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Tous les autres exemplaires originaux sont film6s en commenpant par la premidre page qui comporte une empreinte d'impression ou d'illustration et en terminant par la dernidre page qui comporte une telle empreinte. Un des symboles suivants apparaitra sur la dernidre image de cheque microfiche, selon le cas: le symbole — ^ signifie "A SUIVRE", le symbole V signifie "FIN ". Les cartes, planches, tableaux, etc., peuvent dtre filmis d des taux de reduction diff^rents. Lorsque le document est trop grand pour dtre reproduit en un seul clich6, il est film6 A partir de I'angle sup6rieur gauche, de gauche d droite, et de haut en bas, en prenant le nombre d'images n6cessaire. Les diagrammes suivants illustrent la m6thode. 1 2 3 1 2 3 4 5 6 ^AJ) J- hllsJied hjj Davison Bros. /\n 7>S<^ By professor ANDREW, Of the University of McGill College. The New Dramatic Reader ; Comprising a Selec- tion of Pieces for Practice in Elocution, with intro- ductory hints to Readers. Price, 75 cents. By J. D. MORELL, LL.D., H. M, Inspector of Schools, England. A Complete Manual of Spelling on the Prin- ciples of Contrast and Comparison j with numerous Exercises. Price, 30 cents. Canadian Elementary School Atlas ; For the use of Junior Classes, containing 16 Maps. Price, 25 cents. A cheap and yet very complete elementary Atlas. The Maps, which are similar to those in Keith Johnston's ele- mentary Atlases, are clear and attractive. The Spencerian Series of Copy Books; a System of Penmanship very extensively used in the United States and the Dominion of Canada. The System is comprised in twelve Numbers, and divided into four distinct Series, viz. : — No«* 1« 2, 3, 4 & 5 Common School Serlea. Nos, 6 Sc 7 Business Series* Nos. 8 Sc 9 liadies' Series. Nos. 10, 11 Sc 12 Exercise Series* Lennie's English Grammar Carpenter's Spelling. Alphabet Card Card of Tables; Multiplication, &o. .., ^ I Boohs PaNisJied hy Dawson Bros, Br PROFESSOR DAREY, M.A., Professor of (lie French Language and Literature in ihe Unioersity of McGill College. The Dominion Phrase Book, or the Student's Companion for prj'ctically acquiring tho French tnd English Languages. Price, 30 cents. Cours de Lectures Francaises ; A Selection fwm the Classic Wilteis of France, containing many from the leading Authors of the present day, Tfith a copious vocabulary. Prioe, 75 cents. By N. DQVAL, B.A., Teacher of the French Language in the Schools of the Pro- testant Commissioners of Education for the City of Montreal. An Elementary French Grammar ; Contaimng a Selection of General Rules from the most approved French Grammi^rs, with Exercises in French and Eng- lish, illustrating the Rules given. Price, 40 cents. A Juvenile French Course ; Comprising a CoUec. tion of Phrases for acquiring the Rudiments of tho French Language, with Exercises in French and English. Price, 15 cents. Juvenile French Course, first year. New and revised edition. Price, 1 5o. Juvenile French Course, second year. Naw and revised edition. Price, 15c. lectures Choisies pour la Jeunesse ; Contcnant une foule d'Anecdotes amusantes, d'Historiettes, do Cont'js ct do Fables, etc., aveo un Dictionnaire des uiots FranyaiB, traduits en Anglais. 1^ National Library of Canada Biblioth6que nationale du Canada ^ THE NEW DRAMATIC READER. COMPRISING A SELECTION;' 05 PIECES FOR PRACTICE W i'^LOCUTION ; • * * • « r t « WITH ODUCfOftY HINTS TO READERS. • • • « • BY JOHN ANDEEW, Jmtt'uctor i7i Elocution in' the McOill University and Nonvial and in the High Schools of Montreal^ dbc. DAWSON BROTHERS, PUBLISHERS. 1876. AS 1816 » • .' ••• 'I • - » ' » > * • > • » *i *f S % ,. / CONTENTS. I. Hints to Readers. II. Selections in Prose and Vebsb. III. Dramatic Pieces. IV. Pieces for Recitation. ;' PKEFACE. This Reader is pje^onted to the public, not with a view of superseding the books which are now used in our schools, but in", brder to provide a fresh and attractive collection, gf pieces especially adapted for Practice in Elocutipi*. The extracts are, therefore, as far as known, not I ( * I I published in any bf the Eeaders at present in use, with the exception of a small number of pieces at the end of the book." « vThese, it is suggested, may be committed to memory, after careful analysis, and used for the culti^atibn of the voice. Scenes from Shakespeare have not been inserted, — the many School Editions of his Plays seeming to render their intro- duction unnecessary. It will be observed that the prose selections are