Class_P.N4-l.U_ Book—JB-lASl Copyright N° COPYRIGHT DEPOSIT. i^IK KEY TO EXPRESSION. FRANCIS JOSEPH BROWN, Principal of the Southern Normal School of Oratory, Bowling Green, Ky. MIRIAM WILLIAMS BROWN, Teacher of Elocution and Oratory in Hamilton College, Lexington, Ky. nashville, tenn.: Gospel Advocate Publishing Company. 1901. THE LIBRARY OF CONGRESS, Two Cot-ita Received OCT. 28 1901 Copyright entry CLASS O/XXc NO COPY 3. Copyright, 1901, by Francis Joseph Brown and Miriam Williams Brown. PREFACE!. The present treatise is a product of the authors' expe- rience in the classroom and on the platform. Its design is fourfold — viz., (1) to stimulate the student to independent thought, (2) to broaden his knowledge, (3) to deepen his sympathies, and thus (4) to elevate the standard of the elocutionary art. Many persons begin the study of elocution with the im- pression that they have no thinking to do; that some one else has thought out everything for them ; and that, there- fore, they have only to follow instructions. This is a great mistake. No study is more comprehensive than that of expression, for it is the study of human nature in its infin- ite variety of manifestations. A knowledge of expression, it may be truly said, must be conditioned by one's knowl- edge of human nature, for the evolution of oratory moves on parallel lines with the evolution of man. Of all the subjects which a student pursues in acquiring an educa- tion, that which causes him to think, to create new ideas, which gives him a higher ideal of life, is the one which is most beneficial both to himself and to those with whom he comes in contact. To express greatness is to be great. In order to advance toward greatness, one has to recognize his personal limitations and defects, endeavor to overcome them, and to conform to an ideal t}'pe. As an aid to broadening the sympathies, a diagram to illustrate the operations of the mind or soul has been given. In order that the student may more easily discriminate between the various phases of the operations of the mind 4 Preface. and to help him to determine the right use of each, there are given brief explanations taken from Webster, Crabb, and other authorities. In some cases it has been necessary to make alterations by way of addition or omission in or- der to make the explanations at once clear and such as should naturally come within the limits of the present work. The subdivisions of the operations of the mind given here do not, of course, cover all the passions, feelings, thoughts, etc., of which. the mind is capable; but a large number of those which occur most frequently are given in the hope that they will be sufficient to materially aid the student, and that, having studied these, he will be en- couraged to investigate further for himself and to aim al- ways at accuracy of expression. The work is so arranged that, by studying the diagram and selecting from the fol- lowing exercises those which correspond to the operations of the mind, the student can easily ascertain his strong and weak points, not only in voice and gesture, but also in mental and moral development. This knowledge will be valuable to the instructor, for he cau so direct his students as to develop not merely their talents, but their entire na- ture. The examples have been left unclassified under the subdivisions in order to give the much-needed practice of discrimination. The study of short examples has a great advantage over the method of beginning with lengthy se- lections, as it concentrates the attention on a particular phase of thought. Much valuable time is thus gained. A careful study of short examples disciplines the mind to analyze readily and to adapt itself to the ever-varying shades of thought and feeling, making a preparation of reading comparatively easy. Two persons having exactly the same requirements are seldom or never founds This every teacher worthy the Preface. 5 name knows. "The Key to Expression" is arranged in such a way a.s to enable the teacher to select work that will assist the pupil in overcoming his defects as well as strengthen his natural bent. If he lacks the power of sympathy or the faculty of humor, that is all the greater reason why he should try to cultivate them. There always will be one line of work which he can do better than any other; as regards public delivery, it may be well to restrict himself to this. But the tendency is to attempt no other class of reading than that corresponding to the reader's individual development. This tendency should not be yielded to. If the student should never be able to read other styles well enough to give them before the public, there is no reason why he should not try to develop along other lines than his own specialty. Such an effort will, at the least, help him to appreciate the reading of others. This in itself adds to the pleasure of life, besides strengthening his char- acter and exercising a beneficial effect on his particular kind of work. The art of expression, in its highest sense, requires the broadest culture and sympathy. We must learn from study and observation to go beyond our per- sonal experience, to think thoughts and feel sentiments to which before we were strangers; otherwise our work must always be limited and narrow. It is not sufficient to be able to act or read with the " simplicity and uncon- sciousness of a child " nor with " the naturalness of ordi- nary conversation." These principles may serve in a de- gree to overcome a stilted and unnatural expression, but they are not the final test of art. Our ideals are ever be- yond us, and are never embodied in any class of individuals. As we progress, so do our ideals become higher. Care has been taken to select only such examples and readings as represent the best in our literature. It is hoped o Preface. that by this means " The Key to Expression " will be of value in cultivating among students a taste for pure lit- erature and pure thoughts, and thus to elevate the standard of public reading. In time past too much attention has been given in schools and colleges to prepare pupils to make a show at commencement and other public occasions. It is hoped that a new era is at hand in which true prog- ress will be made the object of the art, instead of using the art as a means to gratify vanity. TABLE OF CONTENTS. PAGE The Study of Elocution V A Plea for Sincerity 12 The Speaking Voice 14 Volume 14 Quality 16 Force 16 Rate of Utterance 18 Monotony 19 The Adaptation of Sound to Sen^e 20 Compass 21 Regarding the Use of the Vowel Scale 21 Vowels 22 Consonants 31 Union Sounds 34 Exercises in Articulation 3*7 Words Commonly Mispronounced 44 Physical Culture 48 Gesture 58 Analysis 92 Operations of the Mind or Soul in Expression 100 Operations of the Emotions 101 Operations of the Affections 102 Operations of the Sentiments 103 Operations of the Intellect 104 Operations of the Will 105 Definitions of the Emotions 106 Definitions of the Affections 119 Definitions of the Sentiments 129 Definitions of the Intellect . .*. 137 Definitions of the Will 149 Examples of the Emotions L58 Examples of the Affections 192 Examples of the Sentiments 230 Examples of the Intellect 252 Examples of the Will 293 THE STUDY OF ELOCUTION. Before beginning the study of any subject it is but rea- sonable to consider the benefits of its acquirement — not what it is worth in dollars and cents, but in physical, moral, and intellectual development. The only true yalue we can place on education is the increase of power it gives us to help others. All knowledge acquired with such an end in view is elevating and ennobling, and is a blessing not only to the individual, but to the people with whom he comes in contact. Knowledge gained with the purpose of using it for selfish ends, for the position it will give in so- ciety, or for the money it will bring, is a false education, which has a detrimental effect on the individual and all who come within his influence. Considered from a standpoint of health only, elocution is well worthy of our attention. As a means of strengthen- ing and developing the body, especially tbe lungs, there is no exercise more healthful, and for this reason it is often recommended by physicians to people suffering from pul- monary troubles. It is of almost equal value to the pro- fessional or business man. Whether in social or business life, the awkward person, with a high, shrill voice or thick, fat tones, indistinct enunciation, incorrect or slovenly ar- ticulation, is unable to compete with one who has a grace- ful presence; clear, musical voice; and good articulation. There can be no doubt that there are many talented people who are unknown even in their own communities, simply because they lack the power to express themselves. The measure of one's ability to express the good that is in 8 Key to Expression. him, thereby moving others to higher thinking and living, is the measure of his value to society. Speech has always been the great molder of public opinion, and " to-day, as ever, eloquence is universal queen." Knowledge, it is said, is power. That saying is true just in proportion as a man has the ability to apply his knowledge. This is shown by the fact that a man of ordinary attainments, who has learned the art of " making the most " of what he knows, invariably takes precedence over the man of wider culture and deeper education who has not acquired this art. Who can estimate the power of the individual who is able to give his knowledge its most potent expression in speech and action? Quintilian said: "An indifferent discourse well delivered is better received by a popular audience than a good discourse badly delivered." Formerly the study of expression was much neglected in our schools and col- leges, but we are learning to appreciate Quintilian's asser- tion, and to-day a well trained voice and a healthy, re- sponsive body are conceded to be quite as necessary in a practical education as a highly developed intellect. Speaking of the value of the study of oratory, Prof. John Stewart Blackie, of Edinburgh University, said: "A most important matter for every young man is the art of a pol- ished, pleasing, and effective expression in public speak- ing. The great thing is to begin early and avoid the mis- take that so many cultured men make in these days in their public speaking, which is less eloquent than that of the most untutored savage. Accomplished speaking is an art for which a master of elocution and special training are necessary." " The attempt to speak in public without pre- vious training," says Sir Morrel Mackenzie, " is like try- ing to climb the Matterhorn without preparation, and is just as sure to end in failure, if not disaster." He further Key to Expression. 9 says : " I am persuaded that if there were a thoroughly- qualified instructor in elocution in every school, our noble English tongue would lose its undeserved evil reputation for harshness of sound, much torture would be spared the general ear, much weariness to our auditory nerves (un- naturally strained to catch the sense drowned in a stream of half -articulate gabble), and much suffering would be saved to throats ruthlessly stretched and cramped and in every way abused in the fierce struggle to deliver the mes- sage which the speaker has in him." These opinions from two such eminent men serve to show the place that this study holds in the judgment of educated people. To no class of men and women is a training in the art of delivery of more importance than to teachers, lawyers, and clergymen. The ordinary intelligent person, with a well trained voice and a practical knowledge of the laws of delivery, is sure of success, while fear and failure are the constant companions of those who rely on untrained pow- ers. The old idea that the study of elocution makes one unnatural is fast disappearing. True, the old methods of teaching expression were mechanical, and in many cases the student was injured more than benefited. In no de- partment of education has more rapid progress been made in recent years than in the art of expression. By mod- ern methods the student is able to acquire in a few months a more practical knowledge than under the old systems was possible in years of labor. Instead of being hampered by mechanical rules, he is taught to think and to act for hiim self; to understand and obey, not arbitrary rules, but nat- ural laws. He is' guided by principle, not by opinion. In proportion as the student is free from the bondage imposed by self-consciousness he becomes easy, natural, and forci- ble in his delivery. 