!" on which she said, 
 "You had better not tease me; you are to be sent away if you tease me. " 
 I felt as if a viper had stung me; the blood rushed to my head, and I 
 struck her: she reeled under the blow, her foot slipped, and she fell 
 headlong down the steps. A voice near me said, "She has killed her!" 
 
 (Lady Georgiana Fullerton) 
 
 From Zhc IRape of tbe Xocfc 
 
 "Oh, wretched maid!" She spread her hands and cried, 
 
 While Hampton's echoes, "wretched maid!" replied, 
 
 "Was it for this you took such constant care 
 
 The bodkin, comb, and essence to prepare? 
 
 For this your locks in paper durance bound? 
 
 For this with torturing irons wreathed around? 
 
 For this with fillets strained your tender head, 
 
 And bravely bore the double loads of lead? 
 
 Gods! shall the ravisher display your hair, 
 
 While the fops envy, and the ladies stare? 
 
 And shall this prize, th' inestimable prize, 
 
 Exposed through crystal to the gazing eyes, 
 
 And heighten 'd by the diamonds circling rays, 
 
 On that rapacious hand forever blaze? 
 
 vSooner shall grass in Hyde Park circus grow, 
 
 And wits take lodgings in the sound of Bow! 
 
 Sooner let air, earth, sea, to chaos fall, 
 
 Men, monkeys, lapdogs, parrots, perish all!" (Pope) 
 
 GENERAL EXAMPLES 
 From ffatber Connel 
 
 Helen heard the noise of a heavy blow, and the long shrieks sud- 
 denly stopped, subsiding into a low, melancholy cry, followed by 
 deep, deep moans; and a second blow, accompanied by a hissing sound 
 of human breath, such as workmen utter, when they labor with a 
 hatchet. Perfect silence ensued for a short time, only interrupted 
 by the whispering of the nightbreeze through the grass, and through 
 the bushes, and by the gentle fall of water near at hand. Hasty 
 footsteps entered the little hollow, and paused within a few feet of 
 where she la3 7 concealed. 
 
n8 Elements of Expression, Vocal and Physical. 
 
 "This is the place he bade us wait for him," said a hoarse, deep 
 voice but in cautious tones. 
 
 "It is," answered another person — and the two words were spoken 
 with a shudder. 
 
 "That was a black act," continued the first voice. 
 
 "Oh, it was a bloody deed! Oh, the thought of this night will 
 never leave my mind, never, never!" (Banim) 
 
 From Mature proclaims a DeitE 
 
 There is a God! the herbs of the valley, the cedars of the mountain 
 bless him; the insect sports in His beams; the bird sings Him in the 
 foliage; the thunder proclaims Him in the Heavens, the ocean declares 
 His immensity: man alone has said, there is no God! Unite in thought 
 at the same instant the most beautiful objects in nature. Suppose 
 that yoti see, at once, all the hours of the day, and all the seasons of the 
 year; a morning of spring and a morning of autumn: a night bespangled 
 with stars, and a night darkened by clouds; meadows enamelled with 
 flowers; forests hoary with snow; fields gilded by the tints of autumn 
 — then alone you will have a just conception of the universe! 
 
 ( Chateaubriand) 
 
 From pbtlosopbE of tnstorg 
 
 Christianity was the connecting power which linked together 
 the great community of European nations, not only in the moral and 
 political relations of life, but also in science and modes of thinking. 
 The Church was like the all-embracing vault of heaven, beneath whose 
 kindly shelter, those warlike nations began to settle in peace, and 
 gradually to frame their laws and institutions. Even the office of 
 instruction, the heritage of Christian knowledge, the promotion of 
 science, and of all that tended to advance the progress of the human 
 mind, devolved to the care of the Church, and were exclusively con- 
 fined to the Christian schools. . . .The little knowledge that was then 
 possessed, was by the more active spirit, and the sound understanding 
 and practical sense of the European nations, and their better priest- 
 hood, applied with general advantage to the interests of Society. Sci- 
 ence was not then, as in the latter period of its proud ascendency, 
 in open hostility with the pure dictates of faith and the institutions of 
 life. On that world so variously excited in peace, as in war, and by 
 the different pursuits of art and industry, useful knowledge and whole- 
 some speculation descended, not like a violent flood, but like the soft 
 
Quality. 119 
 
 distillations of the refreshing dew, or the gentle drops of fertilizing rain, 
 from the Heaven of faith which over -arched the whole. 
 
 {Frederick von Schlegel) 
 
 From 2H Sermon on Ibeaven 
 
 You have found yourself, perchance, upon a summer day, with- 
 in the sanctuary of some sequestered vale; the tempered sunshine 
 rests on all; in the rain-freshened verdure of the tree above you, and of 
 the grass beneath your feet; on the smiling hills that enfold you on 
 every side; on the sleeping waters of the lake beneath. The air is 
 sweet with the scent of flowers, and cooled by the plashing of the shady 
 stream; sounds of song are in the sky above, and in the woods and 
 thickets around. Though, indeed, you scarcely note each several 
 charm; for it is the unspeakable harmony of all, and its unison with 
 the chords of your heart within, that you are sensible of as you pant 
 out, in a very rapture of thanksgiving, My God, this is heavenly! 
 
 Yes, it is; and thank Him for such a glimpse into the mirror, when 
 the very smoothness of unfallen nature is upon it, when the Peace of 
 Paradise seems restored, and the unclouded smile of its not yet out- 
 raged God seems reflected on earth that bears as yet no curse. Make 
 the most of such hours, for they will quickly pass: the valley will be 
 storm- swept, the skies darkened, the verdure, the fragrance, the melody, 
 — all will soon go. But that is to remind you that what you have seen 
 is an image, and not the reality; it is not to take awa}^ the lesson that 
 its beauty has taught you, nor to rob you of the hope it has kindled 
 in your soul. For the invisible Heaven of God is clearly seen from the 
 created world below, being understood through its image in creation. 
 
 {Archbishop Ryan) 
 
 From Sursum Cor&a 
 
 Homeless hearts! homeless hearts! through the dreary, dreary years, 
 Ye are lonely, lonely wand'rers, and your way is wet with tears; 
 In bright or blighted places, wheresoever ye may roam, 
 Ye look away from earth-land, and ye murmur, "Where is home? 
 
 Homeless hearts ! God is Home!" {Father Ryan) 
 
 From XLO a XLomb 
 
 What horror at thy sight shoots through each sense! 
 How powerful is thy silent eloquence 
 Which never flatters! Thou instruct'st the proud, 
 That their swoll'n pomp is but an empty cloud, 
 
120 Elements of Expression, Vocal and Physical. 
 
 Slave to each wind; the fair, those flowers they have 
 
 Fresh in their cheek, are strewed upon a grave. 
 
 Thou tell'st the rich their idol is but earth; 
 
 The vainly pleased, that syren-like their mirth 
 
 Betrays to mischief, and that only he 
 
 Dares welcome death, whose aims at virtue be. (Habington) 
 
 From Zhe IftecessitE of IRelteton for Society 
 
 Religion is the only solid basis of society. If the social edifice 
 rests not on this eternal and immutable foundation, it will soon crumble 
 to pieces. It would be as vain to attempt to establish society with- 
 out religion as to erect a palace in the air, or on shifting sands, or to 
 hope to reap a crop from seed scattered on the ocean's surface. Re- 
 ligion is to society what cement is to the building: it makes all parts 
 compact and coherent. What principles without religion are bind- 
 ing enough to exact of you that obedience which you owe to society 
 and to the laws of your country? Is it the dread of civil punishment? 
 But the civil power takes cognizance only of overt acts. It has no 
 jurisdiction over the heart, which is the seat of rebellion, the secret 
 council chamber where dark schemes are concocted. The civil power 
 cannot enter the hidden recesses of the soul, and quell the tumults 
 raging there. It cannot suppress those base calumnies, whispered in 
 the dark, which poison the social atmosphere with their foul breath, 
 and breed hatred, resentment, and death. You might as well try to 
 preserve a tree from decay by lopping oil a few withered branches whilst 
 allowing the worms to gnaw at the roots, as to try preserve the social 
 tree from moral corruption by preventing some external crimes whilst 
 leaving the heart to be worm-eaten by vice. (Cardinal Gibbons) 
 
 From 1b am let Act III. 
 
 Whereto serves mercy, 
 But to confront the visage of offense? 
 And what's in prayer, but this two-fold force, — 
 To be forestalled ere we come to fall, 
 Or pardoned, being down? Then I'll look up. 
 My fault is passed. But, O, what form of prayer 
 Can serve my turn? Forgive me my foul murder! — 
 That cannot be; since I am still possess'd 
 Of those effects for which I did the murder. 
 
 My crown, mine own ambition, and my queen 
 
 Try what repentance can: What can it not? 
 Yet what can it, when one cannot repent? 
 
Quality. 121 
 
 O wretched state! O bosom, black as death! 
 
 O limed soul, that, struggling to be free, 
 
 Art more engag'd! Help angels, make assay! 
 
 Bow, stubborn knees! and heart, with strings of steel, 
 
 Be soft as sinews of the new-born babe; 
 
 All may be well. {Shakespeare) 
 
 From Ibereatter 
 
 Is it not sweet to think, hereafter 
 When the spirit leaves this sphere, 
 Love with deathless wing will waft her 
 To those she long hath mourned for here? 
 Hearts from which 'twas death to sever, 
 Eyes, this world can ne'er restore, 
 There as warm, as bright as ever, 
 Shall meet us and be lost no more. 
 When wearily we wander, asking 
 Of earth and heaven, where are they 
 Beneath whose smiles we once lay basking 
 Blest, and thinking bliss would stay? 
 Hope still lifts her radiant finger 
 Pointing to the eternal home 
 Upon whose portal yet they linger. 
 Looking back for us to come. {Moore) 
 
 From JSrutua's Ibarangue over tbe 2)ea& JBoDg of Xucretia 
 
 Thus, thus my friends! fast as our breaking hearts 
 
 Permitted utterance, we have told our story; 
 
 And now, to say one word of the imposture — 
 
 The mask, necessity has made me wear. 
 
 When the ferocious malice of your king, — 
 
 King! do I call him? — when the monster, Tarquin, 
 
 Slew, as most of you may well remember, 
 
 My father, Marcus, and m}' elder brother, 
 
 Envying at once their virtues and their wealth, 
 
 How could I hope shelter from his power, 
 
 But in the false face I have worn so long? 
 
 Say — would you seek instructions: would you seek 
 
 What ye should do? Ask ye yon conscious walls 
 
 Which saw his poison'd brother, saw the incest 
 
 Committed there, and they will cry, Revenge! — 
 
 (/. Howard Payne) 
 
CHAPTER X. 
 
 planes of (Besture 
 
 Gesture has three points of direction: Ascending) Hori- 
 zontal, and Descending. Ascending gesture moves from the 
 level of the shoulder toward the zenith. Horizontal gesture 
 is the middle between ascending and descending. It is 
 even with the shoulder. Descending gesture moves from 
 the shoulder to the nadir. Each of these may be made 
 toward the front, the oblique, the side or lateral, and the 
 backward oblique. * 
 
 The Hand has several different positions or uses. The 
 principal uses of the hand are — the Supine, in which the 
 palm faces up; the Prone, with the palm down; the Ver- 
 tical, with the palm out ; the Index, with the index finger 
 extended and most prominent; the Clasped, and the Clinched. 
 Taking the first letter of each of the above we have the 
 following concise notation of gesture : 
 
 A. F 
 
 .ascending front. 
 
 A. 
 
 oblique. 
 
 A. L 
 
 lateral. 
 
 A. B. 0. . 
 
 backward oblique 
 
 H. F 
 
 horizontal front. 
 
 H. 
 
 oblique. 
 
 H. L 
 
 lateral. 
 
 H. B. 0. . 
 
 backward oblique 
 
 D. F 
 
 descending front 
 
 D. 
 
 oblique. 
 
 D. L 
 
 lateral. 
 
Planes of Gesture. 123 
 
 D. B. 0. . . . descending backward oblique. 
 
 R. H right hand. 
 
 L. H left hand. 
 
 B. H both hands. 
 
 S supine. 
 
 P prone. 
 
 V. . . vertical. 
 
 / index. 
 
 Cla clasped. 
 
 Cli clinched. 
 
 Ascending gesture belongs to the imagination. It per- 
 tains to the realms of the ideal, the virtuous, the noble, 
 the heavenly, and, in general, expresses superiority. 
 
 Horizontal gesture belongs to the realm of the intellect. 
 It is employed in locating, denoting equality, etc. 
 
 Descending gesture belongs to the will and is used there- 
 fore in bold assertion and strong resolution. It is also used 
 to express inferiority, the baser passions, and, in general, 
 things that we scorn or hate. 
 
 Front gestures signify nearness. They are more direct 
 and personal than the others. 
 
 Oblique gestures are less emphatic than front gestures. 
 They are used more in generalities. 
 
 Lateral gestures are less emphatic than even the oblique. 
 They express great extent, universality, etc. 
 
 Backward gestures refer to something remote either geo- 
 graphically or chronologically. 
 
 The supine hand reveals, the prone conceals or imposes % 
 the vertical repels, the index points out, the clasped strongly 
 entreats, the clinched shows the existence of strong passion. 
 
 These significations are not to be looked on as specific. 
 They are general and admit of a very liberal interpretation. 
 For practice on these different planes of gesture and faces 
 of the hand, assume the Unexcited position, let the arms 
 
124 Elements of Expression, Vocal and Physical. 
 
 hang loosely and entirely decomposed. Now raise the arm 
 in the required direction taking care that the shoulder 
 leads and each joint unfolds in succession. At the emphatic 
 word end the gesture by a quick turn of the wrist. This 
 last movement is known as the ictus of the gesture, or the 
 climax. However, be the movement of the arm as grace- 
 ful as it may be, unless the position of the hand harmonizes, 
 the effect wdll be unpleasant. 
 
 For the expression of ordinary sentiments the hand should 
 be gently opened with index finger extended, thumb slightly 
 bent outward, the outer fingers gracefully curved. They 
 should neither be widely separated nor tightly pressed 
 together. 
 
 Carry the right hand through all of the above planes 
 of gesture, and, as far as practicable, in all the different 
 faces of the hand. Practice the left next, and then both 
 together in the same way. The descending vertical and 
 the double backward oblique are not practicable. 
 
 In the sentences given below the abbreviations show 
 what gestures are appropriate. Where the hand is not 
 mentioned, the right is supposed, and where the use is not 
 given, the supine is to be understood. 
 
 Ube Supine 1foan& 
 
 This hand may be used in the expression of almost any 
 emotion. In general, it is used to reveal. 
 
 Single Supine f>an& 
 
 D. F. 
 
 I demand my right. 
 
 I submit the matter to your decision. 
 
Planes of Gesture. 125 
 
 D. 0. 
 There is no foundation for these assertions. 
 What could I do in such a state of health? 
 
 D. L. 
 
 Away with such trifling! 
 
 To thine own self be true, 
 
 And it must follow as the night the day, 
 
 Thou canst not then be false to any man. 
 
 D. B. 0. 
 Away with such an abominable idea. 
 Let those who did the deed now look to it. 
 
 H. F. 
 
 Sir, I appeal to you, for you were present. 
 This above all, to thine own self be true. 
 
 H. 0. 
 
 Do you confess so much? Give me your hand. 
 This is my opinion, Gentlemen. 
 
 H. L. 
 Search the latest records and you will find it inscribed. 
 Not that I loved Caesar less, but that I loved Rome more. 
 
 H. B, 0. 
 Turning from civilization, he struck out into the jungle. 
 His past life now appears to him a dream. 
 
 .4. F. 
 
 Oh ! Jesus, seize my hand and lead me home. 
 
 But conquered now, and crushed, I look aloft. 
 And sorrow leads me, Father, back to thee. 
 
 A. 0. 
 
 The angels of God watch over us ever. 
 
126 Elements of Expression, Vocal and Physical. 
 
 The same stars look down upon man that looked upon the shepherds 
 on the hills of Bethlehem. 
 
 A. L. 
 
 The Dipper, great in size but proportionate to the rest of the heavens, 
 is known to everyone. 
 
 The sun, the moon, the stars proclaim His name. 
 
 A. B. 0. 
 
 Our forefathers, men of sterling worth, died for this faith. 
 Hurrah ! Hurrah ! great Caesar comes. 
 
 JBotb Iban&s Supine 
 
 B. H. D. F. 
 I am willing to lay down all I possess, at thy command. 
 
 death! where is thy sting? 
 
 B. H. D. 0. 
 
 Behold me at thy feet! 
 
 We can easily afford to grant this. 
 
 B. H. D. L. 
 
 Broad is the way that leadeth to destruction. 
 
 1 utterly renounce the supposed advantages. 
 
 B. H. H. F. 
 
 I beg of you to consider the consequences of such a decision. 
 Here I stand longing ardently for you. 
 
 B. H. H. 0. 
 Friends, Romans, Countrymen, lend me your ears. 
 It blesseth him that gives, and him that takes. 
 
 B. H. H. L. 
 
 On every side, we behold evidences of the Creator's goodness. 
 The world, from end to end, sends up His praise. 
 
Planes of Gesture. 127 
 
 B. H. A. F. 
 Oh, God! we praise thee. 
 Oh, sacred Liberty! I lift my hands to thee. 
 
 B. H. A. 0. 
 
 The many stars I see were planted by an almighty hand. 
 The gathering clouds, like meeting armies, come on apace. 
 
 B. H. A. L. 
 
 Not a star glittered in all the firmament. 
 Joy, joy! we are safe at last. 
 
 Single 1ban& prone 
 
 The Prone hand is as extensively used as the supine. 
 It generally represses and conceals. 
 
 D. F. 
 
 Down slave, before me and pay your allegiance. 
 
 Even Genius feels rebuked and subdued, as in the presence of higher 
 qualities. 
 
 D. 0. 
 
 The wild rose grew above that unknown grave. 
 Let every true patriot repress such a feeling. 
 
 D. L. 
 
 Repentance will cover that sin. 
 The noise died away. 
 
 D. B. 0. 
 
 I depise thy threats of harm to me. 
 
 I utterly contemn and abhor such dealings. 
 
 H. F. 
 
 O Hamlet! speak no more. 
 
 Far ahead we saw the smoke of a great steamer. 
 
128 Elements of Expression, Vocai, and Physical. 
 
 H. 0. 
 
 Friendship has a power, 
 
 To soothe affliction in her darkest hour. 
 
 Peace, dreamer, thou hast done well. 
 
 H. L. 
 The landscape fades from view. 
 No more shall melancholy brood therein. 
 
 H. B, 0. 
 The dread visitation from God was come upon Gomorrah. 
 Looking back to your deeds of yesterday, have you not much to dread? 
 
 A. F. 
 
 He has suspended the sword above you. 
 Forbear, pollute not that sacred name. 
 
 A. 0. 
 
 Ye gods, withhold your wrath. 
 The rising sun put out the stars. 
 
 A. L. 
 Do you see that dark cloud over there? 
 The top of yon high mount we gained. 
 
 A. B. 0. 
 The Decalogue was given amidst Sinai's thunder. 
 
 No other institution carries the mind back to the time when the home 
 of the Christian was a catacomb. 
 
 Both Iban&s prone 
 
 B. H. D. F. 
 Here we gently laid him down and covered him. 
 I saw before me the mutilated corpse. 
 
Planes of Gesture. 129 
 
 B. H. D. 0. 
 Down with all such sentiments forever. 
 Frail men! bow down your necks to his yoke. 
 
 B. H. D. L. 
 
 In the graves of every nation lie unknown heroes. 
 Time, in his onward march, destroys all the works of man. 
 
 B. H. H. F. 
 On horror's head, horrors accumulate. 
 My blessing rest on you. 
 
 B. H. H. 0. 
 
 Night closed over the city. 
 
 Heaven blast your hopes with its heavy curse. 
 
 B. H. H. L. 
 O'er all the world darkness reigns supreme. 
 Sorrow mantles the whole earth. 
 
 B. H. A. F. 
 
 Withhold the chastisement we deserve. 
 Forever blessed be Thy sacred name! 
 
 B. H. A. 0. 
 The mantle of darkness lifted, and light was. 
 Hover o'er us in the storms of life. 
 
 B. H. A. L. 
 From end to end of the universe, God reigns. 
 The floor of heaven is bestrewn with golden stars. 
 
 Ube Vertical 1ban& 
 
 This hand is used to denote a warding off. The Supine 
 generally supports, the Prone represses, the Vertical repels. 
 
130 Elements of Expression, Vocal and Physical. 
 
 H. F. 
 Out of my sight! 
 
 H. 0. 
 Drive back the bold invaders. 
 
 H. L. 
 Away with such vile measures. 
 
 H. B. 0. 
 Follow not: I'll have no speaking. 
 
 A. F. 
 
 Withhold Thy justice; grant me mercy. 
 
 A. 0. 
 
 Oh, Heaven! forbid such a deed. 
 
 A. L. 
 
 Away, delusive phantom! 
 
 A, B. 0. 
 Hence, horrible shadow! 
 Unreal mockery, hence! 
 
 B. H. H. F. 
 Whence and what art thou, execrable shape? 
 
 B. H. H. 0. 
 Far from us be such a thought. 
 
 B. H. H. L. 
 Bursts the wild storm of terror and dismay. 
 
 B. H. A. F. 
 
 Avert, O God, the frown of thy indignation! 
 
 B. H. A. 0. 
 
 Angels and ministers of grace, defend us! 
 B. H. A. L. 
 Melt and dispel ye spectre doubts. 
 
Planks of Gesture. 131 
 
 Ube fln&ex fmnft 
 
 This form of gesture is used to limit the designating 
 gesture. Compare the following examples and the dif- 
 ference of use will be more obvious. 
 
 H. 0. P. 
 Let us go over the whole ground once more! 
 
 H. F. I. 
 Let us dwell on this point in particular. 
 
 I. A, F. 
 
 That point is beyond your reach. 
 
 I. A. 0. 
 From j'onder point I have often gazed at the sea. 
 
 I. A. L. 
 
 Do you see the eagle's nest far to our right? 
 
 I. A. B. 0. 
 I ask you to glance at that brightest page in our Church's annals. 
 
 I. H. F. 
 That point I will prove thus. 
 
 I. H. 0. 
 On yonder house they nailed the placard. 
 
 I. H. L. 
 In that mount lies a forgotten race. 
 
 I. H. B. 0. 
 For proof of this, look to the days of the penal laws of Ireland. 
 
 I. D. F. 
 
 Lie there till the bugle arouses thee. 
 
 I. D. 0. 
 
 Thou creeping serpent, graceful in all thy movements! 
 
132 Elements of Expression, Vocal and Physical. 
 
 /. D. L. 
 
 He lay here aside of the road. 
 
 J. D. B. 0. 
 You remain behind or you will rue it. 
 
 Ube Clasped 1banD 
 
 This position denotes great emotion, it is used in earnest 
 entreaty, supplication, etc. The fingers of the right hand are 
 intertwined with those of the left. Ascending and descending 
 front gestures may be made with the Clasped Hands. 
 
 A. F. 
 For God's sake spare me. 
 
 D. F. 
 
 All is now lost; I await your sentence. 
 
 XTbe Glincbefc 1ban& 
 
 This is used where great emphasis is to be expressed. 
 Strong denunciation with threats, desperation, resolution, 
 etc., take this mode of expression; e. g., 
 
 We will win the day or perish. 
 
 I'll have my bond. 
 
 With this little hand I will crush his power. 
 
 Practice on these sentences, as was mentioned before, 
 taking care to grasp the sentiment, and portray it as if it 
 were your own. Mechanical gesture will thus be avoided. 
 We insert here also a number of extracts which the student 
 is to interpret and portray by appropriate gesture. 
 
Planes of Gesture. 133 
 
 GENERAL EXAMPLES 
 Zhe /HMset anfc plutus 
 
 The wind was high — the window shakes; 
 
 B. H. A. 0. R. H. 0. 
 
 With sudden start the miser wakes! 
 
 B. II. A., till clasp. 
 Along the silent room he stalks; 
 
 R. H. F. to R. 0. 
 Looks back, and trembles as he walks! 
 
 Look over L. Shoulder. B. H. Cli. & tremor. 
 Each lock, and ev'ry bolt he tries, 
 
 L. H. D. 0. R. H. illustrate. 
 In ev'ry crack, and corner, pries; 
 
 B. H. F. to 0. 
 Then opes his chest, with treasure stor'd, 
 
 B. H. A. F. Supine. 
 And stands in rapture o'er his hoard: 
 
 B. H. Cla. 
 But now with sudden qualms possest, 
 
 B. H. F. Aversive. 
 He wrings his hands; he beats his breast — 
 
 Illustrate illustrate R. H. 
 
 By conscience stung, he wildly stares; 
 
 R. H. on breast, Head looks around fearful. 
 And thus his guilty soul declares: 
 
 B. H. on breast. 
 Had the deep earth her stores confin'd, 
 
 B. H. D. F. 
 This heart had known sweet peace of mind; 
 
 R. H. on heart. 
 But virtue's sold! Good gods! what price 
 
 B. H. H. F. B. H. A. F. 
 Can recompense the pangs of vice? 
 
 R. H. to forehead. 
 O bane of good! seducing cheat! 
 
 B. H. D. F. Prone. 
 Can man, weak man, thy power defeat? 
 
 B. H. 0. to L. 
 
i34 Elements of Expression, Vocal and Physical. 
 
 Gold banisb'd honor from the mind, 
 
 R. H. A. F. to 0. Aversive. 
 And only left the name behind; 
 
 R. H. on breast. 
 Gold sow'd the world with ev'ry ill; 
 
 B. H. F. to L. 
 Gold taught the murd'rer's sword to kill: 
 
 R. H. Cli., D. to. F. 
 'Twas gold instructed coward hearts 
 
 R. H. D. O. 
 In treaeh'ry's more pernicious arts. 
 
 R. H. B. 0. 
 Who can recount the mischiefs o'er? 
 
 B. H. F. to L. 
 Virtue resides on earth no more! 
 
 R. H. D. F. (Cotnstock) 
 
 Zbe /lfcain^rucfe; or, H Xeap tor Xife 
 
 Old Ironsides at anchor lay, 
 In the harbor of Mahon; 
 R. H. pointing O. 
 A dead calm rested on the bay, 
 Dbl. P. H. F. to L. 
 The waves to sleep had gone; 
 Last gtsture sustained. 
 When little Hal, the captain's son, 
 
 R. II. D. F. to picture height. 
 A lad both brave and good, 
 Continue picture. 
 In sport, up shroud and rigging ran, 
 R. H. A. F. 
 And on the main-truck stood! 
 R. H. A. F. pointing. 
 A shudder shot through every vein, 
 B. II. Cli. &> tremble. 
 All eyes were turned on high! 
 B. H. F. to L. Eyes A. F. 
 There stood the boy, with dizzy brain, 
 R. H. A. F. 
 Between the sea and sky; 
 Eyes A. F. 
 
Planes of Gesture. 135 
 
 No hold had he above, below, 
 
 Shake head. Eyes A. F. & D. F. 
 Alone he stood in air; 
 R. H. A. F. 
 To that far height none dared to go; 
 
 R. H. A. F. Shake head R. H. D. F. 
 No aid could reach him there. 
 Shake head. Eyes A. F. 
 
 We gazed, — but not a man could speak! 
 
 Eyes A. F. B. H. F. to L. Shake head in 
 With horror all aghast, 
 R. H. A. F. V. 
 In groups, with pallid brow and cheek, 
 B. H. F. to L. 
 We watched the quivering mast. 
 
 R. H. F. shaking to illustrate "quivering. 
 The atmosphere grew thick and hot, 
 B. H. H. V. 
 And of a lurid hue; 
 B. II. H. V. 
 As riveted unto the spot, 
 R. H. D. F. 
 Stood officers and crew. 
 B. H. F. to. 0. 
 The father came on deck, he gasped, 
 
 R. FI. 0. pointing R. H. to throat. 
 "O God! Thy will be done!" 
 R. H. A. F. 
 Then suddenly a rifle grasped, 
 R. H. Cli. illustrate. 
 And aimed it at his son, 
 
 Illustrate taking aim B. H. A. F. 
 "Jump far out, boy, into the wave! 
 R. H. D. 0. 
 Jump or I fire!" he said; 
 B. FI. Cli. & raised to aim. 
 "That only chance thy life can save! 
 R. H. A. F. 
 Jump! jump, boy!" He obeyed. 
 B. II. A. F. Cla. 
 He sunk, — he rose, — he lived, — he moved, — 
 R. H. D. 0. R. H. A. 0. 
 
136 Elements of Expression, Vocal and Physical. 
 
 And for the ship struck out; 
 R. H. 0. to F. 
 On board, we hailed the lad beloved, 
 R. H. A. F. waving. 
 With many a manly shout. 
 Continue last gesture. 
 His father drew, in silent joy, 
 L. H. 0. pointing. 
 Those wet arms round his neck, 
 Continue last. 
 Then folded to his heart his boy, 
 L. H. 0. pointing. 
 And fainted on the deck. (George P. Morris.) 
 R. H. D. F. 
 
 From 5uliu6 Caesar Actll. 
 
 O conspiracy! 
 Shamest thou to show thy dangerous brow by night! 
 When evils are most free? O then, by day, 
 Where wilt thou find a cavern dark enough 
 To mask thy monstrous visage? Seek none, conspiracy; 
 Hide it in smiles and affability; 
 For if thou put thy native semblance on, 
 Not Erebus itself were dim enough 
 To hide thee from prevention. (Shakespeare) 
 
 From St. fjerculanus 
 
 Down from far Gothland's icy coasts 
 
 Sweep Totila's resistless hosts, 
 
 He dooms Perugia's walls and towers, 
 
 And girds her round with ruthless powers. (Leo XIII.) 
 
 From Xalla IRoofcb 
 
 "What! while our arms can wield these blades, 
 "Shall we die tamely? die alone? 
 "Without one victim to our shades, 
 
Planes of Gesture. 137 
 
 "One Moslem heart, where, buried deep, 
 
 "The sabre from its toil may sleep? 
 
 "No — God of Iran's burning skies! 
 
 "Thou scorn'st th' inglorious sacrifice. 
 
 "No — though of all earth's hope bereft, 
 
 "Life, swords, and vengeance still are left 
 
 "We'll make yon valley's reeking caves 
 
 "Live in the awe-struck minds of men, 
 
 "Till tyrants shudder, when their slaves 
 
 "Tell of the Gheber's bloody glen. 
 
 "Follow, brave hearts! — this pile remains 
 
 "Our refuge still from life and chains; 
 
 "But his the best, the holiest bed, 
 
 "Who sinks entomb'd in Moslem dead!" (Moore) 
 
 From HntonE anfc Cleopatra Act V. 
 
 O Antony! 
 Have I followed thee to this? — but we do lance 
 Diseases in our body. I must perforce 
 Have shown to thee such a declining day, 
 Or look on thine; we could not stall together 
 In the whole world. But yet let me lament, 
 With tears as sovereign as the blood of hearts, 
 That thou my brother, my competitor 
 In top of all design, my mate in empire, 
 Friend and companion in the front of war, 
 The arm of mine own body, and the heart 
 Where mine his thoughts did kindle, that our stars, 
 Unreconcilable should divide 
 Our equamess to this. — (Shakespeare) 
 
 From %ove f & prisoner 
 
 Reposing in his altar-home — 
 
 Imprison' d there for love of me — 
 My Spouse awaits me; and I come 
 
 To visit Him awhile, and be 
 A solace to his loneliness — 
 
 If aught in me can make it less. (Hill) 
 
138 Elements of Expression, Vocal and Physical. 
 
 From IRiCbatD MIT. Act I. 
 
 Erroneous vassal! the great King of kings 
 
 Hath in the table of His law commanded, 
 
 That thou shalt do no murder: will you, then, 
 
 Spurn at His edict, and fulfill man's? 
 
 Take heed : for He holds vengeance in His hand, 
 
 To hurl upon their heads that break His law. (Shakespeare) 
 
 From /IIMllE'6 Bipiation 
 
 There are times when all these terrors 
 
 Seem to fade, and fade away, 
 Like a nightmare's ghastly presence 
 
 In the truthful dawn of day. 
 There are times, too, when before me 
 
 They arise, and seem to hold 
 In their *grasp my very being 
 
 With the deadly strength of old, 
 Till my spirit quails within me, 
 
 And my very heart grows cold. (A. A. Procter) 
 
 From Zhe {Tempest Act I v. 
 
 These our actors, 
 As I foretold you, were all spirits, and 
 Are melted into air, into thin air: 
 And, like the baseless fabric of this vision, 
 The cloud-capp'd towers, the gorgeous palaces, 
 The solemn temples, the great globe itself: 
 Yea, all which it inherit shall dissolve. (Shakespeare) 
 
 From UeeterDaE 
 
 Gone! and they return no more, 
 
 But they leave a light in the heart: 
 The murmur of waves that kiss a shore 
 
 Will never, I know, depart. 
 Gone! yet with us still they staj^, 
 
 And their memories throb through life; 
 The music that hushes or stirs to-day, 
 
 Is toned by their calmer strife. (Father Ryan) 
 
Planes of Gesture. 139 
 
 From Gwelftb IRigbt Act I. 
 
 If music be the food of love, play on, 
 
 Give me excess of it; that, surfeiting, 
 
 The appetite may sicken and so die, — 
 
 That strain again; it had a dying fall: 
 
 O, it came o'er my ear like the sweet south, 
 
 That breathes upon a bank of violets, 
 
 Stealing, and giving odor. (Shakespeare) 
 
 From H Voice from Hf ar 
 
 A sea before 
 The throne is spread: its pure still glass 
 Pictures all earth-scenes as they pass; 
 
 We on its shore 
 Share, in the bosom of our rest, 
 God's knowledge, and are bless'd. {Newman) 
 
 From Zxoo Gentlemen of Werona Act V. 
 
 Who by repentance is not satisfied, 
 
 Is not of heaven nor earth. (Shakespeare) 
 
 From XZhe Sister of Cbarit£ 
 
 Her down-bed, a pallet — her trinkets, a bead, 
 
 Her lustre — one taper, that serves her to read: 
 
 Her sculpture — the crucifix nailed by her bed; 
 
 Her paintings — one print of the thorn-crowned head; 
 
 Her cushion — the pavement that wearies her knees; 
 
 Her music — the psalm, of the sigh of disease: 
 
 The delicate lady lives mortified there, 
 
 And the feast is forsaken for fasting and prayer. (G. Griffin) 
 
 From Winter's Gale Act ill. 
 
 But, O thou tyrant! 
 Do not repent these things; for they are heavier 
 Than all thy woes can stir: therefore betake thee, 
 To nothing but despair. A thousand knees 
 
140 Elements of Expression, Vocal and Physical. 
 
 Ten thousand years together, naked, fasting, 
 
 Upon a barren mountain, and still winter 
 
 In storm perpetual, could not move the gods 
 
 To look that way thou wert. (Shakespeare) 
 
 From TLhe WiVCV 
 
 Soon one of these monsters approached me, and plied 
 
 His hundred feelers to drag 
 Me down through the darkness: when, springing aside, 
 
 I abandoned my hold of the coral crag, 
 And the maelstrom grasped me with arms of strength, 
 
 And upwhirled and upbore me to daylight at length. 
 
 (/. C. Mangan) 
 
 From Iking Xear Act III. 
 
 Blow, wind, and crack your cheeks! rage! blow! 
 
 You cataracts and hurricanoes spout 
 
 Till you have drench'd our steeples, drowned the cocks! 
 
 You sulphurous and thought-executing fires, 
 
 Vaunt couriers to oak-cleaving thunderbolts, 
 
 Singe my white head! And thou, all-shaking thunder, 
 
 Strike flat the thick rotundity o' the world! 
 
 Rumble thy bellyful! Spit, fire! spout, rain! 
 
 Nor rain, wind, thunder, fire, are my daughters: 
 
 I tax you not, you elements with unkindness, 
 
 I never gave you kingdom, call'd you children, 
 
 You owe me no subscription: why then, let fall 
 
 Your horrible pleasure: here I stand, your slave, 
 
 A poor, infirm, weak, and despis'd old man: — 
 
 But yet I call you servile ministers, 
 
 That have with two pernicious daughters join'd 
 
 Your high-engender' d battles 'gainst a head 
 
 So old and white as this, O! O! 'tis foul! [Shakespeare) 
 
 From Stella /Ifoatutma 
 
 Cerulean Ocean, fringed with white, 
 That wear'st her colors evermore, 
 
Planes of Gesture. 141 
 
 In all thy pureness, all thy might, 
 
 Resound her name from shore to shore. 
 
 That fringe of foam, when drops the sun 
 To-night, a sanguine stain shall wear: — 
 
 Thus Mary's heart had strength, alone, 
 
 The passion of her Lord to share (Aubrey De Vere) 
 
 From ITrelanfc'e \t)ovv 
 
 List! scarce a sound can be heard in our thorough-fares — 
 
 Look! scarce a ship can be seen on our streams; 
 Heart-crushed and desolate, spell-bound, irresolute, 
 
 Ireland but lives in the bygone of dreams! 
 Irishmen! if we be true to our promises, 
 
 Nerving our souls for more fortunate hours, 
 Life's choicest blessings, love's fond caressings, 
 
 Peace, home and happiness, all shall be ours! 
 
 (D. F. M'Carthy) 
 
 From Gimon Of 2Htbetl6 Act V. 
 
 Come not to me again: but say to Athens, 
 
 Timon hath made his everlasting mansion 
 
 Upon the beached verge of the salt flood; 
 
 Which once a day with his embossed froth 
 
 The turbulent surge shall cover; thither come. 
 
 And let my grave-stone be your oracle. (Shakespeare^) 
 
 From Gbe penitent IRaven 
 
 The Raven's nest is built with reeds, 
 
 Sing woe, and alas is me! 
 And the Raven's couch is spread with weeds, 
 
 High on the hollow tree; 
 And the Raven himself, telling his beads 
 In penance for his past misdeeds, 
 
 Upon the top I see. 
 Telling his beads from night to morn, — 
 
 Sing alas! and woe is me! 
 In penance for stealing the Abbot's corn. 
 
 High on the hollow tree. 
 
142 Elements of Expression, Vocal and Physical. 
 
 Sin is a load upon the breast, 
 
 And it nightly breaks the Raven's rest, 
 
 High on the hollow tree. (T. D. M'Gee) 
 
 From Zitus Hnfcromcus Act III. 
 
 Hear me, grave fathers! noble tribunes, stay 
 
 For pity of mine age, whose youth was spent 
 
 In dangerous wars, whilst you securely slept; 
 
 For all my blood in Rome's great quarrel shed; 
 
 For all the frosty nights that T have watch'd; 
 
 And for these bitter tears, which now you see 
 
 Filling the aged wrinkles in my cheeks; 
 
 Be pitiful to my condemned sons. {Shakespeare) 
 
 From Groilus anO Cres6iDa Act III. 
 
 Honour travels in a strait so narrow, 
 Where one but goes abreast: keep, then, the path; 
 For emulation hath a thousand sons, 
 That one by one pursue: if you give way, 
 Or edge aside from the direct forthright, 
 Like to an enter'd tide, they all rush by, 
 And leave you hindmost. (Shakespeare) 
 
 From TLhe HMoOen (Sent 
 
 Farewell, sycophant! farewell, indeed? 
 
 No, not yet, — 
 
 There shall be moaning over death in this house, before I go to en- 
 counter it. After this cruel doom, who will blame me, if I seek to 
 escape it? Yet here again comes the question — who is doing this? 
 Proculus. Then ought not my vengeance to fall on him? Warily, 
 calmly — let us weigh this. 
 
 If Proculus dies — Busebius would be worse. Now, if Euphemian 
 dies, it is very different. We know that by his will he has released 
 all his slaves. So let him die and I am free. 
 
 But is this generous? or honorable? tut, tut; who has ever been 
 generous, or honorable with me? and am I to begin virtues first? Out 
 upon it— no! 
 
Planes of Gesture. 143 
 
 Yet the thing must be done cautiously, securely. It is an ugly 
 thing, is killing, even in revenge. One must throw a veil over it — 
 make it appear like an accident, even to one's self. Ha! happy com- 
 bination — I know how at once to procure the necessary means, and 
 then — the pilgrim who is going to sleep there — Capital! What more 
 likely? He has some design, no doubt — and he will be the only person 
 near. A train can be easily laid to bring it home to him. — Bravo, 
 Bibulus, thou art a clever hand at mischief. — By one blow thou shalt 
 gain liberty, security and revenge! {Cardinal Wiseman) 
 
 From Goriolanus Act V. 
 
 Measureless liar, thou hast made my heart 
 
 Too great for what contains it. Boy! O slave! — 
 
 % ■¥ % % 
 
 Cut me to pieces Volsces: Men and lads, 
 
 Stain all your edges on me. Boy! False hound! 
 
 If you have writ your annals true, 'tis there, 
 
 That like an eagle in a dove-cote, I 
 
 Flutter'd your Volscians in Corioli: 
 
 Alone I did it. — Boy! (Shakespeare) 
 
 From Gbe Beatb ot ©ur XaDg 
 
 Weep, living things! the mother dies; 
 
 The world doth lose the sum of all her bliss, 
 The queen of earth, the empress of the skies; 
 
 By Mary's death mankind an orphan is, 
 Let nature weep, yea, let all graces moan; 
 Their glory, grace, and gifts die all in one. (Southwell) 
 
 From Zhc /Ifoercbant of Venice Act I. 
 
 Signior Antonio, many a time and oft, 
 On the Rialto you have rated me 
 About my money and my usances: 
 Still have 1 borne it with a patient shrug; 
 For sufferance is the badge of all our tribe; 
 You call'd me — misbeliever, cut- throat, dog, 
 And spit upon my Jewish gaberdine, 
 And all for use of that which is my own. 
 
144 Elements of Expression, Vocal and Physical. 
 
 Well then, it now appears, you need my help: 
 
 Go to then; you come to me, and you say, 
 
 "Shylock, we would have moneys;" you say so; 
 
 You, that did void your rheum upon my beard. 
 
 And foot me as you spurn a stranger cur 
 
 Over your threshold; moneys is your suit; 
 
 What should I say to you! should I not say: 
 
 "Hath a dog money? is it possible 
 
 A cur can lend three thousand ducats?" or 
 
 vShall I bend low, and in a bondman's key, 
 
 With 'bated breath, and whispering humbleness, 
 
 Say this: — 
 
 "Fair sir, you spit on me on Wednesday last; 
 
 You spurned me such a day; another time 
 
 You call'd me — dog: and for those courtesies 
 
 ['11 lend you thus much moneys?" {Shakespeare) 
 
 From Qn 1bope 
 
 Dear Hope! earth's dowry and heaven's debt 
 The entity of things that are not yet: 
 
 Fair cloud of fire! both shade and light, 
 
 Our life in death, our day in night: 
 Fates cannot find out a capacity 
 Of hurting thee. (Crashazv) 
 
 From !\ /lIM&aummer IKUgbt's Dream Act IV. 
 
 I was with Hercules and Cadmus once, 
 
 When in a wood of Crete they bay'd the bear 
 
 With hounds of Sparta: never did I hear 
 
 Such gallant chiding: for, besides the groves, 
 
 The skies, the fountains, every region near 
 
 Seem'd all one mutual cry: 1 never heard 
 
 So musical a discord, such sweet thunder. (Shakespeare) 
 
 From On jflMlton 
 
 Three poets, in three distant ages born, 
 Greece, Italy, and England did adorn. 
 The first in loftiness of thought surpassed; 
 
Planes of Gesture. 145 
 
 The next in majesty; in both the last. 
 
 The force of Nature could no further go; 
 
 To make a third, she joined the other two. {Dry den) 
 
 From /Bbucb H&o about 1KlOtbtn0 Act V. 
 
 The wolves have prey'd; and look, the gentle day, 
 
 Before the wheels of Phoebus, round about 
 
 Dapples the drowsy east with spots of gray. {Shakespeare) 
 
 From j£60aE on Criticism 
 
 Still green with bays each ancient altar stands 
 
 Above the reach of sacrilegious hands; 
 
 Secure from flames, from envy's fiercer rage, 
 
 Destructive war, and all involving age. 
 
 See from each clime the learned their incense, bring! 
 
 Hear in all tongues consenting paeans ring ! 
 
 In praise so just let ever} 7 voice be joined, 
 
 And fill the general chorus of mankind. 
 
 Hail, bards triumphant! born in happier days, 
 
 Immortal heir of universal praise! {Pope) 
 
 From Naming of tbe Sbrew Act IV. 
 
 For 'tis the mind that makes the body rich; 
 
 And as the sun breaks through the darkest clouds, 
 
 So honour peereth in the meanest habit. 
 