complete in themselves, and not of the usual frag- mentary character ; and that while they are instruc- tive, they are not dry. Humorous pieces, always favourites with young readers, have been freely admitted. BINTS TO READERS. ART ICULATION. Distinctness is of the first importance in readinc aloud. All books on Elocution incibt upon it, aud give directions for acquiring it ; yet thei'e i<4 no part of the art of speaking which is more neglected. Distiuotness is not easy to learn, nor is it readily taught. Few teachers are willing to undergo the dru(^ery, lesson after lesson, and day after day, of insisting on perfect enunciation. It must be understood that distinct articulation depends wholly on the organn of speech, and on the force and pre- cision of their execu'tiba. The student, whose utterance !■ the result of casual habit only, requires therefore a thorough organic training, before he can pass successfully to the firm and exact mode of ud^ng his voice, which distinguishes public reading and speaking from ordinary discourse. In connection with the necessary physical training he must give strict attention to elementary lounds, because exactness of articula- tion cannot exist without close discrimination and careful analysis ; for however inseparable the elements of a syllable may seem to the ear, they are in reality separate aud wholly independent formations. When the syllabic elements are pronounced singly, each may receive an undivided energy of organic efifort— a corres- ponding clearness and firmness, and a well-defined outline, which make an excellent preparation for distinct pronunciation when they are combined in speech. Few persons, however, will be able at first, to command a prompt utterance of these sounds, particularly of the consonants or articulations (Table II) ; indeed, it is remarkable that sounds which are pro- nounced readily in combination, demand considerable practice before they can be uttered separately. It should be, not- withstanding, the first duty of the learner to give his earnest attention to their acquirement. The readiest mode of mas- tering an element, at first found difficult, is to pla«e it at the ^iii HINTS TO READERS. end of a syllabic, and observe carefully the position of the lips and tongue when pronouncing it in connection with other sounds ; for example, to acquire the exact formation of the whispered consonant "t", pronounce the syllable "put", and by dwelling upon it, the exact sound of *' t " will be readily perceived. Note particularly that no consonant sound is complete until the organs ai3 detached^ from their position. The following tables of the elementary sounds in the Eng- lish language form the most complete and; systematic arrange- ment with which the writer is acquainted. They are from the works of Mr. Melville Bell, the accoli\plighed Header, and inventor of "Visible Speech." • \ f TABLE I. - T 1 ENGLISH VOWEL SCHEME AND NUMEEICAL NOTATION. No. 1 " 2 " 8 " 4 " 6 «< Q efl(i) (p)tt(l ) (p)fi6G) 1(11) (0(^5(ld) aOe) (&wc) 5(re) 6(11) C(re) (KrO ^^ kn) ti(p) a(rn) ft(8k) (8)lr (li)er 18 No. 12 " 11 " 10 " 9 " 8 " MO. 7 1. , . . ilh \ r-' '-'•, AH^«e (i« LO-1, AW^ COMBINATION».| ] ' le.; 7-18,'ah^^o ,ee (oil.) y-18-(u8 In order to bring this scheme into practical application, the ittudent must commit it to memory, discarding letters as names of the sounds, and adopting instead a numerical nomenclature, in accordance with the arrangement in the above Table. Thus, he must associate the sound ee with Number 1, and speak of the vowel in the words be, fee, t«a, key, c«l, field, people, pique, &•., as uniformly No. 1, inde- pendently of the diverse vowel letterr which represent the sound. And so with all the other vowels. He has to deal with sounds, not letters. HINTS TO READERS. IS TABLE 11. ARTICULATIONS. 1, 2, 3 Whispered. ' 1 Vocalized. Nasal. Examples. K G NG call, gall, gong. 4 Y yet. 5, 6 Sh Zh mission, vision. 7 R far, rotigh. 8 L light. 9, 10. 11 T D N tame, dame, name. 12, 13 S Z seal, zeal. 14, 15 Th Th thigh, thy 16, 17 F V fine, vine. 18, 19 Wh W whey, way pay, bay, may. 20, 21, 22 P B M A practice now fallen into disuse in schools, but which might be revived with great benefit to pupils, is the resolving of a syllable into its elementary sounds. Take, for instance, the word "neighbour." It consists of the elements n, a, (No. 3) 6, ir (No. 8). Let these sounds be uttered separately in a distinct and forcible manner, and afterwards combined. Words which hare been imperfectly pronounced may be se- lected and " spelled" in tliis manner. It is suggested also, that a sentence be selected and the pupil subjected to the following drill, his attention being con> nned as much as possible to the mere act of enunciation ; 1. Utter every element separately. 