10 Key to Expression. We have begun to understand that true education is not a process of cramming the mind with facts ; but, as the word suggests, is a drawing out and developing of all the faculties which are latent in man. Elocution has to do with the development of those powers which enable one to express the truths which his awakened faculties, have made it possible for him to perceive. Every one possesses this expressive power to some degree. Some have the art of being good conversationalists; some, the art of reading; some, of acting, lecturing, or oratory. There is no rea- son why each should not develop his talent and bring it as near to perfection as possible. As it is in childhood that incorrect habits of speech are formed, habits which the adult often spends months, and sometimes years, in overcoming, it is in childhood that the study of elocution should be begun. Let a child bo taught in its infancy to speak distinctly and correctly, and half the difficulty the adult now has to contend with will disappear. The Greeks understood the importance of this^ and at the time when their civilization was at its greatest height they would not intrust the care of their children to those who spoke incorrectly. Even to-day the accent, pronunciation, and modulation of the voice mark the dif- ference between the cultured and the ignorant classes. Students spend much time and labor in seeking to ac- quire a knowledge of foreign languages, both living and- dead. It is well that they should do so. Yet is it not strange that so much time should be spent in this way, when the beauty, grandeur, and power of the spoken Eng- lish language remains, to a large extent, unrecognized? If the students who waste their time securing a smattering of French (for in an astonishingly large number of cases only a smattering is acquired, and is, therefore, of no real Key to Expression. ll value) would spend this time in realizing the possibili- ties of our own language, it would be infinitely more profit- able. Who does not covet a grammatically correct use of English, not simply in order that he may conform to the recognized standards of usage, but because the correct forms are clearer, more forcible, and more euphonious? The power acquired by a correct vocal utterance is quite as marked and important. Another respect in which the study of expression is prof- itable is that it gives a keener insight into literature than is possible from any other training. One of the foremost teachers of the day declares that the most effective way of teaching literature is to read it to the pupils properly. So much can be expressed by the voice that any explanation fails to make clear. This is a mere suggestion of the large field of usefulness that lies open to the scientifically trained reader both in the schoolroom and on the platform. He may lead the masses to appreciate the highest prose and poetry, just as in some countries they appreciate good music because they hear it constantly. Public readers are often heard to complain that audiences care only for being amused or for bombastic rant. If this be the case, whose is the fault ? Are not those readers who have given noth- ing but an inferior class of literature largely responsible for this ? It is a mistake to assume that the masses could not be brought to appreciate something better. The fact that really good readers or actors are applauded, not only by the few, but by the many, proves the pos- sibility of readers successfully presenting the highest class of literature. The elevating influence which the reader may exert is beautifully expressed in Longfellow's lines on hearing Mrs. Kemble read from Shakespeare. The sonnet forms a fitting conclusion to a plea for the study of elocution: 12 Key to Expression. O precious evening, all too swiftly sped, Leaving us heirs to amplest heritages Of all the best thoughts of the greatest sages, And giving tongues unto the silent dead! How our hearts glowed and trembled as she read, Interpreting by tones the wondrous pages Of the great poet who foreruns the ages, Anticipating all that shall be said! O happy reader, having for thy text The magic book, whose Sibylline leaves have caught The rarest essence of all human thought! O happy poet, by no critic vext, How must thy listening spirit now rejoice To be interpreted by such a voice! A PLEA FOR SINCERITY. Sincerity is the first test of greatness. Affectation is the mark of inferiority. The sincere person may not al- ways be great, but the great person is always sincere. Af- fectation is closely connected with hypocrisy. That which impresses the honest person deeply, he will express with conviction, earnestness, and enthusiasm. There is no room for affectation in the person who is deeply moved. The affected person thinks only of himself, and tries to impress his personality on his hearers. To this end he affects to feel that which he does not feel and to be that which he is not. Locke says that affectation is an awkward and forced imitation of what should be genuine and easy, wanting the beauty that accompanies that which is natural. The sin- cere person does not seek to attract attention to his per- sonality. He is absorbed in his endeavors to convey to others that which he believes to be true. He wishes his thoughts, not his personality, to predominate in the minds of his hearers. In proportion as he can make others un- conscious of him, except as a means of expressing thoughts Key to Expression. 13 and sentiments, is he successful as a reader, actor, or speaker. Elocutionists are often accused of being affected, of pos- ing and striking attitudes on the platform. While this cannot be said of the great readers of our day, nor of any day. it assuredly can be said of very many who belong to the mediocrity. Their affectation is not due to the fact that they are elocutionists (for they never had any real love for the art itself), but because they wished to display them- selves; they took up the study of elocution as a. means of attracting the attention of others. With this class gesture is important as a means of showing a pretty arm or pretty rings, and a beautiful dress is more important than a beau- tiful thought. Having nothing to express, they recite words in order to display their charms. They cannot be said to put their personalities before their sentiments, for they have no sentiments, except of the crudest kind. It is impossible for such people to interpret the thoughts of others, for they have none of their own. It is well that those who contemplate a public career should first examine their motives for doing so. Let one satisfy himself that he has something to say and the ability to say it : otherwise, he has no right to claim the time and attention of the public. I. VOICE. THE SPEAKING VOICE Sound and speech are the two greatest means of express- ing thought and emotion. For artistic purposes it is neces- sary that the voice should be cultivated; so that it will con- vey ideas as perfectly as possible. Breath is the material out of which the voice is produced. All voice is made on exhalation, the column of air passing out from the lungs being used for this purpose. The breath, being converted into sound by the vocal chords, fills the pharynx and reverberates through the cavities of the head and chest. This reverberation is called " reson- ance." The exercises in breathing are most beneficial for producing this quality. They not only expand the nasal cavities, but, the muscular system, having gained control of the breath, sends it out in a regular, even stream, thus producing finer and more even vibrations. The most rapid, fts well as the most effective, way to train the voice is to practice the elementary sounds, separately first, then in words, and finally in sentences. To give truly artistic ex- pression, each sound must be properly formed and given its full value in the pronunciation of a word. VOLUME. Physically, the volume of the voice depends upon the size and shape of the mouth and throat, and the amount of breath one can convert into vocality. To acquire physical volume, practice breathing exercises and the vocal exercises given on the following pages. Key to Expression. 15 In studying the organic formation of the sound it will be seen that some vowels have a great deal more vol- ume than others, and that the volume depends solely on their formation, and not on the meaning of the words. The word sun has a comparatively small volume, but a large meaning. Words may have a large or small vol- ume, independent of their meaning. Psychologically, the volume of the voice depends on the amount of meaning conveyed in the utterance of the word. Speakers, as a rule, bring out only a very small proportion of the meaning of the words used. Let the mind be so deeply concentrated on the thought first that- one not only sees and feels it himself, but makes others see and feel it also. To illustrate this, let us take the word ocean. How often is it pronounced in such an insig- nificant manner as to convey no more than the word mill- pond? Whereas the manner in which the word ought to be pronounced should convey all the majesty and grand- eur of the real object and call up these qualities in the mind of the listener. Volume of voice, without meaning, is mere noise. The less meaning in the voice, the noisier it is. These are the voices that one longs to get away from. What is more disagreeable than to hear one playing the piano whose only idea of music is the amount of noise he can make? Yet the same instrument, handled by an artist, gives the great- est delight, not merely because of a mechanical expertness, but because he regulates the tones according to what he wishes to express. In the same way a noisy voice is disa- greeable, because it is sound without meaning. The voice may be made an instrument of expression just in propor- tion as its owner develops mentally. To cultivate the vol- ume of the voice, practice selections containing sentiments of sublimity, beauty, and grandeur. Every thought either 16 Key to Expression. contracts or expands the mind. Vicious thoughts debase the mind ; noble thoughts elevate the mind and give beauty to the voice. As the student tries to give expression to lofty sentiments, he will find his voice developing in volume in proportion to his conception of the thought. The fol- lowing lines illustrate the fact that sublime thought de- velops volume of voice : O thou eternal One, whose presence bright All space doth occupy, all motion guide! Unchanged through Time's all-devastating flight, Thou only God, there is no God beside. QUALITY. There are two main causes that may make the voice pure or impure. One is physical; the other, mental. From a physical standpoint, a pure quality of voice is a result of control of the respiration, so that no more breath is allowed to escape in the production of a tone than is necessary for its formation, and on a perfect cooperation of the vocal and articulatory organs ; from a mental standpoint, a pure qual- ity of voice is the result of pure thought. To have a grand voice, one must express grand thoughts. Mean, low, and vicious thoughts make the voice coarse, harsh, and cramped. The cultivation of the voice is inseparable from the cul- tivation of lofty sentiment. Vocal gymnastics, though helpful in their way, do not constitute vocal culture. Quality is to the voice what character is to the individual. FORCE. Owing to the difference in the formation of words, some require more force or energy to pronounce them than oth- ers. Those that have broad, open sounds, such as the Key to Expression. i 1 words broad, rock, etc., require more energy than such words as sin, dear, little, etc. Between physical force and mental force one should care- fully distinguish. The force of expression should be gov- erned by sentiment. It is only physical passions, such as anger, jealousy, vanity, etc., that are expressed by phys- ical force. Depth of feeling is in inverse ratio to physical force. In the