 What! is the jay more precious than the lark, 
 
 Because his feathers are more beautiful? 
 
 Or is the adder better than the eel, 
 
 Because his painted skin contents the eyes? 
 
 O, no, good Kate: neither art thou the worse 
 
 For this poor furniture and mean array. {Shakespeare) 
 
 From H JSallaD of HecanDer^JSeg 
 
 4 'St. Michael stands upon my right, 
 
 Therefore I have no fear; 
 When he shall cease his holy fight 
 
 My end will then be near." 
 
146 Elements of Expression, Vocal. and Physical. 
 
 Thus spake the brave George Castriot 
 Albania's Christian knight, 
 Who once with Moslems cast his lot, 
 (With those who love our Jesus not.) 
 They called him by another name — 
 
 The hateful Moslem crew! — 
 Iscander-Beg! They knew his fame, 
 
 And deep that fame they rue. 
 To-day, beside the Golden Horn, 
 Full many a Moslem dame 
 Most sore affrights her latest born 
 With that bright name that Christians mourn. 
 
 (M. F. Egan) 
 
 From IWVs XlXHell £bat Bnfcs mell 
 
 Be thou blest, Bertram! and succeed thy father 
 
 In manners, as in shape! thy blood and virtue, 
 
 Contend for empire in thee; and thy goodness 
 
 Share with thy birth-right! (Shakespeare) 
 
 From Gbe banner of tbe 1bol£ afamilE 
 
 To arms! to arms! for God our King! 
 Hark how the sounds of battle ring! 
 Unfold the Banner! Raise it high, 
 Dear omen of our victory! 
 We come, our hands and hearts we bring; 
 We come, and Sion's song we sing 
 
 Unto the Holy Family! {Father Faber) 
 
 From J\6 i?OU Xifce 1ft Act II. 
 
 All the world's a stage, 
 And all the men and women merely players; 
 They have their exits and their entrances; 
 And one man in his time plays many parts, 
 His acts being seven ages. At first the infant, 
 Mewling and puking in the nurse's arms; 
 And then the whining school-boy, with his satchel, 
 And shining morning face, creeping like snail 
 
Planes of Gesture. 147 
 
 Unwillingly to school: and then, the lover, 
 
 Sighing like furnace, with a woful ballad 
 
 Made to his mistress' eyebrow. Then a soldier, 
 
 Full of strange oaths, and bearded like the pard, 
 
 Jealous in honour, sudden and quick in quarrel, 
 
 Seeking the bubble reputation 
 
 Even in the cannon's mouth. And then the justice; 
 
 In fair round belly, with good capon lined, 
 
 With eyes severe, and beard of formal cut, 
 
 Full of wise saws and modern instances; 
 
 And so he plays his part. The sixth age shifts 
 
 Into the lean and slippered pantaloon: 
 
 With spectacles on nose, and pouch on side, 
 
 His youthful hose well sav'd, a world too wide 
 
 For his shrunk shank; and his big manly voice, 
 
 Turning again towards childish treble, pipes 
 
 And whistles in his sound: Last scene of all. 
 
 That ends this strange eventful history, 
 
 is second childishness, and mere oblivion: 
 
 Sans teeth, sans eyes, sans taste, sans everything. 
 
 (Shakespeare) 
 
 From IRacbel in tbe IRortb 
 
 Out on the cruel field he lies, dear God! 
 
 Whom three nights gone I pillowed safe and warm, 
 
 Thinking the down scarce soft enough, — the sod, 
 
 Alas! the bloody sod now beds his form. 
 
 I watch — I wait. I had such hopes and schemes 
 
 Of what mighc be if he were home once more. 
 
 Fame! glory! perish — empty, hollow dreams! 
 
 My dory's dead. And this, O heaven, is war! 
 
 ^Eleanor C. Donnelly) 
 
 From Gbe Corned of lErtors Act V. 
 
 Though now this grained face of mine be hid 
 In sap-consuming winter's drizzled snow, 
 And all the conduits of my blood froze up; 
 Yet hath night of life some memory, 
 My dull deaf ears a little use to hear: 
 My wasting lamp some fading glimmer left, 
 
148 Elements of Expression, Vocal and Physical. 
 
 All these old witnesses (I cannot err) 
 Tell me, thou art my son Antipholus. (Shakespeare) 
 
 From Campion Act I. 
 
 Campion. Why did I hide? What was that of mine? 
 If Truth must walk erect, Oh! then, my lords, 
 Be not so cruel; and straightway destroy 
 The bloody edicts that affright her so. 
 But once set free the holy word of God; 
 Throw wide these gates, and I will hasten forth 
 Through all the streets by which I hither came, 
 In sight of all who sit in darkness there, 
 I'll hold erect my head — unfold my heart, 
 Which pants to blazon forth the truth of Rome. 
 Nay, more, bid come the champions of your Church, 
 Free from all wrath, like truly Christian men, 
 To hold dispute within the sight of all; 
 And let Her Royal Grace herself preside. 
 Then she, my lords, and you, and all the court 
 Shall know if what I preach do shun the light. {Morgan) 
 
 From jflfteaeure for /Ifceasure Actli. 
 
 That in the captain's but a choleric word, 
 
 Which in the soldier is flat blasphemy. (Shakespeare) 
 
 From Major Jobn 2Hnfcre Act II. 
 
 Arnold. Benedict Arnold, thou art a traitor! Thou hast sold tlry 
 honor, the blood and freedom of th}^ countrymen for a handful of gold! 
 Great Heavens! has it come to this? Did I imagine when I first be- 
 gan my profligate life that it would end in treachery? Arnold the 
 Traitor! What a name? And shall mine go down to posterity so? 
 Traitor branded on my forehead! — Could my gallant father see me 
 now, what would he say? Methinks his bones are restless in the 
 cold grave to think his son, his once darling boy, has become the 
 cruel betrayer of his people! Arnold the Traitor! So the child, 
 yet unborn, will read in his country's history. Generations yet to 
 come will learn my name but to curse it as the cause of the chains 
 which shackle their freedom. Arnold the Traitor! Is it for this thou 
 
Planes of Gesture. 149 
 
 didst fight and bleed so long? Is it for this, thou for five long years 
 didst lead thy countrymen, and see them die with a smile upon their 
 lips, because it was for liberty? Is it for this thou didst cross the 
 country, enter Canada, brave the once hated British, — mock at its 
 northern cold ! Ah ! how my soldiers, ill-clothed and starving as they 
 were, would greet my hopeful glance! How they once cheered for 
 Benedict Arnold! Now they will curse me, execrate the memory of 
 their country's betrayer! But hold! the crime is not yet consummated; 
 I have still time to retrace my steps — Andre is yet here. I will go to 
 him, cast the money at his feet, regain my papers and my honor! Yet 
 how can I recall my plighted word! How pay my debts, how continue 
 my profligate life, without English money? No! I cannot relinquish 
 my mode of life! Have I not been disgraced by Congress? Have 
 not others been preferred before me? Actuated by jealousy and secret 
 hatred, my superiors in office, a few months ago, removed me from my 
 comfortable quarters in Philadelphia, and put me on these hills. Yes, 
 my actions, my deeds of valor, my genius, have been undervalued. 
 I have suffered insults from the very persons my victories raised to 
 power! Money and Revenge! Let others curse me, let future gen- 
 erations spit upon my memor}', I will have money! I can not change 
 my manner of living. They may brand my reward as the price of 
 blood, of liberty; I call it the means of pleasure. Arnold thou must 
 go on; to retreat now would be the action of a coward! Money and 
 Revenge! {Bishop Haid) 
 
 From ©tbellO Act II. 
 
 Othello. O, that the slave had forty thousand lives! 
 One is too poor, too weak for my revenge. 
 Now do I see 'tis true. — Look here Iago; 
 All my fond love thus do I blow to heaven: 'tis gone. — 
 Arise, black vengeance, from thy hollow cell! 
 Yield up, O Love! thy crown and hearted throne, 
 To tyrannous hate! swell, bosom, with thy fraught, 
 For 'tis of aspics' tongues! (Shakespeare) 
 
 From Zbc /foaleDiction Act II. 
 
 My father has cursed me, and his curse has penetrated the marrow 
 of my bones. Where is my father? He has not yet been put to 
 death? What do you wish, Tarik? I was the son of Gomez, but thou 
 call'st me Almanzor. I am king of Murcia! Let the people offer 
 
150 Elements of Expression, Vocal and Physical. 
 
 me homage. Prostrate at my feet, I wish to behold them from the 
 summit of my throne. What have I said, Lopez? Ha, ha, ha! Have 
 you seen Pelagius? I will bathe myself in his vile blood; I will 
 plunge my hand into the depths of his entrails; I will crush his hoary 
 head. How beautiful are the heavens! Mahomet alone is great! 
 Why, then, Abdallah, did you not efface these crosses from the walls? 
 I was also a Christian ! Wh}^ does this awful cross arise before my eyes? 
 I see — I see the Immaculate Virgin trampling the crescent beneath 
 her feet — and now! oh, hence! awful vision; hence! Ah Lopez, do you 
 see the hand that threatens me? 
 
 You, also, does it menace. Come! away! Let us flee. — O God! 
 upon the air, upon the walls, upon my heart is written, "Cursed! 
 .cursed! cursed!" (Lyons) 
 
 From Iking IRtcbarD Iff. Act III. 
 
 Am I not king? 
 Awake, thou sluggard majesty! thou sleep'st, 
 Is not the king's name, forty thousand names? 
 Arm, arm, my name! — A puny subject strikes 
 At thy great glory. Look not to the ground, 
 Ye favourites of a king: are we not high? 
 High be our thoughts. (Shakespeare) 
 
 From Iking 1benr£ WfflT. Act III. 
 
 Wolsey. Cromwell, I did not think to shed a tear 
 In all my miseries; but thou hast forc'd me 
 Out of thy honest truth to play the woman. 
 Let's dry our eyes; and thus far hear me, Cromwell: 
 And, — when I am forgotten, as I shall be, 
 And sleep in dull cold marble, where no mention 
 Of me more must be heard of, say I taught thee. 
 Say, Wolsey, that once trod the ways of glory, 
 And sounded all the depths and shoals of honor, — 
 Found thee a way, out of his wreck, to rise in; 
 A sure and safe one, though thy master miss'd it. 
 Mark but my fall, and that that ruin'd me. 
 Cromwell, I charge thee, fling away ambition; 
 By that sin fell the angels; how can man then, 
 The image of his Maker, hope to win by 't? 
 Love thyself last; cherish those hearts that hate thee. 
 
Planes of Gesture. 151 
 
 Corruption wins not more than honesty. 
 
 Still in thy right hand carry gentle peace, 
 
 To silence envious tongues. Be just and fear not: 
 
 Let all the ends thou aim'st at be thy country's, 
 
 Thy God's, and truth's; then, if thou fall'st, O Cromwell, 
 
 Thou fall'st a blessed martyr. Serve thy king; 
 
 And, — pr'ythee, lead me in; 
 
 There take an inventory of all 1 have, 
 
 To the last penny: 'tis the king's: my robe, 
 
 And my integrity in Heaven, is all 
 
 I dare now call mine own. O Cromwell, Cromwell, 
 
 Had I but serv'd my God with half the zeal 
 
 I serv'd my king, he would not in mine age 
 
 Have left me naked to mine enemies. {Shakespeare) 
 
CHAPTER XI. 
 
 j£mpba6i0 
 
 SECTION I. 
 
 Any sentence includes one or more important words. 
 These vital words of the sentence, these words containing 
 the thought, for the expression of which the sentence has 
 been formed, are termed emphatic, and Emphasis is the agent 
 that confers on them their due degree of prominence. 
 
 Emphasis, however, is not an element of expression 
 but is the application of any vocal element to particular words 
 or clauses. From this it is manifest that Emphasis employs 
 no uniform method. 
 
 Some aver that the most significant words must always 
 
 receive special force, or energy of voice — thereby confining 
 
 emphasis to a monotonous mode, and making it and stress 
 
 identical. True, emphasis, in a large measure, is to words, 
 
 what accent is to syllables; but unlike accent, it does not 
 
 depend wholly on stress for the execution of commands, 
 
 but can, with equal right, call upon any vocal element and 
 
 be promptly obeyed. In short, Emphasis is the sovereign 
 
 of all elocutionary elements, and they may all exclaim, 
 
 Your Highness' part 
 Is to receive our duties: and our duties 
 Are to your throne and state, children and servants, 
 Which do but what they should by doing everything 
 Safe toward your love and honor. (Shakespeare) 
 
 Hence, whoever has command of emphasis has master dom of 
 
 elocution. 
 
Emphasis. 153 
 
 That we may be able to give just emphasis, we must pos- 
 sess a clear conception of whatever we try to interpret. 
 This is proven by the fact that in unconstrained conver- 
 sation, anyone emphasizes correctly, because he under- 
 stands clearly what he wishes to say. 
 
 Emphasis and Sense are mutually dependent. 
 
 To illustrate this principle, let us apply it to the sentence, 
 My teacher is very kind. 
 This sentence contains only five words and yet is suscep- 
 tible of five various senses. 
 
 If several boys, from divers schools, should engage in 
 conversation concerning their respective teachers, each 
 one would say, "my" his teacher. If an inquisitive passerby 
 should catch the last words only, his curiosity would be 
 kindled, and, stopping, he would ask "who" was so very 
 kindf Whereupon the bravest and frankest of the group 
 answers, "my teacher." The answer adds fuel to the 
 stranger's curiosity, and he immediately asks the name of 
 the teacher. Being informed it is Mr. Birch, he says with 
 an incredulous air, to the intense satisfaction of the young 
 spokesman's tittering companions, "He must have changed 
 a great deal." 
 
 The just anger 'of the boy is aroused, and he repeats 
 with increased emphasis, "Well he is very kind." The 
 memory of the questioner now carries him back to former 
 days, when this same kind teacher checked his curiosity 
 with the birch of justice, and he responds abstractedly, 
 "He gave punishments enough in his younger days, and 
 often 'swayed the rod of empire over' — any way a little 
 kindness will not harm him or his pupils seriously." 
 
 The boy, strong in the good cause he is defending, un- 
 willing to grant aught that may detract from a teacher 
 whose even kindness has endeared him to all, repeats with 
 greater force, "My teacher is very kind." The stranger, 
 anxious to leave, for a crowd is gathering, desires to con- 
 
154 Elements of Expression, Vocal and Physical. 
 
 found the boy by a heavy retort, and says, "Owing to 
 his advanced age, perhaps, he is becoming negligent, and 
 possibly lenient. But, my young man, there is a vast 
 difference between kindness and lenity. Lenity, you 
 know," — 
 
 "All I know," the boy's ardor interrupts, "is that my 
 teacher is very kind." 
 
 The stranger's curiosity seems satisfied; he departs, 
 and the young hero is champion of the field. The 
 weapon he used was just emphasis. Each change of emphasis 
 in the above sentence, effected a like change of meaning; 
 proving that Emphasis and Sense are mutually dependent. 
 
 Let us now examine the sentence, 
 
 Love is stronger than the grave; Jealousy, more cruel. 
 
 As it stands, love, stronger, grave, jealousy, and cruel, would 
 receive the emphasis. But if some misanthrope should 
 deny the first part of your statement, you would immediately 
 display the firmness of your conviction in what you said 
 by affirming, "Love is stronger than the grave." If 
 some one asked you to point out briefly wherein love differed 
 from jealousy, you would say, 
 
 Love is stronger than the grave; Jealousy, more cruel. 
 Analyze the following sentence similarly. — 
 That man deserves lasting renown. 
 
 What will the meaning be if you place the chief emphasis 
 on man, on that, on renown? What word would you 
 emphasize and how, to indicate that your hero merits last- 
 ing fame, although it will scarcely be accorded him? 
 
 Similar sentences should be given by the teacher in order 
 to accustom the student to "emphatic" analysis. 
 
 The following rules are offered to assist the student 
 in finding the emphatic words. While no infallible rules 
 can be given, correct emphasis being the product of good 
 
Emphasis. 155 
 
 brain-work, yet, the rules here presented will be found 
 welcome and able aids. 
 
 1. Words containing the leading ideas must receive capital 
 emphasis; whereas, those expressing matter comparatively 
 unimportant should be subordinated. 
 
 EXAMPLE 
 
 I have done my duty; I stand acquitted to my conscience and my 
 country ; I have opposed this measure throughout ; and now I protest 
 against it as harsh, oppressive, uncalled-for , unjust ; as establishing 
 an infamous precedent, by retaliating! crime against crime; as 
 tyrannous, cruelly and vindictively tyrannous. (O'Connel) 
 
 2. The Chief emphasis is conferred on the words which 
 finish the new picture or idea. 
 
 EXAMPLES 
 
 The beautiful world hath its mountains and plains. 
 
 (M. S. Whitaker) 
 
 By the soft blue waters of Lake Lucerne stands the Chapel of 
 William Tell. (T. F. Meagher) 
 
 j. Words expressing or implying contrast .deserve emphasis. 
 
 EXAMPLES 
 
 He raised a mortal to the skies; 
 
 She drew an angel down. {Dry den) 
 
 It was midnight when I listened, 
 
 And I heard two voices speak; 
 One was harsh, and stern, and cruel, 
 
 And the other , soft and weak . {Adelaide A. Procter) 
 
 To _err is human ; to forgive, divine. {Pope) 
 
 Fear carries us out of ourselves, shame confines us within the round 
 
 of our own thoughts. {Newman) 
 
 I said an elder soldier, not a better. (Shakespeare) 
 
156 Elements of Expression, Vocal and Physical. 
 
 From Creator ano Creature 
 
 Look how the splendors of the Divine Nature gleam far and wide, 
 nay infinitely, while the trumpets of heaven blow, and the loud acclaims 
 of the untiring creatures greet with jubilant amazement the Living 
 Vision! See how Eternity and Immensity entwine their arms in 
 inexplicable embrace, the one filling all space, the other outliving 
 all time; the one without quantity or limit, the other without begin- 
 ning, end, or duration. Behold the understanding and the will, the 
 one forever lighting up with such meridian glory the profound abysses 
 of God's uncircumscribed Truth and illimitable Wisdom; the other 
 enfolding forever in its unconsuming fires the incomprehensible life 
 of God, His infinite oceanlike expanse of being, and every creature 
 of the countless worlds that from His life draw their own. 
 
 {Father Faber) 
 
 Get wealth and place, if possible with grace, 
 
 If not, by any means get wealth and place. {Pope) 
 
 The contrast in the above couplet is implied. The 
 poet desires us to secure wealth, and a good position in 
 society, if possible, honestly, so that we may not forfeit 
 grace; but, if we find it impossible to gain wealth and honor 
 by fair means, we should, according to the poet, make use 
 of any means to attain our purpose. 
 
 4. Words essential to the idea which the sentence tries to 
 convey, are emphatic when first introduced; but occurring after- 
 ward, are unemphatic because they have already made the 
 intended impression on the mind. 
 
 EXAMPLE 
 
 From a Munster vale they brought her 
 
 From the pure and balmy air, 
 
 An Ormand peasant's daughter 
 
 With blue eyes and golden hair. 
 
 They brought her to the city, 
 
 And she faded slowly there; 
 
 Consumption has no pity 
 
 For blue eyes and golden hair. [R. D. Williams) 
 
 Exception to No. 4. Words repeated to deepen the effect 
 on the mind are rendered with increased emphasis. 
 
Emphasis. 157 
 
 EXAMPLE vS 
 
 By foreign hands thy d} r ing eyes were closed, 
 By foreign hands thy decent limbs composed, 
 By foreign hands thy humble grave adorn' d 
 By strangers honoured and by strangers mourn'd! {Pope) 
 
 Happy, happy, happy pair! 
 
 None but the brave, 
 
 None but the brave, 
 None but the brave deserve the fair. 
 
 5. The indispensable words of sentences are always 
 emphatic; words which can be omitted without destroying 
 the clearness^ are unemphatic. 
 
 ILLUSTRATION 
 
 But here I am to speak what I do know. {Shakespeare) 
 
 We might omit "but," "I am," and "do," from this 
 sentence, and still be able to gather from the context the 
 meaning. It would read: "Here to speak what I know." 
 You will observe it is not classic English, but still the sense 
 is not impaired. Hence, the words that may be omitted 
 are unemphatic. 
 
 An exception to the foregoing occurs when such words as 
 "nevertheless," "at all," "whatever," "notwithstanding," 
 etc., are found in a sentence, as they are especially intro- 
 duced for emphasis. 
 
 I have kept nothing whatever. 
 
 "Nothing," in this sentence, is plainly the most import- 
 ant word, for we may say, ' ' I have kept nothing, ' ' and the 
 meaning will not suffer: yet, "whatever" receives the 
 chief emphasis. Such words are called " oratorical words" 
 and largely resemble combinations like Declaration of 
 Independence, Grand Army of the Republic, Catholic 
 Knights of America, Fellow of the Royal Society of Anti- 
 quaries, etc. 
 
158 Elements of Expression, Vocal and Physical. 
 
 EXAMPLE 
 
 The Grand Army of the Republic embraces a body of heroes whose 
 names and deeds are inscribed on Liberty's palm. 
 
 We must treat the underlined words as a word of nine 
 syllables, giving equal weight to "Grand," "Army," "Re- 
 public," passing gently over the other syllables as we do 
 over unaccented syllables in other words. 
 
 But after we have discovered the emphatic words, 
 the question arises, how shall we deliver them in order to 
 give them the prominence they deserve? 
 
 We must pronounce them in accordance with the sentiment 
 they express. 
 
 SECTION II. 
 
 /IDo&es of JEmpbasis 
 
 Time, i. e., dwelling somewhat longer on certain words, 
 is used as a mode of emphasis to express tender feeling, 
 sublimity, solemnity, admiration, etc. It can only be used 
 with words possessing long quantity. 
 
 EXAMPLES 
 
 From Iking Ibenrg ID! if. Act in. 
 
 So farewell to the little good you bear me. 
 Farewell, a long farewell to all my greatness, 
 This is the state of man; to-day he puts forth 
 The tender leaves of hope, to-morrow blossoms, 
 And bears his blushing honors thick upon him; 
 
 O, how wretched 
 Is that poor man that hangs on princes' favors! 
 
 {Shakespeare) 
 
Emphasis. 159 
 
 From Elegiac Star^as 
 
 Oh, let not tears embalm my tomb, — 
 None but the dews at twilight given! 
 Oh, let not sighs disturb the gloom, — 
 None but the whispering winds of heaven! 
 
 {Moore) 
 
 From Iking 5obn Act III. 
 
 Constance. Father Cardinal, I have heard you say, 
 That we shall see and know our friends in heaven; 
 If that be true, I shall see my boy again; 
 For, since the birth of Cain, the first male child, 
 To him that did but }^esterday breathe, 
 There was not such a gracious creature born. 
 But now will canker sorrow eat my bud, 
 And change the native beauty from his cheek, 
 And he will look as hollow as a ghost ; 
 
 And so he'll die, and, rising so again 
 
 I shall not know him; therefore, never, never, 
 
 Must I behold my pretty Arthur more. (Shakespeare) 
 
 From HDventurea of Gelemacbus Book xiv. 
 
 Telemachus had long been disturbed in the night by dreams in 
 which he saw his father Ulysses. The vision never failed to return 
 at the end of the night, just before the approach of the Aurora, with 
 her prevailing fires, to chase from heaven the doubtful radiance of the 
 stars, and from the earth the pleasing delusion of sleep .... From these 
 pleasing dreams Telemachus always awoke dejected and sorrowful . 
 While one of them ,was recent upon his mind -he cried out: "O 
 my father ! O my dear father Ulysses ! the most frightful dreams would 
 be more welcome to me than these. Those representations of felicity 
 convince me that thou art already descended to the abodes of those 
 happy spirits whom the gods reward for their virtue with everlasting 
 rest. I think I behold the fields of Elysium! Must I then, O my father, 
 see thee no more forever? How dreadful is the loss of hope ! (Fenelon) 
 
 Force is used with the sterner emotions and in the ex- 
 pression of impassioned thought. 
 
160 Elements of Expression, Vocai, and Physical. 
 
 The following examples offer opportunity for emphasis 
 by Time and Force. Let the student indicate the emphatic 
 words and the means of emphasis. 
 
 EXAMPLES 
 From Gbrenooia Hugustalts 
 
 Calm was his life and quiet was his death. 
 
 Soft as those gentle whispers were 
 
 In which the Almighty did appear; 
 
 By the still voice the prophet knew him there, 
 
 That peace which made thy prosperous reign to shine, 
 
 That peace thou leavest to thy imperial line, 
 
 That peace, oh happy shade, be ever thine! {Dry den) 
 
 From IRature Superior to Science 
 
 In all physical science we can only be the servants and disciples 
 of nature. She must be the absolute mistress, and she will not yield 
 one tittle of power to us. By submission alone to those laws, which 
 she herself has taught us, can we overcome her. Let me now, in order 
 to put this view more strikingly before you, imagine a conversation, 
 such as has often, I dare say, taken place, especially at the commence- 
 ment of steam locomotion, in almost every part of the world. We 
 will suppose a person, by' way of introducing the conversation, saying 
 of the steam engine: "What a wonderful invention; how marvelous: 
 to what a pitch has science been brought; how completely has she 
 mastered nature and her laws! We have destroyed space, we have 
 cheated time, we have invented a piece of mechanism which we have 
 endowed with almost vital power, to which we have given all but 
 intelligence; and how proudly it goes on its way! 
 
 "Hold!" says one who has been listening to this boastful speech; 
 "hold! look on yon cloud; it is heavy with thunder. See those flashes, 
 which already break through it — those bright lances, each tipped 
 with fire, destructive beyond all the power of man; see their direction 
 towards us! Suppose that by a law of nature, which you have not 
 repealed, one of those strike, and make a wreck of that proud monster . . 
 
 "Nay," says a third; "I will not consent to a trial like that. . . . 
 It is not thus, in a vengeful form, that I will put into contrast that 
 great production of man's ingenuity and the power of nature. No; 
 
Emphasis. 161 
 
 I will take the most harmless, the most gentle, the most tender thing 
 in her, and I will put that against the other. 
 
 What is softer, more beautiful, and more innocent than the dew- 
 » drop, which does not even discolor the leaf upon which it lies at morn- 
 ing; what more graceful, when, multiplied it makes its chalice of the 
 rose, adds sweetness to its fragrance, and jewels to its enamel?. . . . 
 Expose the steam-engine but to the action of this little and insig- 
 nificant agent and the metal, although you made a compact with it 
 that it should be bright and polished, cares more for the refreshment 
 from those drops of dew than it does for you, and it absorbs them wil- 
 lingly. . . .Every polished rod, so beautiful and fair, is blotched and 
 gangrened. A few drops from heaven have conquered the proudest 
 work of man's ingenuity and skill. {Cardinal Wiseman) 
 
 Inflexion is one of the most valuable servants of emphasis ; 
 the rules laid down elsewhere govern its use. 
 
 Pause, or Phrasing, as a mode of emphasis, is reserved 
 for a separate chapter. 
 
 Let the student apply the preceding rules to the examples 
 here given. 
 
 EXAMPLES 
 
 From Coriolanus Act III. 
 
 You common cry of curs! whose breath I hate 
 
 As reek o' the rotten fens, whose loves I prize 
 
 As the dead carcasses of unburied men 
 
 That do corrupt my air, I banish you; 
 
 And here remain with your uncertainty! 
 
 Let every feeble rumour shake your hearts! 
 
 Your enemies, with nodding of their plumes, 
 
 Fan you into despair! Have the power still 
 
 To banish your defenders; till, at length, 
 
 Your ignorance (which finds not till it feels), 
 
 Making do reservation of yourselves 
 
 (Still your own foes), deliver you, as most 
 
 Abated captives, to some nation 
 
 That won you without blows. Despising 
 
 For you, the city, thus I turn my back; 
 
 There is a world elsewhere. (Shakespeare) 
 
1 62 Elements of Expression, Vocal and Physical. 
 
 From jflfcores Gatbolici 
 
 The middle ages were the ages of the highest grace to men — ages 
 of faith — ages when all Europe was Catholic: when vast temples 
 were seen to rise in every place of human concourse, to give glory- 
 to God, and to exalt men's souls to sanctity; when houses of holy peace 
 and order were found amidst woods and desolate mountains — on the 
 banks of placid lakes, as well as on solitary rocks in the ocean; 
 ages of sanctity which witnessed a Bede, an Alcuin, a Bernard, a 
 Francis, and crowds who followed them as they did Christ; ages of 
 vast and beneficent intelligence, in which it pleased the Holy Spirit to 
 display the power of the seven gifts in the lives of an Anselm, a Thomas 
 of Aquinum, and the saintly flocks whose steps a cloister guarded; 
 ages of the highest civil virtue, which gave birth to the laws and in- 
 stitutions of an Edward, a Lewis, a Suger; ages of the noblest art, 
 which beheld a Giotto, a Michael Angelo, a Raffaele, a Domenichino; 
 ages of poetry, which heard an Avitus, a Caedmon, a Dante, a Shake- 
 speare, a Calderon; ages of more than mortal heroism, which produced 
 a Tancred and a Godfrey; ages of majesty, which knew a Charlemagne, 
 an Alfred, and the sainted youth who bore the lily; ages, too, of Eng- 
 land's glory, when she appears, not even excluding a comparison 
 with the Eastern empire, as the most truly civilized country on the 
 globe; when the sovereign of the greater portion of the Western 
 world applied to her schools for instructors — when she sends forth 
 her saints to evangelize the nations of the world, and to diffuse spir- 
 itual treasure over the whole world — when heroes flock to her court 
 to behold the models of reproachless chivalry, and emperors leave 
 their thrones to adore at the tombs of her martyrs! (K. H. Dighy) 
 
 From XLbc JEiile's IReturn 
 
 The friends whom I loved and cherished have passed away; ay! 
 every soul. The warm hearts and loving eyes that cheered my boy- 
 hood are gone, — the living friends are lost to sight, and I miss their 
 enlivening presence, oh! how much! — but the inanimate friends — the 
 old familiar scenes remain. I have taken up my abode in the very 
 house of my nativity — ruined it is, and desolate, yet it is the shell 
 which contained the kernel of my affections. The fields are as green, 
 the sky as changeful, the mountains as grand, the sacred valley as 
 lonesome and solemn, and, above all, the faith and piety of the people 
 is still the same, simple, earnest, nothing doubting, all-performing. 
 Where I herded my goats, a peasant boy, I muse, an old and wrinkled 
 man, on the path of life I have trodden. I stand at the opposite 
 
Emphasis. 163 
 
 end of existence, and ask myself what is the difference. I have had 
 since what is called "position," I have wealth still — ay! a fortune, 
 but what of that — I am old, friendless, childless, and alone, burdened 
 with harrowing recollections, and ready to sink into the grave, un- 
 honored and unknown. (Mrs. Sadlier) 
 
 From Ibtstor^ of TRome 
 
 Coriolanus no sooner beheld Veturia attired in mourning, her 
 e}~es bathed in tears, and with a countenance and motion that spoke 
 her sinking under a load of sorrow, than he ran hastily to her; and not 
 only calling her mother, but adding to that word the most tender 
 epithets, embraced her, wept over her, and held her in his arms to 
 prevent her falling. . . .When some time had been allowed to those 
 silent tears of joy, which often flow plenteously at the sudden and 
 unexpected meeting of persons dear to each other, Veturia entered 
 upon the business she had undertaken. After many forcible ap- 
 peals to his understanding and patriotism, she exclaimed: "What 
 frenzy, what madness of anger transports my son ! Heaven is appeased 
 by supplications, vows, and sacrifices: shall mortals be implacable? 
 O Marcius, refuse me not the only request, I ever made to thee; I 
 will never importune thee with any other. Cease thy immoderate 
 anger; be reconciled to thy country; this is all I ask; grant me but 
 this, and we shall both be happy. Freed from those tempestuous 
 passions which now agitate thy soul, and from all the torments of 
 self-reproach, thy days will flow smoothly on in sweet serenity of 
 conscious virtue: And as for me, if I carry back to Rome the hopes 
 of an approaching peace, an assurance of thy being reconciled to thy 
 country, with what transports of joy shall I be received! In what 
 honor, in what delightful repose, shall I pass the remainder of my life! 
 What immortal glory shall I have acquired !".... 
 
 The Volscian officers, not able unmoved to behold this scene, 
 turned away their eyes: But Coriolanus passionately cried out: — "Ah! 
 Mother, what art thou doing?" And tenderly pressing her hand he 
 added in a low voice, "Rome is saved, but thy son is lost. " (N. Hook) 
 
164 Elements of Expression, Vocal and Physical. 
 
 SECTION III. 
 
 Observations 
 
 Obs: i. The degree of force, the length of time, the height 
 or depth of inflexion on emphatic words, must be chiefly de- 
 termined by the taste and judgment of the reader, aided by 
 the character of the selection. 
 
 For mere narration, the emphasis will be moderate. When 
 feeling is united to the narration, the words expressing the 
 emotion are brought out with more vigor and sparkle. 
 
 The following is a choice example of narration enlivened 
 by emotion. 
 
 From Xalla IRoofcb 
 
 There stood — but one short league away 
 
 From old Harmozia's sultry bay — 
 
 A rocky mountain, o'er the sea 
 
 Of Oman beetling awfully; 
 
 A last and solitary link 
 
 Of those stupendous chains that reach 
 
 From the Caspian's reedy brink 
 
 Down winding to the Green Sea beach .... 
 
 Thither the vanquished Hafed led 
 
 His little army's last remains; — 
 
 "Welcome, terrific glen!" he said, 
 
 "Thy gloom, that Klbis' self might dread, 
 
 Is heaven to him who flies from chains, ' ' 
 
 O'er a dark narrow bridge- way, known 
 
 To him and to his chiefs alone, 
 
 They crossed the chasm and gained the towers — 
 
 "This home," he cried, "at least is ours;.... 
 
 Here — happy that no tyrant's eye 
 
 Gloats on our torments — we may die!" {Moore) 
 
 Obs. 2. In most sentences ', the tone of the voice is gradually 
 elevated until the emphatic word is reached, and then the voice 
 increases its speed, and gives the remaining words in descending. 
 
Emphasis 165 
 
 ILLUSTRATIONS 
 
 
 4? 
 
 ^ - *> ^ 
 
 ^ 
 
 ^ ^ 
 
 
 
 V 
 
 
 ^ 
 
 
 
 We find the same in pronouncing words, for example, 
 application == he is coming. 
 
 ♦< 
 
 s 
 
 a r 
 
 Incomprehensibility — He said that you belied him. 
 
 Qbs. j. In very solemn address and in speaking of 
 sombre, repulsive, or despicable things, the tone descends 
 on the emphatic word. 
 
1 66 Elements of Expression, Vocal and Physical. 
 
 EXAMPLES 
 From JEvin'e fflag 
 
 What though for ages it droops in the dust, 
 Shall it droop thus forever? No! No! God is just. 
 
 (Father Ryan) 
 
 From IRicbatD 1M1L Act I. 
 
 O! I have passed a miserable night, 
 
 So full of fearful dreams, of ugly sights 
 
 That, as I am a Christian faithful man, 
 
 I would not spend another such a night, 
 
 Though it were to buy a world of happy days, 
 
 So full of dismal terror was the time. (Shakespeare) 
 
 From ©tbellO Act II. 
 
 O God ! that men should put an enemy in their mouths, to steal 
 away their brains! that we should with joy, revel, pleasure, and applause, 
 transform ourselves into beasts! (Shakespeare) 
 
 Obs. 4. Emphasis is too precious to lavish. If you 
 make all the words emphatic, the specific aim of emphasis 
 is lost. 
 
 Prepositions, conjunctions, etc., are useful as links of 
 speech, but alone they possess no meaning. It is absurd, 
 therefore, and shows a very dull speaker, to emphasize 
 "ands, " and "ofs, " and "ins," and "fors, " every time 
 they occur. 
 
 Do not say, 
 
 I will never submit to such tyrranny. 
 
 The smaller number of words which you may emphasize 
 without detriment to the meaning and tenor of the sentence 
 — the better. 
 
Emphasis i 67 
 
 SECTION IV. 
 
 TUnempbattc XKHor&s 
 
 The student should now be able to render the emphatic 
 words. The vtnemphatic members of the sentence may still 
 puzzle him. The analysis of the following sentence aims 
 to remove this perplexity. 
 
 Daily practice in elocution makes the voice smooth. 
 
 In this sentence the particles "in" and "the" should 
 be obscured; the other words recieve only sufficient stress 
 to make them yield their meaning distinctly. Note the 
 difference when a word demanding special emphasis is 
 introduced. 
 
 Daily practice in elocution makes even a strident voice smooth. 
 
 Here, "strident" differs as much in emphasis from 
 "daily," "practice," etc., as do they from the particles. 
 These unemphatic words are to be pronounced with the 
 same force, relatively, as the unaccented syllables of words. 
 
 ILLUSTRATION 
 
 Indispensable = O how beautiful! 
 Maladministration. = Where are you going? 
 
 SECTION V. 
 
 Climax 
 
 The Climax, or orator's ladder, is such a disposition 
 of words, clauses, or sentences, that each successive member 
 transcends its predecessor in force and impressiveness. 
 
1 68 Elements of Expression, Vocal and Physical. 
 
 Quintilian's rule was, "that a weaker assertion or pro- 
 position should never come after a stronger one." 
 
 A vivid climax of considerable length is a telling test 
 of elocutionary attainment. In its delivery we must util- 
 ize the best of voice and action we can afford. 
 
 Keen discretion must govern its pronunciation, so 
 that we may not exhaust our vocal power before ' ' capping ' ' 
 the climax. 
 
 The voice should ascend in harmony with the devel- 
 opment of thought and feeling. 
 
 Sometimes, the desired effect may be produced, by 
 culminating the climax with an intense whisper. 
 
 The Anti-Climax, the reverse of the climax, is used to 
 burlesque,- to disparage, etc. Pope used it very successfully 
 when he styled Lord Bacon, 
 
 The greatest, wisest, meanest of mankind. 
 
 EXAMPLES 
 From /llbacbetb Act IV. 
 
 I conjure you, by that which you profess, 
 
 (Howe'er you come to know it) answer me. 
 
 Though you untie the winds and let them fight 
 
 Against the Churches; though the yesty waves 
 
 Confound and swallow navigation up; 
 
 Though bladed corn be lodg'd and trees blown down; 
 
 Though castles topple o'er their warder's heads; 
 
 Though palaces and pyramids do stoop 
 
 Their heads to their foundations; though the treasure 
 
 Of nature's germins tumble all together, 
 
 Even till destruction sicken, answer me 
 
 To what I ask you. (Shakespeare) 
 
 From TLhe Ibuman GragefcE Act III. 
 
 "But" — and yet tighter, as he spoke, he clenched 
 His nervous grasp — "by the Enduring Powers, 
 By all the tears that ever drowned and drenched 
 
Emphasis. 169 
 
 The cheek of hopeless love through lonely hours, 
 Whose parching fire can by no tears be quenched, 
 By thy sire's ashes, by the sacred flowers 
 That roof thy mother's grave, I thee conjure, 
 Spare me not now! Strike home! I will endure." 
 
 (Alfred Austin) 
 
 From prologue to HDDison'g Cato 
 
 To wake the soul by tender strokes of art, 
 
 To raise the genius, and to mend the heart ; 
 
 To make mankind in conscious virtue bold, 
 
 Live o'er each scene, and be what they behold; 
 
 For this the tragic Muse first trod the stage; 
 
 Commanding tears to stream through every age; 
 
 Tyrants no more their savage nature kept, 
 
 And foes to virtue wonder' d how they wept. (Pope) 
 
 From IRiCbarD 1F1F1T Act I. 
 
 Then, came wandering by 
 A shadow like an angel with bright hair 
 Dabbled in blood; and he shrieked aloud, — 
 "Clarence is come, — false, fleeting, perjured Clarence." 
 
 (Shakespeare) 
 
 From Xecturee on Justification 
 
 The Apostles spread their nets for disciples, and caught thousands 
 
 at a cast And when these had entered the Church, many of them, 
 
 doubtless, would wax cold in love, and fall away; but still, those 
 who had the seed of God within them, would become neither offences 
 in the Church, nor apostates, nor heretics; but would find day by day, 
 as love increased, increased experience, that what they had ventured 
 boldly, amid conflicting evidence, of sight against sight, and reason 
 against reason, with many things against it, but more things for it, 
 they had ventured well. The examples of meekness, cheerfulness, 
 contentment, silent endurance, private self-denial, fortitude, brotherly 
 love, perseverance in well-doing, which would from time to time meet 
 them in their new kingdom, — the sublimity and harmony of the Church's 
 doctrine, — the touching and subduing beauty of her services and 
 appointments, — their consciousness of her virtue, divinely imparted, 
 
170 Elements of Expression, Vocal and Physical. 
 
 upon themselves, in subduing, purifying, changing them, — the boun- 
 tifulness of her alms-giving, — her power, weak as she was and despised, 
 over the statesmen and philosophers of the world, — her consistent 
 and steady aggression upon it, moving forward in spite of it on all 
 sides at once, like the wheels in the Prophet's vision, and this in 
 contrast with the ephemeral and various outbreaks of sectarianism, — the 
 unanimity and intimacy existing between her widely separated branches, 
 — the mutual sympathy and correspondence of men of hostile nations 
 and foreign languages, — the simplicity of her ascetics, the gravity 
 of her Bishops, the awful glory shed around her martyrs, and the 
 mysterious and recurring traces of miraculous agency here and there, 
 once and again according as the Spirit willed, — these and the like 
 persuasives acted on them day by day, turning the whisper of their 
 hearts into an habitual conviction, and establishing in the reason 
 what had been begun in the will. {Newman) 
 
 From Iking IRicbarD f 1f Act II. 
 
 This royal throne of kings, this scepter'd isle, 
 
 This earth of majesty, this seat of Mars, 
 
 This other Eden, demi-paradise; 
 
 This fortress, built by nature for herself, 
 
 Against the infection and hand of war; 
 
 This happy breed of men, this little world; 
 
 This precious stone set in the silver sea, 
 
 Which serves it in the office of a wall, 
 
 Or as a moat defensive to a house, 
 
 Against the envy of less happier lands; 
 
 This blessed plot, this earth, this realm, this England, 
 
 This nurse, this teeming womb of royal kings 
 
 That England that was wont to conquer others, 
 
 Hath made a shameful conquest of itself. {Shakespeare) 
 
CHAPTER XII. 
 
 (Sestures of Different flDembers 
 
 Each part of the human body is expressive. We have 
 already treated of the hand and found it capable of ex- 
 pressing almost any emotion, that may present itself. 
 Quintilian says of the hand that, " while other limbs assist 
 the speaker, the hands speak for themselves. For do we not 
 demand, promise, call, dismiss, threaten, entreat, abhor, 
 fear, ask, deny, with them? Do we not indicate joy, sad- 
 ness, doubt, acknowledgment, remorse, measure, multi- 
 tude, number and time with them? Do they not arouse 
 courage? Do they not mourn, repel, consent? Do they 
 not express admiration and shame? This is the language 
 which in the great diversity of tongues among all races 
 and peoples, I have in common with all men." No further 
 commentary on the use of the hands is necessary. 
 
 The feet and legs are sufficiently treated in the chapter 
 on action. 
 
 There are few gestures of the head. The movements 
 of the head denoting yes or no, denying or giving assent, 
 are the ones most commonly used. 
 
 I. The Erect Head is the attitude of repose. It denotes 
 calmness and attention; e. g., 
 
 Well, let him continue; we are listening. 
 
172 Elements of Expression, Vocal and Physical. 
 
 2. The Bowed Head signifies thoughtfulness, reflection, 
 resignation; e. g., 
 
 From *>amlet Act III. 
 
 To be or not to be, — that is the question: 
 
 Whether 'tis 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 them? (Shakespeare) 
 
 j. The Lifted Head is expressive of joy, vivacity, vehemence , 
 self sufficiency, etc.; e. g., 
 
 From Zhe /Ifoercbant of Denice Act I. 
 
 Gratiano. Let me play the fool: 
 With mirth and laughter let old wrinkles come, 
 And let my liver rather heat with wine, 
 Than my heart cool with mortifying groans. 
 Why should a man whose blood is warm within 
 Sit like his grandsire cut in alabaster? (Shakespeare) 
 
 4. The Advanced Head denotes eagerness, curiosity, 
 etc.; e.g., 
 
 Really, were you the person I met? 
 
 5. The Head pivoted toward an object is significant of 
 kindly feeling toward it; e. g., 
 
 I am glad to see you. 
 
 Pivoted from the object denotes disgust for it; e. g., 
 
 I cannot bear the sight of you. 
 
 6. The Head drawn back from anything denotes surprise, 
 distrust, or haughtiness; e. g., 
 
Gestures of Different Members. 173 
 
 From TZhe tbtofcen <3em 
 
 "Ignotus, I implore you, speak. — Still silent? 
 