2. " •' syllable 3. •' " word " 4. Read the whole in a loud whisper. The last exercise is a very valuable one. The reader, to be heard, is obl^ed to pause frequently in order to recruit his lungs with the extra air which is necestsary, and the larynx, the primary organ of speech, being inactive, he is compelled to exert the other organs to their mllest extent. It is proper to caution the learner ag^iin^ t overdoing this exercise, as it is fatiguing and might be injurious to persons of weak lungs. It need scarcely be added, that the best conceived plan of vocal training will be of little avail if not persistently followed. The indolent will find the exercises irksome, and the capricious m T HINTS TO READERS. will soon abandon them, but the learner who carries them out faithfully, will attain what he desires — a precise and firm articulation. In connection with this part of the subject, it may be necessary to warn the student against giving a strained and unusual prominence to individual sounds when reading ; since the least deviation from the assumed standard of pronunciation will distract the attention of his audience from the subject of the reading, and convert them into critics of his utterance.. In this, as in other branches of this Art, he must "acquire and beget a temperance that may give it smoothnesg." GROUPING. The words in a sentence are not pronounced singly, nor are they uttered continuously without break or rest. Words in correct reading fall into expressive groups, which are separated from each other, not always by a pause, but by some change of tone or variety of style which clearly marks to the ear the boundaries of each division. The commas and other points will be of little service to the reader, as they are introduced with no reference to their use in reading aloud ; they tell, in fact, nothing more than that the author, or rather the printer, is of opinion that at the places of insertion the sentence is divisable into parts more or less perfectly. Neither does grammar furnish a reliable guide ; for grammatical sequences of words are often interrupted by a pause as an important means of expressing emphasis. The reader must make his own punctuation, both in place and length of pause, being ifuided by the meaning of the words, by a sense of fitness, Dy the ear and by the requirements of breathing. Perhaps the readiest mode of acquiring a correct idea of grouping is to consider every cluster of words as one "oratorical" word, and that these oratorical words must be distinguished by breaks, of greater or less duration, in the same manner as words are separated on the printed page. The learner must carefully avoid abrupt pauses between the oratorical words, or disjunctive downward inflexions, where the sense implies that the members of the sentence should be connected. Indeed, as has been before hinted, the pause is r we only of the modes of marking the group. Mr. Sheridan says on this point ** The tones and inflections apper- taining 1 these pauses, and the time taken up in them must be left to the reader's own judgment ; and his best rule will be to reflect what tones he would use, and what time he would suspend his voice, were he to speak the words as his own immediate sentiments." HINTS TO READERS. U ACCENT AND EMPHASIS. Every word of more than one syllable in the English lan- guage has one of its syllables distinguished by force of articulation or vocal effort. This is called verbal or syllabic accent. There is also accent in sentences, which points out the relative value of words, and which is named sentential accent. The position of the sentential accent depends wholly upon the perceptions of the reader, and forms the best test of the accuracy of his judgment ; the regulation of the accent, 80 as perfectly to bring out the sense of a passage, being often a very nice point, requiring much judgment and skill. Emphasis is among sentential accents what syllabic accent is among syllables, a prominence given to one accent at the expense of the others. Mr. Bell remarks, "The words in a sentence which express ideas new to the context are pro- nounced with the first degree of emphasis, while all worda involved in preceding terms are unemphatic. Words con- trasted with preceding terms are more strongly emphasized, and words suggestive cf unexpressed antithesis are emphatic in the highest degree."