interpretation of pathos it is not the loud ranting that is effective, but the quiet intensity of feeling. The people who feel most deeply make the least demonstra- tion of their grief. True grief is subdued in expression even to the extent of shrinking from the gaze of others. Depth of feeling gives depth of expression, not loudness. There is often good reason to suspect the sincerity of those who lament the loudest. The hypocrite loves to be seen praying in public places ; the sincere man enters his closet and shuts the door. One need not proclaim one's sincer- ity; it will be felt without noisy demonstration. Noisy grief is sometimes sincere, but always transient. A child who has lost its mother cries loudly for its loss. Though it is honest for the time being, it soon forgets its grief. The father, who appreciates the loss, bears it without a moan, perhaps ; but the very quietness with which he speaks and acts evinces the greater sorrow. The student should not mistake force for feeling. One of the most common faults of public speakers is the weakening of the voice toward the end of the sentence. This rises from lack of control of the breath. Too many words are uttered on one inspiration ; and as the lungs are emptied, the voice becomes devitalized. To overcome this defect, practice controlling the breath ; first, on words, then on sentences. Nothing will make an audience lose interest in a speaker 18 Key to Expression. more quickly than a lack of vitality. Xo matter how good the thoughts may be or how beautiful the language in which they are couched, if the words lack physical life, one feels as if they were but pallbearers to the thought. RATE OF UTTERANCE. The rate of utterance should be governed by the senti- ment expressed. There are two extremes against which we should guard: one, a wearisome slowness, giving un- necessary prominence to trivial ideas ; the other, a rapidity of utterance which does not give the hearer an opportunity to grasp one idea before another is offered his attention, so that the- hearer is confused, half the ideas not being un- derstood or even heard. The first fault is due to a lack of knowledge of the " eternal fitness of things." To appre- ciate the thought is the only remedy. The last-named fault may have the same cause or may be occasioned by nervousness. If the latter be the case, time and practice will overcome the difficulty. Vocal movement is governed by the same law that gov- erns physical matter. All motion is in proportion to the mass moved. Thoughts are things, and have their differ- ent degrees of density the same as material objects. Ex- treme grief will bend the body the same as a weight placed upon the shoulders. Light thoughts give a light, tripping movement of the voice; profound thoughts give a slow movement, with intensity in proportion to their depth. One would naturally dwell on such ideas as are implied in the words grandeur, strength, love, awe, because one's full conception of them is ever beyond his power of expression. Such sentiments as gladness, surprise, fear, will naturally take a rapid rate of utterance. Aside from the thought itself, the speaker's knowledge of it will govern his rate of utterance. Key to Expression. 19 No better lesson in reading could be found than the fol- lowing lines from Pope's " Essay on Criticism : " 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. MONOTONY. There is no more common fault among speakers, readers, and actors than that of monotony. No one is quite free from it. The fact that day after day there is a sameness in man's business or profession tends to manifest itself to a greater or less degree in his speech and actions. So marked is this in certain vocations that when we meet the people we can almost tell to what profession they belong. Monotony is one of the greatest foes of effective speaking. Sometimes it is mistaken for character. The truth is, the greater strength of character one has, the less likely he is to be monotonous. Do we not see this in the writings of great men, who show both character and variety of ex- pression? No one would say Tennyson or Shakespeare is monotonous, though their style shows character; yet one might go to see a Shakespearean play that might prove monotonous. The grandest literature may be spoken with a sameness that kills the spirit behind it. This fault is caused by an inability to change rapidly from one sentiment to another or from one shade or degree of sentiment to a higher or heavier one. It is this state of mind that gives rise to personal hobbies. Qne phase of life is made more important than all others and given an un- due prominence. Readers very frequently get a general idea of a sentiment and fail to perceive the various shades which really constitute the beauty of it. It is the light 20 Key to Expression. and shadow of the voice that show the artist, just as much as the light and heavy stroke of the pencil show the artist. Too much color of one kind spoils the effect in a picture. The same is true of reading. One who is able to analyze and appreciate the finest shades of thought and feeling, whose expression is not hampered by any vocal or physical defect, will never be tiresome. THE ADAPTATION OF SOUND TO SENSE. No one can appreciate the beauty and power of the Eng- lish language without seeing how wonderfully the sounds are adapted to the sense of the words in which they are found. A few examples will illustrate this correspond- ence of sound and meaning. The combination of sounds in the word mist, the m followed by short i, the s followed by t, combine in sound to suggest the appearance which the word conveys. In the word hot the aspirate h, followed by the short o and the explosive t, makes us realize the heat. The meaning of harmony is conveyed in the harmonious combination of sounds that make up the word. In the word rock there are the r, short o, and k, which, combined, give that strength to the word which the object suggests. The following words will more fully exemplify the adap- tation of sound to sense without further explanation : sun, splendor, glory, silver, violet, diamond, blue, jewel, melody, throb, organ, break, wretch, rush, roar. It will readily suggest itself to any one that the explosive consonants and short vowels represent one class of ideas, and that the long vowels and union sounds represent a dif- ferent class. The word violet, as commonly pronounced vi-let, has lost the sound and sense connection; but pro- nounce it properly, vi f o-let, and the beauty, freshness, and delicacy of the flower is retained in the word. When the Key to Expression. 21 word diamond is pronounced correctly, di'a-mond, one can see the sparkle and elegance of the jewel, which are lost when the word is pronounced di-mund. Letters are much more significant than we imagine. As Ruskin pointed out, it is suggestive that we speak of a lit- erary man as a man of letters, not as a man of words. It could hardly be said that this adaptation of sound to sense is perfect, yet it is such that it makes the English language wonderfully expressive. COMPASS. Long e and broad a stand at opposite ends of the vowel scale, and govern the compass of the voice. All other vow- els take their place according to their degree of volume, the more closed vowels having less volume, and conse- quently being higher than the more open ones. It should not be understood from what has been said above that by acquiring a proper formation of the vowels, every one would have the same compass of voice. As the vocal anatomy of one person differs from that of another, the compass or range of voice must differ; but any voice can produce its highest- pitch on long e and its lowest on broad a. REGARDING THE USE OF THE VOWEL SCALE. The study of all art should be preceded by the study of all the laws and principles which underlie it. Certain me- chanical practice is essential to fit one for expressing ideas. It is necessary for the pianist to gain control of his hands before he can hope to make the tones of the piano express emotions and sentiments. There are persons who never go beyond the first stage to whom the most beautiful music is merely a mechanical exercise. For this defect neither 22 Key to Expression. the teacher nor the art can be blamed. The singer or reader finds it necessary to have control of the voice and body before he can express his thoughts and feelings clearly and artistically. As a, means of gaining control of the voice, the vowel scale has been given. There are some, no doubt, who will object to it as being mechanical. Like the exercises that are necessary for the pianist, the vocal scale is useful to the reader or speaker in gaining control of the organs of speech. Years of experience in the classroom have convinced the authors of its value. It is no more mechan- ical to form the voice sounds properly than it is to learn to pronounce words properly. It would be deemed absurd to object to learning the correct pronunciation of words or a grammatical use of English on the ground that such knowl- edge would make the speaker self-conscious and unnatural. It is equally absurd to argue that learning to form the voice sounds correctly will interfere with individuality of expression. Like learning to walk, it requires attention at first, but, when acquired, is done without conscious ef- fort. When one has gained control of the voice, it is no longer necessary to think of the means whereby the control was acquired : on the contrary, when proper habits are es- tablished, the mind should then be directed to the thought to be expressed. VOWELS. In the evolution of sound into speech the vowels are the first of the elementary sounds to be formed. There is no definite time or order in their development, as their forma- tion depends largely upon the mental and physical condi- tion of the child. In training the voice the open vowels should be the first exercises. Children always form the open vowels first. Infants laugh and cry with the mouth Key to Expression. ^3 wide open. At a later period of development a change takes place in the formation of the vowels ; the mouth closes on the vanish of the sound, with the exception of the short vowels, a, e, i, o, u, which are explosives. The first period shows a development more of the phys- ical than the intellectual life of the child. Its feelings, like those of the lower animals, are shown through what might be called the tone color of the vowel sounds. They are high or low, loud or soft, depending on its physical condi- tion. THE IMPORTANCE OF THE VOWEL SOUNDS. Vowels are to words what verbs are to sentences; they are the backbone of the language. There cannot be a word without a vowel any more than there can be a sentence without a verb. The proper formation and placing of the vowels in their relation to one another and to other ele- mentary sounds govern the modulation of the voice. The first step in vocal culture is to thoroughly mastei- the organic formation of all the elementary sounds. As the removal of all defects of speech depends on this step, its importance cannot be overestimated. FORMATION OF THE VOWELS. The vowel sounds are made solely in the larynx. This fact cannot be too strongly emphasized at the beginning. It is sometimes supposed that they should be formed with the articulatory organs. It is possible to do this, and the fact that it is possible has given rise to many absurd the- ories. There is considerable variation in the formation of the vowel sounds. Some are very large and open, as long o in the word old, and broad a, as in the word all. Some are small and closed, like long e in the word seen and short 24 Key to Expression. i in the word in. In the formation of the smallest vowels the larynx is in its highest position, and in the formation of the largest vowels it is in its lowest position. Pro- nounce the words seen and awe. It will be noticed that in the former the larynx is highest, and that it is lowest on the latter. Long e and broad a stand at the opposite ends of the vowel scale, and, in regard to the formation of sounds, constitute the compass not only of the speaking, but of the singing voice. However, the compass of formation should not be confused with the compass of pitch. All the other vowels take their place in the scale according to their volume. The most closed sounds, such as e, u, are highest; and the most open sounds, such as a, o, oi, on, are lowest. There seems to be a great deal of misunderstanding as to the formation of the vowels and the relation they bear to each other. Even among those who speak authoritatively on the matter there is, to say the least, considerable con- fusion. When we are told that short e is often longer in quantity than long e,~we are at a loss to understand the au- thor's meaning. All the short vowels are incapable of pro- longation. Some of them are more abrupt than others, the abruptness being modified by the consonant or union sound that precedes the vowel. For example, the a in cat is more abrupt than in fat, because the k sound which comes before it in the word cat is explosive, while the con- sonant / in the word fat is capable of prolongation. In order to express the meaning of the words containing the short vowels, the vowels have to be pronounced abruptly. To drag or prolong them destroys the expression of the word. It should be carefully borne' in mind that the first exer- cises in the cultivation of the voice should begin, not with Key to Expression. 