 Speak, or I must believe your guilt. No answer? 
 
 Have I then ta'en a viper to my bosom, 
 
 Whom worthy I had deemed to be a son? 
 
 A faithless robber for a holy man? 
 
 And have five years of seeming piety, 
 
 Of feigned austerity, and sham religion, 
 
 Been but a hypocrite's deep preparation 
 
 For vilest treachery, and meanest crime? 
 
 Who will believe again in human virtue, 
 
 If this be true. (Cardinal Wiseman) 
 
 7. The Head is thrown entirely back and down in great 
 despair, agony and prostration; e. g., 
 
 O Cymbeline! heaven, and my conscience, knows, 
 Thou didst unjustly banish me. (Shakespeare) 
 
 8. The Head thrown entirely forward and down signifies 
 shame, despair, etc.; e. g., 
 
 Yes, I burn with shame to own it; I followed his bad example. 
 
 p. The Head inclined toward the side expresses careless- 
 ness, trustfulness, familiarity; e. g., 
 
 From 710 J20U like ft Act III. 
 
 Jacques. Rosalind is your love's name. 
 
 Orlando. Yes, just. 
 
 Jacques. I do not like her mane. 
 
 Orl. There was no thought of pleasing you when she was 
 
 christened. 
 Jacques. What stature is she of? 
 Orl. Just as high as my heart. 
 
 Jacques. Good-bye, you; let's meet as little as we can. 
 Orl. I do desire we may be better strangers. 
 
 (Shakespeare) 
 
174 Elements of Expression, Vocal and Physical. 
 
 The Eye has been called "the window of the soul." 
 Through it we detect the emotion which stirs the soul. It 
 first communicates the thought. It is capable of more subtle 
 expression than any other organ. The general rule which 
 should govern the eye may be worded thus: Keep the 
 eye to the audience. Even in reading, this is necessary. The 
 eye should be so practiced that it can take in a whole line 
 at a glance. Daniel Webster used to practice this by 
 walking around a table on which was placed an open book, 
 and, taking in, whilst facing the book, enough to continue 
 speaking as he went around. With some practice, this can 
 be brought to such a degree of perfection that the eye will, 
 during entire sentences, look steadily at the audience. 
 
 There are Nine Attitudes of the eye. 
 
 i. The Normal Eye looking straight ahead and resting 
 easily on any object. It is expressive of calmness, e. g., 
 
 From Gbe jfllbercbartt of IDenice Act IV. 
 
 Antonio. I do oppose 
 
 My patience to his fury, and am arm'd 
 To suffer with a quietness of spirit, 
 The very tyranny and rage of his. {Shakespeare) 
 
 2. The Normal Eye with raised brow is expressive of con- 
 tempt; e. g., 
 
 From Coriolanus Act III. 
 
 Coriolanus. Are these your herd? — 
 
 Must these have voices, that can yield them now, 
 And straight disclaim their tongues? — What are your offices? 
 You being their mouths, why rule you not their teeth? 
 Have you not set them on? {Shakespeare) 
 
Gestures of Different Members. 175 
 
 3. Eye wide open with brow drawn down denotes anger; 
 e. g., 
 
 From XLhC ComeD^ Ot JBtXOXS Act II. 
 
 Now as I am a Christian, answer me, 
 In what safe place you have bestow' d my money, 
 Or I shall break that merry sconce of yours, 
 That stands on tricks when I am indispos'd. 
 Where is the thousand marks thou hadst of me? 
 
 {Shakespeare) 
 
 4. Eye opened wide with raised brow signifies astonish- 
 ment; e. g., 
 
 Traitor! — how now! {Shakespeare) 
 
 5. Eye slightly closed with brow down indicates thought; 
 e. g., 
 
 Yes, if I recollect rightly, it was ten days ago. 
 
 6. Eye opened with slightly lowered brow expresses firmness; 
 e. g., 
 
 From 3-ulius Caesar Act IV. 
 
 Must I budge? 
 Must I observe you? Must I stand and crouch 
 Under your testy humor? {Shakespeare) 
 
 7. Eye partly closed with the brow normal speaks of drow- 
 siness; faintness etc., 
 
 I pray you, bear with me: I can go no farther. {Shakespeare) 
 
 8. Eye nearly closed with raised brow denotes malignity , 
 and contempt of opposition; e. g., 
 
 You thought to enchain me by your cunning hypocrisy. 
 
 p. Eye open with normal brow denotes indefinite thought, 
 day-dreamimg y stupor, and such like states of the mind; e. g., 
 
176 Elemekts of Expression, Vocal and Physical. 
 
 How long I strolled beside the stream 
 
 I do not know, nor may I say. {Father Ryan) 
 
 Zhe /Iboutb 
 
 The Mouth y too, is a great agent of expression. To con- 
 vince yourself of this, place one hand over the mouth and 
 give to the eye and the upper part of the face the most sin- 
 ister expression possible. Now look in your mirror and you 
 will not be able to tell from the features whether the expres- 
 sion is one of close scrutiny or of anger. 
 
 The positions of the mouth, combined with the jaw and 
 chin, are principally as follows: 1. Jaw firm, lips tightly 
 closed denote tension, firmness, etc. 2. Jaw dropped, lips 
 wide open; terror. 3. Chin protruded ; anger. 4. Lips com- 
 pressed; concentration of mind. 5. Corners drawn up, — 
 joy; corners down, sorrow. These positions of the mouth 
 without the agreement of the other features would not be 
 expressive of the emotions we have mentioned. Consonance 
 is necessary. Do not assert with one member and deny with 
 another. 
 
 GENERAL EXAMPLES 
 
 From Ifting IhentV TO, Part First, Act I. 
 
 K. Henry. My blood hath been too cold and temperate, 
 Unapt to stir at these indignities, 
 And you have found me; for, accordingly, 
 You tread upon my patience: but, be sure, 
 I will from henceforth rather be myself, 
 Mighty and to be feared, than my condition, 
 Which hath been smooth as oil, soft as young down, 
 And therefore lost that title of respect, 
 Which the proud soul ne'er pays but to the proud. 
 
 Worcester. Our house, my sovereign liege, little deserves 
 The scourge of greatness to be used on it; 
 And that same greatness, too, which our own hands 
 Have helped to make so portly. 
 
Gestures of Different Members. 177 
 
 K. H. Lord Worcester, get thee gone; for I do see 
 
 Danger and disobedience in thine eye. 
 
 O, sir! your presence is too bold and peremptory, 
 
 And majesty might never yet endure 
 
 The moody frontier of a servant brow. 
 
 You have good leave to leave us: when we need 
 
 Your use and counsel, we shall send for you. 
 
 {Shakespeare) 
 
 From /Maurice G^rone 
 
 "You find it hard to pardon me?" she said plaintively. 
 
 So he did. He turned away, and, for a moment, could hardly speak. 
 She rose slowly and stood near him in an attitude of humility. 
 
 "Can you find no excuse for me even in motive?" she pleaded. 
 "Must I reveal myself all? Do you not know — can't you guess why 
 I did this? and is there a man living Would not take such a motive 
 into account when he is prayed for his forgiveness?" 
 
 "Hush, pray, Mrs. Lorn," Tyrone said, turning round and speak- 
 ing now in a hard, firm voice; "I had rather hear no more disclosures 
 of any kind. I thank you for having told me this even now, although 
 it comes too late. You have ruined two lives, I suppose; but if you 
 care for words of forgiveness from me — well, then, take the words 'I 
 forgive you'; and I will try and feel them hereafter more strongly 
 than I do now. I hope you may be able to forgive yourself." 
 
 {Justin McCarthy) 
 
 From TUncle 'Uc^b {Talee 
 
 On swept the squadrons! Then we looked where last the band was 
 
 seen; 
 A scarlet heap was all that marked the place where they had been ; 
 And now it was with maddened hearts, we saw a galling sight: 
 A French hussar was riding close beneath us on the right, — 
 He held a British standard! with insulting shout he stood, 
 And waved the flag, — its heavy folds drooped down with shame and 
 
 blood, — 
 The foreign dog! I see him as he holds the standard down, 
 And makes his charger trample on its colors and its crown! 
 But his life soon paid the forfeit: with a cry of rage and pain, 
 Hilton dashes from the escort, like a tiger from his chain, 
 Then aimed at him who held the flag a cut of crushing might 
 And split him to the very chin! — a horrid, ghastly sight! 
 
 (John Boyle O'Reilly) 
 
CHAPTER XIII. 
 
 jpauee 
 
 Many sentences, besides subject and predicate, contain 
 certain subordinate ideas expressed in clauses and phrases. 
 To show the relation between these governing and dependent 
 parts, and to prevent uncertainty of reference, Pauses 
 are used. These rhetorical pauses often coincide with the 
 printer's pauses — but, sometimes, they are at variance. 
 We often pause in reading, where no punctuation mark may 
 be found, and must frequently disregard the grammatical 
 pause, or sacrifice the sense. 
 
 The judicious reader will use the punctuation marks 
 merely as guides to point out the meaning of the author. 
 The old rule, to count one at atomma; two, at a semicolon; 
 three at — etc., together with its counterpart, let the voice 
 always fall at a period, never at a comma, is now, happily, 
 retained by only a few. We know that the voice often rises 
 at a period, and sinks at a comma ; or for that matter, where 
 no punctuation mark is necessary; and, that the pause at 
 a comma is sometimes greater than at a semicolon, colon 
 or period. 
 
 The influence of the Pause in expression is boundless. 
 Silence, often, speaks louder than words. Force, clearness, 
 and dignity of phrases depend largely upon the Pause. We 
 can tell from a reader's Pauses whether he understands 
 his author. 
 
Pause. 179 
 
 "A speaker is known by his ands and his ors 
 Those stitches that fasten his patch-work together." 
 
 The pause is necessary both for the reader and the hear- 
 er. For the reader, it is a physical necessity; he must stop 
 for breath supplies. For the hearer, it is a mental necessity; 
 he cannot grasp the thoughts unless they are presented sep- 
 arately; and time is given him to perceive their relation. 
 
 The Length of the Pause is controlled by the character of 
 the selection. In vehement expression, it will be very brief; 
 in solemn utterance, long. Normal sentiments take the 
 happy medium. 
 
 EXAMPLES. 
 From Bleanora 
 
 Look on thy tender pledges left behind; 
 
 And, if thou canst a vacant minute find 
 
 From heavenly joys, that interval afford 
 
 To thy sad children and thy mourning lord, (Dryden) 
 
 From n fbemoxy 
 
 Yea! dreams that vied with angels' flight, 
 
 And, soaring, bore my heart away 
 
 Beyond the far star-bounds of night, 
 
 Unto the everlasting day. (Father Ryan) 
 
 From Zbc Collecnane 
 
 The spirit of the scene produced its effect upon the mind of Hardress 
 himself, who, yielding to its influence, adopted a degree of gaiety that 
 surprised and delighted all who were interested in his fortunes. 
 
 It is true, that from time to time, a fear struck at his heart, like the 
 shock of an alarm, and the glassy eyes of a corpse seemed at intervals 
 to stare at him from among the crowd. But he turned his eyes and his 
 thoughts away to happier objects, and, as if in defiance of the ghastly 
 interruption, became more gay than before. (Gerald Griffin) 
 
 If we follow the punctuation in the above examples, 
 we must pause before and after the italicized words: and 
 
180 Elements of Expression, Vocal and Physical. 
 
 in the first, and in the second, who and and in the third. 
 But by doing so, we give the words undue prominence and 
 thereby impair the sense. We make "and" stand alone, 
 endowing it with an independence of which it is incapable. 
 Our ears may be accustomed to hear sentences rendered in 
 this manner — for faulty readers abound — and hence do not 
 object to such violations. But the custom of making vacu- 
 ums, by separating words that are inseparable, is abhorred 
 by nature, and condemned by the judicious, as a vile cus- 
 tom — "honour'd in the breach." Evidently,we must pass 
 over the printer's pauses and put together what he has put 
 asunder. 
 
 A right moral state of heart is the formal and scientific condition 
 of a poetical mind. {Newman) 
 
 In this sentence no punctuation is required; yet, in its 
 delivery, few would not fail to pause as follows : 
 
 A right moral state of heart | ( is the formal | and scientific condition 
 1 1 of a poetical mind. 
 
 The Reformation | in its results | has been unfavorable to literature. 
 Its immediate effect was | to destroy the literary spirit. Erasmus said 
 | that wherever it prevailed, | letters went to ruin. Hallam remarks | 
 that "the first effects of the great religious schism in Germany | were 
 not favorable to Classical literature." {Brother Azarias) 
 
 Here, the punctuation demands few pauses; the reader, 
 however, will not neglect those marked. 
 
 TCules for pausing 
 
 i. Pause before relative pronouns, and adverbs of time and 
 place that convey the idea of a relative. 
 
 (Only pauses exemplifying the particular rule will be indicated.) 
 
Pause. 181 
 
 EXAMPLES 
 From Creator anfc Creature 
 
 There is something awful in the enduring love of God, something 
 | which overshadows the spirits of creatures so capricious and inconstant 
 as ourselves. He will not easily surrender to His enemies a creature | 
 whom He has borne in His bosom like a nurse from the beginning. 
 Into the least of His blessings he pours an endless love. There are no 
 infirmities | which He disdains, no prayers | which He disregards. 
 
 {Father Faber) 
 
 From passing ffootsteps 
 
 One other foot, through the shadows goes by, and I listen again: 
 'Tis the step of a man grown aged among his fellow men: 
 'Tis a weary while | since a mother | first guided those stumbling feet, 
 They have grown unfit for this busy mart | where the world's strong 
 pulses beat. (Eleanor C. Donnelly) 
 
 2. Whatever intervenes between the subject and its predicate, 
 between the verb and its object, should be separated from each 
 by pauses. 
 
 From Zhe Zuvt Sball be my ffragrant Sbrtne 
 
 Thy heaven, | on which 'tis bliss to look, | 
 
 Shall be my pure and shining book, 
 
 Where I shall read, | in words of flame 
 
 The glories of thy wondrous name. (Moore) 
 
 From H tempest at Sea 
 
 The mountains and valleys, | with their bold lineaments and lux- 
 urious verdure, 1 are beautiful; but theirs is not like the beauty of 
 the ocean, for here all is life and movement. (Archbishop Hughes) 
 
 j. A succession of adjectives, in natural order, takes a pause 
 after each save the last. 
 
 From XLhc /Ifcercbant of Wentce Act III. 
 
 Look on beauty, 
 And you shall see 'tis purchased by the weight; 
 Which therein works a miracle in nature, 
 Making them lightest that wear most of it: 
 
1 82 Elements of Expression, Vocal and Physical. 
 
 So are those crisped | snaky | golden locks, 
 
 Which make such wanton gambol with the wind, 
 
 Upon supposed fairness, often known 
 
 To be the dowry of a second head 
 
 The skull, that bred them, in the sepulchre. {Shakespeare) 
 
 From Zbc Storg ot ITrelanD 
 
 The earl marshal returned with the unwelcome news to the king, 
 who flew into rage! What! He the great, | the courtly, | the puissant,, 
 | and gorgeous King Richard of England, thus haughtily treated by 
 a mere Irish prince! By the glory of William the Conqueror, this 
 astounding conduct should meet a dreadful chastisement. 
 
 (Alexander M. Sullivan) 
 
 From Zhe tRepublic 
 
 Loyalty is the highest, | noblest | and most generous | of human 
 virtues, and is the human element of that sublime charity which, 
 the inspired Apostle tells, us is the fulfillment of the law. There is 
 nothing great, | generous, | good, | or heroic, | of which a truly loyal 
 people are not capable, and nothing mean, | base, | cruel, | brutal, | 
 criminal, | detestable, | not to be expected of a really ioyal people. 
 
 (Orestes A, Brownson) 
 
 4. A series of nouns belonging to one verb requires a pause 
 after each. 
 
 EXAMPLES 
 
 Faith, I Justice, | Heaven itself, | now quit their hold, 
 When to false fame the captive heart is sold. (Pope) 
 
 From Catbolic anD proteetant Countries Compared 
 
 To what do we owe our knowledge of the ancient classics at the 
 present day but to the indefatigable literary zeal of the Catholic priest- 
 hood — of popes, I bishops, | priests, | and above all of the monks — in 
 collecting, preserving, and transcribing these highly-prized treasures? 
 Who produced and who carefully preserved the Book of books — the 
 Holy Bible, especially the Bible of Christians — the New Testament? 
 From what source have flowed forth all the precious and profoundly 
 
Pause. 183 
 
 learned writings of the long line of fathers, | doctors, | theologians, 
 I and historians | of Christianity? He would be a venturesome defam- 
 er indeed who would dare call in question the debt that the world owes 
 the Catholic Church on the score of the cultivation of letters, as the 
 controversialist would be no less venturesome to attempt to frame an 
 excuse for the attacks made upon literary culture by the early Re- 
 forme^ and the wanton destruction of untold thousands of books 
 and manuscripts in hundreds of libraries by these vandals who sprang 
 up all over Great Britain, | Germany, | and in other countries | where 
 Protestantism in its bigoted and ignorant wrath strove by fire, | sword 
 I and robbery | to wipe from off the face of the earth every vestige of 
 what had been the most glorious monuments of Christendom. 
 
 {Alfred Young) 
 
 From JEptStle 1D1L (Imitations of Horace) 
 
 This vault of air,| this congregated ball, | 
 Self-centred sun, | and stars | that rise and fall. 
 There are, my friend! whose philosophic eyes 
 Look through and trust the ruler with his skies; 
 To him commit the hour, | the day, | the year, | 
 And view this dreadful all without a fear. {Pope) 
 
 5. When we wish to make a word very emphatic, we should 
 pause before and after it. 
 
 EXAMPTES 
 From IKing 30bn Act III. 
 
 O Austria, thou dost shame 
 That bloody spoil; | thou slave, | thou wretch, | thou coward ;| 
 Thou little valiant, great | in villainy ! . . . . 
 What a fool | art thou | 
 
 A ramping fool; | to brag, | and stamp, | and swear, | 
 Upon my party!. . . . 
 
 Thou I wear a lion's hide! | doff it for shame, 
 And hang | a calf's skin \ on those recreant limbs. {Shakespeare) 
 
1 84 Elements of Expression, Vocal and Physical. 
 
 From JBrutUS 
 
 Go to the tomb where lie his murder'd wife, 
 And the poor queen, who lov'd him as her son, 
 Their unappeased ghosts will shriek, | Revenge! | 
 The temples of the gods, the all- viewing heaven,- — 
 The gods themselves, — will justify the cry, • 
 
 And swell the general sound — | Revenge! | Revenge! 
 
 (J. Howard Payne) 
 
 It would be an easy task to multiply grammatical relations 
 that require a pause before or after, or both, but as they are 
 all subject to a general rule, it is unnecessary. A uniform 
 observance of the following rule will result in correct paus- 
 ing: 
 
 Never make a pause which injures the sense. 
 
 Any pause so introduced is from the purpose of speaking 
 ''whose end, both at first, and now, was, and is," to convey 
 meaning. 
 
 Still follow sense of every art the soul : 
 
 Parts answering parts shall slide into a whole. (Pope) 
 
 Require the students to indicate the pauses in the follow- 
 ing selections. 
 
 GENERAL EXAMPLES 
 From ftbe Bream of 1bome 
 
 Who has not felt how sadly sweet 
 
 The dream of home, the dream of home 
 
 Steals o'er the heart, too soon to fleet, 
 
 When far o'er sea or land we roam? 
 
 Sunlight more soft may o'er us fall, 
 
 To greener shores our bark may come; 
 
 But far more bright, more dear than all, 
 
 That dream of home, that dream of home. 
 
 Ask of the sailor youth when far 
 
 His light bark bounds o'er ocean's foam 
 
Pause. i 85 
 
 What charms him most, when evening's star 
 
 Smiles o'er the wave? to dream of home. 
 
 Fond thoughts of absent friends and loves 
 
 At that sweet hour around him come: 
 
 His heart's best joy where'er he roves, 
 
 That dream of home, that dream of home. (Moore) 
 
 From XZbe f3i6tor£ of ;6nglanD 
 
 If we estimate the character of a sovereign by the test of popular 
 affection, we must rank Edward the Confessor among the best princes 
 of his time. The goodness of his heart was adored by his subjects, 
 who lamented his death with tears of undissembled grief, and be- 
 queathed his memory as an object of veneration to their posterity. 
 The blessings of his reign are the constant theme of our ancient writers ; 
 not, indeed, that he displayed any of those brilliant qualities, which 
 attract admiration, while they inflict misery. He could not boast 
 of the victories he had achieved: but he exhibited the interesting 
 spectacle of a king, negligent of his private interests, and totally de- 
 voted to the welfare of his people; and, by his labors to restore the 
 dominion of the laws; his vigilance to ward off foreign aggression; 
 his constant, and ultimately successful solicitude to appease the feuds 
 of his nobles ; if he did not prevent the interruption, he secured, at least, 
 a longer duration of tranquillity than had been enjoyed in England 
 for half a century. He was pious, kind, and compassionate; the father 
 of the poor, and the protector of the weak; more willing to give than 
 
 to receive; and better pleased to pardon than to punish Hence 
 
 he appeared to shine with purer light amid the gloom with which he 
 was surrounded: and whenever the people under the despotism of the 
 Norman Kings had any opportunity of expressing their real wishes, 
 they constantly called for "the laws and customs of the good King 
 Edward." (Lingard) 
 
 From St. Gbomas ot Canterbury 
 
 Lords, I know you; 
 What done ye have, and what intent ere yet 
 Yon sun that rises weeping sets this night: 
 And therefore bind I with this charge your souls; 
 If any secular court shall pass its verdict 
 On me, your lord, or ere that sin be sinned, 
 I bid you flee that court; if secular arm 
 Attempt me, lay thereon the Church's ban, 
 
1 86 Elements of Expression, Vocal and Physical. 
 
 Or else against you I appeal to Rome. 
 
 To-day the heathen rage — I fear them not; 
 
 If^ fall I must; this hand ere yet I fall, 
 
 Stretched from the bosom of a peaceful gown 
 
 Above a troubled king and darkening realm, 
 
 Shall send God's sentence forth. My lords, farewell! 
 
 (Aubrey De Vere) 
 
 From Zhc ;fj6ri&al of tbe Beat 
 
 And the artist, too — the gifted — 
 He whose soul is heavenward lifted 
 Till it drinketh inspiration 
 At^the fountain of the skies; 
 He, within whose fond embraces 
 Start^to^life the marble graces; 
 Or, with god-like power presiding, 
 With the potent pencil gliding, 
 O'er the void chaotic canvas 
 Bids the fair creation rise! 
 And the quickened mass obeying 
 
 Heaves its mountains; 
 
 From its fountains 
 Sends the gentle streams astraying 
 Through the vales, like Love's first feeling 
 Stealing o'er a maiden's heart; 
 
 The Creator — 
 
 Imitator — 
 From his easel forth doth start. 
 And from God's glorious nature learns anew his art! 
 
 (D. F. M'Carthy) 
 
 From ©ccaeional Sermons 
 
 I need not tell you, how suddenly the word of truth came to our 
 ancestors in this island and subdued them to its gentle rule, how the 
 grace of God fell on them, and, without compulsion, as the historian 
 tells us, the multitude became christian; how, when all was tempest- 
 uous, and hopeless, and dark, Christ like a vision of glory came walk- 
 ing to them on the waves of the sea .... The fair form of Christianity 
 rose up and grew and expanded like a beautiful pageant from north 
 to south; it was majestic, it was solemn, it was bright, it was beautiful 
 and pleasant, it was soothing to the griefs, it was indulgent to the hopes 
 
Pause. 187 
 
 of man; it was at once a teaching and a worship; it had a dogma, a 
 mystery, a ritual of its own; it had an hierarchical form. A brother- 
 hood of holy pastors, with miter and crosier and uplifted hand, walked 
 forth and blessed and ruled a joyful people. The crucifix headed the 
 procession, and simple monks were there with hearts in prayer, and 
 sweet chants resounded, and the holy Latin tongue was heard, and the 
 boys came forth in white, swinging censers, and the fragrant cloud arose, 
 and Mass was sung, and the saints were invoked; and day after day, 
 and in the still night, and over the woody hills and in the quiet plains, 
 as constantly as sun and moon and stars go forth in heaven; so regular 
 was the stately march or blessed services on earth, high festival, and 
 gorgeous procession, and soothing dirge, and passing bell, and the fa- 
 miliar evening call to prayer ; till he who recollected the old pagan time 
 would think it all unreal that he beheld and heard, and would conclude 
 he did but see a vision, so marvelously was heaven let down upon earth, 
 so triumphantly were chased away the fiends of darkness to their prison 
 below. 
 
 Such was the change which came over our forefathers; such was the 
 Religion bestowed upon them, bestowed on them as a second grant, 
 after the grant of the territory itself ; nay, it might almost have seemed 
 as the divine guarantee or pledge of its occupation. And you know 
 its name; there can be no mistake; you know what that religion was 
 called. It was called by no modern name — for modern religions then 
 were not. You know what religion has priests and sacrifices, and 
 mystical rites, and the monastic rule, and care for the souls of the dead, 
 and the profession of an ancient faith, coming through all ages, from 
 the Apostles. There is one, and only one religion such; it is known 
 everywhere; every poor boy in the street knows the name of it; there 
 never was a time since it first was, that its name was not known, and 
 known to the multitude. It is called Catholicism — a world-wide 
 name, and incommunicable; attached to us from the first; accorded 
 to us by our enemies; in vain attempted, never stolen from us, by our 
 rivals. Such was the worship which the English people gained when 
 they emerged out of paganism into gospel light. In the history of 
 their conversion, Christianity and Catholicism are one; they are in 
 that history, as they are in their own nature, convertible terms. 
 
 {Newman) 
 
CHAPTER XIV. 
 
 poetic IReafcing 
 
 Poetry and music in early days were united. They 
 are still allied, though many have tried to sunder them. 
 Music informs lyric poetry. Dry den tells us, "The charm 
 of poetry our souls bewitch," and Shakespeare, "Much is 
 the force of heaven-bred poesy. " Rob poetry of its magic 
 rhythm, however, and you deprive it of its witchery and 
 force. Poetry is an art, and like sculpture, architecture, 
 painting, and music, its effects are premeditated. If we do 
 not by diligent study discover the end for which a poet em- 
 ploys a certain metre, certain words, certain blendings, we 
 will fail to bring out his intention. In preparing a poem for 
 recitation, do the same as you should do in prose: First 
 find out the author's meaning; the meaning is always of pri- 
 mary importance. 
 
 But poets (not poetasters) always arrange their words 
 so that we can bring out the meaning in sweet, melodious 
 numbers. "The great masters require of the reader only 
 that he should understand their meaning and deliver it with 
 proper accentuation; then they will answer for the prosody 
 coming right." — Ruskin: Elements of English Prosody. 
 Rhythm is a chief source of poetic charm. Anyone derives 
 pleasure from observing rhythmical motions in nature. The 
 undulatory fields of grain before the harvest; the graceful 
 swaying of the leafy boughs in summer's welcome breezes; 
 
Poetic Reading. 
 
 189 
 
 the rippling of singing rivulets over the hardy pebbles; the 
 playful waves chasing one another toward the strand, will 
 arouse pleasurable emotions in the most insensible. 
 
 The rhythm of nature derives its beauty from the re- 
 currence of like motions at measured intervals of space or 
 time. "The wave swells and then sinks, making a crest 
 and a hollow, visible to the eye. A succession of crests 
 and hollows forms a rhythm. " Rhythm, therefore, in poetry 
 is the harmonious result of stressed syllables at regular 
 intervals. It is not necessary to chant the words or to fall 
 into "sing-song," the false gallop of verse, "to bring out this 
 rhythm." If we read true poetry, the rhythm and meaning 
 will always accord. If we read doggerel or "splay-foot 
 verse," we may read it for the jingle, as sense does not 
 enter largely into such pieces. The poet's choice of metre 
 is not arbitrary. He must suit the metre to the thought. 
 
 EXAMPLES 
 
 Oh, lost, for ever lost — no more 
 Shall Vesper light our dewy way 
 Along the rocks of Crissa's shore 
 To hymn the fading fires of day. 
 
 {Moore) 
 
 My brother's breast was warm with truth, 
 Was bright with honor's purest ray: 
 He was the dearest, gentlest youth — 
 Ah, why then was he torn away? 
 
 {Ibid) 
 
 Compare these stanzas with the following : 
 From XLbc JSriDal of tbe l^ear 
 
 But the Bride — the Bride is coming! 
 Birds are singing, bees are humming; 
 Silent lakes amid the mountains 
 Look but cannot speak their mirth; 
 vStreams go bounding in their gladness, 
 
190 Elements of Expression, Vocal and Physical. 
 
 With a Bacchanalian madness: 
 Trees bow down their heads in wonder, 
 Clouds of purple part asunder, 
 As the Maiden of the Morning 
 Leads the blushing Bride to Earth! 
 Bright as are the planets seven — 
 
 With her glances 
 
 She advances 
 For her azure eyes are heaven! 
 And her robes are sun-beams woven, 
 And her beauteous bridesmaids are 
 
 Hopes and Wishes — 
 
 Dreams delicious — 
 Joys from some serener star, 
 And Heavenly-hued Illusions gleaming from afar! 
 
 (D. F. M' Car thy) 
 
 Why did not Moore employ the same metre for his theme 
 as M'Carthy? Because the tripping metre so aptly used by 
 the latter, would be ill-suited to the slow tones of grief, in 
 fact, would burlesque sorrow. It will avail the poet little, 
 however, to harmonize metre and subject, if the reader does 
 not imitate him. A knowledge of versification is indis- 
 pensable for the higher effects of poetical reading. A brief 
 presentation of the feet most commonly used is all that we can 
 conveniently introduce. For further information the student 
 is referred to some treatise on versification. 
 
 A poetic foot may be composed of two or three syllables. 
 
 DISSYLLABIC FEET 
 Iambus, second syllable accented, as amaze. 
 Trochee, first " sylvan. 
 
 Spondee, both syllables moonbeam. 
 
 TRISSYLLABIC FEET 
 Dactyl, first syllable accented, as dutiful. 
 
 Amphibrach, second syllable accented, as remember. 
 
Poetic Reading. 191 
 
 Anapest, third syllable accented, as recollect. 
 
 The ancient names for the feet have been retained, but 
 we should remember that the feet in English are not long 
 and short but accented and unaccented. 
 
 The Iambus, the Trochee, the Dactyl, and the Anapest are 
 called primary feet. A poem may be formed of any of these 
 without recourse to blending. The following examples are 
 given to illustrate the melody peculiar to each kind. 
 
 SPONDEE 
 
 Rash dream ) er return ! O ye winds of the main 
 
 Bear him back to his own peaceful Ara again. (Griffin) 
 
 Farewell, | a long ] farewell | to all J my greatness. 
 
 (Shakespeare) 
 
 AMPHIBRACH 
 No pearl ev | er lay un | der Oman's | green water. (Moore) 
 
 IAMBUS 
 From %\r\CB 
 
 The world | is sweet, | and fair, | and bright, 
 
 And joy aboundeth everywhere, 
 
 The glorious stars crown every night, 
 
 And thro' the dark of ev'ry care 
 
 Above us shineth heaven's light. (Father Ryan) 
 
 TROCHEE 
 From (3tve place 
 
 Joy so I true and | tender, 
 
 Dare you not abide? 
 Will you spread your pinions 
 
 Must you leave our side? 
 Nay, an Angel's shining grace 
 
 Waits to fill your place! (Adelaide A. Procter) 
 
192 Elements of Expression, Vocai, and Physical. 
 
 DACTYL 
 From Sieter ot Cbaritg 
 
 Sister of | Charity, | child of the | ho-li-est, 
 
 O for thy living soul ardent as pure. — 
 
 Mother of orphans and friend of the lowliest — 
 
 Stay of the wretched, the guilty, the poor. (R. D. Williams) 
 
 ANAPEST 
 
 Sweet vale | of Avo | ca! how calm | could I rest 
 In thy bosom of shade, with the friends 1 love best, 
 Where the storms that we feel in this cold world should cease, 
 And our hearts like thy waters be mingled in peace. 
 
 It is unnecessary to preserve one species of feet through- 
 out the poem. Hence, in reading poetry, if you find, that, 
 by observing the preponderant metre of a given poem, you 
 violate accent or emphasis, scan the line, to see whether 
 the poet has introduced another kind of feet. 
 
 EXAMPLES 
 That heals the wound, and cures not the disgrace. {Shakespeare) 
 
 If we read this verse as though it contained all iambic 
 feet we will emphasize "the" in the fourth foot, which is 
 plainly wrong. If we scan the line, we will discover the 
 fourth foot to be a pyrrhic. 
 
 That heals | the wound, | and cures | not the | disgrace. 
 
 Eye nature's walks, shoot folly as it flies, 
 And catch the manners living as they rise. 
 
 According to the scheme of the verse, "as" in the first 
 and the second line, should receive stress. Scan the lines, 
 however, and you will find that the poet has introduced 
 pyrrhics. 
 
Poetic Reading. 193 
 
 Here is a stanza including three kinds of feet, with vary- 
 ing position. 
 
 From Zbc Gurn ot tbe Xeat 
 
 Poor tiny leaf, still so green, Oh! how 
 Can you forsake thus your native bough? 
 The sun still willing to shine around 
 And yet forsooth you sink to the ground! 
 
 (Kenelm Henry Digby) 
 
 Another source of melody in verse, is the Final and 
 CcBsural pause. The Final pause is especially necessary 
 in lyric poetry where the length of the lines vary. Surely 
 the poet did not make one line longer or shorter than another 
 from mere caprice; and what he, on the printed page, ad- 
 dresses to our eye, we must convey to the hearer, by means 
 of the final pause. Where the concluding word of a line 
 is closely related to the initial word of the succeeding verse, 
 make a delicate suspension, or poise of the voice on it, 
 using it as a pivot. In this way you will keep the lines dis- 
 tinct, and not impair the sense. Lord Karnes, the eminent 
 Scotch critic, attributes the great variety of modulation 
 conspicuous in English verse to pauses and accents, and 
 warns the reader, that unless he attends to these, he will 
 fail to appreciate the richness and variety of English ver- 
 sification. 
 
 The Ccesural pause occurs about the middle of the verse. 
 It is soon determined in a selection, but when once found, 
 should not be followed blindly. It often varies. 
 
 EXAMPLES 
 
 Thus, if eternal justice |[ rules the ball ( 
 
 Thus shall your wives, || and thus your children fall. (Pope) 
 
 His peers upon this evidence, 
 Have found him guilty of high treason. Much 
 
 He spoke, and learnedly, for life: but all 
 Was either pitied in him, or forgotten. (Shakespeare) 
 
194 Elements of Expression, Vocal and Physical. 
 
 'Tis with our judgements as our watches: || none 
 Go just alike, yet each believes his own. {Pope) 
 
 What the weak head with strongest bias rules 
 Is pride; || the never failing vice of fools. {Ibid) 
 
 The nations have fallen, || and thou art still young 
 
 Thy sun is but rising, || when others are set; 
 
 And though slavery's cloud || o'er thy morning hath hung, 
 
 The full moon of freedom 1 1 shall beam round thee yet. 
 
 Erin, oh Erin, || though long in the shade, 
 
 Thy star will shine out || when the proudest shall fade. {Moore) 
 
 What if the foot, || ordained the dust to tread, 
 
 Or hand, to toil, || aspired to be the head? 
 
 What if the head, || the eye, or ear, repined 
 
 To serve mere engines || to the ruling mind? 
 
 Just as absurd, || for any part to claim 
 
 To be another, || in this general frame: 
 
 Just as absurd || to mourn the task or pains 
 
 The great directing mind of all || ordains. {Moore) 
 
 All the foregoing is strengthened by the testimony of 
 Legouve: "When you read a poet, read him as a poet.. 
 Where there is rhythm let that rhythm be heard! When 
 the verses are painting and music, be a painter and a mu- 
 sician when you read them ! ' ' 
 
 The following examples, containing various melodies, 
 are added for the student to analyze. 
 
 GENERAL EXAMPLES 
 
 From £0=DaE 
 
 To-day is bright with golden gleams of spring, 
 
 To-day is fair, and all our sweet hopes sing; 
 
 But night comes down, and then our day is done. 
 
 It is not always bright, nor always spring, 
 
 And sunny seasons are the ones that bring 
 
 Most sudden showers; and the light is gone. 
 
 Live in the sunlight, in the fair to-day! 
 
 To-morrow keeps to-morrow, and the way 
 
 May, in a moment, lose the light of sun! {Maurice F. Egan) 
 
Poktic Reading. 195 
 
 From Gbeit StotE IRunnetb Gbus 
 
 He sat beside that lonely grave for long, 
 
 He took its grasses in his trembling hand, 
 
 He toyed with them and wet them with his tears, 
 
 He read the name again and still again, .... 
 
 "What means it all? Can this be Ethel's grave? 
 
 I dreamed her soul had fled. 
 
 Was she the white dove that I saw in dream 
 
 Fly o'er the sleeping sea so long ago? 
 
 The convent bell 
 Rang sweet upon the breeze, and answered him 
 His question. And he rose and went his way 
 Unto the convent gate; long shadows marked 
 One hour before the sunset, and the birds 
 Were singing Vespers in the convent trees. 
 As silent as a star-gleam came a nun 
 In answer to his summons at the gate; 
 Her face was like the picture of a Saint, 
 Or like an angel's smile;. . . .her lips were pale and worn 
 By ceaseless prayer; and when she sweetly spoke, 
 And bade him enter, 'twas in such a tone 
 As only voices own which day and night 
 Sing hymns to God. 
 
 She locked the massive gate. 
 He followed her along a flower-fringed walk 
 That, gently rising, led up to the home 
 Of virgin hearts. (Father Ryan) 
 
 From Xalla IRooftb 
 
 But, hark! the vesper call to prayer, 
 As slow the orb of daylight sets, 
 Is rising sweetly on the air, 
 From Syria's thousand minarets! 
 The boy has started from the bed 
 Of flowers, where he had laid his head, 
 And down upon the fragrant sod 
 Kneels, with his forehead to the south. 
 Lisping the eternal name of God 
 From Purity's own cherub mouth, 
 And looking, while his hands and eyes 
 Are lifted to the glowing skies, 
 
196 Elements of Expression, Vocal and Physical. 
 
 Like a stray babe of Paradise, 
 
 Just lighted on that flowery plain, 
 
 And seeking for its home again. 
 
 Oh! 'twas a Sight — that Heaven — that child — 
 
 A scene which might have well beguiled 
 
 Even haughty Eblis of a sigh 
 
 For glories lost and peace gone by! 
 
 And now felt he, the wretched man 
 
 Reclining there — while memory ran 
 
 O'er many a year of guilt and strife, 
 
 Flew o'er the dark flood of this life, 
 
 Nor found one sunny resting-place, 
 
 Nor brought him back one branch of grace? 
 
 "There was a time," he said, in mild 
 
 Heart-humbled tones — "thou blessed child! 
 
 When, young and haply pure as thou, 
 
 I looked and prayed like thee — but now — " 
 
 He hung his head — each nobler aim, 
 
 And hope, and feeling, which had slept 
 
 From boyhood's hour, that instant came 
 
 Fresh o'er him, and he wept — he wept! — • 
 
 Blest tears of soul-felt penitence! 
 
 In whose benign redeeming flow 
 
 Is felt the first, the only sense 
 
 Of guiltless joy that guilt can know. {Moore) 
 
 From pbilip anD /BMlDrefc 
 
 Lingering fade the rays of daylight, and the listening air is chilly; 
 Voice of bird and forest murmur, insect hum and quivering fly, 
 Stir not in that quiet hour; through the valley, calm and stilly, 
 All is hushed and loving silence watch the slow departing day, 
 Till the faint last western cloudlet, faint and rosy, ceases blushing, 
 And the blue grows deep and deeper where one trembling planet shines, 
 And the day has gone forever — then, like some great ocean rushing, 
 The sad night wind wails lamenting, sobbing through the moaning 
 
 pines. 
 Such, of all day's changing hours, is the fittest and the sweetest « 
 For a farewell hour — and parting looks less bitter and more blest; 
 Earth seems like a shrine for sorrow, Nature's mother voice is sweetest, 
 And her hand seems laid in chiding on the unquiet throbbing breast. 
 
 {Adelaide A. Procter) 
 
Poetic Reading. 197 
 
 From ftbealom anfc Hcbitopbel 
 
 Surrounded thus with friends of every sort, 
 
 Deluded Absalom forsakes the court, .... 
 
 The admiring crowd are dazzled with surprise 
 
 And on his goodly person feed their eyes. 
 
 His looks, his gestures and his words he frames 
 
 And with familiar ease repeats their names. 
 
 Thus formed by nature, furnished out with arts, 
 
 He glides unfelt into their secret hearts, 
 
 Then with a kind compassionating look, 
 
 And sighs bespeaking pity ere he spoke, ' 
 
 Few words he said, but easy those and fit, 
 
 More slow than Hybla-drops and far more sweet, 
 
 "I mourn, my countrymen, your lost estate, 
 
 Though far unable to prevent your fate: 
 
 Behold a banished man, for your dear cause 
 
 Exposed a prey to arbitrary laws! 
 
 Yet oh that I alone could be undone, 
 
 Cut off from empire and no more a son! 
 
 Now all your liberties a spoil are made 
 
 Egypt and Tyrus intercept your trade 
 
 And Jebusites your sacred rites invade. 
 
 My father, whom with reverence yet I name. 
 
 Charmed into ease is careless of his fame; 
 
 Exalts his enemies, his friends destroys, 
 
 And all his power against himself employs. 
 
 He gives, and let him give, my right away; 
 
 But why should he his own and yours betray?" 
 
 Youth, beauty, graceful action seldom fail. 
 
 But common interest always will prevail; 
 
 And pity never ceases to be shown 
 
 To him who makes the people's wrongs his own. (Dryden) 
 
 From Zhc pilgrims of tbe IRigbt 
 
 Hark! hark! my soul, angelic songs are swelling 
 O'er earth's green fields and ocean's wave-beat shore; 
 How sweet the truth those blessed strains are telling 
 Of that new life when sin shall be no more! 
 
 Chorus. Angels of Jesus, 
 Angels of light, 
 
198 Elements op Expression, Vocal and Physical. 
 
 Singing to welcome 
 
 The pilgrims of the night! 
 
 Darker than night, life's shadows fall around us, 
 And, like benighted men, we miss our mark; 
 God hides Himself, and grace hath scarcely found us, 
 Ere death finds out his victim in the dark. 
 
 Onward we go, for still we hear them singing, 
 Come, weary souls! for Jesus bids you come! 
 And through the dark, its echoes sweetly ringing, 
 The music of the Gospel leads us home. 
 
 Far, far away, like bells at evening pealing, 
 The voice of Jesus sounds o'er land and sea, 
 And laden souls, by thousands meekly stealing, 
 Kind Shepherd! turn their weary steps to Thee. 
 
 Rest comes at length; though life be long and dreary, 
 The day must dawn, and darksome night be past; 
 All journeys end in welcomes to the weary, 
 And heaven, the heart's true home, will come at last. 
 
 Cheer up, my soul! faith's moonbeams softly glisten 
 Upon the breast of life's most troubled sea; 
 And it will cheer thy drooping heart to listen 
 To those brave songs which angels mean for thee. 
 
 Angels! sing on, your faithful watches keeping, 
 
 Sing us sweet fragments of the songs above; 
 
 While we toil on, and soothe ourselves with weeping, 
 
 Till life's long night shall break in endless love. {Father Faber) 
 
CHAPTER XV. 
 
 personation 
 
 A knowledge of the bounds of personation is of vast 
 importance. Many otherwise fair elocutionists 'o'erstep the 
 modesty of nature by trying to be several persons at the 
 same time. As rules which must be observed, we insert 
 the following: 
 
 i. Personation is usually not allowed unless the direct 
 speech of a person is given. In such a sentence as, 
 
 "She tore from braids of long black hair 
 
 The gems that gleamed like star-light there," etc., 
 
 you are not allowed to go through a motion indicative of 
 tearing them from your own hair. In the following example 
 notice the personation does not commence till you arrive 
 at the direct speech. Then raise the hand as if grasping 
 a scepter, and point, at the same time assuming majestic 
 voice. 
 