* The purpose of emphasis and accent is to impress upon ths listener's mind the ideas on which it is desired to arrest tho attention in proportion to their relative importance. Care must, however, oe taken that due discrimination is made between words which require accent only, and words which ought to be made emphatic. Let it be kept in view tbat the power of emphatic stress is lost if it is overlaid, and that the reading which is all emphasis is, in reality, the reverse of emphatic. As this important branch of the subject will be most readily understood by illustration, the attention of the reader is speci&lly directed to the following masterly analysis by Mr. Bell ;— EXAMPLE OF EMPHASIS. Lines on the burial of Sir John Moore. At the commencement of a Composition everything is, of course, ^ new ; and the first subject and predicate will be emphatic unless either is in the nature of things implied in the other. •' Not a drum | was heard, | not a funeral note, Aa I his corpse | to the ramparts | we hurried." The subject *' drum" will be accented and the predicate * Bell's Elocutionary Manual.— Also his Princioles of Speech and Dic- tionary of Sounds. London ; Hamilton, Adams dc Co. tl t II' Ul HINTS TO READERS. " wa8 heard" unaccented, because the mention of a ** drum" involves, in the nature of things, recognition by the sense of hearing. To accentuate "heard" would involve one of the false antitheses, •• Not a drum was heard " (because we were deaf), or " Not a drum was heard " (but only seen or felt). The second subject "note" will be emphatic, because it is contrasted with "drum" and suggests the antithesis "not a note" (of any instrument). " Funeral" is unaccented, because pre-understood from the title of the poem. In the next line, "as " will be separately accented, because it has no reference to the words immediately following, but to the verb " we hurried." " His corpse" will be unaccented, became a funeral implies a corpse, and there i3 no mention in the context of any other than " his. " The principal accent of the line may be given to " ramparts " or "hurried ;" the former would perhaps be the better wor i, as it involves the anti- theses " To the ramparts " (and net to a cemetery). In the next two lines, '! Not a soldier | discharged | his farewell shot O'er the grave | where | our hero | was buried " "Soldier" is implied in connection with " drum" and " ram- Earts," and the emphasis will fall on "shot," "discharged," eing involved in the idea of " t hot," and " farewell " being involved in the occasion to which "shot," refers — a funeral. In the next Hne the leading accent will be on " grave" — but no word is emphatic, as a "grave" is of course implied. " O'er" is implied in the nature of things, as the shot could not be diicharged under the grave ; "our hero" is the same as "his corpse," and "was buried" is involved in the men- tion of " corpse" and " grave." In the next lines, *' We buried him | darkly | at dead of night, | The sods | with our bayonets | turning," the first clause will be unemphatic, as the fact has beer already stated. To emphasize " buried " would suggest the false antithesis " We buried lim" (instead of leaving him on the battle-field) " Darkly" and " at dead of night" convey the same idea j the latter being the stronger expression will receive the principal accent— on " night ;" — and " darkly " will be HINTS TO READERS. • • • pronounced parenthetically. "Turning the sods" is, of course, implied in tbe act of burying ; the word " bayonets," therefore, takes the principal accent of the line, because involving the antithesis " With our bayonets " (and not our spades). " hy the struggling moonbeam's | misty light, And the lantern | dimly burning." In the first clause, " moonbeam's " will be accented, and "misty light" unaccented, because implied in "the struy- gling moonbeam." ** Lantern," in the second line, will take the superior accent of the sentence, because cf the two sources of light spoken of, it is the more immetliately liier- vicoable on the occasion; and "dimly burning" will be unaccented, unless the forced antithesis be suggested, •* Dimly burning " (as with shrouded light, to escape observation). " No useless coflSn | enclosed his breast ; Not in sheet | nor in shroud | we wound him." Emphasis on " coffin," because the word not only conveys a new idea, but is suggestive of