25 examples in reading, but with the analysis of the sounds that compose speech. Much valuable time is lost by prac- ticing promiscuous examples. After the sounds have been mastered, practice on the selection may begin, but only on selections containing the noblest sentiments. Only grand thoughts can produce a grand voice. •26 Key to Expression. TABLE OF THE VOWEL SOUNDS. The vowels in the table given below are arranged accord- ing to their organic formation. The ability to form the sounds as given in this scale gives the greatest possible com- pass, volume, and melody to the speaking voice. Practice the vowels in the order shown in the diagram, making the compass between e and a as great as possible : Long e as in seen. Coalescent ir ' ' irritate. Short 1 ' in. Coalescent er ' 1 erse. Short e ' ' end. Short 06 " ' took. Short u ' 1 us. Long u. ' ' use. Long 60 ' ' ooze. Coalescent ur ' urge. Long a ' 1 aim. Short a ' 1 am. Coalescent ar ' ' arm. Italian a ' ' alms. Intermediate a ' ' ask. Long i ' ' ire. Long 6 ' ' ore. Coalescent oi ' oil. Short 5 ' odd. Coalescent or ' orb. Coalescent ou ' ' out. Broad a ' ' awe. Key to Expression. 2 Let the stud out write the vowel scale arid apply it to the following words, as shown in the preceding diagram. The value of this practice is that it impresses on the mind the relation the sounds hear to each other : Speech, man, song, ask, bat, fame, large, run, men, light, dark, Tool', was, alms, grasp, band, hind, tip, all, burst, are, the, throne, roll, blue, wide, wealth, thou, state, and, which, slave, poor, my, shall, be, just, his, false, back, no, there, sun, soon, them, reign, bean, hough, cough, laugh, nymph, rhythm, moon, dust, loathe, broad, shape, nigh, years, hour, no w, knell, pulse, drum, pierce, from, world, sat, drop, calm, blast, storm, full, cool, tune, gold, aisle. There is a considerable difference in volume in the words given in the list above. This difference is caused by the vowel in the word. These words have no compass. The following list of words, although containing more than one syllable, are still devoid of compass, because they have the same vowel in each syllable. Like the foregoing list, some of these words have a great deal of volume, and others but little : Infinite, provoke, believe, papa, between, promote, in- vincible, rampant, emblem, advance, limpid, murmur, bon- bon, cocoa, prorogue, twilight, forego, ballad, willing, caval, fungus, sentence. It will be seen that words of two or more syllables, hav- ing the same vowel in each syllable, have no more compass than monosyllables, and that many monosyllabic words, such as all, morn, storm, broad, have more volume than many words of two or more syllables, such as deceive, infin- ite, invincible. Monosyllables have volume, but no compass. Words of two or more syllables, having the same vowel in each syllable, have volume, but not compass. "Words of two or more syllables, having a different vowel in each syllable, may have both compass and volume, these qualities being governed by the vowels in the word. 28 Key to Expression. EXERCISE. WORDS HAVING A DOWNWARD MOVEMENT OF THE VOICE. The words in the following list have a descending vocal movement, the first S}t " pleased st ngd " banged rd i( tittered nkt " banked rdst " tittered'st ngth ' ' length sht " flashed ngths " lengths drs " thunders knst " black'n'st spt " clasped kndst " blacken'd'st nts " plants rm " arm ksts " texts rms " arms rid " curled rmst " arm'st znt " pleasant rmdst " arm'd'st ftst " waft'st fist " trifl'st stst " boast'st fldst " baffl'dst nst " canst rvst " curv'st rbd 1 ' barbed rvdst " curv'd'st nz " irons thst " wreath 'st ngs " lightnings thdst " wreath'd'st fm " seraphim glz ' ' struggles rdst 14 slumber'd'st gist •' struggl'st ftdst " waft'd'st gldst " struggl'd'st fdst " reef d'st ▼1st " drivel' st gld " haggled vldst " drivel 'd'st lz ' • sails bd 1 ' orbed rdz " shepherds bdst " rob'd'st vz " behaves 38 Key to Expression. nkst as in thinkst kt as in attached ptst 1 weptst zmz " spasms mst 1 harm'st nths " months ngst ' wrong 'st ngth " length nkldst 1 twinkl'dst dth " breadth rldz ' worlds mblz " thimbles ks ' sex dst '■ midst kts ' sects tl " battle Pt ' slept psts " tempests ptst ' slept'st Its " bolts St ' crossed knz " tokens sts ' wastes ndst " found'st rts ' deserts vd " loved dl ' bridle vdst " lov'dst did ' bridled ldst ' ' wildest didst • bridl'd'st gd " rugged th ' wreath klz " rascals thd ' wreathed ks " sticks thdst ' wreath' d 'st zth " ariseth kl ' truckle rl " whirl kid ' truckled cht " crouched kldst ' truck P dst ktst " look'dst nd ' reasoned ft " laughed dst ' reason 'dst fdst " laugh'dst nd ' hardened dst " guid'st ndst ' harden 'dst si " whistle thrd ' smothered rb " orb thrdst ' smother 'dst rbd " orb'd rkn " hearken bl " trouble rknd 1 hearkened biz " troubles rkndst ' hearken'dst bid " troubled md ' doomed blst " troubl'st mdst ' ' doom 'dst bldst " troubl'dst pts ' accepts bz " ribs mpt ' prompt bd " robbed bs ' clubs bst " bobb'st vz ' strives bdst " robb'd'st ks ' rocks dl " handle mz ' swims did " handled dz " seeds didst " handl'd'st Key to Expression, 39 EXAMPLES IN ARTICULATION. 1. She uttered a shrill shriek and shrank from the shriveled form. 2. She says she shall sew a sheet. 3. Crazy Craycroft caught a crate of crinkled crabs. 4. Weave the warp and weave the woof. 5. He was formidable, unbearable, intolerable, unman- ageable, and terrible. 6. The crafty creatures crawled in crowds. 7. He sawed six long, slim, sleek, slender saplings. 8. Peter Piper picked a peck of pickled peppers, 9. A tell-tale, tattling termagent that troubled all the town. 10. While summer's rosy wreaths for me are twined, While summer fragrance lingers on the wind. 11. The ship sailed safely over the sea. 12. The cultivated shrubs and plants. 13. I said, " It snows; " not, " Its nose." 14.-. He selected his texts with care. 15. " Go, my son, and shut the shutter." This, I heard a mother utter. " Shutter's shut," the boy did mutter; " I can't shut it any shutter." 16. Hound the rough and rugged rocks the ragged rascals ran. 17. breeze, that waft'st me on my way. 18. This was the most unkindest cut of all. 40 Key to Expression. 19. Thou boast'st of what should be thy shame. 20. Life's fitful fever over, he rests well. 21. Did you say, " On either," or, " On neither? " "An ocean," or, "A notion?'' '22. She sells sea shells. Shall he sell sea shells? 23. Thou waft'st the rickety skiffs over the cliffs. 24. His faults showed him to be false. 25. Shall I prompt you? 20. Thou reef'd'st the haggled, shipwrecked sail. 27. Some shun sunshine. Do you shun sunshine? 28. Thou wept'st for his faults. 29. The stars that twinkled'st in the morning. 30. This act more than all other acts laid the ax at the root of the evil. 31. The old, cold, scold sold a school coal scuttle. 32. The hosts still stand in the strangest plight. 33. Did you say that people of both sex and of any sect might attend the school? 34. It was by chance I heard the chants. 35. I said, " That last still night; " not, " That lasts till night." 36. Not one who had lived and suffered death. 37. Thou wrong's! and harnrst them. 38. A big, black bug bit a big black bear. 39. Here are a few of the unpleasant'st words. 40. Some shrewd contents. 41. The missionary gave them tracts. 42. There were tracts of land and tracks in the snow. 43. He has no sense of justice though he has cents. Key to Expression. 41 44. Conductor, when you receive a fare, Punch in the presence of the passenjare — A blue trip slip for an eight-cent fare, A buff trip slip for a six-cent fare, A pink trip slip for a three-cent fare — Punch in the presence of the passenjare. 45. This strict court of Venice must needs give sentence 'gainst the merchant there. 46. The prince was present when the prints were made. 47. The influence of tens of thousands tends to elevate them. 48. I said, " Mince: " not, " Mints." ,49. Let all the ends thou aim'st at be thy country's, thy God's, and truth's; then if thou fall'st, Crom- well, thou fall'st a blessed martyr. 50. She wept most when the guest lost the highest-priced lace in the east garden. 51. This was the dearest object of her existence. 52. Five wise wives weave withered withes. 53 : There were hosts of birds' nests in tufts of grass. 54. Westminster is near. 55. Last night he said he would vitit it. 56. She wept past. 57. Thou visitest us. 58. It sufficeth us. 59. Most startling stories were circulated. 60. The frost looked forth. 61. The muscles were tense. 62. They pitched their tents. 63. When the wheel whirled, the whale was seen. 42 Key to Expression. 64. He asked when, where, and whv. Go. The broken clouds sailed off in crowds. 66. The whining whittler whetted his scythe and whipped the whistler. 67. There are several conflicts. 68. In the days of thy youth. 69. After the most straightest sect of our religion. 70. The object is perfect. 71. White clouds scud before the storm. 72. I shall stay whilst it lasts. 73. He was most tranquil. 74. She first asked for the best silver spoons. 75. The red-eyed lighthouse lifts its form; The white spray beats against the panes. 76. Like some wet ghost. 77. While the wild ocean wilder whirls. 78. Without the world is wild with rage. 79. Open vistas skirted with tall pines. 80. I find green fields wait for me. 81. The forest's shade, the wild bird's melody. 82. Amidst the vast unknown. 83. He attempts to slay the beasts. 84. Sparks flew over Twelfth street. 85. The prospect reflects defects. 86. The Picts struck the busts with picks. 87. He showed the fonl'st contempt for authority. 88. For Christ's sake she became an outcast. 89. He attempts to solve the vast problem of the past. 90. She tripped and was crushed beneath shafts and looms. Key to Expression. 43 91. For months there were no lights but lamps. 92. She passed the crypt and stopped, perplexed. 03. She tore the crisp script. 9 1. He did a good deed. 95. He said, " Good day." 90. He seemed to esteem me. 97. Soon they saw some men. 98. He cut two thistle stocks. 99. The groves were God's first temples. 100. He failed on the first test. 101. Thcophilus Thistle, the successful thistle sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb. Now if Theophilus Thistle, the successful thistle sifter, in sifting a sieve full of unsifted thistles, thrust three thousand thistles through the thick of his thumb, see that thou, in sifting a sieve full of unsifted thistles, thrust not three thousand thistles through the thick of thv thumb. 44 Key to Expression. WORDS COMMONLY MISPRONOUNCED. acclimate burlesque chlorine acoustics Bo/.zaris choleric adept Balmoral cleanly alien behemoth coterie ally bestial coupon antartic biology courier amenable bomb covetous apparatus bona fide creek assets bravado colosseum aroma . combatant artificer caprice comrade asbestos carat conjure atheneum cassimere coquetry abdomen Charivari courteous adjective chateau Crimean address complaisance cupola alias comparable Curacoa alibi concourse allopathy conduit damning allies contumely decade alternate conversant deficit amour coquet demise apricot craunch demoniacal arctic crochet despicable aspirant croquet didactic audacious croquette diphtheria auxiliary cuisine disputable address communist docile Cairo dolorous bade canine delicate benzine Capuchin dare bouquet Caribbean debauchee blatant cerement debris bivouac cherubim debut bromide chimpanzee dynamite bromine chirography diocesan bronchitis chiropodist douche buoyant chloride drouth Key to Expression. 