 From Ibeart of JBruce 
 
 The king sighed slightly, and his eyelids sank: 
 
 Later his eyes unclosed: and with strong voice 
 
 And hand half raised as if it grasped a scepter, 
 
 He spake; "Yon case of silver is a reliquary — 
 
 Seal thou therein my heart when dead I lie ; 
 
 In the Holy Land inter it. " , (Aubrey De Vere) 
 
 In speaking of another's limbs, face, mouth, etc., do not 
 point or refer to your own; e. g., 
 
Elements of Expression, Vocal and Physical. 
 From Zbe Gwo Interpreters 
 
 The father looked, and, with a pang 
 
 Of love and strange alarm, 
 
 Drew close the little eager child 
 
 Within his sheltering arm; 
 
 From out the clouds the mother looks 
 
 With wistful glance below, 
 
 She seems to seek the treasure left 
 
 On earth so long ago ; 
 
 She holds her arms out to her child, 
 
 His cradle song she sings: 
 
 The last rays of the sunset gleam 
 
 Upon her outspread wings. 
 
 In vain the bright stars, one by one, 
 
 On the blue silence start, 
 
 A dreary shadow rests to-night 
 
 Upon the father's heart. (Adelaide A . Procter) 
 
 2. Personation is often in place where, although no direct 
 speech is used, the selection is intensely dramatic. This is 
 on account of our sympathy with the situation. We see 
 some one we love in a terrible crisis, and we involuntarily 
 portray his actions, allow him to speak, as it were, through 
 our organs of expression. As an example of this, Coppee's 
 " Night Watch" will serve. Irene de Grandfief sees lying 
 wounded before her the man who murdered her lover. 
 She must tend him and administer a potion regularly to 
 prevent fever. Her wrongs burn within her, and, for a 
 time, she hesitates. After a terrible struggle, she overcomes 
 self, and with eyes ever bent on her crucifix fulfils her duty. 
 Though much of the latter part of the piece is not in direct 
 speech, still personation would be proper on account of the 
 dramatic intensity. 
 
Personation. 201 
 
 EXAMPLES 
 
 From I{ SfcetCb 
 
 The tenement was ablaze. The clang of the fire bells, the shouts of 
 the spectators, the roaring of the flames above, and of the engines be- 
 low in the streets was deafening. Suddenly there appeared far above, 
 out of reach of the ladders, a woman holding an infant. Flames were 
 licking the casement of the window below. In a few moments she 
 would be enwrapped in them. The eyes of the crowd are upon her. 
 Their hearts go out to her in her terrible peril. Oh for a means of sav- 
 ing her and her precious burden! And is she to be made a holocaust 
 to the fire-king? A moment more and that creeping red flame will 
 be around her! Oh God! is there no hand to snatch her from that 
 hell around? (Williams) 
 
 From £be ©&£S6eE 
 
 With speed the bark they climb; the spacious sails 
 
 Loosed from the yards invite the impelling gales. 
 
 Past sight of shore, along the surge they bound, 
 
 And all above is sky, and ocean all around; 
 
 When lo! a murky cloud the Thunderer forms 
 
 Dull o'er their heads, and blackens heaven with storms. 
 
 Night dwells o'er all the deep: and now outflies 
 
 The gloomy west, and whistles in the skies. 
 
 The mountain-billows roar! the furious blast 
 
 Howls o'er the shroud, and rends it from the mast: 
 
 The mast gives way and, cracking as it bends, 
 
 Tears up the deck; then all at once descends: 
 
 The pilot by the tumbling ruin slain, 
 
 Dashed from the helm, falls headlong in the main. 
 
 (Pope's Translation) 
 
 From Zoo Strange not to be Zxue 
 
 D Auban ran towards the river, and sprang into the canoe of the 
 barge with which one of his boatmen remained the night before. 
 Cutting with a knife the rope that fastened it to the shore, both be- 
 gan to row for their lives. The natives pursued them. They had 
 sworn by the great Sun that not a white man should escape. Arrows 
 whizzed in the ears of the pursued, and the savages were gaining upon 
 them. For one instant — it was a desperate expedient — d'Auban 
 
202 Elements of Expression, Vocal and Physical. 
 
 laid down the oars, and seized the fowling-piece lying at the bottom 
 of the barge. He levelled it at them. The pursuers, terrified at the 
 sight of the gun, dashed aside and slackened their speed. 
 
 (Lady Georgiana Fullerton) 
 
 j. The character may be personated when we have the 
 direct speech, hut we are not permitted to use accessories. The 
 elocutionist is not allowed the liberties of the actor. In 
 reciting the lines of Falstaff, directed to the grand jurors, 
 whom he has waylaid, we are not allowed the use of a sword. 
 We may stab at the imaginary juror as he lies trembling on 
 the ground, but Falstaff' s mighty weapon must be relegated 
 to the property man. Leave such portrayal to the actor. 
 Elocution calls for no properties. 
 
 4. Where a personation occurs within a personation, the 
 speaker is not allowed to drift from one into the other. The 
 subordinate one is to be spoken in the manner in which the 
 principal personation is characterized. In the selection, 
 "The Old Surgeon's Story," by Eleanor C. Donnelly, an 
 old surgeon tells of a youth's interview with his mother. 
 In rendering this selection, it would be ridiculous for the 
 reciter to use the tones of voice of the mother or child. 
 The old surgeon is the one who speaks, even where he brings 
 in the direct words of the mother and child. His personality 
 can not be lost sight of during the entire selection. It is 
 the prominent character. Assuming the voice or action of 
 any other party would be a mistaken interpretation of the 
 poem. 
 
 GENERAL EXAMPLES 
 
 From 1b am let Act III. 
 
 Speak the speech, I pray you, as I pronounced it to you, trippingly 
 on the tongue : but if you mouth it, as many of your players do, I- had 
 as lief the town-crier spoke my lines. Nor, do not saw the air too much 
 with your hand, thus; but use all gently: for in the wexy torrent, tem- 
 pest, and, as I may say, whirlwind of your passion you must acquire 
 
Personation. 203 
 
 and beget a temperance that may give it smoothness. O, it offends 
 me to the soul to hear a robustious periwig-pated fellow tear a passion 
 to tatters, to very rags, to split the ears of the groundlings, who for 
 the most part, are capable of nothing but inexplicable dumb-shows 
 and noise. I could have such a fellow whipped for o'erdoing Terma- 
 gant; it out-herods Herod: pray you, avoid it. Be not too tame neither, 
 but let your own discretion be your tutor: suit the action to the word, 
 the word to the action; with this special observance, that you o'erstep 
 not the modesty of nature; for anything so overdone is from the purpose 
 of playing, whose end, both at the first and now, was and is, to hold 
 as 'twere, the mirror up to Nature: to show virtue her own feature, 
 scorn her own image, and the very age and body of the time his form 
 and pressure. Now this overdone, or come tardy of, though it make the 
 unskilful laugh, cannot but make the judicious grieve; the censure of the 
 which one must, in your allowance, o'erweigh a whole theatre of others. 
 O, there be players, that I have seen play, and heard others praise, 
 and that highly, not to speak it profanely, that, neither having the 
 accent of Christians, nor the gait of Christian, pagan, nor Turk, have 
 so strutted and bellowed that I have thought some of Nature's journey- 
 men had made men and not made them well, they imitated humanity 
 so abominably. {Shakespeare) 
 
 From /Hbt\ ITsaacs 
 
 "Tell him to come now. Now — do you understand?" Then she 
 added in a low tone, for my ear only, "I don't think they know it, I 
 am dying. I shall be dead before to-night. Don't tell him that. 
 Make him come now. John knows. Now go. I am tired. No — 
 wait! Did he save the man's life?" 
 
 "Yes: the man is safe and free in Thibet." 
 
 "That was nobly done. Now go. You have always been kind 
 to me and you love him. When you see me again, I shall be gone. 
 When I am gone, put some flowers on me for friendship's sake. You 
 have always been so kind. Good-bye, dear Mr. Griggs. Good-bye. 
 God keep you." [F. MaHon Crawford) 
 
 From Iking IRicbarD 1ffl. Act IV. 
 
 King Richard. Now mark me how T will undo myself. 
 I give this heavy weight from off my head, 
 And this unwieldy scepter from off my hand, 
 The pride of kingly sway from out my heart: 
 With mine own tears I wash away my balm, 
 
204 Elements of Expression, Vocal and Physical. 
 
 With mine own hands I give away my crown, 
 With mine own tongue deny my sacred state, 
 With mine own breath release all duteous oaths: 
 All pomp and majesty I do forswear: 
 My manors, rents, and revenues, I forego: 
 God pardon all oaths that are broke to me! 
 God keep all vows unbroke are made to thee! 
 Make me that nothing have, with nothing griev'd; 
 And thou with all pleas'd, thou hast all achiev'd! 
 I have no name, no title, 
 No, not that name was given me at first, 
 But 'tis usurp' d. 
 
 O! that I were a mockery king of snow, 
 Standing before the sun of Bolingbroke, 
 To melt myself away in water drops ! {Shakespeare) 
 
 From Zbc TLion of iff lanOcre 
 
 At last, after many anxious and suspicious glances around him 
 in every direction the knight ventured to raise the visor of his helmet 
 so far as to make his features visible. Although his countenance 
 bore all the signs of long and severe suffering, yet the extraordinary 
 vivacity of his eyes testified of the fire which still glowed within his 
 breast. For some moments he remained lost in thought, gazing fixed- 
 ly upon the ruins; then a bitter smile passed over his lips, his head 
 sank upon his breast, and he seemed intent upon something at his 
 feet; at last a tear fell from either eye, as he thus spoke: 
 
 "O my brave brothers in arms! these stones have been wetted with 
 your noble blood, and here beneath my feet, you sleep the long sleep 
 of death! But happy you who have left this troublous life in your 
 country's cause, and without having seen our beloved Flanders in bond- 
 age. The blood of him to whom you gave the proud name of the 
 Lion bedewed this ground along with yours; but, less fortunate than 
 you, he still survives — an outcast, left to sigh over your silent graves, 
 like a helpless woman, impotent for aught but tears." 
 
 {Hendrick Conscience) 
 
 From Dion anD tbe Sibyle 
 
 Hark! did you hear the crash with which the fore-paws have come 
 down? The steed seemed to be very near falling backward, but after 
 a struggle of two or three seconds, recovered himself; and, O ye gods! 
 just as you heard that ponderous thud with which he descended upon 
 his fore-feet, the youth darted from the ground with a spring like his 
 first, and he is now on the brute's back as before. He stoops to the 
 
Personation. 205 
 
 horse's neck ; he has caught the bridle in his teeth, and lifts that brave, 
 clear face again. Listen to the multitude ! Oh how the euge, euge, 
 thunders from a hundred thousand sympathetic voices. The fell 
 beast of a horse seems astonished. And lo! now he leaps from the 
 ground with all four feet at the same time. Lo! the horse seems to 
 have ascertained that he who has this day mounted him is worthy of 
 his service; do you hear the tread of his hoofs? Faster and faster 
 rushes the steed, always restrained by the outer torch, which is brought 
 near his head, while the inner is held further to the rear. His sides are 
 flecked with foam. The pace grows too rapid for a short curve, and 
 the steed is now guided straight for the western opening in the arena. 
 They are gone; and again hark! Is not that shout like the roar of 
 waters on a storm beaten shore, as a hundred thousand men proclaim 
 the success of a generous and brave youth, who could face the chance 
 of being torn limb from limb in order to give a poor slave like me, 
 condemned to a frightful death, his life and his liberty, a home and 
 a future? (Miles Gerald Keon) 
 
 From XTbe Qbyeeey 
 
 With speed Telemachus obeys, and flies 
 
 Where piled in heaps the royal armor lies; 
 
 Four brazen helmets, eight refulgent spears, 
 
 And four broad bucklers to his sire he bears: 
 
 At once in brazen panoply they shone, 
 
 At once each servant braced his armor on; 
 
 Around their king a faithful guard they stand, 
 
 While yet each shaft flew deathful from his hand, 
 
 Chief after chief expired at every wound, 
 
 And swell'd the bleeding mountain on the ground. 
 
 Soon as his store of flying fates was spent, 
 
 Against the wall he set the bow unbent. 
 
 The hero stands oppress' d with mighty woe, 
 
 On every side he sees the labor grow: 
 
 "Oh cursed event! and oh unlook'd for aid! 
 
 Melanthius or the women have betray' d — 
 
 Oh my dear son!" — The father with a sigh 
 
 Then ceased: the filial virtue made reply: 
 
 "Falsehood is folly, and 'tis just to own 
 
 The fault committed: this was mine alone; 
 
 My haste neglected yonder door to bar, 
 
 And hence the villain has suppled their war." (Pope) 
 
CHAPTER XVI. 
 
 Gone Color 
 
 The power of some painters is so great, that by one 
 stroke of the brush, they can change the nature of a picture. 
 They can convert a dismal scene into a smiling one, a weep- 
 ing into a laughing child. 
 
 We can as quickly and completely color an emotion by 
 means of vocal quality. Faure tells us, that "the speaker's 
 palette is as rich and varied as that of the painter. Be- 
 sides its lights and shadows, its broken tones and brilliant 
 colors, it possesses infinite varieties of rhythm and timbre 
 that may be combined to produce endless effects. " 
 
 In order to do this, we must color the words to fit the thought 
 they express, we must make the sound "seem an echo to 
 the sense." 
 
 The following from Moore's "Puck The Fairy," can only 
 be justly rendered in a light, jaunty, delicate manner cor- 
 responding with its mirthful flow. 
 
 To a miser's bed, where he snoring slept 
 
 And dreamt of his cash, I slyly crept: 
 
 Chink, chink o'er his pillow like money I rang, 
 
 And he waked to catch — but away I sprang, 
 
 Singing, I am the sprite 
 
 Of the merry midnight, 
 
 Who laugh at weak mortals, and love the moon-light! 
 
Tone Color. 207 
 
 Observe how inappropriate the bright, gay colors of the 
 former would be to express the following from "The Home- 
 less Poor/' 
 
 There black waters in their luring silence 
 Under loathsome ashes crawl and creep, 
 There the rats and vermin herd together, 
 There God's poor ones sometimes come to sleep. 
 
 In slow darkness creeps the dismal river 
 From its depths looks up a sinful rest, 
 Many a weary, baffled, hopeless wanderer 
 Has it drawn into its treacherous breast. 
 
 {Adelaide A. Procter) 
 
 This cheerless picture requires vocal colors sombre as 
 "the dismal river. " 
 
 All writers of merit since Homer's day have understood 
 the charm and potency of words whose sound echoes their 
 sense. Dante acknowledges this when he says, 
 
 Could I command rough rhymes and hoarse, to suit 
 That hole of sorrow, o'er which every rock 
 His firm abutment rears, then might the vein 
 Of fancy rise full springing. 
 
 This desire of accommodating the sound to the sense has 
 given birth to many words whose sound corresponds, resembles, 
 or suggests the thing signified. 
 
 Hence Tone Color embraces not only correspondence 
 of sound and sense, but also resemblance and suggest- 
 iveness. Among the following words may be found examples 
 of each. 
 
 Gush, whirl, cool, moan, whirring, slender, rugged, 
 thunder, rough, shriek, ripple, sigh, cackle, weary, jar, 
 click, clash, clink, tick, clang, rumble, clatter, boom, tinkle 
 bang, flutter, dash, grumble, clack, growl, clap, croak, roar, 
 hiss, shiver, chirp, rustle, twitter, patter, linger, whizz, buzz, 
 murmur, splash, chuckle, crash. 
 
 Pope, by introducing words of this nature, artfully imi- 
 tates the sound made by a bowstring in delivering an arrow. 
 
208 Elements of Expression, Vocal and Physical. 
 
 The string let fly, 
 Twang'd short and sharp like the shrill swallows cry. 
 
 In his translation of the Iliad, he imitates the felling 
 of trees thus: 
 
 Loud sounds the axe, redoubling strokes on strokes, 
 On all sides round the forest hurls her oaks 
 Headlong. Deep echoing groan the thickets brown, 
 Then rustling, crackling, crashing thunder down. 
 
 Pope again says, 
 
 When the tide rushes from her rumbling caves 
 The rough rock roars; tumultuous boil the waves. 
 
 The efforts of a dull author are thus suggested by the 
 same poet: 
 
 Just writes to make his barrenness appear, 
 And strains from hard-bound brains eight lines a year. 
 Shakespeare says very delicately of queen Mab, 
 
 She comes 
 In shape not bigger than agate stone. . . 
 Drawn by a team of little atomies : . . . . 
 Her whip of cricket bone, the lash of film. 
 
 He says again, 
 
 The shard-borne beetle with his drowsy hums 
 Hath rung night's yawning peal. 
 
 The effect which certain words, in the foregoing examples, 
 produce, must be attributed to their vowel and consonant 
 colors. Certain sounds are expressive of certain emotions. 
 Sad strains of music will affect us with an "ecstasy of woe" 
 akin to that awakened by the artistic recitation of a pathetic 
 poem. 
 
 Sherman says, "There is one particular set of sounds 
 employed in groans, another in murmurs of pleasure or ap- 
 plause. It is clear that by the use of syllables or sounds 
 from the one set or the other, the mind of the reader may 
 be affected through the suggestion of the respective emotion, 
 and the author's meaning as contained in his words greatly 
 strengthened and intensified. " 
 
Tone Color. 209 
 
 When the thought is lively and sparkling, hard conso- 
 nants and heavy vowels will be in the minority; but liquid 
 consonants and light vowels will be scarce when the thought 
 is more serious and vigorous. 
 
 Weighty subjects usually depress the voice and are ex- 
 pressed in words containing fuller vowel colors. This is 
 the reason we find it easier to pronounce some words in a 
 low, others in a high pitch; e. g., toll, ring. 
 
 Professor Tolman gave a very elaborate classification 
 of vowel and consonant colors in the March number of the 
 Andover Review, 1887. The vowels at the bottom of his 
 scale, 00 (wood, pull), o" (gore), 00 (gloom,) aw (awe), 
 etc., he says "are peculiarly fitted to express solemnity, 
 awe, horror, and deep grief, also slowness of motion, and 
 extreme or oppressive greatness of size." 
 
 The vowels he has at the top of the scale, T (little) , e (met) . 
 a (mat), etc., are used especially in words expressing un- 
 controllable joy and delight, excessive gayety, triviality, 
 rapid movement, delicacy, and physical littleness." 
 
 "The surd mutes, p, k, t, express boldness, precipitation, 
 unexpectedness, vigor, determination, explosive passion, 
 and forcible and startling effects of all kinds. They must 
 be the initial consonants of accented syllables to have 
 their full expressional value." "Z and zh are rich, pleasant 
 colors, as in easy, luxurious, azure, pleasure. L and r smooth, 
 especially /, express above all others, softness, smoothness, 
 lingering love and longing. " 
 
 We must never hope to find whole poems strongly 
 colored. Nor would such monotony be desirable. Only 
 the emphatic parts receive appropriate tints. One word may 
 give life and hue to a whole sentence. We should imitate 
 the authors and not distribute light and shade too heavily. 
 
 Complete control of Tone Color is necessary for the pro- 
 duction of artistic results. 
 
210 Elements of Expression, Vocal and Physical. 
 
 "When loud surges lash the distant shore, 
 
 The hoarse, rough verse should like the torrent roar." 
 
 How much more effective will not ''the hoarse, rough verse" 
 be if delivered in a concordant voice ! 
 
 "Soft is the strain when zephyr gently blows 
 
 And the smooth stream in smoother numbers flows. 
 
 And so should the voice flow in soft, persuasive tones en- 
 hancing and impressing the author's beauties. 
 
 GENERAL EXAMPLES 
 From Zbe temple ot Jame 
 
 O'er the wide prospect as I gazed around, 
 
 Sudden I heard a wild promiscuous sound, 
 
 Like broken thunders that at a distance roar, 
 
 Or billows murmuring on the hollow shore. 
 
 Then gazing up, a glorious pile beheld, 
 
 Whose tow'ring summit ambient clouds concealed* 
 
 High on a rock of ice the structure lay, 
 
 Steep its ascent, and slipp'ry was the way; 
 
 The wondrous rock like Parian marble shone, 
 
 And seemed, to distant sight, of solid stone. {Pope) 
 
 From Ibell Canto IX. 
 
 And now there came o'er the perturbed waves 
 Loud-crashing, terrible, as if of a wind 
 Impetuous, from conflicting vapours sprung, 
 That 'gainst some forest driving all its might 
 Plucks off the branches, beats them down and hurls 
 Afar; then onward passing proudly sweeps 
 Its whirlwind rage, while beasts and shepherds fly. 
 
 {Gary's Dante) 
 
 From /ilMfceummer IRigbt's Dream] Act II. 
 
 Fairies' Song. 
 I. Fai. You spotted snakes, with double tongue, 
 Thorny hedge-hogs, be not seen, 
 
Tone Color. 21 
 
 Newts, and blind-worms, do not wrong; 
 Come not near our fairy queen. 
 Chorus. 
 Philomel with melody, 
 Sing now your sweet lullaby: 
 Lulla, lulla, lullaby; lulla, lulla, lullaby: 
 Never harm, 
 Nor spell nor charm, 
 Come our lovely lady nigh; 
 So, good night, with lullaby. 
 II. Fai. Weaving spiders come not near 
 Hence, you long-legg'd spinners, hence; 
 Beetles black, approach not near: 
 Worm, nor snail, do no offence. (Shakespeare) 
 
 From ©£>£6SeE 
 
 Two craggy rocks projecting to the main, 
 The roaring winds temptestuous rage restrain; 
 Within, the waves in softer murmurs glide, 
 And ships secure without their halsers ride. 
 
 (Pope's Translation) 
 
 From ftlcranOet'e ffeast 
 
 Now strike the golden lyre again; 
 
 A louder yet, and yet a louder strain, 
 
 Break his bands of sleep asunder 
 
 And rouse him like a rattling peal of thunder. 
 
 Hark, hark, the horrid sound 
 
 Has raised up his head; 
 
 As awaked from the dead, 
 
 And amazed, he stares around r 
 
 Revenge, Revenge, Timotheus cries, 
 
 See the Furies arise; 
 
 See the snakes that they rear 
 
 How they hiss in their hair, 
 And the sparkles that flash from their eyes! (Dry den) 
 
 From /ifoacbetb Act IV. 
 
 For a charm of powerful trouble 
 
 Like a hell-broth boil and bubble. 
 
 Double double toil and trouble, 
 
 Fire burn and cauldron bubble. (Shakespeare) 
 
Elements of Expression, Vocal and Physical. 
 From Zbc temple of ffame 
 
 But straight the direful trump of slander sounds; 
 Through the big dome the doubling thunder bounds: 
 Loud as the burst of cannon rends the skies, 
 The dire report through every region flies, 
 In every ear incessant rumors rung, 
 And gathering scandals grew on every tongue. 
 From the black trumpet's rusty concave broke 
 Sulphureous flames and clouds of rolling smoke; 
 The poisonous vapour blots the purple skies, 
 And withers all before it as it flies. (Pope) 
 
 From XallalRoofcb 
 
 Loud rings the ponderous ram against the walls; 
 
 Now shake the ramparts, now a buttress falls, 
 
 But still no breach — "Once more, one mighty swing 
 
 Of all your beams, together thundering!" 
 
 There — the wall shakes — the shouting troops exult, 
 
 "Quick, quick discharge your weightiest catapult 
 
 Right on that spot, and Neksheb is our own!" 
 
 'Tis done — the battlements come crashing down, 
 
 And the huge wall, by that stroke riven in two, 
 
 Yawning, like some old crater, rent anew, 
 
 Shows the dim desolate city smoking through. (Moore) 
 
 From H Song for St. Cecilia's S>a£ 
 
 The trumpet's loud clangor 
 
 Excites us to arms 
 
 With shrill notes of anger 
 
 And mortal alarms. 
 
 The double double double beat 
 
 Of the thundering drum 
 
 Cries, hark! the foes come; 
 
 Charge, charge, 'tis too late to retreat. (Dry den) 
 
 From £be ^Fairies of Iftnocfesbegowna 
 
 In the noon of night, o'er the stormy hills, 
 The fairy minstrels play, 
 

 Tone Color. 213 
 
 And the strain, replete with fantastic dreams, 
 
 On the wild gust flits away. 
 Then the sleeper thinks, as the dreamful song 
 
 On the blast to his slumber comes, 
 That his nose as the church's spire is long, 
 
 And, like its organ hums! 
 And when they spread their filmy wings 
 
 In the dim moon's waning ray, 
 Strange meteors dance, and the glittering rills 
 
 Seem show 'ring fiery spray, 
 And deep when booms the solemn toll 
 
 Of the distant cloister bells, 
 The clang, and the clash, and the tambour roll 
 
 Of their midnight music swells. (R. D. Williams) 
 
 From Gbe IDirgin Abac's :fBanft 
 
 Out burst the pealing thunder, and the lightning leap'd about; 
 
 And rushing with his watery war, the tempest gave a shout; 
 
 And that vessel from a mountain wave came down with thund'ring 
 
 shock; 
 And her timbers flew like scatter'd spray on Inchidony's rock. 
 Then loud from all that guilty crew one shriek rose wild and high, 
 But the angry surge swept over them, and hush'd their gurgling cry; 
 And with a hoarse exulting tone the tempest pass'd away, 
 And down, still chafing from their strife, th' indignant waters lay. 
 
 (/. /. Callanan) 
 
 From H /Hbemorg 
 
 Low in the west gleam after gleam 
 Glowed faint and fainter, till the last 
 Made their dying day a living dream, 
 To last as long as life shall last. 
 
 And in the arches of the trees 
 The wild birds slept with folded wing, 
 And e'en the lips of the summer breeze, 
 That sang all day, had ceased to sing. 
 
 And all was silent save the rill 
 That rippled round the lilies' feet, 
 And sang, whilst stillness grew more still 
 To listen to the murmur sweet. 
 
214 Elements of Expression, Vocal and Physical. 
 
 And now and then it surely seemed 
 The little stream was laughing low, 
 As if its sleepy wavelets dreamed 
 Such dreams as only children know. 
 
 Sweet sang the stream as on it pressed, 
 
 As sorrow sings a heart to sleep: 
 
 As mother sings one child to rest, 
 
 And for the dead one still will weep. {Father Ryan) 
 
. SELECTIONS 
 
Selections. 217 
 
 H IRigbt in 5une 
 
 I. 
 
 Rich is the scent of clover in the air, 
 And from the woodbine, moonlight and the dew 
 Draw finer essence than the daylight knew; 
 Low murmurs and an incense everywhere! 
 Who spoke? Ah! surely in the garden there 
 A subtile sound came from the purple crew 
 That mount wistaria masts, and there's a clue 
 Of some strange meaning in the rose-scent rare: 
 Silence itself has voice in these June nights — 
 Who spake? Why, all the air is full of speech 
 Of God's own choir, all singing various parts; 
 Be quiet and listen: hear — the very lights 
 In yonder town, the waving of the beech, 
 The maples' shades, — cry of the Heart of hearts! 
 
 II. 
 On such a night spoke raptured Juliet 
 From out the balcon; and young Rosalind, 
 Wandered in Arden like the April wind; 
 And Jessica the bold Lorenzo met; 
 And Perdita her silvered lilies set 
 In some quaint vase, to scent the prince's mind 
 With thoughts of her; and then did Jaques find 
 Sad tales, and from them bitter sayings get. 
 To all of these the silence sang their thought; 
 To all of these it gave their thought new grace: 
 Soprano of the lily, roses' lone 
 And passionate contralto, oak bough's bass — 
 All sing the thought we bring them, be it fraught 
 With the sad love of lovers' of God's own. 
 
 III. 
 This sweetness and this silence fill my soul 
 With longing and dull pain, that seem to break 
 Some cord within my heart, and sudden take 
 Life out of life: and then there sounds the roll 
 Of wheels upon the road, the distant toll 
 Of bells within the town: these rude things make 
 
218 Elements of Expression, Vocal and Physical. 
 
 Life wake to life; and all the longings shake 
 Their airy wings, — swift fly the pain and dole. 
 Again the silence and the mute sounds sweet 
 Begin their speaking: I alone am still. 
 What are you singing, O you starry flowers 
 Upon the jasmine? — "Void and incomplete." 
 And you, clematis? — "Void the joys that fill 
 The heart of love until His Heart is ours. " 
 
 IV. 
 O choir of silence, without noise of word ! 
 A human voice would break the mystic spell 
 Of wavering shades and sounds; the lily bell 
 Here at my feet sings melodies unheard; 
 And clearer than the voice of any bird, — 
 Yes, even than that lark which loves so well, 
 Hid in the hedges, all the world to tell 
 In trill and triple notes that May has stirred. 
 "O Love complete!" soft sings the mignonette; 
 "O Heart of All" deep sighs the red, red rose; 
 "O Heart of Christ!" the lily voices meet 
 In fugue on fugue; and from the flag-edged, wet, 
 Lush borders of the lake, the night wind blows 
 . The tenor of the reeds — "Love, love complete." 
 
 {Maurice F. Egaii) 
 
 Speech JBetore XZhe Virginia Convention 
 
 Mr. President: It is natural for man to indulge in the illusions of 
 hope. We are apt to shut our eyes against a painful truth, and listen 
 to the song of that siren till she transforms us into beasts. Is this 
 the part of wise men, engaged in a great and arduous struggle for 
 liberty? Are we disposed to be of the number of those, who, hav- 
 ing eyes, see not, and having ears, hear not the things which so nearly 
 concern their temporal salvation? For my part, whatever anguish 
 of spirit it may cost, I am willing to know the whole truth; to know 
 the worst and to provide for it. 
 
 I have but one lamp by which my feet are guided; and that is the 
 lamp of experience. I know of no way of judging of the future, but 
 by the past; I wish to know what there has been in the conduct of the 
 British ministry for the last ten years, to justify those hopes with which 
 gentlemen have been pleased to solace themselves and the house? 
 Is it that insidious smile with which our petition has been lately re- 
 
Selections. 219 
 
 ceived? Trust it not, sir: it will prove a snare to your feet. Suffer 
 not yourselves to be betrayed with a kiss. Ask yourselves, how this 
 gracious reception of our petition, comports with those warlike pre- 
 parations which cover our waters and darken our land. Are fleets 
 and armies necessary to a work of love and reconciliation? Have we 
 shown ourselves so unwilling to be reconciled, that force must be called 
 in to win back our love? Let us not deceive ourselves, sir. These 
 are the implements of war and subjugation ; the last arguments to which 
 kings resort. 
 
 I ask, gentlemen, what means this martial- array, if its purpose be 
 not to force us into submission? Can gentlemen assign any other 
 possible motive for it? Has Great Britain any enemy in this quarter 
 of the world, to call for all this accumulation of navies and armies? 
 No, sir, she has none. They are meant for us; they can be meant for 
 no other. They are sent over to bind and rivet upon us those chains, 
 which the British ministry have been so long forging. And what 
 have we to oppose to them? Shall we try arguments? Sir, we have 
 been trying that for the last ten years. Have we any thing new to 
 offer upon the subject? Nothing. We have held the subject up in 
 every light in which it was capable; but it has been all in vain. 
 
 Shall we resort to entreaty and humble supplication? What terms 
 shall we find which have not been already exhausted? Let us not, 
 I beseech you, deceive ourselves longer. Sir, we have done everything 
 that could be done, to avert the storm which is now coming on. We 
 have petitioned; we have remonstrated; we have supplicated; we have 
 prostrated ourselves at the foot of the throne, and implored its inter- 
 position to arrest the tyrannical hands of the ministry and parliament. 
 Our petitions have been slighted; our remonstrances have produced 
 additional violence and insult; our supplications have been disregarded; 
 and we have been spurned, with contempt, from the foot of the throne. 
 
 In vain, after these things, may we indulge the fond hope of peace 
 and reconciliation. There is no longer any room for hope. If we wish 
 to be free; if we mean to preserve inviolate those inestimable privi- 
 leges for which we have been so long contending; if we mean not basely 
 to abandon the noble struggle in which we have been so long engaged, 
 and which we have pledged ourselves never to abandon, until the 
 glorious object of our contest shall be obtained, we must fight! I 
 repeat it, sir, we must fight!! An appeal to arms, and the God of 
 Hosts, is all that is left us. 
 
 They tell us, sir, that we are weak ; unable to cope with so formidable 
 an adversary- But when shall we be stronger? Will it be the next 
 week, or the next year? Will it be, when we are totally disarmed, and 
 when a British guard shall be stationed in every house? Shall we 
 
220 Elements of Expression, Vocal and Physical. 
 
 gather strength by irresolution and inaction? Shall we acquire the 
 means of effectual resistance by lying supinely on our backs, and 
 hugging the delusive phantom of hope until our enemies shall have 
 bound us hand and foot? Sir, we are not weak, if we make a proper 
 use of those means, which the God of nature hath placed in our power. 
 
 Three millions of people, armed in the holy cause of liberty, and in 
 such a country as that which we possess, are invincible by any force 
 which our enemy can send against us. Besides, we shall not fight 
 our battles alone. There is a just God who presides over the destinies 
 of nations, and who will raise up friends to fight our battles for us. 
 
 The battle, sir, is not to the strong alone, — it is to the active, the 
 vigilant, the brave. Besides, sir, we have no election. If we were 
 base enough to desire it, it is now too late to retire from the contest. 
 There is no retreat — but in submission and slavery. Our chains are 
 forged. Their clanking may be heard on the plains of Boston. The 
 war is inevitable — and let it come. I repeat it, sir, let it come. 
 
 It is vain, sir, to extenuate the matter. Gentlemen may cry peace, 
 peace — but there is no peace. The war is actually begun. The next 
 gale that sweeps from the north will bring to our ears the clash of re- 
 sounding arms. 
 
 Our brethren are already in the field. Why stand we here idle? 
 What is it that gentlemen wish? What would they have? Is life so 
 dear, or peace so sweet, as to be purchased at the price of chains and 
 slavery? Forbid it, Heaven. I know not what course others may take, 
 but as for me — give me liberty, or give me death. {Patrick Henry) 
 
 WiensVe ?lDDre66 to tbe /lfc<m ot iRome 
 
 Friends, 
 I come not here to talk. Ye know too well 
 The story of our thralldom: — we are slaves! 
 The bright sun rises to his course, and lights 
 A race of slaves! He sets, and his last beam 
 Falls on a slave; — not such as, swept along 
 By the full tide of power, the conqueror leads 
 To crimson glory and undying fame; 
 But base, ignoble slaves — slaves to a horde 
 Of petty tyrants, feudal despots, lords, 
 Rich in some dozen paltry villages — 
 Strong in some hundred spearmen — only great 
 In that strange spell, a name. Each hour, dark fraud 
 Or open rapine, or protected murder, 
 
Selections. 
 
 Cries out against them. But this very day, 
 
 An honest man, my neighbor — there he stands — 
 
 Was struck — struck like a dog, by one who wore 
 
 The badge of Ursini; because, forsooth, 
 
 He tossed not high his ready cap in air, 
 
 Nor lifted up his voice in servile shouts, 
 
 At sight of that great ruffian. Be we men, 
 
 And suffer such dishonor? men and wash not 
 
 The stain away in blood? Such shames are common. 
 
 I have known deeper wrongs. I, that speak to you, 
 
 I had a brother once, a gracious boy, 
 
 Full of gentleness, of calmest hope, 
 
 Of sweet and quiet joy; there was the look 
 
 Of heaven upon his face, which limners give 
 
 To the beloved disciple. How I loved 
 
 That gracious boy! Younger by fifteen years, 
 
 Brother at once and son! He left my side, 
 
 A summer bloom on his fair cheeks, a smile 
 
 Parting his innocent lips. In one short hour, 
 
 The pretty, harmless boy was slain! I saw 
 
 The corse, the mangled corse, and then I cried 
 
 For vengeance. Rouse ye Romans! rouse, ye slaves: 
 
 Have ye brave sons? Look in the next fierce brawl 
 
 To see them die. Have ye fair daughters? Look 
 
 To see them live, torn from your arms, disdained, 
 
 Dishonored; and if ye dare call for justice, 
 
 Be answered by the lash, 
 
 Yet, this is Rome, 
 That sat on her seven hills, and from her throne 
 Of beauty, ruled the world! Yet, we are Romans. 
 Why, in that elder day. to be a Roman 
 Was greater than a king! And, once again — 
 Hear me, ye walls that echoed to the tread 
 Of either Brutus! — once again, I swear, 
 The Eternal City shall be free! (Mitford) 
 
 H Beatb 
 
 Crushed with a burden of woe, 
 Wrecked in the tempest of sin: 
 Death came, and two lips murmured low, 
 "Ah! once I was white as the snow, 
 
Elements of Expression, Vocal and Physical. 
 
 In the happy and pure long ago; 
 
 But they say God is sweet — is it so? 
 
 Will He let a poor wayward one in — 
 
 In where the innocent are?" 
 
 Ah! justice stands guard at the gate; 
 
 Does it mock at a poor sinner's fate? 
 
 Alas! I have fallen so far! 
 
 Oh! God! Oh! my God! 'tis too late! 
 
 I have fallen as falls a lost star: 
 
 "The sky does not miss the gone gleam, 
 But my heart, like the lost star, can dream 
 Of the sky it has fall'n from. Nay! 
 I have wandered too far — far away ? 
 Oh! would that my mother were here; 
 Is God like a mother? Has He 
 Any love for a sinner like me?" 
 Her face wore the wildness of woe — 
 Her words, the wild tones of despair; 
 Ah! how can a heart sink so low? 
 How a face that was once bright and fair, 
 Can be furrowed and darkened with care? 
 Wild rushed the hot tears from her eyes, 
 From her lips rushed the wildest of sighs, 
 Her poor heart was broken; but then 
 Her God was far gentler than men. 
 
 A voice whispered low at her side, 
 
 "Child! God is more gentle than men, 
 
 He watches by passion's dark tide, 
 
 He sees a wreck drifting — and then 
 
 He beckons with hand and with voice, 
 
 And He sees the poor wreck floating in 
 
 To the haven on Mercy's bright shore, 
 
 And He whispers the whisper of yore: 
 
 "The angels of heaven rejoice 
 
 O'er the sinner repenting of sin'" 
 
 * * * # 
 
 And a silence came down for awhile, 
 And her lips they were moving in prayer, 
 And her face it wore just such a smile 
 As, perhaps, it was oft wont to wear, 
 
Selections. 223 
 
 Ere the heart of the girl knew a guile, 
 Ere the soul of the girl knew the wile, 
 That had led her to passion's despair. 
 
 Death's shadows crept over her face, 
 
 And softened the hard marks of care; 
 
 Repentance had won a last grace, 
 
 And the Angel of Mercy stood there. {Ryan) 
 
 /nbatc nntonv'B ©ration 
 
 Friends, Romans, countrymen, lend me your ears; 
 I come to bury Caesar, not to praise him. 
 The evil that men do lives after them; 
 The good is oft interred with their bones; 
 So let it be with Caesar. The noble Brutus 
 Hath told you, Caesar was ambitious; 
 If it were so, it was a grievous fault; 
 And grievously hath Caesar answered it. 
 
 Here, under leave of Brutus and the rest — 
 
 (For Brutus is an honorable man, 
 
 So are they all, all honorable men) — 
 
 Come I to speak in Caesar's funeral. 
 
 He was my friend, faithful and just to me: 
 
 But Brutus says he was ambitious; 
 
 And Brutus is an honorable man. 
 
 He hath brought many captives home to Rome, 
 
 Whose ransoms did the general coffers fill: 
 
 Did this in Caesar seem ambitious? 
 
 When that the poor have cried, Caesar hath wept: 
 Ambition should be made of sterner stuff — 
 Yet Brutus says, he was ambitious; 
 And Brutus is an honorable man. 
 You all did see that, on the Lupercal, 
 I thrice presented him a kingly crown, 
 Which he did thrice refuse: was this ambition? 
 Yet Brutus says he was ambitious; 
 And, sure, he is an honorable man. 
 
 I speak not to disprove what Brutus spoke, 
 But here I am to speak what I do know. 
 You all did love him once, not without cause; 
 
224 Elements of Expression, Vocai, and Physical. 
 
 What cause withholds you then to mourn for him? 
 O judgment, thou art fled to brutish beasts, 
 And men have lost their reason. — Bear with me: 
 My heart is in the coffin there with Caesar, 
 And I must pause till it come back to me. 
 
 But yesterday the word of Caesar might 
 
 Have stood against the world; now lies he there, 
 
 And none so poor to do him reverence. 
 
 masters, if I were disposed to stir 
 Your hearts to mutiny and rage, 
 
 1 should do Brutus wrong and Cassius wrong, 
 Who, you all know, are honorable men: 
 
 I will not do them wrong; I rather choose 
 To wrong the dead, to wrong myself, and you 
 Than I will wrong such honorable men. 
 
 But here's a parchment, with the seal of Caesar; 
 
 I found it in his closet, 'tis his will: 
 
 Let but the commons hear his testament, 
 
 Which, pardon me, I do not mean to read, 
 
 And they would go and kiss dead Caesar's wounds, 
 
 And dip their napkins in his sacred blood: 
 
 Yea, beg a hair of him for memory, 
 
 And, dying, mention it within their wills, 
 
 Bequeathing it as a rich legacy, 
 
 Unto their issue. — 
 
 If you have tears, prepare to shed them now. 
 
 You all do know this mantle; I remember 
 
 The first time ever Caesar put it on; 
 
 'Twas on a summer's evening, in his tent, — 
 
 That day he overcame the Nervii: — 
 
 Look, in this place, ran Cassius' dagger through: 
 
 See what a rent the envious Casca made: 
 
 Through this the well-beloved Brutus stabb'd; 
 
 And, as he pluck' d his cursed steel away, 
 
 Mark how the blood of Caesar followed it, 
 
 As rushing out of doors to be resolv'd 
 
 If Brutus, so unkindly knock' d, or no. 
 
 For Brutus, as you know, was Caesar's angel: 
 Judge, O you gods, how dearly Caesar loved him. 
 This was the most unkindest cut of all: 
 For when the noble Caesar saw him stab, 
 
Selections. 225 
 
 Ingratitude, more strong than traitors' arms, 
 Quite vanquished him: then burst his mighty heart 
 And, in his mantle muffling up his face, 
 Kven at the base of Pompey's statua, 
 Which all the while ran blood, great Caesar fell. 
 
 O, what a fall was there, my countrymen. 
 
 Then I, and you, and all of us fell down, 
 
 Whilst bloody treason flourish' d over us. — 
 
 O, now you weep; and, I perceive, you feel 
 
 The dint of pity: these are gracious drops; 
 
 Kind souls. What, weep you, when you but behold 
 
 Our Caesar's vesture wounded? Look you here. 
 
 Here is himself, marr'd as you see, with traitors. — 
 
 Good friends, sweet friends, let me not stir you up 
 
 To such a sudden flood of mutiny. 
 
 They that have done this deed are honorable: 
 
 What private griefs they have, alas, I know not, 
 
 That made them do it: they are wise and honorable; 
 
 And will, no doubt, with reasons answer you. 
 
 I come not, friends, to steal away your hearts. 
 
 I am no orator, as Brutus is; ' 
 
 But; as you know me all, a plain, blunt man, 
 
 That love my friend : and that they know full well 
 
 That gave me public leave to speak of him; 
 
 For I have neither wit, nor words, nor worth, 
 
 Action, nor utterance, nor the power of speech 
 
 To stir men's blood. I only speak right on; 
 
 I tell you that which you yourselves do know; 
 
 Show you sweet Caesar's wounds, poor dumb mouths, 
 
 And bid them speak for me; but were I Brutus, 
 
 And Brutus Antony, there were an Antony 
 
 Would ruffle up your spirits, and put a tongue 
 
 In every wound of Caesar that should move 
 
 The stones of Rome to rise and mutiny. {Shakespeare} 
 
 JBreafc, break, break, 
 
 On thy cold gray stones, O Sea! 
 And I would that my tongue could utter 
 
 The thoughts that arise in me. 
 O well for the fisherman's boy, 
 
226 Elements op Expression, Vocal and Physical. 
 
 That he shouts with his sister at play! 
 O well for the sailor lad, 
 
 That he sings in his boat on the bay. 
 
 And the stately ships go on 
 
 To their haven under the hill; 
 But O for the touch of a vanished hand, 
 
 And the sound of a voice that is still ! 
 Break, break, break, 
 
 At the foot of thy crags, O Sea! 
 But the tender grace of a day that is dead 
 
 Will never come back to me. {Tennyson) 
 
 Zbe Cburcb 
 
 PART I. 
 
 There is not, and there never was, on this earth, a work of human 
 policy so well deserving of examination as the Roman Catholic Church. 
 The history of that Church joins together the two great ages of human 
 civilization. No other instituton is left standing which carries the 
 mind back to the times when the smoke of sacrifice rose from the 
 Pantheon, and when camelopards and tigers bounded in the Flavian 
 amphitheater. 
 