contrast :— " No coflBn " (as at ordinary interments), No accent on "useless," because it would suggest the false antithesis. " No tiseleas coffin " (but only one of the least dispensable kind). "Enclosed his breast" without emphasis, because implied in the mention of "coffin." Emphasis on "breast" would convey the false antithesis (Not) "his breast " (but merely some other part of his body). " Sheet " and " shroud " in the second line express tbe same idea ; the latter beine the stronger term, takes the leading accent. "We wound him" unaccented, because implied in the idea of "shroud." The tones in these lines should be rising/ to carry on the attention to the leading facts of the sentence predicated in the next lines, " But I he lay | like a warrior | taking his rest, With his martial cloak | around him." ** But " separately accented, because it does not refer to "he lay," which is of course implied in the idea of the dead warrior. To connect " but with " he lay" would indicate the opposition to " But he lay " (instead of assuming some other attitude). The reference is rather (In " no coffin" or •• shroud ") " but " in " his martial cloak." ziy HINTS TO READERS. In the simile that follows, no accent on " warrior," because he W(i8 a ii'arrior, and not merely was "like" one. The principal emphasis of the whole stanza lies on "rest," which suggests the antithesis, (As If) " takiii'j his rest " (and not with the aspect of death). In the next line, the principal accent on '* cloak ;" ** martial " being implied, unless intended contrast could be supposed between his "martial " and some othercloaks ; and " around him " being included in the idea of a warrior taking rest in his cloak. ♦ ♦•»•• THB SLUR. Closely allied to and of equal importance with emphasis and sentential accent, is the vocal subordination of words or clauses which are mere rhetorical embellishments, or which repeat ideas already expressed. All such expletive words or clauses should be passed over lightly, though distinctly, and without significant expression. This quality of effective reading, which has been called "Slurring," is by no means easy in practice. Readers who experience little diflficulty in rendering words emphatic, being quite unable to command the intonation required for the iuexpieisiveness of the "Slur." MANAGEMENT OF TEE BREATH. The advice, sometimes given, to take in enough of air at the commencement of a sentence to last until its conclusion, is not only impracticable in long sentences, but the attempt to do so might be injurious. The time required for the pauses, and which must be observed, will be found quite sufficient to enaiUe the reader to replenish his lungs. It is true that, voice heimj breath made vocal, a larger supply of air is required for reading than is necessary for vital wants — yet, if the chest is raised, and the channels of entrance to the lungs (particu- larly the nasal passage) kept free, the air will enter noise- lessly and with little effort. The insufficiency of breath, of which we sometimes hear young readers complain, arises generally from nervousness, and can be avoided by taking two or three full inspirations before attempting to speak. In reading the first sentence or two, let the pauses between the groups be made rather longer than usual, and the reader will find, as he proceeds, that his breathing will become regular, and that he will encounter no difficulty in uttering the long- est sentence or series of sentences in his selection. .:■! HINTS TO BBADEKia. XV INTONATION. Oral example is absolutely neceas«ry to exhibit the varieties of vocal expression, and to correct the faults in intonation to which readers are liable. Books on elocution contain direc- tions for the management of the voice which are more or less correct in themselves, but it is doubtful if they are of practical use to the learner. Certainly no one ever became an accom- plished reader by merely following these precepts. It seems impossible to convey by words, or by printed signs, full direc- tions for correct and melodious vocal expression in reading. Those who are curious about the mechanism of expression are referred to Dr. Rush's Philosophy of the Voice,* uid to a lit- tle treatise founded upon that work by the late Dr. Barber, t In the writings of Mr. Melville Bell, already referred to, will be found valuable directions deduced from certain principles of expression there explained. OBNERAL HINTS, In order to give the right meaning, it is necessary for the reader