45 ducat gaol irremediable dost gaseous irrevocable duty gauntlet inquiry gaunt integral enervate Genoa intrigue Elgin geyser italic elysium Giaour isolate exotic gladiolus extant glamour jaguar extol Goliath jaundice epizootic gondola joust eclat granary jocund elegiac gratis jugular elocution gewgaw juvenile encore gyves ennui lethe exegesis haunch lever exile haunt lien eyry hearth literati falcon hecatomb loath falconer heinous larynx faucet heraldic lyceum February herculean lethargic fetid homeopathist finale homeopathy massacring finance hospitable mausoleum financier hussar mauve flaccid hymeneal mediocre floral hyperbole memoir forbade halibut mesdames franchise hearths molecule frontier hirsuite mustache feline homage matron fete hostage mischievous finis morphine fragile illustrate moths fricassee imbroglio frontal indecorus neuralgia frontispiece indisputable newspaper fulsome iodine nuisance 46 Key to Expression. naiad prologue senile nascent protege seraglia nauseous placard serapis nectarine plagiarism sesame nicotine plebeian simultaneous nomad poignant sinecure nonpareil precedency sobriquet notable precedent soporific predatory sough oral prelate squalor orgies pretty subtle orotund profuse sacrament oaths prolix sagacious obligatory protean salic Oceanus puissance salon occult pyramidal satirist onyx prairie satyr opponent savant Orion quota scallop orthoepist schism oxide regime sciatica reptile seance patron resin semester papyrus resume senna peony rapine sepulture phonics raspberry servile pincers recess siesta piquant refutable siren panegeric remediable sirup parquet reparable slough particular research soiree pharmaceutic respiratory subpoena peremptory resource suggest piazza revolt syncope poem robust pomel romance tenacious poinard tortoise prescience sarcerdotal toward prescient sacrilege trachea privative salient truculent Key to Expression. 47 tepid turgid venial tableaux talc vignett terpsichore tiny virago traverse tranquil vagary tribunal tartaric volatile tribune tirade troche trilobite yacht irume tobacco trousseau Uranus uxorious zouave II. PHYSICAL CULTURE. It is not intended to give here a treatise on physical culture. The following exercises are interspersed with .just as little explanation as is consistent with clearness. They will be found valuable in overcoming faults of car- riage, stiffness of the muscles, round shoulders, depressed chest, protruding hips and chin, and other faults which so commonly deform the human body. A graceful presence is one of the most essential requisites of a person who wishes to win public favor. These exercises render the body more graceful and responsive to the will, and, there- fore, more expressive. While taking the exercises one's dress should be loose enough so that it will in no way restrict the movements; otherwise, injury will result. Indeed, at any time tight clothing is injurious to the health. It also destroys the volume and power of the voice, and makes visible expres- sion next to impossible. Those who wish to pursue the study of elocution will do well to regulate their clothing according to the dictates of common sense. CORRECT STANDING POSITION. Take the weight on the balls of the feet; let the heels lightly touch the floor; lift the chest forward and upward to such a position that a line drawn from it would fall in front of the toes. It will be noticed that this draws the hips back. Sometimes pupils are so eager to make the chest prom- inent that they bend at the hips, thus giving an awkward, Key to Expression. 40 angular position to the body. To avoid this, see that the shoulders, hips, and ankles are in a line ivith one another. Do not hold the shoulders back. This is a fallacy taught in the old-time gymnastics which gives one a rigid attitude. Keep the chest up, and do not think of the shoulders. Keep the head erect, being careful not to protrude the chin. Much care should be taken to acquire a correct standing position. Nothing is more important either from the standpoint of health or art, and it is the basis of grace. No doubt those who have been accustomed to stand with the weight on the heels, with shoulders held stiffly back, or those who have stood with bowed back and drooping shoulders, will think at first that they cannot maintain the position indicated above ; but one week devoted to the correct habit will convince them not only that it is more graceful, but that it is easier than the old position. Exercise I. Lift the hands above the head and clasp them, turning the palms upward. Rise on the toes, reaching upward with the clasped hands as far as possible. Keeping the position on the toes, bring the hands down behind the back; clasp them and pull down vigorously, at the same time lifting the chest forward. Bring the heels lightly to the floor. Keep the chest in position and drop the arms at the side. This exercise expands the chest, and calls attention to the bad habit of swaying the weight back on the heels. RELAXING EXERCISES. In order to accomplish anything in visible expression — or, indeed, in vocal expression — it is necessary to overcome that tense "condition of the nerves which has become so prevalent in all classes of society. The following exercises 50 Key to Expression. help to establish a habit of self-control and give an ease and repose to the body which is invaluable to every one, whether in public or private life: Exercise I. Remove all tension from the muscles of the neck and let the head fall lifelessly forward on the chest. Lift the head to position and let it fall backward. If the tension is en- tirely removed, the jaw will drop. Lift the head; let it fall on the right shoulder and on the left alternately. After returning to position, drop the head forward again; then slowly roll it to the right; then to the hack, left, and front, describing a circle by the movement. Repeat the movement, carrying the head first to the left. Exercise II. Lift the arms above the head; then let them fall, lifelessly, at the sides. Repeat three times; then extend the arms above the head, and, after energizing to the finger tips, re- move the energy from the joints successively, dropping first the fingers, then the hand, then the forearm, and, last, the upper arm. Exercise III. Lift the shoulders as high as possible, and then let them drop. Repeat three times. Exercise IV. Lift the upper arms to a level with the shoul- ders, the forearm hanging down perpendicu- larly. Remove the tension from the fingers, and shake them by the power in the hand. Exercise V. Remove the tension from the hands. By the power in the forearms shake the hands up and down; then give the hands an inward circular motion, then an outward circular mo- tion. Exercise VI. Lift the upper arms, letting the forearms hang relaxed; then relax the upper arms, let- ting the arms fall at the sides. Repeat this Key to Expression. 51 three times; then lift the upper arms, and, by the power in them, describe an inward cir- cular motion with the forearm; then describe an outward circular motion. Exercise VII. Take the weight on the right foot and swing the left foot backward and forward without any tension or stiffness in the knee or hip; then swing it in a circle around the right leg. Take the weight on the left foot and repeat the exercise with the right leg. Exercise VIII. Lean the body over the right hip, letting the head hang relaxed. Keeping the legs ener- gized, let the body fall forward. If this is done correctly, the arms will swing to and fro and the head hang forward on the chest. Slowly return to position, letting each joint of the spine unfold successively, the head be- ing the last to return to position. Repeat the exercise to the left side. Besides aiding in visible expression by giving a flexibil- ity and control to the nerves and muscles, these exercises are of great assistance in voice culture, because they re- move that undue strain from the body which so often causes disastrous results to the voice if not corrected in time. CAUTION. When the student has learned to thoroughly relax the body, he should always practice the breathing or some other energizing exercise after the practice in relaxation. Any exercise may be practiced to excess, though such is not usually the case. Cases are known, however, where pupils have practiced relaxing until the system became de- vitalized, and dire results followed. In beginning, from ten to fifteen minutes is enough to devote to this practice 52 Key to Expression. at one time, though one may practice three or four times a day. BREATHING EXERCISES. Incorrect habits of standing and tight clothing are the two greatest causes of incorrect respiration. Let one re- move such clothing as in any way restricts the body, and, lying flat on his back, observe his respiration. He will no- tice that he breathes from the diaphragm, and that the muscles of the abdomen rise and fall with every inhalation and exhalation. All healthy, unrestricted grown people breathe in this way. For the cultivation of the voice, whether for speaking or singing, nothing is more important than the proper con- trol of the breath; indeed, nothing can be accomplished without it. It is the basis of tone production, the strength, volume, and carrying power depending largely on the depth and control of respiration. Great care should be taken to establish the habit of in- haling through the nostrils. Most persons are not aware of the extent to which they practice mouth breathing until their attention is called to it. Much of the dryness and huskiness of the. throat experienced by public speakers is the result of this habit. The air needs warming by pass- ing through the nasal cavities before reaching the vocal organs. Breathing through the nostrils causes the destruc- tion, to a large extent, of the dust and disease germs, which, if inhaled through the mouth, may cause throat and lung trouble. There is probably no habit that is harder to over- come; neither is there one for overcoming which one is more richly paid. Besides being the basis of voice culture, proper breathing is essential to perfect health. Many cases of incipient blood poisoning, as well as of throat and pul- monary affections, may be driven away by deep breathing. Key to Expression. < r >-"> Nervous persons have been known to gain great control by this simple act. Fresh, pure air, and plenty of it, is the best remedy for many diseases in their first stages. In correct breathing the air passes through the nostrils, along the nasal cavities, through the posterior nares into the pharynx, through the glottis into the trachea, thence through the bronchial tubes into the lungs. In the act of respiration the diaphragm contracts, pushing the abdominal organs downward and outward. The oxygen in the air that has been breathed into the lungs purifies the blood. After this life principle has been taken from the air, it passes out through the same organs by which it entered, carrying the impurities of the blood. In expiration the diaphragm recovers its former position, and, pressing against the lungs., forces the air out. It is the air in its passage outward that constitutes material for the forma- tion of the voice. All voice is produced by exhalation. Exercise I. Take a good standing position. Place the hands at the side just above the waist. Ex- hale so that the muscles under the hand con- tract; then inhale, expanding the muscles. During the exercise do not let the shoulders or chest rise or fall. Exercise II. Inhale while slowly counting ten. Hold the breath while counting ten; then exhale while counting ten. As the strength increases, in- crease the number of counts for the exercise. Exercise III. Inhale; carry the arms above the head till the palms touch; then turn the palms up and push upward vigorously. Exhale while re- turning to position. Exercise IV. Inhale; lift the arms forward, up, and back so as to describe a circle. Hold the breath while the revolutions of the arms are de- scribed. Repeat the exercises three times. 