 The proudest royal houses are but of yesterday when compared 
 with the line of the Supreme Pontiffs. That line we trace back in 
 an unbroken series from the Pope who crowned Napoleon, in the nine- 
 teenth century, to the Pope who crowned Pepin in the eighth ; and far 
 beyond the time of Pepin the august dynasty extends, till it is lost 
 in the twilight of fable. The republic of Venice came next in antiquity. 
 But the republic of Venice was modern when compared with the Pa- 
 pacy; and the republic of Venice is gone and the Papacy remains. 
 The Papacy remains not in decay, not a mere antique, but full of life 
 and youthful vigor. 
 
 The Catholic Church is still sending forth to the farthest ends 
 of the world missionaries as zealous as those who landed in Kent with 
 Augustin; and still confronting hostile kings with the same spirit with 
 which she confronted Attila. The number of her children is greater 
 than in any former age. Her acquisitions in the New World have more 
 than compensated her for what she has lost in the Old. Her spir- 
 itual ascendency extends over the vast countries which lie between 
 the plains of Missouri and Cape Horn; countries which, a century 
 hence, may not improbably contain a population as large as that which 
 
Selections. 227 
 
 now inhabits Europe. The members of her community are certainly 
 not fewer than one hundred and fifty millions; and it will be difficult 
 to show that all the other Christian sects united amount to a hundred 
 and twenty millions. Nor do we see any sign which indicates that 
 the term of her long dominion is approaching. 
 
 She saw the commencement of all the governments and of all the 
 ecclesiastical establishments that now exist in the world; and we feel 
 no assurance that she is not destined to see the end of them all. She 
 was great and respected before the Saxon had set foot on Britain — 
 before the Frank had passed the Rhine — when Grecian eloquence 
 still flourished at Antioch — when idols were still worshipped in the 
 temple of Mecca. And she may still exist in undiminished vigor 
 when some traveller from New Zealand shall in the midst of a vast 
 solitude, take his stand on a broken arch of London Bridge to sketch 
 the ruins of St. Paul's. (Macaulay) 
 
 Gbe Cbutcb 
 
 PART IT. 
 
 Is it not strange that in the year 1799 even sagacious observers 
 should have thought that at length the hour of the Church of Rome 
 had come? An infidel power ascendant — the Pope dying in captivity 
 — the most illustrious prelates of France living in a foreign country 
 on Protestant alms — the noblest edifices which the munificence of 
 former ages had consecrated to the worship of God turned into temples 
 of victory, or into banqueting-houses for political societies, or into 
 Theo-philanthropic chapels — such signs might well be supposed to 
 indicate the approaching end of that long domination. 
 
 But the end was not yet. Again doomed to death, the milk-white 
 hind was fated not to die. Even before the funeral rites had been per- 
 formed over the ashes of Pius the Sixth, a great reaction had com- 
 menced, which, after the lapse of more than forty years, appears to 
 be still in progress. Anarchy had its day. A new order of things 
 rose out of confusion — new dynasties, new laws, new titles; and amidst 
 them emerged the ancient religion. The Arabs had a fable that the 
 great pyramid was built by the antediluvian kings, and alone of all 
 the works of men, bore the weight of the flood. 
 
 Such was the fall of the Papacy. It had been buried under the 
 great inundation, but its deep foundations had remained unshaken; 
 and when the waters abated, it appeared alone amidst the ruins of 
 a world which had passed away. The republic of Holland was gone, 
 and the empire of Germany, and the Great Council of Venice, and the 
 
228 Elements of Expression, Vocal and Physical. 
 
 old Helvetian League, and the House of Bourbon, and the Parliaments 
 and aristocracy of France. 
 
 Europe was full of young creations — a French empire, a kingdom 
 of Italy, a Confederation of the Rhine. Nor had the late events 
 affected only the territorial limits and political institutions. The 
 distribution of property, the composition and spirit of society, had, 
 through great part of Catholic Europe, undergone a complete change. 
 But the unchangeable Church was still there. (Macaulay) 
 
 Soggartb Hroon 
 
 (These lines, full of deep tenderness, graphically and touchingly 
 depict the reverential and affectionate feeling that, through all trials 
 and long generations, has existed in the heart of the Irish peasant for 
 his Soggarth Aroon — priest dear.) 
 
 Am I the slave they say, 
 
 Soggarth Aroon, 
 Since you did show the way 
 
 Soggarth Aroon? 
 Their slave no more to be, 
 While they would work with me, 
 Ould Ireland's slavery, 
 
 Soggarth Aroon? 
 Why not her poorest man, 
 
 Soggarth Aroon? 
 Try and do all he can, 
 
 Soggarth Aroon? 
 Her commands to fulfill, 
 Of his own heart and will, 
 Side by side with you still, 
 
 Soggarth Aroon? 
 Loyal and brave to you, 
 
 Soggarth Aroon; 
 Yet be no slave to you, 
 
 Soggarth Aroon; 
 Nor, out of fear to you, 
 Stand up so near to you — 
 Och! out of fear to you, 
 
 Soggarth Aroon. 
 Who, in the winter's night, 
 
 Soggarth Aroon, 
 When the could blast did bite, 
 
 Soggarth Aroon, 
 
Selections. 229 
 
 Came to my cabin-door, 
 And on my earthen flure 
 Knelt by me, sick and poor, 
 
 Soggarth Aroon. 
 Who on the marriage-day, 
 
 Soggarth Aroon, 
 Made the poor cabin gay, 
 
 Soggarth Aroon. 
 And did both laugh and sing, 
 Making our hearts to ring, 
 At the poor christening, 
 
 Soggarth Aroon? 
 Who as friend only met, 
 
 Soggarth Aroon, 
 Never did flout me yet, 
 
 Soggarth Aroon? 
 And, when my eye was dim, 
 Gave while his eye did brim 
 What I should give to him, 
 
 Soggarth Aroon? 
 Och, you and only you, 
 
 Soggarth Aroon, 
 And for this I was true to you, 
 
 Soggarth Aroon; 
 In love they'll never shake, 
 When, for ould Ireland's sake 
 We a true part did take, 
 
 Soggarth Aroon. (Banim) 
 
 Spartacus to tbe GlaDiators 
 
 It had been a day of triumph in Capua. Lentulus, returning with 
 victorious eagles, had amused the populace with the sports of the 
 amphitheatre, to an extent hitherto unknown, even in that luxurious 
 city. The shouts of revelry had died away; the roar of the lion had 
 ceased; the last loiterer had retired from the banquet., and the lights 
 in the palace of the victor were extinguished. 
 
 The moon, piercing the tissue of fleecy clouds, silvered the dew- 
 drop on the corselet of the Roman sentinel, and tipped the dark waters 
 of Volturnus with wavy, tremulous light. It was a night of holy calm, 
 when the zephyr sways the young spring leaves, and whispers among 
 the hollow reeds its dreamy music. No sound was heard but the last 
 
230 Elements of Expression, Vocal and Physical. 
 
 sob of some weary wave, telling its story to the smooth pebbles of the 
 beach, and then all was still as the breast when the spirit has departed. 
 In the deep recesses of the amphitheatre a band of gladiators were 
 crowded together, — the muscles still knotted with the agony of 
 conflict, the foam upon their lips, — and the scowl of battle yet linger- 
 ing upon their brows, — when Spartacus, rising in the midst of that 
 grim assemblage, thus addressed them: 
 
 "Ye call me chief, and ye do well to call him chief, who, for twelve 
 long years, has met upon the arena every shape of man or beast that 
 the broad empire of Rome could furnish, and yet has never lowered his 
 arm. And if there be one among you who can say that ever, in public 
 fight or private brawl, my actions did belie my tongue, let him step 
 forth and say it. If there be three in all your throng dare face me 
 on the bloody sand, let them come on. 
 
 "Yet, I was not always thus, a hired butcher, a savage chief of 
 savage men. My father was a reverent man, who feared great Jupiter 
 and brought to the rural deities his offerings of fruits and flowers. 
 He dwelt among the vine- clad rocks and olive groves at the foot of 
 Helicon. My early life ran quiet as the brook by which I sported. 
 I was taught to prune the vine, to tend the flock; and then, at noon, 
 I gathered my sheep beneath the shade, and played upon the shepherd's 
 flute. I had a friend, the son of our neighbor; we led our flocks to the 
 same pasture, and shared together our rustic meal. 
 
 "One evening, after the sheep were folded, and we were all seated 
 beneath the myrtle that shaded our cottage, my grandsire, an old 
 man, was telling of Marathon and Leuctra, and how in ancient times 
 a little band of Spartans, in a defile of the Mountains, withstood a 
 whole army. I did not then know what war meant; but my cheeks 
 burned, I knew not why ; and I clasped the knees of that venerable man, 
 till my mother, parting the hair from off my brow, kissed my throbbing 
 temples, and bade me go to rest, and think no more of those old tales 
 and savage wars. 
 
 "That very night the Romans landed on our shore, and the clash of 
 steel was heard within our quiet vale. I saw the breast that had nourished 
 me trampled by the iron hoof of the war-horse; the bleeding body 
 of my father flung amid the blazing rafters of our dwelling. 
 
 "To-day I killed a man in the arena, and when I broke his helmet 
 clasps, behold, it was my friend. He knew me, — smiled faintly, — 
 gasped, — and died. The same sweet smile that I had marked upon 
 his face, when, in adventurous boyhood, we scaled some lofty cliff to 
 pluck the first ripe grapes, and bear them home in childish triumph. 
 
 "I told the Pretor he was my friend, noble and brave,, and I begged 
 his body, that I might burn it upon the funeral-pile, and mourn over 
 
Selections. 231 
 
 it. Ay, on my knees, amid the dust and blood of the arena, I begged 
 that boon, while all the Roman maids and matrons and those holy 
 virgins they call Vestals, and the rabble, shouted in mockery, deeming 
 it rare sport, forsooth, to see Rome's fiercest gladiator turn pale, and 
 tremble like a very child, before that piece of bleeding clay; but the 
 Pretor drew back as if I were pollution, and sternly said : 
 
 "Let the carrion rot. There are no noble men but Romans. And 
 he, deprived of funeral rites, must wander a helpless ghost, beside the 
 waters of that sluggish river, and look — and look — and look in vain 
 to the bright Blysian fields where dwell his ancestors and noble kindred. 
 And so must you, and so must 1 die like dogs. 
 
 "O Rome, Rome, thou hast been a tender nurse to me! Ay, thou 
 hast given to that poor, gentle, timid shepherd lad, who never knew 
 a harsher sound than a flute-note, muscles of iron, and heart of flint; 
 taught him to drive the sword through rugged brass and plaited 
 mail, and warm it in the marrow of his foe; to gaze into the glaring 
 eyeballs of the fierce Numidian lion, even as a smooth-cheeked boy 
 upon a laughing girl. And he shall pay thee back till thy yellow Tiber 
 s red as frothing wine, and in its deepest ooze thy life-blood lies curdled. 
 
 "Ye stand here now like giants, as ye are. The strength of brass 
 is in your toughened sinews; but to-morrow some Roman Adonis, 
 breathing sweet odors from his curly locks, shall come, and with his 
 lily fingers pat your brawny shoulders, and bet his sesterces upon 
 your blood. Hark! Hear ye yon lion roaring in his den? 'Tis three 
 days since he tasted meat; but to-morrow he shall break his fast upon 
 your flesh; and ye shall be a dainty meal for him. 
 
 "If ye are brutes, then stand here like fat oxen waiting for the butch- 
 er's knife; if ye are men, follow me. Strike down yon sentinel, and 
 gain the mountain passes, and there do bloody work as did your sires 
 at old Thermopylae. Is Sparta dead? Is the old Grecian spirit 
 frozen in your veins, that ye do crouch and cower like base-born slaves, 
 beneath your master's lash? O! comrades, warriors, Thracians, if 
 we must fight, let us fight for ourselves; if we must slaughter, let us 
 slaughter our oppressors; if we must die, let us die under the open sky, 
 by the bright waters, in noble, honorable battle." (E. Kellogg) 
 
 Sweet, blessed beads ! I would not part 
 
 With one of you for richest gem 
 
 That gleams in kingly diadem; 
 Ye know the history of my heart. 
 
232 Elements of Expression, Vocal and Physical. 
 
 For I have told you every grief 
 In all the days of twenty years, 
 And I have moistened you with tears, 
 
 And in your decades found relief. 
 
 Ah! time has fled, and friends have failed. 
 And joys have died; but in my needs 
 Ye were my friends, my blessed beads! 
 
 And ye consoled me when I wailed. 
 
 For many and many a time, in grief, 
 My weary fingers wandered round 
 Thy circled chain, and always found 
 
 In some Hail Mary sweet relief. 
 
 How many a story you might tell 
 
 Of inner life, to all unknown; 
 
 I trusted you and you alone, 
 But ah! ye keep my secrets well. 
 
 Ye are the only chain I wear — 
 A sign that I am but the slave, 
 In life, in death, beyond the grave, 
 
 Of Jesus and His Mother fair. (Ryan) 
 
 36etore Dicfceburg 
 
 While Sherman stood beneath the hottest fire, 
 That from the lines of Vicksburg gleamed, 
 And bomb-shells tumbled in their smoky gyre, 
 And grape-shot hissed, and case-shot screamed; 
 Back from the front there came 
 Weeping and sorely lame, 
 The merest child, the youngest face 
 Man ever saw in such a fearful place. 
 
 Stirling his tears, he limped his chief to meet; 
 
 But when he paused and tottering stood, 
 
 Around the circle of his little feet 
 
 There spread a pool of bright, young blood. 
 Shocked at this doleful case, 
 Sherman cried, "Halt, front face. 
 Who are you? Speak, my gallant boy." 
 "A drummer, sir: — Fifth-fifth Illinois." 
 
Selections. 233 
 
 "Are you not hit?" "That's nothing. Only 
 Some cartridges' our men are out; 
 And the foe press us." "But, my little friend — " 
 "Don't mind me. Did you hear that shout? 
 
 What if our men be driven; 
 
 O, for the love of Heaven, 
 
 Send to my Colonel, General dear." 
 
 "But you?" "O, I shall easily find the rear." 
 
 "I'll see to that," cried Sherman; and a drop, 
 Angels might envy, dimmed his eye, 
 As the boy, toiling towards the hill's hard top, 
 Turned round, and with his shrill child's cry 
 
 Shouted, "O, don't forget. 
 
 We'll win the battle yet. 
 
 But let our soldiers have some more, 
 
 More cartridges, sir, — calibre fifty-four. " (Anon) 
 
 Zbe Quarrel Scene trom Julius Caeear 
 
 Enter Cassius, Trebonius, Titinius, Pindarus. 
 
 Cas. Most noble brother, you have done me wrong. 
 
 Bru. Judge me, you gods! Wrong I mine enemies? 
 And if not so, how should I wrong a brother? 
 
 Cas. Brutus, this sober form of yours hides wrongs; 
 And when you do them, — 
 
 Bru. Cassius, be content: 
 Speak your griefs softly — I do know you well: — 
 Before the eyes of both our armies here, 
 Which should perceive nothing but love from us, 
 Let us not wrangle: Bid them move away; 
 Then in my tent, Cassius, enlarge your griefs, 
 And I will give you audience. 
 
 Cas. Pindarus, 
 Bid your commanders lead their chargers off 
 A little from this ground. (Exit Pindarus) 
 
 Bru. Metellus, do the like : — (Exit MeteUus) 
 
 And let no man 
 
 Come to our tent, till we have done our conference. (Exeunt) 
 Scene II. — The tent of Brutus. Enter Cassius and Brutus. 
 Cas. That you have wrong' d me doth appear in this: 
 You have condemn' d and noted Lucius Pella, 
 For taking bribes here of the Sardinians; 
 Wherein by letters, praying on his side, 
 
234 Elements of Expression, Vocal and Physical. 
 
 Because I knew the man, were slighted off. 
 
 Bru. You wrong'd yourself to write in such a case. 
 
 Cas. In such a time as this, it is not meet 
 That every nice offence should bear its comment. 
 
 Bru. Let me tell you, Cassius, you yourself 
 Are much condemn'd to have an itching palm; 
 To sell and mart your offices for gold 
 To undeservers. 
 
 Cas. I an itching palm? 
 You know that you are Brutus that speak this, 
 Or, by the gods, this speech were else your last. 
 
 Bru. The name of Cassius honors this corruption, 
 And chastisement doth therefore hide its head. 
 
 Cas. Chastisement! 
 
 Bru. Remember March — the ides of March remember! 
 Did not great Julius bleed for justice' sake? 
 What villain touch' d his body, that did stab, 
 And not for justice? What, shall one of us, 
 That struck the foremost man of all the world, 
 But for supporting robbers — shall we now 
 Contaminate our fingers with base bribes, 
 And sell the mighty space of our large honors 
 For so much trash as may be grasped thus? 
 I had rather be a dog and bay the moon, 
 Than such a Roman. 
 
 Cas. Brutus, bay not me; 
 I'll not endure it: I am a soldier, I, 
 Older in practice, abler than yourself 
 To make conditions. 
 
 Bru. Go to; you're not, Cassius. 
 
 Cas. I am. 
 
 Bru. I say you are not. 
 
 Cas. Urge me no more: I shall forget myself: 
 Have mind upon your health, tempt me no further. 
 
 Bru. Away, slight man. 
 
 Cas. Is't possible? 
 
 Bru. Hear me, for I will speak. 
 Must I give way and room to your rash choler? 
 Shall I be frighted when a madman stares? 
 
 Cas. Ye gods! ye gods! Must I endure all this? 
 
 Bru. {Nearer) All this! ay, more. — Fret till your proud 
 heart break. — 
 Go, show your slaves how choleric your are, 
 
Selections 235 
 
 And make your bondsmen tremble- Must I budge? 
 Must I observe you? Must I stand and crouch 
 Under your testy humor? By the gods, 
 You shall digest the venom of your spleen, 
 Though it do split you; for, from this day forth, 
 I'll use you for my mirth — yea, for my laughter, 
 When you are waspish. 
 
 Cas. Is it come to this? 
 
 Bru. You say you are a better soldier; 
 Let it appear so; make your vaunting true, 
 And it shall please me well; for mine own part, 
 I shall be glad to learn of noble men. 
 
 Cas. You wrong me every way ; you wrong me, Brutus; 
 I said an older soldier, not a better: 
 Did I say better? 
 
 Bru. If you did, I care not. 
 
 Cas. When Caesar lived, he durst not thus have moved me. 
 
 Bru. Peace, peace; you durst not so have tempted him, 
 
 Cas. I durst not? 
 
 Bru. No. 
 
 Cas. What, durst not tempt him? 
 
 Bru. For your life you durst not. 
 
 Cas. Do not presume too much upon my love; 
 I may do that I shall be sorry for. 
 
 Bru. You have done that you should be sorry for. 
 There is no terror, Cassius, in your threats; 
 For I am arm'd so strong in honesty, 
 That they pass by me as the idle wind, 
 Which I respect not. I did send to you 
 For certain sums of gold, which you denied me; 
 For I can raise no money by vile means; 
 Ye gods ! I had rather coin my heart, 
 And drop my blood, for drachms, than to wring 
 From the hard hands of peasants their vile trash, 
 By any indirection. I did send 
 To you for gold to pay my legions, 
 Which you denied me: was that done like Cassius? 
 Should I have answer' d Caius Cassius so? 
 When Marcus Brutus grows so covetous, 
 To lock such rascal counters from his friends, 
 Be ready, gods, with all your thunderbolts, 
 Dash him to pieces. 
 
 Cas. I denied you not. 
 
236 Elements of Expression, Vocal and Physical. 
 
 Bru. You did. 
 
 Cas. I did not: — He was but a fool 
 That brought my answer back. — Brutus hath rived my heart; 
 A friend should bear his friend's infirmities; 
 But Brutus makes mine greater than they are. 
 
 Bru. I do not, till you practise them on me. 
 
 Cas. You love me not. 
 
 Bru. I do not like your faults. 
 
 Cas. A friendly eye could never see such faults. 
 
 Bru. A flatterer's would not, though they do appear 
 As huge as high Olympus. 
 
 Cas. Come Antony, and young Octavius, come, 
 Revenge yourselves alone on Cassius, 
 For Cassius is aweary of the world: 
 Hated by one he loves; braved by his brother; 
 Check'd like a bondman: all his faults observed, 
 Set in a note-book, learn' d and conn'd by rote, 
 To cast into my teeth. Oh, I could weep 
 My spirit from mine eyes. — There is my dagger, 
 And here my naked breast; within, a heart 
 Dearer than Plutus' mine, richer than gold: 
 If that thou be'st a Roman, take it forth; 
 I, that denied thee gold, will give my heart: 
 Strike, as thou didst at Caesar; for I know, 
 When thou didst hate him worst, thou lov'dst him better 
 Than ever thou lov'dst Cassius. 
 
 Bru. Sheathe your dagger; 
 Be angry when you will, it shall have scope; 
 Do what you will, dishonor shall be humor. 
 Oh, Cassius, you are yoked with a lamb 
 That carries anger, as a flint bears fire; 
 Who, much enforced, shows a hasty spark 
 And straight is cold again. 
 
 Cas. Hath Cassius lived 
 To be but mirth and laughter to his Brutus, 
 When grief and blood ill-temper 'd, vexeth him? 
 
 Bru. When I spoke that, I was ill-temper'd too. 
 
 Cas. Do you confess so much ? Give me your hand. 
 
 Bru. And my heart, too. 
 
 Cas. Oh Brutus. — 
 
 Bru. What's the matter? 
 
 Cas. Have you not love enough to bear with me, 
 When that rash humor wjiich my mother gave me, 
 
Selections. 237 
 
 Makes me forgetful? 
 
 Bru. Yes, Cassius; and henceforth, 
 When you are over-earnest with your Brutus, 
 He'll think your mother chides, and leave you so. {Shakespeare) 
 
 m %ast 
 
 Into a temple vast and dim, 
 
 Solemn and vast and dim, 
 
 Just when the last sweet Vesper Hymn 
 
 Was floating far away, 
 With eyes that tabernacled tears — 
 Her heart the home of tears — 
 And cheeks wan with the woes of years, 
 
 A woman went one day. 
 
 And, one by one, adown the aisles, 
 Adown the long, lone aisles, 
 Their faces bright with holy smiles 
 
 That follow after prayer, 
 The worshipers in silence passed, 
 In silence slowly passed away; 
 The woman knelt until the last 
 
 Had left her lonely there. 
 
 A holy hush came o'er the place, 
 
 O'er the holy place, 
 
 The shadows kissed her woe-worn face, 
 
 Her forehead touched the floor; 
 The wreck had drifted thro' the years — 
 Sin-driven thro' the years — 
 Was floating o'er the tide of tears, 
 
 To Mercy's golden shore. 
 
 Her lips were sealed, they could not pray, 
 They sighed, but could not pray, 
 All words of prayer had died away 
 
 From them long years ago; 
 But ah! from out her eyes there rose — 
 Sad from her eyes there rose — 
 The prayer of tears, which swiftest goes 
 
 To Heaven — winged with woe. 
 
 With weary tears, her weary eyes, 
 
 Her joyless, weary eyes, 
 
 Wailed forth a rosary; and her sighs 
 
238 Elements of Expression, Vocal and Physical. 
 
 And sobs strung all the beads; 
 The while before her spirit's gaze — 
 Her contrite spirit's gaze — 
 Moved all the mysteries of her days, 
 
 And histories of her deeds. 
 
 Still as a shadow, while she wept, 
 
 So desolately wept, 
 
 Up thro' the long, lone aisle she crept 
 
 Unto an altar fair; 
 ''Mother!" — her pale lips said no more — 
 Could say no more — 
 The wreck, at last, reached Mercy's shore, 
 
 For Mary's shrine was there. (Ryan) 
 
 IRegulus to tbe IRoman Senate 
 
 111 does it become me, O Senators of Rome, — ill does it become 
 Regulus — after having so often stood in this venerable assembly clothed 
 with the supreme dignity of the Republic, to stand before you a cap- 
 tive — the captive of Carthage. Though outwardly I am free, — 
 though no fetters encumber the limbs, or gall the flesh, — yet the heav- 
 iest of chains, — the pledge of a Roman Consul, makes me the bonds- 
 man of the Carthaginians. 
 
 They have my promise to return to them, in the event of the failure 
 of this their embassy. My life is at their mercy. My honor is my own ; 
 — a possession which no reverse of fortune can jeopard; a flame which 
 imprisonment cannot stifle, time cannot dim, death cannot extinguish. 
 
 Of the train of disasters which followed close on the unexampled 
 successes of our arms, — of the bitter fate which swept off the flower 
 of our soldiery, and consigned me, your general, wounded and sense- 
 less, to Carthaginian keeping, — I will not speak. For five years, a 
 rigorous captivity has been my portion. For five years, the society 
 of family and friends, the dear amenities of home, the sense of free- 
 dom, and the sight of country, have been to me a recollection and a 
 dream, — no more. 
 
 But during that period Rome has retrieved her defeats. She has 
 recovered under Metellus what under Regulus she lost. She has 
 routed armies. She has taken unnumbered prisoners. She has struck 
 terror to the hearts of the Carthaginians; who have now sent me hither 
 
Selections. 239 
 
 with their ambassadors, to sue for peace, and to propose that, in ex- 
 change for me, your former Consul, a thousand common prisoners of 
 war shall be given up. 
 
 You have heard the ambassadors. Their intimations of some un- 
 imaginable horror — I know not what — impending over myself, should 
 I fail to induce you to accept their terms, have strongly moved your 
 sympathies in my behalf. 
 
 Another appeal, which I would you might have been spared, has 
 lent force to their suit. A wife and children, threatened with widow- 
 hood and orphanage, weeping and despairing, have knelt at your feet, 
 on the very threshold of the Senate-chamber. Conscript Fathers! 
 Shall not Regulus be saved? Must he return to Carthage to meet 
 the cruelties which the ambassadors brandish before your eyes? 
 
 With one voice you answer, No. Countrymen! Friends! For 
 all that I have suffered — for all that I may have to suffer — I am repaid 
 in the compensation of this moment. Unfortunate, you may hold 
 me; but, O, not undeserving. Your confidence in my honor survives 
 all the ruin that adverse fortune could inflict. You have not forgotten 
 the past. Republics are not ungrateful. May the thanks I cannot 
 utter bring down blessings from the gods on you and Rome. 
 
 Conscript Fathers! There is but one course to be pursued. A- 
 bandon all thought of peace. Reject the overtures of Carthage. 
 Reject them wholly and unconditionally. What! Give back to her 
 a thousand able-bodied men, and receive in return this one attenuated, 
 war-worn, fever-wasted frame, — this weed, whitened in a dungeon's 
 darkness, pale and sapless, which no kindness of the sun, no softness 
 of the summer breeze, can ever restore to health and vigor? 
 
 It must not — it shall not be. O! were Regulus what he was once, 
 before captivity had unstrung his sinews and enervated his limbs, 
 he might pause, — he might proudly think he were well worth a thousand 
 of the foe; — he might say, "Make the exchange. Rome shall not lose 
 by it." 
 
 But now — alas! now 'tis gone, — that impetuosity of strength, which 
 could once make him a leader indeed, to penetrate a phalanx or guide 
 a pursuit. His very armor would be a burden now. His battle-cry 
 would be drowned in the din of the onset. His sword would fall harm- 
 
240 Elements of Expression, Vocal and Physical. 
 
 less on his opponent's shield. But, if he cannot live, he can at least 
 die, for his country. Do not deny him this supreme consolation. 
 Consider: every indignity, every torture, which Carthage shall heap 
 on his dying hours, will be better than a trumpet's call to your armies. 
 
 They will remember only Regulus, their fellow-soldier and their 
 leader. They will forget his defeats. They will regard only his ser- 
 vices to the Republic. Tunis, Sardinia, Sicily, — every well-fought 
 field, won by his blood and theirs, — will flash on their remembrance, 
 and kindle their avenging wrath. And so shall Regulus, though dead, 
 fight as he never fought before against the foe. 
 
 Conscript Fathers! There is another theme. My family — for- 
 give the thought. To you, and to Rome, I confide them. I leave 
 them no legacy but my name, — no testament but my example. 
 
 Ambassadors of Carthage! I have spoken, though not as you ex- 
 pected. I am your captive. Lead me back to whatever fate may 
 await me. Doubt not that you shall find, to Roman hearts, country 
 is dearer than life, and integrity more precious than freedom. {Anon) 
 
 Brin's fflag 
 
 Unroll Erin's flag! fling its folds to the breeze! 
 
 Let it float o'er the land, let it flash o'er the seas! 
 
 Lift it out of the dust — let it wave as of yore, 
 
 When its chiefs with their clans stood around it and swore 
 
 That never! no! never! while God gave them life, 
 
 And they had an arm and a sword for the strife, 
 
 That never! no! never! that banner should yield 
 
 As long as the heart of a Celt was its shield; 
 
 While the hand of a Celt had a weapon to wield, 
 
 And his last drop of blood was unshed on the field. 
 
 Lift it up! wave it high! 'tis as bright as of old! 
 
 Not a stain on its green, not a blot on its gold, 
 
 Tho' the woes and the wrongs of three hundred long years, 
 
 Have drenched Erin's Sunburst with blood and with tears! 
 
 Though the clouds of oppression enshroud it in gloom, 
 
 And around it the thunders of Tyranny boom. 
 
 Look aloft! look aloft! lo! the clouds drifting by, 
 
 There's a gleam through the gloom, there's a light in the sky, 
 
 'Tis the Sunburst resplendent — far, flashing on high! 
 
 Erin's dark night is waning, her day-dawn is nigh. 
 
 Lift it up! lift it up! the old Banner of Green! 
 The blood of its sons has but brightened its sheen; 
 
Selections. 241 
 
 What though the tyrant has trampled it down, 
 
 Are its folds not emblazoned with deeds of renown? 
 
 What though for ages it droops in the dust, 
 
 Shall it droop thus forever? No! no! God is just! 
 
 Take it up! take it up! from the tyrant's foul tread, 
 
 Let him tear the Green Flag — we will snatch its last shred, 
 
 And beneath it we'll bleed as our forefathers bled, 
 
 And we'll vow by the dust in the graves of our dead. 
 
 And we'll swear by the blood which the Briton has shed, 
 
 And we'll vow by the wrecks which through Erin he spread, 
 
 And we'll swear by the thousands who, famished, unfed, 
 
 Died down in the ditches, wild-howling for bread, 
 
 And we'll vow by our heroes, whose spirits have fled, 
 
 And we'll swear by the bones in each coffinless bed, 
 
 That we'll battle the Briton through danger and dread; 
 
 That we'll cling to the cause which we glory to wed, 
 
 'Til the gleam of our steel and the shock of our lead 
 
 Shall prove to our foe that we meant what we said — 
 
 That we'll lift up the green, and we'll tear down the red! 
 
 Lift up the Green Flag! oh! it wants to go home, 
 Full long has its lot been to wander and roam, 
 It has followed the fate of its sons o'er the world, 
 But its folds, like their hopes, are not faded nor furled; 
 Like a weary-winged bird, to the Bast and the West, 
 It has flitted and fled — but it shall never rest, 
 'Til, pluming its pinions, it sweeps o'er the main, 
 And speeds to the shores of its old home again, 
 Where its fetterless folds o'er each mountain and plain 
 Shall wave with a glory that never shall wane. 
 
 Take it up! take it up! bear it back from afar! 
 
 That banner must blaze 'mid the lightnings of war; 
 
 Lay your hands on its folds, lift your gaze to the sky, 
 
 And swear that you'll bear it triumphant or die, 
 
 And shout to the clans scattered far o'er the earth 
 
 To join in the march to the land of their birth; 
 
 And wherever the Exiles, 'neath heaven's broad dome, 
 
 Have been fated to suffer, to sorrow and roam, 
 
 They'll bound on the sea, and away o'er the foam, 
 
 They'll sail to the music of "Home, Sweet Home!" (Ryan) 
 
242 Elements of Expression, Vocal and Physical. 
 
 /Ibatc 2Hnton^6 Hpostropbe to Gaesat'0 JBoDe 
 
 O Pardon me. thou bleeding piece of earth, 
 
 That I am meek and gentle with these butchers; 
 
 Thou art the ruins of the noblest man 
 
 That ever lived in the tide of times. 
 
 Woe to the hand that shed this costly blood. 
 
 Over thy wounds now do I prophesy, — 
 
 Which, like dumb mouths, do ope their ruby lips, 
 
 To beg the voice and utterance of my tongue — 
 
 A curse shall light upon the limbs of men; 
 
 Domestic fury and fierce civil strife 
 
 Shall cumber all the parts of Italy; 
 
 Blood and destruction shall be so in use, 
 
 And dreadful objects so familiar, 
 
 That mothers shall but smile, when they behold 
 
 Their infants quarter'd with the hands of war; 
 
 All pity chok'd with custom of fell deeds; — 
 
 And Caesar's spirit, raging for revenge, 
 
 With Ate by his side come hot from hell, 
 
 Shall in these confines with a monarch's voice, 
 
 Cry "Havoc," and let slip the dogs of war; 
 
 That this foul deed shall smell above the earth 
 
 With carrion men, groaning for burial. (Shakespeare) 
 
 Wcn^Ve nbbveee 
 
 Friends: I come not here to talk. Ye know too well 
 
 The story of our thraldom; — we are slaves! 
 
 The bright sun rises to his course, and lights 
 
 A race of slaves! He sets, and his last beam 
 
 Falls on a slave! — not such as, swept along 
 
 By the full tide of power, the conqueror leads 
 
 To crimson glory and undying fame; 
 
 But base, ignoble slaves — slaves to a horde 
 
 Of petty tyrants, feudal despots, lords, 
 
 Rich in some dozen paltry villages — 
 
 Strong in some hundred spearsmen — only great 
 
 In that strange spell, a name! Each hour, dark fraud, 
 
 Or open rapine, or protected murder, 
 
 Cries out against them. But this very day, 
 
 An honest man, my neighbor — there he stands — 
 
Selections. 243 
 
 Was struck — struck like a dog, by one who wore 
 
 The badge of Ursini! because, forsooth, 
 
 He tossed not high his ready cap in air, 
 
 Nor lifted up his voice in servile shouts, 
 
 At sight of that great ruffian! Be we men, 
 
 And suffer such dishonor? Men, and wash not 
 
 The stain away in blood? Such shames are common. 
 
 I have known deeper wrongs. I, that speak to you — 
 
 I had a brother once, — a gracious boy, 
 
 Full of all gentleness, of calmest hope, 
 
 Of sweet and quiet joy; there was the look 
 
 Of heaven upon his face, which limners give 
 
 To the beloved disciple. How I loved 
 
 That gracious boy! Younger by fifteen years, 
 
 Brother at once and son! He left my side, 
 
 A summer bloom on his fair cheeks, a smile 
 
 Parting his innocent lips. In one short hour, 
 
 The pretty, harmless boy was slain! I saw 
 
 The corse, the mangled corse, and then I cried 
 
 For vengeance! Rouse, ye Romans! rouse, ye slaves! 
 
 Have ye brave sons? Look, in the next fierce brawl, 
 
 To see them die! Have ye fair daughters? Look 
 
 To see them live, torn from your arms, disdained, 
 
 Dishonored! and if ye dare call for justice, 
 
 Be answered by the lash! Yet this is Rome, 
 
 That sat on her seven hills, and, from her throne 
 
 Of beauty, ruled the world! Yet we are Romans 1 
 
 Why, in that elder day, to be a Roman 
 
 Was greater than a king! — and once again — 
 
 Hear me, ye walls, that echoed to the tread 
 
 Of either Brutus! — once again I swear, 
 
 The eternal city shall be free! her sons 
 
 Shall walk with princes! 
 
 Zbc Sworfc of IRobert Xee 
 
 Forth from its scabbard, pure and bright, 
 
 Flashed the sword of Lee! 
 Far in the front of the deadly fight, 
 High o'er the brave in the cause of Right, 
 Its stainless sheen, like a beacon light, 
 
 Led us to Victory. 
 
244 Elements of Expression, Vocal and Physical 
 
 Out of its scabbard, where, full long, 
 
 It slumbered peacefully, 
 Roused from its rest by the battle's song, 
 Shielding the feeble, smiting the strong, 
 Guarding the right, avenging the wrong, 
 
 Gleamed the sword of Lee. 
 
 Forth from its scabbard, high in air 
 
 Beneath Virginia's sky — 
 And they who saw it gleaming there, 
 And knew who bore it, knelt to swear 
 That where that sword led they would dare 
 
 To follow — and to die. 
 
 Out of its scabbard! Never hand 
 
 Waved sword from stain as free, 
 Nor purer sword led braver band, 
 Nor braver bled for a brighter land, 
 Nor brighter land had a cause so grand, 
 
 Nor cause a chief like Lee! 
 
 Forth from its scabbard! How we prayed 
 
 That sword might victor be; 
 And when our triumph was delayed, 
 And many a heart grew sore afraid, 
 We still hoped on while gleamed the blade 
 
 Of noble Robert Lee. 
 
 Forth from its scabbard all in vain 
 
 Bright flashed the sword of Lee; 
 'Tis shrouded now in its sheath again, 
 It sleeps the sleep of our noble slain, 
 Defeated, yet without a stain, 
 
 Proudly and peacefully. (Ryan) 
 
 TKHilUam Zcll on tbe Hips 
 
 Once more I breathe the mountain air; once more 
 
 I tread my own free hills! My lofty soul 
 
 Throws all its fetters off; in its proud flight, 
 
 'Tis like the new-fledged eaglet, whose strong wing 
 
 Soars to the sun it long has gazed upon 
 
 With eye undazzled. O! ye mighty race 
 
 That stand like frowning giants, fixed to guard 
 
Selections. 245 
 
 My own proud land; why did ye not hurl down 
 The thundering avalanche, when at your feet 
 The base usurper stood? A touch, a breath, 
 Nay, even the breath of prayer, ere now, has brought 
 Destruction on the hunter's head; and yet 
 The tyrant passed in safety. God of heaven! 
 Where slept thy thunderbolts? 
 
 O, liberty! 
 Thou choicest gift of heaven, and wanting which 
 Life is as nothing; hast thou then forgot 
 Thy native home? Must the feet of slaves 
 Pollute this glorious scene? It cannot be. 
 Even as the smile of Heaven can pierce the depths 
 Of these dark caves, and bid the wild flowers bloom 
 In spots where man has never dared to tread; 
 So thy sweet influence still is seen amid 
 These beetling cliffs. Some hearts still beat for thee 
 And bow alive to Heaven; thy spirit lives, 
 Aye, and shall live, when even the very name 
 Of tyrant is forgot. 
 
 Lo! while I gaze 
 Upon the mist that wreathes yon mountain's brow, 
 The sunbeam touches it, and it becomes 
 A crown of glory on his hoary head; 
 O! is not this a presage of the dawn 
 Of freedom o'er the world? Hear me, then, bright 
 And beaming Heaven! while kneeling thus, I vow 
 To live for freedom, or with her to die! 
 
 Oh! with what pride I used 
 To walk these hills, and look up to my God, 
 And bless Him that it was so. It was free — 
 From end to end, from cliff to lake; 'twas free — 
 Free as our torrents are, that leap our rocks, 
 And plow our valleys, without asking leave; 
 Or as our peaks, that wear their caps of snow, 
 In very presence of the regal sun! 
 How happy was I in it then. I loved 
 Its very storms! Yes, I have sat and eyed 
 The thunder breaking from his cloud, and smiled 
 To see him shake his lightnings o'er my head, 
 And think I had no master save his own! 
 
246 Elements of Expression, Vocal and Physical. 
 
 Ye know the jutting cliff, round which a track 
 
 Up hither winds, whose base is but the brow 
 
 To such another one, with scanty room 
 
 For two abreast to pass? O'ertaken there 
 
 By the mountain blast, I've laid me flat along, 
 
 And while gust followed gust more furiously, 
 
 As if to sweep me o'er tjie horrid brink, 
 
 And I have thought of other lands, where storms 
 
 Are summer flaws to those of mine, and just 
 
 Have wished me there — the thought that mine was free, 
 
 Has checked that wish, and I have raised my head,. 
 
 And cried in thraldom to that furious wind, 
 
 Blow on! this is the land of liberty! (Knowles) 
 
 XLbc Surrender ot Calais 
 
 The king was in his tent, 
 
 And his lofty heart beat high, 
 As he gazed on the city's battered walls 
 
 With proud and flashing eye; 
 But darker grew his brow, and stern, 
 
 As slowly onward came 
 The chiefs who long had dared to spurn 
 
 The terror of his name. 
 
 With calm and changeless cheek, 
 
 Before the king they stood, 
 For their native soil to offer up 
 
 The sacrifice of blood. 
 Like felons were they meanly clad, 
 
 But the lightning of their look. 
 The marble sternness of their brow, 
 
 Ev'n the monarch could not brook. 
 
 With angry voice he cried, 
 
 "Haste! bear them off to death! 
 Let the trumpet's joyous shout be blent 
 
 With the traitor's parting breath!" 
 Then silently they turned away, 
 
 Nor word nor sound awoke, 
 Till, from the monarch's haughty train, 
 
 The voice of horror broke. 
 
Selections. 247 
 
 And, hark! a step draws near — 
 
 Not like the heavy clang 
 Of the warrior's tread — and through the guards 
 
 A female figure sprang; 
 
 "A boon! a boon! my noble king! 
 
 If still thy heart can feel 
 The love Philippa once could claim, 
 
 Look on me while I kneel. 
 
 " 'Tis for thyself I pray; 
 
 Let not the darkening cloud 
 Of base-born cruelty arise, 
 
 Thy glory to enshroud. 
 Nay, nay — I will not rise; 
 
 For never more thy wife 
 Will hail thee victor, till thy soul 
 
 Can conquer passion's strife. 
 
 "Turn not away, my king! 
 
 Look not in anger down! 
 I've lived so long upon thy smile. 
 
 I cannot bear th}^ frown. 
 Oh! doom me not, dear Lord, to feel 
 
 The pang all pangs above, 
 To see the light I worship fade, 
 
 And blush because I love. 
 
 "Think how, for thee, 1 laid 
 
 My woman's fears aside, 
 And dared, where charging squadrons met, 
 
 With dauntless front to ride. 
 Think how, in all the matchless strength 
 
 Of woman's love, I spread 
 Thy banners, till they proudly waved 
 
 In victory o'er my head. 
 
 "Thou saidst that I deserved 
 
 To share thy glorious crown; 
 Oh! force me not to turn away 
 
 In shame from thy renown. 
 My Edward! thou wert wont to bear 
 
 A kind and gentle heart; 
 Then listen to Philippa's prayer, 
 
 And let these men depart. " 
 
248 Elements of Expression, Vocal and Physical. 
 
 Oh! what is all the pride 
 
 Of man's oft boasted power, 
 Compared with those sweet dreams that wake, 
 
 In love's triumphant hour! 
 Slowly the haughty king unbent 
 
 His stern and vengeful brow, 
 And the look he turned upon her face 
 
 Was full of fondness now. 
 
 Ne'er yet was woman slow 
 
 To read in telltale eyes, 
 Such thoughts as these — a moment more 
 
 And on his breast she lies. 
 Then, while her slender form still clung 
 
 To his supporting arm, 
 He cried, "Sweet, be it as thou wilt; 
 
 They shall not meet with harm!" 
 
 Then from the patriot band, 
 
 Arose one thrilling cry; 
 And tears rained down the iron cheek, 
 
 That turned unblenched to die. 
 "Now, we indeed are slaves, " they cried ; 
 
 "Now vain our warlike arts — 
 Edward has won our shattered walls, 
 
 Philippa wins our hearts. " (Mrs. Embury) 
 
 From jEnoch HrDen 
 
 But Enoch yearn'd to see her face again; 
 "If I might look on her sweet face again 
 And know that she is happy." So the thought 
 Haunted and harass'd him, and drove him forth, 
 At evening when the dull November day 
 Was growing duller twilight, to the hill. 
 There he sat down gazing on all below; 
 There did a thousand memories roll upon him, 
 Unspeakable for sadness. By and by 
 The ruddy square of comfortable light, 
 Far-blazing from the rear of Philip's house 
 Allured him, as the beacon-blaze allures 
 The bird of passage, till he madly strikes 
 Against it, and beats out his weary life. 
 
Selections. 249 
 
 For Philip's dwelling fronted on the street, 
 
 The latest house to landward; but behind, 
 
 With one small gate that open'd on the waste, 
 
 Flourish'd a little garden square and wall'd: 
 
 And in it throve an ancient evergreen, 
 
 A yew tree, and all around it ran a walk 
 
 Of shingle, and a walk divided it: 
 
 But Enoch shunn'd the middle walk and stole 
 
 Up by the wall, behind the yew; and thence 
 
 That which he better might have shunn'd, if griefs 
 
 Like his have worse or better, Enoch saw. 
 