to invest himself with the thoughts of the author. It is in vain for him to expect to do this without preliminary study. Every one who has made reading aloud a practice, will admit that he cannot deliver any piece of written compo- sition so well at sight, or on the first reading, as on the second ; nor on the second as on the third. He finds that he improves in his manner at every repetition, as the thoughts and the words in which they are conveyed grow more familiar to him. After much practice a reader may indeed, by the quick motion of the eye, comprehend the full meaning and import of the words in compositions which have no obscurity in their construction ; yet it by no means follows that the exact intonation should be read^ at his will, or that his execu- tion should at first answer his conception. If the learner practise upon scenes from modern comedies, in which no tones are required but those which he uses in every-day discourse, he will find that it is one thing to conceive, and another to perform ; that it will not be till after repeated attempts that he can hit upon the exact manner in which the words should be delivered, or be able to associate to them the just tones that ought naturally to accompany them. The following exercise may be found useful to beginners : Read a sentence, ponder over its meaning, then, mark it by placing a single line under accented, and a double line under emphatic words. At first this exercise will appear easy, and Philadelphia, 1869. t Lovell, Montreal, 1860. XVI HINTS TO READERS. // I ( !:1 I,' ^] Heeni of little use, but let the learner think over the sentence again, he will then be^dn to doubt the correctness of some of his markings, other meanmgs will present themselves, and he will be obliged to question closely the author's intent. The more minute inspection will reveal new difficulties, not so much of meaning as of the proper mode of expressing the meaning, and he will find at length, that much thought and study are required before he can satisfy himself of the correctness of his notation. He may then proceed to divide the sentences into groups. He will find in his first attempts even less difficulty than he experienced in marking for emphasis, and his pencil will jot oflE the oratorical words with dashing rapidity, very flattering to his self-complacency. But on the second or third reading he will again find that he has been going too fast ; and it will not be until he has arrived at this stage that he will begin to discover the true extent and difficulty of the Art of Reading. ERRORS OF READERS. The mention of a few of the errors to which readers are liable, will be of service as pointing out to the learner what he should avoid. Indistinct utterance has been already alluded to ; but there is another cause of inaudibility, and that is the diminution in force, and the lowering of pitch, at the end of clauses and sentences. The general rule should be to sustain the pitch, and even slightly to raise the voice at the termination of sentences. By this, not only is audibility secured, but vigour and liveliness imparted to the reading. In addressing large assemblies, the speaker should direct his voice to that part of his audience which is at the great- est distance from him. Another cause of want of distinctness arises from speaking too loud. An unpractised reader often falls into this error. Delibe- rate utterance, a vocal power suited to the size of the room in which he speaks, an attention to grouping:, and a well -sustained pitch at tne periods, will make his reading better heard than shouting at the utmost extent of his voice. A very common fault in intonation is the practice most un- pleasant to the ear, of making the voice rise and fall in meaning- less undulations at almost regular periods. This is done with a view of avoiding monotony ; but the perpetual unvarying recur- rence of the rise and fall, is quite as tii'esome as the level pitch from which the reader desires to escape. There is also a bira-like succession of a certain run of melody, which, if not interrupted by some forcible or peculiar expression, is repeated again and again, until it can be anticipated oy the critical ear with almost unerring certainty. This is often ludicrously apparent in the reading of poetry. Another fault is that of the reader executing all his emphasis by "hammering" upon the accented syllables. Besides being wearisome to the listener, this habit destroys the dignity of de- liberate utterance. Bemember that