54 Key to Expression. STRETCHING EXERCISES. Exercise I. Lift the arms above the head, reaching up as far as possible; then slowly bend forward, reaching down as far as possible without bending the knees. Relax the arms, head, and back, and slowly return to position. Exercise II. Drop the head back as in the relaxing exer- cise, and bend the back and knees so as to let the body down and back as far as possible. One should be careful not to band further back than to have perfect control of himself. Slowly return to position, letting the head be the last to rise. Exercise III. Take a wide base. Transfer the weight to the right foot, bending the body over the left hip. Return to position. Transfer the weight to the left foot, bending over the right hip. During this exercise the face and chest should face front. Exercise IV. Carry the chin as far around over the right shoulder as possible. From this position tip the head back toward the left shoulder; then bring the chin downward toward the right shoulder. Repeat to the left side. Exercise V. Bend forward from the hips; then carry the body around to the right side; then to the back, left, and front, trying to describe a cir- cle by the movement. Repeat the exercise, beginning the movement to the left side. Be sure to keep the muscles of the neck relaxed, and avoid undue tension in any of the mus- cles. The value of this division of the exercises will be seen in the increased flexibility of the body. Key to Expression. 55 REACHING EXERCISES. Exercise I. Take the weight on the right foot; step the left foot at side, so as to have a wide base, and the left foot at right angles with the right foot. Lift the right hand, pushing up and out with the palm of right hand, at the same time lifting the foot off the floor and pushing down and out with it. Repeat the exercise with the weight on left foot, pushing with left hand and right foot. Exercise II. Taking the weight on the right foot, place the toe of the left foot well forward. Lift the right arm, pushing up and back with the palm of the right hand. Lift the left foot off the floor, pushing down and out with it. Re- peat the exercise with weight on left foot. Exercise III. Place the right foot forward, taking the weight on it. Lift the right arm, pushing up and out with the palm of the hand. Push down and back with the left foot. Repeat the exercise with the weight on the left foot. If these exercises are practiced vigorously, they will strengthen and develop the muscles. POISING EXERCISES. Exercise I. With the weight on both feet, poise as far forward as possible without bending from the hips or lifting the heels from the floor; then poise as far back as possible without lifting the toes from the floor. Repeat the exercise three times; then rise on the toes and hold the position while counting ten. Exercise II. Repeat Exercise I., with the weight on one foot, lifting the other foot entirely off the floor. In returning to position, the pupil 56 Key to Expression. should be careful to keep the weight on the balls of the feet. There seems to be a gen- eral tendency to sway back on the heels. Exercise III. Exercise IV. Rise on the toes; then, by bending the knees and ankles only, kneel on the floor and re- turn to position without bending the hips or letting the hands touch anything. Take the weight on the right foot, cross the left foot over it, rise on the toes, pivot around slowly, making a complete circle and return- ing to position. Repeat the movement, plac- ing the right foot over the left. Exercise V. Take the weight on the rignt foot; lift the left leg so as to allow of free movement of the foot. With the knee slightly bent, lift the heel as far from the floor as possible, point- ing the toe down and out. By a free move- ment of the hip and knee describe an out- ward circular movement with the left toe. Repeat the circular movement three times. While doing this, be careful to keep the body well poised, the weight on the ball of the right foot, and the chest well forward. When the third circular movement has been com- pleted, place the ball of the left foot on the floor, take the weight on it, and bend the left knee so that the right knee touches the floor. Rise to position. Repeat the exercise with the weight on the left foot. EXERCISES FOR HARMONIC ACTION. Exercise I. Step the left foot back, taking the weight on it. Bend the left knee as much as possible, keeping the right knee straight. As the body bends backward, let the head and chest sink. In rising to position, Garry the weight to the right foot and lift the head and chest Key to Expression. 57 t as the body becomes erect. Repeat the exer- cise, stepping the right foot back. Exercise II. Take the weight on the right foot advanced. Lift the left arm above the shoulder, keeping the elbow straight and letting the wrist lead. As the arm rises, carry the head down to the chest. As the arm is brought down to posi- tion, let tbe elbow lead and the hand bend back from the wrist. At the same time lift the head to position. Repeat the exercise with the left hand, the weight being on the left foot. Repeat the exercise with both hands, the weight being on both feet. Exercise III. Take the weight on the right foot advanced. While slowly poising the weight back on the left foot, lift the arms, letting the back of the wrist lead; then turn the palm out, carry- ing the hand down, the movement described being circular, the first half with the back of the wrist leading, the second half with the front of the wrist leading. Continue this movement of the arms while poising forward again. Exercise IV. Kneel on the left knee, giving the same move- ment of the arms as described in Exercise III. while going down, and the same while rising. Repeat the exercises, kneeling on right knee. Exercise V. Take the weight on the right foot; extend the left foot at the side, the knee being slightly bent, and the inside of the ball of the foot only touching the floor. Bend over the left hip, looking down at the toes. Transfer the weight to the left foot, placing the right foot in the position described above, and look down at the right toe. Step the right foot up to position, extend the left foot, and continue the movement for ten steps; then reverse the movement so as to move to the right. III. GESTURE. There is no subject more difficult to teach than gesture, and no other phase of expression which has called forth so much controversy. There are two extreme theories in regard to visible expression — one advocating the use of ar- bitrary rules and imitation, the other maintaining that any movement one feels impelled to make must be correct. The last-named theory is an easy way of disposing of the diffi- cult question. But the merits of any system are to be judged by the results, and those who most warmly advo- cate this theory are frequently weakest in expression, and often contradict by gesture what they say in words. The writer once heard an exponent of this system on " Visible Expression." He stood before the public with his thumbs in his pockets and his toes over the edge of the platform. With his hand half closed, he gave a sideway jerk of the thumb to emphasize the assertion that " gesture could take care of itself." Awkwardness and boorishness are un- doubtedly natural to some people, but every one who wishes for the advancement of the human race, as well as that of the artist, will strive to overcome his personal limitations and defects and to formulate an ideal to which he will en- deavor to attain. It is not necessary to discuss the defects of a mechanical system of teaching, as they are only too apparent to every thinking man; but gesture can be taught without using arbitrary rules or restricting the individuality of any one. The object of physical culture is to correct awkwardness of attitude and movement. It should be diligently prac- Key to Expression. 59 ticed, as awkwardness calls attention to itself, thereby de- tracting from the thought. When the body has gained some degree of responsiveness by exercises of this kind, ex- pressiveness may be further developed by the study and practice of the principles of gesture which are given in the following pages. The simplest kind of gesture is that used to point out anything. When the object is before one, the task is not difficult. It is when the real object is not present that the student finds it difficult to point it out or describe it by gesture; yet this is what the reader or speaker is expected to do. The greatest difficulty in this matter is caused by a lack of the power of imagination. No gesture can be made correctly unless the speaker clearly sees the object he wishes to indicate. Suppose he uses the sentence : " Yonder stands the cottage in which I was born." If he is going to point out the cottage, he must first see it himself. Nor is it sufficient to have a dim idea of the house. He must see the cottage in all its details — its sit- uation, whether in town, village, or country; the material of which it is made ; its size, shape, and color ; its surround- ings — trees, flowers, shrubs, etc. All these details the speaker must have clearly before him. If the selection does not furnish the details, his imagination should do so. If his imagination is sufficiently powerful, he will be able, to make the picture really exist for his audience for the time, just as our dreams are the most real things in the world to us during sleep. If he sees the picture himself and holds it in his mind while he is speaking, it is not likely that his gestures will be very far from right. His hand may be prone or supine, or he may use the index fin- ger, according to his temperament. The latter is, in the opinion of the authors, a better gesture than either of the others, as it points out more definitely. 60 Key to Expression. It takes considerable practice in gesture to make the body responsive io the mind, but it requires greater effort and more care for the average student to form the picture clearly in the imagination. Below another example is given to illustrate this principle of imagining the scene de- scribed by words: Far aloft in that high steeple Sat the bellman, old and gray. In giving these lines, one should see not only the steeple, but the building to which it belongs — its height, etc. — and then the old man who sits there. As the gesture is to call attention to the man, the steeple being of secondary im- portance, it should be sustained till a picture is completed by the words. Proportion plays an important part in descriptive ges- ture. How often we see buildings described as if they were little larger than a toy Noah's ark; trees, as if they were shrubs ; mountains, as if they were sand hills ; and lakes and rivers, as if they were fish ponds. This tendency to dwarf objects is more marked in readers than in speakers, as with the latter the thoughts are their own. • Among certain classes there is an inclination to imper- sonate wherever it is possible. A young lady of some edu- cation was seen, when giving these lines from Longfellow's " Legend of the Beautiful," In an attitude imploring, Hands upon her bosom crossed, Wondering, whispering, adoring, Knelt the monk in rapture lost, to cross her hands, look upward, and make a sweeping bow to show the. attitude of the monk. It scarcely need be said that this is absurd, yet not infrequently we see Key to Expression. 