 For cups and silver on the burnish'd board 
 Sparkled and shone; so genial was the hearth: 
 And on the right hand of the hearth he saw 
 Philip, the slighted suitor of old times, 
 Stout, rosy, with his babe across his knees; 
 And o'er her second father stoopt a girl 
 A later but a loftier Annie Lee, 
 Fair-hair'd and tall, and from her lifted hand 
 Dangled a length of ribbon and ring 
 To tempt the babe, who rear'd his creasy arms, 
 Caught at and ever miss'd it, and they laugh'd; 
 And on the left hand of the hearth he saw 
 The mother glancing often toward her babe, 
 But turning now and then to speak with him, 
 Her son, who stood beside her tall and strong, 
 And saying that which pleased him, for he smiled. 
 
 Now when the dead man come to life beheld 
 His wife, his wife no more, and saw the babe 
 Hers, yet not his, upon the father's knee, 
 And all the warmth, the peace, the happiness, 
 And his own children tall and beautiful, 
 And him that other reigning in his place, 
 Lord of his rights and of his children's love, — 
 Then he, tho' Miriam Lane had told him all 
 Because things seen are mightier than things heard, 
 Stagger'd and shook, holding the branch, and fear'd 
 To send abroad a shrill and terrible cry, 
 Which in one moment, like the blast of doom, 
 Would shatter all the happiness of the hearth. 
 
250 Elements of Expression, Vocal and Physical. 
 
 He therefore, turning softly like a thief, 
 Lest the harsh shingle should grate underfoot, 
 And feeling all along the garden-wall, 
 Lest he should swoon and tumble and be found, 
 Crept to the gate, and opened it and closed 
 As lightly as a sick man's chamber-door, 
 Behind him, and came out upon the waste. 
 
 And there he would have knelt, but that his knees 
 Were feeble, so that falling prone he dug 
 His fingers into the wet earth, and pray'd. 
 
 "Too hard to bear! why did they take me thence? 
 
 O God Almighty, blessed Savior, Thou 
 
 That didst uphold me on my lonely isle, 
 
 Uphold me, Father, in my loneliness 
 
 A little longer! aid me, give me strength 
 
 Not to tell her, never to let her know. 
 
 Help me not to break in upon her peace. 
 
 My children, too! must I not speak to these? 
 
 They know me not. I should betray myself 
 
 Never: no father's kiss for me— the girl 
 
 So like her mother, and the boy, my son." 
 
 There speech and thought and nature fail'd a little, 
 • And he lay tranced; but when he rose and paced 
 Back toward his solitary home again, 
 All down the long and narrow street he went 
 Beating it in upon his weary brain, 
 As tho' it were the burden of a song, 
 "Not to tell her, never to let her know." (Tennyson) 
 
 H XegenD 
 
 He walked alone beside the lonely sea, 
 The slanting sunbeams fell upon His face, 
 His shadow fluttered on the pure white sands 
 Like the weary wing of a soundless prayer. 
 And He was, oh! so beautiful and fair! 
 Brown sandals on his feet — His face downcast, 
 As if He loved the earth more than the heav'ns. 
 His face looked like His Mother's— only her's 
 Had not those strange serenities and stirs 
 
Selections. 251 
 
 That paled or flushed His olive cheeks and brow. 
 He wore the seamless robe His Mother made — 
 And as He gathered it about His breast, 
 The wavelets heard a sweet and gentle voice 
 Murmur, O! My Mother" — the white sands felt 
 The touch of tender tears He wept the while. 
 He walked beside the sea; He took His sandals off 
 To bathe His weary feet in the pure cool wave — 
 For He had walked across the desert sands 
 All day long — and as He bathed His feet 
 He murmured to Himself, "Three years! three years! 
 And then, poor feet, the cruel nails will come 
 And make you bleed ; but ah ! that blood shall lave 
 All weary feet on all their thorny ways." 
 "Three years! three years!" He murmured still again, 
 "Ah! would it were to-morrow, but a will — 
 My Father's will — biddeth Me bide that time." 
 A little fisher-boy came up the shore 
 And saw Him — and, nor bold, nor shy, 
 Approached, but when he saw the weary face, 
 Said mournfully to Him: "You look a- tired." 
 He placed his hand upon the boy's brown brow 
 Caressingly and blessingly — and said: 
 "I am so tired to wait." The boy spake not. 
 Sudden, a sea-bird, driven by a storm 
 That had been sweeping on the farther shore, 
 Came fluttering towards Him, and, panting, fell 
 At His feet and died; and then the boy said: 
 "Poor little bird," in such a piteous tone; 
 He took the bird and laid it in His hand, 
 And breathed on it — when to his amaze 
 The little fisher-boy beheld the bird 
 Flutter a moment and then fly aloft — 
 Its little life returned; and then he gazed 
 With look intensest on the wondrous face 
 (Ah! it was beautiful and fair) — and said: 
 "Thou art so sweet I wish Thou wert my God." 
 He leaned down toward the boy and softly said: 
 "I am thy Christ." The day they followed Him, 
 With cross upon His shoulders, to His death, 
 Within the shadow of a sheltering rock 
 That little boy knelt down, and there adored 
 While others cursed, the thorn-crowned Crucified. {Ryan) 
 
252 Elements of Expression, Vocal and Physical- 
 
 /Ifcarco 36033ari6 
 
 At midnight, in his guarded tent, 
 
 The Turk was dreaming of the hour, 
 When Greece, her knee in suppliance bent, 
 
 Should tremble at his power. 
 In dreams through camp and court he bore 
 The trophies of a conqueror; 
 
 In dreams his song of triumph heard; 
 Then, wore his monarch's signet ring, 
 Then pressed that monarch's throne — a king; 
 As wild his thoughts and gay of wing, 
 
 As Eden's garden-bird. 
 
 An hour passed on — the Turk awoke; 
 
 That bright dream was his last; 
 He awoke! to hear his sentry's shriek, 
 "To arms! they come! the Greek! the Greek!" 
 He awoke! to die midst flame and smoke, 
 And shout and groan, and sabre stroke, 
 
 And death -shots falling thick and fast 
 As lightnings from the mountain cloud; 
 And heard with voice as trumpet loud, 
 
 Bozzaris cheer his band: — 
 "Strike! till the last armed foe expires. 
 Strike! for your altars and your fires, 
 Strike! for the green graves of your sires, 
 
 God — and your native land!" 
 
 They fought like brave men, long and well, 
 
 They piled that ground with Moslem slain; 
 
 They conquered — but Bozzaris fell, 
 Bleeding at every vein. 
 
 His few surviving comrades saw 
 
 His smile, when rang their proud hurrah, 
 
 And the red field was won. (Halleck) 
 
 Gbe JSattle Storm 
 
 Once more unto the breach, dear friends, once more, 
 
 Or close the wall up with our English dead. 
 
 In peace there's nothing so becomes a man 
 
 As modest stillness and humility; 
 
 But when the blast of war blows in our ears. 
 
Selections. 253 
 
 Then imitate the action of the tiger: 
 
 Stiffen the sinews — summon up the blood, — 
 
 Disguise fair nature with hard-favored rage; 
 
 Then lend the eye a terrible aspect; 
 
 Let it pry through the portage of the head, 
 
 Like the brass cannon; let the brow o'erwhelm it, 
 
 As fearfully as doth the galled rock 
 
 O'erhang and jutty his confounded base, 
 
 Swelled with the wild and wasteful ocean. 
 
 Now set the teeth and stretch the nostril wide, 
 
 Hold hard the breath, and bend up every spirit 
 
 To its full height! On, on, you noble English, 
 
 Whose blood is set from fathers of war-proof! 
 
 Fathers, that like so many Alexanders, 
 
 Have in these parts from morn till even fought, 
 
 And sheathed their swords for lack of argument: 
 
 Be copy now for men of grosser blood, 
 
 And teach them how to war; and you, good yeomen, 
 
 Whose limbs are made in England, show us here 
 
 The mettle of your pasture: let us swear 
 
 That you are worth your breeding, which I doubt not. 
 
 For there is none of you so mean and base 
 
 That hath not noble lustre in your eye: 
 
 I see you stand like greyhounds in the slips, 
 
 Straining upon the start. The game's afoot; 
 
 Follow your spirit; and upon this charge, 
 
 Cry, "Heaven for Harry, England, and St. George!" 
 
 {Shakespeare) 
 
 Cbararctet of Wapoleon Bonaparte 
 
 He is fallen! We may now pause before that splendid prodigy, 
 which towered amongst us like some ancient ruin, whose frown terri- 
 fied the glance its magnificence attracted. Grand, gloomy, and peculiar, 
 he sat upon the throne a sceptered hermit, wrapt in the solitude of 
 his own originality. A mind bold, independent, and decisive — a will 
 despotic in its dictates — an energy that distanced expedition, and 
 a conscience pliable to every touch of interest, marked the outline 
 of this extraordinary character — the most extraordinary, perhaps, 
 that in the annals of this world ever rose, or reigned, or fell. Flung 
 into life, in the midst of a revolution that quickened every energy 
 of a people who acknowledge no superior, he commenced his course, 
 a stranger by birth, and a scholar by charity ! With no friend but 
 
254 Elements of Expression, Vocal and Physical. 
 
 his sword, and no fortune but his talents, he rushed in the lists where 
 rank, and wealth, and genius had arrayed themselves, and competition 
 fled from him as from the glance of destiny. He knew no motive 
 but interest — he acknowledged no criterion but success — he worshipped 
 no god but ambition, and with an eastern devotion he knelt at the 
 shrine of his idolatry. Subsidiary to this, there was no creed that 
 he did not profess, there was no opinion that he did not promulgate: 
 in the hope of a dynasty, he upheld the crescent; for the sake of a di- 
 vorce, he bowed before the cross: the orphan of St. Louis, he became 
 the adopted child of the republic: and with a parricidal ingratitude, 
 on the ruins both of the throne and tribune, he reared the throne of 
 his despotism. A professed Catholic, he imprisoned the pope; a pre- 
 tended patriot, he impoverished the country; and, in the name of Brutus, 
 he grasped without remorse, and wore without shame, the diadem of 
 the Caesars! Through this pantomime of policy, fortune played the 
 clown to his caprices. At his touch, crowns crumbled, beggars reigned, 
 systems vanished, the wildest theories took the color of his whim, and 
 all that was venerable, and all that was novel, changed places with 
 the rapidity of a drama. Even apparent defeat assumed the ap- 
 pearance of victory — his flight from Egypt confirmed his destiny — 
 ruin itself only elevated him to empire. But if his fortune was great, 
 his genius was transcendent; decision flashed upon his councils; and 
 it was the same to decide and to perform. To inferior intellects his 
 combinations appeared perfectly impossible, his plans perfectly im- 
 practicable; but, in his hands, simplicity marked their development, and 
 success vindicated their adoption. His person partook of the character 
 of his mind — if the one never yielded in the cabinet, the other never 
 bent in the field. Nature had no obstacle that he did not surmount 
 — space no opposition that he did not spurn; and whether amid Alpine 
 rocks, Arabian sands, or Polar snows, he seemed proof against peril, 
 and empowered with ubiquity! The whole continent trembled at 
 beholding the audacity of his designs, and the miracle of their execution. 
 Skepticism bowed to the prodigies of his performance; romance as- 
 sumed the air of history; nor was there aught too incredible for be- 
 lief, or too fanciful for expectation, when the world saw a subaltern of 
 Corsica waving his imperial flag over her most ancient capitals. All 
 the visions of antiquity became commonplaces in his contemplation; 
 kings were his people — nations were his outposts; and he disposed of 
 courts, and crowns, and camps, and churches, and cabinets, as if they 
 were titular dignitaries of the chessboard! — Amid all these changes 
 he stood immutable as adamant. 
 
 It mattered little whether in the field or in the drawing-room — 
 
Selections. 255 
 
 with a mob or the levee — wearing the Jacobin bonnet or the iron 
 crown — banishing a Braganza, or espousing a Hapsburg — dictating 
 peace on a raft to the Czar of Russia, or contemplating defeat at the 
 gallows of Leipzig — he was still the same military despot ! 
 
 In this wonderful combination, his affectations of literature must 
 not be omitted. The jailer of the press, he affected the patronage of 
 letters — the proscriber of books, he encouraged philosophy — the per- 
 secutor of authors and the murderer of printers, he yet pretended to 
 the protection of learning ! The assassin of Palm, the silencer of De 
 Stael, and the denouncer of Kotzebue, he was the friend of David, 
 the benefactor of De Lille, and sent his academic prize to the philoso- 
 pher of England. Such a medley of contradictions, and at the same 
 time such an individual consistency, were never united in the same char- 
 acter. A royaltist — a republican and an emperor — a Mohammedan — 
 a Catholic and a patron of the synagogue — a subaltern and a sovereign 
 — a traitor and a tyrant — a Christian and an infidel — he was, through 
 all his vicissitudes, the same stern, impatient, inflexible original — the 
 same mysterious, incomprehensible self — the man without a model, 
 and without a shadow. {Phillips) 
 
 Ibomeless 
 
 It is cold, dark midnight, yet listen 
 To that patter of tiny feet! 
 
 Is it one of your dogs, fair lady, 
 
 Who whines in the bleak, cold street? 
 
 Is it one of your silken spaniels 
 
 Shut out in the snow and the sleet? 
 
 My dogs sleep in their baskets, 
 
 Safe from the darkness and snow; 
 
 All the beasts in our Christian England, 
 Find pity wherever they go — 
 
 (Those are only the homeless children 
 Who are wandering to and fro.) 
 
 Look out in the gusty darkness, — 
 I have seen it again and again, 
 
 That shadow, that flits so slowly 
 
 Up and down past the window-pane: — 
 
 It is surely some criminal lurking 
 Out there in the frozen rain? 
 
256 Elements of Expression, Vocal and Physical 
 
 Nay, our criminals are all sheltered, 
 
 They are pitied and taught and fed: 
 
 That is only a sister-woman 
 
 That has got neither food nor bed, — 
 
 And the night cries, "Sin to be living," 
 And the river cries, "Sin to be dead " 
 
 Look out at the farthest corner 
 
 Where the wall stands blank and bare: — 
 
 Can that be a pack which a Pedler 
 Has left and forgotten there? 
 
 His goods, lying out unsheltered, 
 
 Will be spoilt by the damp night air. 
 
 Nay; — goods in our thrifty England 
 Are not left to lie and grow rotten, 
 
 For each man knows the market value 
 Of silk or woolen or cotton .... 
 
 But in counting the riches of England 
 I think our Poor are forgotten. 
 
 Our Beasts and our Thieves and our Chattels 
 
 Have weight for good or for ill; 
 But the Poor are only His image, 
 
 His presence, His words, His will; — 
 And so Lazarus lies at our door-step 
 
 And Dives neglects him still. (Adelaide A. Procter) 
 
 Ibotspur's Deatb 
 
 Hotspur. If I mistake not, thou art Harry Monmouth. 
 
 Prince. Thou speak'st as if I would deny my name. 
 
 Hot. My name is Harry Percy. 
 
 Prince. Why, then I see 
 
 A very valiant rebel of that name. 
 I am the Prince of Wales; and think not, Percy, 
 To share with me in glory any more; 
 Two stars keep not their motion in one sphere; 
 Nor can one England brook a double reign, 
 Of Harry Percy and the Prince of Wales. 
 
 Hot. Nor shall it, Harry; for the hour is come 
 To end the one of us; and would to God 
 Thy name in arms were now as great as mine! 
 
 Prince. I'll make it greater ere I part from thee; 
 
Selections. 257 
 
 And all the budding honors on thy crest 
 I'll crop to make a garland for my head. 
 
 Hot. I can no longer brook thy vanities. [They fight. 
 
 Enter Falstaff. 
 
 Fal. Well said, Hal! to it, Hal! Nay, you shall find 
 no boy's play here, — I can tell you. 
 
 Re-enter Douglas; he fights with Falstaff, who falls down as 
 if dead, and exit Douglas. Hotspur is wounded and falls. 
 
 Hot. O Harry, thou hast robb'd me of my youth! 
 I better brook the loss of brittle life 
 Than those proud titles thou hast won of me; 
 They wound my thoughts worse than thy sword my flesh: 
 But thought's the slave of life, and life Time's fool, 
 And Time that takes survey of all the world, 
 Must have a stop. O, I could prophesy, 
 But that the earthy and cold hand of death 
 Lies on my tongue; no, Percy, thou art dust, 
 And food for — 
 
 Prince. For worms, brave Percy; fare thee well, great heart! 
 Ill-weaved ambition, how much art thou shrunk! 
 When that this body did contain a spirit, 
 A kingdom for it was too small a bound; 
 But now two paces of the vilest earth 
 Is room enough. This earth that bears the dead 
 Bears not alive so stout a gentleman, 
 If thou wert sensible of courtesy, 
 I should not make so dear a show of zeal; 
 But let my favours hide thy mangled face; 
 And, even in thy behalf, I'll thank myself 
 For doing these fair rites of tenderness. 
 Adieu, and take thy praise with thee to Heaven! 
 Thy ignominy sleep with thee in the grave, 
 But not remember'd in thy epitaph! — 
 
 (Sees Falstaff on the ground.) 
 What, old acquaintance! could not all this flesh 
 Keep in a little life? Poor Jack, farewell! 
 I could have better spared a better man: 
 O, I should have a heavy miss of thee, 
 If I were much in love with vanity! 
 Death hath not struck so fat a deer to-day, 
 Though many dearer, in this bloody fray. (Exit.) 
 
 Fal. (Rising.) Ha! 'twas time to counterfeit, or that hot 
 termagant Scot had paid me scot and lot too. Counterfeit! I lie; 
 
258 Elements of Expression, Vocal and Physical. 
 
 I am no counterfeit: to die, is to be counterfeit, for he is but the counter- 
 feit of a man who hath not the life of a man: but counterfeit dying, 
 when a man thereby liveth, is to be no counterfeit, but the true and 
 perfect image of life indeed. The better part of valour is discretion; 
 in the which better part I saved my life. — I am afraid of this gun- 
 powder Percy, though he be dead: how, if he should counterfeit too, 
 and rise? by my faith, I am afraid he would prove the better counter- 
 feit. Therefore I'll make him sure: yea, and I'll swear I kill'd him. 
 Why may not he rise as well as I? Nothing confutes me but eyes, and 
 nobody sees me. Therefore, sirrah, with a new wound in your thigh, 
 come you along with me.- (Takes Hotspur on his back.) 
 
 Re-enter Prince Henry and Lancaster. 
 Prince. Come, brother John; full bravely hast thou fleshed 
 Thy maiden sword. 
 
 Lancaster. But, soft! whom have we here? 
 Did you not tell me this fat man was dead? 
 
 Prince. I did; I saw him dead, breathless and bleeding 
 Upon the ground. — 
 Art thou alive? or is it fantasy 
 That plays upon our sight? I pr'ythee, speak; 
 We will not trust our eyes without our ears: 
 Thou art not what thou seem'st. 
 
 Fal. No, that's certain; I am not a double man: but if I be not 
 Jack Falstaff, then I am a Jack. There is Percy! (Throwing the body 
 down.) If your father will do me any honour, so; if not, let him kill the 
 next Percy himself ! I look to be either earl or duke, I can assure you. 
 Prince. Why, Percy I kill'd myself, and saw thee dead. 
 Fal. Didst thou? — Lord, Lord, how this world is given to 
 lying! — I grant you I was down and out of breath; and so was he; 
 but we rose both at an instant, and fought a long hour by Shrewsbury 
 clock. If I may be believed, so: if not, let them that should reward 
 valour bear the sin upon their own heads. I'll take it upon my death, 
 I gave him this wound in the thigh: if the man were alive, and would 
 deny it, zounds, I would make him eat a piece of my sword. 
 Lan. This is the strangest tale that ever I heard. 
 Prince. This is the strangest fellow, brother John. — 
 Come, bring your luggage nobly on your back; 
 For my part, if a lie may do thee grace, 
 I'll gild it with the happiest terms I have. — 
 The trumpet sounds retreat; the day is ours. 
 Come, brother, let's to th' highest of the field, 
 To see what friends are living, who are dead. 
 
 (Henry IV. Act V.) 
 
Selections. 259 
 
 Gbe (Bbeber's (Slen 
 
 But see — he starts — what heard he then? 
 
 That dreadful shout! — across the glen 
 
 From the land-side it comes, and loud 
 
 Rings through the chasm; as if the crowd 
 
 Of fearful things that haunt that dell, 
 
 Its Gholes and Dives and shapes of hell, 
 
 Had all in one dread howl broke out, 
 
 So loud, so terrible that shout! 
 
 "They come — the Moslems come!" he cries, 
 
 His proud soul mounting to his eyes — 
 
 "Now spirits of the brave, who roam 
 
 Enfranchised through yon starry dome, 
 
 Rejoice, for souls of kindred fire 
 
 Are on the wing to join your choir I" 
 
 He said, and, light as bridegrooms bound 
 
 To their young loves, reclimbed the steep 
 
 And gained the shrine. His chiefs stood round; 
 
 Their swords, as with instinctive leap, 
 
 Together, at that cry accurst, 
 
 Had from their sheaths, like sunbeams, burst, 
 
 And hark! again, again it rings: 
 
 Near and more near its echoings 
 
 Peal through the chasm. Oh! who that then 
 
 Had seen those listening warrior-men, 
 
 With their swords grasped, their eyes of flame 
 
 Turned on their chief, could doubt the shame, 
 
 The indignant shame, with which they thrill 
 
 To hear those shouts, and yet be still? 
 
 He read their thoughts — they were his own — 
 
 "What! while our arms can wield these blades 
 
 Shall we die tamely? die alone? 
 
 Without one victim to our shades, 
 
 One Moslem heart, where, buried deep, 
 
 The sabre from its toil may sleep? 
 
 No; God of Iran's burning skies! 
 
 Thou scorn'st the inglorious sacrifice. 
 
 No — though of all earth's hope bereft, 
 
 Life, swords, and vengeance still are left. 
 
 We'll make yon valley's reeking caves 
 
 Live in the awestruck minds of men, 
 
 Till tyrants shudder, when their slaves 
 
260 Elements of Expression, Vocal and Physical. 
 
 Tell of the Gheber's bloody glen. 
 
 Follow, brave hearts! — this pile remains 
 
 Our refuge still from life and chains; 
 
 But his the best, the holiest bed, 
 
 Who sinks entombed in Moslem dead!" (Moore) 
 
 Cassius inciting Brutus to Conspiracy 
 
 Cassius. Will you go see the order of the course? 
 
 Brutus, Not I. 
 
 Cass. I pray you, do. 
 
 Bru. I am not gamesome; I do lack some part 
 
 Of that quick spirit that is in Antony. 
 
 Let me not hinder, Cassius, your desires; 
 
 I'll leave you. 
 
 Cass. Brutus, I do observe you now of late; 
 I have not from your eyes that gentleness 
 And show of love as I was wont to have: 
 You bear too stubborn and too strange a hand 
 Over your friend that loves you. 
 
 Bru. Cassius, 
 
 Be not deceived: if I have veil'd my look; 
 I turn the trouble of my countenance 
 Merely upon myself. Vexed I am 
 Of late with passions of some difference, 
 Conceptions only proper to myself, 
 Which give some soil, perhaps, to my behaviours; 
 But let not therefore my good friends be grieved, — 
 Among which number, Cassius, be you one, — 
 Nor construe any further my neglect.. 
 .Than that poor Brutus, with himself at war, 
 Forgets the shows of love to other men. 
 
 Cass. Then, Brutus, I have much mistook your passion; 
 By means whereof, this breast of mine hath buried 
 Thoughts of great value, worthy cogitations. 
 Tell me, good Brutus, can you see your face? 
 
 Bru. No, Cassius; for the eye sees not itself 
 But by reflection from some other thing. 
 
 Cass. 'Tis just: 
 And it is very much lamented, Brutus, 
 That you have not such mirrors as will turn 
 Your hidden worthiness into your eye, 
 
Selections. 261 
 
 That you might see your shadow. I have heard, 
 Where many of the best respect in Rome, — 
 Except immortal Caesar, — speaking of Brutus, 
 And groaning underneath this age's yoke, 
 Have wished that noble Brutus had his eyes. 
 
 Bru. Into what dangers would you lead me, Cassius, 
 That you would have me seek into myself 
 For that which is not in me? 
 
 Cass. Therefore, good Brutus, be prepared to hear: 
 And, since you cannot see yourself 
 So well as by reflection, I, your glass 
 Will modestly discover to yourself 
 That of yourself which you yet know not of. 
 And be not jealous of me, gentle Brutus: 
 Were I a common laugher, or did use 
 To stale with ordinary oaths my love 
 To every new protester; if you know 
 That I do fawn on men, and hug them hard, 
 And after scandal them; or if you know 
 That I profess myself, in banqueting, 
 To all the rout, then hold me dangerous. (Shout) 
 
 Bru. What means this shouting? I do fear the people 
 Choose Caesar for their king. 
 
 Cass. Ay, do you fear it? 
 
 Then must I think you would not have it so. 
 
 Bru. I would not, Cassius; yet I love him well. 
 But wherefore do you hold me here so long? 
 What is it that you would impart to me? 
 If it be aught toward the general good, 
 Set honour in one eye and death i' the other, 
 And I will look on both indifferently; 
 For let the gods so speed me as I love 
 The name of honor more than I fear death. 
 
 Cass. I know that virtue to be in you, Brutus, 
 As well as I do know your outward favour. 
 Well, honor is the subject of my story. 
 I cannot tell what you and other men 
 Think of this life; but, for my single self, 
 I had as lief not be, as live to be 
 In awe of such a thing as I myself. 
 I was born free as Caesar; so were you. 
 We both have fed as well; and we can both 
 Endure the winter's cold as well as he: 
 
262 Elements of Expression, Vocal and Physical. 
 
 For once, upon a raw and gusty day, 
 
 The troubled Tiber chafing with her shores, 
 
 Caesar said to me, Barest thou, Cassius, now 
 
 Leap in with me into this angry flood, 
 
 And swim to yonder point? Upon the word, 
 
 Accoutred as I was, I plunged in, 
 
 And bade him follow: so indeed he did. 
 
 The torrent roar'd and we did buffet it 
 
 With lusty sinews, throwing it aside 
 
 And stemming it with hearts of controversy: 
 
 But, ere we could arrive the point proposed, 
 
 Caesar cried, Help me, Cassius, or I sink! 
 
 I, as iEneas, our great ancestor, 
 
 Did from the flames of Troy upon his shoulder 
 
 The old Anchises bear, so from the waves of Tiber 
 
 Did I the tired Caesar: and this man 
 
 Is now become a god; and Cassius is 
 
 A wretched creature, and must bend his body, 
 
 If Caesar carelessly but nod on him. 
 
 He had a fever when he was in Spain; 
 
 And when the fit was on him I did mark 
 
 How he did shake: 'tis true, this god did shake: 
 
 His coward lips did from their colour fly; 
 
 And that same eye, whose bend doth awe the world, 
 
 Did lose his lustre. I did hear him groan: 
 
 Ay, and that tongue of his, that bade the Romans 
 
 Mark him, and write his speeches in their books, 
 
 Alas, it cried, Give me some drink, Titinius, 
 
 As a sick girl. — Ye gods, it doth amaze me, 
 
 A man of such a feeble temper should 
 
 So get the start of the majestic world, 
 
 And bear the palm alone. {Shout) 
 
 Bru. Another general shout! 
 I do believe that these applauses are 
 For some new honours that are heap'd on Caesar. 
 
 Cass. Why, man, he doth bestride the narrow world 
 Like a Colossus; and we petty men 
 Walk under his huge legs, and peep about 
 To find ourselves dishonourable graves. 
 Men at some time are masters of their fates: 
 The fault, dear Brutus, is not in our stars, 
 But in ourselves, that we are underlings. 
 
Selections. 263 
 
 Brutus and Ccesar: what should be in that Ccesar? 
 Why should that name be sounded more than yours? 
 Write them together, yours is as fair a name: 
 Sound them, it doth become the mouth as well: 
 Weigh them, it is as heavy; conjure with them, 
 Brutus will start a spirit as soon as Ccesar. 
 Now, in the names of all the gods at once, 
 Upon what meat doth this our Caesar feed, 
 That he is grown so great? Age, thou art shamed! 
 Rome, thou hast lost the breed of noble bloods! 
 When went there by an age, since the great flood, 
 But it was famed with more than with one man? 
 When could they say, till now, that talk'd of Rome, 
 That her wide walls encompass' d but one man? 
 Now is it Rome indeed, and room enough, 
 When there is in it but one only man. 
 O, you and I have heard our fathers say 
 There was a Brutus once that would have brook' d 
 Th' eternal Devil to keep his state in Rome, 
 As easily as a king! 
 
 Bru. That you do love me, I am nothing jealous; 
 What you would work me to, I have some aim: 
 How I have thought of this, and of these times, 
 I shall recount hereafter; for the present, 
 I would not, so with love I might entreat you, 
 Be any further moved. What you have said, 
 I will consider; what you have to say, 
 I will with patience hear; and find a time 
 Both meet to hear and answer such high things. 
 Till then, my noble friend, chew upon this: 
 Brutus had rather be a villager 
 Than repute himself a son of Rome 
 Under such hard conditions as this time 
 Is like to lay upon us. 
 
 Cass. I am glad that my weak words 
 Have struck but thus much show of fire from Brutus. 
 
 (Julius Ccesar, Act I.) 
 
264 Elements of Expression, Vocal and Physical. 
 
 Wioiec^e novice to Cromwell 
 
 Wolsey. Farewell, a long farewell, to all my greatness! 
 This is the state of man: To-day he puts forth 
 The tender leaves of hope: to-morrow blossoms, 
 And bears his blushing honours thick upon him; 
 The third day comes a frost, a killing frost, 
 And — when he thinks, good easy man, full surely 
 His greatness is a-ripening — nips his root, 
 And then he falls, as I do. I have ventured, 
 Like little wanton boys that swim on bladders, 
 This many summers in a sea of glory; 
 But far beyond my depth; my high-blown pride 
 At length broke under me; and now has left me, 
 Weary and old with service, to the mercy 
 Of a rude stream, that must forever hide me. 
 Vain pomp and glory of this world, I hate ye: 
 I feel my heart new open'd. O how wretched 
 Is that poor man that hangs on princes' favours! 
 There is, betwixt the smile we would aspire to, 
 That sweet aspect of princes, and their ruin, 
 More pangs and fears than wars or women have; 
 And when he falls, he falls like Lucifer, 
 Never to hope again. — 
 
 Enter Cromwell, amazedly. 
 Why, how now, Cromwell! 
 
 Crom. I have no power to speak, sir. 
 
 Wol. What, amazed 
 
 At my misfortunes? can thy spirit wonder 
 A great man should decline? Nay, and you weep, 
 I'm fall'n indeed. 
 
 Crom. How does your Grace? 
 
 Wol. Why, well; 
 
 Never so truly happy, my good Cromwell. 
 I know myself now; and I feel within me 
 A peace above all earthly dignities, 
 A still and quiet conscience. The king has cured me, 
 I humbly thank his Grace, and from these shoulders, 
 These ruin'd pillars, out of pity, taken 
 A load would sink a navy, too much honour. 
 O 'tis a burden, Cromwell, 'tis a burden 
 Too heavy for a man that hopes for Heaven! 
 
Selections. 265 
 
 Crom. I'm glad your Grace has made that right use of it. 
 
 Wol. I hope I have: I'm able now, methinks — 
 Out of a fortitude of soul I feel — 
 T' endure more miseries and greater far 
 Than my weak-hearted enemies dare offer. 
 What news abroad? 
 
 Crom. The heaviest and the worst 
 
 Is your displeasure with the king. 
 
 Wol. God bless him! 
 
 Crom. The next is, that Sir Thomas Moore is chosen 
 Lord Chancellor in your place. 
 
 Wol. That's somewhat sudden: 
 
 But he's a learned man, May he continue 
 Long in his Highness' favor, and do justice 
 For truth's sake and his conscience? that his bones, 
 When he has run his course and sleeps in blessings, 
 May have a tomb of orphans' tears wept on 'em! 
 What more? 
 
 Crom. That Cranmer is return 'd with welcome, 
 Installed Lord Archbishop of Canterbury. 
 
 Wol. That's news indeed. 
 
 Crom. Last that the Lady Anne ; 
 
 Whom the king hath in secrecy long married, 
 This day was view'd in open as his queen, 
 Going to chapel, and the voice is now 
 Only about her coronation. 
 
 Wol. There was the weight that pull'd me down. 
 
 Cromwell! 
 
 The king has gone beyond me : all my glories 
 
 In that one woman I have lost forever: 
 
 No sun shall ever usher forth mine honors, 
 
 Or gild again the noble troops that waited 
 
 Upon my smiles. Go, get thee from me, Cromwell; 
 
 1 am a poor fallen man, unworthy now 
 To be thy lord and master; seek thy king; 
 That sun, I pray, may never set! I've told him 
 What, and how true thou art: he will advance thee: 
 Some little memory of me will stir him — 
 
 I know his noble nature — not to let 
 Thy hopeful service perish too: good Cromwell, 
 Neglect him not ; make use now, and provide 
 For thine own future safety. 
 
266 Elements of Expression, Vocal and Physical. 
 
 Crom. O my lord, 
 
 Must I, then, leave you? must I needs forego 
 So good, so noble, and so true a master? 
 Bear witness, all that have not hearts of iron, 
 With what a sorrow Cromwell leaves his lord. 
 The King shall have my service; but my prayers, 
 Forever and forever shall be yours. 
 
 Wol. Cromwell, I did not think to shed a tear 
 In all my miseries; but thou hast forced me, 
 Out of thy honest truth, to play the woman. 
 Let's dry our eyes: and thus far hear me, Cromwell; 
 And when I am forgotten, as I shall be, 
 And sleep in dull cold marble, where no mention 
 Of me more must be heard of — say ; I taught thee, 
 Say, Wolsey — that once trod the ways of glory, 
 And sounded all the depths and shoals of honours — 
 Found thee a way out of his wreck to rise in; 
 A sure and safe one; though thy master miss'd it. 
 Mark but my fall, and that that ruined me. 
 Cromwell, I charge thee, fling away ambition: • 
 By that sin fell the angels; how can man, then, 
 The image of his Maker, hope to win by't? 
 Love thyself last; cherish those hearts that hate thee: 
 Corruption wins not more than honesty. 
 Still in thy right hand carry gentle peace, 
 To silence envious tongues. Be just, and fear not: 
 Let all the ends thou aim'st at be thy country's, 
 Thy God's, and truth's: then, if thou fall'st, O Cromwell, 
 Thou fall'st a blessed martyr! Serve the king; 
 And, — pr'ythee, lead me in: 
 There make an inventory of all I have, 
 To the last penny: 'tis the king's; my robe, 
 And my integrity to Heaven, is all 
 I dare now call my own. O Cromwell, Cromwell! 
 Had I but served my God with half the zeal 
 I served my king, He would not in mine age 
 Have left me naked to mine enemies. 
 
 {King Henry VIII, Act III.) 
 
Selections. 267 
 
 Gbe DrunfcarD's 5)eatb 
 
 I stood beside the death-bed of a man 
 
 Whom drink had slain; 
 And saw a soul depart as I'd ne'er wish 
 
 To see again. 
 In throes of agony, a human blight, 
 
 In sense, a clod, 
 Struggled with death, a sick'ning, awful sight: 
 
 Then went to God. 
 It pained my heart to see the stark bare room, 
 
 And rotten floor 
 Gaping with greasy rat holes, dark and foul, 
 
 And hingeless door. 
 
 The fireless hearth with dreary cinders strewn, 
 
 Blank, cold and dead; 
 The heap of filthy straw and stinking rags 
 
 That made the bed ; 
 Old bottles, battered tins and broken ware, 
 
 The cupboard had ; 
 Empty of food, it bore a thin, starved look, 
 
 Hungry and sad; 
 The crazy windows rattling with the wind, 
 
 And shattered wall: 
 Within, without, all things with dirt begrimed — 
 
 Dirt over all. 
 
 But when I saw the man unhinged of sense, 
 
 A shattered wreck: 
 His darkened, sin-grimed soul departing hence; 
 
 I could not check 
 The rising tear that glimmered in my eye, 
 
 Nor hush the thought, 
 That here was one who better to this world 
 
 Had ne'er been brought. 
 His heated brain with wild delirium raved; 
 
 His blood-shot eyes 
 Glared like a hunted beast's, while from his mouth 
 
 Came savage cries, 
 "Away!" he shrieked; with frantic look, "away! 
 
 Ye fiends from hell! 
 Let go my throat. Begone! Don't strangle me, — 
 
268 Elements of Expression; Vocal and Physical. 
 
 Hark! there's a bell! 
 It rings! rings: rings for Mass. I never go; 
 
 Leave me to sleep! 
 To sleep! I cannot sleep in flames like these 
 
 That o'er me creep. 
 I'm all on fire. It scorches me to death. 
 
 Bring water here! 
 Bring floods, and drown me in their cooling depths! 
 
 Yon devils jeer 
 And gibe upon me with a mock laugh 
 
 And gnashing teeth; 
 Take ofT this net. These cords around my throat 
 
 Won't let me breathe. 
 No! No! have mercy! Do not chain me yet. 
 
 I crave an hour, 
 A minute to be free! What have I done, 
 
 That worms devour 
 My flesh and heart and brain? These scalding showers 
 
 Burn me to death. 
 These parching winds, these endless desert sands 
 
 Dry up my breath! 
 One drop of water for my burning tongue! 
 
 With thirst I sink. 
 Sweet water! heavenly streams! flow not so fast, 
 
 I cannot drink. 
 
 What spirit damned from out the shades of hell 
 
 Is lurking here? 
 Ha! ha! I know you well. 'Tis you who sold 
 
 Me gin and beer. 
 Dost want my soul? Was't not enough to take 
 
 My very life? 
 And help me starve my children — break the heart 
 
 Of my poor wife? 
 You are the man who on my ruin fed; 
 
 As vampire bat 
 That gluts itself on blood, so you on me 
 
 Grew rich and fat. 
 Help! help! I cannot breathe this stifling air, 
 
 These hellish fumes; 
 This biting adder gnaws my life away 
 
 And soul consumes!" 
 
Selections. 269 
 
 The midnight moon was shining in the sky, 
 
 Cold, clear, and pale; 
 The winds, without, like ghosts in pain, moaned forth 
 
 A long, weird wail. 
 A passing cloud a heavy shadow cast 
 
 Upon the bed. 
 He struggled, grasped the air, then upright stood; 
 
 And fell back, dead! 
 
 {Rev. Alfred Young, C.S.P.) 
 
 Scene from "Gbe /Bbercbant of IDenice" 
 
 Enter Solanio and Salarino 
 
 Solan. Now, what news on the Rialto? 
 
 Salar. Why, yet it lives there uncheck'd that Antonio hath a ship 
 of rich lading wreck'd on the narrow seas; the Goodwins, I think they 
 call the place; a very dangerous flat and fatal, where the carcasses of 
 many a tall ship lie buried, as they say, if my gossip Report be an 
 honest woman of her word. 
 
 Solan. I would she were as lying a gossip in that as ever knapp'd 
 ginger, or made her neighbors believe she wept for the death of a third 
 husband. But it is true, without any slips of prolixity, or crossing the 
 plain highway of talk, that the good Antonio, the honest Antonio, 
 — O, that I had a title good enough to keep his name company! — 
 
 Salar. Come, the full stop. 
 
 Solan. Ha, — what say'st thou? — Why, the end is, he hath lost a 
 ship. 
 
 Salar. I would it might prove the end of his losses. 
 
 Solan. Let me say amen betimes, lest the Devil cross my prayer; 
 for here he comes in the likeness of a Jew. 
 
 Enter Shylock 
 
 How now, Shylock! what news among the merchants? 
 
 Shy. You knew, none so well, none so well as you, of my daughter's 
 flight. 
 
 Salar. That's certain: I, for my part, knew the tailor that made the 
 wings she flew withal. 
 
 Solan. And Shylock, for his own part, knew the bird was fledg'd; 
 and then it is the complexion of them all to leave the dam. 
 
 Shy. She is damn'd for it. 
 
 Salar. That's certain, if the Devil may be her judge. 
 
 Shy. In Antonio I have another bad match; a bankrupt, a prodigal, 
 who dare scarce show his head on the Rialto; — a beggar, that was used 
 
270 Elements of Expression, Vocal and Physical. 
 
 to come so snug upon the mart. Let him look to his bond; he was 
 wont to call me usurer; — let him look to his bond; he was wont to 
 lend money for a Christian courtesy; — let him look to his bond. 
 
 Salar. Why, I am sure, if he forfeit, thou wilt not take his flesh; 
 what's that good for? 
 
 Shy. To bait fish withal: if it will feed nothing else, it will feed my 
 revenge. He hath disgraced me, and hinder'd me half a million; 
 laugh'd at my losses, mock'd at my gains, scorned my nation, thwarted 
 my bargains, cooled my friends, heated mine enemies; and what's 
 his reason? I am a Jew. Hath not a Jew eyes? hath not a Jew hands, 
 organs, dimensions, senses, affections, passions? fed with the same food, 
 hurt with the same weapons, subject to the same diseases, healed by 
 the same means, warmed and cooled by the same winter and summer, 
 as a Christian is? If you prick us, do we not bleed? if you tickle us, 
 do we not laugh? if you poison us, do we not die? and if you wrong us, 
 shall we not revenge? if we are like you in the rest, we will resemble 
 you in that. If a Jew wrong a Christian, what is his humility? revenge: 
 if a Christian wrong a Jew, what should his sufferance be by Christian 
 example? why, revenge. The villainy you teach me, I will execute, 
 and it shall go hard, but I will better the instruction. (Shakespeare) 
 
 Zbe ConDitton of HrelanD 
 
 The war of centuries is at a close. The patronage and propositions 
 of Ebrington have failed. The procrastination and economy of 
 Russell have triumphed. Let a thanksgiving be proclaimed from the 
 pulpit of St. Paul's. Let the Lords and Commons of England vote 
 their gratitude to the vicious and victorious economist! Let the guns 
 of London Tower proclaim the triumph which has cost, in the past, 
 coffers of gold and torrents of blood, and, in this year masses of putre- 
 faction to achieve. England! your great difficulty is at an end; your 
 gallant and impetuous enemy is dead. Ireland, or rather the remains 
 of Ireland are yours at last. Your red ensign floats, not from the 
 Custom House, where you played the robber; not from Limerick wall, 
 where you played the cut-throat ; but it flies from a thousand graveyards, 
 where the titled niggards of your cabinet have won the battle which 
 your soldiers could not terminate. Go; send your scourge steamer to 
 the western coast to convey some memorial of your conquest; and in 
 the halls where the flags and cannon you have captured from a world 
 of foes are grouped together, there let a shroud, stripped from some 
 privileged corpse, be for its proper price displayed. Stop not there; 
 change your war crest; America has her eagle; let England have her 
 vulture. What emblem more fit for the rapacious power whose states- 
 
Selections. 271 
 
 manship depopulates, and whose commerce is gorged with famine 
 prices? That is her proper signal. But whatever the monarch jour- 
 nalists of Europe may say, Ireland, thank God, is not down yet. 
 
 She is on her knee; but her hand is clinched against the giant, and 
 she has yet power to strike. 
 
 Last year from the Carpathian heights, we heard the cry of the 
 Polish insurrectionists: "There is hope for Poland, while in Poland 
 there is a life to lose." True it is, thousands upon thousands of our 
 comrades have fallen: but thousands upon thousands still survive: 
 and the fate of the dead shall quicken the purposes of the living. The 
 stakes are too high for us to throw up the hand until the last card 
 has been played; too high for us to throw ourselves in despair upon 
 the coffins of our starved and swindled partners. A peasant population, 
 generous and heroic, a mechanic population, honest and industrious, 
 is at stake. 
 
 They cannot, must not, be lost. (T. F. Meagher) 
 
 <3ualbert'6 Dictor^ 
 
 A mountain pass so narrow that a man 
 Riding that way to Florence, stooping, can 
 Touch with his hand the rocks on either side, 
 And pluck the flowers that in the crannies hide. 
 
 Here, on Good Friday, centuries ago, 
 Mounted and armed, John Gualbert met his foe : 
 Mounted and armed as well, but riding down 
 To the fair city from the woodland brown, 
 This way and that, swinging his jeweled whip, 
 A gay old love-song on his careless lip, 
 And on his charger's neck the reins loose thrown. 
 An accidental meeting; but the sun 
 Burned on their brows, as if it had been one 
 Of deep design, — so deadly was the look 
 Of mutual hate their olive faces took; 
 As (knightly courtesy forgot in wrath), 
 Neither would yield his enemy the path. 
 
 "Back!" cried Gualberto. "Never!" yelled his foe. 
 And on the instant, sword in hand, they throw 
 Them from their saddles, nothing loath, 
 And fall to righting, with a smothered oath. 
 A pair of shapely stalwart cavaliers, 
 Well matched in stature, weapons, weight, and years. 
 