the emphatic syllable can HINTS TO R1AD£RS. ZVU nost un- be distinguished by a variety of means besides force — by the pause, the wave or circumflex, and other changes in intonation, nay, even by the sudden diminution of force. Although the principles which govern the reading of prose are •Iso applicable to poetical composition, there are faults in the recitation of the latter -.vhich require special notice. The habit which iiianx have acc^uired of ** singing " instead of reading iioetry is so couimofi that it must havj been observed by all. ^ 'I'he child chants the nursery rhyme unforbidden, and the pupil at school is toc'^f-'^^en etrengthened in the fault by the example of his teacher, ^.ood readers of prose often fail most signally when they atl^ei^p^ the interpretation of verse ; if they avoid sin^-song, tnev fal>iuto the opposite error of ignoring the versification altogether', 'aiid uttering the composition as if it were written in prose. Of'thc'two evus the latter is, perhaps, tiie more objectionable, " ' The metre, rhythm, and- rhyme must be made clearly sensible to the ear, but the meaning qf the author should overricle alL The reader should abandon himself to the spirit of the poem, and make his intonation a taithfid echo of the sense. The fear of over-doing, or, as it i^. sometimes called, "over-acting," is too much dreaded by young readers. They are afraid of rendering themselves ridiculous. , But the truth is, that the less the reader thinks about himself and. his manner the better, when actually engaged in reading before an audience. If he has familiarized himself with the proper intonation by previous practice, he will be more likely to succeed hy giving entire freedom to his imagina- tion and powers of expi'es'sfon. In conclusion, the learner is earnestly warned against imitating ^ne readers — readei-s who exhibit the fine quality and flexibility of their voices by setting the words to meaningless melodies. Every vocal movement should be prompted by the sense of the passage, and the voice should convey the meaning with spirit and sympatoetic expression, but no attempt should be made at orna- mentation. The "fine" reading and "stilted" declamation of some Elocutionists have done very much to prevent educated men from cultivating the Art of Elocution. The student is referred to two selections in this book, by Mr. Cox, which contain useful information on this subject, and are written in a clear and familiar style. • • •» I L SELECTIONS IN- PROSE AND VERSE. • » .'» PUBLIC READli^GS IN ENGLAND. • •• • Edward H. Cox, Remiiviof Eelston, England ; author of "The Arts of Wfiting^ Redding and Speaking." One of the original promoters of " Penny Readings." . . . The j]jrcatept -difficulty has been to procure good Readers. These Public Readings have revealed the results of the inattention with which the Art of Reading is treated at our, schools, and the little care given to its acquirement in after-life ; for not only is there an astounding paucity of tolerable Readers, but the vast majority read so badly as to be unendurable to am audience. Nor is the difficulty of procuring fit Readers the only one with which the Societies have had to grapple. Another trouble has attended this part of their duties, which has been found far more unmanageable, and which has proved, indeed, the single cause of failure with many. Equally astonishing with the entire incapacity to read properly is the ignorance of that incapacity on the part of the Readers. The first step in knowledge is to learn our ignorance ; the lowest deep of ignorance is unconsciousness of itself. It is a proof of the neglect into which the Art of Reading has fallen, that even persons of educated taste may not only read execrably, but believe, when they do so, that they are reading well. This is everywhere the greatest trouble that besets the Public Readings. What can be done with the incapa- SONGS OF SEVEN. bles Tvho offer themselves so liberally as Readers ? It is awkward to say " You cannot read ; " it is ruinous to the Society to suffer them to read, for they will inevitably scare away the company. Whenever the Public Read- ings have failed, it has been by reason of the influence of bad Readers upon the audience. : Good Readers have never failed to attract and keep/a\ crowded room. Let, then, the Committee or Mana^eJfs.be firm in rejection of incompetency, however respect&ble.'or influential. Thank the volunteer for the proffeij .'oT service, but tell him frankly, that he must give some