01 quite as absurd things on the platform. If any gesture is necessary on the lines given above, it is only an. objective one. It is not the attitude of the monk, but his sentiment, that is the important thing. The audience will imagine his posture. The same lady, when reciting the lines, Suddenly, as if it lightened, waved her arms wildly to and fro to represent the light- ning, she said. No doubt many have seen the lines 'from " The Charge of the Light Brigade," Flashed all their sabers bare, Flashed as they turned in air, given with a whirling upward movement of the arms to indicate the flashing of the sabers; and the same reader on the lines, Cossack and Russian Reeled from their saber stroke Shattered and sundered, will often reel and stagger in his effort to be dramatic. The picture in these lines is objective, and an. attempt to impersonate such as just described detracts from rather than intensifies the scene. It is too much to say one should never impersonate ex- cept where a character speaks, but it is better to err on the side of too little impersonation than on the side of too much. Sometimes readers go so far as to attempt to im- personate animals. The writer once had a pupil who was preparing a selection in which a country lass bringing home the cows was described. In the middle of the piece the reader stopped and asked what gesture she should make for a cow switching her tail. This was an extreme case, 62 Key to Expression. but it may serve as a warning to those who think it neces- sary to impersonate every movement described. The more primitive the mind, the greater is the inclination to act out the situation. We see this tendency in children when endeavoring to describe something they have seen. They are given to impersonating and exaggerating; but as the mind matures, this tendency becomes less. Some adults in this respect are but children grown tall. SUBJECTIVE GESTURE. In expressing abstract thought, many speakers seem to have but little idea regarding gesticulation other than to pound the air with their hands, often the words and ges- tures contradicting each other. A little thought given as to how^ to bring out the meaning of the word by the ges- ture would correct many defects. Let us look at the sen- tence : " I protest against such a measure." • Usually when a speaker utters this sentence he lifts his hand in a vertical line and brings it down vigorously on the word protest. If we consider the meaning of the word protest, to make a solemn affirmation or declaration against, we shall see that to protest by gesture as well as by voice we have to lift the hand as an affirmation, which movement has the significance of lifting one's voice against. The palm of the hand facing strongly to the front has the sig- nificance of the preposition against. " Proclaim the tidings to all the people." This sentence, too, is generally accompanied by a down- ward movement on the word proclaim, but gesticulation can proclaim^ or make public, only by an upward move- ment of the hand. Key to Expression. 63 "They tell us to be moderate, but they — they are to revel in profusion." Tn this sentence the ideas of moderation and profusion are contrasted. 11 cw can this contrast be shown by ges- ture ? It is simple enough when one stops to consider it. A clergyman, of whose sincerity one could have no doubt, was heard exhorting his congregation "to be Christlike." On the word Christlike he brought his clenched fist down forcibly on the; desk. These and many other instances which might be given go to show that the gesture of the average speaker can well be improved by a little thought. If our knowledge of hu- man nature was deep enough, no doubt we could use ges- ture as accurately as speech. Dr. McLellan, in "Applied Psychology/' says : "'Among those in whom articulate speech does not render it [gesture] unnecessary there is produced a gesture language. This is found among deaf mutes and among savage tribes who are in close relation with other tribes speaking different dialects. So instinct- ive and unconventional is their mode of expression that it has been found that North American Indians and deaf mutes have no difficulty in understanding one another when they come together for the first time." It is evi- dent that there must be certain principles underlying the " gesture language " which, if we could understand, would make the art of gesticulation comparatively simple. That we do not understand this language is because we do not live in such close harmony with nature as do these people. Animals, because they are near to nature, are told by their instincts which herbs are poison and which are not. Form and motion must be the expression of some power behind them. An eminent philosopher has said: "All natural forms bear their signatures, which indicate their natures. 64 Key to Expression. Minerals, vegetables, and animals remain true to their natures, and their forms indicate their characters. Man, who has become unnatural, is the only being whose charac- ter often belies his form, because, while his character may be changed into that of an animal/ his form has retained the human shape." Thus it is that it is more difficult to understand the expression of man's nature than that of any other being. " If our bodies were formed of a more eth- ereal and plastic material than of muscles and bones, each change in our character would produce quickly a corre- sponding change of our form; but gross matter is inert, and follows only slowly the impression made upon the soul." This fact makes it all the more necessary that the body should receive training in expression. Dr. Hopkins, in " Outline Study of Man," says that man is the only animal that uses either articulate language or arbitrary signs as a means of intercommunication. This is the result of abstract thought ; " and abstract thought," says Dr. Hopkins, " marks the difference between man and animals." It is the gesture which accompanies abstract thought that is the most difficult to determine. Having for ages used his own inventions for communicating ideas, man's natural tendencies have weakened from use. Deaf mutes, by force of circumstances, follow the dictates of their instincts. The Indians and other primitive races are guided by their instincts and intuition more than we, and thus possess a power which we have all but lost. " For every thought," says Dr. Franz Hartman, " there is an outward expression; and if we have a thought which we cannot express by symbols, it does not follow that such symbols do not exist, but that we are unacquainted with them A word or a language is the expression of thought, and, to be perfect, it must give perfect expression to the Key to Expression. 65 thought it was intended to convey. By giving a false ex- pression to thought the power of language is lost." - The researches of Delsarte have done much to show the relation between thought and form and motion. His name has been belittled by so many impostors who have tried to cloak their own ignorance under a great name that one hesitates to even mention it; but being unwilling to take credit for that which is not their own, the authors wish to say that many of the ideas expressed here in regard to ges- ture, especially to subjective gesture, are derived from the teachings of the French master. Whether a gesture is subjective or objective, it must be made in either a curve or straight line, and must move in some direction, either in a perpendicular line, the heights or depths ; in a horizontal line,- the lengths ; or it must move out from the body, the widths — that is, laterally. These different modes of motion represent the different phases of character. The movements made in the heights and depths are expressive of intellect. Man is the only be- ing on the globe that stands erect. It is the domination of the mind that keeps him in this position, and the per- pendicular line is its symbol. The affections manifest themselves by movements made in the widths. Grandeur, beauty, sublimity, truth, and goodness are expressed in upward, curved movements. When we think of God, the natural tendency is to look up- ward even mentally. Our ideals are ever above us. That which is base and low is represented by downward move- ments. We think ourselves as being above ignoble thimgs. The horizontal movements, or lines in the lengths, are a manifestation of the vital principle. The heads of all ani- mals are bowed to the earth. Pugilists move mainly in this direction. Threatening, anger, and other passions be- 3 66 Key to Expbession. longing to the animal man are expressed in the horizontal lines. Let ns examine a few examples to illustrate the manifestation of the different phases of character through the direction of the movement: "Wisdom is better than riches." Here two ideas are compared, and one is said to be better than the other. The degree of inferiority or superiority attaching to either will depend on the speaker's conception. One who leaves gesture to the impulse of the moment would in all probability dismiss the example with a meaningless wave of the hand. That he made any movement at all would prove to him that it was a correct one. But a very little thought will convince one that the only appropriate gesture on wisdom would be upward, the direction of all movements expressive of the highest sentiments within us. One's gesture will be governed by the comparison he draws between the two ideas; that is, the higher he will place wisdom, the lower he will place riches, for riches belong to the material world only. One who values riches more than wisdom will be likely to show his preference in his gesture, if he expresses a comparison at all. " Ignorance dissolves before the light of knowledge." There is a similarity between this sentence and the one given above. Here again comparison is expressed. Igno- rance is lower than riches in that it requires a certain kind of intellect to acquire wealth. The prone hand expresses ignorance as it does all those things which are dark, mysterious, not clearly seen or understood. Knowledge be- longs to the intellectual zone, but is less exalted than wis- dom. The supine hand expresses knowledge, the opposite of ignorance, and all other ideas of the same class — light, life, etc. The movement from ignorance to knowledge will express the action of dissolving. Key to Expression. 67 " I deny the statement." Here the mentality which denial requires is expressed by a movement of the hand in the heights and depths. If one's indignation is aroused, it will give a tendency to move toward the vital line during the last part of the gesture. " I give thee in thy teeth the lie." A movement expressive of the sentiment in this sentence will be in the lengths, as it belongs to the force of animal nature. The lower the order of intelligence of the speaker, the more strongly physical will the movement become, even to the closing of the hand. An illustration of movement in the widths is given in the sentence : " The boy cried, ' Mother, mother! ' as the door flew open." As the boy extends his arms to his mother, the direction is expressive of affection. There is a correspondence between the hand and the face; and, indeed, between all the members of the body. The closed fist corresponds to the lowered brow and set chin. Its meaning is too evident to need explanation. The prone hand corresponds to the brow lowered in thought. It expresses that the subject is not clearly un- derstood or indicates something that is too far away to be easily seen. The sentence, " Before him lay the unex- plored future," would he expressed with prone hands, be- cause the future is unexplored or unknown. So, too, if we say : " One vast realm of wonder spreads around." Wonder implies ignorance of the subject, and the prone hand conveys this idea. The supine hand and the open face indicate things that are clearly seen or known. For example : " There she sat, the queen of roses." The tips of the fingers are to the hand what the eyes 88 Key to Expression. are to the face and articulation is to speech. Slovenly articulation denotes a lack of clear thinking, as also do the fingers that are devitalized during gesticulation. The question often arises : When should the gesture for any given idea be made? The following quotation from " The Delsarte System of Oratory " fully answers it : " Ges- ture must always precede speech ; in fact, speech is reflected expression. It must come after gesture, which is parallel with the impression received. Nature incites a movement, speech names this movement. Speech is only the title, the label of what gesture has anticipated; speech, comes only to confirm what the audience already comprehends ; speech is given for naming things. Gesture asks the question, ' What ? ' and speech answers. Gesture after speech would be absurd. Let the word come after the gesture, and there will be no pleonasm." It would be worse than useless to point to the door after having said, " Leave the room," or to express one's surprise in words and then raise the eye- brows. Never make a gesture unless it is necessary. A single movement may express the thought which it takes many words to explain. " The intelligent man makes few ges- tures. To multiply gestures indicates a lack of intelli- gence. The face is the thermometer of intelligence. Let as much expression as possible be given to the face. A ges- ture made by the hand is wrong when not justified in ad- vance by the face. Intelligence is manifested by the face. When "the intelligent man speaks, he employs great move- ments only when they are justified by great exaltation of sentiment. And, furthermore, these sentiments should be stamped on the face. Without expression of the face, all gestures resemble telegraphic movements." Key to Expression. 