272 Elements op Expression, Vocal and Physical. 
 
 Theirs was a long, fierce struggle on the grass, 
 Thrusting and parrying up and down the pass; 
 Swaying from left to right, in combat clenched, 
 Till all the housings of their steeds were drenched, 
 With brutal gore: and ugly blood-drops oozed 
 Upon the rocks, from head and hand contused. 
 But at the close, when Gualbert stopped to rest, 
 His heel was planted on his foeman's breast; 
 And looking up, the fallen courtier sees, 
 As in a dream, gray rocks and waving trees 
 Before his glazing vision faintly float, 
 While Gualbert 's sabre glitters at his throat. 
 
 "Now die, base wretch!" the victor fiercely cries, 
 His heart of hate outflashing from his eyes: 
 "Never again, by the all-righteous Lord! 
 Shalt thou, with life, escape this trusty sword, — 
 Revenge is sweet!" And upward glanced the steel 
 But ere it fell, — dear Lord! a silvery peal 
 Of voices chanting in the town below, 
 Grave, ghostly voices chanting far below, 
 Rose, like a fountain's from spires of snow, 
 And chimed and chimed to die in echoes slow. 
 
 In the sweet silence following the sound, 
 
 Gualberto and the man upon the ground 
 
 Glared at each other with bewildered eyes 
 
 (The glare of hunted deer on leashed hound); 
 
 And then the vanquished, struggling to arise, 
 
 Made one last effort, while his face grew dark 
 
 With pleading agony: "Gualberto! hark! 
 
 The chant — the hour — thou know'st the olden fashion, 
 
 The monks below intone our Lord's passion. 
 
 Oh! by this cross!" — and here he caught the hilt 
 
 Of Gualbert's sword, — and by the blood once spilt 
 
 Upon it for us both, long years ago, 
 
 Forgive — forgive — and spare a fallen foe!" 
 
 The face that bent above grew white and set 
 (Christ or the Demon? — in the balance hung): — 
 The lips were drawn, — the brow bedewed with sweat, — 
 But on the grass the harmless sword was flung: 
 And stooping down the hero, generous wrung 
 The outstreched hand. Then, lest he lose control 
 
Selections. 273 
 
 Of the but half-tamed passions of his soul, 
 Fled up the pathway, tearing casque and coat, 
 To ease the tempest throbbing at his throat; 
 Fled up the crags, as if a fiend pursued, 
 And paused not till he reached a chapel rude. 
 
 There in the cool, dim stillness, on his knees, 
 
 Trembling, he flings himself, and, startled, sees 
 
 Set in the rock a crucifix antique, 
 
 From which the wounded Christ bends down to speak : 
 
 " Thou hast done well, Gualberto. For My sake 
 
 Thou didst forgive thine enemy; now take 
 
 My gracious pardon for thy times of sin. 
 
 And from this day a better life begin.'" 
 
 White flashed the angels' wings above his head, 
 
 Rare, subtile perfumes through the place were shed; 
 
 And golden harps and sweetest voices poured 
 
 Their glorious hosannas to the Lord, 
 
 Who in that hour, and in that chapel quaint, 
 
 Changed by His power, by His dear love's constraint 
 
 Gualbert the sinner into John the saint. {Eleanor C. Donnelly) 
 
 William Sbafcespeare 
 
 Tradition says that Shakespeare was ever gentle to those of the 
 
 persecuted Faith of his fathers : and his plays show it His speech 
 
 is "saturated with the Scriptures." How could he help it? Had he 
 not in the schoolroom gazed every day on the painted story of the Cross, 
 and read everywhere, in spite of Henry VIII's barbarity, the symbo- 
 lism of the church which had filled the life of England before the Re- 
 formation with the beauty of God's word. Though the statues of the 
 saints were broken, and their figures in the stained glass windows 
 defaced, the church of the Holy Trinity, still pointed with its spire 
 towards heaven. Even in Shakespeare's later time, all remembrance 
 of the Sacramental Presence could not have faded out of Stratford. 
 We can imagine Shakespeare walking in the gloaming towards this 
 old church, with its Gothic windows and fretted battlements. The 
 glow-worms waver near him as he comes through the avenue of green 
 lime trees, near the beech- and yew-shaded graveyard. He has come 
 by the shining Avon, from "the lonesome meadows beyond where the 
 primroses stand in their golden banks among the clover, and the frilled 
 and fluted bell of the cowslip, hiding its single drop of blood, closes its 
 petals as the night comes down. " He pauses in the nave of the church 
 and there in the soft glow, cast by the last shaft of glory from the set- 
 
274 Elements of Expression, Vocal and Physical. 
 
 ting sun, he sees that vacant place where, his father has told him, the 
 tabernacle had been. It is gone. Perchance an old woman, who had 
 seen the Faith in its glory, lies prostrate, sobbing before the despoiled 
 altar whence her God has been torn. And then he murmurs, with his 
 own dying Queen Katharine: 
 
 "Spirits of peace, where are you? Are you all gone 
 And leave me here in wretchedness behind ye?" 
 — And, folding his hands at his back, he passes back through the sweet- 
 scented lane, whose blossoms shall fall on his own coffin ere long. His 
 e}^es are soft and hazel ; his cheeks are not as ruddy as when he laid the 
 cloth for his father and mother in earlier days; his forehead is dome- 
 like; he wears his customary suit of scarlet and black. So he goes to 
 New Place, for which he has so long worked, to the demure Judith who 
 waits for him, to his little chubby cheeked grandchild, Bess Hall. 
 The antlers in the entry, the silver tankards on the sideboard, of which 
 his wife and Judith are so proud, show dimly in the failing night; he 
 murmurs the new song he has lately made for his play of " Cymbeline. " 
 
 "Fear no more the heat o' the sun, 
 
 Nor the furious winter's rages; 
 
 Thou thy worldly task hast done, 
 
 Home art gone and ta'en thy wages." 
 A swan glides slowly to her nest among the reeds of the Avon. 
 "The crimson drops i' the bottom of the cowslip," are now quite hid 
 from the sight of the swallow that westward flies across the meadows. 
 William Shakespeare, whom God gifted so gloriously, passes with the 
 sadness of the gloaming in his soul. 
 
 "And the rest is silence. " {Maurice F. Egan) 
 
 HrnolD ItfflinkelrieD 
 
 "Make way for liberty!" he cried; 
 Made way for liberty, and died ! — 
 
 It must not be: this day, this hour, 
 Annihilates the oppressor's power! 
 All Switzerland is in the field, 
 She will not fly, she cannot yield — 
 She must not fall; her better fate 
 Here gives her an immortal date. 
 Few were the numbers she could boast; 
 But every freeman was a host, 
 And felt as though himself were he, 
 On whose sole arm hung victory. 
 
Selections. 275 
 
 It did depend on one indeed; 
 Behold him — Arnold Winkelried! 
 There sounds not to the trump of fame 
 The echo of a nobler name. 
 Unmark'd he stood amid the throng, 
 In rumination deep and long, 
 Till you might see, with sudden grace, 
 The very thought come o'er his face; 
 And, by the motion of his form, 
 Anticipate the bursting storm; 
 And, by the uplifting of his brow, 
 Tell where the bolt would strike, and how. 
 
 But 'twas no sooner thought than done, 
 The field was in a moment won: — 
 "Make way for liberty!" he cried, 
 Then ran, with arms extended wide, 
 As if his dearest friend to clasp; 
 Ten spears he swept within his grasp: 
 "Make way for liberty!" he cried, 
 Their keen points met from side to side; 
 He bow'd amongst them like a tree, 
 And thus made way for liberty. 
 
 Swift to the breach his comrades fly; 
 "Make way for liberty!" they cry. 
 And through the Austrian phalanx dart, 
 As rush'd the spears through Arnold's heart; 
 While instantaneous as his fall, 
 Rout, ruin, panic, scattered all: 
 An earthquake could not overthrow 
 A city with a surer blow. 
 
 Thus Switzerland again was free; 
 Thus death made way for liberty. (Montgomery) 
 
 Cato's Soliloquy on ffmmortalitE 
 
 It must be so: Plato, thou reasonest well! 
 Else, whence this pleasing hope, this fond desire, 
 This longing after immortality? 
 Or, whence this secret dread, and inward horror, 
 Of falling into nought? Why shrinks the soul 
 Back on herself, and startles at destruction? 
 
276 Elements of Expression, Vocal and Physical. 
 
 *Tis the Divinity that stirs within us: 
 
 'Tis heaven itself, that points out an hereafter, 
 
 And intimates eternity to man. 
 
 Eternity! thou pleasing, dreadful thought! 
 Through what variety of untried being, 
 Through what new scenes and changes must we pass! 
 The wide, the unbounded prospect lies before me; 
 But shadows, clouds, and darkness rest upon it. 
 
 Here will I hold. If there's a power above us, 
 
 (And that there is, all nature cries aloud, 
 
 Through all her works,) He must delight in virtue: 
 
 And that which he delights in must be happy. 
 
 But when? or where? This world was made for Caesar! 
 
 I'm weary of conjectures; this must end them. 
 
 {Laying his hand on his sword) 
 
 Thus, I am doubly armed. My death and life, 
 My bane and antidote, are both before me. 
 This in a moment brings me to an end ; 
 But this informs me I shall never die. 
 
 The soul secured in her existence, smiles 
 
 At the drawn dagger, and defies its point. 
 
 The stars shall fade away, the sun himself 
 
 Grow dim with age, and nature sink in years; 
 
 But thou shalt flourish in immortal youth, 
 
 Unhurt, amidst the war of elements, 
 
 The wreck of matter, and the crush of worlds. (Addison) 
 
 Zhc ffamfne 
 
 0, the long and dreary Winter! 
 O, the cold and cruel Winter! 
 Ever thicker, thicker, thicker, 
 Froze the ice on lake and river, 
 Ever deeper, deeper, deeper, 
 Fell the snow o'er all the landscape, 
 Fell the covering snow, and drifted 
 Through the forest, round the village. 
 
 Hardly from his buried wigwam 
 Could the hunter force a passage: 
 With his mittens and his snow-shoes 
 
Selections. 277 
 
 Vainly walked he through the forest, 
 Sought for bird or beast and found none, 
 Saw no track of deer or rabbit, 
 In the snow beheld no footprints, 
 In the ghastly, gleaming forest 
 Fell, and could not rise from weakness, 
 Perished there from cold and hunger. 
 
 O the famine and the fever! 
 O the wasting of the famine! 
 O the blasting of the fever! 
 O the wailing of the children! 
 
 the anguish of the women! 
 
 All the earth was sick and famished; 
 Hungry was the air around them, 
 Hungry was the sky above them, 
 And the hungry stars in heaven 
 Like the eyes of wolves, glared at them ! 
 
 Into Hiawatha's wigwam 
 Came two other guests as silent 
 As the ghosts were, and as gloomy, 
 Waited not to be invited, 
 Did not parley at the doorway. 
 Sat there without word of welcome 
 In the seat of Laughing Water; 
 Looked with haggard eyes and hollow 
 At the face of Laughing Water. 
 And the foremost said: "Behold me! 
 
 1 am Famine, Bukadawin!" 
 And the other said: "Behold me\ 
 I am Fever, Ahkosewin ! ' ' 
 
 And the lovely Minnehaha 
 Shuddered as they looked upon her, 
 Shuddered at the words they uttered, 
 Lay down on her bed in silence, 
 Hid her face, but made no answer; 
 Lay there trembling, freezing, burning, 
 At the looks they cast upon her, 
 At the fearful words they uttered. 
 
 Forth into the empty forest 
 Rushed the maddened Hiawatha; 
 In his heart was deadly sorrow, 
 
278 Elements of Expression, Vocal and Physical. 
 
 In his face a stony firmness; 
 On his brow the sweat of anguish 
 Started, but it- froze and fell not. 
 Wrapped in furs and armed for hunting, 
 With his mighty bow of ash-tree, 
 With his quiver full of arrows, 
 With his mittens, Minjekahwun, 
 Into the vast and vacant forest 
 On his snow-shoes strode he forward. 
 "Gitche Manito, the Mighty!" 
 Cried he with his face uplifted 
 In that bitter hour of anguish, 
 "Give your children food, O Father! 
 Give us food, or we must perish! 
 Give me food for Minnehaha, 
 For my dying Minnehaha!" 
 Through the far-resounding forest, 
 Through the forest vast and vacant 
 Rang that cry of desolation, 
 But there came no other answer 
 Than the echo of his crying, 
 Than the echo of the woodlands, 
 
 ' ' Minnehaha ! Minnehaha ! ' ' 
 
 All day long roved Hiawatha 
 
 In that melancholy forest, 
 
 Through the shadow of whose thickets 
 
 In the pleasant days of Summer, 
 
 Of that ne'er forgotten Summer, 
 
 He had brought his young wife homeward 
 
 From the land of the Dakotahs; 
 
 When the birds sang in the thickets, 
 
 And the streamlets laughed and glistened, 
 
 And the air was full of fragrance, 
 
 And the lovely Laughing Water 
 
 Said with voice that did not tremble, 
 
 "I will follow you, my husband!" 
 
 In the wigwam with Nokomis, 
 With those gloomy guests that watched her, 
 With the Famine and the Fever, 
 She was lying, the Beloved, 
 She, the dying Minnehaha. 
 
Selections. 279 
 
 "Hark!" she said; "I hear a rushing, 
 
 Hear a roaring and a rushing, 
 
 Hear the Falls of Minnehaha 
 
 Calling to me from a distance!" 
 
 "No, my child!" said old Nokomis, 
 
 " 'Tis the night -wind in the pine-trees!" 
 
 "Look!" she said; "I see my father 
 
 Standing lonely at his doorway, 
 
 Beckoning to me from his wigwam 
 
 In the land of the Dakotahs!" 
 
 "No, my child!" said old Nokomis, 
 
 " 'Tis the smoke, that waves and beckons!" 
 
 "Ah!" said she, "the eyes of Pauguk 
 Glare upon me in the darkness, 
 I can feel his icy fingers 
 Clasping mine amid the darkness! 
 Hiawatha! Hiawatha!" 
 And the desolate Hiawatha, 
 Far away amid the forest, 
 Miles away among the mountains, 
 Heard that sudden cry of anguish, 
 Heard the voice of Minnehaha 
 Calling to him in the darkness, 
 ' ' Hiawatha ! Hiawatha ! ' ' 
 
 Over snow-fields waste and pathless, 
 Under snow-encumbered branches, 
 Homeward hurried Hiawatha, 
 Empty-handed, heavy-hearted. 
 Heard Nokomis moaning, wailing: 
 ' ' Wahonowin ! Wahonowin ! 
 Would that I had perished for you, 
 Would that I were dead as you are. 
 Wahonowin ! Wahonowin ! ' ' 
 And he rushed into the wigwam, 
 Saw the old Nokomis slowly 
 Rocking to and fro and moaning, 
 Saw his lovely Minnehaha 
 Lying dead and cold before him, 
 And his bursting heart within him 
 Uttered such a cry of anguish, 
 
280 Elements of Expression, Vocal and Physical. 
 
 That the forest moaned and shuddered, 
 
 That the very stars in heaven 
 
 Shook and trembled with his anguish. 
 
 Then he sat down, still and speechless, 
 On the bed of Minnehaha, 
 At the feet of Laughing Water, 
 At those willing feet, that never 
 More would lightly run to meet him, 
 Never more would lightly follow ; 
 With both hands his face he covered. 
 Seven long days and nights he sat there, 
 As if in a swoon he sat there, 
 Speechless, motionless, unconscious 
 Of the daylight or the darkness. 
 
 Then they buried Minnehaha; 
 In the snow a grave they made her, 
 In the forest deep and darksome, 
 Underneath the moaning hemlocks; 
 Clothed her in her richest garments, 
 Wrapped her in her robes of ermine, 
 Covered her with snow, like ermine; 
 Thus they buried Minnehaha. 
 And at night a fire was lighted, 
 On her grave four times was kindled. 
 For her soul upon its journey 
 To the Islands of the Blessed. 
 From his doorway Hiawatha 
 Saw it burning in the forest, 
 Lighting up the gloomy hemlocks; 
 From his sleepless bed uprising, 
 From the bed of Minnehaha, 
 Stood and watched it at the doorway, 
 That it might not be extinguished, 
 Might not leave her in the darkness. 
 
 " Farewell!" said he, "Minnehaha! 
 Farewell, O my Laughing Water! 
 All my heart is buried with you, 
 All my thoughts go onward with you! 
 Come not back again to labor, 
 Come not back again to suffer, 
 
Selections. 281 
 
 Where the Famine and the Fever 
 
 Wear the heart and waste the body. 
 
 Soon my task will be completed, 
 
 Soon your footsteps I shall follow 
 
 To the Islands of the Blessed, 
 
 To the Kingdom of Ponemah, 
 
 To the Land of the Hereafter!" {Longfellow) 
 
 Sempronius' Speecb of THIlar 
 
 My voice is still for war. 
 
 Gods! can a Roman senate long debate, 
 
 Which of the two to choose, slavery or death? 
 
 No, — ■ let us rise at once, gird on our swords, 
 
 And, at the head of our remaining troops, 
 
 Attack the foe, break through the thick array 
 
 Of his thronged legions, and charge home upon him. 
 
 Perhaps some arm more lucky than the rest 
 May reach his heart, and free the world from bondage. 
 Rise, Fathers, rise! 'tis Rome demands your help: 
 Rise, and revenge her slaughtered citizens, 
 Or share their fate. The corpse of half her Senate 
 Manure the fields of Thessaly, while we 
 Sit here, deliberating in cold debates, 
 If we should sacrifice our lives to honor, 
 Or wear them out in servitude and chains. 
 
 Rouse up, for shame! Our brothers of Pharsalia 
 Point out their wounds, and cry aloud — "To battle!" 
 Great Pompey's shade complains that we are slow, 
 And Scipio's ghost walks unrevenged among us. ^{(Addison) 
 
 Zbe Demon of tbe Jure 
 
 In the deepest death of midnight, 
 While the sad and solemn swell 
 Still was floating, faintly echoed 
 From the forest's chapel bell; 
 Faintly, faltering, floating, 
 O'er the sable waves of air, 
 That were through the midnight rolling, 
 Chafed and billowy with the tolling, 
 
282 Elements of Expression, Vocal and Physical. 
 
 In my chamber I lay dreaming, 
 
 And my dreams were dreams foreshadowed 
 
 Of a heart foredoomed to care. 
 
 As the last long lingering echo 
 
 Of the midnight's mystic chime. 
 
 Lisping through the sable billow 
 
 Of the thither shore of time, 
 
 Leaving on the starry silence 
 
 Not a shadow nor a trace, 
 
 In a quivering sigh departed 
 
 From my couch, in fear, I started — 
 
 Started to my feet in terror, 
 
 For my dream's phantasmal error 
 
 Painted in the fitful fire 
 
 A frightful, fiendish, flaming face. 
 
 On the red hearth's reddest centre, 
 From the blazing knot of oak, 
 Seemed to grin and gibe the phantom, 
 As in terror I awoke. 
 And my slumbering eyelids streaming, 
 As I struggled to the floor — 
 Still in that dread vision seeming, 
 Turned my gaze toward the gleaming 
 Hearth, and then, oh, God! I saw it. 
 And from its flaming jaw it 
 Spat a ceaseless, seething, hissing, 
 Bubbling, gurgling stream of gore. 
 
 Speechless, struck with stony silence, 
 
 Frozen to the floor I stood, 
 
 Till my very brain seemed hissing 
 
 With that hissing, bubbling blood, 
 
 Till I felt my life stream oozing, 
 
 Oozing from those lambent lips, 
 
 Till the demon seemed to name me, 
 
 Then a wondrous calm o'ercame me, 
 
 And I fell back on my pillow 
 
 In apparent soul eclipse. 
 
 Thus, as in death's seeming shadows, 
 
 In the icy pall of fear, 
 
 I lay stricken, came a hoarse and 
 
 Hideous murmur to my ear; 
 
Selections. 283 
 
 Came a murmur, like the murmur 
 
 Of assassins in their sleep, 
 
 Muttering higher, higher, higher, 
 
 "I am demon of the fire, 
 
 I am archfiend of the fire, 
 
 And each blazing roof's thy pyre, 
 
 And my sweetest incense is 
 
 The blood and tears my victims weep. 
 
 "How I revel on the prairie, 
 How I roar amidst the pines, 
 How I laugh, as from the village 
 O'er the snow the red flame shines; 
 How I hear the shrieks of terror, 
 With a life in every breath; 
 How I scream with lambent laughter, 
 As I hurl each crackling rafter 
 Down the fell abyss of fire, 
 Until higher, higher, higher, 
 Leap the high priests of my altar, 
 In their merry dance of death. 
 
 "I am monarch of the fire, 
 
 I am royal King of death, 
 
 World encircling with the shadow 
 
 Of its doom upon my breath, 
 
 With the symbol of hereafter 
 
 Gleaming from my fatal face, 
 
 I command the eternal fire, 
 
 Higher, higher, higher, higher, 
 
 Leap my ministering demons, 
 
 Like phantasmagoric lemans, 
 
 Hugging universal nature 
 
 In their hideous embrace. " (E. A. Poe) 
 
284 Elements of Expression/ Vocal and Physical. 
 
 Portia's plea tor /nbercE 
 
 The quality of mercy is not strained; 
 
 It droppeth, as the gentle rain from heaven, 
 
 Upon the place beneath; it is twice blessed; 
 
 It blesseth him that gives, and him that takes; 
 
 'Tis mightiest in the mightiest; it becomes 
 
 The throned monarch better than his crown: 
 
 His sceptre shows the force of temporal power, 
 
 The attribute to awe and majesty, 
 
 Wherein doth sit the dread and fear of kings; 
 
 But mercy is above this sceptred sway; 
 
 It is enthroned in the heart of kings; 
 
 It is an attribute to God himself; 
 
 And earthly power doth then show likest God's, 
 
 When mercy seasons justice. Therefore, Jew, 
 
 Though justice be thy plea, consider this, 
 
 That in the course of justice none of us 
 
 Should see salvation. We do pray for mercy, 
 
 And that same prayer doth teach us all to render 
 
 The deeds of mercy. {Shakespeare) 
 
 Gouseatnt X'Ouverture 
 
 If I stood here to tell you the story of Napoleon, I should take it 
 from the lips of Frenchmen, who find no language rich enough to paint 
 the great captain of the nineteenth century. Were I to tell you the 
 story of Washington, I should take it from your hearts, — you, who 
 think no marble white enough on which to carve the name of the 
 Father of his country. But I am to tell you the story of a negro 
 who has left hardly one written line. I am to glean it from 
 the reluctant testimony of Britons, Frenchmen, Spaniards, — 
 men who despised him as a negro and a slave, and hated him because 
 he had beaten them in battle. All the materials for his biography 
 are from the lips of his enemies. Let us pause a moment, and find 
 something to measure him by. You remember Macaulay says, com- 
 paring Cromwell with Napoleon, that Cromwell showed greater mil- 
 itary genius, if we consider that he never saw an army until he was 
 forty; while Napoleon was educated from a boy in the best military 
 schools in Europe. Cromwell manufactured his own army; Napoleon 
 at the age of twenty-seven was placed at the head of the best troops 
 Europe ever saw. They were both successful; but, says Macaulay, 
 
Selections. 285 
 
 with such disadvantages, the Englishman showed the greater genius. 
 Whether you allow the inference or not, you will at least grant that 
 it is a fair mode of measurement. Apply it to this negro. Cromwell 
 never saw an army till he was forty; this man never saw a soldier 
 till he was fifty. Cromwell manufactured his own army — out of what? 
 Englishmen, — the best blood in Europe. Out of the middle class 
 of Englishmen — the best blood of the island. And with it he con- 
 quered what? Englishmen, — their equals. This man manufactured 
 his army out of what? Out of what you call the despicable race 
 of Negroes, debased, demoralized by two hundred years of slavery, 
 one hundred thousand of them, imported into the island within two 
 years, unable to speak a dialect intelligible even to each other. Yet 
 out of this mixed, and, as you say, despicable mass, he forged a thunder- 
 ' bolt and hurled it at what? At the proudest blood in Europe, the 
 Spaniard, and sent him home conquered; at the most warlike blood 
 in Europe, the French, and put them under his feet; at the pluckiest 
 blood in Europe, the English, and they skulked home to Jamaica. 
 Now, if Cromwell was a general, this man, at least, was a soldier. I 
 know it was a small territory; it was not as large as the continent; 
 but it was as large as that Attica, which, with Athens for a capital, 
 has filled the earth with its fame for two thousand years. We measure 
 genius by quality, not by quantity. 
 
 Further, — Cromwell was only a soldier; his fame stopped there. 
 Not one line in the statute-book of Britain can be traced to Cromwell; 
 not one step in the social life of England finds its motive power in his 
 brain. The state he founded went down with him to his grave. But 
 this man no sooner put his hand on the helm of State than the ship 
 steadied with an upright keel, and he began to evince a statesmanship 
 as marvelous as his military genius. 
 
 He was a negro. You say that is superstitious blood. He was un- 
 educated. You say that makes a man narrow-minded. And yet — ■ 
 a negro, and a slave — he took his place by the side of Roger Williams, 
 and said to his committee: "Make it the first line of my constitution 
 that I know no difference between religious beliefs." Now, blue-eyed 
 Saxon, proud of your race, go back with me to the commencement of 
 the century, and select what statesman you please. Let him be either 
 American or European ; let him have a brain the result of six generations 
 of culture; let him have the ripest training of university routine; let 
 him add to it the better education of practical life; crown his temples 
 with the silver locks of seventy years; and show me the man of Saxon 
 lineage for whom his most sanguine admirer will wreathe a laurel rich 
 as embittered foes have placed on the brow of this negro, — rare military 
 
286 Elements of Expression, Vocal and Physical. 
 
 skill, profound knowledge of human nature, content to blot out all 
 party distinctions, and trust a State to the blood of its sons, — antici- 
 pating Sir Robert Peel fifty years, and taking his station by the side of 
 Roger Williams before any Englishman or American had won the right, 
 — and yet this is the record which the history of rival states makes up 
 for this inspired black of St. Domingo. 
 
 Above the lust of gold, pure in private life, generous in the use of 
 his power, it was against such a man that Napoleon sent his army, 
 giving to General Leclerc (the husband of his beautiful sister Pauline) 
 thirty thousand of his best troops, with orders to reintroduce slavery. 
 
 Holland lent sixty ships. England promised by a special message 
 to be neutral; and you know neutrality means sneering at freedom, 
 and sending arms to tyrants. England promised neutrality, and the 
 black looked out on the whole civilized world marshalled against him. 
 America, full of slaves, of course was hostile, only the Yankee sold him 
 poor muskets at a very high price. Mounting his horse, and riding to 
 the eastern end of the island, Samana, he looked out on a sight such as 
 no native had ever seen before. Sixty ships of the line, crowded by the 
 best soldiers of Europe, rounded the point. They were soldiers who 
 had never yet met an equal, whose tread, like Caesar's, had shaken 
 Europe, — soldiers who had scaled the Pyramids, and planted the French 
 banners on the walls of Rome. He looked a moment, counted the 
 flotilla, let the reins fall on the neck of his horse, and, turning to Chris- 
 tophe, exclaimed: "All France is come to Hayti; they can only come to 
 make us slaves ; and we are lost ! ' ' He then recognized the only mistake 
 of , his life, — his confidence in Bonaparte, which had led him to disband 
 his army. 
 
 Returning to the hills, he issued the only proclamation which bears 
 his name and breathes vengeance: " My children, France comes to make 
 us slaves. God gave us liberty; France has no right to take it away. 
 Burn the cities, destroy the harvests, tear up the roads with cannon, 
 poison the wells, show the white man the hell he comes to make;" — 
 and he was obeyed. When the great William of Orange saw Louis 
 XIV. cover Holland with troops, he said, "Break down the dikes; 
 give Holland back to the ocean;" and Europe said, "Sublime!" When 
 the Alexander saw the armies of France descend upon Russia, he said, 
 " Burn Moscow, starve back the invaders; " and Europe said, " Sublime!' 
 This black saw all Europe marshalled to crush him, and gave to his 
 people the same heroic example of defiance. 
 
 Some doubt the courage of the negro. Go to Hayti, and stand on 
 those fifty thousand graves of the best soldiers France ever had, and 
 ask them what they think of the negro's sword. And if that does 
 
Selections. 287 
 
 not satisfy you, go to France, to the splendid mausoleum of the Counts 
 of Rochambeau, and to the eight thousand graves of Frenchmen who 
 skulked home under the English flag, and ask them. 
 
 There never was a slave rebellion successful but once, and that was 
 in St. Domingo. Every race has been sometime or other, in chains. 
 But there never was a race that, weakened and degraded by such chattel 
 slavery,, unaided, tore off its own fetters, forged them into swords and 
 won its liberty on the battle-field, but one, and that was the black race 
 of St. Domingo. 
 
 I would call him Napoleon, but Napoleon made his way to empire 
 over broken oaths and through a sea of blood. This man never broke 
 his word. "No Retaliation" was his great motto and the rule of his 
 life; and the last words uttered to his son in France were these: "My 
 boy, you will one day go back to St. Domingo; forget that France 
 murdered your father." I would call him Cromwell, but Cromwell 
 was only a soldier, and the State he founded went down with him into 
 his grave. I would call him Washington, but the great Virginian held 
 slaves. This man risked his empire rather than permit the slave- 
 trade in the humblest village of his dominions. 
 
 You think me a fanatic to-night, for you read history, not with your 
 eyes, but with your prejudices. But fifty years hence, when Truth gets 
 a hearing, the Muse of History will put Phocion for the Greek and Brutus 
 for the Roman. Hampden for England, Fayette for France, choose 
 Washington as the bright, consummate flower of our earlier civilization, 
 then, dipping her pen in the sunlight, will write in the clear blue, 
 above them all, the name of the soldier, the statesman, the martyr, 
 Toussaint L'Ouverture. (Wendell Phillips) 
 
 Scene in a /ifcaDbouse 
 
 Stay, jailer, stay, and hear my woe! 
 
 She is not mad who kneels to thee; 
 For what I'm now, too well I know, 
 
 And what I was, and what should be. 
 I'll rave no more in proud despair; 
 
 My language shall be mild, though sad; 
 But yet I firmly, truly swear, 
 
 I am not mad, I am not mad ! 
 
 My tyrant husband forged the tale, 
 
 Which chains me in this dismal cell; 
 My fate unknown, my friends bewail — 
 
288 Elements of Expression, Vocal and Physical. 
 
 O! jailer, haste that fate to tell: 
 Oh! haste my father's heart to cheer. 
 
 His heart at once 'twill grieve and glad 
 To know, though kept a captive here, 
 
 I am not mad, I am not mad. 
 
 He smiles in scorn, and turns the key; 
 
 He quits the grate; I knelt in vain; 
 His glimmering lamp, still, still, I see — 
 
 'Tis gone! and all is gloom again. 
 Cold, bitter cold! — no warmth! no light! 
 
 Life, all thy comforts once I had; 
 Yet here I'm chained, this freezing night, 
 
 Although not mad; no, no, not mad. 
 
 'Tis sure some dream ; some vision vain; 
 
 What! I, — the child of rank and wealth,- 
 Am I the wretch who clanks this chain, 
 
 Bereft of freedom, friends, and health? 
 Ah! while I dwell on blessings fled, 
 
 Which never more my heart must glad, 
 How aches my heart, how burns my head ; 
 
 But 'tis not mad; no, 'tis not mad. 
 
 Hast thou, my child, forgot ere this, 
 
 A mother's face, a. mother's tongue? 
 She'll ne'er forget your parting kiss, 
 
 Nor round her neck how fast you clung; 
 Nor how with her you sued to stay; 
 
 Nor how that suit your sire forbade ; 
 Nor how — I'll drive such thoughts away; 
 
 They'll make me mad, they'll make me mad. 
 
 His rosy lips, how sweet they smiled! 
 
 His mild blue eyes, how bright they shone! 
 None ever bore a lovelier child: 
 
 And art thou now forever gone? 
 And must I never see thee more, 
 
 My pretty, pretty, pretty lad! 
 I will be free! unbar the door! 
 
 I am not mad; I am not mad. 
 
 Oh, hark! what mean those yells and cries; 
 
 His chain some furious madman breaks; 
 He comes, — I see his glaring eyes; 
 
Selections. 289 
 
 Now, now, my dungeon grate he shakes. 
 Help! help! — he's gone! — oh, fearful woe. 
 
 Such screams to hear, such sights to see. 
 My brain, my brain, — I know, I know, 
 
 I am not mad, but soon shall be. 
 
 Yes, soon; — for, lo! you, while I speak, 
 
 Mark, how yon demon's eyeballs glare! 
 He sees me; now, with dreadful shriek, 
 
 He whirls a serpent high in air. 
 Horror! the reptile strikes his tooth 
 
 Deep in my heart, so crushed and sad; 
 Aye, laugh, ye fiends! I feel the truth; 
 
 Your task is done — I 'm mad! I'm mad! {Lewis) 
 
 JBxccleiov 
 
 The shades of night were falling fast, 
 As through an Alpine village passed 
 A youth, who bore, 'mid snow and ice, 
 A banner with the strange device — 
 Excelsior ! 
 
 His brow was sad; his eye beneath 
 Flashed like a falchion from its sheath; 
 And like a silver clarion rung 
 The accents of that unknown tongue — 
 Excelsior ! 
 
 In happy homes he saw the light 
 Of household fires gleam warm and bright, 
 Above, the spectral glaciers shone, 
 And from his lips escaped a groan — 
 Excelsior ! 
 
 "Try not the pass, " the old man said: 
 "Dark lowers the tempest overhead; 
 The roaring torrent is deep and wide!" 
 And loud that clarion voice replied, 
 Excelsior ! 
 
 "Oh, stay," the maiden said, "and rest 
 Thy weary head upon this breast!" 
 A tear stood in his bright blue eye, 
 But still he answered with a sigh, 
 Excelsior! 
 
290 Elements of Expression, Vocal and Physical. 
 
 "Beware the pine-tree's withered branch! 
 Beware the awful avalanche I" 
 This was the peasant's last good night: 
 A voice replied, far up the height, 
 Excelsior ! 
 
 At break of day as heavenward 
 The pious monks of St. Bernard 
 Uttered the oft-repeated prayer, 
 A voice cried through the startled air, 
 Excelsior ! 
 
 A traveler, by the faithful hound, 
 Half-buried in the snow was found, 
 Still grasping in his hand of ice 
 That banner with the strange device, 
 Excelsior ! 
 
 There, in the twilight cold and gray, 
 Lifeless, but beautiful, he lay, 
 And from the sky, serene and far, 
 A voice fell, like a falling star — 
 
 Excelsior ! {Longfellow) 
 
 Xtncoln's Gettysburg ftfcfcrese 
 
 Fourscore and seven years ago our fathers brought forth upon this 
 continent a new nation, conceived in liberty, and dedicated to the pro- 
 position that all men are created equal. Now we are engaged in a great 
 civil war, testing whether that nation, or any nation so conceived and 
 so dedicated, can long endure. We are met on a great battlefield of 
 that war. We are met to dedicate a portion of it as a final resting- 
 place of those who here gave their lives that that nation might live. 
 
 It is altogether fitting and proper that we should do this. But 
 in a larger sense we cannot dedicate, we cannot consecrate, we cannot 
 hallow this ground. The brave men, living and dead, who struggled 
 here, have consecrated it far above our power to add or detract. The 
 world will little note, nor long remember, what we say here, but it can 
 never forget what they did here. * 
 
 It is for us, the living, rather to be dedicated here to the unfinished 
 work they have thus far so nobly carried on. It is rather for us to be 
 here dedicated to the great task remaining before us, that from these 
 honored dead we take increased devotion to the cause for which they 
 
Selections. 291 
 
 gave the last full measure of devotion ; that we here highly resolve that 
 these dead shall not have died in vain, that the nation shall, under 
 God, have a new birth of freedom, and that the government of the 
 people, by the people, and for the people, shall not perish from the earth. 
 
 £be t>a$$ing ot tbe IRubicon 
 
 A gentleman, Mr. President, speaking of Caesar's benevolent dis- 
 position, and of the reluctance with which he entered into civil war, 
 observes, "How long did he pause upon the brink of the Rubicon!" 
 How came he to the brink of that river! How dared he cross it ! Shall 
 private men respect the boundaries of private property, and shall a 
 man pay no respect to the boundaries of his country's rights? How 
 dared he cross that river! Oh! but he paused upon the brink! He 
 should have perished upon the brink ere he had crossed it! Why did 
 he pause? Why does a man's heart palpitate when he is on the point 
 of committing an unlawful deed? Why does the very murderer, his 
 victim sleeping before him, and his glaring eye, taking the measure of 
 the blow, strike wide of the mortal part? Because of conscience! 
 'Twas that made Caesar pause upon the brink of the Rubicon. Com- 
 passion ! What compassion ! The compassion of an assassin, that feels 
 a momentary shudder, as his weapon begins to cut! Caesar paused 
 upon the brink of the Rubicon! What was the Rubicon? The bound- 
 ary of Caesar's province. From what did it separate his province? 
 From his country. Was that country a desert? No; it was cultivated 
 and fertile; rich and populous. Its sons were men of genius, spirit, 
 and generosity. Its daughters were lovely, susceptible, and chaste! 
 Friendship was its inhabitant! Love was its inhabitant! Domestic 
 affection was its inhabitant ! Liberty was its inhabitant ! All bounded 
 by the stream of the Rubicon! What was Caesar, that stood upon the 
 bank of that stream? A traitor, bringing war and pestilence into the 
 heart of that country! No wonder that he paused — no wonder, if 
 his imagination wrought upon by his conscience, he had beheld blood 
 instead of water; and heard groans, instead of murmurs! No wonder, 
 if some gorgon horror had turned him into stone upon the spot! But, 
 no! — he cried, "The die is cast!" He plunged! — he crossed! — and 
 Rome was free no more ! (Knowles) 
 
292 Elements of Expression, Vocal and Physical. 
 
 1TvtE 
 
 Now glory to the Lord of hosts, from whom all glories are! 
 
 And glory to our sovereign liege, King Henry of Navarre! 
 
 Now let there be the merry sound of music and of dance, 
 
 Through thy corn-fields green and sunny vines, O pleasant land of 
 
 France ! 
 And thou, Rochelle, our own Rochelle, proud city of the waters, 
 Again let rapture light the eyes of all thy mourning daughters; 
 As thou wert constant in our ills, be joyous in our joy; 
 For cold and stiff and still are they who wrought thy walls' annoy. 
 Hurrah! hurrah! a single field hath turned the chance of war! 
 Hurrah! hurrah! for Ivry, and Henry of Navarre. 
 
 Oh! how our hearts were beating, when, at the dawn of day, 
 
 We saw the army of the league drawn out in long array; 
 
 With all its priest-led citizens, and all its rebel peers, 
 
 And Appenzell's stout infantry, and Egmont's Flemish spears, 
 
 There rode the brood of false Lorraine, the curses of our land; 
 
 And dark Mayenne was in the midst, a truncheon in his hand; 
 
 And as we looked on them, we thought of Seine's empurpled flood, 
 
 And good Coligni's hoary hair all dabbled with his blood; 
 
 And we cried unto the living God, who rules the fate of war, 
 
 To fight for His own holy name, and Henry of Navarre. 
 
 The king is come to marshal us, all in his armor drest; 
 
 And he has bound a snow-white plume upon his gallant crest. 
 
 He looked upon his people and a tear was in his eye; 
 
 He looked upon the traitors, and his glance was stern and high. 
 
 Right graciously he smiled on us, as rolled from wing to wing, 
 
 Down all our line, a deafening shout: God save our lord the king! 
 
 "And if my standard-bearer fall, as fall full well he may — 
 
 For never saw I promise yet of such a bloody fray — 
 
 Press where ye see my white plume shine amidst the ranks of war, 
 
 And be your oriflamme to-day the helmet of Navarre. " 
 
 Hurrah! the foes are moving. Hark to the mingled din, 
 
 Of fife, and steed, and trump, and drum, and roaring culverin. 
 
 The fiery duke is pricking fast across Saint Andre's plain, 
 
 With all the hireling chivalry of Guelder s and Almayne. 
 
 Now by the lips of those ye love, fair gentlemen of France, 
 
 Charge for the golden lilies — upon them with the lance! 
 
 A thousand spurs are striking deep, a thousand spears in rest, 
 
Selections. 293 
 
 A thousand knights are pressing close behind the snow-white crest; 
 And in they burst, and on they rushed while, like a guiding star, 
 Amidst the thickest carnage blazed the helmet of Navarre. 
 
 Now, God be praised, the day is ours : Mayenne hath turned his rein ; 
 
 D'Aumale hath cried for quarter; the Flemish count is slain; 
 
 Their ranks are breaking like thin clouds before a Biscay gale; 
 
 The field is heaped with bleeding steeds, and flags, and cloven mail. 
 
 And then we thought on vengeance, and, all along our van, 
 
 Remember Saint Bartholomew! was passed from man to man. 
 
 But out spoke gentle Henry — "No Frenchman is my foe: 
 
 Down, down, with every foreigner; but let your brethren go" — 
 
 Oh ! was there ever such a knight, in friendship or in war, 
 
 As our sovereign lord, King Henry, the soldier of Navarre? 
 
 Right well fought all the Frenchmen who fought for France to-day; 
 
 And many a lordly banner God gave them for a prey. 
 
 But we of the religion have borne us best in fight; 
 
 And the good lord of Rosny hath ta'en the cornet white — 
 
 Our own true Maximilian the cornet white hath ta'en, 
 
 The cornet white with crosses black, the flag of false Lorraine. 
 
 Up with it high; unfurl it wide — that all the host may know 
 
 How God hath humbled the proud house which wrought His church such 
 
 woe. 
 Then on the ground, while trumpets sound their loudest point of war, 
 Fling the red shreds, a footcloth meet for Henry of Navarre. 
 
 Ho ! maidens of Vienna ; ho ! matrons of Lucerne — 
 
 Weep, weep, and rend your hair for those who never shall return. 
 
 Ho! Philip, send, for charity, thy Mexican pistoles, 
 
 That Antwerp monks may sing a mass for thy poor spearmen's souls. 
 
 Ho! gallant nobles of the league, look that your arms be bright; 
 
 Ho! burghers of St. Genevieve, keep watch and ward to-night; 
 
 For our God hath crushed the tyrant, our God hath raised the slave, 
 
 And mocked the counsel of the wise, and the valor of the brave. 
 
 Then glory to his Holy name, from whom all glories are; 
 
 And glory to our sovereign lord, King Henry of Navarre! (Macaulay) 
 
294 Elements of Expression, Vocal and Physical. 
 
 From TLfte battle of Warsaw 
 
 Oh! sacred truth, thy triumph ceased awhile, 
 And hope, thy sister, ceased with thee to smile, 
 When leagued oppression poured to northern wars 
 Her whiskered panders, and her fierce hussars, 
 Wav'd her dread standard to the breeze of morn. 
 Pealed her loud drum, and twanged her trumpet horn! 
 Tumultuous horror brooded o'er her van, 
 Presaging wrath to Poland and to man. 
 
 Warsaw's last champion from her height surveyed, 
 
 Wide o'er the fields, a waste of ruin laid; 
 
 Oh, Heaven! he cried, my bleeding country save! 
 
 Is there no hand on high to shield the brave? 
 
 Yet, though destruction sweep these lovely plains, 
 
 Rise, fellow- men! our country yet remains! 
 
 By that dread name, we wave the sword on high, 
 
 And swear for her to live, with her to die ! 
 
 He said, and on the rampart heights arrayed, 
 His trusty warriors, few, but undismayed; 
 Firm-paced and slow, a horrid front they form, 
 Still as the breeze, but dreadful as the storm; 
 Low, murmuring sounds along their banners fly, 
 Revenge or death! — the watchword and reply; 
 Then pealed the notes omnipotent to charm, 
 And the loud tocsin tolled their last alarm. 
 
 In vain, alas! in vain, ye gallant few! 
 
 From rank to rank your volleyed thunder flew; 
 
 Oh, bloodiest picture in the ''book of time!" 
 
 Sarmatia fell, unwept, without a crime! 
 
 Found not a generous friend, a pitying foe, 
 
 Strength in her arms, nor mercy in her woe! 
 
 Dropped from her nerveless grasp the shattered spear, 
 
 Closed her bright eye, and curbed her high career; 
 
 Hope, for a season, bade the world farewell, 
 
 And freedom shrieked as Kosciusko fell! (Campbell) 
 
Selections. 295 
 
 From 1boratiU5 
 
 But the consul's brow was sad, 
 
 And the consul's speech was low, 
 And darkly looked he at the wall, 
 
 And darkly at the foe : 
 "Their van will be upon us 
 
 Before the bridge goes down; 
 And if they once may win the bridge, 
 
 What hope to save the town?" 
 