69 EXAMPLES. Students commonly find expression by gesture more dif- ficult than expression by speech, the conventionalities of life having restricted us to such a degree that we are very self-conscious in regard to our movements. For this rea- son special exercises have been given, beginning with the simplest forms of gesture and proceeding gradually to the most difficult. When these special examples have been completed, the gesture in connection with the examples given under the operations of the emotions, affections, sen- timents, intellect, and will should be taken up. This does not imply that every sentence will require some movement of the hand. There are thoughts that are too abstract for gesture, except attitude and facial expression. To this class of thoughts hymns belong, though we often see them given in pantomime. Such movements, as a general thing, no one could interpret if he were not told on the pro- gram what was being done, or if the words were not recited or the gestures accompanied by the air to which the song is usually sung. The chapter on " Gesture " is intended to be merely sug- gestive, which, indeed, is the plan of the whole book. No attempt is made to go into details, as all previous efforts by other writers to do so have been grossly misunderstood and misinterpreted, even as that most valuable work, " The Delsarte System of Oratory." It is impossible to write on a subject which is surrounded by so many difficulties as is that of visible expression without being misunderstood by some one. But it is hoped each student into whose hands this book falls will use his judgment and discrimina- tion. Xo rules have been laid down, and no efforts have been made to restrict any one's individuality. It is ex- pected, however, that the student will endeavor to give a 10 Key to Expression. true expression to his conception of an idea. To this end it is indispensable to consider the movements of the body in relation to the thought. Above all, be honest. Never try to appear to the public to be that which you are not or to use words, inflections, or gestures merely for effect. Kemember Delsarte's words : " The more lofty the intellect, the more simple the speech. So in art." EXAMPLES IN GESTURE. 1. Up in the lonely tower he sits, The keeper of the crimson light. 2. But now there was a large mass in the distance, and near to her Maggie could discern the current of the river. 3. A new current swept along and drove the boats far out on the wide water. 4. Color was beginning to awaken now, and she could discern the tints of the trees. 5. A new danger was being carried toward them by the river. 6. Some machinery had given way on one of the wharves, and huge fragments were being floated along. 7. The sun was rising now, and the wide area of watery desolation was spread out in dreadful clearness around them. 8. Away to the North ragged mountains Climb high through the shuddering air; They bend their dark brows o'er the valley To read what new ruin is there. Key to Expression. 71 9. In yon bright track that fires the Western skies They melt, they vanish from my eyes. 10. But — ! — what solemn scenes on Snowdon's heights, Descending slow, their glittering skirts unroll ! 11. Fair laughs the morn and soft the zephyr blows, While proudly riding o'er the azure realm In gallant trim the gilded vessel goes. 12. On a rock whose haughty brow Frowns o'er old Conway's foaming flood, Bobed in the sable garb of woe, With haggard eyes the poet stood. 13. They do not sleep. On yonder cliffs a grisly band I see them sit. They linger yet, Avengers of their native land. 14. And half of their fleet to the right And half to the left were seen, And the little Bevenge ran on Through the long sea lane between. 15. Two gray hawks ride the rising blast; Dark-cloven clouds drive to and fro By peaks preeminent in snow; A sounding river rushes past, So wild, so vortex-like and vast. 16. A lone lodge tops the windy hill; A tawny maiden, mute and still, Stands waiting at the river brink. V2 Key to Expression. 17. There the troops of Minon wheels, There the Northern horses thunder, With the cannon at their heels. 18. The pear trees looked on in their white, And the bluebirds flashed about. 19. But the cowslips were tall at my feet, And all the white orchard, with fast-falling blos- soms, was littered; And under and over the branches those little birds twittered, . While, hanging head downward, they scolded because I was seven. 20. So this was the country — clear dazzle of azure and shiver And whisper of leaves and a humming all over the tall, White branches, a humming of bees. 21. And I came to a wall — A little, low wall — and looked over, and there was the river, Clear, shining, and slow. 22. We sought in the wood, and we found the wood wren in her stead; In the field, and we found the cuckoo that talked overhead ; By the brook, and we found the reed sparrow, deep- nestled in brown. 23. And we stood on a green, grassy mound, And looked in at the window: for Echo, perhaps, in the round, Might have come in to hide there. Key to Expression. 73 24. But no ; every oak-carven seat Was empty. We saw the great Bible — old, old, very ©Id — And the parson's great prayer book beside it; we heard the slow beat Of the pendulum swing in the tower; we saw the clear gold Of a sunbeam float down to the aisle, and then, waver, play On the low chancel step and the railing. 25. Cannon to right of them, Cannon to left of them, Cannon in front of them Volleyed and thundered. 26. On right, on left, above, below, Sprang up at once the lurking foe. 27. Look at the bounding tigers ! See how the one leads the other in the awf ul race to the feast ! 28. Lake Leman lies by Chillon's walls ; A thousand feet in depth below Its massy waters meet and flow. This much the fathom line was sent From Chil Ion's snow-white battlement. 29. Below the surface of the lake The dark vault lies wherein we lay. 30. I saw their thousands years of snow On high ; their wide, long* lake below ; And the blue Ehone in fullest flow. 74 Key to Expression - . 31. I heard the torrents leap and gush O'er channeled rock and broken bush. 32. I saw the white-walled, distant town, And whiter sails go skimming down. 33. A small green isle, it seemed no more, Scarce broader than my dungeon floor; But in it there were three tall trees, And o'er it blew the mountain breeze, And by it there were waters flowing, And on it there were flowers growing Of gentle breath and hue. 34. The fish swam by the castle wall, And they seemed joyous each and all. The eagle rode the rising blast; Methought he never rode so fast As then, to me, he seemed to fly. 35. There lay the fort, the faces of the foe, The blackened guns, whose deadly mouths were belching fire below ; But not a sign to cheer us on. 36. Above me are the Alps, The palaces of nature, whose walls Have pinnacled in clouds their snowy scalps And throned eternity in icy halls Of cold sublimity, where forms and falls The avalanche, the thunderbolt of snow. All that expands the spirit, yet appalls, Gather around these summits, as to show How earth may pierce to heaven, yet leave vain man below. Key to Expression. ?5 37. Alone I stand. On either hand, In gathering gloom, stretch sea and land. 38. He saw above a mined world the bow of promise rise. 39. So Lord Howard passed away with five ships of war that day, Till he melted like a cloud in the silent summer heaven. 40. And he sailed away from Flores till the Spanish came in sight, With his huge sea castles heaving upon the weather bow. '11. Thousands of their soldiers looked down from their decks and laughed. 42. And while now the great San Philip hung above us like a cloud Whence the thunderbolt will fall Long and loud, Four galleons drew away From the Spanish fleet that day, And two upon the larboard and two upon the star- board lay, And the battle thunder broke from them all. 43. And the Spanish fleet, with broken sides, lay round us, all in a ring; But they dared not touch us again, for they feared that we still could sting. 44. 'Twas evening, and the half-descending sun Tipped with a golden fire the many domes Of Athens, and a yellow atmosphere Lay rich and dusky in the shaded street Through which the captive gazed. 76 Key to Expression. 45. And the sunset paled, and warmed once more With a softer, tenderer afterglow. In the east was moonrise, with boats off shore And sails in the distance drifting slow. The beacon glimmered from Portsmouth bar, And the White Isle kindled her great, red star ; And life and death in the old-time lay Mingled in peace like the night and day. 46. You shall die, base dog, And that before yon cloud has passed over the sun. 47. Presently came the night sadly to greet her, Moon in her silver light, stars in their glitter; Then sank the moon away under the billow. 48. Up a narrow street My company worked. I kept an eye On every housetop, right and left, and saw From many a roof flames suddenly burst forth, Coloring the sky, as from chimney tops among the forges. 49. The fixed smoke rolling away, we noticed, Under the huddled masses of the dead, Kivulets of blood running trickling down the steps, While in the background solemnly the church loomed up. 50. Lighted tapers starred The inner gloom with points of gold ; The incense gave out its perfume; At the upper end, turned to the altar, a priest, Wliite-haired and tall of stature, to a close Was bringing tranquilly the mass. Key to Expression. 77 5 1 . So stamped upon my memory is that scene That as I speak it comes before me now — The convent bnilt in old times by the Moors, The huge brown corpses of the monks, the sun Making the red blood on the pavement steam; And there, framed by the low porch, the priest, And there the altar, brilliant as a shrine. 52. Look ! The moon has conie out, clad In splendor, the turbulent scene to behold. She smiles on the night's devastation ; she Dresses the storm king in gold. 53. From its height the vale, the river, the spires, and the towers of Granada broke gloriously upon his view. 54. Up from the meadows rich with corn, Clear in the cool September morn, The clustered spires of Frederick stand Green-walled by the hills of Maryland. 55. When he came to the middle of the hill that rises above those gardens, the steel of the Spanish ar- mor gleamed upon him. 56. He saw from his own watchtower, with the sun shin- ing full upon its pure and dazzling surface, the silver cross of Spain. 57. But look ! Through the mists to the southward There flash to the eye clear and plain, Like a meteor that's bound to destruction, The lights of a swift-coming train. 18 Key to Expression. 58. Somewhat back from the village street Stands the old-fashioned country seat. Across its antique portico Tall poplar trees their shadows throw. 59. By the wayside, on a mossy stone, Sat a hoary pilgrim sadly musing; Oft I marked him sitting there alone, All the landscape, like a page, perusing. 60. I know there is not a man here who would not rather see a general, conflagration sweep over the land or an earthquake sink it than one jot or tittle of that plighted faith fall to the ground. 61. Yon green meadow was our place for playing; That old tree can tell of sweet things said. 62. In the cottage yonder I was born ; Long my happy home that humble dwelling ; There the fields of clover, wheat, and corn; There the spring with limpid nectar swelling. 63. Yon white spire, a pencil on the sky, Points me to seven that are now in glory. 64. The dark Eedan, in silent scoff, Lay grim and threatening un