 Then out spake brave Horatius, 
 
 The captain of the gate: 
 "To every man upon this earth 
 
 Death cometh soon or late. 
 And how can man die better 
 
 Then facing fearful odds 
 For the ashes of his fathers, 
 
 And the temples of his gods? 
 
 "And for the tender mother 
 
 Who dandled him to rest, 
 And for the wife who nurses 
 
 His baby at her breast; 
 And for the holy maidens 
 
 Who feed the eternal flame — 
 To save them from false Sextus 
 
 That wrought the deed of shame? 
 
 "Hew down the bridge, sir consul, 
 
 With all the speed ye may; 
 I, with two more to help me, 
 
 Will hold the foe in play — 
 In yon straight path a thousand 
 
 May well be stopped by three. 
 Now who will stand on either hand, 
 
 And keep the bridge with me?" 
 
 Then out spake Spurius I^artius — 
 
 A Ramnian proud was he: 
 Lo, I will stand at thy right hand, 
 
 And keep the bridge with thee." 
 And out spake strong Herminius — 
 
 Of Titian blood was he: 
 
296 Elements of Expression, Vocal and Physical. 
 
 "I will abide on thy left side, 
 
 And keep the bridge with thee. " 
 
 "Horatius, " quoth the consul, 
 
 "As thou sayest, so let it be." 
 And straight against that great array 
 
 Forth went the dauntless three. 
 For Romans in Rome's quarrel 
 
 Spared neither land nor gold, 
 Nor son nor wife, nor limb nor life, 
 
 In the brave days of old. 
 
 Then none was for a party — 
 
 Then all were for the state; 
 Then the great man helped the poor, 
 
 And the poor man loved the great; 
 Then lands were fairly portioned 
 
 Then spoils were fairly sold: 
 The Romans were like brothers 
 
 In the brave days of old. 
 
 Now Roman is to Roman 
 
 More hateful than a foe, 
 And the tribunes beard the high, 
 
 And the fathers grind the low. 
 As we wax hot in faction, • 
 
 In battle we wax cold; 
 Wherefore men fight not as they fought 
 
 In the brave days of old. 
 
 Now while the three were tightening 
 
 Their harness on their backs, 
 The consul was the foremost man 
 
 To take in hand an ax; 
 And fathers, mixed with commons, 
 
 Seized hatchet, bar, and crow, 
 And smote upon the planks above, 
 
 And loosed the props below. 
 
 Meanwhile the Tuscan army, 
 
 Right glorious to behold, 
 Came flashing back the noonday light, 
 Rank behind rank, like surges bright 
 
 Of a broad sea of gold. 
 Four hundred trumpets sounded 
 
Selections. 297 
 
 A peal of warlike glee, 
 As that great host, with measured tread, 
 
 And spears advanced and ensigns spread, 
 Rolled slowly toward the bridge's head, 
 
 Where stood the dauntless three. 
 
 The three stood calm and silent, 
 
 And looked upon the foes, 
 And a great shout of laughter 
 
 From all the vanguard rose; 
 And forth three chiefs came spurring 
 
 Before that deep array; 
 To earth they sprang, their swords they drew, 
 And lifted high their shields, and flew 
 
 To win the narrow way. 
 
 Stout Lartius hurled down Aunus 
 
 Into the stream beneath; 
 Herminius struck at Seius, 
 
 And clove him to the teeth; 
 At Picus brave Horatius 
 
 Darted one fiery thrust, 
 And the proud Umbrian's gilded arms 
 
 Clashed in bloody dust. 
 
 Herminius smote, down Arnus; 
 
 Lartius laid Ocnus low; 
 Right to the heart of Lausulus 
 
 Horatius sent a blow; 
 "Lie there," he cried, "fell pirate! 
 
 No more, aghast and pale. 
 From Ostia's walls the crowd shall mark 
 The track of thy destroying bark; 
 No more Campania's hinds shall fly 
 To woods and caverns, when they spy 
 
 Thy thrice- accursed sail!" 
 
 But now no sound of laughter 
 
 Was heard among the foes; 
 A wild and wrathful clamor 
 
 From all the vanguard rose. 
 Six spear's lenghts from the entrance 
 
 Halted that deep array, 
 And for a space no man came forth 
 
 To win the narrow way. 
 
298 Elements of Expression, Vocal and Physical. 
 
 But, hark! the cry is Astur; 
 
 And lo! the ranks divide; 
 And the great lord of Luna 
 
 Comes with his stately stride. 
 Upon his ample shoulders 
 
 Clangs loud the fourfold shield, 
 And in his hand he shakes the brand 
 
 Which none but he can wield. 
 He smiled on those bold Romans, 
 
 A smile serene and high; 
 He eyed the flinching Tuscans, 
 
 And scorn was in his eye. 
 Quoth he, "The she- wolf's litter 
 
 Stand savagely at bay; 
 But will ye dare to follow, 
 
 If Astur clears the way?" 
 Then, whirling up his broadsword 
 
 With both hands to the height, 
 He rushed against Horatius, 
 
 And smote with all his might. 
 With shield and blade Horatius 
 
 Right deftly turned the blow. 
 The blow, though turned, came yet too nigh, 
 It missed his helm, but gashed his thigh— 
 The Tuscans raised a joyful cry 
 
 To see the red blood flow. 
 He reeled, and on Herminius 
 
 He leaned one breathing space — 
 Then, like a wild-cat mad with wounds, 
 
 Sprang right at Astur 's face. 
 Through teeth, and skull, and helmet, 
 
 So fierce a thrust he sped, 
 The good sword stood a hand-breath out 
 
 Behind the Tuscan's head. 
 On Astur' s throat Horatius 
 
 Right firmly pressed his heel, 
 And thrice and four times tugged amain, 
 
 Ere he wrenched out the steel. 
 "And see," he cried, "the welcome, 
 
 Fair guests, that waits you here! 
 What noble Lucymo comes next 
 
 To taste our Roman cheer?" 
 
Selections. 299 
 
 But at his haughty challenge 
 
 A sullen murmur ran, 
 Mingled with wrath, and shame, and dread, 
 
 Along that glittering van. 
 There lacked not men of prowess, 
 
 Nor men of lordly race; 
 For all Btruria's noblest 
 
 Were round the fatal place. 
 
 But all Ktruria's noblest 
 
 Felt their hearts sink to see 
 On the earth the bloody corpses, 
 
 In the path the dauntless three, 
 And from the ghastly entrance, 
 
 Where those bold Romans stood, 
 All shrank — like boys who, unaware, 
 Ranging a wood to start a hare, 
 Come to the mouth of the dark lair 
 Where, growling low, a fierce old bear 
 
 Lies amidst bones and blood. 
 
 Was none who would be foremost 
 
 To lead such dire attack; 
 But those behind cried "Forward!" 
 
 And those before cried "Back!" 
 And backward now, and fore ward, 
 
 Wavers the deep array; 
 And on the tossing sea of steel 
 To and fro the standards reel, 
 And the victorious trumpet-peal 
 
 Dies fitfully away. 
 
 Yet one man for one moment 
 
 Strode out before the crowd; 
 Well known was he to all the three, 
 
 And they gave him greeting loud: 
 "Now welcome, welcome, Sextus! 
 
 Now welcome to thy home! 
 Why dost thou stay, and turn away? 
 
 Here lies the road to Rome." 
 
 Thrice looked he at the city; 
 
 Thrice looked he at the dead; 
 
3oo Elements of Expression, Vocal and Physical. 
 
 And thrice came on in fury, 
 
 And thrice turned back in dread; 
 
 And, white with fear and hatred; 
 Scowled at the narrow way 
 
 Where, wallowing in a pool of blood, 
 The bravest Tuscans lay. 
 
 But meanwhile axe and lever 
 
 Have manfully been plied. 
 And now the bridge hangs tottering 
 
 Above the boiling tide. 
 "Come back, come back, Horatius!" 
 
 Loud cried the fathers all — 
 "Back Lartius! back, Herminius! 
 
 Back, ere the ruin fall!" 
 
 Back darted Spurius Lartius — 
 
 Herminius darted back; 
 And, as they passed, beneath their feet 
 
 They felt the timbers crack. 
 But when they turned their faces, 
 
 And on the farther shore 
 Saw brave Horatius stand alone, 
 
 They would have crossed once more; 
 
 But with a crash like thunder 
 
 Fell every loosened beam, 
 And, like a dam, the mighty wreck 
 
 Lay right athwart the stream; 
 And a long shout of triumph 
 
 Rose from the walls of Rome, 
 As to the highest turret-tops 
 
 Was splashed the yellow foam. 
 
 Alone stood brave Horatius, 
 
 But constant still in mind — 
 Thrice thirty thousand foes before, 
 
 And the broad flood behind. 
 "Down with him!" cried false Sextus, 
 
 With a smile on his pale face; 
 "Now yield thee," cried Lars Porsena, 
 
 "Now yield thee to our grace!" 
 
 Round turned he, as not deigning 
 Those craven ranks to see ; 
 
Selections. 301 
 
 Naught spake he to Lars Porsena, 
 To Sextus naught spake he; 
 
 But he saw on Palatinus 
 
 The white porch of his home; 
 
 And he spake to the noble river 
 
 That rolls by the towers of Rome: 
 
 "O Tiber! father Tiber! 
 
 To whom the Romans pray, 
 A Roman's life, a Roman's arms, 
 
 Take thou in charge this day!" 
 So he spake, and, speaking sheathed 
 
 The good sword by his side, 
 And, with his harness on his back, 
 
 Plunged headlong in the tide. 
 
 But fiercely ran the current, 
 
 Swollen high by months of rain, 
 
 And fast his blood was flowing; 
 And he was sore in pain. 
 
 And heavy with his armor, 
 
 And spent with changing blows; 
 
 And oft they thought him sinking, 
 And still again he rose. 
 
 Never, I ween, did swimmer, 
 
 In such an evil case, 
 Struggle through such a raging flood 
 
 Safe to the landing-place; 
 But his limbs were borne up bravely 
 
 By the brave heart within, 
 And our good father Tiber 
 
 Bare bravely up his chin. 
 
 "Curse on him!" quoth false Sextus. — 
 
 "Will not the villain drown? 
 But for this stay, ere close of day 
 
 We should have sacked the town!" 
 Heaven help him!" quoth Lars Porsena, 
 
 "And bring him safe to shore; 
 For such a gallant feat of arms 
 
 Was never seen before. " 
 
 And now he feels the bottom; 
 Now on dry earth he stands; 
 
302 Elements of Expression, Vocal and Physicai,. 
 
 Now round him throng the fathers 
 
 To press his gory hands; 
 And now, with shouts and clapping, 
 
 And noise of weeping loud, 
 He enters through the river-gate, 
 
 Borne by the joyous crowd. (Macaulay) 
 
 TZbe priest's Xeap 
 
 The priest is out upon the hill before the dawn of day; 
 
 Through shadows deep, o'er rugged ground, he treads his painful way, 
 
 A peasant's homely garb he wears, that none but friendly eyes 
 
 May know who dares to walk abroad, beneath that rough disguise. 
 
 Inside his coat, and near his heart, lies what he treasures most, 
 
 For there a tiny silver shrine contains the Sacred Host. 
 
 Adoring as he goes, he seeks a cabin low and rude, 
 
 To nourish there a fainting soul with God's appointed food; 
 
 For so it is, within the land whose brave and faithful race 
 
 In other days made all the isle a bright and holy place. 
 
 Its temples are in ruins now, its altars overthrown, 
 
 Its hermit's cells in cliff and cave are tenantless and lone: 
 
 The ancient race are broken down, their powers are passed away. 
 
 Poor helots, plundered and despised, they tread the soil to-day, 
 But yet, though fallen their fortunes be, though want, and woe, and ill 
 Close hid, and fondly loved, they keep their priests among them still — 
 Their faithful priests, why, though by law condemned, denouncedjand 
 
 banned, 
 Will not forsake their suffering flocks, or quit the stricken land. 
 The morning brightens as he goes, the little hut is near, 
 When runs a peasant to his side, and speaks into his ear. 
 "Fly, Father, flyl" the spies are out: ' 'they've watched you on your 
 
 way: 
 They've brought the soldiers on your track, to seize you or to slay. 
 Quick, Father, dear! here stands your horse; no whip or spur he'll need; 
 Mount you at once upon his back, and put him to his speed, 
 And then, what course you'd better take 'tis God alone that knows — 
 Before you spreads a stormy sea, behind you come your foes; 
 But mount at once and dash away; take chance for field or flood. 
 And God may raise His hand to-day to foil those men of blood." - 
 
 Up sprang the priest; away he rode, but ere a mile was run, 
 Right in his path he saw the flash of bayonets in the sun: 
 
Selections. 303 
 
 He turned his horse's head, and sped along the way he came, 
 But Oh! there too his hunters were, fast closing on their game! 
 Straightforward then he faced his steed, and urged him with his hand, 
 To where the cliff stood high and clear sheer above the sea-beach strand. 
 Then from the soldiers and the spies arose a joj^ul cheer, 
 Their toilsome chase was well-nigh o'er the wished-for end was near; 
 They stretched their eager hands to pluck the rider from his seat — 
 A few more lusty strides and they might swing him to their feet: 
 For now betwixt him and the verge are scarce ten feet of ground — 
 But stay! — Good God! — Out o'er the cliff the horse is seen to bound! 
 The soldiers hasten to the spot, they gaze around below, 
 No splash disturbs the waves that keep their smooth and even flow; 
 From their green depths no form of man or horse is seen to rise, 
 Far down upon the stony strand no mangled body lies: 
 "Look up! Look up!" a soldier shouts, "'O! what a sight is there! 
 Behold the priest, on horseback still, is speeding through the air!" 
 They look and lo ! the words were true, and, trembling with affright, 
 They saw the vision pierce the blue, and vanish from their sight. 
 
 Three miles away across the bay a group with wondering eyes 
 Saw some strange speck come rushing fast towards them from the skies, 
 A bird they deemed it first to be ; they watched its course, and soon 
 They deemed it some black burning mass flung from the sun or moon. 
 It neared the earth — their hearts beat fast — they held their breath with 
 
 awe, 
 As clear, and clearer still — the horse — and then — the man — they saw; 
 They shut their eyes, they stopped their ears to spare their hearts the 
 
 shock 
 As steed and rider both came down and struck the solid rock; 
 Aye, on the solid rock they struck, but never made a sound; 
 Xo horrid mass of fiesb and blood was scattered all around; 
 For when the horse fell on his knees, and when the priest was thrown 
 A little forward, and his hands came down upon the stone, 
 That instant by God's potent will, the flinty face became 
 Like moistened clay or wax that yields before a glowing flame. 
 Unhurt, unharmed, the priest arose, and with a joyful start 
 He pressed his hand upon his breast — the Host was near his heart. 
 
 Long years have passed away since then, in sun, and wind, and/ain, 
 But still of that terrific leap the wondrous mark remains, 
 On the high cliff from which he sprang — now deemed a sacred place — 
 The prints left by the horse's hoofs are plain for all to trace; 
 And still the stone where he alit whoever likes may view, 
 
304 Elements of Expression, Vocal and Physical. 
 
 And see the signs and tokens there that proved the story true, 
 May feel and count each notch and line, may measure, if he please, 
 The dint made by the horse's head, the grooves sunk by his knees, 
 And place his fingers in the holes — for there they are to-day — 
 Made by the fingers of the priest who leaped across the bay. {Sullivan) 
 
 JBernarDo Del Carpio 
 
 The warrior bowed his crested head and tamed his heart of fire, 
 
 And sued the haughty king to free his long-imprisoned sire; 
 
 "I bring thee here my fortress keys, I bring my captive train; 
 
 I pledge thee faith: — my liege, my lord, oh, break my father's chain!" 
 
 "Rise! rise! even now thy father comes, a ransomed man this day; 
 
 Mount thy good steed, and thou and I will meet him on his way." 
 
 Then lightly rose that loyal son, and bounded on his steed. 
 
 And urged, as if with lance in rest, his charger's foamy speed. 
 
 And lo! from far, as on they pressed, there camea glittering band, 
 
 With one that midst them stately rode, like a leader in the land. 
 
 "Now haste, Bernardo, haste! for there, in very truth, is he, 
 
 The father whom thy faithful heart hath yearned so long to see." 
 
 His proud breast heaved, his dark eye flashed, his cheeks' hue came and 
 
 went; 
 He reached that gray-haired chieftain's side, and there dismounting bent 
 A lowly knee to earth he bent — his father's hand he took; 
 What was there in its touch that all his fiery spirit shook? 
 That hand was cold! a frozen thing! — it dropped from his like lead: 
 He looked up to the face above — the face was of the dead! 
 A plume waved o'er his noble brow — that brow was fixed and white! 
 He met at length his father's eyes — but in them was no sight! 
 Up from the ground he sprang, and gazed: but who can paint that gaze? 
 They hushed their very hearts who saw its horror and amaze : 
 They might have chained him, as before that stony form he stood; 
 For the power was stricken from his arm, and from his lip the blood 
 "Father!" at length he murmured low, and wept like childhood then — 
 Talk not of grief till thou hast seen the tears of warlike men. 
 He thought on all his glorious hopes, on all his young renown, 
 Then flung the falchion from his side, and in the dust sat down; 
 There, covering with his steel-gloved hand his darkly mournful brow, 
 "No more, there is no more," he said, "to lift the sword for now; 
 My king is false! my hope betrayed! my father — oh, the worth, 
 The glory, and the loveliness, are passed away from earth! 
 I thought to stand where banners waved, my sire, beside thee yet; 
 
Selections. 305 
 
 I would that there, on Spain's free soil, our kindred blood had met; 
 
 Thou wouldst have known my spirit then, for thee my fields were won — 
 
 And thou hast perished in thy chains, as though thou hadst no son!" 
 
 He started from the ground once more, and seized the monarch's rein, 
 
 Amid the pale and, wildered looks of all the courtier train, 
 
 With a fierce, o'ermastering grasp, the rearing war-horse led, 
 
 And sternly set them face to face — the king before the dead! 
 
 "Came not I forth, upon thy pledge, my father's hand to kiss? 
 
 Be still! and gaze thou on, false king! and tell me, what is this? 
 
 The look, the voice the heart I sought — give answer, Where are they? 
 
 If thou wouldst clear thy perjured soul; send life through this cold clay! 
 
 Into these glassy eyes but light: be still, keep down thine ire; 
 
 Bid those lips a blessing speak — this earth is not thy sire! 
 
 Give me back him for whom I strove, for whom my blood was shed! 
 
 Thou canst not — and a king? his dust be mountains on thy head!" 
 
 He loosed the steed — his slack hand fell; — upon the silent face 
 
 He cast one long, deep troubled glance, then turned from that sad place. 
 
 Despair, and grief, and baffled love, o'erwhelmed his soul at last. 
 
 The time for vengeance will arrive, when sorrow's hour is past. 
 
 (Mrs. Hemans) 
 
 XLhc IRaven 
 
 Once upon a midnight dreary, while I pondered, weak and weary, 
 Over many a quaint and curious volume of forgotten lore, 
 While I nodded, nearly napping, suddenly there came a tapping,. 
 As of some one gently rapping, rapping at my chamber door. 
 "'Tis some visitor," I muttered, "tapping at my chamber door; 
 Only this, and nothing more." 
 
 Ah, distinctly I remember, it was in the bleak December. 
 And each separate, dying ember wrought its ghost upon the floor. 
 Eagerly I wished the morrow; vainly I had sought to borrow 
 From my books surcease of sorrow, sorrow for the lost Lenore, 
 For the rare and radiant maiden whom the angels name Lenore, 
 Nameless here f 01 evermore. 
 
 And the silken, sad, uncertain rustling of each purple curtain 
 Thrilled me, filled me, with fantastic terrors never felt before; 
 So that now, to still the beating of my heart, I stood repeating, 
 "'Tis some visitor entreating entrance at my chamber door, 
 Some late visitor entreating entrance at my chamber door; 
 This it is, and nothing more." 
 
306 Elements of Expression, Vocal and Physical. 
 
 Presently my soul grew stronger; hesitating then no longer, 
 "Sir," said I, "or madam, truly your forgiveness I implore; 
 But the fact is, I was napping, and so gently you came rapping 
 And so faintly you came tapping, tapping at my chamber door, 
 That I scarce was sure I heard you. " Here I opened wide the door; — 
 Darkness there, and nothing more. 
 
 Deep into that darkness peering, long I stood there, wondering, fearing, 
 Doubting, dreaming dreams no mortals ever dared to dream before; 
 But the silence was unbroken, and the stillness gave no token, 
 And the only word there spoken was the whispered word, "Lenore;" 
 This I whispered, and an echo murmured back the word, "Lenore." 
 Merely this, and nothing more. 
 
 Back into the chamber turning, all my soul within me burning, 
 Soon again I heard a tapping, something louder than before. 
 "Surely," said I, "surely, that is something at my window lattice; 
 Let me see then, what thereat is, and this mystery explore; 
 Let my heart be still a moment, and this myster}?- explore; 
 'Tis the wind, and nothing more. " 
 
 Open here I flung the shutter, when, with many a flirt and flutter. 
 In there stepped a stately raven, of the saintly days of yore. 
 Not the least obeisance made he; not a minute stopped or staid he; 
 But with mien of lord or lady, perched above my chamber door, 
 Perched upon a bust of Pallas, just above my chamber door; 
 Perched, and sat, and nothing more. 
 
 Then this ebon bird beguiling my sad fancy into smiling, 
 By the grave and stern decorum of the countenance it wore, 
 "Though thy crest be shorn and shaven, thou," I said, " art sure no 
 
 craven, 
 Ghastly, grim, and ancient raven, wandering from the Nightly shore, 
 Tell me what thy lordly name is on the Night's Plutonian shore." 
 Quoth the raven, "Nevermore." 
 
 Much I marveled this ungainly fowl to hear discourse so plainly, 
 Though its answer little meaning, little relevancy bore; 
 For we cannot help agreeing that no living human being 
 Ever yet was blessed with seeing bird above his chamber door, 
 Bird or beast upon the sculptured bust above his chamber door, 
 With such name as "Nevermore." 
 
Selections. 307 
 
 But the raven, sitting lonely on that placid bust, spoke only 
 That one word, as if his soul in that one word he did outpour. 
 Nothing further then he uttered; not a feather then he fluttered; 
 Till I scarcely more than muttered, "Other friends have flown before; 
 On the morrow he will leave me, as my hopes have flown before. " 
 Then the bird said, "Nevermore." 
 
 Startled at the stillness broken by reply so aptly spoken, 
 "Doubtless," said I, "what it utters is its only stock and store, 
 Caught from some unhappy master, whom unmerciful disaster 
 Followed fast and followed faster, till his songs one burden bore, 
 Till the dirges of his hope that melancholy burden bore, 
 Of 'Never — nevermore' " 
 
 But the raven still beguiling all my sad soul into smiling, 
 Straight I wheeled a cushioned seat in front of bird and bust and door; 
 Then, upon the velvet sinking, I betook myself to linking 
 Fancy unto fancy, thinking what this ominous bird of yore, 
 What this grim, ungainly, ghastly, gaunt, and ominous bird of yore 
 Meant in croaking, "Nevermore." 
 
 Thus I sat engaged in guessing, but no syllable expressing 
 To the fowl, w^hose fiery eyes now burned into my bosom's core; 
 Thus and more I sat divining, with my head at ease reclining 
 On the cushion's velvet lining that the lamplight gloated o'er, 
 But whose velvet violet lining with the lamplight gloating o'er, 
 She shall press, ah, nevermore. 
 
 Then, methought, the air grew denser, perfumed from an unseen censer, 
 Swung by Seraphim whose footfalls tinkled on the tufted floor. 
 "Wretch," I cried, "thy God hath lent thee by these angels he hath 
 
 sent thee 
 Respite — respite and nepenthe from thy memories of Lenore! 
 Quaff, O quaff this kind nepenthe, and forget this lost Lenore!" 
 Quoth the raven "Nevermore." 
 
 "Prophet!" said I, "thing of evil! — prophet still, if bird or devil! 
 Whether tempter sent, or tempest tossed thee here ashore 
 Desolate, yet all undaunted, on this desert land enchanted, 
 On this home by Horror haunted — tell me truly, I implore — 
 Is there — is there balm in Gilead? — tell me — tell me, I implore!" 
 Quoth the raven, "Nevermore." 
 
308 Elements of Expression, Vocal and Physical. 
 
 "Prophet!" said I, "thing of evil — prophet still, if bird or devil! 
 By that heaven that bends above us — by that God we both adore — 
 Tell this soul with sorrow laden, if, within the distant Aiden, 
 It shall clasp a sainted maiden, whom the angels name Lenore — 
 Clasp a rare and radiant maiden, whom the angels name Lenore?" 
 Quoth the raven, "Nevermore." 
 
 "Be that word our sign of parting, bird or fiend!" 1 shrieked, upstart- 
 ing— 
 "Get thee back into the tempest and the night's Plutonian shore! 
 Leave no black plume as a token of that lie thy soul hath spoken! 
 Leave my loneliness unbroken! — quit the bust above my door! 
 Take thy beak from out my heart, and take thy form from off my door ! " 
 Quoth the raven, "Nevermore." 
 
 And the raven, never flitting, still is sitting, still is sitting 
 On the pallid bust of Pallas just above my chamber door; 
 And his eyes have all the seeming of a demon's that is dreaming; 
 And the lamplight o'er him streaming throws his shadow on the floor; 
 And my soul from out that shadow that lies floating on the floor, 
 Shall be lifted — nevermore! (E. A. Poe) 
 
 Gbe ©ID Surgeon's &toiy 
 
 'Twas in a Southern hospital, a month ago or more, 
 
 (God save us! how the days drag on these weary times of war!) 
 
 They brought me, in the sultry noon, a youth whom they had found 
 
 Deserted by his regiment upon the battle-ground, 
 
 And bleeding his young life away through many a gaping wound. 
 
 Dark-haired and slender as a girl, a handsome lad was he, 
 Despite the pallor of his wounds, each one an agony, 
 A ball had carried off his arm, and zigzag passage frayed 
 Into his chest; so wild a rent, that, when it was displayed, 
 I, veteran surgeon that I was, turned white as any maid. 
 
 "There is no hope?" he slowly said, noting my changing cheek; 
 I only shook my head; I dared not trust myself to speak. 
 But in that wordless negative the boy had read his doom, 
 And turned about, as best he could, and lay in silent gloom, 
 Watching the summer sunlight make a glory of the room. 
 
Selections. * 309 
 
 "My little hero!" said a voice, and then a woman's hand 
 Lay, like a lily on his curls: "God grant you self-command!" 
 "Mother!" — how full that thrilling word of , pity and alarm! 
 "You here? my sweetest mother here? " And with his one poor arm 
 He got about her neck, and drew her down with kisses warm. 
 
 "All the long sultry night, when out" (he shuddered as he said) 
 "On yonder field I lay among the festering heaps of dead, 
 With awful faces close to mine, and clots of bloody hair, 
 And dead eyes gleaming through the dusk with such a rigid stare: 
 Through all my pain, O mother mine, I only prayed one prayer. 
 
 "Through all my pain (and ne'er I knew what suffering was before) 
 1 only prayed to see your face, to hear your voice, once more; 
 The cold moon shone into my eyes, — my prayer seemed all in vain." 
 "My poor deluded boy!" she sobbed; her mother-fount of pain 
 Overflowing down her darkening cheeks in drops like thunder-rain. 
 
 "Accursed be he whose cruel hand has wrought my son such ill!" 
 The boy sprung upright at the word, and shrieked aloud, "Be still! 
 You know not what you say. O God ! how shall I tell the tale ! 
 How shall I smite her as she stands!" And with a moaning wail 
 He prone among the pillows dropped, his visage ashen pale. 
 
 "It was a bloody field," he said, at last, like one who dozed; 
 
 "I know not how the day began; I know not how it closed. 
 
 I only know we fought like fiends, begrimed with blood and dust. 
 
 And did our duty to a man, as every soldier must; 
 
 And gave the rebels ball for ball, and paid them thrust for thrust. 
 
 "But when our gallant general rode up and down the line, 
 The sunlight striking on his sword until it flashed like wine, 
 And cried aloud (God rest his soul!) with such a cheery laugh: 
 'Charge bayonets, boys! Pitch into them, and scatter them like chaff !' 
 One half our men were drunk with blood, and mad the other half. 
 
 "My veins ran fire. O heaven! hide the horrors of that plain! 
 We charged upon the rebel ranks and cut them down like grain. 
 One fair-haired man ran on my steel, — I pierced him through and 
 
 through ; 
 The blood up spurted from his wound and sprinkled me like dew. 
 'Twas strange, but as I looked, I thought of Cain and him he slew. 
 
 "Some impulse moved me to kneel down and touch him where he fell: 
 I turned him o'er, — I saw his face, — the sight was worse than hell! 
 There lay my brother — curse me not! — pierced by my bayonet!' 
 
310 Elements of Expression, Vocal and Physical 
 
 — O Christ! the pathos of that cry I never shall forget, — 
 Men turned away to hide their tears, for every eye was wet. 
 
 "And the hard-featured woman-nurse, a sturdy wench was she, 
 
 Dropped down among us in a swoon, from very sympathy. 
 
 — "I saw his face, the same dear face which once (would we had died 
 
 In those old days of innocence!) was ever by my side, 
 
 At board or bed, at book or game, so fresh and merry-eyed. 
 
 "And now to see it white and set, — to know the deed was mine! 
 
 A madness seized me as I knelt, accursed in God's sunshine. 
 
 I did not heed the balls which fell around us thick as rain, 
 
 I did not know my arm was gone; I felt nor wound nor pain! 
 
 I only stooped and kissed those lips which ne'er would speak again. 
 
 "Oh, Louis! (and the lad looked up and brushed a tear aside) 
 "Oh, Louis, brother of my soul! my boyhood's fearless guide! 
 By the bright heaven where thou stand'st, — by thy big-hearted faith, — 
 By these the tears our mother sheds, — by this my failing breath, 
 Forgive me for that murderous thrust that wounded thee to death. 
 
 "Forgive me! I would yield my life, to give thee thine, my brother! 
 What's this? Don't shut the sunlight out; I cannot see my mother! 
 The air blows sweet from yonder field! Dear Lou, put up your sword. 
 Let's weave a little daisy-chain upon this pleasant sward — " 
 And with a smile upon his mouth, the boy slept in the Lord. 
 
 {Eleanor C. Donnelly) 
 
 Xtttle^im 
 
 The cottage was a thatched one, the outside old and mean, 
 But all within that little cot was wondrous neat and clean; 
 The night was dark and stormy, the wind was howling wild, 
 As a patient mother sat beside the death-bed of her child: 
 A little worn-out creature, his once bright eyes grown dim: 
 It was a collier's wife and child, they called him little Jim. 
 
 And ohi to see the briny tears fast hurrying down her cheek, 
 As she offered up the prayer, in thought, she was afraid to speak, 
 Lest she might waken one she loved far better than her life; 
 For she had all a mother's heart, had that poor collier's wife. 
 With hands uplifted, see, she kneels beside the sufferer's bed, 
 And prays that He would spare her boy, and take herself instead. 
 
Selections. 3 1 1 
 
 She gets her answer from the child: soft fall the words from him: 
 
 "Mother, the angels do so smile, and beckon little Jim; 
 
 I have no pain, dear mother, now, but, oh ! I am so dry, 
 
 Just moisten poor Jim's lips again, and, mother, don't you cry." 
 
 With gentle, trembling haste she held the liquid to his lips; 
 
 He smiled to thank her, as he took each little, tiny sip. 
 
 "Tell father, when he comes from work, I said good-night to him, 
 And, mother, now I'll go to sleep." Alas! poor little Jim! ' 
 She knew that he was dying; that the child she loved so dear 
 Had uttered the last words that she might ever hope to hear. 
 The cottage door is opened, the collier's step is heard, 
 The father and the mother meet, yet neither speak a word. 
 
 He felt that all was over, he knew his child was dead, 
 He took the candle in his hand, and walked toward the bed; 
 His quivering lips gave token of the grief he'd fain conceal, 
 And see, his wife has joined him — the stricken couple kneel; 
 With hearts bowed down by sadness, they humbly ask of Him 
 In heaven once more to meet again their own poor little Jim. 
 
 (Miss A. 0. Briggs) 
 
 Zbe Convict'e Gbristmas JEvc 
 
 The term was done; my penalty was past; 
 I saw the outside of the walls at last. 
 When I left that stone punishment of sin, 
 'Twas 'most as hard as when I first went in. 
 It seemed at once as though the swift- voiced air 
 Told slanderous tales about me everywhere; 
 As if the ground itself was shrinking back 
 For fear 'twould get the Cain's mark of my track. 
 
 Men looked me over with close, careless gaze, 
 And understood my downcast, jail-bred ways. 
 My hands were so grime-hardened and defiled. 
 I really would'nt have dared to pet a child; 
 If I had spoken to a dog that day, 
 He would have tipped his nose and walked away; 
 The world itself seemed to me every bit 
 As hard a prison as the one I'd quit. 
 
312 Elements of Expression, Vocal and Physical. 
 
 So I trudged around appropiately slow 
 
 For one with no particular place to go. 
 
 The houses scowled and stared as if to say: 
 
 "You jail-bird, we are honest; walk away!" 
 
 The factory seemed to scream when I came near, 
 
 "Stand back! unsentenced men are working here!" 
 
 And virtue had th' appearance all the time 
 
 Qf trying hard to push me back to crime. 
 
 It struck me strange, that stormy, snow-bleached day, 
 
 To watch the different people on the way, 
 
 All carrying bundles, of all sorts of sizes, 
 
 As carefully as gold and silver prizes. 
 
 Well-dressed or poor, I could not understand 
 
 Why each one hugged a bundle in his hand. 
 
 I asked an old policeman what it meant. 
 
 He looked me over with eyes shrewdly bent, 
 
 While muttering in a voice that fairly froze: 
 
 "It's cause to-morrow's Christmas, I suppose." 
 
 And then the fact came crashing over me, 
 
 How horribly alone a man can be. 
 
 I don't pretend what tortures yet may wait 
 
 For souls that have not run their reckonings straight; 
 
 It isn't for mortal ignorance to say 
 
 What kind of night may follow any day; 
 
 There may be pain for sin some time found out 
 
 That sin on earth knows nothing yet about; 
 
 But I don't think there's any harbor known 
 
 Worse for a wrecked soul than to be alone. 
 
 So evening saw me straggling up and down 
 
 Within the gayly-lighted, desolate town, 
 
 A hungry, sad-hearted hermit all the while, 
 
 My rough face begging for a friendly smile. 
 
 Folks talked with folks in new-made warmth and glee. 
 
 But no one had a word or look for me; 
 
 Love flowed like water, but it could not make 
 
 The world forgive me for my one mistake. 
 
 An open church some look of welcome wore; 
 I crept in soft, and sat down near the door. 
 I'd never seen, 'mongst my unhappy race 
 So many happy children in one place; 
 
Selections. 313 
 
 I never knew how much a hymn could bring 
 From heaven, until I heard those children sing; 
 I never saw such sweet-breathed gales of glee 
 As swept around that fruitful Christmas-tree. 
 
 You who have tripped through childhood's merry days 
 With passionate love protecting all your ways, 
 Who did not see a Christmas-time go by 
 Without some present for your sparkling eye, 
 Thank God, whose goodness gave such joy its birth, 
 And scattered heaven-seeds in the dust of earth! 
 In stone-paved ground my thorny field was set; 
 I never had a Christmas present yet. 
 
 Just then a cry of "Fire" amongst us came; 
 The pretty Christmas-tree was all aflame; 
 And one sweet child there in our startled gaze 
 Was screaming, with her white clothes all ablaze. 
 The crowd seemed crazy-like, both old and young, 
 And very swift of speech, though slow of tongue. 
 But one knew what to do, and not to say, 
 And he a convict, just let loose that day. 
 
 I fought like one who deals in deadly strife; 
 
 I wrapped my life around that child's sweet life; 
 
 I choked the flames that choked her, with rich cloaks, 
 
 Stol'n from some good but very frightened folks; 
 
 I gave the dear girl to her parents' sight, 
 
 Unharmed by anything excepting fright; 
 
 I tore the blazing branches from the tree; 
 
 And all was safe, and no one hurt but me. 
 
 That night, of which I asked for sleep in vain — 
 
 That night, that tossed me round on prongs of pain, 
 
 That stabbed me with fierce tortures through and through, 
 
 Was still the happiest that I ever knew. 
 
 I felt that I at last had earned a place 
 
 Among my race, by suffering for my race; 
 
 I felt the glorious facts wouldn't let me miss 
 
 A mother's thanks — perhaps a child's sweet kiss; 
 
 That man's warm gratitude would find a plan 
 
 To lift me up, and help me be a man. 
 
 Next day they brought a letter to my bed. 
 I opened it with tingling nerves and read: 
 
314 Elements of Expression, Vocal and Physical. 
 
 "You have upon my kindness certain claims 
 For rescuing my young child from the flames; 
 Such deeds deserve a hand unstained by crime; 
 I trust you will reform while yet there's time. 
 The blackest sinner may find mercy still. 
 (Inclosed please find a thousand dollar bill.) 
 Our paths of course on different roads must lie; 
 Don't follow me for any more. Good-bye." 
 
 I scorched the dirty rag till it was black; 
 
 Inclosed it in a rag and sent it back. 
 
 That very night I cracked a tradesman's door. 
 
 Stole with my blistered hands ten thousand more, 
 
 Which next day I took special pains to send 
 
 To my good, distant, wealthy, high-toned friend, 
 
 And wrote upon it in a steady hand, 
 
 In words I hoped he wouldn't misunderstand: 
 
 "Money is cheap, as I have shown you here, 
 
 But gratitude and sympathy is dear. 
 
 These rags are stolen — have been — may often be; 
 
 I trust the one wasn't that you sent to me. 
 
 Hoping your pride and you are reconciled — 
 
 From the black, sinful rescuer of your child/ ' 
 
 I crept to court — a crushed, triumphant worm — 
 
 Confessed the theft, and took another term. 
 
 My life closed, and began; and I am back 
 
 Among the rogues that walk the broad-gauged track 
 
 I toil 'mid every sort of sin that's known; 
 
 I walk rough roads— but do not walk alone! (Carleton) 
 
ALPHABETICAL INDEX. 
 
 Page 
 
 Action 10 
 
 Cicero on 10 
 
 Quintilian on -10 
 
 St. Francis of Sales on . . . 1 1 
 
 Anticlimax 16 
 
 Articulation 25 
 
 Barber on 25 
 
 Exercises in 28 
 
 Attitude 13 
 
 First 16 
 
 Second 18 
 
 Third 21 
 
 Fourth 22 
 
 Breathing 1 
 
 Exercises in 3 
 
 Kofler on 2 
 
 Correct Mode of 1 
 
 Clasped Hand 132 
 
 Climax 167 
 
 Clinched Hand 132 
 
 Consonants, Table of 27 
 
 Delsarte's Laws 75 
 
 Diphthongs, Table of 26 
 
 Elementary Sounds, Table of 26 
 
 Emotions, Cultivation of . . . . 54 
 
 Emphasis 152 
 
 Modes of 158 
 
 Observations on 164 
 
 Rules for 155 
 
 Excited Position 17 
 
 Eyes 174 
 
 Page 
 
 Nine Attitudes of 174 
 
 in Reading 174 
 
 Force as a Mode of Empha- . 
 
 sis 159 
 
 Definition of 59 
 
 Degrees of 64 
 
 Forms of 60 
 
 Judicious Use of 70 
 
 Dr. Rush on 59 
 
 Gesture, Definition of 54 
 
 Delsarte's Laws of 75 
 
 Planes of 122 
 
 Gestures of Different Mem- 
 bers 171 
 
 Hand, Quintilian on 171 
 
 Head 171 
 
 Attitudes of . 171 
 
 Ictus 124 
 
 Index Hand 131 
 
 Inflexion 88 
 
 Circumflex 90 
 
 Falling 90 
 
 Rising 88 
 
 As a Mode of Emphasis . . 161 
 
 Law of Altitude 77 
 
 of Duration 76 
 
 of Force 77 
 
 of Opposition 75 
 
 of Succession 75 
 
 of Velocity 76 
 
 Members, Gesture of different 171 
 
Page 
 
 Military Position 22 
 
 Mouth 176 
 
 Notation of Gesture 122 
 
 Pause 178 
 
 Csesural 193 
 
 Final 193 
 
 Influence of 178 
 
 Rules for 180 
 
 Personation 199 
 
 Pitch 79 
 
 High 80 
 
 Low 83 
 
 Middle 82 
 
 Planes of Gesture 122 
 
 Poetic Reading 188 
 
 Metre or feet 1 90 
 
 Position 13 
 
 Unexcited 13 
 
 Excited 17 
 
 Page 
 
 Military 22 
 
 of Fingers 124 
 
 Prone Hand 128 
 
 Pronunciation 51 
 
 Quality 98 
 
 Aspirate 109 
 
 Falsetto 116 
 
 Guttural . . . . 112 
 
 Orotund 106 
 
 Pectoral 114 
 
 Pure 100 
 
 Relaxation, Exercises in ... . 56 
 
 Rhythm 188 
 
 Supine Hand 124 
 
 Time as a Mode of Emphasis 158 
 
 Tone Color 206 
 
 Examples of 207 
 
 Unemphatic Words 167 
 
 Vertical Hand 129 
 
INDEX TO SELECTIONS 
 
 Page 
 
 Selections 217 
 
 A Night in June, M. F. Egan 217 
 
 Speech before the Virginia Convention, . .Pat. Henry 218 
 
 Rienzi's Address to the Men of Rome, . . Mitford 220 
 
 A Death, Ryan 221 
 
 Marc Antony's Oration, Shakespeare 223 
 
 Break, break, break, Tennyson 225 
 
 The Church (Part I. & II.), Macaulay 226 
 
 Soggarth Aroon, Banim 228 
 
 Spartacus to the Gladiators, E. Kellogg 229 
 
 My Beads, Ryan 231 
 
 Before Vicksburg, Anon 232 
 
 Quarrel Scene from Julius Caesar, Shakespeare 233 
 
 At Last, Ryan 237 
 
 Regulus to the Roman Senate, Anon 238 
 
 Erin's Flag, Ryan 240 
 
 Marc Antony's Apostrophe to Caesar's Body, Shakespeare 242 
 
 The Sword of Robert Lee, Ryan 243 
 
 William Tell on the Alps, Knowles 244 
 
 The Surrender of Calais, Mrs. Embury 246 
 
 Enoch Arden, Tennyson 248 
 
 A Legend, Ryan 250 
 
 Marco Bozzaris, Halleck 252 
 
 The Battle Storm, Shakespeare 252 
 
 Character of Napoleon Bonaparte, Phillips 253 
 
 Homeless, A. A. Procter 255 
 
Page 
 
 Hotspur's Death, Shakespeare 256 
 
 The Gheber's Glen, Moore 259 
 
 Cassius Inciting Brutus to Conspiracy, . . Shakespeare 260 
 
 Wolsey's Advice to Cromwell, Shakespeare 264 
 
 The Drunkard's Death, Rev. A. Young, C.S.P. . . 267 
 
 Scene from Merchant of Venice, Shakespeare . 269 
 
 The Condition of Ireland, T. F. Meagher 270 
 
 Gualbert's Victory, E. C. Donnelly 271 
 
 William Shakespeare, M. F. Egan 273 
 
 Arnold Winkelried, Montgomery 274 
 
 Cato's Soliloquy on Immortality, Addison 275 
 
 The Famine, Longfellow 276 
 
 Sempronius' Speech of War, Addison 281 
 
 The Demon of the Fire, E. A. Foe 281 
 
 Portia's Plea for Mercy, Shakespeare 284 
 
 Toussaint L'Ouverture, W. Phillips 284 
 
 Scene in a Madhouse, . . Lewis 287 
 
 Bxcelsior, Longfellow 289 
 
 Lincoln's Gettysburg Address 290 
 
 The Passing of the Rubicon, Knowles 291 
 
 Ivry, Macaulay 292 
 
 The Battle of Warsaw, Campbell 294 
 
 Horatius, Macaulay 295 
 
 The Priest's Leap, Sullivan 302 
 
 Bernard Del Carpio, Mrs. Hemans 304 
 
 The Raven, E. A Poe 305 
 
 The Old Surgeon's Story, E. C. Donnelly 308 
 
 Little Jim, A. 0. Briggs 310 
 
 The Convict's Christmas Eve, Carieton 311 
 
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